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Lot Essay
Esta pieza central con monturas de bronce dorado refleja la moda o gusto italiano a finales del s. XVIII por vajillas y centros de mesa para banquetes de diseo arquitectnico, modeladas con paisajes clsicos; y compuesto por una cpula circular de templo drico, con un plinto crepidoma de triple escaln y una cornisa con un festn brucania en madera de roble. Este tipo de templos en mrmol aparecen en una acuarela de Luigi Righetti de 1817, que muestra una vajilla de postre conservada en el Museo de Roma; mientras el mismo friso con bronces dorados aparece en un reloj que fue ejecutado por el clebre escultor romano Giacomo Raffaeli (f.1836) en el ao 1804, cuando estableci talleres en Miln. (ver A. Gonzlez-Palacios, Il Tempio del Gusto, Milan, 1984, figs. 267 y 296).
El trpode Bquico est compuesto por leones que surgen de remates romanos en hojas de acanto, mientras que el plinto de huecos laterales, como los altares, descansa en un pedestal de mrmol de diferentes colores y garras de len. Este tipo de garras aparecen en una pieza central de mrmol hecha por Francesco y Luigi Righetti en 1803, conservada en la regin de Capodimonte, Npoles (ver Gonzlez/ op cit fig 271).
The present Tempieto is designed in the neo-classical taste popularised by the classical polemicist Giovanni Battista Piranesi, architect, designer and engraver of Roman views (1720-1778), he was born near Venice and trained there, later settling in Rome in 1745. His major work, "Le Antichita Romanae", a series of etchings of Roman buildings began to appear in 1756 and presented a new and exciting vision of Roman architecture.
Designs for his furniture were later illustrated in his folio published in 1769," Diverse maniere d'adornae i cammini ed ogni altra parte degli edici".. Commissins included furniture for the Quirinal Palazzo in Rome from Cardinal G.B. Rezzonico, nephew of Pope Clement XIII. The ormolu-enriched marble centrepiece reflects the late eighteenth century Italian fashion for architectural banqueting-table services modelled on classical landscapes; and comprises a domed circular Doric temple, with a triple-stepped crepidoma plinth and a cornice enriched by oak-festooned bucrania. Such marble temples feature in Luigi Righetti's 1817 watercolour of a banqueting desert service preserved in the Museo di Roma; while the same ormolu frieze features on a clock executed by the celebrated Roman marble sculptor and inlayer Giacomo Raffaeli (d.1836) in the year 1804, about the time that he established workshops in Milan. (see A. Gonzlez-Palacios, Il Tempio del Gusto, Milan, 1984, figs. 267 and 296).
The bacchic tripod comprises addorsed lions emerging from thyrsus-finialed Roman acanthus, while its pearled and hollow-sided altar plinth rests on a coloured marble pedestal with golden lion-paw feet. These plinth-supported paws feature on an 1803 marble centrepiece by Francesco and Luigi Righetti preserved in the Reggia di Capodimonti, Naples (see Gonzalez / op cit fig 271)
El trpode Bquico est compuesto por leones que surgen de remates romanos en hojas de acanto, mientras que el plinto de huecos laterales, como los altares, descansa en un pedestal de mrmol de diferentes colores y garras de len. Este tipo de garras aparecen en una pieza central de mrmol hecha por Francesco y Luigi Righetti en 1803, conservada en la regin de Capodimonte, Npoles (ver Gonzlez/ op cit fig 271).
The present Tempieto is designed in the neo-classical taste popularised by the classical polemicist Giovanni Battista Piranesi, architect, designer and engraver of Roman views (1720-1778), he was born near Venice and trained there, later settling in Rome in 1745. His major work, "Le Antichita Romanae", a series of etchings of Roman buildings began to appear in 1756 and presented a new and exciting vision of Roman architecture.
Designs for his furniture were later illustrated in his folio published in 1769," Diverse maniere d'adornae i cammini ed ogni altra parte degli edici".. Commissins included furniture for the Quirinal Palazzo in Rome from Cardinal G.B. Rezzonico, nephew of Pope Clement XIII. The ormolu-enriched marble centrepiece reflects the late eighteenth century Italian fashion for architectural banqueting-table services modelled on classical landscapes; and comprises a domed circular Doric temple, with a triple-stepped crepidoma plinth and a cornice enriched by oak-festooned bucrania. Such marble temples feature in Luigi Righetti's 1817 watercolour of a banqueting desert service preserved in the Museo di Roma; while the same ormolu frieze features on a clock executed by the celebrated Roman marble sculptor and inlayer Giacomo Raffaeli (d.1836) in the year 1804, about the time that he established workshops in Milan. (see A. Gonzlez-Palacios, Il Tempio del Gusto, Milan, 1984, figs. 267 and 296).
The bacchic tripod comprises addorsed lions emerging from thyrsus-finialed Roman acanthus, while its pearled and hollow-sided altar plinth rests on a coloured marble pedestal with golden lion-paw feet. These plinth-supported paws feature on an 1803 marble centrepiece by Francesco and Luigi Righetti preserved in the Reggia di Capodimonti, Naples (see Gonzalez / op cit fig 271)