Felice Giani Drawings at the Cooper-Hewitt Museum

Felice Giani Drawings at the Cooper-Hewitt MuseumAuthor(s): Phyllis Dearborn MassarSource: Master Drawings, Vol. 14, No. 4 (Winter, 1976), pp. 396-420+443-466Published by: Master Drawings AssociationStable URL: http://www.jstor.org/stable/1553392Accessed: 14/05/2009 18:11

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1. Detlev von Hadeln, Die Zeichnungen von Antonio Canal genannt Canaletto, Vienna, I930, no. I4.

2. The other versions could be by imitators (I did not see the originals). On this see W. G. Constable, Canaletto, Oxford, I962, n, nos. 34 and 35, pp. 196-97.

3. Reproduced and discussed in Edoardo Arslan, "New Findings of Canaletto,' Art Bulletin, xxx, 1948, pp. 225-26, fig. 2. Also Constable, no. 35.

4. Compare Reception of the Imperial Ambassador di

Bolagno of ca. 1729 in the Crespi Collection in Milan, the two pendants of 1730 in the collection of the late Lord Egerton of Tatton (Constable nos. 97 and I I ), and the two vedute of ca. 1730 at the Museum of Fine Arts in Houston (Constable, nos. 166 and 220). Egidio Martini, La Pittura Veneziana del Settecento, Venice, I964, pl. 200, pp. 92, 250, places the Borletti version in Canal's "periodo felice,' which in his view seems to fall in the I730's or 1740's.

5. Reproduced in the Burlington Magazine, June, 1971, p. xxxII.

6. See two sheets of figure studies at the printroom in Berlin-Dahlem (Constable no. 837), the figure studies at the Boymans Museum in Rotterdam (Con- stable nos. 839, 840), and the sheets in private collections reproduced in Alessandro Bettagno, Venetian Drawings of the Eighteenth Century, Venice, 1972, no. 37.

7. The inscription reads: Jo Zuanne Antonio da Canal, Ho fatto il presente disegno, delli Musici che canta nella Chiesa Ducal di S. Marco in Venezia in etta de Anni 68 Cenzza Ochiali, Lanno 1766.

8. Reproduced in Jacob Bean and Felice Stampfle, Drawings from New York Collections. The i8th

Century in Italy, New York, I97I, no. I59; also Constable, no. 560.

9. For Constable, II, pp. 454-55, the Scholz drawing (previously Paul Wallraf collection) preceded the version at the Victoria and Albert Museum.

10. Vittorio Moschini, Drawings by Canaletto, New York, I963, p. 20, no. 60.

11. Inv. CAI 423. In the present reproduction, the chiaroscuro came out too intense.

12. On these drawings and for the story of their disper- sion, see Constable, I, pp. 585-89; Tito Miotti, "Tre

disegni inediti del Canaletto' Arte Veneta, xx, I966, pp. 275-78; Alessandro Bettagno, Venetian

1. Detlev von Hadeln, Die Zeichnungen von Antonio Canal genannt Canaletto, Vienna, I930, no. I4.

2. The other versions could be by imitators (I did not see the originals). On this see W. G. Constable, Canaletto, Oxford, I962, n, nos. 34 and 35, pp. 196-97.

3. Reproduced and discussed in Edoardo Arslan, "New Findings of Canaletto,' Art Bulletin, xxx, 1948, pp. 225-26, fig. 2. Also Constable, no. 35.

4. Compare Reception of the Imperial Ambassador di

Bolagno of ca. 1729 in the Crespi Collection in Milan, the two pendants of 1730 in the collection of the late Lord Egerton of Tatton (Constable nos. 97 and I I ), and the two vedute of ca. 1730 at the Museum of Fine Arts in Houston (Constable, nos. 166 and 220). Egidio Martini, La Pittura Veneziana del Settecento, Venice, I964, pl. 200, pp. 92, 250, places the Borletti version in Canal's "periodo felice,' which in his view seems to fall in the I730's or 1740's.

5. Reproduced in the Burlington Magazine, June, 1971, p. xxxII.

6. See two sheets of figure studies at the printroom in Berlin-Dahlem (Constable no. 837), the figure studies at the Boymans Museum in Rotterdam (Con- stable nos. 839, 840), and the sheets in private collections reproduced in Alessandro Bettagno, Venetian Drawings of the Eighteenth Century, Venice, 1972, no. 37.

7. The inscription reads: Jo Zuanne Antonio da Canal, Ho fatto il presente disegno, delli Musici che canta nella Chiesa Ducal di S. Marco in Venezia in etta de Anni 68 Cenzza Ochiali, Lanno 1766.

8. Reproduced in Jacob Bean and Felice Stampfle, Drawings from New York Collections. The i8th

Century in Italy, New York, I97I, no. I59; also Constable, no. 560.

9. For Constable, II, pp. 454-55, the Scholz drawing (previously Paul Wallraf collection) preceded the version at the Victoria and Albert Museum.

10. Vittorio Moschini, Drawings by Canaletto, New York, I963, p. 20, no. 60.

11. Inv. CAI 423. In the present reproduction, the chiaroscuro came out too intense.

12. On these drawings and for the story of their disper- sion, see Constable, I, pp. 585-89; Tito Miotti, "Tre

disegni inediti del Canaletto' Arte Veneta, xx, I966, pp. 275-78; Alessandro Bettagno, Venetian

Drawings of the Eighteenth Century, Venice, 1972, no. oo.

13. In two of the sketches, red chalk alone is used; but it is used for outlining, like the ink in the others.

14. Constable, I, pp. 586-89, considers that the fifteen Algarotti drawings that found their way into the Viggiano collection were made over a period of many years, but that most of the sixteen in the Brass collection were done around I745-46.

15. Scholz's South Pulpit in San Marco (Constable no. 560).

16. F. J. B. Watson, "Some Unpublished Canaletto Drawings of London,' the Burlington Magazine, November, 1950, p. 316.

17. Reproduced in Constable, no. 71 I.

18. Helena Kusakova, Italska renesancni a barokni Kresba ze sbirek Moravskta Galerie, Brno, I969, no. 7.

Drawings of the Eighteenth Century, Venice, 1972, no. oo.

13. In two of the sketches, red chalk alone is used; but it is used for outlining, like the ink in the others.

14. Constable, I, pp. 586-89, considers that the fifteen Algarotti drawings that found their way into the Viggiano collection were made over a period of many years, but that most of the sixteen in the Brass collection were done around I745-46.

15. Scholz's South Pulpit in San Marco (Constable no. 560).

16. F. J. B. Watson, "Some Unpublished Canaletto Drawings of London,' the Burlington Magazine, November, 1950, p. 316.

17. Reproduced in Constable, no. 71 I.

18. Helena Kusakova, Italska renesancni a barokni Kresba ze sbirek Moravskta Galerie, Brno, I969, no. 7.

Felice Giani Drawings at the

Cooper-Hewitt Museum

Phyllis Dearborn Massar

DURING THE PAST two years it has been possible for me to devote some concentrated research to the one thousand-odd drawings attributed to Felice Giani

(1758-1823) at the Cooper-Hewitt Museum of De-

sign. These drawings, along with a great number of the collection's other Italian drawings, were pur- chased by the Hewitt sisters from Giovanni Piancas- telli (I845-I926), for many years Director of the

Borghese Gallery, Rome. Piancastelli apparently amassed his drawings during the last quarter of the nineteenth century and sold them off in Rome in 190I. A large group of Giani drawings came to

Cooper-Hewitt in that year; others which had gone from Piancastelli's collection to that of Mr. and Mrs. Edward D. Brandegee were rejoined to the Cooper- Hewitt holdings in 1938.

Felice Giani Drawings at the

Cooper-Hewitt Museum

Phyllis Dearborn Massar

DURING THE PAST two years it has been possible for me to devote some concentrated research to the one thousand-odd drawings attributed to Felice Giani

(1758-1823) at the Cooper-Hewitt Museum of De-

sign. These drawings, along with a great number of the collection's other Italian drawings, were pur- chased by the Hewitt sisters from Giovanni Piancas- telli (I845-I926), for many years Director of the

Borghese Gallery, Rome. Piancastelli apparently amassed his drawings during the last quarter of the nineteenth century and sold them off in Rome in 190I. A large group of Giani drawings came to

Cooper-Hewitt in that year; others which had gone from Piancastelli's collection to that of Mr. and Mrs. Edward D. Brandegee were rejoined to the Cooper- Hewitt holdings in 1938.

[396] [396]

First, a few words about Felice Giani himself. This

prolific and peripatetic artist has been widely considered a Roman painter, and, indeed, important painted decorations by him are in the Palazzo Altieri, the Palazzo di Spagna, and the Palazzo del Quirinale. But thanks to efforts by various Italian scholars,' from the early 1950's into present days, we now know that Giani painted in villas and palaces in Venice, Ra-

venna, Ferrara, Bologna, Faenza, Forli, Imola, and other cities and towns in Emilia and Romagna. In

fact, he is sometimes called "II Faentino" because of his artistic prominence in Faenza. He is thought to have made several trips to France, and to have worked at the Tuileries Palace and at Malmaison; it is certain that he decorated a villa at Montmorency, near Paris.

Amazingly, Giani was able to weather all the political storms and upheavals of this turbulent period of revo-

lutions, formations of Italian republics, Napoleonic wars, victories, defeats and new regimes-seemingly never lacking clients who coveted paintings for their walls and ceilings.

Felice Giani was celebrated for his work in tempera on plaster, but he also painted in gouache or in oil on canvas (few easel paintings are known). Giani's figurative paintings were applied to the walls and/or ceil-

ings and surrounded by ornate frames, stucco panels, grisaille painted imitations of stuccos, or painted ornament panels. The work necessitated a shop of three or four painters plus stuccatori as needed, and often his contracts with his patrons included food, wine and

lodgings for the troupe. From about 1797 onwards Giani's most important collaborator was Gaetano Ber- tolani ( 762-I 856),2 who was responsible for the non-

figurative parts of the decoration, and who, according to account books kept by Giani, received half the fees. Many of these richly decorated rooms have suc- cumbed to wartime destruction, overpainting, remod-

eling, and natural disasters, but much remains, and

exciting work of rediscovery is proceeding in Italy, especially in Emilia. Many of the Cooper-Hewitt drawings may prove helpful in the reconstruction of Giani's total ceuvre.

Giani's figurative style in both the paintings and the drawings can be loosely considered Neo-Classical. In Italy he is sometimes termed a "pre-Romantic' be-

cause of his dramatic chiaroscuro and his portrayal of

figures in violent action. Although he must have been aware during his working career of the major Neo- Classical painters in both Italy and France, his many sketchbook studies after paintings seem to prove his

greater interest in the compositions and figure styles of sixteenth- and seventeenth-century painters.

The Giani drawings at Cooper-Hewitt, roughly di- vided according to subject, yield the following results. There are 544 figurative compositions, often with several such compositions for a single ceiling or wall on one sheet. Their importance lies in the fact that most Italian collections contain very few such sheets. They are not records of paintings, but obviously ideas in the

study stage, or working bozzetti for use in making the ultimate painted panels, which, where comparable, often exhibit changes or refinements. There are 212 sketchbook leaves, many with drawings also upon the

versos, and including studies of figurative compositions and architectural details; 158 sheets of architectural decoration or ornament motifs; 7 of architecture; 7 of furniture, including a coach; 9 of vases and ves-

sels; 28 of monuments; 1 of theater sets or curtains; 12 of landscapes; Io views; 15 of animals; 5 of Napo- leonic portraits or medals. A certain amount of attri- tion should be allowed for, since old attributions to Giani of some drawings can be legitimately doubted, but this would probably only delete 25 to 50 from the considerable total.

Presented here is a selection from the collection of Giani drawings, showing its variety, but also report- ing whatever heretofore unknown information has been gleaned in the course of recent researches,3 en-

abling certain of the drawings to be related securely to Giani's career and projects. For the sake of order, I shall proceed chronologically, insofar as is practicable.

It has not been possible so far to relate any of the

Cooper-Hewitt Giani drawings to his painted work in Rome during the periods I783-86, nor I788-93. The drawing to which at this time the earliest date-

I794-may tentatively be assigned is a large and

highly finished landscape in black chalk and gray wash showing a river valley, a hilltop town, and distant mountains. (Cat. i, P1. I7). Although larger and

utilizing wash, the drawing is related in style and

[397]

Fig. 1 FELICE GIANI.

Ceiling Painting. Sala Ottagonale.

Faenza, Palazzo Milzetti.

subject to a group of twenty-two black chalk draw-

ings from an album called Da Faenza a Marradi in the Carlo Piancastelli4 Collection at the Biblioteca Comunale, Forli. This group of drawings and our

drawing recall a pleasant interlude in villeggiatura for Giani and his shop in 1794, the year they painted the decorations in the Palazzo Laderchi, Faenza.5

All the Da Faenza a Marradi drawings bear in-

scriptions in black chalk in Giani's hand indicating the locations depicted. No. 206, of a modest house, is inscribed abitazione di Giani a Brisighella 1794. No.

207 shows the interior of the house with four men

taking their ease or smoking around a table laden with wine jugs, one standing man, and an artist

sketching, seated on a bed; the inscription reads camera e amici di Giani a Brisighella and the date 1794 is inscribed above the window. Views of Brisighella,6

of Marradi, of a village called Fognano, of the mountains, and of the river Lamone make up the rest of this album, so Giani, while enjoying a respite from arduous indoor painting chores, wandered the coun-

tryside, but did not cease to practice his art. The ter- rain in our drawing most resembles that in no. 212 in the Forli album, inscribed Veduta di Fognano. Pre-

sumably in our drawing the village is Fognano and the river is the Lamone, which flows nearby.

Felice Giani's role as a landscape draughtsman warrants further study. In the Cooper-Hewitt Collec- tion are several other examples, including the four fine brown ink and wash views published in the cata-

logue of the 1973 exhibition at the Victoria and Albert Museum.7

The year 800o is the earliest date which can be ascribed with certainty to any of the Cooper-Hewitt Gianis. Two drawings of monuments, one with a

standing figure, and one with an equestrian statue, both figures dressed in classical armor (Cat. 2a and 2b, Pls. I8 and 19) are, I believe, related to the gran- diose unrealized project for a Foro Bonaparte in Milan. Evidence for their connection to the project derives from a drawing once owned by Richard Wunder, dated by him I800, and published as "De-

sign for Two Monuments for the Proposed Foro Bona-

parte in Milan"'8 The pen and wash techniques are

similar, as is the scale relationship of the staffage figures to the monuments, and the treatment of the sky. In the published engravings of the project by the architect Giovanni Antonio Antolini, Progetto sul Foro doveva eseguirsi in Milano, ca. I8o , four locations for monuments or statues can be seen on the

plan. In the drawing owned by Mr. Wunder a third

large pedestal with a sculptured standing figure seen from the back is sketched in the center of the back-

ground. This figure resembles in pose and gesture a

possible rear view of the figure in Cat. 2a, P1. 8. Al-

though one Cooper-Hewitt drawing, 2a, has a suggestion of crenellated walls in the background, while the Wunder drawing has classical architecture, this may be explained by the fact that Antolini's scheme would have replaced with classical buildings the medieval walls of the Castello Sforzesco, which are of course, still extant.9

[398]

Fig. 2 FELICE GIANI and Shop. Ceiling Detail. Sala Ottagonale.


Most of the years 1802-05 were spent by Giani, the lesser members of his shop, and his principal collaborator, the painter of decorative motifs, Gaetano Ber- tolani, on the lavish decorations for the various rooms on both floors of the palace built by Conte Francesco Milzetti at Faenza. In the Cooper-Hewitt collection are drawings by Giani for the paintings done by him in four of the five principal rooms on the piano nobile.

All these thirty-two drawings might be considered bozzetti, and many have been squared off for use dur-

ing the painting process. In all of them Giani used

pen and brown ink, and brown or gray-brown wash, leaving areas of white paper to represent the high- lighted brilliant colors of his rich paintings, presumably in his specialized tempera technique. None of

the drawings is highly finished; instead all are rendered with a bravura shorthand which forecasts their dramatic painting effects, while allowing for possible compositional changes. In general the finished paintings are very close to the drawings. This set of Giani

drawings is typical of many other Cooper-Hewitt groups which cannot as yet be related to specific palace, villa, or public building decorations.

From the year I 802 is the octagonal squared-off ink and wash drawing of Apollo in his chariot, with Aurora (Cat. 3, Pl. 20) which corresponds in virtually all details to the central ceiling painting in the sala

ottagonale or anticamera in the Palazzo Milzetti (Fig. I). Certain minor variations may be noted, such as the addition of a lyre held by Apollo in his left hand,

[399]

Fig. 3 FELICE GIANI and Shop. Galleria dell'Iliade.


and some changes in the number, location and func- tion of the supporting cast of putti and followers of the chariot. Giani has almost succeeded in the mono- chrome drawing in forecasting the warm radiance of the glowing oranges and yellows of the sunburst sur-

rounding Apollo's chariot in the painting.10 According to Ennio Golfieri in La Casa faentina

dell'Ottocento" the architect Giovanni Antonio An- tolini (I756-I841), with whom Giani had apparently been associated on the Foro Bonaparte project, in

1799 succeeded Giuseppe Pistocchi (I744-1814), the architect of the palace's structure. Golfieri credits to Antolini the inventive interior architecture of this

antechamber, with its octagonal canopy-ceilinged space set compactly within the square room, but he writes that Giani was responsible for the decorative

program and the furnishings. He illustrates the room

by reproducing a romantic drawing of it ca. I830 by Romolo Liverani12 (I809-72), which unfortunately omits all but a slice of the frame of the central Giani

painting. However, a detail photograph (Fig. 2) show-

ing a relief, a frieze, two column capitals, the cornice and ceiling segments of the sala ottagonale reveals what the Liverani drawing merely hints at-the

painted lunettes in grisaille which terminate at their widest point the elongated triangular stuccoed segments of the canopy ceiling at a point just above the cornice. The subjects of these sixteen lunettes are

winged putti, or genii, bearing the symbols of the four seasons and of the zodiac; Giani drawings for all sixteen lunettes are in the collection (Cat. 4a through 4P, P1. 21).

[400]

Giani's style in these drawings, as in the painted lunettes, is very fluid, emphasizing movement and

swirling draperies. This style, the di sotto in su fore-

shortening, the putti types, and even their poses are derived from the putti painted by Raphael's shop in the triangular outer segments of the feigned canopy ceiling in the Sala di Psiche, Palazzo Farnesina, Rome. The Faresina's putto with mythic beasts is almost directly quoted by Giani in his Leo (Cat. 4g, P1. 21), one of the mythic beasts providing the requisite lion. The two putti bearing the club of Hercules in one of the triangles were found adaptable for the closer embrace of the twins in the lunette of Gemini. From the putto riding belly down on Cerberus in the Farnesina triangle comes Giani's to do the same on the bull in his Taurus. And from the same triangle comes the frontally viewed putto holding Pluto's fork,

adapted by Giani as a goat rider in his Ares lunette. Further derivations can be cited. In all cases the putti are posed in the same sense as those in the Sala di Psiche triangles.

Each of Giani's drawings for the lunettes has been

squared off, as was the drawing for the octagonal ceil-

ing painting in the same room. In addition, the con- dition of the drawings, which are worn, torn and

stained, indicate their probable direct use by Giani in the creation of the paintings. An interesting detail instructs us as to Giani's artistic considerations. Occu-

pying a different location on each sheet is a small

symbol in black chalk-a circle and two diverging lines, resembling a compass. At first puzzling, this

symbol is an indication of a directional light source to

guide the individual modeling of each rotund form and its cast shadow. It is found on other Giani draw-

ings in the collection. The versos of this set of drawings are also a source

of information. Most have inconsequential drawings, sketches, or lists, some continued from one to the

other, thus evidencing that some were once part of the same sheet. The drawings on the versos thought to be expendable, the sheets were apparently cut

roughly to their present size for the purpose of mak-

ing this series of drawings, since the division of words in the recto inscriptions of Cat. 4d and 4m conforms to the present edges of the sheets. The drawings appear to have been laid down in an album at some time, and some have been slightly cut down, thus los-

ing part of their recto inscriptions. On the verso of Cat. 4a appears the name and address of Michele

Keck, significant because Giani had lodgings with this painter from the Tyrol in Rome in the early I780's. Much later Keck collaborated with Giani on the painted decorations of the Teatro Valle in Rome. Five days before his death in 1823, Giani wrote a codicil to his will in which he left to Keck his house in Rome, his books, his paintings and his drawings, but it is not known for certain whether the codicil was enforced.13

The principal room on the piano nobile of the Palazzo Milzetti is the Sala delle Feste, also called the Galleria dell'Iliade, or Galleria d'Achille.14 The decoration includes rich stuccoes and grisaille paintings of classical deities and victories on both the walls and

ceiling. The story of the exploits of Achilles during the Trojan war is told in five rectangular paintings set into the flattened barrel vault of the ceiling, and in two spectacular elongated lunettes above the cornice in the end walls, all these in richly colored figurative compositions by Giani himself (Fig. 3). The interpre- tations of the seven episodes are correctly Homeric. Seven drawings of these subjects, on three sheets, with inscriptions by Giani explaining them, are in the collection. (Cat. 5, Pl. 22, Figs. 4 and 5).

The drawings have for the most part been carefully followed in the paintings. However, in the painting of Achilles dragging the body of Hector, Achilles does not look back at the body, but forward towards the added winged Victory floating with the plunging horses. Two figures have been added at the left in the lunette of Priam begging for the body of Hector (Cat. 5c). The biggest change from bozzetto to painting is in the scene in which Thetis shows the newly forged armor to Achilles, who sits mourning beside the bier of Patroclus (Cat. 5b). The painting reverses the com-

position of the drawing from right to left, and Thetis floats in from the left holding the shield, helmet and arms, rather than pointing to them on the ground at the right. The style of these compositions-more evident in the paintings than in the quicker, flashier

drawings-is quite soberly Neo-Classical, and seems to derive from Gavin Hamilton's Iliad paintings, by way of a series of engravings by Domenico Cunego, published in I764.15

The fine ceiling of the Sala d'Ulisse in the Palazzo

[401]

Fig. 4 FELICE GIANI. Achilles Dragging the Body of Hector. End Wall, Galleria dell'Iliade.


Fig. 5 FELICE GIANI. Priam Begging for the Body of Hector. Ceiling, Galleria dell'Iliade.


Milzetti has green, orange, blue, and white bands and frames of Greek key, foliage and grotesque decoration. Within these framing borders are nine paintings by Giani telling the story of the return of Ulysses to Ithaca; there are three oval paintings, two tondi, and four trapezoids. In his preparatory drawing for the

ceiling paintings Giani has compressed them all on one sheet (Cat. 6, P1. 23, Fig. 6), and supplied cap- tions for each. Both the scenes depicted and the

explanations accurately transcribe Homer's poetic de-

scription of the events. A few changes may be noted

between the bozzetto and the paintings, such as the addition of the helmeted Minerva in two of the trapezoidal compositions, but in general Giani seems to have followed his own first thoughts, and has man-

aged to invest the paintings with the same movement and verve found in the more direct drawings.

In the central oval of Ulysses and Penelope pre- paring to go to their nuptial bed, accompanied by Minerva and a maidservant with a torch, the bridal

pair, the servant, and the maids in the left back-

ground making the bed were directly derived from a

[402]

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. S u . -.

s ,i su

"~ ...? '? .: -..I............~.~. - - ... . .. z~ "' ~ '. . ~

Fig. 6 FELICE GIANI. Ulysses and Penelope Go to the Nuptial Bed. Ceiling, Sala d'Ulisse.


print by Theodore van Thulden, no. 47 from a numbered set of fifty-eight prints after Primaticcio's now lost frescoes in the Galerie d'Ulisse, Fontainebleau. Giani added the floating Minerva at the right. A

photo and a reproduction show that Giani copied two other prints from the set in very accurate black chalk

drawings. In the collection of Giani drawings at the Biblioteca Comunale, Forli, no. 690 is a copy of van Thulden's no. 54, and no. 714 is a copy of van Thul- den's no. 48. The other thirty drawings in the series seem also to be after van Thulden, since they are similar in style and technique, though there was not the

opportunity to make a rigorous comparison. In the

ceiling compositions, the scene of Penelope greeting Telemachus seems also to be based on van Thulden's no. 46 in his set after Primaticcio.

Also from the years I802-05, and in the Palazzo Milzetti, Faenza, is the splendid, somewhat austere

ceiling of the room on the piano nobile called the Sala di Numa Pompilio. Fine white stucco panels of foliate ornament and lunettes of armor, shields, and

trophies of war frame Giani's eleven paintings, in-

cluding a large central horizontal octagon, flanked at either long side by two tondi. Two more tondi are

opposite the ends of the central painting, while four

square compositions are set at an angle in the four corners of the ceiling. The collection has eleven Giani

drawings for these paintings. (Cat. 7, Pls. 24 and 25,

Figs. 7 and 8). The program may be evidence of the learning of

Conte Milzetti, for the episodes from the life of the

probably fictitious Numa Pompilius, the second king of Rome, chosen to serve after the death of Romulus, are taken from Plutarch. Again, under his drawings, Giani has written brief descriptions of the scenes por- trayed; they are accurate illustrations of Plutarch's text. Perhaps because of the solemnity of the scene- Numa, with Lycurgus and Solon, was celebrated as one of the three chief law-givers of the ancient world-the compositions do not abound in movement, and the paintings are in more somber than usual dark blues, greens, and browns, effectively set off by the white stuccoes.

A few changes may be noted when comparing the

[403]

Fig. 7 FELICE GIANI. The Roman Ambassadors Ask Numa to Reign. Ceiling, Sala di Numa Pompilio. Faenza, Palazzo Milzetti.

drawings with photographs of the paintings. The

proud vestal about to be whipped by a priest in one of the roundels assumes a more submissive pose in the

painted version. Numa plunges eagerly toward the

nymph Egeria in the drawing of the subject, while his pose is much graver in the painting. A central

standing figure has been omitted from the painted composition of the consecration of the vestals. Modi- fied from the drawing, the vestal buried alive assumes a more pensive and appealing gesture with her head

resting on her hand in the painting.16 One of Giani's compositions, the tondo illustrating

the finding of the Sybilline books in the tomb of Numa (Cat. 7i) is based on a grisaille by Raphael of the same subject below the "Parnassus" in the Stanza della Segnatura, or on a Marcantonio Raimondi print (Bartsch 207) after it.17 Giani's painting and draw-

ing are in the same direction as the Raphael and the Raimondi. Compare the pose of the standing warrior in classical dress, that of the bearded old man who

reaches into the casket but looks back, and of the two

young men with curled hair who peer into the casket. Thus Raphael provides a source for Giani's Neo- Classicism. Giani had ample opportunity for study- ing Raphael paintings in the Vatican, and drawings after them are in the Cooper-Hewitt collection,18 for he worked there in the 1780's with Christopher Un-

terberger on the task of making encaustic copies of

Raphael's loggie, commissioned by Catherine II of Russia for the Hermitage.19

A Bolognese diarist, Giuseppe Guidicini, provides a clue to one of Felice Giani's activities during the

year I805.20 Guidicini gives a very full account of events during the June 2I to 25 visit to Bologna by Napoleon-Emperor of France for a year, and, since

May 26, I805, King of Italy. Writing on June I8, the diarist describes the preparations, ceremonies

planned, and decorations to celebrate the visit, includ-

ing a specially constructed triumphal arch erected outside the Porta San Felice. Guidicini says the arch

[404]

was of the ionic order, decorated with bas-reliefs and

inscriptions, and designed by the engineers Giovan Battista Martinetti (probably the Martinetti for whose

Bologna house Giani painted various decorations, all of which have been lost),21 Giuseppe Tubertini and Giovanni Bassani. The machinery was by Antonio Peli, the painting and bas-reliefs (presumably also

painted) by Felice Giani, and the decorations by Gae- tano Bertolani.

To date no visual evidence of this decorated tem-

porary arch has come to light, but a group of eight pen and brown ink Giani drawings (on six sheets) in the collection may plausibly be for the decorations, given their motifs and inscriptions. (Cat. no. 8, Pls. 26 and 27). The drawings are either squared off or have black chalk lines relating them to an arch; presumably they show the parts of the decoration to be

painted by Giani himself. Cat. 8a (P1. 26) and 8b show standing winged Victories with trophies of war, and facing, respectively, right and left. The Victory facing right writes on a shield the date I805. Cat. 8e and 8f each have two roundels with winged Victories,

again the two pairs facing, respectively, right and left. Above the upper roundels on each sheet is the black chalk inscription fama della guerra, and the Victories, holding wreaths, ride chariots drawn by pairs of horses with, in the one a triangular pylon, in the other a rostral column, in the background. In the lower roundel of 8e a winged Victory flies in from the left to reward with a wreath a seated river god, and the inscription above is Reno, the name of a river which flows through Bologna. In the corresponding lower roundel of 8f a winged Victory flies in from the

right to reward a seated Minerva, surrounded by symbols of the arts and sciences. The inscription above is Felsina, the Etruscan name for Bologna.

The other two drawings connected with this project, Cat. 8c (P1. 27) and 8d, are of flying Victories with trophies in the facing spandrels of an arch. In each drawing a suggestion of the keystone with

lapped scale decoration has been sketched in black

chalk, and an arched architectural member drawn below the spandrel. Cat. 8c bears the black chalk in-

scription fama del arco, referring to the Victory in the left spandrel.


The Finding of the Sybilline Books in the Tomb of Numa. Ceiling, Sala di Numa

Pompilio.


The drawing style, taken together with the theme of triumph in war, and the allusions to Bologna, 805, in the inscriptions seem to me to link these drawings conclusively to the triumphal arch built to honor

Napoleon. Dr. Rudolph Berliner, who originally ac- cessioned them, noted that the watermarks were the same on four of the sheets, and commented that several of them had once been joined, then later cut

apart. They have for some time been matted together in one large mat, together with two others which I think do not necessarily belong with them (1901-39- I 94 and -i 195), their subject being more commonly used Giani motifs of kneeling Victories, bulls and candelabra.

An interesting sidelight to the event itself is that Antonio Aldini, for whose palaces and villas Giani did decorations, was the leader of the Bolognese dele-

[405]

gation which greeted the Emperor near the arch outside the Porta San Felice. During Napoleon's sojourn Aldini is said to have taken him to the hilltop site of his future Neo-Classical villa, and on June 29th he was named secretary of state for the Kingdom of Italy, his residence to be in France.22

Among the Giani drawings in the collection are a set of nine which are important not as large or strik-

ing examples of Giani's style, but rather for what they tell us about the commission and the working meth- ods of Giani and his shop. All nine relate to a suite of rooms in the Palazzo Quirinale,23 the Appartamento Napoleonico, which were redecorated sumptuously in I812 for a visit to Rome by the Emperor Napo- leon-a visit which political events and military cam-

paigns prevented. A great many artists participated in the project, and a large part of the work remains.

In all of the nine drawings (Cat. 9a through 9i, Pls. 28 and 29) ruled black chalk lines indicate the

organization of the ceilings or of the vault panels, the

spaces to be filled ultimately by rich stucco and gilt decoration, moldings, friezes, and central paintings. On identical greenish-beige paper, and in gray ink and delicate gray wash, Giani has drawn only the figurative compositions he himself was to paint, and is documented as having painted. Other documents name Gaetano Bertolani, Giani's working partner, as

having painted other parts of the decoration.24 Some of our drawings form a valuable record of decorations which have since disappeared.

A group of four drawings (Cat. ga, b, c, d), which were probably once part of a larger sheet later cut

apart, are bounded by ruled lines in trapezoidal form, each trapezoid containing a horizontal octagonal com-

position flanked by tondi. These four correspond to the four trapezoidal vaults in the ceiling of the salone d'onore, also called the sala della marchesa,25 below which runs the celebrated Thorwaldsen frieze, The

Triumph of Alexander in Babylon. These ceiling decorations remain intact. The subjects of the four

octagonal compositions are Strength, Justice, Wis- dom and Generosity. Four tondi contain Victories, and four trophies of war.

For the Gabinetto Dedicato alla Guerra,26 Giani's

assignment included the central ceiling painting, the

Triumph of War. Giani's drawing (Cat. 9e) shows the whole rectangular ceiling in plan, with its thirteen

compartments, in each of which he himself executed

paintings. The central horizontal panel contains a

composition crowded with the movement of mounted warriors and foot-soldiers in classical dress surround-

ing a flying Victory who is about to crown an emperor in his chariot. The style of our drawing is very much like that of the painted version, which Ternois describes as having been painted with the point of the brush and appearing almost to have been improvised. The corner compartments of the ceiling contain oc-

tagonal compositions of standing Victories, the four

squares in the centers of both long and short sides contain a composition in the form of a Maltese cross made by four winged genii, and the four remaining small vertical rectangles have a decorative composition with double pairs of eagle's wings.

A similar study for a companion room, the Gabi- netto Dedicato alla Pace,27 shows Giani again to be

responsible for the central horizontal rectangle and four octagonal compositions. (Cat. 9f, P1. 28). Again the central composition is full of action, and the draw-

ing style has been translated into the painting (Fig. 9). The theme of the four octagons is Athena as pa- tron of the arts-painting, sculpture, architecture, and poetry. Ternois says that it was Napoleon's inten- tion to make of Rome "the metropolis of the arts'28 These octagonal paintings have since been replaced by mirrors, although the panels of Painting and

Poetry are reported to be in storage in the Palazzo

Quirinale. For the Emperor's work room, the Grande Gabi-

netto di Sua Maesta l'Imperatore,29 Giani executed

only the paintings decorating the compartments of the curved ceiling vault, still extant, and our drawing (Cat. gg, P1 .29) shows all of these. Six tondi contain the seated figures of antique gods-Jove, Neptune, Mars, Hercules, Athena, and Hera (or, according to

Ternois, Vesta). In the corners and center of the long sides of the vault are compositions of flying Victories, executed in the paintings in grisaille on backgrounds simulating mosaics in gold. On the short sides, four vertical panels of trophies flank the tondi.

It seems plausible to suppose that the Cooper-

[406]

Fig. 9 FELICE GIANI. The Triumph of Peace. Ceiling, Gabinetto Dedicato alla Pace.

Rome, Palazzo Quirinale.

Hewitt drawing (Cat. gh) is for one of the two next rooms in the suite, two small cabinets30 in which the 1812 decoration has disappeared, since it is obviously for the coved ceiling vaults of a small room, since it

sylistically and technically corresponds to the others in the group, and since Giani decorated the rooms

immediately adjoining the two. On each of the four sides is a lunette with garlands and a central standing figure, flanked by two seated ones. One standing figure holds a lyre, but the attributes of the others are difficult to read in Giani's here almost minuscule scale. The blank background of the lunettes may im-

ply that they too, as in the previous room, were to be executed in grisaille on a background of simulated

gold mosaic. The coved corners are flanked by danc-

ing female figures holding wreaths above their heads. Another drawing (Cat. 9h) may be for the other

small cabinet, since it also shows the decoration of the coved ceiling vaults of a small room. In the center of each trapezoidal section of the vault is a small repre- sentation of an antique god in a chariot. On the long sides are Venus in a chariot drawn by doves, and Nep- tune in a horse-drawn chariot; on the short sides are

Apollo in his chariot drawn by horses, and Diana in hers, drawn by stags. Surrounding these central com-

positions are small pairs of decorative motifs-female

figures with herms, or with candelabra; winged genii; dancing genii; octagons with standing or dancing female figures; masks in tiny tondi.

For the last room of the suite in which Giani is documented as having worked, Napoleon's bedcham-

ber, dedicated to the hours, day and night, the collection unfortunately has no matching drawing.31

Soon after completing his work in the Palazzo

Quirinale, Giani, with Bertolani and others of his

shop, went to France to decorate the villa at Mont-

morency (near Paris) belonging to Antonio Aldini,

Secretary of State for the Kingdom of Italy. As previously noted, Aldini, a Bolognese lawyer who had been active in Jacobin political affairs in northern

Italy-sent on various missions to France, participat- ing in the governments of the Republics, the Cispa- dana and the Cisalpina-was named to his post in France shortly after Napoleon's visit to Bologna in

I805. In the same year Giani is documented as hav-

ing decorated Aldini's town palace in Bologna32 (decorations still extant), and in I8 o Giani probably worked in Aldini's famous Neo-Classical villa over-

looking Bologna, although the decorations probably never were completed and cannot be traced.

Aldini acquired the Montmorency villa in I8I0. Giani began his work there November i o, 8 12,33 and

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received his final payment in September, I813, ap parently having returned to Bologna in August of that year. No trace remains of the decorations, nor of the villa at Montmorency, since Aldini, in financial trouble after the fall of Napoleon, abandoned it to his creditors in I8I4; it was sold at auction in I817, and

pulled down in 818.

Fortunately some Giani drawings related to the villa and its decorations do exist. In the Gabinetto Nazionale Disegni e Stampe, Rome, are three draw-

ings of decorative compositions inscribed with the name of the villa, two bearing the date I812.34 Eight Giani drawings of the park, the villa, and the envi- rons of Montmorency, similarly inscribed and dated, are in the Museo Napoleonico, Rome.35 To these at least seven drawings from the Cooper-Hewitt collection may be securely added. The seven sheets are all inscribed as for Montmorency (although Giani's spell- ing of the French name is quixotically variable), and six are dated. (Cat. ioa through Iog, Pls. 30 and 31).

Inscriptions describing the figurative compositions are generally in black chalk, while the inscriptions giving the location and date are in ink and often say "dipinta' putting the event in the past tense; they were probably added by Giani when he had com-

pleted his work and was heading home with his draw-

ings. In differing media, all of our drawings except one are on the same thick very rough and rather dark

gray paper. Designated for the reception room were the seven

octagonal compositions telling the story of Romulus and Remus (Cat. ioa). The camera di compagnia decorations apparently encompassed four Giani paintings-vertical octagons containing female figures representing the virtues of Justice, Prudence, Strength and Vigilance, Cat. iob, P1. 30), this sheet in the usual brown ink and gray-brown wash. The drawing inscribed for the dining room has brown ink and brown wash figures of twenty-four putti engaged in

every conceivable putto activity (Cat. loc), perhaps used as a frieze. An antechamber was also decorated with putti, this time in four square paintings show-

ing putti harvesting grapes (Cat. Iod). Nine circular

drawings in brown ink and wash show nine well- known mythological scenes destined to decorate the bathroom (Cat. ioe). For a terza camera are nine

seated muses in pen, black ink and brown wash (Cat.

iof). Undesignated as to a specific room is a roundel in brown ink and wash of a Triumph of Peace (Cat.

iog, P1. 31), but Faldi36 published the inscription on the verso of one of the Gabinetto Disegni drawings, and a part of it says: . . . Camera terza dedicata alle

quattro parti del mondo: quadro di mezzo trionfo della pace. The dates of the two inscriptions are sepa- rated by four months, and the terza may not refer to location but rather to Giani's sequence of labors.

However, another drawing in the collection, 90oI-

39-I648, though without an inscription relating it to

Montmorency, is on paper similar to the other seven and has four rectangular compositions of the Four

Continents, or the quattro parti del mondo. Still others on the same paper may possibly also be related to the project, but it cannot now be said with certainty.

Luigi Servolini,37 in his summaries by date and location of the artistic activities of Felice Giani, writes that in I8I6 Giani contracted to paint two rooms at the house of the Contessa Cavina in Faenza, and did in fact paint them in June and July of that year. The collection has several Giani drawings for these decorations. One, of Parnassus with Apollo and the Muses

(Cat. 1, P1. 32), has on the verso a quick sketch of

Apollo with his lyre and an accompanying muse, plus the inscription in Giani's hand: Faenza casa Cavina/ Camera di compagnia.

In poses reminiscent of antique prototypes, the Muse figures are arranged across the middle-ground, the lyre-playing Apollo and genii at the center. In the

foreground a grassy slope borders a bit of pond with a pair of swans. In the background of the ceiling

painting38 a herm and a round temple appear at the

left, with the rest woods and cliffs, while the draw-

ing has a distant landscape at the right. The softly rounded forms, faces, and draperies in the painting are rendered in the drawing by nervous angular shorthand pen strokes. Wash shading makes the high- lighted parts of the figure stand out, anticipating the

white, blue, gold and warm orange garments of the

painted Parnassus group. The drawn lines of the

drapery folds are similarly rendered in the painting, but the shorthand triangles of the drawn feet flesh out and acquire toes in the painting.

Also for the Casa Cavina is a quick sketch (Cat. 2,

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P1. 33) showing one of the four arc-sided triangular panels of decoration painted on the four ceiling vaults in the bedroom. At the top of the sheet is the inscription camera da letto. In the nine compartments of the

panel are drawn some of the usual motifs of Giani and his shop-flying genii with wreaths, seated classical figures, and Victories with candelabra. Bosses are sketched at the intersecting borders between com-

partments, as is the meander pattern of the surround-

ing borders. At the upper right the panel border is broken by a small sketch of a vertical octagon with a

figure composition, and above it the inscription cor-

neglia madre dei/ Gracchi. In a small color photograph of the ceiling the central painting can be read, and it and the panels of decoration correspond to our sketch. In the painting the interior is seen to approxi- mate a richly decorated Roman palace. The figure groups are virtually the same in the painting and the

sketch, with Cornelia sitting at the right, the two boys and two attendants at the left. A female figure seated at the table lifts jewels from a box, an allusion to Cor- nelia's famous speech.

Two other drawings also bear inscriptions for the Casa Cavina (Cat. I3a and I3b). Both are octagons. One of them, inscribed on the verso Corneglia madre dei Grachi/ Faenza Casa Cavina, is an alternative

composition, less close to the executed painting than the small sketch. The other is inscribed on the verso

Virgilio lege lelogia di/ Marcello/ Faenza casa Ca- vina. At the right sits the fainting Octavia, supported by Augustus, while Virgil, standing at the left, reads a eulogy for the dead Marcellus.39 There is no way at

present to determine whether a Giani painting of this

subject does in fact exist in the Casa Cavina. Because of its inscribed date of 1818 it seems in

order here to discuss one of the two hundred-odd sketchbook pages by Giani in the collection. His

sketching activity apparently continued throughout his career, and numerous other sketchbook leaves are in collections at Forli and Rome, as mentioned above. The verso of one page (Cat. 14, P1. 34b), in

pen and brown ink, is typical of many, densely cov- ered with sketches of architecture, both Renaissance and Gothic, and with small sculptural and figurative compositions. In the upper left is a small section of a

ceiling decoration, either found or invented by Giani,

with a precise inscribed description of materials, motifs and colors, which descriptions are also typical of

many of our pages. Atypical, and much more reveal-

ing of Giani's artistic philosophy and practice, is the

inscription in the upper right: Bologna i i Novembre

I8I8/ Per essere novi nelle produzio/ni delle belle arti bisogna/ studiare sempre li primi bravi/ maestri antichi.

It was just this idea which is exemplified by many of the collection's sketchbook pages, devoted as they are to drawings after paintings by many other artists. Such is the drawing on the recto of this sheet (P1. 34a), inscribed Divino Corregio Parma, after Correg- gio's painting of the Madonna with Jerome and Mary Magdalene, in brown ink and wash. Whether also from 1818, or executed later or earlier, it is impossible to tell, since many of the sketchbook pages seem to have been used at other times. It should be noted that the composition has been reversed, suggesting deriva- tion from a print such as an anonymous copy in re- verse40 after Agostino Carracci's reproduction of the

Correggio painting (Bartsch xvIII, p. 87, no. 95), which is in the same direction as the painting.

A very fine large drawing in black chalk, pen and

ink, and colored washes (Cat. 15, Pl. 35) is for the

ceiling of the Teatro Valle, Rome, and can be dated I82I, two years before Giani's death. Giuseppe Vala- dier, many of whose drawings are also in the Cooper- Hewitt collection, was the architect for the remodel-

ing of the theater, the work beginning in I821. The scheduled reopening was delayed from Carnival time, I822, until December of that year.

Valadier, in his Opere di Architettura e di Orna- mento ideate ed eseguite da Giuseppe Valadier, Rome, 833, includes an engraving of the ceiling, and refers to Giani by name in his text on pages 9 and 14. Valadier says that the ceiling was painted in chiaro-

scuro, and that the figures dipinte al naturale repre- sented Victory in the middle, with the nine Muses in the trapezoidal compartments. In the space toward the proscenium were painted the chariots of the Sun and Moon, with their respective genii. Valadier further writes that the paintings were "executed in mas-

terly style by the distinguished Felice Gianni' The four tondi, which the architect explains were decorated with charming ornaments in color, could be

[409]

L _a .- - .- . .e -- -i

Fig. 10 GIUSEPPE VALADIER, Opere..., P1. vu. Ceiling, Rome, Teatro Valle. Engraving.

[410]


Apollo Yielding the Reins of the Horses of the Sun to Phaeton.

Florence, Uffizi, Gabinetto Disegni e Stampe.

opened for ventilation, and the one nearest the stage opened to allow the chandelier to descend and light the stage during the action of the play.

The Giani drawing shows some variations from the

engraving (Fig. io), notably the absence in the en-

graving of the central globe with the zodiac between the chariots in the trapezoidal compartment nearest the proscenium; it also shows various alternatives for the decorative borders around the compartments. Va- rious remodelings of the Teatro Valle have taken


Phaeton Bidding Apollo Farewell.

Florence, Uffizi, Gabinetto Disegni e Stampe.

place during subsequent years, including the repaint- ing of the ceiling at some time between I845 and

I865, and so the Giani painted decorations have been lost. Our drawing is probably the best record of them extant.

Moving now from drawings with specific dates or for specific projects to several exemplifying Giani's skill and variety, here presented are a pair on the sub-

ject of Phaeton, enhanced by softly tinted washes. (Cat. i6a and i6b, Pls. 37 and 38). Whether for pre-

[411]

w- 1 I

'

u

sentation of his ideas to clients, or whether used as

personal guides in painting is not certain, but Giani succeeds in forecasting here the movemented, trans-

parently colored, drawing-style effects of his ceiling decorations. These two drawings relate in style to others in the Cooper-Hewitt collection,41 but even more closely to a pair in the Uffizi (9890 and 9891 Santarelli; Figs. 1I and I2)42 which also are ovals, technically similar, and also delineate aspects of the Phaeton story. In all four an Aurora floats, bearing a

torch, in the lower right; in none of the four is her

pose exactly repeated. In our Cat. i6a and in the Uffizi's 989 S Phaeton is pleading with a tenderly in- clined Apollo for permission to drive the chariot of the sun, and is already reaching eagerly for the reins. There are variations in the poses of all three protago- nists, in the angle of the zodiac, and the position of the chariot. In the Uffizi's 989oS, Phaeton is kissing the hand of Apollo before setting off, while genii hover above with a wreath. Our Cat. I6b shows a more active Phaeton already half mounting the chariot and more casually bidding Apollo farewell with a

glance over his shoulder.43 The two Cooper-Hewitt Phaeton drawings exert their seductive appeal through Giani's heightened cursiveness with his pen, imparting movement, in the sweetness of the glances exchanged, and in the muted magenta, yellow, yellow-green, and pink of the washes.

While vastly outnumbered by the drawings in brown ink and brown or colored washes, the collection's Giani drawings in black chalk are outstanding, and often dramatic, as in this Venetian architectural

capriccio (Cat. 17, P1. 38). Inscribed Piazza per sepol- chri, Giani has here combined his impressions of the Colleoni monument, the tomb monument of Nicola Orsini in SS. Giovanne e Paolo, plus architectural details from the Doge's palace and the dome and

spires of San Marco. Giani has heightened the im-

pact of the scene by radically reducing the scale figures, and by using backlighting, cast shadows, and the effect of light reflected from the paving of the

piazza. Giani would have had a chance to view and draw the monument first-hand when he worked in Venice in 1807 and again in 1814 on the decorations of several rooms (apparently later redecorated) in the

Ala Napoleonica which closes the Piazza San Marco to the west.44

A large sketchbook page (Cat. I8, P1. 39), typical of many, bears no inscribed date, although it must be earlier than Cat. 14. It might almost be from Giani's student days in Bologna, I778-80. It could also have been done during any of the years I794-i805 when he was working in nearby Faenza, or after he returned to Bologna in I8o5.45 At the upper left Giani has used dramatic chiaroscuro lighting to render an

impression of the Ark of San Domenico under the

great dome of the church of the same name. Flanking it are sketches of two sculptured figures from the Ark, one the angel with the candelabrum by Michelan-

gelo, though Giani's inscription fails to note its au-

thorship. At the lower left are two views of Bologna, one of buildings, possibly mills, from which water

spews into the river Reno, and a view from an arcade of what Giani's inscription calls la mercanzia Gotico belisimo, the famous Palazzo della Mercanzia, begun in I832. At the lower right are sketches of architectural details, always an absorbing interest for Giani. The verso, which may date from student years, has numerous diagrams with inscriptions explaining how to construct various geometric figures.

Probably the most impressive among Giani's draw-

ings in the collection are numerous large and striking sheets demonstrating his most violent virtuoso style. There is no time for colored washes in these draw-

ings, and barely time for a little black chalk under-

drawing. Giani attacked the paper precipitously with a broad-nibbed pen and brown ink, and varying brown washes. One of the finest is the Alexander and Diogenes (Cat. I9, P1. 40), abounding in heroic

poses, chiaroscuro effects, classical buildings in the

landscape, and antique costumes and furnishings. Again the source seems to be paintings by Raphael and Giulio Romano in the Vatican Stanze.

It now seems evident that drawings such as this

may have been made primarily for drawing's sake, since very few instances can be found in which Giani made either an easel painting (of which there are

few) or a ceiling painting based on them.46 More evidence seems to point to their being valued as draw-

ings. In I952 the Cultural Institute at Forli exhibited

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thirty Giani drawings of more or less uniform size,

illustrating the Aeneid, and in a style recalling that of our drawing. Belonging to the Contessa Maria Faella of Mordano, near Imola, they had come down to her through her family, owners of a villa formerly called the Villa Scarabelli. It is documented that Giani often sojourned at the Villa Scarabelli during intervals in his work in i 822. He is presumed to have made these thirty drawings there within a short

time,47 and may have left them there as a house present.

That artists in the late years of the eighteenth cen-

tury and the early years of the nineteenth century placed great emphasis on drawing is evidenced by the existence of numerous academies of drawing, fre-

quented by established artists as well as by students, in Rome and Bologna.48 Anna Maria Mateucci has

published fascinating information about the Acca- demia della Pace in i803 at Bologna, where various

artists, including Felice Giani, gathered weekly to make a drawing illustrating a prescribed subject, and to submit it to their fellow artists for criticism. Each artist in turn assigned the subject, and each had to do the necessary reading and research to assure the liter-

ary and historic accuracy of his drawing. That Giani did indeed cherish the Bologna Accademia della Pace and its principles is demonstrated in his work, and

perhaps may be evidenced specifically by three draw-

ings in the collection.49 Two show monuments to the arts inscribed Accademia della Pace, and one amus-

ing verso of an album page may show the more con- vivial side of these artist's meetings: underlined by a musical staff and scales of notes, three musicians, car-

rying a very large stringed instrument and a horn, head down a Bologna street, having just left a

building with a modest sign reading ALBERGO/ DELLA PACE/ I81o.

Catalogue 1. Mountainous Landscape with a River Valley and a

Hilltop Village. 1938-88-3034 P1. 17 Black chalk and gray wash. 342 x 575 mm. Provenance: Giovanni Piancastelli; Mr. and Mrs. Ed- ward D. Brandegee.

2. Two Monuments for the Proposed Foro Bonaparte in Milan. Pen and gray-brown ink, gray-brown wash, over traces of black chalk Provenance: Giovanni Piancastelli; Mr. and Mrs. Ed- ward D. Brandegee. a) Monument with standing figure. I938-88-4 05

P1. i8 255 x I85 mm.

b) Equestrian monument. I938-88-4o06 283 x 203 mm.

P1. 19

3. Apollo in his chariot, with Aurora, for the Palazzo Milzetti, Faenza. 190 -39-3270 P1. 20

Pen and brown ink, gray-brown wash, over traces of black chalk. Octagon on a sheet 313 x 296 mm. Squared off along all borders in segments numbered in black chalk from I to 20.

Provenance: Giovanni Piancastelli.

4. Sixteen Lunettes with Putti as Symbols of the Seasons and the Zodiac, for the Palazzo Milzetti, Faenza. Pen and brown ink, light brown wash, over black chalk. Inscriptions in Giani's hand in pen and brown ink, and in black chalk. All of the drawings are squared off in black chalk, in sections numbered from I to 8 on the long sides, and from I to 4 on the short sides. All have in black chalk a symbol resembling a compass, showing the angle of the light. Provenance: Giovanni Piancastelli.

a) Spring. A flying winged putto holding a garland above his head. 190 -39-I 90 I27 X 222 mm. [Inscription probably cut off.] Verso: Inscription in pen and brown ink: Al Sig/ Michele Keck / Pittore 5-15 Roverese / Roma.

b) Ares. A winged putto with a ram. 1901-39-1 179 143x 213 mm. PI. 21

Inscriptions: Capricornia and Ariete in black chalk, the latter scratched out. ariete primavera I, in brown ink. Verso: Pen and brown ink sketch of the left half of a building with a central domed structure, and a portico continuing across both straight and curved parts of the facade. Sketch of the ground plan of the building, other vague sketches and pot-hooks. [Other part of the building sketch on verso of 1901-39-I I80.]

c) Taurus. A winged putto clinging to a flying bull. I901-39-I 89 120 X 215 mm.

Inscription: 2 [Inscription probably cut off, along with top edge of the lunette.] Verso: Pen and brown ink sketch of a part of a pointed arch [?] and tiny squiggled decorations.

d) Gemini. Two winged putti grappling with each other. I901-39-1185 I32 X 210 mm.

Inscriptions: In black chalk gemini, a number scratched

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out, and 3. In pen and brown ink, Gemini per la prima / vera 3. Verso: Pen and brown ink sketch of a triangular shape above an arch, another small architectural shape, and small decorative squiggles. e) Summer. A winged putto with sheaves of grain and a sickle. 90 I-39- 1183 I38 x I98 mm.

Inscription: In black chalk, estate. Verso: Pen and brown ink sketch showing a section of the vaulted ceiling and the blank lunettes of the Sala Ottagonale. The word Cosi, and squiggly pen lines, as though testing the pen.

f) Cancer. A flying winged putto carrying a round disk, or platter, and a crab dangling from a string. I9OI-39-I I9I 132 x 2I8 mm.

Inscription: Pen and brown ink, Cancro -lestate.

g) Leo. A winged putto riding a flying lion. 190I-39-1253 P1. 2I

I29 X 213 mm.

Inscriptions: In black chalk, Lesta and a scratched out 2.

In pen and brown ink Leone 2 I'estate. Verso: Pen and brown ink sketch of a trapezoid cut by an arc.

h) Virgo. A winged female putto, holding a strand of hair or a riband. 190 -39-I i8I 144 x 202 mm.

Inscriptions: In black chalk, vergine 3, written over in pen and brown ink vergine 3-per l'estate. Verso: Pen and brown ink sketch of the tops of trees [the bottom of the landscape is on the verso of 1901-39-1 I82]. A small landscape in a roundel showing trees and a lake, executed with a brush and dark lavendar wash. In pen and brown ink, the name Keck, and calligraphic pen scribbles.

i) Autumn. A winged putto clinging to a grape vine. 1901-39-1 i8o

133 X 210 mm.

Inscriptions: In black chalk, an illegible word scratched out, an O, a couple of letters scratched out, and autunno. In pen and brown ink, in autunno lequinozio in libra 21

gbre. Verso: Pen and brown ink sketch of the right half and part of the ground plan of the colonnaded building sketched on the verso of 190I-39-1179. Pen and brown ink list of names: Comendatore Ripanti / Mo [cancelled letters] Giacomo Ripanti / M Gabriella Ripanti / Sig [?] Rafaello Compagnoli / Colini / Leoparid / Cav. Canse- crata [?] / Lo Sipione Baldasini / . . . esiole / ... stro di

lingua / ... stro Antonio Belli. Trials of the pen.

j) Libra. A winged putto bearing a pair of scales. 1901-39-I 84

132 X 212 mm.

Inscriptions: in black chalk a 4 and illegible word or words scratched out or written over in ink. In pen and brown ink, libra I autunno.

Verso: Pen and brown ink caricature of a standing man wearing breeches and hose, a flared coat, ruffled shirt and an enormous tricorne hat. Sketch of what seems to be a studded arch.

k) Scorpio. A winged putto bearing on his head a salver with a scorpion on it. 1901-39-I 192 141 x 222 mm.

Inscriptions: In black chalk a word, probably scorpione, written over in ink. In pen and brown ink scorpione 2 autunno.

1) Sagittarius. A winged putto-centaur shooting his bow and arrow. 1901-39-I 193 I48 x 21o mm. On blue-green paper, unlike the rest.

Inscriptions: In black chalk a word and a number, probably sagitario and 3, written over in ink. In pen and brown ink Sagitario 3 autunno.

m) Winter. A winged putto carrying a hammer and a torch. 190I-39-1188 132 X 206 mm.

Inscriptions: In black chalk inverno and 7. In pen and brown ink l'inverno solestisio in capric/orno 21 Xcembre. Verso: Two pen and brown ink sketches which seem to be ground plans of buildings, one with a portico and a colonnade.

n) Capricorn. A winged putto riding in semi-reclining position on the back of a goat. I901-39-I I82 I39 X 209 mm.

Verso: Pen and brown ink sketch of the bottom part of a small round landscape of trees near a lake, the top part of which is on the verso of 190I-39-I 18I. In black chalk the ground plan of a niche and two columns. Some sketchy mathematical calculations.

o) Aquarius. A winged putto pouring water from a large jug. I901-39-I I86 I46 x 203 mm.

Inscriptions: In black chalk aquario and 9. In pen and brown ink aquario inverno 2.

Verso: Pen and brown ink sketch of a round landscape and part of another.

p) Pisces. A winged putto bearing on his head a salver with two fish. I90I-39-1I87 133 x 214 mm.

Inscriptions: Illegible word in black chalk, written over in ink. Pen and brown ink pesci 3 inverno. Verso: Very light sketch in pen and brown ink of what seems to be a room interior. In one corner of the sheet a list of names written and then scratched out, in black chalk. A few endings, ... vino and ... olini can be distinguished.

5. The Deeds of Achilles During the Trojan War, Palazzo Milzetti, Faenza. Seven drawings on three sheets. Pen and brown ink, gray-brown wash over traces of black chalk; inscriptions in black chalk. Provenance: Giovanni Piancastelli.

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a) 190o-39-3327 409 x 227 mm. Three rectangular drawings on one sheet.

Top: Agamemnon refuses to liberate Chryseis. Inscribed: crise sacerdote dapollo / I Center: Minerva appears to Achilles during a council of the Greeks. Inscribed: disputa dachille con agamem- none / 2

Bottom: The abduction of Briseis. Inscribed: Agamem- none piglia Briseide a Achille / 3

b) 190I-39-3328 217 x I96 mm. Two rectangular drawings on one sheet.

Top: Thetis in the workshop of Hephaestus. Inscribed: 4 Tetide fa fabbricare le armi per Achille Bottom: Thetis shows the armor to Achilles, who sits beside the bier of the dead Patroclus. Inscribed: Tetide porta le armi ad Achille

c) I90I-39-3329 226 x 290 mm. Two lunette shaped drawings on one sheet. PI. 22

Top: Achilles drags the body of Hector around the walls of Troy. Inscribed: furia d'Achille / 6 Bottom: Priam pleading for the body of Hector. In- scribed: 7 priamo prega per il corpo dettore

6. The Return of Ulysses to Ithaca, for the Palazzo Mil- zetti, Faenza. Three oval, two round and four trapezoidal drawings on one sheet. 190I-39-3333 P1. 23

Pen and brown ink, brown wash, over traces of black chalk. Inscriptions in brown ink, some numbers also in black chalk. 328 x 429 mm. Provenance: Giovanni Piancastelli. Inscriptions: [Note: A number appears above and below each of the nine drawings, and in some cases do not agree; the number above the drawing appears first, followed by the number below, and/or by the inscription, whichever comes first.] I / Penelope abracia il figlio Telemaco / goda dal suo ritorno alla patria / I; 2 / 6 / Ulisse ritornato alla sua patria e riconosciuto / da un suo vechio cane; 3 / Ulisse con il figlio acorn / pagnati da Minerva / nascon- dono le armi / 3; 4 / 4 / Ulisse non conosciuto dalla

moglie / piange Penelope nel / sentire racontar li fatti / d'Ulisse; 5 / 5 / Eurichlea riconosce Ulisse da una atica

[sic] / ferita Ulisse le proibise da parlare; 6 / ulisse prega larco alla presenza de Proci / 2; 7 / 7/ Eurichlea sveglia penelope / dicendoli che e ritornato / Ulisse il suo sposo; 8 / 8 / Telemaco invita la madre a riconoscere ulisse / il suo sposo, ma ella e molto cauta nel riconoscerlo; 10 / 9 / Ulisse e Penelope vanno acompagati [sic] da Minerva e / da una ancella con fiacola a letto nonziale.

7. Episodes from the Life of Numa Pompilius, for the Palazzo Milzetti, Faenza. Eleven drawings on separate sheets. Pen and brown ink, brown wash, over black chalk. In-

scriptions and numbers in pen and brown ink. Provenance: Giovanni Piancastelli.

a) Numa Pompilius welcomed to Rome after his elec- tion as king. 1901-39-3450

I91 x 145 mm. Roundel on a rectangular sheet.

Inscriptions: 2 [above]; e il senato / il popolo romano viene a incontre / numa [below]

b) The consecration of Numa Pompilius. 1901-39-345

175 x I43 mm. Roundel on a rectangular sheet.

Inscription: consacrazione di numa / sul monte tarpeo detto / campidoglio

c) Numa Pompilius worshipping Jove on the Aven- tine. 1901-39-3452 172 x 142 mm. Roundel on a rectangular sheet.

Inscription: numa adora Giove sul monte / aventino

d) Numa Pompilius with the nymph Egeria. 1901-39-3453

157 x 145 mm. Roundel on a rectangular sheet.

Inscription: numa con la ninfa Egeria

e) Numa Pompilius being taught by the Muses. 1901-39-3454 88 x 3 1 mm. Vertical rectangle on a rectangular sheet.

Inscriptions: 9 [above]; numa aprende le cose divine/ dalle Muse [below]

f) Numa Pompilius consecrating the Vestal Virgins. I90I-39-3455

I85 x 130 mm. Vertical rectangle on a rectangular sheet.

Inscriptions: 4 [above] VESTA [on the cornice of the interior of the temple in the drawing] numa consacra le vestali [below]

g) A high priest whipping a Vestal Virgin. P1. 25 I90I-39-3456

173 x I49 mm. Roundel on a rectangular sheet.

Inscription: Il sommo sacerdote castiga una / vestale che a pecato

h) A Vestal Virgin buried alive. I90I-39-3457 I90 x 127 mm. Vertical rectangle on a rectangular sheet.

Inscription: una vestale sepolta viva

i) The finding of the Sybilline books in the tomb of Numa Pompilius. 90oI-39-3458 P1. 25

I69 x 157 mm. Roundel on a rectangular sheet.

Inscription: sono trovate le due casse o tomba / di numa

j) The Praetor Petilius burns the Greek philosophical books of Numa Pompilius in the Comitium. I901-39-3459

I89x 136 mm. Vertical rectangle on a rectangular sheet. Inscription: ALC I B / . . P I TA / G 0 R [on the two statue bases in the drawing] il Pretor Petilio abrucia li libri / di numa nel comizio

k) The Roman ambassadors ask the Sabine, Numa Pompilius, to Reign over Rome. 1901-39-3460 PI. 24, 144 x 258 mm. Long horizontal octagon on a rectangular sheet. Inscription: Li ambasatori romani invitano numa a/

regno

8. Decorations for a Triumphal Arch at Bologna, 1805. Eight drawings on six sheets.

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Pen and brown ink, black chalk. Provenance: Giovanni Piancastelli.

a) A winged Victory inscribing the date 1805 on a shield. I90 -39-325I P1. 26

298 X 235 mm.

Inscriptions: I805 [on the shield in the drawing]; the border squared off in numbered sections, side 1-7, top and bottom, I-6.

b) A standing winged Victory with trophies of war. 1901-39-3252 294 x 223 mm.

Inscriptions: (squared off on the borders as in a).

c) A winged Victory in the left spandrel of an arch. I901-39-I356 P1. 27

224 x 174 mm.

Inscription: fama del arco

d) A winged Victory in the right spandrel of an arch. I90I-39-I357 222 X 171 mm.

e) Top roundel: a winged Victory riding a chariot towards the right. Bottom roundel: a winged Victory about to crown a river god with a wreath. 190 -39-3298 325 x I62 mm.

Inscriptions: fama della guerra Reno; the border of each roundel squared off in numbered sections I-6

f) Top roundel: a winged Victory riding a chariot towards the left. Bottom roundel: a winged Victory about to crown Minerva with a wreath. I90I-39-3299 317 x I67 mm.

Inscriptions: fama della guerra Felsina; the border of each roundel squared off as in e)

9. Nine Ceiling Decorations for the Appartamento Na- poleonico in the Palazzo Quirinale, Rome, 1812. Pen and dark gray ink, gray wash, and ruled lines in black chalk. Provenance: Giovanni Piancastelli; Mr. and Mrs. Ed- ward D. Brandegee. a) Trapezoidal ceiling vault with horizontal octagon of Justice, flanked by tondi of Victories in chariots, for the salone d'onore. 1938-88-3071 86 x 262 mm.

b) Trapezoidal ceiling vault with horizontal octagon of Peace, flanked by tondi of Victories in chariots, for the salone d'onore. 1938-88-3072 85 x 262 mm.

c) Trapezoidal ceiling vault with horizontal octagon of Prudence, flanked by tondi with putti and trophies, for the salone d'onore. 1938-88-3073 82 x 275 mm.

d) Trapezoidal ceiling vault with horizontal octagon of Abundance, flanked by tondi with putti and trophies, for the salone d'onore. 1938-88-3074 82 x 275 mm.

e) Ceiling of the Gabinetto Dedicato alla Guerra. 1938-88-3088 281 x413 mm.

f) Ceiling of the Gabinetto Dedicato alla Pace. 1938-88-3087 P1. 28 290 X 4I6 mm.

Inscriptions in drawing: PA C E and G IAN O.

g) Ceiling of the Grande Gabinetto dell'Imperatore. 1938-88-309I P1. 29 367 x 576 mm.

h) Ceiling of a small cabinet. 1938-88-3089 363 x 397 mm.

i) Ceiling of a small cabinet. I938-88-3090 367 x 386 mm.

10. Seven Drawings Relating to Decorations at the Villa Aldini, Montmorency. Pen and brown ink, brown wash, over black chalk on distinctive thick, rough, dark gray paper. Exception as to paper: 190 -39-2703. Provenance: Giovanni Piancastelli.

a) The story of Romulus and Remus, for the reception room. I90 -39-3297 254 x 382 mm.

Recto: Central octagon and six horizontal octagons. Inscribed at the top in ink: Camera da ricevere dipinta a Momoransi / castello di S. E. Aldini / 2 Maggio 1813. Inscriptions over the octagons in black chalk: Nasita di Remo / e Romolo; 2 / Faustolo e Romolo e Remo; Ro- molo a Roma in afferri [?] 3; center, trofeo a Romolo; 4 / Romolo segna la grandezza / di Roma; 5 / Ratto delle sabine; 6 / Romolo porta li primi armi. Verso: Pen and brown ink sketch of a canopy ceiling with eight triangular divisions and eight lunettes, each with pairs of putti.

b) Four female figures representing virtues, for the "company" room. I90I-39-502 Pl. 30 286 x 254 mm. Four vertical octagons. Inscribed at the top in ink: Camera di compagnia dipinta a Moransi Castello / Pe S E il Sig Ministro Aldini / Io Aprile 8 13. Over the octagons in black chalk: Giustizia; Fortezza; prudenza; vigilanza.

c) Twenty-four putti performing various activities, for the dining room. I901-39-1210 260 x 441 mm. Figures, in four rows.

Inscriptions: Numbered in black chalk from one to twenty, omitting the four in the bottom row. The word cerere in ink appears four times.

d) Four pairs of putti for an antechamber. 1901-39-2703 177 x I87 mm. Four square compositions. On thin laid paper. Inscription in ink: Anticamera dipinta in Moransi / Castello di S. E. Aldini 4 maggio.

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e) Nine mythological scenes, for the bathroom. 190I-39-3311 258 x 398 mm. Nine roundels. Inscription at the top in ink: Sala di bagno dipinta a Montmoransi / nel Castelo di Suo E. Aldini x6 Luglio I813.

Inscriptions in black chalk with the roundels: Ratto deuropa; gicinto; Leda; Pan e ninfa; Apollo dafne; diana calisto; Galatea o Teti; Nasita di venere; Nettuno

f) Nine seated muses, for the third room. 190o-39-3473 266 x 432 mm. Nine figures, a cupid, a sketched seated

figure and two masks, tragic and comic. Inscription at the top in ink: S E Aldini Parigi / terza camera o ssia, sale dipinta / a Monmorosi / 4 Gennaio 1813.

Inscriptions in ink above the figures: i / clio storia; 2 / tragedia / melpomene; 3 / Talia comedia; 4 / Euterpe musica; 5 / Erato poesia lirica; 7 / calliope Eloquenza; 8 / Urania astronomia; 9 / Polinnia rettorica.

g) The Triumph of Peace. I901-39-3375 P1. 31 242 X 221 mm. Roundel.

Inscription in ink below the roundel: Parigi dipinta a Momoronsi per S. E. Aldini / 4 Genaio 18 13. Within the roundel PA C E.

11. Parnassus with Apollo and the Muses for a Ceiling Decoration in the Palazzo Cavina, Faenza. 1901-39-I930 P1. 32

Pen and brown ink, brown wash, over black chalk. 158 x 247 mm. Verso: A pen and brown ink sketch of the figure of Apollo and a half-figure. Inscription: Faenza casa Ca- vina / Camera di Compagnia. Provenance: Giovanni Piancastelli.

12. Segmented Triangular Decoration for a Vaulted Ceil- ing in the Palazzo Cavina, Faenza. 1901-39-1662

P1. 33 Pen and brown ink. 210 x 255 mm.

Inscriptions: camera da letto and corneglia madre dei / Gracchi. Verso: A rougher sketch in pen and brown ink of the same ceiling decoration, but showing an alternative lower border. Provenance: Giovanni Piancastelli.

13. Two Drawings of Roman Historical Subjects for Paintings in the Palazzo Cavina, Faenza. Octagons on rectangular sheets. Pen and brown ink, light brown wash, over black chalk. Provenance: Giovanni Piancastelli.

a) Cornelia, mother of the Gracchi. I901-39-2003

I75 x 237 mm. Verso: Very light pen and brown ink sketch of a rectangle and part of another and the inscription, Corneglia madre dei Gracchi / Faenza Casa Cavina.

b) Vergil reading the eulogy of Marcellus to Lucretia and Augustus. 1901-39-2008

174 X 230 mm.

Verso: Inscription in pen and brown ink, Virgilio lege lelogia di / Marcello / Faenza casa Cavina. Spots of ceiling wax in the four corners.

14. Sketchbook Page, the Virgin with St. Jerome and St. Mary Magdalene, after Correggio. I 901-39-3550 219 x 155 mm. Pls. 34a and 34b Pen and brown ink, brown wash, over black chalk. Inscriptions: 90 and Divino Corregio Parma, underlined. Verso: Numerous pen and brown ink sketches of Gothic and Renaissance architecture and architectural details, including a ceiling compartment. Inscriptions, in pen and brown ink: [above] Bologna zi Novembre I818 Per essere novi nelle produzio / ni delle belle arti bisogna / studiare sempre li primi bravi / maestri antichi. [At right, below, on a plaque] B 0 LOG NA / 88 8 [At right angles, along the left side] comparto stucco / meandro e rosoni / ovoli cornici oro / campo azzuro putto cofano. Provenance: Giovanni Piancastelli.

15. Ceiling Decoration of the Teatro Valle, Rome. 1901-39-1804 892 x 666 mm.

P1. 35

Pen and dark gray ink, gray and colored washes, over black chalk. Provenance: Giovanni Piancastelli.

16. Two Oval Drawings of Phaeton, with Apollo and Aurora. Pen and brown ink, colored washes, over black chalk. Provenance: Giovanni Piancastelli.

a) Apollo yielding the reins of the horses of the Sun to Phaeton. I90I-39-3215 Pl. 36 376 x 274 mm.

b) Phaeton bidding Apollo farewell. 1901-39-3287 347 x 268 mm. P1. 37

17. Venetian Architectural Capriccio, with the Colleoni Monument. I901-39-2434 P1. 38 Black chalk. 449 x 318 mm. Provenance: Giovanni Piancastelli.

18. Sketchbook Page with Bolognese Architecture and Sculpture, Including the Ark of San Domenico.

P1. 39 [Formerly cut apart, and now rejoined.] I901-39-I375,-I376 374 x 253 mm.

Provenance: Giovanni Piancastelli. Recto: Pen and brown ink, orange-brown wash over traces of black chalk. Inscriptions in pen and brown ink. At the upper left the Ark in the church of San Domenico, inscribed on the plinth of the Ark S. DOMENICO BOLOGNA, and below the draw-

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ing, monumento del quattro cento Bologna. Lower left, buildings along the river Reno, Bologna, inscribed below it fabriche sul Reno Bologna. In the lower corner: 64. At the lower center the Loggia della Mercanzia, Bologna, inscribd below la Mercanzia Gotico belisimo Bologna. At the upper right a sketch of a kneeling angel with a candelabrum, from the Ark, inscribed below Bologa monumento del quattro cento. In the upper right corner: I26. At center right a sketch of a standing male figure in Renaissance dress, with a sword in a scabbard, inscribed below Bologna monumento del quato cen. At the lower right sketches of Gothic architectural details and ornaments. Verso: A page of geometric diagrams with explanations, in pen and dark brown ink. The freehand diagrams show how to use a compass to construct certain forms, and there is a Pythagorean table at the lower left.

19. Alexander and Diogenes. 190 -39-3346 P1. 40 552 x 770 mm. Pen and brown ink, brown wash, over black chalk. Inscription: Allesandro e Diogene. Provenance: Giovanni Piancastelli.

1. By now fairly large, the literature on Felice Giani is almost entirely in Italian. I have cited most frequent- ly Luigi Servolini, "Un romantico in anticipo: il 'focoso pittore' Felice Giani (I758-I823)' L'Arte, 1952-53, Pp. 31-62, hereinafter referred to as

Servolini, L'Arte. Much of this material was first

published by Servolini in catalogues he wrote to

accompany important Giani exhibitions in Forll in

I95I-52. While apparently not without occasional

errors, Servolini's chronological and geographical summaries of Giani's life and work are immensely helpful and, where checkable against dated Cooper- Hewitt Giani drawings, have proved completely cor- rect. Fortunately Italian scholars of recent years are

concentrating more than in the past on providing us with practical information.

2. Servolini, L'Arte, p. 39.

3. I have been helped in this research by numerous

people whom I would like to thank: Theodore A. Gantz, who was the first to bring us

direct knowledge of extant Giani paintings, and small color photographs of them in situ. I thank him also for the generous gift of his time spent with me on the Cooper-Hewitt Giani drawings, and for the loan of his copies of obscure references; Signora Gianna Acquaviva and Signorina Marcella Vitali of Faenza for sharing with me some of the encyclo-

pedic research done by the late Dottore Stefano Acquaviva on Giani's paintings in Faenza; Prof. Anna Maria Mateucci, Anna Ottani Cavina and Giancarlo Roversi, of Bologna, for their generous help; Signore Luigi Elleni of the Biblioteca Comu- nale, Forli, for his help there; Anthony M. Clark for his enthusiastic comments on Giani's drawing style, and for help in understanding Giani's place in the wider context of painting in his time.

4. Signore Luigi Elleni, who is working on the Pian- castelli collection at the Biblioteca Comunale, Forli, informs me that Carlo Piancastelli (Fusignano 1867- I938 Rome) was not related to Giovanni Piancas- telli (Castel Bolognese, near Ravenna, I845-I926 Rome), and that Piancastelli is a common name in the Romagna. Reproductions of some of the draw-

ings from the album "Da Faenza a Marradi' are in Servolini, L'Arte, Figs. 5-18.

5. Luigi Servolini, Mostra dei Disegni di Felice Giani "II Faentino' Forli, I95 I-52, p. 6.

6. Brisighella, about 12 kilometers from Faenza, is on the road which goes to Marradi and ultimately over the Alpe di San Benedetto to Florence.

7. An American Museum of Decorative Arts and De-

sign, Victoria and Albert Museum, London, 1973, Nos. 89-92. In Rome at the Gabinetto Nazionale

Disegni e Stampe and at the Biblioteca dell'Istituto di Archeologia e Storia dell'Arte are numerous al- bums of landscape drawings and/or vedute which have been briefly described by Italo Faldi, "Opere Romane di Felice Giani' Bollettino d'Arte, 1952, pp. 234-46, and Cecilia Pericoli Ridolfi, "La Villa Aldini a Montmorency in un gruppo di disegni di Felice Giani' Bollettino dei Musei Comunali di Roma, 964, pp. 34-35.

8. Architectural, Ornament, Landscape and Figure Drawings collected by Richard Wunder, Middle-

bury College, Middlebury, Vermont, 1975, No. 22.

9. The connection of Felice Giani to Antolini may be further adduced from an inscription on the verso of

I90I-39-2043, Giovanni Antolini Maria Antolini / Maria Antolini / Filippo / Sofia Antolini, accompanied by calligraphic flourishes.

10. 1901-39-3310 is a variant of the Apollo composition, in a roundel, and probably of later date, since the paper is similar to that used for the Aldini draw-

ings of 813, see Cat. No. i o.

11. Ennio Golfieri, La casa faentina dell'Ottocento,

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Monte di Credito su Pegno e Cassa di Risparmio di Faenza, Faenza, n.d., no pagination, No. 18.

12. Faenza, Pinacoteca Comunale, Album N. 1325.

13. Servolini, L'Arte, pp. 38, 43.

14. Golfieri, La Casa faentina ..., Nos. 19, 20, 21.

15. David Irwin, "Gavin Hamilton, Archaeologist, Painter, and Dealer"' The Art Bulletin, June, 962, pp. 93-95, Figs. 2-6. In the collection are six other drawings of Achilles subjects, 1901 -39-3288 through -3292. Three are of similar subjects to those in the Galleria dell'Iliade; the others concern episodes in the earlier life of Achilles, not the Trojan war. An- other version of the composition of Achilles dragging the body of Hector is in the Museo di Roma. Cecilia Pericoli, "I disegni di Felice Giani nel Museo di Roma' Bollettino dei Musei Comunale di Roma o, 1963, p. 26, Fig. I.

16. The Biblioteca Comunale, Forli, has three litho- graphs by Achille Farina after the Palazzo Milzetti paintings, obviously made without knowledge of the drawings by Giani. Nos. 754 and 759 are after two of the Sala di Numa Pompilio compositions, and no. 761 is after the painting of Ulysses recounting his adventures to Penelope. Luigi Servolini, Mostra dei Disegni..., p. 26.

17. Justus Miiller Hofstede, "Some Early Drawings by Rubens' Master Drawings, I, i, 1964, pp. 14 and I7.

18. Among other Giani drawings after Vatican Stanze paintings by Raphael and/or Giulio Romano, etc., are: I901-39-5I6, -531 through -535, -694, -695, -696, -1046, -Io47, -I932, -2053, -2054, -2078, -2467, -3 64.

19. Servolini, L'Arte, p. 38.

20. Giuseppe Guidicini, Diario Bolognese Dall'Anno 1796 al 18 8, IIn, Bologna, 1886-87, p. 57.

21. Anna Maria Mateucci, "Architettura e decorazione in Bologna all'Epoca di Stendahl' Atti del convegno Stendahl a Bologna, Bologna, 1975, p. 12.

22. Ugo Lenzi, Napoleone a Bologna, Bologna, I92I,

p. 46; Guidicini, Diario ..., p. 65.

23. My debt is to Theodore A. Gantz for first connecting some of these drawings with the Palazzo Quirinale rooms. The sources of my information on the Ap- partamento Napoleonico are Italo Faldi, "Opere Romane . . . pp. 241 and 245-56; Giuliano Bri-

ganti, II Palazzo del Quirinale, Rome, 1952, pp.

51-53; Daniel Ternois, "Napoleon et la decoration du Palais Imperial de Monte Cavallo en I 8 I I- 8 I 3' Revue de l'Art, I970, no. 7, pp. 68-89. The account

by Ternois is the fullest.

24. Apparently Giani and his shop were housed within the Palazzo Quirinale during their work there. See Faldi, p. 245, and a curious pencilled note on a document which came to Cooper-Hewitt with the

drawings: abitazione della guardia Svizzera in Montecavallo/ data per alloggio di Giani e suoi com-

pagni 1812.

25. Faldi, pp. 245-46; Briganti, p. 52, pls. 85 and 86; Ternois, p. 74, fig. 4.

26. Faldi, pp. 241 and 246, fig. 13; Briganti, p. 52, fig. 83; Ternois, p. 75, fig. Io.

27. Faldi, pp. 24I and 246, fig. 14; Briganti, p. 52, pl.

xxrv; Ternois, p. 75, fig. Ii.

28. Ternois, p. 68.

29. Faldi, p. 246; Briganti, p. 52, fig. 84; Ternois, pp. 75-76, fig. 14.

30. Ternois, p. 76.

31. One additional drawing, 1938-88-4922, which shows the triangular vaults and pendentives of a coved ceiling, lunette shaped figurative paintings, alternative frames for central ceiling paintings, and alternative borders, resembles the Salone dei Minis- teri as reproduced in Ternois, fig. 2. No documen- tation exists which connects Giani to the decoration of this room, but he may have supplied a project.

32. Anna Maria Mateucci, "Architettura . . . Bolo-

gna ... 'p. 12.

33. Cecilia Pericoli Ridolfi, "La Villa Aldini... ' p. 34; Italo Faldi, "Opere Romane ... .' pp. 242 and 246, fig. I5.

34. Faldi, as in footnote 33.

35. Ridolfi, "La Villa Aldini ... ' pp. 38-42, figs. 1-8.

36. Faldi, "Opere romane ... .' p. 246.

37. Servolini, L'Arte, pp. 41 and 49.

38. For all the small color photographs which permitted the identification of these subjects with the Casa Cavina I am indebted to Theodore A. Gantz.

39. This theme from the Aeneid was of interest to Neo- Classical painters, having been used by Ingres for a

painting sent to the Villa Aldobrandini in Rome in

[419]

1812, and also by Francois-Xavier Fabre, who spent the years 1787-1826 in Italy, his painting now in the Art Institute of Chicago. Although the seated

Augustus, the fainting Octavia and the hovering servants somewhat resemble the group in the Fabre

painting, Giani's composition differs greatly from it and from the Ingres.

40. The Metropolitan Museum of Art, Print Depart- ment, 17.3.1905.

41. Iris and the Rainbow, I901-39-1807; Aurora, 1901-39-3213; Hymen, Bacchus and Venus, I901-39-I806.

42. The subjects wrongly described by Mirella Mataroz- zi in her catalogue of Giani drawings in the Uffizi, Gutenburg Jahrbuch, 1965, p. 296.

43. A highly finished oval drawing, almost a painting, judging by a photograph, of Phaeton Bidding Fare-

well to Apollo was sold at Christie's, June 25, 1974, lot. no. 184. It was one of a pair, the other subject not Phaeton. The Phaeton composition most resembles that in Uffizi 9890 S.

44. Servolini, L'Arte, pp. 40, 4I, 53.

45. Servolini, L'Arte, pp. 38 and 39.

46. Catalogue, An American Museum of Decorative Art and Design, Victoria and Albert Museum, London, 1973,no. 94.

47. Catalogue, Disegni inediti di Felice Giani nella Raccolta Faella, Forli, 1952.

48. Anna Maria Mateucci, "L'Attivita giovanile di Pela-

gio Pelagi nei disegni dell'Archiginnasio di Bologna" in Annali della Scuola Normale Superiore di Pisa, Serie III, Vol. iv, 2, Pisa, 1974, p. 468.

49. 1901-39-1044; I938-88-3075; I90I-39-2037 verso.

[420]

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Plate 21 FELICE GIANI. Two Lunettes: Leo and Ares.


Plate 2 2 FELICE GIAN I. Two Lunettes: Achilles Dragging the Body of Hector, and Priam Begging for the Body of Hector.


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Plate 23 FELICE GIAN I. The Return of Ulysses to Ithaca. New York, Cooper-Hewitt Museum of Design. (415)

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Plate 24 FELICE GIANI. The Roman Ambassadors Ask the Sabine, Numa Pompilius, to Reign over Rome. New York, Cooper-Hewitt Museum of Design. (416)

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Plate 25 FELI C E G IAN I. Two Episodes from the Life of Numa Pompilius. New York, Cooper-Hewitt Museum of Design. (4I5)

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FELICE GIANI. Sketchbook Page: The Virgin, St. Jerome, and Mary Magdalene, after Correggio. New York, Cooper-Hewitt Museum of Design. (417)

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Felice Giani Drawings at the Cooper-Hewitt Museum

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