| Method | Etching |
| Artist | Pietro Santi Bartoli |
| Published | Romæ ex Chalcographia Domenici de Rubeis Hæredis Io. Iacobi de Rubeis ad Templ. S. Mariæ de Pace cum Priv. S. P. et Super. perm. [1693] |
| Dimensions | Image 124 x 443 mm, Plate 142 x 447 mm, Sheet 362 x 472 mm |
| Notes |
A depiction of a Roman relief sculpture of the Three Graces with Cupid and Psyche, Plate 68 from Bartoli's Admiranda Romanarum Antiquitatum (1693). The relief, probably from a Roman sarcophagus, is listed by Bellori as having been displayed at the time of publication in the collections of the Mattei family, most probably in their primary residence, the Villa Celimontana on the ancient Caelian Hill. The three graces are depicted in the standard pose at the centre of the relief, a heavy fabric drape hanging behind them. On either side, a winged cupid reaches out to them. Flanking the Graces are a pair of cherubic Cupids and Pysches, the butterfly wings of the latter being described by Bellori as representing the immortality of the soul. Another pair of winged cupids bookend the scene, the one on the left offering up an ear of grain from the urn of first fruits at his feet. The connecting elements for the two mythological representations on this relief seem to be love, beauty, and the goddess Venus. The Charites, or Graces, were the children of Jupiter, either by Venus, or by the sea-nymph Eurynome. Although their number varies, the most common three are Aglaea, goddess of brilliance, Euphrosyne, goddess of mirth, and Thalia, goddess of plenty. In the Classical Greek world, the graces, like most goddesses, were always depicted clothed, but by the Roman era, the familiar nude trio had become the standard. Likewise, Cupid, as the son of Venus, appears frequently in classical art. The story of Cupid and Psyche is attested in art from as early as at least the 4th century BC, though the earliest literary tradition for the myth comes from Apuleius' Metamorphosis, composed in the second century AD. Apuleius' tale is laden with allegorical significance, Neoplatonic symbolism, and allusions to mystery cult through its strong focus on concepts of life, death, love, resurrection, sexual awareness, and spiritual awakening. As a result, depictions of Cupid and Psyche are relatively common in Roman funerary art, perhaps designed to signify the conquering power of love over death. The Admiranda Romanarum Antiquitatum ac Veteris Sculpturae Vestigia Anaglyphico Opere Elaborata ex Marmoreis Exemplaribus was one of a number of illustrated volumes on antiquarian subjects published by the prolific de Rossi family. The work featured 83 etched plates by the antiquarian and engraver, Pietro Santi Bartoli, depicting examples of Roman relief sculpture, all of which Bartoli had viewed and studied in the various papal and aristocratic collections across Rome. Like many of Bartoli's works, the plates of the Admiranda Romanarum Antiquitatum included commentary and notes by the celebrated antiquarian, Giovanni Pietro Bellori, with whom Bartoli enjoyed a long and fruitful academic partnership. The work was dedicated by the publishers to Cardinal Flavio Chigi, nephew of Pope Alexander VII and a member of the powerful Chigi family, who had died in September 1693, the same year as its publication. Cardinal Chigi had been a close friend of Bartoli's patron, Queen Christina of Sweden. His position in such a powerful papal family had also been beneficial to engravers and publishers, particularly those with an interest in classical architecture. Alexander VII had been one of the great 'builder' popes, whose term had endowed Rome with numerous churches, public fountains, gardens, and palazzi in the rococo style, as well as encouraging the excavation, documentation, and in some cases, restoration, of the monuments of the classical era. Many of the relief sculptures depicted in the Admiranda Romanarum Antiquitatum had been rediscovered in these excavations, and were quickly added to the collections of the Chigi family and their peers. Pietro Santi Bartoli (1635 – 7th November 1700) was an Italian draughtsman, architect, antiquarian, and engraver. Born in Perugia, Bartoli apprenticed with Jean Lemaire and Nicholas Poussin. Although he would give up painting following Poussin's death to focus on engraving, the classical scenes that were the speciality of Poussin and Lemaire were probably responsible for the young Bartoli's interest in classical subjects. In collaboration with the antiquarian Bellori and the publishers Giovanni and Domenico de Rossi, Bartoli produced a number of works documenting the art, architecture, history, and culture of ancient Rome. Of particular note are his series of 128 etchings depicting details of the frieze on the Column of Trajan, and a number of plates of Roman monuments after Giacomo Lauro that were published by Domenico de Rossi in his Romanae Magnitudinis Monumenta in 1699. Condition: Minor time toning and foxing to edges of sheet, not affecting image. |
| Framing | unmounted |
| Price | £100.00 |
| Stock ID | 40689 |