ISSN 2421-2679 146 A political interpretation of a proscenium arch designed by Francesco Romanelli for the opera “San Bonifazio” (1638) Leila Zammar

description might ft in part to the character as some of its attributes are usually associated to the personifcation of Justice, I will propose another ome years ago, while I was looking for reading, which better matches the programmatic information about the artists who were meaning the Barberini family wanted to convey hired by the Barberini to stage their operas with the opera San Bonifazio for which his arch Sin Rome for the Carnival season 1638, I found was very likely designed. Romanelli was in fact an interesting drawing by the painter Giovanni one of the artists chosen by the noble family to Francesco Romanelli (c.1610-1662). Te drawing, design works of art that could be a good means held in the Metropolitan Museum of New York, of conveying their political propaganda (about shows an incomplete proscenium arch of a stage the role of Francesco Romanelli see Oy-Marra with the crest of the Barberini placed at the centre 2007: 303-16). of the architrave. Born in Viterbo, Romanelli, also known as Il Viterbese, from his birth city, or Il Rafaellino, afer Rafaello, was trained in Rome where he studied with Il Domenichino (Domenico Zampieri, 1581-1641) frst, and then with Pietro da Cortona (Pietro Berettini, 1596-1669). It is probable that the latter introduced him to the court of the Barberini family since Romanelli was his collaborator in painting the frescos for the chapel inside Palazzo Barberini (1631-32). Moreover, both Gian Lorenzo Bernini (1598- 1680) and Cardinal Francesco Barberini (1528- 1600) acted as his patrons and helped him in having important commissions (Bruno 2017). It must be considered that Bernini was very infuential in the choice of the artists to be hired Fig. 1. Giovanni Francesco Romanelli (c.1610–1662). Medium: Graphite or black chalk on cream laid for stage performances at the Barberini court paper. Dimensions: 10-1/16 x 14 in. (25.6 x 35.6 since, when not directly involved in making cm). Classifcation: Drawings. Credit Line: Gif of the backdrops and inventing new machines, he Leon Dalva Sr., 1965. Te Metropolitan Museum. supervised most of the operas patronized by the Accession Number 65.654.120: public domain. (See: noble family during the seventeenth century, as Filippo Baldinucci collections/90007522>) (Baldinucci 1682: 45). Considering the above, it is not surprising that Te caption illustrating the picture on the on- Romanelli’s name appears in the payment records line page of the museum describes the character of the artists and masons hired by Francesco on the right as “a Figure of Justice.” Even if this Barberini for the Carnival season 1638, when ISSN 2421-2679 the cardinal sponsored the performance of two Anton Furst von Eggenberg, Imperial envoy of 147 operas: La pazzia d’Orlando and San Bonifazio1. Ferdinand III, the responsibility of staging the A political interpretation of a proscenium arch designed by Francesco Romanelli for the opera “San Bonifazio” (1638) In the payments there is evidence that Romanelli performance was given to other artists even if it is was involved only in the staging of the latter for likely that most of the scenography was reused, as which he designed the scenes, painted numerous was common at that time (Zammar 2017: 80-90). canvass probably used to make side-wings and Te opera was staged in a salone on the piano perspectives, and supervised the construction of nobile of the Palazzo della Cancelleria, which the stage. He also ordered the colours for himself had been Francesco Barberini’s residence since and for the other painters as well as cardboard 1632. Te salone is on the side facing Piazza della used to make some clouds (Giust. I: fol. 271r). Cancelleria, just above the porch of the Church of San Lorenzo in Damaso (see room evidenced in green in fg. 2). Te stage would have been built along the south wall corresponding to the short-lef side in the above picture (Murata 1981: 35). Te access to the hall was achievable through fve doors, but almost certainly the guests who attended the opera entered from the door in the north corner of the west wall, which leads to the room known as the Salone dei Cento Giorni (the room indicated in yellow in fg. 2). Te reason for choosing this room was probably because it is the largest of the palazzo and is three stories high. Te availability of space ofered the artists several opportunities. Tey could build a raised platform, which allowed the positioning of theatrical devices under the stage to move part of the set design and they could place pieces of machinery under the ceiling. To prevent the audience from seeing the mechanisms it was necessary to erect a proscenium arch that allowed them to be hidden, and this task was most probably given to Romanelli, who designed the proscenium arch displayed in fg. 1. Fig. 2. Giuseppe Valadier (1762-1839). Medium: drawing Even if the drawing by Romanelli shows only on paper, orthographic projections. Dimensions: Width: a part of this proscenium arch, some of its 383 mm x Height: 537 mm. Inventory numbers: 58821_93 details are of great interest in light of a political and Roma XI.100.93. Repository: Biblioteca di archeologia interpretation of the opera it was designed for. e storia dell’arte (Rome, Italy). On-line location: http://purl. When the spectators entered the hall, the stage stanford.edu/jp933tz4188 (the image has been modifed by was not visible because a curtain covered it. Tis the author to make it more accessible to the reader). is made clear by the following lines from a request for payment written by an artisan who helped the other artists every time that they staged the 1638 Since this was also the only occasion attested performance of San Bonifazio: in the payment records held in the Archivio Barberini of the Vatican Library in which the per aver sparato e parato di tafettani per la artist was involved in the staging of a theatrical rappresentazione di San Bonifazio ed essere stato performance, I suggest that the drawing shown assiduo giorno e notte per appicciare le lampade e tirare in fg. 1, might refer to the proscenium arch built i tafettani ogni volta che si faceva la rappresentazione for the performance of San Bonifazio for the con due uomini. Carnival 1638. A further confrmation is that [for placing and removing the cloths for the performance when the opera was staged again in November of San Bonifazio and for being present day and night to 1638 on occasion of the visit to Rome of Johann ISSN 2421-2679 148 set the lights and for pulling, together with two men, Stanton 2006: 39). In Ovid’s account, Apollo, the cloths every time that the performance was staged] shocked by the transformation of Daphne, started (translated by the author from Giust. I: fol. 205r). embracing the laurel tree, which truncated at his kisses (De Girolami Cheney 1993: 135-76). Hence Since the frontstage was furbished with six vases, the meaning of the tree trunk in the drawing and holding the torches to illuminate the proscenium, in several other images representing Apollo. Less it is clear that the intention of the Barberini was common is the representation of the god holding to draw the attention of the public to it and its a sword instead of the most familiar lyre. Tis decoration. Tat is why it is important to analyse attribute dates to the epic of Homer, where Apollo the message the noble family wanted to convey. is referred to as χρυσάορος (goldsmith) and According to my interpretation, the character the god by the golden sword who, sent by Zeus, represented on the right (see fg. 3 below), despite protected the city of Troy against the Achaeans its similarity with a personifcation of Justice as (Viscardi 2014: 39-61). suggested by the curators of the Metropolitan Te choice of asking the artists to employ Apollo in Museum, can be better identifed with the god decorating works commissioned by them was not Apollo. Some of the god’s attributes are in fact new to the Barberini as the god was very dear to easily recognisable. both Francesco, and to his uncle, pope Urban VIII (Mafeo Barberini, 1631-1658), for whom the god had a non-pagan signifcance. Although Mafeo had ofen condemned the use of mythological images as one of the main reasons of poetry’s loss of power, Apollo was an exception (Scott 2007: 127-36). Since the beginning of his pontifcate, Urban VIII had liked to identify himself with the sun-god and his virtues as a poet, being himself a writer of poems and music lover. For example, the lost fresco by the painter Andrea Camassei (1602- 1648/49), who decorated the ceiling of one of the rooms on the ground foor of Palazzo Barberini Leila Zammar Leila was entitled Apollo e le Muse sul Parnaso and showed the Pope disguised as Apollo. A further confrmation of the devotion of the Barberini to the god is that in their heraldic deeds they ofen used the image of the sun to represent the pope as the sunny centre of a constellation made up of the other members of the family. Tere are also several other paintings, tapestries, and decorations commissioned by the Barberini referring in some way to Apollo or his attributes (Negro 2007: 447- Fig. 3. Detail from fg.1 52). One of the most elaborate allusions to the mythological character and to his relation with Both the laurel crown and the tree trunk, on Urban VIII can be found in Pietro da Cortona’s which the character leans his lef hand, allude to fresco Triumph of Divine Providence decorating the myth of Apollo and Daphne as reported in the ceiling of the big salone on the piano nobile Ovid’s Metamorphoses. According to the myth, the of Palazzo Barberini alle Quattro Fontane (Scott river god Peneus, Daphne’s father, transformed the 2007: 127-36). nymph into a laurel tree to help her escape from But which was the meaning given to Apollo holding Apollo’s lascivious desires. Unable to possess his a sword on the proscenium arch of an opera beloved physically, Apollo decided to decorate dedicated to a saint? To answer this question, it is his attributes with the laurel to maintain a contact fundamental to consider the plot and the aim of with Daphne’s substance forever (Parker and the staging of this opera, considering the historical ISSN 2421-2679 events of the period. Evidently the subject is based Christians. At frst, the young man is confused, 149 on the life of Saint Boniface, following the path but fnally Aglae persuades him. Tis decision A political interpretation of a proscenium arch designed by Francesco Romanelli for the opera “San Bonifazio” (1638) inaugurated by one of the most popular operas provokes the reaction of the Devil, who does not staged by the Barberini, Sant’Alessio. Te plot want to lose the power he has long had over the revolves around the relationship between the couple and tries unsuccessfully to tempt them. young Boniface and his lover Aglae. Te prologue Act II opens with Boniface, who, alone, is thinking of the opera is sung by the muses Calliope and about his future, when his guardian angel arrives Urania and states the moral of the performance: to reassure him. Te Devil tries to convince mortals should follow Virtue rather than Love, Boniface to renounce his purposes and go back to because the former is the only source of peace. his beloved Aglae. Boniface defeats him and the Te presence of two muses in the prologue Devil decides to look for Aglae to tempt her. In creates a frst link to the image of Apollo on the the meantime, the Captain tries again to conquer proscenium arch since traditionally Apollo was Aglae singing her a serenade. Te Devil tries identifed as the leader of the muses. Te choice of unsuccessfully to convince Aglae to ask Boniface Calliope, the muse of epic and Urania, the muse to reach her in Rome. Te fact that the actor of astrology is because the two muses are related playing the Devil wore Arab clothes seems to be to two topics very dear to the pope: poetry and a reference to the Islamic Turks, a way to identify astrology (Marshall Miller 2008: 49-72). them with the enemies of the true faith and to Act I opens with Boniface and Aglae celebrating warn the audience on the potential consequences their life of pleasure by singing and dancing of their gaining power in Europe. together. Once Boniface leaves, the allegorical Act III opens with Boniface, who is being taken character Penitence enters on stage and convinces captive by the Romans, but, despite to surrender Aglae to give up her life of pleasure and foolishness. to them, prefers to be martyred. As soon as Aglae Penitence, as most allegorical characters receives the news from Boniface’s servant, two appearing in operas staged by the Barberini, is allegorical characters, the Church Militant and meant to remind the audiences to focus their the Church Triumphant, appear to declare their attention on the teachings of the Catholic Church victory and the opera ends with a rejoicing ballet and its leaders, who represent their spiritual (see Hammond 1994: 232 and Christy Lamothe and moral guide (Christy Lamothe 2009: 44). 2009: 69). Very likely the curtain was closed once Te message here is that there is still time for more, leaving the audience to contemplate the two everyone to change their mind because, thanks characters on each side of the proscenium arch. to repentance, it is possible to be forgiven by God Te programmatic intention of the opera is and be absolved of one’s sins. Te reference to the apparently in contrast to its poor setting, which position of France in support of the Protestants in gives the impression of an opera staged without the Tirty Years War (1618-1648) and an appeal to a great display of machinery and scenographic Cardinal Maurizio of Savoy (1593-1657), guest of efects, compared to other operas sponsored by honour of the performance, seem to be clear. Te the Barberini. In fact, the only piece of machinery intention was to warn Savoy on the consequences was a cloud to lower the actor playing the Angel, of betraying the true Christian faith and inducing and the only device used to change the scenes him to exert any diplomatic deed possible to consisted in sliding fats treetops-shaped, which put pressure on French leaders to change their covered the fxed scene (Giust. I: fol. 216v, European policies. transcribed in Bruno 2005: 67-88). However, the At this point of the opera, the comedic character organization of two contemporary performances Captain Dragonivampasparaparapiglia is for the Carnival season 1638 can be considered as introduced2. He wants to court Aglae and sends an incredible efort to react to conditions adverse his servant Fagotto with a message to the girl, to the family. Te presence of Maurizio of Savoy, in which he boasts his military glories hoping one of the most powerful noblemen in Rome, at to impress her. Aglae is not impressed at all by the frst performance of the opera indicates the the Captain and decides to reach Boniface. She intention of the Barberini to support the authority fnds him speaking with his servants and tries to of the French faction in a period in which Spain convince him to leave for Tarsus to fght for the was gaining more and more power, but also to ISSN 2421-2679 150 fnd a balance between the two factions as Savoy by Francesco Barberini. In this renewed version had supported his brother Tommaso of Carignano of the opera the appeal, once addressed to Savoy, in promoting a pro-Spanish policy in opposition to was directed to the ambassador who was supposed the ruler of the Duchy of Savoy, Christine of France. to report to the Emperor that it was important to Savoy had long been familiar with the Barberini make any efort to renovate the true Christian since he frst arrived in Rome in 1621 and stayed faith, because it was the only means to conquer the there for a few months. When he returned in May deceitful attempts of the demon and to gain eternal 1623, he had a great infuence in the election of glory. Te Catholic Church was in fact at risk of Mafeo Barberini to the papal see. Terefore, the losing its moral authority over most European Barberini had a special devotion to him, which countries for several reasons. On the one hand, is why Maurizio was the guest of honour of the the events related to the Tirty Year’s War (1618- performance (Mӧrschel 2001: 147-78)3. Tis is 1648) were turning in favour of Protestantism; attested by the payment records for the opera that on the other, the growing Islamic power in the report that 1500 argomenti were bound for this East menaced Europe. For these reasons the pope performance with carta colorita, while a special had favourably hailed the election of the Catholic copy with a binding of parchment and golden Habsburg Ferdinand III as King of the Romans threads was made for him (Giust. I: fol. 238r). Te (December 1636) because both of them had to special copy of the argomento was very likely given face two common enemies – the Protestants, who to the cardinal on occasion of a banquet Cardinal were increasing their power in Europe, and the Francesco organized for the guests who attended Islamic Turks, who menaced their stability from one of the performances of the opera. In fact, an outside. In his turn, Emperor Ferdinand soon avviso dated 13 February 1638 reports that, on sent his ambassador to Rome. News spread in that date, Francesco gave a banquet for Cardinal Rome early in January 1637, and when the Prince of Savoy, which was probably the occasion to give arrived, he was invited to attend the numerous him the special copy4. It is credible that he ofered events organized for the occasion, including the this banquet in the large Salone dei Cento Giorni, new version of San Bonifazio (Rietbergen 2006: because it was the only room next to the hall where 181-216). Te Prologue of the renewed opera was San Bonifazio was staged that would have been then modifed to praise the politics of Ferdinand capable of hosting numerous people. III and his important role among the European Leila Zammar Leila Te main intention of the Barberini in inviting powers in an attempt to gain his favours and to Savoy to attend a performance of this opera was push him to support the Pope in his policy. to make him refect on the possible consequences Following what has been discussed above, the the position of France in support of the Protestants image of the god Apollo rising his sword, acquires in the Tirty Years War might have had. But a completely new meaning. Apollo, alias Mafeo the presence of Maurizio of Savoy as a guest of Barberini in his role of leader of the Catholic Cardinal Francesco also attests that during a Church, is ready to defend his followers and period of turmoil in Rome between the Spanish protect the true Christian faith from the insidious and the French parties, which had started in 1635, attempts of both the Protestants and the Islamic it was important for the pro-French Barberini Turks to contrast and destroy its power. Te family to demonstrate their impartiality towards reference to the Barberini family is then evident in both factions. Since Cardinal Maurizio had long the crest at the centre of the proscenium just above promoted a pro-Spanish policy, his acceptance the stage. As well illustrated by Peter Rietbergen, to attend a banquet organized by a member of the bees on the emblem of the Barberini assume a the Barberini family must have had an important specifc connotation if we consider them according signifcance for the pro-Spanish party in Rome. to the meaning they had acquired thanks to the Not less important was the meaning the opera Jesuits during the sixteenth and seventeenth acquired when it was given in a more elaborate centuries. For the Jesuits, the image of the bees had version to honour Ferdinand III’s ambassador, a religious signifcance and was associated with the Johann Prince Eckembergh, in November 1638 Virgin Mary and her chastity, while honey became (Rietbergen 2006: 181-216). Te opera was staged a symbol of Divine Wisdom (see also Rice 2007: afer a luxurious banquet organized once more 181-94). So, the use of the bees in their crest was ISSN 2421-2679 151 A political interpretation of a proscenium arch designed by Francesco Romanelli for the opera “San Bonifazio” (1638)

Fig. 4. Hypothetical reconstruction of the proscenium arch of the opera San Bonifazio designed by the author. Te fgure of David is afer Gian Lorenzo Bernini’s drawing for the frontispiece of Mafeo Barberini’s collection of poems entitled Maphaei S.R.E. Card. Barberini Nunc Urbani PP. VIII Poemata and published in Rome in 1631. a means of propaganda, a way for the Barberini faith. Te latter reading can fnd some evidence to suggest that they ruled by Divine Wisdom in a cartoon designed by Pietro da Cortona for a protected by the Virgin Mary. series of tapestries commissioned by the Barberini A question remains unsolved: who was the character to illustrate the Life of Constantine showing the represented on the lef of the stage balancing the emperor struggling with a lion. Te link to the frst fgure of Apollo on the right? A possible answer Christian emperor, despite being based on the false might be either Jupiter or David. Jupiter could be document known as the “donation of Constantine”, possible since this god was one with whom the pope was ofen used by Mafeo Barberini as a means to liked to identify himself. Evidence for this is to be reafrm his legal authority over the Papal States found in the Allegoria della nascita di Urbano VIII and it might well have been the counter-part image by Andrea Sacchi (1599-1661) and Charles Audran, of Apollo on the other side of the proscenium arch kept in the Bibliothèque Nationale in Paris, in analysed in this article (Rietbergen 2006: 129). which the pope/Jupiter is fed by Melissa the nymph, According to the above analysis, the full view of the who is associated with the bee and is surmounted proscenium arch as it appeared to the audience of by the three bees, symbol of the Barberini family San Bonifazio, while entering the salone soon afer (Faedo 2007: 381-92). However, in my opinion, leaving the Salone dei cento giorni of Palazzo della a more likely possibility might be David, another Cancelleria, could have been like the reconstruction character dear to the pope, as is well attested by proposed in fg. 4. Once more the faithful artists the two editions of his poems whose in which the of the entourage of the Barberini had agreed to frontispieces were engraved with images showing subjugate their craf to please their patrons and David killing the lion (Rietbergen 2006: 181-216). once more art was a means of subtle propaganda Tis interpretation can better ft the political aim of for the noble family. the opera and match the meaning conveyed by the two allegorical characters of the fnal scene since Apollo, holding the golden sword, might represent the Church Militant whereas David, with his victory over the lion, might represent the Church Triumphant on the enemies of the true Christian ISSN 2421-2679 152 Bibliography Oy-Marra, Elisabeth, “Ambasciatori dello stile barberini: Giovan Francesco Romanelli in Archival documents Francia”, I Barberini e la cultura europea del Seicento, Eds. Lorenza Mochi Onori - Sebastian Vatican City, B.A.V, Arch. Barb., Giust. I, vol. 71, Schütze - Francesco Solinas, Rome, De Luca Francesco Barberini seniore. Giustifcazioni 2951- Editori d’Arte S.r.l., 2007: 303-16. 2993, year 1638. Parker, Janet and Stanton, Julie Eds., Mythology: Myth, Legends and Fantasies, Cape Town, Struik, Books, book chapters and articles 2006. Rice, Louise, “Apes philosophicae: bees and the Baldinucci, Filippo, Vita del cavaliere Gio. Lorenzo divine design in Barberini thesis prints”, I Bernino, scultore, architetto, e pittore, Florence, Barberini e la cultura europea del Seicento, Eds. Vincenzo Vangelisti, 1682. Lorenza Mochi Onori - Sebastian Schütze - Bruno, Anna, “Arte e teatro nelle residenze Francesco Solinas, Rome, De Luca Editori d’Arte romane dei Barberini”, Lo spettacolo del sacro, la S.r.l., 2007: 181-94. morale del profano, Ed. Danilo Romei, Florence, Rietbergen, Peter, Power and Religion in Baroque Polistampa, 2005: 67-88. 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Notes

1 Vatican City, B.A.V, Arch. Barb., Giust. I, vol. 71, Fran- cesco Barberini seniore, Giustifcazioni 2951-2993, year 1638. Further references to this source will be given in brackets in the text of this article as follows: Giust I: folio number. I would like to thank the archivists Luigi Cac- ciaglia and Antonio Schiavi for their help and support during my research at the Vatican Library. 2 Te Barberini were fascinated by the actors of the com- media dell’arte and loved to attend their improvised per- formances. A confrmation is that they dedicated a space in their property at the Quattro Fontane to stage com- media dell’arte plays. Tis was known as the Casino delle Quattro Fontane (see Tamburini 2012: 47-48). 3 See also “Savoia, Maurizio di”, in Dizionario di Storia http://www.treccani.it/enciclopedia/maurizio-di-savo- ia_(Dizionario-di-Storia)/ (last accessed 11/07/2020). 4 Avvisi di diverse parti nell’anno 1638. Di Roma, 13 Fe- bruary 1638, fol. 43. Te document is transcribed in Mu- rata 1981: 290, note 2.