The Business of Sculpture in Venice 1525–1625 Volume I: Text Emma Jane Jones Department of History of Art Pembroke ColleGe This dissertation is submitted for the deGree of Doctor of Philosophy University of CambridGe September 2016 CONTENTS VOLUME 1: page Acknowledgements i-ii List of Abbreviations iii-iv Introduction 1-17 I. Patrons: Sculptural Genres, Motivations, Locations 18-51 II. Sculptors: Contracts, Fees, Quality 52-84 III. Materials: Sourcing, Supply, Significance 85-127 IV. Workshops, Authorship, Networks, Problem-solving 128-160 Conclusion 161-163 Bibliography 164-209 VOLUME 2: Illustrations Introduction 1-23 Chapter I 24-130 Chapter II 131-179 Chapter III 180-223 Chapter IV 224-269 VOLUME 3: Appendix I. Notes on Documentary Transcriptions; Currency and Units of Weight and Measurement 1-2 II. Catalogue of Select Commissions 3-217 III. Tables: 1: Contract drawings and models 218-223 2: Sculptors’ fees 224-233 3: Copper prices 234-235 4: Tin prices 236 5: Bronze prices 237-238 IV. List of Illustrations and Photo Credits 239-260 ACKNOWLEDGEMENTS This research has been made possible thanks to the generous doctoral scholarship provided by the Arts and Humanities Research Council (AHRC) of Great Britain. My most sincere thanks go to the Faculty of Architecture and History of Art for putting me forward for this scholarship and to the University of Cambridge for endorsing it. Research undertaken in Venice for this thesis was made possible through the generous and much-appreciated financial support of the AHRC Travel Fund, the Gladys Krieble Delmas Foundation, and the Kettle’s Yard Art History Travel Fund, University of Cambridge. In Venice, the staff of the following institutions have been marvellous facilitators and advisers, and incredibly generous and kind with their time: the Archivio di Stato di Venezia (especially Dott.ssa Alessandra Schiavon and Dott.ssa Claudia Salmini); the Archivio Storico del Patriarcato di Venezia (especially Dott.ssa Manuela Barausse and Dott. Davide Trivellato); the Biblioteca del Museo Correr; the Biblioteca Nazionale Marciana; the Archivio parrocchiale di Santa Maria Gloriosa dei Frari (Renata Marzi). For access to wonderful photographs, I offer my heart-felt thanks to Francesco Turio Böhm (Osvaldo Böhm archive); Dennis Cecchin (Archivio fotografico, Museo Correr); Leslie Contarini (Save Venice, Inc.); Matteo De Fina; and Ilaria Turetta (Fototeca, Fondazione Giorgio Cini). For access to works of sculpture not usually easily accessible, I am indebted to Leslie Contarini (Save Venice, Inc.); Irene Galifi (Curia Patriarcale); and Ettore Vio (Proto emerito, Basilica di San Marco). Finally, I am most grateful to Lady Frances Clarke (President of Venice in Peril), who has been a wonderful source of enthusiasm and encouragement throughout. I am sincerely grateful to the following scholars, conservators, and practitioners for their encouragement, advice and helpful discussions during the course of my research: Denise Allen, Frances Andrews, Nebahat Avcioglu, Alexandra Bamji, Peter Bell, Francesca Bewer, Sarah Blake McHam, Amy Bloch, Patricia Fortini Brown, Marietta Cambareri, Donal Cooper, Tracy Cooper, Blake De Maria, Marcella De Paoli, C.D. Dickerson III, James Draper, Iain Fenlon, Maria Fusaro, Anna Gannon, Julian Gardner, Maartje van Gelder, Beth Glixon, Jonathan Glixon, James Grubb, Michael Hatt, Kelley Helmstutler Di Dio, Andrew Hopkins, Peter Humfrey, Paul Joannides, Donald Johnston, Volker Krahn, Claudia Kryza-Gersch, Andrew Lacey, Mary Laven, Manfred Leithe-Jasper, Siân Lewis, Alison Luchs, Richard Mackenney, Vittorio Mandelli, Jean Michel Massing, Daniel Maze, Marco Morin, Rebecca Norris, David Oldfield, Benjamin Paul, Debra Pincus, Gary Radke, Gianni Ridella, Roberto Santamaria, David Scrase, Allison Sherman, Dylan Smith, Paul Smith, Susan Steer, Richard Stone, Shelley Sturman, Giorgio Tagliaferro, Dora Thornton, William Wallace, Jeremy Warren, Paul Williamson, Thomas Worthen, and Dimitrios Zikos. Special thanks go to Professor Louise Bourdua (History of Art, University of Warwick) for her interest in my research, as well as her support and encouragement, which began ! i when she was my MA supervisor during the Warwick History of Art Venice MA in 2008–09, and which has been so much appreciated. I am most grateful to the History of Art Department, University of Cambridge, and especially Francé Davies and Nichola Tooke for their wonderful administrative, practical, and pastoral support over the course of my doctoral research. I would also like to thank the Master, Fellows, and staff of Pembroke College for their support, especially Dr Polly Blakesley (also my PhD Advisor), Professor Loraine Gelsthorpe (my College Tutor) and Frances Kentish (Graduate Secretary) for their much-appreciated support and kindness, especially during the period of my parents’ illnesses and deaths. I have a number of academic role models to whom I am hugely indebted for their inspirational scholarship, stimulating discussions, advice, and unerring friendship: Victoria Avery, Charles Avery, Susan Connell, Deborah Howard, and Peta Motture. For their love, support and solidarity, I offer my family and friends my most heart-felt and sincere thanks: Jean Chester; Sean, Lexi and Martha Morris; Barbara, Philip, Amelie and Brooke Wilson; Steve and Maggie Beresford; Yvonne and Mike Harris; Charles and Mary Avery; Susanna Avery-Quash, James Carleton-Paget, William and Joseph Quash, and Hope Carleton-Paget; Charlotte, Pierre and Dylan Pillet-Avery; and Lily; Lucilla Burn, Timothy and Clare Chambers, Anna Lloyd-Griffiths, Alistair McFarlane, Helen Ritchie, Henrietta Ryan, Jo Story, Helen Strudwick, Clare, Dave and James Terry. In Venice: Frances Clarke, Chiara Farnea Croff, Geraldine Ludbrooke, Alba Scapin, and Micky White. Spiritual support has been given most generously by Father Howard Levett (formerly Chaplain of St George’s Anglican Church, Venice); and the wonderful Bishops and Chapter of Ely Cathedral: Bishop Stephen Conway, Bishop David Thomson, The Very Reverend Mark Bonney, Canon Dr Jim Garrard, Canon Dr Alan Hargrave (now retired) and Canon Dr Vicky Johnson (plus Percy the dog!). Professor Deborah Howard has been the most wonderful supervisor and her sage advice, illuminating discussions, patience, kindness, friendship, and the example of her exemplary scholarship mean the world to me. Thank you so much for always believing in me. This thesis is dedicated to my beloved parents Noreen Morris (1950–2014) and Richard Morris (1945–2013), with love and gratitude, whom I wish were here to see this thesis completed; and most of all to my darling wife, soul-mate, best friend and pilgrim partner, Vicky Avery, for her infinite love and kindness, and for her boundless enthusiasm, encouragement, and unfailing good humour. I would be lost without you. ! ii LIST OF ABBREVIATIONS Institutions: AdA Archivio dell’arca del Santo, Padua APF Archivio parrocchiale di Santa Maria Gloriosa dei Frari, Venice APS Archivio parrocchiale di San Silvestro, Venice ASF Archivio di Stato di Firenze ASP Archivio di Stato di Padova ASPV Archivio Storico del Patriarcato di Venezia ASV Archivio di Stato di Venezia BMCV Biblioteca del Museo Correr, Venice BMV Biblioteca Nazionale Marciana, Venice IRE Istituzioni di Ricovero e di Educazione, Venice Archival fondi: Cod.Cic. BMCV, Codice Cicogna Demanio ASV, Direzione Dipartimentale del Demanio e Diritti uniti Grimani-Barbarigo ASV, Archivio privato Grimani e Barbarigo GV ASV, Giustizia Vecchia NA ASV, Notarile-Atti NT ASV, Notarile-Testamenti PSM ASV, Procuratoria di San Marco Rosario ASV, Scuola di Santa Maria del Rosario SGM ASV, San Giorgio Maggiore San Salvador ASV, San Salvador San Zaccaria ASV, San Zaccaria Tiepolo ‘Libro dei conti’ ASV, Archivio Tiepolo, Consegna II, b. 108 (no. 236), ‘Conto de fabriche per San Felise della casa de statio e quella del Querini e della Capella à Santa Tonino’ Tiepolo ‘Spese’ ASV, Archivio Tiepolo, Consegna II, b. 133 (no. 262), fasc. ‘Spese fatte per la fabrica della Cappella di San Sabba nella chiesa di Sant’Antonin’ Dictionaries DBI Dizionario biografico degli Italiani (accessed via http://www.treccani.it/biografie/) Grove Grove Art Online, ed. Alodie Larson (Oxford: Oxford University Press) (accessed via subscription at http://www.oxfordartonline.com) iii Other: b. busta doc./docs document/documents fasc. fascicolo fl. flourished fol./fols folio/folios n.p. not paginated proc. processo r. reigned reg. registro iv Introduction INTRODUCTION Desiring that this church be adorned as much as possible in honour of the Lord God, we have conceded, and do concede to the said Goldsmiths and Jewellers the freedom and authority to make their altar […] Doge Marino Grimani, 9 April 16011 With the above concession, issued in spring 1601, Doge Grimani granted the Guild of Goldsmiths and Jewellers, one of Venice’s most prominent trade guilds, the right to construct an altar in the ducal church of San Giacomo di Rialto, one of Venice’s most prestigious and ancient churches that had just been completely rebuilt.2 The Goldsmiths’ altar, erected over the following six years, was designed by architect Vincenzo Scamozzi (1548–1616) and adorned with bronzes by sculptor Girolamo Campagna (1549–1621), then at the pinnacle of their respective careers (fig.0.1). The over life-size St Anthony Abbot, the Goldsmiths’ patron saint, is given pride of place. In abbot’s attire, holding a crozier and with a ball of fire (another attribute) at his feet, he is shown being crowned with a mitre