Tuesday, April 25, 2017


It was built at the time of pope Leo X Medici (1513/21) for his brother Giuliano de' Medici maybe by Giovanni Lippi aka Nanni di Baccio Bigio (about 1513/68) and Giuliano Giamberti aka Giuliano da Sangallo (1445/1516)
In 1558 it was bought by the Lante family originally in Pisa
In the seventeenth century they had inherited assets of Giuliano Della Rovere and added his name to theirs, becoming Lante Della Rovere
It was restored in 1760 by Carlo Murena (1713/64)
In 1900 it was sold to the Aldobrandini family who still owns it
Frescoes “Stories of the Romans” 1653 by Giovanni Francesco Romanelli (1610/62) from Viterbo, a pupil of Pietro da Cortona

Monday, April 17, 2017


1591/94 Francesco Capriani aka Francesco da Volterra (1535/94) for Cardinal Scipione Lancellotti
It was completed in the years 1598/1610 by Carlo Maderno (1556/1629)
PORTAL and BALCONY by Domenico Zampieri aka Domenichino (1581/1641)
“Maderno must have kept at least part of the previous project, because the size of the stairs today correspond perfectly to those described in the contract of 1591. His intervention is clearly recognizable in the loggia on the roof, almost identical to that of Palazzo Mattei, in the large windows of the stairs, in the architectural decoration of the courtyard of the stairs of the hallway, of the loggia on the upper floor and of some rooms on the ground floor. The skill with which irregularities and planimetric asymmetries due to previous constructions were masked is also characteristic of Maderno” (Patrizia Cavazzini)
It is one of the few buildings in Rome still inhabited by the same family who built it
On 20 September 1870 the Prince Lancellotti shut the door in protest “against the Italian aggression to the Papal States” and reopened it only in 1929. In the meantime, someone had written on the columns of the portal in red “V.V.E.” (Viva Vittorio Emanuele - Long Live Victor Emmanuel), a writing still readable today albeit faded
The extraordinary collection of ancient statues and marble reliefs, many of which are inserted in the walls and were completed arbitrarily from the seventeenth century onwards, includes more than 100 pieces
The “Lancellotti Discus Thrower” now at Palazzo Massimo used to be kept in this palace
In the vault splendid “Allegory of Generosity” by Giovanni Lanfranco (1582/1647) with Agostino Tassi (1578/1644)
In the vault “The love of virtue crowns true nobility”1621 Giovanni Francesco Barbieri aka Guercino (1591/1666) and Agostino Tassi
Four oval panels “Allegories and stories of Rinaldo and Armida” 1621 by Giovanni Francesco Barbieri aka Guercino (1591/1666) and Agostino Tassi (1578/1644)
Grandiose colonnade painted over two floors that opens to fake rural and marine views

Wednesday, April 12, 2017


1552 Pirro Ligorio (about 1513/83) for Cardinal Ludovico de Torres Archbishop of Monreale, who gave a diplomatic contribution to the victory in the Battle of Lepanto connecting the Papal States to the other Christian powers
In mid-1600 the family passed to the Lancellotti family
“Allegories and stories of Rinaldo and Armida” 1621/23 by Giovanni Francesco Barbieri aka Guercino (1591/1666) and Agostino Tassi (1578/1644)

Tuesday, April 11, 2017


1646/50 Camillo Arcucci (active from 1646/d. 1667) for the Gottifredi family, a renovation of the original Palazzo Gottifredi by Giacomo Della Porta (1533/1602)
At the beginning of the nineteenth century it belonged to the Ercolani family and it was the home of the ambassador of Austria and of the Infanta of Spain, Maria Luisa of Bourbon-Spain who died here in 1824
1863/74 by Antonio Sarti (1797/1880) for the Grazioli family who had recently acquired nobility and had bought the palace in 1824
“Pomp of the Grazioli family” by Prospero Patti
On the ledge in the corner with Via della Gatta there is a “Marble Cat” from the Iseo Campensis, the temple dedicated to the Egyptian goddess Isis which was nearby
A legend says that if one follows the look in the cat's eye, one would find a treasure, but of course no one has ever found anything
The building is leased to Silvio Berlusconi, the greatest destroyer of culture in Italy after World War Two
It is continuously but mistakenly being said that he was voted by the majority of Italians: the data of the Ministry of the Interior, on their official website, clearly state that 13.629.069 Italians voted for him in the elections of 2008. Computed on an electorate of 47,126,326, it constitute a percentage of 29%. Therefore the overwhelming majority of 71% of Italians have not voted for him

Monday, April 10, 2017


1585/87 Giovanni Fontana (1540/1614) and his more famous brother Domenico Fontana (1543/1607) for Monsignor Francesco Vento who sold it shortly after, in 1590, to the Giustiniani family, rich bankers from Genoa
Continued by Carlo Maderno (1556/1629), Girolamo Rainaldi (1570/1655) and his son Carlo Rainaldi (1611/91)
It was finished in 1678 maybe to a design of 1653 by Francesco Borromini (1599/1667)
The art collection of the Marquis Vincenzo Giustiniani ended up comprising about 1,600 pieces of ancient sculpture and about 600 paintings by such artists as Caravaggio (fifteen paintings!), Raphael, Giorgione, Titian and others
When the Giustiniani family became extinct at the end of the nineteenth century, the collection was dispersed and the palace became the seat of Freemasonry
Mussolini wanted to acquire it for the Senate, but the part that overlooks Piazza della Rotonda remained the property of Freemasonry until 1888 when the seat was moved to the Villa del Vascello
The palace is in the area of the BATHS OF NERO AND ALEXANDER SEVERUS of which there are traces under building
“Front of a sarcophagus with lion hunt”
“Nine ancient reliefs”
It was formerly the library, where it was signed on December 27, 1947 by Enrico De Nicola, Alcide De Gasperi and Umberto Terracini the Italian Constitution which became effective on January 1, 1948
Maybe by Francesco Borromini
“Five stories of Solomon” 1586/87 by Federico Zuccari (c. 1542/1609)
“Temperance” and fragments of other “Virtues” by Giovanni Baglione (1566/1643), Ventura Salimbeni (1568/1613), G.B. Ricci (about 1550/1624) or maybe Antonio Tempesta (about 1555/1630) and Pietro Paolo Bonzi aka Hunchback of Carracci (about 1576/1636)

Saturday, April 8, 2017


1888 Carlo Busiri Vici (1856/1925) son of Andrea Busiri Vici
He rebelled to the eclecticism typical and prevailing in the period of Humbert I to combine modern construction needs with the art of the past


1886/88 Cesare Janz (known to be active in the years 1886/89) e Gregorio Moretti
So named because here lived Giovanni Giolitti (1842/1928) five times President of the Council of Ministers for a total of eleven years
The long period between 1892 and 1921 during which he dominated the Italian political scene is described by historians as the Giolitti era

Wednesday, April 5, 2017



1659 Giovanni Antonio De Rossi (1616/95) for the Confraternity of S. Giacomo agli Spagnoli, today church of Nostra Signora del Sacro Cuore in Piazza Navona
De Rossi followed the directions of Pietro Berrettini aka Pietro da Cortona (1597/1669) who was renovating the nearby S. Maria della Pace and rearranging the open space in front of it
It passed in the eighteenth century to the Gambirasi family that had the roof terrace built
It became later property of the Institute of S. Maria dell'Anima who still owns it and largely rents it out
The architect Francesco Azzurri (1831/1901) lived and died here. He designed the Palace of the Republic of San Marino, the restoration of the Milvian Bridge and many other buildings in Rome
The 1961 movie Fantasmi a Roma (Ghosts in Rome) was shot here, directed by Antonio Pietrangeli with Vittorio Gassman, Marcello Mastroianni and Eduardo De Filippo. The definitely spooky building adapted well to a story that had ghosts as chief characters

Sunday, April 2, 2017


Built at the beginning of the sixteenth century for the Gaddi family, Tuscan merchants who moved to Rome in the fifteenth century
It was bought by the Rossi di S. Secondo family and then, in 1567, by the Cesi family
The Cesi family expanded the building to its current size in 1587
The exterior was richly decorated with paintings by Polidoro Caldara aka Polidoro da Caravaggio (about 1495/1543) and Maturino da Firenze (?/1528) now completely disappeared
Federico Cesi II Duke of Acquasparta founded here in 1603, the ACCADEMIA DEI LINCEI, the oldest scientific academy in the world, and hosted several times Galileo Galilei
He was the author of the pioneering Tabulae Phytosophicae, a botanical catalog which also included American plants
Federico Cesi also had the merit of introducing in botanical research the use of an instrument called by Galileo Galilei, who had constructed, “goggles to see minimal things”, but that he called the “microscope”
“In the Tabulae Federico Cesi gathered in briefly but precisely the fundamentals of morphology, physiology, systematics, pathology and nomenclature of plants, recognizing the value of features used to determine the concept of the natural system. Cesi was one of the first the clearly understand the value for research of the two new Galilean instruments, telescope and microscope: to the first one he gave himself the name, the second he personally used in his pioneering studies of morphology. Notable in this regard is an outstanding Syntaxis Plantaria (discovered in 1985) which makes him the initiator of the microscopy of plants. In 1625 he published the Apiarium, now very rare, which is the first printed work containing observations of living things examined under a microscope” (Enciclopedia Treccani)
In the GARDEN there was a small botanical garden
The Cesi family sold the building in 1798
The building housed for some time the huge collection of ancient statues formerly housed in the Palazzo Cesi on Via della Conciliazione that would eventually be merged in the collections of the Capitoline Museums
In 1940 it was expropriated by the Italian government and became home to the SUPREME MILITARY COURT
It is now the seat of the Council of the Military Judiciary, the Military Attorney General's Office at the Supreme Cassation Court and at the Appeals Military Court, the Military Court of Appeals and the Court of Military Surveillance
In 1994 in the palace the so-called CABINET OF SHAME was discovered containing 695 files and general ledger showing 2274 crime reports relating to war crimes committed in Italy during the Nazi-Fascist occupation. It was also found a file of the British intelligence called Atrocities in Italy with the secret stamp on it
This documentary material had been collected by the Attorney General of the Supreme Military Tribunal, appointed by the Council of Ministers: these are files regarding the most terrible Nazi massacres of civilians, including: Sant'Anna di Stazzema, the Fosse Ardeatine, Marzabotto, Korica, Lero, Karpathos and Haut-Rhin
The commission appointed to investigate came to the conclusion that there was no conclusive evidence that the investigation of Nazi war crimes had been covered up for “reasons of state” in order to maintain good relations with Germany in times of the Cold War, although some minority members on the commission disagreed

Saturday, April 1, 2017


Built in 1518/27
According to Giorgio Vasari it was designed by Jacopo Tatti aka Jacopo Sansovino (1486/1570) for the Gaddi family, Tuscan merchants who moved to Rome in the fifteenth century
It was also known as PALAZZO NICCOLINI and PALAZZO AMICI from the names of the two families who lived here
Michelangelo Buonarroti lived here for two years (1544/46) and Benvenuto Cellini as well
The roof terrace was built in 1841
Beautiful Renaissance COURTYARD with statues in niches and rich stucco decoration in the upper part

Thursday, March 30, 2017


Erected as Palazzo Peretti in 1624 on the former palace built in the years 1281/87 for the English cardinal Hugh Atratus of Evesham to the left of S. Lorenzo in Lucina
At the beginning of 1500s it was home of the Portuguese Cardinal Giorgio de Costa, who, occupying an apartment on the Roman arch adjacent to the palace, ended up having the arch referred to as ARCH OF PORTUGAL
It then passed to the Ottoboni family, Dukes of Fiano and finally in 1898 to the Almagià family who are still the owners
FAÇADE ON PIAZZA S. LORENZO IN LUCINA 1888 by Francesco Settimj (active 1875/88)
In 1568 nine sculptured blocks belonging to the Ara Pacis, which was originally located on this site, were discovered on the corner of Via in Lucina and Via del Giardino Theodoli, under the current CINEMA NUOVO OLIMPIA
In 1859 other findings were found during work directed by Gioacchino Ersoch (1815/1902)
In the atrium and in the courtyard-garden there is a collection of Roman marble reliefs and inscriptions
Vault with “Mythological scenes, landscapes and allegorical figures” by Baldassare Croce (about 1553/1628)


Built at the end of 1500s maybe by Giacomo Della Porta (1533/1602) for Ottavio Del Bufalo
Rebuilt in the years 1626/41 by Francesco Peparelli (active since 1626/d. 1641) for Paolo Del Bufalo
Renovated in 1871 by the marquises Ferrajoli who, in part, still live in the palace
In the COURTYARD there is the “Fountain of Ceres”

Monday, March 27, 2017

FARNESE PALACE (third part)

Camerino (Dressing Room)
First to be painted for Cardinal Odoardo Farnese with “Scenes of the myths of Hercules, Odysseus and Perseus” 1595 by Annibale Carracci who followed the theme of “The Virtues prevails over Vice” thought by the humanist Fulvio Orsini
The central painting “Hercules at the Crossroads” is at the Museum of Capodimonte in Naples
“Like any great artist, Annibale created something completely new in comparison to his models; he joined the nuanced of Correggio and the warm tonal values of the Venetians to the austere compositions and figurative concepts of late Renaissance in Central Italy, while at the same time, he knew how to give his figures sculptural qualities and plasticity one would seek in vain during the late Renaissance” (Rudolf Wittkower)
Hall of Hercules
Wooden ceiling by Jacopo Barozzi aka Vignola (1507/73) who also designed the polychrome fireplace
On either side of the fireplace statues “Abundance” and “Peace” 1555/75 by Guglielmo Della Porta (1515/77) for the tomb of Pope Paul III in the apse of the Basilica of St. Peter, but never put in place because, as Vasari wrote, “They left to be desired in chastity
Chamber of the Cardinal
1547 frieze by Daniele da Volterra (1509/66)
Hall of the Farnese Glory
Great mannerist frescoes:
“Celebration of the greatness of the Farnese family: deeds of Paul III (pope of the Council of Trent and peace of Nice between Charles V and the French King Francis I) and celebration of Ranuccio the Elder (represented in the guise of Aeneas) and Peter V Farnese” 1522/56 by Francesco de' Rossi aka Francesco Salviati (1510/63)
“Here for the first time Salviati represented stories with costumes of his time, and we must admit that, despite all the exaggerations of his style of the late period, here dominate a grandeur and a pathos never achieved by any Florentine artist. The walls with frescoes are two, both divided by the same system: in the center, a figure on a throne with chained slaves (...), above, a canopy with allegories full of figures, on the sides, historical scenes, and as a crowning frieze, the usual naked bodies on their knees with medallions and festoons of fruit” (Hermann Voss)
The paintings were completed in 1563 by Taddeo Zuccari (1529/66)
Cultural institution located on the top floor since 1875
“Boundary stone limiting the Tiber” with the name of the censors of 54 BC
Remains of large public buildings in brick with three phases of construction of which the second, Domitian, is the most important
“Mosaics of desultores (acrobats) on horseback” in relation to the near Tarentum and to the Stabula factionum the stables of the four teams of charioteers two of which were in the vicinity
The Veneta (blue) was in the area of Piazza Farnese and the Prasina (green) in the area of S. Lorenzo in Damaso

Sunday, March 26, 2017

FARNESE PALACE (second part)


For Cardinal Odoardo Farnese
Panels above the windows:
“Allegory” and mythological episodes: “Perseus and Andromeda”, “Diana and Callisto”, “Woman with the Unicorn”, “Prisoners”, “Apollo and Hyacinth”, “Death of Adonis” by Domenico Zampieri aka Domenichino (1581/1641)
Vault painted with “Triumph of Love in the Universe” 1597/1604 masterpiece by Annibale Carracci (1560/1609) with the help of his brother Agostino Carracci (1557/1602), Giovanni Lanfranco (1582/1647) and Domenichino:
In the center:
“Triumph of Bacchus and Ariadne” for the wedding of the elder brother of Odoardo Farnese, Ranuccio Farnese, Duke of Parma, with twelve-year-old Margherita Aldobrandini, grand-nephew of Clement VIII Aldobrandini (1592/1605)
“The ancient reliefs of the sarcophagi dedicated to Dionysus were the main source of inspiration. Raphael's Galatea too was an inevitable inspiration - in the twist of the torso of Ariadne - just like the Nudes by Michelangelo in the Sistine Chapel. It is his meeting with historical models that highlights the qualities of the original mediator, free interpreter of that culture. He was able to instill in this work vigor and spontaneity of action, so that the story, the mythical exaltation of a lost golden age, absorbs the viewer. It is again an affirmation of the power of persuasion of images” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
“He drew the most from the carnal opulence found by Carracci in Phidias and Michelangelo. It was an unimaginable anomaly in the art of Rome of Clement VIII, so that Odoardo was very worried that the pope could see the frescoes” (Peter Robb)
“It's wonderful! Four hundred times I've seen the original and I'm not tired of getting great pleasure out of it: is the effect of beauty. (...) He was paid 500 scudi for the gallery which, without doubt, is the most beautiful work in Rome after that of Raphael, and, at the time it was painted, it could not have been worth less than 25,000 scudi” (Gian Lorenzo Bernini)
Paintings with “Pan and Diana” and “Mercury and Paris” respectively introduced by the smaller depictions of “Ganymede and the Eagle” and “Apollo and Hyacinth”
Frieze at the base of the vault:
Within painted frames “Polyphemus furious with Aci”, “Polyphemus in love with Galatea”, “Aurora and Cephalus”, “Peleus and Thetis” (the latter also interpreted as Venus and Merman)
In the other minor panels:
Famous pairs of lovers of mythology: “Hercules and Iole”, “Venus and Anchises”, “Diana and Endymion” and the sensual “Jupiter and Juno”
In the corners of the vault:
“Couple of cupids fighting”
Fake bronze medallions of the frieze:
“Episodes from Ovid's Metamorphoses”
Short sides:
“Perseus and Andromeda” and “Perseus and Phineus”
“Annibale chose a mixed decoration, for he adopted the quadratura (subdivisions into frames), a painted architecture adorned with herms and caryatids, and the painted frames containing mythological scenes as if they were framed easel paintings transferred onto the ceiling. Painting thus makes us imagine architectural spaces, ancient sculptures, figures portrayed from real life and the illusion persuades us of the truth of those images; the pictorial space becomes as real as the one experienced by the viewer in the living room of the gallery. This convincing affirmation of the autonomy and the intrinsic value of the image already belongs to the dawn of the Baroque poetry; in fact, the exaltation of the senses, the viewing, the great freedom of composition and therefore the excitement of fantasy and imagination are elements that would feed that style” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

Saturday, March 25, 2017

FARNESE PALACE (first part)

1513/46 Antonio Cordini aka Antonio da Sangallo the Younger (1483/1546) for Cardinal Alessandro Farnese, the future Pope Paul III (1534/49) who, once he became pope in 1534, completely renewed the project, doubling the size
The Palace of the Cardinal Albergati-Ferriz was demolished to make room for the building. It used to stand in the right end side area of the palace. Paul III also bought two blocks of irregular shape in front of the building and demolished them to create the square
Some of the materials used for the construction were in part taken from the Constantinian Basilica of St. Lawrence outside the Walls
Sangallo was succeeded by three great architects:
1546/49 Michelangelo Buonarroti (1475/1564) who designed the huge CORNICE overhanging about 2 m (6.5 feet), the central balcony with the Farnese coat of arms, part of the SECOND and ALL OF THE THIRD ORDER OF THE COURTYARD
1549/73 Jacopo Barozzi aka Vignola (1507/73) who continued it for the two cardinal nephews Ranuccio (d. 1565) and Alessandro Farnese. They were sons of Pierluigi, one of the four children of Paul III
1573/89 Giacomo Della Porta (1533/1602) who completed the REAR WING
The building was so completed in 76 years
It was nicknamed DADO DEI FARNESE (the Farnese Dice) and was considered one of the four wonders of Rome with Palazzo Borghese, the door of the Palazzo Sciarra and the staircase of Palazzo Ruspoli
“Not even twenty years had passed since Peruzzi had built the Farnesina, a pleasant home, in open air, with a lot of light, trees and gardens. Well, Palazzo Farnese is the opposite and indicates a serious decline of Roman society, overwhelmed by the pride of caste and the arrogance of the great families. The monumentality of Palazzo Farnese is no longer expressive of ideals and history: the moment in which the authority is transformed into power, the beauty turns into decoration, the solemnity in pride unnecessarily cloaked in austerity. Not for nothing Palazzo Farnese is the archetype of what it will be in 1600s and in 1700s, i.e. at the time of monarchical absolutism, the royal palace” (Giulio Carlo Argan)
From 1635 it was rented to France who made it the seat of the French embassy
With the extinction of the Farnese family in 1731 and the marriage of the niece of the last heir, Elizabeth, with the King of Spain, Philip V of Bourbon, their assets passed to their son Charles V of Bourbon and the palace became home of the Minister of Naples
In 1861 it hosted the King Francis II and his wife exiled from Naples thanks to a restoration of the interior by Antonio Cipolla (1822/74)
Since 1874 it was again rented to France for its embassy and in 1911 the rent changed into sale for three million francs with right of redemption within 25 years
The right was exercised in 1936 when it was bought by the Italian state and transferred to France for 99 years with a symbolic fee of one lira per year
Italy has the same treatment for reciprocity with its embassy in Paris, the Hôtel de La Rochefoucauld-Doudeauville, a dignified palace but truly laughable when compared to the absolute masterpiece in the history of Western art that is Palazzo Farnese
The building is still, at least until 2035, the French Embassy
“Two sarcophagi” from the Tomb of Cecilia Metella on the right and from the Baths of Caracalla on the left

Friday, March 24, 2017


Built in early 1500 for the Ceci family
Sold in 1574 to the Odescalchi family and, in early 1600s, to Mario Farnese
Sold again in 1637 to Orazio Falconieri belonging to a family of Tuscan bankers who had the FAÇADE (in part), the LOGGIA and the ROOF TERRACE restructured in the years 1646/49 by his friend Francesco Borromini (1599/1667) with the proceeds of the salt trade
The Falconieri family died out in 1865
Since 1927 it is home of the ACCADEMIA D’UNGHERIA (Hungarian Academy) with a library of over 20,000 volumes
“The U-shaped façade overlooking the river, dominated by the loggia proves the versatility of the extraordinary genius of Borromini. His problem was to merge the old and new parts in a unit uniquely marked by his own style. He solved it by gradually increasing the height of the four floors and inverting the traditional graduation of the orders. The ground floor is divided by simple wide bands; in the following floor the same motive is given more prominence; the third floor has ionic pilasters and above these are the columns of the loggia that are set back. So instead of decrease from the ground up, the divisions of the walls grow in importance and plasticity. Only in the context of the entire façade is revealed in full the unconventional and anti-classical style of the motive for the loggia” (Rudolf Wittkower)
Red room, blue room and two green rooms with stunning “Stucco ceilings” made in 1646 by Francesco Borromini
Strange mixture of symbolic, Masonic and hermetic vocabulary (the three circles of gold, the axis mundi) which show one of the most surprising decorative styles of the Roman Baroque
The plasters were originally white and were painted in 1781 on the occasion of the marriage of Constanza Confalonieri
In a room on the ground floor in the vault fresco “Parnassus” maybe of the end of the sixteenth century by Federico Zuccari (about 1542/1609)

Wednesday, March 22, 2017


1875/89 as MINISTRY OF WAR
Large MILITARY CENTRAL LIBRARY with books mainly of military subjects
More than 120,000 volumes and 1,000 journals both Italian and foreign as well as about 1,200 antique books
In the basement is partially preserved the BUNKER where on the night between 8 and 9 September 1943 general Pietro Badoglio and members of the Italian royal family came from the nearby Palazzo del Quirinale to escape the chaos that followed the armistice between the Italian government and the Allied Forces
On the other side of Via XX Settembre there are four palaces built during the same period:
PALAZZO BOURBON 1884 at No. 3 and PALAZZO CALABRESI 1882 at No. 5 by Gaetano Koch (1849/1910)
PALAZZO BARACCHINI 1886 at No. 8 and PALAZZO CAPRARA 1884 at No. 11 by Giulio Podesti (1857/1909)

Tuesday, March 21, 2017


Velvet Room
The room was so named for the late eighteenth-century Genoese wallpaper
“Hagar and the Angel” recently attributed to the unknown Genoese Pasquale Chiesa (active in Rome about 1562) who also worked on the “Sacrifice of Isaac”
“Hagar and the Angel” by Mattia Preti (1613/99)
“Painting, sculpture and architecture” 1713 by Marco Benefial (1684/1764)
“Cain and Abel” by Niccolò Tornioli (1598/1651) from Siena
Busts of “Innocent X” and “Benedetto Pamphilj” (or perhaps Pamphiljo?) by Alessandro Algardi (1598/1654)
Ballroom and Small Ballroom
Completely redecorated in 1903
In the small ballroom: “The tribute of money” by Mattia Preti (1613/99)
1689/91 Carlo Fontana (1634/1714) and modified by Francesco Nicoletti (?/1776) in the second half of 1700s and by Andrea Busiri Vici (1818/1911) in mid-1800s
Ceiling “Coronation of the Virgin Mary” by Tommaso Minardi (1787/1871)
Bodies of two saints: the Roman martyr S. Giusto, traditionally called the Centurion, and S. Teodora
“Ivory Crucifix” by Ercole Ferrata (1610/86)
ROOM G (Bookshop)
“Landscape with deer hunting” and “Landscape with hare hunting” by Paul Brill (1554/1626)
Private Apartment
Designed by Francesco Nicoletti (?/1776)
It was the toilet room of Leopoldina of Savoy, wife of Prince Andrea IV in 1767
Ceiling and panels above the doors painted by the Roman Stefano Pozzi (1699/1768)
It was the old bedroom
Ceiling “Jacob's Dream” by Pietro Angeletti (about 1737/98)
In the middle “Cradle” in carved and gilded wood
“Tapestry” about 1795 by the Gobelins factories with allegories of the zodiac signs
Ceiling “Rebecca at the Well” by Gioacchino Agricola (known 1758/85)
Ceiling “David and Abigail” by Domenico Corvi (1721/1803) from Viterbo
“View of St. Mark's Square in Venice” by Josef Heintz the Younger (about 1600/78)
Family portraits of the nineteenth century by Antonio Capalti
Ceiling “Hagar and the Angel” by Pietro Angeletti (about 1737/98)
Twenty-three paintings of “Landscapes” by Crescenzio Onofri (1632/1712)
Ceiling “Sacrifice of Iphigenia” by Gioacchino Agricola (known 1758/85)