ALDOBRANDINI VILLA

VILLA ALDOBRANDINI

Via Mazzarino 11

End of 1500s by Carlo Lambardi (1545/1619) for the Vitelli family who had bought the preexisting building with land in 1566 from the Genoese family Grimaldi

It was bought in 1601 by Clement VIII Aldobrandini (1592/1605) who gave it to his nephew Cardinal Pietro Aldobrandini and had it restored in the years 1601/02 by Giacomo Della Porta (1533/1602)

Here used to be kept a huge collection of paintings and ancient statues including the “Aldobrandini Wedding” now in the Vatican Museums

“The area where the villa was built has played a leading role since the second half of the sixteenth century, in relation to the arrangement of the Roman road ‘Alta Semita’ (High Semite) promoted by Pius IV (1559/65), completed in 1561, symbol of the 'salus publica' (public health) given back to the city by the pope. The renewal of the street gave impetus to the construction of new gardens, usually arranged by clients who delighted in antiquarian research, and in this way would recover the Renaissance scholarly tradition of this hill linked to the activities of Pomponio Leto (1425/98)” (Carla Benocci - Verdi Delizie, le ville, i giardini, i parchi storici del Comune di Roma)

In the third decade of the 1700s Gabriele Valvassori (1683/1761) was in charge of the maintenance of the garden, and designed the appearance appropriate to the French taste of the time

In 1811 the property passed to Count Alexandre François Sextius Miollis, General of Napoleon

“The Count Miollis introduced a new neoclassical idea of collecting works in a museum inspired by Antonio Canova. The sculpture collection was enriched (...); the interiors were furnished with a large collection of paintings both French and Italian, following the general taste, who had made the villa a veritable living room, where it was possible to study Latin literature, especially the works of Virgil” (Carla Benocci - Verdi Delizie, le ville, i giardini, i parchi storici del Comune di Roma)

In 1814 it was re-acquired by Giuseppe Aldobrandini who in 1846 had a NYMPHAEUM built by G.B. Benedetti

In 1876 the area of the villa was halved for earthworks due to the opening of Via Nazionale

In 1929 it was bought by the Italian state

Since 1992 it is a public park

“It is one of the oldest and most prestigious Renaissance complex, where there were exposed famous collections of paintings and sculptures, inherited by Pietro Aldobrandini and later transferred to the Galleria Doria Pamphili, the Borghese Gallery and other collections” (Carla Benocci - Verdi Delizie, le ville, i giardini, i parchi storici del Comune di Roma)

ENTRANCE ON VIA MAZZARINO

1938 Cesare Valle (1902/2000)

BUILDINGS ON VIA NAZIONALE AND BETWEEN VIA NAZIONALE AND VIA MAZZARINO

Built between late 1800s and early 1900s after the opening of Via Nazionale

BUILDING ON THE CORNER BETWEEN VIA MAZZARINO AND VIA PANISPERNA

It is the seat of the Istituto internazionale per l'Unificazione del Diritto Privato (International Institute for the Unification of Private Law)

The rest of the villa is managed by the City of Rome

On Via Mazzarino large ancient brick building, probably WAREHOUSES OF LUCIUS NEVIO CLEMENT of the end of the first century AD with restorations carried out at the time of Trajan (98/117) and the Severian emperors (193/235), covered later by the embankment of the BATHS OF CONSTANTINE

Sts. QUIRICUS AND JULIETTA

SS. QUIRICO E GIULITTA
Via di Tor de' Conti 31a

Seventh century. Originally dedicated to Sts. Stephan and Lawrence

1584 restorations for Cardinal Alessandro de' Medici with inverted orientation and floor raised four meters (13 feet)
With the new orientation the church had its façade facing the new Via Alessandrina ​​opened at the behest of Cardinal Michele Bonelli, nephew of St. Pius V Ghislieri (1566/72), known as Il Cardinale Alessandrino (the Cardinal from Alexandria) as he was a native of Alessandria in the Piedmont region

Restorations 1606/08

FAÇADE about 1733 by Filippo Raguzzini (1680/1771)

PORTAL apparently dating back to the Renaissance period maybe by Baccio Pontelli (about 1450/92), but most likely put in place in 1750

Dedicated to Julietta and her three year old Quiricus, both martyrs in Tarsus under Diocletian (284/305)

VAULT
Frescoes “Glory of Sts. Quiricus and Julietta” 1856 by Pietro Gagliardi (1809/90)

FLOOR 1956

1^st ALTAR ON THE RIGHT - ALTAR OF Sts. JOSEPH AND DIMAS (the Good Thief)
“Holy Family with the Infant St. John with Visitation” by an anonymous artist of the eighteenth century

2^nd ALTAR ON THE RIGHT
“Preaching of St. Dominic” 1855 by Ercole Ruspi

MAIN ALTAR
“Martyrdom of Sts. Quirico and Giuditta” in 1631 by an unknown artist of the seventeenth-century
Frescos on the vault of the presbytery “Allegory of the Mystic Lamb” 1856 by Pietro Gagliardi (1809/90)

2^nd ALTAR ON THE LEFT - ALTAR OF OUR LADY OF THE ROSARY
“St. Dominic and St. Catherine worship the image of the Virgin Mary” by an anonymous artist of the eighteenth century

1^st ALTAR ON THE LEFT
“Sts. Nicholas of Bari and Vincent Ferrer in adoration of the Christ Child” by an anonymous artist of the eighteenth century

There is adjoining MUSEUM OF THE NATIVITY SCENE with 3,000 figurines from all over the world

LOWER CHURCH
Two layers of frescoes, the oldest of which maybe dates back to the eleventh century with “Mystic Lamb” and fragments of “Saints”

EX-CONVENT
1750/53 by Gabriele Valvassori (1683/1761)
It incorporates the small Romanesque bell tower. Now it is the HOTEL FORUM

St. MARY OF THE LIGHT

S. MARIA DELLA LUCE

Via della Lungaretta 22a

Third or fourth century as S. Salvatore della Corte (St. Savior of the Court) alluding to the name of the nearby ancient EXCUBITORIUM DELLA VII COORTE DEI VIGILI (Headquarters of the VII Firefighters Brigade) 

Renovated in the twelfth century

Renovated again in 1730 by Gabriele Valvassori (1683/1761), who worked for free as a vow to the Virgin Mary for having been healed from a serious illness

The DOME was demolished in 1891 due to the damage caused by the explosion of a gunpowder depot nearby

FAÇADE

1821 in simple stucco. Funds were never raised to properly complete Valvassori's work

The name of the church is such for a series of miracles that occurred in 1730 related to an image painted on the outside wall of a house nearby, which was seen to glow, after having returned sight to a blind man

The image was then transferred in the church, which changed its name from St. Savior of the Court to St. Mary of Light

It is the church of the Latin-American community in Rome and it is entrusted to the Minims of St. Francis of Paola

It is the seat since 2003 of the CAPPELLANIA LATINOAMERICANA (Latin-American Chaiplaincy), founded by the Scalabrini Fathers in 2000

The mission is made up of eighteen communities from different countries of Latin America and here Mass is celebrated in both Spanish and Portuguese languages

INTERIOR

Restored in 1730 by Gabriele Valvassori

Stucco decoration 1768

3^rd CHAPEL ON THE RIGHT

Above the altar “Death of St. Joseph” 1754 by Giovanni Conca (about 1690/1771) cousin of the more famous Sebastiano Conca and often believed his brother, so tight their bonds of friendship and work were. He was the father of distinguished painter Tommaso Conca

4^th CHAPEL ON THE RIGHT

Above the altar “Virgin Mary with Sts. Anne and Joachim” 1753 by the Roman Pietro Labruzzi (1738/1805) who was the court painter of King Stanislaus Augustus of Poland

“His first documented work dates to 1753 with the Virgin Mary and Sts. Anne and Joachim painted for the Roman church of S. Maria della Luce, as part of the decoration works promoted by the Minims and assigned to a group of artists of Neapolitan background, including Sebastiano and Giovanni Conca and Onofrio Avellino. This would suggest, considering also the stylistic affinity with the adjacent works by Sebastiano Conca and Avellino in the same church, a youth pictorial training of Labruzzi among the Neapolitan community of artists operating in the papal capital. Moreover, still together with artists from the southern area (again Sebastiano Conca, but also Gaetano Sortini), Labruzzi was active in the subsequent works in St. Stephen in Piscinula (destroyed in about 1862) for the altar with The Stoning of St. Stephen” (Francesco Leone - Dizionario Biografico degli Italiani Treccani)

Frescoes in the APSE “Eternal Father blessing”, “Savior” on the tabernacle and restoration of the “Lady of Light” (originally dating back to the sixteenth century) by Sebastiano Conca (1680/1764)

LEFT TRANSEPT

Above the altar “St. Francis of Paola crossing the Strait of Messina” by Onofrio Avellino (about 1674/1741), a pupil of Francesco Solimena

3^rd CHAPEL ON THE LEFT

Above the altar “Sts. Francis of Paola, Francis de Sales and Jeanne de Valois” 1752 by Giovanni Conca (about 1690/1771)

St. MARY OF THE VEGETABLE GARDEN

S. MARIA DELL'ORTO

Via Anicia 10

Begun in 1495 and continued slowly maybe by an unknown artist follower of Bramante or by Giulio Pippi aka Giulio Romano (1499/1546) for the CONFRATERNITY OF THE TWELVE COLLEGES OF ARTS AND CRAFTS: Merchants; Brokers of the port; Mills owners and their apprentices; Grocers; Vegetables sellers; Fruits sellers; Pasta artisans and retailers and their apprentices; Chicken sellers; Cobblers; Chestnut sellers; Wine sellers; Barrels handlers at the port

Finished without façade in the years 1554/60 by Guidetto Guidetti (about 1498/1564)

FAÇADE

1566/68 Jacopo Barozzi aka Vignola (1507/73), finished in the upper part 1576/77 by Francesco Capriani aka Francesco da Volterra (1535/94)

It is the church of the Japanese community in Rome that celebrates a Mass here every third Sunday of the month

The connection with Japan goes back to a miracle happened on June 8, 1585: the first -ever embassy from Japan, during the visit to Gregory XIII Boncompagni (1572/85), had gone to take a trip to the sea near the coast

The pope wanted to surprise his guests and sent his musicians to meet them on many small boats with full sails , flags and flames, gilded stern s and bows covered by beautiful pavilions

Once they arrived at sea a terrible storm struck them and the Japanese guests. At that time the musicians remembered Our Lady of the Vegetable Garden to whom they said a short prayer as they were going past the church, because at the time the church was still visible from the Tiber River

The invoked her and immediately the storm subsided. Since then and for many years, the popes' musicians every June 8 used to gather at St. Mary of the Vegetable Garden to sing Mass in memory of the grace received

INTERIOR

Decorated by Luigi Barattoni (active first quarter of the eighteenth century) and Gabriele Valvassori (1683/1761), who designed the stucco CEILING and the beautiful FLOOR laid out over the years 1747/56 with friezes of fruits, vegetables and working tools

“About the stuccos decorating the vaults of the church, it should be added that an old legend passed down orally - but that for some time found hospitality in some publications - wants that such lavish ornamentation was mixed in with the first gold that came from America with Christopher Columbus. Suggested probably by the particular year of foundation of the Brotherhood (1492), the legend is actually devoid of any possible foundation. A much more authoritative tradition, in fact, wants that gold used as decoration for the coffered ceiling of S. Maria Maggiore, although even in this case there isn't any document to confirm the tradition. However, on purely theoretical basis, the legend about St. Mary of the Vegetable Garden may have some truth. It seems, indeed, that the work at S. Maria Maggiore had produced several parings and scraps, all of which were carefully preserved, so that some infinitesimal amounts could be donated by the Reverend Chapter - for devotion, with symbolic purpose - to those who had made ​​the request in order to mix paints, fillers and anything else needed for the decoration of other churches” (Web Site of the Venerable Confraternity of St. Mary of the Vegetable Garden - www.santamariadellorto.it)

VAULT

Central nave “Assumption of the Virgin Mary” 1706 by Giacinto Calandrucci (1646/1707), a pupil of Carlo Maratta

COUNTER FAÇADE

Gilded wooden balcony with organ of the mid-1800s

To the left “Dream of St. Joseph” and on the right “Adoration of the Shepherds” by Giuseppe Orazi (seventeenth century) and Andrea Orazi (1670/after 1724)

THREE SMALL VAULTS IN THE RIGHT NAVE

“Glory of Mary, St. Catherine and St. Bartholomew” 1708 by Giuseppe Orazi and Andrea Orazi

1^st RIGHT - ANNUNCIATION CHAPEL (College of the Merchants and of the Brokers of the Port)

Above the altar “Annunciation” in 1561 by Federico Zuccari (about 1542/1609)

On the right “Archangel Gabriel” 1875 by Virginio Monti (1852/1942)

On the left “St. Joseph” 1878 by Giovanni Capresi (1852/1921)

2^nd RIGHT - CHAPEL OF St. CATHERINE OF ALEXANDRIA (College of the Pasta Artisans)

Above the altar “Mystic Marriage of St. Catherine”, on the right “St. Peter” and on the left “St. Paul” 1711 by Filippo Zucchetti (active 1694/1712)

In the vault “Angels with the symbols of martyrdom” 1711 by Tommaso Cardani

3^rd RIGHT - CHAPEL OF Sts. JAMES, BARTHOLOMEW AND VICTORIA (College of landlords, tenants and sharecroppers of vineyards)

Above the altar “Virgin Mary and Sts. James, Bartholomew and Victoria” and side paintings “Martyrdom of Saints” 1630 by Giovanni Baglione (1566/1643)

RIGHT TRANSEPT - CHAPEL OF THE HOLY CRUCIFIX (College of the Chicken Sellers)

“Wooden crucifix” of the seventeenth century

On the walls “Stories of the Passion” 1595 by Nicolò Martinelli aka Trometta (about 1540/1611)

Under the arch “Resurrection of Christ” 1703 by Giacinto Calandrucci

OVER THE DOOR OF THE DRESSING ROOM

“Descent of the Holy Spirit” 1704 by Andrea Procaccini (1671/1734) and “Angels” in stucco by Leonardo Retti (active 1670/1709)

MAIN ALTAR

Designed by Giacomo Della Porta (1533/1602)

“Venerated image of the Madonna and Child” of the fifteenth century which, believed to having miraculous healed an incurable infirmity in 1488, motivated the construction of the church

APSE (College of the Fruits Sellers)

“Life of the Virgin Mary” about 1560 by Taddeo Zuccari (1529/66) and Federico Zuccari

Lateral walls and lunettes “Life of the Virgin Mary”:

On the right “Birth of the Virgin Mary” and on the left “Presentation at the Temple” 1598 by Giovanni Baglione (1566/1643)

“The fresco on the left with the Presentation in the Temple has a special feature: besides the Renaissance clothes of the characters, the scene takes place at the foot of a staircase that ends with the glimpse of a building, which is precisely the church...of St. Mary of the Vegetable Garden” (Web Site of the Venerable Confraternity of St. Mary of the Vegetable Garden - www.santamariadellorto.it)

In the upper part STAINED GLASS WINDOW with Marian Crest curiously formed by fruits and vegetable

AT THE CENTER OF THE VAULT OF THE TRANSEPT

“Immaculate Conception” and in the spandrels “Virtues of the Blessed Virgin Mary” in 1703 by Giuseppe Orazi (seventeenth century) and Andrea Orazi (1670/after 1724)

Stucco statues on the triumphal arch 1704 by Leonardo Retti (active 1670/1709)

OVER THE DOOR OF THE SACRISTY

“Meeting of Joachim and Anna” 1704 by Andrea Procaccini (1671/1734) and “Angels” in stucco by Leonardo Retti

LEFT TRANSEPT - CHAPEL OF St. FRANCIS OF ASSISI (College of the Mills' Owners)

“Statue of St. Francis” by an unknown artist of the seventeenth century

On the walls “Stories of St. Francis” in 1595 by Nicolò Martinelli aka Trometta (about 1540/1611)

Under the arch “Glory of St. Francis” 1703 by Mario Garzi son of Luigi Garzi (1638/1721)

THREE SMALL VAULTS IN THE LEFT AISLE

“Glory of St. Sebastian, St. John the Evangelist and St. Charles Borromeo” 1706 by G.B. Parodi (1674/1730)

3^rd LEFT - CHAPEL OF Sts. CHARLES BORROMEO, AMBROSE AND BERNARDINO OF SIENA (College of the Cobblers)

Above the altar “Madonna and Child with saints”, on the right “St. Ambrose on horseback sending away Aryans from Milan” and on the left “St. Charles Borromeo attends the plague sufferers” 1641 by Giovanni Baglione (1566/1643)

2^nd LEFT - CHAPEL OF S. JOHN THE BAPTIST (Company of the young grocers)

Architecture by Gabriele Valvassori (1683/1761)

Above the altar “Baptism of Jesus” 1750 by Corrado Giaquinto (1703/66)

On the right “St. John the Baptist Preaching” and on the left “Beheading of St. John the Baptist” 1749 by Giuseppe Ranucci

1^st LEFT - CHAPEL OF St. SEBASTIAN (College of the vegetable sellers)

Above the altar “St. Sebastian cured by Angels”, on the right “St. Anthony of Padua” and on the left “St. Bonaventure” 1624 by Giovanni Baglione

“Above the altar there is a remarkable St. Sebastian Tended by Angels (painted in 1624, as can be seen from a preparatory drawing in the Louvre), which inserts in a Carracci-like formal composition generic formal references to Caravaggio and a neo-Venetian color quality, probably derived from Domenico Fetti, definitely studied by Baglione during his recent visit to Mantua” (Carla Guglielmi Faldi - Dizionario Biografico degli Italiani Treccani)

ORATORY

It stands on the spot where the hospital once stood

Sixteenth-century wooden ceiling

There is a SMALL MUSEUM with emblems and banners of the various colleges

Paintings maybe by Giovanni Odazzi (1663/1731)

The interior of the church appears in the 1945 film directed by Roberto Rossellini Roma Città Aperta (Rome Open City). In the fiction it is the parish of Don Pietro played by Aldo Fabrizi

The exterior of the church as shown in the movie is that of St. Helena outside Porta Maggiore in the Casilino neighborhood instead

St. ANTHONY OF THE PORTOGUESE

S. ANTONIO DEI PORTOGHESI

Via dei Portoghesi 2

In 1439 a hospice for Portuguese pilgrims was founded here with the financial contribution of Cardinal Antonio Martinez de Chaves

In 1539 the church of the hospice was dedicated to St. Anthony of Padua (1195/1231). In Portugal, where he was born and raised, he is known as St. Anthony of Lisbon

It was rebuilt in the years 1630/38 by Martino Longhi the Younger (1602/60) who designed the FAÇADE, the first job he ever did. He directed the works until 1657

The reconstruction continued in the years 1674/76 with Carlo Rainaldi (1611/91) who finished the DOME

The works were completed in 1696 by Cristoforo Schor (1655/1701) who finished Longhi's façade

It is the Portuguese national church

The outer gate of 1869 was designed by Francesco Vespignani (1842/99)

“We don't have documentary sources that allow us to understand the character of the ancient church before the seventeenth century renovation also because, with the sack of Rome in 1527, the archives of the church were devastated. However, an engraving by Girolamo Francino reproduces the fifteenth century façade showing decorative simplicity. (...) A map of Rome in 1551, designed by Leonardo Bufalini, shows the church plant. The building had a semicircular apse, no transept and the space of the nave was marked by two rows of columns. During 2005, on the initiative of the members of the Portuguese Institute, the right side of the church was studied and, under the plaster of the new construction, walls of the fifteenth century church were revealed. Due to these findings, it was demonstrated that the changes undergone by the church over time did not affect the structure of the perimeter wall of the nave, but took on from the previously existing building” (Agnese Iori - Web site of S. Antonio dei Portoghesi - www.ipsar.org)

RONDININI PALACE

PALAZZO RONDININI

Via del Corso 518

Begun in 1750 by Gabriele Valvassori (1683/1761), who incorporated the Palace of Cavalier d'Arpino built by Flaminio Ponzio (1560/1613), made the NORTH WING and the FAÇADE ON VIA DEL CORSO

Finished 1761/64 by Alessandro Dori (active in Roma since 1744/d. 1772), who added the SOUTH WING and oversaw the interior of the house-museum of the Marquis Giuseppe Rondinini that until 1800 still kept the famous “Pieta Rondanini” (the misspelling of the name is commonly accepted) by Michelangelo Buonarroti now in Milan

The building is currently owned by Bank Antonveneta and hosts the Chess Club

GALLERY

Incredible frescoed vault “Fall of Phaeton” 1772 by Jacques Gamelin (1738/1803)

“Among the strategies adopted to emphasize the prestige of the family, there is the relationship between antiquities and modern décor. Pieces of the Roman statuary such as columns, bas-reliefs, sarcophagi and statues were fused with stuccos and paintings, creating a living museum, where the classics became an additional ornament. Unlike other historic homes where the remains of the ancient collections were exhibited in galleries and private museums, here the relationship with archeology was part of everyday life, as well as being a good financial investment in times of crisis. Most of these pieces, however, were removed when Giuseppe Rondinini, the last heir, left the palace. (...) However, one can still feel the ancient preciousness of the rooms through illusionistic paintings, architectural views and depictions of mythological stories made​in the style of Bologna's squaring” (Rita Dietrich - L'Osservatore Romano)

DORIA PAMPHILJ PALACE - DORIA PAMPHILJ GALLERY (fifth part)

Second Corridor or Gallery of Mirrors

1731/34 Gabriele Valvassori (1683/1761)

Ancient statues completed arbitrarily by restorers

Ceiling fresco “Fall of Giants”, “Stories of Hercules” and “Allegory of the four parts of the world” 1731/34 by Aureliano Milani (1675/1749)

“It is a culmination of the Carracci influence on Milani, having the decoration of the Farnese Gallery as an essential point of reference. It is, therefore, a work entirely referring to the past, from the reprise of the fake frames scheme, essentially isolated and anomalous in the panorama of contemporary Roman painting, and indeed in strong contrast with the novelties of Sebastiano Conca and Luca Giordano. According to Zanotti, Milani, 'having been able to choose the subjects of his stories, chose muscular, naked and proud men which here constitutes the sum of his knowledge' (p. 165): there was actually no iconographic link between episodes of Fall of Giants and those with Hercules as the protagonist, and Milani's obsession for depiction of nudes here reaches paroxysm” (Stefano Pierguidi)

“Passage of the Red Sea” by Antonio Tempesta (about 1555/1630)

Cabinet of Velásquez

“Portrait of Pope Innocent X Pamphilj (1644/55)” by Diego Rodriguez de Silva y Velásquez (1599/1660)

“Bust of Pope Innocent X” about 1650 by Gian Lorenzo Bernini (1598/1680) replicated immediately after a previous version now in the fourth corridor had shown a crack

First Corridor

“Landscape with the Flight into Egypt” 1603/04 for the now demolished Chapel of the Palazzo Aldobrandini and “Landscape with Mary Magdalene Penitent” by Annibale Carracci (1560/1609) who maybe also painted a “St. Jerome”

“Annibale, first among the seventeenth-century interpreters of classical style, started up, in the last years of his intense activity, a new figurative conception of landscape painting. Flight into Egypt is the archetype of the classical ideal landscape. That classicist poetics that had inspired figure painting and art history and which had underlined the search for truth and beauty, now involves the concept of nature. This balanced and rational interpretation of space is a mirror of a classical path of idealization. Nature too is pervaded by the inspiration of beauty; through a complex, sentimental and poetic relationship nature becomes part of life, of history, of humanity. The landscape becomes ideal as home of the myths of humankind” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

“Madonna and Saints in Glory” and “Holy Family” by Benvenuto Tisi aka Garofalo (about 1481/1559)

“Landscape with the creation of animals” formerly lid of a spinet maybe by the Belgians Roelandt Savery (1576/1639) and Hendrick van Balen (1575/1632)

“Landscape with figures dancing”, “Landscape with Diana, Cephalus and Procris,” “Landscape with Apollo and Mercury stealing the sheep of Admetus” and “View of Delphi with a procession” by Claude Lorrain (1600/82)

“He continued the nobilitation of nature in art, he had an extraordinary immediate relationship with the Roman countryside which he studied in depth. Lorrain was a master in interpreting the mutability of light depending on the season and time of day, and he always adopted a thoughtful compositional arrangement of these naturalistic elements” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

“Polyphemus and Galatea” by Giovanni Lanfranco (1582/1647)

Five lunettes with landscapes and stories from the New Testament:

“Assumption” “Visitation,” “Deposition of Christ,” “Adoration of the Shepherds” and “Adoration of the Magi” drawn by Annibale Carracci but completed by Francesco Albani (1578/1660)

“The Holy Family with Saints Catherine and Cecilia” also by Francesco Albani

“Christ in the Pharisee's house” by Ludovico Cardi aka Cigoli (1559/1613)

“Landscape with old blind Tobias” by Pietro Paolo Bonzi aka the Hunchback of Carracci (about 1576/1636)

“Venus, Mars and Cupid” by Paris Bordon (1500/71)

“Fight of putti” by Andrea Podestà (about 1608/before 1674)

“Erminia finds Tancred wounded” by Giovanni Francesco Barbieri aka Guercino (1591/1666)

“S. Rocco leper cured by the Angels” by Carlo Saraceni (1579/1620)

“The chromatic sensitivity, expressed through bright colors and detectable in works like this, resolved Caravaggio's luminosity in tonal and naturalistic sense; light effects agreed on gradual color tones, in fact, derive from a natural reality and give the subject psychological tension. Saracens was the only artist of Venetian training, as well as the experiences of some artists from Verona, to be engaged in the Caravaggio research and, however, his clear palette and the frequent outdoors scenes consistently reaffirmed his background” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

“Rustic Feast” maybe by David Teniers the Younger (1610/90)

“Woman getting read of fleas” by the so-called Master of the Candle

“Dido” by Giovanni Luteri aka Dosso Dossi (about 1486/1542)

“The usurers” by the Belgian Quinten Massys (1466/1530)

“Deposition” by an artist of the school of Paolo Caliari aka Veronese (1528/88)

“Portrait of Agatha van Schoonven” by Jan Van Scorel (1495/1562)

“It is among the most known works of the great Dutch artist, among the first to 'become Roman' with a trip to Italy. Protected by Pope Adrian VI (1522/23), he obtained a canonry in Utrecht, where he lived with his young girlfriend portrayed here. It is a rare example of affective portrait of an artist's woman. (...) For this and for the excellent quality of execution, the work has been widely featured in the literature. It was stolen by a thief dressed as a friar, who replaced it with a copy, only to be found soon after” (Official Website of the Galleria Doria Pamphilj - www.dopart.it)

“St. Jerome in Penitence” by Domenico Beccafumi (1486/1551)

DORIA PAMPHILJ PALACE (first part)

PALAZZO DORIA PAMPHILJ

Via del Corso 304

The first small palace was built in mid-fifteenth century for Cardinal Nicolò Acciapacci

Rebuilt in 1505/07 for the Cardinal Giovanni Fazio Santoro who was expelled by Pope Julius II Della Rovere (1503/13) in favor of his nephew, Francesco Maria I Della Rovere

It was bought in 1601 by Cardinal Pietro Aldobrandini and expanded

It was brought as a dowry in 1647 by Olimpia Maidalchini to Camillo Pamphilj for whom it was enlarged in 1659 by Antonio Del Grande (about 1625/79) who also designed the TWO FAÇADES ON PIAZZA DEL COLLEGIO ROMANO

“The rhythm adopted is complex and discontinuous: to respect it, taking account of the interior spaces, Del Grande was forced to introduce false windows. The best results are achieved in the details, where, despite giving up substantial innovations, he gave proof of considerable subtleties of interpretation. The most interesting episode however, is the large vestibule, whose oval is divided by two pairs of free columns. (...) The arrangements of the vaults and of the free supports creates a fluid and indeterminate space: the staircase, grafting the vestibule with an oval smaller space, leaves intact the levitation effect, which has no direct precedent in the Roman architecture of the seventeenth century” (Manfredo Tafuri - Biographical Dictionary of Italian Treccani)

FAÇADE ON VIA DEL CORSO 1731/34 masterpiece by Gabriele Valvassori (1683/1761)

“He designed an unprecedented solution for the front main composition. Notwithstanding the Borromini matrix, the undisputed leading role played by the windows, the varied and imaginative forms they take, the wise rhythmic score, the attention to details, make the Palazzo Doria Pamphilj unique in eighteenth-century Roman palace style” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

WING AND FAÇADE ON VIA DEL PLEBISCITO 1739/44 and noble staircase 1748/49 by Paolo Ameli (1739/49)

Latest additions were in 1846 until the end of 1800 including the FAÇADES ON VICOLO DORIA E VIA DELLA GATTA by Andrea Busiri Vici (1818/1911)