Zanotti 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

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"Zanotti Giampietro: A Fusion of Roman Alphabet and Architectural Marvels" Step into the world of Zanotti Giampietro, where the Roman alphabet intertwines with breathtaking architectural backgrounds. This captivating artist takes us on a journey through his intricate works, each telling a unique story. In Plate 6, we witness Ulysses' bravery as he drives a burning stake into Polyphemus' eye, beautifully depicted by Giampietro in 1756. The intensity of this moment is palpable against the backdrop of ancient ruins. Plate 1 unveils a cross-section of the Hall of the Institute of Bologna, showcasing Giampietro's meticulous attention to detail. Every column and arch exudes grandeur and elegance that transports us back in time. Moving forward to Plate 7, we encounter Polyphemus guarding the entrance to his cavern after being blinded by Ulysses. The juxtaposition between strength and vulnerability is masterfully portrayed by Giampietro. Ulysses' journey continues in Plate 27 as he finds refuge with Alcinous king of Phoeacia and Queen Areta. Their regal presence emanates from every stroke created by Bartolomeo Crivellari and Gabriel Soderling alongside Giampietro in 1756. The Hall of the Institute reappears in Plate 2, revealing another stunning cross-section that highlights its architectural splendor. It serves as a testament to both historical significance and artistic brilliance. With Plate 26 comes an exhilarating escape for Ulysses on a raft aided by Leucothea, the sea deity. The dynamic composition captures their desperate flight amidst crashing waves – an embodiment of resilience against all odds. Giampietro delves deeper into mythology with Plate 24 depicting Ulysses' companions stealing sacred oxen belonging to Apollo himself. The tension between mortal audacity and divine wrath is palpable in this extraordinary piece.