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The painter wished to represent with various symbols the war and peace between heavenly and common love formulated by Plato. On one side he painted
Heavenly Love wrestling with Common Love and pulling him by the hair: this is the philosophy and most sacred law that removes the soul from vice, raising
1645:
Annibale
Carracci's decorations in the Farnese Gallery demonstrated a new grand manner of monumental fresco painting. They exerted a powerful formative influence on both canvas and fresco painting in Rome during the seventeenth century. The dual classicizing and baroque tendencies in this work would
1727:
or pieces of gold which were brought to his room on a saucer. Annibale, physically exhausted after his work on the vault and profoundly upset by his brother
Agostino's defection, reacted sharply to his patron's callous and ungrateful behavior and fell into a state of depression, lasting until his
1676:
and his followers would rebel against representing spatial depth in colour and light, and introduce tenebrous dramatic realism into their art instead. But it would be inappropriate to view
Annibale Carracci as solely the continuation of an inherited tradition; in his day, his vigorous and dynamic
322:
My lucky discovery destroyed the accepted interpretation of
Annibale's fresco cycle as a "Neo-Platonic visual essay about celestial love's supremacy over physical passion." The paintings were actually both an entertaining celebration of a bunch of randy Olympians hitting on each other and also an
517:
of the
Republican and Imperial Roman era, in which the parades of victorious leaders had the laurel-crowned ‘imperator’ in a white chariot with two white horses. In Carracci's procession, the two lovers are seated in chariots drawn by tigers and goats, and accompanied by a parade of nymphs,
1677:
style, and that of his studio assistants, changed the pre-eminent style of painting in Rome. His work would have been seen as liberating for artists of his day, touching on pagan themes with an unconstrained joy. It could be said that while
Mannerism had mastered the art of formal strained
247:
but, in the sixteenth and seventeenth centuries, it was arranged according to themes within the
Palazzo Farnese. Hoving's suggestion that many details of the frescoes were designed to complement the marbles below has been generally accepted.
1686:
Later followers of
Neoclassic formalism and severity frowned on the excesses of Annibale Carracci, but in his day, he would have been seen as masterful in achieving the supreme approximation to classic beauty in the tradition of
2277:
2585:
2445:
2000:
It has been said that
Carracci and his school blended Venetian colorism with the Florentine-Umbrian attention to drawing and design; yet this is best seen in the oil canvases rather than the frescoes in the
1342:
The remaining four medallions are placed in an illusionistic fashion behind the portraits of Polyphemus. As such, they are barely visible. On the south side, they portray a possible abduction scene and
789:. This scene is the most sexually explicit of the whole series because of the placement of the principal male figure's hand on the pubic region of his companion. It is even more explicit in Agostino's
223:
was standing at the time in the Palazzo Farnese. This concept of art imitating ancient art seems to have been carried over to the large Gallery. While performing graduate research on the Gallery,
833:
1654:, over the number of figures to be included in a painting. Carracci's treatment of the composition and the disposition and expression of the figures would influence painters such as Sacchi and
736:(Book 14, Lines 312-351) when Juno seduces Jupiter to distract him from the Trojan War so that Neptune can aid the Greeks. In a humorous fashion, the mask beneath the scene is shown yawning.
2143:
141:, now the French Embassy, in Rome. The frescoes were greatly admired at the time, and were later considered to reflect a significant change in painting style away from sixteenth century
2435:
2293:
2237:
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2205:
314:
it on high. Accordingly, a crown of immortal laurel is resplendent overhead amid brilliant light, demonstrating that victory over the irrational appetites raises men up to heaven.
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in London. In the cartoon, there is no intervening cloth between his groping hand and her flesh. The scowling head of the principal male is a parody of an ancient bust of
491:
2569:
924:
After murdering Iole's family, Hercules took her as his concubine. In revenge, she overcomes him with feminine guile and convinces him to act in an effeminate fashion (
513:
to their lovers' bed. Here, the underlying myth is that Bacchus, the god of wine, had gained the love of the abandoned princess, Ariadne. The procession recalls the
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2533:
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Book 16, Verse 3). Annibale portrays a reversal of roles: Hercules is in women's garb playing the tambourine while she holds his club and wears the skin of the
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apologist, called the cycle "Human Love Governed by Celestial Love". This observation was based principally on Carracci's depiction of putti representing
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Annibale Carracci, in his day, was seen as one of the key painters to revive the classical style. In contrast, a few years later, artists such as
967:
This scene was painted by Agostino Carracci. Aurora places the unwilling Cephalus into her chariot while her old lover, the decrepit but immortal
41:
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240:
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2197:
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of the family palace. Work was started in 1597 and was not entirely finished until 1608, one year before Annibale's death. His brother
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2386:
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1608:
347:
are depicted on the vault in thirteen narrative scenes. Complementing them, there are twelve medallions painted to appear as bronze
1133:
332:
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2301:
1600:
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to join his lover. Cupid is shown leading the way. One stormy night, Hero drowns and Leander jumps to her death from the tower (
1195:
1103:
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2113:
1313:
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1918:
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262:
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1596:
862:. Two satyrs sitting on the gilded frame of the Polyphemus picture below lean against this picture's frame to support it.
203:
1773:
Giovan Pietro Bellori: The Lives of the Modern Painters, Sculptors and Architects: A New Translation and Critical Edition
2705:
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1076:
881:
637:
169:'s great-great grandson, commissioned Annibale Carracci and his workshop to decorate the barrel-vaulted gallery on the
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351:. These medallions portray additional stories of love, abduction, and tragedy. The scenes are arranged as follows:
228:
162:
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2517:
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2015:
1328:
251:
In 1597, Carracci began to decorate the Gallery with scenes depicting the loves of the gods set within frames (
2509:
1826:
of the scenes. Also, in contrast to the ceiling's intimation rather than outright depiction of mythological
2675:
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1767:
1029:
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When the Farnese frescoes were nearly complete, Cardinal Odoardo paid him an insultingly small sum of 500
1429:
272:
371:
Beginning in the lower left and proceeding counter-clockwise around the vault, the remaining scenes are:
1970:
1407:
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817:
288:
212:
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bacchanti, and trumpeting satyrs. At the fore, Bacchus' tutor, the paunchy, ugly, and leering drunk
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934:
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720:
681:
294:
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on the opposite side of the hall and is depicted being supported by satyrs in a similar fashion.
957:
778:
696:
236:
232:
180:
309:(equated with sacred love) found at the four corners of the vault. For example, Bellori writes:
1707:-esque muscularity, and depart from the often emotionless visages of High Renaissance painting.
1471:
1441:
1185:, Orpheus turns around to view his beloved wife and, in doing so, loses her to the underworld (
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535:(VIII; lines 160-182) and the spirit alludes to contemporary images voiced, for example, in a
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Galatea. Since then, various scholars have postulated that the central couple represent
522:, rides an ass. The figures carefully cavort in order to hide most naked male genitals.
1988:
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1975:
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1086:, the furious cyclops is shown hurling the boulder that kills Galatea's lover Acis (
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171:
100:
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Painted by Agostino Carracci, this scene was described by Bellori as the triumph (
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939:
896:
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Book 10, Lines 162 ff). Annibale portrays the dead youth clutching a bouquet of
258:
231:, pointed out many correspondences between the frescoes and items in the famous
188:
137:
and his studio, in the Farnese Gallery which is located in the west wing of the
427:
East side (from right to left in the upper portion of the accompanying image):
375:
West side (from left to right in the lower portion of the accompanying image):
17:
1934:
1776:. Translated by Wohl, Alice Sedgwick. Cambridge University Press. p. 84.
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1637:
1482:
877:
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267:
150:
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798:
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142:
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The Villa Farnesina was acquired by the same family, but built earlier for
1270:
To save her from the amorous Pan, Syrinx is transformed into a water reed (
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depicts a both riotous and classically restrained procession which ferries
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up-scale mind game paying homage to Odoardo's fine antiquities collection.
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joined him from 1597 to 1600, and other artists in the workshop included
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Boreas abducts Orithyia by force, wraps her in a cloud, and rapes her (
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519:
510:
306:
146:
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1797:
1668:, showing fictive (painted) sculptural elements surrounding the scene.
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A paraphrased copy decorates the ceiling of the Blue Drawing Room at
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fuel the debate by the next generation of fresco painters, between
895:
13.728ff). Attended by two other sea nymphs, Galatea is shown as a
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Saint Didacus of Alcalá Presenting Juan de Herrera's Son to Christ
2446:
The Madonna and Sleeping Child with the Infant St John the Baptist
1660:
1519:
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1300:
1212:
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In the guise of a beautiful white bull, Jupiter abducts Europa to
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732:
490:
331:
302:
280:
276:
202:
1658:, whereas his effervescent narrative manner influenced Cortona.
1048:
The beautiful youth is shown being abducted by Jupiter's eagle (
918:
526:
235:
of Roman sculpture. Much of the collection is now housed in the
2102:
1683:
and contorsion; Annibale Carracci had depicted dance and joy.
656:
Pan seduces Diana with a fleece of white wool as described in
420:
Medallions on the south side: Possible scene of abduction and
801:
which would have been found in a niche in the gallery below.
1546:
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710:
671:
636:
355:
Central row (from left to right in the accompanying image):
1893:
The Story of Art Throughout the Ages: An Illustrated Record
207:
Cupid and Anteros wrestling framed by Atlantes and Ignudi.
1123:
to believe he could defeat the god in a musical contest (
1011:(whence came the Latin race) alludes to their offspring,
219:. The Herculean theme was probably selected because the
211:
Annibale Carracci had first decorated a small room, the
1874:
1872:
1870:
1868:
1638:
Smarthistory - Carracci's Ceiling of the Farnese Palace
1000:
The seduction of Anchises by Venus is described in the
291:
figures (Atlantes) help support the painted framework.
1023:
series) may have been used as a model for this scene.
2014:
Cajano, Elvira, and Settimi, Emanuela (eds.) (trans.
1743:"Artful Tom, A Memoir, Chapter 20. Master and Doctor"
1332:(love conquers all), Cupid is shown subjugating Pan.
1119:
Apollo flays Marsyas alive because the satyr had the
409:
South side (on the right of the accompanying image):
318:
Hoving saw it differently. In his memoir, he writes:
2278:
The Virgin Appears to Saint Luke and Saint Catherine
1974:, the guild for artists in Rome; see the article on
1703:. Unlike Raphael, though, his figures can display a
461:
North side (on the left of the accompanying image):
343:
In addition to the putti shown at the four corners,
2620:
2310:
Madonna and Child in Glory over the City of Bologna
2206:
Pietà with Saints Clare, Francis and Mary Magdalene
2136:
1626:
852:Apollo carries his dead lover into the sky (Ovid's
111:
99:
89:
66:
55:
34:
442:Medallions on the east side (from right to left):
390:Medallions on the west side (from left to right):
297:, a biographer of seventeenth-century artists and
2594:Pietà with Saint Francis and Saint Mary Magdalene
2020:The Carracci Gallery: Its History and Restoration
1911:European Drawings 4: Catalogue of the Collections
827:, Diana lovingly caresses the sleeping Endymion.
891:sings a song declaring his love for the nereid (
2542:Portrait of Monsignor Giovanni Battista Agucchi
2397:Christ in Glory with Saints and Odoardo Farnese
1913:. Los Angeles: Getty Publications. p. 32.
501:Prominently displayed in the center panel, the
1435:Painted by Annibale Carracci and Domenichino.
1413:Painted by Annibale Carracci and Domenichino.
2114:
1891:Reinach, Salomon; Simmonds, Florence (1904).
8:
2043:Annibale Carracci. The Farnese Gallery, Rome
1895:. New York: C. Scribner's Sons. p. 217.
2681:Mythological paintings by Annibale Carracci
1959:, Pelican History of Art, 1985 edn., p. 57.
305:(equated by Bellori with profane love) and
2121:
2107:
2099:
1935:"Carracci's Ceiling of the Farnese Palace"
1303:Salmacis, they are merged into one being (
40:
31:
2502:Portable Altarpiece with Pietà and Saints
1770:(21 November 2005). Wohl, Hellmut (ed.).
133:cycle, completed by the Bolognese artist
1904:
1902:
1834:by the painter's brother Agostino – the
1736:
1734:
1371:
614:
153:in Rome during the seventeenth century.
2421:Christ Appearing to Saint Anthony Abbot
1957:Art and Architecture in Italy 1600–1750
1878:
1716:
265:architectural framework referred to as
215:(1595-7), with scenes from the life of
46:Fresco cycle found on the vault of the
1623:
1353:. On the north side, they portray the
145:in anticipation of the development of
1299:As Hermaphroditus is embraced by the
576:Handsome, and burning for each other:
7:
2554:Landscape with the Flight into Egypt
1522:the Citharist is rescued by Dolphins
1339:Medallions on North and South sides
2214:The Mystic Marriage of St Catherine
1019:by Agostino (part of his so-called
596:Let those who wish to be happy, be:
339:on the vault of the Farnese Gallery
1991:at the foot of the Janiculum Hill.
1326:Representing the Virgilian phrase
600:Of tomorrow, we have no certainty.
584:They stay together always content.
496:The Triumph of Bacchus and Ariadne
486:The Triumph of Bacchus and Ariadne
361:The Triumph of Bacchus and Ariadne
25:
2246:Venus with a Satyr and Two Cupids
554:belli, e l'un de l'altro ardenti:
2721:Paintings of Jupiter (mythology)
2018:and Victoria Constable) (2015),
1851:"Triumph of Bacchus and Ariadne"
1822:engraved uncensored versions in
1632:
1007:(Lines 45-199). The inscription
556:perché ’l tempo fugge e inganna,
2731:Paintings of Diana (mythology)
2358:Christ and the Canaanite Woman
2318:Christ and the Samaritan Woman
2072:. Princeton University Press.
2045:. New York: George Braziller.
1968:This debate took place at the
1937:. Smarthistory at Khan Academy
1741:Hoving, Thomas (26 May 2009).
543:in about 1475, that entreats:
503:Triumph of Bacchus and Ariadne
472:Medallions on the north side:
379:, Marine scene (traditionally
241:National Archaeological Museum
1:
2570:Rest on the Flight into Egypt
2294:Madonna and Child with Saints
2238:Madonna and Child with Saints
2190:An Allegory of Truth and Time
1798:"Io Triumpe – Greeting a God"
588:These nymphs and those others
580:Because time flees and fools,
572:Here are Bacchus and Ariadne,
558:sempre insieme stan contenti.
2711:Paintings of Roman goddesses
2068:Martin, John Rupert (1965).
2645:Accademia degli Incamminati
2534:The Martyrdom of St Stephen
2462:The Three Marys at the Tomb
2222:The Vision of Saint Eustace
1597:Cardinal Alessandro Farnese
566:di doman non c’è certezza.
560:Queste ninfe ed altre genti
452:Salmacis and Hermaphroditus
422:Jason and the Golden Fleece
27:Fresco by Annibale Carracci
2747:
2437:Christ Crowned with Thorns
2429:Christ Crowned with Thorns
2405:The Death of Saint Francis
2230:Two Children Teasing a Cat
564:Chi vuol esser lieto, sia:
229:Metropolitan Museum of Art
199:Scheme and interpretations
163:Odoardo Farnese (cardinal)
2650:Palazzo Sampieri frescoes
2526:Self-Portrait on an Easel
2413:Saint Margaret of Antioch
2041:Dempsey, Charles (1995).
1909:Turner, Nicholas (2001).
1631:
1585:
1538:
1497:Hercules slays the Dragon
1385:
1094:
666:(Book 3, Lines 384-393).
628:
552:Quest’è Bacco ed Arïanna,
39:
2686:Fresco paintings in Rome
2478:Assumption of the Virgin
2270:Assumption of the Virgin
2262:Self-Portrait in Profile
2022:. Dijon: Éditions Faton
1605:Cardinal Odoardo Farnese
1457:Painted by Domenichino.
750:Triumphant marine scene
227:, later director of the
2716:Paintings of Roman gods
2610:The Birth of the Virgin
2562:The Dead Christ Mourned
2486:Saint Gregory at Prayer
2374:Venus, Adonis and Cupid
2174:Crucifixion with Saints
1601:Duke Alessandro Farnese
1052:10.152ff). This is the
823:Observed by two hidden
705:Book 16, Lines 51 ff).
2696:Paintings of Pan (god)
2387:The Choice of Hercules
2326:Saint Roch Giving Alms
1768:Bellori, Giovan Pietro
1669:
1551:
1475:
1467:
1445:
1428:Combat of Perseus and
1423:
1398:
1317:
1284:
1258:
1240:Hero swims across the
1229:
1199:
1166:
1137:
1107:
1084:Polyphemus and Galatea
1070:
1033:
985:
952:
909:
872:
837:
811:
746:
715:
676:
641:
562:sono allegre tuttavia.
525:The program refers to
498:
415:Polyphemus and Galatea
381:The Triumph of Galatea
340:
325:
316:
208:
2602:The Loves of the Gods
2510:Pietà with Two Angels
1971:Accademia di San Luca
1818:The painter's cousin
1699:in the Loggia of the
1664:
1609:Duke Ranuccio Farnese
1550:
1474:
1466:
1444:
1422:
1397:
1387:Scenes from mythology
1316:
1283:
1257:
1228:
1198:
1165:
1136:
1106:
1069:
1032:
984:
951:
908:
871:
836:
810:
745:
714:
691:Mercury delivers the
675:
640:
592:Are ever full of joy.
494:
345:The Loves of the Gods
337:The Loves of the Gods
335:
320:
311:
206:
126:The Loves of the Gods
35:The Loves of the Gods
2726:Callisto (mythology)
2366:Entombment of Christ
1978:for more discussion.
971:lies on the ground (
463:The Rape of Ganymede
400:Orpheus and Euridice
2706:Paintings of Apollo
2070:The Farnese Gallery
1955:Wittkower, Rudolf.
1481:Hercules liberates
1368:Scenes on the walls
1082:In this pendant to
1058:Apollo and Hyacinth
935:Jerusalem Delivered
467:Polyphemus and Acis
433:Aurora and Cephalus
411:Apollo and Hyacinth
396:Boreas and Orithyia
328:Scenes on the vault
295:Gian Pietro Bellori
2701:Paintings of Cupid
2691:Paintings of Venus
2470:Rinaldo and Armida
2150:The Laughing Youth
1670:
1666:Venus and Anchises
1552:
1515:Mercury and Apollo
1501:Diana and Callisto
1476:
1468:
1446:
1424:
1399:
1355:Judgement of Paris
1318:
1285:
1259:
1230:
1200:
1167:
1138:
1108:
1071:
1034:
1009:GENVS VNDE LATINVM
986:
953:
910:
873:
838:
812:
747:
730:The moment in the
716:
697:judgement of Paris
677:
642:
541:Lorenzo de' Medici
499:
474:Judgement of Paris
437:Venus and Anchises
404:The Rape of Europa
392:Apollo and Marsyas
385:Diana and Endymion
341:
257:) and faux bronze
237:Capodimonte Museum
233:Farnese Collection
209:
181:Giovanni Lanfranco
2663:
2662:
2634:Ludovico Carracci
2628:Agostino Carracci
2494:Domine quo vadis?
2481:(Rome; 1600–1601)
2198:Baptism of Christ
2144:List of paintings
2130:Annibale Carracci
2093:West Wycombe Park
2052:978-0-8076-1316-0
2028:978-2-87844-211-3
1832:erotic engravings
1820:Ludovico Carracci
1652:Pietro da Cortona
1643:
1642:
1617:
1616:
1489:Metamorphosis of
1365:
1364:
1329:Omnia vincit amor
799:Emperor Caracalla
611:Additional scenes
606:
605:
539:-poem written by
429:Hercules and Iole
365:Mercury and Paris
193:Sisto Badalocchio
135:Annibale Carracci
122:
121:
60:Annibale Carracci
16:(Redirected from
2738:
2381:Camerino Farnese
2182:Corpse of Christ
2123:
2116:
2109:
2100:
2081:
2064:
2002:
1998:
1992:
1985:
1979:
1966:
1960:
1953:
1947:
1946:
1944:
1942:
1931:
1925:
1924:
1906:
1897:
1896:
1888:
1882:
1876:
1863:
1862:
1860:
1858:
1847:
1841:
1816:
1810:
1809:
1807:
1805:
1794:
1788:
1787:
1764:
1758:
1757:
1755:
1753:
1738:
1729:
1721:
1697:secular frescoes
1636:
1635:
1624:
1587:Heraldic shields
1540:Cardinal virtues
1450:Virgin with the
1372:
1235:Hero and Leander
1181:At the gates of
795:National Gallery
693:apple of discord
630:Quadri riportati
615:
548:
547:
444:Hero and Leander
377:Jupiter and Juno
254:quadri riportati
221:Farnese Hercules
185:Francesco Albani
129:is a monumental
85:
83:
77:
75:
44:
32:
21:
2746:
2745:
2741:
2740:
2739:
2737:
2736:
2735:
2666:
2665:
2664:
2659:
2655:Palazzo Magnani
2616:
2350:River Landscape
2132:
2127:
2088:
2067:
2053:
2040:
2011:
2009:Further reading
2006:
2005:
1999:
1995:
1986:
1982:
1967:
1963:
1954:
1950:
1940:
1938:
1933:
1932:
1928:
1921:
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1900:
1890:
1889:
1885:
1877:
1866:
1856:
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1813:
1803:
1801:
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1766:
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1740:
1739:
1732:
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1718:
1713:
1701:Villa Farnesina
1633:
1627:External videos
1622:
1607:
1603:
1599:
1573:
1567:
1561:
1524:
1517:
1513:
1503:
1499:
1495:
1487:
1469:
1370:
1075:Polyphemus and
613:
598:
594:
590:
586:
582:
578:
574:
565:
563:
561:
559:
557:
555:
553:
489:
330:
287:, and standing
201:
159:
139:Palazzo Farnese
116:Palazzo Farnese
81:
79:
73:
71:
51:
48:Farnese Gallery
28:
23:
22:
18:Farnese Gallery
15:
12:
11:
5:
2744:
2742:
2734:
2733:
2728:
2723:
2718:
2713:
2708:
2703:
2698:
2693:
2688:
2683:
2678:
2676:1608 paintings
2668:
2667:
2661:
2660:
2658:
2657:
2652:
2647:
2642:
2637:
2631:
2624:
2622:
2618:
2617:
2615:
2614:
2606:
2598:
2590:
2582:
2574:
2566:
2558:
2550:
2538:
2537:(c. 1603–1604)
2530:
2522:
2518:Sleeping Venus
2514:
2506:
2498:
2490:
2489:(c. 1600–1602)
2482:
2474:
2466:
2458:
2450:
2449:(c. 1599–1600)
2442:
2441:(c. 1598–1600)
2433:
2425:
2417:
2409:
2401:
2400:(c. 1597–1598)
2393:
2392:
2391:
2378:
2370:
2362:
2354:
2346:
2338:
2330:
2322:
2314:
2306:
2298:
2290:
2282:
2274:
2273:(Madrid; 1590)
2266:
2258:
2250:
2242:
2234:
2226:
2218:
2210:
2202:
2194:
2186:
2178:
2170:
2166:Butcher's Shop
2162:
2154:
2146:
2140:
2138:
2134:
2133:
2128:
2126:
2125:
2118:
2111:
2103:
2097:
2096:
2087:
2086:External links
2084:
2083:
2082:
2065:
2051:
2038:
2010:
2007:
2004:
2003:
1993:
1989:Agostino Chigi
1980:
1961:
1948:
1926:
1919:
1898:
1883:
1864:
1842:
1811:
1789:
1782:
1759:
1730:
1728:death in 1609.
1715:
1714:
1712:
1709:
1641:
1640:
1629:
1628:
1621:
1618:
1615:
1614:
1612:
1593:
1590:
1589:
1583:
1582:
1580:
1553:
1543:
1542:
1536:
1535:
1534:Small scenes.
1532:
1529:and Prometheus
1477:
1459:
1458:
1455:
1447:
1437:
1436:
1433:
1425:
1415:
1414:
1411:
1400:
1390:
1389:
1383:
1382:
1379:
1376:
1369:
1366:
1363:
1362:
1359:Pan and Apollo
1340:
1337:
1334:
1333:
1324:
1319:
1309:
1308:
1297:
1294:Hermaphroditus
1286:
1276:
1275:
1268:
1260:
1250:
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1238:
1231:
1221:
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1209:
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901:
900:
885:
874:
864:
863:
850:
839:
829:
828:
821:
813:
803:
802:
751:
748:
738:
737:
728:
717:
707:
706:
695:preceding the
689:
678:
668:
667:
654:
643:
633:
632:
626:
625:
622:
619:
612:
609:
608:
607:
604:
603:
568:
488:
483:
482:
481:
478:Pan and Apollo
470:
459:
448:Pan and Syrinx
440:
425:
418:
407:
388:
369:
368:
329:
326:
261:painted on an
200:
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158:
155:
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2363:
2360:
2359:
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2345:(before 1595)
2344:
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2337:(before 1595)
2336:
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2286:Self-Portrait
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2187:
2184:
2183:
2179:
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2160:
2159:
2158:The Beaneater
2155:
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2151:
2147:
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2142:
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2124:
2119:
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2079:
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2058:
2054:
2048:
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2039:
2036:
2032:
2029:
2025:
2021:
2017:
2013:
2012:
2008:
1997:
1994:
1990:
1984:
1981:
1977:
1976:Andrea Sacchi
1973:
1972:
1965:
1962:
1958:
1952:
1949:
1936:
1930:
1927:
1922:
1916:
1912:
1905:
1903:
1899:
1894:
1887:
1884:
1881:, p. 56.
1880:
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1853:. Trionfi.com
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1800:. Trionfi.com
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1694:
1693:Giulio Romano
1690:
1684:
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1675:
1667:
1663:
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1380:
1377:
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1360:
1356:
1352:
1351:
1350:Golden Fleece
1347:
1341:
1338:
1336:
1335:
1331:
1330:
1325:
1323:
1322:Cupid and Pan
1320:
1315:
1311:
1310:
1306:
1305:Metamorphoses
1302:
1298:
1296:
1295:
1291:
1287:
1282:
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1272:Metamorphoses
1269:
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1217:Metamorphoses
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1210:
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1187:Metamorphoses
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1154:Metamorphoses
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1125:Metamorphoses
1122:
1118:
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1100:
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1088:Metamorphoses
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973:Metamorphoses
970:
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950:
946:
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936:
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893:Metamorphoses
890:
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855:Metamorphoses
851:
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840:
835:
831:
830:
826:
822:
820:
819:
814:
809:
805:
804:
800:
796:
793:found in the
792:
788:
784:
780:
776:
772:
768:
764:
760:
756:
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749:
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739:
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631:
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623:
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610:
602:
601:
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593:
589:
585:
581:
577:
573:
569:
567:
550:
549:
546:
545:
544:
542:
538:
537:carnival song
534:
533:
532:Metamorphoses
528:
523:
521:
516:
512:
508:
504:
497:
493:
487:
484:
479:
475:
471:
468:
464:
460:
457:
456:Cupid and Pan
453:
449:
445:
441:
438:
434:
430:
426:
423:
419:
416:
412:
408:
405:
401:
397:
393:
389:
386:
382:
378:
374:
373:
372:
366:
362:
358:
357:Pan and Diana
354:
353:
352:
350:
346:
338:
334:
327:
324:
319:
315:
310:
308:
304:
300:
296:
292:
290:
286:
282:
278:
274:
270:
269:
264:
263:illusionistic
260:
256:
255:
249:
246:
242:
238:
234:
230:
226:
225:Thomas Hoving
222:
218:
214:
205:
198:
196:
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186:
182:
178:
174:
173:
168:
167:Pope Paul III
164:
156:
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144:
140:
136:
132:
128:
127:
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107:
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102:
98:
95:
92:
88:
69:
65:
61:
58:
54:
49:
43:
38:
33:
30:
19:
2640:The Carracci
2608:
2601:
2600:
2592:
2584:
2576:
2568:
2560:
2552:
2546:
2540:
2532:
2524:
2516:
2508:
2500:
2492:
2484:
2476:
2468:
2460:
2452:
2444:
2436:
2427:
2419:
2411:
2403:
2395:
2385:
2372:
2364:
2356:
2348:
2340:
2332:
2324:
2316:
2308:
2302:Resurrection
2300:
2292:
2284:
2276:
2268:
2260:
2252:
2244:
2236:
2228:
2220:
2212:
2204:
2196:
2188:
2180:
2172:
2164:
2156:
2148:
2069:
2042:
2019:
2016:John Adamson
1996:
1983:
1969:
1964:
1956:
1951:
1939:. Retrieved
1929:
1910:
1892:
1886:
1879:Dempsey 1995
1855:. Retrieved
1845:
1836:
1830:, there are
1814:
1802:. Retrieved
1792:
1772:
1762:
1750:. Retrieved
1746:
1724:
1719:
1705:Michelangelo
1685:
1678:
1671:
1665:
1644:
1595:
1586:
1574:
1568:
1562:
1556:
1555:
1539:
1525:
1518:
1514:
1504:
1500:
1496:
1488:
1486:by Lanfranco
1480:
1479:
1449:
1427:
1402:
1386:
1381:Description
1358:
1354:
1344:
1327:
1321:
1304:
1288:
1271:
1262:
1245:
1233:
1219:2.846-875).
1216:
1204:The rape of
1203:
1186:
1170:
1153:
1141:
1124:
1111:
1095:
1087:
1083:
1074:
1057:
1049:
1037:
1020:
1017:erotic print
1008:
1005:to Aphrodite
1003:Homeric Hymn
1001:
989:
972:
956:
933:
925:
913:
892:
876:
853:
841:
815:
777:, Venus and
731:
719:
700:
680:
661:
645:
629:
624:Description
599:
595:
591:
587:
583:
579:
575:
571:
570:
551:
530:
524:
502:
500:
495:
485:
477:
473:
466:
462:
455:
451:
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443:
436:
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428:
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370:
364:
360:
356:
344:
342:
336:
321:
317:
312:
293:
266:
252:
250:
210:
172:piano nobile
170:
160:
125:
124:
123:
47:
29:
2613:(1605–1609)
2597:(1602–1607)
2581:(1600–1605)
2529:(1603–1604)
2432:(1598–1600)
2424:(1598–1600)
2408:(1597–1598)
2361:(1594–1595)
2329:(1587–1595)
2321:(1593–1594)
2257:(1587–1590)
2254:Lamentation
2249:(1588–1590)
2233:(1587–1588)
2225:(1585–1586)
2193:(1584–1585)
2185:(1583–1585)
2161:(1580–1590)
2095:in England.
1941:February 7,
1857:December 5,
1804:December 5,
1752:February 6,
1725:scudi d'oro
1680:contraposto
1493:into a Bear
1189:10.40-63).
1112:Apollo and
1090:13.728ff).
940:Nemean lion
189:Domenichino
2670:Categories
1920:0892365846
1828:lovemaking
1783:0521781876
1711:References
1674:Caravaggio
1564:Temperance
1483:Prometheus
1307:4.285ff).
1274:1.689ff).
1242:Hellespont
1156:6.382ff).
1127:6.382ff).
1096:Medallions
975:7.700ff).
897:velificans
878:Polyphemus
816:Diana and
755:apotheosis
285:grotesques
268:quadratura
259:medallions
157:Production
151:Classicism
62:and studio
2630:(brother)
2589:(c. 1606)
2573:(c. 1604)
2565:(c. 1604)
2557:(c. 1604)
2521:(c. 1603)
2513:(c. 1603)
2497:(c. 1602)
2473:(c. 1601)
2465:(c. 1600)
2457:(c. 1600)
2439:(Bologna)
2377:(c. 1595)
2369:(c. 1595)
2353:(c. 1590)
2313:(c. 1593)
2217:(c. 1585)
2137:Paintings
2035:944266919
1558:Fortitude
1408:Andromeda
860:hyacinths
757:) of the
161:Cardinal
143:Mannerism
2636:(cousin)
2547:disputed
2545:(1604) (
2061:31969918
2001:Farnese.
1837:Lascivie
1506:Daedalus
1491:Callisto
1348:and the
1290:Salmacis
1263:Pan and
1246:Heroides
1176:Euridice
1147:Orithyia
1043:Ganymede
1021:Lascivie
995:Anchises
969:Tithonus
962:Cephalus
926:Heroides
915:Hercules
847:Hyacinth
825:amoretti
818:Endymion
702:Heroides
699:(Ovid's
663:Georgics
515:triumphs
299:Platonic
217:Hercules
213:Camerino
177:Agostino
112:Location
101:Movement
2621:Related
2342:Hunting
2334:Fishing
2265:(1590s)
2153:(1580s)
1689:Raphael
1656:Poussin
1576:Charity
1570:Justice
1527:Minerva
1452:Unicorn
1430:Phineas
1404:Perseus
1172:Orpheus
1114:Marsyas
1054:pendant
1039:Jupiter
889:cyclops
882:Galatea
791:cartoon
771:Glaucus
767:Salacia
763:Neptune
721:Jupiter
682:Mercury
520:Silenus
511:Ariadne
507:Bacchus
383:), and
349:reliefs
307:Anteros
147:Baroque
106:Baroque
80: (
72: (
2605:(1608)
2505:(1603)
2416:(1599)
2390:(1596)
2305:(1593)
2297:(1593)
2289:(1593)
2281:(1592)
2241:(1588)
2209:(1585)
2201:(1585)
2177:(1583)
2169:(1583)
2078:523316
2076:
2059:
2049:
2033:
2026:
1917:
1824:prints
1780:
1747:Artnet
1648:Sacchi
1620:Legacy
1510:Icarus
1375:Image
1265:Syrinx
1206:Europa
1143:Boreas
1121:hubris
1013:Aeneas
958:Aurora
928:9 and
843:Apollo
787:Thetis
783:Peleus
781:, and
779:Triton
775:Scylla
759:nereid
658:Virgil
618:Image
465:above
454:, and
435:, and
413:above
402:, and
363:, and
281:satyrs
273:Ignudi
245:Naples
191:, and
131:fresco
118:, Rome
94:Fresco
90:Medium
78:/ 1608
56:Artist
2578:Danaë
2454:Pietà
1520:Arion
1378:Name
1346:Jason
1301:Naiad
1248:18).
1213:Crete
1183:Hades
1015:. An
991:Venus
930:Tasso
733:Iliad
686:Paris
651:Diana
621:Name
303:Cupid
289:Atlas
277:putti
2074:OCLC
2057:OCLC
2047:ISBN
2031:OCLC
2024:ISBN
1943:2018
1915:ISBN
1859:2017
1806:2017
1778:ISBN
1754:2018
1691:and
1650:and
1508:and
1406:and
1357:and
1292:and
1174:and
1145:and
1077:Acis
1041:and
993:and
960:and
919:Iole
917:and
887:The
880:and
845:and
785:and
773:and
765:and
725:Juno
723:and
684:and
649:and
527:Ovid
509:and
476:and
239:and
149:and
82:1608
74:1597
70:1597
67:Year
1695:'s
1056:to
932:'s
660:'s
647:Pan
529:'s
243:in
2672::
2055:.
1901:^
1867:^
1745:.
1733:^
1361:.
942:.
899:.
769:,
450:,
446:,
431:,
398:,
394:,
359:,
283:,
279:,
275:,
271:.
195:.
187:,
183:,
165:,
2549:)
2122:e
2115:t
2108:v
2080:.
2063:.
2037:.
1945:.
1923:.
1861:.
1840:.
1808:.
1786:.
1756:.
1215:(
480:.
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367:.
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