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An Examination of the Supervisory and Patronal Activities of Giuseppe Cesari, the Cavaliere D'arpino

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An Examination of the Supervisory and Patronal Activities of Giuseppe Cesari, the Cavaliere D'arpino The Artist As Patron: An Examination of the Supervisory and Patronal Activities of Giuseppe Cesari, The Cavaliere D'Arpino Thomas M. Bayer• The focus of this discussion is the examination of in Naples to decorate the church. After his return to Rome 1he life and career of the painter Giuseppe Cesari, the in late 1591, the artist again worked for Cardinal Santori Cavaliere d'Arpino. This artist skillfully managed to play as well as Cardinal Sfondrato.' Other patrons of note were an exceedingly important role- a role quite outside the Cardinal Salviati and Cardinal Montalto who had in­ framework generally associated with the activities of a tervened on behalf of Cesari's brother, Bernardino, in a painter in the cultural environment of Rome during the most unpleasant dilemma involving several bandits and Baroque period. Unencumbered by his noticeably limited attempted extortion.• Also during this time, the contract talents as an artist, he rose to a position of eminent in­ for the Contarelli Chapel was signed.' Cesari's somewhat fluence as a result of his work as a supervisor of several problematic involvement in this project was to be of of the most important papal decoration projects under­ supreme importance to the career of Caravaggio. Success taken during his lifetime. This activity allowed him to continued as the newly elected Pope Clement VIII extend­ significantly affect the careers of many of the leading ed his much desired protezione particulare. His reign artists of his day, playing a pivotal role in the success of proved to be extremely successful for Cesari; besides the such great masters as Caravaggio, Guido Reni and Andrea Contarelli Chapel, he also worked on the Aldobrandini Sacchi. Chapel,' the Olgiati Chapel,' and the Loggia Orsini;' to Cesari's success as superintendent and the impact of name only a few. his patronal ambitions have largely been ignored in the Of direct bearing on the topic of this paper arc pertinent literature, and it is the aim of this report to Cesari's papal contracts as the supervisor of major illuminate these aspects of his career and to assign to him decorative projects, the first being the complete remodel­ the proper role he played in the cultural world of the ling of the transept of the Cathedral of Rome, the most Italian Baroque. extensive enterprise of its kind during the papacy of Cesari's father, originally from Arpino was a painter Clement VJII. " The painting of the transept, the super­ of minor devotional paintings. Giuseppe, born in Rome vision of which was entirely entrusted to the organiza­ in 1568 was discovered by the painters working in the tional skills of Cesari, was begun in 1599. The exact cir­ Vatican, where he was employed as a mixer of colors, and cumstances under which Cesari was able to secure this surprised them one day by painting on their work in their extremely important and profitable job are not known. absence. This attracted the attention of the papal I can only surmise that Cesari's considerable social skiUs, cosmologer, Egnazio Danti, who adopted the boy into the enhanced by his membership in such influential organiza­ circle of artists and eventually introduced him to the Pope. tions as the Academia degli lnsensati, played a significant Giuseppe was quickly put to more serious work and role. " It is interesting to note that only five months after favorably impressed his new employer who awarded him being granted the position of superintendent, Giuseppe with a monthly papal stipend. More important, however, was for the first time elected Principe of the Academia during this year was his entry into the prestigious de S. Luca. It came as no surprise that the artists he hired Academia de S. Luca, the powerful artists' organization for the execution of the work were all members of this of Rome. • His position within the Academia in general, organization, and for the most part, his personal friends. " as well as his influence as the thrice elected Principe, As supervisor, Cesari was also in charge of handling the formed, as we will see, one of the major building blocks finances, and by the time the project was finished, he had of his career, providing him later with the necessary pool received a total of 9000 scudi. Cesari, himself, worked on of talent from which to choose those artists he wished only one of the transept frescoes; in spite of its being the 10 hire for the various projects he was to control. The largest, it is predictably unimpressive. Clement VIII, papal reign of Gregory XIII proved to be quite fruitful however, was so pleased with the work of his new super­ for the artist. Hess informs us that the Pope considered visor that he made Cesari a present of a horse and a gold Giuseppe something of a prodigy, in fact, as his own cup and also bestowed upon him the title of Cavaliere discovery, and the Pope favored him with numerous papal d'Arpino. 11 commissions.' The artists of Rome, with whom Cesari Almost simultaneously with the redecoration of S. came in contact during this time were all late Mannerists Giovanni in Laterano, the Pope undertook the renovation and essentially followers of Zuccari.' After the death of of S. Cesareo. Again the supervision over parts of this the Pope, Cardinal Santori patronized the young painter, project was placed in the hands of Cesari. " The church and, in 1586, he gained admission to the influential Con­ was in a near ruinous state and had to be rebuilt almost grega:ione dei Virtuosi al Pantheon. By 1588, he was entirely. The Cavaliere, in charge of only the decoration, awarded his first major fresco commission by Sixtus V hired Rossetti and Zucchi to execute his own designs. '' in S. Lorenzo in Damaso. In the following year Cesari He possibly further involved his brother as well as An­ signed a contract with the prior of the Cer1osa di S. Napoli drea Lilio, Corce, and Nogari. " Unfortunately, beyond • Mr. Bayer's paper was awarded the 1989 Giinther Stamm Prize for excellence. 17 somewhat risky stylistic comparisons, there exists no as a painter - the fresco decoration of the Contarelli documentation for the participation of these artists in the Chapel. Giuseppe received the contract in May 1591 and Cesareo project. was supposed to complete the work in two years time for The preceding enterprise enhanced the Cavalierc's ex­ the total cost of 650 scudi. The details surrounding the perience and reputation and helped pave the way for the decoration of the chapel have been extensively examined highly prestigious commission for the decoration of the and need not be repeated here." Of interest to us, however, Dome of S. Peter, the third and final project for Clement is not what the Cavaliere painted, but rather what he did VIII!' According to Baglione, this undertaking, without not paint - specifically the decoration of the sidewalls. doubt the most important and extensive one of this Evidence which suggests that Cesari took an active role period, was first awarded by the Congregazione Reveren­ in recommending Caravaggio for the completion of the da Fabbricca to Cristofano Roncalli. This, however, did two paintings in these areas. Since this notion contradicts not please the Pope who ordered Roncalli to be removed the general opinion that Cardinal de! Monte alone was and the supervision of the decoration be given 10 the responsible for this," it demands closer examination. Cavaliere." Of course, the Fabbricca followed the papal On July 4th, 1593, d'Arpino finished the frescoes of orders and payments 10 Cesari for the project commenced the vault of the chapel, and, from this point on, he almost July 1603, and he remained on the Pope's payroll until completely ignored the continuation of the project. This, January 1613, well into the reign of Paul V. It is a tribute of course, did not sit well with the priests of S. Luigi, who 10 the Cavalierc's understanding of the advantages and were left with a half finished construction site where they disadvantages of papal favoritism that, after the death of had expected an extraordinary chapel° instead. The his great patron and friend, Clement VIII, and some in­ Crescenzi family, whose responsibility as testamentary ex­ itial difficulties with the Borghese family of Paul V," he ecutors of Cardinal Contarelli included the completion nevertheless managed to stay in charge of the building pro­ of the chapel decoration, were called to account and a ject. Abromson and Rougcn refer to recent documents lengthy lawsuit resulted from the auempt 10 resolve this that indicate the engagement of the artists, which were matter. As defense, the Creseenzi family claimed to have again either personal friends of Cesari and/ or members spent already 4000 scudi on the chapel and placed the of the Academia." His position as supervisor of the blame for the incompleted project with Cesari." By the decoration of the Dome of S. Peter served the Cavaliere summer of 1597, the priests finally exhausted their pa­ as an extremely useful bridge 10 cross the dangerous cur­ tience and drew up a petition asking Clement VIII for rents caused by the change of papal rule. assistance. The Pope accommodated them by paying a Evidently the Cavaliere's new employer, Paul V, ,vas personal visit to the site which resulted in his relieving the very pleased with the work of the inherited supervisor. Crescenzi family of their responsibility, impounding the He hired Cesari to take charge of the painting of his newly left-over funds and assigning the supervision of the pro­ erected chapel, the Capella Paolina." A project of extreme ject to the governing body of the Fabbricca of S.
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