The Prima Macchina for the Chinea of 1738: Allegory of Regal Providence 1738

Editor: So, here we have "The Prima Macchina for the Chinea of 1738: Allegory of Regal Providence" by Pierre Parrocel, an etching and engraving. It feels... overwhelmingly Baroque. Almost propagandistic in its grandeur. What do you make of it? Curator: It’s interesting you say propagandistic. The 'Chinea' was a tribute paid to the Pope by the Kingdom of Naples, essentially acknowledging Papal sovereignty. These elaborate machines, or 'macchine', became powerful displays of political allegiance and Neapolitan power. Think about the setting – Rome, 1738. Where would this spectacle have been displayed, and who was the intended audience beyond the Pope? Editor: Probably to show off the wealth and artistic capabilities of Naples to the Roman elite, right? Like saying, "Look at our resources, our artists, our devotion!" Curator: Precisely. This wasn't just about religious piety; it was a carefully constructed piece of political theater. Note the allegorical figures representing Regal Providence – how do these idealized figures reflect the power dynamics between Naples and the Papal States at this moment in history? Who benefits most from this demonstration of power? Editor: It almost feels like Naples is trying to negotiate its position, showing respect while simultaneously asserting its own significance. And perhaps solidifying the Bourbon Dynasty's rule through spectacle. Curator: Yes! By associating themselves with "Providence", they're claiming divine right and justifying their power, within the accepted symbolic language of Baroque Rome. Editor: I hadn’t considered the audience beyond the immediate viewers. This really opens up how to see this print. Thank you! Curator: Of course! It's a reminder that art, even something seemingly decorative, often operates within complex social and political frameworks.