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THE WORLD IN VENICE: PRINT, THE CITY, AND EARLY MODERN IDENTITY This page intentionally left blank The World in Venice Print, the City, and Early Modern Identity Bronwen Wilson UNIVERSITY OF TORONTO PRESS Toronto Buffalo London www.utppublishing.com © University of Toronto Press Incorporated 2005 Toronto Buffalo London Printed in Canada ISBN 0-8020-8725-6 Printed on acid-free paper Library and Archives Canada Cataloguing in Publication Wilson, Bronwen The world in Venice : print, the city and early modern identity / Bronwen Wilson. (Studies in Book and Print Culture) Includes bibliographical references and index. ISBN 0-8020-8725-6 1. Venice (Italy) – History – 1508–1797. 2. Venice (Italy) – Civilization – To 1797. I. Title. DG678.235.W44 2004 945 .31 C2004-903995-4 This book has been published with the help of a grant from the Canadian Federation for the Humanities and Social Sciences, through the Aid to Scholarly Publications Programme, using funds provided by the Social Sciences and Humanities Research Council of Canada. University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council. University of Toronto Press acknowledges the financial support for its publishing activities of the Government of Canada through the Book Publishing Industry Development Program (BPIDP). Contents Acknowledgments vii Illustrations ix Introduction 3 1 From Myth to Metropole: Sixteenth-Century Printed Maps of Venice 23 2 Costume and the Boundaries of Bodies 70 3 Allegory, Order, and the Singular Event 133 4 Reproducing the Individual: Likeness and History in Printed Portrait Books 186 Conclusion 256 Notes 267 Bibliography 351 Index 395 This page intentionally left blank Acknowledgments Over the many years I have been working on this project, I have bene- fited from the suggestions and ideas of numerous friends and col- leagues through discussions, reading groups, and responses to conference papers, earlier chapters, and related articles. For their inter- est and insights I thank Stephen Campbell, Ting Chang, Stanley Chojnacki, George Gorse, Holly Hurlburt, Frederick Ilchman, Leila Kin- ney, Sylvia Musto, Alex Nagel, Leslie Nordtvedt, Denise Oleksijczuk, Steve Ortega, Adrian Randolph, Dennis Romano, Charles Rosenberg, Christine Ross, Nina Rowe, Johanne Sloan, Will Straw, Helena Szepe, Bart Thurber, Nancy Troy, Aron Vinegar, and Chris Wood. Angela Van- haelen’s contribution to this project has been ongoing and is much val- ued. Debra Pincus fuelled my interest in Venetian art history and she has continued to both inspire and encourage me. Iain Fenlon was kind enough to read the entire manuscript, and his useful comments have been much appreciated. Patricia Fortini Brown and Rose Marie San Juan were readers of the manuscript, and their criticisms and suggestions have contributed to the organization and ideas in this book in crucial ways. Moreover, their own work – on Venice and on print culture respectively – was also formative for the project from the start. For my dissertation advisers – Whitney Davis, Ed Muir, and Larry Silver – I reserve profound gratitude and also great respect; their intellectual acuity, insights, probity, and support have contributed in decisive and far-reaching ways to this book. Several of my students provided valuable assistance. Finally, I want to express my sincere appreciation of the heroic efforts of Jill McConkey, Barb Porter, the copy editor Jim Leahy, and staff at the University of Toronto Press. viii Acknowledgments This book was made possible by the financial and academic support that I have received from Northwestern University, the University of British Columbia, McGill University, the Social Sciences and Humanities Research Council of Canada, and the affiliated Aid to Scholarly Publish- ing Programme. My research has benefited from the resources and kindness of many who assisted me at the British Library and British Museum in London, the Newberry Library in Chicago, the Bertarelli collection in Milan, the Archivio di Stato and the Marciana, Correr, Querini Stampalia libraries in Venice, and especially at Villa I Tatti in Florence. Earlier versions of three sections of this book were published in Renaissance Quarterly, Word & Image, and Studies in Iconography. For con- sistency, I have changed ‘u’s and ‘v’s to modern Italian. This holds true for the bibliography as well, a decision made on the basis of the same practice in some electronic library catalogues. There is one last reader of this manuscript to whom I am especially indebted. For David Vance’s enduring support, kindness, love, and friendship, I dedicate the book to him. Illustrations Figure 1 Venetia. Engraved by Bernardo Salvioni. Printed by Donato Rascicotti in Venice, 1597. Engraving, 382 × 507 mm [photo: Museo Correr, Venice] Figure 2 La meravigliosa Piazza de San Marco di Venetia. Printed by Donato Rascicotti in Venice. Text signed and dated: V.S.A. [...] 1599 (Vincenzo Scamozzi Architetto). Engraving, image: 375 × 500; text: 175 × 500 mm [photo: Museo Correr, Venice] Figure 3 Jacopo de’Barbari, Venetie. Printed by Anton Kolb in Venice, 1500. Woodcut, 135 × 282 cm [photo: Newberry Library, Chicago] Figure 4 Detail, Jacopo de’Barbari, Venetie. Printed by Anton Kolb in Venice, 1500. Woodcut, 135 × 282 cm [photo: Museo Correr, Venice] Figure 5 Lucantonio degli Uberti, Florentia. Woodcut copy after Francesco Rosselli’s engraving, 1482. Kupferstichkabinett. Staatliche Museen zu Berlin [photo: Bildarchiv Preußischer Kulturbesitz] Figure 6 Peter Apian (Apianus, Petrus), after Ptolemy, Cosmographia ... per Gemmam Frisium ... ab omnibus vindicata mendis (Antwerp: Gregoria Bontio, 1550). Woodcut, 4° [photo: by permission of the British Library London] C.114.e.2.(2.) Figure 7 World Map. Francesco Berlinghieri, Marsilio Ficino, Ptolemy, Geographia (Florence: Nicolaus Germanus, 1482) [photo: Newberry Library, Chicago] Figure 8 De sanctificatione septime diei (Welt- und Sternenkreis), Hartmann Schedel, Nuremberg Weltchronik (Nuremberg, 1493). Woodcut, folio [photo: Bildarchiv Preußischer Kulturbesitz] x Illustrations Figure 9 Detail, Jacopo de’Barbari, Venetie. Printed by Anton Kolb in Venice, 1500. Woodcut, 135 × 282 cm [photo: Newberry Library, Chicago] Figure 10 Paolo Forlani, Venetia. Printed by Bolognino Zaltieri in Venice, 1566. Engraving, 437 × 744 mm [photo: Museo Correr, Venice] Figure 11 Venetia, Georg Braun, Civitates orbis terrarum (Cologne, 1572). Hand-coloured engraving, 337 × 482 mm [photo: Newberry Library, Chicago] Figure 12 Detail, Matteo Pagan, Procession of the Doge and Patriarch of Venice, c.1560. Woodcut, eight sheets 520 × 380 mm [photo, Museo Correr, Venice] Figure 13 Girolamo Porro, Descrittione della isola et città di Vinetia, Thomaso Porcacchi, L’isole piu famose del mondo (Venice: Simon Galignani and Girolamo Porro, 1576). Engraving, folio [photo: Newberry, Chicago] Figure 14 Giuseppe Rosaccio, Abiti antichi et moderni d’Italia, 1607. Engraving [photo: Bibliotèque Nationale de France, Paris] Figure 15 La città di Venetia. Text by Giovanni Nicolo Doglioni. Printed by Andrea Bertelli in Venice, 1594. Engraved map with letter- press [photo: Newberry Library, Chicago] Figure 16 Giacomo Franco, Frontispiece, Habiti d’huomeni et donne vene- tiane (Venice: Giacomo Franco, 1610). Engraving, 232 × 177 mm [photo: Museo Correr, Venice] Figure 17 Impresa (Philip II Rules the Four Continents), Luca Contile, Ragionamento sopra la proprietà della imprese (Pavia: Girolamo Bartoli, 1574). Engraving, folio [photo: by permission of the British Library, London] 635.l.26 Figure 18 Abraham de Bruyn, Female Danish Costumes, Omnium pene Europae (Antwerp: M. Colyn, 1581). Engraving, oblong folio [photo: by permission of the British Library, London] 810.k.2.(1) Figure 19 Costume engravings by Ambrosius Brambilla (after Battista da Parma). First published by Claudio Duchet in Rome around 1590 [photo: by permission of the British Library, London] 146.i.10 Figure 20 Nicolas de Nicolay, Janissaire allant a la guerre, Nicolas de Nicolay, Les quatre premiers livres des navigations et pérégrinations orientales (Lyon, G. Roville, 1568). Engraving [photo: by per- mission of the British Library, London] 455.e.5 Illustrations xi Figure 21 Abraham de Bruyn, Turkish Costumes, Omnium pene Europae (Antwerp: M. Colyn, 1581). Engraving, oblong folio [photo: by permission of the British Library, London] 810.k.2. (1) Figure 22 Mulier Virginie insule Habitatrix and Vir Virginie insule Habitator, Pietro Bertelli, Diversarum nationum habitus (Padua: Pietro Bertelli and Alcia Alciato: 1594). Engraving and etching, small 8° [photo: by permission of the British Library, Lon- don] 810.c.2 Figure 23 Abraham de Bruyn Italian Country Folk, Omnium pene Europae (Antwerp: M. Colyn, 1581). Engraving, oblong folio [photo: by permission of the British Library, London] 810.k.2. (1) Figure 24 Jost Amman, frontispiece, Hans Weigel, Habitus praecipuorum populorum, tam virorum quam foeminarum singulari arte depicti (Nuremberg, 1577). Woodcut, folio [photo: by permission of the British Library, London] C.119. h. 6 Figure 25 Abraham de Bruyn, Venetian Women, Omnium pene Europae (Antwerp: M. Colyn, 1581). Engraving, oblong folio [photo: by permission of the British Library, London]. 810.k.2.(1) Figure 26 Venetian Women, Jean Jacques Boissard, Habitus variarum orbis gentium (Mechlin[?], 1581) Engraving, oblong folio [photo: by permission of the British Library, London] 146.i.10 Figure 27 Virgo Veneta, Album
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  • Cardinal Pietro Bembo and the Formation of Collecting Practices in Venice and Rome in the Early Sixteenth Century

    Cardinal Pietro Bembo and the Formation of Collecting Practices in Venice and Rome in the Early Sixteenth Century

    IL COLLEZIONISMO POETICO: CARDINAL PIETRO BEMBO AND THE FORMATION OF COLLECTING PRACTICES IN VENICE AND ROME IN THE EARLY SIXTEENTH CENTURY A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY By Susan Nalezyty January, 2011 Examining Committee Members: Tracy E. Cooper, Advisory Chair, Department of Art History Marcia B. Hall, Department of Art History Elizabeth Bolman, Department of Art History Peter Lukehart, External Member, CASVA, National Gallery of Art i © by Susan Nalezyty 2010 All Rights Reserved ii ABSTRACT Il collezionismo poetico: Cardinal Pietro Bembo and the Formation of Collecting Practices in Venice and Rome in the Early Sixteenth Century Candidate’s Name: Susan Nalezyty Degree: Doctor of Philosophy Temple University, 2011 Doctoral Advisor: Tracy E. Cooper Cardinal Pietro Bembo’s accomplishments as a poet, linguist, philologist, and historian are well known, but his activities as an art collector have been comparatively little studied. In his writing, he directed his attention to the past via texts—Ciceronean Latin and Petrarchan Italian—for their potential to transform present and future ideas. His assembly of antiquities and contemporary art served an intermediary function parallel to his study of texts. In this dissertation I investigate Bembo as an agent of cultural exchange by offering a reconstruction of his art collection and, in so doing, access his thinking in a way not yet accomplished in previous work on this writer. Chapter One offers a historiographic overview of my topic and collecting as a subject of art historical study. Chapter Two maps the competition and overlapping interests of collectors who bought from Bembo’s heirs.