More than a dreamer, Mario Praz is an authentic lover of life, and with her, of each element and object that surrounded him through his existence. Palazzo Ricci, and later, Palazzo Primoli, were and are inclusively on our days, venues of this fascination for the history of each object, furniture and art work, each one with its essence of historical narrative, conforming a place that is read almost in moments.
Being a passionate of design and its veiled stories since he was 16 years old, Mario existed through his beloved “House of Life”, due that the history of each one of his pieces got mixed with his own biography, narrating inclusively in his book, this interweaving of life and its pieces, and how the material can acquire soul and essence.
Mario Praz and Palazzo Ricci (Primoli)
Palazzo Ricci, is simply one of the various hearts of Rome, sheltering more than 1,200 pieces between furniture, decorative objects, and art of any type, joining in an enclosure, the reflections of many ages, due that his collection covers from the XIX to XVIII centuries, this last one, the ineffable witness of his fascination with time and its stories.
The Palazzo is the home of multiple treasures of a newborn Europe, from German porcelains, Russian malachite, English furniture, and infinite portraits, people who lived, grew up, and died in a century of illumination, and whose figures were left for posterity, always well kept by the guardian of time that Praz was.
Waking through the Palazzo
Walking through its almost 300 square meters is to cross through rooms that accumulate treasures in Regency shelves, portraits from floors to ceilings, representative furniture and sculptures of each European culture, white shelves full of literary jewels, musical instruments that were never played but valued for their intrinsic beauty, special upholsteries that were ordered by Mario, and everything crowned by majestic furniture as his legendary lit en bateau beds; legendary pieces that will never fulfill their function, due that they were transformed into contemplative objects.
And finally, how to forget about these portraits and landscapes that work as special clothes to walls made for observation, from neoclassical landscapes to unknown faces and portraits, which were the only mean to achieve immortal photographs.
Literally, The Palazzo of Life, arises as a living novel, one where each element is a non-written chapter, but collected, by this universal narrator of objects: Mario Praz.
The narration of a dream is something that cannot be transmitted
(…) that idea of being trapped in the inconceivable,
that is the true essence of dreams.