St. STEPHEN OF THE CACCO

S. STEFANO DEL CACCO
Via di S. Stefano del Cacco 26

Built in the early ninth century at the time of Paschal I (817/824) on the site of the TEMPLE OF ISIS (Iseum Campense)

The name of the church comes from the statue of the dog-headed god Thoth found here, now in the Egyptian Museum at the Vatican and mistaken for a macacco or a macaque monkey

Also known as S. Stefano in Pinea (St. Stephen in Pinea) from the pigna (pine cone) symbol of the district represented on top of the bell tower

 Restorations at the beginning of the twelfth century at the time of Paschal II (1099/1118)

Romanesque BELL TOWER with a bell dating back to 1480 and PORCH added about 1160 at the behest of the brothers Nicola and Quinzio Papareschi, nephews of Pope Innocent II Papareschi (1130/1143)

Restorations in the years 1607/17 and 1638/43 by Antonio Canziani who maybe designed​​the FRONT and Matteo Riva for the Sylvestrine monks to whom the church had been assigned in 1563 by Pope Pius IV Medici (1559/65)

PORTAL in travertine maybe by Paolo Marucelli (1594/1649)

Other restorations in 1725 and 1865

FLOOR
1865 with marble pieces from the Basilica of St. Paul Outside the Walls, destroyed by fire in 1823

VAULT
Ornamental reliefs and fresco “Trinity and St. Sylvester in glory” 1857 by an unknown nineteenth-century artist

TO THE RIGHT OF THE ENTRANCE
“Tomb of the architect Ludovico Rusconi Sassi” d. 1736

NAVE
Twelve ancient columns reused here maybe from the Temple of Isis
Organ dating back to 1642

1^st RIGHT - CHAPEL OF THE GUARDIAN ANGEL
Above the altar “Guardian Angel” eighteenth-century copy from the original by Pietro da Cortona exhibited in the National Gallery of Ancient Art at the Barberini Palace

2^nd RIGHT - CHAPEL OF St. JOSEPH
Above the altar “Death of St. Joseph” by an unknown eighteenth-century artist

ON THE RIGHT WALL AFTER THE 2nd CHAPEL
Fresco “Pietà” 1519 by Pietro Bonaccorsi aka Perin del Vaga (1501/47) heavily restored also with the addition of the landscape that surrounds it

It is the first extant solo work by Perin del Vaga and it was executed soon after his collaboration with Raphael in the Vatican Loggia

“Here Perino, apart from the obvious inspiration from the group by Michelangelo in St. Peter's, is showing the narrative and dramatic power of Raphael and Giulio Romano not in the sense of emotional expression but mainly in grace and ornament” (Antonio Vannugli)

AT THE END OF THE RIGHT AISLE
Altar with devotional picture “Our Lady Comforter of the Afflicted” in wood dressed with silk dress, maybe dating to the seventeenth century. Tradition has it that this image wept on July 9, 1796 shortly before the invasion of the French soldiers of Napoleon

APSE
Originally there were mosaics dating from the time of Paschal I (817/824), destroyed in 1607 and replaced by the current decoration
At the center “Martyrdom of St. Stephen” about 1585 by Cesare Nebbia (1536/1614)
On the sides “St. Charles Borromeo” and “St. Frances of Rome” about 1610 by Cristoforo Casolani (1587/1629), a pupil of Cristoforo Roncalli aka Pomarancio
“Golden stuccos” 1608 by Rocco Solari
“Choir in walnut wood” 1668 by the Cecconali brothers

AT THE END OF THE LEFT AISLE
“Wooden Crucifix” beginning of the seventeenth century and ruined fresco “Saints” maybe by Cristoforo Casolani (1587/1629)

3^rd CHAPEL ON THE LEFT
Above the altar “St. Matthew” and frescoes on spandrels and dome by Cesare Mariani (1826/1901)

2^nd CHAPEL ON THE LEFT
Above the altar “St. Benedict delivers the rule to St. Sylvester” maybe by Carlo Maratta (1625/1713)
On the left “Miraculous healing by St. Sylvester” and on the right “St. Sylvester receives communion from the Virgin Mary” by Cesare Mariani
Frescoes on the lunettes and on the side walls by Cesare Mariani

1^st CHAPEL ON THE LEFT
Above the altar modern “Holy Face”
Stuccos by G.B. Ferrabosco
On the left “Sts. Charles Borromeo and Filippo Neri” and on the right “Sts. Stephen and Paul the First Hermit” 1639 two late works by Giovanni Baglione (1566/1643)

SACRISTY
Altar piece “St. Nicholas” 1695 by Giovanni Odazzi (1663/1731) formerly in the third chapel on the left
Oval panel “St. Aurea taken to martyrdom” by Luigi Garzi (1638/1721)
Preparatory sketch “Birth of the Virgin Mary” maybe by Sebastiano Conca (1680/1764)

MONASTERY
General Curia (headquarters) of the Sylvestrine Fathers
“St. Stephen” by Giovanni De Vecchi (about 1537/1615)
“Adoration of the Magi” by the painter from Antwerp Jan Miel (1599/1663)

St. MARY OF THE SEVEN PAINS

S. MARIA DEI SETTE DOLORI

Via Garibaldi 27

1643/49 by Francesco Borromini (1599/1667) helped by Antonio Del Grande (about 1625/79) the architects also of part of the CONVENT (façade - chapel and vestibule) for Camilla Savelli Virginia-Farnese, completed only in 1667 by Francesco Contini (1599/1669)

“Despite the difference in the plant, it is in a sense a simplified version of S. Carlo Quattro Fontane although, above the cornice, the comparison does not hold. This project comprised possibilities that were further developed in the Church of Propaganda Fide” (Rudolf Wittkower)

“In Borromini's language the theme of plastic and linear continuity between the elements of the architecture gains such importance as to place some of the works of the master close to the logic of Gothic architecture” (Paolo Portoghesi)

INTERIOR OF THE CHURCH

Repainted and restored in 1845

LEFT ALTAR

Altarpiece “St. Augustine” by Carlo Maratta (1625/1713)

CONVENT

Painting “Our Lady of Sorrows with angels and symbols of the Passion” by Marco Benefial (1684/1764)

In 2009 the convent was reconverted into the Hotel Donna Camilla

St. ISIDORE

S. ISIDORO

Via degli Artisti 41

Begun in 1622 by Felice Antonio Casoni (1559/1634) for the Spanish Franciscans with dedication to the Spanish St. Isidore of Madrid (1080/1130) canonized in that same year by Gregory XV Ludovisi (1621/23)

St. Isidore was a farmer who had miraculous powers. He is the patron of farmers

Continued in 1625 by Domenico Castelli (1582/1657) for the Irish Franciscans led by Father Luke Wadding who transformed the CONVENT into an institution of study and retreat for the Irish brothers, persecuted at the time by the English Protestants

Completed in 1672

Restorations in the years 1856 to 1949

FAÇADE

1704/05 Francesco Carlo Bizzaccheri (1655/1721)

Statues “St. Patrick” and “St. Isidore” by Simone Giorgini (active in Rome 1677/1712)

“The previous attribution to the sculptor Andrea Bertoni has been questioned on the basis of the finding of the contract concluded between Giorgini and the Franciscan Fathers, according to which it is known that he received a payment of 50 scudi. The size of the statues and the use of stucco refer once again to the figure of Faith in the Church of St. Ignatius even though, compared to that statue, the images of St. Isidore have lost their roundness, typical of Bernini, and seem to be affected at least in part by the severity of Carlo Maratta, according to the directions followed in that period by other sculptors including Camillo Rusconi” (Alessandra Uguccioni - Dizionario Biografico degli Italiani Treccani)

The Nazarenes lived in the convent from 1810 to 1813

They were young German artists who lived together as a community and were called Nazarenes for their eccentric clothing and their long hair, a bit like the hippies in the late 1960s

VAULT

“Glory of St. Isidore” 1729 by the French Charles Van Loo (1705/65)

1^st RIGHT - CHAPEL OF St. JOSEPH

Above the altar “Marriage of the Virgin” (copy of the original stolen in 1798)

On the sides “Flight into Egypt” and “Death of St. Joseph” (copy of the original stolen in 1798)

In the lunettes “Nativity” and “Dream of St. Joseph”

In the dome “Glory of St. Joseph” all works of the years 1650/52 by Carlo Maratta (1625/1713). The decoration of this chapel was one of his first jobs

“Funerary Monument of Isabella Ball Thomas and her daughter Isabella” 1868 by Giovanni Maria Benzoni (1799/1873)

2^nd RIGHT - CHAPEL OF St. ANNA

Designed by Domenico Castelli (1582/1657)

Altarpiece “Virgin Mary and St. Anna” and “Scenes from the life of St. Anna” about 1657 by Pietro Paolo Ubaldini (about 1614/about 1684) pupil of Pietro Berrettini aka Pietro da Cortona

RIGHT TRANSEPT

Oval “Glory of St. John of Nepomuk” by an unknown seventeenth-century artist inspired by Maratta

To the left “Tomb of Alfonso Mazanedo” with bust possibly by Giuliano Finelli (1602/53)

TO THE RIGHT OF THE MAIN ALTAR - CHAPEL DA SYLVA or OF THE IMMACULATE CONCEPTION

1662/64 by Gian Lorenzo Bernini (1598/1680) for Rodrigo Lopez da Sylva

“Frontal in cloudy alabaster” with natural veins in the marble that go on over the wall above

The veins were left and completed by Bernini in order to obtain a material which shows connotations creatively artificial, even if taken from nature like the dark alabaster of Montauto that even mingles with the background color of the painting by Maratta

Above the altar “Immaculate Conception” (in a frame with fruits and flowers by the engraver Antonio Chicari), on the left “St. Francis”, on the right “St. Anthony of Padua” and in the lunette “Angel Musicians”, all works by Carlo Maratta (1625/1713)

On the walls “Da Sylva Funerary Monuments: Rodrigo and his wife Beatriz de Silveira” and “Four virtues” (in the eighteenth century the nudities were covered with draperies in bronze), maybe by Gian Lorenzo Bernini or more likely by his son Paolo Bernini (1648/1728) or by his pupils Giulio Cartari (active 1665/78) and Pietro Paolo Naldini (1619/91)

In the dome and in the spandrels stuccos maybe by Gian Lorenzo Bernini

MAIN ALTAR

1630 Marco Arconio, in precious marbles

Sarcophagus in Carrara and Portovenere marble with bodies of the saints and martyrs Leozio and Floriano

Tabernacle 1799 by Ippolito Mazzola

Above the altar “St. Isidore has a vision of the Virgin Mary and Child” about 1623 by Andrea Sacchi (1599/1661)

LUNETTE above the altar “Agony in the Garden of Gethsemane” 1856 and DOME “Virgin Mary and Saints” by Domenico Bartolini (1827/84)

PENDENTIVES “Evangelists” 1948 by Silvio Galimberti (1869/1956)

TO THE LEFT OF THE MAIN ALTAR - PAVONI CHAPEL or CHAPEL OF St. FRANCIS AND St. PATRICK

1626/28 for the Pavoni family from Rimini

Fresco “Stigmata of St. Francis” by an unknown eighteenth-century artist

On the walls and pillars “Saints” 1948 by Silvio Galimberti

OUTSIDE THE CHAPEL

“Funerary Memorial of the Canon Antonio Borani” 1677 by Giovanni Francesco De Rossi (active 1640/77)

Large painting “St. Patrick” 1861 by the friar Ippolito from Poggio Bustone

2^nd LEFT - CHAPEL OF St. ANTHONY

1692 Francesco Carlo Bizzaccheri (1655/1721)

Above the altar “St. Anthony of Padua in ecstasy” by Giovanni Domenico Cerrini (1609/81)

On the sides modern paintings with “Miracles of St. Anthony”

In the lunettes “Healing of the sick child” and “Preaching to the fish” by Gilles Hallet (1620/94)

1^st LEFT - CHAPEL OF THE HOLY CROSS

Decoration in golden stucco by Domenico Castelli (1582/1657) for Costanza Pamphilj, nephew of Innocent X, and for her husband Nicolò Ludovisi owner of the land in the area

Frescoes in the dome “Exaltation of the Cross” and lunettes on the left “Agony in the Garden” and on the right “Crowning with Thorns” 1654/57 by Carlo Maratta (1625/1713) who had also painted three paintings stolen from the chapel during the Napoleonic occupation

LARGE CLOISTER aka WADDINGHIAN CLOISTER

1630 on land donated by Nicolò Ludovisi

On the walls touched up paintings with “Stories from the life of St. Francis and of the Franciscan friars” 1701 by Friar Giovanni Antonio Sguary from Padua

CAPITULAR ROOM

“Portrait of Father Luke Wadding” by Carlo Maratta

AULA MAXIMA

Large room for academic meetings

Frescoes of “Franciscan theologians and scholars at work” and “Immaculate Conception supported by Sts. Anthony and Francis” by Frair Emanuele da Como

“The College of St. Isidore became a center of studies renown in Europe. Here research took place about theology, philosophy and history, and the so-called 'Scola Scotistica' had remarkable development through lectures held in the Aula Maxima” (Daniela Matteucci)

VENEZIA PALACE - MUSEUM OF VENEZIA PALACE (second part)

MUSEO DI PALAZZO VENEZIA

Museum of Venezia Palace

In the rooms of the Cybo Apartment and in the premises of the Palazzo Venezia formerly Viridarium of Paul II Barbo (1464/71), which was dismantled and moved in 1911 of about 100 m (330 feet)

Ceilings 1916 by Ludovico Seitz (1844/1908) in imitation of the style of the sixteenth century

VESTIBULE and ANTEROOM

“Bust of Pope Paul II” by the workshop of Paolo Taccone aka Paolo Romano (about 1415/77)

Venetian Paintings

“Double Portrait” about 1502 maybe by Giorgio Zorzi or Giorgio da Castelfranco aka Giorgione (1477-78/1510)

Mysterious and extremely beautiful painting where the light shines differently on the two characters, creating an effect of almost photographic realism

The young man in the foreground holds a wild orange bitter and sweet at the same time that the Renaissance was associated with the sufferings and the joys of love

“Madonna and Child” and “Head of a Young Woman” maybe by Antonio Pisano aka Pisanello (about 1390/about 1455)

The head of a young woman maybe was part of the lost decoration of the Basilica of St. John Lateran that Pisanello had carried out with Gentile da Fabriano in the first half of the fifteenth century and which was destroyed during the works of Francesco Borromini for the Jubilee of 1650

“Madonna and Child” by Paolo Veneziano (active about 1320/62)

Emilia-Romagna Paintings

“Crucifixion” first half of 1400s by Stefano da Ferrara

There are few biographical information regarding this painter and there is much uncertainty in the attributions. In this painting the expressions of torment of the faces are remarkable and innovative

“Christ Carrying the Cross” by Bernardino Zaganelli (about 1465/about 1511)

“Adoration of the Magi” by Lorenzo Sabatini (about 1530/76)

“Pieta” about 1579 by Lelio Orsi (1511/87)

“In this work there are influences of Correggio's poetry, especially in the pathos expressed by the figure of St. John the Evangelist, whereas the plasticity of the body of Christ is livid expression of a strong influence by Michelangelo, disseminated through engravings. Not to mention that from an elaboration of an idea by Michelangelo, namely the Deposition for Vittoria Colonna, comes the pose of Christ lying in the lap of the Mother” (Official website of the Museum of Palazzo Venezia - www.museopalazzovenezia.beniculturali.it)

Lazio, Umbria and Marche Regions Paintings

“Head of the Redeemer” from an artist of the school of Pietro de' Cerroni aka Pietro Cavallini (about 1240/about 1325)

“Great Painted Cross” from the church S. Tommaso dei Cenci

Processional banner “Virgin Mary of Mercy” by the Master of Staffolo

Rooms 4 and 5 - Tuscan Paintings

“Marriage of St. Catherine” by the Master of the Coronation of Christ Church

Small panel “Prophet Hosea” by Gherardo di Jacopo aka Starnina (active 1387/1409)

“Nativity” end of 1400s by the school of Filippo Lippi and Pesellino with a portrait of Lorenzo the Magnificent in the lower right

Remarkable “Head of the Redeemer” maybe by Benozzo di Lese aka Benozzo Gozzoli (1420/97), more probably by Fra' Giovanni da Fiesole aka Fra Angelico (about 1395/1455), maybe from the destroyed Chapel of Eugene IV Coldumer (1431/47)

“Episodes from the life of St. Catherine of Alexandria” by Bicci di Lorenzo (1373/1452)

“Vision of St. Bernard” by Francesco di Ubertino Verdi aka Bachiacca (1494/1557)

“Madonna and Child with Angels and Saints” by Mariotto di Cristofano (1393/1457)

Paintings on Canvas

Oldest and largest part of the collection added in 1919 from the collection Ruffo of Motta Bagnara:

“Marriage of St. Catherine” by Ciro Ferri (1634/89)

“Dance of the Nymphs” 1725 by Donato Creti (1671/1749)

“Restless temperament, haunted by an almost obsessive anxiety for perfection, Creti offers a varied range of expressive accents ranging from Veronese inclinations to his own classicism sometimes full of mannerism moods, some other times sublimated in purist formulas, almost neoclassical, largely ahead of its time. This work is a significant blend of his experiences: the party atmosphere is evoked with a Frenchified gallant grace, the traditional Arcadian landscape here is imbued with a rediscovery of more refined ways of the Emilian Mannerism, which give a more decanted and thin grace to this idyll” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

“David and Abigail” and “Finding of Moses” by Giuseppe Maria Crespi known as the Spanish (1665/1747) from Bologna

“Dead Christ” by Orazio Borgianni (1578/1616)

“The sons of Francesco Orsini” 1597 maybe by Tiberio Titi (1578/1637), the son of the painter Santi di Tito and official portraitist of the Medici Grand Dukes

“Wedding at Cana” by Francesco Solimena (1657/1747)

“Cleopatra” by Carlo Maratta (1625/1713) who represented the Egyptian queen with the face of his daughter Faustina as she dissolves a pearl in vinegar to prove her indifference to luxury

“St. Peter weeping” by Giovanni Francesco Barbieri aka Guercino (1591/1666)

Golden terracotta “Baptism of Jesus” and “Terracotta bust of Pope Innocent X Pamphilj (1644/55)” by Alessandro Algardi (1598/1654)

CORSINI PALACE - CORSINI GALLERY (sixth part)

Room V - Room of the Alcove

“The room (...) owes its name to the fact that it has been used as a bedroom by Queen Christina of Sweden until her death. Following the purchase of the building by the Corsini family, the room remained the bedroom of the new owner, Cardinal Neri Maria. Underscoring the link between the room and the Queen, the Swedish State gave the Gallery (1991) a painting that depicts her in the guise of Diana the huntress, the work of the Flemish Justus van Egmont and six commemorative medals” (Official Website of the Galleria Corsini - galleriacorsini.beniculturali.it)

Decorations in the ceiling with “Stories of Solomon” and “Stories of Moses” maybe by artists of the school of Federico Zuccari (about 1542/1609)

“Terracotta bust of G.B. Blanchis” 1680 by Fabrizio Arriguzzi (active 1630/80)

Small bronze statue “Ganymede and the Eagle” by the Florentine Antonio Montauti (1685/1740)

Outstanding portraits “Christ Crowned with Thorns”, “Our Lady of Sorrows” and “St. John the Evangelist” by Guido Reni (1575/1642)

Terracotta bust “Alexander VII Chigi (1655/67)” by Gian Lorenzo Bernini (1598/1680)

“Queen Christina of Sweden as Diana” by Justus Van Egmonts (1601/74)

“Meeting of Rebekah and Eliazar at the source” by Carlo Maratta (1625/1713

“It is a masterpiece of the maturity of Carlo Maratta and stands as an exemplum of academic eclecticism of the artist” (Official Website of the Galleria Corsini - galleriacorsini.beniculturali.it)

“Ruins with baths” and “Ruins with shepherds” by Giovanni Paolo Pannini (1691/1765)

“St. Sebastian Tended by Angels” by Peter Paul Rubens (1577/1640)

“It belonged to the collection of Cardinal Neri Maria Corsini senior and it dates back to the early years of the artist's stay in Rome (1601/02)” (Official Website of the Galleria Corsini - galleriacorsini.beniculturali.it)

“St. Sebastian” by an anonymous artist of the seventeenth century inspired by Palma il Giovane

“Madonna and Child” by Angelo Caroselli (1585/1652)

“Hunting coots” and “Hunters in the woods” by Angeluccio (active mid-seventeenth century) who painted the landscapes whereas the figures were probably painted by the Roman bambocciante Michelangelo Cerquozzi (1602/60)

“The attribution of the figures to the Roman painter raises some doubts indeed because of their street fighting and thugs attitude that would seem more appropriate to Pieter Van Laer” (Sivigliano Alloisi)

“St. Apollonia” by Carlo Dolci (1616/86)

Two paintings made with oil on copper and blackboard: “Interior of Antwerp Cathedral during the day” and “Interior of Antwerp Cathedral at night” by Frans Francken III (1606/after 1667) with Peter Neefs the Younger (1620/post 1675)

“Justice” by Cesare Gennari (1637/88)

“Ecstasy of St. Francis” by Filippo Lauri (1623/94)

“Temple of Vesta with Roman monuments” and “Pantheon and Roman monuments” by the French Charles Louis Clerisseau (1721/1820)

“Clerisseau was also an architect and an elegant draftsman. Following a period of travel to follow the English architect Robert Adam, he returned to Rome in the early sixties and it was well received for his friendship with Piranesi. Here he undertook the decoration of the coffee house in Villa Albani where he met Winckelmann and a little later he made the famous room of the convent of Trinità dei Monti, which immediately became one of the curiosities of Rome” (Sivigliano Alloisi)

“Holy Family”, also known as “Our Lady of Silence” by Marcello Venusti (about 1512/79)

“The Assumption of Mary Magdalene” copy by an unknown seventeenth-century artist from an original by Giovanni Lanfranco

“The Holy Family with John the Baptist and Mary Magdalene” copy by an unknown sixteenth-century artist from an original by Parmigianino

“Landscape with waterfall and figures” by Pandolfo Reschi (1643/99)

“Concert” by the Flemish artist Theodor Rombouts (1597/1637)

“The Holy Family with St. John” by the Emilian Bartolomeo Schedoni (1578/1611)

“The comprehensive training of Schedoni led, in contact with the painting of Ludovico Carracci and Giovanni Lanfranco (in Parma since 1610), to a very personal style, where the direct and contrasted light isolates and highlights the solid and almost geometrically constructed forms and emphasizes the vivid and brilliant colors” (Enciclopedia Treccani)

“Adoration of the Shepherds” by an artist of the school of Jacopo Bassano

Significant “St. Jerome” by an artist of the school of Jusepe de Ribera

“Deposition of Christ from the Cross” by a sixteenth century artist of the Tuscan school

“Portrait of Vittoria Della Rovere as Faith” by the Flemish artist Giusto Sustermans (1597/1681)

“Landscape with Satyrs” by Pietro Testa (1612/50) engraver from Lucca who sadly committed suicide in the Tiber for his disappointments in his job as a painter

“Fruit Seller” by Jacob Van Steverden

BRASCHI PALACE - MUSEUM OF ROME (third part)

FIRST FLOOR
The Popes

ROOM 1

Pius VI: The ancient city and the major works

“Portrait of Pope Pius VI” by the great painter from Lucca 1775 Pompeo Batoni (1708/87)

“Batoni, going back to the Roman tradition of the early eighteenth century, but not forgetting the new impulses from French and English schools, creates a new way to portray: the perfect physiognomic rendering combines psychological analysis of the character, often depicted in a setting that, in objects and in the landscape, reminds of his intellectual interests” (Anna Maria De Strobel)

Large “Portrait of Pius VI” about 1776 by Giovanni Domenico Porta (1722/80)

Marble bust “Pius VI” after 1788 by Giuseppe Ceracchi (1751/1801)

Paintings “The abduction of Helen” 1784 and “The Death of Achilles” 1785 by the Scottish Gavin Hamilton (1723/98)

“Braschi Sedan in red leather and gold”

ROOM 2

Pius VI: The ancient city and the major works

“Allegory of the Museum Pius Clementine in the Vatican” about 1788 by Bernardino Nocchi (1741/1812)

Tempera on canvas model for the decoration of the ceiling of the Sala del Cantone in the Palazzo della Consulta. Painting, Architecture and Sculpture are invited by the Genius of the Arts to visit the Museum Pius Clementine

“Pius VI visiting the Pontine Marshes” 1786 by Abraham Louis Rodolphe Ducros

ROOM 3

The papal court

“Terracotta bust of Cardinal Maurizio of Savoy” 1635 by François Duquesnoy (1597/1643)

“Profile portraits of Innocent XIII Conti (1721/24) and of Cardinal Ludovico Sergardi” after 1724 by Pietro Bracci (1700/73) or Filippo Della Valle (1698/1768)

“Terracotta bust of Innocent XII Pignatelli (1691/1700)” 1694/96 maybe by Domenico Guidi (1625/1701)

“Busto in marmo di Clemente XII Corsini (1730/40)” di Filippo Della Valle (1698/1768)

“The bust, which reveals the sculptor's ability to capture the facial features within the limits of an idealizing style, was placed in 1818 on the Marforio Fountain in Piazza del Campidoglio, under the inscription for the inauguration of the Museum of Sculpture in the Palazzo Nuovo, opened in 1734 by Clement XII” (Sign posted in the museum by the work)

“Marble bust of Cardinal Pietro Ottoboni” 1670/80 maybe by Domenico Guidi (1625/1701)

He was pope for a year and a half with the name of Alexander VIII (1689/91)

“Terracotta Bust of Cardinal Paluzzo Paluzzi degli Albertoni” about 1698 by the Florentine Lorenzo Merlini (1666/1745)

“A stylistic language rich in refined eclecticism, borrowed mainly from the Tuscan and Roman schools. If typical of G.B. Foggini (his Florentine teacher) are, in fact, the shape and the anatomical definition of the figure, typical of Lorenzo Ottoni, leading figure of the Roman sculptural portraiture in the late Baroque age, appear to be the strong expressive characterization of the face, deferential, markedly, to the style common in Rome between Bernini’s death (1680) and the eighteenth century” (Sandro Bellesi - Dizionario Biografico degli Italiani Treccani)

ROOM 4

The papal court

“Corpus Christi procession in St. Peter's Square” about 1646 by an anonymous artist of the seventeenth-century before the construction of the colonnade of Bernini with the bell tower still on the façade

ROOM 5

The papal court

“Portrait of Pope Clement XI Albani (1700/21)” about 1710 and “Innocent X Pamphilj (1644/55) gives the cardinal's hat to the Fabio Chigi future Pope Alexander VII” 1724 by Pier Leone Ghezzi (1674/1755)

“The portrait of Clement XI is considered one of the most significant examples of the portraits of the artist, based on intensive physiognomic characterization, almost caricatured traits, and a search for immediacy of gestures and expressions, accentuated by the rapid treatment of the subject and by the fringed painting” (Brief Guide to the Museum of Rome)

“Portrait of Pope Benedict XIV Lambertini (1740/58) with Cardinal Gonzaga” about 1755 Giovanni Paolo Pannini (1691/1765)

“Portrait of Cardinal Giacomo Rospigliosi” about 1669 maybe by Carlo Maratta (1625/1713)

“Portrait of Cardinal Giovan Francesco Ginetti” about 1681 maybe by G.B. Gaulli aka Baciccio (1639/1709)