Showing posts with label Caravaggio. Show all posts
Showing posts with label Caravaggio. Show all posts

1 September 2023

Scipione Borghese – Cardinal and art collector

Pope’s nephew used position to acquire wealth to buy art

Ottavio Leoni's portrait of Cardinal Scipione Borghese
Ottavio Leoni's portrait of
Cardinal Scipione Borghese
Cardinal Scipione Borghese, who was a patron of Gian Lorenzo Bernini and Caravaggio and established a magnificent art collection during his life, was born on this day in 1576 in Artena, a town to the southeast of Rome

As the nephew of Pope Paul V,  Borghese was given the official title of Cardinal Nephew - cardinale nipote - and he had great power as the effective head of the Vatican government. He amassed an enormous fortune through the papal fees and taxes he gathered and he acquired vast amounts of land. He was able to use his immense wealth to assemble a large and impressive art collection.

Cardinal Borghese was the son of Francesco Caffarelli and Ortensia Borghese. When his father suffered financial difficulties, his uncle, Camillo Borghese, stepped in to pay for his education.

After Camillo Borghese was elected as Pope Paul V, he made his nephew a Cardinal and gave him the right to use the Borghese name and coat of arms.

Borghese was given many honours by his uncle, the Pope, who entrusted him with the management of the papal finances as well as the finances of the Borghese family.

He used money from the papal finances to fund Borghese family investments and, exploiting his power as Cardinal Nephew, he compelled people to sell their land to him at discounted prices.

Caravaggio's Madonna and Child with Saint Anne
Caravaggio's Madonna and
Child with Saint Anne
Borghese took a great interest in the development of the extensive gardens at his Roman residences, Palazzo Borghese, and Villa Borghese, and he built up one of the most impressive art collections in Europe. He collected paintings by Caravaggio, Raphael, and Titian, as well as ancient Roman art.

The Pope gave Scipione a collection of 107 paintings that he had confiscated from the artist Cavalier d’Arpino when he did not pay a tax bill. The haul included two important, early works by Caravaggio, a probable self-portrait usually called Bacchino Malato - Sick Bacchus - and A Boy with a Basket of Fruit. He also organised the removal of Raphael’s Deposition from a church in Perugia to be given to his nephew. He was later forced to provide Perugia with two good copies of the painting in order to avoid the population of the city rising up in violent rebellion against him.

Borghese also appropriated Caravaggio’s Madonna and Child with Saint Anne, a large altarpiece which had been commissioned for a chapel in St Peter’s Basilica. It was suspected that he had planned to acquire it for his collection when the work was commissioned.

The Cardinal’s patronage of Bernini helped the artist become the leading Italian sculptor and architect of the 17th century in Italy.

Between 1618 and 1623, Bernini worked primarily for the Cardinal Nephew, creating innovative pieces that foreshadowed the early Baroque style. He produced two marble busts of his patron, which are both in the Galleria Borghese in Rome, the second carved after Bernini found a flaw in the marble used for the first.

Cardinal Scipione Borghese died in Rome in 1633 and was buried in the Borghese chapel in the Church of Santa Maria Maggiore in Rome.

The Galleria Borghese is housed in the Villa Borghese Pinciana
The Galleria Borghese is housed
in the Villa Borghese Pinciana
Travel tip:

The Villa Borghese Pinciana, built for Scipione Borghese by the architect Flaminio Ponzio, which now houses the Galleria Borghese, was originally intended as a party villa, where Scipione would entertain guests. The villa and the gardens surrounding it, developed on the site of a former vineyard, were acquired by the Italian state from the Borghese family in 1901 and opened to the public two years later. Generally known as the Villa Borghese Gardens, they now form the third largest public park in Rome, covering an area of 80 hectares or 197.7 acres, with entrances near the Spanish Steps and Piazza del Popolo. The Pincio, in the south part of the park, offers one of the finest views over the city.  Other villas in the area of the park include the Villa Giulia, which now houses the Etruscan Museum, and the Villa Medici, home of the French Academy in Rome.  The Piazza di Siena, an open space within the gardens, hosted equestrian events at the 1960 Rome Olympics.

The main facade of the Palazzo Borghese, which was the Borghese family's principal Rome residence
The main facade of the Palazzo Borghese, which
was the Borghese family's principal Rome residence
Travel tip:

The Palazzo Borghese, the original home of the family’s art collection, is notable for its unusual trapezoidal layout, having two parallel sides but two that are not parallel, with its narrowest facade facing the Tiber. It was the main seat of the Borghese family in Rome, situated in the Campo Marzio district, not far from the Ponte Cavour and about 600m (0.37 miles) on foot from the Spanish Steps. It was built in about 1560-61 by the architect Giacomo Barozzi da Vignola on behalf of Monsignor Tommaso del Giglio and acquired by Cardinal Camillo Borghese in 1604, shortly before he became Pope Paul V.  The first floor of the palace has been the home of the Embassy of Spain in Italy since 1947. The Borghese family’s art collection, which contained works by Raphael, Titian and many others, was transferred in 1891 to the Galleria Borghese.


Also on this day:

1878: The birth of conductor Tullio Serafin

1886: The birth of vaudeville star Guido Deiro

1922: The birth of actor Vittorio Gassman


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25 March 2023

Giambattista Marino – poet

The colourful life of an influential literary figure

A portrait of Giambattista Marino by Caravaggio, painted in about 1600
A portrait of Giambattista Marino by
Caravaggio, painted in about 1600
Controversial poet Giambattista Marino, who founded the school of Marinism that dominated 17th century Italian poetry, died on this day in 1625 in Naples.

Marino’s poetry was translated into other languages and many other poets imitated his use of complicated wordplay, elaborate conceits and metaphors.

But although Marino’s work was praised throughout Europe, he led a chaotic life, was frequently short of money and at times arrested and imprisoned for alleged immorality.

Marino, sometimes referred to as Marini, was born in Naples in 1569. He trained for the law, under pressure from his parents, but later rebelled and refused to practise his profession.

From 1590 onwards, he spent his time travelling in Italy and France and enjoying the success of his poetry. His work was circulated in manuscript form to great acclaim and later in his life he managed to get some of it published, despite censorship.

In 1596 he wrote La Sampogna (The Syrinx), a series of sensual verses, but he was unable to publish them until 1620.

While working as secretary to a Neapolitan prince he was arrested in both 1598 and 1600 on charges of immorality, but on both occasions his admirers managed to secure his release from prison. One of his arrests was for procuring an abortion for the daughter of the Mayor of Naples and the other for forging episcopal bulls to save the life of a friend who had been involved in a duel.

Some of his defenders and some of his detractors have claimed that Marino himself had homosexual tendencies, but this practice was persecuted during the Counter Reformation and so Marino would not have been open about it.

The front cover of an edition of Marino's Adone, dated 1623
The front cover of an edition of
Marino's Adone, dated 1623
After moving to Rome, Marino attached himself to Cardinal Pietro Aldobrandini, a nephew of Pope Clement VIII, and they travelled round Italy together. Marino tried to get some of his poetry published while they were in Parma but was prevented by the Inquisition.

But in 1602 he was able to publish some of his early poetry as Le rime (The Rhymes) and La lira (The Lyre).

While living in Turin between 1608 and 1615, he enjoyed the patronage of the Duke of Savoy, but he was the victim of an assassination attempt by a rival poet and he was imprisoned yet again after writing satirical poems.

After friends had managed to secure his release, Marino went to Paris, where he lived until 1623 under the patronage of Marie de’ Medici and her son, Louis XIII.

While in Paris, Marino published his most important work, Adone, an epic poem of 45,000 lines that tells the love story of Venus and Adonis. This was dedicated to Louis XIII. Although critics have praised some of its brilliant passages, they have also criticised the poet’s excessive use of wordplay and metaphors in it.

Marino returned to Italy in 1623 and lived in Naples until his death. He is buried in the Chiesa dei Santi Apostoli in Naples.

Marinism, also sometimes referred to as Secentismo, 17th century style, is a reaction against classicism and uses extravagant metaphors and hyperbole to tell stories with the intention of startling the reader. Marino’s imitators carried this style to such excess that by the end of the 17th century the term marinism began to be used in a pejorative way.

However, after World War II, there was a revival of interest in this style of poetry and a reassessment of the merits of Marino and Marinism.

The Cambridge History of Italian Literature judged Marino to be one of the greatest Italian poets of all time.

The western facade of the Royal Palace, overlooking Piazza del Plebiscito
The western facade of the Royal Palace,
overlooking Piazza del Plebiscito
Travel tip:

Giambattista Marino would have been able to admire the newly built Royal Palace in Naples when he returned from France to live in the city again in 1623.  The palace, which opens on to the Piazza del Plebiscito, was completed in 1620 to designs by the architect Domenico Fontana. In 1734, with the arrival of Charles III of Spain to Naples, the palace became the royal residence of the Bourbons. Additions have been made over the years, including the connecting Teatro San Carlo, which opened in 1737 and is now the oldest working opera house in the world.  The series of niche statues on the western facade, the one that faces the piazza, were added in 1888, commissioned by King Umberto I of Savoy.

The nave of the church of Santi Apostoli in Naples, where Marino is buried
The nave of the church of Santi Apostoli
in Naples, where Marino is buried
Travel tip:

Marino’s tomb is in the Chiesa dei Santi Apostoli in Via Anticaglia in Naples, not far from the historic centre of the city. The Baroque church was built on the site of a Roman temple and given to the Theatine Order in 1570. A cloister and monastery was added in 1590 and early in the 17th century, the church was reconstructed by Giacomo Conforti. Inside, visitors can admire a large fresco depicting Paradise (1684) by Giovanni Battista Benasca in the cupola and works by other painters including Marco da Siena, Luca Giordano and Francesco Solimena. 




Also on this day:

1347: The birth of Saint Catherine of Siena

1541: The birth of Francesco I, Grand Duke of Tuscany

1546: The birth of poet and courtesan Veronica Franco

1927: The birth of politician Tina Anselmi, Italy’s first female minister

1940: The birth of pop megastar Mina


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18 October 2021

Theft of Caravaggio masterpiece

Fate of Nativity taken from Palermo church remains a mystery

Caravaggio's painting Nativity with St Lawrence and St Francis
Caravaggio's painting Nativity with
St Lawrence and St Francis
One of the most notorious art crimes in history was discovered on this day in 1969 when a housekeeper at the Oratory of Saint Lawrence in Palermo arrived for work to find that the Nativity with St. Francis and St. Lawrence, painted by the Renaissance master Caravaggio in 1609, had been stolen.

The painting sat above the altar in the Oratory, which is situated in Via Immacolata in the centre of the Sicilian capital, adjacent to the Basilica of Saint Francis of Assisi, but when the housekeeper, Maria Gelfo, opened up with her sister on the morning of 18 October, they were confronted with an empty frame.

Worth an estimated £20 million (€23.73 million; $27.52 million), the painting has never been found, leaving half a century’s worth of theories about its fate to remain unproven.  Most of the theories link the theft to the Sicilian Mafia.

It is assumed that the painting was taken during the night of the 17-18 October, although the weather was reportedly awful, with a lightning storm raging for much of the night and Palermo suffering a deluge of rain, hardly ideal conditions for carrying a valuable work of art from a church to a waiting vehicle.

The thieves broke into the Oratory and seemingly headed straight for the Caravaggio. The painting appeared to have been cut from its frame using a sharp blade. Maria Gelfo also told police that a rug was also missing, which led to speculation that the canvas was removed from the church rolled up inside the rug.

The empty frame above the altar,  pictured soon after the theft
The empty frame above the altar, 
pictured soon after the theft
Yet what happened to the painting is shrouded in mystery, not least because files containing statements made to police by key witnesses mysteriously disappeared, along with a report on the state of the premises ordered after Benedetto Rocco, the parish priest at the time of the theft, had raised concerns about security with the local state official for works of art, Vincenzo Scuderi.

Rocco had also raised concerns about Scuderi allowing RAI, the state broadcaster, to film a programme on hidden treasures inside the oratory - including Caravaggio’s painting - which was broadcast in August 1969. 

Gelfo, meanwhile, had expressed her worries about the security of a street-level window that could have been forced by an intruder, as well as reporting an unusually large number of strangers wanting to see the Caravaggio in the weeks leading up to its disappearance.

When the investigation into the crime was reopened in 2017 by the government’s anti-Mafia commission, following supposedly credible information supplied by Mafia pentiti Marino Mannoia and Gaetano Grado, the statements from Rocco and Gelfo had vanished.

Mannoia and Grado said that the painting was in Switzerland, albeit having been cut up, after Mafia boss Gaetano Badalamenti, who had made his money from trafficking heroin to the United States and had supposedly commissioned its theft, decided he no longer wanted it on his hands. The involvement of Badalamenti tallied with an interview given by Rocco in 2001 in which he claimed that Badalamenti was the perpetrator and had attempted to open a negotiation with the Catholic Church for its return, cutting off a small section of the canvas and sending it to Rocco to prove he had it.

Gaetano Badalamenti, a Mafia boss accused of ordering the theft
Gaetano Badalamenti, a Mafia
boss accused of ordering the theft
However, the police were unable to find the files relating to the crime, including Rocco’s statements. Rocco, Gelfo and Badalamenti are all now dead.

Mannoia had previously told the anti-Mafia magistrate Giovanni Falcone that the Mafia had commissioned the theft after agreeing a price with a buyer, but that when the buyer saw the painting, it was so badly damaged he called the deal off.  Experts have since said that, had the painting been rolled up to be smuggled out inside a rug, it is likely that large amounts of paint would have cracked and fallen off.

Other explanations of its fate are that the painting was eaten by pigs after being kept in a barn, that it was buried by another mafioso, Gerlando Alberti, after he had failed to sell it, and that it was transported to Campania to be sold to the Naples Camorra only to be buried under rubble during the 1980 earthquake.

Another theory, put forward by a Mafia expert in Palermo, is that the theft was actually carried out by highly-skilled professional art thieves working independently of the local Mafia and that the multiple claims of Cosa Nostra responsibility were false, issued somewhat in panic by local gang bosses embarrassed that a crime of such magnitude had taken place under their noses without their knowledge. 


Detail from Giacomo Serpotta's stucco work in the Oratory
Detail from Giacomo Serpotta's
stucco work in the Oratory
Travel tip:

The Oratory of Saint Lawrence was founded in around 1570 by the Company of Saint Francis of Assisi, a baroque church built over the remnants of an ancient church dedicated to Saint Lawrence (San Lorenzo). It is located in the La Kalsa or Tribunali district of Palermo near Corso Vittorio Emanuele, next door to the basilica of Saint Francis (San Francesco d'Assisi).  In addition to Caravaggio’s masterpiece, the setting of which, above the altar, is now occupied by a reproduction of the original, the Oratory is also notable for the brilliant stucco decorations by Giacomo Serpotta, born in the neighbourhood but considered by many to be one of Sicily’s greatest artists.

Palermo's beautiful cathedral, viewed across the its square in the Monte di Pietà district of the city
Palermo's beautiful cathedral, viewed across the
its square in the Monte di Pietà district of the city
Travel tip:

Although the Mafia have long cast an unwanted shadow over Palermo, thankfully most visitors know it as an attractive tourist destination, a vibrant city with a wealth of history, culture, art, music and food. It has many outstanding restaurants as well as fine examples of Romanesque, Gothic and Baroque churches, palaces and buildings.  Attractions include the extraordinary Cappella Palatina, featuring Byzantine mosaics decorated with gold leaf and precious stones, the Teatro Massimo, the largest opera house in Italy and the third biggest in Europe, and a beautiful cathedral that blends Norman, Moorish, Gothic, Baroque and Neoclassical styles.  Although the Sicilian Baroque style is strongly represented in the city’s architecture, the streets around Via Libertà and the seaside resort of Mondello, just outside the city, feature many examples of Stile Liberty, the Italian variant on Art Nouveau, in villas built for the well-to-do of Palermo in the late 19th and early 20th centuries.

Also on this day: 

1634: The birth of painter Luca Giordano

1833: The birth of entrepreneur Cristoforo Benigno Crespi

1933: The birth of racing driver Ludovico Scarfiotti

The Feast Day of St Luke the Evangelist


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8 December 2020

Mario Minniti - painter

Sicilian influenced by long-time collaborator Caravaggio

Caravaggio's Boy with a Basket of Fruit, thought to be a young Minniti
Caravaggio's Boy with a Basket of
Fruit,
thought to be a young Minniti
The painter Mario Minniti, who has acquired some historical notoriety over his long association with the brilliant but hot-tempered Renaissance great Caravaggio but went on to enjoy a successful career in his own right, was born on this day in 1577 in Syracuse, Sicily.

Minniti first encountered Caravaggio - born Michelangelo Merisi - when he arrived in Rome at the age of 15, seeking an apprenticeship following the death of his father.

Caravaggio was just a few years older than Minniti. They became friends and Minniti, who was blessed with boyish good looks, is thought to have been the model Caravaggio used in a series of works commissioned by Cardinal Francesco Maria del Monte, one of the leading connoisseurs in Rome.

These included his paintings Boy with a Basket of Fruit, The Fortune Teller, The Musicians, Bacchus and The Lute Player.

As well as learning Caravaggio’s style and techniques, whose influence shone through in many of his own works, Minniti became close friends with his mentor, with some historians buying into the theory that they were lovers and that Caravaggio was obsessed with his young model’s beauty.

Others dispute this, however, not least because Minniti is known to have been married twice. They also point out that, in 16th century Italy, it was normal for men possessed with qualities associated with female beauty, such as pale, smooth skin and full lips, to be admired by other men, who saw such characteristics as signs of aristocratic breeding.

Caravaggio (above) took refuge with Minniti at his home in Sicily
Caravaggio (above) took refuge with
Minniti at his home in Sicily

They argue that Minniti and Caravaggio, in fact, shared an appetite for flirting with other men’s wives and girlfriends on alcohol-fuelled nights out and that in many of the street brawls that marked Caravaggio’s time in the Eternal City, Minniti was at his side.

He may even have been present on the fateful May day in 1606 when Caravaggio is alleged to have killed murdered Ranuccio Tomassoni, reputedly a ‘wealthy scoundrel’, in the Campo Marzio district of central Rome, not far from the Piazza Monte D'Oro.

The incident led to Caravaggio being condemned to death by order of Pope Paul V, after which he fled the city, first to Naples and then Malta.  When he arrived in Sicily in 1608, forced to take flight again after another violent incident, he is said to have stayed with Minniti, who had by then returned home to Syracuse.  Minniti even found some work for his former employer, including a commission to paint the Burial of Saint Lucy for the church of Santa Lucia alla Badia in Syracuse. 

The influence on Minniti’s painting style led to him becoming known as “the Sicilian Caravaggio” and while his use of chiaroscuro - the dramatic contrast of light with dark shadows - was clearly inherited from Caravaggio, his style evolved into something that was more clearly his own, involving a the lively realism typical of the Baroque period.

The Miracle at Nain, which is on display in Messina, is one of Minniti's best-known works
The Miracle at Nain, which is on display in
Messina, is one of Minniti's best-known works
Like Caravaggio, Minniti benefited financially from the huge programme of church-building that took place in his lifetime, which meant that he was seldom short of commissions.

His readiness to embrace the Baroque style, characterized by exaggerated motion and clear detail used to evoke drama and exuberance, made him popular with the Catholic Church, who had determined that the arts should communicate religious themes and direct emotional involvement in response to the Protestant Reformation.

Minniti spent much of his time in Syracuse and Messina, as well as Palermo, and also took  commissions in Malta.  Among his surviving works are the Miracle at Nain, which can be seen at the regional art gallery in Messina, the Martyrdom of Saint Lucy and Miracle of Saint Clare, (both at the regional art gallery in Siracusa), Saint Benedict, Madonna with Child and Saints Cosimo and Damian (Church of Saint Mary, Modica), and Saint John the Baptist (Messina). 

Some critics claim that Minniti’s work too often lacked variety, and that he overdid certain motifs. Nonetheless, he is regarded in Sicily as one of the most distinguished painters of his era, one of the few Sicilian painters of the early 17th century whose work is preserved. 

Minniti died at Syracuse in 1640, at the age of 62.

The Sicilian Baroque cathedral in  Syracuse, rebuilt by Andrea Palma
The Sicilian Baroque cathedral in 
Syracuse, rebuilt by Andrea Palma
Travel tip:

The Syracuse of Minniti’s day was largely destroyed in the earthquake of 1693, but it was rebuilt, thanks to the largesse of the island’s Spanish rulers, in a way that makes it one of the most beautiful cities in southeast Sicily, with a wealth of buildings constructed in the architectural style that became known as Sicilian Baroque. There are several ancient ruins, however. The Parco Archeologico Neapolis, situated within the city, comprises the Roman Amphitheatre, the Teatro Greco and the Orecchio di Dionisio, a limestone cave shaped like a human ear. The Museo Archeologico Regionale Paolo Orsi exhibits terracotta artifacts, Roman portraits and Old Testament scenes carved into white marble.  Syracuse as a city is listed by UNESCO as a World Heritage Site.

The Piazza del Popolo is a feature of the Campo Marzio district of central Rome
The Piazza del Popolo is a feature of the
Campo Marzio district of central Rome
Travel tip:

The district of Campo Marzio is situated in the centre of Rome, comprising an area that includes Piazza di Spagna and the Scalinata di Trinità dei Monti - otherwise known as the Spanish Steps - and Piazza del Popolo, as well as the fashion district with the Via dei Condotti at its centre, overlooked by the Pincian Hill.  During the Middle Ages it was the most densely populated quarter of the city. It is bordered by the Tiber, the Quirinal hill in the north and the Capitoline Hill.

Also on this day:

The Feast of the Immaculate Conception

1685: The birth of perfumier Johann Maria Farina

1881: The birth of architect Marcello Piacentini

1925: The birth of former prime minister Arnaldo Forlani


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5 August 2019

Antonio Barberini – Cardinal

Pope’s nephew amassed fortune and became patron of the arts


Carlo Maratta's portrait of Antonio Barberini as an older man
Carlo Maratta's portrait of Antonio
Barberini as an older man
Catholic cardinal, military leader and patron of the arts Antonio Barberini was born on this day in 1607 in Rome.

As one of the cardinal-nephews of Pope Urban VIII he helped to shape the politics, religion, art and music of 17th century Italy and took part in many papal conclaves.

He is sometimes referred to as Antonio the Younger, or Antonio Barberini Iuniore, to distinguish him from his uncle, Antonio Marcello Barberini.

Antonio was the youngest of six children born to Carlo Barberini and Costanza Magalotti. Like his brothers, he was educated at the Collegio Romano.  His brother, Francesco Barberini, became Grand Inquisitor of the Roman Inquisition

His uncle, Maffeo Barberini, was elected as Pope the day after Antonio’s 16th birthday and became Pope Urban VIII.

Urban VIII was notorious for nepotism and he appointed Antonio as a cardinal just after his 20th birthday.  Nepotism was commonplace among popes from the Middle Ages up to the 17th century. The word derives from the Latin nepos (Italian: nipote), meaning nephew, to describe the practice among popes, who had taken vows of chastity and therefore could have no legitimate children, of appointing nephews to key positions.

Antonio was made papal legate in Avignon, where he forged some powerful connections. In 1636 he accepted the post of Crown-Cardinal-Protector of the Kingdom of France.

Barberini in a portait dated at around 1725, when he would have been 18 years old
Barberini in a portait dated at around 1725,
when he would have been 18 years old
It has been estimated that Antonio accumulated more than 63 million scudi in personal wealth during the 21-year pontificate of Urban VIII.

Antonio and his brother, Taddeo, led the Pope’s forces to occupy Castro after Urban VIII started a feud with the Farnese family. But their victory over the Farnese was short lived and they suffered a series of losses during which Antonio himself was nearly captured.

The Pope was forced to sign a peace treaty with the Farnese to prevent them from marching on Rome.

After Innocent X was elected as Pope, Antonio and Taddeo were accused of financial abuses and had to go into exile in Paris under the protection of Antonio’s supporter, Cardinal Mazarin.

The next Pope, Alexander VII, made Antonio the Cardinal Bishop of Frascati and Louis XIV of France made him the Archbishop of Rheims.

Antonio had a number of mistresses, including one he is said to have had whipped for flaunting herself during Carnevale and another who died mysteriously while carrying his child. There were also allegations that he had homosexual relationships, in particular with the castrato singer Marc'Antonio Pasqualini. But in later life he changed his lifestyle and became deeply religious.

Bernini's monument to Barberini in the church of San Giovanni dei Fiorentini
Bernini's monument to Barberini in the
church of San Giovanni dei Fiorentini
He was patron to many composers, musicians, architects and artists. The composer Marco Marazzoli wrote music for him and dedicated his Fiori Musicali to Antonio in 1635.

Antonio commissioned Gian Lorenzo Bernini to design the Palazzo del Propaganda Fide in Rome, but while Antonio was in exile, Bernini was replaced by Francesco Borromini, who had Bernini’s chapel demolished and replaced it with one built to his own design. Antonio and his brothers also commissioned the Teatro delle Quattro Fontane, an opera house built in 1632 near Piazza Barberini.

Antonio was a great admirer of Caravaggio, who died when he was just three years old. His extensive art collection contained many paintings by Caravaggio. He also commissioned Lorenzo Ottoni to complete a number of Barberini family sculptures for him.

Antonio died at Nemi near Rome in 1671, two days before his 64th birthday. There is a monument to him by Bernini in the church of San Giovanni dei Fiorentini in Rome.

An 18th century engraving of the Palazzo di Propaganda Fide in Rome by Giuseppe Vasi
An 18th century engraving of the Palazzo di Propaganda
Fide in Rome by Giuseppe Vasi
Travel tip:

Palazzo di Propaganda Fide, commissioned by Antonio Barberini, is at the southern end of Piazza di Spagna in Rome close to the Basilica Sant’Andrea delle Fratte. The main façade was designed by Bernini, but the side looking out on to Via di Propaganda was designed by Borromini. The chapel of the Biblical Magi was built by Borromini. One of the most famous examples of Italian baroque architecture, the palace was built to house the Congregation for the Evangelisation of Peoples and since 1929 it has been an extraterritorial property of the Holy See.

Corso Vittorio Emanuele is one of the main streets in Nemi
Corso Vittorio Emanuele is one of the
main streets in Nemi
Travel tip:

Nemi, the town where Antonio Barberini died, is in the Alban Hills overlooking Lake Nemi, a volcanic crater lake. It is about 30km (19 miles) southeast of Rome. The Roman emperor Caligula built several large barges for use on the lake. They were rediscovered during the Renaissance period but attempts to raise them from the bottom of the lake proved unsuccessful. Mussolini ordered them to be salvaged in 1929 but most of them were destroyed by fire in 1944, either deliberately by the retreating German army, or accidentally by squatters who had taken refuge in the building that housed them. The surviving remnants and replicas of Caligula’s barges can be seen in the Museo Nazionale at the Palazzo Massimo in Rome. Nemi is also famous for the wild strawberries that grow on the side of the volcanic crater in ideal conditions that make them taste sweet.

More reading:

Why Grand Inquisitor Francesco Barberini refused to condemn Galileo as a heretic

The genius of Gian Lorenzo Bernini

How Pope Urban VIII's extravagance ended in disgrace

Also on this day:

1623: The birth of composer Marc'Antonio Cesti

1953: The birth of magistrate Felice Casson, who exposed secretive Operation Gladio

2002: The death of thriller writer Franco Lucentini


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3 June 2019

Pietro Paolini – artist

Follower of Caravaggio passed on his techniques to the next generation



Paolini's Achilles among the Daughters of  Lycomedes,  which is in the J. Paul Getty Museum in Los Angeles
Paolini's Achilles among the Daughters of  Lycomedes,
 which is in the J. Paul Getty Museum in Los Angeles
Pietro Paolini, a painter in the Baroque period in Italy, was born on this day in 1603 in Lucca in Tuscany.

Sometimes referred to as Il Lucchese, Paolini was a follower of the controversial Italian artist Caravaggio.

He also founded an academy in his native city and taught the next generation of painters in Lucca.

Paolini’s father, Tommaso, sent him to Rome when he was 16 to train in the workshop of Angelo Caroselli, who was a follower of Caravaggio.

Paolini had the opportunity to study various schools and techniques, which is reflected in the flexible style of his work.

Paolini's Bacchic Concert, which is in the collection of the Dallas Museum of Art
Paolini's Bacchic Concert, which is in the collection of
the Dallas Museum of Art
He was exposed to the second generation of painters in the Caravaggio tradition such as Bartolomeo Manfredi, Cecco del Caravaggio and Bartolomeo Cavarozzi.

The principal themes of Paolini’s work were the subjects popularised by Caravaggio around the turn of the 17th century involving lower class people such as hawkers, prostitutes and musicians. Some of his paintings have allegorical meanings, such as The Allegory of the Five Senses, which depicts a darkened inn with people engaged in playing music and drinking, each representing one of the five senses. The picture shows the realism and the strong chiaroscuro typical of Caravaggio.

Paolini spent two years living and working in Venice where he had the opportunity to study the works of Paolo Veronese and Tintoretto and he then returned to Lucca where he spent the rest of his life. His parents had died and he needed to support his siblings.

Paolini's The Allegory of the Five Senses, which is on display at the Walters Art Museum in Baltimore
Paolini's The Allegory of the Five Senses, which is
on display at the Walters Art Museum in Baltimore
After establishing a successful studio in Lucca he specialised in cabinet pictures and introduced the still life genre to the city. He received many commissions from religious institutions in Lucca as well as prominent local citizens.

In about 1652 he founded the Academy of Painting and Drawing of Lucca, where he helped train many young painters. Artists such as Girolamo Scaglia, Simone del Tintore, Antonio Franchi, Giovanni Coli and Filippo Gherardi were all trained there. At this stage he almost entirely gave up painting himself in order to devote himself to teaching.

Paolini died in Lucca in 1681.  He had two sons, Andrea, who became custodian of the Public Archives in Lucca, and Giovanni Tommaso.

Many of Paolini’s most famous works are on display in galleries around the world, including The Mystic Marriage of St Catherine of Alexandria, which can be seen in the Galleria Nazionale d'Arte Antica in Rome, Achilles among the Daughters of Lycomedes (J. Paul Getty Museum) and Bacchic Concert (Dallas Museum of Art).  The Allegory of the Five Senses is in the Walters Art Museum in Baltimore, Maryland.

Others, such as The Card Sharps, Portrait of a Man and A Young Lady Holding a Compass are in private collections.

A view over the rooftops of Paolini's home city of  Lucca in western Tuscany, not far from Pisa
A view over the rooftops of Paolini's home city of
Lucca in western Tuscany, not far from Pisa
Travel tip:

Lucca, Paolini’s home city, is situated 30km (19 miles) inland from Viareggio on the coast and 20km (12 miles) from Pisa, with its international airport, yet is often overlooked by travellers to the area. It has much to recommend within its majestic walls, where visitors can stroll along narrow cobbled streets into a number of beautiful squares, with lots of cafes and restaurants for those content to soak up the ambiance, but also a wealth of churches, museums and galleries for those seeking a fix of history and culture.   The Renaissance walls, still intact, are an attraction in their own right, providing a complete 4.2km (2.6 miles) circuit of the city popular with walkers and cyclists.

The facade of the Palazzo Barberini in Rome,  designed by the architect Carlo Maderno
The facade of the Palazzo Barberini in Rome,
designed by the architect Carlo Maderno
Travel tip:

The Galleria Nazionale d'Arte Antica (National Gallery of Ancient Art) is an art gallery in Rome. It has two sites: the Palazzo Barberini and the Palazzo Corsini.  The Palazzo Barberini was designed for Pope Urban VIII, a member of the Barberini family, by 16th century Italian architect Carlo Maderno on the old location of Villa Sforza, facing the Piazza Barberini in central Rome. Its central salon ceiling was decorated by Pietro da Cortona with the visual panegyric of the Allegory of Divine Providence and Barberini Power to glorify the papal Barberini family.  The Palazzo Corsini, formerly known as Palazzo Riario, is a 15th-century palace in the Trastevere district that was rebuilt in the 18th century by architect Ferdinando Fuga for Cardinal Neri Maria Corsini.

More reading:

Caravaggio sentenced to death after a murder in Rome

How did Caravaggio die?

Luca Giordano, the artist known as The Thunderbolt

Also on this day:

1678: The birth of architect Domenico Antonio Vaccaro

1751: The birth of the Blessed Vincent Romano

1977: The death of film maker Robert Rossellini


Home



8 July 2018

Artemisia Gentileschi – painter

Brilliant artist who survived torture by thumbscrews 


Artemisia Gentileschi: a self-portrait as a lute player painted in around 1615-17
Artemisia Gentileschi: a self-portrait as a lute player
painted in around 1615-17
Artemisia Gentileschi, who followed in the footsteps of the Baroque painter Caravaggio by painting biblical scenes with dramatic realism, was born on this day in 1593 in Rome.

As a young woman she was raped by an artist friend of her father who had been entrusted with teaching her, and when he was brought to trial by her father she was forced to give evidence under torture.

This event shaped her life and she poured out her horrific experiences into brutal paintings, such as her two versions of Judith Slaying Holofernes.

Gentileschi was notable for pictures of strong and suffering women from myths, allegories, and the Bible. Some of her best known themes are Susanna and the Elders, Judith Slaying Holofernes, the most famous of which, painted between 1614 and 1620, is in the Uffizi in Florence, and Judith and Her Maidservant. 

She had an ability to produce convincing depictions of the female figure, anywhere between nude and fully clothed, that few male painters could match.

Judith Slaying Holfernes (1614-20), which can be found in the Uffizi Gallery in Florence
Judith Slaying Holfernes (1614-20), which can
be found in the Uffizi Gallery in Florence
It was many years before Gentileschi’s genius was fully appreciated, but a newly discovered self portrait depicting herself as St Catherine of Siena has just been bought by the National Gallery in London for £3.6 million, a record amount for her work.

Her artist father, Orazio Gentileschi, was an admirer of the painter Caravaggio. He taught his daughter to paint in his interpretation of Caravaggio’s style.

After her father’s friend, the landscape painter Agostino Tassi, raped her, he was brought to trial in 1612 and she had to give evidence while being subjected to a thumbscrew-like torture ‘to make sure her evidence was honest’.

After the trial Gentileschi moved to Florence, married a Florentine and became the first woman to join Florence’s Academy of Design.

Unlike other women artists of the time she specialised in history painting. She painted an Allegory of Inclination for the series of frescoes honouring the life of Michelangelo in Casa Buonarroti.

Gentileschi's painting San Gennaro nell'Anfiteatro
Gentileschi's painting San Gennaro
nell'Anfiteatro
She moved to Naples, where she painted many important religious paintings for churches, such as San Gennaro nell’Anfiteatro di Pozzuoli (Saint Januarius in the Amphitheatre of Pozzuoli).

Later, she went to London where she worked alongside her father for King Charles I on ceiling paintings for the Queen’s House in Greenwich. She also painted many portraits and eventually became more famous than her father.

It is believed that Artemisia Gentileschi died in Naples during a devastating epidemic of plague that swept the city in 1656.

The bust of Michelangelo at Casa Buonarroti
The bust of Michelangelo
at Casa Buonarroti
Travel tip:

Casa Buonarroti, which Artemisia Gentileschi helped decorate, is now a museum in Via Ghibellina in Florence in a building Michelangelo left to his nephew, Leonardo Buonarroti. The house was converted into a museum dedicated to the artist by his great nephew, Michelangelo Buonarroti the Younger. It houses Michelangelo’s early sculptures and a library with some of Michelangelo’s letters and drawings.

The interior of the Anfiteatro di Pozzuoli
The interior of the Anfiteatro di Pozzuoli
Travel tip:

Pozzuoli’s Flavian Amphitheatre (Anfiteatro di Pozzuoli) was the third largest Roman amphitheatre in Italy, holding up to 50,000 spectators. Only the Colosseum in Rome and the Capuan Amphitheatre are larger. It was built during the reign of Vespasian by the same architects who previously constructed the Colosseum. Although most of the superstructure has been destroyed in an area subject to frequent seismic activity, the underground interior is still largely intact and well worth a visit. The amphitheatre is in the centre of the town, about 20km (12 miles) west of Naples, close to the Pozzuoli’s Metro station.

More reading:

The mysterious death of Caravaggio

The brilliance of Michelangelo

The rival who broke Michelangelo's nose in a fight

Also on this day:

1822: The death of the poet Shelley in a storm at sea

1918: Ernest Hemingway wounded working for Red Cross in Italy 

Home

28 May 2018

Caravaggio and a death in Campo Marzio

Hot-tempered artist killed man in Rome in row over a woman


Caravaggio was a brilliant painter but had a reputation for violence
Caravaggio was a brilliant painter but had
a reputation for drunken violence
The brilliant late Renaissance artist Caravaggio committed the murder that would cause him to spend the remainder of his life on the run on this day in 1606.

Renowned for his fiery temperament and history of violent acts as well as for the extraordinary qualities of his paintings, Caravaggio is said to have killed Ranuccio Tomassoni, described in some history books as a ‘wealthy scoundrel’, in the Campo Marzio district of central Rome, not far from the Piazza Monte D'Oro.

The incident led to Caravaggio being condemned to death by order of the incumbent pope, Paul V, and then fleeing the city, first to Naples, eventually landing in Malta.

It was thought that the two had a row over a game of tennis, which was gaining popularity in Italy at the time, and that the dispute escalated into a brawl, which was not unusual for Caravaggio. The story was that Tomassoni wounded the painter in some way, at which Caravaggio drew a sword and lashed out at his rival, inflicting a gash in the thigh from which he bled to death.

This was accepted by historians as a plausible story for almost 400 years until evidence emerged to challenge the theory in 2002, when papers unearthed in a search of Vatican and Rome state archives suggested a different explanation.

According to the English art historian Andrew Graham-Dixon, who revealed the findings in a BBC television documentary, Caravaggio killed Tomassoni in a botched attempt to castrate him.

Caravaggio among the narrow crowded streets of the Campo Marzio district
Caravaggio among the narrow crowded
streets of the Campo Marzio district
The evidence had been turned up by Monsignor Sandro Corradini, an Italian art historian with a particular interest in Caravaggio, who found a surgeon’s report written on the day of Tomassoni’s death.

Maurizio Marini, another historian, told Graham-Dixon in the documentary that the surgeon’s report described a fatal wound to Tomassini’s femoral artery and surmised that Caravaggio was probably trying to castrate him.

Such barbaric acts were relatively common in Rome at the time, part of a ‘code of honour’ that dictated that if a man was insulted by another man he would cut his face, but that if a man’s woman was insulted then the man delivering the insult could expect a different part of his anatomy to be under threat.

The woman at the heart of their row was said to be Fillide Melandroni, who had allegedly succumbed to Caravaggio’s charms after he was asked to paint her for an Italian nobleman. It is thought that she was a prostitute and that Tomassino was her pimp.

It is little wonder, after he had been found guilty of murder, that Caravaggio was not keen to hang around. The sentence was beheading. Worse still, from the artist’s point of view, the sentence allowed for any member of the public, on spotting Caravaggio, to carry out the sentence themselves, on the spot.

In the event, Caravaggio escaped, yet died only four years later in mysterious circumstances. Official records said that he fell victim to a fever at Porta Ercole, on the Tuscan coast, but no records exist of a funeral or a burial and it is suspected that he himself may have been murdered, either by relatives of Tomassino or representatives of the ancient order of the Knights of Malta, avenging the maiming of one of their members in another brawl involving the painter, in Malta.

Caravaggio's David with the Head of Goliath. painted shortly before he died in 1610
Caravaggio's David with the Head of Goliath.
painted shortly before he died in 1610
Shortly before he died, while lying low in Naples with the intention of returning to Rome to seek clemency, he completed his David with the Head of Goliath, in which the severed head of the giant bears his own facial features, while David is given an expression of compassion for his victim.

Born Michelangelo Merisi in Milan in 1571, Caravaggio became known by the name of the town, in the province of Bergamo, where his family settled after leaving Milan to escape an outbreak of plague.

His work became famous for his realistic observation of the physical and emotional state of human beings and for his dramatic use of light and shade, known as chiaroscuro, which gave his paintings an almost three-dimensional quality. This was a formative influence for the baroque school of painting.

Some of his major works, such as The Calling of St Matthew, The Crucifixion of St Peter and Deposition, can be found in churches in Rome, but his work is also well represented in the Uffizi gallery in Florence.

The Sanctuary of the Madonna in Caravaggio
The Sanctuary of the Madonna in Caravaggio
Travel tip:

In addition to its connection with the artist, another attraction of the town of Caravaggio is the Sanctuary of the Madonna di Caravaggio, which was built in the 16th century on the spot where the Virgin Mary is said to have appeared to a local peasant woman.  The Sanctuary was later rebuilt and completed in the 18th century and is now visited by pilgrims from all over the world.  The town did have a theatre named after Caravaggio that was held in high regard but it was destroyed during the Second World War.

The Piazza del Popolo is among the highlights of Campo Marzio
The Piazza del Popolo is among the highlights of Campo Marzio
Travel tip:

Campo Marzio is Rome’s 4th rione - district - situated in the centre of Rome, comprising an area that includes Piazza di Spagna and the Scalinata di Trinità dei Monti - otherwise known as the Spanish Steps - and Piazza del Popolo, as well as the fashion district with the Via dei Condotti at its centre, overlooked by the Pincian Hill.  During the Middle Ages it was the most densely populated quarter of the city. It is bordered by the Tiber, the Quirinal hill in the north and the Capitoline Hill.

More reading:

The mysterious death of Caravaggio

Also on this day:

1987: The birth of Leandro Jayarajah, former member of the Italy national cricket team

1999: Da Vinci's The Last Supper goes back on display after 20-year restoration

Home


2 March 2018

Pietro Novelli – painter and architect


Sicilian great who was killed in Palermo riot


Novelli's Annunciation, which he painted in the church of Santissima Annunziata
Novelli's Annunciation, which he painted
in the church of Santissima Annunziata
Pietro Novelli, recognised as the most important artist in 17th century Sicily, was born on this day in 1603 in Monreale, a town about 10km (6 miles) from Palermo.

A prolific painter, his works can be seen in many churches and galleries in Sicily, in particular in Palermo.

There are good examples of his work outside the city, too, for example at Piana degli Albanesi, about 30km (19 miles) from Palermo, where he painted a fresco cycle in the cathedral of San Demetrio Megalomartire and another fresco, entitled Annunciation, in the church of Santissima Annunziata.

At his peak, wealthy and aristocratic members of Sicilian society, as well as monasteries and churches, competed to be in possession of a Novelli work.

His father, also called Pietro, was a respected artist who also worked with mosaics and Pietro initially worked in his father’s workshop in Monreale.

A great student of art who travelled extensively, among his major influences were Caravaggio, whose work in Sicily he studied, particularly his Adoration of the Shepherds, which was commissioned for the Capuchin Franciscans and was painted in Messina for the Church of Santa Maria degli Angeli.

He was also influenced by Anthony Van Dyck, who had been present in Sicily in 1624, and whose altarpiece, the Madonna of the Rosary in the Oratory of the Rosario di San Domenico in Palermo, persuaded him to lighten his palate, which gave his subsequent works elegance and sweetness.

Novelli's Immaculate Conception is at the Civic Museum in Termini Imerese
Novelli's Immaculate Conception is at
the Civic Museum in Termini Imerese
Novelli’s travels took him to Rome, where he was particularly receptive to Bolognese classicism and neo-Venetian Roman painting, and to Naples, where he was introduced to the work of Caracciolo, Stanzione and Ribera, and studied the classicising naturalism of Andrea Vaccaro.

He incorporated the chiaroscuro of Ribera into his own style, as can be seen from his two canvases about St Benedict in the abbey of San Martino alle Scale in Mondovi.

In addition to his paintings, he drew up plans for fortifications, designed jewellery and stage scenery for the theatre and turned his architectural hand to a number of buildings, notably the presbytery and apse in the cathedral at Piana degli Albanesi.

He also served as the engineer and architect of the Senate of Palermo and was made engineer of the Kingdom on the appointment of the Viceroy Count of Cabrera, for whose entry to Palermo he realized the triumphal arch in 1641.

Novelli was killed during the riots against the viceroys in Palermo in 1647 and was buried in the cemetery of the Friars in San Domenico.

Around the world, there are works by Novelli on display, among other places, at the Metropolitan Museum of Art in New York, the J Paul Getty Museum in Los Angeles, the Hermitage Museum in St Petersburg and the Prado in Madrid.

The Norman cathedral in Monreale
The Norman cathedral in Monreale
Travel tip:

The town of Monreale is located on the slope of Monte Caputo, overlooking a valley known as La Conca d'oro (the Golden Shell), which produces and exports orange, olive and almond trees. The town is famous for its cathedral, which is regarded as one of the finest examples of Norman architecture anywhere in the world, built there by William II following the Norman conquest of 1072, and has been designated a UNESCO World Heritage Site.

The Oratory of the Rosaria del San Domenico in Palermo
The Oratory of the Rosario del San
Domenico in Palermo
Travel tip:

The Oratory of the Rosaria del San Domenico, where there are a number of works by Novelli in addition to the Van Dyck altarpiece, is situated in Via dei Bambinai in the La Loggia district of Palermo, near the historic Vucciria marketplace.



More reading:

How Giovanni Battista Vaccarini turned Catania into a city of Sicilian Baroque

The Sicilian painter whose work represented the victims of Italian Fascism

Guido Reni - the 17th century Bolognese painter who idealised Raphael

Also on this day:

1886: The birth of double World Cup-winning coach Vittorio Pozzo

1939: Cardinal Eugenio Pacelli elected Pope Pius XII

(Picture credits: Monreale cathedral by Jerome Bon; Oratory by Bjs; via Wikimedia Commons)