Farnese Palace

Palazzo Farnese, located in the heart of Rome, is one of the most important examples of Renaissance architecture. Its construction began in 1517 at the behest of Alessandro Farnese, who would later become Pope Paul III. The project was entrusted to Antonio da Sangallo the Younger, but after his death in 1546, Michelangelo took over the project, making significant changes that would forever mark the aesthetics of the palace. The palace stands out for its grandeur and Renaissance influences visible both inside and out. The facade, 29 meters high and 57 meters long, is made of bricks and travertine, typical materials of Roman architecture. Michelangelo contributed with the large ornamental frame and the central window, framed by four columns. The frame features a carved lily, symbol of the Farnese family. Upon entering the palace, visitors are welcomed by an atrium designed by Sangallo, inspired by antiquity, with granite columns from the Baths of Caracalla. The inner courtyard, with three aisles separated by columns, leads to the main hall. The noble floor houses some of the most renowned rooms of the palace, including the Hall of Hercules, named after the imposing statue of the god Hercules displayed there. The walls of this room, reaching 18 meters in height, were supposed to be frescoed by the Carracci brothers, but remain bare, adorned only by imperial busts framed by medallions. Another room of great interest is the Farnese Gallery, frescoed by Annibale Carracci between 1597 and 1604. This cycle of frescoes, known as “The Wedding of the Gods,” is considered one of the masterpieces of Baroque painting. The Carracci, along with other artists like Domenichino and Giovanni Lanfranco, decorated other rooms of the palace, contributing to its reputation as a treasure trove of art and culture. The Hall of Farnese Achievements, now the ambassador’s office, was originally a reception hall. Here, the ceiling frescoed by Salviati and completed by the Zuccari brothers narrates the glories of the Farnese family through a sophisticated use of trompe-l’œil, creating the illusion of three-dimensional architectures and sculptures painted on the walls.