Galleria Borghese
Casino Nobile di Villa Borghese
The Casino Nobile di Villa Borghese was built for Cardinal Scipione Borghese (1577-1633), the nephew of Pope Paul V (r. 1605-21), by Flaminio Ponzio (1560-1613). It was completed by his assistant the Dutch architect Jan van Santen (c. 1550-1621), better known as Giovanni Vasanzio.
Bust of Cardinal Scipione Borghese by Gian Lorenzo Bernini
The building was designed to house Cardinal Borghese's extensive collection of works of art and to provide him with a villa suburbana, a country villa on the edge of the city.
Almost 300 years later, in 1902, the Casino Nobile, and its collection of paintings, sculpture and antiquities, was bought by the Italian government. The Galleria Borghese, as it is now known, houses one of the most remarkable collections in Rome, with sculptures by Bernini and Canova and paintings by Titian and Caravaggio.
Almost 300 years later, in 1902, the Casino Nobile, and its collection of paintings, sculpture and antiquities, was bought by the Italian government. The Galleria Borghese, as it is now known, houses one of the most remarkable collections in Rome, with sculptures by Bernini and Canova and paintings by Titian and Caravaggio.
Aeneas, Anchises and Ascanius by Bernini
The sculpture of Aeneas, Anchises and Ascanius (1618-19) was carved by Gian Lorenzo Bernini (1598-1680) when he was just twenty years old. It was long thought to be the work of his father, Pietro, who was also a sculptor, and many still argue that Bernini junior had more than a little help from Bernini senior.
The life-size sculpture depicts a scene from the second book of Vergil's Aeneid, in which the hero Aeneas escapes from Troy with his father Anchises and his son Ascanius. Aeneas shoulders his frail father, who carries two small statues, the penates (household gods).
The life-size sculpture depicts a scene from the second book of Vergil's Aeneid, in which the hero Aeneas escapes from Troy with his father Anchises and his son Ascanius. Aeneas shoulders his frail father, who carries two small statues, the penates (household gods).
The Rape of Proserpine by Bernini
The sculpture of The Rape of Proserpine (1621-22) by Gian Lorenzo Bernini was commissioned by Cardinal Scipione Borghese, the rich nephew of Pope Paul V (r. 1605-21), and executed between 1621 and 1622.
The sculpture depicts the abduction of Proserpine (Greek: Persephone) by Pluto (Hades), god of the Underworld. Proserpine was the daughter of Jupiter (Zeus) and Ceres (Demeter), the goddess of agriculture. While out one day picking flowers, Proserpine was seized by Pluto, who suddenly burst from the earth. Ceres heard her daughter scream as she was being dragged into the underworld. In response to the abduction, Ceres caused the earth to dry up and the harvests to fail. Jupiter saw that the earth was barren and dead and decided to intervene. He struck a deal with Pluto; Proserpine would spend half the year on earth and half in the underworld. Thus every spring the earth welcomes her return with a carpet of flowers.
The sculpture depicts the abduction of Proserpine (Greek: Persephone) by Pluto (Hades), god of the Underworld. Proserpine was the daughter of Jupiter (Zeus) and Ceres (Demeter), the goddess of agriculture. While out one day picking flowers, Proserpine was seized by Pluto, who suddenly burst from the earth. Ceres heard her daughter scream as she was being dragged into the underworld. In response to the abduction, Ceres caused the earth to dry up and the harvests to fail. Jupiter saw that the earth was barren and dead and decided to intervene. He struck a deal with Pluto; Proserpine would spend half the year on earth and half in the underworld. Thus every spring the earth welcomes her return with a carpet of flowers.
The Rape of Proserpine (det.)
The realism of the sculpture is astonishing. In pushing against Pluto's face Proserpine's left hand creases his skin, while his fingers sink into her flesh. We see her tears as she turns her head away from her captor.
At the base of the sculpture sits Cerebus, the three-headed dog, who is the guardian of Hades.
At the base of the sculpture sits Cerebus, the three-headed dog, who is the guardian of Hades.
Apollo and Daphne by Gian Lorenzo Bernini
Gian Lorenzo Bernini's extraordinary rendition of Apollo and Daphne (1622-25) is hailed by many as one of the finest sculptures in Rome. Commissioned by Cardinal Scipione Borghese (1577-1633), it depicts the climax of the story of Apollo and Daphne, as recounted in book one of Ovid's Metamorphoses. Daphne, a river nymph, is escaping from the god Apollo. As she flees she slowly turns into a laurel tree.
Apollo declared that if Daphne would not be his wife, she would at least be his tree. He duly granted the laurel tree with eternal youth and adopted the crown of laurel leaves, which subsequently became the symbol of Olympic victories.
Bernini (1598-1680) had significant help from a member of his workshop, Giuliano Finelli (1601-53), who undertook the carving of the details that show Daphne's conversion from human to tree, such as the bark and branches, as well as her windswept hair.
Apollo declared that if Daphne would not be his wife, she would at least be his tree. He duly granted the laurel tree with eternal youth and adopted the crown of laurel leaves, which subsequently became the symbol of Olympic victories.
Bernini (1598-1680) had significant help from a member of his workshop, Giuliano Finelli (1601-53), who undertook the carving of the details that show Daphne's conversion from human to tree, such as the bark and branches, as well as her windswept hair.
David by Gian Lorenzo Bernini
Bernini's sculpture of David (1623) was also commissioned by Cardinal Scipione Borghese. The oversized cuirass, which was lent to David by King Saul before his encounter with Goliath, lies on the ground with the harp David will play after his victory. The harp is decorated with an eagle's head, a reference to one of the charges on the coat of arms of the Borghese family.
Allegory of Sleep (c. 1635) by Alessandro Algardi
Bernini's only real rival in sculpture was Alessandro Algardi (1598-1654), who is represented in the Galleria Borghese by his beautiful and evocative Allegory of Sleep (Il Sonno). Sleep takes the form of a languorous young boy. There are opium poppies entwined in his hair and more lie by his left hand. A dormouse joins him in his slumber. The black marble reinforces the theme of the sculpture.
Paolina Borghese
The sculpture of Paolina Borghese (1805-08) by Antonio Canova (1757-1822) was commissioned by Prince Camillo Borghese (1775-1832) in honour of his young wife, the sister of the emperor Napoleon.
Princess Paolina Borghese (1780-1825) is portrayed in the guise of the goddess Venus (Venus Victrix), who was victorious in the famous Judgement of Paris. She holds an apple in her left hand, the prize for her victory over her two rivals, the goddesses Minerva and Juno. Paolina is depicted semi-naked, which was very unusual at the time for a woman of her rank. The wooden base on which she reclines once housed a mechanism which made the sculpture rotate
Princess Paolina Borghese (1780-1825) is portrayed in the guise of the goddess Venus (Venus Victrix), who was victorious in the famous Judgement of Paris. She holds an apple in her left hand, the prize for her victory over her two rivals, the goddesses Minerva and Juno. Paolina is depicted semi-naked, which was very unusual at the time for a woman of her rank. The wooden base on which she reclines once housed a mechanism which made the sculpture rotate
Madonna dei Palafrenieri by Caravaggio
In 1604, the Palafrenieri (the Papal Grooms) commissioned Michelangelo Merisi di Caravaggio (1571-1610) to paint an image of the Virgin and Child with St Anne for the high altar of the church of Sant' Anna dei Palafrenieri, which lies in Vatican City. The painting remained in place for less than a month before it was taken down and sold (at a profit) to Cardinal Scipione Borghese.
The Madonna dei Palafrenieri, as the painting is known, depicts three figures of the Holy Family, the Virgin Mary, the Christ Child and St Anne, Mary's mother. Mary holds Christ and together they stamp on the head of a snake, while St Anne looks on.
The Madonna dei Palafrenieri, as the painting is known, depicts three figures of the Holy Family, the Virgin Mary, the Christ Child and St Anne, Mary's mother. Mary holds Christ and together they stamp on the head of a snake, while St Anne looks on.
The Deposition by Raphael
Raphael's painting of The Deposition (1507) was commissioned by Atalanta Baglioni, in memory of her son Grifonetto. The painting was placed in the family chapel in the church of San Francesco al Prato in Perugia, where it remained for more than a century until, one night in 1608, it was stolen.
The thieves acted with the complicity, not only of the priest but also that of Pope Paul V (r. 1605-21), who gave the painting to his nephew Cardinal Scipione Borghese. The Deposition, also known as The Entombment, duly entered the cardinal's collection where, apart from a brief sojourn in Paris, it has remained. In order to pacify the good people of Perugia, who were understandably vexed at the theft of the painting, the Pope ordered a copy to be made and placed in the chapel.
The thieves acted with the complicity, not only of the priest but also that of Pope Paul V (r. 1605-21), who gave the painting to his nephew Cardinal Scipione Borghese. The Deposition, also known as The Entombment, duly entered the cardinal's collection where, apart from a brief sojourn in Paris, it has remained. In order to pacify the good people of Perugia, who were understandably vexed at the theft of the painting, the Pope ordered a copy to be made and placed in the chapel.
Sacred and Profane Love by Titian
Titian's Sacred and Profane Love was painted to celebrate the marriage of the Venetian Nicolò Aurelio (coat of arms on the sarcophagus) and Laura Bagarotto in 1514. The rather moralistic title only dates back to the late 18th century; Titian intended the painting to be a celebration of both earthly and spiritiual love.
Gallery
