Academic literature on the topic 'Venetian painter'
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Journal articles on the topic "Venetian painter"
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Hilje, Emil. "Matrikula bratovštine Gospe od Umiljenja i Sv. Ivana Krstitelja u Znanstvenoj knjižnici u Zadru." Ars Adriatica, no. 2 (January 1, 2012): 97. http://dx.doi.org/10.15291/ars.442.
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The Mariegola of Our Lady of Tenderness and St John the Baptist and St John the Baptist (Mariegola della B. V. d’Umiltà e di S. Giovanni Battista del Tempi in Venetia) was obtained at Venice in the mid-nineteenth century by Aleksandar Paravia. The Paravia Library was bequeathed to the Research Library at Zadar, where this work is kept today. It is a codex manuscript containing three painted miniatures and a large number of decorated initials. It is akin to similar mariegole of various Venetian confraternities from the second half of the fourteenth century. However, it happens that this codex has not received equal attention in the scholarly literature as those preserved at Venice itself or in well-known international collections, and, as a consequence, the artistic quality of the miniatures and their place in the framework of the heritage of Venetian Gothic illumination has been neglected. Most publications focusing on Venetian Gothic painting, even those addressing specific themes in Gothic illumination, mostly mention the Zadar codex only in passing, while others omit it completely. With regard to the dates recorded in the mariegola text, it is possible to accept the dating of the manuscript to the last quarter of the fourteenth century, a date which is in harmony with the miniatures’ pictorial features. They reflect, in essence, a characteristic milieu of Venetian painting after Paolo Veneziano, in particular the painting circle of Paolo’s most significant follower, Lorenzo Veneziano. In that context, one can observe points of contact with the oeuvre of the Venetian painter Meneghello di Giovanni de Canali, who spent most of his career at Zadar, and it can be suggested that the miniatures may be related to his activity at Venice before coming to Zadar.However, in the mariegola itself, the lists of confraternity members record the names of several painters (Antonio de Cristofalo, Antonio, Jachomo, Marcho de Lorenzo, Nicholo de Domenego, Piero) some of whom have remained completely unknown until now, while others might be tentatively linked to the previously known names. Nonetheless, the very fact that as many as six painters were among the members of the confraternity points to the possibility that the creator of the miniatures might be one of them. At the same time, the name of the painter Piero de S. Lion is particularly intriguing as he might be identified with Pietro di Nicolò, Lorenzo Veneziano’s brother, and the name of the painter Marco de Lorenzo is also interesting as he may have been a son of the well-known painter.
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Garton, John. "Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus*." Renaissance Quarterly 65, no. 3 (2012): 753–808. http://dx.doi.org/10.1086/668301.
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AbstractDespite the prominent career of Paolo (Caliari) Veronese (1528–88), much remains to be discovered about his patrons and peers. Several letters written by the artist are presented here for the first time, and their recipient is identified as the humanist Marcantonio Gandino. The letters reference artworks, visitors to Veronese’s studio, and economic data pertaining to the painter. Analyzing the correspondence from a variety of methodological viewpoints reveals how Veronese fulfilled commissions, interacted with nobility, and invested his painterly profits in land on the Venetian terraferma. In addition to promoting Veronese’s career and advising on financial matters, Gandino translated Plutarch and Xenophon, whose texts share classical subjects and content with Veronese’s paintings. The comparison of texts and images leaves open the possibility of an exchange between the writer and painter concerning matters of classical motifs.
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Olin, Martin. "Tessinarna i Venedig." Sjuttonhundratal 6 (October 1, 2009): 7. http://dx.doi.org/10.7557/4.2757.
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<p>The Tessins in Venice</p><p>Foreign royalty and other travelers visiting Venice in the early eighteenth century encountered a flourishing of the arts. This vibrant artistic life could be transposed to new settings, as a number of Venetian painters worked for courts north of the Alps. When the statesman and <em>connoisseur</em> Carl Gustaf Tessin, Swedish Ambassador to Vienna, visited Venice in 1736, it was with the intention of hiring a decorative painter for the new royal palace in Stockholm. His first choice was Giovanni Battista Tiepolo, but his services proved to be too costly for the Swedes. Tessin did, however, buy art works, among them easel paintings by Tiepolo, Giuseppe Nogari and Francesco Zuccarelli. Anton Maria Zanetti helped Tessin survey the artistic landscape of his city and later became his agent. Carl Gustaf Tessin was not the first Tessin in Venice. His father and grandfather had also visited and documented Venetian architecture in drawings and notes. Marble floors in Venetian buildings left such a lasting impression on Nicodemus Tessin the Elder that he incorporated their patterns in his floor designs for Drottningholm Palace. In his travel notes from 1688, Nicodemus Tessin the Younger is critical of Venetian architecture, but writes enthusiastically about the city’s theatre and civic life.</p>
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Tomić, Radoslav. "Slikar Filippo Naldi (II)." Ars Adriatica, no. 2 (January 1, 2012): 217. http://dx.doi.org/10.15291/ars.450.
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According to his own testimony, the painter Filippo Naldi was of Florentine origin. He lived and worked in Dalmatia in the mid-eighteenth century while serving in the Venetian army. He was mentioned in records as a port manager at Opuzen. In the wider Dalmatian area, Naldi painted a large number of religious works and several portraits. This paper attributes to him seven paintings in churches situated in the Dalmatian hinterland and the region of Poljica (at Zavojane near Vrgorac, Dobranje near Imotski, Kostanje at Poljica, Čaporice near Trilj and in the Franciscan monastery at Sinj). The author analyzes the characteristics of Naldi’s painting and his significance in eighteenth-century Dalmatian art and society.
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Cvetnić, Sanja, and Zoraida Demori Staničić. "Prijedlog za Jacopa Amigonija (Bogorodica s Djetetem) na Visovcu." Ars Adriatica 8, no. 1 (2018): 153–62. http://dx.doi.org/10.15291/ars.2759.
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The painting Madonna and Child on the island of Visovac is comparable to the paintings produced by Jacopo Amigoni in the early 1740s, at the time when he stayed in Venice and probably established a workshop. The article explains the reasons for a preliminary attribution of this painting to the prominent painter of the Venetian and European Settecento, and its significance for the Franciscan artistic heritage in Dalmatia.
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Zivkovic, Valentina. "The sixteenth-century altar painting of the Cattaran (Kotor) fraternity of leather-makers." Balcanica, no. 40 (2009): 75–84. http://dx.doi.org/10.2298/balc0940075z.
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The altar painting that the Cattaran Fraternity of Leather-makers commissioned from the Venetian painter Girolamo da Santa Croce in the first half of the sixteenth century contains the images of Sts Bartholomew, George and Antoninus. The presence of the first two saints is looked at from the perspective of a long-established religious tradition, while the reasons for depicting the archbishop Antoninus giving alms to the poor appear to reside in the then prevailing religious policy and the local social situation.
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Vellodi, Kamini. "Tintoretto: Cosmic Artisan." Deleuze and Guattari Studies 13, no. 2 (2019): 207–39. http://dx.doi.org/10.3366/dlgs.2019.0353.
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The works of the sixteenth-century Venetian painter Jacopo Tintoretto (1518–94) present us with a radicalised idea of the cosmos that challenges both the humanist centring of the world on man and the hierarchy of divine authority that dominate the artistic traditions to which he is heir. In their place, Tintoretto confronts us with a ‘machinic’ staging of forces in which man, nature, religious figure and artificial element are integrated within an extended material plane. With this pictorial immanence, Tintoretto presents a ‘cosmic materialism’ unprecedented in Venetian painting. In this, his work gives provocative expression to Deleuze and Guattari's ontology of the artwork as ‘cosmic’ construction, and to their conception of the artist as ‘cosmic artisan’. Via readings of the art historical reception of Tintoretto's work by the art historian Arnold Hauser (1892–1978), and the artistic reception of Tintoretto's work by Paul Cézanne, I explore this expression, and attend to questions of modernity, temporality and art history as they are inflected in Deleuze and Guattari's thought.
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Meijer, Bert W. "Over Jan van Scorel in Venetië en het vroege werk van Lambert Sustris." Oud Holland - Quarterly for Dutch Art History 106, no. 1 (1992): 1–19. http://dx.doi.org/10.1163/187501792x00127.
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AbstractThe information we have about Jan van Scorel's presence, work and contacts in Venice around 1520-21 comes from Karel van Mander and a number of paintings, some of them dated. Of the van Scorel paintings in Venetian collections mentioned by Marcantonio Michiel, this article places the recently found Crossing of the Red Sea chronologically in the artist's 'Venetian' oeuvre. The painting is reminiscent of the triptych in Obervellach, dated 15 19. In terms of technique, colouring and figuration it is less dependent on Venetian painting than Tobias and the Angel in Düsseldorf, dated 1521. With regard to a number of compositional and iconographical elements, on the other hand, Scorel's Crossing seems to draw on Titian's large woodcut of the same subject. The Amsterdam painter Lambert Sustris went to Venice about fifteen years after van Scorel. In the 1540s he settled in Padua. Sustris is chiefly known for his portraits and for his landscapes with religious and mythological themes, some of which are of outstanding quality. They unite the northern and Venetian, notably Titian, traditions in a suggestive manner, often featuring antiquary and Raphaclesque elements. In this article new arguments are presented in favour of Peltzer's assumption that Sustris was a pupil of van Scorel's, probably around 1530. In that connection the Sermon of John the Baptist (Utrecht, Centraal Museum), formerly regarded as van Scorel's work and bearing a signature commencing with the letter L and otherwise illegible, is attributed here to Sustris. Sustris may also have designed two frieze-like prints with hunting representations, which exhibit Scorelian traits in the landscape and elsewhere. The powerful influences of classical art and Raphael on the figures and composition apparently stem from Sustris' sojourn in Rome. In view of the fact that these prints are clearly devoid of the 'venetianized' style on which Sustris embarked shortly before 1540, the artist's designs probably predate his move to the Venetian Republic.
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Vígh, Éva. "Az ut pictura poesis velencei mestere: Giovan Mario Verdizzotti és állatmeséi." Antikvitás & Reneszánsz, no. 1 (January 1, 2018): 113–36. http://dx.doi.org/10.14232/antikren.2018.1.113-136.
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The paper (The Venetian master of the ut pictura poesis: Giovan Mario Verdizzotti and his animal fables) is dedicated to a little-known author of the Italian Renaissance: Giovan Mario Verdizzotti, poet and painter, a pupil of Titian. His masterpiece (Cento favole morali / Hundred moral fables) belongs to the rich literature of the sixteenth-century fables, whose particularity lies in the fact that the illustrations were made by the author himself thus realizing in one person the principle of the Horatian ut pictura poesis. The paper analyzes some fables demonstrating the harmony between the story and the drawing, and at the same time compares the structure and style of his woodcuts with those of the collection of Faerno and Pavesi, declared sources of our author.
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Tulić, Damir. "Cristoforo Tasca i Giovanni Battista Augusti Pitteri: nepoznate slike i njihovi naručitelji na sjevernom Jadranu." Ars Adriatica 9 (February 28, 2020): 89–106. http://dx.doi.org/10.15291/ars.2926.
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In the first two decades of the 18th century, Cristoforo Tasca (Bergamo, 1661 – Venice, 1735) produced numerous artworks for Rijeka, Krk, and Karlobag. His oeuvre has now been complemented by a signed and dated altarpiece from 1725 at the main altar of the Collegiate, today a parish church in Rijeka. The author elucidates the complex circumstances behind the construction of the main marble altar and the role of its donators, the Orlando family, who created the altar iconography as directly related to the family’s patron saints. Based on the last will of Giovanni Michele Androcha from 1728, the presence of painter Cristoforo Tasca in Rijeka has been confirmed for the first time in a written document. A painting of the Annunciation, which originates from the former Benedictine monastery of St Rochus in Rijeka and is today preserved in the Benedictine monastery of San Daniele in Abano Terme near Padua, has been likewise attributed to Tasca. The second part of the article focuses on artworks that have been newly attributed to the Venetian painter Giovanni Battista Augusti Pitteri (Venice, between 1691 and 1695 – Zadar ?, after 1759 ?), who moved to Zadar around 1730 and left a major opus in Dalmatia. Before 1730, a large painting of the Baptism of Christ was made for the parish church of San Martino in Burano, attributable to Pitteri. Another artwork discussed in the article is the anonymous signed painting of the Virgin with the Child and Saints from the Franciscan Church of St Anne in Koper.
Dissertations / Theses on the topic "Venetian painter"
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Nichols, Thomas. "Tintoretto : the painter and his public." Thesis, University of East Anglia, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306263.
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Winterbottom, Susan. "Mantegna and Venetian painters c. 1440-1516." Thesis, Courtauld Institute of Art (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392096.
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Cottrell, Philip. "Bonifacio's enterprise : Bonifacio de'Pitati and Venetian painting." Thesis, University of St Andrews, 2001. http://hdl.handle.net/10023/2751.
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This dissertation takes the form of a chronologically arranged, biographical survey of the career of Bonifacio de' Pitati in the form of seven interconnected essays that address areas in which the artist's impact and contribution to Venetian painting is in need of definition. These chapters are in turn subordinate to a format that splits itself into the following three parts: Part One deals with Bonifacio the artist; his life, reputation and his early emergence from Palma's studio: In summarising the archival and critical heritage, Chapter One addresses the changing identity and reputation of the artist. Chapter Two investigates Bonifacio's early career and his sustained affiliation to his master, Palma Vecchio. Part Two provides an anatomy of Bonifacio's workshop and the key commissions upon which it was engaged: Chapter Three discusses Bonifacio's production of sacre conversazioni, while Chapter Four reconstructs Bonifacio's contribution to the decoration of the Palazzo dei Camerlenghi, the site of the Venetian Treasury. Chapter Five further investigates the artist's workshop production, his commercial identity and business strategy. Part Three deals with Bonifacio's artistic legacy and the influence he exerted over a number of disciples who flourished during his later years and after his death: Chapter Five analyses the evidence for Bonifacio's role in the early careers of Tintoretto and his contemporaries, while Chapter Seven addresses Bonifacio's late work, the unravelling of his enterprise and his relationship to his artistic descendants. A conclusion is provided, alongside a series of appendices which include a register of documents, an inventory of paintings originally in the Palazzo dei Camerlenghi and a discussion of Bonifacio's career as a portraitist.
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Yang, Jeongmu. "Giovanni Bellini : experience and experiment in Venetian painting, c. 1460-1516." Thesis, University College London (University of London), 1998. http://discovery.ucl.ac.uk/1318058/.
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Giovanni Bellini (b. 1435/40-d. 1516) has long been considered a dominant figure in the Venetian painting of the Early-High Renaissance, his main reputation being a colourist. The distinctive optical and technical characteristics of his work have drawn substantial scholarly attention in the present century, but the studies in this subject have not been developed as a coherent theory with regard to changes in painting technique in the fiftenth-century Italy. The purpose of this dissertation, therefore, is to investigate Bellini's choice and application of painting materials, attempting to establish links between the technical qualities and the formal values of his work. In the process of establishing Bellini's position with regard to the use of paint media and support, this thesis also provides a substantial overview of the use of canvas and of oil pain in the later fifteenth century. The study is encouraged by recent discoveries about Bellini's technique that have emerged from conservation of his paintings. As well as addressing published conservation results, the thesis includes new observations on four canvases attributed to Bellini's father Jacopo, and two Madonnas from Bellini's workshop scientifically examined at UCL Painting Analysis. In order to investigate Bellini's colour and handling of paint within a broader socio-economic milieu, this study deals with the commercial documents such as tariffs, government records, and merchant account books, indicating that Venice was the centre of the international colour trade and that Venetians were widely engaged with this trade. The resulting advantages of Venetian painters who were active at this commercial heart, and the question of how deeply the pragmatic experience of colours that Venetian merchants obtained from the trade penetrated their aesthetic taste will be discussed. Using both scientific and documentary analyses in combination with visual analysis which integrates these findings, this study examines Bellini's translation of the skills of tempera to oil pain and the stylistic changes that occurred with the extensive use of oil medium. It looks at how Bellini developed canvas as a support for mural painting and the technique he employed on such an unconventional support. It will also study the methods in which he established the predominance of colour as an element of composition at the early sixteenth century. In conclusion, it will argue that Bellini's increasing choice of canvas and corresponding use of oil on it changed the general concept of picture-making and became a new format of painting that was to exert a crucial influence on Cinquecento Venetian painting.
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Bartůšková, Alice. "Řehole a múzy. Bratři kapucíni ve službách umění na prahu českého baroka." Doctoral thesis, 2019. http://www.nusl.cz/ntk/nusl-434098.
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disertační práce v anglickém jazyce ALICE BARTŮŠKOVÁ MONASTIC RULES AND MUSES. THE CAPUCHIN FRIARS IN THE SERVICE OF THE ART IN EARLY BAROQUE BOHEMIA VEDOUCÍ PRÁCE: DOC. PHDR. MARTIN ZLATOHLÁVEK, PHD. Dissertation entitled Monastic rules and muses. The capuchin friars in the service of the art in early Baroque Bohemia set out for the purpose of research to the neglected theme of the Capuchin brothers - painters on the border between Mannerism and the Baroque era. This phenomenon in painting, which is not only characteristic for the order of the Capuchins, but also of other ecclesiastical orders, has never been more comprehensive. The Capuchin brother Paolo Piazza came to the Czech lands with first capuchin brothers; in his paintings he is inspired of the Venetian school of the 16th century. He was a versatile painter, he created not only painting on canvases, but also made wall paintings and his painting manuscript was not uniformly defined. Paolo Piazza worked in the capuchin monasteries in Prague and Brno during the reign of Rudolph II, for the emperor himself he created several artworks. Piazza's work has also been preserved in the engravings of the Sadeler family. Thanks to these engravings, several Piazza's compositions with a set iconographic type have spread to European fine arts. From the...
Books on the topic "Venetian painter"
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Stéphane, Loire, Małachowicz Hanna, Rottermund Andrzej, and Musée du Louvre, eds. Bernardo Bellotto: A Venetian painter in Warsaw. Musé́e du Louvre, 2004.
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Vasilakē, Maria. The painter Angelos and icon-painting in Venetian Crete. Ashgate, 2007.
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cent, Akotantos Angelos 15th, ed. The hand of Angelos: An icon painter in Venetian Crete. Lund Humphries, 2010.
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Boudewijn, Bakker, and Rijksmuseum (Netherlands), eds. Painters of Venice: The story of the Venetian 'veduta'. Rijksmuseum, 1990.
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1697-1768, Canaletto, ed. Canaletto and the Venetian vedutisti. Scala, 1995.
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Curzi, Valter. Pittura veneta nelle Marche. Cariverona, 2000.
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Maurer, Herbert. Venetia: Ein Vivarium der Malerei : 24 exotische Erzählungen. Gatza bei Eicborn, 1997.
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Wallert, Arie. From tempera to oil paint: Changes in Venetian painting, 1460-1560. Rijksmuseum Foundation, 1998.
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Wallert, Arie. From tempera to oil paint: Changes in Venetian painting, 1460-1560. Rijksmuseum-Stichting, 1998.
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Sylvia, Ferino Pagden, Anderson Jaynie, Berrie Barbara Hepburn, National Gallery of Art (U.S.), and Kunsthistorisches Museum Wien, eds. Bellini, Giorgione, Titian, and the Renaissance of Venetian painting. National Gallery of Art, 2006.
Book chapters on the topic "Venetian painter"
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Morelli, Laura. "L’esperienza formativa di Anton Domenico Gabbiani a Venezia. Disegni e dipinti inediti." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.08.
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This paper aims to cast new light on Anton Domenico Gabbiani’s first sojourn in Venice, which took place between 1678 and 1681, by following the two main biographies of the artist, written by Ignazio Enrico Hugford and Francesco Saverio Baldinucci, and by analysing new archival documents. Specific attention is given to the constant study of artworks by the great Venetian masters of the Sixteenth century, especially Titian, to whom Gabbiani devoted himself also in his later years, copying famous masterpieces of the Cadore painter. Through some unpublished drawings of the Uffizi and new or little-known paintings, the Venetian component of Gabbiani’s style is identified in the way of composing and in the execution of airy and light figures. The highlights and intense Venetian colorism contributed to the creation of sophisticated chiaroscuro modulations expressed in the mimetic rendering of animals and landscape settings.
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Vigni, Alessio. "Firenze e Venezia: città distanti, protagonisti comuni." In Venezia 1868: l’anno di Ca’ Foscari. Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-294-9/014.
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A new discovery is shown: it is about a review made by Telemaco Signorini regarding Ciardi’s painting entitled Una Marina, exhibited by Società Promotrice delle Belle Arti in Florence. This is a new testimony of the artistic activity of Ciardi during 1868. In addition to this, we have an unpublished letter by Ciardi intended to Signorini to get some news about the canvas he displayed during the exhibition. This letter was written on the fourth page of a missive that the Venetian painter Zandomenighi wrote to his close friend Signorini. Since this letter has never been transcribed, it can provide us an unprecedented contribution as well as new details that may shed light on Ciardi ’activities during his trip in 1868.
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Krellig, Heiner. "‘Canaletti’ and the others. Recent monographic exhibitions of Venetian veduta painters." In Monographic Exhibitions and the History of Art. Routledge, 2018. http://dx.doi.org/10.4324/9781315200156-18.
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Ferrari, Sarah. "The Role of Cardinals’ Portraits in Venice." In Portrait Cultures of the Early Modern Cardinal. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725514_ch05.
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The most powerful Venetian cardinals in the sixteenth century were arguably those stemming from the Grimani family. This chapter presents a detailed analysis of the MS Morosini Grimani 270 in the Biblioteca del Museo Correr in Venice, focusing on drawings that illustrate the appointment of Grimani cardinals, alongside their portraits. The iconographic derivation of these drawings from existing works of art will be explored through comparison with painted portraits and other visual representations of the Grimani cardinals, some previously unidentified. The possible function of the included cardinal portraits, and the historical scenes relating to them will be investigated, considering the role of images of cardinals within the dynastic strategies and histories of certain families.
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Ferrarin, Matilde. "Gli artisti veneziani alla Biennale (1895-1905)." In Storie della Biennale di Venezia. Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-366-3/005.
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Venice Biennale, created by the will and the organizational skills of the Venetian artists, was actually managed exclusively by Antonio Fradeletto. The new figure of the “General Secretary” has distinguished for the first time the role of artists, interrupting the tradition of ‘self-rule’ of painters and sculptors used to managing any artistic event. This essay analyses this important moment of transition, reporting events that took place in its administration during the first years of the Biennale. Through magazines periodicals of the time we report the critical fortune that these works of art had in the local and national press, in an attempt to verify if the creators of the Biennale succeeded in the difficult task of emerging and getting noticed in such a vast and international artistic context.
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Rampazzo, Elisa. "I pittori veneti alle ‘Biennali di Pallucchini’ (1948-1956)." In Storie della Biennale di Venezia. Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-366-3/007.
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Venice Biennale was created to magnify this wonderful city also through the encreasing of arts, so a participation of painters born or living in the Veneto region – who originally ‘invented’, with politicians and intellectuals, the Biennale – at the beginning was always considerable. This essay focuses on the analysis of their presence at the Biennale between 1948 and 1956, when Rodolfo Pallucchini was General Secretary of the institution. It is examined through a statistical method that allows a more complete view of this mapping. Another topic is the reception on the press, that highlights the diatribe between artists and critics.
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Masala, Andrea. "La fotosintesi del cambiamento." In Venezia 1868: l’anno di Ca’ Foscari. Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-294-9/013.
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This essay aims to give a reading of Guglielmo Ciardi’s painting Canale della Giudecca focused on light and synthesis of pictorial elements. The second half of the 19th century is a very intense period for Venice: the Serenissima experience recently ended and modernity is arriving in the form of new bridges and ferries. The Academy of Art is living a big revolution and artists are travelling, learning new techniques and painting en plein air. Guglielmo Ciardi is in this way a man of his times and he gives a very good proof of it in this painting. Thanks to critical readings and secondary sources Ciardi’s creative process will be here analysed and explained with particular stress on light and synthesis. Therefore, Canale della Giudecca is interpreted here as a manifesto and a ‘photo-synthesis’ of the painter’s art, of the landscape painting changes and as a symbol of the 1868 venetian historical and cultural context.
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Mills, Simon. "‘Turky Labours’." In A Commerce of Knowledge. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198840336.003.0002.
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Chapter 1 sets out the institutional history of the Levant Company in London and Aleppo. It argues that the infrastructures developed from the late sixteenth century to facilitate trade – the legal protection provided by the capitulations, regular shipping routes, systems of postal communication – laid the foundations for a ‘literarum commercium’, a commerce of letters, that would have implications beyond the immediate mercantile concerns of the Levant Company. New opportunities for scholarly inquiry were augmented by the growth of the English community, or ‘factory’, in Aleppo, and, in particular, by the appointment, from the early seventeenth century, of a line of clergymen employed to minister to the expatriate merchants and consular staff. Drawing on the Levant Company archive, the chapter paints a detailed picture of this small outpost, positioning it alongside the more established Venetian and French (and later Dutch) communities and the various Roman Catholic missions then stationed in Aleppo. The chaplains came to serve as the crucial link between Syria, London, and the English universities (predominantly Oxford), with whose members many of them remained in touch from abroad. The chapter also provides an overview of intellectual developments which sets the scene for the more detailed investigations of individual projects explored in the remainder of the book.