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With lips slightly parted and eyes fixed on a point in the distance, a breathtaking marble portrait of Costanza Piccolomini appears alive. Carved by Gianlorenzo Bernini in 1636 - 37 for his own pleasure, the portrait of Costanza is one of his most captivating works, but until now little has been known about its subject.
For centuries Costanza was identified only as Bernini's mistress, who later incited his rage by betraying him for his brother. Author Sarah McPhee corrects and expands this story in her remarkable biography of a sculpture and its subject. Bernini's Beloved sets the bust and Costanza's own life - her childhood and noble name, her marriage, affair, fall from grace, and recovery - against the backdrop of Baroque Rome. Beautifully written, this fascinating story expands our understanding of the woman whose intelligence and passion served as inspiration for Bernini's celebrated sculpture, and who courageously forged a life for herself in the decades following its creation.
- Sales Rank: #130081 in Audible
- Published on: 2013-07-12
- Released on: 2013-07-12
- Format: Unabridged
- Original language: English
- Running time: 318 minutes
Most helpful customer reviews
9 of 9 people found the following review helpful.
An excellent read!
By Linda M Wilde
This scholarly book gives a comprehensive account of Bernini's lover, Costanza Piccolomini. We have very few accounts of the lives of women during this time, and this account reflects the excellent research skills of the author. In some ways the book almost reads like a novel - the story of her life is interesting and her relationship both to Bernini and her own husband open up an exciting and dynamic perspective on artists of her time. Anyone who is interested in Bernini or historical biographies of women should read this book.
6 of 6 people found the following review helpful.
Beloved and More
By Bill Berkson
This is a surefooted and subtle account of the woman who posed for Bernini's only personal portrait bust--a stunner. Constanza created an extraordinarily varied, adventurous existence for herself both during and beyond their eventually disastrous affair. Sarah McPhee presents all the available documents and their implications, beautifully handling every turn of the story and bringing both the marble likeness and the woman herself very much to life. --Bill Berkson
5 of 6 people found the following review helpful.
Brilliant!
By A reader
The ability to bring a dead person back to life is usually the province of miracle-working saints, but it’s also within the power of an extraordinary biographer, and that’s certainly true of the author of this book. The “beloved” in the title is Costanza Piccolomini Bonarelli, mistress of the most celebrated Italian artist of the 1600s, Gianlorenzo Bernini, before their affair crashed in flames due to Costanza’s dalliance with Bernini’s brother.
Until the publication of this biography, nothing had been written about Costanza’s life, beyond brief mentions in biographies of Bernini of her ill-fated affair with the famous artist. Even scholars well versed in the world of 17th-century Rome assumed there wasn’t much to be learned about this attractive but obscure woman. Sarah McPhee proves how wrong they were! Using to the fullest documents that other scholars had ignored, she brings to life a strong, intelligent, passionate and determined woman who refused to be cowed by scandal.
The mistresses of famous men are often disposable commodities, forgotten as soon as they’re cast aside, especially when the affairs are brief. But the case of Costanza and Bernini was different for several reasons. For one, while the affair was going on (1636-7) the artist carved an astonishingly beautiful “breathing” likeness of Costanza in white marble: the only intimate, personal portrait among Bernini’s many images of his otherwise wealthy and powerful clients. Another reason is that the sudden end of their affair was so lurid it had all Rome in a state of shock. When Bernini found out that Costanza was carrying on an affair with his brother Luigi, he went mad with rage. Armed with a sword, he chased Luigi around Rome, even trying to kick down the door of the church where his terrified brother had taken refuge. Luigi left town, so it was Costanza who received the brunt of Bernini’s rage. He hired a thug who slashed her face with a razor.
We might think that a woman so disfigured and disgraced would have slunk off, never to be heard from again, but Costanza did no such thing. Her husband Matteo, who worked as a sculptor in Bernini’s studio, and who may well have turned a blind eye to his wife’s affair with his boss, didn’t throw Costanza out of their house. While Bernini (rather hastily) got married, Costanza and Matteo’s life together continued, and they prospered, becoming successful collectors and art dealers. After Matteo’s death Costanza continued their business, proving herself a shrewd, successful businesswoman.
But her sexually independent ways must have continued, because a year after Matteo’s death she gave birth to her only child, a daughter who bore her mother’s last name (Piccolomini) and whose father remains unknown. The author makes a good case, however, for the father being a high-ranking cleric named Domenico Salvetti. That Salvetti was a friend of Pope Alexander VII Chigi, Bernini’s last great papal patron, is ironic, but it also shows that Costanza moved in high social circles. At the time of her death in 1662, she was a wealthy and well-respected woman.
In addition to bringing its subject to life through words, the book also contains a large number of illustrations, including many of Bernini’s captivating bust of Costanza, shown from many different viewpoints.
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