175.The white pigeon of Giorgio Maggiore (3)
picture 1 – Presentation of Jesus in Temple« by Palma il Giovane (Isola Giorgia Maggiore, Venice)
The Gondolier was waiting for them with the beautiful shining lanterns in the Gondola. He will bring them later, after the walk on this Isola Giorgio Maggiore, to Giudecca Island at the Le Zitelle where Palmina has her 2nd flat and is protected by the Jesuits from her violent father and violent brother.
Other girls at the Le Zitelle have also problems with their fathers and brothers. They are reading their private messages and letters, erasing them and changing their content to isolate them from others. That’s why the girls are living here on Gudecca Island at the Jesuits.
The local authorities do not allow this and have strict laws against this and that’s why some fathers or brothers had been arrested for doing this to their relatives; arrested by the Republic of Venice – the R.O.V. – the mightiest Republic in the 16th century.
Now, not even the Gondolier could see what Palma and Palmina are doing at the secret gardens of Giorgio Maggiore, here where so much famous painters had deep inspirations (Claude Monet, 200 years later, had also big inspirations here on Giorgio Maggiore and painted a lot of paintings here and he painted also this little island).
After a while of silence Palmina asked whispering:
»Yes, my Music-Angel?«
»You would really paint a white pure Pigeon in your big painting for this Church when it is ready build in a few years¹, as remembering to our spiritual walks and travels with the Gondola in Venice?«
¹ the church was finished in the year 1610 – Wikipedia – https://en.wikipedia.org/wiki/San_Giorgio_Maggiore_(church),_Venice
»San Giorgio Maggiore is a 16th-century Benedictine church on the island of the same name in Venice, northern Italy, designed by Andrea Palladio, and built between 1566 and 1610. The church is a basilica in the classical renaissance style and its brilliant white marble gleams above the blue water of the lagoon opposite the Piazzetta and forms the focal point of the view from every part of the Riva degli Schiavoni.«
»Yes, Palmina, and if we see us again in 400 years we will stand here in front of this painting and we can say this white pigeon I painted to remember our deep spiritual love.«
And they saw now in this Peony-Vision all the paintings which will be painted for this church San Giorgio Maggiore.*)
*) beside the painting »Circumcision/Presentation of Jesus in Temple« – by Palma il Giovane
There are other paintings in the monastery building:
The Last Supper by Jacopo Tintoretto
The Fall of Manna by Jacopo Tintoretto
Entombment of Christ by Jacopo Tintoretto
Madonna enthroned with Saints by Sebastiano Ricci
Risen Christ & St Andrew with Morosini family by Jacopo & Domenico Tintoretto
Adoration of the Shepherds by Jacopo Bassano
They saw the painting of Sebastiano Ricci and Tintoretto and also about Santa Lucia
picture 2 – Miracle of the immobility of Sta Lucia by Leandro Bassano
picture 3 – painting of »Santa Lucia« by Palma il Giovane
And they saw also that Sebastiano Ricci (he was later born then Palma) will dedicate the angel with mandolin to the secret deep love to Palma and Palmina.
picture 4 – painting by Sebastiano Ricci
picture 5 – detail – Sebastiano Ricci painted a little Mandolin angel as remembering of Palmina
picture 6 – painting «Venus and Cupido« by Sebastiano Ricci inspired by the love of Palma and Palmina, symbolised as 2 white pigeons
The saw in their Peony-Vision that Sebastiano Ricci will also be inspired by this future- painting of Palma il Giovane with the 2 white pigeons on the right side (the 2nd pigeon is in the basked) – he studied it very intensive – and painted also two white Pigons in his famous »Venus and Cupido«
¹ Sebastiano Ricci (1659 – 1734) – Wikipedia – https://en.wikipedia.org/wiki/Sebastiano_Ricci
»Sebastiano Ricci (1 August 1659 – 15 May 1734) was an Italian painter of the late Baroque school of VENICE. About the same age as Piazzetta, and an elder contemporary of Tiepolo, he represents a late version of the vigorous and luminous Cortonesque style of grand manner fresco painting. «
»But it is not easy for a man to be in love with Saint Cecilia…«, Palmina said innocent but very direct.
»Why, Palmina?«, Palma asked like a wise man.
»Saint Cecilia was a saint and a virgin and she wanted to keep her virginity and she wanted only to have a spiritual love relation so it was difficult for a man to marry Saint Cecillia…«
»…Hmm…, but a spiritual love…. if it is really a high dimension love, then it is like two pigeons are marring from heart to heart. They need only the spiritual arrangement of the heaven, nothing else…and this the two pigeons can feel deep inside their hearts«
»I know, Palma, this I mean with ‚It is difficult for a man to be in love with a saint virgin‘. But you, Palma, you are different. You understand the principles of a deep spiritual love. As artists we can live this spiritual love as real and the results of our deep love are great artworks and great thoughts for the culture and history – We will inspire the next generations of artists. Our children are our artworks.«
Palmina and Palma hugged standing in the secret gardens of »Giorgio Maggiore« where no one is watching then; only the planets and stars, the angels and the saint of the heaven can see them; and they smiled down to them, down to planet earth, down to Venice, down to the little small island Isola San Giorgio Maggiore, called in Venetian language »San Zorzi Mazor«.
»My composing lute playing angel«
»My secret writer…«
»My yellow canary bird…- Let us work together in the next centuries – if the heaven is allowing this to us – Let’s make this wish«
»My astronomer – Yes, let us work together – Let us make this wish – Dreams come sometimes through – All we do in our artworks will be connected through our Peony Gondola, Yes, Palma – Yes Palma, – I love you and I feel it: you respect how Saint Cecilia is…«
»Yes, Palmina, I respect you…«
And in a common Vision they saw the big painting Palma il Giovane should paint for this church on that small island.
picture 7 – »Presentation of Jesus in Temple« by Palma il Giovane (Isola Giorgio Maggiore, Venice )
Palma hold her head with his strong hands, but tender, and kissed her and her beautiful lips, very soft and slow and short.
But in their heart the kiss started also, they could feel it, and this beautiful feeling they kept in their heart, even after the short tender kiss.
And this feeling stayed for day and night.
Both looked at the Vision of the painting and they saw that Palma should paint the Pigeon held by a women and the Pigeon seemed to smile with its eyes. And an other Pigeon in the basked
picture 8 – two white Pigeons – detail of Palma’s big painting at the Church of Giorgio Maggiore (in Venetian »Giorgo Mazor«)
picture 9 – white Pigeon (detail) by Palma il Giovane
After this beautiful inspiration Palma and Palmina went long along the green gardens and sometimes they heart an bird or a cicada or a tiny little mouse moving.
It was a beautiful »inspiration-walk« here on that island. All the monks are now sleeping in their monastery and there was no light in their windows any more. It was now very late and they went back to the Gondola with the shining lantern where the Gondolier was respectfully waiting.
Now the Gondola moved very slow to the neighbour island Giudecca where after a few meters the »Le Zitelle« Building was. Palma brought Palmina up to her flat in the 3rd floor and she played again on her lute for him and on her harpsichord like the Saint Cecilia. Palma made again some paintings of her and continued to paint on the white pigeon.
Later he asked her:
»Do you like the white Pigeon? Should I paint her like that in the future painting?…I will also paint a second Pigeon in a basked on that painting. The two Pigeons are we…The basked represents the Peony Gondala«
Palmina smiled and was lucky to feel connected with Palma’s heart.
Palmina sat on her little bed looking through her window to the San Marco Place, which is far a way but some lanterns are shining also in the night there.
Palma sat also on her bed. Palmina took Palma’s right hand and both looked long through the window.
Palma remembered her words about the virginity of Saint Cecilia and respected her.
»Do you know the love relation and legend between the unicorn and the virgin, Palma…?«
Palma smiled and looked to her side and he put his arm around Palmina.
Now they are sitting and Palmina’s little small bed, looking in the direction of San Marco Place at the Dogan’s Palace where still hundreds of candles are shining through the windows.
Yes, now they are sitting holding their hands like two little children who became deeply loving friends.
picture 10 – spiritual marriage without touching the Virginity of Saint Cecilia
picture 11 – spiritual marriage without touching the Virginity of Saint Cecilia
Palmina turned her smiling face to his side and she was lucky to have a loving friend like him – A loving friend that is understanding her deep spiritual secret.
picture 12- detail – »Presentation of Jesus in Temple« by Palma il Giovane (Isola Giorgia Maggiore, Venice )
»Look, I will also paint a clerical person looking like a pope with a white Pileolus on his head, looking from behind to the fresh born baby…Hmm, he looks as if this fresh born baby is his…«
»Oh…why that? …this is also a symbol of something real of our century…hmm, isn’t it, Palma? You always painted something from the present in your images…«
(to be continued…)