Ippolito Caffi (Belluno 1809 - Lissa 1866), The"moccoletti" at the Corso
Festivals and entertainments
In the nineteenth century, as in previous centuries, Roman life was peppered with numerous popular festivals. Most were religious in nature, but the calendar was also marked with secular events during which the Romans abandoned themselves to a fresh and unfettered happiness.
Religious festivals
The most significant traditions connected to religious events were:
At Christmas: the arrival of the pipers from the nearby mountains of Lazio and Abruzzo, who came to play a novena outside the sacred buildings, the adoration of the Christ child at the Ara Coeli church, and the beautiful crèches set up in the city’s churches.
At Epiphany: the market in Piazza S. Eustachio, moved after 1870 to Piazza Navona, where toys, sweets, and figurines for crèches could be bought.
The blessing of the animals on the Esquiline, in front of the church of the Saint, on the 17th January, for the festival of S. Antonio Abate.
The processions for Holy Week, Easter and the Corpus Domini and the festival of Saint John, on the 24th June, together with the celebration of the Saint and the festival for the summer solstice.
But the most talked of and admired event was the festival of Saints Peter and Paul on the 29th June. On this occasion St Peter’s and the Castel S. Angelo were covered with lights, for what was known as the “luminarie”. The cycle of religious festivals ended with a week in November dedicated to the cult of the dead.
Additionally, every area of the city had its own saints to celebrate, and many of the churches had independent celebrations: processions, papal visits and anniversaries, and festivities for the accession to the papal throne.
The liturgical calendar structured the months and the seasons, creating days of festival which, as well as cyclically reinforcing the cohesion and division of the community’s values, also functioned as a threshold between one segment of everyday life and another.
Entertainment
During those periods that were not given over to sacred celebrations, the Romans devoted themselves to festivals and forms of entertainment that were often related to their work activities, such as the “capate” (the cattle brought to be butchered at the Porto del Popolo) and the grape harvest. Other entertainments were the bull fights in the area around the Mausoleum of Augustus, the lake of Piazza Navona, and the fire spectacles at the Corea theatre on summer Sundays. In some points of the year, the nobility opened their parks to the people and organised maypole dancing , horse and chariot races, hot air balloons and exotic animals. Equally characteristic were the festivals connected to the grape harvest, with contests in poetry, singing and the unmissable saltarello.
But the event most frequently mentioned by the Romans was the Carnival on the Via del Corso.
From 1870 various of the events gradually disappeared, such as the Catherine wheel at Castel S. Angelo, others, however survived, changing and sometimes becoming enriched with new elements, sometimes, however, losing part of their magnificence and their appeal.
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Carnival
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The light festivals
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The saltarello
The saltarello
Françoise Pinelli (a pseudonym of Bartolomeo), Country dance on the outskirts of Rome, XIXth century, first quarter, detail
«The characteristic dance in the Roman States is called the salterello or saltarello. (...) it is usually danced in a couple, to the sound of the guitar or drum. (...) It marks out a complete declaration of love. Jumping and turning, the one around the other, the dancers express, one at a time, the passion which they pretend to feel, the wish to please, the joy or pain, the jealousy and the hope; for the finale the man falls to one knee to convince his beloved, who gradually draws closer to him, always dancing; when she curtseys with a smile, as though to ask for a kiss, her lover rises triumphantly and a few light and lively jumps conclude the pantomime...(...) »
Thus was the popular dance which was then the most danced in Rome described by Antoine Jean Baptiste Thomas, a young French engraver who stayed in Rome from November 1816 to December 1918, and who, in his A year in Rome and its environs (Paris 1823), depicted in an attentive style his participation in more than one moment of popular Roman life.
Characteristic of the saltarello, which was, however, an improvised dance, was the jump or leap, executed by jumping from one foot to the other, either on the spot or moving backwards and forwards or turning round on oneself. The steps become more and more dense and frequent. The only compulsory move is the “salto”, the jump, which gradually becomes more and more lively and underlined by a more decisive beat of the drum.
The dance consists of continual movement, not just of the feet, but also of the arms: jumping into the air. With the hands at the sides, holding the apron (for the women) with one hand and moving it, held out in front of her with two hands. In Rome, the dancers danced separately, in the Roman countryside, however, they danced side by side, resting their arms round each others shoulders or interweaving their arms around each others bodies. The saltarello was danced in inns and out of doors, at any time and in any season.
