Postcard from Rome, Italy: Villa Borghese remains as urban oasis

Dragons and eagles, symbols of the Borghese family, guard almost every entrance and are scattered throughout the almost 200-acre Villa Borghese. The papal politics surrounding the original land accumulation for this immense, well-used public park are found in the prior post.

We could access the park within a block of our apartment and would use it as a pleasant pathway to museums on its edges or any time it could possibly help us avoid more tourist-overwhelmed roots.

Yes, there are tourists inside the park, but Romans outnumbered us by far. Walking, dog-walking, playing ball, bicycling, electric-surrey-biking, jogging, practicing tai chi, reading, courting, picnicking, row-boating. An urban oasis.


Postcard from Rome, Italy: Never too much gild for the lily in Palazzo Decorating 101

With strongly patterned floors and walls and ceilings covered with murals and impressive paintings, a rape in the middle of the room could almost escape notice were it not illuminated by spotlights and the focus of the cameras of every tourist entering.

Roman palazzi decorating standards in the 1600s range toward the flamboyant. The larger the palette of colors of marble, the better. No surface should remain untouched. Combining geometric floor patterns with frilly wall and ceiling elements is the norm. Flowers and putti go well with anything and everything, even the darkest oil paintings. Art subjects often appear the opposite of morality plays. And there is no such thing as too much gilding of the lily.

Even in this visually overwhelming setting, “The Rape of Proserpine” by Gian Lorenzo Bernini (1598-1680) entices you to circle it. Vicious canines nip at poor Proserpine’s heels as she tries to escape the grasp of the god of the underworld.

Some of Bernini’s best known sculptures are found in the Borghese Gallery and Museum, Museo e Galleria Borghese. The museum is housed in a villa, referred to as the Casino Borghese, built for Cardinal Scipione Borghese (1577-1633) on what then was the edge of Rome. The casino sits in the midst of some of the vast acreage he managed to assemble for the Borghese clan while his uncle, Pope Paul V (1550-1621), was in charge of the Vatican.

Pope Paul V elevated his favorite nephew to cardinal as soon as he was elected. As the pope’s secretary, among the numerous titles bestowed upon him, Scipione Borghese accumulated great wealth through papal fees and taxes and then rent charged for the resulting vast real estate holdings, including several entire towns.

Despite the obvious nepotism privileges, the cardinal felt the need for a close-to-town escape for entertaining and to house his growing, also thanks to Vatican gifts, art collection. The cardinal was Bernini’s major client for a period of almost five years. The cardinal also demonstrated a penchant for collecting ancient Roman art and works by Carvaggio, Rafael and Titian.

Vatican enemies whispered, perhaps stage whispers, the cardinal was a homosexual. The viewed-as-inappropriate homoerotic art he assembled, with frolicking un-cardinal-like putti and drunken Bacchanalian figures perched around the edges of the ceiling, were viewed as contributing evidence for their claims.

Cardinal Scipione Borghese left behind a major art collection in the casino surrounded by acres and acres of parklike gardens. Subsequent Borghese family members added to or subtracted from the collection, depending on their current state of economic affairs.

The statue of Pauline Napoleon Borghese (1780-1824), Napoleon Bonaparte’s sister, posed as Venus is the work of Antonio Canova (1757-1822). During her husband’s lifetime, Camillo Borghese (1775-1832) kept the sensuous statue hidden from public view. But it and all the other naked figures are out of the closet for all to see now.

The entire Villa Borghese, which includes all the surrounding parkland, came under state ownership in 1901.


Postcard from Rome, Italy: ‘Time Is Out of Joint’ reflects Roman reality

The time is out of joint. O cursed spite,
That ever I was born to set it right!
Nay, come, let’s go together.

Hamlet, William Shakespeare

La Galleria Nazionale d’Arte Moderna has pulled the rug out from the rigid presentation of its collection in any form resembling chronological order.

Instead, works drawn from the collection for “Time Is Out of Joint” are positioned in the galleries to stimulate a refreshing dialogue between seemingly disparate themes and genres; between the art and the architectural design of the galleries themselves; or between the art and patrons, as the Mister so gamely illustrates.

The dismemberment of dateline restrictions resembles Rome itself, where ancient art runs into that of the Renaissance and then runs smack into manifestations of everyday contemporary life within almost every block of the historic center. Roman reality.

Centered on both Italian and international 19th and 20th-century art, the collection of the National Museum of Modern Art is housed in a 1911 neoclassical building designed as a “temple for the arts” by Cezare Bazzani (1873-1939). The building is located on the edge of Villa Borghese Park and a row of embassies.