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75 Saskia Wetzig That great art can f lourish due to the collaboration between great artists and great patrons becomes evident when one looks at the history of art and in particular at fortunate constella- tions such as those of Raphael and Pope Julius II, Velázquez and King Philipp IV of Spain, and Bernini and Pope Urban VIII. About such especially creative unions, Francis Haskell stated in his classic work on painters and patrons: “The opportunities and encouragement given to architects, painters, and sculptors have rarely, if ever, been equalled, and the debt of gratitude we owe to the liberal patrons of the time can be seen not only in Italy but in every art gallery of the world.” 1 The Patronage of the Chigi Family The successful and extremely fruitful relationship between brilliant artists and generous patrons can also be found within the Chigi family. The dynasty, which has its origins in Siena, was known for being a family of thriving merchants and bankers since the 13 th century. The family’s rise to the upper echelons of Roman aristocracy and to the papal court is marked by two high points, at first with Agostino Chigi at the turn from the 15 th to the 16 th century and then with Flavio Chigi in the second half of the 17 th century. Agostino Chigi (1465– 1520) was born in Siena and provided the family with its first moment of glory as his byname “Il Magnifico” unmistakeably expresses. This was the result of the incredible wealth that Agostino had attained from leasing alum mines in the Tolfa Mountains northwest of Rome. The Etruscans had already mined alum there, which is needed for textile processing. Agostino perfected the marketing of the mineral to such an extent that it not only developed into a highly profitable business, but also enabled him to cleverly increase his profits as banker. Agostino Chigi was both a man of finance and a man of culture. He promoted literature and the printed word (including the extensive edition of Pindar’s Odes that was published in 1515 2 ) and the visual arts on a large scale. His patronage reached its pinnacle in the decoration of his villa on the banks of the Tiber that he had designed and embellished by the greatest artists of the time, with whom he was also on friendly terms: Raphael (1483 – 1520), Baldassare Peruzzi (1481 – 1536), Sebastiano del Piombo (c. 1485– 1547), and Sodoma (1477– 1549). He also had countless artworks installed in this marvellous piece of architecture. 3 According to inventories and documents, there were more than 80 antiques installed in the villa and many more in the garden. Fig. 52 Ferdinand Voet, Cardinal Flavio Chigi , 1670, oil on canvas, Palazzo Chigi, Ariccia Family Obligations The Cardinal-Nephew Flavio Chigi in the Service of Pope Alexander VII