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THE SALA DELLE ASSE in the SFORZA CASTLE in MILAN By

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THE SALA DELLE ASSE in the SFORZA CASTLE in MILAN By THE SALA DELLE ASSE IN THE SFORZA CASTLE IN MILAN by Patrizia Costa B.S. Industrial Administration and Italian, Carnegie Mellon University, 1989 M.A. History of Art, University of Pittsburgh, 1993 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2006 This dissertation was presented By Patrizia Costa It was defended on February 10, 2006 and approved by Ann Sutherland Harris, Professor of Italian Baroque Art Henry Clay Frick Department of the History of Art and Architecture David Wilkins, Professor Emeritus of Italian Renaissance Art Henry Clay Frick Department of the History of Art and Architecture H. Anne Weis, Associate Professor of Ancient Greek and Roman Art Henry Clay Frick Department of the History of Art and Architecture Kathleen Wren Christian, Assistant Professor of Italian Renaissance Art Henry Clay Frick Department of the History of Art and Architecture Francesca Savoia, Associate Professor of Italian Languages and Literature Department of French and Italian Languages and Literature Dennis Looney, Associate Professor of Italian Languages and Literatures Department of French and Italian Languages and Literature ii Copyright © by Patrizia Costa 2006 iii This dissertation is dedicated to my children Edoardo and Gianmarco studio sapientia crescit iv THE SALA DELLE ASSE IN THE SFORZA CASTLE IN MILAN Patrizia Costa, PhD University of Pittsburgh, 2006 This dissertation deals with two periods in the history of a room in the Sforza Castle known as the Sala delle Asse: the fifteenth‐century, when Ludovico Sforza (1452‐ 1508) commissioned Leonardo da Vinci (1452‐1519) to paint it and the late‐nineteenth‐ to‐early‐twentieth century when the Sala was re‐discovered and subjected to a major restoration by the Italian architectural historian Luca Beltrami (1854‐1933). Beltramiʹs participation in the Salaʹs re‐discovery in 1893, the architectural and pictorial alterations he ordered in preparing the room for public view, and his monographic presentation of the Salaʹs fifteenth‐century history will be discussed here using new archival evidence. The author will argue that Beltramiʹs interventions ultimately shifted attention away from the Salaʹs fifteenth‐century circumstances and transformed it into a key component of the ambitious restoration scheme that Beltrami had formulated for the Sforza Castle as whole. This was a scheme that supported certain political and cultural ideologies about Milan at the turn of the twentieth‐century. In an effort to provide an alternative voice for the Sala to that of Beltrami, the author will use new archival documentation to discuss the participation of Paul Müller‐Walde, a German art historian who is credited with the actual re‐discovery of the Sala but whose contributions remained curiously absent from all modern art‐historical literature dealing with the Sala. Acting on the v premise that a more plausible and much needed interpretation for the Salaʹs fifteenth‐ century history is needed, the author will offer a reconsideration of some of the Salaʹs most basic problems such as dating, location and possible uses. The author will also deal with Leonardoʹs contributions and the perils of characterizing the Sala as yet another work that sprang fully from Leonardoʹs imagination, with little interference or direction from outside sources. Finally, the author will deal with Ludovico Sforzaʹs reasons for commissioning the Sala and lay the groundwork for an expanded and alternative interpretative discourse intended to broaden the avenue of investigation of this important and unique commission in Renaissance art. This dissertation concludes with an extensive Register of Documents containing reproductions or transcriptions of important fifteenth‐, nineteenth‐ and twentieth‐century documents for the Sala delle Asse. vi If you wish to go to the top of a building you must go up step by step; otherwise it will be impossible that you should reach the top. Thus I say to you, whom nature prompts you to pursue this art, if you wish to have sound knowledge of the forms of objects begin with the details of them, and do not go on to the second [step] till you have the first well fixed in memory and in practice. And if you do otherwise you will throw away your time, or certainly greatly prolong your studies. And remember to acquire diligence rather than rapidity. — Leonardo da Vinci vii TABLE OF CONTENTS LIST OF FIGURES ……..…………………………………………………………………..… xi PREFACE AND ACKNOWLEDGEMENTS ………………………………………………xii 1. INTRODUCTION…………………………………………………...………………p. 1 A. The Sala delle Asseʹs place in art‐historical literature B. Factors pointing to a pattern of scholarly disinterest: public accessibility, physical condition and the interpretative framework forged by the Italian architectural historian, Luca Beltrami C. Arrangement and scope of the chapters in this dissertation D. The archival sources used in preparing this dissertation PART I ‐ THE SALA DELLE ASSE IN THE LATE 19th‐ AND EARLY 20th‐CENTURIES 2. IN SEARCH OF LEONARDO AT THE SFORZA CASTLE: LUCA BELTRAMI AND PAUL MULLER‐WALDE STEP UP TO THE CHALLENGE……………p. 26 A. Who was Luca Beltrami? B. Beltramiʹs ideas and philosophy on conservation and restoration C. Beltramiʹs political crusade for the Sforza Castle D. Paul Müller‐Walde at the Sforza Castle: a partially‐censored contribution? E. In search of Müller‐Waldeʹs personal archives viii 3. FATTI E DISFATTI: THE SALA DELLE ASSE ACCORDING TO LUCA BELTRAMI…………………………………………………………………………..p. 63 A. The 1902 transformation of the Sala delle Asse B. The reactions of art critics and scholars C. Making sense of the Sala delle Asse in the context of Beltramiʹs ambitions for the restoration of the Sforza Castle D. Beltrami looks to documents in building a defense for his work on the Sala delle Asse PART II ‐ THE SALA DELLE ASSE IN THE 15TH CENTURY 4. LAYING THE GROUNDWORK FOR A FEASIBLE HISTORY OF THE SALA DELLE ASSE: PROBLEMS AND CONSIDERATIONS…………………….…p. 93 A. Physical description of the Sala delle Asse B. Interpreting the term ʺasseʺ in the name Sala delle Asse C. The location and function of the Sala delle Asse under Ludovico Sforza D. The four plaques in the ceiling of the Sala delle Asse E. Establishing a time‐line for the Sala delle Asse F. The Saletta Negra and the Sala delle Asse as parts of a unified program G. Payment for the Sala delle Asse 5. LEONARDO AND THE SALA DELLE ASSE: PROBLEMS IN ATTRIBUTION ………………………………………………………………..p. 125 A. Leonardo da Vinci, painter and designer(?) of the Sala delle Asse B. Leonardoʹs reputation in late‐nineteenth‐century Milan C. Future considerations ix 6. TOWARD AN INTERPRETATION OF THE SALA DELLE ASSE………..….p. 145 A. The Sala delle Asseʹs trees B. The Sala delle Asseʹs golden cord and knots C. Beyond mulberries and knots D. Ludovico Sforzaʹs goals as patron REGISTER OF DOCUMENTS……………………………………………………..…..…p. 186 BIBLIOGRAPHY……………………………………………………………………..….…p. 251 x LIST OF FIGURES 1.1 Aerial view of the Sforza Castle, Milan…………………………………………………………....…p. 23 1.2 Leonardo da Vinci, Sala delle Asse, ca. 1498, Sforza Castle, Milan…………………………………p. 24 1.3 Portrait of Ludovico Sforza……………………………………………………………………………p. 25 2.1 Luca Beltrami in a photograph from 1930……………………………...…………………………....p. 62 4.1 General plan of the Sforza Castle, Milan……………………………………………..………….....p. 122 4.2 Reconstructed ground plan of the first floor of the Ducal Court, Sforza Castle in the fifteenth century………………………………………………………………………………………..………..p. 123 4.3 Reconstructed ground plan of the second floor of the Ducal Court, Sforza Castle in the fifteenth century…………………………………………………………………………………………………p. 124 xi PREFACE AND ACKNOWLEDGEMENTS This dissertation grew out of a research paper for a graduate seminar on domestic room decoration in the Renaissance taught by David Wilkins in the spring of 1992 when I was still an M.A. student. In the company of such works as Raphael’s Villa Farnesina (1511), Giulio Romano’s Palazzo del Te (1527), and Andrea Mantegna’s Camera Picta (1465), the Sala delle Asse presented itself as an anomaly: it was attached to a no‐ less‐famous artist, Leonardo da Vinci, yet only a handful of studies had been published on it. Hopeful and, in retrospect, naive that I would somehow determine the symbolic significance of this complex work in one short semester, I dug as deep as I could into its fifteenth‐century circumstances. When my efforts in iconographic interpretation failed to be fruitful, I shelved the project and returned to my usual scholarly concerns in seventeenth‐century painting and drawing. A year later, John Williams suggested to me that the Sala delle Assemerited additional attention. He had just finished reading Richard Turner’s intriguing book Inventing Leonardo and could see —even before I did— that the Sala could lead to a fascinating Ph.D. topic and new understandings about Leonardo’s role in the history of xii art. I started asking myself the simple question of why the Sala had not enjoyed all of the attention of Leonardo’s other known works. It was in satisfying this curiosity that a dissertation started to take form. I am profoundly grateful to my doctoral committee (Ann Sutherland Harris, David Wilkins, Anne Weis, Kathleen Christian, Francesca Savoia and Dennis Looney) for having faith in me, for offering direction when needed, and for their ample doses of good cheer and friendship. Ann Sutherland Harris showed me the importance of reading works of art with sharpness of mind and eye. It has been a privilege for me to experience the intellectual and artistic richness of Italian art through her teachings. She took me under her wing as a Ph.D. student and taught me —with diligence, affection and much patience— one of the most important lessons in my graduate‐ school training: that critical evaluations are more intimately connected with the historically specific than it is popularly supposed, and that inadequacies in methodology can only be overcome through the disciplined practice of balancing both.
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