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Portrait Cultures of the Early Modern Cardinal

Portrait Cultures of the Early Modern Cardinal

The visual legacy of early modern cardinals constitutes a vast and extremely rich body of artworks, many of superb quality, in a variety of media, often by well-known artists and skilled craftsmen. Yet cardinal portraits have primarily been analysed within biographical studies of the represented individual, in relation to the artists who created them, or within the broader genre of portraiture. No more profound investigation of these as a specific category of object has ever been attempted. This volume addresses questions surrounding the production, collection, and status of the cardinal portrait, covering diverse geographies and varied media. Examining the development of cardinals’ imagery in terms of their multi-layered identities, this volume considers portraits of 'princes of the Church' as a specific cultural phenomenon reflecting cardinals’ unique social and political position.
  • Cover
  • Table of Contents
  • Abbreviations
  • Acknowledgements
  • Introduction
  • Cardinals and their Images
    • 1. Portraying the Princes of the Church
      • Piers Baker-Bates and Irene Brooke
    • 2. The Early Modern Cardinal
      • An Historical Appraisal
        • Miles Pattenden
  • Part I. Individuality and Identity
    • Florence and Rome
    • 3. Visual and Verbal Portraits of Cardinals in Fifteenth-Century Florence
      • Brian Jeffrey Maxson
    • 4. Dead Ringers
      • Carol M. Richardson
  • Part II. Divided Loyalties
    • Venice and Rome
    • 5. The Role of Cardinals’ Portraits in Venice
      • Sarah Ferrari
    • 6. Role Playing
      • Alessandra Pattanaro
  • Part III. Collecting and Display
    • Portraits and Worldly Goods
    • 7. Renaissance Cardinals and Pontifical Mules
      • Philippa Jackson
    • 8. Portraits as Symbols
      • Thomas-Leo True
    • 9. Portraits as a Sign of Possession
      • Arnold Witte
  • Part IV. Post-Tridentine Piety
    • The Devout Cardinal
    • 10. Group Portraits of Cardinal Bembo and his Friends in the Wake of Trent
      • Irene Brooke
    • 11. Two Cardinal Portraits by Scipione Pulzone in the Harvard Art Museums and their Related Versions
      • Danielle Carrabino
    • 12. Miracle-Working Portraits of a Cardinal Saint
      • Minou Schraven
  • Conclusion
    • Cardinal Portraits beyond Italy
    • 13. Portraying the Ideal Spanish Tridentine Prelate
      • Piers Baker-Bates
  • Index
  • Illustrations
    • Colour plates
      • Plate 1 Bastiano di Niccolò, Matteo and Bartolomeo Torelli, historiated initial and border with AngeloAcciaiuoli’s portrait from the cardinal’s missal, 1402-1405, MS. 30, Cambridge, The Fitzwilliam Museum(© The Fitzwilliam Museum, Cambridge).
      • Plate 2 Titian, Cardinal Pietro Bembo, c. 1540, oil on canvas, Washington, DC, The National Gallery of Art (©National Gallery of Art, Washington).
      • Plate 3 Unknown artist (Palma il Giovane?), Double Portrait of Cardinals Domenico and Marino Grimani, latesixteenth century, oil on canvas, Venice, Gallerie dell’Accademia (© Gallerie dell’Accademia di Venezia).Plate 4
      • Plate 3 Unknown artist (Palma il Giovane?), Double Portrait of Cardinals Domenico and Marino Grimani, latesixteenth century, oil on canvas, Venice, Gallerie dell’Accademia (© Gallerie dell’Accademia di Venezia).
      • Plate 4 Raphael, Meeting of Leo I with Attila, 1514, fresco, Vatican City, Musei Vaticani (© Scala).
      • Plate 5 Leandro Bassano, Honorius III Approving the Rule of St. Dominic in 1216, 1607-1608, oil on canvas,Venice, Santi Giovanni e Paolo, Sacristy (© Venice, Fondazione Giorgio Cini—Matteo de Fina).Plate 6
      • Plate 5 Leandro Bassano, Honorius III Approving the Rule of St. Dominic in 1216, 1607-1608, oil on canvas,Venice, Santi Giovanni e Paolo, Sacristy (© Venice, Fondazione Giorgio Cini—Matteo de Fina).
      • Plate 6 Detail of Leandro Bassano, Honorius III Approving the Rule of St. Dominic in 1216, 1607-1608, (© Venice,Fondazione Giorgio Cini—Matteo de Fina).
      • Plate 7 Cristoforo Roncalli (Pomarancio), Cardinal Antonio Maria Gallo, 1616, Loreto, Palazzo Apostolico(© Fondazione Cassa di Risparmio di Loreto)
      • Plate 8 Unknown artist, Portrait of Cardinal Francesco Barberini Senior as Cardinal Protector, seventeenthcentury, oil on canvas, Minerva Auctions, May 2017 (© courtesy of Minerva Auctions—Gruppo Finarte).
      • Plate 9 Taddeo Zuccaro and workshop, Investiture of Orazio Farnese as Prefect of Rome by Paul III, 1562-1563,fresco, Caprarola, Palazzo Farnese (© akg-images; by permission of the Ministero per i Beni e le AttivitàCulturali e per il Turismo – Palazzo Farnese Caprarola).
      • Plate 10 Scipione Pulzone, Michele Bonelli, called ‘Cardinal Alessandrino’, 1586, oil on canvas, Cambridge, MA,Harvard Art Museums/Fogg Museum (© President and Fellows of Harvard College).
      • Plate 11 The Healing of Paola Giustina Casati, 1610, oil on canvas, Milan, Duomo (© Veneranda Fabbrica delDuomo di Milano).
      • Plate 12 El Greco, Cardinal Fernando Niño de Guevara, c. 1600, oil on canvas, New York, Metropolitan Museumof Art (© The Metropolitan Museum of Art, New York, H. O. Havemeyer Collection, bequest of Mrs H. O.Havemeyer).
    • Figures
      • Fig. 1.1 Sebastiano del Piombo, Cardinal Bandinello Sauli, His Secretary, and Two Geographers, 1516, oil on canvas, Washington, DC, National Gallery of Art (© National Gallery of Art, Washington).
      • Fig. 1.2 Leonardo Parasole, Effigies cum insignibus nominibus, cognominibus, patria, titulis et nuncupationes reverendissimorum […] Cardinalium nunc viventium, 1593, hand-coloured woodcut, London, The British Museum (© The Trustees of the British Museum).
      • Fig. 1.3 Francesco Francia, Cardinal Francesco degli Alidosi, 1505-1511, bronze, New York, Metropolitan Museum (© The Metropolitan Museum of Art, New York, Robert Lehmann Collection, 1975).
      • Fig. 1.4 Gian Lorenzo Bernini, Cardinal Scipione Borghese, 1632, marble, Rome, Galleria Borghese (© Galleria Borghese).
      • Fig. 1.5 Unknown artist, Cardinal Reginald Pole, 1540s, oil on canvas, St Petersburg, The State Hermitage Museum (© The State Hermitage Museum, photo by Leonard Kheifets).
      • Fig. 3.1 Bicci di Lorenzo, Confirmation of Santa Maria Nuova, c. 1424-1425 or 1440, detached fresco, Florence, Ospedale di Santa Maria Nuova (© Erich Lessing/Art Resource, NY).
      • Fig. 3.2 Francesco di Antonio del Chierico, Arrival of Pope Eugenius IV at Santa Maria del Fiore for its Consecration Ceremony, c. 1470, illumination, Florence, Biblioteca Medicea Laurenziana, MS Plut. fol. 1.56, c.7v (© Firenze, Biblioteca Medicea Lauren
      • Fig. 4.1 View of fifteenth-century cardinals’ effigies in the Grotte Vaticane including, first left, Berardo Eruli, second left, Pietro Fonseca, third right, Ardicino della Porta Junior, first right, Ardicino della Porta Senior (© Carol M. Richardson).
      • Fig. 4.2 Ardicino della Porta Senior, effigy, Grotte Vaticane (© Carol M. Richardson).
      • Fig. 4.3 Ardicino della Porta Junior, effigy, Grotte Vaticane (© Carol M. Richardson).
      • Fig. 4.4 Ardicino della Porta Junior, detail of upper part of effigy, Grotte Vaticane (© Carol M. Richardson).
      • Fig. 4.5 Funerary monument to Cardinal Alain Coetivy, detail, Rome, Santa Prassede (© Conway Library, Courtauld Institute).
      • Fig. 5.1 Titian and workshop (?), Girolamo and Cardinal Marco Corner Investing Marco, Abbot of Carrara, with his Benefice, c. 1525, oil on canvas, Washington, DC, National Gallery of Art (© National Gallery of Art, Washington).
      • Fig. 5.2 Unknown artist (after Lorenzo Lotto?), Portrait of Cardinal Domenico Grimani, 1520s-1540s, oil on canvas, London, Schorr Collection (© Schorr Collection).
      • Fig. 5.3 Jacopo Tintoretto, Portrait of Giovanni Grimani, Patriarch of Aquileia, 1560s, oil on canvas, London, Schorr Collection (© Schorr Collection).
      • Fig. 5.4 Unknown artist (Baldassarre d’Anna?), Portrait of Cardinal Domenico Grimani, c. 1627, pen and ink drawing with wash, MS Morosini Grimani 270, fol. 19, Venice, Biblioteca del Museo Correr (© Biblioteca del Museo Correr).
      • Fig. 5.5 Unknown artist (Baldassarre d’Anna?), Recovery of the Christian Standard by Nicolò Grimani, c. 1627, pen and ink drawing with wash, Venice, Biblioteca del Museo Correr, MS Morosini Grimani 270, fol. 19 (© Biblioteca del Museo Correr).
      • Fig. 5.6 Unknown artist (Baldassarre d’Anna?), Pope Urban II adding the Red Cross to the Grimani Coat of Arms, c. 1627, pen and ink drawing with wash, Venice, Biblioteca del Museo Correr, Ms. Morosini Grimani 270, fol. 44 (© Biblioteca del Museo Correr).
      • Fig. 5.7 Baldassarre d’Anna (attributed), Recovery of the Christian Standard by Nicolò Grimani, 1620s-1630s, oil on canvas, Padua, Convento della Basilica di Sant’Antonio (© Centro Studi Antoniani).
      • Fig. 5.8 Baldassarre d’Anna (attributed), Pope Urban II adding the Red Cross to the Grimani Coat of Arms, 1620s-1630s, oil on canvas, Padua, Convento della Basilica di Sant’Antonio (© Centro Studi Antoniani).
      • Fig. 6.1 Leandro Bassano, Portrait of Cardinal Giovanni Dolfin, 1604, oil on canvas, Padua, Musei Civici (© Padua, Musei Civici—Giuliano Ghiraldini).
      • Fig. 6.2 Gian Lorenzo Bernini, Portrait of Agostino Valier, 1629, marble, Venice, Gallerie dell’Accademia (in deposit at Ca d’Oro) (© Venice, Gallerie dell’Accademia).
      • Fig. 6.3 Thierry Bellange, François Cardinal de Joyeuse, early seventeenth century Pau, Musée National du Château de Pau (© RMN–Grand Palais (Château de Pau)/René-Gabriel Ojéda).
      • Fig. 6.4 Leandro Bassano, sketch for Honorius III Approving the Rule of St. Dominic in 1216, 1607-1608, art market (© Fondazione Federico Zeri).
      • Fig. 6.5 Petrus Aldobrandinus (in Speculum Romanae Magnificentiae, Effigies cum insignibus, nominibus, cognominibus, patria, titulis et nuncupationes Reverendissimorum Dominorum S.R.E. Cardinalium nunc viventium) (© The Trustees of the British Museum).
      • Fig. 6.6 Thierry Bellange, Jacques Davy du Perron, early seventeenth century, lead pencil and red chalk with gold highlights on parchment, Pau, Musée National du Château de Pau (© RMN–Grand Palais (Château de Pau)/René-Gabriel Ojéda).
      • Fig. 6.7 Rubens, Cardinal Ferdinando Gonzaga, 1604-1605, oil on canvas, Mamiano di Traversetolo, Collezione Magnani Rocca (© Fondazione Magnani Rocca).
      • Fig. 6.8 Carolus Emanuel […] car. Pius (in Speculum Romanae Magnificentiae, Effigies cum insignibus, nominibus, cognominibus, patria, titulis et nuncupationes Reverendissimorum Dominorum S.R.E. Cardinalium nunc viventium) (© Alamy).
      • Fig. 6.9 Ottavio Leoni, Portrait of Cardinal Scipione Borghese, oil on canvas, Ajaccio, Musée Fesch (© RMN-Grand Palais (Palais Fesch, Musée des Beaux-Arts)).
      • Fig. 7.1 Pisanello, Mule, Paris, Musée du Louvre (© RMN–Grand Palais (Musée du Louvre)/Michéle Bellot).
      • Fig. 7.2 Detail of Robert Péril, Cavalcata at the Coronation of Charles V in Bologna, 1530, woodcut, colourised with handwritten annotations, Antwerp, Plantin Moretus Museum (© akg-images/Erich Lessing).
      • Fig. 7.3 Detail of Robert Péril, Cavalcata at the Coronation of Charles V in Bologna, woodcut, colourised with handwritten annotations, Antwerp, Plantin Moretus Museum (© akg-images/Erich Lessing).
      • Fig. 7.4 Anonymous Italian School 17th Cent, Cardinal Francesco Angelo Rapacciolo (d.1657) Fleeing on a Mule, under a shower of Turnips, 1643, pen and ink, New York, The Morgan Library and Museum (© The Morgan Library and Museum, III, 69).
      • Fig. 8.1 Funerary monument to Cardinal Mariano Pierbenedetti, Rome, Santa Maria Maggiore (© Nicholas True).
      • Fig. 8.2 Funerary monument to Cardinal Francesco Alciati, Rome, Santa Maria degli Angeli e dei Martiri (© Martina Caruso).
      • Fig. 9.1 Albert Clouet after Carlo Cesio, frontispiece of Effigies, nomina et cognomina S.D.N. Alexandri papae VII et RR. DD. S.R.E. Cardd. nunc viuentium, Rome, 1660 (© Rijksmuseum, Amsterdam).
      • Fig. 9.2 Gérard Audran after Cyro Ferri, frontispiece of Effigies nomina et cognomina S.D.N. Innocentii PP XI. et RR.DD.S.R.E Cardd. nunc viventium, Rome, 1667-69 (© Rijksmuseum, Amsterdam).
      • Fig. 9.3 Cover of a presentation copy of the rules of St Susanna, Fondo Varia 30, Biblioteca Nazionale Centrale Vittorio Emanuele II, Rome (© Arnold Witte).
      • Fig. 9.4 Johann Martin Bernigeroth, Portrait of Cardinal Vincenzo Gotti, engraving, London, British Museum (© The Trustees of the British Museum).
      • Fig. 10.1 Taddeo Zuccaro and workshop, Paul III Nominating Cardinals, 1562-1563, fresco, Caprarola, Palazzo Farnese (© by permission of the Ministero per i Beni e le Attività Culturali e per il Turismo – Palazzo Farnese Caprarola).
      • Fig. 10.2 Danese Cattaneo, portrait medal of Cardinal Pietro Bembo, c. 1547, bronze, Washington, DC, The National Gallery of Art (© National Gallery of Art, Washington).
      • Fig. 10.3 Taddeo Zuccaro and workshop, Paul III Receiving Charles V after his Victory at Tunis in 1535, 1562-1563, fresco, Caprarola, Palazzo Farnese (© by permission of the Ministero per i Beni e le Attività Culturali e per il Turismo – Palazzo Farnese C
      • Fig. 10.4 Danese Cattaneo, Cardinal Pietro Bembo, 1547-1548, marble bust, Padua, Basilica of San Antonio (© Giuliano Ghiraldini).
      • Fig. 10.5 Valerio Zuccato after a design by Titian, Portrait of Cardinal Pietro Bembo, 1542, mosaic, Florence, Museo Nazionale del Bargello (© by permission of the Ministero per i Beni e le Attività Culturali e per il Turismo – Museo Nazionale del Bargel
      • Fig. 11.1 Scipione Pulzone, Portrait of Cardinal Giovanni Ricci, 1569, oil on canvas, Cambridge, MA, Harvard Art Museums/Fogg Museum (© President and Fellows of Harvard College).
      • Fig. 11.2 Scipione Pulzone, Portrait of Cardinal Giovanni Ricci, oil on panel, Rome, Galleria Nazionale d’Arte Antica, Palazzo Barberini (© Gallerie Nazionali di Arte Antica–Biblioteca Hertziana Max Planck per la Storia dell’Arte/Enrico Fontolan).
      • Fig. 11.3 Scipione Pulzone, Portrait of Cardinal Michele Bonelli (also known as Cardinal Alessandrino), 1572, oil on canvas, Gaeta, Museo Diocesano (© Museo Diocesano, Gaeta).
      • Fig. 11.4 X-radiograph of Fig. 11.3 (© Museo Diocesano, Gaeta).
      • Fig. 11.5 Scipione Pulzone, Portrait of Giacomo Savelli, 1576, oil on canvas, Rome, Galleria Nazionale d’Arte Antica in Palazzo Corsini (© Gallerie Nazionali di Arte Antica-Biblioteca Hertziana Max Planck per la Storia dell’Arte/Enrico Fontolan).
      • Fig. 11.6 Scipione Pulzone, Cardinal Antoine Perrenot de Granvelle, 1576, oil on copper, London, Courtauld Gallery of Art (© Courtauld Gallery of Art).
      • Fig. 12.1 Giovanni Antonio de’ Rossi (signed), portrait medal of Carlo Borromeo, 1563, silver, Vienna, Münzkabinett (© Vienna, KHM–Museumsverband).
      • Fig. 12.2 Anonymous portrait medal of Carlo Borromeo, c. 1580, bronze, London, British Museum (© The Trustees of the British Museum).
      • Fig. 12.3 Fede Galizia, Portrait of Federico Zuccari, 1604, oil on canvas, Florence, Gallerie degli Uffizi (© Florence, Gallerie degli Uffizi).
      • Fig. 12.4 Devotional medal of Carlo Borromeo (Domenico Pellegrini?), silver, Milan, Castello Sforzesco, Gabinetto Numismatico e Medagliere (© Milan, Castello Sforzesco, Gabinetto Numismatico e Medagliere).
      • Fig. 13.1 Funerary Monument to Cardinal Francisco de Toledo, Rome, Santa Maria Maggiore (© Chris Siwicki).
      • Fig. 13.2 Giambologna, Cardinal Rodrigo de Castro Osorio, Monforte de Lemos, Colegiata de la Antigua (© Piers Baker-Bates).
      • Fig. 13.3 Unknown artist, Francisco de Reinoso, Palencia, Convento de Augustinas Recoletas (© Piers Baker-Bates).
      • Fig. 13.4 Unknown artist, Cardinal Francisco de Ávila, Ávila, Cathedral (© Piers Baker-Bates).

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