Tag: michelangelo

Postcard from London, England: Globe-spanning collection ignites imagination

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Above: “Tippoo’s Tiger,” Tipu Sultan’s automaton seized from Seringapatam, Mysore, South India, by the East India Company in 1799, eventually ending up displayed in the Victoria & Albert Museum.

It’s a giant mechanical tiger… and I just was so enchanted by it. Because I’d seen British propaganda – you know, cartoons and ethnographic representations of Indians – but I’d never seen Indian art depicting the colonizer or the English…. I think Tipu Sultan, who commissioned it… was so contemptuous of the British and so determined to drive them out of India…. This was a gift to his sons, who had been taken hostage by the British.”

Tania James, author of the novel Loot, interviewed in 2023 by Ari Shapiro for All Things Considered on NPR

By chance, I had recently read Tania James’ Loot when we visited Victoria & Albert Museum last year. Spying the 18th-century automaton tiger one grasps how it sent the author’s imagination flying back into history to investigate the tiger’s origins. The soldier-mauling tiger serves as a mighty symbol of conquered nations’ contempt for their colonizers.

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Postcard from Palermo, Sicily: Are the tales about nudes nunsense?

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Above: A portion of Fontana Pretoria, nicknamed Fontana della Vergogna

Officially it’s called Fontana Pretoria, so-named because of its location in the plaza fronting the palazzo that houses City Hall. But its nickname is Fontana della Vergogna, or Fountain of Shame. But shame on whom?

Well, obviously this fountain would be branded as more than shameful, downright pornographic, by some in Florida where a school principal recently was forced to resign after a teacher held up an image of Michelangelo’s “David” as part of a Renaissance art lesson for sixth graders. But art of the Italian Renaissance, even religious art, is not known to be puritanical in nature.

Amongst the theories, spouted off by guides to the huddled groups they shepherd, is that the name first was muttered by offended neighboring nuns, who would slip out onto the plaza under the cover of darkness and apply modest garb to the most exposed statues. Some guides magnify the vigilante efforts undertaken by the Dominican sisters to include amputation of numerous limbs and offensive protrusions. The sisters naturally were upset after they were coerced into giving up a large portion of their property to accommodate the grandiose plaza for the government.

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Postcard from Rome, Italy: Insertion of banker’s mistress in Raphael fresco a cheeky move

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When Pope Julius II (1443-1513) slipped on the papal “ring of the fisherman,” the banker from Siena who helped with the Pope’s expenses prior to his election was not forgotten. Pope Julius II appointed Agostino Chigi (1466-1520) treasurer and notary of the Apostolic Camera, the Papal Treasury. Forging strong financial ties throughout Western Europe, Chigi’s financial operations employed up to 20,000.

On his way to becoming the richest man in Rome, Chigi needed suitable quarters on the Tiber on the Vatican side of the river. He commissioned a painter from Siena, Baldessare Peruzzi (1481-1536), to design his palace on Via della Lungara in 1508.

With Pope Julius II (1443-1513) summoning Michelangelo (1475-1564) to Rome in 1508 to cover the ceiling of the Sistine Chapel, frescoes were in vogue. Peruzzi turned to mythological themes for inspiration for Chigi’s main hall, named Galatea after a sea-nymph. Astrological scenes in the ceiling were surrounded by golden stars reflecting the position of constellations on the date of Chigi’s birth.

Raphael (1483-1520) was hired to finish the frescos there and in the loggia of Cupid and Psyche. The lives of putti fluttering about the ceiling appear perilous, demanding defensive maneuvers against ferocious beasts. And there, almost within the shadow of the Vatican, Chigi’s mistress brazenly posed in the buff as one of the Three Graces, the one on the left above perched atop fluffy cloud. I believe her flip side is captured as part of the same trio in another triangle in a photo below.

Invitations to parties hosted under these scenes were among Rome’s most desirable, with the guest list combining the pope and cardinals, princes, the wealthy elite, poets and artists. To demonstrate his wealth, the flamboyant Chigi was known to cast silver dishes over the wall toward the Tiber at the end of feasts; although the frugal banker in him would prearrange to have servants with nets down below to catch the falling tableware for recycling at the next soiree.

Raphael’s murals in loggia of Cupid and Psyche in Villa Farnesina
Palazzo Corsini
Palazzo Corsini
Palazzo Corsini
Palazzo Corsini
Galleria del Cardinale in Palazzo Corsini
Raphael’s murals in loggia of Cupid and Psyche in Villa Farnesina
Raphael’s murals in loggia of Cupid and Psyche in Villa Farnesina
Palazzo Corsini
Raphael’s murals in loggia of Cupid and Psyche in Villa Farnesina
gardens of Villa Farnesina viewed from Palazzo Corsini
Palazzo Corsini
Palazzo Corsini
Raphael’s murals in loggia of Cupid and Psyche in Villa Farnesina
Raphael’s murals in loggia of Cupid and Psyche in Villa Farnesina
Raphael’s murals in loggia of Cupid and Psyche in Villa Farnesina
Palazzo Corsini
Perseus beheading Medusa in mythological fresco by Baldasare Peruzzi in Villa Farnesina
Palazzo Corsini
Queen Christina’s bedroom in Palazzo Corsini
“Triumph of Galatea” by Raphael in Villa Farnesina

In 1579, the palace was purchased by Cardinal Alessandro Farnese (1520-1589), who evidently saw no need to interfere with the frolickers in the frescoes. Farnese’s career was launched when he was only 14 with his appointment as a cardinal by his grandfather, Pope Paul III (1468-1549). Lucrative appointments within the church allowed the cardinal to accumulate great wealth under several popes. Chigi’s villa became known as Villa Farnesina and is now a museum.

Directly across the street from the gardens of Chigi’s villa, Cardinal Domenico Riario commissioned construction of a palace in 1510. Presumably the neighbors coordinated their party schedule so the extremely narrow street was not impossibly clogged by guests’ carriages. This palace was rebuilt completely in 1736 for Cardinal Neri Corsini (1685-1770), named a cardinal by his uncle, Pope Clement XII (1652-1740).

Among the notable occurrences in what is now known as Palazzo Corsini was the death of Queen Christina (1626-1689) of Sweden. Christina was only six when her father, King Gustavus Adolphus (1594-1632), found himself lost in thick smoke behind enemy lines while leading a cavalry charge during the Battle of Lutzen during the Thirty Years’ War. The Protestants won the battle, but not before the King suffered fatal wounds.

Christina’s mother did not handle the loss well, demanding that her husband’s coffin be kept open in a room in a palace so she could visit it often and saving his heart in a separate keepsake box in her room. Officials were not able to bury the decomposing king until 18 months after his death. Not surprisingly, her mother was deemed unfit for the regency or for raising her daughter.

Instructions left behind by King Gustavus Adolphus were for his daughter to be educated as a boy would be. An excellent student, Christina mastered nine languages. But, with all her studies, Christina failed to pick up many of the prevailing attributes of femininity, often dressing as a man would. Her refusal to marry and her close relationship with a lady-in-waiting sparked continual rumors.

While Sweden emerged as a major European power following the signing of the Peace of Westphalia ending the Thirty Years War in 1648, Queen Christina seemed tired of the weight of the crown and abdicated in favor of a cousin in 1654. She secretly had converted to Catholicism, so Rome would be more to her liking than her Protestant homeland. Rome celebrated her arrival and conversion, with Pope Alexander VII (1599-1667) confirming her in the Vatican Basilica.

In Rome, she rented the palace from the Riario family and plunged herself into attending and hosting social affairs, collecting art, meddling in papal politics and even conspiring to wear the crown of Naples. Alternating between masculine attire and gowns with daring décolletages, she kept Rome guessing as to who reclined with her in her chambers under the fresco of “The Judgement of Solomon.” A cardinal frequenting the palace was chastised by the pope. Christina never married, and, when she died, her sole heir was her steadfast friend, the cardinal.

The Corsini family sold the property in 1883 and donated the entire art collection to the state. The Corsini museum is operated in tandem with another palace (more later) as the National Gallery of Paintings. The extensive gardens behind the palace are now the Botanical Gardens of Rome.