Princess Anna Colonna Barberini (1601-1658), c. 1658-61
Portrait modello by Jacomo Antonio Fancelli; Gilder: Carlo Mattei; Sculptor: Stonemason: Gabriele Renzi; Architect: Francesco Contini; Caster: Francuccio Francucciexpand_more
Gilt bronze and black marbleexpand_more
The John R. Van Derlip Trust Fundexpand_more 2022.39a-c
On View in Gallery 310expand_more
This vivid portrait of is the only known likeness of Anna Colonna Barberini (1601-1658), an important figure in seventeenth-century Rome. The 50-something princess appears formidable with an intense gaze and billowing veil or widowâs hood. The exacting depiction captures the slackening flesh beneath her eyes and along her jawline, and even a prominent mole on the right side of her chin. It was executed to adorn her lavish funerary monument in Santa Maria Regina Coeli, the newly built church in the convent she founded for the Discalced Carmelite nuns (Scalzi) in Rome. The work is part of a small, important genre of Roman baroque portrait sculpture representing prominent, mature noble women in papal families, often made for tombs. The sculptures are typically unsparing in their depiction of age, for it is the womenâs wisdom, knowledge, and virtuous widowhood that are the source of their power.
Monastery documents record a number of artists contributed to this work, all of whom were longtime collaborators of Gianlorenzo Barberini. The wax model portrait was produced Jacomo Antonio Fancelli (noted in the documents with the abbreviation âFa.lliâ). The bronze was cast by Francuccio Francucci and gilded by Carlo Mattei. The successful and prolific stonemason Gabriele Renzi carved (and sourced) the marble base.
A descendant of one of the oldest noble families in Italy, Anna Colonna was married to Taddeo Barberini, nephew of Urban VIII Barberini (reign 1623-1644), a pope infamous for his nepotism. Over Urbanâs long two-decade reign, he enriched his family beyond precedent. As a consequence, the family was exiled after Urbanâs death. Don Taddeo died in Paris in 1647, and much of the Barberini properties and art collection in Rome had been seized. Anna Colonna remained in Rome in the wake of their exile, working to protect the familyâs fortune and reputation. As a widow, she devoted herself to the foundation of Santa Maria Regina Coeli, where she was buried and this sculpture once stood. The portrait was removed in th
