Artwork

The Seconda Macchina for the Chinea of 1760: A Chinoiserie Pavilion

The Seconda Macchina for the Chinea of 1760: A Chinoiserie Pavilion is an ink print by the Romanticist artist Giuseppe Vasi. It dates from 1760 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:Lettered LL: "Paolo Posi Architetto" Lettered LC: "Giueppe Palazzi disegno'" Lettered LR: "Giuseppe Vasi incise" Lettered LC: "Prospetto della Seconda Machina rappresentante una Deliziosa all'uso cinese ... la sera delli 29 Giugno 1760... CLEMENTE XIII"

About this work

The text at the bottom says this was made for a special event in 1760, mixing European and Chinese styles.

This drawing shows a fancy stage set built to look like a Chinese-style pavilion. It’s got tall arches, fake trees, and a big roof with a lantern. People in old clothes are walking around, some on horseback, while others stand near the building.

Inside the pavilion, a few figures sit under a canopy, and there’s a small stage area with steps.

The text at the bottom says this was made for a special event in 1760, mixing European and Chinese styles. The artist used lines to create shadows and details, making it look almost three-dimensional.

Check out how this was made using the technique: etching.

Overview

Giuseppe Vasi’s 1760 etching, titled The Seconda Macchina for the Chinea of 1760: A Chinoiserie Pavilion, records a temporary theatrical set erected for the annual Chinea procession in Rome. The image captures a fanciful, Chinese‑inspired pavilion that functioned as a stage for the ceremonial display.

Subject & Meaning

The composition depicts a fabricated pavilion with soaring arches, ornamental trees, and a lantern‑topped roof, populated by figures in period dress, riders on horseback, and attendants gathered around the structure. The scene reflects the 18th‑century fascination with exotic motifs, merging European festivity with imagined Chinese architecture.

Technique & Style

Executed in fine line etching, Vasi renders depth through cross‑hatching and varied line weight, giving the pavilion a three‑dimensional illusion. The delicate shading delineates architectural details, foliage, and the crowd, while the overall style aligns with the Rococo taste for elaborate, theatrical scenography.

History & Provenance

Created specifically for the 1760 Chinea, a diplomatic tribute from the Kingdom of Naples to the Pope, the print served as a visual record of the event’s elaborate set design. The work remains attributed to Vasi, a noted Roman vedutista, and is documented in several 18th‑century print collections.

Context

The Chinea procession, a yearly display of military and ceremonial splendor, often incorporated temporary structures that showcased contemporary artistic trends. Vasi’s depiction illustrates how chinoiserie, a fashionable European interpretation of East Asian aesthetics, was employed to enhance the spectacle’s visual impact.

Legacy

While the pavilion itself was dismantled after the festivities, Vasi’s etching preserves the fleeting architecture, offering scholars insight into the interplay of cultural appropriation and public celebration in mid‑century Rome.