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BEATRIZET, Nicolas / LAFRERI, Antonio. - Veterum Monumentorum Studiose Lector.../...Ant Lafreri aenea tabula nunc profert ex antiquo simulachro quod in vaticano adhuc conspicitur exacte effigiata.

BEATRIZET, Nicolas / LAFRERI, Antonio. -  Veterum Monumentorum Studiose Lector.../...Ant Lafreri aenea tabula nunc profert ex antiquo simulachro quod in vaticano adhuc conspicitur exacte effigiata.
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BEATRIZET, Nicolas / LAFRERI, Antonio. - Veterum Monumentorum Studiose Lector.../...Ant Lafreri aenea tabula nunc profert ex antiquo simulachro quod in vaticano adhuc conspicitur exacte effigiata.
Published: Rome, Antonio Lafreri, ca. 1573
Size: 330 x 545mm.
Color: Uncolored
Condition: Trimmed to the platemark and with added margins. Slightly water staining. Small tears along center fold. Good and dark impression. Numbered in pen on the recto and verso "93, 94 (2) and 95.

Description

The print feaures the Personification of the Nile, reclining, with an Egyptian sphinx and a cornucopia, after a Roman group in the 16th century installed as a fountain in the Belvedere courtyard. The plate was made by N. Beatrizet and published by A. Lafreri in the "Speculum Romanae Magnificentiae".

Published by Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512–1577 Rome).
"The Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) 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 Met, New York).
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  • Reference N°: 49135

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