Discovering a Life in Art

“I lived in the midst of art and artists. It hardly seemed real . . . ”

View of the Mole Antonelliana and Turin

Tommaso Juglaris was the third oldest child in a family of four boys.  In 1855, as he approached his eleventh birthday, his parents Alessando Antonelli--Architect of Turin's famed Mole and host to the Juglaris familymoved their giovanni_albertoni2.jpghousehold to Turin, joining others seeking haven from the troubles of the countryside.  Juglaris’s parents were also concerned about the education of their sons, which was particularly important if the family’s fortunes were to be restored.

In Turin, which the Royal House of Savoy retained as its capital, Juglaris’s parents rented rooms in the home of the famous architect Alessandro Antonelli, who subsequently designed the Mole Antonelli, the most distinctive building in Turin and, for a time, the tallest building in the world.  Artists were always visiting the Antonelli home.  Living there had a huge impact on Juglaris.

From an early age, Juglaris had been fascinated with art, always eager to take every available opportunity to draw.  A visit to one of Turin’s art galleries with his father made a big impression on him.  So too did a lesson from one of his school teachers on some of Italy’s “great and celebrated” artists.  Now in the Antonelli household he was surrounded by well-known 'Young Scholar,' An early painting by Tommaso Juglarisartists in the flesh who came to Commemorative Book for the Albertina Accademyvisit, socialize, and talk art.   Antonelli’s guests noticed Juglaris’s precocious talents and encouraged him.  During summer vacations, Juglaris modeled for the sculptor Giovanni Albertoni, whose work was prominently displayed in Turin.  Later, Juglaris studied in Albertoni’s studio, dreaming more intensely than ever of becoming an artist.  Over the bitter objections of his father (but with his mother’s approval), Juglaris decided to make his dream come true: he, too, would dedicate his whole life to art.

Pursuing what he knew to be his vocation or calling, fifteen year-old Juglaris “left [behind] the studies of grammar for those of drawing,” as he noted in his memoir.  With the endorsements of Albertoni and an architecture professor, Luigi Berlia, he successfully enrolled at the Accademia Albertina Academy, Turin’s most prestigious fine arts school.  But his struggle to become an artist was only beginning.  Since his parents could not afford tuition, he registered as a scholarship student, attending night classes and working as a sign painter during the day.  Tragedy also struck: two older brothers died of cholera and typhus.  Stung by grief, his beloved mother became ill and died as well.  When his father moved back to Moncalieri, Juglaris was truly on his own.   

What’s in a Name?
Tommaso Juglaris’s family name (pronounced U-glar-us) is often a surprise and puzzlement to many because it may not look or A youthful Juglaris in a sailor's jersey, as identified by his family--courtesy of Archiv Ascanio Trojanisound Italian to the eye or ear.  However, not all Italian names end in a vowel as Americans often suppose.  Northern Italians, especially in the historic Savoy region straddling Italy and France, frequently have surnames that reflect a diverse heritage.  In Italy, the Juglaris name is sometimes styled as “Iuglaris.” Another extinct variant is “Giugularis.”  According to a current descendant of the Juglaris family, Ascanio Trojani, “Juglaris” derives from the Latin word Jugularis or Jugulum, meaning neck or yoke.  As Trojani notes: “In classic heraldry, the yoke is a symbol of union, devotion, patience, hard labor and submission to the king.”  Among Tommaso Juglaris’s possible ancestors is Aloysius Juglaris, a seventeenth-century Jesuit priest and prolific theological author, who was entrusted with the education of the young Prince Charles Emmanuel II, future Duke of Savoy.

In later years, just after Tommaso Juglaris arrived on American shores to pursue his career as an artist here, his surname impressed Americans more used to names from the British Isles, Ireland and Germany. The American humor magazine, Puck, noted wryly on November 21, 1883, that “there are two artists in Boston named Tommaso Juglaris and I.M. Gaugengigl. We don’t know how these gentlemen may paint; but we are betting large money on their glorious and undying fame; for if they don’t get it, there is no virtue in a name, and an artist may as well be born O’Brien at once and stick to it.”