Piazza della Rotonda

Black pencil drawing, mm 447x310.

Preparatory study for the panel included in the first volume Ancient Rome with the title Panteon d’ Agrippa oggi chiesa di Santa Maria ad Martires, e Piazza della Rotonda, colla predica.

Belongs to a collection of 127 works unearthed from a French antiquarian who, in turn, had acquired them from the heirs of publisher Henri-Désiré Charpentier (La Rochelle 1805 - Vertou 1882); they are all done in black pencil, some have white lead highlighting; they never bear the date and signature of the author, but only a brief caption relating to the subjects depicted. The drawings denote a skilled and expert hand - especially in the delineation of buildings, ruins and architecture - that restores the monuments of Rome from interesting and unusual perspective points. The reference of most of the drawings to some of the tinted lithographs by Felix and Philippe Benoist, published in the three-volume work Rome dans sa grandeur, immediately became clear. The fact that this is a large group of original drawings related to the famous work edited by Henri-Désiré Charpentier is clearly supported by the prestigious provenance; it is a part of Charpentier's heir fund, among which the material of the famous chalcographic workshop had been divided.

Rome dans sa grandeur. Vues, monument ancient et modernes was printed in Paris in 3 volumes, in 1870. The publication, illustrated by 100 lithographs, was preceded by a campaign of preparatory drawings, dating from 1864 until 1869, executed mainly by Félix Benoist and partly by Philippe Benoist. On the eve of the Concilio Ecumenico Vaticano I, on August 11, 1869, Pius IX decreed the creation of a Roman Exhibition of the works of every art executed for Catholic worship, which was inaugurated, on February 17, 1870, in the cloister of the Carthusian monastery of Santa Maria degli Angeli. On that occasion, the three folio volumes Rome dans sa grandeur were presented. The lavishly bound volumes, with the coat of arms of Pius IX stamped in the center in gold, are divided into three sections. The first volume deals with ancient Rome, the second, with Christian Rome, and the third, with the monuments and achievements of modern Rome. A valuable view of papal Rome on the eve of Rome's profound transformation into the capital of united Italy. A document that highlights the remarkable imprint left by Pius IX on the Eternal City. The work represents the French artist's masterpiece, so much so that it places Benoist among the ranks of the greatest artists of interiors and views of his time.

The sheets used for the preliminary studies vary in size (from 170 mm x 240 to 490 x 300 mm), weight and even color gradation (from beige to green).  Many of the drawings undeniably represent different preparatory stages - more or less complete - of some of the dyed lithographs illustrating the magnificent work, others of the silographic vignettes included in the text, while other sketches do not find translation in print. Belonging to this second group are both sketches relating to monuments and views of Rome and its surroundings: ancient Ostia, Grottaferrata, Olevano Romano, Anzio, Nettuno, Velletri and Vicovaro. Far beyond from Rome are drawings relating to Naples and Loreto. The suite was to form part of the entire fund, later dispersed, of preparatory studies from which the hundred intended for lithographic printing were selected. 

The Pantheon is described both in its original function as a temple, among the monuments of the imperial age (in Volume I – Rome Antique, Chapter II, pp. 54-55), and as a church dedicated to Santa Maria ad Martyres (in Volume III, Rome Chrétienne, Chapter I, pp. 173- 174):

“Le Panthéon édifié par Agrippa, et qui ne fut d'abord peut-être qu'une salle de ses thermes, est aujourd'hui le plus beau débris qui nous reste des temples de Rome; […] Ce pronaos, sur la frise duquel on lit, aujourd'hui encore, le nom d'Agrippa, est formé par seize colonnes de granit oriental, disposées sur trois rangs : le premier, de huit colonnes; chacun des autres, de quatre. Au-dessus est l'entablement que couronne un majestueux fronton. Les colonnes sont d'ordre corinthien et toutes d'un seul bloc, avec bases et chapiteaux de marbre blanc. Autrefois le fronton était orné d'un bas-relief de bronze doré qu'on croit avoir représenté les Titans foudroyés par Jupiter. Sur le faite du temple s'élevaient plusieurs statues . Enfin, un perron de sept marches donnait accès dans le vestibule, dont la hauteur atteignait près de quinze mètres. Aujourd'hui, le Panthéon n'est plus élevé que de deux marches; il n'a plus les célèbres statues de l'Athénien Diogène qui le couronnaient, et cependant on se rend parfaitement compte par l'impression qu'il produit de celle qu'il devait produire.”  (Rome dans sa grandeur – Rome Antique, c. II, p. 173)

“au commencement du VII siècle, le pa11e Boniface IV sollicita de l'empereur Phocas l'autorisation de consacrer le mieux conservé de ccs édifices, le Panthéon, au culte du vrai Dieu, et, cette autorisation ayant été accordéc, la porte de bronze du templc de Jupiter Vengeur, de Vénus et de Mars, car tels étaient ses patrons antiques, se rouvrit pour laisser passer les ossements des martyrs recueillis dans tous les cimetières de la ville. […] A partir de ce jour mémorahle, le tempie des démons fut piacé sous l'invocation des Martyrs et de la Vierge, et le Panthéon devint Sainte-Marie-aux-Martyrs, Sancta-Maria ad Martyres.” (Rome dans sa grandeur – Rome Chrétienne, II, p. 173)

The consecration of the Pantheon as a church took place on May 13, 609 or 610 (in the work, however, the year reported is 608). According to the authors “Cette nouvelle consécration ne sanctifia pas seulement le Panthéon, elle le sauva” from the decadence to which it was destined; the restorations and renovations promoted by different pontiffs are, then, summarily recalled. Finally, they recall that “Sainte-Marie-aux-Martyrs est le lieu de réunion d'une association célèbre, celle des Virtuosi, composée d'artistes représentant tout.es Ies branches de l'art. La chapelle qui dépend de cette association est contiguë à celle de Raphaël. Elle fut fondée, en 1548, par un chanoinc nommé Desiderio de' Adjutori.”  (Rome dans sa grandeur – Rome Chrétienne, II, p. 173).

The last image, which is not for sale, represents the tinted lithograph included in Rome dans sa grandeur. Vues, monument ancient et modernes, and allows us to compare it with the preparatory drawing.