Jordaens, Psyche and the Abbot

Myth, Myth,

Jordaens

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Lectures Lectures

Horst Horst

of of

University University

2009 2009

and and

h h

November November

Gerson Gerson

McGrath McGrath

and and

Gerson Gerson

Italian Italian

Foundation Foundation

Lecture Lecture

of of

the the

2009 2009

Antwerp Antwerp

( (

Gronjngen Gronjngen

1907

Abbot. Abbot.

manners manners

-

1978 ) )

Abate Abate

1 1

ANT

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ONY ONY

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YCK YCK 4 4 JoRDAENS, PsYCHE AND THE ABBOT. MYTH, DECORUM AND ITALIAN MANNERS IN S EVEN TEE NTH -CE NTURY ANTWERP':'

In 163g]acobjordaens received a commission to paint a series of pictures illustrating the Story of Cupid and Psyche.' T he commission, for over twenty pieces of different sizes, came from Abate Alessandro Cesare Scaglia, the eminent Italian diplomat who had been living in semi-retirement in the Spanish Netherlands for some years, and had recently settled in Antwerp. Memorably depicted by Van Dyck (Fig. 1), Scaglia had previously spent a decade or so at the English court as a diplomat, and was a close associate of the English agent, Balthazar Gerbier. 2 However, unbeknown toJorda ens, the Cupid and Psyche paintings were not for Scaglia himself, but were intended for England, to decorate Henrietta Maria's 'Cabinet' in the Queen's Ho use at Greenwich.

T his information was carefully 'A~thheldfrom the artist for financial reasons. As we learn from the letters that passed between Gerbier and his correspondents,3 Jordaens was to be kept as long as possible in 'thrifty ignorance': it was calculated that the work could be got for a lower price if the real, royal destin ation of the pictures was not revealed, and it was important for tl1e English court that the price should be kept

doW11. Scaglia was chosen by Gerbier as the ideal man, 'li,~nga tt Antwerp, & ha,~ng good skill in handling such mercenary men', to act on behalf of the English crOW11by pretending to be the patron.4 While well aware that Rubens would charge still more, even if he too was misled about the status of the patron, Gerbier actually had favoured him for the commission. He was especially concerned about the subjects that were to appear on the ceiling of the room, considering thatjord aens would not be up to the required foreshortenings; and he arranged for Scaglia to approach Rubens too, at least for the ceiling pieces. Gerbier was also worried more generally aboutJorclaens's style-about the suitability of the artist's 'manner of painting' to the refined, courtly context. As he put it, 'they [i.e. Rubens and]ordaens] are both Dutchmen & not to seeke to [i.e. inclined to] represent robustious boistrous clruncken headed imaginary Gods [c f Figs. 2, 3] , and of the two most certain Sir Peter Reubens is the gentiles!: in his representations; his Landskipps more rare, and all other circumstances more proper'.s Jordaens was tl1erefore asked, through Scaglia, to submit a trial drawing for the first picture he chose to make; it was to be a subject that included a landscape element, to test him particularly in this

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respect." This drawing is prese rved in the Plantin l\!Iuseum in Antwerp (Fig. 4), and it represents an episode that must have appealed to the artist particularly when he read the Psyche story in Apuleius's Golden Ass, for it involves those rustic 'imaginary gods' of natural fertility that he so much favoured. Psyche is shown being consoled by Pan after Cupid has (temporarily) deserted her. Her attempt at suicide has just been thwarted, the river into which she plunged having gently ejected her onto its bank. Here she finds Pan sitting with a companion nymph whom he has been teaching to sing. Th e god in­ terrupts his lesson to try to reassure the lovelorn and dejected Psyche, but she just goes sacUy on her way. 7 T he drawing was made and in Gerbier's hands, ready to be sent to London for approval, by early March 1640; admittecUy Gerbier himself was not much

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and he presumed that they had to go to Italy, and he, the deponent , seeing that one of the said paintings had the person of a naked woman painted in it, remarked to the said petitioner that he was surprised, given that the said Lord Abbot was a man of the church and an abbot, that he should have naked figures like this painted for him. At which the petitioner said that in Italy people did not bother much about such things, such that he, the deponent , made clear that the said petitioner had nev­ er talked of the paintings being for the Spanish ambassador who resides in England, but rather that the same works were for the said Lord Abbot, who intended to send them to Italy, as he supposed. (. . en de hy deponent vragende voor wyen de selve [stucken] waeren , heeft den selven aenleggere tegens hem deponent geseyt dat de selve waeren voorden Heere

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I ercwy ercwy were thinking of Gerbier). Jorda ens may indeed have had some inkling that Scaglia was only a 'front man'. There were certainly circumstances that might have aroused suspicion. Gerbier had the English notations on the layout of the rooms and the oth­ er in structions to Jordaens translated into French, but the foot measure given on the plan for the ceiling (so that there would be no misunderstanding about size) was still 18 the English one- which could easily have been a giveaway. ]\i[oreovet~the first set of plans given to the artist asks him to consider including 'Cupidons volants et se­ mants des fleurs ' following the example of 'Raphael d'Urbini ... en la galerie de guisy a Rome' which doesn't so und much like the way an Italian would have described the frescoes commissioned by Agostino Chigi for his villa (now known as the Farnesina from its later Farnese occupants: see Figs. g, 1o).jorda ens, who probably was already acquainted with that famous cycle of paintings, seems to have tried to ask Scaglia at some point for n1.ore information about the intended context of his works, only to be told not to concern himself with that but just get on with the job: he could be assured that he wo uld be paid on delivery. '9 \ 1Ve know too that when Rubens had been ap­ proached by Scaglia he had been said to 'smell a ratt and expresse disgust', 20 and the two artists may have been in communication. But whatever Jordaen s's suspicions, the fact remained that Scagha was the man who had asked for the pictures, and the painter certainly had no course available to him when the Abate died other than to appeal to his executors. At the same time he surely wondered a bit himself about the question that worried Van Uffel. Was a clerical man really going to display so much naked female flesh in his palace? For it was obvious from the outset that, with this extensive series of large paintings on the subj ect of Cupid and Psyche, Scaglia would be getting a great deal of feminine nudity, such that could not be kept concealed for art lovers in some private closet. Still, the painter was able to 'reassure' Van Uffel on the matter: Italian churchmen could get away with displaying pictures of naked women; this was perfectly normal among them. Jordaens may, of course, have been aware that Scaglia was not actu­ ally a priest; his title of abbot was more an indication of the benefices he enjoyed 2 than of commitment to the religious life. ' Certainly, though he had never travelled there,Jordaens must have been familiar not only with the idea that Italy was the home of mythological nudities, but also with th e notion that high-ranking Italian clerics were in the habit of commissioning such things for their palaces. Of course it was at Rome, among those papal nijJoti for whom an ecclesiastical career was essentially a means of worlclly advancement, that this habit was most pronounced. T he reforms of the Council of Trent seem to have relaxed themselves more readily in the papal

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21 Cimon

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22

RUBENS promotion of Catholic devotion through religious art. Federico Borromeo, Cardinal and Archbishop of lVIilan, famously devoted treatises to the subj ect and had an impor­ tant collection of pictures which included works by Flemish as well as Italian paint­ ers29 Like Scipione Borghese, he published an account of his collection, but to very different effect and purpose: he himself wrote the book to encourage the apprecia­ tion of art in its sacred fun ction;3" indeed it was part of an educational programm e, including an art academy, that was attached to his Ambrosian lVIuseum. Th ere we re no mythological subj ects of any kind in his picture gallery; apart from Jan Breughel's engagingly bio-diverse Four Elements (see Fig. 8), the secular works it contained were all genre scenes, landscapes and still lifes- including Caravaggio's celebrated Basket of Fruit. Cardinal Borromeo evidently admired the pagan nuclities of some great artists, howeve1~and contrived an unexpected way to register his appreciation of one vvork in particular- the very wo rk Jordaens had been urged to emul ate in his Greenwich pictures: Raphael's Cupid and Psyche series in the Farnesina. And he sought to ac­ commodate at least an echo of it within his chaste collection. In 1624 he employed his painter, Antonio lVIariani, to copy motifs from Raphael's frescoes and adapt them to religious works. T hus Psyche ascending with the vase for Venus became the Ecstasy of i\lfmJ' i\!Iagdalen and J upiter and Cupid (Fig. 10 ) turned into St J\ifattlzew writing the gosj;elY lVIariani's pictures have not been identified, so we cannot judge the success of this attempt at artistic compromise, which can be seen as an extension of Federico's earlier policy to buy 'lascivious and profane' pictures and turn them to good use as religious irnagesY T he cardinal admittedly thought that even after her transformation the Psyche/1\IIagdalen could have looked more demure, but he judged that the facial features could (or should) not be changed. 33 But even if the sort of attitudes that were current in RonK among the Cardinal­ padroni were not always shared by Italian 'Princes of the Church', many of whom would have had scruples about owning representations of pagan myth with female nudes (or at least worried about their ownership of such works becoming public knowl­ edge), the situation in the Netherlands seems to have been noticeably less relaxed, even among the richer, art loving group. T he recommendations of lVIolanus may not always have been taken all that seriously, and in any case may have become muted over the decades since the publication of his De jJicturis et imaginibus sacris in 15 70,34 but counter­ reformatory enthusiasm, fuelled by the proximity of Protestantism, certainly encour­ aged a heightened sensitivity to clerical decorum. An exatnination of the inventories of the priests and other property-owning reli­ gious figures in seventeenth-century An twerp reveals nothing that is likely to have been

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O lympus lympus Jordaens must also have been able to account for another circumstance that might on the face of it have aroused suspicion about the intended context of his C upid and Psyche pictures. Even to those aware- as Jordaens probably was-t hat Scaglia was parti al to Flemish mythological painting, at least of the Van Dyckian variety, it might have seemed unexpected that a courtly sophisticate from the land of classical beauty should have chosen the master of Dutch 'robustious boistrous druncken headed imagi­ nary G ods' to depict, on a grand scale and (presumably) for a grand Italian setting, the pagan story tl1at had been famously treated not only by Raphael in the Farnesina (cf. Figs. g, 10), but by Giulio Romano in Palazzo Te (cf. Figs. 22, 25).jord aens would have known from Rubens how, in his youth in Italy, he had struggled to be accepted as a painter of classical myth, rather than a mere fabricator of portraits and landscapes, those two Flemish specialities. But he would also have been aware that Rubens had succeeded in his attemp t, opening the way, in theory at least, for Flemish painters to be accepted among Italians as serious candidates for commissions involving large-scale mythological themes. After all, the papal nuncio in Flanders between 1621 and 1627, Bishop (later Cardinal) Gianfrancesco Guidi cli Bagno, had favoured Rubens for the mythological and allegorical works that decorated his palace in Rome and his villa at Caste! Gandolfo48 O f course Guidi di Bagno admired Rubens for his learning as well as his artistry; he probably met the painter in Italy and had been the man who introduced him to the great scholar and antiquarian Nicolas-Claude Fabri de Peiresc. It does not seem to have been realised, however, just how many works from Rubens's stuclio the Cardinal possessed when he died in 1 641 49- in particular that he owned the splendid painting now in the Herm itage and known as The Union of Earth and I1Vater (Fig. 17)5° T he modern title of this work has perhaps hindered its recognition as the picture recorded, in revealingly specific terms, in the post-mortem inventory of the contents of Guidi di Bagno's Roman palace: 'A river leaning on an urn, next to whom is seen one of his Naiads, quite nude and holding a cornucopia in her right hand; she is being crowned by a genius, and at her foot th ere is a Triton sounding a conch shell,

,.,~th two little babies S\·l~mming,th e wo rk of Rubens'.5' The Cardinal apparently liked this picture enough to have a copy of the Triton and putti painted as a separate work. 5 2 I suspect that the Her mitage picture was th e valuable painting by Rubens ('quadro del Sr Rubens, di molto prezzo ') which Guidi di Bagno is known to have bought and

had sent to Rome in 162 2 .s~T he Cardinal also owned Rubens's Finding of Ramulus and Remus (Fig. 18), now in the 1\llusei Capitolini, whi ch, since it appears without the artist's name, was possibly a second version of a painting that had been made for the palace of the Archdukes in Brussels.54 At any rate, it seems that Guidi cli Bagno had in

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­ , , 38 According to the manuscript corrections added in 1772 to the chronicle of the Ghent canon Emmanuei-Auguste Hellin, 'Hy had in zyn bisschoppelyk palys negen groote kamers von schoone schildereyen .. H y was den vriencl van Rubens, Van Dyck, Teniers, en a Lie anclere liefhebbers van zynen tycl .. Rubens maekte voor hem de Moo re! cler Onnoozele Kincleren en de Bekering van Sint-Pauwel... ' See Erik Du verge r, 'De Gentse kunstverzamelaar en mecenas bisschop Antoon Triest (1577 -1657 )', in De Sint-Barifs-kathedraalin Gent van i\1/iddeleeuwentot Barok, eel. Bruno Bouckaert, Ghent and Amsterdam, 2000, pp. 190-21 5, esp. pp. 202, 211. Triest presumably gave the lVIassacreaway to Antoon de Tassis, Canon of th e Cathedral of Antwerp, before 1643, since the print of that date by Paul us Pontius was published with a long dedi cation from de Tassis, as its then owner; to Triest, th e 'singular patron of all the fine arts' (singulari omnium bonarum artium patrono'). For the print see JVIax Rooses, L'Oeuvre de PP Rubens, 5 vols., Antwerp, 1 886- r 8g2, 1, p. 244· 39 For this painting (The Egremont Collection, Petworth House), see JVIargret Khnge, in Ernst Vegelin van Claerbergen, David Tenien and the Theatre qf Painting, London, Courtaulcl Institute Gallery, 2006 , pp. 70-73, no. 2, with earlier references. Th ere is a glimpse of Titian's Diana and Actaeon at the upper right, but in this poesia the goddess is decently clothed. Another version of this composition, "~th clifferent visitors, is in the Kunsthistorisches lviuseum, Vienna.

40 On this work see Christine Giittler, '"Impressed on Paper and on H earts": Dm~clTeniers ' Portrait qf Bishop 71-iest( 1652) and the Virtue of the Image of Christ's vVouncls', Emblemata sacra. Rhitorique et hermeneutiquedu discows sacredans la litteratureen images. The Rhetm·icand Hmneneutics qf Illustrated SacredD iscowse, eels. Ralph Dekoninck and Agnes Guiclercloni-Bruslc, Turnhout, 2007, pp. 569 -592. 41 Jones (as inn. 29), pp. III-112. 42 See jon es (as inn. 29), pp. 128-129, and p. 263, no. 109. On eroticism (and its sublimation) in tllis context see Bern arc! Aikema, 'Titian's JVIary JVIagdalen in tl1e Palazzo Pitti: an ambiguous paint­ ing and its critics', Journal qf the Warbwg and Courtauld Institutes, LV 11 , 1 994 , pp. 48- 59, esp. p. 59· 43 See Elizabeth IVIcGrath, Rubens. Subjects.fi-mn Histmy (Corpus Rubenianum Luclwig Burcharcl

XII I. I ), 2 vols., London 1997, 1, figs. 6g, 70; 11 , no. 18, pp. 97-103 , esp. p. 101. Van den Bosch was ordained priest in 1623 and was Bishop of Bruges from 165 1 till 166o before becoming Bishop of

Ghent. T he print was e\~clentlymade be tween 165 1 and 166o.

44 'Pro Domino Canonico Alexanclro Poliago Imago Beatae mar~aec um puerojesulo ex artificio Van Diick; item eiusclem quae clicitur Thetis. Item effigies Regis et Reginae Anglia de manu Van

Diick cum imagine eiusclem pictoris et uxoris eius. Item scr~ptor~umex China ex tribus quod voluerit. ' Cifarli and Monetti (as in n. 2), p. 5 14; also p. 511. Th e use of tl1e word 'cum' in connection with the portrait of the artist and his wife might suggest a quadruple portrait of the pair "~ththe King and Queen, but this seems unlikely. 4 5 See Vey in Barnes et al. (as inn. 2), pp. 289-291 , no. 111.56, assuming Scaglia indeed had the original.

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- 0 0 Jennifer Jviontag-u, The Aesthetics if Roman Eighleenth-Centwy Sculpture: 'Late Baroque~

'Barochetto' or 'A DiscreteArt Historical Period'~( T he Eleventh Gerson Lecture, held on November 8, 2001). ISBN go-6801-816-7

Waiter S. Gibson, The Art if Laughter in the Age if Bruegel (T he Twelfth Gerson Lecture, held on November 20, 2003). IS BN go-801691-6-1

Ing-rid D. Rowland, The Roman Gardenif Agostino Chzgi (Th e T hirteenth Gerson

Lecture, held on ~ovemberq, 2005). ISBN- 1o: go-80169 1-7-X I ISBN-13: 978-go-8o16g 1-7-3

Patricia L. Rubin, Portraits by the Artist as a Youngi\!Ian. Pannigianino ea. 15 24 (T he Fourteenth Gerson Lecture, held on November 22 , 2007). ISBN lEAN 978-go-801691 -8-o

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