The Hotel Antico Palazzo
di Rospigliosi, was officially opened in
December 2005 (formerly called the Hotel Le Cappellette
di San Luigi 2001-2005) and is located in the centre
of the Square "Santa Maria Maggiore"
( the square has recently been renamed Piazza Esquilino),
the building can trace it's roots way back to the
year of 1585 when it was constructed and named the
"Palazzo Rospigliosi". The Rospigliosi,
a rich aristocratic Roman family, lived here for more
than 150 years and in that time many prominent Roman
and Religious persons were guests.... The walls of
the Rospigliosi have witnessed much learning and art
and poetry were frequently discussed in the 2 reading
rooms. Paintings were made and music was composed
byboth Roman and foreign aristocratic guests. To this
day every corner of the building perpetuates an atmosphere
of knowledge and learning something which sadly many
of today's buildings do not.
The Antico Palazzo Rospigliosi
was destined to remain at the pinnacle of Roman high-society
and intrinsic to its entire history is the presence
of rich, famous and prominent religious figures who
have contributed much to the Hotel's rich and cultured
collection of antiques. Busts, statues, books about
art, paintings, chandeliers and antique furniture
are all evident in every corner of the hotel but one
can only immagine what it must have been like to live
in this former nobleman's palace that still contains
the original staircase (stables at the top) which
even allowed horses to enter. The Hotel Antico Palazzo
Rospigliosi was constructed during the pontification
of Pope Sisto V (1585-90) who was also responsible
for the creation of the Church Santa Maria
Maggiore the construction of which was hailed
as a milestone in transforming Renaissance architecture
into a more urban style adapt for the 17th century.
The wide roads that surround the church, the star
shape of the square and the large abundance of space
are testament to this style of architecture (other
examples in Rome include the Piazza del Popolo before
the intervention of Valadier)
The Antico Palazzo Rospigliosi is
both a Roman and National art treasure and consquently
protected by both world heritage and the local ministry
for the arts. A precious national heirloom the Antico
Palazzo Rospigliosi must never again be allowed to
fall into a state of disrepair from which it was rescued
in the Spring of May 2001. By studying its long and
illustrious history it is hoped that one can perhaps
understand what happened in all those centuries, in
some way reliving the experiences shared by its residents
which include the Roman families of Rospigliosi,
Ciampini, Lercaro, e Borromeo, travelling
back hundreds of years these names will live on in
eternity but who were they really, Ciampini? The Rospigliosi?
We hope that you will be our guest and thus ensure
that you too become, in a little way, part of its
history.
One of the first owners of the building
was Monsignor Giovanni Giustino Ciampini who bought
it for 6000 scudi from the Vaini family. A notable
Roman erudite from the late 16th century Ciampini
was a pioneer of Christian architecture
and a few of his scientific instruments are still
housed here (most have been transferred to the museum
for safe keeping). Among Ciampini's most famous accomplishments
was his creation and publication in 1668 of the first
ever "Newspaper for Letterists" or Giornale
de' Letterati which was the first of its kind in Italy
and the third in the world (after the Journal des
Scavants Paris and The Philosophical Transactions
London).
After Ciampini's death in 1695 the
ownership was transferred onto the Rospigliosi a noble
family the head of whom's household was also the
Prince of Castiglione. The Rospigliosi lived
here until the middle of the 18th century and it was
above all others Camillo who gave it its name "Antico
Palazzo Rospigliosi", Camillo, relation of Giulio
Rospigliosi (Pope Clemence the 9th), was
supposed to live in the palatial surroundings of the
Quirinale but instead preferred a smaller residence
on its own, consquently Camillo chose to live in the
Antico Palazzo Rospigliosi (as it had since become
known). Camillo lived here, wedged between Via Paolina
e via Liberiana. Today the Hotel Antico Palazzo Rospigliosi
is still referred to as the ex palazzetto Rospigliosi,
in honour of the selfless Camillo. The Antico Palazzo
Rospigliosi embraces the spirit of Rome and especially
of Christmas when Santa Maria Maggiore
is used for the official Italian celebration of Xmas.
Camillio (1646-1722.) son of figlio di Giovan
Battista Rospigliosi and Camilla
Pallavicini loved the palace. Giovan Battista
was the son of another Camillo Rospigliosi (the Pope's
brother) and of Lucrezia Cellesi, therefore Camillio
junior was the nephew of Pope Clemence the ninth and
of the first Camillo Rospigliosi. and Towards the
end of the 17th century the Rospigliosi passed the
ownership deeds of their ancestoral home to the Marchese
Francesco Maria Imperiali Lercaro, who let
the home to the Apostle Missionaries.
Prince of the sacred Roman Emperor
Camillo Junior, on the death of his father, became
the Duke of Zagarolo and lived in the Antico Palazzo
Rospigliosi. The prince was surrounded by artists
and painters including Reder, Masucci, Giovanni
Bottani, Paolo Monaldi, the latter of which
was commissioned to paint some episodes of his life
(sometimes he would go to the races). These paintings
may still be seen dotted about the Hotel Antico Palazzo
Rospigliosi. Two of the best paintings can be viewed
at the Museo di Roma, the first by Giovanni
Reder depicts the Exterior of the Palazzo
Rospigliosi and Santa Maria Maggiore and shows the
celebration of Prince Camillo's victory over the barbarian
Folletto 1748. The second painting by Agostino Masucci
shows the Prince Camillo Rospigliosi on horseback.
Another painting by Reder (again
housed in the Museo di Roma) http://www.museodiroma.comune.roma.it
shows the internal garden of the Hotel Antico Palazzo
Rospigliosi in occasion of the "festa delle mozzatore",
a party to celebrate the end of the grape harvest
and the return from the fields of the grape pickers.
More than once the Prince is painted on a white horse
in a rural setting perhaps in Magliana his second
residence in Rome.
The Rospigliosi originally came from
Milan, in the 12th century they fled to Tuscany in
order to escape the persecution by Federico Barbarossa.
In the first quarter of the 14th century they commenced
agricultural, commercial and industrial activities
which saw them amass a small fortune. On account of
their riches the Rospigliosi were awarded titles and
political power a Pistoia and later with the armed
pontifice for Pope Martin the 5th and then Paolo the
3rd. They were given the fine distinction of being
indoctrined into the Knights of the Order
of Malta. Despite all of this the family
continued with its commercial activities which involved
wool and farming thus ensuring a sustained period
or posterity which continued for over 3 centuries.
In 1667, Giulio Rospigliosi –
cultured and refined personality, son of Girolamo
and Maria Caterina Rospigliosi Became Pope
Clemence the 9th. His pontefice didn't last
long, only 2 years(1667-1669), his time in office
was riddled with poor health and his fame is more
down to what he did before he became Pope as he was
among other things a brilliant writer. A master of
melodrama and oratory skills Giulio appeared often
in theatres in Rome and especially at the Palazzo
Barberini. He was often painted performing and one
painting by Pietro da Cortona shows him in full flow
(this is now housed in a private collection in the
UK). Nevertheless, you can view a couple of his portraits,
one by Maratti, at the Pinacoteca Vaticana; and another
by Gaulli inside the Gallery
of Ancient Art in via delle quattro fontane.
Among Giulio Rospigliosi's most notable
works was his opera Sant'Alessio which was first performed
at the Palazzo Barberini on via Quattro Fontane on
the 8th of March 1631. The music for the opera was
composed by Stefano Landi. The opera was much loved
by the Roman people and received several encores,
it was performed again at the Palazzo Esquillino
and repeat performances were held for years to come.
The opera was about a young Roman nobleman who after
his return from a pilgrimage to the holy land decided
to renounce his riches and titles preferring instead
to live his life in a cupboard under the stairs. The
opera recounts how how others in the same social circle
found his behaviour derisory whilst the people loved
him.
During this period (the mid 1630's)
the Palazzo Rospigliosi was considered one of the
most important cultural attractions, memorable for
the melodramas and a series of productions including
the "La Replica dell'Egisto"
1637 which was perfected by Gian Lorenzo Bernini and
stunned contemporary composers and writers. The work
is still considered the first Italian Musical
Comedy and one of the best examples of 17th
century poetry. The most innovative novelty was the
use of stage props such as masks (by Zanni and Coviello),
the tasty dialect and the "Burattinesche"
movements, which was very unusual and "alien"
to many aristocratic ears.
In 1643 The Saint Eustachio was performed
and in 1654 "From Bad comes Good" which
saw the start of the Rospiglione Spanish Theatrical
season. In 1656 Rospigliosi was responsible
for the "Queen's Carnival" Carnevale della
Regina, so called in honour of the Queen of Sweden
Cristina. The play's themes included Human life, Arms,
Loves and again from the Bad comes Good.
The Rospigliosi family benefitted
enormously from Giulio's play writing career and consequently,
his brother Camillo and his nephews moved to Rome
in the Summer of 1667 all of whom were giving important
roles in local government. Another great achievement
of Giulio Rospigliosi was to have contributed enormously
to the creation in Italy of The Great Spanish Theatre
"Grande Teatro Spagnolo del Siglo de
Oro". Giulio's love of Spanish Theatre
was born as a result of his time spent there earlier
in his life. In 1669, on the night between 25 and
26 October The Pope suffered an apoletic fit, he recovered
briefly only to suffer another attack on the 28 of
November. The Pope died on the 9th of December and
was buried in the Tomb of Santa Maria Maggiore. In
1671 the tomb was honoured and a monument by Rainaldi
commemorates the spot. |
