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ANDREA RICCIO‘S DELLA TORRE TOMB MONUMENT: HUMANISM AND ANTIQUARIANISM IN PADUA AND VERONA by Rebekah Anne Carson A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Department of Art University of Toronto @ Copyright by Rebekah Anne Carson 2010 Andrea Riccio‘s Della Torre Tomb Monument: Humanism and Antiquarianism in Padua and Verona Doctorate of Philosophy 2010 Rebekah A. Carson Department of Art University of Toronto Abstract An important masterpiece by the Paduan sculptor Andrea Riccio, the Della Torre tomb monument broke with contemporary funerary monuments in both its form and content. Understanding what enabled this break with tradition is the central issue in the study of this monument—one that has not been sufficiently addressed in previous scholarship. Despite the lack of overt references to the Christian faith on the Della Torre monument, the narrative programme is concerned with two very important Christian concerns—the necessity of a life of virtue and the health and afterlife of the soul. I argue that the narrative on the tomb, influenced by contemporary funerary oratory and poetry, presents a model of virtue for the viewer. Moreover, I argue that Riccio has illustrated the presence of this exemplar by the very structure of the monument itself. This dissertation focuses on the artistic and intellectual community surrounding the creation of this monument and, in particular, on the reconciliation of this strictly all‘antica monument with Christian thought in this period. Upon a thorough contextual examination, this unprecedented monument becomes less of an anomaly. It reflects the ii ideas of an important circle of humanists from both Padua and Verona, thus illustrating the breadth of their interests and their involvement in contemporary debates over religion, the nature and potential immortality of the soul, and the necessity of virtue. Analysing this monument within the context of humanist ideas prevalent among the individuals within the Della Torre circle, those who had, or likely had, a great influence on the significance of the monument‘s narrative, gives this monument what has been long denied to it—a proper understanding of its Christian programme and didactic function. The fulfillment of this task, which promises to shed additional light on the adaptation of pagan elements to Christian purposes, is the overall aim of this work. iii In memoriam doctoris Guillelmi Irwini Illman avi professoris atque exemplaris virtutis iv Acknowledgements I would like to offer my gratitude to my advisor, Alexander Nagel, for his guidance and encouragement, for suggesting the Della Torre monument as a dissertation topic, and for challenging my ideas and thinking at every stage. I am grateful for the guidance given by my dissertation committee members Michael Koortbojian and Philip Sohm—their feedback and insight has contributed greatly to my research. I wish also to thank the members of my dissertation defense committee, Sarah Blake McHam and Olga Pugliese, for their insight and advice. I am very grateful to the many scholars who have assisted me in my research; in particular, Spencer Pierce, Denise Allen, Philippe Malgouyres, Ethan Matt Kavaler, and Linda Saffran. For allowing me access to the Villa Della Torre in Fumane, I offer my thanks to Giuse Cazzola Savio. I owe a debt of gratitude to the many archivists and librarians who assisted me in my research. The archivists at the Archivio di Stato di Verona and the librarians at the Biblioteca dell‘Accademia di Agricoltura Scienze e Lettere di Verona offered me much assistance, and so did their colleagues in the Biblioteca Civica di Verona and the Biblioteca Capitolare in Verona. In Padua, I benefited from access to the collections in the Museo Civico; the Archivio di Stato di Padova; the Biblioteca Antoniana; the Biblioteca Universitaria; the Biblioteca del Seminario Vescovile. I am also grateful for the assistance received at the library at the Castello Sforzesco in Milan; at the libraries at the University of Pavia; at the Louvre; and at the Bibliothèque Nationale François Mitterrand in Paris. v The University of Toronto has been a felicitous place to pursue Early Modern Studies, both because of the resources available and the rich community of academics working in this area at the university. I am fortunate to have had access to the resources at the Fisher Rare Books at Robarts Library and the Centre for Reformation and Renaissances studies at Victoria University, University of Toronto. I would like to thank Jess Paehlke for generously giving his time to review and edit some of my Latin translations. I have benefited greatly from discourse with fellow graduate students at the University of Toronto; in particular, I would like to thank Piers Brown, Christine Kralik, Amara Magloughlin, Carolina Mangone, Betsy Purvis, Linda Stone, and Flora Ward. I would like to thank my parents for their support and my mother, Beth Carson, for her editorial assistance. I wish to thank Anton Petrenko for his constant support and encouragement. vi Table of Contents List of Illustrations viii INTRODUCTION 1 Chapter I: The Della Torre Monument and San Fermo Maggiore 13 Chapter II: Artists and Humanists in Padua and Verona 45 Chapter III: The Quintessential Christian Tomb? 77 Chapter IV: The Tomb‘s Narrative and the Contemporary Debates over the Nature and Immortality of the Soul 101 Chapter V: Riccio, Fracastoro, and Pagan Sacrifice 142 Chapter VI: A Sacrifice to Asclepius on a Renaissance Tomb 180 Chapter VII: The Tomb, Funerary Elegy, and Oration in the Renaissance 200 CONCLUSION 235 APPENDIX I 239 APPENDIX II 240 BIBLIOGRAPHY 244 ILLUSTRATIONS 271 vii ILLUSTRATIONS Figures 1 Andrea Riccio, Della Torre Tomb Monument, San Fermo Maggiore, Verona 271 2 Plan, San Fermo Maggiore, Verona 272 3 Andrea Riccio, The Professor Teaching, Louvre 273 4 Andrea Riccio, The Illness of the Professor, Louvre 274 5 Andrea Riccio, The Sacrifice to Asclepius, Louvre 275 6 Andrea Riccio, The Death of the Professor, Louvre 276 7 Andrea Riccio, The Funeral of the Professor, Louvre 277 8 Andrea Riccio, The Descent of the Professor‘s Soul into the Underworld, Louvre 278 9 Andrea Riccio, The Soul‘s arrival in the Elysian Fields, Louvre 279 10 Andrea Riccio, The Triumph of Humanist Virtue, Louvre 280 11 Andrea Riccio, Death Mask of Girolamo Della Torre, The Della Torre Tomb Monument, San Fermo Maggiore, Verona 281 12 Andrea Riccio, Death Mask of Marcantonio Della Torre, The Della Torre Tomb Monument, San Fermo Maggiore, Verona 282 13 Andrea Riccio, Philosophy, paschal candelabrum, Church of St. Anthony, Padua 283 14 Charles Percier, Drawing of the Porte de la Salle des Cariatides, Louvre 284 15 Della Torre Chapel, San Fermo Maggiore, Verona 285 16 Della Torre Chapel, San Fermo Maggiore, Verona 286 17 Della Torre Chapel, San Fermo Maggiore, Verona 287 18 Michele Sanmicheli, Section of Pellegrini chapel, San Bernardino, Verona, engraving by B. Giuliari 288 19 Giulio Della Torre, Self-Portrait, La Fondazione Miniscalchi Erizzo, Verona 289 viii 20 Giulio Della Torre, Medal for Giovanni Caroto 290 21 Giulio Della Torre (attributed), Villa Della Torre, Fumane 291 22 Giulio Della Torre (attributed), Villa Della Torre, Fumane 292 23 Michele Sanmicheli, Chapel, Villa Della Torre, Fumane 293 24 Luigi Trezza, Drawing of Sanmicheli‘s chapel at the Villa Della Torre, Biblioteca Civica Verona 294 25 Luigi Trezza, Drawing of Sanmicheli‘s chapel at the Villa Della Torre, Biblioteca Civica Verona 295 26 Giovanni Antonio Amadeo, Arca of San Lanfranco, Pavia 296 27 Giovanni di Balduccio, Arca of St. Peter the Martyr, St. Eustorgio, Milan 297 28 Antonio Rizzo (?), Tomb for Orsato Giustiniani, S. Pietro di Castello, Venice 298 29 Paolo Savin, Tomb for Cardinal Giovanni Battista Zen, Zen Chapel, San Marco, Venice 299 30 Cristoforo Solario, Tombs of Ludovico Sforza and Beatrice d‘Este, Certosa, Pavia 300 31 Antonio Pollaiuolo, Tomb of Pope Sixtus IV, St. Peter‘s, Rome 301 32 Gian Cristoforo Romano, Gian Galeazzo Visconti monument, Certosa, Pavia 302 33 Cangrande I Della Scala, churchyard of S. Maria Antica, Verona 303 34 Mastino II Della Scala, churchyard of S. Maria Antica, Verona 304 35 Cansignorio Della Scala, churchyard of S. Maria Antica, Verona 305 36 Tombs of Antenor and Lovato Lovati, Padua 306 37 Reconstruction Drawing of the monument planned for Livy (Frey) 307 38 Bartolommeo Bellano, completed by Riccio, Tomb for Pietro Roccabonella, San Francesco, Padua 308 39 Tomb monument for Rolandino Passaggeri, piazza San Domenico, Bologna 309 40 Nicola Pisano, Arca of St. Dominic, Bologna 310 ix 41 Arca of St. Dominic, reconstruction drawing (Pope-Hennessy) 311 42 Giovanni Balduccio and shop, Arca of St. Augustine, S. Pietro in Ciel d‘Oro, Pavia 312 43 Anonymous Tuscan (?) sculptor, Arca of St. Luke, in S. Giustina, Padua 313 44 Gentile da Fabriano, The Crippled and Sick Cured at the Tomb of St. Nicholas, National Gallery Washington 314 45 Fragments of the monument of Raimondino de Lupi, Oratory of San Giorgio, Santo, Padua 315 46 Tomb of Vitalino and Giovanni Borromeo, Palazzo Borromeo, Bella Isola 316 47 Illustration of the tomb of Ambrogio Grifo 317 48 Giovanni Antonio Amadeo, Tomb for Bartolomeo Colleoni, Bergamo 318 49 Bonino da Campione, Tomb for Bernabò Visconti, Castello Sforzesco, Milan 319 50 Giovanni Maria Falconetto, Design for a tomb, Louvre 320 51 Andrea Riccio, Detail of the Professor and his Soul, The Death of the Professor, Louvre 321 52 Andrea Riccio, Detail, The Soul‘s arrival in the Elysian Fields, Louvre 322 53 Andrea Riccio, Detail of Philosophia, The Professor teaching, Louvre 323 54 Andrea Riccio, Detail of the vase, The Triumph of Humanist Virtue, Louvre 324 55 Suovetaurilia procession, relief, Louvre 325 56 Andrea Riccio, David before the Ark of the Covenant, Church of St. Anthony, Padua 326 57 Andrea Riccio, Scene of Sacrifice, paschal candelabrum, Church of St.
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    Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Filologia Moderna Classe LM-14 Tesi di Laurea Per l’attribuzione del carme Scaliger interea Canis: aspetti stilistici e metrici Relatore Laureando Prof. Giovanna Maria Gianola Silvia Berti n° matr.1104222 / LMFIM Anno Accademico 2016 / 2017 1 INDICE PREMESSA 3 LA VITA E LE OPERE 5 DE SCALIGERORUM ORIGINE 11 1. Composizione e tradizione 13 2. Lo studio del lessico 15 2.1 Ezzelino e i proceres 15 2.2 I conflitti 24 2.3 Le vittime 28 2.4 I della Scala 32 3. Retorica e sintassi 45 4. Uno sguardo d’insieme 59 DOPO IL DE SCALIGERORUM ORIGINE: OSSERVAZIONI SULL’HISTORIA 63 SCALIGER INTEREA CANIS 71 1. Composizione e tradizione 73 2. Lo studio del lessico 79 2.1 I personaggi 79 2.2 I conflitti 88 2.3 Le vittime 90 2.4 La toponomastica 92 3. Retorica e sintassi 99 ASPETTI METRICI 105 1. Metodo e strumenti 107 2. Gli schemi metrici 109 3. La sinalefe 113 4. Le cesure 117 2 CONCLUSIONI 121 TRADUZIONE 125 APPENDICE 149 BIBLIOGRAFIA 177 3 PREMESSA «La volta che Lila e io decidemmo di salire per le scale buie che portavano, gradino dietro gradino, rampa dietro rampa, fino alla porta dell’appartamento di don Achille, cominciò la nostra amicizia.»1 E cominciò così anche uno dei casi editoriali più discussi dell’ultimo quarto di secolo. L’autrice della tetralogia L’amica geniale, infatti, si è da allora celata dietro lo pseudonimo di Elena Ferrante.