religions

Article Masterpieces, Altarpieces, and Devotional Prints: Close and Distant Encounters with ’s Vatican Pietà

Gra˙zynaJurkowlaniec

Institute of Art History, University of Warsaw, Krakowskie Przedmie´scie26/28, 00-927 Warszawa, Poland; [email protected]

 Received: 2 April 2019; Accepted: 1 May 2019; Published: 7 May 2019 

Abstract: Focussing on the response to the Vatican Pietà and perversely using as a point of departure a 1549 remark on Michelangelo as an ‘inventor of filth,’ this article aims to present Michelangelo as an involuntary inventor of devotional images. The article explores hitherto unconsidered aspects of the reception of the Vatican Pietà from the mid-sixteenth into the early seventeenth century. The material includes mediocre anonymous woodcuts, and elaborate engravings and etchings by renowned masters: , Cornelis Cort, Jacques Callot and Lucas Kilian. A complex chain of relationships is traced among various works, some referring directly to the Vatican Pietà, some indirectly, neither designed nor perceived as its reproductions, but conceived as illustrations of the Syriac translation of the New Testament, of Latin and German editions of Peter Canisius’s Little catechism, of the frontispiece of the Règlement et établissement de la Compagnie des Pénitents blancs de la Ville de Nancy—but above all, widespread as single-leaf popular devotional images.

Keywords: devotional image; Pietà; Michelangelo Buonarroti; reception

1. Introduction Michelangelo’s contemporaries unanimously described his Vatican Pietà (Figure1), carved between 1498 and 1500, as the work that ensured the fame of the young artist and thus paved the way for his subsequent career (Vasari 1962); (Condivi 2009). More problematic was the devotional value of the work, as demonstrated by Pietro Aretino’s criticism (Aretino 1957), and also the opinion of another author on the copy displayed in the church of Santo Spirito in in 1549. The author of the Florentine Chronicle, also titled Diario del 1536 di Marucelli, regarded Michelangelo as ‘the inventor of filth, saving the art but not the devotion’ (de Tolnay 1948)—inventor delle porcherie, salvandogli larte ma non devotione (Enrico 2000). Nonetheless, this view, noted by scholars as early as the nineteenth century (Gaye 1839) and often quoted since then, must have been rather isolated. Displayed in various altars of the old and then the new Vatican Basilica through the centuries, Michelangelo’s Pietà was not only described as a masterpiece, but also—despite criticism—venerated as a holy image, a status that was officially confirmed by its coronation by the Chapter of St. Peter’s in 1637 (Jurkowlaniec 2015). In the sixteenth and early seventeenth centuries, several of Michelangelo’s works provoked various responses as masterpieces or as religious images. The Pietà drawing for Vittoria Colonna (Boston, Isabella Stewart Gardner Museum) was not only a typical artist’s gift, a token of his skills, but also a devotional image strictly related to Michelangelo’s and Vittoria’s considerations of the question of divine grace, as can be inferred from the preserved correspondence (Nagel 2000); (Roman D’Elia 2006). In turn, the Last Judgment in the was perceived as a fresco that shows the power of art, but it was also vehemently criticised by Aretino, among others, as an indecent painting, which was particularly inappropriate in the pope’s chapel (De Maio 1990); (Barnes 1998). The marble statue

Religions 2019, 10, 309; doi:10.3390/rel10050309 www.mdpi.com/journal/religions ReligionsReligions2019 2019, 10, 10,, 309 x FOR PEER REVIEW 2 2of of 21 20

which was particularly inappropriate in the pope’s chapel (De Maio [1974] 1990); (Barnes 1998). The of Risen Christ in Santa Maria sopra Minerva in was praised for its excellence, but it was marble statue of Risen Christ in Santa Maria sopra Minerva in Rome was praised for its excellence, but also reportedly mutilated by Dominican friars who, scandalized by the figure’s nudity, were said to it was also reportedly mutilated by Dominican friars who, scandalized by the figure’s nudity, were said have broken off Christ’s penis (Ligorio 1549) cf. (Celio 1638). However, in the early modern period to have broken off Christ’s penis (Ligorio 1549) cf. (Celio 1638). However, in the early modern period the Minerva Christ, provided with a loincloth and displayed within a tabernacle, was venerated the Minerva Christ, provided with a loincloth and displayed within a tabernacle, was venerated by bythe the faithful. faithful. Since Since it must it must have have been been a widespread a widespread custom custom to kiss to kissChrist’s Christ’s feet, feet,the General the General of the of theDominicans, Dominicans, Antonino Antonino Cloche, Cloche, commissioned commissioned metal metal sandals sandals in in1706, 1706, to toprotect protect the the marble marble from from destructiondestruction (Panofsky(Panofsky 19911991);); ((SchwedesSchwedes 19981998).). As As the the devotional devotional practices practices continued, continued, one one of of the the sandalssandals was was hardly hardly preserved preserved inin thethe earlyearly nineteenthnineteenth centurycentury ((StendhalStendhal 1817),1817), cf. cf. (Wallace (Wallace 1997).1997).

FigureFigure 1. 1.Michelangelo Michelangelo Buonarroti,Buonarroti, PietPietàà,, 1489–1500,1489–1500, marble, Rome, Rome, San San Pietro Pietro in in Vaticano. Vaticano. Archival Archival photo,photo, before before 1927 1927 (the (the datedate ofof thethe removalremoval ofof thethe crown and the putti) © KunsthKunsthistorischesistorisches Institut Institut in in Florenz,Florenz, Max-Planck-Institut, Max-Planck-Institut, Florence.Florence.

Michelangelo’sMichelangelo’s worksworks becamebecame famousfamous thanks to written accounts, including including eulogies, eulogies, factual factual descriptions,descriptions, and and pasquinades, pasquinades, as well as wellas engravings, as engravings, which were which used were profusely used at profusely that time to at reproduce that time tofamous reproduce works famous of art and works—since of the art fifteenth and—since century the—to fifteenth disseminate century—to devotional disseminate images. Early devotional modern images.inventories Early evidence modern that inventories prints after evidence Michelangelo’s that prints sculptures, after Michelangelo’s paintings, and sculptures, drawings paintings, were offered and

Religions 2019, 10, 309 3 of 20 drawings were offered by Roman publishers, and often listed among devotional images (Franz 1908); (Pagani 2008a; Pagani 2008b; Pagani 2011; Pagani 2012); (Lincoln 2000); (Rubach 2016). Some of these engravings were subsequently copied and copied again and thus contributed to the dissemination of the design, and were used in various contexts. The reception of the Vatican Pietà was ubiquitous in writings, but also in the visual culture of the sixteenth and early seventeenth centuries. Among many copies, reproductions, travesties, and pastiches executed in various techniques, some referred to the sculpture as Michelangelo’s masterpiece, some depicted it as an altarpiece of St. Peter’s Basilica, while some—and these are most relevant for our argument—used it as a point of departure for devotional images. In the previous research, the devotional value of the copies of the Vatican Pietà, particularly those executed in graphic techniques, has admittedly been acknowledged (Barnes 2010); (Veress 2010–2011); (Veress 2012); (Alberti 2015), but several works remain unnoticed and thus various aspects of the phenomenon have been hitherto neglected. The aim of this paper is to elaborate on the less-explored pattern of the reception of the Vatican Pietà, and thus to contribute to the discussion on how a masterpiece turns into a devotional image—sometimes for the sake of ‘simple folk,’ sometimes intended for a more sophisticated public—in a process in which various models are occasionally combined and the name of the original author often gets lost.

2. Fontainebleau: A Copy for the King In a letter to Michelangelo, dated 8 February 1546, Francis I of France expressed his desire to possess the master’s works (Giovanni and Barocchi 1979). The King wished to purchase them via his agent in Rome, a Bolognese painter Francesco Primaticcio, whom he also asked to mould the Vatican Pietà and the Minerva Christ, wanting the copies of these sculptures to be displayed in his chapel. While the whereabouts of the copy of the Minerva Christ remain unknown, the royal accounts of the 1540s include an entry for a Pietà in the Haute Chapelle du Donjon, the Royal Chapel of the Palace of Fontainebleau (Comptes des bâtiments 1877). The 1642 description of the palace confirms that the Pietà, moulded after Michelangelo’s sculpture in the Vatican, was displayed on the right side of the altar of the chapel (Dan 1642). Eventually, in 1664, the figure was moved to the Chapel of the Holy Trinity, which seems to be the last trace of this work (Cox-Rearick 1995). Now lost, the Fontainebleau cast was made to fulfil Francis’s personal desire as an art amateur, but it was also, like the copy in Santo Spirito in Florence and several others, displayed in a sacred place, even if it was not a publicly accessible church but the King’s chapel in his palace. This combination of aesthetic and religious motivations, on the one hand, and the intersection of the public and the domestic spheres, on the other hand, invite us to analyse the reception of Michelangelo’s sculpture as a masterpiece, as an altarpiece, and also as a model for devotional images. The Fontainebleau copy of the Vatican Pietà was perhaps the earliest one north of the Alps (for despite some similarities, I do not believe the relief, dated ca. 1520, in the epitaph of Johann von Hatstein in the cloister of Mainz Cathedral to be a descendant of the Vatican Pietà; cf. (Thode 1908)). The question arises, then, of how Francis I became familiar with particular Michelangelo works that he wanted to be copied. A possible intermediary was Primaticcio, one of several Italian artists working in Fontainebleau. Francis had already sent Primaticcio to Rome in 1540 to take casts of the most famous ancient sculptures, notably those from the Belvedere collection (Dimier 1900); (Cupperi 2010). It must remain conjecture whether the King relied on written or oral accounts, or had some visual sources at his disposal, such as drawings, rather than engravings. Prints are usually regarded as a typical medium by scholars. However, interestingly, Francis’s letter to Michelangelo ranks among the earliest responses to the Vatican Pietà and the Minerva Christ and it also predates the printed reproductions of both works.

3. Intermediaries: Italian Engravings of the Mid-Sixteenth Century Among the earliest Italian engravings after the Vatican Pietà are two prints dated 1547. The one attributed to Antonio Salamanca and Nicolas Beatrizet displays the group of Mary and Christ against a ruined niche and is inscribed ‘Michelangelo Buonarroti of Florence divinely made from one stone Religions 2019, 10, 309 4 of 20

Religions 2019, 10, x FOR PEER REVIEW 4 of 21 the mother and the son for the [Basilica of] Saint Peter in the Vatican/Antonio Salamanca engraved in 1547,as much as much as asit could it could be beimitated’ imitated’ (MICHELANGALVS (MICHELANGALVS BONAROTVS BONAROTVS FLOREN[inus] FLOREN[inus] DIVI DIVIPETRI PETRI IN INVATICANO VATICANO EX EX VNO VNO LAPIDE LAPIDE MATREM MATREM // //ACAC FILIVM FILIVM DIVINE DIVINE FECIT FECIT // //ANTONIVSANTONIVS SALAMA[n]CA SALAMA[n]CA QVODQVOD POTVIT POTVIT IMITATVS IMITATVS EXCVLPSIT EXCVLPSIT 15471547), which inevitably inevitably suggests suggests to to an an erudite erudite beholder beholder that that Salamanca reproduced a masterpiece that rivals ancient sculptures (Figure 2). For a less-educated Salamanca reproduced a masterpiece that rivals ancient sculptures (Figure2). For a less-educated and, and, especially, illiterate spectator, however, it may not be clear if the engraving depicts a marble especially, illiterate spectator, however, it may not be clear if the engraving depicts a marble sculpture or sculpture or Mary holding Christ on her lap (Barnes 2010, p. 149). Thanks to this ambiguity, the print Mary holding Christ on her lap (Barnes 2010, p. 149). Thanks to this ambiguity, the print might satisfy might satisfy a wide range of both learned art amateurs and faithful believers. It is, for instance, a wide range of both learned art amateurs and faithful believers. It is, for instance, meaningful that meaningful that Salamanca’s engraving was copied twice, still in the late sixteenth century (Alberti Salamanca’s2015, nos. 311–13). engraving was copied twice, still in the late sixteenth century (Alberti 2015, nos. 311–13).

Figure 2. Antonio Salamanca and Nicolas Beatrizet, Pietà after Michelangelo Buonarroti, 1547, engraving. Figure 2. Antonio Salamanca and Nicolas Beatrizet, Pietà after Michelangelo Buonarroti, 1547, engraving. London, Victoria and Albert Museum, DYCE.1099 (as School of Marcantonio Raimondi) © Victoria London, Victoria and Albert Museum, DYCE.1099 (as School of Marcantonio Raimondi) © Victoria and Albert Museum, London. and Albert Museum, London.

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ReligionsMore 2019 unequivocal, 10, x FOR PEER is REVIEW the contemporaneous engraving by Giulio Bonasone, inscribed5 of 21 MICHAELANGELVS BONAROTVS NOBILIS // FLORENTINVS INVENTOR IVLIVS BONASONIS F(ecit) (AlbertiMore unequivocal2015, no. 314) is (Figurethe contemporaneous3). While the concise engraving and factualby Giulio inscription Bonasone, explicitly inscribed refers to MichelangeloMICHAELANGELVS as the BONAROTVS inventor, the imageNOBILIS obscures // FLORENTINVS the material INVENTOR features ofIVLIVS the original, BONASONIS as Mary andF(ecit) Christ (Alberti are placed 2015,in no. the 314) landscape, (Figure 3). at While the foot the of concis the Crosse and amongfactual inscription the instruments explicitly of therefers Passion to (BarnesMichelangelo 2010, p. as 149). the inventor, Thus, Bonasone the image tookobscures Michelangelo’s the material features sculpture of the as original, a point as of Mary departure and Christ for his ownare representation placed in the landscape, of Pietà, aat widespreadthe foot of the motif Cross ofamong Christian the instruments iconography. of the Such Passion an (Barnes attitude 2010, may p. also be traced149). Thus, back Bonasone in two took prints Mi thatchelangelo’s are travesties sculpture rather as a point than of reproductions departure for his of own the representation Vatican Pietà of: the Pietà, a widespread motif of Christian iconography. Such an attitude may also be traced back in two prints engraving signed by Monogrammist PHPT, active in the late sixteenth century (Alberti 2015, no. 318), that are travesties rather than reproductions of the Vatican Pietà: the engraving signed by Monogrammist to which we shall return, and the engraving by Mario Cartaro of 1564—the year of Michelangelo’s PHPT, active in the late sixteenth century (Alberti 2015, no. 318), to which we shall return, and the death (Alberti 2015, no. 319). engraving by Mario Cartaro of 1564—the year of Michelangelo’s death (Alberti 2015, no. 319).

FigureFigure 3. Giulio3. Giulio Bonasone, Bonasone,Piet Pietàà after after MichelangeloMichelangelo Buonarroti Buonarroti,, 1547, 1547, engraving. engraving. New New York, York, The The MetropolitanMetropolitan Museum Museum of of Art, Art, acc. acc. no. no. 59.595.359.595.3 © TheThe Metropolitan Metropolitan Museum Museum of ofArt, Art, New New York. York.

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In or soon after 1564, further engravings were produced, which testify to the development of theReligions two di 2019fferent,, 10, x FOR even PEER if occasionallyREVIEW merging, responses to the Vatican Pietà. Giovanni6 Battistaof 21 de’ Cavalieri admittedly showed Mary and Christ with a cross in the background, but his print In or soon after 1564, further engravings were produced, which testify to the development of the two clearly reproduces the sculpture, together with the rocky ground on which Michelangelo situated different, even if occasionally merging, responses to the Vatican Pietà. Giovanni Battista de’ Cavalieri theadmittedly figures, and showed the erudite Mary and caption Christ contains with a cross homage in the tobackground, Michelangelo but his and print no clearly explicit reproduces reference to devotionthe sculpture, (Alberti together 2015, no. with 316 the); ( Jurkowlaniecrocky ground 2015on which, p. 184). Michelangelo Adamo Scultorisituated depictedthe figures, the and sculpture the too,erudite but he caption situated contains it in front homage of an to opening Michelangelo in the and rock, no thusexplicit alluding reference to theto devotion rock-cut (Alberti tomb of2015, Christ (Albertino. 316); 2015 (Jurkowlaniec, no. 315) (Figure 2015, 4p.). 184). Moreover, Adamo inScultori the second depicted (out the of sculpture four) state, too, datedbut he 1566,situated Scultori’s it in engravingfront of wasan opening inscribed: in the ‘Michelangelo rock, thus alluding Buonarroti to the accomplishedrock-cut tomb of these Christ statues, (Alberti which 2015, canno. be315) seen in the(Figure Vatican, 4). Moreover, so accurately, in the second that you (out rather of four) mourn state, thedated virgin 1566, Mother, Scultori’s scarcely engraving breathing, was inscribed: pale and exhausted,‘Michelangelo and the Buonarroti pitiable accomplished dead body of these her statues, son, than which suspect can be them seen erectedin the Vatican, of marble’ so accurately, (MICH(ael) ANG(elus)that you BONAROTVS rather mourn signa the virgin haec,quae Mother, in uaticano scarcely uisuntur, breathing, ita exactepale and perfecit, exhausted, ut potius and Parentem the pitiable uirginem // extremodead body spiritu of exanguemher son, than & confectam, suspect them et nati erected corpus of miserabilemarble’ (MICH(ael) emortuum ANG(elus) doleas; quam BONAROTVS de marmore signa positum puteshaec,). Various quae in literaryuaticano allusionsuisuntur, ita to ancientexacte perfecit, poetry ut included potius Parentem in this uirginem caption are// extremo in the servicespiritu exanguem of devotion & confectam, et nati corpus miserabile emortuum doleas; quam de marmore positum putes). Various literary (Jurkowlaniec 2015, p. 179). A beholder is invited to contemplate ‘the pitiable dead body’ of Christ allusions to ancient poetry included in this caption are in the service of devotion (Jurkowlaniec 2015, p. and the ‘scarcely breathing’ Mary (a quote from Cicero, For Sestius 37. 79). Hence, the inscription 179). A beholder is invited to contemplate ‘the pitiable dead body’ of Christ and the ‘scarcely breathing’ is addressed to a pious faithful rather than to an art amateur, but even the latter, touched by the Mary (a quote from Cicero, For Sestius 37. 79). Hence, the inscription is addressed to a pious faithful rather suggestivethan to an value art amateur, of the representation but even the latter, of thetouchedPietà by, is the expected suggestive to forgetvalue of the the material representation qualities of the of the marblePietà statue., is expected to forget the material qualities of the marble statue.

Figure 4. Adamo Scultori, Pietà after Michelangelo Buonarroti, ca. 1566, engraving. New York, The Figure 4. Adamo Scultori, Pietà after Michelangelo Buonarroti, ca. 1566, engraving. New York, Metropolitan Museum of Art, acc. no. 58.642.3 © The Metropolitan Museum of Art, New York. The Metropolitan Museum of Art, acc. no. 58.642.3 © The Metropolitan Museum of Art, New York.

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Religions 2019, 10, x FOR PEER REVIEW 7 of 21 Thus, the early engravings after the Vatican Pietà constantly oscillate between two genres. One may beThus, labelled the early as ‘reproductions engravings after of athe masterpiece,’ Vatican Pietà the constantly other as oscillate ‘devotional between images two aftergenres. a famous One design.’may be Bonasone’s labelled as ‘reproductions 1547 print is especially of a masterpiec relevante,’ the for other our further as ‘devotional investigation, images notafter only a famous because it seemsdesign.’ relatively Bonasone’s closest 1547 toprint the is latter especially group. relevant Compared for our to further other engravingsinvestigation, after not theonly Vatican becausePiet it à, notablyseems Salamanca’s,relatively closest Bonasone’s to the latter print group. itself Co and,mpared above to all,other its engravings further reception after the inVatican the mid- Pietà and, late-sixteenthnotably Salamanca’s, century, haveBonasone’s not yet print been itself studied. and, above all, its further reception in the mid- and late- sixteenth century, have not yet been studied. 4. : Woodcuts in the Syriac New Testament and Peter Canisius’s Little catechism 4. Vienna: Woodcuts in the Syriac New Testament and Peter Canisius’s Little catechism In 1555, Viennese printer Michael Zimmermann produced the famous editio princeps of the Syriac New Testament,In 1555, Viennese edited printer by Johann Michael Albrecht Zimmermann Widmannstetter produced andthe famous financed editio by princeps Ferdinand of the Habsburg Syriac (KetNewab¯ a¯ Testament, d-Ewangeliy editedon¯ 1555by Johann). The Albrecht publication Widm wasannstetter illustrated, and financed but the woodcutsby Ferdinand have Habsburg remained almost(Ketāb hithertoā d-Ewangeliy overlookedōn 1555). in The the scholarlypublication literature, was illustrated, with thebut solethe woodcuts exception have of The remained Crucifix almost and the Sephirotichitherto Treeoverlookedpreceding in the and scholarly concluding literature, St. John’s with the Gospel sole exception on fol. 101 of vTheand Crucifix [fol. 158and rthe], respectively Sephirotic Tree preceding and concluding St. John’s Gospel on fol. 101v and [fol. 158r], respectively (Wilkinson (Wilkinson 2007). Further allegorical images—two diagrams and the triumphal Cross—recur in the 2007). Further allegorical images—two diagrams and the triumphal Cross—recur in the publication publication a few times each, but a special emphasis must be placed on the Pietà that concludes the a few times each, but a special emphasis must be placed on the Pietà that concludes the section of St. section of St. Paul’s epistles (Figure5). Paul’s epistles (Figure 5).

(a) Pietà after Giulio Bonasone [fol. LXXXIr] (b) Triumph of the Cross [fol. bbr]

FigureFigure 5. 5.Woodcuts Woodcuts in in the the Syriac Syriac New New TestamentTestament ((Ketabā¯bāa¯ d-Ewangeliy ōonn¯ 1555). 1555 ). Munich Bayerische Bayerische Staatsbibliothek,Staatsbibliothek, Rar. Rar. 155 155© ©Bayerische Bayerische Staatsbibliothek,Staatsbibliothek, Munich, Munich, urn:nbn:de:bvb:12-bsb00070810-5. urn:nbn:de:bvb:12-bsb00070810-5.

SeveralSeveral motifs motifs of of the thePiet Pietàà—Christ’s—Christ’s pose, Mary’s gestures gestures and and dress, dress, the the shape shape of ofboth both nimbi, nimbi, the the loweredlowered line line of of the the horizon horizon and and the thearma arma ChristiChristi displayed in in a a characteristic characteristic manner, manner, with with the the scourges scourges hanginghanging from from the the beam beam of of the the Cross Cross and,and, inin particular,particular, the lance lance and and the the rod rod with with the the vinegar-soaked vinegar-soaked sponge forming a V-shape—undoubtedly follow Bonasone’s engraving. However, there is no reference spongeReligions 2019 forming, 10, x aFOR V-shape—undoubtedly PEER REVIEW follow Bonasone’s engraving. However, there is no reference8 of 21 toto either either Bonasone Bonasone or or Michelangelo. Michelangelo. Instead,Instead, the Syriac inscription inscription cites cites Psalm Psalm 34[33]:6: 34[33]:6: ܵ ܵ ܿ ܿ ܿ ܿ ܿ ܵ ܸ ܢ̈ ◌ ܼ ܐܘܼ ܟ̈ ܢ̇ ܘ ܹ . ܘܼ ܘܼ ܗܬܹ ܘܪܼ —that is, ‘Come ye to him and be enlightened: and your faces shall not be confounded’ (all English quotes from the Bible are from the Douay-Rheims Catholic Bible). The Pietà is not a mere devotional image here, as the assumed audience of the translation of this New Testament was not only the Syriac Christian community, but above all, learned humanists. It is meaningful, for instance, that the woodcuts are inscribed in Latin and Syriac, some also in Greek, while the abbreviation of ‘Jesus the Nazarene, King of the Jews’ in the titulus of the Cross (cf. John 19:19) is Finally, some motifs .(ישוע הנצרת מלך היהודים as an abbreviation of ינמה) consistently given in Hebrew also allude to the dynastic or imperial identity of the patron, Ferdinand Habsburg, as a crested, mantled helmet and the Habsburg coat of arms flank not only the Pietà but also the triumphal Cross. These two woodcuts were apparently conceived as counterparts. The Cross is associated with a triumphal wreath and the small figure of a lamb trampling upon a lion and a dragon, referring to Psalm 91(90):13. While the Syriac inscriptions vary in particular impressions throughout the publication, the Latin caption ‘in this sign thou shalt conquer and thou shalt trample underfoot the lion and the dragon’ (In hoc Signo vinces, & conculabis Leonem & Draconem) invariably combines the famous augury of Constantine the Great’s victory in the Battle of the Milvian Bridge, subsequently used as a motto in diverse, usually military, contexts, with the quote from Psalm 91 (90), considered to be a prophecy of Christ’s victory over death and Satan. Consistent with common practice, the woodcut blocks used to impress the illustrations in the first edition of the Syriac New Testament were reused in the second edition published in 1562 (Ketābā d- Ewangeliyōn 1562). Before that, however, both the Pietà and the triumphal Cross also recurred in another work printed by Zimmermann: Peter Canisius’s Summa doctrinae Christianae: In usum Christianae pueritiae per quaestiones recens conscripta—the so-called Parvus catechismus catholicorum, or A little catechism for Catholics. This version of Canisius’s catechism was intended primarily for students. Zimmerman published it several times, usually with illustrations (the only exception is Canisius 1558a) and invariably preceded by Ferdinand Habsburg’s 24 August 1554 letter to the reader, but with no date on the title pages or the colophons. The repertoire of the woodcuts is repetitive, but not identical (Table 1) (Streicher 1933); (Palmer Wandel 2015).

Table 1. Illustrations in editions of Petrus Canisius’s Summa doctrinae Christianae printed by Michael Zimmermann; dates after (VD16).

Verso of the After Ferdinand’s Letter to Before De iustitia Recto of the Last

Title Page the Reader Christiana Page (Canisius 1555) Crucifixion Christ among the children (A) Crucifixion Triumph of the Cross (Canisius 1556a) Pietà, 1556 Christ among the children (B) Crucifixion (Canisius 1556b) Pietà, 1556 Christ among the children (B) Crucifixion (Canisius 1558a) (Canisius 1558b) Pietà, 1555 Christ among the children (C) Crucifixion Triumph of the Cross

Christ among the children, impressed from three diverse matrices, appears after the preface, a clear allusion to the assumed audience of Christian youth, as declared in the title. The Crucifixion scene, in turn, consistently impressed from one woodblock of rather poor quality, recurs before the chapter on Christian justice. The same Crucifixion matrix was used to impress the illustration on the verso of the title page in what is believed to be the editio princeps. In subsequent editions, the Crucifixion was replaced by the Pietà as the opening scene, of which Zimmermann had two similar matrices at his disposal (Figure 6). One was the block known from the Syriac New Testament, modelled on Bonasone’s engraving. The other, with the date 1556 in the lower left corner, is distinguished by a similar composition, but Mary’s gesture, the position of Christ’s arm, and both nimbi as well as various details in the background were designed independently or informed by another model. One has to remember that the Pietà was a popular iconography; many painters and printmakers situated the group of Mary and Christ in a landscape; also the V-shape of the arma Christi is far from unique.

Religions 2019, 10, x FOR PEER REVIEW 8 of 21 ReligionsReligions2019 2019, 10, 10, 309, x FOR PEER REVIEW 88 of of 20 21 ܵܵ ܵܵ ܿܿ ܿܿ ܿܿ ܿܿ ܿܿ ܵܵ ܸܸ ܢ̈̈ ◌ ܼܼ ܐܘܼܼ ܟ̈̈ ܢ̇̇ ܘ ܹܹ .. ܘܼܼ ܘܼܼ ܗܬܹܹ ܘܪܼܼ —that—that is, is, ‘Come ‘Come ye ye to to him him and and be be enlightened: enlightened:: and andand your youryour faces facesfaces shall shallshall not notnot be bebe confounded’ confounded’confounded’ (all (all(all English EnglishEnglish quotesquotes from from the the Bible Bible are are from from the the Douay-Rheims Douay-Rheims Catholic Catholic Bible). Bible). TheThePiet Pietàà is isis not notnot a aa mere meremere devotional devotionaldevotional image imageimage here, here,here, as asas the thethe assumed assumed audience audience of of the the translation translation of of this this NewNew Testament Testament was was not not only only the the Syriac Syriac Christian Christian community, community, but but above above all, all, learned learned humanists. humanists. It It is is meaningful,meaningful, for for instance, instance, that that the the woodcuts woodcuts are are inscribed inscribed in in Latin Latin and and Syriac, Syriac, some some also also in in Greek, Greek, while while thethethe abbreviation abbreviationabbreviation ofofof ‘Jesus‘Jesus‘Jesus thethethe Nazarene,Nazarene, KingKing ofof thethe Jews’Jews’ Jews’ inin in thethe the titulustitulustitulus ofofof thethe the CrossCross Cross (cf.(cf. (cf. JohnJohn John 19:19)19:19) 19:19) isis Finally, Finally,Finally, some somesome .(.( .( ישוע הנצרת מלך היהודים as anan abbreviationabbreviationabbreviation ofof ינינמה ) ) isconsistently consistently given given in in Hebrew Hebrew motifsmotifs also also allude allude to to thethe dynasticdynastic oror imperialimperial identityidentitytity of ofof the thethe patron, patron,patron, Ferdinand FerdinandFerdinand Habsburg, Habsburg,Habsburg, as asas a aa crested, crested,crested, mantledmantled helmet helmet and and the the Habsburg Habsburg coat coat of of arms arms flank flank not not only only the thePiet Pietàà but but also also the the triumphal triumphal Cross. Cross. TheseThese two two woodcuts woodcuts were were apparently apparently conceived conceived as as counterparts. counterparts.counterparts. The TheThe Cross CrossCrossis isisassociated associatedassociatedwith withwith a aa triumphaltriumphaltriumphal wreath wreathwreath and andand the thethe small smallsmall figure figurefigure of ofof a aa lamb lamblamb trampling trtrampling upon upon a a lion lion and and a a dragon, dragon, referring referring to to Psalm Psalm 91(90):13.91(90):13. While the Syriac Syriac inscriptions inscriptions vary vary in in part particularicularicular impressionsimpressions impressions throughothrougho throughoutut the the publication, publication, the theLatin Latin caption caption ‘in this ‘in thissign sign thou thou shalt shalt conquer conquer and thou and shalt thou trample shalt trample underfoot underfoot the lion the and lion the and dragon’ the dragon’((InIn hochoc (SignoSignoIn hoc vinces,vinces, Signo vinces,&& conculabisconculabis & conculabis LeonemLeonem Leonem && DraconemDraconem & Draconem)) invariablyinvariably) invariably combinescombines combines thethe the famousfamous famous auguryaugury augury ofof ofConstantine Constantine the the Great’s Great’s victory victory in in the the Battle Battle of of the the Milvian Milvian Bridge, subsequently usedused asas aa mottomotto inin diverse,diverse, usually usually military,military, contexts, contexts, withwith thethe quote quote from from Psalm Psalm 91 91 (90), (90), considered considered toto be be a a prophecy prophecy of of Christ’sChrist’s victory victory over over death death and and Satan. Satan. ConsistentConsistent withwith common practice, practice, the the woodcut woodcut blocks blocks used used to toimpressimpress impress thethe the illustrationsillustrations illustrations inin thethe in thefirstfirst firstedition edition of the of theSyriac Syriac New New Testament Testament were were reus reuseded in inthe the second second edition edition published published in in1562 1562 (Ket (Ketābab¯ā d-d-a¯ d-EwangeliyEwangeliyōnon¯ 1562).1562). 1562 ).BeforeBefore Before that,that, that, however,however, however, bothboth both thethe the PietàPiet andandà and thethe the triumphaltriumphal triumphal CrossCross Cross alsoalso also recurredrecurred recurred inin inanother another work work printed printed by Zimmermann: by Zimmermann: Peter Canisius’s Peter Canisius’s SummaSumma doctrinae doctrinae Christianae: Christianae: In usum Christianae In usum Christianaepueritiae per pueritiae quaestiones per quaestiones recens conscripta recens conscripta—the so-called—the so-called Parvus catechismusParvus catechismus catholicorum catholicorum,, oror A little, or Acatechism little catechism for Catholics for Catholics.. . ThisThis version version of of Canisius’s Canisius’s catechism catechism was was intended intended primarily primarily for for students. students. Zimmerman Zimmerman published published ititit several severalseveral times, times,times, usually usuallyusually with withwith illustrations illustrationsillustrations (the only(the(the exceptiononlyonly exceptionexception is Canisius isis Canisius 1558) and 1558a1558a invariably)) andand invariablyinvariably preceded bypreceded Ferdinand by Habsburg’sFerdinand Habs 24 Augustburg’s 1554 24 August letter to 1554 the reader,letter to but the with reader, no datebut with on the no title date pages on the or title the colophons.pages or the The colophons. repertoire The of the repertoire woodcuts of isthe repetitive, woodcuts but is not repetitive, identical but (Table not1 )(identicalStreicher (Table 1933 );1) (Palmer(Streicher(Streicher Wandel 1933);1933); 2015 (Palmer(Palmer). WandelWandel 2015).2015).

TableTable 1. 1.Illustrations IllustrationsIllustrations in inin editions editionseditions of ofof Petrus PetrusPetrus Canisius’s Canisius’sCanisius’sSumma Summa doctrinae doctrinae Christianae Christianaeprinted printed by by Michael Michael Zimmermann;Zimmermann; dates dates after after (VD16). (VD16).

Verso ofVerso the of theAfter Ferdinand’sAfter Ferdinand’s Letter Letter to toBefore BeforeDe iustitia De iustitia RectoRecto of the of the Last Last

Title PageTitle Page the Readerthethe ReaderReader ChristianaChristiana PagePage (Canisius(Canisius 1555)1555) Crucifixion Christ among the children (A)(A) Crucifixion Triumph of the Cross (Canisius 1555) Crucifixion Christ among the children (A) Crucifixion Triumph of the Cross (Canisius(Canisius 1556a)1556a) Pietà,, 15561556 Christ among the children (B)(B) Crucifixion (Canisius 1556a) Pietà, 1556 Christ among the children (B) Crucifixion (Canisius(Canisius 1556b)1556b) Pietà,, 15561556 Christ among the children (B)(B) Crucifixion (Canisius 1556b) Pietà, 1556 Christ among the children (B) Crucifixion (Canisius(Canisius 1558a)1558a) (Canisius 1558) (Canisius(Canisius 1558b) Pietà,, 15551555 Christ among the children (C)(C) Crucifixion Triumph of the Cross (Canisius 1558) Pietà, 1555 Christ among the children (C) Crucifixion Triumph of the Cross

Christ among the children,, impressedimpressed fromfrom threethree diversediverse matrices,matrices, appearsappears afterafter thethe preface,preface, aa clearclear allusionChrist to among the assumed the children audience, impressed of Christ fromianian three youth,youth, diverse asas declareddeclared matrices, inin appearsthethe title.title. afterTheThe Crucifixion the preface, scene,scene, a clear inin allusionturn,turn, consistentlyconsistently to the assumed impressedimpressed audience fromfrom ofoneone Christian woodblockwoodblock youth, ofof rara astherther declared poorpoor quality,quality, in the title.recursrecurs The beforebeforeCrucifixion thethe chapterchapterscene, onon inChristian turn, consistently justice. The impressed same Crucifixion from one matrixmatrix woodblock waswas usedused of rather toto impressimpress poor thethe quality, illustrationillustration recurs beforeonon thethe theversoverso chapter ofof thethe ontitletitle Christian pagepage inin whatwhat justice. isis believedbelieved The same toto bebeCrucifixion thethe editio princepsmatrix.. was InIn subsequentsubsequent used to impress editions,editions, the thethe illustration Crucifixionon waswas the replacedreplaced verso ofby the the title Pietà page as the in what opening is believed scene, of to which be the Zimmermanneditio princeps .had In subsequenttwo similar editions,matrices theat hisCrucifixion disposal was(Figure(Figure replaced 6).6). OneOne by waswas the thethePiet blockblockà as knownknown the opening fromfrom thethe scene, SyriacSyriac of NewNew which Testament,Testament, Zimmermann modelledmodelled had onon two Bonasone’sBonasone’s similar engraving.engraving. matrices atThe his other, disposal with (Figure the date6). 1556 One in was the the lower block left known corner, from is distinguished the Syriac New by a Testament, similar composition, modelled onbut Bonasone’sMary’s gesture, engraving. the position The of other, Christ’s with arm, the and date both 1556 nimbinimbi in the asaslower wellwell asas left variousvarious corner, details is distinguished in the background by a similarwere designed composition, independently but Mary’s or gesture, informed the by position another of Christ’smodel. One arm, has and to both remember nimbi as that well the as Pietà various waswas detailsa popular in the iconography; background many were painters designed and independently printmakers orsituated informed the bygroup another of Mary model. and One Christ has in to a rememberlandscape;landscape; that alsoalsothe thethe Piet V-shapeV-shapeà was ofof a the popularthe arma Christi iconography; isis farfar fromfrom many unique.unique. painters and printmakers situated the group of Mary and Christ in a landscape; also the V-shape of the arma Christi is far from unique.

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(a) (Canisius 1558b) (b) (Canisius 1556a)

FigureFigure 6. 6.Piet Pietàsàs after after GiulioGiulio Bonasone, woodcuts woodcuts in: in: Peter Peter Canisius’s Canisius’s SummaSumma doctrinae doctrinae Christianae Christianae (Vienna:(Vienna: Michael Zimmermann), fol. A1v. Regensburg, Staatliche Bibliothek, 999/Asc. 203 and Munich, Bayerische Michael Zimmermann), fol. A1v. Regensburg, Staatliche Bibliothek, 999/Asc. 203 and Munich, Bayerische Staatsbibliothek, Catech. 89 nd © Bayerische Staatsbibliothek, Munich, urn:nbn:de:bvb:12-bsb11081946- Staatsbibliothek, Catech. 89 nd © Bayerische Staatsbibliothek, Munich, urn:nbn:de:bvb:12-bsb11081946-4 4 and urn:nbn:de:bvb:12-bsb10537350-4. and urn:nbn:de:bvb:12-bsb10537350-4. Regardless of the matrix used, in the Latin editions both Pietàs were provided with almost identical inscriptionsRegardless referring of the matrixto Christ used, as the in Suffering the Latin Serv editionsant from both thePiet Bookàs wereof Isaiah: provided ‘by his with knowledge almost shall identical inscriptionsthis my just referring servant justify to Christ many’ as ( theIn scientia Suffering sua / Servant iustificabit from ipse the// IVSTVS Book ofservos Isaiah: meos ‘by/ multos. his knowledge Esaias shallCap. this LIII my—Isaiah just servant53:11). The justify 1556 many’ Pietà (wasIn scientia subsequently sua / iustificabit reprinted ipse in the// IVSTVS German servos edition meos of /themultos. Esaiascatechism, Cap. LIII this—Isaiah time, however, 53:11). The with 1556 the Pietinscriptioà wasn subsequently travestying St. reprinted Paul’s pr ineaching the German on the editioncrucified of the catechism,Christ ‘who this of time, God however,is made unto with us the wisdom, inscription and justice’ travestying (Jesus Christus St. Paul’s / d(er) preaching gecreuziget on the// ist crucified der Christanfang ‘who / und of das God end is // made unserer unto weis/heit us wisdom, un(d) gerech/tigkeit and justice’—cf. (Jesus 1 Corinthians Christus / d(er) 1:26–30). gecreuziget // ist der anfang / und dasThe end Pietàs// unserer in the weis books/heit printed un(d) gerechby Zimmermann/tigkeit—cf. were 1 Corinthians provided with 1:26–30). various Biblical verses that inviteThe thePiet readeràs in theto contemplate books printed the mystery by Zimmermann of redemption. were Neither provided illustration with various appears Biblical to have verses been that inviteconsidered the reader a reproduction to contemplate of a masterpiece the mystery or even of redemption. of an altarpiece Neither image. illustration Still, the question appears arises to have beenwhether considered Zimmermann a reproduction or the Formschneiders of a masterpiece who worked or even for him of were an altarpiece aware of the image. origins Still, of the the design. question This awareness cannot be excluded in the case of the earlier woodcut, which seems to rely directly on arises whether Zimmermann or the Formschneiders who worked for him were aware of the origins Bonasone’s engraving which, in turn, explicitly referred to the original. A conscious reference to the of the design. This awareness cannot be excluded in the case of the earlier woodcut, which seems to Vatican Pietà is much less plausible in the case of the woodcut dated to 1556. This one should be regarded rely directly on Bonasone’s engraving which, in turn, explicitly referred to the original. A conscious as the next generation of descendants of Michelangelo’s design, mediated first by Bonasone’s engraving referenceand then to by the the Vatican 1555 woodcut,Pietà is muchmaybe less combined plausible with in another the case model. of the This woodcut sequence dated is plausibly to 1556. This the one shouldearliest, be but regarded not the asonly the chain next of generation works initiated of descendants by Bonasone’s of Michelangelo’s print and thus ultimately—even design, mediated if first byunintentionally—anchored Bonasone’s engraving and in thenMichelangelo’s by the 1555 sculpture. woodcut, maybe combined with another model. This sequence is plausibly the earliest, but not the only chain of works initiated by Bonasone’s print and thus5. Fiammingo ultimately—even a Roma if: Cornelis unintentionally—anchored Cort for the Sake of Devotion in Michelangelo’s sculpture. The undated Pietà signed by Cornelis Cort—a Dutch engraver active from 1565 until his death 5. Fiammingo a Roma: Cornelis Cort for the Sake of Devotion in 1578 in , among other cities in Rome—at first fails to evoke any associations with the Vatican The undated Pietà signed by Cornelis Cort—a Dutch engraver active from 1565 until his death in 1578 in Italy, among other cities in Rome—at first fails to evoke any associations with the Vatican Pietà Religions 2019, 10, 309 10 of 20 Religions 2019, 10, x FOR PEER REVIEW 10 of 21

(FigurePietà (Figure7). Scholars 7). Scholars consider consider the engravingthe engraving to beto ‘afterbe ‘after an an unidentified unidentified artist’ artist’ (Sellink (Sellink and and Leeflang Leeflang 2000).2000). The The pose pose of of Christ differs differs from that inin Michelangelo’sMichelangelo’s sculpture, while Mary’s gestures are reminiscent of various prints after the Vatican Vatican PietPietàà, and specifically specifically the Cross with the scourges scourges seems to be be an an abridged abridged version version of of Bonasone’s Bonasone’s design, design, mayb maybee combined combined with with another another invention. invention. In Cort’s In Cort’s print, print,the Pietà the isPiet theà ismain the mainimage, image, in an in oval an ovalframe, frame, set wi setthin within an aedicule an aedicule with with a scene a scene of the of the Deposition Deposition in ain cartouche a cartouche at atthe the bottom. bottom. Such Such a acomposition composition may may re resemblesemble an an altarpiece, altarpiece, but but it it does does not not seem seem to represent one and the print’s dimensions, only 13 × 9.19.1 cm, cm, are are typical of popular devotional images. images. × Lorenzo Vaccari—the publisher whose address was added inin thethe secondsecond statestate ((LaurentiumLaurentium V[accarium]V[accarium] Formis Romae)) together with the datedate 1580—plausibly1580—plausibly offe offeredred this print amongamong thethe smallsmall devotionaldevotional images, some some of of which which were were ‘in an ‘in oval’ an oval’ (in ouato (in), ouato an expression), an expression recurring recurring in his 1614 in inventory. his 1614 inventory.However, itHowever, is impossible it isimpossible to point to toa particular point to a entry, particular because entry, while because the bigger while prints the bigger in Vaccari’s prints in stock Vaccari’s (fogli imperialistock (fogli and imperiali fogli realiand) arefogli often reali attributed) are often to attributed specific engravers to specific and, engravers rather exceptionally, and, rather exceptionally, to inventors, theto inventors, names only the occasionally names only appear occasionally with respect appear to with the medium-sized respect to the medium-sized prints (mezzi fogli prints) and (mezzi are never fogli) givenand are in the never case given of smaller in the ones case (diuersi of smaller quarti ones fogli). (diuersi Thus, only quarti tentatively fogli). Thus, may only one tentativelyconsider La mayMadonna one dellaconsider PietàLa or Madonna La Madonna della con Piet ilà orSignoreLa Madonna as possible con ilcorrespondences Signore as possible to correspondencesCort’s Pietà (Ehrle to 1908, Cort’s p.Piet 66,à (linesFranz 666 1908 and, p. 734). 66, lines 666 and 734).

Figure 7. Cornelis Cort, PietPietàà,, beforebefore 1578, 1578, engraving. engraving. London, London, British British Museum, Museum, V, V, 8.140 8.140© ©Trustees Trustees of ofthe the British British Museum. Museum.

Whatever the the sources sources of of Cort’s Cort’s PietàPiet, àit, became it became a model a model for later for later engravings. engravings. One of One these of is these as a smallis as aprint small in printa rectangular in a rectangular frame, inscribed frame, inscribed‘Surely he ‘Surelyhath borne he hath our infirmities borne our and infirmities carried andour sorrows’carried our (VERE sorrows’ LANGVORES (VERE LANGVORES N[ost]ROS N[ost]ROS IP[s]E IP[s]ETVLIT TVLIT/ ET/ ETDOLORES DOLORES N[ost]ROS N[ost]ROS IP[s]E PORTAVIT—Isaiah 53:4), another another fragment fragment of of the the prophecy prophecy of of the the Suffering Suffering Servant, Servant, also also quoted quoted in thein the woodcuts woodcuts in inthe the Vienna Vienna editions editions of of Canisius Canisius’s’s catechism catechism (Figure (Figure 88a,a, cf.cf. FigureFigure6 ).6).Given Given the the

Religions 2019, 10, 309 11 of 20 dimensionsReligions 2019 and, 10, thex FOR inscription, PEER REVIEW it can be concluded that the engraving after Cort’s Pietà was conceived11 of 21 as a devotional image. However, some devotional objects became collectible items, as testified by the dimensions and the inscription, it can be concluded that the engraving after Cort’s Pietà was conceived impressionas a devotional owned image. by Jan However, Pon˛etowski,a some devotional Polish nobleman objects became who gathered collectible an ampleitems, as collection testified ofby printsthe betweenimpression 1580 owned and 1587, by Jan while Pon abbotętowski, of thea Polish Premonstratensian nobleman who monasterygathered an in ample Hradisko, collection near of Olomouc prints (Hordy´nskibetween 1580 2016 and). Pon˛etowski’scollection 1587, while abbot of the Premonstratensian is multifarious thematically, monastery in and Hradisko, it includes near both Olomouc artistic engravings(Hordyński and 2016). rather Pon mediocreętowski’s prints. collection The inconspicuousis multifarious thematically,Pietà was impressed and it includes on one sheetboth artistic together withengravings fifteen other and images,rather mediocre predominantly prints. The representing inconspicuous religious Pietà subjectswas impressed (Figure on8b). one Further sheet together examples ofwith engravings fifteen other after images, Cort’s predominantlyPietà, all in oval representing frames, can religious be found subjects in the(Figure Wolfegger 8b). Further Kabinett, examples one of of theengravings largest private after Cort’s collections Pietà, ofall graphics in oval frames, (Kunstsammlung can be found des in Hausesthe Wolfegger Waldburg-Wolfegg, Kabinett, one vol.of the 147, nolargest 91: subscribed private collectionsAttendite of et graphics videte si (Kunstsammlu est dolor sicutng dolor des meus,Hauses Thren Waldburg-Wolfegg, 1, signed F. Campion vol. 147, fe[cit] no 91:and Hermansubscribed Weyen Attendite excud[it] et videte; no 136:si est dolor signed sicutJ[ohannes] dolor meus, sadeler Thren 1 excud[it], signed F., noCampion 137: subscribedfe[cit] and HermanATTENDITE Weyen VNIVERSIexcud[it]; POPVLI,no 136: signed ET VIDETE J[ohannes] DOLOREM sadeler excud[it] MEVM, no, no 137: 150 subscribed with inscriptions ATTENDITEVENITE VNIVERSI AD ME POPVLI, OMNES Matt[haeus]ET VIDETE 11 DOLOREMand O quam MEVM tristis, no et a150fflicta with fuit inscriptions/ Illa benedicta VENITE mater AD vnigeniti ME OM).NES Matt[haeus] 11 and O quam tristis et afflicta fuit / Illa benedicta mater vnigeniti).

(a) (b)

FigureFigure 8. 8.Piet Pietàà after after Cornelis Cornelis Cort, Cort, ca. ca. 1580,1580, engraving.engraving. Cracow, Cracow, Biblioteka Biblioteka Jagiello Jagiello´nska,kolekcjańska, kolekcja Jana Jana Pon˛etowskiego,boxPonętowskiego, box 149, 149, no. no. I. I. 9104 9104© © JagiellonianJagiellonian Library, Library, Cracow. Cracow.

TheThe group group of of Mary Mary and and Christ Christ drawn drawn fromfrom Cort’sCort’s engraving can can also also be be found found as as the the central central motif motif of aof much a much bigger bigger and and elaborate elaborate devotional devotional print:print: thethe Rosarium dolorosum dolorosum gloriosae gloriosae Virginis Virginis signedsigned byby GiulioGiulio Roberti Roberti and and Natale Natale Bonifacio Bonifacio in in 1579 1579 ((IuliusIulius RobertusRobertus exc[udit] Romae Romae Natalis Natalis Bonifacius Bonifacius inventor inventor atqueatque Fecit Fecit 1579 1579.).) An An impression impression preservedpreserved in in Anzio Anzio (Bibli (Bibliotecaoteca Clementina, Clementina, 470 470 × 351 351mm) mm) is included is included in × ina collection collection of of devotional devotional engravings engravings from from the stoc thek stockof Antonio of Antonio Lafreri’s Lafreri’s heirs (Marigliani heirs (Marigliani and Biguzzi and Biguzzi2010, no.2010 85)., no. Their 85). inventories Their inventories mention mention several prints several representing prints representing the Rosary the (Pagani Rosary 2008a; (Pagani Pagani 2008a ; 2008b; Pagani 2011; Pagani 2012), while solely Vaccari’s index includes an entry ‘Sorrowful Rosary Pagani 2008b; Pagani 2011; Pagani 2012), while solely Vaccari’s index includes an entry ‘Sorrowful engraved by Natale Bonifacio’—Rosario doloroso con li misterij, intagliato da Natale Bonifacio (Ehrle 1908, Rosary engraved by Natale Bonifacio’—Rosario doloroso con li misterij, intagliato da Natale Bonifacio p. 61, line 94). (Franz 1908, p. 61, line 94).

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6.6. Between Between Rome Rome and and Nancy: Nancy: JacquesJacques Callot for the the White White Penitents Penitents YetYet another anotherPiet Pietàà resembling resembling Cort’s Cort’s engraving engraving (in (in mirror mirror image) image) is Jacques is Jacques Callot’s Callot’s etching etching for the for thefrontispiece frontispiece of Règlement of Règlement et établissement et établissement de la Compagnie de la Compagnie des Pénitents des blancs Pénitents de la Ville blancs de Nancy de la Ville (Règlement de Nancy (Rèetglement établissement 1635) (Figure1635) (Figure9), subsequently 9), subsequently copied copied in the eighteenthin the eighteenth century century in the woodcut in the woodcut technique (Meaumetechnique 1855 (Meaume), (Dompnier 1855), and(Dompnier Vismara and 2008 Vismara). It is impossible2008). It is impossible to state whether to state Callot whether represented Callot a paintingrepresented or aa sculpturepainting or displayed a sculpture in displayed the architectural in the architectural framing and framing still less and whether still less whether he portrayed he a realportrayed altar with a real an altar existing with an panel, existing as he panel, did onas he the did frontispiece on the frontispiece of the Miracles of the Miracles et graces et degraces N. Dame de deN. Bon Dame Secours de Bon les Secours Nancy (lesMiracles Nancy (Miracles et graces et1630 graces), (Chon 1630),é 1992(Choné), ( Ch1992),âtellier (Châtellier 1993). 1993). The Notre-Dame The Notre- de BonsecoursDame de ,Bonsecours a relief by, a Mansuy relief by GauvainMansuy Gauvain (died after (died 1542), after is 1542), still preserved is still preserved in the in Bonsecours the Bonsecours church, butchurch, the chapel but the (subsequently chapel (subsequently the collegiate the collegiate church) church) of St. Michaelof St. Michael Archangel Archangel in Nancy, in Nancy, given given to the Whiteto the Penitents White Penitents in 1634, was in 1634, destroyed was indestroyed 1793. In in 1779, 1793. Jean-Joseph In 1779, Jean-Joseph Bouvier Lionnois Bouvier described Lionnois the chapeldescribed of the the White chapel Penitents of the White as having Penitents no distinguishing as having no distinguishing elements in either elements its exterior in either or its interior exterior (an opinionor interior repeated (an opinion by later repeated authors), by later with authors), the choir with of the the congregation choir of the congregation decorated withdecorated a number with of a number of pious images (plusieurs tableaux de piéte); he mentioned a few interesting objects pious images (plusieurs tableaux de piéte); he mentioned a few interesting objects preserved in the church preserved in the church but no altarpiece with the Pietà (Lionnois 1779, pp. 340–42); (Lionnois 1805, but no altarpiece with the Pietà (Lionnois 1779, pp. 340–42); (Lionnois 1805, pp. 215–16); (Lepage 1838). pp. 215–16); (Lepage 1838).

FigureFigure 9. 9.Jacques Jacques Callot,Callot, frontispiecefrontispiece of of (Règlement (Règlement et 1635 établissement), etching. 1635), Amsterdam, etching. Amsterdam, Rijksmuseum, Rijksmuseum, RP-P-OB-4885 © Rijksmuseum, Amsterdam RP-P-OB-4885 © Rijksmuseum, Amsterdam http://hdl.handle.net/10934/RM0001.COLLECT.40271. http://hdl.handle.net/10934/RM0001.COLLECT.40271. Whether or not a depiction of a real altarpiece image, the Pietà of the White Penitents does not Whether or not a depiction of a real altarpiece image, the Pietà of the White Penitents does not seem to be intended as a reproduction of Michelangelo’s sculpture. This is particularly interesting, seem to be intended as a reproduction of Michelangelo’s sculpture. This is particularly interesting, as as Callot not only knew the Vatican Pietà, but he even reproduced it in the early seventeenth century Callot not only knew the Vatican Pietà, but he even reproduced it in the early seventeenth century (Figure 10). Born in Nancy, Callot was active in Rome between 1608 and 1611 and his Delineationes picturae altarium in Ecclesiis S. Petri et S. Pauli Romae, also known as Les Tableaux de Rome or Les Eglises Religions 2019, 10, x FOR PEER REVIEW 13 of 21

Religions 2019 10 (Figure 10). Born, , 309 in Nancy, Callot was active in Rome between 1608 and 1611 and his Delineationes picturae13 of 20 altarium in Ecclesiis S. Petri et S. Pauli Romae, also known as Les Tableaux de Rome or Les Eglises jubilaires, certainlyjubilaires included, certainly the included Vatican Pietà, the Vatican as it wasPiet placedà, as itin was one placedof the privileged in one of altars the privileged of St. Peter’s altars Basilica of St. (LoirePeter’s 1993, Basilica pp. 98, (Loire 104–5); 1993 (Harent, pp. 98, 2012, 104–5); p. 208); (Harent (Meyer 2012 2012)., p. 208);The Pietà (Meyer of the 2012 White). The Penitents,Pietà of engraved the White afterPenitents, Callot engravedhad returned after to Callot his home hadtown, returned seems to his rather hometown, unrelated seems to his rather Pietà unrelatedfrom Les Tableaux to his Piet deà Romefrom, Leswhile Tableaux close to de the Rome Pietà, while by Cornelis close to theCort,Piet consideringà by Cornelis the Cort, poses considering and gestures the of poses Christ and and gestures Mary, especiallyof Christ andthe scourges Mary, especially hanging thefrom scourges the horizontal hanging be fromam of the the horizontalCross (Figure beam 7). ofThus, the on Cross the (Figuretitle page7). ofThus, Règlement on the et title établissement page of R deèglement la Compagnie et établissement des Pénitents de lablancs Compagnie de la Ville des de Pé nitentsNancy we blancs find de a lathird- Ville or de evenNancy fourth-generationwe find a third- descendant or even fourth-generation of Michelangelo’s descendant masterpiece, of Michelangelo’s being at the same masterpiece, time an altarpiece being at image:the same mediated time an first altarpiece by Bonasone’s image: engraving, mediated then first Cort’s by Bonasone’s engraving engraving, and—perhaps—the then Cort’s unpreserved engraving altarand—perhaps—the panel in the Confraternity unpreserved of altarWhite panel Penitents in the in Confraternity Nancy. of White Penitents in Nancy.

FigureFigure 10. 10. JacquesJacques Callot, Callot, PietàPietà afterafter Michelangelo Michelangelo Buonarroti, Buonarroti, 1608–1611, 1608–1611, engraving. engraving. London, London, British British Museum,Museum, 1861, 1861, 0713.327 0713.327 ©© TrusteesTrustees of of the the British British Museum Museum

7.7. : Augsburg: Lucas Lucas Kilian Kilian for for a a Learned Learned Lithuanian Lithuanian Cleric Cleric TheThe ambiguous ambiguous status status of of many many works works regarded regarded as asboth both masterpieces masterpieces and and religious religious images images is far is fromfar from unusual unusual and and a shifting a shifting back back and and forth forth betwee betweenn the the realms realms of of masterpieces, masterpieces, altarpieces, altarpieces, and and devotionaldevotional prints prints is is well well attested attested in inth thee early early modern modern period. period. An Anexample example is the is Pietà the Piet by àHansby Hans von Aachenvon of ca. of1596, ca. originally 1596, originally placed placedin a chapel in a of chapel the Wilhelminische of the Wilhelminische Veste, later Veste, known later as known Herzog- as Max-Burg,Herzog-Max-Burg, in Munich. in The Munich. painting, The destroyed painting, destroyedin 1944 and in known 1944 and from known archival from photographs archival photographs (Figure 11)

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(FigureReligions 11 2019)(Peltzer, 10, x FOR 1911–1912 PEER REVIEW), was subject to various adaptations ca. 1600 (Jacoby 2000).14 Oneof 21 of these is the Pietà by Lucas Kilian, one of the most productive Augsburg printmakers of the early seventeenth(Peltzer 1911–1912), century (Zijlma was subject and Anzelewskyto various adaptati 1976,ons no. ca. 51), 1600 (Jacoby (Jacoby 1996 2000).). The One engraving of these is is the inscribed Pietà S(uae)by Lucas C(aesareae) Kilian, M(aiestatis) one of the most pictor productive Ioan(nes) ab Augs Ach(en)burg pinxit printmakersand signed of theLucas early Kilian(us) seventeenth Aug(ustanus) century scalps(it)(Zijlma Venetijs and Anzelewsky(Figure 12 1976,). Thus, no. 51), the work(Jacoby was 1996). explicitly The engraving referred is to inscribed as modelled S(uae) on C(aesareae) Hans von Aachen’sM(aiestatis) invention pictor Ioan(nes) and executed ab Ach(en) in , pinxit whereand signed Kilian Lucas stayed Kilian(us) between Aug(ustanus) 1601 and 1604scalps(it) (Trevisan Venetijs and Zavatta(Figure 2013 12).). Thus, However, the work the wasPiet explicitlyà after Hans referred von to Aachen as modelled was not on Hans only avon reproduction Aachen’s invention of a painting, and executed in Venice, where Kilian stayed between 1601 and 1604 (Trevisan and Zavatta 2013). However, but also a pious gift. the Pietà after Hans von Aachen was not only a reproduction of a painting, but also a pious gift.

FigureFigure 11. 11.Hans Hans von von Aachen,Aachen, PietàPietà, ,ca. ca. 1596, 1596, oil oilon canvas. on canvas. Destroyed Destroyed in 1944. in Photo 1944. after Photo Peltzer after (1911– Peltzer (1911–19121912) )https://digi.ub.uni-heidelberg.de/diglit/jbksak1911_1912/0106 https://digi.ub.uni-heidelberg.de/diglit/jbksak1911_1912 /0106© © UniversitätsbibliothekUniversitätsbibliothek Heidelberg.Heidelberg.

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Figure 12. Lucas Kilian (engraver) and Dominicus Custos (publisher), Pietà after Hans von Aachen, Figure 12. Lucas Kilian (engraver) and Dominicus Custos (publisher), Pietà after Hans von Aachen, 1602, engraving. London, British Museum, D, 7.8 © Trustees of the British Museum 1602, engraving. London, British Museum, D, 7.8 © Trustees of the British Museum

TwoTwo further further names names appear appear in in the the lower lower margin,margin, where the the publisher, publisher, Dominicus Dominicus Custos Custos (Kilian’s (Kilian’s stepfather and teacher), dedicated the engraving to Johannes Philipp von Gebsattel, the Prince-Bishop stepfather and teacher), dedicated the engraving to Johannes Philipp von Gebsattel, the Prince-Bishop of Bamberg, ‘when he was crossing Augsburg’ in May 1602. The dedication is preceded by a verse from of Bamberg, ‘when he was crossing Augsburg’ in May 1602. The dedication is preceded by a verse the Lamentations of Jeremiah ‘[there is no] sorrow like to my sorrow’ (NON EST DOLOR SI/CVT DOLOR from the Lamentations of Jeremiah ‘[there is no] sorrow like to my sorrow’ (NON EST DOLOR MEVS—Lamentations 1:12). Thus, the expression … AVGVSTAE VIND[elicorum] TRANSEVNTI … SI/CVT DOLOR MEVS—Lamentations 1:12). Thus, the expression ... AVGVSTAE VIND[elicorum] referring to Gebsattel ‘crossing Augsburg’ may be understood literally, but at the same time it recalls TRANSEVNTIthe beginning... of thereferring verse from to Gebsattel the Lamentations, ‘crossing Augsburg’which reads may in its be entirety understood O vos omnes literally, qui transitis but at the sameper timeviam, itattendite, recalls theet videte beginning si est dolor of the sicut verse dolor from meus! the—‘O Lamentations, all ye that pass which by the reads way, in attend, its entirety and seeO vos omnesif there qui transitisbe any sorrow per viam, like attendite, to my sorrow!’. et videte si est dolor sicut dolor meus!—‘O all ye that pass by the way, attend,Thus, and see Kilian if there used be Hans any von sorrow Aachen’s like to Munich my sorrow!’. altarpiece as a model for an engraving, whereas CustosThus, skilfully Kilian usedchose Hans a Biblical von quote Aachen’s for a Munich dedication altarpiece that responded as a model to both for anthe engraving, iconography whereas and Custosthe circumstances. skilfully chose Gebsattel’s a Biblical quotevisit to for Augsburg a dedication was an that opportunity responded that to bothwas not the to iconography be missed, as and the the circumstances.mighty Prince-Bishop Gebsattel’s might visit turn to into Augsburg a patron was. Therefore, an opportunity Custos not that only was dedicated not to bethe missed, Lamentation as the mightyto Gebsattel Prince-Bishop but also might engraved turn intohis portrait a patron. in Therefore, 1602 (Amsterdam, Custos not Rijksm onlyuseum, dedicated RP-P-1918-1075, the Lamentation tohttp://hdl.handle.net/109 Gebsattel but also engraved34/RM0001.COLLECT.100185 his portrait in 1602 (Amsterdam,). In the early Rijksmuseum,seventeenth century, RP-P-1918-1075, offering http:devotional//hdl.handle.net prints and/10934 portraits/RM0001.COLLECT.100185 to prominent personalities). In thewas earlya common seventeenth strategy century, for capturing offering devotional prints and portraits to prominent personalities was a common strategy for capturing

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Religions 2019, 10, x FOR PEER REVIEW 16 of 21 customers among Church hierarchs and members of noble families and Augsburg attracted visitors fromcustomers various among countries, Church which hierarchs brings and us to members the final of example noble families of indirect and Augsburg reception attracted of Michelangelo’s visitors Vaticanfrom Pietvariousà. countries, which brings us to the final example of indirect reception of Michelangelo’s VaticanIn early Pietà 1604,. a Lithuanian magnate, Mikołaj Krzysztof Radziwiłł ‘the Orphan’ (Lithuanian: MikalojusIn Kristupasearly 1604, Radvila a Lithuanian Našlaitelis˙ magnate,) dispatched Miko hisłaj sonsKrzysztof to study Radziwi in Augsburgłł ‘the Orphan’ (Chachaj (Lithuanian: 1995). They wereMikalojus welcomed Kristupas by Eustachy Radvila Našlait Wołłowiczėlis) dispatched (Lithuanian: his sonsEustachijus to study Valaviˇcius in Augsburg), a protonotary(Chachaj 1995). apostolic, They provostwere welcomed of Trakai, custosby Eustachy of Vilnius, Wołłowicz and referendary (Lithuanian: of Eustachijus the Grand Valavi Duchyčius of), a Lithuania, protonotary who apostolic, travelled throughprovost Europe of Trakai, at the custos time of and Vilnius, who, and encouraged referendar byy Radziwiłł,of the Grand stayed Duchy in of Augsburg Lithuania, for who a few travelled months to accompanythrough Europe his sons.at the The time visit and ofwho, the encouraged young Radziwiłłs by Radziwi provedłł, stayed particularly in Augsburg fruitful for for a thefew Augsburgmonths engravers,to accompany who foundhis sons. keen Thecustomers visit of the amongyoung Radziwi the Polishłłs proved and Lithuanian particularly nobles, fruitful and for the Wołłowicz Augsburg was portrayedengravers, thrice who by found Kilian: keen first customers in 1604, and among subsequently, the Polish asand Bishop Lithuanian of Vilnius, nobles, in 1618and Wo andłłowicz 1621 ( Zijlmawas portrayed thrice by Kilian: first in 1604, and subsequently, as Bishop of Vilnius, in 1618 and 1621 (Zijlma and Anzelewsky 1976, nos. 492–494). The date of the earliest portrait coincides with Wołłowicz’s and Anzelewsky 1976, nos. 492–494). The date of the earliest portrait coincides with Wołłowicz’s sojourn in Augsburg, when another print dedicated to him was also created: a Pietà explicitly, even if sojourn in Augsburg, when another print dedicated to him was also created: a Pietà explicitly, even if indirectly, referring to Michelangelo (Figure 13), (Zijlma and Anzelewsky 1976, no. 52). indirectly, referring to Michelangelo (Figure 13), (Zijlma and Anzelewsky 1976, no. 52).

FigureFigure 13. 13.Lucas Lucas Kilian Kilian (engraver) (engraver) andand DominicusDominicus Custos (publisher), (publisher), PietàPiet àafterafter Monogrammist Monogrammist PHPT, PHPT, 1604,1604, engraving, engraving, London, London, British British Museum, Museum, 1980, 1980, U.1445U.1445 ©© Trustees of of the the British British Museum. Museum.

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According to the inscriptions, the engraver, Lucas Kilian (L[ucas] Kil[ian] A[ugustanus] fecit), used as a model Michelangelo’s work ‘painted in Rome’ (MICHAEL. ANG[elus] // B[onarotus] pinxit Romae). Actually, Kilian did not reproduce the Vatican Pietà, but almost slavishly copied one of its travesties, the aforementioned late-sixteenth century print by the Monogrammist PHPT, which also includes an identical reference to Michelangelo. However, Kilian’s Pietà, like his earlier Lamentation after Hans von Aachen, was additionally provided with a dedication in the lower margin, also subscribed by Dominicus Custos. The inscription begins with a caption from Jeremiah: ‘My sorrow is above sorrow, my heart mourneth within me’ (DOLOR MEVS SVPER DOLOREM, IN ME COR MEVM MOERENS—Jeremiah 8:18), and continues with an address to Wołłowicz dated 1604 in Augsburg. The future Bishop of Vilnius (1616–1630) Eustachy Wołłowicz, renowned as both religious cleric and sophisticated humanist, studied in Rome from 1593 to 1596 where he was ordained subdeacon on 24 September 1594 and deacon on 13 April 1596 (Stanisław 2018, no. 77). He had a chance to see Michelangelo’s Pietà then, but it is not confirmed that he did. It is also not known how he received the Pietà dedicated to him in 1604: as a token of his past visit to Rome, as a reproduction of Michelangelo’s famous work, as a devotional image—or as all of these. However, there is a record of how the Radziwiłł brothers spent time in Augsburg, studying but also devoting themselves to various religious practices, often accompanied by Wołłowicz. Learned Jesuits played a prominent role in their milieu, such as Matthäus Rader who dedicated a collection of exempla, Viridarium Sanctorum, to the Radziwiłłs on 29 September 1604 and Syntagma de statu morientium, to Wołłowicz on 30 September (Rader 1604; Rader 1604; VD17). Soon afterwards, in early October, Wołłowicz left Augsburg and headed again to Italy.

8. Conclusions Long before its official coronation in 1637, the Vatican Pietà proved to be a direct or, admittedly much more often, an indirect model for various devotional images. Between Primaticcio’s 1546 copy ‘on the right side of the altar’ of the Royal Chapel in Fontainebleau palace and Callot’s 1635 frontispiece of the Règlement et établissement de la Compagnie des Pénitents blancs de la Ville de Nancy, perhaps representing the altarpiece of the chapel of the White Penitents, there is a wide group of graphic images. Several printmakers responded to the Vatican Pietà as early as the mid-sixteenth century, and some of their works were copied repeatedly. The engravings were not always accurate, and as they gradually moved away from the appearance of Michelangelo’s sculpture, the remote original design and its author were often forgotten. In addition, the contexts and the recipients—if known—are of essence here. Even some single-sheet engravings clearly conceived as reproductions of the statue carved by Michelangelo were provided with inscriptions that appeal to believers rather than to art amateurs. Some engravings do not depict the marble sculpture, but rather represent a religious scene and name Michelangelo as the inventor. Giulio Bonasone’s 1547 print is particularly prominent, as it stands at the beginning of the whole chain of interrelated works, multifarious with regard to quality, contexts, and assumed audience. There are mediocre anonymous woodcuts and elaborate engravings and etchings by renowned masters from various countries including Cornelis Cort, Lucas Kilian, and Jacques Callot. There are single-leaf prints, title page images and illustrations in Biblical books and catechisms. Some may be regarded as images for the sake of ‘simple folk,’ some were devised for sophisticated scholars or even specific individual addressees, but all the intended recipients were, after all, pious Christians. Therefore, Michelangelo, called ‘the inventor of filth’ by an otherwise unknown author of the mid-sixteenth century, at the same time turned out to be an involuntary inventor of devotional images.

Funding: This research was funded by the NATIONAL SCIENCE CENTRE, POLAND, grant number 2015/17/B/HS2/02469. Acknowledgments: I would like to express my sincere gratitude to Prof. Luise Schorn-Schütte for her kind invitation to spend a month at the Forschungskolleg Humanwissenschaften in Bad Homburg, where I wrote the first draft of this article in August 2017. Conflicts of Interest: The author declares no conflict of interest. Religions 2019, 10, x FOR PEER REVIEW 18 of 21 Religions 2019, 10, 309 18 of 20 References

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