Musei Capitolini

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The Santarelli Collection Salas de los Frescos Sala del Frontón

Palacio Clementino Caffarelli

El Palacio Caffarelli, incluido el núcleo más antiguo denominado palacio Clementino, se incluyó en el conjunto museístico en el 2000.
Las obras de restauración permitieron, sobre todo en las salas del palacio Clementino, devolver las dimensiones originales de las salas y recuperar parte del aparato decorativo de lo fue la planta noble del palacio.

El núcleo originario del edificio surge en la segunda mitad del Siglo XVI en el Campidoglio, donde se extendía la propiedad de la noble familia de los Caffarelli. La construcción, adosada al Palacio de los Conservadores, está representada con toda evidencia en los planos de la ciudad de Roma desde 1593; en época moderna ha sido denominada, impropiamente, Palacio Clementino.
A este antiguo edificio pertenecen la sala de los Frescos y las tres salas contiguas, como testimonian los techos de madera artesonados y los pasajes de las decoraciones parietales hallados durante las restauraciones, elementos supérstite de una decoración de la misma época.

The Santarelli Collection

Palacio 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.

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

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