The Galli-Bibiena family, or Galli da Bibiena (also spelled "Bibbiena"), was a family of Italian artists of the 17th and 18th centuries, including: father, Giovanni Maria Galli da Bibiena (1625–1665); daughter Maria Oriana Galli Bibiena (1656–1749), Italian painter; son Ferdinando Galli Bibiena (1656–1743), Italian architect/designer; son Francesco Galli Bibiena (1659-1739), Italian architect; grandson, Alessandro Galli Bibiena (1686–1748), architect/painter; grandson, Giuseppe Galli Bibiena (1696–1757), Italian designer; grandson, Antonio Galli Bibiena (1700–1774), Italian architect; grandson, Giovanni Carlo Galli-Bibiena (1717-1760), architect/designer; greatgrandson, Carlo Galli Bibiena (1728–1787), designer, son of Giuseppe Galli Bibiena.The Galli-Bibiena family derives its name from the surname and birthplace of papa Giovanni Maria Galli (1625 - 21 June 1665), who was born at Bibbiena (Italy) outside Florence. Giovanni was a student of painting and assistant under Francesco Albani, being, evidently, adept at the depiction of water scenes. He produced faithful copies of his master’s paintings. His surviving independent works include an Ascension (1651; Bologna, Certosa) and, in the church of Buon Gesù, Bologna, also a fresco of "St Bernardino" and two sibyls. Giovanni Maria Galli-Bibiena died on June 21, 1665 in Bologna, but he had laid the foundations of an artistry which was continued by his descendants, who dedicated themselves to architectural work and set design for the theatre.Using the highly ornate style of late baroque sculpture and architecture, the members of the Galli-Bibiena family produced a series of theatrical and other designs that are exceptional for their intricate splendour and spacious proportions achieved by detailed perspective.From about 1690 to 1787, eight Bibienas designed and painted for many of the courts of Europe with intricate settings for operas, weddings, and funerals. The Habsburgs were their most generous patrons.The works of the Galli-Bibiena family in theatrical scenery were not executed in durable material. Also, because their decorative works for court functions were necessarily temporary, few of their creations have survived; however, the richness and splendour of their works can be judged from drawings made at the time, which have been preserved in great numbers and are found mainly in collections at Vienna, Munich, Dresden and Montreal.