Friday, December 9, 2016

PALACE OF THE NATIONAL BANK OF WORK

PALAZZO DELLA BANCA NAZIONALE DEL LAVORO
1936 Marcello Piacentini (1881/1960) in the Functionalist or Rationalist style softened by the light and shade of the bricks in the façade
Frescoes by Achille Funi (1890/1972) and Amerigo Bartoli Natinguerra (1890/1971) representing the “Humble work of man”
Inside there is a small treasure of art masterpieces including:
“Judith and Holofernes” by Lorenzo Lotto (about 1480/1556)
“Madonna Albani” by Federico Fiori aka Barocci (1535/1612)
“Capriccio” by Giovanni Antonio Canal aka Canaletto (1697/1768)
The modern times are represented with paintings by Jean-Baptiste Camille Corot (1796/1875), Giorgio Morandi (1890/1964) and Gino Severini (1883/1966)

Wednesday, December 7, 2016

PALACE OF THE BANK OF ITALY

PALAZZO DELLA BANCA D'ITALIA
1887/1892 Gaetano Koch (1849/1910)
Offices of the senior management of the bank, some departments of the central administration and “Paolo Baffi” library
ROOM OF THE COUNCIL
Frescoes by Giulio Bargellini (1896/1936)
Museo della Moneta
Museum of Coins
Selection of about 40 tablets of Mesopotamian origin. Studies of these tablets proved that from the third millennium BC silver and gold were used as means of payment, measure of value and store of wealth
About 800 coins in gold, silver, copper and alloy from the ancient Greek period to modern times, including “Silver Stater of King Croesus” 561/546 BC
450 notes and paper documents
ODDO COLLECTION with over 3,800 pieces of gold, silver, copper and alloy from emissions of southern Italy and Sicily referring to the period from the fall of the Western Roman Empire to modern age

Tuesday, December 6, 2016

PALACE OF THE ITALIAN COMMERCIAL BANK

PALAZZO DELLA BANCA COMMERCIALE ITALIANA
1916/27 designed by the Milanese Luca Beltrami (1854/1933) who was also the architect of the Vatican Pinacoteca and the restorer of important buildings such as Palazzo Marino and the Torre del Filarete of the Castello Sforzesco in Milan as well as the Bell Tower in Piazza S. Marco in Venice
The project by Beltrami was executed under the direction of Marcello Piacentini (1881/1960)
The seventeenth century Palazzo Lanci Bonaccorsi was demolished to build the palace

Monday, December 5, 2016

PALACE OF THE GEOLOGICAL OFFICE

PALAZZO DELL'UFFICIO GEOLOGICO
1873/80 Raffaele Canevari (1828/1900)
“Girders and beams of iron, cast iron columns, bolts and studs in sight. Raffaele Canevari, engineer, used these new materials for their functionality and transformed them into decorative elements” (Irene de Guttry)
“In this work, totally his own, which is undoubtedly his best architectural job, the technical and structural innovations and the ruthlessness of the formal language make the building comparable to contemporary European examples, freed, as it appears, of academic weight” (Guido Miano - Dizionario Biografico degli Italiani Treccani)
Institution founded in Florence in 1869 and moved to Rome in 1873 to complete the geological Italian map
In 1960 the Geological Office became the organ of the state mapping for geological and geothematic mapping
In 1976 the official geological coverage of the national territory in scale of 1:100,000 was completed
In 2002 the Geological Survey merged in the Agenzia per la Protezione dell'Ambiente e per i Servizi Tecnici (Agency for Environmental Protection and Technical Services) (APAT, later ISPRA), representing mainly the Dipartimento per la Difesa del Suolo (Department for the Defense of the Soil)
In 2002 during renovation works in the basement of the building a section of the original Servian Walls in blocks of cappellaccio stone was found, proof that their dating can be fixed without a doubt to the mid-sixth century BC
For the reconstruction of the walls in 378 BC Grotta Oscura tufa was used instead
GEOLOGICAL MUSEUM
Collection of about 150,000 artifacts accumulated in about 140 years of life of the institution: marbles and paleontological materials with specialized library and laboratory for analysis of minerals and rocks
The museum and the whole building have been lying for years in conditions of extreme neglect for the disgusting inefficiency or willful misconduct of the public administration that has dismantled the museum for a renovation that never happened, despite two governments have allocated public money to complete it. Another disgrace of the caste which sadly administers Italy
In front of the palace
Small section of the Servian Walls dating to 378 BC
Monument “Janus in the heart of Rome” 1997 by Pietro Consagra (1920)

Friday, December 2, 2016

PALACE OF THE NATIONAL INSTITUTE FOR MATERNITY AND INFANCY

PALAZZO DELL'OPERA NAZIONALE MATERNITÀ E INFANZIA
1939 Cesare Valle (1902/2000)
“Determined talent for architecture, teaching vocation, natural predisposition towards urban issues, but mainly invincible involvement in the programs, in the urgency to solve problems: the story of Cesare Valle is magnetized between these different options” (Website the Ministry of Heritage and Culture - Portal Architects - www.architetti.san.beniculturali.it)

Thursday, December 1, 2016

PALACE OF THE ROMAN INSTITUTE OF REAL ESTATE

PALAZZO DELL'ISTITUTO ROMANO DI BENI STABILI
1915/22 Dario Carbone (about 1857/1934) in a monumental and celebratory Eclectic style in the area previously occupied by the demolished Palazzo Boncompagni Piombino of the end of the sixteenth century
The Boncompagni were allowed to rebuild their own building in the area of the Villa Ludovisi, the Palazzo Boncompagni, later Palazzo Margherita, now U.S. Embassy
It was completed and modified in 1940 by Alberto Calza Bini (1881/1957)
Better known as GALLERIA COLONNA and, since 2003, as GALLERIA ALBERTO SORDI in honor of the Roman actor who died in the same year
It is surprising for the contrast between the ornate monumental exterior and the vast comfortable interior space of the gallery
“I told myself to respect a principle (of great value to the public): if the people of Rome used to enjoy as public land the existing dirt area, well, it was necessary that the architect would leave just as much area as public passage in the building to be constructed” (Dario Carbone)
On the central pediment sculptures:
“Groups of Industry” by Giuseppe Guastalla (1867/1952)
“Groups of Commerce” by Ercole Drei (1886/1973)
Interior decorated by Ulisse Stacchini (1871/1947)

Wednesday, November 30, 2016

INAIL PALACE

PALAZZO DELL'INAIL
1928/34 Armando Brasini (1879/1965)
“Brasini used the languages of the past, the classical and the baroque in particular, not passively and academically, but, in fact, creatively, considering them not as closed systems to be applied blindly but as open systems to be investigated again, asking them questions that had not been raised previously. Also the Eclecticism of the nineteenth century had been able in many cases to identify the way of creativity facing new functional themes, new dimensions and new technology, but in the use of historical languages it had adopted with few exceptions (Nash, Richardson, Antonelli, Basile) an instrumental attitude. Brasini came out of the eclectic orthodoxy looking for a continuation of styles, a search for an all-out development of the architectural language that would make it suitable for a different climate, a heroic climate, which could then seem credible and rich of future developments. It should not be forgotten that we are in the decades of the true and false revolutions that would have to choose between two types of rhetoric, the one proven by history and one to be invented, the rhetoric of modernity in action. The outcome was gigantism, rhetorical excess, theatricality imposed by the nascent film industry, but also the creation of works blessed by creative restlessness” (Paolo Portoghesi)
INAIL is the Istituto Nazionale per l'Assicurazione contro gli Infortuni sul Lavoro (National Institute for Insurance against Accidents at Work)
Built on the site of the demolished Teatro Drammatico Nazionale (National Dramatic Theatre) by Francesco Azzurri (1831/1901), on the site of which, during the construction in 1888, the Hellenistic bronze statues of the “Boxer” and of the “Hellenistic Prince” had been found
The two masterpieces are now in the Museo Nazionale Romano at Palazzo Massimo

Tuesday, November 29, 2016

INA PALACE ON VIA SALLUSTIANA

PALAZZO DELL'INA IN VIA SALLUSTIANA
1923/27 Ugo Giovannozzi (1876/1957) who was also the architect of the Terme Tettuccio in Montecatini
The style of the building is defined liberty with a strong influence of the sixteenth hundreds and it was built to be the headquarters of INA ISTITUTO NAZIONALE DELLE ASSICURAZIONI (National Insurance Institute)
In 2003 it was bought by the government of the United States of America for about $ 80 million to expand the offices of the nearby embassy which is the largest in Rome
The entire Via Friuli between the two buildings has therefore become an American private road for security reasons

Monday, November 28, 2016

INA PALACE ON VIA DELLA CONCILIAZIONE

PALAZZO DELL'INA IN VIA DELLA CONCILIAZIONE
1942 Marcello Piacentini (1881/1960) and Attilio Spaccarelli (1890/1975) in collaboration with Gino Cipriani
It was built at the same time of the “twin” Palazzo Pio on the opposite side of the road
It was built on the site of the demolished Ospedale S. Carlo (St. Charles Hospital) branch of the Ospedale S. Spirito
It houses various offices of the Holy See: the Pontifical Commission for Latin America, the General Presidency of Azione Cattolica (Catholic Action), the Presidency of the Centro Sportivo Italiano (Italian Sports Centre)
FOUNTAIN 1957 on the façade facing Largo Giovanni XXIII
In the area of the palace there were two ancient Roman monuments:
The META ROMULI a pyramid-shaped tomb very similar to the Pyramid of Gaius Cestius called Meta Remi
The TEREBINTUS NERONIS consisting of two cylindrical elements superimposed destroyed at the beginning of the sixteenth century by order of Alexander VI Borgia (1492/1503)

Saturday, November 26, 2016

INA PALACE ON VIA BISSOLATI

PALAZZO DELL'INA IN VIA BISSOLATI
1936/44 Marcello Piacentini (1881/1960) on the site of the demolished Villa Massimo
In two niches of the atrium statues “Savings” and “Providence” by Antonio Maraini (1886/1963)
In the middle of the staircase ancient “Sarcophagus with the myth of Meleager with Calydon boar hunt” of the second century AD
Two panels by Giulio Bargellini (1896/1936)
“Portrait of Vittorio Emanuele III” by Adolfo Wildt (1868/1931)

Friday, November 25, 2016

PALACE OF IMI AND OF THE ITALIAN EXCHANGE INSTITUTE

PALAZZO DELL'IMI E DELL'ISTITUTO ITALIANO CAMBI
1953/56 Mario Paniconi (1904/73) and Giulio Pediconi (1906/99) in collaboration with the Studio Passarelli
The IMI was the ISTITUTO MOBILIARE ITALIANO (Italian Chattels Institute) founded in 1931
In 1998 it merged with the ISTITUTO SAN PAOLO and became SANPAOLO IMI
“One of the first major competitions in Rome after the war. The project has two aspects. The front on Via Quattro Fontane, between S. Carlino by Borromini and an austere convent building, conveys the relationship between past, existing buildings, the environment, with topical thoughtful novelties” (Official Website Studio Passarelli - www.studiopassarelli.it)

Wednesday, November 23, 2016

EUR PALACE

PALAZZO DELL'ENTE EUR
1937/38 Gaetano Minnucci (1896/1980) for the offices of the autonomous institution E42 later known as ENTE EUR
The first building to be constructed in the EUR district and the one of the few to be finished before the war
“The way to think about architecture of Minnucci, as recalled by his partner Cigni (...), was logical-sequential, 'you might say scientific, in the sense that nothing was to be entrusted to fantasy, without accurate and binding technical and functional research. That's why I believe that he never had a precise point of reference, even in his long cultural involvement I think he has never been fully and critically aligned. (...) Ready to implement whatever new and concrete manifested itself in architecture, he always rejected ideas not demonstrable with facts” (Alessandra Capanna - Dizionario Biografico degli Italiani Treccani)
OUTSIDE
Bronze statue of “Genius of sport”, originally “Genius of fascism” by Italo Griselli (1880/1958) and “Two groups of statues” by Mirko (Mirko Basaldella) (1910/69)
In front of the portico three bodies of water decorated with “Eighteen mosaic panels” by Gino Severini (1883/1966), Giulio Rosso (1897/1976) and Giovanni Guerrini (1887/1972)
IN THE ENTRANCE ROOM
Bas-relief “History of Rome through its buildings” by Publio Morbiducci (1889/1963)
INSIDE
Fresco “Foundation of Rome” by Giorgio Quaroni (1907/60)

Saturday, November 19, 2016

ENI PALACE

PALAZZO DELL'ENI
1960/62 Marco Bacigalupo (1922) and Ugo Ratti, Milanese architects
So called Grattacielo (Skyscraper) of twenty-one floors plus two underground (85.5 m - 280.5 feet) in front of EUR Lake
It is the seat of the ENTE NAZIONALE IDROCARBURI (National Hydrocarbons Institution), state-owned company engaged in the activities of finding, producing, transporting, transforming and marketing oil and natural gas
It was founded in 1953 under the chairmanship of Enrico Mattei until his violent death in 1962
From 1995 to 2001 the Italian government has sold the shares, keeping a share of more than 30% and holding, in any case, the effective control of the company
It is the fifth largest oil group worldwide in terms of turnover
BRONZE FOUNTAIN in front of the palace 1961/65 by Pericle Fazzini (1913/87)
In the fields surrounding the EUR Lake there are about 1,000 cherry trees donated by the city of Tokyo because of its partnership with Rome

Monday, November 14, 2016

PALACE OF THE STATE ATTORNEY GENERAL

PALAZZO DELL'AVVOCATURA GENERALE DELLO STATO
It was originally the Convent of the Augustinians, next to the Church of St. Augustine, built at the end of 1400s for Cardinal Guillaume d'Estouteville
It was enlarged in 1620 by Felice Antonio Casoni (1559/1634) along Via della Scrofa, in 1652 by Domenico Castelli (1582/1657) along Via S. Agostino and in 1673 by G.B. Contini (1641/1723) along Via dei Pianellari
In the years 1746/51 it was restructured by Luigi Vanvitelli (1700/73) who, being engaged in the construction of the humongous Palace of Caserta, was helped by his assistant Antonio Rinaldi (1710/94) who continued the work until 1952 when he went to S. Petersburg in Russia to design the immense Marble Palace
The restructuring continued in the years 1752/71, directed by Carlo Murena (1713/64) another assistant of Vanvitelli

“Despite the large size the result is very light and the building, with simple elegance and without excessive monumentality fits discreetly and harmoniously into the surrounding urban context” (Valeria Annecchino)
COURTYARD
Elliptical fountain also by Luigi Vanvitelli
Scenic ATRIUM at No. 82 of Via della Scrofa maybe by Filippo Juvarra (1678/1736)
LANDING
“Marble statue of Benedict XIV Lambertini (1740/58)” 1750 by G.B. Maini (1690/1752)
VANVITELLI ROOM
Used for the meetings of the State Attorney General
Fresco “Multiplication of the loaves and fishes” by Gregorio Guglielmi (1714/73)
“His paintings are pervaded by the absence of an obvious and repetitive structure, giving importance to a powerful action on the stage represented varied and multifaceted, causing the viewer to look joyfully for 'discovery' and 'surprise'. The Curious and the Interesting are the principles that distinguish his paintings from the redundant characteristic of much art of the ephemeral eighteenth century” (Claudio Strinati)

Friday, November 11, 2016

PALACE OF THE REGISTRY OFFICE

PALAZZO DELL'ANAGRAFE
1936/37 Cesare Valle (1902/2000) and Ignazio Guidi (1904/78)
It is the area of the ancient PORTO TIBERINO (Tiberine Port) the first port of Rome
In order to build it, the Church of St. Galla was destroyed, as well as other buildings
“The project is characterized by a clear floor plan, in which the realization of the great courtyards, the highlighting of the substantial archaeological findings, the use of the curtain brick and travertine moldings and the large openings in iron glass summarize the choices that Guidi adopted for the setting of the buildings in an area unique in the world. The result is a great respect for the preexisting archaeological findings, without renouncing the use of elements of modernity that do not clash with the prestigious surroundings” (Filippo Spaini - Dizionario Biografico degli Italiani Treccani)
Inside the palace there is the large mural “Roman Carnival” 1937/39 by Orfeo Tamburi (1910/94)

Thursday, November 10, 2016

PALACE OF THE BRITISH EMBASSY

PALAZZO DELL'AMBASCIATA BRITANNICA
1968/71 Basil Spence (1907/76)
The previous Embassy building on this site was the Villa Bracciano of Don Marino Torlonia Duke of Bracciano, who had it rebuilt by Antonio Sarti (1797/1880) after purchasing it in 1825
After its acquisition by the British government in 1870, the Villa Bracciano housed both the residence of the ambassador and the offices of the Registry
On the night of October 31, 1946, the building was damaged so badly it had to be demolished as a result of an explosion caused by the Jewish terrorist group Irgun who wanted to pressure the British government to establish the state of Israel
The bomb killed two unfortunate passersby

Tuesday, November 8, 2016

PALACE OF THE ROMAN AQUARIUM

PALAZZO DELL'ACQUARIO ROMANO
1885/87 Ettore Bernich (1845 or 1848/1914) as the site of an aquarium that was to be used to breed fish to provide the area with a new source of food
Paintings “Classical and mythological themes” by Silvestro Silvestri from Spoleto
“Thanks to his culture also in the field of archeology, Silvestri can take advantage of a figurative repertoire that allows him to shape his free inventions, pleasing scenes, absolutely in tune with the place and its recreational function, in which figures of asexual children, cupids, or also fauns, nymphs or maenads mischievously play, chase each other, interpreters of moments that seem naive romance as well as bawdy wink” (Official website of the City of Rome - www.comune.roma.it)
The original vault was painted by Giuseppe Toeschi with paintings now almost completely disappeared
The activities in the building were very limited and it ended up having several functions: theater, cinema, warehouse for the opera theater, bus station
It has been recently restored and it is used as the seat of the CASA DELL’ARCHITETTURA (House of Architecture) a cultural institution established in 2002 with the task of promoting the culture of Roman architecture and contemporary architecture in general by organizing exhibitions, conferences and shows

Monday, November 7, 2016

ACEA PALACE

PALAZZO DELL'ACEA
1960 Cesare Valle (1902/2000) and Ignazio Guidi (1904/78)
ACEA is a public company that is responsible for the management of water and energy services
“Ignazio Guidi was in constant contact with fellow architects and engineers of his generation, with whom he formed design teams for competitions, and participated in the fervent cultural debate of the time, which led to the slow but steady emergence of modern architecture and the contemporary defeat of neoclassical and academic positions, who had many followers in Rome” (Filippo Spaini - Dizionario Biografico degli Italiani Treccani)
Fountain in front of the palace 1962 by Ludovico Quaroni (1911/87)

Sunday, November 6, 2016

VIMINAL PALACE

PALAZZO DEL VIMINALE
1912/21 Manfredo Manfredi (1859/1627)
Semicircular arrangement of the square 1929/31 according to the Manfredi's project
“The complex consists of several buildings connected by courtyards and varying characteristics in terms of volume and indicates the existence of a secret dialectic between the severity of the general project and the desire to qualify artistically this architecture as much as possible” (Raffaella Catini - Dizionario Biografico degli Italiani Treccani)
Fountain in front of the palace by Publio Morbiducci (1889/1963) in imitation of the “Barcaccia” in Piazza di Spagna by Pietro Bernini
The area was leveled and the soil was brought to the area where later the Città Universitaria (University City) would be built
It is the HEADQUARTERS OF THE MINISTRY OF THE INTERIOR
HALL
Paintings in ten panels “Activities of the Italian Genius i.e. Navigation, Poetry, Sculpture, Wheat Harvest, Printing, Weaving, Science, Architecture, Industry, Grapes Harvest and Victorious Italy in the center” by Rodolfo Villani (1881/1941)
ROOM OF THE COUNCIL OF MINISTERS

Paintings by Giulio Bargellini (1896/1936)
Paintings in the other rooms by Umberto Vico, Umberto Amati e Tito Ridolfi (1886/1956)

Friday, November 4, 2016

PALACE OF THE HOLY OFFICES

PALAZZO DEL S. UFFIZIO
Piazza del S. Uffizio
1514 as PALAZZO PUCCI
The Pucci family from Florence, after the death of the three Pucci cardinals who lived here, left it as a legacy to the Holy See, which readapted it in 1566 for S. Pius V Ghislieri (1566/72) as a courtroom and jail, the so called S. Uffizio
The FAÇADE TOWARDS St. PETER’S BASILICA was modified in 1869 for Pius IX Mastai-Ferretti (1846/1878)
The FAÇADE TOWARDS PIAZZA S. UFFIZIO was modified in 1925
It is the headquarters of the CONGREGAZIONE PER LA DOTTRINA DELLA FEDE (Congregation for the Doctrine of the Faith) instituted by Paul III Farnese (1534/49) in 1542 as the Sacra Congregazione dell'Inquisizione Romana e Universale (Sacred Congregation of the Roman and Universal Inquisition) to fight Protestantism
The name of the institution had been changed by S. Pius X Sarto (1903/14) into Congregazione del S. Uffizio (Congregation of the Holy Office) in 1908 and renewed with the current name by Paul VI Montini (1963/78) in 1965
Cardinal Joseph Ratzinger was head (prefect) of this institution for twenty-four years, from 1981 to 2005, before he became pope under the name of Benedict XVI (2005)

Thursday, November 3, 2016

QUIRINAL PALACE (ninth part)

COFFEE HOUSE
1741 Ferdinando Fuga (1699/1782)
Two paintings in the room on the mezzanine:
“S. Maria Maggiore” and “Piazza del Quirinale with Palazzo della Consulta” 1742 by Giovanni Paolo Pannini (1691/1765), a brilliant landscape artist
“It differs from the objective views of Van Wittel for a taste for the theatrical and decorative and for his seemingly casual handling of figurative materials, often arbitrarily combined; but his views nevertheless are widely lucky with foreign travelers: in fact, although they are often invented, they can anyway manage to make alive again the memory of the impact with the grandeur of that historic fabric, the tingle of life, the space and the light of the city” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
Five paintings by Pompeo Batoni (1708/87) in the vault of the green room
Five works by Agostino Masucci (1691/1758) in the turquoise room
SCUDERIE DEL QUIRINALE
Quirinal Stables
Begun 1722 by Alessandro Specchi (1668/1729) for Innocent XIII Conti (1721/24) and finished in 1730 by Ferdinando Fuga (1699/1782) for Clement XII Corsini (1730/40)
Mutilation with removal of the semi-elliptical staircases by Fuga in 1866 by Virginio Vespignani (1808/82) for Pius IX Mastai-Ferretti (1846/78) to open Via della Dataria
The building was built on the spot where was the glorious Temple of Serapis used to stand. Some of the ancient structures are still visible
In 2000 it was redesigned by Gae Aulenti (1927/2012) as a museum for prestigious temporary exhibitions

Wednesday, November 2, 2016

QUIRINAL PALACE (eighth part)

TEN ROOMS NOT OPEN TO THE PUBLIC
BRONZINO'S ROOM
Ten tapestries displayed in rotation with “History of Joseph Jew” 1546 three of which designed by Jacopo Carrucci aka Pontormo (1494/1556) and the others by Agnolo di Cosimo Tori aka Bronzino (1503/72) commissioned by Cosimo I de' Medici for the Room of the Two-Hundreds in Palazzo Vecchio in Florence, where are the other ten of the series are
“In these tapestries the tormented artificiality of Pontormo reaches its peak. The simplicity of the subject does not raise virtually any concern in the artist, who has become more and more convoluted and self-effacing. (...) The tapestries have a figurative pattern compressed in the vertical direction, with no clear structure or content. It is not surprising that Cosimo and the heads of the Tapestries' factory would no longer employ Pontormo” (Hermann Voss)
ROOM OF DRUSUS
SMALL PASSAGE OF URBAN VIII
OFFICE OF THE PRESIDENT
ROOM OF THE TAPESTRIES OF LILLE
Five tapestries 1715/20 by Guillaume Werniers from models by David Teniers the Younger (1610/90)
SMALL NAPOLEONIC LIVING ROOM
PIFFETTI LIBRARY
MUSIC ROOM
ROOM OF PEACE
ROOM OF VICTORY
ROOM OF THE DAMES
Beautiful frieze “Triumph of Alexander the Great” 1812 by Bertel Thorvaldsen (1770/1844)
“Admirable work for the lightness of ornament and for the variety of attitudes in the long procession inspired by the reliefs of the Parthenon” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
Chapel of Pius IX
In the MANICA LUNGA (Long Wing) with five major paintings:
On the right “Madonna with Saints” 1603 maybe by Innocenzo Tacconi (active in Rome 1607/25) and “The Birth of the Virgin” 1643 by Pietro Berrettini aka Pietro da Cortona (1597/1669)
On the altar “Mystic Marriage of St. Catherine of Alexandria with Sts. Jerome and Lucy” 1779 by Pompeo Batoni (1708/87)
On the left “Annunciation” by Carlo Maratta 1673 (1625/1713) and “Apparition of the Virgin to St. Lawrence” 1617 by Giovanni Lanfranco (1582/1647)
Garden
“Fountain of the organ” 1596 with hydraulic parts by Giovanni Fontana (1540/1614), brother of Domenico Fontana and expert in hydraulic, with decorations by Giovanni da Neri for Clement VIII Aldobrandini (1592/1605)