Tag Archives: Caravaggio

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

Pio Monte della Misericordia

11 Monday Feb 2019

Posted by in Art, Art history, Italia

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Pio Monte della Misericordia (Pious mount of mercy) is a charitable organization founded in 1601 by seven young noblemen in Napoli.  Every Friday they met at the hospital to minister to the sick.  400 years later, the organization is still in operation, assisting minors at risk, those struggling with addiction, unaccompanied migrant minors, disadvantaged families, the homeless and the terminally ill.

In 1602, the founders commissioned a small octagonal church on Via dei Tribunali. They wanted artwork to express their sense of charitable mission, which was guided by le sette opere di misericordia, the seven corporal works of mercy.  These are a set of compassionate acts concerning the material needs of others, based on the bible passage ‘For I was hungry and you gave me something to eat, I was thirsty and you gave me something to drink, I was a stranger and you invited me in. I needed clothes and you clothed me.  I was sick and you looked after me, I was in prison and you came to visit me’ Matthew 25:35:36.  Bury the dead was added later and comes from another scripture.

They hired, who else but Caravaggio to paint one of the seven works of mercy for the altar of each of 7 chapels. Caravaggio was either in a big rush or feeling like a challenge, because he incorporated all 7 onto 1 canvas!  The capolavoro is one of the most important of his works, and of the 17th Century.  It still hangs in its original position above the high central altar! Seven local Caravaggio followers, including Luca Giordano, Fabrizio Santafede and Battistello Caracciolo provided paintings for the chapels.Caravaggio Sette opere di misericordia Pio Monte della misericordia

The composition is realistic, complex and dramatic. At the top of the painting, 2 angels are supporting the Madonna di Misericordia and child in the air.  The bottom half features figures carrying out the acts of mercy.  On the right, from the myth Roman Charity, Pero secretly breastfeeds her father, Cimon, after he is imprisoned and sentenced to death by starvation. (feed the hungry and visit the imprisoned).  Behind the wall of the prison, 2 men carry a shrouded body with the feet dangling out of the blanket (bury the dead). On the left, St Martin de Tours comforts the injured beggar in the foreground (comfort the sick).  He tears his cloak and gives half to the naked beggar (clothe the naked). In the background, a pilgrim with a shell in his hat asks an innkeeper for shelter (shelter the traveler) and behind them, Samson drinks from the jawbone of a donkey (give drink to the thirsty). All of this action is taking place in a dark, mysterious vicolo, an alley that could be just around the corner. Caravaggio uses his signature strong contrasts of light and dark chiaroscuro, the bright light acting as a metaphor for mercy.

Caravaggio came to Napoli with a price on his head, on the run from a murder charge. He was idolized and successful in Napoli, but he was desperate for a pardon, so after only a year, he left Napoli for Malta where he thought the Knights of St John could help him. This may explain his decision to incorporate all of the works of mercy into one painting!  As discussed in this post, it has also been confirmed that he had lead poisoning.  Caravaggio understood Napoli like no other painter and had a profound influence on the artistic scene in the city for the next few centuries.  He left behind a lot of followers-the Caravaggesque movement.

The €7 admission includes a visit to the Quadreria- Art Gallery, which contains 15th-18th Century paintings by Napoletani artists and also the original receipt for 400 ducats paid to Caravaggio.  Via dei Tribunali 253, Napoli. Open Mon-Sat 09-18, Sunday 09-14:30Pio Monte della Misericordia

Images:  Scan of Le Sette Opere di Misericordia taken from the Pio Monte della Misericordia brochure.  Photo of me with the painting taken by another visitor to the church.  He said I looked so excited he had to take my photo!

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

Un Giorno a Roma

15 Monday Sep 2014

Posted by in Italia, Roma, Travel, Travel tips

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TreviRoma truly is ‘la Città Eterna’-the eternal city! I usually fly in and out of Roma then take the train to Foggia on my way to Orsara di Puglia. I often have one full day in the city at the beginning or end of my trip. When i’m in Roma for just 1 day, I have a usual ‘itinerary’. I do not actually recommend anyone go to Roma for just one day, especially for the first time. 5 days will do but more is better.  One day only gives you enough time to visit a few sites, so it is mostly an entire day of exploring the city on foot. The sites I choose to visit change a bit each time, but the route is basically the same.

I stay with a friend in the Basilica San Paolo area so I take the Metro blue line to the Colosseo stop, exit the station and take a few minutes to absorb the view across the street.

The view across the street from the 'Colosseo' metro stop!

The view across the street from the ‘Colosseo’ metro stop!

Then I turn right and walk along Via dei Fori Imperiali.  If you visit Il Colosseo, the ticket includes entry to the Forum, so you can walk through there.  Visiting these 2 awesome sites will take all morning, so they are not usually part of my ‘1 day’ itinerary.

View of the Roman Forum (Foro Romano)

View of the Roman Forum (Foro Romano)

Old meets new at the Foro Romano

Old meets new at the Foro Romano

I walk along Via dei Fori Imperiali all the way to Piazza Venezia and Il Vittoriano, which is the neo-classical monument that looks like a giant wedding cake .

Il Vittoriano

Il Vittoriano

If you want some great views of Roma and are not afraid of heights, you can take the glass elevator to the rooftop terrace.

'Roma dal cielo' view from the roof of Il Vittoriano

‘Roma dal cielo’ view from the roof of Il Vittoriano

Then I turn right again and cross Piazza Venezia, which can be a bit of a challenge, and walk along Via del Corso. Via del Corso is lined with shops and goes all the way to Piazza del Popolo.

Crossing the street can be challenging! Photo taken by Vito!

Crossing the street can be challenging! Photo taken by Vito!

I turn into one of the side streets on the left and walk to the Pantheon-the domed architectural masterpiece that is absolutely not to be missed! The 2000 year old roof is the largest unreinforced concrete dome in the world. IlPantheon

Across the street I have an incredible granita di caffè at Tazza d’Oro.

Tazza d'Oro, Via degli Orfani 84

Tazza d’Oro, Via degli Orfani 84

Granita di caffe

Granita di caffe

Behind the Pantheon is Santa Maria Sopra Minerva with Bernini’s adorable ‘elefantino’ sculpture in the piazza.  I sometimes like to sit and sketch the pudgy little elephant carrying a 5m Egyptian obelisk on its back.

Bernini's elefantino in Piazza Minerva. Behind the obelisk, you can see the domed roof of the Pantheon.

Bernini’s elefantino in Piazza Minerva. Behind the obelisk, you can see the domed roof of the Pantheon.

The molto fancy ‘Grande Hotel de la Minerve’ across from the church has a roof bar with incredible views. Down a side street – Via del Gesù- is Poggi art supplies www.poggi1825.it , so of course I have to stop there and drool at all the stuff I can’t carry home. I also pop into the little Baroque gem San Luigi dei Francesi, which is the National church of France in Roma. It has 3 incredible Caravaggio paintings-the ‘San Matteo’ cycle, in the Capella Contarelli which you can see for free! No lineups, no online bookings!  I always put a coin in the box and light a candle when I visit a church.

I walk down some side streets and get back onto Via del Corso going left.  A few blocks down I cross the street and walk to the Fontana di Trevi to toss in my coin. I am very superstitious about this, so I have to do the coin toss or I’m afraid I might not come back to Roma!  That would be awful! Fontanaditrevi

Fontana di Trevi

Fontana di Trevi

I look at all the tourists then head to my last stop- Piazza di Spagna. I never miss drinking from the Fontana della Barcaccia.  This is the Baroque fountain at the bottom of the steps that looks like a sinking ship. It was sculpted by both Bernini, Pietro and Gianlorenzo (father and son).  La Barcaccia has the best water ever, especially on a hot day –it comes straight from an acqueduct and is always ice cold.

La Barcaccia, Piazza di Spagna

La Barcaccia, Piazza di Spagna

Mmmm! Acqua freddissima!

Mmmm! Acqua freddissima!

From here I usually walk all the way back to the Colosseo metro stop to take the metro back home to San Paolo and pick up take-out suppli on the way. If I am too tired or have evening plans, I take the metro at Piazza di Spagna (red line) to Stazione Termini then change to the blue line for San Paolo.

Ci vediamo a Roma!

Handy signs at Piazza del Popolo

Handy signs at Piazza del Popolo

PS Stay tuned for future posts on things I like to do if I have more than one day in Roma:

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Piccoli gladiatori! Beware of fierce gladiators in training!

Piccoli gladiatori! Beware of fierce gladiators in training!