Borghese Gallery

The Borghese Gallery, located within Villa Borghese, is one of the most prized gems of Rome’s artistic and cultural heritage. Originally the residence of Cardinal Scipione Borghese, nephew of Pope Paul V, this historic villa hosts an extraordinary collection of Renaissance and Baroque art, including masterpieces by Caravaggio, Bernini, and Titian. Immersed in a vast park, the villa offers a unique experience where art and nature blend in a remarkable setting, exemplifying the harmonious integration of 17th-century architecture with Rome’s landscape.

History of the Borghese Gallery

The Borghese Gallery, situated in the Villa Borghese Pinciana, stands as one of the most iconic sites of Rome’s artistic and cultural heritage. Its history unfolds in several stages, from the foundation of Cardinal Scipione Borghese’s private collection and the Baroque period that turned the villa into a showcase of 17th-century art and architecture, to its transition into a state museum and the renovations and modern updates over the past decades.

Foundation and the Baroque Period

The Origins of the Collection

In the early 17th century, Cardinal Scipione Borghese—nephew of Pope Paul V—began to assemble an art collection that soon became one of the most prestigious in the world. His refined taste and innovative vision enabled the acquisition of Renaissance and Baroque masterpieces from Caravaggio and Titian to Bernini, resulting in a collection that, from its inception, symbolized the Borghese family’s artistic excellence and patronage.

Constructing the Villa

Alongside building the collection, in 1607 the Borghese family decided to establish a villa on the Pincio hill, a strategically located area in northern Rome. Initially designed by Flaminio Ponzio and later completed by Giovanni Vasanzio, the project aimed to display the artworks within an elegant and harmonious architectural setting. Its style referenced classic Italian villas of the Renaissance (such as Villa Medici and Villa Farnesina), featuring a large portico and a richly adorned terrace, creating a place where art and nature intersect in an unforgettable fusion.

The Baroque Era

With the rise of the Baroque style, the villa and its collection became symbols of Rome’s vibrant artistic scene. The baroque taste, marked by expressive exuberance and detailed ornamentation, found full expression both in the acquired works—like Bernini’s monumental sculptures—and in the architectural and decorative enhancements that enriched the building. In this period, the Borghese Gallery was not just a repository of works but a living environment whose spatial layout, decorative elements, and lighting created a cohesive vision of artistic magnificence.

The Transformation into a Museum

State Acquisition and Opening to the Public

In 1891, all the artworks housed in the 12 rooms of the picture gallery of Palazzo Borghese in Via Ripetta were transferred to the piano nobile of the Villa Borghese Pinciana, paving the way for its conversion into a museum. In 1902, following the Italian State’s acquisition of the collections belonging to the Borghese Fidecommesso, the Borghese Gallery was officially recognized as a public museum.
Negotiations for this transfer were lengthy and complex, often called “the deal of the century.” The villa and gardens were purchased for 3.6 million lire—a seemingly modest figure at the time—which allowed Italy to retain an invaluable artistic legacy intact.

The First Directors and the Museum’s Organization

Giovanni Piancastelli (1845–1926) became the Gallery’s first director, succeeded in 1906 by Giulio Cantalamessa, formerly in charge of the Gallerie dell’Accademia in Venice. Their leadership contributed to shaping the Gallery as an outstanding institution, open to the public and committed to preserving and enhancing art.

Restorations and Updates

Throughout the 20th century, the Borghese Gallery underwent numerous restoration projects to preserve both the building and its works of art. In 1983, the museum was closed for a thorough renovation that lasted 14 years, restoring the original appearance of the plasterwork, statues, and the historic two-ramp staircase. It reopened in June 1997, recapturing its former prestige and functionality.
In 2013, the Borghese Gallery ranked as the ninth most visited Italian state museum, attracting almost 500,000 visitors, reflecting a steady global interest in the Borghese heritage. In 2015, Italy’s Minister of Cultural Heritage and Activities and Tourism, Dario Franceschini, appointed Anna Coliva as director of the Gallery; since November 2020, it has been directed by Francesca Cappelletti. These administrative updates further strengthened the museum’s management and promotion, ensuring continuous enhancement of both its collection and building.

The Museum

The Borghese Gallery is a museum presenting an extraordinary collection of Renaissance, Baroque, and Neoclassical art in a lavishly decorated environment. Carefully selected and thematically grouped, the artworks are displayed across various rooms, each highlighting the magnificence and historical significance of the masterpieces on view. Below is an exhibit layout that emphasizes not only the artistic excellence of the pieces but also a narrative of art history spanning different centuries.

Exhibition Layout

The rooms of the Borghese Gallery are arranged to create a storyline: each space possesses its own identity, shaped by its themes and displayed works. Below is a detailed overview of the museum’s 20 rooms.

Portico and Entrance Hall (Salone di Mariano Rossi)

This introductory space welcomes visitors into classical themes. The area features busts of Roman emperors, an impressive mosaic depicting gladiatorial fights, and a colossal statue of Bacchus as the focal point.

Key works: busts from classical antiquity, gladiator-fight mosaic, and a colossal statue of Bacchus.

Room I (Paolina’s Room)

Formerly called “Sala del Vaso,” this room is notable for decorative reliefs from the 18th and 19th centuries. Its centerpiece is the Neoclassical marble sculpture by Antonio Canova, “Pauline Borghese as Venus Victrix”, which matches the vaulted ceiling frescoes portraying “Stories of Venus and Aeneas.”

Main work:

• Pauline Borghese as Venus Victrix (Canova)

Room II (David’s Room)

Also known as “Sala del Sole,” this space features Bernini’s David at its center. An allegorical fresco, “The Fall of Phaeton” by Francesco Caccianiga, adorns the ceiling, drawing inspiration from Ovid’s Metamorphoses.

Key works:

• David (Bernini)
• Fresco “The Fall of Phaeton” (Caccianiga)

Room III (Apollo and Daphne)

This room houses Bernini’s famous marble sculpture “Apollo and Daphne”. A thematically coordinated ceiling complements the piece, alongside other Hellenistic and Roman works, weaving a dialogue between myth and art.

Main work:

• Apollo and Daphne (Bernini)

Room IV (Room of the Emperors)

Richly adorned with stucco, marble, and frescoes, this hall contains portraits of Roman emperors. Among the highlights is Bernini’s “The Rape of Proserpina”, accompanied by a copy of the “Borghese Artemis”.

Main work:

• The Rape of Proserpina (Bernini)

Room V (Hermaphroditus Room)

This room showcases the renowned “Sleeping Hermaphrodite”, a sculpture exemplifying the beauty of mixed forms. Complementary to the main piece, a mosaic depicting a fishing scene evokes everyday life in ancient Rome.

Key works:

• Sleeping Hermaphrodite
• Fishing Scene Mosaic

Room VI (Aeneas and Anchises)

Dominating this space is Bernini’s “Aeneas, Anchises, and Ascanius”, a sculpture exploring the concept of piety and family through intense and dramatic representation, typical of Baroque sculpture.

Main work:

• “Aeneas, Anchises, and Ascanius” (Bernini)

Room VII (Egyptian Room)

This room forges a visual link to ancient Egypt with a 2nd-century intricate mosaic, displayed alongside sculptures such as the “Satyr on a Dolphin.” The environment highlights Roman art in close dialogue with Egyptian culture.

Key works:

• 2nd-century Egyptian-style mosaic
• Satyr on a Dolphin

Room VIII (Silenus Room)

Dedicated to Caravaggio, this room focuses on intense and narratively charged masterpieces. Prominent among them are “David with the Head of Goliath” and “Boy with a Basket of Fruit”, exemplifying the artist’s revolutionary use of chiaroscuro.

Main work:

• David with the Head of Goliath (Caravaggio)

Room IX (Dido’s Room)

This area emphasizes Italian Renaissance painting, including works by Botticelli, Pinturicchio, and Raphael. It outlines the evolution of painting in Umbria and Tuscany, capturing the transition in themes and techniques typical of the Renaissance.

Key works:

• Renaissance selection (Botticelli, Pinturicchio, Raphael)

Room X (Hercules Room)

This space highlights the feats of the hero Hercules. On display are Mannerist paintings by figures such as Parmigianino and Correggio, as well as allegorical sculptures, including Alessandro Algardi’s “Allegory of Sleep”, presenting a dramatic interpretation of mythological themes.

Key works:

• Mannerist paintings focused on Hercules
• “Allegory of Sleep” (Algardi)

Room XI (Ferrarese Painting)

This hall celebrates the Ferrarese school with works by Mazzolino and Garofalo, reflecting the cultural and artistic dynamics of Ferrara, particularly after the city’s incorporation into the Papal States.

Key works:

• Works from the Ferrarese school (Mazzolino, Garofalo)

Room XII (Bacchants’ Room)

Showcasing early-16th-century Lombard-Venetian art, this space includes pieces by Lorenzo Lotto and Sodoma. The exhibited works delve into mysticism and religious content typical of that era’s painting.

Key works:

• Early 16th-century selection (Lotto, Sodoma)

Room XIII (Fame’s Room)

Though small, this richly decorated room features an “Allegory of Fame” and houses Bolognese masters’ works. It underscores the significance of glory and renown in 15th-century art.

Main work:

• “Allegory of Fame”

Room XIV (Lanfranco’s Loggia)

Originally an open loggia, this gallery now hosts Lanfranco’s fresco “Council of the Gods”, together with Bernini’s sculptures. Altogether, they celebrate the mythological and artistic grandeur crossing different centuries.

Key works:

• “Council of the Gods” (Lanfranco)
• Bernini’s sculptures

Room XV (Aurora’s Room)

This hall features paintings illustrating the evolution of Mannerism in Italy. Of note is Bassano’s “The Last Supper”, shown alongside works by Dosso Dossi, collectively evoking the emergence of a new artistic dawn.

Key works:

• “The Last Supper” (Bassano)
• Works by Dosso Dossi

Room XVI (Flora’s Room)

Dedicated to the goddess Flora, the hall spotlights themes of nature and its beauty. Through works by Marcello Venusti and Pellegrino Tibaldi, the Renaissance is reinterpreted under a mythological lens, praising fertility and natural abundance.

Key works:

• Works themed on Flora (Venusti, Tibaldi)

Room XVII (Count of Angers’ Room)

Housing 17th-century artworks strongly influenced by Flemish and Dutch painting, this room highlights cultural and artistic exchanges between Italy and Northern Europe during that period.

Key works:

• 17th-century selection of Flemish and Dutch painting

Room XVIII (Jupiter and Antiope)

Dedicated to Flemish Baroque masterpieces, featuring works such as Rubens’ “Susanna and the Elders”, contrasting innocence with worldly corruption. Its vibrant palette and dynamic composition typify Baroque mastery and its ability to transform religious subjects into powerful visual experiences.

Main work:

• “Susanna and the Elders” (Rubens)

Room XIX (Helen and Paris)

Adorned with scenes from the Trojan epic, this hall houses works by Domenichino and Barocci focusing on themes of love and tragedy from Greek mythology.

Key works:

• Trojan-themed selection (Domenichino, Barocci)

Room XX (Cupid and Psyche)

This room pays homage to the mythological love story of Eros and Psyche, shown through Venetian masters like Giorgione, Titian, Veronese, and Bellini. The visit culminates with Titian’s famous “Sacred and Profane Love”, symbolizing the eternal duality of passion.

Main work:

• Sacred and Profane Love (Titian)

Major Works

Besides the diverse collections spread across its various rooms, the Borghese Gallery holds some of the most emblematic pieces in Western art. These masterpieces form the core of the museum’s collection, essential for understanding the artistic evolution from the Renaissance to Neoclassicism.

Apollo and Daphne (Gian Lorenzo Bernini, 1622–1625) – Room III

A monumental marble sculpture capturing the myth of Apollo and Daphne at the very moment she transforms into a laurel tree to evade the god’s advances. Noted for rendering movement and metamorphosis in stone, it stands as a defining piece of the Baroque era and a pinnacle of Bernini’s sculptural artistry.

David with the Head of Goliath (Caravaggio, 1609–1610) – Room VIII

An oil painting depicting the biblical hero David in victory over Goliath. Caravaggio deploys revolutionary chiaroscuro effects to carve a dramatic contrast of light and shadow, emphasizing both tension and triumph, marking this work as a testament to his artistic innovation.

Pauline Borghese as Venus Victrix (Antonio Canova, ca. 1800) – Room I

A Neoclassical marble sculpture in which Canova depicts Pauline Borghese in the form of Venus, goddess of love. The work exalts idealized beauty through harmonious forms and perfect proportions, reflecting the refined aesthetic and sculptural technique that made Canova one of the greatest masters of his era.

The Deposition (Peter Paul Rubens, 1601) – Room XVIII

An oil painting portraying the solemn act of Christ’s removal from the cross. Rubens uses vigorous brushstrokes and vivid colors to infuse emotional intensity and dramatic tension, making this masterpiece a prime example of Baroque flair and its ability to transpose sacred subjects into immersive visual narratives.

Sacred and Profane Love (Titian, 1513) – Room XX

One of Titian’s most celebrated works, this oil on canvas explores the dichotomy between spiritual and earthly love. Its composition—rich in symbolism and bold colors—blends Venetian painting’s refinement with a profound reflection on the conflicting nature of human emotions.

Saint Dominic (Titian, ca. 1565) – Room XX

An oil painting of Saint Dominic, rendered with a commanding and charismatic presence. Warm lighting and richly layered detail give the scene a solemn spirituality, while the portrait highlights the saint’s inner grandeur and determination—a hallmark of Titian’s Renaissance craftsmanship.

Madonna and Child (Giovanni Bellini, ca. 1510) – Room IX

In this classic oil on panel, the Virgin Mary with Child epitomizes Venetian Renaissance art. Bellini’s delicacy of color and meticulous attention to detail create an atmosphere of serenity, instantly conveying both the sacred nature and the elegance of the piece.

The Rape of Proserpina (Gian Lorenzo Bernini, ca. 1621) – Room IV

A sculptural tour de force in marble that captures Pluto’s forceful abduction of Proserpina. Bernini turns stone into a vibrant narrative of motion: the intensity of action and the delicacy of form merge into a visually enthralling drama.

David (Gian Lorenzo Bernini, ca. 1623) – Room II

This marble sculpture portrays the biblical hero David just as he readies himself, loaded with youthful resolve, to confront Goliath. Marked by muscular tension and dynamism, it exemplifies Bernini’s baroque brilliance, highlighting courage and energy.

Aeneas, Anchises, and Ascanius (Gian Lorenzo Bernini, ca. 1617) – Room VI

A marble group celebrating familial bonds and the virtue of pietas, depicting Aeneas alongside his father Anchises and young Ascanius. Flowing composition and expressive faces evoke an aura of heroism and filial duty, reinterpreted through intense Baroque styling.

Baglioni Deposition (Raphael, ca. 1507) – Room IX

An oil painting illustrating the dramatic Baglioni deposition, balanced in its composition and expertly using light. The piece embodies the pathos and grace typical of the Renaissance, showcasing Raphael’s ability to convey profound emotions through painting.

La Fornarina (Raphael) – (not directly listed but presumably belongs among Raphael’s works if needed.)

Lady with a Unicorn (Raphael, ca. 1506) – Room IX

An oil painting depicting a noblewoman accompanied by a unicorn, symbol of purity and mystery. The elegant design and refined color palette cast the painting in an enchanting light, making it a clear manifestation of its symbolic significance and Raphael’s high artistic caliber.

Young Man’s Portrait (Raphael, 1503–1504) – Room IX

This oil painting portrays a young male figure, exalting his strength, nobility, and poise. Raphael merges a balanced composition with a subtle depiction of light, resulting in a portrait that embodies the Renaissance ideal of male beauty.

Preaching of St. John the Baptist (Paolo Veronese, ca. 1562) – Room XV

A large oil painting on canvas illustrating St. John the Baptist’s powerful sermon. Teeming with figures and brilliant colors, it conveys the fervor of the message and the saint’s presence—an emblem of Veronese’s capacity to transform religious subjects into majestic visual tableaux.

The Preaching of St. Anthony to the Fish (Paolo Veronese, 1580–1585) – Room XV

An oil painting on canvas showing Saint Anthony preaching to the fish—an extraordinary representation. Its dynamic composition and luminous color palette exemplify Veronese’s innovative approach, blending sacred and surreal elements in a captivating visual narrative.

Susanna and the Elders (Peter Paul Rubens, 1607) – Room XVIII

This oil painting dramatizes the biblical story of Susanna, accentuating her innocence amid the intrusion of onlookers. Rubens’ vibrant hues and dynamic figural arrangements impart a strong emotional force, making the scene an emblematic example of Baroque drama and sensuality.

Amalthea with the Infant Zeus (Gian Lorenzo Bernini, ca. 1620) – Room III

A marble sculpture representing Amalthea, the mythical goat who nursed the infant Zeus. Bernini imbues the animal with surprising realism and animated expression, bringing stone to life in a testament to his technical skill and flair for evoking vitality in marble.

Busts of Scipione Borghese (Gian Lorenzo Bernini, ca. 1625) – Room IV

A series of marble busts depicting patron Scipione Borghese. Detailed with striking realism, these portraits accentuate Borghese’s distinctive features and commanding personality, emphasizing the family’s prominence and the refined artistry of Baroque sculpture.

The Truth (Gian Lorenzo Bernini, ca. 1620) – Room XIV

A marble sculpture personifying Truth as a symbol of moral and intellectual purity. With balanced composition and intricate carving, the piece conveys authenticity and candor—a symbolic reflection on ethical ideals via art.

Bust of Pope Paul V (Gian Lorenzo Bernini, ca. 1620) – Room IV

A marble bust depicting Pope Paul V with understated gravity and accuracy. Highly detailed in both the visage and attire, it conveys papal majesty, reflecting Bernini’s ability to capture the subject’s essence and historical importance with consummate technical expertise.

Boy with a Basket of Fruit (Caravaggio, 1593–1594) – Room VIII

An oil painting on canvas portraying a young boy carrying a fruit basket. Caravaggio’s signature dramatic chiaroscuro lends the subject an intense, lifelike presence, transforming an everyday moment into a deeply affecting scene.

Sick Bacchus (Caravaggio, 1593–1594) – Room VIII

In this oil painting, Caravaggio depicts a languishing Bacchus. The raw expression of human frailty, underscored by marked contrasts of light and shadow, exemplifies the painter’s flair for capturing human vulnerability with realism and poignancy.

Madonna of the Palafrenieri (Caravaggio, 1605–1606) – Room VIII

An oil on canvas in which the Virgin Mary appears alongside the Palafrenieri, figures emphasizing her protective and sacred role. Intense lighting and Caravaggio’s realistic approach infuse the work with deep spiritual resonance, making it instantly recognizable.

St. Jerome Writing (Caravaggio, 1605–1606) – Room VIII

An oil painting depicting Saint Jerome in the throes of writing, symbolizing the pursuit of knowledge and spiritual contemplation. Its meticulous detail and dramatic use of chiaroscuro convey the saint’s solemn introspection and an aura of intimate reflection.

St. John the Baptist (Caravaggio, 1609–1610) – Room VIII

An oil on canvas of St. John the Baptist delivering a passionate sermon. Profound lighting and Caravaggio’s realistic detail highlight the prophet’s charisma, demonstrating the artist’s innovative approach to sacred depictions.

Leda with the Swan, copy from Leonardo da Vinci (Cesare da Sesto, ca. 1515–1520) – Room III

An oil painting produced as a reworking of Leonardo da Vinci’s famed original. Leda appears with a swan, symbol of divine intervention, in an elegant composition echoing Renaissance tradition; though its artistic merit chiefly derives from reinterpreting an iconic theme.

Danäe (Correggio, ca. 1531) – Room III

An oil painting capturing the mythological moment with Danäe portrayed in an intimate scene. Noted for its warm glow and sensuous depiction, the piece epitomizes Correggio’s skill at merging mystery and beauty into a visually compelling narrative.

Venus and Cupid with a Honeycomb (Lucas Cranach the Elder, ca. 1531) – Room IX

An oil on panel featuring Venus and Cupid, symbolizing sweetness and sensuality. Its harmonious arrangement and subtle coloring make the work immediately identifiable, combining mythological motifs with the distinct aesthetic of German Renaissance art.

Melissa (Dosso Dossi, ca. 1522–1524) – Room XV

An oil painting portraying the mythological figure Melissa in a richly hued and dynamic composition. Dosso Dossi imbues the scene with a sense of vitality and lightness, elegantly interpreting classical myths in a style foreshadowing Mannerist tendencies.

The Passionate Singer (Giorgione, ca. 1508–1510) – Room XX

An oil on panel depicting a young singer immersed in music. Soft lighting and a poetic ambiance create a delicate image, emblematic of Venetian Renaissance innovation and Giorgione’s subtle emotional resonance.

The Flute Player (Giorgione, ca. 1508–1510) – Room XX

An oil painting capturing a tranquil musical moment with a young man playing the flute, bathed in dreamy, luminous surroundings. The harmonized tones and balanced composition conjure a captivating mood typical of Giorgione’s refined artistic vision.

Madonna and Child between Saints Flavian and Onuphrius (Lorenzo Lotto, 1506) – Room IX

An oil on panel showing the Virgin with Child, flanked by Saints Flavian and Onuphrius. The sacred composition and careful detailing convey profound spirituality, highlighting Lotto’s sensitivity in depicting religious themes with intimacy and nuance.

Portrait of a Gentleman (Lorenzo Lotto, ca. 1535) – Room IX

An oil painting capturing a gentleman with particular attention to his persona and character. The precise details and understated presentation showcase the Renaissance approach to portraiture, fostering elegance and introspection in the subject.

The Pianerlotto’s Portrait (Parmigianino, ca. 1531) – Room IX

An oil painting in which Parmigianino’s elongated lines and delicate shading define the sitter’s features. Exemplifying Mannerism, the piece stands out for its stylish grace and skillful use of light, instantly marking it as an artistic gem of its era.

The Crucifixion between Saints Jerome and Christopher (Pinturicchio, ca. 1475) – Room IX

An oil painting depicting the Crucifixion framed by Saints Jerome and Christopher. Its balanced layout and painstaking detailing convey intense spiritual insight, typical of the Umbrian 15th-century tradition and Pinturicchio’s narrative flair.

Tobias and the Angel (Savoldo, ca. 1527) – Room XX

An oil painting featuring Tobias guided by an angel in a moment of deep spirituality. Subtle color schemes and an intimate composition create a contemplative atmosphere, highlighting the connection between the divine and humankind with great delicacy.

The Flight of Aeneas from Troy (Federico Barocci, ca. 1580) – Room VI

An oil painting portraying the dramatic escape of Aeneas from the ruins of Troy. Barocci’s dynamic composition and vibrant palette bring out the heroism and desperation of the protagonist, providing an immersive glimpse of this famous mythological episode.

Joseph Sold by His Brothers (Bacchiacca, ca. 1520) – Room IX

An oil painting illustrating the biblical moment when Joseph is betrayed and sold by his brothers. The scene underscores the anguish and heartbreak with purposeful composition, immediately signaling the theme of familial betrayal.

The Arrest of Joseph’s Brothers (Bacchiacca, ca. 1520) – Room IX

Here, Bacchiacca depicts the instant Joseph’s brothers are arrested, emphasizing the moment of divine justice. The lifelike facial expressions and tension in the figures convey the dramatic urgency of the episode, exemplifying the vigor of Renaissance storytelling.

The Search for the Stolen Cup (Bacchiacca, ca. 1520) – Room IX

An oil painting capturing the frantic quest for a missing cup. The composition focuses on the characters’ gestures and expressions of alarm, guiding our gaze toward the center of the narrative with a skillful manipulation of lighting.

Finding the Stolen Cup in Benjamin’s Sack (Bacchiacca, ca. 1520) – Room IX

An oil on panel portraying the surprising discovery of the stolen cup in Benjamin’s sack. The painting accentuates the contrast between bewilderment and relief upon the cup’s location, using adept control of volumes and light to heighten the scene’s climax.

These artworks represent only a fraction of the treasures held within the Borghese Gallery, which remains a key destination for art and history enthusiasts worldwide.