Alessandro Algardi - The Fuga D'Attila Relief

The Fuga D'Attila Relief

Algardi's large dramatic marble high-relief panel of Pope Leo and Attila(1646–53) for St Peter's Basilica was widely admired in his day, and reinvigorated the use of such marble reliefs. There had been large marble reliefs used previously in Roman churches, but for most patrons, sculpted marble altarpieces were far too costly. In this relief, the two principal figures, the stern and courageous pope and the dismayed and frightened Attila, surge forward from the center into three dimensions. Only they two see the descending angelic warriors rallying to the pope's defense, while all others in the background reliefs, persist in performing their respective earthly duties.

The subject was apt for a papal state seeking clout, since it depicts the historical legend when the greatest of the popes Leo, with supernatural aid, deterred the Huns from looting Rome. From a baroque standpoint it is a moment of divine intervention in the affairs of man. No doubt part of his patron's message would be that all viewers would be sternly reminded of the papal capacity to invoke divine retribution against enemies.

Algardi died in Rome within a year of completing his famous relief, which was admired by contemporaries.

In his later years Algardi controlled a large studio and amassed a great fortune. Algardi's classicizing manner was carried on by pupils (including Ercole Ferrata and Domenico Guidi). Antonio Raggi initially trained with him. The latter two completed his design for an altarpiece of the Vision of Saint Nicholas (San Nicola da Tolentino, Rome) using two separate marble pieces linked together in one event and place, yet successfully separating the divine and earthly spheres. Other lesser known assistants from his studio include Francesco Barrata, Girolamo Lucenti, and Giuseppe Peroni.