Giardini del Quirinale

Black pencil drawing, mm 304x422.

Belongs to a collection of 127 works unearthed from a French antiquarian who, in turn, had acquired them from the heirs of publisher Henri-Désiré Charpentier (La Rochelle 1805 - Vertou 1882); they are all done in black pencil, some have white lead highlighting; they never bear the date and signature of the author, but only a brief caption relating to the subjects depicted. The drawings denote a skilled and expert hand - especially in the delineation of buildings, ruins and architecture - that restores the monuments of Rome from interesting and unusual perspective points. The reference of most of the drawings to some of the tinted lithographs by Felix and Philippe Benoist, published in the three-volume work Rome dans sa grandeur, immediately became clear. The fact that this is a large group of original drawings related to the famous work edited by Henri-Désiré Charpentier is clearly supported by the prestigious provenance; it is a part of Charpentier's heir fund, among which the material of the famous chalcographic workshop had been divided.

Rome dans sa grandeur. Vues, monument ancient et modernes was printed in Paris in 3 volumes, in 1870. The publication, illustrated by 100 lithographs, was preceded by a campaign of preparatory drawings, dating from 1864 until 1869, executed mainly by Félix Benoist and partly by Philippe Benoist. On the eve of the Concilio Ecumenico Vaticano I, on August 11, 1869, Pius IX decreed the creation of a Roman Exhibition of the works of every art executed for Catholic worship, which was inaugurated, on February 17, 1870, in the cloister of the Carthusian monastery of Santa Maria degli Angeli. On that occasion, the three folio volumes Rome dans sa grandeur were presented. The lavishly bound volumes, with the coat of arms of Pius IX stamped in the center in gold, are divided into three sections. The first volume deals with ancient Rome, the second, with Christian Rome, and the third, with the monuments and achievements of modern Rome. A valuable view of papal Rome on the eve of Rome's profound transformation into the capital of united Italy. A document that highlights the remarkable imprint left by Pius IX on the Eternal City. The work represents the French artist's masterpiece, so much so that it places Benoist among the ranks of the greatest artists of interiors and views of his time.

The sheets used for the preliminary studies vary in size (from 170 mm x 240 to 490 x 300 mm), weight and even color gradation (from beige to green).  Many of the drawings undeniably represent different preparatory stages - more or less complete - of some of the dyed lithographs illustrating the magnificent work, others of the silographic vignettes included in the text, while other sketches do not find translation in print. Belonging to this second group are both sketches relating to monuments and views of Rome and its surroundings: ancient Ostia, Grottaferrata, Olevano Romano, Anzio, Nettuno, Velletri and Vicovaro. Far beyond from Rome are drawings relating to Naples and Loreto. The suite was to form part of the entire fund, later dispersed, of preparatory studies from which the hundred intended for lithographic printing were selected.

Preparatory study for the plate Jardins du Palais du Quirinal Partie inferieure, avec les fontaines et l’orgue hydraulique included in the third volume of the work - Rome Moderne.

The drawing depicts the lower part of the Quirinal complex, with the famous Organ Fountain-also known as the Organ Nymphaeum-in the background. As can be seen, this area was used as a garden at the time, but after the Unification of Italy it was turned into a courtyard and the Fountain was enclosed behind a high gate. The fountain appears as a large niche, thirteen meters high. In the mid-1600s there was the “Fontana da basso,” a large niche carved into the tufa bank of the hill and flanked by two loggias, reached from the main garden by a complex system of stairs and paths. The vault dates to the late 1500s, when it was built to allow for the advancement of the palace during the work of adapting the Quirinale to a papal residence. The fountain was completed in 1596 and decorated with stucco, enamels, rustic mosaics and scenes from the life of Moses. The construction of the hydraulic organ, entrusted to Luca Blasi, also dates to that period. The functionality of the current drive mechanism dates to the first half of the 1700s and is based on the insertion of a toothed roller, to which the movement of the keys is connected. Falling water sets the large metal cylinder in motion, which in turn lowers the keys, automatically making the instrument play. It can also be played directly by the organist.

The drawing and panel, therefore, render a precious image of a profoundly transformed area, a very evocative place and a must-see destination for Romans and tourists as well, as Enest de Toytot's words confirm: “Non loin du Casino, on descend par de grands escaliers ou des pentes adoucies dans un escarpement pròfond. Là plus rien d'aligné ni d'horizontal: des accidents de terrain, des sinuosités et des ravins contournent les ondulations de la colline, s'élèvent et s'abaissent avec elles. Des terrasses supérieures, 1'eau s'épanche en cascades abondantes dans des niches creusées aux flanes des murailles. Ses ondes légères et blanchissantes tombent en gerbes dans les vases étagés sur les marches du monurnent. Il semble que la Naiade accomplisse en se jouant ces chutes successives; on la dirait immobile tant ses ondulations sont molles, tant ses mouvements sont adoucis et gracieux.Au delà s'étend un bassin de forme ovale entouré d'une balustrade de marbres, de piédestaux et de colonnes. Là quatorze jets d'eau partis des bords vìennent confondre leurs eaux bleuatres dans un murmure incessant et un mouvement plein de charme. Des retraites mystérieuses tapissées de rocailles, de coqùillages, de statuettes, attirent le visiteur. Une grotte pleine de mosaiques, de sculptures et de décors, offre sous sa votite l'ombre et la fraìcheur. Le goùt italien du dernier siècle a ménagé en cet endroit des distractions et des surprises qui font aujourd'hui encore l'admiration des bourgeoìs de Rome, et qui ne déplaisent pas non plus à nos compatriotes les touristes de Paris, que les plaisanteries du facétieux président de Brosses n'ont pas découragés. Aìmez-vous la musique? Tout à coup un orgue invisihle, dont une masse jaillissante met le cylindre en mouvement ainsi que la soufflerie, fait résonner la grotte. Il redit un air ennuyeux, toujours le mème, depuìs un siècle. A cette harmonie mécanique je préfère le bruit des grandes caux et la chute mélancolique de la cascade. Mais nous sommes ici dans le pays des férries et des surprises, et le mot de Shakespeare: perfide comme l'onde, n'est pas une vaìne fiction” (Rome dans sa Grandeur, Rome Moderne, c. I, p. 35).

The last image, which is not for sale, represents the tinted lithograph included in Rome dans sa grandeur. Vues, monument ancient et modernes, and allows us to compare it with the preparatory drawing.