References

*Margaret Murata (mkmurata@uci.edu) is Professor emerita of Music at the University of California, Irvine, and an Honorary Member of the Society for Seventeenth-Century Music. She received the International Galileo Galilei prize in Music History in 2017 for her contributions to the study of Italian music.

[1] Cornelia Costanza Barberini Colonna di Sciarra, princess of Palestrina and duchess of Bassanello (1716–1797).

[2] For other family archives in the Vatican, see par. 7.5 of Francis X. Blouin Jr., ed., Vatican Archives: An Inventory and Guide to Historical Documents of the Holy See (New York: Oxford University Press, 1998), now over twenty years old. Its date range for the Barberini Archives is incorrect. For a large representative set of transcriptions of such archival material for another Roman family in the Seicento, see Alexandra Nigito, La musica alla corte del principe Giovanni Battista Pamphilj, Musik und Adel im Rome des Sei- und Settecento (MARS) 1 (Berlin: Merseberger, 2012). A multi-year project currently underway is systematically collecting data from eleven Roman family archives, which will eventually be available through an online database. PERFORMART, an acronym for “Promoting, Patronising and Practising the Arts in Roman Aristocratic Families (1644–1740): The Contribution of Roman Family Archives to the History of Performing Arts,” under the direction of Anne-Madeleine Goulet, is attached to the Centre d’Études Supérieures de la Renaissance in Tours, France. “Performing arts” include dance, music, and theater. Among the archives currently under exploration, in addition to the Doria-Pamphilj being indexed by Nigito, are those of the Aldobrandini, Caetani, Chigi, Colonna, Lante della Rovere, Orsini, Ottoboni, and Ruspoli families, with a search of the Borghese Archives that will complement already-published studies.

[3] Part of the archives of the multi-branched Orsini family was acquired by the University of California, Los Angeles, in 1964: 540 boxes of documents dating from 1300 to 1950.

[4] Natalia Gozzano, Lo specchio della corte: Il maestro di casa; Gentilhuomini al servizio del collezionismo a Roma nel Seicento, Saggi di storia dell’arte 33 (Rome: Campisano, 2015). In his introduction to the book under review, “I Barberini e la contabilità della casa,” p. 16, Luigi Cacciaglia lists the maestro di casa as a “minister” (in the sense of administrator) along with the erario (treasurer), spenditore, guardaroba, and depositario (in charge of income received).

[5] A broad and analytical examination of the wealth of several Roman families is found in the doctoral dissertation in history by Richard Joseph Ferraro, “The Nobility of Rome, 1560–1700: A Study of Its Composition, Wealth, and Investments” (PhD diss., University of Wisconsin-Madison, 1994). Useful overviews of personal connections and principal possessions and obligations can be gained from reading individuals’ wills. See the series I Testamenti dei Cardinali, ed. Maria Gemma Paviolo (n.p.: lulu.com, 2013–2017), which includes those of Cardinals Marcello Barberini [Antonio Marcello Barberini, known as Antonio Sr.] (published 2013), Francesco Barberini Sr. (2013), Carlo Barberini (2013), Francesco Barberini Jr. (2013), and Benedetto Barberini (2016).

[6] V-CVbav Archivio Barberini (hereafter ArchBarb), Computisteria 850, Registro de’ mandati. 1623, 1624, 1625, no. 166: “piacerà alle SS.VV. pagare al Gio. Girolamo Gasperger scudi cinquanta di moneta per un regalo, che si faranno buoni nelli conti. Di Palazzo, 29 marzo 1624. F[rancesco] Cardinale Barberino.” A year later, Kapsperger was paid 100 scudi to distribute to the musicians who performed for a service at S. Agata: Feb. 4, 1625, mandato no. 477; cited in Frederick Hammond, “More on Music in Casa Barberini,” Studi Musicali 14, no. 2 (1985): 235–61, n. 84, which identifies the volume as “C. 77.”

[7] ArchBarb, Computisteria 486, Registro de’ mandati da 2 feb.ro 1686 a tutto settembre 1695, p. 12.

[8] ArchBarb, Computisteria 486, mandato no. 335, p. [168]: “SS.ri Provisori dell’Sac. Monte della Pietà di Roma delli denari esistenti in cotesto loro Banco a nostro credito si compiaceranno di pagare al s.r marchese Aurelio Bellissomi scudi sessanta [di] moneta quali gli facciamo pagare per il palchetto del 2.o ordine goduto da noi nel Teatro di Capranica il carnevale prossi[mopassa]to che con ricevuto etc. li 28 febb.ro 1690. scudi 60.” The opera that year was La Rosmene, with music probably by Alessandro Scarlatti. The prince may have received a rebate on his box, since he paid for Giovanni Haym to play cello in the production and for the tuning and maintenance of the harpsichords: ArchBarb, Computisteria 486 [Prince Urbano], mandato no. 340, April 1690, p. 147, to Haym for playing violone and Giuseppe Boni di Cortona for tuning harpsichord; also entered in the prince’s libro mastro, Computisteria 482/A, as part of “spese di mascherate, e commedie,” p. 636.

[9] ArchBarb, Giustificazioni (hereafter Gius) II.181, March 5, 1689, no. 28: “per saldo d’un conto di copiature di musica fatte.” This likely pertains to a request for copying an opera score and/or its vocal parts. The next item is for a chimney sweep.

[10] A brief biography for Cacciaglia may be found at http://performart-roma.eu/en/researcher/luigi-cacciaglia-2/, last modified July 26, 2017.

[11] Literally, a busta is an envelope; but a single one can be a pile of loose paper seven inches or more in height, with a parchment-covered wrap. Many of these have now been enclosed in modern, overlapping cardboard sleeves, held in place by fabric ties.

[12] Cacciaglia, Le Giustificazioni (hereafter Cacciaglia), 16.

[13] Most of Cardinal Francesco’s giustificazioni were serially numbered, starting with no. 1 in 1623 and extending to no. 12,897 in 1679 (the latter in Gius.I.222). Hammond’s references for these (in “More on Music in Casa Barberini”) thus remain valid, although one needs the present shelfmark to order the pertinent volume for consultation. Cacciaglia, however, inventories far more than the originally numbered documents.

[14] Also known as Benedetto Colonna Barberini di Sciarra (1788–1863), cardinal from 1826 in pectore; named publicly in 1828. Cacciaglia inventories sixteen buste, dating from 1822 to 1858.

[15] His influence on Roman art is treated in Sebastian Schütze, Kardinal Maffeo Barberini später Papst Urban VIII und die Entstehung des römischen Hochbarock, Römische Forschungen der Bibliotheca Hertziana 32 (Munich: Hirmer, 2007).

[16] Entries are indexed by archival volume number and internal fascicle, not by the page where each appears in Cacciaglia’s publication itself. The last item in the general index is the name of an herb-seller, Michelangelo Zucchi. The first is the composer Antonio Maria Abbatini, whose name leads to letters concerning an apprentice. Though the letters appear undated, this apprentice shows up in Cardinal Antonio Barberini’s giustificazioni for the second half of 1665 (ArchBarb, Gius.I.258, fasc. 2/2): “scudi 30 a Giuliano Maggioni musico per tre mesi” (Cacciaglia, p. 176). In Antonio’s Giornale F (ArchBarb, Computisteria 228, a volume of mandati) for 1658–1663, Nadia Amendola found Maggioni and one Antonio Fede being trained by Abbatini; see her “Celebrations of the Peace of the Pyrenees in Baroque Rome: Two Cantatas of Giovanni Pietro Monesio and Giovanni Lotti,” in Marco Brescia and Rosana Marreco Brescia, eds., Actas do III Encontro Ibero-americano de Jovens Musicólogos ([Seville]: Tagus-Atlanticus Associação Cultural, 2016), 39–50, n. 14.

[17] All from ArchBarb, Gius.I.2. The painter Passignano, known as Domenico Cresti, appears six times in the general index. The Barberini family chapel in Rome is in the Theatine church of S. Andrea della Valle, which underwent reconstruction from 1608. They maintained another chapel in the church of S. Rosalia in Palestrina, where in 1737 Cardinal Francesco Jr. expected to be entombed along with his great-uncles Cardinal Antonio and Prince Taddeo, and his brother Prince Urbano.

[18] Books on them, their patronage, and politics are too numerous to make even a selective listing. Among more recent general views are Marcus Völkel, Römische Kardinalshaushalte des 17. Jahrhunderts: Borghese—Barberini—Chigi (Tübingen: Niemeyer, 1993); Irene Fosi, All’ombra dei Barberini: Fedeltà e servizio nella Roma barocca (Rome: Bulzoni, 1997); Peter Rietbergen, Power and Religion in Baroque Rome: Barberini Cultural Policies (Leiden: Brill, 2006); and Francesco Solinas, Lorenza Mochi Onori, and Sebastian Schütze, eds., I Barberini e la cultura europea del Seicento (Rome: De Luca, 2007). The last represents a very wide-ranging conference on the Barberini held in the Palazzo Barberini in 2004. Extensively based on archival resources is Patricia Waddy, Seventeenth-Century Roman Palaces: Use and the Art of the Plan (New York: Architectural History Foundation, and Cambridge, MA: MIT Press, 1990). A view of Barberini governance outside of Rome proper is found in Caroline Castiglione, Patrons and Adversaries: Nobles and Villagers in Italian Politics, 1640–1760 (New York: Oxford University Press, 2005). Among the first archival studies about Barberini music was Henry Prunières, “Les musiciens du Cardinal Antonio Barberini,” in Mélanges de musicologie offerts à M. Lionel de la Laurencie (Paris: Droz, 1933), 117–22. Systematic research in the archives brought new, specific dimensions to Frederick Hammond’s “Girolamo Frescobaldi and a Decade of Music in Casa Barberini: 1634–1643,” Analecta Musicologica 19 (1979): 94–124; his “More on Music in Casa Barberini,” cited above (n. 6); and his Music and Spectacle in Baroque Rome: Barberini Patronage under Urban VIII (New Haven: Yale University Press, 1994).

[19] Known for most of his career simply as the Cardinal Barberino. In academic studies, he is recognized as Cardinal Francesco Sr., to distinguish him from his nephew Francesco Jr., who became a cardinal in 1690.

[20] Cacciaglia, plate 13, p. 402, reproduces a receipt in Kapsperger’s hand, dated 1627.

[21] Cacciaglia, plate 15, p. 404, reproduces the cover folder, Gius.I.71, no. 2992. The thesis in the field of theater is Aldo Roma, “Giulio Rospigliosi, S. Bonifatio: Studi e edizione critica” (PhD thesis, La Sapienza, Università di Roma, 2016).

[22] ArchBarb, Gius.I.80 [Cardinal Francesco], no. 3824, fols. 70–144 (not available to Frederick Hammond for his three principal Barberini studies). From the cardinal’s book of Entrate e Uscite for 1639 to 1642, Hammond identified three of these men as possibly Francesco Muti, Giacinto Serafini, and Giovanni Battista Boni da Cortona, in his “More on Music in Casa Barberini,” p. 246. The lutanist is likely Giuliano Dandini, whom Aldo Roma identified in the thesis cited above (n. 21), pp. 70–71, as the theorbist in S. Bonifatio.

[23] Chiara Granata, “ ‘Un’arpa grande tutta intagliata e dorata’: New Documents on the Barberini Harp,” Recercare 27, nos. 1–2 (2015): 139–84, with data sheets and schematics by Dario Pontiggia; see also Eleonora Simi Bonini, “Uno strumento e la sua storia: l’arpa Barberini,” Nuova rivista musicale italiana 46, no. 2 (2012): 205–26. Cacciaglia’s index provides five entries under “arpa,” and nine under “cembalo, clavicembalo e spinetta”; but none under “violino/i,” because individual performers in payments for ensembles are not inventoried.

[24] ArchBarb, Gius.I.267, fasc. 1, Feb. 28, 1671, to Giuseppe Boni da Cortona “per accomodatura di cembalo” (the entry is a rare mistranscription, as Giuseppe Bossi Cerbona). The same set of giustificazioni for February includes payment for a “pittura” made at the Teatro Tor di Nona, but it is not clear if this was to decorate a box or for a set design.

[25] Cacciaglia, 155, inventorying ArchBarb, Gius.I.240, Conti e ricevute, fasc. 4, 1643. Vitali provided music again in 1644 for the Feast of the Assumption (Gius.I.241, fol. 476), Cacciaglia, 157. In 1647, when he was in France, the cardinal left the special music in the hands of a Monsignor Magalotti (Gius.I.243, fol. 305), Cacciaglia, 161. There is another entry for music there in 1652 (Gius.I.246), Cacciaglia, 163.

[26] ArchBarb, Computisteria 231, fol. 54, dated Jan. 25, 1629: “al s.r Girolamo Nasperger [sic] scudi cento di moneta … per pagare li musici, che di ordine nostro sono stati a cantare a Santa Agnesa il giorno della festa” (see also payments on fols. 72v and 78v).

[27] ArchBarb, Gius.I.307, fasc. 33bis and 47, in Cacciaglia, 225 and 226: “per la musica e messe celebrate in occasione della festa di San Sebastiano in Campo Vaccino [al Palatino], spettato al nostro baiulivato.” The church had been rebuilt by Urban VIII in the 1620s. For some of Francesco Jr.’s similar commissions for music there, see ArchBarb, Computisteria 411, Giornale B [of mandati], Jan. 20, 1687, pp. 5 and 6; and for Feb. 23, 1690, p. 215. In 1723, the music for this occasion was composed by Pietro Paolo Bencini (Gius.I.545, Mandati e ricevute di pagamenti fatti dal … depositario del card. Francesco Barberini); see Cacciaglia, 324.

[28] ArchBarb, Gius.I.307, fasc. 34, 40, and 41, in Cacciaglia, 226. The payment to Foggia includes the names of those in the choir. S. Stanislao is one of two churches in Rome of the Polish nation. King Jan III Sobieski led the Polish relief forces against the Ottoman army under Kara Mustafa.

[29] For example, in ArchBarb, Gius.I.285, Contromandati originali del sig. card. Francesco seniore per conto del principe Carlo … dell’anno 1650, fasc. 49: “ricevuta di Anna Colonna di scudi 1125 a pagamento dei frutti della sua dote di 180/m scudi, frutti dovuti per il mese di aprile 1650 in conformità dello statuto di Roma a scudi 7 e mezzo per cento;” she similarly received 950 scudi in May, 900 in June, and 900 in August (fascicles 59, 75, 120, and 351), Cacciaglia, 199. One wonders if these enormous amounts represent back payments from accounts frozen from the beginning of the Pamphili pope’s reign.

[30] ArchBarb, Gius.I.313, Recapiti del Computista dell’anno 1687, prima parte, fasc. 4 (Cacciaglia, 233). On fol. 4r–v, the players appear distributed 7+7 violins, 3 violette and 6 violoni, in addition to an archlute. Five singers received four scudi each; other singers, two trumpeters, and a spinet player received one scudo each, as did the harpsichord technician. The payments for the food for the banquet are in fascicle 51; they include —to give just a sampling—50 fresh eggs, 148 domestic pigeons, 20 mortadelle, 30 larks, and 25 finocchi. Five master chefs were paid 19.20 scudi; they were the cooks of three other cardinals, a monsignor, and Prince Pamphili.

[31] ArchBarb, Gius.I.319, Recapiti del Compotista [sic] dell’anno 1690, parte prima, fasc. 158: “scudi 70 a Giacomo d’Alibert …” (Cacciaglia, 239).

[32] ArchBarb, Gius.I.331, Recapiti del computista dell’anno 1696, prima parte, fasc. 97: “spesa per un libretto della seconda opera di Tor di Nona …” (Cacciaglia, 245). In the Rome production of Furio Camillo, the role of Erippo was sung by Giovanni Battista Franceschini, who was in the service of the Duke of Modena (see the printed libretto, Rome: Buagni, 1696, p. 6).

[33] ArchBarb, Gius.I.331, anno 1696, fasc. 195: “a Francesco Acquaviva coramaro, per 10 cuscini per il Teatro di Tor di Nona” (Cacciaglia, 246).

[34] ArchBarb, Gius.I.313 (see note 30 above), fasc. 3, fol. 1, dated June 10, 1686: “pagato un cimbolaro che ha messo tutte le corde e refatte tutte le linguette alli saltarelli del cimbalo delli Bastioni …”

[35] ArchBarb, Gius.I.313, fasc. 92, fol. 434, August 14, 1687: “… della accomodatura di un cimbalo armonico cromaticho che per essere stato sotto l’aqua del fiume era tutto dissfatto e rotto e persi molti pezzetti della tastatura e ragiustata tutta la controcassa che era spachata. Così d’accordo con il’ sottoguardarobba di S.E. scudi 9.–.” This payment extends Lagardi’s years of known activity given in Patrizio Barbieri, “I cembalari della Roma di Bernardo Pasquini: Un censimento, con aggiornamenti sui loro strumenti,” in Armando Carideo, ed., Atti Pasquini symposium: Convegno internazionale, Smarano, 27–30 maggio 2010, Quaderni Trentino Cultura 17 (Trent: Giunta della Provincia Autonoma di Trento, Assessorato alla Cultura, Rapporti Europei e Cooperazione, 2012), 144; available for download at https://www.cultura.trentino.it/Pubblicazioni/Pasquini-Symposium-2010-Atti.

[36] V-CVbav Fondo Barb. lat. 4140. The music for Mauritio was by Domenico Gabrielli; the score for Gierusalemme was by Carlo Pallavicino. The Barberini anthology is extensively described in Lowell Lindgren and Margaret Murata, The Barberini Manuscripts of Music, Studi e Testi 527 (Vatican City: Biblioteca Apostolica Vaticana, 2018).

[37] See Huub van der Linden, “Benedetto Pamphilj in Bologna (1690–3): Documents on his Patronage of Music,” Royal Music Association Research Chronicle 47, no. 1 (2016): 87–144. The arias are in Barb. lat. 4206. The libretto to Amilcare is by Alessandro Gargiera, the music by Giovanni Paolo Colonna.

[38] The libretto to the 1693 Lisimaco was published in Ferrara by B. Pomatelli (available on Google Books). The cast list on p. 9 names “Dionigio Fregiotti romano” in the role of Cleonte. Dionigio was the brother of Michele, a tenor who had been in the service of Prince Maffeo Barberini. After Maffeo’s death in 1685, Michele appears on the Rolo della famiglia of Don Francesco (not yet a cardinal) in October of 1686 (ArchBarb, Computisteria 454, fol. 94).

[39] These were Mario fuggitivo, music by Francesco Mancini, Naples 1710; L’Eraclio, music by Giuseppe De Bottis, Naples 1711; Selim re d’Ormuz, music by Mancini, Naples 1712; Agrippina, music by Mancini, Naples 1713; and Amor tirannico, music by Francesco Feo, Naples 1713.

[40] See ArchBarb, Gius.I.462B, fasc. 82, and Gius.I.463 for 1711 and 1712 (Cacciaglia, 280–81), which note that Carlo Borromeo, viceroy of Naples, had a “casino posto alla salita di Sant’Onofrio di Roma.”

[41]  ArchBarb, Gius.I.545, fascicles 12 and 26 (Cacciaglia, 324). The two operas presented at the Capranica in 1723 were L’Oreste, with music by Benedetto Micheli, and Ercole in Termodonte with music by Antonio Vivaldi, who is identified in the printed libretto as maestro di cappella of Landgrave Philip of Hesse-Darmstadt, then governor of Mantua.

[42] For example, for S. Maria Maddalena alle Convertite for Cardinal Francesco in 1627 (Gius.I.44, 799E; Cacciaglia, 65–66) and for S. Maria in Aquiro for Cardinal Antonio in 1628 and 1629. ArchBarb, Computisteria 231, Registro de’ mandati (1626–1631), fols. 36, 39v, 61v. In 1630 that assignment went to Stefano Landi.

[43] ArchBarb, Computisteria 415, Registro de mandati dall’anno 1694 a tutto l’anno 1700, fol. 15 (the countess in February) and fol. 17 (in April, the duchess). In his will, Cardinal Francesco left his sister a gold watch (or 300 scudi if it could not be found) “in contrasegno del grande affetto fraterno, che gli ho portato in vita” (from Rome, Archivio di Stato, Notai A.C., Uffizio 3, De Caesaris, vol. 1828; in Paviolo, Francesco Barberini Jr., I testamenti dei cardinali, p. 19).

[44] Edward Heawood, Watermarks, Mainly of the 17th and 18th Centuries, Monumenta chartae papyraceae 1 (Hilversum: The Paper Publications Society, 1950); several reprints, most recently Eastford, CT: Martino Fine Books, 2016.

[45] See, for example, the anchor in a circle with a star above, common in Rome, which has eleven images datable between 1600 and 1700 in The Thomas L. Gravell Watermark Archive, comp. Daniel W. Mosser and Ernest W. Sullivan II (1996– ), http://www.gravell.org/, accessed October 1, 2018. Go to “Search the records.”