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The unveiling of Mochi's 'Veronica'

Author(s): LOUISE RICE

Source: The Burlington Magazine , November 2014, Vol. 156, No. 1340, Sculpture (November 2014), pp. 735-740

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The unveiling of Mochi's 'Veronica' by LOUISE RICE

on A damp November day in 1640, Pope Urban VIII, accom panied by seven cardinals, arrived in St Peter's basilica to attend the unveiling of Francesco Mochi's marble statue of St Veronica (Figs.17 and 18).1 The last of the colossal saints in the four crossing pier niches to be completed, the Veronica differs dramatically from the other three. Whereas Gianlorenzo Bernini's St Longinus, Franfois Duquesnoy's St Andrew, and Andrea Bolgi's St Helen stand fixedly in place, the Veronica is a figure in motion, whipped by the wind, striding urgently forward as she holds up the veil with its miraculous imprint. Mochi was known for effects of precisely this kind, and Urban must have expected a dynamic interpretation when he commissioned him. All the same, he kept close tabs on the artist and carefully monitored the invention as it evolved, sending Mochi back to the drawing board whenever he thought that improvement was possible. It could be that the pope involved himself to an equal degree in the creation of all four of the crossing pier statues, but we have no evidence for it in the case of the other three. For the Veronica,

on the other hand, documentation has recently emerged that throws new light on Urban's overseeing of the design process. The source is a manuscript history of the Volto Santo, or veil of Veronica (the venerated relic housed in the south-west crossing pier above Mochi's statue), assembled and partially written by the erudite canon Francesco Maria Torrigio.2 The author provides a detailed chronicle of the Veronica pier from the laying of the basilica's foundation stone on the spot in 1506 until shortly before his own death in 1650. His entries on Mochi's statue are particularly illuminating. They reveal the artist labouring over his invention, designing and redesigning the figure through a series of small and large models and regularly presenting his ideas to the pope, whose approval he sought at every stage of the process. Also included in Torrigio's manuscript is Mochi's own description of the official unveiling of the statue in the presence of the pope. This vivid document lets us listen in on Urban VIII as he inspected the work literally from top to bottom. His comments on that occasion - however filtered

they may be through Mochi's retelling of them — offer unusual insight into his aesthetic sensibility.

It was a sign of the pope's high regard for Mochi that he gave first among equals. The Volto Santo was the holiest relic in St

17. The St Veronica in Fig.i8 viewed from above and from the right.

him the commission in the first place, for of the four crossing Peter's, second in prestige only to the bones of the apostle pier statues the Veronica was unquestionably prima inter pares, the himself, and the pre-eminence of the south-west pier over the

1 On Mochi's statue, see M. Gregori, ed.: Francesco Mochi, 1580—1654, Florence von St. Peter, Rome, unter Papst Urban VIII', Jahres- und Tagungsbericht der Gorres 1981, esp. pp.75-76 and 127-36; R. Preimesberger: 'Skulpturale Mimesis: Zu Gesellschaft (1983), pp.36-55; R.-M. Dobler: 'Die Vierungspfeiler von Neu-Sankt Heiliger Veronika', in T. Gaehtgens, ed.: Akten des 28. internationalen Kongresses fur Peter und ihre Reliquien', in G. Satzinger and S. Schiitze, eds.: Sankt Peter in Rom, Kunstgeschichte, Berlin 1993, pp.473—81; idem: 'Respice faciem Christi tui', in C.L. 1506—2006. Beitrage der internationalen Tagung vom 22—25. Februar 2006 in Bonn, Frommel and G. Wolf, eds.: L'immagine di Cristo dall'Acheropita alia mano d'artista Munich 2008, pp.301—23; L. Rice: 'The Pre-Mochi Projects for the Veronica Pier dal tardo medioevo all'eta barocca, Vatican City 2006, pp.397—411; E. Lingo: 'Mochi's in St Peter's', in The Eternal Baroque: Studies in Honour of Jennifer Montagu, Milan Edge', Oxford Art Journal 32 (2009), pp.i—16; idem: 'Francesco Mochi's Balancing 2014 (forthcoming). Act and the Prehistory of Bernini's Four Rivers Fountain' in D. Kim, ed.: Matters 2 Vatican City, Biblioteca Apostolica Vaticana, Archivio Capitolare di S. Pietro, of Weight. Force, Gravity, and Aesthetics in the Early Modern Period, Berlin 2014, H71, 'Historia del Sacro Sudario della B. Veronica che si conserva nella Ecclesia pp. 134-46. The relevant documentation is transcribed in O. Pollak: Die Kunst- Basilica di San Pietro di Roma, detto il Volto Santo, di Francesco Maria Torriggio tatigkeit unter Urban VIII. II: Die Peterskirche in Rom, Vienna 1931 (hereafter cited as Romano'. The significance of the volume was first recognised by Dobler, op. cit. Pollak), esp. pp.441-52. On the crossing piers, see I. Lavin: Bernini and the Crossing (note 1), who cites important passages from it. On Torrigio (1580-1650), see L. of St Peter's, New York 1968; R. Preimesberger: 'Die Ausstattung der Kuppelpfeiler Allacci: Apes Urbanae, Rome 1633, pp. 108-09.

THE BURLINGTON MAGAZINE • CLVI • NOVEMBER 2014 735

The unveiling of Mochi's 'Veronica' by LOUISE RICE

17- The St Veronica in Fig.i8 viewed from above and from the right.

1 On Mochi's statue, see M. Gregori, ed.: Francesco Mochi, 1580—1654, Florence 1981, esp. pp.75-76 and 127-36; R. Preimesberger: 'Skulpturale Mimesis: Zu Heiliger Veronika', in T. Gaehtgens, ed.: Akten des 28. internationalen Kongresses für Kunstgeschichte, Berlin 1993, pp.473—81; idem: 'Respice faciem Christi tui', in C.L. Frommel and G. Wolf, eds.: L'immagine di Cristo dall'Acheropita alla mano d'artista dal tardo medioevo all'eta barocca, Vatican City 2006, pp.397—411; E. Lingo: 'Mochi's Edge', Oxford Art Journal 32 (2009), pp.i—16; idem: 'Francesco Mochi's Balancing Act and the Prehistory of Bernini's Four Rivers Fountain' in D. Kim, ed.: Matters of Weight. Force, Gravity, and Aesthetics in the Early Modern Period, Berlin 2014, pp.134—46. The relevant documentation is transcribed in O. Pollak: Die Kunst tätigkeit unter Urban VIII. II: Die Peterskirche in Rom, Vienna 1931 (hereafter cited as

Pollak), esp. pp.441—52. On the crossing piers, see I. Lavin: Bernini and the Crossing of St Peter's, New York 1968; R. Preimesberger: 'Die Ausstattung der Kuppelpfeiler

von St. Peter, Rome, unter Papst Urban VIII', Jahres- und Tagungsbericht der Görres Gesellschaft (1983), pp.36—55; R.-M. Dobler: 'Die Vierungspfeiler von Neu-Sankt Peter und ihre Reliquien', in G. Satzinger and S. Schütze, eds.: Sankt Peter in Rom, 1506—2006. Beiträge der internationalen Tagung vom 22—25. Februar 2006 in Bonn, Munich 2008, pp.301—23; L. Rice: 'The Pre-Mochi Projects for the Veronica Pier in St Peter's', in The Eternal Baroque: Studies in Honour of Jennifer Montagu, Milan 2014 (forthcoming). 2 Vatican City, Biblioteca Apostolica Vaticana, Archivio Capitolare di S. Pietro, H71, 'Historia del Sacro Sudario della B. Veronica che si conserva nella Ecclesia Basilica di San Pietro di Roma, detto il Volto Santo, di Francesco Maria Torriggio Romano'. The significance of the volume was first recognised by Dobler, op. cit. (note 1), who cites important passages from it. On Torrigio (1580-1650), see L. Allacci: Apes Urbanae, Rome 1633, pp.108—09.

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THE UNVEILING OF MOCHI'S 'VERONICA

other three was widely recognised.3 At the outset of his pontif- the inclusion of the big rock introduce a pictorialism absent icate, before the formulation of a co-ordinated programme from the other three crossing pier figures, who stand on two involving all four of the crossing piers, Urban had focused his feet in classic contrapposto poses, as was the norm for statues attention on the Veronica pier, repeatedly urging the Fabbrica in niches. to come up with a satisfactory scheme for furnishing and Torrigio reports that Mochi's model 'was much praised'.10 embellishing it and repeatedly rejecting the full-scale mock-ups But there is reason to think that the pope was not wholeheart they erected for his consideration.4 Aware as he surely was of edly enthusiastic. Mochi returned to his studio and in less than this pre-history, Mochi may have felt both trepidation and joy a month produced a second presentation model, which he when, near the end of 1629, he received the commission to delivered to the pope at the Vatican Palace on 10th March carve the Veronica.5 1632, offering it as an alternative in case the pope might prefer

Eight months later, on 16th August 1630, Mochi attended the it to his previous design. The pope did indeed prefer it and pope at the Quirinal Palace and presented him with a model of apparently ordered the sculptor to make another full-scale the statue (see Appendix, no.i below). The pope's reaction is model, 'the first one having been removed' (Appendix, no.8). not recorded, but presumably he gave his permission to No further mention of a second modello grande appears in any proceed. Before tackling the marble, each of the sculptors of the surviving documents and we cannot be certain that involved in the project was required to erect a full-scale mock- Mochi actually produced one. But, on nth August 1632, up (modello grande) in situ. Duquesnoy had had a considerable he was paid an extra 100 scudi 'by order of His Holiness, head start and had completed his full-scale model for the St as a supplement'.11 Coming five months after he was paid Andrew even before the pope announced the final distribution of in full for the first mock-up, this additional payment (awarded the statues.6 But Mochi, Bernini and Bolgi were slow to catch to none of the other three sculptors) may have been in recognition up, and on 5th May 1631 the pope expressed his impatience to of the extra labour involved in making a second full see the other three mock-ups in place.7 The very next day, the scale model.12 Fabbrica began the construction of a brick base for Mochi's Meanwhile, three large blocks of marble earmarked for the modello grande (Appendix, no.2). Two months after that, on nth Veronica arrived in Rome (Appendix, no.7). To have reached July, a wooden screen was erected around the niche to provide their destination by February 1632, these stones must have been a degree of privacy and shelter while the model was in progress ordered long before Mochi made either his first or his hypothet (Appendix, no.3). Mochi worked quickly and completed the ical second full-scale model. This is surprising, for marble was not mock-up in just over two months, between 24th September and usually ordered until the precise dimensions of each block had 29th November (Appendix, no.4).8 On 15th February 1632 the been carefully worked out.13 Indeed, either because they did not pope, accompanied by eight cardinals, came to St Peter's to meet the specifications of the design as it had evolved by then or inspect it (Appendix, no.6). for some other reason, Mochi did not take delivery of these

A drawing by Domenico Castelli may give the impression of blocks. Instead, on 3rd March 1633, with the pope's approval, Mochi's 1631 modello grande (Fig.19).9 It shows the Veronica new marbles were ordered from Carrara (Appendix, no.9). niche, with the balustrade, pedestal and superscription all very These eventually arrived and were transported to Mochi's studio much as built, but with a strikingly different version of the in March 1635.14 statue in place. Instead of rushing out of her niche and making In the interim, Mochi continued to refine his design and on contact with the viewer, this earlier Veronica half kneels against 19th March 1633 he returned to the Vatican Palace with yet a large rock and intently contemplates the image of Christ on another presentation model — the third by Torrigio's account - her veil. Her windswept drapery, her half-kneeling posture and this time specified as being made of wax:

3 The south-west pier is called 'la principale' (P. Totti: Ritratto di Roma modema, lodatoF.M. Torrigio: Le sacregrotte vaticane, Rome 1635, p.206. Rome 1638, p.12) and 'ilprimo Nicchione (in an awiso of 1640, transcribed in note 20 11 On 15th March 1632, Mochi received the final instalment of the 350 scudi that below); and Bellori states that lil Volto Santo con la statua di Veronica tenesse il primo seems to have been the originally agreed fee for his full-scale model (Pollak, p.443, luogo' (G.P. Bellori: Le Vite de' pittori, scultori, e architetti modemi, ed. E. Borea, Turin no. 1716). The supplement was paid out five months later, on nth August 1632. 1976, pp.293-94). On the primacy of the relic and pier, see also Lavin, op. cit. (note The published documents disagree as to the amount of the supplement.'100 per resto 1), pp.24—27. del modello della statua di Santa Veronica (di ordine di Nostro Signore per soplimentoy 4 Rice, op. cit. (note 1). (Pollak, p.443, no.1717); 'Al S. Francesco Mochi scultore per resto modello S. Veronica 3 Pollak, p.93, no. 117. dati d'ordine di Nostro Signore 200' (Gregori, op. cit. (note 1), p. 129, with this edito 6 Ibid., pp.430—31, nos. 1639—45. rial note: 'H Papa Urbano VIII aveva concesso alio scultore un pagamento supplementare di 7 Ibid., p.431, no. 1646. duecento scudi'). 8 According to Torrigio, the model was made of brick (' modellum [. . .] confactum e 12 If Mochi did significandy revise the design of the statue after exhibiting the modello lateribus'), which probably means that it had a brick or rubble core onto which the grande of 1631, he would have had to make a second full-scale model in any case, sculptor built up outer layers of clay and gypsum. In contrast, Duquesnoy's St Andrew whether ordered to do so or not, for (as pointed out in note 8 above) sculptors used had an internal skeleton of wood (Pollak, p.36, no.42). How these huge and heavy these models not only to test their designs but also to transfer them to the marble blocks, but fragile models were transported from the niches where they were made to the The only question would be, in that case, whether he constructed and displayed the artists' studios where they were used in transferring the design to the marble blocks second full-scale model in St Peter's (as the pope apparendy requested) or set it up from is a mystery. The process was obviously fraught with danger; Duquesnoy's model the start in his studio. shattered in transit and had to be remade from scratch in his studio. 13 The four statues were originally supposed to be carved from single blocks of 9 Preimesberger 1993, op. cit. (note 1), p.476; M. Boudon-Machuel: Francois du marble (Pollak, p.431, nos. 1647—50), but the inordinate cost of transporting such Quesnoy, 1597—1643, Paris 2005, pp.105—10; Preimesberger 2006, op. cit. (note 1), huge stones all the way from Carrara soon convinced the pope that they could be p.405; Lingo 2009, op. cit. (note 1), pp.9—10. All point to the similarity of the figure made just as well out of multiple blocks (Pollak, pp.443—44, no. 1718). Two blocks in Castelli's drawing to Mochi's earlier Angel Annunciate in Orvieto as evidence that for the St Andrew arrived around the same time as the three blocks for the Veronica the drawing records a preparatory design of Mochi's, if not his full-scale mock-up, recorded by Torrigio and it is possible that he confused the two orders; see Pollak, then one of his presentation models or bozzetti. p.432, no.1652; and Boudon-Machuel, op. cit. (note 9), p.370. 10 'Adi 15 de Febraro 1632 Nostro Signore con otto Cardinali nel visitare questa Basilica, vidde 14 For the tangled history of the marble blocks, see Pollak, pp.444—49, nos. 1719—34, 11 modello della statua di S. Veronica, fatta da Francesco Mochi sopra il suo altare, efu molto 1749 and passim; Boudon-Machuel, op. cit. (note 9), pp.370-71.

736 NOVEMBER 2OI4 • CLVI • THE BURLINGTON MAGAZINE

3 The south-west pier is called 'la principale' (P. Totti: Ritratto di Roma modema, Rome 1638, p. 12) and 'ilprimo Nicchione' (in an avviso of 1640, transcribed in note 20 below); and Bellori states that 'il Volto Santo con la statua di Veronica tenesse il primo luogo' (G.P. Bellori: Le Vite de' pittori, scultori, e architetti modemi, ed. E. Borea, Turin 1976, pp.293-94). On the primacy of the relic and pier, see also Lavin, op. cit. (note 1), pp.24-27. 4 Rice, op. cit. (note 1). 3 Pollak, p.93, no.117. 6 Ibid., pp.430—31, nos. 1639—45. 7 Ibid., p.431, no. 1646. 8 According to Torrigio, the model was made of brick (' modellum [. . .] confactum e lateribus'), which probably means that it had a brick or rubble core onto which the sculptor built up outer layers of clay and gypsum. In contrast, Duquesnoy's St Andrew had an internal skeleton of wood (Pollak, p. 36, no.42). How these huge and heavy but fragile models were transported from the niches where they were made to the artists' studios where they were used in transferring the design to the marble blocks is a mystery. The process was obviously fraught with danger; Duquesnoy's model shattered in transit and had to be remade from scratch in his studio.

9 Preimesberger 1993, op. cit. (note 1), p.476; M. Boudon-Machuel: François du Quesnoy, 1597—1643, Paris 2005, pp.105—10; Preimesberger 2006, op. cit. (note 1), p.405; Lingo 2009, op. cit. (note 1), pp.9—10. All point to the similarity of the figure in Castelli's drawing to Mochi's earlier Angel Annunciate in Orvieto as evidence that the drawing records a preparatory design of Mochi's, if not his full-scale mock-up, then one of his presentation models or bozzetti. 10 'Adt 15 de Febraro 1632 Nostro Signore con otto Cardinali nel visitare questa Basilica, vidde

11 modello délia statua di S. Veronica, fatta da Francesco Mochi sopra il suo altare, efu molto

lodatoF.M. Torrigio: Le sacre grotte vaticane, Rome 1635, p.206. 11 On 15th March 1632, Mochi received the final instalment of the 350 scudi that seems to have been the originally agreed fee for his full-scale model (Pollak, p.443, no.1716). The supplement was paid out five months later, on nth August 1632. The published documents disagree as to the amount of the supplement. '100 per resto del modello délia statua di Santa Veronica (di ordine di Nostro Signore per soplimento)' (Pollak, p.443, no.1717); 'Al S. Francesco Mochi scultore per resto modello S. Veronica dati d'ordine di Nostro Signore 200' (Gregori, op. cit. (note 1), p. 129, with this edito rial note: 'II Papa Urbano VIII aveva concesso alio scultore un pagamento supplementäre di duecento scudi').

12 If Mochi did significandy revise the design of the statue after exhibiting the modello grande of 1631, he would have had to make a second full-scale model in any case, whether ordered to do so or not, for (as pointed out in note 8 above) sculptors used these models not only to test their designs but also to transfer them to the marble blocks.

The only question would be, in that case, whether he constructed and displayed the second full-scale model in St Peter's (as the pope apparendy requested) or set it up from the start in his studio.

13 The four statues were originally supposed to be carved from single blocks of marble (Pollak, p.431, nos. 1647—50), but the inordinate cost of transporting such huge stones all the way from Carrara soon convinced the pope that they could be made just as well out of multiple blocks (Pollak, pp.443—44, no. 1718). Two blocks for the St Andrew arrived around the same time as the three blocks for the Veronica

recorded by Torrigio and it is possible that he confused the two orders; see Pollak, p.432, no. 1652; and Boudon-Machuel, op. cit. (note 9), p.370. 14 For the tangled history of the marble blocks, see Pollak, pp.444—49, nos. 1719—34, 1749 and passim; Boudon-Machuel, op. cit. (note 9), pp.370-71.

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THE UNVEILING OF MOCHI'S 'VERONICA'

18. St Veronica, by Francesco Mochi. 1629-40. Marble, approx. 500 cm. high. (St Peter's, Rome).

THE BURLINGTON MAGAZINE • CLVI • NOVEMBER 2014 737

i8. St Veronica, by Francesco Mochi. 1629-40. Marble, approx. 500 cm. high. (St Peter's, Rome).

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THE UNVEILING OF MOCHI'S 'VERONICA'

19. Lower half of the Veronica pier in St Peter's, by

Domenico

Castelli. Pen and

ink. From

'Prospetti e piante di tutti

gTedificij eretti si dentro come

fiiori di Roma

dalla felice

memoria

d'Urbano VIII, disegnati da Domenico

Castelli'

the pope, who may have found the idea of the female saint wiping the face of Jesus while still wearing the veil intimately draped around her person eccentric, if not downright indelicate.

Working in his studio, Mochi roughed out the statue between March 1635, when the marbles were delivered, and August 1639, when the work was transported to St Peter's.17 The fine carving must have been done in situ and took another fourteen months to complete. The Veronica is a tour de force of deep undercuttings, daring fin-like extensions and knife-sharp drapery folds. It has been called, with good reason, the 'edgiest statue of the seventeenth century'.18 Mochi sensibly postponed chiselling the more exposed and fragile passages until the statue was safely hoisted onto its pedestal and its three constituent blocks securely conjoined.19

An awiso of 9th June 1640 records a visit of the pope to St Peter's, during which he supposedly stopped by the Veronica niche to see how Mochi was progressing:

Yesterday morning, having entered St Peter's, His Holiness was pleased to take a look at the marble statue of St Veronica in

ApostoHca the principal niche where the Volto Santo is kept, made with Vaticana, Barb. p •< .i f great artifice by the most excellent sculptor Signor Andrea Lat. 4409, fol.7). Mochi of Cortona.20

This was five months before the official unveiling. The niche On 19th March, at 18 hours, in the Vatican Palace, Francesco was probably still hidden behind its protective wooden Mochi showed the pope a wax model of the Veronica to be palisade. Urban would have had to enter the enclosure and carved out of marble by him and placed in St Peter's, if that maybe even clamber up a scaffold in order to glimpse the statue, model would have pleased His Holiness (Appendix, no.io)V While such a scenario is not impossible, it seems unlikely. A

closer look at the awiso suggests a different interpretation. With the new blocks already on order, it is unlikely the sculptor Although the compiler names the statue in question with seeming proposed any major changes at this late stage. He may have confidence, his identification of the sculptor is so garbled that wanted papal approval for some relatively small adjustment to the it calls into question the reliability of the rest. If we imagine that design or iconography. Perhaps it was at this point that he tried the statue the pope went to see on 8th June was not the Veronica out the unconventional idea of representing the Sudarium not as but the St Helen by Andrea Bolgi just across the nave in the a separate square of cloth (as it appears in the finished statue) but north-west crossing pier, everything falls into place. The as the tail end of a long veil that covers Veronica's hair and wraps hybrid reference to 'Andrea Mochi' speaks of the author's across her upper body. confusion; and while neither sculptor was a native of Cortona,

Although none of Mochi's bozzetti or modelli for the Veronica Bolgi's birthplace of Carrara is orthographically (if not geo survives, a bronze statuette cast from one of the lost models has graphically) closer to it than Mochi's Montevarchi. The awiso come down to us. It is in this work that we find the artist exper- describes the statue as 'fatta' — done, finished, completed — imenting with the form and arrangement of the veil (Fig.20).16 which could not have been said of the Veronica at that point. Given its size (nearly 50 cm. high) and degree of finish, the We have no other reference to the unveiling of Bolgi's statue, bronze is likely to be based not on a rough sketch (bozzetto), but but since the Veronica was the last of the four to go on display on a finely wrought modello of the kind artists presented to their it must have occurred before 4th November. The awiso of 9th patrons. The fact that, apart from the veil, the figure closely June thus contributes nothing to our understanding of the resembles the finished statue in attitude and action suggests that chronology of Mochi's statue, but it does give us the date of the the model was made relatively late in the preparatory process. unveiling of Bolgi's. It could even be — although this must remain speculative — that Five months later, on 4th November 1640, it was the Veronica's the bronze was cast from the very model that Mochi presented turn. Accompanied by the three Barberini cardinals along to Urban VIII in March 1633. In any case, whenever it was intro- with Cardinals Giovanni Battista Pallotta, Alessandro Cesarini, duced, the novel iconography does not seem to have appealed to Antonio Santacroce and Giulio Sacchetti, the pope returned to

15 The last clause is grammatically ambiguous and leaves in doubt whether the pope implored them not to, citing as one of his reasons 'perche la negligenza e la disgratia approved of the model or not. potrebbefar cadere scala, o altro stromento, chegettarsi a terra braccio, mano, velo, o altra parte, 16 J. Montagu: 'A model by Francesco Mochi for the "Saint Veronica'", the ancorche la statua non sia di piil pezzi che delli tre dati dalle Eminenze Vostre al detto scoltore' BURLINGTON magazine 124 (1982), pp.430-37; idem: Roman Baroque Sculpture. The (Pollak, p.451, no. 1754). Industry of Art, New Haven and London 1993, p.64; and Lingo 2009, op. cit. (note 20 'Hier mattina la Santita di Nostro Signore sule 10 hore calata nella Basilica Vaticana si 1), p.9. compiacque [. . .] di dar una occhiata alia statua marmorea fatta con gran artifitio dall'eccel r7 Pollak, pp.448—49, nos. 1743—47. lentissimo scultore Signore Andrea Mochi da Cortona della Statua di Santa Veronica sotto 18 Lingo 2009, op. cit. (note 1), p.3. il primo Nicchione dove si conserva il volto santo' (Pollak, p.450, no. 1751). 19 Even after completing it, Mochi had grave concerns for the safety of his statue. 21 'L'istesso giomo [4th November 1640] di Domenica doppo pranzo la Santitd di Nostro Learning that the Fabbrica was planning to give the saint a weekly dusting, he Signore [. . .] si trasferi dal Quirinale [. . .] al Palazzo Vaticano et nell'arrivare a S. Pietro

738 NOVEMBER 2014 • CLVI • THE BURLINGTON MAGAZINE

19- Lower half of

the Veronica pier in St Peter's, by

Domenico

Castelli. Pen and

ink. From

'Prospetti e piante di tutti

gl'edificij eretti si dentro come

fiiori di Roma

dalla felice memoria

d'Urbano VIII, disegnati da Domenico

Castelli'

(Biblioteca ApostoHca

Vaticana, Barb. Lat. 4409, fol.7).

15 The last clause is grammatically ambiguous and leaves in doubt whether the pope approved of the model or not. 16 J. Montagu: 'A model by Francesco Mochi for the "Saint Veronica'", the Burlington magazine 124 (1982), pp.430—37; idem: Roman Baroque Sculpture. The Industry of Art, New Haven and London 1993, p.64; and Lingo 2009, op. cit. (note l),P-9 17 Pollak, pp.448-49, nos.1743-47. 18 Lingo 2009, op. cit. (note 1), p.3. 19 Even after completing it, Mochi had grave concerns for the safety of his statue. Learning that the Fabbrica was planning to give the saint a weekly dusting, he

implored them not to, citing as one of his reasons 'perche la negligenza e la disgratia potrebbefar cadere scala, o altro stromento, chegettarsi a terra braccio, mano, velo, o altra parte,

ancorche la statua non sia di più pezzi che delli tre dati dalle Eminenze Vostre al detto scoltore'

(Pollak, p.451, no. 1754). 20 'Hier mattina la Santità di Nostro Signore su le 10 höre calata nella Basilica Vaticana si compiacque [. . .] di dar una occhiata alla statua marmorea fatta con gran artißtio dall'eccel lentissimo scultore Signore Andrea Mochi da Cortona délia Statua di Santa Veronica sotto il primo Nicchione dove si conserva il volto santo' (Pollak, p.450, no.1751). 21 'L'istesso giorno [4th November 1640] di Domenica doppo pranzo la Santità di Nostro Signore [. . .] si trasferi dal Quirinale [. . .] al Palazzo Vaticano et nell'arrivare a S. Pietro

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THE UNVEILING OF MOCHI'S 'VERONICA'

St Peter's to view the finished statue (Appendix, no. 11).21 It was a Sunday. The court was transferring from the Quirinal to the Vatican Palace and Urban arrived in his chair. After first praying at the tomb of St Peter, he continued to the south-west pier, where he found Mochi waiting for him. The sculptor himself tells us what happened next:

When the statue of St Veronica was unveiled on 4th November 1640, Mochi approached the chair of His Holiness Urban VIII, and His Holiness told him to lead him wherever he wished in order to view the statue, whereupon Mochi immediately led him directly in front of it. His Holiness remained there a while, deliberating at length and carrying on a conversation with himself: [saying] that the statue struck a pose; that it expressed its conceit so well that anyone looking at it would think that it wanted to speak to him; [that] the movement of the drapery made it seem as if it were whipped by the wind; adding that Mochi had given grand expression to

20. Statuette cast from

Francesco Mochi's

his art. And he said that Mochi had represented at one and the ' ft f- A model for Pig. 18 same time both the nude ['i7 nudo'] and the clothed ['i7 vestito'] c.1633. Bronze, 47.8

by making the drapery so wind-swept, that it would be collection ^Engbnd impossible to do more. photograph: Jennifer

Then Mochi begged His Holiness that he might conde- ——Montagu), scend to take a look at the statue from that other viewpoint above. His Holiness agreed, and so he was carried to the . ,

, t . . , , , . , how the pope was able to view the figure from above (in quel viewpoint that the sculptor thought he might enjoy more. , , ,. ,. . . . , . 1 , TT-TTi- , C » -a- run j a/Ira veduta dt sopra ) and then, descending, to inspect it section by And there His Holiness began from the coiffure of the head, . „ , ' , , m , c • • j 1 v j j -i section, is not spelled out. There must have been a scaffold or a of an intricacy and loveliness so modest, so extraordinarily r . . , , j , , , , , . , . . temporary structure off to one side; and the description of the lovely; and then he descended section by section, saying , r ,< < u 1 iv ■ > rp, . Cw j , -c , pope s progress from top to bottom ( e pot se ne venne giu a parte Bravo, belltssimo . The movement of the drapery so beautiful, ,, , , , .

, .,r 11 . ^11 j 1 1 u 1 j per parte) suggests that it had multiple levels. Perhaps it was a so skilfully expressing the thighs and the legs, so well draped r . ' 00 , r . ,

j _-r 1 „u . ■ „ 1 1 . . , ^ . c ,, section of the sculptor s scaffold left in place on purpose to provide and artful, that in truth this was the best view of all, saying .. r , • , , 1,1 I*. 1 11 1 . , , . • 1 1 r j a viewing platform; or perhaps Mochi arranged to have a that he liked all the views, but this one particularly; [and , 0 r . r , ,,,,

^ ,, 11 11 portable contraption — one of the stair towers, or castelli, that the adding] that of this statue one could say, that here was a whole 4, , , • ,. , . r

c i- 1 , ,, , TT. Fabbnca used m the maintenance of the basihca — wheeled over new way of making sculpture. Then he called over His c ■ c- p, ,. , c u^-1 ^ -r ^ ■ to the pier.22 Whatever the case, the structure must have been Eminence Signor Cardinal Sacchetti, almost as if to witness _ r. , , . ' . , • , , , , . , . fitted with steps low and wide enough to permit the pope to his pleasure and repeating the above observations to him. ....... , . „ 0 r . r r

a^ t TT n 1 , , j . . . ascend in his chair. For Mochi tells us that he was carried up (fu At that point, His Holiness having been occupied in this „ , , . , . , ■r V, r ■ v ». ,. X iji portato alia veduta) and twice mentions his portable throne (sedia

way for some time, Signor Maestro di Camera approached the r , , , ,,, , , , ■ ■ ,, t 1 r .1. .1 ^, , , , r or seggetta . From his chair, the pope already would have had an chair, saying: Holy Father, the air is not healthy enough for us , • T ,

,. , , rnpi tt- tt i- * * , ., . , , . , elevated vantage point, several feet above everyone else, so the to linger here . Then His Holiness gave Mochi his blessing; and ■, r 1 i h/il-1- r . .1 1 • i- r .1 r , putative platform need not have reached much higher than Mochi kissed his foot, thanking him for the many favours and C. . , . , . ■ u 11 graces that His HoHness had done for him (Appendix, no. 12).

Veronica's waist. Without more information, however, all we can know for sure is that Urban was given a privileged tour that

Written on a separate sheet of paper, the report is folded and took him from within sight of the saint's braided hairdo right tipped into the back of Torrigio's manuscript, and at the foot of down to her bare feet.23 the page, in Torrigio's distinctive handwriting, this memo The emphasis on viewpoint is striking. The pope showed his appears: 'Given to me on 8th December 1640 by Signor sensitivity to the issue when he asked Mochi to place him where Francesco Mochi who made the statue'. he might see the statue to best advantage. Mochi's response

The scene described by Mochi is not easy to visualise. The confirms that the frontal view is the primary one, hardly surprising wooden enclosure had obviously been disassembled and taken given that it is the view oriented towards the high altar at the away, leaving the frontal view of the statue unobstructed. But centre of the crossing. But the statue begs to be seen from

vi entrd a visitare li Santissimi Apostoli, et con tale occasione si scopersero la quarta statua di inner sanctum where the relics were kept was almost certainly off-limits to them, S. Veronica che tiene il Velo in mano con 1'Imagine del Volto Santa fatta da [. . .] Mochi, they would not have been able to approach the balcony via the narrow spiral dove la Santitd sifermo un pochetto a guardarla per essere molto hella e ben fatta' (Pollak, staircase inside the pier and must have had some other means of reaching it. p.450, no. 1752). 23 Mochi makes reference to two specific passages of carving: the 'conciero della testa' 22 Work was still in progress on the reliquary niche directly above the statue. The (hairdo) and the 'coscie egambe' (thighs and legs). The fanciful braided arrangement marble relief with the angel holding the Volto Santo by Nicolo Menghini was of the hair cannot be seen from the left; and while the legs are visible from both completed and installed shortly after the unveiling of Mochi's statue (Pollak, sides, the projection of the limbs through the drapery — the aspect that Urban pp.131—32, no.268; p.500, no.2003.) It is conceivable, therefore, that a scaffolding particularly commented on — is most dramatic when viewed from the right. In all or a portable stair tower was in place to give the workmen who were putting likelihood, therefore, the viewing platform stood to the right of the Veronica niche the finishing touches to the decoration access to the balcony. Indeed, since the (Fig. 17).

THE BURLINGTON MAGAZINE • CLVI • NOVEMBER 2014 739

20. Statuette cast from Francesco Mochi's

model for Fig.i8. c.1633. Bronze, 47.8 cm. high. (Private collection, England; photograph: Jennifer Montagu).

vi entrô a visitare Ii Santissimi Apostoli, et con tale occasione si scopersero la quarta statua di

S. Veronica che tiene il Velo in mano con l'Imagine del Volto Santa fatta da [. . .] Mochi, dove la Santità si fermd un pochetto a guardarla per essere molto hella e hen fatta' (Pollak, p.450, no.1752). 22 Work was still in progress on the reliquary niche directly above the statue. The marble relief with the angel holding the Volto Santo by Nicolô Menghini was completed and installed shortly after the unveiling of Mochi's statue (Pollak, pp.131—32, no.268; p.500, no.2003.) It is conceivable, therefore, that a scaffolding or a portable stair tower was in place to give the workmen who were putting the finishing touches to the decoration access to the balcony. Indeed, since the

inner sanctum where the relics were kept was almost certainly off-limits to them, they would not have been able to approach the balcony via the narrow spiral staircase inside the pier and must have had some other means of reaching it. 23 Mochi makes reference to two specific passages of carving: the 'conciero della testa (hairdo) and the 'coscie egambe (thighs and legs). The fanciful braided arrangement of the hair cannot be seen from the left; and while the legs are visible from both sides, the projection of the limbs through the drapery - the aspect that Urban particularly commented on — is most dramatic when viewed from the right. In all likelihood, therefore, the viewing platform stood to the right of the Veronica niche (Fig. 17).

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THE UNVEILING OF MOCHI'S 'VERONICA'

multiple angles. The saint looks off to the viewer's left and to Urban's remarks were echoed in a slew of poems commem make eye contact with her one has to position oneself off to that orating the unveiling. The basilica was aflutter with sonnets and side. On the other hand, the veil is best admired from a point stanzas in the statue's praise (Appendix, no.n). More were slightly to the right, where the relationship of its billowing curve posted over the next couple of weeks, culminating in the to the concavity of the niche can be fully appreciated. By publication in 1641 of a slim volume of verses and clever encouraging the pope to view the figure from more than one anagrams, with contributions by Francesco Bracciolini, Giovanni angle, Mochi was showing off the complexity of his invention, Baglione, Martino Longhi, Salvator Rosa and Michelangelo while also drawing attention to the refinement and originality of Lualdi, among others.24 These compositions deal mostly in certain passages of the carving. cliches and Passeri dismisses them scornfully, even hinting that

Urban VIII was an accomplished poet and naturally drawn to the sculptor himself may have orchestrated a campaign of the paradoxical qualities the statue exhibits. Veronica is niche- praise.25 But there is no reason to doubt that the statue was a bound but emergent; silent but communicative; stone-still but resounding success. When the niche was uncovered and windswept; made of marble but seemingly alive; modestly Veronica rushed out, everyone must have recognised that here clothed but insistently corporeal. This last paradox — her modest was something astonishingly different, a body slicing through bodiliness — Urban found especially compelling. He liked all the space, impulsive and fierce; or, as Urban put it, 'a whole new views, he said, but the legs and thighs most of all, for here were way of making sculpture'. He was probably thinking of the combined 'in unistesso tempo il nudo el vestito'. The conspicuousness other three crossing pier statues when he said this, for the of Veronica's limbs beneath her wind-whipped drapery is indeed gestures and attitudes of Helen, Andrew and even the fervent a remarkable feature of the statue. The pope clearly admired the Longinus do indeed seem almost restrained next to the volatile artistic virtuosity of the passage and saw nothing indecorous in Veronica, whose entrance conjures up 'a sound from heaven as the saint's virtual semi-nudity. of a rushing mighty wind'.26

Appendix

Extracts from Francesco Maria Torrigio's manuscript 'Historia del Sacro marmora ob sculpendam statuam S. Veronicae a Francisco Mocho, qui ei dixit Sudario della Beata Veronica che si conserva nella Ecclesia Basilica di San adhuc non potuisse illud, ne quidem inchoare ob carentia marmotum. Pietro di Roma, detto il Volto Santo, di Francesco Maria Torriggio Romano'. (Vatican City, Biblioteca Apostolica Vaticana, ACSP, H71). Nos.1-11 10. fol.iyir: Die 19 [Martij 1633] Franciscus Mochus ostendit Pontefici in Palatio are in Torrigio's crabbed and difficult hand. No. 12 is in a different hand and written Vaticano hora 18 modellum ex cera S. Veronicae ab eo faciendum e marmore ac on a separate sheet of paper that has been folded and tipped into the back of collocandum in Bas. Vat., si ita Suae Sanctitati placuisset tale modellum. the manuscript.

11. fols.i76r—v: Adi 4 di Novembre 1640 Francesco Mochi fiorentino scopri la statua 1. fol.i68r: Die 16 Augusti 1630 ostensum fiiit Pontifici in Quirinali Francisco della Veronica con occasione che Urbano 8 venne da Monte Cavallo a visitar S. Mocho sculptori Fiorentino modellum S. Veronicae ab eo e marmore faciendo et Pietro con 7 cardinali, cioe Barberino, Antonio, S. Onoffio, Palotto, Cesarino, collocando in Basilica Vaticana. Santa Croce, e Sacchetto; et in lode di detto Mochi fiirono attaccati per la chiesa 15

sonetti, e dal Papa, e Cardinali, e Prelati fu assaissimo laudato tal statua. 2. fols.i68v-69r: Die 6 Maij [1631] coepit fieri basis marmorca lateritia ad altare S. [Added:] Et adi 12 ne fiirono attaccati sei altri ffa quali uno in cinque stanze. Veronicae pro modello ob ponendam super ea statuam e stucco, similiter ac modello [Added:] Et adi 20 ne fu recitato uno nell'Academia di [illegible] distar S. Andreae.

12. fols.252r—v: [on or before 8th December 1640] Quando fu scoperto la statua di S. 3. fol. i69r: Die xi Julij 1631 coepit fieri circum altare S. Veronicae saepis lignea pro Veronica adi 4 Novembre 1640 il Mochi si accosto alia sedia di Nostro Signore Urbano faciendo ibi super basin modellum dictae sanctae a Francisco Mocho. Ottavo, e N. S. li disse, che lo facessi menare dove li piaceva per veder la detta statua,

dove che subito lo meno in faccia proprio, e li si dimoro un pezzo con ragionar 4. fol.i69r: Die 24 Septembris 1631 coepit fieri a Francisco Mocho fiorentino statua lungamente, con esso seco discorrendo, che la detta statua faceva un attitudine, che 5. Veronicae e stucco super basin supradictam; et absoluta fiiit die 29 novembris. esprimeva tanto bene il suo concetto, che chi la guardava pareva che li volesse parlare,

il movimento de' panni pareva che vi fiisse dentro il vento, con dirli che il detto Mochi 5. fol.iyor: Die 14 [February 1632] finita fiiit balaustrata ante modellum statuae haveva osservato l'arte grandemente, e disse che mostrava in unistesso tempo il nudo el 5. Veronicae. vestito, con esprimere che il vento faceva volare talmente i panni, che non si poteva far

piu. Allora il sudetto Mochi prego N. S., che si volesse degnare di veder in quel altra 6. fol.iyor: Die 15 [February 1632] Pontifex cum 8 cardinalibus inter quos fuerunt veduta di sopra. Rispose Nostro Signore di si, e cosi fu portato alia veduta che li parve tres Barberini, Bagni, et Ginetti, vidit modellum S. Veronicae confactum e al detto Mochi, che N. S. potesse goderla meglio, e li N. S. comincio dal conciero della lateribus a Francisco Mocho fiorentino ad altare ipsius sanctae in dictae basilicae testa della bizzaria e vaghezza cosi modesta, d'una vagezza strasordinaria, e poi se ne Sancti Petri. venne giu a parte per parte, con dir, che i bravi bellissimi. II sventolar del velo cosi bello,

cosi del'exprimere delle coscie e gambe, cosi ben vestite con l'oservanza del arte, che 7. fol.iyor: Die 20 [February 1632] delata sunt tria magna marmora alba e Ripa ad invero era la veduta assai piu bella anche, che le altre, con dir che si piace per tutte le Vaticanam pro facienda statua D[ivae] Veronicae ponenda in Basilica Vaticana a vedute ma questa particolarmente, che questa statua si puol dire, che sia un modo nuovo Francisco Mocho, et in defer[r]e dictis iii marmoribus consumpse super dies 6, nam di scolpire. Dapoi chiamo Sua Eminenza Signore Cardinale Sacchetti quasi con dire, cum argano et curuh vehebantur. che lo chiamassi per testimonio del gusto, che haveva hauto, con repricarli le sudette

cose. Hora, essendosi trattenuto tanto, il Signore Mastro di Cammera, si affaccio li alia 8. fol.iyov: Die 10 Martij 1632 Franciscus Mochus Florentinus sculptor ostendit aliud seggetta, dicendo, Padre santo, l'aria non e troppo bona, che ancora ci sarebbe. N. S. modellum statuae S. Veronicae Pontefici in Palazzo Vaticano et si minus illud primum allora dette la beneditione al detto Mochi et esso li bacio il piede, rigratiandolo di tante placeret Suae Sanctitati, videret hoc alteram: quod videns Pontifex approbavit hoc favore e gratia, che Sua Santita li haveva fatto. alteram ab eo faciendum et ponendum in Basilica Vaticana, remoto primo.

[Added in Torrigio's hand]: Datami adi 8 di Decembre 1640 dal Signor Francesco 9. fol.iyir: Die 3 Martij [1633] Pontifex iussit advehi Romam e Carraria aha Mochi (che fece detta statua).

24 La Veronica Vaticana del Signor Francesco Mochi: componimenti poetici, ed. L. Grignani, ultimi anni; / Qui contemplo I'ignudo, ammiro i panni, / E ne la nudita godo la vesta'. Rome 1641. A number of the poems seem deliberately to pick up on and develop 25 G.B. Passeri: Die Kunstlerbiographien von Giovanni Battista Passeri, ed. J. Hess, Worms observations made by the pope. In the opening quatrain of the opening sonnet, for am Rhein 1995, p. 134. Passeri, too, thought the play of drapery admirable, lperche instance, Bartolomeo Tortoletti explores the conceit of a statue simultaneously [. . .] conservando tutto il nudo distintamente del corpo, rimane artejiciosamente vestita'. clothed and nude (p.6): lMOCHl, d'alto silentio hoggi mi desta / La Veronica tua ne gli 26 Acts 2:2.

740 NOVEMBER 2014 • CLVI • THE BURLINGTON MAGAZINE

24 La Veronica Vaticana del Signor Francesco Mochi: componimenti poetici, ed. L. Grignani,

Rome 1641. A number of the poems seem deliberately to pick up on and develop observations made by the pope. In the opening quatrain of the opening sonnet, for instance, Bartolomeo Tortoletti explores the conceit of a statue simultaneously clothed and nude (p.6): 'mochi, d'alto silentio hoggi mi desta / La Veronica tua ne gli

ultimi antii; / Qui contemplo l'ignudo, ammiro i parmi, / E ne la nuditàgodo la vesta'. 25 G.B. Passen: Die Künstlerbiographien von Giovanni Battista Passeri, ed. J. Hess, Worms

am Rhein 199$, p.134. Passeri, too, thought the play of drapery admirable, 'perche [. . .] conservando tutto il nudo distintamente del corpo, rimane arteficiosamente vestita'. 26 Acts 2:2.

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