French Velvet

The memory of women, silenced for a long time, described the political and social changes with different sensitivities and language. Elisa Bonaparte Baciocchi became the keystone for a story that until now has been only partially told.

In the summer of 1805, a foreign dynasty was forcefully imposed by an imperial power. Elisa, as sister of Napoleon Bonaparte and wife of Felice Baciocchi, reigned in Lucca until 1814. At first she was the princess of Lucca but she succeeded in becoming the Grand Duchess of Tuscany. She was considered the ‘revolutionary princess’ because she governed with prudence and foresight. She supported the arts, public works, welfare, and educational institutions. Elisa showed the strength of her character both in good times and in adversity.

In every picture of this series you feel a sweet restlessness. Behind the dynamic colours something slightly abrasive comes out. The essence of Elisa Baciocchi Bonaparte is captured and trapped in the image. She is shown in a new way - with emphasis on her physical and emotional self.

The spectator is invited to enter the artist's world, one dominated by imagination.

© Nicoletta Cerasomma - Image from the French Velvet photography project
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Napoleon knew the power of symbols and the messages they could give. On this basis, Elisa is often painted as the goddess Minerva, sitting with a sceptre in her hand, the diadem on her head and a snake symbolising prudence, dominion, and eternity at her feet. Elisa had her sights set on Florence, the regency of Lucca was not enough for her. She outclasses Maria Luisa di Borbone and becomes the Grand Duchess of Tuscany. In this image Elisa is compared to Maria Luisa (the fish).

© Nicoletta Cerasomma - Image from the French Velvet photography project
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Elisa wanted to bring a bit of Paris to Lucca. She started this project by modernising the city with cultural and architectural innovations. The royal palace was enlarged and became one of the most majestic in Italy. Piazza Napoleone to the front of the palace and Via Elisa, north of the piazza, were both built. The new gate through the city’s walls, Porta Elisa, was designed to resemble the Parisian triumphal arch.

© Nicoletta Cerasomma - Image from the French Velvet photography project
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Elisa has unexpected governmental skills. Napoleon calls her “the best of his ministers”. By reopening the cave of marble in Carrara, Elisa was the first to mass produce a bust of Napoleon in marble, to be used as propaganda in Europe. Antonio Canova made a beautiful statue of Elisa as Polimnia, muse of eloquence.

© Nicoletta Cerasomma - Image from the French Velvet photography project
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The princess was very fond of music. She had a complicated and tormented love affair with Niccolò Paganini, considered the greatest violinist in history and one of the most important composers of romantic music. The violin was considered the devil's instrument and the fourth string, the sol, is a feature of Niccolò's mastery.

© Nicoletta Cerasomma - Image from the French Velvet photography project
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Elisa Bonaparte as a trendsetter showed magnificence and luxury. She profoundly transformed Lucca and at the same time she preserved its role and its standing. The court was modelled and regulated on that of Paris, with officers of honour, chamberlains, ladies, chaplains, alms-givers, squires, pages. She introduced lavish feasts and ceremonies to celebrate birthdays and holidays, setting the old and new aristocracy against each other in a competition to impress.

© Nicoletta Cerasomma - Image from the French Velvet photography project
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The imperial parable is in decline. Napoleon is now forced to fight on the soil of France a series of increasingly desperate battles; but after his fall, Elisa dissuaded the British commander from attacking the State of Lucca with the promise to abandon the throne. So, she departed towards Massa, escorted by three carriages.

© Nicoletta Cerasomma - Image from the French Velvet photography project
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All the goods coming from the church were transformed into state property, charity and public utility. Elisa founded elementary education schools in every village in the surrounding countryside and a girls' charitable school organisation in Lucca. For male education she supplied a staff of excellence in literary, scientific, fine arts and foreign languages. Students from all over Europe and America came to attend the school. The University was established including the Faculty of Medicine and Surgery.

© Nicoletta Cerasomma - Image from the French Velvet photography project
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Self-portrait of a woman who inextricably linked her name to the city. The imminence of her fall, on a night in the spring of 1814, recalls her lonely youth, the search for an identity, the complex relationships with her family and with her many lovers. Her passion for the theatre, her triumphs and sorrows. One of the few women able to characterise an era.

© Nicoletta Cerasomma - Image from the French Velvet photography project
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Elisa's power, in this diptych, was inspired by Napoleonic symbolism to pave the way for female emancipation. Louis Braille’s dot in relief writing, known as "night writing" was designed to save the lives of Napoleon‘s soldiers. Elisa instituted exemption from compulsory conscription and the people of Lucca have kept a long memory and gratitude for her gesture. Allegorical drawings and the two letters - Napoleon's ‘N’ and the Empire's ’I’, embroidered within the laurel leaves - characterize the tapestries of the time.

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