nagel - michelangelo

7/30/2019 Nagel - Michelangelo

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\TICHELANGELOA-\D THE REFORM OF ART

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CNvrsnrpcEUNIVERSITY PRESS

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(]HAPT!R IOUR

The Altarpiece in the Age ofHistory Painting

TIII BTJITD!NS OF TIII AITARIIfCI.:r trre work ofart lus vnnarcd .ur es.rblished genrc. an.l in thr $rv coll-r.leJ the ictcas ofcriticr. who thrs lbund themselvcs comt.llcd to brc.rdeD{inrc.'r BeDedetto (lroce night ecll hrrc poirte(i ro R.rphrel'srl,rnrr of r1o7, ui thc Grllerir llor:.hcs. !r lronre (Figure 6j), r\ r chssic.rrnon oihrs dicnur. The rvork st comn,ssiored :r\ :rrr JtJrpiecc. ind:r rs finrl form it prcsented e siqnificant rlcparnrre fronr the ettarprccc tr:r:.f. proposms r conceptioD of histon pa|rtirrg tha. hrd nor prcviousl,v.::J r \ecurc L:laim to drc lirnrt oi hrge ersel printiDr. The rhenre drrr:hiLugclo hrd streuuouslv rdrpted ro: trrFiccc conr,.entions here pro

::.1 r brcak nith the ekrrfiece rrrdition rlrogcthcr. Thn proces ofdeprr. prcoccupieLl Rrphrcl duri g thc prcprnrion of dre ptrlrel rd nrformcd'.cn approrch to thc parnting's rhcnrc, s'hich is centrJlv co c.rnc.t wrrh. lrcblenr of rupnuc ,lld loss. And \.ct dre Lr.t th* dle painturg nr:irks a:::ric crisi\ conrpli.irtes rnv cffort to Lrurlersulcl it liltoricrll.,r To ifprcuch, \ork rccordrng to the "nornlrl' reqlire cnts of rltrrpiccc puir)tilg :ts.. rcrc knomr in the pcriod (d,ri f.,, ivouli bc to ignore its owrr chius:trnorical novelt): Dut to treirr ir \rrFh rs r "history printilrg'ofdrc kind:::rlirr l.rom htcr picturc g.rlleries is to nrposc upon ir it crtegorv esrrblishcd:: lrrer (t0rr '.,r. Dd $hose vcr,v origDs are prrt of dre problcm $rt,rrire\ stucl): Thc \rork demDds, insrerd, to be sr!dicd hntoricrll,v (i,, r"), rs: tnstrncc ofsome oldre tran(brin.rrions in rhe l:uurc and smtus ofpainting::( occurrc.t in dle opening pars ofdre ri-tteelth ccnturlrlThe gcncric ursubiLit,v ofthe tork is best illustratcd bv settire ir \\ithirr I.:oN of receptiou. I rrgre hele thrr Rrphrclls prinrins respo ded directlyj


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to Michclxnllelo's etlorts in the Lorldon Ernt"r'lcrt Gee Figure 6) to prcscrvcthe altirpiccc tradition whilc inco+oirting a rew conception of historyprnrdng. l\aphacl\ depllrture fronl the Jtaryiece tndidon tn t!rn produced asigniticantly "forkcd " lislory olrcccptior:It \{rs on fie one hand recoglizedxnd ntilied it1-fitiai's E nnlbn t in the Louvrc (cc Fig{rc 76), *'hichbclongs dn y to the carly history ofthc mrdern gallery picrure, anct ol thcothcr Nas resisted by]rcopo dr Ponrormo in the Cappori chrpel (scc Fignrc77).n'herc uc see rn eilort to intellllte snew dlc therDe, ard the.eN conccPtiol] ofptrmring ir e rbodied, with the hturgical furction :urd setting ofalt:rnnages.

Rrphael's priniing introdLrced r conccption ofpaintnrg. rrticulatcd errherin the fifte.-nth cenllrry by Leon Brtrista Albcrti, into a lornral that until $rttinrc had been governed by fie corNentions and decortrrn of the alhrpiccc.Rrphrcl did so quite delibcrarely, bv crreiullv folowir Albertit pteccPt! ondre depicrion ofmen$ers and bodies, rs rvell xs by dePicting I thene theerrombment of Christ - thrt had beconre a paradiglr ofthe Albertiao ,lrnlrtu.r As we saw in chrpter r, Albcrti had Proposed as a model irr rhe historvpaintcr m 3rrrique rcprcsentario. of thc carvitrg of the dead Mclcager (seeFilr1uc rr), r challengc taken up in thc more eraerimental and flexiblcnrcdtuni of ergnving bl' MaDregu, who xdxPted the rodel to dre ChrisriansLrbject ofthc crtombment ofChrist Gee Figrrc 17).That it $'as nor incorPo-

AND THI IEIORM OF ART


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rarcd in.Lltrryieccs rvrs,I argucd, due ro .ur implicit coDtlict wirh altarpieccconventiol\ arrd tradirions,,r conflict clcrrly nr cvidencc Michclangelo'snrenuous cffor$ to ellccnixte this adsPtaiidl Raphael's ,rlruPiece was rot, inother word!. sinply lntendcrl m a better and grender alrrpiecc thrlr those thatcaDle belore iq mthe! it herdded a deprrauc lroD thc a1lrrPicce tnditrcn asrch. which it clcady co ionted dr a r:rditioD {Thc gorii ofAlbcrti's ffe3lise was to raise paintirlg ro the srrtus ofr libcnlafti ro rhis end il provi{:led Painting wirh I consistent scr ofproccdures andprhciples. These ptmciplcs werc clitrerent 6om thc knrd oladvice ollired h's;ryr Cennino CenDini\ Lr,o tutt'Attc, ltl which thc pdnter is lold ho$ toprcdu.e Ncll mde, markctable goods rnd run ar eficient, ProdLrctivc shop'Althoullh Albcrti's treatise lud lln iDrportanr pncticxl co poDent, its nuirlpurpose w3s to supply prillting with a set olxesthetic i'tcJs lndced, accordlrg to Alberti, i. \as the matk ofthe true pairrtcr ro put the idexls Pmper tothe arl of printfirg bcturc rny corridemtioi of nionet:ry profit Thcse rcs-neriL -rn'. 'rd -he r' 'r ' u.eo rr - hr' rr nc rr $ e I Drr ro P rrr'r rgconceived as an art. They apphed whether drc subject depictcd wrs Chrisriaor pasan.i Whcficr derived directly fto Alberd or not. sucb I concePtion ofpainring as an xrt wa\ essentially realizcd nr the seventccnth-centlrrv picturcgrllery, r.here secular ubjects coLrld be lo nd alongside rctigious subjects' xllof thenr prcsented.rs illusrious c\amples of"historv p:rinring"

Bel-ore thc g:rl1ery pictlrre had becone e clominant iuritution of art pro-'1...rio.r. Ioucr.r."pro'- cnd r;E^n ' g.r1 borrnd"-r' ooL Pl" 'Ncw co ceptions ofpalnting bad first to lq clainr to the surhces of largepancls. and this mcur rlut thcy hrd to contend with rhc resislrnce posed bvthe convcntions offic altarpicce The series of rvorks studied in tlis booko6er a textbook case of this process, but pere1le1 dcvelopncnts uay bc notedcl\ewhere in luly xt this time, witb or withour Albertian notivatiott:Alturpiece convcmior$ werc evetlwhere bcing tested and revned rrndcr theprcssure ol ncr. artistic devclopnrents, p3rticulerly in mrrrtive panrtbg Tlissituarx'r Froduccd. nlJacopo Aelini lor exmrplc,highlv setrsitivc and conscienrious cForts to prcserve rltarpiece raditions cven Nhile incorponting anew rrray of narntivc and descripuve dcvices Thc ull}e siruation Producedirl soDre ofvittore Catprcciot works :r brcakdown of Jtarpicce corvcnrronsaltogether. Nor surprisingly. this gcDeric inshbjlity d$ pro\rcked backlxshes'eflbrrs ro "reinstate" a trrditional conception of:r1tar painting in the ircc ofthe ncrv developmcnts.r

As r well known, Rrphrcl arrived at the fin.l sollltion for hr altarpieccor y afto rn extendcd process ol preparanorr 3nd selFrevnioD This Prccesscan be substllrtiallv reconsrructcd frorn thc u rrsLra\ Lllge nunbet ofsurviving drlrwings lor this project. The scholarship or rhese nuch studied dra$'ingshas tended to sce them as docunrents ofa proccs oFlrce ud exPlontory artis-ric crcatiolr. I ;ire+ret them, instcxct. as documents of generic tension and

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AND THE 1II]FOIM OI ART

rupture. They rcvcal, I believe, the po$'erfirl resistancc of alhrpiece conventions to a new colrception of painting, itld the proces b,v which that resis-hnce was overco re. Several schohrs hrve viewed rhe esential change incompositior arrd therne, fiom a lamcntation to n enrombmerrt, es the resultof a pivotal encolrle! rt a cerrein poiDt in thc prcparatiorl pircess, withMantcsDals E,lo,rbr.r,t engnving. Albertian thcory, or with an ancientMelergcr sarcophalrs of the kind re tioned bv Alberti.N This vicrv is. Ibelieve. contndictcd by the very gradud mtrrre ofthc changc docunrentcd bythe dr$vinlF rhemsclvcs. I propose, instead, rh.rt evcn thc earliesr drawingssLow a kno*1edge olthc Mantcsrr print rnd the Meleager rrrodel. Tlns ref-ererce was, nrdeed, a quire appropriatc and nrtunl response given its rc1evancc ro fie cliett,Atalanta Baglioni. u-hosc name rnd whose fatrily'.s litenrypatrrnagc gavc her good reasoo ro be xcqurintcd witlt the D)'th. I ar$rc rhatAtahnta fa$ioncd hcr appeJ lor divine rnerc,v on thc basis ofthematic resonances trmong rh. rhrcc rcgistels of prgan myrh, Prsnlr nirrative, xnd Per-sonal hsrory a highly novel stritegy in. trrpiece Paintinc of the period.R:rpheli colnpos'rional studics were, I believe, etrorts to meet drese der,'otiornl p!ryoses by incorporxtinjl firtures of&e Mele:ger rnodel irrro a raditn'ral a]ttr+icce scheue. Tllis pmccss of Dtcgrarion was unersn and sharplyillunrlnates the generic controls and instirutional imperrtives governDg casclpaintine xr this tinc. ln dre end, a persistelt puslring fi,Nrrd olthe prepaja-tion trocess provokcd a disruption of altarpiece convcntions altoge$e1 torvhich painters olthc folkNin:l dec.rdes were cornpellcd to respond.It is well klorl'n that this proccs was rurked, especiatly irr its later smges,by r critic:t1 dirlogue wirh rvorks by Michclangelo, such rs the I'ji.r,) (secFigluc je). the .Sr. Ildrfir r Gee Figrre 7.t). and thc Bdlr/. d Cdrd,a. lD fiischaprcr. I ancnipt to show thrt the tinal step was r clircct rcsponsc toMichchngcb\ o.m ctlort ro adapt this subject to thc dcmands ofalrupiecepaiDting, in the London E tonlrment. Michelangelo's singulxr solution is, Ibelieve, the key ro undcrstanctirg the prirm dillbrence that sepantesRrphrell im1 conception from thc Mxnres arrd Melerger nodels: Thercorganization of dre subject as a dnmr of scparatiort, ir rvhich Chrisr issl](N'n bcing crrried rwry i.orn the l.rmenting group. Rupturc at thc lcvcl ofgcnrc corrcsponctcd to nrpture at the level olthenc. Michchngclols work rsthus esscntial to undc*tandrrg dre proces thnt led to l{aphaeli final solution,rnd luphrelt is a srrong er y interyret:rrion of the signilicrnce ofV.h"l'r'geloivorl ,,,,l,e 1,." ','r ,1,..,1 ' pi-Raph.rel\ rltarpiece, drted rsoz. rvas commissioned by Auhntr BagLonlftrr her lam1ly chrpel nr the church ol San Francesco 11 Pr.tto in Pcrusia.Although rhe exact d]te ot the commission s nor krowr! it has oftcn bccnlecn in rclation to rhe eveits drat had recenrlv occurred in Pcrrgia trnd ihrthad resulred in thc dcath ofAtahntx's son ir rjoo. Alrcadyvtrs i, iD a highly"firnilirl" rerding ofthc rork, asuned thrt rhe panrring $,rs shaped b,v refer

:nce to dR.iphael nru g to bbccame staihe PerugPcrug;ian uire sca thcjepictecl nB;sed loosrtlen sssum:\ rhese e:hcsc cvcn:nsrerd on.-.r1. n,ytholidera.ion:ie circunour prirm,rong drarrnsposiriooi hisoricAtrlantrlrs rhe loramed Cr.:lttzza turourhftl c:r'ed in angh style::ilaces of:lrhough c:rrher. Mr'iere A(or:iremselves'ft ?d,e.rg ftctor ir Jul.v of rr.ir unclc:o rcsist th

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IrlE ALl'^RP]!CIJ IN TIItr ACI OF IIISIORY IAIN]INC

cnce to the evenrs rhft preceded thc cornirissior: ..Irr comtosilu thrs workl\aphacl irmgurcd the :trieffelt bv the closest and most loving rchrivcs in c:rrr,ving to b!da] rhe body ottheir dcxresr, oD whorrr Jt thc welf.rre. honor mdrdvannge of rhe eDtire f:rnily deperrdcdt'e Tlis rcading of rhc pairtinsl-...,'e{ nd,-dJ!.r 5 t,ht,...,,o,r.in J,Li. r ,,rrb,-t,othc Peru:tian lllrmenist Francesco Mrtarrzzo, which le1l tirc srorv of theP-n prJ , $ ,'. rn !:,. rdi, ,l t,,obB, r.lha.rl i.r.or.p,,,,_. o,.,i,. u ,-.r.v \.r .i. IcF o- irur,r'e "br-'p,c.r. orNor rh. or,,.1.,r1 ,l .-. .depicted figurcs to the persomscs in!'olved in the pemgian evefis of rJoo.r.Bxsed Ioosely on :r belicfin rbc irtworl as a mirror ofirs rrne thcsc er:cornrsolten assLrne tha. the picturcls dnnratic qriallies werc ar le:rsr in part inlpircdby thcse extuordnurily d matic e1.enr\." While not dcnvin! thc rctevmcc ofthesc events lot thc intentions of the patron, thc tollorving arsr'lnreltt insistsre,l^n,iprr.,l..rrrrjr,.o., - h ,,J r '..r fo\rror...r ,.-e-.. tr..o.iLr\,.o1og,..' n.l 1,, I,Jr ,-,J.r\.d.$-t .{n,... t.,,d1,.,.,,,o,siderariors - drat conplicate this model of rhe rehtionship betrvecr att lDctthe ci.cLunstances in w.hich ir is made Lcr us begin. rhcn, wirtr dlc chtoricic,otrr prrmrv souLrce. Although ir is prcscnted rs r chronicte, it conuins asfong dnnratic structure, q.hi.h irr turn rrrrlcs ir sLrsceptibtc ro tlreDrati.transposition. Ir is thr$ nccessrry for the purposcs ot drexuric .rnrlysi\ if norol h istoricrl "brckgror nd." to gilc n ,r close radr.Atalant.r B:rgliod, hcrlelf:r desccndrnt ofa brarch ofthe BrEtiori 1.rrrl1y.'o ncu.\ or Cr,,", Bdlriu, l.) shu,,.h-..,. "d...J,nrDcd Grilinet.o. Griforcto. rnivenatlv ad ircd tbr his bcauty - ,drbelkzzaJl un dno Cdri,rrl.,,,'said Mrtanzzo - was the ).ounJjcsr xnlor!: the\"Lhrr,.ro.rur r,e rIgB"g or rc.r.'H. $J ,... .. ,,. , ,.,. f,.lived in r housc built by his gr dtarher Braccio tlnr h:td been decorrted nlhigh sryle; irr it rvas a t)anl af '\o'nini illu!tri,,'tike thosc thrr .lecorated thcpahccs of othcr humxnist princes.rr Thc other men$ers of rhis cohort.although closc in rge to CrifoDctto, wer m tact ttrc colrsirx of (;ritolerto!ftthcr. Mrtarazzo implies tbar lhese colisxrs, thc nrost proniDcnt of wtromlvcrc Astorrc, Sigi$ondo. Simonetto. anil ciovan l,trolo, $crc c)oser rnrngthemselvcs dlrn they wtre to Grilonetto, q.horn he dcsfftbes rs their'?tortpoic. " Criloneftols sonrewhrt nrargnd sntus rhus bccarne I contributing fr.ror il fic !'\'erns surmrui.lin!. rhe cetcbrarior ol thc weddiry ofAstorrcinJuly olrjoo. Two odrer p?o,?od pressed hxn to joiD rhem in r plot reaiDstrh.ir .'.l\. fro.,ri.r-g.F, rhe. r\...r,. Cr.r ., .,o ,,,",..,tto .csist thcir induccnrents, trr leasr idriatly. Metarazzo, who rcnrains sympathctic to the yourb rhrcughour dre narrarive, sugeesrs thrt he nrighr havercsxted completelv had hc not been lctt uDguidcd b1 rhe rbscnce ofa tatherFIe turally succumbed, Matarazzo says. when rhe plotten nran..rge


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MICI]ELANCTLO AND THE NETORM OT ART

rooms of dre principrl men of thc BasLoni clan Asbrre, Siginnorrdo, theirl-athcr Cuido. and thcir cousin Simonctto were Jl killcd in drcir nightclothes-Thc fbrmiclrble Giovan Paolo lnanxged b escape and leave rown; quicklygtrthcriDg forces oubidc rhe city, on lhe fbllowhg day he mounled a coun

Anri&t thcse events Mtrrerazzo iitroduces (;rifonetto's nodrer, Atalantr,Rrphaelt futurc prrron:"Atalanta rvas her narne, a widow she was, yorrng mdbe:rutifirl, md was lcft r widow whcn not yet lwenty ycars okl, rnd ever livedin widowhood for rhe love she borc hcr sorr Grifoncl'with rhe violent turtlof cvents, A*larrta! lovc lor her son quickly ttrrned into scorn. Matarazzonotcs \\.irh apprcvd thrr she losr o tinrc in sending lor the childrcn ofGiomn I'aolo. her son's encny, to protect theni fiom the iDsurgents. Sh. rhcn:rbaldoned hcr son's house,{'irh rothing but the sh.rwl on her back, sweatingthrt she would nc'ver return. Togcdrcr rvifi Grifoneftols wift, Zetobia, theirclildreD. and the childrcn of Giovan Paolo, she rct.catcd io rhc house ofherfather. Crilonetto camc to her several tinlcs rh:rt day to plead lorgivcDess, butAirlanta rirsed him cntry ald ctLrsed hin rcpetedly:And he. nor oncc, Dor twice, bur agaui and again rcturDed to sleaL to his sweetmodrer, ard she, for dre wr.nh and scorn that wls in her, would not listen to hersoq nr-v, radrer cuncd hnr ard thc phcc where she barc hiD and t'\c hour oflnsbirth. For tle roblc GiloDetto had rcpcntcd lliDr ofthc great bctnyal, but they

Fnally:livnrg up, Gtifoncno ltlers tlle parhctic tn.rl words:"Never agrin willI conrc ro vou, and rhe rimc shJl be when you shJl wish to speah to mc andslnll noi bc xble, you thrt arc x harsh nother to your lnhappy son Gdfone."'aMeann'hilc, Ciovrn P:rolo was ucceslully leadiig the rrrdr.,c. M.rtaiazzo

hints that ClriFonctto, defeated by his motherl rejectrcn. virrually gave hirxelfup. He w3s brought to Ciovm l']aolo. who, decLining ro follow GrifoDeto'scxrnple in stanring hjs hands wirh fimily blood,leFt hinr m drc haDds ofHsmcn. Grifb etto was immcdietely put to $c sword aDd left to dic in thcpiazzx, his bo.ly laceruted wrth wourds.When w,rd of drrs reached At:rlanta,she cane runnnrg with his wilc Zenobia to his side. Ar this Poi t Mrtanzzodows down thc pace ofhis narrativc anrl gives an extcndcd. poiEunt descriprron of the sccnc. Ar the approach of fie mother and wifc. Cnrvan Prolo\mcn scattercd lor Fcar ofbeing recogdizcd. AtJmta,6nding Clrifoncfto lyingon thc srcund but not -\,ct dead, caDe to his side aDd,liDding him unablc tosperk. acknowledged drc prophetic truth of iis wartling: "'Son, behold the

rodrcr that wxs wirth wirh yrul rnd now I would speak ro vou, but you can-ot, even xs you srid it tvorJd be."'Overconing rhe initial mrterrrl imprrJse

ro disolve m lamcnt, however, shc rccovers her original purpose ald exhortslirrr ro forgive by sonic sign rll thosc who h.rd helpcd to kill him:"And thet

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upon the noble youfi stretched out his right harrd to her thar was herseLfsoyoung, and clasped his moficr\ white ha d itr lns. Therr at once the soul lefrrhat beautiirl bod)' and dcpartcd conforted with the intinite blessings ofhismodrer in ftquitalfr,r $ose fbrnrcr curscs."IjUndcr &e ninistrations ofAtalanrr. C;rifonerto'.s ctcath is rmnslormcd irtoa sccnc ofChristian forgivenes and redenrprion or so. at lcast, Matarazzochosc to represent ir. (Did it ,1so become dre stuiT of popular legerd?)Matanzzo has, irrdeed, intcrpreted the errtire story as a series of moralexchanges rnd cor[pensations. a]Dost rs if it were a monlity trle. In rctribution for her solls niurdcrous act. Atahntx refuscd hnD succor rnd cfectivelygeve him up to cxccution. At thc nionicnt ofdying. howcvea he fbrgircs hisLi1lers, conimturicating the very rct of lorgivencss dircctly b his morhcrthrough thc prcssure ofthe hmd. Thn aci o1'forgivenes rs itselfscalcd by hrscxpintion, fius trtxfo lring his derth irto a sort of sacrifice. He dies $'ithhis modrert berredictions, in exchaqe ("1, mnhrf) fot the curses she hadhurled rt him eadjer FDalll', Matarazzo records rhat Cdforefto's bod,v wtrstaken ro thc Dain quare, whcrc it rcplaccd rhc bocty of thc assassinatcctAsbrrc. which had been put rhere exxctl,v twenty Four hours bcforc a fbalexchansc that he notes as r sign of"how cod'sjustice worksl'Ib

Matarazzo did not relv solely on these internl correspondences to srruc-ture his n ntive. He :tlso draws prral1els, throughout the storl', to the evertsolChdst's Passion. For cxrmplc, he describes ho$,, in the drys before tLe f:rteful coup, those involvcd u thc plor contimrcd to greer thcir ener cs with" cresses ftisDed and fi se, eve n as Jndas I scrriot did Clrrist."r7 Alier the coup,fie lricnds ofthe Brgliod were rbused by $e people'jusr rs thc disciplcs olChrxr were by dre lews rvher their naster w.rs r*en."'r These prr:Ilelsclearly reveal Matrnzzols partis:tn leanings towad dre Bqlioni, who were hispatro s. When ir camc ro crifbnetto. ofcounc, his lovdties were dlvided. rswere Ataltnt.tl\ and accordingly hc uscs subdcr rhctorical clevices in tleadDgthe sccnc ofrcconciliation played out bctwccn thcm. Matamzzo transforncdthe sccnc of $e grilty GrifoDettot death into r dranra of Christirn atoncmcnt and reconciti:tion by. agairr, rtawing parallels to Christi I'asion, bur hedid so by ueals ofdelicatc resonances rather thrn by explicit dechr:tion. Forexanple, he erhaDcccl thc prthos of dre mutilatiol1 of Crifonetto's body byemphrsizirls Cri6ncno's physical bcauty, e dc'vice conmonly enployed nrthe devorional litcreture ofthe lifc ofChrrst. Likcwisc.Aralanta is described asa purc and virruous mother: She has whire hands and has prcscrvcd hcryouthtul beaury Matarizzo hnrts, thrcugh her chasriry ("she . . . ever lir.edin widowhood for the lovc she bore her son"). She ws, like thevirgin, rmother wifiort benrg a wife. Above r1l, she was "sage arrd prudent;"she urrderstood that hcr son's life must be sacrificed and her orvrr rnothedyatrectioDs set asidc lor the purposcs of a highcr rcdcmption. After his death,\he is dcscribcd as a "dolorostt notrl' H$ l^nrenration, to1cthcr with that of

r19


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Zcnobi;r, echoci mat)y lrmilixr rePrcsentitions of rhc Virgin rnd theM;rgclrterc at lhc hmc ttrtion of Chtisr: 'Tlre rc:1n that his woclul rnothershed rnd thc tviic thrr rr dctl,v lovcd hini whcrr thcv sx\\'thc stre" clrenchcd*irh thrt roble bl


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\\ asUfizi. At

lN I Hr ]\crl

one poinr it \aas thlN considcred x'lermDlsl'rnd ir s:ls Probablv nltendedtbr presentrtion b the Parrunrl'en .'irhout preciic kroivledgc of thc terms of the coDn)rssiorr' it isimportrnt to attempt to undelsrarrd hot such I concePddr for the rltaryi'ccw;"1,1 hav" ,erved Atrhntxls prina dcvotional concerns lhe atrrpicce wasintencterl to serve in rhe Brslioni firlnilv btLrirl chxPel 'n &e church of SanFranccsco rl Pr:tto. A\torre, alisnbndo, and thcir farher Guido' killed in therevolt of rioo, were buried in tbis chrpcl, rs was, ptobab11" Crifonerto hi -rc1f." rvasses lor their souls, nd latcr fol thc sotl ofAralarr'r' were celebrtedrt tlis rltar. Thc mgic e\tn$ ol lJoo drus do rrol simPly consntlLtc a potcDtially relcvartt historical circumstmcc lor dre paintingi thev placed r dircctlrturgical burden on its chapel and irs rltar' Ir is likely rhat Atalarrtai prinrar-v-..".' t"", f..l- *'tI soul rnd for that ofhcr traitorcns son The strategyshe adopted n her rltarpiece is not unrelated to the drrrrrtic rolc sLe plavs nrnlrtrmzzo\ chroricle, $'here she Ruction\ rs I cmcial irtemedirrv ir hclp-ng her sor dic I vittrcls nd Chrisrian dexth llcr rlhrPiecc was al\odcig ed to rcfet to tlr:rt ePisodc .rtld to mtrke I parallel to the lanentetion olChri-st the basis oian appeal ro .tivire mercv on bchalfofboth theit vrtrisThis is u uncomnon slrxtegv lor rc'ommcnding onescJfto divinc merc-vrn r. alurpicce. A nDre convendon,rl device wo! d havc been to represenrherselFor her vn nr mrrshipftl supplicarion beforc theVitgin' and prescnredby rheir prtrcn \aints. A srritcgy some\\"hrt closcr to diat sdoPted br'Atalartr*s ar,ptyed I'y Fnnccsco Ses\etti in his chapel in thc Florcrtnre clrrrrch ofSanu Tinld. Tlc chrpel conrPorts I doublc dedication to FnDcesco's Danlesainr Francis arrcl to the Nrriliry Warburg trst suggc\ted rh:rt dre se'ond dedicltion wis prompre.t by th. cleath in rhc preccding vear ofFrrnccsco's eldesr'"', rr,-,ao'o. "na tl'. r,irth shortlr' thercafter ofa ncrv son' rvhom he nantedTheodoro ll)r chirhnrlaioi a1*rpiece ofthe N'drlrirl, ofercd I tlicnutic P.tr-allel to Sassetils storl', a panllel then reirriorced on the Lcvel ofthe Frencs lcg-cncl throusl] th" s.:ene of thc Rcssrr'Y'i'r ol' tlt Frc & '\ord1"r 'Sorr Thealtupiece puts the birrh ofrhe neu'son undcr the sig ofdivine intcrventionrna "U cet"U.ates A'e tirth ol the SI'ior who will bring eternrl lilc to rhcrlerrl TheocLoro I. u well as to Fnnccsco and thc rcst of his kin Bothlru.e\.u \. 'r' .r d {rrl' r' Lr''glor' lroueC -r("( oLr '"r"- irrbuilding arr appul for rlivine mcrcv on the basis of r thernrric parallelbctweer their lanrily hrstories and episodes iiom srred histol'Wllar xbout Atalartrt role in the cpnodc of hcr sonls trea*rr and rnurcterwarranted such rn exalted parrllel? At t|e titrre ol thc coup' Atalanta n'asunwavering ni her Lrydry ro limilv rnd stare, cven though thrs de rrnded thc-.a..""ii.' "r1". r,.1ovccl son. She resolutclv rclused to ackno\\''lcdse hiseppeals ro her motherly sentiment,but when hc reccived the punishnrclt thatw.rs duc hm. she finrlly clrmc. i1r the spirir of ChrisriJr nrcrcy' to llrinisrer toh;n in his linxl ho rThe events lnd phced her in r1r impossible prcdicrmctlt'


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puled ir opposite directions bv the two nrost powcfirl inaginxblc deurndson hcr lo,v3lty. But thxr irltetniedixr)' status also ,lowed hcr to perlorD I specixl nnssion ol rcconciliation Her strict adherence, ulrtil tlis poiDt, to mor3lright and fxmily loyalt) over thc appexls to her nlotherb rffcction grvc I sPecial eflicacy ro the noble act by illich, she cotrld hopc. her son died

This lun.h enhl rppeal wm concrctely connectcd to the liturgical apparatus of the Mrss ancl the altar drough the other elcmcnts of thc altarpiecesrructlrrc. Thc Jhrpicce w$ desigrred to be sur rouitcd bv a pancl. now irrthe Callerix Nrzionrlc dell'Unrbrja, $hich represents 'iod drc Frtherrcknorvledgrng and blessn4 $c sacrilice ofthe SoD belon'. This nrxrge filauresthe dcsired response to thc opennrg pnyer olthe carlon ofthc Mass: "T, iqi'r4rlcl/,cttssint Pdtet, Pt l(su1 Ctuists l Filiun t lrn' Donin n no\t tt suNL;Erclan s d. !tti1111t!, uti dce,]lltd hdl'cds ct bnedi.^ hact: dona " God the Frther\nrcrcy is showi to bc noved ir rcsponse to thc scene rcPrese ted bclow Byimplicrtion. Aralaria night havc hoped. his lnercv would also be arcuscd bvrhe srory of hcr mti her son. modeled as it rvas on this sccne of sacriliceIndeed, Cod thc Father's sesrurc is in explicit double blesing' addresed bothto Christ rnd b the Virgin, as if to frcilirate thc wished For cxtension roAtJ:urta and Grifonetto.:rThe fr'ezc origitrxllv seprrating the pxncl above thcnuin field was, moreover. decorated ivith putti and gritrons, thc B:rglioniemblem brr dso a direct rcllftnce to Cdfoncno'j lleprcsentations of drethrcc theologicJ virtucs in rhe predella. imlly, oeft designed to sustaiD the:ppcal nade in the nran lield Faith holds dre ch'li'e ofthc Mass the insritutionrlly sanctioned rnerns of invoking divine mercv Hope makes I more.lirect plcx, Srzing up into the nlrin {ie1d ofthe rttarpicce Chariry in dre center,prclects xnd nu$es the chndren perhrps a relerencc to Ar:drntrls Frorecrion ofthe Ilaglioni children :rnd her cotrllitmenl to thc preservrtion oftheFannly L1re. as well xs to her ultixnte comparsion for her son' bv which hedied a redeeming death."'

HISTOAY. MYTH, AND |ASSION NARIlATIVIThc schemc fbr lhe Louvre cotl1posiiiotl, has often becn poirred out, rvastrdaprcd liom that used by lcrugi o in thc ?itti Ldlhentation ol r4\)5,latncrlvin thc church ofs:rrta Chiara in Florencc (see Fi!.1rrc rj) lithc Louvre conlposition hrd becn put into erecution, howc'ver' it rcadv would luve consrirrted a signilicant .leparture 6om thc Peruginesque schcnn As I ob\eNed in.l,.prerr P-rrre.o. Liac"t "^ rcf\.,r 't reofT'-r 'r:v


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iiri,,.

hi

.rrc kepr b r r)rinimun! end instead thc tigrrcs cng:rge in indepcndcnt rnedii:uion on the derLl Christ, *'ho is shown proppcd up on a sqLrarc, altadikcblock. Ir thcsc wirvs. tlrc xrtitudcs reFrescnted in thc printiry rre "dchistoricrzccl" :lld assinihted to thc ,rctivity of thc \ronhiPFer belorc dre alter ndr|c prnl ]g. lriPhiel\ Louvk conrPo\ition (\ce Figurc 66), b,v co1]trrst. ivhiletrcscning some Pcrugnresquc poscs, prrticuhrly ilr the t{'o stxndills nrcD',urirrllrcs the figurcs and btings theni i ro moie rctive relarid to onc. other. Ir phces grcxtcr cnphasis, in orhcr wod\. on thc historicrl atld irllrr.rtile cohcrcn.e of thc sccDe, rs so re!hing th3t ocorrred "brck 'hcn,' Iarherihrtr Frimarily as r fr.rmcm,rk lbr worship in tbe here 3nd no\\': Pcrugmo\blocllile srcp is replaced by,rcrilc ligurxl supPort: (lhrist\ lcgs rcst on the\4rsdrlenei thiehs :rrld his hcrd rests on the lap ofthcVirgin tuI nrtenncdi.1r\.' monlent is reprcscrrcd try 1 .or)Dolition srudv at Oxford, rvhich l belicverc be prcprlrtory to thc Louvre rrrodr:/lo:The Virgin is shorvn sceted on Iblock. xnd (lhristi uppcr body is ProPPcd rlp in I nanner nrorc closelvrcsenbLing hn pose in l']crugnro\ Frirring (FiglLIc 67-)'? Ii fie Louvk sheetihcVirgln is brougl]t closer to thc srol$di hcr leli lcg rs pushcd do\ln bv theRight of Chri(\ torso, mct she lainrs rrrorc clranreticallr,: She rron' clcarly.onstitlrts a second focLrs of &xnratic elten.idl' llPrrt fonr the ligurc olahrist.

I


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All ofthese developments torv:Lrd a morc dramatic conception ere clearlvinte igible nI fight ofrhe special Daturc ofAtalann's appeal, rvhich invotvcd Istrcry "histoicxl" componcnt. ln nraking.hem, Rrphtrel rclied, alrcady thherrlv stage. on clcmcnrs of Mrnregna! larnous Ertonr,rdrl enqr.rvine-Althougll it rs olten thought th:rt l\rphael bec:rrre rwrre ofthrs print ar ir laterstagc. rvhcn the slrbject was recast irro dnt of dre orrying of rhe body, :rnar.arcness of M,mtegra is roticeable, .lrerdy hcrc. nl r Dumber offeatufts:nrthe figure ol St. John, iD the amr of fic Mrsdalcnc. rcaching acrcss Chistlsthighs (r gesrLrft often nnnLl on Mclcagcr or Melcager-inspned compositiord, ard the group of thc swooning Vng , r.ho is supporrcd by oneMary while being attcndcd to by a thirt1.,8Although Raphacl! m'areness of Maltegna's print at tlis carlv srage hasbeen obscrvcd by seve.rl schola$, the nnplication\ of $is observation reedlnrthcr cxanrination. Raphael krew the print xr.l wr\ clcarly iDterested inincorporating aspects olits conposirior. yct hc did not adapt rhe narrativeof the cillying ofthe body, irxtead making trdlN.mcnts witLin a nrcrc rra-ditiorral Lnentation composition. I have suggested th:t one reason for rhisdecisior is that thc hmcntxrion over the body rnore closety nntches rhestorv ofAtJanta and Clrilone as lrrnsmitted by M]rxrrzzo (iDd perh.rps as itrvas gcrcrally known and recou ted). A lurther rnd relatcd considentiorr isrhat of xltupiece decorurn:The lamcntatnn. which h d1e inlll1obilc bodyol Christ oflers r suble licu of dc.r.otion.rl attention. was better $itcd rorhe implicit functrlrs of altar painiinq Al tle very le:rst it was a subieciwith llr establishcd rradition in rltrr printilrg;the sLrbject ofdrc crrrying ofthe bodv rvas, b1, conrrasr, quite unheard of,:rrd rther urcommon everr ilodler carcgories ofreligious rrt.

Ths s nor the only tinre rhat dre Mantcgna print. and the Meleagcrnodcl. were adrpted in this restrictc.t t-ashion. For cxample, i Foppr schoolprnel in Palir (see Figre rs) makcs precne qllot:rtions f-ro M:rltcglai printbLrt likewise rdrpts rheD to a conpolition nrore closely resen$tins x lamen-tation - rnd pcrhaps fbr similar reasons ofalta4iece decoruni. Even in othercxtegoics ofpainting lve see e\,'iderce ofsuch a convention: resistance. ThcDost f:mous cllse iD Locx Si$orcli's fresco nr thc chrpc] olslln Frustho andSlln l'iero Parcluo in the Cxppela Nuom in thc CathcdraL ofOrvieto.whichcle.rrly allrrdes both to thc reliefcoDposrtion olrhe Carryinr tll Md.drer id t )Mantegm: prirt in fie grNaillc c-drryilK d Crrrr shoqnr on Cluisti sarcoth-irgus bLrt dcpicts in fiont of it a scene ol the lanrert ion (Figure 68).Signolelils work is cspccially i portant in this coruext, as wc heve clear evidencc of t{ephaeli contacr wjth Sigrorelli, rrd with his Oniero frescoes, inc\acdy these ye.rts.'e The most poigmit rnd innovativc gcsture in R:rphaetiLouvrc rnodcllq thar ofthe strnding Mrry who crrclully lifts the veil fron thefallen head ofdreVirgin,is quite closc to the gesturc ofone offie Marics trrrhe Cnr,,4rlo" b:umer thar Signorclli had recenr\ painted (ci. rjos) lor the

(lonlrarpaindneChrisr tSignorelrhe ONi

h\?o!hesn,rge of


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chii.

x hnrcnThe

whichs.rrcoph

63).

Rrphreli

Confirtcrnit:i .tci Baituti di SirntArrtonio of Boryo S.Ln Sepo1crc.r" T|rspainting shou's n thc backsrourd, rg:r1l, a scene of Ac crrrynrg offie derd(lhrisr to the tonrb a clcar llaptrtion of the Melcrgcr compositiorSigrorc i "quoted" r cr,lrFle olycirs crlier in the lies.o xt Orvicto. Thr llclrhe Orvieto iiesco indic:ue lh:rt bv this tirnc the ftlircrrce to thc Mclcxgcr

rodel nr scenes of Clnistl |.rssion had bccome virtrJly cle rigueur emongnformed ard rniridous Frillters. Tl,ev shon:, spccificallr,, :r gF.rt irteresr inrhis nodcl on rhc part of r priruer n'ho exertcd r sisaiific:rrlt 1D11oerce onRaphrcl in thcsc vcrv ),.err. TlIe cornectiors ro Signorclli thus rellriorce rbehlpothesis thar ]{rphael sas au'rre oidre Mele,rger moctcl specilic:r1| rt thestage of the LoLLvre nodcTl0. Ihcv susscst that, like Signorclli, l{aphrel L,re\!the rrrorlel bLrt did not see it to nrakc it thc Drairr nlb-jecr oihr plin rs.

Lr the corue\t of Rrphel\ conrmission firm At:rlirntir Raglioni thc D\th of\'Ieleeger ivrs mor thrn rn,rrtitjc nro(tcl. ArahDtrl\ verv n ne,.rs h.rs bccnnotcct, Dvrhcs a rcfcrcncc to the Mele.rger storyrr BLrt i. is Dror,: thin rrerelv


15/29

MI'HITANCITO AND THE RITORM O! ANT

hcr name and the flct ofher sont derth that srggest tr relxtion to the my$;thc entire:rccounl ofthe events oa rJoo, and cspeciJly her cornplex rolewrthin it, unfold in ssronrshing si ihrity to thc story of Meleager, especiallyas ir is told in the post Hone c tndition rrarnntted by Ovid inMctamoryhoses 8:26o-J46. In thcse yean Ovidt text was undcrgoing sorDething ol a revival in Iuly gencrally, and specilically in Pcngie. CiovmniBonsigror''s tnndation of Ovidi text into ltaliitn, complere with woodcurs,was irst published nr Venice i 1497. Ar the srne tinre the lxtirr text, wirhconDreitary by RarTaclc l{egio olPadux, achic'vcd great popularity and wentinto nun$erless editions.rr ln Perugi:! the humrnist Lorenzo Spidlo,:rn asso-cirrc of Mrtrlrzzot, 1r ade hs own trrnslation Fon the Lrtin,:r p.rrt ofwhichwa5 evcnnrally published in rjrg with r dedication ft, Ciulia Aaglioni rlOvid recounrs that when Melcagcr was seven days old thc Fatcs appeared,threw a piece of wrcd on the hearth. aDd anlounced th:rl thc boy woul.t dicas soon as the burning b;Iet w consumcd. Althree, his othe! thereuponrook the wood iiorn rhe firc rnd gurrded it in r secret phce, drus preservingher son'.s life. Melerger hjmselfbecr le invincible and :rlready rs r yotrry manwas rcnowncd for his courage and valor. After his sLrcces nr the boar hrnrt, hegave his prizc. the boar\ skin, to his bcloved Atalanta, thc hunrrcss ryrrph.This cused drsgnndenem among thc other hunters, among whom wcrc rhcvns ofThestnLs, brothcrs ro Meleager! mothct who took the prize awry6omAtalart.. Enruged rt this ofelse, Mele.rger kiled them both. Althea, asshc was iD the te ple ofGring rhr ks for her soni victory, saw the corpses olher brothcrs carried nr. When she discovered who was thci nurderer hergriefwar tnnsrtrmed hto a conflictcd rvrath. In ber ngc. shc took thc billetofwood lmm iB hidins place and had a largc pyre 1it

In m exterded rnd viftuosic pa$age, Ovid describes the condicting pxssi


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espccirllrOlid irGiol.ann

:r

prescrving

the biLlet

the fatcfulw:rs

(8.a76).

But because this blood is that ofhcr own son, i. ,s a sacrifice ofrn :rmbiguonskind: Shc is pious in firpiety \";t pietdtt pid crt") (8.a97). The forernostRcnaissancc conxnenrator of the Latin tcxt, Railaele llcgnr, acknowledgedrhe seeming coDtndiction ot tlris line bnt deflrded is aptncss to the situa-rion:"Th,s line xppe3rs scneles. For how indced on soneonc bc pious inimpiety?Yet Aldlaea wlr pn,us in rvenging her brothen' uurder, impious nrkrling her son."ri Fufther on.Altluer conpares hcr son's blood to the costliest ofsacrfices :rnd describes it as "thc bJefirl tribute ofnry woub" (8.+9o)If wc rtrrn to the mcdreval allegorical traditioll of lhe Ouidt Monlisi ndPierre Bcrsuirc. wc will l1ot lind th,s passagc hrerpreted "figunlly" in refer-cnce to thc Virgin and Christ. Meleagcr is certrinly txken as a {igure ofChrist: Hrs death by the intcn l consulning firc is. for enample, likcncd to theburning love ofthe Lod for hununlind,lor whorn he was wilJing to suflcrrnortally.r6 But these Christian intcrpretrtions do not *tch specilically onthc dranu ald cx.ruciatnlg rmbivalcnce ofAlfirea: siruattun, which gives apeculiar characrcr to hcr "sacri6ce." Thcsc clenenrs acqtirc Chrntian rcle-vance, apparenrly uniqucly, widtu rbe pecnlirr colxrelladon of rcferelcesbrcught together in AtJaDta\ altarpiece. Thc *ree thenatic lc\cls lhePerugir hislory, the Passion narrttive, )1rd lhe ancicnt tryth all acquirmcaning by benrg brought togethcr in this wo*. The nryth, so to speak, provides thc thcmaric mortar that.joins Atalanta'.r story and $c Passiotl narative.After xrriculatug the comple:dties ofAlrhacr's predicament. Ovid iiteryretsher linal gesture as a form ofsacrilice, by which r pradoxical appcasenent isrhieved. It is an extraordinary s:rcrifice, with her own son $ thc vicdmlnterpreted through the lens ofrhc myth, Griloncttols death claims a srrongerparallct to the sacrifice of Chrst and thus otrers a more effective appeal todivne mcrcy. lt is diflicult to overestinate the novelty ofuch r themrticallycomplex, mulrilaycrcd stutery in altarpicccs ofthe period. For Aby Mrburg,the Ssssetti chspel was xn effort to mtrrry Christirn tnditions and a hul11adstculture nurtured on the study ofthe antique and dlus offered spccial nxighrinto the social rd culturnl tcnsions of lete fiftccnth-centLrry Florence.:rHcrc.too,we see ftadido al instirutions rnd sftucturcs of Christian piety radically rcinrcrprcrcd withil a humanist sctting.Radical rcintcrprctatiois caD push conventions .o drc breaking point.Viewed in ternx oFthe rcquircments oflhe corxrission, therc ms no reasonfor Raphrel to proceed bcyond the carefully wo*ed up Louvre composition(ee Figure 66). He rronethclcs d . despite tbe fact tlut he had brought theinitial composition to the levcl ofa finished nodello. We can only speculatc asto what induced Rapluel to dxmande the conposirion and to begin in a ncwdirection aftcr having bmught it to this point. But wc car be certrin ol Nvothings rhat havc rcnranied unclear n prcvious alalyses of the dlrwings: (I)The drawinpp to which we will now t[rn rre, indeed, subscqueDt to thelouvre nodellq ud (:) rhey were not .hc result of the discovcrv of


17/29

Mxntcgm'\ print or oi r Mcleirger \rrcopllrgrrs we Lr)o$' thcsc rrvo tbinsbecxusc tlie &a$.ings sho*. r.qr"drr,?l dismrndnrg olthe tirst conccptrcn' in the.lirection of the nrorc mobile carryi g conccPtion: Raph..re1 rtrcduced theMcleugerlikc corrceptrcn onl,v thoLrgl a sloiv bruldour ol $c carlicrnrxlel. ivrth rhc result drat Lis ftrxl \olutlon pFsents signiticrnt diRtrcncc\both forn M:rntcgna rnd lronr rhc ancicrrt s;rrcoplugi.A cnrcial Llocurerrt oi the transition is I ilrrs'ing in Oxli)rd that showstn'o figurs bent clo\e !o thc grcund lvith the bod! i| thcir rrns (Figutc6r).rd The herd studies rt drc top of drc sheet, clcarly dran'n dtrr dre grouPsketched I'clorit shos' Rrph.icl still dlnkug tlrrcugh. horvever. fic poses ofthe Louvrc co posirxni. Clrists legs rlso prcscrve thc crossedfosiiion oltheLou!rc compo\itiot. xs ifRrphacl ivere thinklng, almos. cine rticxlh'. oithrrsrne ligLLre nor t*en into rhc rrnrs oi thc crrr,ving fi!.arres So tir fi


18/29

\ rrhni thei,,vokcd

rrvolr'ed rr

$c carying, rhose lcg nx^er)re t\ rhrro\t c\rct1y repert those iourrd in tLel.rinr.r"Thel posturcs alvr closelv rcscmblc thc carr,vin:t ti:luks ni r conrcntonr)eou\ drrwinlr bv llaphacl hrrsclf aiicr e Mclcagcr likc compositur,;hoiving tht hc understood ihcnr in th.sc ternrs.rl'l'his dn$.ing dcnrontu.rtes thtrr ll.ifhrcl krerv anLl studicd rhe print.rntlrct s.as rlctcrnired to preserve dre lnore sntic s.fenre lor bx rltlpiece.lndced.lpart lrorl the crrrien, the colDpositior preserves n.rnv oftlre fe:uurcsol(he eudier drrwin!.,. Thcrc is no clcrr indjcrtion ofhtenl movcncnt:lheVrrgri, rrtLcr firn nrlking s,ith thc bodl:, knccls bchud it ud trkcs Clhrjstlshlrd; Marr Mqctalcne, skctchcd in trt thc right, knccls rt alhristi fccij th.orhcr tigurcs rcDr.in. fbr thc nnnt px|t. in the poscs of quict mcdirrnor d[tclancrciizc the Louvre colrposition. The .oDposition is, in lic.. still closer ro.r composirioLr such rs the lrnli by Penlg11]o ln the Uliizi (Figure 7r) dun toi\'llnregrrr\ hell llnokcd model.+' hl Peru:lirloi plltel, Clrist\ horizontrlboLlr rs srrrll1rrl,r' rriscd offthc gllurcl. supportcd in the mddle on thc lap ofrhevirgirt Mlr,v rn.i on eithcr cnct by St. -lohn rnct Mlr Mrgctalcnc. Ei.cn ashe ettcnptcci io in.orporlrc rhc nrotiG le.rrncd Fonr Mrntcgnl rnd drcMelca*cr morlcl, theretire, l\rph.rel l.conrrrod.itcd thcnr io thc Llonrinr.tFtrndignr of the l rrerl.rtioo rnd /l.r;. The resLrlt *ns rn LLnconfort.rble rrdncarly ncohererrt conpronise bet\{eerr dre rwo. This .lr.rw1irg rhlLs do.r-nreirts the poi t of grcr.est texsiorr rer.hecl bv Rirphuel irr the eilort rorcconnDodrte dre thcm. b .he impLicit .lcnuD.ls of.rltupiece pmuirrg.Alter this ponrt naphrcl blrkc with thosc dcmrncls rltogedrcr. br mrkngrhe \cexe of crr\ing, iLNoh.in!a rtcr\ of r:onv.1.incc rnd trqcctom thc nrinn,bjcct ol rhc rlrrrpiece. Tle new ider rs studied in r shect ar Oxibrd ud

I

[.l.


19/29

worked up inro r conpositior sNdy in r lheet at the British Museum +r Ilrrh, r)\tord.hF( l';r'-'.Rr1 '-rl rer'rrred 'F. ir h rrmof ''1r'rswith rhe group non'sct in motior' tlc conc'ntrted on tlre carricrs n'ho arefinishcd nr pen. whereas ttre fisure of Cllnst is light\' draNr in red chdk (jt isaluosr nivrsible nr bhck and wHte phorogrrphs) The fisLrres carry Christhead lirst frorr right to lcft d thc r\1"o forcirosr ligures climb Lrp x stcp Thisis a]1 innovadon {.ith rcgard to rhc MeJeagcr uro'le]. and ir! dcdvaiions suchxs the Manrcgnx Print, *'here the dead bodv is show (ro mv krorvlcdgelvirhout exccption) carried fter irst lronl lefr to righr. arld on Ievcl ground lnrnost ofthe sarcophagi the subjcct reprcserrted is rhe carryiry of Mcleer lecrfomard. tu1rdnl his rorhcrAlthact, *'ho is sonerrmes teprcselred on the right

In rbe sheer in rhe Btitish Musctui, the nerv conception is clabor3tcd intoa lull composition (Figute 7l) Thc \etting ofthc carrving group in motionhas initirted a sepamtiou from theVirgir :rd dre lanrcnting wonien, who areshown follownig behind. Thn change in conccption crnnot, $ wc have seen,be trltribrted to dre intervention at lhis point of rhe Mante!$r print or dreMeleagcr sarcoPhrgi. IFwe are to adducc xn influence ilt this strge. ir is overrvhelmingly that of Michehngelo The fig re of Christ, for examplc. nowsho\ls a stdking rcseublance ro the Christ irr Michelmgelols Roman Pa;(sce Figrrc ie) '$

Tir\i:,-hih

n;*


20/29

Ihe OrlorLl stticly sborving the tbrcc crrriers Gec Figure 72) is a cru'illl-iocLrrnent irr the cvoludon of thc new conceptioll otlife(t n the llritish\tLr\eLr r lhcet Gee Figure 73) Rrphael drcs the Ch1si. niodel'd or) thir ot\h.hel.r1rgclols Pl.r;, n reit clulk. Ilc then drct:. in Pen. thc grolip olcrrriclsirom.l it. Thc .rnying figlLlcs shos' substxntirl .litltrences lrolr thoie ol the

chrll' (it ts,:rrrr Chnst.r nep Tlisgrcund in

n Intiorr*'ho rrchave seen.

prinr or thcir is overnol'Rorrlln Pirl)

r.t I


21/29

e lier drawngs:Thcre are thec olthcm, rhc-"- ere vcry closc togethcr'and thel' rre shown in nrorion'Nith the two foremost carriersclirnbing uP i stcP lf $e rlevChrist ligrre is modcled on thcPili, dle ne$' carrYing iiguresshoq. striking simihrilies to their.ounterDrrts ii the Londone,t,ntuntnt Gee Fisure 6), whichwrs then xlso Probabl,v jn Rotuc lJlndeed, in its genclal conPo\idon'&e sheet sho\\'s a striking sill1ihrityto rhe figul1rl arrangenent of theLondon Pmel.i" The si1nihrjry is--soecr.rllr Lenurkrblc grlcrr ihe fJcrthrt rrr RrPhrcl\ Llr'rrvrn3 thegroup h shown novng x difcr-

'lhc drawing is' I bclieve' annltenFt to ^&Pt drc cxrq'ng noti6oftlie London Prinri g brck ro thc1arenl conccption ol'thc thc le Asin rlie Londor Ptnting, fie twoprinciprl crrrier in the Oj'ford(u.ly torm I tightY shrPed sfuctureThc figire on the left in both conl-positrons is shovn moving brckw;rd'vith his righr loot mised onlo a stepmd Hs left lcg phntcd lLrrrrlv on dlc

emurld.al The figut orl the vie$'efs right' likclvisc' resctbles the corrcspondi:.'",';"'; ' ; ' v"rr rlr- e'p'crJr1 ," "'r($r: LP HF'dr Jrr "-; ,.;.. l" " ".n';- . P'";''''a ' '""'a ^ "Jr- r'eh' n'l,...J 0.. "*-.. tf" carier nr bem'een is rn rrnal1gm ofrhe srmc tro cer-';,';;;,. i; u,. "' n' eF rr'i iriu-rrr'"B \'Lm'rrJ',"r-U." ',-rt.. \" r^h' r''l^ ''r p r"L^' 'e'""rureol rlr'I'su'()rrr_i"-.: iJ, ' ,;"Jor ,a.-r g:\'\e-r' r^'k ro' ''11.:' :'';,;.;'";' J"' nn' r. "-a' \ ror on'r-' o'r'Je'""'; ,,;;]iJ;;.., (Fig'rr" 7:) tl*'s 'ho"us the '\'ouns nrphrer spxri s no,'r;.,;..""" F rr'P 'rr'r'" r'o'Mr'lr'rrx o e r\ l{'"' $orll, ; ; :' *:i" t


22/29

rinrilrritv istheri r difler

dre Oafordrn Lroth cottrbrcLorrd.o to :r stePtll !n,v on the

corresPotrdlcft rrm isrrc turrrecl

srne nro crgrcund in anfiEarrc to the

looks dolvn rtsprring no

n'orksmorc Poivet

.rn nrnovrti\t.bod,v to the

rc,rrrb the prircipal sublcct of .r llrgc alh+1iece prnel The nroic elaborrte--onposition stLLdy fot $c trew conccptidl irr drc British Museun (Figure-l), !vrs, bv contr,rst, ptobabt,r ivorked out in flor..ncc. rs l icxtcd bv tlle.1rrs.ng rtter Michehrrgeloi .S/. 1L1r l1r on the verso (scc Figure 7-5) tn itl{rphrcl innrrduced his rre*'carrvirrg goup and beslt to Nork out its .on\cquences lor thc errire conrposi.ion. Tle Vnsin 1s rrow sho\n beirg lcftbehind br. rhc prrsrcssiol of thc crniers, .rnd she erterrls hcr rrnt jr r:,r retic ges rc offxrcNcl1. Her outstrcrched hand. wllich lLLst nrccts the prorrle ofdre riglt hrnd crrier, js still liotLer le.rt[rc t]rar shonr cl6c surilarr-de\ to r .ichehrgelo\ Entonb rcnLae

This sheet sho$'s -vet firther (od,v of Michehngclo. ltrose St ,\rttl?{, 1sropicd on thc vero (Figurc 7.t lrd 7J). Th. cc\t,rtic folc olMichelugclo's


23/29

x4 rcHtrr NC!l O

.. r, rnL \' L" I rrre-Pr!rrd L'v R 'l'r ' I''11 ,,t."".;.'u tr'pi''t'r' r"rp er 'ro rob p'rporrr rv'no's'd,;'.".

,r:-.' i. 1 . ''' o '

l' rh' r'r"rrr rrlu r r.r1' 'n or rhe,-,,"""1",,.;,., , \,. b-< r".ron"l'l. ". c". .d , 'i'- o 'i '":' l:',^..rd, |lar.dJl' 'q lr' l-'"rrr.r"r orc" F' "'rrtcn \rj'rl 'r rl\"rrerrrr".-ll"i'ili '" nti"r"'u.to'' 'o'tpn''" n ctLrrcd uound a bool' is nota."-t " "1, as if to leave ir oPer to new rxcs lndeed' after otrc secso ",,".f, A' '' ",... tl- rn r "l 'J'p rr - rl c oo'e rn h '".;.;i ; ;, ^rrrro'e'r drr"rtt s rh rr "rrr e I i' io'- i t,'r* t'"O.t,1,* ttrphaelt abilnv to see in thc Sr' rl4d'lr"' I trctenrialJ:;;;l ;;l; *"s r:rclitrred bv the rrct thit .t'e scrrrpture is itserr m;;..;",t;;.''j ..'""e. oF thc rcrt hrn'r caricr in N4ichclangero\";;',:";;;;;,;, (sce Fignre 6) rrlis silnihritv rvrs rernrrked upon rottg rgoil;.; s.*',,"', 'R"e," tr'e fig"re 1i'r thc !o don paintngl"'hc,;il:""i '" "tt essentirls or novemcnr' end e'c. or draperl hc is rhcni"ttn..": -u nothi g but thc Mattbew' ivith thc difference' houevct-";:;'i;; ;.-tr.;'-ii rrvor thar his iction hs a purpose"r' RxphaeLs;:;;;, ;; i-*.,,., ""'i''p""a Qnd pohaps subhnimuv raclrtrtcd?)Bcrensor's obseffrtiotl";;;i ;J '* linit hin*elf to rd^pdng lftiividurl rotili; thcr' he,r.""i".i,1. centnl idea of Mi'hclmselo's 'orception' $'hich.was n)"'"i.',i. a.,*- .t**rrtidr beNveen the cnrrving grotLp and rhe hmetrt:. "";.;; t, .o""'r r' ft' Lrr('rn nr rrrr' r rr dcer ur r'no'i:;,.. ";, t, r,.'-' "'nr"'" om 'r' \4 re':'r e' t."ii.ri ,r'*" a* derrl Melerger being carried' feet firsr' tor/rdni his nlother;;'.i;;;.,. "' L',' Ent,'tnhncnt engrxvl'rg' Mantcsu xdapted the urcophr..* *fi.f . ,f.. *.," "fChtist be g carrie'l to the romb' which is locatcd*1iu'u''ri.-t","*. t""t The tolb rs phced cndwise in thc ccnter' 3nd thc;;; ;'. ;;' .,."ing the bod)" xg.in feer 6rst' fron lcft to right thar,..-.,,;, ",,, ''*'o'o'.r' "'' o'r o lr'v'r- n lrru' "r\'u-r't"n;.',,.'";;;;" ;:o,,gue.,r'e\!n" r*r'r'or.-n -,' orseparation"-'u *", n'fi.f'.f""g"f" q'ho. in Hs ctrort to adrpr the subject to e lrontal."",".,i" ". "f'",''l or'el1 o or "r '/(J l rl- dfun Jr rlrr''ri 'rr..,',;; ;, i.a.n.r,.'..r-' . r''l r"i rrh' ra''o be"e"'

'*' .-""a ", rre R ph l g l' Miclrerrajelor : 'd 'r:orr "'d re'r' o':.,;;,; ;:'. ;;.;;- i'."',."..r,*"'r''r' o p"*ion I'rr ';i.",;r,i''.r-.i rrur'n rre'Prr'r:or*ho\Lre'r' \ rsirrr'1,',g '.t'1 a I\'rrro_rrcr'rqrlre tp' r'"t 'lr' MJ* l_l' 'rr ru' ht 'p rrr\iir1".\ r'-* n' lh o'rpor'io a'v "' r'r"''- 'r' 'L!' rl ouglrM,.n-hr{. o.-rpe"rrr (n J rh h({'lr tr'r'rr rL'r^ 'F |'I!'!ItIiI e ir".,.",.r" ' .'-; . '" r ' r"'krnr ot "rmor" 'n rl ' r' r^J:

I3.1


24/29

engrged

thc left

long agohc

iacilitated?)

rclicls.

is locrtcdand the

right - thattherca narrxtive ol

to e ftontJol sePinriotlbcrween

,nd rcircorln thcthe Virginfor$nrd

throughimPortance ofin tlis Period:

IN TH I] ACE OT

\{ichelangeloi work was of crucial iDlport^nce bccausc it provided a f:ue..,,rrrpl. "f tl. subject w'tlrin rhe catcgory of alru painting The episode.nbodied in drese iwo works thus ofers strcng cvidence ther the conventrcns.on.rolhrg altir Painri g, though nevcr e:


25/29

o, l:,".,. | 'r'P"t" rl f' ^ ilin r,,":', '|r "'-'"rr"':The omblcrn ol dePictlng n1olcn1erlt rrr lrn rlurpiece' as rve hnc scen mll ' :; .:::'; . :,1II ..:t: : ;'.1..lI or d"rr Frra irrbritiri b\ bringing rht 'rrr',: :,,".,1.r,-,, " 't,'-^,"h'r r'r" rerrrrl :.l ,r o,.t "b 'n''* ' ll ' ' nr"r' l'' l""' ''"" n" "ll'll "1."1.;:'i'""'bel.nr:. lhphr.l\ E'rr 'rrl'rrr"tt rentrnen to :t,":. : o n l'n rr'|i '!i'|r' dt' r"Prr'r' J rJ'''g I 'e '' iff,:".,,r..'.,f;'. i"ta "r"r'o""o''-' alrogerhcr:ro rttend ro dre p.intirg\:,.,.";" "r\""r r.''.f rrrre oo-rrhI.::.);;i ;,,;'; "" ..r,'''p ' n' "dDL'.' r',:t c Jenr.ttd.t the Prctute' eogt,;.- "'.,, :;:",l,, "" : i .,1,; ",:,:",; ., ,::":$hrh rlt rrPie.is., " ',1,.'"- " |rl- nr'Ie.",1''1:1i,;";;.;:;.,"". "'a "'a" r"io ""riae' or delotio1't xtrentionrlr)t is. coordinrte'l Nith the $ucrures of Ch stian pnver 'rnd No$hip Jr.-; ;, r': n, r,",""'i"'- r'1 ro' r'i 'Lr 'oorrnLr.,,i .", ,,,-,,, e- ,orr r ,"",i,;,:; ,,,..,.,, ,e o'-,':' .,: "' l::,, ; 'l .' ' f i'r:r q ' r' ror ' rn rn rJ rL 'r 'r' 'o"'rrr+l', 1,.,. .,"'., "- 1er'"r ' n "'| rr " ""r "/"l ,:, ,.,'-;'-'lt. ic" ' n-\ rr'sIoo',1,, " ..,i I r' "'| 'rc ' r' o '' r'' r\ pr^ r" edJ;*.;:;.;J':,. .arlier rrnrpieces c,. t1.,t such :rn erplotatiot, neccssar-ii ""i'i"- "-""' urc -des ofeltr; piece orinrn!' lt js oolv to Pojnt otlt" ",i,.,.n,. 1,F.1.,n, a $,r.'' ^ r"r'rrr',"' i '". a'r '4. a'- ''r'r 'pr '''rr' ' '1''':et t'"'iii' '".=",t-' "r ""phaells rvork sugg'sts tliat cortenrporrr-ar pitntcrs 'ec;;.,i;il;"J ritirn\ Enrorrrrrrrrr orthe crdv ri2os in thc Louvrc';i'*';;.;.; ti"hx't! nnxn'atlor* trrn v nrto the worrd or dre erht-'v"l:,;.i ' -" *;' .L'os' 'ronen ''iL'.,-, " ','r ":'r'- rr' L'e' r'rL fll "r\ ',;,i.' i,'; un'r n'| r'-' b :n'"e',; ,. ,...-" '"' ,-. ' "

1,,,, - r' r"' ln;#;i.;;,;.;;," evei-ar $'aY berdrlrs to trre o v historv orrhe gr11er;',;: .."':t. r,, | "-rr'd r' n''n'deL r""'' '"rr'riu' L't....,..,, ."". rl",rr p'o chin &xt h're thc courmunicruon "l j;gio"' ""';"g t'''s ven' lrrdc to:".:il;. ;;;.i-a trtu'g;,:"t tinrctio s rilditjordl'v serred bv artl1;:.J:l:il:;il;;;,';a'i""'a." "'r'.."gr"ri'r rnd sc si'|lve vie$'cr' o1rc lvho

:..:l

:{rFh

P.r Lrr i\irir

Su

us tplv rs

rl()


26/29

settin!l-

shoNn being

tbe Cluistpautmg'sof &e

according toend wot

subjects we'catrentionworshiP Jr

coordi n.ttlrnnDvingrltogether.

sort of grzcis rlot to sry

ProdtLccdnecesar-to poirlt outakes clert thcPr tcrs recin the LouvEofthe gJlcrv$. circtnr-

hdte afinitt toce it was

m narnc lnof the gallery

bYI! n oDlY

very litde toserred bY Jtrr-ie\!er. olrc who

could also be erpecred ro be nroved and cdificd by a paintins f}(Dl Ro nn'fidxn's teryrctxtion oi lrxphrel's :rlmrpiece {.as prrt of a ltrrger trcn.l in

the hisrory olprintirrg end collccting that rvorrld in time rerorctir,elv absorbRaphaclls peinting itsclf rvithin thc ncrv crtegor\r A ccnnrry Jter Rtrphacl\panel was nsmllcd on its altar it wrs lbrcibly rcrrroved and placed in the prirate grllery oi firrdinrl Scipiore Botghesc. ivhere it becamc a Prize Fosses-\iorr. Even \\,'he1l it was still iD the chutch of SrD Frencesco al Prato ittPerugir, it h:rd becorrre :rn artncrior for tourists. digritrries,.rnd cognosce ti\isiting &e ciry JaThe remo\al ofthe rltarpiece to thc Pichrrc g.rllery {'as dree\trcmc conscquencc ofr hrsrory of response that gocs brck to rhe ycarsrrmediatcly lirllowing rire work's initial ins iletion rnd th* begins with$e iict thar llaphaells panrting hrd loudly dcchred itself to bc e departure

Such r proces frrrsfates conventionrl 3rt hrltoricrl Prccedurts A\ stated1.,.,. ,.., rh *uk*rrp.,..o,J, gorh' ", ,,, reqt F, , JfJta+icccs in the period is to obsctuc its own clainrs .o hisrorical no\tllv anclthus to lail lullv to rddrcss the histor;cal probleus it raiscs. But ro studv it srnplv a gdlery Ficrurc is retrcspectively b irnPose upon it a catgorv whoscierl lolmation r! part of the listoricrl problcm thet demancts to be surdiecl.The work thus bruss into focus tbe nrore gerenl berncncutic diEiculryraised bv the lict.hrt the liistory ot e$el paintixg be6\.een 15oo rnd 16()0LrtLlolded orr undecided terrain. No systeDatic atrcDlpt hxs yet bccn nu.le to\ritc r hisrory ofsixteendr-century peintrng Jong thcsc lilres.J" Such I studY


27/29

MI']HITANCTI,O ANI) TIII RIFORM OF ART

woulcl entail rigorolrs rnalysis ofthe rhetori'rl devices rsed in the di$crertgenrcs and spe;ial attention to moments of'nrs ftrtilizxtt'l Ir rvorrld alsoitt.ud to ,*h concretc issues 3s rhe intrcduction of canvas in altrpiccep,r.,r'r F. v r. r r -,. r''ir.J $el rrre-ihrJ or r ' 'to c" rumn 'r eirr"tl*. ft-"" of painting. lt would atle rpt a s-vstematic study of thc periodr*r ol such torrx as rar old, trtutd 'l'dltdrc' pdh' and 4,adro lt would asseublcinst.t ce! in \\.lich altrrpicces wcre removed from church altrs and placcd ingallcries. lr woulcl tcll tbe story'. ultimatelt ofbow the alorpiecc ceascd tophy ttre c-cial and lcading role in thc 'levelopmcnr of pairlting tllai rt hrddone until the er.l ofthe liftee dr 'enturyrIt is. howcver, one tli g to be sct1sitivc to this history ot genertc nLptutand contaminition rnd quitc arrothcr to dispcnse with the categories altogcther. PaLrl Hills, for exrrnplc. poinring to thc manv difficuldes jn distinI, ' u'n. ," ." .l",pie * rlo ' '' p' ' od l- ' 'Lre-'- 'C:n", ,hJ.,..gon or ,te.,'.Jrnr..r ,\ ,, er ' ,^n!,,..uo' " r, fu'ort'trwhok vslidiry shoLrld be thro\\T r inro question iT I believe ir is less useful toquestion thc mli.liry of the c.rtegodes pcr !e thrn to mbnit them to moremreiill,v hntoricizctt rnalysis. rs Hills also suggests As genrcs devclop thcvunderg;, redciinitrD rnd are brought into :rctive conract with othcr genrcsmd triitions.ss,t hi,torv ofvolatile gerreric chrnge produces I good deai ofrunoffrnd mmv historicill) revcali4 s'trrr' tn dcalilg with the hisbrv oftheJtarpiece, therefore, rt n .r good ider to rake into accotrnt n


28/29

l rhe

inin

Titirnls

Thc point is corrlirmcd, rgarn, bv rhe workls rccePtion The deprdor &onr:;re rlt,.piece rrtr.lition. cclebntcd bvTitirn. wrs in nrrn rclingl,v tsisted bvircopo Ponbrnro: His ,rlmrpiece oi rjrs 28 if srrrra Fclicita iD Florerrce $'rs. .teilbe."t" efo.t t,, prrt this themc, ind the con'eption of hisbry painthg ir:nbodied. once rganr nrto mcaningful inrencriol with r liturgical cnviron:r.Dt (Figurc 77). It otrered, in othcr words. an extremc clelerce ofrhc altar:.i"." l1 el,,quet't courrteryoirt to litian, polemicrllv iI} drc traditrn of\lichclangelo. Michel;r,rgelo had depicted I mi)vemcnr inio dre Pictnre' r\{rvin', th" uiew".. "n,1 lhus hrd "nlotivated" thc rcltriion bctween wo$hiper::rd sutlcct through 'r drxmr oi dntancirtion On thc liu side of Raphacl\:rmtnrg.Jrcopo da Ponrornio *'rs rlorc speciFrcally concerncd rvitli reestab,,r'i"gifi. -""'..,""',o thc Physi.rl .haFel settitlg I connection thrt hcrur well havc fet lr.rphrel! larc lcomposition had losr' liMicheirngclo hxd:onceDtnted alnost cxchsivelv on rhe relation betueen viewcr nd picture''u|. n.J o '11"r ' 'o. -hgolr5 r"r Ir l|'r 'rrhe:nrm rclition bes'een the Jtarpiecc atrd its dru;rl sprce He thus producedr;r another refrshiorring ofthe drenre, this time conceived dto[gh a diego:-.r1. spralnrg rrovcnent lcacting otir ofrhe picture lt is not neceslrrv for fie:urposes ofthis chrprer to enter into the debare over Nhere rlis nrovcDrerr r

r i9


29/29

lLn.lerstood to lea.t However one intc4rcts it' thc novcmenr otlt otthe pic,"." --lt* in contrast ro ll'aphrcl\ conception h the Bagkrniirr,,lr-, *a U' "*"r 3fi tv to RaPhachconccPtion in rhe Chigi chrPcl

I a .'ob,lizrt;-r oi tlre clemen$ of tlic chxpel set lg xnd thlLs ac:tlvc clxinsorr thc rlta+iecc\ liturgicrl eN'ironment Jerl" ac.,bati.s of n'i;.hela"gelo and Pontormo wcre not silnpl) excrcisesl" -ti,a. "r,..,ir1, rn.y rverextrcnrel-r' resourcelirl aneurpts to rclfiirm the;';;.'.", '' irnr' iq I ' sherp''r'r"l de lu"m'rrr\rd'l rl" ,n rr^ -,,d ;o,,Ii,, n' r ' Inr" urlr'rJ'ed 'l,e.! rruLe r 'r t r od.\ o' grrr ri n 'rer r"'t 'r'd rhe er' rrer n' rJ \e r' rr,-ll,l. "".l"a'* "'..',".;' p'""rr liLor) pri rrn'j br' L'urrr lo ll\ieo,i.'rred the .hsicJ,lrteral otic tatior ofthcir models ln both' dre tnrra,i* "l-r""" -",f,"' .nploycd ro reintcrprct'o[ a ncrv and norc spectacularlsel, the function oithe altrrpiece and its connc'don to its litirrgicrl sctting'B.rh *-te, i. otLer -'ords, strcnuous escrrions ofthe convictio thrt paint-]r e, r ' 'JJe r-orir' JiL d rr\''r ;L 'le D+- rr(Jrrn':-r 'l furD",'"- ,.u" '.",** 'I II'r'BrI I' l-rr"' e ' 1-"ringr-t v rh lr' orl '".',...*" f n aI rp'"."rd r' r'lerlrer urrl-,"", .''i. .a P'rr "glruno br"' Jn-'L r'p'cl'^od Ir'r-r 'u)"

nagel - michelangelo

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