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The Collecting, Dealing and Patronage Practices of Gaspare Roomer

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ART AND BUSINESS IN SEVENTEENTH-CENTURY NAPLES: THE COLLECTING, DEALING AND PATRONAGE PRACTICES OF GASPARE ROOMER by Chantelle Lepine-Cercone A thesis submitted to the Department of Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (November, 2014) Copyright ©Chantelle Lepine-Cercone, 2014 Abstract This thesis examines the cultural influence of the seventeenth-century Flemish merchant Gaspare Roomer, who lived in Naples from 1616 until 1674. Specifically, it explores his art dealing, collecting and patronage activities, which exerted a notable influence on Neapolitan society. Using bank documents, letters, artist biographies and guidebooks, Roomer’s practices as an art dealer are studied and his importance as a major figure in the artistic exchange between Northern and Sourthern Europe is elucidated. His collection is primarily reconstructed using inventories, wills and artist biographies. Through this examination, Roomer emerges as one of Naples’ most prominent collectors of landscapes, still lifes and battle scenes, in addition to being a sophisticated collector of history paintings. The merchant’s relationship to the Spanish viceregal government of Naples is also discussed, as are his contributions to charity. Giving paintings to notable individuals and large donations to religious institutions were another way in which Roomer exacted influence. This study of Roomer’s cultural importance is comprehensive, exploring both Northern and Southern European sources. Through extensive use of primary source material, the full extent of Roomer’s art dealing, collecting and patronage practices are thoroughly examined. ii Acknowledgements I am deeply thankful to my thesis supervisor, Dr. Sebastian Schütze. After arriving at Queen’s for my PhD thinking I would study patronage in Rome, he encouraged me to take on a Neapolitan topic. This opened a fascinating and exciting world for me. Focusing my dissertation on Naples – an area of study that is fairly uncommon among North American scholars – allowed me to explore new and unchartered territory. Throughout our many discussions about Gaspare Roomer, I always felt fortunate to have such an insightful, patient and encouraging adviser. His commitment to his students is admirable; I am grateful that he continued to advise my dissertation even after he left Queen’s for Vienna. The successful completion of my dissertation is due to his commendable abilities as a scholar, supervisor and mentor. My secondary supervisor, Dr. Stephanie Dickey, has also been absolutely integral in the success of this project. As my art historical background centred mainly on Early Modern Italy, I was immensely grateful for her expertise in Northern European art. Because of her guidance and assistance, I was able to construct a more complete picture of Gaspare Roomer’s cultural activities and truly understand the depth of his influence in Early Modern Europe. I highly value her role as an academic, a mentor and an adviser. Without her constant encouragement and advice, this thesis would not have been possible. I would also like to thank Dr. David McTavish, whose kindness and support I so greatly appreciated during my time at Queen’s. He truly helped foster in me a love for drawings. Additionally, I am appreciative of the guidance I received from Dr. Una D’Elia, whose advice served me well during my first attempt at teaching a university course. I am also grateful to Dr. Allison Sherman, who has given me numerous pieces of helpful advice throughout the years I have known her. Her assistance in facilitating my defense and thesis submittal in these last few months has been invaluable. I must also give a special thanks to Alfred and Isabel Bader, whose generosity to the Art Department at Queen’s made my research overseas financially possible. There are many other individuals at a variety of institutions who have been generous to me with their time and expertise. I am especially indebted to Professor Renato Ruotolo, without whose help in iii Naples I would have been completely lost. Our numerous conversations about my research introduced me to new ideas, research methods and sources. Studying in Naples is not always easy and I was thankful to have Professor Ruotolo often point me in the right direction. I would also like to thank Edoardo Nappi and the other staff at the Archivio Storico di Banco di Napoli for assisting me in my research; Father Hugo Vanerman from San Giuliano dei Fiamminghi who helped me navigate the archive of that church; Leticia de Frutos Pons for her expertise on the Marchese del Carpio; Allison Stoesser for answering my numerous questions about Roomer’s relationship to Cornelis de Wael; and Rosanne Baars who was responsible for transcribing and translating for me a number of seventeenth-century Dutch documents. I am thankful to Mirjam Neumeister from the Alte Pinakothek in Munich, Aiden Weston-Lewis from the National Gallery in Edinburgh, and Thomas Döring from the Herzog Anton Ulrich-Museum, who all took the time to answer my inquiries about artworks in their respective collections. In addition, I am grateful to all those at the Archivio di Stato di Napoli, the Archivio di Stato di Firenze, the Archivio di Stato di Genova, Archivio Capitolino, the Stadtsarchief Antwerpen and the Rijksarchief Antwerpen who taught me how to use the archives and search for documents effectively and efficiently. Also, I am thankful to the staffs at the Biblioteca Nazionale di Napoli, the Biblioteca di Storia Patria, the Kunsthistorisches Institut, the Biblioteca Nazionale di Roma, the Biblioteca Nazionale di Firenze, the art library at the University of Amsterdam and the library at the National Gallery of Canada, who all assisted me with my research. I am also grateful to Brenda Rix and Katharine Lochnan from the Art Gallery of Ontario and Hilliard Goldfarb from the Musée des Beaux-Arts in Montreal, who gave me the opportunity to utilize and expand my knowledge in a museum setting. I have learned a great deal from them and have the utmost respect for their abilities as curators and scholars. I would like to especially thank three individuals whose friendship, insight and support were invaluable to me throughout my PhD: Devin Therien, David Mitchell and Marije Osnabrugge. Being a year ahead of me in the PhD programme and already acquainted with Naples, Devin took me under his iv wing in the foreign city, introducing me to the most important libraries, archives and museums (and restaurants!). His friendship during our research trips to Italy helped me keep my sanity while away from home. I appreciated (and still appreciate!) being able to discuss my research with him and value his insights and work as a scholar. The support and encouragement of David Mitchell has been crucial to my thesis progress the last few years. After moving to Montreal, I very much appreciated having a study partner and friend to frequent almost every library the city has to offer. Knowing I had made a commitment to meet him at a library was often the motivating factor for me to leave the house (which would significantly increase my productivity!). He tolerated me talking to him ad nauseum about Gaspare Roomer and always offered valuable suggestions and insights. I also cannot thank Marije Osnabrugge enough for her friendship and expertise throughout the years. She assisted my research in so many ways – from finding someone to translate and transcribe my Dutch documents to recommending new publications that I had yet to consult. Studying with her on my second extended trip to Naples made the experience all the more enjoyable and I have appreciated her continuous encouragement. The completion of this thesis would not have been possible without the support of my family. In particular, my parents, Marlene Lepine-Cercone and Enrico Cercone, have stood by me throughout this entire experience. They have celebrated my successes and have helped me cope with my struggles. Their unwavering faith in my abilities and their unconditional love propelled me to keep moving forward when I encountered difficulties. It has been through their example that I have learned to persevere and remain positive. I owe much of my success to their support and encouragement. Lastly, it is difficult to express the depth of my gratitude toward my husband, Daniel Gosselin. He never left my side throughout this long journey. His understanding, patience, love and support have been unrelenting. Without him, this project would never have reached a successful conclusion. It is to him that I dedicate this thesis. v Statement of Originality I hereby certify that all of the work described within this thesis is the original work of the author. Any published (or unpublished) ideas and/or techniques from the work of others are fully acknowledged in accordance with the standard referencing practices. Chantelle Lepine-Cercone (October, 2014) vi Table of Contents Abstract ......................................................................................................................................................... ii Acknowledgements ...................................................................................................................................... iii Statement of Originality ............................................................................................................................... vi List of Figures ...........................................................................................................................................
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    Marie Žúborová - Němcová: Encyklopédia kresťanského umenia cár - pozri jurodiví/blázni v Kristu; Rusko Georges Becker: Korunovácia cára Alexandra III. a cisárovnej Márie Fjodorovny Heslo CAR – CARI Strana 1 z 39 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia N. Nevrev: Roman Veľký prijíma veľvyslanca pápeža Innocenta III (1875) Cár kolokol - Expres: zvon z počiatku 17.st. odliaty na príkaz cára Borisa Godunova (1552-1605); mal 36 ton; bol zavesený v štvormetrovej výške a rozhojdávalo ho 12 ľudí; počas jedného z požiarov spadol a rozbil sa; roku 1654 z jeho ostatkov odlial ruský majster Danilo Danilov ešte väčší zvon; o rok neskoršie zvon praskol úderom srdca; ďalší nasledovník Cára kolokola bol odliaty v Kremli; 24 rokov videl na provizórnej konštrukcii; napokon sa našiel majster, ktorému trvalo deväť mesiacov, kým ho zdvihol na Uspenský chrám; tam zotrval do požiaru roku 1701, keď spadol a rozbil sa; dnešný Cár kolokol bol formovaný v roku 1734, ale odliaty až o rok neskoršie; plnenie formy kovom trvalo hodinu a štvrť a tavba trvala 36 hodín; keď roku 1737 vypukol v Moskve požiar, praskol zvon pri nerovnomernom ochladzovaní studenou vodou; trhliny sa rozšírili po mnohých miestach a jedna časť sa dokonca oddelila; iba tento úlomok váži 11,5 tony; celý zvon váži viac ako 200 ton a má výšku 6m 14cm; priemer v najširšej časti je 6,6m; v jeho materiáli sa okrem klasickej zvonoviny našli aj podiely zlata a striebra; viac ako 100 rokov ostal zvon v jame, v ktorej ho odliali; pred rokom 2000 poverili monumentalistu Zuraba Cereteliho odliatím nového Cára kolokola, ktorý mal odbiť vstup do nového milénia; myšlienka však nebola doteraz zrealizovaná Caracallove kúpele - pozri Rím http://referaty.atlas.sk/vseobecne-humanitne/kultura-a-umenie/48731/caracallove-kupele Heslo CAR – CARI Strana 2 z 39 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia G.