View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Andrews Research Repository ODOARDO FIALETTI (1573-C. 1638) : THE INTERRELATION OF VENETIAN ART AND ANATOMY, AND HIS IMPORTANCE IN ENGLAND Volume I Laura M. Walters A Thesis Submitted for the Degree of PhD at the University of St. Andrews 2009 Full metadata for this item is available in the St Andrews Digital Research Repository at: https://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/736 This item is protected by original copyright Odoardo Fialetti (1573 – c. 1638): The Interrelation of Venetian Art and Anatomy, and his Importance in England Laura M. Walters Submitted for the degree of Doctor of Philosophy School of Art History University of St Andrews 25 April 2009 Declaration (i) I, Laura M. Walters, hereby certify that this thesis, which is approximately 80,508 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. Date: Signature of Candidate: (ii) I was admitted as a research student in September 2005 and as a candidate for the degree of Doctor of Philosophy (PhD) in September 2005; the higher study for which this is a record was carried out in the University of St Andrews between 2005 and 2008. Date: Signature of Candidate: (iii) I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Doctor of Philosophy in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date: Signature of Supervisor: (iv) In submitting this thesis to the University of St Andrews we understand that we are giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. We also understand that the title and the abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker, that my thesis will be electronically accessible for personal or research use unless exempt by award of an embargo as requested below, and that the library has the right to migrate my thesis into new electronic forms as required to ensure continued access to the thesis. We have obtained any third-party copyright permissions that may be required in order to allow such access and migration. Date: Signature of Candidate: The following is an agreed request by candidate and supervisor regarding the electronic publication of this thesis: Access to Printed copy and electronic publication of thesis through the University of St Andrews. Date: Signature of Candidate: Signature of Supervisor: i Table of Contents Declaration ii Table of Contents iii List of Abbreviations v Acknowledgements vi Abstract vii Chapter I: Introduction 1 Chapter II: Fialetti’s Paintings 1. Introduction 16 2. Fialetti’s Drawings 17 3. A Historiographical Examination of Early Printed Sources 23 4. The Lost Paintings 33 4.1. San Nicolò della Lattuga – A Private Commission for a Venetian Church 35 4.2. San Canziano – Paintings for Scuole or Guilds 36 4.3. The Casa Correggio – Private Commissions 39 4.4. Crociferi 41 5. Extant Paintings 44 5.1. Tolentini 44 5.2. San Giuliano 46 5.3. Santi Giovanni e Paolo 50 6. Conclusion 54 Chapter III: Fialetti’s Printed Works 1. Introduction 56 2. The Early Period (1594 – 1608) 57 2.1. The Early Single Prints 58 2.2. Nicoletto Giganti and the Scola, Overo Teatro 62 2.3. An Undated Allegorical Print 65 3. The Middle Period (1608 – 1619) and Il vero modo et ordine 68 3.1. Tritons and Nereids 79 3.2. Book of Landscapes 82 3.3. The Hunts 84 3.4. Friezes with Trophies – prints after Polidoro da Caravaggio 86 3.5. The Wedding at Cana after Tintoretto 88 3.6. Virgin and Child with a Young St John the Baptist on a Rim of Clouds 90 3.7. The Engraved Portraits of Marcantonio Memmo and Curti 91 3.8. The Four Divinities Series after Pordenone 93 3.9. La Pittura Trionfante 96 3.10. The Scherzi d’Amore 98 4. The Mature Period (1619 – 1638) and an Engraved Portrait of Titian 101 4.1. Tensini’s La Fortificatione Guardia Difesa 102 4.2. Torquato Tasso’s Gerusalemme Liberata 104 ii 4.3. De gli Habiti Religioni 107 4.4. The Ornamental Pattern Books 110 5. Conclusion 115 Chapter IV: Fialetti and Anatomy 1. Introduction 117 2. History of the Anatomical Treatise 119 2.1. Vesalius and the Illustrated Anatomical Treatise 123 3. The 1604 Venetian Fabrica 126 4. Giulio Casseri and Tiberio Fialetti 128 4.1. The History of Casseri’s Tabulae Anatomicae 131 4.2. The Form of the Tabulae Anatomicae 133 4.3. Surface Anatomy 136 4.4. Plates of Muscles 137 4.5. Books of Veins, Arteries, Nerves and Internal Organs 141 5. The Cost of a Scientific Treatise in the Seicento – A Comparison 141 6. Northern European Copies after De Humani Corporis Libri Decem 143 6.1. English Copies 146 7. The Uses of the De Humani Corporis Fabrica Libri Decem 147 8. Conclusion 149 Chapter V: Fialetti and his Impact on the Early Modern Aesthetic in England 1. Introduction 152 2. The English Interest in Venetian Art 153 3. Sir Henry Wotton and the Four Portraits of Doges 156 3.1. Doge Leonardo Donato Conceding an Audience to Sir Henry Wotton 160 3.2. Similar Seicento Depictions of the Doge Meeting an Ambassador 164 3.3. The 1611 View of Venice 169 3.4. Baron Roos and the Scherzi d’Amore 170 3.5. Daniel Nys 172 4. The Earl and Countess of Arundel 174 4.1. Edward Norgate 180 4.2. Inigo Jones 184 4.3. Sir Anthony van Dyck 186 5. Fialetti’s Impact on Later English Artists 189 6. Conclusion 195 Chapter VI: Conclusion 198 Appendix I 208 Appendix II 216 Appendix III 250 Appendix IV 309 Appendix V 316 Appendix VI – Catalogue of Italian Paintings 326 Bibliography 344 iii Abbreviations and Notes of Guidance - Please note that unless otherwise stated, dates pertaining to archival material are given in the modo veneto. - Appendices for each chapter contain both plates and documents. There are no in-text figures. - The Catalogue of Italian Paintings can be found as Appendix VI, rather than being included in Appendix II. - Due to variations in print quality, marginalia, paper type and quality, binding, and provenance information, call and/or accession numbers are provided for specific copies of rare books and prints consulted. LIBRARY AND MUSEUM COLLECTIONS APV Archivio Patriarcato di Venezia, Venice ASV Archivio di Stato di Venezia, Venice BAV Biblioteca Apostolica Vaticana, Rome BL British Library, London BM British Museum, London BNF Bibliothèque Nationale de France, Paris BNM Biblioteca Nazionale Marciana, Venice COR Correr, Venice HUN Hunterian Museum, Glasgow LVR Musée Nationale du Louvre NLS National Library of Scotland, Edinburgh ROY Royal Collection, London STA University of St Andrews Special Collections, St Andrews WAR Warburg Library, London WEL Wellcome Library, London iv Acknowledgements I would first like to thank Professor Peter Humfrey and Dr Alexander Marr for supervising my doctoral research and the writing of this thesis. Their generous guidance, assistance and support has been invaluable. I would also like to thank the School of Art History at the University of St Andrews: this would not have been possible without the support of the wonderful faculty and staff. I would also like to thank the Russell Trust, for funding one of my research trips. To the British Museum Department of Prints and Drawings, I extend my heartfelt thanks for assisting me in my research there over the last three years. I would like to thank the Royal Collection. In particular, I would like to thank: Lucy Whitaker, Assistant Surveyor of the Queen’s Pictures, for her gracious assistance in copying the information they hold on the Fialetti paintings; Chris Stevens for taking the time to meet with me and show me the painting in Hampton Court Palace; Rupert Featherstone for providing conservation information about the Fialetti paintings in the collection; the curators, conservators and staff at Kensington Palace for their assistance in arranging a visit to see the paintings of Doges in the Kings Drawing Room; and Desmond Shawe-Taylor, for taking time to discuss the Fialetti paintings with me in January 2008. I extend my thanks also to Henrietta Ryan at Eton College, for her correspondence, information and assistance concerning Fialetti’s View of Venice hanging in the college. I would like to thank the Départment des Arts Graphiques in the Louvre, for their kind assistance in my examination of the two Fialetti drawings in their collection. I would like to thank Dr David Howarth, at the University of Edinburgh for taking the time to meet with me and discuss Fialetti and Arundel. I would like to thank the reading room staff, archivists, and researchers in the British Library, the Warburg Institute, the Wellcome Library, the National Library of Scotland, the Biblioteca Apostolica Vaticana (and the Gabinetto di Stampe of the Vatican Museums) in Rome, the Archivio Patriarcato di Venezia, the Archivio di Stato di Venezia, the Biblioteca Nazionale Marciana, and the University of St Andrews Special Collections. I would like to thank my friends and colleagues for their support, laughter and many cups of coffee.