Draft:Pallavicini Collection

Coat of arms of the Pallavicini family

Palazzo Pallavicini Rospigliosi in an engraving by Giuseppe Vasi from 1754

The Pallavicini Collection is an art collection established in Rome during the 17th century and still owned today by the Pallavicini family, originally from Genoa.

The works in the collection, initiated by Cardinal Lazzaro Pallavicini, are now displayed in the Palazzo Pallavicini Rospigliosi, a monumental historic building that, since the 18th century, has been shared by the two titular families that give it its name, with the Pallavicini still being the legitimate owners of their respective premises. The two families established kinship ties and hereditary bonds that ended only in the mid-19th century, which, on multiple occasions, led to intertwining and transfers of property and respective titles, determining over time the transfer of a substantial portion of the Rospigliosi Collection [it] into the Pallavicini catalog.^[1]

The collection, along with those owned by the Doria-Pamphilj and Colonna families, constitutes one of the largest private art collections in Rome, among the most notable of the Baroque period.

History

Family background

Miracoli di Sant’Ignazio di Loyola, Rubens (Chiesa del Gesù e dei Santi Ambrogio e Andrea, Genoa)

The Pallavicini family originates from Genoa, a city where some of its members already held prominent political roles in the Republic by the 15th century.^[1] It was a dynasty that, like the Giustiniani, resulted from the union of several families, forming an albergo.

By the late 16th century, the Pallavicini name emerged in the artistic sphere through Marcello, who commissioned the construction of the Chiesa del Gesù e dei Santi Ambrogio e Andrea [it] in Genoa.^[1] However, the name considered the initiator of the family’s great successes was that of the marquis (and banker to the Duke of Mantua) Niccolò, who, for the same church, commissioned Peter Paul Rubens first, in 1608, with the altarpiece of The Circumcision, and later, in 1620, with the large canvas of the Miracoli di Sant’Ignazio for a side chapel.^[1][2]

Niccolò Pallavicini had 22 children with his wife Maria Lomellini, including Lazzaro and Stefano, who settled in Rome, establishing the dynasty and the art collection now known in the family’s palace in the city.^[2] Niccolò’s brothers, meanwhile, continued the Genoese branch, whose male line went extinct in 1741.^[2]

17th century

Pallavicini in Rome

Stefano and Lazzaro Pallavicini, detail of the funerary monument (San Francesco a Ripa, Rome)

In 1665, Stefano, still in Genoa, added two groups of works to the collection: on one hand, the series of the Christ with the twelve Apostles by Rubens, and on the other, a series of French tapestries made from cartoons by Raphael.

The Rubens paintings, already part of the collection of his father Niccolò, were later transferred to the collection of Giovan Battista Pallavicini (another brother of Lazzaro and Stefano, who settled in Antwerp and acquired the canvases to place them in the private chapel of his palace in the Flemish city), where they remained until at least 1665, as upon his death, per his wishes, they were transferred to Genoa to Stefano.^[2]

The cartoons by Raphael, centered on the Acts of the Apostles, followed a similar path to the Rubens series, except for their final destination, as they were never brought to the papal capital but were instead destined for the Basilica of the Holy House in Loreto.^[2]

Lazzaro Pallavicini, born in Genoa in 1602, arrived in the papal city at a young age. He became a cardinal in 1669 by appointment of Pope Clement IX Rospigliosi and began collecting his first works of art during this period. Shortly thereafter, he called his brother Stefano and Stefano’s only daughter, Maria Camilla, to Rome.^[3] The purpose of this invitation was to enable the Pallavicini family to achieve social ascension within the aristocratic dynamics of Rome at the time, promoting the marriage of his niece Maria Camilla to Giovanni Battista Rospigliosi [it], the great-nephew of the same Pope Clement IX who had elevated Lazzaro to cardinal years earlier.

All three Pallavicini settled in the city at the palace formerly owned by the Barberini family at the Monte di Pietà in Rome [Monte di Pietà (Roma)], known as the Barberini great house, which was later purchased in 1674 by Stefano for twenty years’ use for 50,000 scudi. During this period, the collections of Lazzaro and Stefano were united for the first time, although in 1679, the Rubens series was transferred to Rome and placed under the custody of Cardinal Lazzaro.^[4]

The marriage between Maria Camilla and Giovanni Battista took place, and thus the wealth of the Roman Pallavicini branch of Lazzaro and Stefano passed entirely to Maria Camilla, who was also named the beneficiary of a special fideicommissum that served to safeguard Lazzaro’s entire legacy, as well as the family name and titles, for future generations.

At that time, Lazzaro’s collection consisted of a substantial group of works from the Roman and Emilian Baroque, the latter acquired directly in Bologna during his tenure (between 1670 and 1673) as papal vice-legate, including works by artists such as the Carracci (notably the Mangiafagioli by Annibale Carracci),^[5] Sisto Badalocchio, Guido Reni, Francesco Albani, and others.

Rospigliosi-Pallavicini connection

Rospigliosi-Pallavicini coat of arms

Lacking male heirs in the Roman context, Lazzaro established a fideicommissum in 1679 that tied all his properties and wealth to the second-born son of his niece Maria Camilla and her husband Rospigliosi.^[3]

The testamentary provision stipulated that Lazzaro’s collection, largely inherited from his father Niccolò, along with the family titles, be assigned to the second male son of Giovanni Battista Rospigliosi and Maria Camilla, who would bear the Pallavicini surname to continue the Roman branch of the Genoese family (while the firstborn would continue the Rospigliosi line).^[3] If the couple had only one male son, he would bear both the Pallavicini and Rospigliosi titles until the birth of a second male son, who would then receive the Pallavicini inheritance, while if he remained the only male, he would retain both names until the determination of his offspring, upon which the general rules of the fideicommissum would apply (i.e., the first male would receive the Rospigliosi inheritance from the father, while the second would receive the Pallavicini inheritance from the mother).^[3] If the couple had only a daughter, she would pass her entire Rospigliosi-Pallavicini inheritance to her husband until the determination of their offspring, upon which the previous conditions of the fideicommissum would apply.^[3]

Maria Camilla Pallavicini

Mangiafagioli, Annibale Carracci (formerly in the collection of Lazzaro Pallavicini, it was donated by Maria Camilla first to her cousin Niccolò Maria, then merged into the Colonna Collection in Rome).

In 1680, the cardinal died, and a few months later, his brother Stefano also passed away, leaving the principality of Gallicano to his daughter. Maria Camilla received a rich art collection, with a core group of works still forming a substantial part of the Pallavicini Gallery, bound by her uncle Lazzaro’s testamentary fideicommissum.^[6]

The noblewoman was also particularly proactive in expanding the collection: between 1694 and 1699, she acquired the Peccato originale by Domenichino, two canvases by Luca Giordano, the Conversione di Saulo and Giuliano l’Apostata, a series of still lifes by Tamm and Bogelaer, a series of battle scenes by Christian Reder, and a series of landscapes by van Bloemen.^[6] Among the works that left the collection, the most notable of the period was the Mangiafagioli by Annibale Carracci, which first entered the private collection of Niccolò Maria Pallavicini (Maria Camilla’s Genoese cousin, also the namesake of the couple’s second-born son, who owned the Niccolò Maria Pallavicini Collection [it] that, upon his death, was not kept within the family but was dismantled and sold on the European market), and then joined the Colonna Collection [it], where it remains in the noble palace at Piazza Santi Apostoli [it] in Rome.^[7]

In 1694, the Barberini great house was reclaimed by its previous owners under a clause in the agreement.^[4]

18th century

Palace on the Quirinal

Palazzo Pallavicini Rospigliosi, Rome

Thanks to Maria Camilla, the family purchased, between 1704 and 1708, the palace previously owned by the Borghese family from Gianni Ippolito Mancini, located near the Quirinal.^[4][6]

From that moment, the building was shared by the respective families of the two spouses who inhabited it: the Pallavicini, who received the piano nobile and two garden terraces, along with the Casino dell’Aurora and the Loggia delle Muse, and the Rospigliosi, who were assigned the ground floor and the third level of the building.^[6] The Pallavicini Gallery was placed from the outset on the piano nobile, while the works of the Rospigliosi Collection were housed on the third floor (now corresponding to the fourth floor).^[6]

Pallavicini-Rospigliosi heirs

Upon Maria Camilla’s death in 1710, she expressed in her will the desire for her father and uncle to be buried in the family chapel of the Church of San Francesco a Ripa in Rome, in a single large monument. Her husband, respecting his wife’s wishes, commissioned (between 1713 and 1719) the sculptor Giuseppe Mazzuoli to create the work on one wall of the chapel, while opposite, he requested the erection of another funerary monument dedicated to Maria Camilla and himself.

Funerary monument to Maria Camilla Pallavicini and Giovanni Battista Rospigliosi (Church of San Francesco a Ripa, Rome)

In 1722, Giovanni Battista Rospigliosi also died, and the couple’s second-born son, Niccolò Maria, became the heir to Lazzaro’s legacy, taking both the Pallavicini surname and titles.^[7] The art collection, which had meanwhile grown compared to the original, was divided between Niccolò and his elder brother, Clemente Domenico Rospigliosi [it], who inherited the Rospigliosi titles.^[7] Both brothers equally shared the entire Rospigliosi-Pallavicini Collection accumulated up to that point, while the paintings tied to Lazzaro’s legacy were exclusively assigned to Niccolò Maria, per the fideicommissum agreements.^[7]

Niccolò Maria, married to Vittoria Altieri, died in 1759 without heirs, and the collection was thus merged with the Rospigliosi collection and entrusted to Giovanni Battista Rospigliosi, the second-born son of Niccolò’s elder brother (Clemente Domenico Rospigliosi).^[7] Giovanni Battista died in 1784, leaving several significant additions to the collection, including family portraits, a group of canvases by David Loreti, and other sporadic works by 17th-century Roman-Emilian artists.^[7][8]

He had two sons with Eleonora Caffarelli: the firstborn Giuseppe Rospigliosi [it] (who continued the Rospigliosi line) and the second-born Luigi, to whom the Pallavicini inheritance was entrusted.^[8]

Both brothers Giuseppe and Luigi initiated some disposals of their respective inherited collections, as, by the late 18th century and early 19th century, with the advent of the Roman Republic and French insurrections, Roman patrician families faced heavy taxation that led to the more or less forced sale of entire portions of their properties (a similar fate befell the Borghese, Giustiniani, Pamphilj, and others).

19th century

Additions under Giuseppe Rospigliosi

The most forward-thinking vision was that of Duke Giuseppe in the early decades of the 19th century, who made several acquisitions to restore the collection’s prestige, which had been diminished at the end of the previous century.^[9] In 1816, he purchased in Florence the Derelitta, the small triptych with the Transfiguration of Christ, Saint Jerome, and Saint Augustine, and the tondo with the Virgin, all by Sandro Botticelli, and the Triumph of Chastity by Lorenzo Lotto (all now part of the Pallavicini Collection).^[8][9]

Giuseppe died in 1833, and just two years later, his brother Luigi also passed away: the two collections were thus reunited under Giuseppe’s firstborn, Giulio Cesare Rospigliosi [it], as the two Pallavicini sons, Benedetto and Filippo, had predeceased their father.^[8][9]

Final separation of the Pallavicini-Rospigliosi branches

Death of Sophonisba, Mattia Preti

Under Giulio Cesare, the Rospigliosi-Pallavicini Collection was enriched by a significant bequest from the Colonna Collection (approximately 130–150 paintings in total, of which about seventy entered the Pallavicini Collection).^[9][10] More precisely, Giulio Cesare first acquired the bequest inherited by his wife Margherita Colonna Gioeni, one of the three daughters of Filippo III (1779–1816), 12th Prince and Duke of Paliano, consisting of a third of the collection not subject to the family’s fideicommissum. Subsequently, in 1841, he also purchased the bequest of one of his two sisters-in-law, Maria, married to Giulio Lante della Rovere, which included works such as the Rissa by Diego Velázquez, the Holy Family by Ortolano, the Temple of Venus by Claude Lorrain, the Rape of Europa, of Ganymede, and of Proserpina by Mattia Preti (all three now in the Pallavicini Gallery), several landscapes by Gaspar van Wittel, Gaspard Dughet, Jan and Pieter van Bloemen, and Andrea Locatelli.^[9][10]

Giulio Cesare also laid the groundwork for separating the two families through his two male sons from his marriage.^[10] Upon his death in 1859, the two art collections were definitively separated, never again to be managed by a single family representative: the Rospigliosi Collection was inherited by the firstborn Clemente Rospigliosi [it], while the Pallavicini Collection went to Francesco, from whom the still-existing branch that continues to hold the art collection and the Pallavicini portion of the Quirinal palace descends.^[9]

From this moment onward, the two families followed separate paths, no longer intertwining their respective interests.^[10]

20th century

Rissa, Diego Velázquez

The Rospigliosi family, during the 20th century, faced a financial collapse from which they never recovered, leading to the almost total alienation of their art collection (in two major auctions in 1931 and 1932) and their properties, including the premises under their control in the Palazzo Pallavicini Rospigliosi.^[9] The portion of the palace allocated to the Rospigliosi family became, for many years, the headquarters of the Federconsorzi [it], which leased the premises starting in 1939 and later inherited the rights; after the federation of agricultural consortia went bankrupt in 1992, the floors of the palace previously belonging to the Rospigliosi passed in 1995 to the ownership of Coldiretti [it], which also became the owner of the art collection, consisting of over one hundred paintings located on the fourth floor of the building, inaccessible to the public.^[9][11]

In contrast, the Pallavicini family managed to preserve its wealth intact, including its art collection and Roman noble property. During the 20th century, the collection passed from Francesco to his grandson Guglielmo Pierre de Bernis de Courtarvel, and, upon his death during World War II (in 1940), to his wife, the Genoese Elvina Pallavicini del Vascello, then to their only daughter Maria Camilla, and finally to the current heirs.^[10]

The Pallavicini Collection remains one of the few 17th-century Roman collections that has remained almost entirely intact since its establishment: it currently includes over 540 pieces, including paintings, drawings, and sculptures, housed between the piano nobile of the Palazzo Pallavicini Rospigliosi in Rome and the Casino dell’Aurora, also under their ownership.^[12] The paintings collected by Cardinal Lazzaro, subject to the historic 1679 fideicommissum, still form the core of the Roman collection: a substantial group of canvases comes from the collection of his brother Stefano, while another originates from the years when Lazzaro was papal legate in Bologna, featuring Emilian artists such as the Carracci, Sisto Badalocchio, Guido Reni, and Francesco Albani.^[4] Another group of paintings comes from commissions directly ordered by Maria Camilla Pallavicini, a figure highly attentive to art, while others were previously part of the Rospigliosi Collection or acquired through its members, particularly Giovanni Battista Rospigliosi [it] and Giuseppe Rospigliosi, through whom works by Pietro da Cortona, Nicolas Poussin, Sandro Botticelli, Lorenzo Lotto, Diego Velázquez, Peter Paul Rubens, Domenichino, Luca Signorelli, and Guercino entered the collection.

List of Works (Non-Exhaustive)

Below is a list (comprehensive but not complete) of the artworks that have been part of the Pallavicini family collection (not to be confused with the contemporary Niccolò Maria Pallavicini Collection).^[13] Given the continuous connection between the Rospigliosi and Pallavicini families, works that are certainly from the Rospigliosi Collection are appropriately indicated.

Antiquities

• Atena Rospigliosi, Palazzo Pallavicini Rospigliosi (Casino dell'Aurora), Rome
• Diana Rospigliosi, Palazzo Pallavicini Rospigliosi (Casino dell'Aurora), Rome
• Scipione Rospigliosi, Palazzo Pallavicini Rospigliosi (Casino dell'Aurora), Rome

Drawings and Paintings

Portrait of a Rospigliosi family child dressed as Pulcinella (Pietro Banchieri), Anonymous 17th-century Roman

Trasfigurazione di Cristo, san Girolamo e sant'Agostino, Botticelli

Derelitta, Botticelli

Triumph of Chastity, Lorenzo Lotto

Madonna with Child, Saint John the Baptist, and Saint Jerome, Luca Signorelli

Genius with the Horn of Plenty, Nicolas Poussin (copy after)

Chariot of Aurora, Guido Reni

Crucified Christ, Guido Reni

Perseus Freeing Andromeda, Guido Reni

Saint Mark the Evangelist, Guido Reni

Self-Portrait, Lucrezia Scarfaglia

• Francesco Allegrini, Judith with the Head of Holofernes, 1610–1620, Galleria Pallavicini, Rome
• Anonymous Emilian, Madonna with Child (so-called della Cesta), Galleria Pallavicini, Rome
• Anonymous 17th-century Roman, Portrait of Pietro Banchieri Dressed as Pulcinella, 1667–1669, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Anonymous 18th-century, Portrait of Giovanni Battista Rospigliosi, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Il Baciccio, Portrait of Pope Clement IX, 1667–1669, Galleria Pallavicini, Rome
• Sisto Badalocchio, Hermaphrodite and Salmacis, 1605–1620, Galleria Pallavicini, Rome
• Lazzaro Baldi, Coronation of the Virgin Mary, 1650–1703, Galleria Pallavicini, Rome
• Lazzaro Baldi, Paradise, 1650–1703, Galleria Pallavicini, Rome
• Federico Barocci, Madonna with Child, 1567–1569, Galleria Pallavicini, Rome
• Pompeo Batoni, Visitation, 1736–1740, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Jan Frans van Bloemen, Landscape with the Vatican Belvedere and Figures, 1741, Galleria Pallavicini, Rome
• Jan Frans van Bloemen, Landscape with Castle and Figures, 1688–1749, Galleria Pallavicini, Rome
• Jan Frans van Bloemen, Landscape with Figures, 1688–1749, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Jan Frans van Bloemen, Landscape with the Flight into Egypt, 1688–1749, Galleria Pallavicini, Rome
• Jan Frans van Bloemen, Landscape with the Colosseum and the Arch of Constantine, 1741, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Jan Frans van Bloemen, Landscape with the Temple of Vesta at Tivoli, 1688–1749, Galleria Pallavicini, Rome
• Jan Frans van Bloemen, Landscape with Vase and Roman Monuments, 1688–1749, Galleria Pallavicini, Rome
• Jan Frans van Bloemen, Lake Landscape with Figures, Rocky Landscape with Figures, 1690–1699, Galleria Pallavicini, Rome
• Botticelli, Derelitta, 1480, tempera on panel, 47×45 cm, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Botticelli, Trasfigurazione di Cristo, san Girolamo e sant'Agostino, ca. 1500, tempera on panel, 28×36 cm, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Botticelli, Madonna with Child, Saint John the Baptist, and Angels, 1490–1499, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Giacinto Brandi, Cherubim, 1665–1675, Galleria Pallavicini, Rome
• Giacinto Brandi, Saint Mary Magdalene at the Foot of the Cross, 1640–1691, Galleria Pallavicini, Rome
• Giacinto Brandi, Saint Mary Magdalene, 1670–1691, Galleria Pallavicini, Rome
• Denis Calvaert, Saint Cecilia, 1560–1599, Galleria Pallavicini, Rome
• Andrea Camassei, Saint Luke Painting the Madonna, 1620–1649, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Andrea Camassei, Adoration of the Child, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Simone Cantarini, Madonna with Child and Saint Charles Borromeo, 1630–1648, Galleria Pallavicini, Rome
• Simone Cantarini, Madonna with Child and Saint Francis of Assisi, 1630–1648, Galleria Pallavicini, Rome
• Simone Cantarini, Female Portrait, 1630–1648, Galleria Pallavicini, Rome
• Simone Cantarini, Holy Family with Saint Anne, 1630–1648, Galleria Pallavicini, Rome
• Simone Cantarini, Saint Philip Neri and Two Angels, 1630–1648, Galleria Pallavicini, Rome
• Annibale Carracci, Crowning with Thorns, 1620–1630, Galleria Pallavicini, Rome
• Annibale Carracci, Mangiafagioli, Galleria di Palazzo Colonna, Rome (first donated in 1710 to the Niccolò Maria Pallavicini Collection, then transferred to the Colonna Collection where it remains)
• Annibale Carracci, Female Portrait, 1585–1590, Galleria Pallavicini, Rome
• Annibale Carracci, Saint Francis of Assisi Receiving the Stigmata, 1590–1610, Galleria Pallavicini, Rome
• Ludovico Carracci, Christ Restoring Sight to the Blind Man, 1603–1604, Galleria Pallavicini, Rome
• Ludovico Carracci, Saint Peter, 1610–1615, Galleria Pallavicini, Rome
• Ludovico Carracci or Francesco Brizio, Samson Destroying the Temple, 1615–1619, Galleria Pallavicini, Rome (formerly in the Ludovisi Collection [it])
• Michelangelo Cerquozzi, Hercules at the Crossroads, 1640–1660, Galleria Pallavicini, Rome
• Michelangelo Cerquozzi, Erminia and the Shepherds, 1640–1660, Galleria Pallavicini, Rome
• Michelangelo Cerquozzi, Erminia and the Shepherds, 1645–1655, Galleria Pallavicini, Rome
• Michelangelo Cerquozzi, Tobacco Smokers, 1640–1660, Galleria Pallavicini, Rome
• Michelangelo Cerquozzi, Gamblers, 1640–1660, Galleria Pallavicini, Rome
• Michelangelo Cerquozzi, Peasant Scene with Figures, 1640–1660, Galleria Pallavicini, Rome
• Michelangelo Cerquozzi, Rest at a Roman Ruin, 1640–1660, Galleria Pallavicini, Rome
• Michelangelo Cerquozzi, Painter’s Studio, 1640–1660, Galleria Pallavicini, Rome
• Michelangelo Cerquozzi/Alessandro Salucci, Triumphal Arch, Colosseum, and Figures, 1650–1660, Galleria Pallavicini, Rome
• Michelangelo Cerquozzi/Alessandro Salucci, Seascape with Port, Rotunda, Buildings, and Figures, 1650–1660, Galleria Pallavicini, Rome
• Giovanni Domenico Cerrini, Ecce Homo, 1665–1670, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Viviano Codazzi/Michelangelo Cerquozzi, Distribution of Soup to the Poor with Ruins, 1625–1660, Galleria Pallavicini, Rome
• Viviano Codazzi/Michelangelo Cerquozzi, Farm with Ruins and Figures at Sunset, 1625–1660, Galleria Pallavicini, Rome
• Viviano Codazzi/Michelangelo Cerquozzi, Villa Entrance with Figures, 1625–1660, Galleria Pallavicini, Rome
• Viviano Codazzi/Michelangelo Cerquozzi, Villa with Portico and Figures, 1625–1660, Galleria Pallavicini, Rome
• Viviano Codazzi/Perrier François, Villa Entrance with Ruins and Figures, 1625–1665, Galleria Pallavicini, Rome
• Sebastiano Conca, Saint Augustine, 1740, Galleria Pallavicini, Rome
• Sebastiano Conca, Female Head (×4), 1719–1764, Galleria Pallavicini, Rome
• Pietro da Cortona, Aurora Abducting Cephalus, drawing, Galleria Pallavicini, Rome
• Pietro da Cortona, Warrior Piercing a Barbarian, drawing, Galleria Pallavicini, Rome
• Pietro da Cortona, Rest During the Flight into Egypt with Allegory of the Passion, 1630–1640, oil on canvas, Galleria Pallavicini, Rome
• Jacques Courtois, Cavalry Battle (×3), 1650–1690, Galleria Pallavicini, Rome
• Jacques Courtois, Battle Scene, 1670–1676, Galleria Pallavicini, Rome
• Domenichino, Peccato originale, 1621–1623, Galleria Pallavicini, Rome (formerly in Ludovisi Collection)
• Baldassarre Franceschini, David with the Head of Goliath, 1630–1690, Galleria Pallavicini, Rome
• Marcantonio Franceschini, Saint Mary Magdalene Penitent, 1670–1729, Galleria Pallavicini, Rome
• Filippo Gagliardi/Giovanni Benedetto Castiglione, Circe Transforming Ulysses’ Companions into Animals, 1630–1659, Galleria Pallavicini, Rome
• Filippo Gagliardi/Giovanni Benedetto Castiglione, Procession of Silenus, 1630–1659, Galleria Pallavicini, Rome
• Filippo Gagliardi/Giovanni Benedetto Castiglione, Sacrifice to Pan, 1630–1659, Galleria Pallavicini, Rome
• Filippo Gagliardi/Giovanni Benedetto Castiglione, Temple of Pan, 1630–1659, Galleria Pallavicini, Rome
• Giacinto Gimignani, Allegory of Hope, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Giacinto Gimignani, Allegory of Medici Dominion over Pistoia, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Giacinto Gimignani, Armida Attempting to Kill Rinaldo, 1635–1640, Galleria Pallavicini, Rome
• Giacinto Gimignani, Glory of Saint Clement, 1630–1681, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Giacinto Gimignani, Rest During the Flight into Egypt, 1680–1681, Galleria Pallavicini, Rome
• Giacinto Gimignani, Venus Nursing Cupid, 1640–1650, Galleria Pallavicini, Rome
• Ludovico Gimignani, Magdalene in Meditation, drawing, 26.7×18.5 cm, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Ludovico Gimignani, Miracle of Saint Mary Magdalene de’ Pazzi, 1660–1690, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Ludovico Gimignani, Pietà, 1660–1697, Galleria Pallavicini, Rome (copy of the painting by Annibale Carracci at the Museo di Capodimonte in Naples)
• Ludovico Gimignani, Putti (×2), 1660–1697, Galleria Pallavicini, Rome
• Ludovico Gimignani, Boy with Hunting Dog, 1660–1697, Galleria Pallavicini, Rome
• Ludovico Gimignani, Rest During the Flight into Egypt, 1660–1697, Galleria Pallavicini, Rome
• Ludovico Gimignani, Saint Peter of Alcantara, 1667–1690, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Ludovico Gimignani, Allegorical Scene, 1663–1697, Galleria Pallavicini, Rome
• Luca Giordano, Communion of the Apostles, 1659–1660, Galleria Pallavicini, Rome
• Luca Giordano, Conversion of Saint Paul, 1680–1685, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Luca Giordano, Christ and the Adulteress, 1650–1750, Galleria Pallavicini, Rome
• Luca Giordano, Judgment of Paris, 1684–1686, Galleria Pallavicini, Rome
• Luca Giordano, Giuliano l’Apostata, 1685–1686, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Luca Giordano, Death of Lucretia, 1684–1686, Galleria Pallavicini, Rome
• Antiveduto Gramatica, Jael, 1620–1626, Galleria Pallavicini, Rome
• Guercino, Madonna with Child and Saint John the Baptist, 1620–1670, Galleria Pallavicini, Rome
• Giovanni Francesco Guerrieri, Allegory of Virility Overcoming Deceit, Lies, Slander, and Envy, 1611–1657, Galleria Pallavicini, Rome
• Joseph Heintz the Younger, View of Venice with the Molo from the San Marco Basin, 1623–1644, Galleria Pallavicini, Rome
• Joseph Heintz the Younger, View of Venice with Regatta on the Grand Canal, 1623–1644, Galleria Pallavicini, Rome
• Jan van Kessel the Elder, Still Life with Amphora of Flowers, Vegetables, and Fruit, Still Life with Plate of Fruit, Strawberry Cup, Pumpkin, and Birds, 1650–1670, Galleria Pallavicini, Rome
• Jan van Kessel the Elder, Still Life with Basket of Mushrooms, Fruit, and Guinea Pig, 1650–1670, Galleria Pallavicini, Rome
• Jan van Kessel the Elder, Still Life with Vegetables, Fruit, and Game, Still Life with Fish, Vegetables, Dog, and Cat, 1650–1670, Galleria Pallavicini, Rome
• Pieter van Laer, Self-Portrait, 1625–1630, Galleria Pallavicini, Rome
• Filippino Lippi, Mordecai Weeping Before the Entrance to the Royal Palace, 1475–1480, Galleria Pallavicini, Rome
• David Loreti, Portrait of Giuseppe Rospigliosi, 1710–1760, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• David Loreti, Portrait of Luigi Rospigliosi Pallavicini, 1710–1760, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• David Loreti, Portrait of a Rospigliosi Pallavicini Princess, 1710–1760, Galleria Pallavicini, Rome
• Claude Lorrain, Paesaggio da villa Madama (second version), 1637, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Claude Lorrain, Paesaggio con Mercurio e Aglauro, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Claude Lorrain, Paesaggio con Mercurio e Aglauro, drawing, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Claude Lorrain, Coastal Landscape with Mercury and Aglauros, drawing, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Claude Lorrain, Le stagioni danzano al suono del Tempo, drawing, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Claude Lorrain, Le Eliadi piangono sulla tomba di Fetonte, drawing, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Claude Lorrain, Tempio di Venere, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Lorenzo Lotto, Triumph of Chastity, ca. 1530, oil on canvas, 73×114 cm, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Bartolomeo Manfredi, Saint John the Evangelist, 1615, Galleria Pallavicini, Rome (replica of the painting at the Capitoline Museums in Rome)
• Carlo Maratta, Madonna della Neve, 1660–1725, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Carlo Maratta, Portrait of Cardinal Giacomo Rospigliosi, 1668, Galleria Pallavicini, Rome
• Carlo Maratta, Portrait of Cardinal Giacomo Rospigliosi, 1668, Galleria Pallavicini, Rome
• Carlo Maratta/Franz Werner Tamm, Garland of Flowers with Cherubs, 1694, Galleria Pallavicini, Rome
• Paolo De Matteis, Abraham and the Three Angels, 1680–1728, Galleria Pallavicini, Rome
• Paolo De Matteis, Lot and His Daughters, 1680–1728, Galleria Pallavicini, Rome
• Jan Miel, Tavern Courtyard, 1620–1663, Galleria Pallavicini, Rome
• Jan Miel, Jacob and His Family Traveling to Egypt (?), 1655–1663, Galleria Pallavicini, Rome
• Jan Miel, Portrait of Pope Urban VIII, 1641–1643, Galleria Pallavicini, Rome
• Pier Francesco Mola, Ecstasy of Saint Mary Magdalene, 1630–1648, Galleria Pallavicini, Rome
• Pier Francesco Mola, Portrait of an Old Woman, 1660–1666, Galleria Pallavicini, Rome
• Pier Francesco Mola, Saint John the Baptist, 1660–1666, Galleria Pallavicini, Rome
• Giovanni Maria Morandi, Rest During the Flight into Egypt, 1665–1673, Galleria Pallavicini, Rome
• Girolamo Muziano, Saint Peter Martyr, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Pietro Navarra, Still Life with Game, 1690–1714, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Jacopo Palma il Giovane, Dead Christ Supported by Two Angels, 1570–1628, Galleria Pallavicini, Rome
• Jacopo Palma il Giovane, Original Sin, 1600–1628, Galleria Pallavicini, Rome
• Pietro Nelli, Portrait of Nicolò Maria Rospigliosi Pallavicini, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Niccolò dell'Abate, Landscape with Saint Jerome, 1540–1552, Galleria Pallavicini, Rome
• Ortolanus, Holy Family, 1510–1520, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Parmigianino, Saint John the Baptist, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Pietro di Giovanni, Death of Saint Francis of Assisi, 1420–1425, Galleria Pallavicini, Rome
• Nicolas Poussin (copy after), Genius with the Horn of Plenty, Galleria Pallavicini, Rome
• Nicolas Poussin (copy after), Self-Portrait, Galleria Pallavicini, Rome
• Mattia Preti, Death of Sophonisba, Galleria Pallavicini, Rome
• Mattia Preti, Rape of Europa, 1630–1699, Galleria Pallavicini, Rome
• Mattia Preti, Rape of Ganymede, 1630–1699, Galleria Pallavicini, Rome
• Mattia Preti, Rape of Proserpina, 1630–1699, Galleria Pallavicini, Rome
• Christian Reder, Battle (×2), Galleria Pallavicini, Rome (both formerly in Rospigliosi Collection)
• Guido Reni, Chariot of Aurora, 1622, fresco, Galleria Pallavicini, Rome
• Guido Reni, Crucified Christ, 1638–1640, Galleria Pallavicini, Rome
• Guido Reni, David, 1620–1699, Galleria Pallavicini, Rome
• Guido Reni, Perseus Freeing Andromeda, 1630–1639, Galleria Pallavicini, Rome
• Guido Reni, Saint Mark the Evangelist, 1600–1699, Galleria Pallavicini, Rome (replica of the painting at the Palazzo Rosso in Genoa)
• Giovanni Francesco Romanelli, Cleopatra, 1630–1662, Galleria Pallavicini, Rome
• Giovanni Francesco Romanelli, Muse, 1630–1662, Galleria Pallavicini, Rome
• Giovanni Francesco Romanelli, Pious Women at the Sepulchre, 1645–1650, Galleria Pallavicini, Rome
• Giovanni Francesco Romanelli, Polyphemus and Galatea, 1630–1635, Galleria Pallavicini, Rome
• Cristoforo Roncalli, Saint John the Baptist in the Desert, 1605–1610, Galleria Pallavicini, Rome
• Peter Paul Rubens, Saint Paul, 1613–1620, Galleria Pallavicini, Rome
• Peter Paul Rubens, Saint Matthias, 1613–1620, Galleria Pallavicini, Rome
• Peter Paul Rubens, Saint Peter, 1613–1620, Galleria Pallavicini, Rome
• Peter Paul Rubens, Christ, 1613–1620, Galleria Pallavicini, Rome
• Peter Paul Rubens, Saint Simon, 1613–1620, Galleria Pallavicini, Rome
• Peter Paul Rubens, Saint Philip, 1613–1620, Galleria Pallavicini, Rome
• Peter Paul Rubens, Saint Thomas, 1613–1620, Galleria Pallavicini, Rome
• Peter Paul Rubens, Saint James the Greater, 1613–1620, Galleria Pallavicini, Rome
• Peter Paul Rubens, Saint James the Less, 1613–1620, Galleria Pallavicini, Rome
• Peter Paul Rubens, Saint Bartholomew, 1613–1620, Galleria Pallavicini, Rome
• Peter Paul Rubens, Saint Andrew, 1613–1620, Galleria Pallavicini, Rome
• Peter Paul Rubens, Saint Matthew, 1613–1620, Galleria Pallavicini, Rome
• Peter Paul Rubens, Saint John the Evangelist, 1613–1620, Galleria Pallavicini, Rome
• Andrea Sacchi, Apostle, 1635–1640, Galleria Pallavicini, Rome
• Carlo Saraceni, Madonna with Child, Saint Anne, and an Angel, 1610–1650, Galleria Pallavicini, Rome
• Ippolito Scarsella, Assumption of Enoch, 1570–1620, Galleria Pallavicini, Rome
• Ippolito Scarsella, Joseph Sold by His Brothers, 1570–1620, Galleria Pallavicini, Rome
• Bartolomeo Schedoni, Embracing Putti, 1595–1605, Galleria Pallavicini, Rome
• Bartolomeo Schedoni, Holy Family with Saint John the Baptist, 1600–1649, Galleria Pallavicini, Rome
• Bartolomeo Schedoni, Saint John the Baptist Preaching in the Desert, 1595–1605, Galleria Pallavicini, Rome
• Johann Heinrich Schönfeld, Seascape with Bathers, 1630–1682, Galleria Pallavicini, Rome
• Johann Heinrich Schönfeld, Temple of Diana, 1630–1682, Galleria Pallavicini, Rome
• Luca Signorelli, Madonna with Child, Saint John the Baptist, and Saint Jerome (?), 1480–1490, Galleria Pallavicini, Rome
• Francesco Solimena, Saint Ignatius of Loyola, 1725–1730, Galleria Pallavicini, Rome
• Pierre Subleyras, Healing of the Paralytic, 1728–1749, Galleria Pallavicini, Rome
• Giusto Suttermans, Portrait of Ferdinand II de’ Medici, 1650–1655, Galleria Pallavicini, Rome
• Franz Werner Tamm, Still Life with Flowers, Fruit, and Peacock, 1685–1699, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Franz Werner Tamm, Still Life with Flowers, Mushrooms, and Game, 1685–1699, Galleria Pallavicini, Rome
• Agostino Tassi, Seascape, 1615–1630, Galleria Pallavicini, Rome
• Agostino Tassi, Palaces by the Sea, 1600–1644, Galleria Pallavicini, Rome
• Antonio Tempesta, Deer Hunt, 1580–1630, Galleria Pallavicini, Rome
• Antonio Tempesta, Battle Scene, 1595–1605, Galleria Pallavicini, Rome
• Antonio Tempesta, Lion Hunt Scene, 1600–1649, Galleria Pallavicini, Rome
• David Teniers the Younger, Still Life with Kitchen Interior, 1650–1660, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• David Teniers the Younger, Duck Hunt in a Landscape, 1660–1685, Galleria Pallavicini, Rome
• David Teniers the Younger, Still Life with Game, Hunting Tools, and Falcon in a Landscape, 1660–1685, Galleria Pallavicini, Rome
• Alessandro Tiarini, Samson and Delilah, 1640–1650, Galleria Pallavicini, Rome
• Tintoretto, Portrait of Procurator Priamo Lechi, 1580–1594, Galleria Pallavicini, Rome
• Benvenuto Tisi, Saint James the Greater, 1520–1530, Galleria Pallavicini, Rome
• Francesco Trevisani, Dead Christ Supported by Angels, 1715–1724, Galleria Pallavicini, Rome
• Alessandro Turchi, Saint James the Greater, 1640–1649, Galleria Pallavicini, Rome
• Diego Velázquez, Rissa, ca. 1630, oil on canvas, 28.9×39.6 cm, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Jacob Ferdinand Voet, Portrait of Giovanni Battista Rospigliosi Pallavicini, 1660–1689, Galleria Pallavicini, Rome
• Jacob Ferdinand Voet, Portrait of a Gentleman, 1660–1689, Galleria Pallavicini, Rome
• Jacob Ferdinand Voet, Portrait of Lorenzo Onofrio Colonna, 1660–1689, Galleria Pallavicini, Rome
• Jacob Ferdinand Voet, Portrait of Tommaso Rospigliosi, Castellan of Castel Sant’Angelo, 1660–1689, Galleria Pallavicini, Rome
• Jacob Ferdinand Voet, Portrait of Vincenzo Bali of Malta, Galleria Pallavicini, Rome
• Karel van Vogelaer, Still Life with Flowers and Architectural Fragments, 1675–1695, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Karel van Vogelaer, Still Life with Vase of Flowers, 1675–1695, Galleria Pallavicini, Rome (formerly in Rospigliosi Collection)
• Gaspar van Wittel, Landscape with Village and Figures, Landscape with Castle, 1715–1720, Galleria Pallavicini, Rome
• Gaspar van Wittel, Seascape, Seascape with Castle, 1712, Galleria Pallavicini, Rome
• Gaspar van Wittel, View of Rome with the Campo Vaccino from the Portico of the Aracoeli Convent, 1682–1703, Galleria Pallavicini, Rome
• Gaspar van Wittel, View of Rome with the Colosseum and the Arch of Constantine, Landscape with Shepherds, 1715–1720, Galleria Pallavicini, Rome
• Gaspar van Wittel, View of Rome with the Colosseum, 1680–1736, Galleria Pallavicini, Rome
• Gaspar van Wittel, View of Rome with the Broken Bridge, 1685, Galleria Pallavicini, Rome
• Gaspar van Wittel, View of Rome with the Temple of Saturn and the Church of Saints Luke and Martina, 1685–1690, Galleria Pallavicini, Rome
• Gaspar van Wittel, View of Rome with the Tiber at the Ripa Grande Port, 1685, Galleria Pallavicini, Rome

See also

• Pallavicini (family)
• Palazzo Pallavicini Rospigliosi
• Rospigliosi (family)

References

1. Zeri, Federico (1959). La collezione Pallavicini [The Pallavicini Collection] (in Italian). Cassa di Risparmio di Roma.
2. Zeri, Federico (1959). La collezione Pallavicini [The Pallavicini Collection] (in Italian). Cassa di Risparmio di Roma.
3. Zeri, Federico (1959). La collezione Pallavicini [The Pallavicini Collection] (in Italian). Cassa di Risparmio di Roma.
4. Zeri, Federico (1959). La collezione Pallavicini [The Pallavicini Collection] (in Italian). Cassa di Risparmio di Roma.
5. Benati, Daniele (2006). Benati, D.; Riccomini, E. (eds.). Annibale Carracci, Catalogo della mostra Bologna e Roma 2006-2007 [Annibale Carracci, Catalog of the Bologna and Rome Exhibition 2006-2007] (in Italian). Milan: Mondadori Electa. pp. 108–109.
6. Zeri, Federico (1959). La collezione Pallavicini [The Pallavicini Collection] (in Italian). Cassa di Risparmio di Roma.
7. Zeri, Federico (1959). La collezione Pallavicini [The Pallavicini Collection] (in Italian). Cassa di Risparmio di Roma.
8. Zeri, Federico (1959). La collezione Pallavicini [The Pallavicini Collection] (in Italian). Cassa di Risparmio di Roma.
9. Negro, Angela (1991). La collezione Rospigliosi [The Rospigliosi Collection] (in Italian). Edizioni De Luca.
10. Zeri, Federico (1959). La collezione Pallavicini [The Pallavicini Collection] (in Italian). Cassa di Risparmio di Roma.
11. Negro, Angela (1991). La collezione Rospigliosi [The Rospigliosi Collection] (in Italian). Edizioni De Luca.
12. Carpaneto, Giorgio (2004). I palazzi di Roma [The Palaces of Rome] (in Italian). Rome: Newton & Compton editori. p. 394.
13. "FONDAZIONE ZERI | CATALOGO : Ricerca opere per" [FONDAZIONE ZERI | CATALOG: Search for works by]. catalogo.fondazionezeri.unibo.it (in Italian). Retrieved 2021-11-08.

Bibliography

• Negro, A. (1999). La collezione Rospigliosi. La quadreria e la committenza artistica di una famiglia patrizia a Roma nel Sei e Settecento [The Rospigliosi Collection. The Gallery and Artistic Patronage of a Patrician Family in Rome in the 17th and 18th Centuries] (in Italian). Argos. ISBN 978-8885897786.
• Haskell, Francis; Montanari, Tomaso (2019). Mecenati e pittori. L'arte e la società italiana nell'epoca barocca [Patrons and Painters. Art and Italian Society in the Baroque Era] (in Italian). Turin: Einaudi. ISBN 978-88-062-4215-2.
• Zeri, Federico (1959). La Galleria Pallavicini in Roma. Catalogo dei dipinti [The Pallavicini Gallery in Rome. Catalog of Paintings] (in Italian). Florence: Sansoni.
• Cappelletti, Francesca (2014). La collezione Pallavicini e il palazzo del giardino a Montecavallo [The Pallavicini Collection and the Palace of the Garden at Montecavallo] (in Italian). Rome: Campisano.

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