Bernini's 'apparato effimero' for the canonisation of St Elisabeth of Portugal in 1625
by LOREDANA LORIZZO, Universith'LaSapienza',Rome
TO CELEBRATE THE canonisation of Queen Elisabeth of Portugalby Pope Urban VIII Barberinion 25th May in the jubilee year of 1625, Gian Lorenzo Bernini spent the early months of the year designing and constructing amonumental temporary structure directly beneath Michelangelo's great dome of the basilicaof St Peter's.' This 'wooden theatre' can be seen in two anonymous contemporary engravings firstpublished by Irving Lavin in 1968 (Fig.19).2 It was an imposing architectural structure, a screen with seven facets articulated by twenty-four Ionic columns placed in pairs; between each set of paired columns were fourteen statues of members of the Portuguese royal house interspersed with five painted 'histories' depicting the principal miracles of the saint. There was also space for various bannersandthe coatsof armsof the cardinalswho assistedin the celebration. The intention was to give the impression that the structurewas built of expensive materials:precious marbleforthe columns, gold andbronze forthe capitals,and bronze reliefsfor the coats of armsand other ornaments.
The written accounts by the painter Giovanni Briccio3 and the 'promoter of the cause for canonisation', Antonio Gerardi(Figs.2o and 21),4 itemise every detail of 'the beauty and form of the structure',but they provide no information asto who worked on the apparatoeffimero,only stating that the 'theatre was designed by Sig. Cavalier Bernino'. This information is now availablethanksto the discovery of the complete series of payments made for the works for the canonisation drawnup by Michele SuarezPereira,agent for the king of Portugal, who supervised the work.5 It was Suarez Pereira who, on 8th February 1625, according to a report ofBernardo Tadino, had shown the Pope 'the design for the Theatre' drawn up by Bernini.6
The payments allow us to reconstruct the entire team of painters, sculptors, miniaturistsand gilderswho worked for over five months under the guidance of Bernini to create the temporary structure which can be considered to be one of the masterpieces of classicalbaroque architecture. This screen-like structure, broken rhythmically by pairsof
Isabellaor Elisabethof Portugal(1271-1336),daughterof PeterIIIof Aragon andwife of KingDenis,is thepatronsaintof Portugalandof thecityof Saragossa.Fora planof the apparatoeffimero,see M. Fagiolodell'Arco:Corpusdellefeste romane,1.Lafestabarocca,Rome 1997,Pp.255-58.
2 I.Lavin:BerniniandtheCrossingofSaintPeter's,New York1968,pp.IO-4I,fig.23.
3 G. Briccio:DescrittioneDelricco,esontuosoApparatofattonellaBasilicadiS. Pietro diRomaPerS. ElisabettaReginadiPortogalloCanonizatadallaSantitadiNostroSig. PapaUrbanoVIIIA di25 diMaggiol'AnnodelGiubileo1625Fattasuccintamenteper Gio.BriccioRomanoPittore,publishedby LodovicoGrignani,Rome 1625 (BibliotecaNazionaleCentrale,Rome).
4 A. Gerardi:Breverelationedellavita,emiracolidiS. IsabellagloriosaReginadiPortogallo,raccoltadavariehistorieechroniche,de'processiformatiperlacanonizatione,dagli attidellaRota,edallaCongregationede'SignoriCardinalide'SacriRiti,datainluceda AntonioGerardiromanosollecitatoredellacausadicanonizatione,publishedbyErededi BartolomeoZannetti,Rome 1625(BibliotecaNazionaleCentrale,Rome).
detached columns, was the ideal prototype for what followed: the architecture of Pietro da Cortona and St Peter's Squareitself, which Marc Worsdale hasjustly defined asthe 'new Baroque rhetoric'.7
It comes asno surpriseto learnfrom the documents that most of the sculpturaldecoration was entrustedto the artists belonging to the group alreadycollaborating with Bernini on the baldacchino of St Peter's, on which work had begun inJuly 1624. The painted decoration was entrustedto artists linked to the Barberinicircle;two yearslaterthey appearon the list of those proposed for the decoration of various chapels in St Peter's.8
The task of supplying the rich ornamental decoration which covered and transformed the entire structure was entrustedto aselect group of miniaturists,embroiderersand gilders:'lachiesapoi havevatuttoil suofregioneapparatodiseta, divarijcolori:lepilastrateeranodi ricchissimidrappidisetafasciate, etconricchiarazzi tessuti,diseta, e di oroaddobbate,essendo tuttoil cornicionedellaChiesa,et quellodellaCupolaripienocon unainfinitadilumi,compartitiugualmente,il cherendevagrandissimodecoro.'9All the carpentrywas carriedout by the architect-carpenter Giovan Battista Soria, who was paid the handsome fee of 1,364 scudi and sixty baiocchi(coins of the PapalStateuntil 1866) between JanuaryandJune 1625. Soria had been a faithful collaboratorof Bernini's for many years: in 1622 he had helped to make Pope Paul V's catafalque set up in the Cappella Paolina in S. MariaMaggiore and, in the same period (1624-27), he was working on the construction of the stallsfor the Vatican choir and making wooden models for the twisted columns of the new baldacchino in St Peter's.Io
As Briccio's account shows, the sculpted decoration was animportantpartof the structure:two 'colche'(semi-recumbent) statueswere placed on the top of the cornice, while 'between column and column' there were fourteen statues 'in full relief, greater than life-size, resembling particular Kings of Portugal' which had 'bronze colour in the areasof high relief'. From the payments it seems that none of the
6 S. Fraschetti:IlBernini,lasuavita,lasuaopera,ilsuotempo,Milan 1900, p.25 I. The firstpaymentsweremadebyPereiraforexpensesrelatingto thecanonisation ofStElisabethattheendof 1624,to themanoflettersAntonioGerardi,theJesuit BaldoBaldiandthe craftsmenFrancescode MaestriandGerolamoCrivelli.See ASR, Monte di Pieti, LibroMastrono.45, 1624,fol.I9 andLibroMastrono.46, 1624,fol.1356.Gerardi,in theintroductionto hisreport,confirmsthathewasthe promoterof the causefor the canonisationof Elisabeth'by orderof Sig. Don MicheleSuarez,Agentof HisCatholicMajestyfortheKingdomof Portugal'.
7 M.Worsdaleinexh.cat.Berniniin Vaticano,Rome (Vatican)1981, p.253.Foran analysisof the structure'sarchitecturalinnovations,seealsoK. Noehles:'Apparati berninianiperle canonizzazioni',in M. FagioloandM.L.Madonna,eds.:Barocco romanoeBaroccoitaliano.IIteatro,I'effimero,I'allegoria,Rome 1984,pp.o104-5.
8 0. Pollak:DieKunsttitigkeitunterUrbanVIII,Vienna1927,II,pp.84-85.
9 'the churchthen had its frieze decoratedwith silksof variouscolours:the
5 Rome, Archiviodi Stato(hereaftercitedasASR), MontediPieta,LibroMastrono.47, 1625,fol.476andLibroMastrono.48, 1625,fol.76o.SeetheAppendix below.
Decoration StPeter'sforthe A canonisationofSt ElisabethofPortugal. 1625. Engraving, 33by 24.5cm. (Biblioteca Apostolica Vaticana, Gabinetto delleStampe, VaticanCity).
statueswasmadeby Berninihimself,sincethe mandateof 450scudiissuedin hisnameon 6thJune1625forthestatue of 'His Catholic Majesty'was in favour of his brother Francesco,who actuallycarriedout the work, and who alsocollaboratedwith FrancescoStati(alsoknown asBraccianese)inmakingfourmoreroyalstatues."StefanoMaderno alsomadefourstatuesof 'Kingsof Portugal'forwhich he waspaidsixtyscudion accountinJanuary1625andthe balanceof sixty-fivescudion 17thMay of the sameyear. FrangoisDu Quesnoywaspaidthirtyscudion accountand thebalanceofforty-fivescudifor'threestatues'in thesame periodin which StatiandMadernowerepaid,butit isnot clearwhich statueswere his.Domenico de Rossi waspaid sixtyscudion accountforsixstatuesinJanuaryorFebruary 1625,andthe balanceof 131 scudiandtwenty baiocchion 17thMaythesameyear.
pilasterswere richlydrapedwith silkhangingsandrichsilktapestries,alldecorated with gold, allthisbeingin the body of the Church,andthe Dome wasfilled with aninfinitenumberof lamps,allequallybright,which wasverydecorative' (Briccio,op.cit.(note3),n.p.).
IoIn 1626 he wascollaboratingwith Berninion thedecorationfortheconsecration of St Peter'sandin 1633he wasworkingon the BarberiniLibrary,which todayformspartof theVaticanLibrary.He alsoworkedasanarchitectforScipione Borghese;see B. Ringbeck: GiovanBattistaSoriaArchitektScipioneBorgheses, Miinster1989,andD. Del Pesco:L'architetturadelSeicento,Turin1998,pp.47-50. I FrancescoBerninidiedin Rome in 1627. SeePollak,op.cit.(note8),I,p.343. His r6le in his brother'sworkshopis otherwiseundocumented;an unpublished paymentin December 1626 shows thathe was working on the restorationof antiquesculpture:'CollegiodegliHortijCapitolini.. devedare a di9 didicembre scudiVentiquattrobaiocchi5omonetapagatialSignorCavalierBernino e disuoordineal SignorfrancescosuofratelloportoContodisseperfatturaetspesefatteperrestauramentodel bassorilievotrovato a SanPietroin Carcere. .' (ASR,Monte di Pieta,LibroMastro
De Rossimadea 'greatCrucifix'- somethingnot mentioned in Briccio'sreportnor visiblein the engravingin eitherof its states- andsome of the coatsof armsof the cardinals,forwhichhe waspaidtwentyscudion accountin January1625.Fromthepayments,it seemsthatDe Rossi,a trustedcollaboratorofBerniniuntiltheendofthe164os,was giventhe r6le of leaderof the groupof sculptors,sincehe providedthegreatestnumberofstatuesandwasalsoentrusted with partof the decoration.12We know thatDe Rossi wasinvolvedin the constructionof atleasttwo othersimilarapparatieffimeri,the firstin 1630,when he workedwith AlgardionthecatafalqueforCarloBarberini,andthesecond in 1644,when he builtanarchon the CapitolineHillfora processioninhonourofPopeInnocentX.~3Itisnotknown if anyof the otherthreesculptorsnamedin the documents hadpreviousexperiencein thistypeof construction.'4
no.49, 1626, fol.36).
12 De Rossi, who untilnow hasbeen recordedonly from 1627 (A.Bacchi,ed.: Sculturadel '6oo a Roma, Rome 1995, pp.840-4I), was paid on 28th January 1628 for somepasteangelsforthe altarof StPeter'sandon I6thApril1639forsome stuccoworkundertakenfora 'Volticella'overthestatueof StHelenain thecrossingof StPeter's;Pollak,op.cit.(note8),II,PP.355and491. In 1636-43thesculptorlivedwithhiswife,Bernardina,inviaVittoria,nextdoortoDu Quesnoy,who livedtherefrom1624(ArchivioStoricodelVicariato,StatiAnimarum,Parrocchia di S. Lorenzoin Lucina).Thanksaredueto SimonaModestiniforpointingthis out to me:'Statid'anime:artistiitalianie stranieriaRoma dal1600al 1650censiti attraversolo spogliodi documentidelleparrocchiedei rioniColonna,Campo Marzioe Sant'Eustachio',Ph.D. diss,Rome (Universith'LaSapienza')I995-96. '3 J. Montagu: Roman BaroqueSculpture.TheIndustryofArt, New Haven and London 1989, pp.126-27, 182 and 207, note 9. 14Itisunusualto findthe namesof sculptorsin the documents,asispointedout in M. Fagiolo dell'Arco: 'Scultori per la Festa', Storiadell'Arte90 (1997), pp.162-75. THE BURLINGTON MAGAZINECXLVMAY 2003 355
20.Title-pageof DescrittioneDelricco,esontuosoApparatofattonellaBasilica diS. PietrodiRomaPerS. ElisabettaReginadiPortogalloCanonizatadalla SantitadiNostroSig.PapaUrbanoVIIIA di25diMaggiol'AnnodelGiubileo 1625FattasuccintamenteperGio.BriccioRomanoPittore.Publishedby LodovicoGrignani,Rome 1625.(BibliotecaNazionaleCentrale,Rome).
The appearanceof StefanoMaderno,the elderlymaster of Bernini'sworkshop, working on this project in the mid-162os,is not surprising.He waspaidtwelve scudifor 'five puttinidi greta[clay]for the altarof St Peter's'"sby GianLorenzohimselfon 26th September1624,anduntil now thishasbeentheonlyevidencefortheircollaboration.
1s Pollak,op.cit.(note8),II,p.333.
06 Ibid.,PP.355-57and359.
'7 For PieterVisscherof Oudernaarde,betterknown in Italyas Pietro Pescatore, see L. Lorizzo:Il mercatodell'arteinItalianelXVIIsecolo.Artisti,collezionisti, intermediari e mercanti,Ph.D. diss, Rome (Universit' 'La Sapienza')1996-97, pp. 16-24.
81G.P.Bellori:LeVitede'Pittori,ScultorieArchitettimoderni,Rome 1672,pp.28889.G.B.Passeri:VitedePittori,ScultorieArchitetticheannolavoratoinRomamortidal 1644fino al 1673,Rome 1679, p.Io4, notes that Du Quesnoy 'fupropostoal ContestabileColonna perlarestaurazioned'alcuneStatue,cheservivanod'ornamento alsuoPalazzo'.
'9 The paymentsweremadebetween4thandi6th April1626;seeA. Bertolotti: GiunteagliartistibelgieolandesiinRoma,Rome 1884,p.123, andPollak,op.cit.(note 8),I,p.40I. Theworkhasnotyetbeenidentified.
20 This attributionwassuggestedby A. Nava Cellini:'Aggiunteallaritrattistica Berninianae dell'Algardi',Paragone 6 (1955),pp.23-31, andrecentlyacceptedby D. Freedberg:'VanDyck andVirginioCesarini:A Contributionto the Studyof VanDyck'sRomanSojourns',VanDyck350,SymposiumPapers,Washington1991, p.162. The attributionwas contested by A. SutherlandHarris:'Bernini and VirginioCesarini', THEBURLINGTONMAGAZINE13I (1989), pp.17-23, andby T. Montanari:'GianLorenzoBerninie SforzaPallavicino',Prospettiva87-88 (I997), p.43,who bothsuggestitistheworkof theyoungBernini.
MoreinterestingisthepresenceoftheFlemingFranCoisDu Quesnoyin theBerninientourageasearlyas1625,agood two yearsbeforethedatefoundbyPollakforthestartofhis apprenticeship,when he wasworkingin a lowly capacity makingclay models for the baldacchinoin St Peter'sin I627.16 Accordingto Bellori,Du Quesnoywasintroduced into the Barberinicirclesby the ContestabileDon Filippo Colonnawho becamethe artist'spatronsome time in the 1620S,taking the place of the FlemishmerchantPieter Visscherwho hadhelpedtheartistfollowingthedeathofhis firstpatron,the ArchdukeAlbert.'7Don FilippoColonna commissionedDu Quesnoyto make'variousornamentsfor thehouse',amongtheman'ivoryCrucifixaboutthreepalmi high'which 'wasgivenby Colonnato PopeUrbanVIII','8 who, in 1626,personallycommissionedfromDu Quesnoy astatueof StSebastianandanothercrucifix.19Thecommissionforthreestatues,possiblyrepresentingmembersof the Portugueseroyalfamily,puttheyoung artistatthe startof his careeron a parwith a well-known sculptorsuch as StefanoMaderno,sincehe receivedthesamepay.Thissuggeststhathe musthaveenteredtheworkshopof Berniniat leastby 1624, if not before.
Ifwe accepttheattributionto Du Quesnoyofthebustof VirginioCesarini,chamberlainto MaffeoBarberinianda memberof theAccademiadei Lincei(Palazzodei Conservatori,Saladei Capitani,Rome), the datingof thiswork around1624suggeststhatbythattimetheFlemishsculptor hadalreadyestablishedareputationintheBarberinicircle.20 This would be even more probableif he were working closelywith the young Bemini, highlyesteemedby Pope Urbanfrom the time he beganto work in 1617-18 with hisfather,Pietro,on the sculpturaldecorationfortheBarberiniChapelin S.AndreadellaValle.21
The participationof the sculptorFrancescoStati,son of themorefamousCristofanowithwhom he hadcollaborated in the carveddecorationof the PaulineChapelin S. MariaMaggiorein 16o5-II, addsa note to the lessthan flatteringbiographyof the artistby Baglionewho, while faintlypraisinghim 'sincehe hastalent',reprovedhim for a fundamentallack of applicationto his artashe seemed
21 On 9thJuly1618CardinalMaffeoBarberinipaidthroughtheBancodelMonte diPietafiftyscudito PietroBerniniforthedecorationof thechapel:'Illustrissimo e PissimoSignorMaffeoCardinaleBarberinodicontrodevedare ea didetto[9luglio] scudiCinquantadimonetal'ordinecomesopraportoContoalmastroPietroBerninoScultoreperordineeperrestodelprezzodi4piatti[sic]diMarmofattolietCondottoliasue spesecomeeraobligatonellaCappelladiSuaSignoriaIllustrissimaInSant'Andreadella ValleCassa50' (ASR, Monte di Pieti, LibroMastrono.34, 1618,fol.776).The amanuensismadeamistakein the transcription:asOresteFerrari(towhom I am deeplygrateful)hassuggestedto me, it is a paymentrelatedto fourputtiabove the two lateraldoorsof the chapel;the unpublisheddocumentshouldbe added to thatalreadycited,publishedbyC. d'Onofrio:RomavistadaRoma,Rome 1967, pp.I59-6o and 422, andby Lavin,op. cit. (note 2), p.244, doc.9a;and p.245, doc.12a.On theattributionof thesculpture,variouslyassignedto PietroBernini, the youngGianLorenzoorothersculptorsin theBerniniworkshop,see 0. FerrariandS.Papaldo:Lasculturadel'6ooaRoma,Rome 1999,P.43;S.Schiitze:'Satiro molestatodaputti',inA. ColivaandS. Schiitze,eds.:exh. cat.Berniniscultore.La nascitadelBaroccoincasaBorghese,Rome (GalleriaBorghese)1998,no.3, p.58;A. Bacchi:'Del conciliarel'inconciliabile.Da Pietroa GianLorenzoBemini:commissioni,maturazionistilistichee pratichedi bottega',in M.G. Bernardiniand M. Fagiolodell'Arco,eds.:exh.cat.GianLorenzoBernini.RegistadelBarocco,Rome (PalazzoVenezia)1999,PP.73-74.
22 G.Baglione:Levitede'pittoriscultorietarchitetti.DalpontificatodiGregorioXIIIdel
to prefer'bazzarroof pictures,designs,statues,medals,and jewels'.22ThefactthathisnameappearsnexttoBernini'sin acommissionofthisimportancesuggeststhatthehistorian's severejudgmentmayneed to be modified.FrancescoStati diedon 2ndAugust1627agedthirty-five,buthe musthave alreadyestablishedhis reputationsince he held important postsintheAccademiadiS.LucaasthefirstRectorin 1620 and1621,23andhe isalsomentionedbyVincenzoGiustinianiin hisDiscorsosopralascultura.24
BothBriccioandGerardidescribethefive'histories'that decoratedthe structure:theyillustratedscenesof thelife of thenew saint,andwerepaintedto imitatemetalbas-reliefs: EralaprimasoprailbaldacchinodeltronoPapaleinfaccia,&vi eradipintodichiaro,escuroincolordibronzo,lumeggiatodioro, comefusseunbassorilievodimetallo,laSantaRegina,quando portandoalcunidenariingrembo,perdarliapoveri,e domandandogliilRe'ciacheportava,ellarisposecheeranoRose:meravigliatoilRe',chediqueltempositrovasserorose,levollevedere, &invere,erealirosesiconvertirono.LealtrequattroIstoriedipintenellamedesimafoggiaunaeraquandoilfiumeTagodiede luogoallaSanta,acciaandasseavisitareilsepolcrodellaBeata Irene,chestavanelmezzodelleacque.L'altra,quandoil Re, perintercessioneallaSantaRegina,perdonoalsuofigliolo.La quartadimostra il miracolodellaSanta,nelrestituirelalucead unacieca.Etlaquinta,quandoorandopresenteilsacrificiodella Messavidel'animadellafigliagia di unannomortasalireal Cielo.25
Only threeof thesescenesarementionedin the payments (andonlythreescenesarevisiblein theprint);theywereby PietrodaCortonaandGiovanniDomenico Martiani(who wereeachpaidthirtyscudion 17thMay1625)andGiovanni Mannozzi,alsocalledGiovannida SanGiovanni,who was paid twenty-five scudi on the same day for a 'Story with fourputti'.26At thistime allthreeartistswere closely associatedwith the Barberinicircle,in particularwith the Cardinal-NephewFrancesco.
By the 1630s,PietrodaCortonahadestablishedaneminentpositionamongartistsin Rome, andwasinvolvedin organisingthe most importantceremoniesthat required
1572Infino a' tempidiPapaUrbanoOttavonel1642scrittadaGio. Baglioneromano, Rome 1642,facsimileed., collanaStudie Testi, Citt! del Vaticano,Biblioteca ApostolicaVaticana,1995,I, pp.I62-63. Thisis confirmedin documentsrelating to AsdrubaleMatteiwho, on 2nd August 1622,bought from Braccianese'cose antiche'including'unatestagrandediDomitianocolsuopeducciod'africano'(seeE.PanofskyandG. S6rgel:'ZurGeschichtedesPalazzoMatteidiGiove',RimischesJahrbuch fiir Kunstgeschichte 11 (I967-68), pp.Io9-88) and documentsrelatingto Cardinal FrancescoBarberiniwho, in 1624and 1627,boughtfromStatiantiquemarbles, cameos,analabastervaseandsomedrawings(seeM. AronbergLavin:SeventeenthCenturyBarberiniDocumentsandInventoriesofArts,New York1975,PP-49-52).
23 Rome, ArchivioStoricodell'AccademiadiS.Luca(hereaftercitedasAASLR), 12th September1620, vol.2, fol.4or;20th September1620, vol.2, fol.4v; 12th December1621, vol.2, fol.84r.
24 ThefactthatGiustinianirecallstheprematuredeathofthesculptorisimportant forthe datingof theMS to after1627,assuggestedby S. DanesiSquarzina:'The Bassano"ChristtheRedeemer"intheGiustinianicollection',THEBURLINGTON MAGAZINE142(2000),p.748,note 13.
25 'Thefirstwason thefacadeabovethebaldacchinoof thePapalthrone,andon it the saintedqueenwaspaintedin light anddarkshadesof bronze,highlighted with gold,asifit wereabronzebas-relief.Thisscenedepictedthe episodewhen thesaint,carryingmoneyinherapronto givetothepoor,wasstoppedbytheking who askedherwhatshewascarrying;the saintrepliedthatit wasroses,atwhich
II A-M 21
temporaryedifices.27In 1625he wasemployedin thedecorationof the churchof S. Bibiana,rebuiltby UrbanVIII afterthediscoveryoftheremainsofthesaintunderthehigh altar.Therehe workedin closecollaborationwithBernini, who restoredthefaCadeandmadethestatueofBibiana.On
thekingmarvelled,giventhatroseswerenot inseason,andhe askedto seethem, whereuponthemoneyimmediatelyturnedintorealroses.The secondepisodein thisstyleshowedthescenewheretheRiverTaguspartedbeforethesaint,allowingherto visitthegraveof theBlessedIrenewho wasburiedin themiddleof the river.The thirdillustratedthescenewhere,thanksto theintercessionof StElisabeth, the king forgavehis son; the fourthshowed the miraclewhere the saint restoredablindwoman'ssight;andthefifthillustratedhow theking,whilepraying atMass,sawthe soulof his daughter,who haddiedayearbefore,ascending into heaven'(Briccio,op.cit.(note3),n.p.).
26 See theAppendixbelow. Iwould liketo thankJenniferMontagufordrawing to myattentionthefollowingentryintheinventoryof SettimioInghiramiof I7th May1628:'Nel CortileCinquequadrigrandifattidguazzocompridellabo.me.delS.r Settimioperlacanoniz.ediS. ElisabettaReginadiPortugallo'(ASR, 30 Notai Cap., Uff.33,vol.123,fol.23o),which seemsto confirmthattherewerefivepaintings.
27M. Fagiolodell'Arco:'StruttureeffimerediPietrodaCortona',in C.L.Frommel andS. Schiitze,eds.:PietrodaCortona(AttidelConvegnointernazionale,Roma eFirenze,12-15 Novembre1997),Milan1998,pp.262-69. In 1631theartistpainted a seriesof monochrome picturesfor FrancescoBarberinidepictingTheology, CanonicalandCivilJurisprudence,HistoryandPoetry,which were usedforthe funeraleulogyofthearchaeologistGerolamoAleandro,animportantfigureinthe Barberinicircle.
this occasion, Bernini demonstratedhis appreciationof Cortona's'Romanstyle',andthe relationshipbetweenthe two artists,who were almostcontemporaries,appearsto havebeenparticularlywarm.28
The painter Giovanni Domenico Martianiwas also employedontheredecorationofS.Bibianaaccordingtothe recordsof CanonDomenico Fediniwho, in his VitadiS. Bibiana verginee martireromana(1628), called Martiani 'a youngmanof greatjudgment'.He wasresponsiblefor'the EternalFatherandtheangelsofthevault,withinribsofgilded stuccoandputtinibelow the arch',probablymadeto a designby PietrodaCortonahimself.29In thesesameyears Martiani'snamealsoappearsin theledgerbook of Cardinal FrancescoBarberini.30
GiovannidaSanGiovannihadarrivedin Rome in 1621; byhisown accounthe wasalmostatthe endof hissojourn in the city at the time of the canonisation.After some difficultyears (accordingto Baldinucciand Peruzzi)he succeededinjoiningthegroupof artistsworkingchieflyon thetribuneof SS.QuattroCoronatiforCardinalGiovanni GarziaMellini, titularcardinalof the churchandVicario underUrbanVIII.In1624GiovannidaSanGiovannibegan to paintthe frescoof the Chariotof thenightfor Cardinal Guido Bentivoglio, the Pope's close friend,in Palazzodi Montecavallo(now PalazzoRospigliosi-Pallavicini),work which occupied him until 1627 when he returnedto Tuscany.3~The commissionto painta scene for St Elisabeth'scanonisationcameatafortunatetimeforGiovannida SanGiovanni,andisfurtherproof,asBaldinuccimentions in hislifeof theartist,of theBarberini'sinterestin him.He statesthat,while in Rome, Mannozzipainteda canvasof PievanoArlottoplayinga practicaljokeonsomehuntsmenfor CardinalFrancesco,but 'byreasonof I do not know what meeting, whether it was the painterwith the Cardinal himself,the artisttook thepaintingto Florenceandgaveit to the Grazzinifamily'.32
In 1627 Berrettini,Martianiand Mannozzi were all involved in the decoration of new chapels in St Peter's. Their names appear in a list of painters proposed by the Congregazione dellaReverenda Fabbricadi S. Pietro forthe
28 Fortheartistswho workedon S.Bibiana,seeV. Tiberia:GianLorenzoBernini, PietrodaCortona,AgostinoCiampelliinS BibianaaRoma.I restauri,Rome 2000.
29 D. Fedini:La VitadiS. Bibianavergineemartireromana.AllasantithdiN.S. Papa UrbanoVIII,ed. F. Corbelletti,Rome 1628,reprintedin ibid.,p.280.
30 AronbergLavin,op.cit.(note22),p.726; Fedini'stextstatesthatMartianiwas 'Milanese'andthereforeitseemsthatAronbergLavin'sproposalthattheartistwas a certain'Maltese'canbe rejected(pp.496-97).I believethattwo separateartists arereferredto here, both workingfor the Barberiniat the sametime. Maltese, besidesproducinga seriesof picturesfor CardinalFrancesco,includingmany copies,wasworkinginthePalazzodelleQuattroFontanewherehe decoratedtwo roomsforTaddeoBarberini,now destroyed;see G. Magnanimi:PalazzoBarberini,Rome 1983,pp.98-99, where,followingAronbergLavin,theMalteseisidentifiedasMartiani.
3' BentivogliosharedthescientificandliteraryinterestsofMaffeoBarberini,ashe himselfrecordsinhisMemorie,Venice1648;on thecloserelationshipbetweenthe two, see Freedberg,op.cit.(note20),p.164. On the frescosby Mannozzi,seeA. Banti:GiovannidaSanGiovanni.Pittoredellacontraddizione,Florence1977.
32 F.Baldinucci:Notiziede'ProfessorideldisegnodaCimabueinqua,Florence1681, IV,p.243;thiswork,givenby theartistto GiovanFrancescoGrazzini,forwhom he decoratedtheVilladelPozzinoin the 1630s,wasidentifiedby G.Briganti:'La Burla del Pievano Arlotto di Giovanni da San Giovanni', Paragone4 (1953),
following work: Pietroda Cortonawas commissionedto paintanaltar-pieceforthechapelof SS.ProcessoandMartiniano,whileMartianiandacertainBenignoUgoliniwere to makethoseforthealtarsof thesidechapels;Giovannida SanGiovanniandAngeloCaroselliwereaskedto make'the painting to be placed in the niche at the head of the church'.33Infact,thingswent verydifferently:afterGuido Reni hadresignedfromtheworkof the decorationforthe altaroftheSacrament,itwasentrustedto PietrodaCortona who, between 1628and 1631, producedthe altar-pieceof theTrinity;butMartianiandMannozzi'scommissionswere givento otherartists.34
Muchof thedecorativeworkwasassignedto Alessandro Horion, fromLiege,who, in 1624,shareda house in via Ferratinawith a certainEgidio, his relation,and Simon Vouet.3sHe waspaidsixtyscudion accounton 7thApril andthebalanceof 197scudion 2othJunefor'thepainting of thebaldacchino,thebanners,thecoatsof armsandother painted work'.36According to Briccio 'the Baldacchino of the highaltarhadin the sopracieloapaintingof the saintin theactofprayinginthemiddleofagroupofangels,andher imagewasreproducedmanytimesin the cascadeof angels, togetherwith the coatof armsof the Pope, of Aragonand of the kingof Portugal;thewhole thingwasmadeof gold withfringesofsilkdecoratedwithgoldthread',whileonthe silkstandardwhichhungabovethefourtharchofthecupola, StElisabethwasshown dressedasaPoor Clarewith an apronfullof roses.
Horionwasalmostcertainlyintroducedto theBarberini familybySimonVouetwho, atthattime,wasdesigningthe altar-piecefortheNew Sacristyin StPeter's,acommission givento himby thePope;it was,however,nevercompleted sincein 1627Vouet went to Paris.Horion musthave knownbothPietrodaCortonaandBerninipersonallyfrom atleast1624when Vouet, in his capacityasprinceof the AccademiadiS.Luca,organisedmeetingsoftheCongregationinthehousehesharedwithHorion,whichbothPietro daCortonaandBerniniattended.37
ThegildersSimoneLagiandPaoloBorroniwereresponsibleforthe 'paintingandgilding'of thetheatre,forwhich
pp.46-49, note 39.Since1759ithasbeenatKedlestonHall,Derbyshire.
33 Pollak, op.cit.(note 8), II, pp.84-85. It is evidentfromMannozzi'sletterof 15thJuly1626to CardinalGinnasirequestingthecommissionthathewasrecommendedto the cardinalby Don AntonioBarberini(ibid.,p.75);thisconfirmsthe closerelationshipbetweentheartistandtheBarberinifamily.
34 Forthe decorationof the chapelaltarsin StPeter's,see E. Schleier:'Pietroda Cortonae lanascitadelBaroccoaRoma', inA. LoBianco,ed.:exh.cat.Pietroda Cortona1597-1669,Rome (PalazzoVenezia)1997-98,pp.41-54, andL.Rice: The AltarsandAltarpiecesofNewSt.Peter's,Cambridge1997.
35J. Bousquet:'Documentssurle sejourde Simon Vouet a Rome', MWlanges d'archeologieetd'histoire.EcolefranfaisedeRome64(1952),p.294;D. Bodart:LesPeintresdesPays-BasM&ridionauxetdelaPrincipautedeLidged RomeauXVIllmesidcle, BrusselsandRome 1970,II,p.43.
36Horion'sworkmustalsohavebeen appreciatedby privatecollectors.InApril 1626EgidiusUrsinusvan de Vivere, Canonof Liege (1577-1647),paidtwenty scudiforapaintingofAurora;seetheunpublisheddocument:'Illustrissimo;Abbate EgidioOrsinodicontrodevedare. . e a di22 diAprilescudiVentidimonetapagati alSignorAlessandroOrion'Pittoreport8Contodisseperinteropagamentodiunquadro dell'AuroravendutoliCassa20o'(ASR, Monte di Pieta,LibroMastrono.49, 1626, fol.562).Forthecanon,who belongedtotheintellectualcirclearoundUrbanVIII, see U.V. FischerPace: 'MonsignorGillesvan de Vivere, GiacintoGiminiani,
theywerepaidfourhundredscudibetweenMarchandJune 1625; Borroniwasalsopaidfortyscudion22ndMarchfor 'CoatsofarmsandgildingoftheBaldacchinoandBanner'. Thesetwo artists,bothmembersof theAccademiadi S. Luca(respectivelyappointedsecondrectoron9thMayand 12thJuneI638),38musthavebeenmuchindemandatthe time.Lagiwasthe moreimportant,ashisnameappears frequentlyintheledgerbooksofbothFrancescoBarberini andPopeUrbanVIII.39
Asapainter,Lagiwasemployedin theVaticanpalaces, wherehefrescoedthePope'sprivatestaircase;4asagilder, he waspaidon ioth October1628forthegildingof the bronzecolumnsofthebaldacchinoofStPeter's,41andcollaboratedwithPietrodaCortonaon severaloccasions,at S.Bibiana,wherehegildedthestuccoofthevaultabovethe highaltar,on thedecorationof thechapelof thePalazzo delleQuattroFontane,andonthesettingforthecelebration oftheQuarantoreforCardinalBarberini.AnnaLoBianco hasrecentlyproposedthatLagicanbe identifiedasthe Tuscangilder,mentionedbothbyPascoliandBaldinucci, a friendofBerrettiniatthebeginningofhiscareer,through whomhecouldhavemettheSacchettifamily.42
ThenameofLucaVolpini,aminiaturist,appearsamong thedecorators.Perhapshe wasrelatedto theartistof the samenamewhowasamemberoftheCongregationofthe VirtuosiofthePantheon,andwhodiedinRomein 1616.43
On IstOctober1605thepainterLucaVolpinipaidataxof twenty-threescudito theAccademiadiS.Luca.44In1623 and1624Volpini'snameappearsinthelistofthoseattendingmeetingsof theCongregationof theAccademiadiS. Luca,whichsuggestshewaswellregardedinhisfield.45
Themagnificenceofthecanonisationdemandedadisplay ofrichsilksandotherpreciousmaterialsandavastnumber of candlesto illuminatethe 'teatro'.Itssceniceffectwas enhancedbythenoveltyof openingthestructuredirectly onto the centralnaveof thebasilica,therebyaffordinga greatnumberofthecongregationaviewoftheceremony. AntonioGerardiwrotetheBreverelazionedellavitaeimiracoliS.IsabellagloriosaReginadiPortogallo,probablycommissionedbyMicheleSuarezPereira,whopaidGerardi'forthe
PietroTestae l'altaredi S. Erasmonellachiesadi S. MariadellaPietain Campo SantoTeutonico',PoussinetRome,Actesducolloque al'AcademiedeFranceaRomeet alaBibliothecaHertziana(16-18thNov.1994),Paris1996,pp.137-51,whichemphasiseshisr61ein commissioningworksof artforS.Mariadell'AnimaandS. Maria dellaPietai.
37K.Noehles:LaChiesadeiSS.LucaeMartinanell'operadiPietrodaCortona,Rome 1969,docs.i55 andI56, 28thOctoberand3rdNovember 1624. 38SeeAASLR,vol.43,fols.2Irand23r. 39AronbergLavin, op. cit. (note 22), pp.21, 30 and 47. He gilded framesin 1626-27,decoratedthechapelof StCatherineof Sienain S.MariasopraMinerva in 1639andpaintedapicturein S.UrbanoallaCaffarellain 1637.
40 F. Mancinelli:'Gli interventidel tempo di UrbanoVIII:la Scalasegretae la Cappella',in C. Pietrangeli,ed.: II PalazzoApostolicoVaticano,Florence 1992, pp.277-78. In the 1630sthe artistalsocarriedout restorationworkin the Sistine Chapel,theStanzediRaffaelloandintheMapGallery;seeC. Pietrangeli:IdipintidelVaticano,Udine 1996,p.5144' Pollak,op.cit.(note8),II,p.358.
42 A. LoBianco:'PietrodaCortona:carrierae fortunadell'artista',in LoBianco, op.cit.(note34),p.26.
43 E. Benezit:DictionnairecritiqueetdocumentairedesPeintres,Sculpteurs,Dessinateurs etGraveurs. . ., Paris1976,X, advocem;H. Blittel:InternationalDictionaryMiniature
restofthewritingfortheCanonisation'on7thApril1625. GerardiwritesthatthePortugueseagent'ispayingalotof moneytomakeeverythingsacred'.FrancescodeMaestri,an embroiderer,appearsfrequentlyinthelistofpayments;he receivedaboutonethousandscudifromtheJesuitFraBaldo Baldi,whowasevidentlyresponsibleforthe'minor'artists. FraBaldialsopaidGirolamoCrivelli,'clothweaver',and DonnaVerginiaGerardiforprovidingthe'linen'.46There werealsopaymentsto LuigiGomezandLuigiStarezfor thewax'whichwasto servefortheaboveCanonisation' andto GiacintoAguselli,'gilder'ofthissamewax;finally, on26thMay1625, the'foriere'(supplier)FrancescoArmani waspaid464scudi'forthecostofthefloorputdownforthe CanonisationoftheaboveQueenIsabella'.
The canonisationof St Elisabethof Portugalwasone ofthemajorpoliticalandreligiouseventsorganisedbyPope UrbanVIIIforthecelebrationofthejubileeyearof 1625 whichhe hadannouncedon I6thMay1624,soonafter hiselevationto thepapacy.Urbangavehisprot6g6Gian LorenzoBerninianimportantr6lein thesefestivities.47In 1625 MaffeoBarberini,who hadfollowedthe sculptor's work for the Borghesefamily,entrustedhim with the audaciousprojectof thebaldacchino,designedto reassert thePope'sr6leasheadofstate,sanctifiedbyStPeter,the founderofthechurch.Berniniwasalsoentrustedwiththe restorationof theEarlyChristianchurchof S. Bibiana.48 ThecanonisationtookplaceintheclimateoftheCounterReformation.Designingthe apparatoandits decorations providedBerniniwith the opportunityto experimentin botharchitectureandsculpture;the temporarystructure containedinessencethemodelforthebronzebaldacchino, whileitssurroundwiththestuccostatuesplacedbetween pairedpilasters,canbecomparedtohisworkatS.Bibiana.49 Beminiemphasisedthefundamentalr6leofthenewPontiff in theChurchbyplacingthepapalthroneattheheartof thewholestructure,thesymbolonwhichboththereligious celebrationanditsartisticexpressionwerecentred.Thanks to Bernini'sgenius,UrbanVIII becamethe architect notonlyof anecclesiasticalrevivalbutalsoof theartistic renaissanceofRomeunderBarberinirule.
PaintersPorcelainPaintersSilhouettists,Munich 1992, p.930.
44AASLR,GiustI,fol.270:'... LucaVolpiniMiniatorisinParioneinApothecaloannisIuspinipictoriss. 23 .'. Thisminiaturistappearsbetween 1605and1614in the parishrecordsof S. CeciliaaMontegiordanotogetherwithhiswife, Agnola,and children,Giuseppe,MaddalenaandMartio,anda Neapolitanboy calledGiulio Gattaro.Mythanksto DanielaBaldasciniforthisreferencein her'ArtistiaRoma negliStatidelleAnimedalI6ooal1650:Rione V Ponte',Ph.D. diss.,Rome (Universita'LaSapienza')1999-2000.
45M. Lafranconi:VerbalidiCongregazionidell'AccademiadiSanLuca(1617-1633)conservatipressol'ArchiviodiStatodiRoma,Rome 1998,unpublishedMSS, 3rdSeptember1623,8thOctober1623and3IstMarch1624.
46Maestri,from Lombardy,enteredthe serviceof the pontificalcourtin 1620, workingforhisfellowLombardFrancescoBano;seeA. Bertolotti:Artistilombardi aRomaneisecoliXV, XVI,XVII,Milan1881,II,p.265.
47 S. DanesiSquarzina:'1625IIGiubileodiUrbanoVIII.LapienezzadelBarocco:Bernini,Lanfrancoe PietrodaCortona',in M. Calvesi,ed.:ArteaRoma.Pittura,scultura,architetturanellastoriadeigiubilei,Turin1999,pp.143-5I. 48OnMaffeoBarberiniaspromoteroftheyoungBernini,seeColivaandSchiitze, op.cit.(note21), esp.pp.89-92 and240-51.
49 T.A. Marder:'Ilnuovo linguaggioarchitettonicodi GianLorenzoBerinni',in BernardiniandFagiolodell'Arco,op.cit.(note21),pp.127-36.
Appendix
Payments to the artistsresponsible for the 'apparato effimero' constructed in St Peter's to celebrate the canonisation of StElisabeth of Portugal in 1625(ASR,Monte diPieti, LibroMastrono.47, 1625,fol.476).
IllustrissimoMichele SuarezPereiraAgente di SuaMaesti Cattolicadi Contro devedareA di 3 di GennaioscudiDuecento dimoneta[pagati]aMastroStefano de Mirandaporto conto dissefarglielipagareper servitiodella[canonizzatio]ne dellaReginaBeataIsabellaCassa200 [eadi?]scudiDuecentodimonetapagatialPadreBaldidellaCompagniadiGies'h, edi suo ordine[amastrofrancesco]de MaestriRicamatoreporto Conto dissea Conto dell'ornamentochefaperlasuddettaCanonizzationeCassa200 [eadi?]scudiNovantadimonetapagatialsuddettoPadreBaldoportoContodisse perdarliallaSignoraVerginiaGerardi[perlabiancaria]perlasuddettaCanonizzationeCassa90o
[eadi?scudi]CinquantadimonetapagatialdettoPadreBaldoportoConto disse per darliallasuddettaSignoraVerginia[Gerardiperla]suddettabiancariaCome sopraCassa50
[e a di ?scudi]Duecento di monetapagatialDetto PadreBaldoe di suo conto a mastrofrancescode Mestri [sic] Recamatore [porto conto disse a] Conto dell'ornamentodellasuddettaCanonizzationeCassa2oo [e a di ?]scudiCentossessantaCinquebaiocchi30 monetapagatia mastroGerolamoCrivelliportoConto [disseaconto di]palmi5 dilamad'Argentopresaper l'ornamentodellasuddettaCanonizzationeCassa165.30
[e a di ?scudi]Duecento di monetapagatialPadreBaldoBaldie di suo conto a mastrofrancescodeMaestriportoConto [disseaconto]dell'ornamentochefaper lasuddettaCanonizzationeCassa2oo
[eadi?scudi]MilledimonetapagatiamastroGio.BattaSoriaportoConto disse aConto delavoriche [fa]peril TeatrodellasuddettaCanonizzationeCassaIooo [e a di ?scudicento]di monetapagatiamastroPaoloBorroneIndoratoreporto Conto disse' Conto dellaIndoratura[.. .] che hadaservireperlasuddettaCano nizzationeCassaIoo [eadi ?scudiventidimonetapagatiamastro]Domenico deRossiscultoreporto Conto dissea Conto de l'Armide [Cardinali]che devonoservireperlasuddetta CanonizzationeCassa20 [eadi ?scudisessantadimonetapagati]amastroStefanoMadernoScultoreporto Conto dissei Conto di [statuechefa]perlasuddettaCanonizzationeCassa6o [e a di ?scuditrentadi monetapagati]a mastrofrancescoDucanoven'fiamengo scultoreportoconto disse[aconto distatue]che hadaservireperlasuddettaCa nonizzationeCassa30 [e a di ?scuditrentadi monetapagatiamastrofrancesco]StatiBraccianeseScultoreportoConto disseaConto di [statuecheha]daservireCome sopraCassa40 [e a di ?scudisessantadi monetapagatia mastroDomenico de Rossi] Scultore portoConto dissealConto di6 Statue[chefaperlasuddettacanonizzatione]6o e adi3 diMarzoscudiDuecentodimonetapagatialReverendoPadreBaldoBaldi dellaCompagniadi Gesihe di suo [Conto]a mastroFrancescode MaestriRicamatoreportoConto dissei Conto dell'ornamentochefaperlasuddettaCanonizzationeCassa2oo
e a di dettoscudiCento di monetapagatia SimoneLaghi[sic]et PaoloBorrone IndoratoriportoConto dissea Conto dellapittura,e indoraturadelTeatroperla suddettaCanonizzationeCassaioo eadi6dettoscudiDuecentomonetapagatialPadreBaldoBaldiportoContodisse pervariespeseperlasuddettaCanonizzationeCassa200 e adi 14dettoscudiCinqueCentodimonetapagatiamastroGio.BattaSoriafalegnameportoConto disseaConto dellavorodellegnameperfareil Teatroperla suddettaCanonizzationeCassa500 e adi 21dettoscudiquarantamonetapagatiaDomenico deRossiScultoreporto Conto disseperConto delCrocifissograndeperlasuddettaCanonizzationeCassa 40 e a di dettoscudiDuecento pagatialPadreBaldoBaldit di suo ordineamastro francescodeM[aestri]i Conto dell'ornamentoche faperlasuddettaCanonizzatione Cassa 200oo
e adi 22dettoscudiquarantadimonetapagatiaPaoloBorroneIndoratoreporto C[ontodisseacontode]Armee doraturadelBaldacchino&Stendardochedevono servireperlas[uddettacanonizzationeCassa4o]
e adidettoscudiCinquantadimonetapagatiaTommasoVitaleFalegnameporto Conto disse[aconto del legname]che deve servireil giornodellasuddettaCanonizzationeCassa50
e adi6 diAprilescudiDuecentodimonetapagatiamastroGio:BattaSoriaporto [contodisseaconto dellegnameche]deveservireperlasuddettaCanonizzatione Cassa 200
e a di 7 detto scudi Sessantamonetapagatia mastroAlessandroHorion porto C[ontodisseacontodipitturechefaal]BaldacchinodiS.Pietrochedeveservire perlasuddettaCanon[izzatione]Cassa6o
(ASR,Monte diPieti, LibroMastrono.48, 1625,fol.76o)
IllustrissimoMichele SuarezPereira[agentedi SuaMaesti Cattolica]di contro deve dareAdi 7 d'AprilescudiQuindecibaiocchi50 di monetadi suo ordineal SignorAntonio Gerardiport6Conto disseperrestodi scrittureperlaCanonizatione [della]beataReginaIsabellaCassa15.50 [eadi]dettoscudiDuecentodimonetad'ordinecomesoprapagatialPadreBaldo Baldidellacompagniadi Gesh et di suo ordinea mastrofrancescode Maestri Ricamatoreporto Conto dissea conto dell'ornamentoche [deve fare]per la suddettaCanonizzationeCassa2oo [e adi] 5 MaggioscudiDuecento dimonetad'ordineCome soprapagatialsuddettoPadreBaldo,e disuoordinealsuddettomastrofrancesco[deMaestriporto] Conto disse' Conto delsuddettoornamentoCassa200 eadi17dettoscudiSessantamonetad'ordinecomesoprapagatiaMastrofrancesco StatiBraccianeseetperesso[amastro]francescoBerniniport6contoperrestodelle 4 statuedelRe diPortogalloserviteperlaCanonizationesopradettaCassa6o [. .]
[e adi]dettoscudiTrentamonetapagatii Pietroberretinoportoconto disseper unaIstoriaservitaperlasuddetta[canonizatione]Cassa30 [e a di detto scudi]30 monetapagatia GiovanDomenico Martianiportoconto disseperunaltraHistoriaservita[perlasuddettac]anonizationeCassa30 [. .]
[eadi]dettoscudiCentotrentunobaiocchi20dimonetapagatiamastroDomenico de Rossi scultoreportoconto disseperrestostatueserviteperlasuddettaCanonizationeCassa131.2o
[e a di ?]scudiVenticinquemonetapagatiamastroGiovannidaGiovanniporto conto disseper restod'unaHistoriacon quattroputtiservitaperla suddettacanonizationeCassa25
e a di dettoscudiquarantaCinquemonetapagatii francescofiamengoscultore port6Contodisseperrestodelle3statueserviteperlasuddettacanonizationeCassa 45 e adi dettoscudisessantacinquedimonetapagatiamastroStefanoMaderniscultoreport6conto disse[per]restodi4 statuedelRe di Portugalloche sonoservite perlasuddettacanonizationeCassa65 [. .]
[eadi?scudi]settebaiocchitrentamonetapagatiamastroLucaVolpiniminiatore port6conto dissepervolutadi 8armnne[deCardinali]serviteperlasuddettacanonizationeCassa7.30
[. .]
e adidettoscudiDuecentodimonetad'ordinecomesopraalSignorLuigiGomez e prezzodisuoordineaLuigistarezportocontodisseaConto delaCerachedeve servireperlasuddettaCanonizationeCassa2oo [. .]
eadi26dettoscudiquattroCentoSessantaquattrodimonetapagatid'ordinecome sopraalSignorfrancescoArmaniforiere[. .] aconto disseperlaspesadelpavimentofattaperlaCanonizationedellasuddettaReginaIsabellacome [cer]tificato nell'obligo ' tergodidettoordineCassa164
[...]
[ea di?scudi]quindecibaiocchi6o dimonetapagatia GiacintoAguselliIndoratore di CeraportoConto disseperla [...] perla suddettaCanonizationeCassa 15.60
[...
[e a di ?scuditre]Centodi monetapagatia mastroGiovanBattistaSoriaport6 Conto disse' Conto del lavorodel legname[peril t]eatrodellasuddettaCanonizationeCassa300 [...
e adidetto[6giugno]scudiquattrocentocinquantadimonetapagatialSignorCavaliereGiovanLorenzoBerninie di suo ordinei Signorfrancescosuo fratello port6conto disseperunregalodellastatuafattadiSuaMaesticattolicaservitaper il TeatrodellasuddettacanonizationeCassa450
[. ] e a di 16detto [giugno]scuditrecentodi monetapagatii SimoneLagiet Paolo Borroniindoratoriport6ContodisseperrestodellapitturaetdoraturadelTheatro fattoperlasuddettaCanonizationeCassa300oo
[. .]
e adi20 detto[giugno]scudicentonovantasettemonetapagatialSignorAlessandroHorion'port6conto disseperrestodellapitturadelbaldacchino,Stendardo, Arme,etaltrepittureserviteperlasuddettaCanonizationeCassa197
[. ] e a di detto [21 giugno] scudi Sessantaquattrobaiocchi 60 moneta pagati a mastro GiovanBattistaSoriaport6conto disseperrestodelTeatro,coroneet altrofatto perservitiodellasuddettacanonizationeCassa64.60