Pipers of the Roman countryside playing the Christmas novena 1823

Curator: Saverio della Gatta's 1823 watercolor, "Pipers of the Roman countryside playing the Christmas novena," offers a glimpse into rural Italian traditions. Editor: My first thought is that there is something undeniably idyllic and nostalgic in the gentle colours. There is also this strange feeling, with these somewhat theatrically posed figures in this quiet moment. Curator: The work illustrates the tradition of the zampognari, bagpipe players from the countryside who would travel to Rome during the Advent season. It was common, through the 19th century, for these musicians to perform devotional songs before shrines of the Virgin Mary, as seen here. The painting gives a visual record of folk practices integrated within religious observances. Editor: I'm curious about the figures’ expressions; there's a sense of solemnity, yet a casualness. And the Madonna image on the wall—how might this blend of folk tradition and religious iconography play into socio-political ideas about rural identity at the time? Was it romanticized, exoticized? Curator: It is important to note how the setting itself, seemingly ordinary, acquires a symbolic dimension through the act of musical devotion. Genre paintings like this often functioned within the visual culture, both reflecting and shaping ideas of identity in Southern Italian regions. This painting can be interpreted through the lens of Romanticism’s preoccupation with folk culture and local color. Editor: Looking at it today, what resonates for me is how art becomes a living archive of community practices. Della Gatta gives visibility to marginalized voices that find creative agency through music. The pipes announce a tradition that blends a humble reverence with an affirmation of cultural distinctiveness. Curator: And what is particularly poignant is its timelessness. You could imagine hearing those same sounds in parts of Italy today. Della Gatta immortalizes something ephemeral yet profoundly meaningful. Editor: Absolutely. This watercolor encourages reflection on the intersection of belief, art, and social history—an intersection continually shaping the story of who we are.