ABSTRACT
In Renaissance Rome, each pope marked the beginning of his reign with a ceremo-nial possesso, a procession in which the new pontiff and his retinue traversed the city, marching in triumph from the Vatican to St John Lateran and back again. Considered from the perspective of the possesso, collections can be understood as lasting traces of ephemeral celebrations and a type of display similar triumphal spolia and triumphal arches. Examining these relationships in more detail loosens an overly strict understanding of Rome’s early collections as private ‘muse-ums’ and focuses attention on the movement of antique sculptures between private and public space. Enshrined in museums, ancient sculptures seem far removed from the history of processions and temporary decor. The Venus pudica set up by a goldsmith serves as a reminder of the ripe potential for satire and inversion when antique statues on the street were juxtaposed with the papal cortege.
