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A TABLE 0F THE ARTS
AND CRAFTS OF THE
RENAISSANCE.



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.úëbœgfîà ‚ _
В y с: . ЗНВЕЕ.
Ю
и—
1893.
А TABLE 0F THE ARTS AND |CRA `TS IN
тын‘ 15T-a j se 16TH CENTURIES.

HISTORICAL CYCLES, PATRONS,
AND PERSONALITIES IN THE
HISTORY 0F RENAISSANCE ART
`AND CRAFT. `
HISTORICAL EVENTS BEARING
ON THE DEVELOPMENT AND
MIGRATION oF THE ARTS AND
CRAFTS OF RENAISSANCE.

The earlier Medici (cosimo
pater patrias, d. 1464).
Donatello Brunelleschi-
Ghiberti-Alberti_Masaccio-
Donatello, &c. The Early Floren-
tine Renaissance.
The Venetian DogeS--Tomaso
Moncenigo, 1424.
The Court of Edward 1V of
England-Lord Rivers-Jane
Shore-Canton.
Henry VII of England-The
Lady Margaret, Countess of
Richmond, [жмут of Colleges.
The Cycle of Lorenzo the
Magnificent, d. 1492. .The full
Florentine Renaissance. Michael
Angelo. Pico della Mirandola
Poliziano-Ficino, &c. ­
The Cvcle of Louis XII (1498-
I de Bretagne-
Imboise--the
ayard.
f Henry VIII of
l the Cycle of
'olsey-Sir Thomas
mus-Colet-
Zourts. ­Iulius II.,
Leo X., 1513-21,
le of Raphael-
гей—111110 Romano
c.
The Court of Francois I., 1515-
47. Cycle of Mme. D'Estamps
-Peter Ronsard, and later,
Primataccio-B envenuto Cellini
Leonardo da Vinci-and the
Italian Artists and Craftsmen.
The Emperor Charles V. of
Germany.
Savonarola and the Puritan
Re-action in Florence. [плавит
the Art of Michael Angelo.
The Court of Francesco Gon-
zaga (d. 1499) at Mantua.
Alberti (1405-72)-Mautegna
(1431-1506)-Vittorino da
Feltre, the Educationalist.
Milan under the Visconti and
Sforza-Ludovica ' il moro ’-
Lionardo da Vinci.z
. .
w1'.
_ I
The Court of ’Urbino-the most
.cultured in Italy. Federigo da
Montefeltro-Baldassare Cast-
iglion (Il потащив) — Guido-
baldo II-the potters.
'Cosimo I., Duke of Florence,
1537. Cycle of Bandinelli-
Montorsoli-Ammanati and
Cellini at Florence. Decay of
Florentine Renaissance.
Henri II. and the Cycle of
Catherine de Medicis-Diane
de Poictiers-Palissy.
The Fuggers of Augsburg.
. The coun of Elizabeth, 155e-
1603, and the Cycle of Shakes-
peare-Spenser--Burleigh-
Lilly-Ascham--Zucchero-
Sir Phillip Sydney (the perfect
gentleman of the English Renais-
sance). "
The Court of Henri IV., 1589-
1610.
_lames I. Inigo ­Tones.
З-Ъ'ЪФ
Б
P
.311
"ъ
*.11*
вдов
пазов
ha’.
@ma
(GIG,
The fall of Constantinople, 1453.
- I njlun of Greek Scholars into Italy
begins the classic revival.
Close of the Hundred Years'
War between France and i
England, 1453.
The accession of Louis XI., 1461.
Leads to the consolidation of
France.
Invasion of Italy by Charles
VIII. of France, 1494. The
beginning of the Northern in-
vasions-Italian workmen go `back
in his train to France.
The accession of Ferdinand and
Isabella of Spaln, and the fall
of Granada, 1492. Маню the
consolidation of Spain and the be-
ginning of the Spanish Renaissance.

Discovery of'AInerica by
Columbus, 1492.
The accession of Alexander VI.,
1492-1503. Marks the lowest
degradation of the papacy and
the Protestant schism inevitable.
Ocean route to East Indies dis-
covered by lVasco da Gama,
1492. Leads to the decline of the
Venetian supremacy of the seas.

f
The accession of Francois I.
The King of Сидит, 1515-1547.
Marks the beginning of the French
Renaissance.
Luther nails up his theses at
Wittenberg, 1517. Begins the
German Reformation.
The` Emperor Charles V., 1519-
1556, holds the Diet of Worms
(15 19) prohibiting all new doctrines.
The Mogul Empire begins 1526.
Through the trapte of the Portugese
the jìrst direct Eastern influence on
European Art enters.
The Sack of Rome, 1527.
Marks the distribution of Italian
Artists over Europe.
The fall of Florence, 1530.
Establishes the M гейши dynasty
and closes the period of great art in
Florence.
Calvin introduces the Reforma-
tion into Geneva, 1541. From
here it spreads to France and
Scotland (john Knox).
Pope Paul III. starts the In-
quisition, 1542 (which is ultim-
ately to destroy Art in Catholic as
the Reformation does in Protestant
countries).
Abdiétion of the Emperor
e
Supremacy of Catherine de
Medicis in France, “ the queen
mother,” 1557-1574.
The Hougemot Wars in France,-
1562-1598. The night of St.
Bartholomew, 1572. Emigration
of H uguenot craftsmen to England.
tion of Hougenot craftsmen to
England.
Wars of Lìbteration in the
Netherlands: against Spain, 1868-
1648. Infiuience of Spanish Art
inFlanders..
The Englishl voyagers, Drake, '
Raleigh, Greenville, Hawkins,
Frobisher, dic., from 1572 (be-
ginnings of the English Colonies
and Empire.
The " Paciŕication of Ghent,” ‘
1576. Union of all the Pro-
vinces-regardless of religious
distinctions-to repel thc
- Spaniards, ends in destruction о)‘
the Spanish supremacy in N. Europe
still commemorated by the most mag-
„тает: 0j Pageants.
Accession of Phillip III., 1576,
marke the rapid decline of Spain.
_ d ’
- ‘тат’:- ­~
SUCH "
ь
1.
EVEI Ts IN ENGLISH HISTORY
_ MAY SERVE As CHRONO-
I_Loc-ICAI. PARALLELS.
ARCHITECTURE;
SCULPTURE
AND " '
сдвинет.
i


Рез/реп; icular.
:fl la _
Arc, 1429-1431.
та...
.L ¿1b l' .
EuglanJI
01 nu

‘l
l'.
I'.
ъ
l
l,
l
l
alliance
Scotland. f
Mirando a in Florence.
to the Crown,
ass-¿ë l " "
reaction.,
the begin“
with the l

ŕ
г,’
l
3.1131363111
l, 145 5-1485. Cessation
of all Creative А rt in England-
Destruction of the Old Nobility.
„Í _
Death f William of Wykeharu,
The Wolsey of Edward
e greatest of English
мыт—тешат of
The B'ttle of Agin Court, 1415.
The Eiglish Supremacy in
Franceldestroyed by Joan of
Henryl AI., 1422-1461. ._


_The accession of Henry VII.,
(1455-1509) the last M вставила
King. Closes the period of
Baronial Wars, establishes the
Tudor dynasty and panes the way
l,tor the fall Renaissance in
England.|
к!
I'
j
Henry. (IIL, 1509. Beginning
of the El lish Renaissance.
The
Field of 'he Cloth of Gold, 1520.
Battle of Flodden, 1513. Defeat
_ ane агат; of Э'лит IV., his '
ith France marks the
injlnence of French Art in
The Aétlof Supremacy, 1854.
Beheadal of Sir Thomas More.
With hint perish the hopes of the
earlier and greater Renaissance in
England J,‘ c.p. that о)‘ Lorenzo the
M штата and Pico della '
Complete
subservience ofthe English Church
lto] the Gothic period in
Благим and {мигнули the Age
ofEliza' шиш domestic and


Edwari)I VI., 1 547-1 5 5 3.
|
l
1}
E
l
'_I
.
l
Mary, 1,;53-1558. Spanish
{плитам England and Cath clic
Accessith of Elizabeth, 1558.
The Desll'ruction of the Spanish
A11-math? 588, by the` English
and Du г1:1. Marks the break of
the 'Spar ,Ih штатив? т Europe.
The ЕЩЁ: Indian Company,
chartered by Elizabeth. Marks
gag ofthe English trade
ast.
The Accission of james I.,
1603. Marks the Close ofthe
English Renaissance period.
Y161,4,._reverts to the
Brunelleschi, going
with Donatello `to
Rome, 1401, aban-
dons sculpture for
architecture.
The new works on
the Ducal Palace,
Venice, 1424-61.`
The Cathedral of
Milan and the Cer-
tosa of Pavia com-
menced by the­
Visconti. .
Annex de Fernach
and Heinrich von
Gmunden, German
sculptors work on
Milan Cathedral.
Brunelleschi builds
the Duomo of
Florence, 14,20.
First period of Italian
Renaissance Archi-
tecture.
Alberti, 1405-1472
(the Rucellai Palace,
Florence) and the
earlier palace
builders of Italy,
Micaelozzo, -­ e
Benedetto da
Majano, Е. de A.
Sangallo, Antonio
Filarete, 8:0.
___-_»
King’s College
Chapel, Cambridge
_begun by Henry VI.
1446-continued
under Henry VII.
Gloucester Cathe-
dral. Fan Vaulting,
1450, St. George's
Chapel, Windsor.
Haddon Hall in
Derbyshire. The
moated grange of
Ightam in Kent.
.Marks Transition
from Baron's Castle
to N obles’ Palace.
Henry VII.’s
Chapel at Westmin-
ster, founded 1503. '
English Gothic.
Wolsey's work at
Christ Church,
Oxford - also his
palace at Hampton
Court.
Foundation Stone of
St. Peter’s (Rome),
on Bramantes plan of
a Greek cross, laid by
Julius II., 1506.
English Perpen-
dioular Kings
College Chapel,
Cambridge.
Second period of
Italian Renaissance
А rehitecture.
Raphael, Giulio
Romano, Pal Del Te
Mantua, Baldassare
Peruzzi, Goorgio
Varsari, jacopo,
Sansovino, and the
second group of
Italian palace
builders.
The German Gothic
Chuŕches, Lubeck,
&c., completed about
end of 16th century.
G. Sangallo and
Raphael, under Leo
X., alter Bramantes
design for St. Peter's,
Latin cross, after this
Baldassare, Perruzzi,
Ant. Sangallo make
further alterations.
1535--M. Angelo
works on St.
Peter‘s-­-reverts to
Bramantes design
ч but remodels the
Dome. (Subse-
quently Madermo,
‘ 1510.
Ghiberti, 1378-
14 55, and the
introduction of
.perspective into
Sculpture.
jacomo della
Querce., 1374-
1438, works at
LuccaBologna
and Siena.
The School of
Ghiberti,
Michaelozzo,
Averulîno,
Рона] 11010.
Donatello, 1386-
1466, the ‘ ap-
prehension of
character in
Sculpture ’ the
dancing chil-
dren on the
pulpit of Prato,
Iesa»--- @-
English Gothic
Tomb of Henry
V. at West-
minster, 1430.
The school of
Donatello,
Nanni di Banco,
Desid da
Settignano, the
Rossellini, &с.
Duccio and the
Oratorio San
Bernardino
Perugia, 1467,
marble and
coloured terra
cotta.
Verrochio,
works at
Florence, 1435-'
1488.
Leopardi,
works at
Venice, 14 88.
Mino de
Fessolé, 1431-
1484, works at
Florence.
Sansovino, 1460
1529, goes to
Portugal, 1491-
1510, marks
translation from
the earlier to the
full Renaissance
sculpture.
Michael
Angelos
Pieta in St.
Peters begun
1496. .
The David,
1501-4.
Solari, works at
Milan, about
Michael
Angelos, Moses
the Tragedy of
the Tombs.








METAL woRR POT'I'ERY . TAPESTRY
AND GOLDSMITHS JEÉENIÍÍEÍND MODE Ä "o AND ARMoUR AND CLOCK WEAvING AND
WORK. ‘ MAJtpICA. EQUIFMENTS. MAKING. STUFFS.
lì?"- ‘
f ,l f
, Reviv4lo
Ghiberti wins the Maro Fini- pottery'hrough
Èompetiltgiontfottl the gqueïlra the Spain-2r 551511710—
le 1401 ' Malaga, ’ Tapestries of
' М ­ Flanders,
Vïfeïäi' It. ‘Arazziß
introduit into come under
Brunelleschi and \ Вагу-131101631: the .Italian
Donatello Work as Pisan Vars. mñuence early
Goldsmiths in A 15th Century’
Rome. =;Í_
_ Jacque] 1e
ВРП'ЮШСР Haina l. 1400-
(Эк-шабаш, 1435I f d the
The Baptistry ,1449- 1497: Leyden
Gates Florence, .leVYeuer and Potteri The Great
‘ The Gates of Palmer at 2 ' 'Ti period of plate
Регтайм,’ set up Floïfence' » " - armour
1424. ' ЁПЁЁЁС & commences.
o 1a,..1400­ N .B.-Soon
1481. lJdelled after the jlrst ¿giet-¿yg?
William Shore-
Zlaalêga'mihî IGsiîeiplnInder Nuremberg’
‘Goldsmith of ­ 'vetriataj in- l Peters Hele'
London, husband о] vented-` .4o. 1500’
)lane Shore. ‚ 1- ’
Verrochio, ïîîkgil' ¿1010
The Dindanerie or штаны. and tablisih f'by
t 1 _k f paInter, works th М
mâiâayoî 0 "дн _at Florence, e е C1 __ __ _ ___________ ____ _ L ММ“ ____
" ' ц" " " гнутой: d I. ' _, ` Ш” Ы
eruglno an ­. Da Vinci his gâlìlïli s ­
The Great Silver pup'ls’ angl 312135-
altar of the Floren- painter ,lof
tine Baptistry, 1366- Nuremblrg,
1477, on which work 1441-1
F iniguerra, Ghi- т‘
berti, Pollajuolo, Micaelozzo, Georg A dreoli Fran ois L
gâïîllêcpheaker) Armou fers Works at 1
. ° ' ,Fontaiub eau
_ The Manteg- GlJbblO “ЖОПЕ, ârîzáââsoŕulld large Work ,
dll/¿itl? ëìîllëëlçls 0f azëtagalëîhçûn- about I4 5- тетрод-гама “107511511 one
s Iron ne е w1 r ­ _
come into vogue. Certosa, 1473. . 1463" piece
. Franpes Henry VIII.
Xantp W` rkS at wears a small
T . . t glrbl ‚О: IF t 8-day watch.
orrIgIano goes O aInIInIO- on - '
England and makes ana at Fl'orence,
the tomb of Henry guido Sel-
VII., 1512, and the vaggio, alt
Lady Margaret F stenza.'i
Nicolo Grossi,
Florentine Iron
Worker, чиж-1:5 for
Lorenzo de Medici.
Quentin Mazzys,
works at Antwerp,
15th century.
Durers father, a
Hungarian Gold-
smith, settles in
Nurrenberg, 1502.
Marcone the gold-
smith. Cellini's
M aster in Florence.
Cellini goes to ‘
France and works
for F ranggjs I. at
Fontainbleau, ' the
Neneh.' 1543.
‚ The bronze tombs
of Innsbruck, 1521.
Cellinifs Perseus at
Florence, 1547.
The French Gold-
smiths, middle and
end of 15th century,
mainly the Parisian
Schools, Loris, the
Hersauts, _)ehan
Gallant, Henri, &с.

“ЬПНЁЗ'ЪЬН'ЁЁЁЭДЁЁЁ-
]аеп Goujon Pierre-
Lescot in France
and the Palaces of
Blois, Chambord,
Fontainbleau, &с.
The Civic Buildings
of Flanders, Town
I-Iall, Antwerp,
Guild Houses,
nVllolsey builds
Hampton Court
Palace.
John Thorpe in'
England and the
Elizabethan Palaces,
Montacute, Burleigh,
Audley End,
Hatfield, Hardwick.
Du Cerceau. Archi-
tect to Henri IV.
'Third period of
Italian Renaissance
Architecture I „Лиепае ‘
on Inigo _5l-'ones and
Wren of “ рамами ‚
А rilanciare "
Andrea Palladio,_
1518-1580 (Pal del
Ragione, Vicenza),
Vignola, Alessi,
Ammanati,
Scamozzi.
Inigo jones, born
1572. “ The English
Штатив," appren-
ticed to a joiner,
afterwards becomes
“ Architectonicus
Professor ” at the
Court of jfames I., the
and the “имевшее!
plans.
- for Louis XII.
Palace of Whitehall. '
,_. ‚дн‘: \.—-- ._ гни-‘ч
‚и‘ дг-в .JJ-v - .---— .- -_ __ _
ч ­ -.--­­­-\._ __'.
OmOdea, 1447-
1520, works at
Pavia and
Milan.
The Lombardi,
work at Venice,
about 1498.
­)een Juste
makes the tomb
and Anne of
Bretagne at
Tours.
Michael Angelo
and the Medici
Chapel, 1534. f
Bandinelliîs
Colossal
Hercules begun
1534, finished
by Ammanati,
1571, decadence.
Michael
Columbo makes
the tomb for
François II.
,at Nantes.
F rangois
Marchand at
Chartres.



__-v ._ ...1 ,__,_,_ г _
_ ._ __‚_Ш„‚ _ _,¢f\_»_«„___"‘vb­r­v,­­'... a _ ­. 1..
_ _ ___-m“ „__
a ‚Дн—найти
„- „__-_M_
The German metal-q
workers and gold-
smiths of the 16th
century, mainly of
Nuremburg and
Augsburg, Silber,
“Тесты, Virgil
Solis (the engraver) ­
Daniel Mignot, Paul
Vlin'dt, “Темны `
]ашп1’сгеп. The
painters Martin
Schön and Israel
Von Mecken, design
for plate.
The Spanish Gold-
smiths of the 16th
century, Ralph
Ximenis, 1537. '
Antonio de Valdes,
1537, Francesco
Vida, 1561, Narciso.
Valla, 1575, Juan
Pau, 1586, and the
d’Arfe family
(Germans. Finest
instance c Spanish
work, the bronze
Candelabrum at
Seville Bart, Morel,
1562.
The Bronze Gates
of Pisa Cathedral,
I595-
Peter Paterson,
Goldsmith of
Elizabeth.
English Elizabethan
Cast -iron Stove
backs.
263560
Francia the
painter designs
for medals, he
is master of the
Mint at
Bologna till
1517.
Etienne
Delaulne, &c.,
jeweller and
engraver.
Leonard de
Limousin, Fr.,
enameller and
painter, works
at Limoges un-
der Francois I.
Rosso and
Primaticcio
paint for the
Limoges works.
Sperandio the n
Medalist, works
at Mantua,
газ—шипит: '..jf l'
Benvento
Cellinio work at
Rome, 1527,
Madonna
Porzia’s neck-
lace, Pope's
cope button
medallions
worked with the
graver.
Leone Lioni,
jeweller and
sculpture,
knighted by
Charles, V.
Caradosso of
Milan the skilful
embosser (Cellini)
medal cutter and
тати”.

. appear о

ll'
‘l
The Bea'uvais
(Savigniies)
Potteries
developld
middle la'ucgld end
of 15th cpntury.
Wolsey imports
greemDelft
tiles for Christ-
Chur :h and
Hampton Court
V*- `
т 17
The Nurem-
berg potteries
much in;
fluen'ccd ,by
Italiins, 11520.
т
l I
сигар et
Savino 'f
Castel lîurante
goestî'A twerp
‘i
The`s`ltoves of
Ii-Ianslír'aut of '
Villige'n d
the Swajan
Potteries', about
1536. '4 г
Огагйо‘Еощапа
the Raphael of
M ajoliat lworks
at Gubbio, 1540
1560, ‘дарит
ware perfected.
Raphiel and _
desigrih
Lanfrjtnço of
Разгар, _intents
the application of
Gold to Pottery,
_)ulio'Romans `
' o it. _


S
21580. "i,
maitre Bernard
des Thuileries
(i.e:,‘ the lotteries)
disco vers his'
enamel alSaintes,
1560, pr' дат ‘
injluenceêl'by `
Hirsch eigel-
he dies ih the `
Bastillefa 589,
for Protellantism;
|'I
11
1
'|
MelchiriirTatze
the Saxon pot-
ter, makers 0f
the pulp'tt of
Strecla, 311565.
Dutch рвёт:
drieen an. 1y by
the Spain (h
wars, sett e in
à¿1590.

England,
Důrers prints
re-engraved by
Marc Antonio,
I
Urbino p шагу.
l,
Bellarn'liirgeŕ or
grey beardtpots
come to щ
England l)

Staffordshire
potteriesl
developed..
about 1€ Il.
‘ Butter pots,i
‘ Tygs,’ led-,ell
glazing. ' :l
The Spaniards
perfeót armour
and armour
design
The Toledo
blade. `
The i petrina' orx
musket of the
breast
‘invented
middle 16th
century.
Pistols or
‘ pistolets ' of
Pistoja ditto.


. prominence-__
I
_ ,__-,_ -­_ —_-,. -. _..-
The great
clock at
Strassburg
made 1573.
_The English
and Swiss
Clock makers
of the end of
the 16th cent.
come into
Nic. Lippius of
Basle makes
the clock 0f
St. jaen of
Lyons, 1598.

Primaticio
tapestry
designing for
Francois I.
“wl-,_ ,-h- -""'
Henry II. starts
the works at
the Hospital
de la Trinité,
near Paris.
Miolard,
Pasquier,
Dubourg,
Laurent, work
at the French
‘ gobe1in,’
middle of 16th
century.

CABINET
MAKING,
FURNITURE
AND INLAY.
‚ .. г
ŕl
`|
|
I
l .
PRINTING, BOOKS, BINDING. _
Висим/‘ша IN
WooD AND
' METAL.

Paolo ucello
1397-1475
leaves Cabinet-
making and
takes to
-I painting.
Benedetto and
Gulio da
Majano, _
1432-1490,
bring Intarsia
work to
perfection.
The bros. ­)11ste
French
Sculptured
wood cabinets.
Influence of
sculpture _
through jaen
Goujon and
Germain Pilon.
The German
Cabinet makers
of Nuremberg
and Augsberg
perfect the
application of
gems and inlay
to furniture.
Screen and
Wood work in
King's College
Chapel, '
Cambridge.
Period of Anne
Boleyn. Italian
workmen, 1534-
1536.
The French
Cabinet makers
' menuisiers ’
workers in little
‘ menus objects.’
The two great
schools of
Lyons aud
Paris-Jean
Rohan and
Philibert de
L. Orme.
Francisco
Sibecg of Carpi.
settles in
France, 1546.
Jehan Caboche.
Jehan Moreau,
Pierre
Coussinault,
1549.
English
Elizabethan
furniture.
Du Cerceau,
the architect 0f
Henry IV.
influences
French
`Cabinet
making.

l’
t?
|
l
-Use of moveable types.
Faust, Schoefîer at Maintz.
serve as imitation to MSS.
burg); Zell (Cologne):
German printers in Rome,
Sweynheym, Panarts, Hahn,
­lerrsen. In Florence, 1471. -
l.
1
lj
leathers, vellum and tooling ald
silk and velvet bindings of the
Renaissance. Middle of 15th cent
)1.,
l
1477, “Printers Chapel.” í'
over Europe.
had cast his own type.
l
_ l,
` l
1496-1527; The Winchels (Pa 's'
Frankfort), 1530-1572;
Plantin (Antwerp), 1554-15895l >
1580-1680; Josse Bade (Paris)\
1535; The Estiennes (Paris),‘ I
1598; Salviati (Florence) 1490.
l.

First edition of More's Utopia, |I
printed in Paris. '
l. .J'I
\
l'
l
l
Frobens press.` at Basle. -
l;ì
,__Fn .-
The Italian book collectors-unipi;
century, Rome.
Grolier (Military) Treasurer of
Francois I) Italian inßuence.
in Germany.
Г.
k
erg,
1424. the
­first printed date. The Indulgence oJLPope
Nicholas V. Printing still intend'pd t0
I,
l
The early German, Flemish and Dutch
printers-Mentelin, Eggestein (“Таза-
К01 _rger
(Nurenberg); Ketelaer, De Llp
.mpi
( Utrecht); Veldener, Leen, johan of
Westphalia (Louvain and Utrechf) ‘
' `5111115.
In Venice, 1419--the Spires, V4ldafer,
The mediaeval, massive and delayed,
bookbinding gives place, to воющей
the
. early
ury.
Caxton prints in Westminster Abbey,
The year 1477 marks the spread ожидает
Up to this time each ‘printer
With the great demand for bookslht the
beginning of the 16th century begins the
decline of printing, except among the great
printers of the second period, as
Aldus (Venice), 1490-1597; Amtrbach
(Basle), 1492-1516; Froben (Basle),
and
Chri opher
The
Elzevirs (Leyden and Amst "dam),
1495-
502-
515-
Schureriu's prints at Strassburg, the 1st
edition of Erasmus’ Praise of Fotki/,1511.
I-(olbein's
Colophons designed for. ` I
‘ Block printing or xylography gradu-
ally developed from hand impreisions
and the writing of M.S.S. End of the
14th and beginning of the 15th century.
German and Flemish block book i'.
k
The printers of the early or first period
Guttet'b `
GLASS
PAINTING.
PAINTING.
' Early German
Wood Engrav-
ings. Martin
Schongauer d.
1488, whose
" Temptations
of St, Anthony"
inyluences the
early work of
Michael Angelo.
The Hypnero
-tomachia,
Venice, 1490,
characteristic of
design in Wood-
cut.



Durer visits
Italy and
influences
Italian engra-
ving. ­
The art of
engraving in
metal begins
` with Maso
,pictures of Work-
Finiguerras
niello impress-
Ions.
The lower
Rehnish and
High German
. Schools of
Engraving.
Martin Schon-
gauer d. 1488.
Veit Stoss, the
sculptor,
1437 (Pl-1533-
Lucas Van
Leyden, 1494-
1533- '
Jost -Amman's
Stambuch and
shop interiors.
German.
Highwater
mark of Italian
engraving
Mark Antonio
1530-60.
ment of engrav-
., датах—„тын
‘_ Dürer-.wmf .- ` »î-
»Inman-_And
_ i Aldegr'ever
_ons
of binding.' The Majioli of Flortpcei-Í
Demetrio Canevari (Mecenate)§_-1_6_th~
. ]е1‘опуп1и5
АпйгЁеае‘апд ­
theengravers
.who worked
under1 them.
Engraving in
Germany is the
_ I.leading 'Art and
“ дине: the place of
ï" [mural decoration
The binders of Francois Lathe colêhîcfoŕí,
„in-Italy. Durers
L'P'a`ssi01_1s, the "
' Melancholie-
_`The Life of the
' A `­Virgin-»The
I
.4“
John Reynes binds for Henry ъ _
Scots and james VI.

Block and Stamped binding develiopéd
Le Petit Bernard designs ,foil ,the
bindings of Diane de Poictiers. .
John Gibson, the Edinburgh Bilder,
and the Library of Mary Qup4n__of
_ 1Triumph of
Maximillian-
Death and the
Knight, 8:0.
Virgil Solis,
sengraver on
wood and
copper, Nuren-
berg.
The littl'e
Inasters--Pentz
_the Behams,
&c.

Great develop-
The Venetain
glass of the
15th century,
based on the
Byzantine
methods.
Classic tradition.
The English
stained glass
travelling
workmen.
Flemish and
German `
influence.

The stained
glass windows
of Fairford
Church,
Gloucestershire
1490, and King’s
College, Cam-
ь bridge, 1526.
English work-
manship, with
Flemish and
German шлите:
(Durer).
The Venetians
re-discover '
‚ filagree glass-
гашиша—-
beginning of
16th century.
The Hirsch-
vögels paint the
Markgraf and
Maxmillian
windows in
Nuremburg.
1514-1527.
/
The German
glass engravers
of the 16th
century.
Heraldic Tan-
kards, бас.
Holbeins' .
designs for
glass.

The mediaeval period of painting (in
Italy). Closes in 1400. (Cimabue
Orcagna Giotto, бус.) Frescoed Theology.
Cultus of St. Francis of А ssisi. Mysticism.
The Dutch and Flemish Schools first
period. Transition from Gothic. The
Van Eycks, 1366-1440, develope the
methods of oil painting and {плати
Italian Art. Hugo Van der Goes d.
1482 ; Roger Van der Weyden d. 1464 ;
Dirk Bouts, d. 1475; Memling d. 1495.
The first or early renaissance period in
Italy, 1400 to 1470, and characterised
by realism as opposed to mysticism. The
experimenting in new processes. Better
technique. The human form. Рот/идти
Initiative landscape and architecture. Mas-_
saccio, 1402-1429. P. Ucello, 1397-
147 5. Perspective : The Pollajuoli, 1429-
1498. P. della Francesca, 1420? 1506?
Squarcione, 1394-1474. G. da Fab-
siano, 1370 ?-145o? Fra Angelico; 1387- .
1455 (perfected). (Christian expression.)
Benozzo Gozzoli, 1420-1498.- Fra F.
Lippi, 1412 ?-1469. Filippino Lippi,
1457-1504. Botticelli, 1447-1510. (Story,
line and colour.) Picro di Cosimo, 1462-
1521 i’ Ghirlandajo, 1449-1498.
The miniature painters and illumina-
tion of books of the 15th c. (Gerard
Horenbout, &с.
The French Schools. _lean Foucquet
of Tours, d. 1480?
The German Schools. First period.
Steffan of Cologne, d. 1451. Martin
Schongauer, d. 1488. Holbein, the
Elder, 1460-1524; Wolgemuth, 1434-
1519.
The second Italian period, Mantegna,
1431-1506. Roman inspiration. Purity of
style. Signorelli, 1441?-1523. Anatomic
grasp-the forerunner of Michael Angelo.
Perugino, 1446-1524. The master of
Raphael. Pinturicchio, 1454-1513;
Francia, 1450-1517; Fra Bartolomeo,
1475-1517 ; Mariotto Albertinelli, 1474-
1515.\ With these and partly expres-
sive of the first period, may be taken
the early Venetians. The Bellini.
Carpaccio, d', 1520? ' _
The Dutchl 'and'. ’Fllèlïllìsligg's
Second. period-under, .: Паёшцд'дёплйёсд
Quentin ­ Massey’s; _. 1459 Í.=?-._1_`_53t.j.~îf_;ëì§l
Orle'y, 1466-1541";U '-Mabnseî11470ë§154ïfïq§
jean Clouet, d.- 15411;` 'Court 'painter-Sho;
Francois I. APortraits-Lucas den. 1494-1533; jan V.~Scorel, 1495-1
1562; _Ian Swart, 1469-1535. ' ъ Í'
The German Schools. Second period-
under Italian influence and also the Refor-
mation. Hans Burkmayr, 1473-1531 ;
Holbein, 1497-1530; Durer, 1471-1528 ;
Cranach, 1472-1553; The Behams,
T500-1540? Schaüflein, d. 1539; Репа,
d. 1550; Grunewald, about 1470 to
1530 ; Balduug, 1476-1545 ; Schafïner,
f. abt. 1520; Aldegrever, 1502-1556?
Third period of Italian painting-the
golden age. Lionardo da Vinci, 1452-
1519; Raphael, 1483-1520; Corregio,
1494-1534: Michael Angelo, 1475-
1564. Y‘With these and partly express-
ive of the recond may be taken the
later Venetians :-­-perfect colour. The
later Bellini, Titian, 1477-1576. Vero-
nese, 1530-66. Tintorretro, 1512-94;
Giorgione, 1471-1511.
i
The pupils of the Golden age in Italy-
as seen in Rome; Milan-Ferrara ;
Gaudenzio Ferrari, 1484-1549 (Milan) ;
Giulio Romano, 1499-1546 ; Рейне del
Vaga, 1499-1547 ; at Rome. Andrea
del Sarto, 1487-1531 ; Sebastian del
Piombo, 1483-1547; Parmigiano, 1504-
1540; Bronzino, 1502-1572; Il Sodoma,
1477-1549 ; Dan. da Volterra, 1509-
Peruzzi, I1481-1536.

Cermona; Brescia Luini, 1460-1530; ’
1566; Moroni, 1910-1578; Baldassare
Published by ¿he Guild ё School of Handicraft,
Essex House, Mz'le End Road, London.