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Giovanni Bandini's Bronze Crucifix and Candlesticks Made for Urbino

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Giovanni Bandini's Bronze Crucifix and Candlesticks Made for Urbino LAY_PRINCIPI_Bandini_v2.qxp_Layout 1 19/10/2016 11:43 Page 870 Giovanni Bandini’s bronze Crucifix and candlesticks made for Urbino Cathedral by LORENZO PRINCIPI IN 1584, THE year that Raffaello Borghini’s Il Riposo was pub- account books, however, no longer survive: the golden lantern lished, the sculptor Giovanni Bandini, also known as Giovanni (1588–90) for the Marian basilica of the Santa Casa in Loreto, the dell’Opera (1539/40–1599), was yet to make most of the works seven silver saints for which Giovanni was paid for supplying wax he created for Francesco Maria II della Rovere, Duke of Urbino models in 1592,5 and the golden Crucifix mounted on a jasper (1549–1631), at his court at Pesaro, where the sculptor spent long cross with two candlesticks also in jasper for which the Duke paid periods between 1582 and his death in 1599.1 Concluding his him between 29th December 1592 and 1st January 1593, biography of Bandini, who has been called the ‘last great sculptor although without naming the sculptor.6 During his years at the in the territory of Urbino, during those dying days of ducal civil- ducal court, Bandini also made various works in bronze, of isation’,2 Borghini refers to one of the first commissions Bandini which only the Hunt of Meleager in the Prado has been identified. made for the Duke – the bronze Hunt of Meleager (1583; Museo The payments for these bronzes are also in the Duke’s account del Prado, Madrid) – and expresses confidence in his progress: books, where Bandini is often referred to simply as ‘sculptor’, without being named.7 it is to be hoped that this work will be done very beautifully On 29th June 1589 Bandini was paid 125 scudi for a ‘Crucified as are all of his others since he understands design very well and Christ in bronze’;8 on 3rd October 1590, ‘for two candlesticks in is very experienced in working and carefully observing all the bronze and for a Cross with mound in the same’ (187 scudi);9 on good considerations that the sculptor is given to have. And 13th July 1592, ‘for the manufacture of 4 candlesticks in bronze’ finding himself at forty-four years of age, it can be believed (187.30 scudi);10 on 26th January 1595, for a ‘Crucified living that he will come to greater perfection in working so that he Christ in bronze’ (68.10 scudi);11 on April 1596, ‘for two candle- will be able to climb a little higher.3 sticks in the form of Angels, and a cross with mound all in The works Bandini produced in the Marche are recorded in bronze’ (27 scudi);12 in May 1596, for a ‘Crucifix in bronze the Duke’s account books; those carved in marble were the busts already made by the sculptor Giovanni’ (12 scudi);13 and, finally, of Francesco Maria I della Rovere (1582) and Francesco Maria II della on 14th October 1598: ‘To Giovanni Bandini sculptor for a Cru- Rovere (1583; modified by Giovan Battista Foggini in 1691; both cifix and two Angels for candlesticks in bronze’ (99 scudi).14 Villa del Poggio Imperiale, Florence), the statue of Francesco Maria The payments Bandini received for bronze sculptures relate to I della Rovere (1585–87; Doge’s Palace, Venice), the Pietà (1585– two separate commissions. In the first instance, the sculptor was 88; Oratorio della Grotta, Urbino) and the tomb of Francesco commissioned to make a bronze Christ on the Cross with Mount Maria I della Rovere (1587), the fragments of which are in the Calvary which was completed between 29th June 1589 and 3rd church of the former monastery of S. Chiara in Urbino.4 October 1590; it was accompanied by six bronze candlesticks exe- The works in precious metals mentioned in the Duke’s cuted in two consignments between 3rd October 1590 and 13th I would like to thank Dimitrios Zikos who has guided me in this research. I would Marche e Toscana’, Nuovi studi III, 6 (1999), pp.57–103 (hereafter cited as Schmidt); also like to thank Davide Gambino, Giancarlo Gentilini, Francesca Girelli, Marian- R. Morselli: ‘In the Service of Francesco Maria II della Rovere in Pesaro and Urbino gela Guido, Carlo and Giacomo Montanari, Ruth Taylor and Lucio Tomei for their (1549–1631)’, in E. Fumagalli et. al., eds.: The Court Artistin Seventeenth-century Italy, invaluable assistance. I am also grateful to Sara Bartolucci, Emanuela Bracconi and Rome 2014, pp.49–93, passim; F. Loffredo: ‘Giovanni Bandini’s “Venus” and “Ado- Mons. Davide Tonti at the Ufficio Arte Sacra e Beni Culturali della Diocesi di nis” for the Sevillian House of Juan de Arguijo in a Sonnet by Lope de Vega’, THE Urbino, Luigi Bravi and Mons. Eugenio Gregoratto at the Archivio Diocesano in BURLINGTON MAGAZINE 157 (2015), pp.758–63. Urbino, Federico Marcucci at the Biblioteca Universitaria di Urbino and P. 2 Rotondi, op. cit. (note 1), p.18: ‘l’ultimo grande scultore in suolo urbinate, in quegli ulti- Francesco Merletti OFM Conv. at the Archivio Storico della Curia Provinciale dei mi palpiti di civiltà ducale’. Frati Minori Conventuali in Ancona. The photographs of the sculptures in Urbino 3 R. Borghini: Il Riposo, Florence 1584, p.640: ‘la qual opera si spera che sarà bellissima, were taken by Mauro Magliani and Barbara Piovan, to whom I express my sincere sicome sono tutte l’altre sue; perciocché egli beni ssimo intende il disegno et è pratichissimo in thanks. This article is dedicated to Maichol Clemente, in memory of our fruitful visit lavorare e diligente osservatore di tutte le buone considerationi, che haver dee lo scultore: e to Urbino. ritrovandosi in età di 44 anni, si può credere che in operando sarrà a maggior perfettione, come che poco più in alto possa salire’; the translation is from idem: Il Riposo, ed. L.H. Ellis Jr, 1 On Bandini’s activity in Urbino, see E. Calzini: ‘Documenti relativi, tra l’altro, Toronto, Buffalo and London 2007, p.315. all’autore del “Cristo morto” nella cripta del duomo di Urbino’, Rassegna bibliografica 4 Schmidt, passim; M. Visonà: ‘Un ritratto di Anna Maria Luisa dei Medici bambina e dell’arte italiana 17 (1914), pp.93–95; idem: ‘Ancora del “Cristo morto” erroneamente i lari del Poggio Imperiale (riflessioni sul Foggini)’, Paragone 59 (1998), pp.19–30, esp. p.25. attribuito al Giambologna’, Rassegna bibliografica dell’arte italiana 19 (1916), pp.133–35; 5 For Bandini’s involvement in the making of the lantern, see Schmidt, p.66. The A. Alippi: ‘Documenti: lavori eseguiti da Giovanni Bandini detto Giovanni dell’ silver saints have been identified with the sculptures ‘d’altezza più d’un palmo’, Opera, fiorentino, per Franc. Maria II° della Rovere’, ibid., pp.135–37; U. Middel- approximately 30 cm., of Sts John the Baptist, Francis, Archangel Michael, Stephen, dorf: ‘Giovanni Bandini detto Giovanni dell’Opera’, Rivista d’arte 9, 4 (1929), Andrew, Peter and Apollonia, which were still in the Palazzo Ducale in Pesaro in pp.481–518, repr. in idem: Raccolta di scritti, I, 1924–1938, Florence 1979, pp.77–92; G. 1623–24; see Schmidt, p.91, note 120; and mentioned among the items in the Castel- Gronau: ‘Appendice: documenti concernenti i rapporti del Duca Francesco Maria II durante inventory of 1631, see G. Semenza: ‘La quadreria roveresca da Casteldurante d’Urbino con Giovanni Bandini e con Giovanni Bologna’, Rivista d’arte 11 (1929), a Firenze: l’ultima dimora della collezione di Francesco Maria II’, in T. Biganti: pp.519–24; P. Rotondi: ‘Contributi all’attività urbinate di Giovanni Bandini detto L’eredità dei Della Rovere: inventari dei beni di Casteldurante (1631), Urbino 2005, pp.69– dell’Opera’, Urbinum 17, 21 (1942), pp.8–18; L. Moranti: Bibliografia urbinate, Flor- 137, esp. p.134. On Giovanni Bandini as a silver sculptor, see Schmidt, pp.65–66; G. ence 1959, pp.85–86; C. Avery: ‘Giovanni Bandini (1540–99) Reconsidered’, Anto- Gentilini (and L. Principi): ‘“Ercole e il centauro” ed altre “Fatiche”:una proposta logia di Belle Arti 48–51 (1994), pp.16–27; E.D. Schmidt: ‘Giovanni Bandini tra per Giovanni Bandini scultore in argento’, Commentari d’arte 18 (2013), pp.50–59. 870 november 2016 • clviii • the burlington magazine LAY_PRINCIPI_Bandini_v2.qxp_Layout 1 19/10/2016 11:43 Page 871 BANDINI’S CRUCIFIX AND CANDLESTICKS 8. Crucifix and a set of six candlesticks, by Giovanni Bandini. 1589–92. Bronze. Crucifix 160 by 57 cm.; height of candlesticks, from left to right: 84 cm.; 99 cm.; 113 cm.; 112 cm.; 95 cm.; and 94 cm.; all dimensions include the bases (Museo Diocesano Albani, Urbino). July 1592.15 In the case of the second commission, however, the the works at Casteldurante that were subsequently dispersed,17 the Duke paid Bandini for a bronze Crucifix, probably representing bronzes of the first commission still survive in Urbino. Christ ‘vivo’ on the Cross,16 paired with two candlesticks in the This group of bronzes can be identified with a Crucifix on form of angels. While the second group of sculptures is now lost, Mount Calvary and six altar candlesticks in the form of spiralling although the present writer believes it can be identified with the intertwined oak branches now in the Museo Diocesano Albani ‘one crucifix in bronze with its base and with two angels made of in Urbino (Fig.8). Given that Bandini was in the Marche in 1589 the same, for the altar’ listed at no. 2152 in the 1631 inventory of and 1590, it is reasonable to suppose that he produced the Cru- 6 Schmidt, p.77.
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