{"id":11313,"date":"2026-09-30T13:29:26","date_gmt":"2026-09-30T13:29:26","guid":{"rendered":"https:\/\/www.typeandforme.com\/?p=11313"},"modified":"2026-09-30T13:30:26","modified_gmt":"2026-09-30T13:30:26","slug":"conte-francesco-leopoldo-cicognara-storia-della-scultura-1823-1825-definitive-revised-and-enlarged-ed-1750","status":"publish","type":"post","link":"https:\/\/www.typeandforme.com\/index.php\/2026\/09\/30\/conte-francesco-leopoldo-cicognara-storia-della-scultura-1823-1825-definitive-revised-and-enlarged-ed-1750\/","title":{"rendered":"Conte Francesco Leopoldo Cicognara: Storia della scultura&#8230; 1823-1825 &#8211; definitive, revised and enlarged ed. \u00a31,750"},"content":{"rendered":"\n<!--more-->\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><strong>THE DEFINITIVE, REVISED AND ENLARGED, SECOND EDITION OF CICOGNARA\u2019S \u2018MOST IMPORTANT WORK\u2019,<\/strong><br><strong>COMPLETE WITH THE UNCOMMON FOLIO VOLUME OF PLATES<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>CICOGNARA, Conte Francesco Leopoldo.<\/strong>&nbsp;<em>Storia della scultura dal suo risorgimento in Italia fino al seculo di Canova &#8230; . Per servire di continuazione all\u2019opere di Winckelmann e di d\u2019Agincourt. Edizione secunda riveduta ed ampliata dall\u2019autore<\/em>. Prato: Fratelli Giachetti, 1823 (II-IV and plate vol.), 1824 (I and VI-VII), and 1825 (V).&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">TEXT VOLS: 7 volumes bound in 6, octavo (218 x 132mm, text vols) pp. I: 324; II: 290; III: 492; IV: 451, [1 (index)]; V: 549, [1 (index)], [2 (final blank l. 35\/4)]; VI: 438, [2 (index, verso blank)]; VII: 448. Engraved portrait frontispiece by Giovanni Folo in vol. I. (Some light spotting and occasional light marking, even, generally light, offsetting on text, occasional historic wax- or scorch-marks, a few marginal paper flaws or tears, that on VII, 15\/3 touching text, [?]bound without final ll. I, 20\/10 and II, 19\/2.) Contemporary Italian vellum, spines divided into compartments by raised bands and with gilt morocco lettering-pieces in 2. (Spines slightly faded, some light marking, extremities slightly rubbed and bumped, small and superficial wormholes on one board.)\u00a0<em>Provenance<\/em>: contemporary Italian bookseller\u2019s price, denominated in\u00a0<em>scudi<\/em>, on upper pastedowns for the 7 text vols bound in 6 \u2013 early manuscript [?]pressmark \u2018189\u2019 at head of spines \u2013 \u2018V.L\u2019 (19th-century inkstamps on titles) \u2013 Santa Maria della Vittoria, Rome (inkstamps \u2018Biblioth. Carmelit. in S. Ma de Victoria\u2019 on titles).\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">PLATE VOL.: folio (440 x 305mm), pp. [2 (title, verso blank)]. 185 engraved plates by Antonio Bernatti, Giuseppe Dala, Benedetto Musitelli,\u00a0<em>et al<\/em>. after Girolamo Baruffaldi, Tommaso Minardi, Francesco Nenci, Michele Ridolfi, Luigi Zandomeneghi,<em>\u00a0et al<\/em>., numbered in 3 series I-XLIII, I-XC, and I-LII.\u00a0(Some variable spotting and offsetting, a few marginal chips or tears, occasional historic wax- or scorch-marks.) Late-20th-century vellum-backed boards in the style of the text volumes, spine decorated with gilt rolls at head and foot, 2 gilt morocco lettering-pieces. (Some light marking, extremities slightly rubbed and bumped.)<\/p>\n\n\n\n<h1 class=\"wp-block-heading\"><strong>\u00a0<\/strong><br><\/h1>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"544\" src=\"https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_02.jpg\" alt=\"\" class=\"wp-image-11283\" srcset=\"https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_02.jpg 400w, https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_02-221x300.jpg 221w, https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_02-257x350.jpg 257w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\"><br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Second, revised and enlarged edition,&nbsp;<\/strong>the text first issues of vols II-IV and VI-VI and second or later issues of vols I and V (<em>vide infra<\/em>). The Italian critic, art historian, artist, and bibliophile Conte Leopoldo Cicognara (1767-1834) was born in Ferrara and educated at the Collegio dei Nobili in Modena. A few years after finishing his education, Cicognara moved to Rome, where he lived from 1788 to 1790 and developed an interest in archaeology and contemporary art. Cicognara subsequently settled in Venice, where (after a career in politics) he devoted himself entirely to scholarship and art. In 1808 he published&nbsp;<em>Del bello<\/em>, a treatise on aesthetics, and from 1808 to 1826 he served as President of the Accademia di Belle Arti di Venezia, promoting the academy\u2019s engagement with the public and playing an important role in the decision to open the Galleria dell\u2019Accademia to the public in 1817.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Between 1813 and 1818 Cicognara&nbsp;published the three folio volumes of \u2018his most important work,&nbsp;<em>Storia della scultura<\/em>, tracing the evolution of Italian sculpture from the point at which Winckelmann and S\u00e9roux d\u2019Agincourt had terminated their study and demonstrating the links between artistic, literary and political phenomena. It is not a collection of artists\u2019 biographies in the style of Vasari, but a fresh description of a historical period that encompasses both Early Italian art and the minor arts. He open-mindedly took into account the writings of controversial authors such as Pierre Fran\u00e7ois Hugues d\u2019Hancarville, Edward Gibbon [&#8230;] and Charles-Fran\u00e7ois Dupuis [&#8230;]. The work is subdivided into five sections \u2013 Rebirth, Progress, Perfection, Corruption and the Status Quo \u2013 each dominated by an artistic personality (Nicol\u00f2 Pisano, Donatello, Michelangelo, Bernini and Canova respectively)\u2019 (\u2018Grove Art Online\u2019).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><br><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"598\" src=\"https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_04.jpg\" alt=\"\" class=\"wp-image-11281\" srcset=\"https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_04.jpg 400w, https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_04-201x300.jpg 201w, https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_04-234x350.jpg 234w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\"><br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A few years after the final volume of the first edition appeared, Cicognara began work on this second edition, an undertaking which (as he explains in his preface) permitted him to take account of the opinions and criticisms voiced about his book and to produce a revised, corrected, and enlarged edition. The second edition was evidently well received, and at least some of the text volumes were reissued with the dates on the title-pages amended to reflect this (for example, volume I was first published in 1823 but the copy of volume I in this set is dated 1824). As a consequence of the reprinting of text volumes, sets of the second edition of&nbsp;<em>Storia della scultura<\/em>&nbsp;in early bindings with mixed issues of the text volumes are known, including the present set, where the first and fifth volumes are second (or later) issues dated 1824 and 1825 respectively (rather than 1823 and 1824). This second edition is Cicognara\u2019s final and definitive text, and it remains a sought-after work; for example, Arntzen and Rainwater wrote that the \u2018information in this early history of Italian sculpture is still useful\u2019 while Glass judges that the&nbsp;\u2018second edition is an interesting summary reflecting the state of knowledge of Romanesque sculpture in the early nineteenth century\u2019.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><br><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"597\" src=\"https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_05.jpg\" alt=\"\" class=\"wp-image-11280\" srcset=\"https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_05.jpg 400w, https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_05-201x300.jpg 201w, https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_05-235x350.jpg 235w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\"><br><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"617\" src=\"https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_06.jpg\" alt=\"\" class=\"wp-image-11279\" srcset=\"https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_06.jpg 400w, https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_06-194x300.jpg 194w, https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_06-227x350.jpg 227w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\"><br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This set of text volumes was one of a group of works with the 19th-century ownership stamp \u2018V.L\u2019 which subsequently passed into the library of the Discalced Carmelite conventual church&nbsp;Santa Maria della Vittoria in Rome (for other examples, see the second volume of Roberto Bellarmino\u2019s&nbsp;<em>Disputationum de controversiis Christianae fidei adversus huius temporis haereticos<\/em>&nbsp;(Venice, 1721), held by the Universit\u00e0 degli Studi Firenze, and Giovanni Francesco Cecconi\u2019s&nbsp;<em>Il Sacro rito di consacrare le chiese&nbsp;<\/em>(Rome, 1728), held by the Stiftung Bibliothek Werner Oechslin, Einsiedeln). Santa Maria della Vittoria was built in the early 17th century by Carlo Maderno, and one of the most notable works of art it houses is Gian Lorenzo Bernini\u2019s sculptural group \u2018The Ecstasy of Saint Teresa of Avila\u2019 (1647-1652), which is discussed by Cicognara (vol. VI, pp. 136-137) and illustrated in plate 3, IV. Interestingly, the 19th-century Italian bookseller\u2019s price for the text volumes alone suggests that the folio volume of plates were sold separately, and the disparity in format between the text volumes and the plate volume makes it more likely that the two would be inadvertently separated; certainly, it is uncommon to find sets of the second edition of&nbsp;<em>Storia della scultura<\/em>&nbsp;complete with the folio plate volume, as here.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">E. Arntzen and R. Rainwater,&nbsp;<em>Guide to the Literature of Art History<\/em>, H 85;&nbsp;J.-C. Brunet,&nbsp;<em>Manuel<\/em>, II, col. 65; D.F. Glass,&nbsp;<em>Italian Romanesque Sculpture<\/em>, IV, 1; E. Steinmann and R. Wittkower,&nbsp;<em>Michelangelo Bibliographie. I: 1510-1927&nbsp;<\/em>(1967), 467.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u00a31,750<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"text-align:center\">\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7&nbsp;\u00b7<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><br><\/p>\n\n\n\n<div class=\"wp-block-buttons is-content-justification-center is-layout-flex wp-container-core-buttons-is-layout-fe48e5de wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link has-background wp-element-button\" href=\"https:\/\/shop.typeandforme.com\/product\/conte-francesco-leopoldo-cicognara-storia-della-scultura-1823-1825-definitive-revised-and-enlarged-ed\/\" style=\"background-color:#003b7a;letter-spacing:0.5px\"><strong>Order this book from the Type &amp; Forme Shop<\/strong><\/a><\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><br><\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\" style=\"letter-spacing:0.5px\">Our\u00a0<a href=\"https:\/\/www.typeandforme.com\/index.php\/terms-conditions-of-sale\/\">Terms &amp; Conditions<\/a>\u00a0apply.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":11282,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65,46,44],"tags":[],"class_list":["post-11313","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-all-books","category-art","category-history-of-ideas"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Conte Francesco Leopoldo Cicognara: Storia della scultura... 1823-1825 - definitive, revised and enlarged ed. \u00a31,750 &#183; Type &amp; Forme<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.typeandforme.com\/index.php\/2026\/09\/30\/conte-francesco-leopoldo-cicognara-storia-della-scultura-1823-1825-definitive-revised-and-enlarged-ed-1750\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Conte Francesco Leopoldo Cicognara: Storia della scultura... 1823-1825 - definitive, revised and enlarged ed. \u00a31,750 &#183; Type &amp; Forme\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.typeandforme.com\/index.php\/2026\/09\/30\/conte-francesco-leopoldo-cicognara-storia-della-scultura-1823-1825-definitive-revised-and-enlarged-ed-1750\/\" \/>\n<meta property=\"og:site_name\" content=\"Type &amp; Forme\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/TypeAndForme\/\" \/>\n<meta property=\"article:published_time\" content=\"2026-09-30T13:29:26+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-09-30T13:30:26+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.typeandforme.com\/wp-content\/uploads\/2026\/09\/3254_03.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"450\" \/>\n\t<meta property=\"og:image:height\" content=\"518\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"typeandforme@typeandforme.com\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"typeandforme@typeandforme.com\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.typeandforme.com\\\/index.php\\\/2026\\\/09\\\/30\\\/conte-francesco-leopoldo-cicognara-storia-della-scultura-1823-1825-definitive-revised-and-enlarged-ed-1750\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.typeandforme.com\\\/index.php\\\/2026\\\/09\\\/30\\\/conte-francesco-leopoldo-cicognara-storia-della-scultura-1823-1825-definitive-revised-and-enlarged-ed-1750\\\/\"},\"author\":{\"name\":\"typeandforme@typeandforme.com\",\"@id\":\"https:\\\/\\\/www.typeandforme.com\\\/#\\\/schema\\\/person\\\/eb3e6ea8dc6c48a1f23ec668cbe5d8ce\"},\"headline\":\"Conte Francesco Leopoldo Cicognara: Storia della scultura&#8230; 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