Floor plan

Time and place16th-century Italy

16th-century Italy

Venus Reclining in a Landscape, by Giulio Campagnola, c. 1508–9
A work made of etching in black on cream laid paper.
Saint John the Baptist Bearing Witness, by Annibale Carracci, ca. 1600
Two women, a man, and a satyr, a man with goat’s legs, are in two pairs in a forested landscape in this horizontal painting. The pale-skinned women are nude, and their blond hair is tied up and back. One woman sits on a brown boulder to the left of center. One hand covers her groin, and the other hand rests on the satyr’s shoulder. The satyr has deeply tanned skin, short white hair, and a long white beard. A white cloth wraps over one shoulder and across his hips. He holds up an object, perhaps a shell, with one hand. That arm crosses over the woman’s breasts. His other hand is by his lower belly, and he looks at the shell. A bit farther back and to our right, a second nude woman also sits on a boulder. She faces away from us and holds up a long stick with her left arm, which arcs over her body. A clean-shaven, pale-skinned man sits with his back against the boulder. He has long brown hair and looks off to the distance to our right. He wears a carnation-pink robe over a sapphire-blue tunic. His legs splay in front of him, his feet bare, as he holds a bow to a violin-like instrument tucked under his chin. The two pairs sit in a grassy glade occupied also by five pheasant- or peacock-like birds. A thin river running behind the glade is lined with spindly trees that together make an impenetrable bronze-brown and laurel-green canopy. The second woman’s stick points or is directed to a gray, mountain lion-like cat on the far bank. Closer inspection reveals deer and another person, who points, tucked among the trunks. A glimpse of blue sky is visible through a break in the tree trunks.
The image shows a man seated with a slight forward tilt. He is muscular, with one leg bent and the other extended. His head is turned to the left in profile, revealing his facial features, which include a large nose, full beard, and curly hair. He appears naked except for a fabric drape over his shoulders. In his left hand, he holds a staff, and there is a plant with twisting vines near him. The background is a shaded rocky surface with no other details.
A work made of pen and brown ink and brush and brown wash, on tan laid paper, laid down on tan laid card.
POPE RECEIVING VISITOR
A work made of oil on canvas.

The works in this room are listed below.

Works in this room

Works made in Italy in the 16th century.

First room, north wall

  1. Venus Reclining in a Landscape, by Giulio Campagnola, c. 1508–9
    Venus Reclining in a LandscapeGiulio Campagnola, c. 1508–9Courtesy of the Cleveland Museum of Art
  2. A work made of etching in black on cream laid paper.
    Saint Catherine of Siena Receiving the StigmataFrancesco Vanni, c. 1595Courtesy of the Art Institute of Chicago
  3. Saint John the Baptist Bearing Witness, by Annibale Carracci, ca. 1600
    Saint John the Baptist Bearing WitnessAnnibale Carracci, ca. 1600Courtesy of The Metropolitan Museum of Art
  4. Two women, a man, and a satyr, a man with goat’s legs, are in two pairs in a forested landscape in this horizontal painting. The pale-skinned women are nude, and their blond hair is tied up and back. One woman sits on a brown boulder to the left of center. One hand covers her groin, and the other hand rests on the satyr’s shoulder. The satyr has deeply tanned skin, short white hair, and a long white beard. A white cloth wraps over one shoulder and across his hips. He holds up an object, perhaps a shell, with one hand. That arm crosses over the woman’s breasts. His other hand is by his lower belly, and he looks at the shell. A bit farther back and to our right, a second nude woman also sits on a boulder. She faces away from us and holds up a long stick with her left arm, which arcs over her body. A clean-shaven, pale-skinned man sits with his back against the boulder. He has long brown hair and looks off to the distance to our right. He wears a carnation-pink robe over a sapphire-blue tunic. His legs splay in front of him, his feet bare, as he holds a bow to a violin-like instrument tucked under his chin. The two pairs sit in a grassy glade occupied also by five pheasant- or peacock-like birds. A thin river running behind the glade is lined with spindly trees that together make an impenetrable bronze-brown and laurel-green canopy. The second woman’s stick points or is directed to a gray, mountain lion-like cat on the far bank. Closer inspection reveals deer and another person, who points, tucked among the trunks. A glimpse of blue sky is visible through a break in the tree trunks.
    OrpheusUnrecorded Italian maker, c. 1515Courtesy National Gallery of Art, Washington

First room, south wall

  1. The image shows a man seated with a slight forward tilt. He is muscular, with one leg bent and the other extended. His head is turned to the left in profile, revealing his facial features, which include a large nose, full beard, and curly hair. He appears naked except for a fabric drape over his shoulders. In his left hand, he holds a staff, and there is a plant with twisting vines near him. The background is a shaded rocky surface with no other details.
    Man Seated Holding a Forked StaffGiovanni Antonio da Brescia, c. 1514/1515Courtesy National Gallery of Art, Washington
  2. A work made of pen and brown ink and brush and brown wash, on tan laid paper, laid down on tan laid card.
    Group of Nine Standing FiguresParmigianino, 1524/27Courtesy of the Art Institute of Chicago
  3. POPE RECEIVING VISITOR
    Pope Receiving VisitorBelisario Corenzio, 1590–1646Courtesy of Cooper Hewitt, Smithsonian Design Museum
  4. A work made of oil on canvas.
    Virgin and Child with the Young Saint John the BaptistJacopo Bassano, 1560–65Courtesy of the Art Institute of Chicago

Second room, south wall

  1. This is a drawing of an ornamental design featuring mythological creatures and motifs. The artwork depicts a symmetrical arrangement with two central figures holding musical instruments, surrounded by acanthus leaves, griffins, and sphinxes. In the upper portion, there is a winged figure with a crown-like headdress carrying symbols or trophies. The design is detailed with decorative elements including floral patterns and architectural motifs. Throughout the drawing, there are various mythological creatures integrated into the composition.
    Ornamental Panel Inscribed "Victoria Augusta"Giovanni Antonio da Brescia, c. 1516Courtesy National Gallery of Art, Washington
  2. Studies of a Seated Female, Child's Head, and Three Studies of a Baby, by Raphael, c. 1507–8
    Studies of a Seated Female, Child's Head, and Three Studies of a BabyRaphael, c. 1507–8Courtesy of the Cleveland Museum of Art
  3. The Dead Christ with Angels, by Leandro Bassano, c. 1580
    The Dead Christ with AngelsLeandro Bassano, c. 1580Courtesy of the Cleveland Museum of Art

Second room, north wall

  1. The Musicians, by Caravaggio, 1597
    The MusiciansCaravaggio, 1597Courtesy of The Metropolitan Museum of Art
  2. Virgin and Child with Saints, c. 1510
    Virgin and Child with SaintsUnrecorded Italian maker, c. 1510Courtesy of the Cleveland Museum of Art

Third room, north wall

  1. Mars and Venus United by Love, by Paolo Veronese (Paolo Caliari), 1570s
    Mars and Venus United by LovePaolo Veronese (Paolo Caliari), 1570sCourtesy of The Metropolitan Museum of Art
  2. The Baptism of Christ, by Jacopo Bassano, ca. 1590
    The Baptism of ChristJacopo Bassano, ca. 1590Courtesy of The Metropolitan Museum of Art
  3. Portrait of Vincenzo Guarignoni, by Giovanni Battista Moroni, c. 1572
    Portrait of Vincenzo GuarignoniGiovanni Battista Moroni, c. 1572Courtesy of the Cleveland Museum of Art