Circi Flaminii Specimen, Suo Cum Euripo, Arisque, et Isidis Leoni Insidentis Simulachro Pyrrhi Ligori Pictoris Neapolitani...

Engraving, circa 1570, signed on the plate lower right with the imprint Bolognino Zaltieri formis.

Derivation of the 1552 print by Nicolas Beatrizet, printed for the Venetian market by Zaltieri.

This example is in the second state, with the imprint by Donato Rascicotti and the date 1597 added lower left.

The Circus Flaminius was built in 220 BC by Flaminius Nepos (also responsible for the Via Flaminia) in an area between the Portico of Octavia, the Theatre of Marcellus, and the Tiber. The Circus Flaminius was a "site of fundamental importance in Roman topography [...] it gave its name to the IX Augustan region; its fame corresponded to such obviousness of location that no ancient author describes its location precisely." The engraving derives from a drawing by Pirro Ligorio, who had published the work Delle Antichità di Roma for the publisher Michele Tramezzino, which deals with de’ Circi, Theatri, & Anfitheatri. The first version was engraved by Nicolas Beatrizet for Michele Tramezzino (1552). Claude Duchet's version, engraved by Ambrogio Brambilla in 1581, followed for the Roman market.

The work formerly belongs to the Speculum Romanae Magnificentiae, the earliest iconography of ancient Rome. 

The Speculum originated in the publishing activities of Antonio Salamanca and Antonio Lafreri (Lafrery). During their Roman publishing careers, the two editors-who worked together between 1553 and 1563-started the production of prints of architecture, statuary, and city views related to ancient and modern Rome. The prints could be purchased individually by tourists and collectors, but they were also purchased in larger groups that were often bound together in an album. In 1573, Lafreri commissioned a frontispiece for this purpose, where the title Speculum Romanae Magnificentiae appears for the first time. Upon Lafreri's death, two-thirds of the existing copperplates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. Claudio Duchetti continued the publishing activity, implementing the Speculum plates with copies of those "lost" in the hereditary division, which he had engraved by the Milanese Amborgio Brambilla. Upon Claudio's death (1585) the plates were sold - after a brief period of publication by the heirs, particularly in the figure of Giacomo Gherardi - to Giovanni Orlandi, who in 1614 sold his printing house to the Flemish publisher Hendrick van Schoel. Stefano Duchetti, on the other hand, sold his own plates to the publisher Paolo Graziani, who partnered with Pietro de Nobili; the stock flowed into the De Rossi typography passing through the hands of publishers such as Marcello Clodio, Claudio Arbotti and Giovan Battista de Cavalleris. The remaining third of plates in the Lafreri division was divided and split among different publishers, some of them French: curious to see how some plates were reprinted in Paris by Francois Jollain in the mid-17th century. Different way had some plates printed by Antonio Salamanca in his early period; through his son Francesco, they goes to Nicolas van Aelst's. Other editors who contributed to the Speculum were the brothers Michele and Francesco Tramezzino (authors of numerous plates that flowed in part to the Lafreri printing house), Tommaso Barlacchi, and Mario Cartaro, who was the executor of Lafreri's will, and printed some derivative plates. All the best engravers of the time - such as Nicola Beatrizet (Beatricetto), Enea Vico, Etienne Duperac, Ambrogio Brambilla, and others  - were called to Rome and employed for the intaglio of the works.

All these publishers-engravers and merchants-the proliferation of intaglio workshops and artisans helped to create the myth of the Speculum Romanae Magnificentiae, the oldest and most important iconography of Rome. The first scholar to attempt to systematically analyze the print production of 16th-century Roman printers was Christian Hülsen, with his Das Speculum Romanae Magnificentiae des Antonio Lafreri of 1921. In more recent times, very important have been the studies of Peter Parshall (2006) Alessia Alberti (2010), Birte Rubach and Clemente Marigliani (2016).

A good impression, printed on contemporary laid paper with unidentified watermark, trimmed to the platemark, very good condition.

Bibliografia

Cfr. C. Hülsen, Das Speculum Romanae Magnificentiae des Antonio Lafreri (1921), n. 34; cfr. Peter Parshall, Antonio Lafreri's 'Speculum Romanae Magnificentiae, in “Print Quarterly”, 1 (2006); cfr. B. Rubach, Ant. Lafreri Formis Romae (2016), n. 295; cfr. Marigliani, Lo splendore di Roma nell’Arte incisoria del Cinquecento (2016), n. II.19.