The museums first major visitor was King Gustav III of Sweden on New Years Day

The museums first major visitor was king gustav iii

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The museum’s first major visitor was King Gustav III of Sweden on New Year’s Day, 1784. Because the visiting monarch was a 70 the architecture of modern italy
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the challenge of tradition, 1750–1900 1.22 and 1.23 Alessandro Dori, then Michelangelo Simonetti, Museo Pio-Clementino, Rome, 1771–84. Plan from Paul Letarouilly, Le Vatican et la Basilique de Saint-Pierre de Rome , 1882; painting by Bénigne Gagnereaux, King Gustav III of Sweden visiting the Museo Pio-Clementino , 1785.
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72 the architecture of modern italy Lutheran, Pius VI opted diplomatically to “happen upon” him in a casual manner, strolling through a cosmopolitan place, much as Benedict XIV used his coffeehouse in the Quirinal gardens for Carlos III’s visit.The moment was immortalized in a painting commissioned by the traveling sovereign from a French painter in Rome, Bénigne Gagnereaux.The painter significantly altered Simonetti’s architecture, however, making the vaults more lofty and eliminating the rotunda’s clerestory level beneath the dome, thereby avoiding the problem posed by the Pantheon’s attic. Pius asked for a copy of this painting, a most complete portrait of him in his institution, international host and cultural guardian. Pius’s efforts had an effect on the plebeian crowds who were offered free entrance during Holy Week and on the aristocratic elite who hurried to update their own holdings.The efficacy of Pius’s model is seen in the revitalization of the Villa Borghese. Prince Marcantonio IV Borghese inherited this patrimony in 1763, the year Villa Albani was completed, and undertook a complete revamping to maintain the pre-eminence of his family’s cultural stature. His team of mostly foreign designers was coordinated by Antonio Asprucci, assisted by his son Mario.The prince participated in the design process with on-site visits and open-ended discussions with his idea men to assure the project’s up-to-date qualities.The villa interiors were enriched with columns and a profusion of colored marbles, vault paintings, and furniture to complement the art works.The Aspruccis struck a measured and melodic marriage between the solemnity of the antique and the extravagance of the baroque.The Egyptian room of 1786 is typical.Ancient fragments of porphyry, granite, and basalt were reintegrated on an Egyptian theme, and new statues and decorative elements were commissioned. Of course, Egyptian things were no novelty in Rome.There were the obelisks in the piazzas, a special cabinet in the Capitoline museum, even Albani had a reference to the Nile in his garden, and Piranesi referred to Egypt in his English caffè and Camini prints, but never before had Egypt been re-examined with such intensity and precision. The interior work was a clever attempt to boost the collection without buying any new pieces. Borghese could not outbid Albani
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or Pius VI, so he found ways to reposition his existing collection, including a replanting of the gardens. Marcantonio helped delineate the serpentine outline of an artificial lake and select the sites for several new “ruins.” On a man-made island in the lake, Mario
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  • Spring '17
  • Archt. De Veyra

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