Dutch Light in Rome ~ Vermeer at the Quirinale

After seeing two of the most famous Baroque churches in the world, I headed Southwest down the street to the Scuderie del Quirinale. Before leaving for my trip, I'd done my research on what art exhibitions would be in the places I would be visiting. On my last visit to Rome, I was lucky enough to catch one of the largest ever retrospectives of Caravaggio at the Quirinale, so I figured I'd better check what was going on. You don't want to get back from a trip and realize that you missed a once in a lifetime exhibition.

A couple of weeks before arriving in Rome, I found out there was a Vermeer (1632-1675) exhibition going on! It seemed funny to see Dutch masters in Rome but it was also too amazing to pass up. Some scholars figure Vermeer may have done around 50 paintings, 37 of which are known and documented. So, when you find out that 8 out of the 37 paintings will all be in one place, along with another 50 works by his contemporaries, you can't pass it up!

As you can see, (below) when I got to Piazza del Quirinale, it was still raining, so going inside a cozy museum was perfect. (And unlike the Vatican Museums they let me check my coat! Don't you hate carrying around a big ol' coat?)

Here, in the Piazza, are the statues of the Dioscuri, with the two Roman  "Horse Tamers," Castor and Pollux topped by an obelisk, moved from the Mausoleum of Augustus in the 18th Century.

The Scuderie del Quirinale, built from 1722-1732, had previously been the Papal Stables and the main winding "stairway" is stone with very, very deep steps, I am assuming for the horses. 

Oh, and here's a little something from the Holland Baroque society to go with the exhibition!

I realized when I was checking my coat, that I didn't have my favorite little angora hat that I had gotten in New York City in 2001! I'd lost it before, in a NY theatre in 2010, after seeing a show, but the stage manager was kind enough to retrieve it for me the next day. (My friend Larry, whom I was visiting, couldn't believe I got it back.) This time, I figured I must have dropped it in one of the Baroque churches or on my walk to the museum. I couldn't believe it. Again?

I decided to enjoy the exhibit then afterward I would retrace my steps. For now the churches were closed (unless it's a huge basilica most of the little churches all close for about 3 hours or more in the middle of the day.) If it was meant to be, my little hat would find it's way back to me.

Outside of the incredible use of light in Dutch paintings, (1600s) I also love how they created such beauty in depicting everyday life and activities. It seems almost a lesson in mindfulness, being in the moment and finding beauty in whatever task you are doing.

The first painting in the exhibition was The Little Street, by Vermeer, visiting from the Galleria deli Uffizi in Florence. It was a bit smaller than I'd imagined but it was an absolute jewel. It was ... Magnificent. It reminded me of fine enamel work, probably in part, because of the layers of varnish, but it had these tiny, absolutely beautiful, details, and in person, the painting seemed to glow.

Johannes Vermeer

The Little Street (circa 1658)

Amsterdam, Rijksmuseum

Girl with the Red Hat wasn't one of my favorite Vermeer paintings, until seeing it in person. It's small but it's mighty. (8 x 10"? Or maybe smaller?) The light is obviously gorgeous but the background was surprisingly loose and sketchy, which made the figure pop even more. Another little Vermeer jewel!

Johannes Vermeer

Girl with the Red Hat (1665-67)

Washington D.C., National Gallery of Art

 

I took this photo below on a previous trip, looking out from the cafe. I ate in the cafe this time too. I knew I need a break for lunch and to get off my feet so I wouldn't rush through the rest of the exhibition. It's also a relatively inexpensive way to go. They also have a restaurant.

Outside of Vermeer, my two favorite artists in the Exhibition were Gabriel Metsu and Pieter de Hooch. Fortunately, there were a few of each but these are two of my favorites.

Gabriel Metsu 

A Woman Reading a Letter (1664-1667)

National Gallery of Ireland

Pieter de Hooch
Portrait of a Family in a Courtyard in Delft (circa 1658)
Wien, Gemaldegalerie der Akademie der bildenden Kunste

The detail on this is unbelievable and so lovely.

via

Vermeer - The Golden Century of Dutch Art at Scuderie del Quirinale from ikono tv on Vimeo.

Unfortunately, I couldn't take pictures in the gallery. If you want to see more of what was there, please visit the website HERE. 

The exhibit goes through January 20, so if you are in Rome, don't miss it, you have two more days!

After my wonderful visit with the Dutch Masters, I retraced my steps to San Andrea Quirinale to find my hat. I asked the caretaker but no luck. San Carlo was still closed so I made my way to Piazza Repubblica, Santa Maria degli Angeli, Santa Maria della Vittoria and Santa Susanna (more on them later) and then, finally San Carlo was open.

I found the sweet little caretaker who was slight man, with only a bits of grey hair at his temples, and in my broken Italian "questa mattina, ho perso il mio cappello ..." I gestured to my head like I was playing charades, and tried to communicate my situation. 

"Ahhh!!!! Questo?" He smiled, lifting my hat up off a wooden mantle. 

"Si!!! Grazie! Grazie mille!" (Yay!) 

I was happy and relieved as I headed back out through Borromini's masterpiece, taking the opportunity to, once again, take in his marvelous dome.

Anyway, got my hat back. :)

It's the fuzzy one I'm wearing here.

Everything has beauty, but not everyone sees it.

~Confucius

Bernini's Baroque ~ Sant'Andrea al Quirinale 1658-70

After my visit to Francesco Borromini's San Carlo alle Quattro Fontane, I headed down the block to check out his rival, Gian Lorenzo Bernini's church, Sant'Andrea Quirinale. Really, It's unbelievable that they are on the same block, same side of the street, two guys who, word is, hated each other. And, bonus for me, the churches were so close together, because it was pouring down rain.

On my last post Kerry O'Gorman (Farmlass) mentioned she was listening to Puccini while reading my post and that made me think I should find some Italian Baroque for you to listen to, while enjoying some quintessential Baroque architecture! Thanks for the idea Kerry!

I have to say, that what little I know about Bernini and Borromini, their personalities seem to fit the period. They both, in different ways, were very dramatic in the way they lived, and in the case of Borromini, the way he died. (Sadly he took his life, which is why I am guessing they didn't end up burying him in his intended place ... his beautiful San Carlo alle Quattro Fontane. Sad, right?)

Apparently, they started out as friends and one got a commission the other thought they were going to get, or something. Of course, they were both geniuses, but Bernini was handsome, and had the charm and personality to schmooze at court. Poor Borromini was depressed, anti-social and might have actually been bi-polar but with no treatment at that time ... he ended his life at 67 before the facade of San Carlo was complete.

Anyway, back to Bernini. While admittedly, Borromini is my favorite architect, Bernini's sculptures are maybe my all time favorites.  Along with Michelangelo, no one made marble come alive like Bernini. More on his sculptures, in future posts.

Apparently, as he got older Bernini would often come to visit and sit in this lovely creation of his. A sweet thing to imagine.

Sant'Andrea al Quirinale

1658-1670

The Martyrdom of Saint Andrew ...

Beautiful mosaic and inlay floors ...

Everything you can imagine is real.

~ Pablo Picasso

 

Chapel of Saint Stanislaus Kostka ...

The Death of St. Francis Xavier ~ Baciccio

Cappella della Passione ~ Giancinto Brandi 

La Deposizione

Tomb of King Charles Emmanuel IV of Sardinia and Piemonte, who abdicated in 1815 to join the Jesuits.

Here you can see the source of light coming from above the altar

Inlay marble floor...

The windows in the lantern, light the dove, the symbol of the holy spirit ...

And the ribs of the dome are like rays of light emanating from the that symbol ... and you see Saint Andrew there, on the pediment, ready to ascend to heaven.

Here is a very interesting talk by Chuck Benson about Bernini's major influence on Rome and how we experience it today, as well as mentioning the rivalry between Bernini and Borromini. He also talks about this church, Sant'Andrea Quirinale as well as the Ecstasy of Saint Theresa, His work at Saint Peter's, his fountains, and so on.

 A man should hear a little music, 

read a little poetry and see a fine picture every day of his life, 

in order that worldly cares may not obliterate the sense of the beautiful 

which God has implanted in the human soul.

~Johann Wolfgang von Goethe

San Carlo alle Quattro Fontane ~ by Francesco Borromini

Happiness lies in thinking or doing that which one considers beautiful.

~Hazrat Inayat Khan

I studied it in art history. San Carlo, with it's notable, undulating, travertine, facade, that seems to scream out to the world, "So, you think you've seen the counter-reformation? You aint seen nothin' yet!" 

Francesco Borromini, the tormented genius, designed this masterpiece for no charge, as a thank you to the Holy Order of the Trinity, who'd given him his first commission (If I understood the story correctly.) It was commissioned by Cardinal Francesco Barberini in 1634. There was very little space for the church so he had to be extra creative with the floor plan. 

Anyway, on my first full day, in Rome, I wasn't even sure where I wanted to go. My list was long, so after having my cappuccino and brioche, I just decided to head South, past Piazza Barberini, where I'd been the night before. In the rain, I walked past the huge Palazzo Barberini on my left (The Barberini were obviously big in this neighborhood!) knowing I must be getting close to San Carlo. 

I came to a corner and there it was ... undulating facade and all.

The "alle Quattro Fontane" part of the name, comes from the four fountains on each corner of intersection that San Carlo cozies up to. 

The first time I walked past these fountains, it was my first ever day in Rome, back in October of 2008. I had no idea about San Carlo or what I was even looking at. I just thought, wow! Rome is so awesome! (You can take the girl out of California ... )

Turns out the fountains are four river gods and goddesses. I actually looked that up for you. The females are Juno and Diana and the male with the tree is Arno River. The other male, without a tree, is the Tiber.

Arno is closest to the church which is right behind and above him.

Good old Tiber, relaxing on his corner.

Just a little cool detail on the outside of the church ...

Finally, I made it across the intersection, past an obstacle course of umbrellas, up a few, steep steps and opened the thick wooden door to the church.

Pulling off my hat and gloves, my eyes made their way up the white columns and detailed plaster surfaces ...

And then, there it was, the beautiful coffered ceiling, catching the lovely natural morning light. It was smaller than I had imagined but much, much more beautiful. 

Every soul has an inclination to admire beautify, 

to seek for beauty, to love beauty, and to develop beauty. 

Even God loves beauty.

~Pir-o-Murshid Inayat Khan

There were a few people inside but everyone was so quiet. There was a reverence that went beyond it being a church, that's hard to explain. People get loud in a lot of the churches and in the Sistine chapel where you are in the presence of Michelangelo's masterpieces, the museum guards are having to constantly shout "Silenzio!" so I'm not sure what it was. Perhaps, it was the small, intimate, nature of the space and the beauty of the light.

I just kept thinking, I'm so lucky to be here!

Borromini was big into cherubs and fabulous little details, which I love. I also love his use of gold, which was done very sparingly against all the white in San Carlo.

I found my way to the cloister. I was the only one there. It was silent except for the sound of the rain and my loud leather boots, when I walked across the wet stone floor. OH! And except for Siri who, out of nowhere, asked "How can I help you?" which echoed and bounced off the octagonal architecture. I quickly pulled my iPhone out of my right coat pocket to shut her up. 

That wouldn't be the only time, in a church, that Siri busted in on the meditative silence. I finally figured out where to deactivate her in my settings for the duration on the trip! 

Hand painted tiles on the "well." Such a peaceful space.

Back inside, I headed toward the crypt. Not sure why, but it was my first day and I didn't want to miss anything.

There was a little room on the way to the crypt with relics of St. Elizabeth Canori Mora (1774-1825), who is buried in the Barberini chapel, in San Carlo. Loved her little leather diaries ...

Not so in love with this, however. Some sort of rope for flagellating herself, I guess. Big tool for the Saints of the time, and a little disturbing, frankly. 

I wasn't quite sure at this point about going down into the crypt but I decided to follow a cute, Northern European couple down the stairs. It was stark, nearly empty and more than a little strange. 

These things don't usually creep me out, but for some reason, this one did. All I can say is the energy was weird. There are apparently a couple of graves down there but I couldn't figure out whose they were, and though there is a photo of the crypt on the official website, it gives no information. It just say's "Crypt."

The man, (of the cute couple) broke the tension by climbing into one of the little nooks and standing like a sainted statue. The lady took a photo and when we laughed but somehow the sound seemed swallowed up by the walls, and all of the sudden I found myself scurrying up the stairs like a mouse, behind the cute Northern European couple. We never spoke and I have no idea where they were from.

After the creepy crypt, I tried to let go of the weird energy, and sat, enjoying another look at the beautiful church. I tried to breath in the beauty and take in the genius of the space. I read my little leaflet about the church I'd gotten with my 1 Euro donation and took a few more photographs. 

What a glorious little space!

San Carlo alle Quattro Fontane

1638-1631

To watch an interesting short video, with commentary, about the design and architecture, click on this Link and play the video at the top of the page. 

If you want to read a Bio of the Saint Elizabeth Canori Mora click here

San Carlino/San Carlo

Via del Quirinale, 23, 00187 Rome, Italy

close to Metro stop Barberini

weekdays 10-1 and 3-6

Saturdays 10-1

Sundays  Noon-1

Man is always seeking for beauty, 

and yet he is unaware of the treasure of beauty that is hidden in his own heart ...

And it is the art of finding that beauty, of developing, improving, 

and spreading that beauty through life, allowing it to manifest before the inner and outer view, 

which one calls the art of the mystic.

~Pir-o-Murshid Inayat Khan