Landscape Painting 4 Views of Rome Tempera On Paper Grand Tour Gilt Wood Frame

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Landscape Painting 4 Views of Rome Tempera On Paper Grand Tour Gilt Wood Frame
after 1700

About the Item

A set of 4 views of Romans important sites painting tempera on paper grand tour , framed in a coeval gilt wood frame. The arch of Janus, the mausoleum of Caecilia Metella, the Temple of Minerva Medica and the temple of Vesta in Tivoli. The classic itinerary of the Grand Tour could not ignore cities such as Venice, Florence, Naples and, sometimes, even Sicily. And then there was Rome. Each Italian city contains an immense artistic heritage, be it from the Greco-Roman era, the Renaissance or the Baroque age. Rome summarizes them all. Rome was considered the stage of excellence of the Grand Tour, as it represented at the same time a privileged access to the historical heritage of the Roman Empire up to the wonders of the contemporary Baroque era. “I could never forget the sensation I experienced walking slowly down the hills, and crossing the bridge over the Tiber river; entering the course, between the terraces and the refined gates of the villas, which leads to Porto del Popolo…” – William Beckford, letter from the Grand Tour, 1780. The Grand Tour was the principally 17th- to early 19th-century custom of a traditional trip through Europe, with Italy as a key destination, undertaken by upper-class young European men of sufficient means and rank (typically accompanied by a tutor or family member) when they had come of age (about 21 years old). The custom—which flourished from about 1660 until the advent of large-scale rail transport in the 1840s and was associated with a standard itinerary—served as an educational rite of passage. Though it was primarily associated with the British nobility and wealthy landed gentry, similar trips were made by wealthy young men of other Protestant Northern European nations, and, from the second half of the 18th century, by some South and North American. The arch of Janus, is still preserved, it stands near the church of San Giorgio in Velabro, not far from the Temple of Hercules and the Temple of Portuno, and was probably built on the edge of the Forum Boarium in the mid-4th century. It must probably be identified with the Arcus Divi Constantini mentioned in the regional catalogs at the Velabrum. The modern name does not refer to the two-faced god Janus, but rather derives from the Latin term ianus, meaning a covered passageway, or doorway. As the iani witnessed by the sources in the Roman Forum, it was not a triumphal arch, but probably a structure intended for the bankers who worked in the Forum Boarium. The building, which has a square plan and is 12 m high with 16 m on each side, has four massive pillars which support a cross vault. They are built in cement and covered with reused blocks of marble. Above it must have had an attic floor and a roof perhaps in the shape of a pyramid, whose structure in brick work, which originally must have also been covered in marble, was demolished in 1827 because it was wrongly considered part of the medieval fortification planted above the building Roman by the Frangipane (who had also closed the arches). In the pillars there are many niches which perhaps housed almost life-size statues, there are 12 on each east and west face and 2 on each north and south face and another 10 are fake. In total then 28. The niches originally had to house statues and were framed by aedicules with small columns, now lost, resting on the cornices, and were covered by a shell-shaped semi-dome carved in the marble blocks of the facing. The only preserved remains of the sculptural decoration are represented by the four female figures on the keystones: the goddess Roma on the eastern side and Minerva on the northern side can be recognized with certainty, while the identification of the other two figures as Juno and Ceres presents greater uncertainties. The Arch, in addition to having monumental functions, served as a shelter from the inclemency of the weather for the Roman cattle merchants and the money lenders who crowded the Forum. In the nearby church of San Giorgio in Velabro there are some fragments of a monumental inscription, which can no longer be reconstructed, partly reused as masonry blocks and partly for medieval reliefs, which could have been the one present on the attic of the arch. It alludes to a tyrant defeated by an emperor and could refer to Constantius II and his victory over Magnentius. If this were confirmed, the work could be reconsidered as a triumphal arch. The mausoleum of Caecilia Metella is located just outside Rome at the three mile marker of the Via Appia and is one of the most well known and well preserved monuments along the Via Appia and a popular tourist site. In 2013, the museum circuit of the Baths of Caracalla, Villa of the Quintilii, and the Tomb of Caecilia Metella was the twenty-second most visited site in Italy, It was built during the 1st century BC to honor Caecilia Metella, who was the daughter of Quintus Caecilius Metellus Creticus, a consul in 69 BC, and the wife of the Marcus Licinius Crassus who served under Julius Caesar and was the son of the famous triumvir with the same name, it was probably built in 30–10 BCE One of the most well known and well preserved monuments along the Via Appia and a very popular tourist site. The Temple of Minerva Medica is a ruined nymphaeum of Imperial Rome which dates to the 4th century. It is located between the Via Labicana and Aurelian Walls and just inside the line of the Anio Vetus. Once part of the Horti Liciniani on the Esquiline Hill, it now faces the modern Via Giolitti. It was once thought to be the temple to Minerva Medica ("Minerva the Doctor") mentioned by Cicero and other sources. The decagonal structure in opus latericium is relatively well preserved, though the full dome collapsed in 1828. It is surrounded on three sides with other chambers added at a later date. There is no mention of it in ancient literature or inscriptions. The structure represents a transition in Roman secular architecture between the octagonal dining room of the Domus Aurea and the dome of the Pantheon, and the architecture of nearby Byzantine churches. The diameter of the hall was about 24 meters, and the height was 33 meters — important from the structural point of view, especially for the ribs in the dome. In the interior, there are nine niches besides the entrance; and above these are ten corresponding round-arched windows. Both the interior and exterior walls were once covered with marble. In Flavio Biondo's 15th-century Roma Instaurata, these ruins are called Le Galluzze, a name of uncertain meaning that had been applied earlier to some ruins near the basilica of Santa Croce in Gerusalemme. Its misidentification as the Republican-era temple dates to the 17th century, based on the incorrect impression that the Athena Giustiniani had been found there. The Temple of Vesta is a Roman temple in Tivoli, Italy, dating to the early 1st century BC. Its ruins sit on the acropolis of the city, overlooking the falls of the Aniene that are now included in the Villa Gregoriana. It is not known for certain to whom the temple was dedicated, whether to Hercules, the protecting god of Tibur, or to Albunea, the Tiburtine Sibyl, or to Tiburnus, the eponymous hero of the city, or to Vesta herself, whose more familiar circular peripteral Temple of Vesta is to be seen in the Roman Forum. A rectangular temple stands nearby, equally difficult to attribute, often called the Temple of the Sibyl.[1] The name of the builder or restorer of the Temple of Vesta is Lucius Gellius, memorialized in the inscription on the architrave. The peripteral temple in a variant of the Corinthian order surrounds its circular cella, which is raised on a high[2] brick podium clad in blocks of travertine: the cella has a door and two windows. The ambulacrum that surrounds the cella had eighteen Corinthian columns (ten remain standing). The temple's capitals have two rows of acanthus leaves, and its abacus is decorated with oversize fleurons in the form of hibiscus flowers with pronounced spiral pistils. The column flutes have flat tops. The frieze exhibits fruit swags suspended between bucrania. Above each swag is a rosette. The cornice does not have modillions. The comparatively good condition of the temple is owing to its Christianization as a church, "Santa Maria della Rotonda". The Christian accretions have already disappeared in the 16th century. Careful measured drawings of the 'Temple of Vesta" were published by Antoine Desgodetz (1682)[4] who gave elevation and plan as well as carefully rendered details of the carved capitals and the frieze. in the following century both Giuseppe Vasi and Giovanni Battista Piranesi made etchings and engravings of the "Temple of Vesta"

Creation Year:
after 1700
Dimensions:
Height: 13.78 in (35 cm)Width: 16.15 in (41 cm)Depth: 1.97 in (5 cm)
Medium:
Tempera
Period:
18th Century
Condition:
Gallery Location:
Roma, IT
Reference Number:
1stDibs: LU1350113173992

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Landscape Painting 4 Views of Rome Tempera On Paper Grand Tour Gilt Wood Frame

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