Friday, January 30, 2015


1786/94 Giuseppe Camporese (1763/1822) with walls covered in Carrara marble

Camporese was a pupil of Pasquale Belli and member of an important family of architects working in Rome and Lazio
At the age of 23 he was appointed papal architect and when a year later, in 1787, Michelangelo Simonetti died, he replaced him as the Chamber Architect of Pius VI
He also designed in the 1786 the ATRIO DEI QUATTRO CANCELLI (Atrium of the four gates) downstairs, which used to be the place of access to the Vatican Museums

In the center “Marble chariot” 1788 by Francesco Antonio Franzoni (1734/1818) who adapted and completed the horse on the right and the chariot of the first century AD
The chariot was maybe originally part of a votive offering and it was used as the Episcopal throne in the Basilica of St. Mark

“Five sarcophagi for children” II/III century with cupids racing chariots in the circus

From the right:

“Bearded Dionysus aka Sardanapallos” first century AD from original of the end of the fourth century BC by an artist of Praxiteles' circle
The Greek inscription dates to a later period

“Statue of an old Roman man toga-draped and sacrificing” by a Greek artist of the Hadrian's period (117/138 AD) with Roman head first century BC not relevant

“Discus thrower preparing to launch” early imperial period from a bronze original by Nausides, son of Polykleitos of Argos

“Hermes” from an original of the fifth century BC with head not relevant, copy of a portrait of late fifth or early fourth century BC of the Greek strategist Phocion

“Discus thrower throwing the disc” of Hadrian's period from the original by Myron of Eleutherae (about 500/440 BC), from Hadrian's Villa

“Based on a reproduction of the statue with an inscription 'Hyakinthos' in a gem, now preserved in the British Museum, Lippold wanted to acknowledge in the discus thrower the Spartan hero loved by Apollo, whom he accidentally killed while training in the discus throw. The hypothesis, however, more credited nowadays, is Fuchs' according to which the discus thrower would not be a mythical figure, but only a victorious athlete in this event, to whom his polis (city) would have dedicated a statue, according to a widespread custom in Greece” (Brunella Germini)

“Sextus of Chaeronea” stoic and teacher of Marcus Aurelius with head not relevant

Below “Sarcophagus with the contest between Pelops and Oenomaus” about 160

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