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IN IMPERIAL FOLIO
For the first time, the acute diagonal is used in stage drawings.
Bibiena in this treatise "The civil architecture prepared on geometry and reduced to perspectives", of 1711, theorizes the angled view, an expedient used for the first time in Bologna by Marcantonio Chiarini in 1694, which allows a vision of the theatrical scene different from that of the Baroque era.
The new system makes it possible to create a theatrical backdrop, built through a series of perspective guidelines, independent from those of the hall, and inclined with respect to it, according to a variable angle defined by diagonal lines, with a central angle view of a building, from which the perspective axes depart, towards two lateral and external focal points of the scene: in this way it was possible to have both better visibility from every point of the room and a greater possibility of imaginative elaboration given by the creation of an infinite space, beyond of the proscenium, which has become a mere premise, and no longer an integral part of the theater scene.
Cicognara 430. Berlin Kat., 2628. Fowler n.134. Comolli, III, pp.36-40. Vagnetti Perspective E IV b6. Book.
Genuine specimen, beautiful.
CONTENTS
Galli Bibiena was a pupil of Carlo Cignani, who introduced him to Duke Ranuccio Farnese, of whom he became the first painter and architect. Remaining at the court of Francesco, Ranuccio's successor, Bibiena divided his life between Parma and Piacenza for twenty-eight years, performing numerous works. He achieved his greatest success as a theatrical set designer, an occupation that took him in 1708 to Barcelona at the court of Charles III of Habsburg (to whom he dedicates this work "Civil Architecture") and to Vienna in 1714.
The five parts of this great treatise concern geometry, civil architecture, perspective, painting and scenography, theatrical mechanics.
In the field of perspective, Bibiena was very innovative, after the ideas of Milliet-Deschales, in the positions in the perspective framework different from the usual ones that generate frontal images.
Trained in Bologna, he first studied painting then squaring and perspective, executing, between 1674 and 1675, under the guidance of Giacomo Torelli, the scenography for the Fortuna theater in Fano.
He created memorable sets at the imperial court in Vienna such as that for the theatrical party by Johann Joseph Fux on a libretto by Pietro Pariati, Angelica vincitrice di Alcina, performed outdoors in September 1716 on the Favorita fishpond.
In Bologna he carried out the projects for the observatory of the Institute of Sciences, in 1720 those for the staircase of Palazzo Malvezzi, for the ballroom in Palazzo Ranuzzi and for the apartment of the Gonfaloniere in the Palazzo Pubblico. In 1726 he supplied the designs for the bell tower of Santa Cristina della Fondazza. From 1719 he carried out, together with his son Antonio, the restoration works of the Fortuna theater in Fano and between 1719-22 he restored the church of San Giovanni Evangelista in Rimini and worked, always in the latter city, between 1723-24 to the church of the Theatines.
CONDITION REPORT
First edition and first printing, without the addition of the printer's address on the title page, of the errata and with some plates numbered and others not as follows; the first series of plates is numbered first quarter copper, copper 5, copper sixth; the second series consists of 39 unnumbered plates; the copper plates numbered 1-14 follow, an unnumbered plate and the last ones numbered 15-24. pp. (20, with title, dedications, portrait of the author in copper, indexes), 156; (4).
Imperial folio. Woodcut frieze on the title page, woodcut initials and finials, portrait of the Author on *2v, 70 splendid plates of geometry and architecture (reinforcement on the inner margin of the first leaves and on the lower one of the following ones to cover a series of woodworms, slight reinforcement also on the margin of some plates and leaves and small repairs to a few leaves, slight marginal stains). Half leather, gilt title decorated spine.
FULL TITLES & AUTHORS
Civil Architecture prepared on geometry, and reduced to perspectives. Practical considerations of Ferdinando Galli di Bibiena, Bolognese citizen primary architect master builder and chamber painter and theater parties of the majesty of Charles III the Monarch of Spain drawn and described in five parts.
The first contains Geometry and warnings before à fabricar is reached.
The second is a Treatise on Civil Architecture in general and the much facilitated divisions of effa.
The Third Perspective in common horizontal and from below up.
The Fourth is a brief difference in Painting and the Perspective for Figure Painters with the new Perspective of Theatrical Scenes seen per angle beyond the practiced by all the others.
La Quinta La Mecanica is the art of moving, holding and transporting pieces
Dedicated to the Sacred Catholic Royal Majesty OF CHARLES III KING OF SPAIN OF HUNGARY BOHEMIA & c.
In Parma, for Paolo Monti, 1711.
Ferdinando Galli Bibiena (1657-1743)
BIBLIOGRAPHY
A. Griseri, The metamorphoses of the Baroque, Turin 1967, p. 259.
C. Ricci, I Bibiena. Theater architects, Alfieri & Lacroix, Milan MCMXV.
M. Horak, From scenography to architecture: catafalques, altarpieces and altars, the influence of Ferdinando Galli Bibiena in the theatricality of liturgical apparatuses, Piacenza 2008.
Tiziano Marcheselli, Collecchio di una volta, Parma, Gazzetta di Parma Editore, 2008.
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