Artistic interest in the life of Alexander the Great during the Italian Renaissance: Designs in all media, with a focus on Raphael and his workshop [thesis]

463 Pages·2013·45.87 MB·English

by  Allison Nadine Fisher

ARTISTIC INTEREST IN THE LIFE OF ALEXANDER THE GREAT
DURING THE ITALIAN RENAISSANCE: DESIGNS IN ALL
MEDIA, WITH A FOCUS ON RAPHAEL AND HIS WORKSHOP

by

Allison Nadine Fisher

A thesis submitted to the Department of Art
In conformity with the requirements for
the degree of Doctor of Philosophy

Queen’s University
Kingston, Ontario, Canada
April, 2013

Copyright ©Allison Fisher, 2013
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Abstract
Alexander the Great (356-323 BCE) was the king of Macedon and one of the greatest
military commanders in the ancient world. Before his death at the age of thirty-three, Alexander
had conquered Greece, the Persian Empire, and northern India. Alexander provided a model of a
secular ruler for leaders in medieval and Renaissance Europe. Furthermore, with the revival of
antique culture during the Renaissance, the life of Alexander became a favourite classical subject
in art and literature.
My thesis seeks to examine the artistic interest in the life of Alexander during the Italian
Renaissance. During the late Middle Ages and the Renaissance, artists portrayed episodes from
the life of Alexander for elite patrons, who commissioned monumental frescoes and panel-
paintings, along with pieces of maiolica pottery, tapestry and sculpture for use in the rituals of
court life. While Alexander represented a model of secular authority for the patron, he was also
intrinsically linked with art. Alexander's court artists, particularly Apelles, had a legacy that was
eagerly emulated by modern artists.
This thesis begins by tracing the long literary tradition of Alexander. Accounts by ancient
authors, medieval romances, and new humanist texts all informed the production of images of the
ancient king. I will explore the earliest representations of Alexander influenced by the humanist
themes of uomini famosi and Petrarch's I Trionfi, followed by the reception and the appeal of
portraits of Alexander created by Andrea del Verrocchio, Valerio Belli, and Giulio Romano. I
will argue that, based on evidence in the form of drawings, Raphael had life-long artistic interest
in Alexander, and many of his designs were adapted by other artists, including a fresco by
Sodoma at the Villa Farnesina, and finely decorated maiolica pottery. Finally, I will consider the
monumental cycles of frescoes executed by artists for patrons, who had a profound personal
connection to the ancient monarch. While the artistic interest in the life of Alexander seems to
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derive from the fact that he was an all'antica subject, as I will demonstrate throughout this thesis,
this interest took many forms for patrons, artists, and viewers.

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Acknowledgements
Firstly, I extend my deepest and most profound gratitude to my supervisor, Dr. Cathleen
Hoeniger. Since my third year of undergraduate studies, I knew that I wanted to write my doctoral
dissertation under her guidance. Her support, suggestions, and insight cannot be paralleled. She
refined my writing and my research, and, moreover, she helped me to articulate my ideas and my
theories with an unmatched dedication that I hope to be able to pass on to my own students in the
future.

Secondly, I am immensely and sincerely grateful to the generous funding of Dr. Alfred Bader,
whose doctoral fellowship allowed me to study the monuments and collections of museums
across Europe. Without his generosity, this study could not have taken place.

In addition, I must recognize the professors of the Department of Art at Queen's University,
particularly Dr. Pierre du Prey, Dr. Una D'Elia, and Dr. Janice Helland, for all of their advice and
assistance over the years. Likewise, my thanks extend to the members of my thesis defense
committee, Dr. David McTavish, Dr. Caroline Falkner, and Dr. Sally Hickson for their expertise
and discerning suggestions.

For all of their help, I would like to thank to the staff and curators at the Warburg Institute, the
Prints and Drawings Collection at the British Museum, the Fitzwilliam Museum, the Ashmolean
Museum, and the Prints Room at Windsor Castle.

I am forever grateful to my colleague and dear friend, Eric Weichel, for his constant inspiration,
commiseration, reinforcement and encouragement since the beginning of our doctoral studies.
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You have been part-Aristotle, part-Philip, and part-Hephaestion from Kingston to South
Kensington and back again.

Thank you to my parents for all their celeritas pecuniae over the years and over the oceans. They
are far swifter than both Philip and Alexander combined.

To my comrades and friends, the hetairoi and diadochoi of the Department of Art at Queen's
University, I commend you for your support and motivation, especially Heather Merla, Meaghan
Whitehead, Casey Lee, Suzanne McColeman, and Amanda Morhart.

I am so very grateful to my international friends for keeping me grounded and reminding me of
the world outside of academia. Maye Bonilla, Yuzhi Cao, Kimberly Hollon, and Sally Knox—
you four are my impenetrable rocks of Sogdiana.

And lastly, my appreciation extends to my "research assistants", Max and Mittens, who, like
Bucephalus, have been there from the incipit of this anabasis.
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Table of Contents
Abstract ........................................................................................................................................... ii
Acknowledgements ....................................................................................................................... iv
Table of Contents .......................................................................................................................... vi
List of Figures ............................................................................................................................... vii
Chapter 1 Introduction.................................................................................................................... 1
Chapter 2 The Literary Traditions of the Life of Alexander ........................................................ 27
Chapter 3 Humanism and Alexander the Great ............................................................................ 81
Chapter 4 Portraits of Alexander the Great ................................................................................ 122
Chapter 5 Raphael's Interest in the Life of Alexander the Great ................................................ 167
Chapter 6 Mannerist Images of Alexander the Great ................................................................. 215
Conclusion .................................................................................................................................. 267
Bibliography ............................................................................................................................... 281
Appendix 1 Known Works Portraying Alexander the Great by Artists in Italy,
c. 1325-1575 ................................................................................................................................ 306
Appendix 2 Lucian's Herodotus or Aëtion .................................................................................. 315
Figures ......................................................................................................................................... 318

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List of Figures
1. Anonymous, Alexander the Great, from Andrea Fulvio, Illustrium Imagines, 1517
………………………………………………………………………………………..…….…...318

2. Anonymous, MS Bodley 264, Roman d'Alexandre: Birth of Alexander, Appointment of
Aristotle, Dream of Alexander, Taming of Bucephalus, fol. 2v, 1344, vellum. Bodleian Library,
Oxford………………………………………………………………………………...……..….319

3. Anonymous, MS Bodley 264, Roman d'Alexandre, detail, Taming of Bucephalus, fol. 2v, 1344,
vellum. Bodleian Library, Oxford………………………………………………...…………….320

4. Attributed to Maestro della Manta, Neuf Preux, c. 1420, fresco. Sala Baronale, Castello della
Manta……………………………………………………………………………………………321

5. Attributed to Maestro della Manta, Alexander the Great, c. 1420, fresco. Sala Baronale,
Castello della Manta………………………………………………………………...…………..322

6. Master of the Cité des Dames, MS Fr 12559, Le Chevalier Errant, Neuf Preux, fol. 125r, c.
1400-05. Département des Manuscrits, Bibliothèque Nationale, Paris…………………………323

7. Pasquier Grenier and workshop, Youth of Alexander, c. 1470, tapestry. Palazzo Doria-
Pamphilj, Genoa………………………………………………………………………...……....324

8. Pasquier Grenier and workshop, Youth of Alexander, detail, Death of Philip, c. 1470, tapestry.
Palazzo Doria-Pamphilj, Genoa………………………………………………………..……….325

9. Pasquier Grenier and workshop, Deeds of Alexander, c. 1470, tapestry. Palazzo Doria-
Pamphilj, Genoa………………………………………………………………………...………326

10. Pasquier Grenier and workshop, Deeds of Alexander, detail, Alexander's Ascent to Heaven, c.
1470, tapestry. Palazzo Doria-Pamphilj, Genoa………………………………………….…….327

11. Pasquier Grenier and workshop, Deeds of Alexander, detail, Alexander's Underwater
Adventure, c. 1470, tapestry. Palazzo Doria-Pamphilj, Genoa……………………...………….328

12. Pasquier Grenier and workshop, Deeds of Alexander, detail, Alexander Fighting the Wild
Men, c. 1470, tapestry. Palazzo Doria-Pamphilj, Genoa………………………………...……..329

13. Apollonio di Giovanni, Battle of Issus, c. 1450, panel, 43.5 x 156 cm. British Museum,
London……………………………………………………………………………………...…..330

14. Anonymous, Battle of Granicus, mid-fifteenth century, panel. Formerly in the collection of
the Earl of Crawford……………………………………………………………………………331

15. Giovanni di Ser Giovanni, called 'Lo Scheggia', Battle of Issus, mid-fifteenth century, tempera
on panel with gold and silver leaf. Private collection, sold at Christie's London, July 1997, and
again December 2011……………………………………………………………………..……332

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16. Anonymous, Triumph of Vespasian and Titus, 70 CE. Arch of Titus, Rome………...…….333

17. Attributed to Bernardo Rosselli, Triumph of Alexander and the Women of Darius, c. 1480-85,
panel, 41.59 x 154.31 cm. Los Angeles County Museum of Art…………………………..…...334

18. Attributed to Bernardo Rosselli, Triumph of Alexander and the Women of Darius, detail, c.
1480-85, panel. Los Angeles County Museum of Art……………………………………..……335

19. Attributed to Bernardo Rosselli, Triumph of Alexander and the Women of Darius, detail, c.
1480-85, panel. Los Angeles County Museum of Art……………………………………..……336

20. Francesco Rosselli, Triumph of Love, c. 1485-90, engraving, 26.2 x 17.2 cm. Metropolitan
Museum of Art, New York………………………………………………………………….…..337

21. Anonymous, Bod. Inc. Cat. P-159, Trionfi, Triumph of Love, fol. 3v, 1488. Bodleian Library,
Oxford…………………………………………………………………………………….……..338

22. Attributed to Apollonio di Giovanni and Marco del Buono Giamberti, Triumph of Alexander,
before 1439, panel, 145 x 50 cm. Gianfranco Luzzetti collection, Grossetto..............................339

23. Intaglio of Athena, original gem on left, imprint on right, late first century BCE, rock crystal,
signed by Eutyches, 37.2 x 29 x 14 mm. Staatliche Museen, Berlin………………………..….340

24. Gold stater of Alexander the Great, obverse a helmeted Athena; reverse Nike, 4th century
BCE. Ashmolean Museum, Oxford……………………………………………..……………...341

25. After Andrea del Verrocchio, Alexander the Great, 1480-90, marble relief, 55.9 x 36.7 cm.
National Gallery of Art, Washington, D.C……………………………………………………..342

26. Gold medallion, obverse Olympias; reverse nereid and triton, c. 212, minted at Ephesus.
Walters Art Museum, Baltimore………………………………………………………….…….343

27. After Andrea del Verrocchio, Scipio, late fifteenth century, marble relief, 60 x 38 cm. Musée
du Louvre, Paris………………………………………………………………………………...344

28. After Andrea del Verrocchio, Alexander the Great, late fifteenth century, stucco cast, 48.3 x
35.6 cm. Victoria and Albert Museum, London………………………………….…………….345

29. Della Robbia family workshop, Alexander the Great, c. 1500, glazed terracotta, 61 cm
diameter. Kunsthistorisches Museum, Vienna……………………………………..…………..346

30. After Andrea del Verrocchio, Warrior, late fifteenth century or nineteenth century, marble,
41.6 x 30.5 cm. Art Institute of Chicago, Chicago…………………………………………..…347

31. Della Robbia family workshop, Darius, c. 1500, glazed terracotta, 76 cm diameter. Museu
Nacional de Arte Antiga, Lisbon…………………………………………………………….…348

32. Leonardo da Vinci, Warrior, 1475-80, silverpoint on cream prepared paper, 28.7 x 21.1 cm.
British Museum, London……………………………………………………………………….349
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33. Valerio Belli, Alexander the Great (obverse), 1520-1530, cast silver, 22 mm diameter.
Cabinet des Médailles, Musée du Louvre, Paris…………………………………..…………….350

34. Valerio Belli, obverse Roxanne; reverse celebration scene(?), 1520-30, cast silver, 26mm
diameter. British Museum, London……………………………………………………………..351

35. Giulio Romano, Alexander the Great, c. 1537, oil on wood, 139 x 109 cm. Musée d'Art et
d'Histoire, Geneva (formerly Lederer collection)………………………………………….…...352

36. Giulio Romano, Alexander the Great, c. 1537, oil on canvas, 142 x 109 cm. Private
Collection, London (formerly Turin)…………………………………………………………...353

37. Silver coin, obverse Alexander; reverse Athena holding a statuette of Victory, c. 305-281
BCE, minted at Lampsakos. British Museum, London…………………………………………354

38. Neisos, Alexander, portrayed as Zeus with his eagle, first century BCE, carnelian, 29 x 30
mm. Hermitage, St. Petersburg…………………………………….……………………………355

39. Giulio Romano and Workshop, Clemency of Alexander, c. 1530-34, fresco. Camera di Attilio
Regolo, Palazzo del Té, Mantua………………………………………………………………...356

40. Follower of Andrea Mantegna, Clemency of Alexander, c. 1495-1500. Casa Tallarico,
Mantua…………………………………………………………………………….…………….357

41. Follower of Andrea Mantegna, Clemency of Alexander, detail, c. 1495-1500. Casa Tallarico,
Mantua…………………………………………………………………………………….…….358

42. Giulio Romano and Workshop, Charity, c. 1530-34, fresco. Camera di Attilio Regolo,
Palazzo del Té, Mantua…………………………………………………………………………359

43. Giulio Romano and Workshop, Alexander Placing the Books of Homer in a Casket, c. 1532,
fresco. Camerino dei Cesari, Palazzo del Té, Mantua……………………..………………...…360

44. Marcantonio Raimondi after Raphael, Alexander Placing the Books of Homer in a Casket, c.
1520, engraving, 25.3 x 39.7 cm. Library of Congress, Washington, D. C……….…………...361

45. Giulio Romano and Workshop, Jupiter Seducing Olympias, 1526-28, fresco. Sala di Amor e
Psiche, Palazzo del Té, Mantua……………………………………………………………..…..362

46. Quintus Curtius Rufus, MS Urb. Lat. 427, De gestis Alexandri Magni, detail of Alexander the
Great, fol. 2r, c. 1480. Biblioteca Apostolica, Vatican....…………………………..…………..363

47. Attributed to Raphael, Alexander the Great Descending to the Bottom of the Sea in a Glass
Diving Bell, INV 3889 recto, c. 1495, pen and brown wash, with traces of black and red chalk,
209 x 388mm. Fond des Dessins et Miniatures, Musée du Louvre, Paris…..………….………364

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