Pianta della città di Firenze nelle sue vere misure colla descrizione dei luoghi più notabili di ciascun quartiere
| Reference: | S46194 |
| Author | Ferdinando Ruggieri |
| Year: | 1755 |
| Zone: | Florence |
| Printed: | Florence |
| Measures: | 675 x 505 mm |
€1,250.00
| Reference: | S46194 |
| Author | Ferdinando Ruggieri |
| Year: | 1755 |
| Zone: | Florence |
| Printed: | Florence |
| Measures: | 675 x 505 mm |
€1,250.00
Description
Top left in a cartouche the title: lower left, within a cartouche: PIANTA DELLA CITTA’ DI FIRENZE nelle sue vere misure colla descrizione dei luoghi più notabili di ciascun Quartiere.
Below, four folders. Above the one on the left: ARME DEL QUARTIEre SANTA CROCE. Dentro:IN QUESTO QUARTIERE SONO: Chiese curate numero….13./ Chiese senza cura num[e]ro….2./ Monasteri di Regolari n[ume]ro…7./ Monasteri di Monache n[ume]ro 16./ Oratorij, e Compagnie num[er]o 46./ Conservatorij di Maschi n[umer]o 2./ Conservat[o]ri di Femmine n[ume]ro…1/ Spedali per gl’Infermi n[umer]o/ Spedali per i Pellegrini 2./ Accademie numero….1./ Teatri numero…..1. Above the one on the right: ARME DEL QUAR[TIE]re SANTO SPIRITO. And: IN QUESTO QUARTIERE SONO: Chiese curate numero.9/ Chiese senza cura n[ume]ro..2/ Monasteri di Regol[ari] n[umer]o 7/ Monasteri di Monache n[umer]o 12/ Oratorij, e Compagnie n[umer]o 34/ Conservat[o]ri di Femm[i]ne n[umer]o 1/ Spedali per i Pellegrini n[ume]ro 5. Above the one on the left at the bottom: ARME DEL QUARTIEre S.GIOVANNI. Dentro: IN QUESTO QUARTIERE SONO: Chiese curate numero.10/ Chiese senza cura n[ume]ro..7/ Monasteri di Regol[ari] n[umer]o 6/ Monasteri di Monache. 21/ Oratorij, e Compagnie 40/ Conservat[o]rij di Mas.chi …2./ Conservat[o]ri di Femm[i]ne 3/ Sped[a]li per gl’Infermi n[umer]o 4/ Sped[a]li per i Pellegrini 3/ Accademie num[e]ro….6./ Teatri numero…..2. Next to the one on the right at the bottom: ARME DEL QUARTIEre S.MA[R]ia NOVELLA. Dentro: IN QUESTO QUARTIERE SONO: Chiese curate numero….17./ Chiese senza cura num[e]ro… 2./ Monasteri di Regolari n[umer]o 9/ Monasteri di Monache n[umer]o 8/ Oratorij, e Compagnie n[ume]ro 42/ Spedali per gl’Infermi n[umer]o 2./ Spedali per i Pellegrini n[ume]ro 1.
On the ribbon containing the scale: Scala di Passi Seicento comuni. Below, just outside the picture: Appresso Giuseppe Bouchard in Florence 1755 (here trimmed).
This is a reissue of the Ruggieri map of 1731, in which the dedicatory folder has been replaced by the eagle of Lorraine.
The sheet contains, within a double margin, the plan of the city. The decorative apparatus consists of the cartouche containing the title, the ribbon containing the scale, and the four folders containing information about the districts: three are in the form of a banner supported by winged cherubs, the fourth in the form of a cippus. The orientation, 190° south at the top, is given by a compass rose with a fleur-de-lis apex. this is the first accurate geometric restitution in print of the planimetric development of urban structures, in which the uncovered and built spaces are clearly distinguished. In the former, the design of the main kitchen gardens and gardens is depicted; in the latter, different backgrounds indicate the quality of construction: with darker inclined hatching the most prominent buildings, with dotting the common building, with an X on a white background the inner courtyards. Monumental complexes are highlighted with differentiated hatching graphics. Churches and the Pitti Palace are indicated with roofing design that provides volumetric connotation within the flat fielding of the block. The precise writing of the names of streets and squares makes this plan a forerunner of tourist maps.
Etching, printed on contemporary laid paper, trimmed at marginal line, in very good condition. "Traveling" example with numerous paper folds.
Bibliografia
Boffito, Mori, Firenze nelle vedute e piante 1973, p.78.
Ferdinando Ruggieri (Firenze 1691 -1741)
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Architect (Florence 1691 - there 1741), a significant exponent of early 18th-century Florence. In his main work, the left facade of the church of San Firenze (1715), as in others such as the Capponi palace also in Florence, the Sansedoni palace in Siena (1736), and the collegiate church of Empoli (1738), a particular Tuscan interpretation of the Baroque, intimately connected to the architecture of the late 16th century, is affirmed. His printed works are important: Studio d'architettura civile delle fabbriche più insigni di Firenze (1722-28); Scelta di architetture antiche e moderne della città di Firenze (post., 1755).
In 1717 his name appears in the list of contributors to the Accademia del disegno in Florence, whose fees he continued to pay until 1740, while he is registered from 1720. At the suggestion of Abbot Bottari - as the latter wrote in a 1764 letter to Giovanni Pietro Zanotti -, the publishing venture of the Studio d'architettura civile, a collection of architectural details from exemplary palaces and factories in Florence, was begun in 1718. It was published in three folio volumes at the Stamperia Reale in 1722, 1724 and 1728 respectively; a fourth volume, announced in the preface to the first, was not composed.
The publishing operation matured when the extinction of the Medici dynasty was certain, and the three volumes (respectively dedicated to Grand Duke Cosimo III, Grand Duke Gian Gastone and Maria Luisa, electress palatine, the last representative of the family) celebrate the centuries-long patronage activities starting with Cosimo the Elder with Filippo Brunelleschi and Lorenzo the Magnificent with Michelangelo Buonarroti. The 'scientific' approach to the work is recalled by Ruggieri himself, who emphasizes the total control he had over the various stages having been surveyor, draughtsman, engraver and responsible for the critical choices of the architectures to be presented. In this last operation is contained the purpose of the project, namely to show the examples useful in resurrecting architecture: Ruggieri identifies the way, shared in the artistic environment of the grand ducal capital, in the Florentine experiences of the sixteenth century. The Studio remained an important reference in 18th-century Florence.
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Ferdinando Ruggieri (Firenze 1691 -1741)
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Architect (Florence 1691 - there 1741), a significant exponent of early 18th-century Florence. In his main work, the left facade of the church of San Firenze (1715), as in others such as the Capponi palace also in Florence, the Sansedoni palace in Siena (1736), and the collegiate church of Empoli (1738), a particular Tuscan interpretation of the Baroque, intimately connected to the architecture of the late 16th century, is affirmed. His printed works are important: Studio d'architettura civile delle fabbriche più insigni di Firenze (1722-28); Scelta di architetture antiche e moderne della città di Firenze (post., 1755).
In 1717 his name appears in the list of contributors to the Accademia del disegno in Florence, whose fees he continued to pay until 1740, while he is registered from 1720. At the suggestion of Abbot Bottari - as the latter wrote in a 1764 letter to Giovanni Pietro Zanotti -, the publishing venture of the Studio d'architettura civile, a collection of architectural details from exemplary palaces and factories in Florence, was begun in 1718. It was published in three folio volumes at the Stamperia Reale in 1722, 1724 and 1728 respectively; a fourth volume, announced in the preface to the first, was not composed.
The publishing operation matured when the extinction of the Medici dynasty was certain, and the three volumes (respectively dedicated to Grand Duke Cosimo III, Grand Duke Gian Gastone and Maria Luisa, electress palatine, the last representative of the family) celebrate the centuries-long patronage activities starting with Cosimo the Elder with Filippo Brunelleschi and Lorenzo the Magnificent with Michelangelo Buonarroti. The 'scientific' approach to the work is recalled by Ruggieri himself, who emphasizes the total control he had over the various stages having been surveyor, draughtsman, engraver and responsible for the critical choices of the architectures to be presented. In this last operation is contained the purpose of the project, namely to show the examples useful in resurrecting architecture: Ruggieri identifies the way, shared in the artistic environment of the grand ducal capital, in the Florentine experiences of the sixteenth century. The Studio remained an important reference in 18th-century Florence.
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