(Photo: Klaus Heese)
In my September 7 personal post (Rome’s Ostia Antica—For Travelers Who Like to Stray from the Typical Track) I promised to share my impressions of the Museo Ostiense.
Tucked away in the almost overwhelming space of Ostia Antica, it is a jewel of a museum. It is briefly described at the Ostia Antica site:
The Ostiense Museum is housed on the ground floor of a building dating back to the 15th century, known as “Casone del Sale” (Big House of Salt), as it is linked to the exploitation of the nearby salt marshes by the papal government. The building features a neoclassical façade. During the sixties of the 19th century this structure was adapted by Pius IX to become a museum. Today it serves as a museum and an office space from where the excavation works are directed.
|A classical statue just before the
entrance to the Museo Ostiense
Any visitor to Ostia Antica will want to set aside some time to visit the museum. It isn’t large, although the collections, made up of a wide range of classical sculpture and mosaics gathered from Ostia Antica during the many years of the site’s excavation, are impressive. It’s my guess that classical scholars are much rewarded by perusing the many items collected here. And an eye-opening digital visit is available at the museum’s virtual tour.
Of course I enjoyed all the classical sculpture displayed throughout the museum (and there are a few examples outdoors, like this typical statue just to the left of the door as you enter the building). I was particularly taken with two sarcophagi, one a beautiful depiction of children playing, carved on what was obviously a child’s sarcophagus. The other one also pleased me very much, a family scene again and I surmise, because of the size, for a child.Other child-related sculptures I liked were the boy slaying the cow (his knife lost over the years) and (who could resist?) the delicate depiction of Cupid & Psyche, kissing ever so sweetly. Naturally I enjoyed the classical heroes, and specially liked being able to see the juxtaposition of the Cupid & Psyche quietly resting behind a magnificent statue of Perseus (which I had to photograph twice because it was just so splendid!).
One innovation I enjoyed was the arrangement of two herms, no longer perched on their pedestals but artfully set up at the base of a doorframe. Very clever.
|Photo: Paul Adams
If you view my photos, you’ll be a little distracted by the first three photographs, showing examples of the work of Giacomo Manzù (1908-1991). The second and third photographs (the two children and the female bronze) are part of a temporary exhibition (until November 2015, I believe). I found out more about Manzù in the Art Directory and was pleased to learn about this important 20th-century sculptor of religious statuary. I had not encountered his work before.
Among Manzù’s many successes were his teaching at the International Summer Academy in Salzburg from 1954 to 1966. And at Salzburg he was commissioned to design the main portal of the Salzburg Cathedral in 1955. Shortly thereafter Pope John 23rd asked him to make the “Portal of Death” for St. Peter’s Basilica. Also known as the “Door of the Dead” (“Porte della Morte”) it is the southern door of the five portals from the narthex to the interior of the basilica, and it includes in one panel a portrait of John 23rd kneeling before the crucified figure of St. Peter.
In my photographs, the final of the three pictures of Manzù’s work is of a bronze statue of his wife Inge. The “other side”—we might say—of the work of “Bergamo’s Master”(as he is designated in the museum’s notes) was the series of sculptures and drawings in which the figures, predominantly female, “are investigated (invested?) with meticulous passion.” Along with the “Porte della Morte” these works are described in the Museo Ostiense’s current exhibition notes as “masterpieces of plastic art in the 20th century.”
Apparently Manzù’s fame grew over the years, so much so that, at Ostia Antica, almost at the entrance to the grounds, there is a splendid Manzù sculpture—Grande Cardinale seduto (Grand Cardinal seated)—greeting every visitor, and, as best I can tell, installed permanently on the grounds. I can’t pull up the connection between Manzù and the historical site, but I suppose the site’s managers have a reason. The first photograph in my little collection shows that outdoor sculpture.
Go here to view the “official” link to the Museo Ostiense.