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The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Adam R. Gustafson June 2011 © 2011 Adam R. Gustafson All Rights Reserved 2 This dissertation titled The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria by ADAM R. GUSTAFSON has been approved for the School of Interdisciplinary Arts and the College of Fine Arts _______________________________________________ Dora Wilson Professor of Music _______________________________________________ Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT GUSTAFSON, ADAM R., Ph.D., June 2011, Interdisciplinary Arts The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria Director of Dissertation: Dora Wilson Drawing from a number of artistic media, this dissertation is an interdisciplinary approach for understanding how artworks created under the patronage of Albrecht V were used to shape Catholic identity in Bavaria during the establishment of confessional boundaries in late sixteenth-century Europe. This study presents a methodological framework for understanding early modern patronage in which the arts are necessarily viewed as interconnected, and patronage is understood as a complex and often contradictory process that involved all elements of society. First, this study examines the legacy of arts patronage that Albrecht V inherited from his Wittelsbach predecessors and developed during his reign, from 1550-1579. Albrecht V‟s patronage is then divided into three areas: northern princely humanism, traditional religion and sociological propaganda. The final chapter follows the influence of Albrecht V‟s patronage through the Thirty Years‟ War, during the reign of his grandson, Maximilian I. During the early years of Albrecht V‟s reign, his patronage reflected his values as a noble who pursued a particularly northern, humanist agenda. During his reign, a resurgence of traditional religious experience occurred in Bavaria that the Jesuits, supported by Albrecht V, used to rouse support for Catholicism. This movement affected Albrecht V‟s identity, and his patronage and the legacy of his 4 patronage reflected and supported the entrenchment of traditional Bavarian Catholicism. Jacque Ellul termed the establishment of such structures sociological propaganda. That Bavaria remained staunchly Catholic during the Protestant Reformation is often attributed to the absolutist policies and social discipline of Albrecht V – a process known as confessionalization. However true the confessionalization thesis is, any approach for analyzing Bavarian artworks of the period must also include the possibility that the lower classes were as influential in shaping the patronage and religious identity of Albrecht V as the Wittelsbach court was in shaping the religious identity of Bavaria. Approved: ________________________________________________________ Dora Wilson Professor of Music 5 ACKNOWLEDGMENTS I would not have completed this work without the guidance and support of my academic advisor and committee chair, Dr. Dora Wilson. I am eternally grateful. I would like to thank the hard work of all of the professors at the School of Interdisciplinary Arts and throughout Ohio University. I no longer see the world or the arts in the same way as I did before beginning this journey. Especially, I would like to acknowledge my committee, Dr. William Condee, Dr. Charles Buchanan and Dr. Michele Clouse. There are so many other people that were vital to this project and to my development as an artist, a scholar and as a person. I will forever appreciate Dr. Jay Peterson for insisting that I am a worthy musician and scholar, despite my own doubts. Dr. Diane Brewer gave me a love for theater that I did not know I had. Finally, I owe a note of appreciation to Dr. Elizabeth Crowley, who started me on this trip. I cannot thank my family enough, especially my parents, Jessie and Mike and James and Sheila. I‟m certain that you know not what I do, but you have always been supportive nonetheless, and that is all a son could ask. My brother, James Gustafson, was the first college graduate in my family, and his accomplishments and character have always been a beacon. My sister, Niki Gustafson, has been a listener and a best friend. Charles Leverton‟s huge dreams inspired me to have some of my own. To the entire Kosmalski clan, your disfunctionality somehow works and often keeps me sane. James Morehead, Blake Arthur and Trevor Kaul are of no relation, but I count them as brothers. A big thank you goes to Josephine Kosmalski; thanks for the extra set of eyes. 6 To Grace: Thank you for your patience, your lack of patience and for giving me Athens and my dream. This is as much yours as it is mine. 7 TABLE OF CONTENTS Page ABSTRACT ........................................................................................................................ 3 ACKNOWLEDGMENTS .................................................................................................. 5 DEDICATION .................................................................................................................... 6 LIST OF FIGURES ............................................................................................................ 8 INTRODUCTION ............................................................................................................ 10 CHAPTER I: Confessionalization and Patronage: Defining a Methodology..................22 CHAPTER II: Precedence: Wittelsbach Patronage before Albrecht V .......................... 41 CHAPTER III: The Early Years of the Reign of Albrecht V: the Kunstkammer, Northern Princely Humanism and Courtly Patronage... .........................83 CHAPTER IV: Pious Patronage: The Chapel at Altötting, the Virgin Mary and Jesuit Support for Traditional Religion...........................................118 CHAPTER V: Sociological Propaganda in Bavaria: The Legacy of Albrecht V to the Thirty Years‟ War.......................................................................150 CONCLUSION ............................................................................................................... 196 BIBLIOGRAPHY ........................................................................................................... 200 APPENDIX A: Timeline of Bavarian History: 1300-1650 ............................................ 226 APPENDIX B: Family Tree of the Munich Line of Wittelsbach Dukes ........................ 231 8 LIST OF FIGURES PAGE Figure 1: Aventinus, Map of Bavaria (1523) ..................................................................45 Figure 2: Genealogical Mural (c. 1460)........................................................................ .49 Figure 3: Michael Wolgemut, Munich, Nürnberg Chronicle (1493) .............................56 Figure 4: Completed Munich Frauenkirche (1525)........................................................56 Figure 5: Tombstone of Conrad Paumann (c. 1473) .......................................................59 Figure 6: Matthes Maler, Woodcut of Argula von Grumbach (1523) ............................67 Figure 7: Hans Schwartz, Sketch of Ludwig Senfl (1519) .............................................74 Figure 8: Jörg Breu the Elder, Death of Lucretia (1528) ................................................82 Figure 9: Hans Wertinger, Wilhelm IV of Bavaria (1526) ..............................................82 Figure 10: Hans Mielich, Albrecht V of Bavaria (1545)................................................ 90 Figure 11: Mielich, Miniature of jewelry in Book of Jewels (1552-55)...... ...................93 Figure 12: Mielich, Albrecht V and Anna playing chess in Book of Jewels (1552-55)..94 Figure 13: Mielich, Portrait of Lasso in Penitential Psalms (1571) .............................102 Figure 14: Mielich, Illuminated music manuscript in Penitential Psalms (1571) ........110 Figure 15: Mielich, Lasso and the Munich hofkapelle in Penitential Psalms (1571)...110 Figure 16: Black Madonna of Altötting (c. 1300s) .......................................................128 Figure 17: Hans Mielich, High Altar (1572) ................................................................145 Figure 18: Hans Mielich, Virgin as Queen of Heaven w/ Ducal Family (1572) ..........146 Figure 19: Titian, Assumption of the Virgin Mary (1518) ............................................147 Figure 20: Mariansäule (1638) .....................................................................................152 Figure 21: Hubert Gerhard, The Virgin and Child (1590) ............................................153 Figure 22: Ferdinand Murmann, Heresy Putto, Mariansäule (1638) ...........................154 9 Figure 23: Hubert Gerhard, Perseus Fountain (1590) ..................................................186 Figure 24: Friedrich Sustris, Redesigned Antiquarium (1600) .....................................187 Figure 25: Façade of St. Michael‟s Church, Munich (1597) ........................................192 10 INTRODUCTION If we do not concentrate all our energies on the defence of Bavaria, our poor Germany will have as good as nothing left that is orthodox and genuinely Catholic. The Duke must therefore be encouraged and stirred up to glowing zeal for the protection of religion;
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