Beruflich Dokumente
Kultur Dokumente
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Journal of the Warburg and Courtauld Institutes
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A LOST FRESCO OF NICCOLO DELL' ABBATE AT
BOLOGNA IN HONOUR OF JULIUS IIIx
By Sylvie B6guin
N iccolo dell'
extremely Abbate,
active who
in that city. came
He not only to Bologna
decorated palacesin 1547,
there, but must have been
also certainly carried out work commissioned for various special occasions.2
One of these continued to arouse the greatest admiration long after the
artist's death; most of Niccolo's early biographers, acting on the evidence of
seventeenth-century references and old guides to Bologna, have included it in
the catalogue of his works.3
Oretti, in the manuscript preserved in the Archiginnasio of Bologna,4
speaks of the "bel Dipinto con varie figure" which Niccolo had painted in the
Via San Mammolo (now the Via d'Azeglio).5 Both Oretti and Alidosi (the
latter subsequently followed by Zanotti)6 describe the fresco in detail. It was
commissioned by the humanist Aloro, on the occasion of the public rejoicing
in Bologna to celebrate the election to the Pontificate of Giovanni Maria del
Monte, former legate of the town. This fresco, already almost a ruin when
Zanotti was writing,7 represented:
1 My thanks are due to all those who have 255; Scannelli, Il microcosmo della pittura,
helped me with their suggestions and advice Cesena, 1657, II, p. 324; Vedriani, Raccolta
in the elaboration of this little note, and dei pittori scultori ed architetti modenesi, Modena,
especially in London to the Warburg Insti- 1662, p. 66; Masini, Bologna perlustrata,
tute, who so generously placed the library Bologna, I666, p. 150; Malvasia, Felsina
and photographic collection at my disposal, Pittrice, 1678, p. I60; Le Pitture di Bologna,
to Miss Frances A. Yates, Mrs. E. E. Frank- Bologna, I686, p. 196; Ascoso, Le Pitture di
fort and Dr. E. Gombrich; in Paris to M. Bologna, Bologna, i686, p. i95; Zanotti,
Andre Chastel, Director of Studies at the Storia dell' Accademia Clementina di Bologna,
Ecole des Hautes Etudes; finally to MadameBologna, 1739, PP. I3, I9; Tiraboschi, Notizie
Bouchot-Saupicque, Conservateur du Cabinetdei pittori modenesi, Modena, 1786, p. I6;
des Dessins at the Louvre, who allowed me Bolognini Amorini, Vite dei pittori ed artefici
to photograph Niccolo dell' Abbate's draw- bolognesi, I842, III, pp. 46-7.
ings and to reproduce them. 4 Notizie dei Professori del Disegno cio? Pittori,
2 Perhaps we have an example of it in theScultori ed architetti Bolognesi e forestieri di sua
charming drawing in the Louvre (5881), scuola raccolte ed in pies tome divise di Marcello
showing a decorative scheme for the clock Oretti bolognese academico dell' Instituto delle
tower of the Palazzo Pubblico in Bologna.Scienze di Bologna, Volume Primo (MS. B. 123,
This project is not quoted in official docu- Archiginnasio, Bologna).
ments, but its general disposition is very close 5 Followed by G. B. Venturi, Storia di
to one of the definitive schemes for the clock
Scandiano, Modena, 1822, I and II; F. Reiset,
tower (A. Rubiani, L'Orologio del comune di Gazette des Beaux-Arts, 1859, III, p. 270;
Bologna, 19o8, p. 9), as was observed by Both
Gabriel Rouches, La peinture bolonaise a la fin
de Tauzia (Notice Supplementaire des Dessins,
du XVIsidcle, Paris, 1913, P. 85. Bodmer, who
Musee du Louvre, 1879, no. 1514). devoted an interesting study to the Bolognese
The alterations to the clock tower were activity of Niccolo ("L'attivith artistica di
undertaken in i550, at which date Niccolo Niccolo dell' Abbate a Bologna," Riv. del
was very well known in Bologna. ThisComune draw-di Bologna, 1934), does not discuss this
ing was published by Guido Zucchini decoration,
("La nor does Venturi, Storia, IX,
Scoperta di affreschi di Niccolo dell' I933. Ab- It is simply mentioned by Guido
bate," Rivista dell' Comune di Bologna,Zucchini,
1929). op. cit., p. 12.
~ Alidosi, Istruzione delle cose notabile 6 Alidosi,
di op. cit., and Zanotti, op. cit.
Bologna, Bologna, 1621, p. 93; Bumaldi, 7 "In questa insigne opera avanti che dal
Minervalia Bonum Civium, Bologna, I641, p.tempo sia per affato consumata diremo
I14
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A LOST FRESCO OF NICCOLO DELL' ABBATE AT BOLOGNA I15
II sole col Capricorno montato da Giove fulminante appariscono tre
scogliosi monti, in sul maggiore dei quali innalzata e un ara ove sta scritto
nel mezzo: "INNOCENS MANIBUS ET MUNDO CORDE." Sopra quest' ara splende
il Pontificale Triregno, avendo a lati: 2 corone di fronde e fiori intessute.
In uno dei monti minori scorgersi il pegaso, e nell' altro un simplice cavallo
da parecchi fanciulli montato, altri essendovene in atto di salirsi sopra ed
alcuni a terra caduti-nel secolo poi oltre l'accennata bellissima donna
che virtu rappresenta evvene un' altra pure gentillissima, ambedue
reggenti una gran chiave, e sotto si legge:
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116 SYLVIE BEGUIN
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32
a-Niccolo dell' Abbate, Design for a Fresco, Louvre, Paris (p. I 15) c-Niccolo dell' Abbate,
Angel, Enamel from the
Sainte Chapelle, Beaux-
Arts, Paris (p. 122)
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118 SYLVIE B1GUIN
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A LOST FRESCO OF NICCOLO DELL' ABBATE AT BOLOGNA 119
with "hills" of various colours ("sopra de cui veste erano monti di v
colori").
Having indicated Julius III by a rebus, a procedure much used in emblems,
the fresco now evokes him more precisely by symbols elucidated in Latin
verses. Two of them, the altar and the Pegasus, could correspond to the
constellations of the same name, which Albio-Aloro may have introduced into
the Pope's astral theme.' But the situation of this altar on the highest of the
three hills, and the statement "Tale emblema per quale l'autore habbia voluto
mostrare mediante alcuni virtu che vi sono dipinte che il sudetto pontifice
arrivane all' altezza di quel grado," together with the Latin inscription, warn
us not to interpret this emblem by means of astrology alone. In fact, the text
of Psalm xxiii, from which the first line is taken ("Innocens manibus et mundo
corde"), offers the following meditation:
Quis ascendit in monte Domini?
Aut quis stabit in loco sancto ejus?
Innocens manibus et mundo corde.2
This last line appears on the highest of the three hills. This hill, crowned with
an altar "a l'antique," offers a striking analogy with the device of the Gonzagas
of Mantua, as described by Gelli:3 the motto "Ad montem duc nos" is accom
panied by Mount Olympus, bearing an altar. In the same way, probably, th
word "Olympus" in Niccolo's fresco symbolizes the "sanctus locus" in David'
psalm-a confusion of mythology with religion which is also to be found i
other works "de circonstance" carried out for Julius III.4
To left and right of the central hill are two others, their symmetry clearly
a reflection of the balance between the subjects which crown them; the tw
symbols are obviously linked. The significance of the group on the left hill
particularly obscure: some children are trying to mount a horse, one of the
being already on its back. What is the exact meaning of this mysteriou
figure? In the absence of any precise text by Aloro-Albio, it seems difficul
to do anything more than suggest hypotheses. The rhythm of the childre
round the horse is reminiscent of Wheels of Fortune; perched in this manne
on the crest of a hill, they evoke these lines of Ariosto:
This plastic representation seems rather unusual. It recalls the horse in the
1 In fact they confirmed the orientation 3 Gelli, Divise, motti, imprese di famiglie e
already indicated, since according to Firmicus
personaggi italiani, Milan, 1926, No. 83, pp. 38-
Maternus the constellation of the Altar fore- 39-
told the holding of religious office; cf. Julii
4 Cf. Pastor, op. cit., p. 60o, for the festivities
Firmici materni Mathesos libri VIII, W. Kroll
in Rome on the anniversary of the Pope's
and F. Skutch, Leipzig, Teubner ed., 848,election.
13;
5 Le satire di M. Lodovico Ariosto novisamente
E. Gombrich, Journal of the Warburg and Cour-
tauld Institutes, XIII, 1950, p. 192. stampate ed alla loro sana lettione ridotte (in
2 We quote from the text of the Polyglot
Venegia per Francesco Bindosi et Marpheo Passini
Bible of 1657 (III). Compagni) dal mese di Luglio M D XXXV.
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120 SYLVIE BI2GUIN
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A LOST FRESCO OF NICCOLO DELL' ABBATE AT BOLOGNA 121
gives any ground for this interpretation; but remains popular till the sixteenth century.
if it is correct, its flattery is no more exag-4 Reiset notes, in the Inventory of the
gerated than that of all the literature pro- Louvre drawings "The Church personified,
duced around Julius III at his election. It holdingis down Vice beneath the weight of a
in strong contrast to the very small amount key; symbol of Papal power."
actually done by the Pope to encourage litera- 5 It is also close to certain representations
ture. (Pastor, op. cit., chap. 5, P-. 302.) of St. Helena (Louvre, Cabinet des Dessins) ;
the St. Helena by Angelo de Marinis for the
1 Cf. II quarto libro delle Imprese illustri con
figure di stampe di Rome aggiunto da Vincenzo Charterhouse of Pavia, sculpted between
Ruscelli da Viterbo, Venice, 1583, where the 1552 and i556 (Tietze-Conrat, Old Master
devices stress the moral significance of the Drawings, June 1939, p. 5, fig- 3, p. 6). This
Pegasus (emblem of Count Alfonso Beccaria, analogy proves the great success of these wide-
p. 6; emblem of G. B. Cavallara, p. 35; hipped figures which, through Corregio and
emblem of Jacomo Foscarini, Procurator of Parmigiano, vulgarized Leonardo's contra-
St. Mark, p. 38). posto, enclosing contrasting rhythms in a
2 Reiset, Inventory of Drawings, and Gazette single form.
des Beaux-Arts, op. cit.: the Church personified. 6 For example, flying figures hold keys and
3 Zanotti already gives this meaning to it: olive branch on the tomb of Adrian VI at
"e nel Secolo poi oltre l'accennata bellissimaS. Maria dell' Anima.
Donna che virtu rappresenta evvene un altra SAchillis Bocchi, op. cit. They personify
pure gentilissima ambedue reggenti una gran divine peace and earthly peace.
chiave" (op. cit.). Van Marle, Iconographie de 8 Reproduced by Popham, The Drawings of
l'Art Profane, II, p. 15, shows that the motif Parmigianino, XLIVa.
of Vice crushed beneath the feet of Virtue
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122 SYLVIE BEGUIN
1Niccolo repeated this motif of the in a very different style (P1. 32c).
"Woman with the Key" almost exactly in one 2 Ruscelli, referring to the emblem of G. B.
of the angels of the enamels of the Sainte Cavallara (Gelli, op. cit., p. 568. )
Chapelle (1553) (Ecole des Beaux-Arts), but
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