Travel Reference
In-Depth Information
Known as the Casino Borghese, the villa was originally built by Cardinal Scipione to
house his immense art collection. However, it owes its current neoclassical look to a com-
prehensive 18th-century facelift carried out by Prince Marcantonio Borghese, a direct des-
cendant of the cardinal. But while the villa remained intact, the collection did not. Much
of the antique statuary was carted off to the Louvre in the early 19th century, and other
pieces were gradually sold off. In 1902 the Italian State bought the Casino, but it wasn't
until 1997 that the collection was finally put on public display.
The villa is divided into two parts: the ground-floor museum, with its superb sculptures,
intricate Roman floor mosaics and hypnotic trompe l'œil frescoes; and the upstairs picture
gallery.
Ground Floor
The
entrance hall
features 4th-century floor mosaics of fighting gladiators and a 2nd-century
Satiro Combattente (Fighting Satyr). High on the wall is a gravity-defying bas-relief of a
horse and rider falling into the void by Pietro Bernini (Gian Lorenzo's father).
Sala I
is centred on Antonio Canova's daring depiction of Napoleon's sister, Paolina
Bonaparte Borghese, reclining topless as
Venere Vincitrice
(Venus Victrix; 1805-08). Ap-
parently Paolina had quite a reputation and tales abounded of her shocking behaviour.
When asked how she could have posed almost naked, she's said to have replied that it
wasn't cold.
But it's Gian Lorenzo Bernini's spectacular sculptures that really steal the show. Just
look at Daphne's hands morphing into leaves in
Apollo e Dafne
(1622-25) in
Sala III
, or
Pluto's hand pressing into Persephone's thigh in the
Ratto di Proserpina
(Rape of
Proserpina; 1621-22) in
Sala IV
.
Caravaggio dominates
Sala VIII
. You'll see a dissipated
Bacchino malato
(Sick Bacchus;
1593-94), the strangely beautiful
La Madonna dei Palafrenieri
(Madonna of the Palafren-
ieri; 1605-06), and
San Giovanni Battista
(St John the Baptist; 1609-10), probably his
last work. There's also the much-loved
Ragazzo col Canestro di Frutta
(Boy with a Bas-
ket of Fruit; 1593-95) and dramatic
Davide con la Testa di Golia
(David with the Head of
Goliath; 1609-10): Goliath's head is said to be a self-portrait.
Picture Gallery
With works representing the best of the Tuscan, Venetian, Umbrian and northern
European schools, the upstairs picture gallery offers a wonderful snapshot of Renaissance
art.
