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120:, the Romans should be emulated, "for they believed that the images of men who had excelled in the pursuit of glory and wisdom, if placed before the eyes, would help ennoble and stir up the soul." Examples of similar collections can be traced to the early 14th century, and to less universal sets of the "
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Construction of the museum began in 1537 and was completed in 1543. The portraits were organised into four categories according to the subjects' accomplishments: living writers (including poets and philosophers), dead writers, great artists, and dignitaries such as kings, popes and generals. The
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What made Giovio's collection unique was his intent to open it to the public: his 20th century biographer T. C. Price
Zimmermann writes that "the idea of founding a portrait museum on the lake was his most original contribution to European civilization." The inspirational value of collections of
124:" and literary reports of the busts of philosophers in Roman libraries, such as Pliny's, to "...images made of bronze... set up in libraries in honour of those whose immortal spirits talk to us in the same places." but none of these was conceived with the express goal of edifying the
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to pursue his career in Rome. Initially focused on men of letters, the collection grew to include military figures, kings, popes, artists and even a few renowned women. The series included illustrious men of ages past alongside those of his own day. Giovio intended his
101:, or earlier life portraits were acceptable. Giovio worked zealously to acquire works for his collection, writing to dozens of public figures across Europe and the Near East to solicit portraits. His correspondence reveals that he bargained, cajoled and even
136:
pictures were arranged within these groups chronologically according to date of death, or by year of birth if the sitter was still alive. As a finishing touch, Giovio composed brief biographies to accompany the portraits; these were published as
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to serve as a permanent public record, and so was scrupulous about its accuracy. Idealised portraits would not suffice: he preferred portraits drawn from life whenever possible. In the absence of such, likenesses produced from
227:
561:
Aleci, Linda Kinger. "Images of
Identity: Italian Portrait Collections of the Fifteenth and Sixteenth Centuries." "The Image of the Individual: Portraits in the Renaissance" Eds. Nicholas Mann and
688:
668:
353:
436:
Quoted in Joost-Gaugier 1985, 58. The instructive value of portrait collections during the
Renaissance, an aspect of "civic humanism", was explored with particular reference to
673:
489:, xxxv.9-10; for the instructive power of images to Romans, see P. Gregory, "'Powerful images': responses to portraits and the political use of images in Rome"
51:. It includes portraits of literary figures, rulers, statesmen and other dignitaries, many of which were done from life. Intended by Giovio as a public
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spent 37 years copying the portraits, working from 1552 to 1589. These copies have been displayed in the First
Corridor of the Uffizi since 1587.
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693:
524:
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338:
703:
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Müntz, Eugène. "Le Musée de portraits de Paul Jove. Contributions pour servir à l’iconographie du moyen âge et de la renaissance,"
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249:
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606:
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Following Giovio's death in 1552, the original collection was eventually dispersed and lost. Some portraits are kept in the
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The First
Corridor in the Uffizi. The Giovio portraits are the smaller paintings displayed just below the painted ceiling.
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in Como. It is preserved in a series of copies commissioned that year by Cosimo I de' Medici. Artist
174:, an illustrated set of some 700 famous figures of the ancient world, may also have inspired Giovio.
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Elogia virorum bellica virtute illustrium veris imaginibus supposita, quae apud
Musaeum spectantur
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109:
portraits was a familiar
Renaissance trope, consciously revived from Antique precedents: as the
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643:
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see E. Bartman, "Sculptural collecting and display in the private realm", in E.K. Gazda, ed.
683:
663:
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8:
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Elogia veris clarorum virorum imaginibvs apposita, quae in Mvsaeo
Ioviano Comi spectantur
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Giovio first began collecting portraits around 1512, soon after leaving his hometown of
613:
Mémoires de l'Institut nationale de France, Académie des inscriptions et belles-lettres
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Renaissance
Portraits: European Portrait-Painting in the 14th, 15th and 16th Centuries.
437:
164:
113:
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63:. Although the original collection has not survived intact, a set of copies made for
444:, "Poggio and Visual Tradition: 'Uomini Famosi' in Classical Literary Description"
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portraits drawn from coins, was one of the few similar contemporary works. The
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586:. Translated by Florence Alden Gragg. Boston: Chapman & Grimes, 1935.
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of famous men, the collection was originally housed in a specially-built
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Paolo Giovio: The
Historian and the Crisis of Sixteenth-Century Italy
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148:. The inclusion of these biographies was fairly innovative. The 1517
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40:
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132:, or "temple of virtue", as a reflection of its didactic purpose.
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Art museums and galleries disestablished in the 2nd millennium
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History and its Images: Art and the Interpretation of the Past
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Art museums and galleries established in the 2nd millennium
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On this associative and commemorative practice among Roman
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subjects for pictures, many of which he paid for himself.
674:Educational organizations established in the 1540s
625:. Princeton, NJ: Princeton University Press, 1995.
565:. London: British Museum Press, 1998. 67–79.
395:The European Renaissance: Centres and Peripheries.
451:.12 (1985), pp. 57-74; Bracciolini is quoted p58.
128:. Giovio frequently referred to his project as a
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397:Malden, Mass.: Blackwell Publishers, 1998, 190
189:Gallery of copies by Cristofano dell'Altissimo
144:(1551), more commonly known simply as the
577:Uffizi Gallery: Art, History, Collections
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16:Art collection assembled by Paolo Giovio
679:Museums established in the 16th century
572:New Haven: Yale University Press, 1990.
43:assembled by the 16th-century Italian
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618:, Vol. 36, no. 2, 1900. 249–343.
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159:, which paired short biographies with
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694:Organizations disestablished in 1552
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654:Former private collections in Italy
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179:Pinacoteca Civica di Palazzo Volpi
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593:. Yale University Press. 1995.
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491:Journal of Roman Archaeology
67:now has a permanent home in
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584:An Italian Portrait Gallery
525:"lombardiabeniculturali.it"
477:(Ann Arbor) 1991, pp 71-88.
442:Christiane L. Joost-Gaugier
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621:Zimmermann, T. C. Price.
330:Giovanni dalle Bande Nere
183:Cristofano dell'Altissimo
116:had written in his essay
47:historian and biographer
649:Paintings in the Uffizi
487:Pliny's Natural History
263:Albanian national hero
659:16th-century paintings
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366:Rex", painted in 1568
345:Alessandro de' Medici
279:Renaissance humanist
39:, is a series of 484
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514:Zimmermann 1995, 207
446:Artibus et Historiae
427:Zimmermann 1995, 159
418:Zimmermann 1995, 206
409:Zimmermann 1995, 160
234:Shah Ismail I Safavi
221:(ca.1357–1403)
31:, also known as the
150:Illustrium imagines
118:De nobilitate liber
79:Origins and history
65:Cosimo I de' Medici
589:Haskell, Francis.
505:Giovio 1935, 28-29
438:Poggio Bracciolini
114:Poggio Bracciolini
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607:978-0-300-05949-6
568:Campbell, Lorne.
460:Campbell 1990, 41
332:(1498–1526)
314:(1463–1494)
298:(1431–1503)
296:Pope Alexander VI
283:(1406–1475)
267:(1405–1468)
248:Medici patriarch
33:Giovio Collection
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684:1552 in art
664:1543 in art
616:(in French)
327:Condottiero
236:(1487-1524)
154:antiquarian
140:(1546) and
45:Renaissance
638:Categories
563:Luke Syson
535:2016-12-30
372:References
265:Skanderbeg
364:Aethiopia
360:Alchitrof
219:Bayezid I
61:Lake Como
41:portraits
471:literati
168:Imagines
111:humanist
69:Florence
217:Sultan
161:woodcut
152:of the
90:gallery
53:archive
605:
597:
146:Elogia
126:public
103:bribed
57:museum
172:Varro
99:busts
95:coins
603:ISBN
595:ISBN
165:lost
85:Como
71:'s
27:The
440:by
362:, "
170:of
35:or
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402:^
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