LA TOSCANA - Tusciae elegantioris Italiae partis...
Reference: | CO-379 |
Author | Antonio SALAMANCA |
Year: | 1558 ca. |
Zone: | Tuscia |
Printed: | Venice |
Measures: | 530 x 390 mm |
Reference: | CO-379 |
Author | Antonio SALAMANCA |
Year: | 1558 ca. |
Zone: | Tuscia |
Printed: | Venice |
Measures: | 530 x 390 mm |
Description
In the upper center, within a ribbon-shaped cartouche supported by a tree trunk, is engraved the title: LA TOSCANA. On the right is a shield-shaped cartouche where it reads: HIERONIMO BELLATO COSMOGRAPH. Tusciae elegantioris Italiae partis Corographiam descripsimus atque ita quidem ut nihil amplius in ea desiderari possit Vale. Further down, at the tip of the shield, we find the date: 1558.
At the top of the cartouche, highlighted by a compass, is the Distantiam Locorum Indicabit, scale of 30 miles, equal to mm 80. Orientation in the four sides in the center; only East, and West are indicated; North is at the top. Graduation in the margins of 1' in 1', from 41° 24' to 43° 27' latitude and from 32° 33' to 36° 28' longitude.
Very rare anonymous map, lacking editorial indications in its first issues. It is a derivation of Girolamo Bellarmato's Chorographia Tusciae of 1536. In the vicinity of Siena, Montalcino and Val di Chiana, armed groups are depicted, indicating conflicts that have occurred or are in progress there. Although lacking the author's name, the plate may be traceable to the printing house of Antonio Salamanca, and to the hand of the so-called Maître à l'arbre, because of the trunk emblem depicted in the ribbon, author of other maps already associated with Salamanca. The first state of the work is dated 1554 and does not show the title in the cartouche. A second issue of the plate (1558) is completed with the inscription in the cartouche. With the merger between the Salamanca printing house and that of Antonio Lafreri, the plate became part of the most important Roman printing house. The work was then inherited by Claudio Duchetti, author of an unaltered reprint with the addition of his own signature. The copper plate can be found in the catalog of the widow of Giacomo Gherardi, heir to Duchetti's chalcographic estate, of October 1598 (no. 315 described as "la Toscana reale"). It was purchased by Giovanni Orlandi (reprinted with date 1602) and later by Hendrick van Schoel and finally by Francesco de Paoli. Although no examples signed van Schoel are known, we do not rule out the existence of an edition of the plate printed by the Flemish publisher.
“La Chorographia Tusciae di Girolamo Bellarmato (o Bellarmati) rappresenta il prototipo della cartografia a stampa della regione. Di forma leggermente trapezoidale, è composta da quattro fogli uniti. Sebbene priva di scala grafica, dal valore dei gradi di latitudine possiamo ricostruire il valore della riduzione, pari a 1:325.000 circa. Nella lunga dedica a Valerio Orsini, generale dell’esercito dei Medici, l’autore specifica che la carta è utile per la professione sua presentandola perciò quale strumento ad uso militare, politico e amministrativo. Questo prodotto cartografico si basa su dati ricavati da una sistematica osservazione diretta, da misurazioni e rilievi effettuati dall’autore sul territorio. Viene data attenzione a tutti gli aspetti geografici; per i centri abitati la grandezza della raffigurazione è rapportata all’entità della popolazione. Molto curata l’idrografia, ben evidenziata l’orografia che è disegnata con dei coni, di maggiori dimensioni per i rilievi più importanti. Questo pregevole ed innovativo lavoro fu preso a modello per molti anni a seguire ed ebbe numerose derivazioni. Come osserva Biasutti (1908), anche Gastaldi utilizzò il rilievo del Bellarmato per comporre la sua carta della penisola (1561). L’opera costituisce altresì la base per le carte della regione che i fiamminghi Abraham Ortelius (1570) e Gerard Mercator (1587) inseriscono nei rispettivi atlanti. Della carta è oggi noto un solo esemplare, conservato all’Archivio di Stato di Firenze” (cfr. Cartografia e Topografia Italiana del XVI secolo p. 1961).
Etching and engraving, impressed on contemporary laid paper without watermark, with margins, two restored woodworm holes at bottom, light and uniform browning of paper, otherwise in good condition.
Exemple in the fourth state of six, with the imprint of Giovanni Orlandi and the date 1602, surveyed in only 4 institutional examples (cf. Cartografia e Topografia Italiana del XVI secolo: Chicago, Newberry Library; Perugia, Biblioteca Augusta; Roma, Corsiniana; Torino, Archivio di Stato).
Bibliografia
S. Bifolco – F. Ronca, Cartografia e Topografia Italiana del XVI secolo pp. 1968/69, tav. 991 IV/VI; Alberti (2009): p. 121, n. A.41a; Almagià (1929): p. 20, A; Bifolco-Ronca (2014): n. 84; Cartografia Rara (1986): n. 132; Ganado (1994): V, n. 108; Karrow (1993): n. 10/1.3; Pagani (2012): p. 81; Perini (1996): p. 101; Pellegrini (2002): pp. 96-99, tav. I; Tooley (1939): n. 569, n. 570 & n. 573; Valerio (2008): tavv. 24 & 25.
Antonio SALAMANCA (Milano ?, 1478 – Roma, 1562)
Print publisher and dealer in books and prints from Salamanca. Active in Rome. His family name was Martinez. He was in Rome by 1505. From 1517 till his death he was active as a publisher and book and print seller; also as a banker. His shop was in Campo dè Fiori and was recorded as a place where learned antiquarian conversations took place. Many of the prints he published were of Roman antiquities, starting in 1538 with prints such as the Colosseum engraved by Fagiuolo after Giuntalodi. In 1553 he formed a partnership with Antonio Lafreri, which was dissolved only after his death by his son Francesco.
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Antonio SALAMANCA (Milano ?, 1478 – Roma, 1562)
Print publisher and dealer in books and prints from Salamanca. Active in Rome. His family name was Martinez. He was in Rome by 1505. From 1517 till his death he was active as a publisher and book and print seller; also as a banker. His shop was in Campo dè Fiori and was recorded as a place where learned antiquarian conversations took place. Many of the prints he published were of Roman antiquities, starting in 1538 with prints such as the Colosseum engraved by Fagiuolo after Giuntalodi. In 1553 he formed a partnership with Antonio Lafreri, which was dissolved only after his death by his son Francesco.
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