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Body and Apparition: Material Presence in Sixteenth-Century Italian Religious Sculpture Erin Giffin a Dissertation Submitted In

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Body and Apparition: Material Presence in Sixteenth-Century Italian Religious Sculpture Erin Giffin a Dissertation Submitted In Body and Apparition: Material Presence in Sixteenth-Century Italian Religious sculpture Erin Giffin A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Stuart Lingo, Chair Estelle Lingo Ivan Drpić Ann Huppert Mary O’Neil Program Authorized to Offer Degree: Art History © Copyright 2017 Erin Giffin 2 University of Washington Abstract Body and Apparition: Material Presence in Sixteenth-Century Italian Religious Sculpture Erin Giffin Chair of the Supervisory Committee: Associate Professor Stuart Lingo Department of Art History In early modern church interiors across the Italian peninsula, religious devotees gazed upon, spoke to, and touched sculptural sacred objects. These forms of contact reinforced the sensation of presence and communication between the devotee and the sacred figure, often inciting offerings of garlands, jewelry, and other adornment at many cult sites. Bound up in this religious practice, multiple materials are at work: in the offerings bequeathed—ephemera, wax, precious metals—but also in the sculptures themselves. Over the course of the sixteenth century, multiple artists and patrons used sculpture to underscore the sacred message of their subject matter through resonant materials: in the canonical materials of marble and bronze, but also in terracotta, wood, and wax. All of these materials have the potential to convey meaning. That confluence of subject and matter in Italian sacred spaces led to innovations of sculptural discourse across regions and media. This dissertation addresses the position of sculpture in early modern acts of devotion. The case studies explore original installations and sacred ritual—specifically, how sculpture fit within the sacred interior—as well as the ways in which the medium physically, materially, and symbolically fostered a religious experience for early modern believers. This discussion begins with the Santa Casa di Loreto, or Holy House of the Virgin (1511-1579); Chapter One focuses i on how this cult site, seemingly composed of discordant materials, effectively transports the viewer into a biblical space, the home of the Virgin and supposed site of the Annunciation. Between crumbling bricks and polished marble, the Holy House combines a pilgrimage destination with an apparitional experience that is reinforced by the combination of material trompe l’oeil and tactile devotion. This multimedia experience appears also in the case of the Sacro Monte at San Vivaldo (ca. 1500-1530). As the first case study of Chapter Two, this Tuscan holy site combines innovations of sculpture and architecture to guide and instruct the visiting pilgrim through the stages of Christ’s life, death and resurrection. Again, touch and physical proximity reinforce the sacred message. Conversely, the second case study of this chapter, Antonio Begarelli’s Deposition in Modena (1531), compounds its sacred meaning through multiple material references. Through the surface treatment of the sculptures, Begarelli visually transforms his terracotta bodies into marble, and as such the artist conveys twice as many symbolic referents as would a single medium. Finally, this dissertation concludes with Chapter Three and two marble altarpieces: Michelangelo’s Risen Christ (1514-1521), and Francesco da Sangallo’s Virgin and Child with Saint Anne (1522-1526). As with the Santa Casa and Begarelli, marble assumes multiple material significances, referring to antiquity, immortality, and the immateriality of the apparition. The case studies explored in this dissertation illuminate the multivalence of sculptural imagery across sixteenth-century Italy in an effort to reveal the divine presence in sacred space. ii Acknowledgments A dissertation is never completed alone—we all rely on a web of support systems and institutions that make our research possible. I would like to take this opportunity to thank the many people and resources that have contributed to this dissertation. First of all, I would like to thank my advisor, Professor Stuart Lingo, for his consistent support throughout my graduate studies. Professor Lingo’s open acceptance and enthusiasm for my research ideas have allowed me to fully engage in this material study. Furthermore, the skills gained over the past eight years working with Professor Lingo at the University of Washington— including teaching, writing, and independent research—will act as the foundation of my academic career. I would also like to express my deepest esteem for the members of my dissertation committee: Professors Estelle Lingo, Ivan Drpić, Ann Huppert, and Mary O’Neil. Their diverse backgrounds in the academic fields of art history, architecture, and history have greatly contributed to the depth of ideas conveyed in this dissertation. I thank you. I would also like to thank the institutions that have facilitated this research; first and foremost, the University of Washington, as my home institution, and specifically the Department of Art + Art History + Design. Furthermore, I thank the de Cillia family, the Pell family, and the Nordstrom Foundation for creating awards in teaching, researching, and graduating with honors, all of which have funded the research presented in this dissertation. With regard to research institutions, I would like to thank the Samuel H. Kress Foundation, the Medici Archives Project, and the Dutch Institute in Florence for their support of burgeoning scholarship. Within these institutions, I would like to offer special thanks to Doctors Alessio Assonitis, Sheila Barker, Maurizio Arfaioli, and Elena Brizio, as well as Professors Michael Kwakkelstein and Gert Jan van der Sman for their guidance. A number of professors from my undergraduate experience at Smith College also deserve an honorable mention, as early advocates for my graduate career. Professors Giovanna Bellesia, Alfonso Procaccini, Federica Anichini, John E. Moore, and Barbara Kellum all acted as positive influences and role models, helping me to envision a future in academia. Their investment in me speaks to the college’s mission, but also to each person’s inherent kindness and passion for education. On a personal note, I would like to offer my deepest thanks to my family: my parents, my partner, and my many friends from childhood through college and beyond. You are all the bedrock of my being (and the source of my sanity!). To my graduate school compatriots, Tiffany Lynn Hunt, Devon Baker, Lindsay Alberts, Anna Wager, and Susan Dine, thank you for taking the time to field ideas and read drafts. Your consistent optimism and support will never be forgotten. iii Table of Contents Abstract……………………………………………………………………..........i Acknowledgements……………………………………………………………..iii Image List…………………………………………………………………..........v Introduction………………………………………………………………………1 Chapter 1: Rendering Religion……………………………………………….....21 Chapter 2: Transformative Media………………………………………………56 -Sacro Monte di San Vivaldo…………………………………………...58 -Antonio Begarelli’s Deposition…….………………………………….77 Chapter 3: Body Politics……………………………………………………….106 -Michelangelo’s Risen Christ………………………………………….107 -Francesco da Sangallo’s Virgin and Child with Saint Anne…………..134 Conclusion……………………………………………………………………..169 Bibliography……………………………………………………………….......178 iv Image List 1) Andrea Orcagna (attrib.), Crucifixion, polychrome wood, circa 1360, Chiesa di San Carlo, Florence, Italy 2) Santa Casa di Loreto, brick interior [brick, with Proconnesian marble and metal detailing], Basilica di Loreto, Loreto, Italy 3) Donato Bramante, Jacopo Sansovino, et. al., Santa Casa di Loreto, marble exterior [white Carrara marble, pavonazzetto, rosso antico, verde antico, purple porphyry], Basilica di Loreto, Loreto, Italy 4) Church of the Holy Sepulcher, built 326-335 [with major restorations in 1099-1149, and 1808] Jerusalem, Israel 5) Anonymous, Madonna di Loreto, painted wood, 1921 copy of lost early modern original, Basilica di Loreto, Loreto, Italy 6) Francisco de Holanda, Exterior of the Santa Casa (south wall), engraving, 1539, El Escorial, Madrid, Spain 7) Fra Aurelio Lombardo, Prophet Jeremiah, exterior of the Santa Casa (east wall), white marble, 1542, Basilica di Loreto, Loreto, Italy 8) Tommaso della Porta, Prophet Belaam, exterior of the Santa Casa (west wall), white marble, 1570s, Basilica di Loreto, Loreto, Italy 9) Raphael Sanzio, Prophet Isaiah, Fresco, 1513, Sant’Agostino, Rome, Italy 10) Gian Battista della Porta, Pontine Sibyl, exterior of the Santa Casa (east wall), white marble, 1570s, Basilica di Loreto, Loreto, Italy 11) Andrea Sansovino, Virgin and Child with Saint Anne, white marble, 1512, Sant’Agostino, Rome, Italy 12) Gaudenzio Ferrari and workshop, Chapel of Calvary, polychrome wood and terracotta, circa 1515-1546, Sacro Monte di Varallo, Varallo, Italy 13) Giovanni della Robbia (attrib.), Madonna dello Spasimo, polychrome terracotta [with pietra serena frame], circa 1500-1533, Sacro Monte di San Vivaldo, Vivaldo, Italy 14) Anonymous, Ecce Homo [Christ on the Balcony], external chapel appended to the Chapel of the House of Pilate, polychrome terracotta, circa 1500-1533, Sacro Monte di San Vivaldo, Vivaldo, Italy 15) Anonymous, Ecce Homo [onlookers], external chapel appended to the Chapel of the Progression to Calvary, polychrome terracotta, circa 1500-1533, Sacro Monte di San Vivaldo, Vivaldo, Italy 16) Anonymous, Chapel of the Progression to Calvary, polychrome terracotta, circa 1500- 1533, Sacro Monte di San Vivaldo, Vivaldo, Italy 17) Anonymous,
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