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)
GRAND STAIRCASE
Three statues, three
portraits and “Greek Stele with relief vase”
First Floor
OPEN GALLERY
On the wall reliefs in
the Del Drago Collection:
“Washing of the feet” 150/170 AD
ROOM OF VENUS JANDOLO
“Jandolo Venus in the bathroom” Hadrian's period from original by Doidalsas of
the fourth century BC
ROOM OF THE PAINTED
PERSPECTIVES
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
ROOM OF THE PLATE RACK
Frescoes of dishes
maybe by the workshop of Melozzo Ambrosi aka Melozzo da
Forlì (1438/94)
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
ROOM OF THE STORIES OF
MOSES
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
“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 Marasà, 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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