Welcome to the apartments of the Palazzo Doria Pamphilj, home to princes and princesses since the second half of the 17th century, when Camillo Pamphilj had the ancient palazzo, known at the time as the Palazzo Aldobrandini, extended with these magnificent rooms that follow one after the other, and their adjoining intimate drawing rooms, until reaching the Gallery. The apartments, still home to the descendants of the family to this day, were decorated in different styles, until the refurbishment instituted by the Doria family after 1763, the year they moved to Rome after obtaining the recognition of their succession and fusion of their dynasty with the Pamphilj family. The splendid frescoed ceilings still show an interesting conspectus of Roman art from that period of the 18th century.
Come in and explore the apartments of the Doria Pamphilj princes.
- The Jupiter Room
- Starting from the right one can see paintings by G. Contarini, J.B. Weenix and G.B. Giovannini. The consoles and the armchairs are of the 18th century, like the central part of the painted ceiling. Its border is thought to be more recent, late 19th century.
- The Pussino Room
- This vast space is notable for the numerous pieces by Pussino, the nick name Gaspard Dughet went by, taken from the name of his brother-in-law Nicolas Poussin. The lyricism of Poussino’s work was more independent from the dogmas of academic classicism than that of his namesake. The large canvasses higher up, except those between the windows, date back to 1653/54 and show figures painted by Guillaume Courtois. They were probably commissioned for the residences in Valmontone and Neptune in Lazio, but were soon brought here. Below these, hanging along all the walls, is a series of landscapes in varying formats, devoid of human figures: some are immense, others more modestly sized, and there are even narrow vertical pieces, and long horizontal pieces to go above doorways. They are all representations of the Roman countryside, depicting, apparently for the first time, its powerful summer intensity, without the distractions of the iconographic themes represented by the addition of human figures. Many of these pieces were executed for objects that have long since been forgotten, even by scholars. They are supports painted on both sides, that were intended for dividing spaces, and probably also for decorating and protecting beds, in a style that in some respects was influenced by contact with the Far East.
- The Throne Room
- The room takes its name from the throne which is turned towards the wall. It is turned to face the room only in the event of a papal visit, according to an old Roman tradition. The ceiling was decorated by G. Agricola around 1768. The many water paintings of landscapes match the oil paintings of the nearby room. They are attributed mainly to F.B. Giovannini, the “household painter” of Cardinal Benedetto Pamphilj. Rich armchairs and consoles of the second half of the 17th century and early 18th furnish the room.
- The Blue Room
- The ceiling with Agar and the Angel is of P. Angeletti and is part of the cycle that was completed around 1768. On the walls, various 19th century portraits of Filippo Andrea V Doria Pamphilj and his family, mainly by A. Capaldi.
- The Velvets Room
- (ceiling by Liborio Marmorelli, c. 1768). The walls are covered by the damask velvets that give the room its name. There are two important portrait busts in this room by Alessandro Algardi, in addition to the valuable furniture topped with black and white Aquitaine marble. These coloured pieces of stone were often taken from archaeological fragments and reused, this can also be seen in many other pieces in the Gallery, generally from Rome’s baroque period. Two of the four main canvasses, those with Hagar and Abraham’s Sacrifice, are attributed to Pasquale Chiesa, a recently rediscovered painter from Genoa. The other Hagar is by the young Mattia Preti. The series with Apollo and
the Muses, was painted by Giuliano Bugiardini, a Florentine Renaissance painter, a fourth element, with The arts is a complementary piece executed by Marco Benefial in 1713.
- The Green Room
- The room, whose ceiling is decorated by D. Corvi’s David and Abigail (ca 1768), has a marked Venetian-style taste with some extraordinary early 18th century pieces and some elements of the next century. Among the paintings the remarkable View of Piazza S. Marco, by J. Heintz the young, stands out.
- The Ballroom
- The ballroom features decorations from the second half of the 19th century, executed by Andrea Busiri Vici. Only the grisaille on the curved part of the ceiling remains from the original decoration. A large canvas that was in the centre was removed around a century ago after suffering serious damage. Amongst the objects preserved in the orchestra stall it is worth noticing a bird cage from 1767, an 18th century harp, and two antique liveries. The adjoining space, ceiling painted by Antonio Nessi around 1768, contains paintings of great value.
- The Yellow Room
- On the ceiling, another painting of G. Agricola (Rebecca at the well, ca 1768). Remarkable 18th century tapestries manufactured by Gobelins hang on the walls, representing the 12 ancient gods. A Portrait of James Stuart, Catholic claimant to the throne of Scotland and England who died in Rome in 1766, is also visible.
- The red room
- This small room next to Venus’ toilet used to be a bedroom. The fresco represents Jacob’s Dream. In the middle of the room there is an amazing wooden engraved cradle, embossed and gilded. It was a cradle in which Giovanni Andrea, son of Andrea IV and Leopoldina of Savoia, born on the 14 of July 1768, were officially presented to Emperor Joseph II, who had accepted to become his godfather and had arrived in the Palace in the spring of 1769.