Quirinal Palace

Rome, Italy

The Quirinal Palace is one of the three current official residences of the President of the Italian Republic. It is located on the Quirinal Hill, the highest of the seven hills of Rome. It has housed thirty Popes, four Kings of Italy and twelve presidents of the Italian Republic. The palace extends for an area of 110,500 square metres and is the ninth-largest palace in the world. 

The current site of the palace has been in use since Roman times. During the reign of Constantine the last complex of Roman baths was built here. The Quirinal became a popular spot for the Roman patricians, who built their luxurious villas. An example of those are the remains of a villa in the Quirinal gardens, where a mosaic, part of the old floor has been found.

The current palace was built in 1583 by Pope Gregory XIII as a papal summer residence. The pope commissioned the architect Ottaviano Mascherino to build a palace with porticoed parallel wings and an internal court. The project was not fully completed due to the death of the pope in 1585 but it is still recognisable in the north part of the court, especially in the double loggia facade, topped by the panoramic Torre dei venti (tower of the winds) or Torrino. To the latter, a bell tower was added according to a project by Carlo Maderno and Francesco Borromini.

The Palace was also used as the location for papal conclaves in 1823, 1829, 1831, and 1846. It served as a papal residence and housed the central offices responsible for the civil government of the Papal States until 1870 when the Papal States were merged in the united Kingdom of Italy. The palace became the official royal residence of the Kings of Italy. The monarchy was abolished in 1946 and the Palace became the official residence and workplace for the Presidents of the Italian Republic.

The Quirinal Gardens, famous for their privileged position that makes of them almost an 'island' elevated on Rome, were over the centuries changed depending on the tastes and needs of the papal court.

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Details

Founded: 1583
Category: Palaces, manors and town halls in Italy

Rating

4.5/5 (based on Google user reviews)

User Reviews

Darryl Rich (3 years ago)
Also was not able to enter. Seems like a lot of guards (real and ceremonial) guarding the entrances, but the plaza was interesting.
CW Sistimate (3 years ago)
Not able to enter, as the museum seem to be closed temporarily, but to pass by and soak it in during a leasurely stroll is quite worth what really is no extra effort, maybe it is open again when you pass by. . .
Mike Hiwayman (3 years ago)
A large impressive square with palace at one end. We enjoyed the tour of the Palace which is very large, however, be warned that all tours are in Italian, but we were still pleased to have visited it. The Quirinal Palace is one of the three current official residences of the President of the Italian Republic, together with Villa Rosebery in Naples and Tenuta di Castelporziano in Rome. It is located on the Quirinal Hill, the highest of the seven hills of Rome. It has housed thirty Popes, four Kings of Italy and twelve presidents of the Italian Republic. The palace, in its totality, has 1,200 rooms. Probably worth a look if you in the area.
James McFarlane (3 years ago)
I took the guided tour in Italian. You need to book online and pick up the tickets at an office near the Palace. As it's the Presidents residence security is tight and you need to bring your passport. It's definitely worth a look inside the palace and around the gardens.
Francesco Luca Palermo (3 years ago)
Magnificent, guides prepared very good. If you find yourself in the area it is absolutely worth visiting
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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.