Artwork

The Prima Macchina for the Chinea of 1778: A Countryside Belevedere with Hercules and Antaeus

The Prima Macchina for the Chinea of 1778: A Countryside Belevedere with Hercules and Antaeus is an ink print by the Romanticist artist Giuseppe Vasi. It dates from 1778 and is held in the collection of the National Gallery of Art.

About this work

Overview

Giuseppe Vasi’s 1778 etching, titled *The Prima Macchina for the Chinea of 1778: A Countryside Belvedere with Hercules and Antaeus*, records a temporary theatrical set erected for the annual Chinea ceremony. Rendered in fine line work, the print captures a staged landscape that blends architectural elements with mythological statuary, presenting a constructed vista rather than an actual garden.

Subject & Meaning

By juxtaposing heroic myth with contemporary ceremony, Vasi underscores the pageantry and political symbolism of the Chinea celebration.

The composition centers on a monumental, imagined belvedere where statues of Hercules and the defeated Antaeus dominate the foreground. Surrounding the central figures are figures in period dress—pedestrians, riders, and a cart‑puller—suggesting a festive procession. By juxtaposing heroic myth with contemporary ceremony, Vasi underscores the pageantry and political symbolism of the Chinea celebration.

Technique & Style

Executed as an etching, Vasi employed copper plates incised with fine lines to achieve intricate architectural detail and delicate foliage. The medium allows for precise rendering of the imagined columns, vases, and staircases, while the tonal gradations convey depth within the artificial outdoor setting. The style reflects the late‑Baroque interest in theatrical illusion and elaborate scenography.

History & Provenance

Created as a *prima macchina*—a temporary stage built for the 1778 Chinea, a diplomatic tribute from the Kingdom of Naples to the Pope—the print served both as a record of the event and as a promotional image. The work remains in the collection of a European print cabinet, having passed through several private and institutional hands since its 18th‑century origin.