S. Felice resuscitating a newborn

The collections of the Accademia di San Luca are non-homogeneous nature of type and origin of the works that compose them. These are pieces of great historical and artistic interest, dating from the fifteenth and twentieth century. The largest group, however, mostly dating from the seventeenth and eighteenth century. Academic collections consist of more than a thousand paintings and three hundred sculptures, from about five thousand five hundred drawings and a collection of prints and medals. The number of works held today in Palazzo Carpegna does not include, however, all the pieces that over the centuries have come to be part of the academic heritage which over the years has been partially lost or otherwise dispersed.The heterogeneous nature of the Academy collections is mainly due to the fact that they are constituted through time not according to a predetermined design, but with gifts or donations of academic or private collectors, with works from competitions Academy od used for educational purposes, and with a group of pictures coming from the Pinacoteca Capitolina.Starting from the oldest statutes of the Society, in fact, it is prescribed that each academic at the time of appointment left as a gift in academic collections an essay of his art ( pièce de réception, entrance gift). He was then requested each academic year to send a gift own portrait. It created, then, in this way, since the seventeenth century, a gallery who took more concrete form in the course of the eighteenth century.Among the most important works housed in academic collections you may recall, for example, a detached fresco representing a cherub, attributed to Raphael, to whom the painting of St. Luke painting the Madonna is also traditionally assigned; The Annunciation to the Shepherds Jacopo Bassano; the Virgin and angels of Van Dyck; Nymphs crowning the Rubens Bountiful; Judith and Holofernes Piazzetta; the self-portrait of Federico Zuccari; the portrait of Pietro Bernini attributed to his son Gian Lorenzo; the Algardi sculptures, arms, Le Gros.The collections of the Accademia di San Luca are exposed, in part, in the gallery, on the third floor of its current location in Carpegna palace and, in part, in academic halls, the offices of the secretariat, in the conference room, located on the floor noble, in Sarti Library and in the historical archives that are located on the second floor. The rest of the works is placed in the deposits located in some spaces on the ground floor and in the spaces along the helical ramp.圣卢卡美术学院（Accademia di San Luca）的馆藏，其构成作品在类型与来源层面均呈现出非统一的多元化特质。这些藏品均具备极高的历史与艺术价值，年代跨度涵盖15世纪至20世纪，其中规模最大的藏品群体，其年代则主要集中于17世纪与18世纪。该学院馆藏共计包含千余幅绘画作品、三百余件雕塑作品，另有约五千五百幅素描作品，以及版画与纪念章藏品若干。不过，目前收藏于卡尔佩尼亚宫（Palazzo Carpegna）的馆藏作品，并未涵盖数个世纪以来归入学院遗产的全部藏品——其中部分藏品在岁月流逝中遗失或流散。 该学院馆藏的非同质化特质，主要源于其并非依照预设规划逐步构建，而是通过以下途径累积而来：学院成员或私人藏家的捐赠、学院竞赛获奖作品及用于教学用途的藏品，以及源自卡比托利欧美术馆（Pinacoteca Capitolina）的一批画作。事实上，从该学会最早的章程来看，每位院士在获任时都需向学院馆藏捐赠一件自己的艺术代表作（即入院参展作品，法文pièce de réception，英文entrance gift）。此外，学院还要求每位院士每年捐赠一幅自画像。自17世纪起，通过此种方式逐步形成了画廊馆藏，并在18世纪得到了更为具体的实体规模发展。 学院馆藏的重要作品包括：一幅被归为拉斐尔（Raphael）所作的脱落式天使湿壁画，传统上还认为拉斐尔创作了《圣路加绘制圣母像》；雅各布·巴萨诺（Jacopo Bassano）的《向牧羊人报喜》；凡·戴克（Van Dyck）的《圣母与天使》；鲁本斯（Rubens）所作《宁芙为丰饶女神加冕》；皮亚泽塔（Piazzetta）的《犹迪与霍洛芬斯》；费德里科·祖卡里（Federico Zuccari）的自画像；被认为是其子吉安·洛伦佐·贝尼尼（Gian Lorenzo Bernini）所作的彼得罗·贝尼尼（Pietro Bernini）肖像；以及阿尔加迪（Algardi）与勒格罗（Le Gros）的雕塑作品。 圣卢卡美术学院的馆藏部分陈列于当前馆址卡尔佩尼亚宫三楼的画廊中，其余则分布于学院各展厅、秘书处办公室、主楼层的会议室、萨尔蒂图书馆（Sarti Library）以及位于二楼的历史档案馆内。剩余藏品则存放于一楼部分区域及螺旋坡道沿线的库房中。