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Published online by Cambridge University Press: 21 April 2011
Cardinal Alessandro Albani was probably the most renowned collector of antiquities in eighteenth century Italy. His Roman villa, planned to display them, was built at various dates here discussed in the light of Albani's antedecents, upbringing and career as diplomatist, antiquary and amateur architect. The stylistic origins of the villa are considered together with its influence on later architects, notably Percier and Fontaine and the brothers Adam. Excerpts are given from the course of visits to Roman sites by the cicerone James Byres which illustrate the climate of informed opinion on architecture in late eighteenth-century Rome, where the works of the Cardinal's painter Mengs and librarian Winckelmann were receiving wide acclaim.
1 See Society of Antiquaries of London Minute Book, Vol. VIII, 13 January 1757 to 20 May 1762, pp. 319–20, 5 February 1761: ‘A Letter from our worthy Member Mr. Jenkins … was read. Mr. Jenkins, herein, … begs leave to lay before the Society the Request for membership of the Society by Mr. John Winckelmann, Antiquary to the King of Poland, Librarian to Cardinal Alexander Albani.’ On 9 April 1761, p. 343, Winckelmann was ‘duly elected an Honorary Fellow of this Society.’ On 21 May 1761 a testimonial signed by seven Fellows of the Society was presented recommending ‘His Eminence Cardinal Alexander Albani to be elected an Honorary Fellow of this Society, of which he is said to be desirous; and from his high Rank, distinguished Abilities, and Affection to the British Nation, which has remarkably appeared by his Civilities to British Travellers and Artists at Rome, is certified as likely to prove a most useful and valuable Member.’ On 19 November 1761 he was duly elected.
2 To Winckelmann's letter to the Society is appended a summary, extending to five and a half pages, of the second part of the Description, entitled Observations on the Works of the Egyptian Etruscan and Grecian Artists. This would seem to be a preliminary essay paving the way for his Geschichte der Kunst des Altertums.
3 von Kotzebue, A., Travels through Italy in the years 1804 and 1805, 4 vols. (London, 1806), iii, 193–4Google Scholar.
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5 Meyer, F. J. L., Voyage en Italie (Paris, 1801), 217Google Scholar.
6 Fleming, J., Robert Adam and his Circle in Edinburgh and Rome (London, 1962), 297–8Google Scholar.
7 Bianchini, F., Storia universale provata con monumenti e figurata con simboli degli antichi (Rome, 1697)Google Scholar.
8 Gradara, C., Pietro Bracci Scultore Romano, 1700–1733 (Milan, 1920), 99Google Scholar.
9 Kettner, H., Die Bildwerke der Königlichen Antikensammlung zu Dresden (Dresden, 1856), 5–6Google Scholar.
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11 Lewis, L., Connoisseurs and Secret Agents in Eighteenth Century Rome (London, 1961), 83, 117, 137Google Scholar.
12 Letter to Count Bunau, 14 March 1761, quoted by Berliner, R., ‘Zeichnungen von Carlo und Filippo Marchionni, Ein Beitrag zur Kunst und Kulturgeschichte Roms im 18. Jahrhundert’, Münchner Jahrbuch der bildenden Kunst (1958/9)Google Scholar; Rehm, W. (ed.), Winckelmann: Briefe, 4 vols. (Berlin, 1952–7), 11, letter 126Google Scholar.
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14 Nolli, G., Pianta di Roma (Rome, 1748)Google Scholar.
15 Architettura di Carlo Marchionni Scultore ed Architetto Romano 1778, drawing no. 84: ‘Disegno di una scala da farsi … quale deve scendere dal Giardino delle due Portici al sito basso nuovam [en] te preso dal Se Abbate della Porta disegnata da me Carlo Marchionni il di Agosto 1751 et approvata da S.E. Pr[incip]e in d[ett]o di.’
16 J. Parkinson, ‘Italian Tour’ (MS diary inherited by Mrs Robinson of East Ravendale, Lines.), entry for 29 March 1784.
17 C. Marchionni, op. cit. (note 12): ‘Prima idea del Palazzo alia villa del Emo' Alessandro Albani da situarsi vicino l'ingresso e da unirsi con un braccio con il Vecchio Casino replicandone al altraparte verso Serlupi e poi non eseguito.’
18 Franck, C. L., The Villas of Frascati (London, 1966), 57–72Google Scholar.
19 Vasi, op. cit. (note 13), xxv. See also M. Vasi, Itinerario istruttivo di Roma, 2 vols. (Rome, 1791), I, 252: ‘Da se stesso fece i disegni, tanto del casino, che di tutta la villa, i quali furono eseguiti colla direzione di Carlo Marchionni.’ Rossini, Pietro, Il Mercurio errante delle Grandezze di Roma, 2 vols. (Rome, 1776)Google Scholar, 11,509:‘… fu acquistata dal Signor Cardinal Alessandro Albani … il quale … l'ha ridotta da se e senza l'ajuto di alcuno Architetto a delizia, con quel buon gusto, che ora si scorge.’
20 Strocchi, D., De vita Alexandri Albani Cardinalis (Rome, 1790), 32–3Google Scholar: ‘Illud quoque perspicacissimi Alexandri ingenii signum sit, quod dum ceteroquin ab aedificiorum praestantia primum Architectus, deinde dominus commendatur, hujus aedificii laus in dominum prius in Architectum conferat. Profecto si hujus arbitratui permissa omnino fuisset operis inventio, haud earn (non enim celandum est) intueremur aedium elegantiam, cujus ipse Alexander hortator fuit, et auctor. Ille porticum nobilissimam, quodque exadversum sinuatur, lepidissimum hemicyclium excogitavit, seu potius ab antiqua ilia nee insolenti aedificiorum indole in villam suam traduxit. Quod sicubi a delicato quorumdam fastidio nonnihil, quod tantillum a pulchritudine discedat, hic deprehendatur, sic colligendum est, non semper potuisse Alexandrum assurgentes subinde, et erumpere gestientes Architecti inficietas coercere, ita ut quodcumque huic aedificio et pulchrum, et elegans inest ab ipso Alexandro profectum sit, quod reliquum est et modicum sane, et ignoscendum Architecto indulgeatur.’
21 de Brasses, C., Lettres d'Italie, 2 vols. (Dijon, 1927), ii, 231Google Scholar.
22 M. Vasi, op. cit. (note 19), 1,252: ‘il piu insigne di tutti gli altri bassirilievi di questa villa.’
23 Goethe, J. C., Viaggio in Italia, 2 vols. (Rome, 1932–3). i, 267Google Scholar.
24 Franck, op. cit. (note 18), 68.
25 Ibid., 133.
26 Fleming, op. cit. (note 6), 164–5, 195, 227, 230.
27 R., and Adam, J., The Works in Architecture of Robert and James Adam, 3 vols. (London, 1778–1822), 1Google Scholar (3), pi. 7, and 11 (4), pl. 7.
28 Percier, C. and Fontaine, P. F. L., Choix des plus célèbres Maisons de Plaisance de Rome et des Environs (Paris, 1809)Google Scholar, 1, 4, 6, 7, 9, 11, 13, 15, 18, 20, 23, 26, 30.
29 Ibid., 30, chap, headed ‘Villa et Palazzo di Caprarola’.
30 Lazzari, F., Recueil de Décorations Intérieures comprenant tout ce qui a rapport à l'ameublement composées par C. Percier et P. F. L. Fontaine (Venice, 1843)Google Scholar.
31 Percier and Fontaine, op. cit. (note 28), 15, chap, headed ‘Villa Madama’.
32 Percier, C. and Fontaine, P. F. L., Résidences des Souverains (Paris, 1833), pl. 43Google Scholar.
33 Lazzari, op. cit. (note 30), pl. xiv and p. 40, ‘Vue et détails d'une chambre à coucher exécutée à Paris … le piédestale, isolé à la tête du lit, est une armoire où se renferment les effets de nuit.’
34 Salerno, L., Palazzo Rondinini (Rome, 1965), 189–274Google Scholar.
35 Honisch, D., Anton Raphael Mengs und die bildform des frühklassizismus (Recklinghausen, 1965), 65–6Google Scholar.
36 Parkinson, op. cit. (note 16), entry for 6 March 1784.
37 Ibid., entry for 10 March 1784.
38 Ibid., entry for 6 March 1784.
39 Ibid., entry for 8 March 1784: Santa Maria Maggiore, Santa Bibiana and St John Lateran.
40 Ibid., entry for 11 March 1784.
41 Public Record Office State Papers, Tuscany: SP 105/315, fo. 547 (21 April 1764); fo. 551 (25 April 1764).