The Exuberance of the Neo-Rococo Style
The rooms in the Quirinale Palace's east wing preserve traces of the Princess Margherita's taste for the rococo style, which is highly visible in the Tapestries Room
View of the Hall of the TapestriesQuirinale Palace
Today, the Tapestries Room presents the setting of the Savoy regime, established in 1877 by Ignazio Perricci, who was tasked with redesigning the property in an exuberant rococo style.
In fact, the altered needs of the Savoy family involved the transformation of the solemn papal rooms into sumptuous spaces suitable for receptions and balls.
Tap to explore
The walls of the room were completely lined with a dazzling decorative covering consisting of gilded wood and mirrors.
Gold cornices were installed and the extraordinary 18th-century tapestries, after which the room is named, were attached to them.
Sofa with tapestry upholstery by Turin furniture makers CheloniQuirinale Palace
The Mythological Scenes on the Tapestries
The four beautiful sections of fabric were woven in the Beauvais manufactory and feature the designs of François Boucher, the best exponent of court culture at the time of Louis XV.
They present lovely mythological scene and belong to two different series.
Bacchus and Ariadne (1750/1752) by Beauvais manufacture, directed by Jean-Baptiste Oudry and Nicolas Besnier - models by François BoucherQuirinale Palace
The first one is part of the series entitled Loves of the Gods, which was woven between 1750 and 1752 and commissioned by Philip of Bourbon.
The tapestry illustrates the story of Arianna being found by Bacchus, having been abandoned by Theseus on the island of Naxos.
Tapestry from the Psyche Series (1748/1750) by Manufacture of Beauvais, directed by Jean-Baptiste Oudry and Nicolas Besnier, based on models by François BoucherQuirinale Palace
The other three panels are part of the series with the Psyche's Stories, commissioned in 1748 also by Philip of Bourbon and finished around 1750.
The first tapestry shows Psyche who, having attempted to commit suicide after being abandoned by Cupid, is rescued by a shepherd in his village.
Toilet of Psyche (1748/1750) by Beauvais manufacture, directed by Jean-Baptiste Oudry and Nicolas Besnier - models by François BoucherQuirinale Palace
The second tapestry, set in the open air in an elegant garden at court, shows Psyche in her dressing room before meeting Cupid.
In the foreground we can see the treasures found in her palace.
Psyche abandoned by Love (1750) by Manufacture of Beauvais, directed by Jean-Baptiste Oudry and Nicolas Besnier. Models by François BoucherQuirinale Palace
In the third tapestry Psyche, abandoned by Cupid for having disobeyed his orders not to attempt to look at his face, is depicted in a barren landscape.
The young girl watches Cupid as he leaves, being driven across the sky by a cloud.
Love that crowns the three Graces (1876/1877) by Cesare MaccariQuirinale Palace
The Vault
The vault is in keeping with the set-up of the room. In 1877, Cesare Maccari executed an airy and elegant illusionistic decorative work with Cupid who is crowning the three Graces in a vast 'sky'.
The paintings recall the style of Boucher, the painter who inspired the lightweight and sensual themes of the tapestries.
Sofa with tapestry upholstery by Turin furniture makers CheloniQuirinale Palace
The Rococo Style in Furniture
The late 19th-century furniture, including sofas, armchairs, chairs, and stools, was made specifically for this environment and is in perfect harmony with the rococo style of the room.
It is the work of Cheloni, the furniture maker from Turin, and the upholstery of the chair seats is made in tapestry.
The Monogram of Victor Emmanuel II
Taking a good look at the seat backs of the sofas, it is possible to discern the monogram VE from King Victor Emmanuel II positioned in the center.
View of the window in the Hall of the Tapestries by Annibale Durante (attributed)Quirinale Palace
The Pontiff's Maxim
The only dissonant element in terms of the room's features is seen in the frescoes on the splayed windows.
The frescoes, painted in 1610, bearing grotesque elements and depicting the feats of Pope Paul V, are attributed to Annibale Durante, who also created those in the Cuirassiers' Room.
Detail of the grotesque decoration on the window panes in the Hall of the Tapestries by Attributed to Annibale DuranteQuirinale Palace
The papal maxim is repeated in each section, eius qui misit (of him who sent me), along with the image of a mirror that reflects the sun's light on earth.
It refers to the papal mission of diffusing the light of divine grace in the world.
View of the access door to the Chapel of the AnnunciationQuirinale Palace
The Hidden Door between the Mirrors
The Tapestries Room holds a final surprise for the visitor.
At the end of the room, on the left, there is a sliding door which blends in perfectly with the sumptuous decor of mirrors.
The Hall of the TapestriersQuirinale Palace
When opened, it leads to the 17th-century Chapel of the Annunciation, the artistic jewel of the palace, which appears unexpectedly in all its glory.
