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“I Am Not Who You Think I Am”: Attributing the Humanist Portrait, Identifying the Art-Historical Subject

Manfredo Tafuri described the fifteenth-century tale The Fat Woodworker (Novella del Grasso legnaiuolo) as ‘a vertiginous system of replications, a treacherous conspiracy, a cruel and irreal comedy’ (1995). Yet the popularity of this short story was based at the time on its insistent claim to be ‘based on a true story’ (‘dicendoti io che la fu storia vera’) involving the acclaimed Florentine architect and sculptor, Brunelleschi and Donatello. The main character, Manetto, is the victim of a deeply anti-humanist prank mounted by this illustrious gang of Florentine artists who set out to convince the hapless woodworker that he has been transformed into an other named Matteo. In spite of Manetto’s repeated protests (‘non sono chi tu credi’), he is ultimately forced to accept the impossible. This paper will consider the novella, generally assigned to Antonio Manetti, in relation to the anonymous panel in the Louvre of the Five Florentine Masters as a larger reflection upon the consensual games of attribution.