15b- I. N. and E. Hills. ROME. b. Pal. Barberini
Woman, a work of the early Peloponnesian school, not unlike the Vesta
Oiustiniani and the so-called Dancers from Herculaneum; 10. Colossal
sarcophagus, with a battle between barbarians and Romans (3rd cent. A.D.);
7. Sarcophagus, with a battle of barbarians.
Beyond the Palazzo Piombino the Via Veneto leads to the Porta
Pinciana (PL I, 20, 23), just outside which is the E. entrance to the
Villa Borghese (p. 181). In the Via Lombardia, the second side-
street on the left, is the entrance to the Casino dell' Aurora, a
garden-house belonging to the former Villa Ludovisi. On the ground-
floor is a ceiling-painting of * Aurora, and on the first floor one of
Fama, both by Guercino (most easily seen before 9 a.m.).
The district on which the present Ludovisi quarter stands was oc¬
cupied in antiquity by the splendid Gardens of Sallusl, the historian
which were afterwards acquired by the emperors. The numerous edifices
in these gardens are now represented by a large domed building with
eight niches at the E. end of the Via Sallustiana, called without found¬
ation 'Tempio di Venere', but most probably a nymphrcum.
From the Piazza Barberini (p. 154), the Via Sistina is continued
by the Via Quattro Fontane, in which, to the left, is the —
*Palazzo Barberini (PL I, 24), an imposing structure in the
Baroque style, begun by Maderna under Urban VIII., and completed
by Bernini (p. lxxiv). The court, laid out as a garden, contains a
marble statue of Thorvaldsen, by E. Wolff, after a work by the master
himself, erected here, near his studio, by his pupils and friends in
1874. — The principal staircase is to the left under the arcades;
built into it is a Greek tomb-relief (top half modern); on the land¬
ing of the first floor, a lion in high-relief, from Tivoli. At the top
of the staircase is the Sculpture Saloon, with a large ceiling-painting
('II Trionfo della Gloria') by Pietro da Cortona, and containing,
among a number of ancient and modern works, an admirable *Statue
by a Greek master, representing a suppliant for protection at an altar
(comp. p. 340). This room is shown only in the absence of the
Spanish ambassador to the Quirinal, who occupies this part of the
palace. It may also be reached by the staircase ascending past the
entrance to the picture-gallery (see below).
At the right end of the arcades a winding staircase (13 steps,
then to the right) ascends to the Galleria Barberini (admission,
see pp. 140, 141; catalogues for the use of visitors).
I. Room : 16. Pomarancio, Blagdalen; 20. Parmigianino, Betrothal of St.
Catharine. — II. Room : 33. After Raphael, Bladonna; 36. Innocenzo da Imola,
Bladonna; 38. Titian, Cardinal Pietro Bembo, painted about 1540 but re¬
touched ; 53. Style of Sodoma, Madonna with St. Jerome; 59. Sodoma (?),
Bladonna; 64. School of Giov. Bellini, Bladonna; 65. Sacchi, Urban VIII.; 68.
Mengs, Portrait of his daughter; 69. Ponlormo (according to Blorelli), Pygma¬
lion; 72. Franc.Francia(l), Bladonna; 73.Masaccio(7), Portrait. — III. Room :
76. Imitator of Palma Vecchio (not Titian), 'La Schiava', female portrait;
CI. Lorrain, 79. Castel Gandolfo, 78. Acqua Acetosa, 80. Landscape; 81.
Bronzino (?), Portrait. — "82. Diirer, Christ among the Scribes, painted at
Venice in five days in 1506 ('opus quinque dierum'). The numerous heads
in this picture are ungrouped, some of them resemble caricatures, and it
is in the execution of the expressive hands alone, that the workmanship of