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Reexamining Raphael's Transformation Through “Finding Rome in Rome”: Reexamining Raphael’s Transformation Through His Roles at the Villa Farnesina Alexis Ruth Culotta A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Committee: Stuart P. Lingo Estelle Lingo Ann C. Huppert Program Authorized to Offer Degree: Art History ©Copyright 2014 Alexis Ruth Culotta University of Washington Abstract “Finding Rome in Rome”: Reexamining Raphael’s Transformation Through His Roles at the Villa Farnesina Alexis Ruth Culotta Chair of the Supervisory Committee: Professor Stuart P. Lingo Art History As an iconic figure of the Renaissance, Raphael has been the subject of extensive scholarly study. His contributions to the Roman villa of Agostino Chigi, now known as the Villa Farnesina, however, have garnered minimal attention. This thesis aims to reevaluate Raphael’s contributions to the villa, as they represent some of his most diverse production, not only as artist but also as antiquarian, architect and theatrical scenographer. As this synthesis will reveal, these key evolutions within Raphael’s pursuits can be tied to his exchanges with Venetian painter Sebastiano del Piombo and painter/architect Baldassarre Peruzzi with whom Raphael worked while at the Farnesina. These exchanges will be considered through the emergent artistic application of co-opetition, a blend of competition and cooperation. It is through these interactions that Raphael’s work at the Farnesina can be positioned as catalyst to his continued development beyond prominent artist into esteemed architect and archaeologist working in early cinquecento Rome. The aim of this study is not only to advance our knowledge of Raphael but also to better contextualize the dynamic atmosphere fostered within Chigi’s grounds, giving better understanding of Peruzzi’s and Sebastiano’s contributions that resulted in the artistic and architectural landmark that was the sixteenth-century Villa Farnesina. TABLE OF CONTENTS Acknowledgements List of Illustrations I. INTRODUCTION. 1 a. Review of the Scholarship . 19 b. Advancing the Discourse . .26 II. ROME AND RENOVATIO. 31 a. Conjuring the Classical . 32 b. Pope Julius II and Renovatio . 40 c. Raphael as “Renaissance Man” . 45 d. Imitation, Emulation, Competition, and the Conceptualization of Co-opetition . .49 e. Ascending the Social Ladder . .66 III. CHIGI AND HIS TRUE “RUS IN URBE”. 68 a. Chigi’s Villa Suburbana . .73 b. Picking Peruzzi and Emergent All’Antica Architecture . 79 c. “Not Built but Born . .”– The Villa Emerges . .90 d. A Contrast to the Cancelleria . 98 e. The Antique Comes Alive – Panegyrics on the Farnesina . .106 f. Chigi’s Collection of Antiquities . 126 IV. “ET DE MIGLIORE PERFECTIONE SI E POSSIBILE”: RAPHAEL, RIVALRY, IN THE LOGGIA DI GALATEA . 137 a. A Venetian Arrives in Rome . .145 b. Raphael’s Response – A Clash of Temporalities . 171 c. The Competition Persists. 185 V. ARTIST AS ARCHITECT AND ARCHAEOLOGIST . 188 a. Blurry Beginnings . .191 b. Raphael’s Riverfront Casino . .195 c. The Novelty of the Nymphaea . .204 d. A Noteworthy Sketch “nel’orto d’agostin chigi” . .211 e. Gaining Insight on the Grotto . .217 f. The Stables . .226 g. Moving Forward: From Santa Maria del Popolo to the Villa Madama . .239 VI. RAPHAEL TRANSFORMED: LASTING IMPACT AND LAST DAYS AT THE FARNESINA. .251 a. “Una Bottega Antiquariana di Sanzio” . 253 b. Peruzzi, Performance, and Perspective . 260 c. Raphael’s Fire . 262 d. Perspective and Psyche . 271 e. The Sala delle Prospettive and the Architecture of Painting . 279 f. The Loggia di Amore e Psiche . 295 g. Reconstructing the Scaenae Frons . 302 VII. CONCLUSION . .326 APPENDIX A: EXCERPTS FROM MAZZOCHI (1521) AND ALDROVANDI (1556) . .339 APPENDIX B: PRINCIPAL MEASUREMENTS - VILLA FARNESINA . 341 APPENDIX C: PRINCIPAL MEASUREMENTS – CHIGI’S STABLES . 342 APPENDIX D: TABLE OF NICHOMACHUS . .343 APPENDIX E: PROPORTIONAL RATIOS BETWEEN THE FARNESINA (PERUZZI) AND THE STABLES (RAPHAEL) WITH FIGURES . 344 Bibliography . 345 Illustrations . 374 ACKNOWLEDGEMENTS It is my pleasure and honor to thank all of those individuals who have devoted their time, expertise, and encouragement to this undertaking. Numerous thanks go to the members of my doctoral committee at the University of Washington: Professors Stuart Lingo, Estelle Lingo and Ann C. Huppert. I am particularly grateful to my advisor, Professor Stuart Lingo, who initially spurred me toward a closer examination of the Villa Farnesina during my first semester of study in Rome. It was his encouragement that served as the impetus for this research, and his ongoing insightful critiques and guidance to approfondire ideas and themes proved invaluable. Professor Huppert enriched this study with the infusion of her extensive knowledge of Renaissance architectural theory as well as the artist and architect Baldassarre Peruzzi, and Professor Estelle Lingo was equally crucial as she encouraged a vigorous reevaluation and refinement of my terms and arguments to reinforce the “big picture.” Thanks is also extended to Dr. Margaret Laird, whose suggestions early in my research helped me to develop key investigations into the role of antiquity at play in early sixteenth- century Rome, and also to Dr. Ingrid D. Rowland, whose thoughtful commentary on portions of my dissertation encouraged the pursuit of new avenues of examination. Thanks go as well to the organizations and institutions that have supported my study. The University of Washington’s Gerberding Fellowship provided essential funding for my first period of study in Rome, and a subsequent generous teaching assistantship through the university allowed my continued study in situ. It was during this time abroad that I discovered the wealth of resources offered by Rome’s Archivio di Stato, Biblioteca dell’Accademia Nazionale dei Lincei e Corsiniana (current overseer of the Villa Farnesina) and Bibliothéque Française, all of which proved integral over repeated dives deep into their collections. Thanks must also be extended to the helpful team at the Metropolitan Museum of Art’s Drawings and Prints Study Room, who graciously allowed my endless poring over the anonymous French drawings of the Farnesina façade that are featured prominently in several of my dissertation’s arguments. Most of all, my gratitude is extended to my family: to my husband, Aron, whose unwavering support and enthusiasm throughout this research has been both humbling and inspiring, and to my parents, David and Kristine Sexton, who encouraged me from my youngest years to follow my passions and to tackle any challenge that comes along the way. Thank you for everything. DEDICATION To my son, Luca, and my daughter, Livia, without whom completing this work would seem much less important. May it one day inspire you, wherever your passions may lie. For now, let’s go play. LIST OF ILLUSTRATIONS Unless otherwise noted, the following images were procured from Artstor.com within their acceptable terms of use. Fig. 1 Baldassarre Peruzzi, Villa Farnesina, Trastevere, 1505-1511. Fig. 2 Raphael, Triumph of Galatea, circa 1512-1513. Fig. 3 Raphael and Workshop, The Loggia di Amore e Psiche, circa 1519. Fig. 4 Tower of Niccolò di Crescenzio, or Casa di Cola di Rienzo, Rome. Fig. 5 Palazzo della Cancelleria (originally Palazzo Riario), 1489-1513. Fig. 6 Map Reflecting Julius II’s Principle Civic Planning Impacts Nicholas Temple, Renovatio Urbis (NY: Routledge, 2011), 46. Fig. 7 Donato Bramante, Preparatory Plan of the Belvedere Courtyard, Vatican Perspective View from the Stanze, circa 1506. Fig. 8 Raphael and Assistant, Interior of the Pantheon, circa 1506. Gabinetto Disegni e Stampe degli Uffizi (UA 164A). Fig. 9 Giorgione and Titian, Sleeping Venus, 1510. Gemäldegalerie Alte Meister, Dresden. Fig. 10 Partial View of the Stanza della Segnatura (1508-1511) illustrating the School of Athens and a portion of Parnassus, 1509-1511. Fig. 11 Raphael, Parnassus, 1510-1511, Stanza della Segnatura. Fig. 12 Detail, School of Athens, illustrating Raphael in the Guise of Apelles. Fig. 13 Detail, Parnassus, illustrating Raphael in the Guise of Poet Fig. 14 Raphael, Self-Portrait, 1504-1506. Galleria della Uffizi. Fig. 15 Marcantonio Raimondi, Apollo and the Muses on Parnassus, 1514- 1520. Metropolitan Museum of Art (Acc. No. 31.54.166). Fig. 16 Paul Letarouilly, Villa Farnesina and Gardens, 1860. Edifices de Rome Modernes, ou Receuil des palais, maisons, églises, couvants, et autres monuments publics et particuliers les plus remarquables de la ville de Rome (New York: Princeton Architectural Press, 1982); David Coffin, The Villa in the Life of Renaissance Rome (Princeton, NJ: Princeton University Press, 1979), 89. Fig. 17 Francesco di Giorgio Martini, Illustration from Trattato di Architettura, circa 1470. Biblioteca Reale, Turin. Fig. 18 Baldassarre Peruzzi, Rome: Reconstruction of the Septizonium and the Baths of Caracalla; Sketch of a Horse, circa 1500. F.P. Fiore and M. Tafuri, Francesco di Giorgio architetto, 337, XX.11; U 323 Ar. Fig. 19 Anonymous, “Palazzo delle Volte, Ancaiano, la Chiesa delle Palazzo delle Volte.” Biblioteca Apostolica Vaticana (Vatican), Manoscritti Chigiani, P VIII 17, n. 138. Fig. 20 Francesco di Giorgio Martini, Ground plan, Villa le Volte, 1605 (before restoration). Biblioteca Apostolica Vaticana, Chigi P. VIII 17; Baldassarre Peruzzi, 1481- 1981: Commemorazione V Centenario Della Nascita (Sovicille: Commune di Sovicille, 1981), 40. Fig. 21 Baldassarre Peruzzi (?), Villa Le Volte, 1502-1505,
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