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ProQuest Information and leaming 300 North leeb Raad, Ann Arbor, MI 48106-1346 USA 800-521-0600 THE BARBERlNl AND THE NEW CHRISTIAN EMPIRE :A STUDY OF THE HISTORY OF CONSTANfINETAPESTRIES BY PŒTRO DA CORTONA BY EUSA SHARI GARFINKLE DEPARTMENT OF ART mSTORY MCGILL UNIVERSITY, MONTREAL NOVEMBER, 1999 A THESIS SUBMIrlEDTOTHEFACULTYOFGRADUATE STUDIES AND RESEARCR IN PARTIAL FULFll..MENT OF THE REQUIREMENTS OF THE DEGREE OF MASTER OF ARTS © Elisa Garfinkle 1999 National Ubrary Bibliothèque nationale 1+1 ofC8nada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 39S wellington Street 395, rue WeUington OIIawa ON K1A ON4 Ottawa ON K1A 0N4 canada Canada The author bas granted a non L'auteur a accordé une licence non exclusive licence allowing the exclusive pennettant à la National Ltbrary ofCanada to Bibliothèque nationale du Canada de reproduce, loan, distnbute or sell reproduire, prêter, distribuer ou copies ofthis thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retaiDs ownership ofthe L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts from it Ni la thèse Di des extraits substantiels may he printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. 0-612-64150-3 Canadl CONTENTS ACKNOWLEDG~S iv ABSTRACTS v UST OF ILLUSTRATIONS vii Chapter 1. INTRODUCTION 1 ") OTHER BARBERINI PROJECfS AND THE GRAN SALDNE 4 3. RECEIPT OF THE ··RUBENsn TAPESTRIES AND ESTABUSHMENT OF THE BARBERINI LOOMS 9 Receipt of the ··Rubens" Tapestries in Paris 9 Organization and Acti vities of the Barberini Workshop: 1627-1679 Il Tapestry Weaving: A History and Model of Noble Patronage l3 4. THE RISE OF THE BARBERINI AND ANCŒNT ROME AS ··SY'MBOUC CAPlTAL" 17 5. THE PATRON AND TlIE ARTIST 23 Cardinal Francesco Barberini...........................................•................ 23 Pietro da Cortona 25 6.. THE CDNSTANTINETAPESTRŒS WOVEN IN ROME 29 Francesco ~ s Decision ta Produce a New Series on his own Looms.. 30 Subject Matter The Roman Constantine Series as a New ~ Independent Cycle Francesco y s Choice of Artist Conclusions About the General Meaning ofthe Series 36 7. THETAPESTRY BORDERS AND THEIR HERALDRY 38 11 Chapter The Border Designs 38 The Barberini Bees 40 8. THE EMPEROR CONSTANTINE: A MODEL FOR THE SPIRlTUAL AND TEMPORAL PRINCE 44 Constanùne's Biography 44 The Legends and Myths Surrounding Constantine 45 Constantine and Rome 46 The Papal-Residence Context 46 9. ANALYSIS OF THE TAPESTRŒS 50 iO. THE PALAZZO BARBERINI AND THE TRIUMPH OF DNINE PROVIDENCE 66 IL. RECONSTRUCTION AND GENERAL INTERPRETATION OF THE TAPESTRŒS 71 Proposed Arrangement 71 General Interpretation 73 12. CONCLUSION 75 ILLUSTRATIONS 76 APPENDIX A. Excerpt from Francesco Barberini's Inventory ofOetober 1, 1649 90 B. Report from Paris detailing the French Constantine Series 92 C. Location of the Tapestries and Related Works 93 BffiUOGRAPHY 95 III ACKNOWLEDGMENTS First and foremost 1wish to thank my supervisor. Professor Thomas L. Glen, for his encouragement and valuable insight and suggestions in guiding this work to completion. Above aU l am most grateful for his kindness and enthusiasm in sharing his time, his voluminous knowledge of Baroque art and his great passion for the subject. which has been a continuing source of inspiration. l also wish to express my gratitude to the staff at Blackader Library, for graciously providing me with vital guidance and technical assistance. iv ABSTRACT This study traces the genesis and development of the History ofConstantine tapestries designed by Pietro da Cortona and woven on the looms established by Francesco Barberini shortly after his retum from France in December 1625. The circumstances surrounding the creation of the series provide a foundation and a framework for exploring ilS meaning and purpose. Though inspired by an earHer Constantine suite of tapestries designed by Rubens. the ~~Cortonan panels should be read as an independent entity, the significance of which can only be fullYappreciated within the context of the gran salone of the Palazzo Barberini. which 1propose was their intended destination. This conclusion is supported by the many links between the tapestries and Barberini ideology, papal politics, the palace and the ceiling fresco in the SaLone. Like the Divine Providence fresco, the "CortonaU series is a summa of the virtues and religious, political, intellectual and social initiatives of the family. The series emerges finally as a promotionally ItaHan endeavour, a showcase of Italian art and culture. SOMMAIRE Cette étude retrace l'origine et le développement de la série de tapisseries de l'Histoire de Constantin dessinée par Pierre de Conone et tissée dans l'atelier établit par Francesco Barberini peu après son retour de la France en Decembre 1625. Les circonstances entourant la création de cette série fournissent un base et un encadrement pour une enquête sur sa signification ainsi que son objet. Bien qu'eUe soit inspirée par une série de tapisseries Constantin antérieure dessinée par Rubens, celle de Cortone devrait être considérée comme une entité indépendante, la signification de laquelle ressort pleinement dans le contexte du grand salon du palais Barberini, ici proposé comme étant sa destination projetée. Ces conclusions sont soutenues par les nombreuses liaisons entre les tapisseries et ('idéologie Barberini~ la politique papale, le palais et, finalment~ la fresque sur le plafond du grand salon. Comme la fresque de la Divine Providence, la série du Cortone est un sllmma des vertus et des initiatives religieuses, politiques, v intellectuelles et sociales de la famille. Finalement. les tapisseries apparaissent comme une tentative promotionelle italienne. c·est à dire une vitrine de la culture et rart italien. vi LIST OF ILLUSTRATIONS Figure 1 Peter Paul Rubens The Marriage ofConstantine, 1623-1625 Tapestry, 15'11 n x 19'11 V1" Samuel H. Kress Collection, Philadelphia David Dubon, Tapestriesfrom the Samuel H. Kress Collection at the Piziladelplziua Museum ofArt: The Hiscory ofConstantine cize Great, designed by Peter Paul Rubens and Pietro da Cortona (Aylesbury and Buckinghamshire, U.K., 108, Fig. Il Figure 2 Peter Paul Rubens The Baptism ofConstantine, 1623-1625 Tapestry, 15'8" x 17'10 *" Samuel H. Kress Collection, Philadelphia Dubon, 110, Fig. 12 Figure 3 Peter Paul Rubens The Banle ofche Milvian Bridge, 1623-1625 Tapestry, 16'2" x 24'2 Ih" Samuel H. Kress Collection, Philadelphia Dubon, Ill, Fig. 13 Figure 4 Peter Paul Rubens The Entry into Rome, 1623-1625 Tapestry, 15'11 *" x 17' 10 14" Samuel H. Kress Collection, Philadelphia Dubon. 112, Fig. 14 Figure 5 Peter Paul Rubens Saint Helena and the True Cross, 1623-1625 Tapestry, 16'3" x 16'6" Samuel H. Kress Collection, Philadelphia Dubon, 114, Fig. 15 Figure 6 Peter Paul Rubens Tlle Building ofConstantinople, 1623-1625 Tapestry, 15' 10 ~tt x 15'9" Samuel H. Kress Collection.. Philadelphia Dubon, 115, Fig. 16 Figure 7 Peter Paul Rubens The Deach ofConstantine, 1623-1625 Tapestry, 16' l ~" x 16'4tt Samuel H. Kress Collection, Philadelphia vu Dubon, ll6! Fig. 17 Figure 8 Pietro da Cortona Constancine Fighring the Lion., completed July 1637 Tapestry., 16'5" :< 9'sn Samuel H. Kress Collection, Philadelphia Oubon, 118, Fig. lS Figure 9 Pietro da Cortona The Apparition ofthe Cross, completed February 1633 Tapestr'j, 16'2":< Il'3 ~" Samuel H. Kress Collection, Philadelphia Oubon, 119, Fig. L9. Figure LO Pietro da Cortona Campaign Against Licinius, Sea Battle, completed by July 1635 Tapestry, 16'5 112" x 23'3 lh" Samuel H. Kress Collection, Philadelphia Dubon, 122, Fig. 21 Figure LI Pietro da Cortona Constantine Buming the Memorials, completed by March 1634 Tapestry. 16'4112" x 14' Il'' Samuel H. Kress Collection, Philadelphia Dubon. 120., Fig. 20 Figure 12 Pietro da Cortona Constantine Destroying the Idols, completed by May 29, 1637 Tapestry, 16'4 V2" x 12'2 *" Samuel H. Kress Collection, Philadelphia Dubon, 123, Fig. 22 Figure 13 Pietro da Cortona Golden Statue ofConstantine, completed in August 1636 Tapestry, baldachin dossaI, 16'6 *" x Il'2'' Samuel H. Kress Collection, Philadelphia Dubon, 124, Fig. 23 Figure 14 Pietro da Cortona Barberini Anns, 1632 or 1638-39 Tapestry, portiera., Constantine series Collection of the heirs of Ugo Ferraguti, Milan Dubon, L8, Fig. 3 Figure 15 Pietro da Cortona Barberini Bees, completed by November 1633 viii Tapestry, baldachin ceiling t Constantine series Museo di Roma, Rome Dubon, 19, Fig. 4 Figure 16 Pietro da Cortona The Sarcophaglls ofSaint Helena, completed in November 1639 Tapestry, sopraporta (over-door panel), Constantine series Collection of the heirs of Ugo Ferraguti, Milan Dubon, 20, Fig.