The Doria-Pamphilj gallery is situated in the Palace with the same name, built between the middle of the fifteenth and the beginning of the eighteenth century, that previously belonged to the Della Rovere family, then became property of the Aldobrandini family from 1601 and of the Pamphilj family from 1647, after the marriage between Olimpia Aldobrandini and Camillo Pamphilj. In 1651 Giambattista Pamphilj, after ascending the papal throne with the name of Innocent the Tenth (1644-1655), established the Galleryin it. The Doria Pamphilj branch replaced the direct descent of the Pamphilj family in 1760. The disposition of the paintings in the Gallery is distributed over four wings and follows the indications provided in an eighteenth century document, where the exact location of each work is specified according to a criterion of symmetry and sometimes of typological and stylistic affinity. It includes paintings by Raphael (Portrait of Andrea Navagero), Titian (Salome with the head of St. John the Baptist), Domenichino (Susan and the old men), Parmigianino (Madonna with the Infant, Nativity), Caravaggio (Rest during the flight to Egypt, St. John the Baptist, and Magdalene), Annibale e Ludovico Carracci (Satyr and shepherd, Madonna with the Infant, St. Sebastian), Mattia Preti (Magdalene repentant, St. John the Baptist, Christ conducted on the Scala Santa),Guercino (Erminia finds Tancred wounded, Allegory of springtime, Return of the prodigal son, St. Joseph), Guido Reni (Madonna adoring the Infant, St. Peter repentant, Sacred and profane love), Velazquez (portrait of Innocent the Tenth), Brueghel the Elder (Landscapes), Gaspard Dughet (Landscapes). Ancient and seventeenth century sculptures, including a few sarcophagi and busts, such as the two ofInnocent the Twelfth by Gian Lorenzo Bernini and Alessandro Algardi areexhibited. The four sixteenth century tapestries manufactured in Brussels representing the phases that preceded and concluded the Battle of Lepanto are remarkable.
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