Monday, March 27, 2017

FARNESE PALACE (third part)

Camerino (Dressing Room)
First to be painted for Cardinal Odoardo Farnese with “Scenes of the myths of Hercules, Odysseus and Perseus” 1595 by Annibale Carracci who followed the theme of “The Virtues prevails over Vice” thought by the humanist Fulvio Orsini
The central painting “Hercules at the Crossroads” is at the Museum of Capodimonte in Naples
“Like any great artist, Annibale created something completely new in comparison to his models; he joined the nuanced of Correggio and the warm tonal values of the Venetians to the austere compositions and figurative concepts of late Renaissance in Central Italy, while at the same time, he knew how to give his figures sculptural qualities and plasticity one would seek in vain during the late Renaissance” (Rudolf Wittkower)
Hall of Hercules
Wooden ceiling by Jacopo Barozzi aka Vignola (1507/73) who also designed the polychrome fireplace
On either side of the fireplace statues “Abundance” and “Peace” 1555/75 by Guglielmo Della Porta (1515/77) for the tomb of Pope Paul III in the apse of the Basilica of St. Peter, but never put in place because, as Vasari wrote, “They left to be desired in chastity
Chamber of the Cardinal
1547 frieze by Daniele da Volterra (1509/66)
Hall of the Farnese Glory
Great mannerist frescoes:
“Celebration of the greatness of the Farnese family: deeds of Paul III (pope of the Council of Trent and peace of Nice between Charles V and the French King Francis I) and celebration of Ranuccio the Elder (represented in the guise of Aeneas) and Peter V Farnese” 1522/56 by Francesco de' Rossi aka Francesco Salviati (1510/63)
“Here for the first time Salviati represented stories with costumes of his time, and we must admit that, despite all the exaggerations of his style of the late period, here dominate a grandeur and a pathos never achieved by any Florentine artist. The walls with frescoes are two, both divided by the same system: in the center, a figure on a throne with chained slaves (...), above, a canopy with allegories full of figures, on the sides, historical scenes, and as a crowning frieze, the usual naked bodies on their knees with medallions and festoons of fruit” (Hermann Voss)
The paintings were completed in 1563 by Taddeo Zuccari (1529/66)
Cultural institution located on the top floor since 1875
“Boundary stone limiting the Tiber” with the name of the censors of 54 BC
Remains of large public buildings in brick with three phases of construction of which the second, Domitian, is the most important
“Mosaics of desultores (acrobats) on horseback” in relation to the near Tarentum and to the Stabula factionum the stables of the four teams of charioteers two of which were in the vicinity
The Veneta (blue) was in the area of Piazza Farnese and the Prasina (green) in the area of S. Lorenzo in Damaso

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