Baroque Equestrian Sculpture: Mochi's Farnese and Tacca's Philip IV

Equestrian Monuments of Louis XIII and Louis XIV

The arches were constructed for the first time, defining two important sides (or wings), known as the King's Wing and the Queen's Wing. These spaces were used for various events, including public spectacles and criminal executions.

In the center stood an equestrian statue representing King Louis XIII on horseback. This statue had previously utilized the base of an equestrian statue of Henry II, made earlier by the Italian painter, sculptor, and architect Volterra (it was repurposed).

In 1690, in Paris, another equestrian statue, this time of Louis XIV by Gilardonde, was placed in the plaza. Previously, the work had been commissioned to Bernini, but the latter's design was considered too theatrical, and Louis XIV disliked it, resulting in its placement in the gardens of Versailles.

We return to the starting point:

Ranuccio Farnese by Mochi: Vitality and Movement

The work of Ranuccio Farnese (by Mochi) exhibits vitality and new movement, demonstrating a vital and independent freedom in the two figures. Key characteristics include:

• The rider wears his armor but is wrapped in a blanket (a typical trait) designed to create movement through the interplay of light and shadow in the folds.
• The folded depth and angle are characteristic of Mochi's style.
• The sitter has a perfect face, and the horse achieves realism due to a very deep anatomical study, conveying great expression.

The Reliefs: Perspective and the Theme of Peace

The reliefs feature a composition that utilizes conical perspective, applicable to any two-dimensional composition. The central theme is Peace—an issue the artists wished to highlight, emphasizing the peace that enriches the people following periods of war. Peace is represented with a cornucopia full of fruit.

In relation to Renaissance composition, which prioritized symmetry and balance within a defined space, the Baroque introduces conical perspective (lines terminating on a vanishing point). Now, the vanishing point moves, and the diagonal prevails, providing the necessary momentum. Immediate antecedents for this style include Fra Angelico (perhaps in the Vatican) and Raphael's The Marriage of the Virgin.

However, in the Ranuzzo Farnese, the lines lead us to the side, decentering the vanishing point where the lines converge. This represents a break with previous conventions and is an experiment, even though subsequent periods would return to a more classical design.

In the monument of Alexander Farnese, Mochi imparts movement, pushing further in that direction. If we look closely at one side of the rider (the left arm), it shows completely different expressions and sheer volume, while the opposite side features a vacuum. Mochi plays with the opening, creating an opposite effect: on one hand, a play of light and shadow and tension, and on the other, an emphasis on nudity.

Philip IV Equestrian Statue by Pietro Tacca

The statue of Philip IV, sculpted by Pietro Tacca, is located in Madrid. The incorporation of such monuments into public spaces was part of an urban revolution, particularly leading up to the reign of Elizabeth II in the nineteenth century, where portraits of important people were placed in the streets to serve as examples to citizens.

This monument coincides with the style of Philip II's monuments and stands on a high pedestal to elevate the horse and complement the built environment. It was commissioned by the Conde Duque de Olivares, Philip IV's favorite, in 1636. Olivares instructed the sculptor in Italy to depict the horse in the corvette position (rearing), drawing inspiration from Titian's Charles V Triumphant over the Protestant League (1598) and other equestrian portraits (such as Velázquez's equestrian portraits of Philip IV, 1634–35, symbolizing triumph at the Buen Retiro Palace).

There was no precedent for casting a free-standing bronze sculpture in this rearing position. Tacca initially refused, but Galileo Galilei provided the engineering solution for the portrait's balance.

A possible equestrian portrait by Velázquez was sent to Italy, and the sculptor Martínez Montañés in Madrid was commissioned to make a bust of the monarch, which was also sent to Italy for reference. When the monument arrived in Madrid, it was a gift from Ferdinand II de Medici to Philip IV and was initially placed in the Queen's courtyard.