Creusa, Ascanius, and Aeneas in Renaissance Prague
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STUDIA HERCYNIA XXVI/1, 196–214 Creusa, Ascanius, and Aeneas in Renaissance Prague Jan Bažant ABSTRACT This paper analyses the figural stucco in the Villa Hvězda (1555–1563) in Prague, depicting Aeneas with his father Anchises on his back and accompanied by his son Ascanius and his wife, Creusa. In numerous 16th century representations, Creusa always walks behind Aeneas, and Ascanius is always accompanying Ae‑ neas. In the Villa Hvězda, the protagonists of the Flight from Troy are Aeneas and his wife, Creusa. Aeneas carries Anchises on his back, and in front of him, Creusa leads their son Ascanius. This anomaly calls for an explanation, and it may be this, that Creusa allegorically stands for Queen Anne as amodel of apious matriarch of the Habsburgs. KEYWORDS Villa Star; Prague; Renaissaance; classical tradition; ancient myth; stucco. Men know that the noblest bloodline in the world is that which descends from Aeneas and Creusa, daughter of King Priam: that of the Caesars, who are the rulers of the whole world. Haukr Erlendsson, Hauksbók, 1302–1310.1 The Villa Hvězda in Prague was financed and built by Archduke Ferdinand, who was Regent in the Kingdom of Bohemia from 1547.2 Archduke Ferdinand was the second son of the Bo‑ hemian king Ferdinand Ifrom the house of Habsburg and it is certainly no coincidence that the Villa Hvězda was built and decorated at the very same time that Ferdinand became Holy Roman Emperor. Starting in 1531, when Ferdinand was crowned Roman King in Aachen, he was aserious candidate for the title of emperor, which he became de facto in 1556 and de jure in 1558. The decoration of the Villa Hvězda in Prague consists of twelve ceilings with white stucco relief sculptures created by Antonio Brocco from Campione.3 The figural stuccoes celebrate the newly elected emperor, their forms closely follow ancient Roman models, and classical history and mythology inspired their themes.4 In 1597, Torzelianus wrote acelebratory poem on the Villa Hvězda (Star): ‘At snow white walls, you see high up thousands of shapes, which created the artist’ssmoothing hand. The themes were inspired by false myths; here merry goddesses dance with satyrs. In the middle of the ceiling, you see apious Aeneas. He carried his father on his back when fire consumed Troy. Iwould not describe these images in the Star even if Iwrote as many verses as there are 1 Quoted after Ziolkowski– Putnam 2008, 618. 2 Kubíková– Hausenblasová– Dobalová 2017. 3 Cf. Bukovinská– Konečný 2017; Muchka 2018. 4 Cf. Krčálová 1973. Stejskal 1994; Bažant 2008; Muchka– Purš 2011; Muchka– Purš 2012; Bažant 2012; Bažant 2014; Purš 2014; Muchka 2014; Dobalová– Muchka 2014; Stejskal 2015; Dobalová– Purš 2017; Dobalováetal. 2017; Dobalová– Hausenblasová– Kubíková 2017.
197JAN BAŽANT stars in heaven’.5 The decoration of the Villa Hvězda was inspired by ‘false myths’ in which ‘merry goddesses dance with satyrs’. In the centre, however, was ‘pious Aeneas’. Torzelianus’ text indicates that in the 16th century the Flight from Troy was considered to be the key de‑ piction of the Villa Hvězda, and pious Aeneas its main hero. The room with figural stuccoes in Dresden Castle, where Brocco worked before he came to Prague, has no central theme. But the Prague villa was literally built around the tondo 5 Suspicis in niveis formatas mille figuras/ Parietibus factas expoliente manu/ Historijs varijs inserta est fabula mendax:/ Cum satiris saliunt turba petulca Deae./ Hic pius Aeneas media testudine portat/ Anchisen, quoniam Troija flamma volat. Hejnic– Martínek 1982, 379. Jan Sixt published the poem as his own work (Hejnic– Martínek 1982, 113). Fig. 1: Antonio Brocco, The Flight from Troy, stucco, c. 1558, Villa Hvězda. Photo Academy of Scien‑ ces of the Czech Republic.
198 STUDIA HERCYNIA XXVI/1 with the Flight from Troy. The Villa Hvězda has aunique ground plan of asix ‑point star, and originally had no vestibule. Visitors enter ashort corridor, at the end of which they arrive at the dodecagonal central hall. Neither the corridor nor the central hall has windows, but the latter is better lit and visitors thus instinctively proceed to it to discover atondo with Aeneas’ flight from Troy at the centre of its ceiling (Fig. 1). The central hall is lit by windows at the end of the corridors that flow into it (Fig. 2). These six corridors with barrel vaults are located between the tips of the hexagon, in which there are six halls, one of which was used for the staircase landing. One can walk through these halls in acircle, but they are not directly con‑ nected to the central hall, which heightens its seclusion and importance. The central hall is isolated from the surrounding world, and its dominant position in the villa can be physically experienced by walking around it without actually entering it. The Flight from Troy in the central room in the Villa Hvězda was highlighted also by the system of ceiling decorations in this villa. Working off ancient Roman interiors such as the rooms of the Domus Aurea, Italian Renaissance artists adopted the centralised organisation of ceiling decoration. In every room on Hvězda’sground floor, except for the staircase landing, we find the main figural panel in the centre of the ceiling. It is always sunken into the surface, and is also singled out by an elaborate ornamental frame. These panels resemble popular emblems of the time, which were ideas expressed by pictures. There are altogether eleven secondary emblems which are arranged in acircle around Aeneas’ Flight from Troy, the main emblem of the villa. In the 16th century, the theme of the Flight from Troy was often represented as amodel of virtuous behaviour worthy of emulation, because Aeneas was unanimously perceived as amodel of an ideal Christian ruler.6 The story is well known from ancient representations, which could serve as models for renaissance artists.7 The primary source of inspiration was, 6 Fagiolo 1981; Myers 1986; Kallendorf 1989; Segre 2003‑2004; Segre ‑Rutz 2005; Wilson‑ ‑Okamura 2010. 7 Fuchs 1973; Berger ‑Doer 1992. Fig. 2: Archduke Ferdinand, acopy of the plan of the ground floor of the Villa Hvězda, 1555.
199JAN BAŽANT however, Vergil’sAeneid.8 After the Greeks captured Troy, Venus advised her son Aeneas to leave the city with his father Anchises, his wife Creusa, and their son, Ascanius. On their journey through the dark city, however, Creusa lost her way. When Aeneas discovered that his wife was not with them, he immediately returned to the city. In the burning and plundered Troy, he met the ghost of the deified Creusa, who urged him to leave the city without his wife because it was the will of the gods. The ghost predicted that Aeneas would finally reach Italy and, being awidower, would be able to remarry and found anew kingdom: ‘you have to plough through agreat waste of ocean to distant exile. And you shall come to the Western Land where the gentle current of the Lydian Tiber flows between rich meadows where men are strong. There happiness and akingdom are in store for you, with aqueen for you to marry’.9 In the Flight from Troy in the Villa Hvězda, we see on the left the ruins of Troy in flames underneath adocked ship, atoken of the fleet of the Greek invasion army. Ahuge naked human figure is standing in an arcade, and another one flies to it from heaven; this giant is represent‑ ed from behind, his head bowed and hands stretched downward (Fig. 3). They are probably demons destroying the city, which would be aliteral illustration of Aeneas’ words: ‘The great divine powers, as opposed to Troy, appeared in all their hostile array. Then the whole city of Ilium appeared to settle into flames and all of Neptune’sTroy to be overwhelmed from its base up’. 10 In the centre of the stucco relief, we see Aeneas carrying his lame father Anchises on his back and walking away from Troy, this corresponds to canonical pictorial tradition and the text of Vergil’sAeneid. In the epos, Aeneas ordered Anchises: ‘So come on, my dear father. Get yourself up on to my neck; Iwill put my shoulders under you, and there is but shared danger. For us two, there will be but asingle deliverance.’11 The group of Creusa and Ascanius in the right half of the Flight from Troy in the Villa Hvězda differs not only from Vergil’stext but also from all renderings of this theme we know from 15 th –16 th century art. In the Aeneid, the hero expressly ordered: ‘Let little Iulus accompany me, and let my wife take note of my route at adistance. You servants apply your minds to what Ishall say. As you leave the city, there is amound and an old, disused temple of Ceres […] To this single rendezvous, we will come by varied routes.’12 It was prudent not to walk as agroup in acity full of enemy soldiers.13 In burning Troy, members of Aeneas’ household dispersed themselves for tactical reasons and walked in the dark, as Aeneas testifies: ‘Little Iulus grasps closely my right hand and follows his father with unequal paces. My wife comes on behind. We move through the darkest areas’.14 While in the renaissance pictorial tradition Aeneas always walks in front and Creusa follows him, in the Villa Hvězda it is Creusa who walks in front of Aeneas. It does not seem to be her ghost only, as Ivo Purš has proposed.15 In the Aeneid, the hero claims that: ‘… the spectre of Creusa herself appeared before my eyes, aghost larger than the Creusa Iknew.’16 8 Vergil, Aeneid II, 588ff, cf. Novara 2007. On Vergil in post ‑antique art in general: Fagiolo 1981 (for The Flight from Troy cf. pp. 203–210), on the Flight from Troy: Pigler 1974, 2, 286–289; Reid 1993, 1, 43–45; M. Tardioli: http://www4.ac ‑nancy ‑metz.fr/langues ‑anciennes/Textes/Virgile/Anchise.htm. 9 Aeneid II, 780–784 Creusa’sprophesy (cf. Akbar Khan 2001). 10 Vergil, Aeneid II, 622–625, translated by Nicholas Horsfall (Horsfall 2008). 11 Vergil, Aeneid II, 707–710. 12 Vergil, Aeneid II, 710–716. 13 Novara 2007; Horsfall 2008, ad Aeneid II, 707–720, but cf. Grillo 2010. 14 Vergil, Aeneid II, 723–725. 15 Muchkaetal. 2017, 183. 16 Vergil, Aeneid II, 772–773.
200 STUDIA HERCYNIA XXVI/1 In the Villa Hvězda, Creusa is not coming towards Aeneas, and she is not represented as being exceptionally large (Fig. 4). On the contrary, she walks in the same direction as Aeneas. She turns back, but she is not looking at Aeneas; instead, she is looking at the burning Troy, and in its direction she raises her hand. Even more importantly, Aeneas carries Anchises and Creusa walks with Ascanius, while in the Aeneid the hero left Ascanius and Anchises behind when he returned to the city in search of his lost wife. Aeneas was not searching for the lost Creusa with his father on his back and Creusa did not disappear together with her son. In the Villa Hvězda, Brocco combined two moments of the narrative. First, we see Creusa in the flight from Troy with Aeneas, Anchises and Ascanius. When we look closely, however, we see her ghost delivering aprophecy. In the illustration of Vergil’sAeneid edited by Sebastian Brant, the ghost of Creusa is ana‑ ked woman in acloud above Aeneas (Fig. 5). This lavishly illustrated edition was published for the first time in 1502, and it established atemplate for the 16th century illustrations of the Aeneid in printed books, applied art and wall painting.17 However, the first representation of 17 Suerbaum 2008, 51–65. They served as models for Limoge emails of circa 1530–1535 (Baratte 2001) and for aseries of monochrome frescoes in the courtyard of Palazzo Besta in Teglio from around 1535 (Muscolini 1983; Gatti Perer 1983, 49 fig. 74). Fig. 3: Antonio Brocco, The Flight from Troy, detail with burning Troy, stucco, c. 1558, Villa Hvězda. Photo Academy of Sciences of the Czech Republic. Fig. 4: Antonio Brocco, The Flight from Troy, detail with Creusa and Ascanius, stucco, c. 1558, Villa Hvězda. Photo Aca‑ demy of Sciences of the Czech Republic.
201JAN BAŽANT Aeneas meeting the ghost of Creusa in monumental art appeared in 1586–1588 in Palazzo Fava in Bologna by Agostino, Annibale, and Lodovico Carracci (Fig. 6).18 Here the position of Ae‑ neas and Creusa is reversed when compared with Prague. As was the rule in Renaissance art, Creusa is following Aeneas, but in this case he turns back to her. Creusa in the Villa Hvězda has nothing in common with the depiction in Palazzo Fava except for her raised hand. Fig. 5: The ghost of Creusa appears to Aeneas, woodcut (Brant 1502, 181v). 18 Hall A3, cf. Fagiolo 1981, 154. Book illustrations of Aeneas’ meeting with the ghost of Creusa: the Codex Riccardiana, c. 1450 (Bombe 1915–1916, fig. 6) and Brant 1502, fol. 181v. Rare representations of this theme in printed illustrations to the Aeneid (from 17th century on): Suerbaum 2008, 1688 A, fig. 10; 1736 B; 1811 A nr. 15.
202 STUDIA HERCYNIA XXVI/1 Fig. 6: Agostino, Annibale, and Lodovico Carracci, Aeneas meeting the ghost of Creusa, 1586–1588. Palazzo Fava in Bologna. Engraving by Giuseppe Maria Mitelli, 1662. Wikimedia Commons. In the Flight from Troy in the Villa Hvězda, the family is still together, but Creusa knows that this will not last for long, she turns back to the burning Troy and raises her hand. If the figures represent giants destroying the city, Brocco’stwo invenzioni would be interconnected. The gi‑ ants and Creusa raising her hand towards them would make it clear that it was the gods who decided that the city must perish. Everything is the gods’ will and mortals must obey it, Troy must be destroyed, Creusa must leave her family, and her husband and son must accomplish their world mission.19 The history of Troy ended with Aeneas’ flight from his kingdom, which was the beginning of the history of the Roman nation, and, when its turn has come, of the Christian successor state to the Roman Empire. In the Villa Hvězda, Ascanius is partly hidden behind Creusa, but it is he who leads the group. This is declared by his outstretched hand holding alantern. Creusa looking backwards is part of the narrative in the Villa Hvězda, but she is also asymbol of the past. She is crucial for the story as Ascanius’ mother, but she plays out her role and soon has to leave the scene– all the more so because she was awoman. In Vergil’stime, just as in 16th century Europe, the role of the woman was to accept her pre ‑ordained status unconditionally. Only men were allowed to resist to the last breath. Ascanius embodies the future that his mother predicted to Aeneas, and therefore he is represented as the head of the group. Before the ghost of Creusa disappeared forever, it said to Aeneas: ‘Now, farewell and do you preserve the love of our common son.’20 Why Ascanius (Iulius) was so important Jupiter explains earlier in Vergil’sepos: ‘The noble Trojan line will give us Caesar– aJulian name passed down from the great Iulus– with worldwide empire, glory heaven ‑high’.21 19 Bettini 2006; Bradley 2017. 20 Vergil, Aeneid II, 789. 21 Vergil, Aeneid I, 286–288 (translation Sarah Ruden).
203JAN BAŽANT Brocco singled out Ascanius via his positioning in the group and the en face view of his head. The figures represented on the ceilings of the Villa Hvězda are wholly immersed in the timeless mythical world and ignore the visitors ostentatiously. It is characteristic that the only exceptions are Jupiter, who blesses the visitors from the centre of the ceiling in ahall to the left of the entrance corridor, and Ascanius in the Flight from Troy, who sums up the message of the Villa Hvězda decoration. Brocco’srendering of Ascanius is deliberately ambiguous. He is represented as an innocent curly ‑haired baby who hides himself behind Creusa as shy children tend to do. He is four or five years old, as Vergil described him in the Flight from Troy. He holds his mother’shand firmly and presses it to his chest; his body and his chest are protectively wrapped by the tip of his mother’sshawl. However, Ascanius’ superior rank is none the less evident in his face ‑to ‑face relationship with the visitors. The hero of the Aeneid was not only Aeneas but also his son.22 In 15th ‑century Italian book illustrations, we find depictions of the Flight from Troy that either follow the text of Ver‑ gil’sepos or sum up its content. In the first case, Aeneas is carrying Anchises on his back and holds the hand of Ascanius, who walks behind him; at some distance behind this group Creusa walks alone, exactly as the formation is described in the Aeneid.23 In the latter case, Ascanius walks in front, raising his hand and pointing forward with an outstretched forefinger.24 In these illustrations, Ascanius became the embodiment of Aeneas’ descendants in Italy and world history. The rise of the Roman Empire was in this way presented as the ultimate result of Aeneas’ flight from Troy.25 Ascanius stands out in awoodcut illustration of the Flight from Troy in Brant’sedition of the Aeneid of 1502– Aeneas holds his hand, but his son is in front of him and shows the way with his raised hand (Fig. 7). 26 In the woodcut illustration of the Aeneid published in 1558, Ascanius’ role was further reinforced by two innovations. He does not hold his father’shand and walks at some distance ahead of him (Fig. 8). Moreover, he not only shows the way with his pointing hand, but he is also illuminating it because he holds alantern in his other hand.27 Brocco’sgroup of Ascanius, Aeneas, and Anchises was inspired by printed sheets, in which this trio was very popular. It could very well be aprint by Giovanni Giacomo Caraglio from around 1525, in which the leading role of Ascanius was accompanied by the treatment of Ae‑ neas and Anchises, which Brocco imitated (Fig. 9). The son and his father are naked, which heightened their symbolic status, and Aeneas carries Anchises differently when compared to illustrations of Brant’sedition. The father is no longer riding on his son’sshoulders as if he were aboy. Anchises’ position is more dignified and intimate at the same time. He leans his 22 Feldman 1953, 313. 23 Apollonio di Giovanni, c. 1450, MS illumination of Vergil, Aeneid, Florence, Biblioteca Riccardiana, MS 492, fol. 89r. Follower of Floriano Ferramola, cassone, second half of the 15th century, Milano, Bagatti Valsecchi Museo, cf. Pavoni 2003, no. 30. This pictorial type continued to be used also in the 16th century: Circle of Niccolò Giolfino, painting on cassone, early 16th century, Philadelphia Museum of Art 221; ‘Noël Jallier’ fresco in Château Oiron, Galerie du Grand Ecuyer, 1546–1549. 24 MS illumination of Vergil’sAeneid, illustration of beginning of Book I(Pesaro, 1459), private collec‑ tion: https://iconographic.warburg.sas.ac.uk/vpc/VPC_search/record.php?record=72557; cassone, second half of the 15 th century, Brescia, The Bagatti Valsecchi Museum: https://artsandculture.google. com/asset/cassone/mwE4dhEfHlfoWw. 25 Landino 1481, 97. 26 It differs from Vergil’stext and the previous pictorial tradition also in that Creusa is accompanied by two women. 27 Vergil 1558, 160r (reprint 1566). Apainting by Ponifacio de’ Pilati of 1510–1510 in Verona, Fondazione Cariverona belongs to the same pictorial type; in this painting we see alight in Ascanius‘ lantern.
204 STUDIA HERCYNIA XXVI/1 weight on his son’sback and presses his head towards his son’s. The father and son visually merge into one figure. The new position of Anchises contributed significantly to the transfor‑ mation of the pictorial type of the Flight from Troy to apolitical allegory of the inseparable unity of generations in adynasty. In Caraglio’sprint, the accompanying inscription identifies the figures explicitly as Aeneas and Anchises: ‘This is the one that in Troy drew his father Anchises from the fire, and after long wandering placed himself under the cliffs of Antandrus’.28 The inscription is important 28 Antandros was the Anatolian city from which Aeneas sailed to the west. Fig. 7: The Flight from Troy, woodcut (Vergil 1502, 178r). Fig. 8: The Flight from Troy, woodcut (Vergil 1558, 160r).
211JAN BAŽANT The special relationship between Aeneas and the Habsburg Emperors was due to the fact that they considered themselves to be his descendants.61 It was not Aeneas, however, but Ascanius who was the rightful heir to the throne of Troy. It also follows that he was the heir to the thrones of the East and West, i.e. the Trojan and Latin kingdoms, which fused into anew worldwide empire, the Roman state.62 Aeneas’ mother was Venus, this divine ancestry enhanced his prestige, but diluted his dynastic claims. Technically speaking, Aeneas was the illegitimate son of Anchises because he and Venus were not married. More important was the fact that Anchises came from the junior line of the Trojan royal house at the head of which was king Priam and his son Hector, the foreordained successor. When both Priam and Hector died, the legitimate heir to the throne of Troy was Ascanius, son of Hector’ssister Creusa, as Vergil often repeated in his epos. Maximilian II, the firstborn son of Ferdinand Iand Anne, was in away asecond Ascanius because his mother was the daughter of the king (Vladislaus II, asecond Priam), the sister of the heir to the throne (Louis II, asecond Hector). The architecture of the Villa Hvězda differs from Renaissance villas in that it has aclearly defined midpoint, which was highlighted by Aeneas’ Flight from Troy. This image had several superimposed levels of meaning, as was usual for that time. It might glorify Archduke Fer‑ dinand’sdevotion to his father, FerdinandI. By celebrating Creusa, it might celebrate Queen Anne’scontribution to the founding of the Danube Monarchy. In Vergil’sRome and Renaissance Europe, the ruler and his wife formed an equal pair in one context only– as the founders of the dynasty. Marriages established or reinforced political ties, alliances were arranged for reasons other than love, and wives had few powers. However, their irreplaceable role in the allying of families was acknowledged and appreciated. In the Villa Hvězda, Creusa is not acharming young woman in distress as was usual in the art of that time. She is an old and dignified seeress, looking backwards to prophesy the future. Brocco did not place her isolated and threatened behind Aeneas. She walks in front of her husband, and it is not he but Creusa who escorts their son Ascanius, the rightful heir to the throne of Troy. The Flight from Troy in the Villa Hvězda evoked the beginning of Roman history, which was also the beginning of the state in which the villa was built. ACKNOWLEDGEMENT This article was created within the Strategie AV21/11 project (Europe and the State: Between Barbarism and Civilization) by the Institute of Philosophy of the Czech Academy of Sciences. English translation by Sky Kobylak. Iwould like to thank the anonymous reviewers of Studia Hercynia for the suggestions that helped improve the structure of the article. BIBLIOGRAPHY Akbar Khan, H. 2001: Exile and the Kingdom. Creusa’sRevelations and Aeneas’ Departure from Troy. Latomus 60/4, 906–915. Alciato, A. 2009: Il libro degli Emblemi, secondo le edizioni del 1531 e del 1534. Ed. M. Gabriele. Milano. Baratte, S. 2001: La série de plaques du maître de l’Énéide. In: A. Erlande ‑Brandenburg– J.‑M. Leniaud eds.: Études d’histoire de l’art offertes à Jacques Thirion. Des premiers temps chrétiens au XXe siècle. Paris, 133–148. 61 Tanner 1993; Reisner 2001; Römer 2001. 62 Edgeworth 2001.
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223PLATES Pl. 5/1: Girolamo Genga, The Flight of Aeneas from Troy, c. 1510, Siena, Pinacotheca nazionale inv. n. 334. Wikimedia Commons.
224 STUDIA HERCYNIA XXVI/1 Pl. 5/2: Federico Barocci, The Flight of Aeneas from Troy, 1598, Galleria Borghese, Rome. Wikime‑ dia Commons.
225PLATES Pl. 5/3: Raphael, The Fire in the Borgo, detail, 1514, wall painting in Stanza dell’Incendio, Palazzo Apostolico, Vatican City. Wikimedia Commons.
226 STUDIA HERCYNIA XXVI/1 Pl. 5/4: Adam Elsheimer, The Flight from Troy, 1600–1601, Munich, Alte Pinakothek inv. 205. Wiki‑ media Commons.