Friday, October 14, 2016

QUIRINAL PALACE (second part)


In the palace there are:
261 tapestries, Italian, Flemish and French, one of the most important collections in the world
About 38,000 pieces of porcelain
About 300 pre-1800s paintings including works by:
Giulio Pippi aka Giulio Romano (1499/1546), Simon Vouet (1590/1649), Francesco Mancini (1679/1758), G.B. Gaulli aka Baciccio (1639/1709), Jacques Courtois aka Borgognone (1628/79), Giovanni Lanfranco (1582/1647), Pietro Berrettini aka Pietro da Cortona (1597/1669), Carlo Maratta (1625/1713) and Pompeo Batoni (1708/87)
About 1900 paintings, drawings and sculptures from the 1800s and 1900s including:
Sculpture “Sad Peri” 1870 by Odoardo Tabacchi (1831/1905) and works by Giovanni Maria Benzoni (1799/1873), Giacomo Balla (1871/1958), Arturo Martini (1889/1947), Mino Maccari (1898/1989), Mario Sironi (1885/1961), Mario Mafai (1902/65), Giacomo Manzù (1908/91), Fausto Pirandello (1899/1975), Giuseppe Capogrossi (1900/72), Alberto Ziveri (1908/90), Felice Casorati (1883/1963) and Francesco Trombadori (1886/1961)
Porch with left wing 1589 by Domenico Fontana and right wing 1605/09 by Flaminio Ponzio
Clock with six hours in the Roman way with mosaic 1696 by Giuseppe Conti from a Carlo Maratta painting now in the storage of the Vatican Museums
Fragment of fresco “Christ in Glory” from the apse of the Basilica of the Holy Apostles by Melozzo degli Ambrosi aka Melozzo da Forlì (1438/94)
Designed by Carlo Maderno
Large frieze “Ambassadors from all over the world” and round panels “Stories of Moses” 1616/17 by Agostino Tassi (1578/1644), Giovanni Lanfranco (1582/1647) and Carlo Saraceni (1579/1620) with the collaboration of Alessandro Turchi aka Orbetto (1578/1649), Giovanni Antonio Galli aka Spadarino (1585/about 1653) and Fra' Paolo Novelli with the painted cornice recovered during the 2006 restoration
“The decorative frame of the frieze designed by Tassi in its abundant organization on the short walls reveals his Florentine late mannerist education, whilst the prospects that are opening in imaginary rooms on the long walls show that he was influenced by the illusionism of northern Italy. It is not easy to establish as Lanfranco and Saraceni had divided the work of figures and scenes: we are confronted with an entente cordiale (friendly understanding) between a pupil of Carracci and a follower of Caravaggio under the direction of a Roman who had studied in Florence. One can add that rarely a Caravaggio follower was considered able to carry out jobs for public frescoes of this kind” (Rudolf Wittkower)
Large lunette relief brought here from the Gregorian Chapel of the Basilica of St. Peter in 1619 with “Washing of the Feet” 1578 by Taddeo Landini (about 1550/96)

“Angels” over the lunette on the left by Guillaume Berthelot (about 1570/1648) and on the right by Pietro Bernini (1562/1629)

French tapestries “Cupid and Psyche” and “Don Quixote” of the eighteen century

“Coat of arms of Italian cities” about 1880 by Gaetano Lodi
In the splays of the windows “Grotesque” by Annibale Duranti

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