368 Route 51. PARMA. Picture Gallery.
bling Hadrian). — III. Room. Architectural fragments and fragments of
moaaica from the Román theatre of Parma. — We pass through an ante-
room into the IV. Room, with Greek and Etruscan vases, and, on the
right, the V. Room, containing Etruscan tomba and objecta discovered in
tombs. — We return to the ante-room and enter the VI. Room (on the
right). Marble statues and fragments from Parma, Velleia, and elsewhere;
on the left wall a colossal head of Zeus; to the left of the entrance, basalt
torso (resembling the torso of the Belvedere in attitude); near the window
on the right, torso of Eros. — VIII. Room. Choir stalls by Bernardino
Canocio da Lendinara (1494); cabinets and 'cassoni' (16-17th cent.). —
IX. Room. Tableornament with many figures by the Spaniard Dam. Com-
peny (1804); tapestries. — We ascend the steps to the X. Room. Sculptured
capitals from the cathedral pulpit, by Ben. Antelami; sculpture»of the bar¬
oque period. — XI. Room (to the right). Punches and atamps from the
mint of Parma; mediseval aeala; furniture (16-17th cent.). — XII. Room.
Panelling and furniture from the bedroom of the Abbeas Giovanna da
Piacenza (p. 369). — XIII. Room. Chandelier, glasa, and furniture of the
17th century. — XIV. Room. Maj olica pavement from the church of San Paolo.
A staircase descends from the first room to the rooms on the ground¬
floor. — Room I. Román inscriptions and tombstones. — Room II. Valu-
able collection of pre-Roman antiquities found in the province of Parma;
weapons, implements of flint, bone, bronze, iron, and clay. — Room III.
Similar antiquities from the 'Terramare' (lake-dwellings) of Castione. —
Room IV-VII. Ethnographical collections. — Room VIII. Porcelain and
majolicas. — Room IX. Stove3 of tbe baroque period.
The extensive *Picture Gallery, on the flrst floor, is open at
same hours and on same terms as the Museo di Antichita (illustrated
catalogue 4 fr., abridgment 25 c).
I. Room: nothing worthy of note. — II. Room. On the left, "371.
Giulio Romano (after a sketch by Raphael in the Louvre), Christ in glory,
with the Madonna, the Baptist, and SS. Paul and Catharine. On the
opposite wall: 364. In the Style of Murillo, Job; 116. Ribera, The Apostles.
— III. Room or Rotunda. Two colossal statuea of Hercules and Bacchus
with Ampelua, in basalt, found on the Palatine at Rome in 1726. To the
right: 216. G. B. Tiepolo, St. Fidelis of Sigmaringen and St. Lawrence of
Brindisi overcoming Heresy; 231. Jac. Tintoretto, Descent from the Cross;
Cima da Conegliano, 370. Midas deciding between Apollo and Pan, 373.
Endymion, "361, *360. Madonnas with saints.
IV-VI. Large Saloon. On the entrance-wall, Copies of Correggio's
Coronation of Mary (in S. Giovanni, p. 367), by Annibale and Agostino Car¬
racci. To the right: Dosso Dossi, 391. Adoration of the Magi, 398. Holy
Family; 369. Garofalo, Madonna in clouds; Franc. Francia, 123. Pietá,
130. Madonna in glory, with SS. Benedict, Placidus, Scholastica, and
Justina (1515), 359. Holy Family ; 50. Crist. Ca-elli, Madonna and angels,
with St. Hilary and the Baptist (1499); 45. Al. Araldi, Annunciation; 122.
Lodovico da Parma, Annunciation, with SS. Sebastian and Catharine. —
141. Girol. Mazzola, Immaculate Conception. — In the middle of the room:
Statue of Marie Louise in a sitting posture, in marble, by Canova. — The
door at the end of thia room leada to Rooms VII and VIII, with the
The door to the right of the statue of Marie Louise leada to Rooms IX-
XIII, which contain the collection of portraits. In RR. IX and X are portraits
of the Farnese (X. 300. Alex. Farnese, by Sir A. Moré); XI, Bourbona;
XII, Portraita of the 16-17th cent, (over the entrance - door, 302. -Se», del
Piombo, Pope Clement VII. and a chamberlain, unfiniahed, about 1532;
opposite, «355. Holbein the Younger, Eraamua, painted about 1530); XIII,
Portraits of the 17-18th centuries. — Adjoining ia Room XIV, which con-
taina mediocre engravings by Toschi (d. 1854), after Correggio, etc. — We
now return to Room ILT and pass to the right into the —
XV. Room. Water-colour copies of Correggio'a worka, by Toschi and
hia pupils. — XVI. Room. Drawing» and paintings by Parmigianino: in
the entry, 313. Portrait of himself; to the left, 192. Betrothal of St. Catharine.