Keywords

• The legend of Cupid and Psyche (from Apuleiusâ€
• ™
• s novel Metamorphosis or the Golden Ass
• IV
• 28 - VI
• 24) has a long and positive tradition of figurative art paintings
• now including this cycle of frescoes
• which have been rediscovered in a room of Silvestri - Rivaldi Palace in 2004. These frescoes proved that Eurialo Silvestri
• the purchaser
• strongly wanted to emulate his own patron
• Pope Paul III. From an iconographic point of view
• the Stories of Cupid and Psyche (it should have been completed between 1547 and 1549) depict
• almost literally
• the paintings executed by Perin del Vaga and his assistants in Castel S. Angelo based on similar subject and ordered by Paul III. These paintings are inspired by the very famous collections of 32 etchings produced by Bernardo Daddi
• known as Maestro del Dado. The painter of Silvestri Palace maintains Perinoâ€
• ™
• s style
• apart from some works which show his own narrative interpretation. The accurate analysis of the paintings in the Popeâ€
• ™
• s apartments in Castel S. Angelo allowed us to better understand the life of this artist. Indeed
• it has been ascertained that he was in close contact with Buonaccorsi and that his paintings were strongly influenced by Pellegrino Tibaldi and Daniele da Volterra. The intention of this article is to find out other possible painting interventions by the artist. Therefore K. Quinci takes into account some artistical cycles produced in the same period
• or shortly after
• executed in the most important Roman houses and palaces
• particularly those employing the same artists and that
• in any case
• have been strongly influenced by the decorative order used in the Popeâ€
• ™
• s apartments. From this research we can notice a strong figurative and expressive parallelism between Silvestriâ€
• ™
• s frescoes and the Stories of Perseus represented in Palazzo Spada Copodiferro
• lastly attributed to Gaspar Becerra (1520 ca-1568 ca)
• a painter and a sculptor from Spain. He has lived in Rome for at least 10 years
• working actively in the realization of the Sala dei Cento giorni in the Cancelleria under Giorgio Vasariâ€
• ™
• s direction. Afterwards the paintworks that presumably had been attributed to Becerra are examined. At the end Katiuscia Quinci comes to the non final conclusion
• since the studies are still in a preliminary phase
• that the Spanish artist is the author of the Legend of Cupid and Psyche in Silvestri Palace