Abstract
Clare Robertson, Ars vincit omnia : the Farnese Gallery and Cinquecento ideas about art, p. 7-41. This article seeks to resolve the current critical debate about the meaning of Annibale Carracci's frescoes in the Farnese Gallery by examining them in relation to Cinquecento writings about the nature of iconographic programmes and the functions of art, and to Annibale's artistic practice. These written sources together with Carracci's drawings and adaptations of visual sources suggest that the painter tried to create a scheme for the Gallery entirely in accordance with the principle of decorum, and challenge some common preconceptions about the relationship between artist and ‘iconographic adviser’.
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