Sculpture Collections in Early Modern Spain

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1 Sculpture Collections in Early Modern Spain Kelley Helmstutler Di Dio and Rosario Coppel

2 sculpture collections in early modern spain In the past decade, there has been a surge of Anglophone scholarship regarding Spain in the sixteenth and seventeenth centuries, which has led to a reframing of the discourses around Spanish culture of this period. Despite this new interest in which painting, in particular, has been singled out for treatment a comprehensive study of sculpture collections and the status of sculpture in Spain has yet to be produced. Sculpture Collections in Early Modern Spain is the first book to assess the phenomenon of sculpture collecting and in doing so, it alters the previously held notion that Spanish society placed little value in this art form. Di Dio and Coppel reveal that, due to the problems and expense of their transport from Italy, sculptures were in fact status symbols in the culture. Thus they were an important component of the collections formed by the royal family, cultivated noble collectors, humanists, and artists who had pretensions of high status. This book is especially useful to specialists for its discussion of the typologies of collections and objects, and of the mechanics of state gifts, transport, and collection display in this period. An appendix presents extensive archival documentation, most of which has never before been published. The authors have uncovered hundreds of new documents about sculpture in Spain; and new documentary evidence allows them to propose several new identifications and attributions. Firmly grounded in extensive archival research, Sculpture Collections in Early Modern Spain redefines the socio-political and art historical importance of sculpture in early modern Spain. Most importantly, it entirely transforms our knowledge regarding the presence of sculpture in a wide range of Spanish collections of the period, which until now has been erroneously characterized as close to nonexistent. Kelley Helmstutler Di Dio is an Associate Professor of Art History at the University of Vermont, USA. Rosario Coppel is an independent art historian based in Bilbao, Spain.

3 To our families Per le nostre famiglie Para nuestras familias

4 Sculpture Collections in Early Modern Spain Kelley Helmstutler Di Dio and Rosario Coppel

5 Kelley Helmstutler Di Dio and Rosario Coppel 2013 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Kelley Helmstutler Di Dio and Rosario Coppel have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identified as the authors of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East 110 Cherry Street Union Road Suite 3-1 Farnham Burlington, VT Surrey, GU9 7PT USA England British Library Cataloguing in Publication Data Di Dio, Kelley Helmstutler. Sculpture collections in early modern Spain. 1. Sculpture--Private collections--spain--history--16th century. 2. Sculpture--Private collections--spain-- History--17th century. I. Title II. Coppel, Rosario dc23 The Library of Congress has cataloged the printed edition as follows: Di Dio, Kelley Helmstutler. Sculpture collections in early modern Spain / by Kelley Helmstutler Di Dio and Rosario Coppel. pages cm Includes bibliographical references and index. ISBN (hardcover : alk. paper) -- ISBN (ebook) -- ISBN (epub) 1. Sculpture--Collectors and collecting--spain--history--16th century. 2. Sculpture-- Collectors and collecting--spain--history--17th century. 3. Art and society--spain-- History--16th century. 4. Art and society--spain--history--17th century. I. Coppel, Rosario. II. Title. NB23.S7D dc ISBN (hbk) ISBN (ebk) XV ISBN (epub) Printed and bound in Great Britain by TJ International Ltd, Padstow, Cornwall.

6 Contents List of Illustrations Acknowledgements xiii xv 1 Sculpture Collections in Spain: An Overview 1 2 Royal Collections of Sculpture 37 3 Aristocratic Collections of Sculpture 65 4 Sculpture Collections formed by Court Functionaries, Diplomats, Scholars, Artists and Merchants 83 Conclusion 103 Appendix 105 Notes to the Appendix 105 Chronological Index 108 Onomastic Index 114 Inventories of Aristocratic Collections: The Reigns of Charles V ( ) and Philip II ( ) Francisco de los Cobos, Pedro Álvarez de Toledo y Zúñiga, Marqués de Villafranca del Bierzo, Pedro Álvarez de Toledo y Zúñiga, Marqués de Villafranca del Bierzo, Juan Alonso de Guzmán, 6th Duque de Medina de Sidonia, Luis de Ávila y Zúñiga, Marqués de Mirabel, Per Afán de Ribera, 1st Duque de Alcalá,

7 vi sculpture collections in early modern spain 7. Ruy Gómez de Silva, Príncipe de Éboli, Diego Hurtado de Mendoza, Diego Hurtado de Mendoza, Fernando Carrillo de Mendoza, 7th Conde de Priego, Martín de Gurrea y Aragón, Conde de Ribargorza and Duque de Villahermosa, Fernando Álvarez de Toledo y Pimentel, 3rd Duque de Alba, Inventories of Aristocratic Collections: The Reign of Philip III ( ) Juan Fernández de Velasco, Condestable de Castilla, Duque de Frías, Rodrigo de Castro Osorio, Cardinal Archbishop of Seville, Juan de Borja y Castro, Conde de Mayalde and 2nd Conde de Ficalho, Francisco Gómez de Sandoval y Rojas, 1st Duque de Lerma, Juan de Zúñiga Avellaneda y Bazán, Duque de Peñaranda de Duero, Conde de Miranda, Juan Fernández de Velasco, X Condestable de Castilla, Tasación, Juan Alfonso Pimentel, Conde-Duque de Benavente, Juan Alfonso Pimentel y Ponce de León, Conde de Luna and Conde-Duque de Benavente, Juan Alfonso Pimentel y Ponce de León, Conde de Luna and Conde-Duque de Benavente, Juan Alfonso Pimentel, Conde-Duque de Benavente, Juan Alfonso Pimentel, Conde-Duque de Benavente, Álvaro de Benavides, Comendador Mayor de Aragón, Álvaro de Benavides, Comendador Mayor de Aragón, Tasación, Álvaro de Benavides, Comendador Mayor de Aragón, Almoneda, Juan Fernández de Velasco, Condestable de Castilla, Duque de Frías, Tasación, Juan Fernández de Velasco, Condestable de Castilla, Duque de Frías, Almoneda, Pedro Franqueza y Esteve, Conde de Villalonga, Juan de Acuña, Marqués de Vallecerrato, Presidente de los Consejos de Castilla, Tasación,

8 contents vii 31. Ruy Gómes de Silva y Mendoza, Conde de Galve and Marqués de la Eliseda, Fray Joseph González, Conde de Pernia, Tasación, Ana Manrique, Condesa de Puñonrostro, Tasación, Francisco Gómez de Sandoval y Rojas, 1st Duque de Lerma, Francisco Miguel de los Cobos y Luna, Marqués de Camarasa, Mencía de la Cerda y Bobadilla, Marquesa del Valle de Oaxaca, Guiomar Pardo Tavera de la Cerda y Duarte, Marquesa de Frechilla y Malagón, Rodrigo Calderón, Conde de la Oliva and Marqués de Siete Iglesias, d Catalina de Sandoval y Rojas, 6th Condesa de Lemos, Catalina de Sandoval y Rojas, 6th Condesa de Lemos, Inventories of Aristocratic Collections: The Reign of Philip IV ( ) Juan Hurtado de Mendoza y Mendoza, Duque de Mandas and Duque del Infantado, Juan Hurtado de Mendoza y Mendoza, Duque de Mandas and Duque del Infantado, Tasación, Juana de Córdoba y Aragón, Duquesa de Frías, Tasación, Luis Carrillo de Toledo, Conde de Pinto y Marqués de Caracena, Luis Carrillo de Toledo, Conde de Pinto y Marqués de Caracena, Tasación, Juan de Mendoza, Marqués de San German and Marqués de la Hinojosa, María de Zúñiga Avellanedo y Bazán, Condesa de Miranda del Castanar, Tasación, María de Cárdenas Manrique de Lara, Marquesa de Cañete, Pedro Girón de Riviera [or Ribera], Marqués de Alcalá de la Alameda, Tasación, Vittoria Colonna, Condesa de Modica, Duquesa de Medina de Rioseco, wife of 8th Almirante de Castilla, Vittoria Colonna, Condesa de Modica, Duquesa de Medina de Rioseco, wife of 8th Almirante de Castilla, Tasación, Antonio de Moscoso Osorio and Francisca Luisa Fernández Portocarrero, Marqués y Marquesa de Villanueva del Fresno y Barcarrota, Tasación,

9 viii sculpture collections in early modern spain 53. Fernando Enríquez de Ribera, 3rd Duque de Alcalá, Juana de Córdoba Cardona y Aragón, Duquesa de Sessa, Juana de Córdoba y Aragón, Duquesa de Sessa, Tasación, Jean de Croy, Conde de Solre, Jean de Croy, Conde de Solre, Tasación, Philippe Charles D Arenberg, Duc D Aarschott, Philippe Charles D Arenberg, Duc D Aarschott, Tasación, Policena Spinola, Marquesa de Leganés, Policena Spinola, Marquesa de Leganés, Tasación, Policena Spinola, Marquesa de Leganés, Rodrigo de Herrera, Tasación, Gaspar de Borja y Velasco, Cardinal and Archbishop of Toledo, Juan Alfonso Enríquez de Cabrera ( ), 9th Almirante de Castilla y Duque de Medina de Rioseco, Tasación, Catalina Fernández de Córdoba y Aragón, Condesa de Carpio, Condesa-Duquesa de Olivares, Catalina Fernández de Córdoba y Aragón, Condesa de Carpio, Condesa Duquesa de Olivares, Tasación, Juan Francisco Alfonso Pimentel y Ponce de León, Conde de Luna and Conde de Benavente, c Juan Francisco Alfonso Pimentel, Conde de Benavente, Bernardo Fernández de Velasco y Tobar, Condestable de Castilla, Duque de Frías, Conde de Haro, and Marqués de Berlanga, Bernardo Fernández de Velasco y Tobar, Duque de Frías, Marqués de Berlango, Conde de Haro, Condestable de Castilla, Manuel de Fonseca y Zúñiga, Conde de Fuentes and Conde de Monterrey, Ambassador in Rome, Viceroy of Naples, Diego Felipe Mesía de Guzmán, Marqués de Leganés, Leonor María Pimentel, Condesa de Benavente, Rodrigo Diaz de Vivar Gómez de Sandoval y Mendoza, Duque del Infantado, Ana Enríquez de Cabrera, Duquesa de Alburquerque, Inventories of Aristocratic Collections: The Reign of Charles II ( ) Ramiro Felípez de Guzmán, Duque de Medina de las Torres and Duque de Sanlucar,

10 contents ix 78. Francisco de Moura and Ana María de Monçada, Marqueses de Castel Rodrigo, Tasación, García de Avellaneda y Haro, Conde de Castrillo, Tasación, Luis Guillermo de Moncada Aragón y de la Cerda, Cardenal Duque de Moncada y Aragón, Duque de Montalto, Luis Guillermo de Moncada Aragón y de la Cerda, Cardenal Duque de Moncada y Aragón, Duque de Montalto, Tasación, Águeda Francisca de Prado y Castilla, Águeda Francisca de Prado y Castilla, Tasación, Francisco de Moura, Marqués de Castel Rodrigo, Tasación, Antonio Mesía de Tovar, Conde de Molina de Herrera, Antonio Mesía de Tovar, Conde de Molina, Tasación, Antonio Mesía de Tovar, Conde de Molina, Almoneda, Diego de la Torre, María Sarmiento Zúñiga Mendoza, Condesa de la Zenilla, María Sarmiento Zúñiga Mendoza, Condesa de la Zenilla, Tasación, María Inés Manrique de Lara y Manrique Enríquez, Condesa de Paredes de Nava, Ana Fernández de Córdoba, Duquesa de Feria and Pedro Antonio Folch de Córdoba (Pedro Antonio de Aragón), Ana Fernández de Córdoba, Duquesa de Feria, Ana Fernández de Córdoba, Duquesa de Feria, Tasación, Ana Fernández de Córdoba, Duquesa de Feria, Particion de Bienes, Pedro Antonio de Aragón, Tasación, Pedro Antonio de Aragón, Tasación, Pedro Fernández del Campo Angulo y Velasco, Primer Marqués de Mejorada, Catalina Vélez de Guevara, Condesa de Oñate y Villamediana, Catalina Vélez de Guevara, Condesa de Oñate y Villamediana and Marquesa de Guevara, Tasación, Guillén Ramón de Moncada Alagón Espes Castro Cervello y Luna, Marqués de Aytona, Conde de Osona, Conte di Marmilla, Vizconde de Cabrera, Bas y Villamur,

11 x sculpture collections in early modern spain 102. Gaspar Méndez de Haro y Guzmán, 7th Marqués del Carpio, Gaspar de Haro y Guzmán, Marqués del Carpio, Gaspar de Haro y Guzmán, Marqués del Carpio, Tasación, Gaspar de Haro y Guzmán, Marqués del Carpio, Tasación, Gaspar de Haro y Guzmán, Marqués del Carpio, Almoneda, Gaspar de Haro y Guzmán, Marqués del Carpio, Tasación, Gaspar de Haro y Guzmán, Marqués del Carpio, Gaspar de Haro y Guzmán, Marqués del Carpio, Gaspar de Haro y Guzmán, Marqués del Carpio, Tasación, Leonor de Velasco y de la Cueva, Condesa de Siruela, Marquesa de Cerralbo, María Sarauz, Marquesa de Cassaliche, Teresa María Arias de Saavedra and Baltasar de la Cueva Enríquez, Condes de Castellar, Marqueses de Malagón, Gregorio Genaro de Bracamonte y Guzmán, Conde de Peñaranda, Juan Gaspar Enríquez de Cabrera y Sandoval, Almirante de Castilla, Tasación, Inventories of Court Functionaries, Diplomats, Artists, Merchants and Scholars Miquel Mai, Miquel Mai, Adiosdado de Olivares, Antonio Pérez, Almoneda, Mateo Vázquez de Leca, Antonio Agustín, Jacopo Nizzola da Trezzo, Clemente Birago, Juan de Herrera, Benito Arias Montano, Juan de Arfe Villafañe, Luis de Carvajal, Juan Pantoja de la Cruz, Pompeo Leoni, Tasación,

12 contents xi 130. Pompeo Leoni, Gaspar de Ledesma Meriño, Ippolito Resta, Tasación, Raffaello Romena, Pablo Justiniano, Vicencio Carducho, Vicencio Carducho, Tasación, Vicencio Carducho, Almoneda, Diego Xaraba de Castillo, Pedro de Arce, Tasación, Domingo Soria Arteaga and Eugenia Enríquez Murtiel, Eugenia Enríquez, wife of Domingo Soria Arteaga, Tasación, Juan Martínez del Mazo, Pedro de Salazar, Cristobal Colomo, Luis Hurtado, Tasación, Martín Martínez de Medrano, Diego Velázquez de Silva, Diego Velázquez de Silva, Antonio Carnero, Tasación, Juan Morano, Tasación, Giovanni Battista Morelli, Josefa de Canencia, Tasación, Pablo de León, Tasación, Jerónimo Valle de la Cerda, Pedro Calderón de la Barca, Pedro Calderón de la Barca, Tasación, Vicencio Juan Lastanosa, Joseph Pellegrin de Villareal, Tasación, Antonio de Hoyos y Rojas, Tasación, Francisco del Campo, Summiller de Cava de la Reina Maríana de Austria, Bibliography 429 Index 455

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14 Illustrations Cover image: Felix Castelo, Casa de Campo. Museo de Historia, Ayuntamiento de Madrid. 1 Leone Leoni, Charles V and Fury, Madrid, Museo Nacional del Prado. Museo Nacional del Prado, Madrid, Spain. 2 Guglielmo della Porta?, Spinario, Real Sitio de Aranjuez. Photo: Rosario Coppel. 3 Giovanni Battista Foggini, Statuette of Charles II, Madrid, Museo Nacional del Prado. Museo Nacional del Prado, Madrid, Spain. 4 Giambologna, Samson and the Philistine, London, Victoria and Albert Museum. Victoria and Albert Museum, London. 5 Cristoforo Stati, Samson and the Lion, The Art Institute of Chicago. The Art Institute of Chicago. 6 Copy after Bernini s Four Rivers Fountain, Blenheim Palace. Photo: Blenheim Palace. 7 Giambologna and Antonio Susini, Statuette of a Horse, London, Victoria and Albert Museum. Victoria and Albert Museum, London. 8 Giovanni Battista Morelli, Sleeping Christ Child. Coll&Cortes. 9 Juan de Mesa, The Immaculate Conception. Coll&Cortes. 10 Benvenuto Cellini, Christ, Basilica de San Lorenzo El Escorial. Photo: Rosemarie Mulcahy. 11 Giambologna and Pietro Tacca, Equestrian Statue of Philip III, Madrid, Plaza Mayor. Oronoz. 12 Matteo Bonucelli, Venus with the Conch Shell, Madrid, Museo Nacional del Prado. Museo Nacional del Prado, Madrid. 13 Jacques Jonghelinck, Bacchus, Aranjuez. Photo: Rosario Coppel. 14 Pietro Tacca, Equestrian Statue of Philip IV, Madrid, Palacio Real. Oronoz. 15 Vespasian, Madrid, Museo Nacional del Prado. Museo Nacional del Prado, Madrid, Spain. 16 Zanobi Lastricati, Venus Anadyomene, Aranjuez. Photo: Rosario Coppel. 17 Jacques Jonghelinck, Bust of Philip II, Museo Nacional del Prado. Museo Nacional del Prado, Madrid, Spain.

15 xiv sculpture collections in early modern spain 18 Jacques Jonghelinck, Bust of the Duke of Alba, New York, Frick Collection. 20 Portrait of Miquel Mai, , Barcelona, Museu Nacional d Art de Catalunya. 19 Equestrian statuette of Duke of Olivares, Detroit, Art Institute. Photo: Bridgeman Art Library.

16 Acknowledgements The idea for this project began the first time we met in 2001 in the State Archives in Florence. It was just a few years after Marcus Burke and Peter Cherry s study on Collections of Paintings in Madrid (Getty, 1997) had come out. After much research in the archives in Florence, it was clear to us that sculptures played a more important role in the history of collecting and taste in Spain than previously believed. Twelve years of research, collaboration, friendship, and many happy and productive days together in Madrid, finally resulted in this volume. But, as with all projects, a great number of colleagues, institutions, friends and family made our work possible. First, we wish to acknowledge our debt to Rosemarie Mulcahy, a scholar whose work and deep knowledge of Spanish art and culture were as inspiring as her generosity, her constant good nature, and her elegance. Sadly, Professor Mulcahy passed away as our book was going to press. Our debt to her is particularly profound, we recently discovered, as she was the anonymous reader of this manuscript. True to her style and work ethic, she offered very important suggestions that considerably improved the text and increased the ease of use of the appendices, and she did so with great efficiency, acumen, and dedication. The loss of Rosemarie Mulcahy is a great loss to the field of Spanish art history and to all who knew her. Both authors wish to thank the cohort of scholars that generously encouraged and contributed in many ways to our study. Edward Goldberg, Susanne Kubersky, Salvador Salort Pons, Margarita Estella, Stephan Schröder, María Jesús Herrero, Almudena Pérez de Tudela, Leticia de Frutos, Paz Aguiló, Walter Cupperi, Gloria Mora, José Luis Sancho, Jeremy Warren, Guy Lazure, the staff at the Archivio di Stato, Florence, the Archivio di Stato, Milan, the Archivo Histórico de Protocolos, Madrid, and Isabella Aguirre and the staff at the Archivio General de Simancas. Di Dio also thanks the miracle-working interlibrary loan librarian at UVM, Barb LaMonda, student research assistants Emalee Denardo, Justine Pentifallo, Tegan Mahoney and Alexandra Jones, as well as Helen Wagg for her assistance with translations.

17 xvi sculpture collections in early modern spain The authors are also grateful for the indefatigable enthusiasm and help of our commissioning editor, Erika Gaffney. In addition, Di Dio gratefully acknowledges the financial support, time and other resources received from a Kress Foundation Curatorial fellowship at the Medici Archive Project, the University of Vermont s Career Enhancement Grant, two Latti Coor Grants for the Humanities, a grant from the Program for Cultural Cooperation between the Ministry of Arts and Culture of Spain and U.S. Universities and a Craig Hugh Smyth fellowship at Harvard s Center for Renaissance Studies Villa I Tatti. Our heartfelt thanks are extended to our families for their support and patience and for the sacrifices they made that allowed us to travel, work, study, think and write. It is to them that our study is dedicated.

18 1 Sculpture Collections in Spain: An Overview In 1556, Pompeo Leoni arrived in Spain with a series of Imperial portraits in bronze and marble for which Holy Roman Emperor, Charles V (King Charles I of Spain) had commissioned his father, Leone Leoni (fig. 1.). The Emperor had decided to retire to the monastery at Yuste and abdicated the title of King of Spain in favour of his son Philip. Charles s sister Mary of Hungary also moved to Spain and brought with her an incredible collection of paintings and ancient and modern sculptures. This transfer of power to Spain and the eventual centralization of the court at Madrid brought about a significant rise in wealth and power in the aristocratic classes and, with it, a desire to display status and political affiliations through possessions. 1 The growth of exhibition rituals and protocols required more servants and accoutrements that signaled an indivdual position. 2 The members of the Castilian aristocracy who traveled to Italy returned with new Italian ideals regarding behavior, appearance and the social utility of a well-decorated residence. Madrid, where the socialization of power was fundamental, became a school for practices of representation. 3 The facade of the house became a public statement about the family, its wealth and its social and political ambitions. The interior of the house, seen by a more select audience, became the site for even more grandiose familial representations and social projection. The interest in collecting and display was not only a product of ostentation and social prestige; in some cases it was much more closely tied to the owner s interest in humanism. 4 The duque of Alcalá, for example, had an impressive collection of ancient sculptures, important manuscripts, and inscriptions in his home. Rodrigo Caro visited the house frequently to study the antiquities and consult texts in the library. When Caro wrote his Días Geniales, the duke and his residence were described with admiration and Caro noted that noblemen gathered to discuss the relics of the ancient world found there. 5 Some men of learning enjoyed power not because of their noble rank, but because of their status within the Church s hierarchy. After the Crown and the nobility, ecclesiastics were the most powerful sector of society. Their

19 1 Leone Leoni, Charles V and Fury, Madrid, Museo Nacional del Prado. Museo Nacional del Prado, Madrid, Spain.

20 sculpture collections in spain: an overview 3 literary interests served as an important part of their intellectual base; most of them owned an important library containing humanist tomes. Some of them also possessed important art collections and their gardens were filled with sculpture of both secular and religious subjects. In the larger society, religious sculptures were collected to serve as objects for personal devotion, but also to display one s piety. Antonio Urquízar Herrera observed that the era of new spirituality of Spanish mystics and especially of a more intimate and personal religious practice found its perfect vehicle in devotional painting and in private cult spaces. 6 This was equally true with sculpture. Oratories were filled with large polychrome figures with garments that could be changed, small to large crucifixes, and other devotional sculptures. The desire to display one s piety through the decoration of private devotional spaces was particularly important in this era, when the limpieza de sangre was a fundamental element of one s social viability. 7 In addition, the collecting of reliquaries and other religious works and the patronage of funerary monuments and chapels also served to secure the salvation of the owner s soul. As mentioned earlier, garden sculptures were another important component in the display of social status. Again, the influence of Italian usage was critical and, as in Italy, the appreciation of beautiful gardens helped form a more general interest in the natural world, which, in turn, influenced the development of the pastoral novel in the sixteenth century. 8 Philip II had the gardens at the Reales Alcazares (Seville), the Alhambra and Generalife (Granada), and the Real (Valencia), and around the court at Aranjuez, Vaciamadrid, Valsain, El Escorial, la Fresneda, Quexigal, Campillo, and in Madrid in the Alcázar, Casa de Campo and the Pardo. Philip III continued to decorate the gardens with sculptures and, when Philip IV built the Buen Retiro, the gardens there were designed and decorated according to Baroque taste, with a keen eye to scenography and performance. Gift-giving became one of the principal means by which influence and power could be gained at court. Viceroys and other agents of the court in Italy and Flanders sent gifts to the king and they received gifts from local princes or their agents. State gifts of sculpture were sent from Italy and Flanders to win political favors and forge alliances. At the same time, there was a growing interest in Spain s Roman past and archeological digs were undertaken throughout the peninsula. Men of erudition sought out the sculptures, inscriptions and other artifacts from these digs for study and display in their homes. The sculptures Leoni brought to Spain eventually became an important component of the royal sculpture collection; their style and typology, along with others commissioned and collected by Philip II, Philip III, Philip IV and Charles II, informed sculpture collectors and patrons for well over a century. Vicente Carducci (known as Vicencio Carducho in Spain), a Florentine who had lived much of his life in Spain and had served as the king s painter, wrote a treatise, the Diálogos de la Pintura (1633), in which he contrasted the prestige associated with art collecting in Spain with the low regard for the artists who worked there. 9 Carducho wrote the treatise, at least in part, as a response to a

21 4 sculpture collections in early modern spain legal dispute in which artists argued they should be exempt from having their work taxed and be exempt from the alcabala. He cited the high regard in which art and its practitioners were held in Italy and outlined the importance of the education of artists and the theoretical and scientific bases of the making of art. He argued that the practice of art collecting by members of the aristocracy in Spain was evidence for the nobility of art. Carducho constructed his treatise as a dialogue between a student and his master. The student, after discussing his trip to Italy, Germany, Flanders and France, goes on to recount visits to local collections in Madrid, arguing that Spain boasts collections equally impressive as those he saw elsewhere. The section on collecting in Spain underscored the fact that art was valued at court (particularly art by dead artists, as the student mused) by men of great erudition and connoisseurship as it was in the rest of Europe, however, artists in Spain were not treated as well as they were in other countries. The aristocrat-collectors he named were mentioned again as having testified in the case regarding artists claims to tax exemption so as to intimate that those who appreciated the value of art understood that its practitioners were not mere manual laborers. The student lamented, But considering all that is written about this Art, and all that we have discussed these days with such basis and truth, I am confused and I find it quite strange that these things are obviously not known in this Court and are not placed at the pinnacle of honors, since this position has been held by so many writers, so many talented men and so much power as you have told me. 10 When the master responded that there were many at court who did value art, the student responded, Surely I am persuaded to believe it is so, and this consoles me, and once I spent a night discussing paintings, drawings, models and statues that are here at the court I was pleased to see that it was about these and that it was being discussed with great amiability and very scientifically with the best Artists that were there and with many other special and talented Gentlemen and Lords, spending many pleasant moments in this virtuous entertainment. 11 In this part of the text, the collections of an unnamed person, then those of the principe de Esquilache, the duque de Alcalá, the condestable de Castilla, the duque de Medinaceli, the marqués de Alcalá, the conde de Lemos, the conde de Monterrey, the conde de Osorno, the marqués de Velada, the duque de Medina de Las Torres, the marqués de Alcañizas, the marqués de Almazán, the conde de Benavente, the marqués de Leganés, Gaspar de Bracamonte, the conde de Humanes, Francisco de Garnica, Francisco de Quevedo, and Francisco de Aponte are mentioned. The roots of art collecting can be traced to the mid sixteenth century and specifically to the king of Spain and Holy Roman Emperor, Charles V. Charles s grandfather, Emperor Maximilian I, his aunt, Margaret of Austria, and his sister

22 sculpture collections in spain: an overview 5 Mary of Hungary, formed important collections and their multicultural interest and approach to collecting clearly influenced Charles. 12 Charles had been an important patron of Leone Leoni s and commissioned from him relief, fulllength and bust-length portraits. Leoni s Northern Italian, Tuscan and Flemish stylistic sources were perfectly suited to Charles s needs for portrait sculpture. In many ways, Charles V s preference for classicizing, Italian and Flemish sculptures in bronze and marble (especially portraits) defined Spanish royal taste through the sixteenth century and into the seventeenth century. Noble collectors followed this model closely as they formed their own collections. The majority of Philip II s collection was formed by sculptures he inherited from his father, Charles V, his aunt, Queen Mary of Hungary, his son, Don Carlos, and others, and those given to him as gifts. Philip was also sent series of portrait busts and other gifts of sculpture to decorate the newly remodeled quarters of the Alcázar in Madrid and the newly constructed complex of El Escorial. Diego de Villalta recorded in his Tratado de las antigüedades de la memorable Peña de Martos (1591) that Philip had not yet decided where to display the sculptures he had inherited. 13 Then, according to the 1602 inventory of the Alcázar in Madrid, many of the sculptures Philip owned were kept in storage areas. Philip did not have a chance to assign permanent places for his sculptures because of all the problems of state he was faced with, his deteriorating health in the later years of his life, and the fact that the interiors of many of his residences, including the Alcázar, were still incomplete. 14 These same reasons kept Philip II from accepting the offer of the high quality sculpture collections of Orazio Muti or Fulvio Orsini, 15 having his ambassadors in Rome seek out sculpture, acquiring copies or moulds of antiquities as King Francis I of France or Queen Mary of Hungary did. On the other hand, Philip considered sculpture to be an integral part of the decoration of his gardens and bought, commissioned, and was given, sculpture specifically for that purpose. For Aranjuez, the king s favorite gardens, begun in 1560, he had plans to create an elaborate sculptural program with statues and fountains, but most of the project was never completed. 16 Philip II also planned the decoration of the gardens at the Alcázar and the Casa de Campo, his suburban villa. The royal collection of sculpture continued to grow under Philip s heir, Philip III. New sculptures listed in the inventory of the Alcázar after his death include nine busts, three small marble heads, and eight more busts of emperors, which were held in the bóvedas of the garden. In the library, there were statuettes of animals in gilded bronze and silver and 12 small busts of emperors in bronze. In 1608, he ordered that 148 sculptures be sent to the Alcázar, including 13 portrait sculptures still in Pompeo Leoni s workshop. He also received numerous bronze and marble sculptures from Flanders, sent by the Count of Mansfield, for El Pardo. 17 At the Alcázar, Philip carried out the project his father had planned for the gardens. He transferred a series of the busts of Roman emperors and Leone

23 6 sculpture collections in early modern spain 2 Guglielmo della Porta?, Spinario, Real Sitio de Aranjuez. Photo: Rosario Coppel. Leoni s marble statue of Charles V (Museo del Prado, E-267) to the Jardín de la Reyna, which caused the name to change to the Jardín de los Emperadores. 18 At least twenty sculptures were moved from the Alcázar to the gardens of Aranjuez and the Casa de Campo, where some of them were incorporated into fountains. For example, around 1615, the bronze Spinario (fig. 2, sent to Philip II by Cardinal Ricci of Montepulciano) became the central ornament of Juan Fernández and Marcos de Garay s Fountain of the Harpies in the gardens of Aranjuez. 19 He commissioned a number of fountains for his own gardens at the Alcázar in Madrid, Aranjuez, the Casa de Campo, and the Alcázar in Seville, as well as public fountains for the city of Madrid. It was Philip IV ( ) who sought to bring the quantity and quality of the sculptures and their display to the same level of prestige as those of other European princes. 20 He was the first of the Spanish kings to acquire large quantities of sculptures in Italy and, already in the first year of his reign, he had all of the remaining sculptures (a total of 122 sculptures) taken out of storage in the Alcázar. They were immediately transferred to Aranjuez to decorate the gardens and facades. A few years later, in 1634 and again in 1635, 80 sculptures that had been brought to Aranjuez were transferred again to the Buen Retiro, where many of them were displayed in the interior. 21 Philip IV fully incorporated sculpture into the decoration of the royal residences, especially at the Alcázar in Madrid. 22 Diego Velázquez was in charge of the Alcázar s transformation and deemed that higher quality paintings and classical sculptures were needed to elevate the king s collections to the rank of other European princes. 23 Velázquez was sent to Italy from 1649

24 sculpture collections in spain: an overview 7 3 Giovanni Battista Foggini, Statuette of Charles II, Madrid, Museo Nacional del Prado. Museo Nacional del Prado, Madrid, Spain. to 1651 to buy Greek and Roman sculptures (originals, copies, or moulds to be cast in Spain), as well as sculptures by contemporary artists. 24 He brought back at least 300 sculptures for the gardens and many others for other sites. 25 Philip IV s heir, and the last of the Spanish Habsburgs, Charles II, did not add a great deal to the royal collections. He did, however, acquire various pieces from the major estate sales that took place during his reign. In addition, he received some important gifts of sculpture, such as the equestrian statuette of him by Giovanni Battista Foggini from the papal nuncio Archinto in 1698 (fig. 3). The main project of this period was initiated by Charles II s regent,

25 8 sculpture collections in early modern spain 4 Giambologna, Samson and the Philistine, London, Victoria and Albert Museum. Victoria and Albert Museum, London. Mariana de Austria, who began the remodeling of the area in front of the Alcázar, and ordered 80 marble figures to be sent from Genoa. In general, one can perceive that the fading reign of Habsburg power in Spain was parallel to the decline in sculpture collecting by the Crown during the time of Charles II. However, the members of the high aristocracy at his court did not emulate Charles lack of inclination to collect art. In fact, it was during the last half of the seventeenth century when noble collections reached their height. Aristocratic Collections Marcus Burke and Peter Cherry demonstrated that the royal painting collection served as a model for the collections of members of the court and the nobility and that their possessions bolstered their status in the society of honor of late sixteenthand seventeenth-century Spain. 26 This is even truer for sculpture collecting during this period. Those who had the political connections or the money necessary to have sculptures sent from Italy did so. 27 Diego Hurtado de Mendoza and the duque de Alcalá are among the most important aristocratic collectors of the early sixteenth century. They, like the duque de Villahermosa and the marqués de Mirabel, procured sculptures while they were in Italy and sculptures uncovered in local excavations in Spain. Their collections are characterized by a mixture of ancient and modern sculptures with classical themes. The collections represented the erudition, wealth and diplomatic careers of their owners. During the reign of Philip III, the number of collectors and the size of sculpture collections increased markedly. This is in large part due to the dramatic increase in the frequency and luxury of diplomatic gifts sent from Italy and Flanders. The duque of Lerma was undoubtedly the man who profited most from this new atmosphere. In total, Lerma owned five palaces that were filled with his enormous collection of paintings, tapestries, and luxurious furniture. His, in

26 sculpture collections in spain: an overview 9 fact, was the largest holding of paintings in Spain, numbering around two thousand, including some by Tintoretto, Titian, Veronese, Bassano, Cambiaso, and other Italian painters. 28 His collection of sculptures included 24 marble busts of Emperors with black jasper pedestals, and casts and copies of antiquities sent to him by the duke of Mantua, fountains, such as the Samson and the Philistine by Giambologna (fig. 4) and Samson and the Lion by Cristoforo Stati (fig. 5), which were both gifts from the Tuscan court, and which will be discussed in chapter three. 29 Men and women in Lerma s circle also received gifts of sculpture and formed important collections. During the reigns of Philip IV and Charles II, noble collectors followed the king s lead, forming collections of unprecedented quality and quantity. Also like the royal collection, sculpture became more fully integrated into the interiors of palaces, displayed alongside paintings. The prevalence of mythological subjects in Spanish collections increased considerably during Philip IV s time, as compared to the previous reigns, but so did the popularity of Niños de Nápoles, polychrome sculptures of the Christ Child or Child St John the Baptist. The reign of Charles II is characterized by the opulence of the collections formed at that time. The marqueses de Castel Rodrigo, the duquesa de Feria, Ana Fernández de Córdoba, and her husband Pedro Antonio de Aragón, the marqués de Carpio and the almirante de Castilla formed enormous collections, with hundreds of sculptures and thousands of paintings. Huge shipments arrived from Italy with crates full of antiquities and modern objects. 5 Cristoforo Stati, Samson and the Lion, The Art Institute of Chicago. The Art Institute of Chicago. Other Collections The range in social rank of collectors and the variety and number of sculptures they collected increased during this period. Non-noble courtiers, merchants, scholars and artists assembled collections for various reasons, such as study, social posturing, and religious piety. The vast majority of these types of people were not able to collect or perhaps they were not interested in collecting sculptures. Again, it tended to be people that had access to Italy

27 10 sculpture collections in early modern spain (because they were Italian, or because they travelled there) that obtained sculptures. Francisco de los Cobos, Mateo Vázquez de Leca, Antonio Pérez and other court secretaries, received some gifts of sculpture from Italy, such as fountains, busts, and religious objects. Domingo Soria Arteaga and his wife Eugenia Enríquez, owned an impressive collection of Spanish art: paintings by El Greco, Pedro Orrente and others and sculpture by Bejerano, Mulato, and polychrome sculptures that were locally produced. Merchants evidently formed collections as well. We were only able to locate two inventories of merchants possessions. Both merchants were of Italian descent Ippolito Resta, a bookseller, and Paolo Giustiniano, a Genoese merchant, who may have been from the famous Genoese Giustianiano clan of importers/exporters centered at Alicante. They mostly owned religious sculptures made of a variety of materials bronze, polychrome wood, lead and tin. The only non-noblemen who were able to form collections that were comparable to those of the nobility in this period were two artists, Pompeo Leoni and Vicencio Carducho. In fact, in his Diálogos, Carducho discussed artists collections along with those of the nobility. In constrast to their colleagues in Italy and northern Europe, few artists working in Spain enjoyed wealth and social status in the sixteenth and seventeenth centuries. Those that were able to, began forming collections. Many were studio collections, but some consisted of objects of considerable prestige. The artist-collector named by Carducho who possessed the most impressive collection of all was Pompeo Leoni. Pompeo s house in the San Francisco quarter (the same neighborhood as Juan Fernández de Velasco, VI Condestable de Castilla, discussed above) displayed his wealth, his status as a nobleman, and his learning. In addition to his important paintings, drawings, and expensive furnishings, he owned originals and casts after ancient and modern sculptures, including copies of some of his and his father s sculptures. The 297 sculptures he owned were of various materials including marble, bronze, gilded bronze, ivory, alabaster, and plaster. 30 Of those sculptures whose subject is identified, there were approximately 66 with religious subjects, 14 with mythological subjects, and 53 portrait busts and heads. He owned around 15 statuettes in bronze, marble and plaster some of which were called ancient in the inventories, probably because of their subject matter. In addition, there are over one thousand two hundred medals in various materials that were displayed in cases and cabinets. Other artists like Leoni who spent time in Italy and/or had Italian origins, tended to have more important collections. On the other hand, it is also quite clear that not every artist who had the means and ability to collect sculpture did so. Juan de Herrera, for example, had a huge book collection and prints and drawings, but only a few sculptures. Carducho, in contrast, had an important collection of sculptures ranging from statuettes to largescale objects. Jacomo Trezzo s collection included a few portrait heads and

28 sculpture collections in spain: an overview 11 a full-length statue of Antinous. Others, like El Greco, had objects that were meant for study for their own work. For the most part, scholars tended to see their collections as objects for study; for them, sculptures, epigraphs, coins and medals were important remains of the ancient world. Most humanists amassed collections of antique objects, though very few owned large sculptures. Their collections have been described as motivated by archeological interests rather than aesthetics. 31 Mostly, they collected medals, coins, inscriptions, cameos, and occasionally bronze and marble statuettes. Even when ancient sculptures were uncovered in Spain, there was little interest in acquiring them unless they could provide specific information on the past. Antonio Agustín, owner of a notable collection, wrote in his Diálogos de medallas, inscripciones, y otras antigüedades (published in 1587), that more historical information could be gleaned from a coin or inscription than a statue or relief. 32 Types It is rare to find examples of full-length portraits before 1625; smaller-scale portraits were much more commonly collected. They could be transported with much greater facility and were sent from Italy as gifts or commissioned from sculptors in Italy or Flanders, emigrants from those countries or native Spanish sculptors. While busts and statuettes were most popular, by the end of the seventeenth century, large-scale sculptures were increasingly common. Some were imported, but others were made by local sculptors using piedra de Tamajón and piedra de San Pablo. Portraits tended to be in the form of busts; religious sculptures could be in a variety of formats (from small bronze or ivory Crucifixions to large-scale polychrome saints), and mythological subjects appear most commonly in statuettes until the end of the sixteenth century and then increasingly they appear in large-scale garden sculptures. Portrait sculptures The prevalence of busts in aristocratic collections emulated the series of busts in the royal collections. Ancient busts (or copies of ancient busts) of emperors were avidly collected and, in some cases, were placed alongside busts of modern personages. 33 Francisco de los Cobos (discussed in Chapter Four) had two busts of modern figures (Andrea Doria and Charles V) and a bust of Apollo, which, based on the description may have been an antique. The duque de Alcalá s series of nine marble heads of ancient persons were proudly displayed in his Casa de Pilatos. They were valued as examples of ancient sculptures, as exemplar of uomini (and donne) famosi, and also celebrated the duque de Alcalá s connections to Pope Pius V, from whom he received them as a gift.

29 12 sculpture collections in early modern spain Ruy Gómez de Silva owned a number of sculpted portraits of the monarchs of Spain. He had two lead reliefs of the Emperor and Philip II, another sculpted portrait of the Emperor and of Queen Mary, a silver portrait of the king (this one may be a medal). The duque de Alba had three bronze busts by Leoni of Charles V, Philip II and himself and at least two marble busts (one of himself and one of Charles V). Portraits in other formats were also popular. Diego Hurtado de Mendoza had series of reliefs with portraits of emperors and portraits of ancient men and women, such as Aristotle, Julius Caesar and Plato, in addition to his collection of ancient marble heads and busts. In his house in Villalpando, the condestable de Castilla, Juan Fernández de Velasco (1589) had 46 busts of marble, bronze and alabaster. 34 There were busts of philosophers, of Roman emperors, one of Alonso of Naples, and others of unidentified men and women. The collection of the conde de Ficallo, Juan de Borja y Castro (1600) included three marble figures ( tres figuras ) of the Emperor Charles, Julius Cesar and the duke of Florence, which were displayed in the garden (though it is hard to discern whether these were busts or full-length figures), 26 busts of emperors; and one bust of Herodicus. Pompeo Leoni s inventories of 1609 and 1613 list 43 busts, some of which were almost certainly of his own production. 35 There were busts of ancient emperors, 24 unidentified heads, busts of the Empress Isabel and Philip II, and eight more busts vaguely identified as members of the royal family. The busts of the royals were displayed beside the ancient busts. Carducho owned a bust of the king by Antonio de Herrera and 37 more portrait heads. 36 Juan Alonso de Pimentel y Ponce de Leon, Conde de Luna y Conde de Benavente (1611) owned 60 bronze, alabaster, jasper and marble portrait busts, including 16 marble and 12 jasper and alabaster busts of emperors. 37 Juan Hurtado de Mendoza y Mendoza, Duque de Mandas y Duque del Infantado s inventory of 1624 reveals that he owned 12 bronze emperors, lots of unidentified women and men, 12 gilded bronze emperors, and six stone emperors. 38 The Duca de Lerma (inventory, 1625), had 21 busts of emperors (12 of which were bronze) and 24 marble figures of emperors (possibly full length). Jean de Croy, Conde de Solre s inventory of 1638 included 13 full-length figures of emperors (probably bronze statuettes), 12 bronze heads of emperors and four large bronze heads of emperors. 39 In Policena Espinola, Marquesa de Leganés s 1641 inventory, there are 12 copper busts brought from Flanders ; 12 more busts of gilded bronze, plus a small head of the sage Merlin. 40 Her husband Diego Felipe Mexia de Guzmán s 1655 inventory lists 169 small and large scale figures and busts, including 33 bronze busts of emperors (19 of which were gilded), nine marble busts of emperors, and 107 additional unidentified marble busts and seventeen full-length unidentified figures. 41 Finally, in 1652, Bernardo Fernández de Velasco y Tobar, the condestable de Castilla, owned full-length figures of Cleopatra and Marcus Aurelius, and one bronze figure of an emperor. 42 Beginning around the middle of the century, some inventories reveal that portrait busts of family members were displayed along with other busts

30 sculpture collections in spain: an overview 13 of famous men and women. Juan Alfonso Enríquez de Cabrera Duque de Medina de Rioseco (1647) owned a bronze bust of himself. 43 Rodrigo de Mendoza Duque del Infantado (inventory, 1657), owned a bronze portrait bust and the porphyry head bore his likeness. 44 Another notable collection belonged to Francisco de Moura the marqués de Castel Rodrigo (1669). 45 In addition to a silver equestrian statue of Philip IV, he owned 25 bronze busts of emperors, 10 more bronze portraits heads, which, according to the 1675 inventory, included busts of Philip IV, Charles V, and six members of the house of Castel Rodrigo, plus a stone statue of an emperor; a bust de marmól de Genoba ; four metal heads; two marble heads; and there were seven more bronze heads on the facade of his palace. The cardenal duque de Moncada y Aragón and duque de Montalto (1672) had four plaster busts colored to look like bronze; a bronze bust, and 18 gilded bronze busts de señores de la linea de lo señores de Moncada en el reyno de Sicilia with ebony bases. 46 Perhaps most impressive of all was the collection of Ana Fernández de Córdoba, Duquesa de Feria and Pedro Antonio de Aragón (1679). 47 They had eight full-length sculptures of members of the house of Aragón which were displayed alongside marble statues of ancient men and women (Mark Anthony, Cleopatra, and two other women); and a bronze or silver gilded statue of El Gran Capitán Gonzalo Fernández de Córdoba all of which were displayed in the garden. Elsewhere in the house and gardens were 123 portrait sculptures. Mythological Sculptures In addition to ancient portraits, other types of Roman sculptures found in archeological excavations in Spain 48 and those in Italy, especially in Rome, were especially prized. However, it was not easy to acquire antiquities, since their export from Rome was prohibited as of For this reason, workshops that specialized in the copying of classical statuary proliferated. Sometimes the sculptors in these shops would take ancient fragments and restore them with modern additions in order to meet the great market demand for these objects, especially in the sixteenth and seventeenth centuries. For example, the marqués de Mirabel s home contained sculptures from the ancient Roman Iberian town of Caparra. 50 Not only would such sculptures be prized as examples from the classical world in a general way, they specifically celebrated Spain s ties to ancient Rome and its modern humanistic pursuits. Despite the ban on exports from Rome, the popes could make such gifts to foreign princes. The recipients would always be persons of the highest level, like the king of Spain, the king of France, and the emperor of Austria, or the grand dukes of Florence. Even so, when they made such gifts, the local population heavily criticized them.

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