Pietro Santi Bartoli (Perugia, 1635-1700). 10 plates from "Le Pitture Antiche del Sepolcro de Nasonii Nella Via Flaminia" engravings on laid paper, 1680. A wonderful ensemble of 10 engraved plates by Italian engraver Pietro Santi Bartoli from "Le Pitture Antiche del Sepolcro de Nasonii Nella Via Flaminia" (Rome: Giovanni Battista Bussotti, 1680) by Giovanni Pietro Bellori. These engravings are after Roman paintings found in the tomb of Quintus Nasonius Ambrosius in Rome. Depicting various scenes of Ovid, Mercury, the Muse Erato, and other deities and mythological narratives, this ensemble includes plate numbers 5, 7, 8, 9, 11, 13, 14, 15, 18, and 34. Size of engraving (all the same): 7" W x 5" H (17.8 cm x 12.7 cm); of page: 8.3" W x 12.3" H (21.1 cm x 31.2 cm)

The uncovering of the tomb of Quintus Nasonius Ambrosius on the Via Flaminia in March 1674 was one of the most important archaeological discoveries of the 17th century. The family grave, measuring approximately 9 x 4.5 m, was decorated with colorful frescoes around 150 AD. There are seven apse paintings, a frieze with mythological scenes and a richly painted ceiling. While the wall frescoes show scenes from the underworld, the ceiling paintings focus on the liberation of the soul after death. The false assumption that the owner of the tomb, Q. Nasonius Ambrosius, was related to P. Ovidius Naso (Ovid) and that the poet was buried here, led to a real stream of visitors, which, however, only a few years after their discovery which resulted in the deterioration of the images. The engraver, draftsman and painter Pietro Santi Bartoli (1635-1700) created the copper engravings of the wall paintings here in 1680 - probably on behalf of Cardinal Camillo Massimo. The volume also contains a description of the frescoes by Giovanni Pietro Bellori (1613-1696). Due to its great success, the work received a second edition in 1702 and was published as part of the extensive publication "Le pitture antiche delle grotte di Roma, e del sepolcro de' Nasonii" (1706) or "Picturae Antiquae Cryptarum Romanarum Et Sepulchri Nasonum" (1750) republished.

Bartoli was "one of the leading figures in a circle of artists, patrons and scholars in seventeenth century Rome who were deeply interested in the study of classical antiquity? Bartoli was himself both artist and antiquarian? Though his early training was as a painter, it is chiefly as an etcher/engraver that he is celebrated. His practice in copying stood him in good stead for the work which he is now remembered: illustrating the statues and monuments of classical Rome. The volumes of prints after classical sculpture (often with commentary by Bellori)? include Colonna Traiana (1665), which Pope Alexander VII eagerly perused on publication, and Colonna Antoniana (1672). A selection of famous works appeared in Admiranda romanarum antiquitatum (1675[?]; 2nd ed., 1693)" (Encyclopedia of the History of Classical Archaeology).

Provenance: ex-Royal Athena Galleries, New York City, New York, USA

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#184390

5 have no watermarks, 4 have Paschal Lamb in double circle, and 1 has fleur de lis in double circle with an arrow. All are pages from larger codex; a few with chipping to edge where it was removed and/or corners. Some staining, discoloring, and marks to pages with a few miniscule tears at edges, but none greatly affect images. Clear prints with nicely preserved detail. "100" inscribed in graphite on bottom right of each page by previous owner. Accompanied by old label from Royal Athena, protective plastic film, and copy of first page of book.