Pal. of the Conservatori. ROME. 111. Southern Quarters. 235
picture in the Louvre); 66. Garofalo, Madonna ; 61. Guido Reni, Mary Magda¬
len; 59. Domenichino, Cumsean Sibyl. Above the windows: 85-9i. Ten
frescoes attributed to Lo Spagna (p. 5S), Apollo and the Muses, formerly in
the hunting-lodge of La Magliana (p. 418). — End-wall: 58. Albani, Nativity
of the Virgin; 57. Dom. Tintoretto, Mary Magdalen; 50. Fra Bartolomeo
(? more probably Franc. Francia), Presentation in the Temple; 53. Garo¬
falo, Holy Family; 47. Guercino, Persian Sibyl (school-piece); 46. Paolo
Veronese, Madonna and saints (copy); above, 100, 101. Lo Spagna, SS.
Stephen and Benedict, frescoes from the convent of Campo Marzo in Rome.
Left wall: 41. Albani, Magdalen; 36. School of S..Botticelli, JIadonna and
saints; 29. Cola dell'Amatrice, Death of Mary, 19. Garofalo, Coronation of
St. Catharine; 17. Guido Reni, A glorified spirit (unfinished). Above,97-99.
Carracci, Frescoes from the myth of Cupid and Psyche. — Entrance-wall: 13.
School of Franc. Francia, Madonna and saints (1513). — We traverse a
small passage, in which are (102-110) some interesting views of Rome in
the first half of the 18th cent., by L. Vanvitelli, and enter the —
II. Room. 139. Velazquez, Portrait of himself (1630); 137. Van Dyck,
Good double portrait of Lucas and Cornells de Wael, the painters; 135.
Portrait of Michael Angelo; "128. Van Dyck, Portraits of the poet Thomas
Killigrew and of Henry Carew; 120. Garofalo, Annunciation; 117. Paolo
Veronese (? more probably Carletto Galiari), Madonna and angels.
III. Room. 141. Giov. Bellini Q), Portrait; 142. Giov. Bellini, Portrait;
*145. Titian, Baptism of Christ; 146. Gentile Bellini (?), Portrait, said to be
of Petrarch; 147. Giov. Buonconsiglio, Portrait of himself; 152. Domenichino,
St. Barbara; 161. School of Giov. Bellini, Holy Family.
IV. Room. Left wall: 183. Mazzolini, Holy Family; 197. Paolo Veronese,
Rape of Europa (copy); 203. Palma Vecchio (not Titian), Christ and the
Woman taken in adultery; 204. Garofalo, Madonna (copy); 205. Cignani,
Madonna; 210. Nic. Poussin, Orpheus; 212. Parmigianino, John the Baptist.
— End-wall: "221. Guercino, St. Petronilla raised from her tomb and shown
to her bridegroom, a colossal picture painted for St. Peter's, now replaced
there by a copy in mosaic. — Right wall: 227. Caravaggio, Fortune-telling
gipsy; 235. Maralta, Holy Family; 240. Caravaggio, St. Sebastian; 215.
Guido Reni, St. Sebastian; 248-250. Tintoretto, Baptism and Passion of Christ.
— Exit-wall: 254. Pietro da Cortona, Alexander and Darius.
The Sale dei Conservatori (i.e. of the town-councillors) mainly
contain frescoes and other works of art, chiefly of the end of the 16th
We pass through a Corridor (PL IX) containing a collection of porcelain
presented by Conte Cini, and the old Chapel (PI. VIII) containing a fresco
(Madonna and angels) by Agostino d'Ingegno. We then reach the VII. Room,
the walls of which are frescoed by Jacopo Ripanda of Bologna with scenes
from the Punic Wars. — II. Room (to the right): Frescoes from the history
of Rome under the Kings by Laureti; statues of the generals Marcantonio
Colonna, Alexander Farnese, Rospigliosi, Aldobrandini, and Barberini. —
Two finely carved doors lead hence to the Large Saloon (PI. I) with fres¬
coes by the Cavaliere d'Arpino, representing the Combat of the Horatii and
the Curiatii, and other scenes from the period of the Kings; it also con¬
tains a bronze statue of Innocent X. by Algardi, and a marble statue of
Urban VIII. by Bernini. — We now return through R. II into the III. Room.
Scenes from the Cimbrian war on the frieze; bust of Lewis I. of Bavaria;
4. Upper part of an antique statue of Apollo. — IV. Room: Fragments of
the "Fasti Consulares, or lists of Roman consuls and (on the side pillars)
of all triumphs from Romulus to the time of Augustus, found in 1516 (and
smaller fragments in the present century), between the temples of Castor
and Faustina. They were originally exhibited in the Regia, or official
residence of the Pontifex Maximus (p. 252). The busts of B. Borghesi (by
A. Tadolini) and W. Henzen (by J. Kopf), two scholars who explained the
Fasti, were placed here in 1888; and one of G. B. de Rossi, the archaeo¬
logist (by G. Galvani), in 1896. — V. Room. Several antiques: bronze jug
in the form of a female head; two ducks; head of Medusa, by Bernini.