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Dynamic Doorways: Overdoor Sculpture in Renaissance Genoa

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Dynamic Doorways: Overdoor Sculpture in Renaissance Genoa DYNAMIC DOORWAYS: OVERDOOR SCULPTURE IN RENAISSANCE GENOA By ©2012 MADELINE ANN RISLOW Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Sally J. Cornelison, Ph.D. ________________________________ George L. Gorse, Ph.D. ________________________________ Steven A. Epstein, Ph.D. ________________________________ Stephen H. Goddard, Ph.D. ________________________________ Anthony Corbeill, Ph.D. Date Defended: 4/6/2012 The Dissertation Committee for Madeline Ann Rislow certifies that this is the approved version of the following dissertation: DYANAMIC DOORWAYS: OVERDOOR SCULPTURE IN RENAISSANCE GENOA ________________________________ Chairperson Sally J. Cornelison, Ph.D. Date approved: 4/6/2012 ii Abstract Soprapporte—rectangular, overdoor lintels sculpted from marble or slate—were a prominent feature of both private residential and ecclesiastic portals in the Ligurian region in northwest Italy, and in particular its capital city Genoa, during the second half of the fifteenth and early sixteenth centuries. Sculpted site- or city-specific religious narratives occupy the centers of most soprapporte, and are typically framed with the coats of arms or the initials of their patrons. As this study demonstrates, soprapporte were not merely ornamental, for they acted as devotional objects and protective devices while connecting the citizens who commissioned them to the city, neighborhoods, and religious complexes whose portals they decorated. With a few exceptions, the literature on soprapporte is confined to scholarship produced by a limited circle of Ligurian scholars, and it is not part of the wider discourse of Italian Renaissance sculpture. By adopting an interdisciplinary approach to the relationship between these prominent and expensive objects and the history of ritual, patronage, and religious and domestic art in Genoa, this study represents the first comprehensive examination of these objects in English. In doing so, it also aims to reinstate Genoa into the dialogue of students and scholars of Renaissance politics, society, culture, religion, and art. The dissertation is composed of an introduction that examines traditions in ecclesiastic and domestic façade decorations and considers the sculptors, placement, developments, prevalence, preservation, and materials involved in creating soprapporte. This essential background information is followed by four chapters, which serve as case studies for the various functions, imagery, and dissemination of overdoor sculptures iii throughout Genoa and the rest of the Ligurian region. The over 350 examples of this sculptural type that I have encountered in my field research and consultation of secondary sources are included in an appendix. The result is a study that broadens the understanding of Ligurian, and especially Genoese, Renaissance art as well as provides a more coherent picture of the appearance and function of soprapporte and the ways in which they helped forge familial, communal, and devotional identities. iv Acknowledgements This dissertation would not have been possible without the guidance and support of my advisor, Dr. Sally J. Cornelison, as well as the helpful comments and suggestions from my other committee members: Dr. George L. Gorse, Dr. Steven A. Epstein, Dr. Anthony Corbeill, and Dr. Stephen H. Goddard. My project required extensive research time in Italy, which was made possible by the support of a 2008-2009 Fulbright Full Grant to Italy and the University of Kansas Art History Dissertation Travel Fund. Two University of Kansas grants allowed for much needed time to write: a 2008 Summer Research Fellowship from the Office of Graduate Studies and a 2010 Hall Center for the Humanities Summer Research Award. Numerous libraries, archives, and museums in Italy opened their resources to me. In particular I would like to thank the staff at the Biblioteca Civica Berio, Biblioteca della Società Ligure di Storia Patria, Biblioteca di Storia dell’Arte (in the Centro di Documentazione per la Storia, l’Arte e l’Immagine di Genova), Archivio di Stato di Genova, Museo di Sant’Agostino, and the church and museum of Santa Maria di Castello, all in Genoa. Many friends and family members contributed to the successful completion of this dissertation. I will be forever grateful to Mom, Dad, Ben, Michael, and Sabrina, and to Caterina (Rina) Croce, Anne Dotter, Ashley Elston, Tera Lee Hedrick, Maud Humphrey, Lara Kuykendall, Joan Lindeman, Brittany Lockard, Margherita Mazza, and Kate Meyer. Finally, I would like to thank my husband Kip. Without his unwavering support and encouragement, my work would not have been possible. v Table of Contents List of Figures................................................................................................................... vii Introduction......................................................................................................................... 1 Chapter One - St. John the Baptist Soprapporte: Overdoor Sculpture and the Visual Culture of a Patronal Cult .................................................................... 39 Chapter Two - Sacred Portals: Soprapporte in the Dominican Church of Santa Maria di Castello ................................................................................................ 74 Chapter Three - Genoese Public Spaces and Soprapporte: The Doria Family and Piazza San Matteo ......................................................................................... 127 Chapter Four - Beyond Genoa: Ligurian Soprapporte in Savona and Triora................. 172 Epilogue .......................................................................................................................... 205 Bibliography ................................................................................................................... 209 Appendix......................................................................................................................... 231 vi List of Figures* Figure i-1. St. George Killing the Dragon, ca. 1450-1500, marble. Palazzo Spinola, Piazza Pellicceria Superiore 3, Genoa. Figure i-2. Monogram of Christ, ca. 1450-1500, slate. Vico degli Adorno, Genoa. Figure i-3. Pace Gagini (?), St. George Killing the Dragon, ca. 1455-1466, marble. Via Canneto il Lungo 29r, Genoa. Figure i-4. Magi before Herod and the Adoration of the Magi supported by capitals with sculpted scenes of the Visitation and Annunciation, center door lintel, 1166, marble. Sant’Andrea, Pistoia. Figure i-5. Doubting Thomas and the Mission of the Apostles, center door lintel, 1167, marble. San Bartolomeo in Pantano, Pistoia. Figure i-6. Last Supper, north flank lintel, ca. 1180, marble. San Giovanni Fuorcivitas, Pistoia. Figure i-7. Workshop of Biduinus, Entry into Jerusalem, Portal from the Church of San Leonardo al Frigido, ca. ll75, marble. The Metropolitan Museum of Art, The Cloisters Collection. Figure i-8. Entry into Jerusalem (portal from the Church of Sant’Angelo in Campo), ca.1175-1185, marble. Palazzo Mazzarosa, Lucca. Figure i-9. Raising of Lazarus and Entry into Jerusalem, center portal lintel, 1180, marble. San Cassiano a Settimo. Figure i-10. Christ Enthroned Surrounded by Four Apostles with the Martyrdom of St. Lawrence, central tympanum, thirteenth - fourteenth century, marble. San Lorenzo, Genoa. Figure i-11. Giovanni and Bartolomeo Bon, Porta della Carta, 1438, red and white marble and Istrian stone. Doge’s Palace, Venice. Figure i-12. Domenico Gagini with the assistance of Elia Gagini, Chapel of St. John the Baptist, begun 1448, marble. San Lorenzo, Genoa. Figure i-13. Elia Gaggini (?), Adoration of the Magi, ca. 1450-1500, marble. Via degli Orefici 47r, Genoa. Figure i-14. Giovanni Gagini, St. George Killing the Dragon, 1457, marble. Palazzo Doria-Quartara, Piazza San Matteo 14. vii Figure i-15. Giovanni Gagini (?), St. George Killing the Dragon, ca. 1450s (before 1457), marble. Palazzo Brancaleone Grillo, Vico delle Mele 6. Figure i-16. Leonardo Riccomanno and Giovanni Gagini, Grimaldi Brothers’ Dedicatory Inscription, 1452, marble. Sacristy of Santa Maria di Castello (interior), Genoa. Figure i-17. Michele D’Aria, St. George Killing the Dragon, 1508, slate (pietra nera di Promontorio). Manica Lunga, Palazzo San Giorgio, Genoa. Figure i-18. Domenico Gagini, St. John the Baptist in the Desert, ca. 1455, marble. Spencer Museum of Art, Lawrence, KS (originally located in the now destroyed Via del Molo). Figure i-19. Monogram of Christ, ca. 1450-1500, slate (pietra nera di Promontorio). Vico delle Fiascaie 5r, Genoa. Figure i-20. Workshop of Giovanni Gagini, St. George Killing the Dragon, late fifteenth century, marble, 71.12 x 198.12 x 27.94 cm. Nelson-Atkins Museum, Kansas City, Missouri, 41-29/11. Figure 1-1. Unknown French and Genoese artists, St. John the Baptist Reliquary (front side), 1178, wood casket lined with red damask and covered with quartz and silver. Museo del Tesoro, Genoa. Figure 1-2. Unknown French and Genoese artists, St. John the Baptist Reliquary (back side), 1178, wood casket lined with red damask and covered with quartz and silver. Museo del Tesoro, Genoa. Figure 1-3. Unknown French and Genoese artists, St. John the Baptist Reliquary (short side), 1178, wood casket lined with red damask and covered with quartz and silver. Museo del Tesoro, Genoa. Figure 1-4. Unknown French artist, St. John
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