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(b Florence, Aug 10, 1583; d Florence, March 3, 1643).

Italian painter, draughtsman and architect. He was the son of Maria Margherita Chiosi, a Florentine woman, and Regolo Coccapani, a nobleman of Carpi who worked as a goldsmith on the Ponte Vecchio, Florence. Sigismondo studied under the architect Bernardo Buontalenti and studied painting with Lodovico Cigoli, with whom he collaborated on the fresco decoration (c.1610–12) in the dome of the Pauline Chapel in S Maria Maggiore in Rome. His first known independent work is the frescoed lunette in the cloister of the convent of S Marco, Florence, depicting St Antonino Taking Money away from Two False Mendicants (1613). Between 1615 and 1617 he received payments for the painting of Michelangelo Crowned by the Arts on the ceiling of the Galleria in the Casa Buonarroti; in the same years he painted the Adoration of the Magi, initialled and dated 1617 (Signa, S Maria in Castello). Other initialled and dated paintings include ...

Flemish School, 16th – 17th century, male.

Born 1527 or 1529, in Mechelen; died 17 August 1612, in Innsbruck.

Sculptor, metal worker, architect.

A pupil of Conrad Meyt, until 1562 he was director of architectural works to Prince Otto Friedrich in Heidelberg. He worked on the low reliefs for the tomb of the Emperor Maximilian in Innsbruck until ...

[Giovannantonio]

(b San Gimignano, 1533; d Naples, 1609).

Italian sculptor, architect, draughtsman, antiquarian, engineer and decorator. He began his career as a goldsmith and engraver. He arrived in Rome in 1548 and the next year entered the workshop of the sculptor and architect Raffaele da Montelupo, where he worked mostly on wall decorations for mausoleums. Around this time he carved a statue of Hope for the tomb of Giulio del Vecchio in SS Apostoli, Rome. Between 1552 and 1564 he was in close contact with Michelangelo, and he may have participated with Guglielmo della Porta in the reconstruction of S Silvestro al Quirinale, Rome. Della Porta and Dosio associated with the artistic circle around the Carafa family, for whom they may have planned a chapel. In 1561 Dosio was working as a sculptor and stuccoist for the patrician Torquato de’ Conti. Other sculptural work in Rome includes a funerary monument with posthumous portrait bust for the poet Annibal Caro...

Italian, 17th century, male.

Active in Faenza.

Died 1709.

Engraver, goldsmith, painter. Architectural views.

The son of Giovanni Fantaguzzi, Savino Fantaguzzi II painted decorations for churches and palazzi in several towns in Italy, including Faenza and Florence. He subsequently had figures added to his work by painters such as the French artist C. de Bock and G. Neri of Bologna. He collaborated with de Bock on a ceiling fresco entitled ...

(b Settignano, nr Florence, 1670; d Florence, 1736).

Italian sculptor, medallist, architect and festival designer. He was a leading figure in the generation of sculptors trained in Florence after the dissolution of the Accademia Fiorentina in Rome (1686). Taught by Carlo Marcellini and Giuseppe Piamontini, he worked under Giovanni Battista Foggini on sculpture for the Feroni Chapel in SS Annunziata, Florence (1691–3), and the nave of SS Michele e Gaetano (1694–6). His principal sculptures are marble works for the high altar of SS Annunziata (1704–6) and portraits. His statues of St Filippo Benizzi and St Giuliana Falconieri for the Annunziata altar, with their animated balance and restrained intensity, are among the best of their date in Florence. Several portrait busts and reliefs, with an unsparingly detailed realism tempered by coolly imperious expression, have been attributed to him. The basis for these attributions is the signed marble effigy of Baron Philipp Bertram Degenhard Joseph von Hochkirchen...

French, 17th century, male.

Born 1614, in Liège.

Painter, sculptor, medallist, architect.

Martin Hendricy settled in Lyons in 1643, and was appointed Sculptor in Ordinary to the city in 1648. He acquired French nationality in 1659. The churches of Lyons, and more especially its town hall, owe much to him. In ...

(b Recanati, 1580; d Recanati, 1655).

Italian sculptor, painter, architect and bronze caster. He is known primarily for his bronzes, which combine an adherence to traditional standards of 15th-century Lombardy and a move towards the more dramatic qualities of the Baroque. With his brother, Tarquino Jacometti (1570–1638), he was instructed in drawing and sculpting by his uncle, Antonio Calcagni, but the influence of his lifelong teacher Cristoforo Roncalli was always uppermost in his works. The brothers became business partners, collaborating in casting bronze low reliefs, fountains and baptismal fonts, but Pietro Paolo also produced individual items.

The Jacometti brothers collaborated in such bronze works as the fountain (1619–20) in the Piazza della Madonna, Loreto; the Galli fountain, Loreto; the fountain (1619) in the Piazza del Popolo, Faenza; and on fonts in Recanati Cathedral (1622) and S Giovanni Battista, Osimo (1622–8). Pietro Paolo also produced the bronze portrait of ...

French, 16th – 17th century, male.

Active in Lyons.

Sculptor, medallist, architect.

Philippe Laliarme sculpted several statues for the church of St-Jean in Lyons in 1600. After working at the college of the Trinity, he produced a bronze bust of Henri IV in 1609, which was placed in a stone cartouche in the town hall. In ...

[Ludwig, Johann Friedrich]

(b Hohenhart, Swabia, 1670; d Lisbon 1752).

German goldsmith and architect, active in Portugal. The information on Ludovice is sometimes contradictory, but there is no doubt that his work contributed decisively to the creation of the courtly Joanine style, a style named in honour of the King, John V, who was a great patron of architecture and who had colossal wealth from the Portuguese colonies at his disposal. In Ludovice he had the services of an architect of distinction, one who to a large degree determined the character of southern Portuguese architecture into the third quarter of the 18th century.

By the age of 19 Ludovice was in Augsburg where he acquired the rudiments of architecture. He served in the Imperial Army against the French. In 1697 he left for Rome, where he worked for the Jesuits and frequented the studios of other architects, including perhaps that of Carlo Fontana. In Rome he was employed on Andrea Pozzo’s gilt-bronze and marble altarpiece of ...

(b Florence, c. 1644; d Florence, June 22, 1713).

Italian sculptor, stuccoist and architect. After training in Florence as a goldsmith, he studied with the painter Felice Ficherelli. In 1671 he went to Rome, having been chosen for the Tuscan Accademia Granducale. He studied sculpture under Ercole Ferrata and Ciro Ferri, showing a predilection for modelling rather than the marble carving expected by his patron, Cosimo III de’ Medici, Grand Duke of Tuscany. In 1672 he won first prize at the Accademia di S Luca for a terracotta relief of Decaulion and Pirra. He modelled the angels (1673–4) for the ciborium at the Chiesa Nuova (S Maria in Vallicella), which was designed by Ferri and cast by Stefano Benamati, and a terracotta relief of the Fall of the Giants (1674), pendant to a Niobid relief by Giovanni Battista Foggini (both Florence, Mus. Opificio Pietre Dure). When recalled to Florence in 1676, he was working on a more than life-size marble bust of ...

Italian, 16th – 17th century, male.

Born 1556, in Vicenza (Veneto); died 1611, in Rome.

Painter, sculptor, architect, medallist. Statues.

School of Rome.

Camillo Mariani became a member of the artists' guild Congregazione dei Virtuosi al Pantheon in 1600, and of the Accademia di S Luca in ...

(b Florence, May 13, 1666; d Rome, after 1739).

Italian sculptor, medallist, miniaturist and architect. He came from a family of craftsmen (his brother Cosimo Merlini (fl 1692–1736) was a silversmith of some repute) and, like his father, trained in the grand ducal workshops in Florence. He then worked for the Medici court. His emergence as a sculptor dates to c. 1692, with his two marble Angels for the Ferroni Chapel (Florence, SS Annunziata). In November 1694 he moved to Rome, where for about a year he was active as a medallist and miniaturist. For the altar in the chapel of St Ignatius in the church of Il Gesù, Rome, Merlini executed a bronze relief of St Peter Appearing to St Ignatius (1695–6), based on a drawing by Andrea Pozzo, and Two Putti Flanking a Cartouche (1697). His monument to the Marchesa Riccardi (c. 1700; Rome, S Giovanni dei Fiorentini), which demonstrates his fine abilities as a portrait artist in the manner of Lorenzo Ottoni, is the most significant work of his first stay in Rome. Returning to Florence in ...

French, 17th century, male.

Born 1614, in Amiens.

Sculptor, medallist, architect. Historical subjects, figures. Statues, medallions.

Mimerel worked in Lyons, where there is a statue, Virgin, in the church of the hospital, Hôtel-Dieu.

Lyons: Germain Pantho, Painter (medallion)

Italian, 16th – 17th century, male.

Born 1534, in Milan; died 1621, in Rome.

Sculptor (wood), architect, draughtsman, goldsmith.

Influenced by Prosp. Scavezzi, Giovanni Battista Montano settled in Rome during the pontificate of Gregory XIII. He carved many sculptures in wood and designed altars, tabernacles and tombs....

Dutch, 17th century, male.

Born 11 June 1585, in Oudenaarde; died 1636, in Oudenaarde.

Painter, goldsmith, architect.

The sons of Simon de Pape I, Josse and Simon, were both painters. He built a hospital in Oudenaarde.

Italian, 16th – 17th century, male.

Born 1565, in Lodi; died 6 March 1633, in Graz.

Painter, medallist, architect. Historical subjects.

Giovanni Pietro Telesphoro de Pomis studied in Italy before going on to work at the Innsbruck court between 1588 and 1595. In 1596 he was appointed painter and architect to the court in Graz. He signed his work ...

(b Lodi, c. 1569–70; d Graz, bur March 6, 1633).

Italian painter, architect, engineer and medallist, active in Austria. He trained as a painter in Venice, probably in the workshop of Tintoretto. Although no dated or signed works from his Venetian period are known, a number of paintings are now attributed to him that were earlier ascribed to the circle of Tintoretto, including the Resurrection (Stuttgart, Staatsgal.), the Flagellation (Prague Castle) and the Triumph of Virtue (Madrid, Prado), all between 1584 and 1589. Around 1589 Pomis entered the service of Archduke Ferdinand II, later Holy Roman Emperor, who appointed him official painter to the court in Graz in 1597. In the service of the Archduke, Pomis travelled in 1598 to Rome, Loreto and Spain, in 1601 to Hungary and in 1608 to Florence. His works from this period include an altarpiece representing the Apotheosis of the Counter-Reformation (1602; Graz, St Anton von Padua), an energetic composition probably influenced by Tintoretto, a painting of the ...

(b Nancy, June 30, 1658; d Nancy, Jan 10, 1738).

French medallist and architect. He trained under his father, Claude Urbain (1628–98), a medallist and engraver. He went to Munich in 1671, then to Bologna, where he was an engraver at the mint (1673–83), and finally to Rome, where from 1683 to 1703 he was engraver and architect to Innocent XI, Alexander VIII and Innocent XII. While in Rome he married Elisabeth Mantenois (d 1743), a flower and fruit painter. One of their daughters, Marie-Anne de Saint-Urbain (c. 1711–89), established a reputation as a medallist and wax modeller in Vienna.

After his return to Nancy in 1703, Saint-Urbain was appointed architect and engraver to Duke Leopold of Lorraine (1707). Among his works are a series of portraits of the Dukes and Duchesses of Lorraine, 17 medals for a series of papal portraits (from St Peter to Clement XI), seven medals commemorating the regency of the Duke of Orléans, and coinage for the mints of Bologna, Rome and Nancy. His medals for private patrons include portraits of ...

Italian, 16th – 17th century, male.

Born 1565, in Villa de San Quirico; died 1630, in Rome.

Sculptor, medallist, architect.

Paolo Sanquirico was the pupil of C. Mariani and Giacomo Antonio Moro in Rome, and became director of the Papal mint.

Maltese family of silversmiths, architects and designers. The first recorded family member is Carlo Troisi (fl 1697–1736), followed by Andrea Troisi (fl 1750), Pietro Paolo Troisi (?1700–50) and Massimiliano Troisi (fl 1794). A silver sugar bowl (1775–97; London, Mus. Order St John) is attributed to Aloisio Troisi, probably a member of the same family. During the 17th and 18th centuries various members of the Troisi family filled the post of Master of the Mint of the Order of St John of the Knights Hospitaller. The Mint was established in Valletta, Malta, in 1566. The best-known Troisi silversmith is Pietro Paolo, who was also an architect. His best work is the Altar of Repose, which he designed for Mdina Cathedral, and which was constructed by the Maltese painter Francesco Vincenzo Zahra in 1750. It is a magnificent Baroque scenographic creation in wood executed in a masterful ...