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State Barges, Embroideries and Power in Renaissance Ferrara

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Splendour displayed: state barges, embroideries and power in Renaissance Ferrara A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2014 Beatrice Mezzogori School of Arts, Languages and Cultures Vol I of II Table of Contents Volume I List of Manuscript Sources (Appendix A) 4 List of Primary Printed Sources (Appendix B) 5 List of Charts and Tables 6 List of Illustrations 7 Abstract 16 Declaration 17 Copyright statement 17 Transcription, Currency and Presentation Norms 18 Acknowledgements 20 Foreword 22 1. Introduction 25 2. The cultural importance of having a bucintoro 40 Introduction 40 The Venetian Bucintoro, a model to outclass 42 Like a modern emperor: the discovery of Nemi ships 47 Courtly bucintori and Estense ambitions 53 Commissioning, maintaining and exploiting the Bucintoro 60 Dressed for the bucintori 65 3. Inside the Estense Bucintoro: the Hall of State 70 Introduction 70 The politics of bucintori 71 The coats of arms and devices of the Estense private stateroom 79 Brothers and rulers: Estense devices between Leonello, Borso and Ercole85 The embroidered stateroom of Borso: an interpretation 90 Colours for the duchy 104 4. The organizational structure for a splendid work: embroidering and painting Borso’s Bucintoro 110 Introduction 110 The painters of Borso’s Bucintoro and their activities 112 The patterns for the embroideries: pounced or etched? 118 The professional embroiderers of Borso’s Bucintoro 127 Embroiderers’ companions and workrooms 135 The circulation of embroideries in northern Italian courts 140 Talented amateurs: the embroideress 144 Female teams’ works for Borso 150 5. Borso d’Este’s attempt to become the first duke of Ferrara: the Bucintoro and Pope Pius II’s entries into Ferrara (1459 and 1460) 154 Introduction 154 Pius II and his trip for the Council of Mantua 155 The Ferrarese receptions of Pope Pius II 162 2 The magnificence of the good ruler 169 “I am faith”: the paladin’s ship 172 Borso, the first duke of Ferrara 177 6. Between honour and contraband: written laws and unwritten custom. The Estensi and their Bucintori in the period 1471-1598 183 Introduction 183 The unwritten laws of honour and magnificence 185 Isabella d’Este-Gonzaga competing for her honour 190 Duke Alfonso II d’Este’s theatrical entry into Venice 196 An honorable routine for princes: luxurious trips on the Bucintoro 200 Commercial trade on inland waters: contraband and the war for salt 205 7. Epilogue. The last flowering of Estense bucintori 210 Introduction 210 The entry of Pope Clement VIII and the inspection of the Po Delta 212 The 1598 naval procession and the princely entries into Ferrara 217 The ‘new’ Estense court in Modena and its landlocked bucintori 220 The abandonment of the Great Bucintoro Estense 224 8. Conclusion 227 Bibliography 232 Volume II Table of contents 266 Appendix A - Manuscript Sources 267 Appendix B - Primary Printed Sources 348 Charts and Tables 375 Illustrations 393 Total Word Count 78,457 3 List of Manuscript Sources (Appendix A) 1. (1434) ASMo, Libri Camerali Diversi, n. 4, “Intrada e Spexa”, 1434, cc. 132-133. 2. (1457) ASMo, Amm. C., “Arazzi e Tappezzerie”, registro n. 1, fols. 31- 32. 3. (1459) A.S.Mo, Amm. P., Borso, n. 9, “Manifature de li ricami de lo ornamento del bucintoro fato de dito anno 1459”, 4. (1459) ASMo, “Memoriale”, FF, 1459, c. 400. 5. (1463) ASMo, CD, “Giornale”, 1463, 82.33 6. (1471) ASMo, Amm.C., “Munizioni e Fabbriche”, 71.11. 7. (1488) ASMo, Amm.C., “Munizioni e Fabbriche”, 21.16. 8. (1504) ASMo, Amm.C., “Munizioni e Fabbriche” n. 45.46. 9. ASRE, Società d‟arti, “Arte della Lana e del Panno”, n. 19, busta 2353. 10. (1548) ASMo, Archivio per Materie, Arti e Mestieri, b. 27, “Lana”, undated (but 1548). 11. (1555) BCAFe, Archivio Antonelli, Ms. Classe I, L‟arte della lana come se usita nella città di Ferrara, 1555, fols. 29r-v. 12. (1528-1532) ASMo, Amm.C., Navi, n. 2, “Estratto de navi”. 13. (1599) ASMo, Amm.C., Navi, n. 4, “Arsenale di là da Po”. 14. (1785-1786) ASMo, Amm.C., Navi, n. 5, “Bucintori, Bergantini, Burchieli, Feluche, Battelli, Barche” V/11-18. 15. ASMo, Libri Camerali Diversi, n. 87, cc. 154 e sgg. 16. ASMo, C.D.E., Guardaroba, 1459, “Registro e mandati e spexa de lo officio de galaoto et de marco”. 17. ASMo, C.D.E., Guardaroba, n. 59. 18. ASMo, Ambasciatori dall‟estero, Roma, “Gurrone d‟Este”, 1459, n. 2 and n. 3. 4 List of Primary Printed Sources (Appendix B) 1. Enea Silvio Piccolomini, Commentarii, in Totaro L. (edt.), Piccolomini E. S., I Commentari, Milano, Adelphi, 2004. 2. Girardi G.B., Commentario delle cose di Ferrara, et de principi da Este, di m. Giovanbattista Giraldi gentil‟huomo Ferrarese ... Tratto dall‟epitome di m. Gregorio Giraldi; & tradotto per m. Lodovico Domenichi, Fiorenza, appresso Lorenzo Torrentino, 1556. 3. Flavius Blondus, Lucio Fauno, Roma ristaurata et Italia illustrata, in Venetia, 1542, pp. 77-79. 4. La entrata che fece in Vinegia, l‟illustrissimo et eccellentissimo S. Duca Alfonso II. Estense, Duca di Ferrara, De eiusdem Principis in urbem venetam ingressu natalis de comitibus carmen. In Venetia, Appresso Francesco Rampazetto, MDLXII. 5. Filippo Pizzichi, «Viaggio per l‟alta italia del Serenissimo Principe di Toscana poi Granduca Cosimo III descritto da Filippo Pizzichi», in Mutinelli Fabio, Annali urbani di Venezia dall‟anno 810 al 12 maggio 1797, Venezia, Merlo, 1841. 6. Annibale Romei, Discorsi del Conte Annibale Romei Gentilhuomo Ferrarese di nuovo ristampati, ampliati, e con diligenzia corretti. Divisi in sette giornate, nelle quali tra dame e cavaglieri ragionando, nella prima si tratta della bellezza, nella seconda dell‟amor humano, nella terza dell‟honore, nella quarta dell‟iniquità del duello, del combattere alla macchia; e del modo d'accomodar le querele, e ridur à pace le inimicitie private. Nella quinta della nobiltà, nella sesta delle ricchezze, nella settima della precedenza, Venezia, 1586. 7. Michel E. de Montaigne, Journal du voyage de Michel de Montaigne en Italie, par la Suisse & l‟Allemagne en 1580 & 1581, avec des notes par m. De Querlon, Paris, chez Le Jay, 1774. 8. The happie entrance of the high borne Queene of Spaine, the Ladie Margarit of Austria, in the renowned Cittie of Ferrara, London, imprinted by John Woolfe, 1599. 9. Giovan Francesco Ferro, Istoria dell‟antica città di Comacchio scritta dal dottore Gio. Francesco Ferro Comacchiese, in Ferrara, Appresso Bernardino Pomatelli, 1701. 10. Carlo Goldoni, La Gondola. Dialogo tra Cecco cocchiere fiorentino e Titta gondoliere veneziano. 11. Gospel of Pseudo-Matthew, ch. 20. 5 List of Charts and Tables 1. The Estense family tree (1383 – 1598) 2. The Estense family tree after the “devolution” of Ferrara to the Church (1599 – 1694) 3. Entries into Ferrara with the Bucintoro Grande (1438 – 1597) 4. The decorations of the main room of the Estense Bucintoro (1438-1467) 5. Borso‟s devices in 1452 and 1459 6. Number of times in which Borso‟s devices have been illuminated in his Bible (1450-1475) 7. Estense liveries between 1450-1459 8. Colours of the Estense Bucintoro in 1459 9. Gonzaga, Estensi e Malatesta family trees 10. The work performed by painters for Borso‟s Bucintoro 11. The process of creating the pattern for embroideries and trasferring it onto the fabric 12. The work performed by professional embroiderers for Borso‟s Bucintoro 13. Embroideresses who completed Borso‟s Bucintoro 14. Embroideresses who worked for the projects of Borso‟s bed, bucintoro and funeral pall 15. Expenses for the Estense Bucintoro and for Galeazzo Maria Sforza‟s boat (1459-1460) 16. Receptions of the Florentine Commune (1451-1467) 17. Expenses for the receptions of Pope Pius II in Ferrara (1458-1459) 18. Production of salt in Comacchio and Longastrino (1527 – 1538) 6 List of Illustrations 1. Giovanni Antonio Canal, known as Canaletto (1679-1768), The Bacino di San Marco on Ascension Day, 1733-34, cm. 78,8x125,4, London, The Royal Collection RCIN404417. © The Royal Collection. 2. Nicolò dell‟Abate, Battle on the sea with several galleasses, sixteenth century, Modena, Galleria Estense © Galleria Estense 3. The Venetian Bucintoro in the fifteenth century. © Urban L., 1998. 4. The Venetian Bucintoro in the sixteenth century. © London, British Library. 5. Justus Sadeler, Il Meraviglioso Bucintoro, nel quale il Ser.mo Principe di Venetia va solennemente il dì dell‟Ascensa à sposar il mare et con esso parimente fù fatto il gloriosissimo incontro al Ser.mo Antonio Priuli il giorno della serissima sua venuta al possesso del Principato, Venice, 1619, copper engraving, cm. 41,9x58. Verona, Private collection. © Beatrice Mezzogori. 6. The Savoyard Bucintoro, 1729-1731, Venaria (Torino), Reggia di Venaria Reale. © Torino, Palazzo Madama. 7. The Bourbons Bucintoro, detail with the gilded decoration on the prow, eighteenth century, Napoli, Museo di San Martino. © Ecomuseo dei Campi Flegrei. 8. The Bourbons Bucintoro, detail with the Hall on the stern, eighteenth century, Napoli, Museo di San Martino. © Ecomuseo dei Campi Flegrei. 9. A burchiello towed by a horse, engraving, 1591. Ferrara, Private collection. © Beatrice Mezzogori. 10. Fallers on the rivers Brenta and Piovegro (Veneto region) in the 1930s. © Gilberto Penzo. 11. An eighteenth-century Venetian Burchiello. Venice, Museo Navale. © Beatrice Mezzogori. 12. Gian Francesco Costa, Villa Pisani in Stra (Venice) with a burchiello and fallers, nineteenth-century, engraving. Ferrara, private collection. © Beatrice Mezzogori. 13. Salenti (etcher), Ferrara and its land, seventeenth-century, Ferrara, private collection. © Beatrice Mezzogori. 7 14. Paper tags of the looms prepared for Borso‟s Bucintoro (1459), in ASMo, Amministrazione dei Principi, Borso, “Manifature de li ricami de lo ornamento del bucintoro fato de dito anno 1459”, n. 9. © ASMo.
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    CATALOGUE OF THE ELEVENTH ANNUAL EXHIBITION OF ENGRAVINGS, ETCHINGS, WOODCUTS OF THE XV AND XVI CENTURIES MARCH 3RD TO MARCH 2IST, 1936 M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY-SEVENTH STREET NEW YORK ILLUSTRATED BOOKS AND NEWSPAPERS Discourse was deemed Man's noblest attribute, And written words the glory of his hand; Then followed Printing with enlarged command For thought — dominion vast and absolute For spreading truth, and making love expand. Now prose and verse sun\ into disrepute Must lacquey a dumb Art that best can suit The taste of this once-intellectual hand. A backward movement surely have we here, From manhood — bac\ to childhood; for the age — Bac\ towards caverned life's first rude career. U Avaunt this vile abuse of pictured page. Must eyes be all in all, the tongue and ear Nothing? Heaven keep us from a lower stage. WILLIAM WORDSWORTH ARTISTS REPRESENTED IN THIS EXHIBITION GERMANY ANONYMOUS (1425-1450) DOTTED PRINT 5 MASTER E. S 6 MARTIN SCHONGAUER 7 ANONYMOUS NORTH GERMAN (About 1480) 9 MASTER B. G 10 SCHOOL OF MARTIN SCHONGAUER 10 ISRAHEL VAN MECKENEM 10 MASTER M Z 13 AUGUSTIN HIRSCHVOGEL 14 HANS SEBALD LAUTENSACK 14 HANS BURGKMAIR 15 JOHANN ULRICH WECHTLIN (Pilgrim) 15 LUCAS CRANACH r6 NETHERLANDS MASTER F VB (F. van Brugge?) j$ LUCAS VAN LEYDEN Xo DIRICK JACOBSZOON VELLERT 21 ITALY NIELLO PRINT (Attributed to Francesco Francia) ....... 22 ANONYMOUS FLORENTINE: THE SIBYLS 22 CRISTOFANO ROBETTA 2, ANONYMOUS NORTH ITALIAN: "THE TAROCCHI CARDS" 24 DOMENICO BECCAFUMI (Master H-E) 2K ANONYMOUS XVI CENTURY: ROMAN SCHOOL 25 ANDREA MANTEGNA . _- -*5 SCHOOL OF ANDREA MANTEGNA 26 BARTOLOMEO DA BRESCIA 27 NICOLETTO ROSEX DA MODENA 28 JACOPO DE' BARBARI ...
  • Field Dissertation 4

    Field Dissertation 4

    OUTLANDISH AUTHORS: INNOCENZO FEDE AND MUSICAL PATRONAGE AT THE STUART COURT IN LONDON AND IN EXILE by Nicholas Ezra Field A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2013 Doctoral Committee: Associate Professor Stefano Mengozzi, Co-Chair Associate Professor Mark Clague, Co-Chair Professor Linda K. Gregerson Associate Professor George Hoffmann ACKNOWLEDGEMENTS In writing this dissertation I have benefited from the assistance, encouragement, and guidance of many people. I am deeply grateful to my thesis advisors and committee co-chairs, Professor Stefano Mengozzi and Professor Mark Clague for their unwavering support as this project unfolded. I would also like to extend my heartfelt gratitude to my dissertation committee members, Professor Linda Gregerson and Professor George Hoffmann—thank you both for your interest, insights, and support. Additional and special thanks are due to my family: my parents Larry and Tamara, my wife Yunju and her parents, my brother Sean, and especially my beloved children Lydian and Evan. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS................................................................................................ ii LIST OF FIGURES ............................................................................................................ v ABSTRACT....................................................................................................................... vi CHAPTER ONE: Introduction