The "Sala dei Paesaggi" (Landscape Room) is intended to bear witness to another vocation of the Academy: that of collecting, which has developed since its foundation and is expressed in two ways. The first is represented by the so-called "entrance gifts", which the institution requires of each artist at the time of co-optation in the academic body.

From time to time it is a work considered emblematic by the author and as such submitted to the critical scrutiny of colleagues, but also to the judgment of history: a valuable indicator of culture and taste, individual and contextual. But the creation over time of an impressive artistic heritage in terms of quantity and quality is also the result of donations and legacies to the Academy that have been multiplying especially since the eighteenth century, by artists, collectors, amateurs. This is the case of the considerable testamentary legacy of an eccentric figure of early eighteenth-century Rome, Fabio Rosa, thanks to whom more than two hundred paintings - partly later dispersed - were acquired by the academic collections in 1753.

The Sala dei Paesaggi, in addition to some significant "entrance gifts" such as those of Pietro Francesco Garolli (1682), Giovanni Paolo Pannini in 1719 or John Parker (1756), houses 25 works from the Rosa legacy, united by their qualitative excellence and by their belonging to a pictorial genre - the "landscape" - that was extraneous to the academic tradition and vice versa at the centre of the collecting preferences generated by the phenomenon of the Grand Tour.