STUDIES IN THE HI STO RY OF ART • 64 • Center for Advanced Study in the Visual Arts Symposium Papers XLI
Large Bronzes in the Renaissance
Edited by Peta Motture
National Gallery of Art, Washington
Distributed by Yale University Press, New Haven and London
/ Editorial Board JOHN OLJVER HAND, chairman SUSAN M. ARf.NSBERC SARAH FISHEi\ THERESE 0 1MALLEY
Editor·in· Chief JUDY METRO
Managing Editor CAROi. LEHMAN ERON
Production Manager CHRIS VOCE!.
Editorial Assistant CAROLINE WEAVER
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Copyright C :ioo3 Trustees of the National Gallery of Art, Washbigton
All rights reserved. No part of this book may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565
This publication was produced by the Center for Advanced Study in the Visual Arts and the Publish ing Offlcc, National Gallery of Art, Washington Proceedings of the symposium "Large Bronzes in the The type is Trump Mediaeval, set by Renaissance," sponsored by the Samuel H. Kress Princeton Editorial Associates, Inc., Foundation. The symposium was held 15-16 October Scottsdale, Arizona 1999 in Washington.
The text paper is Leykam Matt ISSN 0091-7338 ISBN 0·300·10094·9 Printed by CS Graphics Pte. Ltd., Singapore Frontispiece: Attributed to Danese Catt:i.neo, Distributed by Yale University Press, Mars as a mythological personification of the New Haven and London Choleric Temperament (detail), c. 1540/:1:550, bronze. The Detroit Institule of Arts, Founders Society Abstracted and indexed in BHA Purchase with funds from Mr. and Mrs. Edgar B. (Bibliography of the IIistory of Art) Whitcomb, 49.417; photograph by Dirk Bakker and and Art Index Robert Henslcigh IRVING LAVIN Institute for Advancc:d Study, Princeton !emeritus)
The Angel and the City: Baccio Bandinelli's Project for the Castel Sant'Angelo in Rome
et me first explain the title of this essay. In Vasari in his life of Bandinelli, and a sadly the end, there is really only one city, Rome; rubbed drawing in the Louvre, rediscovered L and in the end there is only one angel, the and published thirty years ago by Maria 2 Archangel Michael (figs. 11 2). These two Grazia Ciardi Dupre (fig. 3). Here is Vasari's supreme entities were celebrated together in account of the project, which originated a wonderful exhibition held in 1987, titled when Clement VII, Giulio de'Medici, hav L'angelo ela citta, at the Castel Sant'Angelo ing crowned Charles V emperor in Bologna on the occasion of the restoration of the in October 1529, returned to Rome with gigantic bronze figure of the archangel- Bandinelli in his entourage: 9 braccia (5 m) high, the size of Michelan His Holiness resolved to fulfill a vow which he gelo's David-by the Flemish sculptor Peter had made in the castle of St. Angelo to finish Verschaffelt (I?I0-1793), cast in thirty-five the marble tower in front of the Ponte a pieces and set atop the building in 1752.1 Ver Castello, by placing seven bronze figures, sLx schaffelt's spectacular image was the last in bracci:a high, lying in various attitudes and a long series of such sculptures stretching crowned by a bronze angel with a sword in its back into the Middle Ages. My concern here hand, to stand on a column of variegated is with a brief, abortive, but nonetheless marble. The angel was tO be Michael, the pregnant moment in that millennial history cust0dian of the castle, who b.ad released him of urban sacrality. from prison. The seven figures were the seven mortal sins, to show that with the help of the angel the Pope had overcome all his impious My purpose is to give twenty minutes of enemies. A model was prepared, and the Pope fame to a not unknown, but I think, still ordered Baccio to make the figures in clay of not fully appreciated project by Baccio the proper size, to be afterwards cast in bronze. Bandinelli, the sculptor who is by all odds Baccio completed one of the figures in the most reviled and underestimated artist Belvedere, which was much praised. To pass of the Renaissance. He was also-and the the time, and as an experiment in casting, be two characteristics were often. interrelated made many small figures, such as Hercules, one of the most inventive and intensely Venus, Apollo, Leda and others, which being expressive artists of the Renaissance. The cast in bro=e by Maestro Jacopo della Barba of Florence succeeded e.xcellently.3 Baccio Bandindll, work in question, never executed, forms pan The Archangel Michllel of the endlessly tormented history of with Two Deadly Sins. Although it shows an abbreviated version c. IS 30, drawing 13anclinelli's life, character, and largely unful with no column and only two defeated ene Musee du i.ouvre, P.m!i-; filled potential. The project is known from mies of the angel, Dupre's association of photograph RCunion des Musl:es Nationoux inv. 91 only two sources, a brief description by the drawing with the Castel Sant' Angelo
309 I I
I
project is certainly correct and has never secular power, and he conceived the sculp r. Castel Sant'An gelo, tomb of t!mperor Hadrian been questioned. ture as a commemoration of this act of divine jA.D. 117- 1)81, Rome
To grasp the project's art-historical sig intervention and as a warning to future ene Cl.I.std S.ant'Aiigelo1 Rome nificance, one must first grasp its political mies of the church. i. Peter Verschaffelt, significance, for it was conceived in response The conception of this grandiose monu The A rchangel Michael. to one of the most disasuous and perilous ment drew upon three distinct uaditions 1747, bronze situations in the entire history of the church. pertaining to what might be caUed angelic Castel S.uH 'Angelo, Roine When Vasari says that it was commissioned intervention in the affairs of the church, of by Clement in fulfillment of a vow, he can which Michael is the protector saint. The only refer to what Clement regarded as his most obvious is the tradition that associated miraculous escape from the Castello during St. Michael with the city of Rome, from the siege and sack of the city by the merce which the Castel Sant'Angelo derives its nary troops of Charles V in r 5 2 7.4 Having name, and the monumental figure of the fled t0 Orvieto~ where he had been able to saint that had replaced the bronze image of recoup and regain control, Clement regarded the Emperor Hadrian atop his mausoleum this dramatic event as a veritable liberation after it was converted into the stronghold of of the church itself from the predations of the papacy. This substitution of angelic for
3 ro L A V l N imperial rule was accomplished by a famous bloody sword, an _.. -..- - ,_ ..,. . 'J•' I j ...... _..- - JOU 16 !WWW ; i LAVIN 3I1 the event and of the penitential procession Raffaello da Montelupo's marble statue witl1 in which the city celebrated it, Nicholas Ill bronze accoutrements, including the sword (1277- 1280) erected a great marble sculpture outside the scabbard, commissioned by Paul of Michael a top the castle. 7 The figure seemed III in Is 44 (fig. 6I; 10 this work stood on the to reenact the heavenly apparition of the Castello until it was replaced by Verschaf angel with his sword in its scabbard, signaling felt's monument. The pestilential deliverance the cessation of God's just ire at man's sins, was in fact twofold. The plague had also as the rage of the plague was always inter taken hold during the siege and there was preted. The angel over the city was replaced danger from this quarter as well as from the several times, including a figure with cop Lutheran landsknechts who made up the per wings and sword commissioned by bulk of the imperial forces. 1 l The provi Nicholas Vin 1453,Bbeforea "statuadorata dential liberation in the night of 6-7 Decem dell' angelo tenente la spada fuori del fodero" ber 1527 thus also echoed the original ("gilded statue of the angel holding his sword Gregorian episode that occasioned the bap 4. Spinello Aretino, out of the scabbard") was destroyed by an tizing of Hadrian's tomb as the Castel Sant' Apparation of St. Michael exploding powder keg in 1497 .9 Bandinelli's Angelo. co Gregory the Great, project was evidently intended to succeed Bandinelli clearly intended to reiterate late 1300s, fresco Snn Fr.1nccsco, Arcuo, this figure, which seems to be reflected in and magnify this traditional image of the photograph Alin•ri 1927 312 LAVIN divine surveillance of the city of the popes. But the project also alluded tO what might be described as the original instance of angelic intervention on behalf of Christianity; that is, the liberation of St. Peter himself from the Mamertine prison, which permitted Christ's first vicar to fulfill his mission of estabhshing the church in Rome. The most familiar illustration of the liberation of St. Peter was that by Raphael in the Stanza d'Eliodoro in the Vatican, where the angel is shown breaking Peter's chain behind bars, and leading him out of the darkness (fig. 7). Clement's reference to this apostolic event in relation to his own liberation was made explicit in a medal attributed to Cellini, in which the two episodes are melded intO one image (fig. 8); the medal was issued in two versions with different inscriptions, one referring to the pope himself, "Misi t D( omi nus) Ang(elum) suum et liberavit me," the other to the city of Rome, "Misit Dominus angelum suum. Roma. 11 12 The angel of the Gregorian legend was naturally shown scabbarding his weapon, but Bandinelli gave the papal and urban angelic tradition an entirely new aspect: the benign angel, harbinger of God's beneficence, has been transformed into the heroic cham pion taking vengeance on God's enemies. In this sense the figure recalls the traditional image of Michael defeating the devil, in which role he is the official guardian of the Church (fig. 9 ). Bandinelli's Michael is again quite different, however: shown virtually nude, unheard of for an archangel, he arches and twists his powerful body, brandishing the sword in an extreme cut above, over, and across his head. Michael as conqueror of the seven deadly sins has a dual resonance, notably with the mighty fiery angel of the tenth chapter of Revelation, who came down from heaven holding an open book and roaring like a lion, whereupon seven thunders opened their voices, and he announced that the end of time had come.13 Ciardi Dupre quite prop erly identified the left-hand figure as the sin of Ire or Fury, symbolized by the roaring lion at his side. The attribute of the figure at the 5. Anonymous, Appm:ition of right is indecipherable, but I think it can only St. Micbfel w Gregory 1be be Vainglory or Pride. Ire and pride are the Great. c. 1530, fresco two sins most appropriate to the fury of the TnnitO. dei Monti, Romcj photo~rnph An LAVIN 313 6. Raffaello da Momelupo, The Axchangel Michael. 1544, marble and bronze Castel Sant' Angolo, Rome, pho1oi;ropb Alinori 19964 314 LAVI N ambition oLthe pope1s enemies .to usurp his punish those who persist in sin, an LAVI N 315 composition seems to indicate that the sculp Carmine of St. Michael subduing Lucifer. 8. Attributed 10 Benvenuto tures were tO be placed between two crenel Being a man of ideas, he thought of a new Cellini, St. Michael Uberating St. Peter from lations, so that the figures would be perceived treatment of this theme to prove his ability. the Mamertine Prison, 1527, as if on the verge of precipitating into the Thus he began a shower of nude figures, repre Medal of Clement Vll senting Lucifer and bis followers driven out of Protn Philippuo Bonnnnus, abyss below. Seen thus, Bandinelli's com Numismata pontificu1n r'Om{Wc>rum, heaven, though they were rather confused 2 vols. {Rom~, r699J, 1:184, 19:i, position may indeed be understood as a sort no. IX of visual synecdoche for a much larger theme owing to the labour he bestowed on them. The picture remained unfinished, and after taken up around the same time by Domenico 9. Raphael, SL Michael Domenico's death it was taken co a room near Killing the Dragon, Beccafumi for an altarpiece representing St. the high altar at the top of the stairs in the c. 1502/1503, oil on panel Michael defeating Lucifer and the Rebel Musee du Louvre, Pans; great hospital, where it may still be seen. It is pho1ognph Reunion des MU!tts Angels, commissioned for the church of the remarkable for some nude figures flnely fore NnooruWtC no. 65Eh26 16, lDY. 6o8 Carmine in Siena. A first version of the pic shortened. In the Carmine, where it was to ture (fig. 11) was abandoned before it was fin have gone, another was placed representing ished, replaced by a new composition that God upon the clouds, surrounded by angels. was installed in the church, where Vasari In the middle is St. Michael in armour, reports seeing it in the company of Baldas pointing as he flies to Lucifer, who is driven sare Peruzzi, who, we know, left Siena for to the centre of the eanh amid burning walls, Rome in 1535 (fig. 12).16 falling rocks and a flaming lake, with angels in various postures and nude figures swim The fame of these works procured for ming about and suffering torment, the whole Domenico a commission to do a panel for the done with such style and grace that the place 3 r6 l, AVl N 10. Giulio Rumanu, flnpe Gregorv the Gre11c. Ii 2 ~, fresco S.d.i \h t:'onstJnunQ1 VJuc.in. Rome; photograph AlinJri ·916 LAVIN 317 ' 1. Domenico Bccc:ifumi, Si. Mic;/wcl Defeating the Seven Deadly Sins, c. 1)24/ 1525, oil on panel rin:1cotcta, Siena, rhoto~raph Siena. Soprmu:n 318 LAVlN 12. Dnmcn1co O.:cc.1lun11, )t. _\lich11cl Dc1c11tm~ tlie 'lt·t·i·n Or11d/1· Sm,. c. 1'lt> 1, 10, 011 on l'•incl '-1.n ~1colo.JI C.trmmc \1\!n.lJ rhotO(r.Jrh Sten.I ... •rmnh:nJcn=.:1 tOlll LAVI N 319 seems illuminated by the fire. Baldassare Just as Michelagnolo was proposing to begin Peruzzi, the great Sienese painter, could the statues [of the Medici chapel in Florence], never praise the work enough. One day, the Pope [Clement VII] was seized with a when I was passing through Siena, he took me desire to have the walls of the Sistine Chapel to see it, and I was greatly struck by it, and painted with a Last Judgement, to show the also by the beauty and judgment displayed in powers of the art of design, and on the opposite the five little scenes of the predella, done in wall he wanted to bave Lucifer cast down from tempera.17 heaven with the rebel angels. Michelagnolo had made sketches for these ideas long before Beccafumi's archangel and the prominent ... one of which was executed in the Trinita pair of agonizing bodies flanked symmetri at Rome by a Sicilian painter who had served cally down below closely resemble the cor Michelagnolo many months and ground his responding figures in Bandinelli's design. colours. This work in the crossing of the The relationship to Bandinelli's project and church at the chapel of St. Gregory, although the true significance of its subject are under badly executed, possesses a certain wonderful scored by the fact that the prcdella of Bec power in the varied attitudes and groups of cafumi's altarpiece included a panel showing nudes raining from heaven, and converted into the episode of the angel appearing above terrible devils on reaching the earth, a curious faocy.18 Castel Sant'Angelo, where Michael performs the traditional act of scabbarding his sword The sudden efflorescence of these related [fig. r 3 ). themes can hardly be coincidental. Becca Beccafumi's picture provides some wholly fumi's work strongly evokes Vasari's account unsuspected evidence for another un here of the Defeat of the Rebel Angels that executed, but also seminally important proj Clement wanted Michelangelo to paint on ect of this period, which elucidates his the entrance wall of the Sistine chapel. The concept as well as Bandinelli's. In the 1568 painting at Trinita dei Monti was destroyed edition of the Vite, Vasari gives the follow in the eighteenth century, but the relevance ing account of the genesis of Michelangelo's of Beccafumi's composition gains support Last fudgment in the Sistine Chapel: from the adoption in the eighteenth century 13. Domcmco Bc~ca fumi , Apparition of St. MichtJel to Gregory the Great, c. 1p.6/1530, oil on pand Tht: C.irn~g) c Mu ::.~um, Pittsbur);h 3 20 LAV I N 1 ~· Domcnko Corvi, St. •Wichael Killing liw Dmt;on. c. i 710. oil on ,.;;JOVJ~ rruurn Jc1 f\1onu, Rnn\t:; rhom>(r"ph ICCD E•M14 LAVIN 321 15. Michebmgelo, The Last Judgm ent. I \l4- 1'41, fresco Sisu ne Chapel, Vauc:in, Romc1 photograph Anderson ~ B 322 L A V IN 16. Michelangelo, Chrisi by Domenico Corvi of a similar pose for his equivalence of God's two chief agents in the Driving the lvloney Changers from the Temple. c. 1545, figure of Michael defeating two demons in perennial struggle against evil, bet,>inning "who is like unto God, fl so that "both by his project: name and by his works he showed that what no other can do, the power of God can accom At the feet of Christ are the seven angels plish, fl and "when Lucifer sought to be equal descrilbed by St. John, with the seven trumpets, to God," Michael "came forward, and cast the sound of which makes the hair rise, so 2 1 terrible are they co see. There are two angels, the rebels out of heaven. fl By virtue of his each holding the Book of Life, and hard-by arc God-like omnipotence and victories over the seven mortal sins in the shape of devils sin, the devil, and t he plague, Michael was dragging souls to Hell, in fine attitudes and the savior of Rome, protector of the pope, admirably foreshortcned.23 and patron of the universal church.22 The frescoes facing across the Old and The underlying theme and compositional New Testament cycles on the walls and ceil scheme evidently became a sort of leitmotif ing of the chapel would have illustrated the at the Vatican: striking analogies appear later LAVI N }23 17. Lorenzo Lotti and Paolo Romano, St. Peter and St. Paul, 1s 3 1- 15 32 and c. 1460, marble. The enrmnce to Ponte Sant'Angelo and Castel Sant' Angelo is shown flanked by the statues. l'horograph Andcnon S9 in a series of drawings by Michelangelo for of the castle, who had released him from an otherwise unrecorded depiction of Christ prison," and the figures of the seven mor Driving the Money Changers from the tal sins were "to show that with the help of Temple, which has been dated to the r55os the angel the Pope had overcome all his and may have been intended for the entrance impious enemies" (seep. 309 above). wall of the Pauline chapel (fig. 16).24 Perhaps most intriguing is the possibility We cannot be quite certain of the relative that Clement VIl's projects may have been chronology of these works, but the coinci coordinated. Bandinelll's huge bronze group dence of dates we do have is extraordinary: formed part of a major reorganization of the Ban "molti anni innanzi" suggests that the idea tology of salvation (figs. 171 r8). According may have originated in the project for the to Vasari: Sistine Chapel. But it is a sobering thought that the visitor to the holy city would first The Pope had observed that dtuing chc have encountered Bandinelli's powerful con fighting at the Castle of St. Angelo two marble flation of the Archangel Michael as protec chapels at the end of the bridge had proved harmful, because they had been occupied by tor of Rome, as victor over Lucifer and his arqucbusiers who from their vantage ground cohorts, and as victor over the seven deadly killed all who exposed themselves on the sins. The work's threefold political function walls. He resolved to remove the chapels was explicitly defined by Vasari himself, for and set up two marble statues on the site on whom the angel represented "the custodian two pedestals. One was a St. Paul, by Paolo 324 LAVIN Romano, spoken ot elsewhere, the other a Sc. Finally, there is another, material sense in Peter, was given to Lorenzo, who acquitted which Bandinelli's project is also proleptic, h11nsclf well but did not surpass his rivaJ.25 for unless I am mistaken, it took up a tech Under St. Peter is written: "HINC HUMIL nical theme that had sounded like a kind of IBUS VENIA" !"Here forgiveness to the basso profondo through the history of Ital humble"); under St. Paul: "HINC RETRl ian sculpture since the early Renaissance. I BUTIO SUPERBIS" ("Here retribution to refer to the challenge of executing large and the prideful"). With Bandinelli's St. Michael complex works without piecing them .ippearing in his vengeful mode on the bas together.26 The marble sculpture carved ex tion beyond, proleptic of the two scenes that uno lapi de (the phrase used by Pliny in praise would await the visitor in the Sistine Chapel, of such outstanding examples of bravura, the passage to the Holy City and the sanc both manual and intellectual) had achieved rll . Pbn >howing route ol tuary of the popes became a veritable pil almost mystical stature since Michelangelo Charles V's entry into Rornc, J '36 grimage of penitence, recapitulating the succee QUIRINAL VIM IN AL ESQUILINE t adopted fifteen years later, when, as he reports 19. Bcnvcnuco Cdlini, in his autobiography, he made his famous Pcrscu:.. 1 ,.h, bron.:c I..ugg.a.1. Jct l...ln:.1, Florence, bust of Duke Cosimo as an experiment for photO'!f•rh BrOJ;J io.» the one-piece c:lsting of his five-b racci:l-high figure of Perseusl.8-11 the biggest single-piece bronze the world had known," as it has neatly been described by Michael Cole (fig. 19).29 Cellini had of course lived through the Sack of Rome in Castel Sant'An gelo and was there in the city while the older sculptor his bitter and invidious rival-was planning his archangel, so Cellini certainly knew all about the project. Wht:n they arc juxtaposed, it seems clear that there is more than a fam ily resemblance between these two savior protect0r-avenger figures, one pagan and secular, the other Christian ~mtl ecclesias tical. The Perseus was endowed with an unequivocal moral and political message, as a warning to the actual and potential ene mies of Duke Cosimo de' Medici, liberator and defender of the Florentine Andromeda. Standing before the city of Florence, Cosimo Perseus wields his sword in his right hand, and with his left brandishes aloft his ulti mate weapon. The work incorporates clear references to Rome, the Sack, and the sub sequent alliance between Clement VIl and Charles V that established the dynastic rule of the Medici-with the menacing force of the Emperor himself.30 Indeed, the image must have served Cosimo as a chilling reminder to his republican opponents of Dio atop a buttress of Florence Cathedral. Ban Cassius' recollection of the Emperor Com dinelli had taken up the challenge with his modus' gory "beaux gestcs" toward the sen even larger group of Hercules and Cacus, ators assembled to admire his prowess in the installed in 15 34 flanking the entrance to the arena at Rome: Palazzo Vecchio as a competitive pendant to Michelangelo's figure. The ideal of a mon And here is another thing that he did tO us umental bronze, cast in a single piece, was senators which gave us every reason to look for raised from Ghiberti's St. Matthew at Or our death. Having killed an ostrich and cut off San Michele to the level of myth by Leo his head, he came up to where we were sitting, holding the head in his left hand and in his nardo's project for the Sforza monument. 27 right hand raising aloft his bloody sword; and When Vasari reports that Bandinelli made though he spoke not a word, yet he wagged his large models and experimented with cast head with a grin, indicating that be would treat ing methods by making smaller figures, I us in the same way.31 think it can only mean that he intended to cast his seven-braccia archangel in one piece. Cosimo, I suspect, also had his papal rel These are exactly the procedures Cellini ative's Roman project in mind. ).26 LAVIN NOTES Jue terzi e tunde, com <:! Ercoli, Venere, Aplooini, Lede et altre sue fant:i.sie; e fattele gittar di bronzo ln mcmury of Bruno Conwrdi i HJ'i 1-2000J: a m•u:stro lacopo della .Burba fiorentino, riusci rono admired scholar, good !friend, inventor, and guiding ottimameme. Dipoi le dona :i Sua Santitil et a spirit of L'angelo e la citta mol ti signori: delle quiali or:ine sono alcune nello 1. L'angelo e la ciitil. 2 vols., r: e L AVIN 327 'Er habeb:n m manu sua libellum apermm.' Quia iacciate ddla cappella di Sisto, dove cgli avcva potcstatem cocrccndi malos per bullam" t'"Ami I J.ipinto la vol ta J Giulio 11 wo nipotc; nellc qual1 saw mother mighty angel come down from heaven facciate voleva Clcmi:nte chc nclla princip:ile, ...•md J rambow was on his head.' may be explained dove c l'altare, vi s1 dip1i,'11ess1 ii Gu1di::io morallv as the good pope crowned with the 1mpena1 univcrsalc, Jcc10 potess1 mostran: m quclla smna cap, ~d to be a strong angel because of the rutto quelJo che l'am: del disegno potcva fare; e magmrude ot his power, Jescemlmg trom heaven ncll'altra dinmpctto ~opra la pona pnnc1pale gli because sent by God. 'And he hJd in his hand J lmle aveva ordinato chc n facess1 quando per la sua book open,' because of his power to punish evildoers superbia Lucifero tu Jal cielo c:acciato c precipitati wnh his bulb"!. ins1emc nel ccntro Jello inferno tum quegli angeli che peccarono con illl. Delle quali mvenz1om 15. Also the weakest, because the aruickcrs were able moJtj anni mnanz1 s'c trovato che aveva fano to shoot with impunity from the chapels on the schizzi Michelagnolo c vani discgn1, un de' quali other side of the bridge, ~hown in Agure ), which poi fu posto in opera nella chiesa dclla Truma di Clement then replaced by the statues of Peter and Roma da un pittore ciciliano, ii qualc stcttc molt1 Paul discussed below. mesi con Michelagnulo a scrvirlo c m:icinar colori. r6. See Piero Torri ti, Beccafumi !Milan, i998), Questa opera t: nella croce della chicsa alla r;i.6 q 31 Pascale Dubus, Domenico 8eccafum1 cappella di San Gregorio, dipmta a fresco, che, (Paris, 1999), r36-r40. ancora che sia ma! coodom1, si vedc un ccrto che di ccrribilc e di vario nellc attitudini e groppi di 17. V;1snri/Gmmt t963, J:141 r~3; Vasari/Betrnrini qucgli ignudi chc piovono dal ciclt> e de' c;1scati :111d Barocch i t966-, 5, Testo: 167- t68: nel centro della terra, conversi in diverse forme di Dopo, esscndo ollognrn <1 Domenico per la fama di diavoli molto spaventute c bizzan:; et c ccrto queste opcrc una tavola che dovea porsi ocl capricciosa fantasia. Carmine, neJJa quale aveva a for un San Michele 19. Filippo Titi , Studio di pitiura. scolwra. et che uceidesse Lucifero, cgli :mdo, come architettura nelle chiese di lfoma ( 161,1-176J). eds. capriccioso, pcnsando J una nouva invenzione per Bruno Contardi and Serena Romano (Florence, 1987), mnstrare la virtu ct i bci concctti dell'animo suo. E 1:198; 1, ill:1346. cosi, per figurnr Luc1fcro co' suo1 seguaci cacciati per la supcrb1a d.tl c1elo ncl piil profondo a basso, 20. Leo Steinberg, " Who's Who m Michelangelo's cominicio una piogg1a d'ignudi molto bella, ancora Creation of Adam: A Chronology of the Picture's che per esscrv1.!t1 molto affauc:ito dentro, ella Reluctant Self-Revel.1t10n," The Art Bulletin 74 paresse anz1 confusa che no. Quest:i tavol:i, ( r992), 565 n. 39· esscndo nma:.:i 1mpt:rfem1, fu ponata dopo la 21. Voragine 1969, 578, 583. Voragmc quot!!~ from a mortc d1 Domenico nello Spcdale grande, salendo Homily of Gregory the Great, wluch is also used m una scala chc vicina :ill'altarc maggiore, dove c I rhe Lessons of the D1vmc Office for the feast of St. ancora si vedc con marav1gli:1, per ecru scorti Michael, September ;i.9. d'ignudi bcllissuni; e nel Canrune, dove dovea qucsta esscr colloc;1ta, ne fu posta un'alm1, nella 22. On Michael ::ind his patronage, sec Andrew A. qua] e finto ncl piu alto un Dio Pndrc con molti Bi:ilas, The Patronage of Sainr Michael che Angeli intorno, sopra le nuvole, con bcllissima Archangel !Chicago, 195 4); and especially for Rome grazia; e ncl mezzo della wvola c l'angclo Michele :ind the papacy, see Rome 1987, r:94 11 8; Louise armat0, che vo lamlo mostra aver posto ne l centro Rice, The Altars and Alwrpieces of New St. Peter's. ddla tena Lucifem, dove sono mu rnglic che Outfitting the Basilica, 1621-<666 IC:unbridgc, anlono, muri rovinuti ct un l:igo di fuoco, con r997), 345, index. Angeli in varic :1ttitudini ct ani.mc nude, chc in 23. Vasari/Gaunt 1963, 4: 142; Vasari/Barocchi diversi atti nuotano c s i cruciano in quel fuoco: il 1962-r972, r:77: chc tutto ~ fotto con rnn to bcllo grnzia c maniera, che pare che queU'opcra maravigliosa, in quelle Sono sotto i piedi di Cristo i sctte a.ngeli scritti da tcncbrc scure, sw lumcggiata da qucl fuoco; ondc c san Giovanni Evangelista, con le scttc trombc, chc tenuta opera ram: e Baldassarri Petrucci sa.nesc, sonando a sentenza fanno :1rricciare i Capelli a chi pittor ccc(cJJemcl, non si poteva saziare di lodarla: gli guarda per la terribilita chc essi mostrano nel ct un giorno che io la vidi scco scoperta, passando viso, e fra gli alrri vi son due angcli che ciascuno per Siena, ne restai marvigliato, sl come feci hail libro dellc vite in ma.no; et appresso, non ancora di cmque stonettc che sono nella predella, senza bellissima considerazione, si veggon i sette fatte a tempera con bclla e gmdiziosa manicra. peccati mottali da una banda combattcre in forma di diavoli e tirar gni allo inferno l'animc che 18. Vasari/G..1unt ( 1963), .p38-139; Giorgio Vasari, volano a1 cielo con attitudini bellissimc c scorti La v1w d1 Michelangelo nelle redazioni de/ 1550 e m olto mirabili. del i568. ed. Paola Ba10cchi, 5 vols. (Milan, 1962-1972), 1:70: 24 . Charles de Tolnay, Michelangelo. s vols. (PrincelOn, N.J., 1943 1960), 5:77- 78, 147, 111 ·2 13. Per che volcndo M1chclagnolo far porrc in opera le statue, in questo tempo al Papa venne in animo di ;i.5. Vasari/Gaum 1963, 1:291. Vasari/Bcttarini :md volcrlo apprcsso di sc, avcndo des1dcrio di fare le Barocchi r966, 4, Tcst0:307-308: 318 LAV I N l'crc10 chc avcndo il Papa vcdut0, quandu :.i must l1ave been cal>t ~cpa ratelyl, wa~ in the Pala::.zo comhattc C.i;,tcllo Santo Agnolo, cbc due S.1lv1ati in Florence until the end of the nineteenth cappcllcttc d1 marmo cht: erano Jl!'cnrrare Jc) century, :ind must an turn have challenged Be= m pontc avevano latto Janno--perchc standov1 his famous mJrble group i.n the Vill:i Borghese, as Jcntro akuni :.oldati Jchibugieri Jmazzavano noted rn Antonia Bostrom, "A Bronze Croup of the ch1unchc s'.1tfacc1av:i alle mur:i, c con troppo Rape o1 Proscrpma Jt Cliveden House in Buckmg J.inno, stando cssi al sicuro, levavano le Jiffes.:-, hamslurc," The Burlmgton Maga::me 131 (1990), ~1 nsc>lvc Sua Samira levare le dettc cappellc, c ~29-!{-1-0. I, followed by others, had related Bernini's nc luogh1 loro mettere sopr:i due basamcnu due i.culprurc to wh:it now is reve:tled to be a sm:tll :.tatue ui marmo. E cosi fatto mettere su iJ San bronze reduction, including Ceiberus. of Peri's Paulo di Paulo Rman o, Jd quale SC e in .i.ltro luogo monumental work lrvmg LJvin, "Boz::etti and r:igwn:no, fu data a fare l'alrra, cioe un San Pietro, Modell1. Notes on Sculptural Procedure from the J Lorenzetto, ii qualc si pono assai bene, ma non Early Renaissance through Bernini," in Stil und pass<) giil quclla ill Paulo Romano; le 4uali Jue Uberlieferu11g rn dcr Ku11s1 des Abendll!Ildes. Aktrn statut: furono poste, e si veggiono oggi all'cntrata des 21. m1ernat10nalen Kongresses ftir dcl ponte. K11nscxcschich1e in Bon11 1964. 4 vols. IBerlin, 1967), 3: 102; ::. ub~cqucm bibliography in Mtnthi:1s Winner, 26. On this theme sec lrving Lavin "Ex Uno Lapide: "Rattu di Proserpint:," in Bernini sculcore. La nascita The Renaissance Sculpt or's Tour de Force." in Tl de/ /forot:co in Casa Borghese. eds. Anna Coliva :ind i:ortile delle statue. Der Statuenhof des Belvedere 11n Scbusciun Schiltzc [cxh. c:n., Gallt:ria Borghese, Vaukan. Akten des intemationalen Kongresses zu Romcl (Rome, 1998), 202 n. 14. Ehu•n V()ll Rich11rd Kraucheimer. Rom. :?I.- 2.J. Okt. 1 yyl, ells. Matthias Winner, Bernard Andreat:, LAVIN 329