The Loggia of Psyche is a prime example of how artists could take a well known story and shape it to fit their patron and the setting it would be displayed in.
2. The Loggia of 3
The Loggia of Psyche
Renaissance Rome was all about the arts and artists. The wealthiest of individuals
displayed their wealth by building great architectural structures by the most revered of architects
and having them decorated by the most desirable artists. Most likely the richest man in Rome
during the Renaissance was the banker Agostino Chigi. Through business with Pope Julius II,
whose birth name was Giuliano della Rover, Chigi became closely tied with the della Rovere
family and was considered part of the della Rovere “famiglia,” a word that to the Italians meant
not only blood family relations, but also the extended family network. To enforce the
connection to the della Rovere family, Chigi had two chapels built in churches with strong della
Rovere connections (Santa Maria del Popolo and Santa Maria della Pace), and when the time
came for him to build his own country villa, he choose a spot on Via della Lungara, a road built
by the della Rovere popes Sixtus IV and Julius II.
In keeping with the della Rovere connections for location, Chigi also tended to favor the
artists used by the della Rovere family as well. It is no wonder then, that while working on the
papal apartments in the Vatican for Julius II, Chigi commissioned Raphael to decorate his garden
loggia in the Villa Farnesina. As a country villa, Chigi wanted the décor to convey an image of
happiness and celebration. The theme of the entire villa becomes love, and inside, through the
art chosen to decorate the different rooms, one can meet the women he loved in his life, from
simply a couple of paintings in the corner of the loggia of Galatea to the four walls of his private
chambers covered in large paintings. The entrance way to the villa, the garden loggia, becomes
dedicated to the Venetian woman he marries in 1519, Francesca Ordeaschi. Francesca was a
courtesan in Venice, which, during the renaissance, was a highly respected position. Venetian
courtesans were educated, witty, and traveled in circles which other women could not dare.
3. The Loggia of 4
Before marrying Francesca, Chigi had four children with her, and when they finally married,
Pope Leo X officiated the wedding, and baptized and legitimized the children.
As the entrance to the villa, the loggia would have been seen by any and all visitors, and
would even sometimes be used for entertaining outdoors. The loggia, opened to the garden is
covered in lush garlands full of fruits, leaves, and flowers, framing twenty-four scenes set in
open sky to make it seem as if there is no roof at all (Hartt & Wilkins, 1987, p. 544). Even the
two paintings on the center ceiling are drawn to look as though they are great tapestries tied
above to create a shelter. The scenes depicted, were completed by the workshop of Raphael in
1518 (Ettlinger, 1987, p. 149), and are of the story of Cupid and Psyche, a tale of the human soul
and its struggle to ascend to the gods through the help of love (Oberhuber, 1999, p. cpy1).
Raphael’s involvement in the actual painting of the loggia has been heavily debated over
the years, especially due to the lack of uniformity between some of the images. Vasari (1998)
attributed all of the cartoons, the two center frescoes, a number of the putti, as well as the
coloring of many figures to Raphael while clearly stating that the garlands were done by
Giovanni da Udine on Raphael’s order. Some attribute the variations to be due to different
artists painting different scenes while others believe that it was all done by Raphael, but over a
period of four years or so, in which his style changed and developed. Either way, all are in
agreement that at the very least, the concepts for the paintings were based off cartoons done by
Raphael (Oberhuber, 1983, p. 189-206). Oddly enough, in painting a room dedicated to love,
Chigi found Raphael far too amorous and was compelled to have Raphael’s mistress brought to
the villa to live where Raphael was working (Vasari)
The story of Cupid and Psyche begins with Psyche, the youngest and most beautiful of
three sisters. Psyche is so beautiful that people worship her as the goddess, Venus. Venus
4. The Loggia of 5
becomes jealous and sends her son, Cupid, to make Psyche fall in love with the ugliest of mortals
so that her offspring will not be so beautiful, but Cupid himself falls in love with Psyche.
Psyche’s two sisters are married successfully, but no one courts Psyche herself. Her parents are
distressed by this and consult an oracle who informs them that Psyche is not meant for a mortal
marriage and directs them to leave her on a mountain peek for her intended to recover her.
They do so, and Zephyr (the west wind) carries her to a beautiful palace where she is served by
body-less voices until night falls when her husband comes. Her husband warns her never to try
to see his face, but after several visits from her jealous sisters, Psyche is persuaded that her
husband must be a terrible monster and one night lights a lamp and readies herself with a knife to
kill the monster. When she sees it is Cupid, she extinguishes the lamp, but not before a drop of
oil falls on him, awakes him, and burns him. He leaves Psyche feeling both betrayed and
injured from the oil, and returns to his mother who is angry at Cupids betrayal of her wishes.
Psyche, being completely distraught, is advised by Pan to attempt to regain her husband’s
favor. In the meantime Venus is searching for Psyche to punish her. Psyche initially tries to
find Cupid and hide from Venus, but after the goddesses Ceres and Juno both refuse to help her
hide from one of their own, she goes to Venus and accepts four trials. The first three trials she
is able to complete with the help of creatures and nature gods. On the fourth trail, in which she
is sent to fetch some of Persephone’s beauty, she makes her way down and back up from the
help of a tower, but then wishes to take a peek at the beauty, but instead finds a deep sleep. By
this time, Cupid is healed and has forgiven his wife, and he goes to her, reviving her with one of
his arrows. He sends her back to Venus and in the meantime, goes to Jupiter to plead his and
Psyche’s case. Jupiter accepts Cupids request and there is a big feast held in Cupid and
Psyche’s honor at which Psyche is given ambrosia, making her a goddess.
5. The Loggia of 6
Not all of the story is told in the ceiling of the Loggia of Psyche however. The scenes
we are given are only scenes which occur in the heavens. However, the walls and lunettes
would have been decorated with scenes that likely completed the story with the scenes that took
place on earth and halfway between heaven and earth respectively (Oberhuber, 1999, p. cpy1).
In fact, certain figures within the ceiling decoration gesture towards something below, which was
probably an image that further explained what was occurring.
‘By the bonds of a mother’s love,’ she said, ‘I implore you, by the sweet wounds of your
arrow, by the honeyed burns made by your torch, avenge your mother – avenge her to the
full. Punish mercilessly that arrogant beauty, and do this one thing willingly for
me –it’s all I ask (Apuleius P73).’
The story begins over the door to the loggia of Galatea, as Venus shows Psyche to Cupid,
asking for his assistance (Fig 1). Here, Venus points downward, to the left of the doorway to
what once was most likely an image of Psyche, perhaps showing her being honored as Venus.
Following around in a clockwise direction along the ceiling, the next scene is not one told in the
story by Apuleius, but shows cupid showing his love to the Three Graces (Fig 2). Again, Cupid
is pointing downward at what would have been yet another image.
From here, the story jumps to after the turning point in which Psyche sees Cupid, to show
Venus discussing her son’s betrayal and the situation at hand with Ceres, identified by her
garland of wheat, and Juno, indentified by the peacock at her feet (Fig 3). It is unlikely that the
turning point itself was not depicted at all, so it can probably be assumed that this scene was
once again featured on the wall.
Venus then races in her golden chariot pulled by four doves (Fig 4), to speak with Jupiter,
who holds a lightning bolt and sits atop the statue of an eagle (two of his symbols), and asks his
help in allowing her the assistance of Mercury in finding Psyche (Fig 5). Mercury is therefore
6. The Loggia of 7
the next to be depicted in the spandrels, shown over the other door in the Loggia which leads to
Chigi’s office. He is shown carrying a messenger horn with his winged helmet, and wings on
his ankles (Fig 6).
Take this casket and be off with you to the Underworld and the ghostly abode of
Orcus himself. Present it to Proserpine and say: ‘Venus begs that you send her
a little of your beauty, enough at least for one short day. For the supply that she
had, she has quite used up and exhausted in looking after her ailing son (Apuleius, 1998, p. 101-102).’
The story then jumps again, skipping over the all of the trials given to Psyche by Venus
and shows the end of her final trial, as three Amorini (as she is now again in Cupid’s favor), or
Putti, bear her up to the heavens to bring the casket, held aloft in her left hand to Venus (Fig 7).
It is within the next spandrel then, where Psyche presents the casket to Venus, who throws her
arms up in a gesture of shock and surprise at Psyche managing to travel to the underworld and
back (Fig 8).
The story then moves from the spandrels to one of the two center paintings, as we see
Cupid in front of the Council of the Gods, pleading the situation to Jupiter and asking for his
help so that he and Psyche can be together (Fig 11). Several of the gods can be seen here,
including Mercury (now also holding his caduceus), Neptune, holding his trident, Bacchus, with
grapevines in his hair, and of course Venus, standing beside Cupid. Moving back to the
spandrels, Jupiter is shown, an eagle behind him with thunderbolts in its beak, kissing Cupid, as
a show of agreement to Cupid’s plea (Fig 9). The final scene in the spandrels then, is Mercury,
carrying Psyche up to the heavens (Fig 10), where the story ends with the second of the two
center paintings of the wedding feast. As in the other center painting, several gods are seen
celebrating the union of Cupid and Psyche; however one seems to be missing. The figure of
Cupid is here replaced by a portrait of Chigi himself, and the painting thus becomes not only a
7. The Loggia of 8
celebration of the union of Cupid and Psyche, but also of the union between Chigi and his
venetian bride, Francesca (Fig 12).
There is much speculation over what the tapestries on the walls would have included, as
there is so much of the story skipped in the spandrels. As previously mentioned, Venus and
Cupid in the first spandrel are most likely looking on as Psyche is worshiped as a human Venus.
The next two tapestries are possibly shown by two drawings that have been discovered, the rape
of Psyche by Zephyr, and the Toilet of Psyche. If these are placed in order along the wall
however, the story is not in order when alternating between spandrels and wall tapestries, but
instead the story might read along the wall first, and then go back to continue along the
spandrels. The remaining space on the walls was probably taken with the portion of the story in
which Psyche lights the lamp and causes Cupid to flee. It is unlikely that the story of Psyche’s
actual trials were ever meant to be depicted as some of the trials are far too gloomy for the
otherwise light, spring-like feel of a country villa loggia (Marek, 1983, p. 210-212).
Handing her a cup of ambrosia, ‘Take this, Psyche, and be immortal.
Never shall Cupid quit the tie that binds you, but this marriage
shall be perpetual for you both (Apuleius, 1998, p. 105).’
The story was not only left incomplete however, aspects of it were changed. One reason
for the alteration, as mentioned, was because the story was meant to decorate a loggia. The
other reason though, was that the story was altered to suit Chigi himself. In the story told by
Apuleius, Mercury is a very minor character who is employed by Venus to assist in locating
Psyche. In the story told by the paintings however, Mercury is elevated to one of the
protagonists, taking up the entirety of one of the end spandrels, being the one to deliver Psyche
to the heavens, and also by taking the place of Jupiter as the one to hand Psyche the cup with the
ambrosia which will grant her immortality. This elevation would suit the tastes of Chigi as
8. The Loggia of 9
Mercury is the god of merchants. Mercury’s role in elevating Psyche and handing her the
ambrosia displays how, through marrying Chigi, Francesca is elevated to a higher position in
society as Psyche is elevated from a mortal to a god (Marek, 1983, p. 214-215). The story, with
Psyche’s trials before she could win back her husband, could even allude to the long years of
trial that Francesca underwent until she and Chigi were married. The placement of Mercury
over the door to Chigi’s office was likely intentional as well, symbolizing the business side of
the villa, whereas Venus and Cupid opposite of him usher people into the loggia of Galatea, the
pleasure side of the villa, where guests were often invited to dine (Oberhuber, 1999, p. cpy1-2).
Another major alteration to the story is the role of Venus. Apuleius’ Venus is jealous
and spiteful, Raphael’s Venus, while starting out Jealous, or at the very least displeased by the
worship of Psyche, eventually sides with her son. In the Council of the Gods (Fig 11), Venus
stands next to Cupid with her hand on his shoulder as if showing her support. When Cupid
went to Jupiter in Apuleius’ version, Jupiter sides with Cupid against Venus and instead has to
reassure Venus that it will be an honorable marriage. It could even be speculated by this
change in Venus, that when Venus first sends Mercury out to find Psyche, she is trying to help
her son, not punish Psyche (Marek, 1983, p. 213). This change in Venus’ role allows for the
final marriage celebration to be something in which Venus is in favor of, therefore implying that
the marriage of Chigi and Francesca was a marriage blessed by Venus herself.
Another aspect to the imagery presented in the ceiling, and often overlooked, are the
paintings of the putti between the spandrels telling the story. Each of the fourteen segments
shows the putti with symbols of different mythological figures. Starting to the right of the first
spandrel, but going counter-clockwise instead, the first putti segment shows putti with the
symbols of Cupid as we see a putti in the center holding the bow of cupid and reaching behind
9. The Loggia of 10
him to touch his finger to one of cupid’s arrows (Fig 13). The next segment is showing
symbolism of Jupiter as a storm cloud looms in the distance and a putti carries on its shoulders
the lightning bolts of Jupiter and is accompanied by an eagle (Fig 14). The third segment
represents Neptune with the putti carrying Neptune’s trident (Fig 15). Next, is the segment
representing Pluto. In the center one putti holds Pluto’s pitchfork while to the left another putti
struggles with Cerberus, and to the right fly two bats (Fig 16). The next segment features the
sword and shield of Mars (Fig 17). The sixth segment is a representation of Apollo. Apollo
being the god of archery, we once again see a putti holding a bow while accompanied by a
gryphon (Fig 18). The first segment of the corner leading up to Mercury is the putti holding his
caduceus (Fig 19). The second segment in this corner shows a putti holding up a grapevine in
representation of Bacchus, with a leopard springing up to the left (Fig 20).
Moving to the other side of Mercury, the first segment in this corner shows a putti with
Pan’s flute (Fig 21), and the putti in the second segment carries the helmet and breastplate of
Minerva (Fig 22). The next segment is in honor of a warrior god, possibly Quirinus, a god
worshiped by the Sabines who was associated with Jupiter, Mars and Romulus, a fitting god to
display romanitas (Fig 23). The twelfth segment shows the club of Hercules, so large it takes
two putti to carry it (Fig 24). The next putti carries Vulcan’s hammer and tongs while a
massive fire erupts from the left corner (Fig 25). The final putti, the second which accompanies
uncertain attributes, flies between a lion and a seahorse (Fig 26) (Map of Loggia).
The Loggia of Psyche is a prime example of how artists could take a well known story
and shape it to fit their patron and the setting it would be displayed in. If the room is indeed
incomplete as it is believed to be, it is also an example of what an effect the unfinished state can
have on the telling of a story and how people regard it years later. The room as it is now excites
10. The Loggia of 11
much speculation and wonder. A person could stare at the paintings in this room endlessly and
consider what the finished room would have looked like, and pick out all the different details
included, all the way down to the different types of mushrooms included in the garlands (Map of
Loggia). Whether finished or not, the loggia probably pleased Chigi in the few years he could
enjoy it before his death in 1520. It created an opulent and lavish site that suited his tastes as
could be seen in the other works within the Villa Farnesina, and of course his chapels,
specifically his burial chapel; the amount he spent on it being more than enough to build an
entire church.
The villa itself, Chigi’s own Villa of Love, could be seen as the Palace of Amor, right out
of Apuleius’ story, where Psyche could be set down by Zephyr at any moment and spend her day
lounging in the loggia or walking in the connecting garden while awaiting her mysterious and
doting husband. Possibly, this is very much the environment Chigi wished to create for his own
wife, a beautiful and lavish palace for Francesca to spend her time in as Chigi was off in town or
in his office busy at work. Whether or not this was the intention, the Loggia of Psyche
definitely fit the country villa idea and created a beautiful and sheltered place to entertain, or just
enjoy the outdoors on a nice day.
11. The Loggia of 12
Figure 1 Figure 2
Figure 3 Figure 4
18. The Loggia of 3
Figure Captions
Figure 1. Venus shows Psyche to Cupid
Figure 2. Cupid and the Three Graces
Figure 3. Venus, Ceres, and Juno
Figure 4. Venus in her chariot
Figure 5. Venus before Jupiter
Figure 6. Mercury
Figure 7. Psyche carried to Venus
Figure 8. Psyche delivers casket to Venus
Figure 9. Jupiter kisses Cupid
Figure 10. Mercury carries Psyche to Olympus
Figure 11. Council of the Gods
Figure 12. Marriage of Cupid and Psyche
Figure 13. Putti of Cupid
Figure 14. Putti of Jupiter
Figure 15. Putti of Neptune
Figure 16. Putti of Pluto
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Figure 17. Putti of Mars
Figure 18. Putti of Apollo
Figure 19. Putti of Mercury
Figure 20. Putti of Bacchus
Figure 21. Putti of Pan
Figure 22. Putti of Minerva
Figure 23. Putti of a warrior god
Figure 24. Putti of Hercules
Figure 25. Putti of Vulcan
Figure 26. Putti with a lion and seahorse
