MAAR 58, 2013 PRINCE GIOVANNI BATTISTA PAMPHILJ (1648–1709) AND THE DISPLAY OF ART IN THE PALAZZO AL COLLEGIO ROMANO, ROME Stephanie C. Leone, Boston College U pon the death of his father Camillo in July 1666, Giovanni Battista Pamphilj’s legal status changed dramatically: the eighteen-year-old prince became the primogenito of his wealthy and powerful family. With his inheritance came responsibilities, including the oversight of his father’s unfinished artistic projects at Sant’Agnese in Agone, Sant’Agostino, Sant’Andrea al Quirinale, the Collegio Innocenziano, and the Palazzo al Collegio Romano. The latter was the new wing, begun in 1659, which had been added to the Palazzo Aldobrandini al Corso (fig. 1), owned by his mother, Princess Olimpia Aldobrandini (1622–1681). After Olimpia, the sole heir to the great Aldrobrandini fortune, married Camillo Pamphilj in 1647, the couple moved into her palace rather than his, the Palazzo Pamphilj in Piazza Navona. The architect Antonio Del Grande designed Camillo’s new wing as a trapezoidal block to the northwest of the Aldobrandini property, between the Piazza al Col- legio Romano and the large courtyard (figs. 2, 3). Today, this unified palace is known as the Palazzo Doria Pamphilj al Corso. Under Camillo, construction was completed and the interior decoration was begun, but the task of outfitting the new rooms fell to Giovanni Battista. 1 In this article—drawing on the information provided by two inventories of the palace’s con- tents, dating from ca. 1680 and 1709, respectively—I shall analyze and attempt to reconstruct the furnishings in Prince Pamphilj’s noble, winter, and mezzanine apartments. As we shall see, the furniture, fabrics, paintings, and other objects in these apartments were integrated into a decorative scheme that accorded with the prince’s exalted status and typified the baroque penchant for creat- ing an overall impression, where each individual object contributed to a greater or lesser degree to a compositional whole. Although all of these material goods contributed to this greater network of display, easel paintings appear to have played an especially significant role in the noble and mez- zanine apartments and, in many rooms, covered the walls in a type of display characterized as “a incrostazione,” or encrustation. 2 Choices about where to hang individual paintings had to be made I thank MAAR editor Brian Curran for his care, attention, and guidance throughout the publication process and the anonymous readers who generously offered insightful ideas and suggestions, which resulted in a much-improved article. I also thank three colleagues who helped in the process of writ- ing this article: Patrizia Cavazzini, for her suggestions about landscapes in Roman palaces; Alessandra Mercantini, for her advice about documents in the ADP; and Patricia Waddy, for sharing her unpublished work with me. I have benefited from them and others, but any deficiencies in the article are my own. 1 On the construction of the new wing, see Carandente 1975, 104–130. Cappelletti 1996a, 17; 1996b, 12; and 2008b, 40 cited the documents recording Giovanni Battista’s payments to artisans for completing work on the new wing; she deter- mined that Camillo intended to install the collection there but did not accomplish it before his death and that Giovanni Battista was responsible for installing the collection. 2 For the material culture of early modern Rome, see especially Ago 2006. On the character of Italian baroque interior deco- ration and the display of collections, see De Benedictis 1998, 101–108 (quotation, 103). The Getty Research Institute, under the direction of Dr. Gail Feigenbaum, is currently sponsoring a major collaborative project on “The Display of Art in Ro- man Palaces, 1550–1750,” which promises to shed much new light on these issues; the publication is scheduled for 2013. My research has benefitted from the conference of the same title held at the Getty Research Institute in December 2010.