Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2015 Michelangelo and Pope Paul III, 1534-49: Patronage, Collaboration and Construction of Identity in Renaissance Rome Erin Christine Sutherland Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Classical Archaeology and Art History Commons Recommended Citation Sutherland, Erin Christine, "Michelangelo and Pope Paul III, 1534-49: Patronage, Collaboration and Construction of Identity in Renaissance Rome" (2015). Arts & Sciences Electronic Theses and Dissertations. 451. https://openscholarship.wustl.edu/art_sci_etds/451 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Art History & Archaeology Dissertation Examination Committee: William E. Wallace, chair Marisa Bass Daniel Bornstein Nathaniel Jones Angela Miller Michelangelo and Pope Paul III, 1534-49: Patronage, Collaboration and Construction of Identity in Renaissance Rome by Erin Sutherland A dissertation presented to the Graduate School of Arts & Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2015 St. Louis, Missouri ©2015, Erin Sutherland Table of Contents List of Figures ......................................................................................................................... iv List of Abbreviations .............................................................................................................. ix Acknowledgments .................................................................................................................... x Abstract ..................................................................................................................................... xii Introduction ............................................................................................................................. 1 Chapter 1. Frameworks and Foundations ................................................................................. 13 1.1 Patronage: Finances and Favors ....................................................................................... 13 1.2 Strategic spending: Patrons as Heroes and Authors ......................................................... 17 1.3 Michelangelo and Patronage ............................................................................................ 21 1.4 Michelangelo’s Objectives ............................................................................................... 34 1.5 The Church and Rome prior to 1534 ................................................................................ 34 1.5 Ruins and Relics of the Vatican and Rome ...................................................................... 37 1.6 Pauline Objectives ............................................................................................................ 39 Chapter 2: The Last Judgment .................................................................................................. 41 2.1 Pope Paul III as Patron ..................................................................................................... 42 2.2 Artistic Innovations .......................................................................................................... 56 2.3 The Last Judgment and Papal Objectives ......................................................................... 65 2.3.1 Christ’s Celestial and Earthly Kingdoms ...................................................................... 65 2.3.2 The Vatican: Sacred Capital of Christendom ................................................................ 72 2.3.3 The Respublica Christiana ............................................................................................ 102 2.3.4 Reconstructing the Identity of the Church and Defending the Faith ............................ 107 2.4 Conclusion ........................................................................................................................ 115 Chapter 3: The Pauline Chapel frescoes:.................................................................................. 117 3.1 Creating a locus sanctus in the Apostolic Palace ............................................................. 117 3.1.1 Connections Between the Last Judgment and the Pauline frescoes .............................. 120 3.1.2 Behind Closed Doors: The Parva and Pauline Chapels................................................. 122 ii 3.1.3 A Visit to the Pauline Chapel ........................................................................................ 132 3.1.4 Michelangelo’s Frescoed Narratives ............................................................................. 137 3.2 The Commission:.............................................................................................................. 140 3.2.1 Vasari and Mistakes or Changes .................................................................................. 141 3.2.2 Which Fresco was Painted First? .................................................................................. 143 3.2.3 The Pairing of Scenes .................................................................................................... 144 3.2.4 Raphael’s Tapestries ...................................................................................................... 146 3.3 Apostolic Predecessors ..................................................................................................... 151 3.4 Paul’s Ceremonial Complex ............................................................................................. 159 3.5 Michelangelo’s Final Frescoes ......................................................................................... 163 3.6 Rituals and Representations ............................................................................................. 170 3.7 Conclusion ........................................................................................................................ 183 Chapter 4: Kid Gloves and Carrots: The Artist’s Benefits ....................................................... 185 4.1 A Papal Brief, 1 September 1535 ..................................................................................... 186 4.1.1 Unprecedented Honors .................................................................................................. 186 4.1.2 Salary and Benefits ........................................................................................................ 189 4.1.3 The Artist as Papal Familiar ......................................................................................... 196 4.1.4 Expectations .................................................................................................................. 199 4.2 Comparison of Michelangelo to Court Artists ................................................................. 200 4.2.1 Contracts and Gentlemen’s Agreements ....................................................................... 204 4.2.2 Money Matters............................................................................................................... 206 4.3 Social Standing of Michelangelo and the Buonarroti....................................................... 207 4.4 Summoned, Slighted and Enticed: Michelangelo and the Popes ..................................... 213 4.5 Social Networks................................................................................................................ 216 4.6 Fellowship of the Aged .................................................................................................... 217 4.6.1 Friendship and Noble Delicacies ................................................................................... 218 4.7 “For the love of God” ....................................................................................................... 224 4.8 Michelangelo Distinguishes Himself From the Setta Sangallesca ................................... 228 4.9 Artistic legacy ................................................................................................................... 233 Conclusion ................................................................................................................................ 241 iii Bibliography ............................................................................................................................. 245 Figures ...................................................................................................................................... 261 Curriculum Vitae ...................................................................................................................... 316 iv List of Figures (measurements are given as height x width) Figure 1: Last Judgment, Sistine Chapel, Vatican, fresco, 14 m. x 13.18 m. Figure 2: Conversion of Saul, Pauline Chapel, Vatican, fresco, 6.25 m. x 6.61 m. Figure 3: Crucifixion of Peter, Pauline Chapel, Vatican, fresco, 6.25 m. x 6.62 m. Figure 4: Partial plan of Apostolic Palace, after