Façade of St. Peter’s by Antonio Labacco

Façade of St. Peter’s by Antonio Labacco Façade of St. Peter’s by Labacco

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$295.00 $145.00

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A Vatican Library Collection Fine Art Limited Edition

Exquisite map of Florence, Italy

“Façade of St. Peter’s”, Original 1548, 16th century

Edition medium: Giclée print on Somerset Velvet Paper 330g.

Inks: Archival pigment inks

Color Permanence: Rated for 100+
years

Print Size: 24″ High x 27.5″ Wide.

Limited Edition of 150, numbered 1/150. Comes with a certificate of authenticity.

Stampati barberiniani X I  13a, fol. 17.

Blind embossed with the seal of the Vatican Library Collection!

These are no longer being made. This is the last one.


Artist’s Biography

Antonio Labacco

(b.ca. 1495)

At the height of the Renaissance, Antonio da Sangallo
the Younger and Antonio Labacco
stood before the massive unfinished structure that was to become Saint Peter’s
cathedral and
contemplated the end result. Sangallo was appointed in 1536 to restore and
consolidate t
he

foundation and o
ther
struc
tures begun by his
predecessor, Bramante. As was customary at the time,
a wooden model was planned to help both patron and workmen apprecia
te the physical form
of the
ideas of the architect. Over the next seven years, Sangallo, aided by his close
consultant Labacco,
constructed one of the largest wooden models
(measuring nearly 22 feet long, 18 feet wide
and 14
feet high) of the Italian Renaissance
.

 

The fabrication of St. Peter’s Cathedral is
well documented bya hundred
year history of
models by Bramante, Raphael, Peruzzi, Antonio da Sangailo the Younger,
Michelangelo, Giacomo
delia Porta, and Mademo
. Of all these models, only three survive:
one by Sangailo, and two by
Michelangelo, one of which suffers alterations by delia Porta
.
When Sangallo died in 1546, he left
behind a drawing of the facade and a nearly completed model
.
Antonio Labacco finished it to
Sangailo’s exact specifications and then executed a detailed etching that
preserves a vision of the
cathedral that was never to be realized. When Michelangelo took over the
project in 1547, he
dismissed Sangailo’s design, scorning the apses that blocked too much
light,
and the many niches
that would encourage “scoundrels” to hide at closing time. Sangal
lo’s
bold concept of soaring bell
towers reaching as high as the central body of the church survives only in a
large wooden model
t
ucked away within the Vatican, and in this
delicate etching by Antonio Labacco.