The Dangerous Liaisons of Bernini
May 26, 2013
Love triangles and promiscuity seldom flourished so exquisitely than at the Papal Court in Rome up to about 3-400 years ago. As some “The Borgias” fans might’ve already noticed, Vatican city was quite a den of lavish sins back in the days of Michelangelo and didn’t stop being one until long after Bernini’s days, which is why the following episode of his life should not come as a surprise.
Gian Lorenzo Bernini, the preeminent protege of the Popes Urban VIII and Alexander VII, like all reputed artists, had some apprentices to do his less important commissions in exchange for advice and guidance. And these anonymous apprentices, emphasizing one in particular, had wives. Female presences to whose charms the great sculptor could not frequently resist.
One such ravishing woman by law reserved for a single husband, was Constanza Piccolomini Bonarelli, spouse of Matteo Bonarelli and licentious lover of Bernini.
So much was he enamored with her that, to fully convey his passionate sentiments, Gian Lorenzo produces the above bust, a Constanza he could caress in marble, the immortal, unwithering variant of his beloved. It was the zenith of their affection.
And soon they’d reach their nadir… one terrible way too.
Since Constanza was unfaithful to her hubby, cheating came natural to her and not long after her storming affair with Bernini commenced, she found herself involved with a second paramour, none other than Gian Lorenzo’s younger brother, Luigi.
Alas, a naturally suspicious Bernini soon felt her betrayal and thought a most basic scheme to catch the two in flagrant delicto: he simply announced his going to the countryside to tend to some business, insidiously expecting the couple to make a wrong move… which didn’t let itself waited.
Luigi, unconscious of any danger, immediately visited a lonely Constanza yearning for consolation to be “welcomed” by a furious Bernini who almost beat him to death.
Amusingly (or tragically, depending on your point of view), this telenovela-like story didn’t stop here, but to continue it and learn the climax of the whole affair, I recommend the following documentary:
Lunardi’s flying Folly
October 10, 2012
Shallow as it may sound, the ‘beauty comes first’ criteria to which my visual senses respond made me stop at this man’s intriguing story only after dropping an eye on his rather handsome portrait preceding it. One inexorably desires more information about charming characters; it tends to enhance their attractiveness and draw them to spheres of humanity easier to empathize with, still stressing the physical gorgeousness first to catch one’s attention. But I’m missing the point (thing I’m terribly good at).
The lad depicted above, a very flamboyant Italian named Vincenzo Lunardi, makes this very October 225 years since he first flew over Edinburgh in a hydrogen-filled balloon, stunning the curious mob gathered on the grounds of George Heriot’s School to watch the big event which The Scots Magazine later described with appreciatory words:
‘The beauty and grandeur of the spectacle could only be exceeded by the cool, intrepid manner in which the adventurer conducted himself; and indeed he seemed infinitely more at ease than the greater part of his spectators.’
A day to remember, really.
But the charismatic Vincezo had orchestrated numerous such occasions to leave his contemporaries in utter awe long before that October 1785 and could, at the mere age of 26, boast with the several aeronautic adventures alongside the famous James Tytler, whom he had met around the 1780’s during a diplomatic voyage. Because yes, the courageous Lunardi started up as a minor Neapolitan nobleman engaged in diplomatic missions to France and, elected Secretary to Prince Caramanico (a well respected Ambassador), to England. Let us not forget envoys in the Revolutionary epoch were people characterized by the most acute sense of action, having traveled enough to discover different habits and mentalities. Not to mention their varied education. In all sort of ways.
In London, Lunardi’s appetite for fame and the dandy allure so appealing to the English public facilitated his ascension as a ‘Daredevil Aeronaut’, the first to successfully experience the perilous balloon flight after de Morel’s failure in a time when the conquest of air was a hot topic. The novelty was there, waiting for a valiant one to affirm it, and the world stared impatiently. Easy times to become hero for audacious hearts.
So, eager to conquer a certain prestige, Vincenzo, native showman, immediately planned an ascension with a balloon designed by his partner, George Biggin, over the 200,000 heads of riveted Londoners among whom stood aristocratic figures such as the Prince of Wales. To make thing even more peculiar, Lunardi decided to give a cat, a dog and a pigeon the honor of traveling alongside himself, although with the cat’s airsickness one could contest it was indeed a good idea.
Setting off from the Artillery Ground to a northerly direction towards Hertfordshire, without poor Biggin, he eventually put the balloon to rest in Standon Green End which, to this day, bears the name of ‘Balloon Corner’ to commemorate the historical event.
This first balloon flight in Great Britain turned Lunardi into the hero of the hour, his main desire, and brought him before the ‘Mad King’ George III.
I think him quite a curious human specimen. And Sir Laurence Olivier thought him so too when playing Lunardi in the 1936 film ‘Conquest of the Air’.
Any other opinions?