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From Wikipedia, the free encyclopedia
^ Jump up to: a b c d Zapperi
^ Jump up to: a b c d e f Young
^ Ginzburg, 5; Young; Zapperi
^ Ginzburg, 6, 8 n. 30
^ Young; Zapperi; Wittkower, 38–39
^ Wittkower, 57, 63 (63–68 on the scheme)
^ Ginzburg, 8 n. 29
^ Young; Finaldi and Kitson, 60
^ Young; Image of the fresco – the monk to the right of the cross seems the most like Domenichino's portrait in York, from some five years later
^ Jump up to: a b Finaldi and Kitson, 38
^ Wittkower, 38–39, 80 on Apollo frescos; 39 quoted
^ Finaldi and Kitson, 60
^ Finaldi and Kitson, 15–16, 21 n.37, summarizing Seicento studies
^ Krems
^ Ginsburg, throughout, p. 10 on it passing to his niece as heir
^ National Gallery Archived 5 October 2013 at the Wayback Machine , Portrait of Monsignor Agucchi , 1603-4, Annibale Carracci
^ translation and edition by Denis Mahon in his Studies in Seicento Art and Theory (London, 1947); on Mahon, see Finaldi and Kitson, 15–16, and [1] . There is a long extract, with an introduction here, pp. 24–30
^ Zirpolo, 47–48; Finaldi and Kitson, 15–16
^ Zirpolo, 47
^ Zirpolo, 47–48; Young
^ Wittkower, 39 (quoted, "swan song" quote is by R. Lee), 266
^ Fletcher, 666 and note 19; also Ginzburg, 10–11, complicating matters
^ Young; Zirpolo, 48
^ Ginzburg, 8–10
^ Young; Zirpolo, 47
^ Galilei, Galileo (1989). Translated and prefaced by Albert Van Helden (ed.). Sidereus Nuncius . Chicago & London: University of Chicago Press. pp. 14 –16. ISBN 978-0-226-27903-9 .
Giovanni Battista Agucchi (20 November 1570 – 1 January 1632 [1] ) was an Italian churchman, Papal diplomat and writer on art theory . He was the nephew and brother of cardinals, and might have been one himself if he had lived longer. He served as secretary to the Papal Secretary of State , then the Pope himself, on whose death Agucchi was made a titular bishop and appointed as nuncio to Venice. He was an important figure in Roman art circles when he was in the city, promoting fellow-Bolognese artists, and was close to Domenichino in particular. As an art theorist he was rediscovered in the 20th century as having first expressed many of the views better known from the writings of Gian Pietro Bellori a generation later. He was also an amateur astronomer who corresponded with Galileo .
Agucchi was born into a noble family in Bologna . He began his career in 1580–82 assisting his much older brother Girolamo Agucchi (1555–1605), later briefly a cardinal from 1604 to 1605, who was governor of Faenza in the Papal States , then studied at Bologna and Rome. He was made a canon of Piacenza Cathedral , then from 1591 worked for his uncle Cardinal Filippo Sega , an important diplomat for the Papacy, accompanying him when Sega was papal nuncio (ambassador) to France, then returning with him to Rome in 1594, and continuing in his service until Sega's death in 1596. [1] [2]
He then followed his brother Girolamo into the service of Cardinal Pietro Aldobrandini , Papal Secretary of State, whose secretary was Girolamo. Aldobrandini was the nephew of Pope Clement VIII (r. 1592–1605). Agucchi accompanied Aldobrandini on his embassies to Florence and France, the latter to negotiate the Treaty of Lyon (1601) and the marriage of Henry IV of France , then in 1604 to Ravenna , where Aldobrandini had been made archbishop, with a trip to Ferrara in the same year. The death of Pope Leo XI and his replacement by Pope Paul V in 1605 meant the loss of papal favour for both men, and Agucchi was able to spend most of his time on his personal interests until 1615, when Aldobrandini returned to favour and office. [1] [2] He was also a protege of the art-loving Cardinal Odoardo Farnese , acting as his secretary.
Aldobrandini died in 1621 and Agucchi became secretary ( Segretario dei Brevi ) to the new Pope Gregory XV , also from Bologna, the same year. [3] Gregory died in 1623 and the same year his successor Urban VIII made Agucchi Bishop of Amasea in partibus infidelis (a titular role , since Amasea is in Eastern Turkey ), and appointed him as Apostolic nuncio to the Republic of Venice . Venetian politics were at this period highly polarized between pro- and anti-papal factions, and Agucchi's period largely coincided with the unstable reign of Doge Giovanni I Cornaro , (r. 1625–29) whose election Agucchi had striven for, but whose reign was something of a disaster. Agucchi left Venice in 1630 to avoid the plague, and died the following year in the Castello San Salvatore at Susegana , after a period in Oderzo . [1] [2]
Agucchi was a cultivated intellectual, and the friend of many artists, playing a significant role in introducing painters from his native Bologna to patrons in the Roman Curia . He was "an assiduous correspondent on his own and others behalf", and many unpublished letters survive, as well as those quoted by Carlo Cesare Malvasia in his works. [4] He frequently crops up in discussion of Roman commissions of the period, for example suggesting Ludovico Carracci to the authorities for an altarpiece in Saint Peter's, Rome , though without success. Annibale Carracci had his own recommendation to Cardinal Odoardo Farnese from the cardinal's brother Ranuccio I Farnese, Duke of Parma , but became a friend of Agucchi in Rome, and is held up as a model in his writings, which also contain important biographical information on the Carracci. [5] Agucchi may have advised Carracci on the complicated and learned mythological iconography in his frescos of The Loves of the Gods for the cardinal's Palazzo Farnese , the dazzling scheme that was Carracci's first commission in Rome, and remains a landmark work for the Roman Baroque. [6] He administered his last Holy Communion to Annibale before his premature death in 1609, and composed his epitaph for the Pantheon . [7]
Domenichino joined Carracci in his work on the Palazzo Farnese, and Agucchi and his brother introduced him to Cardinal Pietro Aldobrandini and the future Gregory XV. Domenichino lived in Agucchi's household for a period from 1603/4 to 1608, [8] and according to Bellori , one of the figures in Domenichino's fresco Meeting of St Nilus and Emperor Otto III (c. 1609–10; Grottaferrata Abbey , Cappella dei SS Fondatori) is a portrait of Agucchi. [9]
Cardinals Odoardo Farnese and Pietro Aldobrandini were politically opposed, although less so after a marriage between the two families in 1600, [10] but were the two leading supporters of Bolognese painting in Rome, who between them succeeded in effectively giving the Bolognese "almost a monopoly" of large commissions for palaces in the 1610s. Cardinal Aldobrandini's personal taste was for the Late Mannerist style of Giuseppe Cesari (the Cavaliere d'Arpino) and others, and his support of the Bolognese must be largely attributed to Agucchi's advocacy. The cardinal commissioned Domenichino to paint eight frescos with the story of Apollo for the Villa Aldobrandini outside Rome in 1616–18; they are now in the National Gallery, London . [11] Agucchi's elder brother, Cardinal Girolamo, commissioned Domenichino to paint three frescos on the life of Saint Jerome in the portico of Sant'Onofrio in Rome, which are still in place. This was in 1604, completed 1605, at the time Domenichino was living with Agucchi. [12] The church also contains Domenichino's portrait of the Agucchis' uncle, Cardinal Sega, on his memorial.
From Annibale Carracci Cardinal Aldobrandini commissioned a set of decorative frescos with religious subjects in landscapes for his palace in Rome, now containing the Doria Pamphilj Gallery and still in the family, the Domine, quo vadis? in the National Gallery, London, and a Coronation of the Virgin bought by the Metropolitan Museum of Art from the Mahon collection. By 1603 he owned six works by Carracci, including two of the above. [10] The Bolognese artist Guercino only spent the years of Gregory XV's papacy in Rome, where his style changed in the direction of classicism. Denis Mahon suggested that this change was mainly in response to the urgings of Agucchi; like most commentators Mahon thought that the change was on the whole not an improvement. [13] Eva-Bettina Krems suggests that Agucchi is
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