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House of the Humiliated verified

Monza, Lombardy, Italy closed Visit museumarrow_right_alt

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Francesco Hayez - Young woman portrait
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Still life with game, fruit and basket
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Giovanni Battista Caracciolo, detto Battistello - Gone to Calvary
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Mosè Bianchi - In the Duomo of Monza
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Guido Cinotti - Mountain pass with snow
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Fausto Pirandello - Naked in the mirror
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Anselmo Bucci - Self portrait
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Pompeo Mariani - View of Cairo
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Emilio Borsa - Mills in Monza
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Eugenio Spreafico - From work. The return from the spinning mill
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Giuseppe Meda - Lamentation over the Dead Christ with Saint John the Baptist
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Simone Pellegrini - The libation
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Giuseppe Grandi - Female bust
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Angelo Inganni - View of the new district in Monza
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Arturo Martini - Leda with the swan
Francesco Hayez - Young woman portrait
Still life with game, fruit and basket
Giovanni Battista Caracciolo, detto Battistello - Gone to Calvary
Mosè Bianchi - In the Duomo of Monza
Guido Cinotti - Mountain pass with snow
Fausto Pirandello - Naked in the mirror
Anselmo Bucci - Self portrait
Pompeo Mariani - View of Cairo
Emilio Borsa - Mills in Monza
Eugenio Spreafico - From work. The return from the spinning mill
Giuseppe Meda - Lamentation over the Dead Christ with Saint John the Baptist
Simone Pellegrini - The libation
Giuseppe Grandi - Female bust
Angelo Inganni - View of the new district in Monza
Arturo Martini - Leda with the swan

Other works on display

Description

The fresco, torn and brought back to canvas, represents the moment in which Mary holds the lifeless body of her Son taken down from the cross in her arms, while the Magdalene weeps holding the legs of Jesus and Joseph of Arimathea brings the hand of the deceased to his face. Next to the group of mourners appears the figure - incongruous according to the Gospel account - of St. John the Baptist, recognizable by the robe of camel hair. At the foot of the group, in particular, a nail and the crown of thorns which, together with the presence of the Baptist, refer to the Monza location of the painting: the Baptist is in fact the patron saint of the city, while the instruments of the Passion allude to the relics venerated in Cathedral, in particular to the Santo Chiodo kept in the Iron Crown. The fresco comes from the Casa degli Umiliati - now home to the museum - from where it was torn off in 1932 when the building was used as the seat of the Royal Magistrate's Court; at the time of the posting, the authorship was attributed to Simone Peterzano, but following subsequent research and stylistic comparisons it is much more plausible that the author of the fresco is Giuseppe Meda, active in those same years in the nearby Cathedral of Monza. The painting is characterized by the elegant ways of a mannerist style drawing, with calibrated evidence of gestures and expressions and references to Michelangelo's models.

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