Tommaso Campanella and Andrea Sacchi's Fresco of Divina Sapienza in the Palazzo

Barberini
Author(s): George S. Lechner
Source: The Art Bulletin , Mar., 1976, Vol. 58, No. 1 (Mar., 1976), pp. 97-108
Published by: CAA

Stable URL: https://www.jstor.org/stable/3049467

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 97

Tommaso Campanella and Andrea Sacchi's Fresco of

Divina Sapienza in the Palazzo Barberini*
George S. Lechner

Under the patronage of Cardinal Antonio Barberini,
Andrea Sacchi received in 1629 the first great artistic
commission of his career, the vault decoration for a recep-
tion room of Urban VIII's papal residence, the Palazzo
Barberini.1 Information about the fresco, which takes as its
subject the theme of Divine Wisdom, is provided by five
contemporary sources. The first, Libro mastro A (I623-
I630), Taddeo Barberini's incomplete financial ledger,
establishes approximate dating for the work.2 This ledger,
which contains only entries for December I629 through
December 1630, speaks in general terms of the "lavori"
of Andrea Sacchi without being specific about the project.3
We remain uncertain about the exact date of its completion.
A codex from the Barberini Library (Bibl. vat., Barb. lat.
6529, misc. v, fol. 52), first published by Giovanni Incisa
della Rochetta, is the earliest, most detailed, and reliable
account of the iconography of Sacchi's fresco.4 The other
seventeenth-century sources, Tetius's Aedes barberinae5 and
the artist-biographies of Bellori6 and Passeri7, contain
several iconographic errors and must be used cautiously.
The Barberini Codex pinpoints the Book of Wisdom as the
primary source for Sacchi's imagery, telling us that the
theme of Divine Wisdom was "suitable for the majestic
palace of the Barberini because it meant that as that
fortunate family had been born and chosen to rule the
Church in the place of God, it did so with the aid of Divine
Wisdom, which it both loved and revered."8 The author of
the codex, and he is alone among the sources in this,
specifically locates the inspiration for Sacchi's portrayal of
Wisdom and her attributes in the seventh and eight
chapters of the Book of Wisdom.9
Sacchi's fresco shows Divine Wisdom seated on the lion-
throne of King Solomon,10 surrounded by female person
ifications of her attributes, which are, as the author of the
Barberini Codex says, all explainable by referring to
Wisdom 7-8 (Fig. I). Divine Wisdom herself wears a crow
and is dressed in golden robes (Fig. 3). The face of the sun is
emblazoned on her breast and the mirror of Prudence is
cradled in her left arm, "for she is the brightness of etern
light, and the unspotted mirror [speculum sine macula]
God's majesty, and the image of his goodness" (Wisdom
7:26).11 She points the scepter of Divine Providence
adorned with the all-seeing eye of God, toward the eart
suspended below her, "for he hath given me the tru
knowledge of the things that are: to know the dispositio
of the whole world [ut sciam dispositionem orbis terrarum] an
the virtues of the elements" (Wisdom 7:17.)12
Reading from the figure of Wisdom outwards to our
left, the first personified attribute of her qualities, appearin
immediately to her right, is identified in the Barberin
Codex as Divinity (Divinitd) - "col triangolo, chiaro
simbolo dell'unita dell'essenza et trinit " delle Persone" (Fig.
2).13 Beside her is a figure named as Sweetness (Suavitd)
the Barberini Codex.14 This alludes to Wisdom 7:22, in
which Wisdom is described as "sure, sweet, loving that
which is good." Tetius, Bellori, and Passeri all misidentif
this figure as Harmony, which, although close in meanin
to Sweetness, is not a quality specifically mentioned in t
Book of Wisdom.15 The figure seated next to Sweetness,
all the sources agree, is the personification of Eternity
(Eternitd), in accordance with Wisdom 8:13: "Moreover b
means of her I shall have immortality: and shall leave

glia my
* This paper is the result of research on Sacchi's Divina Sapienza for 6 nata et eletta in luogo d'Iddio, per li primi governi della Chiesa,
Master's thesis at Bryn Mawr College. I presented a shorter version cosi, con
ofdivina Sapienza, parimenti amata e riverita, la governa."
this paper at the Frick Collection-Institute of Fine Arts Symposium Englishon
translation by Francis Haskell, Patrons and Painters, London, 1963,
the History of Art held in New York in April, 1975. I thank the readers
50. of
my thesis, Professors Charles Mitchell and Dale Kinney, for 9their
Incisa della Rochetta, 64: "Sono d.ti attributi in gran numero,
valuable observations and criticism. I am especially gratefulchiaram.te
to my aspressi, nel settimo et ottavo capo del libro della Sapienza,
advisor, Professor Charles G. Dempsey, for his constant encouragement
de' quali alcuni pid principali ha scelto et rappresentato la Pittura."
and advice during the entire course of my work. Personal thanks are also
extended to Dr. Roswitha Benesch, my undergraduate professor at 10 "King
theSolomon also made a great throne of ivory: and overlaid it with
University of Vienna. the finest gold. It had six steps: and the top of the throne was round
behind: and there were two hands on either side holding the seat: and
N.B. A bibliography of frequently cited sources follows the footnotes.
two lions stood, one at each hand" (mi Kings Io: 18-19).
1 Giovanni Incisa della Rochetta, "Notizie Inedite su Andrea Sacchi,"
11 Incisa della Rochetta, 64: "Tiene uno specchio terso e chiaro, chia-
L'Arte, xxvII, 1924: 60-76. mandosi speculum sine macula." Bellori, 50, writes: ". .. con la
2 Ibid., 63. sinistra ella tiene lo specchio della Prudenza o piuttosto della sua
3 Ibid., 63.
Divina Idea, e suprema Intelligenza, in cui reguarda, e contempla se
stessa eternam.te."
4 Ibid., 64.
12 Incisa della Rochetta, 64: "Regge con la destra uno scettro o chiuso
5 Girolamo Teti[us], Aedes barberinae ad Quirinalem, Rome, 1642, 85-96. [sic], per segno del provido et saggio reggimento."
6 Giovanni Pietro Bellori, Vite de Guido Reni, Andrea Sacchi e Carlo Maratti,
13 Ibid., 64-
Rome, 1942, 49-53-
14 Ibid.
7 Giovanni Battista Passeri, Die Kiinstlerbiographien von Giovanni Battista
Passeri, ed. J. Hess, Leipzig and Vienna, 1934, 294-96. 15 Tetius, 89; Bellori, 5 I; Passeri, 295.

8 Incisa della Rochetta, 64: "Conveniva tal Pittura al maestoso Edefitio

della Casa Barberina, acci6 che s'intendesse che, si come si felice fami-

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98 THE ART BULLETIN

Z.]

W?

AX

-WE

Kai,

d ou"

In.
All
Xx ,

.... ............ ... .

lKs

ol I

x Andrea Sacchi, La Divina Sapienza. Rome, Palazzo Barberini (photo

hath
behind me an everlasting memory toloved
them her" (Wisdom
that come 8:3).1
after
me [et memoriam aeternam his, quipersonification of Nobility
post mefuturi sunt, is Ju
relinquam]."
the balance Ripa's
Sacchi has here turned to Cesare scales as her well-known
Iconologiaattribute: "And
toif aid
a
man love justice:
in his rendering of Eternity, depicted with her labors
the have great virtues"tail-
circular, (Wisdom
8:7).18
biting snake as her attribute.16 Near Justice is
Standing an imposing,
beside muscular woman
Eternity is who
Nobility (Nobilitd), who holds leansthe
on the eight-starred
fabled club of Hercules. She crown
is Fortitude of
Ariadne as her attribute: "She (Fortezza),
glorifiethas uncompromising as her scriptural
her nobility bydescr
being conversant with God: yea tion: ". . . strength
and the is mine. By
Lord of meall
kings reign, and la
things

16 Cesare Ripa, Iconologia (1603), Hildesheim and New York, 1970,Bible141:

and as "Nobilta" in the Italian Bible. The Bible consulted is La
sacra bibbia
"Donna in habito di matrona, che nella destra mano h nera vn serpe in volgarizzata da Monsig. Antonio Martini, Florence, 1843.
giro, che si tenga la coda in boca ..." Tetius, 89, agrees on Nobility; Bellori, 53 calls her "Regina"; Passeri,
295, however, errs and conflates Eternity and Nobility into a single
17 The Latin reads: "Generositatem illius glorificat, contubernium
habens Dei; sed et omnium Dominus delexit illam." "Generositas," allegorical figure.
deriving from "generosus," has as its primary meaning "nobility," or 18 Incisa della Rochetta, 64.
"of noble birth," and is therefore rendered as "Nobility" in the Douai

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 CAMPANELLA AND SACCHI 99

givers decree just things. By me princes rule and the this passage: "Her have I loved, and have sought her o
mighty
decree justice" (Proverbs 8:14); specifically, she here
from my youth, and have desired to take her for my spou
appears as an attribute of Wisdom, who "teachethand tem-
I became a lover of her beauty" (Wisdom 8:2). Ab
perance, and prudence, and justice, and fortitude,Beauty whichappears the standing figure of Purity (Schiette
are such things as men can have nothing more profitableo Puritd, according to the Barberini Codex), clothed
in life" (Wisdom 8:7). billowing robe with a white swan pressed to her boso
"For to
The last of the personified attributes of Divine Wisdom Wisdom is more active than all active things: an
reacheth
appear on the left side of the fresco is a figure dressed in a everywhere by reason of her purity" (Wisd
starry gown who holds a spike of wheat in her right 7:24).25
hand The last of the attributes of Divine Wisdom
and with her left squeezes drops of milk from her Sanctity
breast. (Santitad), again deriving from Wisdom 7
wherein Divine Wisdom is described as "holy" (sanctu
She is identified as Beneficence (Beneficenza) by the author
of the Barberini Codex: "For in her is the spirit of
Sacchi's representation of this figure as a seated, veil
understanding: holy, one, manifold, subtile, eloquent, woman tending a flaming altar and holding a cross is a
active, undefiled, sure, sweet, loving that which isadapted
good, from Ripa, who does not define Sanctity as su
quick, which nothing hindreth, beneficent" (Wisdom
but whose definition and illustration for Religione are clear
7:22).19 Sacchi's personification of Beneficence is adapted
the inspiration for the woman in Sacchi's fresco.26
from the definition of Benignitad in Ripa's Iconologia, Abovein the figures of Divine Wisdom and her personified
which Beneficenza does not appear. She wears a star-filled
attributes appear two youthful, winged male figures. The
gown, has short gathered hair, and is shown squeezing are, respectively, the Love and the Fear of God (Figs. 5 an
drops of milk from her breast. This is all in accordance 6), with
as the author of the Barberini Codex makes clear:
"Perche l'increata Sapienza, nel governo ammirabile del
Ripa's personification of Benignitd, as is the fact that Sacchi's
figure is shown near that of Justice, for as Ripa says, mondo thedeve esser'amata, et temuta, percib dalla Pittura si
compassionate love of Benignity ought always to rappresenta
be the in atto di commandare all'Amore et al
companion of harsh Justice.20 As such, Benignity Timore, was alsosuoi divini Arcieri, che tirino di mira al bersaglio
portrayed as the companion of Justice by Domenichino del Mondo, per saettare et ferire salutevolm.te gli animi
in S. Carlo ai Catinari.21 The pressing of her nourishingdegli homini."27
breasts expresses, according to Ripa, the effects of Benignity,
Bellori gives a more detailed account of the figures of Love
which is but another way of saying Beneficence, and andFear
so and their divine ministry:
Sacchi portrayed her on the basis of the Book of Wisdom. . . . un angelico Giovanetto alato ignudo col manto di
Seated directly opposite Beneficence, in front ofcolorethe di fuoco ventilante indietro, il quale cavalcando un
throne of Divine Wisdom, is Perspicacity (Perspicacitd),feroce
with Leone per l'aria rampante, lo frena, e lo corregge
the sharp-sighted eagle as her attribute (Fig. 4).dal Per-
corso furioso; colla sinistra mano, e colla destra vibra
spicacity is not specifically named in the Book of Wisdom,
in alto un aureo strale pungendolo animosamente . . .
but there is no doubt that her presence is motivated byDall'altro
the lato vedesi un altro Angelico Giovinetto
parimente alato, il quale piegandosi sopra una Nube a
reference to Wisdom in Chapter 7:22, where she is described
as "acutus." This is confirmed by her eagle, which volo,
is theanch'egli vibra uno strale non d'oro, ma di piombo
perfect attribute for Perspicacity, for the Bestiary tells fugando
us l'amor lascivio figurato in una fugitiva lepre,
ch'egli perseguita, ed incalza per ferirla: di questi strali
that "Aquila the eagle is called so for the acuteness [acumine]
of his eye."22 He is also a symbol of unwavering faith, for
pare, che intenda Ovidio negl'Amori di Apolline, e di
the eagle forces its young to gaze unblinkingly into theDafne
sun ....
- 28
Love and Fear are central concerns within the whole of
and for this reason is the attribute of the evangelist John.23
Reclining beside Perspicacity is a splendid nude, the
desig-
biblical Books of Wisdom: "Love the light of wisdom
nated by the author of the Barberini Codex as all
Beauty
ye that bear rule over peoples" (Wisdom 6:23) and "T
(Bellezza). She holds the star-filled Coma berenices in her hand
fear of the Lord is the beginning of wisdom" (Proverbs I :7
to indicate that divine beauty has no need of such The
earthly
first chapter of the Book of Ecclesiasticus contains the
adornment as long hair,24 and her appearance derives same
frommessage: "The Love of God is honorable wisdom. An

translates
19 Bellori, 51, sees her as a symbol of Charity, whereas both Tetius, 89, "munditiam" as "purezza."
and Passeri, 295, describe her as a personification of Fertility.
26 Bellori, 52, calls her "Religione" because of the similarity to Ripa's
20 Ripa, 44. definition.

21 -mile MMle, L'Art religieux apris le Concile de Trente, Paris, 1932, 391.
22 T. H. White, The Book of Beasts: Being a Translation from a Latin Bestiary
of the Twelfth Century, London, 1955, 107. See also E. P. Evans, Animal
Symbolism in Ecclesiastical Architecture, London, 1896, 17-11 8.
23 Male, 339-
24 Passeri, 295, states: "Questa e la Bellezza, porta nella destra la chioma
di Berenice per significare, che la pompa pidi superba del vanto feminile
consiste nella compia, e sfarzo de suoi capelli de quali ambiscono di
tenerne legami per incatenare con quelli il cuore degl'amanti."
25 The Latin reads: "Omnibus enim mobilibus mobilior est sapientia;
attingit autem ubique propter suam munditiam." The Italian Bible
27 Incisa della Rochetta, 64-
28 Bellori, 5o-5 I. See Ovid, Metamorphoses, Bk. I, Loeb ed., London, 1916,
35, for Cupid's revenge against Apollo: "There he took from his quiver
two darts of opposite effect: one puts to flight, the other kindles the flame
of love. The one which kindles love is of gold and has a sharp, gleaming
point; the other is blunt and tipped with lead. This last the god fixed in
the heart of Peneus' daughter, but with the other he smote Apollo ... ."
Sacchi's personification for the Love of God is taken from Ripa, 116.
Ripa's definition of "Dominio di se Stesso" and his illustration of a
man riding a bridled lion mirror the figure painted in the fresco.
Similarly, Ripa, 486, employs the rabbit as the primary attribute of fear
in his discussion of the personification of "Timidith 6 timore."

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 I00 THE ART BULLETIN

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2 Divinity, Sweetness, Eternity, Nobility, Justice, Fortitude, and Beneficence 3 Divine Wisdom Enthroned (detail of Fig. I) (photo:
(detail of Fig. i) (photo: GFN) GFN)

they to whom she shall shew herself love her by the sight, identified, is itself inspired by the Book of Wisdom, C
and the knowledge of her great works" (Ecclesiasticus I :14- 7: 17-19: "For he hath given me the true knowledge
15); "The root of wisdom is to fear the Lord: and the things that are: to know the disposition of the whole
branches thereof are long-lived" (Ecclesiasticus I :25). and the virtues of the elements, the beginning and en
This completes the list of the attributes of Wisdom that and midst of the times, the alterations of their cours
Sacchi personified in his fresco, and all of them derive, as the changes of seasons, the revolutions of the year, an
the Barberini Codex recorded, from Chapters 7 and 8 of dispositions of the stars."
the Book of Wisdom. Further careful reading of the With this information in mind, reference to a sta
Barberini Codex reveals an even profounder context for the discloses how the attributes of Divine Wisdom fit into
imagery of the ceiling. Divine Wisdom and her attributes positions occupied by specific constellations, a congru
are specifically located within the stars of the firmament: that Sacchi has made explicit by representing actual
"Le altre donne, che a torno stanno, rappresentano gli in gold on the figures and their attributes.32 Thus, Divin
attributi della Sapienza, convenientemente divisati, con is identified with the constellation Triangulum, shown w
simboli di varie costellationi, essendo quelli cosa divina e a star on one of its arms, and this constellation, as Hygin
rappresentandosi in cielo."29 Specific constellations identi- relates, was recognized in ancient Greece as a phy
fied in the Codex are "il leone celeste" of the Love of God - representation of deity in the heavens.33 The lyre of Sw
meaning the constellation Leo Minor - and "la costella-
ness is the constellation Lyra, with a representation o
great star Vega painted upon it. Eternity appears as
tione del lepre" - shown as the attribute of the Fear of the
Lord.30 The latter is the constellation Lepus, located be-
Ophiucus the Snake-Holder - together with Serpens the
neath the foot of the heavenly Orion. In addition, Bellori
Snake. Sacchi has shown a major star in this constellation,
identifies another constellation when he discusses the Unukalhai, behind the head of the snake. Nobility is
personification of Beauty, who holds in her right hand with
depicted "la the celestial crown of Ariadne, Corona, with
its eight bright stars. Nearby, the constellation Libra is
chioma di Berenice [a constellation that forms the imaginary
identified
"tail" of Leo] in controsegno della sua bellezza locata fra with Justice - with the star Kiffa Borealis
discernible
le stelle."31 The precise location of Wisdom among the stars in the pan of one of the scales. Fortitude, with
of the heavens, many of which, as we shall see,her can beadorned by the star Ras Algethi, thus appears as
club

29 Incisa della Rochetta, 64. 32 The star map used in this discussion is "The Heavens," National
30 Ibid., 64. Geographic Society, Washington, D.C., August 1970o.
33 Hyginus, Poeticon astronomicon, Venice, 1488, Chap. 19.
31 Bellori, 52.

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 CAMPANELLA AND SACCHI IOI

i ? :X,- : L:

~~iii--i-i -: iiiliii~i"::i::: ::-i:-"'

-- - ---- -- -------: - i: :

Siii,;

4 Perspicacity, Beauty, Pur

the constellation Hercules. Beneficence is identifiable with

namely the months of late July and early August, which is
the only time that the sun, in the course of its apparent
Virgo, painted with the star Spica glowing from the wheat
motion, can be located in Leo. Furthermore, an exact space
spike in her hand. Beauty holds the famed Coma Berenices,
which Sacchi depicts with numerous stars. The eagle atof time within the month of August is indicated by the
the
foot of Perspicacity is the constellation Aquila with personification
its of the Love of God astride his lion. Each of
major star Altair shining from its breast. The swan the of zodiacal signs is divided into three equal parts called
Purity is Aquila's celestial prey, Cygnus, with the star decans.34 Each decan is a genius of ten degrees of the zodiacal
Deneb over its heart and the star Albireo at its tail. The band, and as such has been personified in art.35 A famous
altar of Sanctity is the constellation Ara, painted with example
its of this appears in the fresco cycle in the Palazzo
major stars Alpha Arae and Beta Arae in clear view. The
Schifanoja in Ferrara, where the zodiacal year has been
cross held by Sanctity is the constellation Crux, with allegorically
its represented;36 the three decans of Leo are
star Acrux. The lion of the Love of God, Leo Minor, is depicted - the second of the three being shown as a young
painted with representations of its stars; and the attribute man dressed in flowing robes with a long downward
of the Fear of the Lord, as Lepus the rabbit, is depicted pointing arrow in his hand, seated above a running lion37 -
with the stars Arneb and Nihal. Divine Wisdom herself, a perfect analogy to the figure of the Love of God in Sacchi's
seated on Solomon's lion-throne, is placed in the exact fresco. The second decan of Leo rules an exact period of
position of the zodiacal sign of Leo. She is shown as the sun, time - the ten days from 3 July to 9 August. The reference
and her placement in the sign of Leo is correctly in relation- to these particular days suggests that there is a specific
ship to the signs of Virgo and Libra, which succeed Leo to event associated with the fresco of Divine Wisdom. The
the left of the fresco. conclusion is inescapable that it represents the heavens
Keeping the arrangement of these constellations in mind, the day of the elevation to the Papacy of Urban V
we can obtain a more specific understanding of the fresco's 6 August 1623.
imagery. Divine Wisdom, with the sun emblazoned on her Pope Urban VIII was a confirmed believer in the pow
breast and emitting brilliant rays of light, is as we have seen, of magic and astrology.38 During the two years just prior
portrayed as the sun appearing in the zodiacal House of Sacchi's commission for the fresco of Divine Wisdom
Leo. This relates of course to a specific time of the year, Urban VIII and his personal astrologer Tommaso

34 On the decans see Franz Boll, Sternglaube und Sterndeutung: DieimGe-Palazzo Schifanoja zu Ferrara" in A. Warburg, Gesammelte Schriften,
schichte und Wesen der Astrologie, Leipzig/Berlin, 1926, 59-60. See11,
also
Leipzig/Berlin, 1932, 459-481.
Wilhelm Gundel, Dekane und Dekansternbilder: Ein Beitrag zur Geschichte37der
Ibid., pl. LXV.
Sternbilder der Kulturvolker, Gltickstadt/Hamburg, 1 936.
38 D. P. Walker, Spiritual and Demonic Magic from Ficino to Campanella,
35 Boll, 60.
London, 1958, 205.
36 Aby Warburg, "Italienische Kunst und Internationale Astrologie

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102 THE ART BULLETIN

Campanella were engaged in serious magical

support astrological
to the thesis that the monk devised the program
rites in the hopes of protecting the for
PopeSacchi's Divine Wisdom.
against eclipsesIn a they
letter dated 14 February
supposed harmful.39 The Dominican monk
1630, Campanella Tommaso
disclosed the following to Cardinal
Francesco
Campanella spent most of his early lifeBarberini: "Io desidero
imprisoned dell'ingegni calabresi
and
tortured by the Inquisition for his domenicani
unorthodox esquisiti, acuti e laboriosi,
political and chi per mancanza
theological views.40 In 1599 he had led siaperdono,
di culto revolt against
far un the de propaganda
collegio Barberino
Spanish rulers of his native Calabria in
fide, fondata nel the
libro deldesire toet convertentur ad
Reminiscentur
establish a utopian state which heDominum
named omnes finis terrae
"the City ... ."45of the

Sun."41 The revolt failed and under In essence,

torture Campanella planned to use the Collegio Bar-
Campanella
confessed his role in the plot. berino
He escaped
in accordance thewith the death
theo-political theories es-
poused
penalty by feigning madness, and was in his Quod reminiscentur
imprisoned in Naples (1618), to create a universal
monarchy
and later in Rome. After serving over under the years
twenty-six Pope, through
of his the education of mis-
sionary
life sentence, he was released by the Pope,zealots
and who
bywould multiply and convert the entire
assuming
worldprotector
the role of Urban VIII's astrological to his unorthodox idea of Catholicism.46 In his Monar-
Campanella
chia di Spagna,
shortly occupied an extraordinary position of first published
power in 1620, Campanella prophe-
within
sied that
the Barberini court. In addition to his the Spanishrelationship
intimate monarchy would attain this universal
with the Pope, Campanella enjoyed the
empire. confidence
He envisioned and world monarchy in
this as a Catholic
admiration of Sacchi's patron Cardinal
which theAntonio Barberini,
Pope would be the spiritual and temporal ruler in
the friendship of Cardinal Richelieu,
a Golden Cassiano del
Age of religious and Pozzo,
political harmony.47 Cam-
and Nicolas Poussin, who incorporated
panella made thisCampanella's
goal his lifelong obsession, and he es-
system of natural philosophy in thepoused the same concept
iconographic of a harmonious universe under
framework
papal control inCampanella
of some of his late mythological paintings.42 other works, most notably the Discorsi
was
also a longtime friend of Galileo, universali
and vigorously defended
del governo ecclesiastico (1593) and the Monarchia
him in a famous treatise, the Apologia pro
messiae Galilaeo, written
(1633)-
while Campanella was still in prison. Admired
In Campanella's forand
most ambitious his
best known literary
effort,
considerable intellectual prowess, and the utopian
feared for La cittd
the del sole (1602), his political
tenacity
of his consistently unorthodox political ideas,inCampanella
theories are presented their most direct and lucid manner.
was a voluminous writer who within In this
hismasterwork
lifetime Campanella's
composed vision of the ultimate ruler
over eighty works encompassing topics
is made manifest.in theology,
His utopian City of the Sun is governed
by a philosopher-king
philosophy, political theory, astrology, and magic.who is also high priest of the state:
Campanella remained in Rome for "t un Principe
eight years, Sacerdote
from tra loro,
1626 che s'appella Sole, e in
to 1634. Despite being examined during
lingua that questo
si dice Metafisico: time e capo for
di tutti in spirituale
heresy after the publication of the seventh
e temporale, e tutti le book
negozi in of
lui si his
terminano."48
Astrologica (which outlined his magicalThe concept of the solarian
practices with philosopher-king-priest
the of
Pope), he nearly obtained the post of "Consultor"
Campanella's in Yates
utopia is, as Frances thehas demonstrated,
Holy Office - a position that would havederived
ultimately given fromhim virtual
the followers of the philosophy of
Hermes Trismegistus
censorship of all theological publications.43 Although he and their interpretation of Egypt
as the birthplace of
was denied this position of power because of papal embar-Wisdom.49 Without digressing on the
subject of the enormous
rassment over the astrological text, Campanella nonetheless impact of Hermetic philosophy
retained the Pope's favor and in 1630
on Italian was given
Renaissance thought, it papal
is sufficient to note that
permission to found and head the Tommaso Campanella
Collegio can be securely
Barberino in placed in a tradition
Rome.44 stemming from Ficino (who translated the major portion
The Collegio Barberino was never established, but Urbanof the Hermetic texts at Cosimo de' Medici's command),
VIII's selection of Campanella for this lofty position lendsand taking as its starting point the notion that Wisdom had

39 Ibid., 206-2I2. 43 Walker, 208.

40 For Campanella's biography see Leon Blanchet, Campanella, Paris,
44 Ibid., 208.
1920o.
41 Walker, 205; Blanchet, 54-55.
42 Concerning Campanella's influence on Poussin, see Anthony Blunt,
Nicolas Poussin (Bollingen Series, xxx-7), New York, 1967, 327-332. Blunt
states: "[In] an examination of Campanella's ideas and their connec-
tion with the later paintings of Poussin, it will be as well to establish the
fact that the artist was certainly aware of these doctrines and was prob-
ably personally acquainted with the philosopher." In addition see
Blunt's theories on the application of Campanella's brand of Stoic
philosophy in Poussin's paintings of the Birth of Bacchus and Apollo and
Daphne (328).
45 Tommaso Campanella, Lettere, Bari, 1927, 228.
46 Walker, 209.
47 Blanchet, 44ff-
48 Tommaso Campanella, La citta del sole, in Opere di Giordano Bruno e di
Tommaso Campanella, Milan-Naples, n.d., I075-76. On the theory of
government of Campanella's City of the Sun, see the discussion by Luigi
Firpo, "La cite ideale de Campanella et le culte du soleil," in Le soleil da
la renaissance: sciences et mythes, Brussels, 1965, 327-340.
49 For a study of Campanella and Hermeticism, see Frances Yates,
Giordano Bruno and the Hermetic Tradition, Chicago, 1964, 360-397.

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 CAMPANELLA AND SACCHI I03

its origin in Egypt with Hermes, and that his centered

divinelyupon Urban VIII. The aforementioned treatise on
world
revealed teaching then made its way to Plato and the monarchy under the Pope-King, Quod reminiscentur,
Greek
philosophers. 50 was dedicated to Urban VIII by Campanella in a letter
Sacchi's fresco of Divine Wisdom, the writings of written to the Pope on 6 April 1629. The author addresses
Campanella, and the Hermetic texts share a binding the Pope with the following salutation: "Sanctissimo
affinity by way of their profoundly solarian and astrological domino pontifici papae Urbano VIII, sapientiae divinae
symbolism.51 In Sacchi's fresco the entire land of Egypt is humanaeque cultori eminentissimo .. ."56 With this as a prologue,
especially illuminated by the sun. Campanella's title for we shall now turn to a particular comparison of his utopian
La cittd del sole is based on an Egyptian city mentioned in system with Sacchi's fresco.
Isaiah 19:i8 - "In that day there shall be five cities in the Campanella was an avowed heliocentrist who saw the sun
land of Egypt, speaking the language of Canaan, and as the ruling life-force of the Universe.57 In his Metaphysica
swearing by the Lord of Hosts: one shall be called the city (1636) he described the sun and stars as a special "Republic
of the sun."52 Isaiah's Chapter 19 must have held great of spirits": ".... firmissime credo, quod & gentibus omnibus
prophetic meaning for Campanella, for Isaiah describes credibile videtur . .. sydera esse Respub. spirituum super-
Egypt delivered from its false gods and rulers and born norum, cum in mundum corporeum ex mentali egrediantur
anew through the Lord's blessing.53 Campanella's La cittd ... Nam activissima res est ignis lucidissima, sensitivissima,
del sole and Quod reminiscentur provided the framework to idcircb maxime conveniens spiritibus potestate & sapientia
Campanella's version of the "new Egypt" - a world united decoratis.. ."58
under the Pope in which the Protestant heresies would be Referring to Dionysius the Areopagite's conception of th
defeated and the Catholic faith would triumph in greater angelic hierarchy, Campanella stated that the sun w
glory than ever before. Hermes Trismegistus had prophesied animated by an angel of the order of Dominations, wh
just such a grand design centuries earlier when he vowed commanded the stars, which in turn were inhabited b
that the principles of pure Egyptian wisdom would some- angels called the Virtues:
day be restored: Unum ex Dominationibus systemata mundialia omnia
Do you not know, Asclepius, that Egypt is an image of regere, tanquam Dei Vicarium, sydera centralia prim
heaven, or to speak more exactly, in Egypt all the singula singulis Dominationibus gubernari. Horum
operations of the powers that rule and work in heaven Planetas Virtutibus; horum Lunas Potestatibus . . . In
have been transferred to earth below? .. .54 Moreover, Sole ipso unus Angelus vocatus Dominatio principitur.
in time to come the rulers of the land will be made gods, stellis vero errantibus circa Solem intra certos terminos,
and their worship will be established in a city at the very prout medietas disci solaris, quae porrecta foras plus
border of Egypt, a city which will be founded toward the mouere potest, quam partes obliquae & laterales, cunct
setting sun, and to which men of every race will speed by scilicet Planetis dictis sigillatim culibet suus vnus
land and sea.55 adsistat Virtus.59

Campanella based these assertions on orthodox religious

The fresco of Divine Wisdom is a visible representation of
concepts that had been formulated by St. Thomas Aquinas
Campanella's political and philosophical concepts composed
into a grand scheme focused on the kingly mission of theand St. Augustine. Writing in his Tractatus de substantiis
Pope. There is no doubt that Campanella's obsession withseparatis,
a Thomas states: "The souls themselves of the
universal monarchy under papal hegemony - the realiza- heavenly bodies, on the assumption that these are animated,
tion of a true City of the Sun on earth - was entirelyshould also be numbered among the angels, as Augustine

50 Ficino writes of Hermes in the Argumentation before his translation of rerum . . ., Paris, 1638, Pts. iii, Ix, ix, i, 52.
the Hermetic Pimander: "He is called the first author of theology: he was "I most firmly believe, what also seems credible to all peoples . . . that
succeeded by Orpheus, who came second amongst ancient theologians:the stars are a republic of heavenly spirits, since they come forth into th
Aglaophemus, who had been invited into the sacred teaching of Orpheus,corporal world from the world of the mind ... For fire is the most activ
was succeeded in theology by Pythagoras, whose disciple was Philolaus,substance, the brightest substance, the most sensitive substance, ther
the teacher of our Divine Plato. Hence there is one ancient theology fore most suitable to spirits decorated with power and wisdom."
[prisca theologia] ... taking its origin in Mercurius and culminating in the
59 Ibid., Pts. III, xv, ii, iii, 162.
Divine Plato." Translation by Yates, 14. "All worldly systems are ruled by one of the Dominations, as by a Vica
of God, and each of the primary central stars is governed by its ow
51 Regarding the astrological foundation of the Hermetic texts, see
Yates, 22: "The cosmological framework which they take for granted is Domination. Their planets are ruled by Virtues, their moons by Power
always astrological, even where this is not expressly stated. The material . . . One angel called Domination rules over the sun itself. As for the
world is under the rule of the stars, and of the seven planets, the 'Sevenstars which wander around the sun within fixed limits (determined b
Governors."' the middle of the solar disc, which can move further outwards in a
extended direction than can its oblique and lateral parts), it is clear that
52 Paolo Treves, "The Title of Campanella's City of the Sun," Journal
for all these said planets taken singly, for each a Virtue stands over it."
of the Warburg and Courtauld Institutes, III, 1939-1940, 250-51 .
In this passage Campanella exhibits an understanding of Galileo
53 Isaiah I9: 20-25- discoveries concerning Jupiter and its four moons. Galileo observed that
54 Hermetica, ed. Walter Scott, I, Oxford, 1924, Asclepius, III, 24b. while the moons orbited Jupiter in their elliptical paths, the planet itse
did not remain in a fixed position - but shifted laterally in a swayin
55 Ibid., mIII, 27d.
motion past an imaginary "true" or fixed center. On this point an
56 Campanella, Lettere, 226-27. Agucchi's use of the mobile Jupiter and its four moons as an impre
illustrating
57 On this point see Campanella's brilliant and daring The Defense of his motto Medii cuppedine victae - Swayed by the Desire for
the Middle, see Erwin Panofsky, Galileo as a Critic of the Arts, The Hagu
Galileo, trans. and ed. Grant McColley, in Smith College Studies in History,
xxI, 3-4, April-July 1937, 1-75. 1954, 39-41.

58 Tommaso Campanella, Universalis philosophiae seu metaphysicarum

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 IO4 THE ART BULLETIN

determines in the Enchiridion60. . . Therefore each of the in carrying out the divine operations, without so much as
heavenly bodies is animated by its own soul ... "61 swerving, through weakness, from the divine movement."
In the Summa theologica, Thomas continues a discussion of Hence it is evident that the principle of universal opera-
the angels, showing how their ministry is delegated and tion belongs to this order: so that apparently the movement of
controlled by the workings of Divine Wisdom: ". . . each the heavenly bodies belongs to this order also, from which as
angel, even the least, has a higher and more universal from universal causes particular effects ensue in nature.
power than any corporeal thing: the reason is to be soughtThat is why they are called "powers of heaven" in Luke
in the order of Divine Wisdom, who places different rulers 21:26, where it is said: "The powers of heaven shall be
over different things . .. so to the order of the virtues do thosemoved." To these same spirits seem to belong the execu-
angels seem to belong who preside over purely corporealtion of those divine works which are done outside the
creatures; for by their ministration miracles are sometimes order of nature. For these are the highest of God's
performed."62 ministries, and hence Gregory says that the "Virtues
Campanella thus attempted to use the authority of the are those spirits through which miracles are frequently
Church Fathers to lend credence to his astrological wrought. "65
theories. He realized that it was not the stars as physical The concept of the Virtues as being dually responsible
bodies of heat and light that the ancient, medieval, and for the motion of the celestial spheres and the performance
Renaissance philosophers believed exerted special influences of miracles on earth combines well with the belief in the
on men - rather, it was the angelic "intelligences," stars or as exerting special powers - which is the entire founda-
"Virtues," placed by God within the stars, that could shape tion for any astrological inquiry.
the destinies of mortals. The Church Fathers were neverThe miraculous mission of these star-angels is brought
able to state specifically how powerful these angels into
were,sharper focus in the writings of St. John Chrysostom,
nor did they outline the degree of devotion the angels should
who states that the Virtues are the particular angelic order
be accorded. This theological loophole enabled Campanella
entrusted to safeguard the Pope and high Church officials:
to continue his astrological practices - and escape being
"If angels have been delegated by the God of the Universe
branded as a heretic. to those who have only their own personal lives to regulate
Through the medium of Sacchi's fresco Campanella
and are to do nothing for the common good, how much
visualized the Divine Order of the heavens, showing howmore will they do for those men to whom the care of the
this "republic of spirits" served as a model for his universalwhole world has been entrusted! The Virtues of heaven are
papal monarchy. This heavenly republic (which in fact always with those who are charged with such offices."66
seems more like a monarchy) depicts the ruling Domination When viewed in this context, Campanella's astrological
- the sun angel - as Divine Wisdom and the "Dei Vicarius."
protective rites with the Pope assume added significance.
As the Vicar of God the sun angel is seen as a celestial We shall now consider this significance, arguing that
Pope. Urban VIII, who chose the blazing sun as his Sacchi's fresco of Divine Wisdom not only specifically
personal symbol,63 is as Pope the Vicar of Christ on earth, identifies particular stars with particular virtues, but also
and is Campanella's realization of the philosopher-priest- has a magical function, representing in part an astrologically
king of the City of the Sun (whose name is represented in beneficial map of the heavens, which, according to the
the literary manuscript by the astrological symbol of the dictates of Campanella's astrological theories, would
sun, a circle with a dot in its center).64 favorably influence the Pope, and protect him from heavenly
Campanella's conception of the particular operations of and earthly harm.
the Dominations and the Virtues is partly derived from St. The belief in such spiritual magic was a tangible under-
Thomas Aquinas's discussion of these angelic orders in the current in the work and thought of numerous Italian
Summa contra gentiles: Renaissance philosophers from Ficino to Campanella, and
Among these intellectual substances also there must be it has been thoroughly analyzed by D. P. Walker.67
some kind of order, since the universal disposition of Campanella was an ardent practitioner of the occult
Providence is distributed, first of all, among many sciences, and the seriousness of his methods is dramatically
executors. This work belongs to the order of Dominations, illustrated by Urban VIII's dependence on this astrological
because to command what others execute belongs to one magic as a means of self-protection. In theory, Campanella's
having dominion . . . Secondly, it is distributed by the use of spiritual magic is uncomplicated: when the heavenly
operator and executor in reference to many effects. This bodies are aligned in unfavorable or dangerous aspects, an
is done by the order of the Virtues, whose name, as artificial model of the celestial world must be immediately
Dionysius says, designates "a certain strength and virility constructed in order to counteract and balance the harmful

65 St. Thomas Aquinas, Summa contra gentiles, III, lxxx, trans. Anto
60 St. Augustine, Enchiridion defide, spe, et caritate, 58 (PL XL, 259-260).
61 St. Thomas Aquinas, Treatise on Separate Substances, trans. F. J. Pegis,
Lescoe,Basic Writings of St. Thomas Aquinas, New York, 1945.
West Hartford, Conn, 1959, , 6-7; 11, 9-10. 66 St. John Chrysostom, De laud. Paul., 7; as cited and trans. by Jea
Danielou, The Angels and Their Mission, Westminster, Md., 1957, 72.
62 St. Thomas Aquinas, Summa Theologica, Q. I io, Art. 2, Reply Obj. 3,
trans. Anton Pegis, Basic Writings of St. Thomas Aquinas, New York, 671945-
Walker, 203: "In Campanella's life and works we find a practical
revival
63 See the frontispiece engraving to Tetius's Aedes barberinae, in which theof Ficino's magic. Ficino's original ideas and purposes are
Pope holds a book with the sun's image upon it. powerfully refracted by Campanella's extraordinary personality and
mental outlook. . ."
64 Yates, 369.

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 CAMPANELLA AND SACCHI 105

"i.

j:-- : ~-~:-:~:: i:::~:: :

W E' ::::::r t", KIM:::::

5 The Love of God (detail of Fig. I): (photo: GFN) 6 The Fear of God (detail of Fig. I) : (photo: GFN)

influences of the real stars and planets.68 This method of The physical setting for Campanella's astrological magic
practicing spiritual magic, as Yates has demonstrated, owes corresponds to his description of the great Temple of the
its existence to the ancient Hermetic writings that ad- Sun, located in the exact geometric center of his City of the
vocated the use of candles, herbs, and talismans to create Sun:

artificially favorable astral influences when the real heavens
indicated danger.69 Accordingly, Campanella and the
Pope performed their magic in 1628 when there was a lunar
eclipse in January and a solar eclipse in December, and
again in 1630 when a solar eclipse occurred in June.70
Campanella viewed his magic as a physical rather than
psychological process. His procedure in defense of the Pope
was this: the room was sealed against the contamination of
the eclipse outside; it was sprinkled with aromatic sub-
stances such as rose-vinegar, and cypress, rosemary, laurel,
and myrtle were burned. The room was hung with white
silk cloths and decorated with branches. Next, two candles
and five torches were lit - representing the sun, moon, and
planets. These were situated in beneficial aspects to one
another to form a balance against the harmful aspect of the
real heavens. Jovial and Venereal music was played to
attract the good influences of Jupiter and Venus and to
dispel the bad influences of Saturn and Mars. In this same
vein, stones, plants, colors, and odors associated with
Jupiter and Venus were used to draw beneficial powers from
these two planets.71 Campanella did not invent these
astrological rites; rather they were largely derived from the
solarian magic practiced by Ficino and Diacceto.72
The temple is a perfect circle, and is not enclosed by
walls, but is supported by large and beautiful columns.
The large dome has in its center a cupola with an oculus
which is above the altar, the only altar in the temple, and
located in its center ... Above the altar there is a large
map upon which the whole of the heavens is painted, and
there is another map showing the earth. Further,
represented upon the heaven of the dome there are all the
major stars of the sky, labeled with their names and their
powers [virtui] over terrestial affairs, with three verses for
each. The poles and the heavenly bands are not shown in
their entirety because there is no wall supporting the
dome, but these can be seen completed by reference to
the globes over the altar. On the altar are always burning
the seven planets.73
These magical elements are echoed in Sacchi's fresco of
Divine Wisdom - it contains painted representations of th
stars (and instead of verses extolling the virtue of each star
there are virtues combined with the stars), a depiction of th
Sun Domination ruling in the House of the Sun, and the
terrestial "mappamondo" with Rome and Egypt illuminated,
to which the beneficial influences of the sun and stars could
flow. Furthermore, although the chamber in which the

68 Ibid., 222-23. other ways too, just as Ficino's magic could either be spiritual and
69 Yates, 374-76- natural, or demonic."

70 Walker, 206. 72 Walker, 32-33-

73 Campanella, La citta' del sole, 1075: "Il tempio e tondo perfettamente, e
71 Tommaso Campanella, Astrologicorum libri VII, De sideralifato vitando,
IV, I, I1-13. Walker, 223, provides the following commentary on non ha muraglia che lo circondi; ma sta situato sopra colonne grosse e
belle assai. La cupola grande ha in mezzo una cupoletta con uno
Campanella's magic: "This is a form of natural magic which is radically
spiraglio, che pende sopra l'altare, ch'e un solo e sta nel mezzo del tempio
different from any others we have met. It is no longer a kind of psycho-
logical technique centered on the imagination, but, at least apparently, . . . Sopra l'altare non vi e altro ch'un mappamondo assai grande,
dove tutto il cielo e dipinto, ed un altro dove e la terra. Poi sul cielo della
a quite simple physical operation. It is only conceivable with a Telesian
cosmology, in which the substance of the heavens was not any sortcupola of vi stanno tutte le stelle maggiori del cielo, notate coi nomi loro e
virtuh, c'hanno sopra le cose terrene, con tre versi per una; ci son i poll
quintessence, but just ordinary fire. It was thus possible to make, quite
e i circoli signati non del tutto, perche manca il muro a basso, ma si
literally, a miniature heaven out of ordinary lights, arrayed in the most
favorable conjunctions, and sit and absorb its beneficial influence,vedono finiti in correspondenza alli globbi dell'altare. Vi sono sempre
rather as people now use sun-ray lamps. This was certainly one way accese
in sette pianeti."
which Campanella thought his magic worked; but there may have been

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io6 THE ART BULLETIN
fresco is located is not spherical as in the case of the Sun
Temple, it is a near-perfect cube, which like the sphere is a
perfect form in itself, and its ceiling is not flat, but vaulted.
This vaulted ceiling has been fashioned into an artificial
"vault of the heavens" through the decorative addition of
painted fresco. The planets, which are not represented in
Sacchi's fresco, were probably introduced when the astro-
logical situation warranted, in the form of lighted candles
or lamps, which would be placed, together with celestial
and terrestrial globes, in various astrologically favorable
positions within the room, which could be sealed during
the rite. The planets (as lights) had to be separate from the
ceiling itself because the fixed stars revolve in unchanging
relation to one another, whereas the planets give the
appearance of moving freely among them.
On the date of Urban VIII's elevation to the Papacy an
extraordinary conjunction of planets took place between
Cancer and Leo.74 The sun was in Leo, beside the Lion's
main star and "heart," Regulus. The planet Mercury was
only four degrees southwest of Regulus, while Jupiter and
Saturn, the major planets, were side by side, approximately
fifteen degrees away from the sun on the ecliptic. What this
signified to the astrologer can in part be understood by
utilizing Ptolemy's interpretation of planetary conjunctions
in Books ii and III of his Tetrabiblos. His general commentary
is revealing concerning the planetary conjunctions that are
significant to the study of the heavens at the date of Urban
VIII's elevation to the Papacy:
When Jupiter rules . . . he produces increase in general,
and in particular, when the prediction is concerned with
men, he makes fame and prosperity, abundance, peaceful
existence . . . bodily and spiritual health, and furthermore,
benefits and gifts from rulers, and the increase, greatness and
magnanimity of these latter . . .75 Saturn, allied with
Jupiter ... again in dignified position, makes his subjects
good, respectful to elders, sedate, noble-minded, help-
ful . . . The sun also aids, when it is familiar with the
planet that governs the soul, in an honorable position
modifying it in the direction of justice, success, honor,
dignity, and reverence for the gods ...76
It is important to realize that the sun and its House, the
zodiacal sign Leo, would have additional meaning to
Urban VIII, for as Ptolemy explains, "Italy has its familiar-
ity with Leo and the Sun, wherefore these people are more
masterful, benevolent and cooperative."77 Ptolemy was
referring to the age-old astrological concept of assigning
specific geographical areas on earth to the domain and
influence of the planets and zodiacal signs. Jupiter, the
kingly planet, was similarly designated as the guardian of
74 For the discussion which follows I am deeply indebted to my friend
Mr. Richard Hunter, and to Mr. Daniel Zirpoli, formerly of the Fels
Planetarium in Philadelphia and currently the director of the Planetarium
of the Baltimore Academy of Sciences, who gathered the data used in my
analyses.
75 Ptolemy, Tetrabiblos, Loeb ed., London, 194o, Bk. xx, Chap. 8.
sance Philosophy, Vol. I: The Italian Philosophers, New York, 1967, 1 21.
76 Ibid., Bk. xii, Chap. 13.
77 Ibid., Bk. ix, Chap. 3-
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the kingly constellation Leo in the Astronomicon of the
Roman poet Manilius.78
Of additional importance to the analysis of planetary
positions at the time of Urban VIII's elevation to the
Papacy is the vital relationship between the sun and the
moon at this date. What occurred in the night sky over Rome
on 6 August 1623 was a configuration of the best possible
sort: the sun and moon were each 12o degrees apart from
one another on the zodiacal band - a relationship that
astrologers call "in trine."79 This is illustrated by the
diagram, Fig. 7.
This trine aspect is noteworthy, for the sun was in its
House, Leo, while the moon was located in Aries - Urban
VIII's birth sign (5 April 1568). Mars, the ruling planet of
Aries, was found in Sagittarius. Thus, the undeniably
solarian nature of Sacchi's fresco is reiterated: Aries, Leo,
and Sagittarius are the three zodiacal signs designated as
the fire signs. It was through the aid of the element of fire
(and its ultimate source, the sun) that Campanella and the
Pope strove to combat the death-dealing darkness of
eclipses. In Sacchi's fresco, the figure of Divinity holds the
triangle that identifies her astrologically with the constella-
tion Triangulum. The Greeks considered this constellation
to be a symbol of Divinity in the night sky.80 More impor-
tantly, Triangulum served as the celestial crown, as it were,
for the zodiacal sign of Maffeo Barberini's birth, the
constellation Aries. In his De sole, Ficino calls Aries the
"prince of constellations" and comments on the fortuitous
relationship between the sun and the zodiacal signs of Aries
and Leo:
The Sun brings to life the twelve signs of the Zodiac
which is thus truly alive, and was considered so by Al
and Abraham. Two of the signs are, in fact, so filled with
power by the Sun that the Arabs call them Thrones of the
Sun when planets pass into them. In some way they avoid
being incinerated and acquire a marvelous power,
especially at the time when the greater planets rise before
the Sun, and the lesser ones after it. The sign in which the
Sun reigns, Aries, becomes for this reason the prince o
constellations, and represents the head of all living
creatures. The constellation which is the House of the
Sun, that is, Leo, is the heart of the constellations and
controls the heart of all living things.81
Urban VIII believed that the loss of the sun's light
during an eclipse would cause his death. The chamber with
Sacchi's fresco provided him with a life-giving refuge. Stand-
ing beneath the fresco he could experience the sun in its
greatest astrological glory. Therefore, these astrological
interpretations were of the most vital interest to Urban
VIII, who in his passion for astrological researches had the
78 Marcus Manilius, Astronomicon, trans. A. E. Housman, Cambridge,
1937, Bk. nx, 11. 433f.
79 Boll, 63 and fig. 4.
80 Hyginus, Chap. i9.
81 Marsilio Ficino, De sole, trans. A. Fallico and H. Shapiro in Renais-
 CAMPANELLA AND SACCHI 107

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horoscopes of the resident Cardinals in Rome drawn up
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many times,82 and undoubtedly had his own horoscope r_-

*
carefully scrutinized by Campanella on a number of
occasions. Owing to the clandestine nature of the astrologi-
cal magic practiced by the Pope and Campanella we can '*
x~ap~?lrrrx
I'-- 1311)IXx -- --I---

never be fully assured of a total understanding of the scope

and variety of these occult rites; nor can we be certain of
8 Virtus-Sapientia andFortuna, French
knowing whether Campanella's magic was used for reasons
Carolus Bovillus, Liber de sapiente, Par
other than the protection of the Pope from harmfulRice,
astral The Renaissance Idea of Wisdom,
phenomena. The salon in which Sacchi's fresco is located
provided the perfect climate for such astrologically oriented
to his plans for a City of the S
magic. Sacchi's Divina Sapienza is not a scientifically accurate
depiction of the heavens - nor is it meant toFrench be. If monarchy.84 Campanella's
Campanella's criteria for the creation of an artificialastrological
heaven magic never weaken
are as uncomplicated as Walker interprets them torites
be, and for himself on his own d
indeed as basic as Campanella himself describes them in
protect himself from the effects
for I June 1639.85 Campanella d
the Astrologia and the Sun Temple, then the allegorical
representation of the stars in the fresco could easilyyear.
fulfill A year before his death he
a major requirement for successful magical operations.infant Louis XIV in an eclogue in
We can only speculate on the total fascination the thatyoung prince would be des
Campanella's dream of the universal Papal theocracy worldheld as its "Sun King."86
for Urban VIII. Despite the failure of his attempt One to im-last question remains to be
the
plant the seed of the City of the Sun in the Barberini sun, which is of course a "
court,
Campanella left the imprint of his grand designdepicted
in the among the fixed sta
answer is not far to seek. It is b
program for Andrea Sacchi's fresco of Divine Wisdom.
effects
Undeterred by the collapse of the Collegio Barberino - and of eclipses and similar ast
with it any chance of forming his harmonious worldperpetually
monar- appears, stable and
chy from Rome - Campanella redirected his planof its greatest power. The stabilit
to the
theIn stability of Wisdom itself, is
powerful French monarchy and left for Paris in 1634.83
Paris Campanella was honored and befriended bysquare-based
Louis throne upon which
XIII and Cardinal Richelieu, who seemed eager tofrontispiece
listen to Bovillus's Liber de sa

82 Walker, 205. 85 Walker, 21o; see also Blanchet, 65.

83 Blanchet, 6o-6 i. 86 Yates, 391.
84 Walker, 390.

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 IO8 THE ART BULLETIN

opposed to Fortune (Fig. 8).87 Wisdom is seated on a cubical

throne ("Sedes virtutis quadrata") because, as Ripa tells us
in his discussion of Sapienza divina: "Si pone sopra la quad-
rato, per significare, che e fondata stabilmente sopra ferma
fede, doue non pu6 vacillare .. ."88 Fortune, on the other
hand, is seated on a round globe ("Sedes fortunae rotunda")
to show her constant movement and mutability.89 In
Sacchi's fresco, Divine Wisdom is also seated on the square-
based throne - in direct opposition to the terrestrial globe
suspended and seeming to spin beneath her. Divine Wisdom
is the sun - the primary figure in the fresco, rooted and
unmoving in the exact center of the painting. The stars and
the terrestrial globe surround her - and are subordinate to
her.
Although the imagery of the fresco of Divine Wisdom is
in large part concerned with astrology and occult rituals, it
does not just look backward in superstition. Indeed, it also
looks ahead to the Enlightenment and to the New Age of
Science. For, finally, Sacchi's Divina Sapienza can be seen
for what it really represents - the first recognition in monu-
mental art of the Copernican system. It is one of the great
ironies of history that, as Sacchi was placing the finishing
touches on his masterwork celebrating the papacy of Urban
VIII, Galileo was also in Rome - on his knees before the
Inquisition, and forced by the order of Urban VIII himself
to recite a prepared formula of abjuration.90
[Bryn Mawr College]
Bibliography of Frequently Cited
Sources
Bellori, G. P., Vite de Guido Reni, Andrea Sacchi e Carlo Maratti,
Rome, 1942
Blanchet, L., Campanella, Paris, I920
Boll, F., Sternglaube und Sterndeutung: Die Geschichte und Wesen der
Astrologie, Leipzig/Berlin, 1926
Campanella, T., La citta del sole, in Opere di Giordano Bruno e di
Tommaso Campanella, ed. R. Amerio, Milan/Naples, n.d.
- Lettere, ed. V. Spampanato, Bari, 1927
Incisa della Rochetta, G., "Notizie inedite su Andrea Sacchi,"
L'Arte, xxvII, 1924, 60-76
Passeri, G. B., Die Kiinsterbiographien von Giovanni Battista Passeri,
ed. J. Hess, Leipzig/Vienna, I934
Ripa, C., Iconologia (1603), Hildesheim/New York, 1970
Teti (us), Girolamo, Aedes barberinae ad Quirinalem, Rome, 1642
Walker, D. P., Spiritual and Demonic Magic from Ficino to Campanella,
London, 1958
Yates, F., Giordano Bruno and the Hermetic Tradition, Chicago, 1964

87 Eugene F. Rice, Jr., The Renaissance Idea of Wisdom, Harvard University

Press, 1958, pl. 2.
88 Cesare Ripa, Iconologia, Venice, 1645, 547.
89 A discussion of this print is presented by Erwin Panofsky, "Good
Government or Fortune? The Iconography of a Newly-Discovered
Composition by Rubens," Gazette des beaux-arts, LxvIII, 1966, 310-1 2.
90 Maurice Clavelin, The Natural Philosophy of Galileo, Cambridge,
Mass., xxi. On 22 June 1633, when Galileo was forced to recant, he was
in the Dominican Convent of S. Maria sopra Minerva - the residence of
his old friend and defender, Tommaso Campanella.

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