Only in the Renaissance did individual artists in Western Europe acquire personalities known by their peers (some listed by
Vasari in his
Lives of the Artists), such as those known by: • Their true name or their father's name: •
Filippino Lippi after his father
Fra Filippo Lippi • A chosen
pseudonym, possibly linked to his birthplace or his father's trade: •
Giuliano da Sangallo worked on the gate of Saint Gall •
Antonio del Pollaiuolo, after his father, a chicken farmer (pollo in Italian) •
Jacopo del Sellaio, after his father, a saddler (
sellier) • The
Della Robbias (after the Tuscan word
robbia, dyers'
madder, and his father, the dyer
Luca della Robbia) •
Masuccio Segondo, student of
Masuccio Primo • etc. •
A surname attributed to him: •
Il Cronaca, who never stopped talking about the ruins he had seen in Rome •
Daniele da Volterra, nicknamed
Il Braghettone (the
breeches maker) for having censored nudes in paintings by adding cloths or branches, at the request of
Pope Paul IV •
Luca della Robbia, for the madder colour he used as a ceramicist •
Masaccio, known as the idiot • etc. •
A corporation, whose generic name is given to works made by all its members: • the
Campionesi Masters, sculptors and builders of religious buildings (Ugo da Campione,
Bonino da Campione, Giovanni da Campione, Zenone de Campione, Matteo da Campione) ==20th-century problems of attribution==