Villa Albani. The Villa Albani is a villa in Rome, built at the Via Salaria for Cardinal Alessandro Albani, between 1747 and 1767 by the architect Carlo Marchionni on the basis of a project heavily influenced by key figures such as Giovanni Battista Nolli, Giovanni Battista Piranesi and Johann Joachim Winckelmann to house the prestigious collection of antiquities, curated by the latter, of Cardinal Alessandro Albani.
A dream of classicism, the Villa has been conserved intact right up to the present day, thanks to the passion for collecting antiquities of several generations of the Torlonia Family who bought it in 1866, bringing back luster and prestige to this precious jewel of neoclassical architecture, to the point that in 1870, the treaty following the Capture of Rome from the Papal States was signed here. Planned in 1743, the building of the villa began in 1747 according to Giuseppe Vasi and was celebrated as complete in 1763.
Its purpose was to house Cardinal Albani's evolving and renewed collections of antiquities and ancient Roman sculpture, which soon filled the casino that faced the Villa down a series of formal parterres. The villa with its collection, fountains, statues, stairways and frescoes, and Italian-style garden, the hemicycle of the Kaffeehaus, constitutes a sublime testimony of that particular antiquarian taste which came to the fore in mid-18th-century, that for which Ro
A dream of classicism, the Villa has been conserved intact right up to the present day, thanks to the passion for collecting antiquities of several generations of the Torlonia Family who bought it in 1866, bringing back luster and prestige to this precious jewel of neoclassical architecture, to the point that in 1870, the treaty following the Capture of Rome from the Papal States was signed here. Planned in 1743, the building of the villa began in 1747 according to Giuseppe Vasi and was celebrated as complete in 1763.
Its purpose was to house Cardinal Albani's evolving and renewed collections of antiquities and ancient Roman sculpture, which soon filled the casino that faced the Villa down a series of formal parterres. The villa with its collection, fountains, statues, stairways and frescoes, and Italian-style garden, the hemicycle of the Kaffeehaus, constitutes a sublime testimony of that particular antiquarian taste which came to the fore in mid-18th-century, that for which Ro
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