Lombard and Venetian Architects in Muscovy, 1472-1539 PDF
Preview Lombard and Venetian Architects in Muscovy, 1472-1539
CCiittyy UUnniivveerrssiittyy ooff NNeeww YYoorrkk ((CCUUNNYY)) CCUUNNYY AAccaaddeemmiicc WWoorrkkss Dissertations, Theses, and Capstone Projects CUNY Graduate Center 2-2014 IIttaalliiaannss aanndd tthhee NNeeww BByyzzaannttiiuumm:: LLoommbbaarrdd aanndd VVeenneettiiaann AArrcchhiitteeccttss iinn MMuussccoovvyy,, 11447722--11553399 Ellen A. Hurst Graduate Center, City University of New York How does access to this work benefit you? Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/51 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ITALIANS AND THE NEW BYZANTIUM: LOMBARD AND VENETIAN ARCHITECTS IN MUSCOVY, 1472-1539 by ELLEN A. HURST A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 © 2014 ELLEN A. HURST All Rights Reserved This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Professor James M. Saslow Date Chair of Examining Committee Professor Claire Bisop Date Executive Officer Professor James M. Saslow Professor Jennifer Ball Professor Warren Woodfin Supervision Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract Italians and the New Byzantium: Lombard and Venetian Architects in Muscovy, 1472-1539 by Ellen A. Hurst Advisor: Professor James M. Saslow This dissertation explores how early modern Russian identity was shaped by the built environment and, likewise, how the built environment was a result of an emerging Russian identity. I focus on the years 1472 to 1539 because they were crucial to the formation of this early modern Russian identity. Muscovite princes, seeking to rebuild Moscow's cityscape in a grander style, imported a large community of architects, engineers, stonemasons, and statesmen from Lombardy, the Veneto, and Rome. At least six architects, and an unknown number of masons, from Italy worked in Muscovy during these years, and their presence indelibly changed the face of Russian architecture and culture. The Muscovite princes sought to recreate the cityscape of Moscow as a symbol of the power gained when Ivan III freed his people from Mongol control and began consolidating Russian lands into an emerging, unified state. Furthermore, with the collapse of the Byzantine Empire in 1453, Muscovy declared itself capital of Orthodox Christendom, casting its authority across the Russian lands. Accordingly on the ascent, Muscovy actively sought to define its emerging sense of national identity in a new architectural language; it deliberately looked to the traditions of iv v Medieval and Renaissance Italy to assist in this process. The resulting hybrid architecture was a combination of the revered architectural traditions of medieval Kiev and Novgorod with the Western Renaissance, all overlaid with a fervent Byzantine theological persuasion. Thus, Muscovy’s use of foreign architects is emphatically not indicative of a deference to a “superior” West or of a desire to become or appear Western, as some older scholarship implies. Instead, it reveals the ingenuity of a culture on the verge of statehood, one that seems to have understood that artistic forms could be transferred and “repurposed.” Acknowledgements I am indebted to a number of people without whose help I could not have completed this dissertation. My advisor, Professor James Saslow, gave me wonderful encouragement and practical advice throughout the writing process. His willingness to read numerous drafts, providing feedback on both micro- and macro-level issues, was invaluable from the earliest stages of research through the last refinements of my final draft. I am also grateful to my committee members, Professors Jennifer Ball, Warren Woodfin, and Asen Kirin, who provided generous and thoughtful feedback and guidance. My husband, Kevin O’Rourke, supported me in every way imaginable as I completed this project; I could not have completed it without his good humor and support. Finally, I am grateful to my parents, who invested me with a love of art and history, and who introduced me to Russian culture. Most importantly, I thank them for teaching me to ask “Why?” vi CONTENTS Abstract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iv Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vi List of Illustrations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xi Chapter INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Introduction and Methodology Dissertation Structure 1. LOMBARD ARCHITECTS WORKING FOR IVAN III. . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Ivan III and the Rise of Moscow The Catholic Church, Italy, and Sofia Palaiologina Russian Architectural Heritage Rebirth First Mission to Italy: Simeon Tolbuzin Cathedral of the Dormition in the Kremlin Second Mission to Italy Pietro Antonio Solari The Faceted Palace Other Friazi Working in Moscow Ivan’s Final Mission to Italy: Alevisio Novi 2. VENETIAN (AND LOMBARD) ARCHITECTS IN MOSCOW, 1505-1539. . . . . . . . . . . . .92 vii viii Vasily III Succeeds Ivan in 1505 Vasily’s Architectural Inheritance Cathedral of the Archangel Micheal and Alevisio “Novi” Alevisio’s Background in Italy Alevisio is Recruited Alevisio in Moscow Alevisio’s Other Projects in Moscow Vasily’s Mission to Rome Identifying ‘Petrok Maly’ as Pietro Annibale Pietro Annibale’s Defensive Architecture Kitai Gorod Pietro Annibale’s Churches The Church of the Resurrection The Church of the Ascension at Kolomenskoe Origins of the Shatior Roof Other Friazi in Vasily’s Moscow 3. AFTER THE ITALIANS: MUSCOVITE COMPOSITE STYLE. . . . . . . . . . . . . . . . . . . . . 152 Muscovite Culture after Vasily III Moscow and England Moscow and the Ottoman Empire Muscovite Architecture after the Shatior Roof Continuation of the Shatior Church Flourishing of Muscovite Composite Style ix The Decapitation of Saint John the Baptist at Diakovo The Church of the Intercession on the Moat (Saint Basil the Blessed) New Jerusalem Exterior Decoration Interior Decoration Sources for Saint Basil the Blessed Byzantine Influence Italian Influence Antonio di Piero Averlino (Filarete) Francesco di Giorgio Martini Leonardo da Vinci Sebastiano Serlio Muscovite Composite Style in the Late Sixteenth Century and After Implications and Emergence of the New Style CONCLUSION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Russia and the West Transculturation Lasting Impact of Cultural Interaction Broadening Study of the Renaissance Renascences Limitations Recommendations for Further Research BIBLIOGRAPHY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
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