painted genre scene peasant dance on farmyard folk themes peasant plays guitar horse cart straw roof traditional Latium female costume
painted genre scene peasant dance on farmyard folk themes peasant plays guitar horse cart straw roof traditional Latium female costume - 2991
Scheda in fase di compilazione
Scheda in fase di compilazione - 17210
Scheda in fase di compilazione
Scheda in fase di compilazione - 17211
Scheda in fase di compilazione
Scheda in fase di compilazione - 17214
Scheda in fase di compilazione
Scheda in fase di compilazione - 17213
Capitol Square
Capitol Square - 26217
Capitol Square
Capitol Square - 26218
Capitol Square
Capitol Square - 26219
Capitol Square
Capitol Square - 26220
Piazza del Campidoglio
Piazza del Campidoglio - 7581
Capitol Square
Capitol Square - 7582
Capitol Square
Capitol Square - 7626
St Jerome
St Jerome - 11897
Madonna del Rosario
Madonna del Rosario - 9964
Painted by Caravaggio at the workshop of Cavalier D'Arpino. The sick basin, characterised by pallor, is actually a self-portrait of the painter (Caravaggio probably used a mirror to portray himself). A Michelangelo-esque pose is mentioned. The realisation of the natural elements is masterly; the work is also rich in symbolic references (mythological, Christian...)
Painted by Caravaggio at the workshop of Cavalier D'Arpino. The sick basin, characterised by pallor, is actually a self-portrait of the painter (Caravaggio probably used a mirror to portray himself). A Michelangelo-esque pose is mentioned. The realisation of the natural elements is masterly; the work is also rich in symbolic references (mythological, Christian...) - 514
Painted by Caravaggio at the workshop of Cavalier D'Arpino. The sick basin, characterised by pallor, is actually a self-portrait of the painter (Caravaggio probably used a mirror to portray himself). A Michelangelo-esque pose is mentioned. The realisation of the natural elements is masterly; the work is also rich in symbolic references (mythological, Christian...).
Painted by Caravaggio at the workshop of Cavalier D'Arpino. The sick basin, characterised by pallor, is actually a self-portrait of the painter (Caravaggio probably used a mirror to portray himself). A Michelangelo-esque pose is mentioned. The realisation of the natural elements is masterly; the work is also rich in symbolic references (mythological, Christian...). - 515
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later.
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. - 20312
The square is flanked by three palaces (the Senatorial Palace, the Palazzo Nuovo and the Palazzo dei Conservatori), and shows a trapezoidal shape in order to accommodate the pre-existing Palazzo dei Conservatori, which by then had been built. Michelangelo changed the orientation of the square towards the modern city, not the ancient forum.
The square is flanked by three palaces (the Senatorial Palace, the Palazzo Nuovo and the Palazzo dei Conservatori), and shows a trapezoidal shape in order to accommodate the pre-existing Palazzo dei Conservatori, which by then had been built. Michelangelo changed the orientation of the square towards the modern city, not the ancient forum. - 20319
The square is flanked by three palaces (the Senatorial Palace, the Palazzo Nuovo and the Palazzo dei Conservatori), and shows a trapezoidal shape in order to accommodate the pre-existing Palazzo dei Conservatori, which by then had been built. Michelangelo changed the orientation of the square towards the modern city, not the ancient forum.
The square is flanked by three palaces (the Senatorial Palace, the Palazzo Nuovo and the Palazzo dei Conservatori), and shows a trapezoidal shape in order to accommodate the pre-existing Palazzo dei Conservatori, which by then had been built. Michelangelo changed the orientation of the square towards the modern city, not the ancient forum. - 20317
The square is flanked by three palaces (the Senatorial Palace, the Palazzo Nuovo and the Palazzo dei Conservatori), and shows a trapezoidal shape in order to accommodate the pre-existing Palazzo dei Conservatori, which by then had been built. Michelangelo changed the orientation of the square towards the modern city, not the ancient forum.
The square is flanked by three palaces (the Senatorial Palace, the Palazzo Nuovo and the Palazzo dei Conservatori), and shows a trapezoidal shape in order to accommodate the pre-existing Palazzo dei Conservatori, which by then had been built. Michelangelo changed the orientation of the square towards the modern city, not the ancient forum. - 20318
The square is flanked by three palaces (the Senatorial Palace, the Palazzo Nuovo and the Palazzo dei Conservatori), and shows a trapezoidal shape in order to accommodate the pre-existing Palazzo dei Conservatori, which by then had been built. Michelangelo changed the orientation of the square towards the modern city, not the ancient forum.
The square is flanked by three palaces (the Senatorial Palace, the Palazzo Nuovo and the Palazzo dei Conservatori), and shows a trapezoidal shape in order to accommodate the pre-existing Palazzo dei Conservatori, which by then had been built. Michelangelo changed the orientation of the square towards the modern city, not the ancient forum. - 15526
The square is flanked by three palaces (the Senatorial Palace, the Palazzo Nuovo and the Palazzo dei Conservatori), and shows a trapezoidal shape in order to accommodate the pre-existing Palazzo dei Conservatori, which by then had been built. Michelangelo changed the orientation of the square towards the modern city, not the ancient forum.
The square is flanked by three palaces (the Senatorial Palace, the Palazzo Nuovo and the Palazzo dei Conservatori), and shows a trapezoidal shape in order to accommodate the pre-existing Palazzo dei Conservatori, which by then had been built. Michelangelo changed the orientation of the square towards the modern city, not the ancient forum. - 15527
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master.
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master. - 20178
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master.
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master. - 7024
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master.
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master. - 7037
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later.
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. - 7038
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later.
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. - 7039
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later.
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. - 7040
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. Detail of the head.
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. Detail of the head. - 7045
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. Detail of the head.
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. Detail of the head. - 7046
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. Detail of the head.
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. Detail of the head. - 7047
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master.
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master. - 7025
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master.
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master. - 7026
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master.
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master. - 7027
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master.
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master. - 7028
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master.
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master. - 7029
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master.
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master. - 7030
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master.
The execution of the profound humanity of the figures is perfect, revealing an astonishing creative power. Michelangelo added his signature to the Madonna's belt, so it is the only signed work by the master. - 7031
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later.
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. - 7041
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later.
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. - 7042
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later.
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. - 7043
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later.
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. - 7044
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. Detail of the head.
This inexpressive sculpture of Christ was a commission from a nobleman to Michelangelo, but was finished by his pupils. The gilded bronze robe was added later. Detail of the head. - 7049
The square is flanked by three palaces (the Senatorial Palace, the Palazzo Nuovo and the Palazzo dei Conservatori), and shows a trapezoidal shape in order to accommodate the pre-existing Palazzo dei Conservatori, which by then had been built. Michelangelo changed the orientation of the square towards the modern city, not the ancient forum.
The square is flanked by three palaces (the Senatorial Palace, the Palazzo Nuovo and the Palazzo dei Conservatori), and shows a trapezoidal shape in order to accommodate the pre-existing Palazzo dei Conservatori, which by then had been built. Michelangelo changed the orientation of the square towards the modern city, not the ancient forum. - 6043
The first design of the dome belongs to Bramante and resembled that of the Pantheon, but shortly afterwards Michelangelo enlarged it. It was finished by Giacomo della Porta and Domenico Fontana. It is the tallest dome in Rome.
The first design of the dome belongs to Bramante and resembled that of the Pantheon, but shortly afterwards Michelangelo enlarged it. It was finished by Giacomo della Porta and Domenico Fontana. It is the tallest dome in Rome. - 7013
The first design of the dome belongs to Bramante and resembled that of the Pantheon, but shortly afterwards Michelangelo enlarged it. It was finished by Giacomo della Porta and Domenico Fontana. It is the tallest dome in Rome.
The first design of the dome belongs to Bramante and resembled that of the Pantheon, but shortly afterwards Michelangelo enlarged it. It was finished by Giacomo della Porta and Domenico Fontana. It is the tallest dome in Rome. - 7014
The first design of the dome belongs to Bramante and resembled that of the Pantheon, but shortly afterwards Michelangelo enlarged it. It was finished by Giacomo della Porta and Domenico Fontana. It is the tallest dome in Rome.
The first design of the dome belongs to Bramante and resembled that of the Pantheon, but shortly afterwards Michelangelo enlarged it. It was finished by Giacomo della Porta and Domenico Fontana. It is the tallest dome in Rome. - 7015
The first design of the dome belongs to Bramante and resembled that of the Pantheon, but shortly afterwards Michelangelo enlarged it. It was finished by Giacomo della Porta and Domenico Fontana. It is the tallest dome in Rome.
The first design of the dome belongs to Bramante and resembled that of the Pantheon, but shortly afterwards Michelangelo enlarged it. It was finished by Giacomo della Porta and Domenico Fontana. It is the tallest dome in Rome. - 7016
The square is flanked by three palaces (the Senatorial Palace, the Palazzo Nuovo and the Palazzo dei Conservatori), and shows a trapezoidal shape in order to accommodate the pre-existing Palazzo dei Conservatori, which by then had been built. Michelangelo changed the orientation of the square towards the modern city, not the ancient forum.
The square is flanked by three palaces (the Senatorial Palace, the Palazzo Nuovo and the Palazzo dei Conservatori), and shows a trapezoidal shape in order to accommodate the pre-existing Palazzo dei Conservatori, which by then had been built. Michelangelo changed the orientation of the square towards the modern city, not the ancient forum. - 9190
piazza farnese antonio da sangallo gable portal aristocratic palace
piazza farnese antonio da sangallo gable portal aristocratic palace - 20512

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