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The Scultori and Ghisi Engraving Enterprise in Sixteenth-Century Mantua and Beyond

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The Scultori and Ghisi Engraving Enterprise in Sixteenth-Century Mantua and Beyond “OLD IN SUBSTANCE AND NEW IN MANNER”: THE SCULTORI AND GHISI ENGRAVING ENTERPRISE IN SIXTEENTH-CENTURY MANTUA AND BEYOND by Hilary Letwin A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland December, 2013 Part 1 Abstract: This dissertation seeks to reframe the way in which the prints of the incisori Mantovani, Giovanni Battista (1503-1575), Adamo (1530?-1587) and Diana Scultori (1547-1612), and Giorgio Ghisi (1520-1582), are examined. Previously, their contributions in the printmaking process, largely engraving prints that are after the designs of other artists, have been dismissed as reproductive. This dissertation examines the ways in which these printmakers worked to elevate their engravings from simply reproductive to creative works of art in their own right. Their engravings, which certainly took inspiration from the designs of Giulio Romano, among others, were not the product of a close collaboration between a master and the engravers. Instead, the engravers appear to have worked fairly autonomously, in Mantua and elsewhere, engaging with and manipulating their source material, experimenting technically and in the design of their prints, and finally questioning the role of engraving within the greater framework of artistic practice in the sixteenth century. Chapter one examines the work of Giovanni Battista, who used printmaking as a creative outlet, seeking a freedom not possible in his other sculptural projects that were carried out according to the specifications of patrons and artistic masters. His engravings can be seen as an attempt to “conquer” these outside influences. Chapter two considers the prints and career of Adamo Scultori, who used his prints to comment on the “enslavement” of reproductive printmakers to their sources. Chapter three focuses on the engravings of Giorgio Ghisi, who explored the artistic power of “re-animation,” creating prints that resulted from a careful interweaving of other artists’ work with his own ii inventive contributions. Finally, chapter four examines the work of Diana Scultori, who sought to assert her learning through her prints and prove herself as an “initiate” into a literate community. In many of their prints, these four printmakers looked to achieve their ends through the inclusion of specific details that grounded the subjects of their prints, often biblical or historical in nature, within a specific sixteenth-century context. In doing this, they imbued their prints with an enhanced appeal by adding multiple meanings, celebrating the potential that printmaking held as an artistic medium. Advisor: Professor Stephen J. Campbell Second Reader: Professor Mitchell Merback iii Acknowledgments This project could not have been completed without the generous support of many individuals and institutions. I owe a great debt of gratitude to my advisor, Stephen Campbell, for his invaluable advice and patience, which led this project to fruition. My appreciation also goes to Mitchell Merback, who served as my second reader, and to my committee for their suggestions. At the British Museum, I must thank Mark McDonald, Hugo Chapman, Anthony Griffiths and Angela Rhodes for their guidance and support during my time there as a Bromberg Fellow and later, as a volunteer cataloguer. Completion of this dissertation would not have been possible without funding from the Singleton Center, Johns Hopkins University, and the Adolf Katzenellenbogen Memorial Prize, which enabled me to conduct research in Italy and beyond. I am grateful to the staff at the Archivio di Stato and the Archivio Diocesiano in Mantua, as well as the Archivio di Stato in Verona. My experience at the Attingham Summer School, with generous funding from the Kress Foundation, enlivened my consideration of my chosen topic. I am also indebted to Rena Hoisington and Ann Shafer at the Baltimore Museum of Art for their support and guidance during my time as a Carlson/Cowart Fellow in the Department of Prints, Drawings & Photographs. Various scholars have offered feedback at different points in this process, including Molly Bourne, Guido Rebecchini, Suzanne Boorsch, Peter Parshall, Anne Varick Lauder, Michael Bury, Bronwen Wilson, Naoko Takahatake and Catherine Jenkins. I must thank my parents and my father-in-law for their continued support. Finally, I am grateful to my husband, who, by way of encouragement, has considerably amplified my library with the key texts concerning the incisori Mantovani. Whatever will he give me for Christmas? iv Table of Contents Part 1 Abstract ii-iii Acknowledgements iv Table of Contents v List of Illustrations vi-ix Introduction 1 Chapter 1: Artists and Giants: Giovanni Battista Scultori’s Engraved Conquests 22 Chapter 2: An Artistic Slave: Adamo Scultori’s Reproductive Prints 66 Chapter 3: Pictorial Re-Animation: Giorgio Ghisi’s Engravings Brought to Life 95 Chapter 4: A Privileged Initiate: Diana Scultori’s Learned Letters 146 Conclusion 194 Appendix 1: Letter from Giovanni Maria Luzzara, to Cardinal Ercole 205 Gonzaga, 31 January, 1550, Archivio de Stato, Mantua, Archivio Gonzaga, XI.2 Bibliography 208 Part 2 Figures 229 Curriculum Vitae 343 v List of Illustrations Ch. 1: Giovanni Battista Scultori 1. David and Goliath, G.B. Scultori, 1540 (13.8 x 17.6 inches) 1a. Detail of David and Goliath, G.B. Scultori, 1540 (13.8 x 17.6 inches) 2. David and Goliath, Loggia di Davide, Palazzo Te, Mantua 3. Victory of David, Loggia di Davide, Palazzo Te, Mantua 4. Negroli Helmet, Metropolitan Museum of Art, New York (17.190.1720) 5. “Gonzaga” Vase, Galleria Estense, Modena 6. Sala di Psyche, Palazzo Te, Mantua 7. David and Goliath, Maiolica Vase, Domenico da Venezia, circa 1550-1600, Museo di Messina (A1584) 8. Pax, Deposition of Christ, Diocesan Museum, Mantua 9. Naval Battle, G.B. Scultori, 1538 (15.8 x 22.6 inches) 9a. “Hercules,” Detail of Naval Battle, G.B. Scultori, 1538 (15.8 x 22.6 inches) 9b. Winged thunderbolts, Detail of Naval Battle, G.B. Scultori, 1538 (15.8 x 22.6 inches) 9c. Broken oar, Detail of Naval Battle, G.B. Scultori, 1538 (15.8 x 22.6 inches) 9d. Horses, Detail of Naval Battle, G.B. Scultori, 1538 (15.8 x 22.6 inches) 10. Greek relief, 2nd century A.D., Museo Archeologico, Venice 11. Neptune Calming the Tempest, Giulio Bonasone, after Perino del Vaga 12. The Climber, Marcantonio Raimondi 13. Draft of Fishes, Acts of the Apostles Tapestries, Vatican Collections 14. Battle of Ostia, Stanza del Incendio, Vatican 15. Medal of Ferrante Gonzaga, Leone Leoni, circa 1555 16. Landing in La Goletta, Jan Vermeyen, Patrimonio Nacional, Madrid 17. The Taking of La Goletta, Jan Vermeyen, Patrimonio Nacional, Madrid 18. The Conquest of Tunis, Erhard Schoen, 1535 19. The Conquest of Tunis, Agostino dei Musi, 1535 20. “Plus Ultra” Shield, Circa 1535, Patrimonio Nacional, Madrid 21. Sleeping Cupid, G. B. Scultori, 1538 (4.1 x 5.7 inches) Ch. 2: Adamo Scultori 22. The Allegory of Servitude, A. Scultori, circa 1570 (8 x 5.4 inches) 23. The Allegory of Servitude, Andrea Mantegna or assistant, Rothschild Collection, Musée du Louvre, Paris 24. The Allegory of Servitude, British Museum, London (Inv. No. 1895,0915.776) (9.3 x 6.4 inches) 25. The Allegory of Servitude, Musée des Beaux-Arts, Rennes (Inv. No. 794.1.2836) 26. The Allegory of Servitude, Albertina, Vienna vi 27. Francesco Pellegrino, Frontispiece, La fleur de la science de portraicture et patrons de broderie, façon arabicque et ytaliquei 28. Virgin and Child, A. Scultori, circa 1531 (4.3 x 3 inches) 29. Two Ladies with a Baby, A. Scultori, circa 1545 (4.7 x 3.5 inches) 30. Turbaned Woman, Marcantonio Raimondi, circa 1510-1527, (4.9 x 3 inches) 31. Woman holding a baby, Marcantonio Raimondi, circa 1510-1527, (4.8 x 3 inches) 32. Fishermen, A. Scultori, circa 1563 (8.1 x 12.1 inches) 33. Fishermen, designed by Giulio Romano and painted by Agostino Mozzanea, Sala dei Venti at the Palazzo Te, Mantua, 1527-8 34. Fishermen, Giulio Romano, Musée du Louvre, Paris (Inv. No. 3560) 35. Three putti playing with dolphins, A. Scultori, circa 1547 (4.7 x 6.3 inches) 36. Allegory of Autumn, A. Scultori, circa 1547 (4.7 x 6.3 inches) 37. Three putti playing with dolphins, Enea Vico (2.6 x 3.5 inches) 38. Three putti playing dolphins, Battista Franco (2.8 x 4.1 inches) 39. Page of Gem Carvings, Battista Franco 40. Aeneas with Anchises and Ascanius, A. Scultori, circa 1547 (8 x 5.5 inches) 41. Hercules and Iole (?), A. Scultori, circa 1547 (6.1 x 5 inches) 42. Two Putti in a chariot, A. Scultori, circa 1547 (5.1 x 7.8 inches) 43. Nymph and Faun, A. Scultori, circa 1547 (7.9 x 5.3 inches) 44. Two Putti riding on dolphins, A. Scultori, circa 1547 (5.5 x 8 inches) 45. Lion biting the flank of a horse, A. Scultori, circa 1547 (5 x 7.1 inches) 46. Two Putti in a chariot, Giulio Romano?, Biblioteca Reale, Turin (Inv. No. 15785) 47. Two Putti riding on dolphins, Sala delle Aquile, Palazzo Te, Mantua 48. Lion attacking the horse sculpture, Capitoline Museum, Rome 49. Archers, after a drawing by Michelangelo 50. Jeremiah, Michelangelo, Sistine Chapel, Vatican 51. Resurrection of Christ, after a drawing by Giulio Romano, 1575 52. Copy of Mars and Venus, Copy after Rosso Fiorentino Ch. 3: Giorgio Ghisi 53. Vision of Ezekiel, G. Ghisi, 1554 (16.4 x 26.8 inches) 54. Tomb of Pietro Strozzi, designed by Giulio Romano, St Andrea, Mantua 55. Last Supper, G. Ghisi, 1551 (13.3 x 21.6 inches) 56. School of Athens, G. Ghisi, 1550 (20.7 x 32.4 inches) 57. Disputa, G. Ghisi, 1552 (20.2 x 33.2 inches) 58. The Nativity, G.
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