After Burnacini, Aeolus, God of Winds, Allegory of Air, 1760, Print

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Allegory of the Air – 18th Century Optical Print after Burnacini This vibrant and theatrical 18th-century optical print presents an … Read more Allegory of the Air – 18th Century Optical Print after Burnacini This vibrant and theatrical 18th-century optical print presents an allegorical representation of 'Air', rendered with striking hand-coloring to enhance its depth and visual impact when viewed through an optical viewing box. Engraved by Tobias Lobeck and based on a design by Lodovico Ottavio Burnacini (1636–1707), a renowned Italian stage designer, the print is a captivating synthesis of classical mythology and baroque scenography. The composition shows a dramatic grotto interior, with richly colored rocky walls curving upward in a dome-like formation. At the center sits a regal figure—Aeolus, the god of the winds—enthroned and commanding the scene. Flanking him are winged wind spirits energetically exhaling gusts of air, their motion frozen in dynamic postures. Hovering above the entire spectacle is a female figure draped in vibrant garments, standing upon a swirling cloud. This theatrical vision echoes Burnacini’s background in stage and set design, where the blending of allegory, movement, and color was key to the baroque spectacle. The print bears the title in four languages—German (Die Luft), Latin (Aer), French (L’Air), and Italian (L’Aria)—followed by a verse referencing Book I of Virgil’s *Aeneid*, where Juno appeals to Aeolus to release the winds in order to punish the Trojans. This cross-lingual and literary framing underscores the print’s Enlightenment-era role in both education and entertainment. The publication line identifies Tobias Lobeck as engraver, and credits Burnacini as designer. The print was issued with the privilege of the Holy Roman Emperor by the Imperial Academy in Augsburg (Negotium Academiae Caes. Francisceae excudit Aug. Vind.), a key center for such optical and theatrical prints in the 1700s. Condition summary: Well-preserved with bright original hand-coloring. Minor toning to the margins and faint signs of handling, but no major flaws. Rich detail remains intact and colors are striking. Small remains of tape on the borders of the reverse. Patina rich optica print. Framing tips: Frame with a gold or black moulding and a soft cream mat to emphasize the vivid colors. Use museum glass to preserve detail and reduce glare. Ideal for a library, hallway, or collector’s wall of curiosities. This optical print was published in the 18th century, most likely between 1740 and 1780, when Tobias Lobeck was active in Augsburg. While no exact year is printed on the sheet, it was issued by the Imperial Franciscan Academy (Academiae Caes. Francisceae) with imperial privilege, placing it firmly within that mid-18th-century context. Tobias Lobeck’s collaboration with designs by Lodovico Ottavio Burnacini, who died in 1707, also supports this dating, as Burnacini’s theatrical designs were frequently adapted and engraved posthumously in the mid-1700s for optical prints and stage scenes popular throughout Europe. See less