Speranza
Haec visunter Romae ...
The Statue Court of the Palazzo Valle-Capranica in
Roma.
Dirck Volkertsz. Coornhert
(1519 Amsterdam –
1590 Gouda)
Haec visunter Romae...
The Statue Court of the Palazzo
Valle-Capranica in Rome.
Engraving. 28.7 x 41.6 cm. Cock exc. 1553.
The New
Hollstein (M. van Heemskerck), Vol. II, 599 (attributed). Watermark: Letter P
with Crinette logo and appended quatrefoil (Briquet 8518, Antwerp 1549).
This
rendering of a Renaissance collection of antiquities is of great interest not
only for its artistic merit, but also for its relevance to cultural history.
It
shows the statue court of the palace of Cardinal Andrea della Valle (1463–1534),
who originated from an influential Roman patrician family and became a powerful
representative of the church, enjoying the protection of several popes and
holding the important office of governor of Rome during the pontificate of
Clement VII.
Very much in keeping with the humanist ideals of the High
Renaissance, della Valle also distinguished himself as one of the first
collectors of ancient Roman sculptures.
Inspired by the gardens of classical
antiquity, in which Greek sculptures and Roman replicas were displayed, and the
spectacular discoveries of ancient sculptures in Rome in the early 16th century,
the first collections of classical sculpture were founded in this period.
The
statue court of the Palazzo Valle-Capranica, specially designed by Lorenzetto
Lotti for this purpose, was distinguished by its systematic presentation of the
sculptures and marked the first step towards the development of the modern
museum.
Vasari knew the collection from his own observation and described the
loggia as a hortus pensilis, or hanging garden, being richly planted and
featuring an aviary.
The severely symmetrical arrangement and the careful
grouping of individual sculptures and reliefs based on aesthetic considerations
became standard for later collections of antiquities.
The present
engraving is most likely based on a drawing by Maarten van Heemskerck, which the
artist executed in situ between 1532 and 1536.
Stylistically the print is very
closely related to an engraving by Dirck Volkertsz Coornhert, also dated 1553
and showing the statue court of the Casa Sassi in Rome.
In view of the
corresponding subject and the close similarity of technique it may be assumed
that our print was also done by Coornhert.
The engraving was edited by Aux
quatre Vents, Hieronymus Cock’s print workshop in Antwerp, and dates from the
early days of his publishing activity.
The most unusual and novel subject of an
antique collection is likely to have been very popular in the humanist circles
of the time.
The print is of extreme rarity.
Hollstein records only two
impressions (Berlin, lost in World War II; Escorial).
Another impression is kept
in the Rijksprentenkabinet, Amsterdam.
A superb, crisp and contrasting
impression with wide margins. Slight foxing, minor defects, otherwise in
excellent, unrestored condition.
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