Rome’s Jewish quarter is a thriving and busy precinct within the centro storico. It is both a cultural and culinary attraction, with Jewish bakeries, delis and trattorie lining the busy streets, as well as synagogues, the Jewish Museum and other important historical markers. These days the area has become a little too popular: spruikers now work the narrow lanes with their menus and intrusive spiel while locals and tourists form long queues at bakeries and delis. The precinct is best accessed via the bridge, Ponte Garibaldi, over the river Tevere ( Tiber) from the inner suburban district of Trastevere. A good time to visit would be early morning on a weekday.
The Roman Jewish Ghetto was established as a result of the Papal Bull by Pope Paul 1V in 1555 which required the Jews of Rome, who had lived as a community since pre- Christian times, to live in the ghetto. The area became a walled quarter with its gates locked at night.
The papal bull also revoked all the rights of the Jewish community and imposed a variety of new restrictions such as prohibition on property ownership and practicing medicine on Christians as well as compulsory Catholic sermons on the Jewish Sabbath.
In common with many other Italian ghettos, the Roman ghetto was originally referred to in documents as serraglio degli Ebrei or claustro degli Ebrei, both meaning “enclosure of the Hebrews”. Various forms of the word ghetto came into use in the late 16th century, most likely via Venice.
It is thought that the word ‘ghetto’ is based on the Venetian word, getto, meaning foundry, given the first Jewish quarter was located near a foundry in Venice in 1516. Another interpretation is that the word derived from the Italian word borghetto, the diminutive of borgo meaning ‘borough’. There are other theories about the etymology of this word, but the first seems most likely.
More information about the Jewish-Roman community throughout history may be found here.
This is an edited version from my archives, January 2018, based on my last visit to Rome. Will I ever return? Things will be rather quiet in Rome now. In 2018, 61.6 million tourists visited Italy. It’s hard to imagine how devastating that will be for the Italian economy this year and into the future.
Rome’s Jewish quarter is a thriving and busy precinct within the centro storico. It is both a cultural and culinary attraction, with Jewish bakeries, delis and trattorie lining the busy streets. These days, the area has become a little too popular as spruikers work the narrow lanes with their menus and intrusive spiel and locals and tourists form long queues at bakeries and delis. Long gone is that quaint district of old. A good time to visit would be on a weekday morning.
The Jewish quarter is a small, distinct precinct in the centre of Rome and is best accessed via the bridge over the Tevere from Trastevere. The Roman Ghetto was established as a result of a Papal Bull by Pope Paul 1V in 1555. The bull also required the Jews of Rome, who had lived as a community since pre- Christian times, to live in the ghetto. The ghetto was a walled quarter with its gates locked at night.
The papal bull also revoked all the rights of the Jewish community and imposed a variety of new restrictions such as prohibition on property ownership and practising medicine on Christians and compulsory Catholic sermons on the Jewish Sabbath.
In common with many other Italian ghettoes, the ghetto of Rome was not initially so called, but was variously referred to in documents as serraglio degli Ebrei or claustro degli Ebrei, both meaning “enclosure of the Hebrews”. Various forms of the word ghetto came into use in the late 16th century.
The word ‘ghetto’ is based on the Italian word for foundry getto, (because the first ghetto was established in 1516 on the site of a foundry in Venice), or from Italian borghetto, diminutive of borgo meaning ‘borough’.
There’s something very captivating about Trastevere, despite the busy night time crowds and touristy restaurants. It’s just a hop over a bridge to Centro Storico, Rome’s ancient centre, and depending on which bridge you take, you’ll land in a different precinct. Getting lost is part of a good day in Rome as you find new streets and more colours until once again, a familiar piazza or ancient Roman building pops up before your very eyes and you know where you are. Rome is always surprising.
One bridge takes you to the Jewish quarter, a great place to wander about on a weekday morning but avoid the weekends when this district is swamped with lunchtime crowds and restaurant spruikers.
Another bridge takes you to the working class, gritty suburb of Testaccio, with its central food market and authentic Roman trattorie. You’ll pass yet more ancient Roman treasures along the way, some just lying about, and wonder why you hadn’t seen them before. There’s a certain insouciance in Rome when it comes to antiquity and this is part of the charm.
Other bridges lead you through some official districts until you wander past Palazzo Farnese and find yourself in Campo Dei Fiori and nearby Piazza del Biscione, with its old style restaurants, another market and a superb fornaio ( bakery) on the corner.
The walls seem to glow in Rome’s cold late Autumn light, an attraction in themselves. Layers of ochre, pinks and reds, some colours when weathered, have no name at all. They are the colours washed by time, the colours that make you keep wandering and wondering, the colours of Rome.
This summer throughout January, I’m catching up with some of my unpublished stories from earlier travels in Europe in 2017. Some posts will be light-hearted, centered around food and accommodation, ‘the best of’ reports, while others are research based essays. It will be rewarding to polish them up and give them a final airing. Of course there will be a few cooking posts along the way too.
I’ve been thinking a lot about Agostino Chigi lately, and wondering why there’s not a great deal written about him. Given that he commissioned one of the most elegant and beautiful buildings of the Renaissance, Villa Farnesina in Trastevere, Rome, and was a generous patron of the arts, I find this quite unusual.
Agostino Chigi, (pronounced kee-gee) was a 15th to 16th century banker who was born in Siena then moved to Rome to assist his father, Mariano Chigi in 1487. He became the wealthiest man in Rome, especially after becoming banker to the Borgia family, in particular Pope Alexander V, followed by Pope Julius 11. If there’s one thing that helps a banker stay at the top, it’s having business dealings in Rome and becoming the Pope’s treasurer. The Florentine Medici, Giovanni di Bicci and Cosimo de’ Medici, also milked their Roman and Papal connections in the preceding years. Chigi’s financial interests expanded to obtaining lucrative control of important minerals, including the salt monopoly of the Papal States and Naples and the alum monopoly in Southern Italy. Alum was the essential mordant in the textile industry. With financial and mining interests, like a modern-day crony capitalist and entrepreneur, Chigi was ready to splurge.
The connection between the arts and banking makes an interesting Renaissance study in itself ¹. Banking families were keen patrons of the arts, not only in a bid to show off their taste and refinement, but also to cast off the slur of usury. Usury, making profit from charging interest on a loan, was a crime in 15th century Europe: a usurer was heading straight to hell, according to the main religious thinking of the day, unless he made a few corrections to that practice, through intricate bills of credit requiring lengthy international currency exchange deals. Banker patrons, worried about their afterlife, could buy a place in heaven by financing religious works -perhaps a marble tomb for a Pope, or some fine brass relief doors for a baptistry, or a few walls of religious themed freschi demonstrating their piety and devotion by appearing as genuflecting bystanders in a painting or two.
Chigi, like other bankers before him, was keen to spend time with the literati and patronised the main artistic figures of the early 16th century, including Perugino, Sebastiano del Piombo, Giovanni da Udine, Giulio Romano, Il Sodoma and Raffaele. These artists, and the architect Baldassare Peruzzi, all had a hand in making Villa Farnesina so attractive and harmonious. But the main feature you’ll notice in the painted works is its secularity: no religious themes appear in the decoration at all. Thus somewhere between the mid 15th century and 1508, when this building was commissioned and begun, the subject of the visual arts had shifted. Here, the freschi depict classical and historic themes: there’s not a Madonna or baby Jesus in sight except for those cheeky putti holding up garlands. I doubt that Agostino Chigi was overly concerned with the sin of usury. Times had changed.
The ground floor room, the stunning Loggia di Psiche e Amore, was designed by Raffaele, though was mostly executed by one of his followers Giulio Romano, and seems heavier in style. It’s not the best secular work by Raffaele: his most graceful works are held in the quiet gallery of Gemäldegalerie, in Berlin, Germany ( more on this gallery later). The decorative garlands and festoons are by Giovanni da Udine, and although hard to get close to, draped as they are on high ceilings and around tall window sills and pillars, they steal the show.
Sensuous and erotic, the total effect of the Loggia is complete in its aim and purpose. This is a pleasure palace, a space decorated with pagan themes of love and seduction from classical mythology, designed to amuse Chigi’s guests. The modern addition of a walled glass fronting the garden allows more light to shine on the rich colours and detail. It is delightful.
Upstairs in a smallish room, the wall panels by Il Sodoma, ( catchy nick name for the artist, Giovanni Antonio Bazzi , no two guesses why), depict scenes from the marriage of Roxana and Alexander. In such a small space, the painted walls are ceilings are visually overwhelming.
At the end of the 16th century, Villa Farnesina was bought by Cardinal Alessandro Farnese ( of course a Cardinal needs an erotically decorated villa) and its name “Farnesina” was given to distinguish it from the Cardinal’s much larger Palazzo Farnese on the other side of the Tevere. Today the Villa is the centre for the AccademiaNazionale dei Lincei, the Italian Science Academy and the rooms are open to visitors. Palazzo Farnese, across the river, is occupied by the French Consulate and is not open to the public.
These small decorative motifs on window shutters and in cornices add to the overall aesthetic of the villa.
Some useful accompanying notes.
Giorgio Vasari, (1511-1574) author of Lives of the Most Excellent Painters, Sculptors andArchitects, often simply called Vasari’s ‘Lives’, was the first art historian and the first to use the term rinascita ( Renaissance) in print, though an awareness of the ongoing “rebirth” in the arts had been in the air since the writings of the Florentine Humanist, Alberti, almost a century earlier. He was responsible for the use of the term Gothic Art, and used the word Goth which he associated with the “barbaric” German style. His work has a consistent bias in favour of Florentines and tends to attribute to them all the developments in Renaissance art. Vasari has influenced many art historians since then, and to this day, many travellers to Italy are blinded by Vasari’s Florentine list and bias, at the expense of other important works in Milano and Rome. Vasari, however, does recognise the works in the Farnesina.
¹ The nexus between banking and art patronage is fully explored by Tim Parks in Medici Money. Banking, Metaphysics and Art in Fifteenth- Century Florence,one of my favourite books. I am now re- reading this excellent history: it is written in an accessible style and makes for enjoyable summer reading, for those who like reading about the Renaissance.
² Various papers on the festoons and garlands in the Villa Farnesina in Colours of Prosperity Fruits from the Old and New world, produced by the Accademia Nazionale dei Lincei and purchased at Villa Farnesina in Rome.
Villa Farnesina is in the quiet part of Trastevere, well away from the tourist hordes in that precinct, and during our visit last November, had only a few visitors. Sadly the garden wasn’t open.
My Zucchini Festival continues today with another good zucchini pasta recipe ( see below) and a look at the seeds which produce this fecund vegetable. This year I planted two varieties of zucchini in my orto. The first to go in were the Black Jack variety, purchased as seedlings from a country market. They are the most common variety of zucchini grown in Australia, with vigorous, fast growing plants, high yields, and smooth dark green skin. Unfortunately for seed savers, they are also hybrids. The other variety, the Zucchino Striato d’Italia, or Italian striped zucchini, is easily grown from seed, and whilst not so prolific, which could be a good thing, they are definitely superior in taste and texture. An heirloom variety, this means you can save the seed for future plantings, a routine worth following when growing your own vegetables. The flavour is reminiscent of the zucchini grigliati we ate in the small trattorie in Trastevere, Roma. The other variety I’ve planted in the past is the yellow zucchini- a poor performer both in taste, yield and keeping quality, despite the lovely colour.
Today’s simple pasta dish marries Mafaldine pasta with small cubes of zucchini, saffron and cream. Mafaldine pasta is ribbon shaped pasta with curly edges and is also known as Reginette. The photos don’t do justice to the creaminess of this dish.
Mafaldine con Zucchini, Panna e Zafferano . Mafaldine Pasta with Zucchini, Cream and Saffron (for 2 medium serves)
180g mafaldine or other long ribbon egg pasta
2 small zucchini, cut into small cubes
1/2 small white onion, finely chopped
2 cloves garlic, finely chopped
2 Tablespoons olive oil
pinch dried chilli
generous pinch of saffron threads
1 cup cream
Bring ample salted water to the boil in a large pot.
Heat a large wide frying pan or non stick wok for the sauce. Add 2 tablespoons olive oil then the chopped onion and garlic. When softened, add the cubes of zucchini, some salt, and a pinch of dried chilli. Stir about and cook on low heat for around 20 minutes.
Add the Mafaldine ( or chosen pasta) to the boiling water and cook for the required time.
Use a little of the cooking water and add to the saffron to soften, then add this to the zucchini mixture. Add a cup of cream and raise the heat so that the cream thickens. Add more cream if necessary.
When the pasta is ready, drain and add to the zucchini cream sauce in the pan. Toss about. Save a little pasta cooking liquid to loosen the sauce, if necessary.
Serve with ample grated parmigiano cheese.
I enjoyed this dish on this cooler summer day. It will be included in my annual Zucchini Festival repertoire. It cost tuppence to make, allowing the splurge on a pinch or two of precious saffron pistils and a nice chunk of Reggiano Parmigiano cheese to serve.
Good Italian Parmigiana and my favourite tool, the microplane.