The Art Institute of Chicago Quick Itinerary for Caravaggio Lovers
The Art Institute of Chicago is world renowned for having many masterpieces. Unfortunately, it is not currently home to a painting by Caravaggio. However, the Art Institute now boasts a painting by each of the 4 most famous Spanish Baroque artists (aka “Spanish Golden Age” of Painting). This itinerary will show you those masterpieces as well as a few others that have been influenced by Caravaggio.
Last Updated 3/6/2025
Overview
The Art Institute of Chicago is world renowned for having many masterpieces. Unfortunately, it is not currently home to a painting by Caravaggio. However, the Art Institute now boasts a painting by each of the 4 most famous Spanish Baroque artists (aka “Spanish Golden Age” of Painting). This itinerary will show you those masterpieces as well as a few others that have been influenced by Caravaggio.
Before you go
Ensure the Art Institute of Chicago (AI) is open on your desired day. They are generally closed on Tuesday and Wednesday.
You do not have to buy tickets in advance, it is typically not very busy unless there is a new exhibit that is extremely popular. To be safe, I do recommend buying tickets in advance on the AI website.
If you need to buy parking I recommend parking in the Millennium Park Garage North. You can get a discounted rate through ParkWhiz, SpotHero or other parking apps. Try to park as far south as you can in the garage and when you walk out of the garage you will be near Monroe and Michigan and close to the AI entrance.
Itinerary
The Entrance
Enter the building at the Michigan Ave entrance, if you don’t have tickets, you can purchase them on your left. With tickets in hand you can proceed further into the building where they will be scanned. Once your tickets are scanned continue walking into the building towards a large staircase in the center. Walk up the first flight of stairs and turn right to climb the next flight on your right.. Enter the door to room 213, turn left and head down the hall to room 211 at the end of the hall.
Penitent St. Peter (c.1628) Ribera
As you walk in the room, on the back wall you will find “Penitent St. Peter” (c.1628) by Jusepe de Ribera. This piece truly captures Saint Peter's intense sorrow and penitence through his detailed facial expression and teary eyes. Ribera's masterful use of light and shadow draws attention to the saint's face and hands, creating a dramatic contrast with the dark background. Pay attention to the symbolic elements, such as the saint’s hand position and the textures of his clothing, which reflect the themes of repentance and humility. These details contribute to the painting's narrative and mood.
Fun Fact - Ribera was a Spanish “Golden Age” painter that studied in Rome during the height of Caravaggio’s influence and this influence is clearly shown in "Penitent St. Peter.”
Ecstasy of St. Francis (c.1601 ) Baglione
To the left of St. Peter is Baglione’s “Ecstasy of St. Francis.” In this painting we see St. Francis reaching a state of ecstasy after deep meditation on Jesus’ cross and crown of thorns. Luckily for St. Francis, an angel catches him as he falls backward. Baglione portrays this moment in time with the expression of spiritual rapture on St. Francis's face, the heavenly light illuminating the scene and highlighting his connection to the divine, and the dramatic use of chiaroscuro to create depth and emphasize the mystical atmosphere. These elements combine to convey the profound spiritual experience depicted in the painting.
Fun Fact - Baglione competed with Caravaggio for important commissions in Rome at the turn of the 17th century. He incorporated Caravaggio’s style for many of his paintings much to the chagrin of Caravaggio. Baglione took Caravaggio to court over some derogatory poems that he accused Caravaggio of writing and circulating around Rome. Caravaggio was found guilty and spent two weeks in jail. Baglione went on to be Caravaggio’s first biographer and while his disdain for the artist is plain, the text serves as the foundation for almost everything we know about Caravaggio today.
The Resurrection (c 1619) Cecco Del Caravaggio
Moving to the left, you will find a massive painting by Francesco Buoneri aka Cecco del Caravaggio. “The Resurrection” (c. 1619-1620) was commissioned for a family chapel in Florence. The painting was rejected and then acquired by Cardinal Scipione Borghese. The painting depicts the moment that Christ rises from the tomb. You can see the angel has moved the stone from the entrance of the tomb and the guards in various states of disbelief and fear. The guard in the forefront was apparently awoken by the angel and started to pull his sword from his sheath but was too overwhelmed and passed out. The angel is pointing to the top left of the painting and that is where the guards are also looking. The top left of the painting is the source of light; you can imagine what the guards are looking at, it may be God Himself. Jesus is also pointing up and to the left as if to remind us that anything is possible through God.
Fun Speculation - There has been much speculation about the relationship between Cecco and Caravaggio, but there are few facts. Cecco may have been a model and student of Caravaggio. It is thought that Cecco served as the model for Caravaggio’s “"Love Conquers All” and one of the John the Baptist paintings. It is even thought that Cecco fled with Caravaggio to Naples after the unfortunate murder of Tomassoni. Whatever their relationship, no one doubts the influence that Caravaggio had on Cecco.
Cupid Chastised (1613) Manfredi
Continue to the left to find Bartolomeo Manfredi’s “Cupid Chastised” (1613). This painting depicts a scene of Mars beating Cupid while Venus tries in vain to stop him. Mars is punishing Cupid for having caused his affair with Venus. Observe Mars’ physicality and dominance, and contrast with Cupid’s vulnerability and submissiveness.
This painting is so Caravaggesque that when the Art Institute of Chicago acquired this painting as part of the Charles H. and Mary F. S. Worcester Collection it was labeled simply as “School of Caravaggio.” Soon after the piece was featured in a 1951 Caravaggio exhibition in Milan, the label was updated to reflect attribution to Manfredi.
Fun Fact - The physician, art collector and author - Giulio Mancini had asked Caravaggio to paint “Cupid Chastised” for him, but Manfredi offered a better price for the painting so Mancini gave the commission to him. There is an alternate version of this story that says that Caravaggio did paint a “Cupid Chastised” for Manfredi, but Cardinal del Monte took it (as Cardinals do), so Mancini then commissioned Manfredi to paint a “Cupid Chastised” for him. The supposed del Monte “Cupid Chastised” is lost today. Either way, we are lucky to have this masterpiece at the Art Institute of Chicago.
Saint Romanus of Antioch and Saint Barulas (1638) Zurbarán.
Continuing to the left, against the back wall is an intriguing painting by a Spanish painter, Francisco de Zurbarán. “Saint Romanus of Antioch and Saint Barulas” (1638) depicts the martyr St. Romanus holding his tongue, which his tormentors cut out, while holding a book open to a page that begs God for intercession on behalf of the faithful. Looking up at him is 7 year old St. Barulas who was also martyred with St. Romanus.
Sad Fact: Only eight years after the brutal killings of St. Romanus and St Barulas, Emperor Constantine legalized Christianity which significantly reduced the persecution of Christians in the Roman Empire.
The Crucifixion (1627) Zurbarán
In the center of the wall is a breathtaking piece. “The Crucifixion" (1627) also by Francisco de Zurbarán. The black background and amazing detail on Jesus’ body and loin cloth make this painting feel three dimensional. It is unknown if Zurbaran ever saw Caravaggio’s paintings, but looking at this piece, it is hard to believe he had not.
Fun Fact: Francisco de Zurbarán took inspiration from Juan Sánchez Cotán, the master of Spanish Baroque still-life painting. Cotán’s dramatic tenebrism (use of light and shadow), in his bodegones (still life painting of pantry items) , shaped Zurbarán’s own iconic style. On the opposite wall of the Crucifixion, you will find the Art Institute’s oldest European still life “Still Life with Game Fowl” by Cotán.
“Behold the Lamb of God” (c.1655) Murillo
Estaban Murillo Ecce Agnes Dei (c.1655) “Behold the Lamb of God” depicts adult John the Baptist and Jesus together. John the Baptist has his traditional iconography of being barefoot with camel skin clothing, staff with cross and red cloak as well as gesturing toward Jesus. Jesus is standing humbly with his purple cloak. It is fairly unique to show Jesus and his cousin John the Baptist as adults, it is one of four paintings that Murillo did for a church in Seville that described the life of John the Baptist. It is speculation on our part, but I think Jesus has been recently baptized by his cousin and is ready to head into the desert before beginning his ministry. His purple cloak indicates that he is preparing for his ministry and ultimately, his crucifixion.
Fun Fact: Above Jesus is a Latin phrase that means: “All would believe through him.” above an eagle, the representation of the St. John the Evangelist. Above St. John the Baptist a Latin phrase that means: “This man will be great before the Lord.” above a bull, the representation of St. Luke.
Saint John the Baptist in the Wilderness (c. 1622) Velázquez.
Turn around completely and against the back wall you will see our next painting, “Saint John the Baptist in the Wilderness” (c. 1622) by Diego Velázquez. Velázquez is the most famous painter of the Spanish Golden Age and strongly influenced impressionism and realism in the 19th century.
Growing up in Seville, Velazquez had not seen Caravaggio’s paintings first hand at the time he painted this piece. It is thought he may have seen copies though, as it's hard to deny the tenebrism at work in this painting.
In this painting, we see St. John the Baptist with the requisite symbols: wilderness setting, the staff with the cross, the camel hair clothing and the lamb. Unique in this depiction is the inclusion of the purple drapery. Purple is associated with preparation in the Catholic and could be another indication of St. John’s role of preparing us for the coming of Jesus.
Fun Fact: Velázquez was an extremely unique painter in that he never specialized in any particular type of painting and his repertory includes all the major thematic fields of Baroque art including portraiture, female nudes, mythological and sacred history paintings and the great allegories. Additionally, Velázquez upheld human dignity like no one before him - he frequently painted portraits of dwarves and court fools and imbued them with an undeniable dignity and did so with no hint of mockery.
This concludes our quick tour of the Art Institute of Chicago for Caravaggio lovers. While there are no Caravaggios, there are four of the greatest Spanish Baroque artists (Velazquez, Murillo, Zurburan and Ribera) all in one room, which is absolutely fantastic.
The El Greco is currently on Loan to the Prado in Madrid.
The Assumption of the Virgin (c.1577) El Greco
“The Assumption of the Virgin”(c.1577) by El Greco, is not a baroque painting, but the mannerist style was influential to the Baroque period, especially in northern Italy.
El Greco’s style with elongated and monumental figures is unmistakable even in this painting which is from early in his career.
Fun Fact: El Greco’s work was generally unappreciated by his contemporaries; he had no notable followers and his work was rarely copied. It was only in the 20th century that he was recognized as a genius and true innovator.
This concludes our Art Institute of Chicago quick Itinerary for Caravaggio Lovers. Let us know in the comments below what you think!
The Louvre Quick Itinerary
The Louvre, located in Paris, France, is the world's largest and one of the most famous art museums. Originally a royal palace, it became a public museum in 1793. The Louvre's vast collection spans thousands of years, featuring artworks from ancient civilizations to the 19th century. The museum is divided into eight departments, showcasing a diverse range of art and artifacts. With its rich history and immense collection, the Louvre remains a beacon of art and culture.
There are literally thousands of Baroque works housed in the Louvre, our quick visit itinerary hits most of the famous baroque pieces (with some additional pieces) in under 1 hour. The full visit itinerary (coming soon) will take about 4 hours but will visit nearly all the rooms with Baroque works.
Overview
This quick Itinerary will get you in and out of the Louvre in under an hour while still taking in the most important Baroque paintings and some bonus works.
Before you go
Ensure your desired galleries are open by checking the Louvre website.
To search for Caravaggio use the term “Caravage”
To search for Caracci use the term “Carrache”
Buy your tickets for as early in the day as possible.
Itinerary
The Entrance
Arrive at the Pyramid entrance near your scheduled entrance time. They will have separate lines for the various times of day, so be sure to find the correct line. Security will check your bags as your enter and take the escalators down to level -2. Once you are on level -2 you can pick which wing of the museum you’d like to enter. Find the “DENON ENTRANCE” and get in line where they will scan your tickets and you will take an escalator back up to level 0.
Love and Psyche (c.1793) Canova
Immediately on the left when you enter the “Sculptures/ Europe “ room 403, we find our first piece on the itinerary. This first stop is a bonus as Canova is not a Baroque artist but he drew heavily from Baroque themes. His sculpture, “Love and Psyche” (c.1793) is absolutely breathtaking.
As you observe Canova's "Love and Psyche," consider the delicate touch between Cupid and Psyche. Notice how Canova masterfully captures the warmth and tenderness of their embrace, bringing the marble to life.
Pay attention to the contrast between the smooth, ethereal quality of Psyche's skin and the rough texture of the rock beneath her. This contrast highlights the fragility of life and the fleeting nature of beauty.
Finally, recall the myth of Cupid and Psyche. This sculpture depicts the moment of Psyche's revival through Cupid's kiss. Reflect on how Canova visually represents this pivotal moment, capturing the intensity of their love and the power of redemption.
Fun Fact - This piece is praised for its innovative use of light and shadow. Notice how the light seems to caress the figures, emphasizing their delicate forms and creating a sense of ethereal beauty. This masterful use of light and shadow was a significant departure from traditional Neoclassical sculpture and helped to establish Canova's reputation as a revolutionary artist.
Continue through the large sculpture gallery until you reach the grand staircase. Take the left staircase and enter room 715 on your right. While this room showcases English and American artists, it's not our main destination. Walk straight through this room and you'll find our first Baroque masterpiece against the back wall of the next gallery.
Fortune Teller (c.1596) Caravaggio
As you admire Caravaggio's "Fortune Teller," (c.1596) pay close attention to the dramatic interplay of light and shadow. Caravaggio masterfully uses light to highlight the faces of the two figures, creating a sense of intimacy and intrigue.
Next, take a closer look at the woman's hands. She's subtly stealing the man's ring, a moment captured with incredible detail and realism.
Finally, appreciate the overall realism of the painting. The attention to detail in the clothing, facial expressions, and the overall scene creates a sense of authenticity, as if we're witnessing a real-life moment.
Fun Fact - Caravaggio actually painted two versions of this work! The Louvre's version is the second one he created, and it's generally considered to be the more refined and masterful of the two. The first version, which is less dramatic and less detailed, was sold for a mere eight scudi, highlighting Caravaggio's financial struggles during that period.
Continue to the right, away from hordes of people surrounding the DaVincis and you will find our next stop.
Portrait of Alof de Wignacourt and his Page (c.1607) Caravaggio
Caravaggio painted “Portrait of Alof de Wignacourt and his Page” (c.1607) upon arriving in Malta. It is thought that he painted this portrait of the Grand Master of the Order of Malta as a way of gaining entrance to the Order, which would be a step towards gaining a Papal pardon for the murder of Ranuccio Tomassoni in Rome a year earlier.
As you observe this painting, consider the dynamic between the Grand Master and his page. How do their body language, clothing, and placement within the painting reflect their social positions?
Pay close attention to the page's expression. What emotions does he seem to convey? Is he respectful, curious, or perhaps even a bit bored?
Finally, contemplate the significance of the armor in the painting. What does it symbolize about the Grand Master's role, power, and the Knights of Malta?
Fun Fact - The armor that Grand Master Wingacourt is wearing was from the 1560s. It is thought that Wingacourt chose to wear the older armor to recall his involvement in the defense of Malta from the Turks in 1565.
Continuing to the right is our final Caravaggio.
The Death of the Virgin (c.1606) Caravaggio
“The Death of the Virgin” (c.1606) is a massive painting and may have been Caravaggio's last painting executed in Rome before he fled. The painting was intended as an altarpiece for Santa Maria della Scala, but was rejected on the grounds that Mary is depicted as being dead and not in the process of being assumed into heaven.
While observing Caravaggio's "Death of the Virgin," consider the unconventional depiction of the Virgin Mary's death. Note the stark realism, the lack of divine radiance, and the emphasis on her physicality.
The painting is filled with raw emotion. Observe the expressions of the mourners, their grief palpable and unfiltered.
Despite the somber subject matter, Caravaggio uses a striking palette of reds and oranges. How does this vibrant color contrast with the somber scene and the muted tones of the figures?
Fun Fact - After the church rejected the painting, it was purchased by the Duke of Mantua. The Duke was advised by his court painter; the Baroque hero, Peter Paul Rubens.
After you finish with the Caravaggios, turn around to find Caracci’s masterpiece on the opposite wall.
The Virgin Appearing to St Luke and St Catherine (c.1592) Caracci
“The Virgin Appearing to St Luke and St Catherine” (c.1592) by Annibale Caracci shows the Virgin Mary with baby Jesus appearing to St. Luke (with scroll and palette) and St. Catherine (with martyr palm and broken wheel).
Caracci's painting adheres to classical ideals of beauty and proportion. The figures are perfectly formed and serene, reflecting the influence of Renaissance art. Compare this to Caravaggio's more realistic portrayals in the Death of the Virgin.
While both artists employ chiaroscuro, Caracci's use of light is more subdued and evenly distributed. Caravaggio, on the other hand, uses dramatic, theatrical lighting to highlight specific areas of the painting.
Caracci's painting evokes a sense of calm and devotion. Caravaggio's works, in contrast, often provoke a more intense emotional response, whether it be shock, awe, or pity.
When you are finished, turn around and head back toward the crowds by the DaVinci paintings, turn left into room 711 to see the Mona Lisa. She’s in the middle of the room against a black background, you can’t miss her.
Mona Lisa (c. 1519) DaVinci
When observing “Mona Lisa” by DaVinci (c. 1519) Consider the subtle changes in her expression as you move around the painting as best you can. Does her smile seem to shift, or is it merely an illusion created by the interplay of light and shadow?
Examine the delicate details of her clothing and jewelry. Notice the intricate folds of her dress and the subtle sheen of her veil. These details reveal Leonardo da Vinci's meticulous attention to realism and his mastery of the human form. Caravaggio and Caracci undoubtedly were inspired by DaVinci’s work.
Finally, observe the atmospheric landscape that stretches out behind the Mona Lisa. The distant mountains and winding river create a sense of depth and mystery. How does this landscape contribute to the overall mood of the painting?
Fun Fact - The painting was commissioned in 1503 but not delivered to the client before DaVinci’s death in 1519, many scholars believe that the painting is unfinished.
When you leave the Mona Lisa, turn right and walk through rooms 701 (French) and 702 (Neoclassicism), there are some very large scale paintings in these rooms where it is easy to see the Baroque influence.
Continue through 702 until you reach the staircase. On the other side of the staircase you will find “Winged Victory of Samothrace”.
Winged Victory of Samothrace
This masterpiece of Greek sculpture is over 2,200 years old! It is one of few remaining sculptures from the time period.
As you gaze upon the Winged Victory of Samothrace, notice the powerful and dynamic pose of the figure. The way she seems to be caught in mid-flight, descending upon the prow of a ship, is both graceful and forceful.
Pay attention to the drapery of her clothing, which flows and billows as if caught in a strong wind. This sense of movement adds to the overall dynamism of the sculpture.
The sculpture is missing its head, arms, and feet. How does this incompleteness affect your perception of the figure? Does it add to the sense of mystery and power, or does it detract from the overall impact?
Now turn right and head into room 709 where you will find many old 15th and 16th century Christian paintings of Madonna and Child as well as St. John the Baptist. When you reach the crowds of people you will be near the other famous DaVinci paintings on the left side of the room. As you continue, you will see the “Fourtune Teller” on your left and take one more opportunity to observe the three Caravaggios as well as the Caracci. Be sure to take time to observe the paintings from various angles as the glare from the lighting and the sun can definitely make viewing the painting straight on difficult.
This concludes our quick visit to the Louvre, head out through room 715 (British and US) and turn left to find the staircase down to the European Sculpture room 403 and the final escalator down to the -2 floor to exit the museum.
Please let us know what you think in the comments below!
Rome Churches Walking Tour
Across the Tiber river from the Vatican are three must see churches all containing works from Caravaggio and other Baroque luminaries. Caravaggio was commissioned to paint the paintings for the churches and the paintings have remained in place for over 400 years and are still in excellent condition. Both St. Luigi and St. Augustine’s churches are near Piazza Navona and Santa Maria del Popolo is a short 15 minute walk north from there.
Overview
Across the Tiber river from the Vatican are three must see churches all containing works from Caravaggio and other Baroque luminaries. Caravaggio was commissioned to paint the paintings for the churches and the paintings have remained in place for over 400 years and are still in excellent condition. Both St. Luigi and St. Augustine’s churches are near Piazza Navona and Santa Maria del Popolo is a short 15 minute walk north from there.
Before you go
Bring 10 euros in 1 euro pieces to turn on the lights for the Caravaggios.
There is no admission fee for the churches but do check their websites to ensure there are no special events or masses occurring that would prevent access.
https://www.agostiniani.it/comunita-agostiniane-provincia/basilica-s-agostino-roma/
https://www.agostiniani.it/comunita-agostiniane-provincia/parrocchia-santa-maria-popolo/
Check the BaroqueArt.org Caravaggio database to ensure the paintings you’d like to see are on display.
Itinerary
We will start a block east of Piazza Navona at Chiesa di San Luigi dei Francesi.
San Luigi dei Francesi
This church was completed in the 16th century so French people would have a place of worship in Rome. As you walk in, stay to the right and find the St. Cecilia Chapel.
Santa Cecilia
St. Cecilia (c.1630) Reni
In the second chapel of the right aisle, is St. Cecilia’s Chapel. On the altar there is a painting of “St. Cecilia” by Guido Reni. This is a copy of Raphael’s famous painting that is hung in Pinacoteca Nazionale, Bologna.
St. Cecilia is known as the patron saint of music because she heard heavenly music in her heart on her wedding day. In art, she’s often shown with an organ or organ pipes in her hand. When officials exhumed her body in 1599, they found her perfectly preserved, which made her the first incorrupt saint.
There are several other chapels on the right side of the church but our main event is located in the transept on the left side of the church. It will be easy to spot because there will probably be plenty of tourists wanting to get a peek of Caravaggio’s three masterpieces.
Be sure to check out the altar as you walk across the church to get to the Contarelli chapel.
Contarelli Chapel
"The Calling of Saint Matthew," "The Inspiration of Saint Matthew," and "The Martyrdom of Saint Matthew." Caravaggio's dynamic use of light and shadow, along with his realistic portrayal of the figures, brings these biblical scenes to life with intense emotional power. Each painting captures a pivotal moment in St. Matthew's life, highlighting themes of divine intervention, inspiration, and sacrifice. The dramatic composition and vivid details make these paintings a remarkable reflection of Caravaggio's innovative style and his ability to convey profound spiritual narratives.
After you have seen the Caravaggios you can exit the church and head left (north) two block to via delle Coppelle and turn left to find our next destination, Basilica de Sant’Agostino.
Basilica di Sant'Agostino
Just north east of Piazza Navona, you will find the Basilica di Sant’Agostino. This Basilica was built in the 1430s and is one of the first Renaissance Basilicas built in Rome.
You will see signs inside the church for the Caravaggio but I suggest waiting to visit it last. Most of the pieces in this church with the notable exception of the Lanfrancos and Caravaggios are in poor condition and are not well lit, which makes them extremely difficult to observe and appreciate. We’ve picked out a few pieces that are in viewable condition.
The third Chapel on your right is for St. Rita.
Ecstasy of Blessed Rita da Cascia
Ecstasy of Blessed Rita da Cascia (1674) Brandi
Ecstasy of Blessed Rita da Cascia (1674) by Giacinto Brandi is on the altar of the Chapel.St. Rita was born in 1381 into a family with strong Christian values. After her husband was murdered, she prayed constantly that her two sons wouldn’t seek revenge. She eventually became an Augustinian nun at the convent of Cascia. 15 years before her death, Rita asked Jesus to share in His suffering, and she received a thorn from His crown on her forehead. She passed away in 1447 after a life full of sanctity. You can see the thorn in the forehead of the statue to the left of the altar.
Continue walking down the aisle and appreciate the lavishly decorated altar.
In the left transept there are two small wrought iron doors on the east side of the transept. This chapel is called the Chapel of St. Augustine and St. William. The doors were locked when I visited, but the lights were on and you could see three magnificent Lanfranco pieces.
The Coronation of the Virgin between Saints Augustine and William
The Coronation of the Virgin between Saints Augustine and William (c.1639), Lanfranco
“The Coronation of the Virgin between Saints Augustine and William” (c.1639), by Giovanni Lanfranco. The chapel highlights both the spiritual and physical relief that comes from God, and the Virgin Mary's role in humanity's story. The dedication to Sts. Augustine and William reminds us of the close bond between the orders they founded: the Augustinians and the Williamites.
Further down the aisle you will find the Chapel of St. John of Sahagun
Miracle of the Saint and vision of the Trinity
Miracle of the Saint and vision of the Trinity (c.1660) Brandi
“Miracle of the Saint and vision of the Trinity”(c.1660), by Giacinto Brandi. This beautiful painting shows St. John of Sahagun drawing a child up from a well, with the help of his own belt, after ordering its water to come up. Unfortunately, the canvas is in poor condition but I do hope they work on restoring it as it is a very unique subject and I have not seen others like it.
Make your way down the left aisle and the last chapel will contain the Caravaggio.
Madonna of Loreto
Madonna of Loreto (c.1605) Caravaggio
“Madonna of Loreto”(c.1605) by Caravaggio, unlike most other works in the church, is well-lit and in outstanding condition. When observing Caravaggio’s Madonna of Loreto, consider how he depicts the sacred and ordinary together, making the divine relatable. Notice the humble, emotional expressions of the pilgrims, and the dynamic arrangement of the figures that brings movement and tension to the scene. This painting captures faith and devotion, bridging the gap between heaven and earth, making it a powerful and relatable piece.
The subject of the painting is specific to Catholic tradition that in the 13th century, the Virgin Mary’s house in Nazareth was carried by angels to Loreto, a small community in the Marche region of Italy. You can see Mary standing on the doorstep of the building, but there aren’t any other visual indications that Caravaggio is depicting the Virgin Mary’s house in Loreto. However, we have the contract that specifically commissions Caravaggio to paint "Madonna of Loreto”, so we know what is happening in the painting. Unsurprisingly, Caravaggio chose to forgo the common iconography of the time for the Madonna of Loreto, which shows the house being physically carried by Angels.
When you are done in the church, turn left and walk back to Via Delle Scrofa and turn left. Walk for about 15 minutes and you will find yourself in a large plaza with an obelisk in the center and a fountain with Neptune on your left. Walk through the plaza and cross the street and you will see the entrance to the Basilica Parrocchiale Santa Maria del Popolo on your right.
Basilica Parrocchiale Santa Maria del Popolo
Santa Maria Del Popolo is built on the site where the Roman emperor Nero was buried. It was Pope Paschal II in 1099 who began the construction of a chapel where Santa Maria del Popolo now stands to celebrate the liberation of the Holy Sepulchre by the crusaders. The church that we see today was started in the late 15th century.
Stay to the right as you enter the church and you will see the second chapel on the right is the Cybo Chapel.
Disputation over the Immaculate Conception with the Four Doctors of the Church
Disputation over the Immaculate Conception with the Four Doctors of the Church (1686) Maratta.
“Disputation over the Immaculate Conception with the Four Doctors of the Church”(1686) by Carlo Maratta. highlights the doctrine of the Immaculate Conception, which states that the Virgin Mary was conceived without original sin. The painting features Mary surrounded by angels, seated on a crescent moon and crowned with stars, symbolizing her purity and divine nature. Below, the Four Doctors of the Church—Saint John the Evangelist, Saint Gregory the Great, Saint Augustine, and Saint John Chrysostom—engage in a theological debate.
On the sidewalls of the chapel you will find the Martyrdom of St Catherine of Alexandria and the Martyrdom of St Lawrence.
Martyrdom of St Catherine of Alexandria
Martyrdom of St Catherine of Alexandria (1685) Seyter.
“Martyrdom of St Catherine of Alexandria” (1685) by Daniel Seyter.The painting captures the moment of her martyrdom with dramatic intensity, showcasing her steadfast faith and the brutal reality of her execution.
Martyrdom of St Lawrence
Martyrdom of St Lawrence (1685) Seyter.
“Martyrdom of St Lawrence” (1685) by Daniel Seyter. The painting vividly depicts the martyrdom of St. Lawrence, who was famously martyred by being roasted alive on a gridiron. Seyter captures the intense physical and emotional suffering of the saint with dramatic realism.
As you continue down the aisle you will reach the transept, if you turn right you will see a picture of the Visitation by Morandi..
The Visitation
The Visitation (1659) Morandi.
“The Visitation” (1659) by Giovanni Maria Morandi. This painting shows Mary and her cousin Elizabeth with Joseph and Zechariah in the background with cherubs playing in the foreground. This depiction varies from the standard setting of Mary and Elizabeth embracing outside of Elizabeth’s house. Here we see Elizabeth inviting Mary inside with Zechariah helping Joseph carry their bags.
Walk across the church to the other side and be sure to take in the beautiful altar.
In the opposite transept is a painting by Bernadino Mei.
Rest on the Flight to Egypt
Rest on the Flight to Egypt (1638) Mei
“Rest on the Flight to Egypt “ (1638) by Bernadino Mei is an interesting depiction of the traditional scene. Mei shows angels that present the not-so baby Jesus with symbols from his future passion, while Mary and Joseph look on.
Turn to the right to find the Cerasi Chapel to see the masterpieces by Caravaggio. The Cerasi Chapel has an interesting history with regards to the Caravaggio paintings, both of the initial paintings were rejected and Caravaggio created two new paintings for the chapel. The original painting of St. Peter has been lost and the original painting of the conversion of st. Paul is now housed in the Odescalchi Balbi Collection also in Rome.
The Cerasi Chapel
On the left wall is “The crucifixion of St. Peter”(1602) by Caravaggio. This painting captures the moment Peter is being crucified upside down, showing the intense struggle and emotion. The detailed realism, from the executioner's dirty feet to the expressive faces, brings a gritty human element to the scene. The contrast and color guide the viewer's eye, enhancing the dramatic impact.
On the altar we find the “Assumption of the Virgin Mary”(1600) by Annibale Caracci. Carracci masterfully captures the moment of the Virgin Mary's ascent to heaven, surrounded by angels. The dynamic composition and vivid colors draw viewers into the scene, creating a sense of movement and divine energy. This piece is notable for its blend of realism and idealism, reflecting Carracci's deep understanding of human anatomy and his ability to convey spiritual themes.
On the right wall is the “Conversion of St. Paul”(1602) by Caravaggio. This painting depicts the dramatic moment of Saul's transformation into Paul on the road to Damascus. The painting captures the intense emotional and physical impact of the divine encounter, with Saul sprawled on the ground and blinded by the heavenly light. The use of chiaroscuro highlights the contrast between light and dark, emphasizing the moment of revelation. The composition is tight and focused, drawing the viewer into the scene's immediacy and intensity.
After the Cerasi chapel you can make your way back toward the entrance of the church. The last chapel is the Montemirabile chapel.
Montemirabile Chapel
Baptism of Christ (1674) Rossi
“Baptism of Christ”(1674) by Pasquale Rossi is one of his few public works in Rome. Unfortunately, the painting's lower part is damaged by votive candle burns. The scene, set in a dark, moody landscape, shows a menacing sky and a simple log cross beside two lively angels, hinting at Jesus' fate. As John pours water on Christ's head, he looks towards the Holy Spirit dove and God, surrounded by angels. Jesus' gestures reflect humility and acceptance of his destiny.
This concludes our tour of Baroque paintings in three of Rome’s most famous churches. Please let us know in the comments below what you think!
Galleria Doria Pamphilj
The Galleria Doria Pamphilj in Rome is a fascinating private art collection, open to the public, housed in the grand Palazzo Doria Pamphilj. It features an impressive array of masterpieces by renowned artists like Caravaggio, Velázquez, and Carracci. The gallery is known for its richly decorated rooms and historical significance, offering visitors a glimpse into the artistic heritage of one of Rome's most influential families. With over 400 paintings dating from the 15th to the 18th centuries, it's a must-see for art lovers and history enthusiasts alike. This itinerary highlights our favorite Baroque pieces in this wonderful collection.
Overview
The Galleria Doria Pamphilj in Rome is a fascinating private art collection, open to the public, housed in the grand Palazzo Doria Pamphilj. It features an impressive array of masterpieces by renowned artists like Caravaggio, Velázquez, and Carracci. The gallery is known for its richly decorated rooms and historical significance, offering visitors a glimpse into the artistic heritage of one of Rome's most influential families. With over 400 paintings dating from the 15th to the 18th centuries, it's a must-see for art lovers and history enthusiasts alike. This itinerary highlights our favorite Baroque pieces in this wonderful collection.
Before you go
Advance tickets are not necessary but you can purchase them online directly from the Gallery.
This gallery will not take a long time to visit, so you will want to tie it in with visits to other locations such as Palazzo Barberini or the Capitoline Museums, which are relatively close by.
You will notice all the pieces in the gallery have numbers assigned. I have noted the numbers on the pieces we describe, but they are not much use for navigating the gallery itself,other than to be sure you are looking at the correct painting. The numbers are not related to the piece’s location.
Itinerary
Entry
The entrance to the gallery is on via del Corso. You walk straight in and the ticket booth is on the right and there is a beautiful citrus fruit grove in a courtyard on the left. Continue straight through the garage area where there may be one or several luxury cars such as Ferraris or Lamborghinis parked. Continue straight and walk up the stairs where you will find a scanner for your ticket. There is a bathroom on your left and on your right you will find the first room of the gallery and there will be a person handing out free audio guides. It is worth grabbing the audio guide to get further insight into some of the more important works.
In the first room called the “Poussin Hall” you might think that the many massive landscape paintings would be by the French Baroque artist Nicolas Poussin. However, there are no Nicolas Poussin paintings in this room but there are many by his brother-in-law Gaspard Dughet, who they apparently refer to as ‘Poussin’ in Rome. The combination of the dark landscapes, poor lighting and high placement make these pieces hard to really observe.
Walk through the pink walled “Velvets Room” and the large ballroom until you are in the “small ballroom” you will find a Matti Pretti painting.
The Tribute Money (FC173)
The Tribute Money (c.1620) Preti
“The Tribute Money”(c.1620) by Matti Preti. The painting captures the moment from the Gospel of Matthew where Christ tells Peter to find a silver coin in a fish to pay the tax-gatherers. Mattia Preti was inspired by Caravaggio’s use of light, illuminating Christ and highlighting the fish and coin. The busy hands around the coin draw the viewer's attention and emphasize the story.
Continue into the next room where you will find many paintings and the gift shop. The gift shop contains some excellent books, including books on the history of the Gallery itself, as well as other books relating to art that you can find all around Rome. As you leave the bookshop, you will find yourself in the first wing of the gallery, which is nearly floor to ceiling covered in paintings.
During our visit in January 2025 the famous Reni painting of ‘Fighting Putti’ was not on display.
Fighting Putti (FC257)
Fighting Putti (c1630) Reni
“Fighting Putti”(c1630) by Guido Reni. Reni, frustrated by disputes with the papal treasurer while working on a Quirinal Palace painting, left Rome abruptly without finishing his work or saying goodbye to the Pope. While later working on a fresco in Bologna, he refused a cardinal's request to return to Rome, leading to an attempted arrest. Reni escaped, planning to flee Italy, but was convinced by his friend Marquis Facchinetti to return to Rome. Facchinetti persuaded the cardinal to annul Reni's sentence. In gratitude, Reni painted "Cupids Fighting Putti" and gifted it to the Marquis.
Landscape with the Flight to Egypt (FC236)
Landscape with the Flight to Egypt (c.1604) Carracci
“Landscape with the Flight to Egypt”(c.1604) by Annibale Carracci. This painting, the finest of the “Aldobrandini Lunettes,” elevated landscape art in value and appreciation, becoming a classic reference for painters. Painted for Cardinal Aldobrandini’s chapel between 1604 and 1613, it depicts figures and nature with balanced composition and ancient buildings, creating an ideal landscape.
Woman Grooming Herself (FC354)
Woman Grooming Herself Maestro Jacomo.
“Woman Grooming Herself” by Maestro Jacomo. This painting is small but stands out with the unique light source being included in the painting, a technique usually employed by the northern baroque artists. The woman is depicted removing fleas from her clothing and depositing them in the bucket in the foreground. The subject is also more typical of northern Baroque painters so it is interesting to find that it was painted in Rome. The artist’s actual identity is somewhat of a mystery also, and has been the subject of much speculation.
As you reach the end of the hall you will see the entrance to the “Velazquez Cabinet” on your left. In the small room there is a magnificent bust of the Pope by Bernini and the treasured portrait by Velazquez.
Portrait of Pope Innocent X Pamphilj (FC 289)
Portrait of Pope Innocent X Pamphilj”(c.1650) Velazquez.
“Portrait of Pope Innocent X Pamphilj”(c.1650) by Diego Velazquez. This painting is noted for its realism as an unflinching portrait of a highly intelligent, shrewd, and aging man. He is dressed in linen vestments, and the quality of the work is evident in the rich reds of his upper clothing, head-dress, and the hanging curtains.
Walk through the “Hall of Mirrors” and continue straight through one more room and you will find yourself in the room with 3 Caravaggios. There are chairs along the wall where you can sit and observe these masterpieces. This is by far the best room in the gallery as it is not cluttered with wall to wall paintings. The Caravaggios are hung at an appropriate height and are nicely lit for observation.
Penitent Magdalene (FC357)
Penitent Magdalene ( c.1595) Caravaggio
Caravaggio's "Penitent Magdalene" captures Mary Magdalene’s moment of repentance with remarkable emotional depth. The painting’s realistic portrayal of Mary, with her downcast eyes and humble posture, diverges from the idealized representations of the time. The simplicity of her surroundings emphasizes her renunciation of worldly possessions. Caravaggio's innovative approach, depicting Mary as a young woman in a contemporary setting, made her story relatable to viewers. The painting’s emotional depth and realism continue to captivate viewers, showcasing Caravaggio’s mastery in conveying complex human emotions and spiritual themes.
Rest on the Flight into Egypt(FC251)
Flight into Egypt (c1595) Caravaggio
Caravaggio's "Flight into Egypt"(c1595) showcases his exceptional skill in blending biblical themes with naturalism. The painting depicts the Holy Family's escape to Egypt, accompanied by an angel playing music. Caravaggio's realistic portrayal of the figures and the serene landscape creates a captivating contrast between divine intervention and everyday life. The angel's tender guidance and the intimate family scene highlight the humanity and vulnerability of the Holy Family. This work stands out for its emotional depth and Caravaggio's ability to merge the sacred with the ordinary, making it a remarkable piece in his oeuvre.
John the Baptist (FC349)
St. John the Baptist (c. 1602) Caravaggio
Caravaggio's "John the Baptist" is a striking example of his use of realism and dramatic intensity. The painting depicts a youthful John the Baptist with a contemplative expression, highlighting his spiritual introspection. Caravaggio's attention to detail in the rendering of John's muscular form and the naturalistic setting adds to the painting's powerful impact. The artist's characteristic blend of the sacred with the everyday makes this work particularly engaging, showcasing his ability to humanize religious figures and make them relatable to viewers.
After observing the Caravaggios you can walk out the way you came in, back to the hall of mirrors and walk down the third wing of the gallery on your left. In this wing there are several more small paintings by Maestro Jacomo with candlelight that are very interesting to observe.
Penitent Magdelene (FC272)
Penitent Magdalene (c.1617) Fetti
“Penitent Magdalene"(c.1617) by Dominico Fetti. Fetti was a Mantuan painter who moved to Venice and was one of the first painters in Venice to combine the mannerist style with Caravaggio’s realism.
At the end of the hallway turn left and walk through the “Aldobrandi Hall” that has several cool sculptures and in the “Green Hall” where there are many Medieval works and one early example of Baroque style.
Universal Flood (FC 73)
Universal Flood (c.1600) Scarsellino
“Universal Flood”(c.1600) by Ippolito Scarsella, aka “Scarsellino” is a fantastic piece of a unique subject. You can see Noah’s ark in the distance as everyone in the foreground is dealing with the rain and their certain doom.
Make your way back through the "Aldobrandi Hall” and walk straight to reach the fourth and final wing of the gallery.
John the Baptist (FC443)
St. John the Baptist copy of Caravaggio
“John the Baptist”painting has been the subject of much discussion regarding its authenticity as a Caravaggio original. The current thinking is that it is a copy of another St John the Baptist painting. It is currently hung quite high in the gallery and is difficult to observe due to the glare.
Susanna and the Elders (FC 326)
Susanna and the Elders (1605) Carracci
Annibale Carracci shows the moral contrast in the painting by depicting the virtuous Susanna in light and the corrupt elders in shadow. The painting’s high quality, smooth finish, and refined iconography impressed many artists of the time, leading to several copies.
After finishing with the final wing, turn left and walk back through the gift shop and straight through the other rooms until you are in the Poussin Hall and return your audio guide and exit the gallery.
This concludes the tour of the Galleria Doria Pamphilj, please let us know what you think in the comments below!
Galleria Borghese
The Galleria Borghese, is a vital destination for Baroque art appreciation. It boasts an extensive collection of Baroque masterpieces, particularly sculptures by Gian Lorenzo Bernini and paintings by Caravaggio. Bernini's works, including "Apollo and Daphne" and "The Abduction of Proserpina," epitomize the intense emotionality and dynamic movement of Baroque sculpture. Meanwhile, Caravaggio's paintings, such as "Boy with a Basket of Fruit" and "David with the Head of Goliath," showcase his dramatic use of chiaroscuro, a hallmark of Baroque painting. The gallery also includes significant works by High Renaissance artists like Raphael and Titian, providing context for the evolution leading to the Baroque period. The Borghese Gallery captures the artistic zeitgeist of the Baroque era, emphasizing movement, contrast, and emotional exuberance, making it an essential visit for enthusiasts of this period.
Overview
The Galleria Borghese, is a vital destination for Baroque art appreciation. It boasts an extensive collection of Baroque masterpieces, particularly sculptures by Gian Lorenzo Bernini and paintings by Caravaggio. Bernini's works, including "Apollo and Daphne" and "The Abduction of Proserpina," epitomize the intense emotionality and dynamic movement of Baroque sculpture. Meanwhile, Caravaggio's paintings, such as "Boy with a Basket of Fruit" and "David with the Head of Goliath," showcase his dramatic use of chiaroscuro, a hallmark of Baroque painting. The gallery also includes significant works by High Renaissance artists like Raphael and Titian, providing context for the evolution leading to the Baroque period. The Borghese Gallery captures the artistic zeitgeist of the Baroque era, emphasizing movement, contrast, and emotional exuberance, making it an essential visit for enthusiasts of this period.
Before you go
Purchase tickets in advance, on the official website only.
Check the website to ensure the art pieces you want to see are on display, they do a nice job of keeping their site up to date.
IMPORTANT NOTE:
The Caravaggio 2025 Exhibit at Palazzo Barberini is currently showing 3 of the Borghese Caravaggios until July 2025:
Young Sick Bacchus
St. John the Baptist
David with the Head of Goliath
Itinerary
Entrance
The entrance to Gallery Borghese is located in the basement of the building, there are signs pointing to the stairs on the outside of the building that take you down to the basement. Depending on the time of day they may suggest that you walk up to the second floor (two flights of stairs from the basement), but I suggest that you start on the first floor to take in the most exciting exhibits at the gallery. The gallery is easy to navigate as it is a square, so if you keep walking the same direction it will be easy to follow along with the itinerary.
The Abduction of Proserpina
The Abduction of Proserpina (c.1621) Bernini'
Upon entering the first room of the gallery, you notice immediately this magnificent sculpture. When observing Gian Lorenzo Bernini's "The Abduction of Proserpina"(c.1621-1622), consider the dynamic movement captured in the sculpture. Notice Pluto's muscular strain and Persephone's resistance, creating a palpable tension.
Pay attention to the expressive emotions on their faces, conveying Pluto's determination and Proserpina's fear.
Finally, appreciate the realistic details, from the texture of Pluto's beard to the way Proserpina's fingers press into Pluto's flesh. Bernini's technical skill brings the marble to life in a breathtaking way.
The rest of the pieces around the Bernini statue tend to rotate based on the current exhibition that is happening at the gallery. Our itinerary will continue into the next room.
Sleeping Hermaphroditus
Sleeping Hermaphroditus (1774) Bergondi + original stone from antiquity
Entering room 5, you come upon what looks to be a statue of a nude woman sleeping. However, this is one of the famous Roman Hermaphrodite statues that is believed to be from the second century AD. The statue was reworked to be lounging on a mattress in 1774 by Andrea Bergondi in a similar fashion as Bernini had done (whose Hermaphrodite is now on display at the Louvre.). It is an interesting decision by the Gallery to not make it possible to see the front of the statue, which shows male genitalia and female breasts, as it is blocked by pillars.
Aeneas, Anchises and Ascanius
Aeneas, Anchises and Ascanius (c.1617) Bernini
As we walk into room six, we see in the center of the room, Bernini’s masterpiece, Aeneas, Anchises and Ascanius(c.1617). This work depicts Aeneas, Anchises and Ascanius fleeing from Troy as it burns. Observe how Bernini is somehow able to portray the young boy’s skin(Ascanius) so much differently from his father’s(Aeneas) and grandfather’s(Anchises).
Make your way through room 7 and into the main event, Room 8. Galleria Borghese has recently moved all of their Caravaggio paintings into this room, which makes them easy to find, but also causes it to be quite congested, so you will need to be patient as you attempt to view the masterpieces.
Young Sick Bacchus - On Display at Palazzo Barberini until July 2025
Young Sick Bacchus (c.1595) Caravaggio
The first work is “Young Sick Bacchus” (c.1595) by Caravaggio. Note the unusual portrayal of Bacchus as pale and weakened, reflecting Caravaggio's own illness. Notice the dramatic use of light and shadow, known as chiaroscuro, which adds depth and realism. Finally, appreciate the detailed still-life elements, such as the decayed fruit, hinting at the transience of life and beauty. Caravaggio's painting is a fascinating blend of personal experience, technical mastery, and symbolic depth.
David with the Head of Goliath - On Display at Palazzo Barberini until July 2025
David with the Head of Goliath (c.1610) Caravaggio
To the left is “David with the Head of Goliath”(c.1610) by Caravaggio. Notice the intense emotional expression on David's face. Rather than triumph, David appears somber and reflective. Caravaggio painted this piece in the hope of receiving a papal pardon for the murder he committed in Rome. It's said that the severed head of Goliath is a self-portrait of Caravaggio, symbolizing his remorse and plea for forgiveness. The glare from the overhead light makes observing this work difficult, so you may need to move around to find a spot where you can really see David’s face without the glare.
Madonna and Child with St. Anne (Dei Palafrenieri)
Madonna and Child with St. Anne (c.1605) Caravaggio
The last painting on this wall is the large altarpiece “Madonna and Child with St. Anne”(c.1605). Caravaggio's characteristic use of realism brings the figures to life. Notice how the Virgin Mary, the Christ Child, and St. Anne are rendered with lifelike detail, emphasizing their humanity rather than idealized divine figures. It is this realism that likely led to the rejection of the piece and the subsequent purchase by Cardinal Scipione Borghese.
Saint Jerome Writing
St. Jerome Writing (c.1604) Caravaggio
On the opposite wall of the room you will find the gorgeous painting “St. Jerome Writing”(c.1604) by Caravaggio. Notice the introspective and contemplative expression on St. Jerome's face. Caravaggio captures the intense concentration of the saint as he writes, immersing viewers in the solemnity of the moment. The realism in St. Jerome's aged features and the textures of his skin and beard add to the lifelike quality of the painting. I am not sure if this painting has been recently restored, but it absolutely pops out of the canvas when you observe it, especially when compared to St. John the Baptist next to it.
John the Baptist - On Display at Palazzo Barberini until July 2025
St. John the Baptist (c.1610) Caravaggio.
In the middle of the wall you will find the haunting “John the Baptist”(c.1610) by Caravaggio. Notice the contemplative and slightly melancholic expression on John's face. Unlike many other depictions, Caravaggio captures a moment of introspection, giving the viewer a sense of the emotional and spiritual weight carried by the saint. If you stand to the left of the painting and look into St. John’s eyes, you can really feel his gaze on you and it provides a whole new perspective on this painting.
Boy with a Basket of Fruit - On Display at Palazzo Barberini until July 2025
Boy With a Basket of Fruit (1595) Caravaggio
Observe the naturalism and realism in the depiction of both the boy and the fruit. Caravaggio's attention to detail makes the textures and colors of the fruit almost tangible, showcasing his skill in rendering lifelike subjects The interplay of light and dark highlights the boy's expression and the contours of the basket, enhancing the overall visual impact. Appreciate the youthful innocence and introspective expression of the boy. Caravaggio captures a moment of quiet contemplation, adding a sense of intimacy and emotional depth to the piece. The painting is a remarkable study of everyday life, elevated through Caravaggio's masterful technique and keen observation.
After finishing with the Caravaggios, walk all the way through the next long room. Which contains various pieces depending on the current exhibition at the gallery.
(Bonus) Paolina Borghese Bonaparte as Venus Victrix
Paolina Borghese Bonaparte as Venus Victrix (1804) Canova
This amazing sculpture by Canova in 1804 is of Napoleon Bonaparte’s sister Paolina, depicted as Venus Victrix holding the apple that Paris bestowed upon her over Juno and Minerva. Take a close look at the details of this sculpture, especially the mattress. It is easy to forget that it is made of stone.
This is an example of neo-classicism art and not baroque, but we included it because it is truly a one of a kind masterpiece.
Walk through the next room and into room 3, where you will find the final piece on the first floor.
Apollo and Daphne
Our last piece is by Bernini and is the most famous at the gallery. Upon entering the room, your eyes will be drawn to the large statue in the middle of the room, where it looks like a man and woman might be dancing. If you get closer and stay to the left of the statue, you will notice the woman’s face is a mixture of fear and uncertainty. Upon further inspection, you will see her hands appear to have branches and leaves sprouting and what looks like it might be a fabric covering her leg is actually tree bark. If you step to the opposite side of the sculpture you will see that she is actually turning into a tree as she is being chased by Apollo.
This completes the short version of the itinerary. However, there are several important and interesting pieces of renaissance art upstairs that you may want to visit. Be aware that you will need to climb several flights of stairs to reach the second floor.
After climbing the stairs turn right and head into the large gallery in room. Walk through this room into another small room (15) and then turn immediately left in room 19. On the wall immediately to your left your will our next piece.
The Hunting of Diana
The Hunting of Diana (c.1615) Domenchino
“The Hunting of Diana”(c.1615) by Domenchino is a fascinating example of early Baroque inspired by Carracci. Domenchino takes the subject of Diana’s friends having a competition to shoot a dove that is tied to a pole. As you observe the painting, starting at the bottom of the painting you see a nymph in the water facing you, inviting you into the painting. Next to her is another nymph pointing up and to the right, if you follow the path you will see the pole, arrows and dove. Back to the center of the painting is Diana holding her arms over her head and her friends who have all just shot their arrows. Easy to miss but if you look at the bushes on the right of the painting you see two peeping Toms, about to get attacked by the dogs to the left.
Sacred and Profane Love
Sacred and Profane Love (c.1515) Titian
“Sacred and Profane Love” (c.1515) by Titian, is arguably the most famous painting at the Galleria Borghese. The two women are generally interpreted as being the same person, but two different sides to her. They are sitting on a sarcophagus with a cupid behind them playing in the water. The woman on the left is lavishly dressed, with gloves, while the woman on the right wears little. This artwork's rich symbols and icons have sparked countless interpretations. Nowadays, we like to think of the painting as celebrating the ideal bride's qualities. It captures her public grace, all her wedding-related attributes, and also portrays her as passionate and genuine in her husband's eyes when they're alone.
This concludes the Galleria Borghese itinerary. Let us know in the comments below what you think!
Palazzo Barberini
The Galleria Nazionale d'Arte Antica at Palazzo Barberini in Rome is a treasure trove of art from the 13th to the 18th centuries. Housed in a stunning Baroque palace designed by Carlo Maderno, Gian Lorenzo Bernini, and Francesco Borromini, the gallery showcases masterpieces by artists like Caravaggio, Raphael, and Titian. Originally the Barberini family's residence, it became a national museum in 1953. The collection includes over 4,000 works, offering a chronological journey through Italy's artistic heritage.
Overview
The Galleria Nazionale d'Arte Antica at Palazzo Barberini in Rome is a treasure trove of art from the 13th to the 18th centuries. Housed in a stunning Baroque palace designed by Carlo Maderno, Gian Lorenzo Bernini, and Francesco Borromini, the gallery showcases masterpieces by artists like Caravaggio, Raphael, and Titian. Originally the Barberini family's residence, it became a national museum in 1953. The collection includes over 4,000 works, offering a chronological journey through Italy's artistic heritage.
IMPORTANT UPDATE:
From March - July 2025 Palazzo Barberini will be hosting a Caravaggio Exhibit featuring at least 16 additional Caravaggio paintings:
Saint Catherine of Alexandria
Martha and Mary Magdalene
Saint John the Baptist in the Wilderness
Saint Francis of Assisi in Ecstasy
The Cardsharps
The Martyrdom of Saint Ursula
Portrait of Maffeo Barberini as an apostolic protonotary
Portrait of Antonio Martelli
Supper at Emmaus (Milan version)
Boy Peeling Fruit (Royal Collection)
Flagellation of Christ
David with the Head of Goliath (Borghese)
Conversion of St. Paul (Odescalchi)
The Musicians
The Taking of Christ
Ecce Homo (Prado)
As such, the location of the Caravaggios mentioned in the itinerary may be incorrect as they will probably be moved during the exhibit. We will keep this itinerary as updated as possible.
https://barberinicorsini.org/en/caravaggio-2025/
Before you go
Check the website for the times that the gallery is open
Definitely purchase tickets ahead of time if you are going during the Caravaggio Exhibition.
Itinerary
Entrance
The first floor of the gallery contains only medieval pieces, which are interesting but if you are short on time you can skip it and go straight to the second floor. If you have your tickets already, you can go directly to the second floor(1st Piano) and do not need to stop into the ticketing area.
The entrance is accessible off of the street and you can walk up the driveway and veer left to find the main archway just past the fountain. If you want to go to the second floor, turn left immediately past the first set of arches and you will see signs for the stairs and second floor (1st piano) of the gallery. If you are heading to the ticketing area / medieval paintings, do not turn after the arches, keep walking straight and follow signs that lead to the entrance to the gallery on the left.
As you reach the top of the stairs you will see a very cool veiled statue named “Veiled Woman” (1743) by Antonio Corradini. Turn to the right and show your ticket at the door and you will begin our itinerary. Turn left and follow the signs to Raphael. The first two pieces are bonus pieces, from the renaissance.
Bonus Works
La fornarina (c. 1518) Raphael
“La fornarina” (c. 1518) by Raphael has recently been restored and is stunning. There is much speculation as to the identity of the woman, it could be a girlfriend, his representation of beauty or his representation of a prostitute. The woman’s expression appears to be slightly amused and she doesn’t appear to be embarrassed or shy about her state of undress.
Henry VIII (1540) Hans Holbein The Younger
“Henry VIII” (1540) by Hans Holbein The Younger shows the king before his 4th marriage. The marriage to Anne of Cleves might not have lasted long, but this portrait still looks amazing, the detail of the fabric and jewels is stunning.
After you are done with Henry VIII, walk through four more rooms and turn to the right. You will see Baglione’s masterpiece on the far right wall.
Sacred and Profane Love (1602) Baglione
Sacred and Profane Love (1602) by Giovanni Baglione is his most famous painting and subject of much debate. This is the first time Baglione had attempted to mimic Caravaggio’s naturalism and use of light in a painting. It is thought that the painting is a direct response to Caravaggio’s painting “Love Conquers All,” which depicts Cupid standing upon many earthly things. In Baglione’s painting, Caravaggio’s cupid is seen meeting with the devil when they are interrupted by “Sacred Love.” This painting is the second version of the subject by Baglione. The first version does not show the Devil’s face. Caravaggio accused Baglione of plagiarism when he saw the first version of the painting as he felt it copied his own style too closely. Baglione was teased and insulted by Caravaggio’s circle and painted a second version of the painting which shows the Devil’s face with Caravaggio’s features and Cupid with similar features as Caravaggio’s model.
To the right of Baglione is Vouet’s take on Caravaggio’s Fortune Teller.
The Good Fortune Vouet (1620)
“The Good Fortune” by Simon Vouet is his take on Caravaggio’s masterpiece. Vouet takes a different approach on the subject and shows us a rather rustic young man who is convinced to have his palm read by a fetching fortune teller without noticing the trap he is about to fall into. The naive young man is more attracted by the gypsy woman's seductive gaze than by her fortune telling abilities. The viewer is made an accomplice by the crone behind him, uncouthly making the vulgar gesture of the so-called "fig sign", which needs no explanation and alludes to the fact that this unsuspecting man has just had his money bag stolen.
Before you exit the room, check out one more piece on your left.
St. Gregory the Great (c.1614) Ribera
“St. Gregory the Great” (c1614) by Spagnoletto (Jusepe de Ribera) shows realistic textures, especially in the silky mozzetta of the pope, who almost has his back to us and turns his ear towards the viewer. This isn't a random choice. According to tradition, St. Gregory wrote his works by secretly listening to the Holy Spirit, which appears here as a dove behind the saint's shoulders. Only we can see this miracle of divine inspiration happening.
Walking into the next room you will find Narcissus towards the end of the room on the left.
Narcissus (c.1597) Caravaggio
“Narcissus”(c.1597) by Caravaggio. We see Narcissus leaning forward and fully enraptured by his own reflection in the pool. His left hand is already in the water, in an attempt to allow himself to lean even further forward. The composition of this painting is extremely unique, with the mirror image pivoting on Narcissus’ extended knee. The provenance of this painting is not well documented and has come into question by a few scholars, but most agree that only Caravaggio could have conceived and executed such a unique image.
After admiring Narcissus, look to the right and you will see two images of St. Francis, we will start with the right most image by Orazio Gentileschi.
St. Francis and the Angel (c. 1615) Gentileschi
"St. Francis and the Angel” (c. 1615) by Orazio Gentileschi feels like it's meant for deep thinking and spiritual growth. Instead of showing St. Francis in a state of ecstasy, he's depicted reliving Jesus' suffering. His collapse looks a lot like paintings of Jesus' agony in the Garden of Gethsemane, where, since the late 16th century, Jesus is often shown almost unconscious and being supported by an angel. St. Francis' stigmata and his painful imitation of Jesus are also shown very physically on his body.
St. Francis in Meditation (c.1606) Caravaggio
"St. Francis in Meditation (c.1606) by Caravaggio shows the saint all alone, with nothing around but the stone the cross rests on. St. Francis is kneeling and looking at the skull he's holding, almost as if he's caressing it. This is a typical Caravaggio touch, related to imitating Jesus. It hints at Christ praying in front of the chalice in the Garden of Gethsemane. Instead of the chalice, a symbol of Christ's human suffering, there's the skull here – a stark reminder of mortality. This connection highlights the bond between Jesus and Francis, the first man in Christian history to bear the stigmata; the same wounds as the crucified Christ.
Walk to the left of these paintings and enter another room and you will see Caravaggio’s St. John immediately on the left.
St. John the Baptist (c 1604) Caravaggio
“St. John the Baptist” (c 1604) by Caravaggio. St. John takes center stage in this painting, shaped by light. The contrast between his arms and legs, along with the twist of his shoulders and face, emphasizes his dynamic pose. His gaze, partly shadowed, looks far into the distance, almost predicting the future. Caravaggio depicts St. John in the desert, focusing on the moment he awakes from his sleep and realizes his future mission as a preacher. The bare landscape includes symbolic objects like the bowl, the cross of canes he's leaning on, the stones, and the hollow trunk in the background. These objects highlight the mere beginnings of St. John’s journey and have yet to achieve their future symbolic meaning and hint at his prophetic destiny.
Opposite of St. John is Caravaggio’s masterpiece and one of the BAAC’s favorite paintings.
Judith and Holofernes (c.1598) Caravaggio
“Judith and Holofernes”(c.1598) by Caravaggio is bloody, graphic and sexually charged. This sets the tone for future Baroque artists- a near obsession with depicting death in motion. The old maid next to Judith serves to emphasize Judith’s seductive charms and her expression of “it must be done” counters Judith’s expression of uncertainty.
In the next room over from the Caravaggio’s you will find Preti’s masterpiece.
The Escape from Troy (c.1640) Preti
“The Escape from Troy”(c.1640) by Matia Preti catches the eye immediately with the interesting depiction of the Escape from Troy. Preti on several occasions tried his hand at painting characters and moral themes from ancient history. Here the protagonist is Aeneas, a solemn example of pietas, respectful of men and of the wishes of the gods. As Virgil tells us in the Aereid, he saved his elderly father Anchises from the city of Troy, visible in the dark background, set ablaze by the Achaears. His wife Creusa, on the right, is looking backwards, an omen of her tragic fate: she will be lost during their escape. Strangely, his son Ascanius is ahead of the group, while in Virgil's text he follows his father on the right side. This may be because Ascanius’s descendants will begin the city of Rome and Ascanius is emulating his father’s pose, showing that young Ascanius will go on to great things.
Mary Magdalene (c.1626) Cagnacci.
“Mary Magdalene”(c.1626) by Guido Cagnacci. Cagnacci clearly had a thing for painting seductive female figures. His take on Magdalene fits into a long tradition of depicting her life. After seeking refuge in a cave in Provence, she gives up worldly pleasures and lives as a hermit. Next to her, there's a cross, the pot of spikenard she used to anoint Christ's feet at the supper in Bethany, and in her hands, a skull and a scourge which she uses for self-mortification. Despite whether her 'swoon' is mystical ecstasy or the effect of asceticism, the painter suggests a gaze that doesn't seem to be marked by severe penance; similarly, her body shows no signs of mortification.
Exit the room and you can walk to the far left corner to see Caravaggio’s portrait of Maffeo Barberini.
Portrait of Maffeo Barberini (c.1598) Caravaggio.
“Portrait of Maffeo Barberini” (c.1598) by Caravaggio. This is a portrait of the future Pope Urban VIII and the man who commissioned the building the Palazzo Barberini in 1623. The quality of the painting is magnificent and even at the young age of 30 you can see Barberini’s leadership qualities expressed so clearly in the painting.
Enter the large Ballroom on your way out of the Gallery
The Triumph of Divine Providence … (1639) Cortona
The Triumph of Divine Providence and the Fulfilment of íts Purposes under Pope Urban VIII - Pietro da Cortona and his team painted this fresco between 1632 and 1639. It’s a massive celebration of the Barberini family’s spiritual and political power, featuring over a hundred characters in an infinite open space. The only thing that grounds your view is a big, rectangular frame painted to look like marble, dividing the vault into five sections.
At the center, Divine Providence sits on clouds, holding a scepter and instructing Fame to crown the Barberini coat of arms. Each of the side panels shows contrasting ideas like vices versus virtues, good versus evil. You’ve got Minerva taking down Giants, Theology and Religion fighting off lechery and debauchery, Hercules driving away the greedy Harpies, and Good Government banishing war and ensuring peace. With its dynamic energy, fast-paced rhythm, and impressive spatial illusion, this fresco is one of the earliest and most amazing examples of Baroque painting.
This concludes our quick tour of the Galleria Nazionale d'Arte Antica at Palazzo Barberini.
St. Germain des Pres Churches Tour
Called by many the most classically Parisian neighborhood, St-Germain-des-Pres gets its name from the oldest church in Paris, which has been a place of worship for over 1500 years. Our tour also covers another amazing church, “Eglise St-Sulpice” whose grounds have been a place of worship for nearly 800 years. Both of these churches feature some Baroque architectural features as well as Baroque Artwork.
Overview
Called by many the most classically Parisian neighborhood, St-Germain-des-Pres gets its name from the oldest church in Paris, which has been a place of worship for over 1500 years. Our tour also covers another amazing church, “Eglise St-Sulpice” whose grounds have been a place of worship for nearly 800 years. Both of these churches feature some Baroque architectural features as well as Baroque Artwork.
Before you go
No tickets are required to enter either church, but do check the websites to ensure they are not closed for renovation / special events.
Itinerary
Eglise St-Germain-des-Pres
Our itinerary starts on Bd St-Germain-des-Pres, near the dueling cafes of Le Cafe de Flore and Les Deux Magots. As you continue walking south east past Les Deux Magots, you will see the bell tower and entrance to Eglise St-Germain-des-Pres.
Enter the church and appreciate the vastness as you start to walk down the nave (center aisle). If you look up you will see the newly restored, breathtaking ceiling. After you reach the altar, be sure to turn around and take in the amazing pipe organ soaring above you. Continue walking to the right side of the altar to the very end of the church and you will find the newly restored Chapel of the Virgin.
Chapel of the Virgin (la chapelle de la Vierge)
St. Germain des Pres Chapel of the Virgin
Upon entering the Chapel, you will see a statue of Mary and baby Jesus in the center. On either side of them are beautifully restored paintings depicting the epiphany and the presentation in the temple.
These are paintings made to look like statues, using a technique called Grisaille. The painter, François-Joseph Heim, was a neo-classicist known for mythological and historical paintings. These photographs do not do the paintings justice, it is absolutely worth the visit just to see these paintings.
St. Germain des Pres Bust of Saint John Paul II
The next chapel to the left is dedicated to St. John Paul II, who was canonized in 2014. Very interesting to reflect on how the church, despite its age, continues to evolve with the times, and will change focus in its various chapels to recognize more modern saints.
Chapel of St. Joseph
St. Germain des Pres Chapel of St. Joseph
A few chapels down, you will find the chapel of St. Joseph where you will see the mausoleum of William Douglas, who was a 17th century Scottish nobleman that was exiled for his conversion to Catholicism. The statue is looking rather comfortable on top of Douglas’ remains.
Continue walking back toward the entrance of the church and you will see many large paintings on the right.
Paintings on the North Aisle
Entry of Christ into Jerusalem” La Hyre
“Entry of Christ into Jerusalem” by Laurent de La Hyre. This painting is an example of a European painting in the 1600s that is not considered Baroque. This is an example of Parisian Atticism, where La Hyre uses a bright color palette and evokes Raphael’s sensibilities.
St. Phillip Baptizing the Enuch of Queen Candace of Ethopia. (1718) Bertin
Further down the aisle, you will find another interesting painting by Nicholas Bertin. “St. Phillip Baptizing the Enuch of Queen Candace of Ethopia.” This is also not a Baroque painting, but I find it interesting that perhaps during a restoration of the painting they lost the sponge and the water that was in St. Phillip’s hand above the Enuch. Queen Candace is sitting on a camel in the background holding an umbrella. This is a bible story from the Acts of the Apostles.
Eglise St-Sulpice
After you finish with St. Germain-des-Pres, head back toward the intersection of Bd St-Germain-des-Pres and Rue Bonaparte (Cafe Deux Magot will be on your right), cross Bd St-Germain-des-Pres and continue down Rue Bonaparte until you reach Rue Saint-Suplice. You will see the Cathedral on your left.
Standing on the plaza in front of the church you may recognize the facade is similar to that of St. Paul’s Cathedral in London. The design was indeed inspired by Christopher Wren’s masterpiece.
St. Sulpice Nave
As you enter the Cathedral, walk down the nave (center aisle) and you will notice a beautiful and ornate pulpit on the right and a crucifix on the left.
Pulpit (3)
The pulpit was built in 1788 and is considered a masterpiece of cabinetmaking and balance: it rests only on the side staircases that support it.
Once you reach the transept (where the chairs stop), turn around and look at the organ. It is one of the most famous organs in the world and was most recently rebuilt in 1862, by Aristide Cavaillé-Coll. Because of the organ’s quality and the acoustics of the church, famous organists from all over the world have played here.
St. Sulpice Organ
After admiring the organ, turn back around to face the altar and look left and you will see the obelisk portion of the famous St. Sulpice Gnomon. Look down at the ground and you will see the brass line running across the transept to the other side of the Church. The light comes in from the south and depending on the time of year is either projected on the brass line ground (summer time) or on the obelisk (winter time).
St. Sulpice Gnomon
The Gnomon was featured in Dan Brown’s The DaVinci Code, although he embellished pretty much everything except the fact that it does indeed exist. The book claims that the obelisk is Egyptian and the “Rose Line” runs through the church. Neither is true, the obelisk was made in the 18th century and the “Rose Line” is actually called the Paris Meridian and is several hundred meters to the east of the church. The Paris Meridian was a rival to England’s Prime Meridian and served as the focal point for French cartography and astronomy until the late 19th century.
Make your way all the way to the apse (behind the altar and sanctuary, directly in the back of the church and you will see the Chapel of the Virgin.
Chapel of the Virgin (la chapelle de la Vierge)
St. Sulpice Chapel of the Virgin (4)
This baroque styled chapel features a sculpture in the niche of the Virgin and Jesus crushing snake by Jean-Baptiste Pigalle and recently restored ceiling fresco of the Virgin in her Glory is by François Lemoyne.
Chapel of the Holy Angels
After you are finished in the Chapel of the Virgin, head towards the exit of the church by walking along the south aisle (the opposite side of the Gnomon in the transept). The last chapel on the left will be the Chapel of the Holy Angels. This chapel features 3 frescos by Eugène Delacroix depicting Angels in action.
Delacroix is a celebrated French painter known for leading the Romantic movement in the 19th century. Delacroix took six years to paint the frescos (1855-1861). These frescos have been recently restored and look magnificent even though there is a file cabinet in front of one of them.
This concludes our walking tour of St. Germain-des-Pres and St. Sulpice. Of note, the famous Baroque artists Antoine, Louis and Mathieu Le Nain are buried at the St. Sulpice.
Please let us know what you think in the comments below!
Photo Credit
1.By Bernard Gagnon - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=3664985
2. By Mbzt - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=13264362
3 By Selbymay — Travail personnel, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=22620689
4.By Zairon — Travail personnel, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=70643650