In the Velvets Room we find two paintings by Pasquale Chiesa. He worked in the mid-seventeenth century for Prince Camillo, painting not only human figures in landscapes, but also independent stories. He was appreciated especially for his ability to reinterpret elements Genoese, Neapolitan and Roman cultural elements with great pathos.
2021.06.09.
Nella sala dei Velluti troviamo due dipinti di Pasquale Chiesa, artista che lavorò alla metà del Seicento per il principe Camillo, non solo come esecutore di figure nei quadri di paesaggio, ma anche come indipendente pittore di storie, mostrando una grande capacità di rielaborazione di elementi culturali genovesi, napoletani e romani.

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Válasz

The Ballroom used to be called the Music Room and it is made up of two adjoining spaces. It was entirely renovated between the end of the nineteenth century and 1903, when the walls were covered with silk as they are still today.
The renovations of the second half of the nineteenth century are made by the architect Andrea Busiri Vici.

2021.06.09.
La Sala da Ballo, composta da due ambienti contigui, venne completamente ridecorata fra la fine dell'Ottocento e il 1903.
In quell'occasione le pareti furono ricoperte con i parati di seta ancor oggi presenti, si tratta di una preziosa seta lavorata con il metodo “chiné a la branche”.
Le applique sono in cristallo.
Gli interventi del secondo Ottocento sono ad opera dell’architetto Andrea Busiri Vici.

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Válasz

On the walls of the chapel of the Palace there is a precious series of majolica from Castelli, dating back to the first half of the eighteenth century, which depict the "Stations of the Via Crucis".
Of great importance is the hanging lamp in gilded bronze, designed by Gian Lorenzo Bernini.
2021.06.09.
Sulle pareti della Cappella privata del palazzo si trova una pregiata serie di maioliche di Castelli, databili alla prima metà del Settecento, che raffigurano le “Stazioni della Via Crucis”.
Di notevole importanza è la lampada pensile in bronzo dorato realizzata su disegno di Gian Lorenzo Bernini.

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Válasz

As we mentioned last week, the union with the Aldobrandini family brought most of the antique paintings into the collection that can still be admired today and that date back to before the collection was formed and that came frome different geographical origin: Venice, Ferrara. It should be noted that other important legacies of the Aldobrandini collection, were the works of art dating back to the beginning of the seventeenth century such as the lunettes with the Stories of the Virgin Mary by Annibale Carracci and his school of artists, commissioned by Pietro Aldobrandini.

One of Camillo and Olimpia’s son, Cardinal Benedetto, purchased many still lives and landscapes and it was him who perpetuated the tradition of interest in culture and protection of artists. A sister of Benedetto, Anna married in 1671 the Genoese patrician Giovanni Andrea III Doria Landi, a descendant of the famous admiral Andrea Doria liberator of Genoa, general of Charles V and first prince of Melfi.

2021.06.09.
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Válasz

The collectors' frenzy involves the same Olimpia Maidalchini Pamphilj, mother of Camillo, greedy and fearsome sister-in-law of the pope. In his 1657 inventory, for example, is "A Portrait of Erminia and Tancredi" most likely "Erminia finds the wounded Tancredi" by Guercino. The painting passed in the legacy of Camillo and then in that of Benedetto and no longer abandons the Palace.
Also Innocent X makes his decisive contribution to the history of the family collection: in 1651 he establishes the fidecommisso that indissolubly binds the paintings and furnishings to the institute of primogenitura, with the prohibition to separate them and to sell them.
Another event that determines the future appearance and richness of the collection is the marriage of Camillo Pamphilj with Olimpia Aldobrandini, granddaughter and only heir of Pietro Aldobrandini.
Olympia’s dowry includes Roman villas and palaces with marble collections and Renaissance paintings.
Several masterpieces of Renaissance art come from the Aldobrandini legacy, such as the Salomè by Tiziano Vecellio, the Double portrait by Raphael and the Nativity by Parmigianino.
2021.06.09.
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Válasz

The role played by Camillo Pamphilj in the formation of the Roman collection has long been established.
Camillo gathers in a few years a collection of great prestige. The sources from which Camillo makes his purchases are different: some documents show, in fact, that Camillo addresses, in addition to the Roman market, also to that of other cities such as Bologna, Pesaro and Florence.
In 1650 the inventories of Prince Camillo indicate, among the names of foreign painters, that of Gaspar Dughet, author of many landscapes, some of large format, which still now decorate in the palace the walls of the Poussin Room.
2021.06.09.
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Válasz

The restoration of the rooms was to be completed in 1769, the year of the visit to Rome of Emperor Joseph II and his brother.
For them Andrew IV gave a great feast, handed down from the chronicles and the drawings of the ephemeral apparatuses.
To allow the event to to take place, Nicoletti designed, in fact, a temporary roof of the courtyard raising the floor to the level of the piano nobile and transforming it into an immense hall lit by almost two thousand candles and complete with stalls for the orchestral.
To this intense period of activity in the palace must be connected also the realization of a manuscript that contains the complete and meticulous description of the Halls of Representation and the wing of the quadrilateral; the subject and the author of the wall decorations are mentioned and the list of the paintings that are there.
The description is accompanied by a map of each environment.
In this way Nicoletti realized an architectural project of preparation. The manuscript could also function as a figurative catalogue.
The rooms of the apartment and the gallery acquire their most defined appearance, built on the basis of that tendency to symmetry that has characterized the environments for almost a century.
2021.06.09.
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Válasz

The restoration of the rooms was to be completed in 1769, the year of the visit to Rome of Emperor Joseph II and his brother.
For them Andrew IV gave a great feast, handed down from the chronicles and the drawings of the ephemeral apparatuses.
To allow the event to to take place, Nicoletti designed, in fact, a temporary roof of the courtyard raising the floor to the level of the piano nobile and transforming it into an immense hall lit by almost two thousand candles and complete with stalls for the orchestral.
2021.06.09.
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Előzmény

Válasz

At the end of 1766 began the supervised works of the architect Francesco Nicoletti.
The architect creates temporary but sumptuous frames for religious ceremonies, such as the ephemeral apparatuses in collaboration with the silversmith Vincenzo Belli for the celebration of the Quarantore in Sant'Agnese and for the balls in the palace.
2021.06.09.
Alla fine del 1766 cominciano i lavori supervisionati dell’architetto Francesco Nicoletti.
L’architetto realizza le cornici temporanee ma fastose per le cerimonie religiose, come gli apparati effimeri in collaborazione con l’argentiere Vincenzo Belli per la celebrazione delle Quarantore a Sant’Agnese e per i balli a palazzo.

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Válasz

Portrait of Andrea Navagero and Agostino Beaziano, Raphael

The identity of the two figures has often been the subject of discussion: some have seen them as Luther and Calvino or as Bartolo da Sassoferrato and Baldo degli Ubaldi, two fourteenth-century jurisconsults or as Andrea Doria and Cristoforo Colombo, up to the most plausible identification as Andrea Navagero and Agostino Beaziano, a highly plausible identification that has been accepted by the most recent literature.
2021.06.09.

Ritratto di Andrea Navagero e Agostino Beaziano, Raffaello Sanzio
L’identità dei due personaggi è stata spesso oggetto di discussione: si è voluto ravvisarvi Lutero e Calvino o Bartolo da Sassoferrato e Baldo degli Ubaldi, due giureconsulti trecenteschi, proposte questo insostenibili, oppure Andrea Doria e Cristoforo Colombo, fino ad arrivare al riconoscimento più plausibile di Andrea Navagero e Agostino Beaziano, accolto dalla letteratura più recente.

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Válasz