[See § 2, Of Porphyry, ante, p. [26].]
Porphyry, which is mineralogically described as consisting of crystals of plagioclase felspar in a purple felspathic paste, is a very hard stone of beautiful colour susceptible of a high polish. ‘No material,’ it has been said, ‘can approach it, either in colour, fineness of grain, hardness or toughness. When used alone its colour is always grand; and in combination with any other coloured material, although displaying its nature conspicuously, it is always harmonious’ (Transactions, Royal Institute of British Architects, 1887, p. 48). Though obtained, as Vasari knew, from Egypt, it was not known to the dynastic Egyptians, but was exploited with avidity by the Romans of the later imperial period. The earliest mention of it seems to be in Pliny, Hist. Nat., XXXVI, 11, under the name ‘porphyrites’ and statues in the material were according to this author sent for the first time to Rome from Egypt in the reign of Claudius. The new material was however not approved of, and for some time was by no means in fashion. It was not indeed till the age of the Antonines that as Helbig remarks ‘the preference for costly and rare varieties of stone, without reference to their adaptability for sculpture, began to spread.’ After this epoch, the taste for porphyry and other such strongly marked or else intractable materials grew till it became a passion, and the Byzantine emperors carried on the tradition of its use inherited by them from the later days of paganism. The material was quarried in the mountains known as Djebel Duchan near the coast of the Red Sea, almost opposite the southern point of the peninsula of Sinai, and the Romans carried the blocks a distance of nearly 100 miles to Koptos on the Nile whence they were transported down stream to Alexandria, where Mr Brindley thinks there would be reserve dépôts where lapidaries and artists resided, a source of supply for the large quantities used by Constantine. The same authority estimates that there must be about 300 monolith porphyry pillars still extant in Europe, the finest being the eight great columns under the side apses in S. Sophia, Constantinople. The most important of all porphyry monuments is the column, 100 feet high, which Constantine erected at Constantinople where it still stands though somewhat mutilated and damaged by fire. It consisted in nine cylindrical drums each 11 feet long and 11 feet in diameter.
The quarries, as Vasari later on remarks, were in his time not known, and seem never to have been worked since the time of the Romans. The site of them was visited by Sir Gardner Wilkinson in 1823, and they were rediscovered by Mr Brindley in 1887. If they are again to be worked, the material will now be transferred to the Red Sea coast, distant only about 20 miles. Mr Brindley’s account of his expedition, with notes on the material, is contained in the Transactions of the Royal Institute of British Architects for 1888.
THE SASSI, DELLA VALLE, AND OTHER COLLECTIONS OF ANTIQUES OF THE EARLY PART OF THE SIXTEENTH CENTURY.
[See §§ 2, 32, ante, pp. [28], [93].]
In chapters I and VI of the ‘Introduction’ to Architecture Vasari refers to the ‘casa di Egizio e di Fabio Sasso’ and the ‘casa di messer Egidio e Fabio Sasso’ ‘in Parione.’ Parione is that one of the 14 wards or ‘rioni’ of Rome that lies to the south of the Piazza Navona, and according to Gregorovius (Geschichte der Stadt Rom im Mittelalter, Stutt., 1886, etc., III, 537) the name is connected with the Latin ‘parietes,’ ‘walls,’ and was derived from the ruins of the Theatre of Pompeius, that bulked largely within its borders. There is now a ‘Via Parione’ to the west of the Piazza Navona, but older plans of near Vasari’s time show that the name was then applied to the more important thoroughfare south of the piazza, which is now called ‘Via del Governo Vecchio.’ The truth is that the present Via Parione should be called, as marked on older maps, ‘Via di S. Tommaso in Parione,’ beside which church it runs, and should not have been allowed to usurp the old historical name.
Among the families noted by Gregorovius as inhabiting this region were the Sassi, who, he says (VII, 708), possessed there ‘a great palace with many antiques.’ A notice of the Sassi, in the Archivio della R. Società Romana di Storia Patria, Roma, vol. XX, p. 479, tells us that they were among the most illustrious families of the ‘rione.’ In 1157 one Giovanni Sassi was a senator of Rome, and the family was especially flourishing in the fifteenth century, but later on declined. Branches of the Sassi stock still exist. When Vasari was in Rome in the service of the Cardinal Ippolito de’ Medici, about 1530, one branch at any rate of the family was represented by a certain Fabio Sasso and his brother, whom Vasari calls ‘Egidius’ but who appears in a document quoted by Lanciani (Storia degli Scavi di Roma, Roma, 1902, I, 177) as ‘Decidius,’ who possessed the family palace with its antiques, situated a little west of S. Tommaso in Parione. When Michaelis wrote the paper presently to be noticed, the exact situation of the palace was not identified, but the Conte Gnoli, the learned and courteous director of the Biblioteca Vittorio Emanuele, has pointed out the remains of the Sassi habitation at No. 48 in the present Via del Governo Vecchio, where an early Renaissance doorway bears above it the cognizance of the family, and below on one jamb the syllable ‘Dom’ and on the other ‘Sax’ (Domus Saxorum). The house in general, which is claimed by legend as the residence of Raphael’s Fornarina, has been reconstructed. The plan, Fig. 8, is taken from a large map of Rome dating 1748 and shows this particularly interesting portion of the city as it was before recent changes. The line of the present Corso Vittorio Emanuele is shown by dotted strokes.
By the middle of the sixteenth century the family fortunes had declined, and in his will made in 1556 Fabio records that he had let all his three houses in Parione. This may account for the fact that no Palazzo Sassi occurs in the lists of Roman palaces of the seventeenth century. Furthermore, in 1546 the two brothers effected a sale of their antiques to the Duke Ottavio Farnese, who transferred them to the then newly erected Farnese palace. See text of Vasari, ante p. [28], and Lanciani, l.c.
When Vasari first knew the Sassi collection it was one of the best in Rome, and Michaelis (Jahrbuch d. deutschen Archeologischen Instituts, 1891, p. 170) quotes two writers of the early part of the century who praise it. Moreover there exists a contemporary drawing of the antiques and the court in which they were kept, that Michaelis (l.c.) has published. The early notices just referred to, and the notes of Aldovrandi (Mauro, Le Antichità della Città di Roma, Venet. 1556, p. 147) who saw the works in the Farnese collection in 1550, give prominence to the two pieces that are specially mentioned by Vasari. The ‘figura a sedere di braccia tre e mezzo’ in porphyry (ante, p. [28]) is described by Aldovrandi (p. 147) as ‘un bellissimo simulacro di una Roma trionfante assisa,’ partly in porphyry and partly in bronze, and as having been formerly in the house of Messer Fabio Sasso. The statue has passed with the Farnese antiques to Naples, where it was numbered when Michaelis wrote, 212 b. It is now recognized as not a ‘Rome’ but a seated Apollo fully draped, and is numbered 6281.
The other one of the Sassi antiques mentioned by Vasari is referred to in the text § 7, ante, p. [42], as ‘una figura in Parione d’ uno ermafrodito’ in the stone called ‘paragone’ or ‘touchstone.’ This is also praised by the earlier writers, and is seen in the drawing which Michaelis has published. Aldovrandi calls it (p. 152) ‘uno Hermafrodito di paragone, maggiore del naturale’ and notes its provenance. It is the ‘Apollo’ at Naples, No. 6262, and Michaelis gives the material as basalt. It is noticed by Winckelmann as an Apollo.