From Giotto to Botticelli: The Artistic Patronage of the Humiliati in Florence by Julia I. Miller and Laurie Taylor-Mitchell

Famed for his collection of drawings of naturalia and his thoughts on the relationship between painting and natural knowledge, it now appears that the Bolognese naturalist Ulisse Aldrovandi (1522–1605) also pondered specifically color and pigments, compiling not only lists and diagrams of color terms but also a full-length unpublished manuscript entitled De coloribus or Trattato dei colori. Introducing these writings for the first time, this article portrays a scholar not so much interested in the materiality of pigment production, as in the cultural history of hues. It argues that these writings constituted an effort to build a language of color, in the sense both of a standard nomenclature of hues and of a lexicon, a dictionary of their denotations and connotations as documented in the literature of ancients and moderns. This language would serve the naturalist in his artistic patronage and his natural historical studies, where color was considered one of the most reliable signs for the correct identification of specimens, and a guarantee of accuracy in their illustration. Far from being an exception, Aldrovandi’s ‘color sensibility’ spoke of that of his university-educated nature-loving peers. 

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LUXURY CONSUMPTION, CULTURAL POLITICS, AND THE CAREER OF THE EARL OF ARLINGTON, 1660–1685

The Historical Journal ◽

10.1017/s0018246x0900747x ◽

2009 ◽

Vol 52 (2) ◽

pp. 295-317 ◽

Cited By ~ 1

Author(s):

HELEN JACOBSEN

Keyword(s):

Political Identity ◽

Cultural Practice ◽

Foreign Affairs ◽

Material Consumption ◽

Secretary Of State ◽

The Arts ◽

Close Relationship ◽

Charles Ii ◽

Artistic Patronage ◽

Cultural World

ABSTRACTHenry Bennet, earl of Arlington, is a neglected statesman. A sometime diplomat, he was Charles II's longest-serving secretary of state, held the highest household office for ten years, and married his daughter to a royal bastard. It is, however, his artistic patronage that has most conspicuously been overlooked and, consequently, its political significance underestimated. Informed by his experiences abroad, he appreciated the power of the arts to influence and impress and used the cultural mediation of the English diplomatic network in his control to help skilfully fashion his domestic political identity. Through judicious display of architecture, paintings, sculpture, and furniture, Arlington created a cultural world that confirmed both his close relationship with Charles II and his dominance of foreign affairs. Even after he resigned as secretary of state in 1674, Arlington continued to deploy artistic patronage for political ends: as lord chamberlain, he controlled the largest government department and was formally responsible for fashioning the royal image. This article reconsiders Arlington's contributions as a statesman through his considered use of material consumption and artistic patronage and thereby illuminates corners of cultural practice which are situated firmly in the political sphere.

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