Francesco Laurana: Beginnings in Naples

Author(s): Hanno-Walter Kruft and Magne Malmanger

Source: The Burlington Magazine , Jan., 1974, Vol. 116, No. 850 (Jan., 1974), pp. 8-16
Published by: (PUB) Burlington Magazine Publications Ltd.

Stable URL: https://www.jstor.org/stable/877588

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms

(PUB) Burlington Magazine Publications Ltd. is collaborating with JSTOR to digitize, preserve
and extend access to The Burlington Magazine

This content downloaded from

156.17.79.40 on Wed, 07 Dec 2022 20:55:47 UTC
All use subject to https://about.jstor.org/terms
 A LE BRUN AT PONCE

closer to this event than to the Surintendant's downfall.19 years when the former reached the highest honours in the
However this may be, the painting in America can now
political sphere, and the second sought to attain these honours
be added to the astonishingly short list of works indubitably
in the field of the arts; 'Quo non ascendet?' It was Le Brun who
henceforward was to assume the motto of the surintendant
by Le Brun. It throws new light on the relations between
Fouquet20 and Le Brun, both highly ambitious men duringFouquet.

19 See also the engraving by Gabriel Le Brun (d. I66o) after Le Brun, said to
be an allegory of the marriage of Fouquet where his coats-of-arms and those
of his wife are shown, reproduced in the article in the Gazette des Beaux-Arts
[1965], cited above (No.275, p.52).
20 Let us consider in this connection the awkward problem of Poussin's pictures
which belonged to Fouquet. J. CORDEY (Vaux-le-Vicomte, Paris [19241, p.96)
comes out categorically with this assertion: 'Il ne refut du M&cMne [i.e. Fouquet]
aucune commande de tableaux ...'. To begin with, EDMOND BONNAFFJ' (Le Surinten-
dant Foucquet, Paris [1882], p.38) reports that the abb6 Foucquet, the Surin-
tendant's brother, sent from Rome on I Ith January I656 along with other
pictures 'deux copies d'originaux de M. Poussin; elles representent une Exposition du
Moyse et une Vierge avec un J6sus'. LOMINIE DE BRIENNE On the other hand, in
his commentary on F61libien (cf. Colloque Poussin, Paris [I96O], II, p.222) writes
in connection with the Virgin, St John, St Elizabeth and St Joseph (Fig.6) painted
in i656 'pour un particulier': 'c'est celuy que M. le Cardinal de Bouillon a fait graver
par Natalis. Je crois qu'il a esta d Mme la Surintendante Fouquet'. Does this refer to
the upright Holy Family or the landscape-shaped picture which both belonged
to the King at this date (I693-95) when Brienne was writing? Natalis having
only engraved the landscape-shaped composition, it was probably this picture
which belonged to Fouquet. And again, are we to accept the dating proposed
by F61libien and to prefer it to the one nowadays generally accepted (soon after
I650, cf. A. BLUNT: The Paintings of Nicolas Poussin, London [1966], Nos.55 and
75 who believes that the picture painted 'pour. un particulier' must be the upright
Holy Family, and Fouquet's Holy Family the landscape-shaped picture, although
this appears to contradict the early texts).

HANNO-WALTER KRUFT AND MAGNE MALMANGER

Francesco Laurana: Beginning

IN his treatise on architecture FilareteLionello
gathers Venturi's theory6 that
a number ofLaurana worked as a
sculptors to build and appoint his ideal city
young man of
on the Sforzinda.
Tempio Malatestiano in Rimini and in the
Appartamento
He writes: 'Venneci ancora Domenico dellagho della Jole discepolo
di logano of the ducal palace in Urbino is
equally
di pippo di ser Brunellescho. Uno geremia unconvincing.
da Cremona ilqualefece di
Laurana
bronzo certe cose benissimo. Uno dischiavonia is mentioned
ilquale era for the first time in the year 1453 in
bonissimo
scultore.'1 We can now be sure that by connection
Domenicowith hisdel
workLago
at Castelnuovo
di in Naples. On the
Lugano he meant Domenico Gagini2 andtogether
I7th July, thatwith 'uno di
the sculptors Pere Johan, Pietro
Schiavonia' referred to Francesco Laurana. da Milano andIn Paolo
hisRomano,
Lifeheof was paid for work at
Brunelleschi Vasari gives an inaccurate rendering
Castelnuovo ;7 the work is of the
not specified but must relate to
passage from Filarete: 'Furono ancora the suoi monumental
discepoli triumphal
Domenicoarch (Fig.8) at the entrance.
del Lago di Lugano, Gieremia da Cremona Lauranacheis next
lavorbmentioned in I458 with explicit reference
di bronzo
benissimo, insieme con uno Schiavone, chefece to the triumphal
assai cose arch.8
in We know nothing of his activity
Vinezia.'3
In Vasari's version not only Domenico before hedelwent Lago di Lugano
to Naples.
but also Geremia da Cremona and uno Schiavone become Preparation of a monograph on the triumphal arch at
pupils of Brunelleschi, although Filarete does not mention
Castelnuovo9 brought up the question of Laurana's part in
this. Fritz Burger and Wilhelm Rolfs, authors of the it only
again and the answer necessarily lay in a direction quite
two monographs on Laurana (both published in 1907), different from that indicated by Burger and Rolfs.
constructed a system out of Vasari's error, representingIt has often been said that Laurana was the architect
Laurana's development as running parallel with that of
responsible for the design and direction of the tr
arch, an opinion that originated in a well-known
Domenico Gagini or even describing him as Gagini's pupil.4
It was assumed as a consequence that Laurana received his
in Pietro Summonte's letter of 1524 to Marcantoni
schooling in Florence and that his early work was done
iel.o1inThe design has been attributed to a number
Genoa. This set Laurana studies off on the wrong track. The
falsity of the position was recognized5 but the steps needed
to correct it have not been taken until now.
6 LIONELLO VENTURI: 'Studi sul Palazzo Ducale di Urbino', L'Arte,
pp.42o ff.
SDocument published in RICCARDO FILANGIERI DI CANDIDA: Rassegna critica delle
1 JOHN R. SPENCER: Filarete's Treatise on Architecture, New Haven and
fonti per London
la storia di Castel Nuovo, Archivio storico per le provincie napoletane [1938],
[1965], Vol.II, facsimile fol.44v. p.336f. Doc.V.
2 Cf. on the problem of identification most recently HANNO-WALTER KRUFT:
8 CORNELIUS VON FABRICZY: 'Der Triumphbogen Alfonsos I. am Castel Nuovo
Domenico Gagini und seine Werkstatt, Munich [ 1972], p.I 13. zu Neapel', Jahrbuch der Koniglich Preussischen Kunstsammlungen, 20 [ I899], p.I49.
3 GIORGIO VASARI: Le vite de' pizt eccellenti pittori, scultori e architettori,Doc.IX anddel
ed. Club XI.

Libro, Vol.II, Milan [I962], p.293f. 9 This study will appear in the Acta of the Norwegian Institut
4 FRITZ BURGER: Francesco Laurana. Eine Studie zur italienischen Quattrocentoskuiptur,
10 FAUSTO NICOLINI: L'arte napoletana del Rinascimento e la lettera di
Strasbourg [1907], p.8ff. WILHELM ROLFS: Franz Laurana, Berlin [1907], a Marcantonio
p.31ff. Michiel, Naples [1925], p. 66: In la entrata del Castelnu
5 WILHELM R. VALENTINER: 'The early development of Domenicoarco
Gagini', THE
trionfale,fatto ad tempo del re Alfonso primo di gloriosa memoria, so
BURLINGTON MAGAZTNE, LXXVI [9401o], p.82f. per mano di maestro Francisco schiavone: opera, per quelli tempi, non ma

This content downloaded from

156.17.79.40 on Wed, 07 Dec 2022 20:55:47 UTC
All use subject to https://about.jstor.org/terms
7. Detail showing the heads of the courtiers in Fig.9.

8. Triumphal Arch of King Alfonso. (Castelnuovo, 9. Detail of the relief representing the Coronation of Ferrante I, by Pietro da Milano. (Inner
Naples.) Triumphal Arch, Castelnuovo, Naples.)

This content downloaded from

156.17.79.40 on Wed, 07 Dec 2022 20:55:47 UTC
All use subject to https://about.jstor.org/terms
 FRANCESCO LAURANA: BEGINNINGS IN NAPLES

architects," but this is another question

Basing our argument on this to which
relief, noPietro
we can say that con- da
clusive answer has been found. Milano and his workshop were responsible for the whole
What part did Laurana in fact play in Naples ? What was
left-hand half of the large frieze of the triumph.17
his contribution to the triumphal arch? We cannot answer In examining the relationship between Francesco Laurana
these questions without defining his early style. and Pietro da Milano, we should remember that both
sculptors are mentioned for the first time in Naples in the
We believe that there is fair justification for accepting that
Pietro da Milano was the architect-sculptor who designed same year, 1453, and that after the death of Alfonso both
and directed the work on the arch, and that Francescowent to the court of Anjou in France. The fact that Laurana
was born at Zara in Dalmatia makes it probable that he
Laurana was his pupil. Without setting out the argument in
full we will briefly summarize the main points. entered the workshop of Pietro da Milano at the time when
Pietro was working in nearby Ragusa and that he finally
Alfonso of Aragon twice approached the city of Ragusa
went to Naples as Pietro's assistant.'8 If we accept this,
(Dubrovnik), sending pressing letters (during the winter
of 1451/52 and on 3rd June 1452) requesting that the
however, we have then to show, first, that Laurana grew out
sculptor Pietro da Milano, then working in Ragusa,of
bePietro's workshop and, secondly, in what manner he did
released to work in Naples.12 In May 1452 the city council
so. We will try to show this in the following paragraphs.
granted Alfonso's request13 and probably soon afterwardsAny clarification of Laurana's part in the triumphal arch
must in any case proceed from a comparison with authenti-
Pietro da Milano set out for Naples. The king's letters show
that Alfonso thought highly of the sculptor. The historian cated works from his hand. His activity in France between
Giovanni Antonio Summonte records an inscription from the 1461 and 1466 is proven by a series of medals; we know of
tomb of Pietro da Milano (1470) which shows that he was no large sculptural works of this period. From 1467 until 147I
ennobled during Alfonso's lifetime for the building of he thewas working in Sicily and this is where his authenticated
triumphal arch.14 Finally, Pietro da Milano, alone of the work in sculpture begins.19 There are two figures of the
many masters who had earlier been employed on the arch, Madonna (Palermo, Cathedral; Noto, Chiesa del Crocifisso),
returned to Naples in 1465 and completed the work. of which one is documented and the other signed; but it is
The passage in Pietro Summonte's letter, in which he primarily the facade of the Cappella Mastrantonio in S.
attributes the arch to Laurana, shows only that in a brief Francesco d'Assisi in Palermo which provides documentary
two generations after the erection of the monument Laura- evidence of Laurana's activity.20 Admittedly Laurana is here
na's fame had eclipsed that of Pietro da Milano. This is not working in collaboration with another sculptor, Pietro da
surprising when we remember that Laurana returned to the Bonate from Lombardy, and here too we have to establish
court of Naples during the 1470's and executed a number the dividing line between the work of the two sculptors
of his celebrated busts of women. before we can make any comparison with the sculptures in
Though Pietro da Milano was obviously highly esteemedNaples. One of the present writers has recently attempted to
by his contemporaries it is supposed to be impossible nowa- draw this distinction in a reconstruction of the euvre of
days to form any impression of him as a sculptor, except as Pietro da Bonate.21 His reflections on Pietro's contribution
the designer of a few medals.'5 In fact, however, the neglected will not be repeated now. When stylistic elements found on
relief depicting the coronation of Ferrante I situated on the the facade - in those parts which can be connected with
inner triumphal arch and not executed until after 1465 can Laurana - occur also in sculptures on the triumphal arch,
be securely attributed to Pietro da Milano (Figs.7 and 9).16 they point with every probability to Laurana. When this
connection is found in sculptures that have a clear stylistic
link with Pietro da Milano, this also confirms the supposed

11 To Giuliano da Majano by VASARI: Vite, ed. Club del Libro, Vol.II, p.367; to
Pietro da Milano by FABRICZY, op. cit. [1899], p.8ff; to Leon Battista Alberti by
ETTORE BERNICH: 'Leon Battista Alberti e l'arco trionfale di Alfonso d'Aragona ('L'arco e la porta trionfale d'Alfonso e Ferdinando d'Aragona', Archivio
in Napoli', Napoli Nobilissima, XII [1903], pp.114-19, 131-36; to Luciano storico per le provincie napoletane, XXV [I90], P.47). The central piece of the
Laurana by LIONELLO VENTURI, op. Cit. [1914], p.415ff and ADOLFO VENTURI: crowning has disappeared.
Storia dell'arte italiana, Vol.VIII, 1, Milan [1923], 670P.; to Guillermo Sagrera 17 For a more detailed argument see our monograph on the triumphal arch
by RAFFAELO CAUSA: 'Sagrera, Laurana e l'arco di Castelnuovo', Paragone, 55 (note 9).
[1954], PP-3-23- 18 WILHELM R. VALENTINER ('Andrea dell'Aquila. Painter and Sculptor', The
12 CORNELIUS VON FABRICZY: 'Neues zum Triumphbogen Alfonsos I', Jahrbuch Art Bulletin, 11 [937], p.513) takes a similar view of the relationship.
der Kiniglich Preussischen Kunstsammlungen, 23 [1902], p.4f. 19 For Laurana's Sicilian period see, in addition to the monographs by Burger
13 CORNELIUS VON FABRICZY: 'Pietro di Martino da Milano in Ragusa', Reper- and Rolfs: VICENZO SCUDERI: 'Sculture inedite o poco note del Laurana, di
toriumfiir Kunstwissenschaft, 28 [1905], p.I92f. Domenico e Antonello Gagini nel trapanese', Trapani, Rassegna mensile della
14 GIOVANNI ANTONIO SUMMONTE: Dell' Historia della Citta, e Regno di Napoli,
provincia, III [1958], No.4, PP-3-Io; MICHELE D'ELIA: 'Appunti per la rico-
Vol.III, Naples [1675], p.14. The inscription was on the family tomb of Pietro struzione dell'attivith di Francesco Laurana', Studi e contributi dell'Istituto di
da Milano in S. Maria la Nova in Naples; it was lost when the church was Archeologia e Storia dell'Arte dell'Universita di Bari [1959], fasc.3; BENEDETTO
rebuilt at the end of the sixteenth century. PATERA: 'Sull'attivitA di Francesco Laurana in Sicilia', Annali del Liceo Classicoi
1i The most important studies of Pietro da Milano are: FABRICZY, op. cit. [ 899], 'G. Garibaldi' di Palermo, 2 [19651, PP-526-50; DANTE BERNINI: 'Francesco
p.8ff; FABRICZY, op. cit. [i905], p.I92f.; WILHELM ROLFS: 'Der Stil Peter Martins Laurana: i467-147I', Bollettino d'Arte, 51 [1966], p.I55-63: MARIA ACCASCINA:
von Mailand', Mionatsheftefiir Kunstwissenschaft, I [1908], pp.303-05; GEORGE 'Inediti di scultura del Rinascimento in Sicilia', Mitteilungen des Kunsthistorischen
FRANCIS HILL: A Corpus of Italian Medals of the Renaissance, London [1930], p.I5f; Institutes in Florenz, 14 11970], pp.251-296; ULRICH MIDDELDORF and HANNO-
FRANCO STRAZZULLO: 'Documenti sull'attivitA napoletana dello scultore milanese WALTER KRUFT: 'Three male portrait busts by Francesco Laurana', THE
Pietro de Martino (1453-1473)', Archivio storico per le provincie napoletane [1963], BURLINGTON MAGAZINE, CXIII [197i], pp.264-67; H.-W. KRUFT: Domenico
III, p.325-41. Gagini [1972], passim.
16 In 1468 the painter Angelillo Arcuccio was paid for gilding the crown and 20o Contract of 2nd June 1468 published by GIOACCHINO DI MARZO: I Gagini e la
orb 'delaymatge de marmora dela M.ta del dit S.or qui sta en lo portal del Castell nou de scultura in Sicilia nei secoli XVe XVI, Vol.II, Palermo [I883], p.7f. Doc.V.
Napols'. The reference must be to the figure of the then king (Ferrante I) not to 21 IHANNO-WALTER KRUFT: 'Pietro da Bonate' (publication expected this year in
that of Alfonso on the large frieze of the triumph, as EMILE BERTAUX recognized Storia dell'Arte).

IO

This content downloaded from

156.17.79.40 on Wed, 07 Dec 2022 20:55:47 UTC
All use subject to https://about.jstor.org/terms
io. St Jerome and St Gregory, by Francesco Laurana. (Cappella Mastrantonio, S. Francesco I I. St Luke, by Francesco Laurana. (Cappella Mastrantonio, S.
d'Assisi, Palermo.) Francesco d'Assisi, Palermo.)

12. Putto with cornucopia, by Francesco Laurana. (Cappella Mastrantonio, S. Francesco d'Assisi, 13. The Tunisian Legation, by Francesco Laurana. (Trium-
Palermo.) phal frieze, Castelnuovo, Naples.)

This content downloaded from

156.17.79.40 on Wed, 07 Dec 2022 20:55:47 UTC
All use subject to https://about.jstor.org/terms
1 4.

17.
16.

14. Detail of Fig. 13.

15. Two Genii holding coat of arms, by Fran-

cesco Laurana. (Inner Triumphal
Arch, Castelnuovo, Naples.)

I6. Member of the Tunisian Legation. (Tri-

umphal frieze, Castelnuovo, Naples.)

17. Detail showing the left fgure repro-

duced in Fig.I5.

18. Detail showing the right figure repro-

duced in Fig. 16.

This content downloaded from

156.17.79.40 on Wed, 07 Dec 2022 20:55:47 UTC
All use subject to https://about.jstor.org/terms
 FRANCESCO LAURANA: BEGINNINGS IN NAPLES

relationship between Pietro da Milano and relief

Another Francesco
by Laurana Laurana.
in the Cappella Mastrantoni
Laurana's figures of Madonnas and his busts of women
that on the left-hand socle of the do not
facade of a putto holding
cornucopia (Fig.I2),
prove very suitable to stylistic comparisons with enables
the facadeus to define
of his part in t
the chapel in Palermo and the triumphaltriumphalarcharch inin Naples.
Naples yet more Theclosely. A relief on t
reason for this lies in the stylistic flexibility or pluralism
inner arch depicting thata shield has hithe
two genii supporting
is particularly apparent in Laurana's late little
to attracted work in France.
attention but is by the same hand as t
Two reliefs in particular in the Cappella
putto in PalermoMastrantonio inhead of the left-ha
(Figs. 15, 17-18) .24 The
Palermo can be attributed to Laurana:22supporter in that depicting
particular twowith the relief
agrees so closely
of the fathers of the church, Jerome Palermoand Gregory,
in type, proportion and the
and treatment of details - suc
portrait of the apostle Luke (Figs. Io and
as the i I).open
slightly In mouth,
doing the so
shapeweof the eyes and the w
must remember that the Sicilianin works are
which the hair separated
is represented - that by
we can be certain tha
about a decade from Laurana's work Lauranainwas Naples
responsibleand that
for both we
works. A bust of Ferdinan
therefore have to take into accountthe a Catholic
stylistic development
as a young man, now in private ownership,
in Laurana. In some of the works, nevertheless,
which other comparisons thehavestylistic
recently shown to be the wor
affinities are striking. of Laurana, confirms the present attribution and provid
In a position that is difficult toa see, ontothe
transition right-hand
Laurana's rather isolated portrait sculptur
narrow side of the left-hand aedicula Thein the
putto in great triumphal
Palermo prompts further observations: t
frieze in Naples stands a block of right-hand
marble oncarrying
putto which envoys
the garland on the frieze below t
from Tunisia are depicted (Figs.i right-hand
3 and 14). reliefThe motifs
of warriors under of
the archway in Nap
the movement and the garments(Fig.2 and I) isthe formal
obviously inter-
the prototype for the figure in Palerm
relationships of the figures correspond to the principles
The movement, the position of the feet ofand legs are ve
Pietro da Milano as we find them on the relief of the corona-
similar. From the technical point of view it would be qu
tion on the inner arch (Figs.7 and 9) for
possible and bothon the
works to beadjacent
by the same hand, although i
marble slabs of the frieze of the triumph. Yet by comparison
cannot be denied that the hair is treated differently. Since
with the other relief, the expression of the
moreover, gestures
the head ofwith
of the putto the bow and arrow above
Tunisians - particularly the position of the arms - is one
the garland is closely related in style ofto the boys' heads
urgency: the figures turn to face one another
Laurana's figuresand
of theseem
MadonnatoandbeChild - compare, f
in the middle of a conversation. In example,
the individuality of their
the Christ-child of the Madonna (Fig.2o) abov
features the heads are superior tothe
any heads
entrance attributed
to the to
Cappella S. Barbara at Castelnuo
Pietro and they manage to avoid his rather coarse realism.
(1474) - we can claim with some probability that the frieze
We are dealing here with an assistant of Pietro
in Naples is the workwho enjoyed
of Laurana.
freedom to develop his talent, thoughThe in
motifa of
position that
the putto who looks was
back over his shoulder a
practically impossible to see. he strides along occurs again on the facade of the Cappel
The attribution of the relief of the Tunisians to Laurana23
Mastrantonio on the seat in the relief of Luke (Fig.i I) th
is supported by comparison with hasthebeenPalermo reliefs.
attributed to Laurana;26 Theuses it almost as
Laurana
type of head and the technical treatment
leitmotiv. of details in the
Gregory in Palermo (Fig.i o) provides a good
Laurana was onestylistic com-
of those sculptors who seem to have
parison with the Tunisian envoy inworked
Naples who
on the is shown
triumphal in from the beginnin
arch in Naples
the act of turning round. In the drapery style in
He is mentioned particular
in 1453 we if he was at th
and 1458. Even
find similarities which leave no doubt that the relief in Paler-
outset in a position of subordinance to Pietro da Milan
mo and the group of Tunisians in Naples
Pietro canare the
hardly havework
employedof
himthe
as an ordinary stone-
same artist. The cloaks that do not mason;
trulyfor fall but as
as early are
1453draped
as 'master' he is separate
according to laws of their own rise and
entered fall
in the in aand
wages-list wayclearlythat
differentiated from t
suggests impressed sheet metal rather than cloth. We find
group of thirty-three assistants who were paid a lump sum
the rudiments of a similar treatment of therefore
He must drapery have in Pietro
contributed dato the arch than
more
Milano, but only in certain areas, usually the sleeves of the
the few works so far attributed to him.
garments (Figs.7 and 9). Laurana givesTwo of athenew significance
free-standing figures on the upper part of th
to this motif with a more creative arch
power of expression
are similar in style and, by that
comparison with wor
characterizes the whole of the drapery. A narrow slab in
previously attributed to Laurana, can the be ascribed to the
left-hand aedicula of the frieze of the triumph depicting
same sculptor. They are the Justitia in the row of Virtu
another Tunisian (Fig.i6) exhibits(Figs.22
the and same
25) andstylistic ele-
the isolated figure that stands in front
ments as the relief of the Tunisians. This figure can also be
attributed to Laurana.

24 As regards motif this reliefseems to have been inspired by one of the reliefs on t
plinth of the Gattamelata statue in Padua (in the Biblioteca del Santo; th
reliefs now on the plinth are copies dating from the year 1854; HORST W
22 KRUFT: 'Pietro da Bonate' (see note 21 ).
JANSON: The sculpture of Donatello, Princeton [19571, p.152ff., pl.256a; GIUSEP
23 The group of Tunisian envoys was first mentioned in connection with
FIOCCO and ANTONIO SARTORI: La statua equestre del Gattamelata, II Santo, I [Ig96]
Laurana, though without plausible stylistic comparisons, by RAFFAELO CAUSA
pp.300-44). The works on the socle were mostly executed in the year 1447, s
in the catalogue Sculture lignee nella Campania, Naples [1950], p. III and in
Laurana could have seen the relief when he travelled to Naples with Piet
da Milano.
Paragone, 55 11954], p.i6. It was taken up and attributed to Laurana by GIANNI
CARLO SCIOLLA (La scultura di MAiilo da Fiesole, Turin [1970], p.14, and 'Fucina
25 MIDDELDORF and KRUFT, op. cit. [1971], p.264ff, Figs.I, 37-
26 KRUFT: 'Pietro da Bonate' (see note 21).
aragonese a Castelnuovo I', Critica d'arte, XIX, N.S., fasc.I23 [I972], P-30).

'3

This content downloaded from

156.17.79.40 on Wed, 07 Dec 2022 20:55:47 UTC
All use subject to https://about.jstor.org/terms
 FRANCESCO LAURANA: BEGINNINGS IN NAPLES

of the left-hand pair of columns flanking

style in the the upper archway
genii supporting the shield on the inner arch
(Fig.24). The similarity of the drapery style
and the portrait to
bust of that
Ferdinandof thetheCatholic.
relief in Palermo and of the group of Tunisians on the frieze
There is not enough proof of this attribution, however, and
it mustgarment
of the triumph is obvious. Justitia's remain tentative. is
What can be said is that
knotted init would be
the same way as the Tunisian's remarkable
girdle ifin the
Pietro, left-hand
as the sculptor in charge, had not
aedicula (Fig. 16)."7 The prominent reserved
position one ofofthe the left hand
most conspicuous reliefs on the arch for
of the figure flanking the arch occurs
himself andtwice more on the
his own workshop.
relief of the Tunisian envoys (Fig.i3). The
Laurana's partdrapery folds
in the triumphal on
arch in Naples turns out
to which
the Justitia figure are of a type for be considerable
there in both
is noquantity and quality. The fact
parallel
on the relief, but they indicate a development
that as time passed he that leads
was able on proof that his was
to produce
to the Madonnas in Palermo and the Noto. Justitia's
greater talent may partly head
explain whyis - as appears from
similar in proportion and treatment Pietro
of Summonte's
detailletterto -the
it camebarely
to be believed that he and
visible head at the right of the group of Pietro
not his master Tunisian
da Milano envoys
had been responsible for the
(Fig.I4). The gentleness of the facial
designexpression
of the whole arch.of Justitia
and the figure flanking the upper arch If our has not
proposed yet reached
reconstruction of Laurana's early work is
the degree of stylization and tenderness which
correct, the distinguishes
whole course of his artistic development will have
Laurana's Madonnas and busts. Yet it
to be is possible
worked to trace
out afresh. Laurana's personality has so far
the process of artistic development remained
from the a mystery.
head That
ofheJustitia
was rediscovered during the
by way of the bust of Battista Sforza in Nouveau,
period of Art Florence to,
when one for
writer saw in his busts of
example, the bust of Ippolita Sforzawomen 'the image of Woman' and 'something of the spirit
in Vienna.28
The left-hand relief of warriorsofin the archway
Salome',29 (Figs.23
is revealing, though rather for the appreciation
of Laurana
and 26) may well be the result of than for the work itself.
collaboration betweenIt still remains to trace
Pietro da Milano and Laurana. The heads
Laurana's provide
progress the
out of the only
workshop of the craftsman-lik
useful basis for the attribution. Some of them are related earnest Pietro da Milano to the creation of the most stylize
through their sturdily realistic faces and the cap-like
portrait-sculpture of the fifteenth century and on to t
treatment of the hair to Pietro's figures on the inner archstrange late work in France.
(Figs.7 and 9) and on the frieze of the triumph; others,
29 BURGER, Op. cit. [90o71], p.I 4f. Burger characterizes the bust of Eleonora
such as the central figure (Ferrante I), exhibit a delicate
Aragon (Palermo, Galleria Nazionale) thus: 'There is something about t
treatment of the surface that would have been beyond face of the spirit of Salome as she is conceived by the modern movement
poetry and sculpture, and one can well imagine that a heavier insistence o
Pietro's powers and show a greater similarity to Laurana's
what is here only hinted at would give rise to one of those perverse creations
the most recent art and literature.'
I905 saw the first performance of Richard Strauss's opera Salome with
27 Fig. 16 shows part only. libretto after Oscar Wilde; Wilde's Salome was illustrated by Aubrey Beardsley
28 For an identification of the Vienna bust see GEORGE L. HERSEY: AlfonsoinII 1894
and and by Marcus Behmer in 1903. In the field of sculpture Max Klinger's
Salome of 1893 (Leipzig, Museum der Bildenden Kiinste) could well have
the artistic renewal of Naples r485-495, New Haven and London [1969], P.33ff;
HANNO-WALTER KRUFT in Kunstchronik, 23 [11970], p.163. prompted associations with Laurana.

MARJON VAN DER MEULEN

Cardinal Cesi's Antique Sculpture Garde

Notes on a Painting by Hendrick van Cle
AMONG the paintings shown in the exhibition Frans'European
Floris before he went to Rome.3 Neither the exact
Landscape Painting from 1550 to 1650, held datein
nor the length of his stay in Italy is known.4 After h
Eastern
returnof
Europe in 1972 and reviewed in the July number he this
settled in Antwerp where he was registered as
member
periodical,' was one by Hendrick van Cleef III fromof the Painters' Guild in 15515 and where he di
the
National Gallery in Prague (Fig.27),2 the main interest of
3 CAREL VAN MANDER: Het Schilder-Boeck, first ed. [1604], fol.23o recto and vers
which lies not so much in its rendering of a landscape as in
According to Van Mander, Hendrick entered the Antwerp Guild in 153
its depiction of a sixteenth-century Antique sculpture
but this seems impossible.
garden in Rome. 4 Van Mander gives no date. It is generally accepted that the trip was mad
before 1551, the year he registered in Antwerp. VICOMTE TERLINDEN: 'Une v
Van Cleef, a member of an Antwerp familydeof painters,
Rome, par Hendrik van Cleve', Bulletin Musdes Royaux des Beaux-Ar
was born around 1524 and is said to have studied under
Brussels [I960], pp.165-74, esp. pp.172-73, rejected this early date in favour
the period between I551 and I555. In I555 he married Paschasia Suys. T
* These notes arose out of a conversation with ProfJ. G. van Gelder. Forincentive
help for the trip might have come from his teacher Frans Floris who ha
and assistance during their preparation I am very grateful to Dr I. I. E.travelled
van to Italy (Rome) before settling in Antwerp in I547.
5 P. ROMBOUTS and T. VAN LERIUS: De Liggeren en andere historische Archieven
Gelder-Jost and Drs J. J. Feye. The English has been revised by Patricia
Wardle. I wish to thank my husband for his constructive comments. Antwerpsche Sint Lucasgilde, Antwerp [1872], p.176. TERLINDEN, op. Cit., C. VA
HASSELT and A. BLANKERT: Artisti Olandesi e Fiamminghi in Italia, Mostra
1 j. G. VAN GELDER: 'European Landscape Painting from 1550 to I650, in
Eastern Europe', THE BURLINGTON MAGAZINE [1972], PP-499-503. disegni del cinque e seicento della collezione Frits Lugt, Florence [1966], p.
2 Prague, National Gallery, Inv. No.o 1748, panel, 61'5 by 107 cm., mono-
According to F. J. VAN DEN BRANDEN: Geschiedenis der Antwerpsche schilderschoo
Antwerp [ 18831, pp.294-95, and ROMBOUTS-VAN LERIUS, op. Cit. pp.204, 302 a
grammed and dated 1564(?). Exhibition catalogue, Warsaw No.23, Dresden
No.25 (see Note I). 337, Van Cleef is further mentioned as being in Antwerp in 1553, I55

14

This content downloaded from

156.17.79.40 on Wed, 07 Dec 2022 20:55:47 UTC
All use subject to https://about.jstor.org/terms
19. 19. Frieze with putt
cesco Laurana. (Castel
nuovo, Naples.)

20. Detail of the Madonna,

Francesco Laurana. 14
(Cappella S. Barbara
Castelnuovo, Naples

2 I. Frieze with putti, by

cesco Laurana. (Castel
nuovo, Naples.)

22. Justitia, by Francesc

Laurana. (Triumpha
Arch, Castelnuovo
Naples.)

21.

This content downloaded from

156.17.79.40 on Wed, 07 Dec 2022 20:55:47 UTC
All use subject to https://about.jstor.org/terms
23. Left Warrior Relief showing Ferrante in the centre, by Pietro da Milano and Francesco
Laurana. (Triumphal Arch, Castelnuovo, Naples.)

24. Virtue(?), by Francesco Laurana. (Triumphal Arch,

Castelnuovo, Naples.)

25. Head of the J7ustitia reproduced in Fig.22. 26. Detail of the relief in Fig.23.

This content downloaded from

156.17.79.40 on Wed, 07 Dec 2022 20:55:47 UTC
All use subject to https://about.jstor.org/terms