Historians of art have studied prints related to the ephemeral architecture of early modern Europe for their presumed representation of built but now lost structures. By focusing on etchings related to set pieces erected for the festival of the Chinea—focusing, that is, on works of art still at hand—the present study locates eighteenth-century Roman graphic production within the matrices of etiquette, diplomatic protocol, technical process, festival culture, the economic rhythms of a Roman princely household, and audience reception on the local and international level.
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