Edward Hutton: Rome's Borghese Gallery

Edward Hutton's discussion of the Roman villas and their gardens included a tour of the Borghese Gallery and its wonderful art collection, the highlight of which was Titian's Sacred and Profane Love.***

But if the palaces are, in spite of their size and splendor, a little dull, a little lacking in interest and beauty, so that nowhere in Rome may we find one that moves us as the Palazzo Pubblico in Siena does, or as many of these wonderful buildings on the Grand Canal in Venice contrive to do, it is quite otherwise with the Villas. Rome is unique among the cities of the world in possessing them, and they are unique in their loveliness and charm. They have nothing in common with anything in England, but one might feel something of their charm if Hampton Court Palace with its gardens were suddenly to be found in the midst of London….

The Roman villa garden…has an air of the eighteenth century; it is full of silence. The cypresses are set thickly in a half-circle about a statue, or in long alley-ways that lead to a fountain; vista passes into vista, till you are led to lose yourself in the twilight of the bosco, in the midst of which you find yourself suddenly at the foot of a magical staircase of stone, wide and spacious and beautiful, and passing up it, you come at last to a little summer-house of marble, just above the tree-tops, and there, far below you, is Rome….

But of all these villas with their marvelous gardens which were once the glory of Rome, but few remain. Of these which are still left to us, perhaps the best known are the Villa Pamphili, the Villa Medici, and the Villa Borghese. The first is of an incomparable loveliness, the second of an incomparable mystery, the third is less rare, and of late has become one of the playgrounds of Rome, larger, and more spaciously beautiful but less fashionable than the Pincio. But in truth the Villa Borghese, with its gardens and park, is still one of the most enchanting things in the City… and then it adds to its other delights a treasure of art, a collection of pictures that is the finest in the City after that of the Vatican….

But the real glory of the gallery consists not only, or even chiefly, in the work of Raphael, but in three works by the greatest master of that or any other period, Titian, who is represented by three pictures, the first belonging to his youth, the others to his old age.

The Sacred and Profane Love, painted about 1512 for Niccolo Aurelio, Grand Chancellor of Venice, is the highest achievement of Titian’s art at the end of its Giorgionesque period…. In fact, the name it now bears, which has so puzzled the world, does not occur till the end of the eighteenth century, when it seems to have been given it by the Germans. For us, at least, it can have no authority, the subject of the picture being merely a moment of beauty, --a moment gone, but for Titian’s genius, while we try to apprehend it, in the golden summer heat, under the trees by a fountain of water….

But, after all, what we have come here to see is the Sacred and Profane Love, by Titian, and that will lead us, not from picture to picture in a sudden enthusiasm for painting, but most certainly back again into the gardens, where the world is so sleepily golden in the heat, and the shade so cool and grateful. There we shall linger till, from the far-away city, the Ave Mary rings from all the cupolas, and we must return down the long alleys in the softly fading light, stealing softly, half-reluctantly, out of the world of dreams back into the streets and the ways of man. 

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*** Note: Hutton rejected the accepted title of Titian's painting and saw the subject as "merely a moment of beauty." Almost a hundred years later, I stood in front of the famous painting and had an intuition that the two women were actually Mary Magdalen before and after her conversion. Research confirmed this intuition and my interpretation can be found at academia.edu.



Edward Hutton: Rome, fourth edition, 1922. Pp. 327-335.