BEAUMONT, Claudio Francesco

Beaumont’s contribution to the painting of the Palazzo Reale includes, in addition to four living rooms, two galleries, of which the Galleria della Regina, later named after him, is one of the largest (60 m long) and the most magnificent of its kind. In 1833, it was separated from the palace complex, and has since served as the Armeria Reale, housing the Savoyard weapon collection.

The subject of the ceiling painting in the Galleria is the legend of Aeneas, the mortal son of Venus who escaped from the burning Troy with his father and his son, and after many trials and misadventures landed at last at the mouth of the Tiber. There he became through his son Ascanius the progenitor of the gens Julia.

The scenes in the large picture panels documents the most important stations on Aeneas’s adventurous path. The picture shows one of the panels with Aeneas Begs Jupiter for Mercy for the Troyans.

Beaumont’s contribution to the painting of the Palazzo Reale includes, in addition to four living rooms, two galleries, of which the Galleria della Regina, later named after him, is one of the largest (60 m long) and the most magnificent of its kind. In 1833, it was separated from the palace complex, and has since served as the Armeria Reale, housing the Savoyard weapon collection.

The subject of the ceiling painting in the Galleria is the legend of Aeneas, the mortal son of Venus who escaped from the burning Troy with his father and his son, and after many trials and misadventures landed at last at the mouth of the Tiber. There he became through his son Ascanius the progenitor of the gens Julia.

The picture shows one of the two tondi with Aeneas Landing on the Mouth of the Tiber.

Beaumont’s contribution to the painting of the Palazzo Reale includes, in addition to four living rooms, two galleries, of which the Galleria della Regina, later named after him, is one of the largest (60 m long) and the most magnificent of its kind. In 1833, it was separated from the palace complex, and has since served as the Armeria Reale, housing the Savoyard weapon collection.

The subject of the ceiling painting in the Galleria is the legend of Aeneas, the mortal son of Venus who escaped from the burning Troy with his father and his son, and after many trials and misadventures landed at last at the mouth of the Tiber. There he became through his son Ascanius the progenitor of the gens Julia.

The picture shows one of the two tondi with the Triumph of Venus.

Throughout the whole of the eighteenth century the Turinese court avidly acquired paintings by Italy’s best and most famous artists. It also encouraged budding local painters thereby supplying itself with potential artists to meet its demand for painted decoration. Claudio Francesco Beaumont’s apprenticeship in Rome in the 1710s and then in the 1720s was financed by royal stipends. Returning from Rome, in 1731 Carlo Emanuele III named him “primo pittore di gabinetto”, and for the next two decades he was responsible for all the painting in the Palazzo Reale.

Beaumont’s contribution to the painting of the Palazzo Reale includes, in addition to four living rooms, two galleries, of which the Galleria della Regina, later named after him, is one of the largest (60 m long) and the most magnificent of its kind. In 1833, it was separated from the palace complex, and has since served as the Armeria Reale, housing the Savoyard weapon collection.

The subject of the ceiling painting in the Galleria is the legend of Aeneas, the mortal son of Venus who escaped from the burning Troy with his father and his son, and after many trials and misadventures landed at last at the mouth of the Tiber. There he became through his son Ascanius the progenitor of the gens Julia.

The picture shows a rarely depicted episode of the Legend of Aeneas: Aeneas placing an offering on his father’s grave in Sicily, where the appearance of a snake proves a good omen.

Beaumont’s contribution to the painting of the Palazzo Reale includes, in addition to four living rooms, two galleries, of which the Galleria della Regina, later named after him, is one of the largest (60 m long) and the most magnificent of its kind. In 1833, it was separated from the palace complex, and has since served as the Armeria Reale, housing the Savoyard weapon collection.

The subject of the ceiling painting in the Galleria is the legend of Aeneas, the mortal son of Venus who escaped from the burning Troy with his father and his son, and after many trials and misadventures landed at last at the mouth of the Tiber. There he became through his son Ascanius the progenitor of the gens Julia.

The scenes in the large picture panels documents the most important stations on Aeneas’s adventurous path. The picture shows one of the panels with Aeneas and Dido.

Beaumont’s contribution to the painting of the Palazzo Reale includes four living rooms and two galleries. In the Gabinetto Grande (the present Camera di Lavoro della Regina) the centre picture on the ceiling is a personification of Vita Humana (Life of Man) in the form of a young woman holding an hourglass in her hand. She is leaning on a scythe-wielding Chronos and Fama is pointing out to her the goal of human striving, Eternità Felice. Four groupings represent the four ages of man.

Beaumont’s contribution to the painting of the Palazzo Reale includes four living rooms and two galleries. In the Regio Gabinetto (the king’s workroom) Beaumont illustrated the virtues appropriate to a monarch. Guided by Ethical Wisdom (Sapienza Morale), Hercules, as a personification of virtue and competence, is crowned by Justitia.

Beaumont’s contribution to the painting of the Palazzo Reale includes, in addition to four living rooms, two galleries, of which the Galleria della Regina, later named after him, is one of the largest (60 m long) and the most magnificent of its kind. Beaumont’s ceilings in the two anterooms of the gallery illustrated events that precede and introduce the legend of Aeneas. The fresco in the Gabinetto Cinese featured the quarrel between the three goddess and the Judgment of Paris. The fresco in the other room (Stanza dei Fiori) is not preserved.

Beaumont’s contribution to the painting of the Palazzo Reale includes, in addition to four living rooms, two galleries, of which the Galleria della Regina, later named after him, is one of the largest (60 m long) and the most magnificent of its kind. The Galleria delle Battaglie in the west wing was erected only around 1733. Its painting in 1748 was a response to the Peace of Aachen (1748) which ended the War of the Austrian Succession.

The ceiling painting of the Galleria delle Battaglie combines The Triumph of Peace with an allegory on the victorious monarch’s (Carlo Emanuele III’s) benign rule.

The detail shows the Triumphal Chariot with Pax and Mars.