S. Maria in Trastevere
| Reference: | S45433 |
| Author | Luigi ROSSINI |
| Year: | 1843 |
| Zone: | Santa Maria in Trastevere |
| Printed: | Rome |
| Measures: | 595 x 445 mm |
€325.00
| Reference: | S45433 |
| Author | Luigi ROSSINI |
| Year: | 1843 |
| Zone: | Santa Maria in Trastevere |
| Printed: | Rome |
| Measures: | 595 x 445 mm |
€325.00
Description
View of the interior of the church, part of the rare series Scenografia degl'Interni delle più belle Chiese e Basiliche Antiche di Roma, consisting of 30 plates, published in 1843.
Between 1839 and 1843 Rossini devoted himself to the preparation of Scenografia degl'interni delle più belle chiese e basiliche antiche di Roma. With this collection the author takes up the theme of interiors, already treated in I monumenti più interessanti... limiting it to churches alone but with a more pronounced interest in scenographic and grandiose effects. This feature is emphasized both in the Discorso Preliminare of the work itself as well as in the article published in Il Saggiatore of 1844, which notes in this regard the originality of the viewpoints, the most striking, and also the completeness of the work accompanied by appropriate illustrations and the parallel of all the plans.
Twenty of the oldest and most important churches are illustrated in the thirty plates of the collection, broadening the survey from the tradition. The presence of numerous figures, groups and genre scenes testifies to the desire to offer no longer only the image of the architectural structure of the monument, isolated from its social context, but to present it as an organic element of the life of the city.
In the Discorso Preliminare to the work, the artist describes his project: “Trattare della storia delle primitive Chiese Cristiane è cosa stata già fatta da molti dotti Archeologi fra' quali nominerò il Ciampini e l'Agincourt, e da ultimo quanto alle loro forme Antonio Nibby. Perciò sarebbe vano il diffondermi su tal materia: e solamente darò un cenno della prima loro costruzione, e dei loro ristauri. Essendochè lo scopo mio sia quello di dare una raccolta delle più antiche e più importanti; quantunque siano poche quelle, che conservano il loro primitivo carattere: perché in tante epoche furono di necessità ristorate, e la maggior parte con tali variazioni, che poco o niente conservano del pristino stato. Nell'architettura di esse non evvi cosa interessante essendo state innalzate così alla rinfusa cogli avanzi degli edifizj antichi. La loro forma di Basilica si tolse per lo più poi da quelle fabbriche de' gentili, che servivano per negoziare: ove nell'abside si dava ragione da' Giudici, come si ha in Vitruvio. La mia idea nella presente opera è quella di darle in punti di vista affatto nuovi, facendo conoscere come queste grandi moli porgono scene assai vive e variate d'effetto; tanto più che per lo passato non sono si conosciute che le sole quattro primarie, fatte prima dal Vasi e dal Polinziano maestri del Piranesi, e da quest'ultimo segui- ti poi negli stessi punti, e così da tanti altri sino ai nostri giorni”.
A fine impression, on contemporary paper, with margins, perfect condition. Rare.
Bibliografia
M. E. Tittoni in Luigi Rossini incisore, Vedute di Roma 1817-1850, pp. 166-173.
Luigi ROSSINI (Ravenna 1790 - Roma 1875)
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After training at the Academy of Fine Arts in Bologna, where he studied the engraver Francesco Rosaspina and the painter of decorations Antonio Basoli, in 1813 he won the prize of theRegno Italico for architecture, consisting of a board of three years in Rome at Palazzo Venezia, decisive for his artistic career. Here he realized that his attempts to act as architect failed, discovering instead the engravings of Giovanni Battista Piranesi and, through the work of the great Venetian engraver, he is part of the artistic tradition of engraved view. In 1817 Rossini publishes Frontespizio delle antichità di Roma divise in 40 vedute disegnate dal vero dall'architetto Luigi Rossini, that later reprint with the addition of new plates. In those years he also began working with Bartolomeo Pinelli, which will populate the views by Rossini with his distinctive characters. The fruitful relationship between the two artists will continue until the death of Pinelli took place in 1835. Between 1819 and 1823 he engraved, in 101 tables,Le Antichità Romane ossia raccolta delle più interessanti vedute di Roma antica, disegnate ed incise dall'architetto Luigi Rossini. Between 1824 and 1826 Rossini engraved the etchings Le Antichità dei contorni di Roma, and, two years later, publishes I monumenti più interessanti di Roma dal decimo secolo fìno al secolo decimottavo. In 1829 he returns to his favorite themes of antiquity etchings luce Le porte e le mura del recinto di Roma in 35 tavole. In 1837, Rossini was appointed member of theAcademy of Fine Arts of San Luca, which then become academic merit in 1843.
In 1839 he published Viaggio pittoresco da Roma a Napoli in 80 vedute, a sort of modern tourist guide. He died in Rome on 22 April 1875, after an illness that had forced him to bed paralyzed for five years.
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Luigi ROSSINI (Ravenna 1790 - Roma 1875)
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After training at the Academy of Fine Arts in Bologna, where he studied the engraver Francesco Rosaspina and the painter of decorations Antonio Basoli, in 1813 he won the prize of theRegno Italico for architecture, consisting of a board of three years in Rome at Palazzo Venezia, decisive for his artistic career. Here he realized that his attempts to act as architect failed, discovering instead the engravings of Giovanni Battista Piranesi and, through the work of the great Venetian engraver, he is part of the artistic tradition of engraved view. In 1817 Rossini publishes Frontespizio delle antichità di Roma divise in 40 vedute disegnate dal vero dall'architetto Luigi Rossini, that later reprint with the addition of new plates. In those years he also began working with Bartolomeo Pinelli, which will populate the views by Rossini with his distinctive characters. The fruitful relationship between the two artists will continue until the death of Pinelli took place in 1835. Between 1819 and 1823 he engraved, in 101 tables,Le Antichità Romane ossia raccolta delle più interessanti vedute di Roma antica, disegnate ed incise dall'architetto Luigi Rossini. Between 1824 and 1826 Rossini engraved the etchings Le Antichità dei contorni di Roma, and, two years later, publishes I monumenti più interessanti di Roma dal decimo secolo fìno al secolo decimottavo. In 1829 he returns to his favorite themes of antiquity etchings luce Le porte e le mura del recinto di Roma in 35 tavole. In 1837, Rossini was appointed member of theAcademy of Fine Arts of San Luca, which then become academic merit in 1843.
In 1839 he published Viaggio pittoresco da Roma a Napoli in 80 vedute, a sort of modern tourist guide. He died in Rome on 22 April 1875, after an illness that had forced him to bed paralyzed for five years.
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