Since its publication in 1642, Giovanni Baglione’s Lives of the Painters, Sculptors and Architects from the Pontificate of Gregory XIII of 1572 until the times of Pope Urban VIII in 1642, has been classified as either largely factual or obviously biased, a reflection of the culture of slander in early modern Rome. Definitions of what constituted textual ‘truth’ have changed dramatically since Baglione wrote his Lives, though this has not adequately informed debate. Also overlooked is the degree to which Baglione staked his entire rhetorical agenda around notions of truth and untruth, rumour and opinion, which emerge as central themes throughout both the framing elements and the individual artists’ lives. The present article adopts a new methodological approach to these questions, reassessing Baglione’s central themes of rumour, fama and truth in relation to questions of textuality and intertextuality, fiction and disinformation, rhetoric and agency, and drawing upon recent literary and historical studies of rumour, fame and news when doing so. At the same time, this study investigates conceptions of fame and rumour in relation to contemporary practices of art criticism in oral, manuscript and print cultures and in light of the rivalry between Caravaggio and Baglione.

中文翻译：

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卡拉瓦乔的谣言：乔瓦尼·巴廖内 (Giovanni Baglione) 画家、雕塑家和建筑师生活中的事实、虚构和权威

自 1642 年出版以来，乔瓦尼·巴廖内 (Giovanni Baglione) 的《画家、雕塑家和建筑师的生平》从 1572 年的格列高利十三世到 1642 年的教皇乌尔班八世时代，一直被归类为主要是事实或明显有偏见，这是文化的反映诽谤在近代早期的罗马。自从巴廖内写下他的传记以来，什么构成了文本“真相”的定义发生了巨大的变化，尽管这还没有为辩论提供足够的信息。同样被忽视的是巴廖内在多大程度上将他的整个修辞议程都围绕着真理和不真实、谣言和意见的概念，这些概念在框架元素和个别艺术家的生活中都成为中心主题。本文采用一种新的方法论来解决这些问题，重新评估巴廖内的谣言中心主题，fama and truth 与文本性和互文性、虚构和虚假信息、修辞和代理问题有关，并在这样做时借鉴了最近对谣言、名声和新闻的文学和历史研究。同时，本研究探讨了与当代口头、手稿和印刷文化中的艺术批评实践相关的名声和谣言概念，以及卡拉瓦乔和巴廖内之间的竞争。