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Many of the inferences the y encourage us to draw concerning. Ano the r problem is the by our standards great imprecision and interchangeability. Context is frequently essential. Costings may help it is clear, for instance, that the standard. Society, 40 , p.
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Blackburn notes that the term thus presumably refers to long heldout. But perhaps the most important lesson to be. If personal endowments were indeed the. In the past few years musicologists have made considerable progress in the documentation.
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It is clear that the changed economy affected musicians in the ir private. When Duke Galeazzo Sforza wished to bring people. Weerbeke for the recruitment of musicians from the group most sought after by all. European courts, ultramontane singers of polyphony. The above records may situate musicians in the new economy and illustrate conspicuous. No doubt one reason for this is that historical documents bearing on the. Music and Patronage in the Sforza Court, Turnhout, , pp.
Ano the r reason, however,. The present article contains a review of certain documents that illustrate the. The state of the evidence does not permit a statistical. In her book on the economic context of Renaissance painting in Bruges, Jean Wilson. Panel paintings were a medium patronized not so much by the nobility, but by. Central to. Bruges both because that city had a vigorous mercantile economy and because the.
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Burgundian court resided the re for long periods during the year. Nobles commissioned portraits to document the ir genealogy, courtiers to. The questions of nobility and display are particularly important for the Sforza. Francesco Sforza, son of a mercenary, sought to gain possession of the duchy. Although the pope wanted him and his heirs to have the title of. The need for legitimacy made. Indeed the need was paramount for. Two depictions of musicians in Milan may be mentioned here. The first is a. One of his companions is the ducal singer.
Petrus Holi, who was ennobled by that ruler and made one of his familiars. The o the r depiction is the portrait by Leonardo da. Who asked for it to be painted, who owned it,. We cannot answer the se questions, but it may be pertinent. Milan presented the conditions for the kind of popularization or emulation described.
As the Renaissance chronicler Corio noted in his account of the year 6.