Keywords

• The survey on the wall of the main floor of Rivaldi Palace carried out between 2002 and 2006 stated the pre-existence of wide decorations
• still unknown. The analysis of the present elements inside the halls proved that an iconographic plan had been developed but put into practice by several hands and in different times. The hypothesis sustains that
• starting from 1547
• the artifices used came from the workshop of Perino del Vaga who could rely on models and solutions already developed in the Pauline rooms into Castel S. Angelo. After Perinoâ€
• ™
• s death
• Francesco Salviati would have led the painting works. Indeed
• he would have frescoed the hall with pagan deities as it was proved by Orazio Avicenna
• the biographer of Silvestri
• who attributed to Silvestri the decoration of a hall in the palace