Arco trionfale fatto erigere dal Senato e Popolo Romano alle Glorie della Santità di NS Papa Clemente X...
| Reference: | S43550 |
| Author | Giovanni Battista FALDA |
| Year: | 1670 |
| Measures: | 362 x 495 mm |
€1,750.00
| Reference: | S43550 |
| Author | Giovanni Battista FALDA |
| Year: | 1670 |
| Measures: | 362 x 495 mm |
€1,750.00
Description
Arco trionfale fatto erigere dal Senato e Popolo Romano alle Glorie della Santità di N.S. Papa Clemente X in occasione del passaggio della santità sua per il Campidoglio al Possesso di S. Gio. Laterano il di VIII giugno MDCLXX. Disegno et Inventione del Cav[alie]r[e] D. Carlo Rainaldi Architet.o del med[esim]o Sen[at]o e Pop. Rom[an]o.
Signed at the bottom margin: Gio. Batt. falda Incise Gio. Iacomo Rossi le stampa in Roma alla pace co[n] priv. del S.P.
The print shows an elevation of the triumphal arch commissioned by the Senate on the occasion of Pope Clement X's taking possession of the Basilica of San Giovanni in Laterano on June 8, 1670.
The arch was designed by Carlo Rainaldi and erected in Piazza del Campidoglio. It is flanked by two standing sculptures of Castor and Pollux. Its opening reveals the equestrian statue of Marcus Aurelius in the background.
A work of ephemeral architecture designed by Carlo Rainaldi, who was famous for such inventions, this triumphal arch was erected at the top of the cordonata leading to the Campidoglio for the possesso of Pope Clement X, which took place on 8 June 1670.
Simonetta Tozzi wrote: “Il Cavalier Carlo Rainaldi Architetto del Senato e Popolo Romano collocò nel Magnifico e supero teatro di Campidoglio un vago e maestoso Arco trionfale, il quale oltre l’esser piantato con sodezza, era di più ornato di pitture e scolture, che recavano meraviglia. Era dunque il suddetto arco situato sulla sommità della cordornata ornata dai lati con quelle balaustrate che conducono nel medesimo teatro, tra le due gran statue di marmo posate sopra i gran piedistalli, rappresentanti una Castore, e l'altra Polluce..." Così la Vera e compita relazione della Solenne cavalcata e Cerimonie fatta il di 8 giugno 1670 dal Palazzo di San Giovanni in Laterano, Roma 1670 (citata in Fagiolo, Carandini, 1977, p. 265) ci informa sull'arco che Carlo Rainaldi edificò per committenza del Senato del popolo romano in occasione della cavalcata per il possesso del Laterano del nuovo pontefice Clemente X. Era ripresa così , tradizione - dopo le interruzioni dei pontificati di Alessandro VII e di Clemente IX - di celebrare l'elezione del nuovo pontefice con la realizzazione di sontuosi archi trionfali nei luoghi più importanti della Città - quali il Campidoglio o gli Orti Farnesiani - attraverso i quali si snodava il corteo della cavalcata di possesso del Laterano. Il Rainaldi scelse per quest'apparato un'impostazione decisamente classica: una vera rievocazione degli archi trionfali romani, nell'impiego del tipo a unico fornice affiancato da colonne binate” (cfr. Incisioni barocche di feste e avvenimenti: Giorni d’allegrezza. Catalogo del Museo di Roma, pp. 45-46).
Magnificent proof, richly toned, printed on contemporary laid paper, trimmed to the copperplate, traces of glue on verso, overall in very good condition.
A very rare work by Falda.
Bibliografia
Bartsch, A. Le peintre graveur, v. XXI, no. 3; Bellini, P. Italian masters of the seventeenth century, 47 [xxi-xxii] of “The Illustrated Bartsch”, pt. 2, p. 3; Fagiolo, M. Corpus delle feste a Roma. 1. La festa barocca, p. 482-483; S. Tozzi, Incisioni barocche di feste e avvenimenti: Giorni d’allegrezza. Catalogo del Museo di Roma, pp. 45-46, I.18.
Giovanni Battista FALDA (Valduggia, Novara, 1643; Rome, 1678)
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Giovan Battista Falda, a native of Valduggia, was sent to Rome at the age of 14 and entrusted to the care of an uncle who pointed him out to Gian Lorenzo Bernini. But it was his meeting with printer Gian Giacomo De Rossi that marked a turning point in Falda's artistic career: in fact, his talent was directed by the publisher to the art of engraving. In De Rossi's workshop he could also appreciate the work of great engravers such as J. Callot, S. Della Bella and I. Silvestre; having completed his apprenticeship, he was benevolently received at the papal court, so much so that Alexander VII commissioned him to design the factories of the Castel Gandolfo residence. In 1665, Falda gave to the presses for the publisher De Rossi his masterpiece: the plates of the first book of the Nuovo Teatro delle fabbriche, et edificii, in prospettiva di Roma moderna sotto il felice pontificato di n. s. Alessandro VII, which was followed, between 1665 and '69, by the second and third. The work was intended to popularize the new image of Rome: the Pope, in fact, decided to open new streets, to embellish the city with fountains and monuments, also as a demonstration of the financial and cultural power of his family. With the Nuovo Teatro, as with the later collections devoted to fountains and palaces, Falda became the popularizer of these aspects; his engraved views, characterized by attention to both perspective rules and scenographic effects, skillfully exploit the vigor of line and the richness of the contrast between black and white, in keeping with the spatial criteria of Baroque art. The specifically popular and commercial aspect of the engraved views was skillfully exploited by the publisher De Rossi, who established an inseparable and effective partnership with Falda, to whom much of the printed production of the century in Rome was owed, with a fortune comparable only to that which would be paid to the work of Giovan Battista Piranesi. Falda's activity was tireless despite the brevity of the time span in which he worked (he died at the age of 35 on August 22, 1678 and was buried in S. Maria della Scala in Trastevere). By the end of his life he had engraved about 300 plates: many of these are preserved in Rome at the Calcografia nazionale.
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Giovanni Battista FALDA (Valduggia, Novara, 1643; Rome, 1678)
|
Giovan Battista Falda, a native of Valduggia, was sent to Rome at the age of 14 and entrusted to the care of an uncle who pointed him out to Gian Lorenzo Bernini. But it was his meeting with printer Gian Giacomo De Rossi that marked a turning point in Falda's artistic career: in fact, his talent was directed by the publisher to the art of engraving. In De Rossi's workshop he could also appreciate the work of great engravers such as J. Callot, S. Della Bella and I. Silvestre; having completed his apprenticeship, he was benevolently received at the papal court, so much so that Alexander VII commissioned him to design the factories of the Castel Gandolfo residence. In 1665, Falda gave to the presses for the publisher De Rossi his masterpiece: the plates of the first book of the Nuovo Teatro delle fabbriche, et edificii, in prospettiva di Roma moderna sotto il felice pontificato di n. s. Alessandro VII, which was followed, between 1665 and '69, by the second and third. The work was intended to popularize the new image of Rome: the Pope, in fact, decided to open new streets, to embellish the city with fountains and monuments, also as a demonstration of the financial and cultural power of his family. With the Nuovo Teatro, as with the later collections devoted to fountains and palaces, Falda became the popularizer of these aspects; his engraved views, characterized by attention to both perspective rules and scenographic effects, skillfully exploit the vigor of line and the richness of the contrast between black and white, in keeping with the spatial criteria of Baroque art. The specifically popular and commercial aspect of the engraved views was skillfully exploited by the publisher De Rossi, who established an inseparable and effective partnership with Falda, to whom much of the printed production of the century in Rome was owed, with a fortune comparable only to that which would be paid to the work of Giovan Battista Piranesi. Falda's activity was tireless despite the brevity of the time span in which he worked (he died at the age of 35 on August 22, 1678 and was buried in S. Maria della Scala in Trastevere). By the end of his life he had engraved about 300 plates: many of these are preserved in Rome at the Calcografia nazionale.
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