Frosya

Don Simone's Boys

Time to elaborate a bit on them!

Flavio, Tulio (Cordero) and Peppi in the order of blue, orange and green are the three artists under the patronage of Don Simone. Housed by him, dressed by him, paraded around by him. But how did this all come to happen?

One thing the boys have in common is that each of them were art students in the academy of San Luca in Rome, all while not being from Rome themselves– the one Don Simone very frequently makes donations to and visits just to be around art and artists, and occasionally to comission a painting or two. Flavio being from Naples, Tulio being from Bologna (yes, like Don Simome himself!) and Peppi being from Milan, and all coming from middle class to 'slightly struggling' families, the three are amongst the less fortunate students of the academy, unable to socialise properly with their peers not just due to the cultural differences but also due to the time they have to spend to make ends meet (pay for the academy fees, material costs, renting rooms, and on and on). On top of that, they also appear to share a natural tendency to be competitive. A quality that heavily intrigues Don Simone when it came to artists.

By the time they were 'hand-picked' by him, there had already been rumours circling around the academy students about the extremely rich nobleman that visits and struts around every other day –and increasingly too– now actively looking to offer his patronage. Knowing this, many artists that could use such support including the three of them entered an unspoken state of competition. One way or another –who knows, perhaps their semi-isolated state did contribute to it as well– they were the ones selected by Don Simone.

Of course, the insanity that is their patronage did not end up in the state it did over a single day. It was all gradual. It started with them moving in one by one, travelling from the academy to their rented rooms to their patron's house was such a hassle, and the man had more rooms than he could ever utilise in that big palazzo of his, so what's the harm? It continued on with him having his valets get their measurements because of course, he couldn't have them dressed in rags under his roof! Things must look worthy, afterall. And since he's the one being so generous who are the three of them to oppose to the choice of style and colour assigned to them. They are simply happy to be dressed honorably, so what's the harm? Very soon they realised that their role in the palazzo wasn't limited to creating artwork for the nobleman as a patronage would imply, but to be present in his salon whenever he hosted an event or tag along when he was attending one, almost like an accessory he wore.

It was a simple philosophy on Don Simone's end. These were academy boys, afterall. Not raised in solitude by a master but nourished by the community and competitive environment brought on by such space. What nobleman wouldn't want his artists to thrive the best they can? Therefore they woke up in rooms located next to each other, dined together, worked together, were excused and sent to retire for the night at the same time. 'The work room' was very important. Chosen from one of the biggest rooms of the palazzo, filled to the brim with canvases, palettes, paint, brushes, easels, anything an artist of the time could dream of having access to. It was also where they spent majority of their time, mostly painting but occasionally sculpting as well. It was Don Simone's favourite room, whether he was there to have yet another portrait painted by his artists or simply seated in a corner with his eyes closed, listening to the boys work. As opposed to how affectionate he could get with the three of them publically (almost as a performance to the people around them), such tenderness was rather scarse in private. The artists quickly learned the value of a singular word of praise, the sensation of an approving hand placed on their shoulder as they worked, the weight of a glint they could spot in Don Simone's eye. Of course, came with that the hyper-awareness of which one of them was the object of such glorious praise. It was always balanced enough keep the tension high in the palazzo. The boys were almost always in a silent rivalry with each other, as well as being presented to the world by their patron as a singular unit of sorts.

☘︎

There is so much more to say so hopefully there will be a part two of this, but ouhh it's already so long! Also I'm sorry if it's so obvious that Flavio and Peppi are freshly drawn and the Cordero in that image is a rather older illustration 🤧 I did not have time,,

I know how I could make it up for that actually. Here, have this.

1536 Monogrammist H.W. - Portrait of a lady in a red dress with fur cuffs, a cap, and a gold chain