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Roman Gladiators with Wooden Swords
Oil on canvas. 1635 - 1639
Romanelli, Giovanni Francesco
Roman Gladiators with Wooden Swords
Oil on canvas. 1635 - 1639
Romanelli, Giovanni Francesco

Until 1956, this painting was attributed to Pietro da Cortona, an understandable mistake, given how close Romanelli’s style was to that of his teacher. In fact, it appears as such in Charles II’s will and in the Museo del Prado’s 1845 catalog (p. 373, no. 1623), where it is mentioned for the first time as being on the staircase leading to the new Flemish rooms of the ground floor. In the 1878 cata

Sacrifice for a Roman Emperor
Oil on canvas. Ca. 1635
Lanfranco, Giovanni Di Stefano
Sacrifice for a Roman Emperor
Oil on canvas. Ca. 1635
Lanfranco, Giovanni Di Stefano

This painting belongs to the Neapolitan group of scenes of ancient Roman life that were ordered in the early to mid 1630s by the Viceroy of Naples, the Count of Monterrey, to decorate the Buen Retiro Palace on the outskirts of Madrid.The painting underscores Lanfranco’s extraordinary powers of inventiveness and productivity during a period in which he was otherwise thoroughly preoccupied with a su

Women Gladiators
Oil on canvas. 1636
Ribera, Jusepe de, lo Spagnoletto
Women Gladiators
Oil on canvas. 1636
Ribera, Jusepe de, lo Spagnoletto

This painting shows the finale of a brutal encounter between two female fighters. The woman on the right has attained the upper hand over her opponent, who has fallen injured to the ground, and is about to administer the coûp de grace. In the background, to the left, is a man in Roman military dress resting on a staff, and behind the wall of the arena stand soldiers and male civilians watchi

Solomon and the Queen of Sheba
Pencil, Grey-brown wash, Red wash on dark yellow paper. Ca. 1647
Fracanzano, Francesco
Solomon and the Queen of Sheba
Pencil, Grey-brown wash, Red wash on dark yellow paper. Ca. 1647
Fracanzano, Francesco

The attribution of this drawing has long been uncertain as can be judged from the old inscriptions, which variously ascribe it to Salvator Rosa and to an unspecified Bolognese draughtsman. In the modern literature it has been given to the Roman artist Giovanni Francesco Romanelli (about 1610-1662), a pupil of Pietro da Cortona, but its recent publication as an important addition to the slim corpus

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