The Tretyakov Gallery will show Russian art in a new way in the Vatican Museums. Why should you go to the exhibition “Masterpieces of the Vatican Pinacoteca” at the Tretyakov Gallery? Vatican Museum in Tretyakovskaya

All tickets until mid-December are already sold out

Visitors at the exhibition

Moscow. November 25. website - An exhibition of paintings from the Vatican Pinacoteca Roma Aeterna, which came to Russia for the first time, opens on Friday at the State Tretyakov Gallery in Lavrushinsky Lane.

“Never before have the Vatican Museums taken out of their borders at the same time such a significant number of outstanding works from the permanent exhibition, so the exhibition will become an event not only for Russia and Europe, but also for the whole world,” she said earlier general manager"Tretyakov Gallery" by Zelfir Tregulov.

Especially for this project, the Vatican Museums will present in Russia the best part of their collection - 42 paintings of the 12th-18th centuries. Among them are works by Giovanni Bellini, Melozzo da Forli, Perugino, Raphael, Caravaggio, Guido Reni, Guercino, Nicolas Poussin. According to Deputy Director of the Vatican Museums Barbara Yatta, the exhibition reflects all stages artistic development painting.

Entrance to the exhibition is carried out by session; tickets can be purchased at the box office and on the official website of the museum. On at the moment All tickets for December have been sold out, the gallery’s press service noted, and a new batch of tickets will go on sale in mid-December. In addition, as previously reported, starting from January, in order to combat speculators, tickets to the exhibition will be personalized.

The museum noted that visitors will enter the halls, and the time during which they can stay at the exhibition is not limited, just as it was at the Aivazovsky exhibition. “For now there will be no restrictions on time spent at the exhibition. As practice shows, usually an hour is enough for viewers to view the exhibition. The first session will begin at 10:00 on the “long” days of the gallery, on “short” days the Tretyakov Gallery is open until 18:00 , the last session starts at 16:30,” the press service explained.

The exhibition opens with the image of “Christ Blessing” from the 12th century, which has never previously been exhibited in temporary exhibitions or left the Vatican. It is an example of the unity of Christianity, since it was created even before the schism, and demonstrates the common roots of Italian and Russian art. Next in chronology work in progress Margaritone d'Arezzo "Saint Francis of Assisi" of the 13th century. It is known for being one of the earliest images of the saint. In the same room are displayed works of Gothic masters, very rare in Russian collections. Among them are "Jesus before Pilate" by Pietro Lorenzetti, two predella telling stories from the life of St. Nicholas the Wonderworker, Archbishop of Myra in Lycia.

Frescoes depicting angels by Melozzo da Forli are separately exhibited. The paintings by this artist were removed from the apse dome during the rebuilding of the Church of Santi Apostoli in Rome.

The High Renaissance, 16th century, is represented in the exhibition by works by Perugino, Raphael, Correggio and Paolo Veronese.

Viewers will also see Caravaggio’s “Entombment” and the most great work Nicolas Poussin's altarpiece "The Martyrdom of St. Erasmus", painted especially for St. Peter's Basilica. The exhibition continues with works by Caravaggists and artists of the Bolognese school: Lodovico Carracci, Guido Reni, Guercino.

Roma Aeterna is part of a large project: at the beginning of 2018, a reciprocal exhibition will be held in the Vatican, a significant part of its exhibits will be works of Russian painting on gospel subjects from the collection of the Tretyakov Gallery.

Raphael. Faith. 1507 Vatican Museums.

At the exhibition , curated by Arkady Ipollitov ( State Hermitage Museum), will be presented 42 paintings . Never before have the Vatican Museums, which are among the ten largest collections in the world, taken outside their borders at the same time such a significant number of outstanding works from the permanent exhibition, so the exhibition will become an event not only for Russia and Europe, but also for the whole world.

« Roma Aeterna..." - part of a large project: in 2017, a reciprocal exhibition will be held in the Vatican, a significant part of its exhibits will be works of Russian painting on gospel subjects from the collection of the Tretyakov Gallery.

Holding in the State Tretyakov Gallery, the largest collection of Russian painting, an exhibition of paintings predominantly of the Italian and predominantly Roman schools is quite natural. The spiritual connection between Moscow and Rome took shape back in the 16th century, and this joint project is the most important result of the interaction of two cultures: the culture of Rome, as the embodiment of Europeanness, and the culture of Moscow, as the embodiment of Russianness. It is natural that among the great works presented at the exhibition, one can find many analogies and parallels with Russian art.

The purpose of the show is to present both the collection of the Pinacoteca, a section of the Vatican Museums, and the spirit of Rome, the great city. The Pinakothek collection was created as a collection of the state, the head of which is clergyman, which is reflected in its composition - this is the greatest collection of religious painting. Religion is a form of awareness of the world, so religious art is not reduced to a set of biblical or evangelical subjects, and the collection of the Vatican Pinacothek tells us exactly this. It is as diverse as the culture of Rome, which is why the exhibition title includes the Latin expression Roma Aeterna, “Eternal Rome.” This means the enormous cultural unity that Rome has become in the history of mankind, a city at the same time ancient and modern, uniting so much different eras, like Antiquity, Middle Ages, Renaissance and Baroque. Rome is the center of empire, the center of religion and the center of art: we can say that the concept of Roma Aeterna is one of the most important ideas of world culture. The exhibition at the Tretyakov Gallery is dedicated to this idea.

Each piece presented at the exhibition is exceptional. It begins with a rare example of the Roman school of the 12th century, the image of “Christ Blessing,” which had never before been exhibited at temporary exhibitions and never left the Vatican. This ancient and great work, close to Byzantine painting, is also interesting because it reveals the common roots of Italian and Russian art. This image, preserving the memory of the unity of Christianity before the schism, is followed by the work of Margaritone d’Arezzo “St. Francis of Assisi” (13th century). It is included in all art history textbooks and is valuable because it is one of the earliest images of a saint who played an important role in the history of the Western church. It was his name that was chosen by the current pope, who became the first Francis in the history of the Vatican. Also presented are works by Gothic masters, which are extremely rare in Russian collections. Among them is “Jesus before Pilate” by Pietro Lorenzetti, which uniquely echoes the famous painting by Nikolai Ge.

Two predella (predella - the lower part of the altar), telling stories from the life of St. Nicholas the Wonderworker, Archbishop of Myra in Lycia, equally revered by the Orthodox and Catholic churches, stand on the border of Gothic and Renaissance. One of them belongs to the brush of Gentile da Fabriano, who completed the era of international Gothic in Italy, whose works are not only absent in Russian collections, but were not exhibited in Russia at all, the second is by the brush of Fra Beato Angelico, the great Florentine of the Early Renaissance.

Two paintings date back to the heyday of the Renaissance: "The Miracles of Saint Vincenzo Ferrer" by Ercole de' Roberti , one of the most interesting works the greatest master Ferrara school,

and Lamentation of Christ by the Venetian Giovanni Bellini.

There are no works of both in Russia. The greatest success is that the exhibition will show frescoes of angels by Melozzo da Forli , provided by the Pinakothek for exhibition to other museums in isolated cases. The paintings of this artist, considered one of the greatest painters of the Quattrocento, were removed from the apse dome during the reconstruction of the Church of Santi Apostoli in Rome and now decorate a special room of the Pinacoteca. The works of Melozzo da Forlì are so rare that their value is close to the most famous creations of Sandro Botticelli and Piero della Francesca. Being reproduced in a huge number on various souvenirs, his angels became business card Rome.

The High Renaissance, that is, the 16th century, is represented by the masterpieces of Perugino, Raphael, Correggio and Paolo Veronese.

Papal Rome reached its greatest power in the 17th century, during the Baroque era, and papal collections represent the painting of this particular century most fully and brilliantly. A masterpiece of this time on display - "Entombment" by Caravaggio.

Altarpiece by Nicolas Poussin “The Martyrdom of Saint Erasmus” , the artist's largest work, was painted specifically for St. Peter's Basilica. This work was one of the most famous paintings cathedral and aroused the admiration of many Russian artists who lived in Rome.

The Baroque era also includes works by Caravaggists and artists of the Bolognese school (Lodovico Carracci, Guido Reni, Guercino), beautifully represented in the papal collections. The exhibition ends with a series of paintings from the 18th century, essentially the last century in which the papacy played a state role. This series is Bolognese Donato Creti is dedicated to astronomical observations and logically completes the history of Lo Stato Pontificio, the Papal States that soon ceased to exist and became the Vatican, Lo Stato della Città del Vaticano.

The exhibition catalog includes articles by the curator and employee of the Vatican Museums and an album part, which includes all the exhibited works with detailed annotations.

Holding the exhibition and publishing its catalog would have been impossible without the large-scale support of the A.B. Charitable Foundation. Usmanov “Art, science and sport”. The relationship between the Gallery and the Foundation has a long history: in 2006, anniversary events dedicated to the 150th anniversary of the museum were supported, in 2006–2007 - successful experience of joint work on the James Whistler exhibition, in 2007 - on the retrospective of Dmitry Zhilinsky. This exhibition is the largest in recent years and unprecedented international project Tretyakov Gallery.

Roma Aeterna. Masterpieces of the Vatican Pinacoteca. Bellini, Raphael, Caravaggio
November 25 - February 19, 2017
Lavrushinsky lane, 12

Ticket prices for the exhibitions "Roma Aeterna. Masterpieces of the Vatican Pinacoteca. Bellini, Raphael, Caravaggio" and "Painting and graphics of the 18th-20th centuries from the collection of the Primorsky Art Gallery":

500 rub. - adults

150 rub. - for the following benefit categories:

Pensioners,
Heroes Soviet Union, Heroes of the Russian Federation, Full Recipients of the Order of Glory,
students of secondary and secondary special education educational institutions(from 18 years old),
students of higher educational institutions of Russia, including foreign citizens - students of Russian universities (except for student interns)
students of faculties specializing in the field fine arts, secondary specialized and higher educational institutions of Russia, regardless of the form of education (including foreign citizens - students of Russian universities). Does not apply to persons presenting "student trainee" student cards;
artists, architects, designers - members of the relevant creative unions of Russia and its constituent entities;
members and staff Russian Academy arts;
art critics - members of the Association of Art Critics of Russia and its constituent entities;
employees of museums within the system of the Ministry of Culture of Russia and the relevant executive authorities of the constituent entities of the Russian Federation.

Free - for the following benefit categories:

For persons under 18 years of age;
members of the International Council of Museums (ICOM);
veterans and disabled people of the Great Patriotic War, combatants (citizens of Russia and CIS countries);
disabled people of groups I and II (citizens of Russia and CIS countries);
conscripts;
one accompanying person with a group I disability or a disabled child (citizens of Russia and CIS countries)

A visit to the exhibition "Roma Aeterna. Masterpieces of the Vatican Pinacoteca. Bellini, Raphael, Caravaggio" is organized by sessions. The number of people in a session is limited for reasons of visitor comfort and proper climatic conditions for displaying valuable masterpieces.

Online tickets for exhibition dates
"Roma Aeterna. Masterpieces of the Vatican Pinacoteca. Bellini, Raphael, Caravaggio"
sold out until December 30, 2016.

Tickets for the remaining days of the exhibition will go on sale
approximately December 15th.

On November 25, one of the most significant and unique exhibitions opens in the Engineering Building of the Tretyakov Gallery recent years. 42 works of art from the Vatican Pinacoteca will be presented in Moscow for three months.

The popularity of various exhibitions with masterpieces from different eras in Moscow in lately incredibly high. Tickets must be purchased in advance. People dress warmly and stand in long lines to look at unique paintings. What can you see this time? The answer is in the report.

1. The exhibition is located in the Engineering Building of the Tretyakov Gallery. This is the closest building to Tretyakovskaya metro station. Three halls on the third floor. Large, medium and small.

2. The middle hall greets visitors first. A short introduction to the Vatican Museums and the plan of St. Peter's Basilica with the square in front of it.

3. It all starts with an exhibit that has never left the Vatican before. "Christ the Blesser." 12th century, Roman school.

4. The middle room is filled with small-sized paintings. In addition to the works of Bellini, Raphael and Caravaggio, mentioned in the title of the exhibition, you will be able to see Margaritone d’Arezzo, Pietro Lorenzetti, Gentile da Fabriano, Fra Beato Angelico.

5. The Vatican Pinacoteca was founded by Pope Pius VI in the second half of the 18th century. By order of Napoleon Bonaparte, they were taken to Paris, but later returned to their place. For many years, the collection was replenished and decorated only the pope’s chambers and some rooms. Only in 1908 the collection joined the ranks museum exhibits available to the public. At first it was located in the premises of the Belvedere Palace, and later received its own building.

6. Most of the works in the Vatican Pinacotene are by Italians. A smaller part is the acquired collection of Byzantine art, also fewer works from other countries.

7. 42 works arrived in Moscow. This is almost 10% of the entire collection. Previously, such a large number of works had never been exported from the Vatican. The decision to hold temporary exhibitions Russian works in the Vatican and the Vatican collection in Russia was accepted at the highest level. Financial support this project was provided charitable foundation Alisher Usmanov “Art, Science and Sports”, who have repeatedly supported exhibitions at the Tretyakov Gallery.

8. The importance of the event is emphasized by the visit of Cardinal Giuseppe Bertello. He is the governor of the Vatican City State, which is roughly equivalent to the position of prime minister in Russia.

9. The second hall in line is large. The largest works in the collection are collected here.

10. All paintings are signed in Russian and English. The inscriptions are under your feet. emphasizing the large threshold.

11. And don't forget to look into the small hall at the far end from the entrance. These 8 works feature the series "Astronomical Observations" by Donato Creti.

12.

In my unprofessional opinion this is very interesting exhibition. Small, but even in this form it looks complete. The religious themes of all the works are not surprising, but they are not striking either. We all understand that the Vatican is the center of Catholicism in the world. His collections of religious themes are very diverse.

Will you go to this exhibition?

Thank you for your attention! Stay connected!

On Mondays, many of Moscow's museums are closed. But this does not mean that the public does not have the opportunity to become acquainted with beauty. Especially for the first day of the week, the site’s editors launched the “10 Unknown” section, in which we introduce you to ten works of world art from the collection of Moscow museums, united by one theme. Print out our guide and feel free to take it to the museum.

The exhibition "Roma Aeterna. Masterpieces of the Vatican Pinacoteca" opened at the Tretyakov Gallery. The exhibition includes works by Giovanni Bellini, Melozzo da Forli, Perugino, Raphael, Caravaggio, Guido Reni, Guercino, Nicolas Poussin - a total of 42 works out of 460 stored in the collection. Most of them have never left the walls of the eternal city and are unknown to the general public.

Raphael "Faith" and "Charity", 1507

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For the first time, the Vatican Museums are showing in Russia the best part of their collection – masterpieces of the 12th–18th centuries. And for the first time, the Pinakothek brought 42 works out of 460 - a tenth of the collection. In 2017, the Tretyakov Gallery will show some of the best masterpieces of Russian religious art in the Vatican. This cultural exchange should reveal how close European and Russian painting are.

The entire exhibition occupied three halls of the Engineering Building. Central work two small grisaille (monochrome) works were selected that were part of the composition of the Baglioni altarpiece in the church of San Francesco al Prato in Perugia. "Faith" - female figure with a chalice (a religious attribute) in her hand, surrounded by putti or, in other words, small angels. In their hands are monograms - the initials of Jesus. And Mercy is a mother hugging her babies. Putti on the right holds a cauldron with fire on his shoulders - an ancient symbol of peace, referencing history Olympic Games. Such a connection with antiquity for artists of the Renaissance and later eras was not an accident: even in Christian religious art, masters found parallels with the culture of the ancient Romans and Greeks.

The third altar image was the image of “Hope”. These three small works, as well as the composition “Entombment,” became Raphael’s first major commission and immediately brought him success and recognition.

Michelangelo Merisi, nicknamed "Entombment" by Caravaggio, circa 1603–1604

The most significant and probably famous work at the exhibition - "Entombment" by Caravaggio. The artist became the main innovator of his generation. the brightly lit figures of his heroes break through the surrounding darkness, which creates an incredible emotional dramatic intensity in each work. The iconography of the “Entombment” plot is very unusual: this scene has never been depicted from such a perspective.

It is interesting that Caravaggio never depicted his saints in halos, as was customary: his models were poor people and vagabonds whom he found on the streets and in taverns, and not professional sitters. But their faces always expressed what the artist needed, all the hardships and lives were reflected in their large features, deep wrinkles or tousled hair. Caravaggio never allowed random details: it seems that Christ’s hand is free and lowered, and the gesture of his fingers is random. However, the viewer sees exactly three fingers, which indicates that Christ will spend three days in the Tomb.

Nicolas Poussin "The Martyrdom of Saint Erasmus", 1628

The painting "The Martyrdom of Saint Erasmus" became Poussin's first major commission in Rome. It was intended for one of the chapels in St. Peter's Basilica, the construction of which had just been completed. Such a cruel scene with the ripping open of the abdomen and the wrapping of intestines around the collar amazed contemporaries with its naturalism, nevertheless, it corresponded to the accuracy biblical story. Poussin became one of the main artists of classicism, an antagonist of the baroque painting of Caravaggio and his followers. Therefore, it is no coincidence that at the exhibition the paintings are located opposite each other. Thus, it becomes noticeable that Poussin’s drama is in no way inferior to Caravaggio’s emotional intensity, although the artists went to this effect in completely different ways.

Giovanni Bellini "Lamentation of Christ with Joseph of Arimathea, Nicodemus and Mary Magdalene", circa 1471–1474

Bellini was the greatest artist Venetian school of painting of the 15th century. A contemporary or even predecessor of Raphael and Leonardo, he was in no way inferior to them in the perfection of his art. One of the first in Italy to paint in oils, a technique brought to Venice Dutch artists, and in his painting itself one can feel notes Northern Renaissance: the clarity of lines and refinement of proportions anticipate the images of northern authors. The complex composition, perspective, emphasis on gestures and emphasized elegance of hands amazed his contemporaries.

Paolo Cagliari, nicknamed Paolo Veronese "The Vision of Saint Helena", circa 1575-1580

Veronese is another representative Venetian school. The saint is depicted in a luxurious dress in the spirit of 16th century fashion. According to legend, an angel appeared to Helen and told her to go to Rome in search of the cross of Jesus. Usually this plot was depicted differently: Elena was presented as leading the workers who dug up the cross. Veronese writes her sleeping, with an angel holding a cross in her hands. Art historians believe that the artist’s model was his wife.

Guido Reni "Saint Matthew and the Angel", circa 1620

The exhibition features two works by Guido Reni. The image of St. Matthew with an angel is indicative of Reni’s work as a whole: his portrait images of saints, created with Caravaggist light-and-shadow contrasts, cost a lot of money and were extremely popular. Like Caravaggio, he paints his saints not as calm and dispassionate saints, but as living and emotional characters. Matthew is depicted at the moment of creating the Gospel, the text of which he writes down behind an angel.

Melozzo da Forli "Music Angels". Frescoes from the Church of Santi Apostoli, 1480

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Melozzo became the founder of the Roman school of painting, which flourished in the 16th–17th centuries. The Musical Angels of Forlì have become one of the main tourist brands of the Vatican. Their images can be found everywhere, from souvenirs to official symbols. This fresco was located in the Roman church of Santi Apostoli and decorated its dome. The image served as the embodiment of the concept of “music of heaven” and glorification of the Lord, quotes from the Bible: “Let them praise His name with faces on the tympanum and harp, and sing to Him, for the Lord delights in His people, glorifying the peaceful with salvation.”

Antonio Allegri, nicknamed Correggio, "Christ in Glory"

Such an image of Christ was rare for the Italian pictorial tradition, but it was often found in Byzantine icons. Therefore, the image seems so similar to ancient Russian icons, which became a continuation of Byzantine traditions: the frontality of the composition, the golden background, the very position of the body of Christ - all this can be found in Orthodox iconography. During his lifetime, Correggio's fame was limited to his hometown of Parma, but today his works represent a unique chance for researchers to trace the connection between the eastern and western pictorial traditions of Christianity.

Donato Creti, Series "Astronomical Observations"

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An unusual series of paintings depicting observations of all the planets known at that time solar system was created in early XVIII century as a gift to Pope Clement XI. Count Luigi Ferdinando Marsili hoped that after such a present the Pope would allocate money for the construction of an observatory in Bologna. This city, with one of the oldest universities in Europe, was already considered the center of Enlightenment and culture. At the same time, its natural philosophical context is very different from the entire series of religious works presented at the exhibition, and the atmosphere of painting of “gallant festivities” connects these works with the French art of the era of Louis XIV. That is why a separate room is allocated for the Creti series.

Giovanni Francesco Barbieri (Guercino) "The Unbelief of St. Thomas"

In the exhibition "Roma Aeterna" you can see two works by Guercino - "The Penitent Magdalene" and "The Unbelief of St. Thomas." Both were extremely popular in the art of the Renaissance and in later times. Paintings based on this subject by different artists, were distinguished by varying degrees of drama: some masters depicted Thomas plunging his fingers deeply into the wound of Christ, thereby achieving an incredibly vivid, almost physical sensation for the viewer. Guercino takes a different path: his gesture of Thomas is not so daring: drama is achieved thanks to light-shadow contrasts and combinations of blood-red and deep blue clothes of the saints. This is not surprising, because Guercino is considered one of the best colorists of the Bolognese school of the 17th century.

Pinakothek collection

The Pinacoteca is one of the collections of the Vatican Museums complex. The first of them were established in the 16th century by Pope Julius II, the one who ordered the painting from Michelangelo Sistine Chapel, and Raphael has frescoes in stanzas. Picture gallery appeared much later: it was founded in the second half of the 18th century by Pope Pius VI. Its collection demonstrates the main milestones of religious Italian painting: from the Proto-Renaissance, the era preceding the Renaissance, to the Old Masters. The collection includes artists from Giotto and Simone Martini to Caravaggio and Guido Reni. However, you can see not only Italians in the Pinakothek: large-format paintings by the French classicist Poussin and the Spanish master Murillo are not inferior to national painting.

Exhibition concept

The issue of an exhibition of masterpieces from the Vatican Pinakothek was decided at the highest level: negotiations were conducted by Vladimir Putin and Pope Francis personally. The scale is understandable: this is the first time that paintings have left the Vatican in such quantity - 42 works. In addition, next year the Tretyakov Gallery will send its exhibition to Rome - works on gospel subjects. The curator was Arkady Ippolitov, a senior researcher at the Hermitage, a writer and a brilliant exhibitionist who works wonderfully with both the Renaissance and modernity. Not only has he organized exhibitions from Parmigianino to the Kabakovs, but he was the first Russian curator to combine Mapplethorpe's photography and mannerist art in a 2004 exhibition.

Last year, Ippolitov curated the large-scale exhibition “Palladio in Russia”, held at the Tsaritsyno Museum-Reserve and the Museum of Architecture. Shchuseva. It showed the connection of one of the main architects Italian Renaissance with Russian architects different eras, from the Baroque to the Soviets.

Exhibition plan: from celestial beings to celestial bodies

The exhibition at the Tretyakov Gallery is presented in three halls, and it opens with “Christ Blessing” - the most early work, icon of the second half of the 12th century. It is in it that the creators of the exhibition see the kinship of Italian and Russian art, which takes Byzantine traditions as a basis. It was Byzantine icons and foldings that became the prototype for both the medieval art of Italy and for ancient Russian religious images. Among the masterpieces of the first hall are the master of international Gothic Gentile da Fabriano and the Venetian early Renaissance Carlo Crivelli. Their techniques are conventional and sometimes grotesque: Crivelli, for example, deliberately lengthens left hand Christ to unite him with Mary Magdalene and the Virgin Mary. However, the main masterpieces are ahead - Bellini, Perugino and Melozzo da Forli. In his Lamentation of Christ, Bellini resorts to unusual iconography: instead of the Virgin Mary, Christ is supported by Joseph of Arimathea, and Nicodemus and Mary Magdalene are depicted nearby. He was one of the first Venetians to switch from tempera, paint based on egg yolk, to oil painting - the technique was brought to Italy from the Netherlands.

Raphael's teacher Pietro Vannucci, better known as Perugino, is represented in the exhibition by two works. These are strong images of Saint Placidus and Saint Justina: and although their features are similar to Raphael's painting (the same soft tilt of the head, for example), we can see how the famous student surpassed his teacher. Next to them, attention is drawn to the pretty angels of Melozzo da Forli, playing the lute and viol. Their spontaneity, liveliness and colorfulness (which is especially difficult to achieve in fresco technique) distinguish da Forli’s angels from the background of many restrained images by other artists of the same era. The frescoes were part of the multi-figure composition "The Ascension of Christ" in the Church of Santi Apostoli in Rome.

The main hall of the exhibition is built in the shape of a semicircle, similar to the square of St. Peter's Basilica, the symbol and heart of the Vatican and the entire Catholic Church. In the center are paintings by Correggio and Veronese, next to them are small grisailles and monochrome paintings by Raphael. The main masterpiece of the exhibition, “Entombment” of Caravaggio, is in the right semicircle, surrounded by followers - Guido Reni, Orazio Gentileschi and student Carlo Saraceni. Caravaggio painted “Entombment” as the personal painter of Cardinal Francesco del Monte in 1602-1604 for the Roman temple of Santa Maria della Vallicella. Features characteristic of Caravaggio's painting - contrast of light and shade and monumental form - distinguish this work from others at the exhibition. And in the Vatican Pinakothek it is considered one of the main masterpieces: Nicodemus and John lay the heavy, pale body of Christ in the tomb. The silent gestures of the grieving Virgin Mary, Mary Magdalene and the young Mary behind are even more emotional than their faces. Opposite is “The Martyrdom of St. Erasmus” by the French classicist Nicolas Poussin, painted for St. Peter’s Basilica.

The history of the Papal State ends with the work of Donato Creti. A multi-leaf polyptych dedicated to astronomical observations is located in a separate room. On eight canvases there are the Sun, the Moon, Mercury, Venus, Mars, Jupiter, Saturn and a certain falling comet. The learned monk Luigi Marsili commissioned the work from the artist in the early 18th century as a gift to Pope Clement XI to hint at the need to sponsor an observatory. Creti's paintings also include "recent" observations: for example, the Great Red Spot on Jupiter, discovered in 1665. But Uranus, discovered only in 1781, is not captured by Donato Creti. The 18th century was, by and large, the last in history when the papacy played a decisive role - this is where the exhibition ends.