Central Hall

Iphigenia’s Sacrifice is illustrated in three-dimensional vision: at the centre the priest Calcante is about to kill the young Iphigenia. All the onlookers lift their

Iliad’s Room by Homer

Briseis, Achille’s slave, is taken away forcedly from her tent to be introduced to her new owner: the king Agamemnon, who is waiting for her

Furious Orland’s Room by L. Ariosto

Angelica, princess of Cathay, is tied at a cliff by pirates, to be devoured by a see monster; the knight Ruggero, on horseback of a

Eneid’s Room by Virgil

Venus, goddess of love, appears to her son Enea and his companion Acate, disembarked, after a storm on the African coasts and immediately moves away

Liberated Jerusalem’s Room by T. Tasso

In the Renaissance, the lively imagination, the magic that benefited of philtres and potions were cliché. The frescoes recall episodes of the first crusade with

The Chinese Room

The pictures are an extravagant evocation of China, which had just become fashionable in Venice with the “Turandot” by Carlo Gozzi. The worship of a

The Countryside Room

In this room Giandomenico changes style: what interests him here is the Venetian countryside world, scenes of an sultry sunny day, bleaching the trees’foliage. On

The Gothic or Vacations’ Room

This room represents the other side of the countryside life where the peasants’ work in the age of feudal serfdom is no more protagonist; the

The Room of the Olympus Gods

Here we find again the touch of the father Giambattista who, with his mythological subjects, go back to “sublime”. On a wall a Jupiter sits

The Carnival Room

On a wall is frescoed a Moro coming down the stares to serve some hot chocolate: according to the experts, this character is painted by