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Michelangelo's Pieta in Bronze

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Michelangelo's Pieta in Bronze Michelangelo’s Pieta in Bronze by Michael Riddick Fig. 1: A bronze Pieta pax, attributed here to Jacopo and/or Ludovico del Duca, ca. 1580 (private collection) MICHELANGELO’S PIETA IN BRONZE The small bronze Pieta relief cast integrally with its frame for use as a pax (Fig. 1) follows after a prototype by Michelangelo (1475-1564) made during the early Fig. 2: A sketch (graphite and watercolor) of the Pieta, 1540s. Michelangelo created the Pieta for Vittoria attributed to Marcello Venusti, after Michelangelo Colonna (1492-1547),1 an esteemed noblewoman with (© Teylers Museum; Inv. A90) whom he shared corresponding spiritual beliefs inspired by progressive Christian reformists. Michelangelo’s Pieta relates to Colonna’s Lamentation on the Passion of Pieta was likely inspired by Colonna’s writing, evidenced Christ,2 written in the early 1540s and later published in through the synchronicity of his design in relationship 3 1556. In her Lamentation Colonna vividly adopts the role with Colonna’s prose. of Mary in grieving the death of her son. Michelangelo’s Michelangelo’s Pieta in Bronze 2 Michael Riddick Fig. 3: An incomplete marble relief of the Pieta, after Michelangelo (left; Vatican); a marble relief of the Pieta, after Michelangelo, ca. 1551 (right, Santo Spirito in Sassia) Michelangelo’s original Pieta for Colonna is a debated Agostino Carracci (1557-1602) in 1579.5 By the mid-16th subject. Traditional scholarship suggests a sketch at century Michelangelo’s Pieta for Colonna was widely the Isabella Stewart Gardner Museum is the original celebrated and diffused through prints as well as painted he made for her while others propose a panel painting and sketched copies. supported by additional contemporary sources which discuss it. The documentary evidence suggests The bronze pax version of Michelangelo’s Pieta [ is of Roman origin, also being the locus of the Colonna, later given by her to their mutual friend, the original conception of its design.6 Only one dated Cardinal Reginald Pole, in 1546.4 Prior to its change in example of the pax is known at the Basilica della ownership, the subject was doubtless copied in sketched Santa Casa in Loreto, featuring the inscription: form by Michelangelo and others close to his circle. A IO.D.BASTIANO.D.NARDI,F.1586. The Pieta pax sketch attributed to Marcello Venusti (1510-79) at the design diverges from sketched, painted and engraved Teylers Museum (Fig. 2) is the likely prototype for a 1546 versions and more closely follows two stone reliefs of engraved reproduction of the subject by Giulio Bonasone the subject which are faithfully linked to Michelangelo: (1498-1574). A further 1547 engraved reproduction, [ following after Bonasone’s, was executed by Nicolas the Santo Spirito in Sassia, ca. 1551 (Fig. 3). Both reliefs Beatrizet (1507-65) and later printed editions were made have been associated with Michelangelo’s assistants, by Giovan Battista de Cavalieri (1526-97) in 1560 and with proposals for Pierino da Vinci (1529-53) or Jacopo Michelangelo’s Pieta in Bronze 3 Michael Riddick del Duca (1520-1604) as their authors.7 Charles de Tolnay has commented on the distinction of two Pieta prototypes noting the differences between the sculpted and drafted versions. The prime distinction between each prototype regards the putto on the right who faces the viewer on sculpted versions and is turned toward Christ on drafted examples.8 The bronze Pieta[ treatment of Mary’s collar as portrayed on the stone reliefs and her brooch featuring a winged cherub head \ engraved and sketched versions. Further related to the stone reliefs are the exposed feet of Mary and the previously noted putto on the right who faces the viewer. Unique to the bronze relief, however, is Mary’s tilted head and the alternate feature of the right putto’s proper left-leg which is instead shown extending into the scene. Though late 16th century Rome was home to a quantity of bronze founders, Charles Avery has suggested the Pieta relief may be indebted to the Duca brothers, Jacopo and Ludovico (1551-1601).9 10 In addition to the stone relief’s previously noted association with Jacopo, the brothers also experimented with Michelangelo’s Pieta subject in bronze. Jacopo borrows the depiction of Mary for a bronze Lamentation relief panel on a tabernacle at the Church of San Lorenzo in Padula (Fig. 4). The tabernacle was originally connected with Michelangelo’s designs for an unrealized tabernacle intended for the Sta Maria degli Angeli, to be designed by him and cast by Jacopo.11 Though abandoned, Jacopo resurrected the tabernacle for a project later intended for Spain’s El Escorial. The project was Fig. 4: A bronze relief panel of the Lamentation by Jacopo del [ Duca, featured on a tabernacle at the Church of San Lorenzo completed and sold to the Church in Padula.12 Jacopo’s in Padula, ca. 1573-74 Michelangelo’s Pieta in Bronze 4 Michael Riddick Fig. 5: A bronze relief panel of the Lamentation by Ludovico del Duca, ca. 1587-89, on a tabernacle for the Sta Maria Maggiore in Rome (left); detail of a bronze Pieta pax attributed to the Duca brothers (private collection) Lamentation relief was made ca. 1574 when the the Pieta pax (Fig. 5). Additionally, the period in which [ !"R% in Padula. More than a decade later, Jacopo shared with the dated example of the Pieta pax, ca. 1586-89. the panel molds of the Padula tabernacle with Ludovico for his work on the Sta Maria Maggiore tabernacle in Of all Roman founders, Jacopo would have especially Rome, ca. 1587-89.13!"R RPieta in bronze, model of the Lamentation[ having served as his bronze founder and assistant that correspondences can be established with the R! [Pieta pax. In particular, of his projects after his death. Jacopo’s immediate !RLamentation panel, Mary’s slightly access to and use of Michelangelo’s designs and $ Ludovico’s similar use of them increase the probability thickly incised lines that correspond with the manner of their workshop was responsible for the fabrication of the Michelangelo’s Pieta in Bronze 5 Michael Riddick Fig. 7: Detail of a bronze Pieta pax attributed to the Duca brothers (left; private collection); detail of Giovanni Mangone’s 1538 monument to Cardinal Lorenzo Magalotti at the Church of St. Cecilia in Trastevere, Rome (right); detail of Michelangelo’s Creation of Adam ,ca. 1511-12 (bottom; Sistine Chapel, Rome) be married with a celebrated design by him. Further, Giuseppe Fazio has called attention to the frame’s similarity with Jacopo’s design for the portal of the Church of Santa Maria in Trivio, Rome (Fig. 6), though it lacks the standard, triangular pediment. Fig. 6: Jacopo del Duca’s portal for the Church of Santa Maria in Trivio, Rome Francesco Rossi notes the image of God the Father, featured in the tympanum of the pax, recalls a relief Pieta pax. The quantity of surviving examples suggests of the same subject by Giovanni Mangone (d. 1543) their serial nature, which would have provided tertiary in his 1538 monument to Cardinal Lorenzo Magalotti revenue for the workshop through sales to ecclesiastic at the Church of St. Cecilia in Trastevere, Rome and clients, donors and private households.14 likewise on a monument dedicated to Cardinal Willem van Enckevoirt at the Santa Maria dell’Anima, also in Nurturing an association of the pax with the Duca Rome and completed around the same time.16 The Duca brothers is William Wixom’s observation that the frame is brothers could have drawn local inspiration from these based on Michelangelo’s 1561 designs for the Porta Pia tombs perhaps with a mindfulness that this model of God in Rome, a project that Jacopo was closely involved with the Father recalls Michelangelo’s painted depiction as his assistant.15 In honor of his master, it is sensible of God in the Creation of Adam in the Sistine Chapel that a Michelangelo-inspired architectural device would (Fig. 7). Michelangelo’s Pieta in Bronze 6 Michael Riddick Avery has also drawn attention to a stylistically related Typical of widely diffused plaquettes and paxes, the and similarly diffused17 gilt bronze lockplate of Roman Pieta design is known by a quantity of faithful and origin, ca. 1580s-90s, judged by him to emanate from embellished aftercasts as well as several copied the same workshop as the Pieta pax. Jeremy Warren variations. Contemporary casts of the pax are frequently likewise comments on the parallel architectural forms gilt, sometimes inclusive also of the reverse and handle and stylistic relationships between the pax frame and the [[ characteristics of the lockplate, calling attention to the and subtle hammering. Inscribed versions referencing facial features of the herms on the pax and those of the donors often appear equally crisp in quality; however, &18 A relationship with an applique they almost exclusively feature some open-work of Mary on a ca. 1565 silver processional cross by treatment within the architecture of the frame, typically Jacopo at the Rieti Cathedral may also be noted (Fig. 8). within the arches of the tympanum.19 Fig. 8: A bronze hasp and lockplate attributed to Ludovico and/or Jacopo del Duca, ca. 1580s (left; private collection); detail of a silver processional cross by Jacopo del Duca, ca. 1565, at the Rieti Cathedral (right) Michelangelo’s Pieta in Bronze 7 Michael Riddick Inscribed examples of the pax include a privately held monogrammed example: F.A.R.F.F.20; an example in the Scaglia collection inscribed: DONVS LEONARDVS POTIER21'*! referring to the cleric Leonardo Potier who was present at the creation of a chaplaincy in favor of the Bonifaci family of Sermoneta on August 11 156722 23; an example from the Buttazzoni collection (ex-Imbert collection), with the inscription: DNS FAVSTVS BRIXI F.F whose donor, Master Fausto, was from Brescia; an example from the Vasset collection with the inscription: HIE.
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