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Home , Agostino Masucci, Alessandro Galilei, Benedetto Luti, Camillo Rusconi, Carlo Marchionni, Francesco Piranesi

fl urn in the 18r.li Century

•ii" On the cover: Giovanni Battista Piranesi Detail of the Fontana di WS'? 0FP/C6-

SLIDE UBRARY

Artists in Rome in the 18th Century: Drawings and Prints

The Metropolitan Museum of Art February 28 - May 7, 1978 Copyright © 1978 by The Metropolitan Museum of Art • This exhibition has been made possible through <^ a grant from the Esther Annenberg Simon Trust V

V The drawings, prints, and oil sketches brought together for this exhibition offer eloquent testimony to the rich diversity of artistic activity in eighteenth-century Rome. They are the work of artists of many nationalities—Italian, French, English, Dutch, Flemish, and German—but all were executed in Rome in the course of the century. The city retained in the 1700's its position as a major artistic center, though outdistanced by for first place. Rome continued to be the city to which artists came to learn, by studying and copying the ruins of Classical Antiquity and the great works of the Renaissance and periods. Papal and princely patronage continued to attract artists from all Europe, but commissions were no longer on the very grand scale of previous centuries. History painting remained a Roman specialty, occupying the highest rank in the hierarchy of painting. Preparatory drawings for major projects by Giuseppe Chiari, , , and the Frenchman Pierre Subleyras document this side of Roman production. Sculpture flourished—witness drawings by and for important tombs, and 's designs for the throne of St. Peter. Landscape and cityscape enjoyed an increasing vogue and an improved status in academic esteem. Early in the century Netherlanders like J. F. van Bloemen and Gaspar van Wittel shared the market with local practitioners such as G. B. Busiri. And it was the North Italian who became the greatest master of Roman view painting. The French Academy, established in the previous century, was a Roman artistic institution with an authority that reflected 's political and cultural hegem­ ony in Europe. Prize-winning French painters and sculptors came to Rome at royal expense to finish their training with the study of Rome and . Natoire (for many years director of the Academy), Claude-Joseph Vernet, Fragonard, were all formed in this Roman milieu. English and German artists came in increasing numbers as the century went on, and many of them—like Richard Wilson, J. R. Cozens, and J. P. Hackert—were practitioners of landscape, above all of Roman landscape.

210094 For many of us, our introduction to Rome and its monuments is through the etch­ ings of Giovanni Battista Piranesi, the bicentennial of whose death in 1778 is to be commemorated this year. A native of and student of his father, a stone­ mason, and his uncle, an architect, he often designated himself architetto on his prints. He was as keenly interested in the Roman architecture of his own day as in that of Antiquity, and this exhibition includes his views of some of the major archi­ tectural realizations of the eighteenth century—the and the new facades of S. Giovanni in Laterano and S. Maria Maggiore. Also present are Piranesi's most personal inventions, the Prisons, the Grotteschi, and some of his imaginative recreations of Antiquity. Through his French publisher, Piranesi came to know most of the artists in resi­ dence at the French Academy, and to influence and be influenced by them. Before Piranesi's arrival in Rome, Subleyras had already etched his own Christ in the House of Simon, and J. -B. Pierre had in 1735 recorded in etching a RomanCarnival masquerade. Jean Barbault, represented here with his publication of Roman anti­ quities, was a colleague, collaborator, and finally the rival of Piranesi. Hubert Robert, friend and sketching partner of Piranesi, celebrated for his landscapes and ruin fantasies, etched a charming Soirees de Rome. French artists like Louis Le Lorrain participated in the design of Rome's many festive occasions. One of these was the Festa della Chinea, an annual event in which the Grand Constable of presented a mare as tribute to the Pope; the decorations of the fireworks machines for the Chinea were recorded each year in etchings. The section of the exhibition devoted to prints ends fittingly with the collaboration of a Frenchman and an Italian, Louis-Jean Desprez and , Giovanni Battista's son. They recorded, in large hand-colored etchings, the celebration of the Quarant'ore in the Vatican and the illumination of the Cross at the crossing of St. Peter's during Holy Week. All of the prints and oil sketches, and most of the drawings in this presenta­ tion, come from the collections of The Metropolitan Museum of Art, but the exhi­ bition has been significantly enriched with drawings generously lent by:

Cooper-Hewitt Museum of Design The Pierpont Morgan Library The Estate of Anthony M. Clark Richard and Trude Krautheimer John Steiner An anonymous collection DRAWINGS AND OIL SKETCHES

Ango (French, second half of 18th century) Scene of Martyrdom Red chalk. 37.9 x 30.5 cm. Inscribed in red chalk at lower right, Maria Angeli/Canini. Copy after a fresco by (ca. 1617-1666) in the apse of S. Francesca Romana, and not S. Maria degli Angeli as Ango's inscription says. The Metropolitan Museum of Art Rogers Fund, 65.112.6

Jean Barbault (French, 1718-1762) Studies of sculpture and of figures Brush and brown wash, over a little black chalk. 26 x 19.5 cm. Inscribed in pen and brown ink at upper center, ce contour est tendre. Sketches for vignettes in the first volume of Barbault's Les Plus beaux monuments de Rome ancienne (1761). Lent by Richard and Trude Krautheimer

Pompeo Girolamo Batoni (Italian, 1708-1787) Seated nude youth Red chalk on beige paper. Squared in red chalk. 28 x 20.8 cm. Study for the figure of Hercules in the 1742 Choice of Hercules, now in the Uffizi. Lent from the Estate of Anthony M. Clark

Studies of three nude male figures and a detail study of a left hand Red chalk. 20.8 x 30.3 cm. Studies for the Apostles that appear to the left of Christ in Batoni's Christ giving the Keys to Peter, in the Coffee House in the garden of the Quirinal in Rome. The Metropolitan Museum of Art Bequest of Harry G. Sperling, 1975.131.5 An Allegory in honor of Pope Benedict XIV Red chalk, heightened with white, on brownish paper. 36 x 25.1 cm. Engraved in 1745 by Johann Jakob Frey. The Metropolitan Museum of Art Rogers Fund, 1973.156

Jan Frans van Bloemen (Flemish, 1662-1749) River landscape with two figures at right Brush and tempera. 9.2 x 23.2 cm. The Metropolitan Museum of Art Rogers Fund, 61.20.1

River landscape with a church on a hill at left Brush and tempera. 8.9 x 23.2 cm. The Metropolitan Museum of Art Roger Fund, 61.20.2

Pietro Bracci (Italian, 1700-1773) Project for a tomb Pen and brown ink, brown and gray wash, over black chalk. 39.7 x 26.8 cm. Study for the tomb of Cardinal Carlo Calcagnini, erected in 1746 in S. Andrea delle Fratte. The Metropolitan Museum of Art and Carl Selden Foundation Gift, 66.139.2

Project for a tomb Pen and brown ink, gray wash, over black chalk. 40 x 27 cm. Another study for the tomb of Cardinal Calcagnini in S. Andrea delle Fratte; it comes closer to the finished tomb than the previous drawing. The Metropolitan Museum of Art Florence and Carl Selden Foundation Gift, 66.139.1 Giovanni Battista Busiri (Italian, 1698-1757) River landscape near Narni Pen and brown ink. 27.5 x 41.9 cm. Inscribed in pen and brown ink on verso, veduta a narnni giu [?] nel fiume and Giovanni Battista Busiri del: 1730/Romano. The Metropolitan Museum of Art Gift of Harry G. Friedman, 60.66.6

Giuseppe Cades (Italian, 1750-1799) The Virgin as Protectress against Evil Pen and brown ink, brown and a little gray wash, over black chalk. 44.8 x 30.8 cm. The Metropolitan Museum of Art Rogers Fund, 1970.113.2

Giuseppe Chiari (Italian, 1654-1727) The Adoration of the Magi Red chalk, over slight traces of black chalk. 28.5 x 32.4 cm. This is very probably Chiari's own copy of his Adoration of the Magi of 1714, a painting now in Dresden. The drawing was engraved in the same direction by BenoTt Farjat. The Metropolitan Museum of Art Rogers Fund, 66.135

Tommaso Conca (Italian, 1735-1822) The Triumph of Apollo Pen and brown ink, brown and gray wash, over black chalk. 41.5 x 41.5 cm. Identified by Anthony M. Clark as a study for Tommaso Conca's ceiling fresco in the Sala delle Muse in the Museo Pio-Clementino, Rome. Lent by the Cooper-Hewitt Museum Three female figures Black and white chalk on yellow-green washed paper. 29.3 x 19.8 cm. Anthony M. Clark suggested that this group was studied for one of the subsidiary panels in Conca's decoration of the Sala delle Muse, Museo Pio-Clementino, Rome. Lent by the Cooper-Hewitt Museum

John Robert Cozens (English, 1752-1797) View of the Villa Lante on the Janiculum in Rome Watercolor. 25.3 x 36.8 cm. The Metropolitan Museum of Art Rogers Fund, 67.68

Louis Durameau (French, 1733-1796) St. Michael casting down Lucifer Red chalk. 26.3 x 15.4 cm. Mount of P.-J. Mariette with inscription, Pinxit in aede S. Marci Romae, Petrus Franc. Mola./Ludovicus/Durameau delineabat Copy of a painting of 1655 by in S. Marco, Rome. The Metropolitan Museum of Art Rogers Fund, 66.219

John Flaxman (English, 1755-1826) A Bacchic sarcophagus restored Pen and black ink, gray wash, on gray paper. 24.9 x 64.4 cm. Inscribed in pen and brown ink at lower margin (hidden by mount), The first visit of Bacchus to Ariadne, the side of an Ancient marble oval Sarcophagus, in the wall of the cortile of the Palace Neri near the Church of Santa Maria sopra Minerva Rome/The figures about 22 inches high, of ordinary work­ manship, the legs & arms much broken & some of the heads lost. The Metropolitan Museum of Art The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 61.129.2 Jean-Honore Fragonard (French, 1732-1806) View in the Red chalk. 36.8 x 26.7 cm. Inscribed in pen and brown ink at lower left, fragonard Rome 1758; in pencil at lower right, Vue de la Cour de Thermite du Colisee. Lent by John Steiner

View of the Pincio Pen and brown ink, brown wash. 28.6 x 39 cm. The Metropolitan Museum of Art The Robert Lehman Collection

Infant Moses before Pharaoh Black chalk. 13.6 x 21.6 cm. Inscribed in black chalk at lower left, ie Poussin. Palais Justiniani. Copy after a painting by Giovanni Battista Ruggieri (1606-1640) that in the eighteenth century was in the Giustiniani collection in Rome, under a mistaken attribution to Poussin. The picture is now in the Neues Palais, Potsdam. The Metropolitan Museum of Art Gift of Eugene Victor Thaw. 61.234

Luigi Garzi (Italian, 1638-1721) Marcus Curtius leaping into the chasm Pen, brown ink, brown wash, heightened with white, on brownish paper. 28 x 43.2 cm. Study for a painting now in the Art Gallery and Museum, Glasgow. The Metropolitan Museum of Art The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 61.142 Reclining figure of a river god Black chalk, heightened with white, on gray paper. 26.7 x 40.2 cm. The Metropolitan Museum of Art The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 61.215.1

Louis Gauffier (French, 1762-1801) Ruins of a Roman bath or reservoir Oil paint on paper. 57.4 x 39.7 cm. The Metropolitan Museum of Art Harry G. Sperling Fund, 1978

Pier Leone Ghezzi (Italian, 1674-1755) Caricature: The Marquis de Vandieres, Abbe Leblanc, Jacques-Germain Soufflot, and Charles-Nicolas Cochin the younger Pen and brown ink, over traces of black chalk. 30.3 x 21.1 cm. Inscribed in pen and brown ink on mount, (1) Monsieur de Vandier Direttore delle Fabbriche del Re di/Francia (2) L'Abbe Bianco (3J Monsr Sufflb (4) Monsr, Coscian; numbered on mount, 20. This caricature records the visit to Rome in 1750-51 of four French taste- makers: Abel Poisson, the brother of the Pompadour, then Marquis de Vandieres. and later to be Marquis de Marigny and Directeur des Batiments du Roi; the literary Abbe Leblanc; the architect Soufflot; and the engraver Cochin the younger. The Metropolitan Museum of Art Rogers Fund, 1972.84

Carricature: Abbe Jean-Antoine Nollet, the French physicist Pen and brown ink. Lined. 30.2 x 21.6 cm. Inscribed in pen and brown ink on mount, Sige Abbate Nollet celebre Fisico esperimentale; numbered on mount, 34. The Metropolitan Museum of Art Purchase, David L. Klein, Jr. Memorial Foundation, Inc. Gift, 1972.82 Caricature: The architect Luigi Vanvitelli Pen and brown ink, over traces of black chalk. 31.8 x 21.8 cm. Inscribed in pen and brown ink on mount, Sigre Luigi Vanvitelli Architetto de S. M. Siciliana; numbered on mount, 17; a long inscription on the drawing itself enumerates Vanvitelli's credentials. The Metropolitan Museum of Art Rogers Fund, 1972.83

Caricature: English gentleman studying Roman ruins Pen and brown ink, over traces of black chalk. 31.1 x 21.3 cm. Inscribed in pen and brown ink on mount, Cavaliere Inglese dilettante delle Antichita; numbered on mount, 52. Ghezzi's inscription at the bottom of the sheet identifies the figure as "Gioseppe Henrij"; Anthony Clark pointed out that this dilettante must be Joseph Henry, of Straffan, County Kildare, who was in Rome in the 1750's when the caricature was drawn. The Metropolitan Museum of Art Rogers Fund, 1973.67

Jacob Philipp Hackert (German, 1737-1807) View of Marino from in the Alban Hills near Rome Pen and brown ink, brown wash over black chalk. 53 x 75 cm. Inscribed in pen and brown ink at upper left, a Castel Gandolfo il Prato vers Marine 1782. Se joint a No. 1. N.2. The Metropolitan Museum of Art Rogers Fund, 64.194

A Large tree at Albano Pen and brown ink, brown wash. 64.4 x 50.7 cm. Inscribed in pen and brown ink at upper left, a Albano 1782 Ph. Hackert. The Metropolitan Museum of Art Mr. and Mrs. David T. Schiff Gift. 1977.418 Benedetto Luti (Italian, 1666-1724) Pius V and the Ambassador of the King of Poland Black, red, and some blue chalk, brown wash, heightened with white. 39.1 x 55.2 cm. Anthony M. Clark pointed out that this elaborately finished sheet is very probably the drawn modello for a now-lost picture commissioned in 1712 by the General of the Dominicans as a gift to Clement XI Albani, on the occasion of the canonization of Pius V. The Metropolitan Museum of Art Rogers Fund, 69.169

Portrait of a man Red chalk. 42.9 x 33.2 cm. The Metropolitan Museum of Art Gift of Harry G. Friedman, 64.14

Seated nude male figure Red chalk. 53.4 x 39.9 cm. The Metropolitan Museum of Art Rogers Fund, 1970.108

Carlo Marchionni (Italian, 1702-1786) Design for a chimneypiece for the Villa Albani, Rome Pen and brown ink, brown and gray wash, black chalk. 35.9 x 26.9 cm. Lent by the Cooper-Hewitt Museum

Design for a chimneypiece incorporating a bas-relief portrait of Antinoiis for the Villa Albani, Rome Pen and brown ink, brown and gray wash, over black chalk. 33.3 x 22.9 cm. Lent by the Cooper-Hewitt Museum Design for a doorway in the Grand Gallery of the Villa Albani, Rome Pen and brown ink, gray and brown wash, over black chalk. 40.7 x 19.6 cm. Lent by the Cooper-Hewitt Museum

Agostino Masucci (Italian, 1692-1758) St. Anne teaching the Virgin to read Pen and brown ink. 24.1 x 17.3 cm. Studies for Masucci's altarpiece of 1757 representing the Education of the Virgin in SS. Nome di Maria, Rome. The Metropolitan Museum of Art Bequest of Walter C. Baker, 1972.118.12

Charles-Joseph Natoire (French, 1700-1777) The Gardens of the Villa d'Este at Tivoli Pen and brown ink, watercolor, heightened with white, over black and a little red chalk. 31.3 x 47.5 cm. Inscribed in pen and brown ink at lower right, villa d'Est, en Tyvoly/aprille 1760/C.N. The Metropolitan Museum of Art Rogers Fund, 65.65

Arcaded corridor in the at Palestrina Pen and brown ink, over black chalk, brown wash, heightened with white, on beige paper. 22.9 x 22.7 cm. Inscribed in pen and brown ink at lower left, veue [?] du palais Barberin di palestrine. The Metropolitan Museum of Art Gift of H. M. Calmann, 52.138

Victor-Jean Nicolle (French, 1754-1826) View of the Forum with the and the Pen, red-brown ink, red chalk, and gray washes. 20.5 x 31.2 cm. The Metropolitan Museum of Art Rogers Fund, 61.124.1 View of Rome with the Tiber Pen, red-brown ink, red chalk, and gray washes. 21.4 x 31.1 cm. The Metropolitan Museum of Art Rogers Fund, 61.124.2

Giovanni Paolo Panini (Italian, 1691/2-1765) Drawing of the Lottery in the Piazza di Montecitorio, Rome Watercolor, pen and black ink, over black chalk. 34.2 x 54.5 cm. The Metropolitan Museum of Art Rogers Fund, 68.53

Scalinata della Trinita dei , Rome Watercolor over black chalk. 34.8 x 29.3 cm. The Metropolitan Museum of Art Rogers Fund, 1971.63.1

Pietro de Pietri (Italian, 1663-1716) Design for a frontispiece Pen and brown ink, brown wash, heightened with white, over black chalk, on blue paper. 27.7 x 20.4 cm. Frontispiece for a publication reproducing Albani's frescoes in the Palazzo Verospi, Rome. G. Frezza etched this design. The Metropolitan Museum of Art Rogers Fund, 1972.173

Stefano Pozzi (Italian, 1707-1768) Venus in the Forge of Vulcan Black chalk, heightened with white, on blue paper. 32.2 x 43.2 cm. The Metropolitan Museum of Art Rogers Fund, 65.66.10

Diana encountering a horseman Black chalk, heightened with white, on blue paper. 31.6 x 42.1 cm. The Metropolitan Museum of Art Rogers Fund, 65.66.9 Sir Joshua Reynolds (English, 1723-1792) A Notebook with sketches made during the artist's stay in , 1750-1752 19 x 13 cm. Opened to a page with black chalk notes on the Church of S. Maria della Vittoria, Rome: on the right page a sketch after Bernini's sculpture the Ecstasy of St. Teresa; on the left page in the artist's hand, "Trinity by Guercino/a whole Chapel the/second on the right/hand by Domenicino (sic.]/the last on the left/Madonna della Vittoria." The Metropolitan Museum of Art Gift of William A. White, 18.121

Marco Ricci (Italian, 1676-1729) SS. Giovanni e Paolo in Rome, seen from the Colosseum Pen and brown ink. 24.3 x 35.5 cm. Lent by Richard and Trude Krautheimer

Hubert Robert (French, 1733-1808) View of the Campidoglio Red chalk. 33.4 x 44.6 cm. Dated in red chalk at lower center, 1762. Lent by The Pierpont Morgan Library No. Ill, 117

The South fagade of the with the Trevi Fountain under construction Red chalk. 32.3 x 44.7 cm. Lent by The Pierpont Morgan Library Gift of Mrs. Allerton Cushman in honor of Mr. Janos Scholz, 1973.51

Camillo Rusconi (Italian, 1658-1728) Design for the Tomb of Gregory XIII in St. Peter's (1719-25) Pen and brown ink, brown wash, over a little black chalk. 52 x 39.5 cm. Lent from the Estate of Anthony M. Clark Sempronio Subissati (Italian, 1680-1758) Posthumous portrait of Red chalk. 41.8 x 25.6 cm. One of a series of portraits of artists, living and dead, commissioned from a number of draughtsmen by an 18th-century Roman collector, Nicola Pio. The Metropolitan Museum of Art Gift of Victor Sordan, 1970.293

Pierre Subleyras (French, 1699-1749) St. Benedict resuscitating an infant Black and white chalk on blue paper. 22.2 x 15.2 cm. Study for a picture painted in Rome for the Olivetans in , and now in S. Francesca Romana in Rome. The Metropolitan Museum of Art Harry G. Sperling Fund, 1974.354

Seated nude man Black and white chalk on gray-blue paper. 53 x 42 cm. Inscribed in pen and brown ink at lower center, Subleras. Lent from the Estate of Anthony M. Clark

Pierre-Henri de Valenciennes (French, 1750-1819) Roman ruins Oil paint on paper. 22.8 x 37.2 cm. An oil sketch by Valenciennes of the same arcaded structure in ruins is in the (R.F 1843). The subject is listed in one of Valenciennes' sketchbooks as "ruines a ." The Metropolitan Museum of Art Harry G. Sperling Fund, 1978 Luigi Vanvitelli (Italian, 1700-1773) Design for the throne of the bronze statue of St. Peter in St. Peter's Pen and brown ink, over black chalk. 36.6 x 25.7 cm. The Metropolitan Museum of Art Rogers Fund, 62.129.3

Design for the throne of the bronze statue of St. Peter in St. Peter's Pen and brown ink, pencil. 34.5 x 24 cm. Lent by the Cooper-Hewitt Museum

Claude-Joseph Vernet (French, 1714-1789) View of the Temple of Saturn in the Forum Pen and brown ink, brown and gray wash, over black chalk. 50.8 x 35.2 cm. Lent anonymously

View of churches on the Pen and brown ink, brown and gray wash, over black chalk. 30 x 44 cm. Lent anonymously

A Bridge in the Campagna Brown and gray wash, over black chalk. 28.8 x 46 cm. The Metropolitan Museum of Art Harry G. Sperling Fund, 1976.334.2

Joseph-Marie Vien (French, 1716-1809) Seated Man in fantastic oriental costume Black chalk, heightened with white, on gray paper. 54.8 x 42.4 cm. Inscribed in black chalk at lower left, himan de la grandel mosquee M. Clement. Study for or after one of the costumes worn in the masquerade organized by the pensionnaires of the French Academy in Rome for the Carnival of 1748. The theme of this divertissement was the "Caravanne du Sultan a La Mecque." The Metropolitan Museum of Art Rogers Fund, 61.139 Francois-Andre Vincent (French, 1746-1816) Man seated at a keyboard instrument Pen and brown ink, brown wash. 32.3 x 20.5 cm. Signed and dated at lower left, Vincent /.r.fome] 1774. The Metropolitan Museum of Art Harry G. Sperling Fund, 1974.46

Richard Wilson (English, 1714-1782) View of St. Peter's and the Vatican from the Janiculum Black chalk, heightened with white, on gray paper. 28.6 x 42.2 cm. Signed and dated in pen and brown ink on old mount, R. Wilson/. Romae 1754. The Metropolitan Museum of Art Bequest of Walter C. Baker

Gaspar van Wittel (Dutch, 1653-1736) The Arch of Septimus Severus in the Forum, with the Column of Phocas at the left, and the Temple of Saturn at the right Pen and brown ink, gray wash. Squared in pen and brown ink. 39.7 x 51.4 cm. The Metropolitan Museum of Art Rogers Fund. 1971.157

River view near Rome Pen and brown ink, brown wash, heightened with white, over traces of black chalk, on brown washed paper. 26 x 40 cm. The Metropolitan Museum of Art Rogers Fund, 52.124.3

Italianate river landscape with an inn Pen and brown ink, brown wash, over red chalk. 26.7 x 40.8 cm. The Metropolitan Museum of Art Bequest of Harry G. Sperling, 1975.131.168 PRINTS

Jean Barbault (French, 1718-1762) and Domenico Montagu (French (?), active 1750-1761) Sepulchre of the Metella Family on the Via Appia, Rome Etched plate in the book: Les Plus beaux monuments de Rome ancienne..., Rome, 1761. Rogers Fund, 52.519.87

Francesco Barbazza (Italian, active end of the 18th century) Fireworks machine with aerostatic balloon Second decor for the Festa della Chinea, Rome, 1785 Etching, after the design of Giuseppe Palazzi. The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 63.517.1

Benoit Farjat (French, 1646-ca.l720) Adoration of the Magi Etching, after Giuseppe Chiari. The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 51.501.4504

Johann Jakob Frey (German, 1681-1752) Allegorical Portrait of Pope Benedict XIV, 1745 Etching and engraving, after Pompeo Batoni. Gift of Anthony M. Clark, 1973.648

Giovanni Girolamo Frezza (Italian, 1659-after 1741) Title page for Picturae Francisci Albani in Aede Verospia, 1704 Etching and engraving, after Pietro de Pietri (LeBlanc II, p. 255, no. 25). Harris Brisbane Dick Fund, 53.600.4177 Louis-Joseph Le Lorrain (French, 1715-1759) Fireworks machine erected in the in honor of the marriage of the Dauphin to Maria Teresa, Infanta of Spain, May, 1745 Etching, after the design of Giuseppe Panini. The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 62.600.219

Temple of Venus Genitrix First decor for the Festa della Chinea, Rome, 1747 Etching. The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 62.600.407

Giuseppe Palazzi (Italian, ca. 1740-1810) Chinese pagoda Second decor for the Festa della Chinea, Rome, 1758 Etching, after the design of Paolo Posi. The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 62.600.201(13)

Jean-Baptiste-Marie Pierre (French, 1713-1789) Mascarade Chinoise, for Carnival, Rome, 1735 Etching (LeBlanc III, p. 203, no. 25). Harris Brisbane Dick Fund, 53.600.4449

Figures du bas peuple a Rome, 1756 Etchings (LeBlanc III, p. 203, nos. 7-16). Harris Brisbane Dick Fund, 53.600.213(1-9) Francesco Piranesi (Italian, 1756-1810) Illumination of the Cross in St. Peter's, viewed from the south transept, on Thursday and Friday of Holy Week Etching, after the design of Louis-Jean Desprez, hand-colored (undescribed). The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 67.761.2

The Worship of the Eucharist (the Quaranf'ore) in the Pauline Chapel in the Vatican Palace Etching, after the design of Louis-Jean Desprez, hand-colored (Wollin, p. 110, no. 2,1). The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 67.761.1

Giovanni Battista Piranesi (Italian, 1720-1778) The Fontana di Trevi Architecture by , finished by Giuseppe Panini Etching (Focillon 797, Hind 19, I). Harris Brisbane Dick Fund, 37.45.3 (60)

S. Croce in Gerusalemme Architecture by Pietro Passalacqua and Domenico Gregorini Etching (Focillon 729, Hind 11, state before I). The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 59.570.404

Fagade of S. Giovanni in Laterano with the Campagna in the distance Architecture by Etching (Focillon 724, Hind 122, I). The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 59.570.424

Palazzo della Consulta Architecture by Etching (Focillon 737, Hind 22, I). The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 55.567.3 The Church of the SS. Nome di Maria in the Forum of Trajan Architecture by Antoine Derizet Etching (Focillon 798, Hind 51, I). Harris Brisbane Dick Fund, 37.45.3(54)

Fagade of S. Maria Maggiore Architecture by Ferdinando Fuga Etching (Focillon 791, Hind 9, I). Harris Brisbane Dick Fund, 37.45.3(48)

Villa Albani Architecture by Etching (Focillon 853, Hind 89,1). Rogers Fund, 41.71.1(16-32)

The Imagined Campidoglio in Antiquity, from the Prima parte di architetture e prospettive... Etching (Focillon 9). Harris Brisbane Dick Fund, 37.45.3(15)

Decorative capriccio with skull and ancient ruins, from the Grofteschi Etching (Focillon 20). Harris Brisbane Dick Fund, 37.45.3(38)

Decorative capriccio with statue of a faun and of a lion, from the Grofteschi Etching (Focillon 21). Harris Brisbane Dick Fund, 37.45.3(39)

Prison: vast gallery with round arches and group of prisoners on a projecting stone, from Careen d'invenzione Etching (Focillon 33). Harris Brisbane Dick Fund, 37.45.3(33) , from Alcune vedute di archi trionfali Etching (Focillon 50). Harris Brisbane Dick Fund, 37.45.3(76)

Chimneypiece with Egyptian motifs, from Diverse maniere d'adornare i cammini... 1769 Etching (Focillon 865). The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 1973.509.4

Console table, commode, sedan chair and two clocks, from Diverse maniere d'adornare i cammini.. .1769 Etching (Focillon 920). The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 1973.509.1

Hubert Robert (French, 1733-1808) Les Soirees de Rome Etchings (LeBlanc III, p. 340, nos. 1-10). Harris Brisbane Dick Fund, 29.55.1-10).

Miguel de Sorello (Spanish, ca. 1700-ca.l765) Architectural backdrop with sculptural emblems of the provinces of the Kindgom of Naples Second decor for the Festa della Chinea, Rome, 1746 Etching, after the design of Francisco Preziardo. The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 62-600.406 Pierre Subleyras (French, 1699-1749) Banquet at the House of Simon the Pharisee Etching (Robert-Dumesnil II, p. 258, no. 3). This etching, dated 1738, repeats in reverse Subleyras' painting, now in the Louvre, which is signed Subleyras Romae 1737. Gift of Georgiana W. Sargent, in memory of John Osborne Sargent, 24.63.2029

Filippo Vasconi (Italian, ca.1687-1730) Fireworks machine erected in the in honor of the birth of the Royal Infante of Spain, 1727 Etching, after the design of .

The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 56.597.99

Giuseppe Vasi (Italian, 1710-1782) Fireworks machine in the form of a triumphal arch First decor for the Festa della Chinea, Rome, 1751 Etching, after the design of Paolo Posi. The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 62.600.201(4)

Fireworks machine in the form of a royal country casino Second decor for the Festa della Chinea, Rome, 1755 Etching, after the design of Paolo Posi. The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 62.600.201(8)

Chinese pavilion Second decor for the Festa della Chinea, Rome, 1760 Etching, after the design of Paolo Posi. The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 62.600.201(16) Joseph-Marie Vien (French, 1716-1809) Characters from the Caravanne du Sultan a La Mecque, Turkish masquerade presented at the French Academy in Rome, 1748 Etchings (LeBlanc IV, p. 122, nos. 8-39). Harris Brisbane Dick Fund, 33.104.2532, 2536-2539

French, early 18th century Procession in St. Peter's for the canonization of saints, 1712 Etching. The Elisha Whittelsey Collection The Elisha Whittelsey Fund, 66.543.17