Pietro da Cortona, The Triumph of Divine Providence, 1633-39. Roma, fresco from the Barberini's Palace.

Thommaso Campanella, De Monarchia Hispanica, 1653. Title page

Jan Hevelius, Firmamentum, Sobiescianum, sive Uranographia,1690. Madrid, Biblioteca Nacional

Pietro da Cortona, The Triumph of Divine Providence, Palazzo Barberini, Rome.
Giordano derived isolated figures, physical types and various compositional devices from Cortona’s fresco, as can be seen in the group of Hercules’ Combat with the Giants. In addition, he brazenly copied the figure of Fury (reproduced in reverse), the woman holding up her chains (Servitude, arranged in a different pose in order to maintain a sense of symmetry with the other Sibyls), Fame, flying over the whole group and Public Wellbeing, which forms a pair with Abundance.

Tommaso Campanella, a print published in the 1653 edition of De Monarchia Hispanica.

Giordano took this model for the group of the Spanish Monarchy (located at the far west end). Spain bearing the four sceptres and cartouche on which is written OMNIBUS UNUS. The figures of the vanquished and the trophies on the right: the lion, hydra and on the left the crown and jewels below the figures’ feet. For the figure of Spain, the most important element in the composition, Giordano re-used the figure of Divine Wisdom that he had painted as part of the decorative scheme for the reading room of the library in the Palazzo Medici-Riccardi, Florence.

Jan Hevelius and Johannes van Keulen, atlas illustrations.

Giordano derived the celestial vault from printed atlas illustrations by these artists, taking the details from the first and the figures and their poses from the second.

Ministerio de Cultura. Gobierno de España; abre en ventana nueva
España es cultura Spain is culture
Portal de la transparencia. Gobierno de España
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