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MUSEUMS Bianchi, Giuseppe (b ca 1727)Biblio.com

Ragguaglio delle Antichità e Rarità che si conservano nella Galleria Mediceo-Imperiale di Firenze. Parte I all published Opera Di Giuseppe Bianchi Custode Della Medesima.

1759réf. 4991Florence: Nella stamperia Imperiale 1759. FIRST EDITION. Hardcover. Fine. An exceptional copy bound in contemporary carta rustica. A few leaves creased boards very lightly soiled. The text is adorned with attractive woodcut initials and headpieces. Printed on thick crisp paper with broad margins; a number leave with the lower edges untrimmed. A crisp bright copy in original three-quarter calf and speckled paper over boards spine with floral ornaments. The text is adorned with attractive woodcut initials and headpieces. First edition of the first guide to one of the world's most important museums. This guide to the Medici collections of the Uffizi Gallery was written by the museum's first custodian who had been appointed after the gallery's conversion to a public institution under the terms established by the last of the Medici the Palatine Electrix Anna Maria Ludovica in 1737. The custodian Giuseppe Bianchi is a notorious figure. He was later found to have robbed the Uffizi of works of precious metal which he melted down and sold. He was condemned to exile for his perfidy. See Barrochi and Bertelà "Danni e furti di Giuseppe Bianchi in Galleria Labyrinthos 13/16 1988-89 321-336. Bianchi's guide published in the same year that the British Museum opened to the public is an important record of the disposition and scope of the newly "public" collections in the period prior to their dramatic reorganization by Grand Duke Pietro Leopoldo of Lorraine 1780-82. In some instances the notices in the guide are the earliest extant record for some works in the collections. The portable and scholarly guide is similar in format and composition to Pasquale Massi's 1792 guide to the Vatican Museums which Bianchi's guide predates by a generation. Bianchi prefaces his tour with a history of the construction of the Uffizi palace designed and begun by Vasari in 1560 and completed -following Vasari's design- by Alfonso Parigi and Bernardo Buontalenti in 1581. This is followed by a description of the various elements that make up the entire palace complex. The formal guide to the galleries begins with a detailed description of the decorative program of the frescoed ceilings and the series of portraits that line the walls beneath them. This is followed by descriptions and commentaries on each of the 62 statues and 92 busts housed in the galleries in this period. Francesco I was the first Medici to add ancient marbles to the newly completed Uffizi and these ancient sculptures were juxtaposed with contemporary Renaissance masterpieces. Thus we find in Bianchi's guide the famous Medici Venus the Niobe group Bandonelli's Laocöon and Michelangelo's Bacchus. The sarcophagus of Hippolytus is absent since it was still in the Palazzo Medici Riccardi in 1759. Next Bianchi takes us into the Camera dei Pittori. Yet here he is unable to give a comprehensive discussion. This is due in large part to the sheer size of the collection but also to the fact that the painting collection has changed so much over the years some of the paintings having been transferred to the Pitti Palace others that formerly hung in the Palace having come to the Gallery and others still having been given as gifts to great lords or used to decorate villas. Moreover the paintings are in many media: oil tempera fresco and encaustic. Bianchi decides to focus on the collection of artist self-portraits which are divided into the three principal schools arrived at by the consensus of the most famous scholars of the art of painting: Romana Lombarda and Oltramontana. Here we find the famous self-portrait of Raphael. From here we pause briefly in the Camera delle Porcellane before entering the Camera degl' Idoli with its collection of 300 Greek Roman Etruscan and Egyptian bronzes which Bianchi considers in detail. Next we enter the Camera delle Arti where we find paintings by Raphael Andrea del Sarto Leonardo Botticelli Mantegna and Fra Angelico. In the Camera de' Fiamminghi are housed 140 paintings by northern European artists: Albrecht Dürer Lucas Cranach Van Dyck Brueghel and Callot among others. The German Cabinet: The center of the Camera delle Arti is occupied by a wondrous machine for which Bianchi provides a two-page description. It is a magnificent octagonal cabinet over nine feet tall incorporating a clock a pneumatic organ and moving figures in silver. The architectural details are all composed of granatiglia an ebony-like luxury hardwood and the surfaces of the cabinet are inlaid with precious stone including lapis jasper and verde antico. The cabinet is adorned with painted scenes of the Old and New Testaments which are rendered so minutely and with such fine skill that they are believed to be by the school of Brueghel. Within the cabinet is a machine that rotates showing four scenes: birds and arabesques executed in stone-inlay; a wax relief of the deposition "the work of the immortal Buonarroti"; an amber relief of Jesus and the Apostles; and an amber crucifixion scene. The final ornament of the machine is a mirror box that produces an infinite number of reflections. Bianchi tells us that the cabinet was made in Germany "around a century ago" and was purchased by Grand Duke Ferdinando II 1610-1670. The sixth camera houses mathematical instruments and a pair of celestial and terrestrial globes. Among the marvels here are an enormous magnet and a huge burning mirror. It was with the addition of the mathematical and scientific collections that the Uffizi began to take on the aspect of a wunderkammer. Next we enter the heart of the museum the Tribuna the octagonal room that houses the most important treasures of the Uffizi. Bianchi begins with individual descriptions of the 14 marble statues among them the Medici Venus the Wrestlers the Dancing Satyr the Arrotino and the infant Hercules. After a brief description of the room itself designed by Bernardo Buontalenti for Ferdinando III Bianchi lists the artists whose paintings adorn the room: Correggio Titian Veronese Parmigianino and above all Raphael. There is also a detailed description of the famous table of pietre dure. Leaving the Tribuna we come to the Camera dell' Ermafrodita the focal point of which is the hermaphrodite in Parian marble acquired by Ferdinando II from the Ludovisi Collection. Our tour concludes with brief visits to the room of medals the arsenal and the room of the ciborium with the incomplete parts of that structure created by Buontalenti for the Medici mausoleum in San Lorenzo. Nella stamperia Imperiale hardcover

Liber Antiquus · États-Unis6 800,00 $US≈ 6 063,31 €

MUSEUMS ITALY Cambiagi, Gaetano (attrib)Biblio.com

Descrizione della Reale Galleria di Firenze secondo lo stato attuale

1792réf. 3234Florence: Per Gaetano Cambiagi 1792. Hardcover. Fine. Bound with: Massi Pasquale da Cesena Indicazione Antiquaria del Pontificio Museo Pio-Clementino in Vaticano stesa da Pasquale Mass Cesenate Custode del Museo Stesso/ Catalogue Indicatif des Antiquitès Composant Le Musèe Pie-Clèmentin au Vatican par Paschal Massi de Cesèns Garde du dit Musèe. Roma: Presso Lazzarini 1792 Two Octavo Volumes in one: 15.5 x 10 cm. I. Cambiagi: 279 p. Octavo: A-Q8 R12. II Massi: 4 216 pp. Collation: 2 a-m8 n12 - blank 1 FIRST EDITIONS OF BOTH WORKS. Bound in early 19th c. quarter sheep and boards with vellum corners. Gilt title label to spine "Galleries di Florence et Rome". Some wear to boards and corners hinges lightly rubbed. The text is in fine condition edges of the text-block stained an even yellow. I. Guide to the Uffizi: An important guide to Florence's Uffizi galleries documenting the radical re-organization of the Medicean collections under the Dukes of Lorraine and in particular the dramatic changes made by Grand Duke Peter Leopold 1747-1792. "Across his twenty-five year reign 1765-1790 Duke Leopold made significant changes to the artistic culture of Florence including a wholesale renovation of the Uffizi bringing it. towards the modern museum."Reid The guide is attributed to the publisher Gaetano Cambiagi custodian of Florence's two astounding public libraries: the Uffizi's Bibliotheca Magliabechiana and the magnificent Bibliotheca Marucelliana; and author of a history of the Uffizi 1779. Cambiagi's guide book replaced the long-out-of-print and out-of-date guide written by Giuseppe Bianchi in 1759. Luigi Lanzi's 1782 description of the Uffizi collections "La Real Galleria di Firenze accresciuta e riordinata per comando di s.a.r. l'arciduca granduca di Toscana" was not designed for use as a hand-held guide book. The book appeared shortly after the death of Peter Leopold whose great contributions to the Uffizi are described on pages 23 ff. and are manifest throughout the book in the description of the collections and their arrangement. The reorganization was executed under three directors of the museum: Giuseppe Querci 1769-73 Raimondo Cocchi 1773-75 and especially Giuseppe Pelli Bencivenni 1775-93 in often fraught collaboration the museum's first co-director Luigi Lanzi 1732- 1810. For a detailed discussion of the transformation of the Uffizi collections under the Dukes of Lorraine and of Peter Leopold in particular see Callum Reid "Twenty Magnificent Temples of the Arts" Geographic Schools in the Uffizi Gallery" in "Florence After the Medici Tuscan Enlightenment 1737-1790" Chapter 10. II. The Vatican Museums: Massi's "Indicazione Antiquaria" is the first catalogue of the Museo Pio-Clementino - founded by Pope Clement XIV in 1771 and greatly expanded his successor by Pius VI- written for the use of visitors by the keeper of the museum Pasquale Massi of Cesena. II. Here bound with a contemporary guide book to the Uffizi galleries in Florence. The Museo Pio-Clementino was the first major curatorial museum within what are known today collectively as the Vatican Museums. In 1771 Pope Clement XIV had Michelangelo Simonetti adapt the Belvedere Pavilion to accommodate the papal collection of ancient art. When Clement's successor the avid art collector Pius VI was elevated to the pontificate in 1775 the pace of acquisition increased dramatically and very soon the collections outgrew the rooms arranged for them by Simonetti. In 1776 Pius VI called for a radical restructuring of the existing museum and the construction of new grand spaces to house the ever-expanding collection. Massi's catalogue a room-by-room guide of the museum with descriptions of all of the artifacts and artworks housed therein is an invaluable record of how the greatly expanded museum of antiquities looked in the late 18th century with its newly constructed series of rooms and the recently installed masterpieces of ancient sculpture -the fruits of some of the most important excavations in Italy including the excavation of Hadrian's villa at Tivoli. In addition to providing a record of the arrangement of the exhibits Massi's catalogue in which he provides details of provenance acquisition and attribution of each artwork described serves as a history of the museum's formation and preserves valuable information about the art trade and the function of archaeology in the late 18th century. Massi has used a system of numbers and letters to indicate which works were added to the museums by Julius II and his various successors above all Clement XIV and the then-current pope Pius VI. In his introduction Massi tells us that he has designed his guide for portability and easy reference by tourists by arranging the descriptions of the objects in each room in the form of a walking itinerary. Since it is necessary at two points to retrace one's steps Massi's guide leads us along one side of each room as we proceed through the galleries. When it is time to reverse our course he leads us along the opposite side of the rooms already traversed thus keeping us engaged and entertained as we retrace our steps through the vast complex. Our tour begins at the new entrance to the museum in the corridor of Cleopatra also known as the corridor of the inscriptions just within the new entrance to the museum. We then pass through two vestibules. The first one is square with frescoes by Giovanni da Udine in the vault. In it we encounter the tomb of the Scipios and the Belvedere Torso. The second vestibule is round and in its center is a large bowl made of pavonazzetto. From here we proceed through a corridor into the porticoed octagonal courtyard of the Belvedere the site of Julius II's first installation of ancient sculpture transformed by Simonetti in the 1770's. Massi then leads us through the hall of the animals the gallery of statues the gallery of busts and the "loggia scoperta" the room of masks. We make our way back through these galleries to arrive at the series of rooms created by Simonetti in the 1780's. The first of these is the hall of the muses. We then enter the breathtaking Sala Rotonda with its immense newly installed ancient porphyry basin from the Domus Aurea through which we make our way to the Sala of the Greek Cross where we find the newly installed ancient porphyry sarcophagus of Constantine's daughter Constantia. From here Massi takes us via Simonetti's new staircase up past the unfinished hall of the biga to Bramante's vast gallery of the candelabra which is itself divided into numerous rooms with vases statuary and jewelry. Exiting by the stairs we visit the library and trace our way back through the new wing and via the Belvedere courtyard where we marvel at the Laocoön and the Belvedere Apollo to the cortile the great open court of the complex where our tour ends. Per Gaetano Cambiagi hardcover

Liber Antiquus · États-Unis5 500,00 $US≈ 4 904,15 €

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