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In the Art of Giovanna Garzoni

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In the Art of Giovanna Garzoni Free publication on www.friendsoftheuffizigallery.org Polistampa - Firenze JOURNAL OF THE FRIENDS OF THE UFFIZI GALLERY No. 77 - April 2020 A Pope and His Cousins The Portrait of Leo X and Its Most Hidden Meanings uch has been written on Mthe Portrait of Leo X in the past, and most recently, for the exhibit on “Raffaello (1520- 1483)” organized by the Scude- rie del Quirinale and the Uffizi Galleries. There is not enough space here to enter into a thor- ough description of the paint- ing’s richness of narrative de- tail or an in-depth discussion of the complexity of its content. Better then to focus on certain details useful in unveiling its most hidden meanings. In his famous commen- Raffaello, The Portrait of Leo X, on display at exhibit at the Scuderie del Quirinale, Rome. tary, Vasari (1550, 1568) con- centrates exclusively on the naturalism of the image and and elected to the papacy in the bloody war of Urbino in not followed an ecclesiastic vo- the diligence of its execution. 1513: his refined and human- 1517. cation but rather entered into He thus lingers on the mate- ist culture, his taste for the an- In fact, as soon as the triple the Pope’s political strategy of rial and tactile aspects of the tique, his love of luxury, and portrait was finished in Sep- marital alliances. velvets, the damasks, the lin- his will to reconcile all of the tember 1518, it was sent to Flor- Investigations undertaken ings, the gold, the silks, the above with the renewal of the ence to celebrate Lorenzo’s during the recent restoration illuminated manuscript (the Church. Then again, Leo X, marriage to Maddelena de la confirm that the preparatory Biblia Hamilton now in Berlin), hailed as a great peacemaker Tour d’Auvergne, a relative of drawings of the figure of Leo and the finely carved silver after the tumultuous reign of Francis I of France. A strange X differ from those of the car- bell with its gold decorations, Julius II, escaped a conspiracy wedding gift, one might say. dinals, even though all were not forgetting to comment on organized against him by Car- But not really, considering how completed before the back- the reflections of light in the dinal Petrucci in the spring the Pope conveys through the ground. Perhaps at the outset, pummel of the seat. But in of 1517. But by 1518, just one painting his reliance on the the portrait was intended to fact, Raffaello intended to go year after the conclusion of support of his two cardinal be the charismatic image of far beyond the threshold of an the Fifth Lateran Council, he cousins, Giulio de’ Medici, the the Pope alone. Subsequently admittedly stupefying natural- had already deluded the ex- future Pope Clement VII, and transformed into the repre- ism. Those details were meant pectations of those awaiting Luigi de’ Rossi, who Leo him- sentation of familial politics, it to encapsulate salient personal universal peace by sending his self had appointed cardinal. traits of the Pope, the second nephew Lorenzo de’ Medici, While the wedding gift intend- son of Lorenzo il Magnifico, a figure intimately tied to the ed to reaffirm his closeness to Marzia Faietti baptized Giovanni de’ Medici creation of this painting, to his nephew, Lorenzo, who had (continued on page 2) IL GIORNALE degli UFFIZI 1 nonetheless continued to be through indulgences a church France that de’ Rossi faithfully ures, in the suspended atmo- an eloquent expression of the as grand as the temple of Jeru- supported). Raffaello knew how sphere of the scene and the un- refined culture and religious salem (the new Saint Peter’s to mix and balance the private quiet gaze of Cardinal de’ Rossi, sentiment of Leo X, unveiling whose architect from 1514 was and dynastic-familial spheres looking directly at us, that we as well his fear of a possible Raffaello himself). with the celebration of the per- perceive the fragility of this his- rupture within Christianity fol- Thus within the portrait, the fect union between spiritual torical moment destined to van- lowing the revolt of Luther. In celebration of papal power – and temporal power without ne- quish even the most carefully this sense, the cross-reading where politics and religion inex- glecting the attentive portrayal pondered strategies. Raffaello, of the first page of the Gospel tricably combine – converges of the individual and psycholog- in 1518, fully understood the of John and the last page of with the representation of the ical makeup of the various per- frailty of the Roman Church in the Gospel of Luke, on which underlying dynamics of private, sonages. And it is precisely face of the times to come. the manuscript opens, alludes familial relations and diplomat- through the psychological to the necessity of building ic strategies (the alliance with depth apparent in the three fig- Marzia Faietti Art Detectives Active in Rome since 1969, the Cultural Heritage Simona Pasquinucci, and Sonia ed initial and a figure, universal Protection Unit of the Carabinieri is renowned Chiodo, curator of the exhibit. I history has been written; the worldwide for its excellence consider it really good news, not minium that gives its name to the because of my role as command- objects on display is the color red er of the investigative unit be- of creative energy in continuous he Uffizi Galleries is show- (Tutela del Patrimonio Culturale ing honored, but because these movement”. Tcasing a display of Painted - TPC), an initiative for which admirable pearls of art – that Of equal importance is the Pages recovered by the Carabinieri I would like to thank Director warranted Oderisi da Gubbio a exhibit’s recognition of the op- Protection of Cultural Heritage Unit Eike Schmidt, his collaborator mention in Dante’s Purgatory – erative role of my collaborators. deserve wider public attention. At the time of its foundation Paintings that embellish in Piazza S. Ignazio in Rome in manuscripts and ancient texts 1969, the Command numbered have accompanied the path seventeen Carabinieri. Today, of civilization. As I wrote in my it counts three hundred spread introduction to the exhibition across the entire peninsula – is- catalog: “Between an ornament- lands included – who have re- Painted Pages Tell the Tale Italy was a farming civilization for centuries and, from Constantine to the Popes, the center of Ca- tholicism. These conditions gave rise to a hundred thousand cult The first important challenge for the TPC:La Muta by Raffaello, stolen in 1975 from the sanctuaries, many in the urban Ducal Palace of Urbino and recovered the following year. countryside and in isolated local- ities. The abandonment of rural life put all of this to risk and in- numerable thefts called for tar- geted countermeasures. The ex- hibit “Stories of Painted Pages”, on display in the Sala delle Nic- chie (Hall of Niches) in Palazzo Pitti, showcases the investigations of the TPC with a selection of Choir Books returned to con- vents, archives and museums in Umbria and Tuscany. The ac- knowledgment of these restitu- Antiphonary with Saint Stephen and tions on a local level is the Uffizi’s Episodes of His Life, tempera and way of endorsing TPC’s funda- gold on parchment, circa 1330-1340. mental role in the worldwide Crociani Civic Museum and Art Gallery, protection of art. R.R. Montepulciano (Siena, Italy). Fighting clandestine excavations in Iraq, where the Carabinieri have been active since 2003. 2 IL GIORNALE degli UFFIZI TPC and religious art: a masterpiece of Trecento goldsmithing, the famous Processional Cross returned to the village of Trequanda (Siena, Italy) in 2009. covered nearly three million The Italian method for the and Restitution of Cultural Pat- ing, assistance, and aid wher- artworks, created a database of protection of cultural heritage rimony. ever needed. After all, no less lost works that currently serves enjoys worldwide recognition. We also set the precedent for should be expected from the as a universal reference point, Based on Article 9 of the Con- UNESCO which, a year after the ‘Bel Paese’ (Beautiful Coun- activated investigations and legal stitution, the model is deployed foundation of the TPC, invited try), the age-old repository of proceedings in the four corners through the central and periph- all country members to adopt a archeological treasures and of the world that have made it eral channels of the Ministry of similar organizational structure. monuments of every age, the more difficult for museums and Fine Arts and Cultural Activities We export “Cultural Peacemak- historical destination along the international auction houses to (Mibact), the Carabinieri, and ers” to areas devastated by con- Grand Tour that inspired the accept artifacts of uncertified other organizations, such as the flicts and natural calamities ecstasy of Stendhal, the genius provenance on the art market. Committee for the Recovery and offer consultation, train- of Goethe, and the canvases of Turner, among others. In an apartment overlook- ing Palazzo Pitti, right here in Florence, Dostoyevsky worked on the completion of “The Idi- ot”, rightfully considered one of his greatest masterpieces. He was immersed in the splendor of a grand living space open to the sky, willed by the Medici and furnished by artists of the cali- ber of Brunelleschi, Donatello, and Michelangelo. In a similar setting, it is not by chance then that, in the pages of his novel bestowed on posterity in 1869, the great writer had Prince Myškin, pose the timeless ques- tion: “Will beauty save the world?” Gen. B. Roberto Riccardi, Commander Protection The cataloging of artifacts in the vault in via Anicia in Rome, the seat of TPC operations. of Cultural Heritage Unit IL GIORNALE degli UFFIZI 3 Most Illustrious and Most Excellent The Andito degli Italy and Europe.
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