Ghigo Roli photographer
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Modena: statue of Archangel Gabriele on the tympanum of the central transept of the Cathedral. In the backgroundd, the Civic Tower.

Modena: statue of Archangel Gabriele on the tympanum of the...

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Firenze, Galleria degli Uffizi: The Birth of Venus. It is a painting by Sandro Botticelli generally thought t

Firenze, Galleria degli Uffizi: The Birth of Venus. It is a...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault pendentive representing Venus instructs Cupid to launch an arrow.Fresco by Raffaellino del Colle on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: view of the vault with the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.Fresco by Giovan Francesco Penni on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: view of t...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: view of the vault with the Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence.Fresco by Giovan Francesco Penni on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: view of t...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault pendentive depicting Mercurius.Fresco by Giulio Romano on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault pendentive depicting Mercurius.Fresco by Giulio Romano on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault pendentive depicting Mercurius.Fresco by Giulio Romano on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault pendentive depicting Cupids with Cerberus.Drafted by Raphael, the vault has been depicted by his workshop: Raffaellino del Colle, Giovan Francesco Penni, Giulio Romano, Giovanni da Udine ,(1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault pendentive depicting Mercurius.Fresco by Giulio Romano on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault pendentive depicting Mercurius.Fresco by Giulio Romano on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault pendentive representing Jupiter consoling Cupid.Fresco by Giulio Romano on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault pendentive representing Cupid and the Graces.Fresco by Giulio Romano on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault pendentive depicting Mercurius and Psyche.Fresco by Giovan Francesco Penni on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault pendentive depicting Psiche together with Venus and Juno.Fresco by Giulio Romano on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault pendentive depicting Psyche submitting Venus the urn containing the beauty of Proserpine..Fresco by Giulio Romano on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault pendentive representing Psyche coming back from the underworld, carried by cupids.Fresco by Giulio Romano on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault pendentive depicting Venus on the cart, pulled by white doves.Fresco by Giulio Romano on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault pendentive depicting Venus and Jupiter.Fresco by Giovan Francesco Penni on a Raphael's draft (1517-18).

Rome, Villa Farnesina, Loggia of Cupid and Psyche: one vault...

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Rome, Villa Farnesina, Loggia of Cupid and Psyche: view of the vault.In the centre, two fictive tapestries include the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1517-18. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.

Rome, Villa Farnesina, Loggia of Cupid and Psyche: view of t...

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Rome, Villa Farnesina: view of the Loggia of Cupid and Psyche.The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1517-18. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.

Rome, Villa Farnesina: view of the Loggia of Cupid and Psych...

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Rome, Villa Farnesina: view of the Loggia of Cupid and Psyche.The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1517-18. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.

Rome, Villa Farnesina: view of the Loggia of Cupid and Psych...

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Modena, the Duomo (Cathedral of S. Maria Assunta and S. Geminiano): the nave and the counter-façade seen from the crypt.

Modena, the Duomo (Cathedral of S. Maria Assunta and S. Gemi...

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Modena, Cathedral, northern side: the archivolt of the Porta della Pescheria (Fish-Market gate) depicting scenes from the Matter of Britain. Detail of the archivolt with two knights identified by inscriptions as Calvariun (Galeschin?) and Che (Kay).

Modena, Cathedral, northern side: the archivolt of the Port...

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Modena, Cathedral, northern side: the archivolt of the Porta della Pescheria (Fish-Market gate) depicting scenes from the Matter of Britain. Carrado, on horseback, emerges from the castle, confronting with two knights identified by inscriptions, Galvaginus (Gawain) and Calvariun (Galeschin?).

Modena, Cathedral, northern side: the archivolt of the Port...

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Modena, Cathedral, northern side: the archivolt of the Porta della Pescheria (Fish-Market gate) depicting scenes from the Matter of Britain. Detail of the rescue of Guinevere: the Castle with two figures: Winlogee (Guinevere) on the left and Mardoc (Meleagant), her captor, on the right. The castle itself is surrounded by a moat filled with water.

Modena, Cathedral, northern side: the archivolt of the Port...

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Modena, Cathedral, northern side: the archivolt of the Porta della Pescheria (Fish-Market gate) depicting scenes from the Matter of Britain. Detail of the Knights: the first is unnamed. The first, looking back, is Isdernus (Lancelot), The second is Artus de Bretani (King Arthur). Burmaldus, wielding a battle axe, emerges from the castle to meet the three knights.

Modena, Cathedral, northern side: the archivolt of the Port...

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Modena, Cathedral, northern side: the archivolt of the Porta della Pescheria (Fish-Market gate) depicting scenes from the Matter of Britain. Detail of the Knights: the first is unnamed. The second, looking back, is Isdernus (Lancelot).

Modena, Cathedral, northern side: the archivolt of the Port...

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Modena, Cathedral, northern side: the archivolt of the Porta della Pescheria (Fish-Market gate) depicting scenes from the Matter of Britain, in particular the rescue of Winlogee (Guinevere) from captivity. With one exception, all figures are identified by inscriptions.

Modena, Cathedral, northern side: the archivolt of the Port...

50667_001-.jpg
Modena, Cathedral, northern side: the archivolt of the Porta della Pescheria (Fish-Market gate) depicting scenes from the Matter of Britain, in particular the rescue of Winlogee (Guinevere) from captivity. With one exception, all figures are identified by inscriptions.

Modena, Cathedral, northern side: the archivolt of the Port...

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The “Porta della Pescheria” (Fish-Market gate), on the northern side of the Cathedral.

The “Porta della Pescheria” (Fish-Market gate), on the nort...

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Modena: the Southern side of the Duomo (Cathedral of S. Maria Assunta and S. Geminiano) with the Porta dei Principi (the Prince Door) and the Porta Regia (the Royal Door).

Modena: the Southern side of the Duomo (Cathedral of S. Mari...