Una's Lectures, delivered annually on the Berkeley campus, memorialize Una Smith, who received her B.S. in History from Berkeley in 19II and her M.A. in 1913. They express her esteem for the humanities in enlarging the scope of the individual mind.

I. The Resources cf Kind: Genre-Theory in the Renaissance1 by Rosalie L. Colie. 197 4

2. From the Poetry cf Sumer: Creation1 Glorifzcation1 Adoration1 by Samuel Noah Kramer. 1979 3· The Making cf Eli;:_qbethan Foreign Policy) 1558-r6o3, by R. B. Wernham. 1980

4- Three Christian Capitals: Topography and Politics1 by Richard Krautheimer. 1983

5· Ideal Forms in the Age ?f Ronsard1 by Margaret M. McGowan. 1985

6. Past-Present: Essays on Historicism in Art from Donatello to Picasso1 by Irving Lavin. 1993 PAST~ PRESENT

Essays on Historicism in Art from Donatello to Picasso

Irving Lavin

UNIVERSITY OF CALIFORNIA PRESS

BERKELEY • LOS ANGELES • OXFORD CONTENTS

LIST OF ILLUSTRATIONS IX

PREFACE XIX

I. Donatello's Bronze Pulpits in San Lorenzo and the Early Christian Revival

David's Sling and Michelangelo's Bow: A Sign of Freedom

Appendix. Vasari on the David of Michelangelo 59

3· Giambologna's Neptune at the Crossroads

Caravaggio's Calling if St. Matthew: The Identity of the Protagonist

5· Bernini's Portraits of No-Body I01 Appendix A. New Documents concerning the Anime Busts and the Tomb of Pedro de Foix Montoya 125 Appendix B. Checklist of Preserved and Recorded Examples of the Four Last Things in the Wax Version by Giovanni Bernardino Azzolini

6. Bernini's Image of the Sun King 139 Postscript. Louis XIV : Bernini = Mitterand : Pei 197

7· Picasso's Lithograph(s) "The Bull( s)" and the History of Art in Reverse Appendix. Synoptic Table of Picasso's Bulls

NOTES

BIBLIOGRAPHY 315

INDEX 339 Fig. 73· Mario Ceroli, "Casa di Nettuno." Palazzo Comunale, Bologna (photo: Guerra, Bologna). CHAPTER THREE • GIAMBOLOGNA'S

Neptune AT T H E C R 0 S S R 0 A D S

he restoration of a public work of art, often con­ wooden anatomical theater erected in the Archigin­ idered a matter of common decency or communal nasio not long after the Neptune fountain was Tpride, is also much more. In spending time, money, created. 1 The art of restoration as a work of art is and energy on something old, we enter into a new an astonishing and revolutionary idea, reminiscent relationship with the past, signing a new contract of such Bolognese inventions as Galvani's electro­ with our predecessors who, we recognize, implicitly chemical action or Marconi's telegraph. Bononia Docet or explicitly, now speak to us with greater cogency (Bologna teaches)! and insistence than before. Historicism repeats itself This motto of the medieval city expresses the in a special way when this communication between millennia! role Bologna has played in the exchange past and present concerns a work already replete of ideas, as a matter of course and as a matter of with historical resonances. Such is the case with the principle: as a matter of course because of Bologna's restoration of Giambologna's Neptune fountain in position as a major commercial center at the inter­ Bologna (see Figs. 87-90; Plate III), which was section of the Via Flaminia and the Via Emilia, two recently celebrated at the inauguration of an inter­ ancient roads linking Italy to Northern Europe, and national art history colloquium devoted to Bologna as a matter of principle through Bologna's great as a cultural crossroads. university, the oldest in Europe (the name, Archigin­ In restoring the Neptune fountain, Bologna also nasio, distinguished it from all other schools except created a new work of art, for the renovation of this the university of Rome). Bologna was unique in public monument became a public monument in its adopting as its own two mottos pertaining to the own right. The grandiose wooden structure, full of university, Bononia Docet and Bononia Mater Studiorum poetic allegory and wit, built to house the operation (Bologna, mother of studies), which were carried on Giambologna's bronze hero (Fig. 73) and the around the world inscribed on the new coinage spectacle of popular pedagogy enacted in the build­ issued after the city became an autonomous republic ing to demonstrate the technical procedure itself in the late fourteenth century (Figs. 75, 76). The (Fig. 7 4) were a Postmodern reprise of the famous legends were on the obverse with the emblem of the Fig. 74- Restoration demonstration, "Casa di Nettuno." Palazzo Comunale, Bologna (photo: Magic-Vision, Bologna).

commune, a rampant lion holding the vexillum of changes were brought about under the aegis of Pope the cross. The reverses associated the university and Pius IV, who had studied law in Bologna and had the commune with the church of Rome, represented served as papal vice-legate to the city the year before by St. Peter, shown standing, the keys to the King­ the inquisitor made his observation and whose dom of Heaven in his right hand, a book in his left; greatest achievement as pope was to have brought and with the church of the city, represented by its the Council of Trent to a successful conclusion in patron St. Petronius, shown enthroned holding a 1563.4 The transformation was such that by 1565 in model of Bologna in his right hand, a bishop's a projected honorific statue of the pope the claim crozier in his left.2 No other city identified itself in could be made that the heresies had been crushed. this way, through a cultural institution, with the life Giambologna's Neptune fountain reflects the of the mind and the transmission of thought. In city's tradition as a cultural crossroads at this crucial view of this singular tradition of intellectual com­ moment in its history, for reasons that go beyond munication, greatly magnified by Bologna's activity the fact that the artist was an immigrant to Italy in international trade, it is not surprising that from from his native Flanders. It is remarkable that a the early sixteenth century the city was rife with relatively unknown and inexperienced foreign sculp­ notions of religious reform. Alarmed by the situa­ tor who had been living in Florence was awarded a tion, the newly appointed inquisitor sent by the major public commission for the most important Holy Office reported in r 549 that he found Bologna city in the Papal States after Rome. Historians have ua great tissue of heresies" (uuna grande intrecciatura been content with the explanation in early sources: di heresie''). 3 that Giambologna had participated in the competi­ Less than twenty years later the city was trans­ tion for the great Neptune fountain in the Piazza formed, physically, administratively, and spiritually, della Signoria in Florence, awarded to Bartolommeo partly by the actions of the Inquisition itself and Ammanati even though it was generally agreed that partly through a major program of public works Giambologna's was the best project.5 His reputation and the reorganization of public services. These established by this succes manqu~ Giambologna came

64 Giambolognis Neptune at the Crossroads Fig. 75· Bolognino d'oro, Bononia Docet with rampant lion hold­ ing vexillum, St. Peter, standing, holding keys and book. Museo Civico, Bologna.

to the attention of the vice-legate to Bologna, who rechanneling a flood-prone river near Bologna; reor­ hired him for the task. These accounts, however ganizing the grain supply to ensure against famine; plausible, tell only part of the story; the rest can be renovating the residence of the apostolic legate discerned in the larger context of politics and ideol­ (Palazzo Comunale); decorating the chapel of the ogy to which the projects sponsored by Pius IV apostolic residence; creating a poorhouse for Bologna; owed their origin. constructing the university building, the Palazzo Important inferences can be drawn from the dell'Archiginnasio, which included a statue of Mer­ particular circumstances in which the fountain was cury on a tall column to be placed in the courtyard; conceived, and its relation, only recently rediscov­ reorganizing and consolidating the city's meat mar­ ered, to two other works by Giambologna that were kets; constructing a new aqueduct to augment the commissioned but never completed; the sculptures water supply at the center of the city, where two would have formed a monumental civic triumvirate. fountains were erected-Fontana Vecchia and the We owe this work of scholarly restoration, funda­ Neptune fountain-one an architectural work mental to our understanding of Bolognese art of the attached to the palace of the vice-legate, the other late Renaissance, to Richard Tuttle, who found a standing free in a newly created piazza adjoining the manuscript describing these and other projects. It Piazza Maggiore in front of the church of San was written by Pier Donato Cesi (1522-1586), Petronio; and, finally, creating a portrait statue of bishop of Narni and vice-legate in Bologna of Pius the enthroned pope to be placed before the univer­ IV's cardinal legate, Carlo Borromeo, who resided in sity building in another newly created piazza on the Rome; Cesi governed Bologna between I 560 and east flank of San Petronio (Fig. 77). 1565.6 An enterprising and learned man who had Work on these various enterprises continued for studied in Bologna under Andrea Alciati, the re­ years. Some projects were never finished, and they nowned scholar of pagan mythology, Cesi commis­ can scarcely have been conceived all at once. Yet sioned many works of public utility at the pope's Cesi certainly saw them as a coherent achievement, behest or with his approvaL The projects included and as his stay in Bologna came to an end he com-

Giambolognis Neptune at the Crossroads 65 Fig. 76. Grossone, Bononia Mater Studiorum with rampant lion holding vexillum; St. Petronius, enthroned, holding model of Bologna and bishop's crozier. Museo Civico, Bologna.

posed his memorial, addressed to the pope, which brought the models to Rome for the pope's inspec­ must be among the first such documents devoted to tion and approval.9 All three monuments, grouped an extensive civic building program. A series of around the city's major public square, were con­ commemorative medals illustrated each project, an ceived to complement one another; together they idea derived from the Roman imperial tradition, express not only the pope's relationship to his sec­ revived by the Renaissance popes, of celebrating ond city but also the city's relationship to the world public works by issuing medals. Cesi himself cites at large. To convey these meanings, each sculpture the classical precedent, but whereas the ancient incorporates specific traditions, from which it also

medals were issued occasionally or seriatim1 Cesi's departs radically in ways that reflect the common form a closely related group intended to comple­ bond between them. The papal portrait states the ment his text, which is itself accompanied by draw­ spiritual and political theme that underlies the ings of the medallic representations? Altogether whole program. The statue of Mercury provides a Cesi's enterprises are a milestone in the history of key to much of the classical imagery, including that what might be called self-conscious urban renewal, of the Neptune fountain, intended to reassert the social as well as monumental. ancient Christian message in modern allegorical Of the three sculptural projects in the program form. The fountain is the most spectacular of the (the statue of the pope, the figure of Mercury, and monuments. It stands literally at the ancient cross­ the fountain of Neptune) only the Neptune foun­ roads of the city, facing San Petronio and flanked tain, the first to be begun, was carried out; the oth­ by the palaces of the vice-legate and the commune, ers were virtually forgotten until the discovery of the seats of ecclesiastical and secular power. 10 Cesi's manuscript made it possible to restore all of them to their proper collective place in history. 8 Traditional honorific portraits of the enthroned The relationship between the papal statue and the pope might show him holding the (modest-size) Neptune is evident from the record of payments for keys of St. Peter or a book in his left hand, but expenses, which indicates that Giambologna himself the right hand was invariably raised in a gesture of

66 Giambolognis Neptune at the Crossroads Fig. 77· Filippo Gnudi, "Ichnoscenografia" of Bologna, 1702, detail showing the fountain of Neptune, palaces of the vice-legate (del Publico) and the commune (del Podesta), Piazza Maggiore, S. Petronio, and the Archiginnasio. Piante di Bologna, cart. 2, n. 2!/E, Biblioteca Comunale del Archiginnasio, Bologna.

Giambolognis Neptune at the Crossroads 67 Fig. 78. Attributed to Girolamo Faccioli, medal of Pius IV. Private collection, Vienna.

blessing. Giambologna showed him holding a book must have been one of the chief motives for build­ in his left hand but a gigantic pair of keys in his ing the new building in the first place. Previously right hand, with which he crushes underfoot the dispersed around the city, the various components many-headed monster of heresy (Figs. 78, 79). II of the university were brought together so they Normally a ruler holds his scepter in his right hand, could be more easily surveyed and controlled. 13 The or a commander his sword or baton. Cesi explains process of consolidation, organization, and domi­ that the two keys signify the pope's unique power nance was thus equally evident in the intellectual, both to decide what is sinful and to absolve those social, and commercial spheres. who are guilty. The book indicates that judgment is Although Cesi identifies the many-headed mon­ passed on the authority of doctrine. The senate and ster at the pope's feet as the Beast of the Apoca­ people of Bologna dedicated the monument to Pius lypse, it recalls the Hydra, and the pope wielding for crushing heresy by the Council of Trent and for the massive keys to crush the enemy recalls Hercu­ the adornments by which he conferred dignity on les's victory over that multifarious enemy with his the city. 12 heroic club. Given this association, Tuttle convinc­ We are thus confronted not with the usual bene­ ingly suggested that Giambologna's project referred ficent and benign Holy Father but with the vengeful explicitly to the great terracotta sculpture by Alfonso ruler and judge who silences the voices of heresy Lombardi in the Palazzo Comunale of Bologna that and rebellion. The pope's aggressive presence was shows Hercules seated in triumph over the Hydra, magnified by a voluminous and billowing robe, and holding the club at his side (Figs. So, 81 ). 14 (Origi­ a powerful sideward twist of the body. The implica­ nally the defeated animal was a lion, no doubt the tions of such an awesome image at the entrance to lion rampant that symbolized Bologna as a free an institution where scandalous ideas circulated commune. To avoid the potentially awkward pun on actively would not have been lost on any contem­ Leo X's name [leo = lion in Latin], the victim was porary viewer. The dangers inherent in the cos­ changed to the Hydra.) We know from an early mopolitan intellectual ambience of the university source that Lombardi's figure, executed in 1513,

68 Giambolognis Neptune at the Crossroads Fig. 79· Statue of Pius IV, drawing. MS A III in£, fol. 54-, Biblioteca Ambrosiana, Milan.

Giambolognis Neptune at the Crossroads 69 Fig. 8o. Alfonso Lombardi, seated Hercules, terracotta. Palazzo Comunale, Bologna (photo courtesy Norberta Gramaccini).

70 Giambolognis Neptune at the Crossroads Fig. 81. Detail of Fig. 8o (photo courtesy Norberta Gramaccini).

embodied a highly charged political allegory: the bronze statue of the enthroned Julius II, destroyed Hydra was the Beptivoglio family, whose repeated in I 5II when the Bentivoglio had last occupied the attempts to recapture Bologna were finally ended in city, was surely intentionaL Michelangelo's figure was I5I3, when under the Medici pope Leo X Bologna notorious because its vigorous action ( atto gagliardo) was returned definitively to papal rule. 15 Alfonso's served, as the artist himself proclaimed, "to threaten statue, which parallels the Medici adoption of Her­ the people, lest they be foolish'' ("Minaccia, Padre cules as the emblem of their dominion over Flor­ Santo, questo popolo, se non e savio''). 16 The bronze ence, was always prominently visible in the Palazzo statue of Pius IV also evokes Michelangelo's lost Comunale, the residence of the papal legate; it image, which Giambologna seems to have recon­ served as a civic allegory of papal dominion in a city structed, appropriately enough, on the basis of the whose tradition of learning made its significance Moses on Julius's tomb, especially for the turn of the inescapable. Pius IV's family name was Medici, and body and the action of the legs. In combining Lom­ although not related to the Medici of Florence, he bardi's mythic hero with Michelangelo's wrathful was their protege and had adopted their coat of pontiff, Giambologna related both exemplars to the arms at the invitation of Cosimo I; so the political contemporary religious and political threats to the implication of Giambologna's reference to Leo X church (particularly at an intellectual center such as had a personal aspect as welL Bologna), which the Council of Trent was intended Another important model for Giambologna may to crush. Even the reference to Hercules had an be discerned through his reference to Lombardi's intellectual and moral meaning, based on an ancient sculpture. Lombardi's desire to make the analogy tradition in which the Hydra was equated with the between Leo X and Hercules must have motivated Sophists, and the victory was won not by physical him to show the figure seated and triumphant: the force but by virtuous philosophy over false reason. 17 pose associated the ancient hero with the familiar Pius's keys and book replace the power of pagan tradition of papal portraits in which the pontiff is ethical thought with that of Christian doctrine. enthroned. Lombardi's allusion to Michelangelo's + + +

Giambolognis Neptune at the Crossroads 7I Fig. 82. Giambologna, Mercury. Kunsthistorisches Museum, Fig. 83. Giambologna, Mercury. Museo Civico, Bologna. Vienna (photo: Institut Royal du Patrimoine Artistique, Brussels, Bro6s86).

A major revelation of Cesi's memorial is that he work, commissioned as a gift from Duke Cosimo intended for the courtyard of the new university de' Medici to the emperor Maximilian II, portrayed building a tall marble column surmounted by a Mercury as messenger of the gods carrying Cosimo's figure of Mercury, messenger of the gods and teacher homage to the emperor as the Olympian Jupiter. of the arts and science to men. 18 Apart from resolv­ Mystery has surrounded the magnificent version ing the question of the origin of Giambologna's in the Museo Civico in Bologna which, although renowned figure of Mercury, the information pro­ obviously related, does not at all conform to this vided by Cesi solves another problem concerning type of Mercury rising (Fig. 83). The body is much the sculpture that has always puzzled scholars. As it heavier, more athletic; the glance is lower; and the is most commonly known, the Mercury is a lithe, index finger points back rather than up. The Bologna zephyr-borne figure spiraling upward, his face lifted bronze evidently is not a study for the later Medici toward the culminating gesture of his upward­ commission, as has been assumed, but rather the pointing index finger (Fig. 82 ). 19 The figure defies model for the figure intended for the university, the laws of gravity, a weightless aerial bronze. This which Cesi describes as descending) rather than ascend-

72 Giambolognis Neptune at the Crossroads Sebafiiani Reguli BRA.SICI-IELLENSIS IN PRIMVM, 'Aeneid,os Virgilii .LIBRVM

E~ ARISTOTELIS DE. ART:C PQETICA~ 'tf' J(betorica pr~ceptis explicationes,

B 0 ·N. 0 N I .AE,

Ex Typographia I oANNIs Rubei, in Via s. M;umrioli. .M D txnz.

Fig. 84- Logo of the publisher Giovanni Rossi, Mercury with the motto Coelo Dernissus ab Alto (from Regoli, I563).

ing to heaven. Cesi explains that Mercury was an Giovanni Rossi (Fig. 84). 20 The motto that accom­ ancient symbol of reason and truth, and the statue panies the image in many of Rossi's editions, Coelo would remind students that wisdom flowed from Demissus ab Alto) "sent down from high heaven," heaven as a gift of God. Giambologna's muscle­ expresses the idea of a heaven-sent message that bound Mercury in Bologna is thus earthbound, Giambologna's figure was also meant to convey.21 like an annunciating angel, and he indicates not the The inscription on Rossi's logo identifies the con­ addressee but the source of his "academic" lesson, cept as a conflation of two familiar texts of Virgil, complementing the religio-political message ex­ essential to the Christian interpretation of ancient pressed by the papal monument itself history. The Virgilian scheme, in fact, underlies the Cesi's description of the figure as descending grand conception of all three of Giambologna's confirms another of Tuttle's proposals, that Giam­ sculptures for Bologna.22 bologna's invention must have been related to an In the first book of the Aeneid) when Aeneas and analogous depiction of the flying Mercury as the his companions set sail from burning Troy to estab­ logo of one of the leading printers of Bologna, lish his race and religion at Rome, Juno, angry and

Giambolognis Neptune at the Crossroads 73 . IMAGINE MITT IT

Fig. 85. Marcantonio Raimondi, Neptune calming the waters ("Quos ego-!") and other episodes from the Aeneid, Book I, engravmg.

74 Giambolognis Neptune at the Crossroads Fig. 86. Genoese, sixteenth century, Neptune calming the waters ("Quos ego-!"), drawing. National Gallery of Scotland, Edinburgh.

jealous, persuades Aeolus to raise the winds and realization of God's plan to save mankind. Neptune's destroy Aeneas's fleet. Angered at the usurpation of pacification, Jupiter's command, and Mercury's per­ his power over the seas, Neptune quells the storm, suasion assured the establishment of the Roman uttering the imperious expletive "Quos ego--!" empire and religion, which prepared for the domin­ with which he confronts his adversaries.23 Here ion of Christianity. These acts of providence had Virgil, in an obvious political allusion to Caesar been singled out before in an engraving by Marcan­ Augustus, likens Neptune's act to that of a ruler tonio Raimondi after a composite design by Raphael who calms an unruly populace.24 Mter Aeneas takes (Fig. 85) and, merged as a coherent narrative scene, refuge on the shore of Mrica, Venus, his mother, in a fresco by Raphael's pupil Pierino del Vaga that intercedes with Jupiter on behalf of her son. Jupiter once decorated the villa in Genoa of Andrea Doria, renews his promise to establish Rome, and as his the great naval hero in the struggle against the Turks first step sends Mercury down ( demittit ab alto) to (Fig. 86).26 The latter instance is particularly sig­ urge the Carthaginians and Queen Dido to relin­ nificant since Mercury's pose, including the finger quish all thoughts of hostility and accept Aeneas pointing up and back toward Jupiter, anticipates and with good will.25 explains that of Rossi's bookplate. This Virgilian From earliest Christian times the Aeneid had been theme must have seemed relevant to the program of understood as an allegory of the universal dominion public statuary at Bologna, the city of learning par of the Church, and the three episodes-Neptune excellence) where Pope Pius would readily be iden­ calming the seas, Jupiter yielding to Juno's pleas, tified through Virgil's familiar and prophetic epithet and Mercury converting the Carthaginians-were for his hero, "pious" Aeneas. critical moments of divine intervention, ensuring the Rossi's motto contains the word "coelo/' which

Giambolognis Neptune at the Crossroads 75 does not occur in the Aeneid passage; the full mean­ to Dido are preceded by a direct reference to heaven, ing of the image depends on the striking coinci­ caelo demittitur alto. 27 The coincidence of phrasing dence of phrasing in the passage recording Jupiter's must have seemed to confirm the divine inspiration charge to Mercury in the Aeneid and another, per­ of the Virgilian texts, which Rossi applied to the haps even more significant, Virgilian text. In the knowledge borne by the messenger of the ancient fourth Eclogue the poet speaks of the birth of a gods and incorporated in his books. Giambologna's new age, the return of a virgin, and the descent of a Mercury was intended to bear the same message of new generation from on high. The passage was seen divinely inspired knowledge. as the one text of pagan antiquity that clearly fore­ told the birth of Christ and the coming of Chris­ The Neptune fountain broke with tradition in tianity. In the last verse of the prophecy the words almost every aspect of both form and content (Figs. used in the Aeneid when Jupiter dispatches Mercury 87-90; Plate III). The basic design established a

76 Giambolognis Neptune at the Crossroads Fig. 87 (opposite). Giambologna, Fountain of Neptune. Piazza del Nettuno, Bologna (photo: Anderson 40510).

Fig. 88 (above, lift). Detail of Fig. 87 (photo: Fanti, Bologna).

Fig. 89 (above, right). Detail of Fig. 87 (photo: Fanti, Bologna).

Fig. 90 (lift). Detail of Fig. 87 (photo: Fanti, Bologna).

Giambolognis Neptune at the Crossroads 77 Fig. 91 (above). Pharos of Alexandria, hemidrachm of Domitian. American Numismatic Society, New York.

Fig. 92 (right). Neptune and Amphitrite (from Cartari, 1647, 135).

Fig. 93 (opposite). Bartolommeo Ammanati, Fountain of Nep­ tune. Piazza della Signoria, Florence (photo: Brogi 3056).

new fountain type, with the figure raised on a high, itself a notable feat of hydraulic 'engineering.) This two-storied architectural base.28 The traditional recondite recollection of the primary symbol of the architectural base for statuary employed either a tall intellectual capital of the ancient world would not column or a relatively low pedestal; the latter for­ have been lost in the city whose university, Cesi mula had generally been followed for fountains with claimed, was the foremost in Europe. 31 a raised central figure ( c£ Figs. 93, 97 ).29 In the so­ In his pioneering manual on the images of the called kylix fountain the predominant figure or ancient gods, first published in 1556, Vincenzo Car­ group might be mounted on a tall support, but this tari includes a depiction of the triumph of Neptune support was a nonarchitectural, sculptured shaft and his consort, Amphitrite (Fig. 92 ). 32 The pair is with an elevated basin that resembled an ancient accompanied by two vignettes, copied from ancient wine goblet. A striking precedent for a high, rectan­ gems, illustrating the dual nature of the god of the gular, two-storied architectural pedestal for a statue seas. Another great art theoretician of the next of Neptune is the fabled Pharos, or lighthouse, of generation, Gian Paolo Lomazzo, describes Neptune Alexandria, one of the wonders of the ancient world.30 as "now tranquil, quiet and pacific, now all turbu­ Apart from many classical and medieval textual lent."33 In representations of the first of these sources, the monument was recorded on a number ancient types the god stands calmly with his trident of Alexandrian coins, which show the corners of the at his side, one leg, bent forward at the knee, resting upper story decorated with figure sculptures and, on on a support that might take the form of a dolphin; top, a statue of a standing deity, often taken for in the other he drives his wave-crashing steeds, Neptune (Fig. 91). The Pharos of Alexandria was angrily brandishing his weapon to stir up the waters. one of the great engineering feats of antiquity, re­ Neptune became a popular subject for fountain nowned not only for its size but also for the com­ sculptures in the second quarter of the sixteenth plex mechanisms by which it functioned. (\Vith century, and Giambologna's predecessors reflected some ninety water jets the Neptune fountain is the alternative interpretations noted by Cartari:

78 Ciambolognis Neptune at the Crossroads they showed the god either in relatively stiff, firmly Underlying these formal innovations is a funda­ grounded, and frontally oriented poses (see Figs. 93, mental reinterpretation of the theme. Neptune's 97) or else actively wielding his trident in a dra­ pose indicates that he is stepping down to the side, matic tableau.34 Both versions had been adapted to toward the city's great central square, the Piazza the Virgilian "Quos ego--!" theme, by showing the Maggiore. Having ridden into the center of Bologna figure raising a hand in an imperious gesture of sup­ on his undulating steed, he descends majestically to pression (Fig. 97) or fiercely subduing the sea by his pedestal to receive the adulation of the populace. spearing it with his trident. 35 The motion here parallels that of the water itsel£ Giambologna, in effect, combined these two carried through the aqueduct and the fountain to seemingly incompatible types in a single figure. It is the city square. The descent is divine, and as such it important to observe how and why this merger of corresponds to the action of the Mercury intended opposite states of being is brought about.36 Nep­ for the courtyard of the university. In both works tune bends his right leg back and out to the side the idea of descent from on high alluded to papal rather than straight forward, and throws his left hip patronage as well as to the divine origin of all true forward and out to the opposite side. The right arm knowledge. extends down and back, the left up and forward. The gestures of Giambologna's figure also involve These complex interactions and projections impart a meaningful revision of predecessors. In the colos­ to the standing figure a continuous spiraling move­ sal marble Neptune carved by Ammanati, who won ment that penetrates the surrounding space in all the commission for the fountain in Florence (Fig. directions.37 In this way, the stasis proper to statu­ 93), the giant figure rides his chariot as if in imperial ary is combined with the motion proper to dramatic triumph, and he holds in his right fist not a trident action and the Neptune becomes both a statua and a but the handle of a leather-thonged whip, in a dis­ historia) merging the two categories that for Renais­ tinctly menacing way. This theme sheds light on the sance theoreticians of art were distinct.38 significance of the small bronze preliminary model

Giambolognis Neptune at the Crossroads 79 Fig. 94 (right). Giambologna, Neptune. Museo Civico, Bologna.

Fig. 95 (opposite, lift). Emperor Commodus as Hercules. Vatican Museum, Rome (photo: Musei Vaticani XXXIV-14-51).

Fig. 96 (opposite, right). Giambologna, medal of Pius IV. Museo Civico, Bologna.

by Giambologna in the Museo Civico of Bologna as if in compensation, the resemblance to Moses (Fig. 94). Here Neptune holds a huge commander's was suppressed in favor of a physiognomy like that baton in his right hand, as if it were a weapon he is of Hercules ( c£ Figs. 8r, 89, 95). Neptune holds the about to wield. In fact, the motif recalls a famous trident as if he were about to hurl the weapon, colossal statue of the emperor Commodus as Her­ according to Cesi, who, echoing Virgil's political cules (Fig. 95), just as Hercules imagery permeated implication, compares the action to that of the ruler the monument to Pope Pius.39 A religious import is who would liberate his subjects from all fear of dis­ also evident here in the patent similarity of the face turbances and agitation.40 If we recall that the tri­ and flowing beard to those of Michelangelo's Moses, dent is a pun on the Tridentine Council, we can consonant with the reference to Moses in the seated hear the religious undertone, especially through the figure of Pius IV. Neptune, of course, governed all further pun, inscribed on the medal commemorating waters, not just the sea, and, like Moses with his the fountain, relating the pope's name to the waters "rod of God," Neptune with his trident could strike of baptism: Aqua Pia (Fig. 96).41 water from a rock. Seen in this guise, the Neptune­ Giambologna owed a further debt to Giovanni Moses figure might well have been understood as Montorsoli, who in his Neptune fountain in Mes­ bidding the waters to gush forth. In the final ver­ sina evoked the theme of Neptune stilling the sion the trident was substituted for the baton and, waters through the gesture of the right arm and

So Giambolognis Neptune at the Crossroads hand (Fig. 97). 42 The stiff salute seems appropriate Indeed, there could hardly be a better definition of to the fountain's purpose: to commemorate the the effect of benign nobility, at once firm and reas­ emperor Charles V's naval victories over the Mos­ suring. The outstretched arm is, in fact, a grand lems. The gesture of Giambologna's Neptune is rhetorical gesture of persuasion, whose applicability entirely different, however: the arm is more relaxed, to Neptune was inspired, or at least reinforced, by and the fingers uncurl in a gentle, insinuating se­ the Christian tradition of moralizing interpretations quence. The action evokes, above all, the equestrian of the pagan deities. In this tradition Neptune was statue of Marcus Aurelius in Rome (Fig. 98), understood to personify intelligence and reason, which, more than any other ancient work, had precisely because he calmed the seas in the first strong positive associations from the Middle Ages, book of the Aeneid.44 The interpretation is analo­ when it was identified as Constantine the Great. It gous to that of Hercules and the Hydra which retained these associations when it was reidentified underlay Giambologna's treatment of the statue of in the Renaissance as the noble-minded philosopher­ Pius IV. In contrast to all his predecessors Neptune emperor considered to be the pagan embodiment of here does not achieve his end by command or vio­ Christian virtue. The gesture, in particular, was lence. Emulating the passage in which Virgil likens much appreciated and discussed and was explained the "Quos ego--!" episode to the ruler swaying the almost universally as expressive of pacification.43 angry rabble with his speech, Giambologna's sea god

Giambolognis Neptune at the Crossroads 8r Fig. 97· Giovanni Montorsoli, Fountain of Neptune. Messina (photo: Alinari 19742).

Fig. 98. Marcus Aurelius. Piazza del Campidoglio, Rome (photo: Deutsches Archaologisches Institut, Rome).

82 Giambolognis Neptune at the Crossroads soothes the forces of sedition by the subtle power into a fluid spatial movement of great pathetic power; of persuasion.45 and solid muscles have been replaced by bulging, tight­ Cesi considered the study of eloquence and wis­ skinned forms that have a positively pneumatic qual­ dom primary to human society, a point of view that ity, so the figure seems to burst with vitality, inflated brings into sharp focus other major elements of the by some inner spirit. This transformation, in turn, is Neptune fountain's decoration.46 Putti embracing inconceivable without the continuous weightless dolphins are a common expression of love, partly motion with which the classical contrapposto had derived from the ancient stories, cited by Cesi, of already been imbued by Northern artists of the late affection between these animals and young boys (see Middle Ages- the so-called Gothic S-curve that 47 Fig. 88). The water spouting from the animals' epitomized the International Style of about 1400. mouths recalls the dolphin as an emblem of persua­ Giambologna's "restoration'' of this distant late­ sion (dolphins had induced Amphitrite to leave her medieval past, which enabled him to carry the con­ island refuge and become Neptune's consort).48 Cesi temporary Mannerist figura serpentinata to new heights observes that the sirens, too, were embodiments of of expressivity, was surely no less deliberate than his persuasion, owing to their magical song; and here, classicism, and perfectly in accord with the reaffir­ discharging water from their ample breasts, they also mation of traditional faith that was one of the driv­ offer more solid fare, becoming metaphors for the ing forces of the Counter-Reformatory movement.50 fructifying Aqua Pia (see Fig. 90 ). The ultimate One wonders whether Cesi might have intuited this meaning of the fountain is itself rhetorical since, as profound harmony between Giambologna's art and Cesi says, it proclaims the benefits of the ruler's the efforts of Catholicism to constrain transalpine concern for his domain.49 If in connection with religious zeal within the ancient traditions of the these points one recalls the conformity of the over­ Roman church. all design to that of the Pharos of Alexandria, the In reviving the Northern tradition of continuous fountain may be seen as a veritable beacon of civic dynamics and melding it anew with the classical and spiritual salvation. legacy of equilibrated mass, Giambologna created a revolution of his own, a new International Style that In his complementary gestures the right arm from Bologna would sweep the emergent absolute held back to wield the trident, the left put forward monarchies of Europe and dominate developments 51 to pacify-Giambologna's Neptune embodied the for the next two centuries. Neptune's pose, the Renaissance mythographers' definition of the dual action of the arms, and the turn of the head not nature of the divinity. Like the Christian deity, only appear commanding from every point of view alternatively angry and benign, the Neptune speaks but also impart a sweeping and turning motion that to the people of Bologna as the Mercury spoke to suggests the boundless reaches of the god's domain. the students and the statue of Pius spoke to both. The figure is endowed with nobility, autonomy, All three images in concert invite peaceful and rea­ universality, and grace, and the Lord of the Seas soned acceptance of the articles of faith, love, and views the world with what has aptly been described 52 papal rule while also implying that a just retribution as "a sovereign regard." Bononia Docet1 indeed! awaits those who are heedless. In view of the central role played by the Counter­ Reformatory zeal of Pius IV and his vice-legate in the sculptural program and the design of the indi­ vidual figures, one may wonder whether enthusiasm for Giambologna's entry in the Florence competi­ tion was the only reason he was chosen for the Bologna Neptun~ his first major work. In addition to being a promising sculptor he was a Northerner who succeeded in fusing the classical tradition he adopted in Italy with the dynamism of his own Germanic heritage. In the Neptune Giambologna transformed the balanced mechanism of antiquity

Giambolognis Neptune at the Crossroads 83 fogle in su' d( e )cto filo saldato con 1' ariento per (I889, I53) once suggested that the bust com­ il Gighante ... " The document has recently memorates not the murder of Alessandro by been republished and discussed by Ristori, I986, Lorenzino, as is commonly assumed, but Loren­ 85£; c£ also the comments by Isermeyer, I965, zino's own assassination in I 547 at the behest of 32 5· Duke Cosima; this view has been revived by 63. " ... la fama de gl'huomini, che poi si mantiene Hirst ( I977 ). If this later dating is correct, verde, e bella per molti secoli, come la fronde Michelangelo may have conceived the sculpture dellauro, & dell'edera si mantengono'' (Ripa, in response to the busts of Cosima I made by I6o3, I78). In a letter of I545· published in I550, Bandinelli and Cellini explicitly in the imperial Aretina mentions the statue's leafy cinch as an tradition (see Lavin, I975, 385f£). expression of "la modestia fiorentina'' ( c£ Ristori, 70. Further to the subject of this paragraph below, I986, 84). On the honorific symbolism of the P· 2I3f£ plants, c£ Trapp, I958. 64- On the interviews and the issues involved, see especially Levine, I974; Parks, I975· The chroni­ cler Pietro Parenti records under the year I 504 that the David was brought to the Piazza "per 3. Giambolognis Neptune at the Crossroads consiglio del maestro," a passage that seems to have been overlooked or neglected by nearly First presented in the Aula Magna of the Archigin­ everyone who has considered the matter. Raffaele nasio at Bologna in October I990. The lecture served Borghini later (I 584) claimed that the installa­ to inaugurate the newly restored Fountain of Neptune tion did not please Michelangelo, who would and a colloquium on the subject of Bologna as a cul­ have preferred to see the sculpture placed in a tural crossroads, "Illuogo e il ruolo della citra di niche (Barocchi, ed., I962-72, II, 207 ). Bologna tra Europa continentale e mediterranea," held 65. C£ Levine, I97 4, 39£ and n. 36, and the passages under the aegis of the International Committee for quoted in Barocchi, ed., I962-72, 2:2o8. the History of Art. 66. See Levine, I974, 34 n. I3; Ristori, I986, 95£ On the identification of the scene on the tapes­ r. On the restoration and the "Casa del Nettuno'' try, see Langedijk, I98I-87, I:45 n. 20. see Il Nettuno) I989; on the anatomical theater 67. I am indebted at this point to Bredekamp's study see Fabretti, I987. ( I989) of Lorenzino's "Brutian'' attack on the 2. See Malaguzzi Valeri, I90I, 3I£; Corpus) I927, arch, and its anti-Medicean political implications. Iof£; Miller, I977, 25; Bellocchi, I987, 2o£ 68. Suetonius, Galba I, I (Rolfe, I950, II, I9o£). 3· "Questa nuovo inquisitor [Girolamo Muzzarelli] e un dotto giovane e se mostra molto fervente 69. M. DUM BRUTI EFFIGIEM A. et dice che qui e una grande intrecciatura di SCULPTOR DE MARMORE DUCIT heresie''; cited by Rotondo, I962, I36, after IN MENTEM SCELERIS VENIT Buschbell, ed., I937, 494- On the religious B. ET ABSTINVIT F. situation in Bologna at this period, see also Battistella, I905, esp. rr8f£, I29f£ (As he carves the image of Brutus from the mar­ 4- See Pastor, I923-53, XVI, 440£ ble, the sculptor is reminded of the crime, and 5· The primary sources on the fountain are Vasari, desists. Michael Angelus Buonarrotus Fecit.) I906, VI, I9I£, and Borghini, I584, s86. For the The material concerning the bust is assem­ modern literature see Avery, I987, 206-9, 256, bled in Barocchi, ed., I962-72, IV, I792f£, but no. p, with bibliography. Most important for see Gordon, I957; Lavin, I975, 357£ Portheim the present essay are the contributions of Miller,

2 7 4 Notes to Pages 55-64 I977 (whose wide-ranging essay intuited a num­ for the statue of Pius IV was known from ber of points made clear by the discovery and documents and other sources (Tuttle, "Bononia/' studies of Tuttle), and Tuttle: I977; I984; I987, 288, and "II palazzo," I987, 74£), but "Bononia/' I987; and "II palazzo," I987. (In a its connection with the fountain project was subsequent volume that came to my attention unsuspected. only after the present work was completed, Although Giambologna may have become Miller, I989, extended her studies to the city as involved in the fountain during a visit to a whole, though without reference to Donato Bologna early in I562, the work is first men­ Cesi's account of his projects, published by tioned in a papal brief of March I 563, a month Tuttle.) before the sculptor moved to Bologna; after 6. See Tuttle, "Bononia/' I987, with the manuscript much delay the Neptune was cast in August I 566 published in extenso as an appendix. Tuttle is and installed in December of that year (Gram­ preparing a comprehensive monograph on the berg, I936, 4, I6-23). The project for the statue Neptune fountain. of Gregory is first mentioned in February I564 7· In his dedicatory letter to the pope Cesi notes and the model was taken to Rome the following that he had been inspired by the medals issued, April (Tuttle, "Bononia/' I987, 228; Gramberg, on the example of the ancients, to commemorate I936, 7I ); the first and only reference to the Pius's achievements in Rome (see n. 4I below): Mercury is in Cesi's manuscript, which Tuttle "His de rebus cum scirem, quae Romae acta dates between December I564 and January I565 sunt, ea veterum exemplo aeternitatis esse nu­ ("Bononia/' I987, 218). The statue of the pope mismatum monumentis ad prodendam memo­ and the Mercury were evidently abandoned after riam commendata ... " [Tuttle, "Bononia/' I987, Giambologna and Cesi left Bologna in January 235]; "When I learned of the things accom­ I565. plished in Rome which, by the example of the 9· Gramberg, I936, 97£ ancients, had been commended to memory in IO. The strategic location of the fountain is dis­ the eternal monuments of numismatics ...." cussed by Miller, I977, 29ff. Cesi's initiative seems to have been taken up at II. The medal illustrating the sculpture was pub­ once in Florence, where a series of commemora­ lished by Leithe-Jasper, I972, with an attribution tive medals was issued for Cosimo I (noted by to Guglielmo della Porta; the medal's relation­ Tuttle, "Bononia/' I987, 23I; see C. Johnson, ship to Giambologna's project was established by I976). Although no explanatory text accompa­ Tuttle, "II palazzo," I987, 73ff.; "Bononia/' I987, nied the Florentine series, it was broader in 228£ scope, including notable events as well as public I2. "... addiditque sub pedibus conculcatam haere­ works. These series in turn laid the groundwork sim horrendum in modum expressam, atque ea for the great medallic history of Louis XIV: On quidem monstri forma qua a D. Ioanne in Apo­ the use of such medallic series as propaganda, calypsi describitur. Statue ipsa laeva librum tenet, see Kantorowicz, I963, I66ff. quo actum esse doctrina cum haereticis sig­ 8. The only hint of a Bologna connection for the nificatur; dextra vero binis clavibus, idest binis Mercury was that the earliest of the bronze mod­ potestatis suae symboles monstri capita com­ els of the figure is preserved in the Museo minuit. Altera enim indicari volunt Theologi Civico (Fig. 83), whence scholars attributed to solius Pont. Maximi esse quid sit peccatum the period of Giambologna's stay in Bologna the statuere, altera vero ad eundem pertinere peccato project for the figure later sent to the Hapsburg obnoxios expiare.... Addita est praeterea haec emperor in Vienna (Fig. 82; Gramberg, I936, 76; inscriptio. PIO IIII PONT. OPT. MAX. I OB Avery and Radcliffe, I978, 83£). The project CONCVLCATAM TRIDENTINO CONCILJO HAERESIM I

Notes to Pages 65-68 275 COLLATAQVE AD HVIVS CIVITATIS DIGNITATEM I ful gesture of the right hand, he said smilingly ORNAMENTA I s. P. Q. BONONIENSIS PIVS AC to Michelangelo, 'This statue of yours, is it GRATvs" (Tuttle, "Bononia/' 1987, 244); "... and giving the benediction or a malediction?' To added trampled beneath his feet is heresy shown which Michelangelo rejoined, 'It is threatening in a horrendous way, in the very form of the this populace, Holy Father, if they are not pru­ monster described by St. John in the Apoca­ dent"' (Condivi, 1976, 38-39). Miller (1977, 38) lypse. The statue holds a book in the left hand, and Gramaccini ( 1980, 3o£) also perceived signifying that the heretics are dealt with by Giambologna's papal monument as a reprise of doctrine; in its right hand are two keys, symbols Michelangelo's. of his dual power with which he crushes the 17. As noted by Tuttle, "II palazzo," 1987, 76. heads of the monster. With one of the keys the 18. "IIlud tamen addam, statutum esse in medio theologians wish to indicate that only the pope compluvio supra paratam iam ex vermiculato determines what sin is; and with the other that lapide columnam Mercurij e coelo labentis it is for him to expiate those guilty of sin .... simulachrum aereum poni: ut, cum illo sig­ There is also added this inscription: To Pope nificata sit antiquitus ratio et veritas, sapientiam Pius IV for having trampled heresy with the e coelo manasse, eamque veluti Dei donum esse Tridentine council and having provided orna­ summo studio ac veneratione suspiciendam ments to the dignity of the city, the pius and scholares facile, posito ibi signo in memoriam grateful Bolognese senate and people of Bologna revocarent" (Tuttle, "II palazzo," 1987, 84; 71ff. [offer this statue]." for discussion); "I will add that it has been 13. On this point see Fasoli, 1962, 5£; Miller, 1977, decided to place in the middle of the courtyard 3o£; Tuttle, "Bononia/' 1987, 78. on a prepared column of vermiculated stone a 14- See Tuttle, "II palazzo," 1987, 76ff.; on Lom­ bronze image of Mercury descending from

bardi's Hercules1 see Gramaccini, 1980, 28ff. heaven; since in antiquity he symbolized reason 15. See Gramaccini, 1980, 28. and truth, the image being placed there as a 16. The menacing aspect of Michelangelo's colossal reminder, the students may readily recall that statue of Julius II pervades Condivi's account of wisdom descends from heaven and that it is a it: "E dubitando quel ch'egli dovesse fare nella gift of God to be received with study and mano sinistra, facendo la destra sembiante di dar veneration." la benedizione, ricerco il papa, che a veder la 19. The most recent discussion of the Mercury is in statua venuto era, se gli piaceva che gli facesse Avery, 1987, 125-30, 261 nos. 68, 72, 73, with un libro. Che libra? rispose egli allora: una spada; previous bibliography. ch1io non so lettere. E motteggiando sopra la destra, 20. Tuttle, "II palazzo," 1987, 73· The variants of che era in atto gagliardo, sorridendo disse a Rossi's logo show the same distinction between

Michelagnolo: Questa tua statua1 da ella la benediZ!_"one upward- and backward-pointing gestures of

o malediz:ione? A cui Michelagnolo: Minaccia1 Padre Mercury, so that he may also have inspired the 11 Santo1 questa popolo) se non e savio (Condivi, 1938, version Giambologna sent to Vienna; see the 75£); "And, since he was in doubt as to what to examples illustrated in Sorbelli, 1923, 39-44; do with the left hand, having made the right Zappella, 1986, 247, figs. 829-38. hand in an attitude of benediction, he inquired 21. Sorbelli, 1923, 38-44; Zappella, 1986, 246-47, of the pope, who had come to see the statue, figs. 829-38. whether he would like it if he made a book in 22. Rossi's logo also helps to identify an individual that other hand. 'What book,' was the pope's who may have had an important share in formu­ response; 'a sword: because I for my part know lating the Virgilian program of the sculptures. nothing of letters.' And, joking about the force- The device appears in a commentary on the first

276 Notes to Pages 68-73 book of the Aeneid published in I 563 by Sebas­ the oarage of wings, and speedily alights on the tiana Regoli (I5I4-I570 ), who was professor of Lybian coasts. At once he does his bidding, and, humane letters at the university (Fig. 84). God willing it, the Phoenicians lay aside their Regoli's subtle and learned commentary includes savage thoughts; above all, the queen receives a many of the interpretations discussed here and gentle mind and gracious purpose towards the in Cesi's memoriaL Regoli also delivered one of Teucrians" (I, 297-304; Fairclough, 1950, I, the inaugural addresses when the new university 262E). was dedicated in the same year, and Rossi's pub­ lication of the text of the oration also contains 26. The Marcantonio engraving has been discussed the logo. (Regoli, In primum) I 563, and Oratio) most recently by Lord, 1984- On the drawing in I563; on Regoli, see Fasoli, I962, 97, and 1987, Edinburgh, which is presumed to reflect Pierino's 274E; Fantuzzi, VII, 1781-94, 180-82.) composition, see Boccardo, 1989, 66E 23. Aeneid) I, 135 (Fairclough, I950, I, 250). 27. Ultima Cumaei venit iam carminis aetas; magnus ab integra saeclorum nascitur ordo. 24- ac veluti magno in populo cum saepe coorta est iam redit et Virgo, redeunt Saturnia regna; seditio, saevitque animis ignobile valgus, iam nova progenies caelo demittitur alto. iamque faces et saxa volant (furor arma ministrat), tum pietate gravem ac meritis si forte virum quem "Now is come the last age of the song of conspexere, silent arrectisque auribus adstant; Cumae; the great line of the centuries begins ille regit dictis animas et pectora mulcet anew. Now the Virgin returns, the reign of Saturn returns; now a new generation descends

"And as, when oft-times in a great nation tumult from heaven on high'' (IV, 4-7; Fairclough, has risen, the base rabble rage angrily, and now 1950, I, 28f). brands and stones fly, madness lending arms; The same motto was used with reference to then, if haply they set eyes on a man honoured Louis XIV; see Kantorowicz, 1963, 169. for noble character and service, they are silent 28. There are a number of drawings for the fountain and stand by with attentive ears; he with speech by Tommaso Laureti, who had overall responsi­ sways their passion and soothes their breasts" bility for the project; some were discussed by (I, 148-53; Fairclough, 1950, I, 250-53). Tuttle in a paper presented at the colloquium in Bologna; others have been published by H. Widaner in Italienische) 1991. Only one of the 25. Haec ait et Maia genitun1 demittit ab alto, drawings, in Darmstadt, anticipates the structure ut terrae utque novae pateant Karthaginis arces as well as aspects of the sculptural decoration of hospitio Teucris, ne fati nescia Dido the executed work; I believe the sketch must finibus arceret. volat ille per aera magnum have been made after Giambologna became remigio alarum ac Libyae citus adstitit oris. involved in the project and reflects his interven­ et iam iussa facit, ponuntque ferocia Poeni corda volente deo; in primis regina quietum tion (this also seems to be the view of Widaner, accipit in Teucros animum mentemque benignam ibid., 32). 29. On the statuary pedestal in the Renaissance see Weil-Garris, 1983; on the fountain types, Wiles, "So speaking, he sends the son of Maia down 1933, chapters V and VI. from heaven, that the land and towers of new­ 30. The standard work on the Pharos is Thiersch, built Carthage may open to greet the Teucrians, 1909; for a more recent summary see Fraser, and Dido, ignorant of fate, might not bar them 1972, I, 18-20, II, 42-54- ffolliott, 1984, 224 n. from her lands. Through the wide air he flies on 36, compared Montorsoli's design for a light-

Notes to Pages 75-78 277 house at Messina and the decorative sculptures book, Alberti) Mantegna) and Painting as cHistorii) on his Neptune fountain there to the Pharos of 39· On this work see Haskell and Penny, 1981, Alexandria. r88-89. Miller, 1977, 36, also saw in the baton a 31. "At vero cum hisce temporibus multis in locis reference to Hercules. constitutae academiae tota Europa sint, Bono­ 40. "qui tridentem teneat dextra, quasi ictum inflic­ niensis quidem vel ob coeli benignitatem, vel ob turus ... ut subiectas ditioni suae gentes omni doctorum excellentiam, vel ob urbis ornatum, vel procellarum atque agitationis metu liberet" denique ob civium tum mansuetudinem tum (Tuttle, "Bononia/' 1987, 243). On Neptune as miram erga exteros homines charitatem iamdiu the supreme magistrate who suppresses sedition, florentissima est" (Tuttle, "Bononia/' 1987, 240 ); see Regoli, In primum) 1563, r8r£, r85. '1\lthough in these times academies have been 41. Miller, 1977, 36, noted the trident-Tridentine established in many places throughout Europe, relationship. The pope was fond of punning on that of Bologna is the most flourishing whether his name, especially with projects such as the owing to the goodwill of heaven, the excellence "Porta Pia," the '1\qua Pia," the "Via Pia," and of the teachers, the beauty of the city, or the the "Civitas Pia'' in Rome (see Fagiolo and citizens' warmth and charity toward strangers." Madonna, 1972). 32. For what follows see Gorse, 1985, 28, with 42. On Montorsoli's fountain see ffolliott, 1984, respect to the lost fountain of Neptune by 139ff. Giovanni Montorsoli at the villa of Andrea 43· For an excellent study of the role of the Marcus Doria in Genoa. Aurelius in the sixteenth century, including the 33· "Nettuno, Dio del mare, fu formato in diversi gesture, see Mezzatesta, 1984, esp. 621£, 628£, modi, ora tranquillo, quieto et pacifico, et ora 631. Miller, 1977, 26 n. 17, points out that con­ tutto turbato, come si legge appresso Omero e temporaneously with the Piazza Nettuno in Vergilio" (Ciardi, ed., II, 1974, 5o8; cited by Bologna, Pius IV was also preoccupied with the Wiles, 1933, 6o n. 2). Campidoglio and the setting for the equestrian 34· Neptune fountains are studied by Wiles, 1933; monument. On the meaning of the gesture in a useful survey of Neptune monuments in antiquity, see Bergemann, 1990, 6ff. the sixteenth century is in Hamilton, 1976. 44- On this point see Miller, 1977, 28; Kallendor£ 35· Precedent examples of this latter type are 1989, 140. The source is Cicero, De natura deo­ Montorsoli's lost fountain for the garden of the rum) III, xxv (Rackham, 1933, 346-49 ). On Villa of Andrea Doria at Genoa (see Gorse, Neptune as intelligence and reason, see Regoli, 1985, 28) and an unexecuted fountain in the In primum) r 563, 171, 17 + Villa d'Este at Tivoli (Coffin, 196o, 17). Also 45· See the last line in the passage quoted in n. 24 relevant, perhaps, is a medal cast some years later above. Concerning this verse Sebastiano Regoli that may, however, reflect an early project for the speaks of the true ruler, who quells sedition by Neptune fountain in Florence (Campbell, 1985, the power of eloquence: "Et principem eum, esse rr6£). verum regem, qui in Deos pietate, meritisq. in 36. See the remarkable analysis of Neptune's pose patriam sit clarus, ac eloquentia plurimum valeat. and movement by Gramberg, 1936, 28ff., esp. 32. Item hinc discimus, quanta sit vis eloquentiae; & 37· The spatial quality of the figure is displayed to quas ad res sit adhibenda, ad seditiones scilicet maximum effect in the side view of the fountain tollendas, ac motum populi sedandum; ad iniu­ shown on the commemorative medal (Fig. 96), rias prohibendas, & quod vi, ac armis summi which Tuttle attributes to Giambologna himself Imperatores saepe non possunt; verbis id asse­ ("Bononia/' 1987, 226, fig. r8, 230). quuntur viri boni oratores" (In primum) 1563, r88). 38. On these concepts see Smith, 1968, and Green­ 46. Cesi introduces his account of the building of stein, 1990 (see also Greenstein's forthcoming the university with an eloquent praise of human-

278 Notes to Pages 78-83 istic studies: "Cum dispersa primum ac passim in Philostratus that the golden lures of the vagans hominum multitudo eloquentiae ac Sirens were hung up in the temple of Apollo. sapientiae viribus intra urbes ad civilem cultum Moreover, since our Sirens express their breasts coacta ferinos illos mores exuerit, ac deinde they seem to indicate that they excel not only by paulatim mansuefactis doctrina animis ad floren­ the delight of the voice, but also offer something tissimum vitae statum sit perducta, facile more solid from within themselves. Therefore inteilectum est literarum studijs nihil ad tuan­ the artful construction and ornament of the dam aut ornandam mortalium societatem anti­ leaping water speaks thus: the highest leisure and quius, nihil aptius, nihil denique praestabilius pursuit of peace thrive most if the ruler himself inveniri posse, beatasque respublicas illas esse, in assumes the task of administering the realm." quibus literarum cultus non postremus habeatur" 50. Emphasis on Giambologna's absorption of the (Tuttle, "Bononia/' 1987, 238); "When first the classical tradition has tended to obscure this dispersed multitude of wandering men gathered fundamental debt to his Northern background. into cities by the powers of eloquence and wis­ Holderbaum found evidence of a medieval revival dom had cast off those savage ways and then, in Giambologna's late religious works, which he their spirits tamed by education, gradually been also sees as Counter-Reformatory in spirit led to a flourishing state of life, it was readily ( 1983, 207, 213£, 27 4£, 290 ). understood that to safeguard and adorn human There is some evidence that Giambologna society nothing could be found more ancient, himself may have had Protestant leanings during more apt or preferable than the study of letters, the 156o's (Holderbaum, 1983, 196-98); if so, and that those nations are blessed in which let­ he must later have returned to the Catholic fold, ters are not held in least regard." as his funerary chapel in SS. Annunziata in 47· "Delphinos autem esse ingenus hominum natura Florence testifies. propensiores, ut verosimile sit cum illis pueros 51. The relationship between Giambologna's art and iocari, fidem faciunt ubique historiae, dum contemporary political development was another eorum beneficia Arionen1, Palemonem, Phalan­ enduring contribution of Holderbaum, 1983, tum, Tarantem, Telemachum et plaerosque alios 149ff. servtos commemorant" (Tuttle, "Bononia/' 1987, 52. Emiliani, 1989. 243); "Many stories attest that dolphins have an innate propensity toward human beings, whence it is natural that young boys play with them, and record that Arion, Palemon, Phalantus, Tarantis, 4. Caravaggio)s Calling of Saint Matthew: Telemachus and many others were saved by the The Identity if the Protagonist benevolence of dolphins." 48. On the dolphin see Tervarent, 1959, II, 143£ First presented in a session on Irony and Paradox in 49· "Sirenes quamquam apud aliquos illecebrarum Northern Art at a meeting of the College Art Associ­ loco habentur, non inepte tamen ab aliis ad sig­ ation in February 1990. nificandam orationis dulcedinem flectuntur, unde r. For the early history of Paul's metaphor, see illud Martialis Cato grammaticus latina Siren, ut Hugede, 1957. For the exaltation of the lowly, praeteream aureas sirenum illecebras in Apollonis see the pioneering and still fundamental studies templo apud Philostratum suspensas legi" of the paradoxical encomium by Colie (1966) (Tuttle, "Bononia/' 1987, 243); '1\lthough accord­ and of the sermo humilis by Auerbach ( 1965). This ing to some Sirens are considered beguiling, they essay is a sequel to an earlier study in which I are aptly construed by others to signify the discussed the Socratic irony embodied in Cara­ sweetness of speech, whence Martial calls Cato vaggio's first altarpiece for the Contarelli chapel the Grammarian the Latin Siren, and I also read (Lavin, "Divine Inspiration," 197 4 ).

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338 Bibliography INDEX

Abstraction, 231 Alfonso Lombardi. See Lombardi, Alfonso drawing manuals and, 312n.64 Allegory Picasso and, 253, 258 Aeneid as, 75 Academies of artistic victory, 34, 270n.13 artists; 46, 243, 271f Bernini's Alexander allusion, 292n.39 Ficino's Platonic, 22, 267nn.55,58 Bernini's equestrian monument, 301n.122 Plato's, 22 Bernini's Hercules guardians, 157 Adam, 95 Bernini's Piazza Minerva obelisk base, 297n.8o Adorno, P., 266n.46 Christian, 43£ 66, 75, 176 Aelius. See Commodus civic, 71 Aeneas, 73-75 Louis XIV portrayals, 189, 191 African sculpture, 245 in melodrama, II9 Afterlife political, 68-71, 273n.56 Four Last Things and, 102f portraiture (general), 292n.39 Jesuit catechisms, 103 of Pyrenees Treaty, Fig.241 See also Heaven; Hell Time rescuing Truth, 141, Figs.186,187 Agostino di Duccio, 33, 53, 269n.10 Victory and Religion triumph over Heresy, 176 Alberti, Leon Battista Alonso, F., 125 De re aedifzcatoria, 18 Altars, 25f and rustification, 14 7 burials near, 6-8, 10, 25, 264n.2o, 266n.35 Alciati, Andrea, 6 5 Donatello's Padua, 13, 263n.2 Aleandro, Girolamo, 297n.8o Florence, S. Lorenzo, 5£ 13£ 2o, 25, 27, Alexander VII, Pope, 178, 294n.66, 298n.88 265nn.25,26, Figs.II,12 Alexander the Great, 161£, 163, 166, 172, 292n.39 freestanding, 13, 265n.27 Alexandria, Pharos of, 78, 83, 277f martyr's tomb associated with, s£ 26

339 Altars (continued) mural decoration, 216 pulpits' reciprocity with, 13-15, 266n.35 in Palazzo Sassi courtyard, 45 tabernacle placement with, 13, 25£ 265n.27, Fig.19 and Picasso's proto-classical ideal, 253 versus populum, 5£ 13, 15, 25£ 268nn.65, 71, Figs.II-13 portrait busts mounted on globes, 163-66, Fig.220 Ambos. See Pulpits portrait graffiti, 216, Fig.28o Ambrose, St., 8, 17, 23 portrait type, r6rf Ambrosian chant, 23 sun images, 143 Ambrosian rite, 5, 268n.65 theater personas, I01, 124 Ames-Lewis, F., 265n.27 See also Greeks; Hercules; Paganism; Roman empire Ammanati, Bartolommeo, Florence, Piazza della Antoninus Pius, ancient column o£ 155, 29rn.28 Signoria, Fountain of Neptune, 64, 79, 278n.35, Antwerp, Rubenshuis, van Haecht, Studio qf Cornelis van Fig.93 der Geest, Fig.146 Amphitrite, Neptune and, 78, 83, Fig.92 Apollo Amsterdam and Hercules, 177, Fig.236 Rijksmuseum, Laughing Fawn, 285n.18, Fig.151 and sun images, 143, 144, 288n.5 Stedelijk Museum, Van Gogh, seated nude after Apollo Citharoedus, 45 Bargue, 257, Fig.349 Aquileia, south basilica, mosaic pavement, 17, Fig.22 Ancestor cult, rr5, Fig.147 Archaism, 206, 208 Andromeda, 298n.91 Architecture Angeli, D., 291n.28 ancient Roman, 143· 155-60, 178-So, I87-89 Angelico, Fra, frescoes, r8-2o Bernini on architect's task, 199, 289n.14 Anima. See "Soul portraits" Bernini's projects for the Louvre, 139, 144-61, 177, Anima ragionevole e beata, 124, Fig.156 182-91, 195£ 288nn.9,IO, 291n.31, Antioch, Megalopsychia, Fig.r29 299nn.95•98,roo, 300nn.I04,I08, Figs.177,r8o, Antiquity 191,192 artistic opposites coinciding in, 203-8 central-plan, 15, 17, 22, 268n.59, Figs.23,32 Bernini's art and, I01, I02, ro9, 124, 143, 155-66, chateau, 3oon.ro4 169, 172, q6-82, 187-89, 191, 293n.62 Counter-Reformation church, 13, 26 Bolognese statues related to, 66-71, 78 exempla o£ 44f and bust as portrait form, rr5, 163-66, Fig.220 palace-circus connection, 178-So, 297n.85, Christianity reconciled with, 2, 22£ 45-48, 71-76, Figs.2o8-ro 81, 18o, 272n.42 palace-villa fusion, 191-95' 301n.II7 circus connected with palace in, 178-So, 297n.85, of popes' palaces, 297n.85 Figs.2o8-ro projects for the Louvre ( 1624-1829 ), 197, Fig.258 columns in, 51, 155-57, 160, 166, 178-So rustification in, 14 7 Cosimo de' Medici's tomb's references to, 17 Versailles, 191-95, 301n.II7 Giambologna's art and, 71, 73-75, 76, 81, 83 See also Brunelleschi, Filippo; Florence; Paris; Rome graffiti, 216, 304n.24, Fig.28o A reo and large-scale monolithic sculpture, 172 arco del ingegno, 36 Lorenzo de' Medici's medal and, 52 arco della schiena, 33£ 40, 50 and marble malleability, 186 area delfintelletto, 33£ 50 medals o£ 66 Michelangelo and, p, 33-40, 50 Michelangelo's sculptures and, 51, 57, 58, 61, See also Sculpture 274n.69 Aretino, Pietro, 55, 27 4n.63 Mithras Killing the Bull relief in, 38 Ariccia, Bernini, S. Maria dell'Assunta, 298n.87 Mons Citatorius in, 155 Armailhacq, A. d: 282n.25

340 Index Armi, A. M., 269n.4 villa Ad Gallinas, 273n.54 Ars moriendi/ The Art if Dying, 102£ 124, 284 Virgil's Neptune and, 75 Art Autograph album, German, 303f "art without history"/high-low, 203-22, 253-60, 302n.I Avarice life history of work o£ 224> 23I, 257-59 and Liberality, I23 restoration as, 63 Matthew's, 92, 97, 28of See also Artist; Art theory; Historicism; Popular Azzolini, Giovanni Bernardino, u4£ 285nn.1o,I3 (unsophisticated) culture Four Last Things, wax depictions, II4, I29, Art forms. See Architecture; Drawing; Lithography; Figs.I57-76 Painting; Sculpture Artist Babies, laughing/crying, us, 285n.I3, Figs.I45,I46 creative process as conceived by Michelangelo, Baer, B., 306n.35, 3I2n.63 33-43· 5° Baldinucci, Filippo, I25, 210-I2, 288n.7, 295n.68, as David, 33, 43, 50, 272n.48 302n.I27 guilds and academies, 46, 243, 27If Bamberg, Staatsliche Bibliothek, Boethius, diagram as Hercules, 34-36 illustrating nature of odd and even numbers, Fig.26 Luke as, 43-46, 243, 27I£ Figs.52,53 I Bamboccianti, 220 Art theory Bandinelli, Baccio, 25, 27 4n.69 Bamboccianti on, 220 Baptism, Caravaggio's Martyrdom if St. Matthew and, 282n.28 on Neptune, 78f Barberini, I4I, 288n.7 Paragone, 43£ 48-50 Barbier d'Aucour, Jean, 294n.66 See also Historicism Bargue, Charles (publisher), 257 Askew, P., 272n.48 seated nude, lithograph, 313n.68, Figs.348,352 Astrological symbolism studies after a sculpture by Pilon, Fig.350 of Andromeda (zodiacal depictions), 298n.9I Barocchi, P., 269n.2 Fanti's book of astrological games, 40-43, 46, Baronio, Cardinal Cesare, 26, 268n.72 27In.30, Fig.5I Bartoli, Papirio, 298n.88 Florence, S. Lorenzo, Old Sacristy, 2o£ 267n.52 Basel, Universitats-Bibliothek, Erasmus of Rotterdam, Michelangelo and, 43, 46, 271n.30, Fig.5I manuscript page, 215£ Fig.277 Astronomy, 23, 268n.59, 298n.9I Basilicas Athens and artistic unity, I, I 5 National Archeological Museum, Florence, S. Lorenzo, symbolic, I5 front of an altar from Epidaurus, Fig.267 Rome, early Christian, I, 5, 6, I5, 26 side of an altar from Epidaurus, Fig.268 Bassano, Museo Civico, Bernini, study for the eques- Plato's Academy, entrance motto, 22 trian monument of Louis XIV, Fig.226 Atlas, I85 Bassi, Pietro Andrea di, Le jatiche dPrcole, 270n.I4 Atton, Domenico, 98 Baths of Caracalla, 172 Augustine, St., I 57-60 Baur, Johannes, Rome, Galleria Borghese, view of the Corifessions, 23 Villa Borghese, I91, Fig.I99 Augustus Beard pulling, Jews and, 28If Golden Age o£ 52, 57 Beast laurel imagery, 52, 273n.54 of Apocalypse, 68 Lorenzo de' Medici and, 52 Beauty and the, 10I, 203, 22I£ Fig.u4 obelisk o£ 29m.28 Beata, I24 palace on Palatine hill, I43 Bernini's Anima Beata, 10I, 109, u8£ I24, I25, and Sibyl (Caron painting), 296n.79 284n.2, Fig.u2, Pl.VIII

Index 34I Beati, and Maledicti, 123 and ancient portrait type, 16rf Beauty apotheosi~ 166, 185 and the Beast, 101, 203, 221£ Fig.II4 architectural works, primitive art and, 253 and ancient Roman architecture, 143, 155-60, Becherini, G., 287n.25 178-8o, 187-89 Becherucci, L., 13, 15 and architect's task (defined), 199, 289n.14 Beck, J., 10-13, 15, 265nn.25,26 and Louis Le Vau's architecture, 191-95, Beham, Hans Sebald, Hercules Killing the Nemean Lion, 289n.10 Fig.4o with same ideas as figural works, 139 Bellori, Giovan Pietro, 28on.3 Capitol (Bernini's dialogue with), 187 Benedetti, Elpidio, 293n.59, 294n.64 caricature, 209-21, 301n.124, 303nn.6-8, 305n.32 Bentivoglio family, 71 antecedents o£ 210, 212, 214-20 Bentvogel, 220 precedents set by, 210, 212, 214, 22of Berger, R. W, 288n.9, 3oon.104, 301nn.II4,II7 and classical theater personas, 101, 124 Berlin combinatory thinking, q6£ I85, 296n.78 formerly Kaiser-Friedrich-Museum, Caravaggio, comedy of two theaters, 197, 302n.127 St. Matthew Composing His Gospel, 86, Fig.103 fabled comedies, 197 Staatliche Museen, Kupferstichkabinett, first linkage of symbols of ancient imperial and Heemskerck, Herculean triumph, 176£ I85 drawing of courtyard of Palazzo Sassi, Rome, and Francesco I d'Este bust from Gamberti's 44£ 272n.42, Fig.54 volume, I63, 292n.45, Fig.219 drawing of garden of Villa Madama in Rome, jranchezZf1 di toao, 212 46, 271n.39· Fig.58 French tradition in, I87 van Laar, artists' tavern in Rome, 220, Fig.282 Hercules in, I57, 160, 172-82, I85, I86, I95· Bernabo Visconti monument, 294n.65 299n.100 Bernard, Thomas, medal of Cardinal Fran~ois de la Le Brun's influence, 109, I66, I82, 293n.48 Rochefoucauld, 300n.108, Fig.248 "living metaphor" (bust of Louis XIV), I61 Bernardino, Giovanni, 285n.10 Mair's influence, III, II4, II5, II8 Bernini, Domenico Marchesi's influence, I82 and Anime busts, 125 Montoya and, 10I, 125-29 and Bernini in Florence and in Turin, 295n.68 morality/ethics, 284n.8 on caricature, 212 caricatures and, 301n.124 on comedy of two theaters, 302n.127 form and meaning imbued with, I86 and equestrian Constantine, 294n.65 Glory at summit, I70-72, 297n.8I and smile on equestrian Louis XIV, 293n.59 and "interface'' between moral and psychologi­ and sun imagery, 288n.7 cal states, III, II8, I23 Bernini, Gianlorenzo, 101-99, 209-21, 284-305 and moral-architectural progression, I57-6I diary, see Chantelou, Paul Freart de moral-military force and political-ethical pre­ in Florence, I72, 295n.68 cept, 185, 195f Louis XIV's personal relationship with, I39• 185, and Mountain of Virtue/summit of earth,

197· 220 I53· I6o, I70-72, 185, 293n.62, 296n.75, nephew, 182, 298n.89 297nn.8o,8I, Fig.2II Paris trip, 172, 178, 182, 189, 195, 220, 297n.81 and virtue of ideal ruler (prince-hero), son, see Bernini, Domenico 157-61, 163, 170-72, 175£ 182-86, 195£ in Turin, 172, 174, 29In·34• 295n.68 292n.45, 293n.62 -art o£ nature in primitive/ formless state, 304n.I6

342 Index orator and, 186, 299n.99 Cornaro and Chigi chapels, 285n.9 and physiognomy, 101, 109-rr, 284n.8 Leipzig, and Pyrenees Treaty, 182, 185, 195, 298n.9o, Museum der bildenden Kunste, 299n·95 caricature of Pope Innocent XI, 209, 210, and Rappresentatione di anima et di corpo, rr9, 123f Fig.271 rustification, 147-55, 157, 160-61, 188, 191-95, studies for the Fountain of the Four Riv­ 289£ 293n.57, 299n.100 ers, 153, Fig.2or "representational" tradition merged with, 153 Modena, Galleria Estense, bust of Francesco I scogliera as Bernini's, 153, 160-61, 188, 299n.95 d'Este, 161, 162£ Fig.212 sculptures, Paris, ancient mystique of large-scale and mono­ Louvre, lithic, 172 first project for the Louvre, 144, 299n.98, Bernini's equestrian monuments setting prece­ 300nn.104,108, Fig.191 dents, 169, 172, 175, 182 projects for (all), 139, 144-61, 177, Bernini's sculptures distinguished from prece- 182-91, 195£ 288nn.9,10, 291n.31, dents, 101£ 103, 109, 1rr-14, rr8f 299nn.95•98,100, 300nn.104,108, bust form, 101-2, 109, rr5-18 Figs.177,180,191,192 drapery in, 162£ 170, 186 theaters proposal, 197 and eschatologies of Middle Ages and Rome, Counter-Reformation, 101, 102f bust of the Savior, 298n.89 and marble malleability, 186 Camera dei Deputati (anonymous), project marble sculptures in secular contexts, 172-75 for the Palazzo di Montecitorio, pedestals for Louis XIV monuments, 163-66, Figs.204,205 172, 176£ 292nn.45,46 Galleria Borghese, Truth, 141, Fig.186 psychological states expressed, 109-rr, rr8, 123 Palazzo Barberini, 191, Fig.255 related and different aspects of Bernini's Palazzo di Montecitorio, 155-57, 178, equestrian monuments, 169f 29onn.24,26, Figs.2o2-6 rock formations as monuments, 153-55, 157, Palazzo di Spagna, 160 Anima Beata, 101, 109, II8£ 124, 125, and smile of equestrian Louis XIV, 170, 284n.2, Fig.rr2, PLVIII 293nn.58,59 Anima Dannata, 101, 109, II8£ 124, 125, "soul portraits"/No-body, 101, 103, 109-rr, 284nn.2,8, Fig.rr3, PLIX II5-19, 124 Piazza Colonna, 178-82 summit symbolized for Louis XIV, 170-72, Piazza Minerva obelisk, 297n.8o 174 Piazza Navona, Fountain of the Four Rivers, secular and religious meld, 187-89 153-55, 170, 177, 293n.57, Figs.2oo,2o1 sun images, 141, 143-47, 155, 160, 170, 172, 186£ S. Giacomo degli Spagnoli, ton1b portrait of 288nn.7,9 Montoya, 101, 125 theology in, II8f S. Maria Maggiore, statue ofPhilip IV, 299n.95 Truth images, 141, 170, Fig.186 S. Maria sopra Minerva, Cenotaph of Suor unity of form and meaning in projects for Louis Maria Raggi, Fig.218 XIV,· 157, 186, 188f St. Peter's-Vatican Palace, -works, equestrian monument of Constantine, 169£ Ariccia, S. Maria dell'Assunta, 298n.87 175, 188, 294n.65, 295n.73, Fig.224 Bassano, Museo Civico, study for the equestrian Vatican Library, project for the stairway to monument of Louis XIV, Fig.226 Trinita dei Monti, 182-85, Figs.242,243

Index 343 Bernini, works (continued) heresies, 64 Stockholm, Nationalmuseum, second project for intellectual center, 63, 64, 75, 78, 278n.31 the Louvre, 144, 288n.ro, 299nn.98,roo, inventions, 63 Fig.I92 mottos, 63f Versailles, politics, 63, 65, 68-71 bust of Louis XIV, 139, r6r-69, r86, 189-91, religion, 64-71 195, 292n.45, Figs.r78,r8r, Pl.X republic, 63 design for chateau (presumed), 195 S. Petronio, 65, 66, Fig.77 equestrian statue of Louis XIV, r66-87, Michelangelo, Julius II statue, 71, 276n.r6 r89-91, 195, 296n.75, 301n.122, Figs.179, urban renewal, 66 r82, Pl.XI Via Emilia and Via Flaminia, 63 defaced, 195, Fig.257 -collections, measurements, 294n.65 Biblioteca Comunale del Archiginnasio, Gnudi, restored, 199, Fig.262 "Ichnoscenografia" of Bologna, Fig.77 smile on, 170, 293nn.58,59 Museo Civico, Bernini, Pietro, 300n.II3 Giambologna, Bestiality Mercury, 72, 275n.8, Fig.83 bull as symbol o£ 231 Neptune, 79£ Fig.94 See also Beast -palaces, 66, Fig.77 Bible Palazzo Comunale, 65, 66 Caravaggio's paintings and, 85, 92, 93, 97, 98, 99 Ceroli, "Casa di Nettuno," Figs.73,7 4 Gospel narratives, 92, 93, 97, 98, 99, r88, 28on.6, Lombardi, Hercules statue, 68-71, Figs.8o,8r 283n.37 Palazzo dell'Archiginnasio, 65 Paul's letters, 85, 99, 272n.42, 28on.6 -public sites, See also Christology; Old Testament Piazza del N ettuno, Bireley, R., 301n.122 Giambologna, Neptune fountain, 63-83, Bisi, Bonaventura, 305n.32 274-79, Figs.87-9o, Pl.III Bisticci, Vespasiano da, r Piazza Maggiore, 65, 79, Fig.67 Blacks, African sculpture, 245 -university, Archiginnasio, 63, 65, 68, 78, 278£ Bloemaert, Abraham, ox of St. Luke as symbol of Fig.77 painting, Fig.329 Giambologna, Blume, P., 267n.52 Mercury (planned), 72£ 76, 79, 83 Boccaccio, 34 statue of Pius IV (planned), 65-68, 71, 75, Bocchi, Achille, "Felicitas prudentiae et diligentiae est," So, 8r, 83, 275£ Fig.79 172, 294n.64, Fig.228 Bologna, Giovanni. See Giambologna Boethius, De institutione arithmetica, r8, 266n.45, Fig.26 Bonaventura, 221, 305n.32 Boime, A., 312n.64 Borghese, Cardinal Scipione, 300n.II3 Bologna, 63-64 Borghini, Raffaele, 2 7 4n.64 Bolognino d'oro, Bononia Docet with rampant lion Borromeo, St. Carlo, 65 holding vexillum, St. Peter, 63, Fig. 75 Borsi, F., 289n.17 coinage, 63£ Figs.75,76 Boston, Gardner Museum, Botticelli, Death if Lucrezja, emblem, 63f 273n.49 Fontana Vecchia, 65 Botinete, Fernando, ror, 125 Giambologna in, 275n.8 Botticelli, Sandro Grossone, Bononia Mater Studiorum with rampant lion Boston, Gardner Museum, Death if Lucrez:ja, 2 73n.49 holding vexillum, St. Petronius, 63, Fig.76 Primavera, 273n.56

344 Index Bottifango, Giulio Cesare, n9-23 Buoncompagni, Ugo. See Gregory XIII, Pope Boucher, B., 3oon.108 Burials Bourges, Cathedral, Last Judgment, Fig.n6 near altars, 6-8, 10, 25, 264n.2o, 266n.35 Bow, 270n.r8 Cosima's, 6-8, 10, I3, I5-23, 25, Figs.I2,I4,I5, Pl.I Michelangelo and, 3I, 33-40 Cosima's parents, 8-10, I5-I7, Fig.I7 See also Arco; Sculpture Cosima's sons and grandsons, 23 Bramante, 300n.108 martyrs: 5-7, 10, 26 Braque, Georges, 245 near martyrs' tombs, 6£ 10 Brassa1, 247-5I, 3n£ 3I3n.72 porphyry and, 6, I5-I7, 23-25 photograph of a graffito, Fig.34I Burns, H., 6, 25, 264n.II Bratislava, Galeria hlavneho mesta SSR Bratislavy, Bust form, II5-I7 Messerschmidt, self-portrait, smiling, 109, Fig.I35 Bernini and, 10I-2, 109, II5-I8 Brauer, H., 303n.8 portrait, II5, I63-66, 284n.3, Fig.220 Bredekamp, H., 273n.56, 274n.67 for satyr, n8, Fig.I5I Brion, M., 3I, 269n.5 Butcher joke, Picasso's, 23I, 243 Broncone, 52£ 55 Butcher's diagram, 243, Fig.330 Brunelleschi, Filippo Byzantine tradition, Michelangelo's David and, 3I, 38, biographer Manetti, 264n.I3 269n.7 centralizing tendency in architecture, I5 Florence, Camaino, Tino di, Florence, S. Croce, tomb of S. Jacopo in Campo Corbolini, marble Sacra­ Gastone della Torre, Fig.6 ment tabernacle, 268n.70 Cangrande della Scala, 293n.59 S. Lorenzo, I, I 5, 23 Cantorie, in Florence cathedral, 23 altar versus populum, 5f Caradosso, 300n.108 collective vision with Donatello and Cosimo, Caravaggio, 85-99, 279-84 23 -art o£ dome, 2I and enigma/conundrum of St. Paul, 85, 99 Old Sacristy, 8-10, 266nn.32,37, Fig.I6 Italian tradition in, 92 theme of paganism succeeded by Christianity, 5 light as visual metaphor for divine illumination, "wested," 5f 90 S. Spirito, 5, I5, 2I, Fig.3o Matthew personas in three paintings for Con- Brussels tarelli chapel, 86-90, 98f Musee des Beaux-Arts, Floris, Last Judgment, 285n.I7 and money, 9I, 92, 98 Musees Royaux des Beaux-Arts, Coecke, Last Supper, Netherlandish influences on, 92, 93 9I£ Fig.106, PlV and paradox, 85, 92 Brutus and physiognomy, 85, 87, 99, 28rn.I9, 283n.35 and Lorenzino's attack on Arch of Constantine, 57, and ruddiness, 9I, 92, 28on.8, 283n.37 274n.67 and salvation, 92, 95-99 Michelangelo's sculpture, 57, 274n.69, Fig.72 and sermo humilis, 8 5 Budapest, Szepmuveszti Muzeum, Messerschmidt, The "tenebroso'' lighting, 282n.24 Yawner, 109, Fig.I36 -works, Bull Berlin, formerly Kaiser-Friedrich-Museum, St. Mithras killing, 38, 27In.25, Fig.48 Matthew Composing His Gospel, 86, Fig.103 and ox of St. Luke, 243 London, National Gallery, Supper at Emmaus, 87, as symbol of bestiality, 23I 99· 283n.36, Fig.105 See also Farnese Bull; Picasso, Pablo Rome, S. Luigi dei Francesi, Contarelli chapel,

Index 345 Caravaggio, works, Rome (continued) Chantelou, Paul Freart de, 139, 2SSn.3 Calling if St. Matthew, S5-99, 279-S4, on base of Louis XIV bust, 163, 166 Figs.99,100, PLIV on caricatures, 305n.31 Martyrdom if St. Matthew, S6, 9S£ 2S2n.2S, on Colbert's critique, 301n.123 Figs.101,102 on facial expression of Louis XIV bust, 293n.52 St. Matthew Composing His Gospel, S6, 9S£ on Louvre foundation, 14 7 Fig.104 on Louvre foundation medal, 300n.105 Caricature, 210-12, 220, 253 on pairing columns, 297n.S4 antecedents, 210, 212, 214-20 on sun imagery, 2SSnn.7,9 by Bernini, 209, 210-12, 214£ 22o£ 301n.124, Charlemagne, 3, 175, 176, 195 303nn.6-S, 305n.32 Charles V, emperor, S1 of Bonaventura Bisi, 221, 305n.32 Charles VI, emperor, 297n.79, Fig.235 English eighteenth-century, 220 Chatsworth, Devonshire Collection, Lelio Orsi, draw­ first use of word, 221 ing for facade decoration of house, 34-36, Fig.44 Picasso and, 25S Chigi, Fabio (Pope Alexander VII), 17S, 294n.66, Carl, D., 165n.27 29Sn.SS Carlo Emanuele of Savoy, 295n.6S Chigi mountain emblem, 294n.66, 296n.75 Carmie!, N., 295n.70 Chigi papacy, 17S.:_S2, 294n.66 Caron, Antoine, 296n.79 Children's art, 203, 215, 216, 221 Caroto, Giovanni Francesco, Verona, Museo del Picasso and, 245-47, 253, 3oSn.51, 309f Castelvecchio, boy with drawing, 216, 253, Fig.279 Christianity Carracci, Agostino, 210, 303n.7, 305n.31 Aeneid and, 75 Carracci, Annibale, 210, 303n.7, 304n.23, 305n.31 artistic contrasts associating empire with, 2oS Windsor Castle, Royal Library, drawing attributed Bernini and, 102, 103, 109, 175, 292n.45 to, Fig.272 Bologna and, 64-71 Cartari, Vincenzo, 7Sf cosmology, 17£ 21f Cartoon, political, 253-57, Fig.34 7 Council of Florence, 22 Casa, Giovanni della, 4S, 49 Council of Trent, 64, 6S, 71 Cavalca, Domenico, 92 David-Goliath image converted to, 40 Cavalieri, Emilio de; II9, 123, 2S6n.21, 2S7n.24 in Florence, 2-5, 21, 22 Rappresentatione di anima et di corpo, II9, 123, Giambologna's Neptune fountain and, 64-71, So, Figs.152,153 S1, S3 Cavalieri, Tommaso, 213 heresy, 6S, 71, 97, 176, 276n.12 Celestin, Jean, 305f humanist, 46-4S, 273n.56 Cellini, Benvenuto, 25, 274n.69 and ideal ruler, 195 Ceroli, Mario, Bologna, Palazzo Comunale, "Casa di Inquisition, 64 Nettuno," Figs.73,74 Louis XIV as Rex Christianissimus, 175£ 296n.77 Cesari, Giuseppe Matthew's conversion to, 92£ 95-97 painting of Matthew reviving daughter of king of Medici family identified with, 21f Ethiopia, 2Son.6 Michelangelo and, 45, 4S, 53 Vienna, Graphische Sammlung Albertina, Calling if and paganism, 2-5, 22£ 45-4S, 71-76, S1, 1So, St. Matthew, Fig.10S 20S, 272n.42 Cesi, Pier Donato, 65£ 6S, 72£ 7S, So, S3, 275nn.5,7, Protestant, 97, 210, 279n.50 27Sf rhetoric, 2£ 46-4S, 272n.42 Chairs, Savonarola, S7 sermo humilis tradition, S5 Chaldean sculpture, 245 as state religion, 40

346 Index Tridentine Council, 8o, 2 76n.r2 New York, New-York Historical Society, The Arca- and vulgar vs. sophisticated style, 208 dian or Pastoral State, 24 7, Figs.339,340 world and, 8 5 Collegio dei Neofiti, Rome, 97f See also Bible; Counter-Reformation; Early Chris­ Colonna, Giovanni, 31 tianity; Roman Catholic Church Colonna citatoria, 155 Christo logy Colonna Claudius, r66, Fig.221 Donatello's pulpits and, I, 13, 263n.2, 266n.34 Columns and Matthew, 95 in antiquity, 51, 155-57, r6o, r66, 178-8o See also Crucifixion; Last Supper; Passion; of Antoninus Pius, 155, 29rn.28 Resurrection Bernini's architecture and, 155-57, r6o, 176f Chronica de origine civitatis (anonymous), 3 Bernini's equestrian monuments and, 176-78, 296f Circus, ancient palace connected with, 178-8o, broken, 31-33, 34, 50, 51, 53 Figs.2o8-ro David and, 31-33, 50, 51 City-states, Italian, 2 of Hercules (Pillars), 34, 176-82, r86, 195, Classical style 296n.79· Fig.235 faces, 101 of Marcus Aurelius, 155, r6o, 176£ 178-8o, Giambologna fusing with Northern traditions, 83, 29rn.28, 298n.88 279n.50 Michelangelo and, 31-33, 50, 51, 53 linked to code of personal behavior, 209 Orsi's drawing, 34 in Renaissance, 2o8£ 222 St. Peter's, 296£ 298n.88 theater masks, 101, 124, 284n.3 Solomonic, 296£ 298n.88 unsophisticated style coinciding with, 203-8 Temple of Jerusalem, 296f Classical world. See Antiquity; Paganism of Trajan, 155, r6o, 176, 178-8o, 271n.29, 298n.88 Claudius, emperor, r66, Fig.221 Comedy Clearfield, J., 8 masks, ror, 124 Clement VII, Pope, 40 two-theater (Bernini), 197, 302n.127 Clermont-Ferrand, N6tre-Dame-du-Port, Largitas and Commodus (Lucius Aelius Aurelius Commodus ), Avaricia, 123, Fig.154 emperor, as Hercules, 34-36, 8o, Fig.95 Coburg, Kunstsammlungen der Veste, Codex Cobur­ Condivi, Ascanio, 276n.r6 gensis, Mithras Killing the Bull, 27rn.26, Fig.48 Confessio (martyr's tomb), 5-7, 10, 26 Coecke, Pieter, Brussels, Musees Royaux des Beaux­ Conrad, Johann, III, 284n.9 Arts, Last Supper, 91£ Fig.106, Pl.V Constantine the Great, 5, 6, 8r, 175, q6, 195, 296n.77 Coins Arch of Constantine (Rome) reliefs o£ 206 Alexander of Pherae, 292n.39 and artistic opposites, 206-8 Bologna, 63£ Figs.75,76 Bernini's equestrian monument o£ 169£ 175, r88, with facing heads, 101, 284n.3, Fig.II4 294n.65, 295n.73, Fig.224 Greek "Beauty and the Beast," 101, Fig.II4 and St. Peter's twisted columns, 296n.79 Greek Helios, 162, Fig.213 Contarelli, Cardinal Matteo, 86, 97, 98, 282f Pharos of Alexandria, 78, Fig.9r Contrapposto tax collector's symbol, 91 Giambologna and, 83 Cointrel, Matthieu. See Contarelli, Cardinal Matteo. Michelangelo's interlocking double, 50 Colbert, Jean-Baptiste, 175, r86, 195, 196, 288n.10, Contrasto, 123, 287n.25 294n.64, 295n·73, 301n.123 Contucci, Andrea. See Sansovino, Andrea Colchester, Colchester and Essex Museum, Roman Conversion, 97-99 portrait bust, Fig.220 of Henry IV, 282n.28 Cole, Thomas, 24 7, 310n.6r of Jews, 97£ 99, 282nn.25,28

Index 347 Conversion (continued) as manu fortis, 38 ofJulian, 90 Matthew associated with, 91, 281nn.II,2o of Matthew, 92£ 95-97, 99 Michelangelo's David, 29-61, 268-7 4, Fig.36 (see of Paul, 28on.8, 283n.37 also Michelangelo, art of) of Porphyry, 90 political, 29, 48, 51-58, 273n.58 Cosimo. See Medici, Cosimo de' as psalmist, 3I, 269n.7, Fig.39 Cosmas, St., ro, 265n.26 nifus et pulcher, 9I Cosmati floors, Italian, r8 da Vinci, Leonardo. See Leonardo da Vinci Cosmology Davis, C., "Early Christian Topography in Florentine Christian, 17£ 21f Chronicles," 2-5, 263n.4 cosmos pun with Cosimo's name, 20, 23, 55, 266f Death mathematical, 17f Ars moriendi/The Art ?f Dying, 102£ I24, 284nn.4,7 Cottard, Pierre, 169 Azzolini wax depictions, Figs.157,I70 Council of Florence, 22 Bernini's sculptures exploring, 10I, 103, 109-II, Council of Trent, 64, 68, 71 II5-I9, I24 Counter-Reformation in Caravaggio's painting, 97, 281f in Bologna, 68, 71, So, 83 Counter-Reformation illustrations, 103, Figs.I2I, I25 church architecture, 13, 26 Mair's engraving, III, Fig.I39 and conversion of Jews, 97 medieval depictions, 102£ I24, Fig.II7 eschatologies, 103 Office for the Dead, III Cowart, J., 307n.46 See also Four Last Things Cox-Rearick, J., 273n.53 Decapitation, of images, 57 Coysevox, Antoine, Versailles, Salon de la Guerre, de Heem, Jan Davidsz, Schloss Pommersfelden, Vanitas Louis XIV crowned by Princely Glory, 189, Fig.250 still life, II7, Fig.I49 Cranach, Lucas, Leo X as Antichrist, Fig.273 de Keyser, Hendrik, 285n.I3 Cross, Solomon's knot as sign o£ 17 de la Rochefoucauld, Cardinal Frans:ois, I88, 300n.108, Crucifixion Fig.248 Caravaggio's Martyrdom ?f St. Matthew and, 282n.28 della Bella, Stefano, 296n.75 Mother of God's foreknowledge o£ 45 della Porta, Giambattista, 109, 212, 284n.8 Cubism, 231, 253, 312nn.63,64 della Porta, Guglielmo, 275n.II Cureau de la Chambre, Pierre, 296n.75 Del Migliore, Ferdinando Leopoldo, 5, 8, 13 Del Pesco, D., 288n.9, 293n.53, 296n.78, 297n.8o Daltrop, G., 285n.9 De Mattei, R., 292n.45, 30In.r22 Damian, St., 10, 265n.26 Democritus, 284n.3 Damnation. See Dannata; Hell; Last Judgment de' Rossi, Mattia, 290n.24, 300n.II2 Daniele. See Volterra, Daniele da Paris, Bibliotheque Nationale, project for a monu­ Dannata, 124 ment containing Bernini's equestrian Louis XIV, Bernini's Anima Dannata, 101, 109, II8£ 124, 125, I85, Fig.244 284nn.2,8, Fig.II3, PLIX Rome, Camera dei Deputati, Bernini's project for Darwinism, 203 the Palazzo di Montecitorio, 290n.24 Dati, Goro, Istoria di Firen<.!, 5 Descartes, Rene, 284n.8 David Desiderio da Settignano artist as, 33, 43, 50, 272n.48 Florence, San Lorenzo, Sacrament tabernacle, 10-I3, in Byzantine tradition, 31, 38, 269n.7 265nn.26,27, Figs.I2,I8 and Goliath, 36-43, 48-50, 51, 55, 270£ 273n.49, tabernacles inspired by, 13 Figs.46,49,6o-63 De Stijl painters, 23I

348 Index Deuchler, F., 305n.33, 3I3n.70 Cosima's tomb design and high altar ( attri­ de Vigenere, Blaise, 43 bution), I3 Devils, 97, uS 0 ld Sacristy, Devotio moderna, 92 stucco decorations and bronze doors, Di Castellamonte, Amadeo, 295n.68 265n.3o Dietterlin, Wendel, book of architectural fantasies, tomb of Cosima's parents, ro I47, Fig.I94 pulpits, I-26, 263nn.I,2, 265n.3o, 266n.34, Dinocrates, I72 268n.63, Figs.2,3,7,I2 (see also Donatello, Dirce, Fable o£ I72 art of) Disegno, 44 Marys at the Tomb, Fig.7 Disegno interno, 258 Gattamelata, 169 Doesburg, Theo van London, Victoria and Albert Museum, relief of Aesthetic Transfiguration if an Object, 231, Fig.3o7 Christ giving the Keys to St. Peter, 266n.34

COWS, 307n.46 Padua altar, 13, 263n.2 Dolphins, 78, 83, 279n.47 Rome, Domes St. Peter's, Sacrament tabernacle, 265n.27 and cosmos, nf S. Giovanni in Laterano, effigy of Pope Mar- Florence, S. Lorenzo, I5, 2I, Fig.2o tin V, ro Domitian, emperor, qo, I8o, Fig.9I d'Orbais, Frans:ois, 30In.u8 Donatello, I-26, 263-68 Doria, Andrea, 75, 278n.32 burial, 265n.3I Dossi, Dosso, 271n.30 death, I Dragon, Gregory XIII's armorial device, I88 Florence return, I3 Drawing, 303f in Padua, I3 children's, 215, 2I6, 22I, 245f Rome trip ( I430s ), ro as independent art, 212-14 in Siena, I3, 265n.3o manuals, 243, 253-57, 307n.46, 312n.64, 3I3n.68 -art o£ portrait, 2I3 (see also Caricature) antiquarian influences, 2, I7, 22 presentation, 213 Christological subjects, I, I3, 263n.2, 266n.34 techniques of "independent" drawings, 213 collective vision with Brunelleschi and Cosima, 23 See also Disegno; Graffiti Early Christian influences, I£ 6, I3-I5, I7 Dresden, Sachsische Landesbibliothek, Durer, nude pulpits, figure constructed with annular torso, drawing, 253, harmony expressed in, 23 Fig.342 oblong shape, 2 Duccio. See Agostino di Duccio reciprocity with altar, I3-I5, 266n.35 Dunkelman, M. L., 265n.27 unity of function, meaning, and style of works, Duperac, Etienne I£ I5, 23, 26, 266n.36 Michelangelo's project for the Campidoglio, engrav­ Vasari on, I, ro, I3, 264n.2o, 265nn.30,3I, ing, Fig.246 266n.36 Palatine palace and Circus Maximus, Fig.2ro -works, Duquesnoy, Frans:ois, 285n.I3 Florence, Durer, Albrecht, 253, 312n.63 evangelists (sculptures), I 5 Dresden, Sachsische Landesbibliothek, nude figure Florence cathedral cantorie, 23 constructed with annular torso, drawing, 253, Fig.342 Palazzo Medici/Palazzo Vecchio, David, 51, friend Erasmus of Rotterdam, 2I 5 53' 55 Hercules Killing the Stymphalian Birds, 34, 36, S. Lorenzo, 270nn.I3,I4, Fig.42

Index 349 Durer (continued) Exempla, of architecture and sculpture, 44f Nuremberg, Stadtbibliothek, letter to Willibald Exemplum, medieval, in literature and sermons, 48 Pirckheimer, 2I5, 220, 304n.I7, Fig.276 Faccioli, Girolamo, medal of Pius IV, Fig.78 Early Christianity Faces antiquity reconciled with, 2-5, 22£ 45-48, 7I-76, babies laughing/crying, II5, 285n.I3, Figs.I45,I46 8I, I8o, 272n.42 classical portrayals, 10I burial practice, 10 enigma/conundrum of St. Paul, 85, 99 and bust form as idolatry, II 5 Four Last Things, 102£ III, II4, Figs.II7-20,I39-42 and conversion of Jews, 97 Leonardo and, 109, Fig.I30 and end of idolatry, 40 Michelangelo and, 109, Fig.I3I Florence, smile of equestrian Louis XIV, I70, 293nn.58,59 S. Lorenzo, 5 See also Caravaggio, art of; Physiognomy choir/altar/tomb arrangements, 6, I3-I5 Fagiolo dell'Arco, M. & M., 285n.10, 29on.26 Cosima's tomb marker, I7 Fame, Temple o£ I6o, 291n·34, Fig.2II pulpits, I£ I3-I5 Fanti, Sigismondo, book of astrological games, 40-43, and Florence-Rome parallelism, 2-5, I3, I5 46, 27rn.3o, Fig.5I microcosm-macrocosm tradition, I7-22 Farnese Bull, Naples, Museo Archeologico Nazionale, warrior saints, 48, 53 I72-7 4, 294n.65, 295n.69, Fig.229 See also Bible; Christology Ferdinanda I, I7 4 Earth Ferdinanda II, 295n.68 busts mounted on globes, I63-66, Fig.220 Ferri, Ciro, 301n.II9 solar imagery with, I4I Ferrucci. See Francesco di Simone Ferrucci Edinburgh, National Gallery of Scotland, Neptune Fialetti, Odoardo calming the waters, drawing, 75, Fig.86 noses, Fig.344 Edward the Confessor, St., sepulcher, I8 Il vera modo et ordine per dissegnare tutte le parti et membra Egidio da Viterbo, 38, 270n.23 del corpo humano, 253 Egyptian art, 206, 245 Ficino, Marsilio, 22£ 38, 267nn.55,58 Emperors, Roman Fiesole, Mino da, 305n.28 French monarchs succeeding, I75f Filippo Strozzi, 290n.2o popes' close relation to, I87f Fiore, K. H., 270 See also individual names Flam, J. D., 307n.43 Enigma/conundrum of St. Paul, 85, 99 Fleckner, U., 302n.I3I Epidaurus, reliefs, 206, Figs.267,268 Fleurs-de-lys, 52, I85, 299n.98 Erasmus of Rotterdam, 46-48, 85, 92, 304n.I9 Florence, 2-5 Basel, Universitits-Bibliothek, manuscript page, astrological fortunes, 2I 2I5£ Fig.277 Bernini in, I72, 295n.68 Praise if Folly, 2I5 Christianity in, 2-5, 2I, 22 Erlach, Fischer von, 297n.79 Council of Florence, 22 Eros, Platonic/Neoplatonic thought, 22, 268n.58 Donatello's return to, I3 Eschatologies. See Death; Four Last Things historicism o£ 2£ 26 Eucharist map, Fig.9 Donatello's pulpits and, I Medici family identified with, 2I, 52, 57, 7I Sacrament tabernacles and, I3 melodrama to Rome from, II9 See also Last Supper; Sacrament Michelangelo's return to, 29 Evolution, 203 politics, 2, 29

350 Index Medici, 8, 17, 25, 5I-58, 273n.56, 274n.67 cupola of altar niche, astrological fresco, republicanism, 8, 51-57, 269n.2, 273n.49 2o£ 267n.52, Fig.29 Rome-Florence association, 2-5, ro, 13, 15, 263n.4 stucco decorations and bronze doors, 265n.30 topography, 2-5 plan, 6, 265n.27, Figs.ro,rr -churches, 3 S. Maria del Carmine, Brancacci chapel, 266n.34 Florence cathedral, ro, 23, 25 S. Paolo (now S. Paolino), Fig.9 and Michelangelo's David, 29, 31 S. Pier Maggiore, Fig.9 S. Annunziata, Giambologna's funerary chapel in, S. Spirito, 5, 15, 21, Fig.3o 279n.50 S. Stefano, Fig.9 S. Croce, Tino di Camaino, tomb of Gastone S. Tdnita, Ghirlandaio, David with Head if Goliath, della Torre, Fig.6 51, Fig.63 S. Giovanni, Fig.9 -libraries, S. Jacopo in Campo Corbolini, Brunelleschi, Biblioteca Laurenziana, impresa of Lorenzo de' marble Sacrament tabernacle, 268n.70 Medici, Fig.65 S. Leonardo in Arcetri, Fig.5 Biblioteca Marucelliana, Leoni, portrait of Gian­ S. Lorenzo, 1-26, Figs.I,9,12,2I (see also lorenzo Bernini, drawing, 213, Fig.275 Brunelleschi, Filippo) -museums, altar, 5£ 13£ 20, 25, 27, 265nn.25-27, Accademia, Michelangelo, David, Fig.36 Figs.II,I2 Bargello, Michelangelo, Brutus, 57, Fig.72 St. Ambrose links, 8, 17, 23 Casa Buonarroti, Michelangelo, choir, 6, 8, 13, 20, 25, 264n.13 drawing for high altar of S. Lorenzo, Fig.34 Pontormo's fresco, 266n.34 Sistine ceiling sonnet and satirical sketch, 36, Cosimo de' Medici's sons' and grandsons' 58, 220, Fig.45 tombs, 23, 265n.32 Palazzo Pitti, Purgatory, Hell, wax reliefs, 129, Cosimo de' Medici's tomb, 6-8, 13, 15-23, 25, Figs.r6o-6r 267n.5r, Fig.r5, Pl.I Uffizi, entire church as, 267n.54 "The Dying Alexander," r62, Fig.2r4 Verrocchio's tomb marker, ro, 17-23, Michelangelo, so-called Anima Dannata, 109, 265n.32, Figs.12,14 Fig.I3I Desiderio's Sacrament tabernacle, ro-13, Pontormo, Cosima Pater Patriae Cosima Pater 265nn.26,27, Figs.r2,r8 Patriae, 55, Fig.68 dome, 15, 21, Fig.2o -palaces and private houses, Donatello's pulpits, r-26, 265n.3o, 266n.34, Filippo Strozzi's, 29on.2o Figs.2,3,7,12 (see also Donatello, art of) Palazzo della Signoria, 29 Michelangelo's project for the high altar, Palazzo Medici, Donatello, David, 51, 53, 55 drawing, 25£ Fig. 34 Palazzo Vecchio, New Sacristy, Donatello, David, 51, 53, 55 Medici chapel, Michelangelo's David at entrance to, 55 Michelangelo, 23, 25, Fig.33 Vasari, The Signoria Receiving the Cap and Sword Michelangelo and assistants, wall draw­ Given by Leo X, 55-57, Figs.70,71 ings, 218, 305n.28, Fig.28r Villa Pratolino (formerly), Fountain of Mount Sacrament tabernacle, ro, 265n.26 Parnassus, Fig.r95 Old Sacristy, Zuccari's house, 14 7, Fig.r98 Brunelleschi, 8-ro, 266nn.32,36, Fig.r6 -public sites, Cosimo's parents' tombs, 8-ro, 15-17, Loggia dei Lanzi, Giambologna, Hercules Overcom­ 268n.68, Figs.r6-r7 ing Nessus, 174, 175, 295n.7o, Fig.230

Index 351 Florence, public sites (continued) Francesco I d'Este, 163, 292n.45 Piazza della Signoria, 55-57, 64 Bernini's bust o£ r6r, r62£ 292n.45, Figs.212, 219 Ammanati, Fountain of Neptune, 64, 79, catafalque o£ 177, Fig.237 27Sn.35, Fig.93 Frascati, Villa Aldobrandini, Hercules fountain, Floris, Frans 296n.79 Brussels, Musee des Beaux-Arts, Last Judgment, Frazer, A., 297n.S5 2S5n.q Freedom Vienna, Kunsthistorisches Museum, Last judgment, creative/personal and political/communal in rn, nS, 2S5n.r7, Fig.r44 Michelangelo's David, 29 Flowers, purity symbolized by, nS Picasso on, 246 Fontainebleau, Daniele da Volterra, David Killing Fromme!, C. L., 25, 26Sn.6S Goliath, 4S-5o, Figs.6o,6r Fronde, qo, 196 Fontana, Domenico, catafalque of Pope Sixtus V, rSo, Fumaroli, M., 296n.77 Fig.239 Furor poetico) 55) Fig.66 Formalism Modernism and, 203 Gamberti, Domenico, 163, 292n.45 Picasso and, 253 Garrard, M.D., 271n.36 Forti, G., 267n.52 Geneva, Musee d'Art et d'Histoire, Romano, Alex­ Fortitude ander the Great, r62, Fig.n6 columns o£ 297n.79 Genoa Hercules symbolizing, 34, 4S Villa of Andrea Doria, Fountains Montorsoli, lost fountain of Neptune, 27Snn.32, in Bologna, 65 35 form, 76-7S Pierino fresco, 75 kylix, 7S Gentileschi, Orazio, S7 See also Neptune fountains Geometric designs, 266nn.44-46 Fouquet, Nicolas, 143, r66 with Cosima's tomb, 6-S, 17-23 Four Ages of Man, 266n.44 microcosm-macrocosm, 17-23, Figs.25,31 Four Last Things, 2S4nn.4, 7 Plato and, 22£ 26Sn.5S Azzolini depictions, n4, 129, Figs.157-76 Verrocchio's, 6-S, 17-23, 265n.32 Bernini differing from precedents, nSf George, St., 53 Counter-Reformation illustrations, 103, Figs.12r-2S German autograph album, 303f Mair engravings, III, Figs.139-42 Ghetti, Santi, 125, 126 Manni's "imaginations" on, 124f Ghirlandaio, Domenico, Florence, S. Tdnita, David with medieval depictions, 102£ 124, Figs.II7-20 Head ?f Goliath, 51, Fig.63 See also Death; Heaven; Hell; Last Judgment; Giambologna, 63-S3 Purgatory in Bologna, 275n.S France -art o£ classicism o£ rS9 and Aqua Pia, So, S3 and Italian culture (attitudes toward), rS9, 191, 196 and descent from on high, 72£ 79 nationalism, 139 fusing classical tradition with Germanic heritage, Spain's relations with, 169, rS2, 299n.95 S3, 279n.50 traditions, rS7 historical associations, 63-71, 72-75, 79-S3, See also Charlemagne; Louis XIV; Paris; Versailles 279n.50 Francesco di Simone Ferrucci, design for and Michelangelo, 71, So freestanding altar with Sacrament tabernacle, Fig.r9 new International Style, S3

352 Index newness of fountain in form and content, 76-S3 Gothic S-curve, S3 pacification symbolized, 75, 7S, So-S3 Goya, Francisco, Disparate de Tontos (Folly of fools), political influences, 63, 65, 6S-7r aquatint, 243, Fig.32S relation of fountain to Mercury and Pius IV Graffiti sculptures, 65-6S, 72-76, S3 ancient, 216, 304n.24, Fig.2So religious belie£ 279n.5o Bernini's caricatures and, 215, 216-20, 221 religious influences, 64-71 Michelangelo and, 216-1S, 220 as statua and historia, 79 Picasso and, 247-53 -works, portrait, 216 Bologna, in van Laar Munich painting, 305n.3o Museo Civico, Grajjito, 216-rS, 220 Mercury, 72-76, 275n.S, Fig.S3 Gramaccini, N., 276n.r6 Neptune, 79£ Fig.94 Greco-Roman art, 3S, 206 Piazza del N ettuno, See also Classical style Mercury (planned), 72£ 76, 79, S3 Greeks Neptune fountain, 63-S3, 274-79, Bernini and, 101 Figs.77,S7-9o, PLIII coins, 101, r62, Figs.n4,213 statue of Pius IV (planned), 65-6S, 71, 75, Socratic physiognomy, S7, 99 So, Sr, S3, 275£ Fig.79 unsophisticated culture, 203-6 Florence, Loggia dei Lanzi, Hercules Overcoming See also Athens; Greco-Roman art; Plato Nessus, 17 4, 175, 295n.70, Fig.230 Gregory I the Great, Pope, 6, 99 Medal of Pius IV, So, 27Sn.37, Fig.96 Gregory XIII, Pope, 97£ rS7f Vienna, Kunsthistorisches Museum, Mercury, 72, Palazzo Quirinale, emblem, rSS, Fig.24 7 79, 275n.S, 276nn.rS,2o, Fig.S2 Greuter, Mattheus, 3oon.10S Gilot, Frans:oise, 231, 307n.47 Guercino, 305n.32 Giotto, Rome, Old St. Peter's, Stefaneschi triptych, 13, Guidi, Domenico, Time and History group, 191, 3oof 265n.2S Guild Giovio, Paolo, 267n.54 artists: 243, 2 71f Girardon, Frans:ois, altering Bernini's equestrian statue craftsmen's, 46 of Louis XIV, 191, Fig.179 Gunpowder Plot, 196, 301n.122 Giulio Romano Geneva, Musee d'Art et d'Histoire, Alexander the Hadrian, emperor, in Arch of Constantine, 206

Great1 r62, Fig.2r6 Haitovsky, D., 270n.23, 271n.25 Rome, Vatican Palace, Sala di Costantino, Christian Hamilton, M. J., 27Sn.34 sculptor destroying the idols, 40, 57, Fig.5o Hankins, J., 267n.55 Gnudi! Filippo, Bologna, Biblioteca Comunale del Hapsburgs, 17S, 195, 275n.S, 296nn.7S,79, 299n.95 Archiginnasio, "Ichnoscenografia'' of Bologna, Harbour, April (aged 12 ), portrait, Fig.33S Fig.77 Harle, D., 312n.64 Golden Age, Augustan, 52, 57 Harris, A. S., 303n.S Golden Bough, 55 Hass, A., 2S3n.34 Golden House, of Nero, 157, Fig.2o7 Headless images, 57 Golden Legend, 92, 9S Heaven Goliath, David and, 36-43, 4S-5o, 51, 55, 27o£ Azzolini's wax depictions, Figs.I57,I65,I67,169,173 273n.49, Figs.46,49,6o-63 Counter-Reformation illustrations, 103, Figs.124, 12S Goltzius, Hendrik, 2Son.10 Mair engraving, Fig.r42 Gombrich, E. H., 302n.4 Manni's "imaginations" on, 124

Index 353 Heaven (continued) Lombardi statue o£ 68-71, Figs.8o,8r medieval depictions, Fig.r2o Michelangelo's David identified with, 31-36, 38, 48 Hebrew midrashim, Michelangelo and, 36-38 Mithras identified as, 38, 271n.25 Hecate, on Alexander coin, 292n.39 and palace-circus connection, r8o Heemskerck, Maarten van, 43-48, 27rn.36 Picasso's drawing, 246£ Fig.332 Berlin, Staatliche Museen, Kupferstichkabinett, Pillars o£ 34, 176-82, r86, 195, 296n.79, Fig.235 drawing of courtyard of Palazzo Sassi in Ro111e, and Pius IV monument, 68, 71, 8o, 8r 44-46, 272n.42, Fig.54 and poplar trees sacred to, 195 drawing of garden of Villa Madama in Rome, rulers/emperors identified with, 34-36, 157, r6o, 46, 27In.39, Fig.58 175, 176-82, 195 Death, Last Judgment, Hell, Heaven, engravings o£ Turin and, 291n.34 Figs.125-28 virtue o£ 34, 48, 175, 296n.75 Mercury and His Children, engraving, 46, Fig.59 Heresy, 68, 71, 97, 176, 276n.r2 Rennes, Musee des Beaux-Arts, St. Luke Painting the Herodian, 36 Virgin, 43-46, 271n.41, Figs.52,53 Heroes Helios, r6r, r62 Bernini's ideal prince-hero, 157-61, r63, 170-72, Hell 175£ 182-86, 195£ 292n.45, 293n.62 Azzolini wax depictions, Figs.I57,I59,r6r,r64,I68, Hercules as, 34-36, 38 172 virtuosity o£ 34, 157-61, r63, 170-72, 175£ r82-86, Bernini's depictions, 103, u8 195£ 292n.45, 293n.62, 30In.I22 Counter-Reformation illustrations, 103, Figs.123, See also Rulers 127 Herz, A., 268n.72 Mair engraving, Fig.r4r Herzner, V., 265n.30 Manni's "imaginations'' on, 124 Hesiod, Works and Days, 293n.62 medieval depictions, 103, Fig.II9 Hess, J., 28on.6 Henry III, king of England, tomb, r8 High Art, European, 204 Henry IV, king of France, r63, 282n.28, 292n.46 Hildegard of Bingen, Munich, Bayerische Staatsbib­ Heraclitus, 284n.3 liothek, "Beati" and "Maledicti," 123, Fig.r55 Hercules Hirst, M., 274n.69 and Apollo, 177, Fig.236 Historicism, I as archer, 31-36, 38 Archaism, 206, 208 as artist, 34-36 and "art without history," 203-22, 253-60, 302n.r baton and, 8o, 278n.39 "augural," 55 and Bernini's work for Louis XIV, 157, r6o, Augustan Golden Age, 52, 57 172-82, 185, r86, 195, 299n.IOO Bernini and, see Bernini, art of Commodus as, 34-36, 8o, Fig.95 and Bologna's culture, 63-71 at Crossroads, 293n.57 and burials near high altar, 25 Dinocrates in guise o£ 172 Byzantine tradition and Michelangelo's David, 31, 38, Durer's painting, 34, 36, 27onn.I3,14, Fig.42 269n.7 Farnese Bull as Labor o£ 172 Christianity superseding paganism, 2-5, 22£ 45-48, fortitude o£ 34, 48 71-76, 8r, r8o, 208, 272n.42 fountain in Villa Aldobrandini at Frascati, 296n.79 in collective vision of Cosimo, Brunelleschi, and French kings as, 157, r6o, 175 Donatello for S. Lorenzo crossing, 23 Giambologna's art and, 68-71, 8o, 8r David-Goliath moti£ 36-43 Hac Iter ad Superos and, 175 Florence-Rome parallelism, 2-5, ro, 13, 15 Labors o£ 172, 17 4, 296n.79 Florentine, 2£ 26

354 Index Giambologna's historical associations, 63-71, Ideal Ruler. See Prince-hero 72-75, 79-83, 279n.50 Illusionism, 288 Hebrew midrashim, 36-38 Imperialism Louis XIV/Bernini and Mitterand/Pei relation- ancient, 57 ships, 197-99 Herculean imperial traditions, 34-36, 8o, 176-82, Michelangelo's precedents, 31-36, 38-40, 48, 50 186, 195f Modernism, 203, 209, 222 Medici and, 17, 52£ 274n.69 Northern tradition, 83, 92, 93, 270n.18, 279n.50 porphyry representing, 17, 45 ontogeny repeats phylogeny, 243, 245, 24 7 See also Emperors, Roman; Hapsburgs; Roman empire in Orsi's drawing, 34-36 Individual, cult o£ II 5 and paired pulpits, I, 25, 26 Ingegno, 34, Fig.43 Paleolithic art, 243, 3o8n.51, 313n.72, Fig.331 Innocent X, Pope, 153, 155, 290n.24 Paragone, 43f Innocent XI, Pope, Bernini's caricature o£ 209, 210, Picasso's process of thought as genetic, 243-45, Fig.271 24 7-53· 259f Inquisition, 64 and popular (unsophisticated) culture, 203-8 Insane, art o£ 203, 302n.1 Postmodernism, 63 International Style, Giambologna and, 83 Pyrenees Treaty influencing Bernini, 182, 185, 196, Irony 298n.90, 299n.95 in Bernini's work, 185, 220 and restoration, 63 in Caroto's painting, 216 retrospective, 206 in Erasmus's work, 215f revolutionary works, 209, 210 Ficino's academy imbued with, 267n.58 and ridicule in art, 210 in Michelangelo's work, 36, 58~ 216£ 22o, Fig.45 Romanesque period, 208 in Plato's Republic, 267f romantic, 247 political cartoon, 253-57 urban renewal, 66 in van Laar's drawing, 220 See also Antiquity; Christianity; Middle Ages; Poli­ Isaiah, in Sistine ceiling, 45 tics; Renaissance Isidore of Seville Hogarth, William, Analysis of Beauty, 253, Figs.345,346 De natura rerum, 268n.59 Holbein, Hans, Dance of Death series, The Gambler, microcosm-macrocosm, 17, Fig.25 woodcut, 97, Fig.II1 Istanbul, Topkapi Museum, talismanic shirt, 266n.45 Holderbaum, J., 279n.5o Italy Hoog, S., 301f city-states, 2 Huguenots, 176 French attitudes toward culture o£ 189, 191, 195 Humanists graffiti o£ 251-53 Christian, 46-48, 273n.56 as piccol Mondo, 188 Cosima's group, 2 See also Bologna; Florence; Milan; Rome; Venice Fanti, 40 Heemskerck's Luke, 44 Jacopone da Todi, 123, 287n.25 medieval death/dying concerns, 103 James I, king of England, 196 and satirical and popular art, 220 Janson, H. W., 13, 264n.2o Hydra Jerome, St., 38, 90, 92£ 97, 99, 28on.6 Lombardi's Hercules and, 68-71 Jerusalem, Temple, 296f and Pius IV portrayal, 68, 8r Jesuits catechisms, 103 Ice Age. See Paleolithic art Cointrel connections, 283nn.32,33

Index 355 Jesuits (continued) Floris altarpiece, III, II8, Fig.r44 Conrad and, 284n.9 medieval depictions, 101, 102£ Figs.II6,II8 and Four Last Things, 103 See also Four Last Things Mair engravings with symbols of, III Last Supper politics, 195f Coecke engraving, 9rf, 28on.10, Fig.106, Pl.V Tivoli church, 98 Donatello's pulpits omitting, I, 13 Jews Judas in scenes of, 91£ 95 Caravaggio and, 91, 92, 97£ 99, 28rf, 283n.35 Lates, A. von, 97 conversion of, 97£ 99, 282nn.25,28 Lauda, II9 Levi-Matthew as, 91, 92, 97 Laude, II9, 123 ruddiness associated with, 91 Laughing/crying babies, II5, 285n.13, Figs.145,146 See also Hebrew midrashim Laughing Fawn, Amsterdam, Rijksmuseum, 285n.r8, Johnson, K. 0., 298n.9o, 299n.95 Fig.I5I Judas Laurel, 51-53, 55, 273nn.54,56, Fig.65 hair color and money bag, 91f Laureti, Tommaso, 277n.28 in Last Supper scenes, 91£ 95 Lauro, Giacomo Judgment. See Last Judgment Nero's Domus Aurea, 157, Fig.2o7 Julian, emperor, 90 Palatine palace and Circus Maximus, 157, Fig.2o9 Julius II, Pope Temple of Honor and Virtue, 157-60, r8o, Michelangelo's project for tomb of, 25, 71 297n.79, 298n.87, Fig.240 Michelangelo's statue of, 71, 276n.r6 Lavin, I., 298n.89 in Raphael's Dfsputa, 268n.58 Lavin, M. A., 266n.34, 28on.8 Julius Caesar, r62 Lavin, S., 302n.129 Jupiter Lawrence, St., 17 in Aeneid, 75, 76 Laynez, Jacobo, 283n.32 emperor as, 72 Le Brun, Charles Heemskerck and, 46, 271n.39 Alexander series (paintings), r82 Louis XIV portrayed as, 170, Fig.227 design (presumably) of stucco relief of Louis XIV Michelangelo and, 43, 46, Fig.5r executed by Coysevox, r89 Jupiter Capitolinus, 46 Paris, Louvre, Amour and Disespoir, 109, Figs.133-34 Keller, U., 301n.122 Palace of the Sun, drawing, 143, Fig.r88 Kellum, B., 273h·54 portiere of Mars, r66, Fig.222 Keys, in Pius IV portrayal, 66, 68, 71 Stockholm, Nationalmuseum, project for a monu­ Kircher, Athanasius, 177, 297n.8o ment of Louis XIV, r89, Fig.249 Kirkendale, W., 287n.25 study of facial effects of emotion, 284n.8 Klostemeuberg, Nicholas ofVerdun's enamel altar, 265n.28 tapestry designs, r66, 293n.48, Fig.222 Kurz, 0., 265n.27 Leipzig Museum der bildenden Kunste, La Celle-Bruere, South portal, two fighting figures, Bernini, relief signed by Frotoardus, Fig.270 caricature of Pope Innocent XI, 209, Fig.271 Lascaux, Paleolithic art at, 243 studies for the Fountain of the Four Rivers, Last Judgment 153, Fig.2or Azzolini wax depiction, Fig.r71 Lelio. See Orsi, Lelio Counter-Reformation illustrations, 103, Figs.I22, Le Notre, Antoine, 302n.r28 126 Leo X, Pope, 55, 68, 71

356 Index Leonardo da Vinci, 17, 6o Lomazzo, Gian Paolo, 78 '1\cademia Leonardi Vinci," 22, Fig.31 Didea del tempio della pittura, 209 centralized plans for churches, 17, 22, Figs.23,32 Lombardi, Alfonso, Bologna, Palazzo Communale, and emotions, 284n.8 Hercules statue, 68-71, Figs.8o,81 Milan, Sforza palace, Sala delle Asse, 22 London Neoplatonism, 22, 267n.58 British Museum, puns with name, 22, 267n.58 '1\cademia Leonardi Vinci," Fig.31 and union (eros), 22 Meunier, entrance to Buen Retiro, Madrid, 169, Windsor Castle, Royal Library, Fig.223 grotesque heads, drawing, 109, 212, Fig.130 National Gallery, Caravaggio, Supper at Emmaus, 87, sketches of heads, 216, Fig.278 99, 283n.36, Fig.ro5 Leoni, Ottavio, Florence, Biblioteca Marucelliana, por­ Victoria and Albert Museum, trait of Gianlorenzo Bernini, drawing, 213, Fig.275 Donatello, relief of Christ giving the Keys to Lepautre, Antoine, 3oon.104 St. Peter, 266n.34 Le Vau, Fran<;:ois, 143 Francesco di Simone Ferrucci, design for altar Paris, Bibliotheque Nationale, project for the with Sacrament tabernacle, Fig.19 Louvre, 144, 157, Fig.190 Purgatory, Hell, wax reliefs, 129, 285n.ro, Fig.r58 Le Vau, Louis Westminster Abbey, pavement before high altar, r8, Paris, Louvre, project for the Louvre, 143£ 289n.ro, Fig.27 Fig.189 London Times, 245, 246, 309f and Vaux-le-Vicomte salon, 143 Lord, C., 2 77n.26 Versailles project, 191-95, 30In.II7, Fig.252 Louis XIII, 296n. 77 Levine, S., 269n.2 Louis XIV Levi-who-became-Matthew, 86-99, 283n.37 allegorical portraiture at court, 292n.39 See also Matthew, St. Bernini relation compared with Mitterand and Pei, Liberality, and Avarice, 123 197 Lichtenstein, Roy, bull series, lithographs, 307n.46 Bernini's bust o£ 139, 161-69, 186, 189-91, 196, Limbo, Azzolini's wax depictions, Figs.157,162 292n.45, Figs.178,181, PLX Lion Bernini's equestrian statue o£ 166-87, 189-91, 195£ in Bologna emblems, 63, 68, Figs.75,76 293nn.58,59, 294n.65, 296n.75, 3orn.122, David killing, 38, Fig.4 7 Figs.179,182, Pl.XI Hercules killing, 31-33, Fig.4o Bernini's personal relationship with, 139, 185, 197, Lippincott, K., 267n.52 220 Lithography and Bernini's projects for the Louvre, 139, 14 7, r6o, drawing manuals illustrated by, 257 r85£ 195£ Figs.177,r8o vs. engraving and etching, 226 celebrations for birth of successor, 297n.84 and erasures, 231 and Charlemagne, 175, 176, 195 Picasso's process, 222-24, 231, 24 7, 257-59, finance minister Fouquet, 143, r66 306nn.34,35 Holland campaign ( 1672 ), 293n.58 Liturgy as Jupiter, 170, Fig.227 antiphonal music in, 23 kingship conception, 175£ 195£ 296n.77 Early Christianity and, 2 Le Brun's portrayals, r89, Figs.249,250 Mair engravings and, III, II8 and Marcus Curtius, 191 for Matthew, 92, 99, 28on.6 marriage, r82 porphyry disk and, 15-17 medals, 175£ 187, 275n.7, 288n.5, 295n.74, See also Eucharist 296n.77, Figs.r84,232-34

Index 357 Louis XIV (continued) Malke, L., 284n.4 mottos, I4I, I75£ 277n.27, 288n.5 Malraux, Andre, 245 and Pyrenees Treaty, I82, I85, 299n.95 Malvasia, Carlo Cesare, 294f as Rex Christianissimus, I75£ 296n.77 Manetti, A., 264n.I3 as Sun King, I4I, I4 7, I6o, I6I, I72, I77, I86£ Mannerist figura serpentinata, 83 288n.5, Fig.I83 Manni, Agostino, I24 Vigarani (Carlo) as architect to, 297n.8I Rappresentatione di anima et di corpo, II9, I23, I24f virtue of Bernini's ideal ruler and, I57-6I, I63, Spiritual Exercises, I24 170-72, I75£ I82-86, I95f Mansart, Fraw;ois, I69 Love Marcantonio Raimondi, Neptune calming the waters as binding force of universe, 267n.58 and other episodes from Aeneid, 75, 277n.26, Fig.85 Neptune fountain symbols o£ 83 Marchesi, Francesco, I82, 298n.89 Ludovisi, Niccolo, 29on.24 Marcus Aurelius Luke, St. in Arch of Constantine, 206 as evangelist, 272n.42 column, I55, I6o, I76£ I78-8o, 29In.28, 298n.88 Gospel, 92 equestrian statue, Rome, Piazza del Campidoglio, Heemskerck and, 43-46, 271n.4I, 272n.42, Figs.52, 8I, I87, 278n.43, Fig.98 53 Marcus Curtius, 3oon.II3 ox o£ 243, 272n.42, Fig.329 Bernini's equestrian statue of Louis XIV altered to as painter, 43-46, 243, 272nn.4I>42, Figs.52,53 portray, I70, I9I, Fig.I79 patron saint of artists' guilds/academies, 46, 243, 2 7If Maria Theresa of Austria, I82 as physician, 272n.42 Mark, Gospel o£ 92 Lysippus, I66 Martin, Jean-Baptiste, Versailles, Grand Trianon, view of the Allee Royale, I95, Fig.256 Maar, Dora, 231, 307n.47 Martin V, Pope, tomb, 10 MacGregor, J. M., 302n.I Martyr's tomb ( confessio ), 5-7, 10, 26 Machiavelli, Niccolo, I95, 273n.58, 301n.I22 Mary. See Virgin McKillop, S., 264n.I9, 268n.65 Mary Magdalene, 92 Maderno, Carlo (with Bernini), Rome, Palazzo Bar­ Masaccio, 266n.34 berini, Fig.255 Masks, theater, IOI, I24, 284n.3 Madrid Mathematical cosmology, I7f Buen Retiro garden, Tacca's sculpture of Philip IV, Matisse, Henri, 306n.4o, 307n.43 I69, 295n.72 African sculpture, 245 Museo del Prado, Ribalta, Purgatory, Heaven, I29, cinema metaphor, 226 Figs.I75-76 cutouts, 310n.59 Magalotti, Lorenzo, 301n.II9 "etapes" of The Rumanian Blouse, photographs during Magic work and final version, 226, Figs.296-99 art without history and, 253 Jeanette heads, 307n.45 signs, 204 New York, Museum of Modern Art, The Back, I, II, Mair, Alexander, II4, II 5 III, IV, 23I, 307n.45, Figs.3o3-6 Munich, Staatliche Graphische Sammlung, Themes and Variations, drawings I, 2, and I8 of eigh­ arms of Johann Conrad and Memento mori, III, teen in the "0" series, 226, 307n.43, 285n.9, Figs.I37,I38 Figs.300-302 Death, Purgatory, Hell, Heaven, engravings, III, Matthew, St. II8, Figs.I39-42 avarice, 92, 97, 28of Maledicti, Beati and, I23 in Caravaggio's paintings, 86-99, 28o£ 282n.28

358 Index conversion, 92£ 95-97, 99 and choir arrangement at S. Lorenzo, 264n.13 generosity, 93-95 and Christianity, 21f in Golden Legend, 92, 98 collective vision with Brunelleschi and Donatello, Gospel o£ 92, 97, 98, I88, 28on.6, 283n.37 23 humility, 92£ 98 cosmos puns on name, 20, 23, 266f J ewishness, 9I, 92, 97 death, 22f liturgy for, 92, 99, 28on.6 and Donatello's burial, 265n.3I reviving daughter of king of Ethiopia, 28on.6 Donatello's pulpits commissioned by, I ruddiness, 91, 92 financial acumen, 8 and salvation, 92, 95-99 philosophical interests, 2, 20, 22f tax collector's hat, 9I and politics, 8, I7 Maximilian I, as Hercules, 2 70n.I4 tomb, 6-8, I5-23, 267n.51, Figs.12,15, Pl.I Maximilian II, and Giambologna's Mercury, 72 near altar, 6-8, 25 Mazarin, Cardinal Jules, I82, 288n.7 attributed to Donatello, I3 Medallion, portrait, III entire church as, 267n.54 Medals Verrocchio's marker, 10, I7-23, 265n.32, Figs.12,14 of Alexander, I62 Medici, Cosimo I de' (Grand Duke), 25, 55, 274n.69 Bolognese commemorative, 66 and Giambologna's Mercury, 72 of Cardinal Franc;ois de la Rochefoucauld, I88, medals, 55, 275n.7, Fig.67 Fig.248 and Pius IV, 71 of Charles VI, Fig.235 puns on name, 55 of Cosimo I de' Medici, 55, 275n.7, Fig.67 Medici, Cosimo III de' (Grand Duke), I95 of Lorenzo de' Medici, 52, Fig.64 Medici, Francesco de' (Grand Duke), 57 of Louis XIV, I75£ I87, 275n.7, 288n.5, 295n.74, Medici, Giovanni de' (Cosimo's father), tomb, 8-w, 296n.77, Figs.184,232-34 I5-I7, 268n.68, Figs.I6-I7 Louis XIV bust and, 161, I62 Medici, Giovanni de' (Cosimo's son), tomb, 23, Louvre foundation, I87, 3oon.105 265n.32 of Pius IV, 8o, 275n.7, Figs.78,96 Medici, Giuliano di, tomb, 23 See also Coins Medici, Lorenzino di, 57, 274nn.67,69 Medici Medici, Lorenzo de' (the Magnificent), 22£ 2 73n. 57 art propaganda, 57f death, 5I, 53 expulsion o£ 51 laurel puns on name, 5I-53, 55, Fig.65 Hercules Overcoming Nessus glorifying, I7 4 medals, 52£ Figs.64,65 identified with Florence, 21, 52, 57, 7I Michelangelo and, 51, 52 Michelangelo and, 29, 5I£ 55-57, 269n.2 revival of sympathetic interest in, 52 mottos, 52, 55 tomb, 23, 40, Fig.51 politics, 8, 17, 25, 5I-58, 273n.56, 274n.67 Medici, Piccarda de' (Cosimo's mother), tomb, 8-w, popes, 40, 55, 7I 15-17, 268n.68, Figs.16-17 restoration o£ 52, 55 Medici, Piero de, 8, 23, 265n.32 Sassetti ally o£ 5I Medieval times. See Middle Ages Sodernini against, 29, 51 Meinecke, F., 301n.I22 Medici, Alessandro di, 57, 274n.69 Melodrama, n9, 123 Medici, Cosimo di, Pater patriae) 2, 6, 8, 20-25, Menestrier, Claude Franc;ois 265n.27 History if the King, 141 astrological fresco commissioned by, 20-2I and Peace of Pyrenees, I82, I85, I96, 299n.95, Boethius manuscript o£ 266n.45 Fig.24I

Index 359 Mercury, 72-75 interlocking double contrapposto, 50 in Aeneid, 7 5f and Jupiter, 43, Fig.51 Bolognese statue, 65, 66, 72 as Deus artifex, 49f Giambologna's figures, 72-76, 79, 275n.S, 276n.1S, Giambologna's statues and, 71 Figs.S2,S3 and God the Creator, 220 in Rossi's logo, 73, 75£ 276n.2o, Fig.S4 grajfito, 216-1S, 220 symbol of reason and truth, 73 irony in, 36, 5S, 216£ 22o, Fig.45 Messerschmidt, Franz Xavier Paragone, 49f Bratislava, Galeria hlavneho mesta SSR Bratislavy, sonnet on Sistine ceiling, 36, sS, 22o self-portrait, smiling, 109, Fig.135 Vasari on, 23-25, 29, 53-61, 172, 216-1S, 26Sf Budapest, Szepmuveszti Muzeum, The Yawner; 109, visual memory illustrated, 216-1S Fig.136 -works, 271n.30 Messina, Montorsoli, Fountain of Neptune, So£ 277£ Bologna, Julius II statue, 71, 276n.16 Fig.97 Capitoline pavement, 26Sn.59 Meunier, Louis, London, British Museum, entrance to Florence, Buen Retiro, Madrid, 169, Fig.223 Accademia, David, 29-61, 26S-7 4, Fig.36 (see Meyer, Johann the Younger, view of Piazza Colonna, also Michelangelo, art of) 157, 29rn.2S, Fig.2o6 Bargello, Brutus, 57, 274n.69, Fig.72 Michael, St., 101 Casa Buonarroti, Michelangelo, 25, 29-61, 26S-74 drawing for high altar of S. Lorenzo, -art o£ 5S Fig.34 astrological symbolism, 43, 46, 271n.30, Fig.51 Sistine ceiling sonnet and satirical sketch, creative process as conceived by, 33-43, 46, 50, 36, 5s, 22o, Fig.45 51' 53 S. Lorenzo, New Sacristy, Medici chapel, 23, David, 25, Fig.33 and Agostino's error, 33, 53f project for the high altar, drawing, 25£ bow ( arco ), 31, 33-40, 50 Fig.34 broncone, 52£ 55 wall drawings (with assistants), 21S, column, 31-33, so, 51, 53 305n.2S, Fig.2S1 in Hercules tradition, 31-36, 3S, 4S U:ffizi, so-called Anima Dannata, 109, Fig.131 historical associations, 31-40, 48, 50 New York, Pierpont Morgan Library, four inscriptions on Louvre sheet, 31-36, 4S, sketches for David Killing Goliath, drawing, 49, 51-53, ss Fig.62 as "insegna del Palazzo," 29 Paris, Louvre, studies for the bronze and marble and intellectual and physical prowess of artist, Davids, 29-33, 4S, 51-53, 5S, Fig.37, PLII 33-43, 46, so, 51' 53 Rome, nudity, 55 palaces on the Campidoglio, 1S7, Fig.246 personal persona, 29 Palazzo Farnese, 172-74 political persona, 29, 4S, 51-5S, 273n.5S St. Peter's, tomb of Julius II, 25, 71 and republicanism, 51-57, 269n.2, 273n.49 Moses, 71, So sling, 31, 55 Vatican Palace, Sistine Chapel, as symbol of dual aspects of freedom, 29 Creation if Adam, 95, Fig.IIo tree trunk in, 55, 273n.61 David Killing Goliath, 3S-4o, 4S, 50, 270£ unity in, 29, 50 Fig.46 David Killing Goliath, sonnet and sketch of ceiling, 36, sS, 22o, differing from precedents, 3S-4o, 50 Fig.45

360 Index Windsor Castle, Royal Library, Fall of Phaeton, Modernism, 222 drawing, 58, 213, Fig.274 and formalism, 203 Microcosm-macrocosm tradition, in geometric designs, "low" art forms in, 203, 209 17-23, Figs.25,31 new social awareness, 203 Middle Ages Monarchism, moral claim to, 175£ 195£ 296n.77 Ars moriendi/The Art if Dying, ro2£ 124 Mondrian, Piet, 306n.37 astronomy, 268n.59 Monet, Claude, 222, 306n.37 Bernini and, 101, ro2f Money Bologna and, 63 Judas and, 91f and bust form, II 5 Matthew and, 91, 92 contrasto, 123, 287n.25 in Roman Catholic hierarchy (simony), 98, exemplum in literature and sermons, 48 282n.29 French church doors from, 175 See also Coins Giambologna and, 63, 81, 83, 279n.5o Montorsoli, Giovanni Jews as tax collectors in, 92 Genoa, Villa of Andrea Doria, lost fountain of Last Judgment, 101, 102£ Figs.II6,II8 Neptune, 278nn.32,35 lauda, II9 Messina, Fountain of Neptune, So£ 277£ Fig.97 Luke as patron of arts, 243 Montoya, Pedro de Foix, 101, 125-29 Marcus Aurelius statue in, 81 Morality. See Bernini, art of; Virtue

Mithras Killing the Bull relief visible in, 38 Moses1 Michelangelo's, 71, So mystical exercises, ro2f Mountains Quattuor novissima/The Four Last Things, ro2£ 124, base of Bernini's equestrian Louis XIV, 172-74 Figs.II7-20 Chigi mountain emblem, 294n.66, 296n.75 "rustic" style, 216 metaphorical, 294n.66 sacra rappresenta2;jone, II9 of Virtue, 153, 160, 185, 293n.62, 296n.75, 297n.8o, vulgar style, 208, 216, 302n.5 Fig.2II Milan See also Rome, hills Ambrosian rite, 5 Mount Athos, 172, 294n.66 Bernabo Visconti monument, 294n.65 Mount Parnassus, 170, 293n.57, Fig.195 Biblioteca Ambrosiana, statue of Pius IV (drawing), Mourlot, Fernand, 222, 231, 257, 305£ 307f 65-68, 71, 75, So, 81, 83, Fig.79 Munich Palazzo Sforza, Leonardo, Sala delle Asse, 22 Bayerische Staatsbibliothek, Hildegard of Bingen, S. Ambrogio, Nebuchadnezzar and the Three "Beati" and "Maledicti," 123, Fig.155 Youths, sarcophagus of St. Ambrose, Fig.148 Schloss Nymphenburg, Death, Judgment, Hell, S. Lorenzo Maggiore, 17, Fig.24 Heaven, wax reliefs, 129, Figs.170-73 Miller, N., 274£ 276n.16, 278nn.39,41,43 Mural art, 216 Millon, H., 291n.31 Music Mithras, killing bull, 38, 271n.25, Fig.48 antiphonal, 23 Mitterand, Frans:ois, and Pei, 197 and geometric design, 18 Mochi, Francesco, Piacenza, Piazza dei Cavalli, Alessan~ melodic dialogue, II9, 123, 286n.21 dro Farnese, 170, Fig.225 opera, II9, 123 Modena oratorio, 123 Galleria Estense, Bernini, bust of Francesco I Rappresentatione di anima et di corpo, II9-25, Figs.152-53 d'Este, 161, 162£ Fig.212 singers' tribune, 268n.63 Piazza Ducale, equestrian monument for Francesco singing in pulpits, 23, 268n.63 I d'Este, 177 Muslims, conversion o£ 97f

Index 361 Naples Black and White Chamber, Fig.331 Museo Archeologico Nazionale, Nicholas V, Pope, pavement of chapel of, 20, Fig.28 Apollo Citharoedus, 45, Fig.55 Nicholas of Cusa, 85, 270n.r8 Farnese Bull, 172-74, 294n.65, 295n.69, Fig.229 Nicholas of Verdun, 265n.28 Nationalism, French, 139 Nicholson, B., 313n.68 Nebuchadnezzar, bust, II5, Fig.r48 Non Plus Ultra motto, 176, 177f, r82, r85, 195, 299n.95 Nee Pluribus Impar, 141, 144, 299n.95 Northern European Renaissance, 85 Neo-Attic, 206 Northern tradition Neoplatonism, 22 Caravaggio and, 92, 93 Neptune Giambologna and, 83, 279n.5o in Aeneid, 75, Fig.85 Orsi and, 27on.r8 on Alexandrian coins, 78 Number theory, Boethius, 17f calming waters/pacification, 75, 78, So-83, Numismatics. See Coins; Medals Figs.85,86 Nuremberg dual nature, 78f painting on city hall, 2 70n.r8 and Moses, So Stadtbibliothek, Dt.irer, letter to Willibald Pirck­ and persuasion, 83 heimer, 215, 220, 304n.17, Fig.276 See also Neptune fountains Neptune and Amphitrite, 78, Fig.92 Obrist, B. 266n.45 Neptune fountains, 78f, 278n.34 Odescalchi, Benedetto, 210 in Bologna, 63-83, 274-79, Figs.77,87-90, Pl.III See also Innocent XI, Pope engineering, 78 Old Testament in Florence, 64, 79, 278n.35, Fig.93 Michelangelo and, 31-33, 36-40, 48 in Genoa, 278nn.32,35 in Pontormo's fresco in S. Lorenzo, 266n.34 in Messina, 8of, 277f, Fig.97 Solomon's columns, 296f in Tivoli (unexecuted), 278n.35 See also David Neri, Philip, St., n9, 123, 124, r82, 287n.25 Olivares, Gaspar de Guzman, count-duke of, r82 Nero Olivato, L., 6 emperor, 57, 159, r8o Olynthus Golden House of, 157, Fig.2o7 House A xi 9, pebble mosaic with many symbols, Nesbitt, M., 312n.64 including swastika and double axe, 204, Fig.266 Netherlandish tradition, Caravaggio and, 92, 93 Villa of Good Fortune, New Dispensation, I 57 pebble mosaic with representation of Achilles, New York Thetis, and Nereids, 203, Fig.264 Metropolitan Museum of Art, pebble mosaics with inscriptions and symbols David Killing the Lion, silver plate, 38, Fig.4 7 (double axe, swastika, wheel of fortune), 204, van Hemessen, Calling if St. Matthew, 92, 93, Fig.265 Fig.ro7, Pl.VI Opera, II9, 123 Museum of Modern Art, Matisse, The Back, I, II, Orator, Bernini and, r86, 299n.99 III, IV, 231, Figs.3o3-6 Oratorians, of St. Philip Neri, II9, 123, 124, r82 New-York Historical Society, Cole, The Arcadian or Oratorio, 123, 124 Pastoral State, 247, Figs.339,340 Orsi, Lelio Pierpont Morgan Library, Michelangelo, four drawing for facade decoration of house, 34-36, sketches for David Killing Goliath, drawing, 49, Fig.44 Fig.62 and superiority of painting over sculpture, 2 70n.r8 Niaux, Paleolithic bulls, 243 Orvieto, cathedral, Holy Corporal, 13 Ostrow, S. F., 299n.95 Picasso, Ovid, Metamorphoses, 143 profile heads after Bargue, 257, Fig.351 Ox, of St. Luke, 243, 2 72n.42, Fig.329 seated nude after Bargue, drawing, 257, Fig.353 Ozzola, L., 305n.32 -libraries, Bibliotheque de l'Institut de France, Leonardo, Pacification, Neptune and, 75, 78, So-83 drawing of ground plan of centralized church, Padua, Donatello's altar, 13, 263n.2 Fig.23 Paganism Bibliotheque Nationale, Alciati scholar o£ 65 David the Psalmist, Fig.39 Bernini and, 102, 109 de' Rossi, project for a monument containing Christianity and, 2-5, 22£ 45-48, 71-76, 8r, r8o, Bernini's equestrian Louis XIV, 185, 208, 272n.42 Fig.244 See also Antiquity; Hercules; Jupiter Fran<;:ois Le Vau, project for the Louvre, 144, Painting 157, Fig.I90 invention o£ 304n.25 projects for the Louvre ( 1624-1829), 197, mural, 216 Fig.258 orator analogy with, 299n.99 -museums, ox of St. Luke as symbol o£ Fig.329 Louvre, 170, 189, 191, 197, 301nn.II8,II9 vs. sculpture, 36, 48-50, 270n.r8 Bernini, first project for the Louvre, drawing, Palaces 144, 299n·98, 300nn.104,108, Fig.I91 ancient circus connected with, q8-8o, 297n.85, Bernini's projects for (all), 139, 144-61, 177, Figs.2o8-10 182-91, 195£ 197, 288nn.9,10, 291n.31, sun images in, 143-61 299nn.95,98,100, 300nn.104,108, urban palace and extramural villa fusion, 191-95, Figs.I77,r8o,I9I,I92 301n.I17 Bernini's theaters proposal, 197 See also Bologna; Florence; Milan; Rome Jupiter herm, 46, Fig.57 Palau i Fabre, J., 3o8n.51, 313n.68 LeBrun, Paleolithic art, 243, 3o8n.51, 313n.72, Fig.331 Amour and Disespoir, 109, Figs.133-34 Panofsky, E., 215 Palace of the Sun, drawing, 143, Fig.r88 Panvinio, Onofrio, Palatine palace and Circus Maxi- portiere of Mars, r66, Fig.222 mus, 157, Fig.2o8 Louis Le Vau, project for the Louvre, 143£ Paradox, 85, 92 Fig.r89 Paradoxical inversion, II5 Michelangelo, studies for the bronze and Paragone (comparison of the arts), 43£ 48-50 marble Davids, 29-33, 48, 51-53, 58, interpretatio christiana, 44 Fig.37, PLII Parigi, Giulio, Mount Parnassus, Fig.r96 Mithras Killing the Bull, 38 Paris Pei, entrance to, 197-99, 302n.129, Bernini's trip to, 172, 178, r82, 189, 195, 220, Figs.259-61 297n.8r Perrault's project for, 169, 297n.79 ceremonial urbanism, 199 projects for building (1624-1829), 197, children's exhibition, 24 7 Fig.258 grand axe, 199, 302n.131 projects for equestrian statues, 169, 293n.53 liberation o£ 222 Musee Picasso, Picasso, bull, December 24, Picasso in, 222 1945, 224, Fig.321 Rome surpassed by, 187, 300n.103 Schevitch Coli. (formerly), Purgatory, Heaven, estate of the artist, Hell, wax reliefs, 129, Figs.r66-68 Paris, museums (continued) Neptune fountain symbols o£ 83 Tuileries palace, 174, r86, 191, 197, 199, 302n.128, Sirens, 83 Fig.26I See also Pacification, Neptune and; Rhetoric Vigarani, Salle des Machines, 297n.81 Peruzzi, Baldassare, 271n.30, 300n.w8 Parmelin, H., 305f Rome, Villa Farnesina, Fig.254 Parronchi, A., IO, 269n.IO Peruzzi, Sallustio, 268n.71 Parrot, symbolism o£ 46-48, 272n.42 Peter, St., 64, 180 Parry, E. C., III, 310n.61 Petrarch, 31, 48, 51£ 53, 55, 293n.62 Pasquino, 162 Petronius, St., 64 Passavant, G., 267n.51 Pharos of Alexandria, 78, 83, 277f Passion coin, 78, Fig.91 in Bartoli project, 298n.88 Philip II, king of Spain, 299n.95 Donatello's pulpits portraying, I, 13, 263n.2 Philip IV, king of Spain, 169, 182, 295n.72, 299n.95 symbol o£ 272n.42 Philip Neri, St., II9, 123, 124, 182, 287n.25 See also Cross Philosophy Paul, St. Cosimo de' Medici's interests in, 2, 20, 22f conversion, 28on.8, 283n.37 Neoplatonic, 22 enigma/conundrum, 85, 99 Platonic, 22f face metaphors, 85, 99, 28on.6 Sophist, 71 letters, 85, 99, 272n.42, 28on.6 Physiognomy, 109, 212, 284n.8, Figs.132-34 on Luke the physician, 2 7 2n.42 Bernini and, 101, 109-II, 284n.8 and Matthew, 283n.37 Caravaggio and, 85, 87, 99, 281n.19, 283n.35 paradox, 8 5, 92 Renaissance, 8 5 as Saul, 28on.8, 28m.u, 283n.37 See also Faces statue, 180 Piacenza, Piazza dei Cavalli, Mochi, Alessandro Farnese, Pedestals, for Louis XIV monuments, 163-66, 172, 176f 170, Fig.225 Pedretti, C., 268n.59 Picasso, Maia, 24 7 Pegasus, 163, 170, 293n.57 Picasso, Pablo, 222-61, 305-13 Pei, Ieoh Ming -art o£ demonstration drawing for Louvre, Fig.261 and abstraction, 253, 258 and Mitterand, 197 butcher joke, 231, 243 Paris, and Chaldean sculpture, 245 entrance to the Louvre, 197-99, 302nn.I28,129, and children's art, 245-47, 253, 3o8n.51, 309f Figs.259-61 cutouts/collage technique, 259, 310n.59 Louvre, lead cast of Bernini's equestrian statue and drawing manuals, 257, 312£ Figs.351,353 of Louis XIV, 199, Fig.262 and European sophistication, 231-43, 253 plan of the entrance to the Louvre, indicating the exorcism, 245, 258f citing of the equestrian Louis XIV, 199, Fig.263 and genius of childhood, 246, pon.55 Pefiaranda de Bracamante, Convento de las Carmelitas and graffiti, 247-53 Descalzas, Death, Purgatory, Limbo, Hell, Heaven, head and genitalia as metaphors for rationality wax reliefs, 129, Fig.157 and brutishness, 231 Perrault, Charles, project for the Louvre, 169, historicist (genetic) process of thought, 243-45, 297n.79 247-53· 259f Personas, in classical theater, IOI, 124 life history of work of art, 224, 231, 257-59 Persuasion lithographic process, 222-24, 231, 247, 257-59, Mercury's, 75 3o6nn.34,35 contour in, 258 Dec. 25, 1945, lithograph, 224, 258, 261, Fig.323 drawing manuals illustrated by, 257 bulls, rams, and birds, lithograph, 224, 258, 261, Picasso's disdain for (before Mourlot), 257 Fig.32o precedents set by, 231, 258, 3o6nn.34,37 cutout of Maia, back and front, colored pencil, Minotaur and corrida associations, 231-43, 258 247, Fig.335 Mourlot period, 222, 231, 257, 305f Les demoiselles djivignon, 245, 253, 312n.63 and primitive art, 243-45, 253, 3o8n.51, 313n.72 drawing of Maia, colored crayon, 247, Fig.334 and progression in stages, 224, 226, 257f female head, and Raphael, 245f states I and VI of six, Nov. 6 & 24, 1945, signed and dated, 260 lithographs, 222, 224, Figs.290,291 Zervos interview, 224 states I and X of ten, Nov. 7, 1945, & Feb. 19, -works, 261, 305£ 307nn.46,48, 313n.70 1945, lithographs, 222, 224, Figs.292,293 Barcelona, lithograph series made at Mourlot's shop, 222, Museu Picasso, Fig.283 bullfight and six doves, Fig.333 Minotauromachy, cutout of dog, 247, 259, Fig.337 states I and III of seven, etching, 222, 224, cutout of dove, 247, 259, Fig.336 Figs.287,288 Hercules, drawing, 246£ Fig.332 state VII of seven, etching, 222, 224, Fig.289 The Bull, nudes, states II and XVIII of eighteen, litho­ states I-XI, lithographs, 222, 224, 231, 261, graphs, 222, 307n.47, Figs.294,295 Figs.3o8-18 Paris, state I, 258, 261, Fig.3o8 estate of the artist, state II, 258, 261, Fig.3o9 profile heads after Bargue, drawing, 257, state III, 258, 261, Fig.310 Fig.351 state IV, 258, 261, Fig.3rr seated nude after Bargue, drawing, 257, state V, 258, 261, Fig.312 312£ Fig.353 state VI, 258, 261, Fig.313 studies of bulls, state VII, 258, 261, Fig.314 Jan. 5, 1946, drawings, 224, 258, 261, Fig.325 state VIII, 258, 261, Fig.315 Jan. 9 & ro, 1946, drawings, 224, 258, 261, state IX, 258, 261, Fig.316 Fig.326 state X, 258, 261, Fig.317 Jan. II & 17, 1946, drawings, 224, 258, 261, state XI, 209, 261, Fig.318 Fig.327 bull, study of nude with annular torso-arms, drawing, Dec. 25, 1945, lithograph, 224, 258, 261, 253· Fig.343 Fig.322 Pico della Mirandola, Giovanni, 38 Paris, Musee Picasso, Dec. 24, 1945, water­ Pierino del Vaga, 75 color, 224, 261, Fig.321 Pilon, Germain, Bargue studies after a sculpture by, proof of state intermediate between I and II, Fig.35o Dec. 5-12, 1945, lithograph, 224, 261, Pirckheimer, Willibald, 215, Fig.276 Fig.319 Pis a proof of state intermediate between V and Camposanto, Roman sarcophagus, 284n.3 VI, Dec. 24-26, 1945, lithograph, 224, Museo Civico, Cross no. 15, Marys at the Tomb, Fig.8 261, Fig.324 Pissarro, Camille bullfight, lithograph, 259, Fig.355 Rain Effects, bulls, states II and IV of six, aquatint and drypoint, Dec. 15, 1945, lithograph, 259, Fig.354 Figs.284-85 Pissarro, Camille, Rain Effects (continued) Poliziano, Angelo, laurel poem, 5I state VI of six, aquatint and drypoint, Fig.2S6 Pompeii, portrait graffiti, 216, Fig.2So Pius IV, Pope, 64, 65-6S Pontormo, Jacopo Counter-Reformatory/anti-heresy zeal, 6S, 7I, So, Florence, S3, 276n.I2 S. Lorenzo, fresco in choir, 266n.34 Giambologna's statue o£ 65-6S, 7I, 75, So, SI, S3, Uffizi, Cosima Pater Patriae, 55, Fig.6S 275£ Fig.79 Popes and Marcus Aurelius statue in Campidoglio, 27Sn.43 Bernini's service to, IS7f medals, So, 275n.7, Figs.7S,96 close relation to Roman emperors, IS7f and Medici, 7I satirized, 210 puns on name, So, 2 7Sn.4I See also individual names and urban renewal in Bologna, 66 Popular (unsophisticated) culture, 203-S Plato drawing manuals and, 253-57 Athens, Academy, entrance motto, 22 Greek, 203-6 and eros, 22, 26Sn.5S Modernism and, 203 and geometry, 22£ 26Sn.5S van Laar's drawing exalting, 220 and harmony, 23 See also Caricature; Graffiti; Vulgar styles "On the Highest Good," 22 Porphyry (philosopher), 90, 2Son.6 "On the One Principle of Things," 22 Porphyry (stone) Parmenides, 22 Apollo Citharoedus sculpture o£ 45 Philebus, 22 disk as emblem of universal dominion, I 5 and reason, 22 disk with sacramental/liturgical meaning, I5-I7 Republic, 23, 267f as imperial stone, I7, 45 Plethon, Gemistos, 22 in tomb art, 6, I5-I7, 23-25 Pliny, Natural History, 273n.54 Portheim, F., 273n.5S, 274n.69 Plutarch, I66 Portraits Politics allegorical, 292n.39 art propaganda, 57f ancestor, II5, Fig.I47 Bolognese, 63, 65, 6S-7I ancient type, I6If cartoon lampooning, 253-57, Fig.34 7 bust as form o£ II 5, 2S4n.3 ecclesio-political associations, ISo-S2, IS7£ 29Sn.SS mounted on globes, I63-66, Fig.220 and equestrian monuments, I95£ 301n.I22 drawing, 2I3 (see also Caricature) Florentine, 2, 29 graffiti, 2I6, Fig.2So Medici, S, q, 25, 5I-5S, 273n.56, 274n.67 medallion, III republicanism, S, 5I-57, 269n.2, 273n.49 of opposites, IOI-24, 2S4n.3 freedom and, 29 tomb portrait, III, Fig.I43 Giambologna's statues and, 6S-7I, So See also "Soul portraits" Gunpowder Plot, I96, 30In.I23 Posner, D., 303n.7 and ideal ruler, IS5, I95f Postmodernism, and Neptune fountain, 63 Italian city-state, 2 Prague, formerly Lanna collection, crying and laughing Machiavelli/anti- Machiavellian, I95£ 273n.5S, babies, Fig.I45 30In.I22 Prato, freestanding altars at, 265n.27 Michelangelo's David and, 29, 4S, 5I-5S, 273n.5S Preimesberger, R., 2S4n.S Pyrenees Treaty, IS2, IS5, I96, 29Sn.90, 299n.94 Prenti, Piero, 2 7 4n.64 and succession from antiquity to present, 2, 46, 52 Primitivism, 203, 243-45, 253, 302n.I, 30Sn.5I, 3I3n.72 See also Imperialism; Prince-hero See also Graffiti

366 Index Prince-hero Rappresentatione di anima et di corpo, II9-25, Figs.152,153 Bernini's ideal o£ 157-61, 163, 170-72, 175£ Ravenna, S. Apollinare Nuovo, 1 182-86, 195£ 292n.45, 293n.62 Read, Herbert, 245£ 247, 310n.6o See also Heroes; Rulers Reason Proculus, St., 53 Mercury as symbol o£ 73 Propaganda Platonic/Neoplatonic thought, 22 art as, 57f Red hair. See Ruddiness medals as, 275n.7 Reformation, popes satirized, 210 Protestants, 97, 279n.5o Regoli, Sebastiano, 277n.22, 278n.45 Reformation, 210 Remon, Fran~ois, 283n.33 Providence, Rhode Island School of Design Museum, Renaissance Zumbo, Hell, wax relie£ 129, Fig.17 4 and bust form, II 5, 284n.3 Psychological states, 284n.8 centralizing tendency in architecture, 15 Bernini portraying, 109-II, n8, 123 classical revival in, 2o8£ 222 Psychomachia/ Battle 1 the Virtues and Vices, 123 and disegno interno, 258 Pulpits and French attitudes toward Italian culture, 189 altars' reciprocity with, 13-15 Giambologna's Neptune and, 83 Donatello's at S. Lorenzo, 1-26, 265n.30, Figs.2, grajftto, 216-18 3,7,12 ideal of gentleman artist, 220 oblong vs. polygonal shape, rf Marcus Aurelius statue in, 81 paired (history of), I, 25, 26 Michelangelo's antiquarian Brutus o£ 57 Purgatory Northern European, 85 Azzolini wax depictions, Figs.157,158,16o,I63,166 physiognomy in, 85 Mair engraving, Fig.140 Roman High Renaissance palaces, 301n.II7 Put, B., 310n.6o Rome, St. Peter's, 6 Pyramid, Pei's, 197-99, 302nn.128,129 and rustification, 14 7 Pyrenees, Peace o£ 182, 185, 196, 298n.9o statua vs. historia in, 79 Menestrier and, 182, 185, 196, 299n.94, Fig.241 Villani's Historia nova heralding, 5 See also Early Christianity Quatremere de Quincy, Antoine Chrysostome, 289f Reni, Guido, Rome, Capitoline Museum, Anima Beata, Quattuor novissima. See Four Last Things 287n.27 Rennes, Musee des Beaux-Arts, Heemskerck, St. Luke Rabelais, Fran~ois, 85 Painting the VIrgin, 43£ 46, 271n.41, Figs.52, 53 Raphael Republicanism, Florentine, 8, 51-57, 269n.2, 273n.49 cupola of Chigi chapel, 267n.51 "Republique anonyme (genre noble)," 253, Fig.34 7 drawing manual and, 253 Restoration, 63 in Picasso's quote, 245f as art, 63 pupil Pierino del Vaga, 75 of Neptune fountain, Figs.73,7 4 Rome, Neptune fountain as, 83 Palazzo Caffarelli-Vidoni, attributed to Raphael, scholarly, 65 Fig.253 Resurrection Vatican Palace, Bernini and, 101 Logge, David Killing Goliath, 40, 271n.28, Fig.49 vestment table and, 266n.37 Sistine Chapel, Oration 1 Giovan Battista Rido!fi, Retrospectivity, radical, 206 tapestry border, 55, Fig.69 Rhetoric Stanze della Segnatura, Dfsputa) 268 antiquity to Christianity, 2£ 46-48, 272n.42 Rhetoric (continued) Romano, Giulio. See Giulio Romano Neptune fountain meaning and, 83 Rome parrot as symbol o£ 46-48 Bernini's precedents in, for Paris works, I72, political, 2, 46, 58 I87-89 rhyparography tradition, 85 Bologna associated with church o£ 64 Rhyparography, 85 Collegio dei neofiti, 97f Ribalta, Francisco, Madrid, Museo del Prado, Pur- Donatello's trip to ( I430s ), ro gatory, Heaven, I29, Figs.I75-76 Florence-Rome association, 2-5, ro, I3, I5, 263n.4 Richardson, J., 3ronn.58,59 graffiti, 25I-53 Ridolfi, Giovan Battista, 55 Heemskerck in, 45, 46 Ripa, Cesare Marchesi's project for charitable hospice, 298n.89

Anima ragionevole e beata1 I24, Fig.I56 New, 3 Furor poetico, 55, Fig.66 Paris surpassing, I87, 3oon.ro3 Iconologia, I24, 287n.27, 292n.46 theater, n9-25 Ingegno, 34, Fig.43 topography, 2-5 Ritrattini carichi, 210, 303n.7 -churches, 3-5, 6, ro, I 5 Rivalta, Andrea, Turin, Palazzo Reale, equestrian basilicas, early Christian, I, 5, 6, I 5, 26 monument of Vittorio Amadeo I, I74£ 295n.72, parish priest, 97 Fig.23I S. Agostino, Sansovino, Madonna and Child, 45, Fig.56 Robbia, Luca della, 23 S. Cesareo, 26 Roman Catholic Church S. Giacomo degli Spagnoli, political associations, I8o-82, I87£ 298n.88 Bernini, tomb portrait of Montoya, IOI, I25 Roman empire succeeded by, 45£ 75, 208 Confraternity of the Resurrection, IOI simony, 98, 282f S. Giovanni in Laterano, See also Christianity; Eucharist; Jesuits; Popes altar-tabernacle arrangement, 26 Roman empire Donatello, effigy of Pope Martin V, ro Aeneid and, 75 S. Lorenzo fuori le mura, I, 5, 6, I8, Fig.4 ancestor cult, II5, Fig.I47 S. Luigi dei Francesi, archaic past, 208 Contarelli chapel, 86, 87, 97, 98f Augustan Golden Age, 52, 57 Caravaggio, Bernini and architecture o£ I43' I55-60, I78-8o, Calling ?f St. Matthew, 85-99, 279-84, I87-89 Figs.99,roo, PLIV bust as portrait form in, II5, Fig.220 Martyrdom ?f St. Matthew, 86, 98£ Church succeeding, 45£ 75, 208 282n.28, Figs.Ioi,I02 columns from, I55-57 St. Matthew Composing His Gospel, 86, 98£ commemorative medals in, 66 Fig.ro4 Giambologna's images and, 75, So, 8I Jewish conversions at, 282n.25 Herculean imperial traditions, 34-36, So, I76-82, money for, 98 I86, I95 S. Maria in Cosmedin, 272n.42 porphyry as imperial stone, I7, 45 S. Maria di Monserrato, I25 portrait graffiti, 2I6, Fig.28o S. Maria Maggiore, Bernini, statue of Philip IV, Roma Triorifante, 45£ 27rn.36 299n.95 sun images, I43 S. Maria sopra Minerva, See also Emperors, Roman; Greco-Roman art; Bernini, Cenotaph of Suor Maria Raggi, Hapsburgs Fig.2I8 Romanesque period, 208 tomb portrait of Ippolito Buzio, Fig.I43

368 Index S. Nereo e Achilleo, 26, Fig.35 Gonzales-Palacios CoiL (formerly), Heaven, wax St. Peter's, 5, 15, 17, r88, 268n.72, 298n.88, relie£ Fig.r69 3oon.ro8 Vatican Museum, Bernini, equestrian monument of Constantine, Emperor Commodus as Hercules, 8o, Fig.95 r69£ 175, r88, 294n.65, Fig.224 Laocoon, rr7, n8, Fig.r5o Donatello, Sacrament tabernacle, 265n.27 -palaces and private houses, Michelangelo, architecture of popes' palaces, 297n.85 tomb of Julius II, 25, 71 Palatine palace, 143, 157, r8o, 29In.31, Moses, 71, 8o Figs.2o8-ro Old St. Peter's, 6, 20 and Circus Maximus, r8o, Figs.2o8-ro Fra Angelico frescos with "remodeled" Palazzo Barberini, views o£ r8-2o Maderno and Bernini, 191, Fig.255 Giotto, Stefaneschi triptych, 13, 265n.28 Roman patrician with ancestor portraits, plan of medieval presbytery, Fig.r3 Fig.I47 twisted columns, 296£ 298n.88 Sacchi, allegory of Divine Wisdom, 141, -hills, 288n.7, Fig.r85 Capitoline, r87 Palazzo della Valle, 272n.42 Mons Citatorius, 155 Palazzo di Montecitorio, Bernini, 155-57, 178, Mons Esquilinus, I 57 29onn.24,26, Figs.202-6 Mons Palatinus, 143, I 57 Palazzo di Spagna, Quirinal (Monte Cavallo), r88 Bernini, -libraries, Anima Beata, IOI, 109, n8£ 124, 125, Archive of the Instituto Espafiol de Estudios 284n.2, Fig.rr2, Pl.VIII Eclesiasticos, 125 Anima Dannata, IOI, ro9, n8£ 124, 125, Vatican Library, 284nn.2,8, Fig.rr3, PLIX Bernini's caricatures (attributed), 303n.8 Palazzo Farnese, 172-74 Bernini's workshop (?), project for the stair­ Palazzo Quirinale, Gregory XIII's, emblem, r88, way to Trinita dei Monti, r82-85, Fig.247 Figs.242,243 Palazzo Sassi, Heemskerck's drawing of court- -museums and collections, yard, 44-46, 272n-42, Fig.54 Camera dei Deputati, anonymous (attributed to Palazzo Zuccari, Zuccari, Mountain of Virtue, de' Rossi), Bernini's project for the Palazzo di Honor, and Fame, r6o, Fig.2n Montecitorio, 290n.24, Figs.204,205 Vatican Palace, r8o, 291n.28 Capitoline Museum, Bernini, equestrian monument of Constantine, colossal head of Alexander-Helios, r62, r69£ 175, r88, Fig.224 Fig.2I5 Chapel of Nicolas V Reni, Anima Beata, 287n.27 Fra Angelico frescoes, r8-2o theater masks, Fig.rr5 pavement, r8-2o, Fig.28 Gabinetto Nazionale delle Stampe, Bernini's Logge, Raphael, David Killing Goliath, 40, caricatures (attributed), 303n.8 27rn.28, Fig.49 Galleria Borghese, Sala di Costantino, Romano, Christian Baur, view of the Villa Borghese, 191, Fig.199 sculptor destroying the idols, 40, 57, Bernini, Truth, 141, Fig.r86 Fig. 5o Galleria Nazionale d'Arte Moderna, Limbo, Pur­ Scala Regia, 175 gatory, Hell, Heaven, wax reliefs, 129, Sistine Chapel, Figs.r62-65 Michelangelo, Rome, Vatican Palace, Sistine Chapel, Michelangelo Rossi, S., 272n.41 (continued) Rubens, Peter Paul, 296n.79 Creation if Adam, 95, Fig.IIo Arch of the Mint, 298n.91 David Killing Goliath, 38-40, 48, 50, Rubinstein, N., 263n.4 27o£ Fig.46 Ruddiness, in Caravaggio's painting, 91, 92, 28on.8, sonnet and satirical sketch of ceiling, 36, 283n.37 58, 22o, Fig.45 Rulers Raphael, Oration if Giovan Battista Rido!fi, 55, Bernini's ideal, 157-61, 163, 170-72, 175£ 182-86, Fig.69 195£ 292n.45, 293n.62 Stanze della Segnatura, Raphael, Dfsputa) 268 on globes (portrayals), 163-66, 292n.46 Villa Borghese, 191, 300n.II3, Fig.199 Hercules identification o£ 34-36, 157, r6o, 175, Villa Farnesina, Peruzzi, Fig.254 176-82 Villa Madama garden, Heemskerck drawing o£ Neptune as, 75, So-83 46, 27rn·39, Fig.58 See also Popes Villa Mattei collection (formerly), ancient (?) Rustification, 14 7-5 5, 289f relief linking Apollo and Hercules, 177, Fig.236 Bernini's, 147-55, 157, 191-95, 289£ 293n.57, -public sites, 178 299n.10o Arch of Constantine, 57, 206-8, 274n.67, as scogliera, 153, r6o-6r, r88, 299n.95 Fig.2o9 three associative aspects, I 53 Colosseum, 197, 296n.78 Rustow, S. L., 302n.129 columns of Antoninus Pius, Marcus Aurelius, Trajan. See Columns Saalman, H., 8 Forum of Trajan, 178 Sabartes, Jaime, 243 Piazza Colonna, 155-57, r6o, 176, 178-82, Sacchi, Andrea, Rome, Palazzo Barberini, allegory of Fig.2o6 Divine Wisdom, 141, 288n.7, Fig.r85 Piazza del Campidoglio, Sacrament Marcus Aurelius, equestrian statue, 8r, 187, Chapel o£ 265n.26 278n.43' Fig.98 symbolism, 13, 17 Michelangelo's palaces on, 187, Fig.246 tabernacles, 10-13, 25£ 265nn.26,27, 268n.7o, Piazza del Popolo, 301n.II8 Figs.r2,r8,r9 Piazza di Montecitorio, 178 Sacra rappresenta.zione, II9 Piazza di Spagna, r82 Sadeler, Aegidius, Titian's julius Caesar, Fig.217 Piazza Minerva, Bernini obelisk, 297n.8o Salvation Piazza Navona, 297n.84 Manni's Spiritual Exercises and, 124 ancient circus of Domitian, r8o, Fig.238 Matthew and, 92, 95-99 Bernini, Fountain of the Four Rivers, 153-55, medieval mysticism and, 102, 103 170, 177, 293n.57, Figs.2oo,2or See also Heaven; Last Judgment Temple of Honor and Virtue in, I 57-60, r8o, Salviati, Cardinal Antonio, 124 297n.79, 298n.87, Fig.240 Samson, 31-33 Theater of Marcellus, 197, 296n.78 Sandrart, Joachim von, 97, 29rn.28 Rosasco, B., 298n.93 Sangallo, Giuliano and Antonio da, 6r Roselli, Pietro, 298n.89 Sansovino, Andrea, 53, 6o (Contucci), 273n.6o Rossi, Giovanni, logo with motto Coelo Demissus ab Alto, Sansovino, J acopo, Rome, S. Agostino, Madonna and 73, 75£ 276£ Fig.84 Child, 45, 27rn.36, Fig.56 Rossi, Giovanni Vittorio, on Rappresentatione di anima et Sassetti, Francesco, 51 di corpo, II9-23 Satire. See Irony

370 Index Satyrs, uS, Fig.r5r Bernini's sculptures as, ror, 103, 109-II, II5-19, 124 Savonarola chair, 87 Mair's, III Schaefer, J. 0., 272n.41 Spain, relations with France, r69, r82, 299n.95 Schlegel, U., 285n.r3 Sperling, C., 264n.r9 Schmitt, M., 302n.5 Spies, W., 312n.63 Schneider, P., 307n.43 Statius, Silvae) 170 Scholasticism, 123 Steinberg, L., 307n.4 7 Scogliera, Bernini's term for rustification, 153 Stockholm Scribner, C., III, 283n.36 N ationalmuseum, Sculpture Bernini, second project for the Louvre, 144, exempla of, 44f 288n.ro, 299nn.98,roo, Fig.r92 vs. painting, 36, 48-50, 27on.r8 LeBrun, project for a monument of Louis XIV, tools (drill, compass) and Michelangelo's arco, 31, 33, r89, Fig.249 Figs.38,4r Stymphalian birds, Durer's painting, 34 S-curve, Gothic, 83 Suetonius, Galba, 273n.54 Sears, E., 266n.44 Sun Seguin, Pierre, r62 Bernini's images, 141, 143-47, 155, r6o, 170, 172, Seriality, in modern art, 222-43, 3o6n.37 r86f, 288nn.7,9 Serlio, Sebastiano, varieties of rusticated masonry, 147, Louis XIV as, 141, 147, r6o, r6r, 170, 172, 177, 290n.22, Fig.I93 r86f, 288n.5, Fig.r83 Sermo humilis, Christian devotional tradition of, 85 in palaces, 143-61 Settignano. See Desiderio da Settignano smiling, 170 Seymour, C., Jr., 15, 31, 266nn.35,37, 269nn.2,5 Supernatural, in Olynthus mosaics, 204-6 Sheard, W. S., 264n.r9 Siena, Donatello in, 13, 265n.3o Tabernacles, Sacrament, ro-13, 25£ 265nn.26,27, Simone da Fiesole, 6of 268n.70, Figs.r2,r8,r9 Simony, 98, 282f Tacca, Pietro, 295n.72 Singing. See Music Madrid, Buen Retiro garden, sculpture of Philip IV, Sirens, and persuasion, 83 r69, 295n.72 Sixtus V, Pope, 98, r8o, 298n.87, Fig.239 Tadgell, C., 30In.II7 Sling Terbrugghen, Hendrick, Utrecht, Centraal Museum, Michelangelo and, 31, 55 Calling of St. Matthew, 93, 28on.3, 28rn.r9, Fig.ro9, See also Goliath, David and Pl.VII Smither, H. E., 287n.25 Theater Social reform, Modernism and, 203 Bernini's comedies, 197, 302n.127 Socrates Bernini's proposed theaters for Louvre, 197 ignorance of, 28on.6, 283n.37 classical, ror, 124, 284n.3 Matthew as, 87, 99 costumes, 124 Soderini, Piero, 29, 51, 53, 55, 6o, 6r, 269n.2 masks, 101, 124, 284n.3 Solomon, columns, 296£ 298n.88 melodrama, rr9, 123 Solomon's knot motif, 17 opera, II9, 123 Sophistication, 22rf oratorio, 123, 124 Picasso and, 231-43, 253 Rappresentatione di anima et di corpo, rr9-25, Figs.152-53 Sophists, 71 Theology "Soul portraits," II5, II9-23 in Bernini busts, u8f Bernini on buildings as, 139 principle of heroic virtue, 30In.I2I

Index 371 Theology (continued) Urbanism, Paris ceremonial, 199 summum bonum and summum malum, n8f Urban renewal, Bologna, 66 See also Bible; Christology Urban rustification, 14 7 Time Usury, Jews and, 92 in Guidi's group, 191, 3oof Utrecht, Centraal Museum, Terbrugghen, Calling of St. rescuing Truth, 141, Figs.186,187 Matthew, 93, 28on-3> 28rn.19, Fig.109, Pl.VII tetradic divisions, 17 Tino di Camaino. See Camaino, Tino di Vallicella, S. Maria, II9 Titian, Julius Caesar, Twelve Roman Emperors, 162, Van Dyck, Anthony, Iconography, 292n.42 Fig.217 Van Gogh, Vincent, Amsterdam, Stedelijk Museum, Tivoli seated nude after Bargue, 257, Fig.349 Jesuit church, 98 van Haecht, Willem the Younger, Antwerp, Ruben­ Villa d'Este, unexecuted Neptune fountain, 278n.35 shuis, Studio of Cornelis van der Geest, Fig.r46 Tolnay, C. de, 270n.24, 271n.30, 305n.29 van Hemessen, Jan Tombs. See Burials New York, Metropolitan Museum of Art, Calling of Totila, king of Ostrogoths, 3 St. Matthew, 92, 93, Fig.107, Pl.VI Tragedy, masks, 101, 124 Vienna version of the Calling, 28rn.2o Trajan Vanitas (moralized still life) painting, II 5-17 in Arch of Constantine, 206 van Laar, Pieter (II Bamboccio) column, 155, r6o, 176, 178-8o, 271n.29, 298 Berlin, Staatliche, Kupferstichkabinett, artists' tavern Travani, Antonio, medals of Louis XIV, 175£ 295n.7 4, in Rome, 220, Fig.282 296n.77, Figs.232-34 Munich painting, 305n.30 Trees Van Os, H., 265nn.25,27 poplar trees sacred to Hercules, 195 Varchi, Benedetto, 43, 50 tree trunk in Michelangelo's David, 55, 273n.6r Vasari, Giorgio Treffers, B., 28on.4 and Brunelleschi's choir arrangement, 264n.13 Tridentine Council, 8o, 276n.12, 278n.41 Cappella de' Principi memorial for Cosimo I and Trinchieri Camiz, F., 282n.28 family, 23-25 Tronzo, W., 302n.4 on Daniele da Volterra panel, 48, 49 Truth on disegno, 44 Bernini images o£ 141, 170, Fig.r86 on Donatello, I, 10, 13, 264n.2o, 265nn.30,31, Bocca della verita, 272n.42 266n.36 Mercury as symbol o£ 73 Florence, Palazzo Vecchio, The Signoria Receiving smile in image o£ 170 the Cap and Sword Given by Leo X, 55-57, Time rescuing, 141, Figs.r86,r87 Figs.70,71 Turin grajfito during time o£ 216 Bernini in, 172, 17 4, 291n.34, 295n.68 grotteschi and sgraffiti, 304n.26 Palazzo Ducale, 291n.34 and Michelangelo, 23-25, 29, 53-61, 172, 216-r8, Palazzo Reale, Rivalta, equestrian monument of 268f Vittorio Amadeo I, 174£ 275n.72, Fig.231 Ragionamenti, 13 tradition of temporary festival decorations, 291n.34 Vatican II, 25 T urriani, Orazio, 125, 128f Vaux-le-Vicomte, 143 Tuttle, R. J., 65, 68, 73, 275nn.5,6,n, 277n.28, 278n.37 Venice Archivo di Stato, plan of S. Lorenzo, 265n.27, Underworld scenes, 147, Fig.197 Fig.10 Urban VIII, Pope, 141, 212, 296n.77 S. Marco, Pala d'Oro, 13

372 Index Verona Vestner, Georg Wilhelm, medal of Charles VI, Fig.235 equestrian monument of Cangrande della Scala, Vienna 293n.59 Graphische Sammlung Albertina, Cesari Museo del Castelvecchio, Caroto, boy with drawing, (attributed), Calling of St. Matthew, Fig.w8 216, 253, Fig.279 Kunsthistorisches Museum, Verrocchio, Andrea del Floris, Last Judgment, III, II8, 285n.17, Fig.144 -art o£ Giambologna, Mercury, 72, 275n.8, 276nn.18,2o, geometric designs, 6-8, 17-23, 265n.32 Fig.82 musical harmonies in designs, 18 St. Charles Church, Erlach columns, 297n.79 -works, Vigarani, Carlo, 297n.81 Colleoni, 170 Vigarani, Gaspare, catafalque of Francesco I d'Este, Florence, S. Lorenzo, 297n.81 Medici tombs, 264n.19, 265n.3o Villani, Giovanni, Historia nova, 5 for Cosimo's sons, 23, 265n.32 Vinci. See Leonardo da Vinci marker for Cosimo de' Medici's tomb, IO, Virgil, 55, 71 17£ 265n.32, Figs.12,14 Aeneid, 73-76, 79, 8o, 81, 276f Versailles, 189, 298n.93 fourth Eclogue, 52, 76 anonymous, Giambologna's work and, 71, 73-76, 79, 8o, 81, Louis Le Vau's project, 191-95, 301n.II7, Fig.252 276f Louis XIV as Jupiter, 170, Fig.227 Virgin Bassin d'Apollon, 195 parrot as symbol o£ 272n.42 Bassin de Neptune, 191 St. Luke painting, 43-45, 243, Figs.52,53 Bernini, 301n.II8 S. Maria del Fiore, 273n.56 bust of Louis XIV, 139, 161-69, 186, 189-91, Virtue 196, Figs.r78,r8r, PLX Bernini and Mountain o£ 153, 16o, 185, 293n.62, design for chateau (presumed), 195 296n.75, 297n.8o, Fig.2II equestrian statue of Louis XIV, 166-87, 189-91, of Bernini's ideal ruler, 157-61, 163, 170-72, 175£ 195-6, 296n.75, 301n.122, Figs.179,182, PLXI 182-86, 195£ 292n.45, 293n.62 defaced, 196, Fig.257 of Hercules, 34, 48, 175, 296n.75 measurement, 294n.65 of heroes, 34, 157-61, 163, 170-72, 175£ 182-86, restored, 199, Fig.262 195£ 292n.45, 293n.62, 301n.121 smile, 170, 293nn.58,59 laurel as symbol o£ 52 chateau, 191, 195, 301n.II8 Marcus Aurelius embodying, 81, 160 Galerie des Glaces, 189 Temple o£ 157-60, r8o, 297n.79, Fig.240 Grand Canal, 195 theological principle of heroic, 301n.122 Grand Trianon, Martin, view of the Allee Royale, Trajan embodying, r6o 195, Fig.256 Viterbo, Egidio da, 38 Guidi's Time and History group, 191 Vittorio Amadeo I of Savoy, statue o£ 17 4£ Fig.231 Petit Chateau, 195 Vlam, G. A. H., 28m.2o Piece d'Eau des Suisses, 191 Volterra, Daniele da, Fontainebleau, David Killing restraints on direct portrayals of king, 301n.II4 Goliath, 48-50, Figs.6o,61 Salon de Diane, 191 Vulgar styles, 203-8, 209, 214-20 Salon de la Guerre, Coysevox, Louis XIV crowned medieval, 208, 216, 302n.5 by Princely Glory, 189, Fig.250 See also Graffiti; Popular (unsophisticated) culture Warin, bust of Louis XIV, 191, Fig.251 Verspohl, E -J., 273nn.58,6r Walter, Marie-Therese, 305n.33

Index 373 Warin, Jean Wisdom, Divine, in Sacchi fresco, 141, Fig.185 foundation medal for the Louvre, 187, Fig.245 Wittkower, R., 284n.2, 292n.39, 293nn.57,58, Versailles, bust of Louis XIV, 191, Fig.251 300n.II3, 303n.8 Weil-Garris, K., 267n.51 Widaner, H., 2 77n.28 Wierix, Hieronymus, "Fons Vitae," 282n.28 Zervos, Christian, 224 Wiles, B. H., 278n.34 Zohar, Michelangelo and, 36, 38 Windsor Castle Zuccari, Federico, 299n.99 Royal Library, Florence, the artist's house, 14 7, Fig.198 Annibale Carracci (attributed to), drawing, Fig.2 72 Rome, Palazzo Zuccari, Mountain of Virtue, Leonardo, grotesque heads, drawing, 109, 212, Honor, and Fame, 160, Fig.2rr Fig.130 Zumbo, Gaetano Giulio, 285n.ro Michelangelo, Fall of Phaeton, drawing, 58, 213, Providence, Rhode Island School of Design Fig.274 Museum, Hell, wax relief, 129, Fig.17 4

374 Index