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[Apparatus for the Forty Hours' Devotion: God appearing to Moses on Mount Sinai, c.1668-70].

Dominique Barrière, approximately 1618-78, artist.

[Place of publication not identified] : [publisher not identified], approximately 1668-70.

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  • Title:
    [Apparatus for the Forty Hours' Devotion: God appearing to Moses on Mount Sinai, c.1668-70].
  • Author: Dominique Barrière, approximately 1618-78, artist.
  • Contributor: Cassiano Dal Pozzo 1588-1657, former owner.;
    Carlo Antonio Dal Pozzo 1606-1689, former owner.;
    Gabriele Dal Pozzo 1642-1695, former owner.;
    Cosimo Antonio Dal Pozzo 1684-1740, former owner.;
    Anna Teresa Benzoni d. 1736, former owner.;
    Alessandro Albani 1692-1779, former owner.;
    Clement XI, Pope, 1649-1721, former owner.;
    George III, King of Great Britain, 1738-1820, former owner.;
    George IV, King of Great Britain, 1762-1830, donor.
  • Subjects: Christianity -- Customs and practices; Etchings
  • Publication Details: [Place of publication not identified] : [publisher not identified], approximately 1668-70.
  • Description: Summary: This information has been transcribed from: The print collection of Cassiano dal Pozzo : ceremonies, costumes, portraits and genre / Mark McDonald. Part C.I of The paper museum of Cassiano Dal Pozzo : a catalogue raisonné (3 volumes, Royal Collection Trust 2017): One of the most important liturgical services of the counter-reformation Church, the devotion of the Forty Hours (Quarantore) was a ceremony at which the Eucharist was exposed to the clergy and public, either continuously or over three days with the chapel closed overnight (C.F. Black, 'Italian Confraternities in the Sixteenth Century', Cambridge, 1989, pp. 99-100). In Rome during the seventeenth century it became an elaborate theatrical event, and artists were engaged to decorate the churches, especially the high altar, the space around which was transformed to draw attention to the sacrament.
    Summary: During the early part of the century the apparatus comprised complex architectural settings that by mid-century had changed to allegorical tableaux based on biblical stories of salvation (M.S. Weil, 'The devotion of the Forty Hours and Roman Baroque illusions', Journal of the Warburg and Courtauld Institutes xxxvii, 1974, pp. 218-48, p. 218; R. Diez, 'Le Quarantore: una predica figurata', in M. Fagiolo (editor), 'La festa a Roma dal Rinascimento al 1870', 2 volumes, exhibition catalogue, Rome : Palazzo Venezia, 1997, i, pp. 84-97). This is one such tableau which, with the other print by Barrière on this folio, was published in Giovanni Domenico Roccamora's Cifre dell'Eucaristia … (Rome 1668). Roccamora discusses the construction and the interpretation of the apparatus for the Forty Hours' Devotion and its political efficacy (K. Noehles, 'Apparati berniniani per canonizzazioni', in M. Fagiolo and M.L.
    Summary: Madonna (editors), 'Barocco romano e barocco italiano: il teatro, l'effimero, l'allegoria', Rome, 1985, pp. 100-8, pp. 94-8; M. Fagiolo dell'Arco, 'La festa barocca', Corpus delle feste a Roma 1, Rome, 1997, pp. 466-8). The first volume of his book was dedicated to Alexander VII (Fabio Chigi, b. 1599, reg. 1655-7) and the second, to the Pamphili. Neither print is described by Robert-Dumesnil. This print introduces a group in the album relating to the Forty Hours' Devotion.
  • Identifier: System number: 019088467
  • Notes: Lettered on cloth UR: IPSE LEGIFER, ET LEX.
    Collection subset: Cassiano dal Pozzo prints
    Citation/references note: The print collection of Cassiano dal Pozzo : ceremonies, costumes, portraits and genre / Mark McDonald. Part C.I of The paper museum of Cassiano Dal Pozzo : a catalogue raisonné (3 volumes, Royal Collection Trust 2017), vol. II, 466
  • Physical Description: 1 print : etching ; 93 × 130 mm
  • Copy Note: Binding information: Type B mount.
  • Shelfmark(s): General Reference Collection 134.g.10, fol. 18[a]
  • UIN: BLL01019088467

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