Nuova et Essatta Pianta del Conclave fatto in Sede Vacante di Papa Clemente XII...
| Reference: | S39973 |
| Author | Gian Domenico CAMPIGLIA |
| Year: | 1740 |
| Zone: | Conclave |
| Printed: | Rome |
| Measures: | 535 x 400 mm |
€900.00
| Reference: | S39973 |
| Author | Gian Domenico CAMPIGLIA |
| Year: | 1740 |
| Zone: | Conclave |
| Printed: | Rome |
| Measures: | 535 x 400 mm |
€900.00
Description
Nuova et essatta Pianta del conclave Fatto in sede vacante di Papa Clemente XII che sedè anni 9 mesi 6 giorni 26 per l'Elezzione del Nuovo Pontefice...
On the top left cartouche the dedication to the cardinal Albani: All'Em(inetissim)o, e R(everentissi)mo Sig.(no)r Card(inale) Annibale Albani / Camerlengo di Santa Chiesa / E(minentissi)mo, e R(everentissi)mo Principe ... Umiliss(m)o Dev(ot)o, et Obblig(at)o Servitore / Gio(vanni) Domenico Campiglia.
Plan of arrangements for the conclave to elect a successor to Pope Clement XII, with view of St. Peter's inset lower left and of the Castel Sant'Angelo inset lower right.
Although the engraver of the plate is Paolo Pilaja, the author of the engraving is indicated as Giovan Domenico Campiglia, who appears in the inscription as the dedicator, because he is known to have worked in Rome since the second decade of the 18th century as an engraver. The R. C. A. chalcography at the foot of the marble is to be identified with the Calcografia of the Reverenda Camera Apostolica of Rome, active between 1740 and 1860.
In 1738, Pope Clement XII purchased almost ten thousand plates from the ancient De' Rossi alla Pace printing house, which had been in business since the beginning of the seventeenth century. It was an operation with precise political implications, which aimed to maintain a certain control over the spread of images of the papal capital and to preserve the memory of its glorious past. Giovan Domenico Campiglia was the expert of the papal part in the acquisition of the De' Rossi branches and in 1738 he was appointed superintendent and administrator of the Calcografia.
Etching and engraving, printed on contemporary laid paper, with margins, traces of paper folds visible on the verso, minimal restoration along the central fold, otherwise in excellent condition. Very rare.
Bibliografia
Sonia Amadio in Giovanna Sapori (ed.), Il Mercato delle Stampe a Roma XVI-XIX secolo, Rome 2008, pp.151-172 and pp.265-31.
Gian Domenico CAMPIGLIA (Lucca, 1692 – Roma, 1768)
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Giovanni Domenico Campiglia was an Italian painter and engraver from Florence, active under the patronage of the House of Medici.
He initially trained under Tommaso Redi and Lorenzo del Moro, then in Bologna under Giovanni Gioseffo dal Sole. During his career, Campiglia was employed at Rome and Florence, painting and engraving historical subjects and portraits. Campiglia worked with Antonio Francesco Gori for over a decade on the Museum Florentium, a collection of images of all the famous artists of Florence. Campiglia's contributions were published in 1734, which induced Pope Clement XII to bring him to Rome. There he worked with historian Giovanni Gaetano Bottari in engravings for his multi-volume Musei Capitolini. His highly finished drawings of antique and famous statues of Rome were highly prized by British tourists. The first training of the artist is rather obscure, until his arrival in Rome, documented in 1716 by his participation in the Concorso Clementino of that year. In 1738 Pope Clement XII bought the almost ten thousand plates of the ancient printing house De 'Rossi alla Pace, in business since the beginning of the seventeenth century. It was an operation with precise political implications, which aimed to maintain a certain control over the spread of images of the papal capital and to preserve the memory of its glorious past. Giovan Domenico Campiglia was the papal expert in the acquisition of the De' Rossi branches and, as mentioned, in 1738 he was appointed superintendent and administrator of the Calcografia. In addition to administrative work, he was also asked to make an artistic contribution, relying on his ability as a draftsman of antiquities, to make all the drawings that would be needed by the Calcografia. In reality, it was only with the successor of Clement XII, Benedict XIV (1675-1758), that the printing house began to function as an instrument with multiple facets: if on the one hand the intent was certainly popular, on the other hand this aspect could not be separated from the celebratory one easily connected to the beauty of Rome. In spite of this, already by the end of the forties, the enterprise was beginning to prove unsuccessful, with few new branches purchased and above all few profits. Campiglia himself did not devote himself to drawing as he should have done, being already overburdened by the work of superintendent and by the external commissions to the Calcografia to which he continued to attend. Moreover, there were bureaucratic problems which slowed down the activity of the Calcografia Camerale due to its dependence on the General Treasury, in which, moreover, there were no people with the necessary skills to manage a printing house. In 1747 the administration of the Calcografia was separated from that of the Tesoreria generale, so that the printing house acquired complete administrative autonomy; Campiglia was also relieved of his task, losing his position as superintendent in favor of Cardinal Silvio Valenti Gonzaga (1690-1756), though he remained the director.
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Gian Domenico CAMPIGLIA (Lucca, 1692 – Roma, 1768)
|
Giovanni Domenico Campiglia was an Italian painter and engraver from Florence, active under the patronage of the House of Medici.
He initially trained under Tommaso Redi and Lorenzo del Moro, then in Bologna under Giovanni Gioseffo dal Sole. During his career, Campiglia was employed at Rome and Florence, painting and engraving historical subjects and portraits. Campiglia worked with Antonio Francesco Gori for over a decade on the Museum Florentium, a collection of images of all the famous artists of Florence. Campiglia's contributions were published in 1734, which induced Pope Clement XII to bring him to Rome. There he worked with historian Giovanni Gaetano Bottari in engravings for his multi-volume Musei Capitolini. His highly finished drawings of antique and famous statues of Rome were highly prized by British tourists. The first training of the artist is rather obscure, until his arrival in Rome, documented in 1716 by his participation in the Concorso Clementino of that year. In 1738 Pope Clement XII bought the almost ten thousand plates of the ancient printing house De 'Rossi alla Pace, in business since the beginning of the seventeenth century. It was an operation with precise political implications, which aimed to maintain a certain control over the spread of images of the papal capital and to preserve the memory of its glorious past. Giovan Domenico Campiglia was the papal expert in the acquisition of the De' Rossi branches and, as mentioned, in 1738 he was appointed superintendent and administrator of the Calcografia. In addition to administrative work, he was also asked to make an artistic contribution, relying on his ability as a draftsman of antiquities, to make all the drawings that would be needed by the Calcografia. In reality, it was only with the successor of Clement XII, Benedict XIV (1675-1758), that the printing house began to function as an instrument with multiple facets: if on the one hand the intent was certainly popular, on the other hand this aspect could not be separated from the celebratory one easily connected to the beauty of Rome. In spite of this, already by the end of the forties, the enterprise was beginning to prove unsuccessful, with few new branches purchased and above all few profits. Campiglia himself did not devote himself to drawing as he should have done, being already overburdened by the work of superintendent and by the external commissions to the Calcografia to which he continued to attend. Moreover, there were bureaucratic problems which slowed down the activity of the Calcografia Camerale due to its dependence on the General Treasury, in which, moreover, there were no people with the necessary skills to manage a printing house. In 1747 the administration of the Calcografia was separated from that of the Tesoreria generale, so that the printing house acquired complete administrative autonomy; Campiglia was also relieved of his task, losing his position as superintendent in favor of Cardinal Silvio Valenti Gonzaga (1690-1756), though he remained the director.
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