Large architectural fresco study from the splendid 83-plate survey of the ornamental frescoes designed by Raphael for the Vatican Loggia, an open-sided vaulted gallery. The frescoed arches, with classical festoons and grotesque ornament, are in the loggia surmounted by frescoes of biblical stories. The frescoed pilasters (flat painted columns) with elaborate grotesque ornament line the hallways.

This particular print illustrates the first day of the Creation as told at the beginning of the first chapter of the Biblical Book of Genesis, when God divides light from darkness, creating day and night:

 “3 God said, ‘Let there be light'; and there was light. 4 God saw how good the light was, and God separated the light from the darkness. 5 God called the light Day, and the darkness He called Night. And there was evening and there was morning, a first day.”

God is personified in a hexagonal frame at the top of the fresco as a gray-bearded man in flowing red robes, dramatically pushing apart fiery clouds of darkness as light shines through the opening created by his action. The hexagon is set within a semi-circular Gothic architectural structure, divided into diamond-shaped and triangular windows; within each is a winged angel. Below this section a rectangle subvided by a large semi-circle contains a garland against a sky-blue field and grisaille figures and emblems, most prominently a pair of winged beasts flanking a cadeucis in the center and two seated figures -- a semi-nude male in the upper left, and a draped female on the right, blowing a horn.

As a whole, the collection of prints published as Loggia di Rafaele nel Vaticano comprises a series of architectural studies of walls, ceilings, arches, and doors designed by Raphael for Pope Leo X's private loggia in the Vatican . They incorporate frescoes with classical mythological images as well as renderings of biblical stories (known as "Raphael's Bible") amidst a variety of classical and grotesque ornament. In the neoclassical era of the late 18th Century, there was considerable interest in classical themes in Renaissance art. This set was intended as a source book for architects and designers, as well as a decorative picture book for Grand Tour travelers. In particular, this work stimulated interest in Renaissance grotesque ornament.

Raphael (1483-1520) is acknowledged to be one of the great European artists of the Renaissance and an accomplished architect as well. As chief archaeologist to the Pope, he was involved in the excavation of the ancient Golden House of Nero, and adapted many of the elaborate Roman frescoes he saw there in creating his own innovative painted wall and ceiling designs in the Vatican.

The prints in this set are based on renderings by the painter Gaetano Savorelli and the draughtsman Ludovico Teseo. Pietro Camporesi (1726-1781), a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum , also contributed to the work and designed the frontispiece. The prints were etched and engraved by Giovanni Ottaviani and Giovanni Volpato (1740-1803). These artists took some liberties in borrowing elements from Raphael's Vatican tapestries to fill in elements that were illegible in the original frescoes due to deterioration over time. Thus, the prints are amalgam of actual and supposed design elements of Raphael.

Condition: Generally very good with only minor toning and wear. Center horizontal fold, as issued.

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