Raffaele de Vico: Everywhere, but Hardly a Household Name

A dapper de Vico, appropriately in the bushes

If you're headed to Rome and been brushing up on your Rick Steves, you'll have read about Michelangelo, Borromini, Caravaggio, Piranesi, Bernini and a dozen other luminaries of Rome's art and architectural past. Maybe even Marcello Piacentini, who was the creative force behind EUR on the city's outskirts, or Luigi Moretti, who designed several of Rome's best modernist buildings.

A name you won't find in the index to your Blue Guide is Raffaele de Vico, though in your week or two in Rome you'll probably experience more of his work than that of any of his much more famous counterparts. Before Palazzo Braschi gave de Vico his own show in the spring of 2018, we had never heard of him.  And now, for us, he's everywhere.



Raffaele de Vico (1881-1969), an architect, designed a few buildings and other structures in Rome, but none are notable--indeed, none are "tourist attractions."  One that we've always liked--we've been by it hundreds of times and wondered what it housed--is a serbatoio (literally a tank--a building housing a waterworks) --in via Eleniana, a few steps from Porta Maggiore.  It was completed in 1934.



Another, in the famous Verano Cemetery, is an impressive memorial to those who died in the Great War.  We've been in the cemetery more than once, but because it's so large--or because the architect in this case is not so well known--never had it pointed out.

Great War monument, Verano Cemetery

Monument to the regions of Italy, never built.

De Vico also designed (1944) a spectacular monument to the regions of Italy, which--had it been constructed (if it could have been constructed)--would have
been off-the-charts cool.







There's a hint of de Vico's future importance early on, when as a youth he became interested in plants.  Yes, plants.  At the Academia di Belle Art di Roma, he studied classical plants with Giacomo Boni while pursuing a degree in architecture. For a while he worked with many other professionals on the monument to Vittorio Emanuele II, making important friends and contacts, including sculptor Adolfo Cozza.  In about 1913 he was appointed professor of architecture at the Liceo artistico di Roma, while exploring "green" (plant-related) projects.

Impressive neo-classical serbatoio, Villa Borghese

After serving four years in a non-combat role in World War I, in 1920 de Vico took up residence in a house in Villa Borghese, where he lived the rest of his life. The Villa is the site of another of his few buildings--a second serbatoio, and an impressive one.










De Vico completed his degree in architecture in 1923, then (1924) took a position as a consultant to the city's garden services agency. Marcello Piacentini nominated him to be general advisor for the EUR gardens, and he was appointed in 1940. He served as head of EUR garden services from 1955 to 1961. In 1950, he and others founded the Italian Association of Landscape Architects.

And that's why you'll see so much of de Vico as you tour the city.  As a landscape architect (and perhaps to a lesser extent, as an architect), he had a hand in designing and planting dozens of Rome's piazzas, boulevards, and parks, as well as some of its hills and "mountains." He landscaped Parco Savello (better known as Garden of the Oranges) on the Aventino (1931). He was involved in the restoration of Villa Sciarra (1930). He worked on Piazza Bologna and Piazza Verbano (1930), on the Piazza Sempione gardens in Monte Sacro (1926), on Piazza Monte Grappa (in della Vittoria, 1930), and the still-lovely Parco Virgiliano (in the Trieste quartiere).

Parco Virgiliano

He drew up some elaborate plans for Monte Mario (1951), though most of his ideas were never realized:

He is also credited with designing Testaccio Park, though, having been up Monte Testaccio, it's hard to see that any of his contributions remain.

Carlo Montani painting of Testaccio Park, 1935

Several of de Vico's "creations" are specially notable.  One is his contribution to Colle Oppio, the hilly area just across from the Coliseum. If you're near the Coliseum it's worth trekking the few paces up the hill--and especially so these days, when volunteers have been cleaning things up.

Montani, Colle Oppio, looking toward the Coliseum

The fountain in Parco Cestio (below)--part of the Colle Oppio--is attractively designed and remains a favorite spot for sitting and relaxing:

View of the Coliseum, fountain in foreground

Here's de Vico, photographed while supervising the the installation of the fountain (1939): 

Then there is the landscaping along viale Carlo Felice, which runs east from the basilica

Viale Carlo Felice (right) and adjacent park, 

of San Giovanni in Laterano. Today it's a favorite place for itinerant merchants to lay out their
wares.

The charm of Piazza dell'Indipendenza (charming despite a taxi lane running through its center, replacing the trolleys of yesteryear) is indebted to de Vico's skills. It's close to the Termini station. There's a nice cafe in center of the piazza, which somehow seems immune to the traffic.

Piazza dell'Indipendenza, then with trams

De Vico also did significant "green" work on Villa Glori, on the city's north side, including the viale dei Settanta, in the Parco della Rimembranza (1924) and a reconstructed portal of Villa Capponi on via Flaminia at the entrance to the viale dei Settanta.

Villa Glori, viale dei Settanta, as it looked in 1924

One of de Vico's greatest achievements is the design and landscaping of Piazza Mazzini, and the intersecting Viale Mazzini, both completed in 1926. The sculptures that grace the marvelous fountain in the piazza were done by someone else. The fasci--the symbol of Mussolini's Fascist regime--remain.

Piazza Mazzini, 1926 and, above, painting by Moldani, 1935

Lots of de Vico to see in Rome--if you know what you're looking for, and at.

Bill

"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.

Wall Walk IV: Porta Portese to the Gianicolo, or Brian's Lament

Our friend Brian was in town, and we somehow convinced him to accompany us as we pursued our

Porta Portese.  A good place to get run over.  

goal of walking the length of the Aurelian wall--in this case, a segment that begins at Porta Portese and ends on the Gianicolo at Piazza Garibaldi  In retrospect, it's not the most inviting portion of the wall - at least the first part; there seemed to be more trash and ugliness around than usual, though the former is endemic to Rome. [Update - here's a Google map that includes the itinerary.]

We gathered at Porta Portese, on the inside of the wall, and walked through.  On your left, on any day but Sunday, when the market takes over, is the beginning of a quarter mile of shack-like shops, all dedicated to 2-wheeled vehicles: bicycles, scooters, and motorcycles.

A Barberini Pope.  Below, the date--looks
like 1644; Pope Urban VIII's (a Barberini)
papacy was from 1623-44

You can explore these if you like, but the wall goes right--we're on the outside now--bumping along viale delle Mura Portuensi, past a substantial pile of detritus and a handsome, if worn, papal symbol--nicely dated, too--to Piazza Bernardino da Feltre.

Looking back from across viale di Trastevere

There, looking right, one can observe the inside of the wall.  Here the wall disappears as it crosses the busy viale di Trastevere, but it's easy to find on the other side next to an unassuming structure of ca. 1970 vintage.  The photo here was shot on the other side of the viale, looking back.

Your climb begins here, along viale Aurelia Saffi, the outside of the wall on your right, hugging Villa Sciarra.  If you've tried the stairways walk in our latest guidebook, Modern Rome, you're in familiar territory. There are some ragged sections of the wall here, but some handsome and powerful ones, too.  Having gone around the corner of the Villa, enter the park at the first entrance on your right--narrow but suggestive.  The Villa is large and fascinating, with lovely paths and intriguing structures.  Much of the best stuff is to your right, near the portion of the wall you've already seen from the outside.

Detritus in Villa Sciarra.  Someone had a party.

But, in pursuit of new wall, we're going left, into a scruffier section.  If you poke around, you'll find a short staircase down inside the wall--and your familiar pile of Roman trash.

"Are these people crazy?"

Following the wall takes one into what appears to be a maintenance area--cars and vans, overgrown bushes, and so on.  Brian is wondering what he's doing here.  Further on, there's a reward: a handsome fountain, vintage and author unknown - though there are rumors of a Bernini satyr fountain in the villa, perhaps this is it.

Reward for hard work

Porta San Pancrazio, from Bar Gianicolo

Exit the park at your first opportunity and follow the outside of the wall as it enters an open space known as Largo Minutilli, with its complement of handsome pines--and an SPQR plaque from 1649. Ahead, the wall bends right--via Carini is on your left, and the automobile traffic from it can be intimidating--with Porta San Pancrazio just ahead, and, just before you get there, one of our favorite places to snack and drink: Bar Gianicolo.  The porta is a handsome one, featuring the shield of Pope Pius XI, who rebuilt it after it was damaged in the 1849 battles between Garibaldi and his followers, who were holding out inside the wall, and the French armies, defending the papacy, attacking from the outside.  The French won, delaying the creation of a unified Italy.

Views, finally; these from in front of Acqua Paola,
looking across the Spanish Academy to much of Rome
beyond.

The combat up here was intense and bloody--we've written about it in a chapter of Rome the Second Time--and the battle can be followed in considerable detail in a fine new museum inside the porta.  Instead, we took our companion Brian down via Masina--to the right of the porta--past the McKim, Mead and White building housing the American Academy [1913], then sharply left to the Acqua Paola Fountain, which hovers dramatically above the city (and came in at #19 in our RST Top 40).

Evidence of water tank

Brian asked to be carried the rest of the way, but we refused.  Returning to the porta we took a hard left through the opening--picking up the wall again, now inside,  On the left, a building, possibly designed by Michelango, that once housed - and may still - a "serbatoio"--a water tank.  The inscription is of interest: Gianicolo Storage Tank, 1941--and, nearly erased, XIX E.F. [year 19 of the Fascist Era]. Further on, on the right, a curious statue to Ciceruacchio ("Chubby"), a working-class martyr to the Garibaldini cause.  The statue is curious in part because it is out of place here.  It was recently moved to this spot.   A hundred meters of London plane trees track the Aurelian wall here (you're on top, and inside).

Bruno, kissed

Then the statue to Giuseppe Garibaldi (bear in mind we are now in what can only be called a Garibaldi Theme Park) and, just beyond, a humbler piece of work honoring Bruno Garibaldi, rather charmingly decorated on this day with a kiss.  We are crossing perhaps our favorite spot in Rome, the top of the Gianicolo.  We are not alone in this preference, of course.




Our destination, the end of our wall walk for today,  is just ahead, down the hill towards Prati. Fittingly, it's another Garibaldi, and this one is a woman: hard-riding, gun-toting Anita Garibaldi, wife and companion to Giuseppe. The Annie Oakley of the Risorgimento.  We're not making this up.    Bill

Anita 

eBook Launch (and now in print too!): MODERN ROME: 4 GREAT WALKS FOR THE CURIOUS TRAVELER

Bill and Dianne are pleased to announce the publication of their eBook, Modern Rome: 4 Great Walks for the Curious Traveler (Curious Traveler Press).  It is available for download on Kindle (and for other devices using the Kindle app) at amazon.com (click on the cover at right). $1.99
UPDATE: Now available in print from all major booksellers, including amazon.com

We offer four new, alternative Rome walks, all outside the city’s tourist core, all easily accessible by Metro or tram, and all in neighborhoods where Romans live and work.  As the readers of our blog have put it, "Rome with the Romans." 



Entrance to Garbatella, early 1920s

“Garbatella—Garden City Suburb” is a guided tour through one of the world’s most engaging and mysterious planned communities, a 1920s creation featuring curving streets, enchanting stairways, interior courtyards, and some of the most unusual public housing ever built.

Fascist-era spectacle at the Square Coliseum

“EUR: Mid-Century Spectacle” features a dramatic locale, now a center of Rome’s business community, but planned and constructed in monumental style to celebrate the 20th anniversary of the 1922 Fascist March on Rome.

Zaha Hadid's MAXXI

On the opposite end of the city, a walk through Flaminio introduces Rome’s sensational 21st-century, Starchitect-designed cultural centers, and across the Tiber, the suggestive site of the 1960 Olympic Games, the Foro Italico, a virtual “Mussolini theme park” built by the Duce in the 1930s.

A medieval-style tower, in the heart of Villa Sciarra

A fourth, stairways walk begins in Trastevere’s back yard, winding up, down, and around Rome’s 8th hill, the Gianicolo, traversing a 17^th-century villa, a compelling 1941 monument to the Italian unification movement, and one of the smallest, and most charming temples in all of Italy.

Modern Rome is available now for Kindle at the Kindle Store at Amazon.  It will soon be available in several other formats, including iBooks (through iTunes), Nook (through Barnes and Noble), and through Smashwords.  You can also download the book onto an iPad or iPhone through Amazon’s Kindle Store, using a Kindle app on your device.  Modern Rome features more than 100 hyperlinks, 63 photos, and 4 detailed maps.   $1.99 in all formats.