Arco Trionfale fatto Erigere dal Serenis.mo Sig. Duca di Parma alle Glorie... di N.S. Papa Alessandro Ottavo

ARCO TRIONFALE FATTO ERIGERE DAL SERENISSIMO SIG. DUCA DI PARMA ALLE GLORIE DELLA SANTITA' DI N.S. PAPA ALESSANDRO OTTAVO IN OCCASIONE DEL PASSAGGIO DELLA SANTITA' SUA AL POSSESSO DI SAN GIOVANNI IN LATERANO IL DI' XXIII OTTOBRE MDCLXXXIX. Disegno et inventione del Cav. D. Carlo Rainaldi Architetto di Sua Altezza Serenissima. Nella Stamperia di Giovanni Giacomo De Rossi, Roma, 1689.

Etching, 1689, signed Alessandro Specchi intagliò on the plate at the lower left.

It depicts the triumphal arch built on the occasion of Pope Alexander VIII, born Pietro Vito Ottoboni (1610–1691), taking possession of the chair of St. John Lateran, which took place on October 23, 1689. Commissioned by the Duke of Parma Ranuccio II Farnese (1630–1694), it was the last one built by the architect Carlo Rainaldi (1611–1691).

“The arch, clearly taken from the unrealised project for Innocent XI (who was against the erection of ephemeral arches), also has many elements in common with the apparatus built for the passage in the Roman forum of Clement X, and probably reuses some parts of it. The short time that elapsed between the election and the possession of the new pontiff, just over two weeks, suggests the reuse of many parts of the previous apparatus (Corpus delle feste... 1997, I, p. 551). The most evident difference between the two structures is in the archivolt-shaped opening instead of the architrave-shaped one of the arch erected for the possession of Pope Altieri. For the rest, the two ephemeral structures are very similar. The pilasters and the Corinthian columns are set on high pedestals that follow the complex progression of the order, scenographically arranged diagonally to better accommodate and invite the triumphal procession to pass. Four allegorical statues are placed at the ends of the arch similarly to the previous ephemeral work, probably also reused. The commemorative plaque is anchored to the top attic, which extends across the entire width of the underlying order, beneath the papal coat of arms, supported in turn by the customary pair of Fame in flight. Even in this ephemeral work, the allusion to the patron is recognized in the lilies in the round flanking the Ottoboni coat of arms” (cf. A. Malinverni in “Il dovere della festa”, pp. 35-36).

Magnificent work, printed on contemporary laid paper, with margins, two wormholes in the right white margin, otherwise in excellent condition. Rare.