Copy of the famous painting by Guido Reni: L'Aurora, 1613-1614, present at the Casino dell'Aurora Pallavicini. The young Apollo, enveloped in a fiery halo, guides the golden chariot of the Sun, drawn by four horses, which, aligned in a single mass, make a light leap into the air, and bring the light of the new day to earth. Aurora precedes the Sun's race, and is surrounded by light veils that stand out against the dark violet of the clouds, and reflect the luminous white of the rising light, the delicate orange of the first rays. Aurora chases the darkness of the night to the right, and spreads the pink and orange of the new day over landscapes of azure seas and precious seas, furrowed by small white sails, on small happy archipelagos, on distant blue mountains, green heights and dark groves. Aurora raises small garlands of flowers, which with a white twinkle break the dark obscurity of the night veil first. Between Aurora and the chariot of the Sun there is a winged putto, Twilight, who carries a torch with a reddish flame. On the chariot, the young Apollo is wrapped in a wide, swirling cloak; his skin is rosy, his features delicate, the warm light that radiates from the chariot breaks down into the luminous colors of the veils that envelop the young bodies of girls, the Hours, who dance around the Sun, in a triumph of light. The drapery of clouds appears as a light backdrop, which descends on the blue of the night. And it is precisely for the courageous contrast between the complementary orange-azure dominants that the fresco overcomes the conventionality of a mannered composition. Perfect state of conservation. Copy of Guercino's Aurora, Casino di Villa Ludovisi, 1621-23. Guercino’s Aurora is a tempera fresco and represents the antithesis of the one painted by Guido Reni in the Casino Rospigliosi depicting Aurora, a young Goddess, advancing on a chariot pulled by two horses, while the night flees before her and a genius in flight crowns Aurora with flowers while another, on the chariot, scatters flowers all around; on one side, on the bed, is the old husband Titone; above, three young women represent as many stars, one of which pours dew from an urn. The chariot of Eos passes quickly over the architectures that are viewed with illusionistic perspective open towards the sky. The colors are pure and culminate in the patching of the horses' mantle which fiercely pull the chariot. The Baroque imprint is combined with the influence of Venetian painting. The artist wants to represent not simply the rising of just any new day, but allegorically the dawn of a new era of glory for the Ludovisi family.