Friday, June 17, 2016


Room of the War Column

In the middle of the room there is a column of rosso antico (antique red) marble symbol of the family
On the steps cannonball fired by the French in 1849 and left there where it fell
Vault “Apotheosis of Marcantonio II Colonna” 1700 masterpiece by Giuseppe Chiari (1654/1727)
“Madonna and Child, St. Peter and donor” by Jacopo Negretti aka Jacopo Palma the Elder (about 1480/1528)
“Rape of the Sabine Women” and “Peace between Sabines and Romans” by Bartolomeo di Giovanni (about 1458/1501)
“Venus, Cupid and Satyr” by Agnolo di Cosimo Tori aka Bronzino (1503/72)
“Here the cartoon of Venus by Michelangelo, which may have given the initial impetus to these representations plays a greater role than in the two previous versions, now in Budapest and London. (...) In this painting the attitude of Venus is very forced, and Bronzino couldn't even resist to use the eye-catching diagonal effect (the Z line drawn from the upper arm and the lower arm of Venus). But the main group, compared to the London painting, is greatly simplified and the whole composition is represented in a more clear and unified way. And this time the satyr is not an allegorical unreal figure, but a very credible being in the flesh, whose grimace on the face is so naturalistic to appear almost repellent” (Hermann Voss)
“The Night”, “The Dawn” and “Venus and Cupid” by Michele di Ridolfo del Ghirlandaio
“Narcissus at the spring” by Jacopo Robusti aka Tintoretto (1518/94) landscape background of the canvas attributed to Pauwels Franck (Paolo il Fiammingo) (about1540/96)
“Portrait of Cardinal Pompeo Colonna” maybe by Lorenzo Lotto (about 1480/1556)
“The Holy Spirit worshiped by a family” by Domenico Robusti aka Tintoretto (1560/1635) son of the more famous Jacopo Robusti aka Tintoretto
“Portrait of St. Pius V Ghislieri (1566/72)” and “Portrait of Marcantonio II Colonna” by Scipione Pulzone (about 1550/98)
“Everyone praised in the paintings of Pulzone the incredible precision in imitation of details, for example the reflection of the frame of the windows in the eyes' pupils, the accuracy of the representation of hair and so on. His real artistic qualities are of course others, especially the interpretation and casual and non-rhetoric characterization of the human personality, the noble tranquility of the naturally distinct attitude that he knew how to give to his models” (Hermann Voss)
“The Temptation of St. Anthony” maybe by a follower of Hieronymus Bosch

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