Castello del Buonconsiglio monumenti e collezioni provinciali
The theme of political power in the Magno Palazzo’s frescoes 1 2 3 4 5 6 7
The theme of political power in the Magno Palazzo’s frescoes/1
In 1528, when Bernardo Cles placed the ground stone for the construction of the new Castello del Buonconsiglio residence, his ecclesiastical and political career was on the rise. Esteemed for his diplomatic abilities on the international scene, counsellor to the Emperor and at the same time close to the Pope, Trento’s Prince-Bishop moved with confidence among the other hierarchies, his ambition aimed at gaining prestigious recognition. The idea of renovating the Trentino Episcopal residence, by constructing an autonomous and modern edifice, that of the Magno Palazzo, seemed to mature parallel to the prospect of becoming cardinal, which was finally granted him in 1530, also thanks to the support of Charles V.
The Magno Palazzo therefore became a residence worthy of a cardinal of the Church and to his illustrious guests: dignitaries, ambassadors, and rulers passing through Trento. It would be somewhat limiting to think that the root of the reason for building the Clesian residence was a motive based only on foolish ambitions and aspirations of personal glory; most probably Bernardo Cles’s intents were to defend the prerogatives of the Principality of Trento, presented as faithful Imperial “fief” yet at the same time remaining close to papal Rome.
Cles’s roles, as well as his convictions in the political camp, are reflected in the iconographic program adopted for the residence decorations. The fact that the Cardinal was often engaged in diplomatic missions and therefore absent from Trento probably didn’t favour the predisposition of a prearranged and unitary architectural as well as decorative project. The work supervisors, with whom Cles was nevertheless in contact by correspondence, saw themselves constrained to proceed with the work in a gradual manner and with frequent modifications and adjustments.
The decorations of every area took into account certain key factors: the use of the room - be it public or private, for relaxation or for work; the magnificence and the decorum, terms difficult to translate into practice, but in their significance, very clear to Bernardo Cles and his contemporaries; the Catholic orthodoxy and the profane Renaissance culture; and finally, the ties with the Church of Rome together with the close rapport with the Empire. On this last point, it would be of interest to examine the decorations that Bernardo Cles had had carried out beginning in 1531.