!!! More%Catholic%than%Rome:% Art%and%Lay%Spirituality%at%Venice's%Scuola%di%S.%Fantin,%1562B1605% By% Meryl%Faith%Bailey%

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1 !!! MoreCatholicthanRome: ArtandLaySpiritualityatVenice'sScuoladiS.Fantin,1562B1605 By MerylFaithBailey Adissertationsubmittedinpartialsatisfactionofthe requirementsforthedegreeof DoctorofPhilosophy in HistoryofArt inthe GraduateDivision ofthe UniversityofCalifornia,Berkeley CommitteeinCharge: ProfessorLorenPartridge,Chair ProfessorElizabethHonig ProfessorToddOlson ProfessorRandolphStarn Spring2011

2 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ByMerylFaithBailey,2011 AllRightsReserved

3 Abstract! MoreCatholicthanRome: ArtandLaySpiritualityatVenice'sScuoladiS.Fantin,1562B1605 By MerylFaithBailey DoctorofPhilosophyinHistoryofArt UniversityofCalifornia,Berkeley ProfessorLorenPartridge,Chair!! Thisdissertationexplorestheartpatronageofasmallgroupofdevout VenetianlaymenacrossfivedecadesuptothepapalInterdictofVenicein1606B 1607.Ittakesanewapproachto,andoffersnewperspectiveson,thiscrucialbut largelyneglectedmomentinthecity sculturalhistory.authorizedbythestateto providespiritualcomfortandassistancetoprisonerscondemnedtodeath,the ScuoladiS.Fantinplayedapivotalroleinboththecity sreligiouslifeandits criminaljusticesystem.publicexecutionwasahighlychoreographedritewith profoundpoliticalandtheologicalmeaning.byrepositioningthebrutalriteof punishmentwithinthecontextofchristianforgiveness,charity,andsalvation,the Scuolasoughttoturnthisspectacleofviolenceintoanopportunityforspiritual transformationforitsmembers,thecondemned,andthebroadercommunity.the confraternity smeetinghousewasbuiltanddecoratedbetween1562and1605,a periodmarkedbyincreasingantagonismbetweenthevenetianrepublicandthe Papacy,andbytheongoingstrugglebetweenCatholicorthodoxyandProtestant theology. Thisstudyofthebuildinganditsdecorationemploysthemethodologiesof arthistory,ritualstudies,anthropology,andculturalhistorytoofferamultibfaceted casestudyonvenetianart,ritual,anddevotion.thethemesandissuesanalyzed include:theinterplaybetweenlocalvisualtraditions,laydevotionalpractices,and thenewaestheticanddoctrinaldemandsofthecatholicreformation;theartistic expressionofcatholicorthodoxyinacityatoddswiththeromanchurch;the defenseofcontestedreligiousdoctrines(especiallypurgatoryandindulgences)in treatisesandinthevisualarts;andtheuseofimagestoeasethetensionbetween statebsanctionedviolenceandthemoralimperativesofchristianity.ultimately,this dissertationshowshowthemembersofoneconfraternityusedartandritualto presentthemselvesandtheircityasembodimentsoforthodoxcatholicism,civic piety,andpatriotisminaperiodfraughtwithreligiousandpoliticalconflict. 1

4 Table!of!Contents!! Section! Page!!! Acknowledgements i! ListofIllustrations iii Introduction xii HistoriographyandStructureoftheDissertation xv TheReligiousandPoliticalContext:Venice,theChurch,andCatholic xvii Reform VenetianArtinanAgeof Decline xxiii Chapter1.Charity,Justice,andtheScuoladiSanFantin 1 PublicExecutioninEarlyModernVenice 1 ExecutionandVenetianCharity 9 HistoryandOrganizationalStructureoftheScuola 12 Transformation,Salvation,andtheIdeologyofComfort 23 Chapter2.TheMeetingHouseoftheScuoladiSanFantin 30 TheOriginalSite 31 ConstructionHistoryafter TheScuoladiSanFantinandtheTraditionofConfraternal 37 Architecture TheFaçadeanditsAttribution 41 TheFaçadewithintheVenetianArchitecturalTradition 44 TheIconographyoftheFaçade 53 Chapter3.TheAlbergoGrande 58 PartI.DecorativeProgramoftheAlbergoGrande 59 ReconstructingtheAlbergoGrande,c PartII.TheSt.JeromeCycle 72 ReligiousImageryandtheCultofSaintsintheSixteenthCentury 73 TheLifeandLegendofSt.Jerome 77 St.JeromeasCardinalPriest 81 TheDeathofSt.Jerome 83 St.JeromeandConfraternalIdeology 88 SymbolicandNarrativeStrategies 91 Chapter4.TheOratory 97 PartI.TheDecorativeProgramoftheOratory 97 PartII.Purgatory,Charity,andtheOratoryCeiling 107 PurgatoryaftertheCouncilofTrent 108 ThePurgatoryCycle:SaintsandSources 113 TheCentralRegister:TheLatinDoctors 117 i

5 TheWesternDoctors 122 TheEasternDoctors 124 TheSoulsinPurgatory 127 VenetianCharityandSuffragesfortheDead 128 PurgatoryinItalianArt 136 TheDateoftheCycle 138 Conclusion:OrthodoxyandConfraternalIdeologyintheOratoryof 140 S.Fantin Appendices AppendixA.Timeline 143 AppendixB.TheLifeoftheVirginCycle 149 AppendixC.Decorationafter AppendixD.ThePurgatoryCycle:InscriptionsandSources 156 AppendixE.InventoriesofPaintingsintheScuoladiS.Fantin 162 Bibliography 166 Illustrations 188! ii

6 Acknowledgements! ThefinalstageofaPh.D.programisoftenreferredtoas dissertationhell, butinmyexperienceitismoreakintopurgatory.despitethepainoftheprocess, sufferersmaintainthehopethatsomethingbetterawaitsontheotherside.imight havelosthopebutfortheencouragement,wisdom,andhelpofmyfamily,friends, anddedicatedteachersandmentors.iwouldliketoexpressmygratitudetoallof thosepeople(onlyafewofwhomcanbementionedhere)whocontributedinsome waytomysuccessfulcompletionofthisdissertation. Mydissertationsupervisor,LorenPartridge,firstsuggestedtheScuoladiS. Fantinasatopicworthyofexploration.Throughoutmyyearsingraduateschool,he hasbeenmyunfailingadvocate,alwaysreadytoanswerquestionsandtosharehis profoundknowledgeinordertoadvanceandimprovemywork.iamdeeply gratefultohim,andhonoredtobehisstudent.iwouldalsoliketothanktheother membersofmydissertationcommitteebbtoddolson,elizabethhonig,and RandolphStarnBBfortheirinsightandsuggestionsacrossmultipledrafts,andfor theirongoingsupportofthisproject.fundingformyresearchandwritingwas generouslyprovidedbythegladyskriebledelmasfoundation,thecharlottew. NewcombeFoundation,andtheUniversityofCaliforniaatBerkeley.IntheGraduate Division,IamespeciallygratefultoAssociateDeanCarlosFernandezBPelloand SolomonLefler,FellowshipsAdministrator,whokindlyassistedwithfellowships andfunding.thedepartmentofhistoryofartencouragedmyprogressincountless ways.inparticular,christopherhallett,currentchairofthedepartment,madeit possibleformetomeetmydeadlines.dianesigmanhandledmyquestionswith admirablepatienceandgoodcheer. IamverymuchindebtedtotheAteneoVeneto,whoseofficersandstaffquite literallyopenedtheirdoorsandallowedmetoinspectandstudythescuola'sformer meetinghouse.inparticular,antonioalbertosemi,formerpresidentoftheateneo, madeavailablethatinstitution sresources,includingthephotographsandrecords housedthere.michelegottardi,itscurrentpresident,andjohnleopoldofiorilla invitedmeintothefoldandgavemetheopportunitytocontributepartsofmyown worktoaforthcomingvolumeonthescuola.myresearchwasalsofacilitatedby MarinaNiero,whograciouslygavemeaccesstothebuildinganditsart. Iamalsogratefultomanyotherscholars,friends,andcolleagueswho critiquedthisdissertation,discusseditsargumentswithme,orotherwisehelpedme tocompletetheproject.inparticular,vanessalyonsharedherinsightsandspurred meon,bothinourtravelsthroughthevenetoandourlunchesatthelibrary. ElizabethCarrollandMarinaDelNegroKaremhelpedmewithallthepracticalities oflifeinvenice,acomplicatedmatterfortheuninitiated.nicholasterpstraofthe UniversityofTorontogavemetheopportunitytopublishandpresentportionsof mydoctoralresearchinrecentyears.theodorerabbofprincetonreadseveral chaptersandofferedaninsightfulcritiquethathelpedmetothinkthroughthe implicationsoftheprojectwithinabroadercontext.gianmarioguidarellikindly iii

7 obtaineddocumentsfromthevenetianarchivesformyuse.lisaerdbergprovideda senseofperspectiveandmuchbneededmoralsupport.thevolunteersatlatin Discussion.comcritiquedandimprovedmytranslationsofsomeoftheinscriptions andtextsinchapter3,andbryanallenoftheu.c.berkeleydepartmentof EnvironmentalDesigndevelopedthedigitalreconstructionofthebuildingusedin Chapters3and4. Thegreatestthanksareowedtomyfamily.MyhusbandBillbravedalong commutebetweenveniceandberkeleytomakeitpossibleformetocompletemy research,andspokeinasoothingvoiceduringthedarkestdaysofdissertationb writing.mysongus,mygreatestdelightandmycompanioninvenice,helpedmeto seethecityfromadifferentperspective.myparents,rosalieandalbertcohen, enthusiasticallythrewtheirsupportbehindmydesiretoreturntograduateschool, justastheyhavedonewithallofmyendeavors.irealizemygoodfortuneinhaving suchagenerousandlovingfamily.thisdissertationisdedicatedtothem. iv

8 v List!of!Illustrations!! Diagrams!! Diag.1. Plan,groundfloor,AteneoVeneto(formerlytheScuoladiS.Fantin) Diag.2. Plan,secondfloor,AteneoVeneto(formerlytheScuoladiS.Fantin) Diag.3. LayoutofwallpaintingsinAlbergoGrandeoftheScuoladiS.Fantin, circa1590 Diag.4. LayoutofwallpaintingsintheOratoryoftheScuoladiS.Fantin Diag.5. God seye viewoflayoutofceilingpaintingsinoratory,scuoladis. Fantin Diag.6. AlbergoGrande,Layoutofpaintingsonthewest(altar)wall Diag.7. AlbergoGrande,Layoutofpaintingsonthenorthwall Diag.8. AlbergoGrande,Layoutofpaintingsontheeastwall Diag.9. AlbergoGrande,Layoutofpaintingsonthesouthwall Chapter!1. Fig.1.1. Anonymous,Crucifix,paintedwoodwithsilverex)votoplaques,nowinthe ChiesadiSantaMariaAssunta,Codroipo(UD),approx.135cmtall,15 th century)(photo:ateneoveneto) Fig.1.2. Personbeingpulledbehindahorse,marginalia,ASV,NecrologiReg.862, 1631(Photo:ArchiviodiStatodiVenezia) Fig.1.3. AnexecutionbetweenthecolumnsinthePiazzettaS.Marco,Venice, marginalia,asv,necrologireg.992,january31,1804(photo:archiviodi StatodiVenezia) Fig.1.4. AnexecutioninVenice,marginalia,ASV,NecrologiReg.816,August11, 1584(Photo:ArchiviodiStatodiVenezia) Fig.1.5. AmultiplehangingbetweenthecolumnsinthePiazzettaS.Marco,BNMV, CodiceIt.Zanetti,18(=4793)fol.78v(Photo:FotoTosoVenezia) Fig.1.6. PostBmortemdismembermentofacorpse(DetailofPlate33,Ecclesiae) Anglicanae)trophaea)siue)Sanctorum)martyrum)qui)pro)Christo) catholicaeq[ue])fidei)veritate)asserenda,)antiquo)recentioriq[ue]) persecutionum)tempore,)mortem)in)anglia)subierunt)passiones)romae)in) collegio)anglico)per)nicolaum)circinianum)depictae:)nuper)autem)per)io.) Bap.)de)Cauallerijs)aeneis)typis)repraesentatae,Rome:Bartholomaei Grassi,1584)(Photo:FotoTosoVenezia) Fig.1.7. Titian,Presentation)of)the)Virgin)in)the)Temple,Venice,Gallerie dell Accademia,1534B1538(Photo:Artstor) Fig.1.8. GiovanniMariaMorlaiter(d.1781),Amor)dei)andamor)proximi,Venice, Galleriedell Accademia,entrancevestibule(Photo:Soprintendenzaperi beniculturalidivenezia)

9 Fig.1.9. Anonymous,Crucifix)with)Confratelli,miniaturefromtheMariegolaofthe ScuoladiS.Fantin,inscribed"IN)TEMPO)DI)M.)ZANPIERO)DI)MICHIEL) GUARDIAN)ET)DE)M.)ZANPIERO)DI)MARCHIO)AVICARIO.))IN)TEMPDO)DI)M.) ZUANE)MAGETER)GUARDIAN)DA)MATIN)ET)DE)M.)BATTISTA)ZIGNONI) SCRIVAN,ASV,ScuolaGrandediS.MariadellaConsolazione,Reg.2, Mariegola(1562B1756)(Photo:ArchiviodiStatodiVenezia) Fig Habito)della)Confraternità)deputata)alla)giustitia,)che)accompagna)i) giustitiati)della)città)di)venetia(cesarevecellio,!habiti)antichi,)et)moderni) di)tutto)il)mondo,!venice:isessa,1598) Fig Confratelli)of)the)Scuola)di)S.)Fantin)and)the)Scuola)del)Crocefisso,18 th century(giovannigrevembroch,gli)abiti)de)veneziani)di)quasi)ogni)età) con)diligenza)raccolti)e)dipinti)nel)secolo)xviii,venice:filippi,1981) Fig GiovanniBoranga,Procession)of)the)Scuola)del)Cristo)to)Bury)a)Drowned) Man,Venice,MuseoDiocesano,1700(Photo:DonaldCarroll) Fig Candle)Bearer)(Fadighente),18 th century(giovannigrevembroch,gli)abiti) de)veneziani)di)quasi)ogni)età)con)diligenza)raccolti)e)dipinti)nel)secolo) XVIII,Venice:Filippi,1981) Fig DomenicoLovisa,Veduta)dell Isola)della)Beatta)Vergine)delle)Grazie, Venice,MuseoCorrer,1717 Chapter!2. Fig.2.1. SatelliteimageofCampoS.Fantin,Venice.(Photo:GoogleMaps) Fig.2.2. AlessandroVittoria,c.1580B1584,Façade,AteneoVeneto(formerlythe ScuoladiS.Fantin),Venice(Photo:Renato/AteneoVeneto) Fig.2.3. MainportalofAteneoVeneto(formerlytheScuoladiS.Fantin)(Photo: MerylBailey) Fig.2.4. DetailofIoniccapital,façade,AteneoVeneto(Photo:MerylBailey) Fig.2.5. DetailofCorinthiancapital,façade,AteneoVeneto(Photo:MerylBailey) Fig.2.6. Detail,secondaryfaçadeonCalledellaVerona,AteneoVeneto(Photo: MerylBailey) Fig.2.7. Detailofwindow,secondlevel,façade,AteneoVeneto(Photo:Meryl Bailey) Fig.2.8. Detailofkeystone,secondlevel,façade,AteneoVeneto(Photo:Meryl Bailey) Fig.2.9. DetailofPelicankeystone,façade,AteneoVeneto(Photo:MerylBailey) Fig AlessandroVittoria,The)Crucifixion)with)the)Virgin)Mary,)St.)Jerome,)and) Kneeling)Confratelli,relief,façade,AteneoVeneto,1580s(Photo:Meryl Bailey) Fig Detailofcrowningpediment,façade,AteneoVeneto,before1584(Photo: MerylBailey) Fig AlessandroVittoria,Virgin)Mary,detailoncrowningpediment,façade, AteneoVeneto,Venice(Photo:MerylBailey) vi

10 Fig AlessandroVittoria,Angels,detailsoncrowningpediment,façade,Ateneo Veneto,Venice(Photo:MerylBailey) Fig Internalstairway,AteneoVeneto(formerlytheScuoladiSanGirolamoe SantaMariadellaGiustizia),Venice.(Photo:Renato/AteneoVeneto) Fig Façade,ScuolaPiccoladiS.GiorgiodegliSchiavoni,Venice(Photo:UCB VisualResourcesCollection) Fig ScuolaPiccoladiS.CristoforodeiMercanti,Venice(Photo:UCBVisual ResourcesCollection,LorenPartridge) Fig LucaCarlevarijs,Facciata)della)Scuola)di)S.)Fantino)(Photo:BCMC,)Le) fabriche)et)vedute)di)venezia)incise)da)luca)carlevarijs,venice,plate41). Fig DomenicoLovisa,Veduta)della)Chiesa)e)Scuola)di)S.)Fantin)in)Venetia) (Photo:BCMC,M10883,stampeA10) Fig Chiesa)e)Scuola)di)S.)Fantin,printanddetail(Photo:GiambatistaAlbrizzi, Forestiere)illuminato)intorno)le)cose)più)rare,)e)curiose,)antiche,)e)moderne) della)città)di)venezia)e)dell'isole)circonvicine,)venice:giambatistaalbrizzi Q.Gir.,1740) Fig Campo)di)S.)Fantino.(Photo:JacopoCrescini,Itinerario)interno)e)delle)isole) della)citta)di)venezia:)inciso)e)descritto)in)iv)parti,)seconda)edizione. Venice:TipografiaAntonelli,1832,PlateXII) Fig JacopoSansovino,Scuola)Nuova)della)Misericordia(ScuolaGrandediS. MariadellaMisericordiadellaValverde)(Photo:MerylBailey) Fig Scuola)di)S.)Teodoro(Photo:SebastianoScarpa,ed.La)Scuola)Grande)di) San)Teodoro,Venezia(Venice):ScuolaGrandediS.Teodoro,2006) Fig BaldassareLonghena,Scuola)Piccola)di)S.)Nicolò)dei)Greci,Venice(Photo: MartinaFrank,Baldassare)Longhena,Venice:InstitutoVenetodiScienze, LettereedArti,2004,416) Fig Piazza)S.)Marco,detailofChurchofS.Geminiano,Venice,eighteenth century(photo:fotorealiarchive/nationalgalleryofart,departmentof ImageCollections) Fig AntonioVisentini,Piazza)San)Marco,viewlookingtowardsS.Geminiano, detailofpl.11,partiiioftheseries)urbis)venetiarum)prospectus) Celebriores)Ex)Antonio)Canaletto(1735),(Photo:FineArtsMuseumsof SanFranciscoCollection,IDno.FASF.56748) Fig AlessandroVittoria,Palazzo)Balbi,Façade(detailofentry),Venice(Photo: Artstor/Saskia) Fig GiuseppeSardi,Church)of)Santa)Maria)del)Giglio,Façade,Venice(Photo: Wikicommons,Godromil,imageinthepublicdomain) Fig Church)of)Santa)Maria)del)Giglio,detail,Venice(Photo:MerylBailey) Fig DomenicoRossi,Church)of)San)Stae)(Sant Eustachio),Venice(Photo: Wikicommons,Necrothesp,GNUFreeDocumentationLicense) Fig Church)of)San)Stae,detailofdoorway,Venice(Photo:Wikicommons, Necrothesp,GNUFreeDocumentationLicense) vii

11 Fig AlessandroVittoria,Venice,westfaçade,DucalPalace,Venice(Photo: WikimediaCommons,NinoBarbieri,CreativeCommons AttributionShareAlike2.5License) Chapter!3. Fig.3.1. JacopoTintoretto,St.)Jerome)and)the)Virgin,SaladiLettura,Ateneo Veneto,Venice,276x194cm,early1580s(Photo:KikoTrivellato) Fig.3.2. AgostinoCarracciafterTintoretto,St.)Jerome)and)the)Virgin,engraving, 1588,BCMCCollocazioneA16/216(Photo:BCMC/MarioPolesel) Fig.3.3. Parmigianino,Vision)of)St.)Jerome,NationalGallery,London,1527(Photo: Artstor) Fig.3.4. JacopoPalmailGiovane,Apostles)at)the)Virgin's)Tomb(fragmentofthe Assumption)and)Coronation)of)the)Virgin),TheStateHermitageMuseum, St.Petersburg,349x880cm,c.1582(Photo:TheStateHermitage Museum.PhotobyVladimirTerebenin,LeonardKhoifets,Yuri Molodkovets) Fig.3.5. JacopoPalmailGiovane,The)Assumption)and)Coronation)of)the)Virgin, MuseoQueriniStampalia,oilsketch,141x105cm,c.1582(Photo: FondazioneQueriniStampalia) Fig.3.6. JacopoPalmailGiovane,Coronation)of)the)Virgin)(alsoknownas) Paradise),PinacotecaAmbrosiana,Milan,oilsketch,125x410cm,c.1582 Fig.3.7. JacopoPalmailGiovane,The)Construction)of)the)Monastery)at)Bethlehem, ChurchofS.GiorgiodellePertiche(Padua),230x480cm,1580s(Photo: CameraphotoVeneziawithpermissionoftheUfficioBeniCulturalidella DiocesidiPadova) Fig.3.8. JacopoPalmailGiovane,St.)Jerome)and)the)Lion,ChurchofS.Giorgiodelle Pertiche(Padua),230x480cm,1580s(Photo:CameraphotoVenezia withpermissionoftheufficiobeniculturalidelladiocesidipadova) Fig.3.9. JacopoPalmailGiovane,St.)Jerome)in)his)Study,Galleriedell'Accademia, Venice,245x129cm,1580s(Photo:Soprintendenzaperibeniculturali divenezia) Fig JacopoPalmailGiovane,St.)Jerome)Receives)Gifts)from)the)Merchants, ChurchofS.GiorgiodellePertiche(Padua),260x260cm,1580s(Photo: CameraphotoVeneziawithpermissionoftheUfficioBeniCulturalidella DiocesidiPadova) Fig JacopoPalmailGiovane,Funeral)of)St.)Jerome,ChurchofS.Giorgiodelle Pertiche(Padua),260x260cm,1580s(Photo:CameraphotoVenezia withpermissionoftheufficiobeniculturalidelladiocesidipadova) Fig JacopoPalmailGiovane,St.)Augustine's)Vision)of)St.)Jerome,Gallerie dell'accademia,venice,245x170cm,1580s(photo:soprintendenzaper ibeniculturalidivenezia) viii

12 Fig (a)jacopopalmailgiovane,prophet,saladelconsiglio,ateneoveneto, Venice,256x132cm,1580s(Photo:KikoTrivellato) (b)jacopopalmailgiovane,prophet,saladelconsiglio,ateneoveneto, Venice,256x132cm,1580s(Photo:KikoTrivellato) Fig (a)workshopofjacopopalmailgiovane(?),sibyl,salatommaseo, AteneoVeneto,Venice,252x59cm,1580s(Photo:KikoTrivellato) (b)jacopopalmailgiovane,sibyl,salatommaseo,ateneoveneto,venice, 252x59cm,1580s(Photo:KikoTrivellato) Fig (a)jacopopalmailgiovane,sibyl,galleriedell'accademia,venice,253x 73cm,1580s(Photo:SoprintendenzaperibeniculturalidiVenezia) (b)jacopopalmailgiovane,sibyl,galleriedell'accademia,venice,253x 73cm,1580s(Photo:SoprintendenzaperibeniculturalidiVenezia) Fig JacopoTintoretto,St.)Jerome)Receives)Gifts)from)the)Merchants,Saladi Lettura,AteneoVeneto,Venice,100x250cm,1570s(Photo:Kiko Trivellato) Fig DigitalreconstructionoftheAlbergoGrande,ScuoladiS.Fantin,towards thenorthwall Fig DigitalreconstructionoftheAlbergoGrande,ScuoladiS.Fantin,looking fromtheentrance(northeast)tothealtarwall(west) Fig DigitalreconstructionoftheAlbergoGrande,ScuoladiS.Fantin,eastwall Fig DigitalreconstructionoftheAlbergoGrande,ScuoladiS.Fantin,looking fromthentrancetowardsthesouthwall Fig JeanBaptisteLouisGeorgesSerouxd'AgincourtafterAntonioVivarini,St.) Jerome)and)the)Lion(SerouxD'Agincourt,History)of)art)by)its)monuments,) London:Longman,Brown,Green,andLongmans,1847) Fig LazzaroBastiani,Last)Communion)of)St.)Jerome,1480s(Photo: SoprintendenzaperibeniculturalidiVenezia) Fig LazzaroBastiani,Funeral)of)St.)Jerome,1480s(Photo:Soprintendenzaper ibeniculturalidivenezia) Fig VittoreCarpaccio,St.)Jerome)and)theLion,1502B1507(Photo:Artstor) Fig VittoreCarpaccio,Funeral)of)St.)Jerome,1502B1507(Photo:Artstor) Fig VittoreCarpaccio,St.)Augustine's)Vision)of)St.)Jerome,1502B1507(Photo: Artstor) Fig AgostinoCarracci,Last)Communion)of)St.)Jerome,1592(Photo:Artstor) Fig Domenichino,Last)Communion)of)St.)Jerome,1614(Photo:Artstor) Fig RotatedviewofPalmaGiovane,Funeral)of)St.)Jerome(SeeFig.3.11) Fig Unknown,St.)Jerome)in)Penitence,predella,St.JeromeAltar,BadoerB GiustinianiChapel,ChurchofS.FrancescodellaVigna,Venice,1501B1509 (Photo:MarioPolesel) ix

13 Fig Unknown,St.)Jerome)and)the)Lion,predella,St.JeromeAltar,BadoerB GiustinianiChapel,ChurchofS.FrancescodellaVigna,Venice,1501B1509 (Photo:MarioPolesel) Fig Unknown,St.)Jerome)Blesses)the)Merchants,predella,St.JeromeAltar, BadoerBGiustinianiChapel,ChurchofS.FrancescodellaVigna,Venice, 1501B1509(Photo:MarioPolesel) Chapter!4. Fig.4.1. (a)alessandrovittoria,the)virgin)mary,basilicaofss.giovanniepaolo, 104cmtall,inscribed"ALEXANDERVICTORIA"onthepedastal,late 1580s (b)alessandrovittoria,st.)john)the)evangelist,basilicaofss.giovannie Paolo,104cmtall,inscribed"ALEXANDERVICTORIAF."onthepedastal, late1580s Fig.4.2. AlessandroVittoria,Crucifix)Altar,BasilicaofSS.GiovanniePaolo,late 1580s Fig.4.3. AlessandroVittoria,St.)Jerome,BasilicaofSS.GiovanniePaolo,marble, 169cm,inscribed"ALEXANDERVICTORIAF.",late1580s Fig.4.4. AlessandroVittoria,The)Assumption)of)the)Virgin,BasilicaofSS.Giovanni epaolo,marble,approx.160x110cm,late1580s Fig.4.5. LeonardoCoronaandWorkshop,Agony)in)the)Garden,AulaMagna, AteneoVeneto,Venice(formerlytheOratoryoftheScuoladiS.Fantin), 260x140cm,before1604(Photo:KikoTrivellato) Fig.4.6. LeonardoCoronaandWorkshop,The)Arrest)of)Christ,AulaMagna,Ateneo Veneto,Venice(formerlytheOratoryoftheScuoladiS.Fantin),269x260 cm,before1604(photo:kikotrivellato) Fig.4.7. LeonardoCoronaandWorkshop,Christ)Before)Caiafas,AulaMagna, AteneoVeneto,Venice(formerlytheOratoryoftheScuoladiS.Fantin), 260x260cm,before1604(Photo:KikoTrivellato) Fig.4.8. LeonardoCoronaandWorkshop,The)Flagellation)of)Christ,AulaMagna, AteneoVeneto,Venice(formerlytheOratoryoftheScuoladiS.Fantin), 260x210cm,before1604(Photo:KikoTrivellato) Fig.4.9. LeonardoCoronaandWorkshop,The)Mocking)of)Christ,AulaMagna, AteneoVeneto,Venice(formerlytheOratoryoftheScuoladiS.Fantin), 260x400cm,before1604(Photo:KikoTrivellato) Fig LeonardoCoronaandWorkshop,Ecce)Homo,AulaMagna,AteneoVeneto, Venice(formerlytheOratoryoftheScuoladiS.Fantin),260x400cm, after1604(photo:kikotrivellato) Fig LeonardoCoronaandWorkshop,Fall)on)the)Road)to)Calvary,AulaMagna, AteneoVeneto,Venice(formerlytheOratoryoftheScuoladiS.Fantin), 260x400cm,after1604(Photo:KikoTrivellato) x

14 Fig LeonardoCoronaandWorkshop,Christ)Nailed)to)the)Cross,AulaMagna, AteneoVeneto,Venice(formerlytheOratoryoftheScuoladiS.Fantin), 260x400cm,inscribed"LEONARDUSCORONA"inbottomcenterof canvas,after1604(photo:kikotrivellato) Fig LeonardoCoronaandWorkshop,Deposition,AulaMagna,AteneoVeneto, Venice(formerlytheOratoryoftheScuoladiS.Fantin),260x400cm, after1604(photo:kikotrivellato) Fig Digitalreconstructionofeastwall,Oratory,ScuoladiS.Fantin Fig ViewofnortheastcorneroftheOratory,ScuoladiS.Fantin(Photo: AteneoVeneto) Fig JacopoPalmailGiovane,The)Giving)of)Alms,AulaMagna,AteneoVeneto (formerlytheoratoryofthescuoladis.fantin),venice,approx.150x 280cm,c.1600Bafter1604(Photo:KikoTrivellato) Fig JacopoPalmailGiovane,The)Giving)of)Alms,detailofFig.4.16 Fig JacopoPalmailGiovane,The)Grant)of)Indulgences,AulaMagna,Ateneo Veneto(formerlytheOratoryoftheScuoladiS.Fantin),Venice,approx. 234x244cm,c.1600Bafter1604(Photo:KikoTrivellato) Fig JacopoPalmailGiovane,The)Celebration)of)the)Mass,AulaMagna,Ateneo Veneto(formerlytheOratoryoftheScuoladiS.Fantin),Venice,approx. 150x280cm,c.1600Bafter1604(Photo:KikoTrivellato) Fig JacopoPalmailGiovane,Saint)Bernard)and)the)Blessed)Bede,AulaMagna, AteneoVeneto(formerlytheOratoryoftheScuoladiS.Fantin),Venice, approx.90x200cm,c.1600bafter1604(photo:kikotrivellato) Fig JacopoPalmailGiovane,Saints)Anselm)and)Hilary)of)Poitiers,AulaMagna, AteneoVeneto(formerlytheOratoryoftheScuoladiS.Fantin),Venice, approx.90x200cm,c.1600bafter1604(photo:kikotrivellato) Fig JacopoPalmailGiovane,Saints)Athanasius)and)Basil,AulaMagna,Ateneo Veneto(formerlytheOratoryoftheScuoladiS.Fantin),Venice,approx. 132x190cm,c.1600Bafter1604(Photo:KikoTrivellato) Fig JacopoPalmailGiovane,Saints)John)Chrysostom)and)Gregory)Nazianzan, AulaMagna,AteneoVeneto(formerlytheOratoryoftheScuoladiS. Fantin),Venice,approx.132x190cm,c.1600Bafter1604(Photo:Kiko Trivellato) Fig JacopoPalmailGiovane,Saints)Augustine)and)Ambrose,AulaMagna, AteneoVeneto(formerlytheOratoryoftheScuoladiS.Fantin),Venice, approx.110x230cm,c.1600bafter1604(photo:kikotrivellato) Fig JacopoPalmailGiovane,Saints)Jerome)and)Gregory)the)Great,AulaMagna, AteneoVeneto(formerlytheOratoryoftheScuoladiS.Fantin),Venice, approx.110x230cm,c.1600bafter1604(photo:kikotrivellato) Fig JacopoPalmailGiovane,Souls)in)Purgatory(fourcanvases),AulaMagna, AteneoVeneto(formerlytheOratoryoftheScuoladiS.Fantin),Venice,c. 1600Bafter1604(Photo:KikoTrivellato) xi

15 Fig JacopoPalmailGiovane,St.)Ambrose,detailofvault,sacristy,Churchof thegesuiti,venice(photo:artstor) Fig Titian,St.)John)the)Almsgiver,ChurchofS.GiovanniElemosinario,Venice, c.1549b1550(photo:artstor) Fig Detail,Titian,St.)John)the)Almsgiver,ChurchofS.GiovanniElemosinario, Venice,c.1549B1550(Photo:Artstor) Fig JacopoPalmailGiovane,altarpiece,The)Virgin)and)St.)Peter)Intercede)on) Behalf)of)Souls)in)Purgatory,GrimaniChapel,ChurchofS.Nicolodei Tollentini,Venice,275x155cm,c.1610B1615(Photo:Cameraphoto Venezia) Fig ViewofVault,GrimaniChapel,ChurchofS.NicolòdeiTolentini,Venice (Photo:CameraphotoVenezia) Fig JacopoPalmailGiovane,Saints,GrimaniChapel,ChurchofS.Nicolòdei Tolentini,Venice,c.1610B1615(Photo:CameraphotoVenezia) Fig JacopoPalmailGiovane,The)Celebration)of)the)Mass,GrimaniChapel, ChurchofS.NicolòdeiTolentini,Venice,110x100cm,c.1610B1615 (Photo:CameraphotoVenezia) Fig JacopoPalmailGiovane,The)Grant)of)Indulgences,GrimaniChapel, ChurchofS.NicolòdeiTolentini,Venice,110x100cm,c.1610B1615 (Photo:CameraphotoVenezia) Fig JacopoPalmailGiovane,The)Giving)of)Alms,GrimaniChapel,ChurchofS. NicolòdeiTolentini,Venice,110x100cm,c.1610B1615(Photo: CameraphotoVenezia) Fig FedericoZuccaro,Assumption)and)Coronation)of)the)Virgin,Vault,Angels Chapel,ChurchoftheGesù,Rome,1594B1600(Photo:Artstor) Fig FedericoZuccaro,Angels)Interceding)on)Behalf)of)souls)in)Purgatory Angels Chapel,ChurchoftheGesù,Rome,1594B1600(Photo:Artstor) Appendices. Fig.A.1. WorkshopofPaoloVeronese,The)Visitation,SaladiLettura,Ateneo Veneto,Venice,120x180cm,1576(Photo:KikoTrivellato) Fig.A.2. WorkshopofPaoloVeronese,TheCircumcision,SaladiLettura,Ateneo Veneto,Venice,120x100cm,1576(Photo:KikoTrivellato) Fig.A.3. WorkshopofPaoloVeronese,The)Adoration)of)the)Magi,SaladiLettura, AteneoVeneto,Venice,120x380cm,inscribed"MDLXXVI",1576(Photo: KikoTrivellato) Fig.A.4. WorkshopofPaoloVeronese,Flight)into)Egypt,SaladiLettura,Ateneo Veneto,Venice,120x100cm,1576(Photo:KikoTrivellato) Fig.A.5. WorkshopofPaoloVeronese,The)Baptism)of)Christ,SaladiLettura, AteneoVeneto,Venice,120x180cm,1576(Photo:KikoTrivellato) xii

16 Fig.A.6. WorkshopofPaoloVeronese,The)Disputation,SaladiLettura,Ateneo Veneto,Venice,120x250cm,inscribed"MDLXXVI",1576(Photo:Kiko Trivellato) Fig.A.7. WorkshopofPaoloVeronese,Death)of)the)Virgin,SaladiLettura,Ateneo Veneto,Venice,120x180cm,inscriptionpartiallylegible"MDLX ", 1576(Photo:KikoTrivellato) Fig.A.8. WorkshopofPaoloVeronese,Assumption)of)the)Virgin,SaladiLettura, AteneoVeneto,Venice,120x120cm,inscribed"MDLXXVI",1576(Photo: KikoTrivellato) Fig.A.9. AntonioZanchi,Expulsion)of)the)Money_changers)from)the)Temple,Sala Tommaseo,AteneoVeneto,Venice,250x640cm,1667(Photo:Kiko Trivellato) Fig.A.10. AntonioZanchi,The)Return)of)the)Prodigal)Son,AulaMagna,Ateneo Veneto,(formerlytheOratoryoftheScuoladiS.Fantin),Venice,approx. 160x300cm,c.1670(Photo:KikoTrivellato) Fig.A.11. AntonioZanchi,The)Good)Samaritan,AulaMagna,AteneoVeneto, (formerlytheoratoryofthescuoladis.fantin),venice,approx.160x 200cm,c.1670(Photo:KikoTrivellato) Fig.A.12. AntonioZanchi,The)Last)Judgment,SalaTommaseo,AteneoVeneto, Venice,980x500cm,1673/4(Photo:KikoTrivellato) Fig.A.13. Detail,Zanchi,The)Last)Judgment Fig.A.14. Detail,Zanchi,The)Last)Judgment Fig.A.15. BernardoStrozzi(?),The)Prophet)IsaiahandThe)Prophet)David,260x60 cmeach,dateunknown,acquired1695(photo:kikotrivellato) Fig.A.16. ArmanoZerest,The)Resurrection)of)Lazarus,SalaTommaseo,Ateneo Veneto,250x200cm,lateseventeenthcentury(Photo:KikoTrivellato) Fig.A.17. GiovanniSegala,The)Healing)of)the)Possessed)Man,SalaTommaseo, AteneoVeneto,250x200cm,lateseventeenthcentury(Photo:Kiko Trivellato) Fig.A.18. FrancescoFontebasso,Dinner)in)the)House)of)Simon)Pharisee,Sala Tommaseo,AteneoVeneto,Venice,250x600cm,1732B1750(Photo: KikoTrivellato) Fig.A.19. FrancescoFontebasso,St.)Jerome)and)the)Virgin,SaladelConsiglio,Ateneo Veneto,Venice,300x200cm,before1761(Photo:KikoTrivellato) Fig.A.20. Titian,St.)John)the)Evangelist)on)Patmos,NationalGalleryofArt, Washington,DC,237.6x263cm,c.1547 xiii

17 Introduction!! [The)Venetians])have)always)taken,)take,)and)will)always)take)care) never)to)do)the)slightest)thing)against)religion,)which)they)want)to) protect)even)at)risk)to)their)own)lives.).).)and)they)believe)themselves)to) be)catholics)as)good)as)those)in)rome,)if)not)more)so,)and)they)know) well)how)people)there)live.).).) AddressbyDogeLeonardoDonàtotheJesuits, In1548,agoldsmithnamedIseppoandanothermannamedAntoniodelle Celadewereidentifiedasparticipantsinanevangelicalconventicleoperatinginthe parishofs.moisèinvenice;theconventiclewasdescribedbyonewitnessas practicallya"scuola)dei)luterani"(aschooloflutherans). 2 AccordingtoIseppo's testimony,bothheandantoniohadbeenofficersinavenetianconfraternity commonlyknownasthescuoladisanfantin. 3 Amonghissuspiciousbehaviors, IsepporefusedtosaytheAveMaria(preferringinsteadtheLord'sPrayer).Healso criticizedthespendingofthevenetianscuoleon"themselvesandforreligious feasts",andhearguedinfavoroficonoclasmagainstcrossesandimagesofthe saints. 4 Giventheseinclinations,Iseppo'smembershipintheScuoladiSanFantinis curious.whilehistestimonysuggeststhatatleasttwoofficersinthescuola espousedevangelicalbeliefs,thereisnoevidencethatitwasahotbedforheresy. Rather,theinstitutionwasdevotedtotheVirgin,who,alongwithSt.Jerome,was oneofitspatronsaints.likeotherconfraternitieswiththemeanstodoso,the Scuolaregularlyspentmoneyonreligiousfeastsandonartcommemoratingthe VirginandSt.Jerome;bythe1540s,ithadalsousedsubstantialfinancialresources tobuildandthenrebuildanindependentmeetingsite. 5 PerhapsIseppoandAntonio experiencedachangeofheartandrejectedconfraternalpracticesonlyafterjoining thescuola;orperhapstheyparticipatedinaconfraternitytomasktheirheterodox religiousviews.subterfugeofthistypewasknownamongsomeindividualswhofelt endangeredbytheincreasingreligiousrepressionoftheperiod;andwhileby1548 Iseppoappearstohavebeenopenabouthisbeliefs,hehadbeenaccusedof "simulating"hisfaithbythesacristanofhischurch. 6 1AsrelatedbytheJesuitBernardinoCastorio,transcribedinPietroPirri,L'interdetto)di)Venezia)del) 2JohnJeffriesMartin,Venice's)Hidden)Enemies:)Italian)Heretics)in)a)Renaissance)City(Berkeley: UniversityofCaliforniaPress,1993),67,91B94,citingASV,Sant'Uffizio,b.10,doss."Contra denuntiatosprohereticisdecontractasanctimoysis",october TheScuola'sarchivesforthisperiodwerelostinafirein1562,soIseppo'sroleintheconfraternity cannotbeverifiedbyitsownmembershiprolls. 4Martin,Venice's)Hidden)Enemies,92B94 5OntheScuola'sbuildinghistory,seeChapter2herein. 6Forthisandotherexamplesoffeignedorthodoxy,seeJohnMartin,"SalvationandSocietyin SixteenthBCenturyVenice:PopularEvangelisminaRenaissanceCity,"The)Journal)of)Modern)History 60,no.2(1988):231. xiv

18 AlaypersonwhowishedtofeignCatholicorthodoxyinVenicewouldbehard pressedtofindabettersmokescreenthanmembershipinaconfraternity. Confraternitieswerereligiousbrotherhoodsrunbyandforlaymen.Sincere participationinconfraternallifeembodiedtheromanchurch'spositionon Justification,sincethefoundationalbeliefdrivingconfraternalactivitywasthe convictionthattheperformanceofgoodworkscouldimproveone'schancesof salvationandminimizeone'stimeinpurgatory. 7 Apowerfulmotivationfor confraternities'communal(asopposedtoindividual)practiceofcharitywasthe ideathatthespiritualmeritaccruedthroughgoodworkscouldbepooledand sharedamongmembersofthepiouscommunity.inadditiontohelpingthesoulsof confraternitymemberswhodidthem,thegoodworksofvenetianconfraternities contributedtothecity'sfamedstability,providingasocialsafetynetandnecessary servicesforthepoorandthesick.membersofconfraternitiesprayedtogetherand helpedoneanotherintimesofneed.inadditiontotheirroleinalleviatingthepublic burdenforcaringforthecity'spoor,confraternitiespromotedmoralityand enforcedstandardsofbehaviorfortheirmembersandtherecipientsoftheir charity.venetianconfraternitieswerecloselyregulatedbythestate.themost prestigiousamongthem,thescuole)grandi,wereoverseendirectlybythecouncilof Ten,apowerfulgoverningbodyoftheRepublic. 8 Thescuole)grandialsoservedasa mechanismforconscription,providingaspecifiednumberofmeneachyeartoserve onthegalleys. 9 Andtheprocessions,celebrations,andartpatronageof confraternities,allmonitoredbythestate,contributedtothecity'smagnificence anditsreputationasadeeplypiouscommunity. 10 Manyconfraternitiesdevotedalargepercentageoftheirfundstobuilding andornamentingtheirchapterhalls.atleastinpart,confraternalhallsweresacred buildings,andtheirconstructionwasanactofamor)deibbaphysicalmanifestation ofaconfraternity sloveofgodbbaswellasapatrioticservicethatbeautifiedand honoredthecity.asdiscussedabove,thegoldsmithiseppoappearstohavefound thisattitudedeplorable.in1541,anothergoldsmith,alessandrocaravia,famously publishedascathingpoeticdenouncementofthewastefulbuildingpracticesamong thescuole)grandi: What'sduetothepoorissplashedoutinvastoceans Onbuilding,butcertainlynotondevotions. Withsideshowsinsquarestheymakesuchcommotions, Andeveryyearbringsafreshinfluxofnotions. Ontrivialprojectsthey'vemoneytoburn, 7ChristopherBlack,Italian)Confraternities)in)the)Sixteenth)Century(Cambridge:CambridgeUniversity Press,1989),10B17 8Inothercities,confraternitiesprovokedconcernfromthegovernmentaspotentialbreeding groundsforsedition.thevenetianstatealleviatedsuchconcernsbymaintainingtightcontrolover allaspectsofconfraternallife,andbypromotingcompetitionamongthevarioussodalities.brians. Pullan,Rich)and)Poor)in)Renaissance)Venice:)The)Social)Institutions)of)a)Catholic)State,)to)1620 (Cambridge,MA:HarvardUniversityPress,1971),44;Black,Italian)Confraternities,58B78. 9Pullan,Rich)and)Poor,145B156 10Black,Italian)Confraternities,108B111 xv

19 WhentheircareandaffectiontoChristtheyshouldturn, Andforloveofhimusealltheirbadlyspentmoney onclothesforthenaked,onbreadforthehungry. 11 Despitesuchcritiques,confraternalartpatronagewasregularlyjustifiedasawork ofcharity.foritspart,iseppo'sconfraternity,thescuoladisanfantin,always positioneditsartpatronageasanimportantaspectofitscharityandasasignofits members'religiousdevotion. 12 AnothercomponentoftheScuola'scharity,which distinguisheditfromthecity'sotherconfraternities,wasitsmembers'provisionof spiritualconsolationtoindividualscondemnedtodeath.sanfantinwasvenice's comforting confraternity,theonlylaychristianbrotherhoodauthorizedbythe governmenttocomfortcondemnedprisonersinthedaysandhoursimmediately beforetheirexecutions. Thisdissertationfocusesontheartandarchitecturecommissionedbythe ScuoladiSanFantinbetween1562,whenitsoriginalmeetinghousewasdestroyed, and1605,whenthedecorationofitsprimaryroomswaslargelycompleted.while multipleartistsandsculptorscontributedtothebuilding'ssumptuousdecoration, twoartistsareofparticularimportancetothisstudy.thefirstisthearchitectand sculptoralessandrovittoria(1525b1608).vittoriadesignedthebuilding'sgracious façade,producedtwomonumentalaltarsforitsoratory,andactedasthescuola's advisoronmattersarchitecturalandartistic.thesecond,thepainterjacopo Negretti(knownasJacopoPalmailGiovane,1548B1628),producedthreeimportant commissionsforthebuildingbetweenapproximately1582and TheartpatronageofsomeofVenice'swealthierconfraternitieswas substantial,andadherencetoartisticconventionamongconfraternitieswasstrong, motivatedinpartbyasenseofcompetitionamongtheseinstitutions. 14 Bythe 1560s,ambitiousconfraternitiescouldlooktoawellBdevelopedbuildingtypeanda commonpatternofinteriordecorationtoinspireandconstraintheirown endeavors.becausethelastmeetinghouseofthescuoladisanfantinwasbuilt after1562,thesurvivingworksitcommissionedpostdatemuchofthebestbknown Venetianconfraternalarchitectureandart.Itshouldalsobeemphasizedthatthe 11VerseCLXVIIofAlessandroCaravia'sIl)Sogno)di)Caravia(Venice,1541),translatedinDavid ChambersandBrianS.Pullan,eds.,Venice:)A)Documentary)History(OxfordandCambridge,MA:B. Blackwell,1992),213B216.Foradeeperanalysisandatranscriptionofthecompletepoem,see EnricaBeniniClementi,Riforma)religiosa)e)poesia)popolare)a)Venezia)nel)Cinquecento.)Alessandro) Caravia(Florence:LeoS.OlschkiEditore,2000).Asimilarcritiqueofconfraternalspendingwas leveledbyerasmusinthe1530s.seedesideriuserasmus,des.)erasmi)roterodami)vltima)apologia) aduersus)rapsodias)calumniosarum)querimoniarum)alberti)pii)quondam)carporum)comitis)illustrissimi) nuper)diligentissimime)excusa(venice:luceantonijiuntaeflorentini,1532),17. 12ASV,ScuolaGrandediS,MariadellaConsolazione,b.5,Obblighieincombidellecariche,fol.3rand ASV,ScuolaGrandediS.MariadellaConsolazione,Reg.2,Mariegola(1562B1756),fol.61rBv. 13JacopoPalmailGiovane(thenephewoftheartistknownasJacopoPalmailVecchio),isreferredto hereinaspalmagiovaneorsimplyaspalma. 14TwoinstructiveanalysesofcompetitionamongtheVenetianscuolearePatriciaFortiniBrown, "HonorandNecessity:TheDynamicsofPatronageintheConfraternitiesofRenaissanceVenice," Studi)Veneziani13B14,no.XIV(1987),andPeterHumfrey,"CompetitiveDevotions:TheVenetian ScuolePiccoleasDonorsofAltarpiecesintheYearsaround1500,"Art)BulletinLXX,no.3(1988). xvi

20 periodinquestionwasbracketedbytwodefiningeventsinvenetianreligiouslife: thecloseofthefinalsessionofthecounciloftrentin1563andtheinterdictof 1606B1607,duringwhichPopePaulVcensuredtheRepublicandsuspendedthe administrationofthesacraments.thedecadesbetweentrentandtheinterdict werepunctuatedbymomentsofinternecineconflict,politicaldefiance,andreligious tensionthatexertedstrong(andsometimescontradictory)pressuresonreligious art.theartofthescuoladisanfantinoffersarevealingcasestudythroughwhich toconsidertheinterplaybetweentraditionandinnovation,andbetweenroman Catholicdogmaandlocaldevotionalpractice,inahighlychargedpoliticaland religiousenvironment.thenextsectionofthisintroductiondiscussesthemajor worksofscholarshiponthescuolaandoutlinesthestructureofthedissertation. Theremainingsectionsofferabriefoverviewofthereligiousclimate,political events,andaestheticdevelopmentsthatcharacterizedtheperiodinwhichthe ScuoladiSanFantinwasbuiltanddecorated. HistoriographyandStructureoftheDissertation Theearlieststudyoftheconfraternity,GiuseppePavanello'sLa)Scuola)di)S.) Fantin)ora)Ateneo)Veneto,waspublishedin1914bytheAteneoVenetodiScienze, LettereedArti(hereaftertheAteneoVeneto),theinstitutionwhichhasoccupiedthe buildingforalmosttwocenturies. 15 Pavanello sbrieftext,whichconsidersthe archivalsourcesonthescuola'shistoryanditsart,isinvaluableinthatitrecords theappearanceofthebuildingintheearlytwentiethcenturyanddiscussesseveral sourceswhicharenowlost,includinganilluminationfromthescuola'smariegola. 16 In1962,ontheoccasionofits150thanniversary,theAteneoVenetodedicateda specialvolumeofitsjournaltothearchitectureandartofthebuildingitnow occupies,withinformativeessaysbyrodolfogallo,nicolaivanoff,andothers. 17 PietroZampetti'sGuida)alle)opere)d'arte)della)Scuola)di)San)Fantin,firstpublishedin 1973andupdatedin2003,isthemostinBdepthstudyofthearthousedinthe Scuola'sformermeetinghouse. 18 )Zampetti'stextconsidersalltheartworks currentlyinthebuilding,manyofwhichweremovedthereafterthescuolawas suppressedanddisbanded.zampettialsopublishedaseriesofarticlesandessays onvariousworkscommissionedbythescuola;thesefocuslargelyonquestionsof attribution,sincelittlecontemporarydocumentationexiststoconfirmtheidentities 15GiuseppePavanello,La)Scuola)di)S.)Fantin)ora)Ateneo)Veneto(Venice:OfficineGraficheVittorio Callegari,1914;reprint,originallypublishedinL'Ateneo)VenetoAnnoXXXVII,Vol.1Fasc.1and2, GennaioBAprile1914) 16Thelostillumination,discussedinChapter1ofthisdissertation,isillustratedinPavanello,Scuola) di)s.)fantin,tav.v. 17Ateneo)Veneto,)fascicolospecialeperil150 anniversario(1962) 18PietroZampetti,Guida)alle)opere)d'arte)della)Scuola)di)S.)Fantin.)Ristampe)dell'edizione)1973)con) aggiornamenti)a)cura)di)ileana)chiappini)di)sorio(venice:edizionidell'ateneoveneto,2003) xvii

21 oftheartistsemployedthere. 19 ChiaraTraverso'sScuola)di)San)Fantin)o)dei)Picai providesadetailedaccountofthearchivalsourcesonthescuolaanddiscussesits historyandadministrativestructure. 20 Traversoincludesachapteronartand architecture;likezampetti,shealsocoversworksnotassociatedwiththescuola itself.individualworkscommissionedbythescuolahavealsobeenconsideredin variousmonographsontheartiststhatitemployed. 21 Thepresentdissertation focusesnarrowlyonasubsetoftheworkscommissionedbythescuoladisanfantin andexcludesthosemovedintothebuildingafteritssuppressioninthenineteenth century. Nosingletheoryormethodologyunderliesthisstudy.Rather,Idrawupon themethodologiesofarthistory,ritualstudies,anthropology,andculturalhistoryto fullycontextualizethescuola sartpatronageandtodevelopamultibfacetedcase studyonvenetianart,ritual,anddevotioninthefiftyyearstheprecededthe Interdict.Connoisseurship,theevaluationofindividualandperiodstyles,and iconographyeachplayaroleinmyanalysis,butthesemethodscontributetoa broadersocial,religious,andhistoricalaccount.withthenotableexceptionofthe building'sfaçade,questionsofattributionarenotafocushere.irelyinmanycases ontheattributionssuggestedbyzampettiandothers,butthequestionsiaskofthe materialdiffersignificantlyfromthoseposedinpreviousstudies.ultimately,my goalsaretodeeplyexploretheinterrelationshipbetweenasmallnumberof artworks,theartistswhocreatedthem,andtheinstitutionthatcommissionedthem, andtoconsidertheirsignificanceinlightofcontemporarytrends,beliefs,and historicalevents. Chapter1providesanoverviewoftheScuolaanditshistory,focusingin particularonitsroleasacomfortingconfraternitydedicatedtoassistingthe condemned.becausetraversohasalreadyanalyzedthearchivalrecordsofthe Scuolaingreatdetail,myownaccountfocusesonthoseaspectswhichbearonthe Scuola'sartpatronageorwhichhelpustobettergrasptheforcesunderlyingits artisticcommissionsandaestheticchoices.ialsodiscussseveralearlymodern treatisesonthetheoryandpracticeofconsolingthecondemnedthatcontributeto ourunderstandingofthescuolaanditsgoals.chapter2focusesonthearchitecture 19PietroZampetti,"PaoloVeroneseaSanFantin,"Notizie)da)Palazzo)Albani1,no.1B3(1972);Pietro Zampetti,"JacopoTintorettoaSanFantin,"Notizie)da)Palazzo)Albani2,no.1(1973);andPietro Zampetti,"Irestauridell'Ateneo:AppuntiePrecisazioni,"Ateneo)Veneto12,no.2(1974) 20ChiaraTraverso,La)Scuola)di)San)Fantin)o)dei)<<Picai>>.))Carità)e)giustizia)a)Venezia(Venice: Marsilioeditori,2000) 21See,forinstance,TerisioPignatti,Veronese,2vols.(Venice:Alfieri,1976),Cat.nos.300,A321BA327 onveronese;rodolfopallucchiniandpaolarossi,tintoretto,)le)opere)sacre)e)profane,2vols.(venice: Alfieri,1982),Cat.nos.234,235,425,A102onTintoretto;andStefaniaMasonRinaldi,Palma)il) Giovane:)L'opera)completa(Milan:Alfieri,GruppoEditorialeElecta,1984),Cat.nos.145,269B272, 403B406,558,573,586onPalmaGiovane.Thislistisnotexhaustive,andotherimportant discussionsofobjectsinthescuola'scollectionarecitedthroughoutthisdissertation.notethat multiplebooksandarticlesbythearthistorianstefaniamasonrinaldi,whosometimesusesher maidenname(stefaniamason),arecitedherein.inthefootnotesandbibliography,theauthor's nameislistedasitisontheindividualworkofscholarship;inthetext,sheisreferredtohereinas "Mason"or"StefaniaMason". xviii

22 xix ofthescuola'smeetinghouse;ireconsidertheevidenceforattributingthebuilding toalessandrovittoria,anddiscusstheiconographyofthefaçadeanditssignificance inthehistoryofvenetianarchitecture.thetimeframecoveredhereextendspast 1605,forthebuilding'searlyhistorycannotbeunderstoodwithoutreferencetothe majorrenovationsandchangesmadeduringandafterthelateseventeenthcentury. Chapters3and4focusonthedecorativeprogramsoftheScuola'stwomainrooms uptotheperiodoftheinterdict.bothroomsarereconstructedbasedonavarietyof sources,includingcontemporarydescriptions,theexistingarchitecturalsetting,and comparisonwithsimilarroomsatotherconfraternities.thefirstpartofchapter3 providesanoverviewofthedecorativeprogramofthebuilding'supperhall,the AlbergoGrande.Thesecondpartfocusesindetailononecomponentofthat program,palmagiovane'sst.jeromecycle,inlightofthevenetianconfraternal traditionandcounterbreformationarttheory.thestructureofchapter4follows thesamepattern;partidiscussesthedecorativehistoryoftheoratory,whilepartii isacasestudyofpalma'spurgatorycycleanditsrelationshiptovenetian confraternalpietyattheturnofthecentury. Supplementingthisinformationaremultipleappendices.InAppendixA,key eventsanddocumentationaresetforthinatimelineformatforthereader's convenience.appendixbbrieflydiscussesthelifeofthevirgincycle,acommission fromthelatesixteenthcenturythatoncedecoratedtheoldsacristy,aroom destroyedinthe1660s.appendixcreviewsthekeyworkscommissionedbythe Scuolatodecoratethetworoomsbuiltinthefinalphaseofconstructioninthe 1660s,theAlbergoPiccoloandtheNewSacristy.InAppendixD,theinscriptionsand sourcesofthepurgatorycycle,commissionedfortheceilingofthescuola'soratory, arepresentedinatabularformat.appendixeprovidestranslationsofthetwo survivinginventoriesofthescuola'spaintings. TheReligiousandPoliticalContext:Venice,theChurch,andCatholicReform Veniceisoftencategorizedasacityattheforefrontofreligiousreform,but (asthecaseofthegoldsmithiseppoindicates)thereformistspirittheredidnot alwaysplayoutinwaysthatwerepleasingtotheleadersofthecatholicchurch.in the1540sand1550s,agrowingevangelicalmovementofferedfollowersamore directpersonalconnectionwithgod,akintowhatwaspromisedbyprotestant theology. 22 EvangelicalideascirculatedthroughVeniceinformalandinformalsocial gatherings,insermons,andinpublications.amongthemostimportantofthe reformtextswasthebeneficio)di)cristo,atreatiseonthebenefitsofferedto humanitythroughchrist'sdeath,thatwasfirstpublishedanonymouslyinvenicein 1543.Ontheissueofjustification,theauthoroftheBeneficioarguedthattobelieve inthenecessityofgoodworkswasaninsulttogod: Whatgreatingratitude,andwhatanabominablethingitis,ifwewho professtobechristians,andwhounderstandthatthesonofgodhas 22OntheevangelicalmovementinVenice,seeMartin,"SalvationandSociety,"205B233andMartin, Venice's)Hidden)Enemies,71B96.

23 takenalloursinsuponhimself,andhascancelledthemallwithhis mostpreciousbloodbyallowinghimselftobechastisedforusonthe cross,stillclaimthatwewanttojustifyourselvesandtoseekthe remissionofoursinswithourownworks!asifthemerits,thejustice, andthebloodofchristarenotsufficienttoaccomplishthis,ifwedo notaddourownfouljustice,marredbyselfblove,interest,anda thousandvanities,forwhichweshouldaskgod'spardonratherthan areward! 23 SomereformistwritingsthatcirculatedinVenicetookalesssevereapproach towardsgoodworks,acknowledgingtheirimportancebutunderscoringthatthey aremeaninglessunlessaccompaniedbytrueandsincerefaith. 24 TheCatholic ChurchsuppressedevangelicalwritingsliketheBeneficioasheretical,andcalledfor thereestablishmentoftheinquisitioninvenice.reluctanttogivethechurchtotal oversighteveninquestionsofheresy,dogefrancescodonà(r.1545b1553)created anewlaymagistracy,thetre)savi)all'eresia,in1547.itspurposewastoassistthe Church'sinquisitor,butalsotoretainsupervisionoverthedoingsoftheHoly Office. 25 Bytheearly1580s,heresytrialsandexecutionshadlargelystampedthe evangelicalmovementout,oratleastforceditoutofthepubliceye. 26 TheCanonsandDecreesoftheCouncilofTrent,whichmetbetween1545 and1563,communicatedthechurch'sofficialresponsetothecrisisofthe Reformation.Abusesweretobecorrected,andgreateroversightwastobe exercisedbytheclergyinanefforttohomogenizereligiouspracticesandestablish controloverthecatholiccommunity.butondivisiveissuessuchastheefficacyof goodworks,thepowerofindulgences,theroleoftheclergy,thevenerationof 23"TheBeneficio)di)Cristo(1543),"inReform)Thought)in)Sixteenth_Century)Italy,editedandtranslated byelizabethg.gleason(annarbor,mi:edwardsbrothers,inc.,1981),113.thebeneficiowas suppressedjustsixyearsafteritsinitialpublication,asitbecameeverclearerthattheriftinwestern Christianitycouldnotberepaired.OnthepublicationhistoryoftheBeneficio,seeGleason's introductionatpp.103b106.onitsdiffusioninveniceanditsinfluenceonthosetriedforheresy,see Martin,Venice's)Hidden)Enemies,81B87. 24Forinstance,thissentimentisexpressedinthe1538sermonsofBernardinoOchino,publishedin Venicein1551,andinthevernacularpoem"IlsognodiCaravia"bytheVenetiangoldsmith AlessandroCaravia(1541).Clementi,Alessandro)Caravia,43B45. 25FortheVenetians,thenewmagistracywasprobablyintendedasmuchtomaintainitsowncontrol overprosecutions,religiousorotherwise,withintherepublic,asitwastohelptheinquisitors,butin anyeventprosecutionsforheresybeganinearnestsoonafteritsestablishment.onthetresaviand theinquisitioninvenice,seemartin,venice's)hidden)enemies,51b70. 26Unlikethievesandmurderers,convictedhereticsinVenicewererarelypublicallyexecuted.Rather, heresyexecutionswereheldinsecret,oftenbydrowning,withoutwordtothefamiliesofthose sentenced.ibid.,69b70.judgingbytheinfrequencywithwhichhereticsarementionedintherecords ofthoseexecutedandaccompaniedbythescuoladisanfantin,manyhereticsalsoappeartohave diedwithoutrecoursetospiritualcomforters.giventhenatureoftheirconvictions,itislikelythat manyconvictedhereticswouldhaverejectedtheinvolvementofconfratelliintheirfinalmoments. xx

24 saints,andtheuseofreligiousimagery,thechurch'spositionlargelyreaffirmed preexistingpracticesandbeliefs. 27 Venicewasslowtopromulgateandadoptsomechangesintheliturgycalled forbythecanonsanddecrees,andreluctanttoincreasetheoversightandinfluence ofoutsidersinitsreligiousinstitutions. 28 TheRepublicacceptedandimplemented thosedecreesandotherreformsthatsuitedvenetianeconomicandpolitical interests,butignoredorrejectedthemoutrightwhenitdidnot.andwherethe Church'sdemandsextendedbeyondissuestheRepublicdeemedspiritualorwhere Venetianauthoritywasthreatened,VeniceandthePapacycameincreasinglyinto conflict. DisagreementsbetweentheVenetianRepublicandthePopewerenotunique tothepostbtridentineera,butinthelastquarterofthesixteenthcentury,tensions begantoescalatedramatically. 29 In1578NicolòdaPonte(r.1578B1585),an advocateofvenetianautonomy,waselecteddoge.daponte'selectionheraldedthe declininginfluenceofsomeprobpapalpatricianfamilies(sometimescalledthe vecchi)whohadlongbenefitedfromecclesiasticalcareers,andusheredinaperiod ofincreasingpoweramongthegiovani,apoliticalfactionlesstolerantofpapal influenceinvenetiantemporalaffairs. 30 In1580,soonafterdaPonte'selection,PopeGregoryXIII(r.1572B1585) provokedacrisiswhenheorderedanapostolicvisittoveniceattheurgingof CardinalCarloBorromeo,ArchbishopofMilan.Sincetheapostolicvisitoccurredin 1581andimmediatelyprecededseveralmajorartcommissionsbytheScuoladiSan Fantin,andbecauseithadimportantimplicationsfortheproductionanddisplayof religiousartinvenice,thecausesandoutcomeofthedisputeareworthreviewingin somedetailhere.althoughsuchvisitshadalreadybeencarriedoutinmajorcitiesin otherindependentstates(includingflorence,siena,andmilan),inveniceboththe governmentandlocalchurchofficialsresistedtheideaofaninspectionand assessmentbypapalemissaries. 31 Arguingthatheopposedtheapostolicvisit"for honorofthiscity",thevenetianpatriarchgiovannitrevisannotedthatthepapal 27SeethedecreesissuedafterthefourteenthandtwentyBfifthsessions,Canons)and)Decrees)of)the) Council)of)Trent,trans.O.P.Rev.H.J.Schroeder(Rockford,IL:TanBooksandPublishers,Inc.,1978), 95,215B217,253B RegardingtheslowpaceofVenice'sadoptionofthedecreesoftheCouncilofTrent,seeAntonio Niero,"RiformacattolicaeConciliodiTrentoaVenezia,"inCultura)e)società)nel)rinascimento)tra) riforme)e)manierismi,ed.vittorebrancaandcarloossola(florence:leos.olschkieditore,1986),89b 96,andGaetanoCozzi,"Venezianelloscenarioeuropeo(1517B1699),"inLa)Repubblica)di)Venezia) nell'età)moderna.)dal)1517)alla)fine)della)repubblica,ed.gaetanocozzi,michaelknapton,and GiovanniScarabello.Storia)d'Italia(Torino:UTET,1992),75B79. 29ForoneinterestingexampleofadisputeregardingauthorityovertheclergywithinVenetian territory,seetheaccountofeventssurroundingthetrialofbartolodimaranin1514inmarin Sanudo,I)diarii)di)Marino)Sanuto,)1496)_)1536,58vols.(Venice:Visentini,1879B1903),XVIII:45. 30OndaPonteandthegiovaniinthelatesixteenthcentury,seeWilliamJ.Bouwsma,Venice)and)the) Defense)of)Republican)Liberty:)Renaissance)Values)in)the)Age)of)the)Counter)Reformation(Berkeley: UniversityofCaliforniaPress,1968),229B292;andMartin,Venice's)Hidden)Enemies,219B TheclassicarticleontheapostolicvisitisSilvioTramontin,"Lavisitaapostolicadel1581a Venezia,"Studi)VenezianiIX(1967):253B254. xxi