The wonderful Palazzo Grimani, Venice

Tucked away in a quiet nook in the sestiere of Castello is Palazzo Grimani, newly opened to the public, after years of restoration. I arrived late one afternoon, just as dusk was falling. As I climbed the wide stairway to the first floor, the sound of ethereal music floated down to greet me. A tall, slim woman in black was singing Josquin, accompanied on period instruments, to a small assembly in the portego. It was a magnificent way to begin a tour of this extraordinary place.

The palace was begun (so the Blue Guide tells us) around 1530 by Cardinal Domenico Grimani, son of Antonio (who was Doge from 1521–23), and work was continued to enlarge the palace by Antonio’s grandson Giovanni, Patriarch of Aquileia. It has been suggested that Jacopo Sansovino may have been involved in the work, collaborating directly with Giovanni Grimani.

Cardinal Domenico had a famous collection of Classical sculptures. At the death of his grandson Giovanni (in 1593) they were donated to the Republic, forming one of the first ever museums of Classical antiquities (and they are still on public view, constituting the main core of the Museo Archeologico in Piazza San Marco). Domenico was an important collector in other fields, too: he purchased works by Bosch, Memling and Dürer, drawings by Leonardo, and paintings by Raphael, Giorgione and Titian. At the death of the last descendant of the family in 1865, all the works of art which had remained in the palace were sold and dispersed. What you see today, as you visit the palace, are the rooms themselves, stupendously decorated in a wealth of original styles, the former backdrops for these marvellous works.

Vista through to the Laocoön, viewed from the vestibule in front of the Tribuna.

At one end of the portego, the central hall that runs the length of piano nobile, is the Cameron d’Oro where plaster casts of famous Classical sculptures (including the Laocoön) evoke the marbles once exhibited here by the Grimani. The room leading off it, the Sala a Fogliami, is perhaps the most remarkable in the whole palace, because of its ceiling, covered with a fresco showing thick foliage and fruit trees—peach, pomegranate, pear, medlar and quince—populated by birds which appear to be attacking each other. Amongst the plants the painter included maize and tobacco, recently arrived from north America. The motif of the birds, it is said, was designed to symbolise Giovanni Grimani’s stern stance against heresy, a reference to his acquittal by the Inquisition, who had accused him of unorthodox attittudes to predestination. There is a bench in the room: the best thing you can do is prostrate yourself on it, flat on your back, and just look:

Fighting heron and hawk. Ceiling detail of the Stanza a Fogliami.

The extraordinary Tribuna was designed by Giovanni Grimani to display some 130 pieces of his statuary collection. Its sober atmosphere recalls the vestibule of the Laurentian Library in Florence—and it is now empty except for the Ganymede (a Roman copy of a Hellenistic original) which has been returned from the Museo Archeologico and now again hangs from the centre of the ceiling as it did in the Grimani’s day.

The Sala di Doge Antonio, and the little vestibule and chapel adjoining, are decorated with exotic marbles. The ceiling of the chapel is decorated with the following Latin motto: “Thou has protected me, O Lord, in thy tabernacle, from the slander of tongues.” By fireplace in the main room is a bronze bust of the Doge himself, a stern-looking man. Leading off from here are the Camerina di Apollo and Camerina di Callisto, decorated in the 1530s in stuccowork and fresco.

Camerina di Apollo: ceiling decoration.

In an adjoining room are four extraordinary panels by Bosch (c. 1503) representing Paradise and Hell, the Fall of the Damned, and the Ascension to Heaven. The image of the Fall is memorable in the extreme: like a scene from a nightmare, souls are represented as having tumbled through a great hole, and they now sit helpless in the dark, far from the light which streams through upon them, unreachable, from the manhole high above their heads.

Adapted by Annabel Barber from the forthcoming new edition of Alta Macadam’s Blue Guide Venice.

Pope Benedict: an unorthodox farewell

It didn’t take long. A mere twenty-fours hours after Pope Benedict XVI announced his abdication, portents were being seen in the skies above the Vatican. Jupiter, the great god of the Romans, began rattling his thunderbolts and lightning was recorded striking the cupola of St Peter’s—twice. This is the kind of thing that happened on the eve of Caesar’s murder. “Never till to-night, never till now,” says a trembling Casca, “did I go through a tempest dropping fire. Either there is a civil strife in heaven, or else the world, too saucy with the gods, incenses them to send destruction.” Is that what heaven is doing? Or is it a seal of approval? After an eight-year pontificate, Jospeh Ratzinger is volunatrily vacating the Throne of St Peter. It is not an unprecedented step, but it is a controversial one. It is something that is not “done”. But Benedict XVI has never been afraid of controversy. While he lacks the charisma of his predecessor John Paul II and while he never inspired such fervent devotion in people’s hearts, he has been, in his thoughtful, mild-mannered way, revolutionary.

Pope Benedict is eighty-five. Before him lie who knows how many years of increasing frailty. It takes a vigorous and resilient man to hold the Christian world together. His decision to abdicate was taken, he says, “for the good of the Church”. The same was said in 1406, on the election of Gregory XII, who was raised to the pontificate purely on the understanding that he would resign, “for the good of the Church”, in order to heal the Great Western Schism. He did resign (though not as easily as all that; he was a wily old Venetian) in 1415. And the Schism did eventually heal. But what was this Schism, and how could a papal resignation heal it?

For most of the 14th century, the popes had abandoned Rome for Avignon in the south of France. This so-called “Babylonian captivity”, when the popes were “exiled” from their homeland, began when Pope Clement V (a Frenchman) was persuaded (by the French king) to set up his court in France. Political disturbances in Italy made this seem a good idea to Clement, and in 1309 he decamped to the peaceful banks of the Rhone. Horrified Italians—notably the poet Petrarch and St Catherine of Siena—begged for the papacy’s return, but it was not until 1377 that Gregory XI (also a Frenchman) re-established papal government in the Eternal City. (Since this Gregory, incidentally, there has never been another French pope—but who knows what may happen next month; the Archbishop of Paris is a current contender.) But though the popes came back to Rome, all was not healed. Strife and confusion were to dominate the next four decades, in the form of the Great Schism, which lasted from 1378 to 1417. This represented a complete rupture of ecclesiastical unity. Rival claimants to the papal throne were simultaneously nominated and crowned by competing factions of cardinals. For almost all of this period there were two or even three popes at once, each claiming to be the anointed successor to St Peter. The true popes found themselves locked in combat with rivals known as ‘antipopes’. Gregory XII was elected under the terms of a deal whereby both he and his rival, the antipope Benedict XIII, would simultaneously renounce their claims, allowing for a single successor to be appointed to replace both of them. For the good of the church. The plan worked—admittedly not without plenty of shenanigans—and eventually, in 1417, the Roman-born Oddone Colonna became Pope Martin V.

The Church hopes to have a new pope in place by Easter. But how do papal elections work?

A pope is elected by the cardinals, who form the “parish clergy” of Rome. The complicated rules for the conclave (from the Latin con clave, referring to a chamber that can be locked “with a key”) are designed to ensure that the election is not unnecessarily delayed, nor unduly hurried, and that it should be free from any kind of external pressure. After the death (or resignation) of the pope, all the cardinals are summoned to the conclave, which must be held in whatever city the pope dies, not necessarily Rome. The cardinals are housed in specially prepared apartments and before the conclave begins, a Mass of the Holy Spirit is celebrated, to invoke divine inspiration. Voting takes place twice a day, in the Sistine Chapel. The practice of burning the ballot papers, so as to indicate by the colour of the smoke whether or not a pope has been chosen, is probably a 20th-century innovation. A two-thirds majority is required, and it is usually obtained fairly quickly, though in 1799 the cardinals took three months to make up their minds. The winning candidate must be formally asked by the Cardinal Chamberlain whether he accepts the nomination. Sometimes he is very reluctant to do so: the infirm Leo XII, in 1823, pointed to his ulcerated legs and said, “Do not insist, you are electing a corpse.” Once he has accepted, and has chosen his regnal name (the last pope to use his real name was Marcellus II, in the mid-16th century), the new pontiff is robed and the Cardinal Chamberlain makes the announcement to the waiting crowds: Annuntio vobis gaudium magnum, habemus papam: I bring you tidings of great joy, we have a pope.

Pope Benedict XVI is to renounce his duties on February 28th. On the day preceding, Wednesday 27th, he will deliver his final audience to the public. Papal audiences are held every Wednesday morning, either in the purpose-built Vatican Audience Hall, or, if the weather is fine, in the open air. If you are going to be in Rome on that day, don’t miss it. It will be an emotional occasion.

(With extracts from Blue Guide Rome and Pilgrim’s Rome: A Blue Guide Travel Monograph, and featured on Stanfords blog.)

Obscure St Valentine and his famous Feast Day

‘St Valentine at the Milvian Bridge’ was an early Christian basilica situated outside the walls to the north of Rome. The true identity of Valentine, the saint to whom it is dedicated, is obscure, though one tradition makes him an early bishop martyred on the Via Flaminia, the continuation of the Corso which runs north from the city centre, on 14th February 273. His remains were buried nearby. The spot soon became a Christian burial ground, and the basilica was built in the fourth century. It flourished until St Valentine’s relics were taken to a more central location, to the church of Santa Maria in Cosmedin (site of the famous Bocca della Verità). This so-called ‘translation’ of relics became common practice after the emperor Theodosius I passed a series of acts between 378 and 380 declaring Christianity the official religion of the empire. Although at first loth to convert pagan temples into their own sacred buildings, the early Christians gradually overcame their aversion and began adapting structures in central Rome as churches, consecrating them with the bones of martyrs brought in from the old, outlying burial sites.

St Valentine’s original basilica exists only as a ruin today, attached to catacombs dug into the Parioli hill. Traditionally the site was open to the public on St Valentine’s Day, but the complex is extremely unstable: of the basilica that had been enlarged and embellished by that tireless beautifier of martyrs’ shrines, Pope Honorius I, nothing at all remains to be seen.

A little further north, however, in the Olympic Village built for the Games of 1960, there is the modern church of San Valentino, consecrated in 1986. This is a remote location, and on the feast day of the saint, few seek out his church. Millions are scurrying around with cellophane-wrapped flowers, and blood-red fluffy hearts are dangling in every gift-shop window. But in the church of St Valentine only a subdued Mass is taking place in a side room.

St Valentine with the attribute of his martyrdom, the axe. The book he holds bears a text from John 13: ‘Love one another as I have loved you’. The theme of love and faithfulness, with which Valentine is chiefly associated today, is taken up in the pair of mating birds upon the tree stump.

The spirit of the saint lives on in the tradition whereby lovers attach padlocks to the nearby Milvian Bridge as a symbol of their indivisible attachment to each other. Though the padlocks were removed by the municipal authorities in 2012, they are slowly returning. The association of St Valentine with lovers comes from the date of his martyrdom, 14th February, the day when, according to old lore, mating birds choose their nesting partners.

The basilica of St Valentine is one of twenty-three churches visited on pilgrimage by Sigeric, newly-elected Archbishop of Canterbury, in 989. You can follow in his footsteps in Pilgrim’s Rome: A Blue Guide Travel Monograph, from which the above text is extracted.

Burano in February

As work on the new edition of Blue Guide Venice gets underway, and as I start planning my next trip there, my thoughts turn to the island of Burano. On a sunny day in February—and if we’re lucky there will be some sunny days this month—the colours of Burano’s houses are at their absolute best.

Burano is most famous perhaps for three things: its lace, its S-shaped biscuits, and its colourful façades. But there is more. The little church of San Martino, for example, approached down the wide Via Galuppi, contains a wonderful painting by Tiepolo. It is a rare treat to be able to admire a work of Tiepolo without having to crick your neck back to look at a ceiling fresco. This is a Crucifixion, commissioned by a pharmacist in 1722 (his donor’s portrait is included, in an oval frame at the far left, not shown in the detail here). Christ is depicted victorious, his eyes cast upwards. One of the thieves has already being taken down and his body is being untied; the other still writhes upon his cross. In the foreground, the grieving, grey-faced Virgin swoons into the arms of the two Marys.

Via Galuppi and Piazza Galuppi, where the church stands, are named after the island’s most famous son, the composer Baldassare Galuppi, who was born here in 1706. He was immortalised by Browning, in “A Toccata of Galuppi’s”.

Oh Galuppi, Baldassaro, this is very sad to find!
I can hardly misconceive you; it would prove me deaf and blind;
But although I take your meaning, ’tis with such a heavy mind!

Here you come with your old music, and here’s all the good it brings.
What, they lived once thus at Venice where the merchants were the kings,
Where Saint Mark’s is, where the Doges used to wed the sea with rings?

Ay, because the sea’s the street there; and ’tis arched by—what you call
—Shylock’s bridge with houses on it, where they kept the carnival…

The skipping rhythm of the verses is intended to imitate the notes of a toccata played on a clavichord. The themes of gaiety and masked revelry and death are particularly relevant in a Venetian February, the season of Carnival and Lent. Though if the sun shines, there is no need to dwell on them for long.

There are plenty of places to eat on Burano. Al Gatto Nero offers local fish dishes, including a risotto di gù alla buranella (Burano-style goby risotto).

The St Agnes lambs

St Agnes’ Eve—Ah, bitter chill it was!
The owl, for all his feathers, was a-cold…

I have always loved Keats, and he is, of course, a poet with better claims than many others to a Roman association. But as a schoolchild, studying him, I disliked that poem. I sniggered at the line “Into her dream he melted.” I was irritated by the way, for the sake of a perfect jog-trot iambic pentameter, Keats writes “a-cold”, instead of just plain Anglo Saxon “cold”.

It was much later in life that I became acquainted with St Agnes herself, her legend and her beautiful basilica, on the Via Nomentana in Rome’s northeastern outskirts. On the eve of the saint’s feast day, January 21st, the Pope solemnly blesses two white lambs. But why?

The lambs of St Agnes and the pallium
Sigeric of Glastonbury, recently named Archbishop of Canterbury, journeyed to Rome in the year 989 to receive his stole of office, the pallium, from Pope John XV. During his time here, Sigeric visited three churches intimately connected with the manufacture of this vestment, a connection which is still maintained to this day.

Every year, two winter lambs are purchased from the Cistercian monks ofSanti Vincenzo e Anastasio at Tre Fontane, south of the city centre (on the site of the martyrdom of St Paul). It is their wool that will be used to make the pallia. On the feast of St Agnes (21st January), the two lambs are taken to the basilica of Sant’Agnese fuori le Mura and solemnly blessed. The association of St Agnes with lambs comes from a play on the virgin martyr’s name (Agnes) and the Latin word for a lamb (agnus). If the pope is not personally present at the service, then the lambs are afterwards taken to the Vatican, decked in white roses, to receive his benediction. After this they are entrusted to the care of the Benedictine sisters of the convent of Santa Cecilia in Trastevere, where they are raised with the utmost care until Holy Week, when they are shorn. The nuns weave their wool into the pallia which will be conferred on new metropolitan archbishops on the Feast of St Peter and St Paul (29th June). In the apse mosaic of Santa Cecilia in Trastevere, Pope Paschal I is shown wearing the pallium. His is pure white, adorned with two red crosses.

Slightly pixelated, but still recognisable: Pope Paschal I (left) wearing his pallium woven from the wool of St Agnes lambs (and with a square nimbus indicating that he was alive when this portrait was created), in the company of St Cecilia and St Paul. Detail of the apse mosaic in the church of Santa Cecilia in Trastevere.

Each of these churches, SS Vincenzo e Anastasio, S. Agnese fuori le Mura with its attached catacomb, and S. Cecilia, is hugly rewarding to visit. You can read more about them in Pilgrim’s Rome: A Blue Guide Travel Monograph.