Tuesday, January 19, 2016


Room XI - Raphael's Influence

Vault: “Scene of Genesis with God calling upon Adam and Eve to grow and multiply” about 1612 by Antonio Viviani aka il Sordo
“Lamentation over the Dead Christ with St. Paul and a Donor” and “Lamentation” by Giacomo Raibolini aka Giacomo Francia (1486/1557) son of the more famous Francesco Francia
“Marriage of the Virgin Mary” 1526 by Vincenzo Tamagni (about 1492/1530)
“The Holy Family with St. John” by Innocenzo da Imola (about 1484/1550)
Sculpture “Eros and Anteros” by Pierino da Vinci (about 1530/53) with the two sons of Venus, representing the carnal and the spiritual love
Room XII - Raphael

Vault: “Three angels appear to Abraham announcing the pregnancy of Sarah” about 1612 Antonio Viviani aka il Sordo
“Fornarina” 1520 by Raffaello Sanzio (Raphael) (1483/1520) perhaps Margherita Luti, a baker's daughter of Trastevere
“No portrait is superior to the portraits of Raphael, faithful rendering of bodily and spiritual qualities. And they are faithful to the literal truth, remarked in a most ruthless light, but rebuilt with intellectual and artistic energy, to be placed, in such genre, between the constellations” (Bernard Berenson)
“Madonna and Child,” by Pietro Bonaccorsi aka Perin del Vaga (1501/47)
Panels with allegories “Pandora opens the jar of defects and Minerva reproaching Cupid” and “Madonna with Child” about 1523 by Giulio Pippi aka Giulio Romano (1499/1546)
It is also known as Madonna Hertz because it was donated to the Gallery by Henrietta Hertz in 1915
“Because of some similarity with the Fornarina, it is assumed that the young girl loved by Raphael has been portrayed here in the likeness of the Virgin Mary. Unlike the master from Urbino, however, Giulio Romano shows a female figure drawn with less pronounced and gentler features, by introducing stylistic elements that are typical of the early Mannerism. As evidence of a new and subjective interpretation of the artist, the background of the sacred scene is a domestic, simple and intimate ambience, where one can see many fine details and, in the gloom beyond the door, the candor of a little dove” (Official website of the Barberini Gallery - www.galleriabarberini.beniculturali.it)
“Ceres” about 1512 maybe by Baldassare Peruzzi (1481/1536)
“Triptych with the Entombment of Christ” by the Dutchman Maarten van Heemskerck (1498/1574)
He lived in Rome during the years 1532/36 documenting with accurate drawings the Roman monuments and ruins

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