Heavy iron or iron-bound coffer made in Germany and Flanders from the 16th century to the 18th, when they were supplanted by the safe. The chests had a dummy keyhole in the front and were fastened by a lock on the underside of the lid. The word ‘Armada’ may allude to the Spanish Armada, but there is no historical connection with the chests of the Armada....
Basilio Pavón Maldonado
Spanish term for a type of intricately joined wooden ceiling in which supplementary laths are interlaced into the rafters supporting the roof to form decorative geometric patterns (see fig.). Artesonado ceilings were popular in the Islamic architecture of North Africa and Spain from the 13th to the 15th century and were also used widely in Jewish and Christian architecture. They continued to be popular into the 16th century when they were effectively integrated with Renaissance motifs.
Artesonado ceilings developed from horizontal coffered ceilings, which were used in Spanish Islamic architecture as early as the 10th century
Type of 16th-century chest carved with religious scenes that reflect Protestant sensibilities. Most surviving examples are in England, but the chests may have been manufactured in Baltic Hanse cities for the English market. Baltic chests are sometimes distinguished from Nonesuch chests, but the term is sometimes used to denote both types of chest....
[Florentin, Dominique ; Riconucci, Domenico]
(b ?Florence, c. 1506; d Paris, 1565).
Italian sculptor, stuccoist, painter, engraver and mosaicist, active in France . He is mentioned for the first time between 1537 and 1540 in the accounts of the château of Fontainebleau, working on mosaics with Jean Picard (Jean Le Roux, fl mid-16th century). Barbiere rose to prominence rapidly in the team of artists assembled by Francesco Primaticcio on the royal works at the château and worked also at Troyes, where he lived for periods during his career. It is not clear, however, if he went to Troyes as a young man and established his profession there before going on to Fontainebleau with other sculptors from Troyes, such as the Julyot family (fl 16th century) and Nicolas Cordonnier, or whether he went initially to Fontainebleau in the footsteps of his fellow Florentines Rosso Fiorentino and Primaticcio and then went on to Troyes, a long-established centre of sculpture production, with craftsmen he had met at Fontainebleau (...
[Antonio di Neri]
(b 1453; d 1516).
Italian intarsia designer, civil engineer, architect and engraver, was a native of Siena. From 1483 to 1502 he worked in Siena Cathedral, providing carving and intarsia for the choir-stalls in the chapel of San Giovanni (1483–1502; seven panels survive in La Collegiata in San Quirico d’Orcia and one in the Kunstgewerbemuseum in Vienna) and building the benches for the Piccolomini library (...
(b Modena, c. 1490; d London, ?Feb 15, 1569).
Italian stuccoist, sculptor, painter and costume designer, active in France and England. He worked in France as a painter (1515–22), probably under Jean Perréal and Jean Bourdichon, then in Mantua, possibly under Giulio Romano, possibly calling himself ‘da Milano’. By 1532 he was at Fontainebleau and in 1533 was engaged with Francesco Primaticcio on the stuccoes and painting of the Chambre du Roi and was one of the highest paid of his collaborators. He may also have worked on the Galerie François I. He was described in 1534 as sculpteur et faiseur de masques and in 1535 made masquerade costumes for the wedding of the Comte de Saint-Pol. He was later involved in a fraud and by August 1537 was in England, where he settled. By 1540 Bellin was employed at Whitehall Palace, probably on making stucco chimneypieces, including that in the privy chamber. The following year he and his company of six were working on the slate carvings at ...
Name used in Mexico and throughout Latin America for a folding screen. The word biombo is a transliteration of the Japanese word for folding screen—byōbu—an acknowledgement of its place of origin. The Japanese byōbu has long been a quintessential example of Japanese art and was a common diplomatic gift to foreign courts in the early modern period (see Screen, §1). Referred to as the ‘face of Japanese diplomacy’, byōbu were presented as ambassadors of Japanese culture to places as far off as London and Mexico City. Byōbu also found their way to New Spain as exports in the Manila Galleon trade. In 17th-century Mexico the Japanese screen was admired by artists and patrons, and was adapted and reinterpreted on a grand scale. The unique format of the biombo provided new ways for artists to depict subject-matter, and locally made biombos began appearing in the archival record in the first years of the 17th century. ...
(b Monte, nr Balerna; d Prague, 1628).
Italian stuccoist, active in Prague. He settled in Prague in 1590 and was granted citizenship in Malá Strana in January 1591. One of his major commissions was the oval chapel of the Assumption (1590–1600), which was built for the Italian community in Karlova Ulice and was the first centralized Baroque building to be erected in Prague. In 1603 Bossi built the north part of the Augustinian monastery near the church of St Thomas in Malá Strana. In the following year he was involved with renovations to the same monastery. From 1602 he built the hospital for the Italian congregation opposite the site of the present Lobkowicz Palace (1703–69; now the German Embassy). This early Baroque building comprises four wings around an arcaded courtyard (later glassed over). The hospital church (1608–17), dedicated to S Carlo Borromeo and also built by Bossi, was one of the first domed Baroque buildings in Prague. In the construction of these buildings Bossi played an important role in the dissemination of Italian architectural concepts in Prague....
(b c. 1570; d Paris, March 21, 1637).
French sculptor. His father Guillaume Boudin (fl 1567–1614) specialized in carved panelling and furniture decorated in the antique taste. Thomas was apprenticed to Mathieu Jacquet in 1584 and remained with his workshop until 1595. Though he bore the title Sculpteur du Roi from 1606, his court works, including a chimney-piece (wood, 1606) for the Chambre du Roi at the Louvre, Paris, a bas-relief (bronze; destr.) for the pedestal of Pietro Tacca’s equestrian statue of Henry IV erected on the Pont Neuf in 1635, and the chimney-pieces for the Throne Room of the Hôtel de Ville, Paris (1617; destr.), and for the château of Chilly (1632; destr.) are less significant than his religious oeuvre. This includes seven high-reliefs (stone, 1610–12; in situ) around the choir of Chartres Cathedral. Their traditional, vigorously frontal composition, with the figures modelled almost in the round so that they appear to be free-standing against a plain background, is combined with a late Mannerist complication of drapery and hairstyle. Other sculptural decorations, such as the high altar of St Germain-l’Auxerrois (...
(b Urbino, c. 1524–5; d Urbino, Sept 20, 1575).
Italian stuccoist and sculptor. He enjoyed extensive patronage from the court of Guidobaldo II della Rovere, Duke of Urbino, for whom he modelled fireplaces and entire ceilings representing allegories of princely prerogative and aristocratic supremacy. This practice, unusual in Italy (where stucco was generally a decorative adjunct to fresco), may be partly explained by the fact that Guidobaldo did not retain a permanent court painter.
Between 1538 and 1541 Brandani was apprenticed in Urbino to Giovanni Maria di Casteldurante, a maiolica artist, but his earliest known work (c. 1551) is the luxuriant and overcrowded stucco ceiling, modelled with five relief scenes from the Life of St Peter, in the chapel of the Palazzo Corte Rossa, Fossombrone, near Urbino, for Cardinal Giulio della Rovere (1533–78). In 1552–3 Brandani made contributions to the stucco decoration at the Villa Giulia, Rome, modelling friezes, small roundels and grotesques in the rooms left and right of the entrance....
(b Lichtensteig, now in Switzerland, Feb 28, 1552; d Kassel, Jan 31, 1632),
Swiss clockmaker, instrument maker and mathematician, who served in Kassel from 1579 to 1592 as maker of clocks, mechanical globes and astronomical instruments to William IV, Landgrave of Hesse-Kassel. On the Landgrave’s death in 1592, Bürgi moved to Prague to take up a similar post in the service of Rudolf II, where he was regarded as the leading clockmaker of his day. Bürgi’s technical innovations included a device which directed a constant driving force to the escapement; he was one of the first horologists to fit his clocks with sweep hands to measure seconds....
Italian painter, active in England. He is named as ‘Alex of myllen’ and thereafter described as a ‘myllyner’, so it seems likely that he came from Milan; the persistent notion that he was a woman has been discredited by a record of tiles ‘by him delivered’. From 1511 to 1542...
Ellen Callmann and J. W. Taylor
Term used for large, lavishly decorated chests made in Italy from the 14th century to the end of the 16th. The word is an anachronism, taken from Vasari (2/1568, ed. G. Milanesi, 1878–85, ii, p. 148), the 15th-century term being forziero. Wealthy households needed many chests, but the ornate cassoni, painted and often combined with pastiglia decoration, were usually commissioned in pairs when a house was renovated for a newly married couple and were ordered, together with other furnishings, by the groom. Florence was the main centre of production, though cassoni were also produced in Siena and occasionally in the Veneto and elsewhere.
The earliest cassoni were simple structures with rounded lids, probably painted in solid colours, such as the red cassone in Giotto’s Annunciation to St Anne (c. 1305; Padua, Arena Chapel). The earliest known chests with painted designs are all from the same shop (e.g. Florence, Pal. Davanzati, inv. mob. 162). Like the much more numerous contemporary chests with gilded low-relief in pastiglia (...
Kathryn A. Charles
[Silvio da Fiesole; Silvio di fu Giovanni di Neri de’ Ceparelli]
(b Poggibonsi, c. 1495; d Milan, after 1547).
Italian sculptor and stuccoist. Noted for his decorative work, trophies, masks and stucco ornaments, he was trained in the style of Michelangelo by Andrea Ferrucci in Florence. His first independent commission, the tomb of Raffaelle Maffei (il Volterrano) in S Lino at Volterra (1522), was arranged by Ferrucci. He usually worked with other artists, including his brother Vincenzo (b c. 1505). In 1524 Ferrucci was commissioned to execute the monument to Antonio Strozzi in S Maria Novella, Florence, for which Cosini carved a relief of the Virgin and Child. His execution of the face recalls Ferrucci’s technique, derived from Leonardo da Vinci. Also in this period Cosini executed the monument to Ruggero Minerbetti for the same church, in which Michelangelo’s influence is especially apparent. Cosini’s approach was elegant as well as humorous, and his skill as a carver enabled him to give marble a tender, flesh-like quality. His ability was recognized by ...
[Nanni, Giovanni; Ricamatori, Giovanni dei]
(b Udine, Oct 27, 1487; d Rome, 1564).
Italian stuccoist, painter, draughtsman and architect. In 1502 he was apprenticed to Giovanni Martini (also called Giovanni da Udine; d 1535), a painter in Udine, and subsequently he may have studied with Giorgione in Venice. According to Vasari, armed with a letter of introduction to Baldassare Castiglione, he decided to go to Rome to seek work with Raphael. He joined Raphael’s workshop, where he may have learnt techniques of still-life painting from a Netherlandish colleague. The musical instruments in Raphael’s St Cecilia altarpiece (1516; Bologna, Pin. N.) are often attributed to Giovanni.
In Rome, Giovanni da Udine was particularly inspired by the decoration of ancient buildings. Excavations revealed rooms then underground (thus called grotte) with a style of painted and plastered decoration incorporating foliated scrolls, naturalistic animals and plants and fantastic figures and architecture (hence called grotteschi; see Grotesque). Such motifs had been copied before in Rome (notably by Bernardino Pinturicchio), but it was ...
(b Volterra, 1509; d Rome, April 4, 1566).
Italian painter, stuccoist and sculptor. Much of the fascination of his career resides in the development of his style from provincial origins to a highly sophisticated manner, combining the most accomplished elements of the art of Michelangelo, Raphael and their Mannerist followers in a distinctive and highly original way. He provided an influential model for numerous later artists in Rome.
The only work to survive from Daniele’s early career is a fresco, a political allegory of Justice, painted shortly after 1530 for the Palazzo dei Priori in Volterra (now detached, Volterra, Pin. Com.). It reflects the pervasive influence of Sodoma, with whom he is presumed to have studied in Siena. Badly damaged and overpainted, it is a generally clumsy work, demonstrating an inadequate grasp of foreshortening; it exhibits the difficultà of manner noted by Vasari.
It is not known exactly when Daniele travelled to Rome, but it is now generally assumed that his initial work there on the ...
(b Augsburg, c. 1535; d Augsburg, Nov 1621–April 1622).
German cabinetmaker and architect. His name first appears on the tax registers for Augsburg in 1557 and continues to appear regularly until 1621. He married c. 1558 and bought a house in 1561, by which time he probably already had his master’s certificate. Although there is little mention of his work in the 1560s, his reputation was such that he was employed by Hans Fugger (see Fugger family, §3) in 1569 to work on the new state apartments in the Fuggerhaus on the Weinmarkt in Augsburg. Here he came into contact with such artists as Friedrich Sustris, Alessandro Paduano and Carlo Pallago, whose Grotesque style clearly influenced his later work. By 1573 he had provided tables, chairs, wood panelling and vaults for Fugger’s house. Other commissions from the Fugger family followed: there is documentary evidence of a sizeable commission for Marx Fugger, probably for his burial chapel (the Andreaskapelle) in the abbey of SS Ulrich and Afra at Augsburg. Its decoration and furnishings made between ...
(b ?Speyer, c. 1570; d ?Speyer, after 1609).
German cabinetmaker and printmaker. Working as a journeyman cabinetmaker at the Zimmerhof in Strasbourg after 1590, he came into contact with Hans Schoch and probably Wendel Dietterlin. In collaboration with Jakob Guckeisen of Cologne, he published a Seilen Buch (Cologne, 1598; Hollstein, no. 5) with a two-page engraved title page and 25 plates depicting the orders, with entablatures, string courses and scrollwork. Between 1598 and 1609, again sometimes with Guckeisen, he published four more series of engravings: Schränke (6 plates, 1598; Hollstein, no. 1), Architectura Kunstbuch Darinnen Alerhand Bortalen Reisbetten undt Epitaphien… (18 plates, 1599; 17 plates and new title page, 1600; Hollstein, no.4), Schweyf Buch (25 plates, 1599; Hollstein, no. 2) and an untitled collection of architectural motifs (24 plates, 1609; Hollstein, no. 3), in which the regular and semi-regular forms are in a tradition of geometrical and mathematical proportional figures that goes back to Plato. An engraving depicting the ...
Danielle B. Joyner
From the time John Cassian established the first female foundation in Marseille in
(b Thurgau, 1485–96; d Nuremberg, Nov 23, 1546).
German sculptor, medallist, cabinetmaker, woodcutter and designer. It has been conjectured on stylistic grounds that between 1515 and 1518 he was active in Augsburg and worked in Hans Daucher’s workshop on the sculptural decoration (destr.) of the Fugger funerary chapel in St Anna. His early style was formed by the Italianism of Daucher and of Hans Burgkmair I and also by a journey to Italy in 1520–21. He was briefly active in Ansbach before arriving in 1522 in Nuremberg; there he was documented as master sculptor when receiving citizenship in August 1523. His earliest sculptural work in Nuremberg is thought to have been 22 capitals (early 1520s) for the renovated Rathaus (destr. 1945). The use of Italian Renaissance ornament, such as volutes decorated with acanthus leaves and fluting, represented a progressive development, in contrast to Albrecht Dürer’s Gothic-inspired architectural design of the Ehrenpforte. Flötner’s first-hand study of Italian Renaissance architectural vocabulary is apparent in the ornamentation of the pilasters of the triangular fountain (...