History

On the main floor of the Grand Hotel Majestic già Baglioni, it is possible to admire a frescoed room, one of Bologna’s most valuable artistic and historical examples of civil construction. The so-called Camerino di Europa (the Little Room of Europa) was probably the first major commission entrusted to the brothers Agostino and Annibale Carracci. The two young Bolognese painters were assigned the task through the fortunate position of their father Antonio who, as the tailor of Count Filippo Fava, advocated the nobleman on his children’s behalf. They agreed to paint the room for a very low fee. High instead is the pictorial value of this "cycle," which involves only the upper part of the walls. Developed as a frieze, it is linked to stylistic models that Raphael and his circle of collaborators had recovered years before and revived in Rome In this room the story of Europa is condensed into four scenes (inspired by the second book of Ovid’s Metamorphoses), that illustrate a marvelous gift for cinematographic synthesis:

the young daughter of Phoenix and Perimede who, loved by Zeus, was abducted by the god transformed into a bull, and brought to the island of Crete. From their union Minos, the mythical king of the island, was born. The narrative is divided into the following four stages realized as “paintings with faux frames” (Malvasia): Jupiter turned into a bull, forces Europa to approach him; Jupiter makes Europa lead him; Europa rises on the back of the bull; the rape of Europa. Likewise, faux reliefs border the paintings and grotesque decorations complete the frieze

It is difficult to assign the authorship of this work with certainty, or of its individual parts, to one or the other of the Carracci brothers. In the course of time theories of criticism have outlined a wide range of possibilities. Among experts there are those who suggest an almost equal division of tasks between Annibale and Agostino. Others suggest a preponderance of Agostino’s hand.

The most believable thesis recognizes Annibale as the author of all four paintings representing the episodes in the rape of Europa and Agostino the executor of only the grotesque decorations. Although the originality and philological consistency of these decorations are one of its major attractions, the latter hypothesis would assign Annibale more importance than Agostino. Still other theories suggest the possibility of a partnership with their cousin Ludovico. However, art historians all seem to agree in assigning the painting of Europa mounting the bull to Annibale. Apart from attributions, the only certainty seems to be the date of execution of these works. The inscription with the date 1584 at the base of the frescoes depicting the Stories of Jason found in another hall of Palazzo Fava, which are believed to have been executed immediately after those of Europa, would conjecture the realization of the Camerino by 1583.

Of some interest are the frescoes in the restaurant of the hotel depicting the myth of Phaethon crashing after being struck by Zeus’ lightning bolt. They are framed by grotesque decorations on the old model.