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French, 17th century, male.

Born 1628, in Eu (Seine-Maritime); died 18 June 1708, in Paris.

Painter, decorative designer, architect. Ornaments.

Guillaume Anguier, a brother of the well-known sculptors Michel and François, was one of the artists employed on Colbert's orders in the Gobelins factory. He was granted the title of 'king's painter' and worked on the decoration of the great staircase at the Louvre and of the châteaux of St-Germain-en-Laye and Versailles. He was also an architect....


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....


Spanish, 17th century, male.

Born in Gordejuela (Vizcaya, Basque Country); died 1621, in Valladolid.

Architect, sculptor, cabinet maker.

Basoco is cited from 1597 to 1621. He worked on the choir stalls of St Francis' church in Aranzazu (Guipúzcoa). In 1621 he took on the work of the high altar in St Michael's church in Fuente Ampudia, but had to interrupt this project due to illness, handing over to Pedro Martínez de Colina, who completed it....


Gordon Campbell


Maria Ida Catalano

(b Rovetta, Bergamo, Aug 26, 1659; d Rovetta, July 25, 1734).

Italian sculptor, architect and furniture-maker. He was the eldest son of the sculptor and carver Grazioso Fantoni (1630–93) and trained in his father’s flourishing workshop, which played a leading part in the supply of church furnishings in Bergamo, Parma and the surrounding provinces. In 1674 documents record Andrea in Parma, but in 1675 he was at Edolo, where he is recorded as an apprentice in the workshop of Pietro Ramus (?1639–82), a sculptor active in Valcamonica. It is thought that around 1678 he went to Venice to work in the workshop of the Genoese sculptor Filippo Parodi, a pupil of Bernini and a friend of Pierre Puget. Certainly Fantoni’s work gives stylistic evidence of contacts with Genoese and Venetian circles. In 1679 he returned to Rovetta, taking part from the early 1680s in a process of extensive stylistic modernization in the family workshop. This change can be seen in the contrast between Grazioso’s carved and inlaid wooden decorations and furnishings in the first sacristy (...


Richard Bösel

(b Clusone, Bergamo, 1591; d Naples, Feb 13, 1678).

Italian architect, sculptor and interior designer. His prowess in many fields of art and his remarkable facility of production led him to a position of unchallenged supremacy in 17th-century Neapolitan architecture, where his styles exhibit every nuance, from the severe classicism of Early Baroque via an exuberant use of coloured marbles and the occasional exploitation of Mannerist detail, to a scenographic Late Baroque.

Fanzago came from a patrician family whose members included engineers, architects and bronze-casters. In 1608 he went to Naples, where he trained as a mason and sculptor in the workshop of Geronimo d’Auria. From 1612 to 1620 he ran a workshop in partnership with his father-in-law, the marble-worker Angelo Landi (d 1620), and during that time produced many works of sculptural decoration, in particular for Neapolitan churches and chapels (e.g. three stremmi for the façade of the Palazzo degli Studi in 1614–16; unspecified works for Naples Cathedral), but also at Catanzaro and Barletta (e.g. the decoration of the Gentile Chapel in Barletta in ...


Austrian, 17th century, male.

Born 1640, in Vienna; died 13 November 1701, in Vienna.


Johann Frühwirth was court sculptor, interior decorator and architect to the Austrian court. He executed several monuments in Hofburg and Klosterneuburg in the Baroque style.


Italian, 17th century, male.

Born c. 1600, in Communanza near Ascoli; died c. 1645, in Communanza.

Painter, architect, engineer, sculptor (wood). History painting.

Sebastiano Ghezzi was a pupil of Guercino and is remembered for a St Francis Receiving the Stigmata. Pope Urban VIII appointed him inspector of fortifications....


Alison Luchs

(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 ...


Spanish, 17th century, male.

Born 1638, in Antequera; died after 1681.

Sculptor, cabinet maker, architect.

Bernardo de Pineda y Páramo was the most famous sculptor of Baroque altars in Seville. His work decorates many churches in the city as well as other towns in Andalusia....


Peter Fidler

(b Stanz, Tyrol, bapt July 6, 1660; d St Pölten, Lower Austria, Sept 16, 1726).

Austrian architect, sculptor and stuccoist. He was an important architect of the Austrian Baroque, which he combined with a craftsman’s understanding of local traditions and building techniques. He was apprenticed as a mason to Hans Georg Asam at Schnan, Tyrol, from 1677 to 1680. His journeyman years may have been spent in southern Germany. In 1689 he settled in St Pölten, where he described himself as a sculptor: by 1692 he was known as a master mason. His early architectural works were probably produced in collaboration with the Oedtl family of master builders from the Tyrol. In 1694–1700 he built the rectory at Haitzendorf—a simple courtyard design with balanced proportions that is well integrated into the surrounding countryside.

Prandtauer was in Vienna c. 1700, and there he worked on the construction of the Palais Questenberg and other projects. In 1702 he was commissioned by Abbot Berthold Dietmayr to undertake the reconstruction of Melk Abbey, where he worked for the rest of his life, both on the ...


Austrian, 17th century, male.

Born 1648, in the South Tyrol; died 1708, in Vienna.

Sculptor, architect, engineer.

Von Strudel was the son of Jakob Strudel and brother of Peter and Dominik. He studied under his father and with J. C. Loth in Venice. He collaborated on the creation of the Trinity Column in Vienna in ...


Klaus Herding

(b Trets, June 25, 1637; d Toulon, June 10, 1689).

French sculptor and stuccoist. He was the most prominent member of a large family of sculptors and architects active in Provence in the second half of the 17th century; the most notable other members were his brothers Louis I (c. 1629–after 1697), François (1634–1707) and Joseph (1641–77); among the later generations were Louis I’s son Thomas (1658–1736), architect of the Carmelite church at Aix-en-Provence (begun 1693), and François’s son Lazare V (1659–after 1710), the probable sculptor of the delicate marble relief of the Raising of Lazarus on the high altar of Aix Cathedral.

Christophe Veyrier is referred to in 1663 in documents in Genoa as a maître esculpteur; he was trained in Rome in 1668–9 and from 1670 worked for the Eglise des Minimes in Toulon. Four years later he married a niece of the sculptor Pierre Puget. In ...


Thomas Martin

(b Trent, ?1525; d Venice, May 27, 1608).

Italian sculptor, stuccoist and architect. He was a pupil and collaborator of Jacopo Sansovino and in the second half of the 16th century became one of the most important sculptors active in Venice. He was by temperament more of a modeller than a carver, and his stuccos, bronzes and terracottas are characterized by a verve and warmth that his work in marble tends to lack. His fluent, innovative and expressive style is in many ways opposed to Sansovino’s thoughtful, classicizing, High Renaissance idiom. Vittoria’s portrait sculpture is particularly fine. In his altars and funerary monuments he gradually evolved a dynamic relationship between sculptural and architectural elements that was more fully explored by artists of the Baroque. Comparatively little is known of Vittoria’s work as an architect. Although he is known to have been active also as a painter, none of his paintings has been identified. His workshop was clearly extensive. His principal collaborators were his nephews ...