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L'Interno della Basilica Vaticana colla Rappresentanza dell'Ordine con cui l'Ecclesiastica Gerarchia de' Cardinali...
| Reference: | A53194.1 |
| Author | Giuseppe VASI |
| Year: | 1775 |
| Zone: | San Pietro |
| Printed: | Rome |
| Measures: | 970 x 705 mm |
€1,500.00
- New
| Reference: | A53194.1 |
| Author | Giuseppe VASI |
| Year: | 1775 |
| Zone: | San Pietro |
| Printed: | Rome |
| Measures: | 970 x 705 mm |
€1,500.00
Description
Dedication and title in lower margin: Alla Santità del Sommo Pontefice Papa PIO VI. Felicemente Regnante
L'interno della basilica vaticana colla rappresentanza dell'ordine, con cui l'ecclesiastica gerarchia de' cardinali, arcivescovi, vescovi, prelati, ed altri personaggi, processionalmente colla Santità Sua si porta per celebrare le sagre solenni funzioni;/ prostrato à Suoi Ss. piedi Giuseppe Vasi conte palatino, e cavaliere dell'aula lateranense, da se disegnato, ed inciso in rame l'anno del giubileo 1775, umilmente da, dona, e dedica.
Designed and etched during the jubilee year of 1775, the print shows an interior view of St. Peter's in which Pope Pius VI, cardinals, archbishops, bishops, prelates, and other dignitaries proceed down the nave in performance of solemn functions; Kneeling viewers look toward the pope, who is seated on a sedan chair below a baldachin or canopy, flanked by officers holding flabella. The architecture of the nave is rendered in detail, with captions listing the tombs, sculptures, tabernacles, chapels, and pictorial decorations.
Etching, 1775, printed from two plates on two sheets joined down the center.
A magnificent, richly toned work, printed on two sheets of contemporary laid paper, irregularly trimmed at the platemark and mounted on a 19th-century paper, minor oxidation, otherwise in excellent condition.
First edition, the only contemporary one of this magnificent engraving.
Bibliografia
Scalabroni, Giuseppe Vasi, n. 435.
Giuseppe VASI (Corleone, 27 Agosto 1710 - Roma, 16 Aprile 1782)
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Italian engraver and painter. After completing a classical education, he trained as a printmaker in Palermo, possibly at the Collegio Carolino, which was founded by the Jesuit Order in 1728 and at which the etcher Francesco Ciché ( fl before 1707; d Palermo, 1742) was a teacher. Vasi was already an accomplished engraver when, in 1736, he contributed to the illustration of La reggia in trionfo by Pietro La Placa, which described the festivities held in Palermo to mark the coronation of Charles VII of Naples (the future Charles III of Spain). That same year Vasi moved to Rome, where, as a Neapolitan subject, he was immediately afforded the protection of the ambassador, Cardinal Troiano Aquaviva d’Aragona (1694–1747). In Rome he met other artists who worked for the same patron: Sebastiano Conca, Luigi Vanvitelli and Ferdinando Fuga. It is against this background that Vasi’s work in Rome, when he was in residence at the Palazzo Farnese, should be considered: his monopoly as the engraver of the Roman records of the monarch, the plates for the festivals of the ‘Chinea’ and the triumphal arches erected in front of the Palatine gardens on the occasion of temporal sovereignty over Rome
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Giuseppe VASI (Corleone, 27 Agosto 1710 - Roma, 16 Aprile 1782)
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Italian engraver and painter. After completing a classical education, he trained as a printmaker in Palermo, possibly at the Collegio Carolino, which was founded by the Jesuit Order in 1728 and at which the etcher Francesco Ciché ( fl before 1707; d Palermo, 1742) was a teacher. Vasi was already an accomplished engraver when, in 1736, he contributed to the illustration of La reggia in trionfo by Pietro La Placa, which described the festivities held in Palermo to mark the coronation of Charles VII of Naples (the future Charles III of Spain). That same year Vasi moved to Rome, where, as a Neapolitan subject, he was immediately afforded the protection of the ambassador, Cardinal Troiano Aquaviva d’Aragona (1694–1747). In Rome he met other artists who worked for the same patron: Sebastiano Conca, Luigi Vanvitelli and Ferdinando Fuga. It is against this background that Vasi’s work in Rome, when he was in residence at the Palazzo Farnese, should be considered: his monopoly as the engraver of the Roman records of the monarch, the plates for the festivals of the ‘Chinea’ and the triumphal arches erected in front of the Palatine gardens on the occasion of temporal sovereignty over Rome
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