Speculum romanae Magnificentiae: Palazzo Farnese. Artist: Francesco Villamena (Italienisch, Assisi Ca. 1565-1624 Rom). Maße: Blatt: 15 1/16 x 18 11/16 in. (38,2 x 47,4 cm) Platte: 15 1/16 x 17 9/16 in. (38,2 x 44,6 cm): 17 1/2 x 21 7/8 in. (44,5 x 55,6 cm). Serie/Portfolio: Speculum romanae Magnificentiae. Datum: 16. Dieser Ausdruck stammt aus der Kopie für das Museum von Speculum romanae Magnificentiae (Der Spiegel der Römischen Pracht) Das Speculum seinen Ursprung im Verlags- Bemühungen von Antonio Salamanca und Antonio Lafreri gefunden. Während der Römischen publishing Karrieren, die zwei
Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel
Speculum Romanae Magnificentiae: Farnese Palace. Artist: Francesco Villamena (Italian, Assisi ca. 1565-1624 Rome). Dimensions: sheet: 15 1/16 x 18 11/16 in. (38.2 x 47.4 cm) plate: 15 1/16 x 17 9/16 in. (38.2 x 44.6 cm) mount: 17 1/2 x 21 7/8 in. (44.5 x 55.6 cm). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 16th century. This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album i
