Abstract
The six landscape paintings attributed to Annibale Carracci in the Doria-Pamphili Gallery at Rome together constitute the most important representation of Roman landscape painting of the beginning of the seventeenth century. They were painted for the private chapel of the Palazzo Aldobrandini, but were taken away from their original setting in the seventeenth century and used as easel pictures in various places until they reached their present destination.1 They owe their importance non only to the circumstance that a single landscape theme is here subjected to a series of closely interdependent variations, but still more to the fact that here we have a really great landscape painter, Annibale Carracci, working in a totally original way in collaboration with the best of his pupils.
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