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Janis Callen Bell

(di Fabrizio)

(b ?Arezzo, 1579; d Florence, 1642).

Italian writer, painter and architect. He was descended from an illustrious Aretine family (his grandfather was Cardinal Benedetto Accolti (1497–1549), Archbishop of Ravenna and Secretary to Pope Clement VII). He was librarian and architect in the service of Cardinal Carlo Medici, and a member of the Florence Accademia and the Accademia di Disegno. He is known for Lo inganno degli occhi (1625), a three-part treatise (on plane figures, solids and shading) in which he showed how perspective practice derived from principles of visual perception. In this he examined classical and modern theories of vision, including those by Euclid (fl c. 300 bc), Witelo (c. 1230–80), Franciscus Aguilonius (1567–1617) and Guidobaldo del Monte, and criticized contemporary writers on perspective for underestimating the importance of light and shadow. He emphasized the need to distinguish parallel solar rays from diverging point sources of light, such as candlelight, and presented some original ideas on arranging compositions with multiple vanishing points and on foreshortening pictures within pictures. Chapters on anamorphosis and ...


[Machati, Gratiadio]

(b Bologna, Nov 20, 1570; d San Salvatore, Jan 1, 1632).

Italian prelate, diplomat and theorist. He had a successful career as a papal diplomat, serving his uncle Filippo Sega, the Apostolic nuncio to France, in 1591, and later the Secretary of State, Cardinal Pietro Aldobrandini; from 1621 he was private secretary to Pope Gregory XV, and in 1623 he was appointed Bishop of Amasea by Urban VIII and Apostolic nuncio to the Republic of Venice, where he remained until 1630. He then left Venice to escape the plague, moving first to Oderzo and then, in 1631, to San Salvatore.

A man of letters and a member of Bologna’s Accademia dei Gelati, Agucchi was also a lover of mathematics and astronomy: he conducted a lengthy correspondence with Galileo Galilei in 1611–13. His importance for art history is considerable, even though his reputation rests mainly on the surviving fragment of his Trattato della pittura (Bologna, Bib. U., MS. 245). This was published in the preface by ...



(b Brussels, ?Jan 4, 1567; d Antwerp, March 20, 1617).

Flemish scientist and architect. His father was a Spaniard, Pedro de Aguilón; his mother, Anna Pels, was of Flemish origin. Aguilonius studied at the Jesuit Collège de Clermont in Paris and at Douai. He entered the novitiate of the Jesuits in Tournai. After a brief visit to Salamanca in 1596 he was ordained. He taught philosophy at Douai for five years, and in 1598 moved to Antwerp, where he became confessor to the Spaniards and Italians and a teacher at the city’s Jesuit college. In 1614 he was appointed rector of the college.

Aguilonius’s reputation rests on his book on optics, illustrated by Peter Paul Rubens, and on the part he played in building the Jesuit church in Antwerp (S Carlo Borromeo), which contributed to the popularity of Italian Baroque architecture with Flemish Jesuits. By December 1611 Aguilonius had written Opticorum libri sex, which was published by the Plantin press in ...


Howard Colvin

(b Westminster, London, Jan 1647 or 1648; d Oxford, Dec 14, 1710).

English architect and scholar. The son of Henry Aldrich, later auditor to James, Duke of York, he was educated at Westminster School, London, and at Christ Church, Oxford, where he graduated as a BA in 1666 and an MA in 1669. He remained in Oxford for the rest of his life, becoming in 1682 a canon of Christ Church and in 1689 Dean of the College and Cathedral. From 1692 to 1695 he served as Vice-Chancellor of Oxford University.

Aldrich was a highly accomplished man who was well known for his learning in many fields. He edited Greek and Latin texts, wrote a standard book on logic, and also published works on mathematics, music and architecture. He had a large library that included books on antiquities and many architectural and other engravings. He left his library to Christ Church, where it remains, but directed that all his personal papers were to be destroyed. As a result, relatively little is known about his architectural interests and activities. However, there is reason to think that he had visited France and Italy, and he was certainly regarded by contemporaries as an authority on architectural matters. He was himself an excellent draughtsman and made the drawings for the allegorical engravings that decorate the Oxford almanacks for ...


Helen M. Hills

(b Ciminna, Jan 24, 1634; d Palermo, July 3, 1714).

Italian architect, writer and painter. He trained as a priest in Palermo and entered the Padri Ministri degl’Infermi. Another member of this Order was Giacomo Amato, with whom he worked, although they were not related. While serving as a chaplain Amato studied geometry, architecture, optics and engraving. His earliest known artistic work is a painting on copper of the Miracle of S Rosalia (1663), the patron saint of Palermo. After 1686 he created many works of an ephemeral character. For the feasts of S Rosalia and for important political events he provided designs for lavish triumphal chariots, probably developed from those by Jacques Callot, triumphal arches and other ceremonial apparatus set up on principal roads and piazzas, and he painted hangings, papier-mâché models and massive altarpieces for the cathedral. These works influenced Amato’s permanent architecture. The spiral columns of the campanile of S Giuseppe dei Teatini, Palermo, recall the festival designs of ...


Tatsushi Takahashi

(b Leiden, c. 1618; d ?Batavia [Jakarta] after July 11, 1664).

Dutch writer, painter and etcher. He is now known chiefly as the author of Lof der schilder-konst (Dut.: Praise of painting). Originally a lecture given to Leiden artists on 18 October 1641, St Luke’s Day, it was published the following year. At present virtually no works of art are attributed to this Philips Angel except the etching Head of an Old Man (1637), a rather coarse imitation of Rembrandt. Although nothing is known about his training, this etching and certain ideas within Lof der schilder-konst suggest that Angel had been in contact with Rembrandt shortly before becoming a master painter in Leiden in 1638. The first half of this small book enumerates the most famous painters from antiquity to Angel’s contemporaries and makes the traditional comparisons between painting, sculpture and poetry. The second half discusses the skills necessary for a good painter. The latter section is more original as the author occasionally refers to such new genres as seascapes, battle scenes and guardroom scenes. His interest in the exact depiction of appearances has a close relation to the extremely minute renderings for which Gerrit Dou and other Leiden painters became famous....


Donatella L. Sparti

(b Terni, after 1559; d Rome, ?Nov 29, 1652).

Italian writer, historian and collector. He produced about 38 novels and several comedies, although his literary works have been little studied. In Perugia he was a member of the Accademia degli Insensati, under the name Tenebroso. He is documented as having been in Rome in the late 16th century as secretary to Cardinal Ippolito Aldobrandini (later Pope Clement VIII) and chief Apostolic Notary. At his home on the Pincio hill he accumulated a substantial collection, containing scientific instruments, examples of flora and fauna, a picture gallery, a large collection of Kleinkunst, medals, and a vast assortment of drawings by contemporary artists especially Annibale Carracci. The collection was accompanied by a rich library. The organization and contents of the collection are described by Angeloni himself in a manuscript in Venice (Fletcher, 1974). From 1634 his nephew Giovanni Pietro Bellori lived in the house; Angeloni educated him in art, literature and antiquities, and introduced him into the circle of classicist artists with whom he had formed a relationship, more in the role of erudite mentor than that of patron....


(b Madrid, 1664; d Madrid, Feb 15, 1726).

Spanish architect, painter and writer. He was trained in architecture by the Jesuits and in painting by Claudio Coello and worked mainly as an architect. Two overdoors showing multiple allegorical scenes of the Battle of Lepanto (1721; Madrid, Pal. Arzobisp.) and a St Barbara (1723; Madrid, Mus. Lázaro Galdiano) reveal Ardemans as a talented painter working in the tradition of Francisco Rizi, Juan Carreño de Miranda and Francisco de Herrera the younger, and partially influenced by Luca Giordano. His debt to Coello is apparent in a ceiling fresco attributed to him in the Capilla del Cristo de los Dolores of the Venerable Orden Tercera de San Francisco, Madrid, which shows St Francis riding in a chariot of fire with figures watching from a balcony. Also attributed to Ardemans is the portrait of Pedro Atanasio Bocanegra (c. 1689; Granada, Pal. Arzobisp.)

As an architect, Ardemans belongs to a period of transition, continuing into the 18th century the Baroque tradition of the Madrid school. He worked in Granada (...


David Howarth

(b Lichfield, May 23, 1617; d London, 18/May 19, 1692).

English antiquary, collector and writer . He was the son-in-law of William Dugdale and the beneficiary and legatee of the collections of John Tradescant the elder and younger (see Tradescant). The Tradescants were the first in Britain to create a cabinet of curiosities, both natural and artificial, with a European reputation. In 1656 Ashmole and John Tradescant the younger compiled a printed catalogue of the Tradescant rarities called Musaeum Tradescantianum, the first catalogue of its kind. In 1662 Tradescant the younger left Ashmole his cabinet. In 1666 Ashmole completed a catalogue of the collection of Roman coins in the Bodleian Library, Oxford, and in 1672 he published The Institution, Laws and Ceremonies of the Most Noble Order of the Garter with plates by Wenzel Hollar. In 1675 Ashmole began negotiations with the University of Oxford about donating his collections. In the spring of 1679 work began on what has come to be known as the ...


(b Paris, 1653; d Montpellier, June 23, 1701).

French architect, theorist and writer . He trained at the new Académie Royale d’Architecture, Paris, and in 1674 was appointed royal pensionary of the Académie Française in Rome. While travelling by sea from Marseille to Genoa, however, his boat was seized by corsairs and he was detained in Tunis, where he is said to have provided the design for the Sidi Mahrez Mosque. In 1676 he was released from captivity and arrived in Rome, where he studied ancient and modern architecture for nearly four years. On returning to France in 1680, he continued his studies, and in 1684 he entered the office of Jules Hardouin Mansart, with whom he was involved in work on the château of Versailles for almost eight years.

During this period d’Aviler published a translation (1685) of the sixth book of Vincenzo Scamozzi’s treatise on architecture, followed by his Cours complet d’architecture (1691). This included a commentary on the life and work of Jacopo Vignola but was also a practical ...


(b London, Jan 22, 1561; d London, April 9, 1626).

English courtier, statesman, lawyer, philosopher and writer . He was the younger son of Sir Nicholas Bacon, Lord Keeper under Elizabeth I; he was educated at Cambridge and trained as a lawyer at Gray’s Inn, London. He became a member of parliament in 1584; in his political career he enjoyed the patronage of the Queen’s favourite, Robert Devereux, 2nd Earl of Essex, but after the latter’s fall from favour acted as prosecutor at his trial. Bacon’s political career prospered under James I, and in 1618 he was ennobled and became Lord Chancellor. However, in 1621 he was charged with corruption and, being disgraced, retired into private life.

Bacon was a polymath, who in 1592 wrote: ‘I have taken all knowledge to be my province.’ He wrote on philosophy, politics, history and law and is now most highly regarded for his contribution to the philosophy of science and the development of scientific method. However, his best-known book is the ...


Josèphe Jacquiot

[Pierre-Antoine de Rascas]

(b Aix-en-Provence, bapt 3 Feb 1562; d Aix-en-Provence, 14 April 1620). French collector and administrator. In 1602 Henry IV appointed him Maître des Cabinets de Médailles et Antiquités. His task was to reconstitute, in a hall of the château of Fontainebleau, the royal collection of medals and antiques, starting from what remained of the royal treasures after the disorders of the Wars of Religion. In order to increase the museum’s growing collection, Bagarris offered the King his own collection, consisting of 957 engraved gems, including 200 cameos. He took it back after Henry IV’s death; but in 1670 it was bought back by Louis XIV, and returned to the royal collection, enhanced by the addition of three famous intaglios: the so-called ‘Seal of Michelangelo’, attributed to Pietro Maria Serbaldi di Pescia, a Triumph of Silenus and a Cicero (all Paris, Bib. N., Cab. Médailles). Two documents highlight the importance that Henry IV attached to restoring the Cabinets des Médailles et Antiquités. The first contains the instructions that Bagarris received in ...


Maryvelma O’Neil

(b Rome, c. 1566; d Dec 30, 1643).

Italian painter, draughtsman and writer . He executed canvases and frescoes of religious and mythological subjects, and portraits. He was given important commissions by popes and aristocrats and sold his works to patrons in Italy and abroad. Baglione’s arguably greater fame as a writer derives from Le nove chiese di Roma (1639) and especially from his Vite de’ pittori, scultori, architetti (1642), containing biographies of more than 200 artists who worked in Rome between 1572 and 1642.

Although born in Rome, where he spent most of his life, Baglione claimed descent from a noble Perugian family. His only acknowledged training (in the autobiography appended to Le vite, 1642) was an apprenticeship with Francesco Morelli, a little-known Florentine painter in Rome. However, drawings for works from the late 1580s and 1590s (such as the Finding of Moses, the Denial of St Peter and the Arrest of Christ...


D. Kösslerová

(b Hradec Králové, Dec 3, 1621; d Prague, Nov 29, 1688).

Bohemian historiographer . Born into a noble family, he entered the Jesuit Order in 1638 and graduated in history at the Klementinum Jesuit College in Prague. As a student he accompanied the Spanish theologian Rodrigo Arriaga (1592–1667) on his tour of Bohemia. He was ordained a priest in 1649 and subsequently devoted himself to writing. His historiographic works include many descriptions of architecture and art works. Writing about places of pilgrimage and miraculous religious images, such as statues of the Virgin in Varta and Příbram (15th century; Church of Our Lady), he drew on the detailed knowledge he had acquired during his extensive travels and from his archive studies. In the Vita venerabilis Arnesti (Prague, 1664) he described the patronage of both Arnošt, first Archbishop of Prague (1297–1364), and the Holy Roman Emperor Charles IV. His two principal works, Epitome historica rerum Bohemicarum (Prague, 1677) and ...


Peter Boutourline Young

(b Urbino, 1553; d Urbino, Oct 10, 1617).

Italian writer and architect . He studied medicine and later philosophy at Padua without achieving any academic qualifications. In 1580 he was invited to the court of Mantua by Ferrante Gonzaga (later 1st Duca di Guastalla); in 1585 he was appointed abbot of Guastalla and ordained. In 1609 he passed into the service of Duke Francesco Maria II della Rovere at Urbino, where he stayed until his death. Baldi was responsible for a number of public works in the duchy of Ferrara, including the Baccanello Bridge at Guastalla, works at the palace and fortress of Guastalla, and the church of S Chiara at Urbino, which was not begun, however, until 1627. The convent to which it was attached is now an office building, to which the former church serves as a vestibule. It is square in plan, with a circular hall inset. Eight Corinthian pilasters support an entablature, from which rises a vaulted ceiling with a small dome in the centre. The altars stood between the pilasters. Baldi’s extensive writings, most of which remain in manuscript, include a description of the Ducal Palace at Urbino, and essays on the technical vocabulary of Vitruvius....


Edward L. Goldberg

(b Florence, June 3, 1625; d Florence, Jan 1, 1697).

Italian businessman, art historian, collector and writer . He was born into a pious and moderately prosperous Florentine commercial family and educated by the Jesuits. He reluctantly abandoned his studies and a religious vocation for a lifelong career as a business agent and bookkeeper for local noble families, an occupation that provided him with many acquaintances in cultivated Florentine society. He had many friends among writers, including the painter and dialect poet Lorenzo Lippi, and painters, including Matteo Rosselli, Baccio del Bianco, Baldassare Franceschini and Carlo Dolci. He was an amateur artist himself with considerable skill in drawing and clay modelling and made chalk portraits of Tuscan notables (one set extant; Florence, Uffizi) and copies of venerated religious images. As a collector, he assembled two successive collections of mainly Florentine drawings from the 14th to the 17th century, with an emphasis on the later 16th century and early 17th. The first collection (Florence, Uffizi) was ceded to ...


Joseph Connors

(fl Milan, 1588–1639).

Italian engineer and architect . From 1588 he is recorded in the service of Philip II of Spain as a military engineer. His most important commission was for the Palazzo della Giustizia (New Prison; c. 1570–after 1624) in Milan, its varied massing and powerful entrance portal proclaiming Spanish hegemony over Milan. In 1605 Barca opened up a new street between the prisons and the Palazzo di Corte (Governor’s Palace) ‘so that the way from justice to clemency should be short and easy’. The other major design attributed to Barca is the façade of Sant’Angelo in Milan, begun c. 1600.

Barca was an active polemicist against the ideas and influence of the rising generation of Milanese architects. In 1607 he disputed with Francesco Maria Ricchini over the issue of pedestals for the columns on the proposed façade of Milan Cathedral. Barca’s report is interesting for the wide knowledge of Classical architecture it reveals and for the combination of a negative attitude to the Gothic style of the cathedral and an admiration for its grandeur. He lost the dispute to Ricchini, and although he failed the younger man in the examination for military architect in ...


Giuseppe Antonio Guazzelli

(b Sora, nr. Frosinone, Oct 30, 1538; d Rome, Jun 30, 1607).

Italian cardinal and church historian. A disciple of St. Filippo Neri and among the early and more influential members of the Congregation of the Oratory (Oratorians) established in Rome by Neri, as church historian, Baronio was involved in relevant projects promoted by the Roman Curia after the closure of the Council of Trent. As early as 1580 he collaborated on revising the Martyrologium Romanum, one of the post-Tridentine liturgical books, and then added to the same Martyrologium a general introduction and an extensive analytical commentary (respectively the Tractatio de Martyrologio Romano and the Notationes, both first published in 1586). Between 1588 and 1607 he published the Annales Ecclesiastici, in twelve volumes, where he dealt with church history from the birth of Christ down to 1198: such monumental erudite work was the main Catholic response to the Protestant Magdeburg Centuries (published 1559–1574). Different aspects of Baronio’s scholarly work are deeply linked. In his ...


Louise Rice

(fl Rome, 1620).

Italian jurist and amateur architect . A learned dilettante active during the reign of Pope Paul V, he wrote and illustrated a series of proposals for the improvement and embellishment of St Peter’s, Rome. His Discorso was composed in 1620, and in 1623, following the election of Urban VIII, his designs were published at the expense of his nephew Simone Bartoli in a set of four engravings by Matthäus Greuter. Bartoli proposed the construction of an elaborate pontifical choir in the crossing of St Peter’s, to be built in the form of a navicella (a ship symbolic of the Church) and to encompass within its complex iconography the tomb of the Apostles, the papal high altar and the chair of St Peter. He also advocated transforming St Peter’s from a three-aisled to a five-aisled basilica by modifying the chapels on either side of the nave; demolishing the attic storey of Carlo Maderno’s façade in order to restore a view of Michelangelo’s drum and dome; and regularizing the piazza in front of the church by means of a vast three-storey arcuated portico built on an elongated rectangular plan. Bartoli’s projects, costly and impractical, were never executed and are chiefly of interest as precedents to Bernini’s great works at St Peter’s....


Claire Pace

(b Rome, Jan 15, 1613; d Rome, Feb 19, 1696).

Italian antiquarian, biographer, critic and theorist. He was brought up by the antiquarian Francesco Angeloni, whose private museum included an extensive archaeological collection, paintings, prints and 600 drawings by Annibale Carracci. In Angeloni’s circle were leading scholars and artists, such as the classical theorist Giovanni Battista Agucchi and Domenichino, with whom Bellori may have studied painting. Bellori’s only known work is the original design of a landscape (inscribed with his name) in a series of eight small etchings by Giovanni Angelo Canini (1617–66). After Angeloni’s death, his collection was dispersed, prompting Bellori to form his own. Modelled on Angeloni’s, it also included paintings by Titian and Tintoretto and a self-portrait by Annibale Carracci besides a collection of antiquities, prized especially for its coins and medals. From the 1650s Bellori gathered information for his collection of biographies, Le vite de’ pittori, scultori et architetti moderni. This, with its preface, ‘L’idea del pittore, dello scultore, e dell’architetto’ (originally delivered as a lecture to the Accademia di S Luca, Rome, in ...