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Lecture 6: Catholic Restoration

Dr Sunnie Evers February 11, 2020

Tommaso Laureti, Triumph of the Cross, fresco 1585, Sala di Costantino, Vatican

commissioned under Gregory XIII, finished under Sixtus V reference to Constantine’s destruction of all pagan idols in Rome (fiction)

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from 1540 on, Church became more autocratic over the forms and content of religious expression

Council of Trent 1545-63 25 sessions

convened by Paul III, closed by Pius IV (neither attended) clarification of church doctrine and teaching including:

scripture, Biblical canon, original sin, justification, salvation, the sacraments, Mass and veneration of saints clarity > one-point perspective

Vasari, Gregory IX Excommunicating Frederick II in 1227 portrait of Gregory XIII

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After 1527, building came to a halt, except for St Peter’sonly one church of significant size - S. Spirito in Sassia 1537-45 - Antonio da Sangallo

flat-roofed, single aisle with side chapels1st example in Rome

confraternities - organizations of more personal devotion - were built

new emphasis on wider nave and acoustics

Giacomo Vignola, Sant’Anna dei Palafrenieri on November 20, 1565, Pius IV authorized Archconfraternity of the Pontifical Grooms

to build a church on Vatican landGiacomo Barozzi (V’s son) took over in 1573 - father’s death

1577-81 work stopped - economic issuesconsecrated 1583 - with no facade and temporary roof

1st example of eliptical plan8 columns, set in wall, support entablature

columns wider apart frame chapelsrhythm of alternating narrow and wide intercolumnations

> round court at Caprarola

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foundation stone laid June 26, 1568 1550 Nanni di Baccio Bigi submitted a design 1554 Michelangelo offered to design for free

financial difficulties > resolved when Alessandro Farnese stepped in, 1568

Cardinals Alessandro and Odoardo FarneseGiacomo Vignola, il Gesu, begun 1568

financed by Cardinal Alessandro Farnese, with stipulations: single vaulted nave with side chapels

broad tunnel-vaulted nave (60’ wide) elimination of side aisles

enter directly - no narthex visual and spatial unity

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tunnel-vaulted nave 4 chapels on each side

end walls of transept align w/ outer walls of chapels domed crossing

dome diameter = width of naveadditional bay + chapels btw crossing and altar

contrast between brightly lit nave and dim chapels

Palladio, San Giorgio Maggiore, begun 1566

Counter-Reformation requirements broad nave for congregations/preaching

unobstructed focus on high altar independent side chapels

vaulting for acoustics

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VIgnola died in 1573church complete up to height of main entablature

continuous entablature > crossing supported by paired pilasters

low round- arched openings lead into chapels - dark triumphal arch motif

Andrea SacchiPope Urban VIII visits il Gesu to celebrate

100th anniversary of Jesuit Order, 1640

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1571 Alessandro Farnese chose Giacomo della Porta’s design

Vignola’s facade designbalance between lower and upper registers

vertical axisstasis

calm and clear

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greater verticalityemphasis on lower story - sense of massiveness

layering - increased 3-d towards center

nested pediments huge IHS

Farnese coat of arms inscription

“Farnese owned three impossibly beautiful things: his palace, the church of il Gesu, and his daughter (Celia).”1575

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Confraternities played important role for foreigners to feel at home in Rome

San Giovanni Decollatonear piazza della Bocca della Verità

open only on 24 Junededicated to St John the Baptist

seat of the Arciconfraternita della Misericordia > financial and spiritual benefits (Michelangelo joined in 1514)

mission = to assist those sentenced to death accompanying them, climbing the scaffold, hiding their eyes

taking confessionpraying for them

burying them

1490 Innocent VIII approved the confraternity and granted them the land 1540 obtained privilege to set free one of the condemned each year on August 29

1490-1553 construction of church decorated 1580’s

oratory built in 1530’s decorated 1536-53

Michelangelo’s colossal ordernear the Bocca della Verita

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San Giovanni Decollato Giorgio Vasari, altarpiece, 1553 Cavalieri engraving after Vasari

wide single nave flat ceiling

colossal orderinfluence of S. Spirito in Sassia 1537-45

Oratory of San Giovanni Decollato, complete 1536 (to left of church) Florentine confraternity of the Misericordia, founded in 1488

construction complete 1536

interior fresco cycle begun by Florentine artists living in RomePerino del Vaga, Jacopino del Conte, Francesco del Salviati and Pirro Ligorio

private functions for membersmeetings-elections-masses-singing of psalms and lauds

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interior decoration begun 1536commissioned by Florentine confraternity of the Misericordia

life of John the BaptistFlorentine artists working in Rome

Perino del VagaJacopino del Conte

Cecchino del Salviati

Jacopino del Conte began cycle, determined layout

Jacopo and Francesco Zucchi Giovanni Balducci, called il Cosci

Giovanni Battista Naldini Monanno Monanni

altar wall: (left) Francesco Salviati, Sant’Andrea. (right) St Bartholomew, altarpiece: Jacopino del Conte, Deposition, c. 1550-53

ideal viewing point - near the entrance in center of room scenes farther from entrance < asymmetrical compositions illusionism to include viewer increases with later frescoes

time of spiritual crisisfrom 1540’s on - church increasingly autocratic

control over forms and content of religious expression encouraging personal devotion

emphasis on Christ’s redemptive grace through his incarnation and sacrifice

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Life of John the Baptist prefigures and parallels Life of Christ gift of Grace offered through Baptism

every scene includes reference to acqua vitae and/or wine/Eucharist

Entrance wallmission of the Church (to convert and baptize)

series of contrastspromise of new life (Annunciation) >< sacrifice and death (Beheading)

Christian love + charity (Visitation) >< lust and evil (Feast)beginning of new life (Birth) >< beginning of Passion (Capture)

wall of life/water fertility and regeneration

wall of sacrifice

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entrance wall: Jacopino del ConteJohn the Baptist Preaching, 1538 prefigures Sermon on the Mount Baptism of Christ, 1541

John the Baptist Preaching, 1538

Jacopino del Conte, Baptism of Christ, 1541

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right wall: Jacopino del Conte Annunciation to Zachariah, 1536

prefigures Annunciationwine cask

earliest fresco - little illusionism

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Salviati, Visitation, 1538space continuous with space of oratory

right wall: Salviati, Visitation, 1538, frescopatrons: Battista da Sangallo, builder of the oratory + Giovanni da Cepperello > figures in black

sacred dramaillusionistic opening in the wall

tipped over vase + chalice-like cup

Serlio, design for stage set Tragedy

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Salviati, Visitation, 1538, frescosynthesis of Raphael and Michelangelo, combined with Rosso and Parmigianino

message of love and joyjarring contests of color, agitated drapery patterns, deep receding space, complicated postures

visual excitement > religious ecstasy

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Federico Barocci, Visitation, 1584-86, Cappella Pozzomiglio, S. Maria in Vallicella counter-reformation claritypious and tender emotion

direct light, harmonious color, dignityarte senza tempo

right wall: Salviati, Birth of John the Baptist, 1551 change in style

influence of Michelangelo’s Last Judgementimpact of Counter-Reformation > clarity, sacramental symbols

more massive figures, more somber atmosphere

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Salviati, Birth of John the Baptist, 1551 ancestor bust >< crib - new order supplants the old

baptismVirgin gives Elizabeth 2 doves (symbolic of Christ)

Salviati, Birth of John the Baptist, 1551

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left wall: Battista Franco (Venetian) Arrest of John the Baptist, c. 1543

prefigures Arrest of Christ emphasis on viewer’s response

Sibyl-like figurea kind to Adam figure

left wall: Pirro LigorioFeast of Herod with Dance of Salome, 1544-45

prefigures Christ before Herod

Charitypatrons

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Pirro Ligorio, preliminary sketch, Dance of Salome theatrical scene

Raphaelesque, except for asymmetry inherited Raphael’s fascination with antiquity

Salviati, St Andrew, to the left of the altar, 1550 Salviati, St Bartholomew, to right of the altar, 1550

Altar wall > sacrifice that gives mission of Church authority and validity

martyrs superhuman

break into viewer’s space

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Jacopino del Conte, Deposition, c.1540’s

Michelangelo, Florentine Pieta (Deposition) 1547-55,

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Roviale Spagnolo?, Beheading of John the Baptist, 1553 St Andrew was a disciple of both John and Christ

parallels between life of John and Christ

Oratory of the Gonfalone founded in 1264-67 as a flagellant order

built new oratory 1544-1557 interior decorated 1568-76

patronage of Cardinals Alessandro Farnese and Otto Truchsess von Waldburg,Cardinal-Bishop of Augsburg

awarded the Rosa d’Oro by Clement VIIfrom 1550 (Julius III) allowed to free one condemned prisoner

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Pietro Roviale Spagnolo, Crucifixion, 1557 highly emotive, mournful

intense devotional experience

ashen body of dead Christ cramped, blackened hands

blood

swooning Virgin St John

Mary MagdaleneConfraternity members

portraitsin the presence of Christ

echoes the Maundy Thursday torchlight flagellant procession to Vatican

imitatio Christivisit to private papal Sacrament Chapel

these portraits added late 16c

carved and gilded ceiling, 1568 liturgical objects

coat of arms of both Cardinal Alessandro Farnese and Otto Truchsess von Waldburg, Cardinal-Bishop of Augsburg both had just laid the cornerstone for il Gesu

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Oratory as Temple of Jerusalem, fused with Christ’s Passion

interior 1568-76Passion of Christ - cycle of 12 frescoes

beginning at right of altar

Counter-Reformation emphasis on the necessity of Christ’s sacrifice for salvation

painted passion cycles > rare typically as ephemeral decoration for Easter

artist in charge: Jacopo Bertoja from Parma, arrived in Rome in 1568

team: Livio Agresti, Raffaellino da Reggio, Federico Zuccaro, Cesare Nebbia, Marcantonio dal Forno + Marco Pino

illusionistically framed pictures between spiral columns above: prophets and sibyls

Solomonic columns transform oratory into new Jerusalem

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attic zone - prophets and sibyls hold their scrollssimulated stone niches filled with gilded allegorical and OT figures crown Solomonic columns

HAEC OPORTUIT PATI CHRISTUM ET ITA INTRARE

IN GLORIA SUAM

“Christ had to suffer these things and so enter into

his glory”

Passion meditation encouraged by reformersGonfalone cycle - like the Spiritual Exercises (1548) of Ignatius of Loyola

active and sensual identification with Christ’s suffering

celebratory environment of eucharistic fervor emphasis on Passion relics that distinguished Rome

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Cesare Renzi, Virgin received by Trinity

with members1575

entrance wallFlagellation of Christ — Mocking of Christ

King Solomon above

“Virgin Mary who by her infinite mercy defends us under her Most Holy Mantle”

place of honor over entrance shelters the membres and flagellants

intercessorMater Omnium

like a grand processional banner

Cesare Renzi, Virgin Received by Trinity with members

1575

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Jacopo Bertoja, Entry into Jerusalem, 1568, fresco, Oratory of the Gonfalonebegins the narrative - movement from left to right

gestures point to Christ, who blessesHoly Sepulchre in background

Prophet Zachariah and Eritrean Sibyl above

Tenple of Solomon

pairs across to emphasize sacramental meanings Resurrection >< Entry

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Flagellation and Crowning with Thorns >prominence relate to confratelli practice of self-mortification

Solomon flanked by Amor Proximi and Amor Dei (charitable good works + love of God)

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Livio Agresti, Last Supper, 1572-75 unidentified prophet and Samian

Christ reaches out to touch the sacrificial lamb washes feet in background

portrait of Cardinal Bishop Otto Truchsess von Waldburg

within Temple Rome =

new Jerusalem

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Marcantonio del Forno, Arrest of Christ,1574-81nocturne

moonlit Jerusalem in the background brutality of the scene

Raffaellino del Reggio, Christ before Pilate, 1574-75 crescendo of emotion

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Agony in the Garden >< Crucifixion first and final moments of Christ’s

physical suffering

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Livio Agresti, Ascent to Calvary

Veronica anchors the sceneholds the cloth, before wiping Christ’s face

emphasis on efficacy of relics (challenged by Protestants)

Federico Zuccaro, Flagellation, 1573, frescofor the first time Christ is shown tied to a short column modeled

on the supposed authentic relic in San Prassede, broughtto Rome from Jerusalem in 1223 during fifth Crusade

triumphal archcurtains drawn back > tabernacle

sacred body of Christ

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Federico Zuccaro, Flagellation, 1573, frescoGirolamo Mattei > guardiano in 1573

his coat of arms in foreground

new “correct” depiction of the Flagellation (short column) Gonfalone associated itself with Roman Catholic Reform

heightened eucharistic and penitential devotion

1572 rules of the Gonfalone:“The Sacrament of Penance and that of Holy Communion are the

two columns which support and conserve firmly and stably thespiritual edifice of the confraternity…They [the members of the confraternity]

will use whips…in the memory of the whips with which our Lord himself, when tied to the column, was beaten for our sins; they will use them

not only for their own sins, but also for those of humankind.”

Counter-Reformation art = dramatic, lucid, theatrical strictly based on the Bible

tied to Penance and the Eucharist

promotes an active and sensual identification with Christ

Christ flagellated AND displayed as the Host

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decoration of the oratory completed in 1584 reformed and finalized statues - printed in 1584

Santa Trinita dei Monti1798 French troops occupied the monastery and used it as barracks

1800 roof collapsed

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Massimi Chapel, Santa Trinita dei Monti, 1538-9Angelo Massimi commissioned Perino del Vaga to complete the decoration which had been interrupted by the Sack

this commission brought him to the attention of Cardinal Alessandro Farnesewho took him into papal service for the rest of his career

Raising of Lazarus was detached and mounted on canvasowned by Napoleon’s brother, Lucien > acquired 1804-10 while living in Rome

1814 Napoleon fell from power - Lucien captured and taken to London with finest possessions auctioned off 1816

Vasari described in detail:6 scenes from the Life of Christ

side walls: narratives framed by elaborate stucco moldings The Pool of Bethesda

The Raising of Lazarusflanked by smaller scenes: Centurian, Transfiguration, Expulsion of Moneychangers

4 Prophets on interior side of entrance pilasters

Perino del Vaga, Raising of Lazarus,

Massimi Chapel, 1538-9, V&A planar relief style

Raising of Lazarus was detached and mounted on canvasowned by Napoleon’s brother, Lucien > acquired 1804-10 while living in Rome

1814 Napoleon fell from power - Lucien captured and taken to London with finest possessions auctioned off 1816

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newly founded or newly reformed religious orders and congregations embraced poverty

chiese povere aristocratic women as patrons

Vittoria Colonna, Giovanna d’Aragona, Caterina Cibofree from certain patterns of behavior expected off men

supported radical religious groups > Capuchins inspired by St Francis > renounced all material wealth

return to early Christian ideals

Orsini Chapel, Santa Trinità dei Monti Orsini burial chapel

originally owned by Aldobrandino Orsini, Archbishop of Nicosia - died 1527 (6 illegitimate children - 5 sons, 1 daughter = Elena)

his father, Nicola, Count of Nola and Pitigliano, disowned him and tried to prevent children from using Orsini name Elena became Baroness Orsini of Filacciano

her brother Arrigo, Count of Nola, died in 1533 (lost Nola to the Spanish in 1530)

Aldobrandino commissioned Daniele da Volterra to decorate chapel altarpiece - Pieta with Sts Francis and Jerome

side walls: lives of Jerome and Francis of Paola vault: life of St Helena

1545 Elena took over chapel - changed program rededicated chapel to: “della Croce di Cristo Nostro Salvatore”

altarpiece: Descent from the Cross walls:

Life of St Helena and Legend of True Cross Right: Discovery of Cross, Reviving Dead Man

Left: Curing the Sick, Heraclius carrying Cross to Jerusalem Gate Entrance: St Jerome and St Francis of Paola

vault: 4 episodes from Legend of the True Cross (construction of 3 crosses, Helena commanding Jews to show her hiding plan, consigning Jew to a well, Jew relenting and revealing where crosses where buried)

supported the new Confraternita della Santa Trinita dei Pellegrini e Convalescenti religious group inspired by St Philip Neri and his followers at San Girolamo della Carita

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copies after vault stucco decoration and frame around deposition

Daniele da Volterra, Raising of a Dead Man, Hamburger Kunsthalle right wall

violent action wild gestures

contorted movements clashing angles and diagonals

explosive dramatic tension

influence of Michelangelowrithing man > damned man in arms of a skeleton in LJ

man supporting cross >M’s Dismas, the goo thief seated man on left > prophets and ignutdi

Martyrdom of St Peter diagonal

spirit of reform; desire to move the viewerinfluence of Philip Neri - early Christian revival at heart of new spirituality

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muscular like Michelangelo’s Sibyls

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desire to stir spectator to a deeper responseinfluence of Council of Trent and establishment of the Company of Jesus

mission was to communicate and inspire a religious experienceCatholic reform

clarity and strength of communication

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Daniele da Volterra, Deposition, c. 1545detached fresco

nearly life-size figurestwist and thrust in and out of space il Sodoma, Deposition, c. 1512, Siena

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Rosso Fiorentino, Deposition, 1521, Volterra

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Daniele da Volterra, Della Rovere Chapel, 1548ff Santa Trinita dei Monti

tomb chapel for Lucrezia della Rovere d. 1552 (niece of Julius II)

opposite Orsini Chapel Marian program - patron specific

powerful sense of presence Peter leans on altar table

frescoed columns appear to support physical and fictive structures

painted balustrades

spatial boundaries blurred

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Sebastiano del Piombo, Pieta, Viterbo, 1516 based on Michelangelo drawing

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portrait of Michelangelo points to his own influence

shared authorship with Daniele

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Daniele da Volterra, Presentation of the Virgin Della Rovere Chapel, right wall

Santa Trinita dei Monti

multi-faceted references

nudity of Last Judgment justified > poverty of beggars Diogenes in Raphael’s School of Athens

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Daniele da Volterra, Massacre of the Innocents, 1557 originally for San Pietro in Volterra

Michele Alberti, after Daniele’s cartoon, Della Rovere Chapel >>

Tintoretto study after Michelangelo’s lost Samson Fighting the Philistines,

Anon Florentine, after Michelangelo’s lost Samson Fighting the Philistines, Bargello

Paragone

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Daniele da Volterra, David decapitating Goliath, c, 1550, double sided slateGiovanni della Casa, archbishop of Benevento and former inquisitor - working on paragone treatise

commissioned Daniele create 2 illustrative works:clay figure of David and Goliath (lost)

painting (above)

multiple viewpoints - forces viewer to walk around it to see both appropriates sculptor’s material

influence of Michelangelo

Pontormo Portrait of Giovanni della Casa, c. 1541-44, NGA

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Daniele da Volterra, David and Goliath painted on both sides, from different angles

on slateparagone

assimilation of Michelangelo’s style

Vasari and Bartolomeo Ammanati,Del Monte Chapel, San Pietro in Montorio

commissioned by Julius III

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Bartolomeo Ammanati Justice

tomb of Antonio del MonteReligion

tomb of Fabiano del Monte

Giorgio Vasari, Paul before AnaniasAnanias of Damascus was a disciple of Jesus. Jesus spoke to him in a vision and told him to restore the sight of Saul and give him instruction in the way of

the Lord. Acts 9:11-18