1-4 of 4 results  for:

  • 1500–1600 x
  • Writer or Scholar x
  • Books, Manuscripts, and Illustration x
  • Patron, Collector, or Dealer x
Clear all

Article

Jane Geddes

Deluxe manuscript (Aberdeen, U. Lib., MS. 24) made in England around 1200. It is remarkable for its lavish illustrations, amply covered in gold leaf; for the wealth of its codicological data and for its close relationship to the Ashmole Bestiary. The book was left unfinished, so sketches and the detailed instructions for its colouring and assembly remain visible. The last few pages were completed in the 14th century. The book begins with a Creation cycle of full-page miniatures culminating in Adam Naming the Animals and Christ in Majesty. A portrait or narrative illustration of each animal precedes every text description.

The manuscript contains the press mark of King Henry VIII’s library, mainly assembled after the dissolution of the monasteries, but its provenance before 1542 is not known. Muratova (1986, pp. 118–144) uses cumulative information from a group of related manuscripts to suggest a provenance in the north-east Midlands; Geddes (...

Article

Clare Robertson

(b Rome, Dec 11, 1529; d Rome, May 18, 1600).

Italian antiquarian and collector. He was an illegitimate son of the Orsini family. He devoted himself early to the study of manuscripts under the guidance of Gentile Delfini, Cardinal Ranuccio Farnese’s Vicario at S Giovanni in Laterano, Rome. In 1554 he became a canon of the same church, and on Delfini’s death in 1559 entered Farnese service, in which he remained for the rest of his career.

Orsini was secretary and librarian to Ranuccio Farnese until the latter’s death in 1565. He was then ‘inherited’ by Cardinal Alessandro Farnese (see Farnese family §(3)) as librarian and as keeper of the antiques and works of art in the Palazzo Farnese. Orsini fulfilled his duties with care, acquiring many new works for the Farnese collection and advising his patron on the choice of artists for several commissions. He also composed inscriptions for the Cardinal’s frescoes and devised iconographic programmes, including that for the Sala d’Ercole in the Villa Farnese at Caprarola....

Article

Celia Carrington Riely

revised by Katharine Burnett

[Tung Ch’i-ch’ang; zi Xuanzai; hao Sibo, Siweng, Xiangguang, Xiangguang jushi; Wenmin]

(b Shanghai, Feb 10, 1555; d Dec 1636).

Chinese painter, calligrapher, connoisseur, theoretician, collector, and high official.

At the age of 12 Dong Qichang, the son of a local school teacher, passed the prefectural civil-service examination to qualify as a Government Student (shengyuan) and was awarded a coveted place in the prefectural school. Mortified, however, at being ranked below his younger kinsman Dong Chuanxu because of his clumsy calligraphy, from 1571 Dong resolved to study calligraphy in earnest. His initial models were rubbings of works by the Tang-period (618–907 ce) calligraphers Yan Zhenqing and Yu Shinan (558–638), but soon realizing the superior merits of the Six Dynasties (222–589 ce) calligraphers, he turned to the works of Zhong You (151–230 ce) and the great Wang Xizhi (see Wang family (i), (1)). After three years he was confident of having grasped their style, and no longer admired works by the Ming-period (...

Article

Donata Battilotti

(d Verona, May 8, 1550).

Italian humanist, historian and patron. He was the author of the first printed book on the history and antiquities of Verona, published in 1540, with woodcuts after drawings by Giovanni Battista Caroto that are still extant (Verona, Bib. Civ.). De origine et amplitudine civitatis Veronae, written in Latin, takes the form of a conversation between members of a group of Veronese humanists including, apart from the author, Giacomo Villafranca and Giovanni Nicola Capella, and the artist Giovanni Battista Caroto. Caroto is given the task of providing technical information on the monuments that are the subject of the second book, which he himself had illustrated.

De origine was the first complete catalogue of Veronese antiquities, from the most prominent, such as the Arena, to miscellaneous remains such as displaced capitals. Also worthy of note are the Latin inscriptions, of which the author must have possessed a collection. The measurements are minute, and the monuments (except for the Arena) are completely reconstructed in the illustrations. Each is placed chronologically in relation to the salient moments of Roman history, and due recognition is given to the architects....