Monuments antiques, relevés et restaurés par les architectes pensionnaires de l'Académie de France à Rome;

Edited by Georges Seure; Hector d'Espouy from the Accademia di Francia (Rome, Italy) and the Institut de France. Published in France by Charles Massin 1910-1912.

Two volumes here for sale. Each volume is 13 x 17.5 inches. Volume I: Monuments antiques de la Grèce et des pays grecs. Volume I has 65 plates, of which 8 are double page and 5 are triple page. the double page prints are 25 inches wide, the triple page prints are 37 inches wide. Subjects covered include: The Acropolis of Athens, the Acropolis of Pergamos/Pergamus, Acropolis of Sunium, Delphi, enceinte sacree temple, Olympia, Propylaia, Propylaea, Selinus Sicily, Temple of Neptune, Parthenon, Erectheum, HEphaistos Temple, Epidaurus Temple, Eleusis, Jupiter Temple, Tomb of Mausolus, Pergamus.

Volume II. Monuments antiques de Rome. Volume II has 71 plates, of which 10 are double page and 5 are triple page. Subjects covered include The Mars Ultor Temple, Forum of Trajan, Colosseum, Palatine Hill, Tabularium, Marcellus Theater, Octavia Porch, Pantheon, Theater of Pompey, Tiber Island, Saint Angelo Castle or Mausoleum of Hadrian, The Baths of Titus , Baths of Caracalla, and Baths of Diocletian, Sun Temple, Fountain Temple, Sacred Way or Via Appia, Roman Forum,

Some pictures are below. Note each plate has a library stamp in the corner as shown in the plates. Most plates are nice and clean, a few have some spotting. Each one of these prints would be excellent framed for an architect or designer or archaeologist.

The background on these prints is as follows: Louis XIV, the King of France, was a generous patron of the arts. During his long reign (1643-1715), he sought to raise standards of taste and sophistication in the Arts and so a number of royal academies were founded, including the Academy of Painting and Sculpture (1648), the Academie de France in Rome (1663) and the foundation of the Academie royale d'Architecture (1671). This formalized a system for the training of French architects and by elevating artisans to academicians, the power of the medieval guilds was eroded and centered instead on the patronage of the king. Subsidized by the state, the Academy of Architecture was free to those, aged fifteen to thirty, who could pass the entrance examinations. By the nineteenth century, students were obliged to complete a number of increasingly demanding concours or competitions, the most prestigious of which was the Grand Prix de Rome, a rigorous annual examination (a first competition was in 1702, then 1720, then yearly) that provided the winner advanced study at the French Academy in Rome at the Villa Medici, where classical antiquities could be seen at first hand. Each year, for the four or five years they were in Rome, the students, supported financially with pensions, (hence their name of pensionnaires) were required to produce two sets of drawings, or envois, of Rome's ancient and medeival monuments: the état actuel, which was an exacting representation of the extant state, documenting the site with the precision of an archaeologist, and the état restauré, a more imaginary and often idealized restoration including the rendering of shade and shadow, which was accompanied by a written description of the monument's antiquity and construction. Often times, the views of the architects differed from those of the archaeologists in that the students wanted to use such buildings as inspiration for their own work, and hence reconstructed them omplete and coloured, often at the disagreement of the archaeologists. The drawings submitted for the annual Grand Prix de Rome were on themes chosen by the Academy. The subjects set are indeed grand in scale and often in reach: triumphal arches (1730, 1747, 1763), palaces (1752, 1772, 1791, 1804, 1806), city squares and markets (1733, 1792, 1801), town halls (1742, 1787, 1813), law courts (1782, 1821) museums (1779) and educational institutions inclu...
... read more