In the early 16th century, Rome’s wealthy papal banker Agostino Chigi commissioned Baldassarre Peruzzi to build a pleasure palace for his mistress Imperia. Located in the
surrounding countryside outside of the city walls, Villa Farnesina’s exterior was surrounded by lush gardens while its’ interior was decorated with lavish frescoes. This villa is well known for its characteristic renaissance architecture as well as the great art works housed inside.Chigi commissioned several painters to decorate the loggias and dinning rooms of the villa. Those who were lucky enough to be invited to one of his elaborate parties would be entertained under the works of Guilio Romano, Sebastiano del Piombo, Il Sodoma, and best of all...Raphael.
I think the group was a bit relieved to find that none of the frescoes in Villa Farnesina were of the Madonna and Christ, or any other religious scenes for that matter. Because Chigi's palace was used for leisure, the paintings depicted secular, mythological scenes, many inspired by Ovid's Metamor
phoses.
On the left is a picture of the entrance way ceiling (Loggia di Psyche), which depicts Raphael's "Cupid and Psyche". Although Raphael was not able to paint the ceiling personally, his sketches were used by his apprentices to create the romantic tale of Cupid and Psyche.
On the right is a picture of Raphael's "Triumph of Galatea", located in the dining room next to the Loggia di Psyche. This fresco is important because it represents a combination of Raphael's techniques. He seems to have perfected his idea of beauty. It is said that Raphael culminated the most beautiful features from several women in order to create his Galatea. Also, the fresco portrays perfect balance. The cupids all point downwards toward the central figure of Galatea. There is a perfect balance of light and dark, as well as figures. It is also interesting that Galatea rides atop a seashell, which closely resembles Botticelli's "Birth of Venus".
Above the "Triumph of Galatea" and surrounding the ceiling are scenes from Ovid's metamorphoses, which also represent the astrological symbols.
Chigi's bedroom was frescoed by Il Sodoma; the 4 walls portray scenes from the life of Alexander the Great. This picture shows the wedding of Alexander and Roxanne. The viewer may notice a stark contrast from this scene (which is well done), compared to the other 3 walls. This is because Sodoma felt that Chigi was not paying him well enough. Sodoma's brush painted to the sounds of coins, meaning the quality of his work decreased if he felt he was not paid appropriately.
After we left the bed chamber of Agostino Chigi we decided we were long over due for a group photo, so we snapped a shot in Chigi's stairwell.
After our visit to Villa Farnesina, the group had a few hours until Mary's history class. Lisa, Nicolette, Shannon, and I went and grabbed a small bite to eat in Trastevere and poked into a few small shops until finally retu
rning to our side of the river.
rning to our side of the river. While returning over the Ponte Sisto we got caught in a snow/hail/sleet/rain storm, whatever you might call it.
In Mary's class we spent our time learning about Leon Batista Alberti and his ideas about the renaissance family. That Alberti is quite the guy!
I can only speak for myself here, I spent the rest of the night, reading, making pasta, playing guitar, and reading some more.
Another great day in Roma! Ciao
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