(Emisfero Orientale)
| Reference: | S34823 |
| Author | Giuseppe DE ROSSI |
| Year: | 1615 ca. |
| Zone: | Globe Gores |
| Printed: | Rome |
| Measures: | 325 x 327 mm |
€4,500.00
| Reference: | S34823 |
| Author | Giuseppe DE ROSSI |
| Year: | 1615 ca. |
| Zone: | Globe Gores |
| Printed: | Rome |
| Measures: | 325 x 327 mm |
€4,500.00
Description
Engraved plate showing 6 globe gores published by Giuseppe de Rossi in 1615, covering the Eastern Hemisphere, extended from Atlantic Ocena to the Far East. Including the Japan and Korea, here depicted as an insula (Corea ins.).
This is the half set of the globe gores by Giuseppe de Rossi, known complete only for the example of the Library of Congress, while the sheet with the Western Hemisphere is preserved in the Maritiem Museum of Rotterdam. (WAE840).
The peculiarity of our example is the imprint Dominicus de Rubeis formis Romae ad Templum S. Marie de Pace, not know in the literature. Domenico was the son or nephew of Giuseppe, active in Rome in the second half of 17th century.
Fiorini (1899) listed by Domenico de Rossi only the late issue of the globe gores by Mattheus Greuter (1638).
The terrestrial globe by Giuseppe de Rossi – one of the first printed in Italy – is a very accurate replica of the one made in Amsterdam in 1601 by Jodocus Hondius, who realized just few very detailed globes.
Giuseppe de Rossi uses Hondius maps, appreciated for their quality, but the globe is entirely created in Italy and dedicated to a Roman nobleman, as we can see in the cartouche on the globe itself: Ill.mo viro optimarumque / artium amatori et Fau- / tori D Paulo Mellino Roma- / no Iosephus de Rubeis Mediolanensis devoti / animi monu- / mentum dat / dicatque.
The cartouche with dedication includes also the artist’s signature and explains his origin: Giuseppe was renowned in Rome in early 17th century as a member of the well-known de Rossi family, already famous in Milan for its prints and maps.
The globe bears a second large cartouche – in the Pacific Ocean – with the Hondius’ explanation and the date in which it has been printed in Italy: I[odocus] Hondius Lectori S[alutem]. / In locorum longitudine hactenus mirifice peccatum esse omnibus hydrographiae peritis satis / superque constat [...] Longitudinem / incepimus non ab insulis fortunatis, ut Ptolemeus, sed ab / ijs quae Açores vocantur, quod acus nautica ibi recte in Se- / ptentrionem vergat. Vale. / Anno 1615.
A third cartouche under the Strait of Magellan let us understand the geographical knowledges of the early 17th century: TERRA AUSTRALIS NONDUM COGNITA.
Very similar examples are housed at Correr Museum in Venice and in the Rudolf Schmidt’s Collection.
Literature
Fiorini, Sfere Celesti e Terrestri di Autore Italiano, Roma 1899, pp. 271-272, 293, 369; E. L. Stevenson, Terrestrial and Celestial Globes, New Haven 1921, vol II, p. 13; P. van der Krogt, Globi Neerlandici, Utrecht 1993; The World In Your Hands. An Exhibition of Globes and Planetaria, exhibition’s catalogue of Christies Great Room in London and Museum Boerhaave in Leiden, 1995, p.42, n° 4.11; Sfere del cielo sfere della terra, exhibition’s catalogue edited by M. Milansei & R. Schmidt, Correr Museum, Venice 2007, pp. 50 and 59; Dekker, E. Globes at Greenwich (Oxford, 1999), pp. 357-9 & 482-4.
Giuseppe DE ROSSI (Roma 1560 - 1639)
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Towards the end of the sixteenth century began the editorial activity of Antonio De Rossi, who with his sons Giuseppe the Elder and Giulio, founded the printing house that, over the next two centuries and through four generations, held the monopoly of chalcographic production in the city. The workshop had the sign “De Rossi alla Pace”. The history of the De Rossi family is characterized by internal disputes and contrasts that lead to the opening of individual printing houses in competition with each other. Giulio De Rossi's sons, Giuseppe the Younger and Giovanni Battista, nephews of Giuseppe De Rossi the Elder, had founded in 1628 their own workshop in the vicinity - at the corner of Via di Parione and Via della Pace near the church of S. Biagio della Fossa - but in 1635 Giovanni Battista in turn separated from his brother and opened a workshop in Piazza Navona, the third of the family. In 1644, after the death of Giuseppe the Younger, his brother Giovanni Battista became the most direct competitor of his uncle's workshop, the De Rossi alla Pace, now run by his widow along with their children who were then partly still minors [Sons of Giuseppe De Rossi the Elder (1560-1639) and Flaminia Fabio were Giovanni Domenico (1619-1653) Girolamo (born in 1621), Giovanni Giacomo (1627-1691) and Filippo (1631-1656)]. In 1648 Giovanni Giacomo De Rossi, son of Giuseppe, started his own activity in a workshop located “alla Pace”, with the contribution of about 800 plates inherited from his father, whose fund was divided among the four sons. At the death of his elder brother Giovanni Domenico (1653) the part of plates inherited from him was recovered by Giovanni Giacomo, who also took possession of many works of a geographical nature published by his brother. The corpus of works recovered by Giovanni Giacomo consisted of a collection that spanned a chronological span of more than a century, including part of the plates of Salamanca and Lafreri, the workshops of Adamo Scultori, Villamena, Maggi, Carenzano and many others. For the whole course of the century Giovanni Giacomo and his adopted son Domenico (1647-1729) were the point of reference of the Roman publishing industry and increased the chalcographic production of local and artistic character. In addition, in fact, to the works of Giovan Battista Falda we find in the list the engraving matrixes of painters-engravers such as Guido Reni, Giovan Benedetto Castiglione, Giovanni Andrea Podestà and Pietro Testa just to mention the main artists who relied on the De Rossi. When Domenico died in 1729, the printing house was inherited by his son Lorenzo Filippo, who immediately put it up for sale. Pope Clement XII forbade its sale abroad and ordered its appraisal with the intention of purchase by the Apostolic Chamber: the printing house was sold in March 1738 and formed the fund of the newly founded Calcografia Camerale. This act of sale is the document that witnesses the end of the De Rossi printing house, one of the most important European printing houses.
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Giuseppe DE ROSSI (Roma 1560 - 1639)
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Towards the end of the sixteenth century began the editorial activity of Antonio De Rossi, who with his sons Giuseppe the Elder and Giulio, founded the printing house that, over the next two centuries and through four generations, held the monopoly of chalcographic production in the city. The workshop had the sign “De Rossi alla Pace”. The history of the De Rossi family is characterized by internal disputes and contrasts that lead to the opening of individual printing houses in competition with each other. Giulio De Rossi's sons, Giuseppe the Younger and Giovanni Battista, nephews of Giuseppe De Rossi the Elder, had founded in 1628 their own workshop in the vicinity - at the corner of Via di Parione and Via della Pace near the church of S. Biagio della Fossa - but in 1635 Giovanni Battista in turn separated from his brother and opened a workshop in Piazza Navona, the third of the family. In 1644, after the death of Giuseppe the Younger, his brother Giovanni Battista became the most direct competitor of his uncle's workshop, the De Rossi alla Pace, now run by his widow along with their children who were then partly still minors [Sons of Giuseppe De Rossi the Elder (1560-1639) and Flaminia Fabio were Giovanni Domenico (1619-1653) Girolamo (born in 1621), Giovanni Giacomo (1627-1691) and Filippo (1631-1656)]. In 1648 Giovanni Giacomo De Rossi, son of Giuseppe, started his own activity in a workshop located “alla Pace”, with the contribution of about 800 plates inherited from his father, whose fund was divided among the four sons. At the death of his elder brother Giovanni Domenico (1653) the part of plates inherited from him was recovered by Giovanni Giacomo, who also took possession of many works of a geographical nature published by his brother. The corpus of works recovered by Giovanni Giacomo consisted of a collection that spanned a chronological span of more than a century, including part of the plates of Salamanca and Lafreri, the workshops of Adamo Scultori, Villamena, Maggi, Carenzano and many others. For the whole course of the century Giovanni Giacomo and his adopted son Domenico (1647-1729) were the point of reference of the Roman publishing industry and increased the chalcographic production of local and artistic character. In addition, in fact, to the works of Giovan Battista Falda we find in the list the engraving matrixes of painters-engravers such as Guido Reni, Giovan Benedetto Castiglione, Giovanni Andrea Podestà and Pietro Testa just to mention the main artists who relied on the De Rossi. When Domenico died in 1729, the printing house was inherited by his son Lorenzo Filippo, who immediately put it up for sale. Pope Clement XII forbade its sale abroad and ordered its appraisal with the intention of purchase by the Apostolic Chamber: the printing house was sold in March 1738 and formed the fund of the newly founded Calcografia Camerale. This act of sale is the document that witnesses the end of the De Rossi printing house, one of the most important European printing houses.
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