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Arcimboldo - The gardener
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Michelangelo Merisi, detto Caravaggio - Saint Francis in meditation
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Platina wardrobe
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Giuseppe Diotti - Count Ugolino in the tower
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Giovanni Battista Trotti - Beheading of St. John the Baptist
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 Luigi Miradori  - Birth of the Virgin
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Galeazzo Ghidoni  - Preaching of St. John the Baptist in the desert
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Giovanni Carnovali, detto il Piccio - Portrait of Giovanni Beltrami
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 Luigi Miradori  - Portrait of Sigismondo Ponzoni
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Vincenzo Campi - Sammartino
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Felice Giuseppe Vertua - View of Cremona from the Po
Arcimboldo - The gardener
Michelangelo Merisi, detto Caravaggio - Saint Francis in meditation
Platina wardrobe
Giuseppe Diotti - Count Ugolino in the tower
Giovanni Battista Trotti - Beheading of St. John the Baptist
 Luigi Miradori  - Birth of the Virgin
Galeazzo Ghidoni  - Preaching of St. John the Baptist in the desert
Giovanni Carnovali, detto il Piccio - Portrait of Giovanni Beltrami
 Luigi Miradori  - Portrait of Sigismondo Ponzoni
Vincenzo Campi - Sammartino
Felice Giuseppe Vertua - View of Cremona from the Po

Other works on display

Description

The construction of the wardrobe was commissioned to Platina in 1477. Formed by an elongated structure, mirrored by a central pilaster, the front consists of three superimposed rows of ten antelle each, three figured with the announced Madonna, the announcing Angel, San Girolamo (plus a lost one now replaced by a Sant'Omobono by Vincenzo Canuti performed in 2007), twelve with perspective views of Cremona, Mantua, Padua and ideal cities, the remaining fourteen with musical and liturgical instruments, fruit bowls, still lifes. Characterized by a strong perspective system, the various antelle alternate the vision of deep urban spatial systems with the effect of an inverted telescope with which the inlays with still lifes are built, with fake doors and jutting furnishings. According to sources, Giovanni Maria Platina was born in Mantua in 1455 and died there in 1500; it is therefore not surprising to find two famous views of the city of the Gonzagas, although it is difficult to verify a precise correspondence between the wooden mirror and the real topography of the places. Apart from some simplifications made by the artist, the two antelle show Platina's direct knowledge of the Mantuan urban topography and are a rare figurative testimony of these in the fifteenth century.


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