V. Feoli after B. Nocchi, Ara con Tripode, Etching, 1821

Description

Image dimensions: 33.7 x 48.6 cm. "ara with tripode" (ara with tripod) is a beautiful black and white burin and … more Image dimensions: 33.7 x 48.6 cm. "ara with tripode" (ara with tripod) is a beautiful black and white burin and etching on paper, realized by the artist vincenzo feoli, after bernardino nocchi as the inscriptions on plates on lower margins report "bernardino nocchi outlined/ vincenzo feoli engraved in rome". This original print is numbers on plate in roman numerals on higher margin: “tom ii. /tav. Xxviii "and is a plate from the series" illustrations of the chosen borghesian somees already existing in the villa sul pincio (\.) given now for the first time in light by cav. Gio. Gherardo de rossi and by stefano piale under the guidance of vincenzo feoli ", by ennio quirino visconti, published by stamperia de romanis in rome, 1821. Original title: ara with tripode of quintecemviri, and the crown of the arvali translated tite: ara with tripod representing fifteen men, and the arvali's crown this old master's original prints shows in beautiful piece of the borghese's collection, the commemorative ara with the tripod with the decorations of a crown, the arvali's crown. The arvali was anchy for roman members chosen for life among the members of the patrician families, who devoted themselves to the worship of the goddess dia, an archaic roman divinity, later identified with ceres, and of marmar or mavors, later identified with mars, who protected the earth, the the fields and the crops. In excellent conditions with some light signs of the time, with some sporadic minor stains along the margins, a usual yellowing of the paper at the edges, this beautiful etching has preserved still today his beauty and his fresh impression. Illustrations of the chosen monuments borghesian this collection in two volumes is a beautifully detailed catalog of classical sculptured collected by prince borghese (1730-1800) in his villa on the pincio. Ennio quirino visconti (1751 - 1818) wrote the texts that accompany the large branches depicing. To these writings, which were available by the son of the illustrious archaeologist, the publishers aided only a few illustrations relating to some minor monument of which copper had almedy been engraved. The engraved title-plate are signed by draughtsmen like agostino tofanelli, stefano tofanelli, bernardino nocchi, domenico de angelis or teodoro matteini, and by engravers pietro fontana veneto, p. Vitali, pietro bettelini, giovanni folo veneto, giovanni brunetti from ravenna, giovanni ottaviani, francesco cecchini, gio. Batta. Leonetti, girolamo carattoni, domenico cunego, luigi cunego, alessandro mochetti, luigi pizzi, angelo campanella or giacomo bossi. The volume i shows acient full-length statues, of the borghese warrior by agasias (two plates), greek gods and heroes and roman famous historical figures; the last two plates represents antique egyptian deities. There are plates repressing ancient bas-regilfs, sarcophagi, of mythological subjects, the borghese vase, portrait busts, a jar on an altar, two statues of amor; and two modern statues, by bernini (the apollo and daphne, and the david). «très bel ouvrage» writes brunet, «grand ouvrage, le seul qui mérite, parmi ceux sur la villa borgese, de figurer dans le chapitre aux galeries et collection" vinet said, looking at this plate. Vincenzo feoli (rome, 1750 - 1831) vincenzo feoli was an italian engraver and a talented translator of topographic, architectural and archaeological drawings, whose professional capacity seems to have been recognized by his contemporaries. He engraved illustrative plates for the main publishing projects of his era. His first known artworks today date back to the first years of the decade 1790-1799, when he should have been over 40 years old. This led rossella leoni to postpone the date of his birth of about ten years. Bernardino nocchi (lucca, 1741 - rome, 1812) bernardino nocchi moved to rome in 1769 with his colleague stefano tofanelli, entering the school of niccolò lapiccola where he developed in baroque style with neoclassical suggestions. Bernardino nocchi was noticed by pope pius vi, who in 1780 entrusted him with the painting of the sacred apostolic palaces and then in 1785 with the print room of the vatican library. But he also works outside the capital, in gubbio where in 1797 he realizes the transit of st. Joseph in the church of san secondo, in spoleto, in lucca and in catania. Returning to rome, nocchi painted some of his best painings: prince camillo borghese in 1799, the apotheosis of saint prudenziana, saint novato and saint timothy in 1803 and pius vii in 1807. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



issues arising from misattribution less