Trajan's Column

Engraving, 1544, signed and dated at bottom right: "ANT LAFRERY SEQUANI FORMIS". Part of the "Speculum Romanae Magnificentiae".

Example of the first state of three, before the address of Paolo Graziani and, therefore, of Pietro de Nobili (both unknown to Hulsen).

In the base of the column we read: "S. P. Q. R. IMP. CAESARI DIVI NERVAE. F. NERVAE. TRAIAN AVG. GERMANIC. DACICO PONT. MAX. TRIB. POT. XVII. COS. VI. PP AD. DECLARNDVM. QVANTAE AL-TITV DINIS MONS ET LOCVS SITE GESTVS".

This is the edition of the Trajan Column following the one for the Salamanca types of 1540. The cochlide column occupies vertically the entire space of the plate, the image is inserted in an urban context. The print represents with sufficient precision the state of the ancient monument. Despite the apparent similarity between the engraving of the Lafréry and that of the Salamanca, in reality the scale of measurement, proportions and point of view are different. In fact, the engraving of the Lafréry is placed from a lower point of view reproducing a more grandiose effect of the base that appears larger, moreover there is a substantial diversity of the figurines below and the hatching of the sky differs greatly, and finally the scenes of the column are opposite to those represented by the Salamanca. (cf. Marigliani n. IV.11).

The work belongs to the Speculum Romanae Magnificentiae, the earliest iconography of ancient Rome. 

The Speculum originated in the publishing activities of Antonio Salamanca and Antonio Lafreri (Lafrery). During their Roman publishing careers, the two editors-who worked together between 1553 and 1563-started the production of prints of architecture, statuary, and city views related to ancient and modern Rome. The prints could be purchased individually by tourists and collectors, but they were also purchased in larger groups that were often bound together in an album. In 1573, Lafreri commissioned a frontispiece for this purpose, where the title Speculum Romanae Magnificentiae appears for the first time. Upon Lafreri's death, two-thirds of the existing copperplates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. Claudio Duchetti continued the publishing activity, implementing the Speculum plates with copies of those "lost" in the hereditary division, which he had engraved by the Milanese Amborgio Brambilla. Upon Claudio's death (1585) the plates were sold - after a brief period of publication by the heirs, particularly in the figure of Giacomo Gherardi - to Giovanni Orlandi, who in 1614 sold his printing house to the Flemish publisher Hendrick van Schoel. Stefano Duchetti, on the other hand, sold his own plates to the publisher Paolo Graziani, who partnered with Pietro de Nobili; the stock flowed into the De Rossi typography passing through the hands of publishers such as Marcello Clodio, Claudio Arbotti and Giovan Battista de Cavalleris. The remaining third of plates in the Lafreri division was divided and split among different publishers, some of them French: curious to see how some plates were reprinted in Paris by Francois Jollain in the mid-17th century. Different way had some plates printed by Antonio Salamanca in his early period; through his son Francesco, they goes to Nicolas van Aelst's. Other editors who contributed to the Speculum were the brothers Michele and Francesco Tramezzino (authors of numerous plates that flowed in part to the Lafreri printing house), Tommaso Barlacchi, and Mario Cartaro, who was the executor of Lafreri's will, and printed some derivative plates. All the best engravers of the time - such as Nicola Beatrizet (Beatricetto), Enea Vico, Etienne Duperac, Ambrogio Brambilla, and others  - were called to Rome and employed for the intaglio of the works.

All these publishers-engravers and merchants-the proliferation of intaglio workshops and artisans helped to create the myth of the Speculum Romanae Magnificentiae, the oldest and most important iconography of Rome. The first scholar to attempt to systematically analyze the print production of 16th-century Roman printers was Christian Hülsen, with his Das Speculum Romanae Magnificentiae des Antonio Lafreri of 1921. In more recent times, very important have been the studies of Peter Parshall (2006) Alessia Alberti (2010), Birte Rubach and Clemente Marigliani (2016). 

Good proof, printed on contemporary laid paper, with margins on the sides and trimmed inside the copper in the upper and lower part, with partial loss of engraved part of about 2 mm. Overall good condition.