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The intriguing and little known youthful works of the artist Élisabeth Chaplin, painted in the Florentine countryside.
In Renaissance Florence it was customary to bring refreshments to new mothers on artistically decorated trays.
Magnificent tables of marble and inlaid stones made in Rome in the second half of the sixteenth century.
The work of painter Emanuele Cavalli, steeped in complex and nebulous esotericism, tells us much about the School of Rome and all that ensued in its wake.
The remarkable work done by Galileo Chini to decorate the Bangkok Throne Hall.
The countless reflections of a portrait by Ingres which, according to a compelling conjecture, inspired painters from different generations.
A touching article by Giovanni Mariotti, written in a single burst without punctuation, offering us a portrait of the Macchiaiolo painter Silvestro Lega.
The voracious and well-informed career as an art collector of Cardinal Richelieu, Chief Minister of State under Louis XIII of France.
The botanical festoons frescoed by Giovanni da Udine in Rome’s Villa Farnesina, which include species then newly brought over from the New World.
Roger Caillois’s collection of stones and Giovanni Pratesi’s collection of Arno river rocks and pebbles.
The botanical details of a masterpiece by Vittore Carpaccio, the Portrait of a Knight now in Madrid, have many secrets to divulge.
The deeper and less obvious meanings of the series “Primitive Humanity,” painted by Piero di Cosimo in the Florence of the Medici.
The painter, architect, and set designer Andrei Beloborodov dreamed of a silent world of ancient ruins flooded by vast waters.
The Etruscan studio in the royal Savoy palace of Racconigi, a noteworthy instance of a pseudo-antiquarian capriccio.
For the first time, the Accademia Carrara is set to reunite the Visconti-Sforza “Colleoni” tarot deck with other artistic tarot cards from every century.
The entirely European phenomenon of the Grand Tour, illustrated with a collection of sulfur-based cameos known as “zolfi.”
