THE SOUND OF COLOUR : THE INTELLECTUAL FOUNDATIONS OF DOMENICHINO'S APPROACH TO MUSIC AND PAINTING Rowland Charles MacKenzie A Thesis Submitted for the Degree of PhD at the University of St Andrews 1998 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/15247 This item is protected by original copyright Rowland Charles MacKenzie The Sound of Colour: The Intellectual Foundations of Domenichino's Approach to Music and Painting. Part One Master of Philosophy Thesis, University of St Andrews Submitted on March 31st 1998. ProQuest Number: 10167222 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10167222 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 b 'u £ \ DECLARATIONS I, Rowland Charles MacKenzie, hereby certify that this thesis, which is approximately 78,000 words in length has been written by me, that it is a record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a part time/full time research student for the degree of M. Phil, on Domenichino in October 1992, the higher study of which this is a record was carried out in the University of St Andrews betxwn J 99(2 and 1997. signature of candidate^ A I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate to the degree of M. Phil, of the University of St Andrews, and that he is qualified to submit this thesis in application for that degree. signature of supervisor. In submitting this thesis to the University of St Andrews I wish access to it be subject to the following conditions: for a period of five years from the date of submission, the thesis shall be withheld from use; I understand, however, that the title and abstract of this thesis will be published during the period of restricted access; and that after the expiry of this period the thesis will become available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright in the work not being affected thereby, and a copy of the work may be made and supplied to any bona fidgdi&rary Ar researcher of worker. 7 uim signature of candidate< Abstract The debate about the nature of the theoretical basis of the training under the Carracci can be expanded by an analysis of the paintings of Domenichino, who, as the heir to Annibale, might be expected to reveal something of his master's teaching. Domenichino is unusual by the manner in which his painting is grounded in colour harmonies which match those of sound, and in the fact that this modulation is supported by the theoretical principles which he later developed in the company of Matteo Zaccolini in Rome. This thesis will explore the theoretical basis of Domenichino's colour and his music, something which he learnt in the Carracci workshop and developed in the practice of the new manner of painting effected by the Carracci in Bologna. His interest in music was encouraged in Rome by his friendship with Giovanni Battista Agucchi. The commission for the paintings in Sant' Andrea della Valle gave Domenichino the opportunity to demonstrate the relationship between music and painting because the four pendentives of the crossing were designed as an extension of the apparati constructed for the Devotion of the Forty Hours. iii Contents Part One Acknowledgements: iv List of Plates, Illustrations and Folios: vi Introduction: 1 Chapter One: Domenichino’s Education and the Carracci Legacy. 17 Chapter Two: Classical Versus Baroque: Artistic Allies and Antagonists. 51 Chapter Three: Theory Bound in Practice Within the Carracci Accademia. 73 Chapter Four: The Sound of Colour. 99 Chapter Five: Domenichino, The Art of Music and Instrumentation in Painting. 129 Chapter Six: Modes of Imitation and Expression. 162 Chapter Seven: Domenichino’s Fresco Cycle in Sant' Andrea della Valle and the Position of the Four Pendentives in the Quarantore of 1625. 185 Conclusion: 215 Bibliography: 220 Glossary: 241 Part Two Catalogue of plates, illustrations and folios: 244 iv Acknowledgements I would like to extend my greatest thanks to both Rosemary Muir Wright and Professor Martin Kemp for their invaluable support, encouragement and guidance in writing this thesis over the last four years. In particular a special thanks must go to Professor Kemp for introducing me to the Zaccolini manuscripts in the Biblioteca Medica Laurenziana. To Mrs Muir Wright for her unwavering advice, direction, suggestions and inspiration. I am extremely grateful to Professor Charles Dempsey and Professor Elizabeth Cropper for their kindness in giving me the opportunity to study under them at Johns Hopkins University. To Professor Herbert Kessler and Dr. Walter Melion for all their help and advice. To Dr. Susan Weiss of the Peabody Conservatory of Music for her support and assistance in matters musical, in particular her comments on Chapter Four and Five. I would also like to thank Jane Roberts and Martin Clayton for allowing me access to the prints and drawing collection in the Royal Library at Windsor Castle. Thanks must also be extended to Mr Cohen of the Trafalgar Gallery in London who so kindly supplied me with some useful information on Annibale Carracci. To Dr. Tim Bond many thanks for his help with the analysis of the chemical reactions of certain pigments in a number of paintings and frescoes. Many thanks must go to Dr. Christine Linnell, Dr. Lisa Kahler, Paul Markwick, as Laurel Taylor and in particular' Charles and Verena Charvet for their time proof reading. A special thanks to Sarah Marshall and Lucia Bowen for all their help and advice with my French and Italian translations. In Italy, I would like to thank Father Andreu and the Theatine Brothers of Sant' Andrea della Valle for giving me access to their archives. Special thanks must also be extended to Professor Oskar Olschki at the Civico Museo Biblographico Musicale in Bologna for giving me access to a number of musical manuscripts. V On the financial front, I would like to thank the board of the Sir Richard Stapley Educational Trust for all their support over the last four years. To Mr and Mrs Richard Gapper for their generous scholarship which enabled me to spend time researching in France and Italy and in particular the Fulbright Commission for giving me the opportunity to go to America and study at Johns Hopkins University. In writing this acknowledgement it would be impossible to mention every one who assisted me in the research and writing of this thesis. To those not mentioned many thanks. Finally, to all of my family who have been constantly supporting my endeavours on the emotional and financial front. vi List of Plates, Illustrations and Folios Plates 1 Bartolomeo Passerotti. Saint Dominic and the Albigensians, ca. 1580, Pinacoteca Nazionale, Bologna, 280+168cm., oil on canvas. 2 Bartolomeo Passerotti, The Presentation of the Virgin at the Temple, 1583, Pinacoteca Nazionale, Bologna, 390+198cm., oil on canvas. 3 Correggio, The Assumption of the Virgin, 1526-30, Duomo, Parma, Fresco. 4 Girolamo Mazzola Bedoli, Girl Playing the Clavichord, ca. 1562, Galleria Nazionale, Parma, 160+73cm., oil on canvas. 5 Annibale Carracci (after Correggio), Male Figure, ca. 1580, British Museum, London (inventory number 1895-9-15-724), 20+24cm., black chalk on white paper. 6 Correggio, Madonna della Scodella, ca. 1515, Galleria Nazionale, Parma, 218+137cm., oil on canvas. 7 Annibale Carracci, The Crucifixion with Saints, 1583, Santa Maria della Carita, Bologna, 305+210cm., oil on canvas. 8 Attributed to Correggio, The Allegory of Virtue, ca. 1520, National Gallery of Scotland, Edinburgh, oil on panel. 9 Domenichino, The Assumption of the Virgin, ca. 1616-17, Santa Maria in Trastevere, Rome, 290+290cm., oil on canvas. 10 Agostino Carracci, The Assumption of the Virgin, ca. 1590s, Pinacoteca Nazionale, Bologna, 349+209cm., oil on canvas. 11 Annibale Carracci, The Assumption of the Virgin, 1600-1601, Santa Maria del Popolo, Rome, 245+155cm., oil on canvas. 12 Annibale Carracci (copy after Titian), The Martyrdom of St, Peter Martyr, ca. 1580-81, private collection, London, approximately 5.13+3.08m., oil on canvas. vii 13 Domenichino, The Martyrdom of St. Peter Martyr, ca. 1617-21, Pinacoteca Nazionale, Bologna, 346+238cm., oil on canvas. 14 Guercino, The Martyrdom of St. Peter Martyr, ca. 1647, Pinacoteca Nazionale, Bologna, oil on canvas. 15 Frederico Barocci, Madonna of the Cat, National Gallery, London, 112.7+92.7cm., oil on canvas. 16 Annibale Carracci, The Baptism of Christ, 1585, San Gregorio, Bologna, 383+225cm., oil on canvas. 17 Leonardo da Vinci, The Madonna of the Rocks, National Gallery, London, 195+123cm., oil on canvas. 18 Andrea del Sarto, The Assumption of the Virgin, 1526-29, Palazzo Pitti, Florence, 7' 9"+6' 9", oil on panel. 19 Tintoretto, The Visitation, ca. 1550, Pinacoteca Nazionale, Bologna, 250+146cm., oil on canvas. 20 Agostino Carracci, The Martyrdom of St. Giustina of Padua, 1580-82, British Museum, London (inventory no.