The History of Palazzo Barberini: from Construction to the Present Day

If you are in Rome, in the heart of the eternal city, you will have heard at least once about Palazzo Barberini, one of the finest examples of Roman Baroque. Now home to the National Galleries of Ancient Art, along with Palazzo Corsini, this extraordinary building tells a story of art, power and social transformation.

Commissioned by Pope Urban VIII ( Barberini family), Palazzo Barberini was built by the greatest artists of the time-Carlo Maderno, Gian Lorenzo Bernini and Francesco Borromini. Created as a sumptuous noble residence, the palace became a symbol of the Barberini family’s prestige over the centuries and today houses an important collection of masterpieces.

But to fully understand the history of the National Galleries of Ancient Art, it is impossible not to also mention Palazzo Corsini. Dating back to the 16th century, this palace became the Roman residence of Queen Christina of Sweden in the 17th century and was transformed into an important cultural center. In the 18th century it was acquired by the powerful Corsini family, linked to Pope Clement XII.

These two palaces, once the expression of aristocratic and papal power, are now the custodians of a priceless artistic heritage. Read on to discover the history of Palazzo Barberini, its transformations over the centuries and its connection with Palazzo Corsini, two places that still tell the story of the charm of Baroque Rome

The history of Palazzo Barberini

Origins and historical context (1623-1625)

The history of Palazzo Barberini began in 1623, when Florentine Cardinal Maffeo Barberini was elected pope under the name Urban VIII.

Urban VIII is not only a pontiff, but an ambitious man, a patron of the arts and a skilled politician. He wants to make his mark on Rome and consolidate his family’s power. To do so, in 1625, he buys a villa on the Quirinal Hill that belonged to the powerful Sforza family.

But the pope is not satisfied with a simple villa: he wants a monumental residence, a symbol of the Barberini‘s greatness. To build it, he chose one of the most talented architects of the time-Carlo Maderno, known for his work on St. Peter’s Basilica.

Maderno ‘s design is innovative: instead of demolishing the old villa, he incorporates it into the new construction, transforming it into an imposing palace. The goal is clear: to create a residence that is not just an aristocratic mansion, but an authentic manifesto of Barberini power.

From project to Roman Baroque masterpiece (1625-1639)

Between 1625 and 1639, the construction of Palazzo Barberini involved three names destined to mark the history of architecture forever: Carlo Maderno, Gian Lorenzo Bernini, and Francesco Borromini.

Carlo Maderno, the first person in charge of the building site, drew an initial design that was very classical, but with a unique insight: an H-shaped structure, absolutely innovative for the time. Maderno’s idea is to integrate the old Sforza villa with two new parallel wings connected by a central body. In doing so, he manages to frame a large Italian garden, decorated with rare plants and hidden courtyards.

After Maderno’s death in 1629, the site passed into the hands of the young and brilliant Gian Lorenzo Bernini, a protégé and protégé of Urban VIII. Bernini gave the project an even bolder edge: he designed the large central hall, planned the spectacular square-well staircase, and embellished the main facade with an elegant glazed loggia.

At the same time, Bernini enlisted the collaboration of another extraordinary talent, Francesco Borromini, with whom he would have a relationship marked by competition and rivalry. It was Borromini himself who created one of the most spectacular and famous elements of Palazzo Barberini: the oval spiral staircase, a true architectural jewel, characterized by twin columns and sinuous forms.

The interior of the palace is embellished by Pietro da Cortona ‘s majestic fresco of the “Triumph of Divine Providence” (created between 1632 and 1639), a grandiose work that celebrates the glory of the Palazzo Barberini family with more than a hundred figures depicted in an extraordinary “from underneath up” perspective.

With the last decoration completed in 1639, Palazzo Barberini is no longer just a residence, but becomes the very symbol of Roman Baroque: a masterpiece where architecture, sculpture and painting merge into a total work of art.

Center of culture and entertainment in the seventeenth century

During the seventeenth century, Palazzo Barberini was not only a noble residence, but became an authentic cultural and artistic hub of Rome. The Palazzo Barberini family, with the support of Pope Urban VIII, transformed the palace into a place where the Roman nobility gathered to attend exclusive events: theatrical performances, musical operas and intellectual meetings.

In 1632, the famous Palazzo Barberini Theater was inaugurated inside the palace, a space dedicated to the city’s most spectacular performances. This theater became famous for its magnificence, thanks in part to the grandiose sets created by Bernini himself. Important works such as Stefano Landi ‘s “St. Alexius” and Michelangelo Rossi‘s “Erminia on the Giordano” are staged here, as well as numerous plays written by poet and future pope Giulio Rospigliosi.

The theater was known for the technical and scenic complexity of its performances: spectacular stage machinery, special effects and innovative music regularly amazed audiences, making Palazzo Barberini one of the main cultural references of the time.

But there was more than theater: the Barberini residence was frequented by artists, musicians, poets and intellectuals from all over Europe. Thanks to the patronage of Urban VIII, personalities such as Bernini, Borromini and Pietro da Cortona found in the palace a stimulating environment to create extraordinary and innovative works, contributing to the cultural prestige of the papal family.

Palazzo Barberini thus became not only a symbol of power, but also the beating heart of seventeenth-century Roman cultural life, contributing to making the Eternal City the artistic center of Europe.

Decadence of the Palazzo Barberini family and transformations of the palace (1700-1800)

From the eighteenth century, the Barberini family’s prestige and political power slowly began to weaken. After the death of Urban VIII, in fact, the Barberinis faced economic and political difficulties that gradually removed them from the center of Roman life.

The palace itself underwent some transformations, reflecting the changing taste and artistic culture of the time. In the first half of the eighteenth century, the last direct heir, Cornelia Costanza Barberini, had a refined Rococo-style apartment built on the top floor of the Palazzo Barberini, a symbol of an era that was now moving away from the grandeur of the Baroque.

With the family’s economic decline, the celebrated art collections gathered by the Barberini family during the pontificate of Urban VIII also began to dissipate. Extraordinary works by artists such as Caravaggio, Guido Reni, Poussin, and many others left Rome to enrich private collections throughout Europe and overseas.

Despite this slow decline, the Barberini family continued to live in the palace until 1955, but without the political and cultural influence that had characterized their heyday. The mansion that was once a symbol of prestige gradually transformed into a more private space, far removed from the social and cultural life of the city.

It would not be until the mid-20th century that the palace would see a rebirth, this time not as a private residence, but as a prestigious museum venue open to all.

If you would like to visit Palazzo Barberini and find out how it has changed over the centuries, see our tickets page for information on admission and all available products related to the National Galleries of Ancient Art.

The Story of Palazzo Corsini

From the foundation to the palace of Queen Christina (1511-1689)

The history of Palazzo Corsini begins much earlier than its present name, dating as far back as 1511. It was in that year that Cardinal Raffaele Riario decided to build a stately residence along Via della Lungara, in the heart of Trastevere, one of the most picturesque areas of Rome.

The historical turning point came in 1655, when the famous Queen Christina of Sweden, after converting to Catholicism, settled permanently in Rome. It was here, in the building that would later become Palazzo Corsini, that Cristina decided to create a lively cultural and artistic center, frequented by intellectuals and artists from all over Europe.

Between 1659 and 1689, the queen made major architectural changes to the palace, adapting it to her lifestyle and artistic passions. She had spaces dedicated to her personal collection of statues and paintings made, transforming the main floor into a sumptuous gallery. Even today it is still possible to visit the famous Queen’s Alcove, one of the most striking rooms in the palace, with original decorations from the 16th century.

During these years, Christina of Sweden’s court became famous for being a place open to culture and intellectual discussion. Artists, poets, philosophers and scientists regularly met in its halls, making the palace an authentic point of reference for seventeenth-century Rome.

After the queen’s death, the building went through a transitional phase, but it was not until the eighteenth century that it returned to its heyday, with the arrival of the powerful Florentine Corsini family.

The age of the Corsini and the eighteenth-century revival (c. 1736-1780)

The history of Palazzo Corsini came into its own in 1736, when the property was purchased by the very wealthy Florentine Corsini family after the election to the papacy of Cardinal Lorenzo Corsini, who took the name Clement XII.

The Corsini family did not simply want a Roman residence, but one that would reflect the prestige and power derived from their ascension to the papal throne. To realize this ambitious project they called one of the greatest architects of the time to Rome: Ferdinando Fuga.

Fuga radically transformed the palace, keeping part of the original structures but expanding it with a new mirror wing and creating a majestic central body. The result is a magnificent residence, with an elegant, linear façade facing Via della Lungara, and a rear overlooking a large garden extending to the slopes of the Janiculum Hill.

In these years the palace became one of the main symbols of Roman cultural life in the 18th century. Inside, the Corsini family gathered an extraordinary art collection that includes masterpieces by great Italian and foreign artists such as Caravaggio, Guido Reni, Rubens, van Wittel, and many others. The collection is considered one of the finest and most important in Rome.

Art is not the only strength of the palace: thanks to the Corsini, it also became a meeting place for nobility, diplomats and intellectuals, thus consolidating the family’s role in the Roman elite.

Today the Corsini Gallery still retains much of the original 18th-century collection, allowing you to experience the unique experience of an authentic 18th-century Roman picture gallery.

Toward a united Italy: from noble power to the state (19th century)

The19th century brings great transformations for both Palazzo Barberini and Palazzo Corsini. This was the century in which Rome approached the Unification of Italy and became the capital of the new Italian state, with social and political changes that also involved the noble families that had dominated the Roman scene in previous centuries.

In the case of the Corsinis, in 1883, Prince Tommaso Corsini decided to sell Palazzo Corsini and donate the family’s entire art collection, rich in extraordinary works, to the Italian state. Thus was born the first Italian National Gallery, which officially opened its doors to the public in 1895, marking a crucial moment for Italian culture.

The fate of Palazzo Barberini, however, is more complex. Throughout the 19th century, the prestigious Barberini collection suffered severe losses: many works were sold or dispersed, ending up in the private collections of half of Europe and the United States. Despite this artistic impoverishment, the palace retained its historical and architectural value, still remaining the property of the family.

With Rome becoming the capital of Italy (1871), the area around Palazzo Barberini was also involved in new building speculation and a profound urban transformation, which radically changed its original context. Part of the splendid Baroque gardens was sacrificed to make way for new ministerial buildings along what is now Via XX Settembre.

These changes mark the definitive transition of the two palaces from symbols of Roman aristocratic power to the heritage of the Italian state, destined to become an integral part of national cultural memory.

Palazzo Barberini and Corsini in the 20th century (1900-1955)

The twentieth century brings new challenges for Palazzo Barberini and Palazzo Corsini. It is a century marked by great political and social changes, during which the two buildings find a new identity as places of culture open to the public.

In 1949, after lengthy negotiations, the Italian state officially acquires Palazzo Barberini from the descendants of the family. The intention was clear: to make it a prestigious museum venue, capable of housing and enhancing the growing collections of the National Gallery of Ancient Art, already present in Palazzo Corsini. However, for many years, the project encountered logistical and bureaucratic difficulties, mainly due to the presence of the Armed Forces Officers’ Club, which occupied part of the palace until the 1990s.

Meanwhile, Palazzo Barberini is also the scene of an important political event: in 1947, the famous split of the Socialist Party, led by Giuseppe Saragat, took place in its halls, leading to the birth of the Italian Democratic Socialist Party. A commemorative plaque on the facade of the palace still commemorates this significant historical moment.

As for Palazzo Corsini, the situation is different. Already open to the public since 1895, the palace continues to house the first National Gallery of Ancient Art, but during the 20th century it becomes evident that the exhibition spaces are not sufficient to accommodate the growing collection. This led to the strategic decision to also use Palazzo Barberini as a complementary exhibition venue, creating a unified project between the two museums.

Finally, in 1953, Palazzo Barberini also opened its doors to the public as a museum venue, thus beginning a new phase in its history, entirely dedicated to the enhancement of the Italian artistic heritage.

The National Galleries of Ancient Art (1955-present)

From 1955 to the present day, Palazzo Barberini and Palazzo Corsini have found a new and definitive vocation, becoming the heart of the National Galleries of Ancient Art in Rome.

These two buildings, once private residences of the Roman nobility, now house one of the most prestigious museum collections in Italy. Palazzo Barberini, after the complex phase of recovery of the spaces occupied by the Circolo Ufficiali, has seen a long period of restoration and renovation. It was only in 2006 that the entire palace was finally returned to the public in its entirety, allowing many works that had long remained in storage to be exhibited.

Palazzo Barberini ‘s collection is now organized chronologically, offering a comprehensive tour of masterpieces of Italian and European painting from the 13th to the 18th century. Here you can admire extraordinary works by artists such as Raphael, Caravaggio, Bernini, Guido Reni, Guercino, and many other great masters.

Palazzo Corsini, on the other hand, still preserves the original 18th-century picture gallery intact, offering visitors the unique experience of seeing a historical collection that has remained virtually unchanged since the time of the Corsini family. Here, works by Caravaggio, Rubens and van Wittel immerse you in the elegant and refined atmosphere of eighteenth-century Rome.

Since 2015, thanks to Minister Dario Franceschini‘s reform, the National Galleries of Ancient Art have undertaken a major modernization and enhancement effort, with new displays, events and temporary exhibitions. This process has transformed the two palaces into dynamic and innovative museums, ready to offer visitors an increasingly immersive experience.

Today, Palazzo Barberini and Galleria Corsini represent an essential point of reference for those who want to discover and delve into the history of Italian art and culture, with an eye always turned to the future.

Want to know how you can visit both in the same day? Read our article on how long a visit to Palazzo Barberini and Galleria Corsini lasts.

Conclusion

Today, Palazzo Barberini represents more than just a museum: it is a living place, rich in history, capable of recounting centuries of social, political and cultural transformations of the city of Rome and of Italy as a whole.

By visiting it you can get directly in touch with the events of the Barberini family, discover their extraordinary artistic collection and admire absolute masterpieces by great masters such as Caravaggio, Bernini, Raphael and many others.

But most of all, as you explore its rooms, you will immerse yourself in the fascinating history of a Rome that was the capital of the Baroque, the cradle of artists and patrons, and the beating heart of an ever-evolving European culture.

If you want to live this unique experience, visit the tickets page, where you will find all the information you need to access the National Galleries of Ancient Art and learn about exclusive products dedicated to Palazzo Barberini.