Mannerism, Spirituality, and Cognition

This book employs a new approach to the art of sixteenth-century Europe by incorporating rhetoric and theory to enable a reinterpretation of elements of Man- nerism as being grounded in sixteenth-century spirituality. Lynette M. F. Bosch examines the conceptual vocabulary found in sixteenth- century treatises on art from Giorgio Vasari to Federico Zuccari, which analyzes how language and spirituality complement the visual styles of Mannerism. By exploring the way in which writers from Leone Ebreo to Gabriele Paleotti describe the interaction between art and spirituality, Bosch establishes a religious base for the language of art in sixteenth-century Europe. The book will be of interest to scholars working in art history, Renaissance stud- ies, religious studies, and religious history.

Lynette M. F. Bosch, State University of New York Distinguished Professor and Chair, Art History Department, SUNY, Geneseo. Visual Culture in Early Modernity Series Editor: Kelley Di Dio, University of Vermont

A forum for the critical inquiry of the visual arts in the early modern world, Visual Culture in Early Modernity promotes new models of inquiry and new narratives of early modern art and its history. The range of topics covered in this series includes, but is not limited to, painting, sculpture, and architecture as well as material objects, such as domestic furnishings, religious and/or ritual accessories, costume, scientific/medical apparata, erotica, ephemera, and printed matter.

For a full list of titles in this series, please visit www.routledge.com/Visual-Culture- in-Early-Modernity/book-series/ASHSER2107

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Artistic Circulation Between Early Modern Spain and Italy Edited by Kelley Helmstutler Di Dio and Tommaso Mozzati

Architectural Rhetoric and the Iconography of Authority in Colonial Mexico: The Casa de Montejo C. Cody Barteet

Women’s Patronage and Gendered Cultural Networks in Early Modern Europe Vittoria della Rovere, Grand Duchess of Tuscany Adelina Modesti

Mannerism, Spirituality, and Cognition The Art Of Enargeia Lynette M. F. Bosch Mannerism, Spirituality, and Cognition The Art of Enargeia

Lynette M. F. Bosch First published 2020 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 52 Vanderbilt Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2020 Lynette M. F. Bosch The right of Lynette M. F. Bosch to be identified as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalog record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record has been requested for this book

ISBN: 978-1-409-44218-9 (hbk) ISBN: 978-1-003-01064-7 (ebk)

Typeset in Sabon by Integra Software Services Pvt. Ltd. For Liana De Girolami Cheney, Charles Burroughs, Paul Barolsky, and Larry Silver

In Memoriam Janet Cox-Rearick and H. Wiley Hitchcock They embodied the best of an American intellectual tradition of art, music, books, and the pursuit and transmission of knowledge.

Contents

List of figures viii Acknowledgments ix Prologue: mannerism (a personal history) x

Introduction: approaching mannerism 1

1 From the ars nova to the maniera moderna 6

2 From lifelike to living: enargeia and the maniera moderna 26

3 Enargeia, spirituality, and maniera: From St. Paul to Vasari 37

4 From Leone Ebreo to Federico Zuccari: God’s plan for art 52

5 Maniera: a history 72

Conclusion: mannerism, mysticism, and cognition 116

Selected Bibliography 133 Index 141 Figures

I.1 Pontormo, Jacopo (1494–1556/7). The Supper at Emmaus. 1525. Oil on canvas. 90 ½ × 68 1/8 in. (230 × 173 cm) 3 I.2 Albrecht Dürer, Supper at Emmaus, c. 1510, from the Small Passion 4 C.1 Duccio (di Buoninsegna) (c. 1260–1319). The Last Supper. Panel from the back of the Maesta altarpiece. Museo dell’Opera Metropolitana 120 C.2 Leonardo da Vinci (1452–1519). The Last Supper. 1498. Post-restoration. S. Maria delle Grazie 121 C.3 Massacio (Maso di San Giovanni) (1401–1428). The Trinity, fresco, full view. c. 1425. Post-restoration. S. Maria Novella 123 Acknowledgments

The funding for this book began with a Franklin Research Grant from the Ameri- can Philosophical Society (2004) and continued with additional research support from the Geneseo Foundation, SUNY Geneseo, from 2006 to 2018. I thank Erika Gaffney for her patience and her faith in my ability to complete the manuscript, when she was at Ashgate. I especially thank Katie Armstrong, at Routledge, for her patience and for her editorial assistance. For numerous discussions and personal support over many years on the topic of Mannerism, I thank, Diane Ahl, Paul Barolsky, Deborah Berendt, Judith Berg Sobré, Mary Bergstein, Tina Waldeir Bizzarro, Laura Blanco, Charles Burroughs, Gregory Clark, Janet Cox-Rearick, Mark Denaci, Liana De Girolami Cheney, Susan Duncan, Conchy Fajardo-Hopkins, Mary Gibbons, Cristiano Giometti, Karen Goodchild, George Gorse, Steve Hord, Maddu Huacuja, Fredrika Jacobs, H. Wiley Hitchcock, William Hopkins, Thomas Jackson, Randy Barbara Kaplan, Dorothy Limouze, Tom and Linda MacPherson, Norberto Massi, Jessica Maratsos, Anne Matthews, Catherine Mayes, Leatrice Mendelsohn, Rick Morales, Fred and Miranda Orton, Maureen Pelta, Robert Penzer, Ann Priester Towne, Bianca Potterton, Naomi Sawelson, Larry Silver, Ellen Shortell, Beryl, Dave, Jon, Will and Celeste Stroll, and Adrian Wilson. In the trajectory of my scholarly career, it was Liana De Girolami Cheney, who thought that I had something worthwhile to say about Mannerism. Paul Barolsky and Larry Silver never failed to read my early essays. Larry was always there with his ready eye and quick ability to point out where I should zig instead of zag. Paul stopped me many times from going off cliffs. Maureen Pelta and Tina Waldeier Bizzarro have always been there throughout the process of the work that led to this book, and without their support and belief in my ability to complete it, I might not have done it. I owe gratitude above all to Charles Burroughs, my husband and friend, who has been consistently loving, supportive, and constructively critical. He has unselfishly devoted many hours of his own creative time to discussing my work and ideas, always with joy and interest, as he has tirelessly accompanied me to museums, churches, libraries, and archives in the pursuit of Mannerism. Writing this book with him at my side has been a profound experience, as we have traveled, learned, and grown together. I could ask for no more of an ideal husband and partner and it is above all to him that this book is dedicated as a reflection of our life together. This book is dedicated to Charles, to Liana de Girolami Cheney, to Paul Bar- olsky, and to Larry Silver without whom it would not have been written, as they persisted for eight years in telling me to ‘Get the damned book done!’ Prologue Mannerism: A personal history

This book has been a long time coming. I first became interested in Mannerism, in 1976, while taking a Research Methods seminar from Janet Cox-Rearick at Hunter College, CUNY. The seminar’s topic was Agnolo Bronzino and Mannerism. Many projects later, I return to Mannerism. The trajectory leading to this book originated with a series of talks, given from 2001 to 2019, at conference sessions organized by Liana de Girolami Cheney.1 ‘Mannerism and Spirituality’ was the subject of the first talk in the series, given in 2001, at a meeting of the Sixteenth Century Studies Conference. An interest in Giorgio Vasari led, in 2005, to a talk entitled, ‘From Vasari to Now: What Does Iconography Mean Today?’ given at the Renaissance Society of American conference in Cambridge, U.K. It was, however, in 2007, with a talk entitled, ‘Mannerism, Orthodoxy and Het- erodoxy,’ presented at the Sixteenth Century Studies Conference, that the germ of this book began to form. Continuing this train of thought led to an expanding understand- ing of Mannerism forwarded in: ‘Mannerism and Spirituality: The Artist as Alternate Priest’ (Renaissance Society of America, 2009); ‘Altered States of Mannerism: From the Spiritual to the Erotic to the Courtly’ (Sixteenth Century Studies Conference, 2009); ‘Mannerism and Cognition’ (Sixteenth Century Studies Conference, 2010); ‘Vasari and God’ (Renaissance Society of America, 2011), and ‘God in his Heaven and in Vasari’sLives’ (Heavenly Discourses Conference, Bristol, England, 2011). Following was ‘Counter-Reformation Style and Spirituality: Juan de Valdes, the Spirituali and Juseppe de Ribera’ (Renaissance Society of America, 2012). In 2018, I gave ‘From the Ars Nova to the Maniera Moderna: Alberti To Vasari’ (Sixteenth Century Studies, Albuquerque). In 2019, came the last talk in the series prior to the publication of this book, ‘Before 1962: Mannerism and Historiography’ (Renaissance Society of American Conference, Toronto, Canada). I am deeply grateful to Liana De Girolami Cheney, for her support for this project, which would not have been completed without her indefatigable organization of the scholarly conferences, in which she included me. Liana’s work has given a platform, for decades, to alternative ways of studying and thinking about the Renaissance in a context of warm support and friendly colleagues, always welcoming of revolutionary ideas. Hence, forty plus years after taking Janet Cox-Rearick’s course on Bronzino, my early interest in Mannerism has taken form in this book. I hope that its readers will find in it new ways of thinking about the art of the sixteenth century and that they will be, at the least, provoked into renewed effort to understand how and why the variety and diversity of sixteenth-century art developed. Prologue xi Note 1 Mannerism and Spirituality at the Medici Court, Sixteenth Century Studies Conference, Denver, CO, October 2001; Mannerism, Orthodoxy and Heterodoxy, Sixteenth Century Studies, Minneapolis, MN/St. Paul, MN, October 2007; Mannerism and Spirituality: The Artist as Alternate Priest, Renaissance Society of America, Los Angeles, CA, April 2009; Altered States of Mannerism: From the Spiritual, to the Erotic to the Courtly, Sixteenth Century Studies Conference, Geneva, Switzerland, May 2009; Mannerism and Cognition, Sixteenth Century Studies Conference, Montreal, October 2010; Vasari and God, Renais- sance Society of America, Montreal, March 2011; God in his Heaven and in Vasari’s Lives, Heavenly Discourses, Bristol University, October 2011; Counter Reformation Style and Spirituality: Juan de Valdes and Jusepe Ribera, Renaissance Society of America, Washington, DC, March 2012; ‘From the Ars Nova to the Maniera Moderna: Alberti To Vasari,’ Sixteenth Century Studies Conference, Albuquerque, NM, November 2018; and ‘Before 1962: Mannerism and Historiography,’ Renaissance Society of America Annual Conference, Toronto, Canada, March 2019.

Introduction Approaching mannerism

Mannerism did not happen in a vacuum. It was the outcome of two-hundred years of artistic experimentation on the part of European artists at a time of transition from late Gothic to Renaissance. Mannerism, the art of Giorgio Vasari’s bella maniera moderna,1 coincided with the Protestant Reformation and the Counter-Reformation, in the aftermath of Martin Luther’s posting of his 95 Theses on the door of Castle Church, Wittenberg.2 The art of the maniera (Mannerism) is the main focus of this book, which explores the interaction between Mannerism and spirituality, during a time of change for Europeans. The changes that altered the sixteenth century included: the collapse of the Roman Catholic Church; the realization of the existence of the Americas and Galileo Galilei’s discovery that the Universe did not revolve around the Earth.3 This altered world of knowledge and discovery was a time of shock and dynamic change, in which artistic culture became a nexus of experimentation on the part of artists, patrons, and audiences coming to terms with changed realities. With an emphasis on the way in which art, philosophy, spirituality, and rhetoric intersected in the style identified as Mannerism, this study suggests that Vasari’s maniera can be considered to be a form of Classical enargeia or evidentia.4 As such, its transformative dynamics formed part of a search for comfort in an uncertain age, when Europeans sought the way to salvation by all means possible, and art became a pathway in this search. This study is not intended to provide a comprehensive or definitive recasting of Mannerism and its attendant history nor will it provide a general historiographic overview for Mannerism and maniera. It is designed to promote thinking about how artists, patrons, and audiences sought to connect to God’s plan for humanity’s salvation, through the images made to be seen and understood within ritual and liturgical environments. Accompanying the potential for spiritual metamorphosis, produced by inspired art, was a renewed, fifteenth- and sixteenth-century interest in rhetoric, oratory, and Classical philosophy. Vasari and other art theorists under- stood that the visual arts could play a powerful role in leading audiences to God, with a living art suggestive of spiritual transcendence brought about by emotional and intellectual responses to art. The process whereby this search for a living art was performed can be traced in the treatises, written by artists and theorists, intended to instruct and inform artists, patrons, and audiences about the technical, conceptual, intellectual, and spiritual basis for art that could transform lives and save souls. This process will be traced in this study. Chapter 1 (From the ars nova to the maniera moderna) presents an examination of how the fifteenth-century ars nova of Northern Renaissance art affected, influenced, 2 Introduction and changed the inspiration for Italian, late fifteenth- and sixteenth-century art. The effects of the recombination and innovations that defined the vividity of the pathways of late fifteenth- and sixteenth-century art were most notable in painting (the focus of this book), the medium that presented audiences with images wherein alternative real- ities that concretized their spirituality were found. Such images evoked emotional responses, from their audiences, such as simple devotion, increasing to the transcend- ing awe necessary for belief in the power of God and his plan for their salvation. These Northern models showed fifteenth-century, Italian artists how to create for patrons and audiences vivid works of art expressive of their longing for connection with God. In following Northern models, sixteenth-century, Italian artists eventually transformed the ars nova into Vasari’s maniera moderna. Chapter 2 (From lifelike to living: enargeia and the maniera moderna) explores the connections between sixteenth-century visual styles and the renewed spirituality of reform and change that followed the impact of the Reformation on European culture. The approach and arguments forwarded in this chapter connect Vasari’s maniera moderna to sixteenth-century spirituality and the issues raised by a divided Church. In this chapter, it is argued that maniera’s meaning can be found in Clas- sical enargeia. As such, maniera became an expressive mode that enabled patrons to employ artists, who provided works of gripping vividity –‘il vivo’ as Vasari called it. This living art was a visual counterpart to Classical enargeia, with its abil- ity to bring to life the events of the past. As such, Mannerism or maniera became a means whereby the Church could distinguish its history and primacy from that of competing Protestant denominations. Chapter 3 (Enargeia, spirituality, and maniera: from St. Paul to Vasari) traces the incorporation of enargeia into the theology of the Early Church. This process began with St. Paul, who understood how Classical enargeia or evidentia could be used in preaching to bring to life the events of the life of Christ. Such preaching served to stimulate an emotional connection to the Church. From St. Paul to later theologians, the employment of enargeia to make present that which was absent, with the goal of bringing to life the Church’s history and mission. St. Paul’s characterization of enar- geia as the art of vivificat was transformed by succeeding generations and applied in different ways, and within this development can be located Vasari’s maniera, the art of lifelikeness or vivacità, comparable to Paul’s vivificat. Chapter 4 (From Leone Ebreo to Federico Zuccari: God’s plan for art) considers the role of art in the process of salvation as developed in sixteenth-century treatises on art. In describing how to make the best art, the authors of these treatises focused on the process whereby images imbued with certain proportional and visual effects could assist audiences to realize God’s love and to discern the path to salvation he gave humanity. Authors bracketed by the parameters of Leone Ebreo (1464–1530) and Federico Zuccari (1540–1609) are considered and their treatises are analyzed toward establishing that art was consistently understood by sixteenth- century artists, patrons, and audiences as being a means to achieving an increased understanding of God. Chapter 5 (Maniera: a history) explores Mannerism’s historiography, with an emphasis on Mannerism and spirituality. This overview begins with the reaction against maniera found in seventeenth-century theorists, who saw maniera as being antithetical to the reformed Church, thereby considering it to be artistically the equivalent of vice. From Walter Friedlander to more recent developments in this Introduction 3 historiography, the goal was to develop a profile of reactions to and consideration of maniera as an art of spirituality. The different and diverse methods and approaches employed in the study of maniera are presented, concluding with current consider- ations of approaches that include formalism, iconography, interdisciplinarity, Marx- ism, feminism, and Cognitive Science. As the history of visions, apparitions, and mystical experience was for on which the Church had an undeniable and unshakable monopoly, maniera’s enargeia became an adjunct to its mission to retain its traditional authority. This study concludes with (Conclusion: mannerism, mysticism, and cognition), com- prising an analysis of Pontormo’s Supper at Emmaus (c. 1525) (Figure I.1), a painting that incorporates inspiration from Albrecht Dürer’s Supper at Emmaus (c. 1510), from the Small Passion (Figure I.2). Pontormo’s painting is an unequivocably a visionary painting, intended to generate a transcendent experience for the spectator, thereby

Figure I.1 Pontormo, Jacopo (1494–1556/7). The Supper at Emmaus. 1525. Oil on canvas. 90 ½ × 68 1/8 in. (230 × 173 cm). Photo Credit: Art Resource, NY. 4 Introduction

Figure I.2 Albrecht Dürer, Supper at Emmaus, c. 1510, from the Small Passion. Photo Credit: Fogg Museum, Harvard University, Boston, MA. provoking an experience of altered cognition, comparable to that experienced by mys- tics. In analyzing Pontormo’s painting, a series of approaches is brought to play to clarify how maniera’s enargeia could bring spectators closer to God. In so connect- ing Mannerism to spirituality, and to the performative history of the Church’smys- tical culture, the goal has been to provide a perspective on how Mannerism continues signifying to scholars today.

Notes 1 Giorgio Vasari, Le Opere dei Giorgio Vasari con nuove annotazioni e commenti di Gaetano Milanesi (Florence: Sansoni, 1973), IX Volumes, IV, 12. 2 Craig Hairline, A World Ablaze: The Rise of Martin Luther and the Birth of the Reformation (Oxford: Oxford University Press, 2017). 3 For these events, see: Roland Bainton, Here I Stand: A Life of Martin Luther (Nashville, TN: Abingdon Press, 2013); John O’Malley, Trent: What Happened at the Council (Cambridge: Belknap Press, 2013); Michael Wintroub, The Voyage of Thought: Navigating Knowledge Introduction 5 across the Sixteenth-Century World (Cambridge: Cambridge University Press, 2017); Stephen Hawking, On The Shoulders of Giants (Philadelphia, PA: Running Press Adult, 2003). 4 See “Enargeia,” Arethusa, vol. 37 no. 3 (Fall 2004), 445–447, for a basic definition of, ‘Enargeia or vividness, the power of language to create a vivid presence intimately con- nected to the emotions of the interpreter/perceiver.’ Rutger J. 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