A tasteful view of the Church of San Paolo from the 18th century

Domenico Aspari San Paolo delle Monache Milan 1788. A beautiful view engraved using etching and drypoint, with an original frame and glass; the frame is made of ebonized walnut. The sheet was transferred onto canvas in 1800. In good condition.

Views of Milan. This plate depicts the San Paolo church in three-quarters, examining the details of the façade. The foreground space is not too crowded in this case. Excellent prints with bold lines and delicate blacks, belonging to the first edition made at the end of the 18th century. Great attention, through subtle chiaroscuro effects, was given to the architecture playing the leading role. Wide margins beyond the copper edge. The inscription on the plate reads: “HER EXCELLENCY / Lady Countess Do. Elisabetta Borromeo de Conti d’Aragona, born as Marquise Cusani”. Below the view on the left side is the signature and date: “Domenico Aspar. Del ed Sculp. Milano 1788”, on the right side: “Architecture by Gianbattista Crespi d. il Cerano”.

Italian painter, engraver, and teacher. Due to his family’s financial situation, he could not attend classes regularly, but thanks to his remarkable talent in attracting benefactors, he was able to continue his studies at the Academy in Ferrara under Giuseppe Baldrighi. Here he became interested in painting and palace decorations. After moving to Milan, he almost completely ceased painting to dedicate himself to engraving. He was inspired by Piranesi’s style. As an engraver and caricaturist, he illustrated La Corneide (1773) by Giovanni De Gamberi, a significant part of the first Italian edition of Winckelmann’s History of Drawing (Milan 1779), The Events of Milan During the War with Frederick I (Milan 1778), and Of the Lombard Antiquities of Milan (Milan 1792-93, 4 volumes) by Angelo Fumagallego. His consecration, however, came with the sixteen Views of Milan, etched and finished with engraving between 1786-1792, reprinted several times (most recently by Vallardi in 1808), which became extremely rare and deservedly sought after, as the only works worthy of standing alongside great Roman and Venetian examples.

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