Römisches Jahrbuch Der Bibliotheca Hertziana

Römisches Jahrbuch der Bibliotheca Hertziana

BAND 41 · 2013 / 14 VERÖFFENTLICHUNGEN DER BIBLIOTHECA HERTZIANA MAX-PLANCK-INSTITUT FÜR KUNSTGESCHICHTE ROM

HERAUSGEGEBEN VON SYBILLE EBERT-SCHIFFERER UND TANJA MICHALSKY REDAKTION: SUSANNE KUBERSKY-PIREDDA REDAKTIONSASSISTENZ: MARA FREIBERG SIMMEN, CATERINA SCHOLL

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ISBN %&$-'-$$$(-!&'&-' Stephanie C. Leone

Luca Berrettini (1609 – 1680): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome Table of Contents

Introduction !!"

Pietro da Cortona’s Architectural Production !!#

Polychrome Work and Stone Market !!$

Commissions from #%%% to #%&" !'"

Testament and Inventory !'(

Conclusion !%!

Appendix !%' Abstract

This study of Luca Berrettini’s career, testament, and post- pects by specializing in the carving of polychrome stone and humous inventory defines his work relationship to Pietro da diversifying into the stone market. His combination of tech- Cortona more precisely and examines his contribution to nical acumen and intellectual capability enabled him to col- the building of Baroque Rome more thoroughly than previ- laborate closely and continually in Cortona’s architecture ous sources. Its conclusions expand our understanding of and to design some independent works. The case of Berret- the operating procedures of Pietro da Cortona, the identity tini demonstrates that boundaries between the professions and work of Luca Berrettini, and the occupation of scalpel- in the building industry could be elided, even though in lino-merchant. While closely connected to, and dependent theory the ability to design, which required intellect, sepa- upon, his more famous kinsman, Berrettini also acted inde- rated architects from scalpellini. pendently to develop his professional and economic pros-

439 Stephanie C. Leone

Introduction his possessions attests to his capacity for invention. Berret- tini’s combination of technical acumen and intellectual In #%#), Luca Berrettini was only three years old when his capability demonstrates that the boundaries between the teenage cousin, Pietro da Cortona, left for Rome, but they professions of the building industry could be elided, even met again in #%$', when Luca moved to the papal city to though in theory the ability to design, which required intel- assist Pietro, whose career was soaring through the patron- lect, separated architects from scalpellini. age of the Barberini court.1 (To avoid confusion, I use In practice, many architects of the late sixteenth and sev- “Cortona” for Pietro da Cortona and “Berrettini” for Luca.) enteenth centuries were trained as craftsmen in the building In many scattered references, Cortona scholars note Berret- industry. This was the case of the Berrettini. Filippo, Luca’s tini’s recurring work as a scalpellino (stone carver) for his father and Pietro’s first cousin, was a scalpellino-muratore cousin. In his fundamental book on Santi Luca e Martina, who became an architect. His most notable building is the Karl Noehles confirms Luca’s skill because “[...] Bernini e front block of the Palazzo Pretorio in Cortona, for the Me - sopratutto Borromini si valsero largamente della sua colla- dici Grand Duke. Luca’s homonymous great-grandfather borazione.”2 In a letter written shortly after Berrettini’s might also have been an architect because Luca singled out death, Giacinto Capulli praises him as “[...] insigne nell’ar- his intellectual ability, calling him “[...] uomo d’ingegno chitettura et intaglio di marmi.”3 My analysis of Berrettini’s non ordinario nella sua professione [...].”6 Although both career, testament, and posthumous inventory defines his Pietro and our Luca came from this tradition, their paths professional relationship to Pietro da Cortona more pre- diverged because the former studied painting, which privi- cisely and examines his contribution to the building of leges invention, whereas the latter trained in stone carving, Baroque Rome more thoroughly than previous sources.4 which requires technical skill and knowledge of materials. The result is greater understanding of the operating proce- Instrumental in Cortona’s architectural production, Berret- dures of Pietro da Cortona, the identity and work of Luca tini provided dependable and skilled execution and super- Berrettini, and the profession of scalpellino-merchant. Ber- vision of stonework, and his specialization in polychrome rettini was closely connected to, and dependent upon, his stone facilitated Cortona’s use of this material. In a few more famous kinsman, as the display of art in his house also commissions late in life, Berrettini demonstrated his capac- expresses. Such familial and national ties were instrumental ity for invention, most notably in the Cappella di San Fran- to the integration of foreigners into Rome’s building indus- cesco Saverio in the church of Il Gesù. try.5 Yet, by diversifying into the field of polychrome stone, Berrettini’s work in polychrome stone reflects the variety Berrettini acted independently to expand his professional of working practices of scalpellini, which merit greater and economic prospects. Berrettini was highly skilled in the study. Scalpellini frequently executed the polychromy de- craft of stone carving, dexterously executing the designs of signs of architects and sculptors. Some contracts between his architect cousin, but evidence from his career as well as patrons and scalpellini name the designer, such as the #%"!

# For valuable and generous help while preparing this article, I thank lished by B+3:.7;55. / B+3:.7;55. / S+7-. #/&", vol. #, p. $!". Berret- Fernando Bilancia, Patrizia Cavazzini, Don Sandro Corradini, Fabrizio tini’s posthumous inventory furnishes evidence of Berrettini and Federici, Alison C. Fleming, Diana Hammer, Ann C. Huppert, Pamela Capulli’s acquaintance: He has a censo against the Capulli brothers; M. Jones, Susanne Kubersky-Piredda, Tod A. Marder, Sarah McPhee, ASR, Trenta Notai Capitolini, Uff. #", Istrumenti, )% giugno #%&", Heather Hyde Minor, Vernon Hyde Minor, Guendalina Serafinelli, fol. )%$ v (transcribed in the Appendix). and the anonymous readers. I am very grateful for the support of ! Pietro da Cortona #/%/, p. #!, nos. %! and %', cites Luca Berrettini’s Boston College, the Center for Advanced Study in the Visual Arts at testament and inventory but without the collocations. For the testa- the National Gallery of Art, and the Renaissance Society of America. ment, ASR, Trenta Notai Capitolini, Uff. #", Testamenti, # dicembre On Cortona’s arrival in Rome, S*+,-. #//(, p. )&. It is presumed that #%(/, fols. (!# r – (!) v, (!( r – (!( v. For the inventory, ASR, Uff. #", Luca went to Rome with his father Filippo, who is documented there Istrumenti, )% giugno #%&" , fols. )'! r – )%! r. Both documents are from June #%$' to December #%$%; N012314 #/(", p. $!&, doc. &#. transcribed in the Appendix. ) N012314 #/(", p. #", n. $%. M+--103. #//!, p. %!", gives Luca Ber- ' The point has been made regarding the Ticinese community in the rettini’s birth and death dates as )% December #%"/ and )" June #%&" building industry of sixteenth- and seventeenth-century Rome: respectively, but according to P1-,+55.+ )"#", p. #"$, n. $(, the first B1, -030--. #&&#; M1,<+,.0 #&/$; D07+-. #/!); Arte e artisti is his baptismal date. Berrettini’s biography is noted in B,.6+7-. #/%(. #/%!; C;,5.0 / S*1<<+=1,,0 #/&/; B07+550,40 #//!; C;,5.0 L189 #/// – )""" ()""$), p. $&&, n. )$, wrote that “[...] Luca Berret- #///; V+ >;1,0 P.?1.,0 #///; M+,507. )""!; Studi sui Fontana tini’s work has no more than documentary consideration.” )""&. $ Capulli’s letter is addressed to Dietesalvi Mei, who was gathering % C+@*0,. #&%%, p. '"%. On the Berrettini family and Pietro da Corto- information about Cortona for Filippo Baldinucci. L189 #/// – )""" na’s youth, F+AA,.7. #&/%, pp. # – $; N012314 #/(", p. #", n. $%; ()""$), p. $/", discusses the excerpt about Berrettini, which is pub- M1,< )""&, pp. # – (.

440 Luca Berrettini (#%"/ – #%&"): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome

! Pietro da Cortona, Detail of Ionic pilaster and column of the confessio, executed by Luca Berrettini, #%%!. Rome, Santi Luca e Martina (Photo author)

contract of Erminio Giudici for the execution of Onorio Pietro da Cortona’s Architectural Production Longhi’s design of the Cappella Mantaco in Santa Maria d’Aracoeli, and some do not, such as the #%$& contract of Gabriele Renzi for the Cappella Savenier in Santa Maria The relationship between Cortona and Berrettini exemplifies dell’Anima, probably on the design of Paolo Maruscelli the practice of sustained association between architects and (#%$&).7 In rarer cases, the scalpellino was the designer; for masters to facilitate production. Their relationship may example, Bartolomeo Bassi made the drawing for the Cap- indeed stand out as the longest lasting. In late-sixteenth- and pella della Visitazione in the Chiesa Nuovo.8 Many entre- seventeenth-century Rome, trustworthy relationships result- preneurial scalpellini branched into the market for precious ed in well-organized and efficient architectural production stones, which was more lucrative than stone carving.9 But with expert results. This is the case with Domenico Fontana’s first and foremost, the scalpellino’s responsibility was to projects for Sixtus V (#'&' – #'/"), and the Cappella Sistina know the nature of stone and to ensure high quality work- in Santa Maria Maggiore is the textbook example of the well- manship of this difficult and expensive material.10 Exempli- run building site. Flaminio Ponzio’s projects for Paul V fying all of these practices, Berrettini’s career argues for a (#%"' – #%)#) represent the maturation of this practice. Nota- nuanced understanding of the scalpellino’s role in the build- ble for our purposes is the prolonged association between ing industry of Baroque Rome, which defies the neat theo- Ponzio and his capomastro scalpellino, Erminio Giudici.11 In retical division between design and execution. the mid-seventeenth century, Martino Longhi the Younger

( F,+-+,5+7613. / L1,<+ )""/, p. )#'; A@17:03+ )"##, pp. )' – )/. #" D. C+4-,0 / P155030 / G+<<+7.6+ #//!, pp. #$ – #'; A@17:03+ )"##, & D. C+4-,0 / P155030 / G+<<+7.6+ #//!, p. $'. pp. #( – )" and )' – )(. / F,+-+,5+7613. / L1,<+ )""/, pp. )"% – )##. On the rising prices of ## D’[email protected] / M+,507. #///, pp. /% – #""; M+,507. )""!, pp. '$ – ((; marble, A@17:03+ )"##, p. $#. F,+-+,5+7613. / L1,<+ )""/, pp. )## – )#'.

441 Stephanie C. Leone

" Pietro da Cortona, Façade, #%'%–#%'&. Rome, Santa Maria della Pace (Photo Andrea Jemolo)

established a close collaboration with muratore-stuccatore Pietro da Cortona relied upon a group of sculptors to Francesco Deodini.12 Reliable and often repeated collabora- realize his designs for works in stone, bronze, and stucco, tions characterize the practices of architect-sculptors working and Cosimo Fancelli was his most frequent and closest col- in polychrome stone. Alessandro Algardi provided the design laborator. As Jennifer Montagu demonstrates, Fancelli both for the marble-encrusted Cappella Gessi and controlled the adopted Cortona’s figural style and transformed Cortona’s selection of stone carvers, specifying Pietro Lambruzzi and two-dimensional drawings into plastic form.15 Cortona’s Francesco Orsolani.13 A final example brings us to the top of employment of his cousin applied the same principle of pro- the artistic hierarchy in Baroque Rome: Gianlorenzo Bernini duction to his architectural endeavors. In #%$', Berrettini relied upon the expertise of scalpellino Gabriele Renzi in the began work at Santi Luca e Martina, Cortona’s most impor- Cappella Cornaro and the Tomb of Alexander VII, where tant work of architecture, and continued there for three Renzi executed the exquisite blanket of diaspro di Sicilia.14 decades.16 Berrettini’s most significant contribution was the

#) Longhi and Deodini collaborated on Sant’Adriano al Foro, Longhi’s #$ M07-+6; #/&/, p. #"(. house, and Palazzi Ginnetti in Velletri. P;63.141 / R.6+70 #/(), #! M07-+6; #/&/, p. ##); A@17:03+ )"##, p. '#. p. %(, p. &%, n. $!, pp. #$# – #!". C+8+<<.7. )""# / )"") ()""!), p. )'/ #' M07-+6; #/&/, pp. (( – &!. and p. )(#. #% M1,< )""&, pp. '$ – ((.

442 Luca Berrettini (#%"/ – #%&"): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome skillful execution of the demanding work of intaglio, the façade might include the selection of stone. Jörg Martin carving of capitals, bases, pediments, decorative carvings, Merz praises the use of the texture of the travertine as a and other details. During Cortona’s absence from Rome, visual feature of the façade, and attributes this effect to Cor- from #%!# to #%!(, he also assumed supervisory duties.17 tona.22 But lack of solid documentation and the responsi- In #%%! Berrettini submitted the misura e stima of sixteen bilities of the capomastro scalpellino, including the know- Ionic capitals and bases of the freestanding columns and ledge of materials and the quality of stone, leaves open the twenty-seven Ionic capitals and bases of the pilasters. To possibility that Berrettini was responsible for the effect.23 Noehles’s attribution of the eight capitals and bases in the Berrettini continued as capomastro scalpellino in Cortona’s confessio to Berrettini, we can add the capitals and bases of commission of the new portico of Santa Maria in Via Lata the eight freestanding columns in the crossing of the upper (#%%" – #%%!).24 Berrettini provided stable collaboration church. Although the Ionic capitals of the upper and lower that ensured the efficient and expert realization of his cous- churches differ, all conform to the generic description in the in’s architectural endeavors. Their familial bond must ex- misura e stima.18 Cortona entrusted Berrettini with trans- plain, at least in part, the exceptional longevity of this archi- lating his inventive design of the confessio capitals – the tect-master relationship. upturned pea-pods merging into the egg – into lively and robust stonework (fig. #).19 Berrettini assumed the supervisory role of capomastro Polychrome Work and Stone Market scalpellino during Cortona’s heyday as the architect of Pope Alexander VII (#%'' – #%%(). In the renovation of Santa Berrettini’s expertise in precious stonework and his initia- Maria della Pace (#%'% – #%'&), Berrettini was responsible tive to become a stone merchant facilitated Cortona’s for the exterior work of travertine, the coat of arms with employment of polychromy in his architecture.25 Merz crit- oak branches on the façade, the marble pavement of the icizes Berrettini for lacking the engineering skill that would portico, the marble work of the Cappella Chigi, and various have enabled Cortona to develop fully into an architectural other carvings of travertine and marble (fig. )).20 He also entrepreneur (in contradistinction to the engineering sup- supplied the marble for the two medallions of Sixtus IV and port that Luigi Bernini gave to his brother Gianlorenzo).26 Alexander VII with putti, carved by Antonio Raggi, resting Though true, Berrettini offered something else. As Cortona on the wings that flank the portico. The newly found increasingly used polychromy in his architectural design, payment to Raggi for these reliefs confirms Montagu’s prior Berrettini took steps to become an expert in this material attribution through formal analysis and a letter of Cor- and to provide access to it. Berrettini’s first independent tona.21 Berrettini’s contribution to the appearance of the contract was signed in association with Domenico Mar-

#( N012314 #/(", pp. #"# – #"/; p. $!), doc. !!; pp. $!% – $!&, docs. ($, and used most thoroughly by B171:1--. )""%, pp. // – #$#. For (!, ((, (/, &%; p. $'!, doc. #"&; p. $'', doc. ##"; B3;7- #/&), p. (). earlier references and transcriptions of payments, M07-+6; #//!, Berrettini also carved the bardiglio columns of the confessio and, after p. &$(, n. $; C1,;--. F;450 / V.33+7. )""), p. )%%. I returned to the Cortona’s death, carried out finishing work in the confessio. He prob- originals that offer further details about Berrettini’s work in the inte- ably executed the funerary monument of Cortona, which was installed rior. after controversy between the Accademia di San Luca and the Congre- )# The payment is in ASV, Palazzo Apostolico, Computisteria, vol. &'(, gazione di Sant’Eufemia; S*+,-. #//(, p. (". On the nature of intaglio fol. )": “Antonio Raggi, (' scudi, per il prezzo di quattro putti di work, S*1440 #//$, p. !). tevertino et due medaglie di marmi dalle parte del Theatro con scudi #& N012314 #/(", p. #"&; p. $'', doc. ##". cinque per un pezzo di tevertino per due putti del suo in tutto scudi #'' #/ M1,< )""&, p. %! f., identifies the design of the capitals as Cortona’s et scudi )'" per la facc.a della statua di S. Belardino nella cappella invention. […].” For Montagu’s attribution, M07-+6; #//!, p. &$&. M1,< )" For the building history of Santa Maria della Pace, M1,< )""&, )""&, p. $"&, n. $!, cites the payment to Luca Berrettini for “[...] pp. #%' – #&$. N012314 #/%/, p. )"', n. '#, for Berrettini’s first con- marmo statuale per fare li doi medaglie dall’parte del Portico,” in ASV, tract of February #%'%: “[...] per l’opera di scarpello [...] per fare il Palazzo Apostolico, Computisteria, vol. %'$ [new vol. &'(]), and con- nuovo Portico avanti la facciata della Chiesa della Madonna S.ma cludes that both Berrettini and Raggi carved the medallions. della Pace [...].” Berrettini submitted the “Misura e stima delli marmi )) M1,< )""&, p. #(). bianchi ordinari e bardigli bianchi neri et giallo nero di Carrara [...]” )$ For the scalpellino’s responsibilities, F,+-+,5+7613. / L1,<+ )""/, (%(&./" scudi) in June #%'%, and his “Misura e stima dell’opera di p. )##; A@17:03+ )"##, p. #&. scalpello, di travertini, e mischi [...] per la fabbrica et portico novo, )! M1,< )""&, p. #/! f. et chiesa, della Madonna della Pace [...]” (',%'! scudi) records his )' Only Marcello Villani notes Berrettini’s expertise in polychrome stone; labor from October #%'% to April #%'&. These accounts, in ASV, C1,;--. F;450 / V.33+7. )""), p. $)'. Palazzo Apostolico, Computisteria, vols. %') – %'!, are transcribed )% M1,< )""&, p. )&#.

443 Stephanie C. Leone

cone, an experienced scalpellino of precious stone who was the most prominent stone merchant in Rome.27 Berrettini and Marcone had already worked together at Santi Luca e Martina.28 In #%!' the heirs of Monsignor Antonio Cerri contracted them to realize Cortona’s design of the Cappella Cerri in Il Gesù.29 Their responsibilities included the new work of stone, bronze, and gilding from the pavement to the cornice, and the oversight and installation of the statues and busts (fig. $).30 The payment documents imply that Marcone occupied the supervisory role, whereas Berrettini contributed mostly labor, some materials, and limited oversight of the work- ers. Marcone’s expenditure of %'!!.&# scudi includes payments to scalpellini, intagliatori, lustratori, and muratori ()"($.!/); the supply of stone and marble; the cutting and working of stones; the metal work; the refurbishment of the gilding on the vault stuccoes; and unspecified daily expenses. Berrettini’s expenditure of $$%.)' scudi was significantly smaller, and about half (#%$.)') was for his own labor of intaglio. The other half was for expenses like the supply of stone, other supplies, the labor of lustratori and scalpellini, and the jewelers who cut the hard diaspro di Sicilia.31 Scholars question the extent of Pietro da Cortona’s control over the design and consequently Berrettini’s interven- tion. Although Dobler argues that the chapel fits into Cor- tona’s oeuvre, Merz sees incongruities: “One gets the impression that the ornaments of the side wall are not wholeheartedly Cortonesque, while the decoration of the niches is rather un-Cortonesque.”32 He assigns the discrepancies probably to Luca Berrettini but does not compare the details to other carvings by Berrettini’s hand. The garland on the east wall, with its expressive and plastic campanulas that merge into central blossoms, exhibits the same liveli- ness as Berrettini’s capitals in the confessio of Santa Mar-

)( On Marcone, M07-+6; #/&/, p. )$. )& D0A31, )""/, p. #"%. See also N012314 #/(", p. $!%, doc. ($; M1,< )""&, p. )/%, n. !#. )/ D0A31, )""/, p. #"%, n. #//, transcribes the contract. For earlier citations and transcriptions, M07-+6; #/&', p. !)! f.; M1,< )""&, p. /( f. $" For a thorough analysis of the Cappella Cerri, D0A31, )""/, pp. #"# – #!% (esp. pp. #") – #"(, on the design and execution). See also M07- -+6; #/&', pp. !)! f.; M1,< )""&, p. /( f. $# The payment documents are in ASR, Notai del Tribunale dell’Auditor camerae, Petrucciola, vol. '/&#, fols. ('" r – (') v, ((#. They have been # Pietro da Cortona, Detail of corner pier, executed by Luca Berrettini studied by M07-+6; #/&', p. !)'; D0A31, )""/, p. #"(. My analysis and Domenico Marcone, with Cosimo Fancelli’s Justice statue, Cappella differs from Dobler’s argument that Berrettini held the supervisory role Cerri, #%!'. Rome, Chiesa del Gesù (Photo Bibliotheca Hertziana / Enrico and Marcone was actively involved in the execution. Fontolan) $) M1,< )""&, p. /&. D0A31, )""/, pp. #"( – #"/.

444 Luca Berrettini (#%"/ – #%&"): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome

$ Pietro da Cortona, Garland on east wall, executed by Luca Berrettini, Cappella Cerri, #%!'. Rome, Chiesa del Gesù (Photo Bibliotheca Hertziana / Enrico Fontolan) tina and, therefore, can be attributed to his hand (fig. # and Fontana’s Cappella Sistina in Santa Maria Maggiore (#'&' – fig. !). On the contrary, the garland’s counterpart on the #'/").35 Dobler notes Cortona’s innovative, sculptural bor- west wall is characterized by hard and inert forms, which ders around the panels of stone that function as picture were probably carved by one of the anonymous intagliatori. frames (fig. '). The visual properties of the precious stones, Cortona’s workshop practice, in which executants had a which the scalpellini must have selected, enhance the three- degree of freedom in transforming the master’s two-dimen- dimensional effect. The light-veined alabaster, set between sional drawing into three-dimensional form, explains the black and gilded frames, makes the innermost panel (prob- discrepancies in style while maintaining the attribution of ably red broccatello) appear to float. The bookmatched the design to Cortona. Berrettini’s skill as a dexterous exe- roundels of costly bianco e nero antico are highlighted in cutant with a flair for lifelike form was his major contribu- or namental gilded frames (fig. %). Equally refined is the tion to this project, but he also gained valuable experience pietre dure inlay on the balustrade that elegantly ‘holds to - in the art of polychrome stone.33 gether’ the slabs of marble (fig. (). This detail also appears This chapel represents both Cortona and Berrettini’s first on the balustrade of the high altar of Santi Luca e Martina work of polychrome revetment in the manner of Flaminio and in Renzi’s Cappella Savenier but does not seem to be Ponzio’s Cappella Paolina in Santa Maria Maggiore (#%"( – common. Berrettini’s work with Marcone served as a train- #%##).34 Ponzio’s emphasis on architectonic form repre- ing period for learning these refined techniques and launch- sents a departure from the decorative treatment of surfaces ing his specialization in polychrome stone; in Cortona’s in Giacomo della Porta’s chapels in St. Peter’s (#'(& – #%"!), subsequent chapels, Berrettini became solely responsible for his Cappella Caetani in Santa Pudenziana, and Domenico this technique.

$$ Marcello Villani praises Berrettini’s refined carving in the portico of $' For the history and associative significance of marble revetment in S. Maria in Via Lata, which “[...] contribuisce a fare di quest’opera Roman chapels of the late sixteenth century, O4-,0B #//". On the forse il vertice assoluto del disegno cortoniano dell’ordine.” C1,;--. Cappella Sistina, O4-,0B #//%, pp. )) – %); on Giacomo della Porta’s F;450 / V.33+7. )""), p. )&%. chapels in St. Peter’s, O4-,0B )""", pp. )!# – )!$. $! D0A31, )""/, p. #"&, makes the point regarding Cortona but does not define its place in Berrettini’s career.

445 Stephanie C. Leone

% Pietro da Cortona, Detail of polychrome panel, executed by Luca Berrettini & Pietro da Cortona, Detail of bianco e nero antico roundel and Domenico Marcone, Cappella Cerri, #%!'. Rome, Chiesa del Gesù with gilded decoration, executed by Luca Berrettini and (Photo Bibliotheca Hertziana / Enrico Fontolan) Domenico Marcone, Cappella Cerri, #%!'. Rome, Chiesa del Gesù (Photo Bibliotheca Hertziana / Enrico Fontolan)

Berrettini’s diversification into the lucrative precious of Carrara since the last quarter of the sixteenth century stone market relates to his work in this material. It was not and supplying the Reverenda Fabbrica di San Pietro since uncommon for entrepreneurial scalpellini to take this step, the early seventeenth century.38 The first evidence of Berret- but it nevertheless demonstrates Berrettini’s intent to ad - tini and Frugone’s collaboration dates from June #%!(, vance his and his cousin’s interests.36 For unknown reasons, when Berrettini supplied the Fabbrica with two shipments Berrettini did not continue his partnership with Marcone of white marble from Frugone, for the decoration of the six but instead partnered with Filippo Frugone, the second nave chapels of St. Peter’s.39 Berrettini was the middleman most active marble merchant in Baroque Rome.37 The Fru- between Frugone in Carrara and Bernini and Pietro Paolo gone family had been exporting marble from its hometown Drei at St. Peter’s. Berrettini’s fortuitous relationship with

$% On scalpellini as merchants, F,+-+,5+7613. / L1,<+ )""/, pp. )"% – $/ AFSP, Armadio #(E, vol. )!, fol. #((: “/ Giugno #%!(, Misura, e )##. stima di diversi pezzi di marmi bianchi statuali, et altro ord.i compri $( On Frugone, M07-+6; #/&/, p. )$. per serv.o della R.a Fabrica di S. Pietro per l’Incrostat.re delle Sei Cap- $& K3+*.452-Z;A1, #/%/, p. #/", p. )"$; M+,507. )""!, p. #)!. pelli della Nave grande dell’istessa Chiesa; et havuti in Tre Barcate da Filippo Frugone’s younger relative, Giovanni Martino, continued the Carrera dal P.rone Filippo Frugoni, e per lui dal S.e Luca Berrettini [...] family business in the late seventeenth century when he supplied mar- sc. &"#.&%”; “Misura e stima del n.i #$ altri pezzi di marmi tra bianchi ble for the French Academy (#%/"), the Chapel of St. Ignatius in Il e ord.i [...] dal S.e Luca Berrettini [...] sc. )#/.((”. The payments are Gesù (#%/'), and the twelve statues of the apostles for the nave of San signed by Bernini and Drei. It is unknown how Berrettini and Frugone Giovanni in Laterano (ca. #("$); O34<1B4C. #/&%. met. Two potential connections are Alessandro Algardi and Virgilio

446 Luca Berrettini (#%"/ – #%&"): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome

for the large sum of ),("#.)# scudi.40 This important business transaction probably led four days later to the legal act of association between Berrettini and Frugone, in which they agree to share equally the profits and expenses of all business deals pertaining to marble.41 Given the cost of notarial acts, their legal formalization of relations indicates much was at stake, surely financial resources and perhaps reputation.42 During Innocent X’s pontificate, Berrettini’s partnership with Frugone flourished, as he operated independently of his cousin, who was working as a painter for the papal family. During Francesco Borromini’s renovation of San Gio- vanni in Laterano, Innocent X became dissatisfied with Santi Ghetti’s execution of the stone pavement and, therefore, dismissed Ghetti and the project’s superintendent, Vir- gilio Spada. In Spada’s place, he appointed Monsignor Gia- como Franzone, Treasurer General of the Camera Apostolica and member of the Reverenda Fabbrica di San Pietro, as the new superintendent. In December #%'$, Franzone contract ed Berrettini and Frugone to complete, following changes in the design, the geometrically patterned pavement of the side aisles and the border of the nave, and their work was finished by April #%'% (fig. &).43 Franzone also hired Berrettini to work on Innocent X’s church of Sant’Agnese in Agone. Berrettini initially worked alongside the existing ' Pietro da Cortona, Detail of balustrade, executed by Luca Berrettini capomastri scalpellini but soon replaced them.44 Berrettini and Domenico Marcone, Cappella Cerri, #%!'. Rome, Chiesa del executed the travertine façade to the capitals and made Gesù (Photo Bibliotheca Hertziana / Enrico Fontolan) additional pieces for the drum and dome, according to Bor- romini’s early design of the façade (fig. /).45 Berrettini and Frugone supplied some of the travertine for the church and the marble for the Miracle of St. Agnes altarpiece (#%'!), Frugone led to additional contracts from the Fabbrica and commission ed from Algardi. In August #%'', Berrettini Pope Innocent X. In July #%!(, Berrettini and Frugone signed a new contract for the travertine work but soon left signed the contract of the marble for Algardi’s altarpiece, the building site over tensions with Borromini. While await- The Encounter of St. Leo the Great and Attila. Upon deliv- ing payment, Berrettini expressed frustration from the ery in June #%!&, the marble was measured and estimated absence of pay and the loss of the easier and more lucrative

Spada. Algardi was a close friend of Pietro da Cortona and purchased fol. /". Ghetti was an active scalpellino and merchant, who was stone from Frugone; M07-+6; #/&', p. $# f., p. $'!, p. !$(; S*+,-. responsible for the marble in several Bernini projects, the tabernacles #//(, p. ##, p. #"&. Cortona was connected to Spada through the Ora- of the new nave of San Giovanni in Laterano, the twenty-four columns torians; M1,< )""&, p. #)". As a member of the Reverenda Fabbrica, of cottonella marble for the side aisles of St. Peter’s (#%!&), and the Spada must have known the Frugone; E2,31 #/)(, p. )#. eight columns of cottonella for Sant’Agnese in Agone; B+4.3. )""". !" M07-+6; #/&', p. $'/. !! E.@1, #/(", pp. )&$ – )&%. The existing team included Giovanni So - !# ASR, Notai del Tribunale dell’Auditor camerae, vol. '!)), fols. (%# r – mazzo, Vincenzo Guidotti, and Giovanni Maniscalchi. Eimer argues (%) v. M07-+6; #/&/, p. )$, cites the act but does not discuss the terms. that Donna Olimpia Maidalchini might have had a hand in Berrettini’s !) On the costs of legal acts, A60 )""". presence, but Franzone is equally possible because he was responsible !$ H1.@AD,61, R+8+33. #/((, pp. )$/ – )!); R05+ D1 [email protected] #//&. for the contracts, knew Berrettini from St. Peter’s, and had selected him Franzone obliged Berrettini and Frugone to acquire the stone from for the pavement of the Lateran. Ghetti; Rome, Bibl. Cors., $#.B.#!, fol. )('. Prior to the contract of !' Berrettini’s summary of work is analyzed by E.@1, #/(", pp. $)( – $$"; the pavement, in January #%!&, Berrettini had supplied a piece of mar- pp. %%& – %(), no. & a. For Borromini’s drawing, Borromini e l’universo ble for an inscription at the Lateran; ASR, Fondo Spada, vol. !%), barocco )""", p. #&'; pp. #&( – #&&, cat. X.)).

447 Stephanie C. Leone

( Francesco Borromini, Pavement of side aisle, executed by Luca ) Francesco Borromini, Capitals on façade, executed by Luca Berrettini, Berrettini and Filippo Frugone, #%'$–#%'%. Rome, San Giovanni in #%'$–#%''. Rome, Sant’Agnese in Agone (Photo Bibliotheca Hertziana / Laterano (Photo author) Enrico Fontolan)

work of carving marble, after the more arduous and less remunerative work of travertine.46 Despite these difficulties, Berrettini rebounded because he and Frugone furnished the marble for Cortona’s architectural projects for Alexander VII. Opportunities continued in Clement IX’s pontificate when they supplied the statuary marble for Bernini’s ten angels for the Ponte Sant’Angelo (#%%( – #%%/). Their continued success attests to their ability to supply high quality marble “[...] della più bianchezza, e pasta, che si trovi conforme e stato il marmo del Costantino senza peli o macchie, ma di tutta perfettione [...].”47 In his mature commissions for polychrome chapels, Pie- tro da Cortona benefitted from Berrettini’s expertise in this medium. Following the work with Marcone in the Cappella Cerri, Berrettini was prepared to oversee the supply and execution of the marble revetment of the Cappella del San- tissimo Sacramento in San Marco (#%'' – #%'%) (fig. #").48 Similar to the Cappella Cerri, the marble design emphasizes the architectonic form and the plasticity of the framing ele-

!% E.@1, #/(", pp. $#/ – $)!; pp. $%$ – $%'; p. !"' f.; pp. !#$ – !#'; pp. ("" – ("), no. #$ a. M07-+3-0 #/'&, p. #''; p. #%(, no. #%; W.A.,+3 #/'&, p. )'&, p. )(' f. For payments to Berrettini, G+,@4 #/(), nos. &!, !%&, ($$, /#$, /$#. Berrettini’s final payment was received only in #%%&. On the Miracle of St. Agnes, which was never carved, M07-+6; #/&', p. #'$, p. $'# f. After Berrettini’s departure, Fausto Viventi and Giovanni Maria Baratta continued the work of intaglio for the modified design of the façade; E.@1, #/(", pp. !)$ – !)(. !( They received ),&"" scudi. W1.3 #/(!, p. $# f., p. #)# f. !* Pietro da Cortona, Detail of corner pier, executed by Luca Berrettini, !& Payments to Berrettini totaling %"" scudi are published in Palast und Cappella del Santissimo Sacramento, #%''–#%'%. Rome, San Marco Basilika San Marco #/#$, p. /!, n. (; C+4+31 #/%/, p. #"&, n. (. R05+ (Photo author) D1 [email protected] )""%, p. &(, cites additional payments.

448 Luca Berrettini (#%"/ – #%&"): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome

!! Pietro da Cortona, Cappella Chigi, #%'%–#%'&. Rome, Santa Maria della Pace (Photo Wikimedia Commons)

ments. Doubts over Cortona’s control of the chapel design colored stone, his instrumental role in Cortona’s architec- and Roca De Amicis’s attribution of a perspectival drawing tural production, and the working practices of scalpellini.51 of the chapel to Berrettini raise the issue of whether Berret- The high quality of Berrettini’s stonework continues in tini contributed to the design.49 The attention to the colored Cortona’s Cappella Chigi in Santa Maria della Pace (fig. ##). stone in the drawing – which was first published by Vittorio The crisp linearity of the moldings of the architectural Casale and subsequently reproduced in the scholarship, but framework lead the eye toward the bronze relief of the Trin- is now lost – connects it to Berrettini’s role in the chapel.50 ity; the complex profile of the balustrade, characteristic of Though lacking concrete evidence, his involvement in the Cortona’s oeuvre, is precisely carved despite Berrettini’s design of the polychromy is plausible given his experience in self-professed difficulty with this stone;52 and the pietre

!/ The chapel is attributed to Cortona by C+4+31 #/%/, p. #"&; and B3;7- the Archivio Storico Vicariato. M1,< )""&, p. )##, identifies the #/&), p. (/. R05+ D1 [email protected] )""%, pp. &( – /(, and M1,< )""&, drawing as “untraceable,” and I was not able to find it. p. )## f., question the extent of Cortona’s contribution but attribute the '# A@17:03+ )"##, esp. pp. #& – )", pp. )' – )/, pp. !# – !$, emphasizes dome to him. C1,;--. F;450 / V.33+7. )""), p. /%, pp. )'( – )%#, the technical expertise of scalpellini in working polychrome stone and characterize the chapel’s marble revetment as “neocinquecentismo” their close relationship with architects. S*1440 #//$, p. $', argues that and suggest that Cortona was experiencing a creative crisis. scalpellini played a role in selecting the stone. '" C+4+31 #/%/, p. /%, fig. $; C1,;--. F;450 / V.33+7. )""), p. )'&, ') In the misura e stima, Berrettini describes the yellow stone as “[...] fig. ); R05+ D1 [email protected] )""%, p. /), fig. &; The drawing was located in pietra difficile a lavorarla [...];” B171:1--. )""%, p. #)%.

449 Stephanie C. Leone

bianco e nero, and diaspro di Sicilia.56 The bold design that reemploys the picture frames thoroughly eschews the decorative approach to marble revetment, which had persisted into the mid-seventeenth century in Renzi’s Cappella Saven- ier (#%$&) and Algardi’s Cappella Gessi (#%$/).57 In these polychrome chapels, Berrettini as supplier and executant facilitated Cortona’s employment of this costly and difficult medium, and Berrettini gained direct experience of the visual effects and iconographic potential of the material.

Commissions from 1666 to 1680

As we have seen, Berrettini was closely connected to his cousin but also operated autonomously. Furthermore, late !" Pietro da Cortona, Detail of altar, Cappella Chigi, #%'%–#%'&. in his life, he received a few commissions, two tomb monu- Rome, Santa Maria della Pace (Photo author) ments and the Cappella di San Francesco Saverio in Il Gesù, which increase his body of independent work and furnish evidence for his design capability, even if the results never reached the inventive heights of his cousin. My analysis of dure decoration of the balustrade is illusionistic. Simona these works supports and extends the little accepted argu- Benedetti interprets the symbolic significance of the colored ment that Berrettini was the designer of the Cappella di San stone and bronze as differentiating the physical, the meta- Francesco Saverio. physical, and the realm in between. For instance, carnal From #%%% – #%%/, Berrettini carried out the commission warmth is conveyed through the yellow marmo di Siena of the tomb of Antonio Ghirlandari in Sant’Agostino (fig. balustrade and the red portasanta altar that holds the relics #!). Ghirlandari, who was Innocent X’s maestro di casa, of a martyr (fig. #)).53 probably met Berrettini on Pamphilj projects.58 In this pro- Cortona’s use of polychrome marble reaches its apogee ject Berrettini was both designer and executant. His draw- in the Cappella Gavotti in San Nicola da Tolentino, and ing for the tomb is referenced in the documents, but no Berrettini was beside him to ensure its provision and execu- longer exists. Unfortunately, it is impossible to analyze his tion (fig. #$). Designed for the defunct Monsignor Giovanni design because major discrepancies exist between the pre- Battista Gavotti between #%%) and #%%$, the chapel was sent plain monument and the description that suggests a realized slowly and opened in #%((, eight years after Cor- grander architectural work. Missing are “le ! mensole verde tona’s death. The project brought together the same team as come le colonne che sono al confessionale,” “due nicchie di the Cappella Chigi: Luca Berrettini, Cosimo Fancelli, Anto- mischio,” “le due Morte che vanno dentro alle nicchie,” “la nio Raggi, and Ercole Ferrata.54 Luca Berrettini supplied, incrostatura di nero e Giallo di Porto Venere per la cassa,” worked, and installed the polychrome marble, for the sig- “la cornice per l’adornamento della pittura,” “l’aquila,” nificant sum of %"%'./' scudi.55 Contemporary accounts and other details. However, the execution of the robust coat praise the chapel’s beauty that derives from the rich array of of arms, with plastic olive branches and tassels that move in stone: the conspicuous verde antico columns, red breccia, the wind, evinces Berrettini’s lively naturalism.59

'$ B171:1--. )""%, pp. ##$ – ##&. sizes the logic of the architectural framework. C+8+331,0 )""%, pro- '! For the history of the chapel, Z+7:,. #/&(, pp. #'/ – #%&; C1,;--. vides an overview of the stylistic development of marble revetment in F;450 / V.33+7. )""), pp. $"" – $"!; R05+ D1 [email protected] / V+,+6703. the Baroque, but diminishes Cortona’s contribution by considering )""%, pp. #$$ – #'$; M1,< )""&, pp. )#( – ))); C;,<.1--. )"#". only the confessio of Santa Martina and not his later chapels. '' C;,<.1--. )"#", p. #//, pp. )"& – )#". '& ASR, Camerale I, Giustificazioni di Tesoreria, vol. ##', int. ', “Ruolo '% Z+7:,. #/&(, pp. #'/ – #%#. della famiglia di Innocenzo X, aprile #%'$, novembre #%'$” . '( R05+ D1 [email protected] / V+,+6703. )""%, pp. #!& – #'#, characterize Cor- '/ The documents are published by P1:,0552. )""/, p. !#$, who tona’s polychrome design as a reinterpretation of late-sixteenth- and notes the discrepancy between the description and the existing mon- early-seventeenth-century marble revetment because the colored stones ument. The drawing is referenced in the list of stone needed for the are subordinate to the architectonic structure and the design empha- project.

450 Luca Berrettini (#%"/ – #%&"): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome

!# Pietro da Cortona, Cappella Gavotti, #%%)–#%((. Rome, San Nicola da Tolentino (Photo Andrea Jemolo / Scala / Art Resource, NY)

451 Stephanie C. Leone

tomb itself offers more secure evidence of Berrettini’s invention: the personifications of Prudence and Justice display the robustness of Cortona’s figures and his typical facial features of wide-set eyes, broad forehead and cheeks, and small mouth and chin, rather than Bernini’s elongated figures (fig. #%). Berrettini adopted his cousin’s figural style and used the natural coloration of the stone as well as stone pieced together to render the figures with illusionistic mod- eling and movement. In bringing the inert stone to life, Ber- rettini accomplishes this act of transformation that was the purview of painters and figural sculptors. Berrettini’s ability to invent is central to the attribution of the Cappella di San Francesco Saverio (Cappella Negroni), in the right transept of Il Gesù, executed #%() – #%(& (fig. #(). The commission from Monsignor Gian Francesco Negroni is Berrettini’s largest independent work, but contemporary sources give unclear and contradictory information about the attribution. In a #(") letter, Negroni identifies Berrettini as the “Direttore” of the chapel and calls him the “[...] nepote del famoso Pietro da Cortona [...]” but does not specify who designed it.61 Filippo Titi, in his #%(! guidebook, is the first to attribute the design to Cortona, writing “[...] havendo lassato il disegno Pietro da Cortona.” 62 Other contemporary sources follow Titi, except for Berret- tini’s biography of his cousin that makes no mention of this project. The language of the only contemporary commen- tary about Berrettini leaves open the nature of his role: Ber- rettini “[...] anco apparisce dall’opere dal medesimo [Cor- tona] fatte, e specialmente dal portico della chiesa della Pace di Roma dal medesimo [Cortona] fatta e da infinite cappelle nelle chiese di Roma, una particolarmente in San Nicola a !$ Luca Berrettini, Monument of Antonio Ghirlandari, #%%%. Rome, Capo alle Case del Signor Carlo Pavotti [sic] […], l’altra Sant’Agostino (Photo author) nella chiesa del Giesù di Monsignor Negroni di tanta bel- lezza di valore considerabile.”63 Neither Negroni nor Ber- rettini, who were closest to the chapel, attribute the design to Cortona. My analysis of the chapel within Berrettini’s Berrettini’s ability to draw may be implied in the ambi- career extends Evonne Levy’s argument that “[...] the design guous language of the #%(" contract for the floor tomb of of the Negroni chapel should be ascribed to both [...]” by Cardinal Camillo Melzi, in Sant’Andrea al Quirinale demonstrating that Berrettini was capable of invention.64 (fig. #'). The tomb is described as “[...] al vano dello scom- He employed the medium of stone, which he knew inti- partimento fatto dal S. Cavalier Bernino, e conforme al di - mately, to create iconographic significance in this funerary segno colorito fatto, e stabilito con Luca Berrettini”.60 The and reliquary chapel dedicated to St. Francis Xavier.

%" F,0@@13 #/&$, p. )$%. F;450 / V.33+7. )""), pp. $)$ – $)', attribute it to Cortona, hypo- %# T,18.4+7. #/&", publishes the letter, interpreting it to mean that Luca thesizing that the design made on the architect’s deathbed was exe- Berrettini designed the chapel. cuted by Berrettini, who was capable because of his knowledge of Cor- %) T.-. #%(!, p. #/#. tona’s architecture and his proven skill in polychrome marble. M1,< %$ L189 #/// – )""" ()""$), p. $/". On Capulli, who is the contempo- )""&, p. ))/, essentially agrees with Levy but questions whether Ber- rary source, see n. $. rettini was “[...] solely responsible for the adaptation, and whether %! L189 #/// – )""" ()""$), pp. $&& – $/$ (quotation, p. $/"). C1,;--. Maratta or a professional architect had a hand in it.”

452 Luca Berrettini (#%"/ – #%&"): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome

!% Luca Berrettini, Detail of Prudence and Justice with coat of arms, Tomb of Cardinal Camillo Melzi, #%(". Rome, Sant’Andrea al Quirinale (Photo Direzione Generale per l’Amministrazione del Fondo Edifici di Culto / Andrea Jemolo)

!& Luca Berrettini, Detail of Justice, Tomb of Cardinal Camillo Melzi, #%(". Rome, Sant’Andrea al Quirinale (Photo author)

453 Stephanie C. Leone

!' Luca Berrettini, Cappella di San Francesco Saverio, #%()–#%(&. Rome, Chiesa del Gesù (Photo Bibliotheca Hertziana / Enrico Fontolan)

Levy argues that Berrettini’s design of the Cappella design is replaced by two pedestals that project from the Negroni represents an intelligent modification of Cortona’s plinth to support the double columns. The result empha- design of the high altar of San Giovanni dei Fiorentini (ca. sizes the verticality of the altar and its central space, where #%$!). The most important change is the placement of the the imagery of the saint extends from the reliquary situated altar into a curved recess, an element borrowed from the between the pedestals, to the pictorial altarpiece between Cappella Gavotti (fig. #$ and fig. #().65 And like the Cap- the columns, to the sculpture that bursts through the broken pella Gavotti, Berrettini’s colossal pilasters are Composite pediment. and his columns are Corinthian. In the Cappella Negroni, Moving beyond adaption, Berrettini’s design of the stone- the continuous plinth of the San Giovanni dei Fiorentini work enhances both the visual effect and the associative

%' L189 #/// – )""" ()""$), pp. $/" – $/$; C1,;--. F;450 / V.33+7. %% F.4521, P+51 #//&, pp. ))" – ))&. )""), p. $)%; M1,< )""&, p. ))/. %( B+,,9 )""/, p. #&.

454 Luca Berrettini (#%"/ – #%&"): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome meaning of the chapel. Carlo Maratti’s altarpiece, Death of St. Francis Xavier (#%(! – #%(%), follows the account of the saint’s death due to fever while fervently contemplating the crucifix. This dramatic depiction of the saint’s expiration, the onlookers’ reactions, and God’s immediate response of flower-bearing angels is Cortonesque in its movement, painterly brushwork, and palette.66 Berrettini’s choice of stone reflects these visual characteristics: the veining of the expensive diaspro di Sicilia of the columns and walls and the bianco e nero antico of the pedestals have bold contrasts of light and dark like the chiaroscuro of the painting (fig. #& – #/). The pictorial energy and movement echo the forces of nature contained in the marbles. Berrettini follows Cortona in using white marble to delineate architectonic form but moves even further from the tradition of decorative marble revetment by enhancing the stone’s associative significance. In using stone for expressive purposes, Berrettini follows the examples of Cortona’s Cappella Chigi and Bernini’s Cappella Cornaro, Cappella de Sylva in Sant’Isidoro, and Sant’Andrea al Quirinale. Like Bernini, Berrettini uses “[...] coloured marble as a medium rather than as ornament.”67 In the Cappella Cornaro, the colored marble transforms the architectural space into a transcendent realm while render- ing Theresa’s heavenly vision as a tangible event.68 At Sant’ Andrea al Quirinale, Bernini uses the medium of mosaic, on the altar wall behind the painting of St. Andrew’s martyr- 69 dom, to imitate the natural effects of air. !( Luca Berrettini, Detail of left side of altar, Cappella di San Francesco Like these examples, Berretini’s use of colored stone in Saverio, #%()–#%(&. Rome, Chiesa del Gesù (Photo Bibliotheca the Cappella di San Francesco Saverio reveals his sculptural Hertziana / Enrico Fontolan) approach to architecture and his exploitation of the medium to enhance the meaning of the space. Central to St. Francis Xavier’s cult is the incorruptibility of his body, which was recognized when his intact body was disinterred three sacrifice, and the color of the stone recalls the occasions months after its burial in #''), grew in significance as a when the appearance of the saint’s blood attested to his sign of his holiness in the years leading to his canonization body’s defiance of deterioration (fig. )"). This coloristic in #%)), and remains a defining feature of his hagiogra- ensemble contrasts the white and gilded apotheosis of the phy.70 Berrettini’s design visualizes the saint’s incorruptibil- saint above. ity through emphasis on his corporeal presence. The profu- Berrettini’s design exploits the properties of precious sion of red stone in the architecture evokes the carnality of stone as a visible sign of God: Stone was both a product of the dying saint in the altarpiece. Yet, this body is just an the divine, as was all of nature including the human body, illusion of the pictorial arts. His carnality materializes in the and an imitation of God’s creation, nature’s flesh and reliquary of his arm that the sculpted angel presents on the blood.72 During the #%("s, Berrettini applied similar color- altar, where Christ’s body and blood are made manifest istic effects in realizing Cortona’s design of the cupola of during the Mass (fig. #/).71 The gilded reliefs of grapes and Santi Luca e Martina. The recent restoration campaign has wheat on the red breccia dados symbolize this Eucharistic restored the interior to its original appearance: The color di

%& C+8+331,0 )""%; B+,,9 )"#%. although its final form by Girolamo Lucenti was not realized until %/ B18.3+5>;+ )"#%. #%(/ – #%&!. L189 #/// – )""" ()""$), pp. $&' – $&&. (" G;*-+ )"#!, chap. ), “Incorruption (#''!).” () On the meaning of precious stone in the seventeenth century, H.334 (# Since the start, Negroni insisted on the display of the relic in the chapel #///, pp. $' – !"; B+,,9 )"#%, p. !$.

455 Stephanie C. Leone

!) Luca Berrettini, Detail of altar with Giovanni Lucenti’s reliquary, Cappella di San Francesco Saverio, #%()–#%(&. Rome, Chiesa del Gesù (Photo Bibliotheca Hertziana / Enrico Fontolan)

travertino on both the stucco relief and the background cre- his role as the designer is plausible within the context of his ates a homogeneous and warm coloristic effect, with some career as reconstructed herein. Berrettini’s collaboration in slight tonal variations.73 In the Cappella di San Francesco Cortona’s enterprise, autonomous initiatives, and ability to Saverio, Berrettini did not merely adapt his cousin’s archi- draw and render lifelike figures suggest an intelligent and tectural design but, through his knowledge of precious versatile individual. A talented scalpellino could occupy stone and experience in Cortona’s enterprise, created a mul tiple roles in Rome’s building industry. Whereas it is visionary experience that transforms the bodily death of the possible to delineate Berrettini’s invention in the Cappella saint into an ecstatic event. Berrettini’s stonework follows di San Francesco Saverio, it is impossible to extract his pre- the use of material splendor and particularly colored stone cise contributions in Cortona’s architecture. As Montagu to conjure the divine and to stimulate devotion in the Jesuit argues, the exact nature of the interaction between designer churches of Palermo and Antwerp.74 and executant cannot be worked out and trying to separate My analysis contends that Berrettini combined architec- out their roles would be antithetical to the nature of artistic tural design with a sculptural and even painterly sensibility production in the seventeenth century.75 Even when operat- in the design of the Cappella di San Francesco Saverio. ing after his cousin’s death, Berrettini might not have aimed Although the chapel is his only extant large-scale invention, to establish an independent oeuvre. The elision of Cortona

($ B+3:. / P0,<.0 )"#', pp. )& – $%. (' M07-+6; #/&/, chap. !, “The Sculptor as Executant”. (! H.334 #///, pp. #/( – )!!; K7++* )"#%.

456 Luca Berrettini (#%"/ – #%&"): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome

Testament and Inventory78

Luca Berrettini worked until the end of his life, but his body was feeling the effects of age and perhaps the years of physical labor. In responding to Ciro Ferri’s request for information about Cortona’s career, he apologizes for not visiting Ferri in person because of “[...] i cattivi tempi e per le mie cattive gambe [...].”79 The year is #%(/, and by its end, he pens his last testament, a document that is characteristic of his social, economic, and professional status. Like many artists and artisans of foreign origin, such as Martino Longhi the Younger, Erminio Giudici (#'%# – #%)$), and Stefano Longhi (#''& – #%$'), all from Viggiù near Lake Lugano, Berrettini expresses attachments to both his birthplace and adopted home of Rome.80 Like the scalpellini "* Luca Berrettini, Detail of pedestal of altar with gilded Eucharistic Giudici and Stefano Longhi, he had combined his craft with relief on dado, Cappella di San Francesco Saverio, #%()–#%(&. Rome, commercial ventures to attain economic success. My com- Chiesa del Gesù (Photo Bibliotheca Hertziana / Enrico Fontolan) parison of Berrettini’s inventory to the possessions of architects / sculptors and craftsmen respectively shows that his identity is rooted in his profession of scalpellino-merchant while shaped by interests associated with designers. Berret- and Berrettini in contemporary sources about the Cappella tini’s residence with its allusions to family status associates di San Francesco Saverio might reflect Berrettini’s intention him with invention and its potential for ennoblement. His of continuing his defunct cousin’s architectural enterprise, testament and inventory reinforce the identity that emerges even when Cortona had not made the design. The story of in my analysis of his career: Berrettini evades being pigeon- this chapel demonstrates both Berrettini’s autonomous cap- holed as an executant. Instead, his production, abilities, and ability and his inseparability from Cortona’s architectural presumably notion of self are more complex, and they blur production. perceived boundaries between artists and artisans. Ancestral identity is also expressed in other actions of the Above all else, Berrettini’s testament expresses his spirit- Berrettini family. In Florence in #%!', Pietro da Cortona ual concerns and attachment to family. After invoking God, named Berrettini as his procurator, to enable the latter to the Virgin Mary, and Sts. Peter, Paul, and Luke, he requests purchase a house in Via Peduccia on his behalf.76 A series of burial in the church of Sant’Adriano al Foro Romano and documents suggests that the Berrettini family worked leaves money to his parish church of Santi Quirico e Giu- together to ensure the well being of its members. In #%$%, litta for the expenses of his funeral. It is easy to understand Filippo (Luca’s father) gave “[...] alcuni appezzamenti di why Berrettini chose Sant’Adriano in the former Curia Sen- terra siti nella vicinanze di Cortona [...]” to his son Franc- atus (destroyed #/$"s): The church is next door to Santi esco, and Pietro da Cortona also gave Francesco a house in Luca e Martina, where his career in Rome had begun and Cortona “[...] per facilitargli l’entrata in religione [...].” In Cortona is buried, and only two blocks from his house #%!!, Luca and his brother Lorenzo named each other as (fig. )#). Furthermore, Martino Longhi the Younger had procurators.77 Luca Berrettini’s testament and inventory recently renovated and aggrandized the church.81 Berretti- furnish further evidence of this familial identity and Luca’s ni’s epitaph was located in a prominent location: “[...] nel career in the building industry. pavimento di mezzo [...].”82 Berrettini leaves money for one

(% S*+,-. #//(, p. $", n. $!; p. !), n. #). This house became part of the -+,5+7613. / L1,<+ )""/, pp. #/' – )'$ (esp. pp. ))" – ))!), who dis- property that Cortona rebuilt as a grand residence. Berrettini supplied cuss Erminio Giudici and Stefano Longhi. For Martino Longhi’s testa- columns for it. ment, P;63.141 / R.6+70 #/(), pp. #!' – #%& (esp. pp. #%" – #%(, for (( Pietro da Cortona #/%/, p. #!, nos. '( – '/. his ties to Viggiù). (& The documents are transcribed in the Appendix. &# For the history of the church, B+,,01,0 #/&$, pp. #/( – ))!. For (/ C+@*0,. #&%%, p. '"%. Longhi’s restoration, V+,,.+70 #/(#. &" On artists and artisans from this region, E.431, )""&, p. $%" f.; F,+- &) F0,5133+ #&($, p. '!; B+,,01,0 #/&$, p. )"$.

457 Stephanie C. Leone

5 4 2 1 3

"! Giambattista Nolli, Pianta Grande di Roma, #(!&, with sites associated with Luca Berrettini: #, Berrettini’s principal residence in Strada del Sole; ), Berrettini’s second house in Strada del Sole; $, Berrettini’s house in Via Alessandrina; !, Sant’Adriano al Foro Romano; ', Santi Luca e Martina; %, Pietro da Cortona’s house in Via Peduccia (Photo Earth Sciences and Map Library, University of California, Berkeley)

hundred Masses at Sant’Adriano and Masses at four choices of Santa Maria Liberatrice and Santa Prassede, churches that appear repeatedly in the testaments of scalpel- which border his district of Rione Monte. The attachment lini: San Gregorio, Santa Maria Liberatrice (also called, in of scalpellini to San Lorenzo fuori le mura is unclear. Like Campo Carleo), the Cappella della Colonna in Santa Pras- many statuari of various specializations, Berrettini left a sede, and San Lorenzo fuori le mura.83 The first refers to donation (twenty-five scudi) to the Compagnia dei Santi San Gregorio Magno a Ripetta, the church of the Università Quattro Coronati dei Marmorari.85 His donation to the dei Muratori, the guild of muratori, falegnami, pozzatti, Compagnia di Santa Croce in Cortona expresses his contin- imbiancatori, statuari, and stuccatori. Although, at an ued connection to his birthplace. Berrettini’s remaining unknown moment, the guild’s membership became limited wishes reflect familial bonds. He does not mention progeny, to muratori, stuccatori, pozzatti, and imbiancatori, the and it seems he never married. He left #) scudi annually to devotional attachment of statuari in the mid-seventeenth his sister Suora Martina, in the convent of San Girolamo century suggests the church continued to hold meaning for delle Oblate Salesiane in Cortona, and names as his univer- them.84 Neighborhood ties likely motivated Berrettini’s sal heir Carlo Mascagni, the son of his sister Francesca. His

&$ Masses at these four churches are requested in the testaments of Giovanni Fontana (F,+-+,5+7613. )""&, p. $!)) and Pietro Sassi Andrea Appiani, Ambrogio Appiani, Giovanni Maria Baratta, Vin- (D07+-. #/!), p. '"!). cenzo Guidotti, Bonifazio Perti, and Giovanni Somazzo, which I will &' On this Compagnia, M+,07. L;@A,040 / M+,-.7. #/%$, pp. $$% – publish as part of a larger study. $!"; L;C12+,- )""&, p. )"%. Bernini left #"" scudi to the Compagnia; &! On the Università dei Muratori, M+,07. L;@A,040 / M+,-.7. #/%$, S*1440 #//$, p. )%. p. $! f., p. )#) f.; A7:1,407 )""&; A7:1,407 )""/. Other artisans in &% In the possesso of Berrettini’s property (ASR, Trenta Notai Capitolini, the building industry who demonstrate allegiance to this church are Uff. #", Istrumenti, )# giugno #%&", fols. )#! r – )#' v, fols. )#& – )#/),

458 Luca Berrettini (#%"/ – #%&"): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome final beneficiary is his servant, Signora Elisabetta Caroni, owned sixteen properties;89 and master mason Domenico and her children to whom he grants permission to remain in Pozzi had nine houses plus eight other properties.90 the small neighboring house, as long as she serves his heir Berrettini’s primary residence is smaller in size, less grand and does not rent the property. in appearance, and less diversified in function than Pietro At his death on )" June #%&", Berrettini is in good finan- da Cortona’s “Casa alla Pedacchia,” which underscores the cial standing: He owns four pieces of real estate, a handful cousins’ different professional, social, and economic status. of credits (five censi and one cambio, each worth #"" scudi), Donatella Sparti characterizes Cortona’s palace, with its and few debts (only the expenses of his funeral, the canons well-organized, ample spaces and its large and beautiful on his houses, and the price of feed for his horse). His prop- garden, as a residence for reception and self-representation erties conform to the character of real estate of the profes- on par with noble palaces rather than the home and work- sional class and especially artisans in the building industry. shop of an artist.91 The living and representational spaces His primary residence is the “[...] Casa ad Pantanos in vico of the piano nobile and second floor (each with ten large que à Salara vetere ducit ad Turrem de Comitibus [...],” the rooms) are distinct from the third floor with the painting house in Pantani, in the street that leads from the old Salara studio and the room with the collection of paintings that to the Torre de’ Conti (Strada del Sole). He also owns functioned as Cortona’s workshop – academy for students. another house in the same street, a nearby house in Via The ground floor has four botteghe, but this is not unusual Alessandrina, and a house in Cortona (fig. )#).86 Berrettini even for noble palaces. As Sparti argues, only artists of the chose to live in a neighborhood associated with the building highest rank like Cortona and Bernini could establish resi- industry. In the last third of the sixteenth century, Pantani dences of such noble appearance and function.92 Their had been developed on the remains of the imperial fora by embrace of disegno – the quality that placed painters, sculp- draining this swampy land and making two large and inter- tors, and architects in the realm of the liberal arts and dis- secting streets, Via Alessandrina and Via Bonelli, with sec- tinguished them from craftsmen – elevated them to such ondary arteries in a grid. The zone attracted architects, social and economic distinction. masons, carpenters, stonecutters, and others because the Although Luca Berrettini’s principal residence of a lots for sale or perpetual lease (enfituesi) needed properties ground floor, piano nobile, and upper floor is significantly built on them. The area around Torre de’ Conti was devel- more modest than his cousin’s palace, it conforms to oped in the early seventeenth century when Via Alessand- expectations for craftsmen, while sharing some character- rina was extended toward the Basilica of Constantine.87 His istics with the houses of artists and architects.93 The house in Via Alessandrina was on the same street as the ground floor with the “Cortile o Bottega di Scarpellino” houses of architects Flaminio Ponzio, Martino Longhi the functions entirely as workspace.94 It is so copiously filled Younger, and Mario Arconio.88 Only a few blocks from with stone that eight pieces of peperino spill into the street. Santi Luca e Martina, the location must have been ideal for The quantity and variety of the stone – alabaster, breccia Berrettini. His Roman properties outnumber many of his di Francia, diaspro di Sicilia, biscio antico, giallo antico, peers who owned only a house with a workshop and a small negro antico, marble, travertine, and more – as well as the garden, but are fewer than other members of his profession. tools signal Berrettini’s work as a stone carver and mer- For instance, sculptor and entrepreneur Stefano Longhi chant.95 The colored stone, in particular, reflects his spe-

the house in the same street as Luca’s residence is described as bordered /" Pozzi was from Coldrerio where he also owned property. ASR, Trenta by the properties of the Jesuits of the Collegio Romano and the Con- Notai Capitolini, Uff. ', Istrumenti, vol. #!!, #( luglio #%$&, fols. )"$ – fraternità di San Bartolomeo dei Bergamaschi. Berrettini’s house in Via )"/. Alessandrina is near the Basilica of Constantine and bordered by the /# S*+,-. #//(, p. $(. properties of Giovanni Antonio Mercantelli and Carlo Biccaria. Berret- /) S*+,-. #//(, pp. $# – !!. tini had inherited Pietro da Cortona’s real estate in Cortona, but it is /$ For the character of houses in Pantani, R05+ D1 [email protected] #//$, not part of this inventory because Cortona ordered that upon Berret- p. #!) f.; F,+-+,5+7613. / L1,<+ )""/, pp. )") – )"'. tini’s death, it automatically pass to the latter’s brother, Lorenzo; /! The possesso records that the ground floor has another workshop and S*+,-. #//(, p. #!#. The Strade del Sole is “[…] fra la Salara Vecchia a room, which function as a sculptor’s studio; ASR, Trenta Notai e via Alessandrina”; G703. #/&!, p. $"$. Capitolini, Uff. #", Istrumenti, )# giugno #%&", fols. )#! r – )#' v, fols. &( R05+ D1 [email protected] #//$; F,+-+,5+7613. / L1,<+ )""/, pp. #/' – )'$. )#& – )#/. && P;63.141 / R.6+70 #/(), p. #%, p. &% n. $!, pp. #$# – #$$; R05+ D1 /' Berrettini’s inventory does not include animals or carts to move stone, [email protected] #//$, p. ##/ f.; F,+-+,5+7613. / L1,<+ )""/, pp. #% – )#. which are commonly owned by architects and scalpellini (see F,+-+,- &/ F,+-+,5+7613. / L1,<+ )""/, p. )"), on the typical possessions of 5+7613. / L1,<+ )""/, p. )"/ f.). Frugone must have supplied this artisans in the building industry; p. ))", on Longhi’s inventory (#%!"). equipment in their partnership.

459 Stephanie C. Leone

rito, and porta santa. To be sure, they are not the grand tables of pietre dure admired by Nicodemus Tessin in noble palaces, but they must have reminded Berrettini’s guests of his stonework in his cousin’s chapels and his own commissions.97 The eight sculptures plus an unnamed number of gesso heads and busts, displayed in three representational rooms on the piano nobile, reflect Berrettini’s artisan status while calling to mind the practices of artists. The display of sculpture is unusual in the homes of middle-ranking Romans,98 but painters and sculptors often possess an assortment of plaster casts and sometimes terracotta models for study and studio props.99 A few sculptors own more substantial collections. Alessandro Algardi left many terracotta models and plaster molds, which appear to have been his own, and about two dozen other sculptures, a few ancient but mostly modern, to four of his students. Their location in his studio indicates their function in his artistic production. Ercole Ferrata, one of Algardi’s heirs, had a house-workshop filled with an exceptional number of models, molds, and casts by him, his teachers, and his students, whose primary purpose was educational and artistic practice. Even a minor sculptor like Francesco Antonio Fontana could own a collection of terracotta models by major Baroque sculptors like Bernini, Algardi, and Ferrata, which have been interpreted as both a source of artistic inspiration and a reflection of his artistic and patronage milieu.100 The “Diversi pezzi di gesso rappresentanti diverse teste e busti [...]” and the terracotta model of the equestrian monument of Marcus Aurelius, displayed in the sala, connect Ber- rettino to the material culture of sculptors. The heads and "" Pietro da Cortona, Virgin Appearing to St. Francis, oil on canvas, busts of gesso might have been models for use in measuring $#! × )"& cm, #%!#. Arezzo, Santissima Annunziata, Cappella Montauto (Photo Scala / Ministero dei Beni e delle Attività Culturali e del Turismo / and cutting the stone of the architecture of tombs and chap- Art Resource, NY) els, or they might have been left to him, intentionally or not, in his supervisory role. They could also be connected to his commerce in marble, perhaps as the models supplied for ordering blocks of statuary stone. cialization in polychromy. They must have been valuable The sculptures displayed in the prima stanza and seconda even though the inventory lacks prices because Berrettini stanza further suggest Berrettini’s indefinite identity: “Un exempted his nephew from assigning value to his goods.96 puttino di gesso […],” “Un bustarello di pietra con sua Berrettini’s craft is further displayed in his living quarters testa,” “Due statuette di gesso tinte con color di bronzo of the sala, prima stanza, seconda stanza, and two small rotte,” and “Un arpietta di marmo misto con sua piede- rooms. But rather than pieces of unused stone, there are stallo sotto.” In light of his figural work for the Melzi tomb, five tables of pietra moderna giallo e negro, alabastro fio- it is plausible that he carved the bust or small harpy and

/% For a comparative value of stone left in a scalpellino’s workshop, #"" On Francesco Antonio Fontana’s collection, D. G.0.+ #/&%. In F,+-+,5+7613. / L1,<+ )""/, p. )"%. discussing painters and sculptors who own collections of sculpture, /( W+3C1, )"#!, p. '!. M07-+6; )""&, distinguishes between collections that served /& C+8+<<.7. )"#!, p. /$. conventional purposes like display and status (Francesco Antonio // D. G.0.+ #/&%, p. #'&; M07-+6; )""&, p. )(/. Fontana, Maratti, and Cavaceppi) and those that were assembled

460 Luca Berrettini (#%"/ – #%&"): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome

"# Pietro Aquila, after Pietro da Cortona, Xenophon’s Sacrifice after the Chase, etching, #(th century. Cambridge, Harvard Art Museums / Fogg Museum, Gift of Belinda L. Randall from the collection of John Witt Randall, R)/!# (Photo Imaging Department, President and Fellows of Harvard College)

that he studied the naturalism of the plaster busts and the of devotional subjects, portraits, landscapes, and views, on model of the Marcus Aurelius for his artistic practice. His canvas and paper; drawings; and prints. The sala has the architectural drawings, in poor condition and worth little, second largest number of pictures ()) of (&, or )&%) but are probably working drawings, and some might have been the most portraits (( of ##). The seconda stanza, with the by his own hand. The similarities between the collections of greatest concentration of pictures (') of (&, or %%%), is the the sculptors and Berrettini support the characterization of principal site of display. Although Berrettini owns a few him as capable of invention. But there are also differences more paintings than many middle-ranking Romans, the between the size and purpose of Algardi and Ferrata’s character of his paintings, thus far, is unsurprising. respective collections and Berrettini’s. The former are large Berrettini’s possession of eleven works by the hand of and used for educating students in the studios, whereas the Pietro da Cortona (eight sbozzi and three finished paintings) latter is small and installed with other works of art in the and two copies of Cortona paintings distinguish his display living space. Berrettini seems to have transformed these of art from other middle-ranking Romans. Both Cortona objects of artistic practice into a representational function, originals and copies are rarely found in seventeenth-century which is further evinced by the two statuettes of gesso that inventories.102 Of Berrettini’s seventy-eight paintings, the were tinted to look like bronze. only attributed works are the eleven by Cortona, a copy of In many ways, Berrettini’s living space accords with the a Correggio, a copy of a Carracci, and three by Lorenzo Ber- representational norms of middle-ranking Romans.101 His rettini. The attributed works are all displayed in the seconda five rooms are outfitted with typical furnishings; paintings stanza, apparently in two groupings, which may indicate

unwittingly or for professional reasons (Ferrata, Daniele Guidotti). #"# We know much about the living spaces of middle-ranking Romans On Algardi’s collection, M07-+6; #/&', pp. )"& – )##, p. )$$ f. thanks to the pioneering work of Renata Ago and Patrizia Cavazzini: On Ferrata’s collection, G03<.0 #/$'; B012@+7 )""/, pp. /$ – A60 )""%; C+8+<<.7. )""&; C+8+<<.7. )"#!. #"!. #") C+8+<<.7. )"#!, p. //.

461 Stephanie C. Leone

cesco con la Madonna da capo altezza di tela da testa con sua cornice indorata di mano di Signore Pietro” could relate to Cortona’s altarpiece, Virgin Appearing to St. Francis, in the Cappella Montauto of Santissima Annunziata, in Arezzo (fig. ))).105 The painted sketch of the forge of Vulcan might be related to Cortona’s vault of the Galleria Pamphilj that depicts Vulcan with Venus, but the sketch shows a different moment in Vulcan’s story. The copies of the Cortona paintings refer to originals that probably held ancestral significance for Luca Berret- tini. The copy depicting St. Martina, St. Luke, St. Francis, and Blessed Margherita of Cortona links Berrettini to his hometown: It presumably refers to the altarpiece of the Madonna in Glory with these four saints, which Pietro da Cortona made for the high altar of San Girolamo delle Oblate Salesiane, at his own expense.106 Cortona patron- ized this convent because Martina, the sister to whom Luca left annual revenue, was a nun there. At Cortona’s death, the unfinished altarpiece was still in his studio, and Luca Berrettini wrote that Cardinal Francesco Barberini wants Lorenzo Berrettini to finish it, for which the latter was even- tually paid #'" scudi.107 The other copy, a small-scale version of the Xenophon Sacrificing to Diana made for the Barberini, connects Luca Berrettini to his cousin’s renown because the original is

"$ Plan of Flaminio Ponzio’s house in Via Alessandrina “[...] fra le più celebri fatiche del suo pennello [...],” accord- (from L1-+,0;.339 #&!"–#&'$, vol. #, pl. '() ing to Berrettini himself.108 The painting’s fame was dis- seminated through the print made by Pietro Aquila and dedicated to Olimpia Pamphilj Barberini (fig. )$). In Berret- tini’s house, the copy is displayed as a pendant to Lorenzo Berrettini’s painted sketch of an unnamed, sacred sacri- their special meaning. The finished Cortona paintings depict fice.109 The iconographic pairing might have elicited com- common subjects, St. Catherine, St. Martina, and an parison of the cousins’ painting abilities and showcased the unnamed head (the latter two are small round paintings and range of family talent. The Xenophon Sacrificing to Diana were probably hung as pendants).103 Cortona might have must have stood out in Berrettini’s collection because myth- painted the St. Catherine specifically for his cousin because ological narratives are uncommon in artisans’ houses and it is on peperino and stone supports are rare in his oeuvre. this one referred to a famous prototype.110 The effigy bust Only one other is known: a Nativity on aventurine stone, of Pietro da Cortona and the medallion with his portrait in originally in a silver and lapis lazuli frame, commissioned by the seconda stanza further convey ancestral memory. Cardinal Francesco Barberini, as a gift for King Philip IV of The adjacent bedroom contains two objects of personal Spain.104 Only two of the eight Cortona sketches have dis- interest: the bed with canopy depicting St. Martina and tinguishable subjects. “Un sbozzo di un quadro di S. Fran- St. Lawrence, painted by Lorenzo Berrettini, and the paint-

#"$ On common subjects and modes of display, C+8+<<.7. )"#!, pp. /$ – $( × )' cm; the other on canvas of /% × (! cm), but neither matches the #"). dimensions of Berrettini’s sketch. Berrettini refers to the altarpiece in his #"! B,.6+7-. #/&), p. )%$, no. #$'; Museo del Prado online catalogue, letter about Cortona’s works to Ciro Ferri, C+@*0,. #&%%, p. '#$. no. P""#)#. #"% B,.6+7-. #/&), p. )%", no. #$); Pietro da Cortona per la sua terra #"' B,.6+7-. #/&), p. ))$, no. &"; Pietro da Cortona per la sua terra #//(, #//(, p. #$"; S*+,-. #//(, pp. '( – %#, corrects Briganti’s account of p. ##&. There is a smaller, autograph copy of the altarpiece in the Pina- the commission, Cortona’s involvement, and the completion of the coteca Vaticana and two sketches in the Hermitage (one on copper of altarpiece.

462 Luca Berrettini (#%"/ – #%&"): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome ing of St. Francis Xavier, whose reliquary chapel Luca had de signed and executed. The location of Cortona’s cross of knighthood in this room might suggest that he valued it for personal reasons. In sum, Luca Berrettini’s display of sculptures, paintings, and objects in his living quarters bespeak his identity as stone carver, merchant, and occasional de - signer as well as his familial status that derived, in large part, from his cousin’s fame. Comparison of Berrettini’s inventory to the possessions of artists and artisans further demonstrates that he cannot be neatly placed into the category of artisan. To be sure, his house pales in comparison to his cousin’s, and their painting collections also differ. Cortona does not display his own works but rather copies of exemplary artists like Correggio, Titian, Veronese, and Carracci and the works of his students. Cortona owns paintings for the didactic purposes of artistic production and teaching, unlike Berrettini who dis- plays works as a statement of identity.111 But in other cases, Berrettini lives in a richer setting than designers. Algardi, whose lifestyle is characterized as simple, has only three modestly furnished living rooms, with a handful of portraits.112 Berrettini’s display of art outdoes Algardi’s but is less ambitious than Martino Longhi the Younger’s intention to create a “studio, e Museo” for displaying his library, paintings by “[...] excellent masters [...],” sculptures, instru- 113 ments, and precious objects. Longhi’s aims of opening the "% Flaminio Ponzio, Façade, House of Flaminio Ponzio (originally museum to the public and increasing the collection in perpe- in Via Alessandrina). Rome, Piazza Campitelli (Photo Bibliotheca tuity reveal his wish to associate himself and his lineage with Hertziana / Enrico Fontolan) a tradition of artistic excellence, knowledge, and erudition. Likewise, Berrettini’s inventory suggests pride, but of a more restrained nature, in his family’s artistic achievements. Although no measurements, plan, or visual evidence of tional, and there is no reason to believe that Berrettini’s Berrettini’s house exist, the description in the inventory sug- façade is as architecturally distinct and decorative as the gests a similar organization and scale to the house of archi- one Ponzio designed (fig. )').114 tect Flaminio Ponzio. In #%"" Ponzio restructured an exist- Although Berrettini’s house shares some similarities with ing property in Via Alessandrina into a roughly symmetrical the residence of scalpellino Giovanni Somazzi, the differ- plan with three large rooms, a courtyard, and a loggia ences are greater.115 Somazzi was a frequent collaborator of (fig. )!). Two shops flank the portal of the principal façade Borromini and one of the scalpellini whom Berrettini that measures $! palmi ((.'/m). However, there are two replaced at Sant’Agnese in Agone.116 Unlike Berrettini, notable differences: Ponzio’s court is apparently representa- Somazzi did not prosper financially or acquire real estate.

#"( S*+,-. #//(, p. '/. ##) M07-+6; #/&', p. )"&, p. )$$ f. #"& L+8.7 #/(", p. !'", notes Berrettini’s praise of it, published in C+@*0,. ##$ P;63.141 / R.6+70 #/(), p. #%$ f. Longhi’s will specifically orders #&%%, p. '#!. See also, B,.6+7-. #/&), p. )'! f. The original is lost. A that it should be “[...] sempre in luogo e sito conspicuo [...]” and “[...] version of it is in the Pallavicini Rospigliosi collection, which is by Cor- frequentato da Passeggeri [...]”. tona’s workshop according to Briganti. The copy in Berrettini’s inven- ##! F,+-+,5+7613. / L1,<+ )""/, pp. #% – )#. tory is not identified as Cortona’s work, but given the rarity of the sub- ##' For Somazzi’s inventory, ASR, Trenta Notai Capitolini, Uff. )!, Istru- ject, and the fame of Cortona’s painting, it must refer to this original. menti, vol. )&$, #$ gennaio #%($, fols. ##) r – ##! v, #)( r – #)& v. #"/ On pendants, C+8+<<.7. )"#!, pp. /% – /&. ##% For Somazzi’s work with Borromini: R05+ D1 [email protected] / B171:1--. ##" On the rarity of narratives, C+8+<<.7. )"#!, p. /!. #//', p. '% f.; T;<. )""', p. #)'. On Sant’Agnese in Agone, E.@1, ### S*+,-. #//(, pp. '$ – %&, &) – &&. #/(", pp. )&$ – )/#, $)& f.

463 Stephanie C. Leone

Instead, he rented the courtyard that served as his work- identity, which is consonant with expectations in early shop plus two rooms in the house of Domenico Costantini modern Italy. Cortona’s decision to leave his enormous pat- and Faustina Baldassari. At his death, he is without wife or rimony (except for his property and goods in Cortona) out- progeny. His workshop has about twice as many stone side kin seems to violate this strategy. Did Cortona’s deci- pieces as Berrettini’s, with numerous pieces spilling into his sion cause hard feelings? Luca and Lorenzo planned to sue, living rooms. Rather than being worked into tables, the but Cardinal Francesco Barberini dissuaded them.118 stone is strewn about. These material and tools are Somazzi’s Regardless, Pietro da Cortona and Luca Berrettini remain in most significant possessions. His sixteen paintings of repeti- life and beyond inextricably bound by familial and profes- tive subjects offer a stark contrast to Berrettini’s collection. sional ties. Pietro’s fame and wealth reached extraordinary Whereas Somazzi’s entire residence functions as workspace, heights because as a painter and architect he embraced di - Berrettini separates work from living space and uses his segno and had the talent to excel. Luca’s privileging of tech- piano nobile to express a complex identity encompassing nical skill over imagination brought him success in his craft, the arts of stone carving and disegno. but his achievements remained mostly within the bounds of his professional class. No evidence suggests that Luca pos- sessed a fertile imagination on par with his cousin, but he Conclusion had the operational competencies and technical proficien- cies to realize designs in an expert and efficient manner and Even if accounting for the genre’s hyperbole, the epitaph of the initiative to expand his commercial prospects. However, Luca Berrettini points to a level of repute that raises him disegno also counted among his skills. This elision allowed above his present obscurity. The inscription links him to his him to collaborate closely and continually in Cortona’s cousin’s renown while extolling his own reputation through architecture and to design a few independent works. This recognition from Popes Innocent X and Alexander VII and article illuminates Berrettini’s contribution to the building his homeland of Tuscany.117 The precise nature of Berret- of Baroque Rome and extends our understanding of Cor- tini’s relationship with his more famous cousin cannot be tona’s architectural production. It also exposes the need for known. But the actions of the Berrettini relatives and Luca further study of the profession of scalpellino and the rela- Berrettini’s possessions express a family strategy and clan tionship between architects and scalpellini.

##( F0,5133+ #&($, p. '!. ##& Donatella Livia Sparti, “La casa bottega dell’artista,” in Pietro da Cortona #//(, p. ##(.

!%! Luca Berrettini (#%"/ – #%&"): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome

Appendix

Transcription of the testament and inventory of Luca Berrettini A sor Maria Martina Berrettina sua sorella, monaca professa in San (26 December 1609 Cortona – 20 June 1680 Rome)119 Gerolamo da Cortona, lascia scudi dodici annui sua vita durante, oltre l’altri assegnamenti da lui121 altre volte fatteli. ASR, Trenta Notai Capitolini, Uff. 10, Testamenti, 1 dicembre 1679, Item. Per raggion di legato et in ogn’altro meglior modo, lascia alla fols. 741 r – 742 v, 747 r signora Elisabetta Caroni e suoi figlioli la casetta dove al presente | 741 r | Testamentum domini Luca Berrettini habitano alli Pantani, contigua alla casa habitata da esso testatore, con Die primo decembris 1679, indictione 2 a, pontificatus Innocentii XI obligo di continuare e prestare all’heredi di esso testatore la medema anno quarto servitù et assistenza a lui medemo sin’hora prestata, e con conditione che non possino affittarla ad altre persone, ma che habbino e debbano Dominus Lucas Berrettinus, filius quondam Philippi cortonensis, lapi- habitarla e ritenerla ad uso di habitatione per loro uso e servitio e non cida in Urbe, mihi etc. cognitus, omnipotentis Dei gratia sanus mente, altrimente; et in caso di contraventione il presente legato sia e si sensu, visu, auditu, loquela et intellectu cterisque sensibus, corpore intenda nullo e di niun valore. tamen infirmus, respectu casualis offensionis cum cicatrice in capite In tutti poi e singoli suoi beni mobili e stabili e semoventi, raggioni e diebus prteritis recept per lapsum seu revolutionis Clisii120 ad crediti presenti e futuri122 fa, instituisce e di propria bocca nomina suo Macella Corborum in lecto iacens, considerans casum su futur mor- herede universal il signor Carlo Mascagni suo nepote, figliolo di Fran- tis, dum nil sit certius illa nilque incertius hora et puncto illius, volens cesca Berrettini, lasciandoli | 742 v | per raggion d’institutione et in proinde, dum mens sana est, anim su consulere ac de rebus et bonis ogn’altro meglior modo possibile tutto il suo havere e stato hereditario sibi a Deo collatis disponere, et ad huiusmodi effectum suum ultimum in tutto e per tutto, con facoltà di vendere et alienare in ogni e qualun- nuncupativum testamentum, quod de iure civili dicitur sine scriptis, que suo bisogno et occorrenza, senza che sia astretto né possa essere condere et perficere censuit et decrevit, prout fecit et condidit ad effec- astretto a far inventario né rendimento123 di conti di sorte alcuna, con tum obviandi litibus et controversiis qu post eius obitum inter eius il peso però di sodisfare li sopradetti legati. Al quale Carlo herede posteros et successores super eius hreditate et bonis exoriri possent, nominato morendo senza figli legitimi e naturali sustituisce nelli beni in hunc qui sequitur modum et formam videlicet: e robbe di esso testatore, che si ritrovaranno e vi saranno nel tempo Et primo, incipiendo ab anima, tanquam corpore nobiliori | 741 v | della morte del medesimo herede don Vittorio Mascagni, fratello car- cunctisque rebus humanis preferenda illam omnipotenti Deo et nale del medesimo Carlo, Philippo e Vincenzo Petroni, figli di Orsola, gloriosissim semper Virgini Matri Mari, devote et humiliter com- e Marco Antonio Sarcoli, figlio di Antonia Berretini, altre sue sorelle e mendavit, ut mediantibus intercessionibus et meritis sanctorum Petri nepoti respettivamente, acciò godino e debbano godere equalmente et et Pauli aliorumque Apostolorum, beati Luc Evangelist, sancti unitamente l’heredità di esso testatore nel modo come sopra, volendo Angeli sui custodis sanctorumque et sanctarum civium valeat pervenire che la presente sustitutione e successione habbia il suo effetto in caso ad eternam beatitudinem. Corpus vero suum, postquam anima ab eo che il sopradetto Carlo mora senza figlioli et in quello che si ritrovarà separari contingerit, seppelliri voluit et iussit in venerabili ecclesia doppo la di lui morte e non altrimente | 747 r | né in altra forma, ridu- reverendorum patrum Sancti Adriani in foro Bovario Urbis, cum expo- cendoli a memoria di pagar li canoni della casa. sitione sui cadaveris in dicta ecclesia omni etc. E questo vuole che sia l’ultimo suo testamento e sua ultima volontà e Item. Vole et ordina che nel giorno della sua morte et espositione del dispositione, volendo che vagli per via di testamento nuncupativo, che suo cadavere, se non vi sarà impedimento di festività solenne, o pure di raggion civile si dice senza scritti, e se non valesse come tale vaglia nelli sussequenti giorni e quanto prima sarà possibile, si faccino cele- per via di codicilli o donatione per causa di morte et in ogn’altro meglior brare cento messe con la messa cantata et altre messe basse sino al modo possibile, cassando et annullando ogn’altro testamento e codi- detto numero nella detta chiesa di S. Adriano et alle chiese privilegiate cillo che havesse sin’hora fatti, volendo che il presente prevagli a tutti di San Gregorio con il suo trentesimo, San Lorenzo fuor delle mura, gl’altri et habbi il suo effetto in ogni meglior modo super quibus etc. Santa Maria Liberatrice et a Santa Prassede nella Cappella della Co- Actum Rom, domi solit habitationis ipsius testatoris ad Pantanos lonna di Nostro Signore, conforme al solito, e che intorno al suo cada- iuxtas etc., ibidem per illustribus et admodum reverendis dominis vere mentre starà esposto in chiesa si pongono intorno dodici torce. canonico Marco Attilio et Cesare germanis fratibus de Panemollis, quondam Curtii, romanis; admodum reverendo domino Ioanne Simone Item. Lascia alla chiesa sua parrocchiale tutto quello si li deve per Moschetto, filio quondam Francisci firmano, canonico lauretano; raggion di seppoltura. admodum reverendo domino Antonio Zoi, filio quondam Federici ex | 742 r | Alla compagnia di Santi Quattro, per raggion di legato, lascia civitate Burgi Sancti Seppulcri [sic]; scudi venticinque per una sol volta. Dominico Pascasio, filio quondam Ioannis Thom de Rosisolo, abbate Altri scudi venticinque lascia parimente per raggion di legato alla farfense; Compagnia di Santa Croce in Cortona sua patria, per una sol volta.

##/ I thank Fabrizio Federici and Antonella Cesarini for their valuable help #)# lui] scritto su correzione. with the transcription of the documents. #)) Segue lascia depennato. #)" Lettura incerta. #)$ rendimento] nel testo, arrendimento con le lettere ar- depennate.

465 Stephanie C. Leone

Vincentio Blondo, filio quondam Franscisci de Capranica Sutrin dio- Una figura di terra piccola, modello del cavallo di Campidoglio, con cesis, et Ioanne Berlinzono, filio quondam Hieronymi mutinense testi- due angelli piccoli, vecchi e rotti. bus. Emilius Gottius Curi Capitolin notarius rogatus. Nella prima stanza Un apparato di corame dorato assai vecchio, con un pezzo d’arrazzo parimente vecchio ordinario Trenta Notai Capitolini, Uff. 10, Istrumenti, 26 giugno 1680, | 255 v | Un tavolino commesso di alabastro fiorito con suoi piedi di fols. 254 r – 264 r legno negri Un altro tavolino di pietra detta Porta Santa con piedi simili | 254 r | Inventarium omnium bonorum hreditariorum quondam Una lettiera di ferro ordinaria bassa con suoi pomi d’ottone e restiere domini Luc Berrettini di legno Un inginocchiatore di noce usato Die vigesima sexta iunii 1680 Quattro sedie vecchie e rotte, due di vacchetta e due di punto francese Hoc est inventarium omnium et singulorum bonorum, creditorum Un quadruccio con testa del Salvatore con sua cornice indorata quoque et aliorum hreditariorum quondam Luc Berrettini reper- Un sopracielo di tela assai vecchia verde sopra la detta lettiera torum domi eius solit habitationis posit Rom ad Pantanos, in via124 Un ritratto d’un huomo antico senza cornice ordinario qu a Salara vetere ducit ad Turrem de Comitibus, e conspectu stabuli Un specchio novi Collegii Romanii, iuxta eius nota latera, factum ad instantiam Un quadruccio ordinario del beato Luigi Consaga con cornice bianca domini Caroli Mascagni, illius ex sorore nepotis ac hredis testamen- Un bustarello di pietra con sua testa tarii beneficiati ex forma illius testamenti in actis rogatis ultimo decem- Un puttino di gesso con suo piede di pietra bris superioris anni 1679 ac instrumenti adhitionis hereditatis in eis- Una cassa di noce liscia vecchia vota. dem actis mei etc. sub externa die rogatis, citatis et intimatis pro his die et hora omnibus praesentis credi-| 254 v |toribus ac legatariis dicti Nella seconda stanza quondam Luc necnon aliis illius hereditatis interesse habere forsan Nove sedie di vacchetta assai vecchie prtendentibus domi dimissa copia et per affissionem ad valvas respec- | 256 r | Due cantarani di noce lisci et usati con quattro tiratori per tive facto dedit hic inserentis tenoris etc. et sunt infrascripta videlicet. ciascheduno con diverse bazzegole, collari e manichetti, et altro vecchio, con un faraiolo di scarlatto vecchio e tarmato in uno di detti Nella sala cantarani, e nell’altro otto cammisce di tela casareccia vecchie e rotte, Cinque ritratti tela di tre palmi, tre con cornice d’albuccio bianche, e un faraiolo biscio di sai usato, et un altro di panno, et un altro di due senza, usati, ordinarii taffettano usati. Due paesi sopra porte con loro cornice imbrunite di negro con filetto Nove quadrucci piccoli di veduta di campagne e copie ordinarie con d’oro usate ordinarii cornice d’albuccio ordinarii vecchi Due altri quadrucci con loro cornice d’albuccio bianche usati ordinarii Un quadro tela di tre palmi con una donna e un putto, ordinario con Due paesini piccoli con cornice d’albuccio bianca ordinarii e vecchi cornice simile Un quadro con l’imagine della Beata Margherita da Cortona con sua Due carte di grandezza simile stampate con cornici simili cornice bianca ordinaria e vecchia Due testerie in carta fatte con lapis con suoi vetri e cornicette d’albuccio Due carti in disegno de palazzi, con cornice di albuccio vecchie bianche Un’altra carta stampata di cavalcata con cornice simile Un paesino fatto d’acquarello con cornicetta nera vecchia Un sbozzo d’Assunta senza cornice vecchio Un quadretto con melone con sua cornice bianca Tre quadrucci in tela di mezzo testa senza cornice, sbozzi, vecchi Un sbozzo d’una Madonna, sette e cinque in circa, in tela, con sua | 255 r | Due teste con cornici bianche d’albuccio ordinarii usati cornice vecchia, di mano del | 256 v | signor Pietro da Cortona Due altri sbozzi assai ordinarii e vecchi, uno di tela nove e sette incirca, Una santa Catherina da Siena mezza figura, grandezza tre palmi e l’altro d’imperatore incirca, dipinta in peperino, di mano del detto signor Pietro da Cor- Diversi pezzi di gesso rappresentanti diverse teste e busti quasi tutti tona rotti, attaccati al muro verso la strada, con tre teste di gesso sul tavo- Un sbozzo di un quadro di s. Francesco con la Madonna da capo, lino assai vecchie altezza di tela da testa, con sua cornice indorata di mano di detto Una tavola di noce con suoi tiratori assai vecchia signor Pietro Un tavolino di pietra moderna giallo e negro con piedi di noce usati Un altro sbozzo d’un busto d’una Madonna mano di detto signor Pie- Altri tre tavolini uno con tiratori et altri due senza, lisci et osati125 tro, grandezza di tela da testa con sua cornice simile vecchi Un altro sbozzo di mano del medesimo, fucina di Vulcano, tela di Quattro sediacci assai vecchie e rotte quattro palmi con sua cornice di albuccio bianco Due casse di noce intagliate assai vecchie e tarmate Una copia con la medesima santa Martina, san Luca e san Francesco e Due portiere di corame con suoi ferri assai vecchie la beata Margherita da Cortona, tela d’imperatore incirca, con cornice d’albuccio bianca Un paesino sopra a porta, alto palmo uno largo palmi cinque, senza #)! via] scritto su correzione. cornice #)' osati] così nel testo per usati. Un s. Carlo tela da testa ordinario senza cornice

466 Luca Berrettini (#%"/ – #%&"): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome

Un san Filippo simile Due bicchieri d’argento consimili, indorati dentro, piccoli e sottili Un David tela simile ordinario, con sua cornice d’albuccio bianca ordi- Una crocetta d’oro del cavalierato del signor Pietro con smalto in nario mezzo. | 257 r | Due teste di ritratti con sue cornici ordinarie vecchie dorate Una copia con Madonna del Corregia con sua cornice color di noce, Nel stantiolino attaccato il sudetto da testa incirca Diverse carte di disegni d’accademia et architettura di poco valore, Una Cananea copia di Carracci, tela da testa con cornice tinta di color tutte rotte, con diversi libracci di poco valore di pietra Due cassettine d’albuccio vote, liscie e vecchie Quattro quadrucci di vedute, due dipinte due fatti d’acquarella ordi- Un’altra tarmata e rotta, con una sedie di vacchetta vecchia narii, con cornice d’albuccio imbrunite assai vecchie Un anello con un brilletto che portava il signor Luca Un tondarello piccolo con disegno s. Martina di mano del signor Pietro Dieci lenzoli sani et altri cinque rotti e vecchi e rappezzati sudetto con cornice filettata d’oro Tre cuperte di lana usate vecchie tarmate Un altro tondarello con sbozzo d’una testa in carta mano del sudetto Una di broccatello di Venetia con suo tornaletto simile assai vecchia con cornice d’albuccio bianca Una coperta rigata di filaticcio vecchia. Una copia rappresentante il Sacrificio di Zenofonte in tela di tre palmi con cornice d’albuccio bianca | 259 r | Nella prima stanza di sopra a soffitto che è la cucina Un sbozzo mano di Lorenzo Berrettini, rappresentante un sacrificio Rami historia sacra di simil grandezza, con simil cornice Un fuconcino di rame piccolo Quattro sbozzi di testa in carta, dipinti di mano del signor Pietro con Due concaline parimente di rame e sett’altri pezzetti di rame tutto cornice filettate d’oro testa vecchio e rotto, di peso in tutto di libre quarante cinque incirca Un ritratto ordinario con sua cornice bianca d’albuccio | 257 v | in Un par di capofochi vecchi di ferro piccoli e rotti ottangolo Una graticola, soffietto, due padellucce Due sbozzi mano del signore Lorenzo sudetto, tela tre palmi in circa Una arcaccia vecchia. uno con l’Assunta, e l’altro d’una sala, con loro cornici d’albuccio bianche ordinarie Nella stanza contigua alla sopradetta Un quadro ordinario rappresentante battaglia navale in tela d’im- Una credenzaccia di noce vecchia tarmata e rotta, con sopra due peratore incirca, con sua cornice bianca d’albuccio ordinaria candelieri d’ottone vecchi, due bacili parimente d’ottone vecchi, con Otto altri quadretti piccolini ordinarii con cornici varie ordinarie, e tre boccie di stagno rotte sbusciate, con due127 tondi di stagno con parte senza, parte con disegni, e parte pitture, cose ordinarie sei bicchieri di vetro Un tavolino commesso di pietra detta Porta Santa con suo listello di Quattro sediaccie tutte vecchie e rotte negro intorno, con piedi di legno tinto negro Un tavolinaccio con diversi piatti e fiaschi di terra Un tavolino vecchio liscio di noce con suoi tiratori, sopra del quale vi Diverse carte stampate et una tela da depingere sta un studioletto ordinario liscio Una cassaccia Due statuette di gesso tinte con color di bronzo rotte | 259 v | Quattro matarazzi vecchi lana ordinaria Una arpietta di marmo mischia, con suo piedestallo sotto Venti salviette usate di stoppa Un ritratto busto rappresentante l’effigie del signor Pietro da Cortona Cinque tovaglie di tela ordinaria assai vecchie di creta Dodici fazzoletti di tela ordinaria e vecchia Una medagliuccia con ritratto simile con cornicetta Para otto di mutande vecchie e rotte Due portiere di corame vecchie con suoi ferri. Due para di calzette di seta vecchie Sei cortelli da tavola con manico d’osso | 258 r | Nel stantiolino mano manca attaccato detta stanza Una ovatta turchesca usata Una lettiera di ferro con suoi pomi di legno dorati vecchi, con trabacca Un vestitaccio vecchio da huomo biscio e tornaletto di bambace, robba assai grossa e vecchia, con cielo dipinto Un’ungarina di panno negro usata con s. Lorenzo e s. Martina, mano di Lorenzo Berrettini Un secchio di rame piccolo e vecchio. Un apparato di corame indorato vecchio assai e rotto Un tavolino di giallo e negro moderno con suoi piedi di legno negri Nelle stanze sotto il membro della casa habitata dalla signora Un Crocifisso di bronzo con suo piede di pietra Elisabetta Caroni Una pace di terra Diversi pezzi di legnami. Due lucernette d’ottone assai ordinarie e piccole Una quadruccio piccolo con s. Francesco Saverio mezza figura, con Nella stalletta cornicetta filettata d’oro Una cavalla per il calesse. Due sotto coppe d’argento, di peso libre tre e nove once tutte due Due candelieri pure d’argento di peso in tutto libre quattro e mezza Sette posate d’argento, cioè sette forchette e sette cucciari, tre d’argento basso e piccole, e l’altre | 258 v| quattro un poco più grosse d’argento bono #)% Seguono, depennate, le parole consimili e indorate. Una tazzetta d’argento126 sottile e leggiera #)( due] corretto su tre.

467 Stephanie C. Leone

Nel cortile o bottega di scarpellino sotto la casa del sudetto quondam Due pulzonetti di rame per uso dell’arte di scarpellino, un manticello, Luca Berrettini un martello con incutine et un par di molle, una cocciaraccia da Un calesse squagliare il piombo Una lapide di marmo vecchio, palmi longo 10 e largo 6, sette pezzetti Due pali di ferro, un grande e un piccolo di alabastro della Tolfa Tre squadre di ferro Due tavolini comessi nel marmo di pietra detta Porta Santa. Un picconcello di ferro Numero 6 cavalletti di legno vecchi | 262 r | Un’arma ovata commessa vecchia, senza impresa Numero quattro *** [spazio bianco]. Un pezzo di travertino longo 10 e largo palmi 2 e uno e mezzo largo Un pezzo di breccia di Francia di palmi 7 incirca, largo palmo 1 ½ In cantina Un pezzo di marmo longo palmi 19 ½, largo palmi 3, grosso 1 Quattro botticelle cerchiate di ferro vecchie con due vettine da tener Due pezzi di diaspro di Sicilia longhi palmi 6, larghi palmi 24, grossi oglio. palmo ½ Tre pezzi di128 verde moderno di Portovenere Stabili Un pezzetto di biscio antico La casa da detto quondam Luca habitata, posta come sopra si è detto Una mezza colonna di giallo antico nel principio del presente inventario, distribuita in diversi membri Un altro pezzetto simile | 263 v | Una altra casa quasi incontro la sudetta accanto alle stalle nove Un pezzetto da alabastro fiorito antico Un’altra casa in strada Alessandrina dentro i confini espressi nell’in- Un pezzetto di verde antico stromento di possesso rogato per l’atti miei li 21 corrente ! Una tavola di negro antico, larga palmi 1 e once 10, grossa ⁄G, longa Un’altra casa in Cortona. palmi 8 Un altro pezzo negro simile, longo 6 ½, largo palmi 1 G⁄6, grosso palmi Crediti ½ Un cenzo di scudi cento dovuti da un certo Giulio Bernabei e sua Diaspro di Sicilia due pezzi, longhi assieme 7 palmi, larghi palmi 1 G⁄H , moglie o altro più vero nome, da Castel Candolfo grosso once 5. Un altro cenzo di scudi cento contro Pietro Nocera E più un altro cenzo di scudi cento con il medemo | 262 v | Nello stantiolino mano dritta nell’angolo del cortile a Capo Un altro cenzo di scudi cento contro Pietro Solari, ceduto al detto Due pezzetti di bianco e negro segati sottili quondam Luca da Giacinto et altri fratelli Capulli Due altri pezzetti simili d’alabastro fiorito Un cambio di scudi cento contro Alfonso et altri de’ Lucini Due pezzettini piccoli di alabastro avena E più un altro cenzo di scudi cento contro Plautilla Cocchi. Un pezzetto d’alabastro cotognino Cinque pezzetti d’alabastro fiorito segati sottili Debiti Quattro castranellette di biscio antico segate sottili Le spese del funerale al parrocchiano di SS. Chirico e Giuditta Una lastretta di breccia di Francia segata | 264 r | E più quello si deve a Giovanni Battista de’ Gaspari, per li Due pezzetti di alabastro orientale segati e messi nella lavagna medicamenti per il sudetto quondam Luca Dodici tavolette di verde antico inferiore segati sottili et altri diversi E più alli canonisti delle case fragmenti e sminutie di pietra di varie sorti. E più a Brunoro carrettiere per prezzo del fieno dato per mantinimento della cavalla E più nel cortile, e bottega sudetta Tutti li legati contenuti et espressi nel testamento del sudetto quondam Diversi fragmenti, pezzi e sminutie di diversi pezzi di pietre Luca Berrettini. E più cinque pezzetti di giallo antico Un pezzo di marmo longo palmi 13 ½, largo palmi 6 ½, grosso palmi Actum Rom in domo et monialibus suprascriptis ut sopra positis etc. 1 presentibus etc. perillustribus et admodum [parola mancante, forse] Un pezzo di bianco e negro moderno palmi otto ½ longo e largo palmi dominis Antonio Zoio filio quondam Federici ex Civitate Burgi Sancti 3 ½, grosso palmi ¼ Sepulcri in Etruria et mastro Dominico Pascasio filio quondam Ioannis | 263 r | Un altro pezzo simile longo palmi 8 ½ e largo palmo 1, grosso Thom de Rusciolo abbate farfense testibus etc. palmi 1 Otto pezzi di peperino in strada, appoggiati parte nelle case sudette e parte alle cose d’incontro Un pezzo di sperone

#)& di] Seguono, depennate, le parole marmo di longhezza palmi, di.

468 Luca Berrettini (#%"/ – #%&"): The Scalpellino-Merchant in Pietro da Cortona’s Architectural Production and Baroque Rome

Abbreviations

AFSP Archivio Storico Generale della Fabbrica ASR Archivio Stato di Roma di San Pietro in Vaticano ASV Archivio Segreto Vaticano

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P1-,+55.+ )"#" Arianna Petraccia, “Il refettorio del con- S*+,-. #//( Donatella Livia Sparti, La casa di Pietro vento di San Bernardino a L’Aquila: da Cortona: architettura, accademia, Simone Lagi, Gregorio Grassi, Stefano atelier e officina, Rome #//(. Pandolfi, Domenico Rainaldi”, in S*1440 #//$ Fulvia Spesso, ‘Arte’ del marmo a Roma: Abruz zo. Il barocco negato, ed. Rossana la Confraternità e l’Università dei Mar- Torlontano, Rome )"#", pp. // – ###. morari, l’organizzazione e la pratica del Pietro da Cortona #/%/ Pietro da Cortona: mostra documen- lavoro, Rome #//$. taria. Itinerario (exhibition catalogue Studi sui Fontana )""& Studi sui Fontana: una dinastia di ar - Rome), ed. Marcello Del Piazzo, Rome chitetti ticinesi a Roma tra Manierismo e #/%/. Barocco, ed. Marcello Fagiolo and Giu- Pietro da Cortona #//( Pietro da Cortona !"#( – #%%# (exhibi- seppe Bonaccorso, Rome )""&. tion catalogue Rome), ed. Anna Lo T.-. #%(! Filippo Titi, Studio di Pittura scoltura et Bian co, Milan #//(. architettura nelle Chiese di Roma, Rome Pietro da Cortona per Pietro da Cortona per la sua terra. Da #%(!. la sua terra #//( allievo a maestro (exhibition catalogue T,18.4+7. #/&" Filippo Trevisani, “Giovanni Battista Cortona), ed. Roberto Contini, Milan Ne groni committente dell’altare di S. #//(. Francesco Saverio al Gesù di Roma”, P;63.141 / R.6+70 #/() Antonia Pugliese and Salvatore Rigano, Storia dell’arte, $& – !" (#/&"), pp. $%# – “Martino Lunghi il Giovane”, in Ar - $%/. chitettura barocca a Roma, ed. Maurizio T;<. )""' Stefania Tuzi, Il Palazzo della Sapienza: Fagiolo dell’Arco, Rome #/() (Biblio- storia e vicende costruttive dell’antica teca di storia dell’arte %), pp. ( – #/). Università di Roma dalla fondazione R05+ D1 [email protected] #//$ Augusto Roca De Amicis, “I Pantani e la all’intervento borrominiano, Rome )""'. Suburra: forme della crescita edilizia a V+>;1,0 P.?1.,0 #/// Manuel Vaquero Piñeiro, “Compagnie Roma tra XVI e XVII secolo”, in Inediti di muratori e scalpellini Lombardi nei di storia dell’urbanistica. Neolitici e Ita- cantieri edili romani”, in Il giovane Bor- lici a Venosa-Gravina, estimi di Bologna romini. Dagli esordi a San Carlo alle nel Duecento, i quartieri dei Pantani e Quattro Fontane, ed. Manuela Kahn- della Suburra a Roma, Rione San Paolo- Rossi and Marco Franciolli, Milan #///, Duomo a Tivoli, ed. Mario Coppa, Rome pp. #&( – )"&. #//$, pp. #"$ – #!'. V+,,.+70 #/(# John Varriano, “The #%'$ Restoration R05+ D1 [email protected] #//& Augusto Roca De Amicis, “Il pavimento of S. Adriano al Foro Romano: New borrominiano di S. Giovanni in Late- Documentation on Martino Longhi the rano”, Studi romani, !% (#//&), pp. /# – Younger”, Römisches Jahrbuch für #"). Kunstgeschichte, #$ (#/(#), pp. )&( – )/%. R05+ D1 [email protected] )""% Augusto Roca De Amicis, “Cappella del W+3C1, )"#! Stefanie Walker, “Toward a Unified Sacramento in San Marco”, in Pietro da Interior: Furnishings and the Evolution Cortona: piccole e grandi architetutture, of Design”, in Display of Art in the ed. Sandro Benedetti and Augusto Roca Roman Palace, !""$ – !("$, ed. Gail De Amicis, Rome )""%, pp. &( – /(. Feigenbaum, Los Angeles )"#!, pp. !& – R05+ D1 [email protected] / Augusto Roca De Amicis and Sandro %". B171:1--. #//' Benedetti, L’opera di Borromini in San W1.3 #/(! Mark Weil, The History and Decoration Giovanni in Laterano: gli anni della fab- of the Ponte Sant’Angelo, New York brica (!%*% – !%"$), Rome #//'. #/(!. R05+ D1 [email protected] / Augusto Roca De Amicis and Claudio W.A.,+3 #/'&−#/%" Norbert Wibiral, “Die Agnesreliefs für V+,+6703. )""% Varagnoli, “Cappella Gavotti in San S. Agnese in Piazza Navona”, Römische Nicola da Tolentino”, in Pietro da Cor- Historische Mitteilungen, $ (#/'&−#/%" tona: piccole e grandi architetutture, [#/%"]), pp. )'' – )(&. ed. Sandro Benedetti and Augusto Roca Z+7:,. #/&( Giuliana Zandri, San Nicola da Tolen- De Amicis, Rome )""%, pp. #$$ – #'$. tino, Rome #/&(.

472