DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42129#0091
OF THE PALAZZO DEL T.
35
C and D, the portion corresponding with the elevation C of the Hall of David.
1. A room with the remains of some fine frescoes, representing in a frieze Apollo and Marsyas,
Pluto and Orpheus, and similar subjects.
2. Sala dei Cavalli (the room of the horses), the oldest part of the edifice, painted with six full
length portraits of Gonzaga’s horses.
3. Hall of Psyche, rich in frescoes, oil-paintings, and stuccoes, illustrating the story of Psyche,
from Apuleius.
4. Hall of Astronomy ; designs personifying the signs of the Zodiac, and the Winds, are in stucco
on the ceiling ; others, representing the sports and occupations of the Seasons, are painted in
sixteen medallions.
5. Sala di Fetonte, called so from the oil-painting in the vault; the distribution of this small
room is as tasteful as its execution is exquisite.
6. Vestibule of David (vide Plate 22).
7. Sala de’ Stucchi, in which there is a double frieze, executed by Primaticcio, from designs of
Giulio Romano, representing the triumphal entrance into Mantua of the Emperor Sigismund,
in 1433, who, the year before, had created Gianfrancesco Gonzaga Marquis of Mantua. The
arched ceiling is equally rich in stuccoes. These stuccoes have been engraved by Santi
Bartoli, in his Sigismundi Augusti triumphus ex archetypo Julii Romani, a Francisco Prima-
ticcio, Mantuae. Anaglyphica opera elaboratum a Petro Sancto Bortolo excusum. Romae,
1670. In the second edition of 1680 : Mantuae in Ducali Palatio quod del T nuncu-
pate Plastica atque Anaglyphica Sculptura mire elaboratum.
8. Sala de’ Cesari, with two medallions, and a large painting in the centre by Primaticcio, and six
classical figures by Giulio Romano.
9. Sala de’ Giganti, the description and eulogies of which, far beyond its deserts, fill all the guide-
books and works of that kind ; it was chiefly executed by Rinaldo Mantuano,—a small
portion only was the work of Giulio Romano. Original designs for this apartment are in
existence, and are very superior, (vide St. Bartoli’s etchings for the composition, 9 Plates.
Giove ehe fulmina i Giganti, &c.
G and H, the two apartments of the grotto.
10. A small vestibule.
11. The loggia given in Plate 23.
12. The garden between this loggia and the bagno or grotto, with the terra cottas given in
Plate 23.
13. The grotto, or bagno, in the Pompeian style, richly decorated with arabesques and tableaux,
in shell-work and mosaic. This part is in a very dilapidated state.
14. A room with paintings of a somewhat inferior kind, among which, however, there are four
compositions from Roman history, which were engraved at the time by Giulio’s pupils of
the Ghigi family ; they are — Attilius Regulus, Horatius Codes, Zaleucus, and the
Judgment of Brutus.
REFERENCES TO THE ELEVATIONS.
A, the principal exterior-front.
B, the front towards the garden above the fish-pond, with the section of the bridge.
C, D, sections of the Hall of David, to show the situation of the decorations of Plate 22.
E, a specimen of the rich stuccoes in the Hall of David.
F, a singularity in the architecture of the court façade, where the triglvphes between the columns
are represented as if dropping from their places ; a whimsical conceit, giving to a new house
the appearance of one in a state of decay.
35
C and D, the portion corresponding with the elevation C of the Hall of David.
1. A room with the remains of some fine frescoes, representing in a frieze Apollo and Marsyas,
Pluto and Orpheus, and similar subjects.
2. Sala dei Cavalli (the room of the horses), the oldest part of the edifice, painted with six full
length portraits of Gonzaga’s horses.
3. Hall of Psyche, rich in frescoes, oil-paintings, and stuccoes, illustrating the story of Psyche,
from Apuleius.
4. Hall of Astronomy ; designs personifying the signs of the Zodiac, and the Winds, are in stucco
on the ceiling ; others, representing the sports and occupations of the Seasons, are painted in
sixteen medallions.
5. Sala di Fetonte, called so from the oil-painting in the vault; the distribution of this small
room is as tasteful as its execution is exquisite.
6. Vestibule of David (vide Plate 22).
7. Sala de’ Stucchi, in which there is a double frieze, executed by Primaticcio, from designs of
Giulio Romano, representing the triumphal entrance into Mantua of the Emperor Sigismund,
in 1433, who, the year before, had created Gianfrancesco Gonzaga Marquis of Mantua. The
arched ceiling is equally rich in stuccoes. These stuccoes have been engraved by Santi
Bartoli, in his Sigismundi Augusti triumphus ex archetypo Julii Romani, a Francisco Prima-
ticcio, Mantuae. Anaglyphica opera elaboratum a Petro Sancto Bortolo excusum. Romae,
1670. In the second edition of 1680 : Mantuae in Ducali Palatio quod del T nuncu-
pate Plastica atque Anaglyphica Sculptura mire elaboratum.
8. Sala de’ Cesari, with two medallions, and a large painting in the centre by Primaticcio, and six
classical figures by Giulio Romano.
9. Sala de’ Giganti, the description and eulogies of which, far beyond its deserts, fill all the guide-
books and works of that kind ; it was chiefly executed by Rinaldo Mantuano,—a small
portion only was the work of Giulio Romano. Original designs for this apartment are in
existence, and are very superior, (vide St. Bartoli’s etchings for the composition, 9 Plates.
Giove ehe fulmina i Giganti, &c.
G and H, the two apartments of the grotto.
10. A small vestibule.
11. The loggia given in Plate 23.
12. The garden between this loggia and the bagno or grotto, with the terra cottas given in
Plate 23.
13. The grotto, or bagno, in the Pompeian style, richly decorated with arabesques and tableaux,
in shell-work and mosaic. This part is in a very dilapidated state.
14. A room with paintings of a somewhat inferior kind, among which, however, there are four
compositions from Roman history, which were engraved at the time by Giulio’s pupils of
the Ghigi family ; they are — Attilius Regulus, Horatius Codes, Zaleucus, and the
Judgment of Brutus.
REFERENCES TO THE ELEVATIONS.
A, the principal exterior-front.
B, the front towards the garden above the fish-pond, with the section of the bridge.
C, D, sections of the Hall of David, to show the situation of the decorations of Plate 22.
E, a specimen of the rich stuccoes in the Hall of David.
F, a singularity in the architecture of the court façade, where the triglvphes between the columns
are represented as if dropping from their places ; a whimsical conceit, giving to a new house
the appearance of one in a state of decay.