BARBERINI PALACE - NATIONAL ART GALLERY (second part)

GALLERIA NAZIONALE D’ARTE ANTICA

Established in 1895 when the collections Corsini and Torlonia were united

It was later enriched by the collections Odescalchi, Hertz and Chigi but without ever finding an appropriate location

It was moved here in 1949 and partially open to the public in 1953

The exhibit was rearranged in 1984 when the works of the Galleria Corsini were take back to their original location in Palazzo Corsini

The collection comprises 1445 paintings and 2067 objects of decorative art

Finally, in 2011 this wonderful museum had a good and extensive exhibition, although not yet complete: nine new rooms were opened on the ground floor, in addition to six other new rooms on the first floor and eleven on the second floor, which, added to the rooms already open, bring the total to THIRTY-EIGHT ROOMS including the Pietro da Cortona Hall, the Marbles Room, the Oval Room and the Corvi Room

It has finally become a wonderful and charming museum

A visit to this museum is a veritable trip in the Italian figurative art history from the Middle Ages to the Enlightenment

GROUND FLOOR

Room I - The Icon and the Crosses

Vault: “Ulysses and the Sirens” about 1670/78 Giacinto Camassei, a relative (perhaps nephew, brother or cousin) of the more famous Andrea Camassei

“Advocate Madonna or Haghiosoritissa” about 1050/75 of Roman school

“Crucifix” about 1250 Simone and Machilone

“Cross painted” end 1100s/begin 1200s by the workshop of Alberto Sotio

“These crosses bear witness to the technical skill of the medieval craftsmen and their workshops, the intimate connection between painting, sculpture and jewelry and the functional relationship with architecture. They also summarize the passage from the iconography of Christ triumphant over cross, according to Western tradition, to the Byzantine one of the dying Christ, spreading to Italy thanks to the Franciscans” (Official website of the Barberini Gallery - www.galleriabarberini.beniculturali.it)

BARBERINI PALACE (first part)

PALAZZO BARBERINI

Via Quattro Fontane 13

Built by incorporating the existing villa of Cardinal Rodolfo Pio da Carpi, later property of the Sforza family and known as Villa Sforza

Cardinal Francesco Barberini bought it from the Sforza family in 1625 and Carlo Maderno (1556/1629) began the construction of the palace in the years 1625/29 by

After the death of Carlo Maderno, Gian Lorenzo Bernini (1598/1680) took over the direction of the work in the years 1629/1633 and retained the original design conceiving, however, the central hall, the windowed loggia and the large square staircase

Francesco Borromini (1599/1667) participated in the works designing two windows in the central part of the top floor, the side wings, some decorative elements and the SPIRAL STAIRCASE

The actual Borromini's contribution to the works led by Bernini, however, is still the subject of academic debate

“The derivation from the windows in the attic of Maderno's façade of St. Peter's is obvious, but the ears-shaped wavy streamers attached to them, as well as the segmented upper part with ends pointing outward with an angle of 45 degrees are characteristic of Borromini's dynamic interpretation of details. Here it is already possible to see the creative force that imparts an inexplicable strength to any shape and configuration” (Rudolf Wittkower)

RAILING 1864 Francesco Azzurri (1831/1901) with TELAMONS by Adamo Tadolini (1788/1868)

The FOUNTAIN in front of the palace is by Francesco Azzurri

In the area of the building the ancient TEMPLE OF QUIRINUS was situated

At the end of the rear ramp “Ruined Bridge” by Gian Lorenzo Bernini and “Bertel Thorvaldsen Monument” (1770/1844) who had his study on the top floor of the former theater from 1822 to 1834

Top floor home of the ISTITUTO ITALIANO DI NUMISMATICA (Italian Institute of Coins)

Villa Savorgnan de Brazzà

1936 Gustavo Giovannoni (1873/1947) and Marcello Piacentini (1881/1960)

Under the villa ruins of rooms of the second century AD in bricks including MITHRAEUM with fresco (the only one painted in Rome together with the one of S. Prisca) with “Mithra slaying the bull” and smaller panels on the sides with scenes of the god's myth

At n°18 in Via Barberini former BARBERINI THEATREThe original theater built in 1634 with a façade by Pietro Da Cortona was destroyed and rebuilt in 1932 by Marcello Piacentini using some original architectural elements

BARBERINI PALACE ON VIA DEI GIUBBONARI

PALAZZO BARBERINI AI GIUBBONARI

Via dei Giubbonari 41

WING FACING VIA DEI GIUBBONARI 1591 by Flaminio Ponzio (1560/1613) for Maffeo Barberini who later became Pope Urban VIII (1623/44) who wanted to enlarge and unite the houses bought in 1581 by his uncle, Monsignor Francesco Barberini constituting the CASA GRANDE BARBERINI

Extension 1623/24 on Via dei Giubbonari by Carlo Maderno (1556/1629) and his colleague Filippo Breccioli (1574/after 1627)

FAÇADE ON PIAZZA DEL MONTE, ATRIUM AND ROOF TERRACE 1638/44 and 1653/58 by Francesco Contini (1599/1669) for Taddeo Barberini

In 1734 Prince Francesco Barberini gave it to the Discalced Carmelites, who transformed the atrium into the Cappella dei Ss. Giovanni Della Croce e Teresa (Chapel of Sts. John of the Cross and Theresa)

In 1759 it was sold to the Monte di Pietà (the central Roman pawnshop), it was extended towards Via dei Pettinari and an arch was built to connect it with the Palazzo del Monte di Pietà

The new atrium and the monumental staircase was designed by Nicola Giansimoni (active since1766/died 1800)

In 1819 twelve granite columns of the chapel were removed and placed in the Braccio Nuovo of the Vatican Museums

In 1870 it became property of the municipality who restored it

It is now the HIGH SCHOOL VITTORIA COLONNA and the ELEMENTARY SCHOOL TRENTO E TRIESTE

“What was notable is that his palace quickly became as an Academy of the most literate people who lived in Rome at the time. There were learned men enjoying virtuous and noble conversations, and also he had his courting of skilled people, not only in the most agreeable and most cultured letters, but in every other discipline and science as well” (Andrea Nicoletti - Life of Pope Urban VIII)

PALAZZO BALESTRA

PALAZZO BALESTRA

Piazza Ss. Apostoli 49

1644 maybe Mattia De Rossi (1637/95) for the Marquis G.B. Muti Papazzurri

It was known as Palazzo Muti-Papazzurri until it was acquired in the nineteenth century by the Balestra family

Now it is property of the insurance company RAS

The Stuart family lived there from 1718 to 1807, including the pretender to the throne of England James III Stuart (1688/1766)

Here the last representative of the family died in 1807, the Cardinal Henry Stuart duke of York, son of James III, the fourth and final “Jacobite” (i.e. the Catholic line of the Stuart family) pretender to the throne of England, Scotland and Ireland

He would have been called Henry IX

The Stuart family reigned over Scotland from 1371 to 1707 and over England, Scotland and Ireland from 1603 to 1707

BALEANI PALACE

PALAZZO BALEANI

Via Larga/Corso Vittorio Emanuele II 244

1627/28 maybe by Francesco Peparelli (active since 1626/d. 1641) with original FAÇADE ON VIA LARGA which was opened in 1630 opposite the Chiesa Nuova

Formerly known as Palazzo Cerri and Palazzo Caucci

FAÇADE ON CORSO VITTORIO EMANUELE II rebuilt in 1922 by Pietro Romagnoli who demolished the block with the exception of Francesco Paparelli's seventeenth-century wing and rebuilt one office building that took up the seventeenth-century façade design with the technique of “fake antique”

Now is the headquarters of CIMS, Centro di Ricerca per le Malattie Sociali (Research Center for Social Diseases) of La Sapienza University

BALDASSINI PALACE

PALAZZO BALDASSINI

Via delle Coppelle 35

1514/20 early masterpiece by Antonio Cordini aka Antonio da Sangallo the Younger (1483/1546) for the jurist Melchiorre Baldassini

It was later became property of the Palma family and the name changed to PALAZZO PALMA

Giuseppe Garibaldi stayed there in 1875

Now is the headquarters of the ISTITUTO LUIGI STURZO who had the building restored

Luigi Sturzo (1871/1959) was an Italian priest and politician, founder of the Italian Popular Party in 1919. He vigorously opposed Mussolini

Under the loggia in a metope there is the depiction of an elephant, Annone. The elephant really existed and was given in 1513 as a gift to Leo X (1513/21) by the king of Portugal Manuel de Aviz

Annone became an exotic celebrity in Rome, but died after three years and, apparently, he was buried at the Vatican

GROUND FLOOR

Vault with “Grotesque” 1517/19 by Giovanni Ricamatore aka Giovanni da Udine (1487/1564)

FIRST FLOOR

Friezes and frescoes by Pietro Bonaccorsi aka Perin del Vaga (1501/47) and Giovanni da Udine

ASTALLI PALACE

PALAZZO ASTALLI

Via S. Marco 8

Built at the end of 1500s for the Muti family

It was bought by the Astalli family who had it expanded from 1642 onwards by Giovanni Antonio De Rossi (1616/95)

It was completed in 1698 after the De Rossi's death

In 1827 it became the seat of the Reverenda Fabbrica di S. Pietro (Reverend Factory of St. Peter's Basilica), the institution that takes care of St. Peter's Basilica

1930/32 significant changes that reduced the building: the façade of Via S. Marco was demolished and rebuilt further back for the widening of the street, the façade of Via Aracoeli was shortened and the roof terrace was rebuilt

On the front overlooking Via S. Marco now there are only seven windows whereas before 1930 there were ten

The great ballroom also ended up being destroyed, where memorable carnival dancing parties used to be held. Some frescoes were removed and are now kept in the Museum of Rome

VATICAN CITY APOSTOLIC PALACE

PALAZZO APOSTOLICO DI CITTÀ DEL VATICANO

Città del Vaticano

Current residence of the pope, also known as the Palazzo Sistino (Sistine Palace), designed by Domenico Fontana (1543/1607) for Sixtus V Peretti (1585/90)

In this palace however, neither Sixtus V nor his successors for three centuries, would put a permanent abode preferring other residences, particularly the Palazzo del Quirinale (Quirinal Palace)

The pope’s bedroom is at the right corner on the top floor of the building, next to the private study from which he appears for his Sunday Angelus prayer. The window from which he appears is the second from the right

The pope appears in the central balcony of St. Peter's Basilica only on the day of his election, on Christmas, Easter and when he proclaims new saints

On the east side of the top floor there are in succession: bathroom, dental studio, dining room and kitchen. In the penultimate floor is the ceremonial apartment

Pope Francis (2013) decided not to use the Apostolic Palace as his home preferring to live in the Casa di S. Marta. He uses it only for ceremonial purposes

TORRIONE DEGLI SVIZZERI (Tower of the Swiss)

To the northeast of the building

1447/48 maybe by Antonio da Firenze o Bernardo Rossellino (1409/64) for Nicholas V Parentucelli(1447/55)

Originally the height was about 50 m (146 feet), but in 1454, perhaps because of the excessive height, the foundations gave way. It remains today only the much restored lower part

Now the tower is the seat of the Vatican bank, the ISTITUTO OPERE DI RELIGIONE (IOR) or the Institute for Works of Religion). In here work most of the about 110 employees of the bank

ANTONELLI PALACE

PALAZZO ANTONELLI

Largo Magnanapoli 158

Built in the sixteenth century. The exact date and the name of the architect are unknown

Renovated 1854/69 by Andrea Busiri Vici (1818/1911) for Cardinal Giacomo Antonelli, who never actually lived here, preferring his other palace on Via di Monserrato now known as Palazzo Capponi Antonelli

It was used to store the valuable and rare collection of sixteenth century precious stones owned by the family

It was also renovated in 1875 for the opening of Via Nazionale when the garden ended up being wiped out

Now there are offices of the Bank of Italy, which owns the property

At the end of the atrium there is a section of the Servian Wall dating back to 378 BC with an arch of tufa blocks forming part of a room for ballistic catapults

ALTIERI PALACE

PALAZZO ALTIERI

Piazza del Gesù 49

1650/55 masterpiece by Giovanni Antonio De Rossi (1616/95) with Mattia De Rossi (1637/95) for Cardinal G.B. Altieri

With the election of Emilio Altieri as Pope Clement X (1670/76) widening and completion by De Rossi with the purchase of adjacent houses, except that of a lady known as “Mrs. Bertha” who refused to sell her house to the pope and ended up having it surrounded and incorporated in the palace

Renewed later by Alessandro Speroni, Clemente Orlandi (1694/1775) and, in the years 1787/94, by Giuseppe Barberi (1746/1809) for the Paluzzi Albertoni family

“The rooms were architecturally and decoratively executed from projects and under the direction of Barberi, who tempered the eighteenth century style with a wonderful pre-neoclassical taste. For exquisite elegance, proportions, color harmony and refinement we do not know in Rome any example of a higher quality of interior architecture in the second half of the eighteenth century. The work (...) gives the idea of the balance, great inventive and artistic capability of Barberi, who, succeeded as architect of the Altieri to Clemente Orlandi, began work as early as February 1787, directing operations for seven years” (Andrea Busiri Vici - Dizionario Biografico degli Italiani Treccani)

It is currently a building occupied in part by the Italian Banking Association ABI, and by other two banks FINNAT and Banca Popolare di Novara, in part by private owners including descendents of the Altieri, whose direct line became extinct in 1955

Here lived the writer Carlo Levi

The actress Anna Magnani lived in the attic for 20 years and died there in 1974

STAIRCASE

Statue of “Barbarian prisoner” found at the Theatre of Pompey

ANTECHAMBER OF THE HALL

In the vault spectacular “Apotheosis of Romulus” 1676 by Domenico Maria Canuti (1626/84) in a quadrature by Enrico Haffner (1640/1702)

HALL OF THE HEARINGS OR OF THE CLEMENCY

In the vault “Triumph of Mercy” or sacred and Christian Rome accompanied by Peace and Virtue crowned by Honour during the reign of Clement X 1674/77 by Carlo Maratta (1625/1713)

“Maratta wished to restore the autonomous nature of the painted surface: once more the painting is framed in a clear and simple way. He also wanted to restore the autonomy of the individual figure. He returned to the classic principle of composing with a few figures and with an evenly lit palette that invites you to focus attention on the figure designed plastically, on its attitude and gestures. He almost abandons upside down perspectives, but, characteristic fact, he doesn't rediscover either the austere classicism of the set out framework of early Baroque. Moreover, his figures are themselves more baroque and less Raphael-like than he liked to believe. Maratta had gone quite forward towards the reconciliation of two opposing tendencies, the baroque and classical. He followed a nice middle ground” (Rudolf Wittkower)

APARTMENTS

Vaults and lunettes painted by Salvator Rosa (1615/73), Felice Giani (1758/1823), Cristoforo Unterberger (1732/98) and Francesco Cozza (1605/82)

ROOM OF THE MOSAIC

Cabinet in the apartment of Prince Paluzzo Altieri

In the vault painting “Apotheosis of Romulus” by Stefano Tofanelli (1752/1812)

Above the doors “Scene of the Rape of the Sabines” of four important painters of the second half of 1700s: Giuseppe Cades (1750/99), Francesco Manno (1752/1831), Anton von Maron (1733/1808) and Antonio Cavallucci (1752/95)

On the floor “Mosaic of Mars and Rhea Silvia” found in Ostia Antica in 1783

HALL OF MIRRORS

In the vault “Chariot of the Sun” 1675 by Fabrizio Chiari (about 1615/95) and paintings by Giuseppe Cades and Salvator Rosa

“Landscapes” 1794/95 by Giuseppe Barberi (1746/1809) and Francesco Di Capua

LIBRARY

Now it is the Altieri family archive

“Bust of Pope Clement X” by Gian Lorenzo Bernini (1598/1680) with spectacular curtain stucco supported by angels in flight by Giacomo Filippo Schor son of Giovanni Paolo Schor

ALTEMPS PALACE - NATIONAL ROMAN MUSEUM (fifth part)

Other Rooms on the First Floor

ROOM OF THE SMALL LUDOVISI SARCOPHAGUS

“Small Ludovisi Sarcophagus” 170/180 with the representation of a Roman victory

Compared to the Large Ludovisi Sarcophagus images are more adherent to the Hellenistic tradition

The dating is due to similarity with reliefs of the Column of Marcus Aurelius. The hole in the left side was done when the sarcophagus was used as a basin for a fountain

“Two reliefs”

“Base with inscription” or Julia Heuresis' Altar

“Man with toga sitting” is perhaps the poet Menander

It is signed by Zenon son of Attinas from Aphrodisias in the region of southwestern Turkey known as Caria. The head is ancient but not relevant

“Relief Salio Knight” second century AD

“Trophy with captives” about 195

ROOM OF THE OBELISKS

Muse “Urania” first century AD and “Calliope” 117/138, respectively, muse of astronomy and epic poetry, maybe from original of the second century BC by Philiskos of Rhodes

“Pan and Daphnis” first century AD from an original of about 100 BC by Heliodoros of Rhodes

The heads were carved during the eighteenth century restoration. The satyr Pan taught to play the syringe to the young shepherd Daphnis

“Satyr and Nymph” end of the second century BC

The face of the satyr was attributed to Gian Lorenzo Bernini for the comparison with Dionysian work of his at the Metropolitan Museum in New York

“Dadophorus” restored by Alessandro Algardi

ROOM OF THE DUCHESS

Private living room of the Duchess Isabella Lante Altemps, who married the Duke Pietro in 1636

Frieze “Mythological episodes, including Galatea on chariot pulled by dolphins” 1654 by Giovanni Francesco Romanelli (1610/62) from Viterbo a pupil of Pietro da Cortona

“Crouching Aphrodite” Hadrian's period from the original by Doidalsas

“Eros and Psyche” pastiche by Alessandro Algardi who combined two statues of two different periods

“Putto with a towel”

“Female Bust”

ANTECHAMBER OF THE DUCHESS

Remains of the frieze by Polidoro Caldara aka Polidoro da Caravaggio (about 1495/1543) and Maturino da Firenze (?/1528) detached from one of the external façades of the palace

“Shortly after Polidoro's departure from Rome because of the Sack of Rome in 1527, Maturino die for the plague. Notwithstanding the early ending of the Roman activity of the two artists, their influence on the younger generations, even on masters active long afterwards such as Pietro da Cortona, didn't die down. The fact itself that their works were visible by everybody and were perhaps the highest note in the image of the new Rome contributed substantially to their popularity: as education tools for young artists their works seemed to be particularly fitting because, better than many others, would show how models derived from antiquity could be useful for modern painting” (Hermann Voss)

“Aphrodite to the bathroom” I sec. B.C. original by Doidalsas

“Child with Goose” Hadrian's period (117/138)

“Spiral column” on “Altar of Cecilius Gorgonius”

ROOM OF BACCHUSES

“Satyr pouring”

“Dionysus”

“Modern Dionysus”

“Bust of archaic Egyptian pharaoh” third century BC

HALL OF THE APIS BULL

“Ox Apis” second century BC also known as Torello Brancaccio

“Statue of Pharaoh” third century BC

Relief from Ariccia with “Isiac procession and Ox Apis”

“Statuette of Isis”

“Headless statue of a priestess”

HALL OF THE SANCTUARY OF JANICULUM HILL

Statue of “Osiris Chronocrator”

“Jupiter enthroned like Hadad”

“Statue of Dionysus”

ROOM OF THE CLERGY OF ISIS

“Two portraits”. “Hairstyle”. “Altar”. “Candelabra”

ROOM OF THE ISEUM SERAPEUM IN CAMPUS MARTIUS

“Relief from Behbeit el-Hagar temple” found in Via S. Caterina da Siena, where the Iseum Campensis (Temple of Isis) once stood

“Lion” and “Sphinx” fragmentary

“Torso of Pharaoh”

“Head of a priest of Isis”

ROOM SO-CALLED D’ANNUNZIO

Only room of the palace with preserved eighteenth-century ambience

The Italian poet Gabriele D'Annunzio married the last member of the Altemps family

“Statue of Isis” found in Passo Corese and “Head of Isiac priestess”

ROOM OF SERAPIS AND OF THE ROMAN EMPERORS

“Bas-relief with Nero's royal couple as Pharaoh”

“Statue of Serapis seated”

“Two heads of Serapis”

“Head of a priest of Isis”

VESTIBULE ENTRANCE TO THE APARTMENT OF ROBERTO ALTEMPS

“Mattei Herm”

HALL OF PORTRAITS OF THE APARTMENT OF ROBERTO ALTEMPS

“Six Heads” and “Two busts” of emperors, philosophers and heroes

“Funerary reliefs of the Republican period”

“Front of a sarcophagus with scenes of Roma origin” age of Antoninus Pius

“Capital with winged victories and decorations” 306/337 from the Baths of Caracalla

At the center of the dining table with the medals of Victor Emmanuel II

ALTEMPS PALACE - NATIONAL ROMAN MUSEUM (fourth part)

ANTECHAMBER OF THE FOUR SEASONS

Frieze with “Landscapes” maybe by Antonio Viviani aka il Sordo (1560/1620) pupil of Federico Fiori aka Barocci

“Head of Hera” second or first century BC

Beautiful “Head of Heracles” first century AD

“Fragment of a sarcophagus with the myth of Phaedra” third century AD

BEDROOM OF THE CARDINAL

Frieze “Battle scenes” painted in tempera in the seventeenth century by Francesco Allegrini (1587/1663) designed by Antonio Tempesta (about 1555/1630)

“Dionysian mask” in ancient red marble, probably part of a fountain

Heads “Igea” and “Attis”. “Sarcophagus with Judgement of Paris”, all statues of the Hadrian's period (117/138)

The head of Attis originally represented Athena and the Phrygian cap was added by the restorer

STUDIO OF THE CLEMENCY

In the vault “Life of the Virgin Mary” 1590 Vitruvio Alberi (active 1575/died after 1590)

“Base with winged dancers” of the Augustan period

PAINTED LOGGIA OR GALLERY

In the vault “Pergola with animals and fruits some of which exotic” 1595 Vitruvio Alberi, Pasquale Cati and Antonio Viviani aka il Sordo (1560/1620)

The fountain dates back to 1594

“Twelve portraits of Caesars” including Nerva, Antoninus Pius and Tiberius

PARTY ROOM OR FIREPLACE ROOM

Martino Longhi the Elder (1534/91) who also designed the fireplace

“Galatian's suicide with his wife” copy from a bronze original of the period of Julius Caesar found in the Villa Ludovisi gardens formerly Gardens of Sallust

It is part of the sculptural group that was in turn part of the votive offering dedicated by Attalus I (240/197 BC) in the sanctuary of Athena Nikephoros at Pergamon to mark the victory of 228 BC on Galatians

According to Filippo Coarelli the group included also the Dying Gaul in the Capitoline Museums, whose base fits perfectly in the one of the Galatian Suicide. The group was completed by another statue of Dead Galatian Woman with Child

The arm that holds the sword is restored but the original had the opposite direction and also the original left arm of the woman had to be more realistically lower

“The whole figure is crossed by a dynamic twist drill which starts from the right foot, spread through the legs, very wide apart in a direction oblique to the axis represented by the torso and ends with the head turned in the opposite direction of the upwards torsional movement. The elegant execution of the bodies and the intense expression of suffering make this a sculptural group one the dramatic masterpieces of the Hellenistic age” (Lucio Fiorini - TMG)

“Large Ludovisi Sarcophagus” about 250, with battle between Romans and barbarians

“The all classical attention for the analysis of individual figures and the refinement of their specific articulation, surely connected with Attic experiences, oversees the composition to give maximum relief to the figure of the deceased in arms, but at the same time results in a vibrant and exciting overall effect that denies any spatial naturalistic space” (Gian Luca Grassigli - TMG)

“Bust of Mars” second century AD with bust added in 1500s

“Ludovisi Fury” maybe fragment of Dead Galatian Woman with Child belonging to the group of Attalus I

Chiesa di S. Aniceto

St. Anicet's Church

Begun in 1603 at the behest of Giovanni Angelo Altemps son of poor Roberto, the only church with a tomb of a pope in a private home

S. Aniceto (155/166) was the eleventh pope and his body was found in 1602 in the Catacomb of St. Sebastian

On the walls

“Stories of St. Anicet” with inspiration from the martyrdom by beheading of Roberto Altemps by Antonio Circignani aka Pomarancio (about 1568/1629), son of Niccolò Circignani

Vault

“Glory of St. Anicet” and “Angels bearing palms on the left and instruments of torture on the right” by Polidoro Mariottini

Reliquary of 1612 with the relics of Sts Anicet, Zosimus and Famianus in an “Ancient yellow Urn” which, according to tradition, contained the bones of Alexander Severus (222/235)

Behind “Cycle of oil paintings about St. Anicet” 1612 Ottavio Leoni (1578/1630)

OCTAGONAL CHAPEL AND SACRISTY

Wooden door with incredible security lock

CHAPEL OF St. CHARLES BORROMEO

Fragment of St. Charles Borromeo's vestment, musical scores late 1500 and early 1600 written for the Church of St. Anicet