included the effigy and tomb of Dante in Ravenna (1482),
the Zanetti tomb in Treviso cathedral (1485), and the
Palazzo Vendramin-Calerghi on the Grand Canal in
Venice, which he completed (c. 1500–09) to designs by
Mauro CODUSSI.
Pietro’s sons Tullio (c. 1460–1532) and Antonio
(c. 1458–c. 1516) assisted their father in his workshop
and were much influenced by classical models, as seen in
such works as their decoration of Sta. Maria dei Miracoli.
Among Tullio’s best works are the tombs of Doge Giovanni
Mocenigo (died 1485) and Doge Antonio Vendramin
(died 1478) in SS. Giovanni e Paolo, Venice, the effigy of
Guidarello Guidarelli (1525; Accademia, Ravenna), and
reliefs of classical subjects such as the marble panel with
busts of Bacchus and Ariadne in the Kunsthistorisches
Museum, Vienna. Antonio worked with his brother on re-
liefs depicting the miracles of St. Anthony for Il Santo,
Padua, and worked independently (1506–16) on reliefs of
mythological subjects (now mainly in St. Petersburg) to
decorate the Camerini d’Alabastro in Alfonso I d’Este’s
Castello at Ferrara. Antonio’s sons, Aurelio (1501–63),
Girolamo (c. 1504–c. 1590), and Lodovico (c. 1507–75)
were also active as sculptors.
London The capital city and port on the River Thames in
southeast England. By the Renaissance period London in-
cluded the two cities of London and Westminster, the
buildings in the two-mile gap between the cities, the sur-
rounding areas, and the areas south of the river that were
linked to the cities by a single stone bridge, London
Bridge. A Roman administrative center from the first cen-
tury CE, the City of London declined in importance dur-
ing the Saxon period although it was the site of the first St.
Paul’s cathedral (founded 597). The importance of the
City of London was firmly established by the Norman
rulers in the 11th and 12th centuries. The City of West-
minster was important from the reign of Edward the Con-
fessor (1042–66), when Westminster became the royal
capital and Westminster Abbey was consecrated (1065).
In the 14th and 15th centuries Westminster was an
administrative center, the home of parliament, the royal
court, and the law courts. In 1476 William CAXTONset up
England’s first movable type printing press at Westmin-
ster. The City of London was the commercial and trading
capital of England with great fairs and markets (such as
the Corn Exchange, Leadenhall, and Billingsgate), busy
docks, flourishing silk, pottery, and glass industries, and
energetic mercantile communities of Danes, Dutch, Gas-
cons, Germans, and Italians.
During the 16th century the capital expanded rapidly.
Between 1530 and 1600 the City of London’s population
grew from 25,000 to 75,000; by the early 17th century the
population of the two cities and surrounding areas was
close on 250,000, probably the largest center of popula-
tion in Europe. Notable 16th-century developments in-
clude the development of London’s commerce with the
building of Gresham’s Royal Exchange (1567) and the for-
mation of such great trading companies as the MUSCOVY
COMPANY(1552), the Turkey Company (1581), and the
EAST INDIA COMPANY(1600).
Sixteenth-century London was externally trans-
formed by the use of bricks in housing and by the conver-
sion of York Place to the royal palace of Whitehall from- The later 16th and earlier 17th centuries were the
period of the great literary age of England, and London be-
came a European center of culture. Most of the City of
London’s notable Renaissance buildings were destroyed by
the Great Fire (1666).
Further reading: Stephen Inwood, A History of Lon-
don (Berkeley, Calif.: Publishers Group West, 1999); Roy
Porter, London: A Social History (Cambridge, Mass.: Har-
vard University Press, 1995).
Lope de Vega See VEGA CARPIO, LOPE FÉLIX DELópez de Ayala, Pedro (“El Canciller”) (1332–1407)
Spanish chronicler and poet
A member of a distinguished noble family, he was born at
Vitoria, Castile, and played a prominent role at the court
of Peter (I) the Cruel (1350–69), and under the succeed-
ing Trastámara kings, Henry II, John I, and Henry III. His
nickname derives from his appointment as chancellor of
the realm (1399). During this period of unrest, foreign
powers took part in the dynastic struggles of Castile, and
Ayala was twice taken prisoner of war: briefly by the Black
Prince (the English had invaded to support Peter I) and in
1385 for two years by the Portuguese. His work as official
historian, the Crónicas (completed 1393; published 1526),
cover the years 1350–90. They contain remarkably objec-
tive first-hand accounts recorded with a clarity Ayala
learned from translating LIVY. The verse miscellany, El ri-
mado de palaçio (1385–1407) begun during his captivity
in Portugal, is penitential in tone, with satirical passages
on a courtier’s life. It contains a confession, an attack on
contemporary corruption, a “mirror for princes” section,
and concludes with an adaptation of Gregory the Great’s
Moralia on the Book of Job. It is the last example of the
medieval stanzaic form known as cuaderna vía, though
Ayala also used the new meter, the ARTE MAYOR. Ayala also
translated Boethius, Isidore of Seville, and Boccaccio’s De
casibus virorum illustrium (as Cayda de príncipes).Lorenzetti, Ambrogio (fl. 1319–1347) Italian painter
Brother of Pietro LORENZETTI, Ambrogio formed in style a
link between the schools of his native Siena and Florence,
extending a trend towards realistic narration and emo-
tional intensity. Although probably a pupil of DUCCIOin
Siena he also worked periodically in Florence between
1318 and 1332 and was a member of the painters’ guild in
Florence in 1324. In much of his work therefore the pre-22886 6 LLoonnddoonn