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Peripheral Packwater Or Innovative Upland? Patterns of Franciscan Patronage in Renaissance Perugia, C.1390 - 1527

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Peripheral Packwater Or Innovative Upland? Patterns of Franciscan Patronage in Renaissance Perugia, C.1390 - 1527 RADAR Research Archive and Digital Asset Repository Peripheral backwater or innovative upland?: patterns of Franciscan patronage in renaissance Perugia, c. 1390 - 1527 Beverley N. Lyle (2008) https://radar.brookes.ac.uk/radar/items/e2e5200e-c292-437d-a5d9-86d8ca901ae7/1/ Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, the full bibliographic details must be given as follows: Lyle, B N (2008) Peripheral backwater or innovative upland?: patterns of Franciscan patronage in renaissance Perugia, c. 1390 - 1527 PhD, Oxford Brookes University WWW.BROOKES.AC.UK/GO/RADAR Peripheral packwater or innovative upland? Patterns of Franciscan Patronage in Renaissance Perugia, c.1390 - 1527 Beverley Nicola Lyle Oxford Brookes University This work is submitted in partial fulfilment of the requirelnents of Oxford Brookes University for the degree of Doctor of Philosophy. September 2008 1 CONTENTS Abstract 3 Acknowledgements 5 Preface 6 Chapter I: Introduction 8 Chapter 2: The Dominance of Foreign Artists (1390-c.1460) 40 Chapter 3: The Emergence of the Local School (c.1450-c.1480) 88 Chapter 4: The Supremacy of Local Painters (c.1475-c.1500) 144 Chapter 5: The Perugino Effect (1500-c.1527) 197 Chapter 6: Conclusion 245 Bibliography 256 Appendix I: i) List of Illustrations 275 ii) Illustrations 278 Appendix 2: Transcribed Documents 353 2 Abstract In 1400, Perugia had little home-grown artistic talent and relied upon foreign painters to provide its major altarpieces. A century later, this situation had been reversed with Perugino, Pintoricchio and Raphael all active in the city. By investigating commissioning patterns III Franciscan establishments in Perugia from 1390 to c.1527, this thesis identifies the circumstances leading to this change. It argues that artistic innovation in such peripheral places is often undervalued or automatically attributed to external factors. Focusing upon five Minorite establishments, the importance of local religious, familial and notarial networks on patronal decisions is newly evaluated. Geography-based models of the introduction and spread of ideas, particularly theories of centre-periphery and cultural exchange, are considered as a means of explaining Perugia's changing artistic status. The introduction analyses theories regarding the autonomy of peripheral patrons, the innovative potential of the periphery and the repetition of paradigms. It finds that existing models fail fully to acknowledge the periphery's contribution to artistic development which should be reappraised. Chapters 1 and 2 chart Perugian patrons' shifting preference from foreign to local painters and attribute this to changes in training, political stability, increased civic identity, and an aspirational humanist court. Chapters 3 and 4 assess the dominance of the Peruginesque style. They propose that Raphael's early success lay in his perfection of this aesthetic, along with female BaglionilOddi and Franciscan patronal support. This occurred in a temporary competitive vacuum, characteristic of places beyond the centre. In conclusion, some current theories undervalue the contribution of local patrons and fail to accommodate the innovative potential of peripheral places like Perugia. Ideas are generated in both places and influences flow between them through processes of exchange involving painters and patrons. Local patronal networks provide a matrix within which valid tastes are promoted independently of external pressures. 3 4 Acknowledgements This research was undertaken with the generous assistance of a Research Studentship from Oxford Brookes University, for which I am most grateful. In addition, I should like to thank the following people: My supervisors, Dr. Tom Henry and Dr. Charles Robertson for their careful analysis, insightful comments and unstinting help and encouragement; Dott.ssa Silvia Lonzini who transcribed the documents in Appendix 2 from originals in Perugia; Dr. Donal Cooper and Dr. Fabrizio Nevola for helpful discussions regarding specific points of research; Dott. Alberto Sartore and staff at the Archivio di Stato, Perugia; Dott.ssa Isabella Farinelli at the Archivio Storico Diocesano, Perugia; Dott.ssa Fiorella Superbi and staff at the Fototeca Berenson, Villa I Tatti, Settignano. Staff at the Sodalizio Braccio Fortebraccio, Perugia; Staff at the Biblioteca Comunale Augusta, Perugia; My husband, Jonathan, for his unfailing support throughout this project. 5 Preface At the beginning of the fifteenth century, the central Italian city of Perugia had little home-grown artistic talent and relied upon foreign painters to provide its major altarpieces. A century later, this situation had been reversed with Perugino, Pintoricchio and Raphael all active in the city. A large number of high altars were undergoing renovation with many of the biggest and most expensive altarpieces in Italy being commissioned there. 1 This thesis seeks to establish the factors leading to this change and asks what patterns of patronage accompanied it. To addressthese issues, this thesis considers the nature of patronage and the development of painting in Perugia from 1390 to c.lS27. The study focuses upon five Franciscan convents and monasteries together with the lay confraternities and families connected with these establishments. Additionally, other major artistic works in the city are considered where their impact was significant. Although the study concentrates on painting, especially altarpieces, some references to architecture and sculpture are made where appropriate. Franciscan patronage in Perugia was consistently active throughout the period and reflected painting and commissioning patterns across the city as a whole. Their establishments encompassed a wide cross-section of Perugian citizens, clerical and lay, male and female and their adherents were often closely involved with the political infrastructure of the city. Commissions for the order reflected their theological and liturgical requirements and local Franciscan networks played an important role in the commissioning process, but there appear to be few instances when decisions were affected by external instructions from the central authority in Assisi. Furthermore, so far as can be established from the documents, private patrons commissioning paintings for Franciscan churches had a fair degree of autonomy, while commissions made at the instigation of the communities reflect local, provincial and specifically Franciscan concerns. Writing about mid-fourteenth- century Franciscan patronage in Northern and Central Italy, Dieter Blume proposed that the mother house at Assisi had sought to impose standardisation of decorative 1 See O'Malley 2007, p. 691 for a comparison of the prices and size of Peru gino's altarpieces. 6 programmes through directives? However, Louise Bourdua's study of Franciscan patronage in the Veneto during the same period found that images there reflected local influences rather than formulae originating in Assisi.3 Artistic programmes were sometimes chosen by the friars but at other times were selected by the local patrons. A similar pattern occurred in fifteenth-century Perugia. The increasing polarisation of the two main branches of the order - the Observants and the Conventuals - was also a major factor. The division centred upon interpretations of St. Francis' doctrine of absolute poverty and his prohibition upon the ownership of property. The Observants wished to remain as close to their founder's doctrine as possible, while the more pragmatic Conventuals operated under a series of papal dispensations which allowed them to possess property and receive a fixed income. Following the Observant reforms of the late 1300s and early 1400s, this movement gradually grew in strength and was championed by reformers such as St. Bernardino of Siena who often visited Perugia. Finally, tensions within the order became insurmountable and Pope Leo X formally split it into two distinct bodies in 1517. In Perugia, both branches were represented. The male Observants were based at San Francesco del Monteripido. The female Clares of Santa Maria di Monteluce were also Observants and the female tertiaries at Sant' Agnese and Sant' Antonio da Padova had close, if sometimes difficult, links with Monteripido. The Conventual base was San Francesco al Prato which also had a prominent civic role. Responses to the tensions within the order are discernable in the iconography of several of the altarpieces discussed in this thesis. Despite the debate surrounding the order's vow of poverty, neither group of Franciscans opposed the decoration of their churches. St. Francis had stressed the importance of high quality chalices and illuminated manuscripts and the order swiftly realised the value of frescoes in proclaiming their message.4 Paintings became important teaching aids, reinforcing Franciscan tenets and many of the Perugian altarpieces had a didactic function. The order's requirement for clarity in their paintings may have been a factor in the selection of painters and will be considered. 2 Blume 1983. 3 Bourdua 2004, p. 149
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