The Sensuous in the Counter-Reformation Church Edited by Marcia B

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Cambridge University Press 978-1-107-01323-0 - The Sensuous in the Counter-Reformation Church Edited by Marcia B. Hall and Tracy E. Cooper Frontmatter More information

THE SENSUOUS IN THE COUNTER-REFORMATION CHURCH

This book examines the promotion of the sensuous as part of religious experience in the Roman Catholic Church of the early modern period. During the Counter-Reformation, every aspect of religious and devotional practice, including the role of art and architecture, was reviewed and the invocation of the fi ve senses to incite devotion became a hotly contested topic. Protestants condemned the material cult of veneration of relics and images, rejecting the importance of emotion and the senses and instead promoting the power of rea- son in receiving the Word of God. After much debate, the Church concluded that the senses are necessary to appreciate the sublime and that they derive from the Holy Spirit. As part of its attempt to win back the faithful, the Church embraced the sensuous and promoted the use of images, relics, liturgy, proces- sions, music, and theater as important parts of religious experience.

Marcia B. Hall is The Carnell Professor of Renaissance Art History and Dir- ector of Graduate Studies at Tyler School of Art, Temple University. She is the author and editor of several books, including The Sacred Image in the Age of Art: Titian, Tintoretto, Barocci, El Greco, Caravaggio ; After Raphael ; and Renovation and Counter Reformation: Vasari and Duke Cosimo in Santa Maria Novella and Santa Croce, 1564–77 .

Tracy E. Cooper is Professor of Art History at Tyler School of Art, Temple University. She is the author of Renaissance , and her book Palladio’s Venice: Architecture and Society in a Renaissance Republic received the Phyllis Goodhart Gordan Prize from the Renaissance Society of America as well as a Special Mention for the Premio Salimbeni. She is the recipient of numerous fellowships, including, most recently, ones from the Renaissance Society of America and the Gladys Krieble Delmas Foundation.

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THE SENSUOUS IN THE COUNTER- REFORMATION CHURCH

Edited by

MARCIA B. HALL Temple University

TRACY E. COOPER Temple University

32 Avenue of the Americas, New York, NY 10013-2473, USA

Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning, and research at the highest international levels of excellence.

www.cambridge.org Information on this title: www.cambridge.org/9781107013230 © Cambridge University Press 2013 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2013 Printed in the United States of America A catalog record for this publication is available from the British Library. Library of Congress Cataloging in Publication data The sensuous in the Counter-Reformation church / [edited by] Marcia B. Hall, Tracy E. Cooper. p. cm. Includes bibliographical references and index. ISBN 978-1-107-01323-0 (hardback) 1. Counter-Reformation in art. 2. Senses and sensation – Religious aspects – Christianity. 3. Counter-Reformation. I. Hall, Marcia B. II. Cooper, Tracy Elizabeth. N7862.S467 2012 704.9′482088282–dc23 2011047851 ISBN 978-1-107-01323-0 Hardback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet Web sites referred to in this publication, and does not guarantee that any content on such Web sites is, or will remain, accurate or appropriate.

CONTENTS

List of Illustrations page vii Contributors xi Acknowledgments xv

INTRODUCTION ...... 1 Marcia B. Hall

ON THE SENSUOUS: RECENT COUNTER-REFORMATION RESEARCH ...... 21 Tracy E. Cooper

TRENT, SACRED IMAGES, AND CATHOLICS’ SENSES OF THE SENSUOUS ...... 28 John W. O’Malley

THE WORD MADE FLESH: SPIRITUAL SUBJECTS AND CARNAL DEPICTIONS IN RENAISSANCE ART ...... 49 Bette Talvacchia

HOW WORDS CONTROL IMAGES: THE RHETORIC OF DECORUM IN COUNTER-REFORMATION ITALY ...... 74 Robert W. Gaston

“LA CUSTODIA DEGLI OCCHI”: DISCIPLINING DESIRE IN POST-TRIDENTINE ITALIAN ART ...... 91 Maria H. Loh

RAFFAELLO BORGHINI AND THE CORPUS OF FLORENTINE ART IN AN AGE OF REFORM ...... 113 Stuart Lingo

CENSURE AND CENSORSHIP IN ROME, vi c. 1600: THE VISITATION OF CLEMENT VIII AND THE VISUAL ARTS ...... 136 Contents Opher Mansour

PAINTING VIRTUOUSLY: THE COUNTER-REFORM AND THE REFORM OF ARTISTS’ EDUCATION IN ROME BETWEEN GUILD AND ACADEMY ...... 161 Peter M. Lukehart

CARLO BORROMEO AND THE DANGERS OF LAYWOMEN IN CHURCH ...... 187 Richard Schofi eld

“TO BE IN HEAVEN”: ST. PHILIP NERI BETWEEN AESTHETIC EMOTION AND MYSTICAL ECSTASY ...... 206 Costanza Barbieri

REBUILDING FAITH THROUGH ART: CHRISTOPH SCHWARZ’S MARY ALTARPIECE FOR THE JESUIT COLLEGE IN MUNICH ...... 230 Jeff rey Chipps Smith

“UNTIL SHADOWS DISPERSE”: AUGUSTINE’S TWILIGHT ...... 252 Meredith J. Gill

A MACHINE FOR SOULS: ALLEGORY BEFORE AND AFTER TRENT ...... 273 Amy Powell

Bibliography 295 Index 331

vii

ILLUSTRATIONS

1. Federico Barocci, Crucifi xion with the Madonna and St. John and St. Sebastian . Genoa, cathedral page 5 2. Perino del Vaga, Drawing for the side wall, Massimi Chapel in Trinità dei Monti, Rome. Budapest, National Gallery 13 3. Domenico Beccafumi, Moses Breaking the Tablets of the Law . Pisa, cathedral 14 4. Parmigianino, Madonna and Child with Saints and an Angel . Bologna, Pinacoteca 15 5. Pietro Lorenzetti, Deposition . Assisi, Lower Basilica of S. Francesco 53 6. Carlo Crivelli, Saint Francis with the Blood of Christ . Milan, Museo Poldi-Pezzoli 55 7. Parmigianino, Madonna of the Rose . Dresden, Gemäldegalerie 57 8. Andrea Pisano, Art of Sculpture . Florence, Museo dell’Opera del Duomo 61 9. Benvenuto Cellini, Crucifi x . San Lorenzo, El Escorial 63 10. Nicholas Dorigny, after Raphael, Healing of the Lame Man (tapestry cartoon) 67 11. Giovanni di Paolo, Paradise (fragment). New York, Metropolitan Museum of Art 71 12. Workshop of Titian, Cupid . Vienna, Gemä ldegalerie der Akademie der bildenden Kü nste 92 13. Correggio, Reclining Magdalene . Formerly Dresden, Staatliche Kunstsammlungen, Gemä ldegalerie Alte Meister 93 14. Author’s reconstruction of Illustration 12 94 15. Cristofano Allori, Penitent Magdalene . Florence, Galleria Palatina 95

16. Orazio Gentileschi, Penitent Magdalene . Vienna, Kunsthistorisches Museum 107 17. Jean Tassel, Penitent Magdalene . Dijon, Mus é e des Beaux-Arts 109 18. Agnolo Bronzino, Christ in Limbo . Florence, Museo viii dell’Opera di Santa Croce 114 19. Giambologna, Rape of the Sabine . Florence, Loggia dei Illustrations Lanzi 119 20. Agnolo Bronzino, Resurrection . Florence, S. Annunziata 123 21. Michelangelo Buonarroti, Doni Tondo . Florence, Galleria degli Uffi zi 127 22. Agnolo Bronzino, Martyrdom of Saint Lawrence . Florence, S. Lorenzo 129 23. Altar of the Blessed Virgin, before renovation in 1603– 13. Rome, S. Maria Maggiore 143 24. Perino del Vaga, The Creation of Eve , before restoration. Rome, S. Marcello al Corso, Chapel of the Crucifi xion 144 25. Guglielmo della Porta, Justice , from the funerary monument of Paul III. Rome, St. Peter’s Basilica 145 26. Scipione Pulzone, The Lamentation of Christ. New York, Metropolitan Museum of Art 148 27. Daniele da Volterra, The Deposition . Rome, SS. Trinità dei Monti 149 28. Niccolò da Pesaro, Allegories of Prudence and Glory. Rome, S. Maria in Aracoeli, Della Tolfa Chapel 153 29. Michelangelo Buonarotti, The Last Judgment . Vatican City, Sistine Chapel 164 30. Michelangelo Buonarotti, The Last Judgment , detail. Vatican City, Sistine Chapel 165 31. Federico Zuccaro, Taddeo Drawing after the Antique; In the Background Copying a Facade by Polidoro 170 32. Federico Zuccaro, Taddeo in the Belvedere Court in the Vatican Drawing the Laocoö n 170 33. Federico Zuccaro, Taddeo Copying Raphael’s Frescoes in the Loggia of the Villa Farnesina, Where He Is Also Represented Asleep 171 34. Federico Zuccaro, Taddeo in the Sistine Chapel Drawing Michelangelo’s Last Judgment 171 35. Federico Zuccaro, Salus Publica , detail. Rome, Casa Zuccari, vault of the Sala del Disegno 173 36. Federico Zuccaro, Vault of the Sala del Disegno. Rome, Casa Zuccari 174 37. Federico Zuccaro, Scientia , detail. Rome, Casa Zuccari, vault of the Sala del Disegno 175

38. Circle of Federico Zuccaro, Federico Zuccaro and Other Academicians Drawing at the First Site of the Accademia di San Luca 179 39. Borromean wooden partition 191 40. Borromean confessional 193 41. Pellegrino Tibaldi, First project for S. Fedele, ix Milan 194 Illustrations 42. Milan, S. Fedele, confessional 195 43. Freudenstadt, Evangelische Stadtkirche 197 44. Woodcut showing Savonarola preaching to a semicircular audience from a pulpit to the left (north) of the nave of the Florence cathedral 198 45. Milan, Duomo, the presbytery with the two pulpits and tabernacle in the center 199 46. Federico Barocci, Visitation of the Virgin Mary to Saint Elizabeth . Rome, Chiesa Nuova (S. Maria in Vallicella), Chapel of the Visitation 208 47. Niccolò Tornioli, The Virgin Appears to Saint Philip. Rome, Chiesa Nuova (S. Maria in Vallicella), vault of the “Sala Rossa,” Camere di San Filippo 209 48. Luca Ciamberlano, Estasi di S. Filippo all’Oratione delle quarant’hore nel Convento de’ frati della Minerva 210 49. Pomarancio, Saint John the Baptist Appears to Philip . Rome, Chiesa Nuova (S. Maria in Vallicella), Chapel of Saint Philip 210 50. Madonna with the Infant Christ ( Madonna della Vallicella ). Rome, Chiesa Nuova (S. Maria in Vallicella), detached fresco, high altar of the church 217 51. Peter Paul Rubens, Madonna and Child in Glory. Rome, Chiesa Nuova (S. Maria in Vallicella), high altar of the church 220 52. Federico Barocci, Presentation of the Virgin to the Temple. Rome, Chiesa Nuova (S. Maria in Vallicella), left transept 221 53. Scipione Pulzone, Crucifi xion . Rome, Chiesa Nuova (S. Maria in Vallicella), Chapel of the Crucifi xion 222 54. Cavalier d’Arpino (Giuseppe Cesari), Coronation of the Virgin . Rome, Chiesa Nuova (S. Maria in Vallicella), right transept 223 55. Guido Reni, Saint Philip in Ecstasy Contemplating the Virgin . Rome, Chiesa Nuova (S. Maria in Vallicella), Camere di San Filippo 225 56. Christoph Schwarz, Mary Altarpiece , central panel: Virgin and Child in Glory . Nuremberg, Germanisches Nationalmuseum 232

57. Christoph Schwarz, Mary Altarpiece , inner wings: St. Catherine of Alexandria and St. Jerome . Nuremberg, Germanisches Nationalmuseum 233 58. Christoph Schwarz, Mary Altarpiece , outer wings: Annunciation . Nuremberg, Germanisches Nationalmuseum 234 x 59. Johann Smissek, St. Michael’s and the Jesuit College in Munich 235 Illustrations 60. Hieronymus Wierix, Rosary of the Virgin 241 61. Christoph Schwarz, Mary Altarpiece (Virgin and Child in Glory with a View of Augsburg ). Munich, Bayerische Staatsgemä ldegalerie 246 62. Monogrammist A.C., View of Augsburg from the East 247 63. Vittore Carpaccio, St. Augustine in His Study . Venice, Scuola di San Giorgio degli Schiavoni 254 64. Georges de La Tour, St. Jerome Reading . Nancy, Musé e Historique Lorrain 255 65. Georges de La Tour, Magdalene with the Smoking Flame . Los Angeles, Los Angeles County Museum of Art 257 66. Domenichino, St. Mark the Evangelist . Rome, S. Andrea della Valle 259 67. Masaccio, St. Peter Healing with His Shadow . Florence, S. Maria del Carmine, Brancacci Chapel 261 68. Tintoretto, Last Supper . Venice, S. Giorgio Maggiore 263 69. Michelangelo Merisi da Caravaggio, The Conversion of St. Paul . Rome, S. Maria del Popolo 265 70. Holy Sepulcher with Effi gy . Mariager, North Jutland, Denmark, Bridgettine convent church 276 71. Holy Sepulcher . Konstanz, Constance cathedral, Mauritius Chapel 277 72. Oswald Bockstorfer aus Memmingen, Crucifi x with Movable Arms . Bad Wimpfen am Berg, Evangelical church 280 73. Swabian, Crucifi x with Movable Arms . Kempton, Basilica of St. Lorenz 281 74. Alessandro Galli-Bibiena, Design for an Exposition Grave . Munich, Staatliche Graphische Sammlung Mü nchen 287 75. Johann Anton Gumpp, Holy Sepulcher in the Theatine Church, Munich 289 76. Johann Andreas Wolff , Design for an Exposition Grave. Munich, Staatliche Graphische Sammlung Mü nchen 291

CONTRIBUTORS

Costanza Barbieri received her Ph.D. from Rutgers University. She is currently Assistant Professor of Art History at the Accademia di Belle Arti of Rome. She is the curator of the exhibition Notturno Sublime. Sebastiano e Michelangelo nella Piet à di Viterbo (Viterbo, Museo Civico, 2004), author of Specchio di virtù . Il consorzio della Vergine e gli aff reschi di Lorenzo Lotto in San Michele al Pozzo Bianco (Lubrina, 2000), and coauthor of Santa Maria in Vallicella. Chiesa Nuova (Fratelli Palombi, 1995). Her fi eld of interest is primarily sixteenth-century iconography. She recently published several articles on Sebastiano del Piombo and is preparing a book on the Loggia della Galatea. Tracy E. Cooper is Professor of Art History at Temple University. Her book, Palladio’s Venice: Architecture and Society in a Renaissance Republic (Yale University Press, 2006), received the Phyllis Goodhart Gordan Prize from the Renaissance Society of America. Other relevant publications include “Paolo Veronese – fa un modo per ‘la riforma cattolica’?” Crisi e rinnova- menti nell’autunno del rinascimento (Leo S. Olschki Editore, 1991); “Locus meditandi et orandi: Architecture and Liturgy at San Giorgio Maggiore,” Musica, scienza e idee nella Serenissima del Seicento (Edizioni Fondazione Levi, 1996); and “Singers and Setting: Choir and Furnishing in an Age of Reform,” Architettura e musica nella Venezia del rinascimento (Bruno Mondadori Editore, 2006). Robert W. Gaston , Ph.D., Warburg Institute, is Principal Fellow in Art History at the University of Melbourne. He taught art history at Bryn Mawr College, the University of Melbourne, Boston University, and La Trobe University. He was Visiting Professor at Villa I Tatti, the Harvard University Center for Italian Renaissance Studies, Florence, and Senior Research Fellow at CASVA, the National Gallery of Art, Washington, DC. He has written extensively on decorum, including an article in

Macmillan’s renowned 1996 Grove Dictionary of Art . His latest major publication is a critical edition of Pirro Ligorio’s Naples manuscript on waters in the forthcoming Edizione Nazionale. He is currently editing (with Louis Waldman) I Tatti’s San Lorenzo monograph project. Meredith J. Gill is Professor of Italian Renaissance Art at the University xii of Maryland, College Park. Her scholarly interests include art and spiri- Contributors tuality in Italy from the late medieval era through the sixteenth century. She is the author of Augustine in the Italian Renaissance: Art and Philosophy from Petrarch to Michelangelo (Cambridge University Press, 2005), and she has contributed to Rome in the series Artistic Centers of the Italian Renaissance (ed. Marcia Hall, Cambridge University Press, 2005) and The Renaissance World (ed. John Jeff ries Martin, Routledge, 2007). Among other projects, she has coedited, with Karla Pollmann, Augustine Beyond the Book (Brill, 2012), a collection of interdisciplinary studies on Augustine’s reception. Marcia B. Hall is The Carnell Professor of Renaissance Art and Director of Graduate Studies at Temple University. She has been writing about the Counter-Reformation since her fi rst book, Renovation and Counter-Reformation: Vasari and Duke Cosimo in Santa Maria Novella and Santa Croce, 1564–1577 (Cambridge University Press, 1979), in After Raphael (Cambridge University Press, 1999) and most recently in The Sacred Image in the Age of Art: Titian, Tintoretto, Barocci, El Greco, Caravaggio (Yale University Press, 2011). These are concerned with the relationship of midcentury maniera to the art of the subsequent Counter-Reformation. She contributed to and edited the volume Rome in the Cambridge series Artistic Centers of the Italian Renaissance, of which she is also series editor. Stuart Lingo is Associate Professor of Renaissance Art at the University of Washington. He received his Ph.D. from Harvard University (1998) and has been a Fellow at Villa I Tatti, the Harvard University Center for Italian Renaissance Studies, and a Visiting Senior Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art. In Federico Barocci: Allure and Devotion in Late Renaissance Painting (Yale University Press, 2008), he explores the fertile tensions between artistic ambition and religious devotion in mid- to late-sixteenth-century Italy. His current work focuses on the shifting fortunes of the ideal nude in the period. Maria H. Loh is Lecturer in the history of early modern Italian art and theory at University College London. She is the author of Titian Remade: Repetition and the Transformation of Early Modern Italian Art (Getty Research Institute, 2007) and the editor of Early Modern Horror , a special issue of the Oxford Art Journal (2011). She has also written on repetition and desire; sensation, special aff ects, and the moving image; and portraiture and loss.

She is currently working on Past Perfect: On the Construction of Old Master Narratives , which looks at pathos, process, and performance in the repre- sentation of early modern artists. Peter M. Lukehart is Associate Dean at the Center for Advanced Study in the Visual Arts, National Gallery of Art. From 1992 until 2001, he was xiii director of the Trout Gallery and Professor at Dickinson College, where he organized the exhibition and Web site Writing on Hands: Memory and Contributors Knowledge in Early Modern Europe (2000). His publications include contri- butions to Taddeo and Federico Zuccaro: Artist-Brothers in Renaissance Rome (J. Paul Getty Museum, 2007) and to The Artist’s Workshop (National Gallery of Art, 1993) and the Accademia Seminars (Yale University Press, 2009), both published under his editorship. He is project director of “The History of the Accademia di San Luca, c. 1590–1635: Documents from the Archivio di Stato di Roma” (www.nga.gov/casva/accademia ). Opher Mansour is Assistant Professor, University of Hong Kong. His research focuses on attempts to reform or suppress art in the Catholic Reformation and on responses and resistance to such projects. He has published essays on the depiction of martyrs and martyrdom in Counter-Reformation prints, on the papal state portrait, and on the Camerino Farnese, and he is currently writing a book on the chang- ing status of the body in Italian art and art theory, from the debates over Michelangelo’s Last Judgment , to the renewed prominence given to the nude and to the human fi gure in the work of Annibale Carracci and Caravaggio. John W. O’Malley , a specialist in the religious culture of early modern Europe, is currently University Professor in the Theology Department of Georgetown University. Among his seven monographs, The First Jesuits (Harvard University Press, 1995), winner of two best-book prizes and translated into ten languages, is perhaps the best known. He has received lifetime achievement awards from the Renaissance Society of America and the Society for Italian Historical Studies. He is a Fellow of the American Academy of Arts and Sciences and of the Accademia di San Carlo, Ambrosian Library, Milan. Amy Powell , who received her Ph.D. from Harvard University, is Assistant Professor in the Department of Art History and the Graduate Program in Visual Studies at the University of California, Irvine. She is the author of Perpetual Motifs: Scenes from the Late Medieval Church and the Modern Museum (Zone Books, 2012) and is currently working on a project called The Whitewashed Image: Iconoclasm and Seventeenth-Century Dutch Landscapes . Richard Schofi eld studied classics (Oxford, 1968–72), then art history (Courtauld Institute, Ph.D., 1979). He worked at Nottingham University and is now Professor of Architectural History at Istituto Universitario

di Architettura di Venezia, Venice. He has written numerous articles on Lombard Renaissance architecture and sculpture and fi ve books with co-workers: on Amadeo (1989), on Pellegrino Tibaldi (1994), translations of Palladio (with Robert Tavernor, MIT Press, 1997) and of Vitruvius (Penguin, 2009), and Architettura e controriforma. I dibattiti per la facciata del xiv Duomo di Milano, 1582–1682 (with Francesco Repishti, Electa Editore, 2004), in which he proposed an explanation of the doctrinal justifi cation Contributors for splendor in post-Tridentine architecture. Jeff rey Chipps Smith , Kay Fortson Chair in European Art at the University of Texas, Austin, specializes in German and Netherlandish art, 1400– 1700. His publications include Nuremberg: A Renaissance City, 1500–1618 (University of Texas Press, 1983); German Sculpture of the Later Renaissance, c. 1520–1580 (Princeton University Press, 1994); Sensuous Worship: The Jesuits and the Art of the Early Catholic Reformation in Germany (Princeton University Press, 2002); The Northern Renaissance (Phaidon Press, 2004); The Art of the Goldsmith in Late Fifteenth Century Germany: The Kimbell Virgin and Her Bishop (Kimbell Art Museum, 2006); D ü rer (forthcoming, Phaidon Press); editor, New Perspectives on the Art of Renaissance Nuremberg: Five Essays (Arthur M. Huntington Art Gallery, 1985); and coeditor (with Larry Silver), The Essential Dü rer (University of Pennsylvania Press, 2010). Bette Talvacchia is Board of Trustees Distinguished Professor Emerita of Art History at the University of Connecticut. She edited and contributed to Sexuality in the Renaissance (1450–1650) , volume 3 in the series The Cultural History of Sexuality (Berg Publishers, 2010). She has written a monograph on Raphael (Phaidon Press, 2007) and is the author of Taking Positions : On the Erotic in Renaissance Culture (Princeton University Press, 1999). Her most recent article in the area of gender studies is “The Double Life of Saint Sebastian in Renaissance Painting,” in The Body in Early Modern Italy , ed. Julia Hairston and Walter Stephens (Johns Hopkins University Press, 2010).

ACKNOWLEDGMENTS

The idea for this volume grew out of several sessions that we organized for the annual meeting of the Renaissance Society of America held in March 2007 in Miami, Florida. The editors would like to thank all the participants in those stimulating sessions, many of whom are represented in this volume. Those contributors who subsequently joined the project have rounded out the topic and added additional perspectives. We would particularly like to thank John W. O’Malley, who began as the commen- tator on the sessions in Miami and has now, drawing on his incompa- rable knowledge of the subject, contributed a historical review of how the decree on the veneration of images of the Council of Trent came to be. It is an indispensable introduction to our topic and a touchstone for the authors of this volume. We are most grateful to our acquisitions editor, Beatrice Rehl, Publishing Director of Humanities & Social Sciences for Cambridge University Press, and the publications team, in particular book designer Holly Johnson and copy editor Mary Becker, for their dedicated work on this complex volume. Marcia B. Hall and Tracy E. Cooper