Exhibition preview “Vitaliano VI. The Invention of Isola Bella”: a look at the first section
In expectation of being able to visit the “Vitaliano VI. The Invention of Isola Bella” exhibition at Palazzo Borromeo, let’s start to explore its four sections with some previews of the exhibition circuit.
The story of the exhibition is presented in the huge hall that for a long time was at the centre of lengthy debates between patron Vitaliano VI Borromeo and architects Andrea Biffi, Filippo Cagnola and Carlo Fontana. For the first time, on the occasion of the exhibition, a large wooden model is presented of this space.
The first section of the exhibition is devoted to the family’s strategies: from the mid-17th century, Isola Bella was the spectacular theatre of the international consecration of the heirs of San Carlo and Federico Borromeo. Vitaliano VI and Giberto III, a cardinal in Rome, wove a precious network of alliances between Madrid, Vienna and Rome, and that family of ancient feudal nobility was projected into more expansive settings, beyond the confines of the so-called ‘Borromeo State’, as historians have defined the territory of Lago Maggiore that was controlled by the family from the 15th century. An episode that was emblematic of this new expansion was the marriage of their nephew and advocate Carlo IV to the niece of Pope Odescalchi, Innocent XI, in 1677. A grand naval festival was organised to celebrate this wedding in the deep waters around the island, and the plans and graphic recreations of the event can be viewed in this exhibition.
In this section we also find the marble bust of Vitaliano VI Borromeo and his portrait painted by an unknown artist. The bust, a work by Carlo Simonetta, is the only sculptural representation of Vitaliano VI to be created when the count was alive. The painting, on the other hand, is a courtly portrait that underlines the virtues of grandeur, dignity and magnificence that were so typical of the Borromeos. It is thought that the painting was executed by Pier Francesco Cittadini, who was called upon on a number of occasions to visit the Borromeo house to paint family members. This first section is completed with the portrait of Vitaliano VI by Salomon Adler and with the medals created by Giuseppe Vismara (the signed ones number as many as 65) illustrating the civil, political, military and artistic life of the dukedom through the metal effigies of its protagonists, including that devoted to Vitaliano VI in 1688.
Main sponsor Aon