Abstracts
Abstract
In 1539, Florence’s newly elected Duke Cosimo I de’ Medici began to turn the Palazzo della Signoria into his ducal residence. The first major artistic work he commissioned for the palazzo was a cycle of frescoes by Francesco Salviati (1543–48), with scenes from the life of Marcus Furius Camillus. Salviati’s Triumph of Furius Camillus fresco is discussed in light of a preparatory drawing, which shows a chariot drawn by an animated group of horses very like the famous horses of San Marco in Venice (where Salviati had worked from 1539 until 1541), and very unlike the regimented group that draws the chariot in the final fresco. In the wake of Savonarolan reforms to the Florentine government after the expulsion of the Medici, the Venetian quadriga cannot have been politically acceptable to Duke Cosimo. Salviati presumably altered his design to better accord with Cosimo’s self-association with imperial Rome.
Keywords:
- Duke Cosimo I,
- Francesco Salviati,
- Marcus Furius Camillus,
- San Marco quadriga
Résumé
En 1539, le duc Côme Ier de Médicis, nouvellement élu à Florence, commence à transformer le Palazzo della Signorina en sa résidence ducale. La première oeuvre artistique majeure qu’il commande pour le palais est un cycle de fresques de Francesco Salviati (1543-48) montrant des scènes de la vie de Marcus Furius Camillus. Dans cet article, la fresque de Salviati représentant le Triomphe de Furius Camillus est examinée à la lumière d’un dessin préparatoire, qui montre un char tiré par un groupe de chevaux fougueux, fort semblables aux célèbres chevaux de San Marco à Venise (où Salviati avait travaillé de 1539 à 1541), et très différents de l’attelage maîtrisé qui tire le char dans la fresque finale. Au lendemain des réformes savonaroliennes du gouvernement florentin après l’expulsion des Médicis, le quadrige vénitien ne pouvait être politiquement acceptable aux yeux du duc. Salviati a vraisemblablement modifié son projet pour qu’il corresponde mieux à la volonté de Côme de s’associer à la Rome impériale.
Appendices
Bibliography
- Andreoni, Annalisa. “Varchi, Benedetto.” In Dizionario biografico degli italiani. Vol. 98. Rome: Istituto dell’Enciclopedia Italiana, 2020. https://www.treccani.it/enciclopedia/benedetto-varchi_(Dizionario-Biografico).
- Baker, Nicholas Scott. “From a Civic World to a Court Society: Culture, Class, and Politics in Renaissance Florence, 1480–1550.” PhD diss., Northwestern University, 2007.
- Booth, Cecily. Cosimo I, Duke of Florence. Cambridge: Cambridge University Press, 1921.
- Borelli Vlad, Licia, and Anna Guidi Toniato. “The Origins and Documentary Sources of the Horses of San Marco.” In The Horses of San Marco, Venice, 127–36. Translated by John Wilton-Ely and Valerie Wilton-Ely. New York: Metropolitan Museum of Art, 1979.
- Borelli Vlad, Licia, Giulio Fogolari, and Anna Guidi Toniato. “The Stylistic Problem of the Horses of San Marco.” In The Horses of San Marco, Venice, 15–40. Translated by John Wilton-Ely and Valerie Wilton-Ely. New York: Metropolitan Museum of Art, 1979.
- Bristot, Annalisa, ed. Palazzo Grimani a Santa Maria Formosa: Storia, arte, restauri. Verona: Scripta, 2008.
- Cecchi, Alessandro. “Il maggiordomo ducale Pierfrancesco Riccio e gli artisti della corte medicea.” Mitteilungen des Kunsthistorischen Institutes in Florenz 42 (1998): 115–43.
- Cecchi, Alessandro. “Il Trionfo di Furio Camillo.” In Francesco Salviati o la Bella Maniera, edited by Catherine Monbeig Goguel, 182–83. Rome: Electa, 1998.
- Cellini, Benvenuto. The Autobiography of Benvenuto Cellini. Translated by J. Addington Symonds. New York: Walter J. Black, 1927.
- Cellini, Benvenuto. La vita di Benvenuto Cellini. Edited by Giuseppe Campori. 2nd ed. Milan: Sognonzo, 1874.
- Cheney, Iris, “Francesco Salviati (1510–1563).” PhD diss., New York University, 1963.
- Cheney, Iris. “Francesco Salviati’s North Italian Journey.” Art Bulletin 45, no. 4 (1963): 337–49. https://doi.org/10.1080/00043079.1963.10790130.
- Cibelli, Deborah H. “Francesco Salviati’s Emblematic Imagery in the Sala dell’Udienza of Florence.” Iconocrazia 2, no. 24 (2023): 89–106. https://doi.org/10.15162/2240-760X/1866.
- Costamagna, Philippe. “Le mécénat et la politique Culturelle du Cardinal Giovanni Salviati.” In Francesco Salviati et la Bella Maniera: Actes des colloques de Rome et de Paris (1998), edited by Catherine Monbeig-Goguel, Philippe Costamagna, and Michel Hochmann, 217–52. Rome: École française de Rome, 2001. https://www.persee.fr/doc/efr_0223-5099_2001_act_284_1_11356.
- Cox-Rearick, Janet. “Beyond Eclecticism: Salviati and Giulio Romano.” In Francesco Salviati et la Bella Maniera: Actes des colloques de Rome et de Paris (1998), edited by Catherine Monbeig-Goguel, Philippe Costamagna, and Michel Hochmann, 355–76. Rome: École française de Rome, 2001. https://www.persee.fr/doc/efr_0223-5099_2001_act_284_1_11361.
- Cox-Rearick, Janet. Dynasty and Destiny in Medici Art: Pontomo, Leo X, and the Two Cosimos. New Haven, CT: Princeton University Press, 1984.
- Dall’Aglio, Stefano. The Duke’s Assassin: Exile and Death of Lorenzino de’ Medici. Translated by Donald Weinstein. New Haven, CT: Yale University Press, 2015. https://doi.org/10.12987/yale/9780300189780.001.0001.
- Deswart-Rota, Sylvie. “Le mage, le calice, les enluminures et le reste: Francesco Salviati et Francisco da Holanda entre Rome et Venise (1538–1540).” In Francesco Salviati et la Bella Maniera: Actes des colloques de Rome et de Paris (1998), edited by Catherine Monbeig-Goguel, Philippe Costamagna, and Michel Hochmann, 313–53. Rome: École française de Rome, 2001. https://www.persee.fr/doc/efr_0223-5099_2001_act_284_1_11360.
- Dumont, Catherine. Francesco Salviati au Palais Sacchetti de Rome et la decoration murale italienne (1520–1560). Rome: Institut suisse de Rome, 1973.
- Gilbert, Felix, Machiavelli and Guicciardini: Politics and History in Sixteenth-Century Florence. Princeton, NJ: Princeton University Press, 1965.
- Gilbert, Felix. “The Venetian Constitution in Florentine Political Thought.” In Florentine Studies: Politics and Society in Renaissance Florence, edited by Nicolai Rubenstein, 463–500. London: Faber & Faber, 1968.
- Giovio, Paolo. Ragionamento di monsignor Paolo Giovio sopra i motti e disegni d’arme et d’amore che comunemente chiamano imprese. Edited by Eugenio Camerini. Milan, 1863.
- Gordon, Donald James. “Giannotti, Michelangelo, and the Cult of Brutus.” In Fritz Saxl (1890–1948): A Volume of Memorial Essays from His Friends in England, edited by Donald James Gordon, 281–96. London: T. Nelson, 1957.
- Goudriaan, Elisa Johanna. “The Cultural Importance of Florentine Patricians: Cultural Exchange, Brokerage Networks, and Social Representation in Early Modern Florence and Rome (1600–1660).” PhD diss., Leiden University, 2015.
- Hilliard, Caroline. “The Conquest of Etruria in Francesco Salviati’s Triumph of Camillus.” Athanor 26 (2008): 35–43.
- Hirst, Michael. “Francesco Salviati: Some Additions and Reflections.” In Francesco Salviati et la Bella Maniera: Actes des colloques de Rome et de Paris (1998), edited by Catherine Monbeig-Goguel, Philippe Costamagna, and Michel Hochmann, 69–89. Rome: École française de Rome, 2001. https://www.persee.fr/doc/efr_0223-5099_2001_act_284_1_11349.
- Hochmann, Michel. “Francesco Salviati a Venezia.” In Francesco Salviati o la Bella Maniera, edited by Catherine Monbeig Goguel, 56–60. Rome: Electa, 1998.
- Hochmann, Michel. “La famiglia Grimani.” In Il collezionismo d’arte a Venezia: Dalle origini al Cinquecento, edited by Michel Hochmann, Rosella Lauber, and Stefania Mason, 207–23. Venice: Marsilio, 2008.
- Hochmann, Michel. Peintres et commanditaires à Venise (1540–1628). Rome: Ecole française de Rome, 1992.
- Humfrey, Peter. Painting in Renaissance Venice. New Haven, CT: Yale University Press, 1994.
- Humfrey, Peter. “Veronese’s High Altarpiece for San Sebastiano in Venice.” In Venice Reconsidered: The History and Civilization of an Italian City-State, 1297–1797, edited by John Martin and Dennis Romano, 365–88. Baltimore: Johns Hopkins University Press, 2000.
- Jacoff, Michael. The Horses of San Marco and the Quadriga of the Lord. Princeton, NJ: Princeton University Press, 1995.
- Jones, Rosemary Devonshire. Francesco Vettori: Florentine Citizen and Medici Servant. London: Athlone Press, 1972.
- Mendelsohn, Leatrice. “The Sum of the Parts: Recycling Antiquities in the Maniera Workshops of Salviati and His Colleagues.” In Francesco Salviati et la Bella Maniera: Actes des colloques de Rome et de Paris (1998), edited by Catherine Monbeig-Goguel, Philippe Costamagna, and Michel Hochmann, 107–48. Rome: École française de Rome, 2001. https://www.persee.fr/doc/efr_0223-5099_2001_act_284_1_11351.
- Monbeig Goguel, Catherine. “Francesco Salviati et la Bella Maniera: Quelques points à revoir: Interprétation, chronologie, attributions.” In Francesco Salviati et la Bella Maniera: Actes des colloques de Rome et de Paris (1998), edited by Catherine Monbeig-Goguel, Philippe Costamagna, and Michel Hochmann, 15–68. Rome: École française de Rome, 2001. https://www.persee.fr/doc/efr_0223-5099_2001_act_284_1_11348.
- Monbeig Goguel, Catherine. Musée du Louvre: Inventaire général des dessins italiens. Vol 1, Maitres toscans nés après 1500, morts avant 1600, Vasari et son temps. Paris: Éditions des Musées nationaux, 1972.
- Muir, Edward. Civic Ritual in Renaissance Venice. Princeton, NJ: Princeton University Press, 1981. https://doi.org/10.2307/j.ctv12sdx9x.
- Pedrocco, Guido. “The Horses of San Marco in Venice.” In The Horses of San Marco, Venice, 49–79. Translated by John and Valerie Wilton-Ely. New York: Metropolitan Museum of Art, 1979.
- Perry, Marilyn. “Cardinal Domenico Grimani’s Legacy of Ancient Art to Venice.” Journal of the Warburg and Courtauld Institutes 41, no. 1 (1978): 215–44. https://doi.org/10.2307/750868.
- Perry, Marilyn, “Saint Mark’s Trophies: Legend, Superstition, and Archaeology in Renaissance Venice.” Journal of the Warburg and Courtauld Institutes 40, no. 1 (1977): 27–49. https://doi.org/10.2307/750990.
- Pierguidi, Stefano. “Francesco Salviati ‘maestro’ di Giovanni Guerra.” Paragone Arte 46, no. 663 (2002): 18–32.
- Pierguidi, Stefano. “Le allegorie di Francesco Salviati nella sala dell’Udienza di Palazzo Vecchio.” Paragone Arte 67, no. 675 (2006): 3–22.
- Pocock, J. G. A. The Machiavellian Moment: Florentine Political Thought and the Atlantic Republican Tradition. Princeton, NJ: Princeton University Press, 1975. https://www.jstor.org/stable/j.ctt7t3d2.
- Popham, A. E., and Johannes Wilde. The Italian Drawings of the XV and XVI Centuries in the Collection of His Majesty the King at Windsor Castle. London: Phaidon, 1949.
- Rearick, William R. “Francesco Salviati, Giuseppe Porta, and Venetian Draftsmen of the 1540s.” In Francesco Salviati et la Bella Maniera: Actes des colloques de Rome et de Paris (1998), edited by Catherine Monbeig-Goguel, Philippe Costamagna, and Michel Hochmann, 455–78. Rome: École française de Rome, 2001. https://www.persee.fr/doc/efr_0223-5099_2001_act_284_1_11365.
- Riklin, Alois. “Division of Power Avant la Lettre: Donato Giannotti (1534).” History of Political Thought 29, no. 2 (2008): 257–72.
- Schlitt, Melinda W. “‘Anticamente Moderna et Modernamente Antica’: Imitation and the Ideal in 16th-Century Italian Painting.” International Journal of the Classical Tradition 10, no. 3/4 (Winter–Spring 2004): 377–406. https://doi.org/10.1007/s12138-004-0002-z.
- Schlitt, Melinda W. “Francesco Salviati and the Rhetoric of Style.” PhD diss., Johns Hopkins University, 1991.
- Schulz, Juergen, “Vasari at Venice.” Burlington Magazine 103 (1961): 500–509.
- Simoncelli, Paolo. “Florentine Fuorusciti at the Time of Bindo Altoviti.” In Raphael, Cellini and a Renaissance Banker: The Patronage of Bindo Altoviti, edited by Alan Chong, Donatella Pegazzano, and Dimitrios Zikos, 285–328. Boston: Isabella Stewart Gardner Museum, 2003.
- Simoncelli, Paolo. Fuoriuscitismo repubblicano fiorentino, 1530–54. Vol. 1, 1530–37. Milan: Franco Angeli, 2006.
- Turner, Nicholas. Florentine Drawings of the Sixteenth Century. London: British Museum, 1976.
- Vasari, Giorgio. Le vite de’ più eccellenti pittori, scultori, e architettori nelle redazione del 1550 e 1568. Edited by Rosana Bettarini and Paola Barocchi. 6 vols. Florence: Sansoni, 1966–87.
- Vico, Enea. Discorsi di M. Enea Vico Parmigiano sopra dei medaglie de gli antichi. Venice: Gabriele Giolito, 1555.
- Visonà, Maria. “The Models: The Horses of Saint Mark’s.” In In the Light of Apollo: Italian Renaissance and Greece, edited by Mina Gregori, 119–26. Athens: Hellenic Culture Organization, 2003.
- Vittori, Ottavio, and Anna Mestitz. Four Golden Horses in the Sun. Edited and translated by James A. Gray. New York: International Funds for Monuments, 1976.
- Weinstein, Donald. Savonarola and Florence: Prophecy and Patriotism in the Renaissance. Princeton, NJ: Princeton University Press, 1970.
- Wilde, J. “The Hall of the Great Council of Florence.” Journal of the Warburg and Courtauld Institutes 7, no. 1 (1944): 65–81. https://doi.org/10.2307/750381.