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López De Aragón Arte Antiguo LÓPEZ DE ARAGÓN ARTE ANTIGUO GIROLAMO DENTE ALSO KNOWN AS GIROLAMO DI TIZIANO (C. 1510 - BEFORE 1572) THE FOUR SEASONS OIL ON CANVAS / 162 X 187 CM INSCRIPTION: HIEMO. D. TITIAN/N° 21 PROVENANCE: PARIS, CIRCA 1934; BUENOS AIRES, CIRCA 1990 The discovery of the Four Seasons by Girolamo Dente, almost a century after it was first recognised in a private collection in Paris, allows for reflection on one of the most faithful assistants of Titian (Tiziano Vecellio), who was born in Pieve di Cadore, around 1483/1485, and died in Venice in 1576. The inscription leaves no doubt about the identity of the author however it raises the question over its early provenance, that remains unresolved. All scholars agree on the attribution, but virtually no-one after Baron von Hadeln has been able to study the painting from live (1). The canvas has a thick herringbone texture, according to the Venetian tradition. The colours are fresh and reflect Titian’s palette. The painting is in very good condition. It is a fundamental starting point to research other paintings by “Girolamo di Tiziano”, who, like in this case, worked alone quite early, probably even outside his master’s atelier. Girolamo Dente was originally from the episcopal county of Cèneda, which is now a neighbourhood of Vittorio Veneto (2). The dioceses of Cèneda - also called Saint Titian, bishop of Oderzo, and till today subordinate to the Patriarchate of Aquileia- offered work to Venetian artists, especially to minor ones (3). Together with Belluno and Cadore, it was one of the Venetian territories most actively involved in a “simplified Tizianismo”(4). Although Girolamo Dente moved to Venice at a very young age, he kept very much in touch with his native village. Only Ortensio Lando remembers him correctly as “Girolamo Dente from Cèneda disciple of Titian of Cadore”(5), while Giorgio Vasari and other ancient writers simply call him “Girolamo di Tiziano”. In the words of Vasari: “Girolamo, who I know only by the surname di Tiziano, was Titian’s disciple and assistant for many works” (6). Girolamo Dente’s life and career are based on few documents and paintings of certain attribution. The scholars generally consider Girolamo Dente a minor, unoriginal artist, who worked within Titian’s sphere of influence (7). In the past, his name has sometimes even been confused with that of the Girolamo Muziano, like in the case of the altarpiece signed “HIE.mo” in the Gallerie dell’Accademia in Venice, which was correctly attributed by Sergio Claut (8). Girolamo Dente however may have had greater importance than is thought, both as an independent artist and as Titian’s assistant. Following the critical openings by Fossaluzza, Claut Calle Castillo de Alarcón 15 Villafranca del Castillo Madrid 28692 TLF. 00 34. 629229872 -- CIF. B.80237035 Email: [email protected] LÓPEZ DE ARAGÓN ARTE ANTIGUO and Lucco, Giorgio Tagliaferro has recently done considerable study to single out the personality of Girolamo Dente within Titian’s workshop. Anyway further research is required. For instance, nothing is known about his relationship with his brother Sabaoth who, following the death of Govanni da Udine (12 August 1561) - one of the main collaborator of Raphael- took over most of the fresco decoration of Pope Pius IV Loggia on the third floor of the Apostolic Palace in the Vatican City (9). The mysterious figure of Girolamo’s brother and his participation to one of the most important projects in late Roman Mannerism provide food for thought about the artistic exchanges between Venice and Rome (10). From a famous letter, written on 9th October 1564, García Hernández, the Spanish Ambassador living in Venice, informed Gonzalo Pérez, Secretary to Phillip II (11), that he had read and delivered a letter to Orazio Vecellio that Pérez had sent to Titian on 1st September. We learn from the letter how “Geronimo Ticiano, a relative or servant of his (...) lived in his home for over 30 years”(12). Girolamo Dente is likely to have become Titian’s helper in the early twenties and stayed within his sphere of influence for a long time. He was a witness at the wedding of Titian and Cecilia di Perarolo di Cadore, that was officiated by Paolo Dente in Venice in 1525 (13). Paolo Dente was deacon of San Giovanni Nuovo and older brother to Girolamo, who at the time was already living with Titian in the San Polo sestiere (district). Following that, Girolamo Dente moved with his master to Fondamenta Nuove in the parish of San Cancian, to the house-workshop of Biri Grande (this is now a warehouse located behind the present day Palazzo Donà delle Rose), a building that Titian rented out in 1531 and later refurbished to make it his home, where he spent the rest of his life (14). Very soon Girolamo Dente became the second permanent assistant after Francesco Vecellio (circa 1494-1560) (15). When Francesco, Titian’s younger brother, moved to Pieve di Cadore around 1530 to keep a close eye on the family timber and land administration businesses, Girolamo took over from him as first assistant. Working in his master’s shadow, he became known as a relative or servant (“deudo o criado”). As with other assistants or imitators of Titian, he even used the name of his master for his signature to underline the artistic affiliation and to attract the clients (Simone Peterzano did the same). The terms of Girolamo Dente’s artistic career are supported by little accurate data and the reconstruction of the catalogue of paintings is, as Tagliaferro says, “conjectural, to a large extent”(16). This is why it is useful to revisit the works that are documented or have been verified by studies. The decoration of the organ in the Cathedral of Cèneda dates from 1533, for which later in 1539, when he was living in Titian’s house in Venice (“Magistro Hieronimo pictore de Venetiis commoranti cum magistro Titiano de Cadubrio”), he accepted the Calle Castillo de Alarcón 15 Villafranca del Castillo Madrid 28692 TLF. 00 34. 629229872 -- CIF. B.80237035 Email: [email protected] LÓPEZ DE ARAGÓN ARTE ANTIGUO commission for painting his first documented altarpiece, the Madonna and Child, Saint Sebastian and Saint Rocco and the donor Bonetto Sarcinelli (17). In 1543 he is documented as a set designer in Treviso (18). I shall return to this point later, because it has never been considered in greater detail. The altarpiece Madonna and Child and john the Baptist, Margaret and Michael (Madonna con il Bambino e i santi Giovanni Battista, Margherita e Micheles) for the church of Santa Maria dei Battuti in Belluno (Venice, Gallerie dell’Accademia) (19), signed “HIER.mo”, appears to date from to 1559. The altarpiece Madonna and child with Saint john the Baptist and Saint Aaron for Sant’Aronne di Cusighe, in the province of Belluno, seems to date from the sixth decade; the church was frescoed by the young Paris Bordone (1500-1571), former disciple and later rival of Titian (20). Girolamo Dente’s peripheral activity is also confirmed by the altarpiece Saint Andrew between Saint Sebastian and Saint Roch, painted for the church of Sant’Andrea di Mel, in the diocese of Cèneda: the altarpiece, which was originally on a predella, is still conserved in the Annunziata parish church (21). Another important attribution to Girolamo Dente are the two panels of Saint Catherine and Saint Venera, previously attributed to Giuseppe Porta Salviati (circa 1520-1575) (22), that came from the church of San Giovanni Evangelista in Torcello (now in the Provincial Museum) (23). The large painting for the Albergo della Scuola della Carità, depicting the Annunciation and several portraits inserted in the sides, dates from 1557-1561 (Gallerie dell’Accademia, Venice, previously in temporary storage in Mason Vicentino) (24). The portrait of Doge Lorenzo Priuli, dated from 1560 and documented by a payment of 25 ducats to “Maistro Girolamo Tucian dipintor”, was thought destroyed in the fire at the Ducal Palace in Venice (1577), however it is the picture offered for sale at Sotheby’s (London, 28 April 1971, lot. 71) (25). Girolamo Dente painted several portraits however, virtually all of this part of his oeuvre remains almost entirely unexamined. The last well-known altarpiece, signed “HIER D. TICIAN”, depicting the Assumption of the Virgin Mary for the church of Sant’Elpidio a Mare, commissioned by Nicolò Gherardini (26), dates from 1564. Again in the Region of Marche, in Ancona, the attribution of the altarpiece in the sacristy of San Francesco ad Alto depicting Saint Mark the Evangelist, Saint Leonard and Saint Francis of Assisi, is still debated. The painting has variously been attributed to Muziano, Bordone and Dente. The attribution to Dente is shared by most scholars, with the exception of Tagliaferro, who disagrees for stylist reasons (27). I have not been able to examine the painting in person, because the Art Gallery of Ancona is temporary closed. The altarpiece in San Francesco ad Alto commemorates Marcantonio Antiqui and Leonardo Bonarelli, who were sentenced to death in 1534 by Cardinal Benedetto Accolti, governor of Ancona (28). Finally Dal Pozzolo has attributed to Dente another devotional painting, the Holy Conversation with both three- quarter length donors, formally Titian’s school, in the Gallery of Dresden (Inv. 175) (29). Calle Castillo de Alarcón 15 Villafranca del Castillo Madrid 28692 TLF. 00 34. 629229872 -- CIF. B.80237035 Email: [email protected] LÓPEZ DE ARAGÓN ARTE ANTIGUO The letter from Ambassador Hernandez cited above, dating from the end of the summer of 1564, was seeking to obtain a copy of The Martyrdom of Saint Lawrence, a masterpiece with a long and impressive history, that was executed by Titian for Elisabetta Querini, wife of Lorenzo Massolo, for and placed in the Venetian church of Santa Maria Assunta dei Crociferi.
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