![]() The carved wooden doors were made in 1643. Tarquinius was the King in charge of the Roman Monarchy and he was soon overthrown by Junius Brutus, causing the Monarchy to transform into a Republic. The paintings, attributed to Francesco Allegrini (1587-1663), were transferred to the Capitol after 1930 after the destruction of Palazzo Mattei Paganica, from which they come. He and Collatinus were therefore elected consuls - or rather praetors, which was the original title (Livy i. ![]() Victory at Lake Regillus: the Dioscuri, the mythical twin sons of Jupiter, lead the Roman army to victory in the battle against the Latins at Lake Regillus.Īlso noteworthy is the coffered ceiling with painted scenes from the “Jerusalem Delivered”. When Lucretia, wife of Collatinus, was outraged by Sextus Tarquinius (the incident which inspired Shakespeare's Rape of Lucrece), Brutus, together with her husband and father, took a leading part in expelling the Tarquinii from Rome. Every Roman citizen was a soldier, and was liable at any moment to be called upon to turn. Horatius Cocles defending the Pons Sublicius: the scene represents Horatius Cocles fighting valiantly against his enemies, while the Romans were destroying the Sublicio bridge to defend the city from the Etruscans. On this question Brutus and Collatinus were violently opposed. Carl Deroux, (Collection Latomus 272), Bruxelles 2003, p. Mucius Scaevola before Porsena: the Roman hero, Mucius Scaevola, having failed to murder the Etruscan king, Lars Porsena, stoically thrusts his hand into the fire. Lucretia’s Story in Literature and the Rites of Regifugium and Equirria, in: Studies in Latin Literature and Roman History, vol. For its symbolic meaning, the fresco was painted on the wall where the Court of the Conservators had been set up, with a Latin inscription “Diligite iustitiam” (Love Justice). The first consuls of the Republic, Brutus and Collatinus, see the assassination of Brutus’s sons, sentenced to death for high treason. ![]() Some episodes of bravery and civic virtues of the first period of the Republic are narrated with chromatic and impressive vivacity, ideally continuing the tale of the Horatii and Curatii (both rooms reproduce the decoration themes made in the first decade of 1500 and lost after the architectural renovation of the spaces).īrutus’ Justice: the subject of the fresco is a little-known episode narrated by the historian Livy. The fresco decoration of the hall was carried out between 15 by Tommaso Laureti (1530-1602), who trained in the atelier of Sebastiano del Piombo. The later kings had little regard for roman values and the roman populus, which they used as something of a slave labor force.
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