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Allison M. Sherman Phd Thesis THE LOST VENETIAN CHURCH OF SANTA MARIA ASSUNTA DEI CROCIFERI: FORM, DECORATION, AND PATRONAGE Allison Morgan Sherman A Thesis Submitted for the Degree of PhD at the University of St Andrews 2010 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/1021 This item is protected by original copyright The Lost Venetian Church of Santa Maria Assunta dei Crociferi: Form, Decoration, and Patronage. Allison Morgan Sherman Submitted for the degree of Doctor of Philosophy School of Art History University of St Andrews 1 April 2010 Declaration 1. Candidate’s declarations: I, Allison Morgan Sherman hereby certify that this thesis, which is approximately 79,990 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2006 and as a candidate for the degree of Doctor of Philosophy in September 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2006 and 2010. 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Doctor of Philosophy in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date signature of supervisor 3. Permission for electronic publication: (to be signed by both candidate and supervisor) In submitting this thesis to the University of St Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and the abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker, that my thesis will be electronically accessible for personal or research use unless exempt by award of an embargo as requested below, and that the library has the right to migrate my thesis into new electronic forms as required to ensure continued access to the thesis. I have obtained any third-party copyright permissions that may be required in order to allow such access and migration, or have requested the appropriate embargo below. The following is an agreed request by candidate and supervisor regarding the electronic publication of this thesis: Access to all or part of printed copy but embargo of all or part of electronic publication of thesis for a period of three years on the following ground: publication would preclude future publication, and a permanent embargo of all images on the following ground: publication would be in breach of law or ethics due to extensive inclusion of copyright images. Date signature of candidate signature of supervisor i TABLE OF CONTENTS DECLARATION..............................................................................................................i TABLE OF CONTENTS................................................................................................ii ACKNOWLEDEGMENTS............................................................................................v LIST OF ABBREVIATIONS AND NOTES OF GUIDANCE.................................vii LIST OF FIGURES .......................................................................................................ix ABSTRACT................................................................................................................xviii CHAPTER I: INTRODUCTION .................................................................................1 1.1. Crociferi: Neglect, Clarification, and Reconstruction..............................................1 1.2. Archival Badlands.....................................................................................................3 1.3. Sources: Early History .............................................................................................8 1.4. Sources: The Venetian Crociferi..............................................................................9 1.5. Sources: The form and decoration of the church ...................................................10 CHAPTER II: HISTORY OF THE ORDER............................................................12 2.1. Crociferi: History ...................................................................................................12 2.2. Foundation, Development and Dispersion..............................................................13 2.3. Crosecchieri di Venezia ..........................................................................................16 2.4. Suppression .............................................................................................................24 CHAPTER III: THE CHURCH.................................................................................29 3.1. The Crociferi Church................................................................................................29 3.2. Architectural Form: Exterior..................................................................................32 3.3. Interior: 1581 and 1656..........................................................................................36 CHAPTER IV: MONASTIC PATRONAGE. FIRST PHASE (1500-1565)..........42 4.1. Monastic Patronage, 1500-1565 ..............................................................................42 4.2. The Crociferi and Music ........................................................................................42 4.3. The Crociferi, Preaching and Plays........................................................................45 4.4. Proactive Priors ......................................................................................................47 4.5. Coordinated Decoration in Venetian Churches......................................................50 4.6. Hieronimo Confalonieri and Giuliano Cirno .........................................................54 4.7. Tintoretto’s Assumption and the Chancel Decoration...........................................59 4.8. The Commission and Dating..................................................................................64 4.9. Dating: Competition and Style.............................................................................67 4.10. Patronage of the Altarpiece...................................................................................75 4.11. Toward a Marian Programme: Laterali ...............................................................85 4.12. Meaning and Experience.......................................................................................90 4.13. Unconventional Iconographies?............................................................................96 4.14. Tintoretto’s Wedding at Cana .............................................................................111 4.15. Summary .............................................................................................................126 iv CHAPTER V: MONASTIC PATRONAGE. SECOND PHASE (1580-1620) .... 128 5.1. Rebirth and Reconstruction .................................................................................... 128 5.2. The Impetus for the Second Phase........................................................................ 130 5.3. Priamo Balbi ......................................................................................................... 134 5.4. The Second Generation......................................................................................... 136 5.5. Palma il Giovane................................................................................................... 140 5.6 Chronology and Commemoration......................................................................... 143 5.7 The Sacristy........................................................................................................... 148 5.8. The Organ ............................................................................................................. 151 5.9. The Choir .............................................................................................................. 154 5.10. Side Altars............................................................................................................ 158 5.11. The Eucharist, Martyrdoms and Mary: A Post-Tridentine Decorative Programme.................................................................................................................... 161 5.12. The Eucharist ...................................................................................................... 164 5.13. Summary ............................................................................................................. 169 CHAPTER VI: CORPORATE PATRONAGE ...................................................... 171 6.1. Corporate Patronage.............................................................................................. 171 6.2. Setaioli .................................................................................................................. 173 6.3. Scuola di San Cristoforo, Passamaneri, Specchieri ............................................. 181 6.4. Sartori ..................................................................................................................
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