Exhibited along the staircase that takes to the second floor, are two of the three oval paintings present in the museum and realised by French painter Louis Dorigny, born in Paris in 1654 into a family of artists.

After spending four years in Rome and in various others travels, the artist arrived in the territories of the Republic of Venice in the Seventies.

In 1700 the painter received a commission from nobleman Andrea Tron who asked him to decorate his Ballroom at Ca’ Tron at San Stea (Venice), in occasion of the 15th birthday of his son, Nicolò.

The three oval paintings in the collection come from that decoration.

The allegories present a figure paired with an animal, useful to identify the subject. They all adopt the same solution in terms of perspective, which takes into account the fact they were meant to be seen from below thus showcasing the artist’s ability.

The Allegory of Eloquence is paired with a parrot with red and green feathers, isolated at the far right side of the painting, with its body turned to the female figure, but with its head facing the viewer.

The Allegory of Modesty shows a female figure lying on her side and twisting her shoulders almost to hide the face we only glimpse in profile. She’s paired with a turtle, a symbol, with its shell, of domestic virtues.

In conclusion, the Allegory of Fidelity, placed in the museum’s frescoed room, represents the virtue as a woman next to a crouched hunting dog, whose head is turned towards her: the position of her arm and of her hand, which is scratching the animal gently, connects the figures in a closed circuit, representing intimacy and trust.