widely known fact that the late eighteenth and nineteenth centuries are Raphael and his works were considered as the apogee of European painting and the highest dimension of artistic genius. So even ranked this Renaissance artist Stanislaw Kostka Potocki, who, in the first Polish publication devoted to the history of art ("The Art of the former, a Polish Winkelman) to elaborate that no other image can not match the hanging in Dresden, the" Sistine Madonna " ;. This belief was common (already in Seventeenth century in the competition assessment of individual works of Raphael's works of painters comes in a lot of points), but not everyone in this way assess the achievements of previous generations. One of the most blatant examples that may be different from moving to the depths of aesthetics is the behavior of Nathaniel Hawthorne - the famous nineteenth-century American writer who enrolled in mind first and foremost as the author of "Scarlet letter". In his "Italian notebooks," he made because of the different image key for viewing an object of Roman art. And this was an unusual painting enigmatic "Portrait of Beatrice Cenci '(as it was then assumed by Guido Reni).
As shown in the attached picture, the portrait of the Roman noblewoman seems pretty simple painting, without undue fancy visual or other items that odciągałyby viewer from the look in his eyes restless morphology. It is also easy to see you (despite glitches that always occurs on contact with the photographic reproduction), it is rather that the work is "too weak" as such a master of chiaroscuro, which was Guido Reni. But this proves the uniqueness of the image, which can be viewed live in the Galleria Nazionale d'Arte in Rome Antin. It is enough even for a moment to look at the full of fear, but charm and feminine twist of the head, then freeze fleeting moment, full of feelings directed straight toward the recipient, but that is not able to comprehend them. During the several-day trip to Brno, which ended May 1, a colleague with whom I could not believe how the women look almost exclusively on the face. In case of Beatrice as shown, you can look at her face forever. But for this it was Hawthorne'owi magnetism when visited Rome?
As is well known to this writer's key in many of the novels was the problem of redemption, guilt, moral dilemmas, often making a man "the wall", which can not choose between good and evil, but only the lesser or greater evil. Ruthlessly exposed the hollowness of that novel Puritanism of modern times, focusing on how great a disgrace (and obstacles to change itself) was the embroidered letter on Hester outfit. I think that even today there are in some communities Similar tattooing people pushed to the limits of society. With such baggage światopoglądowym Nathaniel visited the Palazzo Barberini, where the painting hung said. As he handed down the hall went completely without regard for other work to get to two, on which he particularly cared - "Fornarinie" Raphael (the famous painting depicting the artist's mistress perhaps, Margherita Luti - link) and it is the portrait of Beatrice. Images of the two unusual women hung in the last room, and Nathaniel saw in them some hidden beauty, to capture the boundary between morality and sin. About Beatrice wrote that "like a fallen angel - fallen, but sinless. It is extremely moving encounter with her eyes (...) It made the most in depth picture of the world, and no artist has not created and no longer create it again. " But I am curious about the notes in these different customs Hawthorne attention. He knew who he was Beatrice Cenci (as opposed to the Polish Wikipedia), and he noted that perhaps the image that affects him, he weaves directly in the interpretation of history presented in women. But he said to be może dla niektórych, którzy tego nie wiedzą, XVII-wieczne malowidło wpływać będzie z jeszcze większą intensywnością. To z tego powodu czekałem aż do połowy posta, by przypomnieć jej tragiczną historię.
Ukazana powyżej rzeźba Harrieta Goodhue Hosmera z 1857 r. także przedstawia bohaterkę dzisiejszego wpisu. Oto ona, kobieta szukająca z jakichś przyczyn ukojenia w różańcu, spoczywająca niespokojnie na sarkofagu, obawiająca się tego, że prawdopodobnie jakiś niecny czyn, którego się dopuściła zostanie wykryty, a ona sama pociągnięta responsibility. This located in Missouri, the sculpture is just one example (in my opinion too handsome) fascination with the history of Beatrice in the nineteenth century Polish art also has this issue quite important to, as Julius Slovakia in 1839 created quite rarely exhibited under the title of the drama was our heroine (in recent years could see the work in the theater at Cracow, which, due to at least an unusual idea to change the director gathered the good and bad reviews). Well, so this does Beatrice resting in such an unusual place, as if trying to reverse the railways history?
The Beatrice and the other members of her family shook public opinion of Rome so much that no problem is found in the footsteps of his writings, even in passing tourists visiting the Eternal City. Her father, Francesco Cenci, was an aristocrat with a very explosive, even a nightmare. But as befits a Roman aristocrat, force it is true that these same rights as the rest of the population, but as a punishment, it was hard to expect when it is imposed even in the middle "bracket" the threat. Conflicted with the pope landed at some time in jail for some less serious acts, even though the evidence clearly indicated that tormented his wife and sons, then began kazirodczo raping his daughter Beatrice. The penalty, however, was not too serious and he approached for the release of Francesca, the family objected to not do so. It is easy to imagine that a brutal father (whose character was commonly known) soon discovered who was behind the denunciation to the police and his imprisonment. So he decided to send the whole family's summer residence outside the city.
seem to be able to have subjected them very gently. However, that is when the mother of his sons and daughter began to fear for their safety, because such residences podpadały not directly under the Roman courts, but were a little closer towards what we really call it justice. At the provincial and Francesco could affect de facto without limits, and so quietly get rid of the whole family and did not suffer any consequences for it. So the family decided to get rid of his tormentor, he sent two of his vassals to his family and the men were poisoned Francesca. This, however, could not be (as the old saying says "bad devils do not take"), so you had to use more brutal methods. Ultimately, Beatrice, her mother and brothers and his father's head smashed a hammer and threw the body through the window, trying to suggest that law enforcement authorities that the accident occurred. But the conspiracy failed and caught one of the vassals, who in addition has admitted that he was a lover of Beatrice, but did not reveal the perpetrators of the incident. In order not to risk the family decided to get rid Cencich second vassal, and when it did not work, she makes light of day.
Populationpage took Beatrice and her family, trying different ways to justify its behavior. The court, however, was quite a different opinion. Perhaps the impact of the ruling was the fact that at that time there was another murder of an aristocratic family, and Pope Clement VII was afraid that in the case of mild treatment of offenders can lead to a wave of similar murders. The effect was easy to predict - September 11, 1599, the whole family appeared on the scaffold. The women in rozprawiono least cruel way simply because they will be beheaded. Senior brother survived, however, is what was done with his father because his head smashed with a hammer. The younger brother, at that time only 12 years old, was deprived of his liberty for years, its property was confiscated and he was supposed to be when he grows older sent to the galleys, but this ultimately did not happen.
Renewal Beatrice Cenci legend, of course, owe Shelley'emu, who during his stay in Rome for the first time drew attention to the aforementioned picture, and then wrote on the history of this family drama pięcioaktowy. English poet, however, thought that the image was created by G. Reni during his stay in Rome (1599-1600). Trafiłby so this is an outstanding artist of the same height of the dispute, the division between public opinion and the opinion of the court and the pope. However, and this mystery could be in the last decades to solve and it is difficult to assign credit to Reniemu. Probably the delicate shots and a really unusual keenness of gaze is painting also owes living in Bologna Elisabetcie Sirani, where she was an artist for two generations younger than the master, which is constantly alluded to in the seventeenth century painters in the city.
To this day you can wonder whether Beatrice had acted rightly or not. Hawthorne in "Marble fauna" and put a dispute between the two main protagonists, one of which criticizes the Roman aristocrat and the other in turn recognizes her behavior as the greatest virtue in those circumstances. Response does not give a Slovak, Dumas, Stendhal, or other authors who have decided to dedicate her next card saved his talent. Even David Lynch refers to "Mulholland Drive" into the picture, as well as indirectly to Hawthorne, creating an exciting plot with two exceptional women in the background. Question Beatrice is therefore a question of the basis of our morality, about how much we are able to justify the circumstances, and when there is a thin red line beyond which without batting an eye should impose the appropriate penalty. Eyesight as painted by E. Sirani seems to beg for a few centuries to clarify this issue ...
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