Regular visitors to Florence’s Bargello, home to its great sculpture collection, know well the frustration of finding rooms, sometimes the whole second floor, closed. Imagine my shock in June to discover that not only was the second floor open but galleries I had never seen before. In one, amidst display cases with coins, was a treasure I didn’t know existed, but learned later was quite famous and considered perhaps Gianlorenzo Bernini’s finest portrait sculpture – his bust of Costanza Bonarelli. According to the label,
This celebrated bust is the most famous of Bernini’s portraits. It is a very ‘private’ image that he perhaps made for himself and kept in his home for a long time…
Costanza was the wife of one of Bernini’s assistants, when the artist was in his late thirties and working in Rome. He fell passionately in love with her and carried on an illicit affair.
Sensuality is a hallmark of Bernini’s work. The passion in his Ecstasy of Saint Teresa is well-known to every art history student. Gazing at his much more direct portrait of Costanza, it is not hard to share the feelings of the sculptor for this young woman. She seems to be portrayed just after a liaison. Her hair is disheveled, her dressing gown is wrinkled, unbuttoned, and hangs loosely across her breasts. One can easily imagine that her make-up is long gone. Costanza looks out with parted, sensual lips and seems a bit dazed.
Bonarelli was no servant girl, but a member of the noble Piccolomini family of Siena, whose members included two popes, the dukes of Amalfi, and the patron of Galileo. However, by the 1600s the fortunes of her family line had tumbled and, before she married, the young Costanza had received money from two religious fraternities to keep her from a life on the streets. Her husband, Matteo, began working for Bernini about two years before this sculpture was made in 1637 or 1638. At the time, Costanza was about 24 years old and had been married for five years.