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Mr PA, Orhan Pamuk's alter ego, visits the Metropolitan Museum in New York and lingers over Giovanni Paolo Panini's Ancient Rome.
Magnificent tables of marble and inlaid stones made in Rome in the second half of the sixteenth century.
The dining room of Palazzo Altieri in Oriolo Romano, decorated by Giuseppe Barberi.
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.
Winckelmann’s Roman life in a “spoken portrait” that brings to light both personal and secret aspects.
The entirely European phenomenon of the Grand Tour, illustrated with a collection of sulfur-based cameos known as “zolfi.”
The painter, architect, and set designer Andrei Beloborodov dreamed of a silent world of ancient ruins flooded by vast waters.
A bust in polychrome marble at Santa Maria Maggiore (Rome) depicts the Congolese ambassador to the Holy See from the turn of the 1600s, António Manuel Ne Vunda.
The Etruscan studio in the royal Savoy palace of Racconigi, a noteworthy instance of a pseudo-antiquarian capriccio.
The Biblia pauperum of the Sacred Mountain of Varallo as described by Vittorio Sgarbi, in part through the inspired words of Giovanni Testori.
Nature harnessed into the Marmore Waterfalls, created in the years of the Republic of Rome, became a must-see on the Grand Tour.
The botanical festoons frescoed by Giovanni da Udine in Rome’s Villa Farnesina, which include species then newly brought over from the New World.
The formative years of Paolo Caliari, better known as Paolo Veronese, as told in the words of the curator of the major exhibition at the Prado (2025).
Roger Caillois’s collection of stones and Giovanni Pratesi’s collection of Arno river rocks and pebbles.
The ivory panels of Salerno, a masterpiece of medieval fine carving, with depictions from the Testaments, Old and New.
