Antonio Basoli – { feuilleton }

Three alphabets

E is for Elefante.

Last week I was trying without success to find the origin of a calligraphic alphabet I have in a book about ornamental typography. A failed quest but the search did turn up a couple of those illustrated alphabets that were popular in the 17th and 18th centuries, including this first one which I have as poor reproductions in another book. Alfabeto in Sogno (“Dream Alphabet”), a book of etchings by Giuseppe Maria Mitelli, dates from 1683, and shows the letters of the alphabet constructed by posing human figures, some of which require props to create their letters. A common feature of the abecedary is an attempt to match one or more details in the picture to the letter in question, something which Mitelli does with a small illustration of an animal. Each of his plates also includes a few lines of verse and the less common addition of details intended to help students of drawing.

E is for Endymion.

A’ dilettanti delle bell’ arti (“To the Amateurs of the Fine Arts”, 1785) by Giovanni Battista Betti opts for an easier method of depicting human-sized letterforms with a series of tableau-style caprices in which the shapes of the letters are formed by baroque curlicues or lengths of fabric arcing around the figures. Not all of these figures are human. Where Mitelli matches animals with each letter, Betti chooses characters from mythology—Bacchus, Endymion, Faunus, Ganymede and so on—or fills the space with the putti that are ubiquitous fixtures of the art of this period. You can take this as a quiz without an immediate solution: I couldn’t decipher the identities of all the non-putti characters but then my knowledge of Classical mythology isn’t very thorough.

B is for Babylon.

The third alphabet is one that’s appeared here before, the Alfabeto Pittorico (1839) of Antonio Basoli, but the copies I linked to ten years ago were hosted on a dubious Russian site which is now defunct. No matter, all the plates may now be seen at Gallica where they should have a more permanent home. Basoli’s abecedary is my favourite of the three, being a collection of very plausible architectural designs that pastiche the building styles of different countries or eras. Once again the viewer is challenged to try and match the letter with the view in which the letter-building is situated. Some of these are very easy (the identity of H with “harem” is revealed by a sign above the door) while others are complicated by Basoli’s loose interpretation of ancient architecture. As for assignation of the ampersand below, that’s anybody’s guess.

Elsewhere on { feuilleton }
• The etching and engraving archive

Previously on { feuilleton }
• Liber Artificiosus Alphabeti Maioris
• Abeceda
• The Royal Picture Alphabet
• Giovanni Battista Pian’s Pictorial Alphabet
• Antonio Basoli’s Pictorial Alphabet
• Grand capitals
• Paulini’s mythological alphabet

The other Carceri

Dark prison with a courtyard for the punishment of criminals (c.1750) by Giovanni Battista Piranesi. (NB: not one of the Carceri d’Invenzione although it is another imaginary prison.)

Piranesi’s etchings of imaginary prisons, the Carceri d’Invenzione, are his most celebrated and influential works but they’re not the only such views to be found in 18th-century art. What you see here are some of the prison settings designed for the theatre and opera of the time, where incarceration or unjust imprisonment was a recurrent theme. Beethoven’s only opera, Fidelio, is one of the more famous examples, with all the action taking place inside the walls of a Spanish prison.

Prison Courtyard with Figures (c. 1720). Attributed to Francesco Galli Bibiena.

Many of these designs are by various Galli Bibienas, a multi-generational family of Italian artists and architects who included theatrical designers among their talented number. The Galli Bibienas’ prisons lack the invention and menace of Piranesi’s etchings—many of them look as neat and tidy as their designs for colossal gardens and palaces—but I enjoy the dramatic perspectives all the same.

Prison Interior (c.1725–1730) by Antonio Galli Bibiena.

Print depicting the Prison scene in the opera-ballet Cerere placata at the Royal Palace of Jove (1772). Carlo Bibiena (artist) and Giovanni Battista Nolli (etcher).

Design for a stage set: the interior of a prison. School of Francesco Galli Bibiena.

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Antonio Basoli’s Pictorial Alphabet

My thanks to Paul Rumsey for reminding me of the Alfabeto pittorico (1839) by Antonio Basoli (1774–1848). This is the same idea as yesterday’s pictorial alphabet but with an architectural theme. Basoli’s series of prints depicts each letter in an architectural style which matches the initial: A is for Arabia but also for aranciera (orangery). The attention to detail and the rendering of light and shade is very Piranesian, and it so happens that Piranesi had earlier designed a small number of capitals for use in books, the letterforms being created by architectural scenes. It’s tempting to see Basoli’s series as an elaboration of this idea done in the manner of Piranesi’s Prima parte di Architettura e Prospettive.

Given how much I enjoy this kind of thing I would have posted something about them by now, but seeing as they’d already been covered by the late-lamented Giornale Nuovo I stayed my hand. Mister Aitch’s post on the subject is still worth a look for the detail he supplies regarding the prints and their creator. For scans of the entire volume, go here.

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