with its famous double staircase, and the Palazzo Corner-
Spinelli (c. 1490) and Palazzo Vendramin-Calerghi
(1501–09), both Lombardesque in style, but incorporat-
ing innovatory features, such as the free-standing classical
orders on the facade of the latter palace.
Coecke van Aelst, Pieter (1502–1550) Netherlands
painter, print maker, and author
Coecke, who was born in Aelst, is believed to have stud-
ied under Bernard van ORLEYand is recorded as a master
at Antwerp in 1527. He visited Italy (c. 1530) and Istan-
bul (1533) and in 1535 may have accompanied Emperor
Charles V on his Tunis campaign. He was still at Antwerp
in 1544, but subsequently moved to Brussels, where he
died. He had a large workshop with many pupils, in-
cluding the young Pieter BRUEGHEL. His wife, Meyken
Verhulst, was also an artist. No surviving paintings of
Coecke’s can be identified with absolute certainty. His
most famous composition, the Last Supper (c. 1527), is
loosely based upon LEONARDO DA VINCI’s famous fresco; it
exists in several versions, all possibly replicas of a lost
original. Coecke’s numerous prints were highly influential
and he also designed tapestries and stained glass. The
drawings that he made in CONSTANTINOPLEof the exotic
costumes, rituals, and topography of the Ottoman capital
may have been made with the idea of producing Flemish
tapestries with Turkish subjects for the Ottoman mar-
ket; his widow published them in the form of a much-
reproduced series of woodcuts in 1553 (see illustration on
p. 116). His most important work, however, was his sum-
mary of VITRUVIUS’s book on architecture and his transla-
tion of the first part of SERLIO’s Tutte l’opere d’architettura e
prospettiva (1539).
Coelho, Alonso Sánchez (Alonso Sánchez Coello)
(c. 1531–1588) Spanish painter of Portuguese extraction
Born at Benifayó near Valencia, Sánchez Coelho was edu-
cated in Flanders and Portugal and later studied in Brus-
sels, where he became a pupil of Antonio MORO. In 1571
he succeeded his master as court painter to PHILIP IIof
Spain and established himself as a leading portraitist and
royal favorite. Also influenced by Titian, he portrayed
members of the Spanish court with great dignity and for-
mality, as in his portraits of Elizabeth of Valois (c. 1560;
Kunsthistorisches Museum, Vienna), Philip II (c. 1575;
Prado, Madrid), and their daughter Infanta Isabella Clara
Eugenia (1579; Prado, Madrid), later ruler of the Nether-
lands. Besides these portraits, which laid the foundation of
the Spanish tradition of portraiture, Sánchez Coelho also
produced a number of religious paintings for the Escorial,
most of which were conventional and unremarkable. A
portrait of St. Ignatius Loyola (1585) is now lost.
Cognac, League of See ITALY, WARS OF
CCoolleett,, JJoohhnn 1 10099John Colet,dean of St. Paul’s Cathedral, London. A 16th-
century cast of the bust made for the cathedral by Pietro
Torrigiano (1520s). This cast, which can be seen in St. Paul’s
School, London, has stood in successive school buildings
since before 1550.coins See NUMISMATICSColantonio (mid-15th century) Italian painter
Active in Naples from about 1440 to 1470, Colantonio
was notable chiefly for his fusion of Flemish and Italian
artistic styles. Colantonio was apparently familiar with the
works of van EYCK, among others, and employed many
features of Flemish style in the extant paintings St. Vincent
(c. 1456), painted for San Pietro Martire, and St. Jerome
(Museo Nazionale, Naples), painted as part of an altar-
piece for the church of San Lorenzo. A notable polyptych
for San Severino is now lost. Colantonio’s successful blend
of Flemish and Italian was subsequently imitated by his
own pupil ANTONELLO DA MESSINA.Colet, John (c. 1467–1519) English humanist and
educator
Born in London and educated at Oxford (1483–90), he
went in 1493 to France and Italy to complete his studies;
in Paris he met BUDÉand in Florence he studied Plato and
Plotinus. He also applied the newly discovered principles