DEVOTIONAL PLATES
PETRINI, Giovanni.
Sixteen copper engravings depicting scenes from the life of Christ and the Virgin Mary.
[Rome, late eighteenth century.]
Large folio (532 x 342 mm), 16 copper-engraved plates on thick paper; some light foxing, offsetting to blank versos; overall a very good set in contemporary light brown sheep, attractive gilt foliate border comprising two rolls (the outer roll with oak leaves and acorns), spine richly gilt, gilt edges, marbled endpapers; some wear to endcaps, corners and edges, a few abrasions to covers; arms with a bishop’s galero (see below) blocked in gilt to boards.
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Sixteen copper engravings depicting scenes from the life of Christ and the Virgin Mary.
An attractive volume containing sixteen engravings by Giovanni Petrini of scenes from the life of the Virgin Mary and Jesus Christ, including renderings of famous paintings by the likes of Correggio, Poussin, Titian, Raphael, and Rubens.
The volume opens with an image of the Virgin and Child after Luca Giordano’s Madonna of the Rosary, set within an architectural frame bearing fifteen medallion scenes from the lives of Mary and Jesus. The plates that follow, each with Biblical quotations from the Vulgate below, illustrate: the Annunciation (after Federico Barocci), the Visitation (after Domenichino), the Nativity (after Correggio), the Presentation in the Temple (after Carlo Maratti), Christ among the doctors (after Nicolas Poussin), the Agony in the Garden (after Giovanni Lanfranco), the Flagellation (after Marco Benefial), the Crowning with Thorns (after Titian), Christ falling on the way to Calvary (after Raphael), the Crucifixion (after Annibale Carracci), the Resurrection (after Ciro Ferri), the Ascension (after Girolamo Muziano), Pentecost (after Guido Reni), the Assumption of the Virgin (after Maratti), and the Coronation of the Virgin (after Peter Paul Rubens).
Giovanni Petrini was active in Rome during the second half of the eighteenth century and the early nineteenth, being noted for his religious scenes and portraits. This volume was handsomely bound for a bishop, whose gilt arms – apparently those of the Suardi or Soardi family – adorn the covers.