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  • ROME, ITALY - 14 JULY 2022: A museum sign is seen here by the Baths of Diocletian in the Rome National Museum, which hosts the Museo dell'Arte Salvata- or Museum of Rescued Art - in Rome, Italy, on July 14th 2022.<br />
<br />
The first exhibit of the Museo dell’Arte Salvata, or Museum of Rescued Art, pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: A view of the Baths of Diocletian in the Rome National Museum, which hosts the Museo dell'Arte Salvata - or Museum of Rescued Art - is seen here at the Rome National Museum, in Rome, Italy, on July 14th 2022.<br />
<br />
The first exhibit of the Museo dell’Arte Salvata, or Museum of Rescued Art, pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: The cloister of the Rome National Museum, which hosts the Museo dell'Arte Salvata - or Museum of Rescued Art - is seen here at the Rome National Museum, in Rome, Italy, on July 14th 2022.<br />
<br />
The first exhibit of the Museo dell’Arte Salvata, or Museum of Rescued Art, pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: (R-L) The Attic red-figure krater, signed by Euxitheos as potter and by Euphronios as vase painter (510-500 BC), the kylix or drinking cup by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance, and an empty display which expects to allocate a lidded White on Red pithos decorated with the blinding of Polyphemos (a pithos, or large vessel, is an Etruscan work from the seventh century BCE recently recovered from the Getty Museum) are seen here in the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: A statue is seen here by the Baths of Diocletian in the Rome National Museum, which hosts the Museo dell'Arte Salvata - or Museum of Rescued Art - in Rome, Italy, on July 14th 2022.<br />
<br />
The first exhibit of the Museo dell’Arte Salvata, or Museum of Rescued Art, pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: A display containing at its center the the lidded White on Red pithos decorated with the blinding of Polyphemos (a pithos, or large vessel, is an Etruscan work from the seventh century BCE recently recovered from the Getty Museum) is seen hereat the Museo dell’Arte Salvata, or Museum of Rescued Art, in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: A kylix or drinking cup by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance, is on display here at the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: The the lidded White on Red pithos decorated with the blinding of Polyphemos (a pithos, or large vessel, is an Etruscan work from the seventh century BCE recently recovered from the Getty Museum) is seen hereat the Museo dell’Arte Salvata, or Museum of Rescued Art, in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: A display containing at its center the the lidded White on Red pithos decorated with the blinding of Polyphemos (a pithos, or large vessel, is an Etruscan work from the seventh century BCE recently recovered from the Getty Museum) is seen hereat the Museo dell’Arte Salvata, or Museum of Rescued Art, in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: A visitor looks at the kylix or drinking cup by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance, on display here at the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: , An empty display which expects to allocate a lidded White on Red pithos decorated with the blinding of Polyphemos (a pithos, or large vessel, is an Etruscan work from the seventh century BCE recently recovered from the Getty Museum)is seen here at the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: The etruscan antefix "Menade e Sileno" (5th century B.C.) previsouly part of the J.P. Getty Museum in Los Angeles, and now part of the an exhibit of repatriated artifacts, is seen here at the Case Grifoni, a civic museum in Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Maurizio Catolfi, a museum<br />
official with oversight for security, opens the door to the  Vasari corridor, an<br />
800-meter long passageway which links Palazzo Pitti to the Uffizi gallery, for the museum technicians transporting two Raphael paintings here to Palazzo Pitti, in Florence, Italy, on June 3rd 2018. The Vasari corridor is used to move paintings between the Uffizi gallery and Palazzo Pitti.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5234.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Maurizio Catolfi, a museum<br />
official with oversight for security, peeks through the keyhole  of the  Vasari corridor, an<br />
800-meter long passageway which links Palazzo Pitti to the Uffizi gallery, as he waits for the museum technicians transporting two Raphael paintings here to Palazzo Pitti, in Florence, Italy, on June 3rd 2018. The Vasari corridor is used to move paintings between the Uffizi gallery and Palazzo Pitti.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5198.jpg
  • ROME, ITALY - 14 JULY 2022: A sign fo the Museo dell’Arte Salvata, or Museum of Rescued Art, is seen here in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: Repatriated terracotta heads from the late classical and early Hellenistic periods (4th - 3rd century BC) are on display here at the Museo dell’Arte Salvata, or Museum of Rescued Art, in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: The exhibit at the Museo dell’Arte Salvata, or Museum of Rescued Art, in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: The exhibit at the Museo dell’Arte Salvata, or Museum of Rescued Art, in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: A man walks by the Museo dell’Arte Salvata, or Museum of Rescued Art, in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: Repatriated terracotta heads from the late classical and early Hellenistic periods (4th - 3rd century BC) are on display here at the Museo dell’Arte Salvata, or Museum of Rescued Art, in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: Repatriated terracotta heads from the late classical and early Hellenistic periods (4th - 3rd century BC) are on display here at the Museo dell’Arte Salvata, or Museum of Rescued Art, in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: Repatriated terracotta heads from the late classical and early Hellenistic periods (4th - 3rd century BC) are on display here at the Museo dell’Arte Salvata, or Museum of Rescued Art, in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: (L-R) Dr. Carmelo Rizzo and Dr. Alberto Villari of the Archeological Museum of Cerveteripose for a portrait in Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: (L-R) Dr. Carmelo Rizzo and Dr. Alberto Villari of the Archeological Museum of Cerveteripose for a portrait in Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: The exhibition of the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: The exhibition of the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: The Attic red-figure krater, signed by Euxitheos as potter and by Euphronios as vase painter (510-500 BC) is seen here at the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: The Attic red-figure krater, signed by Euxitheos as potter and by Euphronios as vase painter (510-500 BC) is seen here at the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: The Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: A man walks by the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: Monica Arduini (53), land protection assistantat of Cerveteri, poses for a portrait at the Case Grifoni, a civic museum in Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: Monica Arduini (53), land protection assistantat of Cerveteri, poses for a portrait at the Case Grifoni, a civic museum in Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: A display cases containing all the artifacts found in the cellar of looted artifacts dealer Giacomo De Medici in Switzerland, and now part of the an exhibit of repatriated artifacts, is seen here at the Case Grifoni, a civic museum in Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: A display cases containing all the artifacts found in the cellar of looted artifacts dealer Giacomo De Medici in Switzerland, and now part of the an exhibit of repatriated artifacts, is seen here at the Case Grifoni, a civic museum in Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: A report by Sotheby's lists some of the artifcacts (highlighted) now exhibited at the Case Grifoni, a civic museum in Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: A Sotheby's tag is seen here on the Apulian pottery volute krater attributed to the White Saccos painter (ca. 330-320 B.C.), now part of the an exhibit of repatriated artifacts, at the Case Grifoni, a civic museum in Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: A tag placed by the examining magistrate of Geneva (Switzerland) is seen here on the Apulian pottery volute krater attributed to the White Saccos painter (ca. 330-320 B.C.) at the Case Grifoni, a civic museum in Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: A Sotheby's tag is seen here on the Apulian pottery volute krater attributed to the White Saccos painter (ca. 330-320 B.C.), now part of the an exhibit of repatriated artifacts, at the Case Grifoni, a civic museum in Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: An Apulian pottery volute krater attributed to the White Saccos painter (ca. 330-320 B.C.), and now part of the an exhibit of repatriated artifacts, is seen here at the Case Grifoni, a civic museum in Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Museum technicians move the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, from Palazzo Pitti to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5557.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Museum technicians move the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, from Palazzo Pitti to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5532.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Museum technicians transport two Raphael paintings, "Portrait of a Young Man with an Apple" and "Portrait of Pope Julius II" to Palazzo Pitti from the Uffizi gallery, in Florence, Italy, on June 3rd 2018. The Vasari corridor is used to move paintings between the Uffizi gallery and Palazzo Pitti.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5253.jpg
  • AIDONE, ITALY - 12 March 2014: The goddess of Morgantina, exhibited at the Archeological Museum in Aidone, Italy, on March 12th 2014.<br />
<br />
The 5th century BC Greek statue known as the goddess of Morgantina, was unearthed in illegal excavations in Sicily, and after being smuggled into Switzerland and eventually given “legal” status, it was purchased in 1988 by the J. Paul Getty Museum in Los Angeles for $18 million.  Recognized by archeologists as having come from the ancient site of Morgantina, after a thorough investigation and long negotiations the Getty museum eventually agreed to return the disputed statue to Italy in May of 2011.  Amongst much rejoicing and fanfare, the looted goddess is now housed in the archeology museum in Aidone, a small town set on a lofty hilltop near the ancient city of Morgantina.
    CIPG_20140312_NYT_Repatriated__M3_37...jpg
  • AIDONE, ITALY - 12 March 2014: The goddess of Morgantina, exhibited at the Archeological Museum in Aidone, Italy, on March 12th 2014.<br />
<br />
The 5th century BC Greek statue known as the goddess of Morgantina, was unearthed in illegal excavations in Sicily, and after being smuggled into Switzerland and eventually given “legal” status, it was purchased in 1988 by the J. Paul Getty Museum in Los Angeles for $18 million.  Recognized by archeologists as having come from the ancient site of Morgantina, after a thorough investigation and long negotiations the Getty museum eventually agreed to return the disputed statue to Italy in May of 2011.  Amongst much rejoicing and fanfare, the looted goddess is now housed in the archeology museum in Aidone, a small town set on a lofty hilltop near the ancient city of Morgantina.
    CIPG_20140312_NYT_Repatriated__M3_35...jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Museum technicians move the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, from Palazzo Pitti to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5549.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: (R-L) Uffizi Director Eike Schmidt is seen here with museum technicians  in the Hall of Saturn at Palazzo Pitti before moving the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5498.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: (R-L) Uffizi Director Eike Schmidt is seen here with museum technicians  in the Hall of Saturn at Palazzo Pitti before moving the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5490.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Museum technicians are seen here in the Hall of Saturn at Palazzo Pitti as they start transporting the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5477.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A museum technician holds Raphael's portrait of Agnolo Tondi here in the Hall of Saturn at Palazzo Pitti before transporting it to its new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5464.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A museum technician holds Raphael's portrait of Agnolo Tondi here in the Hall of Saturn at Palazzo Pitti before transporting it to its new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5453.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Museum technicians are seen here in the Hall of Saturn at Palazzo Pitti as they start transporting the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5417.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Museum technicians are seen here in the Hall of Saturn at Palazzo Pitti shortly before the transportation of dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5395.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Museum technicians transport two Raphael paintings, "Portrait of a Young Man with an Apple" and "Portrait of Pope Julius II"   through the  Vasari corridor, an<br />
800-meter long passageway which links Palazzo Pitti to the Uffizi gallery, here to Palazzo Pitti, in Florence, Italy, on June 3rd 2018. The Vasari corridor is used to move paintings between the Uffizi gallery and Palazzo Pitti.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5237.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Museum technicians transport two Raphael paintings through the  Vasari corridor, an<br />
800-meter long passageway which links Palazzo Pitti to the Uffizi gallery, here to Palazzo Pitti, in Florence, Italy, on June 3rd 2018. The Vasari corridor is used to move paintings between the Uffizi gallery and Palazzo Pitti.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5207.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Maurizio Catolfi, a museum<br />
official with oversight for security, opens the door of the  Vasari corridor, an<br />
800-meter long passageway which links Palazzo Pitti to the Uffizi gallery, here at Palazzo Pitti, in Florence, Italy, on June 3rd 2018. The Vasari corridor is used to move paintings between the Uffizi gallery and Palazzo Pitti.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5192.jpg
  • AIDONE, ITALY - 12 March 2014: A view of the Archeogical Museum (left), which houses the goddess of Morgantina, and that is hosted in a former Capuchin Monastery in Aidone, Italy, on March 12th 2014.<br />
<br />
The 5th century BC Greek statue known as the goddess of Morgantina, was unearthed in illegal excavations in Sicily, and after being smuggled into Switzerland and eventually given “legal” status, it was purchased in 1988 by the J. Paul Getty Museum in Los Angeles for $18 million.  Recognized by archeologists as having come from the ancient site of Morgantina, after a thorough investigation and long negotiations the Getty museum eventually agreed to return the disputed statue to Italy in May of 2011.  Amongst much rejoicing and fanfare, the looted goddess is now housed in the archeology museum in Aidone, a small town set on a lofty hilltop near the ancient city of Morgantina.
    CIPG_20140312_NYT_Repatriated__M3_39...jpg
  • AIDONE, ITALY - 12 March 2014: The goddess of Morgantina, exhibited at the Archeological Museum in Aidone, Italy, on March 12th 2014.<br />
<br />
The 5th century BC Greek statue known as the goddess of Morgantina, was unearthed in illegal excavations in Sicily, and after being smuggled into Switzerland and eventually given “legal” status, it was purchased in 1988 by the J. Paul Getty Museum in Los Angeles for $18 million.  Recognized by archeologists as having come from the ancient site of Morgantina, after a thorough investigation and long negotiations the Getty museum eventually agreed to return the disputed statue to Italy in May of 2011.  Amongst much rejoicing and fanfare, the looted goddess is now housed in the archeology museum in Aidone, a small town set on a lofty hilltop near the ancient city of Morgantina.
    CIPG_20140312_NYT_Repatriated__M3_37...jpg
  • AIDONE, ITALY - 12 March 2014: The goddess of Morgantina, exhibited at the Archeological Museum in Aidone, Italy, on March 12th 2014.<br />
<br />
The 5th century BC Greek statue known as the goddess of Morgantina, was unearthed in illegal excavations in Sicily, and after being smuggled into Switzerland and eventually given “legal” status, it was purchased in 1988 by the J. Paul Getty Museum in Los Angeles for $18 million.  Recognized by archeologists as having come from the ancient site of Morgantina, after a thorough investigation and long negotiations the Getty museum eventually agreed to return the disputed statue to Italy in May of 2011.  Amongst much rejoicing and fanfare, the looted goddess is now housed in the archeology museum in Aidone, a small town set on a lofty hilltop near the ancient city of Morgantina.
    CIPG_20140312_NYT_Repatriated__M3_35...jpg
  • AIDONE, ITALY - 12 March 2014: Street signs, including the one indicating the Archeological Museum which houses the Goddess of Morgantina,  at a crossroad at the entrace of Aidone, Italy, on March 12th 2014.<br />
<br />
The 5th century BC Greek statue known as the goddess of Morgantina, was unearthed in illegal excavations in Sicily, and after being smuggled into Switzerland and eventually given “legal” status, it was purchased in 1988 by the J. Paul Getty Museum in Los Angeles for $18 million.  Recognized by archeologists as having come from the ancient site of Morgantina, after a thorough investigation and long negotiations the Getty museum eventually agreed to return the disputed statue to Italy in May of 2011.  Amongst much rejoicing and fanfare, the looted goddess is now housed in the archeology museum in Aidone, a small town set on a lofty hilltop near the ancient city of Morgantina.
    CIPG_20140312_NYT_Repatriated__M3_34...jpg
  • FLORENCE, ITALY - 3 JUNE 2018: An empty room 35, which hosted the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, is seen here after all the masterpieces were relocated, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6146.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Signs left by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6139.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A view of room 41, dedicated to Raphael and Michelangelo, is seen here at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6098.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Uffizi Director Eike Schmidt is interviewed here in room 41, dedicated to Raphael and Michelangelo, at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6085.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A visitor is seen here in room 41, dedicated to Raphael and Michelangelo, here at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6070.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6026.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6010.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Visitors look at the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504,  here in its new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5922.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A map of Room 41 of the Uffizi is seen here as technicians install the paintings in the new location at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5900.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5863.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Uffizi curator Francesca De Luca photographs a frame containging Raphael's portrait of Agnolo Tondi, here at its new location  in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5793.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, to its nice at his new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5771.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5683.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5612.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Uffizi Director Eike Schmidt poses for a portrait in the Hall of Saturn at Palazzo Pitti before overseeing the transportation of dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5357.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Uffizi Director Eike Schmidt poses for a portrait in the Hall of Saturn at Palazzo Pitti before overseeing the transportation of dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, to their new location at room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5325.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Visitors photograph the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504,  here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_4992.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Visitors are seen here by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504,  here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_4979.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: The “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, is seen here in room 35 of the Uffizi before being relocated to room 41 of the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_4961.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A visitor is seen here by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504,  here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_4955.jpg
  • FLORENCE, ITALY - 4 JUNE 2018: A view of the Uffizi gallery in Florence, Italy, on June 4th 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6161.jpg
  • FLORENCE, ITALY - 4 JUNE 2018: A view of the Uffizi gallery in Florence, Italy, on June 4th 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6156.jpg
  • FLORENCE, ITALY - 4 JUNE 2018: A janitor wipes the floow of room 41, dedicated to Raphael and Michelangelo, before the inauguration at the Uffizi, in Florence, Italy, on June 4th 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6152.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Signs left by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6144.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Signs left by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6136.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Signs left by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6135.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Signs left by the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, here in room 35 of the Uffizi before being relocated to room 41, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6129.jpg
  • FLORENCE, ITALY - 4 JUNE 2018: A view of the Arno river and Ponte Vecchio from the Uffizi gallery in Florence, Italy, on June 4th 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180604_NYT-Uffizi_M3_6126.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A view of room 41, dedicated to Raphael and Michelangelo, is seen here at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6116.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A view of room 41, dedicated to Raphael and Michelangelo, is seen here at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6115.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: The “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, is seen here in its new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6110.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A view of room 41, dedicated to Raphael and Michelangelo, is seen here at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6109.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Visitors are seen here in room 41, dedicated to Raphael and Michelangelo, here at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6108.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: (L-R) The dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, and the “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, are seen here in their new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6099.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A view of room 41, dedicated to Raphael and Michelangelo, is seen here at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6095.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: The “Holy Family”, also known as the Doni Tondo, that Michelangelo painted for the Doni couple around 1503-1504, is seen here next to an Hellenistic era bust of a triton, in its new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6093.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A visitor is seen here in room 41, dedicated to Raphael and Michelangelo, here at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6074.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: The plaque of room 41 dedicated to Raphael and Michelangelo is seen here at the entrance of room 41 at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6065.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Visitors looks at the "Apparition of the Virgin to Saint Bernard" by Fra Bartolomeo, in its new location in room 41 at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6056.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: Technicians are seen here at work as they position the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_6008.jpg
  • FLORENCE, ITALY - 3 JUNE 2018: A visitor looks at the rears of the dual portraits of Agnolo Doni and his wife Maddalena Strozzi, painted by Raphael, here at their new location in room 41at the Uffizi, in Florence, Italy, on June 3rd 2018.<br />
<br />
As of Monday June 4th 2018, Room 41 or the “Raphael and Michelangelo room” of the Uffizi is part of the rearrangement of the museum's collection that has<br />
been defining Uffizi Director Eike Schmidt’s grander vision for the Florentine museum.<br />
Next month, the museum’s Leonardo three paintings will be installed in a<br />
nearby room. Together, these artists capture “a magic moment in the<br />
first decade of the 16th century when Florence was the cultural and<br />
artistic center of the world,” Mr. Schmidt said. Room 41 hosts, among other paintings, the dual portraits of Agnolo Doni and his wife Maddalena Strozzi painted by Raphael round 1504-1505, and the “Holy Family”, that Michelangelo painted for the Doni couple a year later, known as the<br />
Doni Tondo.
    CIPG_20180603_NYT-Uffizi_M3_5947.jpg
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