Archives

Can This Be Irène Papas?

Oct21

Part I (in 6 parts)

Taking joy in life is a woman’s best cosmetic. – Rosalind Russell

A best-seller book on the relationship between Maria Callas and Aristotle Onassis refer to a conversation that took place aboard the Golden Greek’s opulent 325-ft seaworthy mansion, the Christina in early days of 1960. To perpetuate soprano Callas’ celebrity status which was floundering at that time due to inconsistency of her voice, the Anatolian shipping tycoon was apprehensive of her future and seriously sought ways to prolong her celebrity status.

On that particular day, Onassis’s guest aboard the Christina was the American Screenwriter/Film Producer Carl Foreman (1914-1984) who also held his share of admiration for the opera diva Maria Callas. Foreman suggested casting María Callas opposite actor Anthony Quinn in his up-coming production of The Guns of Navarone which will have everything a war movie should have. Theoretically, almost seven to eight months of filming was envisaged for this movie: four months, April to July, 1960, on location at the town of Lindos on the island of Rhodes, Greece and rest of the filming utilizing the good facilities at Shepperton Studios which is nicely situated in Surrey, England. To finalise the film’s production procedures, Foreman was scheduled to visit London shortly – at a time when London was abuzz with the ensuing engagement in February of Princess Margaret, sister of Queen Elizabeth II, with Antony Armstrong-Jones, and nuptials at Westminster Abbey scheduled for May 1960.  

For the moment, Onassis was delighted when Foreman broached his offer (1). Foreman’s proposal was a stroke of strategic chance. The billionaire Greek shipowner who exuded power and wealth had a reputation of working hard and had great faith in the guiding principle of chance. However, Maria Callas lost courage and declined the part of the Greek resistance fighter, Maria Pappadimos. The role finally went to Greek-born stage and screen star Irène Papas.

One of the most talented and strikingly photogenic stars whose first name is pronounced as “Ee-ree-nee,” Irène Papas was only an upcoming actress at that time. Her celebrity status was only gathering momentum, even though, as an actress she was not unpopular to the motion picture audiences as well as to moviemakers throughout Europe and also in Hollywood where she starred in a movie opposite James Cagney in 1955. Indeed, she was not a stranger to Anthony Quinn. In one of his books, Quinn described their long association as a love-hate relationship which originated from September-November, 1953 during the making of Carlo Ponti-Dino De Laurentiis production of Attila. It was the first feature movie of Irène Papas that I saw.

According to Quinn, in total, he made nine pictures with Irène Papas which includes Attila, Flagello di Dio (1954); The Guns of Navarone (1961), Zorba the Greek (1964); A Dream of Kings (1969), El asesinato de Julio César  (1972); The Message (1976), Omar Mukhtar, Lion of the Desert (1980) while some publications state the true count as seven films. Quinn also related in his book that Irène is one of the later stars like Paul Newman, Joanne Woodward, among others, who attended and absorbed the lessons from the free acting classes for students arranged by Quinn during the latter half of the 1950s in a rented space above a retail store in Hollywood.

Irène Papas was born Eirini/Irini/Irène Lelekou on September 03, 1929 to Stavros (a teacher of classical drama) and Elini Lelekou (née Prevezanou, a school teacher), in the semi-mountainous village of Chiliomodi (Chiliantari), located 21km away from the Greek city of Corinth, gate-way to the Peloponnese (2). According to a publication of 1863, the name “Chiliomodi” presumably originated from the nearby Monastery of Panagia Faneromeni Chiliomodi which was built in the 13th century upon an area of land equal to a thousand “modi”. When the founder of this monastery, St. Simeon, came to build here, the measure of beans he sowed had brought forth a thousand fold: hence the name Chiliomodi or Chilia Modia or a thousand measures. Gradually, the word became corrupted into Chiliantari.

According to Irène herself, her vocation for art was born out of jealousy. One of four daughters of her parents, as a teenager there were times when Irène had to stand aside and watch other girls being harassed by boys while no one even looked at her. At the Balls, she was the only one who was never asked to dance. The turning point came on the day a friend from her school came to visit her at home and began to recite a scene from Johann Wolfgang von Goethe’s Faust in which the improvised actor had to cry.

Irène who was 12 years old at that time, observed her friend’s act and decided that she could do much better in that performance. It was at that juncture she realized that she wanted to become an actress. Besides, this could also be a way she could attract people’s attention to herself. No sooner had she informed her parents her wish to enrol in a drama course, her plea was met with their opposition as they encouraged Irène to study architecture. They decided that their Irène koukla (doll) is not crazy but just crazed over to become an actress. To prevent Irène’s wish without winning her eternal resentment, an idea was mounted, probably half-heartedly.

Through their colleagues at the school who taught Irène, they intervened to induce Irène to concentrate in her studies so that she would engross herself to flower in her studies and give up pursuing an acting career. However, Irène must have loved such a play of her parents. She enrolled in the Royal School of Dramatic Art in Athens and devoted herself to studying classical theatre (3). There she was also regaled by the subject of Greek legends.  

During the waning days of World War II, the country was caught up in the violence of the Greek Civil War erupted in end of 1944 between the Royalists and the communists. In 1948, after graduation, she presented her stage debut with a joyful performance by singing and dancing in a variety show which earned her first 30 drachmas (about a US dollar). That remuneration would, no doubt, suggest that in her performance she was lithe and intense; and caught up with the spirit of the dance, she had moved with grace, expression and agility.

A period of vocation into printed magazine sector and dramatic theatre transpired early in Irène’s acting career. During that time, in the sunshine and optimism of young love, she walked down the aisle with Greek actor/writer/director Alkis Papas (1922-2018). The marriage was short-lived but his surname “Papas” stuck to become a permanent part of her identity. Years later, she starred in Alkis Papas’ directorial debut, Hey, Girls! (Psit… koritsia!, 1959) – the first Greek movie to be shown on Greek television.

Jo                                     (Continued in Part II: Irène Papas – Greece Comes to LA)

Notes:

  1. In 1963, Italian producer Dino De Laurentiis wanted to cast María Callas as Sarah, the barren wife of Abraham, in his blockbuster biblical epic, THE BIBLE in the Beginning… (1966) while director-actor John Huston wanted American actress Ava Gardner who eventually portrayed that role;
  2. In 1960, actor Gregory Peck and his French-born wife Veronique Passani visited Corinth while Peck was filming The Guns of Navarone on location in the Greek Isles. A special “Navarone” poster highlighting the visit of Mr. & Mrs. Gregory Peck at Corinth was brought out by the American Society of Travel Agents in tie-in with the film’s promotion campaign stressing the slogan, “Vacation in Greece, The Country Where “Navarone” was Filmed,” which was sent at that time to its member agencies throughout the country;  
  3. She was christened Irène possibly in honour of St. Irene, the Great Martyr whose life holds some conspicuous similarities to the life of Irène Papas. Originally named Penelope, St. Irene was born in the city of Magedon in Persia to the pagan king Licinius. During her young days, St. Irene was kept isolated in a high tower by her father to avoid her exposure to Christianity she longed to be part of. Enlightened by her special reverence for the Christian Faith as well as to the Christian virtues taught by her private tutor a great deal of the time, she actively proclaimed Christianity and brought thousands of people to Jesus Christ. This led to her persecution and eventually, St. Irene was beheaded.
  4. Up to now, the sources of reference for this tribute to Irène Papas are archives of the past including printed publications and visual media. DVD/Blu-ray of most of the movies mentioned in this write-up is available with some leading dealers.
  5. DVD sleeves/images shown here are only for promotional purpose. Source: Wikipedia, amazon.com, imdb, and from sleeves of movies in my collection.
  6. This illustrated article is an affectionate nosegay to the actress and movies referred above. Please refer to “About” of my webpage for more details.
  7. To the illustrious memory of my late wife Renate Elisabeth Simeon (Carina) who forever bloom in my heart where she is planted.

(© Joseph Sébastine/Manningtree Archive)

The Orbit of Laura

Jun22

The Orbit of Laura

Remembering the Italian actress Laura Antonelli (Laura Antonaz, November 28, 1941 – June 22, 2015). Once a desired icon of male gaze, her final withdrawal from filming and public had elicited her view: “Earthly life no longer interests me.”

Here are some of her feature films which I have seen:

Notes:

  1. Some of the DVD/Blu-ray of the movies referred to in this article is available with leading dealers.
  2. DVD sleeves/posters credits: Wikipedia, amazon, imdb and from my private collection. Please refer to “About” of my webpage for more details.
  3. In memory of Laura Antonelli who left for her heavenly abode on June 22, 2015.

(© Joseph Sébastine/Manningtree Archive)

Agnes, Sanctissima

Dec27

Agnes, Sanctissima

(Part III of S. Agnes of Rome VM)

The body is a sacred garment. It’s your first and last garment;

it is what you enter life in and what you depart life with,

and it should be treated with honor – Martha Graham

With the aid of history, it is related that S. Agnes, of long remembrance, was martyred in Rome where the ancient Stadium-Domitiani (Stadium of Domitian/ Circus Agonalis/Circus Alexandri, 81-96 AD) (1) existed. This is where Piazza Navona is presently located. A few years after Agnes’ martyrdom, Rome had turned into the cradle of her cult and her burial site on the left side of Via Nomentana became a prominent centre of pilgrimage. With time, a shrine in her honour, probably a private founding, originated at the place of her martyrdom at Stadium-Domitiani.

The survival of historical tradition in things and men exercises an indescribable charm on students of civilization. According to the Depositio Martyrum (part of early Philocalian calendar), since 366 the Feast-day of S. Agnes of Rome was celebrated on January 21 by Pope Damasus I (305-384, Reign: 366-384). Pope Damasus’s veneration for the tombs of the martyrs was commemorated in poetic compositions and also by the Christian community through the years that followed. From Italy, devotion to S. Agnes floated on saintly little wings all around France, spread over to the Netherlands, and to Germany, and so on… preserving S. Agnes in the minds of the populace with faith and trust. Alongside the Apostles and Evangelists, there is no saint whose effigy is older than S. Agnes whose images, with her name inscribed, are found on ancient glass and earthenware vessels used by the Christians in the early part of the 4th century.

The papal investment in her cult, enriched by the growing fame of S. Agnes in Europe, indeed inspired later Popes, especially those during 5th, 8th and 9th centuries. S. Agnes became one of seven women, together with the Blessed Virgin Mary, who are commemorated by name in the Canon of the Holy Mass.

It was precisely after 1050, that a number of popes expressed their hope to restore the past that had been lost so that the church will recapture the purity of the early Christianity. The Shrine of S. Agnes at the ancient Stadium-Domitiani was subsequently enlarged and transformed into a small basilica by Pope Callixtus II (1065-1124, Reign: 1119-1124). Callixtus II had consecrated this Basilica on 28 January 1123, few months after the Concordat of Worms (Pactum Calixtinum) in September 1122. (2) Pope Callixtus II not only rebuilt part of the Church of Saint Paul, but also restored many ancient monuments as well as construction of aqueducts for the accessibility of different quarters of the city. By the end of the twelfth century, Rome housed more than three hundred churches.

3) After centuries have passed, it was in 1652, during the pontificate of Pope Innocent X (1574-1655, Reign: 1644-1655) when the construction of the present Baroque church of Sant’Agnese in Agone (together with the Palazzo of Pamphili family) in Piazza Navona was started by architect/sculptor Francesco Borromini (aka. Francesco Castelli, 1599-1667). Borromini is generally considered the father of all modern abuses in architecture. Borromini undertook this project after completion of the extensive repair and modernization work on the basilica of San Giovanni in Laterano – thus having completed the works in time for the 1650 Jubilee.

The façade of Sant’Agnese in Agone is reputedly Borromini’s best work. This church houses a chapel dedicated to S. Agnes for the principal reason that the chapel is located closer to the site where Agnes was martyred in c. 304. Visitors can take the stairway to the right of the Chapel’s altar down to the Cemetery Crypt of S. Agnes (sacellum infimum) in the underground (3).

This Cripta which was built as a hypogeum (underground chamber) is the only surviving part of the ancient church. Since at least the 7th century, the Cripta, is venerated as the traditional site where young Agnes received the crown of martyrdom. Presently, it also has much significance for being the Shrine where her relic (skull of S. Agnes) is preserved – most likely brought here by Pope Honorius II (1060-1130, Reign: 1124-1130).

Other traditional account relate that during the 9th century, the skull of S. Agnes was shifted from her martyrium at the Catacombe di S. Agnese to the Papal Archbasilica of St. John Lateran (Arcibasilica Papale San Giovanni in Laterano) (4) outside of Vatican City. This 4th century highest ranking Archbasilica was founded by Constantine the Great at the instigation of Pope St. Sylvester I (285-335, Reign: 314-335). The Lateran was the historic seat of the Popes, bishop of Rome from the time of Constantine to the period of the return of the Holy See from Avignon in 1377 when Pope Gregory XI (1331-1378, Reign: 1370-1378), the seventh and last Avignon pope and a nephew of Pope Clement VI, transferred the papal residence to the Vatican thereby establishing Basilica Papale di San Pietro into an elevated position.  

Within the Lateran Palace was Sancta Sanctorum (5). It was an ancient oratory/private chapel of the Popes dedicated to S. Lawrence, which was in existence since earlier than the eight century. The relic (skull) of Agnes was preserved in a closed gallery over the sole altar of this Sancta Sanctorum along with a wealth of reliquaries, icon, and venerated relics. It was from this sanctified spacethat in 1124, the venerated skull was translated by Pope Honorius II (6)to the crypt of the newly consecrated Church of Sant’Agnese in Agone.

Fortunately, given that the translation of the relic of S. Agnes from Sancta Sanctorum had taken place in 1124, it had helped to prevent the relic from destruction for the reason that the old Lateran Basilica was nearly destroyed by the conflagration on the night of May 5th, 1308 during the pontificate of Clement V (1264-1314, Reign: 1305-1314). Although the Basilica was soon after rebuilt by the Romans with the aid of the pope, another disaster struck in 1360 while Innocent VI (1282-1362, Reign: 1352-1362) was the reigning pope when the entire roof fell down crushing the columns of the nave.

The name of S. Agnes is derived from the Greek adjective agnê which mean pure, chaste and should be spelled Agnê without the final‘s’. On the other hand, the Romans linked her name to the Latin word ‘agnus’ meaning ‘lamb’. And so, in the eyes of the faithful, S. Agnes of Rome, of course, is “Agna Dei” – the feminine personification of the Lamb of God.  

In 1662 the first statue of S. Agnes was installed amongst the hosts of saints on top of Gian Lorenzo Bernini’s imposing Doric colonnades at the square in front of the monumental Basilica Papale di San Pietro in Rome (7). Standing in the Piazza, and one can watch S. Agnes up there and contemplate in pious veneration of her memory.

Rome is a great repository of Christian relics. The souls of the saints are in the hands of God but their holy relics, and the truths of their history have been left with us as sacred deposits. S. John Chrysostom (c. 347 – 407) gave merit to this by a quote: “God beautifully has divided the martyrs with us; he has taken their souls and given us their bodies.”  And those precious remains, which God has entrusted to the guardianship of the church, to the pious veneration of the faithful, it is believed He will, one day, re-establish in glory.

(Concluded)

Jo                 

Notes:

  1. The entire Campus Martius and the Capitoline Hill had to undergo total reconstruction due to the disastrous fire of 80 AD. The task was carried out by Domitian (81-96), the third emperor of the Flavian dynasty. Apart from the restoration which ncluded the Pantheon, the Portico of Octavia, etc, Domitian built the Stadium (upon the remains of which the present-day Piazza Navona is established) for athletic sports and musical spectacles with a renewed interest in Greek culture.
  2. The Concordat of Worms was a compromise agreement between the Catholic Church and the Holy Roman Empire Henry V (1081-1125, Reign: 1106-1125) settling the Church-State investiture dispute peacefully and the acts were ratified at the first general Council of Lateran (ninth ecumenical council) on 18 March 1123, in the middle of Lent. Henry V’s grandmother (mother of Henry IV), elder sister as well as niece were named after S. Agnes.
  3. The Roman builders of the time endeavoured to rescue the remains of previous edifices, but preserved them to serve as foundations.
  4. It is here in the basilica of the Lateran that the Church places the first meeting between S. Francis and S. Dominic.
  5. An ancient and miraculous image of Jesus Christ, known as the Acheiropoeton was preserved in this Sanctorum. This image was believed not to have been created by human hand.
  6. Different dates are also given to indicate the translation of the skull of S. Agnes: common accounts indicate that it was done after the construction of the present Baroque church of Sant’Agnese in Agone in 17th Century while elsewhere it is mentioned that it was done during the reign of the “Rosary” Pope Leo XIII (1810-1903, Reign: 1878-1903). In fact, during the pontificate of Pope Leo XIII, the pope renewed the apse and rebuilt the presbytery of the Lateran Basilica where, in the Sancta Sanctorum, the relic of S. Agnes was kept since the 9th century.
  7. The statue was created by sculptor Lazzaro Morelli in c. 1661-62, one of Bernini’s two students along with their workshops.

(© Joseph Sébastine/Manningtree Archive)

S. Agnes VM: Dormit in pace

Dec12

S. Agnes VM: Dormit in pace

(Part II of S. Agnes of Rome VM)

“My life belongs to Him who has chosen me the first.” – S. Agnes

Christianity took a victory lap after Constantine the Great took over Rome in the wake of his successful victory at the Milvian Bridge in 312. The days when secrecy of faith and worship was a necessity for the Christians living in pagan Rome due to their fear of detention gradually changed. Apart from the ancient places of Christian worship at the altars and chapels of the catacombs, small congregations used to assemble in private houses of their better-endowed Christian brethren. The interior of such private houses progressively converted as the congregations grew but a communal style of architecture for the churches recognisable as such to the public took shape only by the fourth century. As for the acquisition of burial grounds, it was a process that started in Rome in the second half of the second century, when Christian congregations began to acquire burial grounds for their members, the oldest being the catacombs in the south of Rome on the Appian Way.

Following the martyrdom of S. Agnes in c. 304, her parents buried her on the left side of Via Nomentana in an area of the Catacombs which later became known as Catacombe di S. Agnese (Coemeterium Agnetis) in the Complesso Monumentale S. Agnese (1). The Complesso is located in Quartiere Trieste.

Off Via Nomentana was the Coemeterium Maius which was the burial site of a catechumen named Emerentiana (Emerenziana) (2), the foster-sister of Agnes who was stoned to death at the tomb of Agnes soon after her funeral. The details of Emerentiana’s life are swathed in the mists of legend but it is related that both Agnes and Emerentiana were brought up in Christian faith by their mothers who bound their family together with love, good food and discipline.

My late wife Carina Renate (of blessed memory) and I have enjoyed extended visits to the unique and wonderful city of Rome where on many occasions we had the pleasure to explore Christian edifices, religious antiquity, and monumental ruins. Hereunder I single out only three old churches at Rome related to S. Agnes as space precludes me from entering further into this subject.

1) Basilica of St. Agnes Outside the Walls (Sant’Agnese fuori le Mura) is the present smaller basilica on the site of the saint’s grave at Catacombe di S. Agnese. Built and restored by Pope Honorius I (Reign: 625-638), Sant’Agnese fuori le Mura is partially below ground. It exists over the very spot of an older sacellum ad corpus (Chapel for the body) most likely erectedduring 337-366 when there was a rapid increase in the Christian community of Rome. That ancient shrine was subsequently restored by Pope Symmachus (498-514), a Sardinian convert who also built, among other edifices, the first papal residence next to S. Peter’s Basilica.

From the pontificate of Pope Paul V (Reign: 1605-1621) when the tomb of S. Agnes was exhumed to this day, the silver urn (given by Pope Paul V) containing the bones of S. Agnes is conserved beneath the high altar of Sant’Agnese fuori le Mura.

The same sarcophagus now contains the cache of bones of S. Emerentiana VM after her crypt (Chapel of the Chair) was discovered in a catacomb in the land gifted to the Christian community by the wealthy Ostorii family. The relics of S. Emerentiana were also noted during the archaeological excavations of Giovanni Battista de Rossi carried out in 1876 during the longest verified pontificate of Pius IX (1846-1878).  

2) A few meters from Sant’Agnese fuori le Mura is the once grandiose edifice erected to commemorate the spot where the lifeless body of Agnes was laid in c 304.  This edifice was founded by Roman emperor Constantine the Great (c. 274-337) (3) at the behest of Constantina (Flavia Valeria Constantia/Costantiniana/Costantia, c. 320-354), his daughter from Empress Flavia Maxima Fausta (c 293-326), his second wife.

In 337, following the death of her husband Flavius Hannibalianus (Annibalianus), Rex Regum, Constantina had sought the healing attributed to S. Agnes to cure her persisting skin ailment. Legend has it that S. Agnes appeared to Constantina in a dream entreating her to become Christian. The miraculous cure that took place the following morning turned Constantina into an ardent devotee of S. Agnes and before long, a basilica in the saint’s honour was built near Sant’Agnese fuori le Mura. Years later, when Constantina died at Bithynia (Asia Minor) in 354, her brother Emperor Constantius II (Flavius Julius Constantius, 317-361) took initiative to honour Constantina’s wish to repose by S. Agnes’ side. Her mortal remains were brought to Rome and interred in the (now well-preserved) Mausoleo di Santa Costanza (referred as Church of S. Costanza since 865. 4).

According to contemporary Antiochian historian Ammianus Marcellinus, six years after the passing of Constantina in 354, the lifeless body of Helêna, another daughter of Constantine and wife of Emperor Julian ‘the Apostate ’(Flavius Claudius Julianus, 331-363) (5), was brought from Gaul in 360 during the Quinquennalia Games and entombed in this Mausoleo.

From very early times S. Agnes was regarded as a singularly loved figure among the heroines of the days of persecution. Although portions of the catacomb of that area are of an older date than S. Agnes, out of devotion for S. Agnes, many noble Roman families chose these grounds for their sepulchre – to be nearer to the burial site of this celebrated saint. As years rolled on, that entire old burial area became known as the Catacombe di S. Agnese, one of the largest and most celebrated of Christian Rome.

Jo                                                  (Continued in Part III)

Notes:

  1. The Complesso Monumentale S. Agnese (current Sant’Agnese fuori le Mura) consists of the Catacombe Sant’Agnese, Sec. II-IV, Basilica Costantiniana Zona Archeologica Sec. IV, Mausoleo di Costanza Sec. IV and Basilica Onoriana Sec. VII. A trip to Rome is incomplete without savouring the fascinating ambiance of the Complesso Monumentale S. Agnese.  A real gem in Rome – not to be missed by those who love ancient paintings, beautiful mosaic, unmodified architecture and history of the first ages of Christianity.
  2. Sant’Emerentiana (Emerenzia/ Emérentienne) is presumed to be a sister or foster-sister of S. Agnes. She was most likely one of the helpers during the burial of S. Agnes. Emerentiana’s feast-day is celebrated on January 23 but in the Martyrologium Hieronymianum she is mentioned under 16 September, with the statement: In cemeterio maiore;
  3. Constantine the Great was responsible for building many Christian basilicas (S. Peter’s, S. Paolo, S. Lorenzo, etc). He is also associated with monuments outside city limits and also at the Catacombs where they are erected on the site of the tombs of the martyrs and saints.
  4. The 4th century Mausoleo di S. Costanza, a sepulchral basilica (used as a baptistery for Sant’Agnese basilica and a popular chapel for wedding) has circular form similar to the Hadrian’s Mausoleum (Castel Sant’Angelo) and the Temple of Vesta, the Virgin goddess of the hearth and home in the Roman religion. This funerary complex was probably intended for Constantine I but his daughter Constantina inherited it after he was buried at the Church of the Holy Apostles in Constantinople. Together with the monumental red porphyry sarcophagus of S. Helena (Flavia Julia Helena, c. 250-c. 330), the mother of Constantine, the red porphyry sarcophagus of Constantina (Costantia) is presently preserved in the Museo Pio Clementino of Museo Vaticano Roma and a cast replica is kept in the Mausoleo di S. Costanza.
  5. Helena’s death in Gaul in 360 was caused by the effects of poison, which, according to Ammianus Marcellinus, had been administered three years earlier in Rome, by Eusebia Augusta, the beautiful but jealous second wife of Emperor Constantius II. It was believed that this act was not so much to kill Helena but to prevent her from ever bearing an heir to the throne. The mystery concerning Helena’s death was used by the enemies of her husband Emperor Julian (Flavius Claudius Julianus) to tarnish his reputation at the time.

(© Joseph Sébastine/Manningtree Archive)

Edifice over the Shrine of S. Pietro

Nov18

Rome is renowned as the “city of a thousand churches”. The first among them, St. Peter’s Basilica in Vatican (Basilica Papali di San Pietro Vaticano), the acknowledged focus of Christianity worldwide was consecrated by Pope Urban VIII (1568-1644) 395 years ago on November 18, 1626.

That day marked the 1300th anniversary of dedication of the old S. Peter’s Basilica (Constantine’s Basilica) on November 18, 326 by Pope Sylvester I (285-335). This basilica was the centre of Christian worship and focus of pilgrims from around the globe until the new S. Peter’s was raised on its very spot.

Ancient writings has described how the body of Simon Peter of Galilee, Prince of the Apostles, was exhumed from his simple earthen grave at this time and re-interred in a shrine of silver, enclosed in a sarcophagus of gilt bronze upon which was laid the great cross of gold – a gift of Constantine the Great (c. 272-337) and his mother S. Helena.

The rebuilding of the basilica was first planned during the pontificate of Nicholas V (1397-1455) who rebuilt the Vatican, restored St. Peter’s, and the Vatican Library during his pontificate. However, the work of the new basilica did not materialise till the time of the great Renaissance Pope Julius II (1443-1513). In April 1506, Julius II began the new S. Peter’s from designs of Donato Bramante (1444-1514). The first stone for this most beautiful and the most sublime edifice was laid on the spot where the present statue of S. Veronica (by sculptor Francesco Mochi, 1580-1654) is located.

Michelangelo Buonarroti (1475-1564) wanted the cupola to be immense so that it would “embrace all those in Christian faith around the earth”. Left unfinished by Michelangelo, it was completed by Giacomo della Porta (1541-1604) and Domenico Fontana (1543-1607) in 1590.

The two semi-circular colonnades of Gian Lorenzo Bernini (1598-1680) were added by Pope Alexander VII (1599-1667) in 1667. The enormous Baldacchino or canopy over the high altar made of bronze and adorned with gilt ornaments is the work of Bernini who completed it in 1633. The enormous talent involved in its creation and preservation has made St. Peter’s Basilica a sanctified ornament of the earth. Jo

(© Joseph Sébastine/Manningtree Archive)

A Florentine Ornament

Aug17

Continuation of: The Crown at the Piazza

Concentrate all your thoughts upon the work at hand.

The sun’s rays do not burn until brought to a focus.”– Alexander Graham Bell

All those days when David remained engulfed within the scaffolding following itsdelivery at Piazza della Signoria on May 18, 1504, it was guarded round the clock. Meanwhile, a case of influenza virus had broken out in Rome which quickly spread all through Italy and beyond. In effect, it lasted for several months and on its visit to Firenze, about 90 per cent of Florentines caught on to cough and fever while few died from it.

On June 8, 1504, David was placed at the Ringhiera – at the spot where until then Donatello’s Judith and Holofernes had stood (1). A few days ago, Judith was taken off its pedestal and temporarily set on the ground within the Palazzo where it remained until it’s installation in the Loggia on May 10, 1506.

According to a book, an Order to prepare the marble pedestal for David was given to II Cronaca and Sangallo only by June 11, few days after David was installed. This indicates that David was placed on a plinth and the Order for pedestal implied only additional reinforcement of outer casing to the plinth to sustain the weight of David already on it.

In the days following the installation and it’s unveiling to the public on September 8, 1504, Firenze had days steeped in religious and cultural tradition. They celebrated the Festa di San Giovanni (Feast Day of St. John the Baptist), their Patron Saint, on June 24.

On August 10, the Florentines celebrated Festa di San Lorenzo (Feast Day of San Lorenzo) followed by the folkloric event, La Festa della Rificolona (Festival of the Paper Lanterns) on September 7, then a recently initiated tradition observed on the eve of the feast of the Nativity of the Virgin when Tuscan farmers and mountaineers carrying lanterns gather at the Piazza (transforming Piazza Santissima Annunziata into a giant market for their produce) fronting the Church of Santissima Annunziata in Firenze to celebrate the birth of the Madonna by singing hymns.

All through these days, Michelangelo was engaged with the finishing touches to the sculpture which remained surrounded by scaffolding. While the work on the pedestal also progressed, it was reportedly during this time David was provided with the sling, tree-stump support, and a victory-garland.

During one of these days Piero Soderini (Piero di Messer Tommaso Soderini, 1450-1522)(2),Florentine gonfaloniere di Giustizia who held Michelangelo in great esteem,  thought David’s nose too thick and shared this observation with its creator. Giorgio Vasari relates about this occurrence in his book, Vite de’ più eccellenti pittori, scultori et architettori. Knowing that Soderini’s point of view from beneath David still within the confines of the scaffoldings prevented him from seeing properly, Michelangelo, who didn’t want to prolong a satisfactory response to the remark of Soderini who had contributed in no small measure to the development of Florentine art, mounted the scaffolding to the level of David’s head and pretended to chip away at the surface of David’s nose with his hammer and chisel while letting drop some marble dust concealed in the hollow of his palm. Soon after, leaving the surface of the nose untouched, Michelangelo looked down and said to Soderini: “Look at it now.”

Soderini appeared pleased: “I like it better. You have given it life.”

The unveiling of David was specifically done on September 8 which marks the Nativity of the Virgin Mary in whose honour Santa Maria del Fiore, the ecclesia maior of Firenze is dedicated – the edifice upon which David was originally meant to be put up.

In reality, the ecclesiastical and civic authorities have seen another righteous opportunity to honour the Virgin who is widely respected as a mediator between God and the Florentines – a belief once echoed by Girolamo Savonarola (1452-1498) as well, and that, looking further back, one could notice that the cornerstone of Santa Maria del Fiore was also laid on September 8, in 1296.

Unlike the happy-with-his-triumph posture of the elegant and slender David depicted in the statues by Donatello (1386-1466) and in Andrea del Verrocchio’s (ca. 1435-88) clothed version of David holding a short sword at a negligent angle; the pose and composition of the David by Michelangelo heralded a stately grandeur and dignified solemnity.

Raphael (Raffaello Sanzio da Urbino, 1483-1520) came to Firenze in 1504 after the installation of the David – during the time when a galaxy of eminent artists were congregated there amidst an artistic atmosphere caused by the potent rivalry between Leonardo da Vinci and Michelangelo. Raphael was one amongst the first to study the David (3) – the symbol of freedom and dynamism of the Florentine republic.

On a professional perspective, the sculpture looks different close up than it does when viewed from the ground. From the ground, one can see the rigid and turgid tendons of the neck – the sling resting on his shoulder – the forehead furrowed with threatening wrinkles, his flared nostrils and, that defiant look as David measures the distance of his antagonist – to throw the slingshot from the accuracy of his hand. At close up, the furrowed brows protrude from the forehead and there is variation in the gaze direction of the two eyes – all optimised for visual effect.

On that note, one could visualise Michelangelo’s great ability to look at things – of how he could take a thing in mind, turn it over and see so many facets and focused on the desired shape to carve out of the block of marble. A quote attributed to Michelangelo summarised his work: “I created a vision of David in my mind and simply carved away everything that was not David.”

While Michelangelo’s public sculpture remained outdoors for 369 years (4), by and by, it attained great prominence not only as one of the most historically and aesthetically significant sculptural works of the Renaissance but also turned itself into the second symbol of Firenze, next to the fleur-de-lis (giglio bottonato, the official emblem of Firenze).

With La Pietà in Rome and David in Firenze, Michelangelo’s pre-eminence was established as a sculptor. Even though he was accepting commissions for work even while working on David, (5), the latter half of 1504 saw Michelangelo, at the behest of Piero Soderini, embark on the creation of historical compositions on the wall of the Sala del Gran Consiglio in the Palazzo Signoria (Vecchio) (6) where Leonardo da Vinci was already engaged in the design of another cartoon on the opposite wall.

As it turned out, this work was left unfinished by Michelangelo early in 1505 having opted to proceed for his second journey to Rome at the invitation of Pope Julius II (Giuliano della Rovere, 1443-1513, pope from 1503)

Earlier, on August 12, 1502 while the work on David was in progress, Michelangelo was given a commission to make a copy of Donatello’s David within six months. This bronze figure was meant for Pierre I. de Rohan (Pierre de Rohan-Guéméné, 1451-1513), son of Marie de Montauban and Marechal de Gié, who greatly desired to own it. Rohan was highly favoured at the court of popular King Louis XII (Le Père du Peuple/Father of the People, 1462-1515) of France. Naturally, Signoria was eager to comply since an alliance with France was considered of the highest importance for the Florentine Republic. 

During the next two years, while the bronze-casting of the statue was done with the assistance of special master, Benedetto da Rovezzano (Benedetto Grazzini, 1474-1552), unforeseen developments in France occasioned Pierre de Rohan to fall into disgrace having been charged with treason in 1504 after he became Duc de Nemours in 1503 as a result of his marriage with Marguerite, heiress of Armagnac and a sister of Louis d’Armagnac (1472-1503), Duc de Nemours.

Eventually, Florimond Robertet (1531-67), the Secretary for finance who was influential with King Charles IX (third son of Henry II and Catherine de’ Medici) was afforded the mental pleasure as well as spiritual benefit from this sculpture. After 1566, Robertet placed it in the courtyard of his Château de Beauregard, near the city of Blois until more than a century later, it was removed to Château de Villeroy (Villa regis), Sète (Cette), owned by great art lovers Nicolas IV de Neufville (1543-1617), Seigneur de Vlleroy and his wife Madeleine de L’Aubespine (1546-96, poet and lady-in-waiting to Catherine de Medici), from where it eventually disappeared. The only evidence left of this sculpture is a fine pen-and ink drawing by Michelangelo

Besides Michelangelo’s tomb at the Franciscan Basilica di Santa Croce, scattered around his city of Firenze are several of his creations. And what tribute more graceful and intimate to the memory of Michelangelo could be conceived than to visit and appreciate the creations of Michelangelo in the delightful radiance of Florentine ambiance? Ascribed to his atelier are: David at the Galleria dell’accademia; the Medici tombs at Basilica di San Lorenzo; mallet and chisel works at the Casa Buonarroti and Museo dell’Opera del Duomo; Tondo Doni in the Galleria degli Uffizi. Then, there is the site of his fortifications at San Miniato.

Although monuments, museums and galleries aren’t the only reason to visit Firenze, a stay in Firenze is incomplete without a look at the original David of Michelangelo. Its heightened reputation since its installationbefore Palazzo Vecchio overlooking the Piazza della Signoria, the center of political life in Firenze, has influenced successive generations – blazing a trail of appreciation amongst kings and emperors, dukes and marquise, knights and counts, scholars to the general public.

Of David’s influence, a book relates a diary entry of Ukraine-born ballet dancer Vaslav Nijinsky (1889-1950) mentioning about how he allowed French sculptor Auguste Rodin (1840-1917) to photograph and sketch him in nude to create a sculpture inspired by Michelangelo’s David. Then there were those who considered David a provocatively sexual portrayal of idealised male beauty. Sometime after its completion, Michelangelo was disgusted to witness a fig-leaf attaining a new use on a certain part of his David which remained unrectified until the early years of the 20th century.

A plaster cast (six metres in height) by Florentine cast-maker Clemente Papi based on the original statue of David presented by Leopold II (1797-1870), the Grand Duke of Tuscany in 1857 to Queen Victoria (Alexandrina Victoria; 1819-1901) was outfitted with a plaster cast of a fig leaf of appropriate size and hung at a certain place with clips during early years.

Then again, not to anyone’s surprise, there were also those contemporary rivals who squared their shoulders and detested the talent of Il Divino.

Foremost amongst such high-handers of malcontent tracking Michelangelo quietly and silently as a snake sloughing off its skin, was Florentine sculptor Baccio Bandinelli (1493-1560), son of a famous goldsmith and the prospective creator of Hercules and Cacus (Ercole e Caco), whose impending efforts to outdo Michelangelo Buonarroti would generally ricochet to strike back on himself – but that’s another story…. Jo

This concludes PART ONE.

Notes:

  1. Commissioned by the Medici as a metaphor of their rule in Firenze, Judith and Holofernes was a freestanding companion figure to Donatello’s David. The original is presently in Sala dei Gigli in the Palazzo Vecchio.
  2. Piero Soderini was appointed as Gonfaloniere di Giustizia for life August 1502 following completion of the regular two month period as Gonfaloniere.
  3. A Study of Michelangelo’s David by Raphael (during 1504-08) is at the British Museum in London.
  4. Although the sculpture was periodically taken care of and its surface waxed many times during its long exposure to all injuries of rain and frost, the left arm of David was broken by a huge stone during the popular riots of 1527. Giorgio Vasari relates how he and friend Cecchino Salviati gathered the scattered pieces, and the arm was restored in 1543 under the care of Cosimo I de’ Medici (1519-1574), first Grand Duke of Tuscany. As related in a book, there is photographic evidence suggesting that David was slightly moved forward from its original position in early 1870s to align the pedestal with the new stairs of the Palazzo. Upon David’s removal to Galleria dell’accademia in Firenze on July 31, 1873, the space where it stood at Piazza della Signoria lay empty for almost 37 years.
  5. Due to lack of space, this series of posts cover only selected creations of Michelangelo in its chronological order. Thus, Madonna of Bruges (c. 1501-04) and some other works are omitted.
  6. The frescoes created by Michelangelo and Leonardo da Vinci depicted Florentine victories in the battles of Cascina (Florentine victory over Pisa in 1364) and Anghiari (Florentine (League of Italian states) victory over Duchy of Milan in 1440). Michelangelo discontinued this work when he left for Rome to fulfil the commission granted to him by Pope Julius II (1443-1513) to do frescoes on the ceiling of the Sistine Chapel and to design the pope’s tomb. A fine copy from Michelangelo’s cartoon of Cascina by Aristotele (Bastiano) da Sangallo is at the Earl of Leicester Collection at Holkham Hall, Norfolk, England and a Study for Leonardo’s Battle of Anghiari is at Galleria dell’Accademia, Venice.

(© Joseph Sébastine/Manningtree Archive)

The Crown at the Piazza

Aug1

Continuation of: Rise of the Brave Shepherd

Work is love made visible – Kahlil Gibran

Long before the Medici was ousted in 1494 and Firenze declared a republic, the biblical hero David had been reckoned an emblem of Florentine enthusiasm for republicanism. Now that the sculpture of Michelangelo’s David was almost completed, and since its placement on a buttress of Santa Maria del Fiore (Duomo) has been abandoned, an appropriate place where David should be permanently installed has to be determined.

The meeting convened by the Consoli of the Arte della Lana on January 25, 1504 at the audientia of the Opera del Duomo in this respect was attended by about thirty participants – selected crème de la crème from the great Florentine community of contemporary painters, sculptors, architects, Signoria, etc., – many men of acknowledged abilities brought together under one roof !

The relevant Minutes existing in the archives of Duomo reveals identity of attendees such as artists Cosimo Rosselli, Leonardo da Vinci (1), Sandro Botticelli, Filippino Lippi (2), Piero di Cosimo, Pietro Perugino, Andrea della Robbia, Lorenzo di Credi, Davide Ghirlandaio, Simone del Pollaiolo, Bernardo della Ciecha, Giovanni Piffero (father of Benvenuto Cellini), wood-carver Francesco Monciatto; architects Giuliano da Sangallo and Antonio da Sangallo, L’araldo di Palazzo/the chief herald of the Signoria Francesco Filarete, who was the first speaker, etc (3).

The proposals and deliberations, which reflect the possibility of prior examination of the almost completed sculpture by the participants before this meeting, projected the most prominent locations favoured for David’s installation:

  1. at the west façade which is the front of Il Duomo facing Piazza di San Giovanni (see above illustration showing the image of David superimposed on the proposed spot);
  2. at Il Duomo, the edifice upon which David was originally meant to be put up;
  3. at the spot where Donatello’s bronze statue of Judith and Holofernes (4) stands on Piazza della Signoria. This is one of the two spots suggested by the chief herald of the Signoria – the other spot being, in the courtyard of the Palazzo;
  4. in the shelter of the middle bay of the Loggia dei Priori (Signori/Lanzi) (5) so that due to its centralized location, one can walk around it. Alternatively, place it unobtrusively against the rear wall within a black niche. While placement against the rear wall in a niche would shelter the sculpture from direct exposure to open air, David’s appearance would be limited to frontal view and his gaze obstructed by the frame of the niche. Leonardo da Vinci was in support of this sheltered middle bay subject that David’s presence would not cause hindrance to State ceremonies or to the priors when they wished to convocate the people;
  5. at the arch of the Loggia dei Priori facing Palazzo della Signoria (Palazzo Vecchio) where there was a staircase specially reserved for the Priors. Placement under the middle arch of the Loggia (see item 4 above) was not favoured since it would obstruct the order of whatever ceremonies conducted there by the Signoria and Priors;
  6. in the inner courtyard of the Palazzo rather than in the Loggia (see items 4 & 5 above) where the statue could not be seen in its entirety and would be susceptible to injury from scoundrels. Besides, the floor of the Loggia may not be strong enough to hold the weight of David;
  7. spot where the Marzocco (6) stands at the northern angle of the ringhiera (or rostrum) before the Palazzo;
  8. Inside the new Sala del Consiglio Grande (frequently called Salone dei Cinquecento) on the first floor of the Palazzo della Signoria.
  9. the choice should be left to Michelangelo Buonarroti.

Other opinions sounded were: a) somewhere in the vicinity of the Palazzo – a choice favoured by the Signoria; b) at the steps of the central arch of the Loggia.

At length, with the absence of a vote, it was resolved, in par with sculptor’s conception and execution of the work, to have his David installed on the left of the principal entrance of Palazzo della Signoria (Vecchio) immediately beneath the tower. There it would act as the symbol of Signoria, the governing body of the republic.  It was an irresistible idea. Rain, frost or shine, David ought to do well there.

The proposals and deliberations of the Meeting of January 25 gave birth to various opinions and interpretations as to the sculpture’s bodily features, the location for installation, it’s positioning (especially, David’s gaze in the direction of Rome), based on the prevailing political climate typical of the time, etc. Amongst such interpretations, there are suggestions that David’s position in front of Palazzo Vecchio was already considered way back in 1501 and the Meeting of 1504 was held just to rally public acceptance to legitimize David‘s separation from the Duomo where it was to be originally installed on a buttress of the north tribune.

Before long, disputes arose about how best to safely transport the massive sculpture from behind Il Duomo over to the selected spot. On April 1, 1504, the commission to undertake the preparation and transportation within a month was assigned to Simone del Pollaiolo (II Cronaca/The Chronicle One, 1457-1508), the last great architect of the Quattrocento who had long enjoyed his dignity. A tall order, but where II Cronaca is concerned, by no means impossible.

The commission for the above assignment excluded the contractor from responsibility in case of any accident in transit. To be sure, follow ups were also issued on April 28 and on April 30 in which the delivery destination of the sculpture suggested was interpreted as the Loggia which could mean only as an off loading location. Furthermore, two supplementary issues also demanded attention: a) the removal of Judith and Holofernes for re-installation at a new location; 2) to prepare a suitable pedestal to install David at the chosen spot.

On May 14, 1504, in consonance with the arrangements drawn up by Giuliano da Sangallo and his brother Antonio da Sangallo, the colossal marble sculpture, duly enclosed in strong wooden frame, was taken out of the work-shed inside the courtyard of Opera del Duomo behind the east end of Santa Maria del Fiore for its onward transportation to Piazza della Signoria, under the supervision of II Cronaca. They had to break the wall above the gateway to let it pass out of the work-shed where Michelangelo created it in an atmosphere shrouded in secrecy.

David was secured with ropes to remain suspended vertically within the timber frame-work of stout beams and planks in order to ensure that it was properly defended against any transit lurches and vibrations. The consignment was then slowly moved out by way of fourteen movable wooden greased rollers (which were changed from hand to hand) and windlasses. The concept of keeping the figure upright was hardly a strange sight in Tuscany where cows, bulls and horses are transported standing up.

Other than the assistance proffered by Michelangelo, Baccio d’Agnolo, and Bernardo della Ciecha, more than forty male workers were roped in as manual labour with workflow benefits for transportation of Il Gigante (David) through the mapped out route of some less than 550 meters to south which was levelled, secured and kept on watch and guard. Barring an incident en route, of stone pelting at night by four youths with intent to harm the sculpture, at mid-day on May 18, they had an arrival at Piazza della Signoria, the area of many civic festivities, where Palazzo Signoria (Vecchio), with its lofty tower, imposing bulk, and gloomy grandeur, is located.

Documents related to end May 1504 indicates that the sculpture, enclosed within the wooden framework, was still standing nearer to the Judith where it was originally off-loaded on May 18. The fact remains that more delay in the installation was inevitable since the work order to remove the Judith was issued only ten days after David was delivered at the Piazza, and only then it became clear where David will be permanently situated.

Follow on: A Florentine Ornament

Notes:

  1. Leonardo da Vinci was engaged in painting Mona Lisa during the period of events depicted above, having started the work by October 1503 or early 1504 in Firenze;
  2. Filippino Lippi didn’t live long to witness the installation of David on June 8 since death stole him on April 18, 1504.
  3. Source for images of Andrea della Robbia, Cosimo Rosselli, Sandro Botticelli, Pietro Perugino, Leonardo da Vinci, Filippino Lippi, Giuliano da Sangallo, Simone del Pollaiolo and Baccio D’Agnolo: commons.wikimedia.org
  4. Donatello’s Judith and Holofernes depicted the story of Jewish heroine Judith in the Apocryphal Old Testament book in her name. In her imperturbability, Judith went into the tent of Holofernes, general of Nebuchadnezzar and cut off his head, thus saving her native town of Bethulia. Generally perceived as a Medici symbol (as defenders of Firenze) for it was commissioned (undocumented) by their family for their garden at Palazzo Medici-Riccardi, Judith and Holofernes was transferred and placed on the ringhiera in 1495 as symbolical of liberty after Piero de’Medici (1472-1503, the eldest son of Lorenzo the Magnificent) was driven out of Firenze where he tried to restore his former honours few times. It was deemed erected under an evil constellation and believed to be an omen of evil and unfit where it stands. This was a favourite erotic subject and painted in Italy by Andrea Mantegna, Giorgione, Giulio Romano (Giulio Pippi), Pellegrino Tibaldi, Titian, Caravaggio, Artemisia Gentileschi, and others.
  5. Before the middle of the sixteenth century, there were no statues in the Loggia. It was during Pietro Leopoldo’s (1747-92, Holy Roman EmperorLeopold II) reign as Grand-duke of Tuscany (1765-90), when he first began to fill up the interior of the Loggia with sculpture.
  6. An ancient Marzocco or Lion of Firenze, the legendary guardian of Florentine Republic, occupied that spot in 1377, nearly on the same spot where the present lion, a replica of Donatello’s Marzocco, sits. The original by Donatello is in the Museo Nazionale del Bargello.
  7. 148 years ago, it was on July 31, 1873 when the real David of Michelangelo left Piazza della Signoria for its four days journey to the shelter of Accademia di Belle Arti.  

(© Joseph Sébastine/Manningtree Archive)

Rise of the Brave Shepherd

Jul17

Continuation of: M as in Michelangelo

Work is love made visible – Kahlil Gibran

From September 13, 1501 until the first half of 1504, Michelangelo was industriously engaged in sculptural works related to his Gothic treatment of David, the young shepherd from the tribe of Judah who rose to become a hero of Israel. It was also during the autumn of 1504 when the traditional trinity of great masters of that period: Leonardo da Vinci, Michelangelo and Raphael (Raffaello Sanzio da Urbino, 1483-1520), were all present in Firenze. Think of that!

During the above span of time, three popes reigned over the Catholic Church in Rome. Following the death of Pope Alexander VI (Roderic/Rodrigo de Borja, 1431-1503, pope from 1492), Pius III (Francesco Todeschini Piccolomini, 1439-1503) took over the pontificate on September 22, 1503. Sadly, his untimely death on October 18, 1503 marked his reign as the shortest papacy in the history of the Church. Thereafter, the ten year pontificate of Julius II (Cardinal Giuliano della Rovere, 1443-1513) commenced on November 1, 1503 following the shortest conclave in the papal history.

Even as Michelangelo worked to create David in a specially constructed wooden shed expressly erected to shield his work from prying eyes, he was sporadically attending to prearranged contract works agreed in 1501 with (pope-to-be) Cardinal Francesco Piccolomini to execute fifteen small size marble statues of male saints, over a period of three years, to decorate the Piccolomini Chapel in the Duomo di Siena, the city where Cardinal Francesco was born.

Besides other works, Michelangelo was also preparing to work on Tondo Doni (Doni Madonna), his first panel painting, ordered by the wealthy Florentine Agnolo Doni (1474-1539) either for his wedding in 1504 to noblewoman Maddalena (1489-1540) of the powerful Strozzi family or for the birth of his first daughter in 1507.

Historically, the biblical hero David (c. 1035-970 BC) in the face of all odds had defended his people and governed justly as a king who helped found the eternal throne of God. He has been much honoured in the history of the Jewish people ever since his duel with Goliath which is narrated briefly in 1 Samuel 17 of the Old Testament. Erecting a statue of this heroic personality was considered as a bringer of good omen for the future of Firenze. David would also symbolize the reality that the rulers of Firenze would defend the Republic with courage and govern it conscientiously.

As the narration in 1 Samuel 17 goes, when war again broke out between the Israelites and the Philistines and they were confronting each other across a valley between Shochoh and Azekah in Ephesdammim, shepherd David, the twenty-three year old youngest son of the Bethlehemite Jesse had come forward and dared to accept the challenge of Goliath (the Philistine of Gath) to any one from the Israelite ranks to come out and fight him. In the encounter which followed, the giant Goliath of six cubits and a span in height encased in complete armour and wielding weapons fell to the earth after having been hit on his forehead by a smooth stone shot from the sling of David after which he had quickly severed Goliath’s head with the giant’s own sword.

Michelangelo’s preference for muscular young men evidently dominates his art since they appears to be his ideal for beauty. The initial sketch Michelangelo prepared depicted the brave shepherd David standing with his foot planted on the head of Goliath. This was found unsuitable owing to the inadequate size and quality imperfections of the block of marble which was already worked upon on by earlier sculptors.

To that end, the design and composition, proportion and orientation Michelangelo had in his mind for his David had to be remodelled which prompted him to prepare another wax model which became the catalyst for the profile of his sculpture of David which he created at the wooden shed at the courtyard of the workshops belonging to Opera del Duomo.

Given that David was part of a dozen of statues of prominent Old Testament characters originally intended for placement along the borderline surrounding the outside of the dome of the Cattedrale di Santa Maria del Fiore, it has to be viewed from below. And so, some parts of the body featured in disproportionate size apparently don’t hang together.

I could imagine the attention given for the articulation and balance based on the classical contrapposto pose David should adopt and of the clothes he should wear or not. To suit the shape of the block of marble, the left arm has been bent to touch the sling on the shoulder as against the originally extended arm Michelangelo envisaged.

Here he has adhered to his life-long theory of ruling out add-ons to the block of marble. By making the slingshot barely visible over David’s shoulder, Michelangelo has implied that cleverness underlined the young shepherd’s victory rather than sheer force.

In February 1503, when the sculpture was half finished, the Consuls decided that Michelangelo be paid in all 400 golden florins, including the stipulated salary. A major concern then was the ambiguity in the location chosen to install the sculpture. The intended location had to be ruled out considering the feasibility of lifting such a mammoth figure to the height of the buttresses of the Cattedrale. Nevertheless, at a headlong pace, Michelangelo brought David to perfection and almost had the sculpture completed before the learned Consuls met on January 25, 1504 to finalize where David would be best installed.

Follow on: The Crown at the Piazza

Note: For close study, some images featured above pertain to the replica at Piazza della Signoria.

(© Joseph Sébastine/Manningtree Archive)

M as in Michelangelo

Jul7

Continuation of: The Florentine Mystique

Memory is the guardian of all things – Cicero

A lifetime of passion for art had intensely taken root in Michelangelo (Michelagniolo, March 6, 1475 – February 18, 1564) since he entered the sculpture garden of Lorenzo de’ Medici (Lorenzo di Piero de’ Medici, January 1, 1449 – April 8, 1492). Noting his talents, Lorenzo saw in the teenager a promising student of sculpture who would one day bring honour to Firenze.

Born to Ludovico di Leonardo Buonarotti Simoni and his wife Francesca at Castello di Caprese, Michelangelo’s desire for art had grown in him long before 1488 when he was nurtured among the stone quarries of Settignano in the care of a stonemason and his wife. Undoubtedly, his allure for art had kept on its steadfast progress during his apprenticeship as a painter with Domenico Ghirlandaio (1449-1494) who had returned from Rome only few years ago after painting in the Sistine Chapel between 1482 and 1484 for Pope Sixtus IV (Francesco della Rovere, 1414-1484, pope from 1471).

Young Michelangelo’s first two marble works, Madonna (Madonna della Scala) and the Battle of the Centaurs, were executed during his formative years under Bertoldo di Giovanni (ca. 1420-1491), Donatello’s pupil and keeper of the statues and sculpture in the Medici gardens of San Marco.

It was here Il Magnifico Lorenzo maintained many fine art treasures he collected for the good school of Painters and Sculptors he founded – similar to the “Accademia Leonardi Vinci”, the school of arts (1) connected with Leonardo da Vinci (1452–1519) established during his Milanese stay from 1482 until the fall of Duke Lodovico (Il Moro) Sforza (1451-1508) in 1499.

What a marvellous idea to spread all those priceless collections of antiques out where Michelangelo could look around with child-like wonder and delight. It was here that his fellow-pupil young Pietro Torrigiano (ca. 1472-1522/8), moved by envy or driven by pride, broke Michelangelo’s nose and was obliged to flee from Firenze having earned the hatred of the Florentines (2). 

Taken into Lorenzo’s household, Michelangelo enjoyed the privilege of a room, a place at Lorenzo’s dining table with his sons and swathed in the opportunities to absorb culture from the Medicean circle until Lorenzo’s untimely death at his country Villa at Careggi in April, 1492 – which almost brought to an end the true golden age of the Italian Renaissance.

Sometime after Michelangelo’s return to his father’s house following the death of Lorenzo, a problem become apparent after Piero de’ Medici (1471-1503), the eldest son of the deceased Lorenzo, took over leadership of the Signoria. Young, haughty, chivalrous, and rather despotic in his views, interest in the affairs of the State which even in an abbreviated form seldom came out of Piero. Successively, for reasons attributed to the political developments, in 1494, the Medici was expelled from Firenze – declaring them traitors and rebels. The efforts of the Medici to regain their power in Firenze would succeed only in 1512 when Giuliano de’ Lorenzi de’ Medici (Giuliano II, 1478-1516) was brought in from Venice to head the Signoria, but shortly thereafter, Firenze would turn into a papal dependency.

Unable to remain neutral in the above developments, Michelangelo left Firenze and stayed at Bologna, after a brief stint at Venice. Upon his return to Firenze in 1495 when the political climate has improved, he was among those who were consulted vis-à-vis the Sala del Maggior Consiglio of Palazzo della Signoria which Girolamo Savonarola (1452-98) proposed to enlarge to accommodate the new government of the people following the expulsion of Piero de’ Medici from Firenze.

A marble Sleeping Cupid Michelangelo fashioned during this time was eventually sold to Cardinal Raffaele Riario of San Giorgio which paved the way for him to proceed to Rome in June, 1496. In there, following the creation of the life-size drunken Bacchus, on August 26, 1498, he earned the commission to execute a Pietà for Cardinal Jean Bilhères de Lagraulas (Cardinal di San Dionigi), the French ambassador at Rome who desired a suitable monument for himself in Rome by the hand of the famous Michelangelo.  

This classic work in marble, when finished was placed in the circular chapel dedicated to Santa Maria della Febbre (Our Lady of the Fever) of the old Basilica di San Pietro (3) which was at that time still standing.

The future spacious Piazza San Pietro surrounded by vast semi-circular colonnades which the Baroque master Gian Lorenzo Bernini (1598-1680), the greatest sculptor since Michelangelo, designed in front of the Basilica (1656-1667) was then covered with a cluster of small constructions and pathways. La Pietà,as the Italians call the group,earned Michelangelo great fame and fortified his reputation as “Il Divinio” (The Divine One) among the artists of his lifetime.

With the completion of La Pietà (1498-1499), the world had witnessed the creation of two classic masterpieces within the span of a few years – the other being The Last Supper (Cenacolo), the marvellous wall-painting Leonardo da Vinci probably begun in c. 1495 on the refectory wall of Santa Maria delle Grazie, the monastery of Dominican friars in Milan and finished in 1498.

At the age of twenty-six, Michelangelo returned to Firenze where he would be a resident till 1504. By then, many changes had taken place in Firenze – it was now devoid of the divinely ordained preaching of Girolamo Savonarola who had eventually faced excommunication followed by implementation of his death sentence when he was hanged and burned on May 23, 1498 – bringing to an end the story of medieval Firenze.

Michelangelo was now ready to take on the offer of the powerful Consuls of the Arte della Lana, the Operai of the Cattedrale di Santa Maria del Fiore of Firenze. They proposed to him to fashion, complete and finish to perfection a colossal male statue out of a huge block of marble conveyed from Carrara to Firenze many years ago.

The Arte della Lana who owned this block of marble had once offered it in vain to Donatello, the favoured architect of the Medici.  Afterwards, a certain Maestro Simone da Fiesole had commenced work of a huge figure on it but left his work unfinished. Even though Giorgio Vasari was misinformed to name “Maestro Simone” as the sculptor who spoiled that block of marble, it was Agostino di Duccio (1418-81) who upon his return to Firenze from Perugia in 1463, entered the Guild and commenced work on this block of marble which he shortly quit for unknown reasons. A decade later, Antonio Rossellino (1427-c.1479), best known for his Madonna reliefs, gave it a try which didn’t reach anywhere.

Sculptor Andrea Contucci (Andrea dal Monte Sansovino, ca. 1467-1529) who had entered into the guild in 1491 had sought to secure this block to carve a statue by augmenting it with additional pieces of stone. (4) But Arte della Lana preferred to hear Michelangelo’s stance in the matter before they acceded to Contucci’s request. 

Furthermore,they had also consulted with Leonardo da Vinci when he returned back from Milan in the summer-time of 1500. But curiously enough, their efforts to rope him in were in vain, although Leonardo had retired to Firenze in quest of better fortune and finding little or no work of interest to engage him here was seeking employment in the service of Cesare Borgia (1476-1507) who was then cherishing reconstruction of a kingdom of Central Italy under his headship.

As for Michelangelo, this block of marble quarried years before his birth, was just the sort of thing he was aiming at. He was only pleased to accept the commission which was first signed on August 16, 1501: to undertake the Contractual work from September 1501, and complete it within the term of the next two years.   

Michelangelo’s acceptance of the commission gave an atmosphere of hope to Arte della Lana which also guaranteed a good monumental sculpture out of the block without the addition of several pieces.

Follow on: Rise of the Brave Shepherd

Notes:

  1. In 1531, Baccio Bandinelli founded a school of arts in the quarters granted to him in the Vatican besides another in Florence in c. 1550. Then again, it is Giorgio Vasari who founded the first proper Academy of Fine Arts in Firenze in 1563.
  2. In 1519, Benvenuto Cellini (1500-71) refused Pietro Torrigiano’s invitation to accompany him to England for the one reason that the impolitic Torrigiano had broken Michelangelo’s nose. During 1511-18, Torrigiano had worked on the double tomb of Henry VII and Elizabeth of York, and the tomb of Henry’s mother, Lady Margaret Beaufort, in Westminster Abbey in England.
  3. The ancient chapel of Santa Maria della Febbre (St. Mary of the Fever), older than the Constantinian Basilica,  was originally built as a mausoleum which was converted into the sacristy south of the new Basilica di San Pietro Rome in 1506.
  4. Andrea Sansovino (Andrea Contucci) would in turn obtained commission for the Baptism of Christ for the Battistero di San Giovanni of Firenze by 1500 but left it unfinished by leaving for Rome in 1505 to work on the marble wall-tombs (1506-09) of Cardinal Ascanio Maria Sforza (1455-1505) and Cardinal Girolamo Basso della Rovere (1434-1507) at Basilica Parrocchiale Santa Maria del Popolo.

(© Joseph Sébastine/Manningtree Archive)

The Florentine Mystique

Jun28

Continuation of: The Greek Connection

Wherever you go, there you are – Confucius

Mindful walking during daytime is a pursuit we engage in whilst we are in Firenze. Such legwork on days of less tourist frenzy not only helps to face fewer hustle and gearbox but also inspires to look around through the eyes of Love. Getting out and about here would reward one the opportunity to reflect on the barometers of a community that was fashioned by this architecture of mediaeval characteristics – originated from the various strange phases of Florentine history.

Unlike passeggiata, the Italian tradition of taking an after-sumptuous-meal leisurely stroll for fun, socializing or for health reasons, an observant visitor on easy-going walks around the streets and piazzas of this City of Flowers proffer a distinctive Italian atmosphere and colour.

Since olden Italy was divided into small States and constantly at war with each other.  On that note, the dwellings of great families were generally composed of a double wall of strong stone masonry to turn them into strongholds. And so, some of the greatest architectural achievements in Firenze of that period were houses so outsize they were considered as palaces.

The mediaeval characteristics are much evident in Firenze’s piazzas, courtyards, gardens, open arcades, etc. Distinctive features of the buildings reveal deep-set windows protected by heavy iron grills, arches, porches, and curves that express feeling in design.

While the roof line below the terracotta is adorned with heavy, ornamental cornice, the walls are divided into sections with vertical pilasters and horizontal strips of mouldings. The street front has the popular round-headed windows while the ground floor windows, smaller in size, are appropriately defended with barred grills.

In the photographic viewpoint, there are fabulous shots of varied angles all around which includes after-rain puddle reflections and curious modern day sights.

There are numerous Tuscan Romanesque arches, frescoes on the walls, decorative street lamps, old horse tethering wrought iron rings on the walls, bas-reliefs on lintels, iron holders on the walls for torches to illuminate the street, etc (1).

In the architectural point-of-view, the kind of marbles, including Carrara marble, and other materials for construction and architectural adornment used all around here are of varying characteristics.

Of the two main types of sandstones, pietra forte, the fine-grained, brownish-yellow sandstone of considerable resilience is the primary material and used widely as well as in the construction of prominent edifices such as Basilica di Santa Croce, Palazzo Pitti, Santa Maria Novella, Palazzo Vecchio, etc.

At Cattedrale di Santa Maria del Fiore, pull focus and take another look up at the Cupola of Filippo Brunelleschi (1379-1446). Pietra serena, the silvery grey sandstone much favoured by Brunelleschi, is used widely there – particularly at the three girdling belts of the Cupola.

All this may seem rather nostalgic pictorials of old architecture and ornate details and may seem looking backwards. Better still, we understand Città di Firenze clearer as our perspectives evolve to the realisation that the splendour and flair of the past goes with you at every step in Firenze, which the illustrious Dante Alighieri praised as ‘La bellissima e famosissima figlia di Roma’ (3).

Follow on: M as in Michelangelo

Notes:

  1. Some of the cast iron piazza/park bench supports, lamp-posts, sewer covers, are still marked with Fonderia delle Cure – Giovanni Berta in Firenze (likewise in Rome), relates to the earlier century.
  2. Pietra serena: Mainly used as ornamental, art, architectural decorations, etc, pietra serena or pietra di macigno is an elegant variety of calcareous sandstone composed of sedimentary layers of different colour. Because of its good mechanical strength it is used also at Cappella dei Pazzi and Cappelle Medicee. The archives of the Opera del Duomo will be of much use to those interested more on this subject.
  3. La bellissima e famosissima figlia di Roma: Beautiful and famous daughter of Rome.

(© Joseph Sébastine/Manningtree Archive)