Apartments of the Priors

The Apartments of the Priors are located in one of the oldest parts of the Palazzo Vecchio. They were built to house the members of government, which, at the time, consisted of eight elected officials, known as priors, two for each of the four quarters of Florence, the Gonfaloniere di Giustizia (the “Standard Bearer of Justice”), who acted as the figurehead of the state, two advisory bodies, the Twelve Wise Men and the Sedici Gonfalonieri, and two legislative bodies, the Consiglio del Popolo and the Consiglio del Commune. To ensure no one person dominated the government (which apparently failed to stop the Medici), each prior only served for a two month period. During their two month tenure, the law mandated that they live within the Palazzo; indeed, within these rooms. Their private quarters were renovated by Duke Cosimo I to become private chambers for his wife, Eleonora of Toledo, whereas the rooms now known as the Apartments of the Priors kept their more or less public character.

Sala dell’Udienza

Coffered Ceiling, Benedetto and Giuliano da Maiano

During the Republic, the Priors used this room to deliberate on public matters. It was renovated from 1470 to 1481 by Benedetto and Giuliano da Maiano, who are responsible for the coffered ceiling. The Maiano brothers’ wall frescoes, however, were replaced by Duke Cosimo I during the 16th century. Indeed, the Duke used this room to hold audiences while he was waiting for the princely Salone Cinquecento to be finished.

In 1543, Duke Cosimo commissioned Francesco Salviati to re-fresco the walls. Salviati was born Francesco de’Rossi, but, as was common among Renaissance artists, adopted the name of his patron, Cardinal Salviati. Typical of mannerist painters, Salviati’s work is informed by Michelangelo’s muscular body types packed together in awkward postures, giving the effect of frenzied and frantic movement.

Salviati created a fresco cycle depicting the story of Marcus Furius Camillus, a Roman General who purportedly freed Romans from the Gaulish invaders in 390 BC and defeated a rival Etruscan tribe centered in the town of Veii. Camillus became known as the “Second Founder of Rome.” The message to those lucky enough to be granted an audience with Cosimo was clear: Cosimo, like Camillus, defeated his people’s enemies. Also like Camillus, the Medici family had been exiled from their home city multiple times by inept governments and called back just as many times to save il popolo (the people). Significantly, Camillus was a republican hero, but the scenes depicted on the walls focus on his imperialist expansion of Rome, an expansion completed for the good of the Roman Republic.

On the east wall (the right wall on the picture below), Salviati painted The Triumph of Camillus, which depicts Camillus in a chariot driven by four white horses, triumphantly processing back to Rome after defeating the Veii and destroying their city.

On the north wall, Salviati painted different representations of time, including those used by the Egyptians, to link Cosimo’s rule to the “great” civilizations of the past and visually legitimize his reign by placing it in the context history.

On the last wall, which is opposite to the chapel and faces towards the north, in a corner on the right hand, is the Sun figured in the manner wherein the Egyptians represent him, and in the other corner the Moon in the same manner. In the middle is Favour, represented as a nude young man on the summit of the wheel, with Envy, Hatred, and Malice on one side, and on the other side Honours, Pleasure, and all the other things described by Lucian. Above the windows is a frieze all full of most beautiful nudes, as large as life, and in various forms and attitudes; with some scenes likewise from the life of Camillus.

Giorgio Vasari. Lives of the Most Excellent Painters, Sculptors and Architects. Studium Publishing, 2018.
The Weighing of the Gold of the Gauls and the Intervention of Camillus, Francesco Salviati

In The Weighing of the Gold, Salviati depicts the moment that Brennus, King of the Gauls, is attacked by Camillus.

The Romans had agreed to pay the Gauls a thousand pounds of gold as ransom for Rome, but, according to legend, Brennus placed his sword on the scale, indicating that more was due. At that moment, Camillus, recently returned from exile, attacked and defeated the Gaulish army. According to the ancient Roman historians Livy and Plutarch, after the Gauls sacked Rome, the Roman Senate had no choice but to recall Camillus from exile and grant him absolute power so he could defeat the Gauls. So too, the message goes, did the Florentine Priors have no choice but to recall the Medici from exile and grant Cosimo I absolute power.

The figure with two heads (on the left) is time. She is two-faced to look both towards the past and towards the future. She holds Opportunity by her forelock, while Cosimo I’s zodiac sign, the Capricorn, is located above. The allusion is clear: Cosimo I, like Time, grabs opportunity and leads her where he will. Indeed, as mentioned above, the room is full of allusions to time and Cosimo’s place within it.

Sala dei Gigli

Interestingly, this room retained its decoration from the days of the Republic. Each wall was supposed to be dedicated to men of great civic virtue (at least in the eyes of the ruling Florentines), in other words, a cycle of “uomini famosi” (“famous men”). This genre of decoration was typical of humanist tradition. Each individual depicted was to inspire the viewers (usually the ruling elite) to a higher standard of behavior and governance. The idea was that with the uomini famosi looking upon the officials, the officials would be informed by the illustrious examples of leadership, patriotism, etc. In the end, only one of the wall was completed; the other walls were decorated with the Angevin Fleur de Lys, giving the room its name, Sala dei Gigli (Hall of the Lilies).

 Domenico Bigordi, known as Ghirlandaio

The wall that was finished depicts six Romans underneath typical Roman triumphal arches . They are arranged chronologically, from left to right: Lucius Junius Brutus, Gaius Mucius Scaevola, Marcus Furius Camillus, Publius Decius Mus, Scipio Africanus and Cicero. Although all republicans, these Roman heroes were chosen for their patriotism, not their republican values, as evidenced by their accompanying inscriptions. Indeed, Lucius Junius Brutus, the first consul of Rome (not the Brutus famous for his role in killing Julius Caesar), is celebrated for defending his country (“BRVTVS EGO ASSERTOR PATRIAE REGVMQ FVGATOR”). Lucius Junius Brutus purportedly drove out the Tarquin king, his uncle, and founded the Roman Republic after the king raped a noblewoman named Lucretia. Although the inscription beneath him does mention the flight of the Tarquin king (“REGVMQ FVGATOR”), it is only incidental (and comes after) to his defense of his country. No mention is made of his pivotal role in founding the Republic.

Additionally, Cicero, who was a martyr for the Roman Republic, is extolled for his quashing of the Catiline conspiracy (“SVM CICERO TREMVIT NOSTRAS CATILINA SECVRES”), a clear comparison to the recent Pazzi Conspiracy, which occurred in 1478, a mere four years prior to the decoration of this room. Perhaps the most telling that this Hall did not celebrate Republican virtues is Ghirlandaio’s inclusion of the heads of Roman Emperors in the tondi on the spandrels.

This itinerary can be explained by the fact that Lorenzo de’Medici was the de facto ruler of Florence and organized the redecoration of the Hall himself. In fact, during the redecoration of this room, Lorenzo was busy tightening his grip on the Florentine government via “reforms,” including the creation of an executive committee known as the Council of Seventy, which was authorized to bypass the elected priors. The Council was also responsible for selecting from its own ranks members to comprise two additional committees: the Eight, which oversaw foreign policy, and the Twelve, which oversaw domestic affairs (this committee is separate and apart from the Council of the Twelve Wise Men mentioned above). Unsurprisingly, Lorenzo sat on both committees. Moreover, the Council of Seventy chose those individuals eligible to run for election as any public officials. Thus, the frescoes are less concerned with republican ideals and more interested in promoting patriotism.

In addition to the cycle of uomini famosi, the fresco contains allusions to the city of Florence itself. On either side of the central arch are illusions to the Marzocco, the heraldic lion of Florence, each holding a banner, the one on the left holding aloft the red cross of the popolo while the one on the right (partially obscured by the doorway) is holding the banner of the Florentine lily.

San Zanobi (St. Zenobius), patron saint of Florence, is depicted underneath the central arch. Allegedly, St. Zenobius saved Florence from the Ostrogoths in AD 405 when he was bishop of Florence. St. Zenobius is most famous for his uncanny ability to bring people back from the dead. Here, he is flanked by his deacons, St. Eugene and St. Crescentius.

In the background, Ghirlandaio anachronistically included the Dome of the Santa Maria del Fiore (commonly known as il Duomo), which wasn’t constructed until the 15th century (well after St. Zenobius’ lifetime).

St. Zenobius also had connections to the Medici family. First, Cosimo il Vecchio played a major role in translating St. Zenobius’ remains to their final resting place in the Cathedral of Santa Maria del Fiore during the Council of Florence (a church meeting that was intended to reunite the Orthodox and Catholic churches). Secondly, the three saints’ likenesses were modeled on depictions of them located in the north sacrasity of the Cathedral, the sacrasity to which Lorenzo was forced to flee for his life during the ill fated Pazzi conspiracy. Such an association reinforced Lorenzo’s legitimacy as divinely supported.

Chapel of the Priors

Located between the Sala dell’Udienza and Eleonora’s apartments, the Chapel of the Priors was commissioned by Gonfaloniere Piero Soderini to Baccio d’Agnolo and Ridolfo Ghirlandaio. The Chapel served as a place for the Priors to convene and pray prior to attending public debates.

The Madonna with Saints John and Elizabeth (Fra Mariano da Pescia)

The Chapel contains thirty-two latin inscriptions taken from Biblical, Classical, and early Christian texts that extol the virtues of good government as a message to the city leaders to practice good government.

The Ducal Apartments

At the end of the gallery overlooking the Salone dei Cinquecento are the apartments of Eleonora of Toledo (the wife of Duke Cosimo I), which were once located directly above Cosimo’s own rooms (now used as offices) and directly beneath those of her eleven children (yes, eleven children).

Camera Verde

The Duchess used this room, known as the “Green Room,” to receive visitors and to manage her quite extensive household.

Unfortunately, the landscape frescoes that gave this room its name are now lost, but the grotesques (painted by Ridolfo del Ghirlandaio) remain.

Grotesques mimicked ancient Roman frescoes, making them all the rage in a time when anything “classical” was considered higher art. In his Lives of the Most Excellent Painters, Sculptors and Architects, Giorgio Vasari, Medici court painter, explains:

The painter Morto da Feltro, who was as original in his life as he was in his brain and in the new fashion of grotesques that he made, which caused him to be held in great estimation … He was a melancholy person, and was constantly studying the antiquities; and seeing among them sections of vaults and ranges of walls adorned with grotesques, he liked these so much that he never ceased from examining them. And so well did he grasp the methods of drawing foliage in the ancient manner, that he was second to no man of his time in that profession.

Giorgio Vasari. Lives of the Most Excellent Painters, Sculptors and Architects. Studium Publishing.

The Camera Verde is the link between the Palazzo Vecchio and the Palazzo Pitti, so named because it was once the residence of the Pitti family, one of the Medici’s main rivals. Duchess Eleonora was so independently wealthy that she bought the Palazzo Pitti with her own money, thereby expanding the Medici residence into a complex that stretched over the Arno river via what is now known as the Vasari Corridor (a corridor that runs along the top of the Ponte Vecchio). The Vasari corridor was designed by – you guessed it – Giorgio Vasari, and it allowed the royal family to traverse from their residence at the Pitti Palace over the Arno river and through the Uffizi to the seat of government without ever stepping out into public.

The Vasari Corridor would have been lost to history during World War II had it not been for the intervention of one man: Gerhard Wolf. Wolf was the Nazi Consul to Florence and used his position to work against the Nazi cause by saving many Jews, including famous art historian Bernard Berenson, as well as spiriting art away from the city to keep it out of Nazi hands. When it became clear that the Nazis had to retreat from Florence, they began to dismantle and destroy any and all modes of transportation that the Allies could use to advance, including all the bridges. Wolf managed to convince the Nazi higher-ups that the Ponte Vecchio had no strategic value for the Allies and so resources should not be wasted to blow it up. The Nazis agreed and allowed the bridge to stand. Fascinating what a single person can accomplish in the face of tyranny.

Chapel of Eleonora

This next room served as the Duchess’ private chapel, accessible via the Camera Verde. She commissioned her favorite artist, Agnolo di Cosimo, known as Bronzino, to decorate it.

Wherefore the Duke, having recognized the ability of this man [Bronzino], caused him to set his hand to adorning a chapel of no great size in the Ducal Palace for the said Lady Duchess, a woman of true worth, if ever any woman was, and for her infinite merits worthy of eternal praise.

Giorgio Vasari. Lives of the Most Excellent Painters, Sculptors and Architects. Studium Publishing.

The altarpiece, Deposition of Christ, is actually a second version of Bronzino’s first, which had been gifted to Nicolas Perrenot de Granvelle, chancellor to Emperor Charles V. The Deposition is a typical pieta, showing Christ in his mother’s arms, alluding to his promised rebirth.

Deposition of Christ, Bronzino

The apostle John is placing Christ in his mother’s arms while on the right, Mary Magdalene is holding Christ’s feet. Above the scene, angels hold the symbols of the Passion (the cross, the column, the lance, and the sponge).

This work depicts Florentine mannerism at its finest. Mannerism is typified by agitated movement, intense emotion, and deep color schemes; look at the similarities between this altarpiece and Raphael’s Transfiguration, another famous work of mannerism (albeit Roman mannerism.)

Each altarpiece has similar color schemes, disorganized movement, muscular bodies positioned in awkward poses, and emotion. The figures in mannerist art are not passive depictions, but actual actors in the scene.

The vault of the Chapel depicts the Archangel Michael vanquishing the Devil (center), St. Francis receiving the stigmata (to the right), St. Jerome in the desert (not pictured), and St. John the Evangelist (to the left).

Vault of the Chapel of Eleonora

The three-faced head in the center is supposed to represent the Holy Trinity (God, Christ, and the Holy Spirit). Although quite faded, Bronzino overlaid the three-faced head with the Medici-Toledo coat of arms.

The walls of the Chapel are decorated with scenes from the life of Moses, including the crossing of the Red Sea, the appointment of Joshua, the spring miraculously gushing from the rocks, manna falling from the sky, and the adoration of the bronze serpent.

Interestingly, those drowning in the Red Sea (in the fresco on the right) are not Egyptians, but Ottomans. The symbolism would not be lost on contemporary Florentines: Cosimo I is the “new” Moses, leading his people out of reach of the Ottomans and towards safety.

Sala delle Sabine

The rest of the Duchess’ rooms are dedicated to storied women from the past.

So in the rooms above, of which there are four, painted for the Lady Duchess Eleonora, there are actions of illustrious Greek, Jewish, Latin, and Tuscan women, one in each room.

Vasari. Lives of the Most Excellent Painters, Sculptors and Architects. Studium Publishing.

The first, Sala delle Sabine, depicts the Sabine Hersilia, wife of Romulus, the founder of Rome, throwing herself between the Romans and the Sabines. According to legend, the Romans kidnapped women from the neighboring tribe, as apparently they were lacking females within their own city. Understandably outraged, the fathers of the women proceeded to attack the Romans. Caught in the middle, the Sabine women intervened between their now-husbands and their fathers, persuading each side to lay down their arms. Such decorations allude to the Duchess’ supposed talent as a mediator.

Sala di Ester

The next room, the Sala di Ester, celebrates the Jewish heroine Ester, who begged her husband, Ahasuerus, King of Persia, to spare her people at great risk to herself (King Ahasuerus was unaware of her ancestry and he had decided to destroy the Jewish race). Ester is depicted kneeling in front of King Ahasuerus, who has extended his sceptre as a sign of pardon.

Sala di Penelope

The Sala di Penelope celebrates Penelope, wife of Ulysses (Odysseus), King of Ithaca. Ulysses left Ithaca and his wife Penelope to fight with the Greeks in the Trojan war, which lasted ten years. Ulysses, however, was waylaid on his return journey, keeping him away from home for yet another ten years. During these twenty years, multiple suitors offered to marry Penelope (as it was assumed Ulysses had died). To avoid remarriage, Penelope told the suitors that she would remarry once she had finished weaving a shroud for Ulysses’ father, Laertes.

Young men, 
my suitors, now that King Odysseus is no more,
go slowly, keen as you are to marry me, until
I can finish off this web ...
so my weaving won't all fray and come to nothing.
This is a shroud for old lord Laertes, for that day
when the deadly fate that lays us out at last will take him down. 

Homer. The Odyssey. Translated by Robert Fagles, Penguin Books.

Every day, she would weave, but every night, she would unravel all the work that she had accomplished during the day so that she would never have to remarry.

So by day she'd weave at her great and growing web-
by night, by the light of torches set beside her,
she would unravel all she'd done. 

Homer. The Odyssey. Translated by Robert Fagles, Penguin Books.

Thus, Penelope symbolizes fidelity and patience, two virtues Florentine men apparently prized, if only in their womenfolk.

Penelope at the Loom, Vasari and Stradano

You can see the Medici devices embedded throughout the ceiling: on the right is the Capricorn (Cosimo’s astrological sign) while on the left is a tortoise holding a sail (embodying Cosimo’s motto, Hasten Slowly).

Sala di Gualdrada

The last room celebrates Gualdrada, a Florentine woman who refused to kiss Emperor Otto IV, stating that she would only kiss her future husband. Thus, Gualdrada represented modesty and virtue, as well as Florentine independence. Interestingly, Cosimo’s marriage to Eleonora (the daughter of Don Pedro di Alvarez di Toledo, who served as Emperor Charles V’s viceroy in Naples) only served to tighten Florence’s ties with the Holy Roman Empire. Perhaps Gualdrada’s inclusion within Eleonora’s apartments was meant to assuage any fears that the Duchess lacked independence from the Empire.

Gualdrada Refuses to Kiss Emperor Otto IV, Giorgio Vasari and Giovanni Stradano

Gualdrada is standing in the middle of the fresco, while the personification of Florence is depicted holding the Fleur de Lis and stretched out on a lion, two of the main symbols of Florence. Once again, Medici symbols are embedded on either side of the main fresco.

Quartiere Degli Dei Celesti

On the second floor of the Palazzo Vecchio is the Quartiere Degli Dei Celesti (the Quarter of the Celestial Gods), which, like the Quartiere Degli Dei Terrestri, was decorated by Giorgio Vasari and his team.

Room of the Elements

The Quartiere’s centerpiece is the Room of the Elements. Here, each fresco personifies one of the four elements: the ceiling is dedicated to the element of air (The Mutilation of Uranus), while the three windowless walls are dedicated to earth (Saturn Receiving the Gifts of the Earth), fire (Vulcan’s Forge), and water (The Birth of Venus).

The Mutilation of Uranus, the room’s starting point, is dedicated to air, which can be deduced based on its subject: the god Uranus, who was also known as Heaven, or alternatively, sky. Before we get into the painting, I’m inserting an abridged family tree of the Greek/Roman gods, as passed down to us from the 8th century BC Greek writer Hesiod.

To explain the graphic image: according to Hesiod’s rendition of the theogony, Saturn (counterpart to Kronos from the Greek pantheon; also known as Time) was more than a little peeved when his dad, Uranus, imprisoned him upon his birth, as Uranus did with all his children. So, Saturn plots with his mother (Earth, also known as Gaia) to castrate Uranus with a sickle made by Earth.

And he used to hide them all away in a secret place of Earth so soon as each was born, and would not suffer them to come up into the light: and Heaven rejoiced in his evil doing. But vast Earth [160] groaned within, being straitened, and she thought a crafty and an evil wile. Forthwith she made the element of grey flint and shaped a great sickle, and told her plan to her dear sons. And she spoke, cheering them, while she was vexed in her dear heart: [165] “My children, gotten of a sinful father, if you will obey me, we should punish the vile outrage of your father; for he first thought of doing shameful things.” So she said; but fear seized them all, and none of them uttered a word. But great Cronos the wily took courage and answered his dear mother: [170] “Mother, I will undertake to do this deed, for I reverence not our father of evil name, for he first thought of doing shameful things.”

Hesiod. The Complete Hesiod Collection. Acheron Press.

Both sickle and the resultant severed body part fell into the sea where the sickle formed the landmass Sicily and the dismembered organ impregnated the sea with the goddess Venus, the birth of whom is the subject of the fresco representing water.

Back to the ceiling fresco, however, you can see several figures and objects surrounding Uranus and Saturn. These figures and items represent the ten powers of God that helped create the world, including the crown of abundance (represented by the crown encircling the scene), Clemency, Grace, the Firmament (represented by the flat stone holding up the figures), and the Kingdom (represented by the armillary sphere). Here, Vasari was likely alluding to the ten Sefirot derived from Kabbalistic texts, thereby combining paganism with Judaism to explain the creation of the universe. (Vasari was greatly influenced in this depiction by his correspondence with humanist Cosimo Bartoli, who described the ten attributes as Corona, Sapientia, Prudentia, Clementia over bontà, Gratia over severità, Hornamento, Triomphe, Confessione di lode, Fondamento, and Regno.) This duel allusion to ancient cosmology serves to link Cosimo with the distant past, thereby establishing a legitimacy to royalty that, as a “new man,” Cosimo lacked. Indeed, the entire subject of this room is actually a play on Cosimo’s name: by celebrating the birth of the cosmos, the room is celebrating Cosimo himself. It is interesting to note that this allusion was not lost on Cosimo’s contemporaries. For instance, in his treastie Trattato Dell’uso Et Della Fabbrica Dell’astrolabio, astrologer and cosmographer Ignazio Danti quipped, “cosmos cosmōi cosmos” (“The cosmos is Cosimo’s ornament”).

The next fresco, Saturn Receiving the Gifts of the Earth, depicts the God Saturn accepting fruit from the goddess of earth, his daughter Ceres (Demeter in the Greek pantheon).

The message of this fresco was: just as Saturn accepts fruits from the earth, Cosimo I accepts the fruits of his subjects’ labors. Cosimo’s presence is felt throughout this piece. Indeed, on the right, Fortune is holding a tortoise (not pictured) and a sail, the elements of Duke Cosimo I’s device and motto: “festina lente,” in English, “hasten slowly.”

Moreover, the Capricorn (the goat/fish looking thing) sitting next to Saturn alludes to Cosimo I’s astrological sign. Notice the red ball that the Capricorn is holding? The ball alludes both to the Medici and to Cosimo personally. The Medici symbol, which you see everywhere in Florence, is the palle, in English, the balls (a term which, funnily enough (but probably not very funny to the Medici), did in fact have the same connotations as it does today). The ball also was meant to represent the cosmos, i.e. Cosimo.

Significantly, both the Capricorn and the motto festina lente were devices of the ancient Roman Emperor Augustus, which also had been adopted by Cosimo’s patron (and technically, feudal overlord) the Holy Roman Emperor Charles V.

The next element, fire, is represented in the fresco known as Vulcan’s Forge, fittingly painted on the wall of the fireplace.

Here, Vulcan (Hephaestus) is forging Cupid’s arrows with help from his wife, Venus. On the right are the Cyclopes (Steropes, Brontes, and Pyracmon) making Zeus’ thunderbolts. According to Vasari, Cosimo, like Vulcan, is a forger, but instead of arrows and thunderbolts, Cosimo forges virtues. Also as Vulcan made Achilles’ beautiful armor, Cosimo’s regin produced beautiful art and innovations. (During the Trojan War, Achilles’ mother, Thetis asked Vulcan to make her son impenetrable armor; Thetis raised Vulcan after his mother, Juno (Hera) discarded him because she thought him hideous, and so he could not refuse Thetis anything).

The next fresco, The Birth of Venus, is a less famous articulation of Botticelli’s painting of the same name. In Vasari’s version, Venus floats to shore, surrounded by Thetis, Neptune, the Tritons, the Nereids, and the Fear of the Sea. Venus, according to Vasari, is meant to represent Cosimo and the birth of a “new age” under his rule.

“And so soon as he had cut off the members with flint and cast them from the land into the surging sea, [190] they were swept away over the main a long time: and a white foam spread around them from the immortal flesh, and in it there grew a maiden. First she drew near holy Cythera, and from there, afterwards, she came to sea-girt Cyprus, and came forth an awful and lovely goddess, and grass [195] grew up about her beneath her shapely feet. Her gods and men call Aphrodite, and the foam-born goddess and rich-crowned Cytherea, because she grew amid the foam, and Cytherea because she reached Cythera, and Cyprogenes because she was born in billowy Cyprus, [200] and Philommedes because she sprang from the members.”

Hesiod. The Complete Hesiod Collection. Acheron Press.

As I mentioned in a previous post, each room on the second floor corresponds to the room directly below it.

There is nothing painted here that fails to correspond to what is below.

Giorgio Vasari, Ragionamenti

The Room of the Elements lays directly above Pope Leo X’s room and thus is intended to reflect the same considerations. For instance, the Room of the Elements celebrates the origin of the cosmos whereas the Room of Leo X celebrates the origin of the family’s royal pretensions. He was the first “prince” (albeit a prince of the church) in the family, and it is due to his rise that the rest of the family were able to rise too.

Room of Ceres

The ceiling in this room depicts Ceres’ descent into the underworld. Ceres (Demeter in the Greek pantheon) was the goddess of agriculture. Ceres is on her way to the underworld to rescue her daughter Prosperpina (Persephone) who had been abducted by Pluto (Hades) to rule as his Queen. According to legend, Pluto agreed to give Ceres her daughter back so long as Prosperpina had not eaten any food during her stay in hell. Unfortunately, Prosperpina was unable to keep her fast and ate six pomegranate seeds. So, Jupiter decreed that Prosperpina would spend six months of the year in the Underworld, one month for each pomegranate seed that she consumed, and the other six months with her mother. Legend has it that during those six months without her daughter, Demeter refuses to allow anything on the earth to grow, causing fall and winter.

The Room of Ceres is located above the room dedicated to Cosimo il Vecchio. According to Vasari, as Ceres is responsible for the earth’s prosperity, being the goddess of agriculture, so too was Cosimo il Vecchio responsible for Florence’s prosperity.

Room of Opis

Opis, Saturn’s wife, is depicted on the ceiling surrounded by the seasons and personifications of the months of the year because she is the goddess of abundance. She is on a chariot of gold, symbolizing Florence, pulled by lions, symbolizing Florentines, who pull their city forward, following the Medici lead.

[C]ioè Opi, e viene a trionfare in su la carretta d’oro tirata da’ lioni, segno di Fiorenza, cioè da’ suoi cittadini, li quali così come il Lione e Re degli animali, così gli uomini Toscani, e gl’ingegni loro sono piu sottili e più belli che tutti l’ingegni dell’altre nazioni in ogni professione, così delle scienze come dell’arme, e poi di tutte l’arti manuali, avendo con quegli per tutto il mondo lasciato opere eccellenti de’ loro fatti.

Vasari, Ragionamenti

The Room of Opis is above the room dedicated to Lorenzo the Magnificent. Vasari explains that because Opis was worshipped by men of all sorts, she represents Lorenzo, who was also revered by men of all sorts.

[S]on quassù di sopra le storie della Dea Opi adorata, e da tutte le sorti d’uomini grandi e piccoli con doni, e tributi riconosciuta per madre universale: così come Lorenzo in questa abbiamo veduto, che da tutte le sorti d’uomini è stato riverito, presentato e tenuto per padre de’ consigli, e li tutte le virtu.

Vasari, Ragionamenti

Room of Jupiter

Jupiter (Zeus), Saturn’s son, was hidden away on the island of Crete by his mother Opis for fear that Saturn would eat him. According to a prophecy, as Saturn overthrew his father, he too would be overthrown by his own son. [I’m sensing a lot of father-son anxiety going on in ancient Greek culture] At each birth, Saturn would eat the new baby, but Opis soon was fed-up (no pun intended) with Saturn eating her children, so she handed over a stone wrapped in swaddling clothes instead of Jupiter.

But when she was about to bear Zeus, the father of gods and men, [470] then she besought her own dear parents, Earth and starry Heaven, to devise some plan with her that the birth of her dear child might be concealed, and that retribution might overtake great, crafty Cronos for his own father and also for the children whom he had swallowed down. And they readily heard and obeyed their dear daughter, [475] and told her all that was destined to happen touching Cronos the king and his stout-hearted son. So they sent her to Lyctus, to the rich land of Crete, when she was ready to bear great Zeus, the youngest of her children. Him did vast Earth receive from Rhea [480] in wide Crete to nourish and to bring up. To that place came Earth carrying him swiftly through the black night to Lyctus first, and took him in her arms and hid him in a remote cave beneath the secret places of the holy earth on thick-wooded Mount Aegeum; but to the mightily ruling son of Heaven, the earlier king of the gods, [485] she gave a great stone wrapped in swaddling clothes  Then he took it in his hands and thrust it down into his belly: wretch! he knew not in his heart that in place of the stone his son was left behind, unconquered and untroubled, [490] and that he was soon to overcome him by force and might and drive him from his honors, himself to reign over the deathless gods.

Hesiod. The Complete Hesiod Collection. Acheron Press.

Jupiter grew up under the care of a goat (in some stories a nymph) named Amalthea. In honor of her foster care, Jupiter placed her image among the stars as the constellation capricorn (again, an allusion to Cosimo I). As foretold, Jupiter usurped his father and defeated the titans and giants, establishing a “peaceful” new world. (Judging by the later myths, however, I wouldn’t necessarily describe the new order as “peaceful”).

Not one for modesty it seems, Cosimo I had his room placed under the room dedicated to the King of the Gods; for, like Jupiter, Cosimo had created a “peaceful” new order. Moreover, like Jupiter, Cosimo I was nurtured under the watchful eye of Capricorn. The seven stars that make up Capricorn were said to represent the seven virtues, which by linking himself to Capricorn, Cosimo also links himself to those seven virtues (prudence, justice, temperance, courage (or fortitude) faith, hope, and charity).

Terrace of Juno

Although walled up in the 16th century, this room originally gave way to a loggia, built to allow Duke Cosimo’s wife, the Duchess Eleonora of Toledo, to view the city. The room was dedicated to Juno in honor of the Duchess, who, according to the iconography of the rooms, was the wife of the new “Jupiter” (i.e. Cosimo). Juno was the goddess of matrimony and wealth, two qualities the Medici wanted to associate with Eleonora. In fact, the Duchess was well known for her financial acumen, not least because she was able to buy the Palazzo Pitt (the house of the Medici’s rivals) with her own money.

This room also contains Andrea del Verrocchio’s Putto with Dolphin, a bronze commissioned by Lorenzo the Magnificent for a fountain in the Medici villa of Careggi. Cosimo I moved it to the Palazzo’s courtyard in 1557, but it was replaced with a copy and moved inside for preservation.

Room of Hercules

The ceiling of this room depicts baby Hercules’ triumph over snakes sent by Juno, Jupiter’s wife. Juno, in her anger against Jupiter’s infidelity, sent snakes to kill Jupiter’s illegitimate child, Hercules.

Surrounding the central fresco are several of Hercules’ well known labors, including: Battling the Lernaean Hydra, vanquishing the Nemean Lion, facing the three-headed dog Cerberus, stealing the golden apples, capturing Cacus, suffocating the giant Antaeus, killing the centaur Nessus, and taming the Cretan bull.

Vasari explains that Hercules’ virtues have been exemplified by men such as Caesar, Alexander the Great, Pompey, and none other than Cosimo I himself:

Questo si vide ne’ principi della grandezza di Cesare, e di molti altri in Roma e in Grecia … che più vivo esempio possiamo noi pigliare di quello del Duca vostro padre, partorito appena dalla bontà di Dio per essere capo di questo governo …

Vasari, Ragionamenti

Beneath the Room of Hercules is the room dedicated to Giovanni delle Bande Nere, Cosimo I’s father, the only soldier in the family and thus the obvious choice for a hero known for his martial prowess. During the 16th century, it was common for royal families to commission art celebrating their own military conquests to solidify their authority over the common people. Because the Medici were bankers, they could boast no great military ancestors. Thus, Cosimo was forced to turn to the recent past to check this particular royal box.

The Quartiere Degli Dei Terrestri

The Studiolo of Francesco I:

Francesco de’ Medici, Duke Cosimo’s eldest son, commissioned Giorgio Vasari to design this room, located off the Hall of the Five Hundred. Francesco used it as his study as well as to house family heirlooms, as was typical at the time (during the 16th and 17th century, collecting and categorizing objects was in vogue, influenced, no doubt, by the beginnings of the scientific revolution). Each side of the room was designed to resemble one of the four elements, which then corresponded to the items held within each built-in cabinet. The doors to those cabinets were also designed with the particular cabinet’s contents in mind, decorated with Biblical, mythological, or historical events that corresponded to its inner treasures.

The room’s apotheosis is the vault, which depicts Nature handing a stone to Prometheus. Nature’s handoff of the stone demonstrates the convergence of science and art (two of Francesco’s passions) because, it is assumed, Prometheus will transform the stone into a beautiful gem. Prometheus is depicted holding a flaming branch because it was he, according to the greek writer Hesiod, who gave man the secret of fire. Zeus retaliated by chaining Prometheus to a mountain and ordering an eagle to eat Prometheus’ liver, which would then regrow every night only to be eaten the next day. For men’s punishment in Prometheus’ scheme, Zeus allegedly created women.

[600] even so Zeus who thunders on high made women to be an evil to mortal men, with a nature to do evil. And he gave them a second evil to be the price for the good they had: whoever avoids marriage and the sorrows that women cause, and will not wed, reaches deadly old age [605] without anyone to tend his years, and though he at least has no lack of livelihood while he lives, yet, when he is dead, his kinsfolk divide his possessions amongst them. And as for the man who chooses the lot of marriage and takes a good wife suited to his mind, evil continually contends with good; [610] for whoever happens to have mischievous children, lives always with unceasing grief in his spirit and heart within him; and this evil cannot be healed. So it is not possible to deceive or go beyond the will of Zeus: for not even the son of Iapetus, kindly Prometheus, [615] escaped his heavy anger, but of necessity strong bands confined him, although he knew many a wile.

Hesiod. “The Complete Hesiod Collection.” Acheron Press edition.

It seems Hesiod did not have much luck in his love life.

Surrounding the center fresco is a typical 16th century cosmogram (i.e. the four elements, the four qualities (cold, damp, hot, dry), the four humours (melancholic, phlegmatic, sanguine, and choleric), and the four seasons).

The Quartiere Degli Dei Terrestri

Also next to the Hall of the Five Hundred are apartments that were dedicated to housing guests of the Medici. In light of this function, Cosimo I commissioned Vasari to decorate the rooms with typical ducal trappings of power. Vasari did just that – and more. Rather than simply celebrate ducal power, the rooms serve to equate the Medici to “Dei Terrestri” (“earthly gods”).

Indeed, each room is dedicated to one of the Medici heroes, with frescoes celebrating major events of his lifetime. Each of these lower level rooms, however, corresponds to the room located directly above, which was dedicated to a mythical god and/or hero (the “Dei Celetri”). Through this linkage, Vasari mythologizes Cosimo’s more famous ancestors, elevating them to Dei Terrestri.

Room of Cosimo il Vecchio

The first room is dedicated to Cosimo il Vecchio (also known as “Pater Patriae” or “father of the nation”), arguably the most famous member of the Medici Family and Duke Cosimo’s namesake. Vasari decided to focus the room on Cosimo’s return from a year long exile in 1434.

Cosimo the Elder Returns from Exile, Giorgio Vasari

The ceiling fresco depicts throngs of Florentines meeting Cosimo as he returns to Florence, a depiction which would seem more appropriate for a triumphal return from battle rather than a return from exile. By emphasizing the people’s happiness over Cosimo’s return, however, Vasari refocuses the story on Cosimo’s popularity with the people rather than on the treason of which he was found guilty.

How did the Pater Patriae get himself exiled from the nation he had allegedly birthed? To understand, it is important to note that Florentine politics were rife with violence, internal conflict, mistrust, and petty jealousies. Indeed, Cosimo’s exile can be boiled down to one faction’s animosity towards the Medici’s increasing wealth and power. Rinaldo degli Albizzi and his conservative allies had been in control of Florence’s government for four decades when the Medici family was just beginning to assert its power. As the Medici attained more wealth and supporters, known as amici (translated as “friends”), tensions with the Albizzi grew. It all came to a head in 1429 when hostilities broke out between Florence and the city of Lucca. Albizzi and his conservatives favored a full blown war with Lucca while the Medici and the amici cautioned against it. The Albizzi won out and Florence went to war, which turned out to be a fiasco. As the costs of the war began mounting, Cosimo’s bank loaned the city money to cover the shortfall, eventually loaning Florence so much money that one third of the city’s debt was financed by the Medici bank. The result of this debacle was the people’s loss of confidence in Albizzi and an increase in respect for the Medici, who, as the Medici propagandists argued, had counseled against the war yet still risked financial ruin for the good of the republic to ensure its victory.

To avoid losing any more power and perhaps to save face, Albizzi tried Cosimo for treason, alleging Cosimo had prolonged the war for his own financial benefit. Cosimo was found guilty and subjected to exile, which, to Albizzi’s horror, was overturned after the election of a majority of amici to the Signoria. In an about-face, the newly elected Signoria brought Cosimo home and exiled Albizzi and many of his allies, purging the government of all those opposing the Medici and allowing Cosimo to take full control of the government. And so began the Medici’s tight hold on Florentine government (aside from a couple more periods of exile).

To improve their social standing both within Florence and without, the Medici family portrayed themselves as “renaissance men,” i.e. patrons of the arts, sciences, and culture. Vasari sought to capture Cosimo’s renown for artistic patronage in the painting below, Cosimo the Elder Surrounded by Literati and Artists, painted by Marco da Faenza (a collaborator to Vasari).

Here, Cosimo il Vecchio is depicted surrounded by key artists of his time, including Marsilio Ficino, Donatello, Filippo Brunelleschi, Luca della Robbia, Fra Angelico, Filippo Lippi, and Lorenzo Ghiberti, many of whom he had commissioned numerous artworks.

Brunelleschi and Ghiberti Show Cosimo the Elder the Model for the Basilica of San Lorenzo, Marco da Faenza. Cosimo il Vecchio is also credited for building the family church, San Lorenzo.

Room of Lorenzo il Magnifico

The next room is dedicated to Lorenzo il Magnifico, Cosimo’s grandson. Lorenzo’s father, known as Piero the Gouty, delegated much of the family authority to Lorenzo due to his poor health, Moreover, he was not as politically astute as his father or son, thus his lack of a room.

The second day after [my father’s] death, although I, Lorenzo was very young, being only twenty years of age, the principal men of the city and of the State came to us in our house to condole with us on our loss and to encourage me to take charge of the city and of the State, as my grandfather and my father had done.

Lorenzo de’Medici, Ricordi

In contrast to his father, Lorenzo operated on an international stage, thereby expanding the family’s influence beyond the bounds of Tuscany. It is therefore fitting that the ceiling in this room depicts foreign dignitaries presenting Lorenzo with gifts, including lions, Barb horses, jewels, and a cardinal hat, which was given to his son Giovanni, the first Medici to become pope.

Lorenzo was a living representation of the Medici’s move from solidly middle class stock to nobility. Indeed, Lorenzo’s wife, Clarice Orsini, came from an ancient Roman family, a match which was notable both for the bride’s foreignness and for her blue blood. Moreover, Lorenzo successfully lobbied for a cardinalship for his son, Giovanni de’Medici (later, Pope Leo X). With Giovanni’s cardinal’s hat, Lorenzo’s son was now a prince of the church, giving him the same status as any lay prince. Lorenzo had elevated his family from its commercial roots to nobility (via his wife Clarice), then royalty (via his son Giovanni).

This [hat] was a ladder enabling his family to rise to heaven.

Machiavelli

Lorenzo also continued his grandfather’s patronage of the arts and sciences. In the painting to the right, he is depicted sitting amongst such humanists as Pico della Mirandola, Politian, Marsilio Ficino, Leon Battista Alberti, and Leonardo Bruni. Indeed, Lorenzo himself was an amateur philosopher and poet.

Interestingly, in both of these rooms, Vasari depicted Cosimo and Lorenzo in strikingly similar poses to that taken by Roman Emperor Constantine in the Aurelian Relief known as Liberalitas (located on the Arch of Constantine in Rome), further strengthening the link of the Medici to royalty/power. In the Liberalitas, Constantine is shown distributing money and protection to Roman citizens. So too, Vasari’s designs proclaim, Cosimo and Lorenzo distributed money and protection to the artists and intellectuals that surrounded them.

Room of Leo X

In my distress I cried unto the Lord, and he heard me.

Pope Leo X’s motto, taken from Psalm 120

Pope Leo X was born Giovanni de’ Medici, son of Lorenzo il Magnifico. He became a cardinal at thirteen (at this time it was common to be made a cardinal prior to attaining adulthood and even prior to taking holy orders) and was eventually elected to the papacy in 1513 (at age 37), taking the name Leo X (after the Florentine lion).

The Election of Giovanni de’Medici to the Papacy, Vasari

The piece below captures Pope Leo X’s visit to Florence in 1515. The procession into Florence was led by eighty mules and was rumored to have over 3,000 participants, including mace-bearers, squires, valets, secretaries, lawyers, ambassadors, cardinals, archbishops, and trumpeters.

The Arrival of Leo X in Florence, Vasari

Since the pope had left Rome to go to Bologna to meet the king of France … Leo decided that on the way he would pass through Florence to show his homeland the glory and grandeur God had vested in him, after so many different vicissitudes.

Vasari, Ragionamenti

Unfortunately, the rooms dedicated to Clement VII, Giovanni delle Bande Nere, and Cosimo I are not open to the public, as they are used as the offices of the mayor of Florence, so I don’t have any pictures, but I can tell you about them.

First, there is a room dedicated to Clement VII, the second Medici to hold the papal throne, who was elevated to the cardinalship by his uncle, Pope Leo X. He was elected to the papacy in November of 1523, and it was under his papacy that Holy Roman Emperor Charles V sacked Rome and the advent of the Protestant reformation. He, however, was the one responsible for installing the Medici as Dukes of Florence in the person of his illegitimate son, Alessandro de’Medici, via his alliance with Charles V, who had recently taken over the city.

The next room is dedicated to Giovanni delle Bande Nere, Cosimo I’s father. Giovanni was a commander in the papal army, serving under both his cousins Leo X and Clement VII. He died, likely from gangrene, after being wounded during a skirmish against Imperial troops. Upon Giovanni’s marriage to Maria Salviati (granddaughter to Lorenzo il Magnifico), the two branches of the Medici family were reunited.

Finally, Cosimo I dedicated a room wholly to none other than Cosimo I, thereby including himself among the legendary Medici heroes. A clear indication of how highly he thought of his political prowess.

Cosimo I became duke after his cousin, Duke Alessandro, made himself highly unpopular during his short-lived reign as Duke of Florence. Indeed, he was assassinated by another Medici cousin, Lorenzino, in January of 1537. Rather than install Alessandro’s illegitimate four year old son as duke, the Florentines promoted Cosimo as Alessandro’s successor. Charles V agreed and invested him with the duchy. It was Cosimo who lobbied Pope Pius V to grant the Medici the title of Grand Duke of Tuscany, a royal elevation from the (“simple”) dukedom of Florence.

The Old Palace and The Hall of the Five Hundred

The Palazzo Vecchio has had many names throughout its storied past, including the Palazzo dei Priori, the Palazzo della Signoria, the Palazzo Ducale, and the Palazzo di Piazza. Each of these names reflects the period of Florentine history with which it coincided, but it is its final and lasting name, the Palazzo Vecchio, that is the most revealing of all. It testifies to the winner of Florence’s internecine struggles: the Medici. Indeed, the palace’s surviving name, il Palazzo Vecchio (the “Old Palace”), is a nod towards the Medici’s use of the Palazzo as a familial residence and their ultimate move to the Palazzo Pitti, their “new palace.”

The Palazzo Vecchio began its life as the Palazzo dei Priori and served as the principal seat of government, and in fact remains to this day, Florence’s city hall. Construction began in 1298 on top of a 1st century AD Roman theatre, the ruins of which may be seen by visiting the bottom floor of the Museum. The building was built in celebration of the foundation of the Florentine Republic. To emphasize the Republic’s core values, distaste for nobility and a love of economy, the building was constructed with local stone without decoration.

Outside you can see Giambologna’s Rape of a Sabine Woman, the Medici Lions, and Cellini’s Perseus and Medusa. Perseus and Medusa was Cellini’s answer to Michelangelo’s David and Donatello’s Judith and Holofernes.

Perseus and Medusa, Benvenuto Cellini

Salone dei Cinquecento

The Palazzo is home to the Salone dei Cinquecento (Hall of the Five Hundred), which was built in 1494, during the short lived Republic of Fra Girolamo Savonarola. Savonarola led a popular uprising against the Medici, ousting them from both power and the city. Upon installing his new republican government, Savonarola increased the number of Florentines eligible to participate in the government to (purportedly) over 1,000 people. Thus, a large hall was needed to accommodate at least five hundred Florentines at a time.

Fra Savonarola was eventually condemned to death, paving the way for the return of the Medici, but prior to their return, gonfaloniere Pier Soderini commissioned Michelangelo and Leonardo da Vinci to decorate the hall. Michelangelo painted the Battle of Cascina; Da Vinci, the Battle of Anghiari, but neither mural was ever completed. Michelangelo was recalled to Rome by the Pope, and Da Vinci, who rarely finished his work, abandoned the project. Although the Battle of Anghiari was never finished, Da Vinici’s cartoons for the project became a point of reference for future artists. Indeed, Benvenuto Cellini wrote of the cartoons, “As long as they remain intact, they were the school of the world.”

After Fra Savonarola was burned at the stake and the Medici regained power, Duke Cosimo de’ Medici made the Vecchio his residence in the 1540s, moving his court from the Palazzo de’ Medici (now Palazzo de’ Medici-Riccardi) and renovating the Hall to exude princely power, demonstrating his absolute rule. The palace was renamed the Palazzo Ducale, cementing the Medici as the ruling party in the once republican Florence.

Cosimo commissioned Baccio Bandinelli, Giuliano di Baccio d’Agnolo, and Giovanni Caccini to design a public audience chamber (known as the Udienza), where the Duke would receive foreign dignitaries, guests, and messengers. The result was a design reminiscent of imperial Roman triumphal arches; a connection that I am sure was not lost on those visiting the ducal receiving chambers.

The figure in the middle arch is Pope Leo X, the first Medici (but not the last) to sit on the papal throne. To the left of Pope Leo is Giovanni dalle Bande Nere, Duke Cosimo’s father (as well as a famous condottiere) while to the right is Duke Alessandro de’Medici, the first Duke of Florence. Above each Medici are the devices associated with that particular individual. For instance, above Giovanni dalle Bande Nere is a winged firebolt, symbolizing his physical prowess and speed while above Duke Alessandro is a rhinoceros, symbolizing power.

The entire itinerary was meant to impress upon the viewers the magnificence (real or imagined) of the Medici House and reaffirm its claim to be within the upper echelons of royalty.

Meanwhile, the ceiling was commissioned to Giorgio Vasari, Duke Medici’s court painter. Vasari raised the ceiling by around seven meters and decorated it in the Venetian style with frescoes that celebrated Cosimo I’s pivotal role in the creation of the Duchy of Tuscany.

Every day I draw for the Great Hall and façades so that it will reflect all your mastery, and this has redoubled my creativity.

Giorgio Vasari to Cosimo I

For a comparison to the “Venetian Style” that Vasari was mimicking, I’ve included images below of two different ceilings located in the Doge’s palace (Venice).

As you can see, the Venetian style is epitomized by golden borders offsetting each episode.

On the left of the Palazzo Vecchio ceiling are scenes from the Florentine-Pisan war, in the center are scenes from Florence’s domestic history, and on the right are scenes from the Florentine-Sienese war during which the Duke lead the Florentines to victory. Side by side the frescoes demonstrate the stark contrast between the disastrous war led by the republican government against Pisa and the successful one fought under absolute power. The Pisan war was won at great cost to the Republic, lasting over fourteen years while the Sienese war lasted a mere fourteen months.

The central tondi, however, is the Apotheosis of Cosimo I, which depicts Cosimo I in all his glory. Here, Cosimo is wearing a purple mantle (the color of royalty), accompanied by the ducal crown, the cross of the Order of St. Stephen (a chivalric order he himself founded in 1541 and dedicated to Pope Stephen I), and the Golden Fleece, which had been awarded to him by Emperor Charles V in 1545. Chivalric orders were princely trappings that helped promote the royal families across Europe. He is surrounded by the coasts of arms of the city and the insignias of the Florentine Guilds.

Apotheosis of Cosimo I, Vasari and Giovanni Battista Naldini

One of the several middle panels is known as The Foundation of Florentia. This panel reflects the traditional foundation story that haunted Florentines for centuries.

The Foundation of Florentia, Giorgio Vasari and Giovanni Stradano

Here, Mark Antony, one of the members of the Second Roman Triumvirate presents the Florentines with a banner of a white lily embroidered on red. It is what is in the background, however, that alludes to Florentine foundation anxiety: the Roman temple to Mars, the god of war.

Indeed, Florentines blamed most of their strife on this single moment in their history. When Caesar’s army founded Florentina, so the story goes, they also built a temple to Mars. The early Florentines, however, betrayed Mars when they reconsecrated his temple to St. John the Baptist, a saint known for his pacifism. (According to archeological evidence, the oldest parts of San Giovanni are from the 4th century AD and were indeed built on Roman foundations). Though at odds with our modern sense of religion, even the most pious of Florentines believed that the God of War inflicted social upheaval on the city because of their abandonment of him.

This belief intensified when, at the foot of the displaced Mars statute, one of the most famous murders in Florentine history occurred, the murder of a Messer Buondelmonte. Allegedly, it was this murder that set off the start of the Guelf and Ghibelline conflicts.

And so it is clear that this life-destroying enmity comes from no other source than the sin of the pagan Florentines themselves who in ancient times worshiped the idol of Mars, since at his feet they committed the murder from which so much evil followed.

Giovanni Villani

Also interesting about this panel is Mark Antony’s posture. Notice the similarities to the Belvedere Torso? Click here to read more about the famous Torso and its influence on generations of art.

The frescoes on the walls of the hall also reflect the juxtaposition of the Sienese and Pisan wars. Recording the “disastrous” war with Pisa are the following frescoes:

Maximilian of Austria Attempts the Siege of Leghorn, Vasari and Naldini, depicts the moment that Holy Roman Emperor Maximilian comes to the aid of the Pisans, but, alas, to no avail. The Emperor’s attack on the Florentines failed, in part due to a terrible storm that shipwrecked the imperial fleet, forcing the imperial forces to withdraw. The Storming of the Fortress of Stampace, pictured below, depicts the Florentine capture of Stampace.

The Storming of the Fortress of Stampace, Vasari, Naldini, and Jacopo Zucchi

As explained above, the frescoes on the other wall are episodes from the Sienese War. In 1552, Siena rebelled against its overlord, the Holy Roman Emperor Charles V, prompting Charles to request Florentine intervention whereas the Sienese turned to the French for help claiming their independence. It wasn’t until January of 1554, however, that Florentine troops marched in support of the Emperor. The frescoes depict the most famous of the battles.

The first, Capture of the Fort near the Porta Camollia, depicts the January 1554 attack on Siena led by Giangiacomo Medici, Marquis of Marignano (Giangiacomo was not a relation of the Medici family, but a member of a Milanese family of the same name). On January 26th, the ducal army attacked the Sienese fort located near Porta Camollia and surprised the guards while they slept. The Florentines marked this event as the beginning of the war.

Capture of the Fort near the Porta Camollia, Vasari

The second, The Battle of Marciano in Val di Chiana, depicts the August 2, 1554 battle in Val di Chiana, which was decisive for the Florentines’ victory the next spring. Here, Florentine exiles, who had fled the Medici rule and sided with Siena, Frenchmen, and Grisons attacked the Florentine army, but the Florentines routed the Sienese troops.

The Battle of Marciano in Val di Chiana, Vasari and Zucchi

The last, The Capture of Porto Ercole, Vasari, depicts the capture of Porto Ercole, Siena’s last holdout. Those who had been loyal to Siena fled to Porto Ercole after Siena had fallen on April 21, 1555. After a twenty-four day siege, however, the final bastion of Sienese independence fell.

Also found in the Hall is Vincenzo de’ Rossi’s series of statues known as The Labors of Hercules. Significantly, Cosimo I identified with the ancient Greek hero, going so far as to include Hercules’ likeness on his official seal. It was no coincidence that Hercules was also the symbol of Florence and had been on Florence’s official seal (the seal was engraved with the words, “Herculea clava domat florencia prava,” roughly translated as Hercules’ club smashes Florentine crookedness).

Moreover, take another look at the Foundation of Florence panel, discussed infra. Hercules makes an appearance! He is a little blurry, but there he is, identifiable via the club slung over his shoulder.

Thus, Cosimo was appropriating republican propaganda, “becoming the state” (perhaps beating Louis XIV to the concept of l’état, c’est moi). Ironically, Florentines idealized Hercules as the hero that destroyed tyrants.

It was Cosimo’s objective to become the “new” Hercules. In fact, Cosimo’s dominions over the 12 Etruscan cities were likened to Hercules’ 12 labors. I should mention here that some mythologies have Hercules performing more than the famous 12. Twelve, however, seems an opportune number as the 12 labors may be illusions to the 12 months, linking Hercules with time itself.

The rest of the palazzo contains subtle and some not-so-subtle allusions to Hercules (indeed, here is an entire room named for him) in a further effort to link the Medici with greatness. Alas, I think I have probably spent way too long in this post talking about all the neat artwork to see in a single room that the next rooms will have to be saved for later. Thanks as always.

Top Three Must-Visit Churches in Rome (Aside From St. Peter’s)

One thing Rome is not short on is churches. But, with (literally) centuries of history to explore, it would be near impossible to visit each one. So I have compiled a list of my top three favorites (excluding St. Peter’s because let’s be real, St. Peter’s would be number one and is probably already number one on your list too) in an effort to help winnow down your list.

Chiesa di Sant’Ignazio di Loyola

St. Ignatius of Loyola, the founder of the Society of Jesus, commonly known as the Jesuits, established a college in Rome in 1551. Several decades later, a larger church for this college was necessary due to an increasing number of students, and thus, Pope Gregory XV commissioned Chiesa di Sant’Ignazio di Loyola (The Church of St. Ignatius of Loyola) in 1626.

Much of the art in this church was commissioned during what is sometimes known as the Counter-Reformation period. I believe I have talked about how the Counter-Reformation influenced art in a previous post, but to briefly recap: during the Counter-Reformation, the church commissioned grandiose works of art that were intended to inspire, and even intimidate, viewers. The thinking was that parishioners were less likely to convert to Protestantism if their churches were awe-inspiring (at the time, Protestants believed that religious artwork violated the First Commandment – thou shall not have any God but me – because artwork encouraged viewers to worship the images rather than God himself). Because much of the art was commissioned during this period, the Church of St. Ignatius houses magnificent artwork that can only be described as overwhelming.

The church is particularly well known for its vaulted ceiling, which was painted by Andrea Pozzo, a lay Jesuit brother. Pozzo used a painting technique known as quadratura. Quadratura uses painted decoration to create an illusion of infinite space. To achieve such an effect, the artist mimics the building’s architectural details in the painting to make it appear that the room extends beyond the confines of its actual space. Indeed, when you look up, you feel as though the ceiling opens up into the heavens (for those HP fans out there, the feeling is what I imagine looking up at the Great Hall would be like – just without St. Ignatius ascending, all the angels, etc.).

The Worldwide Mission of the Society of Jesus

The most famous scene from the vault is of St. Ignatius accompanied by the angels. According to art historians, St. Ignatius is meant to represent the Jesuit Society as a whole. If you look closely, you can see light pouring from the saint’s body. This light is supposed to represent the knowledge of God, which the Jesuits believed that they themselves gave to the world.

Indeed, if you take another look at the vault, you can see that four of the world’s continents are represented along the sides of the painting (North and South America have been merged into a single continent). Each group of figures holds a plaque with the names of the following continents (from left to right; top to bottom): Asia, Evropa (Europe), Africa, America.

Pozzo also painted the works in the presbytery. Each painting illustrates important events in the vocation of the Society, including the Siege of Pamplona, service given to plague victims, Francis Borgia’s entry into the Society, and the departure of Francis Xavier to the Indies.

To the right of the transept is an altar dedicated to Gonzaga (also produced by Andrea Pozzo), which holds the saint’s remains while to the left is the Ludovisi Chapel (created by Filippo della Valle), which holds the remains of St. John Berchmans. Interestingly (or creepily – you choose), St. John’s body does not have its heart, which is now a relic kept in the Church of Saint-Michel in Leuven.

undefined The Pantheon

Probably one of the most famous churches, although many do not know that it is technically a church, is the Pantheon. The Pantheon was never intended to be a Catholic Church. Indeed, the façade of the Pantheon was built by Marcus Agrippa, Roman Emperor Augustus’ long-time pal and general, and eventually son-in-law. The main body of the Pantheon was built by Emperor Hadrian (who you may have heard of due to his eponymous wall located in Northern England). Originally, the Pantheon was dedicated to the worship of every god, but now as a consecrated Catholic church, it is dedicated to the worship of only one god.

The church also houses the remains of the first king of (unified) Italy, Victor Emmanuel II (prior to Victor Emmanuel, multiple figures have anointed themselves with the some version of the kingly title, most famously Napoleon Bonaparte) and the remains of the artist Raphael, whose paintings I’ve discussed in prior posts.

One aspect of the Pantheon that is rather well known is its domed ceiling, which is famous for giving Filippo Brunelleschi the key to completing the dome of Santa Maria del Fiore, commonly known as il Duomo, Florence’s Cathedral. Indeed, the secrets of engineering that held the Pantheon’s dome aloft had been long forgotten by Brunelleschi’s time, leaving the Florentines at a loss as to how to complete their dome without it collapsing. Brunelleschi, however, re-discovered linear perspective, an ancient mathematical technique used to construct the Pantheon.

Santa Maria in Campitelli

The final church that I am going to talk about is known both as Santa Maria in Campitelli or Santa Maria in Portico. It was built in response to the plague of 1656. The pope during this plague, Pope Alexander VII, took a vow to the icon St. Maria in Portico to commission a church should the plague abait. These types of vows occurred so often that churches built as a result as commonly known now as “Plague Churches.” Well, the plague eventually did abait, and so Alexander fulfilled his promise and laid the foundation stone on September 29, 1660.

Above the doorway, you can see the inscription “S.P.Q.R. VOTVM S. ALEXAN. VII. P. M. S. MARIAE IN PORTICV A. FVNDAM. POS. A. M. DC. LXV.” Now, it has been a while since my last college Latin class, but S.P.Q.R. (an acronym that you will see all over Rome) means Senātus Populusque Rōmānus, or in English, “The Senate and People of Rome.” “VOTVM S.” also appears quite regularly in ancient inscriptions, albeit in another form (“V.S.L.M.”). Votum translates as a vow, thus referring to Pope Alexander’s vow to build the Church, and the “S” is an abbreviation of the Latin verb solvit, meaning “to fulfill.” The next three are easier: “Alexan. VII. P. M.” translates as Alexander VII, Pontifex Maximus; “S. Mariae in Porticv” means Santa Maria in Portico; and “A Fundam.” is an abbreviation for the latin phrase “a fundamenta,” translated into english as “from foundations.” “Pos.” is the abbreviation for “posuit,” translated roughly as “put” or “laid.” Finally, “A. M. DC. LXV.” refers to the date, Anno 1000 (M) 600 (DC) 65 (LXV), or 1665, the date the façade was completed.

S.P.Q.R.The Senate and People of Rome
VOTVM S.Fulfilled Vow
Alexand. VII. P. M.Alexander VII, Pontifex Maximus
S. Mariae in PorticvSanta Maria in Portico
A. FVNDAM. POS. Laid from Foundations
A. M. DC. LXV.In the Year 1665

After putting it all together, the inscription means In the Year 1665, The Senate and People of Rome fulfilled Pope Alexander VII’s vow to rebuild Santa Maria in Portico from its foundations (the church was built atop the site of a prior church dedicated to Mary).

The altar tabernacle was designed by Giovanni Antonio de Rossi to contain the aforementioned icon.

The icon is a typical Byzantine work, with Mary holding Jesus against a blue background between two oak leaves. Allegedly, the icon is linked to a 6th century event, when St. Galla had a vision of a couplet stating, “Hic est illa piae Genitricis Imago Mariae quae discubenti Gallae patuit metuenti,” meaning, “This is the image of Mary Mother of God revealed to Galla, humble and fearful, while serving the poor.” The image in possession of the church is probably a reproduction of a more ancient painting.

Marian devotion looms large in Roman culture, especially as she has been linked to the Port (Porto/Portico), which is typically a place of welcome and shelter, alluding to the security of the womb.

Another fun fact about this church: Henry Stuart, Duke of York, became the cardinal deacon of the church in 1747, and he and his father James Stuart (“the Old Pretender“), instituted the Perpetual Prayer, mandating that every Saturday, a mass would be celebrated with the singing of the Litanies to the Virgin to beg her to return the Church of England to the Catholic faith. Obviously, this prayer was less than successful as the Church of England has remained Anglican to this day.

A Brief Look at the Sistine Chapel

The Sistine Chapel’s ceiling is likely the most well-known of the artworks housed by the Vatican Museums. The chapel itself was named after Pope Sixtus IV della Rovere (whose name should be familiar from the painting Sixtus IV appoints Bartolomeo Platina Prefect of the Vatican Library mentioned in “The Vatican’s Picture Gallery“). Sixtus restored the Sistine Chapel, but it was his nephew, Pope Julius II, il papa terribile, who commissioned Michelangelo to paint the now-famous ceiling. Michelangelo actually tried to get out of the commission because he identified as a sculptor, not a painter. Pope Julius II, however, was not known as il papa terribile for nothing; he forced Michelangelo to take up the commission despite all of Michelangelo’s protests.

Michelangelo decided to decorate the ceiling with images from the Old Testament to link with the images of the New Testament that decorated the walls of the chapel. The design includes nine stories from the Old Testament that run down the middle of the ceiling.

The central panel of Old Testament stories is bordered by alternating lunettes and human figures. The lunettes (which look like small triangles) contain pictures of Christ’s ancestral lineage as recounted in the New Testament.

The figures that are placed in between each lunette alternate between Sibyls and Prophets. (Sibyls were popularized in ancient Greece, and they were believed to be oracles that spoke prophecies imparted to them by the Gods.) Below each figure is a plaque identifying whom the figure represents.

Now that we have been oriented, let’s look at the work in more detail, starting with the central panel. The central panel is divided into nine episodes found in the Old Testament Book of Genesis. These nine are subdivided into three groups of three, each group telling an origin story. Starting from left to right: The Drunkenness of Noah, The Flood, and The Sacrifice of Noah relate to the origin of evil; The Fall of Adam and Eve and the Expulsion from Paradise, The Creation of Eve, and The Creation of Adam relate to the origin of man; and the Separation of Land from Sea, The Creation of the Heavenly Bodies, and The Separation of Light from Darkness relate to the origin of the universe.

The first section that Michelangelo painted was the Flood (the second panel from the left), which is evidenced by the overwhelming amount of action within that piece as compared to the more figure-focused scenes that were created later. To depict the Flood, Michelangelo shows figures in the bottom corner of the scene struggling to get to dry land, hampered by their worldly possessions. Meanwhile, Noah and his family are not the central figures, but are physically and emotionally in the background. As I said, the scenes telling the story of Noah relate to the origin of evil and therefore the focus is on evil.

The Flood

Compare the movement and drama depicted in The Flood with the, arguably, most famous of the Sistine Chapel’s panels, The Creation of Adam.

The Creation of Adam

Notice the muscular figures depicted in these works? Well as Michelangelo was working, the Romans discovered the Laocoön, an ancient sculpture of the Trojan priest fighting the snakes sent by Athena, as well as the Belvedere Torso. These sculptures informed Michelangelo’s portrayal of the human form while painting the frescoes in the Sistine Chapel, especially those figures known as the Ignudi. The Ignudi sit in the four corners of each episode, symbolizing antiquity to link the Church with the illustrious Roman past.

As mentioned above, the central panel is surrounded by alternating Hebrew Prophets and Greek Prophetesses (known as Sibyls). If you are wondering why Michelangelo painted pagan oracles on the ceiling of the most famous Roman Catholic Chapel, you aren’t alone. Some historians argue that early Jews and Christians appropriated the tradition of sibylline prophecies because such had a storied and ancient reputation. Through the appropriation of this tradition, historians argue, early Jews and Christians were able to give their nascence religions legitimacy and authority within the pagan world in which they operated. It is also believed that the sibyls predicted the coming of Jesus. Again, connecting the Church to the ancient past.

So much more could be said about this room; in fact, many articles and books have been written on the topic. What is in this post is merely the tip of the iceberg, but I hope that I have at least piqued your interest in some of this art.

The Vatican Statues

In addition to the sculptures located in the Octagonal Court, the Vatican Museums are home to hundreds of other fascinating statues. I’m just going to highlight my favorite ones here, organized by museum and room.

The Pio Clementino Museum

The original papal sculptures were housed in the then Cortile delle Statue (now known as the Octagonal Court), but by the 18th century, keeping the ever-growing collection in that courtyard was no longer tenable, as the collection had dramatically increased in size over the years due to both donations and archeological excavations. Thus, Pope Clement XIV Ganganelli, followed by Pope Pius VI Braschi, converted rooms of the Belvedere Palace into a museum to house the papal collection of ancient Roman sculpture. This museum is now known as the Pio Clementino Museum, in honor of the aforementioned popes.

Hall of the Muses

The Hall of the Muses was redesigned with the intention of housing statues found at the Villa of Cassius near Tivoli (it is now commonly believed that the so-called Villa of Cassius was not actually owned by Cassius). These sculptures date from the 2nd century AD and included several (but not all nine) muses. Unfortunately, some of the sculptures found at the villa were irreparably modified by 18th century restorers in an attempt to complete the set of the nine Muses, including a sculpture that was repurposed as the muse Euterpe.

Muses were minor deities that imparted their gifts of music, poetry, and dance to men and gods, allowing both to forget their troubles by losing themselves to art. Fittingly, the Muses were the daughters of the titaness Mnemosyne (i.e. memory) and the king of the gods, Zeus.

Them in Pieria did Mnemosyne (Memory), who reigns over the hills of Eleuther, bear of union with the father, the son of Cronos, [55] a forgetting of ills and a rest from sorrow. For nine nights did wise Zeus lie with her, entering her holy bed remote from the immortals. And when a year was passed and the seasons came round as the months waned, and many days were accomplished, [60] she bore nine daughters, all of one mind, whose hearts are set upon song, and whose spirit is free from care, a little way from the top-most peak of snowy Olympus. …

For although a man has sorrow and grief in his newly-troubled soul and lives in dread because his heart is distressed, yet, when a singer, [100] the servant of the Muses, chants the glorious deeds of men of old and the blessed gods who inhabit Olympus, at once he forgets his heaviness and remembers not his sorrows at all; but the gifts of the goddesses soon turn him away from these.

Hesiod. “The Complete Hesiod Collection.” Acheron Press.

The vaulted ceiling of the hall accurately reflects the hall’s namesake. (I know this section is supposed to be about sculptures, but I couldn’t resist this ceiling, so bear with me.) Painted by Tommaso Conca, the ceiling depicts both Apollo and the Muses inspiring artistic endeavours. Apollo is included along with the Muses because he was commonly associated with music, especially with an instrument known as the lyre. According to myth, the god Hermes, the inventor of the lyre, offered it to Apollo after he had been caught stealing Apollo’s cattle.

The final, and some would argue most important, piece of the Hall of Muses is known as the Belvedere Torso. The Belvedere Torso (so called due to its original placement in the Vatican’s Belvedere Courtyard) dates from the 1st century BC and owes much of its fame to Michelangelo’s admiration of it. In fact, during and after the sixteenth century, the Belvedere Torso became the model for nudes in multiple works, including Raphael’s figure of Christ in his Vision of Ezekiel and Auguste Rodin’s The Thinker.

The Round Hall

The Round Hall was based off the hemispherical vault of the Pantheon. Indeed, vaulted ceiling is seemingly structurally identical (albeit a touch more ornate) to that of the famous temple to the Gods.

The floor mosaics of the Round Hall are from the early 3rd century AD while the porphyry basin in the center of the room is likely to have stood in an imperial Roman piazza. The gold Heracles housed in one of the niches in this room was found lying horizontally and covered by a stone with the letters F.C.S., standing for Fulgur Conditum Summanium, translated as “hidden from lightning flow.” Thus, historians have deduced that it had been given a ritual burial, which was customary for Romans to do for statues that had been hit by lightning.

Hercules

Hercules is shown in his traditional iconography: holding his club and the Nemean lion skin. (Indeed, Hercules is generally shown in this posture.)

Gallery of the Candelabra

The Gallery of the Candelabra houses The Persian Warrior, who is depicted wearing a Phrygian beret with his upper hand grasping his sword. This work is probably a Roman copy of a Greek Bronze that was made to celebrate the Greek victory over the Persians at the Battle of Marathon in 490 BC. Allegedly, an Athenian ran from Marathon to the city of Athens (about 25 miles) to deliver the news of the Persian defeat. It is this run that became the basis for the masochistic early morning, freezing races in which yours truly loves to participate. (Although, I do wish whoever came up with the idea had done his/her math better and kept the race at 25 miles rather than 26.2. For some reason, that seems much more manageable.)

The Persian Warrior

The New Wing

The New Wing was built to house the works that Napoleon had taken from the Vatican, but which France has since returned. It links the Chiaramonti Museum to the Apostolic Library and was designed to recreate the space for which the works were originally created. One of the New Wing’s most famous pieces, Augustus from Prima Porta (1st century AD), is a statue of Augustus that was found in the Villa of Livia (Livia was Augustus’ wife; for the Julio-Claudian family tree, click here).

On Augustus’ cuirass (breastplate), there is a scene showing a Parthian king returning the Roman standards lost by Crassus during the Battle of Carrhae. Although the loss of a standard seems trivial to modern readers, to the superstitious ancient Romans, the loss of a standard was a monumental disaster. Therefore, Augustus’ recovery of such was a huge political victory for him, so much so that the event is commemorated on this larger than life statue. At the top of the breastplate is the personification of the Heavens and the chariots of Apollo and Aurora while at the bottom is the goddess Diana and the goddess Earth, symbolizing divine sanction of Augustus’ rule.

The Birth of Venus (Botticelli)

Notice the weird baby attached to Augustus’ leg? Well that weird baby was likely designed to promote Augustus’ supposed divine descent from the goddess Venus. Historians have identified the baby as Cupid, Venus’ son, in part, because he is riding a dolphin, an animal closely linked to Venus, who in one myth is born of the sea (see Sandro Botticelli’s Birth of Venus, to the left of this text, which will hopefully be featured in an upcoming post about the Uffizi).

The Julii clan (i.e. the family of Julius Caesar and his grand-nephew/adopted son, Augustus) claimed descent from the Trojan Aeneas, who himself was alleged to have descended from the goddess Venus. And therefore, Venus’ son Cupid was likely included in this piece to emphasize Augustus’ links to divinity.

The Nile

The Nile is a 1st century AD Roman copy of a Greek original. The work personifies the River Nile as an old man while Egypt is represented by a sphinx, supporting the Nile. Sixteen children run along the top of the Nile; according to Roman historian Pliny the Elder, the children represent the sixteen cubits of water by which the Nile rises for its annual flood. Interestingly, this piece was at the center of an international debacle between Italy and France during the early nineteenth century. As it turns out, Emperor Napoleon was quite fond of Italian art, and during his invasion of Italy, he commandeered several pieces (including the Nile) and sent them to the Louvre. After Napoleon’s defeat at Waterloo, the Pope demanded that the French return the artwork to the Vatican. The French, reluctant to give back this treasure, offered the Pope a nude statute of Napoleon as compensation. The Pope, obviously not keen to own a colossal nude statute of an overthrown foreign invader, declined the offer and demanded the Nile back. As evidenced, the French acquiesced.

Also here is a statue of Silenus and the baby Dionysus (yes, that Dionysus; even gods of wine and the bacchanal were babies at one point). In a tribute to the baby’s eventual celestial purview, the branch supporting the two is decorated with grape vines. Silenus is variously described as Dionysus’ foster father, companion, and/or tutor, depending on the source. This statue, as usual, is a Roman copy of a Greek original (the ancient Romans had some serious appropriation issues – stealing myths, artwork, etc), and it dates from around the 2nd century AD.

I hope you enjoyed some of my favorite pieces from the Vatican. Thanks as always for reading!

Raphael’s Rooms

The papal apartments that are now known as “Raphael’s Rooms” were commissioned by Pope Julius II upon his election to the papal throne. Rather than live in the rooms of his predecessor, Pope Alexander VI Borgia, whom Julius detested, Pope Julius collected a team of artists, including Raphael, to redecorate previously unused chambers. Raphael was soon put in charge of the whole project.

The Room of Heliodorus was the second of the papal apartments to be decorated. Its walls are frescoed with events chosen to convey a dual message: of God’s protection of the Church and of Julius II’s desire to “free Italy” from its current French occupation. The fresco from which this room takes its name, Expulsion of Heliodorus from the Temple, depicts a Biblical episode wherein a Syrian named Heliodorus is sent to the Temple in Jerusalem to take its treasure. The high priest of the temple calls on God for protection, and God sends a horsemen and two youths to banish Heliodorus.

Expulsion of Heliodorus from the Temple

Pope Julius II is seen on the left, witnessing the event, while Heliodorus is knocked to the floor with the spilled gold in the right corner of the work. The implicit characterization of the French as the thieving Heliodorus would not have been lost on the fresco’s contemporary viewers.

Also in this room is the Encounter of Leo the Great with Attila, which was completed after Pope Julius II’s death. The portrait of his successor, Pope Leo X, appears twice in this fresco: once as Leo the Great and once as a cardinal. According to legend, St. Peter and St. Paul appeared during this momentous meeting, and it was this appearance that dissuaded Attila from invading Italy. (As typical of portraits of St. Peter, he is depicted holding keys; while St. Paul is identifiable via his pointed beard.) Once again, the underlying message to the French, that God protects Rome from foreign invaders, would have been very potent to contemporaries.

Encounter of Leo the Great with Attila

It is the Room of the Segnatura, however, that houses Raphael’s most famous frescoes, including his School of Athens. Julius II used this room as his study/library, and it is this use that the frescoes are meant to reflect.

The School of Athens

The School of Athens celebrates philosophers, focusing on Plato and Aristotle, who represent the two schools of thought: idealism and realism. Plato, holding his Timaeus, is pointing to the heaven as the source of knowledge while Aristotle, holding his Ethics, points to the earth.

Detail of The School of Athens

The Room of the Fire in the Borgo was decorated after Pope Julius II’s death in 1513. The new pontiff, Pope Leo X, took over the commission given to Raphael and made significant changes. One of those changes was to dedicate this room to the pope’s namesakes, Leo III and Leo IV. Thus, the paintings include the Crowning of Charlemagne, which depicts the crowning of Charlemagne by the Pope in the year AD 800, the Justification of Leo III, the oath taken by Leo III that reaffirmed the principle that the pope is answerable to God alone, and the Battle of Ostia when, in AD 849, the papal armies were pitted against Muslim forces.

The Fire in the Borgo depicts the fire that broke out in AD 847 in front of St. Peter’s, in an area known as the Borgo. Allegedly, the efforts of a mass of people to put the fire out had no effect until Pope Leo IV appeared at a window in the Vatican Palace and imparted a blessing. At that moment, the fire was miraculously extinguished.

Fire in the Borgo

Leo IV can be seen in the background, giving his blessing while in the left foreground is a group of figures inspired by Virgil’s homeric epic Aeneid. In the Aeneid, the hero Aeneas flees his home city of Troy as the Greeks burn it to the ground. Aeneas carries his father, Anchises, on his back while his young son, Ascanius, runs alongside him. After escaping Troy, Aeneas leads the surviving Trojans on a treacherous search for a new homeland, eventually settling in what would one day become Rome. Allegedly, the mythical founders of Rome, Romulus and Remus, are Aeneas’ descendants. It is in this way that Virgil ties Rome and its founding to a prestigious and ancient culture. (During Rome’s early history, many, including Greeks, thought of Rome as an uncultured back-water. Apparently, even the Romans felt like they had something to prove.)

That’s all I have for today. Thanks!!

Christian Iconography

One of the most well known of the saints is St. Peter (for whom the Vatican’s Cathedral is named). According to the Bible, St. Peter led his fellow 12 Apostles after Jesus was crucified, and as the leader of the early Church, he is considered by the Church to be its first pope. He is typically depicted with a set of keys (which has been incorporated into Papal coat of arms, as a nod to its first pope) because Jesus is supposed to have told him that he would give St. Peter the keys to the Kingdom of Heaven.

Another saint that was a popular subject among Renaissance artists is St. John the Baptist. Generally, St. John is recognizable via his animal hair tunic.

Saint Jerome’s major identifier is his tamed lion.

St. Paul is identifiable via his long, pointed beard and (usually) bald head. He is also generally holding a sword, an allusion to his martyrdom (he was beheaded by Romans), and a book, a reference to his epistles.

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