27:
167:
280:
461:
203:
446:
303:, and two sites in Herculaneum: Resina and Portici. The book displays a high level of scholarship for the time, and the engravings are of high quality. Most engravings show the frame, if known, have a measurement scale, and are accompanied by a scholarly essay. Some of the smaller objects do not have entries, but are reproduced as unnamed headpieces or tailpieces. There are about 619 copperplate engravings, some double, 836 vignettes and 540 illuminated letters designed by
218:) printed in 1746. Despite the title, the book included drawings of statuettes in bronze and marble, lamps and reliefs. Some engravings showed the objects as they were, while others showed the artist's reconstruction of the original. There were many inaccuracies. The book gave no indication of the locations where the objects were found. Only three copies have survived. These may be the only ones that were produced, perhaps because Charles was dissatisfied with the result.
233:, and issued by the Stamperia Reale in 1752. The five volume work tells stories of Hercules and tries to prove that the city was in fact Herculaneum, which had not been in doubt since an inscription was found in 1738, but says nothing about the findings. In 1754 Bayardi published a one volume catalog of the findings. Without illustrations, and with only the most cursory descriptions of the 2,000 objects listed, the catalog has little value.
355:. The engravers treat them as flat paintings, although in fact they were concave, and their shape shows where they were originally placed in the building. The book contains only a small selection of the paintings that were taken to Portici, although it seems that drawings were made of all these paintings. From 1765 onward the artists drew each painting as it appeared on the wall it decorated.
364:
439:. Vien was open about his borrowing, and invited his audience to compare the two works. The main difference is in the intensity of expression of the three women in Vien's picture, the seller looking at the buyers and the buyers looking at the cupid, compared to the blank expressions and unfocused gazes of the women in Nolli's engraving.
182:. The well turned out to have been sunk into the buried and richly ornamented proscenium of the theater of Herculaneum, and yielded several valuable marbles, including a statue of Hercules. The duke was extremely short of money. He smuggled the pieces to Rome to be restored, and then "gave" them to
193:
In 1739 a set of large mythical groups were found in the "Basilica". By 1748 the excavations had unearthed eight full-sized bronze statues. The large works were restored and put on display in the king's museum at
Portici. The smaller works were generally not exhibited. The excavations were done by
314:
The organization was based more on aesthetics than on explaining the context of the Roman site. The first volume contains the largest and most beautiful images. The images of paintings on fragments of the porticus are spread across all five volumes to cover paintings, since the first set of
257:
The academy issued volumes of the work from 1757 to 1792. They were not sold, but were given to the "happy few" that were chosen as recipients. Two thousand copies were printed of the first volume. Charles abdicated in 1759 and was succeeded by the eight-year-old
326:
Images within each volume are grouped by location, more because they have consistent styles than to show the Roman context. The text typically gave no information about the date and place of the find. The largest four images from the portico are depictions of
270:
were copied in London in 1773. Another volume on paintings came out in 1779. An abridged version of the book was published in 1789. The last volume, in 1792, depicted lamps and candelabras. The volumes do not include depictions of the marbles.
379:
origins, had huge appeal to
Europeans of the time, and the book provided a great stock of classical motifs that could be used by designers and scholars. The publication was more an advertisement for the collection of remains held in the
190:− began excavations to find objects for his private collection of antiquities, imposing tight security on the site. Interest was maintained by the hope of finding more objects of similar value to the first set of statues.
315:
fragments from the portico was found in 1738, and the second set in 1761 after the first two volumes had been published. The artists again indulged in their imagination. A horseback rider that had been shown in the
384:
than an archaeological record. It was said that due to the book "students of antiquity - that is virtually all lovers of art - would have felt bound to go to Naples, as they were bound to go to
Florence and Rome."
166:
146:
The engravings are high quality and the accompanying text displays great scholarship, but the book lacks the information on context that would be expected of a modern archaeological work.
26:
460:
279:
262:. Publication continued under the regent Tanucci. The first four volumes depicted paintings. These were painted wall fragments, including fragments removed from the
194:
slaves, and it seems that much was destroyed or stolen. News of the finds spread, and
Charles drew criticism for the secrecy and lack of science in the excavations.
150:
was designed more to impress readers with the quality of the objects in the King of Naples' collection than to be used in research. The book gave impetus to the
242:
to study the artifacts and publish the findings. The committee engaged twenty-five leading artists to prepare drawings and engravings on the finds, including
392:, which had earlier origins, but it had a large influence on the decorative arts in Europe. The plates were often used as sources for paintings. Thus
254:. The best engravers were given the most interesting pieces. A given engraver would be given all pieces of a given style, to ensure consistency.
388:
The discussion the book generated was mainly about the artistic merits of the wall paintings than about Roman life. It did not cause the rise of
966:
924:
835:
808:
266:. The fifth volume, published in 1767, was devoted to bronze busts. Another volume on bronze statues was issued in 1771. Plates from the
127:(now Italy). It was published between 1757 and 1792, and copies were given to selected recipients across Europe. Despite the title, the
862:
445:
175:
259:
202:
412:, the British designer, copied figures in the book from the "Villa of Cicero" to the ceiling of the Red Drawing Room at
1013:
251:
890:(1/2). AAUC/UAAC (Association des universités d’art du Canada / Universities Art Association of Canada): 59–73.
243:
183:
982:
Seznec, Jean (September 1949). "Herculaneum and
Pompeii in French Literature of the Eighteenth Century".
230:
320:
1018:
238:
187:
68:
174:
The excavations at
Heculaneum began in 1711, when a well was being dug for the new country house of
991:
901:
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352:
308:
247:
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920:
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is a well known example of early French neoclassicism. It is based on an engraving by
1007:
393:
389:
151:
119:) is an eight-volume book of engravings of the findings from excavating the ruins of
363:
800:
From Paris to
Pompeii: French Romanticism and the Cultural Politics of Archaeology
216:
Copper engravings of the ancient paintings discovered in the excavations of Resina
212:
Disegni intagliati in rame di pitture antiche ritrovate nelle scavazioni di Resina
409:
376:
155:
120:
413:
405:
154:
movement in Europe by giving artists and decorators access to a huge store of
519:
Bronzes from
Herculaneum and region, engraved and described - Part 2: Statues
513:
Bronzes from
Herculaneum and region, engraved and described - Part I: Busts
210:
The first publication to record the findings was a large folio book called
916:
Absorption and
Theatricality: Painting and Beholder in the Age of Diderot
340:
336:
332:
291:
shows objects from all the excavations the Bourbons undertook around the
131:
shows objects from all the excavations the Bourbons undertook around the
99:
995:
905:
229:) was prepared by Ottavio Antonio Bayardi, cousin of the prime minister
531:
Lamps and Candelabras of Herculaneum and region, engraved and described
348:
328:
300:
296:
263:
179:
140:
136:
941:
896:
879:
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with the horse's tail and the rider's right hand missing was drawn by
344:
525:
Ancient paintings of Herculaneum and region, engraved and described
507:
Ancient paintings of Herculaneum and region, engraved and described
501:
Ancient paintings of Herculaneum and region, engraved and described
495:
Ancient paintings of Herculaneum and region, engraved and described
489:
Ancient paintings of Herculaneum and region, engraved and described
362:
278:
201:
165:
651:
649:
647:
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In 1755 Charles appointed fifteen savants to a newly formed
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626:
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620:
618:
827:
Antiquity Recovered: The Legacy of Pompeii and Herculaneum
188:
Charles VII of Naples − after 1759, Charles III of Spain
435:
of a painting on the same subject from volume 3 of the
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666:
664:
958:
The Restoration of Ancient Bronzes: Naples and Beyond
704:
702:
700:
590:
588:
586:
554:
552:
550:
143:, and two sites in Herculaneum: Resina and Portici.
990:(3). Archaeological Institute of America: 150–158.
884:
RACAR: Revue d'art canadienne / Canadian Art Review
824:Coates, Victoria C. Gardner; Seydl, Jon L. (2007).
91:
83:
75:
61:
53:
45:
33:
655:
609:
577:
37:
8:
955:Risser, Erik; Saunders, David (2013-01-31).
19:
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479:The volumes, all printed at Naples by the
25:
18:
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227:Preface to the Antiquities of Herculaneum
672:
546:
441:
170:Victory sacrifices to Athena (volume 2)
756:
323:as if it were in undamaged condition.
780:
768:
400:seem to have used it for a series of
7:
803:. University of Pennsylvania Press.
744:
708:
594:
558:
223:Prodromo delle Antichità di Ercolano
942:"Le Antichità di Ercolano Esposte"
919:. University of California Press.
116:Antiquities of Herculaneum Exposed
14:
20:Le Antichità di Ercolano Esposte
459:
444:
176:Emmanuel Maurice, Duke of Elbeuf
110:Le Antichità di Ercolano Esposte
483:(Royal Press) were as follows:
206:Nereid on a panther (volume 3)
1:
913:Fried, Michael (1980-01-01).
878:Desrochers, Brigitte (2000).
16:18th century archaeology book
940:Gualdoni, Flaminio (2014).
1035:
851:Curl, James (2002-09-01).
797:Blix, Goran (2011-01-01).
656:Risser & Saunders 2013
610:Risser & Saunders 2013
578:Risser & Saunders 2013
425:La Marchande à la toilette
404:painted in gray-scale for
252:Giovanni Battista Casanova
24:
402:Scenes from Ancient Life
857:. David & Charles.
721:Coates & Seydl 2007
692:Coates & Seydl 2007
635:Coates & Seydl 2007
287:Despite the title, the
283:Centaur and lyre player
961:. Getty Publications.
830:. Getty Publications.
368:
284:
207:
186:, his cousin. In 1738
184:Prince Eugene of Savoy
171:
38:
854:Georgian Architecture
467:La Marchande d'Amours
437:Antichità di Ercolano
421:La Marchande d'Amours
373:Antichità di Ercolano
367:Eagle Lamp (volume 8)
366:
289:Antichità di Ercolano
282:
244:Giovanni Elia Morghen
205:
169:
129:Antichità di Ercolano
69:Charles VII of Naples
39:Antichità di Ercolano
239:Accademia Ercolanese
34:Original title
21:
880:"Images de Pompéi"
371:The images in the
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317:Disegni intagliati
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208:
172:
1014:Archaeology books
968:978-1-60606-154-1
926:978-0-520-03758-8
897:10.7202/1069723ar
837:978-0-89236-872-3
810:978-0-8122-0130-7
429:Joseph-Marie Vien
382:Palace of Portici
231:Giovanni Fogliani
125:Kingdom of Naples
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76:Publication place
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307:and engraved by
305:Luigi Vanvitelli
295:. These include
135:. These include
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529:Volume 8 1792
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523:Volume 7 1779
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517:Volume 6 1771
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511:Volume 5 1767
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505:Volume 4 1765
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499:Volume 3 1762
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493:Volume 2 1760
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487:Volume 1 1757
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673:Gualdoni 2014
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394:Nicolas Gosse
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390:neoclassicism
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983:
972:. Retrieved
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945:. Retrieved
930:. Retrieved
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868:. Retrieved
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841:. Retrieved
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814:. Retrieved
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416:in 1761-62.
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260:Ferdinand IV
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152:neoclassical
148:Le Antichità
147:
145:
128:
115:
114:
109:
108:
106:
1019:Herculaneum
984:Archaeology
757:Seznec 1949
433:Carlo Nolli
410:Robert Adam
377:Hellenistic
309:Carlo Nolli
248:Carlo Nolli
198:Publication
156:Hellenistic
121:Herculaneum
57:Archaeology
1008:Categories
974:2014-06-18
947:2014-06-18
932:2014-06-18
870:2014-06-18
843:2014-06-18
816:2014-06-18
781:Fried 1980
769:Fried 1980
537:References
414:Syon House
406:the Louvre
162:Background
745:Blix 2011
709:Curl 2002
595:Blix 2011
559:Blix 2011
542:Citations
419:The 1763
268:Antichita
65:1757–1792
62:Published
996:41662313
906:42631204
454:by Nolli
359:Response
341:Achilles
337:Telephus
333:Hercules
275:Contents
158:motifs.
100:56782711
46:Language
790:Sources
475:Volumes
469:by Vien
353:Olympus
349:Marsyas
329:Theseus
301:Stabiae
297:Pompeii
264:portico
180:Portici
141:Stabiae
137:Pompeii
123:in the
54:Subject
49:Italian
994:
965:
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347:, and
345:Chiron
992:JSTOR
902:JSTOR
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87:Print
79:Italy
963:ISBN
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
