01.Burke.00i-xvi.FINALqu 4/1/04 9:48 AM Page i Changing patrons 01.Burke.00i-xvi.FINALqu 4/1/04 9:48 AM Page ii 01.Burke.00i-xvi.FINALqu 4/1/04 9:48 AM Page iii Changing patrons Social Identity and the Visual Arts in Renaissance Florence jill burke the pennsylvania state university press • university park, pennsylvania 01.Burke.00i-xvi.FINALqu 4/1/04 9:48 AM Page iv Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Library of Congress Cataloging-in-Publication Data Burke, Jill, 1971– Changing patrons : social identity and the visual arts in Renaissance Florence/Jill Burke. p. cm. ISBN 0-271-02362-7 (alk. paper) 1. Art patronage—Italy—Florence. 2. Artists and patrons—Italy—Florence. 3. Art, Italian—Italy—Florence. 4. Art, Renaissance—Italy—Florence. I. Title. N5273.B87 2004 707'.9'4551—dc22 2003022850 Copyright © 2004the pennsylvania state university All rights reserved Printed in the United States of America Published by The Pennsylvania State University Press University Park, PA 16802-1003 The Pennsylvania State University Press is a member of the Association of American University Presses. It is the policy of The Pennsylvania State University Press to use acid-free paper. Publications on uncoated stock satisfy the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Material, ANSI Z39.48–1992. 01.Burke.00i-xvi.FINALqu 4/1/04 9:48 AM Page v contents list of illustrations vii acknowledgments xii a note on transcriptions and translations xiv abbreviations xv introduction 1 part i: Families, Neighbors, and Friends chapter 1 Family Self-Fashioning 17 chapter 2 Private Wealth and Public Benefit: The Nasi and Del Pugliese Palaces 35 chapter 3 Family, Church, Community: The Appearance of Power in Santo Spirito 63 chapter 4 Patronage and the Art of Friendship: Piero del Pugliese’s Patronage of Filippino Lippi 85 part ii: The Individual, the Family, and the Church chapter 5 Patronage Rights and Wrongs: Building Identity at Santa Maria a Lecceto 101 chapter 6 Framing Patronage: Beauty and Order in the Church of the Innocenti 119 chapter 7 Differing Visions: Image and Audience in the Florentine Church 139 part iii: Identity and Change chapter 8 Painted Prayers: Savonarola and the Audience of Images 155 conclusions and questions 189 01.Burke.00i-xvi.FINALqu 4/1/04 9:48 AM Page vi vi contents appendix Nasi Family Tree 195 Del Pugliese Family Tree 196 Unpublished Documents 197 Poems Written About the Portrait of Piero del Pugliese by Filippino Lippi 222 notes 225 bibliography 255 index 275 01.Burke.00i-xvi.FINALqu 4/1/04 9:48 AM Page vii list of illustrations Figure 1. Anonymous Florentine, Portrait Medal of Bernardo Nasi, Florence, Bargello Museum, inv. 6686, recto and verso. (photo: Soprintendenza per i beni artistici e storici, Florence) Figure 2. Anonymous Florentine, Portrait Medal of Bernardo Nasi, formerly Henry Oppenheimer Collection, recto. (photo: author) Figure 3. Anonymous Florentine, Portrait Medal of Bernardo Nasi, formerly Henry Oppenheimer Collection, verso. (photo: author) Figure 4. Antonio Rossellino, attributed, Portrait Bust of Piero del Pugliese, formerly Berlin, Kaiser Fredrichs Museum. (photo: Conway Library, Courtauld Institute of Art, London) Figure 5. Former palace of Piero di Lutozzo Nasi, Via San Niccolò, Florence. (photo: author) Figure 6. Upper stories of facade of former palace of Piero di Lutozzo Nasi, Via San Niccolò, Florence. (photo: author) Figure 7. Detail of sgraffito decoration on the facade of former palace of Piero di Lutozzo Nasi, Via San Niccolò, Florence. (photo: author) Figure 8. Detail of sgraffito decoration in the courtyard of the Medici-Riccardi Palace, Florence. (photo: author) Figure 9. Detail of sgraffito decoration on the facade of the palace of the Arte della Seta, Florence. (photo: author) Figure 10. Former palace of Francesco di Lutozzo Nasi, now called Palazzo Mozzi, Piazza de’ Mozzi, Florence. (photo: Kunsthistorisches Institut, Florence) Figure 11. Site of former palace of Bernardo, Bartolommeo, and Filippo di Lutozzo Nasi, now Palazzo Torrigiani, Piazza de’ Mozzi, Florence. (photo: author) Figure 12. View of Piazza de’ Mozzi from the north bank of the Arno. (photo: author) Figure 13. Former palace of Piero and Francesco del Pugliese, Via de’ Serragli, Florence. (photo: Kunsthistorisches Institut, Florence) Figure 14. Detail of Del Pugliese arms on facade of former palace. (photo: author) 01.Burke.00i-xvi.FINALqu 4/1/04 9:48 AM Page viii viii list of illustrations Figure 15. Workshop of Domenico Ghirlandaio, Taking of an Inventory, Oratory of San Martino dei Buonuomini, Florence. (photo: Soprintendenza per i beni artistici e storici, Florence) Figure 16. Domenico Ghirlandaio, Birth of Saint John the Baptist, Tornabuoni Chapel, Santa Maria Novella, Florence. (photo: Soprintendenza per i beni artistici e storici, Florence) Figure 17. Plan of church of Santo Spirito, Florence. (adapted from Capretti, The Building Complex of Santo Spirito) Figure 18. Exterior of east wall of Santo Spirito, Florence, showing windows and coats of arms. (photo: author) Figure 19. Chapels in the left transept of Santo Spirito, Florence. (photo: Kunsthistorisches Institut, Florence) Figure 20. Raffaellino del Garbo, The Pietà with Saints John the Baptist, John the Evangelist, Mary Magdalen, and James, Munich, Alte Pinakothek. (photo: Bayerische Staatsgemäldesammlungen, Alte Pinakothek, Munich) Figure 21. Piero di Cosimo, The Visitation with Saints Nicholas and Anthony Abbot, Washington, D.C., National Gallery of Art, Samuel H. Kress Collection. (photograph © Board of Trustees, National Gallery of Art, Washington, D.C.) Figure 22. Raphael, Madonna del Baldacchino, Florence, Palazzo Pitti. (photo: Soprintendenza per i beni artistici e storici, Florence) Figure 23. Filippino Lippi, Double Portrait of Piero del Pugliese and Filippino Lippi, Denver Art Museum, The Simon Guggenheim Memorial Collection. (photo: Denver Art Museum 2003) Figure 24. Domenico Ghirlandaio, Portrait of Giovanna degli Albizzi, Madrid, Thyssen-Bornemisza Collection. (photo: Alinari/Art Resource, N.Y.) Figure 25. Domenico Ghirlandaio, Old Man and Boy, Paris, Musée du Louvre. (photo: H. Lewandowski © Réunion des Musées Nationaux/Art Resource, N.Y.) Figure 26. Domenico Ghirlandaio, Francesco Sassetti and His Son Teodoro, New York, The Metropolitan Museum of Art, The Jules Bache Collection. (all rights reserved, The Metropolitan Museum of Art) Figure 27. Church of SS. Filippo e Giacomo (formerly Santa Maria) a Lecceto, Lastra a Signa. (photo: Kunsthistorisches Institut, Florence) Figure 28. Cappella maggiore of church of SS. Filippo e Giacomo (formerly Santa Maria) a Lecceto, Lastra a Signa. (photo: Kunsthistorisches Institut, Florence) 01.Burke.00i-xvi.FINALqu 4/1/04 9:48 AM Page ix list of illustrations ix Figure 29. Workshop of Domenico Ghirlandaio, Annunciation to the Shepherds, Rotterdam, Museum Boijmans-Van Beuningen. (photo: Museum Boijmans Van Beuningen, Rotterdam) Figure 30. Piero di Cosimo, Virgin and Child with Saints Nicholas, John the Baptist, Peter, and Dominic, Saint Louis Art Museum. (photo: The Saint Louis Art Museum) Figure 31. Filippino Lippi, The Apparition of the Virgin to Saint Bernard (fig. 40), Florence, Badia, detail of donor. (photo: Soprintendenza per i beni artistici e storici, Florence) Figure 32. Interior of church of Ospedale degli Innocenti, Florence. (photo: Kunsthistorisches Institut, Florence) Figure 33. Domenico Ghirlandaio, Adoration of the Magi, Florence, Museo del Ospedale degli Innocenti. (photo: Soprintendenza per i beni artistici e storici, Florence) Figure 34. Neri di Bicci, Coronation of the Virgin, Florence, Museo del Ospedale degli Innocenti. (photo: Soprintendenza per i beni artistici e storici, Florence) Figure 35. Piero di Cosimo, Virgin and Child with Saints Peter, Elizabeth of Hungary, Catherine of Alexandria, and John the Evangelist, Florence, Museo del Ospedale degli Innocenti. (photo: Soprintendenza per i beni artistici e storici, Florence) Figure 36. Andrea della Robbia, Annunciation, Florence, Ospedale degli Innocenti. (photo: Soprintendenza per i beni artistici e storici, Florence) Figure 37. Bartolommeo di Giovanni, predella for Innocenti Adoration of the Magi, Florence, Museo del Ospedale degli Innocenti. (photo: Soprintendenza per i beni artistici e storici, Florence) Figure 38. Bartolommeo di Giovanni, Saint Antoninus Consecrating the Innocenti Church, Florence, Museo del Ospedale degli Innocenti. (photo: Soprintendenza per i beni artistici e storici, Florence) Figure 39. Filippino Lippi, The Apparition of the Virgin to Saint Bernard, Florence, Badia. (photo: Soprintendenza per i beni artistici e storici, Florence) Figure 40. Piero Perugino, The Apparition of the Virgin to Saint Bernard, Munich, Alte Pinakothek. (photo: Bayerische Staatsgemäldesammlungen, Alte Pinakothek, Munich) Figure 41. Master of the Rinuccini Chapel, The Apparition of the Virgin to Saint Bernard, Florence, Accademia. (photo: Soprintendenza per i beni artistici e storici, Florence) Figure 42. Filippino Lippi, The Apparition of the Virgin to Saint Bernard, Florence, Badia, detail of books. (photo: Biblioteca Nazionale Centrale, Florence) 01.Burke.00i-xvi.FINALqu 4/1/04 9:48 AM Page x x list of illustrations Figure 43. Unknown Florentine, Vita Sancti Bernardi, BNF,Conventi Soppressi B.1.2578,fol.7r. (photo: Soprintendenza per i beni artistici e storici, Florence) Figure 44. Pietro