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Shaping Civic Virtues in a Painting for the Palazzo Dei Camerlenghi in Venice

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Shaping Civic Virtues in a Painting for the Palazzo Dei Camerlenghi in Venice CHAPTER 4 The Queen in the Pawnshop: Shaping Civic Virtues in a Painting for the Palazzo dei Camerlenghi in Venice Nicolai Kölmel This chapter is about Venetian society. It deals with Venetian public self- understanding in the sixteenth century and its reflections in the visual culture of the time. It investigates Venetians’ perceptions of their polity, their concep- tions of justice, of giving and receiving, and of pious duties. This chapter is also concerned with biblical exegesis, public loans and marriage festivities, with dowries, pictorial dress codes, Christian virtues and a pagan queen. But most of all, it is dedicated to an individual painting: A Meeting between Solomon and the Queen of Sheba by the workshop of Bonifacio de’ Pitati (ca. 1486–1553) [Fig. 4.1]. This painting was made in 1556 for the Monte di Sussidio, an office in the Venetian financial administration located in the Palazzo dei Camerlenghi. It can be understood as the product of various interlocking notions and con- ceptions within Venetian society. But the painting does not simply reflect these ideas. As part of the pictorial decoration in a government office, it also shaped ideas and transformed the financial transactions carried out in its field FIGURE 4.1 Workshop of Bonifacio de’ Pitati, The Meeting between Solomon and the Queen of Sheba (1556). Oil on canvas, 182 × 444 cm. Venice, Galleria dell’Accademia. Image © Galleria dell’Accademia, Venice. © koninklijke brill nv, leiden, ���6 | doi ��.��63/97890043�5760_006 the queen in the pawnshop 95 of view. Analysed as a focal point for all these discourses, the canvas quite lit- erally functioned as a site of mediation. Because the painting has not been on display for many years, it has received hardly any scholarly attention thus far—undeservedly, as the following analysis will show.1 Introduction: In Solomon’s Palace The meeting between Solomon and the Queen of Sheba is one of the best- known legends in the Old Testament. Since the fifth or sixth century BCE, the encounter between the wise king and the fabulously rich queen from afar has inspired numerous authors. The story is found in Jewish, Muslim, and several Christian traditions and has left its traces not only in religious texts but also, to this day, in folk tales, the pictorial arts, opera, theatre, and cinema.2 Given this 1 Today the painting is stored in the depots of the Galleria dell’Accademia. The large-scale canvas (444 × 182 cm) is not in the best condition, with serious abrasion and fading colours. Since the painting is dated ‘MDLVI’ and Bonifacio already died in 1553, the work was neces- sarily made by disciples or workshop members such as Antonio Palma (Antonio Negretti) or Battista Brunello (Battista di Bonifacio). For the sake of simplicity I will in the following refer to the painting nevertheless as Bonifacio’s. I think this is acceptable, since even during Bonifacio’s lifetime the artist’s name should be better understood as an umbrella term for his very productive workshop. Since the Meeting between Solomon and the Queen of Sheba broadly follows the same compositional principles established in the Palazzo di Camerlenghi by Bonifacio, his name here solely functions as a label. For the question of attribution, see, most recently, Cottrell P. – Humfrey P., Bonifacio de’ Pitati (Treviso: forthcoming), attributing the painting tentatively to Antonio Palma. I am most grateful to Philip Cottrell for permis- sion to use his manuscript concerning the Palazzo dei Camerlenghi and for his most helpful comments. The painting is further discussed in Cottrell P., Bonifacio’s Enterprise: Bonifacio de’ Pitati and Venetian Painting, Ph.D. dissertation (University of St. Andrews: 2001) at 163–165; Ludwig G., “Bonifazio di Pitati da Verona: Eine archivalische Untersuchung II”, Jahrbuch der Königlich Preussischen Kunstsammlungen 23 (1902) 36–66, at 58–59; Moschini Marconi S., Gallerie dell’ Accademia di Venezia: Opere d’Arte del Secolo XVI (Rome: 1962) 64–65; Westphal D., Bonifazio Veronese (Munich: 1931) 124; Ivanoff N., “Antonio Negretti detto Antonio Palma”, in Zampetti P. (ed), I Pittori Bergamaschi dal XIII al XIX secolo: Il Cinquecento, 4 vols. (Bergamo: 1979) vol. 3, 379–399; and Cottrell P., “Corporate Colors: Bonifacio and Tintoretto at the Palazzo dei Camerlenghi in Venice”, The Art Bulletin 82 (2000) 658–678, at 668. On Bonifacio de’ Pitati see also: Todd H.D., Out of the Shadow of Titian: Bonifacio de’ Pitati and 16th Century Venetian Painting (Ann Arbor, MI: 2003). 2 For the Christian tradition of this story from an art historical point of view, see Watson P.F., “The Queen of Sheba in Christian Tradition”, in Pritchard J.B. (ed.), Solomon and the Queen of Sheba (London: 1974) 115–145; for a general overview, see Toy C.H., “The Queen of Sheba”, The Journal of American Folklore 20 (1907) 207–212; further the contributions in Pritchard, Solomon .
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