Friday, January 15, 2016


Room VIII - The Wandering and Visionary Renaissance Style of Pedro Fernandez

Vault: “Orpheus taming animals with music” by Camillo Spallucci (1582/1605)
“Vision of Blessed Amedeo Menez de Sylva” about 1514 Pedro Fernandez de Murcia (active 1503/23)
The painting was kept in the Church of the Hermitage in Montorio Romano in Sabina, where the Franciscan mystic had his visions
“The artist in the representation of the heavenly temple architecture is clearly inspired by Donato Bramante, author of the temple built on the Janiculum Hill, at the legendary site of the crucifixion of St. Peter, and the cave where the same Amedeo in Rome since 1472, spiritual dialogue with the Archangel Gabriel. Pedro Fernandez joined in this model the stimuli received by Leonardo, evident in the faces of some people characterized, and Raphael, in the composition reminiscent of the Dispute of the Sacrament in the Vatican Stanze” (Official Web Site Barberini Gallery -
“Weeping Madonna” by anonymous Flemish-Neapolitan artist
“St. Sebastian and St. Catherine” by the Neapolitan Francesco Pagano (1471/92)
Room IX - Details of Reality and Soul. The Northern Painters
Vault: “Orfeo ed Euridice” by Camillo Spallucci (1582/1605)
“Pilgrims on the tomb of St. Sebastian” about 1498 by Josse Lieferinxe (active 1493/1508) from Provence
The painting has also a documentary value because it shows the Basilica of St. Sebastian with a thirteenth-century ciborium now disappeared, as well as the custom of pilgrims to put their bandages in contact with the relics of the saint
“Crucifixion” maybe second half of 1400s by Simon Marmion (about1425/89)
“Nativity and Presentation in the Temple” early 1500s by an anonymous Flemish artist
“Portrait of the Bride” and “Portrait of the bridegroom” 1640 by Jan Cornelisz Verspronck (about 1607/62)
“The Flemish portraits of the seventeenth century that have a dedicated wall in the room date to a later period, but they belong to same culture of the Nordic region. The contrast of the 'non colors' black and white of the laces and of the dress emphasizes the spirit of Dutch portraiture of the period. Despite the wealth and status of the middle class clients, the characters express the moral qualities of dignity and industriousness” (Official website of the Barberini Gallery -

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