Was super lucky to spend a few days in Rome for a mix of family and business — and got invited to visit Palazzo Barberini. At some point you end up in the Gran Salone, the biggest room in the building, and I was… completely floored by the ceiling.
Above you is Pietro da Cortona’s fresco known as “The Triumph of Divine Providence” (also aptly called “Allegory of Divine Providence and Barberini Power”), commissioned by the Barberini family in the 1630s.
The Barberini story alone is crazy.
They began as successful Florentine grain, wool, and textile merchants, fighting for space in a world dominated by families like the Medici. Then everything changed when Cardinal Maffeo Barberini was elected Pope in 1623 and became Urban VIII (you know, when popes were princes, could marry, accumulate wealth etc.). Overnight, the family moved from wealthy outsiders to the very center of European power.
Palazzo Barberini was their statement piece — not just a residence, but a monument to legitimacy, ambition, and permanence. There’s even a rumor saying that marble for the palace was taken from the Colosseum...and people whispered at the time (and now) “What the barbarians did not do, the Barberini did.”
But going back to the ceiling - it’s not “one painting.” It’s an engineered world. The vault is split by a painted (fake) marble framework into five sections—one central, four lateral—so your eye has structure while everything else explodes into motion. At the center, Divine Providence literally instructs Fame to crown the Barberini bees (the symbol of the family). Around it, virtues conquer chaos, order defeats vice, and history is rewritten in paint. It’s a political narrative told in mythology.
Pietro da Cortona worked on this for roughly seven years (1632-1639). What’s wild is that the fresco was reportedly almost finished earlier — then he chose to go back and rework large parts of it before final completion. And in the meantime, Pope Urban VIII became impatient with using the Palazzo and the Gran Salone, so there were no structures on the floor...Cortona had to work "hanging" from the ceiling while the Pope and his friends could enjoy the rest of the gigantic room.
This is peak competitive Rome: big patrons, reputations on the line, and major contemporaries/rivals in the same city. Cortona's contemporaries and rivals were giants like Gian Lorenzo Bernini and Francesco Borromini.
Why am I telling you this story? well first because i enjoyed it deeply and it elevated my spirit to look at all of this in a beautiful sunny winter day surrounded by my parents and family.
But also because I thought about what I am building and...everything that worries me in building as a founder...competition, the speed at which we need to do things, the grit it requires...Seeing something this ambitious — created in a ruthless, political, hyper-competitive environment — somehow put all of that into perspective...and inspired me.
And I wanted to share it! Go see it!