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Giovanni Battista PiranesiMarble relief of a trireme from the Temple of Fortuna, Praeneste, from Vasi1778-1780
1778-1780
About the Item
Marble relief of a trireme from the Temple of Fortuna, Praeneste, from Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal Cav. Gio. Batt. Piranesi, Vol. II (Vases, candelabra, grave stones, sarcophagi, tripods, lamps, and ornaments designed and etched by Cavalieri Giovanni Battista Piranesi)
Etching, 1778-1780
Signed lower right: Cavalier Piranesi F.
Marble relief of a trireme from the Temple of Fortuna, Praeneste,
From Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal Cav. Gio. Batt. Piranesi, Vol. II (Vases, candelabra, grave stones, sarcophagi, tripods, lamps, and ornaments designed and etched by Cavalieri Giovanni Battista Piranesi)
An impression is in the collection of the Metropolitan Museum of Art
A Roman printing on Double Circle Fleur de Lys paper
Condition: Original condition with small stains and waviness to the paper
Image/Plate size: 14 15/16 x 20 1/2 inches
Sheet size: 23 1/8 x 33 3/4 inches
Reference: Wilton-Ely 904
Focillon 617
Inscription: At bottom center: Parte angolare di Antico Fregio di Marmo, antica camerite appareneva alla fabrica aggiunta al Tempio della Fotuna in Preneste e fatta fare da Augusto dopo a vittoria ottenuta ad Azzio. Si vedeva una volta nella villa dell'Eccmo. Sig.r (r as superscript) Prinpe Barberini in Palestrina oggidì nel nuovo Musèo / Clementino in Vaticano. Allorchè intiero si vedeva tutto il fregio della detta favrica rappresentava le principali Navi Turrit.e (e as superscript) e soggiogate nella guerra sudetta contro Marc'Antonio, e Cleopatra. A. Coccodrillo Insegno di Nave Alessandrina, che si appoggiaa sopar i lavori di metallo appartenenti di Rostro B. / cioè divisa di prora, e non di popppa da altri malamente creduta. C Antenna della nave. D Acrostilio. E Ritratto a grottesco creduto di Marc'Antonio con la corazza, e squamme. F Parte de due ordini di remi. G Saccoccie di pelli formate non chiodi. H entro le quali sono legati i manubrj de remi, accicò non entri l'acqua nella nave. I / Catastromo, o tavoluto, che copriva la ciurma de marinarj, che remigavono coi manubrj, e perciò si dicevano navi costrate, sopra di questo catastrommo combattevasi contro i nemici. L Podio onrato di scudi a guisa d'antimurale per difesa de combattenti, cioè di quelli della parte opposta della nave, ed anche per quelli / che agivano nel mezzo di essa. M Soggetti Primarj, che potrebbe supprfi essere Augusto ed Agrippa, collocati sul catastromo, N Officiali, e Soldati armati di corazza, con grandi scudi ed aste, O Centurione o Navarco appoggiato all'edicola, ove si vede l'immagine di Cleopatra col diadema questa edicola e'an- / nessa alla nave, e non portatile Notasi, che fuori di questa, e quelle di Marc'Antonio, tutte l'altro Teste sono Modern.e (e as superscript). P Torre di legno sopra di cui si combatteva, e che per mezzo di essa da a conoscere essere stata la nave molto grande, Q Avanzo di rostro dell'altra nave, che proseguiva nel seguito del fregio. R Carina, o / sia testuggine della nave. S Membri d'architettura appartenenenti al fregio, e soliti a farsi per racchiudere le figure del bassorilievo. T Cavallo nella voltata del fregio forse uno di quelli del seguito d'Augusto quando si porto'al Tempio della Fortuna sudetta.
- Creator:Giovanni Battista Piranesi (1720-1778, Italian)
- Creation Year:1778-1780
- Dimensions:Height: 14.93 in (37.93 cm)Width: 20.5 in (52.07 cm)
- Medium:
- Movement & Style:
- Period:1770-1779
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:Seller: FA123851stDibs: LU14015913752
Giovanni Battista Piranesi
Piranesi was born in Venice in 1720 and died in Rome in 1778. He was the son of a stone mason and was trained as an architect. After a slow start he eventually achieved great success as an architect, archaeologist, artist, designer, collector, and antiquities dealer. His mission was to glorify the architecture of ancient Rome through his engravings and etchings. His highly dramatized prints often depict imaginary interiors and frequently include figures in mysterious activities, who are dwarfed by the magnitude of their monumental surroundings. Piranesi's style greatly influenced the neoclassical art movement of the late 18th century. His dramatic scenes inspired generations of set designers, as well as artists, architects and writers. His prints have continued to increase in value to institutions and collectors.
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