Rediscovering a Baroque Villa in Rome

Cardinal Patrizi and the Villa Patrizi 1715–1909

Rediscovering a Baroque Villa in Rome: Cardinal Patrizi and the Villa Patrizi 1715-1909 i

Libro MARSHALL.indb 1 18/11/15 17:22 ii Rediscovering a Baroque Villa in Rome: Cardinal Patrizi and the Villa Patrizi 1715-1909

Libro MARSHALL.indb 2 18/11/15 17:22 Rediscovering a Baroque Villa in Rome

Cardinal Patrizi and the Villa Patrizi 1715–1909

David R. Marshall

«L’Erma» di Bretschneider

Rediscovering a Baroque Villa in Rome: Cardinal Patrizi and the Villa Patrizi 1715-1909 iii

Libro MARSHALL.indb 3 18/11/15 17:22 Versions of some or parts of the chapters in this book have ap- Published by peared in the following publications: «L’ERMA» DI BRETSCHNEIDER ‘Farò la villeggiatura sopra la tela’: Cardinal Patrizi and Adriaen Man- glard’s vedute of the Villa Patrizi’, Burlington Magazine, vol. 144, VIA CASSIODORO 11 – 00193 Roma 2002, pp. 497–501. [email protected] ‘Reconstructing the Villa Patrizi. Part 1: the plan of the villa’, Journal of the History of Collections, 2003, pp. 31–58. ‘Reconstructing the Villa Patrizi. Part 2:‘Allegri, ma non osceni’: Cardinal © 2015 David R. Marshall Patrizi’s copies of ‘Dosso Dossi’s’ Bacchanals, Journal of the History of Collections, 2003, pp. 175–200. All rights reserved. No part of this publication may be repro- ‘Carnevale, Conversazione, and Villeggiatura: villa life in the eighteenth duced or transmitted in any form or by any means, including century’, Melbourne Art Journal, no. 6, 2003, pp. 35-64. photocopy, recording, or any otherr information storage or ‘”You Wouldn’t Want to Swap it for Our Villa”: the Villa Patrizi and retrieval system, without prior permission in writing from the the villas of the Roman Campagna in the reign of Innocent XIII’, publisher. in Barbara Arciszewska (ed.), The Baroque Villa: suburban and country residences 1600–1800, Warsaw: Wilanów Palace Museum, 2009, pp. 245–60. Rediscovering a Baroque Villa in Rome. Cardinal Patrizi ‘A Cardinal and His Family: the case of Cardinal Patrizi’, in M. Hol- and the Villa Patrizi 1715–1909 / David R. Marshall - lingsworth and C. Richardson (eds), The Possessions of a Cardinal: Roma : «L’ERMA» di BRETSCHNEIDER, 2015. -512 politics, piety and art, 1450-1700, University Park: Pennsylvania p. : ill. ; 24 cm. - (LermArte ; 15) State University Press, 2010, pp. 328–51, 358–72. ISBN 978-88-913-0931-0 (paper edition) ‘The Ideal and Theatrical Gallery: Giovanni Paolo Panini’s paintings ISBN 978-88-913-0934-1 (digital edition) of imaginary galleries’, in Christina Strunck and Elisabeth Kieven (eds), Europäisch Galeriebauten: galleries in a comparative European CCD 930.1 perspective. Römische Studien der Bibliotheca Hertziana 29, Mu- 1. Patrizi nich: Hirmer, 2010, pp. 401–15.

Cover: Adrien Manglard, View of Villa Patrizi from the Strada di S. Agnese, 1722, detail. Oil on canvas, 48 x 74 cm. Patrizi Collections. (David R. Marshall / Patrizi Collections.)

Title Page: Domenico Pronto (b. 1750), Casino della Villa Patrizi, 1830. Etching, 158 x 214 mm. Inscribed ‘da A.F. a Torsang.a’. From Raccolta di Num.o 320 vedute si antiche, che moderne della città di Roma e di alcuni luoghi suburbani incise a bulino in n° 80 rami in Roma nella Calcografia di Agapito Franzetti, Rome: da A. Franzetti a Torsanguigna, 1830. (David R. Marshall Collection.)

iv Rediscovering a Baroque Villa in Rome: Cardinal Patrizi and the Villa Patrizi 1715-1909

Patrizi_0_Front_Matter_v4 copy.indd 4 18/11/15 17:36 Contents

Acknowledgements xvi

Colour Plates xvii

Introduction 1 Roman Villas and the Villa Patrizi 4 Notes 5

Patrizi Naro Montoro Family Tree 6

Part 1. The Cardinal and his Family 8

Chapter 1.1 Patrizio Patrizi the Elder 8 Patrizio Patrizi the Elder (1629–1689) 8 The Dispositions of Patrizio’s Will 8 Patrizio’s Will and the Palazzo at S. Luigi dei Francesi 9 Fedecommesso and Primogenitura 11 Notes 12

Chapter 1.2 Architect and Patrons 14 Cardinal Giovanni Battista Patrizi (1658–1727) 14 A Villa in Albano 17 Cardinal Patrizi as Patron 17 The Brothers as Patrons 19 Mariano Patrizi (1663–1744) 20 Francesco Felice Patrizi (1665–1734) 23 Costanzo Patrizi (1654–1739) 25 Filippo Patrizi (1660–1733) 26 Sebastiano Cipriani (1662–1738) 27

Giovanni Paolo Panini (1691–1765) 29 Attitudes to other Roman Villas 29 Villa Catena at Poli 30 Villa Sacchetti at Castelfusano 31 Notes 31

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Libro MARSHALL.indb 5 18/11/15 17:22 Chapter 1.3 The Cardinal in Ferrara 1718–1727 36 Family, Friends and Visitors of Rank at the Villa 36 The Stuarts 37 Visitors to Ferrara 38 The Cardinal’s Life in Ferrara 38 Conditions in Ferrara 40 The Conclave of 1721 40 The Conclave of 1724 41 The Last Six Months of the Cardinal’s Life 42 The Commission for the Silver Bust of S. Francesco di Paola 43 Funeral 44 The Catafalque 44 Burial 47 Antiquarianism and Fashion 49 Cardinal Patrizi as Collector 49 Notes 50

Chapter 1.4. Ottavia Sacchetti and Patrizio Patrizi the Younger 1722–1739 55 Ottavia Sacchetti (c. 1701–?) and Patrizio Patrizi (1684–1747) 55 Discord between Ottavia and Patrizio 56 Ottavia’s Situation and Patrizio’s Ailments 57 Felice Trulli’s Portrait of Ottavia 57 Ottavia and Patrizio in Ferrara: Carnival and Villeggiatura 58 Carnival 1726 59 Planning the Lombardy Trip 61 Lombardy, Venice and Bologna 61 Carnival 1727 62 Cardinal Patrizi’s Will 63 Patrizio’s Will 65 Ottavia in the Villa ;65 The Antonio David Portrait of Ottavia 66 Notes 66

Chapter 1.5 Maria Virginia and Giovanni, Porzia and Francesco 70 Maria Virginia Patrizi (1718–1788) and Giovanni Chigi Montoro (1700–1772) 70 The Married Life of Maria Virginia and Giovanni 70 Entertainments in the Villa 72 The Villa during the Reign of Benedict XIV 75 Maria Virginia Patrizi and the Masked Ball in Palazzo Farnese in 1751 76 Maria Virginia Patrizi and the Villa Albani 78 Vigna Silva 82 Pope Clement XIV and the Stanza del Trucco 82 Porzia Patrizi (1752–1835) and Francesco Naro (1743–1813) 82 Notes 86

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Libro MARSHALL.indb 6 18/11/15 17:22 Part 2 Vigna and Villa 90

Chapter 2.1 Vigna Patrizi 1650–1715 90 The Site 90 Villas near the Porta Pia 95 Disposition 96 Gardens 98 The Casino 98 Boschetto 99 Conclusion 99 Notes 99

Chapter 2.2 Constructing the Casino 103 Building Trades 103 Supply of Materials 104 Paving Bricks 105 Window Glass 106 Transport 106 Plan 107 Main Staircase (Scala Grande) 109 Service Staircase (Scaletta) 114 Basement and Kitchens 115 Chimneys 116 Spiral Staircase, Guardarobba and Roof Terrace 117 Plan Comparisons 118 Elevation 118 Room Heights 121 Blind Windows 122 Notes 124

Part 3 Decoration and Function 126

Chapter 3.1 Organisation of the Piano Nobile 126 The Inventories of the Villa Patrizi 1739–1814 126 The Paintings Collection 128 The Nicoletti Drawings 128 Room Functions and Door Curtains 129 Window Curtains 133 Ceiling Frescoes 134 Decoration of Window Embrasures and Door Jambs 134 Notes 135

Chapter 3.2 Anterooms 136 Introduction 136 Boiseries and Fixed Installations 136 The First Anteroom 137 TheBacchanals in the Second Anteroom 138 The Taste of the Pope 144 Notes 145

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Libro MARSHALL.indb 7 18/11/15 17:22 Chapter 3.3 Gallery 149 Introduction 149 The Nature of the BaroqueGalleria 150 The Gallery of the Palazzo de Carolis 151 The Villa Patrizi Gallery: Circulation and Sources 152 Mirrors and the Paintings by Raffaello Vanni 154 Choosing the Painter of the Vault Frescoes 156 Giuseppe Chiari 157 The Tardiness of Painters 158 Giovanni Paolo Panini and Antonio Grecolini 158 Executing the Gallery Vault Fresco 160 The Vault Fresco by Panini and Grecolini 161 Chandeliers 162 Furnishing the Gallery 163 The Decoration of the Gallery 163 The Frescoed Overdoors 164 Pietro Zerman and Filippo Sciugatrosci in the Galleriola Dipinta 165 Notes 166

Chapter 3.4 Stanza alla Cinese 168 Introduction 168 China and the Early Eighteenth Century 168 All’Indiana and alla Cinese 171 Porcelain and Lacquer 173 Lacquer, Porcelain and Mirror Cabinets 174 The Villa Patrizi Stanza di Porcellana 176 The Fireplace: Patron, Middleman, and Artisan 176 The LacquerTavole and Panini as Coordinator of the Decoration 178 The Pope’s Mezzanines 181 The Hang of theTavole 183 The Remodelling of the Stanza alla Cinese and Chinoiserie at Montoro 183 Notes 184

Chapter 3.5 Stanza delli Cristalli 188 Introduction 188 Mirrors in Roman Palaces 188 Bologna and the Mirror Pilaster 1720–1721 191 The Mirror Cabinet 1722–1724 193 The Patrizi Mirror Cabinet and its Roman Successors 194 Mirrored Enfilades 195 The Renewing of the Mirroring of the ‘Large Gilded Mirror’ 197 Sconces and Tables 198 Notes 198

Chapter 3.6 Bedrooms and Gabinetto 201 Introduction 201 The Baroque Bedroom 203 Fabric in the Bedroom 204 Paintings, Arazzi Finti, or Fabrics for the Bedrooms? 205

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Libro MARSHALL.indb 8 18/11/15 17:22 The Decoration of the Bedrooms as Executed 206 The Gabinetto (PN09) 207 Cardinal Patrizi’s Instructions for his Gabinetto 207 TheStanza delle Storie della Creazione del Mondo (PN12) 209 Notes 210

Chapter 3.7 Organisation of the Mezzanine 211 Introduction 211 Doors and Door Curtains 213 Window Curtains 214 A Female Domain 215 Occupancy of the Mezzanine 215 Ottavia’s Villeggiatura at the Villa in 1723 and the Decoration of the Mezzanine 215 Furnishing the Mezzanine Rooms 216 Door Curtains for Castel Giuliano and the Villa 217 Material for Window Curtains 218 Wall-hangings 218 Upholstery 219 Prints and Paintings 219 Decorative Painting 219 Tables and Chairs 219 Mirrors 220 Ottavia’s Bedroom and the Bed Coverlets 220 Patrizio’s Contribution 221 Maria Virginia’s Redecoration of the Mezzanine 221 Notes 222

Chapter 3.8 Organisation of the Ground Floor 224 Introduction 224 The Contributions of the Brothers 227 Notes 228

Chapter 3.9 The Ground Floor Frescoes 230 Panini and the Ground Floor Gallery 230 Pompeo Aldrovandini 230 Francesco Galli Bibiena 232 Panini and Aldrovandini at Work 232 Panini in Favour 235 Theme Rooms and the Palazzo Ruspoli 1715 236 The Nature of the Ground Floor Frescoes 238 Notes 239

Chapter 3.10 Romitorio 242 Introduction 242 The Vigna Patrizi Romitorio 242 Romitorii and the Baroque Palace 242 The Villa Patrizi Romitorio 247 Francesco Patrizi (1826–1905) and the Romitorio Tradition 252 Notes 258

Rediscovering a Baroque Villa in Rome: Cardinal Patrizi and the Villa Patrizi 1715-1909 ix

Libro MARSHALL.indb 9 18/11/15 17:22 Part 4 Garden and Street 262

Chapter 4.1 The Manglard Views 262 Other Views of the Villa 266 Notes 266

Chapter 4.2 Stanza del Trucco and the Servants’ Mezzanines 267 Introduction 267 Trucco 267 Building the Stanza del Trucco 268 Painting the Stanza del Trucco 269 Rush Chairs 270 Occupancy 271 Clement XIV and the Stanza del Trucco/Bigliardo 271 The Upper Terrace 271 The Servants’ Mezzanines 275 Fictive Windows 275 Notes 276

Chapter 4.3 Teatro 278 Introduction 278 Liminal Fears 278 The Garden Portals of the Via Pia 281 Cipriani’s Portone 283 Cipriani’s Design 284 The Portone asTeatro 286 The Scalinata 288 The Dolphin Fountain 289 The Public Chapel 292 The Chapel of the Villa Bolognetti 294 Notes 296

Chapter 4.4 Water 300 Water Supply in Eighteenth-Century Rome 300 Obtaining Water from the Villa Alberoni 304 Benefits of Buying the Vigna of Pier Benedetti 305 The Mysterious Buyer of the Vigna of Pier Benedetti 307 Other Options for Accessing the Acqua Felice 309 The Solution 1728 310 The Vigna Silva 310 The Plan for a Header Tank in the Portone 312 The Prospetto and Pump 314 The Cistern 314 The Cisterns and Plumbing as Built 315 Wells 315 Notes 315

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Libro MARSHALL.indb 10 18/11/15 17:22 Chapter 4.5 Garden and Vigna 318 Introduction 318 The BaroqueProspettiva 320 The Herms 325 TheProspettiva Terminations 327 The House of the Vignarolo and the Granary 329 The Capannone and the Fienile 330 The Boschetto 1689–1823 333 Damage to Trees in the Boschetto 335 Contemporary Accounts of the Boschetto 335 The New Boschetto 335 The Formal Garden (Giardino) 336 Using the Garden 340 Notes 341

Part 5 Reconstruction and Subdivision 344

Chapter 5.1 Destruction and Reconstruction 1814–1870 344 Introduction 344 Filippo, Giovanni and Francesco 347 The Siege of Rome 347 Rebuilding the Villa 348 An ‘Earthly Paradise’: The Pratone and its Garden Beds 354 The Acquisition of the Villa Bolognetti and the Garden 1863–1885 357 Notes 360

Chapter 5.2 The Kingdom of Italy 1870–1909: Subdivision and Obliteration 362 The Breach at Porta Pia: 20 September 1870 362 Urban Development and the Villa Patrizi 363 The 1885–1886 Subdivision 365 The Death of Francesco and the Sale of the Villa in 1908 373 Notes

Part 6 Palazzo Patrizi and Castel Giuliano 376

Chapter 6.1 Projects at the Palazzo at S. Luigi dei Francesi 1721–1726 376 Introduction 376 The Situation 376 The Entrone 379 The Carriage Houses in the Courtyard 380 The Proposed Inscription 381 The Cardinal’s Apartment 382 The Project to Redecorate the Rooms facing the Piazza 1720 384 Projects for the Cardinal’s Apartment, 1726 385 22 June 1726: Converting the Camerone to the Cardinal’s Bedroom 385 6 July 1726: Partitioning the Camerone 385

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Libro MARSHALL.indb 11 18/11/15 17:22 20 July 1726: Occupying the Stanza Lunga as well 386 14 September 1726: The Stanza del Cantone as Bedroom 388 21 September 1726: Refinements 389 28 September 1726: The Bedroom Returns to the Camerone 389 February 1727: Borrowing Patrizio and Ottavia’s Apartment 390 TheFamiglie of Cardinal Patrizi and the Casa Patrizi 391 Accommodating the Famiglia 392 Casa de’ Spagnuoli and Casa Rondanini: February 1722 to January 1724 392 The Casa de’ Spagnuoli Ascendant: February 1724 394 Accommodating the Famiglia, Stables and Carriage Houses 1726–1727 395 The Stables on a Site Owned by the Congregation of S. Luigi dei Francesi (June–August 1726) 395 The Search for Alternative Stabling 396 The Sapienza Project 397 Casa Rondanini 397 Palazzo Madama Again 397 Mariano’s Estimates 398 The Casa Rondanini 398 Connecting Palazzo Patrizi and Casa Rondanini 399 Indecision 399 Giovanni Domenico Consalvi and the Cardinal’s Library 400 Notes 401

Chapter 6.2 Projects at Castel Giuliano 1722–1723 405 Introduction 405 Projects 1722–1723 408 Notes 412

Part 7 Appendices 413

Appendix 1 Piano Nobile 413 1.1 Piano Nobile Organisation 413 1.1.1 Piano Nobile Door Curtains in the Inventories 413 1.1.2 Piano Nobile Windows and Window Curtains in the Inventories 414 1.2 First Anterooms (PN02) 414 1.2.1 First Anteroom Description 414 1.3 Second Anteroom (PN03) 415 1.3.1 Second Anteroom Description 415 1.4 Piano Nobile Gallery (PN04) 415 1.4.1 Piano Nobile Gallery Description 415 1.4.2 The Paintings by Raffaello Vanni 416 Dimensions 416 Frames 417 1.5 Stanza alla Cinese (PN05) 417 1.5.1 Stanza alla Cinese Description 417 1.5.2 The Lacquer Tavole 417 1.5.3 The Redecoration by Giovanni and Maria Virginia before 1772 418 1.6 Stanza delli Cristalli (PN06) 418 1.6.1 Stanza delli Cristalli Description 418 1.6.2 Framing of Mirror Pilasters 418 1.6.3 Terminology for Mirrors and Glass 419

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Libro MARSHALL.indb 12 18/11/15 17:22 1.7 Galleriola Dipinta (PN07) 419 1.7.1 Galleriola Dipinta Description 419 1.8 Primary Bedroom (PN08) 419 1.8.1 Primary Bedroom Description 419 1.8.2 Wall-hangings 420 1.9 Gabinetto (PN09) 421 1.9.1 Gabinetto Description 421 1.9.2 Paintings 1739 to 1772 421 1.10 Stanza della Creazione del Mondo (PN12) 422 1.10.1 Stanza della Creazione del Mondo Description 422 1.10.2 Paintings 1739 to 1748 422 A Copy after Guido Reni’s Samson 422 TheBozzetto for Passeri’s ceiling in the Camerone (Sala da Ballo) in the Palazzo at S. Luigi dei Francesi 422 1.10.3 The Chaperon Engravings after Raphael Coloured in Gouache by Giacomo van Lint 423 The Chaperon Engravings 423 Payments to Giacomo van Lint for 71 Gouaches 423 1.11 Secondary Bedroom (PN13) 424 1.11.1 Secondary Bedroom Description 424 1.11.2 Wall-hangings 424

Appendix 2 Mezzanine 425 2.1 Mezzanine Organisation 425 2.1.1 Ceiling Height 425 2.1.2 Mezzanine Doors in the Inventories 425 2.1.3 Door Curtains in the Inventories 425 2.1.4 Windows Curtains in the Inventories 426 2.2 First Mezzanine Anteroom (MZ02) 427 2.2.1 First Mezzanine Anteroom Description 427 2.3 Second Mezzanine Anteroom (MZ03) 427 2.3.1 Second Mezzanine Anteroom Description 427 2.4 Stanza dell’Ovato (Stanza dell’Occhio) (MZ04) 427 2.4.1 Stanza dell’Ovato (Stanza dell’Occhio) Description 427 2.5 Maria Virginia’s Music Room or Stanza Gialla (MZ05) 427 2.5.1 Maria Virginia’s Music Room or Stanza Gialla Description 427 2.6 Corner Fireplace Room (MZ06) 428 2.6.1 Corner Fireplace Room Description 428 2.7 Mezzanine Galleriola (MZ07) 428 2.7.1 Mezzanine Galleriola Description 428 2.8 Stanza del Zampanaro (MZ08) 428 2.8.1 Stanza del Zampanaro Description 428 2.9 Mezzanine Gabinetto (MZ09) 429 2.9.1 Mezzanine Gabinetto Description 429 2.10 Stanza delle Donne (MZ11) 429 2.10.1 Stanza delle Donne Description 429 2.11 Bedroom of the Attendant Women (MZ12) 430 2.11.1 Bedroom of the Attendant Women Description 430 2.12 Second Mezzanine Bedroom (Patrizio’s Dressing Room) (MZ13) 430 2.12.1 Second Mezzanine Bedroom Description 430 2.12.2 Wall-hangings 430

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Libro MARSHALL.indb 13 18/11/15 17:22 Appendix 3 Ground Floor 431 3.1 Ground Floor Organisation 431 3.1.1 Ceiling Height 431 3.1.2 Bussole 431 3.1.3 Door Descriptions in the 1739 Inventory 431 3.1.4 Pelmets 431 3.2 Scala Grande and Servants’ Hall (GF01) 431 3.2.1 Scala Grande and Servants’ Hall Description 431 3.3 Guard Room (GF02) 432 3.3.1 Guard Room Description 432 3.4 Chimney Room (GF03) 432 3.4.1 Chimney Room Description 432 3.5 Ground Floor Gallery (GF04) 432 3.5.1 Ground Floor Gallery Description 432 3.6 Costanzo’s Room or Music Room (GF05) 433 3.6.1 Costanzo’s Room or Music Room Description 433 3.6.2. The Mirror Carved by Antoine Ieunet 433 3.7 Filippo’s Room (GF06) 433 3.7.1 Filippo’s Room Description 433 3.8 Ground Floor Galleriola (Room for the Credenza) (GF07) 434 3.8.1 Ground Floor Galleriola (Room for the Credenza) Description 434 3.9 Stanza dei Feudi (GF09) 434 3.9.1 Stanza dei Feudi Description 434 3.10 Chapel (GF09) 434 3.10.1 Chapel Description 434 3.10.2 Door 434 3.10.3 Stuccoes 435 3.10.4 Prie-dieus 435 3.10.5 Wardrobes 435 3.10.6. Wrought Iron 435 3.10.7 Altar 436 3.11 Stanza delle Battaglie (GF12) 436 3.11.1 Stanza delle Battaglie Description 436 3.12 Stanza del Romitorio (GF13) 436 3.12.1 Stanza del Romitorio Description 436

Appendix 4 Stanza del Trucco 438 4.1 Stanza del Trucco (TR01) 438 4.1.1 Stanza del Trucco Description 438 4.1.2 Construction Payments 438 4.2 Room on the Right (TR03) 439 4.2.1 Room on the Right Description 439 4.3 Room on the Left (TR03) 435 4.3.1 Room on the Left Description 440

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Libro MARSHALL.indb 14 18/11/15 17:22 Summary of the Principal Documents Consulted 1. The Letters of Cardinal Patrizi 440 2. Nineteenth- and Twentieth-century Documents 440 3. Inventories 440 4. Payments about the Construction and Decoration of the Villa 441 5. Documents about the Patrizi Family 443 6. Documents about the Vigna Patrizi, Vigna Silva, Villa Patrizi, and Palazzo Patrizi 443 7. Documents about Water 444

Bibliography 445 Index 463

Rediscovering a Baroque Villa in Rome: Cardinal Patrizi and the Villa Patrizi 1715-1909 xv

Libro MARSHALL.indb 15 18/11/15 17:22 Acknowledgements

This study would not have been possible without the visits to Rome over the years I have been privileged to assistance of many friends, colleague and institutions stay at the British School at Rome, where Andrew and whom I gladly acknowledge here. My greatest debts are Jo Wallace-Hadrill made it feel like home. Valerie Scott to the Patrizi Naro Montoro family, especially Marchese and her team in the British School at Rome library were Don Corso and Donna Elisabetta. Without Don Corso’s unfailing helpful and generous. I would also like to thank extraordinary kindness and enthusiasm for this project, its assistant directors: Clare Hornsby, Andrew Hopkins, and without his willingness to share with me materials he Helen Langdon and Susan Russell, as well as Maria Pia has discovered in Palazzo Patrizi and in the family archives, Malvezzi and the late Geraldine Wellington. Another much of this study would not have been possible. I am fundamental resource for this project has been the Bib- also enormously indebted to Marchese Don Innocenzo liotheca Hertziana in Rome, and colleagues associated Patrizi Naro Montoro and Umberta da Passano at Castel with it, especially Elizabeh Kieven, Sebastian Schütze Giuliano, as well as other members of the Patrizi family, and Christina Strunck, have been especially supportive. including Marchesa Teresa Frescobaldi, Marchese Patrizio Marga Sanchez assisted with photograph permissions. and Marchesa Flaminia Patrizi Naro Montoro, the late Much of the writing was done during the depth of suc- Donna Paola Patrizi Naro Montoro, Marchesa Donna cessive Roman winters in the main reading room of the Maddalena Patrizi Naro Montoro and Don Paolo Patrizi library of the American Academy in Rome, one of the Naro Montoro. Particular thanks are owed to Jacopo and finest spaces for writing and thinking that I know, and I Florence Patrizi, for their interest in this project and their would like to thank all the librarians there for their help. hospitality over many years. In Milan, Francesca Patrizi Also inspirational was my time as Paul Mellon Visiting was generous in providing information and materials. Senior Fellow at the Center for Advanced Study in the Particular thanks are owed to Marchesa Alberta Serlupi Visual Arts at the National Gallery of Art, Washington, Crescenzi for opening many doors into Rome’s cultural DC, in November–December 2002, which allowed me to heritage, and to Clare Broadbent for her willingness to write drafts of early chapters. I owe special thanks to Robin make connections and to explore the Campagna. Appleton for her copy-editing, and to Roberto Marcucci I owe a huge debt of gratitude to Karin Wolfe and and Maurizio Pinto at “L’Erma” di Bretschneider. Tommaso Manfredi for facilitating this project in so many Financial support for this project has been provided ways. The late Federico Zeri was for many years generous by the School of Culture and Communication at the in sharing his knowlege and supporting my reseach of ar- University of Melbourne, where I owe particular thanks chitectural and view painters. Other friends and colleagues for the supportive environment provided by my colleagues I would like to thank for their help and assistance include there over the years, especially Dagmar Eichberger, Ann Barbara Arciszewska, Piers Baker-Bates, Robert Gaston, Galbally, Charles Green, Alison Inglis, Susan Lowish, Katrina Grant, Christopher M. S. Johns, Alastair Laing, Margaret Manion, Angela Ndalianis and Anthony White. Joan Barclay Lloyd, Frances Muecke, Carol Richardson, Clare Robertson, Sandra Romito, Francis Russell, Marino Finally, I would like to thank from the heart Lisa Serlupi Crescenzi, Mark Shepheard, John Weretka and Beaven, who encouraged me to take research in Roman Arno Witte. family archives seriously, and who has always been my Much of the research for this book was done in the strongest supporter. Archivio Segreto Vaticano, and I would like to thank the Most Reverend Prefect, His Excellency Monsignor Sergio David R. Marshall Pagano, B., the Vice-Prefect, Professor Paolo Cherubini Daylesford, Victoria, November 2015 and the Segretario, Dott. Marco Grilli, with particular thanks to Dott. Francesco Lippa for his work on the edi- tion of Cardinal Patrizi’s Letters and the staff of the Sale di Studio, always helpful and efficient. During regular

xvi Rediscovering a Baroque Villa in Rome: Cardinal Patrizi and the Villa Patrizi 1715-1909

Libro MARSHALL.indb 16 18/11/15 17:22 Colour Plates

Plate 1. Giuseppe Passeri (1654–1714), Half-length Portrait of Plate 10. Giovanni Battista Bassi (1784–1852), Villa Patrizi from Giovanni Battista Patrizi as Monsignor, 1710. Oil on canvas. the Garden before its Destruction in 1849, c. 1851. Oil on Inscribed on the book M[onsignor]. Gio[vanni]. / Patritij canvas, 49 x 74 cm. Patrizi Collections. (David R. Marshall / A[nn]o. 1710. Private Collection. (David R. Marshall / / Patrizi Collections.) Owner.) Plate 11. Giovanni Battista Bassi (1784–1852), View of the Plate 2. Giuseppe Passeri (1654–1714), Portrait of Mariano Villa Patrizi, Street Side, after its Destruction in 1849. 1851. Patrizi Dressed as a Painter, c. 1680–1700. Oil on canvas, 94 Oil on canvas, 49 x 74 cm. Patrizi Collections. (David R. x 73.5 cm. Patrizi Collections. (Bibliotheca Hertziana–Max- Marshall/Patrizi Collections.) Planck-Institut für Kunstgeschichte, Rome.) Plate 12. Giovanni Battista Bassi (1784–1852), View of the Villa Plate 3. Giuseppe Passeri (1654–1714), Abate Francesco Felice Patrizi, Garden Side, after its Destruction in 1849. 1851. Patrizi Seated Holding an Architectural Plan, c. 1680–1700. Oil on canvas, 49 x 74 cm. Patrizi Collections. (David R. Oil on canvas, 172 x 122 cm. Patrizi Collections. (Biblio- Marshall / Patrizi Collections.) theca Hertziana–Max-Planck-Institut für Kunstgeschichte, Rome.) Plate 13. Franz Caucig (1755–1828), Villa Patrizi, towards Villa Bolognetti, 1781–87. Pencil, pen, ink and brown wash, Plate 4. Jean-Étienne Liotard (1702–89), Portrait of Maria Vir- 219 x 330 mm. Inscribed on the verso, in brown ink: ‘Villa ginia Patrizi, c. 1736. Pastel on paper, 61 x 45 cm. Patrizi Patrizi’. Ljubljana, National Gallery of Slovenia, NG G71. Collections. (David R. Marshall / Patrizi Collections.) (Janko Dermastja / © Narodna galerija, Ljubljana, 2015.)

Plate 5. Giuseppe Antonio Olivieri (?), Porzia Patrizi, 1765 (?). Plate 14. Franz Caucig (1755–1828), View of Villa Albani from Oil on canvas, 74.5 x 58 cm. Patrizi Collections. (Biblio- the Lower Terrace of the Villa Patrizi, 1781–87. Pencil, pen, theca Hertziana–Max-Planck-Institut für Kunstgeschichte, ink and brown wash, 219 x 333 mm. Vienna, Kupferstichk- Rome.) abinett der Akademie der bildenden Künste, HZ1218.

Plate 6. Tommaso Raffanelli, Drawing of the Catafalque Erected Plate 15. Luigi Garzi (1638–1721), copy after, Galatea and in the Cathedral of Ferrara for the Funeral of Cardinal Patrizi, Polyphemus. Oil on canvas, 36 x 134 cm. Private collection. 4 August 1727, 1727. Pen and ink and black chalk on pa- (David R. Marshall.) per. ASV, Archivio Patrizi-Montoro, B70, no. 4. (Archivio Segreto Vaticano.) Plate 16. Pietro Paolo Cennini (1661–1739) (here attributed), Vase of Flowers. Oil on canvas, c. 180 x 60 cm. Private Col- Plate 7. Adrien Manglard, View of Villa Patrizi from the Strada lection. (David R. Marshall.) di S. Agnese, 1722. Oil on canvas, 48 x 74 cm. Patrizi Col- lections. (David R. Marshall / Patrizi Collections.) Plate 17. Pietro Paolo Cennini (1661–1739) (here attributed), Various Fruits. Oil on canvas, c. 180 x 60 cm. Private Col- Plate 8. Adrien Manglard, View of Villa Patrizi from the Gar- lection. (David R. Marshall.) den, 1722. Oil on canvas, 48 x 74 cm. Patrizi Collections. (David R. Marshall / Patrizi Collections.) Plate 18. Luigi Garzi (1638–1721), copy after, Bacchus and Ariadne. Oil on canvas, 36 x 134 cm. Private collection. Plate 9. Giovanni Battista Bassi (1784–1852), Villa Patrizi (David R. Marshall.) from the Street before its Destruction in 1849, c. 1851. Oil on canvas, 49 x 74 cm. Patrizi Collections. (David R. Marshall Plate 19. Raffaello Vanni (1587–1673), Belshazzar’s Feast, c. / Patrizi Collections.) 1638–49. Oil on canvas, c. 245 x 335 cm. Patrizi Col-

Rediscovering a Baroque Villa in Rome: Cardinal Patrizi and the Villa Patrizi 1715-1909 xvii

Libro MARSHALL.indb 17 18/11/15 17:22 lections. (Bibliotheca Hertziana–Max-Planck-Institut für Plate 26. Giuseppe Vasi (1710–82), Casino della Villa Patrizi Kunstgeschichte, Rome.) fuori di Porta Pia, from Delle magnificenze di Roma antica e moderna, Book 10, Ville e giardini, 1760, pl. 191. (David Plate 20. Raffaello Vanni (1587–1673), The Death of Dido, R. Marshall.) c. 1638–49. Oil on canvas, c. 245 x 335 cm. Patrizi Col- lections. (Bibliotheca Hertziana–Max-Planck-Institut für Plate 27. The Coloured 1860 Plan: Printed Plan of the Villa Kunstgeschichte, Rome.) Patrizi, 1860. Printed plan with added colour. The printed inscriptions read ‘Villa Patrizi 1860’, ‘III’ and ‘La Villa Plate 21. Venetian manufacture, lacquer tavola, type B (3), 1722. Scene with Enthroned Ruler. Patrizi Collections. (David R. Patrizi fatta dal Card. Giovanni Patrizi nel 1725. Vene poi Marshall / Patrizi Collections.) distrutta per la rivoluzione del 1848. La sorte stessa ebba la Villa Bolognetti. Il M.se Filippo Patrizi la restauro nel 1855. Plate 22. Venetian manufacture, lacquer tavola, type B (1), Scene I figli vi aggiunsero la Villa Bolognetti e prese questa configu- with Rock and Garden Arches, 1722. Patrizi Collections. razione.’ Patrizi Collections. (David R. Marshall / Patrizi (David R. Marshall / Patrizi Collections.) Collections.)

Plate 23. Anonymous, Sketch of a Wall of the Romitorio in the Plate 28. Francesco Patrizi (1826–1905), Project for a Curved Villa Patrizi, 1849. Recto. Watercolour on paper, 240 x Wall on Piazza Pia, c. 1886. Watercolour on paper. Patrizi 320 mm. Patrizi Collections. (David R. Marshall / Patrizi Collections. (David R. Marshall / Patrizi Collections.) Collections.) Plate 29. Francesco Patrizi (1826–1905), Bird’s-eye View of a Plate 24. Anonymous, Sketch of a Wall of the Stanza delle Battaglie Scheme for Boundary Buildings on a Reduced Vila Patrizi. in the Villa Patrizi, 1849. Pencil and black chalk on paper, 250 x 355 mm. Patrizi Collections. (David R. Marshall / Coloured chalks on paper. Patrizi Collections. (David R. Patrizi Collections.) Marshall / Patrizi Collections.)

Plate 25. Sebastiano Cipriani (1662–1738), Project Elevation of the Plate 30. Francesco Patrizi (1826–1905), Monk Ascending a Casino of the Villa Patrizi, c. 1715. From the Patrizi Album. Staircase, c. 1888. Drawing. Patrizi Collections. Patrizi Col- Patrizi Collections. (David R. Marshall / Patrizi Collections.) lections. (David R. Marshall / Patrizi Collections.)

xviii Rediscovering a Baroque Villa in Rome: Cardinal Patrizi and the Villa Patrizi 1715-1909

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