Scribd Logo
Upload

Welcome to Scribd!

  • 60 views

    Borsook 2001

    Uploaded by

    JabłkowyBałwanek
    wef

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content

    You might also like

    Borsook 2001

    Uploaded by

    JabłkowyBałwanek
    60 views18 pages
    wef

    Original Title

    Borsook+2001

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    wef

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    60 views18 pages

    Borsook 2001

    Uploaded by

    JabłkowyBałwanek
    wef

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    of 18
    THE POWER OF ILLUSION. Fictive Tombs in Santa Maria del Fiore Eve Borsook fhurchmen and two renowned military commanders have a curious history. These memo- als were conceived between 1389 and 1435, ie. a 46 year period, but it took 66 years to carry them out. Yet, all four have a pictorial unity as fictive sculpture honoring famous civic figures." All four were detached from their sites in 1842, and after various displacements inside the Duomo they were finally returned to their original locations though perhaps slightly lower down.* These memorials consist of two pairs - each pair is of almos¢ identical scale: Cardinal Corsini and Fra Luigi de’ Marsili in the south aisle and John Hawkwood and Niccolo da Tolentino, almost opposite them in the north aisle (Fig. 1). From the start, all were meant to be of stone. All were sanctioned by public (i.e. communal) decree although their realization was left to the discretion of the Cathedral works — a body composed of officials belonging to the wool guild (Aree della Lana) who since 1331 administered every aspect of the Cathedral’ affairs on behalf of the city.’ Thave been unable to find any precedent for these very striking fictive tombs and have been surprised that they remained virtually without echo. The known documents do not explain the choice of paint rather than stone. Besides economy, what factors could have accounted for this? ‘And what can explain the unusual timing of their execution? Let me briefly review the historical T: four fictive tombs in the aisles of Florence Cathedral commemorating two high sequence of events and then discuss some features of their style. " Earlier studies of these fictive tombs in the contest of Famous Men” cycles include: G, SCHOT2-RAUTENBERG, Kinidlengabmiler dey 15. und 16. Jbrbunders in laien Dissertationen aur Kunuigechichte, no. 6. Vienna, 1978; CL. Joost-Gaveits, “Castagno’s Humanistic Program at Legoaia and its Possible Inventor, Zeitschrift fr Kussgecichi, XIN, 1982, pp 274-282: Ip." The Early Beginnings of the Notion of| “Uomini Famos? and the 'VisisIlustibus' in Greco-Roman Literary iadition Ariba er Hinoria, VI, 1982, pp. 87-116 1p, “Poggio and Visual iadtion: Uomini farmos in Classical Literary Desctipion", Avibur e Hioriae, IX, 1985, pp. 57-74 MAM. DoxATo, "Gli erat romani era stovia ed “exemplum. 1 primi cil umanisici di Uomini Fanos’, in S, SETDS ed ‘Memoria delet nella italiane, I, Tain, 1985, pp. 95- 152; EAD, “Famosi ives: testi, ffammenti¢ ciel perdi a Frenze fa Tie ¢ Quatrocento’, Rcrohe di storia dela, XXX, 1986, pp. 27-425 M, HASSMANN, Andrea del Catagnos Zot der ‘Uomini Eames und Donne Famose: Gacbichsversindnis tind Tugendidel im Flreniischon rabumanismas, Minster- Hamburg, 1993; E. OV Mani, Hlrentner Ebvengatbmler der Fridrnaisance, Bedin, 1994. Funher studies that focus on individual tombs inthe series are cited below. As forthe distine- tion beoween the use of monochrome painting as fictive seulp- ture and as an appropriate non-color for dhe dead, see: M. KRIEGER, “Die niederlindische Grisaillemalerei des 15. Jahtbunders’, Kimtchronik, 12, Dec. 1996, pp. 575.588; Te Dirreissct, Dar monochrome Wndgemilde: Unersuchungen en Koloit de fhe 15. Jabbunders in Tien, Wildeshitn~ itich-New York, 1993, p. 15. For records conceening the detachments by Giovanni Rizzoli and their subsequent restoration by Antonio Marin, see Acchivio delfOpera di Santa Maria del Fiore (henceforth ‘AOSME), XE2-11; XE-2-94, no, 11; X1-3-14, nos. 61, 80, 84, 186; X4-14, nos, 28, 31,35, 57, 75-76, BL, 85, 105, 109, 113, 117. See also nore 49 rganling the murals placement. ML, Haists, “Futenz ei finanziamento dela Caredrae © del Campanile", nT. VERDON ed. Ala iscpera di Paz del ‘Duomo in Firenze, Florence, 1994, pp. 71-83; EAD. "Ane della Lana e FOpera del Duomo a Fitenze con un accenn a Ghibert ta due isttuzion’, in M. Hays and L Riccern ce Opens: Cancer ¢ rune delle fabbriche citadine fino allinicie dell:d Moderna, Florence, 1996, pp. 267-294 59 Eve Borsook It should be said at once that three of the four protagonists were originally buried in the Cathedral although Hawkwood’s bones rested there for barely a year before they were returned t0 his native England.’ Therefore, except for him and possibly Corsini, these memorials are not, strictly speaking, cenotaphs ~ that is tombs, fictive though these are, for which the bones were deposited elsewhere. Teall began in 1389 with Cardinal Piero Corsini, who had been a bishop of Florence before going to Avignon.’ Long before his death there in 1405, he arranged through family members in Florence for a tomb and altar inside the Cathedral." The initial approach seems to have been made to the officers of the wool guild who agreed to the idea of an altar and sepulchre facing each other as.a chapel within a bay in the south aisle - the second from the crossing,” As in most cathedrals financed by the citizenry, burial rights inside its walls were discouraged." However, in April 1391 permission was obtained from the Commune with the proviso that all would revert to the Operai if the canopied altarpiece was not carried out within a year’ Evidently, this is just what happened.” Although public sanction was mandatory, it was not really to be a public monument because its financing was entirely private.” Furthermore, the tomb never was included in the series of famous Hawkwood died on 16/17 March 1394, and the Republic gave hima great state funeral on 26 March. In May 1395 (2) atthe behest of King Richard I, Hawhwood’s bones were disntered from Florence Cathedral and sent back (0 England: J.M. RicG, “John Hawhwood", Dictionary of National Biography, IX, London, 1908, p. 241; S.T. StwoccHIA, Death and Ritual in Renainance Florence, Balkimore-London, 1992, pp. 79-82; K. Fowusa, “Sir Joha Hawkwood and the English condostier! in Tescento Kaly, Renaissance Studies, NULL, Match 1998, pp. 131-148. For a dlacument refering. either co the closing of the tomb in Florence or its re-opening on 16 May 1394, set G. Pot, ‘Duomo di Firenze: Document lla devenazone della ches del ‘mpanile rae dll rebivo dell Opens, posthumous edition by M. HaInts, Florence, 1988, Il, p. 124, no. 205 (henceforth refered to a8 Poci- HANS) For Cardinal Comsini, see J. Cuurroteav, “Ph Conini’, Dizionaria biogafce degli italiani, XSIX, Rome, 1983, pp. 671-673: L Gatrl, The Are of Freedom: Meaning sand Civic Identity and Devotion in Early Remaiance Floren lunpublished PhD Thesis, History of Are Depattme Birkbeck allege. University of London, 1992, pp. 22-30: ID Ubi fui Episcopus: Petro Corsini ¢ la Catedral’, in La Gauedrale la cit, vol. ofthe Act o the conferences for the seventh centenary of Santa Maria del Fiore, [, A. INNOCENTI and T. VinDow ed, Florence, in press. The eri documents fare ASE, Arte dela Lana, 85, fol. 70 rv (12 December 1389) ~ our Appendix, doc. 1; ASF, Provision, Registri, 80, fal 15e-I6e (5 April 1391) ~ published in Garn, “Ubi fu". Appendix A ASE Libri fabarum, 43, fol 204-206, (5-6, 28, April 1391) ~ our Appendix, docs. 2-4. These documents were ko made use of by G. BRUCKER, The Cie World of Early Renaissance Florence, Princeton, 1977, pp. 37-385 R. OFRTEL ‘Der Laurentive-Altar aus dem Florentiner Dom: 2 cinem Werk des Maestro del Bambino Vispo", Siuidien zur Tuskanischen Kunst. Festihrift fir Ludwig Heinrich 0 Heydenreich, Munich, 1964, pp. 205-220; StmOCCHIE, op. ct lace note 4), p92: C. FROSININ, “Propose per Giovanni dal Ponte © Neti di Bicc: due affreshi funerari del Duomo di Firenze”, Mitelungen des Kunsthistorichen Instres in Foorenz, XXXIV, 1990, pp. 123-138; EAD., “Testimoniamze pirtoriche e di arredo tra Duccenta © Quatiacenta”, in C. ‘AciDIN! LUcHiNAr ed, La Catedral di Santa Maria del Fiore 4 Firenze, Florence, 1995, Il, pp. 193-232. Recendy, ic as been stated erroneously that Corsini wa not granted bral in the Cathedral: G.A. JOHNSON, “Activating. the Effigy Donatello’ Pecei Tomb in Siena Cathedral”, art Bulletin, LXXVIL, 1995, p. 449, note 23 ASE, Ante della Lana, 85, fol 70 (12 Dec. 1389) already specifies the location, See Appendix below: do. Bid. " BRUCKER, op. ct. (Gee note 5), p. 37: ScuOZ-RAUTEN ERG, op. it. See ote 1), p. 31; PARIS, Limo edt morse dal tmodioevo egg, Baris 1980, pp. 52-53, 8657; STROCCHIA, op. it (se note 4}, p. 91; HAINES, 1996, op. it. See note 3). Pp. 276, 279 ASE, Prowisioni, Registi, 80, fols. 15r-16r (5 April 1391): ASE, Libs fabaram, 43, fol. 204 (5 Apeil 1391): Poact-Hues, op. cit. (ee note 4), I, p. 206, cites a Spoglio Suroeriano. The Commune intally rejected che Corsi project, bur changed its mind che following day: sce our Appendix, doc. 3 Nothing Further was done andl 1422, when the Lana officials responsible a the Opera took the mater in hand "ASE Are dell Lana, 152, fos. 18, 36s, 80, published by Faosisint, op. ct. (See note 5), pp. 137-138. On 30 Janaary 1422, the Are della Lana accepted the terms of Corsinis Avignon will (October 1403), which provided for the burial and altar inside Florence Cathedeal constituting 3 chapel. Although the forms there were to take were 0 be determined by the Arte della Lana che costs were lfc entitely to Comins relatives, On 3 March 1422, the Lana officals ‘Tue Power OF ILLUSION Florentines who were to be commemorated in the Cathedral during Coluccio Salutati’s chan- cellorship even though both Corsini and Salutati collaborated in the effort to obtain translations of Plutarch’s Parallel Lives, which was so important for the cult of famous men in Florence." Somehow, itis ironical that Corsini eventu- ally got his memorial inside the Duomo while Salutati did nor - even though the Commune voted a marble tomb for him there at public expense.” Seventeen yeats after Corsini’ death, in 1422, an unidentified painter received 8 gold florins for carrying out the painted memo- rial with the cardinal’s effigy on it (Fig, 3).'* Unlike the other fictive tombs it has no inscrip- tion — probably because there was a real one in the pavement in front of it berween two piers of the nave arcade." Two years alter permission was granted for the future Corsini tomb inside the Cathedral, another was ordered by the Commune, but this time at public expense, for the still living John Hawkwood — the Republic’ faithful military commander who had already been made a Florentine citizen."* A magnificent stone wall tomb was to be set in a “high and eminent posi- declared thatthe grave was to be made acording toa plan to be supplied by them (36), which implies tha the cardinal’ body had reached Florence cf. Garr. The Are (see note 5) p. 26, note 97: "The likelihood is chat Pieo’s ashes remained in ‘Avignon [..” Corsini died in Avignon on 16 August 1405. By 29 April 1422 (fl, 80s), his tlaives were ondered to pay an unnamed paincr 8 gold florins for the design and painting of the sepulchre inside the Duomo: Fkostnint, foc. ot. (6 note 5), pp. 137-138. In mid-June 1997 Luca Gattis lecture fon Cardinale Corsini introduced another possibility: chat she fardinal’s remains could have been deposited in the family Chapel in Santa Maria del Carmine, Florence: GATm, “Ubi Fai" Gee note 5) Wirt, “Safutai and Plutarch’, in S. BERTELLI and G. Rawants eds. Euaye prented to Myron Gilmore, Florence 1978, p. 336 STROCCHIS, op. cit (Gee note 4), p. 267, note 17, cing E Nowatt ed Epitolario di Coluco Saluati, Rome, 1891 1911, 1V, pp. 167-170, 359-565. For Salutat’s bua in che Duomo, se¢ BARTOLOMEO DEL Conazz4, Diario flrenino Corsini Hawkwood, Marsili Tolentino, 1. Ground plan of Florence Cathedral with sites of four fictive tombs. (1405-1439), R. Gest ed, Rome, 1991, p. 20, Soe note 11. FROSININ, fa ct. Gee note 5). atsibuted the work to Giovanni dal Ponte on the bass of syisic arguments COsRTEL, op. it (see noe 8), p. 219, note 13; OWMARRA, ps it, (ee 902 1), p66, note 28. The inscription may have been renewed together with the surrounding, pavement ca 1660, It has a civic favor alchough it was nota public monk: ment. [cis situated beoween the second and chird piers and reads: PIETRO CORSINIO FLORENTIE EPO ET CARD. AMPLISS. / OB FAMILIE NOBILITATEM ET EXIMAS ANIME SVL DOTES / HEC VRBS OPTIME DESE MERITO SEPVLCRUM HOC, Curiously the insription is not aligned with che painted memorial. Firse published by G, Poot, "Paolo Uceelae Torologio iS, Maria del Fiore", Mivellanea di Storia delle onor di Ine Benvenuto Supina, Florence, 1983, pp. 330-352. The date of the communal decree is 20 August 1393 (ASF, Provision, 82, fol 211) and che deliberation ofthe Opera del Duomo i dated 22 August 1393: POGGLHAINES, op. ct (se note 4) Th P. 123, no, 2082 6 EVE Borsoox 2. Tomb of Pietro Farnese, ca. 1363, marble tomb with papier maché equestrian group (formerly Cathedral, Florence). After P Livia, Celebri Famigl Inaliane, Milan, 1893, X, fol. 96 let. tion” where all could see it, and it was to be adored with marble figures.” The Opera was authorized co use all the money needed for it from the Cathedral building fund." ‘The next year another tomb with almost ntical specifications was ordered in August 1394 to honor Luigi de’ Marsili, a celebrated Augustinian theologian and man of letters who on various occasions had been sent on diplo- matic missions by the Republic.” He had also been Coluccio Salutatis candidate for bishop of Florence. The public decree for this wall comb, also to be made at public expense, let it to the Operai 10 decide if it should go inside the Cathedral or inside the Augustinian church of Santo Spirito.” By 20 December 1395, the Operai agreed to have an “honorable sepul- chre” made inside the Cathedral, and nine days later two sculptors were hired to make it on the premises of the Cathedral works according «0 forthcoming dispositions. This was more than was done for the Hawkwood tomb, which was postponed; because in the very same month of December 1395 the Operai decided to pair the Hawkwood project with another ~ a substiture for a delapidated, already existing tomb honoring Pietro Farnese, another condostere who had fought for Florence against Pisa during the 1360s (Fig. 2).""The Farnese tomb, which survived until the middle of the XIX century, ‘was an equestrian monument of polychrome papier-maché set on top of a teworked ancient Roman. sarcophagus with a painted background strewn with Farnese lilies accompanied by a canopy. * Pos, lac. it. (See note 16), pp. 330-392 dia ° POGGIHHLAINES, gp. it (Gee note 4), I, p. 125, no. 2062 (AOSME 1-1-2, fl. 76 [sc] 2). Tis was fora carved tomb for which the Opetai could use public money to commemorate a public figure. and only che arm of che Commune were to be allowed. On Luigi de? Masi, see: M.B. Becken, Hence in Transition, Baltimore, 1968, Tl pp. 15, 55-61, 205-206; Io, “Tirwands a. Renaissance Historiography in Florence", in A Mouno and JA. Teescit eds. Renaisance Studies in Honor of Hans Baron, Florence, 1971, p. 167. D. De Rosa, Coleci Salut il cancellie i pensatore politico, lorence, 1980, p. 48 ~ dhs was a the beginning of 1390. For the reaons why his candidacy filed, sce Gar Tl, The 62 Arr (se note 5), p26, note 98. AOSME [-1-2 fal, 76ra in nore 19. AOSME lI-1-36, fols 22s, 261 E. BORSoOK, The Mal Painters of Tascany. 2 Oxford, 1980, p78; POCGIHAINES, pc, (see nore 4), Il p. 126, nos. 2063-2064. The sculprors were Giovanni Ambrogio and his son Lorenzo, who were rected co carve dhe Mas tomb according ta specifications occ lac ct (4 note 16), pp. 332°333) AOSME IL 36, fils, '7e-18r, POCGI-HIAINE, opt. (ee note 4), Il pp. 127. 128, no. 2068. The sense of this document ist the Oper, eepingin mind the spulchr already ordered bythe Commune for Hawkwood and seing that dhe oldee Farnese memorial in adelapidated sate, decide tha both shouldbe placed on the wall fof the nocth aisle and thar good paincers should be hited t0 ‘THE POWER OF ILLUSION Famese rode a mule which, according to Scipione Ammirato, he seized to pursue the foe when his, horse was killed beneath him." This monument formed a precedent for the two equestrian mont ments eventually carried out by Uccello and Castagno. Both Hawkwood and the new Farnese memorial were to be set on the wall of the north aisle near a now lost figure of Dante.” For the two condotteri, painced designs (maybe in full-scale) were prepared by Agnolo Gaddi and Pesello, who displayed them on site so that visitors and authorities could discuss how the final versions should look." It is unknown if these provisional compositions were wall paintings or colored designs on some sort of cloth. At any rate, the painters received 30 florins for their work (amounting to 15 florins a piece) ~ a sum suggesting work of considerable elaboration and size 'A yeat late, in 1396, the Operai were directed by the Commune to raise five more stone sepul- hres honoring Accursio, Dante, Petrarch, Zanobi Strada, and Boccaccio ~ a grammarian, a jurist and poets." However, there were no remains of these great men on hand. Repeated efforts to obtain them failed, and this may explain why so few of these memorials were ever cartied out. Given the Opera reluctance to have graves inside the Cathedral, the prospect of putting up the eight stone wall sepulchres decreed during the last decade of the Trecento may have been too much for the Duomo administrators; for in 5 April 1400, in a lengthy document, they forbade any further tombs above ground level.” In 1408, two years after Salutatis death, the Operai decided that Marsil’s home convent of Santo Spirito would be a better place for his wall romb.* Yet again, nothing was done, and 31 years later the Commune took up the project, again stating, that after all che Cathedral was the more suitable site for this fammosus vir." Between 1400 and 1436 only Corsini’ fictive comb was painted (Fig. 3), and still none of the original Salucatian series of “famous men” had received their stone memorial. Certainly, Margaret Haines’ diagnosis of the situation is correct: that in these years most of the Operas efforts were concentrated on completing the eastern end of the new Cathedral ~ the sacristes, tribune chapels ‘and, above all, the great cupola with all their furnishings and ornaments. As for the rest of the church, besides a few altarpicces from the old church of Santa Reparata arranged inside the facade wall or produce designs for both of ther, which should be placed on the Aral so thar all can se them and so that these canbe the basis of the Oper’ farther deliberations concerning the rombs. Agnolo ‘Gada and Pesello ate hied and recive a down payment of 10 gold florins twvands a orl of 30 which they will recive when theie work is done. Orginal Farnesc tomb was to have been made of marble; Mxrti© VILANI, Growin dal'anne 1318 al 1363, A. RANALLI cd, Tiesc, 1858, chapter LIX, 387: “poi seppallio fa nella chiesa di Sana Reparata con incendione di ful rice sepotura di marino”, For the documentation on the Farnese tomb, se CJ. CAVALLO, S Maria del Fiore: tori documen- uta dalfriin ino ai not gion, Florence, 1881, pp. 153-154, 246-247, For an account of ts condition in 1863, see AOSME, XL291, item 10. ScIPIONE AMAURATO, ltr orentine, Florence, 1687, 1 p62 See note 23, In this arrangement, ineestingly, che Farnese memorial tok precedence, being placed claser 10 a Dante cenotaph aswell sto she high ler This Dante memo- rial dating before 1430 is discussed by R_ ALTROCCH ‘Michelinos Dante’, Specuiem, VI, 1931, p. 75 and pas Reference is made tit in a Duomo inventory of 28 April 1818, AOSME XI-8-2, pp. 185-186, tem 1960, The ste coresponds to that of Domenica di Michelino’s picture. For further litera ture onthe ealier Dante memorial, ce HANSMANN, op (26 note 1), p. 75, note 178, The Havkwood painting by Gadd andor Pescllo was finished by 16 June 1396, when it is mentioned next ro the stained ghss window designed by ‘Agnolo Gadd and carid out by Fra Leonardo di Simone (occ Haines, op. ct [se note, p93, n0. 488). ‘See note 23, Full sale models wer long in use for archi tecture: K. KRAFT, Zum Problem der Grille Malee im tal ienichen Treceto, Munich, dissertation (nd. ~ afer 1960), p. 77, Drrveinacts, op ct (se note Isp 89. Poci-HAINS, ap. it. (see note 4) Il p. 128, no. 2068. “ F Moise, Sana Croce di Frese, Florence, 1845, p. 484, citing a communal decree (ASF, Prowisioni, 87, 22 December 1396) cs POGGI-HAINES, op. ct (se note 4), Th p. 132, n0. 2082, citing a Spoglo Seroziano of an unnumbered provwiione ‘of 1396 on “e281 "AOSME 1-1-2, fo, 867 POCGLHAINES, op. it. [see nore 4) Tl, p. 132, no, 2084 ~ 5 April 1400) 9 April 1408 vi, M, pp. 126-127, no. 2065 "11 August 1439: vi I, p. 127, no. 2066. 63 EvE BorsooK 3. Fictive tomb of Cardinal Piero Corsini, Usssows 4, Tomb of Cardinal Coscia, DONATELLO. and. FioneNriNe, 1422, detached mural, 340x410 m - MICHELOZz0, 1419-1427, marble and gilded with frame (right aisle, third bay of the Cathedral, bronze, 7,23 m high (Baptistery, Florence) Florence) attached to piets in the nave arcade, there were three old wall tombs of Ottobuoni and Bishop Orso and Pietro Farnese along with some sort of Dante figure.” Otherwise, the aisle walls (save for stained- glass windows) must have been virtually bare." Large asthe fictive sepulchres loom in the aisles today (Fig. 5) they occupy very litte space in the Cathedral account books of this period. ‘Suddenly, in mid-July 1433, rowards the end of the Albizi regime, the Hawkwood memorial was revived. The Operai opened a competition for designs and models.” Interestingly, the Farnese monument which had been paired with the Hawkwood project in 1395, was left aside, Why Hawkwood was chosen in 1433 remains unclear. The man of the moment was another condottiere, Ivi J pp: CVECVIE I pp. 138-140, ave were sll without stained gas in 1437: ii p. LXXXIIL By 1398 all the windows in the nore ale were filled with ‘ASME I-44 fl. 25 (POGl-HAINE, opt (ee noe stained pls: Pocc-HAINes, p. cit. (see note 4). J pp. EXXIX- Up. 1241. 2054), Ths compection ocurred at about the same TXXX. The stained glass for the oculus on the fade was prob- times the commissions for Ghent sarcophagus for St. Zenobis ably finished by June 1408: si, p. LXXXI, But che cond in the and far she ewo choi is by Luca della Robbia and Donato, 64 ‘THE POWER OF ILLUSION Niccold da Tolentino, who in June 1432 had won the Battle of San Romano.” Three weeks before the Hawkwood competition, on St. Johns Day 1433, the Florentine chancellor, Leonardo Bruni, delivered an encomitum on Tolentino from the ringhiera of the Palazzo della Signoria. There, the hero of the day was given his commander's baton along with a richly caparisoned horse, helmet, and banner displaying the Florentine arms." Bruni’s speech contained a phrase reminding his fellow citi zens that the ancient Romans celebrated their heroes with equestrian statues, and this may have contributed to the renewal of the Hawkwood memorial in this form.” In 1435, after Cosimo de’ Medici’ return from exile, Tolentino was given a spectacular funeral in the Bapristery in the pres- tence of pope Eugenius TV, and a tomb was voted for him inside the Cathedral by communal decree." But at this point, Tolentino had become a controversial figure — he had been a supporter of Cosimo de’ Medici during and after Cosimo’s imprisonment and exile by the Albizi.” At the time of the 1433 competition, Tolentino was still alive, but as a military commander he was no longer successful. In an excellent, still unpublished doctoral dissertation, the late Wendy Wegener suggested that Hawkwood was chosen asa riposte to another fictive equestrian mural painted, albeit ona less prestigious site in Lucca: on the corner of a house at an important intersection. This long, lost mural honored Niccold Piccinino, a highly successful adversary of Florence, who in 1434 beat Tolentino at Castel Bolognese, where he was captured. Another reason for reviving the Hawkwood project then may have been that a memorial to a successful condottiere would have been a better ‘morale booster than an unsuccessful one such as Tolentino" at a time of humiliating military defeat and at a moment when the new Medici regime did not yet enjoy its future self-confidence. By 1436, when Uccello was chosen to carry out the Hawkwood project (Fig. 6), the Florentine bishop was G. GRIFITHS, “The Political Significance of eee Bal of San Romano’, formal of the Warburg and Courauld Pusu XL, 1978, p. 313. The battle was fought on June 1432. Tui p. 315; J. HANKINS, “The Latin Poetry of Leonardo Bruni, Humanisica Lnvaniensia, XXXIX, 1990, p. 35. Brunis cencomium was delivered on 24 June 1433 (misprint as 1431 in lau) GRIFFITH, doe, cit (eee note 35), pp- 315-316. Also Flavio Biondo thought «statue was a suitable wand for loyal mercenary commanders: C.C. BavLEy, War and Society in Renaisance Florence, Toronto, 1961, p. 225; W.]. WEGENER Merinary Chapels of Renaisance Condoneri, Princeton University PhD thesis, University Microfilms, Ann Arbor, 1989, pp. 83, 89-90 ASE, Provision, Regist, 126, fol. 13¢ (13 April 1435): “item quod Operaii Opere Sancte Marie del Fore teneantur facere sepulcrum 60 tempore, loco, modo et forma prout lispositur e¢ondinatum eit per dominos ex collegia, aut das partes corum quando cumque, sumpribus dicte Oper, prout de als similibusordinaturs es See ali, ASF, Libri Fabarum, 57, fl. 3 (13 April 1435) “Quod possint honorare exequasfuneris Nicolai de Tolentino signo Conunis Florentie in penone, aria er upraveste hominis requis Ee quod fat sepultura pro civs compore secundum ex rout deliberarum fucrt per dominos ec collgia — displcuit LXV" svi fl (14 April 1435): "Quod domini possine hono- rare exequiasfuneris in sepultuta Nicolai de Tolentino signo CComunis, videlice iio, Et quod fiat sepultura per Operatios anni Vitelleschi, himself a condottiere, who disliked Tolentino.* To all concerned, Sancte Matic del Fiore ~dsplicuit XXII. Tolentino died on 25 March 1435, and his body was brought co Florence where a seat funcral i his honor was held on 20 April 1435: Poca Hast, op. it (see note 4, I, p. 128-130; STROCGHIA, op. et. (Gee mote 4, p. 152. Both A. FASRON! (Magni Coomi Medici vite isa 178951 ps 107) and G, RuCiA (Nori ioviche delle chive fiorenting, Florence, 1757, VI, p. 131) seem to have ead ‘rated upon the deals ofthe comb: WEGENER, op. ct (see note 37), p93. Tolentino was invalved in the Florentine defeat at Luca, and Florentine military prestige was dimmed further when he ‘was captuted at Castel Bolognese near Imola, WEGENER, op. it (see note 37), pp. 93-94, believed that in 1434 Telenino may sill have represented focus for anti-Medicean feeling. For dlisidence between Tolentino and Vitellesci, see BAYLEY op fit, (ce note 37) p 137 SAWEGENER, op. ct. (ce note 37), pp. 85-86, 95, who also mentions chat chere was defamarory painting of Pccinino in Florence which initaced this condottiere. The editor of Groans Cavatcan’s deore forentne, rence, 1838, 1 p. 403, note 5, cies B, BEVERIN'S Annales lacionses, which mension that the Lucchese mural alluded to Piccinino’s teiumphal encry ino che city ‘Oe-Manna, op. it. (ce nore 1). pp. 49-50. It aso could he argued thar since Tolentino was identified with the pro Medici fiction, the Albi regime preferred co revive the Havskwood project © Vitelleschi became bishop of Florence on 2 October 65 THE POWER OF ILLUSION the long dead Hawkwood, whose memorial had been on the books for 43 years, would have seemed less controversial than Tolentino, who had been buried inside the Cathedral the previous year, Hawkwood’s fame as a successful and virtuous commander made him a civic hero. His loyalty, prudence, and fairness prompted comparison with the Roman general Fabius Maximus, which was added as a final couch to the inscription on Uccello’ painting. ‘Another factor which may have influenced the revival of the Hawkwood monument may have been the deterioration of the old painting of him by Gaddi and Pesello that was situated next t0 a damaged stained glass window (Fig. 5): water could have seeped into the painting, and the mate rials used to repair the window might further have disfigured it." In any case, between May and late June of 1436, Paolo Uccello had finished his first version of the mural honoring Hawkwood ‘on the very site originally occupied by the late XIV century composition upon which his new one ‘was supposed to be based.’° But Uccello’s horse and rider did not meet with the Opera’s specifica tions (whatever these were), and berween July 6° and August 31" Uccello had to redo them within less than two months. Thanks co Lorenza Mellis investigations, it curns out that in the earlier version Hawkwood was shown in an aggressive pose with his head concealed by a beaked helmet, whereas the final rendition shows him with face visible in conventional headgear and with the baton held close to the body: As large as the job was, Uccello was evidently a fast worker —a skill recognized by the Anonimo Morelliano, who Vitaliani palace in Padua at the rate of one a day 1435; G. Rou, “Giovanni Vitelleschi, Arcivescovo di Firenze. La sus azione mitre allepoca del concili", in P Varied, Firenze ei! conilio del 1439, Florence, 1994, I, p. 130: JE Lax, “Giovanni Viteleschi: Prelato-gueriero”, Reuaisance Sindies, XIL.1, March 1998, pp. 40-66, On 12 September 1436 the Roman senate vored a marble equestian monument 10 honor the sil living Cardinal Vieellesch which was destined for the Capitoline hill but was never carted out; R. Schumactier-WourGarre, "Kardinal Giovanai Vielleschi: zt rmischen Bildaisuadivon im 15. Jahrhundert’, Ramiche Quaral Schnifi 82/34, 1987, pp. 193 € “"E, BORSOOK, “LHakwood (sic) d'Useelo et la vie de Fabius Maximus de Platargue. Evolution dun projet de céno- raphe", Rerwe de Tart, 55, (982, pp. 44-51. Thanks to M. Hines, I would lke to add a more complete transcription of the dacument regarding the inscription evsed according tothe instructions of Bartolomeo di Benedeto di Lando Fortin AOSME, I1-2.2, fol. 9 (17 December 1436): "(Q)uo« reactentu litre dominiIohannis Haud ut dict Bartholomeus ser Benedict. Kem deiberaverant quod reactencur litre Face ad pedes figure et equi domini lohannis Haud

    You might also like