City of the Soul: Rome and the Romantics

CITY OF THE SOUL

ROME AND THE ROMANTICS

JOHN A. PINTO

The Morgan Library & Museum, NEW YORK

The University Press of New England, HANOVER AND LONDON

The Foundation for Landscape Studies, NEW YORK

Exhibition at the Morgan Library & Museum, New York

17 June–11 September 2016

City of the Soul: Rome and the Romantics is made possible with generous support from the Arthur F. and Alice E. Adams Charitable Foundation and Fendi.

Assistance is provided by Barbara G. Fleischman and the Sherman Fairchild Fund for Exhibitions. The catalogue is made possible by the Franklin Jasper Walls Lecture Fund, the Foundation for Landscape Studies, and the Barr Ferree Foundation Fund for Publications, Department of Art and Archaeology, Princeton University.

In partnership with

LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA:

Names: Pinto, John A., author. | Pierpont Morgan Library.

Title: City of the soul : Rome and the romantics / John A. Pinto.

Description: Hanover : The University Press of New England, 2016. | Exhibition at the Morgan Library & Museum, New York, 17 June–11 September 2016. | Includes bibliographical references and index.

Identifiers: LCCN 2015046027 | ISBN 9780875981710 (cloth : alk. paper) | ISBN 9780875981727 (ebook)

Subjects: LCSH: Rome (Italy)—Civilization—19th century. | Rome (Italy)—In art. | Rome (Italy)—In literature. | Romanticism—History—19th century.

Classification: LCC DG807.6 .P56 2016 | DDC 945.6/3208--dc23

LC record available at http://lccn.loc.gov/2015046027

ISBN: 978-0-87598-171-0

Text copyright © 2016 John Pinto.

Copyright © 2016 The Morgan Library & Museum. All rights reserved. This book may not be reproduced in whole or in part, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers.

Frontispiece: Thomas Hartley Cromek, The Via Sistina and the Palazzo Zuccaro (No. 10).

Full-page illustrations: p. 8 (Fig. 7, p. 24); p. 34 (No. 7); p. 70 (No. 21); p. 88 (No. 29); p. 104 (No. 35); p. 126 (No. 53); p. 154 (No. 59).

CONTENTS

Director’s Foreword

John A Pinto and Meg Pinto, Rome: City of the Soul

THE GREATEST THEATRE IN THE WORLD

1. Paul Marie Letarouilly, Plan of Rome

2. John Robert Cozens, Rome from the Villa Mellini

3. James Anderson, Panorama of Rome from the Prati di Castello

4. Jacques-Louis David, The Campidoglio

5. Louis-Jean Desprez, The Girandola at Castel Sant’Angelo

6. Giacomo Quarenghi, Colonnade of St. Peter’s Basilica in Rome

7. Joseph Mallord William Turner, Interior of St. Peter’s Basilica

8. Christoffer W. Eckersberg, Piazza del Fontanone

9. Luigi Rossini, Panorama of Rome from the Piazza Montecavallo

10. Thomas Hartly Cromek, The Via Sistina and the Palazzo Zuccaro from the Trinità dei Monti

11. Alfred Guesdon, Bird’s-Eye View of Rome with Piazza del Popolo in the Foreground

12. Félix and Philippe Benoist, The Vatican Palace and Gardens Seen from the Dome of St. Peter’s

13. Reverend Calvert Richard Jones, The Equestrian Monument of Marcus Aurelius on the Capitoline Hill

14. Robert Turnbull Macpherson, The Spanish Steps

15. Tommaso Cuccioni, The Theatre of Marcellus

16. James Anderson, The Piazza Navona Flooded

17. Gioacchino Altobelli, The Attack on Porta Pia

SPEAKING RUINS

18. Josephus Augustus Knip, Temple of Minerva Medica

19. Johann Adam Klein, The Basilica of Constantine, Rome

20. Lancelot-Théodore, Comte Turpin de Crissé, The Arch of Constantine Seen from the Colosseum

21. Jean-Baptiste Camille Corot, The Arch of Constantine and the Forum

22. Joseph-Philibert Girault de Prangey, Round Temple by the Tiber

23. Frédéric Flachéron, The Temple of Castor in the Roman Forum

24. Reverend Calvert Richard Jones, The Interior of the Colosseum

25. Ippolito Caffi, The Colosseum Illuminated by Bengal Lights

RUS IN URBE: VILLAS, GARDENS, AND FOUNTAINS

26. Charles Percier and Pierre-François-Léonard Fontaine, Courtyard of the Villa Giulia

27. Christoffer W. Eckersberg, The Church of SS. Giovanni e Paolo Seen from the Villa Casali

28. Achille-Etna Michallon, The Ruin Folly of the Villa Borghese

29. Gustav Wilhelm Palm, Entrance to the Giardino del Lago, Villa Borghese, Rome

30. Alfred-Nicolas Normand, Statue of the Goddess Roma in the Gardens of the Villa Medici

31. Edgar Degas, View of the Villa Borghese from the Gardens of the Villa Medici

32. Gustave Le Gray and Firmin-Eugène Le Dien, Bernini’s Triton Fountain

MAGICK LAND

33. Sir William Gell, Map of Rome and Its Environs

34. Louis-François Cassas, Landscape with Arch of Drusus

35. Thomas Jones, View of the Villa of Maecenas at Tivoli and the Villa d’Este at Tivoli

36. Robert Turnbull Macpherson, Panorama of Tivoli and the Falls of the Anio River

37. Luigi Rossini, The Serapeum at Hadrian’s Villa

38. Edward Lear, Panoramic View of Tivoli, with Group of Peasants in Foreground

39. Edward Lear, Ruins of the Villa Sette Bassi, near Rome

40. François-Marius Granet, Dusk, Monte Mario, Rome

41. James Anderson, The Arch of Nero

42. Friedrich Preller the Elder, The Ponte Nomentano, near Rome

WRITTEN FROM ROME

43. Jean-Auguste-Dominique Ingres, Letter to Marie-Anne-Julie Forestier

44. Jean-Auguste-Dominique Ingres, Portrait of Guillaume Guillon-Lethière

45. George Gordon Byron, Childe Harold’s Pilgrimage: Canto the Fourth

46. Sir William Gell, Letter to Richard Payne Knight

47. Domenico Amici, Two Visitors to the Tomb of Bertie Bertie Mathew

48. Charles Dickens, Letter to Georgina Hogarth

49. Bartolomeo Pinelli, Carnival Scene

50. Margaret Fuller, Letter to Elizabeth Hoar

51. George Housman Thomas, Panorama of Rome

52. Nathaniel Hawthorne, Italian Notebooks

53. James Anderson, The Trevi Fountain

54. William Cullen Bryant, Letters of a Traveller, Second Series

55. Wilkie Collins, Letter to Charles Ward

FROM DRAWING AND ETCHING TO PHOTOGRAPHY

56. Giovanni Battista Piranesi, Catalogue of Published Works

57. Robert Turnbull Macpherson, Macpherson’s Photographs

58. Giovanni Battista Piranesi, View of the Ponte Sant’Angelo and Castel Sant’Angelo

59. Gioacchino Altobelli, The Tiber with Castel Sant’Angelo and St. Peter’s

60. Attributed to Pierre-Henri de Valenciennes, Grotto of the Nymph Egeria

61. Robert Turnbull Macpherson, The Grotto of Egeria

62. Jean-Auguste-Dominique Ingres, View of S. Maria Maggiore

63. Francesco Adriano de Bonis, S. Maria Maggiore

64. Achille-Etna Michallon, View of the Trinità dei Monti

65. Pompeo Molins, The Fountain of the Villa Medici

66. Three Roman Guidebooks

67. Domenico Amici, Album of Roman Views

Notes

Works Cited in Abbreviated Form

Acknowledgments

Index

DIRECTOR’S FOREWORD

This exhibition shows how Rome became the City of the Soul—how it touched the hearts and minds of those who visited it during the nineteenth century. The title comes from a passage in Childe Harold’s Pilgrimage in which Byron’s hero seeks consolation and finds meaning in the poignant beauties of the once mighty metropolis. Byron was not the only one to be inspired by magnificent ruins amid these surroundings of splendor and decay. Artists and writers went there to contemplate the downfall of ancient empires while witnessing a resurgence of nationalism and patriotic pride. Here they could view European history in a microcosm of medieval monuments, Renaissance palaces, Baroque churches, and other civic structures embedded in the past yet endowed with vitality and charm. From Byron, tourists learned how to see the Colosseum; from Hawthorne, the Trevi Fountain; and from Goethe, the Pantheon and the Palatine. Watercolors by Turner, pencil drawings by Ingres, and oil sketches by Corot helped cognoscenti to visualize landmarks and understand them in terms of a deeply personal, highly subjective experience. Over the course of a hundred years—from around 1770 to 1870—the city became a vantage point where one could cultivate a new cultural perspective, a new mode of perception guided by instinct and emotion.

Rome stood at the crossroads of the Romantic movement. In this respect City of the Soul builds on a previous Morgan exhibition, Romantic Gardens: Nature, Art, and Landscape Design (2010), which demonstrated how the precepts of this movement were implemented in public parks and private estates throughout Europe and America. That exhibition took a survey approach, this one focuses on a single locale, but both elucidate the Romantic spirit with vivid examples taken from Morgan holdings in art, literature, and history. We are fortunate indeed to be able to trace the stylistic and intellectual crosscurrents of the period through master drawings, first editions, literary manuscripts, autograph letters, diaries, and journals. For our most evocative views of Rome we are profoundly grateful for the continuing generosity of Eugene V. Thaw, whose gifts to the Metropolitan Museum of Art and the Frick Collection are also represented in this publication. Likewise we acknowledge the growing importance of photography during this period and express appreciation for the loans of W. Bruce and Delaney H. Lundberg. Early photographs from their collection have made it possible to reinterpret familiar scenes and discover new attractions in the city at the cusp of the modern era. We are also indebted to Roberta J. M. Olson and Alexander B. V. Johnson for loans of superb paintings and drawings as well as to Vincent J. Buonanno for Piranesi’s print of the Castel Sant’Angelo, which prefigures a photograph of the same subject from around 1868. Each of these collectors has built a visual archive of Rome as have the directors of Studium Urbis and the Avery Library at Columbia University, who have also loaned material on this occasion.

The curator of the exhibition and the author of this catalogue is John A. Pinto, Howard Crosby Butler Memorial Professor of the History of Architecture, Emeritus, at Princeton University. He has written several books on this subject, including The Trevi Fountain (1986) and Speaking Ruins: Piranesi, Architects, and Antiquity in Eighteenth-Century Rome (2012). He has worked closely with Morgan staff members John Bidwell, Astor Curator of Printed Books and Bindings, the organizing curator of the exhibition; John Marciari, Charles W. Engelhard Curator of Drawings and Prints; and Jennifer Tonkovich, Eugene and Clare Thaw Curator of Drawings and Prints. Publications Manager Karen Banks and Senior Editor Patricia Emerson oversaw the production of the catalogue, ably assisted by Eliza Heitzman. Marilyn Palmeri and Eva Soos obtained the catalogue illustrations, most of which are from photographs by Graham Haber. Conservators Maria Fredericks, Frank Trujillo, and Reba Snyder prepared material for the installation, which was supervised by John D. Alexander, Senior Manager of Exhibition and Collection Administration, and Paula Pineda, Registrar. The exhibition designer was Stephen Saitas, and the gallery lighting was provided by Anita Jorgensen. I should also recognize the contributions of Jerry Kelly, who designed the catalogue, and two steadfast friends of the Morgan who helped to publish it: Michael P. Burton, Director of the University Press of New England, and Elizabeth Barlow Rogers, President of the Foundation for Landscape Studies.

Funding for City of the Soul has come from several donors committed to preserving and promoting the history of Rome. We acknowledge Roman luxury house Fendi as corporate sponsor of the exhibition and note its recent restoration of the Trevi Fountain, indicative of its longstanding commitment to Roman arts and culture. Through the good offices of Arete S. Warren, the Arthur F. and Alice E. Adams Charitable Foundation has covered a significant portion of the exhibition expenses. Barbara G. Fleischman has also provided invaluable assistance. The production costs of the catalogue have been underwritten by the Franklin Jasper Walls Lecture Fund, the Foundation for Landscape Studies, and the Barr Ferree Foundation Fund for Publications, Department of Art and Archaeology, Princeton University.

Finally I should note that the founder of our institution plays a part in this account of Rome in the Romantic era. Pierpont Morgan visited the city on numerous occasions and died there in March 1913. Like collectors in previous generations, he made the traditional pilgrimage to study artifacts of classical antiquity and admire the artistic achievements of the Renaissance. The photograph of him before the bas-relief of Antinous at the Villa Albani (pp. 8 and 24) is the only known picture of him regarding a work of art. He supported scholarship on site by purchasing the Villa Aurelia property for the American Academy in Rome (p. 50), which occupies a building designed by his favored architects McKim, Mead and White. Under Morgan’s direction, Charles F. McKim sought to re-create a High Renaissance Roman villa in his client’s personal library on East 36th Street in Manhattan, constructed between 1902 and 1906 with architectural elements derived from the Villa Giulia, the Villa Madama, the Villa Medici, and the Casino Pio IV. McKim’s masterpiece was a factor in the decision to preserve the library collection after the death of Morgan and then establish a public institution with a larger mission and additional facilities—now the Morgan Library & Museum. The aesthetic experience and cultural resonances invoked by the Eternal City—the sense of place—are the fundamental themes of the exhibition and the catalogue that accompanies it.

Colin B. Bailey

Director

ROME: CITY OF THE SOUL

Now, at last, I have arrived in the First City of the World! So exclaimed Goethe upon entering Rome in 1784. All the dreams of my youth have come to life.¹ Writing a generation later, Byron claimed the Eternal City as his adopted homeland: Oh Rome! my country! city of the soul!² By the closing decades of the eighteenth century, Rome had already begun to function as a common cultural fatherland that transcended national boundaries. Painters and poets as well as architects and antiquarians from Europe and abroad took the measure of one another as they came to grips with Rome’s extended artistic legacy. The records of these encounters—in the form of letters and diary entries, poems, prints, drawings, watercolors, oil sketches, and photographs—collectively constitute the portrait of a very particular place. The italophile writer Vernon Lee (Violet Paget, 1856–1935) declared, Poets really make places, but, as this exhibition shows, places also make poets and artists.³

To present that portrait, City of the Soul draws on the Morgan’s unique resources, including manuscripts, books, and visual images of Rome in the century between 1770 and 1870. The exhibition is further enriched by loans from generous donors and other New York institutions. This rich trove allows City of the Soul to explore Rome in all its complex, moving, amusing, and heartbreaking splendor during the extended era of international Romanticism. From its roots in the work of Piranesi and Goethe to its later echoes in the writings of Hawthorne and James, the Romantic movement cast a long shadow, the reach of which still influences us today.

This is an exhibition about the inherently dynamic relationship between perception and projection. One of its premises is that the act of seeing is never unmediated. Responses to a site like Rome are always inflected by the intellectual and emotional experience of the viewer. For example, Goethe’s expectations of Rome were formed by his readings in classical literature as well as by the prints (probably by Piranesi) that hung in his family’s house. George Eliot, too, based her ideas of what the city would be on prints and classical literature.

A second premise is that artists and writers, by transforming what they saw in Rome into paintings or verse, inevitably changed the image itself. In this reading, Byron’s Romantic vision of Rome established new expectations, prompting later visitors to the Eternal City to seek out not just the places that figure in his poetry but to replicate or test their own emotional responses against those of his protagonist, Childe Harold. Nathaniel Hawthorne, writing a generation later, introduced a group of English-speaking tourists visiting the Colosseum by moonlight, exalting themselves with raptures that were Byron’s, not their own.⁴ Later still, William Wetmore Story remarked, Every Englishman carries a Murray for information and a Byron for sentiment, and finds out by them what he is to know and feel at every step.⁵

All the artists and writers in the exhibition dealt with both the tangible fact of the city and the intangibles of history. Time, with its ravages and poignancies, is more palpable in Rome than in most other cities. The layers of history are never far from the eye. The consciousness of time’s passing is never far from the mind. This extra dimension of the experience of Rome affected the work of the artists and writers who depicted the city, whether overtly or by implication. The dilapidated ruin with vibrant green vines covering its weathered brick, the half-buried column incorporated into the gleaming new palazzo, the rise in street level as millennia of accumulated debris filled in the arcade of an ancient theatre: all proclaimed the marriage of venerable and of the instant. Everywhere the visitor encountered the evidence of the city’s duration, evolution, and even revolution.

Rome and its environs are beautiful and evocative. In the hundred years between 1770 and 1870, the city, with its encircling hills, river valley, rising promontories, ancient ruins, and Christian shrines, was an artist’s dream. Many distinguished, innovative, and observant artists and writers of the era documented both the physical city and its hive of human activity. Rome provided the most compelling images—of nature, of art and artifice, and of humanity—any artist could ask for. And a single iconic image, the Colosseum, for instance, could resonate across generations. Piranesi’s highly theatrical prints of the Colosseum would in time give way to Byron’s Romantic vision of the monument bathed in moonlight, which would still work its magic on the young American protagonist of Henry James’s Daisy Miller.

Throughout its millennial history, Rome has enjoyed a dual existence, at once an intensely physical reality as well as a construct in the imagination of artists and writers. This was especially true in the turbulent century preceding 1870, which saw the city’s metamorphosis from papal enclave to the capital of a unified Italy. In this period, the most creative responses to Rome’s protean image came from foreigners. Some, like Piranesi and Caffi, hailed from other parts of the Italian peninsula. Some, like Goethe, came from Germany, and others, like David, Ingres, Corot, and Degas, were from France. Turner, Lear, Dickens, and Byron came from Britain, while Hawthorne, Thomas Cole, and Margaret Fuller were among the Americans. This exhibition, however, features some equally trenchant, if lesser known, observers of the Roman scene. They too played a part in fashioning the Eternal City’s image during this period.

City of the Soul provides us with the perspective of travelers, of part-time residents, and of tourists. The mid-nineteenth century saw a radical transformation in how most foreign visitors experienced Rome. Since the days of the empire, it had been a destination for travelers of all stripes. It was an administrative and economic center in antiquity; it was a pilgrimage site throughout the Middle Ages; it provided the stimulus for the revival of antiquity during the Renaissance; and it was the sine qua non attraction for the cultured gentleman of the eighteenth century. But it was during the latter half of the nineteenth century that a different form of tourism took hold. The meditative, measured pace of the Grand Tour gave way to the demands of organized tourism following Thomas Cook’s first group excursion in 1864. The mass-appeal guidebook and the readily available photo souvenir made Rome accessible and comprehensible to a wider range of travelers than ever before (No. 66).

Rome was, in certain respects, a strikingly democratic place. It was not necessary to belong to the aristocracy to love the ruins. It was not necessary to possess great wealth to appreciate the passing