Use of painted windows
Painted Windows in the Genoese area: A History of Taxes and Optical Deception
During the Republic of Genoa, precisely in 1798, the Genoese government introduced a new tax called the “patriotic subsidy on windows”. This tax hit real estate properties based on the number of windows present. Up to five windows you didn’t have to pay anything, but from the sixth onwards a progressive tax was applied. This tax measure immediately aroused dismay and indignation among the population, especially among the wealthiest who owned palaces and villas with numerous openings.
Popular Reaction and Creative Solutions
1. Masonry of Windows:
To avoid paying the tax or peacefully protest against it, many homeowners decided to physically brick up the excess windows. This practice, while effective in avoiding the tax, resulted in darker and less airy homes.
2. Trompe-l’œil and Painted Windows:
To maintain the aesthetic appearance of the facades without sacrificing the symmetry and beauty of the windows, many resorted to the solution of painted windows. These were windows drawn and painted on the plaster of the building facades in an extremely realistic way. Painted windows could depict a variety of details, such as open or closed shutters, curtains, flowers on windowsills, and sometimes human figures such as cats or young women looking out.
Diffusion and Acceptance
The practice of painted windows spread rapidly, becoming a true canon of embellishment of facades in the territory of the Ligurian Republic, including Tigullio. The paintings were so well done that they easily fooled anyone who wasn’t looking carefully.
Cultural and Aesthetic Implications
The painted windows not only served as a practical solution to avoid an unfair tax, but became an integral part of the region’s cultural and artistic heritage. Today these painted windows represent a unique example of trompe-l’œil applied to urban architecture, testifying to a historical page of protest and popular creativity.
Artistic Legacy
The craftsmen who created these paintings must have possessed considerable artistic talent to create such realistic effects. The practice of painted windows survived over time not only as a historical memory, but also as an artistic and decorative expression.
Conclusions
The windows painted in the Genoese area not only testify to the ingenuity of local communities in dealing with an oppressive tax, but also represent a unique example of how art and protest can converge in the daily life of historic cities. These paintings remain a tangible sign of the past and an essential part of the urban landscape that still characterizes Tigullio and the surrounding regions today.
Sources
Brino G., “Colori di Liguria. Introduzione ad una banca dati sulle facciate dipinti liguri”, Genova, Sagep, 1999
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