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)
ECOLE FRANÇAISE
DE ROME
Cultural
institution located on the top floor since 1875
ARCHAEOLOGICAL
EXPLORATIONS
“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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