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拍品專文
These five drawings relate to the four statues that embellish the attic storey of the Marino Casino, that was built for James Caulfeild, 1st Earl of Charlemont (1728-99) by Sir William Chambers, R.A. between 1758 and 1776. Chambers had already conceived the design as an end pavilion for Harewood House, but it was never executed. Built in the grounds of Marino House, which was demolished in 1921, it cost Charlemont £60,000.
The Marino Casino was the first neo-classical building in Ireland and has been described as 'one of the most perfect buildings in Europe'. From the outside it appears like a one-storied Greek temple. However it actually comprises three storeys and a basement for servants. The building is based on a Greek cross with Doric colonnades. It is richly decorated with sculptural ornament and decorative carving. Urns and columns are both decorative and functional. The urns serve to hide the chimney pots while the columns hide drains. The entrance façade has a door that rises almost to the height of the columns, camouflaging the second storey. The windows are made of curved glass that reflects the exterior and hides the interior walls. On the north and south façades are steps, on the east and west façades are balastrades. Lions guard each corner. The top floor contains three ornate bedrooms and stairs to an attic.
Charlemont met Chambers, along with Cipriani and Vierpyl, in Rome on the Grand Tour. Chambers persuaded Cipriani to come to England. Both men were founder members of the Royal Academy. They worked together on the Casino and on designs for the gold State Coach, commissioned in 1760 for the Coronation of King George III. It appears that the vestibule at one time had a chiaroscuro by Cipriani. Chambers wrote to Lord Charlemont, 1768 'Cipriani and [Joseph] Wilton are both hard at it for your Lordship'. Lord Charlemont brought Vierpyl from Rome in 1756, having employed him to copy 78 antique busts and 22 statues, which Charlemont imported into Ireland. Simon Vierpyl (1725-1810) organised the erection of this lovely temple, and supervised or carved many of the exquisite details including the panels after the antique on the front of the panel supporting the four lions, the four statues of Ceres, Bacchus, Apollo and Venus, to which these drawings relate, and the swagged urn on the plinth on the south front (D. Newman Johnson, 'The Casino at Marino', Irish Arts Review, 1984, p. 22).
Three of the drawings in the present group are close to the completed sculptures, the two studies of Venus display some differences from the statue as executed, this is closer to the second, less finished of the two drawings, indicating that Cipriani may have altered his design, possibly at the suggestion of Charlemont.
The Marino Casino was the first neo-classical building in Ireland and has been described as 'one of the most perfect buildings in Europe'. From the outside it appears like a one-storied Greek temple. However it actually comprises three storeys and a basement for servants. The building is based on a Greek cross with Doric colonnades. It is richly decorated with sculptural ornament and decorative carving. Urns and columns are both decorative and functional. The urns serve to hide the chimney pots while the columns hide drains. The entrance façade has a door that rises almost to the height of the columns, camouflaging the second storey. The windows are made of curved glass that reflects the exterior and hides the interior walls. On the north and south façades are steps, on the east and west façades are balastrades. Lions guard each corner. The top floor contains three ornate bedrooms and stairs to an attic.
Charlemont met Chambers, along with Cipriani and Vierpyl, in Rome on the Grand Tour. Chambers persuaded Cipriani to come to England. Both men were founder members of the Royal Academy. They worked together on the Casino and on designs for the gold State Coach, commissioned in 1760 for the Coronation of King George III. It appears that the vestibule at one time had a chiaroscuro by Cipriani. Chambers wrote to Lord Charlemont, 1768 'Cipriani and [Joseph] Wilton are both hard at it for your Lordship'. Lord Charlemont brought Vierpyl from Rome in 1756, having employed him to copy 78 antique busts and 22 statues, which Charlemont imported into Ireland. Simon Vierpyl (1725-1810) organised the erection of this lovely temple, and supervised or carved many of the exquisite details including the panels after the antique on the front of the panel supporting the four lions, the four statues of Ceres, Bacchus, Apollo and Venus, to which these drawings relate, and the swagged urn on the plinth on the south front (D. Newman Johnson, 'The Casino at Marino', Irish Arts Review, 1984, p. 22).
Three of the drawings in the present group are close to the completed sculptures, the two studies of Venus display some differences from the statue as executed, this is closer to the second, less finished of the two drawings, indicating that Cipriani may have altered his design, possibly at the suggestion of Charlemont.