Benedictine abbey on the River Enns in Styria, Austria. It was founded in the mid-11th century by Bishop Gebhard from Salzburg, endowed by St Henna von Gurk, Gräfin von Friessach (d 1045), and settled by Benedictine monks from St Peter’s, Salzburg under Abbot Isingrin. The Romanesque minster (consecrated 1074), which was dedicated to St Blaise, was famous for its marble columns and was rebuilt after a fire in 1152; a Gothic choir was added in 1276–86. The present church incorporates Romanesque side doors as well as other fragments. The abbey became an important cultural centre with a renowned scriptorium. Amongst the many famous scholars there was Abbot Engelbert of Admont (reg 1297–1327). From 1121 to the 16th century a convent was attached to the abbey. Under the abbots Mathias Preininger (reg 1615–28) and Urban Weber (reg 1628–59) the whole establishment was transformed in the Baroque style, and the church was rebuilt (...
Phyllis Pray Bober
(b Bologna, 1474–5; d Bologna, Nov 19, 1552).
Italian painter, sculptor, illuminator, printmaker and draughtsman . He was born into a family of painters, and his youthful facility reportedly astonished his contemporaries. His work developed in the Emilian–Ferrarese tradition of Ercole de’ Roberti, Lorenzo Costa the elder and, above all, Francesco Francia. Until the re-evaluation by Longhi, critical assessment of Amico’s oeuvre was over-reliant on literary sources, especially Vasari’s unsympathetic account of an eccentric, half-insane master working so rapidly with both hands (the ‘chiaro’ in one, the ‘scuro’ in the other) that he was able to finish decorating an entire house façade in one day.
Longhi presented Amico as a creative master whose expressive intensity and sensitive use of colour rescued Bolognese painting of the early 16th century from sterile echoes of Raphael. Today Aspertini is viewed as an influential precursor of Mannerism, and his highly individual study of antiquity has been brought to the fore by the publication of his sketchbooks. Amico was not a mere imitator of ancient artists, but their imaginative rival, whether in his grotesques derived from the decorations of Nero’s Domus Aurea in Rome (e.g. the Parma sketchbook and the borders of his ...
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....
Isabel Mateo Gómez
(b ?Toledo; d 1595).
Spanish painter, miniaturist, sculptor, architect and writer. He belongs to the Toledan school of the second half of the 16th century. The son of the painter Lorenzo de Ávila, he developed a Mannerist style that is smooth and delicate and derives from his father’s and from that of Juan Correa de Vivar and of Francisco Comontes (d 1565). He worked as painter to Toledo Cathedral from 1565 to 1581 and was painter (Pintor del Rey) to Philip II from 1583. He acted frequently as a valuer for the work of other artists.
Between 1563 and 1564, in collaboration with Luis de Velasco, Hernando de Ávila painted the retable of the church of Miraflores (Madrid Province) with the Life of Christ and the Life of the Virgin (untraced); these are probably among his earliest works. He was commissioned to paint the retables of St John the Baptist and the ...
(fl second half of the 15th century).
Italian master builder and architect. During 1465 and 1466 his name appears in the wages book of the Ospedale Maggiore of Lodi, for which he produced doors, oculi and windows in terracotta. In 1479 he was appointed engineer of the city of Milan, and in 1489 he is mentioned as ducal engineer. He worked on the fortifications at Biasca in 1481, and in the same year Gian Galeazzo Sforza, Duke of Milan (reg 1476–94), recommended Battaggio and Giovanni Antonio Amadeo to succeed Guinoforte Solari as architect to the Fabbrica del Duomo. Amadeo was appointed, but Battaggio did not manage to enter the conservative Milanese workshop either then or two years later, when Ludovico Sforza proposed him in preference to Hans Niesenberger. In 1484 Conte Manfredo Landi III (d 1491) commissioned Battaggio and Agostino Fonduli to finish and decorate the façade of his palazzo in Piacenza (now the Palazzo dei Tribunali). This work included the window-frames, the string course bearing heads of Roman emperors and scenes of the marine thiasos and the ...
Fiorella Sricchia Santoro
(di Giacomo di Pace)
(b Cortine in Valdibiana Montaperti, 1484; d Siena, between Jan and May 1551).
Italian painter, sculptor, draughtsman, printmaker and illuminator. He was one of the protagonists, perhaps even the most precocious, of Tuscan Mannerism, which he practised with a strong sense of his Sienese artistic background but at the same time with an awareness of contemporary developments in Florence and Rome. He responded to the new demand for feeling and fantasy while retaining the formal language of the early 16th century. None of Beccafumi’s works is signed or dated, but his highly personal maniera has facilitated almost unanimous agreement regarding the definition of his corpus and the principal areas of influence on it. However, some questions concerning the circumstances of his early career and the choices available to him remain unanswered. The more extreme forms of Beccafumi’s reckless experimentation underwent a critical reappraisal only in the later 20th century.
The primary sources of information concerning Beccafumi are Vasari’s biography (1568) and archival findings, mostly 19th century, relating to the artist. Vasari, although a direct acquaintance of Beccafumi in his last years and in a position to gather information from mutual friends, was, predictably, unreliable in regard to his early career. According to Vasari, Mecherino, the son of a poor farmer named Giacomo di Pace, became the protégé of ...
Christoph Luitpold Frommel
[Francesco del Cereo di Borgo San Sepolcro]
(b Borgo San Sepolcro, Tuscany; d Rome, 1468).
Italian architect, illuminator and papal functionary. He is first mentioned in 1450 as a member of the financial staff of the Apostolic Chamber and of the secret treasury of Nicholas V, and he rose quickly through the levels of the financial bureaucracy at the papal court. He is known to have illustrated manuscripts of Latin translations of Archimedes, Euclid, Ptolemy and Muhammad al-Qazwini [Kazwini], some of which were decorated at his behest in 1457–8. Mixing in humanist circles at the court, Francesco may have been taught architecture and engineering by Leon Battista Alberti.
Alberti may also have recommended Francesco to Pius II, who commissioned him to design the benediction loggia in front of St Peter’s and the reshaping of the Piazza S Pietro. Francesco planned to replace the temporary wooden pulpit in front of the old atrium, from which the earlier popes had blessed the crowd, by a two-storey marble loggia of eleven bays. Its elevation recalled the exterior of Roman theatres. Instead of half columns, however, antique marble shafts articulated the arcades. It was the first faithful imitation of Roman Imperial architecture and the first forum building ...
(b c. 1510; d after 1571).
Italian architect, engineer, theorist and writer. He was the son of Giacopo Cataneo, a stationer from Novara. The earliest secure date for his activity (23 March 1533) occurs in his sketchbook (Florence, Uffizi, U 3275-3391 A), which has the general character of an exercise-book and hence of a youthful work. Virtually every drawing in it is copied from the treatises of Francesco di Giorgio Martini. The first 42 folios include drawings of ornaments and civil architecture from Francesco’s codices Ashburnham (Florence, Bib. Laurenziana) and Saluzziano (Turin, Bib. Reale), while the remaining 64 folios contain drawings of fortifications and machines derived from the Codex Magliabechiano (Florence, Bib. N.). A peculiarity of the drawings of fortifications is their frequent juxtaposition with calligraphic exercises, the intention of which seems primarily decorative. It is as a ‘scrittore’ that Cataneo first appears in Sienese communal records in 1539, and also as ‘computista’, which looks forward to his first publication, ...
Francesco Paolo Fiore and Pietro C. Marani
(Pollaiolo) [Francesco di Giorgio]
(b Siena, bapt Sept 23, 1439; d Siena, bur Nov 29, 1501).
Italian architect, engineer, painter, illuminator, sculptor, medallist, theorist and writer. He was the most outstanding artistic personality from Siena in the second half of the 15th century. His activities as a diplomat led to his employment at the courts of Naples, Milan and Urbino, as well as in Siena, and while most of his paintings and miniatures date from before 1475, by the 1480s and 1490s he was among the leading architects in Italy. He was particularly renowned for his work as a military architect, notably for his involvement in the development of the Bastion, which formed the basis of post-medieval fortifications (see Military architecture & fortification, §III, 2(ii) and 4(ii)). His subsequent palace and church architecture was influential in spreading the Urbino style, which he renewed with reference to the architecture of Leon Battista Alberti but giving emphasis to the purism of smooth surfaces. His theoretical works, which include the first important Western writings on military engineering, were not published until modern times but were keenly studied in manuscript, by Leonardo da Vinci among others; they foreshadowed a number of developments that came to fruition in the 16th century (...
[Pietro di Antonio Dei]
(b Florence, 1448; d Florence, Dec 1502).
Italian painter, illuminator and architect. The son of a goldsmith, he was enrolled in the Florentine goldsmiths’ guild at the age of five. Later he must have frequented the workshops of Antonio and Piero Pollaiuolo and, particularly, that of Andrea Verrocchio, where the major artists of his generation, such as Botticelli, Ghirlandaio, Leonardo da Vinci, Lorenzo di Credi, Perugino and Signorelli, used to meet. He probably also had contacts with artists in Arezzo, especially Piero della Francesca, and in Urbino, where Piero, Melozzo da Forlí, Donato Bramante, Justus of Ghent and Pedro Berruguete worked. Early links with Urbino are also suggested by his friendship, noted by Vasari, with Gentile de’ Becchi of Urbino (later Bishop of Arezzo) and by a miniature of the Martyrdom of St Agatha, definitely by his hand, in gradual D of Urbino Cathedral (Cathedral archv). In 1468 he took holy orders, probably in the Camaldolese monastery of S Maria degli Angeli, Florence, which his brother Nicolò had already entered. In ...
(b c. 1510; d ?Bologna, c. 1565).
French sculptor, illustrator and architect. He was one of the great masters of relief sculpture. Through his collaboration with the architect Pierre Lescot he was involved in many major building projects, and in his refined relief sculptures, such as the carved panels for the Fountain of the Innocents, Paris, he achieved a highly personal synthesis between the mannered style of the Fontainebleau school and a classicism derived from his study of antique sculpture. He illustrated with skilful and lively wood-engravings Jean Baptiste Martin I’s first complete French translation (Paris, 1547) of Vitruvius, De architectura: Architecture ou art de bien bastir, an edition that was to have considerable influence on the revival of the classical style in France.
Goujon was possibly of Norman origin, and the knowledge of the sculpture and architecture of anti-quity and the Italian Renaissance displayed in his works suggests that he spent time in Italy. He is first recorded at Rouen in ...
(d summer 1519).
German architect. He is mentioned in the Brotherhood book of the masons’ lodge at Strasbourg in 1471 and was apparently brought to Strasbourg that year. He was made a Citizen in 1482, by which time he was a foreman at the masons’ lodge of the cathedral (see Strasbourg, §III, 1). In 1486 he became Master of the Works but lost the position in 1490, when he applied unsuccessfully for the job of Master of the Works at Milan Cathedral. Hammer then entered the service of the Bishop of Strasbourg to carry out various works in his residence at Saverne. He was again made Master of the Works at Strasbourg Cathedral in 1513 and kept the position until his death.
The earliest works entrusted to Hammer were the tabernacle (destr.) in the choir of Strasbourg Cathedral and the pulpit for the nave, both made before he became Master of the Works. The pulpit, one of the richest and most beautiful works of the Late Gothic, was made in ...
(b London, Oct 8, 1900; d July 16, 1996).
English landscape designer, urban planner, architect and writer. He was educated in London at the Architectural Association School (1919–24). His book Italian Gardens of the Renaissance (with J. C. Shepherd), derived from student research, was published in 1925, the year in which he qualified as an architect. He soon established his practice in London. In the 1930s he was instrumental in developing the Institute of Landscape Architects (now the Landscape Institute) as a professional body. He taught at the Architectural Association School (1928–33), becoming its Principal in 1939. His projects of the 1930s include the village plan (1933) for Broadway, Hereford & Worcs, a model document under the Town and Country Planning Act of 1932, and, with Russell Page (1906–85), a pioneer modernist restaurant and visitors’ centre (1934) at Cheddar Gorge, Somerset. Important garden designs of these years include Ditchley Park (...
(b ?Siena, 1505–10; d before July 12, 1571).
Italian painter, illuminator, architect, stage designer, and engineer. His earliest surviving documented works, illuminations for an Antiphonal, signed and dated 1531–2 (ex-Olivetan convent, Finalpia; Genoa, Bib. Berio), suggest training with or sympathy for Sodoma, and later he seems to have been drawn more broadly into the orbit of other influential painters in Siena, such as Domenico Beccafumi, and Baldassare Peruzzi, the latter having returned there after the Sack of Rome (1527). Although he shows an affinity with all three at one time or another, the breadth of Neroni’s activities, from painting to engineering and especially his architectural work, most closely resembles the arc of Peruzzi’s career, and Vasari describes him as a follower.
Neroni’s first independent large-scale commission, in which he reveals the strong influence of Sodoma, is the fresco depicting the Departure of SS Maurus and Placid, executed in 1534 for the cloister of the convent of Monte Oliveto Maggiore. In the same year he was also commissioned to decorate the chapel of the master masons in the cathedral, Siena. Fragments of the fresco survive, notably scenes depicting the ...
Pier Giorgio Pasini
(b Verona, c. 1420; d Rimini, after May 15, 1467).
Italian medallist, architect, painter and illuminator. He came from a good Veronese family (his father was a doctor, two of his brothers were in the church and three others were merchants). He is first documented in 1441, when he was working in Venice as painter to Piero di Cosimo de’ Medici illustrating Petrarch’s Trionfi (untraced). Subsequently (1444–6), he worked as an illuminator for the Este court, under the direction of Giorgio d’Alemagna. None of his works from this period is known.
By 1449 he was resident in Rimini, where he married Elisa di Giovanni Baldigara. There he was joined by Agostino di Duccio and other Venetian sculptors, working on the construction and decoration of two large funerary chapels (1447–c. 1452) for Sigismondo Pandolfo Malatesta, Lord of Rimini, and his mistress, Isotta degli Atti, in S Francesco (known as the Tempio Malatestiano). Initially Matteo was probably the organizer and supervisor of this project, but ...
(b Rome, c. 1585; d Rome, Nov 6, 1641).
Italian architect. Writing about the time of Peparelli’s death, Baglione said that Peparelli was so sought after that he was employed on more than 70 palace, convent and church commissions. But guidebook attributions and documents give him only about 20 commissions (all in Rome); by 1730 Lione Pascoli mentioned him as an ‘architetto non molto conosciuto’. Peparelli enlarged the Villa Mattei in 1620–22 for Giovanni Battista Mattei, son of the original patron Ciriaco. He rebuilt S Brigida in Piazza Farnese in 1614 or 1640 and in 1632–5 built the oratory behind the nearby church of S Girolamo della Carità. From 1631 to 1637 he was the architect, with Vincenzo della Greca, of S Caio, a Barberini foundation on the Via Pia (destr. 1885). He designed the sacristy, transept, cupola and choir of S Maria in Traspontina in 1635–7, rebuilt S Salvatore in Campo for Francesco Barberini in 1639 and, with ...
[Jean de Paris; Master of Charles VIII]
(b ?1450–60; d Paris, after April 5, 1530).
French painter, illuminator, sculpture designer and architect. The most celebrated and best-documented French artist of his time, Perréal was painter and valet de chambre to three kings of France, Charles VIII, Louis XII and Francis I. In the earliest reliable document to mention him, of 1485, he was a resident of Lyon and painted two escutcheons for use during the celebrations for the entry of Charles of Bourbon into the city. Throughout his career he devoted considerable time to designing props for staging such ceremonial events. Perréal visited Italy on at least four occasions and recorded that he studied ancient remains there. In 1514 he was sent to England to negotiate the marriage of Louis XII and his second wife, Mary Tudor, and to ensure that her wardrobe conformed to French taste. According to Dupont, a portrait of Louis XII in the British Royal Collection (Windsor Castle, Berks) was painted by Perréal and brought to England at this time. Considered by Sterling to be a copy, this portrait is one of few panels that can still be associated with Perréal, who during his lifetime was highly praised for his abilities as a portrait painter....
(fl 1547; d Évora, 1569).
Portuguese architect. He is earliest recorded in 1547 as a frequenter of bookshops in Lisbon, defending the humanist André de Resende (1498–1573) and the royal bookseller João de Borgonha in a chance argument in the street against the grammarian Fernando Oliveira, who was suspected of Protestant leanings. The fact that the subject of the quarrel was the Tratado da esfera by Pedro Nunes (1541) shows that Pires was no stranger to cosmography and geometry. The first work attributable to Pires was in fact an exercise in mathematical proportion, the church of Bom Jesus at Valverde, 10 km south of Évora. Local tradition assigns the work to Pires’s lifelong patron, the Cardinal-Infante Henrique, Archbishop of Évora and later King Henry, suggesting a close collaboration between the two men. Work must have begun soon after the foundation of the Capuchin monastery at the site in 1544, although the name of Pires only appears in ...