Dissegno del Territorio et Stato di Mantova, con gli Stati confinanti cioe Cremonese, Bozolo, Modonese, Guastalla...
| Reference: | S38732 |
| Author | Francesco VALEGIO |
| Year: | 1620 ca. |
| Zone: | Mantova |
| Printed: | Venice |
| Measures: | 535 x 360 mm |
€2,400.00
| Reference: | S38732 |
| Author | Francesco VALEGIO |
| Year: | 1620 ca. |
| Zone: | Mantova |
| Printed: | Venice |
| Measures: | 535 x 360 mm |
€2,400.00
Description
Very rare map of the Mantuan territory based on the Ducato di Mantova by Giovanni Antonio Magini (c. 1603), but depicting the surrounding territories as well. It extends to the north where it includes Verona and part of Lake Garda; to the west it includes Cremona while to the east it is almost identical and even less extensive south, cut just beyond the border with the territories of Modena and Mirandola.
“Di modesto livello esecutivo, la carta porta la firma dello stampatore lungo il margine inferiore: Stefano Scolari F in Venetia a S Zulian. Stefano Mozzi Scolari è noto per aver stampato contraffazioni e riedizioni di rami già usati da altri, ed è ricordato anche per aver pubblicato alcune carte maginiane più o meno corrette e rimodernate. Tuttavia, questa carta è riconducibile solo indirettamente al modello maginiano; essa comprende un’area più vasta e presenta notevoli diradazioni e contraffazioni nella toponomastica. Ad esempio, Guastalla è stato raschiato dalla posizione originaria, ancora leggibile, e riscritto arbitrariamente poco più a nord-ovest; manca inoltre la graduazione delle coordinate geografiche e il prospetto della città è abbozzato in modo sommario. L’approssimazione esecutiva del prodotto è subordinata ai facili intenti commerciali dello stampatore a scapito della qualità” (D. Ferrari, Mantova nelle stampe, p. 151).
As Ferrari points out, there are numerous abrasions in the plate in the toponymy, an indication that Stefano Mozzi Scolari did not engrave the map but used an older copper to which he made numerous modifications. Therefore, he cannot be named as the author of the map, but only editor of this edition-a second state-of the map. Numerous corrections are also present in the ornamental cartouche with the title, where there is a large abrasion of what could have been a noble coat of arms or a cardinal's hat, of the dedicatee of the work. The graphic style of the cartouche-which can be traced back to the early seventeenth century-is clearly reminiscent of that of other works by Francesco Valegio, who for various reasons appears to us as the probable author of this map. After all, Valegio had at his disposal various cartographic material on the area; not least, he was the possessor of the plate of Giacomo Gastaldi's Geografia Particolare della Lombardia (1559), of which he had published a reprint in the early 1600s, and then sold the plates to Stefano Mozzi Scolari himself (cf. S. Bifolco – F. Ronca, Cartografia e topografia italiana del XVI secolo, 2018, pp. 1858-1859). Although no specimen of this map without Scolari's address is known, it is highly probable that the above thesis is reliable, also in relation to the fact that many of Valegio's plates were later purchased by Scolari.
Francesco Valegio (Verona c. 1570 - c. 1650) was born in Verona to a family originally from Valeggio sul Mincio. A nucleus moved to Venice from the first half of the sixteenth century. Impossible to verify on the lacunose Register of Baptized the date of birth handed down, 1560, postponed by Salsi to 1570; that of death is set to after 1650. Described as a true "entrepreneur of the image": painter, draughtsman, engraver, printer, publisher and, in Venice, also seller of prints (workshop in Spadaria, at the Segno della Sorte), he produced many works, portraits, historical and religious subjects, including devotional prints and illustrations for books, with subjects of others or engraved by himself. He mainly published maps, plans of cities (among those in the Veneto, Padua and its territory, Vicenza, Verona). He often collaborated with other printers, among them Catarino Dorino (or Doino) with whom he entered into partnership and with whom he published a map of the city of Venice in 1611. According to Roberto Almagià, Valegio allegedly marketed a large number of reproductions and forgeries of works by other engravers; in fact-as was the custom at the time-he bought several copperplates of other publishers or cartographers, from Gastaldi to Magini, reprinting them as a publisher and selling them. Valegio's most challenging cartographic work is the Raccolta di le più illustri et famose città di tutto il mondo (Collection of the most illustrious and famous cities throughout the world), published without a date, but traceable to after 1590.
Stefano Mozzi Scolari (active in Venice between 1644 and 1687) was a Brescian draughtsman, engraver and publisher, active in Venice from 1644 to 1687. His workshop was one of the best Venetian chalcographers of the 1600s. He practiced the art of printing and trading maps S. Zulian all’insegna delle Tre Virtù. He made use of the plates of Bertelli, Valegio and Van Aelst. He also edited reprints of such important maps as Gastaldi's Lombardia, and Greuter and Magini's maps of Italy.
Etching and engraving, impressed on contemporary laid paper and finely hand-colored at the time, with wide margins, reconstructive restoration in the upper central part - along the central paper fold - otherwise in very good condition.
The hand coloring appears to be an "editorial" type by Scolari. Very similar to the map preserved at the Bibliothéque National de France:
https://gallica.bnf.fr/ark:/12148/btv1b52510974r
Bibliografia
D. Ferrari, Mantova nelle stampe, p. 151, n. 321.
Francesco VALEGIO (1570 ca. – 1643 ca.)
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Francesco Valegio engraver and printer, active between 1570 and 1643 ca According to Gori Gambellini, was born in Bologna in 1560, while the Salsa, taking up the study of Zari, validating the source of Verona, including as regards the date of his death, apparently took place in Verona around 1641 to 1643 approximately (U. Thieme - Becker F.). His activity as an engraver and printer took place mainly in Venice, often in collaboration with other printers including Dorino Catarino (or Doino) with which reissued the map of Venice by Franco in 1574 and a plant in Vicenza in 1611. It should also be reminded of a paper of the Duchy of Savoy, first published by Ferrante Bertelli in 1562, the date was later revised edition in 1600 and with execudit Donato Rasicotti and Francesco Valegio.
With the example of this and other prints, including maps, the Almagia Valegio claimed that he had released a large number of fakes and reproductions of works by other engravers.
The most challenging part of the cartographic work Valegio is the "Collection of the most illustrious et famous cities around the world," the tables in the corpus are not dated, with the exception of Algiers, Constantinople and Rhodes signed by Martino Rota Sibenik, where it appears the year 1572. The plants and views that have the signature of the Rota are the oldest part of the collection and are likely to conclude that the editorial project has been started dall'incisore the early '70s of the sixteenth century and left unfinished in 1573 as a result of its Transfer to Vienna as court portraitist. The presence of such cards has led to the work dating to 1579. However, a date well in advance referring to the entire collection, it would seem highly unlikely in that it goes counter to the biographical data of Valegio (on that date would have been little more than 15 years) wanted to pursue the study of the Salsa and also many of the images are influenced by models in the first volumes of figurative Civitates Orbis Terrarum by Georg Braun and Frans Hogenberg, published between 1572 and 1588.
Throughout the collection of engravings, namely 112, bear the signature or initials of Valegio, which without any doubt can be attributed to the authorship of the entire work. The expansion of the number of images, from 270 to 322, the net change of the hand and artistic quality of the engraving, the sizes of the specimens, leading to think that the volume has had a long gestation and articulate. Copies present in Rome, Florence and London are composed of a variable number of boards 234 and 250 and contain all three units of the 112 cards signed by Valegio. The images are part of these collections are the oldest part of the Collection for which it is engraved with the famous title page. In the years that followed were recorded by a completely different hand, much more coarse and imprecise, 69 maps and views that differ from the previous series for a different layout, all bearing a white stripe at the bottom (18 mm), in which often, but not always appear in titles or descriptions of the cities represented in the image. Copies of these characteristics are those preserved in Venice, Florence and Washington.
In difficult times to be specified with a date, but certainly to be placed first edition edited by Rasicotti the Valegio in circulation a new cover, entitled Collection Dile most famous cities of Italy, this time addressed to the local market, in many collection only collects the views of Italian cities. 'S full copy of all images is sold later by the publisher of Venetian origin Rasciotti Donato, publisher of other maps of cities in the late sixteenth century. A plan of 1599, representing Brescia, calls himself "Donald Rasciotti in Venetia to the bridge of Barettari" while in the theater of the most illustrious et famous cities in the world has the address "A Bridge To Venetia Bare.ri"
The original branches of Velegio Francis had a long life and find them printed again in 1713, Savonarola in the work of Raphael (also known as Alfonsus LaSor Varea A, 1680 -1748) Universus Terrarum Orbis.
The Valegio represents a very significant figure in the horizon editorial copperplate of Venice at the turn of the century. According to the sauce, the criticism has been strongly oriented to a purely aesthetic assessment, which has long neglected "the multifarious activities of this interesting and eclectic set of copperplate engraver and publisher.
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Francesco VALEGIO (1570 ca. – 1643 ca.)
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Francesco Valegio engraver and printer, active between 1570 and 1643 ca According to Gori Gambellini, was born in Bologna in 1560, while the Salsa, taking up the study of Zari, validating the source of Verona, including as regards the date of his death, apparently took place in Verona around 1641 to 1643 approximately (U. Thieme - Becker F.). His activity as an engraver and printer took place mainly in Venice, often in collaboration with other printers including Dorino Catarino (or Doino) with which reissued the map of Venice by Franco in 1574 and a plant in Vicenza in 1611. It should also be reminded of a paper of the Duchy of Savoy, first published by Ferrante Bertelli in 1562, the date was later revised edition in 1600 and with execudit Donato Rasicotti and Francesco Valegio.
With the example of this and other prints, including maps, the Almagia Valegio claimed that he had released a large number of fakes and reproductions of works by other engravers.
The most challenging part of the cartographic work Valegio is the "Collection of the most illustrious et famous cities around the world," the tables in the corpus are not dated, with the exception of Algiers, Constantinople and Rhodes signed by Martino Rota Sibenik, where it appears the year 1572. The plants and views that have the signature of the Rota are the oldest part of the collection and are likely to conclude that the editorial project has been started dall'incisore the early '70s of the sixteenth century and left unfinished in 1573 as a result of its Transfer to Vienna as court portraitist. The presence of such cards has led to the work dating to 1579. However, a date well in advance referring to the entire collection, it would seem highly unlikely in that it goes counter to the biographical data of Valegio (on that date would have been little more than 15 years) wanted to pursue the study of the Salsa and also many of the images are influenced by models in the first volumes of figurative Civitates Orbis Terrarum by Georg Braun and Frans Hogenberg, published between 1572 and 1588.
Throughout the collection of engravings, namely 112, bear the signature or initials of Valegio, which without any doubt can be attributed to the authorship of the entire work. The expansion of the number of images, from 270 to 322, the net change of the hand and artistic quality of the engraving, the sizes of the specimens, leading to think that the volume has had a long gestation and articulate. Copies present in Rome, Florence and London are composed of a variable number of boards 234 and 250 and contain all three units of the 112 cards signed by Valegio. The images are part of these collections are the oldest part of the Collection for which it is engraved with the famous title page. In the years that followed were recorded by a completely different hand, much more coarse and imprecise, 69 maps and views that differ from the previous series for a different layout, all bearing a white stripe at the bottom (18 mm), in which often, but not always appear in titles or descriptions of the cities represented in the image. Copies of these characteristics are those preserved in Venice, Florence and Washington.
In difficult times to be specified with a date, but certainly to be placed first edition edited by Rasicotti the Valegio in circulation a new cover, entitled Collection Dile most famous cities of Italy, this time addressed to the local market, in many collection only collects the views of Italian cities. 'S full copy of all images is sold later by the publisher of Venetian origin Rasciotti Donato, publisher of other maps of cities in the late sixteenth century. A plan of 1599, representing Brescia, calls himself "Donald Rasciotti in Venetia to the bridge of Barettari" while in the theater of the most illustrious et famous cities in the world has the address "A Bridge To Venetia Bare.ri"
The original branches of Velegio Francis had a long life and find them printed again in 1713, Savonarola in the work of Raphael (also known as Alfonsus LaSor Varea A, 1680 -1748) Universus Terrarum Orbis.
The Valegio represents a very significant figure in the horizon editorial copperplate of Venice at the turn of the century. According to the sauce, the criticism has been strongly oriented to a purely aesthetic assessment, which has long neglected "the multifarious activities of this interesting and eclectic set of copperplate engraver and publisher.
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