Sunday, June 12, 2016



The collection was put together from 1650 by Cardinal Girolamo I Colonna (his grandfather was Marcantonio II Colonna the victor of Lepanto)
It was continued from 1666 by his nephew Grand Constable Lorenzo Onofrio Colonna and by his son Filippo II Colonna, who inaugurated the gallery in 1703
The building of the gallery was begun in 1654 by Antonio Del Grande (about 1625/79)
A document written by Antonio Del Grande mentions a collaboration with Gian Lorenzo Bernini (1598/1680) but the active presence here of the great genius of Baroque art is not otherwise documented
Continued in the years 1693/1703 by Girolamo Fontana (1668/1701)

“It is the most spectacular work designed by Antonio Del Grande in the palace, which was gradually assuming the form of a huge complex with several courtyards, for which only in the eighteenth century, with the intervention first of Nicola Michetti, and then of Paolo Posi, there will be attempts to impose uniformity. The gallery (...) will be finished by Girolamo Fontana, but the wide body, divided into three spaces by two pairs of free Corinthian columns, demonstrates the ability of Del Grande to interpret courtly themes avoiding any rhetorical excess” (Manfredo Tafuri - Dizionario Biografico degli Italiani Treccani)
The 210 paintings dating from the fifteenth to the eighteenth century and the about 150 sculptures mostly ancient are shown to the public for one morning a week since the seventeenth century
“Isabella Colonna Salviati” by Pompeo Batoni (1708/87)
“St. Julian Hospitaller” maybe by Pietro Bonaccorsi aka Perin del Vaga (1501/47)
“Christ Crowned with Thorns” by Francesco Trevisani (1656/1746)
“Vision of St. Jerome” by Pier Francesco Mola (1612/66)
“Time steals away beauty” by Giuseppe Cesari aka Cavalier d'Arpino (1568/1640)
“He stands out thanks to a sensibility, become rare, for noble tranquility and grandeur. In contrast to the broken lines of the Zuccaris' school, he loves long lines that runs uninterrupted, with a distinctly melancholy ductus. In line with this approach, in him the modeling of bodies and of drapery does not show, as in his predecessors, the absolute tension toward a strong plastic fullness, but instead something consciously superficial. (...) Even in chiaroscuro, however treated with great care, he does not seek, as it happened for example in the school of Barocci, a surprising effect in patches, but he puts larger areas of well shaded tones alongside each other. Thanks to these qualities, Cavalier d'Arpino's works have an aristocratic touch” (Hermann Voss)

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