1-20 of 286 Results  for:

  • Renaissance/Baroque Art x
  • Patron, Collector, or Dealer x
Clear all


(b Cologne, 1552; d Prague, March 4, 1615).

German painter and draughtsman, active also in Italy and Bohemia. One of the foremost painters of the circle gathered at the Prague court of Emperor Rudolf II (see Habsburg, House of family, §I, (10)), he synthesized Italian and Netherlandish influences in his portraits and erudite allegories.

Hans’s surname is derived from his father’s native town. According to Karel van Mander, he probably studied c. 1567–73 with the portrait painter Georg Jerrigh, who had trained in Antwerp. Von Aachen subsequently became a member of the Cologne guild of painters. He travelled to Italy c. 1574, first working in Venice as a copyist and for the painter Gaspar Rem (1542–1615/17), before going in 1575 to Rome, where he copied antique sculptures and the works of Italian masters; he also painted an Adoration of the Shepherds for the church of Il Gesù in Rome (1580s; untraced, but known from an engraving (...


(b Conversano, Puglia, Jan 1458; d Conversano, Jan 9, 1529).

Italian patron. He was the son of Giulio, Duca d’Atri (d 1481), and Caterina Orsini, Contessa di Conversano (Apulia), a cousin of Queen Isabella of Castile; in 1477 he married Isabella Piccolomini of Aragon (d 1504). His extensive territories included much of the Abruzzo and Apulia, and through his second marriage to Caterina della Ratta, Contessa di Caserta, he gained lands in Campania, Lucania and Calabria. Andrea Matteo led a tumultuous political and military career, alternately supporting the Aragonese and the Angevins and losing and regaining his lands several times. From 1505, however, he settled in Naples, devoting himself increasingly to cultural activities. He was one of the most important humanist princes in southern Italy, and a member of Giovanni Pontano’s Neapolitan academy; Pontano (1422–1503) dedicated his De magnanimitate to the Duca, whom he saw as the incarnation of Renaissance man, while Paolo Giovio praised him as ‘...


Claire Baines

(b Dec 12, 1479; d ?Bologna, c. April 1552).

Italian historian, topographer, writer and patron. He was a friar and first entered the Dominican Order at Forlì but was in Bologna from 1495 and was officially transferred to the monastery there in 1500. Alberti received an extensive grounding in humanist studies under the Bolognese rhetorician Giovanni Garzoni. After acting as companion to the head of the order, Tomaso de Vio Cajetan, Alberti was made Provinciale di Terra Santa in Rome in 1520. This included the role of travelling companion to Tomaso’s successor, Fra Silvestri da Ferrara (‘il Ferrariense’). His travels with Silvestri throughout Italy, including the islands, laid the foundations for his most important work, the Descrittione di tutta l’Italia (1550), modelled on the Italia illustrata of Flavio Biondo. It was reprinted many times: the Venice edition of 1561 was the first to include Alberti’s sections on the islands of Italy, which were not covered by Biondo; the Venice edition of ...


(b Lisbon, 1458; d Coimbra, 1543).

Portuguese bishop and patron. He was the son of Lopo de Almeida, the 1st Conde de Abrantes (d 1508), and brother of Francisco de Almeida (1450–1510), the first viceroy of India. Jorge de Almeida was closely connected with the royal court of Portugal and in 1490 accompanied John II to the border of Spain to meet the King’s future daughter-in-law, Isabella of Castile (1470–98). As Bishop of Coimbra, he instituted a systematic revival of art at a particularly fortunate period of history, facilitated by the length of his episcopal rule (1481–1543). He was the principal benefactor of the Sé Velha (Old Cathedral, c. 1150–1200) in Coimbra, which he began to modernize in 1498 by giving it suitable surroundings and widening its broad façade. At the same time, with the permission of the chapter, he commissioned from the Flemish wood-carvers Jean d’Ypres (...


Joseph Connors

(Alta Emps, Hohenems)

Italian family of patrons, of German origin. The Hohenems family from Salzburg Italianized their name when Cardinal Marcus Sitticus Altemps (1533–95) brought the dynasty to Rome. A soldier by training, he pursued an ecclesiastical career under the patronage of his uncle, Pope Pius IV (reg 1559–65). Marcus was made Bishop of Konstanz in 1561 and legate to the Council of Trent. He began the development of the massive Villa Mondragone (see Frascati), to the designs of his house architect Martino I Longhi (i); Pope Gregory XIII (reg 1572–85) often visited it. Through papal favour he accumulated enormous wealth, which he used to rebuild the Palazzo Riario near Piazza Navona, Rome, into a magnificent family palace (known thereafter as the Palazzo Altemps) and to build the Altemps Chapel in S Maria in Trastevere; both of these designs were by Longhi. Effects of the Cardinal’s patronage or his generosity survive in the many estates that he purchased or received as gifts, at Loreto, Gallese and in the area around Frascati (e.g. at Mondragone, Monte Compatri and Monte Porzio). ...


Clare Robertson

(b Rome, Nov 26, 1491; d Rome, Jan 22, 1557).

Italian banker and patron. He was born of a noble Florentine family. At the age of 16 he inherited the family bank in Rome and, after the closure in 1528 of the rival bank founded by Agostino Chigi, became the most important papal financier in the city. Despite his position as Florentine consul in Rome, he was vigorously opposed to the Medici regime and his residence near the Ponte Sant’Angelo became the gathering place of many Florentine exiles. This palazzo was restored by Altoviti in 1514 (destr. 1888) and housed a rich collection of antiquities from Hadrian’s Villa (see Tivoli, §2(ii)) and many commissioned works. Raphael painted for Altoviti the Madonna dell’Impannata (1511–16; Florence, Pitti) and his portrait, which is generally agreed to be the one (c. 1518) that is now in the National Gallery of Art, Washington, DC. In 1534 Francesco Salviati also executed a portrait of Altoviti (untraced) and frescoed the arms of Pope Paul III on the façade of the palazzo. Benvenuto Cellini made a magnificent bronze portrait bust of the banker (...


Elisabeth Landolt

Swiss family of collectors of German origin. Johannes Amerbach (b ?Amorbach, c. 1450; d Basle, Dec 25, 1513) gained his MA at the Sorbonne, Paris, and trained as a printer in Nuremberg and Venice. In 1482 he settled in Basle, where in 1484 he founded his own print shop and publishing house. He was in close contact with Albrecht Dürer during the latter’s stay in Basle (1491–2). Apart from works of art for personal use, for example ornamental daggers, he probably owned graphic and print blocks for woodcut illustrations by Dürer. Johannes’s son, Bonifacius Amerbach (b Basle, 11 Oct 1495; d Basle, 24 April 1562), a lawyer, professor at the University of Basle and syndic of the Basle council, was the heir and executor of Erasmus and owned paintings by the Holbein family and important gold and silver pieces, for example the well-known ‘...


Donatella L. Sparti

(b Terni, after 1559; d Rome, ?Nov 29, 1652).

Italian writer, historian and collector. He produced about 38 novels and several comedies, although his literary works have been little studied. In Perugia he was a member of the Accademia degli Insensati, under the name Tenebroso. He is documented as having been in Rome in the late 16th century as secretary to Cardinal Ippolito Aldobrandini (later Pope Clement VIII) and chief Apostolic Notary. At his home on the Pincio hill he accumulated a substantial collection, containing scientific instruments, examples of flora and fauna, a picture gallery, a large collection of Kleinkunst, medals, and a vast assortment of drawings by contemporary artists especially Annibale Carracci. The collection was accompanied by a rich library. The organization and contents of the collection are described by Angeloni himself in a manuscript in Venice (Fletcher, 1974). From 1634 his nephew Giovanni Pietro Bellori lived in the house; Angeloni educated him in art, literature and antiquities, and introduced him into the circle of classicist artists with whom he had formed a relationship, more in the role of erudite mentor than that of patron....


Michel Hochmann

Italian family of patrons. Probably from Brussels originally, the d’Anna family were wealthy merchants who settled in Venice at the beginning of the 16th century. Martin [Martino] d’Anna (b ?1475; d Venice, 11 Nov 1556) acquired Venetian citizenship in 1545. He bought a palace on the Grand Canal from Lodovico Talenti on 7 December 1538 (Venice, Archv Stato, Notarile atti, Ba. 3258, fols 126–8). Talenti, not Martin, must have commissioned from Pordenone the famous frescoes (c. 1534; destr., known from prints) that decorated the building’s façade. Martin continued embellishing this residence, and in his will (1553, Venice, Archv Stato, Notarile testamenti, Ba. 1218/x42) he requested that his heirs neither destroy nor disperse the decorations and furniture.

The sons of Martin d’Anna, Daniele (d Venice, 26 Dec 1579) and Giovanni (d 1580), were also important patrons. They asked Leone Leoni to engrave several medals for them (e.g. portrait medals ...


Giorgio Tabarroni

Italian family of patrons and collectors. They were one of the wealthiest and most celebrated patrician families of Milan. The earliest records of them date from 1228, when they made lavish donations to the monastery of Chiaravalle, near Milan. Giuseppe Archinto (i) (d 1476), Chancellor under Duke Galeazzo Maria Sforza (reg 1466–76), added to the family’s wealth. His grandson Francesco Archinto (d 1551), a jurist, was the favoured commissary of Louis XII in the area of Chiavenna; a portrait of him, preserved by the family, is attributed to Leonardo da Vinci. Francesco’s cousin Filippo Archinto (1500–58) was appointed Senator by Duke Francesco Maria Sforza and in 1530 represented Milan at the coronation of the Emperor Charles V in Bologna. Filippo held various Imperial posts, including that of Ambassador to Rome, where Pope Paul III ordained him Bishop. In 1566 the Pope appointed him Archbishop of Milan, in which capacity his portrait (...


Norman E. Land

(b Arezzo, 19 or April 20, 1492; d Venice, 1556).

Italian art critic, writer, poet and collector. He was one of the most engaging literary figures of the Italian Renaissance, known not only for his famous Lettere but also for political lampoons, erotic books and religious writings. He was the son of a shoemaker, Luca del Tura. From before 1510 until 1517 he lived in Perugia. A book of poems that he published during these years, Opera nova (1512), suggests by its subtitle, in which the author is called ‘Pietro pictore Aretino’, and by a note to the first sonnet in which he claims to be ‘studioso … in pictura’, that he had some training as an artist. About 1517 he moved to Rome, after a short period in Siena, and joined the household of Agostino Chigi. He became friendly with Raphael, Michelangelo, Sebastiano del Piombo and Jacopo Sansovino. At this time too he became known for his political lampoons. For a period Aretino was a valet to Pope Leo X; on Leo’s death in ...


Natividad Sánchez Esteban

(b Seville, 1548; d Las Palmas, Canary Islands, 1596).

Spanish soldier, writer and collector. As a reward for his military achievements, Philip II appointed him Alférez Mayor of Andalusia, and he also received honours from the kings of France, Portugal and Poland. He became royal chronicler, which gave him access to numerous libraries throughout Spain, in which he discovered rare Spanish books dating from the Middle Ages. These were important for his La historia de la nobleza de Andaluzia, only the first part of which was published (1588). Among other things, this includes histories of Seville, Ubeda and Baeza and a genealogy of Argote de Molina’s family. Argote de Molina was also Veinticuatro of Seville, a commissioner of the Inquisition and first Provincial de la Santa Hermandad. In addition he was a member of the circle of humanists and writers around the Duques de Gelves in their villa, called La Merlina. His marriage to the daughter of the Marqués of Lanzarote obliged him to move to that island, and on the death of his wife he settled in Gran Canaria. His humanist interests led him to create a private museum in his home, a typical example of a 16th-century collection of art and exotic objects, a ...


Sophie Page

Astrology is the art of predicting events on earth as well as human character and disposition from the movements of the planets and fixed stars. Medieval astrology encompassed both general concepts of celestial influence, and the technical art of making predictions with horoscopes, symbolic maps of the heavens at particular moments and places constructed from astronomical information. The scientific foundations of the art were developed in ancient Greece, largely lost in early medieval Europe and recovered by the Latin West from Arabic sources in the 12th and 13th centuries. Late medieval astrological images were successfully Christianized and were adapted to particular contexts, acquired local meanings and changed over time.

Astrology developed into a scientific branch of learning in ancient Greece, but because of the opposition of the Church Fathers it was transmitted to early medieval Europe in only fragmentary form in technically unsophisticated textbooks and popular divinatory genres. Literary and scientific texts provided more general ideas about the nature and attributes of the planets which were influential on later iconography. The first significant astrological images appear in 11th-century illustrated astronomical texts (e.g. London, BL, Cotton MS. Tiberius BV), which were acquired and produced by monasteries to aid with time-keeping and the construction of the Christian calendar....


Christopher F. Black


Italian family of patrons. The Baglioni are notorious in Renaissance historiography for their often violent attempts to dominate Perugia. The family network, which numbered 28 separate households in 1511, provided political strength until in-fighting brought destruction. Military and political service to the papacy secured the family feudal tenure or governorships of lesser Umbrian towns, such as Bettona, Spello and Torgiano, where they constructed palaces. Besides helping to promote major civic projects in Perugia, such as the cathedral of S Lorenzo (1440s) and the Collegio del Cambio (1452–7, with a sala dell’udienza richly decorated with frescoes by Perugino and pupils), the Baglioni furthered the careers of many artists, including Benedetto Bonfigli, Pinturicchio, Pordenone, Luca Signorelli and Perugino.

The most culturally active patron was Braccio di Malatesta (1419–79). The extensive exterior and interior decorations of his palace (destr. 1540) celebrated famous soldiers and lawyers and his own exploits. ...



Lorenza Rossi

Italian family of patrons and collectors. Their residence in the Piazza del Guastato, Genoa, is documented from 1547. With the collaboration of the Genoese comune they made the road (originally the Strada Nuovissima, now the Via Balbi) linking the Piazza del Guastato with the Porta di S Tomaso and were responsible for commissioning many buildings along it. Niccolò Balbi (d c. 1549), a silk merchant, made the family fortune and had four sons: Giovanni Francesco Balbi (d c. 1593), Pantaleo Balbi, Giovanni Girolamo Balbi and Bartolomeo Balbi. The third, Giovanni Girolamo, almost certainly lived in Antwerp, and his collection contained many works by Flemish artists and the works of such Genoese painters as Sinibaldo Scorza, Domenico Fiasella, Giovanni Battista Carlone (i) and Giovanni Benedetto Castiglione. The youngest son, Bartolomeo, also lived in Antwerp, where it is thought that he started his collection of paintings. His son, ...


John Law

Italian family of statesmen and patrons. The early history of the Barbarigo is obscure, although it is possible that they emigrated from the Trieste region and settled in Venice in the 8th or 9th century ad. The growth of their prominence is indicated by their entry into the hereditary nobility from the 13th century. One of the several branches of the clan was established in the Venetian colony of Crete in the 14th century. Members of the clan followed various careers and enjoyed differing degrees of wealth and political standing; one of the better documented is Andrea Barbarigo (b Venice, 1399; d Venice, 1449). He began a mercantile career in 1418 with modest assets, owing to his father’s financial ruin, but amassed a respectable fortune through family connections, minor offices and an assiduous attention to business. At its peak his commercial activity stretched from Alexandria to London.

The brothers ...


Deborah Howard

Italian family of patrons. They were endowed with intelligence and artistic gifts, as well as wealth and influence, and they included some of the most eminent humanist scholars of the 15th century, including Francesco di Candiano Barbaro (c. 1395–1454), a Latin and Greek scholar, and Ermolao Barbaro (1453–97), the author of important commentaries on Aristotle, later edited by (1) Daniele Barbaro. The family’s principal palace on the Grand Canal, Venice, has remained one of the least altered of the city’s Gothic palaces, apart from the enlargements (1694–8) of Antonio Gaspari (1670–1730). From 1534 onwards, Fra Zuanne Barbaro was one of the two friars who took special responsibility for the rebuilding of S Francesco della Vigna in Venice to the design of Jacopo Sansovino. His brother Francesco Barbaro was the first Venetian noble to purchase one of the family chapels in the new church. The Barbaro family owned huge estates in the Veneto above Treviso. It was here in the 1550s that ...


Donata Battilotti

(b Florence, Dec 20, 1503; d Florence, Oct 25, 1572).

Italian diplomat and writer. He attended the school of the peripatetic philosopher Francesco Verini in Florence and later entered the Church. In 1530 he went to Rome where he studied architecture and drawing as well as mathematics, music and humanistic disciplines.

Bartoli was a man of great culture and wide interests. His particular interest in promoting Italian as a language of technical discourse found expression in translations of and commentaries on a number of important Latin texts, including Leon Battista Alberti’s De re aedificatoria (Florence, 1550/R Venice, 1565). This work was well received, despite the frequent liberties taken by Bartoli in his interpretation of the original and his perpetuation of textual errors introduced by Latin copyists. In 1568 he also published an Italian-language collection of other works by Alberti, including the De statua and the De pictura.

In 1560 Bartoli became secretary to Cardinal Giovanni de’ Medici and followed him to Rome, remaining there until the spring of ...


Clare Robertson

(b Venice, May 20, 1470; d Rome, Jan 18, 1547).

Italian ecclesiastic, writer, collector and patron. His literary fame rests chiefly on his contributions to the development of Italian vernacular literature and to his revival of the Petrarchan style in poetry. Among his best-known works is Gli Asolani (written c. 1497; pubd 1505), which consists of Platonic dialogues on love. Born of a patrician family, he made several attempts to follow his father’s distinguished political career before deciding to devote himself to literature. In 1492 he left Venice, going first to Messina, then Padua and Ferrara. For a time he was part of the cultivated circle of the della Rovere court in Urbino, where he was described by Baldassare Castiglione in Il libro del cortegiano (1528) as the archetypal humanist. After taking minor orders in 1508, he moved to Rome in 1512 and worked there as a papal secretary, together with Jacopo Sadoleto (1477–1547). On the death of Leo X in ...


Linda S. Klinger

(b Padua, 1489; d Padua, April 2, 1582).

Italian jurist, collector and patron. He was the son of Giampietro Benavides, a famous physician, and studied law at the University in Padua, where he later taught for much of his life. Benavides was among a group of patrons who promoted a self–consciously Romanizing style in Padua during the 1540s. As governor of the city’s Arca del Santo, he was able to assist such promising artists as Domenico Campagnola and Bartolomeo Ammanati, whom he introduced to an important circle of Roman patrons. Campagnola collaborated on the frescoes in the Sala dei Giganti in the Palazzo del Capitanio (in situ), a major decorative programme whose Roman syntax was novel in the Veneto, while Ammanati’s tomb monument for Benavides (1546; Padua, Eremitani) introduced forms used by Michelangelo in the Medici tombs (Florence, S Lorenzo, New Sacristy). Benavides also commissioned a series of all’antica portrait medals from Giovanni da Cavino in ...