Showing posts with label Horti Sallustiani. Show all posts
Showing posts with label Horti Sallustiani. Show all posts

Thursday, January 30, 2014

GARDENS OF SALLUST

HORTI SALLUSTIANI
The Latin writer Gaius Crispus Sallust (86/35 BC) had his Horti (villa with gardens) built here in an area formerly belonging to Julius Caesar. Its gardens were among the largest and richest of the Roman world
On the death of the writer it became property of his nephew Quintus and later of Augustus (27 BC/14). Since then the gardens remained in the imperial property and were enlarged and embellished many times
Many emperors chose it as their temporary home, as an alternative to the official residence on the Palatine Hill. Vespasian (69/79) stayed here often and Nerva (96/98) died here. The hard fighting that led to the victory of Vespasian's army took place here in 69
Adrian (117/138) and Aurelian (270/275) did some large restorations. The latter in particular built a PORTICUS MILIARENSIS, probably a complex of porch, garden and stables, where he used to ride horses. Other restorations were made in the third century
When in 410 there was the sack of Rome by the Goths, led by Alaric, who came right from the Porta Salaria (Salaria Gate), the Villa suffered serious damage and was never rebuilt, as Procopius wrote in the sixth century
The building seen today used to look probably similar to Canopus of Hadrian's Villa in Tivoli: in the center of the square, 14 meters (46 feet) below the present level, the remains have been excavated, resting on the hill behind and connected to other poorly preserved remains of buildings
The main part was a LARGE CIRCULAR ROOM (11.21 m - 36.7 feet - in diameter and 13.28 m - 43.5 feet - high), covered by a dome divided into wedges alternatingly concave and flat, a very rare pattern, found only in the Serapeum of Hadrian's Villa. In the walls there are three niches on each side, two of which were open as passages for side rooms. The remaining niches were closed a few years later and covered with marble incrustation, which also covered the walls. The floor was made of marble too, while the cupola and upper walls were decorated with stucco
There is also a RECTANGULAR VESTIBULE and other rooms
From the Villa comes the Sallustian Obelisk, now in front of TrinitĂ  dei Monti on top of the Spanish Steps, and its granite pedestal, now in the gardens of Aracoeli on Capitoline Hill. In addition, the marble relief so-called "Ludovisi Throne" and the great female marble head called "Acrolito Ludovisi", both at the Palazzo Altemps, maybe from spoils of war held in the nearby TEMPLE OF VENUS ERYCINA

Sunday, October 27, 2013

VILLA OF THE AURORA

CASINO DELL'AURORA
House of the sixteenth century on the site of the HORTI SALLUSTIANI belonging first to Cardinal Del Nero and later to Cardinal Del Monte, who was the protector of Caravaggio hosted by him in the current Palazzo Madama
Renewed 1621/23 for the Cardinal Ludovico Ludovisi
Expanded in the nineteenth century
It is all that remains of the buildings of the VILLA LUDOVISI with the Palazzo Grande now incorporated in the U.S. Embassy
GROUND FLOOR
ENTRANCE
Vault with "Janus quadrifronte"
HALL OF THE AURORA (Sala dell'Aurora)
Lovely temper "Chariot of Aurora" and, in a lunette a wonderful allegory of "Night" 1621 by Giovanni Francesco Barbieri aka Guercino (1591/1666) with decorations imitating architecture by Agostino Tassi (1578/1644)
It was inspired by the book "Iconology" by Cesare Ripa already published in 1593 and reissued in 1618 and it was the answer to the "Aurora" which had been painted by Guido Reni seven years before for the Borghese family in the current Palazzo Pallavicini-Rospigliosi
"Guercino creates a visual effect in the infinite space: he goes beyond the Carracci solutions of images within frameworks and conceives a vast, limitless and celestial light in which the chariot of Dawn suddenly appears. The full effects of light and shadow as well as the mobility of the air give emotional quality to the representation. Moreover the extreme freedom of execution gives sketchy effects to the whole composition, especially to the beautiful pastoral landscapes that break up the rigors of architecture. Compared to the balanced and composed interpretation of Guido Reni, Guercino's one announces the suggestions of aerial illusionism. Guercino's naturalist sensibility inspired by Carracci is particularly evident in the personification of Night, where she manages to infuse a feeling of sweet melancholy evoked by the moonlight of the night sky" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
ROOM OF THE FIREPLACE or OF THE LANDSCAPES
"Four Landscapes" Giovanni Francesco Barbieri aka Guercino, G.B. Viola, Paul Brill (1554/1626) and Domenico Zampieri aka Domenichino (1581/1641)
Ceiling maybe by Antonio Circignani aka Pomarancio (about 1568/1629), son of Niccolò Circignani
The landscapes were executed before the Aurora and it was perhaps the test case for the choice of the painter of the Aurora
ROOM OF THE CUPIDS
Ceiling with "Procession of Cupids" maybe by Antonio Circignani aka Pomarancio
PIANO NOBILE
ROOM NEXT TO THE ENTRANCE (Alchemic Cabinet)
In the vault "Jupiter, Neptune and Pluto with zodiac signs" 1597 only known work painted with oil on plaster by Michelangelo Merisi aka Caravaggio (1571/1610)
Audacious and breathtaking close-up perspective view, rich in mysterious symbolism where the three faces are probably Caravaggio's self-portraits. It was cleared from the layer of soot and virtually rediscovered only in 1990 after the revealing restoration by Maria Grazia Bernardini
"Caravaggio shows a deep grasp of illusionary achievements in northern Italy, with particular reference to Giulio Romano and his frescoes in the Palazzo Te in Mantua. The theme and the interest in the chemistry of Cardinal Del Monte gave rise to many controversial allegorical interpretations" (Caravaggio Monograph - Mondadori)
"Really it must have seemed incomprehensible the natural rendition of the bodies of naked men and animals resulting not from the timeless world of classical mythology, but from observation of concrete models chosen in the Roman streets: Jupiter, Neptune and Pluto have abandoned for a moment their clothes of Roman butchers, innkeepers and porters to climb a ledge and offer Caravaggio a new perspective from which he could look at the world of the ancient gods without any awe" (Vincenzo Farinella)
HALL OF FAME
Ceiling "Fame with Honor and Virtue" by Giovanni Francesco Barbieri aka Guercino with painted architectonical decorations by Agostino Tassi