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CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Palazzo del Te: Art, Power, and Giulio Romano’s Gigantic, yet Subtle, Game in the Age of Charles V and Federico Gonzaga A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Interdisciplinary Studies with emphases in Art History and Political Science By Diana L. Michiulis December 2016 The thesis of Diana L. Michiulis is approved: ___________________________________ _____________________ Dr. Jean-Luc Bordeaux Date ___________________________________ _____________________ Dr. David Leitch Date ___________________________________ _____________________ Dr. Margaret Shiffrar, Chair Date California State University, Northridge ii ACKNOWLEDGEMENTS I would like to convey my deepest, sincere gratitude to my Thesis Committee Chair, Dr. Margaret Shiffrar, for all of her guidance, insights, patience, and encourage- ments. A massive "merci beaucoup" to Dr. Jean-Luc Bordeaux, without whom completion of my Master’s degree thesis would never have been fulfilled. It was through Dr. Bordeaux’s leadership, patience, as well as his tremendous knowledge of Renaissance art, Mannerist art, and museum art collections that I was able to achieve this ultimate goal in spite of numerous obstacles. My most heart-felt, gigantic appreciation to Dr. David Leitch, for his leadership, patience, innovative ideas, vast knowledge of political-theory, as well as political science at the intersection of aesthetic theory. Thank you also to Dr. Owen Doonan, for his amazing assistance with aesthetic theory and classical mythology. I am very grateful as well to Dr. Mario Ontiveros, for his advice, passion, and incredible knowledge of political art and art theory. And many thanks to Dr. Peri Klemm, for her counsel and spectacular help with the role of "spectacle" in art history. A colossal thank you to the Getty Research Institute of the J. Paul Getty Museum of Los Angeles – which very generously supported me in my research, especially with rare, historic books. I am also indebted to the wonderful Carol Togneri of the Norton Simon Museum of Art, near Los Angeles, for her support and graciousness. "Danke sehr" to Dr. Martina Hesser, for her very kind assistance to me in my research. Finally, “grazie mille” to Ugo Bazzotti, former director of Palazzo del Te, whose book uniquely helped to light my path. iii TABLE OF CONTENTS Signature Page ii Acknowledgements iii List of Images v Abstract viii Chapter 1: Introduction 1 Chapter 2: Political Context 5 Chapter 3: Methodology 20 Chapter 4: Renaissance Cultural Context: Covert Messages as Political Criticism, Games, Contradiction, and the “Fusion of Extremes” 24 Chapter 5: Giulio Romano’s Early Career in Rome: Raphael’s Studio and Independent Works ~~ c. 1515-24 30 Chapter 6: Mantua: Federico II Gonzaga as Patron 41 Chapter 7: Giulio Romano’s Competition: Local Artistic Milieu in Mantua ~~ 1460-1546 43 Chapter 8: Giulio Romano’s Palazzo del Te ~~ c. 1525-36 45 Architecture 47 Interior Decorations: Sala di Psiche 52 Interior Decorations: Sala dei Giganti 65 Chapter 9: After Federico Gonzaga’s Death ~~ 1540-46 81 Chapter 10: The Critical Fortune of Giulio Romano’s Palazzo del Te 83 Conclusion 88 References 91 iv LIST OF IMAGES Page Image 1 Portrait of Giulio Romano (c. 1536), Titian 3 Image 2 Portrait of Federico II Gonzaga (c. 1529), Titian 4 Image 3 Political Map of Italian Peninsula ~~ 1494 6 Image 4 H.R. Emperor Charles V, King François I of France, & Cardinal Alessandro Farnese (c. 1559), T. Zuccari 8 Image 5 Portrait of Baldassare Castiglione (1516), Raphael 11 Image 6 Portrait of Pietro Aretino (c. 1520s), Engraving, M. Raimondi 12 Image 7 Panoramic View of Mantua, 1575 15 Image 8 Fall of the Giants (c. 1531-33), Perino del Vaga 18 Image 9 Loggia di Psiche (c. 1517-18), Villa Chigi-Farnesina, Raphael, Giulio Romano, Giovanni da Udine, & Assistants 34 Image 10 Loggia di Raffaello (c. 1518), Raphael & Assistants; Vaulted Ceiling (c. 1520-24), Giulio Romano ~~ Villa Madama (c. 1518-27) 36 Image 11 I Modi Posture 11, Engraving, Raimondi (c. 1524); I Modi Posture 9, Woodblock print (c. 1550) with Sonnet by Pietro Aretino 38 Image 12 Plan of Palazzo del Te (1783) 46 Image 13 Palazzo del Te (c. 1525-36), Aerial View, Giulio Romano 48 Image 14 Palazzo del Te (c. 1525-36), North Façade, Giulio Romano 49 Image 15 Palazzo del Te (c. 1525-36), Courtyard, Giulio Romano 51 Image 16 Wedding of Cupid and Psyche (c. 1526-28) Fresco, Sala di Psiche, Palazzo del Te, South Wall, Giulio Romano & Assistants 53 v Page Image 17 Cupid and Psyche (c. 1526-28) Fresco, Sala di Psiche, Palazzo del Te, South Wall, Giulio Romano & Assistants 54 Image 18 Sala di Psiche (c. 1526-28) Frescoes, Palazzo del Te, West Wall, Giulio Romano & Assistants 55 Image 19 Sala di Psiche (c. 1526-28) Frescoes, Palazzo del Te, North Wall, Giulio Romano & Assistants 56 Image 20 Sala di Psiche (c. 1526-28) Frescoes, Palazzo del Te, East Wall, Giulio Romano & Assistants 57 Image 21 Jupiter seduces Olympias (c. 1526-28), Palazzo del Te, East Wall, Giulio Romano & Assistants 58 Image 22 Sala di Psiche (c. 1526-28) Vaulted Ceiling, Palazzo del Te, Giulio Romano & Assistants 61 Image 23 Sala di Psiche (c. 1526-28) Ceiling Detail, Palazzo del Te, Giulio Romano & Assistants 62 Image 24 Fall of the Giants (c. 1530-34) Frescoes, Sala dei Giganti, Palazzo del Te, North and West Walls, Giulio Romano & Assistants 67 Image 25 Fall of the Giants (c. 1530-34) Fresco, Sala dei Giganti, Palazzo del Te, North Wall, Giulio Romano & Assistants 68 Image 26 Frescoes with Illusionism (c. 1530-34), Sala dei Giganti, Palazzo del Te, South and West Walls, Giulio Romano & Assistants 69 Image 27 Frescoes with Illusionism (c. 1530-34), Sala dei Giganti, Palazzo del Te, Domed Ceiling and South Wall, Giulio Romano & Assistants 71 Image 28 Assumption of the Virgin (c. 1526-30), Cupola of Cathedral Duomo (Dome), Parma, Correggio (A. Allegri) 72 Image 29 Camera degli Sposi, Ceiling Oculus (c. 1473) with Illusionism, Palazzo Ducale, Andrea Mantegna 74 vi Page Image 30 Fall of the Giants (c. 1530-34) Fresco Detail, Sala dei Giganti Palazzo del Te, East Wall, Giulio Romano & Assistants 79 Image 31 Assembly of Gods around Jupiter’s Throne (c. 1530-34), Sala dei Giganti, Ceiling Detail, Palazzo del Te, Giulio Romano & Assistants 90 vii Abstract The Palazzo del Te: Art, Power, and Giulio Romano’s Gigantic, yet Subtle, Game in the Age of Charles V and Federico Gonzaga By Diana L. Michiulis Master of Arts in Interdisciplinary Studies with emphases in Art History and Political Science This thesis examines Giulio Romano’s Late Renaissance masterwork, Palazzo del Te (c. 1525-36) in Mantua, in the context of playing a critical role in the political success of his patron, Federico II Gonzaga, vis-à-vis Holy Roman Emperor Charles V. At the Palazzo del Te, Giulio combined a multiplicity of techniques throughout, as well as viewer engagement in the Sala dei Giganti (c. 1530-34). The clever complexity of Giulio’s palazzo stood in contrast to the conventional, two-dimensional portraits executed by many Cinquecento court artists for their benefactors. For centuries, scholars have deliberated Giulio’s underlying intentions for his mysterious Room of the Giants at the palace. The debates range from Vasari’s praise of the chamber in the 16th century; to the 20th and 21st centuries, when many academics have surmised that Giulio’s Sala dei Giganti exalted the Gonzaga and somehow referred – or paid tribute – to the Imperial Emperor. In contrast, I assert that Giulo’s Room of the Giants represented something viii dramatically different. The space, with its Fall of the Giants frescoes, conceivably held covert criticism of Emperor Charles V and the authoritarian political regime of the Holy Roman Empire. Giulio’s masterpiece-chamber potentially comprised indirect political dissent against foreign, Imperial occupation of the Italian peninsula, and also condemned the vicious quagmire of dynastic politics in early 16th century Italy. During the savagery of the Italian Wars (1494-1559), deliberately obscure discourse was of crucial importance, as the State and Church limited all forms of critical dialogue. This thesis additionally considers the duality of Giulio’s Palazzo del Te – although the palace was an autonomous work of art, according to Adorno’s Aesthetic Theory – it was also an exhibit of Federico’s princely power, whilst demonstrating an oppositional stance against the totalitarian political environment of early 16th century Italy, mostly via Giulio’s “ugly” giants in the Sala dei Giganti. After his visit to Palazzo del Te in 1530, the Imperial Emperor was so stupefied by Giulio’s palazzo and the Sala di Psiche (c. 1526-28), the companion room to the Sala dei Giganti, that the Habsburg monarch elevated Federico II Gonzaga to the first Duke of Mantua. Conversely in 1532, Charles V visited Palazzo del Te again and viewed the Sala dei Giganti – when he had to interpret for himself the enigmatic iconography of Giulio’s Fall of the Giants frescoes. I argue that it was plausible that the emperor comprehended Giulio’s arcane, political game of protest, which was similar to the Humanist Annibale Caro’s construal of the moral allegory at the gardens of Bomarzo: Monarchs must not abuse their power, nor should they position themselves higher than the gods. Giulio Romano’s genius and sophisticated, subtle wit, especially at his Late Renaissance chef d’ oeuvre, Palazzo del Te, solidified his own artistic reputation while enabling his patron to triumph – in the midst of the treachery and chaos of Charles V’s gigantic, political re-structuring of early 16th century Italy and her loss of political autonomy. ix CHAPTER 1: INTRODUCTION In contrast to the conventional, two-dimensional portraits executed by many Late Renaissance court artists for their patrons, Giulio Romano’s Palazzo del Te (c.1525-36), built for his patron Federico II Gonzaga, combined a multiplicity of techniques throughout, vast and complex interior decorations, as well as viewer engagement in his Sala dei Giganti.
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  • Contents More Information

    Contents More Information

    Cambridge University Press 978-0-521-56580-6 - Picturing Women in Renaissance and Baroque Italy Edited by Geraldine A. Johnson and Sara F. Matthews Grieco Table of Contents More information Contents List of Illustrations • vi Notes on Contributors • xii Acknowledgments • xiv INTRODUCTION. WOMEN AND THE VISUAL 1 ARTS: BREAKING BOUNDARIES Geraldine A. Johnson and Sara F. Matthews Grieco PART I. ENVISIONING WOMEN'S LIVES 15 1 Regarding Women in Sacred Space • Adrian Randolph 17 2 Imaginative Conceptions in Renaissance Italy • 42 Jacqueline Marie Musacchio 3 Pedagogical Prints: Moralizing Broadsheets and 61 Wayward Women in Counter Reformation Italy • Sara F. Matthews Grieco PART II. CREATIVE CAREERS: WOMEN AS 89 ARTISTS AND PATRONS 4 Taking Part: Benedictine Nuns as Patrons of Art and 91 Architecture . Mary-Ann Winkelmes 5 Lavinia Fontana and Female Life Cycle Experience in 111 Late Sixteenth-Century Bologna . Caroline P. Murphy 6 "Virgo-non sterilis...": Nuns as Artists in 139 Seventeenth-Century Rome . Franca Trinchieri Camiz PART III. FEMALE BODIES IN THE LANGUAGE 165 OF ART 7 Disrobing the Virgin: The Madonna lactans in 167 Fifteenth-Century Florentine Art • Megan Holmes 8 Donna/Dono: Chivalry and Adulterous Exchange in 196 the Quattrocento • Chad Coerver 9 Idol or Ideal? The Power and Potency of Female 222 Public Sculpture • Geraldine A. Johnson Notes • 247 Index (compiled by Heather R. Lee) • 301 V © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-56580-6 - Picturing Women in Renaissance and Baroque Italy Edited by Geraldine A. Johnson and Sara F. Matthews Grieco Table of Contents More information Illustrations i Lorenzo Lotto, Portrait of Lucrezia Valier, c.