A Late Renaissance View of Rome

Author(s): Luisa Vertova

Source: The Burlington Magazine, Vol. 137, No. 1108 (Jul., 1995), pp. 445-451
Published by: Burlington Magazine Publications Ltd.
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MEMLING'S 'PAGAGNOTTI TRIPTYCH'

. SHORTER NOTICES

Church could be decreed by God alone. He said this twice

seven rooms with the luxury of a Flemish triptych. However,
and with such force that it shook the souls of all those present.
the conflict between the two friars did not end with Pagagnotti's move. A record from 1496 tells of a disagreement over
Whoever heard his words would never forget them. Upon

the attempted reform of another monastery.39 The twothis

con-the three Dominicans were hanged and burned and
flicting parties turned to Pagagnotti and Savonarola as finally
their their ashes were thrown in the Arno. The following day
representatives before the protector of the order in Rome.
Pagagnotti and a papal commissioner went to S. Marco in
order to reconsecrate the Church and re-ordain those monks
The tragic events of Savonarola's fall from grace brought
Benedetto and Girolamo together again at that terrible who
scenehad followed the condemned heretic.43 Pagagnotti had,
of 1498 (Fig.28). On 1 1th May Pope Alexander VI informed
in the eyes of the Church authorities, fulfilled his claim to the
the bishop of the arrival of two commissioners in theemblem
case
depicted on the Memling painting; he had per-

against Savonarola.40 The pope forced Pagagnotti, under

formed the r1le of the watchful crane.
If we are to believe an old chronicle of the Cinquecento
threat of excommunication, personally to degrade the
already condemned heretic; Benedetto was to divest
however,
the
Pagagnotti's story was to have a more conciliatory

monk of all his religious honours before the execution.41

ending. 'Comefu sanato el Vescovo di Valsona', a passage in the

Contemporary chronicles report a dramatic climax.42

hagiographical life of Savonarola is headed. According to the
When Pagagnotti spoke the words of degradation, he made
pseudo-Burlamacchi, after the execution of the three friars
an embarrassing mistake. He took Savonarola's right hand
Pagagnotti suffered the bursting of a blood vessel in his chest,
and said: 'Separamus te ab Ecclesia militanti atque triumphanti'enough
('We
blood gushing from his mouth to fill a barber's bowl.
separate you from the combatant, the earthly Church,
The
and
bishop, in fear of his life, called on the aid of the three
from the triumphant, the heavenly'). Savonarola retorted
martyrs, who appeared miraculously in his bed-chamber
immediately, for all to hear: 'Militanti, sed non triumphanti:and,
hoc as inhabitants of Paradise and 'servi di Dio', returned
tuum non est'; in other words, the expulsion from the heavenly
good for evil and restored their persecutor to health.

42VILLARI, op.cit. at note 18 above, II, pp. 242-45, Appendix p.CX; VILLARI and
T. R.DE MAIO: Savonarola e la curia romana, Rome [1969], pp.90, 94.
4"F.-T. PERRENS: Jirome Savonarole d'apris les documents originaux, 2nd ed., Paris [1856],
CASANOVA, op.cit. at note 37 above, p.182; J. NARDI: Istorie della cittd di Firenze, ed.

p.399, doc.XIX.

L. ARBIB, Florence [1838-41], I, p. 143.

4'L. LANDUCCI: Diario Fiorentino dal 1450 al 1516, ed. I DEL BADIA, Florence [1883],

4:La Vita del Beato leronimo Savonarola scritta da un anonimo del sec. XVIe gid attribuita a Fra

pp.176-77. Cf. SCHNITZER, op.cit. at note 20 above, II, pp.146-49; s.Y. EDGERTON:

Pacifico Burlamacchi pubblicata secondo il codice Ginoriano, ed. P. GINORI CONTI, Florence

Pictures and Punishment, Art and Criminal Prosecution During the Florentine Renaissance, Itha-

[1937], pp.218-19.

ca and London [1985], pp. 136-39.

Shorter Notices
A late renaissance view ofRome*
BY LUISA VERTOVA

century drawing (Figs.29, 38, 40, 41 and 42) that can b

that group is particularly welcome. Drawn in pen and
spectacular and well-preserved panorama delineates the
the Capitol to the Quirinal, seen in the distance on the

unusual detail and liveliness.

The drawing is composed of two sheets joined together to form

by 107 cm., the right-hand sheet overlapping the left
THE changes in the appearance of the Capitolinea strip
Hill of
in37
Rome
57 cm. from
the right-hand edge. The vertical lines visible furfrom its desolate state in the late middle ages to its at
gradual
remodther totook
the left
are creases where the paper had been folded. The
elling following Michelangelo's design - a process which
over
artist
may haveand
intended to continue the panoramic view on the left
two centuries - can be traced from only a handful of
drawings
and maycentury,
indeed have done so (the sheet is trimmed); but he cerengravings.' Before the rise of 'vedutismo' in the eighteenth
tainly
started his
when the Grand Tour encouraged the craze for views
of Rome,
theview with the portico of the Palazzo dei Conservatori onof
themaps
far right, as one can gather from the summary way in
celebration of Holy Years orJubilees spurred the printing
which
is sketched.
A previous owner of the drawing, who had
and views of churches to be visited by pilgrims; but
thethis
Capitol
it framed them.
in Dublin, annotated the back of the mount: 'sent from
the centre of exclusively civic authority - did not concern
Rome to during
Andrew Caldwell by his uncle Colonel Heywood 1776'.
Given the scarcity of available images of the Campidoglio
The framed in
drawing
passed from a Caldwell to the present owner,
the early centuries of its transformation, the rediscovery
an
hadsixteenththe old note transferred to the new mount.
English private collection of a hitherto unpublishedwho
late

* My thanks are due to Dr Anchise Tempestini of the Kunsthistorisches Institut inThe Architecture of Michelangelo, London [1961], 3rd revised ed., Harmondsworth
Florence, for generous help with locating the photographs used in this article, and[1986], and idem: The Architecture ofMichelangelo: Catalogue, London [1964], pp.50-59
to Prof. Bert Meijer for discussing with me possible attributions to Netherlandish(with a detailed chronology of the works during and after Michelangelo's lifetime);
artists.
H. THIES: Michelangelo. Das Kapitol, Munich [1982].
'For the history of the Capitoline Hill and Michelangelo's project, see J. ACKERMAN:

445

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SHORTER NOTICES

29. View of the Campidoglio. 1598-1603. Pen and ink, 37 by 107 cm. (whole) (Private collection, Engl

external staircase of the Palazzo Senatorio, with one of the two

river-gods installed, while its companion still lingers along the por-

tico of the Palazzo dei Conservatori on the right. An anonymous

drawing of some twenty years later in Brunswick (Fig.31) is both
more accurate and more appealing than the engraving, revealing a
lively curiosity on the part of the draughtsman, who not only made

detailed notes of architectural details and mouldings, but also

sketched the washed linen spread out to dry in the sun on the wall
recently erected to separate the piazza from the grounds of the

Franciscan church and convent of S. Maria in Araceli above it. The

niche in the middle of this wall may already have housed a watering place. At its far end, the staircase leading up to the convent and
to the side entrance of the Araceli is already crowned by the loggia

erected during Paul III's pontificate in 1543-48.' A drawing in

Paris from the same years (Fig.32) shows a frontal view of the piaz-

30. View of the Campidoglio, by Hieronymus

Florence).

This interesting provenance does not, however, affect the dating

of the drawing, which predates by some 175 years its acquisition by

za with the Palazzo Senatorio staircase complete and the second

river god in place.
It is evident from the Paris drawing that those visiting the piazza
were still obliged to climb up very uneven ground. Work on the
ramp or cordonata began in 1561, during the papacy of Pius IV
Cock.
Engraving.
c. 1563
1544.
(reigned
1559-65). In
G. (Uffizi,
Guidetti, the architect charged with
carrying out Michelangelo's plans for the Capitol, supervised the
foundations for the new portico of the Palazzo dei Conservatori,
but the following year both he and Michelangelo died, and the

work on the palace was overseen in the following decades

(1564-86) by Giacomo della Porta, who bore the title of Architetto

del Popolo Romano up to his death in 1602.' It was his energy as
well as the growing posthumous reputation of Michelangelo that
kept the cantiere of the Campidoglio busy and debates alive - for the
written and visual documents. Martin van Heemskerck's celebratproject conceived by Michelangelo had not been clearly defined.
ed sketches in Berlin of c. 1532-35 show the hill before there was a This ambiguous and fluctuating state of affairs is mirrored in three
piazza there: broken statuary and other relics of ancient Romeengravings. Both the woodcut by Bernardo Gamucci in Le antichitd
della Citta di Roma of 1565 and the engraving published by Antonio
peppered the open ground beside two picturesque edifices partly
improved and partly manhandled during the previous centuries Lafreri
in the Speculum Romanae Magnificentiae of 1575 are simplified
the fortified Palazzo del Senatore above the Roman Tabularium,mementoes, not accurate records of the site. As for Etienne
and the porticoed Palazzo dei Conservatori standing at an angle to
Duperac's engraved view, produced (in successive states of 1568
[Fig.35], 1569 and 1588) after Vasari's description of Michelangeit.2 The planned embellishment of the space into a majestic piazza,
according to designs provided by Michelangelo under Paul III andlo's project had been published in the second edition of the Lives,
successive popes, began with the transfer of the statue of Marcus
it is a graphic fantasy that honestly declares itself to be a 'Capitolii
sciographia', not a visual record but a model for what was to be built.
Aurelius from the Lateran to the middle of the intended piazza in
1537-38: an engraving by Hieronymus Cock of c.1544 (Fig.30)
It shows a completely re-faced Palazzo Senatorio flanked by two
identical porticoed buildings: the one to the right had actually been
shows the equestrian statue in place, and work beginning on the

Colonel Heywood. From the appearance of the buildings carefully

recorded by the draughtsman, the drawing can be inserted without
undue difficulty into the chronology of the piazza, established from

[1945-47], pp. 69 ff.

2These well-known drawings are reproduced in THIES, op.cit. above, figs. 72-76.
3For the correct dating and attribution of the loggia to Nanni di Baccio Bigio rather
4See H. SEDLMAYR: 'Das Kapitol des Della Porta', Zeitschriftfiir Kunstgeschichte, III
than Vignola, see J.COOLIDGE: 'The arched loggie on the Campidoglio', Marsyas, IV[1934], pp. 264ff.

446

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SHORTER NOTICES

31. View of S. Maria in Aracelifrom the Palazzo dei

Conservatori. c.1552-61. Pen and ink, 21.8 by 33.2 cm.

(Herzog Anton Ulrich-Museum, Brunswick).

32. Frontal view of the Palazzo Senatorio in Campidoglio, with the

completed staircase. c. 1559-61. Pen and ink. (Louvre,

Paris, inv. 11028).

33. View of the stairs and the cordonata leading to S. Maria in

Araceli and to the Piazza del Cafnpidoglio. c. 1567-77. Pen

and brown ink over red chalk underdrawing, 24.6 by 29

cm. (Graphische Sammlung, Stuttgart).

447

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SHORTER NOTICES

CA !ITOI I-N\NVERA IMAGOANV\NC T

?iB! i iI~ ~ ~~~-

::--'i--

34.

::;

f!--:::

View

of

;-

35.

Michelangelo's

Engraving,

the

Piazza

del

56

projectfor

by

41

cm.

the

(Staat

built, whereas the one to

by Nicolaus van Aelst.
able view of the situation

Campidoglio,

Porta rebuilt the cordonata and decorated it above and below with

Egyptian lions and late-antique marbles (1578-88) and before

Martino Longhi the Elder restored and re-modelled the tower of
the Palazzo Senatorio - not following the Duperac model - can be
found in another anonymous drawing in Stuttgart (Fig.33).
The amazingly complex and detailed perspective map of Rome
by Antonio Tempesta (1593) provides useful information on the
stage the architectural renovation of the Campidoglio had reached
towards the end of the sixteenth century.6 The new facade of the
Palazzo Senatorio had reached only the level of the piano nobile, but
the balustrade at the head of the cordonata now supports the two
colossal statues of the Dioscuri, brought to the Capitoline from near

the Monte de'Cenci in 1585, and the colossal Trofei di Mario,

removed from the Castello dell'Acqua Giulia in 1590. This was the
state of things when Clement VIII Aldobrandini became pope. His
reign (1592-1605) gave a decisive spur to the works on the Capitoline Hill. The engraving published by Nicolaus van Aelst in 1600

36.

View

of

the

Piazza

del

(Fig.34) shows the recently completed facade of the Palazzo Senatorio and the fountain inserted by Prospero Boccapaduli between
the river gods under the external staircase in 1588-89.' Despite its
claims to be a 'vera imago', the print gives an exaggerated importance to the retaining wall of the Araceli, and the Fontana di Marforio at its centre, and contains many other inaccuracies.
The new drawing (Fig.38)
provides a more
truthful impression of
Campidoglio.
c. 1600.
Engraving,
19.
that fountain, which was a brilliant solution invented by Giacomo
della Porta to give some vestige of stateliness and dignity to the
plain wall on the north side of the square. The large statue popularly known as the Marforio - a reclining figure of a marine deity had been carried up from the Forum at della Porta's order in 1588,
together with the large basin that had survived beside it. In 1594
the Marforio was restored as a figure of Oceanus, and in 1595 the
new fountain was unveiled by Pope Clement VIII. Incorporated
into della Porta's monumental design were several other ancient
pieces - the bronze globe traditionally believed to contain the ashes
of the Emperor Augustus, placed on top of the pediment, the colossal marble head thought to be of Constantine brought from under
the portico of the Conservatori and placed in the lunette, and the

5A drawing for Duperac's engraving is in Christ Church, Oxford; see THIES, Op.cit at
note 1 above, fig. 5. The 1568 engraving has two coats of arms and a tablet bearing

the inscription. The fourth edition of the print, dated 1569, is from after 1588,
because it shows the fountain under the steps of the Palazzo Senatorio (see ACKERMAN, op.cit. at note 1 above [1964], p. 59. Michelangelo's project for twin porticoed
palaces was also recorded, following the engravings, in the stucco decoration of the
Palazzo dei Conservatori (relief by Luzio Luzi, 1575) and in the frescoed lunette of
the Biblioteca Sistina in the Vatican (c. 1589; see L. SPEZZAFERRo and M.E. TITTONI,
eds.: II Campidoglio e Sisto V, exh.cat., Rome [1991], p.20, fig. 1).
6The relevant detail is reproduced in THIES, op.cit. at note 1 above, fig. 90.
37. View of the Piazza del Campidoglio,
detail
from
Disegno
'The architect was Matteo
da CittA di Castello;
see ACKERMAN,
op.cit. at notenuovo
1 above
Matthatis Greuter. 1618. Engraving.
[1964], p. 59.

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SHORTER NOTICES

4.i;
38.

il

Detail

of

Fi

APITO IL1

two
so-called
reclining
Oc
tural
monum
for
ancient
R
Porta's
fount

ing
by
Loren
moderne
del

Madrid.9

appearance
b
ilmullilmll'itir
truthful,
im
e--k

Another engraving (Fig.36) records the Capitoline in a similar

stage of development to that shown in Nicolaus van Aelst's print of
1600,t0 but the hill is depicted from a lower viewpoint and replete
with visitors. Because of the asymmetry of the space, it still appears
to be a picturesque terrace for promenades, rather than a vestibule
of civic power. No wonder then, that the Aldobrandini pope, whose

family came from Fano (the Roman colonia dear to Julius Caesar
and Augustus) should have taken decisive action to construct the
Palazzo Nuovo on the north side of the square, laying the foundation stone in 1603, the year after Giacomo della Porta's death." Initially the building seems to have been intended as little more than
a porticoed facade. If we compare the Van Aelst engraving of 1600
with the print by Greuter dated 1618 (Fig.37), the foundations of

8For

detailed

information

IL1

on

the

Fontana

di

Marforio,

see

Roma, Rome [1957], pp. 131ff.; and s. ENSOLI VITTuzzI a

reimpiego dell'antico sul colle capitolino sotto il pontifica
FERRO

and

TirrONI,

op.cit.

at

note

above,

pp.

91-93.

'Biblioteca Nacional, Madrid, no.7787, pen and ink, 13.3

- -0 Photographicum
M 0
was photographed by the Corpus
Gerns
listed in the Inventory of Italian Drawings at Madrid, 19
10I

in Florence.

owe

my

knowledge

'See ACKERMAN, op.cit. at note I above [1964], p.59.

of

this print to the Fototeca

39. Fontana di Marforio,
modemrne

dell'Alma

of the
by Lor

Citta

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di

SHORTER NOTICES

40. Detail of Fig.29, showing S. Maria in Araceli.

strongholdin
built
by Paul of
III inthe
1535-39 and heightened by
the portico may now be seen, marked on rises
thethe
ground
front

Fontana di Marforio. In fact the death of Clement VIII in 1605

Pius IV in 1559-65 with the addition of an airy loggia (Fig.42).13

brought the building works to a standstill, and they were notPius
to IV used the Torre Farnesiana as a summer residence and had
recommence until the election of Innocent X Pamphili in 1644.it decorated with frescoes by the Zuccari; it was demolished in
1886, to make way for the Victor Emmanuel Monument. Moving
For the jubilee of 1650, G.G. Rossi issued a revised version of the
further to the left, beyond Trajan's column, one can see Giacomo
Van Aelst print of 1600, showing the new palace on the Araceli side
del Duca's cupola of S. Maria di Loreto, the lantern of which was
of the square. However, work on the interior of the building continued after the death of Innocent X under his successor, the
completed in 1582. Behind, the profile of the Quirinal palace is visSienese Alexander VII Chigi (1655-57). By now the revivalible
of on the skyline (Fig.41).
Michelangelo's architectural plan had a functional aspect, since The drawing not only records celebrated monuments but chronicles the reality of life in an agglomeration of buildings of various
extra space was required to house the archaeological treasures
epochs,
in daily and multifarious use. Orchards have sprung up on
amassed by a sequence of popes and donated by them to the city
of
ramparts, capers have sprouted from ancient masonry, wooden
Rome. Girolamo Rainaldi extended the loggia facade into a palace
lavatories hang from walls like swallows' nests. In the square small
by excavating the hill behind to create space for a courtyard and
staircase. Pieces of the dismantled Marforio fountain were stored in
groups of people gather to discuss the Marcus Aurelius or to refresh
the courtyard of the Conservatori until 1679, when a fountain was themselves at the fountain. The Marforio, like the Pasquino, was
once more set up. The simplified fountain we see there today was one of the 'talking' statues of Rome, to which anonymous wits
erected by the Florentine Pope Clement XII Corsini, who opened attached epigrams and satirical comments on current events.14 The
draughtsman has even recorded the strip of carpet laid out to help
the Museo Capitolino to the public in 1734.
This survey of the architectural renovation of the Campidoglio pilgrims ascend on their knees the 122 steps leading to S.Maria in
enables us to place our new panoramic view securely before 1603 Araceli. By comparison with this drawing, the sixteenth-century
(when the foundations were laid for the Palazzo Nuovo), and after engravings are rationalised abstractions.
1598, when the Palazzo Senatorio was completed; the drawing
The question of the drawing's authorship is more difficult to
shows the tablet over the main door, which bears an inscription establish than its date. Between 1598 and 1603 Rome was teeming
dated that year." It seems very possible, then, that it may have been with artists, but the Italians tended to concentrate their activities on
produced for, or during the Jubilee year of 1600. In its panoramic the decoration of churches and palaces, or on easel paintings,
sweep to the left it shows other notable structures in the city, some rather than on exacting topographical views. The attention to
that have since disappeared. On the facade of S.Maria in Araceli is detail and the meticulous handling of the pen suggest a Netherlanthe large clock (Fig.40), shown in the place it occupied from 1412 dish artist, possibly one of those who settled in the peninsula and
until Benedict XII Orsini (reg. 1724-30) had it removed to the cen- became known by italicised names, such as Guglielmo Terranova
tre of the facade (in 1804 it was moved again and placed at the top (Wilhelm Nieulandt) or Ludovico Pozzoserrato (Lodewijck
of the Torre Senatoria). To the left of the convent of the Araceli Toeput).15 But Nieulandt (c.1584-1635) adopts a cursive graphic

I2lbid.

"See J.HESS: 'Die papstliche Villa bei Aracoeli', Miscellanea Bibliothecae Hertzianae
(Rimische Forschungen der Bibliotheca Hertziana), XXI [1961], pp. 239ff.

"See references cited in note 8 above. Dialogues took place between the Marforio
and the Pasquino (situated behind the Piazza Navona). Less popular were Madama

Lucrezia (a bust of Isis near the Palazzetto Venezia, just below the Campidoglio) and
Abate Luigi (a togate statue near S. Andrea della Valle).
"For these artists see, most recently, Fiamminghi a Roma, exh.cat., Brussels [1995],
reviewed on p.472 below.

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SHORTER NOTICES

41. Detail of the left sheet in Fig.29, showing Trajan's column and S. Maria di Loreto.

shorthand, as can be seen, for example,

in views retreat
of Tivoli
of
Marchigian
inand
extreme
old age to
S. Giovanni in Laterano, the latter dateable
to it
1602-03,
he out the exi
of Rome;
is onlywhen
to point
was a pupil of Paul Bril in Rome.16 Our
draughtsman,
contrast,
century
Italy, ofby
a high-quality
draughts
has a characteristically rippling line, with
not only
when drawing
the
the contemporary
founders
of landsc
profile of a tiled roof, but even when indicating
the sheer
vertical of
between Cibo's
portrayals
of sites in the
the corner of a building. His tremulous,
ruffled contours
evince
a
anonymous
portrayal
of the
civic centr
sympathy with the crumbling, perishable
nature
of so
bricks
and varied that it
cultural
climate
rich and
stones. The majesty of the renaissance connoisseurship.
buildings does not
divert
his
But
remarkable
progre
attention from the muddy footprintsrecent
on thestudies
still unpaved
slope
ofvedutisti, and
of paesisti
and
the cordonata; he notes the irregular shuttering
in the
windows
of the view of the C
publication
of
this dateable
Palazzo Senatorio and the covered waggon
the bottom
throwat
further
light of
on the
what the art ma
'Circle
of Matthias
Paul Bril'.'9
grand staircase. For effects of light and
shade
he and
does
not resort to
the customary wash, but uses his pen the way an engraver would
use a burin, creating darkness with close-knit lines.
Although the traces in our drawing of a burgeoning interest in
aspects of everyday life seem to anticipate the bambocciate of the second quarter of the seventeenth century, this 'portrait' of the Capitoline Hill bears the imprint of the late sixteenth-century approach

to landscape, in which aesthetic homage is combined with a desire

for topographical accuracy. The panoramic view of Feltre by Pozzoserrato in the National Gallery of Canada, for instance, satisfies
both."7 But topographical drawing was not entirely confined, as

is so often assumed, to Netherlandish artists. Gherardo Cibo

(1512-1600), for example, subject of a fascinating exhibition in

1989,18 could be a brilliant and sensitive draughtsman of real sites
as well as of imaginary vistas. His distinguished lineage (he was the
great-grandson of Pope Innocent VIII) reminds us that the art of
drawing was then considered, in Castiglione's words, 'dignified

enough for gentlemen despite the manual labour', a valuable

accomplishment especially in time of war, when topographical
details needed to be accurately recorded. This is not to suggest that

Gherardo Cibo - poet, musician, passionate botanist - left his

'"Sold Sotheby's, London, 21st March 1973, lot 59 (View of Tivoli); and Christie's,
Rome, 12th November 1974, lot 72 (View of S.Giovanni in Laterano, variant of a
drawing in the Louvre). See also B. MEIJER, in the exh.cat. cited at note 15 above,
under no.145, for a view of Tivoli in Edinburgh dated 1600, and other views of

Rome.

'7See A.P. SUGNI TAURO, in Arte Veneta, vol.no. [1978], fig. 1, pp. 255-61.
18A. NESSELRATH: Gherardo Cibo alias Ulisse Severino da Cingoli, exh. cat., San Severino

Marche [1989].
9'See, for example, the View of Tivoli, catalogued as 'Circle of Paul Bril', Christie's,
Amsterdam, 25th November 1991, lot 96.

42. Detail of Fig.29, showing the Torre Farnesiana.

451

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