L’Hotel Le Cappellette di San Luigi, was officially opened in May 2001, located in the centre of the Square "Santa Maria Maggiore" ( the square has recently been renamed Piazza Esquilino), the hotel can trace it's roots way back to the year of 1590 when it was constructed and named the "Antico Palazzo Rospigliosi." The Rospigliosi, a rich aristocratic Roman family, lived here for more than 150 years and in that time many prominent Roman and Religious persons were guests.... The walls of the Rospigliosi have witnessed much learning and art and poetry were frequently discussed in the 2 reading rooms. Paintings were made and music was composed byboth Roman and foreign aristocratic guests. To this day every corner of the building perpetuates an atmosphere of knowledge and learning something which sadly many of today's buildings do not.

A party in 1749 the Palazzo Borromeo, (oggi Hotel Le Cappellette di San Luigi) the painting is by Giovanni Reder (1749)

The Cappellette was destined to remain at the pinnacle of Roman high-society and intrinsic to its entire history is the presence of rich, famous and prominent religious figures who have contributed much to the Hotel's rich and cultured collection of antiques. Busts, statues, books about art, paintings, chandeliers and antique furniture are all evident in every corner of the hotel but one can only immagine what it must have been like to live in this former nobleman's palace that still contains the original staircase (stables at the top) which even allowed horses to enter. The Hotel Cappellette was constructed during the pontification of Pope Sisto V (1585-90) who was also responsible for the creation of the Church Santa Maria Maggiore the construction of which was hailed as a milestone in transforming Renaissance architecture into a more urban style adapt for the 17th century. The wide roads that surround the church, the star shape of the square and the large abundance of space are testament to this style of architecture (other examples in Rome include the Piazza del Popolo before the intervention of Valadier)

The Hotel Le Cappellette di San Luigi is both a Roman and National art treasure and consquently protected by both world heritage and the local ministry for the arts. A precious national heirloom the Cappellette must never again be allowed to fall into a state of disrepair from which it was rescued in the Spring of May 2001. By studying its long and illustrious history it is hoped that one can perhaps understand what happened in all those centuries, in some way reliving the experiences shared by its residents which include the Roman families of Rospigliosi, Ciampini, Lercaro, e Borromeo, travelling back hundreds of years these names will live on in eternity but who were they really, Ciampini? The Rospigliosi? We hope that you will be our guest and thus ensure that you too become, in a little way, part of its history.

One of the first owners of the building was Monsignor Giovanni Giustino Ciampini who bought it for 6000 scudi from the Vaini family. A notable Roman erudite from the late 16th century Ciampini was a pioneer of Christian architecture and a few of his scientific instruments are still housed here (most have been transferred to the museum for safe keeping). Among Ciampini's most famous accomplishments was his creation and publication in 1668 of the first ever "Newspaper for Letterists" or Giornale de' Letterati which was the first of its kind in Italy and the third in the world (after the Journal des Scavants Paris and The Philosophical Transactions London.)

After Ciampini's death in 1695 the ownership was transferred onto the Rospigigliosi a noble family the head of whom's household was also the Prince of Castiglione. The Rospgigliosi lived here until the middle of the 18th century and it was above all others Camillo who gave it its name "Antico Palazzo Rospigliosi", Camillo, relation of Giulio Rospgigliosi (Pope Clemence the 9th), was supposed to live in the palatial surroundings of the Quirinale but instead preferred a smaller residence on its own, consquently Camillo chose to live in the Antico Palazzo Rospigliosi (as it had since become known). Camillo lived here, wedged between Via Paolina e via Liberiana. Today the Hotel Le Cappellette is still referred to as the ex palazzetto Rospigliosi, in honour of the selfless Camillo. The Antico Palazzo Rospigigliosi embraces the spirit of Rome and especially of Christmas when Santa Maria Maggiore is used for the official Italian celebration of Xmas. Camillio (1646-1722.) son of figlio di Giovan Battista Rospigliosi and Camilla Pallavicini loved the palace. Giovan Battista was the son of another Camillo Rospigliosi (the Pope's brother) and of Lucrezia Cellesi, therefore Camillio junior was the nephew of Pope Clemence the ninth and of the first Camillo Rospigliosi. and Towards the end of the 17th century the Rospigliosi passed the ownership deeds of their ancestoral home to the Marchese Francesco Maria Imperiali Lercaro, who let the home to the Apostle Missionaries.

Prince of the sacred Roman Emperor Camillo Junior, on the death of his father, became the Duke of Zagarolo and lived in the Antico Palazzo Rospigliosi. The prince was surrounded by artists and painters including Reder, Masucci, Giovanni Bottani, Paolo Monaldi, the latter of which was commissioned to paint some episodes of his life (sometimes he would go to the races). These paintings may still be seen dotted about the Hotel le Cappellette. Two of the best paintings can be viewed at the Museo di Roma, the first by Giovanni Reder depicts the Exterior of the Palazzo Rospigliosi and Santa Maria Maggiore and shows the celebration of Prince Camillo's victory over the barbarian Folletto 1748. The second painting by Agostino Masucci shows the Prince Camillo Rospigliosi on horseback.

Another painting by Reder (again housed in the Museo di Roma) http://www.museodiroma.comune.roma.it/PalazzoBraschi/StaticHtml/storia1zoombis_ing.htm shows the internal garden of the Hotel Cappellette in occasion of the "festa delle mozzatore", a party to celebrate the end of the grape harvest and the return from the fields of the grape pickers. More than once the Prince is painted on a white horse in a rural setting perhaps in Magliana his second residence in Rome.

The Rospigliosi originally came from Milan, in the 12th century they fled to Tuscany in order to escape the persecution by Federico Barbarossa. In the first quarter of the 14th century they commenced agricultural, commercial and industrial activities which saw them amass a small fortune. On account of their riches the Rospigliosi were awarded titles and political power a Pistoia and later with the armed pontifice for Pope Martin the 5th and then Paolo the 3rd. They were given the fine distinction of being indoctrined into the Knights of the Order of Malta. Despite all of this the family continued with its commercial activities which involved wool and farming thus ensuring a sustained period or posterity which continued for over 3 centuries.

In 1667, Giulio Rospigliosi – cultured and refined personality, son of Girolamo and Maria Caterina Rospigliosi Became Pope Clemence the 9th. His pontefice didn't last long, only 2 years(1667-1669), his time in office was riddled with poor health and his fame is more down to what he did before he became Pope as he was among other things a brilliant writer. A master of melodrama and oratory skills Giulio appeared often in theatres in Rome and especially at the Palazzo Barberini. He was often painted performing and one painting by Pietro da Cortona shows him in full flow (this is now housed in a private collection in the UK.) Nevertheless, you can view a couple of his portraits, one by Maratti, at the Pinacoteca Vaticana; and another by Gaulli inside the Gallery of Ancient Art in via delle quattro fontane.

Among Giulio Rospigliosi's most notable works was his opera Sant'Alessio which was first performed at the Palazzo Barberini on via Quattro Fontane on the 8th of March 1631. The music for the opera was composed by Stefano Landi. The opera was much loved by the Roman people and received several encores, it was performed again at the Palazzo Esquillino and repeat performances were held for years to come. The opera was about a young Roman nobleman who after his return from a pilgrimage to the holy land decided to renounce his riches and titles preferring instead to live his life in a cupboard under the stairs. The opera recounts how how others in the same social circle found his behaviour derisory whilst the people loved him.

During this period (the mid 1630's) the Palazzo Rospigliosi was considered one of the most important cultural attractions, memorable for the melodramas and a series of productions including the "La Replica dell'Egisto" 1637 which was perfected by Gian Lorenzo Bernini and stunned contemporary composers and writers. The work is still considered the first Italian Musical Comedy and one of the best examples of 17th century poetry. The most innovative novelty was the use of stage props such as masks (by Zanni and Coviello), the tasty dialect and the "Burattinesche" movements, which was very unusual and "alien" to many aristocratic ears.

In 1643 The Saint Eustachio was performed and in 1654 "From Bad comes Good" which saw the start of the Rospiglione Spanish Theatrical season. In 1656 Rospigliosi was responsible for the "Queen's Carnival" Carnevale della Regina, so called in honour of the Queen of Sweden Cristina. The play's themes included Human life, Arms, Loves and again from the Bad comes Good.

The Rospigliosi family benefitted enormously from Giulio's play writing career and consequently, his brother Camillo and his nephews moved to Rome in the Summer of 1667 all of whom were giving important roles in local government. Another great achievement of Giulio Rospigliosi was to have contributed enormously to the creation in Italy of The Great Spanish Theatre "Grande Teatro Spagnolo del Siglo de Oro". Giulio's love of Spanish Theatre was born as a result of his time spent there earlier in his life. In 1669, on the night between 25 and 26 October The Pope suffered an apoletic fit, he recovered briefly only to suffer another attack on the 28 of November. The Pope died on the 9th of December and was buried in the Tomb of Santa Maria Maggiore. In 1671 the tomb was honoured and a monument by Rainaldi commemorates the spot.

in 1769 the Rospigliosi Palace was bought for 4000 scudi by the Marchese Francesco Maria Imperiali Lercaro. It was quickly converted into a missionary for apostles and underwent extensive modifications throughout the remainder of the 18th century. Most of the modifications were carried out by the architect Francesco Azzurri. In present day hotel you can see one of his contributions directly above the reception - an eagle symbol of the then dominant Hapsburg Empire which was commissioned by the Marchese Lercaro.

From 1769 onwards for almost 2 centuries The Religious Institute (Il Collegio dei Sacerdoti Missionari del titolo di Maria Santissima delle Grazie) conducted uninterupted their activites as a mission serving both adults and children alike (many of the local children were prepared for their first communion. In 1770 the mission became the head office for the Institute of Spiritual Exercises (Istituto degli Esercizi Spirituali), founded by the Cardinal Vitaliano Borromeo. Nello stesso anno si ebbe la prima approvazione canonica dell’opera <Imperiali> e la fusione della stessa con altre due Opere esistenti a Roma, e cioé l’Opera degli esercizi per la prima Comunione, istituita dal sac. Giuseppe Dal Pino, prefetto dell’Oratorio del caravita, nel 1774, e resa economicamente stabile dal card. Vitaliano Borromeo e l’Opera degli Oratori notturni, fondata dal card. Leonardo Antonelli nel 1794.Le due opere vennero affidate ai Missionari Imperiali, in quel periodo di lusinghiera ripresa, e presero il nome di <Istituto Imperiali Borromeo Antonelli> che il popolo chiamò con il breve termino di < Cappellette di San Luigi > a ricordo dell’origine dell’Opera Pia dei comunicandi.

Nei 25 anni che seguirono, le attività delle tre opere si svolsero in comune e con alterna intensità. In seguito, essendo insorte alcune divergenze riguardo agli Oratori Notturni, nel1847 il patrimonio e l’amministrazione dell’Opera Antonelli vennero separati e, restituiti alla loro autonomia, furono affidati ai preti di S.Maria della Pace. Da questo momento i missionari imperiali si chiamarono < Imperiali – Borromeo >

I missionari Imperiali, fedeli alla predicazione delle Missioni Popolari e dei corsi di Esercizi spirituali in linea con i principi, lo spirito e le direttive del fondatore, hanno parallelamente curato, incrementandola, l’Opera delle Prime Comunioni fino a creare una metodica che è servita da modello per oltre un secolo a quanti si sono dedicati a questo settore di attività spirituale particolarmente delicata.

Per i fanciulli romani dell’Ottocento e della prima metà del Novecento, < andare alle Cappellette > costituiva una circostanza particolarmente desiderata.

Era un’esperienza molto attesa: per i più era l’occasione in cui, per la prima volta, si allontanavano dalla propria casa, restando per otto giorni- in seguito ridotti a quattro – lontani dalla propria famiglia, per vivere in un piccolo mondo tutto loro, ricco di quelle suggestioni che i missionari offrivano loro.

Fra questi fanciulli riceveva la Prima Comunione, nel lontano 1886, Eugenio Pacelli: il futuro Papa Pio XII.

Percorrendo le cronache delle Missioni <Imperiali> ci si imbatte in figure di missionari veramente straordinarie: Gaetano Giannini che predicò le Missioni per quasi mezzo secolo, Giovanni Battista Fioravanti, San Giovanni Battista De Rossi e più vicini a noi: Giuseppe Mori, Salvatore Langeli, Giuseppe Rinaldi e infine Pirro Scavizzi.

Dopo il 1870 l’edificio subì una radicale trasformazione all’esterno, quando fu sistemata la zona intorno a Santa Maria Maggiore, secondo un piano approvato dal Consiglio Comunale nel 1871.

Nel 1875 il piano stradale di Via Liberiana fu abbassato di circa quattro metri e l’architetto Azzurri (1831-1901), ristrutturò l’edificio, trasformando il seicentesco portale d’ingresso in finestra balconata e realizzando.

Le Cappellette di San Luigi ex Palazzo Rospigliosi, ex Palazzo Imperiali-Borromeo, si è trasformato in un Hotel. Si trova a un passo dalla stazione Termini ed è gestito da Cascina Turismo sotto il marchio Status. La dimensione dell’Hotel è piuttosto raccolta: dispone di 39 camere, tutte con bagno o doccia, aria condizionata, tv satellitare, minibar, cassaforte con chiave numerica e infissi insonorizzati, un salone ideale per eventi e una saletta per riunioni, meeting e colazioni di lavoro. La prima colazione viene servita al ristorante e prevede una colazione rinforzata: uova, bacon, frutta fresca, yogurt, affettati, caffè, cappuccino e cornetti. Per i nostri ospiti è inoltre disponibile un ampio parcheggio interno. Si tratta di una struttura di gran valore, non solo dal punto di vista architettonico, ma anche storico e culturale, com’è ancora oggi percepibile dall’atmosfera che si respira entrando nei suoi ambienti.

Al primo piano del palazzo, oltre alla bella decorazione a stucco della volta, sono da ammirare i resti del pavimento di una sala il cui motivo centrale è costituito da una stella in marmo bianco circondata da una fascia di bigio; da quest’ambiente si accede ad un’altra sala, nella quale è possibile organizzare riunioni, eseguire concerti, ma anche essere semplicemente utilizzata come sala lettura.

Anche la Cappella dell’Istituto, che conserva la decorazione tardo-neoclassica del tempo di Leone XII, disegnata dal Leonori, è perfettamente preservata e fruibile.

Il cortile interno, rimasto quasi intatto ha, al centro, una graziosa fontana realizzata nel 1934; divide l’edificio principale dal ristorante, che sarà inaugurato tra breve per offrire le proprie specialità in un ampio spazio sia al coperto sia nel cortile interno. A farne gli elogi è anche il Sunday Times che lo descrive così: < le stanze sono sorprendentemente austere , in una città nota per le decorazioni antichissime le scalinate spettacolari, i soffitti alti e decorati e l’atmosfera di grandiosità, sono preservati. I pasti sono serviti al ristorante al primo piano, oppure sotto grandi ombrelloni, nel caratteristico cortile interno, con l’accompagnamento delle campane della Basilica di Santa Maria Maggiore.

Attorno all’Hotel ruotano anche iniziative culturali. La Schola Romana, istituzione musicale storica romana, fondata nel secondo dopoguerra e riconosciuta come una delle più qualificate scuole di canto di Roma, al punto di essere richiesta presso la Cappella Sistina e dai maggiori istituti musicali quali Santa Cecilia e il Teatro dell’Opera, propone, proprio nel nostro Hotel appuntamenti con la musica barocca.

La scuola si è impegnata ad eseguire concerti su richiesta, di musica popolare romana del Seicento, Mottetti concertati per voce e strumenti seicenteschi quali: violino, viola da gamba, chitarra barocca-tiorba, organo positivo, cembalo, flauti traversi accompagnati da coreografie originali di Tarantelle e Fandango, danze in voga nelle corti italiane del Rinascimento. I danzatori, specialisti di questo repertorio si esibiscono in preziosi costumi d’epoca. Tali eventi si svolgono nella sala predisposta ad ospitare meeting e concerti, una sala mantenuta come era originariamente con uno splendido colonnato interno e il pavimento a marmi storici.

Il nostro Hotel propone anche una serie di itinerari archeologici, monotematici dedicati all’opera di grandi maestri e visite ad antichi centri monumentali quali Ostia Antica o Villa Adriana a Tivoli accompagnati da guide esperte.

L’Hotel Le Cappellette entusiasma i clienti che, completamente a loro agio, si scambiano impressioni positive, riconoscono funzionalità, comodità, eleganza, un’accoglienza raffinata, una residenza storica orgogliosa di esibire la propria identità e ripensata alla luce della moderna funzionalità, e un’atmosfera speciale, unica e irripetibile è questo per cui turisti e viaggiatori, una volta fuori, sciamano via contenti.

Amalia Mancini