Lutetia

This plan is copied from the "Premier Plan" from c. 1530, which Sabastien Münster also used in a smaller representation for his Cosmographia, 1569.

Paris is shown from a bird's-eye perspective. In the 16th century, under Henry IV, the city was transformed into a splendid capital; in the present engraving, however, this process has not yet begun. The urban layout within the city walls is illustrated very clearly, as is the Seine flowing around the Île de la Cité with the Sainte-Chapelle, the palace chapel. During the reign of Philip IV (Philip the Fair) the Tour d'Argent and Tour de César gatetowers and the Tour de l'Horloge clock tower were built. The city numered some 200,000 inhabitants. Just beyond the city wall at the top of the picture is the large Fort la Bastille. On a fictive hill three people clad in typical contemporary dress are shown from an idealized viewpoint. In the first half of the 16th century, France copied the stiff Spanish fashions: hence the man wears a Spanish cape with a stand-up collar and epaulettes over a padded doublet and hose, while the ladies wear corsets and close-fitting ruffs.

The work is included in the Civitates Orbis Terrarum, the first atlas devoted exclusively to plans and views of the world's major cities. Printed in six volumes between 1572 and 1617 it was so successful and widespread that several editions translated into Latin, German and French were printed.

The first volume of the Civitates Orbis Terrarum was published in Cologne in 1572. The sixth and the final volume appeared in 1617. This great city atlas, edited by Georg Braun and largely engraved by Franz Hogenberg, eventually contained 546 prospects, bird-eye views and map views of cities from all over the world. Fransz Hogenberg produced the plates for the first four books, and Simon van den Neuwel (Novellanus, active since 1580) those for volumes V and VI.

Georg Braun (1541-1622), a cleric of Cologne, was the principal editor of the work, and was greatly assisted in his project by the close, and continued interest of Abraham Ortelius, whose Theatrum Orbis Terrarum of 1570 was, as a systematic and comprehensive collection of maps of uniform style, the first true atlas. The Civitates, indeed, was intended as a companion for the Theatrum, as indicated by the similarity in the titles and by contemporary references regarding the complementary nature of two works. Nevertheless, the Civitates was designs to be more popular in approach, no doubt because the novelty of a collection of city plans and views represented a more hazardous commercial undertaking than a world atlas, for which there had been a number of successful precedents. Franz Hogenberg (1535-1590) was the son of a Munich engraves who settled in Malines. He engraved most of the plates for Ortelius's Theatrum and the majority of those in the Civitates, and may have been responsible for originating the project.

Over a hundred of different artists and cartographers, the most significant of whom was Antwerp artist Georg Hoefnagel (1542-1600), engraved the cooper-plates of the Civitates from drawings. He not only contributed most of the original material for the Spanish and Italian towns but also reworked and modified those of other contributors. After Hoefnagel's death his son Jakob continued the work for the Civitates.

The author set out to depict "non icones et typi urbium," that is, not generic and typified images, "sed urbes ipsae admirabili caelaturae artificio, spectantium oculis subiectae appareant": not intended to allude or idealize but to represent faithfully on paper, to reproduce exactly, and in real time, what the eye sees, as announced in the preface to the first volume of Civitates Orbis Terrarum.

Copper engraving with fine original colour, refreshed, generally, good condition.