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
“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
“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
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