Leone and Pompeo Leoni Kelley Helmstutler Di Dio LAST MODIFIED: 11 JANUARY 2018 DOI: 10.1093/OBO/9780195399301-0374
Introduction Leone Leoni (b. 1509, Arezzo–d. 22 July 1590, Milan) was a bronze and marble sculptor and medalist of the late Italian Renaissance. After an itinerant early career, working in Ferrara, Rome, Venice, and Padua, he worked primarily from his house and studio in Milan. Despite a tumultuous life peppered with crime, Leone became the chief sculptor of the Holy Roman Emperor Charles V and produced important, innovative sculptures for the Emperor and for members of his family and court. Initially sent to accompany a series of sculptures Leone produced for the Emperor, Leone’s son, Pompeo (c. 1530, Venice?–1608, Madrid) remained in Spain for the rest of his career, becoming the chief sculptor of Philip II and producing numerous sculptures in bronze, alabaster, and marble for the Spanish elite. He collaborated with his father and a team of Italian artists who had settled in Madrid on one of the largest bronze sculptural projects of the Renaissance: the retable and statues in the high altar chapel in the Basilica of San Lorenzo in El Escorial. The gilded bronze effigies of the imperial and royal families that flank the retable are true masterworks of the period for their quality of design and execution. Despite their contemporary renown, the importance of their patrons, and the innovative and remarkable qualities of the sculptures they produced, both Leone and Pompeo Leoni have been the focus of limited scholarly study. The areas and contexts in which the Leoni worked and their sculptures were placed—Milan and other areas of northern Italy and the court cities and other sites in Spain—are increasingly well studied, and there is broader scholarly interest in the careers of these two formidable sculptors who flourished in those places, but much remains to be done to understand the roles their sculptures and their ambitions for social status played in the dissemination of Habsburg style and ideologies and in the elevation of the status of sculpture and sculptors across Europe.
General Overviews Plon 1887 remains the fundamental study of these two sculptors. It provides a detailed history of their careers, copious archival documentation, and a useful catalogue of their works. The only more recent monographic study of Pompeo is Proske 1956, a very brief survey of his life and major works. Cano de Gardoqui 1995 provides deeper context to Pompeo’s career in Spain. The only monographic studies of Leone are Mezzatesta 1980 and Di Dio 2011. For a brief overview of the careers of both artists, see Cupperi 2005. The most important contribution for presenting the Leoni’s work to a larger public was the 1994 exhibition on the Leoni at the Museo del Prado, and the catalogue that accompanied it, Urrea 1994. Two major symposia have resulted in anthologies: Gatti Perer 1995—an anthology that began in earnest the discussion of the Leoni as transcultural artists—and more recently, Schröder 2012, the papers from the 2012 Prado symposium on the Leoni, are each comprised of essays that examine various aspects of the Leoni’s commissions locally and internationally. For now, as evidenced in Coppel’s essay in Schröder 2012, Leone’s life and career and individual works remain much better studied than those of his son, but much remains to be explored about the lives and works of both.
Cano de Gardoqui, José Luis. “El escultor italiano Pompeo Leoni en España (1556–1608).” In Mitteilungen der Carl Justi. Edited by Barbara Borngässer, 99–103. Göttingen, Germany: J. Kinzel, 1995.
Cano de Gardoqui outlines Pompeo’s career in Spain and its impact on the style of religious sculpture there. He suggests that Pompeo’s “modern” organization of his shop and how he contracted out artistic labor for his larger commissions influenced the diffusion and development of artistic workshops at the court of Madrid.
Cupperi, Walter. “Leone Leoni.” and “Pompeo Leoni.” In Dizionario biografico degli italiani. Vol. 64. Rome: Istituto della Enciclopedia Italiana, 2005. Brief surveys of the lives and careers of the Leoni. Also see Leone Leoni and Pompeo Leoni for further details.
Di Dio, Kelley Helmstutler. Leone Leoni and the Status of the Artist at the End of the Renaissance. Farnham, UK, and Burlington, VT: Ashgate, 2011. Di Dio’s focus is the social ambitions Leoni had and the ways in which he presented both his ambitions and achievements as a man of learning, knight of Charles V, and sculptural heir to Michelangelo.
Gatti Perer, Maria Luisa, ed. Leone Leoni tra Lombardia e Spagna: Atti del convegno internazionale, Menaggio, 25–26 settembre 1993. Milan: Istituto dell’Arte Lombarda, 1995. The anthology is comprised of fourteen essays based on papers given at a symposium held in Menaggio in 1993. The essays examine disparate aspects of the Leoni’s sculptural production and critical fortune. It was an important event and volume to resurrect interest in the Leoni and begin thinking about them in terms of their cross-cultural careers.
Mezzatesta, Michael P. “Imperial Themes in the Sculpture of Leone Leoni.” PhD diss., New York University, Institute of Fine Arts, 1980. Mezzatesta’s excellent dissertation examined the iconographical and formal sources for Leoni’s sculptures for the imperial family, especially Charles V.
Plon, Eugéne. Les maîtres italiens au service de la maison d’Autriche: Leone Leoni, sculpteur de Charles Quint et Pompeo Leoni, sculpteur de Philippe II. Paris: E. Plon et cie, 1887. Plon’s book is still the most comprehensive study of the Leoni’s lives and careers. It includes transcriptions of correspondence, contracts and other documents (translated into French), and a catalogue of works attributed to the Leoni.
Proske, Beatrice Gilman. Pompeo Leoni: Work in Marble and Alabaster in Relation to Spanish Sculpture. New York: Hispanic Society of America, 1956. Proske’s work remains the only published monograph that focuses only on Pompeo and, at forty-nine pages, provides only a summary of his major works. It is a helpful starting point to orient oneself to Pompeo’s works and biography.
Schröder, Stephan, ed. Leone & Pompeo Leoni: Actas del congreso internacional. Proceedings of the international symposium, Museo del Prado, Madrid, October 2011. Madrid: Museo del Prado, 2012. The Prado symposium brought together all of the major scholars working on the Leoni at that point. The publication of the volume coincided with a photographic campaign. An invaluable comprehensive bibliography, compiled by Rosario Coppel, is included in the
volume.
Urrea, Jesús, ed. Los Leoni (1509–90): Escultores del Renacimiento italiano al servicio de la corte de España. Madrid: Museo del Prado, 1994. The scholarly catalogue accompanied the 1994 focus exhibition on the Leoni at the Museo del Prado in 1994. The essays include a particularly good survey of their careers (Margarita Estella Marcos’ essay, “Los Leoni, escultores entre Italia y España,” pp. 29–62); essays on the technical evidence provided by the sculptures; and others on their numismatic production, the intended locations of the sculptures, and their place in court taste of the time.
Primary Sources A good deal of scholarship on the Leoni to date has focused on publishing the substantial archival documentation found in archives in Italy and Spain that illuminate important aspects of their careers, personal lives, and the contexts in which they operated. Leone exchanged frequent letters with illustrious men of his day—Pietro Aretino, Antoine Perrenot de Granvelle, various governors of Milan, Ferrante Gonzaga, and others. In the late 19th century, there was a surge of interest in the Leoni, and scholars published letters and other documents from their archival investigations, most importantly Plon 1887, Casati 1884, Ronchini 1865, and Martí y Monsó 1898– 1901. Pompeo’s correspondence, or at least according to what has been located thus far, was more limited. In addition, contemporary accounts by Vasari 1568, Lomazzo 1584, Morigia 1979 (originally 1590 and 1618), and Carducho 1979 (originally 1623) provide valuable information about Leone and Pompeo’s connections, projects, and personal details of their lives. More recently, scholars have resumed searches in the archives in Italy and Spain to locate further documents regarding the Leoni. Estella Marcos 1997 (and the many other articles and essays by this scholar), and much of the scholarship listed here in the sections on the Leoni’s individual works, include appendices with documentation found in the archives.
Carducho, Vicente. Diálogos de la pintura: Su defensa, origen, esencia, definición, modos y diferencias. Edited by F. Calvo Serraller. Madrid: Turner, 1979. Carducho describes Pompeo as a prominent and thoughtful collector and, in his discussion of him, contextualized Pompeo’s status and collection in terms of those of the Spanish elite.
Casati, Carlo. Leone Leoni d’Arezzo scultore e Giov. Paolo Lomazzo pittore Milanese. Milan: Ulrico Hoepli, 1884. Casati’s study remains a fundamental source for some of the documents regarding Leone’s projects as well as other aspects of Leone’s biography, like his correspondence with Pietro Aretino and other important men, his concessions from the Emperor, and court testimonies.
Estella Marcos, Margarita. “La mujer y el arte en los documentos de los siglos XVI y XVII: Los miembros femeninos de la familia de los Leoni.” In La mujer en el arte español: Actas de las VIII Jornadas de Arte, Departamento de Historia del Arte “Diego Velázquez,” Centro de Estudios Históricos, C.S.I.C., Madrid, 26–29 November 1996. 117–130. Madrid: Editorial Alpuerto, 1997. Estella Marcos’ article is unique in its discussion of the various wives and mistresses of the Leoni, which is accompanied by fascinating archival notices of their lives in Milan and Madrid.
Lomazzo, Giovan Paolo. Trattato dell’Arte della Pittura. Milan: Paolo Gottardo Pontio, 1584. Lomazzo, a writer and artist, Leoni’s contemporary in Milan, and perhaps his friend, describes Leone’s house and some of the objects in his collection.
Martí y Monsó, José. Estudios histórico-artisticos relativos principalmente a Valladolid: Basados en la investigación de diversos archivos. Valladolid, Spain: Leonardo Miñón, 1898–1901. Publishes full transcriptions and signals numerous archival documents in Spanish archives. Regarding Pompeo, there are multiple documents regarding his work for the Duke of Lerma and works for other Spanish patrons in Valladolid and elsewhere in Spain.
Morigia, Paolo. La Nobiltá di Milano raccolto di Girolamo Borsieri. Milan: Arnoldo Forni, 1979. The 1979 publication is a facsimile of the 1619 edition of Paolo Morigia’s Nobilta’ di Milano (originally published in 1590), which included an appendix by Borsieri. Borsieri describes Leone’s house and objects in the collection in Milan. This is a particularly valuable source because of the detail it provides and its early relatively early date.
Pérez Pastor, Cristóbal. Noticias y documentos relativos a la historia y literature españolas. Madrid: Real Academia de la Historia, 1914. Excellent source for archival notices regarding Pompeo Leoni’s activity in Madrid with full transcriptions or citations to archival records, some of which remain unpublished.
Plon, Eugéne. Les maîtres italiens au service de la maison d’Autriche: Leone Leoni, sculpteur de Charles Quint et Pompeo Leoni, sculpteur de Philippe II. Paris: E. Plon et cie, 1887. Plon remains the fundamental source for documents regarding the Leoni, especially for their correspondence.
Ronchini, Amadio. “Leone Leoni d’Arezzo.” Atti e Memorie della Regia Deputazione de Storia Patria per le Provincie Modenesi e Parmensi 3 (1865): 9–41. Ronchini published twenty-eight letters from Leone’s correspondence and interweaves them into his account of the sculptor’s life.
Vasari, Giorgio. Le vite de’ piú eccellenti pittori, scultori, ed archittetori. Florence: Giunti, 1568. Vasari was a friend of Leoni’s and was his houseguest in Milan for a time. Vasari’s “Life of Leone Leoni” is valuable as it situates Leone’s ambitions and achievements in art and social status within the context of Milan. After surveying Leone’s and Pompeo’s careers up to that point, Vasari highlights other prominent artists in the city at the time.
Leone and Pompeo Leoni: Medals, Plaquettes, and Other Small Bronzes The earliest notices of Leone as a working artist refer to medals he made in Venice of his friend and protector Pietro Aretino and of Titian. Leone’s imperial commissions, particularly the full-length statues and the busts he produced for Charles V and his family, have received the most scholarly attention. Though much about Leone’s training and his early career remains unknown (though Conti 1995
and Zanuso 2012 are important contributions in this regard), we do know that he made his way to the attention of the imperial court through his work as a medalist, designer of coins, and sculptor of small bronze objects. Over the course of his career, Leone worked at the mints of Ferrara, Urbino, and Milan and made numerous medals for illustrious men from across Europe. Pompeo made medals of members of his circle and his patrons in Spain. Crippa 1990 is a multivolume encyclopedic work of the medals and coins produced in Milan. Volume 2 includes the medals and coins made there by Leone. Leydi 2012 is the most important contribution specifically regarding Leone’s work in the mint of Milan. The individual medal that has been most studied is the portrait medal of Michelangelo, of which Leone made multiple copies. Attwood 2003 and Cano Cuesta 2005 are fundamental sources for medals by both of the Leoni. Both sources offer surveys of their careers as medalists and entries on individual medals. Waldman 1994 is the only in-depth scholarly study of an individual medal by Pompeo. Leone produced other small works in bronze during his early career, including a series of plaquettes of Giannettino and Andrea Doria of Genoa. Thornton 2006 analyzes the commission, type, and iconography of these plaquettes on the occasion of the British Museum’s acquisition of a third plaquette. Warren 2012 connects the style and iconography seen on the plaquettes and medals by the Leoni with their imperial portraits. Planiscig 1927 argued that Leone produced other types of small bronzes besides medals, and ascribed several statuettes to Leone’s oeuvre, based on stylistic affinities with the figures on the bases of some of Leone’s busts.
Attwood, Philip. Italian Medals c. 1530–1600 in British Public Collections. 2 vols. London: British Museum Press, 2003. Attwood’s discussion of the Leoni medals is the most thorough to date. He provides an excellent analysis of Leone’s career as a medalist followed by entries regarding many of the extant individual medals by Leoni, examples of most of which are in British collections. See vol. 1, pp. 85–113, 135–139; and vol. 2, pp. 1–15, 30–32.
Cano Cuesta, Marina. Catálogo de medallas españolas. Madrid: Museo del Prado, 2005. Cano Cuesta’s catalogue discusses the medals the Leoni produced for Spanish patrons. Her discussion and analysis of them expands from her essay on the medals in Urrea 1994 (cited under General Overviews).
Conti, Paola Barbara. “Tra modellazione e incisione: Appunti e riflessioni per un percorso nell’opera e nella vita di Leone Leoni.” In I Gonzaga: Moneta, arte, storia. Edited by Silvana Barbi di Caro, 388–393. Milan: Electa, 1995. Conti examines the earliest notices regarding Leone Leoni and sketches a trajectory for the artist’s career based on his start as a medalist.
Crippa, Carlo. Le monete di Milano durante la dominazione spagnola dal 1535 al 1706. Vol. 2. Milan: Carlo Crippa, 1990. In the second volume of this major multivolume work, Crippa catalogues the coins produced during the Habsburg rule over Milan. He gives a valuable analysis of their form, materials, sizes, and iconography.
Leydi, Silvio. “Leone Leoni ‘scultore delle stampe della Cecca di Milano.” In Leone & Pompeo Leoni: Actas del congreso internacional. Proceedings of the international symposium, Museo del Prado, Madrid, October 2011. Edited by Stephan Schröder, 19–32. Madrid: Museo del Prado, 2012. Leydi systematically examines Leone’s production for the mint of Milan, which covers the largest part of Leone’s career, a period from 1548 to his death in 1590. Leydi’s is the most comprehensive study of Leone’s coin production and it publishes archival documents and a useful chart that details Leone’s work, with dates, values, payments, and archival references.
Planiscig, Leo. “Bronzi minori di Leone Leoni.” Dedalo 7 (1927): 544–567. Planiscig’s was the first study of small bronzes—candelabra, vases, and statuettes—that may be attributed to Leone. He based his findings on stylistic analysis of the figures on the bases and other decorative areas of some of Leoni’s documented portrait busts. Some have been summarily dismissed, but others remain to be analyzed by technical studies and stylistic analyses that may reveal more definitive attributions.
Thornton, Dora. “A Plaquette by Leone Leoni Acquired by the British Museum.” The Burlington Magazine 148 (2006): 828–832. Thornton published a new plaquette attributed to Leoni: Giannettino Doria Sacrificing, which was part of a series of plaquettes, two others of which are also in the British Museum: Andrea Doria between Peace and Fame and Andrea Doria and Giannettino Doria, all from c. 1541. She discusses the three plaquettes in terms of Leoni’s short time in Genoa and his contact with these powerful men of the Doria family, as well as Leone’s production of small bronze works.
Waldman, Louis. “The Genesis of Pompeo Leoni’s Patience.” In Designs on Posterity: Drawings for Medals. Edited by Mark Jones, 52–63. London: British Art Medal Trust, 1994. Waldman analyzes the iconography of Pompeo Leoni’s 1554 medal of Ercole d’Este and its figure of Patience. He discerns various antique and modern sources for the figure, including other medals attributed to Pompeo and his circle.
Warren, Jeremy. “Medals and Plaquettes by Leone Leoni in the Context of His Larger Habsburg Statues.” In Leone & Pompeo Leoni: Actas del congreso internacional. Proceedings of the international symposium, Museo del Prado, Madrid, October 2011. Edited by Stephan Schröder, 33–45. Madrid: Museo del Prado, 2012. Warren examines the stylistic characteristics of Leone’s medals, plaquettes, and details of his larger sculptures for the Habsburgs, tracing a connection between his training and acumen as a goldsmith and the incredible level of detail and precision seen in his larger work.
Zanuso, Susanna. “Appunti sulla formazione artistica del giovane Leone Leoni.” In Leone & Pompeo Leoni: Actas del congreso internacional. Proceedings of the international symposium, Museo del Prado, Madrid, October 2011. Edited by Stephan Schröder, 11–18. Madrid: Museo del Prado, 2012. Zanuso looks at the early known medals and coins by Leoni as a means by which we can better understand his artistic training, early development, and the artists that Leoni would have been in contact with in his early years, especially in Rome and at the Farnese court.
Leone Leoni: Larger Sculpture Projects Leone was the chief sculptor of Charles V and as such primarily produced portrait sculptures for the Emperor and members of his family. While many of those sculptures are now understood to have been completed by his son Pompeo at the court of Madrid (and are here listed in the section Leone and Pompeo Leoni: Joint Sculpture Projects), Mezzatesta 1980 focuses on Leoni’s roles in those projects. Pérez de Tudela 2000 explores Leoni’s contacts with the Emperor and the men of his court, especially Cardinal Granvelle, the chief councilor of Charles V. Leone also worked for clients in Italy, particularly those that had important ties to the Habsburg regime. Among Leone’s larger sculptural projects for Italian patrons, the tomb of Giangiacomo de’ Medici di Maragliano, “Il Medeghino,” in the Cathedral of Milan, and the full-length portraits of Ferrante (in Guastalla) have received the most scholarly attention. Spiriti 1998 offers iconographic readings of the tomb project, while Repishti 2011 analyzes the commission of the tomb project and publishes numerous
new archival notices about it. Cupperi 2002 details the commission and production of a large public sculpture, a standing portrait of Ferrante Gonzaga conquering Vice, placed in the small town of Guastalla, then under Gonzaga control. Another large project was commissioned by Queen Mary of Hungary for her palace at Binche. Cupperi 2004 sorts through the documents of the project that included originals and casts by Leoni. Other projects Leone produced were portrait busts of Emperor Charles V, Philip II, and the Duke of Alba as well as sculptures of saints for a chapel project in Santa Barbara in Mantua. Leone also produced a portrait bust of Giovanni Battista Castaldo for his tomb chapel in the church of Nocera. Middledorf 1975 studied Leone’s production of busts and put forth a number of attributions. Grassi 2000 is the only study of the Santa Barbara project, which is no longer extant. Zezza 1999 explores the patronage of Castaldo and identified the bust by Leone still in Nocera. Leone’s best-known, and certainly his most innovative, bust is the bronze bust of Charles V, the focus of Di Dio 2013.
Cupperi, Walter. “La statua di Ferrante I a Guastalla: Una commissione monumentale di Cesare I Gonzaga a Leone Leoni.” Archivio Storico per gli Antichi stati Guastallesi 2 (2002): 83–124. Cupperi provides an in-depth analysis of the context in which Leoni designed ephemera and produced the bronze group of Ferrante I based on twenty-five previously unpublished documents and other contemporary accounts.
Cupperi, Walter. “Arredi statuari italiani nelle regge dei Paesi Bassi asburgici meridionali (1549–56): I. Maria d’Ungheria, Leone Leoni e la galleria di Binche.” Prospettiva 113–114 (2004): 98–116. Cupperi clarifies Leoni’s intervention in the projects for Mary of Hungary as resulting in two sculptures, the bronzes of Mary and Philip II (now in the Prado), intended for her gallery at Binche, the copies of antique sculptures for Queen Mary, and the plaster casts found in the collection of the Casa degli Omenoni. Article continues in Part 2, “Un nuovo ‘Laocoonte’ in gesso, i calchi dall’antico di Maria di Ungheria e quelli della Casa degli Omenoni a Milano.” Prospettiva 115–116 (2005): 159–176.
Di Dio, Kelley Helmstutler. “From Medallist to Sculptor: Leone Leoni’s Bronze Bust of Charles V.” In A Scarlet Renaissance: Essays in Honor of Sarah Blake McHam. Edited by A. Victor Coonin, 111–130. New York: Italica, 2013. Di Dio explores the bronze bust of Charles V (Museo del Prado, Madrid; designed and cast by Leone, but finished by Pompeo) which marked a transformative moment in Leone’s career. The formal and iconographic sources for the bust, particularly for the statuettes at its base and the truncation of the bust, are suggested and the influence of the bust on the design of other busts from the period is traced.
Grassi, Maria Giustina. “Le ‘statue’ di Leone Leoni per Santa Barbara a Mantova: Con una nota sul reliquario di Sant’ Adriano.” Arte Lombarda 128 (2000): 55–61. Grassi brings recovers a lost commission for reliquary busts of Saint Silvester and Saint Hadrian for the palatine chapel of the church of St. Barbara in Mantua. The commission was initiated by Guglielmo I Gonzaga. Grassi’s archival finds are published here, including an 18th-century drawing of the project.
Mezzatesta, Michael P. “Imperial Themes in the Sculpture of Leone Leoni.” PhD diss., New York University, Institute of Fine Arts, 1980. While it unfortunately remains unpublished, Michael Mezzatesta’s dissertation on Leoni’s imperial portraits is an excellent survey and analysis, especially of the imperial portraits Leone produced for the Emperor.
Middledorf, Ulrich. “On Some Portrait Busts Attributed to Leone Leoni.” The Burlington Magazine 117 (1975): 84–91. Middledorf brought to light several busts identified as Leone’s, including the Windsor Castle series of Charles V, the Duke of Alba, and Philip II. Other attributions put forward in the article have been dismissed (Bust of the Marchese d’Avalos, Morgan Library; Charles V, National Gallery of Art, Washington; Carlo Emanuele of Savoy, Philadelphia Museum of Art). Middledorf also removed from Leoni’s oeuvre busts that had been attributed to him by other scholars.
Pérez de Tudela, Almudena. “Algunas notas sobre el gusto de Felipe II por la escultura en su juventud a la luz de nuevas cartas entre el Obispo de Arrás y Leone Leoni.” Archivo Español de Arte 291 (2000): 249–266. Pérez de Tudela published many of the letters between one of Charles V’s chief councilors, Antoine Perrenot de Granvelle, and Leone Leoni. Granvelle was a steadfast ally of Leone’s and was the key figure in introducing Leone to the Emperor. The article examines the correspondence for hints regarding Philip II’s interest in sculpture, based especially on comments he made regarding Leone’s proposed tomb project for Charles V.
Repishti, Francesco. “Pio IV e il monument di Giangiacomo Medici nel Duomo di Milano, 1560–65.” In Carlo Borromeo, Pellegrino Tibaldi, e la trasformazione interna del Duomo di Milano: Nuovi Annali, Rassegna di studi e contributi per il Duomo di Milano. Vol. 2. Edited by Francesco Repishti and Giulia Benati, 23–42. Milan: Fabbrica del Duomo, 2011. Repishti’s excellent essay examines closely the commission for the Medici tomb and the importance of the tomb for the Milanese-born pope, and Giangiacomo’s younger brother, Pius IV.
Spiriti, Andrea. “Leone Leoni nel Duomo di Milano: Il Mausoleo del Medeghino.” In Leone Leoni tra Lombardia e Spagna: Atti del convegno internazionale, Menaggio 25–26 settembre 1993. Edited by Maria Luisa Gatti Perer, 11–20. Milan: Istituto per la Storia dell’Arte Lombarda, 1998. Spriti offers a reading of the tomb monument in terms of a larger iconographical program of the area of the Duomo in which it is located.
Zezza, Andrea. “Giovanni Battista Castaldo e la Chiesa di Sta Maria del Monte Albino: Un tondo di Raffaello, un dipinto di Marco Pino e un busto di Leone Leoni a Nocera de’ Pagani.” Prospettiva 93–94 (1999): 29–41. Zezza’s admirable article examines the projects commissioned for the church of Sta Maria del Monte Albino in Nocera by Giovanni Battista Castaldo, which included a portrait bust of Castaldo, identified by Zezza as the one now in the church of S. Bartolomeo.
Pompeo Leoni: Larger Sculpture Projects Pompeo Leoni produced major tomb sculptures for the elite of Spain in addition to being the chief sculptor of the court. Pompeo and his workshop had a critical role in assimilating northern Italian and Flemish sculptural style with Spanish forms, iconography, and traditions for imagery. Much remains to be studied regarding his individual works, the formation and function of his workshop, and his legacy in Spanish art. Tomb projects make up a good deal of Pompeo’s activity in Spain. Indeed, one of Pompeo’s earliest works in Spain was the funerary statue of Juana de Austria. Ortega Vidal 1998 sifts through the contemporary descriptions of the monument and sorts out its authorship and chronology, García Sanz 2003 published the documentary evidence of the contract and payments for the project, while Coppel Areizaga 2012 focuses more exclusively on Pompeo’s part of the project. The tomb sculptures for the Duke and Duchess of Lerma were discussed in Banner 2009. His tomb projects for other elites of Spain have been studied by scholars, but much remains to uncover and analyze about Leoni’s activity. Documentary sources have been published on several of the projects, but, in part
because they are in sites not always easy to access, they remain understudied. Important contributions in this regard are the studies Benito Ruano 1970 on the tomb of Archbishop Valdes in Salas, Tejedor Micó 1987 on the tomb of Antonio de Sotelo in Zamora, Cano de Gardoqui 2007 on the tomb of Cardinal Diego de Espinosa in Martín Muñoz de las Posadas, and Di Dio 2008 on a lost tomb project in Chinchón. Pompeo produced other objects that remain to be sufficiently studied, such as the religious sculptures he produced for a number of churches in Madrid and beyond, most of which have been lost. His most important project, and as Mulcahy 2012 has underscored, the project in which he was especially committed as a means to establish his importance as a sculptor at the court, was his Calvary for the Escorial retable. But there were many other, smaller religious projects that we know from documentary evidence that are lost; the great majority of them have been neglected by scholars. On the other hand, some sculptures have been ascribed to Pompeo, but their authorship remains contested. Kryza-Gersch 2012 on the silver bust of Philip II is a model of how such attributions should be determined, as it is based on technical, stylistic, and documentary evidence.
Banner, Lisa. The Religious Patronage of the Duke of Lerma 1598–1621. Farnham, UK, and Burlington VT: Ashgate, 2009. Banner traces the commission for Leoni’s tomb sculptures for the Duke and Duchess of Lerma (now Museo de Escultura, Valladolid) and places them within the context of Lerma’s copious commissions for religious sites in and around Valladolid and Lerma.
Benito Ruano, Eloy. “El sepulcro del arzobispo Valdes por Pompeo Leoni en la Colegiata de Salas (Asturias).” In Simposio Valdes-Salas conmemorativo del IVe Centenario de la muerte de su fundador: D. Fernando de Valdés (1483–1568) su personalidad, su obra, su tiempo, held December 8–11, 1968. 277–290. Oviedo, Spain: Universidad de Oviedo, 1970. Much of the known documentation of Pompeo Leoni’s tomb project for Archbishop Valdes in Salas was published in this article, including the information about the contract, transport of materials, installation, and payments.
Cano de Gardoqui, Jose Luis. “Memoria familiar del Cardinal Diego de Espinosa.” Estudios Segovianos 107 (2007): 115–141. This essay examines Pompeo Leoni’s design for the tomb of Cardinal Diego de Espinosa in Martín Muñoz de las Posadas, carried out by members of Leoni’s circle—Giovanni Antonio Morigia, Giovanni Battista Comane, and Domenico Guidetti. Includes archival notices regarding the project.
Coppel Areizaga, Rosario. “Los retratos de la empratriz Isabel y de Juana de Austria.” In Leone & Pompeo Leoni: Actas del congreso internacional. Proceedings of the international symposium, Museo del Prado, Madrid, October 2011. Edited by Stephan Schröder. Madrid: Museo del Prado, 2012. Coppel’s essay carefully examines the authorship and styles of the portraits of the Empress Isabel, Juana de Austria, the Inquisitor General Fernando Valdés y Salas, and the Inquisitor General Cardinal Diego de Espinosa in relation to the Leoni’s work in medals and cameos and Pompeo’s development of his own sculptural style at the court of Spain.
Di Dio, Kelley Helmstutler. “Diego Fernández de Cabrera y Bobadilla and the Capilla Mayor de Chinchón.” The Burlington Magazine 150 (2008): 804–812. The project for the high altar chapel of Diego Fernández de Cabrera y Bobadilla in his hometown of Chinchón is no longer extant, but is reconstructed based on archival notices regarding the commission and installation as well of its destruction during the French invasion of the town in 1808.
García Sanz, Ana. “Nuevos datos sobre los artifices de la capilla funeraria de Juana de Austria.” Reales Sitios 155 (2003): 16–
25. García Sanz located a Libro de Acuerdos, a register which recorded the contractual agreements and payments for the chapel of Juana de Austria in the Descalzas Reales in Madrid. The notices in the register definitively identify the sculptor of the kneeling figure of Juana as Pompeo, the coordinator of the project as Jacopo da Trezzo, and the architect of the chapel as Juan de Herrera.
Kryza-Gersch, Claudia. “Pompeo Leoni’s Portrait of Philip II in the Kunsthistorisches Museum in Vienna.” In Leone & Pompeo Leoni: Actas del congreso internacional. Proceedings of the international symposium, Museo del Prado, Madrid, October 2011. Edited by Stephan Schröder. Madrid: Museo del Prado, 2012. In the first significant analysis of the silver bust of Philip II, Kryza-Gersch reconstructs the original appearance of the sculpture and traces its path from Spain to Vienna. The essay also sorts out the confusion about the bust propagated by modern scholars regarding its attribution, intended function, and its ownership.
Mulcahy, Rosemarie. “The Calvary by Pompeo Leoni for the High Altarpiece of the Escorial, ‘la major cosa que se pueda hacer imaginar.’” In Leone & Pompeo Leoni: Actas del congreso internacional. Proceedings of the international symposium, Museo del Prado, Madrid, October 2011. Edited by Stephan Schröder, 121–131. Madrid: Museo del Prado, 2012. Mulcahy details the significant labor and care Pompeo Leoni took with the Calvary for the Escorial high altar retable. She uncovers some of Pompeo’s sources and considers the sculptural group in terms of Leoni’s ambitions as an artist who wished to move beyond his father’s shadow.
Ortega Vidal, Javier. “Capilla sepulcral de Doña Juana en las Descalzas Reales: Una joya en la penumbra.” Reales Sitios 138 (1998): 40–54. Ortega Vidal compiled contemporary descriptions of the funerary chapel of Juana de Austria and discussed the chronology and various artists who collaborated on the project.
Tejedor Micó, Gregorio J. “El sepulcro de don Antonio de Sotelo en la iglesia de San Andrés de Zamora.” Boletín del Museo e Instituto ‘Camón Aznar’ 29 (1987): 109–121. This study of the tomb monument Pompeo Leoni made for Antonio de Sotelo, who had died in 1548 on the expedition to Mexico alongside Hernán Cortés, includes archival documents about the project and photographs of the sculpture.
Leone and Pompeo Leoni: Joint Sculpture Projects Some of the most important sculptures produced by the Leoni were projects on which they both worked. The imperial portrait sculptures for Charles V, for example, were begun by Leone and completed by Pompeo, as discussed in Arciniega García 2013. Estella Marcos 2012 (and other essays by the same author) studied the patronage of Charles’s sister, Queen Mary of Hungary, and her commissions from the Leoni. Sepponen 2015 examines the materiality of the most important group sculptures the Leoni produced: Charles V and Furor. The questions of materials and materiality are fruitful avenues that the author continues to develop.
Arciniega García, Luis. “Las esculturas encargadas por Carlos V a Leone Leoni en 1549 y su acabado en España por Pompeo Leoni.” Archivo Español de Arte 343 (2013): 87–106. Arciniega examines Charles V’s commission of eight portrait sculptures from Leone in 1549 (with some additional sculptures added
soon thereafter) and their initial manufacture in Milan and their shipment to Spain where they were completed by Pompeo. He cites some new documentation concerning the shipments and payments to Pompeo.
Coppel Areizaga, Rosario. Catálogo de la escultura de époco moderna, siglos 16–18. Madrid: Museo del Prado, 1998. Coppel’s excellent entries on the Leoni sculptures in the Prado offer a review of scholarship on the individual works up to 1998 and provides increased precision regarding dating, authorship, and patronage of the sculptures. The sculptures in the Prado represent the majority of those commissioned from Leone by the imperial family.
Estella Marcos, Margarita. “Los Leoni al servicio de María de Hungría.” In Leone & Pompeo Leoni: Actas del congreso internacional. Proceedings of the international symposium, Museo del Prado, Madrid, October 2011. Edited by Stephan Schröder, 56–65. Madrid: Museo del Prado, 2012. Estella Marcos has written several essays and articles on aspects of the patronage of Mary of Hungary and the sculptures the Leoni carried out for her. In this essay, Estella Marcos comprehensively surveys the medals, busts, and full-length portraits of the Queen and cites accounts and inventories—some published elsewhere by Estella Marcos—that illuminate the Queen’s intentions for these projects.
Sepponen, Wendy. “Imperial Materials: Site and Citation in Leone and Pompeo Leoni’s Charles V and Furor.” In Midwestern Arcadia: A Festschrift in Honor of Allison Kettering. Northfield, MN: Carleton College, 2015. Sepponen argues that the choices of imagery and material for the Charles V and Furor and the series of bronze portraits Leone and Pompeo made for Charles V and his family members were meant to signal the Hapsburg’s imperial presence and legitimize their rule.
The Escorial The Escorial’s high altar sculptures of saints and the kneeling portrait statues of the families of Charles V and Philip II on its sides—the largest bronze sculpture project of the Renaissance—was a collaborative project from its outset. Pompeo returned to Milan to model and cast the figures, which then had to be transported back to Spain. While Pompeo and Leone were responsible for much of the work, they also organized a workshop of talented collaborators like Adriaen de Vries, the organization of which had an important impact on artistic practice in Spain, as discussed in Cano de Gardoqui García 2004. The most important publications of the documentary sources on the project are in the series Bustamante García 1993, which also provides keen stylistic and formal analyses of the sculptures. Estella Marcos 1994 and Mulcahy 1994 focus on the iconography and intended functions of the space in terms of Counter-Reformatory ideals.
Bustamante García, Agustín. “Las estatuas de bronce del Escorial: Datos para su historia, I.” Annuario del departimento de Historia y Teoria del Arte V (1993): 41–57. Bustamante’s excellent series of articles publish many of the documents related to the bronze sculptures the Leoni made for the Escorial and provide an excellent survey of the project. Continued: II, VI (1994), 159–177; III, VII–VIII (1995–1996), 69–86; IV, IX–X (1997–1998), 153–168; V, XI (1999), 121–143.
Cano de Gardoqui García, José Luis. “El taller de Pompeo Leoni en Milán y la obra de bronce para el retablo mayor y la custodia del monasterio de El Escorial: Nuevos datos para su estudio.” In Modelo italiano en las artes plâsticas de la Peninsula Ibérica durante el Renacimiento. Edited by Maria José Redondo Cantera, 455–472. Valladolid, Spain: Universidad de
Valladolid, 2004. Cano de Gardoqui García discusses the organization of Pompeo’s workshop while he produced the statuettes on the tabernacle and the over-life-sized figures of the high altar retable of the Escorial. Cano de Gardoqui García credits Pompeo with importing the Italian artistic workshop system into Spain.
Estella Marcos, Margarita. “El retablo mayor de la basilica.” In La escultura en el Monasterio del Escorial: Actas del Simposium, San Lorenzo de El Escorial, 1–4 September 1994. Edited by Francisco Javier Campos y Fernández de Sevilla, 103–140. El Escorial, Spain: Real Centro de Universitario Escorial-María Cristina, 1994. Estella Marcos provides an adept analysis of the documentation of the retable project and an analysis of the visual sources for the style and iconography as well as a technical analysis.
Mulcahy, Rosemarie. The Decoration of the Royal Basilica of El Escorial. Cambridge, UK: Cambridge University Press, 1994. Mulcahy’s excellent study of the Escorial comprehensively examines the artistic commissions for the space of the basilica and analyzes their cohesive program in terms of Counter-Reformatory religious practices and ideals. She also examines the organization of the workshop that produced the sculptures for the high altar area under the guidance of Pompeo and Leone.
Leone and Pompeo Leoni: Ephemera Leone and Pompeo Leoni, like many artists of their time, were charged with producing ephemera for religious and secular festivities, including theatrical productions and regal processions. There remains a great deal to discover about this aspect of their careers, despite the fair number of documents that have been located about it. Pompeo’s projects for the entries of Doña Margarita of 1599 were discussed by Tovar Martín 1988. Documents regarding the entry of Ana de Austria in 1570 have been published by Cruz Valdovinos 1990; the iconography of the ephemera has been discussed by Cadiñanos Bardeci 1998. For Leone’s production, Brini 1999 and Palesati 2000 are important starting points.
Brini, Amalio Barigozzi. “Apparati effimeri di Leone Leoni.” In Studi di storia dell’arte in onore di Maria Luisa Gatti Perer. Edited by Marco Rossi and Alessandro Rovetta, 259–270. Milan: Vita e pensiero, 1999. Brini surveys what is known regarding Leone’s designs for apparati for various functions, including triumphal entries, theatrical productions, and tournaments.
Cadiñanos Bardeci, Inocencio. “Pompeyo Leoni y los arcos de la entrada triunfal de doña Ana de Austria.” Academia: Boletin de la real Academia de Bellas Artes de San Fernando 86 (1998): 177–191. Publishes several documents related to Pompeo Leoni’s role in the ephemera made for the triumphal entry of Ana de Austria in 1570. The author also details, based on the documents, the authorship of other members of Leoni’s circle for various other parts of decoration for the festivities.
Cruz Valdovinos, José Manuel. “La entrada de la reina Ana en Madrid en 1570: Estudio documental.” Anales del Instituto de Estudios Madrileños 28 (1990): 413–451. Cruz Valdovinos explores the known details regarding the sumptuous entry of Queen Ana de Austria in Madrid in November 1570, for which Pompeo, along with other collaborators, produced multiple sculptures and other ephemera. It offers the most comprehensive
examination of the entry, the festivities put on, and the various artistic works that were made for the occasion.
Palesati, Nicoletta Lepri. “Esperienze scenografiche di Leone Leoni scultore Aretino.” Bolletino d’Informazione 70 (2000): 12– 20. Palesati brings to light the ephemera designed by Leoni for the Carnivale celebrations of 1559 in Milan and the marriage celebrations of Guglielmo II d’Este with Princess Eleonora d’Austria in 1561 in Mantua.
Tovar Martín, Virginia. “La entrada triumphal en Madrid de Doña Margarita de Austria (24 de octubre de 1599).” Archivo Español de Arte 244 (1988): 385–403. Tovar Martín explores the ephemera designed for the triumphal entry of Queen Margarita de Austria, for which Pompeo designed sculptures.
Restoration and Technical Reports The imperial portraits by Leone and Pompeo now in the Museo del Prado, Madrid, have been examined by the sculpture conservator of the museum and other scholars in terms of their technical and material aspects. Arias 2012 did an extensive study of the materials of the casts and discerned the method of their manufacture. Tárraga Baldó 1994 traced the restorations that had been carried out on the sculptures.
Arias, Elena. “Esculturas de Leone y Pompeo Leoni: Técnicas escultóricas sobre metal.” In Leone & Pompeo Leoni: Actas del congreso internacional. Proceedings of the international symposium, Museo del Prado, Madrid, October 2011. Edited by Stephan Schröder. Madrid: Museo del Prado, 2012. Arias revealed the results of her in-depth material analyses and examination of the modes of production of the bronze sculptures by the Leoni in the Prado collections.
Tárraga Baldó, María Luisa. “Investigaciones sobre las restauraciones históricas de la obra de los Leoni conservada en el Museo del Prado.” In Los Leoni (1509–1608): Escultores del Renacimiento italiano al servicio de la corte de España. Edited by Jesús Urrea, 86–99. Madrid: Museo del Prado, 1994. Tárrago Baldó published the results of technical examinations of the Leoni sculptures in the Museo del Prado, which revealed various interventions since their original manufacture.
Leoni’s and Pompeo’s Houses and Collections Leone was knighted and given a property on which to construct his house in the center of Milan. The house was elaborately decorated with sculptures on the outside: terminal figures that protrude from the façade that earned the house its nickname, the Casa degli Omenoni, or “house of the big men.” Leone received important visitors at his home from artists and men of the court to the Japanese entourage that visited Milan in 1590. Pompeo was led by his father’s example and constructed a sizeable home in Madrid. The Escorial project and the status he held as the King’s sculptor and architect, plus the protections he enjoyed because of his father’s status, enabled Pompeo to live as an elite unlike any other artist of his time in Spain. His house near the church of San Francisco el Grande
was visited by artists that visited the court, including Rubens, and by diplomats at the court. We know very little about its original appearance beyond the number of rooms and a general sense of their size. Much more is known about the contents of the home; it was elaborately furnished and displayed the impressive artworks Pompeo owned.
The Casa degli Omenoni The Casa degli Omenoni, so named because of the “big men” that line the lower part of the façade, is unusual in its architectural features and its heavy decoration. There are contemporary accounts of the façade in Vasari’s Vite, Lomazzo’s Trattato della Pittura, and in Morigia 1979 (also see Primary Sources). Bascape 1945 and Nebbia 1963 offer vivid descriptions of the house and are especially useful since some of the interior rooms they describe have been redecorated and remodeled and elements of the original courtyards have been lost since they recorded them. Mezzatesta 1985 and Di Dio 2011 have offered interpretations of the complex iconographical program of the house.
Bascape, Giacomo. Palazzi della Vecchia Milano. Milan: Ulrico Hoepli, 1945. Bascape provides floor plans of the original configuration of the house, based on contemporary descriptions and drawings of the archway on the façade and ceiling of the octagonal room on the piano nobile, both lost.
Di Dio, Kelley Helmstutler. Leone Leoni and the Status of the Artist at the End of the Renaissance. Farnham, UK, and Burlington, VT: Ashgate, 2011. Di Dio contextualizes Leoni’s designs for his house and collection in terms of the rise in the status of the artist in the Renaissance and Leoni’s own artistic and social ambitions. Di Dio published a trove of documents regarding Leone Leoni located in archives in Spain and Italy, including the inventories of the collection, correspondence by and about Leone, and contemporary poems dedicated to Leone and his works.
Mezzatesta, Michael P. “The Façade of Leone Leoni’s House in Milan, the Casa degli Omenoni: The Artist and the Public.” Journal of the Society of Architectural Historians 44 (1985): 233–249. Mezzatesta examines the iconography of the house in terms of imperial iconography and Leoni’s connections to the Emperor. He also identified possible sources for the form and style of the façade and its figures.
Morigia, Paolo. La nobilta’ di Milano raccolta da Girolamo Borsieri. Milan: Arnoldo Forni Editore, 1979. The 1979 edition is a facsimile of the Borsieri edition of Paolo Morigia’s 1590 publication. Borsieri added as an appendix a very useful, detailed description of the Casa degli Omenoni and its contents.
Nebbia, Ugo. La Casa degli Omenoni in Milano. Milan: Ceschina, 1963. While Nebbia’s study of the house is largely descriptive, it also provides important information regarding the related urban planning reforms when it was built, on the buildings that surrounded it, and on subsequent renovations to the building.
The Leoni’s Art Collections
Leone Leoni’s collection was remarkable for its time and was, in fact, remarked upon by contemporaries. It was still quite unusual for an artist to own objects of such rarity and prestige as Leone did. Leone’s was not just a study collection for his own work; he clearly collected objects for their perceived symbolic and aesthetic values. For their display, Leone conceived of niches in the courtyard walls, an octagonal room with skylights, and various rooms in the house, where visitors could admire his possessions. In doing so, Leone presented himself as a gentleman-artist and by placing copies of his own sculptures alongside plasters casts of venerated ancient Roman sculptures and of sculptures by Michelangelo, he intimated that he was their artistic heir. His paintings included works by Correggio, Parmigianino, Titian, and Bernardo Luini. Much of the collection was taken by Pompeo to decorate his house in Madrid. But Pompeo was also an avid collector in his own right and his enormous collection of books, drawings, paintings, sculptures, medals, and precious objects were displayed in his home and were described by contemporaries (see Primary Sources). The inventories of the collection in Madrid were published in Saltillo 1934, Di Dio 2003, Di Dio 2006, Di Dio 2009, and Di Dio and Coppel Aréizaga 2013. Zarco Cuevas 1932–1933 publishes Pompeo’s testament, which provides further information about his possessions and concerns about the collection’s dispersal among his heirs. Estella Marcos 1993 was the first to consider the cultural implications of Pompeo’s collection in Spain and begin the process of identifying the objects that were listed in the documents. Finaldi 1994 then identified several paintings in Pompeo’s collection as extant paintings by Parmigianino. Leone and Pompeo also owned some of Leonardo’s manuscripts and, in fact, it was likely Pompeo who bound some of Leonardo’s drawings and writings together into volumes. The drawings and writings of Leonardo da Vinci owned by the Leoni have been discussed in Leonardo scholarship to a good extent, but some confusion that arose in the scholarship regarding what the Leoni owned and when and how they acquired it. The confusion, errors, and then new documentary sources that clarify much of these problems were sorted out in Bambach 2009.
Bambach, Carmen. Un eredita’ difficile: I disegni ed i manoscritti di Leonardo tra mito e documento. Florence: Giunti, 2009. Bambach clarifies much of the confusion that had clouded previous scholarship regarding Leonardo’s drawings and manuscripts, some of which were in the Leoni collections.
Di Dio, Kelley Helmstutler. “Leone Leoni’s Collection in the Casa degli Omenoni: The 1609 Inventory.” The Burlington Magazine 145 (2003): 572–578. The 1609 document provides the earliest known inventory of the house. It was taken after Pompeo Leoni’s death in Madrid in 1608, which began years of litigation between his heirs over the objects in the collection.
Di Dio, Kelley Helmstutler. “The Chief and Perhaps Only Antiquarian in Spain: Pompeo Leoni’s Collection in Madrid.” Journal of the History of Collections 18 (2006): 137–167. This article published in full the two extensive inventories of Pompeo Leoni’s collection in Madrid, which were carried out in 1609 and 1613. It also includes other related documentary notices regarding the collection and its dispersal. Appendix 1 and Appendix 2 are available online.
Di Dio, Kelley Helmstutler. “Federico Borromeo and the Collections of Leone and Pompeo Leoni: A New Document.” Journal of the History of Collections 21 (2009): 1–15. The document published here details which works were in Madrid and which in Milan after the death of Pompeo Leoni and explores Borromeo’s interest in the collection and his acquisition of some of the objects in it.
Di Dio, Kelley Helmstutler, and Rosario Coppel Aréizaga. Sculpture Collections in Early Modern Spain. Farnham, UK, and Burlington, VT: Ashgate, 2013. In this volume, the full inventories of Pompeo’s collection and notices about the dispersal are published and the collection is placed in
the context of other non-aristocratic collectors in Spain in the 16th and 17th centuries.
Estella Marcos, Margarita. “Algo más sobre Pompeyo Leoni.” Archivo Español de Arte 66 (1993): 133–149. Estella Marcos’ article instigated much of the subsequent scholarship regarding Pompeo Leoni and his collection, as well as of other aspects of his biography. She identified several works, some of which were likely copies, based on descriptions in the inventories. While some of her identifications are disproven by later scholarship, the essay remains fundamental for understanding the collection, its context, and Pompeo’s career trajectory at the court of Spain.
Finaldi, Gabriele. “The ‘Conversion of St. Paul’ and Other Works by Parmigianino in Pompeo Leoni’s Collection.” The Burlington Magazine 136 (1994): 110–112. Finaldi identified several paintings by or after Parmigianino as those described in the Leoni’s inventories, including the Madonna della Rosa in Dresden, the Mystic Marriage of St. Catherine in London, the Conversion of St. Paul in Vienna, and the Holy Family with an Angel, Madrid.
Saltillo, Marqués de. “La herencia de Pompeyo Leoni.” Boletín de a Sociedad Española de Escursiones 42 (1934): 95–124. Saltillo transcribes (with errors) an inventory dated 1615 and in the Archivo Historico Nacional in Madrid. It is an excerpted copy of the inventories of 1609 and 1613 of Pompeo’s house and collection. The document was produced to send to the heirs in Milan after the death of Pompeo’s immediate heirs, his sons Giovanni Battista and Michelangelo.
Zarco Cuevas, F. J. “‘Testamento de Pompeyo Leoni,’ Escultor de Carlos V y de Felipe II otorgado en Madrid a 8 de octubre de 1608.” Revista Española de Arte 2 (1932–1933): 63–73. Zarco Cuevas transcribed and published Leoni’s will in full. The will provides insight into Leoni’s possessions, family ties in Spain and Italy, and concerns about posterity, including plans for burial in the church of San Francisco el Grande in Madrid.
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