Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 The Political Context of Michelangelo's Cleopatra for Tommaso De'Cavalieri Abigail Upshaw Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE THE POLITICAL CONTEXT OF MICHELANGELO’S CLEOPATRA FOR TOMMASO DE’CAVALIERI By ABIGAIL UPSHAW A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2013 Abigail Upshaw defended this thesis on March 22, 2013. The members of the supervisory committee were: Jack Freiberg Professor Directing Thesis Robert Neuman Committee Member Stephanie Leitch Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii ACKNOWLEDGEMENTS I would like to thank the head of my committee and my advisor, Dr. Jack Freiberg, not only for his enthusiasm for this project, but also for his uncompromising standard of scholarly rigor. To borrow Michelangelo’s own words, Dr. Freiberg consistently encouraged me—“write, Abby, write, Abby, write and don’t waste time”— and for that I am very grateful. I would be remiss not to thank Dr. Robert Neuman for his valuable advice and support throughout this study, as well as for always catching a stray comma or two. Many thanks also go to Dr. Stephanie Leitch for her thoughtful suggestions on how to “raise the stakes” of my argument. To Jean Hudson and Kathy Braun: Thank you for guiding me through the past two years of graduate studies, and for fielding more than one panicked office visit. Thank you also to our relentless librarian, Jessica Evans-Brady, for facilitating the research for this project. I am further deeply appreciative for the lovely employees of the Archivio Storico Capitolino in Rome, Italy for their help in tracking down the elusive Tommaso de’Cavalieri. I must also note that at the very end of this project I was afforded the great opportunity to see the Cleopatra in person. This experience proved invaluable. Thank you to the Muscarelle Museum of Art in Williamsburg, Virginia, and especially Dr. Aaron DeGroft, for their warm welcome and their enthusiastic support of my research. I would also like to thank my parents, John and Julie Upshaw, for their endless excitement for my academic ventures. And finally, I thank Joseph Helinger for always supporting me, even when sweating alongside me in dusty archives in Rome. iii TABLE OF CONTENTS List of Figures ..................................................................................................................................v Abstract ........................................................................................................................................ viii CHAPTER 1: INTRODUCTION ....................................................................................................1 CHAPTER 2: CLEOPATRA: CONSIDERING THE STAKES OF REPRESENTATION ........16 CHAPTER 3: MICHELANGELO, CAVALIERI, AND POLITICS ............................................43 CHAPTER 4: CONCLUSION ......................................................................................................71 APPENDIX ....................................................................................................................................73 A. FIGURES ...............................................................................................................................73 BIBLIOGRAPHY ..........................................................................................................................87 BIOGRAPHICAL SKETCH .........................................................................................................95 iv LIST OF FIGURES Figure 1: Michelangelo. Cleopatra (recto), ca. 1533. Red and black chalk. Florence, Casa Buonarroti .............................................................................................................73 Figure 2: Michelangelo. Cleopatra (verso), ca. 1533. Red and black chalk. Florence, Casa Buonarroti .............................................................................................................74 Figure 3: Piero di Cosimo. Portrait of a Woman, ca. 1480. Chantilly, Musée Condé .................................................................................................................74 Figure 4: So-called Capitoline Brutus, ca. 4th-3rd centuries B.C. Bronze. Rome, Musei Capitolini, Palazzo dei Conservatori .......................................................................75 Figure 5: The Banquet of Cleopatra and The Suicides of Antony and Cleopatra, 1473. Ulm Boccaccio. MS 1449, fol. 96. London, The British Library ..........................................................................................................75 Figure 6: The Suicides of Antony and Cleopatra, ca. 1480. Bruges Boccaccio. Royal 14 E V, fol. 339. London, The British Library ..........................................................................................................76 Figure 7: Lust, early 12th century. Fresco. Church of Saint Nicholas, Tavant, France .....................................................................................76 Figure 8: Avarice (left) and Luxury (right), ca. 1125-1131 Abbey Church of St. Pierre, France ...............................................................................................77 Figure 9: Inferno, detail, Lust, 1396. Fresco. San Gimignano, Collegiata ............................................................................................................77 Figure 10: Michelangelo. Last Judgment, detail: Minos Bitten by a Snake. 1541. Rome, Sistine Chapel ...........................................................................................................78 Figure 11: Cleopatra and Caesarion East Wall, Temple of Denderah .....................................................................................................78 Figure 12: Andrea Fulvio, Cleopatra Illustrium imagines, 1517 ..............................................................................................................79 Figure 13: Andrea Fulvio, Attia Illustrium imagines, 1517 ..............................................................................................................79 Figure 14: Sleeping Ariadne, Late Hellenistic Period. Rome, Musei Vaticani ...................................................................................................................80 v Figure 15: Francisco de Hollanda. Cleopatra, ca. 1538-39. The Escorial Sketchbook. Escorial, Biblioteca del Real Monasterio de San Lorenzo fol. 8 v ............................................................................................................................................80 Figure 16: Marcantonio Raimondi after Raphael. Cleopatra, ca. 1530. Engraving. London, Victoria and Albert Museum ........................................................................81 Figure 17: Giampietrino. Cleopatra, ca. 1530. Oberlin, Ohio, Allen Memorial Art Museum ................................................................................81 Figure 18: Hans Sebald Beham. Cleopatra Seated, ca. 1530 Engraving. London, Warburg Institute ..........................................................................................82 Figure 19: Muse of Philiskos. Late Hellenistic Statue Restored by Tullio Lombardo, ca. 1492-3. Venice, Museo Archeologico Nazionale .......................................................................................82 Figure 20: Michelangelo. Brutus, ca. 1539-1540. Florence, Museo Nazionale del Bargello .......................................................................................83 Figure 21: Etienne Dupérac, after Michelangelo. Design for the Piazza del Campidoglio, 1569 Engraving Vienna, Graphische Sammlung Albertina .....................................................................................83 Figure 22: Portion of the Fasti Capitolini, discovered 1546 Installed in courtyard of the Conservator’s Palace 1548. Rome, Musei Capitolini .................................................................................................................84 Figure 23: Michelangelo’s Design for display of the Fasti Capitolini. Woodcut. Marliani (1549) .............................................................................................................84 Figure 24: Inscription Flanking Entryway to Conservator’s Palace (Left). 1568................................................................................................................................................85 Figure 25: Michelangelo. Brutus, ca. 1539-1540. Florence, Museo Nazionale del Bargello .......................................................................................85 Figure 26: Michelangelo. Last Judgment, 1541. Detail: Figures to the Right of Christ Rome, Sistine Chapel .....................................................................................................................86 vi Figure 27: Guilio Clovio (?), after Michelangelo. Cleopatra, 1562. London, British Museum ...............................................................................................................86 vii ABSTRACT In this thesis I argue that Michelangelo’s Cleopatra drawing for his friend Tommaso de’Cavalieri has been isolated from its historical circumstances, its literary and visual context, and ultimately its political context as well. Michelangelo’s depiction of the ancient queen Cleopatra at the moment of her suicide fits into a substantial literary and visual tradition. Working through this extensive tradition, I provide multiple examples of powerful Renaissance patrons utilizing the image of Cleopatra for political ends. In this thesis I suggest that Michelangelo also utilized the complex iconography of Cleopatra’s suicide to make a statement about his and Cavalieri’s shared political beliefs. The meaning of Michelangelo’s Cleopatra can best be understood by considering the historical context of the artist’s relationship with Cavalieri. I provide in this thesis a new understanding of Michelangelo and Cavalieri’s relationship based on both men’s civic-mindedness, demonstrated through an active involvement in the government of their respective cities. In light of the significant role politics played in Michelangelo and Cavalieri’s friendship, the artist’s reference to a pivotal figure in the history of the Roman Republic takes on new meaning. I argue throughout this thesis that the Cleopatra conveyed heightened political meaning for the two friends. This study not only illuminates the meaning of the drawing, but also adds to our understanding of how politics informed Michelangelo and Cavalieri’s life-long friendship. viii CHAPTER ONE INTRODUCTION In the winter of 1532 Michelangelo Buonarroti (1475-1564) met Tommaso de’Cavalieri (1509-1587), a young and politically ambitious Roman nobleman.1 Following this meeting, the two men shared a lifelong friendship, which may be traced through poems, letters and, most importantly for art historical discussion, drawings. One such drawing, the Cleopatra, depicts the ancient Egyptian queen at the moment of her suicide encircled by an asp, the instrument of her death (Fig. 1; Florence, Casa Buonarroti. Black chalk. 234 x 182 mm). The Cleopatra forms part of a group of highly finished drawings referred to as presentation drawings that Michelangelo executed for his closest friends beginning in the 1520s and continuing to the early 1540s. While several of Michelangelo’s presentation drawings for Cavalieri have received much attention, the Cleopatra has never been treated with the same level of critical scholarship afforded the more famous drawings. Consequently, the meaning of the drawing has never been successfully determined.2 I suggest that the Cleopatra has been isolated from its historical circumstances—its 1 Cristoph Luitpold Frommel, Michelangelo und Tommaso dei Cavalieri: mit der Ubertragung von Francesco Diaccetos “Panegirico all’amore” (Amsterdam: Castrum Peregrini Press, 1979), 15. 2 As part of Michelangelo’s œuvre, the Cleopatra is almost always mentioned alongside the other more famous drawings. Despite the lack of critical attention devoted to the Cleopatra, it does appear throughout the literature on Michelangelo’s presentation drawings. The following is the relevant bibliography to date: Johannes Wilde, Italian Drawings in the Department of Prints and Drawings in the British Museum: Michelangelo and His Studio (London: British Museum, 1944), 95; Frederick Hartt, The Drawings of Michelangelo (London: Thames and Hudson, 1971), 249; Charles de Tolnay, Corpus Dei Disegni di Michelangelo (Novara: Istituto Geografico de Agostini, 1975), 2:100; Michael Hirst, Michelangelo and His Drawings (New Haven, CT: Yale University Press, 1988), 116-117; Michael Hirst and Pina Ragionieri, “La Cleopatra della Casa Buonarroti,” in Le due Cleopatre e le “teste divine” di Michelangelo, ed. Pina Ragionieri (Florence: Casa Buonarroti, 1989); William E. Wallace, “Instruction and Originality in Michelangelo’s Drawings,” in The Craft of Art: Originality and Industry in the Italian Renaissance and Baroque Workshop, ed. Andrew Ladis (Athens, GA: University of Georgia Press, 1995), 130-131; Hugo Chapman, Michelangelo’s Drawings: Closer to the Master (New Haven, CT: Yale University Press, 2005), 227; Achim Gnann, Michelangelo: The Drawings of a Genius (Vienna: Albertina, 2010), 284-286; and John T. Spike, Michelangelo Sacred and 1