拍品专文
For the figures holding the dedication to Alexander VII on a map of Rome by Giovanni Battista Falda dated 1667, Krautheimer, op. cit., fig. 110. The figures of Architecture triumphing over Time and the sketchy figure of Religion in the drawing are for those holding the right and left sides of the caption drapery. But instead of holding the Papal arms, as in the present drawing, the drapery on the map bears a dedication to the Alexander VII eulogising his knowledge of architecture and the embellishments he had made to the city of Rome.
The map was commissioned by the Pope to Falda to show the latest additions to the city, one of which is the obelisk in front of Santa Maria sopra Minerva, erected by February 1667, just two months before the Pope died. Though the map was probably begun well before the changes were carried out so that Alexander could see how they would look. This was done on several other occasions such as in the print of Piazza San Pietro by Falda showing Bernini's terzo braccio, which was never built.
The iconography was explained by Richard Krautheimer in the last paragraph of his book on The Rome of Alexander VII, published in 1985: 'The meaning is obvious. The Church (or Faith) and Architecture are the two pillars on which rests Rome as envisioned by Alexander. Jointly they are intended to impress and attract the nazioni forestiere and eventually to bring them under her rule. And Architecture subjugates Time, rescuing from oblivion the name of the Chigi pope'.
Falda re-used another of Maratta's drawings in a map of Rome engraved for Innocent XI nine years after he had done that for Alexander VII. The drawing, from the Chatsworth Collection, was sold at Christie's, London, 3 July 1984, lot 27, illustrated. The figures on the map of 1676 are signed 'Cav. Maratti In. et delin.'.
The map was commissioned by the Pope to Falda to show the latest additions to the city, one of which is the obelisk in front of Santa Maria sopra Minerva, erected by February 1667, just two months before the Pope died. Though the map was probably begun well before the changes were carried out so that Alexander could see how they would look. This was done on several other occasions such as in the print of Piazza San Pietro by Falda showing Bernini's terzo braccio, which was never built.
The iconography was explained by Richard Krautheimer in the last paragraph of his book on The Rome of Alexander VII, published in 1985: 'The meaning is obvious. The Church (or Faith) and Architecture are the two pillars on which rests Rome as envisioned by Alexander. Jointly they are intended to impress and attract the nazioni forestiere and eventually to bring them under her rule. And Architecture subjugates Time, rescuing from oblivion the name of the Chigi pope'.
Falda re-used another of Maratta's drawings in a map of Rome engraved for Innocent XI nine years after he had done that for Alexander VII. The drawing, from the Chatsworth Collection, was sold at Christie's, London, 3 July 1984, lot 27, illustrated. The figures on the map of 1676 are signed 'Cav. Maratti In. et delin.'.