Palazzo Madama
The ancient core of the palace was carried out by Giovanni de’ Medici, the future Pope Leone X who in 1503 made it build on an ancient block dated back to the thirteenth century ; further extension works were made in 1512. In 1533, it passed to “madame” Margherita d’Austria, natural daughter of Charles V of Habsburg and wife of Alessandro de’Medici who gave to the palace the name which is nowadays well-known. The present look of the building is due to the modifications works carried out by Paolo Marucelli, on Cigoli’s project between 1637 and 1642. Other transformation occurred under Benedetto XIV who, in 1755, acquired it from the Lorena’s, assigning it for seat of the governor and in 1853, under the pontificate of Pio IX , when it became the seat of the Ministry of Finance. After 1870 the building has become the seat of the Senate of the Reign so further on it was restored to adequate it to the new function. The façade on Corso Rinascimento presents a portal on overlapped columns by a balcony and a cornice with numerous decorations of playing putti. Inside the Honour Hall there are some frescos by Cesare Maccari (1880). It is remarkable also the library, one of the most important parliamentary library all over the word, rich of over 500.000 volumes.
History of the Palace
Palazzo Madama
‘Palazzo Madama The land on which Palazzo Madama was built (to the left an antique print) was sold in 1478 by the monks of the Imperial Abbey of Farfa to France (who was looking for a place to house the French in Rome and the pilgrims). Part of the land was then sold by France to the bishop Sinulfo of Castell’Ottieri and from the family of these he rented (1503) and then owned by Giovanni dei Medici, future Pope Leo X, in 1505. It was occupied by the vestiges of the Stadium of Domitian and from the remains of the Neronian-Alexandrian Baths, built by Nero between 62 and 64 and restored by Alessandro Severo in 227.
On the latter’s death, in 1521, Palazzo Madama was assigned to his cousin Giulio dei Medici, who had long lived there before ascending to the papal throne as Clemente VII. In 1534 it was inherited by his natural son Alessandro dei Medici. When Alessandro died, in 1537, he was assigned to the wife of Alessandro Margherita of Austria, called the “Madama” (from whom the palace takes its name), Duchess of Parma and Piacenza, who lived there between 1538 and 1559 and between 1567 and 1580. The palace remained with the Medici and the Grand Dukes of Tuscany until the 18th century.
In the seventeenth century, considerable renovations were carried out (the façade was completed in 1642), contemporaneous with the great work of urban planning of Rome conceived by Sixtus V and implemented by Gregorio XV (1621-1623) and by Urbano VIII (1623-1644). At that time Rome had about 120,000 inhabitants. The palace came from the Grand Dukes rented for the most diverse uses. He lived a last period of splendor from 1725 for the period in which Donna Violante of Bavaria, Princess of Tuscany, lived there. At that time, Palazzo Madama was the seat of the Arcadia, the first Italian literary academy of national character.
In 1737, after the death of the Grand Duke Gian Gastone, the Grand Duchy of Tuscany, and with it Palazzo Madama, it passed from the Medici to the Lorena.
In 1755 it was bought by Pope Benedict XIV and became a public palace of the Papal States; among other things, the offices of the Court, the headquarters of the Police and of the Tax authorities were installed. (From the destination of the Palace which seat of Police originates the dialectal term “La madama”, sometimes used in Rome still today to define the police).
Palazzo Madama was the seat of the central office of the Franco-Roman Republic in 1798-99.
Pius IX destined the building as the seat of the Ministry of Finance and Public Debt and it seems that on the external loggia of the building in Piazza Madama the numbers of the Lotto were extracted (starting from 1850) (the extraction up until then had taken place from Palazzo Montecitorio ); since 1851 the Palace was also used as the headquarters of the Papal Post Office.
In February 1871 Palazzo Madama was chosen among some other buildings (Palazzo della Cancelleria, Collegio Romano, Palazzo della Consulta, Palazzo della Sapienza) as the seat of the Senate of the Kingdom.
Cortile d’Onore – Courtyard of Honor
Cortile d’Onore
‘Cortile d’Onore’ – During the renovation of the Palazzo, completed by Paolo Marucelli in the mid-17th century, the original layout was respected; the six columns that compose it constitute in fact a testimony of the building of the times of Leo X.
‘Statue of Greek’ – The statue of Emilio Greco (photo on the right), which is in the center of the courtyard, was placed in 1972. Near the courtyard was the church of San Salvatore in Thermis, from the 6th century, which was first closed and then destroyed between the end of the 1800s and 1907 to allow the completion of the building towards S. Luigi dei Francesi. It had been closed in 1894 because, following a bomb attack on the House, the police believed that the attackers could use it as a “support” for a similar action against the Senate.
‘Courtyard of honor’ – On the left of the porch opens the staircase of Honor. It was rebuilt by Marucelli, at least for a stretch, on the track of that of 1509. The ancient travertine floor was replaced by another in marble.
Sala Maccari
It takes its name from Cesare Maccari (1840-1919), the artist who decorated it after winning a competition announced specifically by the Ministry of Education, in 1880. ‘Fregio di Sala Maccari’ –
The ceiling encloses four medallions with allegorical figures, arranged around a central motif, which symbolizes Italy; in the four medallions trade, agriculture, weapons, sciences, letters and the arts are represented. Along the frieze (photo on the right) a sentence by Guicciardini and one by Machiavelli.
On the walls episodes from the history of the Roman Senate:
‘Appio Claudio conducted in the Senate’- on the right, Appio Claudio the Censor (photo on the left) while being led to the Senate to urge the Romans not to accept the humiliating conditions of peace imposed by Cinea, Pirro’s ambassador ; on the opposite wall, between the windows, are described the episodes of Marco Papirio, remained motionless on his bench in front of the invasion of the Gauls and that of the Samnites who try to corrupt Curio Dentato because he convinces the Senate to make peace; ‘Cicerone e Catilina’ – On the other short side, is the fresco that represents Cicero (photo on the right) while pronouncing his indictment against Catiline, who listens, isolated, from his seat; ‘Departure of Attilio Regolo’ – finally, the time of the departure from Rome of Attilio Regolo (photo on the left), captured by the Carthaginians in the battle of Tunis and sent home by parliament, on the promise is described to hold himself prisoner.
Buvette
Buvette
‘Buvette’ – Spacious Marucelliana room, with vaulted figures and friezes in light stucco, executed in 1931; on the wall facing the bar counter (on which is a statuette / fountain by Vincenzo Gemito, 1852-1929) there is a beautiful Medici tapestry from the XVII century, with a large coat of arms and large borders, from the Uffizi in Florence.
The oil on the wall, of mythological subject, is by Biagio Falcieri (1628-1703).
Sala Garibaldi o Salone dei Re
Vasto representative room, result of the demolition of a partition wall in 1904 (the wall was on the thread of the second window counting from the Mazzini Room). The coffered ceiling is modern; the motifs of the fresco in the seventeenth-century fresco, do not follow each other in a unified manner, being originally intended for two distinct rooms and belonging, as it would seem from some details, to two different hands. In the part towards the buvette, putti and lions predominate; in the other, female figures. Both are arranged around some historical frescoes, which once were eight and are now six, because the two that were on the sides of the dividing wall were removed and placed in the Cavour Room.
‘Torre dei Crescenzi’ – From one of the windows of the Hall you can see the tower of the Crescenzi (photo on the right), a typical fortress construction of the XII century, which remained included among the following constructions. The tower looks at the courtyard, said of the cardinal Giovanni or della palma, from which at the time of Giovanni dei Medici (as was the period costume) building marbles were extracted, and it seems that the chimney of the buvette was obtained from one of the blocks in which was reduced to the fountain – later rebuilt – which is today in Largo della Costituente.
Sala De Nicola
Sala De Nicola
The ceiling (photo on the left) is from the seventeenth century and full of ornaments. The frieze stories, which are not very legible, are monochrome and recur at the center of each wall within a continuous motif of ornamental cherubs.
The bust of Enrico de Nicola is by the sculptor Emilio Greco. On the walls, two views of the Forums by Giovanni Paolo Pannini (1691-1765).
Sala Mazzini
Unlike the others, it does not have the usual frieze. On the other hand, it has a beautiful coffered ceiling (photo on the right) from the 16th century with painted and gilded stuccos, to be considered the most evocative of the whole Palace. ‘Ceiling of Sala Mazzini’ – At the center stands an ostrich that some suppose chosen in memory of the house of origin of Margherita, according to the quarrel of the words Autriche (Austria) and autruche (struzzo). Others are convinced that they resorted to ostrich because, in the history of heraldry, it stands as a symbol of speed and precedence, or as a symbol of firmness, of strength, or even as a symbol of gutted love and would have been hired for the occasion an emblem of a character from the Medici family, who was not, however, a pope or a cardinal because of the crown on the animal’s head.
Biblioteca
Biblioteca – Sala rossa
His birth certificate dates back to the first regulation of the Senate, approved on 8 May 1848; at the end of the first world war, the book consistency was of two hundred thousand volumes; today it is over five hundred thousand.
Specializing in law, history, political and social sciences, the library is known for its collection of statutes of Italian municipalities, arts and crafts corporations and other locally relevant institutions (such as universities and hospitals) from the Middle Ages to the late 18th century century.
These are manuscripts, incunabula (ie books printed in the fifteenth century), ancient editions, modern critical editions. 15th century Statute – Expression and symbol of municipal autonomy, the statute includes the rules of public, private and criminal law valid within the territory. The copies possessed by the library are in many cases the only surviving copy of normative texts which for centuries have governed public life and the private relationships of numerous and important Italian cities and communities. The formal characteristics of these specimens are often very valuable for the ornamentation and the material invoice of the writing or printing characters, as evidenced by the illustrations combined with this brochure.
When Palazzo Madama became the seat of the Senate, the Library found a provisional arrangement in the existing premises, until the construction of a new building was provided. The assignment was entrusted to Ing. Gaetano Koch. The work was completed in 1888, but the arrangement and furnishing lasted until 1898. ‘Library’ – In 1926, following the demolition of part of the Palazzo del Senato, foreseen by the Town Plan on the Via della Old Customs, where the Library occupied 8 rooms, a reconstruction of the rooms intended for it was provided. At the end, it resulted in an imposing complex spread over 8 floors, including, in addition to the warehouses, the rooms for the management, offices and reading.
Sala della firma
The coffered ceiling (photo on the right), decorated in gold, is from the seventeenth century, as well as the frieze, with cherubs, fruits, shoots, flowers and medallions of historical content. ‘Ceiling of the Signature Room’ – On the walls are three tapestries from the Medici collection, depicting the story of Tobi and his son Tobia.
In this room the senators affix their signature on special sheets, as an act of presence.
Sala prospiciente la Sala della Firma (Room facing the Sala della Firma)
The busts of Marconi and Canonica are placed, the frieze is probably the work of Giovanni Antonio Celli. The ceiling of the hall, in gilded wood with beams and compartments, is from the seventeenth century, superimposed on another, still in wood, from the end of the fifteenth century, which would suggest that the ceiling and frieze were installed around the same time. The oil, of mythological subject, depicts Zeusi (painter of ancient Greece, who lived between the end of the 5th and the beginning of the 4th century BC) who chooses the most beautiful parts of some girls to paint the ideal beauty.
Anticamera della balaustra
‘Ceiling of the balustrade antechamber’ – 600 gilded wooden ceiling (photo on the left); the frieze is also from the seventeenth century and has remarkable affinities with that of the Sala facing the Sala della firma. On the walls, a 17th century tapestry depicting the appearance of Jesus to the pilgrims of Emmaus.
Sala dei postergali
It occupies a part of the area where the church of San Salvatore in Thermis stood. The walls are covered at the bottom by the postergals of a walnut choir (from the 17th century), coming from the Seminary of Ancona: in the center is the large lectern. The exhibitions of the doors, in ancient brecciated marble, belong to some rooms of Palazzo Giustiniani; the circular wrought iron lamp by prof. Alberto Gerardi, has no welding points.
Sala Cavour
‘Sala Cavour’ – It houses the two friezes of the dividing wall of the Hall of the Kings, “completed” by recognizable twentieth-century retouches.
‘Ceiling of Sala Cavour’ – The ceiling (photo on the right), built with systems and on the type of the ancient coffered ceilings, has in the center oval a Bacchus and Arianna by Giambattista Pittoni (1687-1767).
It is available to members of the Government during the sessions and – sometimes – the Council of Ministers takes place.
Scala di San Luigi dei Francesi (Staircase of San Luigi dei Francesi)
‘Scala di S.Luigi dei Francesi’ – The wooden ceiling (photo on the right) is the one located in the room behind the Antechamber and was placed on the staircase during the works of ’31.
‘Ceiling of the Staircase of St. Louis of the French’ – Massif and large compartments, certainly dates back to the XVI century.
The Medici coat of arms is in the center and dominates the pattern of decorative motifs, where mermaids and tritons inspired by the theme of the battle of the marine gods recur. The dark background gives brilliance and consistency to the well-made golden carvings, accentuating the relief.
Sala Pannini
Sala Pannini
‘Sala Pannini’ – It was already built when the opportunity to recover a fresco by Pannini (1691-1765), made in 1725/26, located in Palazzo Bacchettoni al Tritone, destined to be demolished according to the Plan, was presented. Regulator of 1926. The room in which the fresco was located was lower and longer than that of Palazzo Madama, so it was necessary to reduce the length of the painting and to add a tempera plinth in the lower part.
‘Pannini Room Ceiling’ – In the central part of the ceiling (photo on the right) the chariot of the sun is represented among dense festoons of clouds: from here fantastic architectures branch out, aerial perspectives, allegorical figures, putti, amphorae and flower wreaths. In the walls rebuilt, the cuts and retouches were performed by prof. Giovanni Costantini. The Senate Presidency Council and the Conference of Presidents of Parliamentary Groups meet in the Hall.
Classroom (Aula)
The space of the courtyard of the old Papal Post Office is on the horizon. The project is due to Luigi Gabet.
‘Presidency and tribunals of the Chamber’ – Around the 1930s the tribunes of the Deputies and the Diplomatic Corps were replaced, supported by scaffolding resting on the floor, with cantilever stands placed higher up.
Other modifications were made in the middle corridor so as to increase the number of seats
The current appearance is not substantially different from the original one both in the structures and in the decoration.
‘Ceiling of the Hall’ – The ceiling (photo on the left) is the work of non-famous authors (Fumanti, Nava, Bruschi, Mei, Barili and Gai). They include symbolically represented the Fortress, Justice, Concord and Law.
Gallery of the Hero (Galleria dell’Eroe)
Soffitto della Galleria dell’Eroe
‘Ceiling of the Hero’s Gallery’ – Of the two galleries around the Chamber, the most important is that of the Hero, named after the fresco that decorates the ceiling, work of the Roman painter Lodovico Giminiani (1643-1697) ; the fresco was in a corridor of the demolished Palazzo Carpegna and probably represents the glorification of the mythical ancestor of the family. In fact, in the central panel, “the Hero, presented by Hercules, obtains from Jupiter, who has Mars and Venus near him, a solemn attestation of recognition of his excellent works: the trumpets of fame announce his glory”. The pagan fresco theme represents a rarity for the historical period in which it was painted. The other gallery does not have any particular architectural or decorative features: there are some borders of tapestries from the 16th century, finely worked, with grotesques and Medici coats of arms.
Tub on Largo della Costituente (Vasca su Largo della Costituente)
‘Bath on Largo della Costituente’ – In the course of the excavations carried out between Palazzo Madama and Palazzo Carpegna for the construction of the new unified technological plants, in 1980, archaeological finds attesting the presence were discovered – moreover already known from historical sources – of a Roman spa complex. In this context, fragments of a large Egyptian granite basin of exquisite workmanship were found. The pool – originally an extraordinary monolith of Assuan granite comparable to a few existing examples in Rome and Italy both in size and refinement of the shape – belonged to the vestiges of the complex of the Neronian-Alexandrian baths. To get an idea of the difficulties encountered in the restoration operation, we can remember that the pool was fragmented into seven pieces, some of which weighing several tons and that their union required the use of special steel pins and of synthetic resins according to a procedure previously studied and tested at the materials testing laboratory of the Faculty of Engineering of the University of Rome. From the “forma urbis” delineated by Rodolfo Lanciani in the 16th century, four granite basins are present in the area (one of them should still be under Palazzo Cenci in S. Eustachio; apparently it was not recovered when the palace was built because it was too heavy and far below street level). The basin on Largo della Costituente would be the northernmost of the four, aligned with that of Palazzo Cenci, and was located in the garden area where Cardinal Giovanni dei Medici, later Pope Leo X, owner of the building from 1505, had arranged the pieces of his antiquity collection. A plaque commemorates its arrangement on the last stretch of Via degli Staderari on the 40th anniversary of the Constitution.
Contact And Location
Address: Piazza Madama 11
Phone: 0039 – 06 67061 / 67062430
Web site:
http://www.senato.it/visita/tour/home.htm
