All images © by Roberto Piperno, owner of the domain. Write to firstname.lastname@example.org. Text edited by Rosamie Moore.
ABRIDGED HISTORY OF ROME - PART III
VII - THE LOSS OF THE LEADERSHIP IN THE ARTS
In this page:
S. Maria della Pace: detail of the pope's
portrait and of his heraldic symbols
Pope Alexander VII
Bernini in Paris
Pope Clement IX
Pope Clement X
Pope Innocent XI
Pope Alexander VIII
Pope Alexander VII
The conclave which followed the death of Pope Innocent X on January 7, 1655 was a very lengthy one; it started on January 18
and it ended on April 7 with the election of Cardinal Fabio Chigi. He was born in Siena and he chose to be called Pope Alexander VII as a
tribute to Pope Alexander III, who was born in Siena too.
His election was favoured by Spain and opposed by France: the hostility of Cardinal Jules Mazarin, the French Prime Minister,
and after his death in 1661, that of King Louis XIV marked the whole pontificate of Pope Alexander VII.
The Chigi family acquired great wealth when
Agostino Chigi became the banker of
Pope Julius II: the two were on very friendly terms and the pope allowed the banker to
add to the mountains of his coat of arms the oak which was the pope's heraldic symbol. At first Pope Alexander VII refrained from assigning positions to his relatives, but in 1656 he changed his mind: the
Romans saw so many relatives of the pope come to Rome that Pasquino, one of the talking statues of Rome,
spoke of a procession.
On Christmas Day 1655 the pope welcomed outside
Porta del Popolo the arrival of Queen Christina of Sweden: she was the daughter of
King Gustavus Adolphus
who led the Protestant armies in the Thirty Years' War and died in 1632 at the Battle of Lutzen;
she came to Rome to convert to Catholicism: although she had
abdicated the throne of Sweden, the pope hoped this event could lead to more important developments.
He was soon disappointed by the Queen because she plotted with
Cardinal Mazarin to acquire Naples for herself to the detriment of Spain, the country who had supported the election of the pope.
In 1659 Pope Alexander VII issued a bull which reserved access to the
highest positions of the ecclesiastical career to those who could claim a
noble origin: this decision favoured in the long run the election of
popes coming from minor noble families of the Papal State: eight out of ten popes
between 1740 and 1903 belonged to the provincial aristocracy. It is estimated that 60% of the cardinals during that period were relatives of another cardinal.
Pope Alexander VII underlined his links with the Della Rovere popes (Sixtus IV and Julius II) by adding a Baroque
finishing to two churches founded by Pope Sixtus IV inside which the Chigi had a family chapel:
Bernini modified the fašade of S. Maria del Popolo,
renovated its interior and completed the family chapel following Raphael's original design;
Pietro da Cortona worked at providing S. Maria della Pace with an easier access by
enlarging the square in front of the church and by designing a new fašade; he also designed a new fašade for
S. Maria in Via Lata.
Bernini had during the pontificate of Alexander VII the same artistic supremacy he enjoyed during that of
Pope Urban VIII; the pope asked him to assist
Carlo Rainaldi in designing S. Maria in Montesanto and S. Maria dei Miracoli
and to supervise a group of sculptors in erecting monuments to the popes from Siena in the cathedral of that town.
Bernini was also commissioned the family palace now known as Palazzo Odescalchi and churches at
(S. Maria dell'Assunzione and S. Maria di Galloro) and at
Castelgandolfo (S. Tommaso da Villanova).
Other tasks given to Bernini were the clearing of
Piazza del Pantheon from adjoining buildings, new portals in
Spedale di S. Spirito in Sassia, the enlargement
of Palazzo del Quirinale along Strada Pia and the monument for the
obelisk in Piazza della Minerva. The Jesuits were highly regarded by the pope and for them Bernini
designed S. Andrea al Quirinale.
Francesco Borromini, the other leading architect of this period built the Chapel of the Magi
in Collegio di Propaganda Fide and he completed his restoration of
Battistero Lateranense; apart from the small chapel called
S. Giovanni in Oleo and Cappella Spada
he did not receive other important commissions and this played
a role in his decision to commit suicide in 1667.
Pope Alexander VII promoted the construction of S. Maria in Campitelli
designed by Carlo Rainaldi and S. Rita da Cascia, designed by Carlo Fontana,
a young architect whose early career was favoured by Bernini.
The pope took care of restoring several fountains:
in Piazza dell'Aracoeli,
near Palazzo Mattei and at Acqua Acetosa.
Other initiatives taken by the pope were related to the enlargement of Via del Corso where he pulled down
Arco di Portogallo, the institution of
Biblioteca Alessandrina and the excavation and restoration of Piramide di Caio Cestio,
perhaps the first archaeological excavation in history.
Bernini in Paris
Cardinal Mazarin did not send a French ambassador to Rome, as a sign of hostility towards the pope;
after the cardinal's death, King Louis XIV decided to make a gesture of good will and
sent to Rome the Duke of Crequy who established his residence in Palazzo Farnese, which belonged to the Duke of Parma,
a traditional ally of France. In June 1662 the ambassador came with a large retinue of assistants and servants, escorted by 200
guards; he requested diplomatic immunity not only for his residence, but also for a large area around it: in
August a brawl between papal and French soldiers broke out near
Palazzo Farnese: it soon developed into a fight during which gunshots
were discharged: a French page was killed.
The papal government apologized for the incident,
but King Louis XIV recalled his ambassador and in retaliation occupied
and the other papal possessions in France.
Pope Alexander VII regained Avignon only after accepting the
humiliating terms of the 1664 Peace of Pisa,
which provided for the erection in Rome of a monument with an
inscription apologizing for the killing of the page (it was removed a few years later).
The hard stance of King Louis XIV had deeper political objectives than retaliating for an incident;
at the request of Venice Pope Alexander VII asked the Christian nations to help the Republic in the defence of
Candia, which was under siege by the Ottomans.
These appeals caused embarrassment to King Louis XIV, because France, although being a traditional ally of Venice, relied very
much on the Ottomans to contain the expansion of the Austrian Empire: the event at Palazzo Farnese
gave the king the opportunity for watering down the papal requests.
The support the pope gave to Venice was not entirely disinterested: in 1665 the Republic had to accept the return
of the Jesuits, who had been banned in 1607.
Piazza S. Pietro on Palm Sunday 2007 (early morning): (left) entrance to the colonnade; (right) central part of the square.
In the late XVIIth century France became the leading European country in artistic and more broadly cultural matters. A symbol of this change of leadership from Rome to Paris can be seen in Gian Lorenzo Bernini's 1665 journey to Paris: he was called there by King Louis XIV who wanted him to design the main fašade of the great carrŔ du Louvre of which three sides had already been completed.
It was an offer Bernini, then aged 67, could not refuse:
the invitation to Paris seemed to Pope Alexander VII
an occasion to improve relations which could not be missed.
Bernini was very well received; among those who felt honoured to meet him and to have the opportunity to eye his plans there was Christopher Wren, a young architect who was to play a great role in the artistic development of his country. Bernini had already proposed two projects for the Louvre fašade and while in Paris he developed a third one. Once back in Rome he further modified it to take into account comments from French architects and from Jean Baptiste Colbert, the powerful minister of the king. During his stay in Paris, Bernini had to show also his skills as a sculptor: in addition to an extraordinary bust of the king, he designed an
equestrian statue of Louis XIV portrayed as a Roman emperor: he indicated that the statue should be placed on high ground.
Bernini spent five months (June - October) in Paris; upon his return to
Rome he learnt that the king's interest for the Louvre was fading, as he became keener on developing his new residence in Versailles: Bernini's project for the Louvre was shelved, his equestrian statue ended up in the gardens of Versailles and was regarded as portraying Marcus Curtius, a mythological hero of ancient Rome.
King Louis XIV was determined to promote French architects and artists:
several initiatives went in the same direction: in 1666 the king founded in Rome the French Academy where young French artists were sent to study the monuments of ancient Rome; a few years later he ordered two plaster casts of the reliefs of Colonna Traiana, one for the students of the academy in Rome and one to be brought to Paris again for study reasons.
The king promoted the development of a national music by supporting Jean-Baptiste Lully, an Italian-born composer who is regarded as the founder of French opera.
Strong economic reasons were behind the decline of Rome and the growth of Paris: the popes had drained all the resources of their state to pour them into the embellishment of Rome: Pope Alexander VII left to his successors a very difficult financial situation which led to a dramatic containment of all expenditures. King Louis XIV started in Versailles a similar cycle of great investments, thus laying down the basis for the cultural supremacy France enjoyed in the following centuries.
At the time of Bernini's journey to Paris, however, few thought Rome was going to lose its leadership:
Pope Alexander VII was close to seeing the accomplishment of his most cherished project: the square in front of St Peter's,
Bernini's masterpiece as an architect: even in the late XVIIIth
century, when this artist was regarded as the champion of decadent bad taste, Neoclassicist
critics praised the solemn yet simple design of
Piazza S. Pietro. The image which appears in the background of this page is a XVIIth century sketch of a
medal celebrating the event and showing that the original project foresaw just one
fountain and the partial closure of the square by a third colonnade.
Bernini's involvement in St Peter's during the pontificate of Alexander VII included also
Scala Regia and the Chair of St Peter (the decoration of the apse).
The cardinals who met in conclave in June 1667 to elect the successor of
Pope Alexander VII looked for a man who could restore good relations with France,
without upsetting Spain: their choice fell on Cardinal Giulio Rospigliosi from Pistoia,
a town near Florence. He became Pope Clement IX and he showed
his clement attitude by reducing taxation, visiting the sick, helping the poor and sparing the
Jews from having to race during the Roman Carnival.
Pope Clement IX was moderate in helping his relatives; the Rospigliosi
did not became one of the most important Roman families; they managed however to
acquire the fief of Zagarolo and
Relations with France improved and King Louis XIV agreed to send some troops to
Candia; Pope Clement IX was able to negotiate a peace agreement in the War of Devolution
which involved France, Spain, England, Sweden and the United Provinces (Netherlands).
He also eased the tensions within the French church.
It is said that the death of the pope was caused by his grief over the surrender of Candia in September 1669.
Ponte S. Angelo: details
Pope Clement IX praised a project by Bernini for building a new gigantic apse in S. Maria Maggiore,
but he preferred to delay a decision in the light of the poor financial situation of
the Papal State.
The pope's name is mainly associated with the ten statues of angels by Bernini and his associates which were placed on Ponte S. Angelo.
During his pontificate Pietro da Cortona designed S. Carlo al Corso, his last work.
Pope Clement X
The conclave which followed the death of Pope Clement IX was again a very long one because
Spain and France were not prepared to accept a pope other than their candidate:
four candidates were vetoed by the ambassadors of the two countries;
after more than four months of debates, the cardinals decided
to elect Cardinal Emilio Altieri: he was 80 and he had spent many years
in Poland without being involved in one way or another with France and Spain so the ambassadors of these
two countries had no reason to oppose his election. He took the name of
Pope Clement X as a sign of gratitude for his predecessor who appointed him cardinal just before his death.
The new pope's poor health soon forced him to leave the administration of the Papal State to Cardinal Paluzzo Paluzzi; a niece of the pope had married
Paluzzo Albertoni, a nephew of the cardinal; the Paluzzi-Albertoni added to their name that of the pope and the palace they built near
il Ges¨ was called Palazzo Altieri, as were their Roman villa and their
palaces at Oriolo Romano and at (Canale) Monterano.
Pope Clement X was snubbed by King Louis XIV, who in the light of a forthcoming new
conclave put pressure on the pope to appoint cardinals designated by him; the pope concentrated his attention on Poland and the Ottoman threat;
supported John Sobiesky, a Polish commander who in 1673 defeated the Ottomans on the
Dniester River and who was elected king in 1674. Another indication of the pope's attitude was the canonization of Pope Pius V, the pope of the Christian victory at
Gian Battista Gaulli, il Baciccio: (left) detail of the painting in Cappella Albertoni in S. Francesco a Ripa; (right) detail of the ceiling of
The 1675 Jubilee Year was a minor event when compared to those of the past:
the project Bernini had made for the apse of S. Maria Maggiore was
abandoned in favour of a much less expensive one by Carlo Rainaldi.
Bernini worked for the pope by designing the pavement of St Peter's portico and at Monterano:
his most important commission during this period was Cappella Albertoni, where he
availed himself of the assistance of Giovan Battista Gaulli, a young Genoese
painter known as il Baciccio; il Baciccio (supported by Bernini) was commissioned the ceiling of il Ges¨, one of the most remarkable Baroque paintings.
Pope Innocent XI
On August 2, 1676 the cardinals met to elect the successor to Pope Clement X; a large majority of them were in favour of Cardinal Benedetto Odescalchi who became Pope Innocent XI only on
September 21, when France lifted the veto on his name which had stopped his election in the previous conclave.
The new pope was determined to reduce the large budget deficit he had inherited from his predecessors:
in a matter of few
years he achieved his objective and even managed to have a budget surplus.
Relations with France soon deteriorated: King Louis XIV put pressure on the French clergy to issue a declaration stating that the pope
had only a vague spiritual authority over the Church: the pope refused to confirm the appointment of bishops chosen by the king; the conflict grew to such a point that in 1688 French troops occupied again Avignon and the nearby papal territories.
Spain was gradually losing ground in the European political scene,
so the pope looked elsewhere to show the Catholic Church had still a political role to play.
In 1682 some Hungarian noblemen who nourished strong anti-Habsburg, anti-Catholic feelings
sought Ottoman help in establishing an independent Hungarian kingdom under the sultan's suzerainty.
France acted behind the scenes to support the revolt and the Ottoman intervention.
Pope Innocent XI was able to financially support the Habsburgs: the siege of Vienna by the Ottomans
ended in defeat: the event marked the beginning of a strong alliance between the popes and the Austrian emperors.
In 1684 the Holy League promoted by the pope (Austrian Empire, Poland and the Republic of Venice) attacked the Ottoman possessions north of the Danube
and in the Peloponnese (read a short account of the Venetian role in the war); in 1686 the Russian Empire joined the alliance;
the Ottoman Empire never recovered from the territorial losses suffered during this war.
S. Marcello: details.
Pope Innocent XI's austere lifestyle meant that he was not
willing to promote the embellishment of Rome as much as his predecessors;
his coat of arms can be found
only on very minor initiatives (Cappella dell'Arco Oscuro,
an addition to Collegio de' Neofiti,
a restoration of Ponte Quattro Capi).
works of art of his pontificate are due to rich families and to religious
orders; in 1678 Bernini completed for the Chigi the
Monument to Pope Alexander VII, his last work; Andrea Pozzo painted the dome of S. Ignazio;
Carlo Fontana became the leading architect: he built the fašades of
S. Margherita and of S. Marcello
which is considered his finest work.
Pope Alexander VIII
At the 1689 conclave the cardinals had to take into account the views of the Austrian Emperor's ambassador in addition to those of the French and Spanish ones;
after two months of debate they elected Cardinal Alessandro Ottoboni, who chose to be called Pope Alexander VIII, maybe because Cardinal Flavio Chigi, nephew of Pope Alexander VII, favoured his election.
His pontificate lasted only 16 months, enough however to abandon the austere lifestyle introduced by his predecessor: he reopened the theatres and the traditional Carnival celebrations.
He appointed cardinal his nephew Pietro who was just 22;
this young man was fond of gambling and parties, but his uncle had no reservations about providing him with large amounts of money taken from the public finances.
As a gesture of good will King Louis XIV withdrew his troops from Avignon,
but Pope Alexander VIII did not greatly soften the hard stance taken by Pope Innocent XI; he also continued to support the Republic of Venice in the war in Greece.
Acqua Paola: inscription celebrating the improvements made by Pope Alexander VIII.
Pope Alexander VIII did not have enough time to make his contribution to the
embellishment of Rome; apart from the acquisition of the
library that Queen Christina of Sweden had in her residence at
Palazzo Riario (Corsini) he is remembered only for having charged Carlo Fontana with the redesign of the basin of Acqua Paola.
The following links show works of art portraying characters and events
mentioned in this page:
King Louis XIV by Gian Lorenzo Bernini (1665) - MusÚe National de Versailles - Versailles.
King Louis XIV by Hyacinthe Rigaud (1701) - Louvre - Paris.
Pope Alexander VII by Gian Battista Gaulli il Baciccio (1639 - 1709).
Gian Lorenzo Bernini by Gian Battista Gaulli il Baciccio (1665) - Galleria di Palazzo Barberini - Rome.
Pope Clement IX by Gian Battista Gaulli il Baciccio (1639 - 1709) - Galleria di Palazzo Barberini - Rome.
Garbo as Queen Christina of Sweden.
Queen Christina of Sweden by Sebastien Bourdon (1652) - Nationalmuseum - Stockholm.
VIII - A Sleeping City
Part I: Ancient Rome:
I - The foundation and the early days of Rome
II - The early republican period
III - The Romans meet the elephants
IV - Expansion in the eastern Mediterranean
V - Pompey and Caesar
VI - Augustus
VII - From Tiberius to Nero
VIII - The Flavian Dynasty
IX - From Nerva to Marcus Aurelius
X - A Century of Turmoil (180-285)
XI - From Diocletian to Constantine
XII - The End of Ancient Rome
Part II: Medieval Rome:
I - Byzantine Rome
II - The Iron Age of Rome
III - The Investiture Controversy
IV - The Rise and Fall of Theocratic Power
V - The Popes Leave Rome
VI - From Chaos to Recovery
Part III: Modern Rome:
I - Rome's Early Renaissance
II - Splendour and Crisis
III - A Period of Change
IV - The Counter-Reformation
V - Early Baroque Rome
VI - The Age of Bernini