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It is the undisputed work of his student Domenichino, [2] but it may be doubtful whether it was his sole effort. [4] The painting is an allegory of chastity between the virgin and the unicorn. It shows the unicorn being tamed in the lap of the virgin. The unicorn may always not symbolise virginity, [5] and in this case is likely allegorical ...
A Virgin with a Unicorn, c. 1604 –05, fresco in Palazzo Farnese, Rome, after a design by Annibale Carracci. Domenichino's work, developed principally from Raphael's and the Carracci's examples, mirrors the theoretical ideas of his friend Giovanni Battista Agucchi, with whom the painter collaborated on a Treatise on Painting.
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A Virgin with a Unicorn, depicting Giulia Farnese by Domenichino, c. 1604–05. Palazzo Farnese ([paˈlattso farˈneːze,-eːse]) or Farnese Palace is one of the most important High Renaissance palaces in Rome. Owned by the Italian Republic, it was given to the French government in 1936 for a period of 99 years, and currently serves as the ...
Painted by Annibale Carracci and Domenichino. Combat of Perseus and Phineas: Painted by Annibale Carracci and Domenichino. Virgin with the Unicorn: Painted by Domenichino. Hercules liberates Prometheus by Lanfranco Metamorphosis of Callisto into a Bear Hercules slays the Dragon Diana and Callisto Daedalus and Icarus Mercury and Apollo
A Virgin with a Unicorn, fresco by Domenichino, c. 1604–1605 (Palazzo Farnese, Rome) [1]. The unicorn is a legendary creature that has been described since antiquity as a beast with a single large, pointed, spiraling horn projecting from its forehead.
Giulia Farnese was born in Canino, then within the Papal States, to Pier Luigi I Farnese (c. 1435 - November 1487), Lord of Capodimonte, Musignano, Valentano, Gradoli, Piansano, Canino and Abbazia al Ponte, Papal Vicar of Canino in 1466, and his wife (Ischia, March 1464) Giovanna called Giovannella Caetani of the Dukes of Sermoneta, [4] [3] [4] [5] a member of the Caetani family which had ...
Richard E. Spear, author of numerous publications on 17th-century Italian painting and one of the foremost scholars on the life and work of Domenichino, [2] put the work at around 1627 to 1629. This is due to stylistic similarities with works such as the Sant'Andrea della Valle's Saint John .