DOI Page / Citation link:
https://doi.org/10.11588/diglit.68745#0255
I. P. 18
RELATIONS WITH THE GONZAGA
Early in his career, probably in the Sixties, Tintoretto had completed a series
of pictures of huge proportions for Duke Guglielmo Gonzaga, which related to
the siege of Taro and the Triumphs of Duke Federigo. In October of the year
1579 Count Teodoro San Giorgio, the cultured guardian of the ducal treasures,
wrote to Palo Moro, the ducal resident at Venice, to commission four more, to
be ‘ as large as those already executed,’ and at the same price. A description
of the subjects proposed was to follow immediately, and the pictures were to be
delivered quickly, if possible by Christmas. Monsignor Moro replies that
Tintoretto would gladly serve his Highness, but requires more time. San
Giorgio insists that if he wishes to please the Duke he must paint the pictures
by Christmas. The descriptions were sent him by October 20, and he was
begged to submit sketches.
The following are the proposed themes, preserved in the Gonzaga archives
in San Giorgio’s handwriting :—
I. Marche Federigo Gonzaga created Captain-General of the Legion by
Leo x.
II. Duke Federigo encamped at Parma in company with Prospero Colonna
and Marchese di Pescara.
HI. The taking of Milan by Duke Federigo and flight of the French. This
was to be a night scene, with the city in flames.
IV. The siege of Pavia by Duke Federigo, with the retreat of the enemy.
There was to be a fifth scene, an event in the life of Duke Francesco, son of
Federigo.
Plans of the three towns were sent him, with portraits of the Dukes.
There was also to be a frieze decorated with dogs and putti, and having a
clock, ‘ perhaps in the hand of a putto, like a target.’
By the middle of November Tintoretto had four sketches ready. San
Giorgio writes, approving them, but making some alterations.
The subject of the last scene is not clear, but Signor Luzio, who discovered
these documents, suggests that the only event of importance in the life of the
obscure and short-lived Duke Francesco was his marriage with Catherine of
Austria, and in December we find that Tintoretto received a drawing of the
courtyard in which it took place. In May 1580 the paintings were ready, and
Tintoretto was asked to come to Mantua to hang them, to see the Court again,
149
RELATIONS WITH THE GONZAGA
Early in his career, probably in the Sixties, Tintoretto had completed a series
of pictures of huge proportions for Duke Guglielmo Gonzaga, which related to
the siege of Taro and the Triumphs of Duke Federigo. In October of the year
1579 Count Teodoro San Giorgio, the cultured guardian of the ducal treasures,
wrote to Palo Moro, the ducal resident at Venice, to commission four more, to
be ‘ as large as those already executed,’ and at the same price. A description
of the subjects proposed was to follow immediately, and the pictures were to be
delivered quickly, if possible by Christmas. Monsignor Moro replies that
Tintoretto would gladly serve his Highness, but requires more time. San
Giorgio insists that if he wishes to please the Duke he must paint the pictures
by Christmas. The descriptions were sent him by October 20, and he was
begged to submit sketches.
The following are the proposed themes, preserved in the Gonzaga archives
in San Giorgio’s handwriting :—
I. Marche Federigo Gonzaga created Captain-General of the Legion by
Leo x.
II. Duke Federigo encamped at Parma in company with Prospero Colonna
and Marchese di Pescara.
HI. The taking of Milan by Duke Federigo and flight of the French. This
was to be a night scene, with the city in flames.
IV. The siege of Pavia by Duke Federigo, with the retreat of the enemy.
There was to be a fifth scene, an event in the life of Duke Francesco, son of
Federigo.
Plans of the three towns were sent him, with portraits of the Dukes.
There was also to be a frieze decorated with dogs and putti, and having a
clock, ‘ perhaps in the hand of a putto, like a target.’
By the middle of November Tintoretto had four sketches ready. San
Giorgio writes, approving them, but making some alterations.
The subject of the last scene is not clear, but Signor Luzio, who discovered
these documents, suggests that the only event of importance in the life of the
obscure and short-lived Duke Francesco was his marriage with Catherine of
Austria, and in December we find that Tintoretto received a drawing of the
courtyard in which it took place. In May 1580 the paintings were ready, and
Tintoretto was asked to come to Mantua to hang them, to see the Court again,
149