Political Art of the Papacy: Visual Representations of the Donation of Constantine in the Early Modern Period by Silvia Tita A dissertation submitted in partial fulfillment on the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2013 Doctoral Committee: Professor Megan L. Holmes, Co-Chair Lecturer Thomas C. Willette, Co-Chair Professor Celeste A. Brusati Professor Louise K. Stein Associate Professor Achim Timmermann © Silvia Tita 2013 Acknowledgments The research period of this project brought me great intellectual joy. This would not have happened without the assistance of many professionals to whom I am much indebted. My deep gratitude to the staffs of the Biblioteca Apostolica Vaticana (with special thanks to Dott. Paolo Vian), the Archivio Segreto Vaticano, the Archivio di Stato Roma, the Biblioteca Angelica, the Biblioteca Casanatense, the Biblioteca Centrale di Roma, the Bibliotheca Hertziana, the Biblioteca di Storia dell'Arte et Archeologia, the Istituto Nazionale per la Grafica in Rome, the Biblioteca Marucelliana in Florence, Bibliothèque Nationale de France in Paris, the Departement des Arts Graphique and the Departement des Objets d'Art of the Louvre. I would also like to thank to the curators of the Kunstkammer Department of the Kunsthistorisches Museum in Vienna, especially to Dr. Konrad Schlegel who generously informed me on the file of the Constantine Cabinet. The project was born and completed as it is in Michigan. I would like to thank all members of my committee. Tom Willette deeply believed in the project and my ideas from the very beginning and offered great advice during our long conversations. Besides her involvement in the project, Megan Holmes reminded me about the primacy of images and about my duty to keep things “down to earth.” Louise Stein generously gave me advice on a variety of matters, and always alerted me to the intersecting threads of music and fine arts. Celeste Brusati, while graciously listening to the development of this ii project, cultivated my collateral interest in perspective through stimulating discussions and always put things “in perspective” in the field of art history. Achim Timmermann introduced the European factor into the equation, and showed investment in my project and my scholarly future. My thanks to Professor Stefano Zen for his kindness of putting his fabulous work on Baronius at my disposal at once. Deep gratitude to Giancarlo Fiorenza who has unassumingly advised me in my graduate career and showed renewed interest in my work (and who also graciously read and commented on sections of this dissertation). In the United States, the collection of the Newberry Library proved essential for my research. Many thanks to the professional staff that assisted me during my visits as a Short-Term Newberry Fellow, Newberry Library Grantee, and Mellon Italian Paleography Institute participant. Special thanks to Paul Gehl, the expert of the early- modern special collection, and to Diane Dillon, Carla Zecher, and Karen Christianson who introduced me to the resources and facilities of the institution. My home institution, University of Michigan, holds a fine rare book collection that I became extensively engrossed in while I was in Michigan. Thanks to the people of University of Michigan Library, and to those at the 7-Fast who made my life incredibly easy whatever my location in the world. The Fine Arts Library staff was immensely helpful. Even though I name here only Deidre Spencer, I want to thank all of them. Jeannie Worrall, Kim Wolf, Debbie Fitch, Chris Hobson, Christy Elkins, Luciana Borbely, and Jeff Craft magically solved several of my administrative questions. My fellow Tappanies showed collegiality throughout the years, for which I am grateful to them. Special thanks go to a trio that has positively marked my existence at Tappan from iii the very beginning: Anna, Bea, and Dragana. I would also want to thank to Paul Barron and Louis Cicciarelli from the Gayle Moriss Sweetland Center for Dissertation Writing Institute for their advice during my graduate studies at the University of Michigan, and especially during the time spent at the Institute as a Dissertation Writing Institute fellow. Many thanks to Professor Emeritus Ilene Forsyth not only for her stimulating scholarship but also for her generosity in supporting a fellowship that enabled me to do much of my research. Equally, thanks to the people supporting the Cracchiolo Fellowship in Italian Sacred Art. This fellowship helped me tremendously to conclude my on-site research. My Roman "grupetto" has treated me with great company on my travels and in conversation, which makes me crave planning new encounters and adventures. To my Parisian friends Marie, Anca, and Jean, thanks for their hospitality, walks, and great conversations at the dinner table. Equally, hospitality and wonderful conversations always welcomed me in the home of Louise Stein and Gary Supanich. I present my warm thanks to my parents for their continuous encouragement, for trusting my judgment, and for teaching me the importance of balancing things in life. I extend my warm thanks to my dear sister who introduced me to the wonders of writing by using the surface of a satin quilt. Finally, to Uri, for everything that he has offered me over the years and for his exuberance in living up this project at the same intensity I did despite the too many miles that often separated us. This is for him, a simple gift. iv Table of Contents Acknowledgement .......................................................................................................................... ii List of Figures ............................................................................................................................... vii List of Appendices ..................................................................................................................... xxiii List of Abbreviations.................................................................................................................. xxiv Abstract ........................................................................................................................................xxv Chapter I...........................................................................................................................................1 Introduction Chapter II .......................................................................................................................................32 Constructing Constantine and His Donation to the Church in Early Modern Rome Chapter III ......................................................................................................................................75 Gregory XIII and the Explanation of the Donation of Constantine in the Sala di Costantino in the Vatican Chapter IV ....................................................................................................................................128 Alternative Explanations of the Donation of Constantine after 1585: Appropriation, Prescription,and Ambiguity Chapter V .....................................................................................................................................199 Genealogies of Donations to the Papacy: the Donation of Constantine as Origin and Paradigm Chapter VI ....................................................................................................................................263 The Foundation of Constantinople, or the Translatio v Imperii ad Orientem, as a Proxy for the Donation of Constantine: The Rubens-da Cortona Life of Constantine Epilogue .......................................................................................................................................345 Figures..........................................................................................................................................348 Appendices ...................................................................................................................................509 Bibliography ................................................................................................................................516 vi List of Figures I.1. Arch of Constantine, 4th century, Rome [p. 347]. I.2. Herman van Swanevelt, Arch of Constantine, drawing, 17th century, inv 23029, recto, the Louvre [p. 347]. I.3. Lucas Cranach, Passional Christi und Antichristi, 1521 [p. 348]. II.1. Andrea Sacchi, Decisions of the Council of Nicaea, details, 1640s, the Lateran Baptistery, Rome [p. 349]. II.2. Constantine page from Ecclesiae Anglicanae Trophaea Sive Sactor, Rome, 1582, Istituto Nazionale per la Grafica, Rome [p. 350]. II.3. The Lateran Baptistery (protruding to the left: Chapel of St. John the Baptist) [p. 350]. II.4. Galeazzo Leoncino, The Council of 324 in S. Martino ai Monti, fresco, 1640, S.S. Silvestro e Martino ai Monti, Rome [p. 351]. II.5. Sancta Sanctorum, Rome [p. 351]. II.6. Ottavio Tronsarelli, Il Costantino, frontispice, Rome, 1629 [p. 352]. II.7. Constantine in Alessandro Donato, Constantinus Romae Liberator, 1640 [p. 353]. II.8. Le cose maravigliose dell'alma città di Roma, 1550 [p. 353]. II.9a. Le cose meravigliose della città di Roma, Roma, 1590 [p. 354]. II.9b. Le cose meravigliose della città di Roma, Roma, 1590 [p. 354]. II.9c. Le cose meravigliose della città di Roma, Roma, 1590 [p. 355]. II.10a. Giovanni Maggi, S. Croce in Gerusaleme, Roma, 1625 [p. 356]. II.10b. Giovanni Maggi,