Their Loggia of Cupid and Psyche in the Villa Farnesina
, Rome, is bordered everywhere with a reminder that this most morally acceptable of the ancient myths (interpreted as allegorising the union of the soul with God) was actually best known from the version of it contained in Apuleius's outrageous Golden Ass--a comic romp in which bestiality is both a running gag and a vital plot point.
The awards were presented today in Rome at the Auditorium of the Villa Farnesina
, by the Minister for Education, University and Research, Stefania Giannini and the Chairman of the National Research Council Luigi Nicolais.
Anne and Christ below it), and finally the dazzling jewel of the Villa Farnesina.
The grand finale of Raphael's Poetics is the exploration of the Villa Farnesina commissioned by Agostino Chigi, the papal banker from Siena, a shrewd businessman and an energetic and humorous bon vivant.
An example is the Cupid and Psyche fresco cycle at the Villa Farnesina
, which has been dismissed as a workshop product.
The Three Graces is Raphael's only autograph venture into mythological painting apart from Hercules at the Crossroads, the allegorical Parnassus in the Vatican and The Triumph of Galatea in the Villa Farnesina.
The face of the Alba Madonna is also that of the significantly low-bosomed sea-nymph Galatea in Raphael's fresco in the Villa Farnesina (1511).
When Napoleon's deputies systematically confiscated Raphael's altarpieces from Italian chapels, they seriously contemplated detaching and removing to Paris as well Raphael's frescoes in the Vatican and the Villa Farnesina
Giulio Romano, who took over at the Villa Madama after Raphael's death, created gardens in a similar architectural spirit to complement the Palazzo del Te in Mantua (1525-35)--a parterre, an exedra, a grotto with bronze statues--and it is possible that Baldassare Peruzzi contributed gardens in similar vein at the Villa Farnesina
in Rome (1508-11).
He argues that primary sites like monumental narrative paintings were more usually illustrations of Apuleius's Golden Ass, the source for the first major mythological cycle at the Villa Farnesina
in Rome, or of ekphrastic descriptions by Philostratus and Lucian of Greek paintings.
Leonbruno's illusionistic landscapes also have a Roman impetus, although not just Peruzzi's Sala delle Prospettive in the Villa Farnesina
(162), but perhaps also Pinturicchio's landscapes in the Villa Belvedere.
Two Astrological Ceilings Reconsidered: The Sala di Galatea in the Villa Farnesina
and the Sala del Mappamondo at Caprarola.