Il Palazzo Branconio dell’Aquila

In the last years of his life, Raphael designed a palace for his friend Giovanbattista Branconio dell’Aquila, a papal advisor, goldsmith, and the personal keeper to Hanno, the white elephant brought to Rome in 1514. The palace was located in the Borgo, the district between Castel Sant’Angelo and the Vatican.

Around 1660, the palace was demolished together with the adjoining block, named Isola del Priorato after the nearby Priory of the Knights of Malta, to create the Piazza Rusticucci. Not much remains, an engraving from not long before the demolition and this sketch by Giovanni Battista Naldini.

Raphael painted this Triumph of Galatea as a fresco in a loggia of the Roman villa of Agostino Chigi, a very rich Sienese banker “who was much the friend of every man of excellence,” as Giorgio Vasari put it. The Farnese family later bought the villa, and it is now know as the Villa Farnesina.

The Triumph of Galatea is Raphael’s only bigger mythological work. His Three Graces are very small, and The Judgement of Paris is not a painting, but a drawing intended solely to be engraved by Marcantonio Raimondi.

This portrait is not large, but heavy with its massive frame; yet larger than the Mona Lisa, to which it is supposed to be an answer. It rarely leaves the Galeria Palatina of the Palazzo Pitti in Florence, but recently had an exhibition all of its own in an excited Milwaukee.

Who was the lady with the barely hinted smile? Was she La Fornarina, Margherita Luti, daughter of a baker in Siena? Was she the model of the Madonna in the Sistine Chapel too? Was she his mistress, did she cause his death by passing on the vile disease that then swept Italy? Or just because, inspired by her beauty, he exercised the works of Aphrodite more than was good for him? Who knows…

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