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CARVING FOR A FUTURE: BACCIO BANDINELLI SECURING MEDICI PATRONAGE THROUGH HIS MUTUALLY FULFILLING AND PROPAGANDISTIC “HERCULES AND CACUS” by MICHAEL DAVID MORFORD Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Edward J. Olszewski Department of Art History CASE WESTERN RESERVE UNIVERSITY May 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of ______________________________________________________ candidate for the ________________________________degree *. (signed)_______________________________________________ (chair of the committee) ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. TABLE OF CONTENTS Page LIST OF FIGURES ………………………………………………………………………i PREFACE……………………………………………………………………………...….v ACKNOWLEDGEMENTS……………………………………………………………....ix ABSTRACT.………………………………………………………………...…………..xii CHAPTER I. THE HISTORY OF THE COMMISSION FOR THE HERCULES AND CACUS…………………………………1 CHAPTER II. COMBATING HISTORY: CRITIQUING THE CRITICAL ANALYSES OF THE PROJECT AND RE-EVALUATING THE SCULPTURE…………………......…21 CHAPTER III. CHANGING THE MOMENT: THE PROGRESSION OF THE DESIGN…………………………………..…...............80 CHAPTER IV. THE MEANING BEHIND THE CHANGED INTERPRETATION OF THE MOMENT (FOR THE PATRONS)…………………………………………….….94 CHAPTER V. THE MEANING BEHIND THE CHANGED INTERPRETATION OF THE MOMENT (FOR THE ARTIST)……………………………………………….....118 CHAPTER VI. CONCLUSION………………………………………………...125 APPENDIX I…………………………………………………………………………...127 ILLUSTRATIONS……………...……………………………………………………...129 BIBLIOGRAPHY …………………………………………………………………......162 List of Figures Figure 1. Entrance to the Palazzo Vecchio with Michelangelo’s David and Baccio Bandinelli’s Hercules and Cacus. Figure 2. Leonardo da Vinci, Hercules and the Nemean Lion, c. 1506-1508, Biblioteca Reale, Turin, Inv. 15630. Figure 3. Michelangelo, Hercules and Antaeus, c. 1508, British Museum, London, Inv. 1859-6-25-557, recto. Figure 4. Michelangelo, Sheet of studies, c. 1508, Ashmolean Museum, Oxford, Inv. WA1846.63. Figure 5. Michelangelo, Studies, c. 1524-1525, Casa Buonarroti, Florence, Inv. 53F, recto. Figure 6. Andrea Pisano, Hercules and Cacus, c. 1337, Campanile, Santa Maria del Fiore, Florence. Figure 7. Nanni di Banco, Hercules and Cacus, 1414-1422, Porta della Mandorla, Santa Maria del Fiore, Florence (left archivolt). Figure 8. Baccio Bandinelli, St. Peter, 1517-1518, Santa Maria del Fiore, Florence. Figure 9. Detail of Bandinelli’s stucco Hercules from Giorgio Vasari’s fresco of the Entrata of Leo X, c. , Palazzo Vecchio, Florence. Figure 10. Baccio Bandinelli, Orpheus, 1516-1517, Palazzo Vecchio, Florence. Figure 11. Baccio Bandinelli, Stucco Colossi, c. 1519-1520, Villa Madama, Rome. Figure 12a. Baccio Bandinelli, Hercules and Cacus, c. 1525, wax bozzetto, Skulpturensammlung und Museum für Kunst, Bodemuseum, Berlin. Figure 12b. Alternate angle. Figure 13. Michelangelo, Due lottatori, c. 1530, terracotta bozzetto, Casa Buonarroti, Florence. Figure 13b. Alternate view. Figure 14. Baccio Bandinelli, Hercules and Cacus, completed 1534, Palazzo Vecchio, Florence. Figure 15. Palazzo Vecchio, Florence with Orpheus. Figure 16. Apollo Belvedere, 2nd C., Museo Pio-Clemintine, Vatican. Figure 17. Marco da Ravenna, Massacre of the Innocents, c. 1526, Sterling and Francine Clark Art Institute, Dept. of Prints, Drawings and Photographs, Williamstown, Mass., 1984.139. Figure 18. Marc’Antonio Raimondi, Martyrdom of St. Lawrence, c. 1525. Figure 19. Baccio Bandinelli, Laocoön and His Sons, c. 1520-1525, Uffizi, Florence. Figure 20. Figure 20. View of the David and Hercules from the Loggia dei Lanzi. Figure 21. View of Hercules and Cacus from Palazzo Vecchio entrance. Figure 22. Baccio Bandinelli, Tomb of Leo X, 1536-1542, Santa Maria Sopra Minerva, Rome. Figure 23. Baccio Bandinelli, Tomb of Clement VII, 1536-1542, Santa Maria Sopra Minerva, Rome. Figure 24. Baccio Bandinelli, Monument for Giovanni delle Bande Nere, 1540-1554, Piazza San Lorenzo, Florence. ii Figure 25. Bartolommeo Ammanati, Neptune Fountain, 1563-1575, Piazza della Signoria, Florence. Figure 26. Benvenuto Cellini, Perseus, 1545-1554, Loggia dei Lanzi, Florence. Figure 27. Benvenuto Cellini, Apollo and Hyacinth, 1547-1549, Museo Nazionale del Bargello, Florence. Figure 28. Baccio Bandinelli, God the Father, 1552-1556, Santa Croce, Florence. Figure 29. Baccio Bandinelli, Adam and Eve, 1548-1551, Bargello, Florence. Figure 30. Baccio Bandinelli, Dead Christ with an Angel, 1552, Santa Croce, Florence. Figure 31. Giambologna, Oceanus, 1570-1575, Bargello, Florence. Figure 32. Jacopo Sansovino, Hercules, 15??, Brescello. Figure 33. Jacopo Sansovino, Scala dei Giganti, 1554-1567, Palazzo Ducale, Venice. Figure 34. Figure 34. Baccio Bandinelli, Descent from the Cross, c. 1528, Private Collection. Figure 35. Detail of the Maries from Bandinelli’s Descent from the Cross. Figure 36. Antonio Canova, Perseus with the Head of Medusa, 1804-1806, Metropolitan Museum of Art, New York. Figure 37. Antonio Canova, Kreugas, 1800, Museo Pio-Clementine, Vatican. Figure 38. Distant view of Hercules and Cacus. Figure 39. Hercules and Cacus, front view. Figure 40. Entrance to the Palazzo Vecchio. Figure 41. Hercules and Cacus, side view. Figure 42. Nanni di Banco, Quattro Santi Coronati, 1414-1419, Orsanmichele, Florence. Figure 43. Nanni di Banco, Quattro Santi Coronati, detail. Figure 44. Detail, Hercules and Cacus. Figure 45. Hercules and Cacus from Loggia dei Lanzi. Figure 46. Donatello, Abraham Sacrificing Isaac, c. 1421, Museo del Duomo, Florence. Figure 47. Donatello, St. George, 1415-1417, Orsanmichele, Florence. Figure 48. Donatello, Abraham Sacrificing Isaac, Detail of Isaac. Figure 49. Bandinelli, Hercules and Cacus, Detail of Cacus. Figure 50. Hercules and Cacus, Detail of face. Figure 51. Donatello, Equestrian Portrait of Gattamelata, 1445-1453, Piazza del Santo, Padua. Figure 52. Andrea del Verrocchio, Equestrian Portrait of Bartolomeo Colleoni, Piazza SS. Giovanni e Paolo, Venice. Figure 53. Hercules Resting, Roman copy of original 4th Century BCE bronze by Lysippus, Villa Borghese, Rome. Detail of face. Figure 54. Hercules and Telephus, Roman copy of original 4th Century BCE bronze, Museo Chiarmonti, Vatican. Detail of face. Figure 55. Hercules and Antaeus, Roman copy of original Hellenistic bronze, Palazzo Pitti, Florence. Detail of face. Figure 56. Hercules Standing, Palazzo dei Conservatori, Rome. Detail of face. Figure 57. Hercules Resting, Roman copy of original 4th Century BCE bronze by Lysippus, Villa Borghese, Rome. Figure 58. Hercules and Telephus, Roman copy of original 4th Century BCE bronze, Museo Chiarmonti, Vatican. iii Figure 59. Hercules and Antaeus, Roman copy of original Hellenistic bronze, Palazzo Pitti, Florence. Figure 60. Hercules Standing, 2nd C. BCE, Palazzo dei Conservatori, Rome. Figure 61. Hercules and Cacus, Alinari Photograph (c. 1930), ACA-F-31024A-0000. Figure 62. Scythian Knife Sharpener (Arrotino), Roman copy of 3rd C. BCE original, Uffizi, Tribuna, Florence. Figure 63. Domenico Ghirlandaio, Baptism of Christ, c. 1486-1490, Tournabuoni Chapel, Santa Maria Novella, Florence. Figure 64. Baccio Bandinelli, Drawing of the Knife Sharpener, Uffizi, Inv. 531F. Figure 65. Crouching Venus, Roman copy of Hellenistic original, British Museum, London. Figure 66. Fighting Persian Kneeling, Roman copy of Pergamene Style original, Galleria dei Candelabri, Vatican, Rome. Figure 67. Enea Vico, The Academy of Baccio Bandinelli, c. 1550, Warburg Institute, University of London. Figure 68. Wounded Gaul, Roman copy of Hellenistic original, Museo Nazionale, Naples. Figure 69. Detail of Laocoön, Hagesandros, Polydoros, and Athanadoros of Rhodes, 1st C. BCE or 1st C. CE, Vatican. Figure 70. Hercules and Cacus, Detail of face. Figure 71. Hercules and Cacus. Figure 72. Hercules and Cacus, Rear view. Figure 73. Michelangelo, Moses, c. 1515, S. Pietro in Vincoli, Rome. Figure 74. View from the Via Calzaiuoli. Figure 75. View from the Piazzale degli Uffizi. Figure 76. View from the Via dei Cerchi. Figure 77. View from the ringhiera. Figure 78. View from the Via Vacchereccia. Figure 79. Detail view from Via Vacchereccia. Figure 80. Baccio Bandinelli, Hercules and Cacus bozzetto, detail. Figure 81. Michelangelo, Bacchus, 1496-1497, Bargello, Florence. Figure 82. Giambologna, Rape of the Sabines, 1583, Loggia dei Lanzi, Florence. Figure 83. Leonardo da Vinci, Neptune, c. 1506-1508, Royal Library, Windsor, No. 12591. Figure 84. Baccio Bandinelli, Self-Portrait, c. 1540s, Isabella Stewart Gardner Museum, Boston, Inv. P26E22. Figure 85. Baccio Bandinelli, Study for Hercules, Uffizi Figure 86. Baccio Bandinelli, Study for Hercules, Christ Church, Oxford. Figure 87. Figure 87. Baccio Bandinelli, Study for Hercules, Gabinetto disegni e stampi, Uffizi 520. Figure 88. Hercules and Cacus, detail of Cacus. Figure 89. Hercules and Cacus, detail of Cacus. Figure 90. Donatello, Judith and Holofernes, 1456-1461, Palazzo Vecchio, Florence. Figure 91. Ptolemy V Defeating a Barbarian, Ptolemaic bronze, National Archaeological Museum, Athens, Greece. iv Figure 92. Ptolemy III Defeating a Barbarian, Ptolemaic bronze, 3rd Century BCE,
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  • Sponsor-A-Michelangelo Works Are Reserved in the Order That Gifts Are Received

    Sponsor-A-Michelangelo Works Are Reserved in the Order That Gifts Are Received

    Sponsor-A-Michelangelo Works are reserved in the order that gifts are received. Please call 615.744.3341 to make your selection. Michelangelo: Sacred and Profane, Masterpiece Drawings from the Casa Buonarroti October 30, 2015–January 6, 2016 Michelangelo Buonarroti. Man with Crested Helmet, ca. 1504. Pen and ink, 75 Michelangelo Buonarroti. Study for a x 56 mm. Casa Buonarroti, Florence, inv. Draped Figure, ca. 1506. Pen and ink over 59F black chalk, 297 x 197 mm. Casa Buonarroti, Florence, inv. 39F Sponsored by: Michelangelo Buonarroti. Study for the Leg of the Christ Child in the “Doni Sponsored by: Tondo,” ca. 1506. Pen and ink, 163 x 92 mm. Casa Buonarroti, Florence, inv. 23F Sponsored by: Michelangelo Buonarroti. Study for the Apostles in the Transfiguration (Three Nudes), ca. 1532. Black chalk, pen and Michelangelo Buonarroti. Study for the ink. 178 x 209 mm. Casa Buonarroti, Michelangelo Buonarroti. Study for Christ Head of the Madonna in the “Doni Florence, inv. 38F Tondo,” ca. 1506. Red chalk, 200 x 172 in Limbo, ca. 1532–33. Red chalk over black chalk. 163 x 149 mm. Casa mm. Casa Buonarroti, Florence, inv. 1F Sponsored by: Buonarroti, Florence, inv. 35F Reserved Sponsored by: Sponsored by: Patricia and Rodes Hart Michelangelo Buonarroti. The Sacrifice of Isaac, ca. 1535. Black chalk, red chalk, pen and ink. 482 x 298 mm. Casa Michelangelo Buonarroti. Studies of a Horse, ca. 1540. Black chalk, traces of red Michelangelo Buonarroti. Study for the Buonarroti, Florence, inv. 70F chalk. 403 x 257 mm. Casa Buonarroti, Risen Christ, ca. 1532. Black chalk. 331 x 198 mm.