chapter 26 The Vatican Library Alphabets, Luca Orfei, and Graphic Media in Sistine Rome
Paul Nelles*
Upon completion in 1590, the new quarters for the Vatican Library in the Cortile del Belvedere were among the largest and most lavishly decorated library rooms in Europe. Intended to serve as a bulwark of Catholic orthodoxy, the new library was part of the vast cultural program of Pope Sixtus v. Executed under the oversight of the artists Cesare Nebbia and Giovanni Guerra, four pic- torial cycles meet the gaze of readers in the massive central room, now known as the salone sistino: the great libraries of antiquity are depicted on the south wall; scenes from the ecumenical councils of the church run opposite; portraits of the “inventors of letters” are located on the pillars in the middle of the room; and Sixtus’s campaign of urban and architectural renewal in Rome is cele- brated on the ceiling in a cycle depicting the opere of the ambitious Counter- Reformation pope. In addition to these scenes in the salone sistino, the cycle of frescoes continues in the adjacent sala dei scrittori with depictions of the book arts (papermaking, printing, and so on) and in the nearby bibliotheca secreta with portraits of the Church Fathers and other ecclesiastical writers.1 The frescoes are busy and full of movement. Books are present everywhere. Pamphilus is portrayed copying codices in the library at Caesarea while Eusebius studiously prepares his Ecclesiastical History. The censure of Arius at the First Council of Nicaea is accompanied by a burning pyre of condemned writings. We witness texts being dictated, copied, and read. Books are carried off ships, carted in baskets, poised on lecterns, stacked high in cupboards. The
* I gratefully acknowledge the support of the Social Sciences and Humanities Research Council of Canada in researching this essay. I also thank Ann Blair and Johannes Wolfart for discus- sion and comments, and Antonio Ricci for assistance with materials at the Newberry Library, Chicago. 1 On the artistic production of the frescoes, see Alessandro Zuccari, I pittori di Sisto v (Rome: Palombi, 1992), 47–101; Zuccari, “Il cantiere pittorico della biblioteca sistina: i cicli di affresche e alcuni progetti grafici,” in Storia della Biblioteca Apostolica Vaticana (3 vols.), vol. 2, La Biblioteca Vaticana tra riforma cattolica, crescita delle collezioni e nuovo edificio (1535–1590), ed. Massimo Ceresa (Vatican City: Biblioteca Apostolica Vaticana, 2012), 379–417; Zuccari, “Una Babele pit- torica ben composta. Gli affreschi sistini della Biblioteca Apostolica Vaticana,” in La Biblioteca Apostolica Vaticana, ed. Ambrogio M. Piazzoni et al. (Milan: Jaca Book, 2012), 266–307.
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2 The most comprehensive studies of the iconography of the frescoes are now Dalma Frascarelli, “Immagini e parole. Il programma iconografico degli affreschi sistini della Vaticana,” in Storia della Biblioteca Apostolica Vaticana, 2:333–77; and Frascarelli, “Gli affreschi sistini: il pro- gramma iconografico,” in Piazzoni et al., Biblioteca Apostolica Vaticana, 178–265 (see esp. 206–9 for the topographical plan of the frescoes). See also Angela Böck, “Gli affreschi sistini della sala di lettura della Biblioteca Vaticana,” in Sisto v, ed. Marcello Fagiolo and Maria Luisa Madonna, 2 vols. (Rome: Istituto Poligrafico e Zecca dello Stato, 1992), 2:693–716; Alphonse Dupront, “Art et contre-réforme: les fresques de la bibliothèque de Sixte-Quint,” Mélanges de l’École française de Rome 48 (1931): 282–307; Angelo Rocca, De Bibliotheca Vaticana (Rome: Typographia Vaticana, 1591). 3 Isidore, Etymologiae 1.3–6. On Polydore Vergil, see Bock, “Gli affreschi sistini,” 703.