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Giovanni Bellini - Trasfiguration of  Christ
fullscreen
Michelangelo Merisi, detto Caravaggio - Flagellation of Christ
fullscreen
Artemisia Gentileschi - Judith and Holofernes
fullscreen
Andy Warhol - Vesuvius
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Pieter Brueghel, detto il Vecchio - The Blind Leading the Blind
fullscreen
Guido Reni - Atalanta and Hippomenes
fullscreen
Sandro Botticelli - Madonna with Child and Angels
fullscreen
Nativity of the Crèche
fullscreen
Girolamo Francesco Maria Mazzola, detto Parmigianino - Portrait of a Young Woman also known as Antea
fullscreen
Francesco Guarino - Saint Agatha
fullscreen
Jacopo de Barbari - Portay of Luca Pacioli
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Annibale Carracci - Choice of Hercules
fullscreen
Jusepe de Ribera - Apollo and Marsyas
fullscreen
Tiziano Vecellio, detto Tiziano - Portray of Pope Paul III with His Nephews
fullscreen
Tiziano Vecellio, detto Tiziano - Danae
fullscreen
Colantonio del Fiore - San Girolamo in his studio
fullscreen
Edoardo Dalbono - From Frisio to Santa Lucia or Neapolitan song
Giovanni Bellini - Trasfiguration of  Christ
Michelangelo Merisi, detto Caravaggio - Flagellation of Christ
Artemisia Gentileschi - Judith and Holofernes
Andy Warhol - Vesuvius
Pieter Brueghel, detto il Vecchio - The Blind Leading the Blind
Guido Reni - Atalanta and Hippomenes
Sandro Botticelli - Madonna with Child and Angels
Nativity of the Crèche
Girolamo Francesco Maria Mazzola, detto Parmigianino - Portrait of a Young Woman also known as Antea
Francesco Guarino - Saint Agatha
Jacopo de Barbari - Portay of Luca Pacioli
Annibale Carracci - Choice of Hercules
Jusepe de Ribera - Apollo and Marsyas
Tiziano Vecellio, detto Tiziano - Portray of Pope Paul III with His Nephews
Tiziano Vecellio, detto Tiziano - Danae
Colantonio del Fiore - San Girolamo in his studio
Edoardo Dalbono - From Frisio to Santa Lucia or Neapolitan song

Other works on display

Description

The classic subject, invented by the sophist Prodico and perhaps suggested by Fulvio Orsini, librarian of the Farnese family, depicts the appearance of two women to the mythical Hercules and his doubt in the choice between one and the other. In fact, Pleasure, the young woman with a succinct and transparent guise, vainly points out the "flat way" between playing cards, masks and musical instruments, while Virtue, the woman dressed in red and blue, points out to him the harsh ascent of a mountain which there is winged Pegasus, emblem of the Farnese family, which will lead it to heaven. In the lower left corner, the poet immortalises the hero's deeds, assuring him of undying fame. Built in 1596 for Cardinal Odoardo, it was placed in Palazzo Farnese in the center of the vault of the "dressing room of Hercules" decorated with examples of virtues to be emulated. Hannibal, still mindful of the Bolognese frescoes of Palazzo Sampieri, already appears intent on combining "idea" and "nature" on the examples of Raphaelesque classicism and antiquity. It refers to both the compositional scheme, taken from a classical relief, and the head of Hercules, taken from that of the Farnese Hercules, at that time still located in the courtyard of the palace. Starting from 1662 the canvas, replaced by a copy still on site, underwent various shifts and then became part of the "Cabinet of obscene paintings" of the Royal Bourbon Museum.

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