Friday, December 4, 2015


Teatro Goldoni
One of the oldest in Rome. Here Wolfgang Amadeus Mozart performed
It was used as a cinema in 1905 with the technique of the magic lantern
Decorations made at the end of 1800s
It was restored by Francesco Vespignani (1842/99)
Three statues, three portraits and “Greek Stele with relief vase”

First Floor

On the wall reliefs in the Del Drago Collection:
Two reliefs with “Various gods” 160/180 AD
“Funeral Feast” Greek original beginning of the fourth century BC
“Dioscuri” Greek original fifth or fourth century BC from the Brancaccio collection
“Jandolo Venus in the bathroom” Hadrian's period from original by Doidalsas of the fourth century BC
Maybe it was the original chapel of the fifteenth-century palace
Cardinal Altemps ordered to paint a porch after 1568 to Vitruvio Alberi (active 1575/died after 1590) and Pasquale Cati (1537/1612) and a frieze with putti to Lattanzio Bonastri (about 1572/died after 1580)
“Hermes Loghios” late first/early second century AD from the original of the fifth century BC restored arbitrarily in 1631 by Alessandro Algardi (1598/1654) with one arm raised
This gesture gave the statue its name loghios, attribute of Hermes as god of eloquence. On the hair and on the mantle there are traces of red functional to painting the hair in a golden color
“Hercules” II sec. B.C. known as the Lenbach type
“Hermes headless” first century AD
“Asclepius” god of medicine, known among the Romans as Aesculapius
“Bust of Satyr” in gray marble on urn and altar, restored in 1600s maybe by Gian Lorenzo Bernini
Frescoes of dishes maybe by the workshop of Melozzo Ambrosi aka Melozzo da Forlì (1438/94)
“Ares Ludovisi” late second century BC in Pentelic marble
Maybe by Skopas Minor restored by Gian Lorenzo Bernini (1598/1680) in the hilt of the sword, the small eros and elsewhere
According to Filippo Coarelli it is the Achilles receiving from his mother Thetis the weapons she had received from Hephaestus
It was part of a group of sculptures, including also the Thetis of Palazzo Massimo, placed in the Temple of Neptune in the Campus Martius (corresponding now to the House of Manili) on a base identified as the Altar of Domitius Enobarbus fragments of which are now both in the Louvre and in Munich
“The eclectic nature of the work has been emphasized: to the Phidian pose of the Ares, similar to the image of the god in the frieze of the Parthenon, corresponds, in fact, the pathetic facial expression similar to Skopa's style, even though Praxiteles' style is also recognizable in the head. Echoes of Lysippus are also detectable in the proportions of the body and in his conception of space” (Lucio Fiorini - TMG)
“Warrior” of the Antonine period. Body of Pentelic marble, head of Parian marble
“Group of Electra and Orestes” first century AD in the neo-Attic period, signed by Menelaos
Frescoes with “Stories of Moses” 1591 by Pasquale Cati (1537/1612)
“Hera Ludovisi” in Parian marble
Maybe a portrait of Antonia Minor mother of Claudius (41/54), revered by Goethe as my first Roman love and believed to be an original Greek by Winckelmann who considered it a milestone in the history of ancient statuary
“Acrolith Ludovisi” 480/470 BC Greek original, part of a cult statue, probably Venus
“Ludovisi Throne” 460 BC Greek original, maybe from Magna Graecia (Locri in Calabria) or more likely brought with the Acrolith Ludovisi in 184 from the Temple of Erice in Sicily to be placed in the Temple of Venus Erycina on the Quirinal
It was not a throne but probably the decoration of a sacred well
Federico Zeri believed, probably mistakenly, that it was a fake of the nineteenth century
An acrolith was a statue with the exposed parts of the body in marble and the rest in wood covered with metal, perhaps gilded bronze
“It is more likely the parapet of a bothros (sacred well) in the Ionic temple of MarasĂ , in the urban area of Locri. For the complexity of the decorative and fine execution, it must have been an important commission, maybe public, for an expert sculptor in marble and thoroughly permeated by the style of the Islands of the Ionic sea” (Marina Castoldi)
“The flute player is the first female Greek nude carved of which we know of since the geometrical Athenian ivories. Although in the statues there errors in anatomy, the overall composition is very well structured” (John Griffiths Pedley)

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