Notae Numismaticae - Zapiski Numizmatyczne (9.2014)

RECENZJE / REYiEWS

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ment to the already existing biographies of the engraver written by such authors as
Ghereardo De Rossi (1792), Piętro Magna (1844) and probably the most famous
one Hermann Rollett (1874). Among other things, Tassinari highlights the ver-
satility of Giovanni's tatents. He had painted before he became an engraver. He
obtained a good education, and so he was able to develop his skills to the point that
his works were confused with ancient objects. In the wider spectrum, this memesis
should be seen as an effect of the ideas presented by Johann Joachim Winckel-
mann in his monumental work Ga^cA/cA/e <7^ (1764). The
mimetic character of art that imitates but does not simply copy, as Winckelmann
restated it, is central to any interpretation of classical Enlightenment idealism of
the second haif of the 18^ century. Therefore, Pichler's works do not lose anything
frorn their originality.
Tassinari emphasizes the role that Giovanni Pichler played as a head of
schooi of engravers in Romę. He taught severai spiendid artists iike Antonio Be-
rini (1770-1861), Giovanni Antonio Santarelii (ca. 1756-1826) and Filippo Rega
(1761-1833). She points out that Pichler became a source of inspiration for la-
ter engravers too, for instance Edward Burch (1771-1780) and Johann Veit Doli
(1750-1835). With special concern, Pichler's visit to Milan in 1774-1775 and his
contacts with the Trivulzio and Belgiojoso families are described. Particularly in-
teresting is a chapter about his contacts with the artistic and commercial society
of Romę. In great detail, Tassinari describes the character of the work of the great
artist as well as his particular style of engraving.
Thereupon, she turns to the uniqueness of the Milan collection of casts. This
is highlighted by Tassinari's compilation of ałl known similar sets from Brescia,
Edinburgh, Paris, Romę, St. Petersburg and Vienna, all of which are fully refer-
enced. In short, the hrst part of the volume presents a vei*y detailed study of one
of the best engravers of modern times, one that is surę to have great impact on any
futurę research in the field. In this, the author sets new standards. This is not simply
a biography fuli of lacts and dates, but a work that focuses on the collection of
casts Rom Milan and joins with it observations of everything that was happening
around the hgure of the engraver when he produced this collection.
The second part of the volume is a catalogue. Nearly each individual object is
presented with a large colour photo and with fuli cataloguing including numerous
cross-relerences to Pichler's work held in other museums and private collections.
The layout of the catalogue is very well organized. Ali basie data are provided,
including the provenance of the objects as far back as they can be traced. All re-
productions of the objects are listed as are parallels. In the section oMa/wć/z/o/?/ the
author provides detailed studies on the interpretation ofthe device depicted and the
dating of the object. In sonie cases, the analysis ofthe portraits of historical hgures