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Artistic Centers of the Italian Renaissance) Includes Bibliographical References and Index

Artistic Centers of the Italian Renaissance) Includes Bibliographical References and Index

ARTISTIC CENTERS OF THE

ITALIAN

ROME S

edited by Marcia B. Hall

Temple University    Cambridge, New York, Melbourne, , Cape Town, Singapore, São Paulo

Cambridge University Press  West th Street, New York,  ‒,  www.cambridge.org Information on this : www.cambridge.org/

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Library of Congress Cataloging in Publication Data / edited by Marcia B. Hall p. cm. – (Artistic centers of the ) Includes bibliographical references and index.  --- (alk. paper) . Art, Italian – – Rome. . Art, Renaissance – Italy – Rome. . – Art patronage. I. Hall, Marcia B. II. Series .  ´.´–dc 

- ---- hardback - --- hardback

Cambridge University Press has no responsibility for the persistence or accuracy of s for external or third-party Internet Web sites referred to in this book and does not guarantee that any content on such Web sites is, or will remain, accurate or appropriate. CONTENTS S

List of Illustrations page ix Series Editor’s Preface xvii Acknowledgments xix List of Contributors xxi 1 cultural introduction to renaissance rome  Ingrid D. Rowland 2 introduction: the art history of renaissance rome  Marcia B. Hall 3 the fourteenth and fifteenth centuries  Meredith J. Gill

4 the , 1503–1534  Marcia B. Hall

5 PHOENIX ROMANUS: rome, 1534–1565  Clare Robertson 6 the counter-reformation and the end of the century  Steven F.Ostrow

Bibliography  Index 

vii ILLUSTRATIONS S color plates (before p. 1 and following p. 320)  and workshop, Fall of Jericho, loggia of Leo X, Vatican  Master Cosmatus, Sancta Sanctorum, Lateran,  Raphael, Transfiguration, detail, Pinacoteca, Rome Vatican  Pietro Cavallini, Last Judgment, Santa Cecilia  , Paul III Inspecting New Saint in , Rome Peter’s, Sala dei Cento Giorni, Palazzo della  , tomb of Boniface VIII, Cancelleria Chapel of Boniface IV,Old ’s  , Sala Paolina (Saint Michael  Masolino, Saint Catherine Debates the Scholars wall), Castel Sant’Angelo of Alexandria, Chapel of the Sacrament, San  Francesco Salviati, Visitation of Mary and Clemente Elizabeth, Oratorio di San Giovanni  Melozzo da Forlì, Sixtus IV and His Nephews, Decollato (Pinacoteca,Vatican)  , Assumption of the Virgin,  , The Punishment of Korah, Santa Trinità dei ,Vatican  Bartolomeo Ammanati and Giorgio Vasari,  Antonio and Piero Pollaiuolo, tomb of nymphaeum, Giulia Sixtus IV,Saint Peter’s (formerly Chapel  Pirro Ligorio, exterior, Casino of Pius IV of the )  et al., Cappella Sistina,  , Legend of Saint Catherine, , Rome Sala dei Santi, , Vatican  Salone Sistino,Vatican Library,Vatican palace  Giuseppe Valeriano and Scipione Pulzone,  , Temptation and Expulsion of Assumption of the Virgin, Chapel of the Adam and Eve, Sistine Chapel, Vatican della Strada, Il Gesù, Rome  Michelangelo, Asa, from Ancestors of Christ,  Jacopo Zucchi, decorations, Galleria, lunette, Sistine Chapel, Vatican Palazzo Rucellai–Ruspoli, Rome  Raphael, Parnassus, Stanza della Segnatura,  Christofano Roncalli, decorations, Vatican Cappella Clementina, Saint Peter’s,Vatican  Ripanda, Peace Treaty between the Romans and  Giovanni and Cherubino Alberti, frescoes, the Carthaginians, Room of the Punic Wars, Sala Clementina,Vatican palace, Vatican Palazzo dei Conservatori, Rome  Clementina, San Giovanni in Laterano,  Raphael, Liberation of Saint Peter, Stanza Rome d’Eliodoro, Vatican  and Giovanni Alberti, vault  Raphael, , Santa Maria del frescoes, including Ascension of Christ, Olgiati Popolo, Rome Chapel, , Rome  Raphael and workshop, Abraham and  , vault frescoes, Galleria, Melchisedek, loggia of , Vatican , Rome

ix x ILLUSTRATIONS figures  Masolino, Founding of Santa Maria Maggiore, Colonna altarpiece, Santa Maria Maggiore,  Nicholas III between Saints Peter and Rome (Museo e Gallerie Nazionale di Paul, Sancta Sanctorum, Scala Santa, Capodimonte, )  Rome page   , oratory, Riofreddo   , ,  Masolino, Crucifixion, Chapel of the apse, Santa Maria Maggiore, Rome  Sacrament, San Clemente, Rome   Filippo Rusuti and workshop, Christ  Donatello[?], tomb of Martin V,San Enthroned, west facade, Santa Maria Giovanni in Laterano, Rome  Maggiore, Rome   Donatello,Tabernacle of the Sacrament  Pietro Cavallini, (from Life of (originally Old Saint Peter’s), Saint Peter’s  the Virgin), Santa Maria in Trastevere, Rome   Filarete, Porta Argentea (originally Old  Cimabue, view of Rome, Saint Mark the Saint Peter’s), Saint Peter’s  Evangelist, detail, vault, Upper , San  Filarete, Martyrdoms of Saints Peter and Paul, Francesco,  Porta Argentea (originally Old Saint  Cimabue, Crucifixion, south transept, Upper Peter’s), Saint Peter’s  Church, San Francesco,Assisi   Filarete, Self-Portrait with Workshop, Porta  Assisi Master, Funeral and Canonization of Argentea (originally Old Saint Peter’s), Saint Francis, Upper Church, San Francesco, Saint Peter’s  Assisi   Benozzo Gozzoli, view of Rome,  Assisi Master, Institution of the Crib at Greccio, Augustine’s Departure from Rome to , Upper Church, San Francesco,Assisi  apse, Sant’Agostino,   Assisi Master, Miracle of the Spring, Upper  Fra Angelico, Ordination of Saint Stephen and Church, San Francesco,Assisi  Saint Stephen Distributing Alms, Chapel of  Assisi Master, Miracle of the Crucifix, Upper Nicholas V,Vatican palace,Vatican  Church, San Francesco,Assisi   Fra Angelico, Distributing  Assisi Master, Dream of Innocent III, Upper Alms, Chapel of Nicholas V,Vatican palace  Church, San Francesco,Assisi   Martin van Heemskerck, view of  Assisi Master, Saint Francis Preaching before Benediction Loggia, Old Saint Peter’s  Honorius III, Upper Church, San  Paolo Romano, Saint Paul, formerly for the Francesco,Assisi  stairway of the Benediction Loggia, Old  Apse mosaic, Old Saint Peter’s (Grimaldi, Saint Peter’s (now Ponte Sant’Angelo)  Instrumenta autentica, fol. )   Paolo Romano, reliquary tabernacle for the  Arnolfo di Cambio and workshop, head of Saint Andrew, Old Saint Peter’s , Santa Cecilia in Trastevere, (Grimaldi, Instrumenta autentica)  Rome   Mino da , ciborium, Santa Maria  , Stefaneschi altarpiece (originally Maggiore, Rome (Paolo de Angelis Old Saint Peter’s), Pinacoteca,Vatican  [])   Simone Martini, Redeemer, Notre-Dame  , Assumption of the Virgin, des Doms,Avignon  ciborium, Santa Maria Maggiore, Rome   Borromini, drawing of the north nave wall  Mino da Fiesole, Miracle of the Snow, (after Gentile da Fabriano and Pisanello), ciborium, Santa Maria Maggiore, Rome  San Giovanni in Laterano, Rome   Mino da Fiesole, Removing a Thorn  Masolino, Assumption of the Virgin, Colonna from the Lion’s Paw, of Saint Jerome, altarpiece, Santa Maria Maggiore, Rome Santa Maria Maggiore  (Museo e Gallerie Nazionale di  Giacomo da Pietrasanta, facade, Capodimonte, Naples)  Sant’Agostino, Rome  ILLUSTRATIONS xi

 Interior, nave, Santa Maria sopra Minerva,  , Giving of the Keys to Saint Rome  Peter, Sistine Chapel,Vatican   Interior, nave, Sant’Agostino, Rome   Pietro Perugino, drawing of Assumption of  , Annunciation, Chapel the Virgin  of the Annunciation, Santa Maria sopra  Antonio and Piero Pollaiuolo, tomb of Minerva, Rome  Innocent VIII, Saint Peter’s   Isaia da Pisa, tomb of Santa Monica, Chapel  Martin van Heemskerck, view of Vatican of Saint Monica, Sant’Agostino, Rome  including   Tomb of Maddalena Orsini, San Salvatore  , cloister, Santa Maria in Lauro, Rome  della Pace, Rome   Isaia da Pisa, tomb of Eugenius IV,San  , Assumption and Salvatore in Lauro, Rome  Annunciation, Carafa Chapel, Santa Maria  , San Marco, Rome  sopra Minerva, Rome   Francesco del , portico, Palazzetto  Pinturicchio, Story of Isis and Osiris, vault, Venezia (Palazzo Venezia), Rome  Sala dei Santi, Borgia Apartments,Vatican  , Sant’Aurea, Ostia  palace,Vatican   Baccio Pontelli[?], Palazzo della Cancelleria,  Michelangelo, (Museo Nazionale Rome  del Bargello, )   , tomb of Cardinal Louis  Michelangelo, Pietà (originally Old Saint d’Albret, Santa Maria in Aracoeli, Rome  Peter’s), Saint Peter’s   Mino da Fiesole, Last Judgment, tomb of  Pinturicchio, Piccolomini Library, Paul II (originally Old Saint Peter’s), Saint cathedral,  Peter’s   Andrea Bregno, Piccolomini tomb,  Andrea Bregno and workshop with cathedral, Siena  , tomb of Bartolomeo  Donato Bramante,Tempietto, San Pietro Roverella, detail, San Clemente  in Montorio, Rome   Andrea Bregno and workshop, tomb of  G. A. Dosio, , Pietro Riario, Ss. Apostoli  Vatican   Mino da Fiesole and workshop, tomb of  Michelangelo, tomb of Pope Julius II, Cardinal Jacopo Ammanati Piccolomini, ,Rome  Sant’Agostino, Rome (now cloister of  Michelangelo, tomb of Pope Julius II, former convent)  reconstruction of the  project, after  Mino da Fiesole and workshop, tomb of Hartt ()  Costanza Ammanati, Sant’Agostino, Rome  Michelangelo, cast of , shown from (now cloister of former convent)  below, San Pietro in Vincoli,Rome   , Miracle of Pope Gregory the  Michelangelo, Dying Captive, , Great, altar, San Gregorio Magno, Rome  Paris   Luigi Capponi, funerary bust of Andrea  Michelangelo, Rebellious Captive, Louvre, Bregno, Santa Maria sopra Minerva, Rome  Paris   Ciborium of high altar of Old Saint Peter’s  Donato Bramante, plan of New Saint (Grimaldi, Instrumenta autentica)  Peter’s, after Frommel ()  57 The Funeral of Sixtus IV, Ospedale di Santo  Donato Bramante, elevation of New Saint Spirito, Rome  Peter’s, after Frommel ()   Episode from Life of Santa Francesca  Michelangelo, Isaiah, vault, Sistine Chapel, Romana, Tor de’Specchi, Rome  Vatican   Pinturicchio, Bufalini Chapel, Santa Maria  Michelangelo, Creation of Adam, Sistine in Aracoeli, Rome  Chapel,Vatican  xii ILLUSTRATIONS

 Raphael, Parnassus and School of Athens,  Donato Bramante, Santa Casa, Loreto  Stanza della Segnatura,Vatican   Andrea Sansovino, Adoration of the  Marcantonio Raimondi, engraving, Shepherds, Santa Casa, Loreto  Parnassus   Michelangelo, Risen Christ, Santa Maria  Raphael, at Bolsena, Stanza sopra Minerva  d’Eliodoro,Vatican   Jacopo Sansovino, Saint James, Santa  Raphael, Expulsion of Heliodorus, Stanza Maria in Monserrato, Rome  d’Eliodoro,Vatican   Raphael,Villa Madama, Rome   Raphael, Portrait of Tommaso Inghirami,  Giovanni da Udine and , Pitti Gallery, Florence  Villa Madama   Raphael, Madonna di Foligno, Pinacoteca,  Polidoro da , Meeting of Janus Vatican  and Saturn (for Villa Lante frescoes)   Jacopo Ripanda, Conquest of a Mountain  Sebastiano del Piombo, Portrait of Clement Fortress, Riario Apartment, Episcopal VII, , Naples  Palace, Ostia   Sebastiano del Piombo, Pope Clement VII  Raphael, Chigi Chapel, dome, Santa [with Beard], J. Paul Getty Museum, Maria del Popolo, Rome  Los Angeles   Raphael, Portrait of Pope Leo X, Pitti  Giulio Romano and Gianfrancesco Penni, Gallery, Florence  Battle of the Milvian Bridge and Baptism of  Raphael, Fire in the Borgo, Stanza Constantine, Sala di Costantino,Vatican  dell’Incendio,Vatican   Federico Zuccaro, drawing of Taddeo  Raphael, Battle of Ostia, Stanza Drawing after the Antique; in the Background dell’Incendio,Vatican  Copying a Facade by Polidoro, J. Paul Getty  Raphael, Coronation of , Museum, Los Angeles  Stanza dell’Incendio,Vatican   After Polidoro da Caravaggio, drawing of  Raphael, tapestries installed in the Sistine Palazzo Gaddi  Chapel,Vatican   , after Polidoro da  Raphael, tapestries, diagram, after John Caravaggio, drawing for Rape of the Shearman ()  Sabines, Palazzo Milesi   Raphael, Stoning of Saint Stephen, tapestry,  Parmigianino, Nymphs Bathing  Pinacoteca,Vatican   Marcantonio Raimondi, I modi, position  Raphael, Saint Paul Preaching at Athens, , engraving after Giulio Romano  tapestry cartoon,Victoria & Albert  Giulio Romano, Madonna del gatto, Museum,  Museo di Capodimonte, Naples   Raphael, loggia of Cardinal Bibbiena,  (Giovanni Battista di detail,Vatican  Jacopo), Dead Christ with , Museum  Raphael, loggia of Pope Leo X, Vatican  of Fine Arts, Boston   Raphael, loggia of Pope Leo X, grotteschi   Perugino, Entombment, Clark Art Institute,  Raphael and workshop, Vision of Williamstown  Constantine and Battle of the Milvian Bridge,  Strigilar sarcophagus, J. Paul Getty Sala di Costantino,Vatican  Museum, Malibu, California   Raphael, Transfiguration, Pinacoteca,  Sebastiano del Piombo, Flagellation of Vatican  Christ and Transfiguration, Borgherini  Sebastiano del Piombo, Raising of Lazarus, Chapel, San Pietro in Montorio, Rome  , London   Sebastiano del Piombo, Birth of the Virgin,  Michelangelo, drawing for Sebastiano del Chigi Chapel, , Piombo’s Raising of Lazarus  Rome  ILLUSTRATIONS xiii

 Baccio Bandinelli, Design for the Tomb of  Francesco Salviati, Meeting of Janus and Clement VII, Museum of Art, Rhode Saturn and Beheading of John the Baptist, Island School of Design, Providence  Cappella del Pallio, Palazzo della  , Pope Paul III, Museo e Gallerie Cancelleria  Nazionale di Capodimonte, Naples   Manno Sbarri and Giovanni Bernardi,  Titian, Pope Paul III with His Grandsons, Farnese Casket, Museo e Gallerie di Museo e Gallerie Nazionale di Capodimonte, Naples  Capodimonte, Naples   Baldassare Peruzzi, facade of Palazzo  Francesco Salviati, Deeds of Pope Paul Massimo alle Colonne  III, Sala dei Fasti Farnese, Farnese  Federico Zuccaro, drawing of Taddeo Palace  the Facade of ,  Anonymous view of Campidoglio, J. Paul Getty Museum, Los Angeles  c. , Louvre   Bartolomeo Baronino di Casale  Etienne du Perac, Michelangelo’s scheme Monferrato, courtyard of Palazzo for Campidoglio  Capodiferro–Spada, with stuccowork by  View of Campidoglio, with Marcus Giulio Mazzoni et al.  Aurelius   Francesco Salviati, Resurrection of Christ,  Antonio da Sangallo, ground plan for Santa Maria dell’Anima  Saint Peter’s, after Ackerman ()   Perino del Vaga, Raising of Lazarus,  Antonio Labacco, cross section of Victoria & Albert Museum, London  Antonio da Sangallo’s model for Saint  Daniele da Volterra, Deposition of Christ, Peter’s, –, engraving  Santa Trinità dei Monti   Antonio Labacco after Antonio da  Cesi Chapel,  Sangallo, model of Saint Peter’s     Etienne du Perac, Michelangelo’s plan  Prospero Fontana and Taddeo Zuccaro, for Saint Peter’s  frieze of The , detail,  , tomb of Paul III  Villa Giulia   Michelangelo, Last Judgment, Sistine  De Monte Chapel, San Pietro in Chapel  Montorio   Michelangelo, Conversion of Saint Paul,  Francesco Salviati, Salone, Palazzo detail, Pauline Chapel,Vatican  Ricci–Sacchetti   Michelangelo, Crucifixion of Saint Peter,  , Flight into , detail, Pauline Chapel,Vatican  Santa Caterina della   ,Vatican palace   Taddeo Zuccaro, Visitation of Mary and  Antonio Lafréry after Michelangelo, Elizabeth (from Life of the Virgin), Santa Palazzo Farnese, facade  Maria del Orto   Antonio Lafréry after Michelangelo,  Taddeo Zuccaro, Conversion of Saint Paul, Palazzo Farnese, cortile  Frangipane Chapel, San Marcello al  Palazzo Farnese, rear view  Corso   Daniele da Volterra, Triumph of Bacchus,  Bust of Pius IV, Victoria & Albert Palazzo Farnese  Museum, London   Perino del Vaga, cartoon for spalliera,  Michelangelo, facade,    Michelangelo, interior, nave, Santa Maria  Titian, Danaë with Cupid, Museo di degli Angeli, Rome  Capodimonte, Naples   Federico Zuccaro, Coronation of the Virgin  Giorgio Vasari, Sala dei Cento Giorni, with Saints Lawrence, Damasus, Peter and Palazzo Cancelleria, Rome  Paul,  xiv ILLUSTRATIONS

 Francesco Salviati, Birth of the Virgin, San  Ottaviano Mascarino, staircase, Quirinal Marcello al Corso  Palace, Rome   Etienne du Perac, engraving of Villa  , facade, Church of d’Este,Tivoli  the Gesù, Rome   Giacomo Barozzi da Vignola,Villa  Niccolò Circignani, Martyrdom of Saint Farnese,  Agnes, Santo Stefano Rotondo   , engraving of ground plan  Giacomo della Porta, Madonna dei of Caprarola, piano nobile  Monti, interior view, Rome   Taddeo Zuccaro, ceiling of Sala  Giovanni de’ Vecchi, Saint Helen Orders d’Amalthea, detail, Palazzo Farnese, the Search for the , Oratorio del Caprarola  Crocifisso   Taddeo Zuccaro, ceiling of Camera  Giacomo della Porta and , dell’Aurora, Palazzo Farnese, Caprarola  , Rome   Formal gardens,Villa Lante, Bagnaia   Egidio della Riviera and Niccolò Pippi,  Chapel of Saint Stephen,Torre Pia, tomb of Prince Karl Friedrich von Vatican palace,Vatican  Jülich-Kleve, Santa Maria dell’Anima,  Giorgio Vasari, Stoning of Saint Stephen, Rome  Pinacoteca,Vatican   Domenico Fontana and Leonardo  Giacomo Barozzi da Vignola,plan of the Sormani, tomb of Nicholas IV,Santa Gesù, after Lotz ()  Maria Maggiore, Rome   Oratory of the Gonfalone, interior view,  Scipione Pulzone, Assumption of the Virgin, Rome  Bandini Chapel, San Silvestro al  Girolamo Siciolante, Martyrdom of Saint Quirinale, Rome  Catherine, Cesi Chapel, Santa Maria  Giacomo della Porta, dome of Saint Maggiore, Rome  Peter’s,Vatican   Giacomo del Duca, tomb of Elena Savelli,  Domenico Fontana, , San Giovanni in Laterano, Rome  Rome   Anonymous, tomb of Virginia Pucci,  Giovanni , Stellar Plan of Sistine Santa Maria sopra Minerva, Rome  Rome, in Bordini ()   Giulio Mazzoni, stuccos,Teodoli Chapel,  Natale Bonifacio, The Moving of the Santa Maria del Popolo, Rome  Vatican , in Fontana ()   Giorgio Vasari, Battle of Lepanto, Sala  Natale Bonifacio, Transport of the Chapel Regia,Vatican palace,Vatican  of the Presepio, in Fontana ()   Domenico de Rossi, Deeds of Gregory  Girolamo Muziano, Circumcision, Collegio XIII, engraving  Gesuita, Rome   Giacomo della Porta, altar of the  Federico Barocci, Visitation, Chiesa Madonna del Soccorso, Cappella Nuova, Rome  Gregoriana, Saint Peter’s,Vatican   , Martyrdom of Saint Lawrence,  Giorgio Vasari, Slaughter of Coligny and His San Lorenzo in Panisperna, Rome  Huguenot Followers (aka Saint Bartholomew’s  , Martyrdom of Saint Massacre), Sala Regia,Vatican palace, Lawrence, Peretti Chapel, Santa Susanna, Vatican  Rome   Ottaviano Mascarino, Galleria delle Carte  Tommaso Laureti, Defeat of Tarquinius and Geografiche, Palazzo Vaticano  the League at Lake Regillus and Justice  Antonio Lafréry, Holy Year to the of , Sala dei Capitani, Palazzo dei Seven , engraving  Conservatori, Rome  ILLUSTRATIONS xv

 Giuseppe Cesari et al., mosaic  Lavinia Fontana, Vision of Saint Hyacinth, decorations in the dome and pendentives, Bernerio Chapel, , Rome  Saint Peter’s,Vatican   Ludovico , Saint Jerome Translating  Taddeo Landini, transept ceiling, San the Bible, Chapel of Saint Jerome, San Giovanni in Laterano, Rome  Giovanni dei Fiorentini, Rome   Francesco da Volterra, San Giacomo  View of Cappella Caetani, Santa degli Incurabili, plan, after Lotz ()  Pudenziana, Rome   , stuccos, San Bernardo  Giuseppe Cesari, Battle between the Romans alle Terme, Rome  and the and Fidenae, Salone, Palazzo dei  Girolamo Massei, Adoration of the Cross, Conservatori, Rome  Ss. Nereo e Achilleo, Rome   Caravaggio, Calling of Saint Matthew,  , Santa Cecilia, Santa Contarelli Chapel, San Luigi dei Francesi, Cecilia in Trastevere, Rome  Rome  SERIES EDITOR’S PREFACE S

Rome is the first volume of the new Cambridge se- generation of scholarship, but there has been as yet ries Artistic Centers of the Italian Renaissance. Five vol- no attempt to synthesize this material or to offer a umes are planned, the others on Venice, Florence, comprehensive view. Naples, and the courts and communes of northern A significant and new challenge in Renaissance Italy.Each will cover the period ‒. Beatrice studies, therefore, is to understand the coexistence Rehl, Senior Editor of Arts and Classics, invited me throughout the early period (‒) of what to serve as editor, and we planned the series together initially appears to be contradictory impulses, that is, in light of what we saw to be the condition of Re- the lingering of Gothic tendencies at a time when naissance scholarship at the beginning of the twenty- classicism and naturalism offered new formal and ex- first century. pressive possibilities.The production of artists work- Since the nineteenth century, historians of the ing outside of Florence in such centers as Milan and Renaissance have traditionally focused on the spec- Naples has for too long been misunderstood – in- tacular achievements of a group of revolutionary art- deed, deemed to be “deficient” because it does not ists who, according to the accepted narrative, revived look Florentine. Even the scholarship on Florentine the use of classical models, which were inventively developments of the period does not sufficiently take adapted and reconceptualized for contemporary reli- into account an entrenched Gothic tradition that can gious, civic, and humanistic needs. For the formative be felt as late as the final decades of the fifteenth cen- period of the fifteenth century, Brunelleschi, Dona- tury and for which there was obviously strong sup- tello, Massaccio, Ghiberti, and a handful of other art- port. Nor have the regional differences in patronage ists working in and around Florence are considered and collecting patterns between the Florentine oligar- to have led the way out of the ; where- chy and the leaders of such courtly centers as Milan, as Leonardo, Michelangelo, Raphael, and Bramante Naples, as well as the smaller courts like Mantua – to are usually considered to characterize the aims of say nothing of Rome – been examined critically. the High Renaissance in central Italy, as were Gior- The sixteenth century in central Italy is arguably gione and Titian in Venice.The narrow focus on the the most studied period in the entire , achievements of a few artists has resulted in a some- yet attention has been focused on the first quarter of what skewed account of historical events. Only re- the century, principally on the works of Bramante, cently have scholars attempted to place their output Michelangelo, and Raphael.The final decade of the in a broader context, including variations in stylistic century,dominated by Caravaggio and Annibale Car- trends, patterns of patronage, the larger intentions and racci, has been preempted by scholarship. functions of the works, the interaction of the visual Looking at the Italian peninsula and the century as arts in a monument, and regional artistic traditions. a whole, we are presented with a fascinating array of All of these approaches have gained favor in the past adaptations of classical and High Renaissance models.

xvii xviii SERIES EDITOR’S PREFACE

Scholars have begun to recognize the importance of vidual studies remain isolated and sometimes diffi- two new features that contributed to the reshaping of cult to access. Moreover, the rise and fall of these ar- the entire artistic landscape at this time. During this tistic centers over the three-hundred-year period of period the hegemony of the Italian regional states was the Renaissance have yet to be documented and clar- challenged by the consolidation of political power ified. Even more important, in the fervor to explore into modern monarchical states. In the artistic sphere, context the object has sometimes become lost. The their autonomy was invaded by the circulation of present series strives to fill these gaps, to synthesize prints. Reproductions of the masterpieces of Raphael this scholarship, but to return the focus to the work and Michelangelo became available everywhere, and of art. their authority, like that of the emperor, Charles V, Thus, in designing the series it seemed obvious and the French king, François I, became impossible to us that it should be divided by region. A focus on to ignore and difficult to resist.The style of the Ro- social history and patronage, which would illuminate man masters invaded all artistic quarters, just as the the art by filling in the contextual background, of- power of Charles V’s empire was felt everywhere. fered an approach that accorded with the recent trend Classicism was put to many different uses, polit- of scholarship. Unlike such series undertaken in the ical as well as humanist.The authority of Roman im- past, we would study architecture, sculpture, painting, perial iconography and style proved useful to these and the decorative arts together.The volume on Flo- courts struggling to present an image of power in the rence, where much of the new scholarship has been face of actual French or imperial domination.With- focused, would undertake to incorporate it while re- in the Church, humanists embraced the marriage of turning attention to the object.The volume on Ven- classical and Christian art, while conservatives reject- ice, a region increasingly well studied, would address ed the “paganization” of religious structures, images, the entire Veneto, incorporating those neglected por- and ceremonies. Protestant protest against the world- tions of the mainland in the ambience of the Serene liness of Renaissance papacy,its ambition to challenge Republic. and surpass ancient Roman grandeur, and its use In addition, we wanted to present a revised and of pagan models, fueled the conservative cause, until extended corpus of images, and especially to make finally the (‒) laid down available images of monuments that have not been guidelines that would redirect the course of the properly photographed or published.Toward this end Church – and of Renaissance art. A divide between we were awarded a generous grant by the Kress Foun- secular and sacred art was instituted for the first time, dation. It is our intention, where possible, to present and different criteria began to be applied in the two images of the works in context, rather than in splen- spheres. How these radically changed conditions were did (modernist) isolation, either by locating such im- handled in each region needs to be studied in system- ages or by commissioning new photography. atic ways that will permit comparison. The aim of this series is to open the way for fu- One of the problems with the approach of tra- ture studies of early modern art in Italy (in general) ditional art history is that it concerned itself by pref- as well as to open up areas – such as Naples and the erence with the moments of artistic excellence and northern courts – that have been excluded from the neglected those times and places that were regarded traditional literature, but that were important centers as inferior in aesthetic quality.Recent scholarship has and critical to our understanding of the complexities been much less elitist and more pluralistic, but indi- of early modern Italy.

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