Research Stream


Lisa Beaven

Lisa Beaven is a Postdoctoral Research Fellow in the ‘Change’ Program of the Centre led by Professor Charles Zika. Her doctoral research involved reconstructing the collecting and art patronage of Cardinal Camillo Massimo (1620−1677) in seventeenth-century Rome (2001, The University of Melbourne). She has continued to research art patronage and collecting, concentrating in particular on the paintings of Claude Lorrain in relation to place. In 2007−2009 she was part of an ARC Linkage Project ‘Engaging with Place: an interdisciplinary framework for place-based research’, researching early modern travel to Rome. In 2006 she was a visiting scholar at the American Academy in Rome and in 2008 was A. D. Trendall Fellow at the British School at Rome, working on landscape painting in the context of the social and ecological conditions in the Roman Campagna in the seventeenth century.  Her book An Ardent Patron: Cardinal Camillo Massimo and his artistic and antiquarian circle: Claude Lorrain, Nicolas Poussin and Diego Velazquez was published by Paul Holberton Press, London, and CEEH, Madrid in 2010. With Professor Angela Ndalianis she holds an ARC Discovery Grant, ‘Experiencing space: sensory encounters from Baroque Rome to neo-baroque Las Vegas’.

Her research interests are still concentrated in the area of patronage and art collecting in seventeenth century Rome, on the architecture and urbanism of the city, and on the nature of visual culture and the Catholic church in early modern Europe. Other research interests include digital mapping, travel writing, relics and the relationship between Catholicism and antiquarianism in the seventeenth century.

Contact Profile


Pilgrimage to the Eternal City: Art, relics and Catholic reform in Rome 1570−1640



An Ardent Patron: Cardinal Camillo Massimo and his artistic and antiquarian circle: Claude Lorrain, Nicolas Poussin and Diego Velazquez, Paul Holberton Press, London, and CEEH, Madrid (2010).

With Grant Banbury, Landmarks: Thee Landscape paintings of Doris Lusk, Christchurch, 1996. Republished on-line by the Christchurch Public Library, 2007.

Refereed Articles

‘Cardinal Camillo Massimo and Claude Lorrain: Landscape and the construction of identity in seicento Rome’, Storia dell’Arte 112 (2006): 23−36.

‘Cardinal Camillo Massimi (1620-1677): amateur draughtsman and pupil of Nicolas Poussin’. Master Drawings 41.1 (2003): 14−29.

‘Cardinal Camillo Massimi as a landscape patron: the evidence of the 1677 inventory’. Journal of the History of Collections 15.1 (2003): 19−29.

‘Reni’s Cupid with a Bow and Guercino’s Cupid Spurning Riches in the Prado: A gift from Camillo Massimi?’. Burlington Magazine 142 (July 2000):437−41.

‘Camillo Massimi as a patron of sculptors: François Duquesnoy, Alessandro Algardi, Francesco Fontana and Cosimo Fancelli’. Melbourne Art Journal 3 (1999): 25−36.

With Dagmar Eichberger ‘Family Members and Political Allies: The Portrait Collection of Margaret of Austria’. Art Bulletin (Art Association of America) 77.2 (June 1995): 225−48.

Book Chapters

With Angela Hesson, 'Objects of Love'. In Love: Art of Emotion, edited by A. Hesson, M Martin and C. Zika, pp. 124−39. Melbourne: National Gallery of Victoria exhibition catalogue, 2017.

‘Murder and Misericordia: Reconstructing Violent Death and Emotion in the Roman Campagna in the Seventeenth Century’.  In Violence and Emotions in Early Modern Europe, edited by Susan Broomhall and Sarah Finn, pp. 57−97.  London: Routledge, 2015.

‘Claude Lorrain and La Crescenza: The Roman Campagna in the seventeenth century’.  In The Site of Rome, edited by David R. Marshall, pp. 108−39.  Rome: Erma di Bretschneider, 2014.

‘E cortesi, erudito, e disinvolto al pari di qualunque altro buon corteggiano’: Cardinal Camillo Massimo (1620-1677) at the court of Pope Clement X Altieri.  In Possessions of a Cardinal, edited by C. Richardson and M. Hollingsworth, pp. 309−27. Penn. State University Press, 2010.

'Cardinal Camillo Massimo as art agent of the Altieri’. In Art and Identity in Early Modern Rome, edited by M. Bury and J. Burke, pp. 171−87. Aldershot, England: Burlington VT, Ashgate, 2008.

‘Someone to watch over me: The Guardian Angel as Superhero in seventeenth century Rome’. In Super/Heroes: An Anthology, edited by Wendy Haslem, Chris Mackie and Angela Ndalianis, pp. 251−61. Washington: New Academia Press, 2007. ISBN 0-9777908-4-3. Chapter 18.

'Claude Lorrain’s Harbour Scenes: sun, science and the theatre in the Barberini years’. In Art, Site and Spectacle: Studies in Early Modern Visual Culture, edited by David R. Marshall, pp. 147−61. Melbourne: Fine Arts Network, 2007.

‘Bernini’s Last Papal Portrait: the statue of Pope Clement X and its audience’.  In  in David R. Marshall (ed.), The Italians: Renaissance and Baroque Paintings from Italian Collections, edited by David R. Marshall, pp. 95−106. Florence: Centro Di, 2004.

Refereed Conference Papers

‘Playing with Objects: Engaging the senses in the villa collections of Rome’, in The Early Modern Villa: Senses and Perceptions versus Materiality, International symposium held at the Museum of King Jan III’s Palace at Wilanów, Orangery, 15−17 October 2014 (in press, 2017).

‘Grave of Graves’: Grand Tourists’ Responses to the Roman Campagna’, conference  paper in Southern Horrors. The Dark Side of the Mediterranean World seen from Northern Europe and America, 1453-1939, an international conference held at the Faculté des Lettres, Arts et Sciences Humaines of the University of Nice-Sophia Antipolis, 19-21 April, 2012. (Cambridge Scholars Press), pp. 79-94.

‘The Galleria of Cardinal Camillo Massimo in the Palazzo Massimo alle Quattro Fontane: issues of audience and display’, in Christina Strunck and Elizabeth Kieven (eds.), Europäische Galeriebauten: Galleries in a Comparative European Perspective, (Akten des Internationalen Symposions der Biblioteca Hertziana Rom, 23-26 February 2005), Munich, 2010, pp. 383-398.

Selected Conference papers and Invited Lectures

‘Playing with objects: Villa collections and the senses in seventeenth century Rome’  -international conference The Early Modern Villa: Senses and Perceptions vs. Materiality, Wilanów Palace, Warsaw, 15−17 October 2014.

‘Footsteps of an Angel: Imprint relics in early modern Rome’, Relics and Emotions Study Day, ARC Centre of Excellence for the History of Emotions (Melbourne), 21 March 2014. Convenors Dr Sarah Randles and Professor Charles Zika.

Object and Interaction: Online Teaching with La Trobe Cultural Collections Video presentation with Dr Gillian Shepherd, La Trobe Learning and Teaching Colloquium, 6 December 2013, La Trobe University.

‘Faith and Fetish: objects and the body in baroque culture’, Baroque to Neobaroque: Emotion and the Seduction of the Senses, 27−29 November, 2013, International conference funded by the ARC Centre of Excellence for the History of Emotions and the Faculty of Arts, Melbourne University.

‘Murder and Misericordia: reconstructing violence in the Roman Campagna’, Violence and the Emotions in Europe, 1400−1800, Conference organised by the ARC Centre of Excellence for the History of Emotions (Perth), 2 October 2013.

‘Being Naked in early modern Italy’, one of two public lectures in the forum: How to Look Good Naked: From Antiquity to the Renaissance, National Gallery of Victoria, 9 November 2013.

‘Touching Stone: Statues and Relics in the Baroque churches of Rome’, invited conference paper, Sacred Places, Pilgrimage and Emotions, ARC Centre of Excellence for the History of Emotions, University of Melbourne, 23−25 May 2013. (Dr Sarah Randles and Professor Charles Zika conveners).

‘"In no way does she resemble a woman": Queen Christina of Sweden and her reception in Seventeenth century Rome’, The Johnston Collection, House Museum, 27 March 2013. Repeated at the request of the La Trobe Art History Alumni 15 May 2013, La Trobe University.

‘"Passions of the Soul": Emotion in the Art of Nicolas Poussin’, The La Trobe Art History Alumni Rae Alexander Lecture, (invited keynote), National Gallery of Victoria, 9 November 2012.