Category Archives: Roma

L’ultimo Caravaggio

18 Saturday Jul 2020

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Martirio di Sant'Orsola Caravaggio's last painting410 years ago today, Caravaggio died in a tavern in Porto Ercole. This is about his last painting and the time I went to see the WRONG Caravaggio. I rarely use the words wrong and Caravaggio in the same sentence, but in this case it works.

A few years ago, I had an extremely Caravaggio’d out day in Roma.  After my visit to Galleria Borghese, I stopped in to see more Caravaggio works at Santa Maria del Popolo, then met a friend at Sant’Agostino to see the Madonna dei Pellegrini. Whew!  I ended up in a Caravaggio Coma and had the best day ever!

When my friend Romano heard I was going to Sant’Agostino, he immediately offered to meet me there.  I remember thinking this was odd, since I knew he had a full day.  As soon as we approached the painting, and he said ‘Questo è il collo più sensuale nella storia dell’arte /This is the most sensuous neck in the history of art’, I realized he was a fellow Caravaggio nerd.  This was, in fact his favourite painting.  Afterwards, we went to have caffè freddo and talked about Caravaggio for an hour!

Romano had recently been to Napoli and told me about a Caravaggio painting in a former church owned by a bank.  The bank bought the building and it came with the Caravaggio!  Whaaaaat!  I knew I had to see this Caravaggio if I was ever in Napoli.  The name or subject of the painting, and the name of the palazzo was not part of our discussion.

I usually fly home from Napoli, arriving in time to have caffè marocchino and a sflogliatella at the airport, then off I go.  2 days before my departure, I decided to arrive a day early, and spend 24 hours in Napoli.

One of the 4 things on my list to see that day was the painting Romano spoke about. I quickly googled ‘Caravaggio, Napoli, decomissioned church, bank’ and all results came to the painting ‘Sette Opere di Misericordia’/Seven Acts of Mercy’ located in Pio Monte della Misericordia.  All 4 of my ‘must see’ places were walking distance from Piazza Dante, and I booked a B&B appropriately called ‘Il Paradiso di Dante’.

Caravaggio Sette opere di misericordia Pio Monte della misericordiaI had heard of ‘Sette Opere di Misericordia’ but was not familiar with the location, where it has been hanging for over 400 years.  Pio Monte della Misericordia seemed to be a functioning church, so I suspected that something was off. I was not too concerned because it was earthshatteringly amazing, as you can tell by my happy photo.  I visited the 3 other places, ate lots of sfogliatelle and had an amazing day.  Read all about it in the post Un giorno a Napoli.

Returning to the B&B-and access to wifi- that evening, I looked it up again.  As I suspected, Pio Monte della Misericordia is a functioning church with an incredible history.  It turns out I went to see the WRONG Caravaggio!  If only all of my mistakes were this amazing!Pio Monte della MisericordiaThere are 3 Caravaggio works in Napoli.  The one Romano saw was Il Martirio di Sant’Orsola /The Martyrdom of St Orsola, Caravaggio’s last painting before his death, and only recently re attributed to him.  He may have even referred to it as ‘l’ultimo Caravaggio’, which would have been a helpful clue, but I did not remember that detail.Martirio di Sant'Orsola by Caravaggio in Palazzo Zevallos Stigliano

Palazzo Zevallos Stigliano was converted to a bank from 1898-1920 and now houses the Banca Intesa San Paolo Collection.  It was not far out of my way back to Piazza Dante, so I could have made it there if I had realized my mistake earlier.  Mannaggia!

The painting was commissioned by Marcantonio Doria, a young banker and collector from Genoa.  His stepdaughter was about to enter a religious order and take the name Suor Orsola (Sister Orsola).  Lanfranco Massa, the art agent in Napoli wrote to Doria on May 11, 1610 that the painting was finished but not yet completely dry, so he had put it out in the sun (bad idea!) and the varnish had gone a bit soft.  Massa also encouraged Doria to commission more Caravaggio works, as patrons were fighting over him and this was a good opportunity.

Caravaggio arrived in Napoli for the second time in October 1609.  Within days, his violent past caught up to him and he was brutally attacked by 4 armed men.  There were rumours he had been disfigured or killed.  His recovery was long, and he produced only 3 paintings during this time.  Sant’Orsola arrived in Genoa June 18, 1610.  Soon afterwards, Caravaggio set sail for Roma to finally receive a pardon for his murder conviction from Pope Paul V.  He died enroute in Porto Ercole on July 18th 1610 from a staph infection caused by the attack.Book cover L'ultimo Caravaggio, Martirio di Sant'Orsola

The subject of the painting, Orsola, and her 11 companions were captured by the Huns on the way back from a pilgrimage to Roma.  The companions were killed, but Attila the Hun was impressed by Orsola’s modesty and beauty.  She refused to marry him and he shot her with an arrow.  The painting captures the moment of action when the arrow strikes her. She is deathly pale as she looks down at the entry wound with a surprised expression, as if to say ‘Oh my….look…there is an arrow sticking out of my chest’.  The painting is looser and more impressionistic than usual, as if it was painted in a rush.  It is very dark, less chiaro, more scuro and does not have the divine light present in most Caravaggio works.  He was going through a difficult time, which is reflected in the darkness and mood of the painting.  One of the shocked bystanders behind Orsola is Caravaggio in his last selfie.

Caravaggio-Martirio-Sant-Orsola-2

The Doria estate eventually ended up in Napoli, bringing Sant’Orsola back home. In 1854, it was listed in the inventory of Giovanni Doria’s inheritance along with Palazzo Doria D’Angri. Caravaggio only signed one of his works. The Doria family owned this painting for 300 years-so long that over time the artist was forgotten. Oops!  Caravaggio’s influence and style defined painting in Napoli for several centuries.  During a 1963 exhibit in Napoli called ‘Caravaggio e Caravaggeschi’, Sant’Orsola was attributed to Mattia Preti (1613-1699), although several art historians believed it to be  Caravaggio’s work.  In 1973 Baronessa Avezzano sold it to Banca Intesa.

In 1980, in the Doria family archives, art historian Vincenzo Pacelli (1939-2014) found the letter from the agent which I mentioned earlier, confirming that Sant’Orsola was painted by Caravaggio. Finalmente!Martirio di Sant'Orsola Caravaggio's last painting

Palazzo Zavallos Stigliano is on Via Toledo 185, Napoli, not far from the Toledo Metro station.  Admission is €5. It is closed Mondays.  Hours Tu-F 10-18, Sat/Sun 10-20

Links: For more about the life and death of the Baroque Bad Boy – Caravaggio.

To recreate my Caravaggio coma day in Roma –Caffè con Caravaggio a Roma

I hope you found my convoluted story molto interessante!

Ciao, Cristina

Caffè con Caravaggio a Roma

09 Tuesday Oct 2018

Posted by in Art, Art history, Italia, Roma, Travel tips

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Caravaggio spent 14 years in Roma, and lucky for us, he left behind a lot of work. There are 23 capolavori-masterpieces by Caravaggio at 9 different sites in Roma, including 6 works that can be viewed for free! Si!  Free, gratis, senza pagamento. These 6 paintings are not in museums, they are still in the 3 churches they were originally painted for and have been hanging for over 400 years.  No entrance fee, no reservations or pre booking required, and usually no lineups!  The best thing about seeing artwork ‘in situ’-where it was created to be viewed- is that you can walk in and see the work where it was meant to go, just like someone in the 17th Century did.

It is possible to do a walking tour, visiting all 3 churches in a few hours.  As a bonus, along the way, this walking tour also makes 2 or 3 caffè stops.  If you missed my last post on the life of Caravaggio, read it here.

***Important Note before we start– the 3 churches on this wonderful passeggiata are primarily places of worship, so please be respectful.  Dress appropriately, speak quietly-if the artwork does not render you speechless, and avoid Mass times, especially on Sundays.  It may not be possible to visit during Mass.  There is no charge to visit the churches, but I always like to light a candle when I visit (€.50-€1).  You can also put €1 in a box to turn on the brighter lights if you need them to take a photo.

Andiamo!  Our passeggiata starts at Piazza della Rotonda, in front of the Pantheon.  It can also start at Piazza Navona, but I never miss the opportunity to visit the magnificent  Pantheon especially while there is still no entry fee.

Tazza d’Oro, Via degli Orfani 84

Facing away from the Pantheon, cross the street diagonally to the right and arrive at Tazza d’Oro, Via degli Orfani 84, known for their bitter roast caffè.  I seriously recommend ordering the granita di caffè!

Next, a short walk to the Baroque church of San Luigi dei Francesi, the national church of France in Roma.  San Luigi is open 0930-1245 and 1430-1830 daily, except Sunday the morning hours are 1130-1245.  Walk to the front of the church and on the left side is the Cappella Contarelli-Contarelli Chapel. Here you will find Caravaggio’s 3 paintings on the life of San Matteo-called the St Matthew Cycle in english. When 2 of the works were installed in 1600, they made Caravaggio an instant success. Roma had not seen painting with such intense realism and drama before.

The dark and mysterious Martyrdom of St Matthew is on one side of the altar.  I say mysterious because it is not clear who the murderer is.  Is it the slave offering his hand, the man fallen on the ground, or the shadowy figure lurking in the background with the face of Caravaggio?  Hmmm.  The Calling of St Matthew is on the other side, and originally a sculpture by another artist was to go above the altar in between them.  Since all other work seemed inferior between these 2 masterpieces, an altarpiece was commissioned from Caravaggio in 1602. This painting, San Matteo con l’angelo-St Matthew and the angel, is a ‘redo’.  The first version was rejected as it portrayed San Matteo as an old peasant with the angel moving his hand, as if he could not write.  The painting was destroyed in Berlin during WWII, and only black and white photos of it remain.

My favourite of the series is on the other side of the altar, The Calling of St Matthew.  This painting has the best ever use of shadow and light in a work of art.  A group of men are counting money in a dingy tavern room.  A brilliant beam of light coming from an unseen window symbolizes the light of God.  The shape of the shadow is in line with the finger of Jesus, pointing at Matthew the tax collector.  He is the one who has a ‘huh, who me?’ look on his face while he points at himself.  The pointing finger may be a reference to that other Michelangelo, looking like the iconic finger of God in the Sistine Chapel Creation of Adam. I always leave San Luigi in an overwhelmed but contented state of ‘Wow’.

Leaving San Luigi we go left and walk ~200m turning left at the brown sign for Sant’Agostino.  This was the first Renaissance church in Roma at Piazza Sant’Agostino, close to Piazza Navona.  It is open 7:45-12 and 16:30-19:30.  Here you will also find works by Raphael, Guercino and Andrea Sansovino.  In the Cappella Cavalletti, the first chapel on the left, is Caravaggio’s magnificent Madonna dei Pellegrini-Madonna of the Pilgrims (1605), sometimes called the Madonna di Loreto.

The Madonna is usually portrayed dressed in fine fabrics, seated and surrounded by cherubs and clouds.  In this painting, she is a beautiful but ordinary woman answering the door of an ordinary house in bare feet and holding a rather large baby Gesù.  The kneeling pilgrims have dirty feet.  If the Madonna looks familiar, she is the same model from the Madonna dei Palafrenieri (1606) discussed in my Galleria Borghese post. She is thought to be Maddalena ‘Lena’ Antognetti, a well-known prostitute, and possibly Caravaggio’s lover at the time.  These details were all quite scandalous at the time.  I was mesmerized by the beauty of this painting.  My Roman friend recently came with me to Sant’Agostino and I found out this is his favourite painting.  To quote  his comment  …..‘Questo è il collo più sensuale nella storia dell’arte‘-‘This is the most sensuous neck in the history of art’!

Our next stop is Caffè Sant’Eustachio a few blocks away in Piazza Sant’Eustachio 82. Operating since 1938, their caffè is pre-zuccherato.  They whip in a spoonful of sugar while making the caffè and it always tastes perfect.  A sign states that if you do not want sugar added, let them know in advance!  My favourite beverage is un marrone-usually called un marrocchino everywhere else. Every bar in Italia makes un marrocchino differently, but it is always delicious. Sant’Eustachio ties with the Aeroporto Capodichino, Napoli for the best!

The last church on this Caravaggio passeggiata is a father walk.  There are 3 streets leading to Piazza del Popolo, but I usually get back onto Via del Corso, the long shopping street that leads straight there.

If you are not yet sufficiently caffeinated, turn right on Via dei Condotti, Roma’s most expensive shopping street and, before reaching Piazza di Spagna, stop at #86, Antico Caffè Greco. Roma’s oldest and Italia’s second oldest coffee bar, it has been around and frequented by literary types since 1760. Byron, Keats, Stendahl and Goethe are among those who have enjoyed caffè here.  In my photo below, Caffè Greco is on the left, approximately below the flag.  Caffè Greco is in danger of closing due to the exhorbitant rents on Via dei Condotti!

Piazza del Popolo can be reached by Via del Babuino, Via del Corso or Via di Ripetta. Santa Maria del Popolo, Piazza del Popolo 12, was designed by Bernini and is in the north-east corner of the piazza.  It is open 0930-1230 and 1630-1900, except for Saturday when it is open 0730-1900.  At the front, left side of the church is the Cappella Cerasi-Cerasi Chapel where we find the last 2 Caravaggio works on our passeggiata.  Both painted in 1601, on the left is The Crucifixion of St Peter and on the right The Conversion of St Paul on the way to Damascus.  The work above the altar between them is by Annibale Caracci.  Both paintings have dark backgrounds with awe-inspiring light and colour on the figures, which take up the whole canvas.  In the Crucifixion, you can feel the pull and weight of gravity even pushing out past the borders of the canvas.

The second painting captures the moment from the Acts of the Apostles when Saul-whose job was to persecute Christians, heard the voice of God and was blinded by the light, falling from his horse.  In case the name is confusing, he later slightly changed his name and became the apostle Paul.  This painting was often criticized for the ‘horse’s ass’ taking up so much of the picture plane.

This is the end of the Caffè con Caravaggio for free walking tour.  Scusi for the poor quality map!  I will replace it as soon as I figure out how to imbed one.If you want to see more Caravaggio works—no problem!  This passeggiata can be extended from both ends!  From Piazza del Popolo, Galleria Borghese room VIII has 6 Caravaggio works and is an uphill walk or short bus ride away.  Unfortunately it is not free, and reservations must be booked in advance. Read about the booking process here. Galleria Borghese can be visited either before or after this walk-my recommendation is before. In the photo below, Santa Maria del Popolo is to the left of the gate, under renovation.  Via del Corso is straight ahead, and past the gate is the walk to Galleria Borghese.

Piazza del Popolo

Walking back down Via del Corso, just before Piazza Venezia, stop at #305, Galleria Doria Pamphilj. Here you can see 2 Caravaggio works, including his only landscape painting Riposo durante la fuga in Egitto -Rest on the flight to Egypt (1597). Galleria Doria Pamphilj also has an entry fee of €12 but does not require a reservation. Galleria Borghese, followed by the free Caffè con Caravaggio tour, then the Galleria Pamphilj will take up most of a day and leave you in a wonderfully warm and fuzzy ‘Caravaggio coma’! I hope you all have the opportunity to take this passeggiata some day.

Ciao e buon viaggio, Cristina

Caravaggio

23 Sunday Sep 2018

Posted by in Art history, Roma

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Caravaggio is one of the most brilliant and influential painters that ever lived. He pioneered chiaroscuro-dramatic use of light on a dark background and went for the ‘shock’ factor, really testing the boundaries for his time.  His life was as dramatic as his paintings and he was always getting into trouble with the authorities, drinking, gambling, brawling, sword fighting.  I have a few Caravaggio centered posts planned, so I will start with one about the Baroque bad-boy himself.

Michelangelo Merisi da Caravaggio (1571-1610) was born and studied in Milano. His family was from the town of Caravaggio.  He fled to Roma at the age of 21 after wounding an officer in a fight.  He found employment in the studio of Cavaliere D’Arpino, the Pope’s painter, and spent all his time painting ‘fiori e frutta’.  There is record of him being in hospital for 6 months early on in his time in Roma.  One of his earliest paintings is a self-portrait called ‘Bacchino Malato’ -Young Sick Bacchus.  His pale, yellowish complexion and bluish gray lips do not look healthy. He may have had malaria.  Caravaggio then went to work on his own and quickly developed a name as an artist, earning commissions from wealthy patrons.

Bacchino Malato (1593)

Caravaggio’s work was powerful and dramatic. Unlike other artists of the time, he worked directly from life onto the canvas without any working sketches.  Caravaggio worked quickly and produced a lot of work in his 14 years in Roma. Besides his use of light, dark and shadow, he also came up with dramatic compositions and intense realism…sometimes too intense.  He usually chose to paint the realism of the moment-the exact moment the action is happening. He showed life how it was, but his realism was often seen as graphic, vulgar and shocking.  He pushed boundaries and made people uncomfortable. Caravaggio used live models most of whom he found on the street, including 2 well-known prostitutes. He was frequently disputing with clients who refused to pay or insisted he redo a painting.

100,000 Lire Caravaggio banknote with his works ‘Buona Ventura’ on the front and ‘Canestra di frutta’ on the back

Caravaggio was always getting into trouble, but his name and wealthy clients protected him. In 1606, during a late night street brawl at a tennis court, he killed Ranuccio Tomassoni in a dispute over a prostitute.  Even having big-time patrons like Cardinal Borghese could not save him this time. He fled Rome with a death sentence and a price on his head.  He arrived in Napoli, where his influence and style defined painting in the city for the next few centuries.

In 1607 he went to Malta, hoping that the patronage of the Grand Master of the Knights of St John would help him receive a pardon from the Pope. He was welcomed and produces a lot of incredible art there.  Caravaggio was even inducted as a knight, but in 1608 seriously wounded another knight in a brawl and was imprisoned.  He escaped, was expelled as a ‘foul and rotten member’ and fled to Sicilia where he had a friend.  His behaviour grew increasingly bizarre.  He destroyed paintings at the slightest criticism and slept in his clothes fully armed. Caravaggio returned to Napoli after 9 months, to wait until he could return to Roma to receive a pardon.  In 1609 his dangerous lifestyle cought up to him.  There was an attempt on his life in a violent brawl and his face was disfigured.  There were even rumours of his death.

Davide con la testa di Golia (1610) Galleria Borghese

In 1610 he sent one of his last paintings Davide con la testa di Golia –David with the head of Goliath to his former patron, Cardinal Borghese, hoping he could convince his uncle the Pope to issue a pardon.  Caravaggio painted his own portrait as the gory severed head of Goliath, in a plea for mercy.  Soon after, he got on a boat heading north and ended up on the coast of southern Tuscany waiting for his pardon for the murder.  The pardon came too late.  He died in a tavern in Porto Ercole of a fever, infection from his wounds and heat exhaustion.  There were rumours he was poisoned, but Caravaggio likely also had lead poisoning from the lead in his paints. The homicidal genius was only 38 years old.

Poste Italiane 1960 stamp commemorating the 350th anniversary of the death of Caravaggio

In 2010, 400 years after his death, scientists think they may have cracked this ‘cold case’.  They are 85% sure that bones found in the cemetery in Porto Ercole belong to Caravaggio.  DNA evidence shows the age, height and date of death match, and they also did DNA testing of some long time residents of the town of Caravaggio and found there was DNA similarity.  The suspected bones also contained high enough levels of lead to drive someone mad.  More recent dental evidence shows that the main cause of death for the owner of these bones was a Staph infection, likely from the Napoli swordfight.  Sounds convincing to me!  Ciao, Cristina

*Image-Ottavio Leoni ‘Ritratto di Michelangelo Merisi da Caravaggio’ ca 1621. Biblioteca Marucellaria, Firenze.  Wikimedia Commons

Visiting Galleria Borghese

26 Sunday Aug 2018

Posted by in Art, Art history, Roma, Travel tips

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La Galleria Borghese was an opulent 17thCentury suburban home of Cardinal Scipione Borghese, nephew of Pope Paul V.  It was also home to his amazing personal art collection.  In 1808, Prince Camillo Borghese was forced to sell the Roman sculpture and antiquities collection to his brother in law Napoleon, for below what it was worth. 340 or so pieces, including the Borghese Gladiator from Ephesus are now in the Borghese collection at the Musée du Louvre.  The Borghese estate in Roma was sold to the Italian government in 1902 and turned into a museum and urban park.

Even though I go to Roma every year, I had yet to visit la Galleria Borghese. It requires booking tickets in advance, which is something I really do not like doing.  Prebooking interferes with my spontaneity!  I tried to book online 2 and 3 years ago when I had a longer time in Roma, but kept getting forwarded to secondary resell sites charging double the price, which really annoyed me.  This year, I decided to try booking a few days before my departure for Roma.

The Galleria is not that easily accessible. It is at the far end of Villa Borghese, a large (200 acre) urban green space. Buses #92, 217, 360 and 919 from Stazione Termini stop at the Galleria. The other most direct route is to take the Metro A line (red) to Flaminio, just outside of Piazza del Popolo. Enter Villa Borghese by the unmistakeable big gates and walk about ½ hour to Galleria Borghese.  Keep right until the bike rentals then left.  It is an uphill walk.  An alternative ….to avoid being late and losing the reservation, is to take the Metro to Flaminio and then take bus #61, 160, 490, 491, or 495 to the Galleria, or even a taxi if you are running late.  It will not cost much, then walk back to Piazzale Flaminio, as it is downhill or take a bus down.  Do not follow the ‘Villa Borghese’ signs at the Spagna Metro station.  These lead to a long underground walk, and then up an escalator to a random forested area in Villa Borghese-the park, nowhere near the museum!

Piazza del Popolo

Tickets must to be reserved. The price of admission is €13 plus €2 for the reservation fee, and if booking online, another €2 for the online booking site-Ticket One.  If using the RomaPass for admission, a reservation is still required. Domenica al Museo, the first Sunday of every month, admission is free, but a reservation is required and the €2 fee.  This is the website for Galleria Borghese.  Reservations can be made by emailing info@tosc.it or calling 39 06 32810 (dial 011 before this number if calling from North America).  I booked online, but had to register for an account with Ticket One, and enter my codice fiscale, which most visitors will not have. Ticket One charges an extra €2 booking fee, so my total cost was €17. I think booking by email is easier! Tours can also be booked with the reservation, but I prefer to wander on my own.  There are also independent tour groups that you can book, which include admission.

Bookings are Tuesday to Sunday for 2 hours, from 9-11am, 11-1pm, 3-5pm and 5-7pm.  The ticket office is in the lower floor-the central lower door in my photo- and you need to arrive 30 minutes before the reservation time or risk losing the spot.  This is not a convenient location to just show up and see if there are any last minute cancellations.  Security is strict and all bags, backpacks, helmets and selfie sticks must be checked before entering.  This includes purses.  Cameras are ok, and photos are allowed.  To rent the 90 minute audioguide (€5), make sure to pay before checking bags or carry pocket cash.

There are 360 reservations per 2 hour time slot. To spread everyone out over the 22 rooms, half of the ticketholders are directed to the Pinacoteca (picture gallery) upstairs and half to the main floor sculpture gallery.  It does not feel too crowded unless you happen to be in a room with more than one tour group.  I was worried about being rushed with a 2 hour limit, but I found it was enough time to see all of the works  It is not enough time to sit and sketch though. Do not forget to look up and admire the ornate painted ceilings and tromp l’oeil painting in every room. 

Cardinal Borghese considered himself an amateur architect and had an eye for art.  He was an early patron of Bernini and collected Caravaggio works.  He also had a knack for unscrupulously swooping in and getting a bargain.  For example, he acquired the Madonna dei Palafrenieri from Caravaggio in 1606 for a pittance when the patrons, the Papal grooms, immediately rejected it.

Madonna dei Palafrenieri. Photo Wikimedia

The painting is also known as Madonna and Child with Serpent or Madonna and Child with St Anne. Why did the Palafrenieri reject this incredible painting?  They did not like that their patron, St Anne, appeared as a passive old woman, nor did they like the Madonna’s ample cleavage, or the fact that Jesus was a naked older boy. There are 5 Caravaggio paintings in Galleria Borghese, all in one room! Some of you may know that I am a huge Caravaggio fan!

Gianlorenzo Bernini is also well represented in the Galleria Borghese with 4 early sculptures.  His Baroque masterpiece David capture the intense moment just before hurling the stone from his slingshot, while his body is twisting and he has a look of fierce determination on his face. 

Bernini’s realism is incredible, he has the ability to turn marble into flesh, as with Hades grip on Proserpina/Persephone’s back and thigh.

Bernini’s sculptures are so lifelike, he is known for attention to detail, such as sculpting the inside of his figures mouths and their tongues! This is really apparent on the figure of Daphne in the sculpture Apollo & Daphne seen below.  I love the way he portrays her fingers growing leaves and branches, roots growing from her toes, and her hair becoming leaves as she turns into a laurel tree.  Stay tuned for a post about this work.

There are countless other fabulous pieces in the Borghese collection, such as Paolina Bonaparte as Venus by Antonio Canova.  The upper floor has paintings by Raphael, Titian, Rubens and Antonello da Messina, to name just a few. I left the Galleria Borghese in a Caravaggio/Bernini art coma!  What did I do before going to have a rest?  Well, I stopped in at Santa Maria del Popolo after my walk down from Villa Borghese to see the 2 Caravaggio paintings there! Then I walked to Piazza Navona to meet a friend. We went to Sant’Agostino to see the Madonna dei Pellegrini then stopped to have a caffè freddo and had an hour long discussion about Caravaggio!  By that time, I was really in a stupor-a happy one, and I did go and have a much needed rest!

Have you been to the Galleria Borghese? What did you think?  Let me know in the comments.  Ciao, Cristina

Autunno in Italia

30 Thursday Nov 2017

Posted by in Firenze, Italia, Orsara di Puglia, Photography, Roma, Travel tips

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Returning from my short trip to Italia, as usual I was back to work the next morning.  This did not help with the cambiamento di fuso orario. I have so many posts to write, but now they will have to wait until after Christmas. Until then, here is a quick summary with some highlights from my viaggietto.  It was a bit of a blur….at 17 days, I think this was my shortest ever trip to Italia!

I had not been to Italia in autunno before. The fall weather was mostly clear and sunny, with a few days of serious rain. I envisioned myself having every piazza practically to myself….was I ever mistaken!  My first few days were in Roma the last weekend of October.  The Pantheon was packed with more people than I have ever seen in July! I could barely make it through the crowd to throw my coin into the Fontana di Trevi!  I found out that some European countries have their school midterm break around this time.  In Italia November 1st, All Saints’ Day, is a holiday and many Italians take ‘il ponte al primo novembre’, an extra-long weekend.  Even so, the guard at the Pantheon said ‘Qui non c’è bassa stagione’-there is no low season here.  My 2 partial weekends in Firenze were similar.  Smaller places, especially the seaside are quiet at this time of year, but the cities always have a lot of visitors, especially on the weekend.  Despite my utter shock at the hoardes of tour groups I was not expecting, Roma was glorious as usual. One day I want to spend a whole month in Roma.

Franco joined me for the first 9 days-this was only confirmed a week before leaving! He had not been to Roma in a very long time, so we decided to visit the Colosseo and Foro Romano.  I took way too many photos of this.  I was obsessed with the way the sunlight struck this green door on the Tempio di Romolo in the Foro Romano. The rest of the day involved a lot of walking. It was centered around a visit to Poggi to buy Fabriano Rosaspina paper for my art retreat, and meeting a friend in Monti.  We ended up doing everything on my Un Giorno a Roma itinerary and a few extras.

Monti

Spending just 4 days in Orsara di Puglia was a mad dash. This was not enough time to visit family and friends, so I greeted a lot of them in the street.  I heard the same phrase from anyone who was not expecting me ‘Ma sei fuori stagione!’. I guess I was out of season, but technically so were they!  It was hard to recognize people bundled up in their puffy piumini. November 1 is a holiday, and in Orsara also the festa Fucacoste e Cocce Priatorje.  In Italiano this would be Falò e Teste del Purgatorio (bonfires and heads from purgatory). Sometimes we simply call it ‘Tutti Santi’.  I wrote about the festa in this post, and now that I have been there myself, I will add photos or write a new post.  There were zucche and bonfires everywhere.  My balcony was decorated with zucche.  I took so many photos I am still going through them, but here are a few. 

Il fuoco e le zucche di Antonella e Domenico

The festa was absolutely amazing and also a moving, sprirtual experience-for me and 20,000 others. The weather was clear and crisp, but it was very cold at night.  My little casa has no heat, so I borrowed an electric space heater.  Brrrrr.

I encountered a lot of olives on this trip. It seemed every road near Orsara was full of parked cars and people with crates and olive nets.  I was not used to seeing the trees full of ripe olives!  I enjoyed spending a day at my Nonno’s olive grove. One evening we walked past the frantoio, the olive mill, which is always closed the rest of the year.  The divine smell of pressed olives lured me in.  I photo-documented the entire olive oil extraction process for a future post.  Then it was arrivederci Orsara until July.  Unfortunately, I missed my family’s olive harvest by one day, but I was able to pick olives in Gugliano.

Next was Firenze for 2 half days. I had not been for several years and it felt good to be back. A spectacular view was the reward for a long morning walk along and across the Arno to Piazzale Michelangelo. A torrential downpour started just as we arrived, so the return trip was very wet. I had to blow dry myself, then got back out in the rain to catch the train to Lucca.  We arrived in Lucca just as thousands of attendees were leaving the Lucca Comics and Games Convention.  For security reasons, the front of the stazione was closed off.  My ride was waiting out front, so by the time we got there, I looked like I had been through the spin cycle.  The imposing medieval walls of Lucca were barely visible through the rain and the mist.  Next came the bumpy half hour ride to Casa Berti near Gugliano for the Catalyst Art Retreat.

Casa Berti

Luckily a fire was waiting.  Franco was in charge of roasting castagne, then he caught the last train back to Firenze to fly home in the am. The retreat was wonderful and the location stunning.  My fellow artists were an inspiration.

My corner of the studio at Casa Berti, looking out over olive trees

Artist Mary Cinque working on a woodcut in the studio

The retreat ended with an exhibit at Villa Coloreda near Pietrasanta

I also found time to visit Lucca, pick olives and cachi, make limoncello cake with freshly pressed olive oil and finally try Bistecca alla Fiorentina.  Lots of material for future posts.

#cooldudesroma

So much for a ‘quick’ summary! I’ll end with a few notes about travelling to Italia in autunno:

-It may be ‘low season’ for airfares, but unless your destination is a small town or a seaside area, do not expect to be alone! This is especially true on weekends. In the cities, midweek hotel prices are lower, but they go up on weekends.

-Dancing around an almost empty Piazza Navona is possible……before 8am!

-The days are shorter.  It gets dark at 16:30 to be exact. Take this into account when making plans for the day.

-The weather can be variable. Even if the days are sunny, nights are cold.  Dress ‘a la cipolla’, in layers like an onion, and be prepared for rain too!

Il Ponte Vecchio 12 Novembre

Buon Viaggio, Cristina

Buon Compleanno Roma!

21 Friday Apr 2017

Posted by in Italia, Roma

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Roma’s turns 2770 years old today!  Auguri Roma.  The day of Roma’s foundation is called ‘Natale di Roma’.  You may be thinking… Christmas of Roma?  Huh? Christmas is called Natale in Italiano, but the word natale, with a lower case ‘n’, actually means birth-so today is the celebration of the birth of Roma. The exact date, April 21, 753 BC, was determined by Marcus Terentius Varro, a 1st Century BC Roman scholar.

According to legend, on this date Roma was founded by orphaned twins Romolo and Remo (Romulus and Remus in Latin).  Their dramatic story shares plotlines with those of Hamlet, Moses and Cain and Abel!  They were children of Mercury, God of War, and Rea Silvia, the daughter of Numitore, ex King of Alba Longa, which was 19 km southeast of Roma. Rea Silvia’s family were descendants of Aeneas, the Greek Trojan war refugee. Aeneas’ son Ascanio was the founder and first king of Alba Longa. Numitore’s brother Amulio ousted him.  To insure Numitor would have no heirs, Amulio killed his son, and forced Rea Silvia to become a Vestal Virgin. When the gemelli were born in 771 BC, Amulio ordered them to be drowned in the Tevere.

The servants who were to drown the babies set them afloat in a basket on the river instead.  They washed up near the Palatino (Palatine Hill) and were found and nurtured by a lupa (she-wolf) who had lost her newborn cubs. *Interesting note- at the time, the word ‘lupa‘ could also mean prostitute! Romolo and Remo were found by a shepherd, Faustilo. He and his wife Larentia took them in and raised them.

Romolo and Remo grew up to be leaders of a group of shepherd warriors.  When they found out that they were the true heirs to Alba Longa, they attacked, killed Amulio and restored their Nonno Numitore as king. Fresh from their revenge and still full of adrenaline, Romolo and Remo decided they would build a city of their own near where they were found by the lupa.  Romolo wanted to build on the Palatine Hill (where the Forum is) and Remo wanted to build on the Aventine.  They disagreed and fought, with Romolo accidentally killing his brother in the process.  And so began the long, bloody, politically charged history of Ancient Roma.  Romolo built the city on the Palatino and named her Roma after himself.

Gruppo Storico Romano organizes many festivities in Roma today, including a live reenactment of Il Natale di Roma at Circo Massimo.

Ciao e buon 2770mo compleanno Roma, Cristina

Hairstyling in Ancient Roma

31 Tuesday Jan 2017

Posted by in Art history, Italia, Roma

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villa-of-the-mysteriesOn a recent visit to Palazzo Massimo alle Terme, I walked the corridors lined with ancient Roman busts and was struck by the variety and realism of sculpted hairstyles. Many of them are so detailed, the hair looks like it is moving. Roman women originally wore their hair in simple styles with a circular band around the head, a bun at the nape of the neck or on top of the head. In Imperial Roma (1st -3rd C AD), hairstyles were always changing. Archeologists are actually able to identify and date coins and busts based on the hairstyle, which was often worn by the empress of the time.vibiasabina3

During the reign of Emperor Augustus elaborate updos for married women became fashionable, and really got big and complex in the Flavian and Trajanic eras. Clothing styles for women were simple, and unlike men, whose status could be reflected in their clothes, there was no special dress code to distinguish status. Women could only display their status, wealth and age via their hairstyles and jewellery. A natural hairstyle was considered barbarian, and implied a lack of both wealth and taste.  For Roman noblewomen, complex, unnatural hairstyles requiring hours of daily attention showed wealth and culture to the max. It was the job of slave hairdressers called ornatrice and their assistants to put hair up and take it down. Scenes of hairdressing and mirror-gazing were popular subjects in portraiture and reliefs, such as the 50 BC fresco from the Villa of the Mysteries in Pompeii.

Reticula (hairnet) of finely woven gold, found on Via Tiburtina, Palazzo Massimo. In behind is the poet Sappho wearing a hairnet, from a Pompeiian fresco.

Reticula (hairnet) of finely woven gold, found on Via Tiburtina, Palazzo Massimo. In behind is the poet Sappho wearing a hairnet, from a Pompeiian fresco.

Ornatrice curled hair in ringlets by wrapping it around a tapered bronze rod called a Calamistrum, which was heated in hot ashes or open flame. Hair was twisted, braided, curled, teased, wrapped and tied with cords or ribbons to bind around the head. Carefully arranged styles, braids and buns were stitched up with blunt bone needle and wool thread, held with wire, painted bone, ivory or jeweled hairpins and combs, and hairnets called reticulae of finely woven gold wire. Beeswax pomade was the only styling product available-the closest thing to hairspray they had!

My similated 'Ornatrice Toolbox' containing blunt needle and wool thread. hair piece and hair bodkin, leaf spring scissors, camel bone comb, beeswax and a 'calamistrum' which is actually my ring mandrel, but it is the right shape!

My similated ‘Ornatrice Toolbox’ containing blunt needle and wool thread. hair piece and hair bodkin, leaf spring scissors, camel bone comb, beeswax and a ‘calamistrum’ which is actually my ring mandrel, but it is the right shape!

Fanciulla Dormiente, Palazzo Massimo

Fanciulla Dormiente, Palazzo Massimo

Romans dyed their hair with everything from herbs to yucky potions. Hair was lightened with lemons, chamomile, henna, saffron, turmeric, baking soda, ammonia, and even pigeon poop. Hair was reddened with henna from Egypt or animal fat mixed with wood ashes. According to Pliny the Elder, hair could be dyed black by applying leeches that had been rotting in red wine and vinegar for 40 days. Yuck! Hair was also darkened with lead oxide, copper filings, or burned walnut shells and leeks. A paste of herbs and crushed earthworms was applied at night to prevent gray. Che schifo!

Women kept their hair as long as it grew, so styles were done with very long hair. Over time, all of this pulling, pinning, colouring, and frequent curling at high temperature led to hair thinning and damage. The only ‘hair products’ available were olive oil, honey and eggs.  As they got older, women often had to use hairpieces, extensions and wool pads to make their hair look thicker or longer. These were braided into existing hair, pinned, or sewn in with wool thread, twine or wire and a blunt bone needle. In extreme cases, a capellamentum or full wig could be worn. Busts were sometimes even made with detachable marble hairpieces so the style could be updated without the expense of commissioning a new bust.

Lucilla wearing a palla, Palazzo Massimo

Lucilla wearing a palla, Palazzo Massimo

Most adult Roman women wore a palla when they left the house. This was a long cloth wrapped around the body and draped over the back of the head as a veil.  A woman wearing her hair uncovered and loose in the street could be mistaken for a prostitute!

Bust of Livia, Palazzo Massimo

Bust of Livia, Palazzo Massimo

The ancient Nodus hairstyle was worn by Livia Drusilla, wife of Augustus and also his sister Octavia. The hair was parted in 3 sections. The side hair was tied into a bun at the back and the middle section looped back on itself like a pompadour and then braided to join the bun.

Plotina Pompeia, wife of Trajan, Palazzo Massimo. Her nodus is a high cascading ponytail.

Plotina Pompeia, wife of Trajan, Palazzo Massimo. Her nodus is a high cascading ponytail.

Fanciulla Romana, young woman with Hercules knot, Palazzo Massimo

Fanciulla Romana, young woman with Hercules knot, Palazzo Massimo

Roman women even tied their hair in knots.  Above  is a Hercules Knot, also called a reef knot or square knot.  Left over right, right over left!   Roman brides often wore a belt with a Hercules knot, which is where the phrase ‘to tie the knot’ comes from, but the hairstyle was not associated with marriage. Vibia Sabina also wore this style.

Agrippina Minor, Palazzo Massimo

Agrippina Minor, Palazzo Massimo

This partial bust of Agrippina Minor (15-59 AD), mother of Nero, found in Ostia has tightly curled short front hair with a diadem (tiara). We have to imagine the rest of the hairstyle, with a bun and ringlets in the back, coming over her shoulders.

Poppaea Sabina, Palazzo Massimo

Poppaea Sabina, Palazzo Massimo

Poppea Sabina (31-65 AD) the wife of Nero had a talented, hardworking ornatrice!  Her bust features two rows of interesting looped tight curls under the diadem and ringlets down the back.  Look at those fine little curlicues around her face.  They were probably held in place with beeswax pomade.hadrianicturban-copy

The Hadrianic Turban or tower hairstyle was like a turban of parallel braids that were sewn together on top of the head. This style was often worn by Vibia Sabina (88-137 AD) wife of Emperor Hadrian and can also be seen on the Egyptian Mummy portrait at the end of this post.

Vibia Sabina, wife of Hadrian, Vienna Kunsthistorisches Museum. Photo, Wikimedia commons

Vibia Sabina, wife of Hadrian, Vienna Kunsthistorisches Museum. Photo, Wikimedia commons

This back view of one of Vibia Sabina’s hairstyles is an absolute masterpiece- un capolavoro.  This sculptor wins the best stone hairdressing prize.  You can feel the weight of that massive coil of knotted braids on her head. The details are amazing, like the tendrils on the back of the neck, and that little curl beside the ear.

Faustina Maggiore, Musei Capitolini. Photo Wikimedia Commons

Faustina Maggiore, Musei Capitolini. Photo Wikimedia Commons

The hairstyle of Faustina Maggiore (the Elder) is another work of art.  It is like a French roll made with braids, then rolled into a coiled bun at the top of her head like a Jackie-O pillbox hat.

During the Flavian and Trajanic eras (late 1st, early 2nd C AD) the ‘orbis comarum’ or circle of hair with really big, tall front hair was in fashion.  A shorter fringe of tall tight curls or ringlets was piled high in the front, and braids wound into a big wreath bun in back. The big front hair was often curled, teased, and then sewn in place and supported by wires and padded with a wool pad or hairpiece.fonsecabust

The Fonseca Bust in the Musei Capitolini is a portrait of an unknown Flavian woman with the Orbis Comarum.  The front ringlets are sculpted using a hand drill.  Can you imagine making a mistake drilling one of those fine deep holes!  The back view of the bust looks like a straw hat on the head. That big front hair looks mega-teased.  It is amazing this was possible without hairspray! The side view is my favourite.  I love how you can see the origin of all the braids.

Fonseca bust, side and back view (the back view is of a plaster cast ) Photos Wikimedia Commons

Fonseca bust, side and back view (the back view is of a plaster cast ) Photos Wikimedia Commons

Flavian Woman, Museo Nazionale Venezia. Photo Wikimedia Commons.

Flavian Woman, Museo Nazionale Venezia. Photo Wikimedia Commons.

On this bust of an unknown Flavian era woman (75-100 AD), the small tight ringlets are sculpted with a hand drill. They almost look like fusilli!  The big front hair looks like it is being propped up by the ropes of braids, wound high on her head.

Giulia Domna, Glyptothek, Munich. Photo Wikimedia Commons

Giulia Domna, Glyptothek, Munich. Photo Wikimedia Commons

Giulia Domna (170-218 AD) the Syrian wife of Emperor Septimus Severus had a very distinctive hairstyle-and a nose similar to Lorenzo di Medici.  Great sculpted eyebrows too!  Her hair was twisted loosely in strands and draped around her face, then brought up the back of her head and sewn into a long, flat bun, which you can see in the side view.  I guess she didn’t have to move around much! juliadomna2

Female portrait, Centrale Montemartini

Female portrait, Centrale Montemartini

This lovely late 2nd C, early 3rd C AD partial Roman woman’s head was discovered in 1933, while Mussolini was constructing Via dei Fori Imperiali. Her front hair is twisted in small strands almost like Rastafarian corn rows to frame the face, and the back is twisted in a large, loose bun. She now sits in Centrale Montemartini in front of a caldaia -a giant boiler.

Exquisite mummy portrait in encaustic wax on wood panel, Hawara, Middle Egypt, 120 AD. Photo National Museum of Scotland

Exquisite mummy portrait in encaustic wax on wood panel, Hawara, Middle Egypt, 120 AD. Photo National Museum of Scotland

I hope you enjoyed this tour of Ancient Roman hair.  To see some of these styles recreated by a modern hairdresser, visit the youTube channel of Janet Stephens.  Ciao, Cristina

Palazzo Massimo alle Terme, Roma

16 Monday Jan 2017

Posted by in Art, Culture, Italia, Roma, Travel

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giardinovillaliviaOne of the best museums in Roma is nascosto in piena vista. Hidden in plain sight near Stazione Termini, Palazzo Massimo alle Terme contains one of the most important collections of classical art.  It is right across the street from Stazione Termini, visible from the bus loop on the way to Piazza dei Cinquecento. The first time I visited Palazzo Massimo was in 2006 when my friend who lives in Roma recommended it. There were only about 10 other people in the building!palazzomassimo

When I was in Roma this summer, it was too hot to be out in the afternoon, so I decided to visit the museum. This turned out to be a great idea, since the top floor with the mosaics and detached frescos is downright cold!  Brrrr!  It was so refreshing! There were more than 10 people in the museum this time, but I still felt like I almost had the place to myself.

Built by Principe Massimiliano Massimo for the Jesuit Collegio Romano, the Palazzo became the first Liceo (high school) in Roma in 1871. Except for a brief period as a WWII military hospital,l the Liceo was open until 1960.  In the 1980’s, in a state of neglect, it was purchased for the Museo Nazionale Romano.  Renovations were completed in 1998.  Palazzo Massimo is now 4 stories of classical amazingness.  700 years (200 BC to 500 AD) of Ancient Roman history, myths, artistic culture and everyday life are on display in the form of sculpture, fresco, mosaic, jewellery and coins.

Central Courtyard, Palazzo Massimo

Central Courtyard, Palazzo Massimo

What is extra cool about the artifacts in Palazzo Massimo is how they got to be there. Previous to the museum opening, most of this priceless stuff was in storage in the Roma city works yard!  In a city as old as Roma, anywhere you break dirt, something will be found.  During construction of the Metro, new roads, or any municipal work involving digging, artifacts were found, tagged and stored. Every piece in the museum has a sign with a written description in Italian and English.  In between the two is stated (in Italiano only) precisely where and when it was found, and in some cases by whom.  For example ‘Roma, Piazza Venezia, Construction of National Monument to Vittorio Emanuele II’, or ‘Subiaco, recovered by the Guardia di Finanza (revenue or tax police, involved in recovery of stolen artifacts)’.  Reading these signs is exciting because you may have walked over that very spot the day before!  Ok, maybe you won’t be as excited as me, but I am a total archeology geek so I find this fascinating!

The ground floor of Palazzo Massimo displays Greek originals discovered in Roma, such as The Dying Niobid, and the magnificent Pugile in riposo, the 2nd Century BC bronze Boxer at Rest, wearing leather hand wraps.  He is so realistic with his broken nose, cuts and deformed ears, you can feel the emotion in his face.

'Pugile a Riposo' Found in 1885 on the Quirinale Hill, where the Baths of Constantine once were.

‘Pugile a Riposo’ Found in 1885 on the Quirinale Hill, where the Baths of Constantine once were.

This floor also has a Roman calendar, portraiture from the Republican and Imperial ages, and sarcophagi, such as the sarcophagus of Portonacci with battle scenes carved in relief.statuarypalazzomassimo

The first floor (2nd floor to North Americans) has masterpieces of statuary, including the Maiden of Antium, Il Discobolo, a Crouching Aphrodite after Diodalses found at Villa Adriana in Tivoli in 1920, and the Sleeping Hermaphrodite.  There are also all the surviving bronze sculptures, fittings and a head of Medusa that decorated Caligula’s floating palaces, the Nemi ships.  These vessels were recovered in the 1920’s by draining Lago di Nemi, only to be destroyed by enemy fire in 1944.

Il Discobolo and a Crouching Aphrodite from Villa Adriana in Tivoli. Both are Roman reproductions of Greek originals

Il Discobolo and a Crouching Aphrodite from Villa Adriana in Tivoli. Both are Roman reproductions of Greek originals

The top floor takes us on an intimate tour of the domestic decor inside Roman homes. An amazing discovery was made right across the street in 1947, during the renovations to Termini and construction of Metro line B. It was a complex from 130-140 AD built in a grid system of private homes, public baths, warehouses, and apartments with shops at street level.  There was pavement and a functioning drainage system. It was all destroyed to make way for quick construction of the new buildings! Aaaahhh!  Luckily the site was well-documented so that the 270 m² of wall frescos and pavement mosaics that were preserved could be reassembled. Part of it is displayed here where 3 rooms of a Domus (Roman house) have been reconstructed to their original size.  Ironically, these rooms face a window looking out at where they used to be.

The 1948 photo from Palazzo Massimo of the site across the street. You can see that the mosaic is the same one that is now in the museum

The 1948 photo from Palazzo Massimo of the site across the street. You can see that the mosaic is the same one that is now in the museum

The Augustan Villa of the Farnesina was discovered in Trastevere in 1879 during work along the river.  The site has since been destroyed, but the vibrantly coloured frescoes were detached and stored for 120 years before being installed in Palazzo Massimo, in accurately reconstructed rooms of their original dimensions.  There is a portico, dining room and 2 Vermillion coloured cubicola (bedrooms) with mythological and erotic paintings, and several hallways.  The rooms are reassembled how they were, so it is like walking through a Roman villa.  Decorating the walls of upper class houses with paintings of mythological or literary subjects was supposed to stimulate cultured conversation. In this villa, there are many references to the Egyptian world in the decorations, celebrating the conquest of Egypt. The owner is thought to have been General Marcus Vipsanius Agrippa, son-in-law of Augustus, who defeated Marc Anthony and Cleopatra at the Battle of Actium in 31 BC.villafarnesinacollage

The final treasure is the 1st Century BC frescoes from Villa Livia, discovered on Via Flaminia in 1863.  The villa belonged to Livia Drusilla, wife of Emperor Augustus.  The paintings of a lush green garden with birds, pomegranate and lemon trees, roses, irises and other plants decorated a vaulted room that was half underground. The large room is recreated here.  It was probably a cool triclinium, a living and dining room for  the summer. villaliviaThe basement has the history of the Roman Empire in coins. It has been converted into a vault for the Medagliere, the coin cabinet and jewellery.

Palazzo Massimo is one of 4 musei that make up the Museo Nazionale Romano. Tickets are €7 for adults, valid for 3 days for all 4 sites.  The other sites are:  Terme di Diocleziano, Palazzo Altemps and Crypta Balbi. Open Tues to Sunday 0900-1945. If you love antiquities, don’t miss it! Ciao, Cristina

L’Elefantino di Bernini

20 Sunday Nov 2016

Posted by in Art history, Italia, Roma

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berninielefantinoLast week, one of my favourite monuments in Roma was vandalized.  Gianlorenzo Bernini’s Elefantino had one of his zanne (tusks) broken off by unidentified vandals.  I think I called them ‘stronzi maleducati’ in my instagram post.  I was being polite.  A Spanish couple found the broken piece and reported it to the authorities.  The ‘stone surgeons’ have reattached the zanna (ZAHN·nah) and reinforced it with wooden splints.  A nice €2000 bit of plastic surgery. The process is shown in this video.  Along with everyone in Roma, I’m so glad my favourite little pachyderm is on the mend that I had to write a post about him.Elefantino

In 1665, the Dominican friars of Santa Maria Sopra Minerva found a 5.5 m Egyptian Obelisk while working in their garden.  It is one of 13 in Roma.  For some reason, Pope Alexander VII decided to install it in the Piazza outside the church, Piazza della Minerva. To design a base to support the obelisk, he had architects put in their proposals for the commission.  One of the Dominican friars, Domenico Paglia put in a horrendous proposal which involved mounting the obelisk on 6 small hills, with a dog at each corner.  The 6 hills are part of the Pope’s family coat of arms, and dogs the symbol of the Dominicans, referring to their fidelity.  The word Dominican comes from ‘Dominis canis’ meaning dogs of the Lord.piazzadellaminerva

Luckily, the Pope chose Bernini’s proposal to mount the obelisk on the back of an elephant, a symbol of strength.  Bernini was inspired by a woodcut in a 1499 book by Francesco Colonna.  Padre Paglia was very unhappy that his design was not chosen.  He convinced the Pope that Bernini’s design was flawed and would not be supportive unless a cube was sculpted under the elephant’s belly to support the obelisk.elefantino2

Bernini did not like this suggestion.  He wanted his elephant to stand on its four legs, but he had no choice in the matter.  He tried to hide the extra marble by adding an ornate, floor length gualdrappa or saddle blanket on the elephant’s back.  This had the effect of making him look pudgy and stout like a baby elephant rather than strong and fierce.  When the statue was installed in 1667, Romans referred to it as ‘Il Porcino della Minerva’ or ‘Minerva’s piglet’ because it had the dimensions of a maialetto more than an elephant.  This eventually morphed into ‘Pulcino’ or ‘Purcino’ which means chick in italiano and in dialetto Romano. Most monuments in Roma have a nickname.

Bernini did get revenge on Padre Paglia.  There is a reason Elefantino’s head is turned away from the church with a cute mischievous grin.  Bernini had the statue placed with its rear facing the Dominican monastery.  His muscles seem tensed and his tail is shifted to the left, exposing his bum as if he is about to drop a load!  Bernini was also protesting the way Galileo was treated here, where he was interrogated by the Inquisition in 1633. I don’t know if the second point is true or just Leggenda Metropolitana dell’ 700 – 17th Century urban legend!

View from the roof of Grande Hotel de la Minerve across the street. The black open door is the Dominican Headquarters.

View from the roof of Grande Hotel de la Minerve across the street. The black open door is the Dominican Headquarters.

elefantino3Piazza della Minerva is right behind the Pantheon.  L’Elefantino was also included in my post ‘Un giorno a Roma’. Ciao, Cristina

Spaghetti all’Amatriciana

30 Tuesday Aug 2016

Posted by in Italia, Mangiamo!, Recipes, Roma

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Pasta all'AmatricianaMy last post was about the terremoto in Italia and I listed ways you can help with earthquake relief.  One of these ways was to order Pasta all’Amatriciana at one of the many restaurants participating to raise money for the Croce Rossa Italiana.  I realized that not everyone will have a restaurant in their area participating, so I am posting a recipe, just in case anyone wants to host their own small fundraiser. August 27-28 would have been the Spaghetti all’Amatriciana festa in Amatrice.  Amatriciana

Pasta all’Amatriciana-also known as Pasta alla Matriciana in dialetto Romano, is made with guanciale (cured pork cheek), Pecorino Romano, and pomodoro (tomato).  Peperoncino is often added.  Pasta all’Amatriciana originated from Pasta alla Gricia, made with guanciale and Pecorino.  It is basically Pasta Carbonara with tomato instead of  eggs. Shepherds near Amatrice carried the simple ingredients with them into the fields.  The pomodoro had not been brought to Europe yet.  In Amatrice, they started making the Pasta alla Gricia with pomodoro, once it had been introduced.  When Amatriciani moved from the outlaying areas to Roma, the sauce became popular, and is now considered a staple of Cucina Romana.  In Roma, Amatriciana is made with bucatini, which are spaghetti with a hole down the middle, or rigatoni, but in Amatrice, it is only made with spaghetti! Making Amatriciana

Spaghetti all’Amatriciana

100g guanciale (pancetta can be used if guanciale not available)

350g passata di pomodoro, or pelati (peeled tomatoes)-about 1 500ml canning jar

75g Pecorino Romano, freshly grated

Black pepper, freshly grated

320g spaghetti or bucatini (80g per person)

Cut guanciale into strips or cubes. In a frying pan, cook guanciale until crispy.  When the white part becomes transparent, add tomatoes and pepper.  While this is simmering, cook spaghetti in a large pot of salted water.  Cook for 1 minute less than the time it says on the box! Drain well then add to the pan and toss in the sauce and add Pecorino.  Serve with extra Pecorino Romano on top.  Serves 4. Buon Appetito!Amatriciana