DORIA PAMPHILJ PALACE - DORIA PAMPHILJ GALLERY (sixth part)

Fourth Corridor

“Bust of Olimpia Maidalchini Pamphilj” masterpiece by Alessandro Algardi (1598/1654)

“Unlike Bernini who chooses a transitory moment, Algardi represent his model with the mouth closed, in a state of permanence and peaceful existence. Even the most meticulous attention to detail, down to the wrinkles and warts, and how skilled to treat the skin, hair and fur, you do not need to give these portraits the dynamic vitality of those by Bernini. Compared to Bernini, who never loses sight of the whole in which each part is subject, the busts of 'Algardi seem aggregates of an infinite number of accurate observations made before the model “(Rudolf Wittkower)

“Susanna and the Elders” recently attributed to Annibale Carracci (1560/1609) after it has been believed for a long time by Domenichino

“Landscape with Ford” about 1605 by Domenico Zampieri aka Domenichino (1581/1641)

“In the landscaping genre Domenichino, free from selective rigors, approached the truth of nature. Even if similar to Annibale Carracci's style, this ideal landscape presents vivid realistic notations” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

“St. Joseph” by Giovanni Francesco Barbieri aka Guercino (1591/1666)

“Angel with tambourine” by Tiziano Vecellio (Titian) (about 1490/1576)

“Sorrowful Madonna” by Francesco Trevisani (1656/1746)

“Lady Penitent” by Luca Cambiaso (1527/85)

“Agony in the Garden” by Marcello Venusti (about 1512/79)

“Madonna and Child with Sts. Catherine and Bernard” by Ludovico Carracci (1555/1619)

“Nativity” and “Madonna and Child” by Francesco Mazzola aka Parmigianino (1503/40)

“Penitent Magdalene”, “St. John the Baptist” and “Concerto” by Mattia Preti (1613/99)

“Four Allegories of the elements”: fire, air, earth and water by Jan Brueghel the Elder (1568/1625) (son of Pieter Brueghel the Elder) and Hendrick van Balen (1575/1632)

In addition “Madonna and Child with animals”, “Paradise on Earth with original sin”, “Landscape with the creation of man”, “Landscape with Temptation of St. Anthony”, “Landscape with a vision of St. John on Patmos” and “Landscape with foundry” also by Jan Brueghel the Elder

“St. Paul” by Giacinto Brandi (1621/91)

“St. Peter Penitent” and “Liberation of St. Peter” by Sisto Badalocchio (1585/1645)

“Battle scene” and “After the Battle” by Jacques Courtois aka Borgognone (1628/79)

“Sacrifice of Isaac” by Jan Lievens (1607/74)

“Christ and the Doctors” by Ludovico Mazzoli aka Ludovico Mazzolino (about 1479/about 1529)

“Erminia among the shepherds” by Giovanni Francesco Romanelli (1610/62)

“Rest on the Flight into Egypt” by Simone Cantarini (1612/48)

“Bust of Pope Innocent X” about 1650 by Gian Lorenzo Bernini (1598/1680). The crack led Bernini to replicate it with the one now in the Cabinet of Velásquez

Poussin Hall

Twenty-four “Landscapes” including “Landscape with Lucan Bridge” by Gaspard Dughet (1615/75) also known as Poussin for being part of the family of his master Nicolas Poussin (1594/1665): he was his brother-in-law (brother of Poussin's wife) and his adopted son

Seven were carried out in collaboration with the painter of figurines Guillaume Courtois aka Borgognone (1628/79) brother of Jacques Courtois he said Borgognone

“Dughet was the first to apply the technique of fresco to the landscape genre and could use large spaces, in churches or palaces, to carry out his views. Assimilating the new Baroque spirit, he emphasized the decorative aspects of the representation which gave spectacular effects of infinite space; despite having a classical figurative culture, Dughet mediated the rational spirit with the search for expressive and picturesque accents” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

Other landscapes by Flemish artists such as Herman Van Swanevelt, Jan Baptist Weenix and Jan de Momper (1614/84)

DORIA PAMPHILJ PALACE - DORIA PAMPHILJ GALLERY (second part)

GALLERIA DORIA PAMPHILJ

This splendid private collection is taken good care of by the Doria Landi Pamphilj family who still lives in the building and owns the works

The exhibition is well maintained and the splendor of the rooms invariably provokes amazement and admiration in the visitors

A gallery with magnificent and spectacular exciting peaks such as the Rest on the Flight into Egypt by Caravaggio, the Double Portrait by Raphael, Susanna and the Elders by Annibale Carracci and the extraordinary Portrait of Innocent X, the member of the family who became pope, by Velásquez

Aldobrandini Room

Restored in 1956 after the collapse of the roof due to snow

There are ancient statues found mainly in Villa Pamphilj:

“Sarcophagus with Selene and Endymion”

“Odysseus under the ram”

“Bacchus” in porphyry marble restored by Alessandro Algardi (1598/1654)

“Centaur” in polychrome marble found in the mid-1800s in Albano in one of the residences of the Pamphilj

Marble relief with putti “Amor sacred profane love breaks down” about 1630 by François Duquesnoy (1597/1643)

“In the representations of cherubs he really gave something of the soul of children and he molded their bodies so round, soft and delicate that they seem to be alive and breathing. It was Duquesnoy's conception of the child which became a general European property and, consciously or unconsciously, the majority of the following representations of children derived from him” (Rudolf Wittkower)

Paintings:

“Descent from the Cross” by Giorgio Vasari (1511/74)

It was bought by Camillo Pamphilj in 1661 from the church of S. Augustine where he had funded some works

“Gale at sea” by the school of Pieter Mulier

Seventeenth-century copy of the old “Aldobrandini Wedding” now in the Vatican Museums

“Sacrifice of Noah” by Ciro Ferri (1634/89)

“Landscape with rest of the flight into Egypt” by Pier Francesco Mola (1612/66)

Green Room

“Annunciation” about 1445/50 by Filippo Lippi (about 1406/69)

“Typical example of telescope perspective which limits the space to the visual field and organizes it in function of the transmission of light. But, in turn, light must have internal sources in the framework, and is therefore produced by the opposed intensification of light and dark as well as by the relationship between the colors” (Giulio Carlo Argan)

“Mystical Marriage of St. Catherine” by Domenico Beccafumi (1486/1551)

“Battle of Castro” by Jacques Courtois aka Borgognone (1628/79)

“Crucifixion” from Michelangelo maybe by Annibale Carracci (1560/1609)

“St. Joseph” and “Allegory of Spring” by Giovanni Francesco Barbieri aka Guercino (1591/1666)

“Circumcision” school of Giovanni Bellini (about 1432/1516)

“Christ Carrying the Cross” by Sebastiano Luciani aka Sebastiano Del Piombo (1485/1547)

“In the years following the sack of Rome Sebastiano reaffirmed in sacred painting the needs of piety and austerity that some circles were shown to agree with before their official affirmation, which took place at the Council of Trent. Christ Carrying the Cross, repeatedly replicated by Sebastian is an early example of this religious feeling that inspired devotional images drawn up according to a severe style, convenient to the tragedy of the Roman climate shaken by the terrible story of the sack” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

“Flood” by Carlo Saraceni (1579/1620) and Jean Le Clerc (about 1585/1633)

“Religion rescued from Spain” by Tiziano Vecellio (Titian) (about 1490/1576) and workshop

“Portrait of a man of thirty-seven” perhaps self-portrait of Lorenzo Lotto (about 1480/1556)

“In Venice painting kept true to the more mature and reflective spirit which had succeeded the luminous vapors to the early Renaissance. A spirit that led artists to see life with less enthusiasm and less illusions. Quieter pleasures were sought: the pleasures of friendship and sincere affection. It is not surprising that the Venetian artist who first expressed these new attitudes, was one who had been brought into contact with the miseries of Italy during long journeys, as it was not possible to those who stayed in Venice. Lorenzo Lotto, at his best, do not celebrate the dominance of man over things that surround him, but, in altarpieces, and even more in portraits, shows us people who needs to be comforted and supported, either by religion or by healthy ideologies, friends and loved ones. His figures look from the canvas almost asking for benevolence” (Bernard Berenson)

“St. Jerome” by Jusepe de Ribera aka Spagnoletto (1591/1652)

“Bust of Pope Innocent X” by Domenico Guidi (1625/1701)

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)