The story of Cupid and Psyche continues in Villa Farnesina

Yesterday I posted about the new exhibit at Castel Sant’Angelo that brings together dozens of works of art illustrating the fable of Cupid and Psyche. This show, as I wrote yesterday, particularly interested me because I love the idea of an exhibit that tells a story. And what a story, with jealousy, diversity, courage, trust, abandonment, forgiveness and true love conquering all odds, well, Disney couldn’t have topped it.

Cupid and Psyche, Antonio Canova, 1786-93, Musée du Louvre, Paris

In fact I have so much to write about it that I am continuing the subject today. If you are not familiar with the story of Cupid and Psyche, you can read it here. What I find especially inspiring about it is that Psyche, the female character, is clearly the hero of the story. Cupid may be her “prince Charming” but it is her story, and it is she who succeeds at Venus’ impossible tasks, risking her life to be with the man she loves. 

This 2^nd-century story became popular in during the Renaissance and it was often the subject of artwork in bedrooms because if its romantic theme, and because it ends with a wedding banquet. The perfect subject for the art decorating the bedroom of a newlywed couple.

Loggia of Cupid and Psyche, Villa Farnesina, Rome

One of the most famous sites to utilize this subject is Villa Farnesina, the exquisite and rarely visited Renaissance palace in Trastevere. The villa was designed by Baldassare Perluzzi and built between 1508 and 1512 for the rich Sienese banker, Agostino Chigi. One of the richest men of his day, Chigi financed the caprices of many popes and their greedy relations. He was genuinely in love with his long-time mistress Francesca Ordeaschi, but because of his high social status, it wasn’t suitable for them to marry. Not being able to find a highborn woman whom he could bear to spend the rest of his life with, he moved Francesca into the villa and lived openly with her there. In an unprecedented and bold social step, they finally married in 1519, a veritable fairy tale not at all unlike the story of our Cupid and Psyche. Even more unheard of is the fact that the pope, Leo X De' Medici officiated the ceremony.

Portrait of Francesca Ordeaschi as Dorotea, Sebastiano del Piombo

No surprise then that on occasion of his long-awaited nuptials he had the ceiling of the villa’s loggia frescoed with scenes from the popular story. Like the mere mortal Psyche, Francesca was being welcomed into the social stratosphere of the super-elite, despite being not much more than a courtesan. Apparently Chigi’s ego didn’t have a problem with him representing himself as a god in this scenario. 

The walls the loggia are frescoed by several noted artists, most importantly Raphael, but it’s the ceiling that illustrates our story. Although Raphel may have been involved in the ceiling’s design, it is almost entirely the work of his greatest pupils, Giulio Romano, Giovan Francesco Penni, Raffaellino del Colle and Giovanni da Udine. The ceiling is gorgeous enough to be satisfying on its own, but when you know the story it makes it that much more rewarding.

Each spandrel illustrates a different scene from the fable, each one lovelier than the last, and the story in this case begins with Venus pointing out Psyche to Cupid. The frescoes are glorious, a celebration of the high Renaissance style that Raphael inspired. This is one of those places I could spend hours in, just feeding my eyes with the lush details and graceful figures.

Venus shows Cupid Psiche, Raffaellino del Colle

Cupid and the three graces, Giulio Romano

Venus, Ceres and Juno, Giulio Romano

The spandrel above is one of my favorites. I love mythological art because you can always find the symbols of each character somewhere. Juno's symbol is the peacock which you can easily to the right of Venus' legs. Ceres, in the center, is the goddess of grain and harvest and she wears blades of wheat in her hair.

Venus in her carriage, Giulio Romano

Venus and Jupiter, Giovan Francesco Penni

Psyche carried by amorini, Giulio Romano

Psyche and Venus, Giulio Romano

Venus clearly was not expecting Psyche to be able to pull this one off.

Cupid and Jupiter, Giulio Romano

Mercury, Giulio Romano

Mercury and Psiche, Giovan Francesco Penni

It's hard to tear your eyes away from the beautiful figures, but the festoons are every bit as worthy of praise, and were the work of Giovanni da Udine. It's not unusual for subtle sexual messages to be hidden in festoons bursting with fruit and vegetation like these ones. Sometimes it is obvious, even explicit, such as in the fresco of Mercury, right above his hand.

If you think I have an over-active imagination, take a look at the fruit just to the left of the oddly shaped cucumber (?). It is difficult to see here, but it is clearly a fig. If you speak a bit of Italian, you will know I'm not seeing things.

Council of the Gods

 In the center of the ceiling, these two large magnificent frescoes crown one of the most splendid, and least-known, wonders of Rome.

Nuptial banquet

This marvelous loggia, along with the other beautifully decorated rooms of the Villa Farnesina, can be visited Monday through Saturday, from 9am to 1pm for only €5. More information here.

Photo sources: 1, 3, all others

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Running into some old friends at an exhibit

The most enjoyable thing about taking a long afternoon to visit the Renaissance in Rome exhibit, besides getting the chance to see so much amazing art in one place, was the sensation I kept getting that I was bumping into an old friend.

Portrait of Cardinal Tommaso Inghirami, called "Fedra", Raphael Sanzio

This first one I would never have noticed on my own. The audio-guide informed me that the Cardinal above had also appeared in Raphael's School of Athens, although at the moment I couldn't imagine where.

The School of Athens, Raphael Sanzio, Vatican Museums

I had to look at it up close in a book to find him, and there he was, with a jaunty wreath around his head: Epicurius, looking much more fun-loving than his portrait above.

Detail of School of Athens, Raphael Sanzio, Vatican Museums

This commemorative coin also was too familiar, but much easier to place, given that it was minted on occasion of the laying of the first stone of the new St. Peter's Basilica in 1506.

What St. Peter's would have looked like if Bramante had had his way:

These are all well and good, but the next two works are what really brought a smile to my face:

Portrait of Michelangelo as Moses, Federico Zuccari, 1593

Michelangelo, posing (at least in Zuccari's imagination) as one of his greatest works, Moses, at St. Peter's in Chains. It is unmistakable. But what I really love is Michelangelo's smile. We usually see him wallowing in grief and self-pity in his self-portraits, so it's nice to see another artist capture a lighter side to his personality, whether or not it existed.

Moses, Michelangelo Buonarroti, San Pietro in Vincoli

Curiosity: there is a small flaw on the right knee of the Moses. According to legend, when Michelangelo finished it, he was so struck by how life-like his work was, he hit the statue on the knee with a chisel and yelled, "Now speak!"

Portrait of Raphael as Isaiah, Federico Zuccari, 1593.

Beside Michelangelo as Moses sits Federico Zuccari's similarly styled (but not nearly as moving) Raphael as Isaiah.

Isaiah, Raphael Sanzio. Chiesa Sant'Agostino, Rome.

This small fresco that inspired it can be found on a pillar in Sant'Agostino church, (but is often overlooked by tourists or art-seekers who visit that church to see the Madonna di Loreto by Caravaggio). Wait a minute? Where have I seen that angel before? The one behind Isaiah's right shoulder? Oh, yes! The very same exhibit! Ah, how everything comes full circle...

Photos 1, 4, 6, 10: Courtesy of Arthemesia Group.
Other photo sources: 2, 3, 5, 7, 8, 9

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The Renaissance in Rome, in the footsteps of Michelangelo and Raphael

If you are in Rome and haven't yet had a chance to visit the wonderful exhibit, Il Rinascimento a Roma, nel segno di Michelangelo e Raffaello, at Palazzo Sciarra, I suggest you high-tail it over there soon, because in just a few weeks it will be over and the amazing works will be shipped back from whence they came. I generally try to post about each exhibit just as they are beginning, but somehow this one got lost in the shuffle for me, and I apologize that I am just getting around to write about it now.

One of the reasons I haven't written about this exhibit yet is the sheer enormity of the subject. Art in the 1500s in Rome. Where does one begin? Mannerism is like God: At first you think you understand it. Then, the more you learn, the more you realize how little you actually know.

It has also come to my attention recently that my blog posts are far too long. So instead of risking writing words no one will ever read, today I will simply give you a preview of the highlights of the exhibit with as little commentary as possible. However, a few of the works I found particularly intriguing and I do want to write about them further, but I will do it one by one in the following days, for your sake, dear bloglings, as well as my own.

There are three versions of the Holy Family by Perin del Vaga presented at the exhibit, but this one is by far the most beautiful in my opinion. This is also the earliest, and therefore the most likely to have been inspired by the artist's mentor, Raphael.

Holy Family, Piero Buonaccorsi, called 'Perin del Vago', 1540. Borghese Gallery, Rome

He looks awfully sad in this self-portrait for someone who had a famously happy life.

Self-Portrait, Raphael Sanzio, 1509. Galleria degli Uffizi, Florence

This cherub is a fragment of a fresco that has been removed from its place of origin. I have no information on where it originally lived, but I am guessing a church, since it curves inward toward the top. The fresco has been anchored to a slab of cadorite, and reinforced with aluminum brackets. I always cringe when I see transported frescoes. I am stunned they even attempt it as it seems so risky. Still, as most detailed frescoes are ususually high off the ground, having this at eye level gives you a great opportunity to see the minute details, such as cracks and brushstrokes, of a fresco.

Cherub, Raphael Sanzio, 1511. Accademia Nazionale di San Luca, Rome

Have you seen this face somewhere before? According to the audio-guide at the exhibit, he made an appearance in The School of Athens. Can you find him? As you can see from this portrait, he suffered from astigmatism.

Portrait of Tommaso Inghirami, called 'Fedra', 1513. Galleria Palatina and Palazzo Pitti, Florence

Sebastiano del Piombo adored Michelangelo, as the older artist had befriended him when he first arrived in Rome. Michelangelo, on at least four occasions, provided Sebastiano with designs that the later used for his own works.

Portrait of Michelango indicating his designs, Sebastiano del Piombo (attributed), ca 1520. Galerie Hans, Hamburg

This is one of the highlights of the exhibition. This painting, tempera on wood panel, belongs to a middle class family in upstate New York and apparently lived behind a couch for several years. Is it really the work of Michelangelo? What do you think?

Pietà di Ragusa, School of Michelangelo (with attribution to Michelangelo himself by some scholars), 1545. Private collection

This copy of Michelangelo's Last Judgement shows what the original looked like before Daniele da Volterra (the "breeches painter") was forced to censor it.

Copy of Michelangelo's Last Judgement, Marcello Venusti, 1549. Capodimonte Museum, Naples

This unfinished work is considered by some to be a depiction of David, and by others Apollo. Which do you think? More importantly, have you ever heard of this work before? Or seen an image of it? I know I hadn't and my heart skipped a beat when I saw it.

Apollo/David, Michelangelo Buonarroti, 1530. Museo Nazionale di Bargello, Florence

How would you like to find a coin like this stuck between two cobblestones?

Medal commemorating the placing of the first stone of St. Peter's Basilica, Cristoforo Foppa, called 'il Caradosso', 1506. Rome Foundation Collection, Rome

This was the last work in the exhibit and my favorite. I'll write more about it soon and have purposefully not included a caption. What does it remind you of? Does it make you as happy as it makes me (i.e. a lot)?

See the Exhibits on Now page to find out practical information about visiting this wonderful exhibition.

All images provided courtesy of Arthemesia Group press office

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