La forma del Molo ne la parte di fuori
| Reference: | S45243 |
| Author | Antonio LABACCO |
| Year: | 1552 ca. |
| Printed: | Rome |
| Measures: | 240 x 325 mm |
| Reference: | S45243 |
| Author | Antonio LABACCO |
| Year: | 1552 ca. |
| Printed: | Rome |
| Measures: | 240 x 325 mm |
Description
Plate taken from the Libro D'Antonio Labacco Appartenente A L'Architettura, Nel Qual Si Figurano Alcune Notabili Antiquita Di Roma by Antonio Labacco, first printed in 1552.
The Libro D'Antonio Labacco Appartenente A L'Architettura, is an important work in the study of classical architecture and one of the earliest architectural treatises illustrated with copper plates, in place of woodcuts and printed text. The author found the medium of copper engraving far superior to the traditional woodcut image, allowing for greater precision and realism. This book presents beautiful and accurate recreations of ancient Roman monuments such as the Arch and Forum of Trajan, the Temple of Castor and Pollux, the Mausoleum of Hadrian (now known as the Castel Sant’Angelo), Trajan’s Harbor, and several unnamed temples, based on descriptions gleaned from classical texts and the inspection of their ruins.
Labacco (1495-1567?), Italian architect and frequent collaborator with Antonio da Sangallo the Younger on projects such as St. Peter’s Basilica, near the end of the pontificate of Paul III (1549), he decided to publish his Antiquities and obtained from the pontiff the privilege for publication.
In 1552 the Libro appartenente a l'architettura nel quale si figurano alcune notabili antiquità di Roma, "Impresso in Roma in casa nostra," was published. In the introduction "alli Lettori" Labacco communicated that he had "been persuaded several times by Mario," his son, that "fusse bene" to put part of the prints "in light" offering himself "infin all'intagliar parte d'esse." Mario would therefore have engraved part of Labacco's drawings, and this is plausible given that he practiced the trade of copperplate engraver.
Vasari, speaking of him in the life of Marcantonio Bolognese, says that "Antonio Abbaco has sent out with beautiful manner all the ancient and notable things of Rome, with their measures, made with subtle carving, and very well conducted." No earlier examples are known, but certainly numerous copies were in circulation much earlier, especially following the privilege already almost certainly granted to him in 1547 by Paul III. The Book, containing the reproduction in engraving of some monuments of ancient Rome employing the different systems of representation (plans, elevations and sections), was very successful and was reprinted several times (in 1557 the second edition; in 1559 the third; then again in the years 1568-70), not always with care and accuracy, even after the last privilege granted by Paul IV.
Labacco lived in the Campo Marzio district; his last residence, however, was in the Ponte district where he lived as early as July 26, 1539, at the parish of S. Salvatore "in Banchi." Among other things, it appears that it was here that he had established the print shop for the "impressures" of the Book plates.
Etching and engraving, impressed on laid paper without watermark, with margins, in very good condition.
Bibliografia
T. Ashby, Il libro d'Antonio Labacco appartenente all'architettura, in “La Bibliofilia”, 16 (1914), pp. 289-309; Flavia Colonna – Antonio Labacco, in “Dizionario Biografico degli Italiani” - Volume 62 (2004).
Antonio LABACCO (Vercelli, 1495 – Roma, 1570)
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Italian architect also known as dell'Abacco, L'Abacco, Labàco, Abbaco and Abacco. He was born in Vercelli, probably around 1495. Labacco's training began, not yet in his twenties, with Donato Bramante; some drawings preserved in the Uffizi bear witness to this, datable to the time of Julius II. Later he worked in the studio of Antonio da Sangallo il Giovane, whom Labacco remembers as his master and with whom he collaborated as draftsman on a number of projects, including that of S. Maria di Monserrato (1518-20), S. Giovanni dei Fiorentini (1518-19) and in the relief of several ancient buildings. The L. thus acquired skills in surveying and drawing and also expertise as a master of lumber. These skills made Sangallo decide to take him along when in the spring of 1526 Clement VII invited him, with Giuliano Leno, Pierfrancesco da Viterbo, and Michele Sanmicheli, to inspect the state of the fortresses of Romagna and to provide fortifications at Parma and Piacenza. Although he appears not to have been an architect who designed autonomous works, L. must have possessed considerable professional practice when he undertook the work of the wooden model of the basilica of St. Peter of the project drawn up by Antonio da Sangallo the Younger on behalf of Paul III. The foundation of the Congregation of the Virtuosi at the Pantheon dates back to 1542. Alongside the name of Antonio da Sangallo (the first president) and that of other representatives of the artistic world of the time, appears that of L., who was the first to serve as secretary. Between May 6 and 30, 1544, he was still engaged in various works performed for the Fabbrica di S. Pietro. On Nov. 30, 1546, four months after Antonio da Sangallo's death, L. was fired by Michelangelo. The great model, which had cost him and his assistants seven years of labors and the coffers of the Fabbrica congregation more than 4500 scudi, was now completed but became useless, deprecated as expensive and made an object of derision for the characters of its architecture. As a reminder of Sangallo's project, the main drawings, which must have been used to prepare it-the plan, the longitudinal section, the side elevation, the facade-were translated into large and accurate engravings, printed in the years 1548-49. Included in the Speculum Romanae magnificentiae with dedication to Paul III were reproduced, to scale, in orthogonal projections. L. appeared as "effector," that is, presumably author of the drawings, and perhaps of the copperplate plates that Antonio Salamanca "excudebat," as publisher, printer and probable seller. After his departure from the St. Peter's Factory, his contacts with Salamanca probably enriched him with experience in the field of printing drawings.
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Antonio LABACCO (Vercelli, 1495 – Roma, 1570)
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Italian architect also known as dell'Abacco, L'Abacco, Labàco, Abbaco and Abacco. He was born in Vercelli, probably around 1495. Labacco's training began, not yet in his twenties, with Donato Bramante; some drawings preserved in the Uffizi bear witness to this, datable to the time of Julius II. Later he worked in the studio of Antonio da Sangallo il Giovane, whom Labacco remembers as his master and with whom he collaborated as draftsman on a number of projects, including that of S. Maria di Monserrato (1518-20), S. Giovanni dei Fiorentini (1518-19) and in the relief of several ancient buildings. The L. thus acquired skills in surveying and drawing and also expertise as a master of lumber. These skills made Sangallo decide to take him along when in the spring of 1526 Clement VII invited him, with Giuliano Leno, Pierfrancesco da Viterbo, and Michele Sanmicheli, to inspect the state of the fortresses of Romagna and to provide fortifications at Parma and Piacenza. Although he appears not to have been an architect who designed autonomous works, L. must have possessed considerable professional practice when he undertook the work of the wooden model of the basilica of St. Peter of the project drawn up by Antonio da Sangallo the Younger on behalf of Paul III. The foundation of the Congregation of the Virtuosi at the Pantheon dates back to 1542. Alongside the name of Antonio da Sangallo (the first president) and that of other representatives of the artistic world of the time, appears that of L., who was the first to serve as secretary. Between May 6 and 30, 1544, he was still engaged in various works performed for the Fabbrica di S. Pietro. On Nov. 30, 1546, four months after Antonio da Sangallo's death, L. was fired by Michelangelo. The great model, which had cost him and his assistants seven years of labors and the coffers of the Fabbrica congregation more than 4500 scudi, was now completed but became useless, deprecated as expensive and made an object of derision for the characters of its architecture. As a reminder of Sangallo's project, the main drawings, which must have been used to prepare it-the plan, the longitudinal section, the side elevation, the facade-were translated into large and accurate engravings, printed in the years 1548-49. Included in the Speculum Romanae magnificentiae with dedication to Paul III were reproduced, to scale, in orthogonal projections. L. appeared as "effector," that is, presumably author of the drawings, and perhaps of the copperplate plates that Antonio Salamanca "excudebat," as publisher, printer and probable seller. After his departure from the St. Peter's Factory, his contacts with Salamanca probably enriched him with experience in the field of printing drawings.
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