Felice Giani Drawings at The Cooper-Hewitt Museum

Felice Giani Drawings at the Cooper-Hewitt Museum
Author(s): Phyllis Dearborn Massar

Source: Master Drawings, Vol. 14, No. 4 (Winter, 1976), pp. 396-420+443-466
Published by: Master Drawings Association
Stable URL: http://www.jstor.org/stable/1553392
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1. Detlev von Hadeln, Die Zeichnungenvon Antonio

Canal genannt Canaletto, Vienna, I930, no.
I4.
2. The otherversionscould 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. Reproducedand discussedin EdoardoArslan,"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 LordEgertonof Tatton (Constablenos.

97 and I I ), and the two vedute of ca. 1730 at the
Museumof 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 Borlettiversionin Canal's"periodofelice,' which in his view seems to fall in the I730's
or 1740's.
Drawings of the Eighteenth Century, Venice, 1972,
no. oo.
13. In two of the sketches,red chalkalone is used;but

it is used for outlining,like the ink in the others.
14. Constable,I, pp. 586-89, considersthat the fifteen
Algarottidrawingsthat found their way into the
Viggiano collection were made over a period of
manyyears,but thatmostof the sixteenin the Brass
collectionwere done aroundI745-46.
15. Scholz'sSouth Pulpit in San Marco(Constableno.
560).
16. F. J. B. Watson, "Some Unpublished Canaletto
Drawings of London,' the BurlingtonMagazine,
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.
5. Reproduced in the Burlington Magazine, June,

1971, p. xxxII.
6. See two sheets of figure studies at the printroom

in Berlin-Dahlem(Constableno. 837), the figure
studiesat the BoymansMuseumin Rotterdam(Constable 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. Reproducedin 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
(previouslyPaul Wallraf collection)precededthe

versionat the Victoriaand AlbertMuseum.
10. Vittorio Moschini, Drawings by Canaletto, New

York, I963, p. 20, no. 60.
11. Inv. CAI 423. In the present reproduction, the
chiaroscurocame out too intense.

12. On these drawingsand for the storyof theirdispersion, see Constable,
I,
pp. 585-89; Tito Miotti, "Tre
disegni inediti del Canaletto' Arte Veneta, xx,

I966, pp. 275-78; Alessandro Bettagno, Venetian
[396]
FeliceGianiDrawings
at the
Museum
Cooper-Hewitt
Dearborn
Massar
Phyllis
DURING THE PAST two years it has been possible
for me to devote some concentratedresearch to the
one thousand-odddrawingsattributedto Felice Giani
(1758-1823) at the Cooper-Hewitt Museum of Design. These drawings, along with a great number of
the collection's other Italian drawings, were purchased by the Hewitt sistersfrom Giovanni Piancastelli (I845-I926), for many years Director of the
Borghese Gallery, Rome. Piancastelli apparently
amassed his drawings during the last quarterof 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'scollection to that of Mr. and Mrs.
Edward D. Brandegeewere rejoined to the CooperHewitt holdings in 1938.
First, a few words about Felice Giani himself. This

prolific and peripateticartisthas been widely considered a Roman painter,and, indeed, importantpainted
decorations by him are in the Palazzo Altieri, the
Palazzo di Spagna, and the Palazzo del Quirinale.
But thanksto effortsby variousItalian scholars,'from
the early 1950's into present days, we now know that
Giani painted in villas and palaces in Venice, Ravenna, 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 severaltripsto France,and to have worked
at the Tuileries Palace and at Malmaison;it is certain
that he decorateda villa at Montmorency,near Paris.
Amazingly, Giani was able to weather all the political
stormsand upheavalsof this turbulentperiodof revolutions, 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 celebratedfor 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 ceilings and surroundedby ornate frames,stucco panels,
grisaillepainted imitationsof stuccos,or painted ornament panels. The work necessitated a shop of three
or four painters plus stuccatorias needed, and often
his contractswith his patronsincluded food, wine and
lodgings for the troupe. From about 1797 onwards
Giani'smost importantcollaboratorwas Gaetano Bertolani ( 762-I 856),2who was responsiblefor the nonfigurativepartsof the decoration,and who, according
to account books kept by Giani, received half the
fees. Many of these richly decoratedrooms have succumbed to wartime destruction,overpainting,remodeling, 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 reconstructionof
Giani's total ceuvre.
Giani's figurative style in both the paintings and
the drawingscan be loosely consideredNeo-Classical.
In Italy he is sometimestermed a "pre-Romantic'be-
cause of his dramaticchiaroscuroand his portrayalof

figuresin violent action. Although he must have been
aware during his working career of the major NeoClassical paintersin both Italy and France,his many
sketchbookstudies after paintings seem to prove his
greaterinterest in the compositionsand figure styles
of sixteenth- and seventeenth-centurypainters.
The Giani drawingsat Cooper-Hewitt,roughly divided accordingto subject,yield the following results.
There are 544 figurativecompositions,often with several such compositionsfor a single ceiling or wall on
one sheet. Their importancelies in the fact that most
Italian collectionscontain very few such sheets. They
arenot recordsof paintings,but obviouslyideas in the
study stage, or workingbozzettifor use in making the
ultimate painted panels, which, where comparable,
often exhibit changes or refinements.There are 212
sketchbookleaves, many with drawingsalso upon the
versos, and including studies of figurative compositions and architecturaldetails; 158 sheets of architectural decorationor ornamentmotifs;7 of architecture;
7 of furniture, including a coach; 9 of vases and vessels; 28 of monuments; 1 of theater sets or curtains;
12 of landscapes;Io views; 15 of animals; 5 of Napoleonic portraitsor medals. A certain amount of attrition should be allowed for, since old attributionsto
Giani of some drawings can be legitimately doubted,
but this would probablyonly delete 25 to 50 from the
considerabletotal.
Presented here is a selection from the collection of
Giani drawings, showing its variety, but also reporting whatever heretofore unknown information has
been gleaned in the course of recent researches,3enabling certain of the drawings to be related securely
to Giani's careerand projects.For the sake of order,I
shall proceedchronologically,insofaras 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 earliestdateI794-may tentatively be assigned is a large and
highly finished landscape in black chalk and gray
wash showing a rivervalley, a hilltop town, and distant mountains. (Cat. i, P1. I7). Although largerand
utilizing wash, the drawing is related in style and
[397]
Fig. 1
FELICE
GIANI.
Ceiling Painting. Sala Ottagonale.

Faenza,PalazzoMilzetti.
subject to a group of twenty-two black chalk drawings 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 decorationsin the Palazzo Laderchi, Faenza.5
All the Da Faenza a Marradi drawings bear inscriptions in black chalk in Giani's hand indicating
the locations depicted. No. 206, of a modesthouse, is
inscribedabitazione di Giani a Brisighella 1794. No.
shows the interior of the house with four men
207
taking their ease or smoking around a table laden
with wine jugs, one standing man, and an artist
sketching, seated on a bed; the inscriptionreadscamera e amici di Giani a Brisighella and the date 1794
is inscribedabove the window. Views of Brisighella,6
[398]
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
arduousindoor painting chores, wandered the countryside,but did not cease to practicehis art. The terrain in our drawing most resemblesthat in no. 212 in
the Forli album, inscribed Veduta di Fognano. Presumably in our drawing the village is Fognano and
the riveris the Lamone,which flows nearby.
Felice Giani's role as a landscape draughtsman
warrantsfurtherstudy. In the Cooper-HewittCollection are several other examples, including the four
fine brown ink and wash views published in the catalogue of the 1973 exhibition at the Victoriaand Albert
Museum.7
The year 800ois the earliest date which can be
ascribedwith 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 grandiose 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 "Design forTwo Monuments for the ProposedForoBonaparte in Milan"'8The pen and wash techniques are
similar,as is the scale relationshipof the staffage figures to the monuments,and the treatmentof 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 sculpturedstanding figure seen
from the back is sketched in the center of the background. This figure resemblesin pose and gesture a
possible rearview of the figure in Cat. 2a, P1. 8. Although one Cooper-Hewittdrawing, 2a, has a suggestion of crenellatedwalls in the background,while the
Wunder drawing has classical architecture,this may
be explainedby the fact that Antolini'sscheme would
have replaced with classical buildings the medieval
walls of the Castello Sforzesco,which are of course,
still extant.9
Fig. 2
FELICE
GIANI
and Shop. Ceiling Detail. Sala Ottagonale.
Most of the years 1802-05 were spent by Giani, the
lesser membersof his shop, and his principalcollaborator, the painter of decorativemotifs, Gaetano Bertolani, on the lavish decorationsfor the variousrooms
on both floorsof the palace built by Conte Francesco
Milzetti at Faenza. In the Cooper-Hewitt collection
are drawingsby Giani for the paintings done by him
in four of the five principalroomson the piano nobile.
All these thirty-twodrawings might be considered
bozzetti, and many have been squaredoff for use during the painting process. In all of them Giani used
pen and brown ink, and brown or gray-brownwash,
leaving areas of white paper to represent the highlighted 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 bravurashorthandwhich forecaststheir
dramaticpainting effects, while allowing for possible
compositionalchanges. In general the finished paintings are very close to the drawings.This set of Giani
drawings is typical of many other Cooper-Hewitt
groupswhich cannot as yet be related to specificpalace, villa, or public building decorations.
Fromthe year I 802 is the octagonalsquared-offink
and wash drawing of Apollo in his chariot, with
Aurora(Cat. 3, Pl. 20) which correspondsin virtually
all details to the central ceiling painting in the sala
ottagonaleor anticamerain the Palazzo Milzetti (Fig.
I). Certain minor variationsmay 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 function of the supportingcast of putti and followers of
the chariot.Giani has almost succeeded in the monochrome drawing in forecastingthe warm radianceof
the glowing oranges and yellows of the sunburst surrounding Apollo'schariotin the painting.10
According to Ennio Golfieri in La Casa faentina
dell'Ottocento" the architectGiovanni Antonio Antolini (I756-I841), with whom Giani had apparently
been associated on the Foro Bonaparte project, in
1799 succeeded Giuseppe Pistocchi (I744-1814), the
architectof 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
[400]
programand the furnishings. He illustratesthe room

by reproducinga romanticdrawing 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) showing 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, bearingthe symbolsof the four
seasons and of the zodiac;Giani drawings for all sixteen lunettes are in the collection (Cat. 4a through
4P, P1. 21).
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 foreshortening, the putti types, and even their poses are
derived from the putti painted by Raphael's shop in
the triangularouter segments of the feigned canopy
ceiling in the Sala di Psiche, Palazzo Farnesina,
Rome. The Faresina's putto with mythic beastsis 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 embraceof the twins in the lunette of Gemini.
From the putto riding belly down on Cerberusin the
Farnesina triangle comes Giani's to do the same on
the bull in his Taurus. And from the same triangle
comes the frontallyviewed putto holding Pluto's fork,
adaptedby Giani as a goat rider in his Ares lunette.
Furtherderivationscan 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 drawingsfor the lunettes has been
squaredoff, as was the drawing for the octagonalceiling painting in the same room. In addition, the condition of the drawings, which are worn, torn and
stained, indicate their probabledirect use by Giani in
the creation of the paintings. An interesting detail
instructsus as to Giani's artisticconsiderations.Occupying 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
symbolis an indicationof a directionallight source to
guide the individual modeling of each rotund form
and its cast shadow. It is found on other Giani drawings in the collection.
The versosof this set of drawingsare also a source
of information.Most have inconsequentialdrawings,
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 making this seriesof drawings,since the division of words
in the recto inscriptionsof 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 collaboratedwith Giani on
the painted decorationsof the TeatroValle 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 certainwhether the codicil was
enforced.13
The principal room on the piano nobile of the
Palazzo Milzetti is the Sala delle Feste, also called the
Galleriadell'Iliade,or Galleriad'Achille.14The decoration includes rich stuccoes and grisaille paintings
of classicaldeities and victorieson both the walls and
ceiling. The story of the exploits of Achilles during
the Trojanwar is told in five rectangularpaintings set
into the flattened barrel vault of the ceiling, and in
two spectacularelongated lunettes above the cornice
in the end walls, all these in richly colored figurative
compositionsby Giani himself (Fig. 3). The interpretations of the seven episodes are correctly Homeric.
Seven drawings of these subjects, on three sheets,
with inscriptionsby Giani explaining them, arein the
collection. (Cat. 5, Pl. 22, Figs. 4 and 5).
The drawingshave for the most partbeen carefully
followed in the paintings. However, in the painting
of Achilles draggingthe bodyof Hector,Achilles does
not look back at the body, but forward towards the
added winged Victory floating with the plunging
horses.Two figureshave been added at the left in the
lunette of Priambegging 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
armorto Achilles, who sits mourning beside the bier
of Patroclus(Cat. 5b). The painting reversesthe composition of the drawing from right to left, and Thetis
floats in from the left holding the shield, helmet and
arms, ratherthan 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, Galleriadell'Iliade.
......
Fig. 5
FELICE
GIANI.
i
.
i
"T.
"~...?'?
.:-..I............~.~.
.. -...
z~
. "' ~ '.
S u
s
-.
,i su
~
.
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 bordersare 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 preparatorydrawing for the
ceiling paintings Giani has compressedthem all on
one sheet (Cat. 6, P1. 23, Fig. 6), and supplied captions for each. Both the scenes depicted and the
explanationsaccuratelytranscribeHomer'spoetic descriptionof the events. A few changes may be noted
[402]
between the bozzetto and the paintings, such as the

additionof the helmeted Minerva in two of the trapezoidal compositions,but in general Giani seems to
have followed his own first thoughts, and has managed to invest the paintingswith the same movement
and verve found in the more directdrawings.
In the central oval of Ulysses and Penelope preparing to go to their nuptial bed, accompanied by
Minerva and a maidservantwith a torch, the bridal
pair, the servant, and the maids in the left background making the bed were directly derived from a
Fig. 6
FELICE
GIANI.
Ulysses and Penelope Go to the Nuptial Bed. Ceiling, Sala d'Ulisse.
Faenza, Palazzo Milzetti.
print by Theodore van Thulden, no. 47 from a numbered set of fifty-eight prints after Primaticcio'snow
lost frescoes in the Galerie d'Ulisse, Fontainebleau.
Giani added the floating Minerva at the right. A
photo and a reproductionshow that Giani copied two
other prints from the set in very accurateblack 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 Thulden's no. 48. The other thirty drawings in the series
seem also to be aftervan 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 horizontaloctagon, flanked at

either long side by two tondi. Two more tondi are
opposite the ends of the central painting, while four
square compositionsare set at an angle in the four
cornersof the ceiling. The collection has eleven Giani
drawingsfor these paintings. (Cat. 7, Pls. 24 and 25,
Figs. 7 and 8).
The programmay be evidence of the learning of
Conte Milzetti, for the episodes from the life of the
probablyfictitiousNuma 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 descriptionsof the scenes portrayed; they are accurate illustrations of Plutarch's
text. Perhapsbecause of the solemnity of the sceneNuma, 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 comparingthe
[403]
Fig. 7
FELICE
GIANI.
The Roman AmbassadorsAsk Numa to Reign. Ceiling, Sala di Numa Pompilio.
drawings with photographs of the paintings. The

proud vestal about to be whipped by a priestin 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
compositionof the consecrationof the vestals. Modified 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 MarcantonioRaimondiprint
(Bartsch 207) after it.17 Giani's painting and drawing are in the same direction as the Raphael and the
Raimondi. Comparethe pose of the standing warrior
in classical dress, that of the bearded old man who
[404]
reachesinto the casketbut looks back, and of the two

young men with curled hair who peer into the casket.
Thus Raphael provides a source for Giani's NeoClassicism. Giani had ample opportunity for studying Raphael paintings in the Vatican, and drawings
after them are in the Cooper-Hewittcollection,18for
he worked there in the 1780's with ChristopherUnterbergeron the task of making encaustic copies of
Raphael's loggie, commissioned by Catherine II of
Russiafor 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 decorationsto celebratethe visit, including a specially constructed triumphal arch erected
outside the Porta San Felice. Guidicini says the arch
was of the ionic order,decoratedwith bas-reliefsand

inscriptions,and designed by the engineers Giovan
BattistaMartinetti (probablythe Martinettiforwhose
Bologna house Giani painted various decorations,all
of which have been lost),21Giuseppe Tubertini and
Giovanni Bassani. The machinery was by Antonio
Peli, the painting and bas-reliefs (presumably also
painted) by Felice Giani, and the decorationsby Gaetano Bertolani.
To date no visual evidence of this decoratedtemporary 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 decorationto be
painted by Giani himself. Cat. 8a (P1. 26) and 8b
show standing winged Victorieswith trophiesof 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 roundelswith winged Victories,
again the two pairsfacing, respectively,right and left.
Above the upper roundels on each sheet is the black
chalk inscriptionfama 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 Victoryflies 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 rewarda seated Minerva, surroundedby symbols of the artsand sciences. The inscriptionabove is
Felsina, the Etruscanname 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 inscriptionfama del arco,referringto the Victory in the
left spandrel.
Fig. 8
FELICE
GIANI.
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 triumphin war, and the allusionsto Bologna, 805,
in the inscriptionsseem to me to link these drawings
conclusively to the triumphal arch built to honor
Napoleon. Dr. Rudolph Berliner, who originally accessioned them, noted that the watermarkswere 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 necessarilybelong with them (1901-39I 94 and -i 195), their subjectbeing 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]
gationwhichgreetedthe Emperornearthe archoutsidethe PortaSanFelice.DuringNapoleon'ssojourn

Aldiniis saidto havetakenhim to the hilltopsite of
his futureNeo-Classicalvilla, and on June 29th he
of stateforthe Kingdomof Italy,
wasnamedsecretary
his residenceto be in France.22
Amongthe Gianidrawingsin the collectionarea
set of nine whichareimportantnot as largeor striking examplesof Giani'sstyle,butratherforwhatthey
tell us aboutthe commissionand the workingmethodsof Gianiandhis shop.All nine relateto a suiteof
the Appartamento
roomsin the PalazzoQuirinale,23
Napoleonico,which were redecoratedsumptuously
in I812 for a visit to Romeby the EmperorNapoleon-a visitwhichpoliticaleventsandmilitarycamin
paignsprevented.A greatmanyartistsparticipated
the project,anda largepartof the workremains.
In all of the nine drawings(Cat. 9a through9i,
Triumphof War.Giani'sdrawing(Cat. 9e) shows the

whole rectangularceiling in plan, with its thirteen
compartments,in each of which he himself executed
paintings. The central horizontal panel contains a
compositioncrowdedwith the movementof mounted
warriorsand foot-soldiersin classicaldress surrounding a flying Victorywho is about to crown an emperor
in his chariot.The style of our drawingis very much
like that of the painted version, which Ternois describes as having been painted with the point of the
brush and appearingalmost to have been improvised.
The corner compartmentsof the ceiling contain octagonal compositionsof standing Victories, the four
squares in the centers of both long and short sides
contain a compositionin 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 GabiPls. 28 and 29) ruled black chalk lines indicate the
of theceilingsorof thevaultpanels,the netto Dedicato alla Pace,27shows Giani again to be
organization
to
be
filledultimatelyby richstuccoand gilt responsible for the central horizontal rectangle and
spaces
decoration,moldings,friezes,and centralpaintings. four octagonal compositions.(Cat. 9f, P1. 28). Again
On identicalgreenish-beige
paper,and in grayink the centralcompositionis full of action,and the drawhasdrawnonly the fig- ing style has been translatedinto the painting (Fig.
Giani
anddelicategraywash,
9). The theme of the four octagons is Athena as pahe himselfwas to paint,and is
urativecompositions
documentedas having painted.Other documents tron of the arts-painting, sculpture, architecture,
nameGaetanoBertolani,Giani'sworkingpartner,as and poetry.Ternoissays that it was Napoleon's intenSome tion to make of Rome "the metropolisof the arts'28
havingpaintedotherpartsof the decoration.24
of ourdrawingsforma valuablerecordof decorations These octagonal paintings have since been replaced
whichhavesincedisappeared.
by mirrors, although the panels of Painting and
A groupof fourdrawings(Cat.ga, b, c, d), which Poetry are reported to be in storage in the Palazzo
were probablyonce partof a largersheet later cut Quirinale.

For the Emperor'swork room, the Grande Gabiform,
apart,areboundedby ruledlinesin trapezoidal
eachtrapezoidcontaininga horizontaloctagonalcom- netto di Sua Maesta l'Imperatore,29Giani executed
positionflankedby tondi.These four correspondto only the paintings decorating the compartmentsof
vaultsin the ceilingof the salone the curvedceiling vault, still extant, and our drawing
the fourtrapezoidal
below (Cat. gg, P1 .29) shows all of these. Six tondi contain
d'onore,alsocalledthe sala dellamarchesa,25
which runsthe celebratedThorwaldsenfrieze,The the seated figures of antique gods-Jove, Neptune,
Triumphof Alexanderin Babylon.These ceiling Mars, Hercules, Athena, and Hera (or, accordingto
decorationsremainintact.The subjectsof the four Ternois, Vesta). In the cornersand center of the long
octagonalcompositionsare Strength,Justice,Wis- sides of the vault are compositionsof flying Victories,
dom and Generosity.Four tondi containVictories, executed in the paintings in grisailleon backgrounds
andfourtrophiesof war.
simulating mosaics in gold. On the short sides, four
Giani's verticalpanels of trophiesflank the tondi.
Forthe GabinettoDedicatoalla Guerra,26
It seems plausible to suppose that the Cooperthe
central
included
ceilingpainting,the
assignment
[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

roomsin the suite, two small cabinets30in which the
1812 decorationhas disappeared,since it is obviously
for the coved ceiling vaults of a small room, since it
sylistically and technically correspondsto 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 garlandsand 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 backgroundof the lunettes may imply 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 dancing female figuresholding wreaths above their heads.
Another drawing (Cat. 9h) may be for the other
small cabinet, since it also shows the decorationof the
coved ceiling vaults of a small room. In the center of
each trapezoidalsection of the vault is a small representation of an antique god in a chariot. On the long
sides are Venus in a chariotdrawn by doves,and Neptune in a horse-drawnchariot;on the short sides are
Apollo in his chariot drawn by horses, and Diana in
hers, drawn by stags. Surroundingthese central compositions are small pairsof decorativemotifs-female
figureswith herms,or with candelabra;winged genii;

dancing genii; octagonswith standing or dancing female figures;masks in tiny tondi.
For the last room of the suite in which Giani is
documentedas having worked, Napoleon's bedchamber, dedicatedto the hours, day and night, the collection unfortunatelyhas 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 Montmorency (near Paris) belonging to Antonio Aldini,
Secretaryof 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 variousmissions to France, participating in the governmentsof the Republics, the Cispadana 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 having decorated Aldini's town palace in Bologna32
(decorationsstill extant), and in I8 o Giani probably
worked in Aldini's famous Neo-Classical villa overlooking Bologna, although the decorationsprobably
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
[407]
received his final payment in September, I813, ap

parently having returned to Bologna in August of
that year. No trace remainsof the decorations,nor of
the villa at Montmorency, since Aldini, in financial
troubleafter the fall of Napoleon, abandonedit to his
creditorsin 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 drawings of decorative compositions inscribed with the
name of the villa, two bearing the date I812.34Eight
Giani drawings of the park, the villa, and the environs of Montmorency,similarlyinscribed and dated,
are in the Museo Napoleonico, Rome.35To these at
least seven drawings from the Cooper-Hewittcollection may be securely added. The seven sheets are all
inscribedas for Montmorency(although Giani'sspelling 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 completed his work and was heading home with his drawings. In differing media, all of our drawings except
one are on the same thick very rough and ratherdark
gray paper.
Designated for the reception room were the seven
octagonal compositionstelling the story of Romulus
and Remus (Cat. ioa). The camera di compagnia
decorationsapparentlyencompassedfourGiani paintings-vertical octagonscontaining female figuresrepresenting the virtues of Justice, Prudence, Strength
and Vigilance, Cat. iob, P1. 30), this sheet in the
usual brown ink and gray-brownwash. The drawing
inscribed for the dining room has brown ink and
brown wash figures of twenty-fourputti engaged in
every conceivable putto activity (Cat. loc), perhaps
used as a frieze. An antechamberwas also decorated
with putti, this time in four square paintings showing putti harvestinggrapes (Cat. Iod). Nine circular
drawings in brown ink and wash show nine wellknown mythological scenes destined to decorate the
bathroom (Cat. ioe). For a terza camera are nine
[408]
seated muses in pen, black ink and brownwash (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 Faldi36published the inscriptionon
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 inscriptionsare separated 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, 90oI39-I648, though without an inscriptionrelating it to
Montmorency,is on paper similar to the other seven
and has four rectangular compositionsof the Four
Continents, or the quattroparti 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,37in his summaries by date and
locationof the artisticactivitiesof Felice Giani, writes
that in I8I6 Giani contractedto 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 Parnassuswith Apollo and the Muses
(Cat. 1, P1. 32), has on the verso a quick sketch of
Apollo with his lyre and an accompanyingmuse, plus
the inscriptionin Giani's hand: Faenza casa Cavina/
Cameradi compagnia.
In poses reminiscent of antique prototypes, the
Muse figures are arrangedacrossthe middle-ground,
the lyre-playingApollo and genii at the center. In the
foregrounda grassyslope bordersa bit of pond with
a pair of swans. In the background of the ceiling
painting38a herm and a round temple appearat the
left, with the rest woods and cliffs, while the drawing has a distant landscape at the right. The softly
rounded forms, faces, and draperiesin the painting
arerenderedin the drawingby nervousangularshorthand pen strokes. Wash shading makes the highlighted partsof the figure stand out, anticipating the
white, blue, gold and warm orange garments of the
painted Parnassus group. The drawn lines of the
draperyfolds 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,
P1. 33) showing one of the four arc-sidedtriangular

panels of decorationpainted on the four ceiling vaults
in the bedroom.At the top of the sheet is the inscription camerada letto. In the nine compartmentsof 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 intersectingbordersbetween compartments,as is the meanderpatternof the surrounding 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 corneglia madre dei/ Gracchi. In a small color photograph of the ceiling the central painting can be read,
and it and the panels of decorationcorrespondto our
sketch. In the painting the interioris seen to approximate 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 attendantsat the left. A female figure seated
at the table lifts jewels from a box, an allusion to Cornelia's famous speech.
Two other drawings also bear inscriptions for the
Casa Cavina (Cat. I3a and I3b). Both are octagons.
One of them, inscribedon the verso Cornegliamadre
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 Cavina. At the right sits the fainting Octavia, supported
by Augustus, while Virgil, standing at the left, reads
a eulogy for the dead Marcellus.39There is no way at
present to determinewhether 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 covered with sketches of architecture,both Renaissance
and Gothic, and with small sculpturaland figurative
compositions.In the upper left is a small section of a
ceiling decoration,either found or invented by Giani,
with a precise inscribed descriptionof materials,motifs and colors, which descriptionsare also typical of
many of our pages. Atypical, and much more revealing of Giani's artisticphilosophy and practice, is the
inscriptionin 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 sketchbookpages, devoted as they
are to drawingsafter paintings by many other artists.
Such is the drawing on the recto of this sheet (P1.
34a), inscribedDivino CorregioParma, after Correggio'spainting of the Madonna with Jeromeand 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 compositionhas been reversed,suggesting derivation from a print such as an anonymous copy in reverse40after Agostino Carracci'sreproductionof 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
two years before Giani's death. Giuseppe ValaI82I,
dier, many of whose drawingsare also in the CooperHewitt collection, was the architect for the remodeling of the theater, the work beginning in I821. The
scheduled reopeningwas delayed fromCarnivaltime,
until December of that year.
I822,
Valadier, in his Opere di Architetturae di Ornamento ideate ed eseguite da Giuseppe Valadier,
Rome, 833, includes an engravingof the ceiling, and
refers to Giani by name in his text on pages 9 and 14.
Valadier says that the ceiling was painted in chiaroscuro, and that the figures dipinte al naturale represented Victory in the middle, with the nine Muses in
the trapezoidal compartments.In the space toward
the prosceniumwere painted the chariotsof the Sun
and Moon, with their respective genii. Valadier further writes that the paintings were "executedin masterly style by the distinguished Felice Gianni' The
four tondi, which the architect explains were decorated with charming ornaments in color, could be
[409]
L .e_a
Fig. 10 GIUSEPPE
[410]
VALADIER,
.-
.-
-- -i
Opere..., P1.vu. Ceiling, Rome, TeatroValle. Engraving.
w- 1
I
'
Fig. 11 FELICE GIANI.
Apollo Yielding the Reins of the Horses of

the Sun to Phaeton.
Fig. 12
FELICE
GIANI.
Phaeton Bidding Apollo Farewell.

Florence,Uffizi,GabinettoDisegni e Stampe.
Florence,Uffizi, GabinettoDisegni 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 variationsfrom the
engraving (Fig. io), notably the absence in the engraving of the central globe with the zodiac between
the chariots in the trapezoidalcompartmentnearest
the proscenium;it also shows various alternativesfor
the decorativebordersaround the compartments.Various remodelings of the Teatro Valle have taken
place during subsequentyears,including the repainting of the ceiling at some time between I845 and
I865, and so the Giani painted decorationshave been
lost. Our drawing is probablythe best recordof them
extant.
Moving now from drawings with specific dates or
for specific projects to several exemplifying Giani's
skill and variety,here presentedare a pair on the subject of Phaeton, enhanced by softly tinted washes.
(Cat. i6a and i6b, Pls. 37 and 38). Whether for pre[411]
sentation of his ideas to clients, or whether used as

personalguides in painting is not certain, but Giani
succeeds in forecastinghere the movemented, transparently colored, drawing-styleeffects of his ceiling
decorations. These two drawings relate in style to
others in the Cooper-Hewitt collection,41but 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 Aurorafloats,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's989 S Phaeton is pleading with a tenderlyinclined Apollo for permission to drive the chariot of
the sun, and is alreadyreachingeagerly for the reins.
There are variationsin the poses of all three protagonists, 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 alreadyhalf mounting the chariot and more casually bidding Apollo farewell with a
glance over his shoulder.43The two Cooper-Hewitt
Phaeton drawings exert their seductive appeal
through Giani's heightened cursivenesswith his pen,
impartingmovement, 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 drawingsin black chalk are outstanding,
and often dramatic,as in this Venetian architectural
capriccio(Cat. 17, P1.38). InscribedPiazza per sepolchri, Giani has here combined his impressionsof 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 impact of the scene by radicallyreducing 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-handwhen he worked in
Venice in 1807 and again in 1814 on the decorations
of severalrooms(apparentlylater redecorated)in the
[412]
Ala Napoleonica which closes the Piazza San Marco

to the west.44
A large sketchbookpage (Cat. I8, P1. 39), typical
of many, bearsno inscribeddate, although it must be
earlierthan 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 I8o5.45At the upper left Giani
has used dramaticchiaroscurolighting to render an
impressionof the Ark of San Domenico under the
greatdome of the church of the samename. Flanking
it are sketchesof two sculpturedfiguresfrom the Ark,
one the angel with the candelabrum by Michelangelo, though Giani's inscription fails to note its authorship.At the lower left are two views of Bologna,
one of buildings, possibly mills, from which water
spews into the riverReno, and a view from an arcade
of what Giani's inscriptioncalls la mercanziaGotico
belisimo, the famous Palazzo della Mercanzia,begun
in I832. At the lower right are sketches of architectural details, always an absorbinginterest for Giani.
The verso, which may date from student years, has
numerousdiagramswith inscriptionsexplaining how
to constructvariousgeometricfigures.
Probablythe most impressiveamong Giani's drawings in the collection are numerouslarge and striking
sheets demonstratinghis most violent virtuoso style.
There is no time for colored washes in these drawings, and barely time for a little black chalk underdrawing. Giani attackedthe paperprecipitouslywith
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, chiaroscuroeffects, classical buildings in the
landscape, and antique costumes and furnishings.
Again the source seems to be paintings by Raphael
and Giulio Romanoin the Vatican Stanze.
It now seems evident that drawings such as this
may have been made primarily for drawing's sake,
since very few instancescan be found in which Giani
made either an easel painting (of which there are
few) or a ceiling painting based on them.46More evidence seems to point to their being valued as drawings. In I952 the Cultural Institute at Forli exhibited
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 Scarabelliduring
intervalsin his work in i 822. He is presumedto have
made these thirty drawings there within a short
time,47and may have left them there as a house present.
That artistsin the late yearsof the eighteenth century and the early years of the nineteenth century
placed great emphasison drawing is evidenced by the
existence of numerous academies of drawing, frequented by established artists as well as by students,
in Rome and Bologna.48Anna Maria Mateucci has
published fascinating information about the Accademia della Pace in i803 at Bologna, where various
artists, including Felice Giani, gathered weekly to
make a drawing illustratinga prescribedsubject, and
to submit it to their fellow artistsfor criticism. Each
artistin turn assignedthe subject, and each had to do
the necessaryreading and researchto assure the literary and historic accuracyof his drawing. That Giani
did indeed cherish the Bologna Accademiadella Pace
and its principles is demonstratedin his work, and
perhapsmay be evidenced specificallyby three drawings in the collection.49Two show monuments to the
arts inscribed Accademia della Pace, and one amusing verso of an album page may show the more convivial side of these artist'smeetings: underlined by a
musical staff and scales of notes, three musicians,carrying 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.
2. Two Monuments for the Proposed Foro Bonaparte in

Milan.
Pen and gray-brownink, gray-brownwash, over tracesof
blackchalk
Provenance: Giovanni Piancastelli;Mr. and Mrs. EdwardD. Brandegee.
a) Monument with standing figure. I938-88-4 05
P1. i8
255 x I85 mm.
b) Equestrianmonument. I938-88-4o06
P1. 19
283 x 203 mm.
3. Apollo in his chariot, with Aurora, for the Palazzo

Milzetti, Faenza. 190 -39-3270
P1. 20
Pen and brown ink, gray-brownwash, over traces of

blackchalk. Octagonon a sheet 313 x 296 mm. Squared
off alongall bordersin segmentsnumberedin blackchalk
from I to
20.
Provenance:GiovanniPiancastelli.
4. Sixteen Lunettes with Putti as Symbols of the Seasons
and the Zodiac, for the Palazzo Milzetti, Faenza.
Pen and brownink, light brownwash, over black chalk.
Inscriptionsin Giani'shand in pen and brown ink, and
in black chalk. All of the drawingsare squaredoff in
blackchalk,in sectionsnumberedfrom I to 8 on the long
sides,and from I to 4 on the shortsides.All have in black
chalk a symbolresemblinga compass,showing the angle
of the light.
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 / Pittore5-15 Roverese/ Roma.
b) Ares. A winged putto with a ram. 1901-39-1 179
PI. 21
143x 213 mm.
Inscriptions:Capricorniaand Arietein black chalk, the

latter scratchedout. ariete primaveraI, 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 acrossboth straightand curved parts of the
facade.Sketch of the groundplan of the building, other
vaguesketchesand pot-hooks.[Otherpartof the building
sketch on verso of 1901-39-I I80.]
c) Taurus. A winged putto clinging to a flying bull.

I901-39-I 89
mm.
120 X 215
Catalogue
1. Mountainous Landscape with a River Valley and a
P1. 17
Hilltop Village. 1938-88-3034
Black chalk and gray wash. 342 x 575 mm.
Provenance: Giovanni Piancastelli;Mr. and Mrs. Edward D. Brandegee.
Inscription:2 [Inscriptionprobablycut off, along with

top edge of the lunette.]
Verso: Pen and brown ink sketch of a partof a pointed
arch [?] and tiny squiggleddecorations.
d) Gemini. Two winged putti grappling with each
other. I901-39-1185
I32 X 210 mm.
Inscriptions:In black chalk gemini, a numberscratched
[413]
out, and 3. In pen and brownink, Geminiper la prima/
vera 3.
Verso: Pen and brown ink sketch of a triangularshape

above an arch, another small architecturalshape, and
small decorativesquiggles.
e) Summer. A winged putto with sheavesof grain and
a sickle.
90 I-39- 1183
I38 x I98 mm.
k) Scorpio. A winged puttobearingon his head a salver

with a scorpion on it. 1901-39-I 192
141 x 222 mm.
Inscription:In blackchalk, 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 testingthe pen.
f) Cancer.A flying winged putto carryinga round disk,
or platter,and a crab dangling from a string.
I9OI-39-I I9I
132 x 2I8 mm.
Inscriptions:In black chalk a word, probablyscorpione,

written over in ink. In pen and brown ink scorpione2
autunno.
1) Sagittarius.A winged putto-centaurshootinghis bow

and arrow. 1901-39-I 193
I48 x 21o mm. On blue-green paper, unlike the rest.
Inscriptions:In blackchalk a word and a number,probably sagitarioand 3, written over in ink. In pen and
brown ink Sagitario 3 autunno.
m) Winter. A winged putto carryinga hammerand a
Inscription: Pen and brown ink, Cancro -lestate.
torch. 190I-39-1188
g) Leo. A winged puttoridinga flying lion.

P1. 2I
190I-39-1253
I29 X 213 mm.
Inscriptions:In blackchalk,Lestaand a scratchedout 2.

In pen and brown ink Leone 2 I'estate.
Verso: Pen and brown ink sketch of a trapezoidcut by

an arc.
h) Virgo. A winged female putto, holding a strandof
hair or a riband. 190 -39-I i8I
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 sketcheswhich seem to

be ground plans of buildings, one with a porticoand 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.
144 x 202 mm.
Inscriptions:In black chalk, vergine 3, written over in

pen and brown ink vergine 3-per
Verso:Pen and brownink caricatureof a standingman

wearingbreechesand hose, a flaredcoat,ruffledshirtand
an enormoustricornehat. Sketch of what seems to be a
studdedarch.
l'estate.
Verso:Pen and brownink sketchof the tops of trees[the
bottom of the landscape is on the verso of 1901-39-1 I82].
A smalllandscapein a roundelshowingtreesand a lake,

executed with a brush and dark lavendarwash. In pen
and brown ink, the name Keck, and calligraphicpen
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 coupleof lettersscratchedout, and autunno.
Verso:Pen and brownink sketchof the bottompartof a

small round landscapeof 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

sketchymathematicalcalculations.
o) Aquarius.A winged puttopouringwaterfroma large
jug. I901-39-I I86
I46 x 203 mm.
Inscriptions:In black chalk aquarioand 9. In pen and

brown ink aquario inverno 2.
Verso: Pen and brown ink sketch of a round landscape

and partof another.
p) Pisces. A winged putto bearingon his head a salver
In pen and brown ink, in autunno lequinozio in libra 21

gbre.
with two fish. I90I-39-1I87
Verso: Pen and brown ink sketch of the right half and
part of the ground plan of the colonnaded building
Inscriptions:Illegible word in black chalk, written over

in ink. Pen and brownink pesci 3 inverno.
Verso: Very light sketch in pen and brown ink of what
seems to be a roominterior.In one cornerof the sheet a
list of names written and then scratchedout, in black
chalk. A few endings, ... vino and ... olini can be distinguished.
sketched on the verso of 190I-39-1179.
Pen and brown
ink list of names: ComendatoreRipanti/ Mo [cancelled

letters] Giacomo Ripanti / M Gabriella Ripanti /
Rafaello Compagnoli / Colini / Leoparid / Cav.
crata [?] / Lo Sipione Baldasini / . . . esiole / ...
lingua / ... stro Antonio Belli. Trials of the pen.
j) Libra. A winged putto bearing a pair of
Sig [?]
Cansestro di
scales.
84
1901-39-I
132 X 212 mm.
Inscriptions:in black chalk a 4 and illegible word or

words scratchedout or written over in ink. In pen and
brown ink, libra I autunno.
[414]
133 x 214 mm.
5. The Deeds of Achilles During the TrojanWar, Palazzo

Milzetti, Faenza.
Seven drawingson three sheets.
Pen and brownink, gray-brownwash overtracesof black
chalk;inscriptionsin blackchalk.
a) 190o-39-3327
409 x 227 mm. Three rectangular drawings on one sheet.
Top: Agamemnonrefusesto liberateChryseis.Inscribed:
I91 x 145 mm. Roundel on a rectangular sheet.

Inscriptions: 2 [above]; e il senato / il popolo romano
viene a incontre / numa [below]
crise sacerdote dapollo / I
b) The consecration of Numa Pompilius.
Center: Minervaappearsto Achilles during a council of
the Greeks. Inscribed: disputa dachille con agamemnone / 2
Bottom: The abductionof Briseis.Inscribed:Agamemnone piglia Briseide a Achille / 3

b) 190I-39-3328
217 x I96 mm. Two rectangular drawings on one sheet.
Top: Thetis in the workshopof Hephaestus.Inscribed:
4 Tetide fa fabbricare le armi per Achille
Bottom: Thetis shows the armorto Achilles, who sits

beside the bier of the dead Patroclus.Inscribed:Tetide
porta le armi ad Achille
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 Aventine.
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
c) I90I-39-3329
226 x 290 mm. Two lunette shaped drawings on one
e) Numa Pompilius being taught by the Muses.
sheet.
1901-39-3454
PI. 22
of Troy. Inscribed: furia d'Achille / 6
88 x 3 1 mm. Vertical rectangle on a rectangular sheet.

Inscriptions: 9 [above]; numa aprende le cose divine/
dalle Muse [below]
scribed: 7 priamo prega per il corpo dettore
f) Numa Pompilius consecrating the Vestal Virgins.
Top: Achilles dragsthe body of Hectoraroundthe walls

Bottom: Priam pleading for the body of Hector. In-
6. The Return of Ulysses to Ithaca, for the Palazzo Milzetti, Faenza.Three oval, two roundand fourtrapezoidal
drawings on one sheet. 190I-39-3333
P1. 23
Pen and brown ink, brown wash, over traces of black

chalk. Inscriptionsin brown ink, some numbersalso in
black chalk. 328 x 429 mm.
Inscriptions:[Note: A numberappearsaboveand below
each of the nine drawings,and in somecasesdo not agree;
the numberabovethe drawingappearsfirst,followed by
the numberbelow, 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 / nascondono 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 drawingson separatesheets.
Pen and brown ink, brown wash, over black chalk. Inscriptionsand numbersin pen and brownink.
a) Numa Pompilius welcomed to Rome after his election as king. 1901-39-3450
I90I-39-3455
I85 x 130 mm. Vertical rectangle on a rectangular sheet.
Inscriptions:4 [above] VESTA [on the cornice of the

interiorof the temple in the drawing]numa consacrale
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.Verticalrectangleon a rectangularsheet.

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

PI. 24,
Pompilius, to Reign over Rome. 1901-39-3460
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 drawingson six sheets.
[415]
Pen and brownink, blackchalk.

e) Ceiling of the Gabinetto Dedicato alla Guerra.
a) A winged Victory inscribing the date 1805 on a

shield. I90 -39-325I
P1. 26
1938-88-3088
281 x413 mm.
f)
Ceiling of the Gabinetto Dedicato alla Pace.
298 X 235 mm.
1938-88-3087
Inscriptions: I805 [on the shield in the drawing];the

bordersquaredoff in numberedsections, side 1-7, top
and bottom, I-6.
290 X 4I6 mm.
b) A standing winged Victory with trophies of war.

Inscriptions:(squaredoff on the bordersas in a).
c) A winged Victory in the left spandrel of an arch.
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:famadellaguerra Reno;the borderof each

roundelsquaredoff in numberedsectionsI-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 borderof

each roundelsquaredoff as in e)
9. Nine Ceiling Decorations for the Appartamento Napoleonico 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. EdwardD. Brandegee.
a) Trapezoidalceiling vault with horizontaloctagon of
Justice,flankedby tondi of Victoriesin chariots,for the
salone d'onore. 1938-88-3071
86 x 262 mm.
b) Trapezoidalceiling vault with horizontaloctagonof

Peace, flankedby tondi of Victoriesin chariots,for the
salone d'onore. 1938-88-3072
85 x 262 mm.
c) Trapezoidalceiling vault with horizontaloctagonof

Prudence,flankedby tondi with putti and trophies,for
the saloned'onore.1938-88-3073
82 x 275 mm.
d) Trapezoidalceiling vault with horizontaloctagon of

Abundance,flankedby tondi with putti and trophies,for
the saloned'onore.1938-88-3074
82 x 275 mm.
[416]
Inscriptionsin 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.
1901-39-3252
294 x 223 mm.
I901-39-I356
P1. 28
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
distinctivethick, rough, dark gray paper. Exception as
to paper: 190 -39-2703.
a) The story of Romulus and Remus, for the reception

room. I90 -39-3297
254 x 382 mm.
Recto: Centraloctagonand six horizontaloctagons.

Inscribedat the top in ink: Camerada riceveredipintaa
Momoransi/ castello di S. E. Aldini / 2 Maggio 1813.
Inscriptionsover the octagonsin black chalk: Nasita di
Remo/ e Romolo;2 / Faustoloe Romolo e Remo; Romoloa Romain afferri[?] 3; center,trofeoa Romolo;4 /
Romolo segna la grandezza/ di Roma; 5 / Ratto delle
sabine;6 / Romoloportali primiarmi.
Verso: Pen and brown ink sketch of a canopy ceiling
with eight triangulardivisionsand eight lunettes, each
with pairsof putti.
b) Four female figures representing virtues, for the
"company" room. I90I-39-502
286 x 254 mm. Four vertical octagons.
Pl. 30
Inscribedat the top in ink: Cameradi compagniadipinta

a MoransiCastello/ Pe S E il Sig MinistroAldini / Io
Aprile 8 13. Overthe octagonsin blackchalk:Giustizia;
Fortezza;prudenza;vigilanza.
c) Twenty-fourputti 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, omittingthe four in the bottomrow. The word
cererein ink appearsfour times.
d) Four pairs of putti for an antechamber.
1901-39-2703
177 x I87 mm. Four squarecompositions.On thin laid

paper.
Inscription in ink: Anticamera dipinta in Moransi/
Castellodi S. E. Aldini 4 maggio.
e) Nine mythological scenes, for the bathroom.
b) Vergil reading the eulogy of Marcellus to Lucretia
190I-39-3311
and Augustus. 1901-39-2008
258 x 398 mm. Nine roundels.

Inscriptionat the top in ink: Sala di bagno dipinta a
Montmoransi/ nel Castelodi Suo E. Aldini x6 Luglio
I813.
Inscriptionsin black chalk with the roundels: Ratto

deuropa;gicinto;Leda;Pan e ninfa; Apollo dafne; diana
calisto;Galateao 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
figureand two masks,tragicand comic.

Inscriptionat the top in ink: S E Aldini Parigi/ terza
camerao ssia, sale dipinta / a Monmorosi/ 4 Gennaio
1813.
Inscriptionsin 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
242 X 221 mm. Roundel.
P1. 31
Inscriptionin ink below the roundel: Parigi dipinta a

Momoronsiper S. E. Aldini / 4 Genaio 1813. Within the
roundelPA 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 brownink, brownwash, overblackchalk. 158 x

247 mm.
Verso: A pen and brown ink sketch of the figure of

Apollo and a half-figure.Inscription: Faenza casa Cavina / Cameradi Compagnia.
12. Segmented Triangular Decoration for a Vaulted Ceiling in the Palazzo Cavina, Faenza. 1901-39-1662
P1.33
Pen and brown ink. 210 x 255 mm.
Inscriptions:camerada letto and cornegliamadre dei /

Gracchi.
Verso: A roughersketch in pen and brown ink of the
sameceiling decoration,but showingan alternativelower
border.
13. Two Drawings of Roman Historical Subjects for
Paintings in the Palazzo Cavina, Faenza.
Octagonson rectangularsheets.
Pen and brown ink, light brownwash, over blackchalk.
a) Cornelia, mother of the Gracchi. I901-39-2003
I75 x 237 mm.
Verso:Very light pen and brown ink sketchof a rectangle and part of another and the inscription,Corneglia
madredei Gracchi/ FaenzaCasa Cavina.
174 X 230 mm.
Verso: Inscriptionin 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
Pls. 34a and 34b
219 x 155 mm.
Pen and brown ink, brown wash, overblack chalk.

Inscriptions:90 and Divino CorregioParma,underlined.
Verso: Numerouspen and brownink sketchesof Gothic
and Renaissancearchitectureand architecturaldetails,
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 rightangles,along the left side]
compartostucco/ meandroe rosoni/ ovoli cornici oro/
campoazzuroputto cofano.
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
blackchalk.
16. Two Oval Drawings of Phaeton, with Apollo and
Aurora.
Pen and brownink, coloredwashes,overblackchalk.
a) Apollo yielding the reins of the horses of the Sun
to Phaeton. I90I-39-3215
376 x 274 mm.
Pl. 36
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
Black chalk. 449 x 318 mm.
P1. 38
18. Sketchbook Page with Bolognese Architecture and
Sculpture, Including the Ark of San Domenico.
P1.39
[Formerlycut apart,and now rejoined.]
I901-39-I375,-I376
374 x 253 mm.
Recto: Pen and brown ink, orange-brownwash over
traces of black chalk. Inscriptionsin 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-
[417]
ing, monumentodel quattrocento Bologna.Lower left,

buildingsalong the riverReno, Bologna,inscribedbelow
it fabrichesul Reno Bologna. In the lower corner: 64.
At the lowercenterthe Loggiadella Mercanzia,Bologna,
inscribdbelow la MercanziaGoticobelisimoBologna.At
the upperright a sketchof a kneeling angel with a candelabrum,from the Ark, inscribedbelow Bologamonumento del quattrocento. In the upperright corner: I26.
At center right a sketch of a standing male figure in
Renaissancedress,with a swordin a scabbard,inscribed
below Bolognamonumentodel quatocen. At the lower
right sketchesof Gothic architecturaldetails and ornaments.
Verso: A page of geometricdiagramswith explanations,
in pen and darkbrownink. The freehanddiagramsshow
how to use a compassto construct certain forms, and
there is a Pythagoreantable at the lowerleft.
P1.40
19. Alexander and Diogenes. 190 -39-3346
552 x 770 mm.
Pen and brownink, brownwash, overblackchalk.
Inscription:Allesandroe Diogene.
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 Comunale, 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 Piancastelli collection at the Biblioteca Comunale, Forli,
informs me that Carlo Piancastelli (Fusignano 1867I938 Rome) was not related to Giovanni Piancastelli (Castel Bolognese, near Ravenna, I845-I926
Rome), and that Piancastelli is a common name in
the Romagna. Reproductions of some of the drawings 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, I95I-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.
1. By now fairly large, the literature on Felice Giani is

almost entirely in Italian. I have cited most frequently 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
While apparently not without occasional
I95I-52.
errors, Servolini's chronological and geographical
summaries of Giani's life and work are immensely
helpful and, where checkable against dated CooperHewitt Giani drawings, have proved completely correct. 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-
[418]
7. An American Museum of Decorative Arts and Design, 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 albums 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, Middlebury 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
Giovanni Antolini Maria Antolini /
I90I-39-2043,
Maria Antolini / Filippo / Sofia Antolini, accompanied by calligraphic flourishes.
10. 1901-39-3310
is a variant of the Apollo composi-
tion, in a roundel, and probably of later date, since

the paper is similar to that used for the Aldini drawings of 813, see Cat. No. i o.
11. Ennio Golfieri, La casa faentina dell'Ottocento,
Monte di Creditosu Pegnoe Cassadi Risparmiodi

Faenza,Faenza,n.d., no pagination,No. 18.
12. Faenza,PinacotecaComunale,AlbumN. 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 collectionaresix other
drawingsof Achillessubjects,1901-39-3288through
-3292. Three are of similar subjects to those in the
Galleriadell'Iliade;the othersconcernepisodesin
the earlierlife of Achilles,not the Trojanwar. Anotherversionof the compositionof Achillesdragging
the bodyof Hectoris in the Museodi Roma.Cecilia
Pericoli, "I disegni di Felice Giani nel Museo di
Roma' Bollettinodei MuseiComunaledi Roma o,
1963, p. 26, Fig. I.
p. 26.
17. JustusMiiller Hofstede,"SomeEarlyDrawingsby

Rubens' Master Drawings,
I7.
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 compagni 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.
16. The BibliotecaComunale, Forli, has three lithographsby Achille Farinaafter the PalazzoMilzetti
paintings,obviouslymadewithoutknowledgeof the
drawingsby Giani. Nos. 754 and 759 are aftertwo
of the Saladi Numa Pompiliocompositions,and no.
761 is after the paintingof Ulysses recountinghis
adventuresto Penelope.Luigi Servolini,Mostradei
Disegni...,
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.
I,
i, 1964, pp. 14 and
18. Among other Giani drawingsafter VaticanStanze

paintingsby Raphaeland/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.
e decorazione
21. Anna MariaMateucci,"Architettura
in Bolognaall'Epocadi Stendahl'Atti del convegno
Stendahla Bologna,Bologna,1975, p. 12.
22. Ugo Lenzi, Napoleone a Bologna, Bologna,
I92I,
p. 46; Guidicini,Diario..., p. 65.

23. My debtis to TheodoreA. Gantzfor firstconnecting
some of these drawingswith the PalazzoQuirinale
rooms.The sourcesof my informationon the AppartamentoNapoleonico are Italo Faldi, "Opere
Romane . . . pp. 241 and 245-56; Giuliano Briganti, II Palazzo del Quirinale, Rome, 1952, pp.
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 Ministeri as reproduced in Ternois, fig. 2. No documentation exists which connects Giani to the decoration
of this room, but he may have supplied a project.
32. Anna Maria Mateucci, "Architettura . . . Bologna ...
'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, "Opereromane ....' 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 NeoClassical painters, having been used by Ingres for a
painting sent to the Villa Aldobrandini in Rome in
[419]
Fabre,who spent
1812, and alsoby Francois-Xavier
the years 1787-1826 in Italy, his paintingnow in
the Art Instituteof Chicago.Although the seated
Augustus, the fainting Octavia and the hovering
servantssomewhatresemblethe groupin the Fabre
painting,Giani'scompositiondiffersgreatlyfromit
andfromthe Ingres.
40. The MetropolitanMuseum of Art, Print Department, 17.3.1905.
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.
41. Iris and the Rainbow, I901-39-1807; Aurora,

1901-39-3213;
Hymen,
Bacchus and Venus,
47. Catalogue, Disegni inediti di Felice Giani nella

Raccolta Faella, Forli, 1952.
I901-39-I806.
42. The subjectswronglydescribedby MirellaMatarozzi in her catalogueof Giani drawingsin the Uffizi,
Gutenburg Jahrbuch, 1965, p. 296.
43. A highly finishedoval drawing,almosta painting,

judgingby a photograph,of PhaetonBiddingFare-
[420]
94.
48. Anna Maria Mateucci, "L'Attivitagiovanile di Pelagio 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.
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FELICE GIAN I. Mountainous Landscapewith a River Valley and a Hilltop Village.

New York,Cooper-HewittMuseumof Design. (413)
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Plate18
FELICE GIANI.
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Monument with Standing Figure.
New York, Cooper-Hewitt Museum of Design. (413)
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Plate 21
FELICE GIANI.
Two Lunettes: Leo and Ares.
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Plate22
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.

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Plate24
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=-:-.s3
Askthe Sabine,Numa Pompilius,to ReignoverRome.

FELICE GIANI. The RomanAmbassadors
,??~
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Plate 25
so,
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FELI CE G IAN I. Two Episodesfrom the Life of Numa Pompilius.

New York,Cooper-HewittMuseumof Design. (4I5)
P*ooQ* A^ $S00? rowy. ^/W,4

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Plate 26
FELICE GIAN I. Decoration for a TriumphalArch.

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Plate27
FELICE GIANI.
SpandrelDecorationfor a TriumphalArch.
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FELICE GIAN I. The Triumphof Peace.

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Plate 29
FELICE GIAN I. Ceiling of the Grande Gabinetto dell'Imperatore.

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FELICE GIANI.
Four Female Figures RepresentingVirtues.
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Plate 31
F E LI C E G IA N I. The Triumph of Peace.
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Plate 32
FELICE GIAN I. Parnassuswith Apollo and the Muses.

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FELICE ClIAN I. SegmentedTriangularDecorationfor a VaultedCeiling.

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(below)
Plate34a
FELICE GIANI.
SketchbookPage: The Virgin,
St. Jerome,and Mary Magdalene,
after Correggio.
New York,Cooper-HewittMuseum
of Design. (417)
(opposite)
Plate35
FELICE GIANI.
Ceiling of the TeatroValle,
Rome.
of Design. (417)
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(right)
Plate34b
FELICE GIANI.
SketchbookPage, verso.
of Design. (4 7)
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Plate 36
FELICE GIANI.
Apollo Yielding the Reins of the Horses of the Sun to Phaeton.
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Plate3 7
FELICE GIAN I. PhaetonBiddingApolloFarewell.

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FELICE GIANI.
SketchbookPage with Bolognese Architectureand Sculpture.
New York,Cooper-HewittMuseumof Design. (4 7)
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Plate 40
FELICE GIAN I. AlexanderandDiogenes.

I .-
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Felice Giani Drawings at The Cooper-Hewitt Museum

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Felice Giani Drawings at the Cooper-Hewitt Museum

Author(s): Phyllis Dearborn Massar

1. Detlev von Hadeln, Die Zeichnungenvon Antonio

2. The otherversionscould be by imitators(I did not

n, nos. 34 and 35, pp.

3. Reproducedand discussedin EdoardoArslan,"New

of the late LordEgertonof Tatton (Constablenos.

Museumof Fine Arts in Houston (Constable,nos.

Drawings of the Eighteenth Century, Venice, 1972,

13. In two of the sketches,red chalkalone is used;but

5. Reproduced in the Burlington Magazine, June,

6. See two sheets of figure studies at the printroom

7. The inscription reads: Jo Zuanne Antonio da Canal,

8. Reproducedin Jacob Bean and Felice Stampfle,

9. For Constable, II, pp. 454-55, the Scholz drawing

(previouslyPaul Wallraf collection)precededthe

10. Vittorio Moschini, Drawings by Canaletto, New

chiaroscurocame out too intense.

pp. 585-89; Tito Miotti, "Tre

disegni inediti del Canaletto' Arte Veneta, xx,

First, a few words about Felice Giani himself. This

cause of his dramaticchiaroscuroand his portrayalof

Ceiling Painting. Sala Ottagonale.

and Shop. Ceiling Detail. Sala Ottagonale.

and Shop. Galleria dell'Iliade.

programand the furnishings. He illustratesthe room

Giani's style in these drawings, as in the painted

ing part of their recto inscriptions. On the verso of

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

Achilles Dragging the Body of Hector. End Wall, Galleriadell'Iliade.

Priam Begging for the Body of Hector. Ceiling, Galleria dell'Iliade.

Milzetti has green, orange,blue, and white bands and

between the bozzetto and the paintings, such as the

Ulysses and Penelope Go to the Nuptial Bed. Ceiling, Sala d'Ulisse.

Faenza, Palazzo Milzetti.

cluding a large central horizontaloctagon, flanked at

The Roman AmbassadorsAsk Numa to Reign. Ceiling, Sala di Numa Pompilio.

drawings with photographs of the paintings. The

reachesinto the casketbut looks back, and of the two

was of the ionic order,decoratedwith bas-reliefsand

The Finding of the Sybilline Books in the

The drawing style, taken together with the theme

gationwhichgreetedthe Emperornearthe archoutsidethe PortaSanFelice.DuringNapoleon'ssojourn

Triumphof War.Giani'sdrawing(Cat. 9e) shows the

were probablyonce partof a largersheet later cut Quirinale.

Hewitt drawing (Cat. gh) is for one of the two next

figureswith herms,or with candelabra;winged genii;

received his final payment in September, I813, ap

seated muses in pen, black ink and brownwash (Cat.

quattro parti del mondo: quadro di mezzo trionfo

P1. 33) showing one of the four arc-sidedtriangular

Opere..., P1.vu. Ceiling, Rome, TeatroValle. Engraving.

Fig. 11 FELICE GIANI.

Apollo Yielding the Reins of the Horses of

Phaeton Bidding Apollo Farewell.

Florence,Uffizi, GabinettoDisegni e Stampe.

opened for ventilation, and the one nearest the stage

sentation of his ideas to clients, or whether used as

Ala Napoleonica which closes the Piazza San Marco

thirty Giani drawings of more or less uniform size,

2. Two Monuments for the Proposed Foro Bonaparte in

283 x 203 mm.

3. Apollo in his chariot, with Aurora, for the Palazzo