Museum:Museo Boncompagni Ludovisi per le Arti decorative, il Costume e la Moda dei secoli XIX e XX
Type: ART MUSEUM
address: Via Boncompagni, 18
From Tuesday to Sunday: from 9.00 to 13.30 and 14.30 to 19.00.
Entry permitted until half an hour before closing.
For groups must make a reservation by calling 06.42824074
Patricia house built in the early twentieth century by the architect Giovanni Battista Giovenale (1849-1934), Villino Boncompagni is the epilogue of the Boncompagni possessions in the wide area that housed the prestigious Villa Ludovisia, built in the seventeenth century by Cardinal Ludovico Ludovisi and destroyed in the late nineteenth century to make way for the allocation of a large part of the green area of Baroque Rome.
The result was the birth of a modern residential area which grew rapidly with dozens of examples of the residential villa eclectic style.
The building, built by Giovenale for Boncompagni, is a mansion rather limited in size, with a small garden and an outbuilding attached to the back.
The Baroque style gives the building a noble appearance.
Inside, the rooms echo the ancient glories of patrician lineage are made, especially on the ground floor and dining room, decorated with mural paintings in "trompe l'oeil" representing the branch of the old village Ludovisia.
Remodeled in the thirties, has kept intact the original design, while the so-called "tunnel", always on the ground floor, has undergone substantial decorative works in the same period.
A characteristic feature of the time of construction is given in the room called 'Chinese' where there are hand-painted backgrounds with patterns of English origin.
On the second floor, originally intended to house the private rooms of Boncompagni, has recently been refurbished to house the collections of the Museum.
The museum collects paintings, sculptures and original furniture of the villa, also objects acquired at the time of the birth of the museum and the National Gallery of Modern Art.
Furniture, sculptures, paintings and furniture evoke the inside of a noble house of the last century, but also offer insights into museological presence of common objects, outstanding in itself.
Some paintings from the early twentieth century witnessed the evolution modern taste in the late nineteenth century and the first decades of the next century: works by Camillo Innocenti (1871-1941, 'a summer evening and visit) and Arturo Noci (1874- 1953 in the cab) from the National Gallery.
Along with four panels Spring Galileo Chini (1873-1956), these canvases are aligned with the themes of freedom and the Belle Époque Italian and period of construction of the building.
Other works, such as the portrait of Princess Blanceflor De Bildt, wife and heir of Andrea Boncompagni, painted by Hungarian Laszlo Philip (1869-1937) in 1925, were donated to the State together with the cottage in 1972.
A series of small bronze female figures representing artists like Hamlet Cataldi (1882-1930), Nicola D'Antino (1880-1966), Emanuele Ordono Rosales (1873-?), Attilio Pallafacchina (1887-1976), Pietro Clerici (1877-1959), Vincenzo Puchetti (1894-1947), Gaspare Bisceglia (1880-?), is a valuable collection of sculpture of the early twentieth century, intended to furnish the modern home.
The cradle of the real principles of bronze, gold and silver, a monumental work of Giulio Monteverde (1837-1917), was purchased by the state in 1995 to enrich the museum's collections.
The ceramic collection of the Museum has been donated by private collectors since 1995, on the initiative of the Friends of the Museum of Decorative Arts in Rome to form the first group of decorative art.
The furniture of the villa have been donated to the Government, and the building too.
Tue furnirure is referable to the seventeenth, eighteenth and nineteenth century.
The console Venetian craftsmanship, arranged in the rooms of the main floor, dating from the eighteenth century, while wrought iron chairs and stylish leather are restoring mid-nineteenth century, the refectory table made in Sweden is dated 1623.
Some furniture, such as desks inside the great hall, denote the contemporary taste for 'chinoiserie'.
Other objects, such as wrought-iron lattice Umberto Bellotto (1882-1940), the presidents of Vincenzo Cadorin (1854-1925), Vittorio Grassi (1878-1958), of Felice Casorati (1883-1963), were generously donated after 1995 .
From the National Gallery is the magnificent Stained Warriors Cambellotti 1912, is located in the window of the front door on the second floor, and beautiful furniture designed by Ernesto Basile and conducted by the firm of Palermo Ducrot.
The museum also houses various artifacts and archival materials (silk embroidery, bags, cushions, boxes, etc.) performed by students of Margaret of Savoy Women's Institute in the first half of the twentieth century.
The collections also highlights the collection of cameos, plaster and wax impressions, along with correspondence and tools, the Roman artist Antonio Giorgio Girardet (1829-1890) and his sons George Augustus (1855-1955) and Henry (1861-1929), the last great representatives of art work gemstones in Rome, donated by Girardet heirs in 1998.
About eight hundred pieces of clothing and accessories illustrate a particular way the history of Italian fashion.
The foundation base is represented by a group of clothing Fausto Sarli, Fernanda Gattinoni, Valentino, Roberto Capucci and Angelo Litrico donated to the Museum by the Friends of the Museum and the Library of Fashion.
To this was added in 1996, the Fund consists of clothing belonging to Bucarelli (1910-1998), director of the National Gallery in 1941-1975 and considered one of the most elegant women of Italy.
Among the garments worn by her, are the famous fashion houses as Roman Sisters Botti, Nicola Zecca, Antonio De Luca, Sorelle Fontana.
Then they added the donations of the heirs of Clothing Havens Rome and other famous designers like Raffaella Curiel, Lorenzo Riva, Renato Balestra, Marella Ferrera, André Laug, Mila Schön and deposits collectors important, such as fashion journalist Maria Vittoria Caruso Alfonsi.