ROOM OF THE SMALL
LUDOVISI SARCOPHAGUS
“Small Ludovisi Sarcophagus” 170/180 with the representation of a Roman
victory
Compared to the Large
Ludovisi Sarcophagus images are more adherent to the Hellenistic tradition
The dating is due to similarity
with reliefs of the Column of Marcus Aurelius. The hole in the left side was
done when the sarcophagus was used as a basin for a fountain
“Two reliefs”
“Base with inscription”
or Julia Heuresis' Altar
“Man with toga sitting” is perhaps the poet Menander
It is signed by Zenon son of Attinas from Aphrodisias in the region of
southwestern Turkey known as Caria. The head is ancient but not relevant
“Relief Salio Knight” second century AD
“Trophy with captives”
about 195
ROOM OF THE OBELISKS
Muse “Urania” first century AD and “Calliope” 117/138, respectively, muse of astronomy and
epic poetry, maybe from original of the second century BC by Philiskos of
Rhodes
“Pan and Daphnis” first century AD from an original of about 100
BC by Heliodoros of Rhodes
The heads were carved
during the eighteenth century restoration. The satyr Pan taught to play the
syringe to the young shepherd Daphnis
“Satyr and Nymph” end of the second century BC
The face of the satyr
was attributed to Gian Lorenzo Bernini for the
comparison with Dionysian work of his at the Metropolitan Museum in New York
ROOM OF THE DUCHESS
Private living room of
the Duchess Isabella Lante Altemps, who married the Duke Pietro in 1636
Frieze “Mythological episodes, including Galatea on chariot
pulled by dolphins” 1654 by Giovanni
Francesco Romanelli (1610/62) from Viterbo a pupil of Pietro da Cortona
“Crouching Aphrodite” Hadrian's period from the original by
Doidalsas
“Putto with a towel”
ANTECHAMBER OF THE
DUCHESS
Remains of the frieze
by Polidoro Caldara aka Polidoro da Caravaggio
(about 1495/1543) and Maturino da Firenze
(?/1528) detached from one of the external façades of the palace
“Shortly after
Polidoro's departure from Rome because of the Sack of Rome in 1527, Maturino
die for the plague. Notwithstanding the early ending of the Roman activity of
the two artists, their influence on the younger generations, even on masters
active long afterwards such as Pietro da Cortona, didn't die down. The fact
itself that their works were visible by everybody and were perhaps the highest
note in the image of the new Rome contributed substantially to their
popularity: as education tools for young artists their works seemed to be
particularly fitting because, better than many others, would show how models
derived from antiquity could be useful for modern painting” (Hermann Voss)
“Aphrodite to the bathroom” I sec. B.C. original by Doidalsas
“Child with Goose” Hadrian's period (117/138)
“Spiral column” on “Altar of Cecilius Gorgonius”
ROOM OF BACCHUSES
“Bust of archaic Egyptian pharaoh” third century BC
HALL OF THE APIS BULL
“Ox Apis” second century BC also known as Torello
Brancaccio
“Statue of Pharaoh” third century BC
Relief from Ariccia
with “Isiac procession and Ox Apis”
“Statuette of Isis”
“Headless statue of a
priestess”
HALL OF THE SANCTUARY
OF JANICULUM HILL
Statue of “Osiris Chronocrator”
“Statue of Dionysus”
ROOM OF THE CLERGY OF
ISIS
“Two portraits”. “Hairstyle”.
“Altar”. “Candelabra”
ROOM OF THE ISEUM SERAPEUM
IN CAMPUS MARTIUS
“Relief from Behbeit el-Hagar temple” found in Via S. Caterina da Siena, where the
Iseum Campensis (Temple
of Isis) once stood
“Lion” and “Sphinx”
fragmentary
“Torso of Pharaoh”
“Head of a priest of
Isis”
ROOM SO-CALLED
D’ANNUNZIO
Only room of the
palace with preserved eighteenth-century ambience
The Italian poet Gabriele
D'Annunzio married the last member of the Altemps family
“Statue of Isis” found in Passo Corese and “Head of Isiac
priestess”
ROOM OF SERAPIS AND OF
THE ROMAN EMPERORS
“Bas-relief with
Nero's royal couple as Pharaoh”
“Statue of Serapis
seated”
“Head of a priest of
Isis”
VESTIBULE ENTRANCE TO
THE APARTMENT OF ROBERTO ALTEMPS
“Mattei Herm”
HALL OF PORTRAITS OF
THE APARTMENT OF ROBERTO ALTEMPS
“Six Heads” and “Two
busts” of emperors, philosophers and heroes
“Funerary reliefs of
the Republican period”
“Front of a
sarcophagus with scenes of Roma origin” age of Antoninus Pius
At the center of the
dining table with the medals of Victor Emmanuel II
