Negotiating Military Identity in Early Modern State Portraiture Lisa Wuliang Tom A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of the History of Art and Architecture at Brown University Providence, Rhode Island May 2014 © Copyright 2014 Lisa Wuliang Tom This dissertation by Lisa Wuliang Tom is accepted in its present form by the Department of the History of Art and Architecture as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date __________ ______________________________ Evelyn Lincoln, Advisor Recommended to the Graduate Council Date __________ ______________________________ Jeffrey Muller, Reader Date __________ ______________________________ Caroline Castiglione, Reader Approved by the Graduate Council Date __________ ______________________________ Peter M. Weber, Dean of the Graduate School iii VITA Lisa Wuliang Tom was born in Mountain View, California in 1980. At the University of California, San Diego, in 2001, she received a B.A. in Art History, a B.A. in Computing in the Arts, and a minor in Asian Studies. Under the guidance of Jack M. Greenstein, she completed her senior honors thesis: "Ganymede and St. John the Evangelist." She received a M.A. in Art History from the University of California, Los Angeles and studied under the direction of Joanna Woods-Marsden. With generous funding from the Ruth and Elmer Belt Fellowship, she completed her master's thesis, "Titian's Lucretia Violated by Tarquin." Along her journeys through the exploration of the history of art, Lisa has had the pleasure of contributing peer reviews and book reviews to Comitatus. In 2004, she assisted Lisa Bitel, Professor of History and Religion at the University of Southern California, contributing to the Figurae Image Database for the Monastic Matrix. While studying at Brown, she held a Mellon curatorial proctorship at the Rhode Island School of Design Museum, working with Emily Peters, curator of Prints, Drawings, and Photographs. Lisa has discovered the unique rewards of teaching, while serving as a teaching assistant to a diverse array of professors at UCLA and Brown, and lecturing at the University of Rhode Island. iv ACKNOWLEDGMENTS I am most indebted to the incredible patience and guidance of my advisor Evelyn Lincoln, who continuously challenged me to better myself and to discover the extents of my potential—she is the best kind of teacher. The fruition of this project would not have been possible without her staunch advocacy and wise insights. I am also thankful to have worked with Caroline Castiglione, who has been a great personal and professional inspiration. I will forever admire her ability to weather the most tumultuous storms or to engage in complex methodological inquiries with such evenness and zen. My gratitude goes out to Jeffrey Muller, who motivated me to hold my scholarship to a high standard and shared many thoughtful conversations with me. I could not have hoped for a better or more understanding committee. It has been a pleasure to work and interact with the faculty at the Department of the History of Art and Architecture at Brown University. I could always depend on Dian Kriz to have an earnest and perfect answer to any and every problem. As a disoriented new transplant to Providence, I first learned to appreciate the riches that the city has to offer thanks to Dietrich Neumann. While haunting the halls of the List Art Center, I found many a friendly face and stimulating conversations with Sheila Bonde, Hervé Vanel, Maggie Bickford, Rebecca Molholt, and Douglas Nickel. Such support from the faculty and staff has been much appreciated. I would also like to acknowledge with gratitude Jack M. Greenstein, my undergraduate advisor at the University of California, San Diego, who first introduced me v to this wondrous journey of exploring the world through the discipline of the history of art. Bright lights along this most excellent art historical adventure have included some very kind and thoughtful colleagues and friends, Angélica Afanador-Pujol, Yi Gu, Mazie Harris, Amy Huang, Ruth Lo, Mario Pereira, Suzanne Scanlan, Joseph Silva, Nathaniel Walker, and Jonathan Tavares. During the final phases of writing, the attention of colleagues at the University of Rhode Island has been invaluable, particularly from Mary Hollinshead, Wendy Roworth, and Pamela Warner. My research would not have been possible without the generous support from Brown University's Graduate School, Department of the History of Art and Architecture, and the Renaissance and Early Modern Studies. I would also like to thank the curators and staff of the following libraries and museums: the Metropolitan Museum of Art in New York, the John Carter Brown Library, The Frick Collection, and the John Hay Library. I am also indebted to the digitization projects and resources of the Rijksmuseum in Amsterdam and Die Bayerische Staatsbibliothek in Munich. My family and close friends have sustained me throughout this grand expedition. Amparo Ng and Henri Krutten are the best of friends, who have helped me to maintain perspective. My mother, Pak-Ngor Tom, my late father, Leung K. Tom, and siblings, Cindy Waytoon Tom, Michael Renji Tom, and Maria Fuli Tom, have been unwavering in their faith in me. In return for their infinite kindness, I dedicate this project to them. vi TABLE OF CONTENTS Vita …………………………………………………………………………………….. iv Acknowledgments ……………………………………………………………………… v List of Illustrations ……………………………………………………………………. viii Introduction ………………………………..……………………….……………..….…. 1 Chapter One The Princely Portrait Program of Alfonso I d'Este ………………....……….…………. 10 Chapter Two The Authority of Artillery in Titian's Portrait of Alfonso I d'Este …………………….. 62 Chapter Three Artillery and the Visual Rhetoric of Chivalry in Este Portraiture .……...…….……….. 88 Chapter Four With Great Deeds Comes Great honors: A Battle Portrait of Alessandro Farnese ...… 124 Chapter Five Portraiture & Victory as Propaganda: The Bridge of Boats in the Portraits of Alessandro Farnese …………....................…. 164 Conclusion ………………………………...………………………………………...... 198 Illustrations …………………………………………………………………………… 201 Bibliography ………………………………………………………………………….. 305 vii LIST OF ILLUSTRATIONS 1.1 Walter de Milemete, De Notabilibus, Sapientiis et Prudentiis Regem, fol. 70v, Bodleian Library, Christ Church, Oxford (MS 92). Image Source: Kelly DeVries, "A Reassessment of the Gun Illustrated in the Walter de Milemete and Pseudo-Aristotle Manuscripts," Journal of the Ordnance Society 15 (2003). 1.2 after Titian, Alfonso d'Este, late 16th-early 17th century. Metropolitan Museum of Art, New York. Image Source: Collection Database, Metropolitan Museum of Art, New York, accessed December 14, 2010, www.metmuseum.org. 1.3 Quarto (testone) of Alfonso I d'Este, Samson holding the lion's head, 1505. Silver. Image Source: Lorenzo Bellesia, Le Monete di Ferrara: Periodo Communale ed Estense (Bologna: Nomisma, 2000), 155. 1.4 Doppione, gold double ducat, of Alfonso I d'Este, Christ and the Pharisee, 1505. Designed by Giannantonio da Foligno. American Numismatic Sodiety, New York. Image Source: Bellesia, 123. 1.5 Niccolò Fiorentino, Medal of Alfonso I d'Este, 1492. National Gallery of Art, Washington, D.C. Image Source: John Graham Pollard, Renaissance Medals (Washington, DC: National Gallery of Art, 2007), vol.1, p.308, no.290. 1.6 a) 1505 Tribute Money doppione (New York, American Numismatic Society), b) 1509 Samson quarto (Ferrara, Private Collection), c) 1522 Samson ten-soldi (Vienna, Kunsthistorisches Museum) d) 1526 Magdalene 12-soldi (Vienna, Kunsthistorisches Museum) Image Source: Bellesia, 153, 172, 177, 191. 1.7 Ducat and a half, Ercole I d'Este, Hercules Wrestling with the Lion. Gold. 1493. Vienna, Kunsthistorisches Museum. Image Source: Bellesia, 117-18. 1.8 Quarto (testone) of Ercole I d'Este, Seven-headed Hydra. Silver. 1492/3. viii Image Source: Classical Numismatic Group, Inc.: Printed Auction, CNG 76, Lot: 1812, Sold September 12, 2007, accessed December 10, 2010, www.cngcoins.com. 1.9 Doppione of Ercole I d'Este, Hercules and the Cretan Bull. Gold. c.1500. Schweizerisches Landesmuseum Dep. ZB Image Source: Money Museum, accessed January 15, 2010, www.moneymuseum.com. 1.10 Matteo da Milano, Breviary of Ercole I d'Este, c. 1502-1505. Zagabria, Strossmeyer Gallery, SGG 335. Image Source: Federica Toniolo, ed., La Miniatura a Ferrara dal tempo di Cosmé Tura all'ereditd di Ercole de' Roberti (Modena: Franco Cosimo Panini, 1998), 298. 1.11 attr. Gian Cristoforo de' Ganti, Marriage Medal of Alfonso I d'Este and Lucrezia Borgia, 1502. Castello Sforzesco, Milan. (Num.Coll.584.Num.Unv.n.M.0.1565) Image Source: Jadranka Bentini, ed., gli Este a Ferrara: Una corte nel Rinascimento (Milan: Silvana Editoriale, 2004), 245. 1.12 attr. to Cosmè Tura, Alfonso d'Este and Hercules strangling serpents. Bronze. 1477. Samuel H. Kress, collection, National Gallery of Art, Washington, D.C. Image Source: John Graham Pollard, Renaissance Medals (New York: Oxford University Press, 2007) I, cat.no.63, p.84.' 1.13 Ercole de' Roberti, San Lazzaro Altarpiece. c.1475. Formerly at the Kaiser- Friedrich-Museum, Berlin. Destroyed, 1945. Image Source: Artstor, accessed January 20, 2010, www.artstor.org. 1.14 Detail of Figure 1.13 Samson and the lion. 1.15 Matteo da Milano, Libro d'ore of Alfonso d'Este (Offiziolo Alfonso), 1505-12. Calouste Guilbenkian Museum, Lisbon (inv. L.A. 149, fol.13r). Image Source: Mauro Bini, ed., Offiziolo Alfonsino: il libro d'ore di Alfonso I d'Este (Modena: Il Bulino, 2004). 1.16 Detail of Figure 1.15 Portrait of Alfonso I d'Este praying to God in the Initial Q. 1.17 Matteo da Milano, Libro d'ore of Alfonso d'Este (Offiziolo Alfonso, aka. Officium of Alfonso I d'Este), 1505-12. Zagabria, Strossmayer Gallery, SG 352 (93v-94). Image Source: Mauro Bini, ed., Offiziolo Alfonsino: il libro d'ore di Alfonso I d'Este (Modena: Il Bulino, 2004). 1.18 Detail of Figure 1.17 Matteo da Milano, Libro d'ore of Alfonso d'Este ix 1.19 Giovanni Antonio da Foligno, Reliquary of St. Maurelius, 1512-14.