Power and Religion in Baroque Rome

POWER AND RELIGION IN BAROQUE ROME

Peter Rietbergen - 9789047417958 Downloaded from Brill.com09/29/2021 10:36:37PM via free access BRILL’S STUDIES IN INTELLECTUAL HISTORY

General Editor

A.J. Vanderjagt, University of Groningen

Editorial Board C.S. Celenza, Johns Hopkins University, Baltimore M. Colish, Oberlin College J.I. Israel, Institute for Advanced Study, Princeton J.D. North, University of Groningen W. O tten, Utrecht University

VOLUME 135

Peter Rietbergen - 9789047417958 Downloaded from Brill.com09/29/2021 10:36:37PM via free access POWER AND RELIGION IN BAROQUE ROME Barberini Cultural Policies

PETER RIETBERGEN

BRILL LEIDEN • BOSTON 2006

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On the cover: (front) Funerary monument of Urban VIII (1623-1644). Bronze statue of the Pope, flanked by Caritas and Justitia in marble. Bernini 1647; (back) The arms of the Barberini on the base of one of the columns of the baldachin in St. Peter’s. Bernini. Picture research CKD RU Nijmegen.

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ISSN 0920-8607 ISBN 90 04 14893 0

© Copyright 2006 by Koninklijke Brill NV, Leiden, The Netherlands. This work is published by Koninklijke Brill NV. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. Koninklijke Brill NV reserves the right to protect the publication against unauthorized use and to authorize dissemination by means of offprints, legitimate photocopies, microform editions, reprints, translations, and secondary information sources, such as abstracting and indexing services including databases. Requests for commercial re-use, use of parts of the publication, and/or translations must be addressed to Koninklijke Brill NV.

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Peter Rietbergen - 9789047417958 Downloaded from Brill.com09/29/2021 10:36:37PM via free access CONTENTS

Foreword...... xi Acknowledgements ...... xv

Introduction.Whenthebeesﬂew… ...... 1 Historiography ...... 1 Sources ...... 2 Problems: power, religion and cultural policy in Baroque Rome ...... 7

Prologue. Giacinto Gigli, chronicler, or: power in the streets of Rome...... 19 Introduction...... 19 The chronicler of papal Rome ...... 21 Thepowersofnature...... 23 Thepowersoftheworld...... 25 The“Urbs”asa physicalmanifestationofpower...... 29 Papal power ...... 35 The power of the papal relatives ...... 43 Ceremonyandritual:ephemeralpower?...... 46 Holyorunholypower? ...... 51 Theageingofpower...... 55 Conclusion ...... 59

Chapter One. The Barberini build a chapel, or: rising to power in post-Tridentine Rome ...... 61 Introduction...... 61 From the periphery to the centre: the vicissitudes of the Barberini from the 12th to the 16thcentury ...... 62 A sense of family between Curial careers and social status ... 65 Capellaaedificatur...... 70 Questions of iconography: the influence of Trent ...... 78 Opusfinitum?...... 89 Conclusion:Capellasanctificatur ...... 91

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Chapter Two. Maffeo Barberini - Urban VIII, the Poet-Pope, or:thepowerofpoeticpropaganda...... 95 Introduction...... 95 A poetic program? “Levan di terra al Ciel il nostro intelletto”—‘they lift our understanding towards Heaven’...... 96 Maffeo’s early poetry: from the dangers of life’s pleasures and the obligations of family “pietas” to the glorification ofDivineWisdom...... 97 The intermediate years: professional and poetic developments...... 100 The last phase: the apogee of papal poetry ...... 105 Thefirstcollectededition ...... 109 The first ‘papal’ edition...... 112 TheeditionsinItalian...... 115 Translations ...... 117 Contemporary explanations and interpretations: the poeticsandperilsofpoeticpropaganda...... 118 Wordsandimages:illustratingthePope’spoems...... 128 Words and sounds: the music of papal poetry ...... 131 Conclusion:“delectareetdocere”...... 136 Appendix. Chronological list of the main (collected) editions of the poems of Maffeo Barberini ...... 141

Chapter Three. The ‘Days and Works’ of Francesco, Cardinal Barberini, or: how to be a powerful cardinal-padrone?...... 143 Introduction...... 143 Howtobea cardinal? ...... 145 How to be a cardinal and a papal nephew? ...... 148 Baroquebehaviour:YoungFrancesco’s‘daysandworks’..... 158 Piety and patronage as politics: the roles of a cardinal-padrone ...... 173 Conclusion: the very model of a ‘modern’ cardinal-padrone?.. 179

Chapter Four. Prince Eckembergh comes to dinner, or: power throughculinaryceremony...... 181 Introduction...... 181 Preparations ...... 181 The ﬁrst entry and the ﬁrst audience ...... 187 A ceremonialsociety...... 189

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Thesecondentry ...... 194 The second audience, and the papal banquet ...... 199 Continuingfestivities...... 204 A propagandisticdisplay:foodforthought...... 206 Themenu ...... 209 Furtherfoodinferences...... 213 Tablemanners ...... 215 Conclusion ...... 216

Chapter Five. The Bare Feet of St Augustine, or: the power of religious images...... 218 Introduction...... 218 Prehistory...... 219 Anoutlineofthecase...... 222 Thelegalbasisofthecaseagainstthenewimage...... 230 Thehistoricalrealityofthenewimage...... 233 The tradition of Augustinian iconography and the new image ...... 235 Thenewimage:symbol,meaningandfunction ...... 240 The economic and ﬁnancial signiﬁcance of the new image .. 246 Powerpoliticsandthenewimage...... 248 Conclusion ...... 254

Chapter Six. Lucas Holste (1596–1661), scholar and librarian, or: the power of books and libraries ...... 256 Introduction...... 256 Theearlyyears...... 258 In the service of the Barberini...... 261 Themindoftheman...... 265 BetweenNorthandSouth...... 267 Printing and power: the Barberini Press ...... 271 Favourscontinued...... 274 HolsteandAlexanderVII...... 275 Buyersandsellers:bookmenatwork ...... 277 CitizensoftheRepublicofLetters...... 289 Conclusion ...... 293

Chapter Seven. Ibrahim al-Hakilani (1605–1664), or: the power ofscholarshipandpublishing ...... 296 Introduction. Cross-cultural contacts in the Mediterranean .. 296

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TheMaronitesinhistory...... 298 Ecchellen’s youth: 1605–1619 ...... 301 The ﬁrst Italian period: 1620–1628...... 302 Mediterranean interlude—Ecchellen as diplomat and merchant: 1628–1633...... 304 The second Italian period: 1633–1640 ...... 309 The ﬁrst French period: 1640–1642 ...... 310 The third Italian period: 1642–1644 ...... 315 The second French period: 1644–1651 ...... 318 Back to Rome for the last time: 1651 andonwards...... 326 Ecchellen, the Vatican Library and European Oriental studies...... 329 Conclusion ...... 334

Chapter Eight. Urban VIII between White Magic and Black Magic, or: holy and unholy power ...... 336 Introduction.Threeepisodes...... 336 FearandviolenceinBaroqueRome...... 338 DevotionandsuperstitioninBaroqueRome...... 341 Urban and his stars ...... 343 TheabbotofSantaPrassedeandthevicarofSanCarlo..... 346 Howtomurdera pope? ...... 349 Crime and punishment: the trial of Giacinto Centini...... 356 Urban and Campanella ...... 361 Astrology: a priestly power, a divine science? ...... 364 Betweentwoworldviews...... 366 Conclusion. The pope’s power to punish, or: harmony restored...... 372

Epilogue. The Return of the Muses: instruments of cultural policy in Barberini Rome, 1623–1644 ...... 377 Introduction.Rome:theatrestateandcourtsociety ...... 377 Instruments of cultural policy: the court proper and the “famiglia”...... 383 Instruments of cultural policy: the moral enchantment of religious music...... 390 Instruments of cultural policy: the academies ...... 394 Instruments of cultural policy: relations with the Christian NearEast...... 395

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Instruments of cultural policy: the ‘protectorates’ and the nationalcolleges...... 399 Instruments of cultural policy: the Vatican Library and the Barberini Library ...... 401 Instruments of cultural policy: the university, the Collegio Romano and the problems of Church patronage of scholarshipandscience...... 404 Instruments of cultural policy: printing and publishing ...... 408 Cultural policy and the printed word: the advance of ‘literalmindedness’...... 418 The Transposing Lyre: a cultural policy and its results ...... 420

Conclusion. “l’Età fortunata del Mele”, or ‘Honey’s Happy Age’: the Barberini pontiﬁcate as a generation, a crossroads—problems of perspective...... 427

Index...... 431

Peter Rietbergen - 9789047417958 Downloaded from Brill.com09/29/2021 10:36:37PM via free access Peter Rietbergen - 9789047417958 Downloaded from Brill.com09/29/2021 10:36:37PM via free access FOREWORD

The end has been, in a way, the beginning, or rather: what is now the opening piece of this study has been written last. When I first thought I should write about the diary of Giacinto Gigli, one of 17th- century Rome’s most famous chroniclers, I realized that a number of essays on Barberini Rome I had produced over the preceding years were rather more closely linked than I had appreciated at the time of writing.1 Thus, the unsuspected continuity and even coherence of one’s intellectual pursuits became obvious once more. It probably amazes no one but the person it concerns, who is least able to survey his own scholarly production with the necessary detachment. Moreover, I felt I now could make some more general observations on the nature of Baroque culture in Barberini Rome and interpret it as, basically, a ‘rhetorics of power’, embodied in and expressed by the manifold manifestations of papal cultural policy. This book, then, studies a wide variety of cultural forms: ‘high’ culture such as architecture, music and poetry, as well as scholarship, but also ‘low’ culture, such as (ceremonial and ritual) behaviour and, even, ‘magic’. Some of these forms are represented in the actions of one single person, Maffeo Barberini (1568–1644) who, as Pope Urban VIII, ruled Rome and the Catholic Church from 1623 to 1644. Concentrat- ing on his pontificate and the parallel ‘reign’ of the Barberini family, personified in Urban’s favourite nephew, Cardinal Francesco Barberini (1597–1679), I became aware of the fact that, even without considering the ‘allegorical’ evidence of the bees, the telling armorial beasts of the Barberini that even nowadays swarm all over Rome, the City Eternal

1 Five of the ten chapters of this book—including the Prologue and the Epilogue— have been published in an earlier version. I do hope to have brought some critical discernment to their selection and revision, adapting them to the general theme I propose to illustrate. For the original versions of these ﬁve chapters, see notes 1 to 6 of the Acknowledgements. Of course, I have felt free to add to these earlier versions, incorporating material collected at a later stage of research to create a broader perspective, in tune with the scope of the book.

Peter Rietbergen - 9789047417958 Downloaded from Brill.com09/29/2021 10:36:37PM via free access xii foreword in early modern times was, indeed, the stage for a remarkable process of ‘cultural cross-fertilization’, a process that was both the foundation and the result of a policy that used culture in all its forms as an instrument to create and enhance power. Consequently, through my analysis of the uses the Barberini made of the various forms of culture indicated above, I hope to show that the ‘Baroque’ papacy pursued a deﬁnite cultural policy, both in its strictly religious and in its wider, more secular sense, to empower its politics.

Yet, as perhaps always, there remains the feeling that I should have written another book. In this case, it might have been titled ‘Culture and Power in early-17th century Rome’. There are two reasons why I have not written that book. Firstly because, if we want to arrive at a real understanding of the complexity of culture in this town, in this period, we should admit the field is simply too wide to be tilled single-handedly. Therefore, I have not tried to burden my ‘cultural cameos’ with a context that, effectively, would be a rehash of all that has been written on Barberini Rome and the preceding three pontificates, especially since that would have entailed incorporating huge chunks of traditionally-conceived political and art history. Rather, I have chosen to select topics that, I hope, have something new to offer, while, at the same time, they ‘talk’ to one another. Together they may, perhaps, yet evoke a wider vision. Consequently, the book is planned as follows.

The Prologue looks at Rome as a ‘city of power’ through the eyes of Giacinto Gigli, its best-known, but least studied chronicler. His fascinating, albeit one-sided and prejudiced view of Rome and the Barberini introduces both the stage and the main actors and issues I will analyse in the following chapters. In the first chapter, I sketch and interpret the rise to power of the Barberini family, by looking at one of its earliest outward manifestations, the sumptuous family chapel constructed by Maffeo Barberini in the early years of the 17th century in the Roman church of Sant’Andrea della Valle. The very fact of its construction as well as its pictorial decoration—of which I propose an interpretation—allow us to understand two of the instruments used to create (religious) power in Baroque Rome. The Latin and Italian poems of Maffeo Barberini—the one real poet-pope in two thousand years of papal history—have never been analysed in their entirety. Yet, to me, they seem to offer some fascinat-

Peter Rietbergen - 9789047417958 Downloaded from Brill.com09/29/2021 10:36:37PM via free access foreword xiii ing clues to the Pope’s intentions and policies and, consequently, they are the topic of the second chapter. The third chapter is devoted to Francesco Barberini, who, as his uncle’s favourite nephew, became his main collaborator. Though his political career has been amply studied, we know little of his ‘mental’ background and his formation. A highly revealing but as yet unstudied ‘instruction’ given to him during the early stages of his career offers a possibility to analyse ‘Baroque behaviour’ as a form of power represen- tation. Chapters IV through VII deal with episodes and persons relatively or even largely unknown. All connected to the pontificate of Urban VIII, these people and their actions illuminate various important as- pects of the relationship between power and culture in Barberini Rome. In chapter VIII, I return to the Pope, to answer the question how he himself behaved as part of a society that, while based on the Christian Faith, yet had great problems in deciding which, precisely, were the legitimate magical manifestations, i.e. the (penultimate?) powers of that Faith. The Epilogue aims to provide an overall picture of the various instruments of cultural policy employed by the Pope, by the Barberini and by their court and clientele to effectuate the power of religion, the power of the Catholic Church which, of course, was their own power as well. Although I have conceived the chapters of this book as, basically, independent pieces, I have yet tried to eliminate overlapping and, on the other hand, to introduce cross-references, often to express my own surprised discovery of the connections between the various topics and even between the various protagonists. This book, then, is not the synthesis to which I allude above. The second reason for not attempting to write such a synthesis is that, at least as far as I can see, far more work needs to be done before we can actually pretend to understand the manifold, but often hidden interre- lationships between the various manifestations of papal culture—which I interpret as papal cultural policies—as instruments of papal power. In other words, we need to better analyse the complexity of the interaction between the sometimes stupendous products of the arts and sci- ences, up till now mostly studied in their splendid isolation, and their social and political context. It seems to me that ideology—in this case religion and its attendant power systems as translated into and represented by images—and indeed the very need for image building and

Peter Rietbergen - 9789047417958 Downloaded from Brill.com09/29/2021 10:36:37PM via free access xiv foreword the manipulation of the senses and, thus, of behaviour as an essential means towards the acquisition and consolidation of that power, go a long way to explain the interdependencies between these various ﬁelds: they show us the underlying structure of the ‘theatre’ that was life in Roman society, where many cultural forms, all termed Baroque, were the result of a complex policy that meant to enhance the power of the Church and its rulers. Maybe such an attempt at a synthesis will suc- ceed only if undertaken by a group of specialists, preferably including an anthropologist and a psychologist, instead of by one author.

Peter J.A.N. Rietbergen, Rome, the Royal Dutch Institute – Nijmegen, the Radboud University – Oxford, Christ Church, June 1990 -June2005.

Peter Rietbergen - 9789047417958 Downloaded from Brill.com09/29/2021 10:36:37PM via free access ACKNOWLEDGEMENTS

Any author knows he never writes a book alone: even a one-man enterprise always owes a debt of gratitude to many people. In my case, I am beholden not only to those who somehow and often unwittingly created the occasion for which the various chapters were written, but also to those who, during the various phases of its genesis and its last revision, gave generously of their time in reading and criticizing, thus immeasurably improving the final product. The latter should be mentioned first: my friends and colleagues Prof. Christianne Berkvens-Stevelinck, formerly of Leiden University and now of the Radboud University at Nijmegen; Prof. Joe Connors, of Columbia University and of Villa ‘I Tatti’, Florence; Prof. Thomas Noble, of the University of Notre Dame; and, last but not least, Prof. Louise Rice, formerly of Duke and now of New York University—all of whom went through the entire text. My friends and colleagues Dr Meindert Evers and Dr Bert Treffers, both of the Radboud University, at Nijmegen, and the latter now of the Royal Dutch Institute, at Rome, and Prof. John B. Scott, of Rutgers University, shed light on specific chapters. All of them confronted me with the inconsistencies of my analyses and interpretations and through their questions forced me to rewrite various parts of this book which, I know, have gained from their criti- cism. Thanks go, also, to Prof Jacques Lebrun, of the Sorbonne, at Paris, who opened his country house to me and thus gave me a chance to be inspired by the beautiful landscape of the Provence, with, as the result of a hot summer’s work, the final version of chapter VIII of this book.

As indicated already in the Foreword, some of the chapters have a history of their own, which is worth mentioning here, if only because, at least in my opinion, scholars should document their own “Werdegang”. The second chapter, on Urban VIII, poet and pope, though written recently, I owe, in a way, to the man who ﬁrst introduced me to Rome in the early 1970s, my late teacher when I was an undergraduate

Peter Rietbergen - 9789047417958 Downloaded from Brill.com09/29/2021 10:36:37PM via free access xvi acknowledgements at Nijmegen, Prof. Dr J.J. Poelhekke, former director of the Dutch Institute in Rome. During one of his many erratic, eccentric and highly stimulating seminars, he made a chance, rather disparaging remark about Urban’s poetic proclivities. Then, being the generous person he was, he added: ‘but I don’t know, maybe Urban needed his poetry to be a good pope’. Trying to answer that question provided a possibility to do homage, albeit posthumously. The idea to work on the Barberini Chapel, in the first chapter, grew out of my interest in the continuity of Roman elite families, and germinated in a find of documents in the Barberini Archives.1 However, as a simple historian I would not, in 1984, have dared tackle a topic with such obvious art-historical tangentials were it not for the encouragement of my friend and colleague Dr Johanna Heideman, of Leiden University, whose own work on the family chapels of the church of Ara Coeli proved a stimulating example. Having transgressed into the field of art history and thus having set foot on the path of interdisciplinary history, the next step was easier, the more so as the cache of documents that resulted in the essay on art and power in and around the Augustinian Order allowed me to write, in the fifth chapter, a tribute to one of my former thesis supervisors on the occasion of his retirement.2 The interest of the late Prof. Dr J. van Laarhoven in the Conciliar movement and, thus, in the Tridentine decrees on art, combined happily with a case that gave a rare and fascinating view of the various levels of interaction between— religious—art and society, always a topic dear to him. ‘Prince Eckembergh’s Dinner’, now the topic of the fourth chapter, was recreated for the First International Food Congress, held in Istam- bul and Konya, Turkey, in 1986. It was the admirable and pleasurable initiative of a culturally-minded Turkish family of great hospitality, the Halicis, who have since continued to gather and support scholars in this particular field—combining history and anthropology—thus setting an example of modern patronage in the best possible sense.3

1 The first version was published in 1984: P.J.A.N. Rietbergen, ‘De Barberini’s bouwen hun kapel’, in: Ex Tempore, III, 3/4 (1984), 222–240. 2 The first version was published in 1992: P.J.A.N. Rietbergen, ‘Image and Influ- ence. Art, power politics and the Augustinian Order during the seventeenth century’, in: Annales ESC, 1992/1, 65–86. 3 The first version was published in 1983: P.J.A.N. Rietbergen, ‘Prince Eckembergh Comes to Dinner’, in: A Journal of Culinary History,VI(1983), 45–54.

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In chapter VII, the activities of Lucas Holste, who, in the third decade of the 17th century, came from the North to find his scholarly haven in the Vatican Library, somehow symbolize my own gravitation towards the South, and to the Eternal City.4 Ever since I started my career as an inexperienced research student in the early 1970s, the now Royal Dutch Institute in Rome has been the base from which I could work the rich mines of the Roman archives and manuscript collections. Thus, in a way, I owe a fair part of my scholarly pleasure during the past thirty years to the accommodation it provides, but even more to the inspiration that comes from living and working with a like-minded group, the population of the ‘third floor’ of said Institute; over the past decades it has become a major, though as yet unstudied intellectual force in the field of Italian Studies in The Netherlands, to whom I hereby pay a debt of profound gratitude. Yet, the Holste-chapter would not have found its final form but for a valuable, inspiring discussion with Dr. Burckhard Reis, of Hamburg University. Inspiration for chapter VI, on Abraham Ecchellen, came from my students in the Nijmegen Mediterranean History Program, since alas abolished. In 1988 I proposed to devote a seminar to the history of the relations between the various cultures of the Mediterranean following the years in which Lepanto seemed to have erected invisible but yet strong ideological barriers within the ‘inner sea’. To overcome their scepticism not only as to the viability of such an approach but also as to the very existence of such contacts, I felt I had to show, with an effort of my own, what could be done with the voluminous collections of documents and manuscripts left in Rome and, for that matter, Paris by the numerous 17th- and 18th-century scholars who once kept alive a sense of cultural continuity in the Mediterranean, even though political and religious division suggested otherwise.5 But in evaluating this material, and the questions it raised, I certainly was stimulated by the discussions with my colleague Dr Richard van Leeuwen, of Amsterdam University. Chapter VIII, exploring some of the roles magic played during Urban’s pontificate was dictated by the central argument that links

4 The ﬁrst version was published in 1988: P.J.A.N. Rietbergen, ‘Lucas Holste. A seventeenth-century scholar, librarian and book collector’, in: Quaerendo,XVII3/4 (1988), 205–231. 5 The ﬁrst version was published in 1989: P.J.A.N. Rietbergen, ‘A Maronite medi- ator between seventeenth-century Mediterranean Cultures: Ibrahim al-Hakilani, or Abraham Ecchellen (1605–1664)’, in: LIAS, 16/1 (1989), 13–41.

Peter Rietbergen - 9789047417958 Downloaded from Brill.com09/29/2021 10:36:37PM via free access xviii acknowledgements the various parts of this book. Any study dealing with the culture of the times before the disenchantment brought about by the assumed ﬁnal victory of ‘rationalism’ during the Enlightenment, always has to involve the ways in which people sought to control their lives precisely by invoking the powers ascribed to the supernatural. As ‘religion and the decline of magic’ have so often been linked, a study of magic in one of the world’s capitals of religion seemed necessary indeed. With the Epilogue, that tries to sum up the results of the preceding chapters in an attempt at synthesis, I also express my thanks for the friendship and collegiality of Dr Christianne Berkvens-Stevelinck, my co-worker in the project of the edition of the correspondence of Car- dinal Francesco Barberini and Nicholas Claude Fabri de Peiresc.6 The present text grew out of our stimulating joint research trips to Rome, Paris and Carpentras in the years 1989 and 1990 as much as out of my own earlier and later Roman investigations.

Obviously, a scholar’s life does not depend on friendly and critical colleagues, only. It is lived amidst a great many people who all contribute to the final result of its endeavours by providing, each in his or her own capacities, a congenial environment, asking interested questions at the right time while refraining from bothering one, also at the right time, and, of course, by simply being there. To them, too, I owe a debt of gratitude. Last, but not least, a scholar should be able to acknowledge the help of his university, the place that, normally, should provide a safe haven for him to do his work in. Lamentably, universities no longer are such safe havens. Therefore, it is with great gratitude that I do acknowledge the help of the two institutions that did enable me to, first, engage in the research and, last, in the final re-writing of this book: the Royal Dutch Institute in Rome, and Christ Church, Oxford.

6 A ﬁrst version was published in 1992: P.J.A.N. Rietbergen, ‘The Return of the Muses’, in: P.J. van Kessel, ed., The Power of Imagery (Rome 1992), 63–83.

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