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Pirro Ligorio - Speculum Romanae Magnificentiae: Plan of Ancient Rome

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Pirro Ligorio - Speculum Romanae Magnificentiae: Plan of Ancient Rome

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Summary

The Speculum Romanae Magnificentiae is a collection of engravings of Rome and Roman antiquities, the core of which consists of prints published by Antonio Lafreri and gathered under a title page he printed in the mid-1570's. Copies of the Speculum vary greatly in the number of prints, and individual prints were reissued and changed over time.

Renaissance representation of classical ruins was a symbol of antiquity, enlightenment, and lost knowledge. Ruins spoke to the passage of time. The greatest subject for ruin artists was the overgrown and crumbling Classical Rome remains. Forum and the Colosseum, Pantheon, and the Appian Way. Initially, art representations of Rome were realistic, but soon the imagination of artists took flight. Roman ruins were scattered around the city, but frustrated artists began placing them in more pleasing arrangements. Capriccio was a style of imaginary scenes of buildings and ruins.

Printmaking in woodcut and engraving came to Northern Italy within a few decades of their invention north of the Alps. Engraving probably came first to Florence in the 1440s, the goldsmith Maso Finiguerra (1426–64) used the technique. Italian engraving caught the very early Renaissance, 1460–1490. Print copying was a widely accepted practice, as well as copying of paintings viewed as images in their own right.

During the Medieval period, European maps were dominated by religious views. All maps were, of course, drawn and illuminated by hand, which made the distribution of maps extremely limited. Medieval geography divided the world into three schematic parts: Asia, Europe, and Africa. Asia was depicted on top as the birthplace of Christ and the original site of the Garden of Eden. A T-O map (orbis terrarum, orb or circle of the lands; with the letter T inside an O), also known as an Isidoran map, is a type of early world map that represents the physical world as first described by the 7th-century scholar Isidore of Seville in his De Natura Rerum and later his Etymologiae. In this map format, Jerusalem was depicted at the center and east was oriented toward the map top. The design had great religious significance, with the “T” representing the central Christian symbol of the cross and placing Jerusalem at the center of the world. The “T” also separated the continents of the known world—Asia, Europe, and Africa—and the “O” that enclosed the entire image, represented the medieval idea of the world surrounded by water.

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Date

1500 - 1599
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Source

Metropolitan Museum of Art
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Copyright info

Public Domain Dedication (CC0)

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