A possible Corpus, Saint and Siren by Sebastiano Torrigiani

by Michael Riddick The ‘Great School’ of Guglielmo della Porta

While a quantity of objects have been reasonably decades, a process first initiated by Werner Gramberg attributed to Guglielmo della Porta (1515-77), less and Ulrich Middledorf who made great advancements attention has been given to the distinction of his in our understanding of Guglielmo’s output. It is the collaborators. As a result, various artworks have doubtless present author’s hope that the observations and ideas been given Guglielmo’s signature authorship while they presented in this series of articles, tentative as they might could instead be the workmanship of qualified assistants be at times, may serve as a clarifying step in the course working from his models and designs. of understanding not just Guglielmo himself but also the distinct work of those with whom he collaborated. In the survey of art historical literature, observing the distinction between individual craftsmen in a workshop Rosario Coppel commented, “A comparative study has yet has been an arduous undertaking with attributions to be made between Guglielmo’s documented works and debated for great lengths of time and few documents those of his workshop assistants.”1 It is this challenge of available to definitively confirm artistic authorship. Adding being categorical about the individual artists in Guglielmo’s to this complexity are the diverse roles assumed by circle that the present author adopts as the role of this workshop assistants as well as the succession of ownership series of articles concerning the “Gran Scuola” and diffusion of a workshop’s models which can make of Guglielmo.2 secure attributions virtually impossible.

We could compare this art historical maze with the past century of research invested in delineating the evident 1  Rosario Coppel (2012): Guglielmo della Porta in Rome. qualities that distinguish the workmanship of assistants Guglielmo della Porta, A Counter-Reformation Sculptor. Coll & Cortés, pp. 28-57 operating in Giambologna’s (1529-1608) workshop: 2  For a discussion of the cultural environment within which Antonio Susini, Pietro Tacca (1577-1640), Adriaen de Guglielmo’s workshop operated see C.D. Dickerson III (2008): Vries (1560-1626), et al. It is expected the artists active in The “Gran Scuola” of Guglielmo della Porta, the Rise of the “Aurifex Inventor” and the Education of Stefano Maderno. Guglielmo’s workshop will be equally discussed in coming Storia dell’arte, 121, pp. 25-71

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 2 Michael Riddick - RenBronze.com A possible Corpus, Saint and Siren by Sebastiano Torrigiani

In 1944 a sensitively modeled gilt bronze corpus of Christ was given to the Metropolitan Museum of Art (MET) by the philanthropist Susan Dwight Bliss (cover, Figs. 01, 07).1 The quality of the corpus is remarkable with its thinly cast walls, exquisite gilding and inclusion of a two-piece detachable perizonium cast in silver. The cold-work and finishing suggests a confident, able-hand of remarkable talent. A monogram, LG, is incised beneath the left foot of the corpus, likely the mark of a previous unidentified owner.2

The emaciated Christ is elegant in composure and peaceful in his expiration. Its origin is distinctively Roman in character and its appeal is indebted to Fig. 01: A gilt bronze corpus with detachable silver perizonium, here attributed to the influence of Michelangelo, Bastiano Torrigiani (?), ca. 1591-96, Rome (MET) particularly being related to a nude corpus whose original model has been considered by his hand (Fig. 02).3 However, variations

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 3 Michael Riddick - RenBronze.com such as the traditional placement of the feet, Apart from an auction catalog entry discussing Christ’s proper right foot atop his left, and the a later over-worked solid-cast example of the use of a single nail to secure them, distinguishes MET corpus,4 the present sculpture has largely the present corpus from that associated with remained undiscussed. However, another cast Michelangelo. Further distinct is the modeling of of equivalent quality and facture secures a the lower ribs and upper diaphragm, portrayed by terminus ante quem for the sculpture and assists a severe upward pointing arch rather than a semi- in providing a context for its origin and a possible circular arrangement. author based on stylistic grounds.

The Museo diocesano di Mantova (Francesco Gonzaga Museum) has in its collection a Roman altar cross featuring a near exact gilt bronze corpus with removable silver perizonium confidently derived from the same workshop (Fig. 03). The altar cross must date from before 1598 when it was in possession of Pope Clement VIII who donated it to Duke Vincenzo I Gonzaga in that year.5 The Duke afterward presented it to the Gonzaga family chapel at the Church of Santa Barbara on 20 April 1599.6

The altar cross is an elaborate production indicative of types found in Rome during the last quarter of the 16th century. It features elegant miniatures inspired by Michelangelo and Raphael and realized in a manner recalling the influence of Giulio Clovio’s final years in Rome. The object Fig. 02: A bronze corpus after a model by Michelangelo Buonarroti, 16th cent., Rome (private collection; photo: © GCF) is adorned by a variety of tiered flanking bronzes and is beset with

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 4 Michael Riddick - RenBronze.com Fig. 03: Altar cross, here attributed to Bastiano Torrigiani and workshop (?), before 1598, Rome (Museo diocesano di Mantova)

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 5 Michael Riddick - RenBronze.com various appliques, most notably, the silver cast arms of Pope Clement VIII (Fig. 04), an indication of its presumed patron and suggesting a possible terminus post quem, if assumed the altar cross was conceived during his tenure as Pope, beginning 2 February 1592.

With Clement VIII as probable patron of the altar cross a natural candidate for its realization is Sebastiano Torrigiani whose workshop along Borgo Pio was, according to Emmanuel Lamouche, “the most important in Rome for the production of precious bronze and silver objects.”7 Torrigiani’s service under Clement VIII included other important projects like casting the circular bronze Fig. 04: Silver cast arms of Pope Clement VIII on an altar cross gate above the grottoes of St. Peter’s Basilica and here attributed to Bastiano Torrigiani and his workshop (?), before 1598, Rome (Museo diocesano di Mantova) the colossal gilt bronze globe for the lantern of its

Fig. 05: Detail of a gilt corpus here attributed to Bastiano Torrigiani (?), ca. 1591-96, Rome (left; MET); detail of a gilt bronze corpus by Bastiano Torrigiani, 1581, after a model by Guglielmo della Porta (center; San Giacomo Maggiore, Bologna); detail of a gilt bronze corpus attributed to Guglielmo della Porta, ca. 1570, Rome (right; private collection)

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 6 Michael Riddick - RenBronze.com Fig. 06: Gilt bronze angels by Bastiano Torrigiani, ca. 1589-90, supporting the ciborium at Santa Maria Maggiore, Rome.

dome.8 Torrigiani is also credited as the author of The varied quality of the statuettes and appliques a bronze bust of the Pope realized in 1593. Most on Clement VIII’s altar cross suggest various noteworthy, however, is Clement VIII’s assignment authors active in a localized workshop responsible of Torrigiani as Head of the Papal Foundry in 1591, for its production.10 However, the highlight of a post he held until his death on 5 September the altar is its corpus, noteworthy for its superior 1596.9 quality and excellence in modeling and indicative of a qualified master like Torrigiani.

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 7 Michael Riddick - RenBronze.com Further qualifying Torrigiani as a possible author and models to make crucifixes.”13 14 Torrigiani’s of the MET corpus is his specialized experience continued production of crucifixes derived from with the preparation and casting of crucifixes, a Guglielmo’s models is observed by examples skill he developed during the 1570s while active as commissioned from Pope Gregory XIII in 1581 as an assistant and collaborator in the workshop of part of an altar service for San Giacomo Maggiore Guglielmo della Porta,11 whose workshop he later in Bologna15 and another in 1583, later donated to inherited after Guglielmo’s death in 1577.12 St. Peter’s Basilica.16

Torrigiani continued producing crucifixes in his Torrigiani’s casts of Guglielmo’s models diverge workshop, noted in a testimony by his pupil, Baldo from the nervous manner and adroit power of Vazzano, who stated: “Bastiano had crucifixes Guglielmo’s original sculptures. Torrigiani redacts the nervous temperament of Guglielmo’s hand with a refined approach more controlled and austere, inflected with crisply idealized facial features recalling classical statuary and a distinct modeling of hair, grooved and spiraling from the crown whilst terminating in intricate curls (Fig. 05).17

The apex of Torrigiani’s sculptural style is most apparent on the near life-size angels he created for the Santa Maria Maggiore tabernacle in Rome (Fig. 06). The angels feature a similar treatment of hair upon the crown-of-the-head and display elegant browlines with smoothed, classicized facial features. In particular, the nostrils are chased into the Fig. 07: A gilt bronze corpus, here attributed to Bastiano Torrigiani (?), ca. 1591-96, bronze by a brief hook-like stroke Rome (MET)

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 8 Michael Riddick - RenBronze.com to an initial production in Torrigiani’s workshop (see Appendix and Fig. 16).

The remarkably complex drapery of the perizonium, conforming to Christ as though saturated, is commensurate with the draperies featured also on Torrigiani’s angels for Santa Maria Maggiore (Fig. 08). Although superficial, the excessive use of a burin to render a continuous Fig. 08: Detail of a gilt bronze angel by Bastiano Torrigiani, ca. punched texture on Christ’s perizonium is a 1589-90, Santa Maria Maggiore, Rome (left); detail of a gilt treatment also observed on the clothing of the corpus with silver perizonium, here attributed to Bastiano Torrigiani (?), ca. 1591-96, Rome (right; MET) evangelists, rendered in low-relief for the finials of his two aforementioned altar crosses of 1581 and 1583, informing of a possible preference for his that curves eloquently downward in a sharp point, small-scale production of draperies. an apparently distinctive feature in his work. A similar treatment of excessive punchwork is A unique quality of the MET corpus is its nudity likewise observed on the drapery of a gilt and (Fig. 07), almost certainly influenced by the nude silvered bronze saint whose sticky, yet fluid corpus associated with Michelangelo (Fig. 02). draperies and classicizing features again compare It is not only an homage to the master but also with Torrigiani’s large-scale angels as well as characterizes a celebration of human anatomy and two large statuettes, frequently associated with beauty practiced by him.18 Torrigiani, of Saints Peter and Paul in the Treasury of St. Peter’s (Fig. 09).19 The manner in which the The additional unique feature of a removable curls of the saint’s beard terminate into the fabric perizonium, allowing the sculpture to be revered of his garment are also comparable with the locks naturally or more conservatively draped, is a of Christ’s hair terminating along his back on the certain result of the artistic regulations instituted MET corpus (Fig. 10). by Pope Pius V after the year 1566 during the onset of persecuting Counter-Reformists. Its The saint was cataloged as belonging to another facture is almost certainly a product of Torrigiani’s of Guglielmo della Porta’s collaborators: Jacob workshop. For example, a quantity of late 16th Cornelis Cobaert, drawing upon associations with century bronze and silver casts of the nude corpus a group of similar silver saints with gilt drapery associated with Michelangelo incorporate a that form part of an elaborate altar cross at the removable perizonium and are possibly indebted Museo Nazionale del Palazzo Venezia in Rome.20,21

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 9 Michael Riddick - RenBronze.com However, the less severe mannerist personality of Documents record five silver apostles Torrigiani the present saint statuette distances itself from completed in 1582 for the Gregorian Chapel in St. Cobaert’s more firmly attributed works. Peter’s, considered lost or unidentified.22 Steven Ostrow suggested a group of twelve models of The careful craftsmanship of the saint might apostles remaining in the workshop of Guglielmo connect it with an important commission. after his death may have inspired the group

Fig. 09: Gilded and silvered bronze apostle, here attributed to Bastiano Torrigiani (?), Rome (left; private collection); bronze statue of St. Peter, attributed to Bastiano Torrigiani, after a design by Guglielmo della Porta (right; Museo del Tesoro di S. Pietro; photo: Ronald Widenhoeft)

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 10 Michael Riddick - RenBronze.com Fig. 10: Detail of a gilded and silvered bronze apostle, here attributed to Bastiano Torrigiani (?), Rome (left; private collection); detail of a gilt corpus, here attributed to Bastiano Torrigiani (?), ca. 1591-96, Rome (right; MET)

Fig. 11: Detail of a gilt corpus, here attributed to Bastiano Torrigiani (?), ca. 1591-96, Rome (leftt; MET); detail of a bronze Siren, here attributed to Bastiano Torriagini (?), ca. 1571-90, Rome (right; MET)

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 11 Michael Riddick - RenBronze.com Fig. 12: Detail of a bronze Siren, here attributed to Bastiano Torrigiani (?), ca. 1571-90, Rome (left; MET); detail of a gilt bronze angel by Bastiano Torrigiani, ca. 1589-90, Santa Maria Maggiore, Rome (right)

of silver apostles.23 Unfortunately, the scale of Of additional note concerning the MET corpus Guglielmo’s apostles is confounding. The earlier is the treatment of Christ’s curling locks of hair 1577 inventory of Guglielmo’s belongings describes which converge along the back-of-the-head in them as approximately 22 cm in height,24 whereas paralleling spirals which reveal an open lenticular they are later described as almost twice that size shape betwixt them. This idiosyncratic treatment in his 1578 inventory.25 Nonetheless, also possible is observable on another enigmatic bronze of is the link between Guglielmo’s apostle models late 16th century Roman origin, that of a Siren and another lost or unidentified group of bronze thought commissioned by the Colonna family apostles executed by Torrigiani and mentioned in (Fig. 11).27 Olga Raggio noted the relationship his mid-17th century Vite by Giovanni Baglione,26 of the Siren to Taddeo Landini’s bronze youths of which the present saint may be a rare survival. for the Fontana delle Tartarughe28 while James It’s height, approximately 25 cm, is casually David Draper loosely connected it with the lions notable. supporting the Vatican obelisk in St. Peter’s

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 12 Michael Riddick - RenBronze.com Fig. 13: Details of the bases for an altar service by Bastiano Torrigiani, 1581, San Giacomo Maggiore, Bologna (left, right); detail of a bronze Siren, here attributed to Bastiano Torrigiani (?), ca. 1571-90, Rome (center; MET)

Square cast by Ludovico del Duca after models by Of the corpus, the present author counts a sum of Propsero Antichi and Francesco da Pietrasanta.29 six known casts. The primary model is represented To the present author’s knowledge, Torrigiani by the MET cast. It must slightly preclude the has not yet been suggested as a possible author Clement VIII altar cross example whose features of the eloquent Siren, though he was an intimate are only subtly reduced with the outcropping collaborator with both Landini and Ludovico.30 of hair upon the forehead being eliminated and featuring an alteration to the hair along Christ’s The Siren’s tranquil though attentive gaze and proper left shoulder. The overall length of the classical features again recall the essence of perizonium is also slightly reduced. Torrigiani’s angels for Santa Maria Maggiore and may preclude them as a work in large-scale (Fig. A subsequent iteration of the model, derived from 12). A similarly polished expression is also featured the example featured on the altar cross, features a on his much smaller-scale stylized and distinctive slightly reworked face (Fig. 14). This model must cherubim adorning the altar service for San have enjoyed some circulation as an example was Giacomo Maggiore, particularly the protruding apparently acknowledged by El Greco who used it chin and eloquently modeled lips (Fig. 13). as a model for his Crucifixion of 1597-1600, located at the Museo Nacional del Prado.31 A sketch

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 13 Michael Riddick - RenBronze.com inaccurately linked with the corpus associated If the MET corpus is indeed a late production of with Michelangelo32 may instead relate to this Torrigiani we may observe in it the realization corpus whose character more accurately matches of his capability as a noteworthy sculptor. In its it with regard to the rendering of the lower ribs genesis he no longer depends upon the model and traditional placement of Christ’s feet (Fig. 15). of his former collaborator but leverages such influence to create an image of Christ successfully Three further casts are known: a later bronze and uniquely his own. cast of the altar cross example featuring an alternatively modeled integrally cast perizonium; With thanks to Paola Venturelli and Roberto Brunelli for their kind assistance concerning the Clemente VIII altar cross. a late fragmentary gilt aftercast formerly with Gallarus Arts in NY; and an unconventional gilt solid cast example offered at auction, already mentioned.

Fig. 14: A gilt bronze corpus, circle of Bastiano Torrigiani, ca. 1595, Rome Fig. 15: A sketch of a corpus in frontal and (private collection) Rome (Louvre) profile view, school of Michelangelo, 16th cent.,

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 14 Michael Riddick - RenBronze.com Appendix

The presence of a nude corpus associated with to giving his models away as he saw fit, perhaps Michelangelo is already noted, though the model even with the tacit hope specialists in bronze certainly dates before 27 January 1574 where it would preserve them.37 crudely appears integrally cast on a bronze door panel for a tabernacle realized by Jacopo del Duca Nonetheless, the possibility of casting a nude and developed from designs by Michelangelo. bronze corpus in Guglielmo’s studio during the The project began while Michelangelo was alive Counter-Reformation era would have required the and Jacopo was serving as his assistant.33 Jacopo necessary solution of preserving an important and inherited the commission which became stalled original model by a master while also remaining and delayed yet culminated in its completion in conscientious of contemporary eyes viewing it. 1574, observed by the aforenoted date inscribed This would suffice as impetus for the invention of into wax residue applied on the reverse of the a removable perizonium. bronze door panel featuring a modified example of the corpus model.34 Later casts of the corpus associated with Michelangelo are documented by Francesco There is reason to believe this nude corpus Pacheco in Spain, who records polychroming was familiar to Guglielmo della Porta and his one such cast on 17 January 1600.38 The cast was workshop. It appears to have had an impact on produced by Juan Bautista Franconio, a silversmith the development of his corpora, most apparent in who arrived in Seville from Rome in 1597, bringing a Christ rendered for a wax Crucifixion scene on with him a bronze cast of a crucifix “made by slate which survives at the Galleria Borghese in Michelangelo.”39 Examples of such painted Rome. Subsequent corpora by Guglielmo appear metal corpora reproducing this model survive inspired by its fine details, copying verbatim the in the Grand Ducal Palace of Gandia, Cuenca articulation of veins along Christ’s arms, hands Cathedral and in a private collection. The Gandia and feet and borrowing from the physiognomy of and Cuenca examples both feature a removable his back. However, there are evident differences perizonium and one formerly accompanied the which distinguish the corpus associated with privately held example, now lost. The removable Michelangelo from Guglielmo’s autograph corpora perizonium appears on additional important and those known to descend from his workshop. casts of the corpus throughout Spain, however, However, considering Guglielmo’s specialization in the previously cited core examples convincingly the casting of crucifixes, it is possible an important connected with Juan Bautista’s facture indicate his model could have entered his studio, as Guglielmo familiarity with producing this special accessory. was himself a collector and also an emulator and friend of Michelangelo’s.35 Guglielmo’s assistant Unfortunately, there is little known about the and collaborator, Antonio Gentili da Faenza, also silversmith who brought the corpus from Rome claimed to have personally owned models by to Seville. Judging by his namesake, Juan Bautista Michelangelo36 and Michelangelo was not averse Franconio was probably a Nuremberg silversmith

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 15 Michael Riddick - RenBronze.com who traveled to Rome for training or employment Torrigiani’s prolific workshop. Guglielmo was like others of his tradecraft. Given the climate known to hire foreigners and journeymen in his of Rome’s goldsmith scene during the 1590’s workshop. It is during Juan Bautista’s time spent in Juan Bautista may have become connected with Rome that he may have gained his expertise in the serial making of crucifixes under the employ of a workshop already responsible for their production. Juan Bautista already displays an adequacy in this specialized skill upon his arrival to Spain in 1597. When Torrigiani died in 1596, Juan Bautista, if under his employ, may have decided to leave Rome seeking new work in Spain where Torrigiani’s workshop already had connections. In fact, Torrigiani’s predecessor, Guglielmo, realized his earliest works in Seville.40

Unfortunately, no record has been located that can inform us of Juan Bautista’s activity in Rome, although Juan Riaño’s census of Spanish gold and silversmiths lists Juan Bautista Franconio as still active in Seville in 1630.41

Of note is the feature of the backside of the removable perizonium observed reworked and integrally cast on other corpora emanating from Guglielmo’s workshop (Fig. 16). Its use can be dated from before 1597 on account of a silver cast of a corpus featuring this integral perizonium at the Palazzo Apostolico in Loreto, documented in that year.42 Tradition suggests this corpus may have belonged to a silver altar service donated by the Duchess Joanna of Austria who visited the Palazzo in 1573.43

Other notable examples of corpora with removable perizonium’s include Giambologna’s large nude Fig. 16: Reverse side of a detachable gilt bronze perizonium 44 from a corpus after a model by Michelangelo (above; private gilt bronze Christ of about 1590, a large silver corpus attributed to Peter Pachmayr, ca. 1660,45 attributed to the workshop of Bastiano Torrigiani after a model and a unique wooden corpus with removable collection; photo: © GCF); detail of a silvered bronze crucifix by Guglielmo della Porta, ca. 1590, Rome (below; Grimaldi Fava perizonium by Georg Schweigger, ca. 1600.46 collection; photo: Paolo Terzi)

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 16 Michael Riddick - RenBronze.com Endnotes

1 Metropolitan Museum of Art, Inv. 7  Emmanuel Lamouche (2019): Bastiano 13  Described in Baldo Vazzano’s testimony 44.142.2. Torrigiani. Biographical Dictionary of Italian in the 1609 trial initiated by Teodoro Artists. Treccani.it (accessed March 2020). della Porta against the illegal use of his 2  Collector and expert, Jean-François father’s models. See Antonino Bertolotti (private communication, March 2019) 8  Giovanni Baglione (1642): Le vite de’ (1881): Artisti lombardi a Roma, II. Milan has noted monograms on crucifixes pittori scultori et architetti. Dal pontificato pp. 157-61. are scarce and to his knowledge, the di Gregorio XIII del 1572. In fino a’ tempi di placement beneath the feet on this corpus Papa Vrbano Ottauo nel 1642, p. 324. 14  Baldo Vazzano was Torrigiani’s pupil is unique. However, he notes complete and assistant between 1582-85. See signatures, rather than monograms, 9  E. Lamouche (2019): op. cit. (note 7). Emmanuel Lamouche (2011): op. cit. have been inscribed beneath the feet of (note 12), p. 54. some crucifixes, namely Georg Petel’s 10  The statuettes of the altar cross recall dated and signed ivory of 1621 and the the character of some of the figures also 15  Andrea and Stefano Tumidei Bacchi ivory crucifixes of Cruppevolle, active in featured on an earlier realized Cabinet (2002): Il Michelangelo incognito: Dieppe, France during the 18th century. for Pope Sixtus V. Torrigiani also served Alessandro Menganti ew la arti a Bologna Sixtus V on various projects like the nell’eta della Controriforma. Edisai SRL, pp. 3  Manuel Gómez-Moreno was first to tabernacle for Santa Maria Maggiore in 228-236. suggest Michelangelo as the author for Rome and the casting of the monumental the model of this corpus, followed also sculptures of Saint Peter and Paul for the 16  Rosario Coppel (2012): Guglielmo della by John Goldsmith-Phillips and Charles columns of Trajan and Marcus Aurelius. Porta, A Counter-Reformation Sculptor. de Tolnay. See Manuel Gómez-Moreno It is to be speculated if his workshop Coll & Cortés, p. 48. (1930): Obras de Miguel Angel en Espana. had involvement in the celebrated Sixtus Archivo Espanol de Arte y Arqueologia, pp. V cabinet (National Trust, UK, Inv. NT 17  For a discussion of Torrigiani’s 189-98 and M. Gómez-Moreno (1933): 731575). treatment of Guglielmo’s corpora see El Crucifijo de Miguel Angel. Archivo Michael Riddick (2017-a): Reconstituting Espanol de Arte y Arqueologia, pp. 81-84; J. 11  A testament to the prolific production a Crucifix by Guglielmo della Porta and his Goldsmith Phillips (1937): A Crucifixion of crucifixes in Guglielmo della Porta’s Colleagues. Renbronze.com (accessed, group after Michelangelo. The Art Bulletin, workshop is evident by his posthumous March 2020). vol. 79, no. 4, pp. 647-68; and Charles de inventory citing at least 58 examples, Tolnay (1960): Michelangelo V. The Last finished and unfinished and ranging in 18  A genesis for the depiction of mature Judgement, Princeton, p. 173. An in-depth size from approximately 22 to 70 cm. nude Christ’s in Italy, apart from the survey on this model and its casts is See Rosario Coppel (2012): Catalogue cinquecento carved wooden corpora forthcoming by the present author. An (Christ Crucified).Guglielmo della Porta, intended to be cloaked by physical association between a later cast of the A Counter-Reformation Sculptor. Coll & linens, would be Michelangelo’s Risen MET corpus, here discussed (note 4), also Cortés, pp. 62-73. Christ for Santa Maria Sopra Minerva observed the relatability of the corpus in Rome from 1521. Another potential with that associated with Michelangelo. 12  Torrigiani assumed control of influence could have been Benvenuto The Sotheby’s catalog entry suggested Guglielmo’s workshop when he Cellini’s nude marble Christ made Michelangelo’s late assistant and bronze married Guglielmo’s partner, Pamphilia circa 1556-62, however, early graphic foundryman, Jacopo del Duca, was its Guazzaroni, and became the guardian of reproductions of it feature it shown author. Guglielmo and Pamphilia’s natural-born with and without a cloth perizonium, son Teodoro della Porta (Guglielmo and indicating it may or may not have been 4  Sotheby’s auction, 10 July 2014, Lot 85. Pamphilia were never formally married). covered in public sight. When Teodoro came of age in 1589 he 5  The donation and receipt of the altar granted permission for Torrigiani and his 19  James David Draper (1982): The cross is cited by Ippolito Donesmondi son Michelangelo to continue using and Vatican Collections: the papacy and art. (1625): La vita del venerabile vescovo di borrowing his father’s molds and designs Metropolitan Museum of Art, NY, p. 70. Mantova Francesco Gonzaga. See Paola for their work. See Emmanuel Lamouche Venturelli (2012): Vincenzo I Gonzaga, 1562- (2011): L’activité de Bastiano Torrigiani 20  Sotheby’s auction, 10 July 2014, Lot 113. 1612 – il fasto del potere. Museo Diocesano sous le pontificat de Grégoire XIII. Francesco Gonzaga, Mantova. No. 69. “Dalla gran scuola di Guglielmo Della 21  The altar cross (Inv. PV 13475) was Porta.” Revue de l’art, footnote 47 and attributed to Jacob Cornelis Cobaert 6  ASDMn Santa Barbara, Inventari, b. 111, also G.L. Masetti Zannini (1972): Notizie by Pietro Cannata. See Pietro Cannata “Libro nel sacro Reliquario della Chiesa biografiche di Guglielmo della Porta in (2011): Sculture in bronzo. Museo Nazionale di S. Barbara de Mantova” 1587-1617, c. documenti notariali romani. Commentari, del Palazzo di Venezia, Rome, pp. 142-154. 54r. Again noted in the inventory of 1611: XXIII, p. 301. ASDMn, Santa Barbara, Inventari, b. 111, cc. 7v-8r. See P. Venturelli (2012): op. cit. (note 5).

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 17 Michael Riddick - RenBronze.com Endnotes

22  Three documents (Nos., 3-5) uncovered the Roman Baroque. Princeton University con mejor luz y acuerdo se introdujesen las by Lamouche involve five figures of the Press, p. 28. For Torrigiani’s camaraderie encarnaciones mates, como pintura más apostles for which Torrigiani was paid with Landini, see Carla Benocci (1988): natural, y que se deja retocar varias veces, the superlative price of 1,050 scudi. See Taddeo Landini e la statua di Sisto V in y hacer en ella los primores que vemos E. Lamouche (2011): op. cit. (note 12). Campidoglio. Storia della città, XIII, p. hoy, bien es verdad que algunos de los 121. modernos (entre los antiguos y nosotros) 23  Steven Ostrow (2015): The Ludovisi las comenzaron á ejercitar, y las vemos en St. Peter. A New Work by Bastiano 31  Michael Riddick (2017-b): El Greco’s algunas historias suyas de escultura en Torrigiani in the Minneapolis Institute Roman Period and the Influence of Guglielmo retablos viejos; pero el resucitarlas en España, of Arts. The Eternal Baroque. Studies in della Porta. RenBronze.com (accessed y dar con ellas nueva luz y vida á la buena Honour of Jennifer Montagu. Skira, Milan, March 2020). escultura, oso decir con verdad, que, yo he p. 423. sido de los que comenzaron, si no el primero 32  Paul Joannides first linked this sketch desde el año 1600 á esta parte, poco más á lo 24  Dodezi apostolic di cera renetti di uno palmo with the school of Michelangelo, menos en Sevilla, porque el primer Crucifijo in circha. See G.L. Masetti Zannini (1972): presumed reproducing a lost sketch by de bronce de cuatro clavos de los de Micael op. cit. (note 12), p. 305. Michelangelo, and tentatively attributed Angel, que vació del que trajo de Roma Juan it to his Roman assistant of the early Bautista Franconio (insigne platero) lo pinté 25  The twelve models of apostles are 1540s, Raffaello da Montelupo. See Paul yo de mate en 17 de Enero del dicho año. See described in Gugliemo’s 1578 inventory: Joannides (1996): Michelangelo and his Francesco Pacheco del Rio (1649): Arte de dodezi apostoli de cera renetti / twelve Influence: Drawings from Windsor Castle, la Pintura. Su antiguedad y grandezas. wax Apostles, cleaned. These same UK, p. 96 and Paul Joannides (2003): models are again referred to in the 1578 Michel-ange eleves et copistes - dessins 39 Micael Angel, clarísima luz de la pintura y inventory ordered by Torrigiani: 12 forme italiens du musee du louvre. RMN, Paris, escultura hizo para modelo un crucifijo de de apostoli de doi palmi scarzi de tutto rilievo no. 78, pp. 224-25. una tercia con cuatro clavos, que gozamos / 12 molds of the apostles measuring hoy. El cual trajo á esta ciudad (Seville) barely two palms all in relief (almost 44 33  Jennifer Montagu (1996): op. cit. (note vaciado de bronce Juan Bautista Franconio, cm). See S. Ostrow (2015): op. cit. (note 30), p. 199, Appendix A. valiente platero, el año de 1597. See F. 23). Pacheco (1649): op. cit. (note 38). 34  Gonzalo Redin (2002): Jacopo del Duca, 26  Fece in que tempi una muta d’Aposftoli di il ciborio della certosa di Padula el il 40  Margarita Estella (2012): Guglielmo bronzo per la Basilica di s. Pietro, come anche ciborio di Michelangelo per Santa Maria della Porta’s early years and some of his per l’istessa ne getto un’altra d’argento, ben degli Angeli. Antologia di Belle Arti, 63-66, works in Spain. Guglielmo della Porta: formate, e polite. See G. Baglione (1642): p. 132. A Counter-Reformation Sculptor. Coll & op. cit. (note 8), pp. 323-24. Cortés, pp. 14-27. 35  Charles Avery (2012): Guglielmo della 27  Metropolitan Museum of Art, Inv. Porta’s relationship with Michelangelo. 41  Juan Facundo Riaño (1879): The 2000.69. Guglielmo della Porta: A Counter- Industrial Arts in Spain. London. Reformation Sculptor. Coll & Cortés, pp. 28  Olga Raggio (2000): Recent Acquisitions: 112-37. 42  This source is in the archival notices A Selection, 1999–2000. Metropolitan in Loreto, collected by Settimani Museum of Art Bulletin, n.s., 58, no. 2 36  A court record of 1609 records Gentili’s and Lapini. See Katherine Watson (Autumn 2000), p. 24. comment, “In my workshop...I have had (1978): The Crucifixes of Giambologna. many plasters and molds of many brave Giambologna, 1529-1608, Sculptor to the 29  Ian Wardropper (2011): European men and of Michelangelo and of others.” Medici. Arts Council of Great Britain, Sculpture, 1400–1900, In the Metropolitan See Antonino Bertolotti (1881):Artisti pp. 45-47. Watson associates this corpus Museum of Art. New York, no. 28, pp. lombardi a Rome nei secoli XV, XVI, XVII. with Giambologna but the model is 90-92. Studi e ricerche negli archivi romani, 2 vols., confidently derived from Guglielmo Milan, Vol. 2, pp. 136-37. della Porta. See M. Riddick (2017-a): op. 30  Torrigiani worked with Ludovico on the cit. (note 17). Sta Maria Maggiore tabernacle between 37  Victoria Avery (2018): Divine Pipe 1587-90 and regularly associated with Dreams: Mature Michelangelo and the 43  Joanna’s visit is documented between Landini whose bust of Pope Gregory XIII mastery of metal. Michelangelo: Sculptor 18 April and 9 May 1573. See K. Watson is considered a possible collaboration in Bronze. Bloomsbury Publishing, UK, (1978), op. cit. (note 42). between the two sculptors. For pp. 80-105. Torrigiani’s collaboration with Ludivico 44  Kunsthistorisches Museum, Inv. del Duca, see Jennifer Montagu (1996): 38  Quiso Dios por su misericordia desterrar Schatzkammer, GS E 19. Gold, Silver & Bronze: Metal Sculpture of del mundo estos platos vidriados, y que

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 18 Michael Riddick - RenBronze.com Endnotes

45  Sotheby’s auction, 3 December 2014, Lot 91.

46  Herbert Beck and Peter Bol (eds.) (1981): Dürers Verwandlung in der Skulptur zwischen Renaissance und Barock. Ausstellung im Liebieghaus, Museum alter Plastik, Frankfurt am Main.

A possible Corpus, Saint and Siren by Sebastiano Torrigiani 19 Michael Riddick - RenBronze.com