Finding aid for the Mario and Antonio Asprucci architectural drawings relating to the Villa Borghese in Rome and other Borghese
commissions
2021.M.12
Karen Meyer-Roux
Special Collections
2021
1200 Getty Center Drive, Suite 1100
Los Angeles 90049-1688
Business Number: (310) 440-7390
Fax Number: (310) 440-7780
reference@getty.edu
Contributing Institution:
Special Collections
Title: Mario and Antonio Asprucci architectural drawings relating to the Villa Borghese in Rome and other Borghese commissions
Creator:
Asprucci, Mario, 1764-1804
Creator:
Asprucci, Antonio, 1723-1808
Creator:
Borghese, Marcantonio, principe, 1730-1800
Identifier/Call Number: 2021.M.12
Physical Description:
12 Linear Feet
(41 sheets)
Date (inclusive): 1786-early 1800s
Physical Location: Request access to the physical materials described in this inventory through the
catalog record for this collection.
Click here for the
access policy .
Abstract: The architectural drawings by Mario Asprucci, his father Antonio Asprucci, and
their associates, dating from 1786 to the early 1800s, document the buildings and gardens of the Villa Borghese in Rome that
were commissioned by Prince
Marcantonio IV Borghese as well as other Borghese commissions. They reveal the importance of Mario Asprucci's contributions
and include designs he made
for the Temple of Aesculapius and the unrealized Museo Gabino.
Language of Material: Collection material is in Italian with some English and Latin.
Publication Rights
Preferred Citation
Mario and Antonio Asprucci architectural drawings relating to the Villa Borghese in Rome and other Borghese commissions, 1786-early
1800s, The Getty
Research Institute, Los Angeles, Accession no. 2021.M.12.
http://hdl.handle.net/10020/cifa2021m12
Scope and Content of Collection
This group of architectural drawings, comprising forty-five drawings on forty-one sheets, documents the refurbishment of the
Villa Borghese on the
Pincian hill that was commissioned by Prince Marcantonio Borghese. The drawings include highly finished presentation sheets
as well as utilitarian,
preparatory studies. As architect to the Borghese family, Antonio Asprucci directed the work, however the drawings shed light
on the role played by his
son, Mario, and on Mario's use of a neoclassical vocabulary in the designs of pavilions, fountains, and other architectural
elements.
Seventeen sheets (2012.M.12-1 to 2012.M.12-17) relate to designs for pavilions, realized or unrealized, in the Villa Borghese
gardens. The majority of
these sheets are attributed to Mario Asprucci, including one for the Temple of Aesculapius, three for the aqueduct or Acqua
Felice, four presenting
alternate designs for fountains overlooking the Casino dei giochi d'acqua, as well as one for the Museo Gabino.
Other drawings by Mario Asprucci, his father Antonio, and their associates, relate to other Borghese commissions. These include
designs by Mario
Asprucci for a rotunda (2021.M.12-24) and for farmhouses (2021.M.12-20 to 2021.M.12-21), and a survey by an unidentified draftsman
or architect of the
Borghese granary at Pratica di Mare outside of Rome (2021.M.12-33).
Three sheets (2021.M.12-39 to 2021.M.12-41) cannot be attributed with certainty to Mario or Antonio Asprucci or their associates,
nor can they even be
confirmed as Borghese commissions.
Numerous sheets are stamped on the recto with the mark of the Italian collector Andrea Manto. Several sheets are annotated
in a later hand in
English.
The drawings are undated, unless noted. The titles are derived from curatorial notes and from Susanna Pasquali,
Mario Asprucci:
Neoclassical Architecture in Villa Borghese, 1786-1796.
Related Material
Several other archives held at the Getty Research Institute document the work of Mario and Antonio Asprucci:
- Antonio Asprucci designs, ca. 1800, Accession no. 860224*
- Antonio Asprucci architectural drawings for the Villa Borghese, ca. 1770-ca. 1793, Accession no. 880400*
- Mario Asprucci Villa Borghese ceiling and wall designs, ca. 1785, Accession no. 880431
- Camuccini, Vincenzo, 1771-1844. Mario Asprucci, architect to the Prince Borghese at Rome, Accession no. 2002.M.5.
Other repositories with drawings by Mario Asprucci include:
- Accademia di San Luca, Rome, which holds the eight Balestra competition designs
- Centro internazionale di studi architettura A. Palladio, Vicenza, which holds designs formerly owned by Alessandro Papafava
(1784-1861)
- Biblioteca dell'Archiginnasio, Bologna
- Kunstbibliothek, Berlin
- Soane Museum, London, which holds designs formerly owned by Charles Heathcote Tatham (1772-1842)
- National Galleries of Scotland, Edinburgh, which holds designs formerly owned by Charles Heathcote Tatham (1772-1842)
- Royal Institute of British Architects, London
- Cooper-Hewitt, Smithsonian Design Museum, New York, which holds designs formerly owned by Giovanni Piancastelli (1845-1926),
director of the Villa
Borghese
Processing Information
Karen Meyer-Roux prepared this finding aid in November 2021.
Immediate Source of Acquisition - Acquisition Information
Acquired in 2021.
Digitized Material
The archive was digitized in 2022 and the images are available online: http://hdl.handle.net/10020/2021m12
Biographical / Historical
The Villa Borghese on the Pincian Hill in Rome was commissioned in the early seventeenth century by Cardinal Scipione Borghese
(1576-1633) who was a
nephew of Pope Paul V (1552-1621) and whose numerous positions within the Roman Church enabled him to become an influential
collector and art patron.
The Villa's Casino Nobile (now home to the Galleria Borghese) was conceived to house his collection of antique statuary, which
featured the
Borghese Gladiator, the
Sleeping Hermaphroditus, and the
Centaur with
Cupid
, now at the Louvre. In the following century, Prince Marcantonio IV (1730-1800) took up the Borghese tradition of art patronage,
expanding the collection and undertaking the renovation of the Villa's architecture and gardens. Antonio Asprucci (1723-1808)
was the architect who
directed this ambitious project of modernization.
Antonio Asprucci was born in Rome in 1723, the son of an architect named Mario Asprucci. He became an assistant to Nicola
Salvi (1697-1751), the
architect who designed the Trevi Fountain. In 1756, he was appointed by Francis, Grand Duke of Tuscany, as architect for the
duke's buildings in Rome
and undertook the restorations of the Villa Medici. In 1772, he became a member of the Accademia di San Luca, the academy
for painters, sculptors and
architects, and in 1790, was elected principe or director of the academy. He also held positions within the city of Rome,
as Sotto Maestro delle Strade
for the area of Trevi and that of Campo Marzio.
Beginning in 1773, Antonio Asprucci appeared on the household rolls of Prince Marcantonio IV Borghese and served as the Borghese
family architect until
1805 with his main project being the design of pavilions and gardens in the Villa Borghese on the Pincian Hill. In this campaign
of architectural
renewal, Antonio collaborated with his son Mario and a dynamic circle of artists and architects (including Tommaso Conca,
Jacob More, and Cristoforo
Unterberger), and antiquarians, most notably Ennio Quirino Visconti, who was later responsible for the display of antiquities
at the Musée Napoléon, now
the Louvre.
The life and work of Mario Asprucci (1764-1804), the son of Antonio, is not well documented. In 1786, at the age of 22, Antonio's
designs for an
academy of fine arts earned him the first prize in the Balestra competition, which was organized by the Accademia di San Luca.
Five years later he
entered the architectural competition organized by the Parma Academy, where his drawings also won first prize. Although Mario
learned his trade from his
father (and inherited from him the post of architect to the Borghese), he departed from the elder's late baroque idiom, embracing
instead the authority
of the antique and its rational and functional language.
Mario Asprucci developed his skills as an architect and draftsman in an environment where Rome was becoming a prime source
for classical inspiration.
For example, the Pio Clementino Museum was established in 1772 to house the Vatican antiquities. Artists came from across
Europe to learn how to infuse
a modern view of antiquity into all elements of art and design, with the neoclassical artists Antonio Canova, Gavin Hamilton,
and Henri Füssli spending
extensive periods in Rome.
Beginning in 1792, Mario attended meetings of the Accademia della Pace, an informal association of international artists that
was founded as a critical
response to the traditionalism of the Accademia di San Luca. Several architects participated in this group, producing conceptual
drawings for grand
civic architecture. Although he never left Rome, Mario was closely associated with several English figures of note: he mentored
the young architect
Charles Heathcote Tatham (1772-1842) and, around 1794, received a commission from Frederick Hervey (1730-1803), 4th Earl of
Bristol, to design his
residence at Ickworth.
Mario excelled as a draftsman, working in the traditional media of pen, ink, and watercolor, as well as in graphite, which
was imported from England.
In spite of these auspicious beginnings, Mario's career was cut short at age 39 and his output remained overshadowed by that
of his father. His drawings
suggest that had he lived a longer life, he would have become one of the most influential voices in the early 19th-century
neoclassical urban renewal of
Rome.
References consulted:
Carole Paul,
Making a Prince's Museum. Drawings for the Late-Eighteen Century Redecoration of the Villa Borghese (Los
Angeles: Getty Research Institute, 2000).
Susanna Pasquali,
Mario Asprucci. Neoclassical Architecture in Villa Borghese, 1786-1796 (Roma: Arti Grafiche La
Moderna, 2018).
Arrangement
The sheets are organized by projects. Sheets 1-17 are designs for built or unrealized pavilions in the Villa Borghese gardens.
Sheets 18-25 relate to
unidentified commissions for the Villa Borghese or other Borghese estates outside of Rome. Sheets 26-38 are by architects
or draftsmen working in the
service of the Borghese family. Sheets 39-41 are by unidentified architects or draftsmen and may not be related to the Asprucci
or Borghese with
certainty.
Access
Open for use by qualified researchers.
Subjects and Indexing Terms
Villa Borghese (Rome, Italy : Park)
Architecture--Italy--Rome
Neoclassicism (Architecture)
Rome (Italy) -- Buildings, structures, etc.
Architectural drawings (visual works)
Mario and Antonio Asprucci architectural drawings relating to the Villa Borghese in Rome and other Borghese commissions, Series I.
1786-early 1800s
Mario and Antonio Asprucci architectural drawings relating to the Villa Borghese in Rome and other Borghese commissions
Scope and Contents
This group of architectural drawings, comprising forty-five drawings on forty-one sheets, documents the refurbishment of the
Villa Borghese on the
Pincian hill that was commissioned by Prince Marcantonio Borghese. The drawings include highly finished presentation sheets
as well as utilitarian,
preparatory studies. As architect to the Borghese family, Antonio Asprucci directed the work, however the drawings shed light
on the role played by
his son, Mario, and on Mario's use of a neoclassical vocabulary in the designs of pavilions, fountains, and other architectural
elements.
flatfile 1**
Asprucci, Mario.
Design for the Temple of Aesculapius, Villa Pinciana: Side and Rear View,
2021.M.12-1
1786
Scope and Contents
1 architectural drawing : pen and brown ink and watercolor ; sheet 29.2 × 43.1 cm. Inscribed at center in graphite: Mario
Asprucci Arch. / Villa
Borghese / Giardino del Lago. Collector's stamp at lower left: AM.
flatfile 1**
Asprucci, Mario.
Design for a Round Temple, Villa Pinciana: Plan and Elevation
2021.M.12-2
Scope and Contents
1 architectural drawing : graphite, pen and black ink, with gray, pink and blue washes ; sheet 28.4 x 43.7 cm.
flatfile 2**
Recto:
Design for the Acqua Felice, Villa Pinciana; Verso: Asprucci, Mario.
Design
for the Acqua Felice, Villa Pinciana
2021.M.12-3
Scope and Contents
Recto: 1 architectural drawing : pen and brown ink, brown wash, and graphite ; sheet 28.5 x 41.5 cm. Possible attribution
to Mario Asprucci.
Collector's stamp at lower left: AM. Verso: 1 architectural drawing : graphite ; sheet 28.5 x 41.5 cm. Inscribed at upper
right: Mario Asprucci
Arch. / Villa Borghese / Opposite the Giardino del Lago. Collector's stamp at lower left: AM.
flatfile 3**
View of the Acqua Felice, Villa Pinciana
2021.M.12-4
Scope and Contents
1 architectural drawing : graphite ; sheet 37 x 29 cm. Unidentified attribution. Inscribed in the drawing: Ne Quem Mitissimus
Amnis Jmpediat.
Inscribed at lower center: in Villa Borghese. Collector's stamp at lower left: AM.
flatfile 3**
Asprucci, Mario.
Studies for a Fence for the Giardino del Lago, Villa Pinciana
2021.M.12-5
Scope and Contents
1 architectural drawing : pen and brown ink ; sheet 38.3 x 33.2 cm. Inscribed at center in graphite: Mario Asprucci Arch.
/ Villa Borghese /
Giardino del Lago. Collector's stamp at lower left: AM. Drawing by or after Mario Asprucci.
flatfile 3**
Design for the Placement of a Statue of Septimius Severus in the Giardino del Lago, Villa
Pinciana
2021.M.12-6
Scope and Contents
1 architectural drawing : graphite, pen and black ink ; sheet 27.5 x 37.4 cm. Possible attribution to Mario Asprucci. Collector's
stamp at lower
left: AM.
flatfile 3**
Asprucci Workshop.
Designs for a Fountain with Palemon and a Dolphin, Casino dei giochi d'acqua, Aranceria, Villa
Pinciana
2021.M.12-7
Scope and Contents
1 architectural drawing : graphite, pen and black ink, and wash ; sheet 34.9 x 25.7 cm. Collector's stamp at lower left: AM.
flatfile 3**
Asprucci Workshop.
Designs for a Fountain with Palemon and a Dolphin, Casino dei giochi d'acqua, Aranceria, Villa
Pinciana
2021.M.12-8
Scope and Contents
1 architectural drawing : graphite and wash ; sheet 25.7 x 38.4 cm. Collector's stamp at lower left: AM.
flatfile 4**
Asprucci Workshop.
Designs for a Fountain, Casino dei giochi d'acqua, Aranceria, Villa
Pinciana
2021.M.12-9
Scope and Contents
1 architectural drawing : pen and black ink, wash, and graphite ; sheet 25.7 x 39 cm. Inscribed in graphite at lower right:
(...) in Museum.
Collector's stamp at lower left: AM.
flatfile 4**
Asprucci Workshop.
Designs for a Fountain, Casino dei giochi d'acqua, Aranceria, Villa
Pinciana
2021.M.12-10
Scope and Contents
1 architectural drawing : graphite, pen and ink, and wash ; sheet 25.8 x 38.5 cm
flatfile 4**
Christopher Unterperger Workshop.
Design for a Ruined Temple, Villa Pinciana
2021.M.12-11
Scope and Contents
1 architectural drawing : graphite ; sheet 31.2 x 46.5 cm. Collector's stamp at lower left: AM.
flatfile 4**
Asprucci, Mario.
Design for a Pavilion for Hercules, Telephus and Deer, and for the Reclining Silenus, Villa
Pinciana
2021.M.12-12
Scope and Contents
1 architectural drawing : graphite ; sheet 43.4 x 29.5 cm. Drawing possibly executed in collaboration with Ennio Quirino Visconti
(?).
Collector's stamp at lower left: AM.
flatfile 5**
Designs for the Layout of the External Spaces in Front of the Rear Façade of the Casino della Cappella, Villa
Pinciana
2021.M.12-13
Scope and Contents
1 architectural drawing : graphite, pen and gray ink, and gray and pink washes ; sheet 37.4 x 59.1 cm. Possible attribution
of drawing to Mario
Asprucci.
flatfile 5**
Asprucci Workshop.
Design for a Fountain with a Statue of Hecate Triformis: Elevation and Plan
2021.M.12-14
Scope and Contents
1 architectural drawing : graphite and gray and blue washes ; sheet 26.9 x 38 cm
flatfile 5**
Design for a Fountain with a Faun Playing the Scabellum and Four Egyptian Lions, Villa
Pinciana
2021.M.12-15
Scope and Contents
1 architectural drawing : pen and black ink and watercolor ; sheet 27.2 x 44.9 cm. Inscribed in graphite at lower center:
This fountain was
behind the Gallery. The statue was sold to the Boncompagni. Drawing possibly executed by Mario Asprucci. Collector's stamp
at lower left: AM.
flatfile 5**
Asprucci, Mario.
Project for the new Museo Gabino: Elevation,
2021.M.12-16
1792
Scope and Contents
1 architectural drawing : graphite ; sheet 30.3 x 43.5 cm. Inscribed: Monumenta E. Municipi Ruderibus Lacum Adspectantibus
In Fundo Suo Tablino.
A Fundamentis Extructo Marcus. Antonius. Burghesius Musis Et Artibus Dal. Ci I cc LXXXXii.
flatfile 6**
Recto: Asprucci, Mario.
Studies for the Propylaea, Villa Pinciana; Verso: Asprucci, Mario.
Study after Giovanni Battista Piranesi of an Antique Sepulcher on the Road to Tivoli
2021.M.12-17
Scope and Contents
Recto: 1 architectural drawing : graphite ; sheet 28.4 x 41.6 cm. Inscribed at lower right: First idea for the gate at Muro
Torto. Collector's
stamp at lower left: AM. Verso: 1 architectural drawing : graphite ; 28.4 x 41.6 cm. Collector's stamp at lower left: AM.
Related work: G. B.
Piranesi,
Veduta di un sepolcro antico ... per la strada di Tivoli (G. B. Piranesi,
Le
antichità romane
, t.II, tav. XXXIX).
flatfile 7**
Variations on Mario Asprucci's Designs for the Propylaea: Side Elevation, Central Front, Plan
2021.M.12-18
Scope and Contents
1 architectural drawing : pen and black ink, wash, and graphite marks ; sheet 65.5 x 46 cm. The drawing is possibly attributed
to an architect or
draftsman working in the circle of Mario Asprucci.
flatfile 7**
Idea per un ingresso di un grande giardino: aspetto laterale interno, aspetto esterno, pianta
2021.M.12-19
Scope and Contents
1 architectural drawing : pen and black ink and wash ; sheet 65 x 49 cm. Inscriptions: Idea per un ingresso di un grande giardino
/ Aspetto
laterale interno / Aspetto esterno / Pianta / A. Grande ingresso. B. Ingressi particolari per i pedoni. C. Camere per i custodi.
D. Portici per
trattenimento delle vetture. In the center two scales in Parisian feet. The drawing is possibly attributed to an architect
or draftsman working in
the circle of Mario Asprucci.
flatfile 7**
Asprucci, Mario.
Design for a Horse Farm: Elevation
2021.M.12-20
Scope and Contents
1 architectural drawing : graphite, pen and ink, and brown watercolor ; sheet 32.3 x 45.1 cm. Inscribed at lower left and
center: Asprucci.
flatfile 7**
Asprucci, Mario.
Design for a Dairy Farm: Elevation
2021.M.12-21
Scope and Contents
1 architectural drawing : graphite ; sheet 23.7 x 32.5 cm.
flatfile 8**
Recto: Asprucci, Mario.
Fountain with Nymphaeum: Section; Verso: Asprucci, Mario.
Fountain with Nymphaeum: Façade
2021.M.12-22
Scope and Contents
Recto: 1 architectural drawing : graphite, pen and ink, and gray wash ; sheet 37.8 x 64.1 cm. Inscribed at center: Asprucci.
Verso: 1
architectural drawing : graphite ; sheet 37.8 x 64.1 cm.
flatfile 9**
Recto: Asprucci Workshop.
Design for a Garden Exedra; Verso: Asprucci Workshop.
Schematic Plan of the Enclosure in Front of the Casino Nobile
2021.M.12.23
Scope and Contents
Recto: 1 architectural drawing : graphite and gray wash ; sheet 22.6 x 35.3 cm. Inscribed at lower left: Asprucci. Verso:
1 architectural drawing
: graphite ; sheet 22.6 x 35.3 cm.
flatfile 10**
Asprucci, Mario.
Design for a Rotunda all'anticà
2021.M.12-24
Scope and Contents
1 architectural drawing : graphite, pen and black ink, and wash ; sheet 46.2 x 37 cm. Collector's stamp at lower left: AM.
flatfile 10**
Asprucci, Mario.
Design for a Pavilion Suggestive of an Ancient Roman Dwelling: Section
2021.M.12-25
Scope and Contents
1 architectural drawing : graphite, pen and black ink ; sheet 20 x 57 cm. Collector's stamp at lower left: AM.
flatfile 10**
Asprucci, Antonio.
Design for a Loggia on Pillars and Columns: Section and Side Elevation
2021.M.12-26
Scope and Contents
1 architectural drawing : graphite, pen and black ink, and pink, brown and gray washes ; sheet 24.2 x 45.7 cm
flatfile 10**
Design for a Loggia on Tuscan Pillars and Columns,
2021.M.12-27
Scope and Contents
1 architectural drawing : pen and black ink, wash, and graphite ; sheet 33.4 x 41.7 cm. Collector's stamp at lower left: AM.
flatfile 10**
Asprucci, Antonio.
Design for a Mantelpiece
2021.M.12-28
Scope and Contents
1 architectural drawing : graphite, pen and black ink, and wash ; sheet 37.6 x 26.4 cm. Includes a scale in palmi (Roman).
flatfile 11**
Asprucci, Antonio.
Design for a Mantelpiece
2021.M.12-29
Scope and Contents
1 architectural drawing : graphite ; sheet 28.7 x 43.5 cm. Collector's stamp at lower left: AM. On verso: drawing of a fireplace.
flatfile 12**
Asprucci Workshop.
Two Designs for a Monumental Entrance
2021.M.12-30
Scope and Contents
1 architectural drawing : graphite, pen and brown ink, and gray wash ; sheet 48.1 x 26 cm
flatfile 12**
Asprucci Workshop.
Design for a Gate between Supporting Pillars and Retaining Walls: Elevation and
Plan
2021.M.12-31
Scope and Contents
1 architectural drawing : graphite, pen and ink, and gray wash ; sheet 38.9 x 25.6 cm. Inscribed at lower left: Asprucci.
Collector's stamp at
lower right: AM.
flatfile 12**
Asprucci Workshop.
Design for a Gate between Supporting Pillars and Retaining Walls: Elevation and
Plan
2021.M.12-32
Scope and Contents
1 architectural drawing : graphite, pen and brown ink, and brown wash ; sheet 38.6 x 25.5 cm. Inscribed at lower left: Asprucci.
Collector's
stamp at lower right: AM.
flatfile 12**
Piante del granaro (Survey of the Borghese Granary at Pratica di Mare: Plans and Section)
2021.M.12-33
Scope and Contents
1 architectural drawing : pen and brown ink and watercolor ; sheet 46.1 x 32 cm. Attribution of the drawing unidentified.
Inscribed at top
center: Piante del Granaro acquistato dal Sig.re D.Marco Antonio Borghese nella Terra di Pratica di Casa Sacchetti. Inscribed
in the drawing:
Pianta Superiore - Piano Terreno. Inscribed at lower center: Faccciata verso strada / Scala di P.mi cento romani.
flatfile 12**
Asprucci Workshop.
Design for a Fountain in the City
2021.M.12-34
Scope and Contents
1 architectural drawing : black wash and graphite ; sheet 22.3 x 37.1 cm. Inscribed at lower right in graphite: 1786 Mario
Asprucci. Collector's
stamp at upper left: AM.
flatfile 13**
Recto:
One of the Aedicules in the Egyptian Room, Casino Nobile; Verso:
Design for
an Altar or Doorway: Elevation
2021.M.12-35
Scope and Contents
Recto: 1 architectural drawing : graphite and pen and brown ink ; sheet 37 x 25.8 cm. Possible attribution of drawing to Mario
Asprucci.
Collector's stamp at lower left: AM. Verso: 1 architectural drawing : graphite ; sheet 37 x 25.8 cm. Collector's stamp at
lower left: AM.
flatfile 14**
Asprucci, Antonio.
Design for a New Layout of the Ground Floor of a Building
2021.M.12-36
Scope and Contents
1 architectural drawing : graphite ; sheet 38 x 61 cm. Inscribed at center: mezzo de portico. Collector's stamp at lower left:
AM.
flatfile 14**
Design for a Room Overlooking a Balcony
2021.M.12-37
Scope and Contents
1 architectural drawing : graphite and pen and black ink ; sheet 26.6 x 38.4 cm. Attribution of the drawing is unidentified.
Collector's stamp at
lower left: AM.
flatfile 14**
Elevation of the Side of a Building with Two Turrets and Large Windows
2021.M.12-38
Scope and Contents
1 architectural drawing : graphite ; sheet 26 x 37.5 cm. Attribution of the drawing is unidentified. The design is possibly
for a greenhouse.
Collector's stamp at lower left: AM.
flatfile 14**
Coro per i canonici (Design for the Choir-Stalls of a Church)
2021.M.12-39
Scope and Contents
1 architectural drawing : graphite ; sheet 37.6 x 24 cm. Attribution of drawing is unidentified. Inscribed at lower center:
Coro per i Canonici.
Collector's stamp at lower left: AM.
flatfile 14**
Design for a Tomb Chapel: Section
2021.M.12-40
Scope and Contents
1 architectural drawing : graphite ; sheet 40.5 x 61.3 cm. Inscribed at lower center: Asprucci. Collector's stamp at lower
left: AM. Pasquali
dates the drawing from after the death of Mario Asprucci in 1804, concluding that the attribution on the sheet is erroneous,
and suggests a
possible attribution to Luigi Canina (1795-1856), architect of the Borghese from 1818. See Pasquali. Mario Asprucci (2018),
page 98.
flatfile 14**
Designs for a Large U-shaped Building: Studies for the Elevation
2021.M.12-41
Scope and Contents
1 architectural drawing : graphite ; sheet 19.4 x 37.6 cm. Attribution of drawing is unidentified. Collector's stamp at lower
left: AM.
