A Tale of Two Libraries and Many Eras

The photos left and below right are from the same building - the Biblioteca Hertziana (the Hertziana Library and Max Planck Institute for Art History) - above the Spanish Steps in Rome.

They illustrate one of our great pleasures in Rome - the mixing of the old and the new, here the Renaissance and the contemporary with a bit of ancient Rome thrown in. The 'grotesque' mask-like exterior was created in the late 1600s by painter Federico Zuccari (for whom the Palazzo is now named), echoing the "Parco dei Mostri" outside of Rome in Bomarzo. 



As many times as we've been up the street - via Gregoriana - and in the piazza at the top of the Spanish Steps (Piazza della Trinita' dei Monti), we had never noticed this amazing facade.














Another library in Rome that inserts the 21st century into older buildings is the Biblioteca Universita' Lateranense (the Pontifical Library at San Giovanni in Laterano).

Above, its older entrance; left, inside the 21st-century library.

A close-up photo of a Zuccari fresco on science, illustrating
a graphic anatomy lesson.

We have spent years trying to get into the contemporary Hertziana during Open House Roma; there seemed to be no other way to see the inside (our emails and telephone calls for personal access went unanswered).  We finally landed a place in 2019's OHR, only to find first what we had not known existed - the 16th- century part of the complex that included Zuccari's frescoing inside the palazzo.

Tourists turn their backs on
Palazzo Zuccari's facade
in Piazza della Trinita' dei
Monti.

A Zuccari ceiling, painted 1590.

But we were there to see the 21st-century library, designed by Navarro Baldeweg and Da Gai architects, 2003-2012. It is magnificent.

Looking up through the glass lined walls, it feels like
one is looking at a James Turrell skyspace.

And, it can't be Rome without the discovery of ancient ruins, in this case the villa of Lucio Licinio Lucullo. The architects solved the problem of excavations delaying the library for decades by creating a "bridge" over the ruins so that the excavations could continue while the library was built and continues to be used. Also discovered were a ninfeo that was in the gardens of the ancient Roman villa.

Model of the Biblioteca Hertziana

Looking down from the library through the glass wall, one
sees some ancient ruins, part of a visual backdrop for the
library's entrance (at this point, being remodeled). This
area is just above the excavations, which have none of the
heavy library directly above them, just the airy space
going towards the sky.

And what would be a Roman palazzo today without a view? Those of us on the tour were treated to the rooftop terrace.

The fellows and employees of the Max Planck Institute
can take their morning coffee up here.

The Lateranense Library had long been on our wish list after architect Nathalie Grenon told us it was one of her favorite contemporary buildings. It too imposes a 21st-century library among older buildings. Architects King & Roselli (who also did the Radisson Blu in Rome) also use stepped floors to give incredible and sometimes vertiginous vistas of light and air to heavy library stacks and work areas. The library was built 2004-2006.

Modern entrance to the Biblioteca Lateranense
with the older buildings of the Pontifical
University reflected.

And as a treat, across the parking lot from the Pontifical library is Borromini's Baptistry (below).

Dianne

"The Monster in the Garden": Luke Morgan Reinterprets Italian Gardens

The "Hellmouth"  - It was also a 16th-century dining room.   Parco dei Mostri, Bomarzo.

The "Hellmouth" of the Parco dei Mostri ("Monster Park") in Bomarzo near Rome seems simply a curious anachronism these days.  But in the 16th century, when the park was created, it projected dread, as well as pleasure.  "Pleasurable dread" or "fear followed by pleasure" is the better way to interpret both the Hellmouth and the other monsters of Italy's once famous early Renaissance parks, according to a new book by Luke Morgan, The Monster in the Garden.

The hellmouth is an ambiguous, hybrid structure, Morgan says.  It was used as an outdoor dining room.  And so, he posits, it's the scene of devouring (nourishment, pleasure) and being devoured (death, dread).  There is, according to this author, a theme of violence in the gardens that has been lost or downplayed by other writers.

Another fine monster in the Parco dei Mostri.

With Morgan's new approach to these parks, you too can re-visit them and enjoy them with fresh insights.  He approaches these "grotesques" or "monsters" as ambivalent or contradictory, rather than the "insipid idea of the garden" that has been the province of modern scholarship.  Morgan essentially reclaims the monster/grotesque as a complex, multi-valent figure, rather than simply "ugliness and horror," as Edmund Wilson described Bomarzo.

Focusing mainly on the "Parco dei Mostri" and Tivoli's Villa d'Este, the book is a trove of ideas for looking at their sculptures.  

Among Italian garden aficionados, it's common knowledge that Tivoli has the Rometta fountain, the personification of Rome, at one end, and Tivoli at the other.  Morgan adds to this interpretation by pointing out it's the metropolis at one end, the spa town at the other, another example of polarities.

The "Rometta fountain."  There are many Rome identifiers, including the Dea Roma (Goddess Rome), top center; the
Lupa with Romulus and Remus, above right; the boat fountain from Piazza di Spagna; and the Obelisk.  Villa d'Este, Tivoli.

"Fountain of Nature" - and what are all those spouts?
Villa d'Este, Tivoli.

A closer look at the...what?
animals? on the Fountain of
Nature.

He also identifies the range of bodily fluids fountains can represent: vomit, sweat, tears. He claims the Villa d'Este's Fountain of Nature - that we've always thought of as the many-breasted woman -  may not have breasts at all.  He says the idea that the fountain's many spouts are breasts may have developed only in the late Renaissance. Whatever she has - nipples, testicles, animals - there are too many, she's excessive, and so she is abnormal, he concludes. 

And he posits, maybe these are not breasts.

The leaning house in Bomarzo: the point between
good and bad.

In Bomarzo, Morgan also has an interesting take on the basic layout of the park.  He says no one is even sure where the entrance was, and so we don't know what the basic walking motif should have been: is it showing a false paradise (the little temple or 'tempietto') leading down into hell, or does the path end at this temple of divine love?  The tempietto in either case, he says, is a state of grace; the house that is distorted and leaning is a turning point between good and bad.  

Bringing up an old example of fake news, Morgan discusses the "false book of antiquities" that argued Viterbo was the cradle of an Etruscan civilization founded by a race of noble giants, surpassing Rome. He notes the park's fake Etruscan tomb that he calls a "deliberate ruin or 'folly' that even has a picturesque (fake) fracture."  In other words, this is a simulated ruin.

A fake Etruscan tomb - this one in Ariccia's Parco Chigi.

Looking for all the concepts Morgan discusses in his book could take one weeks.  Checking out just a few as one visits or re-visits these parks is intriguing, delightful, and good old-fashioned fun.  He has points to make about statuary in Rome as well, such as Bocca della Verita' ("participatory grotesque") and Bernini's Four Rivers Fountain in Piazza Navona (half-invented creatures).  And while he concentrates on Bomarzo and Tivoli, he also references Villa Aldobrandini in Frascati, Villa Lante in Bagnaia and Villa Farnese in Caprarola, both in northern Lazio; Sovana in southern Tuscany; and Florence's Medici Sculpture Gardens.

A threatening (and large-spouted) hybrid female in Villa d'Este.

I recommend Morgan's book for the sheer number of concepts he addresses.  In addition to the few mentioned above, others are: grotesqueness and monstrosity; the world as a giant human body (citing Leonardo); the giant or colossal mode; hybrids (usually female, reflecting male anxieties about the sexuality of women); Renaissance representation of more than one time at once; the role of the Fascist reinterpretation of the Italian garden (to privilege man, the rational, and the male).

Another Villa d'Este hybrid;
this one not so threatening.

A hybrid in Villa Sciarra, Rome (think she's a force for good?
 note the skull).  Once you start looking for these creatures,
they seem to be everywhere.

The full title of Morgan's work is The Monster in the Garden:The Grotesque and the Gigantic in Renaissance Landscape Design.  I saved writing it out until now because I didn't want to scare away lay people from the book.  Morgan also is deeply steeped in lit-crit and other theories. So you have to wade through references to Debord, Bakhtin, Benjamin, Foucault.  But is it worth it?  In a word, yes.

Another Hellmouth - this one in Villa Aldobrandini, Frascati.

And a fine small restaurant
after viewing all those
 monsters l'Ape 50, in Tivoli.

Luke Morgan, The Monster in the Garden: The Grotesque and the Gigantic in Renaissance Landscape Design, U. Penn. Press, 2016.

Dianne

Tourists enjoying the many spouts.  Villa d'Este.

Required shot of one of the gorgeous Villa d'Este vistas - sans monsters.

Etruria: the perfect day-trip from Rome, with the perfect guidance

At the 16th-century "monster park" - Bomarzo, near Viterbo, in Etruria

We now have a ready answer to "What's a good day trip from Rome?" - and it's Etruria... so let us explain what that is and why we have picked it.

The day trip question is one we're often asked, and we often have multiple answers, depending... on whether one likes beaches or mountains, small towns or urban museums, a day without tourists or the hottest spot in a large town, etc.

The covers to Mary Jane Cryan's latest book on Etruria in Northern Lazio, for day trips from Rome

Our easy answer now for those who want an authentic Italian experience and no or minimal tourists:  Mary Jane Cryan's Etruria.  Etruria is the area north of Rome once inhabited by Etruscans, and others before them.  Cryan draws a line between the towns of Vetralla, Tarquinia and Tuscania to form what she calls the Etruscan Triangle - a stunning area.  She has done us all a huge favor by covering the area in the kind of detail and enchanting stories one rarely finds in travel guides - no doubt because she has lived in the area for more than 20 years, and in Italy more than 50.

One way to enjoy Tuscania  (and, it's in Lazio, not Tuscany) -
from the patio of a hotel on the "new" side of town, looking over to the old.

Lago (Lake) Bracciano and the eel-dominated (in a good way)
town of Anguillara Sabazia

Her most recent book, hot off the press, is Etruria: Storie e Segreti (Etruria - Stories [Histories] and Secrets), as of now, only in Italian.  For those of you who don't want to slug it out in Italian, she has several other guidebooks.  I hesitate to call them guidebooks, because they are so much more than that.  But guide you they will, through Etruria, and they will lead you to much more than what most people go for - the Etruscan sites.  Most accessible, for those who are looking for a day or two in the region, is Cryan's, Etruria: Travel, History and Itineraries in Central Italy.  You will find wonderful itinerary chapters, such as "Mysterious Sites of Northern Lazio," or "Connoisseur's Guide to Viterbo," as well as personal stories, such as "An Old Palazzo in Etruria - the sequel." 

Her other books about Northern Lazio are intriguing as well: Travels to Tuscany and Northern Lazio, Vetralla - the English Connection, and Affreschi - Exploring Etruria. All are based on her own, in-depth travels and original scholarship.  At least one of these books is a "must have" if you are traveling in this area - and you should travel in it, imo.

Mary Jane Cryan's info can lead you to Italian spas where
you will find no tourists.  She "takes the spa" at least weekly,
she says.  So she oughtta know!

Check out Cryan's in-depth Web site, www.elegantetruria.com for ordering the books if you're not in Rome.  In Rome they are available at the few remaining English language bookstores, including Anglo-American, on via delle Vite, and Almost Corner, in Trastevere.  Or most Feltrinelli's.  

Dianne