Galleria Omerica O Raccolta Di Monumenti Antichi Esibita Dal Cav. Francesco Inghirami per servire allo studio Dell'Iliade E Dell'Odissea Volume Primo. (-Terzo)
[Fiesole?]: Poligrafia Fiesolana Dai Torchi Dell'Autore, 1831. (-1836)
Physical Description
3 vols.; 219 mm. (Quarto.)
General Note
Vol.I: xxxii, [4], 227, [1] p., 115, [1] pl. Pages 220-227 are misnumbered '120'-'127'. Plate I forms the frontispiece. The unnumbered plate is bound with the Manifesto. - Vol. II: 274, [2] p., pl. 116-260. - Vol. III: xii, 401, [1] p., 128 pl.
Contents
Vol. I: [Half-t., pl. I (frontis.), t.p., dedic.] - Prefazione - Galleria Omerica O Raccolta Di Monumenti Antichi Esibita Dal Cav. Francesco Inghirami Per Servire Allo Studio Dell'Iliade E Dell'Odissea Manifesto [dated 1827. With one unnumbered pl.] - [Text, with pl. II-CXV] - Tavola Sinottica Alfabetica Del Tomo Primo. - Vol. II: [Half-t., t.p.] - [Text with pl.] - Tavola Sinottica Alfabetica Del Tomo Secondo. - Vol. III: [Half-t., t.p.] - Prefazione - [Text with pl.] - Tavola Sinottica Alfabetica Di Questo Volume.
Responsibility Note
No plate is signed.
The work is dedicated by Francesco Inghirami to Signora Enrichetta Grabau.
References
More recent surveys of Homer in art include: Dieux et mortels: les thèmes homériques dans les collections de l'Ecole Nationale Supérieure Des Beaux-Arts de Paris [exhibition catalogue] (2004); K. Junker, Pseudo-Homerica: Kunst und Epos im spätarchaischen Athen (2003); B. Andreae, Odysseus: Mythos und Erinnerung [exhibition catalogue](1999); A.M. Snodgrass, Homer and the artists: text and picture in early Greek art (1998); R. Biering, Die Odysseefresken vom Esquilin (1995); U. Sinn, Die homerischen Becher (1979); H. Buchthal, Historia Troiana (1971); I. Krueger, Illustrierte Ausgaben von Homers Ilias und Odysee vom 16. bis ins 20. Jahrhundert (1971); O. Touchefeu, Thèmes odysséens dans l'art antique (1968); K. Friis Johansen, The Iliad in early Greek art (1967); R. Bianchi Bandinelli, Hellenistic-Byzantine miniatures of the Iliad (1955); F. Muller, Die antiken Odyssee-Illustrationen (1913); R. Engelmann, Pictorial atlas to Homer's Iliad and Odyssey (1892).
On Homeric subjects in Neoclassical art see Wiedergeburt griechischer Götter und Helden: Homer in der Kunst der Goethezeit [exhibition catalogue] (1999); Flaxman: la difusion ... Homero, Esquilo, Hesiodo, Dante [exhibition catalogue](1995); A. Negro Spina, J.Heinrich Wilhelm Tischbein: figure d'Omero disegnate dall'antico: Metz, 1801-1802 (1994); H. Siefert, Themen aus Homers Ilias in der französischen Kunst ( 1750-1831) (1988); D. Wiebenson, 'Subjects from Homer's Iliad in Neoclassical art', in Art bulletin, 46 (1964), p.23-37; L. Malaspina di Sannazaro, Soggetti per quadri ad uso de' giovanni pittori (1798); Caylus, Tableaux tirés de l'Iliade de l'Odysse d'Homère et de l'Enéide de Virgile: avec des observations générales sur le costume (1757).
Summary Note
Publication-dates are given on the title pages as 1831, 1829 and 1836.
Volumes I and II describes representations of the Iliad; Volume III, representations of the Odyssey.
Most plates are coloured lithographs; some are uncoloured.
The stories of Homer's Iliad and Odyssey have long provided subject-matter for artists. General approaches to the iconography of Greek myth may be found among classical writers (Servius, Macrobius and others) and among moderns such as Boccaccio, Cartari, Ripa, Montfaucon, Rollin, Banier, Caylus and Winckelmann; but it was in the late eighteenth and early nineteenth centuries that systematic studies of the iconography of Homeric subjects began to appear - just when the subjects seemed most appealing to contemporary artists.
Binding Note
20th-century red cloth-covered boards; red morocco spine-labels lettered 'Galleria Omerica' and 'Iliade' or 'Odissea', spine lettered 'I' (-'III'), 'R.A.' and '1831' ('1829') ('1836').