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La Basilica Di San Marco In Venezia

RA Collection: Book

Record number

06/1921

Variant Title

Rappresentazione Degli Antichi E Dei Moderni Musaici Della Basilica Di San Marco

Imprint

Ferd. Ongania Editore, Venezia: MDCCCLXXXI. (-MDCCCLXXXIV.)

Physical Description

Portfolio and two folders; 710 mm. (Broadsheet).

General Note

The Portfolio has a printed label pasted inside its front cover, entitled 'Ordine Delle Tavole In Cromolitografia In Foglio Grande' and calling for 60 pl., consisting of 'Frontispizio' [i.e. t.pl.], dedic., 'Prefazione', pl. A-Z, AA-DD, I-XXX. These leaves (in the Academy's copy at least) have printed numbers pasted on, bottom right. The first folder's pasted-on printed label calls for 5 plates, 'Livraisons V. VI. (15 Giugnio 1884) Planches IV. VIII. = IX. XIa. XIb. (pl. 5)', but its title page speaks of '(XXII Tavole Di Spaccati Geometrici)'. The second folder's pasted-on printed label calls for 6 plates, 'Livraisons VII. VIII. IX. (15 Dicembre 1884) Planches XII. XIII. XIV. = II.4 II.5 II.6 ... (6 pl.)'.

Responsibility Note

In the Royal Academy's incomplete copy the 22 lithographed plates are signed as painted by Alberto Prosdocimi, N. Girotto, Silvio Risegari or Luigi Gasparini and in one case as drawn by William Scott, and as chromolithographed by Giesecke & Devrient, Hölzel, Winckelmann & Figli, F. Doyon, Lemercier & Cia., Richter & C. Napoli, A Osterrieth. Almost all carry the publisher's imprint of Ferd. Ongania.

The 20 other plates are signed as drawn by G. Kreutz, E. Pedon or N. Moretti, and as heliographed by ('Eliografia Dell'') J.R. Istituto Geografico Militare In Vienna (or in 2 cases as printed by C. Jacobi). Each carries the publisher's imprint of Ferd. Ongania.

The dedication is from Ferdinand Ongania Editore to Queen Margherita of Italy.

References

P. Costantini, 'Ferdinando Ongania and the golden basilica: a documentation programme in 19th-century Venice', in Hist. Phot., 8:4 (1984), p.315-28.

F. Tomaselli, 'Sui restauri ottocenteschi dei mosaici della basilica di San Marco a Venezia', in Tema (1996 no.2), p.59-63

Summary Note

The upper cover of the portfolio, which serves as its title leaf, carries the publication-date of 1881. The two folders carry the publication-dates on their covers of 1883 and 1884 (each carrying also a pasted-on printed label dated 1884), but the first having its own title-page carrying the date 1881. Several of the plates carry dates, ranging from 1879 to 1884. Grove describes the work as being published between 1877 and 1888.

The several titles read: (Portfolio) 'La Basilica Di San Marco In Venezia (Tavole Cromolitografiche) Ferd. Ongania Editore Venezia MDCCCLXXXI'; (first folder, cover) 'La Basilica Di San Marco In Venezia Ferd. Ongania Editore Venezia MDCCCLXXXIII' (with printed label reading 'Ongania. Seconde Partie - in folio gr. Coupes Géométriques - Livraisons V. VI. (15 Giugnio 1884) Planches IV, VIII. = IX. XIa. XIb. (pl.5) Frs. 35.-'); (first folder, title-page) 'La Basilica Di San Marco In Venezia Illustrata Nella Storia E Nell'Arte Da Scrittori Veneziani - (XXII Tavole Di Spaccati Geometrici Ferd. Ongania Editore Venezia MDCCCLXXXI'; (first folder, title-plate) 'Rappresentazione Degli Antichi E Dei Moderni Musaici Della Basilica Di San Marco'; (second folder, cover) 'La Basilica Di San Marco In Venezia Ferd. Ongania Editore Venezia MDCCCLXXXIV' (with printed label reading 'Ongania. Seconde Partie in -folio gr. Coupes Géométriques - Livraisons VII. VIII. IX. (15 Dicembre 1884) Planches XII. XIII. XIV. = II.4 II.5 II.6 . . . (6 pl.) Frs. 42.-'. There is also a loose half-title, which may belong to any part, which reads, 'Basilica Di San Marco'.

The work describes the cathedral church of St. Mark in Venice, which was founded ca. 830, restored ca. 978, rebuilt between 1063 and 1094 and further elaborated later. The building appears to have been in Greek-cross form from the start; and was probably modelled on the church of the Holy Apostles in Constantinople. The church is built of brick encased in marble and mosaic, and has five domes (one central dome and one on each of the four arms). Although predominantly eastern Romanesque in style, the construction includes what may be the first ogival arches in Europe.

Many plates are printed in colour.

Copy Note

Incomplete: has only 22 chromolithographed plates, and only 20 heliographed plates. The Academy's copy has a duplicate plate [3] (Prefazione).

Subject

St. Mark's Cathedral (Venice) - Architecture, Italian - Mosaics - Church decoration and ornament - Pavements - Churches - Cathedrals - Italy - Venice - History - 11th century - Romanesque
Views - Vedute - Elevations - Italy - Venice - 19th century
Pictorial works - Colour printing - Chromolithographs - Lithographs - Italy - 19th century

Contributors

Ferdinando Ongania, publisher
Alberto Prosdocimi, source artist
N. Girotto, source artist
Silvio Risegari, source artist
William Scott, draughtsman
Luigi Gasparini, source artist
G. Kreutz, draughtsman
E. Pedon, draughtsman
Nicolò Moretti, draughtsman
Hölzel, lithographer
F. Doyon, lithographer
Margherita Queen, consort of Umberto I, king of Italy, dedicatee
Giesecke und Devrient, lithographer
Winckelmann and Sons, lithographer
Imprimerie Lemercier et Compagnie (Paris), lithographer
Richter & C. (Naples), lithographer
Eliografia Dell' J.R. Istituto Geografico Militare In Vienna