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Uguccione della Faggiuola

2025-02-24T12:00:17Z

82.52.87.38:

{{Short description|13/14th-century Italian mercenary and magistrate}}
{{infobox military person
| image = Portret van Fagiolanus Uguccio, RP-P-1874-12-10-2.jpg
| caption = Portrait of Uguccione della Faggiuola by [[Tobias Stimmer]]
| birth_date = {{circa|1250}}
| death_date = {{Death date and age|df=yes|1319|11|1|1250}}
| birth_place = [[Casteldelci]]
| death_place = [[Vicenza]]
| allegiance = [[Holy Roman Empire]]<br />[[Republic of Pisa]]<br />[[Lords of Verona]]
| known_for =
| battles = [[Battle of Montecatini]]
| placeofburial = [[Sant'Anastasia, Verona]]
}}
'''Uguccione della Faggiuola''' (c. 1250 – 1 November 1319) was an Italian [[condottieri|condottiero]], and Ghibelline magistrate of [[Pisa]], [[Lucca]] and [[Forlì]] (from 1297).

==Biography==
Uguccione was born at [[Casteldelci]] and came to prominence in the late 13th century as captain for the [[Arezzo|Aretine]] army, when he successfully captured [[Cesena]]. In 1297, he attempted to conquer [[Forlì]] but was unsuccessful.

Of [[Ghibelline]] association, in 1311–1312 Uguccione was imperial [[vicar]] in [[Genoa]] for [[Henry VII, Holy Roman Emperor|Henry VII]], who came to Pisa in 1312.{{efn|Hunt refers to Uguccione as "dictator of Pisa".{{sfn|Hunt|1994|p=27}}}}{{sfn|Epstein|1996|p=194}} After the latter's death in 1313, Uguccione was made chief magistrate (''[[podestà]]''), captain of the people, and virtual lord of Pisa. From 1314 to 1316, Pisa became the center of Ghibelline activity under Uguccione's rule.{{sfn|Beattie|2006|p=30}}

Uguccione sacked Lucca in 1314 with the help of his protégé [[Castruccio Castracani]].{{sfn|Hunt|1994|p=152}} On 29 August 1315 he delivered the Guelphs of [[Florence]] and their [[Capetian House of Anjou|Angevin]] associates from [[Kingdom of Naples|Naples]] their worst defeat since 1260 in the [[battle of Montecatini]] in the [[Val di Nievole]].{{sfn|Hunt|1994|p=152}}

In 1316 risings in Pisa and Lucca drove Uguccione out and he took refuge under [[Cangrande della Scala]], who made Uguccione ''podestà'' of [[Vicenza]].

Uguccione died of [[malaria]] during the siege of [[Padua]] on 1 November 1319.{{sfn|Armstrong|1932|p=47}}

==Notes==
{{notelist}}

==References==
{{reflist}}

==Sources==
*{{cite book |title=The Cambridge Medieval History |volume=7: Decline of Empire and Papacy |editor-first1=Henry Melvill |editor-last1=Gwatkin |editor-first2=James Pounder |editor-last2=Whitney |editor-first3=Joseph Robson |editor-last3=Tanner |editor-first4=Charles William |editor-last4=Previté-Orton |editor-first5=Zachary Nugent |editor-last5=Brooke |first=Edward |last=Armstrong |chapter=Italy in the Time of Dante |publisher=Cambridge University Press |year=1932 }}
*{{cite book |title= Angelus Pacis: The Legation of Cardinal Giovanni Gaetano Orsini, 1326–1334 |last=Beattie |first=Blake R. |publisher=Brill |year=2006}}
*{{cite book |title=Genoa and the Genoese, 958–1528 |first=Steven |last=Epstein |publisher=University of North Carolina Press |year=1996 }}
*{{cite book |title=The Medieval Super-Companies: A Study of Peruzzi Company of Florence |first=Edwin S. |last=Hunt |publisher=Cambridge University Press |year=1994}}

{{s-start}}
{{succession box| before= To [[Bologna]]| title=Lord of [[Imola]]| after= To the [[Papal States]]| years=1296–1299}}
{{succession box| before= Republic| title=Lord of [[Pisa]]| after= [[Gaddo della Gherardesca]]| years=1314–1316}}
{{succession box| before= Commune| title=Lord of [[Lucca]]| after= [[Castruccio Castracani]]| years=1314–1316}}
{{s-end}}

{{Authority control}}

{{DEFAULTSORT:Faggiuola, Uguccione Della}}
[[Category:1250s births]]
[[Category:1319 deaths]]
[[Category:14th-century condottieri]]
[[Category:Politicians from Genoa]]
[[Category:13th-century condottieri]]

{{Italy-mil-bio-stub}}
{{EmiliaRomagna-politician-stub}}
{{Tuscany-politician-stub}}

Order of the Blessed Virgin Mary

2025-02-23T23:09:07Z

82.52.87.38:

{{Short description|Military order (1261–1558)}}
{{for|the Mercedarians|Order of the Blessed Virgin Mary of Mercy}}
The '''Order of the Blessed Virgin Mary'''<ref>Sometimes the "Blessed" is omitted; "Order of the Glorious Saint Mary" is a variant.</ref> ({{langx|it|Frati della Beata Gloriosa Vergine Maria}}; {{langx|la|Ordo Militiae Mariae Gloriosae}}), also called the '''Order of Saint Mary of the Tower''' or the '''Order of the Knights of the Mother of God''', commonly the '''Knights of Saint Mary''', was a [[Military order (society)|military order]] founded in 1261. The order received its rule from [[Pope Urban IV]], who expressly states the purpose of the organisation and the rights and obligations of its members:
<blockquote>
[The members of the order] are to be allowed to bear arms for the defence of the catholic faith and ecclesiastical freedom, when specifically required to do so by the Roman church. For subduing civil discords they may carry only defensive weapons, provided they have the permission of the diocesan.
</blockquote>
The rule of the order was based on that of the [[Augustinians]], but allowed members to marry and eschew communal poverty, following a precedent set by the [[Order of Santiago]] and the [[Militia of Jesus Christ]]. Their chief task appears to have been the pacification of the [[Lombardy|Lombard cities]], racked by factional strife. However, they were largely unsuccessful, partly due to their political allegiance with the Church. The unique position of the order and the nature of its rule has led to its being denied full status by historians, who have sometimes labelled it a mere [[confraternity]]. The order would admit a woman as a ''militissa'' (female knight).

The order did have some success at building bridges between the [[Guelphs and Ghibelline]]s. Two founding members, [[Loderingo degli Andalò]], a Ghibelline from [[Bologna]], and [[Catalano di Guido]] of the Catalani family of Guelphs, were given the government of Bologna in 1265 during a period of civil strife between the two factions. Though less than successful there, the two knights were appointed by [[Pope Clement IV]] the very next year (1266) to govern [[Florence]] in the aftermath of the [[Battle of Benevento]]. They gained the opprobrium of the Florentines, however, and [[Dante Alighieri]], in his famous ''[[Inferno (Dante)|Inferno]]'' placed them in the eighth circle of [[Hell]] with the hypocrites, where they sing:
{|
|
:''Frati godenti fummo, e bolognesi;''
::''io Catalano e questi Loderingo''
::''nomati, e da tua terra insieme presi''
|
:Frati Gaudenti were we, and Bolognese;
::I Catalano, and he Loderingo
::Named, and together taken by thy city . . .
|}

The order gained a reputation for carelessness with respect to their vows and were labelled the ''fratres gaudentes'' (Latin) or ''frati (cavalieri) gaudenti'' (Italian): jovial (joyous, jubilant) brothers (brethren, friars). Not all later members of the order were corrupt—[[Enrico degli Scrovegni]] patronised the [[Scrovegni Chapel]]—but the order was eventually suppressed by [[Pope Sixtus V]] in 1558.

==Bibliography==
{{refbegin}}
*{{cite encyclopedia | last =Crawford |first= Paul |year=2004 |contribution = Military Orders in Italy | encyclopedia = Medieval Italy: An Encyclopedia | editor-first=Christopher |editor-last=Kleinhenz |location=New Jersey |publisher = Routledge University Press |pages = 720–22 | ISBN = 0-415-93930-5}}
*{{cite book | last = Forey |first =Alan |year = 1992 | title = The Military Orders: From the Twelfth to the Early Fourteenth Centuries |location =Toronto | publisher = University of Toronto Press |ISBN =978-0802028051}}
*{{cite encyclopedia | last =Vincent |first= Catherine |year=2001|contribution = Militia of Jesus Christ | encyclopedia = Encyclopedia of the Middle Ages |location= New Jersey |publisher = Routledge University Press |pages = 953–54 |ISBN =1-57958-282-6}}
{{refend}}

==Notes==
{{reflist}}

[[Category:1261 establishments in Europe]]
[[Category:Military orders (monastic society)]]
[[Category:Catholic orders of chivalry]]
[[Category:Augustinian Order]]
[[Category:History of Catholicism in Italy]]

Giovanni Baglione

2025-02-23T21:50:16Z

82.52.87.38:

{{short description|Italian painter and art historian (1566–1643)}}

{{about|the author|list of artists featured in the '''The Lives...'''|Artists in biographies by Giovanni Baglione}}
{{Use dmy dates|date=December 2023}}
{{Infobox artist
| name = Giovanni Baglione
| image = Portret van Giovanni Baglioni Eques Joannes Balionus Romanus pictor (titel op object), RP-P-1907-235.jpg
| size =
| caption = Engraving by [[Ottavio Leoni]], 1625
| birth_name =
| birth_date = 1566
| birth_place = [[Rome]]
| death_date = 30 December 1643 (age 77)
| death_place = Rome
| nationality = [[Italy|Italian]]
| known_for = Painter and biographer of artists
| movement = Late [[Mannerist]], [[Baroque]]
| notable_works =
}}
[[File:Giovanni Baglione - Saint Catherine, Carried up to Heaven by Angels - Google Art Project.jpg|thumb|Drawing of ''Saint Catherine, Carried up to Heaven by Angels'', c. 1625]]

'''Giovanni Baglione''' ({{IPA|it|d͡ʒoˈvan.ni baʎˈʎoː.ne|lang}}; 1566 – 30 December 1643) was an [[Italians|Italian]] [[Mannerism|Late Mannerist]] and [[Baroque|Early Baroque]] painter and art historian. Although a prolific painter, Baglione is best remembered for his encyclopedic [[Artists in biographies by Giovanni Baglione|collection of biographies of the other artists]] working in [[Rome]] during his lifetime, and particularly his acrimonious relationship with the slightly younger artist [[Caravaggio]] through his art and writings.

==Life==
He was born and died in Rome, but from his own account came from a noble family of [[Perugia]]. A pupil of the obscure Florentine artist working in Rome, Francesco Morelli (not to be confused with the later French-Italian engraver [[Francesco Morelli]]), he worked mainly in Rome, initially with a late-[[Mannerism|Mannerist style]] influenced by [[Giuseppe Cesari]] (or the "Cavaliere d'Arpino"). After an ''intermezzo Caravaggesco'' when he was heavily influenced by the young Caravaggio in the early years of the new century, and a Bolognese-influenced phase in the 1610s, Baglione's final style became more generalized and typical of Roman Early Baroque painters such as [[Guercino]], though always reflecting his training in the Central Italian tradition of ''[[disegno]]'', the absence of which he criticized in the [[Caravaggisti]]. To [[Rudolf Wittkower]], his style "vacillated between progressive trends, without absorbing them fully".<ref>O'Neill; Wittkower, who relegates his account of Baglione's style to a note at n. 9, p. 514, and p. 74</ref>

He spent 1621–1622 in [[Mantua]] as the [[court painter|court artist]] of Duke [[Ferdinando Gonzaga, Duke of Mantua|Ferdinando Gonzaga]], where the exposure to the fabulous Gonzaga collection of Venetian paintings influenced his style.<ref>O'Neill</ref> Otherwise he remained in Rome, where he was long successful in attracting commissions from the Papal court and aristocracy. His paintings have been described by the art historian Steven F. Ostrow as "extraordinarily uneven, at best, competent, and his work pales in comparison with that of many of the contemporary artists he emulated", while his "chalk and pen and ink drawings reveal a force and lyricism rarely found in his paintings".<ref>Ostrow, 609</ref> The quality of his work declined sharply in the 1630s, by which time he was in his late sixties.<ref>Wittkower, citing Carla Guigliemi (1954), n. 9, p. 514</ref>

He had a successful career, receiving a [[Papal knighthood]] in the [[Supreme Order of Christ]] (the highest of the Papal orders) in 1606, and his long involvement with Rome's [[Accademia di San Luca]] and his biographies reveal "an artist obsessed with status". He was a member of the Accademia from 1593 until his death, and three times President.<ref>Ostrow, 609, Dictionary</ref> Apart from the regular later title of "first historian of the Roman Baroque", in his lifetime he was also nicknamed ''Il Sordo del Barozzo'' as he suffered from deafness. He died in Rome on 30 December 1643 at the age of 77.<ref>Dictionary</ref>

==Writings==
[[File:Giovanni Baglione - The Divine Eros Defeats the Earthly Eros - Google Art Project.jpg|thumb|Giovanni Baglione, ''Sacred Love and Profane Love'' (c. 1602–03), Oil on canvas, Gemäldegalerie, Berlin]]
[[Image:baglione.jpg|thumb|right|Giovanni Baglione, ''Sacred Love and Profane Love'', 1602. Oil on canvas, 240 × 143 cm. Rome, [[Galleria Nazionale d'Arte Antica]] di [[Palazzo Barberini]].]]

He published two books, ''The nine churches of Rome'' (''Le nove chiese di Roma'' 1639),<ref>{{cite book|author=Giovanni Baglione|title=Le noue chiese di Roma, di Giouanni caualier Baglione romano dell'habito di Christo. Nelle quali si contengono le historie pitture scolture, & architetture di esse|url=https://books.google.com/books?id=is2NZALpYHAC|year=1639|publisher=per Andrea Fei}}</ref> and ''The Lives of Painters, Sculptors, Architects and Engravers, active from 1572–1642'' (''Le Vite de' Pittori, scultori, architetti, ed Intagliatori dal Pontificato di Gregorio XII del 1572. fino a' tempi de Papa Urbano VIII. nel 1642'', 1642). The latter is still seen as an important historical source for artists living in Rome during the lifetime of Baglione. His first book was an artistic guide to Rome's nine major pilgrimage churches, which is notable for its period in taking an interest in the works of all periods, and remains useful to scholars as an account of these churches at a point before many subsequent alterations. It "marks a watershed in the guidebook literature of Rome-the turning point between the older tradition of devotional guidebooks ... and the modern tradition of artistic guides".<ref>Ostrow, 609, quoted; Dictionary</ref>

His biographies cover [[Artists in biographies by Giovanni Baglione|over two hundred artists in various media]], all of whom had worked in Rome and were dead by the time he published. Relatively few other sources, other than contracts and the like, exist for most of these figures, and Baglione's work often remains the basis for their biographies, being drawn on extensively by [[Bellori]], [[Giovanni Battista Passeri|Passeri]] and others, as well as modern writers.<ref>Ostrow, 609; Dictionary</ref> Baglione had known a large number of his subjects personally and his attributions and basic factual information is considered generally reliable, although like [[Vasari]] and most intervening biographers of artists, he sometimes repeats anecdotes uncritically. He carefully notes information about the social status and progress of his subjects, and is often very quick to criticise and moralize over human failings and bad habits. He "recorded all signs of social status, including houses, dress, collections, permission to wear a sword, splendid funerals, and tombs." Similarly, he never failed to mention if an artist was a member of his beloved Academy of St. Luke, had been elected to the Virtuosi del Pantheon, had been knighted, had been well paid for his work, or had been employed by noble patrons. And the corollary to this is Baglione's delight in recognizing artists as virtuosi, not simply as an expression of their artistic ability but in reference to their possessing literary, musical, or dramaturgical skills. Running throughout Le vite, in other words, is an abiding concern with the honor of the profession-with the elevated status and nobilta of the artist as gentleman."<ref>Ostrow, 609, quoting Joseph Connor at the start.</ref> As far as possible, his descriptions of works concentrated on those accessible to the public.<ref>O'Neil</ref>

==Litigation against Caravaggio==
[[File:Amor Vincet Omnia.jpg|thumb|left|[[Michelangelo Merisi da Caravaggio]], ''[[Amor Vincit Omnia (Caravaggio)|Amor Vincit Omnia]]'', c. 1602. Oil on canvas, 156.5 × 113.3 cm. [[Gemäldegalerie, Berlin]].]]

Baglione's best known painting, ''Sacred Love and Profane Love'' (or ''The Divine Eros Defeats the Earthly Eros'' and other variants), was a direct response to [[Caravaggio]]'s ''[[Amor Vincit Omnia (Caravaggio)|Amor Vincit Omnia]]'' (1601–02). Baglione's painting exists in two versions, the earlier in the [[Gemäldegalerie, Berlin]] (c. 1602–03) and the later in the [[Galleria Nazionale d'Arte Antica]] at [[Palazzo Barberini]] in Rome. Both show Sacred Love as an angelic winged figure interrupting a 'meeting' between Cupid (Profane Love), shown as in the Caravaggio as a smaller and naked winged figure, and the Devil. In the later Rome version the devil is portrayed with the caricatured features of Caravaggio, while in Berlin his face is turned away. Both paintings were commissioned by members of the [[Giustiniani family]] in Rome: the Caravaggio by the banker and collector Marchese [[Vincenzo Giustiniani]], and Baglione's riposte by his brother Cardinal [[Benedetto Giustiniani]]. What in the two brothers was probably a good-natured family joke reflected serious rivalry between the artists concerned. Baglione was greatly influenced by the style of Caravaggio during this period of his career, and the younger artist and his circle had claimed, with some justification, that Baglione had plagiarized his style.<ref>Ostrow, 608; ''Gemäldegalerie, Berlin'', Prestel, 148; Wittkower, 74</ref>

In late August 1603 Baglione filed a suit for [[libel]] against Caravaggio, [[Orazio Gentileschi]], [[Ottavio Leoni]], and Filipo Trisegni in connection with some unflattering poems circulated around Rome over the preceding summer, which he appears to have been correct in attributing to Caravaggio's circle. Baglione had recently completed his large [[altarpiece]] of the ''[[Resurrection of Jesus]]'' for [[Il Gesu]], the main church of the [[Jesuit Order]] (it was much later replaced), and claimed that Caravaggio was jealous of this important commission. Caravaggio's testimony during the trial as recorded in court documents is one of the few documented records of his thoughts about art and his contemporaries. It included statements that: "I don't know any painter who thinks Giovanni Baglione is a good painter", the Resurrection altarpiece was "clumsy [goffa]" and "it's the worst he's done, and I haven't heard a single painter praise the said painting." Caravaggio was found guilty and held in the [[Tor di Nona]] prison for two weeks after the trial, but far from clearing his reputation, Caravaggio's damaging remarks have dominated the critical assessment of Baglione ever since, although Gentileschi's evidence conceded that he was a "first-class painter". Years after Caravaggio's early death in 1610, Baglione was his first biographer, and though he gave him much praise for his early works, his dislike is evident, concentrated on the younger artist's life and character and his later paintings; this verdict, especially as regards the man, has also remained highly influential.<ref>{{Cite book|title=Caravaggio|year=1998|pages=224–228|publisher=Phaidon|isbn=0714839663 |author=Catherine Puglisi}}</ref><ref>Ostrow, 608 (with Caravaggio quotes); Dictionary (quotes Gentileschi)</ref>

==Paintings==
He was mainly a painter of religious subjects, reflecting the Roman market, but also painted several mythological subjects, including an "astonishing" ''Venus whipped by Love'' (1620s) with an unusually suggestive pose, accentuated by strong [[chiaroscuro]], for the plump goddess, who is viewed [[foreshortened]] from behind as she lies on a bed.<ref>Ostrow, 608, quoted; [http://necspenecmetu.tumblr.com/post/23201763890/giovanni-baglione-venus-whipped-by-love-c-1624 image]</ref>

He was employed in many of the considerable numbers of church commissions in Rome during the pontificates of [[Clement VIII]], [[Paul V]] and [[Urban VIII]] in the early years of the new century, from which the Caravaggisti were largely excluded.<ref>Wittkower, 28, 33, 141</ref> The two largest churches being filled with paintings at this period were [[St. Peter's Basilica]], where his ''[[Saint Peter]] Raising [[Tabitha]] from the Dead'' (1607) earned his knighthood from Paul V, and [[Basilica di Santa Maria Maggiore|Santa Maria Maggiore]], where his [[fresco]]es can be seen in the Cappella [[Borghese]]. For the church of [[Santa Maria dell'Orto]] he painted a number of works in both fresco and oils, including a fresco cycle of scenes from the [[Life of the Virgin]], a [[Saint Sebastian]] and other saints. A ''Last Supper'' is in [[San Nicola in Carcere]]. There is a ''Saint Stephen'' in the Cathedral at [[Perugia]], and in that of [[Loreto (AN)|Loreto]] a ''Saint Catherine''. The Giustizia (Justice) hall at the [[Rocca dei Rossi]] was completely frescoed by Baglione. A series of paintings of ''Apollo and the Muses'' is in [[Arras]].<ref>O'Neil; Bryan</ref>

==Gallery==
<gallery>
File:Giovanni Baglione - The Ecstasy of St Francis - WGA1155.jpg|''The Ecstasy of St Francis'', 1601, [[Art Institute of Chicago]]
File:Giovanni Baglione - St Sebastian Healed by an Angel.jpg|''[[Saint Sebastian]] healed by an angel'', c. 1603, private collection
File:Giovanni Baglione - Judith and the Head of Holofernes.jpg|''[[Judith beheading Holofernes|Judith and the Head of Holofernes]], 1608, [[Galleria Borghese]]
File:Euterpe, Muse of Music by Giovanni Baglione.jpg|''[[Euterpe]]'' (from the series Apollo and the Muses, 1621-1623)
File:G. Baglione San Sebastiano.jpg|''San Sebastiano cared for by angels'', 1624, [[Santa Maria dell'Orto]]
File:Hercules at the Crossroads.jpg|''Hercules at the crossroads'', 1640-1642, [[National Gallery of Slovenia]], [[Ljubljana]]
</gallery>

==See also==
*[[Artists in biographies by Giovanni Baglione]]
*[[Sacred-profane dichotomy]]

==Notes==
{{reflist}}

==References==
*{{CE1913|wstitle=Cavaliere Giovanni Baglioni}}
*{{cite book| first=Michael| last=Bryan| year=1886| title=Dictionary of Painters and Engravers, Biographical and Critical |volume=I: A-K | editor = Robert Edmund Graves| publisher=George Bell and Sons|location=London |url=https://books.google.com/books?id=4GYCAAAAYAAJ&q=DICTIONARY+AACHEN+AALST| page= 68}}
* "Dictionary", [https://web.archive.org/web/20101127164423/http://dictionaryofarthistorians.org/baglioneg.htm Giovanni Baglione at Dictionary of Art Historians.org]
*''Gemäldegalerie, Berlin'', Prestel Museum Guide, 1998, Prestel Verlag, {{ISBN|3-7913-1912-4}}
*O’Neil, Maryvelma, "Baglione, Giovanni" in [[Grove Art Online]], Oxford Art Online. Oxford University Press, accessed 16 February 2013, [http://www.oxfordartonline.com/subscriber/article/grove/art/T005698 subscriber only]
* Ostrow, Steven F., review of ''Giovanni Baglione: Artistic Reputation in Baroque Rome'' by Maryvelma Smith O'Neil, ''[[The Art Bulletin]]'', Vol. 85, No. 3 (Sep. 2003), pp. 608–611, [http://www.mutualart.com/OpenArticle/Giovanni-Baglione--Artistic-Reputation-i/119746C99929E2DE online text]
*[[Rudolf Wittkower|Wittkower, Rudolf]], ''Art and Architecture in Italy, 1600-1750'', Penguin/Yale History of Art, 3rd edition, 1973, {{ISBN|0-14-056116-1}}

==Further reading==
* Maryvelma Smith O'Neil, "Giovanni Baglione: Artistic Reputation in Baroque Rome", the main monograph in English, though criticised for Ostrow and others for over-praising Baglione.
*''The genius of Rome 1592-1623'', Royal Academy of Arts, London, 2001, editor Beverly Louise Brown.

== External links ==
{{commons category}}
*[http://libmma.contentdm.oclc.org/cdm/ref/collection/p15324coll10/id/13424 ''Orazio and Artemisia Gentileschi''], a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries, which contains material on Giovanni Baglione (see index)

{{Caravaggisti}}
{{Authority control}}

{{DEFAULTSORT:Baglione, Giovanni}}
[[Category:1566 births]]
[[Category:1643 deaths]]
[[Category:Painters from Rome]]
[[Category:Italian Baroque painters]]
[[Category:16th-century Italian painters]]
[[Category:Italian male painters]]
[[Category:17th-century Italian painters]]
[[Category:Italian engravers]]
[[Category:Italian art historians]]
[[Category:Artist authors]]
[[Category:17th-century Italian writers]]
[[Category:17th-century Italian male writers]]
[[Category:Italian male non-fiction writers]]
[[Category:Italian biographers]]
[[Category:Biographers of artists]]
[[Category:Italian court painters]]
[[Category:Italian Mannerist painters]]
[[Category:Catholic painters]]

Christophe de Longueil

2025-02-23T10:15:36Z

82.52.87.38:

[[File:Portret van Christophe de Longueil, RP-P-1874-12-44-2.jpg|thumb|Portrait ofChristophe de Longueil by [[Tobias Stimmer]]]]
'''Christophe de Longueil''' (1490 – September 11, 1522) was a [[Renaissance Humanism|humanist]] from the [[Duchy of Brabant]]. He is also known by his [[Latin language|Latin]] name, '''Christophorus Longolius'''.

He was born in [[Mechelen]], and studied [[jurisprudence]] in [[Valence, Drôme|Valence]]. He became a [[lawyer]] in 1511, and served from 1513 as an official in [[Paris]]. He also served as a tutor to a young King [[Francis I of France]].<ref>{{Cite web|url=https://www.genealogy.com/ftm/b/a/r/David-W-Barton/WEBSITE-0001/UHP-0983.html|title=David-W-Barton - User Trees - Genealogy.com|website=www.genealogy.com|accessdate=26 November 2023}}</ref> He had given up law to study classical literature. Later he traveled around Europe, finally settling in [[Padua]], where he died in 1522.

==References==
{{Reflist}}
* {{cite encyclopedia | title = Longolius | encyclopedia = [[Meyers Konversations-Lexikon]] | edition = 4th | year = 1890 | volume = 10 | pages = 909 | url = http://www.retrobibliothek.de/retrobib/seite.html?id=110555|language=de}}

{{Authority control}}

{{DEFAULTSORT:Longueil, Christophe de}}
[[Category:1490 births]]
[[Category:1522 deaths]]
[[Category:Flemish Renaissance humanists]]
[[Category:French male non-fiction writers]]