Going South: The Space for Flemish Art Dealers in Seventeenth-Century Northern Italy

2014 ◽  
pp. 189-219 ◽  
Author(s):  
Isabella Cecchini
Keyword(s):  
Seventeenth Century ◽  
Northern Italy ◽  
Art Dealers

An Inventory of Choirbooks At S. Maria Maggiore, Bergamo, January 1628

1965 ◽  
Vol 5 ◽  
pp. 47-50
Author(s):  
Jerome Roche
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Northern Italy ◽  
Santa Maria ◽  
The Church ◽  
Made In

Santa Maria Maggiore at Bergamo was one of the principal churches at which music was made in early seventeenth-century northern Italy. It had built up a considerable reputation in the sixteenth century which was continued into the next under a succession of prominent musicians, the most important of whom was Alessandro Grandi. He occupied the post of maestro from 1627 to 1630, and, as with every newly appointed choirmaster, the choir's accumulated repertory was formally consigned to him. The documents of consignment are preserved in a volume marked Inventarium (LXXIX-1) in the archives of the Misericordia Maggiore, which ran the church. I now print below the inventory that Grandi signed in 1628 – the first one of the seventeenth century; it is on ff. 129v-130 of the Inventarium. I have set it out unedited in the layout in which it appears there.

Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts

2019 ◽  
Author(s):  
Martin Kemp ◽  
Robert B. Simon ◽  
Margaret Dalivalle
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
New Orleans ◽  
Modern Art ◽  
Auction House ◽  
The Public ◽  
Scientific Analysis ◽  
Media Spectacle ◽  
Art Dealers ◽  
Public Imagination

In Leonardo’s Salvator Mundi and the Collecting of Leonardo in the Stuart Courts the ‘Three Salvateers’—Robert Simon, Martin Kemp and Margaret Dalivalle—give a first-hand account of the discovery of the lost Renaissance masterpiece; from its purchase for $1,175 in a New Orleans auction house in 2005, to the worldwide media spectacle of its sale to a Saudi prince for $450 million in 2017. A behind-the-scenes view of the painstaking processes of identification, consultation, scientific analysis, conservation, and archival research that underpinned the attribution of the painting to Leonardo, the book presents a consideration of the place of the painting in Leonardo’s body of work. Exploring the meaning of the painting in terms of Renaissance theology, it considers the identity of its original patron or intended recipient. Unravelling networks of early modern art dealers and collectors in Europe, it traces the emerging reception of Leonardo during the sixteenth and seventeenth centuries. It was in Enlightenment Britain that the idea of Leonardo as artist–scientist took hold of the public imagination. This book examines the ‘invention’ of Leonardo through the unique prism of the Stuart courts. The documented presence of three paintings of Christ attributed to Leonardo in the vicinity of the seventeenth-century British Royal Collection is both extraordinary and perplexing. Today, Leonardo’s five-hundred-year-old Salvator has not yet disclosed its secret history.

Walking the swards: medical education and the rise and spread of the botanical field class

2000 ◽  
Vol 27 (3) ◽  
pp. 335-367 ◽  
Author(s):  
D. E. ALLEN
Keyword(s):  
Medical Education ◽  
Seventeenth Century ◽  
Medical Students ◽  
Medical Practice ◽  
Medical Schools ◽  
Northern Italy ◽  
Living State ◽  
Informal Approach

Physic gardens expressly for teaching medical students to recognise herbs in the living state originated in northern Italy in 1543 and became a facility to which Europe's leading universities increasingly aspired. In default of one, the practice arose of taking students into the countryside instead; but that depended on there being a teacher who was also a keen field botanist. In the seventeenth century Paris, London and Edinburgh replaced Montpellier and Basle as the principal centres of this more informal approach, which eventually had one or two commercial imitators as well. When stricter qualifications governing medical practice in Britain induced a great expansion of medical schools there after 1815 student excursions were taken in Scotland to new heights of popularity and ambitiousness. Having originated in a need to protect future practitioners from being duped by their suppliers, field classes ended up by generating the publication of floras, a market for botanical collecting equipment and, above all, a simpler model for local associations of naturalists which liberated them from an inherited organisational straitjacket.

WHITE LUMPS IN FIFTH- TO SEVENTEENTH-CENTURY AD MORTARS FROM NORTHERN ITALY

Archaeometry ◽  
1997 ◽  
Vol 39 (1) ◽  
pp. 1-7 ◽  
Author(s):  
S. BRUNI ◽  
F. CARIATI ◽  
P. FERMO ◽  
P. CAIRATI ◽  
G. ALESSANDRINI ◽  
...  
Keyword(s):  
Seventeenth Century ◽  
Northern Italy

Franciscus Hamers, dozijnschilder in Antwerpen

2005 ◽  
Vol 118 (3-4) ◽  
pp. 203-212
Author(s):  
Marijke C. De Kinkelder
Keyword(s):  
Seventeenth Century ◽  
Economic Recession ◽  
Typical Feature ◽  
Art Dealers ◽  
Art Dealer

AbstractIn I987 a painting with illegible signature was shown at the RKD. When in spring 2002 a painting with similar signature came alight at a Paris art-dealer, it proved possible to read the signature correctly and identify the artist as the Antwerp-based Franciscus Hamers, only known through his membership of the guild in I674. Several other paintings could be attributed to him either on stylistic grounds or by recognising the characteristic signature. The paintings presented here show that he proved to be what was known in the seventeenth century as 'dozijnschilder' (lit: dozen painter), assembling his works by imitating, borrowing and copying from examples by other artists, notably Haarlem painters such as Pieter van Laer, Philips Wouwerman and Nicolaes Pietersz. Berchem. This proved to be a typical feature of the artistic climate in the I670s in Antwerp when economic recession forced many artists to produce paintings and copies by the dozen for art-dealers such as Guillaume Forchondt and Bartholomeus Floquet who then exported these paintings to France, Austria, Spain and Portugal.

De Antwerpse 'witter ende paneelmaker' Melchior de Bout (werkzaam 1625/26-1658): leverancier van 'ready-made' panelen voor de Parijse markt

2010 ◽  
Vol 123 (2) ◽  
pp. 108-124
Author(s):  
Anna Koopstra
Keyword(s):  
Seventeenth Century ◽  
Art Market ◽  
Ground Layer ◽  
Art Dealers ◽  
Charles Le Brun

AbstractOn the back of several paintings on panel in the oeuvre of Willem Kalf, the panelmakers mark of Melchior de Bout has been found. Like his father Philip, De Bout was registered in Antwerp as a 'witter ende paneelmaker'. He thus seems to have specialised in producing panels that were covered, on both sides of the wooden support, with a preparatory (ground) layer consisting of chalk and glue. Occasionally, an imprimatura was also applied. De Bout's 'ready-made' panels were not only used by Willem Kalf, but also by Sebastian Stosskopf, Charles Le Brun, Jacques Linard, Lubin Baugin and Willem van Aelst. Since these artists were all working in Paris around the middle of the seventeenth century, it seems justified to conclude that for a certain time, the Antwerp panel maker specifically produced his panels for distribution in the French capital. The popularity of the panels of this highly specialised Antwerp panelmaker illustrates the strong appeal that the dynamic art market in Paris had for artists, art dealers and buyers from France and abroad.

Wealth Inequalities and Population Dynamics in Early Modern Northern Italy

2010 ◽  
Vol 40 (4) ◽  
pp. 513-549 ◽  
Author(s):  
Guido Alfani
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Positive Relationship ◽  
Industrial Revolution ◽  
Property Tax ◽  
Northern Italy ◽  
Continuous Series ◽  
Slow Increase ◽  
Distribution Of Wealth ◽  
Wealth Inequalities

An analysis of the wealth and population of early modern Ivrea—based on the estimi, or property tax, records; the correzioni degli estimi, a continuous series of tax records rarely found elsewhere and hardly ever used before; the census of 1613, another unique and informative source; and other archival records—finds that the city's concentration and distribution of wealth was resilient even in face of acute demographical shocks (such as the plague of 1630) and that inequalities in property underwent a slow increase even in economically stagnant areas during the seventeenth century. The article places these findings in a European perspective, and it debates Jan van Zanden's hypothesis of a positive relationship between inequality in wealth and demographical/economic growth before the Industrial Revolution.

A Case-Study in the Power of the Purse: The Management of the Ducal Cappella in Modena in the Reign of Francesco II d'Este

1990 ◽  
Vol 115 (2) ◽  
pp. 207-219 ◽  
Author(s):  
Victor Crowther
Keyword(s):  
Seventeenth Century ◽  
Instrumental Music ◽  
Northern Italy ◽  
Good Fortune ◽  
Music Collection ◽  
The Way

The precious collection of manuscript scores and printed libretti dating from the late seventeenth century and housed today in the Biblioteca Estense at Modena is ample proof that Duke Francesco II d'Este (1660–94) was one of Italy's most generous patrons of music. Indeed his library, which good fortune has preserved almost intact, is an indispensable resource for the study of oratorio, opera and instrumental music in northern Italy in the last quarter of the century. Its contents show him to have been a man of catholic and modern taste, acquiring and promoting works by living composers active in Rome, Florence, Bologna, Ferrara, Venice and, of course, Modena. On the evidence of the Este music collection, historians have been consistent in applauding the cultural achievements of Francesco II's reign and yet, surprisingly, there have been no detailed studies of the way in which the duke exercised his patronage.

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