Oratory of Saint Peter Martyr

The “Private Oratory of Saint Peter Martyr” consists of a small space, internally divided into three parts, covered by a floral coffered ceiling and featuring very rich wall decorations. The scenes, depicting heroes and heroines from biblical stories, are framed by Ionic-Corinthian pilasters resting on a high base and topped by a decorated frieze. On the western wall are depicted: “Hagar and Ishmael in the desert assisted by an angel,” “Elijah in the desert encouraged by the angel,” and “Jacob wrestling with the angel.” The southern and eastern walls respectively feature paintings of “Judith with the head of Holofernes” and “The Sacrifice of Isaac.” The cycle concludes with three episodes from the life of Saint Peter Martyr frescoed in the liturgical area and the bloody image of “Jael killing Sisera.”

Although some stylistic differences are evident, the paintings share the same narrative approach and certain common iconographic and thematic choices, sometimes of great originality. Indeed, many scenes are united by the active participation of Angels interacting with the depicted men and women. Furthermore, most episodes feature female characters who, with God’s help, act on their own initiative. Finally, there is a strong emphasis on symbols directly connected to the Eucharistic mystery, a religious theme highly cherished in the Arese culture.

The entire nave can also be interpreted in relation to the Arese family history, particularly concerning the tragic death of Giulio II Arese. Bartolomeo III Arese is identified as the quintessential male figure, represented by the characters of Abraham, Elijah, and Jacob, all tested by God’s will in dramatic circumstances. The women, conversely, represent his wife Lucrezia (as Judith), a symbol of chastity; his daughter Margherita (Hagar), excluded from the Cesano succession; and his daughter Giulia (Jael), who would prevent the family line from dying out. This theme of struggle, ambition, related divine punishment, and help in difficult times continues into the tribune, where “Jesus in the Garden of Gethsemane” and a monochrome depicting “The Meeting of Jesus with Veronica” during the ascent to Calvary are painted. More difficult to identify is the elegant youth painted on the right wall, frescoed entering through a false door holding a torch: too young to be Giulio II Arese, critics have identified him as Carlo IV Borromeo Arese, born in 1657, embodying the divine promise of the lineage’s continuation after the interruption feared following Giulio II’s death.

The chapel was officially consecrated in 1677, although the frescoes likely date back a few years earlier, around the second half of the 1660s. Indeed, critics attribute the painted cycle to multiple artists, predominantly the painter Antonio Busca (1625-1686), who is believed to have executed the commissioned works here employing numerous assistants, including Federico Bizzozero and Giuseppe Zanatta. The architectural perspective paintings (quadratura), however, are thought to be the work of the team comprising Giovanni Ghisolfi (1623-1683) and members of the renowned Mariani family of Lombard quadratura painters, who were also active in other rooms on the palace’s main floor (piano nobile).