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This tenderly poetic picture reveals a side of Poussin not otherwise represented by the Museum’s splendid holdings of this artist. During the 1620s Poussin was especially attracted by Venetian painting, studying Titian’s great mythological compositions, some of which were in aristocratic collections in Rome

This tenderly poetic picture reveals a side of Poussin not otherwise represented by the Museum’s splendid holdings of this artist. During the 1620s Poussin was especially attracted by Venetian painting, studying Titian’s great mythological compositions, some of which were in aristocratic collections in Rome

This tenderly poetic picture reveals a side of Poussin not otherwise represented by the Museum’s splendid holdings of this artist. During the 1620s Poussin was especially attracted by Venetian painting, studying Titian’s great mythological compositions, some of which were in aristocratic collections in Rome

This tenderly poetic picture reveals a side of Poussin not otherwise represented by the Museum’s splendid holdings of this artist. During the 1620s Poussin was especially attracted by Venetian painting, studying Titian’s great mythological compositions, some of which were in aristocratic collections in Rome

This tenderly poetic picture reveals a side of Poussin not otherwise represented by the Museum’s splendid holdings of this artist. During the 1620s Poussin was especially attracted by Venetian painting, studying Titian’s great mythological compositions, some of which were in aristocratic collections in Rome

This tenderly poetic picture reveals a side of Poussin not otherwise represented by the Museum’s splendid holdings of this artist. During the 1620s Poussin was especially attracted by Venetian painting, studying Titian’s great mythological compositions, some of which were in aristocratic collections in Rome

Old books on the wooden shelves at the Biblioteca Angelica, Rome. The library holdings were also enriched by several entries, like part of Egidio da Viterbo (Giles Antonini of Viterbo)’s personal collection of books.

Biblioteca Angelica, the earliest public library in modern Rome

Old books on the wooden shelves at the Biblioteca Angelica, Rome. The library holdings were also enriched by several entries, like part of Egidio da Viterbo (Giles Antonini of Viterbo)’s personal collection of books.

Old books on the wooden shelves at the Biblioteca Angelica, Rome. The library holdings were also enriched by several entries, like part of Egidio da Viterbo (Giles Antonini of Viterbo)’s personal collection of books.

Biblioteca Angelica, the earliest public library in modern Rome

Old books on the wooden shelves at the Biblioteca Angelica, Rome. The library holdings were also enriched by several entries, like part of Egidio da Viterbo (Giles Antonini of Viterbo)’s personal collection of books.

The Roman Empire was the post-Republican period of the ancient Roman civilization, characterised by an autocratic form of government and large territorial holdings around the Mediterranean in Europe, Africa, and Asia.

The Roman Empire was the post-Republican period of the ancient Roman civilization, characterised by an autocratic form of government and large territorial holdings around the Mediterranean in Europe, Africa, and Asia.

Zenobia was the wife of Odaenathus, ruler of the Roman colony Palmyra in present-day Syria. When he and his eldest son were assassinated, Zenobia declared herself queen. Not content to rule a mere colony, she seized Egypt, invaded other Roman holdings, and announced her independence from the Empire. Aurelius, emperor of Rome, struck back, defeating her in 274 AD.

Zenobia was the wife of Odaenathus, ruler of the Roman colony Palmyra in present-day Syria. When he and his eldest son were assassinated, Zenobia declared herself queen. Not content to rule a mere colony, she seized Egypt, invaded other Roman holdings, and announced her independence from the Empire. Aurelius, emperor of Rome, struck back, defeating her in 274 AD.

This tenderly poetic picture reveals a side of Poussin not otherwise represented by the Museum’s splendid holdings of this artist. During the 1620s Poussin was especially attracted by Venetian painting, studying Titian’s great mythological compositions, some of which were in aristocratic collections in Rome

This tenderly poetic picture reveals a side of Poussin not otherwise represented by the Museum’s splendid holdings of this artist. During the 1620s Poussin was especially attracted by Venetian painting, studying Titian’s great mythological compositions, some of which were in aristocratic collections in Rome

Thomas Struth (German, b, 1954). Pantheon, Rome, 1990. Chromogenic print. Private collection, New York

Thomas Struth (German, b, 1954). Pantheon, Rome, 1990. Chromogenic print. Private collection, New York

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