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The Ashgate Research Companion to

David J. Cast

Vasari and Vincenzo Borghini

Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315613017.ch2 Robert Williams Published online on: 28 Dec 2013

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Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 sponsored academyofart. state- and incorporated formally first the Disegno, del Accademia the of development form ofjointworkonthe the Vasari with thematic material for pictures and large decorative enterprises, it also took providing Borghini of primarily consisted partnership art. their Although Borghini mustbeseenas one oftheclimactic episodes in thedevelopmental trajectoryof of Vasari(a conceptionimplicitintheideaofutpicturapoesis),collaboration and philosophical contentwas centraltoanemergingconceptionofart’ssocialfunction ambition toenlargethediscursiveliterary and scopeofthevisualartsbyintegrating collaboration had been recommended a century before by Leon Battista Alberti, and the “literary” or“humanist”advisor—in the entireearlymodernperiod.Inasmuch as such richly productive instance of collaboration between an artist and an intellectual—a of Europeanartas a whole:itisthemost richly documentedandprobablythemost It was important notonlyforVasari’s career asanartistandwriterbutforthehistory civil servants,artist’s deathin1574. 1540s untilthe end ofthe stretchedfromatleastthe and scholar who was also one of Duke Cosimo de’ Medici’s most trusted advisors and Vasari’s association withDonVincenzo (orVincenzio) Borghini,theBenedictinemonk for practical help with the changes he sought to bring about in . As part of a of part As Florence. in about bring to sought he changes the with help practical for scholarship, publishing,and printmakingallover Europe. means offollowing developmentsthe books. Thisconnectionprovided himwith in and booksellers, whorentedtheirshops from the Badia and helpedto supplyitwith monk alsodevelopedThe young texts. publishers Giunti, the acloserelationshipwith on someeditionsofGreek century, Italian philologistof the perhaps thegreatest Vettori,Pier with collaboration to led eventually training Borghini’s and particular, in received anexcellent classicaleducation.TheBadiawasscholarship, acenterofGreek the citytoMedici control. There,inaddition to pursuinghisreligiouscalling, he of Abbey) (Benedictine Florence attheageof16,shortlyafterendtraumatic siegethathadreturned Badia the at faith of profession his made (1515–80) Borghini Borghini’s LifeandScholarlyInterests Duke Cosimoturnedtosome oftheleadingmembersBadiacommunity Vasari andVincenzo Borghini Lives, aswellformation andearly asaleadingroleinthe Robert Williams 2 Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 Cosimo was awarded the title Grand Duke of Tuscany. The best account is still Santi, 1897. for thelegendthatBaptistryhadbeenatempleofMars. remains of ancientbuildingsinthecity,anddeveloped acomplicated rationalization and epigraphic,aswell asmonumentalarchaeologicalevidence.Borghini studiedthe drew upontextual Florence hadbeenfoundedbyancientRomans:they the claimthat other scholars involved were compelled to find as much objective support as possible for the Florentinesargued, that theirfeudaltitleswere ofgreaterantiquitythanthosetheMedici; in response, sustained in large part by a conflict between Duke Cosimo and the d’Este dukes of dukes d’Este the and Ferrara over theissueofprecedenceatimperialandpapalcourts. Cosimo Duke between conflict a by part large in sustained literature. His work on the earlyhistoryof the cityseems to have been prompted and Mei was soonproved wrongabout thelocationofcity,hisdoubtsaboutBorghini’s different site,andthatmodern Florencehadbeenfoundedinmediev Florentine scholar,Girolamo Mei,whobelieved that theancientcityhadoccupieda edition isManni,1808–09. Borghini becameinvolved inacontroversy with another modern A executors. scholarly his of committee a by edited 1584–85, in posthumously, Bertelli, 1976;Diaz,1976,esp.219–225;Nencioni,1980;and Eisenbichler,2001. Cosimo’s culturalpatronage,seeCochrane,1973,13–92; Plaisance, 1973;Plaisance, 1975; On 2005. Leuzzi, and 1997; Gavitt, see Innocenti, the of Prior as Borghini On 1–60. 2002, Drusi, and been Belloni of have sections relevant the also letters See 2001. early al., et Francalani His in published 1912. Lorenzoni, in published was life his of half first the with Vasari was animportantpartofthatwork,butonlypart. episode inthehistoryofrelationshipbetween politicsandculture.His collaboration were representation of forms instrumentalized forpoliticalpurposes;itmustthusberecognizedasanimportant all which with sophistication and single-mindedness the of intensification an documents Cosimo for work Borghini’s times. modern early of such patronage more searchingly and comprehensively thananyprevious ruler of be arguedthat—withthehelpofadvisors such as Borghini—heexploitedthepotential literature andthevisualartsmighthelphimsustainenhancehispower, butitcould the importance of representation to power, and the ways in which the patronageof active promotionofanewstateideology.Likemostsuccessful rulers, heunderstood and creation the attitudes, of shift comprehensive a involve to have would process a “modern” nation-state, and he recognized that, in addition to institutional reform, such Florence from a city-state with a centuries-old tradition of republican government into a arts. Cosimounderstoodhisprincipalchallengeasrulertobethetransformationof visual the and literature to related matters on duke the advised who circle small a of and conventsTuscany throughout he wasjust asimportantly, but, theleadingmember of thecityandserved Cosimo as aprincipaladvisor on issuesrelatedtomonasteries retain untiltheendofhislife.Borghiniplayed aroleintheecclesiastical government made PrioroftheOspedaledegliInnocenti,city’sorphanage,apositionhewould wasthe city’slargesthospital.In1552,Borghini,whohadbeenMontaguto’sprotégé, Nuova,Maria Santa of priorship the to Montaguto, da Isadoro Badia, the of the Abbot comprehensive reformofcharitableinstitutionsbegunintheearly1540s,heappointed The Ashgate Research CompaniontoGiorgioVasari 3 2 1 and language, history, Florentine to attention his devoted Borghini scholar, a As

The controversy erupted in 1541 and was only officially settled in 1569, when in settled officially only was and 1541 in erupted controversy The Borghini’s treatise “Dell’origine della città di Firenze” was published Firenze” di città della “Dell’origine treatise Borghini’s 1970. Folena, see life, Borghini’s On revealingcoveringA essay autobiographical inter alia , for the greaterantiquityof their city.Borghini and the 24 3 1 2 Thed’Esteclaimed al times. Although Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 Woodhouse, 1974;Scorza,2005. —had improved, preserving and refining the best linguistic forms, so that the rules of good speech and writing, while no longer to be gathered best the refining and preserving improved, artifice—arte—had literary forms fromotherpartsofItaly.Whilelinguawas indecline, however, verbal and it hadgraduallybeencorruptedbytheintroduction ofwordsandgrammatical and cametobelieve thatfromtheperiodofitspristineperfectioninTrecento, had anextraordinarilyacutesenseoftheway thelanguagehadchangedover time, at aprivileged—whatwe wouldcall“classic”—momentinitsdevelopment. He Divine Comedy ortheDecameron,were ultimately documentsofthespokenlanguage forhim, thegreatclassicsoffourteenthcentury,suchas the languageitself: record books,translations,andpopularwritingsofvarious kinds.Hisrealobjectwas letters,diaries, chronicles, artifacts: literary of kinds all examined he academicians, More thanthegreatcanonicaltextsthatwere theprimaryobjectof studyforthe though hisworkwas closelyrelated,hisapproachwas insomerespectsdistinctive. correct and elegant usage. Borghini was not a member of the Accademia Fiorentina: potential ofthevernacular andtheprimacyofFlorenceindetermining standardsof texts, aswell ascontemporaryscholarlyworksthatwoulddemonstrate theliterary theAccademia ofstate, organ official Fiorentina, andchargedwiththetaskofpublishingauthoritative editions ofclassic an into order Cosimo’s at over made was academy thathadbeenestablishedforthestudyandcultivation ofthevernacular and Boccaccio, as a fundamental feature of their cultural identity. A private literary fiorentina—and regardeditsgreatliterarytradition,representedbyDante,Petrarch, sixteenth- in widespread was century Italy;theFlorentinesthoughtofthatlanguageastheirown—lalingua Italian call now we language the of aspects all for vernacular languageandliterature.Concernwithclarifyingcodifying rules evidence ofcoatsarmspositionedallover thecity. in familyhistoryledhimtothestudyofheraldry,includingarchaeological the originsofcityledhimtoexaminevestiges ofancientruins, hisinterest into research his that way same the in controversy.And precedence the of context international the in significance a also but significance, domestic a had it agenda; Cosimo’s supporting while importance their reaffirmed thus families leading the he ruledwas conspicuousforitsvirtù.Borghini’scollectionofinformationabout own familymightnothave theancientpedigreeofd’Este,city over which being abletoshowthatFlorencehadalargeandenergetic“nobility,”whilehis could; Cosimo’spositionintheprecedencecontroversy, moreover, requiredhis families were anxioustopreserve whatever prerogatives and tokensofstatusthey at thesametime,theirsupportwas essentialtotheviabilityof regime.Theold by the old familiesthat had taken a leading role in thegovernment of the Republic; authority involved the systematic dismantling of the power traditionally enjoyed by thesocialtransformationoccurringunderCosimo.Theconsolidationofducal 2007. 1967; Wazbinski, 1980;Williams, 1988,esp.82–89, 96–105;Moyer, 2003;andCarrara, Rubinstein, see werejustified: temple fully ancient an been had Baptistry the that belief Borghini’s depthandoriginalityasascholararemostevidentinhisstudyof Borghini’s workonthehistoryofFlorentinepatriciatewas alsomotivated 4

“Dell’Arme delle famiglie fiorentine,” in Manni, 1808–09, vol. 3; Borghini ed. 3;Borghini vol. 1808–09, Manni, in fiorentine,” famiglie delle “Dell’Arme 25 Vasari andVincenzoBorghini 4 Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 167–347. 160–182; 1974, Belloni andDrusi,2002,275–293; Chiecchi,2005. Brown, 1973; Woodhouse, See 1574. Florence, Decamerone, del luoghi alcuni Woodhouse, 1971. and 1967; Woodhouse, esp. see development, linguistic of theory his On 1995. Academy, Scorza, the see to relation Borghini’s On 2005. Pozzi, 1975; Pozzi, 1971; Woodhouse, 1967; Innocenti. the covers of his own notebooks, and one for his seal as Prior of the Ospedale degli room in thePalazzo Vecchio, which duringtherepublicanperiod hadbeencalled the from everyday usage,were stillrecuperable. The Ashgate Research CompaniontoGiorgioVasari successful or not. critical discretion, commenting in his notes upon those inventions he found either to generateabodyoftheoreticalwriting,whichBorghinireadavidlyandwithgreat something of a fashionable pastime among intellectuals; it was sufficiently widespread commemorate Cosimo’s outstanding achievements. Thedesignofimpresehadbecome ancient coins), some of whichwere actuallyusedasthereverses ofmedals struck to design manyimprese,aswell asrovesci (emblematicimagesmodeled on thereverses of of texts based on thestudyof manuscripts in theducal collection. He would go on to the publisher’s symbolize to first renewed commitmenttohigherstandardsofaccuracy,thesecondfor useineditions the 1548: in Giunti the for design oftwoimprese Borghini’s earliest creative involvement with thevisual arts seems to have been the Borghini asanIconographer documentary evidence suggests that it wasdocumentary evidencesuggeststhat the primarilyhiswork. committee, the of effort joint the as bookwasnot rather the but name, Borghini’s under published Although theediting. to oversee by Borghini, three-man a headed appointed committee, and scholars, Florentine by Florence, in published be to text Duke of Tuscany) had secured papal permission for the “authorized”version of the was anotherexampleofBorghini’sservicetoCosimo.TheDuke (bynowGrand project This directives. Tridentine to conform to classic scandalous the of version first with avolumeofcommentary,publishedin1573–74,the of theDecameron,together developed inVasari’s Lives. of language to literature sheds light on the idea of the historical progress of art print, hisroleinothersimilarprojectsisoftendifficulttodetermine. as forthehistoricalinformationitcontained.Duetohishabitofnottakingcreditin called the IstoriePistoiese, which he commended to readers for its purity of style as well in thepublicationofotheroldTuscan texts,suchastheNovellino, andofthechronicle 6 5 Early in1562,Vasari was entrustedbyCosimo with therefurbishmentoflargest 9 8 7 The single most important product ofBorghini’sphilologicalworkwasThe singlemostimportant anedition

Belloni andDrusi,2002,71–72 (Scorza). Scorza, 1989;BelloniandDrusi, 2002,72–89(Scorza). For themostrecentoverview ofhiseditorialactivity, seeBelloniandDrusi,2002, Il Decamerone di messer Giovanni Boccaccio On Borghini the philologist, see Barbi, 1889; Croce, 1945; Scrivano, 1965; Mazzacurati, 9 8 Inadditiontoimpreseforpublicpurposes,hedesignedthem 26 …, Florence,1573;Annotationi e discorsi sopra 5 Thisconceptionoftherelationship 6 Hewas alsoinvolved 7 Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 all executedbyteamsofartists workingunderthesupervisionofVasari. and stone of decorated built with sculpture of if fictive marbleas and giltlook bronze, as to well as withmade paintings, arches, triumphal multi-story-high them of dignitaries, andescortedpastorthroughaseriesof12 temporarystructures,some an extraordinarilyelaboratespectacle.Giovanna was toenterthecity, greeted by thought were appropriate. Hesoondevised,downtothelasticonographicaldetail, during theprecedingdecades,carefullychoosingand adaptingelementsthathe reading descriptionsofcomparableceremoniesthathad takenplaceallover Europe Starting from his knowledge of ancient triumphal processions, Borghini set to work and charged Borghini with planning the formal entry of the bride into the city. the Florentineceremoniesconnectedwithwedding outdidthoseinFerrara, of Giovanna’s oldersister.Cosimowanted tomakesurethatthelavishness of hand the obtained had d’Este Alfonso Prince time, same the at since, controversy, the statusofMediciprincipateandwas closelylinkedtotheprecedence elevate to part in Cosimo by sought been had match The d’Austria).Giovanna as his sonandheir,Francesco,totheImperialPrincessJohanna(knowninFlorence visual expressionoftheideologynewTuscan state. as a wholecarefullyresearched, comprehensive, andarticulatepoliticalstatement,a explanatory with form, finished origins: iteven featuredareconstructionoftheBaptistryastemple of Mars.Intheir of thecity,forinstance,drewuponBorghini’sownresearchintocity’sRoman his advisorshaddeveloped infavorofFlorence.Thescenerepresenting thefoundation controversy, and were chosen in such a way as to supporttheargumentthatCosimo and Borghini’s historical inwhich one the and expertise was mostcrucial.Theytoucheduponissuescentraltotheprecedence to resolve, the program of part difficult himself tocreating. represented thenewterritorialstateandadministrative structureCosimo had devoted tradition the to successor as of theRepublic.Thequartieri worthiness his demonstrated Siena against campaign the continuityofducalregimewitholdRepublic,whilescenes of Cosimo’s Pisa Warduke himself.Thescenesfromthe center, anapotheosisofthe emphasized divisions (quartieri)ofthecity,Tuscan territoriessubjecttoFlorenceand,inthevery by Cosimo, 3) thefoundationandearlyhistoryofFlorence,4)administrative led Siena, against war recent more the 2) century, fifteenth the of end the at Pisa and thematic elements: scenes representing 1)thewar between theFlorentineRepublic the progressofworkcarefully. 1565: someofthechangeswereOctober Cosimo orderedbyhimself,whofollowed program would undergo revision several times before theproject was completed in ceiling, workedoutwithBorghini’s help, was presentedtotheDukeearlyin 1563.The the for program iconographical developed fully A frame. carved elaborately an in set of thewalls, theplancalledforanimmense wooden ceiling with42paintedpanels 2.1). Inadditiontothefrescodecoration to useasathroneroomandaudiencehall(Fig. Sala del Maggior Consiglio or Sala dei Cinquecento, and which the duke now intended While workontheceilingwas inprogress,Cosimonegotiatedthemarriageof The pictures illustratingtheoriginand early historyof Florence were themost 10

Allegri andCecchi,1980,231–255; Williams, 1998;Scorza,1998. and subjectterritories,togetherwiththecentralscene, tituli, thesepictureshelpedtomakethedecoration 10 In its final form, the decoration consisted of four of consisted decoration the form, final its In 27 Vasari andVincenzoBorghini Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 Figure 2.1

Giorgio Vasari , Florence.Photocredit:Scala/ Art Resource,NY and collaborators, general view of the Salone dei Cinquecento, Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 as adouble-pagespread,pleaserefertotheprintedversion ofthisbook. This pagehasbeenleftblankintentionally.ToviewFigure2.1 Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 350; thedevelopment oftheprogramisdiscussedindetail bySchaefer,1976,esp.17–59. analysis ofBorghini’screative process,seeScorza,1981. original descriptions are Mellini, 1566,andCini,1878–85.Foralearnedperceptive and sophistication of conception, is the Studiolo of Prince Francesco, a smaller inscale,yet alsocalculatedtoimpress,andnoteworthyfor its complexity washe projects. but such involvedregime, other Medici in the Altogetherof image conspicuous examplesoftheway inwhichBorghinihelpedtoshapethepublic its limit. discursive potential ofvisualimagery—itscapacitytosustaincomplexconceptualcontent—to the push to ambition the in mark high-water of kind a Renaissance, the entry of 1565 must thus be regarded as the most complex iconographical program of iconography was never quiteasarcaneorelaborateagain:Borghini’sschemeforthe would sponsormanysimilarkindsofpublicevents inthesubsequent decades,the Medici the understand.Although to viewers learned some for even difficult it made the ephemeraldecorationmusthave been,thecomplexityofsymbolic imagery the ceilingofwhichhadbeencompletedonlyweeks before.Impressive though Cinquecento, dei Sala the entered participants principal the when concluded finally procession madeitsway slowly alongtheprescribedroutetoPalazzo Vecchio and prosperity. married couple,togetherwithFlorenceasawhole,couldhopetoenjoypeaceand rule ofCosimo—whoregardedCapricornasthezodiacalsignhisreign—thenewly fidunt,” signifyingthat,asthe halcyon birdsofancientmythcouldtrusttothecalmnesssea,so,under “hoc motto the and Capricorn of sign the in sun the surmounted byapaintedimpresa,halcyonbirdsmakingtheirnestintheseawith the whole and affection, of fidelity personifications by flanked Florence, of figure a them were rovesci dividing columns the ornamenting Mars—and of the men figure a was instance, for arms, eachscene—over of atop appeared myth ancient from figures of Sculptures homage. her pay to order in letters, bride and new the approaching if as shown were arms as such achievement, of fields different in Tuscans illustrious which in scenes the hugearchatGiovanna’s pointofentrancetothecity,forinstance, were painted to amplifythatthemeinthemannerofanorationorcelebratorypoem.Flanking is revealingly documented inhislettersto Vasari. he didso,whilealsostrivingtosatisfythedemandfor thematicvariety andinterest, give the decoration as a whole some kind of conceptual unity. The process by which to also but owned, Francesco objects of kinds the for suitable subjects find to had walls and doors ofthecabinetsinwhichprince’scuriositieswere kept.Borghini frescoes, bronze figures, and 34 painted panels, arranged on two levels, to cover the well astoother artistsforhelpwithitsexecution.Theroomwas tobeadornedwith decorating theroom,Vasari turnedtoBorghinifortheiconographicalprogram,as of task the with prince the by Charged 2.2). (Fig. Cinquecento dei Sala the off just The Ashgate Research CompaniontoGiorgioVasari h Sl di iqeet ad h ety f ivna ’uti ae h most the are d’Austria Giovanna of entry the and Cinquecento dei Sala The The 1565. December 16 on place took entry the work, feverish of months After designed iconography the with theme, specific a to wasdedicated structure Each 12 11

For the essential information about the Studiolo, see Allegri and Cecchi, 1980, 323– 1980, Cecchi, and Allegri see Studiolo, the about information essential the For the 1993; Partridge, and Starn is English in entry the of account detailed most The 11 thematically relatedtothescenesaswell. Over thearchitselfwas 30 12 Kunstkammer

Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 Figure 2.2

Florence. Photocredit:Scala/ Art Resource,NY Giorgio Vasari andcollaborators, StudioloofFrancesco I,Palazzo Vecchio, Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 by Cosimo in 1571, the painting was begun by Vasari the next year but left unfinished left but yearVasari next by the begun was painting the 1571, in Cosimo by 2.3). Commissioned Judgment (Fig. the Last of theCathedralFlorence, representing of natureasawhole. acquired theappearanceof collective necessity, andmakeitintoasymboloftheorder Borghini was thusabletogiveFrancesco had thehaphazardarrayofobjectsthat erudition, wide-ranging his upon drawing resourcefully and nimbly By conspicuous. the sackingofacityandheapingupbooty,amidst which goldenvessels are than specific more nothing illustrate to seems that scene a is instance for goldsmithy, or products of those crafts. In some cases, the linksarequitetenuous:underneath for themostpart,mythologicalorhistoricalscenes involving thematerials, processes, bronze casting,toglassmakingand the manufacture of gunpowder; below them are, and goldsmithy from fire, involving crafts level, upper the on are, instance, for fire, to four sides of theroom are arrangedaccording to thefourelements.Onwall devoted serving as a kind of key tothedecoration as a whole. The subjects illustrated on the art tonature,andafresco representing artandnatureoccupies the centerof the vault, The Ashgate Research CompaniontoGiorgioVasari Figure 2.3 Borghini also conceived the iconographical program for the vast fresco in thedome The program thatheworkedoutis organized around the ideaofrelationship

Florence. Photocredit:NicoloOrsiBattaglini/ ArtResource,NY of thefrescoincupolaDuomo(SantaMariadelFiore), Giorgio Vasari, FedericoZuccaro,andcollaborators, complete view 32 Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 (Scorza). easel pictures. Duke Cosimo commissioned Vasari to undertaketheredecoration of the churches of account fortherangeofBorghini’sactivityasanartisticadvisor. In 1565–66, forinstance, published inGuasti,1857,432–444. Borghini was involved. Among the others was the funeral of Cosimo I in 1574. in I Cosimo of funeral the was others the Among involved. was Borghini Vasari regardedasthesinglegreatestmasterpieceofmodernart. that Michelangelo of work improvementupon—the of—and critique implicit an offer to intended toshowhowsuchallegoricalelementsmightbeintroducedproperly,andthus carefully contrived programforthedomeofFlorenceCathedralseems tohave been criticized forwhatwas felttobeaninappropriateuseofallegoricalimagery:Borghini’s thus theendoftime.Michelangelo’sLast Judgment in the Sistine Chapel had been widely putto driving a spike into it to signify the movements of the heavens coming to a stop and features aswell: immediatelyunderChrist’sfeet,forinstance,isacelestial globe,witha with punishmentsbasedonthosedescribedinDante’sInferno.Thereareotherallegorical of hellandthepunishmentsdamned,eachfacedominatedbyamortalsin, corresponding to the classes of the blessed above them. In the lowermost region is a view Spirit, Holy the of gift a and beatitude, a virtue, a face: each on three figures, allegorical arranged according to category, over the remaining seven. In the fourth register are register areChrist,ontheprincipal,easternmostface,andassembliesofblessed, the remainingseven ordersaredividedamongtheremainingseven faces.Inthenext the cherubimandseraphimaregroupedimmediatelyover Christon one face,sothat edge. Theeightfacesofthevault areeachgiven over tooneoftheordersangels: the heavenly Jerusalem,whichisshownasifheldaloftbyangelsjust beneathitslower chronicled inhisgreatbook. the artshadbeenrevived andbroughttoperfection,theprocess that Vasari himself had continuity ofFlorentineartwhilealsodemonstratingtheprocessbywhich,inFlorence, the mosaics in thevault oftheBaptistryFlorence,so that thefrescoes celebrate the came Borghini vault, up withanarrangementthatobviouslyowes some of itscompositional principles to the of configuration eight-sided awkward, the his to Adapting impressive.imagination especially something creating of necessity the of thus and program indicateshisawareness oftheimportancesite and thecommission, at hisdeathin1574andcompletedbyFedericoZuccaro1579.Borghini’soriginal carried out until much later. carried outuntil into scientific research—and thus related to the Studiolo—although the project was not room in the Casino Mediceo, a building sometimes used by Prince Francesco for forays also invented acomplexiconographicalprogramforthepainteddecoration ofalarge soitd ih h Mdc, uh s h dcrtos n h Sl Rga n Tre dei Torre and Regia Sala Venti the intheVatican Palace; in decorations the as such Medici, the with associated 13 of thoseinwhich The projectsthusfardiscussedmostimportant represent onlythe forms uppermost The registers. five horizontal into divided is sides eight the of Each 17 16 15 14

, now in the , for example: Belloni and Drusi, 2002, 103–107 103–107 2002, Drusi, and Belloni example: for Uffizi, the in now Vulcan, of Forge The cdn, 98 2 6–7 Aiii t l, 95 Te et f ogiis rga was program Borghini’s of text The 1995. al., et Acidini 65–97; 2: 1998, Acidini, Frey andFrey,1930,2:744–747, 800–805. Kliemann, 1978. Borsook, 1965–66;Scorza,2002, 97–103. 17 Extensive asit is,thesurvivingdocumentation probably does notfully 16 13 healso furnished Vasari withinventions forindividual 15 BorghiniprovidedVasariadvice onprojectsnot with 33 Vasari andVincenzoBorghini 14 He Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 which Borghiniand Vasari assumed control of theproject: some of the sculptors, led Florentine artistic community, a number of the participantsresented the manner in and Lorenzo, San of church family although the magnificent ephemeral Medici decorations were ostensibly a joint offering by the the in spectacle the stage to permission of Michelangelo’sownfamilyforamodestprivate ceremony.Theyobtainedducal about arrangingforalargepublicevent, peremptorilydismissingwishes the apparent master died, BorghiniandVasariof Michelangeloin1564.Whenthe immediatelyset foundation. its following years the in times several rewritten be to had statutes the and tensions, emphasis). praise oftheredecoration churches,presentedasifbeingrecitedbyBorghini. attempts at theorizing, telling them, at one point, that theirs was an academy “for academy an doing andnotfortalking.” was theirs that point, one at them, telling theorizing, at attempts hard linetoward thosewhoexpresseddissatisfaction,andwas dismissive ofartists’ to serve thedukeandtobehave inanorderlyandcooperative manner.Hetooka seems tohave spentmuchofhistimeremindingtheartiststheir responsibility in subjectssuchasgeometryandanatomy,were partofitsprogram, butBorghini and praiseworthycompetition.”Drawingclassescontests,aswell asinstruction artists andtoencourageestablishedonesperfecttheirskills“throughhonorable electing Borghiniastheduke’sofficialrepresentative (luogotenente). members acknowledged Cosimo astheir“leader,guide,andprotector,”immediately new organization was formally chartered and held its first meeting in January 1563: the his administrative reforms, and Borghini seems to have had input intothe process. The the supervisionofLelioTorelli,Cosimo’s chief legaladvisorandarchitectofmany under weredrafted Statutes artists. leading city’s the of group select a of composed be would which Fiorentina, the Accademia to similar academy an organization, new a of the in asking the duke to show his support for the arts of design by sponsoring the creation account the to According painters. medieval a of Luca, confraternity San di Compagnia old the revive to Montorsoli, Angelo Giovanni The Accademia del Disegno seems to have had its origin in an effort, led by the sculptor The Accademia delDisegno planning theentireenterprise,yet thereisnosolidevidencethathedid. well as artistic matters, it seems very unlikely that he did not have an important role in about some of thenewaltarpieces, and given hisroleas both anadvisor on monastic as advice iconographical offered Vasari Borghini that Weknow ones. new of installation old rood screens and almost all oftheold altars, togetherwiththeirdecoration, and the the of removal the involved that project vast a Croce, Santa and Novella Maria Santa The Ashgate Research CompaniontoGiorgioVasari The first major artistic project in which the Academy was involved was the funeral the involved the Academy was was which in project artistic major first The The original aim of the Academy, as Vasari described it, was to instruct young instruct to was it, described Vasari as Academy, the of aim original The 20 19 18

oezn, 92 1: Aaei d FR e o d RGOAE (Borghini’s RAGIONARE” di non e FARE di “Academia 14: 1912, Lorenzoni, Wazbinski, 1987, 1–25;Barzman,2000;Carrara,2008. Belloni and Drusi, 2002, 129–139 (Scorza). Sanleolini, 1578, 75–76v, contains an ode in 20 Theneworganizationwas besetbyallsortsofinternal 34 Lives, Vasari intervened, 19 18 Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 Ruffini, 2011,11–38. oramai aspettardaloromolte piùoperechelefatte.” avantivolume, conlevitedique’che vivono,etsontanti congli anni,chemalsipuote Kallab, 1908;Wazbinski, 1976;Williams, 1988; Rubin,1995,esp.187–230. published in 1568, and in this venture his influence was profound and multifaceted. and profound was influence his venture this in and 1568, in published finally edition, enlarged much second, the of preparation the in collaborator principal having given birthtoanideawhosetimehadcome. may have shownthemselvesdeservethey pushy anddomineering,but to be creditfor for difficult they wereus toseethat Vasari infactearlymanifestationsofmodernity. is andBorghini it stood, they which for values and academies the against violently so (founded in1769).Because the artisticmodernism of thenineteenthcenturyrebelled London in Art of Academy Royal the and 1648), in (founded Paris in Sculpture de et Peinture de Royale Académie the 1577), in (founded Rome in Luca San di Accademia academies began toappearallover Europe,thelargestandmostimportantbeing the “official” Similar art. modern early to medieval from shift the of aspect fundamental artistic laborinmorerationalizedandhierarchicalform,mightbesaidtomarka of institutionaltransformationthat,insofarasitdocuments the pressuretoorganize the authorityandfunctionsofold guild andconfraternity,completingaprocess absorb to came eventually Academy The Escorial. the of completion the about advice be included in the membership; in 1567, King Philip II of Spain transmitted a request for all over Europe. In 1565, four Venetian artists, including Titian and Tintoretto, asked to purpose ofpromotingthenew Academy andCosimo’sroleasitspatron. dignity andimportanceofthevisualartsingeneral,butitalsoserved theimmediate recognition ofMichelangelo’shistoricalimportance,aswell astomakeacaseforthe everpublic tribute accorded an artist,theceremonycertainlydidhelptoincrease Benvenutoby in protest. Cellini,withdrewfromparticipation had amoreformative role inthecreationofbook. sustain the conjecturethathewas involved much earlier than the record suggests, and to made have been efforts Recent 1550. weeksof early the in publication through book last stages of revision and proofreading, and that Vasari entrusted him with seeingthe of Vasari’s edition wasfirst Borghini the of severalinvolvedproduction of men the one literary in Borghini andVasari’s Lives and aresoadvanced inyears thatonedoesnotexpectmanynewworksfromthem.” addition tothethingscontainedinthisvolume, with thelives ofthosewhoarestillliving the to addendum An 22 21 was Vasari’s Borghini edition, first the in involvement his of degree the Whatever 24 23 Despite its shaky start, the start, shaky its Despite contemporaries of attention the attracted soon Academy

Ginzburg, 2007;2010. For arecentaccountofthepoliticalmachinationsbehindMichelangelo’s funeral,see Unpaginated conclusion: “… una aggiuntadimoltecose appartenente aquesto 1905; Scoti-Bertinelli, see editions, second and first the between differences the On Lives. The surviving documentation indicates that he participated inthe had been promised in a postscript to the first edition, “an edition, first the to postscript a in promised been had Lives 35 Vasari andVincenzoBorghini 22 21 As the most elaborate most the As 24 23

Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 et sculturediItaliaetc.,chequesto èilfinedelloscriuervostro”(Borghini’semphasis). opera sia finita e perfetta da ogni parte, et che sia un HISTORIA vniuersale di tutte le pitture di nuouo ui ricordo, che mettiate a ordine le cose de uiuj, massime de principali, accio questa cosi di pittura come dis cose, scultura et di architettura, she numero sia possible piu et ornare l’opera principali vostra citta … Et queste di soma in et Milano Napoli, Venetia, Genoua, book, buthewas lateindelivering it,soitwas putatthebeginningofthirdvolume. the historian Giovanni Battista Adriani, was asked to provide an account ofancient anaccount art. to provide scholar, asked was another Adriani, Battista time, Giovanni same historian the the At collaborated. had Academy the which of in d’Austria, members Giovanna the of entry the of Borghini’s, of associate literary a Cini, Battista Giovanni by written description, extensive an also is there and end, the near Disegno, manyofwhomwere stillquiteyoung,arediscussed in acomposite account del Accademia the of artists the minute: last the to up developments artistic chronicle of deceased artists, and descriptions of the works of living ones. An attempt is made to Recent artistreatedmuchmoreextensively, intheformoffullbiographies, inthecase industry—to capitalizeonaproductwithproven marketpotential. an entrepreneurialdesire—understandable in someone with close ties tothepublishing over Europe,thedecision to revise it completelymayhave beenpromptedinpartby strongly suggests his influence. Given the interest that the first edition had attracted all on it,inwhichtheimportanceofBorghini’s role inshapingitemergesvery clearly, and who was responsible for it areuncertain,butevidence from the laterphases of work now foreseen.Exactlywhenthedecision thus toradicallyexpandtheprojectwas made book—was entire the of thus parts—and two first the of rewriting a and that shows 1558 fourteenth- and 1557 about in Volterra and made Gimignano San Borghini to trips that on while notes pictures fifteenth-century of set a ambitiously: more much artists, but the next evidence of work on the project indicates that it had been redefined the livesthird part, The wordingsuggestsasimplesupplementtothe ofcontemporary The Ashgate Research CompaniontoGiorgioVasari was tocompile thetopographicalindex,andhisworkonitseemstohave sharpened his however inadequate, to represent it more the fully than of in the edition first. Onesecond ofthe Borghini’s chores and art, European Northern about information assemble to begun already Vasarihad Italy, on is emphasis the Although important toemphasizetheoverall purposeofthebook.HeurgedVasari work withthem.”Remindinghimofwhatyetit neededtobedone,he alsothought cities—paintings as well as sculpture and architecture—as possible, and to adorn your Genoa, Venice, Naples, Milan, and altogether as many things in each of these principal seen have to you like would “I travel: to collaborator his urged Borghini edition. first of ItalythatVasari had ignored ormentioned in onlyvery summary fashion in the 25 26 25 The secondeditionexpandsboththetemporalandgeographicalrangeofbook.

Considerable effort was made to include more information about art inareas about more information to include made was effort Considerable Frey and Frey, 1930, 2: 98 (letter of 11 August 1564): “Voi uorrej uedessi haver di haver uedessi uorrej “Voi 1564): August 11 of (letter 98 2: 1930, Frey, and Frey Presumably, hiscontributionwas tohaveof the beenplacedatornearthebeginning is theaimofyourefforts. this for etc., Italy, of sculpture and paintings universalthe HISTORYa all be of may it that and part, every in perfect and finished be may work the that so ones, leading the all of most [artists], living the to related things the order in put to 26 36 makes an attempt, an makes Lives Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 120–3. basse, masoloquihavete perfinel’arte etl’operedilormano”(Borghini’s emphasis). esercitato cosedaprincipietnonpersone uite, èsolodiprincipiethuominj chehabbino le scriver E lo … architetti scultori, pittori, di loro è feciono OPERE le per che solo ma quello ordinarie; ne dationj figluoli, furono chi di ne pittori, de uita la scrivere di è non fatica where thelegends have independentliteraryvalue. or overtly legendary material, exceptincases where no other information is available or mentions aswillserveas wellthem unambiguously, toidentify astoavoidunreliable urged hisfriendtoprovideasmuchinformationaboutthebuildingsandpictureshe scholar The influence. Borghini’s to traced be can change this that suggests evidence on Florence,encouraginghimtodiscussDukeCosimo’scollectioningreaterdetail. “universal history,”however, BorghinialsopromptedVasari toreinforcetheemphasis at effort the to addition In coverage. complete more required locations which of sense only object the artand the workof their hands.” those whohave actedlikeprinces and notforpeopleoflowrank;hereyouhave as your works the from Apart architects.” and princes for only are “Biographies interest: little or of are livesartists the produced, of sculptors, painters, as WORKS their only but the lives ofthepainters—whosesons they were, nortodescribe theireveryday lives— information about works of art, he added: “The PURPOSE of your work is not to write specific more for need the noting to After Vasari. letters his of one in it expressed and kind ofcommonplacerhetoricalconceit. about the subject’s origins and training, and there is less effort to make each life fit some epitaphs areretained,thebiographiesnowgenerallybeginwithfactualinformation In the second edition, this formula is abandoned: though a few such introductions and the subject’s life mightbethoughttoillustrate—andconcludingwithapoeticepitaph. had begunwithamoralizingintroduction—encapsulatingthemostimportant“lesson” had beenmodeledontherhetoricalelogiepopularizedbyPaolo Giovio,eachofwhich of design now flourish so abundantly that a sequence of biographies cannolonger ofbiographies asequence that abundantly so flourish now design of executed by the Accademia del Disegno are obviously intended to suggest that the arts a implies very developments, different understanding recent of that progress. most The extensive the descriptions of accommodate the projects to effort its with second, the conception ofwhatspecificallyart-historicalknowledge shouldinvolve. to share—aswellalso revealdecorum, butthey asaprecisesenseofliterary aclear contribute. His remarks expose an obvious social snobbery—one thathe expects Vasari tothelarger artists significant all which attention art—to of history” “universal development—thethe reader’s historical direct efficiently more could they way, selective he clearlybelievedbut entirely, structuring thebiographiesinaconsistently by that He isnotgoingso far astosuggestthatVasari doaway withthebiographicalformat can beseentryingtorestrictitaswell, tofocusitonartandexclude theinessential. working toexpandtheLives byenlargingitstemporalandgeographicalscope,herehe 28 27 the again, and first, the than standards scholarly higher reflects edition second The 29 Borghini hadahighlydeveloped ideaofwhattheindividual biographies should do, If, in the first edition, the progress of art comes to climactic fulfillment in Michelangelo,

Frey andFrey,1930,2:93–95 (letter of5 August 1564),270(letter of11 August1566). 1988, Williams, in discussion 3 see of 1564); (letter August 89 2: 1930, Frey, and Frey Frey and Frey, 1930, 2: 101–102 (letter of 14 August 1564): “IL FINE di questa uostra questa di 14 FINE of “IL (letter 1564): 101–102 August 2: 1930, Frey, and Frey 37 Vasari andVincenzoBorghini 29 28 If, on the one hand, Borghini was The biographies of the first edition 27 Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 Ruffini, 2011,94. with thetext,andthatheexpectsitscompletiontotake some time. further Borghini help will he Vasarithat Vasarias adds wellhimself. Atrate, then any as least at understand did certainly Borghini which Cinquecento, dei Sala the as such the circumstancessurroundingcommissioning and iconographical detailsofworks even better than he does (meglio di me). In this case, however, Vasari may be referringto that Borghiniunderstands certain details(certiparticulari)abouthismostrecentwork for instance, toseeVasari surprise, saying his ownautobiography, with Borghini forhelp asking a as come may It prose. proper into them himself,while notes—putting than perhaps, text more, ofthe rough—little quite been have often may which drafts, Vasari’sover gone have largesections to seems wrote He evidence. available the he by confirmed not are contemplate, to interesting that suggest to efforts Recent out theroughedgesofVasari’s prose.Ontheotherhand,Vasari’s original draftmakes much is version revised more lucidandelegant.Onemightconclude that Borghini’s role was simplytosmooth the but amplification, or revision substantive of way the in the finished version offers what is probably a glimpse of Borghini at work: there is little of this passage survives, a single sheet in Vasari’s hand. A comparison of the draft with draft painting. A of methods and materials the on section introductory the to prefixed to provide a kind of chronological armature for the expanded account of thirteenth- and fourteenth-centuryartthatappearsinthesecondedition. of account expanded the for armature chronological of kind a provide to of Giovanni Villani wasresourceful way minedinathorough,consistent, andstrikingly medieval architecturepresentedintheproemio to the first part of the Langobardorum ofPaulus Diaconius, for instance,was used for theaccount of Historia the from taken notes of sheet responsibility. A Borghini’s suggests evidence the again, century, thereisalsoamoreseriousengagementwithmedievalthe sixteenth art,and last part,devotedtotheartistsof of newmaterialinthesecondeditionisfound also passed on referenceshefoundinliterarysources. While theoverwhelming amount provided Vasari with information about works of art thattheyhad seen themselves. He generation togeneration. decline, the rules of art are capable of being codified and passed on in perfect form from of Vasari’s faith insustainableperfection.Whileallnaturalthingsmaybesubject to basis the clarify to help artifice literary to vernacular spoken the of relation the about account ofartisticprogressinthesecond edition canonlybesurmised, but hisideas metaphor. To what extentBorghiniwas responsible for themore deeply meditated maturity, hedidofdeclineanddeathimplicitinhis not reckonwiththeinevitability youth tomaturity.Concludinghis account with Michelangelo, the moment of perfect progress of art had been likened to thegrowthof a livingthing,leadingfrom infancy to asignificantly hasoffered Vasari more nuanced account, taught, and remedied a glaring weakness of the efficiently first edition. There, the be can that practices and rules, not beseenascompletingitselfinoneman,butrathertheperfectionofprinciples, account forwhatishappening.Inthussuggestingthatthehistoricaldevelopment should The Ashgate Research CompaniontoGiorgioVasari As one would expect, Borghini also helped to correct and refine Vasari’s writing. Vasari’s refine and correct to helped also Borghini expect, would one As 31 30 One of the most important additions to the second edition is the definition of Borghini was amongthenumerousfriends,colleagues,andcorrespondentswho

Frey and Frey, 1930, 2: 265–268 (letter of 31 July 1566); interpreted differently by differently interpreted 1566); 31 July of (letter 265–268 2: 1930, Frey, and Frey Williams, 1988,196–241. 38 30 31 Lives. Thechronicle disegno Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 agenda ofthe Accademia delDisegno. time, itmakesmoreexplicittherelationofbooktovalues andinstitutional same the Borghini. At to attributable securely interventions other the with consistent to theideaofa“universala whole,toclarifyandlenddepth history”ofart;itisthus of significance philosophical was thus responsible for at leastsome of the content,notjust the form. Emphasis on the Borghini that and draft, first the composing before Borghini with ideas the discussed he that may be it himself: advice ofsomeonemorelearnedthan the to usewithout reference tophilosophical ideas that we maydoubthewould have knownwell enough 32

Williams, 1997,29–72;Dempsey,2009. disegno helpstoanchorandgive coherencetotheLives as 32 39 Vasari andVincenzoBorghini Downloaded By: 10.3.98.104 At: 20:11 26 Sep 2021; For: 9781315613017, chapter2, 10.4324/9781315613017.ch2 This pagehasbeenleftblankintentionally