- Scuola centro-italiana 
- Scuola Emiliana 
- Scuola Europa dell'est 
- Scuola Fiamminga 
- Scuola Francese 
- Scuola Genovese 
- Scuola Italiana 
- Scuola Ligure 
- Scuola Lombarda 
- Scuola Marchigiana 
- Scuola Napoletana 
- Scuola Nord Europa 
- Scuola Nord Italia 
- Scuola Piemontese 
- Scuola Toscana 
- Scuola Veneta 
- Scuola centro-europea 
- Scuola ispanica 
Oil on canvas. Northern Italy school. In the scene, four young girls dance, accompanied by different instruments: Venus, who is characterized by the crown on her head, beats on a triangle, the three Graces have a tambourine and castanets. In the lower centre, a boy accompanies them with the flute, while on the left, seated on a rock and leaning on his sword, the god Mars observes them. Restored and relined, the painting is presented in an antique gilded frame.
Oil on canvas. Northern Italian school of the 17th-18th century. On the back this label of the Art Gallery with the indication "Venetian School of 1600". The Gospel episode of the deposition of Christ from the Cross is depicted. The body of Jesus, which stands out white for the pallor of death but also as a symbol of his purity, stands out in the center among the other figures, the only one inert among the other characters. His arms still open while he is detached from the Cross, constitute a link between the two figures of Mary and John standing below him, and the sky. Around several figures that chorally create movement, intertwining, shapes and colors. The restored and relined work is presented in a coeval frame, in carved, stuccoed and lacquered wood.
Oil on the table. Northern Italian (Venetian?) School of the 18th century. The shape of the table suggests that the painting was part of a furnishing set, inserted in a composite wall structure together with other mythological-allegorical scenes. The painting represents a mythological episode narrated in Ovid's Metamorphoses: Mercury prepares to put Argus to sleep with the persuasive melodies of his flute, and then kills him at the command of Jupiter. Argos, the shepherd with a hundred eyes and endowed with great strength, had been commissioned by Juno to watch over the young Io, loved by Jupiter and transformed by him into a heifer. In this representation, placed within a bucolic landscape, Mercury can be identified with his hat and winged shoes, while playing his flute, and Argus sitting watching the white heifer behind him: as in many representations of this myth, also in works of great fame, Argo is depicted as a simple shepherd, without a hundred eyes and without special gifts. The bucolic rather than dramatic dimension underlines the decorative intent of the panel, which seeks to evoke lightness rather than pathos. The work is in good condition.
Oil on cardboard. North-ItalIan school. The two small landscapes offer views of the countryside with the remains of ancient stone walls and wayfarers on the path that pass under the monumental arches. The atmosphere is romantic, imbued with pink colors. Although more landscape than monumental, the two squares are fully part of the production linked to the Grand Tour, the journey through Europe - and with the main stops in Italy! - that the young people of the European high aristocracy completed, upon completion of their university studies, to enrich their cultural background. This fashion favored a large production of small paintings of the places visited, in memory of the stage. The two paintings are presented in 19th century frames.
Oil on canvas. Northern Italy school. The depiction of the Nativity is seen here as a contemplative moment of the Holy Child, by Mary and Joseph, accompanied by little angels. The pictorial ways resume those of widely replicated models, starting from Correggio, from Barocci, to arrive at the numerous versions of Gherardo delle notte, or the Flemish painter Gerard Von Honthorst, representative of tenebrism, a pictorial current that played on strong contrasts of darkness and light, light and dark. In this work too, the light radiated by the Baby Jesus illuminates the figures around him and makes them emerge from the surrounding darkness. The restored and relined work is presented in a 19th century frame.
Oil painting on canvas. Northern Italian school of the 18th century. A priest, kneeling in front of the altar, while celebrating or preparing to celebrate Holy Mass assisted by an altar boy on the left and a nun on the right, addresses his prayer to two saints, who appear above his head as a representation of his meditation and interior prayer. On the altar stands the fresco dedicated to Mary enthroned with the Child Jesus, angels and saints. The work has different color losses and is proposed in a gilded frame from the end of the 19th century, with shortcomings.
Oil on canvas. Northern Italian school of the 17th-18th century. In a large, rather barren hilly landscape, which widens and fades to the right, there is a high rock, shaped like an arch, under which there is Saint Jerome penitent, depicted in the act of prayer and adoration of the Cross. In accordance with the canons of 17th-18th century painting, the figure of the Saint, adapted to the iconography in his clothes and attitude, is however inserted in an unsuitable landscape, close to that of the painter who drew on the landscape reality known to him. . The painting, restored and relined, is presented in a period frame.
Oil on canvas. Northern Italian school of the seventeenth century. The young man is portrayed posing with books by his side and in his hand, indicating his propensity for study; the heraldic coat of arms of the noble family to which the young man belongs is depicted on the top right. Restored and relined, the painting is presented in a period frame.
Oil painting on canvas. Northern Italian school of the 18th century. A peculiarity of this scene is the presentation of the characters concentrated in the lower part of the canvas, while in the upper one dominates on the left the great architectural structure, which is meant to be the cave, but which is a tall and imposing wooden structure, flanked on the right by the darkness of the night, interrupted by the gap of light opened in the heavens, from which the angels come out. The characters are willing to converge, along an oblique line ascending to the left, in the direction of the Holy Family, in particular towards Mary and the Child, who are on the same diagonal as the celestial beam of light. On the right of the Holy Family, the Magi, with their retinue of servants and animals, behind which opens a landscape that evokes the distant lands from which they come. The painting is also animated by the play of colors and lights, with alternating lights and shadows, bright colors and dark backgrounds. Restored and relined, the painting is presented in a beautiful gilded frame from the end of the 19th century.
Oil painting on canvas. Northern Italian school of the 17th-18th century. The work of a devotional nature, sees the Madonna, seated on the clouds and assisted by two angels who support her garments, is venerated by two saints, kneeling at her feet: on the right the young woman in princely clothes, at whose feet is resting a royal crown, it refers to Elizabeth of Hungary; on the left, the saint holding the Infant Jesus in his arms can be identified as San Caetano da Thiene. Particular is the play of glances between the various characters, which intertwine together with the positions and gestures, to create an almost circular movement. The painting has been restored and relined. It is presented in an ancient frame restored at the beginning of the 20th century, with various current shortcomings (to be restored).
OIl on canvas. North Italy School. Small glimpse of a steam that flows between the houses; we can see two figures, one is a soldier that is passing under the bridge on his boat; the other man is crossing the bridge while pulling a dunkey that is pulling a cart. The painting needs to be restored because of several drops of color of which the biggest one is on the left side of the bridge. It comes in a gilded coeval frame.
"Tempera grassa" on canvas. North Italian School. It is believed that the first large pieces were part of the decorative apparatus of a big palace. The technique used, a greasy tempera applied on canvas with a really light preparation and a quick hatching without precise references to the figures, underlines the fast execution, aimed at obtaining pieces for purely decorative purposes in a short time. The four portraits depict the figures of kings, recognizable by different royal attributes (crowns, sceptres, royal garments), but represented as commanders, with armours and/or weapons. The peculiarity is that the characters belong to different eras and places, as if it was an homage to the great royal figures of history. The identification of the characters is uncertain, although it is possible to hypothesize some names: the king with the poor metal crown, but with very pointed cusps, who holds a sword with a hilt in the shape of a bird's head and who is covered with a mantle of rough cloth and a simple armour from which fur elements appear, could be Attila, king of the Huns; the oriental figure, with a turban adorned with precious gemstones, could be an Ottoman sultan, such as Suleiman; the warrior with the Ancient Greek armour, with the helm surmounted by a dragon and a breastplate richly decorated with friezes, could be Alexander the Great; lastly, the young king in a full plate armour and the crowned "hat of arms" helmet, used during the late Middle Ages, refers to a 15th century ruler, who is placed in one of the royal families derived from the Sacred Roman Empire by the necklace with the imperial eagle. The four paintings, still in their original canvas, show signs of restorations and integrations, with some small patches on the back. They come from a historical collection from Bologna. They are presented in frames in style.
The Tale of Apollo and Marsyas
The Tale of Apollo and Marsyas
Oil painting on canvas. Northern Italian school of the seventeenth century. The large canvas derives from an engraving of 1562 by the Venetian Giulio Sanuto, who faithfully reproduced the homonymous work by Bronzino (1503-1572), currently preserved in the Hermitage; compared to the original, the engraving added the group of Muses and modified the landscape background by introducing views of the villages. The work is divided into four scenes, which must be read from right to left. The first scene depicts the musical contest between Apollo and the Silenus Marsyas, who played the flute so well that he was considered superior to the same god; the two contenders are performing, the god with the lyre and the silenus with the flute even upside down (to increase the difficulty of the undertaking), in front of King Midas and the goddess Minerva, recognizable by her attributes, the helmet, the spear and the shield. In the second scene Apollo is intent on skinning Marsyas, to punish him for having won the musical contest; lean on the ground next to him, his cloak and lyre. In the third scene, it is King Midas who is punished by the god for having preferred Marsyas to him: Apollo is putting the donkey's ears on Midas, while Minerva is watching. Finally, the fourth scene, in the foreground on the left, is characterized by a particular figure, identified in the faithful servant and barber of the king: since Midas had ordered him to keep the secret on his donkey ears, not being able to let off steam otherwise, he dug a hole in the ground and yelled into there his secret; in that place, however, legend has it that a bush of reeds grew that with the wind whispered "King midas has donkey ears", thus revealing the dreaded secret. The painting has been previously restored and relined, but currently needs any further color recovery. On the back in pencil there is an old attribution to the Ferrara school ("Ercole da Ferrara"). It is presented in a late 19th century style frame.
Oil on canvas. North Italian School. Inserted in a late Renaissance landscape, the composition of the figures is arranged according to an ascending diagonal towards the left and more precisely culminating with the three crosses on Calvary in the distance; the body of Christ is in the middle, lying, albeit also obliquely, behind him there are three figures: St. John, Mary in the centre, and a pious woman, the only one depicted in seventeenth-century clothes- probably a portrait of a person close to the client. The piece can be placed in the Lombard-Venetian cultural production of the first half of the 16th century, more precisely in the pictorial activity that flourished between Brescia, Garda and Verona, which found its maximum expression in the mannerist ways of Giovanni Demio (1500-1570 ca). In particular, some elements are found in the piece, especially in the shapes of clothing and poses (for example of Saint John), which refer to models of Raphaelesque mold that were widely used, thanks to the mediation of engravers such as Marcantonio Raimondi (1480 -1534 ca ), who contributed to the distribution of the pieces of the masters. The painting, restored and relined, has extensive renovations. It is presented in an antique frame, that can be dated around the 17th century, repainted.