When we calm our senses and our amazement lessens, fully satisfied and exhausted with the effort of simply looking, we depart. Generally, remaining in a state of visual shock we do not take the next step – the theatre of illusions is enough. However, those who would like to see what exactly was da Cortona trying to tell us, and it must be admitted that it was quite a lot, here – following the trail of bread crumbs – will be able to immerse themselves in a greatly developed theological and ideological labyrinth. The literary explanation of this masterpiece can be found in the epos of the court poet of the Barberinis – Francesco Bracciolini from Pistoia, describing a war between virtues (children of reason) and vices (children of sensuality). The virtues emerge as the victors of this battle, while this happens at the moment when times become more favorable for them, and such were foretold by the election to the post of pope of Urban VIII from the Barberini family.

The great ceiling opens up above the viewer with an architectural framing supported by sixteen figures – including eight tritons with long decoratively twisted tails. It creates a sort of a skeleton which elongates the already high- placed ceiling of the room; it seems to raise it up into never-ending space. In this framing there are individual scenes – the largest one in the middle and four on the sides.

Let us begin with the central one. The main figure depicted with a sundial in the background is a woman enthroned on a cloud – Divina Providentia, meaning Divine Providence, who is accompanied by allegories of virtues seated around her – Justice, Mercy, Truth, and Chastity. On the left the Glory of immortality carries a wreath made out of stars, moving towards the papal tiara. Divina Providentia herself in her left hand holds a symbol of power, meaning a scepter, while with her right hand she points to three other allegories of women floating above her, this time theological virtues – Faith, Hope and Love, which seem to be directly involved in elevating Maffeo Barberini to St. Peter’s throne. They hold a gigantic laurel wreath, which also creates the framework for the Barberini coat of arms, which is filled with enormous bees – its inseparable element. At the base of this scene we will notice two figures of women – Religion with keys and Roma with the papal crown (tiara), as well as a putto with a small laurel wreath, probably a reference to the poetic talents of the pope himself. In the lower part of the field, at the feet of the Divine Providence, are the three mythological Parcae, weaving the thread of human fate, as well as Saturn devouring his own children. Here we may ask ourselves, why is this figure represented on the firmament of all virtues? Well, he was considered the creator of a golden age.

Now it is time to move on to the side fields. In the one found on the garden wall, meaning below the aforementioned Parcae and Saturn, we will notice the flying Minerva, armed with a shield and an arrow – the goddess of just wars, who is in the process of dealing with the mythological giants, upon whom stones of the entablature fall. The fall of the giants is an obvious allusion to the strength of Pope Urban VIII, who thanks to divine support, defeats all enemies of the Church. On the opposite side (from the courtyard) we are introduced to the earthly tasks of the pope. They are symbolized by Hercules, aiming his club at the demonic harpy, who is in this case an allegory of Parsimony. He is accompanied by approaching personifications of the virtues – Justice with fasces and Abundance with a horn of plenty. Elders, children and women pray to them, awaiting prosperity and just treatment. It is not difficult to imagine, that this is an allusion to the times of prosperity, which were part of, or should have been part of the pontificate of Pope Urban VIII – a just ruler who was generous to the people. The following scene depicts Wisdom, meaning a woman turning directly to the Divine Providence, behind whose back we will notice a winged youth. The woman is holding a book in one hand and a vessel in another, from which a flame emerges. She is accompanied by the allegory of Piousness, meaning a woman with a head covering who is supporting a cauldron with sacrificial fire, standing on a tripod. Below there is Desire in the shape of a lying Venus  - the goddess of love, who is in turned accompanied by playful cupids, shooting arrows of love from their bows and inciting lusts. However, they are chased off, to the fear of the lying woman, by a matron flying up to them with a lily in her hand – meaning Chastity. In the background of this scene there are also three women looking upon themselves in a well. Most likely they are the victims as well as the perpetrators of this flame of passion. However, that is not the only sin which Wisdom must deal with. On the opposite side there are Drunkenness and Gluttony. They are personified by the fat Bacchus, for whom servants are pouring wine, while he is assisted by the Bacchae. What was the author trying to tell us this time? It is simple: the era of the reign of Urban VIII is the triumph of wisdom and temperance over sensual desires. And finally the last scene. Its main heroine is the allegory of papal dignity and authority – a dignified woman holding the Caduceus of Mercury in one hand and keys in the other. On one side she is accompanied by Wisdom holding a mirror into which Dignity is looking, as if checking the sobriety of her mind, on the other – the distant Violence with a key and a text-covered piece of paper. Nearby there are also the flying Fame and Peace (with an olive branch). This group corresponds with the side scenes – one depicts the hard-working Vulcan, diligently forging weapons in his forge, the other Rage – a figure of a man with two torches lying on a pile of weapons. He could easily free himself of his chains, with which he is bound, were it not for the Gentleness holding him back. What are we being informed of this time? The rule of Urban VIII means a coming of peace and harmony which shall overcome rage and human anger, while Fury lying at the feet of Rage seems to prove it even further. However, this pontificate is also a time to arm oneself in order to decisively respond to any aggression. This idea would find its reflection in the actions of the pope regarding the defense of the State of the Church, which had found itself in a difficult situation of a European conflict between Catholics and Protestants. The pope, criticized for a lack of decisiveness in this political game, seems to be warning everyone, that the peace agreement which he has signed, has its limits, which are marked by the borders of his state.

As if this developed narration was not enough, between the described scenes in the corners of the painted entablature there are four medallions. They directly refer to the described above, visually depicted cardinal virtues of the pope – Wisdom, Strength, Sensibility, and Justice. And they further supplement them, this time recalling not mythology but history of ancient Rome. In one  of the medallions we will notice Fabius Maximus – the personification of wisdom and a careful, defensive strategy, who became famous by avoiding open battles with Hannibal, which ultimately led him to victory over his enemy. There can be no doubt, that behind this representation is an allusion to the cunning politics of the pope himself towards France and Spain and his avoidance of taking a clear stance in support of one or the other of the conflicted rulers entangled in a religious struggle of those times. In another medallion there is Scipio Africanus (the Younger) – a personification of sensibility, which manifests itself in his returning his war prize to her fiancée – Saguntinus. The pope’s justice is further testified to by another Roman leader – Titus Manlius, who sentenced his son to beheading, for not adhering to his order not to attack, even though he ultimately defeated the enemy. And finally Mucius Scaevola, symbolizing bravery, who upon hearing that instead of the king of the Etruscans he had killed an innocent man, put his right hand into flames, and fought with his left hand from then on.

Still today the 600 square meters of Pietro da Cortona’s frescoes evoke admiration thanks to the intensity of their expression, monumentality, dynamism and excellent color scheme and composition. Thanks to his work, the painter became one of the foremost decorators of Roman residences and churches, setting the tone for wall painting of mid XVI-century.

Works on the painting in the Palazzo Barberini lasted nearly six years. When it was finally unveiled, in his inauguration speech Pope Urban VIII compared it to Raphael’s’ Vatican Stanzas, which was an obvious praise for Pietro da Cortona, but also for himself, since this significant work of art was created during his pontificate. It was evidence of the coming of a new artistic era – the second golden age of Roman art. Here we can also find the answer to the question, why was such prestigious work entrusted to a relatively young artist, even though at that time such outstanding fresco artists as Domenichino and Giovanni Lanfranco were active in Rome. The reason for this was that Urban VIII had desired to mark his era with the works of artists who would unequivocally be associated with his pontificate and patronage. Another such artist was Gian Lorenzo Bernini, whom the pope held in great esteem and of course Pietro da Cortona. They were the ones who under the auspices of the Barberinis, were to create their own, monumental style, which would for centuries commemorate the pope. The aforementioned artists of the elder generation were associated with the pontificate of another significant patron and the predecessor of Urban VIII – Pope Paul V.

However, along with the admiration which was expressed about the work of da Cortona, there were opinions which in a decisive way contributed to the loss of his artistic authority more than a century later. They were expressed during a discussion, which occurred during da Cortona’s work in the Palazzo Barberini between himself and Andrea Sacchi – the author of another, created a few years earlier in this palace painting masterpiece – The Triumph of Divine Wisdom (Divina Sapientia). The subject of this artistic argument was the differences in the perception of monumental painting. Questions concerned, among others, the number of the presented figures in this type of paintings, the search for answers if there should be many of them or few and what is better for the viewer. For Sacchi, who compared painting to poetry, its decisive values should be purity, peace and simplicity, for da Cortona on the other hand – its epic dimension with a wealth of stories, persons and events. Interestingly enough, the discussion which took place within the confines of the Academy of St. Luke (Accademia di San Luca), was not free of religious aspects. According to the guidelines of the Council of Trent which was held in the previous century, painting was to be understandable, intellectually available and certainly free of any mythology. Da Cortona’s work created sixty years after the council was a contradiction of this formula, but well, the pope did not have to adhere to the directives of the council if he was not willing to do so, and apparently he was not, especially since the glorification of himself and his family in the form proposed by Pietro da Cortona was simply magnificent.

Pietro da Cortona, The Triumph of Divine Providence, Salone Grande, Palazzo Barberini (Galleria Nazionale d’Arte Antica)