(Rome (?)1642–1693 Genoa)
A view of the Arch of Titus and the Palazzo Frangipane in Rome; and An ideal view of the Temple of Hercules Victor by the Tiber,
oil on Canvas, each 33 x 52 cm, in possibly original Roman carved and gilded Maratta frames (2)

The present paintings have only recently been identified as works by the Codazzi family. Whilst David Marshall, who did not know the pair when compiling his catalogue raisonée in 1993, observed many stylistic similarities with late works by Viviano Codazzi, he favoured the view that these are early works by his son Niccolò, executed either when the young artist was working in his father’s studio or during his sojourn in France in the early 1680s.

A similar view of the Arch of Titus and the Palazzo Frangipane by Niccolò is in the Musée des Beaux-Arts in Nantes, Inv. Nr. 783 (see David R. Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Rome, 1993, p. 384), and an almost identical view by Viviano (See Marshall, p. 208), is in the Museo di Roma (see fig.).

In the eleventh century the Arch of Titus, today one of the most famous sites on the Roman Forum, was integrated into a fortress built by the Frangipani family, which helped the preservation of the monument. In 1821 the arch was restored by Giuseppe Valadier. The view of a relatively humble later building, incorporating the famous arch, was a very popular subject for many of the Vedute artists.

The second view most likely is an idealized depiction of the Temple of Hercules Victor by the Tiber, enlivened with busts and shields. Alessandro Tomei has kindly informed us that he believes this view to show the an idealization of the Temple of Romulus in the Roman Forum.

As early works by Niccolò these are interesting additions to the artists’ known oeuvre. They were painted either shortly before or during his French sojourn, in which he was admitted into the Académie Royale and commissioned by Louis XIV to paint two landscapes with architecture for the Salon de la Reine at Versailles.

We are very grateful to David Marshall for endorsing the attribution on the basis of photographs and for his help in cataloguing the present Lot.

Additional picture:
Viviano Codazzi, Rom, Museo di Roma