DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42129#0072
24
PALAZZO FARNESINA.
well known. Sebastian del Piombo, Balthazar Peruzzi, and Daniel da
Yolterra, painted in the adjoining room, which, from Raphael’s exquisite
work, received the name of the “ Gallery of Galatea.” In the upper
story Balthazar again painted some perspective and architectural
decorations, above which Giulio Romano and his best pupils introduced
subjects from the “ Metamorphoses of Ovid,” and on the front of the
chimney the forge of Vulcan. In another room G. A. Razzi painted the
beautiful fresco of Alexander and Roxana, to which a rich ceiling with
chiaroscuros and elegant arabesques,1 was added at a later period.
When Gregory XIII. confiscated (against all right and justice) the
goods of the Gighi family, under the plea of paying their debts, this
villa became the property of Cardinal Alessandro Farnese, 1580, who
spent large sums on its embellishment, and who introduced his arms
in almost every part of the buildings.
In later times the Farnesina, with the rest of the Farnese possessions,
devolved to the Crown of Naples, which, by a most unhappy destiny,
has become the owner of some2 of the finest monuments of the flourish-
ing epoch of the Fine Arts in the Roman States; and which, by a
strange incongruity, appears to witness with insensibility their rapid
and unchecked decay, while it spares neither expense nor care in
preserving its own treasures of art.3
PLATE 16.
FRONT AND SIDE ELEVATION OF THE PALAZZO FARNESINA.
This Plate gives the design of the principal façade and of the front
towards the river. On the ground floor, the centre of the building is
formed by five arches, and a wing projects on each side ; upon this is
1 Vide Plate 30, A.
2 Villa Madama ; Palazzo Famese ; Palazzo Farnesina, and Palazzo Caprarola.
3 The best descriptions are given by Bellori; in the “Beschreibung der Stadt Rom;” and in
Quatremère de Quincy’s Dictionnaire d’Architecture.
PALAZZO FARNESINA.
well known. Sebastian del Piombo, Balthazar Peruzzi, and Daniel da
Yolterra, painted in the adjoining room, which, from Raphael’s exquisite
work, received the name of the “ Gallery of Galatea.” In the upper
story Balthazar again painted some perspective and architectural
decorations, above which Giulio Romano and his best pupils introduced
subjects from the “ Metamorphoses of Ovid,” and on the front of the
chimney the forge of Vulcan. In another room G. A. Razzi painted the
beautiful fresco of Alexander and Roxana, to which a rich ceiling with
chiaroscuros and elegant arabesques,1 was added at a later period.
When Gregory XIII. confiscated (against all right and justice) the
goods of the Gighi family, under the plea of paying their debts, this
villa became the property of Cardinal Alessandro Farnese, 1580, who
spent large sums on its embellishment, and who introduced his arms
in almost every part of the buildings.
In later times the Farnesina, with the rest of the Farnese possessions,
devolved to the Crown of Naples, which, by a most unhappy destiny,
has become the owner of some2 of the finest monuments of the flourish-
ing epoch of the Fine Arts in the Roman States; and which, by a
strange incongruity, appears to witness with insensibility their rapid
and unchecked decay, while it spares neither expense nor care in
preserving its own treasures of art.3
PLATE 16.
FRONT AND SIDE ELEVATION OF THE PALAZZO FARNESINA.
This Plate gives the design of the principal façade and of the front
towards the river. On the ground floor, the centre of the building is
formed by five arches, and a wing projects on each side ; upon this is
1 Vide Plate 30, A.
2 Villa Madama ; Palazzo Famese ; Palazzo Farnesina, and Palazzo Caprarola.
3 The best descriptions are given by Bellori; in the “Beschreibung der Stadt Rom;” and in
Quatremère de Quincy’s Dictionnaire d’Architecture.