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Loggie di Rafaele nel Vaticano
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Raphael Sanzio, da Urbino (1483--1520) - Sistine Chapel cartoons
[Loggie di Rafaele nel Vaticano. 1772--77]
Loggie di Rafaele nel Vaticano
A Rome (Place), chez Marc Pagliarini,, 1772--1777.
3 pts ; (1º)
I: [2] p., etch. t.-pl., [1], A--B, I--XIV etch. pl. (1 fold) ; 100.5 cm.
II: Etch. t.-pl., XIII etch. pl. ; 75.0 cm.
III: Etch. t.-pl., 12 etch. pl. ; 100.5 cm.
Published in three parts between 1772 and 1777, this is the first attempt to show all the decorative scheme of the pilasters and pillars in the famous 'Logge' of the Vatican, three stories of balconies begun by Bramante in 1514 and completed after his death by Raphael, and lavishly (and influentially) decorated in painting and stucco by Raphael, Giovanni da Udine and Giulio Romano. Raphael's decorative schemes incorporating classical motifs and grotteschi ornaments are among the most influential in western art, for example on the Adam style through the work of the Roman draughtsman Giuseppe Manocchi (c. 1731--1782), and the circulation of the engravings in the present edition and in copies such as a Venice edition published in 1783 (q.v.) contributed to the revival of such motifs in the neoclassical era. An additional source of interest for Soane may have been the image of the Ephesian Diana (part 1, pl. VI), which may have been based in part on the marble statue now in the Colonnade at 13 Lincoln's Inn Fields. (See Peter Thornton and Helen Dorey, A miscellany of objects from Sir John Soane's Museum, London 1992, p. 71.) Suites depicting some of the decorations, chiefly the frescos of biblical scenes, had been published a century earlier in François de la Guertière's Miscellanæe picturæ ... probably first printed in the 1660s (q.v.) and in Imagines Veteris ac Novi Testamenti, published by G.G. de' Rossi in 1675 (q.v.). Work on the project of recording the decorations for the present publication was begun in 1760 and was more or less completed by 1768; the principal artists involved were the painter Gaetano Savorelli (d. 1791) and the architect Pietro Camporese [Camporesi] (1726-81), and the engraver was Giovanni Ottaviani (1735-1808). Part 1 was published in 1772 and has an engraved title-plate as above, usually followed by a letterpress leaf in French with caption title 'Aux Amateurs Des Beaux Arts' and the imprint as above at the foot of p. [2]. The second part (1776) has the engraved title reading Seconda parte delle Logge di Rafaele nel Vaticano che contiene XIII. volte ed i loro respettivi quadri pubblicata in Roma l'anno MDCCLXXVI. The third part (1777), with the title-plate reading Terza ed ultima parte delle Logge di Rafaele nel Vaticano che contiene il compimento degli ornati, e de' bassirilievi antichi esistenti nelle logge medesime pubblicata in Roma MDCCLXXVII, was engraved by Giovanni Volpato (1733-1803) after drawings by Ludovico Tesio (1731-82). Each of the lettered and numbered plates is printed from two separate coppers intended to be (but not always) joined together; the folded plate in part 1, captioned 'Spaccato per il longo del secondo piano ...' is printed from three separate coppers on three sheets pasted together. There are three copies of the work in Soane's library, none of them complete. The most complete is a coloured copy (Soane copy 1), lacking only the letterpress leaf and the title-plates to parts 2-3. In many, perhaps most hand-coloured or coloured and gilded copies, the colouring was added in the nineteeth century or later, but it seems likely that Soane copy 1, printed in bistre rather than black ink, was already coloured at the time of its binding (ca. 1800, see below) in two folio volumes large enough to permit the plates to be joined without being folded, and was presumably from that part of the edition that was hand-coloured by Francesco Panini for for distribution to the leading courts of Europe. Also of interest is Soane copy 3, which has the letterpress leaf printed in Italian (rather than the more usual French) with the caption title 'Agli Amatori Delle Belle Arti' and the imprint 'In Roma MDCCLXXII. Nella Stamperia Di Marco Pagliarini', the existence of which was suggested but not confirmed in the BAL catalogue. BAL, Early printed books, no. 2710; M.D. Sánchez-Jáuregui and Scott Wilcox (eds.), The English prize: the capture of the Westmorland, an episode of the grand tour (New Haven 2012), pp. 290-1, no. 123; D. Guilmard, Les maítres ornemanistes (Paris 1880, reprinted Amsterdam 1968), p. 283; Berlin Kat. 4068; Weinreb Cat. 40, no. 322.
Copy Notes Copy 1: Imperfect; wanting the letterpress leaf in part 1 and the title-plates in parts 2 and 3. The plates are printed in bistre and hand-coloured. Parts 1 and 3 are bound together with the lettered and numbered plates joined and laid down on elephant folio sheets, many being trimmed at top and bottom with the scale bars pasted on the side, and pl. 6 of part 3 is misbound after pl. VII in part 1. Part 2 is bound in a separate volume with the plates protected by blank leaves.
Copy 2: Imperfect; part 1 (47.8 x 68.5 cm) and part 2 (71.1 cm) only, bound in two volumes, and wanting the part 2 title-plate. Part 1 has the letterpress leaf in French and is bound as an oblong folio with plates A--B, I--XIV joined and bound as double plates; part 2 has the plates joined and bound as single plates, and pl. XIII partly and amateurishly hand-coloured.
Copy 3: 72.7 cm. Imperfect; part 1 only. With the letterpress leaf in Italian (see general notes above) and plates A--B, I--XIV unjoined and bound as [32] single plates, and with the unnumbered folded 'Spaccato ...' displaced to the end.
Binding Copy 1: C19th full diced russia, gilt-ruled and roll-tooled borders, gilt-tooled spines gilt-lettered 'ARABESQUES & STUCCOS OF THE VATICAN' (vol. 1 i.e. parts 1 and 3) and 'CIELINGS [sic] OF THE VATICAN GALLERY' (vol. 2 i.e. part 2), marbled endpapers. On the verso of the first front free-endpaper of vol. 1 is the printed green paper binder's ticket of L. Staggemeier & Welcher at 11 Villiers Street. Staggemeier and Welcher had entered into partnership in London in 1799, and this together with the '1794' watermark on the plain endpapers suggest a date around 1800 for this unusually large binding.
Copy 2: C18th half russia calf, marbled-paper boards, spines gilt-lettered 'VATICAN' within gilt frame.
Copy 3: Early C19th russia calf, gilt-ruled inner and outer borders, marbled-paper panels on the boards, gilt-ruled, gilt-lettered spine 'LOGGIE DI RAFAELE NEL VATICANO', marbled edges. Payment of £2 5s. to J. Wingrave for '1/2 Bd Russia Extra Joints &c' on 28 August 1804. (Archives 7/3/23).
Reference Number 4252
Additional Names Volpato, Giovanni (1735--1803); Staggemeier & Welcher; Vatican Palace (Vatican City). Loggie; Stanze di Raffaello (Vatican Palace, Vatican City); Camporesi, Pietro (1726--1781), artist; Ottaviani, Giovanni (ca. 1735--1808); Savorelli, Gaetano (d. 1791) artist; Camporese, Pietro (1726--1781), artist
[Loggie di Rafaele nel Vaticano. 1772--77]
Loggie di Rafaele nel Vaticano
A Rome (Place), chez Marc Pagliarini,, 1772--1777.
3 pts ; (1º)
I: [2] p., etch. t.-pl., [1], A--B, I--XIV etch. pl. (1 fold) ; 100.5 cm.
II: Etch. t.-pl., XIII etch. pl. ; 75.0 cm.
III: Etch. t.-pl., 12 etch. pl. ; 100.5 cm.
Published in three parts between 1772 and 1777, this is the first attempt to show all the decorative scheme of the pilasters and pillars in the famous 'Logge' of the Vatican, three stories of balconies begun by Bramante in 1514 and completed after his death by Raphael, and lavishly (and influentially) decorated in painting and stucco by Raphael, Giovanni da Udine and Giulio Romano. Raphael's decorative schemes incorporating classical motifs and grotteschi ornaments are among the most influential in western art, for example on the Adam style through the work of the Roman draughtsman Giuseppe Manocchi (c. 1731--1782), and the circulation of the engravings in the present edition and in copies such as a Venice edition published in 1783 (q.v.) contributed to the revival of such motifs in the neoclassical era. An additional source of interest for Soane may have been the image of the Ephesian Diana (part 1, pl. VI), which may have been based in part on the marble statue now in the Colonnade at 13 Lincoln's Inn Fields. (See Peter Thornton and Helen Dorey, A miscellany of objects from Sir John Soane's Museum, London 1992, p. 71.) Suites depicting some of the decorations, chiefly the frescos of biblical scenes, had been published a century earlier in François de la Guertière's Miscellanæe picturæ ... probably first printed in the 1660s (q.v.) and in Imagines Veteris ac Novi Testamenti, published by G.G. de' Rossi in 1675 (q.v.). Work on the project of recording the decorations for the present publication was begun in 1760 and was more or less completed by 1768; the principal artists involved were the painter Gaetano Savorelli (d. 1791) and the architect Pietro Camporese [Camporesi] (1726-81), and the engraver was Giovanni Ottaviani (1735-1808). Part 1 was published in 1772 and has an engraved title-plate as above, usually followed by a letterpress leaf in French with caption title 'Aux Amateurs Des Beaux Arts' and the imprint as above at the foot of p. [2]. The second part (1776) has the engraved title reading Seconda parte delle Logge di Rafaele nel Vaticano che contiene XIII. volte ed i loro respettivi quadri pubblicata in Roma l'anno MDCCLXXVI. The third part (1777), with the title-plate reading Terza ed ultima parte delle Logge di Rafaele nel Vaticano che contiene il compimento degli ornati, e de' bassirilievi antichi esistenti nelle logge medesime pubblicata in Roma MDCCLXXVII, was engraved by Giovanni Volpato (1733-1803) after drawings by Ludovico Tesio (1731-82). Each of the lettered and numbered plates is printed from two separate coppers intended to be (but not always) joined together; the folded plate in part 1, captioned 'Spaccato per il longo del secondo piano ...' is printed from three separate coppers on three sheets pasted together. There are three copies of the work in Soane's library, none of them complete. The most complete is a coloured copy (Soane copy 1), lacking only the letterpress leaf and the title-plates to parts 2-3. In many, perhaps most hand-coloured or coloured and gilded copies, the colouring was added in the nineteeth century or later, but it seems likely that Soane copy 1, printed in bistre rather than black ink, was already coloured at the time of its binding (ca. 1800, see below) in two folio volumes large enough to permit the plates to be joined without being folded, and was presumably from that part of the edition that was hand-coloured by Francesco Panini for for distribution to the leading courts of Europe. Also of interest is Soane copy 3, which has the letterpress leaf printed in Italian (rather than the more usual French) with the caption title 'Agli Amatori Delle Belle Arti' and the imprint 'In Roma MDCCLXXII. Nella Stamperia Di Marco Pagliarini', the existence of which was suggested but not confirmed in the BAL catalogue. BAL, Early printed books, no. 2710; M.D. Sánchez-Jáuregui and Scott Wilcox (eds.), The English prize: the capture of the Westmorland, an episode of the grand tour (New Haven 2012), pp. 290-1, no. 123; D. Guilmard, Les maítres ornemanistes (Paris 1880, reprinted Amsterdam 1968), p. 283; Berlin Kat. 4068; Weinreb Cat. 40, no. 322.
Copy Notes Copy 1: Imperfect; wanting the letterpress leaf in part 1 and the title-plates in parts 2 and 3. The plates are printed in bistre and hand-coloured. Parts 1 and 3 are bound together with the lettered and numbered plates joined and laid down on elephant folio sheets, many being trimmed at top and bottom with the scale bars pasted on the side, and pl. 6 of part 3 is misbound after pl. VII in part 1. Part 2 is bound in a separate volume with the plates protected by blank leaves.
Copy 2: Imperfect; part 1 (47.8 x 68.5 cm) and part 2 (71.1 cm) only, bound in two volumes, and wanting the part 2 title-plate. Part 1 has the letterpress leaf in French and is bound as an oblong folio with plates A--B, I--XIV joined and bound as double plates; part 2 has the plates joined and bound as single plates, and pl. XIII partly and amateurishly hand-coloured.
Copy 3: 72.7 cm. Imperfect; part 1 only. With the letterpress leaf in Italian (see general notes above) and plates A--B, I--XIV unjoined and bound as [32] single plates, and with the unnumbered folded 'Spaccato ...' displaced to the end.
Binding Copy 1: C19th full diced russia, gilt-ruled and roll-tooled borders, gilt-tooled spines gilt-lettered 'ARABESQUES & STUCCOS OF THE VATICAN' (vol. 1 i.e. parts 1 and 3) and 'CIELINGS [sic] OF THE VATICAN GALLERY' (vol. 2 i.e. part 2), marbled endpapers. On the verso of the first front free-endpaper of vol. 1 is the printed green paper binder's ticket of L. Staggemeier & Welcher at 11 Villiers Street. Staggemeier and Welcher had entered into partnership in London in 1799, and this together with the '1794' watermark on the plain endpapers suggest a date around 1800 for this unusually large binding.
Copy 2: C18th half russia calf, marbled-paper boards, spines gilt-lettered 'VATICAN' within gilt frame.
Copy 3: Early C19th russia calf, gilt-ruled inner and outer borders, marbled-paper panels on the boards, gilt-ruled, gilt-lettered spine 'LOGGIE DI RAFAELE NEL VATICANO', marbled edges. Payment of £2 5s. to J. Wingrave for '1/2 Bd Russia Extra Joints &c' on 28 August 1804. (Archives 7/3/23).
Reference Number 4252
Additional Names Volpato, Giovanni (1735--1803); Staggemeier & Welcher; Vatican Palace (Vatican City). Loggie; Stanze di Raffaello (Vatican Palace, Vatican City); Camporesi, Pietro (1726--1781), artist; Ottaviani, Giovanni (ca. 1735--1808); Savorelli, Gaetano (d. 1791) artist; Camporese, Pietro (1726--1781), artist