Festival of the Chinea

Prints documenting firework macchine designed for the annual Festa della Chinea

Rome, 1722-1785

The “Presentazione della Chinea” was a secular homage to the Holy See organised each year on the vigil and feast of SS. Pietro e Paolo (28-29th June), by the Roman ambassador of the King of Naples. The ceremony originated in the thirteenth century, when Charles of Anjou accepted the Kingdom of the Two Sicilies as a fief of the Church, and continued until 1788. The series of Chinea prints commences in 1722, when the ceremony was revived after a twenty-two-year hiatus engendered by the War of Spanish Succession, and elaborated by the performance of fireworks on successive evenings; it ends in 1786, two years before Ferdinand IV permanently suspended public payment of the tribute. Altogether, 106 prints were issued (no prints were issued in the years 1734-1737, 1768, 1777, 1779-1781, 1783-1784, 1786-1787, although the ceremony was conducted in each of these years except 1735-1737 and 1768).

Subjects
Architecture, Italian - Early works to 1800
Festival books and prints - Italy - Rome, 1722-1786
Prints - Artists, Italian - Palazzi (Giuseppe), c. 1740-1810
Prints - Artists, Italian - Vasi (Giuseppe), 1710-1782
Authors/Creators
Festival of the Chinea
Artists/Illustrators
Aquila, Francesco Faraone, c. 1676-c. 1740
Barbazza, Francesco, active 18th century
Bellicard, Jérôme-Charles, 1726-1786
Doria, Giuseppe, active 1725-1747
Frezza, Giovanni Girolamo, 1659-1741/1743
Hutin, François, c. 1685-1758
Le Lorrain, Louis-Joseph, 1715-1759
Michetti, Niccolò, c. 1675-c. 1759
Palazzi, Giuseppe, c. 1740-1810
Parrocel, Pierre Ignace, 1702-1775
Petitot, Ennemond-Alexandre, 1727-1801
Poli, Bartolomeo, active first half of 18th century
Posi, Paolo, 1708-1776
Pozzi, Giuseppe, 1723-1765
Preciado de la Vega, Francisco, 1713-1789
Sintes, Giovanni Battista, 1680-1760
Sorello, Miguel de, active 1700-1765
Specchi, Alessandro, 1668-1729
Specchi, Michelangelo, c. 1684-c. 1750
Tuscher, Marcus, 1705-1751
Valvassori, Gabriele, 1683-1761
Vasi, Giuseppe, 1710-1782

(ROME). FESTIVAL OF THE CHINEA

Prints documenting firework macchine designed for the annual Festa della Chinea

Rome 1722–1785

Priced individually

The ‘Presentazione della Chinea’ was a secular homage to the Holy See organ­ised each year on the vigil and feast of SS. Pietro e Paolo (28–29th June), by the Roman ambassador of the King of Naples. The ceremony originated in the thirteenth century, when Charles of Anjou accepted the Kingdom of the Two Sicilies as a fief of the Church, and con­tinued until 1788.

The tribute consisted of a white mare, called chinea in Nea­politan dialect, signifying obeisance to papal authority, and a token payment, custom­arily five thousand gold ducats. The chinea, accompanied by the heredi­tary ambas­sador of the absent monarch – from the 1680s always a member of the Colonna family – and other Roman no­bles, and cardinals, was conducted with consider­able pomp from the Palazzo Colonna to the Vatican palace, where the presenta­tion of the tribute occurred.1

In 1722, the ceremony was elabo­rated by the performance of fireworks on successive eve­nings, before and after the cavalcade. For the next sixty years, with few interruptions, two displays were held each year, either in the Piazza SS. Apostoli, next to the Palazzo Colonna (with the macchina set up on the retain­ing wall of the Colonna garden), or in front of the Palazzo Farnese, which served as the Neapolitan em­bassy after 1734.

The firework macchine were con­structed of painted canvas and gesso over a wooden armature, sometimes on a scale larger than the sur­rounding per­manent buildings.2 The designers of the first macchine were Alessandro Specchi (1722–1727), Gabriele Valvassori (1728–1729), Michelangelo Specchi (1730), Bartolomeo Poli (1730–1731), and Nicola Michetti (1731–1733). Owing to a change of government at Naples follow­ing the War of the Polish Succession, the ceremony was sus­pended in the years 1735–1737. When it was reinstated, the macchine assumed a non-archi­tectural character, becoming picto­rial com­positions on a painted backcloth in which figures dominated. The design­ers of the macchine in these years were principally painters: Pierre-Ignace Parrocel (1738–1740), Marcus Tuscher (1738), François Hutin (1741–1743), Louis-Joseph Le Lorrain (1744), and Francisco Preciado de la Vega (1744), with the architect Michelangelo Specchi assisting on one occasion (Prima Macchina 1739).

In 1745 the trend reversed, and the macchine became again essentially three-dimensional structures. Giuseppe Doria (1745), Louis-Joseph Le Lorrain (1745–1748), Francisco Preciado de la Vega (1746–1750), Alexandre Ennemond Petitot (1749), and Jérôme-Charles Bellicard (1750), designed dis­plays dur­ing the 1740s. From 1751 until his death in 1776, all the macchine were designed by Paolo Posi (1708–1776); there­after, his long-time collaborator, Giuseppe Palazzi (1740–1810), received the commis­sions, which abruptly ceased in 1788.3

The constable Colonna commis­sioned not only the macchine, but prints of them as well, which were pulled well before the displays were completed, and distributed to a local and international audience. The Chinea prints were a tangible sign that the ‘Gran Contestabile del Regno di Napoli’ remained a prominent figure in Roman society, lending lustre to the absent monarch in the process. The iconography of the Chinea firework macchine usually alluded to Naples, its history, or the king of Two Sicilies. The earlier prints often commemorated mar­tial feats, or used classical mythology and literature to glorify the monarch. In later years, the use of the ceremony as a vehicle for political propaganda gradu­ally waned: the excavations and discov­eries at Herculaneum, the opening of the Palazzo Farnese as a museum of Roman antiquities, and a balloon ascent, were then adequate subjects. The archi­tects could use the Chinea commissions to realise more extravagant or ‘advanced’ schemes than allowed in more perma­nent buildings. Le Lorrain’s designs of the late 1740s, for example, herald the coming shift in style toward Neoclassi­cism, while several of Paolo Posi’s de­signs reflect contemporary infatuation with chinoiserie.

The series of Chinea prints com­mences in 1722, when the ceremony was revived after a twenty-two-year hiatus engendered by the War of Spanish Succession, and ends in 1786, two years before Ferdinand iv permanently sus­pended public payment of the tribute. Altogether, 106 prints were issued (no prints were issued in the years 1734–1737, 1768, 1777, 1779–1781, 1783–1784, 1786–1787, although the cere­mony was conducted in each of these years except 1735–1737 and 1768).

A few designers, notably Hutin, Le Lorrain, Parrocel, and their fellow pensionnaires, etched their own plates; otherwise commercial print­makers documented the macchine: Francesco Aquila, Francesco Barbazza, Bartolomeo de Petri, Domenico Franceschini, Girolamo Frezza, Gaspare Massi, Giuseppe Pozzi, Andrea Rossi, Giovanni Battista Sintes, Miguel de Sorelló, Filippo Vasconi, and Giuseppe Vasi, the last responsible for forty-nine prints of Chinea macchine.

According to documents in the Archivio Colonna in Rome, studied by John Moore, large numbers of impres­sions were pulled and distributed each year. In 1759, for example, the records of the bookkeeper’s office account for 7084 impressions on paper and twelve on satin, of which only a small fraction (17.48 percent) was distributed by post or handed to guests attending the two evenings’ festivities in the Farnese pal­ace. The bulk of the prints was freely distributed to the Roman populace.4 For that reason, aggravated by the ephem­eral nature and size of the prints, the long period during which they were pro­duced, and disinterest of collectors until recent times, it is not surprising that few substantial collections of Chinea prints have survived.

The copper matrices remained in the possession of the Colonna family and were restruck from time to time in order to make ‘sets’ of the Chinea prints of uniform appearance.5 The paper utilised for these restrikings was a heavy, cream-coloured paper, manufactured in the Marches at the Vittori mill, supplier of the paper used for Chinea prints pro­duced during the 1750s and 1760s. Protected virtually from creation in albums, these later impressions usually are in excellent state of preser­vation, whereas most original impressions have suffered terribly. Apart from a few prints packed in boxes (for delivery to sover­eigns), some others rolled and tied with ribbon (for cardinals and princes), and a small number (just 79 in 1763) sent by post ‘in the guise of a letter’, folded and closed with a flour-paste seal (to minis­ters, ambassadors, and others),6 the Chinea prints were distrib­uted to guests and the general public folded once across the middle, and were roughly handled thenceforth. Collectors of Chinea prints are well-advised to adopt more lenient stan­dards of condition than collectors of decorative prints generally.

Chinea prints in public and private collections

● Getty Research Institute, Los Angeles (DG 807.6 F1, DG807.6 F41), 106 prints (complete), acquired 1995–2009

● National Gallery of Art, Washington, dc (Gift of Vincent J. Buonanno, 2016), 103 prints (of 106: lacking 1740/1, 1745/1, 1750/2; Kristin A. Triff, Staging diplomacy in Eighteenth-Century Rome: the festival of the Chinea, handlist for an exhibition held at Trinity College, Hartford, 24 January–28 February 2005, Hartford 2005)

● Pierpont Morgan Library, New York (Ac. 76233), a bound album (c. 1780) con­taining 100 prints (of 106: lacking 1723/2, 1743/2, 1782/1, 1782/2, 1785/1, 1785/2), mixed with prints of other festivities, formerly in the Paul Mellon collection, acquired in 1981 (Nineteenth Report to the Fellows of the Pierpont Morgan Library 1978–1980, New York 1981, pp.29–30)

● Biblioteca Casanatense, Rome (shelf­mark 20 B–I–17), a bound album con­taining 85 prints (to 1773), mixed with prints of other festivities

● Istituto nazionale per la grafica, Rome, a group of 77 or more prints (1723–1785; impressions reproduced by Gori Sassoli 1994 passim)

● Victoria & Albert Museum, London (Prints & Drawings, 95 E 6), an album of 56 plates (1722–1752, 1763), acquired in 1921

● Canadian Centre for Architecture, Montréal (DR1988:0437:001–056), a group of 56 prints (1722–1785), acquired in 1988

● Harvard University (Typ. 625.63.712), a bound album of 56 prints (1724–1785), formerly in the collections of Contessa Laetitia Pecci-Blunt, and Franklin H. Kissner

● Gabinetto Comunale delle Stampe, Rome, a group of 44 or more prints (im­pressions reproduced by Margiotta and in La Festa a Roma)

● Archivio Storico Capitolino, Rome, a group of 29 or more prints (1722–1785; impressions reproduced by Gori Sassoli 1994 passim)

● Dresden, Staatliche Kunstsammlungen, Kupferstich-Kabinett, a group of 21 or more prints (1722-1749; impressions reproduced on the Museum’s collection database, Daphne)

● Danske Kunstindustrimuseum, Copenhagen, a group of prints of uncer­tain size (reported by Svend Erikson, Early Neo-Classicism in France, London 1974, p.283)

● McNay Art Museum, San Antonio, Texas, a group of prints of uncertain size, formerly in the collection of Robert L. Tobin

Chinea prints and drawings in the art market

As interest has developed in ephem­eral architecture and in festivals gener­ally, six groups of Chinea prints have been seen on the market: thirty prints offered by E.P. Goldschmidt & Co. Ltd., Catalogue 169 (London [1989]), item 80 (incorporated in the Robert L. Tobin collection), fifty-two prints from the Giannalisa Feltrinelli collection (sold by Christie’s, London, 3 December 1997, lot 340; subsequently offered by Ars Libri, Special Bulletin 103: Architecture, Boston 1998, no.191), fifty prints from the Paul and Marianne Gourary collec­tion (sold by Christie’s, New York, 12 June 2009, lots 433, 437, 440; all but three prints incorporated in the Vincent J. Buonanno collection); fifty-six prints offered by R. & E. Halwas, List 3 (London 1988), item 1; (to Canadian Centre for Architecture); fifty-four prints offered by Robin Halwas Limited, The Roman Festi­val of the Chinea: Handlist of Prints for Sale [occasional list hors série] (London [1997]), item 1; and thirty-six prints offered by Robin Halwas Limited, Cata­logue 4: Continental Books, Manuscripts & Prints including Printed Sources of Western Art (London 1999), item 114.

Judging by the degree of interest now taken in these prints by the decorative print trade, collectors and institutions are unlikely to enjoy many more opportu­nities to complete their holdings or to acquire representative prints.

In 1990, a group of about twenty drawings associated with the Chinea was offered by Trinity Fine Art, An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990 (London [1990]) and another was offered at auction in Paris in 1996 (pre-empted by the Musée du Louvre). A list of these and other drawings is provided below (appendix).

Abbreviated references

art in rome in the eighteenth century, catalogue of an exhibition held at Philadelphia Museum of Art, 16 March–28 May 2000, edited by Edgar Peters Bowron and Joseph J. Rishel (Philadelphia 2000)

corpus delle feste a Roma, 2: Il Sette­cento e l’Ottocento, edited by Marcello Fagiolo (Rome 1997)

exploring rome: Piranesi and His Con­temporaries, catalogue of an exhibi­tion held at the Canadian Centre for Architecture, Montréal, 17 August 1993–2 January 1994, by Cara D. Denison, Myra Nan Rosenfeld, and Stephanie Wiles (New York & Montré a l 1993)

la festa a roma dal Rinascimento al 1870, catalogue of an exhibition held at Palazzo Venezia, Rome, 23 May–15 September 1997, edited by Marcello Fagiolo (Turin 1997)

Mario Gori Sassoli, ‘“Colta approvazione e gaudio popolare”: apparati architetto­nici e spettacolarità urbana per la festa della Chinea sotto il pontificato di Pio vi ’ in Il teatro e la festa: lo spettacolo a Roma tra papato e rivoluzione, edited by Sergio Guarino (Rome 1989), pp.122–125

Mario gori sassoli, Della ‘Chinea’ e di altre ‘macchine di gioia’. Apparati Archi­tettonici per fuochi d’artificio a Roma nel Settecento, catalogue of an exhibition held at Istituto Nazionale per la Grafica, Gabinetto delle stampe, Rome, 24 March–28 May 1994 (Rome 1994)

Mario Gori Sassoli, ‘La cerimonia della Chinea: dal teatro delle corti al popolo festeggiante’ in La Festa a Roma dal Rinascimento al 1870, catalogue of an exhibition held at Palazzo Venezia, Rome, 23 May–15 September 1997, edited by Marcello Fagiolo (Torino 1997)

R. & E. halwas, List 3 (London 1988), offering 56 Chinea prints

Robin halwas Limited, The Roman Festi­val of the Chinea: Handlist of Prints for Sale [list hors série] (London [1997]), offering 54 Chinea prints

Robin halwas Limited, Catalogue 4: Continental Books, Manuscripts & Prints including Printed Sources of Western Art (London 1999), item 114, offering 36 Chinea prints

Alessandro Marabottini, ‘Apparati per la festa … della Chinea’ in Il Settecento a Roma, catalogue of an exhibition held at Palazzo delle Esposizioni, Rome, 19 March–31 May 1959 (Rome 1959), pp.372–380

Anita Margiotta, ‘La Festa della Chinea’ in ‘Fochi d’allegrezza’ a Roma dal cinquecento all’ottocento, catalogue of an exhibition held at Palazzo Braschi, Rome, 15 September–31 October 1982, edited by Simonetta Sergiacomi and L. Cavazzi (Rome 1982), pp.49–81, nos.29–72

John E. moore, ‘Prints, Salami, and Cheese: Savouring the Roman Festival of the Chinea’ in The Art Bulletin 77 (December 1995), pp.584–608

John E. moore, ‘“Come si costuma per tal funzione”. Protocols for the presentation of the Chinea’ in Barocke Inszenierung, proceedings of the international conference at the Technische Universität Berlin, 20-22 June 1996, edited by Joseph Imorde, Fritz Neumeyer, and Tristan Weddingen (Emsdetten 1996), pp.236-253

John E. moore, ‘Building set pieces in eighteenth-century Rome: the case of the chinea’ in Memoirs of the American Academy in Rome 43/44 (1998/1999), pp.183–292

John pinto, ‘Nicola Michetti and ephem­eral design in eighteenth-century Rome’ in Studies in Italian Art and Architecture, edited by Henry A. Millon (Cambridge, ma 1980), pp.289–302

piranèse et les français, 1740–1790, catalogue of an exhibition held at Académie de France à Rome, Villa Medici, Rome, Palais des États de Bourgogne, Dijon, Hôtel de Sully, Paris (Rome 1976)

Duque Della salandra, ‘La presentazione al Pontefice della “Chinea” da parte del Re di Napoli’ in Hidalguia 50 (1962), pp.149–160

Kevin salatino, Incendiary art: the repre­sentation of fireworks in early modern Europe (Santa Monica 1997)

Luisa scalabroni, Giuseppe Vasi 1710–1782 (Rome 1981)

Matthias schnettger, ‘Kaiserliches und päpstliches Lehnswesen in der Frühen Neuzeit: Das Ende der Chinea-Präsentation und der Zusammenbruch des päpstlichen Lehnswesens’ in zeitenblicke 6/1 (2007) (www.zeitenblicke.historicum.net)

Pontificate of Innocent XIII (1721–1724)

◄ 1722 ►

1. Prima macchina per la Chinea con ‘Il Tempio di Giano’
Piazza SS. Apostoli, 28 June
Alessandro Specchi, architect
Girolamo Frezza, printmaker
416 × 548 mm platemark (456 × 660 mm sheet)
The broad margins lightly foxed; other­wise the unfolded sheet is in good state of preservation
Gori Sassoli 1994, no.1; La Festa a Roma II, pp.235, 256 (details reproduced); Corpus delle Feste a Roma pp.43–45, fig.6
¶ The prints relating to the displays in 1722 were actually published in July 1723 (moore 1995 p.588 note 21).
Sold (halwas 1997 no.1)

2. Seconda macchina per la Chinea con l’‘Arco trionfale per Carlo vi
Piazza SS. Apostoli, 29 June
Alessandro Specchi, architect
Giovanni Battista Sintes, printmaker
424 × 553 mm platemark
Margiotta 1982 pp.54–55 no.42 (erro­neously as Prima macchina); Gori Sassoli 1994, no.2; La Festa a Roma I, p.259 no.C–52, II, p.46 (reproduced); Corpus delle Feste a Roma pp.43–45, fig.7
Sold (halwas 1988 no.1)

◄ 1723 ►

3. Prima macchina per la Chinea con ‘Il Tempio della Gloria’
Piazza SS. Apostoli, 28 June
Alessandro Specchi, architect
Girolamo Frezza, printmaker
315 × 198 mm platemark (347 × 240 mm sheet)
Light stain upper left, dust-soiled, other­wise a satisfactory impression
Gori Sassoli 1994, no.3; La Festa a Roma II, p.173 (detail reproduced); Corpus delle Feste a Roma pp.45–46, fig.8
£ 250 (other impressions sold halwas 1997 nos.2–3, halwas 1999 nos.1–2)

4. Seconda macchina per la Chinea con ‘Il Tempio della Vittoria’
Piazza SS. Apostoli, 29 June
Alessandro Specchi, architect
Giovanni Battista Sintes, printmaker
315 × 195 mm platemark (365 × 243 mm sheet)
Dust-soiled, otherwise a good impression
Gori Sassoli 1994, no.4; Corpus delle Feste a Roma pp.45–46, fig.9
£ 250 (other impressions sold halwas 1997 nos.2–3, halwas 1999 nos.1–2)

Pontificate of Benedict XIII (1724–1730)

◄ 1724 ►

5. Prima macchina per la Chinea con ‘Il Tempio delle Virtù’
Piazza SS. Apostoli, 8 September
Alessandro Specchi, architect
Francesco Aquila, printmaker
380 × 475 mm platemark (397 × 515 mm sheet)
Light stain in caption, otherwise in good state of preservation
Gori Sassoli 1994 no.5; La Festa a Roma II, p.178 (detail reproduced); Corpus delle Feste a Roma pp.49–50, fig.12
£ 700 (halwas 1999 no.3; other impres­sions sold halwas 1988 no.2, halwas 1997 no.4)

6. Seconda macchina per la Chinea con il ‘Tempio dell’Onore’
Piazza SS. Apostoli, 9 September
Alessandro Specchi, architect
Francesco Aquila, printmaker
380 × 475 mm platemark (460 × 665 mm sheet)
Excellent impression with wiping scratches on an untrimmed and unfolded sheet
Gori Sassoli 1994 no.6; Corpus delle Feste a Roma pp.49–50, fig.13
Sold (halwas 1999 no.4; another impres­sion sold halwas 1997 no.5)

◄ 1725 ►

7. Prima macchina per la Chinea con ‘Mercurio Pacifero col Tevere e il Danubio’
Piazza SS. Apostoli, 28 June
Alessandro Specchi, architect
Francesco Aquila, printmaker
370 × 458 mm platemark (460 × 660 mm sheet)
Excellent impression with wiping scratches on an untrimmed and unfolded sheet
Gori Sassoli 1994 no.7; La Festa a Roma II, p.252 (detail reproduced); Corpus delle Feste a Roma pp.55–56, fig.24
Sold (halwas 1999 no.5; another impres­sion halwas 1997 no.6)

8. Seconda macchina per la Chinea con ‘Il Tempio della Pace e della Concordia’
Piazza SS. Apostoli, 29 June
Alessandro Specchi, architect
Gaspare Massi, printmaker
372 × 468 mm platemark (4 55 × 655 mm sheet)
Excellent impression on an untrimmed and unfolded sheet
Gori Sassoli 1994 no.8; Corpus delle Feste a Roma pp.55–56, fig.25
Sold (halwas 1999 no.6; other impres­sions sold halwas 1988 no.3, halwas 1997 no.7)

◄ 1726 ►

9. Prima macchina per la Chinea con ‘Mercurio e l’Idra’
Piazza SS. Apostoli, 28 June
Alessandro Specchi, architect
Francesco Aquila, printmaker
368 × 458 mm platemark (455 × 655 mm sheet)
Excellent impression on an untrimmed and unfolded sheet
Gori Sassoli 1994 no.9; La Festa a Roma II, p.252 (detail reproduced); Corpus delle Feste a Roma pp.58–59, fig.30
Sold (halwas 1997 no.8; another impres­sion sold halwas 1988 no.4)

10. Seconda macchina per la Chinea con il ‘Valore a cavallo di Pegaseo’
Piazza SS. Apostoli, 29 June
Alessandro Specchi, architect
Francesco Aquila, printmaker
370 × 464 mm platemark (452 × 655 m m sheet)
Excellent impression on an untrimmed and unfolded sheet
Gori Sassoli 1994 no.10; La Festa a Roma II, pp.173, 264 (details repro­du­ced); Corpus delle Feste a Roma pp.58–59, fig.31
Sold (halwas 1997 no.9)

◄ 1727►

11. Prima macchina per la Chinea con la ‘Gloria di Augusto’
Piazza SS. Apostoli, 28 June
Alessandro Specchi, architect
Gaspare Massi, printmaker
368 × 462 mm platemark (460 × 656 mm sheet)
Excellent impression on an untrimmed and unfolded sheet
Gori Sassoli 1994 no.11; La Festa a Roma II, p.252 (detail reproduced); Corpus delle Feste a Roma pp.62–63, fig.35
Sold (halwas 1997 no.10)

12. Seconda macchina per la Chinea con il ‘Vesuvio in eruzione’
Piazza SS. Apostoli, 29 June
Alessandro Specchi, architect
Andrea Rossi, printmaker
372 × 465 mm platemark (455 × 660 mm sheet)
Excellent impression on an untrimmed and unfolded sheet
Gori Sassoli 1994 no.12; La Festa a Roma II, p.241 (detail reproduced); Corpus delle Feste a Roma pp.62–63, fig.36; Salatino p.52, fig.43
Sold (halwas 1997 no.11)

◄ 1728 ►

13. Prima macchina per la Chinea con il ‘Simulacro della Hilaritas Publica’
Piazza SS. Apostoli, 28 June
Gabriele Valvassori, architect
Filippo Vasconi, printmaker
412 × 485 mm platemark (454 × 655 mm sheet)
Unobtrusive stain on edge of image, otherwise the unfolded sheet is very well–preserved
Gori Sassoli 1994 no.13; La Festa a Roma II, pp.173, 264 (details reprodu­ced); Corpus delle Feste a Roma pp.67–68, fig.43
Sold (halwas 1997 no.12)

14. Seconda macchina per la Chinea con il ‘Tempio della Fortuna Reduce’
Piazza SS. Apostoli, 29 June
Gabriele Valvassori, architect
Filippo Vasconi, printmaker
415 × 485 mm platemark (455 × 655 mm sheet)
Margins lightly foxed, otherwise a fine impression on an untrimmed and unfolded sheet
Gori Sassoli 1994 no.14; Corpus delle Feste a Roma pp.67–68, fig.44
Sold (halwas 1997 no.13)

◄ 1729►

15. Prima macchina per la Chinea con l’‘Ercole germanico nel Teatro delle Virtù’
Piazza SS. Apostoli, 28 June
Gabriele Valvassori, architect
Filippo Vasconi, printmaker
405 × 472 mm platemark (460 × 660 mm sheet)
Excellent impression on an untrimmed and unfolded sheet
Gori Sassoli 1994 no.15; La Festa a Roma II, pp.194, 260­, 261 (details reproduced); Corpus delle Feste a Roma pp.72–73, fig.51
Sold (halwas 1997 no.14)

16. Seconda macchina per la Chinea con i ‘Vascelli della Compagnia di Ostenda e di Trieste alle Colonne d’Ercole’
Piazza SS. Apostoli, 29 June
Gabriele Valvassori, architect
Filippo Vasconi, printmaker
405 × 474 mm platemark (460 × 660 mm sheet)
Excellent impression on an untrimmed and unfolded sheet
Gori Sassoli 1994 no.16; La Festa a Roma II, pp.163, 237 (details reprodu­ced); Corpus delle Feste a Roma pp.72–73, fig.52
Sold (halwas 1997 no.15)

Pontificate of Clement XII (1730–1740)

◄ 1730 ►

17. Prima macchina per la Chinea con il ‘Cavallo di Troia’
Piazza SS. Apostoli, 8 September
Bartolomeo Poli, designer
Michelangelo Specchi, architect
Gaspare Massi, printmaker
410 × 47 5 mm platemark (460 × 665 mm sheet)
Margins slightly stained, otherwise a fine impression on an untrimmed and unfolded sheet
Gori Sassoli 1994 no.17; La Festa a Roma II, p.242 (detail reproduced); Corpus delle Feste a Roma pp.79–80, fig.1
Sold (halwas 1997 no.16)

18. Seconda macchina per la Chinea con il ‘Campidoglio’
Piazza SS. Apostoli, 9 September
Michelangelo Specchi, architect
Filippo Vasconi, printmaker
Gori Sassoli 1994 no.18; Corpus delle Feste a Roma pp.79–80, fig.2
Not in stock

◄ 1731 ►

19. Prima macchina per la Chinea con ‘Atlante, Ercole e Minerva ovvero gli apparati di guerra’
Piazza SS. Apostoli, 28 June
Bartolomeo Poli, architect
Giovanni Battista Sintes, printmaker
365 × 460 mm platemark
Pinto 1980 fig.15; Gori Sassoli 1994 no.19; Corpus delle Feste a Roma pp.83–84, fig.6
Sold (halwas 1988 no.5)

20. Seconda macchina per la Chinea con l’‘Arco della Pace’
Piazza SS. Apostoli, 28 June
[Bartolomeo Poli, designer?]
Nicola Michetti, architect
Bartolomeo de Petri, printmaker
Pinto 1980 fig.16; Gori Sassoli 1994 no.20; La Festa a Roma II, p.189 (detail reproduced); Corpus delle Feste a Roma pp.83–84, fig.7; Life and the arts in the Baroque palaces of Rome : Ambiente Barocco, cata­logue of an exhibition held at the Bard Graduate Center for Studies in the Decorative Arts, 10 March–13 June 1999, edited by Stefanie Walker and Frederick Hammond (New York, New Haven & London 1999), pp.123–134 no.8
Sold (halwas 1988 no.6)

◄ 1732 ►

21. Prima macchina per la Chinea con il ‘Concilio degli dei’
Piazza SS. Apostoli, 28 June
Nicola Michetti, architect
Giovanni Battista Sintes, printmaker
385 × 460 mm platemark (465 × 655 mm sheet)
Short tears in lower edge of the sheet, otherwise in good state of preserva­tion
Pinto 1980 fig.17; Gori Sassoli 1994 no.21; La Festa a Roma II, p.47 (reproduced), p.158 (detail reproduced); Corpus delle Feste a Roma p.85, fig.8
Sold (halwas 1997 no.17; other impressions sold halwas 1988 no.7, halwas 1999 no.7,)

22. Seconda macchina per la Chinea con il ‘Ratto di Ganimede’
Piazza SS. Apostoli, 29 June
Nicola Michetti, architect
Giovanni Battista Sintes, printmaker
380 × 452 mm platemark (403 × 472 mm sheet, about 10 mm margins)
Two short tears at sheet edge, single ink spot in corner of image. A strong impression
Pinto 1980 fig.18; Gori Sassoli 1994 no.22; La Festa a Roma II, pp.169, 238 (details reproduced); Corpus delle Feste a Roma p.85, fig.9
Sold (halwas 1997 no.18)

◄ 1733 ►

23. Prima macchina per la Chinea con ‘Apollo e le Muse sul Monte Parnaso’
Piazza SS. Apostoli, 29 June
Nicola Michetti, architect
Giovanni Battista Sintes, printmaker
445 × 375 mm platemark
Pinto 1980 fig.19; Gori Sassoli 1994 no.23; La Festa a Roma I, p.260 no.C–69, II, pp.156, 255 (details reproduced); Corpus delle Feste a Roma pp.88, 90, fig.15
Sold (halwas 1988 no.8)

24. Seconda macchina per la Chinea con ‘Giove e Minerva e la fucina di Vulcano’
Piazza SS. Apostoli, 29 June
Nicola Michetti, architect
Domenico Mariano Franceschini, printmaker
454 × 370 mm platemark (520 × 415 mm sheet)
Repaired tears in margins, overall staining
Pinto 1980 fig.20; Gori Sassoli 1994 no.24; La Festa a Roma II, pp.156, 173, 233 (details repro­duced); Corpus delle Feste a Roma pp.88–90, fig.16
Sold (halwas 1999 no.8; other impressions sold halwas 1988 no.9, halwas 1997 no.19)

◄ 1734 ►

Prima macchina
Piazza di S. Carlo ai Catinari, 28 June
Gabriele Valvassori, architect
No print issued
See Corpus delle Feste a Roma p.91


Seconda Macchina
Piazza di S. Carlo ai Catinari, 29 June
No print issued
See Corpus delle Feste a Roma p.91

◄ 1735–1737 ►

No presentations of the Chinea

◄ 1738 ►

25. Prima macchina per la Chinea con l’ ‘Allegoria della provvidenza Regia’
Piazza Farnese, 28 June
Pierre–Ignace Parrocel, designer and printmaker
390 × 460 mm sheet dimensions (sheet trimmed to, or just inside the platemark)
Formerly mounted on a guard and contained in an album, slight wear along centre fold, faint waterstain s
Circular black inkstamp on verso Archivio dei cerimonieri pontificii
Gori Sassoli 1994 no.25; La Festa a Roma II, p.251 (detail reproduced); Corpus delle Feste a Roma pp.103–104, fig.21
£ 750 (other impressions sold halwas 1997 no.20, halwas 1999 no.9)

26. Seconda macchina per la Chinea con ‘Il Trionfo di Bacco e Cerere’
Piazza Farnese, 29 June
Marcus Tuscher, designer
Miguel de Sorelló, printmaker
385 × 455 mm platemark (410 × 47 7 mm sheet, margins trimmed to about 10 mm outside platemark)
Light waterstaining (lower right), otherwise a good, dark impression
Gori Sassoli 1994 no.26; Corpus delle Feste a Roma pp.103–104, fig.22
Sold (halwas 1999 no.10, another impression sold halwas 1997 no.21)

◄ 1739►

27. Prima macchina per la Chinea con ‘Apollo, le Muse e Pegaso sul Monte Parnaso’
Piazza SS. Apostoli, 28 June
Pierre-Ignace Parrocel, designer
Michelangelo Specchi, architect
Miguel de Sorelló, printmaker
Gori Sassoli 1994, no.27; La Festa a Roma II, p.251 (detail reproduced); Corpus delle Feste a Roma pp.106–107, fig.24
Not in stock

28. Seconda macchina per la Chinea con la ‘Felicità pubblica’
Piazza SS. Apostoli, 29 June
Pierre-Ignace Parrocel, designer and printmaker
Michelangelo Specchi, architect
Gori Sassoli 1994, no.28; La Festa a Roma II, p.265 (detail reproduced); Corpus delle Feste a Roma pp.106–107, fig.25
Not in stock

Pontificate of Benedict XIV (1740–1758)

◄ 1740 ►

29. Prima macchina per la Chinea con un ‘Porto franco’
Piazza Farnese, 8 September
Pierre-Ignace Parrocel, designer
Miguel de Sorelló, printmaker
Gori Sassoli 1994, no.29; La Festa a Roma II, pp.48 (reproduced), 237 (detail reproduced); Corpus delle Feste a Roma pp.116–117, fig.3
Not in stock

30. Seconda macchina per la Chinea con ‘Giove e Giunone’
Piazza Farnese, 9 September
Pierre-Ignace Parrocel, designer and printmaker
Gori Sassoli 1994, no.30; La Festa a Roma II, pp.232 (reproduced), 252 (detail reproduced); Corpus delle Feste a Roma pp.116–117, fig.4
Not in stock

◄ 1741 ►

31. Prima macchina per la Chinea con l’ ‘Allegoria della magnificenza regia’
Piazza Farnese, 28 June
François Hutin, designer
Miguel de Sorelló, printmaker
395 × 450 mm platemark (440 × 500 mm sheet
Print sunned, waterstains in two corners
Gori Sassoli 1994 no.31; Corpus delle Feste a Roma pp.124–125, fig.8
Sold (halwas 1999 no.11; another impression sold halwas 1997 no.22)

32. Seconda macchina per la Chinea con ‘Nettuno’
Piazza Farnese, 29 June
François Hutin, designer and printmaker
Gori Sassoli 1994 no.32; La Festa a Roma II, p.254 (detail reproduced); Corpus delle Feste a Roma pp.120–121, fig.9
Not in stock

◄ 1742 ►

33. Prima macchina per la Chinea con la ‘Contesa di Nettuno e Minerva’
Piazza Farnese, 28 June
François Hutin, designer
Miguel de Sorelló, printmaker
Gori Sassoli 1994 no.33; La Festa a Roma II, pp.236, 254 (details reprodu­ced); Corpus delle Feste a Roma pp.124–125, fig.12
Not in stock

34. Seconda macchina per la Chinea con ‘Ulisse e le Sirene’
Piazza Farnese, 28 June
François Hutin, designer and printmaker
Gori Sassoli 1994 no.34; La Festa a Roma II, p.255 (detail reproduced); Corpus delle Feste a Roma pp.120–121, fig.13
Not in stock

◄ 1743 ►

35. Prima macchina per la Chinea con la ‘Venere genitrice’
Piazza Farnese, 28 June
François Hutin, architect
Miguel de Sorelló, printmaker
390 × 445 mm platemark
Margiotta 1982 p.57 no.49; Gori Sassoli 1994 no.35; La Festa a Roma II, p.255 (detail reproduced); Corpus delle Feste a Roma pp.126–127, fig.14
Sold (halwas 1988 no.10)

36. Seconda macchina per la Chinea con le ‘Caccie reali’
Piazza Farnese, 29 June
François Hutin, designer and printmaker
Gori Sassoli 1994 no.36; Corpus delle Feste a Roma pp.126–127, fig.15
¶ A proof impression (Dresden, Kupfer­stich-Kabinett, Staatliche Kunstsammlungen, A.738.2) is reprodu­ced by moore 1995 p.589, fig.4.
Not in stock

◄ 1744 ►

37. Prima macchina per la Chinea con la ‘Glorificazione di Virgilio’
Piazza Farnese, 28 June
Louis-Joseph Le Lorrain, designer and printmaker
Gori Sassoli 1994 no.37; La Festa a Roma II, p.252 (detail reproduced); Corpus delle Feste a Roma pp.126–127, fig.17
Not in stock

38. Seconda macchina per la Chinea con ‘Enea e la Sibilla Cumana’
Piazza Farnese, 29 June
Francisco Preciado de la Vega, designer
Miguel de Sorelló, printmaker
Gori Sassoli 1994 no.38; La Festa a Roma II, p.236 (detail reproduced); Corpus delle Feste a Roma pp.126–127, fig.18
Not in stock

◄ 1745 ►

39. Prima macchina per la Chinea con la ‘Fondazione del regno di Napoli’
Piazza Farnese, 28 June
Giuseppe Doria, architect
Giuseppe Vasi, printmaker
Gori Sassoli 1994 no.39; La Festa a Roma II, p.48 (detail reproduced); Corpus delle Feste a Roma pp.130–131, fig.20
Not in stock

40. Seconda macchina per la Chinea con ‘Arco trionfale per il ritorno a Napoli di Carlo di Borbone’
Piazza Farnese, 29 June
Louis-Joseph Le Lorrain, designer and printmaker
395 × 445 mm platemark
Piranèse et les Français 1976 pp.201–203 no.103; Pierre Rosenberg, ‘Louis-Joseph Le Lorrain (1715–1779) in Revue de l’Art 40–41 (1978), p.177; Margiotta 1982 p.53 no.35; Gori Sassoli 1994 no.40; La Festa a Roma I, p.18 (detail reproduced); Corpus delle Feste a Roma pp.130–131, fig.21
Sold (halwas 1988 no.11)

◄ 1746 ►

41. Prima macchina per la Chinea con ‘Il Tempio di Minerva’
Louis-Joseph Le Lorrain, designer and printmaker
Piranèse et les Français 1976 pp.203, 206 no.104; Gori Sassoli 1994 no.41; Corpus delle Feste a Roma pp.131–132, fig.22; Art in Rome 2000 pp.132–133 no.13 (wrongly identified as Seconda macchina)
Not in stock

42. Seconda macchina per la Chinea con le ‘Terre del regno di Napoli’
Piazza Farnese, 29 June
Francisco Preciado de la Vega, designer
Miguel de Sorelló, printmaker
395 × 450mm platemark (440 × 580mm sheet)
Light stain in lower margin, otherwise in very good state of preservation
Gori Sassoli 1994 no.42; La Festa a Roma II, p.260 (detail reproduced); Corpus delle Feste a Roma pp.131–132, fig.23
Sold (halwas 1999 no.12; another impression sold halwas 1997 no.23)

◄ 1747 ►

43. Prima macchina per la Chinea con il ‘Tempio di Venere Genitrice’
Piazza Farnese, 28 June
Louis-Joseph Le Lorrain, designer and printmaker
400 × 465 mm platemark (contemporary colouring)
Werner Oechslin, in Piranèse et les Français 1976 pp.206–207 no.105; Margiotta 1982 p.53 no37; Gori Sassoli 1994 no.43; La Festa a Roma I, p.261 no.C–76, II, pp.49 (reproduced), 167 (detail reproduced); Corpus delle Feste a Roma pp.137–138, fig.31
Sold (halwas 1988 no.12)

44. Seconda macchina per la Chinea con gli ‘Orti pensili’
Piazza Farnese, 29 June
[Francisco Preciado de la Vega, desig­ner?]
Miguel de Sorelló, printmaker
392 × 470 mm platemark (443 × 582 mm sheet)
Short tears in margins of the sheet, vertical restored paper loss (25 mm in length) along centre fold
Gori Sassoli 1994 no.44; La Festa a Roma II, p.174 (detail reproduced); Corpus delle Feste a Roma pp.137–138, fig.32
Sold (halwas 1999 no.13; other impres­sions sold halwas 1988 no.13, halwas 1997 no.24)

◄ 1748 ►

45. Prima macchina per la Chinea con il ‘Tempio di Minerva’
Piazza Farnese, 28 June
Louis-Joseph Le Lorrain, architect and printmaker
Piranèse et les Français 1976 pp.207, 210 no.107; Regency to empire: French printmaking, 1715–1814, catalogue of an exhibition held at Baltimore Museum of Art and the Minneapolis Institute of Arts, edited by Victor I. Carlson (Baltimore 1984), no.28; Gori Sassoli 1994 no.45; Corpus delle Feste a Roma pp.140–141, fig.36
Not in stock

46. Seconda macchina per la Chinea con le ‘Caccie reali’
Piazza Farnese, 29 June
Francisco Preciado de la Vega, designer
Michelangelo Specchi, architect
Miguel de Sorelló, printmaker
405 × 475 mm sheet dimensions (trimmed to, or just inside platemark)
Short repaired tears into caption, two longer tears at top also repaired without loss
Gori Sassoli 1994 no.46; Corpus delle Feste a Roma pp.140–141, fig.37
Sold (halwas 1999 no.14, halwas 1997 no.25; another impression sold halwas 1988 no.14)

◄ 1749 ►

47. Prima macchina per la Chinea con il ‘Tempio della Pace’
Piazza Farnese, 28 June
[Francisco Preciado de la Vega, designer?]
Michelangelo Specchi, architect
Miguel de Sorelló, printmaker
400 × 465 mm platemark
Carlo Pietrangeli, Il Museo di Roma: documenti e iconografia (Bologna 1971), p.23; Margiotta 1982 pp.57–58 no.52; Gori Sassoli 1994 no.47; La Festa a Roma II, p.264 (detail reproduced); Corpus delle Feste a Roma pp.142–143, fig.38
Sold (halwas 1988 no.15)

48. Seconda macchina per la Chinea con il ‘Teatro di Ercolano’
Piazza Farnese, 29 June
Ennemond-Alexandre Petitot, designer and printmaker
Michelangelo Specchi, architect
400 × 470 mm platemark
¶ Impressions of these prints struck on satin with added border of gold lace are reproduced by moore 1995 figs.17–18 (Dresden, Staatliche Kunstsammlungen, Kupfer­stich-Kabinett, Ca–230; link).
Werner Oechslin, in Piranèse et les Français 1976 pp.254–55, 258 no.133; Margiotta 1982 pp.57–58 no.52; Gori Sassoli 1994 no.48; La Festa a Roma I, p.261 no.C–77, II, p.49 (reproduced); Corpus delle Feste a Roma pp.142–143, fig.39
Sold (halwas 1988 no.16)

◄ 1750 ►

49. Prima macchina per la Chinea con il ‘Molo nuovo di Napoli’
Piazza Farnese, 28 June
Jérôme-Charles Bellicard, designer
Michelangelo Specchi, architect
Piranèse et les Français 1976 pp.52–53; Gori Sassoli 1994 no.49; Corpus delle Feste a Roma pp.145–146, fig.43
Not in stock

50. Seconda macchina per la Chinea con il ‘Monte Vesuvio’
Piazza Farnese, 29 June
Francisco Preciado de la Vega, designer
Michelangelo Specchi, architect
Miguel de Sorelló, printmaker
Gori Sassoli 1994 no.50; La Festa a Roma II, p.241 (detail reproduced); Corpus delle Feste a Roma pp.142–143, fig.44
Not in stock

◄ 1751 ►

51. Prima macchina per la Chinea con l’ ‘Arco trionfale per Ruggero il Normanno’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Vasi, printmaker
485 × 356 mm platemark (530 × 405 mm sheet)
Overall staining, several small holes, tear along centre fold repaired without loss
Fagiolo 1974 p.99, fig.1; Scalabroni 1981 no.324; Gori Sassoli 1994 no.51; La Festa a Roma II, p.161 (details reproduced); Corpus delle Feste a Roma pp.148–149, fig.49
Sold (halwas 1999 no.15; other impres­sions sold halwas 1988 no.17, halwas 1997 no.26)

52. Seconda macchina per la Chinea con l’‘Edificio della Sapienza, degli Studi e delle Scienze’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Vasi, printmaker
470 x 350 mm platemark
Scalabroni 1981 no.326; Gori Sassoli 1994 no.52; Corpus delle Feste a Roma pp.148–149, fig.50
Sold (halwas 1988 no.18)

◄ 1752 ►

53. Prima macchina per la Chinea con una ‘“Deliziosa” ispirata alla Reggia di Caserta’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Vasi, printmaker
Scalabroni 1981 no.325; Gori Sassoli 1994 no.53; La Festa a Roma II, pp.162, 167 (details reproduced); Corpus delle Feste a Roma pp.150–151, fig.51
Not in stock

54. Seconda macchina per la Chinea con il ‘Convito degli dei nella Reggia di Caserta’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Vasi, printmaker
Scalabroni 1981 no.327; Gori Sassoli 1994 no.54; La Festa a Roma II, p..162, 239 (details reproduced); Corpus delle Feste a Roma pp.150–151, fig.52
Not in stock

◄ 1753 ►

55. Prima macchina per la Chinea con ‘Il Tempio di Esculapio’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Vasi, printmaker
408 × 575 mm platemark (450 × 626 mm sheet)
Lightly splattered by printer’s ink, cracking along centre fold
Black Colonna inkstamp on verso (upper left corner)
Fagiolo 1974 p.99, fig.15 bis ; Scalabroni 1981 no.328; Margiotta 1982 p.58 no.54; Gori Sassoli 1994 no.55; La Festa a Roma II, pp.179, 254 (details repro­duced); Corpus delle Feste a Roma pp.151–152, fig.53
£ 700 (other impressions sold halwas 1988 no.19, halwas 1997 no.27)

56. Seconda macchina per la Chinea con il ‘Quartiere delle milizie reali’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Vasi, printmaker
405 × 572 mm platemark (460 × 645 mm s heet)
Repaired tear along centre fold (without loss), staining
Black Colonna inkstamp on verso (lower right corner)
Scalabroni 1981 no.329; Gori Sassoli 1994 no.56; La Festa a Roma II, pp.163, 179 (details reproduced); Corpus delle Feste a Roma pp.151–152, fig.54
£ 600 (halwas 1999 no.16; other impressions sold halwas 1988 no.20, halwas 1997 no.28)

◄ 1754 ►

57. Prima macchina per la Chinea con la ‘Reggia di Venere a Cipro’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Vasi, printmaker
Gori Sassoli 1994 no.57; La Festa a Roma II, pp.179–180, 247, 253 (details reproduced); Corpus delle Feste a Roma p.153, fig.56
Not in stock

58. Seconda macchina per la Chinea con una ‘Mostra d’Acqua’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Vasi, printmaker
380 × 550 mm platemark (435 × 578 mm sheet)
Tear in caption (crudely repaired, without loss)
Fagiolo 1974 p.99, fig.16; Scalabroni 1981 no.331; Margiotto 1982 p.60 no.63; Gori Sassoli 1994 no.58; La Festa a Roma II, pp.167, 180 (details reprodu­ced); Corpus delle Feste a Roma p.153, fig.57
£ 700 (halwas 1999 no.17; other impressions sold halwas 1988 no.21, halwas 1997 no.29)

◄ 1755 ►

59. Prima macchina per la Chinea raffi­gurante un ‘Ponte trionfale ornato con reperti della città di Ercolano’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Vasi, printmaker
384 × 548 mm platemark (440 × 630 mm sheet)
Ink spot in background, otherwise in very good state of preservation
Black Colonna inkstamp on verso (lower right corner)
Fagiolo 1974 p.99 fig 4; Scalabroni 1981 no.332; Margiotta 1982 p.58 no.55; Gori Sassoli 1994 no.59; La Festa a Roma I, p.262no.C–81, II, pp.157, 162, 250 (details reproduced); Corpus delle Feste a Roma p.154, fig.58
Sold (halwas 1997 no.30; another impression sold halwas 1988 no.22)

60. Seconda macchina per la Chinea rappresentante un ‘Regio Casino di campagna per il divertimento delle caccie’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Vasi, printmaker
385 × 550 mm platemark (450 × 640 mm s heet)
Waterstained, otherwise in good state of preservation
Black Colonna inkstamp on verso (bottom right corner)
Scalabroni 1981 no.333; Gori Sassoli 1994 no.60; Corpus delle Feste a Roma p.154, fig.59
£ 600 (halwas 1997 no.31)

◄ 1756 ►

61. Prima macchina per la Chinea con un ‘Arco trionfale tra Etna e Vesuvio’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Pozzi, printmaker
373 × 536 mm platemark (458 × 655 m m sheet)
Excellent impression on an untrimmed and unfolded sheet
Red Colonna inkstamp on verso (lower right corner)
Gori Sassoli 1994 no.61; La Festa a Roma II, pp.50, 153 (details reprodu­ced); La Festa a Roma II, pp.50 (repro­duced), 153 (detail reproduced); Corpus delle Feste a Roma p.155–156, fig.61; Salatino p.52, fig.42
£ 1000 (other impressions sold halwas 1988 no.23, halwas 1997 no.32)

62. Seconda macchina per la Chinea con il ‘Tempio di Cerere’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Pozzi, printmaker
370 × 530 mm platemark
Gori Sassoli 1994 no.62; La Festa a Roma II, pp.50 (reproduced), 238 (detail reproduced); Corpus delle Feste a Roma p.155–156, fig.62
Sold (halwas 1988 no.24)

◄ 1757 ►

63. Prima macchina per la Chinea con i ‘Portici del Liceo di Atene’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Pozzi, printmaker
363 × 520 mm platemark (450 × 645 mm sheet)
Ink spot on borderline, otherwise an excellent impression on an untrimmed and unfolded sheet
Red Colonna inkstamp on verso (upper right corner)
Gori Sassoli 1994 no.63; moore 1995 p.594, fig.10; Corpus delle Feste a Roma p.156, fig.63
Sold (halwas 1997 no.33; another impression sold halwas 1988 no.25)

64. Seconda macchina per la Chinea con una ‘Fortezza approntata a “Cuccagna”’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Pozzi, printmaker
365 × 520 mm platemark (455 × 645 mm sheet)
Short unrepaired tear in margin, other­wise an excellent impression on an untrimmed and unfolded sheet
Red Colonna inkstamp on verso (lower right corner)
Gori Sassoli 1994 no.64; moore 1995 p.594, fig.11; La Festa a Roma II, p.179 (detail reproduced); Corpus delle Feste a Roma p.156, fig.64
Sold (halwas 1999 no.18; other impres­sions sold halwas 1988 no.26, halwas 1997 no.34)

Pontificate of Clement XIII (1758–1769)

◄ 1758 ►

65. Prima macchina per la Chinea con una ‘“Deliziosa” con giardini pensili’
Piazza Farnese, 28 June
Paolo Posi, designer and architect
Giuseppe Palazzi, draughtsman
Giuseppe Pozzi, printmaker
375 × 523 mm platemark (455 × 667 mm sheet)
Unrepaired tears in margins, light stain confined to a margin
Red Colonna inkstamp on verso (upper left corner)
Gori Sassoli 1994 no.65; La Festa a Roma II, pp.162, 168, 174 (details reproduced); Corpus delle Feste a Roma pp.162–163, fig.2
£ 800 (halwas 1999 no.19; other impressions sold halwas 1988 no.27, halwas 1997 no.35)

66. Seconda macchina per la Chinea con la ‘Torre delle porcellane di Nanchino’
Piazza Farnese, 29 June
Paolo Posi, designer and architect
Giuseppe Palazzi, draughtsman
Giuseppe Pozzi, printmaker
Gori Sassoli 1994 no.66; La Festa a Roma I, p.118 (detail reproduced); Corpus delle Feste a Roma pp.162–163, fig.3
Not in stock

◄ 1759 ►

67. Prima macchina per la Chinea con una ‘Fortezza’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
Scalabroni 1981 no.334; Gori Sassoli 1994 no.67; moore 1995 p.585, fig.1; La Festa a Roma II, p.170 (detail reprodu­ced); Corpus delle Feste a Roma p.167, fig.9
Not in stock

68. Seconda macchina per la Chinea con una ‘“Deliziosa” con scena di baccanale’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
385 × 535 mm platemark (452 × 668 mm sheet)
Tear in margin (repaired), rubbed centre fold
Black Colonna inkstamp on verso (lower right corner)
¶ The macchine of 1759 are scrutinized by moore1998 /1999.
Scalabroni 1981 no.335; Gori Sassoli 1994 no.68; moore 1995 p.585, fig.2; La Festa a Roma II, p.160 (detail reprodu­ced); Corpus delle Feste a Roma p.167, fig.10
£ 750 (other impressions sold halwas 1997 no.36, halwas 1999 no.20)

◄ 1760 ►

69. Prima macchina per la Chinea con il ‘Tempio di Nettuno’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
385 × 530 mm platemark
Scalabroni 1981 no.336; Margiotta 1982 pp.58–59 no.56; Gori Sassoli 1994 no.69; Exploring Rome p.17 no.11; La Festa a Roma II, pp.51 (reproduced), 163 (detail reproduced); Corpus delle Feste a Roma pp.169–170, fig.13
Sold (halwas 1988 no.28)

70. Seconda macchina per la Chinea con un ‘Pergolato cinese’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
390 × 540 mm platemark
Scalabroni 1981 no.337; Exploring Rome p.16 no.12; La Festa a Roma II, pp.51 (reproduced), 163 (detail reproduced); Corpus delle Feste a Roma pp.169–170, fig.14
Sold (halwas 1988 no.29)

◄ 1761 ►

71. Prima macchina per la Chinea con un ‘Edificio destinato ai bagni’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
390 × 540 mm platemark
Scalabroni 1981 no.338; Gori Sassoli 1994 no.71; La Festa a Roma II, pp.176, 181 (details reproduced); Corpus delle Feste a Roma pp.170–171, fig.15
Sold (halwas 1988 no.30)

72. Seconda macchina per la Chinea con un ‘Teatro’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
Gori Sassoli 1994 no.72; La Festa a Roma I, p.262 no.C–84, II, p.195 (detail reproduced); Corpus delle Feste a Roma pp.170–171, fig.16
Not in stock

◄ 1762 ►

73. Prima macchina per la Chinea con un ‘Edificio con il Toro Farnese’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
Gori Sassoli 1994 no.73; La Festa a Roma I, p.262 no.C–86, II, pp.168, 179 (details reproduced); Corpus delle Feste a Roma pp.169–170, fig.18
Not in stock

74. Seconda macchina per la Chinea con un ‘Casino di delizie in stile ottomano’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
400 × 535 mm (trimmed to platemark)
Scalabroni 1981 no.341; Margiotta 1982 p.59 no.61; Gori Sassoli 1994 no.74; La Festa a Roma I, p.262 no.C–85, II, p.230 (detail reproduced); Corpus delle Feste a Roma pp.169–170, fig.19
Sold (halwas 1988 no.31)

◄ 1763 ►

75. Prima macchina per la Chinea con i ‘Templi di Apollo e Diana’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
408 × 552 mm platemark (455 × 660 mm sheet)
Centre crease, otherwise in good state of preservation
Scalabroni 1981 no.342; Gori Sassoli 1994 no.75; La Festa a Roma I, p.262 no.C–88; II, pp.157, 158 (details repro­duced); Corpus delle Feste a Roma pp.173–174, fig.21
Sold (halwas 1999 no.21; another impression sold halwas 1997 no.37)

76. Seconda macchina per la Chinea con due ‘Casini di delizie con pergolato in tempo di vendemmia’
Palazzo Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
Scalabroni 1981 no.343; Gori Sassoli 1994 no.76; La Festa a Roma II, p.176 (detail reproduced); Corpus delle Feste a Roma pp.173–174, fig.22
Not in stock

◄ 1764 ►

77. Prima macchina per la Chinea con il ‘Campidoglio antico’
Piazza Farnese, 28 June
Paolo Posi, architect
Tommaso Catrani, draughtsman
Giuseppe Vasi, printmaker
400 x 530 mm platemark
Scalabroni 1981 no.344; Gori Sassoli 1994 no.76; La Festa a Roma II, p.52 (reproduced); Corpus delle Feste a Roma pp.175, fig.23
Sold (halwas 1988 no.32)

78. Seconda macchina per la Chinea con una ‘Galleria con banchetto notturno’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
402 × 538 mm platemark (455 × 647 mm sheet)
Lightly splattered by printer’s ink, unrepaired tears in margins
Scalabroni 1981 no.345; Gori Sassoli 1994 no.78; La Festa a Roma II, pp.196, 230 (details reproduced); Corpus delle Feste a Roma p.175, fig.24
£ 600 (other impressions sold halwas 1997 no.38, halwas 1999 no.22)

◄ 1765 ►

79. Prima macchina per la Chinea con gli ‘Orti Esperidi’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
385 × 535 mm platemark
Scalabroni 1981 no.346; Gori Sassoli 1994 no.79; La Festa a Roma II, pp.158, 168, 175 (details reproduced); Corpus delle Feste a Roma pp.175–176, fig.25
Sold (halwas 1988 no.33)

80. Seconda macchina per la Chinea con un ‘Edificio apparato a festa con alberi di Cuccagna’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
390 x 530 mm platemark
Scalabroni 1981 no.347; Gori Sassoli 1994 no.80; La Festa a Roma II, p.197 (detail reproduced); Corpus delle Feste a Roma pp.175–176, fig.25
Sold (halwas 1988 no.34)

◄ 1766 ►

81. Prima macchina per la Chinea con la ‘Reggia di Orfeo’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
395 × 542 mm platemark (455 × 665 mm sheet)
Watermark Fleur-de-lys in double circle, countermark vittori (see moore 1995 p.589 on papers utilised)
Two vertical tears repaired without loss, folds, stained in margin
Scalabroni 1981 no.348; Gori Sassoli 1994 no.81; La Festa a Roma I, p.263 no.C–90, II, pp.52, 253 (details reprodu­ced), pp.178–179; Corpus delle Feste a Roma p.178–179, fig.29
£ 700 (halwas 1999 no.23; other impressions sold halwas 1988 no.35, halwas 1997 no.39)

82. Seconda macchina per la Chinea con un ‘Teatro per i giochi atletici’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
395 × 540 mm platemark
Scalabroni 1981 no.349; Margiotta 1982 p.61 no.68; Gori Sassoli 1994 no.82; La Festa a Roma I, p.262 no.C–89, II, p.155 (detail reproduced); Corpus delle Feste a Roma p.178–179, fig.30
Sold (halwas 1988 no.36)

◄ 1767 ►

83. Prima macchina per la Chinea con un ‘Arco trionfale e l’Ercole Farnese’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
400 × 545 mm platemark
¶ A proof impression (before lettering) is cited by moore 1995 p.592 note 39 (Rome, Gabinetto Comunale delle Stampe, 726).
Scalabroni 1981 no.350; Margiotta 1982 p.59 no.60; Gori Sassoli 1994 no.83; La Festa a Roma I, C–91, II, p.243 (detail reproduced); Corpus delle Feste a Roma p.181, fig.32
Sold (halwas 1988 no.37)

84. Seconda macchina per la Chinea con il ‘Monte Etna e la fucina di Vulcano’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
¶ A proof impression (before lettering) is reproduced by moore 1995 p.592, fig.8 (Rome, Gabinetto Comunale delle Stampe, 727).
Gori Sassoli 1994 no.84; La Festa a Roma I, p.263 no.C–93, II, pp.181, 197, 233 (details reproduced); Corpus delle Feste a Roma p.181, fig.33
Not in stock

◄ 1768 ►

Prima macchina per la Chinea con una ‘Deliziosa’
Display cancelled
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
¶ The displays in 1768 were cancelled at the last moment (27 June), after the prints had already been produced, and almost all impressions were discarded as waste paper. In 1769 the matrices were restruck with the caption dates changed from 1768 to 1769.
Two impressions of this print dated 1768 are known: Danske Kunstindustrimuseet Bibliothek, Copenhagen (iii 1805); Gabinetto Comunale delle Stampe, Rome (728).
Not in stock


Seconda macchina per la Chinea con un ‘Edificio per divertimenti pubblici’
Display cancelled
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
400 × 550 mm platemark (425 × 570 mm sheet)
Several unrepaired tears just crossing platemark, several folds
¶ Two impressions of the Seconda macchina for 1768 are known: Danske Kunstindustrimuseet Bibliothek, Copenhagen (iii 180), Gabinetto Comunale delle Stampe, Rome (729, 971). On this impression the date 1768 is emended by hand to 1769.
Sold (halwas 1997 no.40)

Pontificate of Clement XIV (1769–1775)

◄ 1769 ►

85. Prima macchina per la Chinea con una ‘Deliziosa’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
400 × 545 mm platemark
Scalabroni 1981 no.352; Gori Sassoli 1994 no.86; Corpus delle Feste a Roma pp.193–194, fig.1
Sold (halwas 1988 no.38)

86. Seconda macchina per la Chinea con un ‘Edificio per i divertimenti pubblici’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
400 × 555 mm platemark
Scalabroni 1981 no.352 bis; Gori Sassoli 1994 no.87; La Festa a Roma II, pp.183, 196 (details reproduced); Corpus delle Feste a Roma pp.193–194, fig.2
Sold (halwas 1988 no.39; another impression sold Robin Halwas Limited, Catalogue of books, prints & drawings 1487–1842, London 1993, item 22)

◄ 1770 ►

87. Prima macchina per la Chinea con un ‘Edificio antico per i commerci’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
405 × 560 mm platemark (455 × 665 mm sheet)
Waterstain in upper left corner, short unrepaired tears in margins, slightly rubbed centre fold
Scalabroni 1981 no.353; Gori Sassoli 1994 no.87; Corpus delle Feste a Roma p.198, fig.7
£ 700 (halwas 1999 no.24; other impressions sold halwas 1988 no.40, halwas 1997 no.41)

88. Seconda macchina per la Chinea con l’‘Antico portico della Pescheria’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
405 × 560 mm platemark
¶ A proof impression (before lettering) is cited by moore 1995 p.592 note 39 (Rome, Gabinetto Comunale delle Stampe, 733).
Scalabroni 1981 no.354; Margiotta 1982 p.61 no.70; Gori Sassoli 1994 no.88; La Festa a Roma II, p.160 (detail reproduced); Corpus delle Feste a Roma p.198, fig.8
Sold (halwas 1988 no.41)

◄ 1771 ►

89. Prima macchina per la Chinea rappresentante ‘Il Tempio di Esculapio’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
402 × 548 mm platemark (460 × 660 mm sheet)
Stains and tears in margins
¶ A proof impression (before lettering) is cited by moore 1995 p.592 note 39 (Rome, Gabinetto Comunale delle Stampe, 734).
Scalabroni 1981 no.355; Gori Sassoli 1994 no.89; La Festa a Roma I, p.263 no.C–97; Corpus delle Feste a Roma p.200, fig.9
£ 700 (halwas 1999 no.25; other impressions sold halwas 1988 no.42, halwas 1997 no.42)

90. Seconda macchina per la Chinea con una ‘“Deliziosa” dedicata a Bacco’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
400 × 550 mm platemark (455 × 660 mm sheet)
Stain in corner (lower right), an unrepaired tear just inside platemark
¶ A proof impression (before lettering) is cited by moore 1995 p.592 note 39 (Rome, Gabinetto Comunale delle Stampe, 736).
Not in Scalabroni; Gori Sassoli 1994 no.90; La Festa a Roma II, pp.253, 271 (details reproduced); Corpus delle Feste a Roma p.200, fig.10
Sold (halwas 1999 no.26; other impres­sions sold halwas 1997 no.43, halwas 1988 no.43, Robin Halwas Limited, Catalogue of books, prints & drawings 1487–1842 (London [1993]), item 22)

◄ 1772 ►

91. Prima macchina per la Chinea con un ‘Edificio dedicato alla filosofia cinese’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
395 × 535 mm platemark
Festivities: Ceremonies and celebrations in Western Europe 1500–1790, cata­logue of an exhibition held at Brown University, 2 March–25 March 1979 (Providence 1979), pp.82–83 no.46; Scalabroni 1981 no.356; Margiotta 1982 p.60 no.62; Gori Sassoli 1994 no.91; La Festa a Roma I, p.263 C–99, p.118 (detail reproduced); Corpus delle Feste a Roma pp.202–203, fig.13
Sold (halwas 1988 no.44)

92. Seconda macchina per la Chinea con un ‘Edificio con botteghe e la fontana del Pantheon’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
390 x 540 mm platemark
Scalabroni 1981 no.357; Margiotta 1982 p.62 no.72; Gori Sassoli 1994 no.92; La Festa a Roma II, pp.159, 180 (details reproduced); Corpus delle Feste a Roma pp.202–203, fig.14
Sold (halwas 1988 no.45)

◄ 1773 ►

93 (proof). Prima macchina per la Chinea con il ‘Tempio della Pace’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
382 × 510 mm platemark (445 × 660 mm sheet)
Several pinholes, stained and soiled, two small strips of paper pasted to back­ground
¶ An unrecorded proof impression, before addition of the caption. ‘Some proofs before letters remained in Posi’s possession, and were apparently sold by his heirs around 1900’ (moore 1995 p.592 note 39 listing eight such prints). Prove­nance: David Tunick, Italian prints of the Eighteenth Century [catalogue 11] (New York 1981), item 293.
Scalabroni 1981 no.358 (completed print); Gori Sassoli 1994 no.93 (comple­ted print); Corpus delle Feste a Roma p.204, fig.15 (completed print)
Sold (halwas 1997 no.44)

93. Prima macchina per la Chinea con il ‘Tempio della Pace’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
386 × 513 mm platemark (455 × 660 mm sheet)
Watermark Fleur-de-lys in a double circle, countermark vittori
Two insignificant stains in background, otherwise an excellent impression on an untrimmed and unfolded sheet
Scalabroni 1981 no.358; Gori Sassoli 1994 no.93; Corpus delle Feste a Roma p.204, fig.15
£ 1000 (other impressions sold halwas 1988 no.46, halwas 1997 no.45, halwas 1999 no.27)

94. Seconda macchina per la Chinea con la ‘Preparazione della Triaca a Venezia’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
388 × 516 mm platemark (455 × 665 mm sheet)
Waterstain in upper margin touching platemark, small tears and stains in margins
¶ Two proof impressions (before letter­ing) are cited by moore 1995 p.592 note 39 (Rome, Gabinetto Comunale delle Stampe, 733; Rome, Biblioteca dell’Istituto Nazionale d’Archeologia e Storia dell’arte, xi .58.2.51).
Scalabroni 1981 no.359; Gori Sassoli 1994 no.94; La Festa a Roma II, p.160 (detail reproduced); Corpus delle Feste a Roma p.204, fig.16
£ 800 (halwas 1999 no.28; other impressions sold halwas 1988 no.47, halwas 1997 no.46)

◄ 1774 ►

95. Prima macchina per la Chinea con ‘Ercole e il drago degli Orti delle Esperidi’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
395 × 518 mm platemark (460 × 635 mm sheet)
Few insignificant ink spots, generally in very good state of preservation
Scalabroni 1981 no.360; Gori Sassoli 1994 no.95; La Festa a Roma II, p.178 (detail reproduced); Corpus delle Feste a Roma pp.207–208, fig.19
Sold (halwas 1999 no.29, halwas 1997 no.47; another impression sold halwas 1988 no.48)

96. Seconda macchina per la Chinea rappresentante una ‘Villa antica con scena di giostra’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
396 × 518 mm platemark (455 × 665 mm sheet)
Slightly rubbed on centre fold, otherwise a very good impression on an untrimmed and unfolded sheet
¶ A proof impression (before lettering) is cited by moore 1995 p.592 note 39 (Rome, Biblioteca dell’Istituto Nazionale d’Archeologia e Storia dell’Arte, xi .58.2.54).
Scalabroni 1981 no.361; Gori Sassoli 1994 no.96; Corpus delle Feste a Roma pp.207–208, fig.20
£ 1000 (halwas 1999 no.30, halwas 1997 no.48; another impression sold halwas 1988 no.49)

Pontificate of Pius VI (1775–1799)

◄ 1775 ►

97. Prima macchina per la Chinea con il ‘Campidoglio’
Piazza Farnese, 28 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
395 × 530 mm platemark
¶ Palazzi is identified as the ‘inventor’ of this macchina by moore 1998/1999 p.266 note 294 (citing Chracas, no.52, 1 July 1775, p.14).
Scalabroni 1981 no.362; Margiotta 1982 pp.60–61 no.66; Gori Sassoli 1994 no.97; La Festa a Roma II, pp.163, 181 (details reproduced); Corpus delle Feste a Roma pp.216–217, fig.10
Sold (halwas 1988 no.50)

98. Seconda macchina con una ‘Tauromachia’
Piazza Farnese, 29 June
Paolo Posi, architect
Giuseppe Palazzi, draughtsman
Giuseppe Vasi, printmaker
395 × 530 mm platemark
¶ Palazzi is identified as the ‘inventor’ of this macchina by moore 1998/1999 p.266 note 294.
Gori Sassoli 1994 no.98; La Festa a Roma I, p.119, II, p.158 (details repro­duced); Corpus delle Feste a Roma pp.207–208, fig.1
Not in stock

◄ 1776 ►

99. Prima macchina per la Chinea con una ‘“Deliziosa” per pubblici diverti­menti’
Piazza SS. Apostoli, 28 June
Giuseppe Palazzi, architect and draughtsman
Giuseppe Vasi, printmaker
510 × 385 mm platemark (630 × 455 mm sheet)
A very good impression
Scalabroni 1981 no.364; Gori Sassoli 1994 no.99; La Festa a Roma II, pp.178, 242, 254 (details reproduced); Corpus delle Feste a Roma pp.221–222, fig.17
£ 950 (halwas 1999 no.31 ; another impression halwas 1997 no.49)

100. Seconda macchina per la Chinea con un ‘Edificio con Loggiato per l’estrazione del Lotto’
Piazza SS. Apostoli, 29 June
Giuseppe Palazzi, architect and draughtsman
Giuseppe Vasi, printmaker
510 × 385 mm platemark (662 × 455 mm sheet)
Stain in margin, otherwise a very good impression, uncut and unfolded
Scalabroni 1981 no.365; Gori Sassoli 1994 no.100; La Festa a Roma II, pp.160, 189 (details reproduced); La Festa a Roma II, pp.160, 189 (details reproduced);Corpus delle Feste a Roma pp.221–222, fig.18
Sold (halwas 1999 no.32, halwas 1997 no.50)

◄ 1777 ►

Prima macchina per la Chinea ‘rappresentava un magnifico Arco Trionfale, come inalzato, e dedicato dal Popolo Romano’
Piazza SS. Apostoli, 28 June
Giuseppe Palazzi, architect
No print issued
See Corpus delle Feste a Roma pp.222, 224


Seconda macchina per la Chinea con un ‘Deliziosa’
Piazza SS. Apostoli, 29 June
Giuseppe Palazzi, architect
No print issued
See Corpus delle Feste a Roma pp.222, 224

◄ 1778 ►

101. Prima macchina per la Chinea con un ‘Belvedere in villa’
Piazza SS. Apostoli, 28 June
Giuseppe Palazzi, architect and draughtsman
Giuseppe Vasi, printmaker
515 × 385 mm platemark (650 × 455 mm sheet)
Unobtrusive small ink spots, folds
Scalabroni 1981 no.366; Gori Sassoli 1994 no.101; La Festa a Roma II, pp.176, fig.7, 179 (details reproduced); Corpus delle Feste a Roma pp.223–224, fig.20
Sold (halwas 1999 no.33, halwas 1997 no.51; another impression sold halwas 1988 no.51)

102. Seconda macchina per la Chinea con il ‘Monte Testaccio’
Piazza SS. Apostoli, 29 June
Giuseppe Palazzi, architect
Giuseppe Vasi, printmaker
510 × 380 mm platemark
Scalabroni 1981 no.367; Margiotta 1982 pp.61–62 no.71; Gori Sassoli 1994 no.102; La Festa a Roma II, pp.54 (reproduced), 235 (detail reproduced); Corpus delle Feste a Roma pp.223–224, fig.21
Sold (halwas 1988 no.52)

◄ 1779 ►

Prima macchina
Piazza SS. Apostoli, 28 June
No print issued
See Corpus delle Feste a Roma p.225


Seconda macchina
Piazza SS. Apostoli, 29 June
No print issued
See Corpus delle Feste a Roma p.225

◄ 1780 ►

Prima macchina per la Chinea ‘rappre­sentata la Didicazione, che fece Romolo della Città di Roma al Dio dell’armi, di cui riputavasi Figlio’
Piazza SS. Apostoli, 28 June
No print issued
See Gori Sassoli 1994, p.165 nos.110–111; Corpus delle Feste a Roma pp.226–227


Seconda Macchina
Piazza SS. Apostoli, 28 June
No print issued

◄ 1781 ►

Prima macchina Un Tempio dedicato a Diana eretto in luogo delizioso’
Piazza SS. Apostoli, 28 June
Giuseppe Palazzi, architect
No print issued
See Corpus delle Feste a Roma p.228


Seconda macchina con ‘Il medesimo Tempio adornato a Festa’
Piazza SS. Apostoli, 29 June
Giuseppe Palazzi, architect
No print issued
See Corpus delle Feste a Roma p.228

◄ 1782 ►

103. Prima macchina per la Chinea con il ‘Tempio di Giano eretto da Numa Pompilio’
Piazza SS. Apostoli, 28 June
Giuseppe Palazzi, architect
Francesco Barbazza, printmaker
523 × 382 mm platemark (640 × 450 mm sheet)
Folds, otherwise the untrimmed sheet is in good state of preservation
Gori Sassoli 1994 no.103; Corpus delle Feste a Roma p.229, fig.25
Sold (halwas 1999 no.34, halwas 1997 no.52; another impression sold halwas 1988 no.53)

104. Seconda macchina per la Chinea con un ‘Edifico con scena di festa campestre’
Piazza SS. Apostoli, 29 June
Giuseppe Palazzi, architect
Francesco Barbazza, printmaker
525 × 380 mm platemark
Gori Sassoli 1994 no.104; Corpus delle Feste a Roma p.229, fig.26
Sold (halwas 1988 no.54)

◄ 1783 ►

Prima macchina
Piazza SS. Apostoli, 28 June
Giuseppe Palazzi, architect
No print issued
See Corpus delle Feste a Roma p.230


Seconda macchina
Piazza SS. Apostoli, 29 June
Giuseppe Palazzi, architect
No print issued
See Corpus delle Feste a Roma p.230

◄ 1784 ►

Prima macchina per la Chinea con ‘Un Tempio dedicato a Cerere’
Piazza SS. Apostoli, 28 June
Giuseppe Palazzi, architect
No print issued
See Corpus delle Feste a Roma p.232


Seconda macchina per la Chinea con ‘Una dogana con una Bambocciata’
Piazza SS. Apostoli, 29 June
Giuseppe Palazzi, architect
No print issued
See Corpus delle Feste a Roma p.232

◄ 1785 ►

105. Prima macchina per la Chinea con il ‘Tempio di Giove eretto da Tarquinio Prisco’
Piazza SS. Apostoli, 28 June
Giuseppe Palazzi, architect
Francesco Barbazza, printmaker
515 × 370 mm platemark (670 × 458 mm sheet)
Stained in upper right corner, tears in margins, otherwise in good state of preservation
Gori Sassoli 1994 no.105; Corpus delle Feste a Roma pp.232–233, fig.27
£ 900 (halwas 1999 no.35; other impressions sold halwas 1988 no.55, halwas 1997 no.53)

106. Seconda macchina per la Chinea con un ‘Edificio di delizia con un pallone aerostatico’
Piazza SS. Apostoli, 29 June
Giuseppe Palazzi, architect
Francesco Barbazza, printmaker
500 × 360 mm (trimmed to borderline, coloured)
Gori Sassoli 1994 no.106; La Festa a Roma II, pp.54 (reproduced), 235 (detail reproduced); Corpus delle Feste a Roma pp.232–233, fig.28
Sold (halwas 1997 no.54; other impres­sion sold halwas 1988 no.56, halwas 1999 no.36)

◄ 1786 ►

Prima macchina per la Chinea con la ‘Reggia di Servio Tullio’
Piazza SS. Apostoli, 28 June
Giuseppe Palazzi, architect
No print issued
See Corpus delle Feste a Roma pp.234–235


Seconda macchina per la Chinea con una ‘Bambocciata a piazza Montanara’
Piazza SS. Apostoli, 29 June
Giuseppe Palazzi, architect
No print issued
See Corpus delle Feste a Roma pp.234–235

◄ 1787 ►

Prima macchina
Piazza SS. Apostoli, 28 June
Giuseppe Palazzi, architect
No print issued
See Corpus delle Feste a Roma pp.237


Seconda macchina
Piazza SS. Apostoli, 29 June
Giuseppe Palazzi, architect
No print issued
See Corpus delle Feste a Roma pp.237

Appendix: Drawings

◄ 1731 ►

Prima macchina: drawing for the engra­ver by Nicola Michetti
Pierpont Morgan Library, New York (Ac. 1994.6:1)
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.9); acquired from Artemis Fine Arts Ltd., London. Purchased on the Sunny Crawford von Bülow Fund 1978
Fantasy and Reality: Drawings from the Sunny Crawford von Bülow Collection, by Cara D. Denison, with contributions by Stephanie Wiles and Ruth S. Kraemer (New York 1995), no.32a

◄ 1731 ►

Seconda macchina: drawing for the engraver by Nicola Michetti
Unlocated
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.10; Christie’s, ‘Old Master Drawings’ New York, 24 January 2001, lot 77 (unsold)
Gori Sassoli 1994 p.98, no.20 bis (reproduced)

◄ 1732 ►

Prima macchina: drawing for the engra­ver by Nicola Michetti
Unlocated
Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.11; Christie’s, ‘Old Master Drawings’ New York, 24 January 2001, lot 78 (unsold)
Gori Sassoli 1994 pp.53, 99, no.21 bis (reproduced)

◄ 1733 ►

Prima macchina: drawing for the engra­ver by Nicola Michetti
Pierpont Morgan Library, New York (Ac. 1994.6:2)
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.12); acquired from Artemis Fine Arts Ltd., London. Purchased on the Sunny Crawford von Bülow Fund 1978
Gori Sassoli 1994 pp.100–101 no.23 bis; Fantasy and Reality: Drawings from the Sunny Crawford von Bülow Collection, by Cara D. Denison, with contributions by Stephanie Wiles and Ruth S. Kraemer (New York 1995), no.32b

◄ 1733 ►

Seconda macchina: drawing for the engraver by Nicola Michetti
Pierpont Morgan Library, New York (Ac. 1994.6:3)
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.13); acquired from Artemis Fine Arts Ltd., London. Purchased on the Sunny Crawford von Bülow Fund 1978
Gori Sassoli 1994 pp.54, 101 no.24 bis; Fantasy and Reality: Drawings from the Sunny Crawford von Bülow Collection, by Cara D. Denison, with contributions by Stephanie Wiles and Ruth S. Kraemer (New York 1995), no.32c (reproduced); Art in Rome 2000 pp.136–137 no.17

◄ 1744 ►

Prima macchina: drawing for the engraver by Louis-Joseph Le Lorrain
Musée du Louvre, Département des Arts graphiques, Paris (RF 54415, Recto)
Provenance: Christie’s Paris, ‘Dessins anciens et 19ème siècle’ 23 March 2006, lot 293 (pre-empted by the Musée du Louvre, now Inv. RF 54415)

◄ 1748 ►

Prima macchina: drawing for the engraver by Louis-Joseph Le Lorrain
Private collection, London; Christie’s, ‘Old Master & British drawings & watercolours’, 10 July 2014, lot 164 (£12,500)
Werner Oechslin, in Piranèse et les Français 1976 p.207 no.106

◄ 1755 ►

Prima macchina: drawing by Paolo Posi
Biblioteca dell’Istituto Nazionale d’Archeologia e Storia dell’Arte, Rome (xi .58. i .69)
Moore 1998/1999 p.269 note 311.

◄ 1755 ►

Seconda macchina: preparatory study by Paolo Posi
Getty Research Institute, Los Angeles (960042**)
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.19); acquired from Robin Halwas Limited, London

◄ 1757 ►

Seconda macchina: preparatory study by Paolo Posi
Getty Research Institute, Los Angeles (960042**)
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.20); acquired from Robin Halwas Limited, London
Gori Sassoli 1994 p.133 no.64 bis; Joanne Paradise, ‘Documenta­tion: The Collections of the Getty Research Institute: Supplement’ in The Burlington Magazine 140, no.1143 (June 1998), p.429 (reproduced fig ix)

◄ 1758 ►

Prima macchina: drawing by Paolo Posi
Abegg-Stiftung, Bern
Provenance: Hans M. Calmann, London; acquired from Knoedler & Company, New York. 1963
Moore 1998/1999 pp.269 notes 311–312, 270 fig.30

◄ 1758 ►

Seconda macchina: drawing by Paolo Posi
Abegg-Stiftung, Bern
Provenance: Hans M. Calmann, London; acquired from Knoedler & Company, New York. 1963
Moore 1998/1999 pp.269 notes 311–312, 271 fig.31

◄ 1758 ►

Seconda macchina: preparatory study by Paolo Posi
Getty Research Institute, Los Angeles (960042**)
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.21); acquired from Robin Halwas Limited, London

◄ 1760 ►

Prima macchina: drawing for the engraver by Paolo Posi
Pierpont Morgan Library, New York (Ac. 1962.7)
Provenance: Hans M. Calmann, London. Purchased as the gift of the Fellows. Twelfth Report to the Fellows of the Pierpont Morgan Library, 1962, compiled by Frederick B. Adams, Jr. (New York 1963), pp.88–89; Pierpont Morgan Library, Review of Acquisitions, 1949–1968 (New York 1969), p.161; Exploring Rome pp.14–15 no.9

◄ 1760 ►

Seconda macchina: drawing for the engraver by Paolo Posi
Pierpont Morgan Library, New York (Ac. 1962.8)
Provenance: Hans M. Calmann, London. Purchased as the gift of the Fellows.
Twelfth Report to the Fellows of the Pierpont Morgan Library, 1962, compiled by Frederick B. Adams, Jr. (New York 1963), pp.88–89; Pierpont Morgan Library, Review of Acquisitions, 1949–1968 (New York 1969), p.161; Felice Stampfle and Jacob Bean, Drawings from New York collections. iii : The eighteenth century in Italy (New York 1971), pp.76–77 no. 180 (reproduced); Exploring Rome p.16 no.10

◄ 1761 ►

Victoria & Albert Museum, London (E.1868–1938; pressmark DT 49)
Provenance: Sotheby’s, London, November 1932
James Laver, ‘Two designs for the Festa della Chinea, in 1761 and 1764’ in Walker’s Monthly: a journal of art news for collectors and artists (August 1935), pp.2–3 (reproduced); James Laver, Drama, its costume & décor (London 1951), fig.105

◄ 1764 ►

Seconda macchina: drawing attributed to Paolo Posi
Provenance: Sotheby’s, London, November 1932
Victoria & Albert Museum, London (E.1869–1939; pressmark DT 49 / RWS. 1[R])
James Laver, ‘Two designs for the Festa della Chinea, in 1761 and 1764’ in Walker’s Monthly: a journal of art news for collectors and artists (August 1935), pp.2–3 (reproduced)

◄ 1767 ►

Seconda macchina: preparatory study by Paolo Posi
Unlocated
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.22)

◄ 1769 ►

Seconda macchina: preparatory study by Paolo Posi
Getty Research Institute, Los Angeles (960042**)
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.23); acquired from Robin Halwas Limited, London
Gori Sassoli 1994 pp.56, 148 no.86 bis

◄ 1769 ►

Seconda Macchina: preparatory study by Paolo Posi
Unlocated
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.23)
Gori Sassoli 1994 pp.56, 147–148 no.86bis

◄ 1774 ►

Prima or Seconda Macchina: preparatory drawing by Paolo Posi
Getty Research Institute, Los Angeles (960042**)
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.25); acquired from Robin Halwas Limited, London
Gori Sassoli 1994 p.36

◄ 1775 ►

Prima macchina: drawing for the engra­ver by Giuseppe Palazzi
Private collection, Rome
Gori Sassoli 1994 pp.155–156 no.97 bis

◄ 1777 ►

Seconda Macchina: drawing for the engraver by Giuseppe Palazzi
Collezione Corvisieri, Rome
Gori Sassoli 1994 pp.156–156 no.98 bis

◄ 1777 ►

Prima Macchina: study by Paolo Posi
Getty Research Institute, Los Angeles (960042**)
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London no.25); acquired from Robin Halwas Limited, London
Gori Sassoli 1994 p.39

◄ 1778 ►

Prima macchina: preparatory study by Giuseppe Palazzi
Getty Research Institute, Los Angeles (960042**)
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.28); acquired from Robin Halwas Limited, London

◄ 1780 ►

Prima macchina: drawing for the engra­ver by Giuseppe Palazzi
Unlocated
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.27; Christie’s, ‘Old Master Drawings’ New York, 24 January 2001, lot 79 (unsold)
Gori Sassoli 1994 pp.57, 165 no.110; Corpus delle Feste a Roma p.226, fig.22

◄ 1780 ►

Seconda macchina: drawing for the engraver by Giuseppe Palazzi
Hazlitt, Gooden & Fox, London
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.26)
Gori Sassoli 1994 pp.57, 165 no.111 bis

◄ 1782 ►

Seconda macchina: preparatory study by Giuseppe Palazzi
Getty Research Institute, Los Angeles (960042**)
Provenance: Trinity Fine Art, London (An exhibition of architectural and decorative drawings at Harari & Johns Ltd., London, 31st May–20th June 1990, London [1990], no.29); acquired from Robin Halwas Limited, London

◄ 1782 ►

Prima macchina: study by Giuseppe Palazzi
Biblioteca dell’Istituto Nazionale d’Archeologia e Storia dell’Arte, Rome (xi .58. i .68)
Il Teatro e la Festa (1989), pp.142–143, 146 no.3.4.11 (reproduced)

◄ 1785 ►

Prima macchina: drawing for the engra­ver by Giuseppe Palazzi
Gabinetto Comunale delle Stampe, Rome (MR 3333)
Divertimento e penitenza nella vita popolare romana, catalogue of an exhibi­tion held at Museo di Roma, 1–31 October 1975, edited by Gabriele Borghini (Rome 1975), p.80, no.2 Tax. xxxi ; Gori Sassoli 1994 p.162 no.105 bis

◄ 1785 ►

Seconda macchina: drawing for the engraver by Giuseppe Palazzi
Gabinetto Comunale delle Stampe, Rome (MR 3337)
Gori Sassoli 1994 p.163 no.106 bis (reproduced); Corpus delle Feste a Roma p.233

◄ 1786 ►

Prima macchina: drawing by Giuseppe Palazzi
Accademia Nazionale di San Luca, Rome (AS n.2165)
I disegni di architettura dell’Archivio Storico dell’Accademia di San Luca, edited by Paolo Marconi, Angela Cipriani and Enrico Valeriani (Rome 1974), no.2165; Gori Sassoli 1994 pp.58, 166–167 no.118; La Festa a Roma II, p.53, fig.17; Corpus delle Feste a Roma pp.234–235, fig.31

◄ 1786 ►

Seconda macchina: drawing for the engraver by Giuseppe Palazzi
Accademia Nazionale di San Luca, Rome (AS n.2164)
I disegni di architettura dell’Archivio Storico dell’Accademia di San Luca, edited by Paolo Marconi, Angela Cipriani and Enrico Valeriani (Rome 1974), no.2164; Gori Sassoli 1994 pp.59, 167 no.119; La Festa a Roma II, p.27, fig.7;
Corpus delle Feste a Roma pp.234–235, fig.32

◄ 1787 ►

Secconda Macchina: drawing for the engraver by Giuseppe Palazzi
Gabinetto Comunale delle Stampe, Rome (MR 3335)
Divertimento e penitenza nella vita popolare romana, catalogue of an exhibi­tion held at Palazzo Braschi, 1–31 October 1975, edited by Gabriele Borghini (Rome 1975), p.86, no.1, tav. xxxii ; La Festa a Roma p.54, fig.20; Corpus delle Feste a Roma pp.237–238 fig.3

1. John E. Moore, ‘“Come si costuma per tal funzione”: protocols for the presenta­tion of the Chinea’ in Barocke Inszenie­rung, edited by Joseph Imorde (Emsdetten 1999), pp.236–253.

2. John E. Moore, ‘Building set pieces in eighteenth-century Rome: the case of the Chinea’ in Memoirs of the American Academy in Rome 43/44 (1998/1999), pp.183–292.

3. Matthias Schnettger, ‘Das Ende der Chinea-Präsentation und der Zusam­menbruch des päpstlichen Lehnswesens’ in Kaiserliches und päpstliches Lehns­wesen in der Frühen Neuzeit 6 (2007), no.1 (electronic resource http://www.zeitenblicke.de/2007/1/).

4. John E. Moore, ‘Prints, Salami, and Cheese: Savouring the Roman Festival of the Chinea’ in The Art Bulletin 77 (December 1995), especially pp.600–605.

5. An album in the Victoria & Albert Museum containing the complete series 1722–1751 appears to have been cre­ated about 1750. Instead of the usual wide variety of papers, nearly all the prints are on the same paper (watermark a cursive G above a Fleur-de-Lys enclosed in a circle, diameter 52 mm) with uniform sheet dimensions.

6. moore 1995 pp.601–603.

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