Saturday, October 31, 2009

Night at the Vatican Museums

Every Friday night this past September and October the Vatican Museums have been open between 7-11pm. I didn't find out about this until last week, but luckily I was able to get tickets for me and a few friends for last night. The experience was absolutely unreal. There were still a lot of tour groups, but way fewer people than normal. Also, being there at night was really magical, as everything outside was lit up, and inside the lights were dimmed, making the rooms appear as if illuminated by candlelight. We started by following the route to the Sistine Chapel, hurrying through everything, thinking that by the time we got to our destination it wouldn't be too crowded. We were wrong; it was way less crowded than normal, but not as empty as we were hoping. After that we sought out a temporary exhibition called Astrum, celebrating the 400 years since the "invention" of modern astronomy. We had a hard time locating it, and happened upon some guards who were happy to help, taking us along some normally-not-seen routes. The exhibition was spectacular, and completely empty, allowing us to really see things up close and take some photos.

After the exhibition we still had time until the museums closed, so we decided to go back through all of the rooms again, en route to the Sistine Chapel. By this point there was hardly anyone left, and many of the rooms were virtually empty-- something that never happens during the day. It was beyond amazing, to experience the rooms as they were designed to be, without the crowds and ever present tour groups.



Being outside was great; it was a warm night and we were able to see things from a point of view most people never experience


The courtyards of the Belvedere were closed but lit up


Our two guard friends, taking us in an elevator to the astronomical exhibition


The exhibition was completely empty. I don't think anybody else cared about it, which was fabulous for us!!


3rd century BC marble sphere with the zodiac


This astrological globe is part of the permanent collection, but is usually located in a hallway in a glass case, against a wall, and therefore not great for proper viewing


Galileo's handwriting. I was in heaven!


Siderius Nuncius


Letters on Sunspots


Il Saggiotore


After the astro exhibition we headed back through all the galleries. This is the Gallery of Maps, commissioned in 1580 by Gregory XIII (the same pope who commissioned the room I am working on for my dissertation). I have been here so many times and it is always wall-to-wall people. It was absolutely amazing to experience it as a real hallway, and to be able to stroll through at our leisure as it was originally designed.


On each side are maps of various Italian regions and other sections of the papal states at the time. Such broad views of the walls like this are normally impossible.


On the ceiling are assorted Christian allegories, relating to the various geographic regions painted below


Closeup of one of the maps




Part of the ceiling in the Stanza della Segnatura, Astronomia above The School of Athens


Raphael's Fire in the Borgo


Finally, at the Sistine for the second time, with fellow Fulbrighters Michael and Brad. You are normally not allowed to take pictures inside the chapel (flash or no), but the guards were so exhausted at this point that I think as long as you didn't make a big deal out of it, and didn't use a flash, they didn't care.

Friday, October 23, 2009

Daily life

I spotted these at a shoe store in Trastevere. Not sure how practical they are, but they are a brilliant example of Italian craftsmanship.



Diamond shaped heels


Marbles


Recession chic! In today's economy you should always have an abacus handy.

Fulbright Orientation

On Tuesday and Wednesday I had my orientation with the Fulbright program. Only three other Fulbrighters will reside in Rome, as the rest are off to different cities throughout the peninsula.



Most of the group (there are 21 of us in total) at dinner


Left to right: Clelia working in psychology; Liz, an archaeologist; Elinor, a Baroque cellist; Ashley another art historian; and in the center is Diana, who is working in modern poetry and translation


With Michael (a musicologist) and Katie (an art historian). We are the Romans!

On the second day of the orientation we were treated to a walking tour of the Garbatella neighborhood on the outskirts of the city center. Apparently the area was built under King Vittorio Emanuele III as a place of affordable housing for the lower and working classes.



The group listening to our guide with varying degrees of enthusiasm











Santa Maria del Popolo

1472-1480, commissioned by Pope Sixtus IV

When the papacy moved back to Rome from Avignon in the 1420s, the city was a virtual ghost town.  Medieval Rome had not fared well, and the inhabitable area of the city was reduced to the banks of the Tiber River, the only source of fresh water.  By the time Pope Sixtus IV was elected
in 1471, however, the city was undergoing a regrowth of both population and artistic patronage. Sixtus commissioned not only the construction and wall frescoes of the Sistine Chapel in the Vatican Palace, but this small church in Piazza del Popolo, the piazza of the people.

His location was strategic; all visitors coming into the city from the north entered through the Porta del Popolo, a large gate at the head of the piazza.  His new church therefore was highly visible and it quickly became a symbol of the new Rome.

The façade is extremely flat, and served as a prototype for all Roman churches until the mid sixteenth century. It was built by anonymous architects according to the architectural principles of Leon Battista Alberti, a famous theoretician of the day who wrote that Renaissance churches should take as their model the temples of antiquity, and should therefore be faced with classical orders (here the four Corinthian pilasters on the lower level), be raised on a podium (hence the stairs), and be crowned by a pediment (the triangular shape at the very top).

The interior differs from the models of contemporary Florence, taking instead its cue from classical Rome with the use of Travertine marble and groin vaulting on the ceiling. Although quite simple, the interior is absolutely one of my favorites, and the natural lighting is gorgeous.



The exterior in the late afternoon


The church and the Porta del Popolo


Piazza del Popolo. Sixtus V moved the obelisk here in the 1580s, and the twin churches in the background were built in the seventeenth century.


Interior nave with a beautiful pinkish glow


About an hour later and the light is noticeably more green




The choir behind the main altar-- Bramante's earliest known work in Rome


The Chigi chapel, which you may recognize from the movie Angels and Demons


The Cerasi chapel, with Caravaggio's Crucifixion of St Peter, and Annibale Carracci's altarpiece of the Assumption of the Virgin


Detail of Caravaggio's Crucifixion of St Peter


Beautiful grisaille work in the Costa chapel. Everything you see on the walls (the benches, figures, etc.) is painted and completely flat.

Sunday, October 11, 2009

Column of Marcus Aurelius

Like the earlier and more famous Column of Trajan, the Column of Marcus Aurelius celebrates the named emperor's military triumphs. Carved in marble relief, the story is a continuous narrative, beginning at the bottom and wrapping around in a spiral up to the top. In about 1585, Pope Sixtus V rededicated both columns to celebrate the triumph of Christianity over paganism. Rather than knock the columns down, he had bronze statues of the patron saints of Rome placed at the top (St Paul here, and St Peter on the Column of Trajan), thus creating a literal and propagandistic message of the Catholic faith. Each column was also given a new base engraved with a dedicatory message of this new meaning.



The column stands about 100 ft tall in the Piazza Colonna




St Paul, facing the direction of St Peter's in the west


Dedicatory inscription to Sixtus V

Castel Sant'Angelo

Another visit to a favorite monument.  Originally a tomb for Emperor Hadrian, the Castel was later transformed into a prison and eventually a papal fortress.


Photo from wiki, showing the Castel from the Ponte Sant'Angelo


Bronze statue of the archangel Michael at the top


Soaking it all in


Left to right: dome of the Pantheon, Monument to Vittorio Emanuele II, spiral dome of Borromini's Sant'Ivo


View of Michelangelo's Campidoglio in the background


Dome(s) of St Peter's at sunset