Elevation and Section of the Catafalque for Anna Cristina, Wife of Carlo Emanuele III of Savoy 1696 - 1756

Editor: Here we have Giuseppe Galli Bibiena’s "Elevation and Section of the Catafalque for Anna Cristina, Wife of Carlo Emanuele III of Savoy," a drawing, etching and engraving that roughly dates between 1696 and 1756. At first glance, it’s like a beautifully rendered stage set, but somber, befitting a memorial. What stands out to you about this piece? Curator: It does possess that theatrical flair characteristic of Bibiena's stage designs! But look closer. This drawing is as much about celebrating Anna Cristina as it is about acknowledging loss. The Baroque period loved spectacle, and even mourning became an opportunity for grand displays. The geometry is clear but there's something so ephemeral in its conception. Does it strike you that way too? Editor: Absolutely! It's monumental, yet the unfinished portions add a sense of transience. Was this intended for construction, or more as a proposal? Curator: That's the question, isn't it? These presentation drawings often existed independently. Perhaps this served to secure commission for the construction of the catafalque; but given the tears to the paper, and lack of final marks it can also just be what he had visualized the piece to be. Notice the layers of symbolism—the dome, the columns, the sculptural details... Editor: Each element seems loaded with meaning. Curator: Precisely! Each element symbolizes the eternal nature of power and, dare I say, faith. For the bereaved, there would be comfort found in such glorious monumentality, even when paired with an immense feeling of absence. In this way, Bibiena gives us so much to ponder, so many questions to ask of death itself! What do you make of it now? Editor: Now I see the layered meanings within. Thanks, that added another lens for considering works from this era!