In October 1925 the young couple Maurits and Jetta can finally start setting up their first home. It’s the top floor of a house that is still under construction, in a new neighborhood on the slopes of the Monteverde. The house on Via Alessandro Poerio 100 was beautifully situated with a view of the Tiber valley, in the southeastern part of the city. On the other side of the river was the Monte Palatino, with the Roman quarter Trastevere below. The couple had already bought the house at the end of 1924, but first they had to wait until it was finished, after which it turned out to be too humid. They let it dry all summer and spent those months at the Albergo del Toro in Ravello; the place where they had met.
But quite soon after they had moved to number 100, the couple came to the conclusion that the house was too small. Escher did not have his own studio and another compelling reason was Jetta’s pregnancy. Nearby, at number 94, they found another home that they bought in June 1926. However, that too was not finished yet and it took until February 1927 before they could move in. But is wa worth the wait. The Eschers, with now also son George, lived from that moment in a beautifully situated apartment on the 3rd floor with a private studio for Maurits upstairs. The house was called the ‘Casa dei Quatro Venti‘, the House of the Four Winds, because of the winds and the storms that beset the house from all sides.
Escher had designed a work table in the spacious and bright studio, as well as the dining room furniture and a few dressers. He had them commissioned by an Italian furniture maker. One of his children later recalled that the pieces of furniture were ‘heavy, darkly painted objects’ that had been transported with every rehousing. The studio is shown on Hand with Reflecting Sphere, with the work cabinet for prints, the hard couch with bedspread and cushions to lean against the wall, a large leather armchair with extendable footrest and bookshelves above.
Escher and Jetta had furnished the house together. In the living room hung the kakemono, the Japanese vertical scroll painting, which his father had given him. On the dresser stood the samovar that the couple had received from Escher’s parents at their marriage. The floor of the corridor and the dining room was fitted with majolica tiles with a pattern that Escher had designed himself. In the studio was the statue of St. Bernardinus, the saint from Siena, as a reminder of Escher traveling through Tuscany. For him to work as efficiently as possible, the couple had devised a special communication system; between the living room and the studio above it was a tube that was closed on both sides with a flute. To call Escher for the food, Jetta pulled out the flute and blew it hard. Escher then removed the flute on his side and spoke through the tube with his wife. Usually he did not come down directly when he was working. He continued working on his carving or drawing and Jetta had to wait with the food.
*: the number of the house was changed from 94 to 122 around 1929. If Escher talks about 94 and 122, he refers to the same house.