ship was sharpened by the connection. The nephew of Pope Clement XI, respectful patron and skilled diplomat, Cardinal Alessandro Albani (1692-1779) was in fact one of the greatest collectors of ancient sculptures in 18th-century Rome, and a promoter of that Neo-classical taste that forms the basis of modern archaeological studies. The Villa, lying just outside the city walls, along the Via Salaria, was built between 1747 and 1763, designed by the architect Carlo Marchionni, when the extensive green area, previously owned by Accoramboni, Ercolani and Orsi, was purchased by Cardinal Albani. A building of representation more than a residence, as suggested by the high-ceilinged rooms, the care of the interiors, the elegant interior façade covering two floors with the majestic terraced loggia, looking onto the Italian-style garden, the Villa was most of all a cultural powerhouse, hosting pleasant moments for the circle of antiquarian friends that the learned churchman had gathered around him. This was the stage of erudite discussions, concerts, dances and masked comedies, and guests would be astonished by the wealth of the furnishings, made up of polychrome marbles, stuccoes, tapestry, paintings, and above all, an exceptional collection of original Greek and Roman sculptures: a passion for the ancient world that Albani had nurtured since his youth, sponsoring vast excavation projects and making purchases both in Rome and in the surrounding areas. Cardinal Alessandro Albani had another villa and park at Porto d'Anzio, that was finished in February 1732, but was habitable for a few weeks only in spring because of malaria. The Villa remained largely intact even after the death of the Cardinal: the works removed during the Napoleonic period (1797-1815) to decorate the Musée Napoléon in Paris were in fact partly returned after 1815 to their legitimate owner, Prince Carlo Albani while the residence remained property of the Albani family up until the first half of the 19th century, when from the last heir it was passed on to the Albani-Castelbarco family, from whom the Torlonia Family soon after purchased it. An exceptional building, developed with eclectic taste in a swift succession of rooms decorated with masterpieces like the Apollo Sauroctono and the Parnassus fresco (1761) by Anton Raphaël Mengs (1728-1779) considered to be the manifesto of the neoclassical style. The world-wide famous bas-relief of the Antinoo from Villa Adriana, depicting the young lover of Emperor Adriano along with the collections showcasing works by Perugino, Vanvitelli,