Musei Capitolini

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The Santarelli Collection Salle des Fresques Salle du Fronton

Palais Clementino Caffarelli

Le Palais Caffarelli, y compris le noyau le plus ancien nommé Palais Clementino, a été inséré dans le parcours muséal depuis l’an 2000.
Les travaux de restauration ont permis, surtout pour les salles du Palais Clementino, de rétablir les dimensions originaires des pièces et de récupérer une partie des décors appartenants à l’étage noble du Palais.

Le noyau d’origine du bâtiment apparaît dans la seconde moitié du XVIème siècle sur le Capitole, où s’étendait la propriété de la noble famille des Caffarelli. La construction, adossée au Palais des Conservateurs, est représentée de toute évidence dans les plans de la ville de Rome dès 1593 ; à l’époque moderne elle a été nommée, improprement, Palais Clementino.
À cet ancien bâtiment appartiennent la salle des Fresques et les trois salles voisines, comme en témoignent les plafonds en bois à petits caissons et les morceaux de décorations murales découvertes au cours des restaurations, éléments subsistants d’un apparat décoratif rapportable à la même époque.

The Santarelli Collection

Palais Clementino Caffarelli - The Santarelli Collection

This room houses the glyptic collection of the Dino and Ernesta Santarelli Foundation, on loan for 10 years at the Capitoline Museums, with items from ancient Egypt, the Near East, from the Greek-Roman world and modern Europe, and presented with a complete educational resource, accompanied by explanatory panels, multimedia tools and illustrative films on the technical processes of glyptic art. 

Besides a large group of Egyptian scarabs which bear the names of pharaohs, there are numerous carvings and cameos from the Roman period, including the portrait of Commodus as Hercules, there are some interesting magical amulets of the imperial age, rare works of the era of Frederick and works by the most important engravers working between the eighteenth and nineteenth centuries. The museum's glyptic collection of the Dino and Ernesta Santarelli Foundation, promoted by Roma Capitale, Department of Cultural Affairs and Communications - Sovraintendenza ai Beni Culturali, represents the culmination of a larger project launched in 2010 with the presentation of the Foundation Santarelli and a ten-year loan of the collection at the Capitoline Museums. The collection was amassed by Ernesta D'Orazio and her husband Dino Santarelli, expanded by their offspring and catalogued by the Foundation, through the purchase of private collections and finds at antique markets over the last twenty years, with the aim of providing a comprehensive scientific documentation.
Engraved gemstones have always fascinated collectors, connoisseurs and art historians: used as seals or simply considered as valuable miniature artefacts, they are present in many cultures. They were valued both for aesthetic reasons and for the information that they can give about art, material culture and history of the civilizations that produced them. Direct expression of the individual talent or of the public authority, gemstones have deeper meanings in a small expressive space. In addition, the handling of the stones (thus the ease with which they could be transported) helped to spread the iconographic models. For this reason they were one of the most effective means by which the European civilization began the rediscovery of the ancient world: starting from the Renaissance in Italy and in Europe, the master engravers copied and were inspired by the works of their ancient predecessors. The first numismatic and glyptic collections were amassed in the princely courts and among the noble families, often competing with each other: driven by passion for history, but also to show a status symbol. The collections of families such as the Medici, the Orsini and the Farnese are a great example of this fashion. Archival papers and private correspondence show a bustling world of commerce, trade and networking around the glyptic art that increasingly needed help from scholars. When historical sciences began to develop and archaeological methods were improved, glyptic studies became more and more intense.

Bijou, gemme, sceau
XVIII secolo
inv. F200
Bijou, gemme, sceau
I-II secolo d.C.
inv. 68/17m
Bijou, gemme, sceau
Seconda metà del III millennio a.C. (2250 a.C. circa)
inv. Bonhams 304
Bijou, gemme, sceau
Nuovo Regno: XVIII dinastia (XVI-XIV secolo a.C.)
inv. 528
Bijou, gemme, sceau
IV secolo a.C.
inv. 47/140g
Bijou, gemme, sceau
1750 circa
inv. 47/73g
Bijou, gemme, sceau
III secolo d.C.
inv. 253
Bijou, gemme, sceau
Età federiciana (XIII secolo)
inv. 47/126g
Bijou, gemme, sceau
Età federiciana (XIII secolo)
inv. 47/115g
Bijou, gemme, sceau
Giovanni Pichler (1734-1791), XVIII secolo
inv. F192
Bijou, gemme, sceau
Giuseppe Girometti (1780-1851), XIX secolo
inv. F201
Bijou, gemme, sceau
Antonio Berini (1770-1861), XIX secolo
inv. B37c

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