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BORGHESE GALLERY, POLITICS, REQUISITIONS AND THE ART OF COLLECTING

The Borghese Gallery is not merely a museum; it is a testament to the power, patronage, and artistic strategies that shaped the collection of one of history’s greatest connoisseurs: Scipione Borghese (1579-1633). As a Cardinal and nephew of Pope Paul V, Scipione was a central figure in 17th-century Rome, and his rise as a collector is tied to two crucial events that occurred in quick succession.

It all began in 1607 with the so-called “Cavalier d’Arpino Affair”. The art collection of the renowned painter Giuseppe Cesari, known as the Cavalier d’Arpino, was confiscated by papal order due to alleged debt and illegal possession of weapons. A remarkable 107 paintings of inestimable value were assigned to Scipione Borghese, and among these treasures were the early works of an artist destined to change art history forever: Caravaggio! This lightning-fast acquisition was not just an “art heist”; it was undeniable proof of Scipione’s immense political influence, shrewdly exploiting his position to enrich his budding gallery.

Just one year later, in 1608, Scipione secured another spectacular and highly controversial prize. By issuing a Papal Motu Proprio—a document with the force of law—the celebrated canvas of the “Deposition” (or The Entombment of Christ) by Raphael was removed from its original location. The masterpiece resided in the Baglioni Chapel, within the church of San Francesco al Prato in Perugia. This act, a true “state seizure” for artistic purposes, caused significant scandal and resistance in Perugia, where the work was considered a city symbol. Despite the opposition, the papal will prevailed, and the painting was transferred to Rome. An episode clearly highlighting how the ties of patronage and ecclesiastical power could overcome any regional resistance.

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