Villa Altieri - "one of the most prestigious" 17th-century villas in Rome - hiding in plain sight

 Villa Altieri is one of those "Rome the Second Time" places in the middle of Rome rarely visited by the individual, and only occasionally by groups. Last year we encountered it only because we were interested in an exhibit featuring artists' responses to the Resistance in World War II (more about that in a later post). We had no idea of the place to which we were heading. What we found was a magnificently restored building, the kind of restoration for which few can match the Italians, and the layers of Rome that consistently surprise and delight us. At viale Manzoni 47, it's just steps from the Manzoni Metro A stop , on the edge of the Esquilino quartiere.

Above, the monumental entrance to Villa Altieri. Today one enters on the ground floor, beneath these grand staircases.

The palazzo is a 17th-century building. Pope Clement X (1670-76) was an Altieri, giving the family money to build this villa on top of an earlier structure.

The main hall of the ground floor of Villa Altieri has exposed "scavi" - excavations - from the earlier villa and from Roman times.

A collection of antique statues and other works is well-displayed in the various rooms. It's described as a small museum for the "prestigious" collection of the families that owned the property. Through the glass floor (a little disorienting when one first walks on it) one can see the "ancient" cobbled floors of the prior villa and the "archaeological stratifications" discovered in the restoration work.

That's me, focused  on the art exhibit. You can see the glass floor beneath my feet and some of the statuary in the hall.

A little of everything - the glass floors with
ruins below, a statue from the museum's
collection, a view out to the gardens, such
as they remain, and, center right, a painting
of Antonio Gramsci from the
 Resistance exhibition.

The city of Rome acquired the villa in 1975 and began restoring it in 2010. It's now the city's headquarters for "Culture and Historical Memory," with an archive open to the public that includes the Library of the Metropolitan City with the Historical Archive, the Study Center for literary research, linguistic and philological Pio Rajna , with the Dante Historical Library. (I'm using the site's English translation - links provided). 

The "museum" supposedly has visiting hours, but the website is woefully out of date. I suggest going when there is an event or exhibit and one can be more sure of it being open and accessible.

Facebook may provide the most up-to-date information on opening days and times. Specifically "Amici di Villa Altieri" here. It shows current events and exhibits. (Don't be misled by the Palazzo Altieri elsewhere in Rome or the Villa Altieri hotel in Albano.) 

On the other hand, the villa is so accessible, you can try simply stopping by. It's a lovely site, quintessentially Roman, with surprises from many eras.

City website on the villa here: https://www.cittametropolitanaroma.it/homepage/elenco-siti-tematici/villa-altieri/

A print - with description - from the Stanford collection here: https://web.stanford.edu/group/spatialhistory/vasi/catalog/appendix/vn195.html

Description of a bas relief with Mithras, here: https://www.mithraeum.eu/monument/475

Dianne

(Part Two of Villa Altieri - the exhibition of Resistance art- will be the subject of a subsequent post.)

Palazzo Barberini Opens Up with Show Juxtaposing Renaissance and Contemporary Art

Giulio Paolini's contemporary "Eco nel vuoto" (Echo in the void)
 in the same room as Caravaggio's "Narciso" (Narcissus) (1597-99) (also below right).

Palazzo Barberini - that staid old lady in the Centro housing major Renaissance paintings and sculpture - has something new to offer. Following an accord between the Ministers of Cultural Heritage and Defense, the entire South wing of the building, comprising 10 rooms and a small chapel, has been turned over to public use.

From 1934 until this agreement in 2015, the "circolo" - or social center - for the Armed Forces occupied these rooms, perhaps not their highest and best use. We saw some of these odd uses when we highlighted the grounds of the Barberini in a 2014 post. Pursuant to this unusual agreement, the Defense Ministry contributed almost €2 million (about $2.3 million). And they get to use the rooms for 40 days/year - for "reasons of high representation."

That curious story aside, the rooms are magnificent and the opening show - which closes at the end of this month (Oct. 28), is a great one with which to open the South wing. Titled Eco e Narciso ("Echo and Narcissus"), it's a creatively curated matching of Barberini Renaissance works and contemporary pieces. I admit, I'm a sucker for that type of juxtaposition dating from when I saw a show entitled "Antiques in the Modern Home" - or something like that - in the Palazzo Strozzi in Florence in the 1960s.

Bernini's sculpture of Pope Urban VIII flanked by Yan Pei-Ming's
paintings of Pope John Paul II (2005) and Mao (1999?)

Paired for example are Gian Lorenzo Bernini's sculpture of.Pope Urban VIII (Cardinal.Francesco Barberini) with paintings of Pope John Paul II and Mao by Yan Pei-Ming; Renaissance paintings of women with Kiki Smith's sculptures; a room richly frescoed by Pietro da Cortona with Luigi Ontani's "Le Ore" ("The Hours").

Ontani's "Le Ore" (1975) in the large salon with
 da Cortona's ceiling fresco, "Allegory of Divine
 Providence"  (and Barberini Power), 1633-36.

The theme is portraiture and self-portraiture, and certainly Ontani about whom we've written before, fits the "Narcissus" theme.

Signature works by Caravaggio and Raphael are also prominent in this show, which features 19 more masterpieces from the collection of the Gallerie Nazionali, in dialogue with 17 contemporary works from MAXXI or loans, with three works realised for the occasion (including 2 for which there are photos here - by Giulio Paolini (top photo) and Yinka Shonibare (last photo).

Ontani again.

The juxtaposition of works was created by a Renaissance art curator and a contemporary art one: Flaminia Gennari Santori, of the Barberini/Corsini galleries, and Bartolomeo Pietromarchi, director of the 21st- century MaXXI Arte.  There's another piece to the show at MAXXI, featuring one Renaissance and one contemporary work.

Kiki Smith's "Large Dessert" (2004-05) against the backdrop of female portraits
by Rosalba Carriera and Benedetto Luti (both late 17th to early 18th centuries).

After the current show closes, the entire collection will be re-arranged. For those familiar with the Barberini, this likely is welcome news.  For those of us who visit intermittently, we probably won't notice the difference, except for one change - visitors now will enter on the Bernini stairs and descend on the magnificent Borromini stairs (left), until now closed to the public.  

More pictures of the show below. 

Dianne 

Pierre Subleyras, "Nude from behind," 18th century, paired with
Stefano Arienti's piece below.

Arienti's "SBQR, netnude, gayscape,
orsiitaliani..." 2000.

Yinka Shonibare's "The Invisible Man" (2018) with Marco Benefial's "Portrait of the Quarantotti Family (The missionary's family)" 1735.

Finding a link to Rome in a Sienese Renaissance painter - The gold of Giovanni di Paolo

The Rome connection here is a bit of a stretch, but the art of Giovanni di Paolo (1399-1482)-  currently the feature of an exhibition at The Getty Center in Los Angeles - is so astounding, I couldn’t pass up writing about it.

Giovanni di Paolo’s 1427 altarpiece for the Branchini Chapel in Siena is deservedly considered his masterpiece.  Even the jewels in Mary’s crown are still intact.  The gold that di Paolo, primarily a manuscript illuminator, distributes in this central panel of the altarpiece warrants the title of the exhibition, “The Shimmer of Gold.” 

Note jewels in Mary's crown.

The painting (above, top), and one smaller one that likely was part of the altarpiece, belong to the Norton Simon Museum in nearby Pasadena.  The Getty is exhibiting it, and several other related pieces owned by the Siena Pinacoteca and a Dutch museum, because of its work in restoring the work.  The Getty shows us the various pieces together and speculates how they might have been mounted in the San Domenico church.

The shimmer of the gold is impossible to ignore
(photo taken by Bill at The Getty Center).

The exhibition takes note of di Paolo’s influences, particularly the “master” Gentile da Fabriano, with whom some suggest di Paolo may have worked on the altarpiece.  And, now, for the Rome connection.  The name Gentile da Fabriano rang a bell with us, not because we know so much about Renaissance art, but because we have lived in a Rome apartment that is on Piazza Gentile da Fabriano.  

Piazza Gentile da Fabriano is across the Tevere at the end of
Ponte della Musica - the large, treed piazza in the center of
this photo (taken from Lo Zodiaco on Monte Mario).

Rome’s neighborhoods beyond the Centro are marked by thematic street and piazza names.  This neighborhood, Flaminio, features names of artists. We have lived nearby on via Pietro da Cortona.  And I wanted to rent an apartment one time simply because it was on via Masaccio, a painter I studied in college.  The art museum MAXXI's address, for another example, is viale Guido Reni.  Da Fabriano did set foot in Rome, unlike his student di Paolo.  Da Fabriano, who was from Northern Italy but also worked in Siena, where he influenced di Paolo, painted in the nave of Rome's San Giovanni in Laterano, paintings destroyed in a 1600s’ “restoration” of that basilica.  Da Fabriano died in Rome, and there is evidence he might be buried in Santa Maria in Trastevere.  That’s it – the tenuous Rome connection of Giovanni di Paolo through his mentor Gentile da Fabriano.

Gentile da Fabriano's The Coronation of the Virgin, about 1420, The J. Paul Getty Museum

Meanwhile, if you are in LA, don’t miss this lovely, small, beautifully curated exhibition that is on until January 8, 2017.  And if you can’t make it in person, there are photos of the works, and reproduction of the explanatory panels online.

The Shimmer of Gold:Giovanni di Paolo in Renaissance Siena, publishedonline 2016, the J. Paul Getty Museum, Los Angeles, California.

Dianne

RST Top 40. #27: La Farnesina - throwing gold in the river and other delights

"La Farnesina" - we even like the name... as in the "little, cutesy Farnese (family) palace...." And a pleasure palace it was for the Tuscan banker Agostino ("the Magnificent") Chigi who built it (1508-11) and the Cardinal Farnese who then bought it (1534), and for us now.

Standing relatively alone in its grounds, now restored, and housing wonderful frescoes by Raphael and his students, La Farnesina is a delightful place to experience Renaissance Rome. In the fresco of the Three Graces (below), the one with her back to us is attributed to Raphael. Chigi didn't have many years to enjoy his art; he died in 1520, 4 days after Raphael.

It's the locus of great stories too - like the wealthy owners who threw parties with gold and crystal tableware and then when finished with each course, ostentatiously threw them into the Tiber. But the rumor is that they had a net in the Tiber to get back their valuable glasses and forks and who knows what else.

This area of Trastevere holds other treasures as well, and is worthy of a few hours: the Palazzo Corsini across the way that holds part of the State's Renaissance art collection, complete in the grand palace where it was meant to be shown (off), and behind that, the lush Botanical Gardens that climb up the Gianicolo. All these have a relatively low admission charge.

La Farnesina and its sister sites are just a few steps from the crazy heart of Trastevere and just across the Tiber from the center of old Rome, yet they seem a world apart, and hence, make our RST Top 40.

The official website can be converted into English. See, e.g. this site on hours, etc. Generally 9 a.m. - 1 p.m. Monday thru Saturday (except when the Italian President is visiting, as he was one day we tried to enter).

Dianne

The Broken Pediment

For years we've been wandering around Rome, noticing a distinctive decorative form: a triangular pediment, usually over a door or a window, but incomplete. We wondered what it was.

Pediments (we were tempted to add "of course," but we just learned this) were a feature of Greek buildings as well as many structures built in the Renaissance. The Parthenon is the best example. In ancient Rome and in the Renaissance, pediments were also used as non-structural, decorative elements--what we observe here. In the photo above, of a doorway in Rome, the pediment is both "broken" (that's the technical term) at the top--that is, not completed--and "open" (another technical term) along the base of the triangle.

It wasn't long ago (and it may still be true) that the "broken" pediment was considered "decadent," an example of "excess"--that is, just plain bad taste. One of those criticized for using the form was Giacomo Barocchio (1507-75), who succeeded Michelangelo as architect of St. Peter's. A tough act to follow.

In New York City, the most famous, or notorious example of the broken pediment is Philip Johnson's AT & T building (now occupied by SONY), with its "Chippendale" top. This is one of the first "post-modern" structures--essentially a modern building, but with an 18th-century twist.

The facade of Santa Maria del Popolo plays with the concept of the broken pediment, the cornice doubling to suggest a broken pediment, its two parts potentially meeting (some say rather awkwardly) at the center window. Bill