Villa Doria Pamphili, on the Gianicolo, the Roman Janiculum, is the largest (180 hectares) public landscaped park of Rome, bought in 1965–1971 by the City of Rome from the Doria-Pamphilj family—the family favor the orthography of the long i. When Girolamo Pamphilj died in 1760 without male heirs, a battle broke out among the possible heirs, which was settled in 1763 when trhe Rezzonico Pope Clement XIII granted to prince Giovanni Andrea IV Doria (1705–64) the surname, the arms and the vast properties of the Pamphilj, by right of the marriage between Giovanni Andrea III Doria (1653–1737) and Anna Pamphilj (1671–1740) [1]. Hence the villa's double name.The nucleus of the villa property, still called the Villa Vecchia, already existed before 1630, when Panfilo Panfili, who had married the heiress Olimpia Maidalchini (1591-1657), bought the property where the ancient Via Aurelia commences just outside the Porta San Pancrazio in the ancient walls of Rome. He set about buying up neighboring vineyards to accumulate a truly princely holding, referred to sometimes by contemporaries as the Vegna Panfili, the "Pamphili vineyards" of the western part of the property, but more often known as Bon Respiro, for it stood on healthy high ground, above the malarial miasma of Rome, and offered spectacular views, a requirement that was becoming more essential in Baroque villa planning than it had previously. The Pamphili preferred to call it the Villa dell'Allegrezze—ignoring the stricture in Ecclesiastes 7:4 that gave rise to Edith Wharton's House of Mirth— and resorted there, enjoying it in the nature of a villa suburbana. A more expansively sited new villa, the Casino, was begun in 1644—the year that Giovanni Battista Pamphili became pope as Innocent X—by his nephew, Camillo Pamphili (1622-1666), whom Innocent appointed cardinal; work progressed on it in stages until 1652. The design, after a more extravagantly modern design by Francesco Borromini had been rejected, was placed in the hands of the Bolognesi, Alessandro Algardi, who is better known as a sculptor, assisted by Giovan Battista Grimaldi who has a modest reputation as a landscape painter. For such a project, the designers and the patron had need of the services of a trained professional. Carlo Rainaldi, from a family of mason-architects and engineers, served in this capacity. He had suffered bitter disappointment the same year when he was replaced by the young Borromini on the Pamphili church of Sant'Agnese in Agone in Piazza Navona, for which he had just completed the foundations.