Patrick M. de Winter
Southern-most region of mainland Portugal. Its name is derived from ‘the West’ in Arabic. This region has relatively few medieval buildings: devastating earthquakes in 1722 and 1755 contributed to these losses, though many buildings were deliberately destroyed during the Middle Ages. For example, in the 12th century the Almoravids likely razed a pilgrimage church, described in Arabic sources, at the tip of the cape of S Vicente. Mosques at Faro, Silves and Tavira, among others, appear to have been levelled to make room for church construction after the Reconquest of the region, completed in 1249. Further excavations could shed much light on this history.
Highlights in the Algarve include remains at Milreu of a villa with elaborate mosaics that rank among the most substantial Roman sites in the region. The site further preserves foundations of a basilica, likely constructed in the 5th century, and traces of what may be a baptistery, perhaps added during the period of Byzantine occupation in the 6th and 7th centuries. The period of Islamic rule, from the 8th century through to the 13th, witnessed the construction of many fortifications, including examples at Aljezur, Loulé and Salir, which were mostly levelled by earthquakes. Silves, a city with origins in the Bronze Age, preserves a substantial concentration of relatively well-preserved Islamic monuments. These include a bridge, carved inscriptions, a castle, cistern and fortified walls, along which numerous ceramics have been excavated. Most extant medieval churches in Algarve date to the period after the Reconquest. These tend to be modest in design and small in scale, such as the 13th-century Vera Cruz de Marmelar, built over Visigothic or Mozarabic foundations. The relatively large cathedrals at Silves and at Faro preserve substantial portions dating to the 13th century, as well as fabric from subsequent medieval campaigns. Renaissance and Baroque churches and ecclesiastical furnishings can be found throughout Algarve....
(b Carpi, nr Modena, c. 1523; d Ferrara, 1573).
Italian architect and writer. He worked intermittently in Rome from 1549 to 1558, probably on the Palazzo Farnese under Michelangelo and on the city fortifications decreed by Pope Paul III. He was in Loreto in 1549, working on the basilica of S Maria, and in 1550, outside Macerata, began the church of S Maria delle Vergini, on which work continued for the rest of his life. The plan is a Greek cross, with a tall, octagonal drum over the crossing, in which are set large rectangular windows that transmit a bright but diffused light to the centre of the church. The interior is impressive in its refined simplicity, with almost all architectural elements reduced to their most essential forms. The great square nave piers, for example, are devoid of decoration other than their simple plinths and cornice-like capitals. The church is built throughout in brick, which is left exposed, with decorative inlaid panels, in the cross-vaulting to the right-hand eastern chapel. The façade (...
Antonio Fernández-Puertas and D. Fairchild Ruggles
The palaces of the Alhambra and Generalife in Granada, Spain, form the most important architectural ensemble to survive from the Nasrid period (1232–1492). Art created under the Nasrid dynasty in the Iberian Peninsula (see Islamic art, §II, 6(iv)(e) ) provided the spark of originality for art in the neighbouring Christian kingdoms and for Marinid and Abd al-Wādid art in Morocco and Algeria. By the 9th century the citadel on the Sabīka spur of the Sierra Nevada overlooking Granada was called al-ḥamrā’ (Arab.: ‘the red’) because its ageing white stuccoed walls, probably belonging to a Visigothic fortress, were already stained red with ferruginous dust. In the 11th century the Zirids built defensive walls that linked this fortress with Albaycín Hill to the north and Torres Bermejas to the south. In 1238 the first Nasrid sultan, Muhammad I, organized the supply of water by canal, which allowed the building of a royal city on the Sabīka from the 13th to the 15th century. Enlarged and embellished by his descendants, the walled Alhambra city comprised the Alcazaba (...
Sheila R. Canby
[Mīr Sayyid ‛Alī-i Tabrīzī]
(b Tabriz, c. 1510; d Mecca, after 1572).
Persian painter, active also in India. He was the son of the Safavid-period painter Mir Musavvir. Though Qazi Ahmad, writing in the late 16th century, deemed him cleverer in art than his father, Mir Sayyid ‛Ali reveals paternal influence in his meticulous rendering of ornamental patterns and details. As he was a junior artist at the time of the royal Shāhnāma of c. 1525–35 (dispersed, see Dickson and Welch), his contribution to this was limited. Only two miniatures (fols 135v and 568r; priv. col. and New York, Met., respectively; see 1979–80 exh. cat., nos 20 and 33) are attributed to him, and possibly passages in other works by Sultan Muhammad and Aqa Mirak. By the time of the illustration of the Khamsa (‘Five poems’) of Nizami of 1539–42 (London, BL, Or. MS. 2265), Mir Sayyid ‛Ali was a first-rank Safavid court artist, painting four (or possibly five) miniatures, three (or possibly four) of which were subsequently removed from the manuscript (Cambridge, MA, Sackler Mus., 1958.75 and 1958.76; Edinburgh, Royal Mus. Scotland, ...
Sheila S. Blair
[Mīrzā ‛Alī ibn Sulṭān-Muḥammad]
(b ?Tabriz, c. 1510; d before 1576).
Persian illustrator. According to the Safavid chronicler Qazi Ahmad, during the lifetime of the famous painter Sultan-Muhammad, his son Mirza ‛Ali worked in the library of the Safavid ruler Tahmasp I and had no match in figural and decorative painting and in portraiture. The Ottoman historian Mustafa ‛Ali placed Mirza ‛Ali at the head of the list of designers and called him a celebrated master and painter. Two paintings in the magnificent copy (London, BL, Or. MS. 2265, fols 48v and 77v) of Nizami’s Khamsa (‘Five poems’) made for Tahmasp in 1539–43 are ascribed to Mirza ‛Ali. Their realism, logical arrangement of space and psychological insight led Dickson and Welch to attribute other works to the artist and trace a long career, stretching into the 1570s. They suggested that in the 1530s and 1540s Mirza ‛Ali worked on the major manuscripts produced for the Safavid court, contributing six paintings to the monumental copy (ex-Houghton priv. col., fols 18...
Sheila S. Blair
[Muẓaffar ‛Alī ibn Haydar ‛Alī al-Tabrīzī]
(fl late 1520s–70s; d Qazvin, c. 1576).
Persian calligrapher, illustrator, painter and poet. He was a versatile artist who belonged to the second generation working for Tahmasp I (reg 1524–76) at the Safavid court in north-west Iran (see Islamic art, §III, 4(vi)(a)). His career has been reconstructed by Dickson and Welch on the basis of brief notices by Safavid artists and historians, signed calligraphies and ascribed paintings. He studied calligraphy with the master Rustam ‛Ali, and several folios in the album compiled for Bahram Mirza in 1544–5 (Istanbul, Topkapı Pal. Lib., H. 2154) are signed jointly by Rustam ‛Ali for the writing and Muzaffar ‛Ali for the découpage (Arab. qat‛). He was a master of nasta‛lıq script, and two examples in the album prepared for Amir Ghayb Beg in 1564–5 (Istanbul, Topkapı Pal. Lib., H. 2161) are signed by him. In the introduction to this album, Malik Daylami wrote of his skill in calligraphic decoration and gold illumination, and the chronicler Qazi Ahmad reported that he also excelled in gold-flecking, gilding and varnished painting. Muzaffar ‛Ali reportedly studied painting with the renowned master ...
Sheila R. Canby
[Qāsim ibn ‛Alī Chihra-gushāy: ‘portrait painter’]
(fl c. Herat, 1475–c. 1526).
Iranian illustrator. He was one of the most renowned painters at the court of the Timurid sultan Husayn Bayqara (see Timurid family §II, (8)) and his associate ‛Alishir Nava’i (see also Islamic art, §III, 4(v)(d)). The chronicler Mīrzā Muhammad Haydar Dughlāt (1500–51) described him as a portrait painter and pupil of Bihzad and said that Qasim ‛Ali’s works came close to Bihzad’s but were rougher. The historian Khwāndamīr (d 1535–6) noted that Qasim ‛Ali worked in the library of ‛Alishir Nava’i, the poet, bibliophile and major patron, but that by the 1520s, having made the pilgrimage to Mecca and moved to Sistan, he apparently had ceased painting. His style is difficult to define because many works are falsely ascribed to him. The four paintings most convincingly attributed to him are in the style of Bihzad and illustrate a copy (divided, Oxford, Bodleian Lib., Elliott 287, 317, 339 and 408; Manchester, John Rylands U. Lib., Turk. MS. 3) of ‛Alishir’s ...
(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 (...
(b Brussels, before 1573; d Brussels, between Jan 15, 1625 and Dec 11, 1626).
Flemish painter. The earliest document referring to him is a receipt dated 26 May 1593 for the gilding and decoration of the Garnier family monument in Notre-Dame-du- Sablon in Brussels. The records of the Brussels painters’ guild, which survive only from 1599 onwards, do not mention his admission as a master but show that he took on four apprentices between 1599 and 1625, the last being Pieter van der Borcht. In 1599–1600 he entered the service of Archduke Albert and Archduchess Isabella, who entrusted him with many important commissions. In 1603 and 1604 van Alsloot received two payments from them for the design and weaving of two-and-a-half laps of tapestry with grotesques. This has often been taken, erroneously, to indicate that he held a prominent place in the development of Brussels tapestry manufacturing.
Like Jacques d’Arthois, Lucas Achtschellinck (1626–99) and Lodewyk de Vadder, van Alsloot belonged to the school of Brussels landscape artists who drew much of their inspiration from the Forêt de Soignes. In several of van Alsloot’s works, which are generally topographically accurate, it is possible to identify places that still survive, especially near the abbeys of Groenendael and Ter Kameren. Some paintings, for example ...
(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). ...
(fl 1552; d Florence, Sept 21, 1605).
Italian painter. He was a pupil of Pontormo and Bronzino. In July 1552 he was sent to Como by Cosimo I de’ Medici to copy the portraits of famous men in Paolo Giovio’s museum. By the end of May 1553, Cristofano had sent 24 finished portraits to Florence, followed by 26 more by September 1554 and another 25 by October 1556. The following month Cristofano received 100 scudi from Cosimo. By 1591 the works had been transferred to the corridors of the Uffizi, where they form part of the museum’s large collection of portraits. During his stay in Como, Cristofano travelled to Milan to execute two portraits of the Duchess Ippolita Gonzaga in competition with Bernardino Campi, who was declared the winner. (One of the portraits went eventually to her father, Giuliano Groselino.) In November 1562 Cristofano was noted as treasurer of the Accademia del Disegno in Florence, which received its official recognition in ...
(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 (...
Henrik H. Sørensen
[cha Chŏngjung ; ho Tusŏngyŏng ]
Korean painter. A descendant of the royal Yi family—founders of the Chosŏn dynasty—in the line of King Sejong and mentioned in the Injong shillok (‘Veritable records of King Injong’), he was considered one of the most important Academy painters of his day. He was renowned for his rendering of dogs and cats and of flowers and birds, placed usually in highly formalized garden settings. His paintings exude an innocent and peaceful atmosphere. In his work he combined the ‘outline’ style with the ‘boneless’. His paintings bear some resemblance to the type of animal paintings produced at Huizong’s Northern Song Academy in the 12th century in China, although his subjects are more dynamic, if less realistic.
Only four works from his hand are thought to have survived. His most celebrated painting is Bitch with Puppies. Another of his paintings, Puppies under a Flowering Tree (P’yŏngyang, Kor. A.G.;), shows three puppies, two resting, one sitting up, beside a tree on which two magpies have alighted. ...
(b ?London, c. 1470; d ?London, 1532).
English goldsmith. He was the son of a London goldsmith and was the most successful goldsmith working at the Tudor court; his work bridged the transition between the Gothic and the Renaissance styles. He was an official at the Mint from 1504 to almost the end of his life, his appointment possibly facilitated by his marriage to Elizabeth, granddaughter of Sir Hugh Bryce (d 1496), Court Goldsmith to Henry VIII. In 1524 Amadas became the first working goldsmith to become Master of the Jewel House to Henry VIII, an office he retained until 1532, supplying spangles, wire and ribbons to the court. In the 1520s his orders included a large amount of plate for gifts to foreign ambassadors; he also supplied a number of New Year’s gifts for the court. Cardinal Thomas Wolsey was one of Amadas’ most important clients, and Amadas supplied him with a number of lavish objects. Other clients included ...
Richard Schofield and Janice Shell
(b Pavia, c. 1447; d Milan, Aug 28, 1522).
Italian sculptor and architect. He was principally active in Bergamo, Cremona, Milan and Pavia. His professional success, in terms of the architectural and sculptural commissions and official appointments that he received, was far greater than that of any of his contemporaries in Lombardy in the late 15th century, including Bramante. Amadeo’s influence in both fields, for example in his use of all’antica ornament of local origin, was considerable.
He was trained as a sculptor and evidently apprenticed to Francesco Solari (fl 1464–71) in Milan and at the Certosa di Pavia (see Pavia, §2, (i)). In 1466 Amadeo assisted in the decoration of the large cloister of the Certosa and was apparently responsible for the terracotta lavabo in the small cloister. His first signed work, directly influenced by the Late Gothic style of Solari, is the carved portal in the small cloister with a lunette of the ...