A fallen woman flying on a devil’s back, one of the images by Signorelli that so stimulated Freud

Freud, Orvieto and Signorelli

 Freud, Orvieto, Signorelli: the Renaissance frescoes by Luca Signorelli had a profound effect upon Freud. In the entrance hall of Freud’s last home in London, on the right, is a picture of Tivoli, a reminder that Italy was his favourite holiday destination and his spiritual home.

Gardens of Villa Este, Tivoli

50 years after his death in London a collection of black and white Italian postcards was found in a drawer. Purchased during his first of three visits to Orvieto in 1897 they depict frescoes by Luca Signorelli from the San Brizio Chapel in Orvieto cathedral. His encounter with the Renaissance artist from Cortona had a profound effect upon him that profoundly influenced his life and work.

When Freud arrived in Orvieto 120 years ago in 1897 he was going through a turbulent period for several reasons: he was mourning his father who had died in December; partly as a result of this he was in the process of jettisoning his conclusion that hysteria was caused by paternal seduction in childhood turning instead towards the idea of infant sexuality; curiously, the man who sought the source of almost everything in sex had recently set out on a life of celibacy after siring six children in nine years.  Furthermore, two years before he had embarked upon self analysis, then an uncharted journey into the unknown, and in 1896 coined the term psychoanalysis.

Orvieto Duomo and Stars of David

The wonders that Freud saw when he walked into the San Brizio Chapel in Orvieto Cathedral. The Fra Angelico frescoes on the ceiling, the Signorelli on the walls.

The frescoing of the walls was undertaken by Luca Signorelli in 1499 aged about 54. Signorelli’s vision is apocalyptic.

The Antichrist panel left and the Elect in paradise right. Fra Angelico frescoes above on the vaulted ceiling.

On the left is the preaching of the Antichrist followed by the elect cavorting, largely naked, in paradise.

Antichrist left and the Elect in Paradise right. Bottom left corner are Signorelli himself left with hat and Fra Angelico behind, both in black.

Other walls and lunettes show scenes of angels smiting the ungodly with death rays – in fact there is a lot of smiting going on all over the chapel, a veritable orgy of sex and violence.

the wicked smitten by death rays from on high

On the wall opposite are two tableau, both a riot of eroticism and naked flesh, not perhaps what what one would expect in a church, the damned thrown into inferno by devils followed by the saved hauling themselves up from their graves to eternal life.

The damned thrown into hell.

The resurrection of the dead

The tableau that seems to have exerted the greatest fascination upon Freud is the Antichrist. An unusual subject, it was commissioned by the powerful Monaldeschi, a Guelf family, always close to the papacy and in opposition to the Ghibellines who supported the Emperor; the scene is a polemic against heresy, especially the Cathars who had been particularly bothersome in Orvieto, but also against Jews.

The devil whispers to Antichrist, probably based on Savonarola. On left the usurious Jew bribes a blonde.

Freud had been aware of antisemitism since his childhood in Moravia when his father had told his young son that he had humbly turned the other cheek when accosted by an aggressive antisemite on the street. Ever since, Freud had admired more martial father-figures like Cromwell, Hannibal and significantly, Moses.

A spectator watches the mayhem above. He is surrounded by ‘grotesques’, painted just after the recent discovery of the grottoes of Nero’s Domus Aurea in Rome.

The Catholic Church at the time saw Jews not merely as infidels, but Jesus-killing heretics. Freud, who was suffering emotional and intellectual turmoil after his father’s death, stood surrounded by Signorelli’s apocalyptic maelstrom and saw the son, Christ, effectively slaying the father, Judaism.

A smitten Dante figure

Self-portrait of Luca Signorelli surrounded by mayhem looks out of the frame. Behind him stands Fra Angelico or perhaps not – it could be the Archdeacon.

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The Rome workshop started on the first day with a visit to The Vatican a short walk from our B&B in Prati. We arrived at St Peter’s at 9 to avoid the crowds and only had to queue for the metal detectors for about 10 minutes.

The Bernini columns like embracing arms either side of St Peter’s Basilica

St Peter’s Basilica so impressive, the cost of construction so huge, that the church resorted to selling indulgences, a practice that  was to so upset a young monk, Martin Luther that he nailed his 95 theses to the door of Wittenburg church – the first volley of the Reformation.

The Bernini Baldachin reputedly stands over St Peter’s tomb

Some of the most notable architects and artists of the age contributed to its design: Bramante, Sangallo, Raphael, Michelangelo and Bernini to name just a few; while some of the great surviving buildings of Ancient Rome contributed materials: the Colosseum half demolished to provide stone, marble stripped from various thermal baths, and the bronze from the Pantheon portico used to build Bernini’s Baldachin over the altar

under the papal crossed keys a mother suffers the pains of childbirth beneath the Baldachin

One of the curiosities of St Peter’s is this series of sculpted faces of a woman. Each column  has a pedestal with the Barberini coat of arms (Urban VIII) above which is visible a mother undergoing the progressive pains of childbirth; the eighth and last is a cherub. Could this curious and not to mention out of place series be an analogy not to the nine months, but the nine years it took Bernini to realise the monument?

Vatican superstar: Michelangelo’s Pietà

The undeniable superstar is Michelangelo’s Pietà, the only work of art that the modest artist ever signed, and subsequently regretted, in marked contrast to the popes themselves who put their names, and often coats of arms, everywhere. Sadly the vandalisation by a maniac in 1972 means it is impossible to approach the sculpture. Mary’s nose was hammered off and replaced with a marble transplant from her back. The Pietà was designed as a monument for a French cardinal and belongs to a northern European rather than Italian tradition. David’s iconic painting Morte de Marat lying stabbed in his bathtub was modelled upon it.

narrow stairs to the cupola

As we climbed the stairs to the top of the cupola I remembered Anita Ekberg’s call of “Marcello, Marcello!” in La Dolce Vita.

In fact the film shows Marcello Mastroianni descending several spiral staircases, a metaphor one presumes for his Dantesque descent into the moral underworld of 1950s Rome.

Observation platform around the lantern at the cupola’s summit

No chance of throwing yourself off here.

a fallen umbrella lies on the Vatican roof

Outside the cupola’s lantern you can see the serpentine queues winding below to the entrance. Pope’s names adorn every corner of the Vatican, even here on the lead roof, every window has an embossed papal coat of arms.

Saints wave from on high, my lens hood in the foreground

This is where I dropped my lens hood through the bars, only to roll down the roof out of reach – to be retrieved by a kind custodian.

sculptor on the roof with pugilist’s nose

A modest sized bust of a modest man – Michelangelo, sculptor, painter, poet and architect.

All year round we run private tours with photo workshops in Rome. These tours can be customized according to your needs.
You can see an example of a typical weekend photo workshop in the Eternal City, starting first thing Friday morning, finishing Sunday late afternoon, on my Rome Private Tour photo workshop. If you are in Rome for only a short time, our private photo tour will help you to really appreciate having such a fun and interesting encounter. With much to see and a great deal to learn in just three days, the Rome workshop will intensify your experience.

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Much of what is now known as northern Latium north of Rome on the borders of Tuscany was until the 1930s a veritable wilderness.

The cliff dwellings of Ripatonna on the Tuscan Latium marches, a veritable wilderness until fairly recently.

Saracen pirates had scourged the area and malaria had done the rest.

The Roman single span bridge over the river Fiora. The arch, an Etruscan invention, is still standing with absolutely no maintenance.

Not surprisingly the region was infested with bandits and outlaws, but also with hermits, lepers, outcasts, monks and nuns. Many of latter led a troglodyte existence hollowing out dwellings in the soft tufa cliffs along the river Fiora.

a picnic in the Selva Lamone forest before we set off.

Ripatonna Cicognina was inhabited by a community of about 200  between XV and XVII centuries. There was a church which once had frescoes by the Sienna School depicting Sant’Antonio Abate, the first Christian hermit.

Archana from Bangalore photographs the interior which still has most of its plaster  embellished by generations of graffiti.

It is a steep but not a hard climb up to the cliff dwelling. The tufa volcanic rock is soft and easy to excavate but then oxidises and hardens, an ideal building material.

The hermitage probably is an enlargement of an Etruscan necropolis going back about 2500 years.

A great place for kids to explore

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This dream was to come true when my wife and I moved to Castel Gandolfo in 2002. We rented a flat in the grounds of a villa once owned by Visconti, bought when he was working on his masterpiece The Leopard  in 1962.

Diana’s Baths or The Nymphaeum of Bergantino, Castelgandolfo

One day Lucia told me she had discovered a large cave in the cliff running along the edge of Lake Albano full of garden rubbish. When we investigated further we made out amongst the bushes another bigger opening enclosed by wall with a rusty gate. This was the Nymphaeum of Bergantino built on the orders of Domitian in the grounds of his vast palace now in the gardens of the pope’s summer palace of Castel Gandolfo. The gate was unlocked and I was amazed by what I saw within. The arch is 17 metres across at the opening.

Piranesi Diana baths, Castelgandolfo Rome

Domitian was fond of a barbaric form of gladiatorial entertainment known as the Naumachia, or mock naval battles involving real combatants and it may be that Domitian watched from the shelter of the nymphaeum.
Piranesi drew the Nymphaeum in his inimitable manner in 1762 with nano figures to exaggerate the size of the arch.

Excavations in 1841 revealed mosaics of a gorgon and of Diana drawn in a chariot by four tritons as well as the remains of a marble sculpture of Ulysses slaying the Cyclops. None of which remain on site but are to be found in the private chambers of the pontifical palace. The marble walls and other sculptures disappeared in antiquity.

niches for statues

The Baths of Diana are not open to the public but you can visit them on a Camera Etrusca workshop in Rome or you can contact www.diakronica.it who organise guided visits.

I have recently shot one of my Belle pictures entitled Anima Mundi in this unique location which I will post soon in November 2013 on www.photonicholas.com

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Barabbata folk festival boat full of bread

the town and up to the church at the top of the hill. What sets it apart from thousands of other religious festivals is the enthusiasm with which the townsfolk construct their highly elaborate floats each year.

Women observe from balconies

These have got so big over the years that most of them can no longer manage the narrow lanes of the old town and have to be paraded along the main thoroughfare. Despite its devotion to the Madonna it’s an all male affair, the woman are restricted to casting flowers from their balconies. The ‘modern’ festival dates back to 1563 though it probably has its origins in pagan Etruscan festivities.

The trades involved are the fishermen; the shepherds; the ‘butteri’, the cowboys of the Maremma on their fine horses; the herdsmen with their oxen and the villani, the villains or peasants, all dressed in their traditional costume.

Ave Maria!

Everything is accompanied by loud cheering of “Evviva Maria, evviva il santisimo sacramento, Evviva la Madonna!” and there is also a noisy local band led, rather incongruously given the  antiquity of the festival, by majorettes twirling their batons.

The festival starts at 4.00 AM with a drummer beating round the town awakening all the participants to put the finishing touches to their floats.

Aftermath: petals by the thousand

They then start forming up along the lake shore from about 8 AM which is when we aim to be there, and the procession heads off through the town from 9 o’clock arriving at the church of the Madonna del Monte above the town at around noon where everyone then indulges in a well deserved wine swilling picnic surrounded by their on-looking animals. The Barabbata is a wonderful way to herald in the summer.

Journey’s end, plenty of “vino”

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Flooded Orvieto: looking down on the station area

Most people only know Orvieto in the summer and this summer was exceptionally hot and dry. And then the rains came…..

This was the scene of devastation seen from Albernoz Castle on Monday 12 Nov, 2012. Scores of cars lie submerged in the station carpark. Businesses and homes are devastated – the damage is estimated at 50 million euros.

It was very bad in Tuscany too. Camera Etruscans will be familiar with Vulci but they will never have seen it like this.

The river at its height was several metres higher still as you can see from the scoured river bank where no vegetation has been spared. The river Fiora devastated the coast at Montalto di Castro.

Here is the view from the castle. Here the high water mark can be seen about 4m above the river. Thankfully the bridge wasn’t swept away – but then it has stood for nearly three thousand years.

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olive picking, October, Orvieto

a family activity

Green oil lasts longer too – up to a year if stored in a cool place in a dark bottle or tin. That said the yellow variety is good too and better in some ways – if you can trust where it comes from. Made from maturer darker olives, yellow oil is sweeter, just as full of flavour but lasts less long as it has less anti-oxidents than the green fruit. Most oil, even the best, tends towards the yellow because the mature olive gives more oil and therefore a better crop. But be warned, yellow oil in a shop could be blended or refined.

underground olive press, Civita di  Bagnoregio

The oil can either be stone pressed, the traditional method, or centrifuged, the latter has a stronger flavour and also costs less. Those with refined tastes inevitably chose the former in blind tests. Cold pressed really means nothing as the heat method only makes low grade cooking oil which nobody wants, but scandalously often finishes in blended oils.

Olive oil is ruined by heat – so it is for pouring onto a dish not for cooking.

If I were ever marooned on a desert island I would hope to find olives.

Beware!

Like wine and malt whisky there is an enormous amount of arcane knowledge involved, but unlike the  jealously guarded malt whisky business there is also an enormous amount of deliberately created confusion and even gross fraud in the olive business. This does the small scale producers no good at all. They produce the best oil but cannot compete with the adulterated oils that find themselves onto the supermarket shelf.

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