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Mariella Radaelli Filed on May 6, 2021
In the age of the Baroque, the Archbishop of Milan Federico Borromeo (1564-1631) would send burly, yet educated men to sea on a hunt for manuscripts.
Cardinal Federico was a younger cousin of the zealous prelate Carlo Borromeo, the eventual guardian saint against the plague, who played an important role in the Counter-Reformation. They both belonged to the Borromeo family, a noble Milanese house that left a strong mark in Northern Italy.
But Federico was a ‘universal’ bibliophile, who sent out solo emissaries to chase manuscripts throughout the known world because of his great obsession: the Ambrosiana. In his mind, it had to become one of the most important cultural institutions in Europe, a public library (the Veneranda Biblioteca Ambrosiana) an art gallery (the Pinacoteca Ambrosiana), an art school, and an ecclesiastic college. Federico planned its foundation and grand opening for 1609.
Alternative Title: art academy
Academy of art, in the visual arts, institution established primarily for the instruction of artists but often endowed with other functions, most significantly that of providing a place of exhibition for students and mature artists accepted as members. In the late 15th and early 16th centuries, a series of short-lived “academies” that had little to do with artistic training were founded in various parts of Italy. The most famous of these was the Accademia of Leonardo da Vinci (established in Milan
c. 1490), which seems to have been simply a social gathering of amateurs meeting to discuss the theory and practice of art. The first true academy for instruction, the Accademia del Disegno (“Academy of Design”), was established in 1563 in Florence by the grand dukeCosimo I de’ Medici at the instigation of the painter and art historian Giorgio Vasari. The two nominal heads of the institution were Cosimo himself and Michelangelo. In contrast