Giampietro Collection

Roman alphabet against architectural backgrounds, from G. P. Zanottis Il Claustro di San Michele in Bosco di Bologna, 1776

Plate 6: Ulysses driving a burning stake into Polyphemus eye, 1756

Plate 1: cross-section of the Hall of the Institute of Bologna, which served as the residence for the Clementine Academy, with fresco paintings by Pellegrino Tibaldi in the vault, 1756

Plate 7: the blinded Polyphemus, guarding the entrance of his cavern, with Ulysses and his companions escaping below by covering themselves with ram skins, 1756

Plate 27: Ulysses received by Alcinous king of Phoeacia and his Queen Areta after his ship... 1756
Plate 27: Ulysses received by Alcinous king of Phoeacia and his Queen Areta after his shipwreck, 1756

Plate 2: cross-section of the Hall of the Institute of Bologna, 1756

Plate 26: Ulysses escaping on a raft with the aid of the sea deity Leucothea, 1756

Plate 24: Ulysses's companions stealing the oxen sacred to Apollo, 1756

Plate 22: two nude figures wearing veils, 1756. Creators: Bartolomeo Crivellari
Plate 22: two nude figures wearing veils, 1756

Plate 19: figure seen from behind with left hand raised, 1756

Plate 18: two nude figures wearing veils, seen from behind, 1756

Plate 17: two nude figures wearing veils, 1756. Creators: Bartolomeo Crivellari
Plate 17: two nude figures wearing veils, 1756

Plate 20: bearded figure, half clothed, 1756. Creators: Bartolomeo Crivellari
Plate 20: bearded figure, half clothed, 1756

Plate 15: mythological figure wearing a helmet and holding a shield, 1756

Plate 5: view of the ceiling with its ornaments and frescoed paintings, 1756

Plate 16: mythological figure holding a mirror, 1756. Creators: Bartolomeo Crivellari
Plate 16: mythological figure holding a mirror, 1756

Plate 8: Ulysses receiving the winds in a leather bag from Aeolus, 1756

Plate 34: Auriga, the charioteer, falls from the chariot at center, with three horses at l... 1756
Plate 34: Auriga, the charioteer, falls from the chariot at center, with three horses at left, 1756

Three bearded men, one wearing fur, 1756. Creators: Bartolomeo Crivellari, Gabriel Soderling
Three bearded men, one wearing fur, 1756

A standing man in a niche reaching forward with one arm, 1756. Creators: Bartolomeo Crivellari, Gabriel Soderling
A standing man in a niche reaching forward with one arm, 1756

Plate 40: the division of the elect from the reprobate, 1756. Creators: Bartolomeo Crivellari, Gabriel Soderling
Plate 40: the division of the elect from the reprobate, 1756

Plate 41: Saint John the Baptist preaching to a large crowd and baptizing children, 1756

G Valeriano / Larmessin
GIAMPIETRO VALERIANO Italian scholar

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Giampietro, a name that resonates with the beauty of Roman architecture and the artistry of Bartolomeo Crivellari and Gabriel Soderling. In Plate 6, we witness Ulysses' bravery as he drives a burning stake into Polyphemus' eye, capturing the intensity of this epic tale. The cross-section of the Hall of the Institute of Bologna in Plate 1 showcases Giampietro's meticulous attention to detail against an architectural backdrop. Plate 7 reveals Polyphemus, blinded yet fiercely guarding his cavern entrance, symbolizing strength even in vulnerability. Ulysses finds refuge in Phoeacia's king and queen after his shipwreck, beautifully depicted in Plate 27 by Crivellari and Soderling. The Hall of the Institute is further explored in Plate 2, allowing us to marvel at Giampietro's ability to bring structures to life through intricate illustrations. Ulysses' daring escape on a raft aided by Leucothea is captured flawlessly in Plate 26. Intrigue fills our senses as we witness Ulysses' companions stealing Apollo's sacred oxen in Plate 24 – an act both audacious and consequential. Plates 22, 18, and17 present us with enigmatic nude figures wearing veils; their allure captivates our imagination while leaving room for interpretation. Finally, Plates19and18 offer glimpses into moments frozen in time – a figure seen from behind with left hand raised evokes curiosity about what lies ahead. As we explore these captivating works by Giampietro against stunning architectural backgrounds, we are transported into a world where mythology intertwines with artistic brilliance.