Cardinal Scipione Borghese, an important art collector, was the collection's instigator and collected the majority of the collection. His collection was poetically described as early as 1613 by Scipione Francucci. In 1607, the Pope gave the Cardinal 107 paintings which had been confiscated from the studio of the painter Cavalier D'Arpino. In the following year, Raphael's Deposition was removed by force from the Baglioni Chapel in the church of San Francesco in Perugia and transported to Rome to be given to the Cardinal Scipione through a papal motu proprio.
Later additions
In 1682, part of Olimpia Aldobrandini's inheritance entered the Borghese collection; it included works from the collections of Cardinal Salviati and Lucretia d'Este.
Housing the collection
Scipione developed a large estate and vineyard on the Pincian hill in Rome into a vast garden and complex of palaces, the Villa Borghese, to house his collection. He also used the Villa Mondragone for this purpose. In 1775, in homage to his Borghese ancestors, Prince Marcantonio IV Borghese and the architect Antonio Asprucci embarked upon renovations to Villa Borghese, which had always been a semi-public museum since the 17th century. Integrating the sculptures of the Borghese collection and existing vast Baroque ceiling decors, they created a spectacular monument to the Borghese family.
Galleria Borghese
The Villa still houses a major part of the collection, as the Galleria Borghese. Many of the sculptures there are displayed in the spaces they were intended for, including early works by Gian Lorenzo Bernini.
:Image:Leda mit dem Schwan.jpg|Leda and the Swan by followers of Leonardo da Vinci
Bernini collection
The small collection of works by Bernini comprises a large proportion of his lifetime output of secular sculpture; in this collection one can see the sponsored Bernini mature from juvenile, but talented works, such as The Goat Amalthea with the Infant Jupiter and a Faun to his supreme and dynamic Apollo and Daphne and David, considered seminal works of baroque sculpture. In addition, the gallery contains three busts, two of Pope Paul V and one marvelously conversive and stunningly innovative portrait of his patron, Borghese. Finally it has some early, somewhat mannerist, but masterful works such as Aeneas, Anchises, and Ascanius and the Giambologna-emulating Pluto's Rape of Prosperpine, and also a personal allegory of Truth Unveiled by Time.
He replaced them in the Villa with other pieces from excavations on Borghese property and paintings from his residences' stores and cellars, so that already by the 1830s these gaps seem to have been filled and despite the losses the collection was still reckoned as one of the world's finest. Camillo even bought Correggio's celebrated :Image:Correggio 008.jpg|Danäe in Paris in 1827.