1-4 of 4 results  for:

  • Renaissance and Mannerism x
  • Books, Manuscripts, and Illustration x
  • Collecting, Patronage, and Display of Art x
Clear all

Article

Hugo Johannsen

(b Knudstorp Manor, Scania, Dec 14, 1546; d Prague, Oct 24, 1601).

Danish astronomer and patron, active in Bohemia. He came from an old noble family and became known throughout Europe for his book De nova stella (1573), which overturned traditional theories on astronomy and cosmology. In order to secure Brahe’s services, in 1576 Frederick II, King of Denmark and Norway, granted him for life the island of Hven, in the sound between Denmark and Sweden, and funds to erect a dwelling there; on 8 August 1576 the foundations of Uraniborg were laid. In addition to housing Brahe and his family, guests and assistants, it served as an observatory, chemical laboratory and museum. Just south of the site a new semi-underground observatory, Stjerneborg, was built c. 1584. For 20 years Brahe led a research institute that was not only visited by other scholars but also by such dignitaries as James VI, King of Scotland (later James I, King of England), in ...

Article

Patrick Valvekens

South Netherlandish family of patrons and collectors. Throughout the 15th and 16th centuries members of this aristocratic family played an important role in politics and were closely involved with the Burgundian court. Their collection of manuscripts was one of the most important of the time. It is difficult, however, to establish which manuscripts were acquired by whom. Jean, Count of Chimay (1395–1473), began the collection and ordered many manuscripts on behalf of Charles the Bold, Duke of Burgundy. Jean’s son, Philippe, Count of Chimay (d 1482), commissioned eminent translators, scribes and illuminators, including Jean Wauquelin, Jean Miélot (fl 1448–63), David Aubert (c. 1435–79), Jacquemart Pilavaine (fl 1450–85), and Simon Marmion, to enrich the Cröy library. In addition, some of the manuscripts from the ducal library found their way into the Cröy collection. The library was inherited by Philippe’s son, Charles, Prince of Chimay (...

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

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....