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Sanctified Presence: Sculpture and Sainthood in Early Modern Italy

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Sanctified Presence: Sculpture and Sainthood in Early Modern Italy Sanctified Presence: Sculpture and Sainthood in Early Modern Italy The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Currie, Morgan. 2015. Sanctified Presence: Sculpture and Sainthood in Early Modern Italy. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:14226067 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Transfigured Reality: Sculpture and Sainthood in Early Modern Italy A dissertation presented by Morgan Currie to The Department of History of Art and Architecture in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History of Art and Architecture Harvard University Cambridge, Massachusetts September, 2014 © 2014 Morgan Currie All rights reserved iii Dissertation Advisor: Professor Alice Jarrard Morgan Currie Transfigured Reality: Sculpture and Sainthood in Early Modern Italy Abstract This dissertation examines the memorialization of dramatic action in seventeenth-century sculpture, and its implications for the representation of sanctity. Illusions of transformation and animation enhanced the human tendency to respond to three-dimensional images in interpersonal terms, vivifying the commemorative connotations that predominate in contemporary writing on the medium. The first chapter introduces the concept of seeming actuality, a juxtaposition of the affective appeal of real presence and the ideality of the classical statua that appeared in the work of Stefano Maderno, and was enlivened by Gianlorenzo Bernini into paradoxes of permanent instantaneity. This new mystical sculpture was mimetic, not because it depicted events narrated elsewhere, but imitated mutable, time-bound, spiritual activity with arresting immediacy in the here and now. No other form of image could so fully evoke the mingling of human immanence and divine transcendence that was the fundamental basis of sanctity. Chapters Two through Four closely analyze the sculptural construction hagiographic identities for Ludovica Albertoni, Alessandro Sauli, and John of the Cross, and their interplay with political, social, and religious factors. The discovery of connections between marble and wooden statuary further broadens our understanding of the expressive range of the medium. The homology between saintly and sculptural exemplarity reveals a far more dynamic, interactive, and rhetorical conception of the medium than is portrayed in early modern theoretical writings. iv TABLE OF CONTENTS ABSTRACT iii TABLE OF CONTENTS iv ACKNOWLEDGMENTS vi LIST OF ILLUSTRATIONS viii INTRODUCTION 1 CHAPTER ONE: SEEMING ACTUALITY AND SACRED PRESENCE 10 I. SCULPTURE IN THEORY IN EARLY MODERN ROME 12 II. AFFECTIVE PRESENCE IN RELIGIOUS SCULPTURE 38 III: TRANSFORMATIONS 62 IV. BAROQUE MYSTICAL SCULPTURE 92 CONCLUSION 108 CHAPTER TWO: LUDOVICA ALBERTONI: INTERCESSORY PRESENCE IN ARISTOCRATIC ROME 111 I. LUDOVICA, BERNINI AND THE FIRST ALTIERI CHAPEL 112 II. BERNINI’S CHAPEL 131 III. CIPRIANI, OTTONI AND THE SECOND ALTIERI CHAPEL 162 IV. THE ISSUE OF EFFICACY: WHAT BECAME OF LUDOVICA? 199 CONCLUSION 204 CHAPTER THREE: ALESSANDRO SAULI: THE CONSTRUCTION OF SAINTLY PRESENCE IN BAROQUE GENOA 206 I. ALESSANDRO SAULI, HIS FAMILY, AND THEIR CHURCH 208 II. THE ST. ALESSANDRO SAULI AS AN IMAGE OF SANCTITY 224 III. PUGET AND THE TRANSFORMATION OF GENOESE SCULPTURE 252 IV. EFFICACY REVISITED: THE AFTERLIFE OF THE ST. ALESSANDRO SAULI 273 CONCLUSION 277 CHAPTER FOUR: ST. JOHN OF THE CROSS: THE ENACTMENT OF CARMELITE DEVOTION 280 I. THE GENESIS OF THE IMAGE 285 II. THE DISCALCED CARMELITES AND ST. JOHN OF THE CROSS 301 III. THE DISCALCED CARMELITES AND THE ARTS 316 IV. AN IMAGE OF CONTEMPLATION 331 V. A DISCALCED CARMELITE CHAPEL 352 v CONCLUSION 361 CONCLUSION 365 BIBLIOGRAPHY 370 ILLUSTRATIONS 420 vi ACKNOWLEDGMENTS I owe a profound debt of gratitude to my advisor, Alice Jarrard, for her insight, guidance, patience, and unwavering support in bringing this dissertation to its finished form. Her careful reading and thoughtful questioning, with its combination of intellectual freedom and rigor, has simply made me a better scholar. I would also like to thank my readers, Joseph Connors and David Roxburgh for valuable comments and timely assistance. I am grateful for the many conversations I have had with members and affiliates of the History of Art and Architecture Department at Harvard while planning my project. In particular, I would like to thank Stephan Wolohojian, Valentin Groebner, and Henri Zerner, who posed the question that launched the path seeming actuality. Deanna Dalrymple deserves special recognition for her patience and support in smoothing troubled waters. I would like to thank Harvard University for the generous financial support throughout my graduate studies. I am also grateful to Sandra Naddaff, Barbara Johnson, and the Harvard Literature concentration for providing me with a stimulating dialogue and a fantastic teaching experience. My research took place in various institutions and repositories, but the Archivio dell'Ordine dei padri Carmelitani Scalzi in Rome stands out for their friendly reception and unfettered access to their holdings. I am grateful to my family for their emotional and material support during the writing process. I would like to thank my father, Peter, for all his assistance, especially during the final stages of completion and submission. I would like to than Cassandra for inspiration; her life and this project have been intertwined since the beginning. Finally, I would like to thank Liisa, for showing me that one need not be a saint to be visited by an angel. vii This dissertation is dedicated to Hazel Currie, who never stopped believing. viii LIST OF ILLUSTRATIONS Fig. 1. Pierre Puget, St. Alessandro Sauli, 1664-68, marble, S. Maria Assunta in Carignano, Genoa. Fig. 2. Gianlorenzo Bernini, The Bd. Ludovica Albertoni, 1674, marble, S. Francesco a Ripa, Rome. Fig. 3. Lorenzo Ottoni, The Bd. Ludovica Albertoni and the Holy Family, marble, S. Maria in Campitelli, Rome. Fig. 4. Pietro Papaleo, St. John of the Cross in Ecstasy, c. 1714, marble, S. Maria della Scala, Rome. Fig. 5. Francesco Mochi, St. Veronica, 1629-32, marble, St. Peter's, Vatican City. Fig. 6. Gianlorenzo Bernini, St. Longinus, 1629-38, marble, St. Peter's, Vatican City. Fig. 7. François Duquesnoy, St. Andrew, 1629-33, marble, St. Peter's, Vatican City. Fig. 8. François Duquesnoy, St. Susanna, 1629, marble, S. Maria di Loreto, Rome. Fig. 9. François Duquesnoy, Tomb of Ferdinand van den Eynde, 1633-40, marble, S. Maria dell' Anima, Rome. Fig. 10. Stefano Maderno, St. Cecilia, 1600, marble, S. Cecilia in Transevere, Rome. Fig. 11. Nicolas Cordier, St. Agnes, 1605, antique alabaster torso with bronze extremities, Sant’ Agnese fuori le Mura, Rome. Fig. 12. Stefano Maderno, St. Bridget in Ecstasy, 1600, marble, S. Paolo fuori le Mura, Rome. Fig. 13. Antonio Raggi, St. Benedict, 1657, marble, Cave Chapel, Monastery of St. Benedict, Subiaco. Fig. 14. Gianlorenzo Bernini, St. Bibiana, 1626, marble, S. Bibiana, Rome. Fig. 15. Gianlorenzo Bernini, Apollo and Daphne, 1622-24, marble, Villa Borghese, Rome. Fig. 16. Gianlorenzo Bernini, Pluto and Persephone, 1621-22, marble, Villa Borghese, Rome. Fig. 17. Giuliano Finelli, Bust of Giulio Antonio Sartorio, 1634, marble, San Giovanni in Laterano, Rome. Fig. 18. Alessandro Algardi, Bust of Cardinal Giovanni Garzia Mellini, 1637-38 Marble, S. Maria del Popolo, Rome. ix Fig. 19. Gianlorenzo Bernini, The Ecstasy of St. Teresa, 1647-52, marble, Cornaro Chapel, S. Maria della Vittoria, Rome. Fig. 20. Alessandro Algardi, St. Philip Neri, 1636-38, marble, Santa Maria Vallicella, Rome. Fig. 21. Gianlorenzo Bernini, St. Lawrence on the Grill, 1615-17, marble, Galleria degli Uffizi, Florence. Fig. 22. Gianlorenzo Bernini, Sleeping Hermaphrodite, 1620, antique marble figure on marble mattress, Villa Borghese, Rome. Fig. 23. Gianlorenzo Bernini, Andrea Bolgi and Stefano Speranza, 1635, Presepe, marble and travertine, Church of the Nativity, Albano. Fig. 24. Gianlorenzo Bernini, David, 1623-24, marble, Villa Borghese, Rome. Fig. 25. Guido Reni, St. Cecilia, 1606, oil on canvas, Norton Simon Museum of Art, Pasadena, CA. Fig. 26. Domenichino, St. Cecilia, c. 1617-18, oil on canvas, Musée du Louvre, Paris. Fig. 27. Caravaggio, St. Matthew and the Angel, 1600, destroyed. Fig. 28. Caravaggio, The Inspiration of Saint Matthew, 1602, oil on canvas, 292 x 186 cm, Contarelli Chapel, San Luigi dei Francesi, Rome. Fig. 29. Caravaggio, Basket of Fruit, c. 1596, oil on canvas, 45.9 x 64.5 cm, Pinacoteca Ambrosiana, Milan. Fig 30. Caravaggio, The Crucifixion of Saint Peter, 1600, oil on canvas, 230 x 175 cm, Cerasi Chapel, Santa Maria del Popolo, Rome. Fig. 31. Caravaggio, The Conversion of Saint Paul ca. 1600-01, oil on canvas, 230 x 175 cm, Cerasi Chapel, Santa Maria del Popolo, Rome. Fig. 32. Annibale Carracci, The Assumption of the Virgin, 1600 oil on wood, 245x155 cm. Verasi Chapel, S. Maria del Popolo, Rome. Fig. 33. Gianlorenzo Bernini, interior of S. Bibiana, 1624-26. Rome. Fig. 34. Pietro da Cortona, The Martyrdom of St. Bibiana, 1624-26, fresco, S. Bibiana, Rome. Fig. 35. Gianlorenzo Bernini and Francesco Baratta, St. Francis in Ecstasy, 1642-46, marble, Raimondi Chapel, S. Pietro in Montorio, Rome. x Fig. 36. Giovanni Lanfranco, The Ecstasy of St. Margaret of Cortona, 1622, oil on canvas, 230 x 182 cm, Galleria Palatina (Palazzo Pitti), Florence. Fig. 37. Giovanni Battista Maiani, St. Felician, 1730, bronze and silver, Duomo, Foligno. Fig. 38. Gianlorenzo Bernini, Altieri Chapel, 1672-74, S. Francesco a Ripa, Rome. Fig. 39. Sebastiano Cipriani et. al. Altieri Chapel, 1699-1705, S. Maria in Campitelli, Rome. Fig. 40. Giovanni Battista Gaulli, The Blessed Ludovica Albertoni Distributing Alms, 1670-1, oil on canvas, 210.2 x 137.2 cm, Getty Museum, Los Angeles. Fig. 41. The Bd. Ludovica Albertoni, sixteenth century, fresco, Altieri Chapel, S.
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