{"id":1001,"date":"2021-04-27T16:14:34","date_gmt":"2021-04-27T14:14:34","guid":{"rendered":"https:\/\/romasitounesco.it\/cristina-di-svezia-a-roma\/"},"modified":"2025-05-30T11:28:50","modified_gmt":"2025-05-30T09:28:50","slug":"cristina-di-svezia-a-roma","status":"publish","type":"post","link":"https:\/\/romasitounesco.it\/en\/cristina-di-svezia-a-roma\/","title":{"rendered":"Christina of Sweden in Rome"},"content":{"rendered":"\n<p class=\"has-text-align-center intro-text\">From the abjuration of Protestantism to the triumphal entry into the Eternal City: places and enterprises of a former sovereign so much loved and controversial. &nbsp;The woman who, in the Rome of the second half of the seventeenth century, influenced and promoted poetry, theatre, music but also science, astronomy, medicine and alchemy. As with the mythological Phoenix, from its ashes will rise the Academy of Arcadia.<\/p>\n\n\n<div class='cdsur-lat-lng-map alignwide '><h6 class='cdsur-lat-lng-map-title'>Roma<\/h6><div class='cdsur-lat-lng-map-list'><\/div><div id='cdsurMap' class='cdsur-lat-lng-map-Map' '><\/div><\/div><script>window.latLng =window.latLng || {}; window.latLng.view = window.latLng.view || {}; window.latLng.view.lat = '12.4714', window.latLng.view.lng = '41.8988', window.latLng.view.zoom = '14'<\/script><script>window.latLng.pluginUrl ='https:\/\/romasitounesco.it\/wp-content\/themes\/cdsur\/framework\/Blocks\/lat_lng_open_street_map';<\/script><script>window.initOSMap();<\/script>\n\n\n<div class=\"wp-block-columns alignwide is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>The arrival of Christina of Sweden in Rome was the culmination of a long process already prepared at homeland. Christina became a sovereign, on her father\u2019s death, in 1632. <br>She decided to abjure the Protestant faith in which she was raised, to embrace Catholicism, in 1652. <br>For this reason, the sovereign was strongly opposed in her country and finally, on 23 February 1654 she decided to abdicate and voluntarily exile herself to Rome.<\/p>\n\n\n\n<p>As a consequence of the religious and political choices, Cristina\u2019s journey, and the transfer to Rome, went far beyond the personal affair, fitting into the delicate balance of powers between the Catholic Church and the Protestant world.<br>For this, every gesture, every apparatus, every moment of the complex and articulated ceremony that accompanied the event was enriched through symbols and allegories, as usual at the time.<br><\/p>\n\n\n\n<p>A first incognito entry was planned, late in the night of the 20<sup>th<\/sup> December, throughout the Vatican gardens \u2018door called <span data-counter='1' id='latLng_1' class='latLng-element'>  \u201c<em>Pertusa<\/em>\u201d <\/span><script>window.latLng.markers = window.latLng.markers || []; window.latLng.markers = window.latLng.markers || {}; window.latLng.markers.push({id:\"latLng_1\", label:\"Porta \u201cPertusa\u201d\", lat:\"12.455009214247447\", lng:\"41.9017935316271\"})<\/script>, then Christina was housed in the \u201cTorre dei Venti\u201d, a wing of the Vatican Palaces.<\/p>\n\n\n\n<p>A triumphant entrance was then planned, through the <span data-counter='2' id='latLng_2' class='latLng-element'>\u201cPorta del Popolo\u201d <\/span><script>window.latLng.markers = window.latLng.markers || []; window.latLng.markers = window.latLng.markers || {}; window.latLng.markers.push({id:\"latLng_2\", label:\"Porta del Popolo\", lat:\"12.476019\", lng:\"41.911488\"})<\/script>. This involved a redevelopment of the urban spaces along which the parade would take place and the realization of those rich scenographic apparatuses and complex protocols that made so much fuss in the chronicles of the time.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"427\" height=\"600\" src=\"https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/ingressoTrionfale.jpg\" alt=\"\" class=\"wp-image-526\"\/><figcaption class=\"wp-element-caption\">Triumphal entry into Rome in 1655 &#8211; J.Testan<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns alignwide is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>On 23 December 1655, Christina made her triumphal entry into Rome through the \u201cPorta del Popolo\u201d, which Alessandro VII (Fabio Chigi) had Bernini restore for the occasion.<\/p>\n\n\n\n<p>The event, as one of the most important events in the history of Rome in the seventeenth century, was immortalized with the inscription &#8220;FELICI FAUSTOQUE INGRESSUI&#8221;, placed on the top of the City Gate.<\/p>\n\n\n\n<p>From Porta del Popolo (Porta Flaminia), the fabulous parade unfolded along <em>\u201cle strade del Corso, di San Marco, del Gies\u00f9, de\u2019 Cesarini, della Valle, di Pasquino, di Parione, di Banchi, di Borgo nuovo fino a San Pietro\u201d<\/em><br>(cit. da \u201cC. Festini, I trionfi della Magnificenza Pontificia\u201d)<\/p>\n\n\n<div class='cdsur-collapsed-content align '><div class='cdsur-collapsed-content-top-line'><div class='cdsur-collapsed-content-thumbnail'><img src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR-15739-300x300.jpg'><\/div><h6 class='cdsur-collapsed-content-title'>The Parade<\/h6><div class='cdsur-collapsed-content-opener' data-content-id=''><i class='icon icon-angle-down'><\/i><\/div><\/div><div class='cdsur-collapsed-content-container'><div class='cdsur-collapsed-content-text hasGallery '>\u201cThe chronicles tell of the Queen\u2019s solemn entry into the city, which appeared truly memorable for its political-ideological, religious and symbolic significance, emphasized by the splendor and colors of the clothes and liveries, by the ephemeral apparatus, the quantity of carriages, litters, horses and mules, by the great number and the high rank of the participants, lay and ecclesiastical,\u00a0 the vastness of their followers, the special effects (colours, sounds of trumpets and drums, illuminations, gunfire of muskets and cannons, marvellous situations, ornaments, symbolic objects), by the display of colorful drapes and tapestries on the facades of the buildings, the competition of an amazing crowd that seemed to occupy every free space&#8230; the ride is the central core of this baroque festival that invests all the inhabitants, from the high clergy and nobility to the common people, as well as the whole of the city&#8230; It was the true scenic gravity centre of the feast, created for the queen and around her figure.&#8221; (cit from De Caprio 2018, p. 209. Ed.\u2019s trad.)<\/div><div id='9493' class='cdsur-collapsed-content-gallery wp-block-gallery'><figure class='cdsur-collapsed-content-gallery-item'><a href='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR-15739.jpg' data-lightbox='9493' data-title='Ingresso solenne in Roma della regina Cristina di Svezia il 23 dicembre del 1655, veduta del corteo da piazza del Popolo, Castel Sant&#039;Angelo, a Piazza San Pietro; 1655, Palazzo Braschi'><img alt='Ingresso solenne in Roma della regina Cristina di Svezia il 23 dicembre del 1655, veduta del corteo da piazza del Popolo, Castel Sant&#039;Angelo, a Piazza San Pietro; 1655, Palazzo Braschi' id='img_532' src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR-15739.jpg'><\/a><figcaption class='blocks-gallery-item-caption'>Ingresso solenne in Roma della regina Cristina di Svezia il 23 dicembre del 1655, veduta del corteo da piazza del Popolo, Castel Sant&#8217;Angelo, a Piazza San Pietro; 1655, Palazzo Braschi<\/figcaption><\/figure><\/div><\/div><\/div>\n\n<div class='cdsur-collapsed-content align '><div class='cdsur-collapsed-content-top-line'><div class='cdsur-collapsed-content-thumbnail'><img src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/600px-Armoiries_rois_Vasa_de_Sue\u0300de.svg-copia-300x300.jpg'><\/div><h6 class='cdsur-collapsed-content-title'>Coat of arms of Queen Christina of Sweden\u00a0<\/h6><div class='cdsur-collapsed-content-opener' data-content-id=''><i class='icon icon-angle-down'><\/i><\/div><\/div><div class='cdsur-collapsed-content-container'><div class='cdsur-collapsed-content-text hasGallery '>The coats of arms of the Wasa, surmounted by the royal crown, were exhibited along the arcade of San Pietro and the Basilica was sumptuously decorated with tapestries and precious vestments.The queen\u2019s emblem consists of a golden handpiece, that is the woven wheat ears of the insigniaWasa heraldry used by Bernini in the decoration of Porta del Popolo, in the festoon surmounted by the coat of arms of the Chigi (six mountains under a nine-pointed star).Abdicating, Christina, chose as her own Weapon, the golden handpiece, leaving Wasa\u2019s Lions and the three Crowns, at that time common to both of Sweden and Poland and Denmark. (De Caprio 2018, p. 205, nota 67)On that happy day, the Queen, received by Alexander VII in the Sala Regia, humbly bowed three times before the pontiff, kissed his foot, his hand, and expressed her jubilation for having converted to the Catholic faith. s<\/div><div id='4638' class='cdsur-collapsed-content-gallery wp-block-gallery'><figure class='cdsur-collapsed-content-gallery-item'><a href='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/600px-Armoiries_rois_Vasa_de_Sue\u0300de.svg-copia.jpg' data-lightbox='4638' data-title='Stemma Wasa di Cristina di Svezia'><img alt='Stemma Wasa di Cristina di Svezia' id='img_651' src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/600px-Armoiries_rois_Vasa_de_Sue\u0300de.svg-copia.jpg'><\/a><figcaption class='blocks-gallery-item-caption'>Stemma Wasa di Cristina di Svezia<\/figcaption><\/figure><\/div><\/div><\/div>\n\n\n<p>Two days later, on Christmas\u2019 day, the former sovereign was confirmed by the Pope, taking the name of Alessandra. Cristina also adopted Mary, as middle name, as requested by the pontiff, but she always signed Cristina Alessandra.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong><strong>Christina\u2019s first visits to Rome<\/strong><\/strong><\/h3>\n\n\n\n<p>In the days following her official entry into Rome, Christina began a long series of formal visits to the landmarks of the city:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><span data-counter='3' id='latLng_3' class='latLng-element'> to the Vatican Library <\/span><script>window.latLng.markers = window.latLng.markers || []; window.latLng.markers = window.latLng.markers || {}; window.latLng.markers.push({id:\"latLng_3\", label:\"Biblioteca Vaticana\", lat:\"12.455009214247447\", lng:\"41.90490516398041\"})<\/script>.<\/li>\n\n\n\n<li>to the\u00a0 \u201cBiblioteca Alessandrina\u201d: recently founded by Pope Alexander VII in <span data-counter='4' id='latLng_4' class='latLng-element'> Sant\u2019Ivo alla Sapienza<\/span><script>window.latLng.markers = window.latLng.markers || []; window.latLng.markers = window.latLng.markers || {}; window.latLng.markers.push({id:\"latLng_4\", label:\"Sant\u2019Ivo alla Sapienza\", lat:\"12.474802768212497\", lng:\"41.898353423721886\"})<\/script>seat of the first Roman University.<br><br><\/li>\n<\/ul>\n\n\n\n<p>On January 14<sup>th<\/sup>, 1656, Christina visited La Sapienza, where she attended some lectures and received 53 books written by University\u2019s teachers, as a gift.<br>Four days later she went to the \u201cCollegio Romano\u201d.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>&#8220;<em>Christina left the room accompanied by the cardinal and for the same<br>lodge passing, stopped little space in the middle of it, near the balustrade, to see the perspective of the courtyard. She went down the same staircase on the right, passed through the right porch, stopped for a short time to take a look at the first staircase, the same as the second. Then she briefly visited the church of Sant&#8217;Ivo, stopping to observe the dome and the lantern (the upper dome) that was still under construction. She was also shown some plans and elevations of the building that had been prepared by Borromini to show them to the pope.<\/em>&#8220;<\/p>\n<\/blockquote>\n\n\n<div class='cdsur-collapsed-content align '><div class='cdsur-collapsed-content-top-line'><div class='cdsur-collapsed-content-thumbnail'><img src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/Biblioteca-Alessandrina-300x300.jpg'><\/div><h6 class='cdsur-collapsed-content-title'>Sant&#8217;Ivo alla Sapienza<\/h6><div class='cdsur-collapsed-content-opener' data-content-id=''><i class='icon icon-angle-down'><\/i><\/div><\/div><div class='cdsur-collapsed-content-container'><div class='cdsur-collapsed-content-text hasGallery '>Pope Alessandro Borgia (1492-1503) wanted to found the oldest university building in Rome: there he intended to bring together all the knowledge and different fields of study that took place in the City. So the Sapienza building is based on a fifteenth-century plant, but its splendid current appearance is due to the genius of Gian Luigi Bernini, commissioned by Pope Urbano VIII Barberini to erect a &#8220;chapel&#8221;.Of the symbolic triumph created by the baroque architect you can admire the mixed plan in the shape of a six-pointed star, the famous spiral &#8220;lantern&#8221; and a myriad of small bees, present everywhere in the monument. This is a symbol of purity, hard work and unconditional generosity since ancient times, taken up by the Barberini in the coat of arms of the Family.<\/div><div id='6565' class='cdsur-collapsed-content-gallery wp-block-gallery'><figure class='cdsur-collapsed-content-gallery-item'><a href='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/Biblioteca-Alessandrina.jpg' data-lightbox='6565' data-title='Door of the \u201cBiblioteca Alessandrina\u201d, at Sant\u2019Ivo alla Sapienza'><img alt='Door of the \u201cBiblioteca Alessandrina\u201d, at Sant\u2019Ivo alla Sapienza' id='img_496' src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/Biblioteca-Alessandrina.jpg'><\/a><figcaption class='blocks-gallery-item-caption'>Door of the \u201cBiblioteca Alessandrina\u201d, at Sant\u2019Ivo alla Sapienza<\/figcaption><\/figure><\/div><\/div><\/div>\n\n\n<ul class=\"wp-block-list\">\n<li>to the <span data-counter='5' id='latLng_5' class='latLng-element'> Collegio Romano<\/span><script>window.latLng.markers = window.latLng.markers || []; window.latLng.markers = window.latLng.markers || {}; window.latLng.markers.push({id:\"latLng_5\", label:\"Collegio Romano\", lat:\"12.48025229890229\", lng:\"41.89809055359195\"})<\/script>, where she met father Athanasius Kircher, who gave her a small silver obelisk, with a commendation in thirty-three different languages. The German Jesuit, mathematician, physicist, philosopher, historian and lover of oriental languages, taught here for more than forty years and, in 1651, established a \u201c<em>Wunderkammer<\/em>\u201d that formed the nucleus of the Museo Kircheriano.<\/li>\n<\/ul>\n\n\n<div class='cdsur-collapsed-content align '><div class='cdsur-collapsed-content-top-line'><div class='cdsur-collapsed-content-thumbnail'><img src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/DE-SEPI-1678-300x300.jpg'><\/div><h6 class='cdsur-collapsed-content-title'>Athanasius Kircher Museum<\/h6><div class='cdsur-collapsed-content-opener' data-content-id=''><i class='icon icon-angle-down'><\/i><\/div><\/div><div class='cdsur-collapsed-content-container'><div class='cdsur-collapsed-content-text hasGallery '><em>&#8220;She also visited the &#8220;gallery&#8221; where father Kircher had gatheredspecimens of nature, art and objects from all parts of theworld through missions.In the garden she saw herbs, plants, metals,&#8221;and other rarer things, to compose the triaca and the balsam oflife&#8230; stopped for a while to consider the grass called Fenice,which, as it were from the Phoenix, perpetually sprouts in the watersfrom her ashes; she still saw fountains and clocks, which by virtueof the magnet with occult force they are turned around&#8221;.(Galeazzo Gualdo Priorato, Historia della Sacra Maest\u00e0 di Cristina Alessandra di Svezia, Roma, 1656, cit. from Partini 2010. Ed.\u2019s trad.)<\/em><br>browse<a href=\"https:\/\/archive.org\/details\/gri_33125012933277\/page\/n43\/mode\/2up\" target=\"_blank\" rel=\"noreferrer noopener\"> the catalog of the Kircher Museum collection <\/a>(de Sepibus 1678)<\/div><div id='4646' class='cdsur-collapsed-content-gallery wp-block-gallery'><figure class='cdsur-collapsed-content-gallery-item'><a href='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/DE-SEPI-1678.jpg' data-lightbox='4646' data-title='The Gallery of the Athanasius Kircher Museum in Rome, from Giorgio de Sepibus 1678'><img alt='The Gallery of the Athanasius Kircher Museum in Rome, from Giorgio de Sepibus 1678' id='img_498' src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/DE-SEPI-1678.jpg'><\/a><figcaption class='blocks-gallery-item-caption'>The Gallery of the Athanasius Kircher Museum in Rome, from Giorgio de Sepibus 1678<\/figcaption><\/figure><\/div><\/div><\/div>\n\n<div class='cdsur-collapsed-content align '><div class='cdsur-collapsed-content-top-line'><div class='cdsur-collapsed-content-thumbnail'><img src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/SIMART-MR-22780.jpg'><\/div><h6 class='cdsur-collapsed-content-title'>The Collegio Romano<\/h6><div class='cdsur-collapsed-content-opener' data-content-id=''><i class='icon icon-angle-down'><\/i><\/div><\/div><div class='cdsur-collapsed-content-container'><div class='cdsur-collapsed-content-text hasGallery '>The College was established by Sant\u2019Ignazio of Loyola, after the foundation of the Compagnia di Ges\u00f9. His intention was to provide youth training from elementary school to university.The seat of the College (from 1584 to 1870) was built by Pope Gregorio XIII in the homonymous square, in the heart of the Rione Pigna. Within the College, father Athanasius Kircher placed there his &#8220;cabinet of curiosity&#8221; (1651). This, inspired by the &#8220;wunderkammers&#8221; widespread in intellectual and scientific circles since the Renaissance, is considered the first museum in the world. Today the building houses the Liceo Classico Statale Ennio Quirino Visconti and the headquarters of the Ministry of Culture.<\/div><div id='5694' class='cdsur-collapsed-content-gallery wp-block-gallery'><figure class='cdsur-collapsed-content-gallery-item'><a href='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/SIMART-MR-22780.jpg' data-lightbox='5694' data-title='The \u201cPalazzo del Collegio Romano\u201d in an engraving from the end of the 17th century'><img alt='The \u201cPalazzo del Collegio Romano\u201d in an engraving from the end of the 17th century' id='img_500' src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/SIMART-MR-22780.jpg'><\/a><figcaption class='blocks-gallery-item-caption'>The \u201cPalazzo del Collegio Romano\u201d in an engraving from the end of the 17th century<\/figcaption><\/figure><\/div><\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"923\" height=\"783\" src=\"https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/mmd11560.jpg\" alt=\"\" class=\"wp-image-408\" srcset=\"https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/mmd11560.jpg 923w, https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/mmd11560-600x509.jpg 600w, https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/mmd11560-768x652.jpg 768w\" sizes=\"auto, (max-width: 923px) 100vw, 923px\" \/><figcaption class=\"wp-element-caption\">Porta del Popolo. Internal elevation with the insignia of Pope Alexander VII Chigi and the commemorative inscription of Christine of Sweden&#8217;s entry into Rome<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/AFM-140-scaled.jpg\" alt=\"\" class=\"wp-image-530\"\/><figcaption class=\"wp-element-caption\">Porta del Popolo (P.ta Flaminia), from Piazza del Popolo<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns alignwide is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<ul class=\"wp-block-list\">\n<li>to <span data-counter='6' id='latLng_6' class='latLng-element'> Campidoglio<\/span><script>window.latLng.markers = window.latLng.markers || []; window.latLng.markers = window.latLng.markers || {}; window.latLng.markers.push({id:\"latLng_6\", label:\"Campidoglio\", lat:\"12.483050423772925\", lng:\"41.893523371018546\"})<\/script>: On July 7<sup>th<\/sup>, 1656, Christina was received with great honors on the Capitol where, to commemorate her visit, a marble slab was placed, carved with the shape of the &#8220;mountains&#8221; of the coat of arms of Alessandro VII, with in the centre the profile of the queen crowned by the star of the Chigi.<\/li>\n<\/ul>\n\n\n<div class='cdsur-collapsed-content align '><div class='cdsur-collapsed-content-top-line'><div class='cdsur-collapsed-content-thumbnail'><img src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/dep-PV-75_1-1-300x300.jpg'><\/div><h6 class='cdsur-collapsed-content-title'>Piazza del Campidoglio<\/h6><div class='cdsur-collapsed-content-opener' data-content-id=''><i class='icon icon-angle-down'><\/i><\/div><\/div><div class='cdsur-collapsed-content-container'><div class='cdsur-collapsed-content-text hasGallery '>Arch of the city founded by Romolo, seat of numerous and important temples, first of all the Temple of Giove Capitolino. In 87 B.C. Quintus Lutazius Catulus built there the Tabularium, the building used as a state archive, whose remains, between the end of the eleventh and twelfth century, were transformed into a fortified residence by the baronial family of the Corsi.\u00a0With the birth of the municipal institutions, in 1144 the palace became the seat, as Senatorial Palace, of the reconstituted Roman Senate. After the important interventions carried out in the fifteenth century, the layout of the square is dictated by the powerful project of Michelangelo Buonarroti, which however was completed much later.Christina of Sweden could admire there the statue of Marcus Aurelius and the new Palazzo dei Conservatori, but not the paving designed by the artist, made only in 1940 on the basis of the reproduction that the engraver \u00c9tienne Dup\u00e9rac that handed down to us of the project of Michelangelo.<\/div><div id='6219' class='cdsur-collapsed-content-gallery wp-block-gallery'><figure class='cdsur-collapsed-content-gallery-item'><a href='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/dep-PV-75_1-1.jpg' data-lightbox='6219' data-title='Veduta di Piazza del Campidoglio; 1650 \u2013 1653, Palazzo Braschi'><img alt='Veduta di Piazza del Campidoglio; 1650 \u2013 1653, Palazzo Braschi' id='img_426' src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/dep-PV-75_1-1.jpg'><\/a><figcaption class='blocks-gallery-item-caption'>Veduta di Piazza del Campidoglio; 1650 \u2013 1653, Palazzo Braschi<\/figcaption><\/figure><\/div><\/div><\/div>\n\n<div class='cdsur-collapsed-content align '><div class='cdsur-collapsed-content-top-line'><h6 class='cdsur-collapsed-content-title'>Cola di Rienzo<\/h6><div class='cdsur-collapsed-content-opener' data-content-id=''><i class='icon icon-angle-down'><\/i><\/div><\/div><div class='cdsur-collapsed-content-container'><div class='cdsur-collapsed-content-text '>The Capitol Hill, symbol of the city power opposed to the papal power in Rome, never really succeeded in conquering full autonomy. At the northern edge of the staircase leading to the Colle, called the \u201ccordonata\u201d, the statue of Cola di Rienzo (born Nicola di Lorenzo Gabrini), Tribuno del Popolo (but in reality, Notary of the Apostolic Chamber), who lost his life to defend the ideals of the libero comune, stands today as a testimony of this struggle between ecclesiastical power and civil power.\u00a0<\/div><\/div><\/div>\n\n\n<p>Cristina\u2019s coming to Rome coincided with the anniversary of Alexander VII. This was the opportunity for fabulous celebrations that kept her very busy, until she officially settled in <span data-counter='7' id='latLng_7' class='latLng-element'> Palazzo Barberini<\/span><script>window.latLng.markers = window.latLng.markers || []; window.latLng.markers = window.latLng.markers || {}; window.latLng.markers.push({id:\"latLng_7\", label:\"Palazzo Barberini\", lat:\"12.489823439376549\", lng:\"41.903453482608285\"})<\/script>. There she was triumphantly welcomed by a crowd of at least 6000 spectators, as well as by a long procession of camels, elephants lavishly dressed and with wooden towers placed on their backs.<\/p>\n\n\n<div class='cdsur-collapsed-content align '><div class='cdsur-collapsed-content-top-line'><div class='cdsur-collapsed-content-thumbnail'><img src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR-19403.aspx_-300x300.jpg'><\/div><h6 class='cdsur-collapsed-content-title'>Palazzo Barberini<\/h6><div class='cdsur-collapsed-content-opener' data-content-id=''><i class='icon icon-angle-down'><\/i><\/div><\/div><div class='cdsur-collapsed-content-container'><div class='cdsur-collapsed-content-text hasGallery '>The Palace, which is located in Rome in Via Quattro Fontane, was conceived as a coronation of the rise of the Barberini family.Maffeo Barberini (Florence 1568 &#8211; Rome 1644) distinguished himself for his love for the arts and his patronage, already as cardinal.When he rose to the papal throne on August 5th, 1623 as Pope Urbano VIII, his patronage came to blossom: an era of great artistic splendour emerged.Constantly concerned to create a state of privilege for his family, the Pope wanted to build a dwelling worthy of a court, to establish its power and make it like the residences of the great Roman families.The palace was built in the period 1625-1633, enlarging the pre-existing building of the Sforza family, whose sudden financial backlash interrupted the renovation works and led in 1625 to the sale of the property to the Barberini, which acquired the entire block between Via Quattro Fontane and Via Pia (now Via XX Settembre). An elder Carlo Maderno was commissioned of the project, with the help of Francesco Borromini. At the death of the first, Borromini will join Gian Lorenzo Bernini, who passed the direction of the yard.Bernini partly respected the original Maderno\u2019s design, but the creation of the large central hall, which occupies the two floors of the building, and the adjoining oval room were important contributions of his own.His was the conception of the glazed loggia, through between the facade and the underlying porch, as well as the quadrangular staircase that gives access to the main floor.Moreover, Borromini contributed to the splendid helical staircase, at the opposite end of the portico.The rooms were decorated with interventions of the most important artists of the time: the great vault of the central hall was frescoed by Pietro da Cortona with the Triumph of Divine Providence, symbolizing the spiritual and temporal glory of the family.\u00a0Pietro, as an architect, also played a decisive role in the design of the theater, built in the courtyard of the Cavallerizza Palazzo Barberini.So richly conceived according to the canons of the Roman Baroque, the palace was precious not only for its architecture and the artistic manifestations that took place there, but also for the sumptuous collection that lent itself to host.Starting from the pontificate of Urban VIII and on the impulse of the fervent activity of urban transformation that was undergoing the city in those years, the collections of the Barberini family were enriched throughout the seventeenth century.\u00a0However, by the end of the century, the glory and wealth of the family slowly declined. The last descendant, Cornelia Costanza (1716-1797), was married to Giulio Cesare Colonna di Sciarra, eldest son and heir of the Colonna family.The finds of ancient Rome in the collection had suffered various difficulties and dispersions since the eighteenth century, but were still very conspicuous in 1934, thanks to the federcommesso who, confirming the passage from the Papal States to the Kingdom of Italy, had also preserved other important Roman princely collections, such as those of Doria Pamphili, Torlonia and Borghese.In that year, on April 26th, a very controversial Royal Decree abolished the constraint in exchange for just 16 paintings (out of about 640), allowing the dispersion of the Barberini\u2019s collections abroad. So, works of ancient statuary, paintings of D\u00fcrer, Caravaggio, Guido Reni, Guercino and Poussin, as well as an innumerable number of minor artists, left Italy. The only positive consequence of the sale of the Barberini collection was to raise a scandal such as to make it inevitable the creation of new and urgent protection rules that would prevent in the future a loss of that size.Meanwhile, the Palace had remained in the hands of the Barberinis\u2019 heirs.Unfortunately, with the unification of Italy, the area where the house is located was involved in the speculation and development of the Capital, with the construction of ministries along Via XX Settembre.The garden was spared from complete parcelling, sacrificing marginal strips towards the Via Pia, where were built Palazzo Bourbon Artom, Palazzo Calabresi, Palazzo Baracchini, the building of the Stato maggiore della Difesa and, along the carriage ramp of Palazzo Berberini was built a large greenhouse (1875).In the years of fascism (1938) the buildings &#8220;for the family&#8221;, along Via delle Quattro Fontane, were replaced by the \u201cPalazzo dei Beni stabili\u201d and behind the cork house was built the Palazzo Savorgnan of Brazz\u00e0 (1936, Giovannoni and Piacentini), in whose foundation, during the excavations, a second-century mithraeum was found.In 1949 the Palace was purchased by the Italian State and now it houses part of the important National Gallery of Ancient Art and the Italian Institute of Numismatics. <\/div><div id='6681' class='cdsur-collapsed-content-gallery wp-block-gallery'><figure class='cdsur-collapsed-content-gallery-item'><a href='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR-19403.aspx_.jpg' data-lightbox='6681' data-title='Facciata di Palazzo Barberini nella seconda met\u00e0 del XVII secolo; Palazzo Braschi'><img alt='Facciata di Palazzo Barberini nella seconda met\u00e0 del XVII secolo; Palazzo Braschi' id='img_503' src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR-19403.aspx_.jpg'><\/a><figcaption class='blocks-gallery-item-caption'>Facciata di Palazzo Barberini nella seconda met\u00e0 del XVII secolo; Palazzo Braschi<\/figcaption><\/figure><figure class='cdsur-collapsed-content-gallery-item'><a href='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR-10208.jpg' data-lightbox='6681' data-title='Veduta di Palazzo Barberini; 1748, G.B. Piranesi, Palazzo Braschi'><img alt='Veduta di Palazzo Barberini; 1748, G.B. Piranesi, Palazzo Braschi' id='img_505' src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR-10208.jpg'><\/a><figcaption class='blocks-gallery-item-caption'>Veduta di Palazzo Barberini; 1748, G.B. Piranesi, Palazzo Braschi<\/figcaption><\/figure><\/div><\/div><\/div>\n\n\n<h3 class=\"wp-block-heading\"><strong><strong>Christina\u2019s stay in Rome<\/strong><\/strong><\/h3>\n\n\n\n<p>In the months to come the former sovereign stayed first at <span data-counter='8' id='latLng_8' class='latLng-element'> Palazzo Farnese<\/span><script>window.latLng.markers = window.latLng.markers || []; window.latLng.markers = window.latLng.markers || {}; window.latLng.markers.push({id:\"latLng_8\", label:\"Palazzo Farnese\", lat:\"12.470704954721016\", lng:\"41.89482731792061\"})<\/script> &nbsp;(from December 26<sup>th<\/sup>, 1655), specially renovated for the occasion by the owner Duke of Parma.<br>Here Christina began to lead an almost irreproachable life, receiving Communion and continuing to attend churches, monasteries and monuments, but her attitude concealed in reality quite another nature. Soon she became impatient with religious practices and began to deal with art, music and entertainment, increasingly irritating Pope Alessandro VII. Cristina returned to Rome on May 15<sup>th<\/sup> 1658, after a series of journeys outside Italy, and resided in the beautiful <span data-counter='9' id='latLng_9' class='latLng-element'>, belonging to Cardinal Mazzarino. (cit. from Lovelli 2013. Ed\u2019s tranl.)<\/span><script>window.latLng.markers = window.latLng.markers || []; window.latLng.markers = window.latLng.markers || {}; window.latLng.markers.push({id:\"latLng_9\", label:\"Palazzo Rospigliosi\", lat:\"12.487745530929182\", lng:\"41.89832517615401\"})<\/script><\/p>\n\n\n<div class='cdsur-collapsed-content align '><div class='cdsur-collapsed-content-top-line'><div class='cdsur-collapsed-content-thumbnail'><img src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/Xd-21282-300x300.jpeg'><\/div><h6 class='cdsur-collapsed-content-title'>Palazzo Farnese<\/h6><div class='cdsur-collapsed-content-opener' data-content-id=''><i class='icon icon-angle-down'><\/i><\/div><\/div><div class='cdsur-collapsed-content-container'><div class='cdsur-collapsed-content-text hasGallery '>At the end of the fifteenth century Alessandro Farnese, created cardinal at 25 years on September 25th 1493, buys, in the heart of the district Regola, a few steps from the Tiber, the old Palazzo Ferriz and its pertinences.The ambitions of Alessandro Farnese are directed towards a new project for a dwelling worthy of a candidate to the papal throne.The construction of the Palazzo Farnese began in 1514, under the direction of Antonio da Sangallo, the Younger.The palace\u2019s works take on new impulse when Alessandro was elected Pope on October 13th ,1534 taking the name of Paolo III. On the death of Sangallo (1546), takes the direction of the yard Michelangelo, to which important modifications are due in the facade, with the realization of polychrome games in the brick facing, that will be highlighted by the recent restorations carried out for the Jubilee of 2000.At the death of the Pope, his nephew Cardinal Ranuccio Farnese entrusted Vignola with the direction of the work and commissioned the Mannerist Francesco Salviati to paint the fresco in the Sala dei Fasti Farnesiani, with the task of exalting the pontificate and the glories of the Farnese.At the end of the century it will be Giacomo della Porta to finish the works of the rear facade and the construction of the Palace.The subsequent heirs will make other improvements and enrichments to the Farnese family Roman home, through the work of the brothers Annibale and Agostino Carracci, who fresco the cabinet of Cardinal Odoardo better known as &#8220;dressing room of Hercules&#8221; and made the frescoes of the Gallery.\u00a0Finally, in 1603, were built the terrace and the small palace of Cardianale Odoardo, on the Tiber banks.<br>During the seventeenth century, the Farnese family progressively shifted its interests in Parma; the Palace experienced a phase in which important tenants cohabited.In particular, thanks to the family\u2019s connections to the throne of France, the residence hosted, throughout the seventeenth century, the ambassadors of Kings Luigi XIII and Luigi XIV, among these illustrious guests to remember the presence of Cardinal Alphonse-Louis de Richelieu, brother of Cardinal Armand-Jean du Plessis, Duke of Richelieu, Prime Minister of Luigi XIII.And in this very context, on December 26th, 1655 that the transfer, in a wing of the Palazzo Farnese, of the former Queen Christina of Sweden, takes place.The eighteenth century sees a progressive dispossession of the building by the heirs of the family. In 1731, on the death of Antonio Farnese, Duke of Parma and Piacenza, Elisabetta, last heir, married to Filippo V of Spain, left the Farnese properties to her son Carlo of Borbone, first king of the Regno delle Due Sicilie, then called to become Carlo III of Spain in 1759, that began the transfer to Naples of the prestigious Farnese collection.On September 3rd,1808 Gioacchino Murat, newly elected King of Naples, received the homage of his new subjects in the Carracci Gallery.During the nineteenth century the Borbone made some changes and restorations, by the architect Antonio Cipolla, and commissioned the decoration of the rooms and dressing rooms of the piano nobile to the Grassi brothers.In 1863 Francesco II di Borbone Re delle Due Sicilie, due to the occupation of Naples by Garibaldi troops, moved into exile in Rome, in Palazzo Farnese.With the events following the capture of Rome and the Unification of Italy, the Palace became the seat of the Embassy of France, through a lease agreement with the Borbone delle Due Sicilie, followed by a purchase agreement by France.oday the French diplomatic office is still located inside the Building where, on the second floor since 1875, the Ecole Fran\u00e7aise de Rome took on institutional headquarters along with its splendid library of Archaeology and History of Art.\u00a0From the twentieth century the subsequent restoration of the facade and the Palace will be taken care of by the Italian State which, exercising the right of pre-emption in 1936, took over the property, signing a lease with France for 99 years.<\/div><div id='9463' class='cdsur-collapsed-content-gallery wp-block-gallery'><figure class='cdsur-collapsed-content-gallery-item'><a href='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/Xd-21282.jpeg' data-lightbox='9463' data-title='Facciata di Palazzo Farnese; II met\u00e0 del XVII sec., Palazzo Braschi'><img alt='Facciata di Palazzo Farnese; II met\u00e0 del XVII sec., Palazzo Braschi' id='img_507' src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/Xd-21282.jpeg'><\/a><figcaption class='blocks-gallery-item-caption'>Facciata di Palazzo Farnese; II met\u00e0 del XVII sec., Palazzo Braschi<\/figcaption><\/figure><figure class='cdsur-collapsed-content-gallery-item'><a href='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR_D-40865.jpeg' data-lightbox='9463' data-title='Veduta di Palazzo Farnese verso via Giulia e fontana del Mascherone; XVII sec., Palazzo Braschi'><img alt='Veduta di Palazzo Farnese verso via Giulia e fontana del Mascherone; XVII sec., Palazzo Braschi' id='img_509' src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR_D-40865.jpeg'><\/a><figcaption class='blocks-gallery-item-caption'>Veduta di Palazzo Farnese verso via Giulia e fontana del Mascherone; XVII sec., Palazzo Braschi<\/figcaption><\/figure><\/div><\/div><\/div>\n\n<div class='cdsur-collapsed-content align '><div class='cdsur-collapsed-content-top-line'><div class='cdsur-collapsed-content-thumbnail'><img src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR-19342-300x300.jpeg'><\/div><h6 class='cdsur-collapsed-content-title'>Palazzo Mazzarino &#8211; Rospigliosi<\/h6><div class='cdsur-collapsed-content-opener' data-content-id=''><i class='icon icon-angle-down'><\/i><\/div><\/div><div class='cdsur-collapsed-content-container'><div class='cdsur-collapsed-content-text hasGallery '>The Palazzo Mazzarino &#8211; Rospigliosi (now Pallavicini Rospigliosi) was built by the Borghese family near the Quirinal Hill, on the ruins of the Baths of Constantine Emperor, now incorporated into the basement of the Casino.The building was commissioned by Cardinal Scipione Borghese, nephew of Pope Paolo V, as a large residence of the family built next to the papal residence of the Quirinal Palace, the construction was first entrusted to Flaminio Ponzio, whose death was succeeded by the architect Carlo Maderno, the garden embellished by the &#8220;Casino dell&#8217;Aurora&#8221; was designed by Giovanni Vasanzio.The palace then passed to Giovanni Angelo Altemps, who bought it in 1616, having it refined by Onorio Longhi.Six years later only, it was sold to the Bentivoglio, then passed to Lante and then to Cardinal Mazarino and, by him, to his heirs Mancini. During this time, it served as the seat of the French embassy before it was transferred to the more spacious Farnese palace.In 1704, the palace was purchased by Prince Giovanni Battista Rospigliosi, nephew of Pope Clemente IX, and his wife, Princess Maria Camilla Pallavicini, and became the home of the Rospigliosi Pallavicini family, who still owns a large portion.Sold by the Rospigliosi following a serious financial crisis, the rest of the building for many years became the headquarters of the Federconsorzi and is currently the headquarters of Coldiretti.The most interesting artwork is represented by the Casino dell&#8217;Aurora which houses the homonymous fresco by Guido Reni (1614).On the ceiling of the small room, the artist depicted Apollo in his chariot preceded by Aurora, which brings light to the world: a very dear theme to Roman classicism.Guido\u2019s fresco recalls the reliefs of ancient sarcophagi, of which the facade of the Casino is richly decorated.A probably prototype of this work is a picture of the Farnese Gallery &#8211; belonging to Agostino Carracci &#8211; depicting Aurora and Cephalus.On the walls Paul Bril painted the four seasons, two triumphs were painted by Antonio Tempesta.The Building preserves the Pallavicini Art Gallery, whose first nucleus, created by Cardinal Lazzaro Pallavicini, now includes more than 540 paintings, drawings and sculptures by artists such as Annibale Carracci, Pietro da Cortona, Nicolas Poussin, Botticelli, Lorenzo Lotto (Triumph of Chastity), Diego Vel\u00e1zquez, Pieter Paul Rubens, Domenichino, Luca Signorelli, Guido Reni and Guercino; it constitutes, with the collections owned by the families Colonna and Doria-Pamphilij, one of the largest private art collections in Rome.<\/div><div id='2377' class='cdsur-collapsed-content-gallery wp-block-gallery'><figure class='cdsur-collapsed-content-gallery-item'><a href='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR-19342.jpeg' data-lightbox='2377' data-title='Veduta di Palazzo Mazzarino Rospigliosi, II met\u00e0 del XVII sec., Palazzo Braschi'><img alt='Veduta di Palazzo Mazzarino Rospigliosi, II met\u00e0 del XVII sec., Palazzo Braschi' id='img_511' src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR-19342.jpeg'><\/a><figcaption class='blocks-gallery-item-caption'>Veduta di Palazzo Mazzarino Rospigliosi, II met\u00e0 del XVII sec., Palazzo Braschi<\/figcaption><\/figure><figure class='cdsur-collapsed-content-gallery-item'><a href='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/AF-7031_42.jpg' data-lightbox='2377' data-title='Riproduzione fotografica dell&#039;affresco dell&#039;Aurora, nel Casino di palazzo Rospigliosi (1614); II met\u00e0 del XIX sec., Palazzo Braschi'><img alt='Riproduzione fotografica dell&#039;affresco dell&#039;Aurora, nel Casino di palazzo Rospigliosi (1614); II met\u00e0 del XIX sec., Palazzo Braschi' id='img_513' src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/AF-7031_42.jpg'><\/a><figcaption class='blocks-gallery-item-caption'>Riproduzione fotografica dell&#8217;affresco dell&#8217;Aurora, nel Casino di palazzo Rospigliosi (1614); II met\u00e0 del XIX sec., Palazzo Braschi<\/figcaption><\/figure><\/div><\/div><\/div>\n\n\n<p>Later Christina wanted to live in the <span data-counter='10' id='latLng_10' class='latLng-element'> Palazzo Riario at the Lungara<\/span><script>window.latLng.markers = window.latLng.markers || []; window.latLng.markers = window.latLng.markers || {}; window.latLng.markers.push({id:\"latLng_10\", label:\"Palazzo Riario at the Lungara\", lat:\"41.893357848521845\", lng:\"12.466904870065857\"})<\/script> (now Palazzo Corsini), which she appreciated the which he appreciated the location at the foot of the Janiculum and the beautiful gardens and the location at the foot of the Gianicolo.&nbsp;To this aim, in March 1659, she commissioned her friend\u2019s and collaborator, Cardinal Decio Azzolino, to arrange his installation at the Palace (Partini 2010;&nbsp;Lovelli 2013), of which he undertook restoration and embellishments.&nbsp;<\/p>\n\n\n\n<p>Particularly dear to her was the garden, she contributed to enrich it with rare and exotic plants, forming the original nucleus of the Botanical Garden of Rome, where you can still admire some plane trees dating back to the time of the sovereign.<br>During the restorstions, first years were spent by Christina in a secondary house, now no longer existing: a rural casino near the Palace, where she moved till the completion of the works in 1663.<br>Having become his definitive residence, Christina placed her small and varied court in the palace that soon became the seat of intrigue, diplomatic travels, parties and gallant adventures, but also of important intellectual relations: in 1674 the Royal Academy was founded, to which was added an Academy of Physics, Natural History and Mathematics. <br>Love and interest for the arts and for sciences and the innate patronage of this cultured and intelligent woman, were the foundations from which the Academy of Arcadia was born, immediately after her death and in her memory.<\/p>\n\n\n<div class='cdsur-collapsed-content align '><div class='cdsur-collapsed-content-top-line'><div class='cdsur-collapsed-content-thumbnail'><img src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR-1808-300x300.jpg'><\/div><h6 class='cdsur-collapsed-content-title'>Palazzo Riario at the Lungara<\/h6><div class='cdsur-collapsed-content-opener' data-content-id=''><i class='icon icon-angle-down'><\/i><\/div><\/div><div class='cdsur-collapsed-content-container'><div class='cdsur-collapsed-content-text hasGallery '>Palazzo Riario, now Palazzo Corsini, seat of the Accademia dei Lincei, was erected in the fifteenth century for Cardinal Domenico Riario, nephew of Sisto IV (Francesco della Rovere), who welcomed artists and writers around him, including Michelangelo and Erasmus of Rotterdam.Christina continued this tradition, with her patronage for artists and scientists; here she reopened the Accademia Reale (1674) and lived there until its death, in 1689.<\/div><div id='754' class='cdsur-collapsed-content-gallery wp-block-gallery'><figure class='cdsur-collapsed-content-gallery-item'><a href='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR-1808.jpg' data-lightbox='754' data-title='Veduta di palazzo Riario Corsini alla Lungara; ultimo quarto del XVII sec., Palazzo Braschi'><img alt='Veduta di palazzo Riario Corsini alla Lungara; ultimo quarto del XVII sec., Palazzo Braschi' id='img_517' src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MR-1808.jpg'><\/a><figcaption class='blocks-gallery-item-caption'>Veduta di palazzo Riario Corsini alla Lungara; ultimo quarto del XVII sec., Palazzo Braschi<\/figcaption><\/figure><\/div><\/div><\/div>\n\n\n<h3 class=\"wp-block-heading\"><strong><strong>The patronage of the former sovereign &#8211; Theatre, music and Baroque parties<\/strong><\/strong><\/h3>\n\n\n\n<p>From the very beginning of her stay in Rome, Christina distinguished herself by her perfect patronage, surrounded by musicians, artists and writers including Alessandro Scarlatti, Arcangelo Corelli, Bernardo Pasquini ed i poeti Alessandro Guidi e Vincenzo Filicaia.<br>In 1670, with the help of Conte Giacomo d&#8217;Alibert, she founded the <span data-counter='11' id='latLng_11' class='latLng-element'> Tor di Nona Theater <\/span><script>window.latLng.markers = window.latLng.markers || []; window.latLng.markers = window.latLng.markers || {}; window.latLng.markers.push({id:\"latLng_11\", label:\" Tor di Nona Theater \", lat:\"12.469122671622108\", lng:\"41.90170036251951\"})<\/script>.<\/p>\n\n\n<div class='cdsur-collapsed-content align '><div class='cdsur-collapsed-content-top-line'><div class='cdsur-collapsed-content-thumbnail'><img src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/mmd61941-300x300.jpg'><\/div><h6 class='cdsur-collapsed-content-title'>The Tor di Nona Theatre<\/h6><div class='cdsur-collapsed-content-opener' data-content-id=''><i class='icon icon-angle-down'><\/i><\/div><\/div><div class='cdsur-collapsed-content-container'><div class='cdsur-collapsed-content-text hasGallery '>The Tor di Nona Theatre, also known as the Apollo Theatre in Tordinona, was founded by Christina of Sweden in 1670 to allow the theatrical performances of the artists she promoted and supported.Count d&#8217;Alibert helped Christina in the realization of her project. He interceded with the Pope Clemente IX for the sale of a property, previously owned by the Orsini family, where now are the banks of the Tiber on the Lungotevere Tordinona.Previously the building was used as a prison until 1657, and subsequently as an inn.The setting fitted the purpose, in fact earlier, on several occasions, an attempt was made to transform it into a theatre.\u00a0 But the policy of the previous Pope Alessandro VII, opposed to worldly events, had failed the project.The work to adapt the building to the theatre was entrusted to renowned architect Carlo Fontana.The hall, about 16&#215;22 meters, was &#8220;U&#8221; shaped, in the tradition of the Italian theatre, composed of six orders of boxes (other sources speak of seven or eight orders).The wooden building was decorated inside by the painters Magno and Jovanelli and was accessible from both land and river.The inauguration took place in the spring of 1670 with a show by Tiberio Fiorilli, who was entrusted with the entire theatrical season.Usually, the representations were allowed only during the carnival period. So d&#8217;Alibert was displeased to learn that Filippo Acciaiuoli, a frequent visitor to the drawing room of the Academy of Christina of Sweden, had obtained permission from the new pontiff, Clemente X, to represent plays outside the right period.For this reason, in order to make the set-up possible, the Tordinona theatre passed into the hands of Acciaiuoli, who rented it for one thousand two hundred and fifty scudi a year (Guzzi 1998).Under the &#8220;artistic direction&#8221; of Acciaiuoli, the stage was trodden between 1671 and 1674 also by women, and that was an absolute novelty for the time.In 1671 the plays \u201cAmanti, che credete\u201d, \u201cChi mi conoscera\u201d di Alessandro Stradella, \u201cIl novello Giasone\u201d and \u201cScipione Africano\u201d di Acciaiuoli; in 1672 \u201cO ve&#8217;, che figurace\u201d di Stradella and in 1673 \u201cL&#8217;amor per vendetta, overo L&#8217;Alcasta\u201d di Bernardo Pasquini, had their absolute premiere.In 1675 the theatre was closed for the celebrations of the Jubilee.\u00a0From this moment on, the Teatro Tordinona suffered various vicissitudes, several times destroyed and rebuilt.There was also, in 1831, an intervention in the facade of the architect Giuseppe Valadier, commissioned by the new owner Alessandro Torlonia.During the nineteenth century the theatre rehabilitated its name, in 1870 was added a royal box, in honour of the King of Italy Vittorio Emanuele II di Savoia.\u00a0In 1882 the world premiere of Donizetti\u2019s \u201cLe duc d&#8217;Albe\u201d and, in 1887, of Stanislao Falchi\u2019s \u201cGiuditta\u201d, were represented.Despite the success, in 1888 the works for the construction of the banks of the Tiber, whose continuous flooding affected the safety of the city and its inhabitants, made necessary the demolition of the building.Only in 1925, where once stood the theatre. a memorial stele, with an epigraph of Fausto Salvatori, was built. <\/div><div id='4308' class='cdsur-collapsed-content-gallery wp-block-gallery'><figure class='cdsur-collapsed-content-gallery-item'><a href='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/mmd61941.jpg' data-lightbox='4308' data-title='Fontana sarcofago del Teatro Apollo, collocata sul Lungotevere Tor di Nona, nel luogo dove sorse l\u2019omonimo Teatro; 1925'><img alt='Fontana sarcofago del Teatro Apollo, collocata sul Lungotevere Tor di Nona, nel luogo dove sorse l\u2019omonimo Teatro; 1925' id='img_519' src='https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/mmd61941.jpg'><\/a><figcaption class='blocks-gallery-item-caption'>Fontana sarcofago del Teatro Apollo, collocata sul Lungotevere Tor di Nona, nel luogo dove sorse l\u2019omonimo Teatro; 1925<\/figcaption><\/figure><\/div><\/div><\/div>\n\n\n<h3 class=\"wp-block-heading\">The Carousel Parade at Palazzo Barberini &#8211;  February 29<sup>th<\/sup>, 1656<\/h3>\n\n\n\n<p>The presence of Christina offered the opportunity for the preparation of sumptuous feasts, an occasion immediately took by the most powerful families who contended for the primacy of power of which Rome was undisputed representative.<\/p>\n\n\n\n<p>So the Barberini, recently back from France, on the occasion of the Carnival of 1656 organized an event destined to remain famous in the local chronicles, and not only.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u201cThe Carnival Carousel is held ideologically and allegorically, in a decidedly different way from the Saracen Carousel of &#8217;34. First of all, the chosen place: no longer a famous town square but the courtyard of the family Palace (Palazzo Barberini alle Quattro Fontane n.d.r.).<br>A tighter and more collected space, in its theatrical values, that proposed in terms of nostalgia the refined option of princely courts of the sixteenth and of the early seventeenth century, for more exclusive outdoor shows and courtiers. There the courtyard-square value was a decisive model for the development of the theater room itself, with the upper gallery or windows overlooking the courtyard to suggest a vertical use.<br>The Cortile della Cavallerizza, on which the monumental entrance to the Palazzo was on the side of the City, closed by a long wall and which was accessed through the majestic portal of Pietro da Cortona overlooking the former Piazza Grimana, now Barberini, presented himself as a real princely court. In this sense the &#8220;Teatro della Comparsa&#8221; will be set up, demolishing for the occasion also some houses.&#8221; <br>(cit. from Chiappara 2014, Ed\u2019s transl.)<\/p>\n<\/blockquote>\n\n\n\n<p>For the occasion Giovan Francesco Grimaldi was in charge of the project of the theatre, the costumes, the harness of the horses and the machines.<br>An essay on the spectacular nature of the planned program can easily be imagined from the description of the events that left to us Conte Galeazzo Gualdo Priorato in his \u201c<em>Historia\u201d<\/em> upon Queen Christina of Sweden:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u201cOn February the 28th evening\u2019s, the Carousel Joust began with the entry into the courtyard of the two teams of riders who were to face each other, with their respective wagons. They are the Romans, dressed in silver and blue, followed by the chariot of Roma-Amore pulled by the Grazie, and the Amazzoni, in red and gold dresses, followed by the chariot of Indignazione pulled by the Furie\u2026 After a music Dialogue, began the carousels of knights with rich costumes and very high hairstyles with coloured plumes. Highlight of the show is the entrance of the Hercules\u2019 chariot, a horrifying Dragon shaped machine. This, with Hercules on his back, dressed with the skin of the lion Nimeo, accompanied by maidens who distributed golden apples of the Esperidi, vomited burning flames. Finally, the Sun Chariot triumphantly entered, represented as a shining divinity with the four seasons and the twenty-four hours at its feet&#8221;. <br>(cit. da Chiappara 2014, Ed\u2019s transl.)<\/p>\n<\/blockquote>\n\n\n\n<p>Evidence of the great &#8220;media&#8221; echo of the event can be found in the large painting of Filippo Gagliardi and Filippo Lauri, now in the Museum of Rome.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/artsandculture.google.com\/story\/carosello-nel-cortile-di-palazzo-barberini-in-onore-di-cristina-di-svezia\/iALyQdAzbCmaKg\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"663\" src=\"https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/05\/carosello-palazzo-barberini.jpg\" alt=\"\" class=\"wp-image-610\" srcset=\"https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/05\/carosello-palazzo-barberini.jpg 1200w, https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/05\/carosello-palazzo-barberini-600x332.jpg 600w, https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/05\/carosello-palazzo-barberini-768x424.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/artsandculture.google.com\/story\/carosello-nel-cortile-di-palazzo-barberini-in-onore-di-cristina-di-svezia\/iALyQdAzbCmaKg\" target=\"_blank\" rel=\"noreferrer noopener\">Carousel in the courtyard of Palazzo Barberini in honor of Christina of Sweden<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"527\" height=\"1000\" src=\"https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MC.-B-2591-1.jpeg\" alt=\"\" class=\"wp-image-502\" srcset=\"https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MC.-B-2591-1.jpeg 527w, https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/MC.-B-2591-1-316x600.jpeg 316w\" sizes=\"auto, (max-width: 527px) 100vw, 527px\" \/><figcaption class=\"wp-element-caption\">Commemorative monument of Christina of Sweden&#8217;s visit to the Capitoline Hill, now in the Capitoline Museums; 1656<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns alignwide is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>In February 1689, Christina became seriously ill; the certainty of a near end prompted her to write a letter to ask the pope forgiveness for all the troubles she had caused. Her strong nature kept her alive until April when, due to a bad relapse, she died at six in the morning of the 19th. In her will she named Cardinal Azzolino sole heir.&nbsp; It wasn\u2019t even two months that he followed her too, leaving the inheritance to his nephew Pompeo Azzolino. <br>Cristina had appointed the Pope as her will executor. He set up a four-day funeral vigil at Palazzo Riario and ordered a solemn funeral to be celebrated in <span data-counter='12' id='latLng_12' class='latLng-element'> the Church of Santa Maria in Vallicella <\/span><script>window.latLng.markers = window.latLng.markers || []; window.latLng.markers = window.latLng.markers || {}; window.latLng.markers.push({id:\"latLng_12\", label:\"Chiesa di Santa Maria in Vallicella\", lat:\"12.468868512393673\", lng:\"41.89886836505385\"})<\/script>.&nbsp; Christina was placed on a sumptuous canopy, in the centre of the nave illuminated by three hundred torches, with the royal crown on her head, for the last farewell. Then, she was buried, always by Pope\u2019s claim, inside  the<span data-counter='13' id='latLng_13' class='latLng-element'> Vatican Grottoes <\/span><script>window.latLng.markers = window.latLng.markers || []; window.latLng.markers = window.latLng.markers || {}; window.latLng.markers.push({id:\"latLng_13\", label:\"Grotte Vaticane\", lat:\"12.454191148348976\", lng:\"41.90207042067948\"})<\/script> , below Saint Peter\u2019s Basilica 13. , next to the remains of Matilda of Canossa (1046-1115) (Lovelli 2010). <\/p>\n\n\n\n<p>n 1696, in honour of the late sovereign, Pope Clemente XI had a monument built by the architect Carlo Fontana, to commemorate her wonderful conversion and as a sign of gratitude of the city of Rome. It was finished in 1702 and placed inside the Vatican Basilica.<\/p>\n\n\n\n<p><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"648\" src=\"https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/GS-150-1.jpeg\" alt=\"\" class=\"wp-image-522\" srcset=\"https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/GS-150-1.jpeg 1024w, https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/GS-150-1-600x380.jpeg 600w, https:\/\/romasitounesco.it\/wp-content\/uploads\/2021\/04\/GS-150-1-768x486.jpeg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Funeral procession for the obsequies of Queen Christina of Sweden; 1689, now in Palazzo Braschi<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p class=\"has-text-align-right\"><em>Esmeralda Nicolicchia Remotti<\/em><\/p>\n\n\n\n<div class=\"wp-block-group alignwide\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<h2 class=\"alignwide wp-block-heading\">Bibliografia<\/h2>\n\n\n\n<div class=\"wp-block-columns alignwide is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<ul class=\"wp-block-list\"><li>Carlo Festini, Trionfi della Magnificenza Pontifica celebrati per lo passaggio nelle Citt\u00e0 e luoghi dello Stato Ecclesiastico e in Roma per lo ricevimento della Maest\u00e0 della Regina di Svetia, Roma,<\/li><li>Stamperia della Rev. Camera Apostolica, 1656.<\/li><li>Giorgio de Sepibus,&nbsp;Romani collegii Societatis Jesu musaeum celeberrimum, Romae, ex Officina janssonio-waesbergiana, 1678, antiporta.<\/li><li>Galeazzo Gualdo Priorato, Historia della Sacra Maest\u00e0 di Cristina Alessandra di Svezia, Roma, 1656<br><\/li><li>Carboni L, \u201cDocumenti di e su Cristina di Svezia nell\u2019archivio segreto vaticano\u201d, in Platania G. (a cura di), Roma e Cristina di Svezia. Una irrequieta sovrana. Sette Citt\u00e0, 2016, Un. Tuscia, Viterbo, pp. 209 \u2013 248<\/li><li>Chiappara I., \u201cLa Giostra del Saracino del 1634 e la <a rel=\"noreferrer noopener\" href=\"https:\/\/www.saladelcembalo.org\/festabar\/caroselli.html\" target=\"_blank\">Giostra dei Caroselli<\/a> del 1654. Il mecenatismo dei Barberini e Marco Marazzoli\u201d. Soria 2014. <\/li><li>De Caprio F., \u201cL\u2019entrata in incognito di Cristina di Svezia in vaticano: cerimoniali e simboli\u201d, in Settentrione n.s., Rivista di Studi Italo-finlandesi, n.30, anno 2018, pp. 187 &#8211; 211<\/li><li>De Caprio F., \u201cIl primo soggiorno romano di Cristina di Svezia attraverso il Diario di Carlo Cartari\u201d, in Lanzetta L. (a cura di), La storia o\/e le storie nel Diario di Carlo Cartari avvocato concistoriale romano. Istituto Nazionale di Studi Romani, LuoghInteriori, Citt\u00e0 di Castello, 2019<\/li><li>Di Palma W., \u201cCristina di Svezia: Scienza ed alchimia nella Roma barocca\u201d, in Atti del Ciclo di Conferenze (Roma, Sala Borromini, 17 &#8211; 19 aprile 1989) sulla cultura scientifica alla corte romana di Cristina di Svezia, nuova biblioteca dedalo 99: serie nuovi saggi. Bari, Dedalo, 1990, pp. 18, ss.<\/li><li>Lovelli G., \u201cCristina di Svezia: una regina anticonformista\u201d, in <a rel=\"noreferrer noopener\" href=\"http:\/\/baliatodaicoi.altervista.org\/wp-content\/uploads\/2017\/09\/e-Biblioteca-testo-n.-005-il-viaggio-e-soggiorno-romano-di-Cristina-di-Svezia.doc.pdf\" target=\"_blank\">Viaggio e soggiorno romano di una regina: Cristina di Svezia<\/a>, n. 005, Societ\u00e0 e chiesa del 1600. 13 Ottobre 2013.  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; .<\/li><li>Partini A. M., \u201cCristina di Svezia e il suo Cenacolo Alchemico\u201d. Roma, Ed. Mediterranee, 2010<\/li><li>Platania G. (a cura di), Roma e Cristina di Svezia. Una irrequieta sovrana. Sette Citt\u00e0, 2016, Un. Tuscia, Viterbo<\/li><li>Guzzi P., \u201cIl teatro a Roma. Tre millenni di spettacolo\u201d. Roma, Rendina Editori, 1998. voce Teatro Tordinona, da <a rel=\"noreferrer noopener\" href=\"https:\/\/it.wikipedia.org\/wiki\/Teatro_Tordinona#cite_note-7\" target=\"_blank\">Wikipedia<\/a>. <\/li><\/ul>\n<\/div>\n<\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>From the abjuration of Protestantism to the triumphal entry into the Eternal City: places and enterprises of a former sovereign so much loved and controversial. &nbsp;The woman who, in the Rome of the second half of the seventeenth century, influenced and promoted poetry, theatre, music but also science, astronomy, medicine and alchemy. As with the&#8230; <a class=\"more-link\" href=\"https:\/\/romasitounesco.it\/en\/cristina-di-svezia-a-roma\/\"> Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":427,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"cdsur_event_start_date":"","cdsur_event_end_date":"","cdsur_event_date_description":"","cdsur_event_lng":"","cdsur_event_lat":"","footnotes":""},"categories":[32,33],"tags":[],"class_list":["post-1001","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pathways","category-vivere-en","entry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.1.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Christina of Sweden in Rome - Centro Documentazione Sito Patrimonio Mondiale<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/romasitounesco.it\/en\/cristina-di-svezia-a-roma\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Christina of Sweden in Rome - Centro Documentazione Sito Patrimonio Mondiale\" \/>\n<meta property=\"og:description\" content=\"From the abjuration of Protestantism to the triumphal entry into the Eternal City: places and enterprises of a former sovereign so much loved and controversial. &nbsp;The woman who, in the Rome of the second half of the seventeenth century, influenced and promoted poetry, theatre, music but also science, astronomy, medicine and alchemy. As with the... 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