Teatro De Cipressi Con Dodici Sorgivi D’Acqua E Con Otto Statue Dell’ Arti Liberali Nel Piano Del Giardino – Le Fontane Di Roma Nelle Piazze E Luoghi Publici Della Citta

Engraver: Venturini, Giovanni Francesco
Publisher: Giovanni Giacomo De’ Rossi
Price: £65
Publication Date: 1675-1691
Format: Original etching with engraving
Condition: In near fine condition, mounted
Mount Size: 50.0cm x 40.5cm

Condition:

This original copper engraving dates from circa 1675-1691. Printed on water-marked paper. Not laid down. Attached to back-board using archive tabs. Mounted in an acid-free, ivory fleck mount board with a solid black bevel. Mount size: 50.0cm x 40.5cm. In very near fine condition. Ready to frame.

Description:

Giovanni Francesco Venturini was an Italian engraver and draughtsman active in Rome in the late 17th century, noted for his meticulous and imaginative etchings that documented the grandeur of Baroque Rome. Among his most significant achievements is the visual compendium Le Fontane di Roma nelle Piazze e Luoghi Publici della Città (The Fountains of Rome in the Squares and Public Places of the City), a rare and important work that offers both artistic merit and historical value.

Venturini produced this series during a period of intense artistic flourishing in Rome, when urban planning, monumental architecture, and the embellishment of public spaces were heavily patronised by the Papacy. Fountains, in particular, were commissioned not only for practical purposes but also as displays of civic pride, engineering prowess, and papal authority. Le Fontane di Roma reflects this context, capturing the spirit of Rome as a city shaped by water and spectacle.

The series comprises a collection of finely etched plates that depict many of the city’s most celebrated fountains, including those in the Piazza Navona, Piazza di Spagna, and the Campidoglio, among others. Venturini’s attention to architectural detail, ornamentation, and spatial arrangement demonstrates both technical precision and artistic sensitivity. His etchings are not mere topographical records—they interpret the fountains as sculptural masterpieces, highlighting the dynamism, symbolism, and theatricality that defined Baroque design.

Venturini’s work serves multiple functions. It is, first and foremost, a visual catalogue of Rome’s public water features at a specific historical moment. But it is also an artistic statement, reflecting the aesthetic priorities of the era—grandeur, harmony, and movement. The engravings combine factual observation with a controlled yet expressive line, giving the viewer an experience akin to a guided tour through the Eternal City.

Produced during a time when the printed image was the chief medium for spreading visual culture beyond its place of origin, Le Fontane di Roma also catered to a growing international audience. Scholars, architects, collectors, and Grand Tourists would have valued such a work both for its educational content and for its artistic quality. Through these engravings, Venturini helped codify and circulate the Roman fountain as a symbol of both classical heritage and Baroque innovation.

Little is known about Venturini’s life beyond his professional output, but this series, along with other architectural and sculptural studies, positions him among the accomplished engravers of his time. His ability to distil the physical and symbolic complexity of Baroque Rome into copperplate etchings testifies to his skill, insight, and deep engagement with the urban fabric of the city.

Today, Le Fontane di Roma remains a valued document in the history of art and urban design. It stands as a testament to Venturini’s craft, his historical awareness, and his role in preserving the image of Rome at a time when it was the undisputed centre of artistic innovation in Europe.

Location: OSR: 002993

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