The Printed Plans and Panoramic Views of Venice

The printed plans and panoramic views of Venice (1486-1797)
Author(s): JUERGEN SCHULZ

Source: Saggi e Memorie di storia dell'arte , 1970, Vol. 7 (1970), pp. 5-7, 9-11, 13-33, 35-
37, 39, 41-75, 77, 79-89, 91, 93-109, 111-169, 171, 173-182
Published by: Casa Editrice Leo S. Olschki s.r.l.
Stable URL: https://www.jstor.org/stable/43139931
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SAGGI E MEMORIE
di storia dell'arte
SOMMARIO
JUERGEN SCHULZ
The printed plans and panoramic views of Venice
(1486-1797 J:
Foreword
Introduction
Catalogue
Bird's Eye View Plans (Cat. Nos. 1-106)
Orthographic Plans (Cat. Nos. 107-153)
Panoramic Views (Cat. Nos. 154-197)
Illustrations
Indeces
Direzione e Redazione:
JSTITOTO DI STORIA DELL'ARTE, FONDAZIONE GIORGIO CINI, SAN GIORGIO
MAGGIORE, VENEZIA.
Comitato per le Pubblicazioni:

GiuseppeFIOCCO, Direttore; Sergio BETONI; Vittore BRANCA; Rodolfo PALLUCCHINI;
Luigi POLACCO; Pietro ZAMPETTI; Alessandro BETTAGNO, Redattore.
Comitato Scientifico:
Giuseppe FIOCCO, Direttore; Sergio BETONI; Vittore BRANCA; Gian Alberto DELL'ACQUA-
Fumando FORLATI; Renato PADO AN; Rodolfo PALLUCCINI; Renato PAPÒ; Luigi
POLACCO; Francesco VALCANOVER; Pietro ZAMPETTI; Alessandro BETTAGNO, Segretario

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For Anne

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FOREWORD

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The present work came into being more by Jacopo de' Barbari ( 1500 ) and Giovanni
or less because there seemed no way of having Merlo ( 1660 ), the orthographic plans of Ales-
it short of composing it myself. Architectural sandro Badoer ( 1627 ) and by Lodovico Ughi
historians have found old city plans of the (1729), and the views by Erhard Reeuwich
greatest usefulness, as documents for the ( 1486 ) , Giovanni Merlo ( 1656 ) , and Giorgio
histories of individual buildings and urban Fossati (1743). Other prints are all more or
planning schemes. Thus, when in the Summer less derivative and can be used as records of
of 1965, I began to collect information on the the city's appearance in any given year only
histories of certain Venetian monuments of the with great caution. This conclusion, however,
Renaissance, I sought to make use of the was an acquisition in itself. Furthermore, the
Cinquecento plans of Venice as dated records evidence on which to base an estimate of a
of building activity in the city. But it developed plan's reliability only became available with the
quickly enough that the plans required sifting, compilation of the catalogue. It is now set
to establish which were dateable and which forth in the Introduction, and will enable other
were not, since there was no scholarly cataloguescholars to make full and considered use of this
of the plans of Venice such as exists formass of unexploited material themselves.
Florence, Milan, Rome, or the great cities of Many persons have helped me with this
work, beginning with the curators of the many
northern Europe, to which one might turn for
guidance. map rooms and print cabinets I visited, whom
No collection has anything approaching a I wish to thank collectively for the patience
complete series, and the search for dated plans with which they scoured their shelves and
carried me to all the major libraries and print answered my questions. I owe a special debt
rooms of Western Europe and the United of gratitude to Professor Terisio Pigna tti,
States. The quantity of new material it turned Assistant Director of the Civico Museo Correr,
up persuaded me in the end to publish a proper Venice, who made available to me the rich
catalogue. topographical collections of the Museum and
As an accumulation of documents for the gave encouragement and help all through the
urban history of Venice, the catalogue will be duration of my research in the procurement
a disappointment. Venice possesses no great of photographs and information. Mr. R. E.
series of original plans of the sixteenth and Lewis, of San Francisco, generously shared
seventeenth centuries, such as was produced with me his knowledge of prints in general,
by the cartographers of Rome. Venetian plan and watched for plans in print rooms and sales.
makers, instead, preferred to copy one another. Professor Ulrich Middeldorf, Director of the
The exceptions are the bird's eye view plans Kunsthistorisches Institut, Florence, was, as

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10 JUERGEN SCHULZ - THE PRINTED PLANS AND PANORAMIC VIEWS OF VENICE
always, a fount of information and advice,from and the Samuel H. Kress Foundation enabled
provided me with working space at the Insti- me to spend several weeks in the Museo Correr
tute during two prolonged stays in Italy,infor 1965. The Committee on Research of the
which I am very grateful. If the result of all
University of California underwrote the bulk
this labor seems clear, I owe it to my wife, of the travel and photographic expenses I have
who gave a good deal of her time and thought incurred since then. The Research Fund of
to correcting the manuscript, and provided Brown University contributed to the last travel
several ideas herself. expenses that made possible the completion of
Without the support of learned institutions the manuscript in the Summer of 1968.
and a generous foundation, it would not have
been possible to complete my research. A grant Florence, July, 1968.

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INTRODUCTION

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Venice differs from the great land-based game, salubrious because of their temperate
cities of Italy not only in situation, dialect, climate and the cleansing action of tides and
and a myriad of peculiarities of local customs river currents, and were inhabited from the
and styles, but also in its origin. While Naples, earliest times. By the beginning of our era,
Rome, Bologna, Milan, and the other centres flourishing cities existed on several of the
of the mainland are all pre-Roman or Roman islands within the lagoons and around its
foundations, Venice is a creation of the dark shores ( 2 ) . South of the Septem Maria - the
ages. complex of lagoons and channels formed by the
The Venetian Lagoon existed already in mouths of the Po within the larger system of
pre-historic and Roman times. In fact, it was lagoons - lay Ravenna. It was a city built
far more extensive. From Ravenna to Aquileia, on islands, supported by piles and laced by
one great system of interconnected lagoons canals, like modern Venice (3). North of the
- the Gallicae Paludes - followed the Po lay the land-based city of Padua (Pata-
shoreline of the continent ( 1 ) . It was vium),
protectedconnected to the lagoons by the river
Brenta. and
against the sea by an arc of narrow islands On a series of islands east of Padua
sand bars, called lidi by the Venetians,stood Altino (Altinum) (4). Between Altino
broken
here and there by passages, called porti,
and the Istrian peninsula, the eastern end of
through which the tides could enter and
the lagoons,
river lay the land-based cities of Oderzo
waters emptying into the lagoons could
( Opitergium
exit ) , Concordia (Julia Concordia),
to the sea. The lagoons were rich in and Aquileia,
fish and each communicating with the
H They are so called by Vitruvius, De Architectura,and CassiodoruS (see n. 7 below). Various Roman authors
give glimpses of this or that aspect of life in the lagoon.
I, iv. 11. A summary description of the extent and character
Pliny (XIX, xix, 54) and Martial (Epigrammaton, XIII,
of the Lagoon in pre-historic, ancient, and early mediaeval times
is given by G. Pavanello, La storia della Laguna fino ai 21) celebrate the asparagus grown in the area, which are still
1140 , in: Delegazione italiana della Commissione per l'Esplo-a specialty today. Servius (commentary on Virgil's Georgics ,
razione scientifica del Mediterraneo, La Laguna di Venezia,I, 262) mentions the dependence on boats in the area, where
ed. G. Magrini, Venice, 1933-19 55, II, parte iii, tomo vi. « hunting, fowling, and cultivation of the fields are all done
with Untres », i.e. with small river boats. Vitruvius, loc. cit.,
(2) For prehistoric finds in the area see, G. Marzemin, Le
mentions the salubriousness of the open lagoons.
origini romane di Venezia , Venice, 1937, 29 ff., and, R. Cessi,
(editor), Storia di Venezia , Venice (Centro Internazionale delle (3) Numerous descriptions of ancient Ravenna, including
Arti e del Costume), 1957, 77 ff., with recent bibliography. its proverbial shortage of fresh water and notoriously noisy
Livy's account (Ab urbe condita , X, ii) of an unsuccessfulfrogs, exist: Martial (III, 56, 57, 93/6-9), Sidonius ( Letters ,
expedition of the Laedecamonians into the Lagoon of Venice I, v, 5-6), Silius Italicus {Punica, VIII, 600-604).
in 302 B.C. testifies to the existence of a considerable local (4) Martial's phrase (IV, 25), « Altinum's shores that vie
population at that time, adept at navigating the shallow lagoonwith Baiae's villas », gives a tantalizing glimpse of the city's
as the invaders were not. There are descriptions of theopulence. area
in later times by Pliny ( Historia naturalis , III, xvi, 117 ff.)

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14 JuERGEN SCHULZ - THE PRINTED PLANS AND PANORAMIC VIEWS OF VENICE
lagoons by means of canals, and having on one of the lidi to the more inaccessible and
access
to the sea through porti of their own ( 5 ) more
. secure site of the island of Rialto. The
rise to prominence and power of Rialto and
Gradually, during the barbarian invasions
and the wars between the Eastern Empiretheandneighboring Olivolo began at this time,
and with it the influx of settlers from other,
the successive occupiers of the Venetian main-
land, in the fifth, sixth, and seventhdeclining
cen- towns of the lagoons which, within
turies, these cities were depopulated anda hundred
de- years, had made a major city of
these two islands (8).
spoiled. Their inhabitants transferred them-
selves to the safety of the islands and lidi The
of technique by which this and other
the lagoons. They swelled the small townships
cities of the lagoons were created is not hard
that already existed at the porti servingto the
reconstruct. The lagoons were shallow and
interior cities: Grado near Aquileia, Caorle
were dotted everywhere with mud flats emer-
(Caprulae) near Concordia, Malamoccoging(Me-
at low tide (velme, or palude , in Vene-
tamaucus) near Padua. They founded entirely
tian ) , humps of sand visible even in high water
new townships, like Eraclea (Heraclea) and , dorsi or dossi ) and low islands (tom-
( barene
Jesolo (EquiÊo) off Oderzo, Torcello offbe)
Alti-
C) . Between them and on the muddy
no, and Olivolo and Rialto ( Rivoaltus ) bottom
- the of the open lagoon lay canals, channels
original nuclei of the city of Venice excavated
- off by the scouring action of tidal and
Padua (6). river currents. As the island settlements grew,
Venetian tradition claims that Rialto was their shores were extended and mud flats were
settled on 25th March 421 by Paduans seeking made habitable by filling. The fill usually came
to escape Attila's armies, and dates the begin-from canal bottoms. The result was that islands
nings of the Dominante to that year. However, tended to grow saucer fashion around the
the settlements at Olivolo and Rialto seem to
edges, leaving depressions in the centre (terre
have been among the less important of the
vacue ) that were sometimes even marshy or
lagoon townships right through the seventh
under water ( piscine ) and were only gradually
century, overshadowed by Eraclea, Malamocco, reclaimed.
Grado, and Torcello. The first two were the
successive seats of the Dux , the official repre- Foundations for buildings to be erected
sentative of the Greek Imperial power in the on such land were laid by driving piles, a
lagoons during the sixth and seventh centuries.technique as old as the age of the pre-historic
Grado was the seat of the chief ecclesiastical Lake Dwellers. The buildings themselves ini-
authority, the Patriarch of Aquileia. Torcello tially were mostly of wood. Stone and brick
was considered the chief trading port of the took its place gradually in the twelfth century
lagoons (7). after the city had been several times devastated
Only in the early ninth century, under the by fires (10). The first houses on any island
threat of Frankish invasion, was the seat of were built at its rim, leading away from the
the Byzantine Dux transferred from Malamocco water's edge in rows resembling the finger piers
(5) Aquileia was settled only in the second century B.C.,the mid tenth-century description of the Venetian islands by
after barbarians from the East had previously sought to the Emperor Constantine VII Porphyrogenitus (H. Kretsch-
establish a colony there (Livy, XXXIX, xxii/6-7, lv/1-6, mayr, Die Beschreibung der venezianischen Inseln bei Kon-
xlv/6-7, XL, xxvi/1-3, XLIII, i/4-7/12, xvii/1). In later stantin Porphyrogennetos , « Byzantinische Zeitschrift », XIII,
times it was one of the most flourishing cities of the region 1904, 482 ff.).
(Ausonius, Ordo urbium nobilium , IX). In later times it benefited from its favorable location,
( ) For a fuller account of this epoch, see, Marzemin,which spared it the silting up of canals and harbors, that
op. cit. seems to have begun quite early at Altino, Torcello, and
(7) Thus Cassiodorus ( Variae Epistolae, XII, 24), whose Eraclea, and the devastation from seaborne storms, such as
description of the cities of the lagoons of 537 A.D. is thestruck Malamocco in the twelfth century.
fullest account we have of the area in this period of transition. (9) For the nomenclature, see, G. B. Gallicciolli, Delle
(8) Rialto, as the administrative centre, is named alongsidememorie venete antiche profane ed ecclesiastiche, Venice, 1795,
I, 73 ff.
Torcello, the commercial centre, and Grado, the ecclesiastical
centre, as one of the three chief settiements of the Lagoon in (10) Gallicciolli, op. cit., 300 ff.

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JuERGEN Schulz - THE PRINTED PLANS AND PANORAMIC VIEWS OF VENICE 15
S. Geminiano
of an American sea port ("). A cluster of were believed to have been
foundations
dwellings could be found only around the of the sixth and seventh centu-
clearing (campo) in which the parish
rieschurch
( 15 ) . Tradition thus suggests that, in addi-
stood. Terre vacue inside the island were tion to the districts named above, limited sites
on the western shore of the upper Grand
generally cultivated. But as the city grew more
Canal, and the eastern shore of the lower
crowded, built-up areas invaded them, growing
Grand Canal were settled from the first. The
cell-like around an open space (corte) until
all sides of it had been closed, to begin a new
entire north-eastern side of the city towards
cell adjoining it or close by. EmbankmentsMurano,
of the western side towards the main-
land,
packed earth and wood, later of brick and stone the south-western side towards the Giu-
decca (chiefly the island called Dorsoduro),
( fondamenta ) were built to protect canal edges
and the Giudecca itself seem not to have been
against erosion, or to serve as quais (junctoria).
Foot and horse traffic was served by alleys settled at all in the beginning.
(calli), unpaved until the thirteenth century,Most of these zones were colonized during
which crossed canals by humpback, railing-lessthe three centuries that followed the transfer
bridges (12). of the seat of government to Rialto. Identifiable
The actual process of growth is impossible structures of the ninth, tenth, and eleventh
to follow with certainty, given the present state centuries can be found on Dorsoduro, through-
of our knowledge. Extant remains of eighth- out the interior of the west side of the city,
century and earlier construction are concen- along the eastern shore of the upper Grand
trated at five points of the city: on the island Canal, and throughout the point of land that
of Mendigóla or Mendicoli towards the West protrudes from the present-day Piazza S. Marco
(around the sites of S. Nicolò and S. Angelo toward the Volta del Canal. (16) Tradition
Raffaele), in the parish of SS. Apostoli towards mentions only a few sites not accounted for
the North, on the island of Olivolo towards by remains, of which the most noteworthy is
the East, and within these limits on the island the former island of S. Croce, between the
of le Gemine (around the sites of S. Giovanni Giudecca and S. Giorgio Maggiore (17). By the
in Bragora and S. Antonino) and the original end of the eleventh century the inner core of
island of Rialto (along the Campo S. Maria the city had been entirely colonized, although
Formosa, the Ruga Giuffa, and the Calle delle not yet densely developed. Later centuries
Bande). The Rial tine churches of S. Salvatore
added new land on the North-east by building
and S. Zaccaria seem to stand on substructures
out into the lagoon towards Murano, on the
that are equally old (13). West by extending the peninsulas of S. Nicolò
According to tradition, however, churchesdei Mendicoli and S. Chiara and filling the gulf
in other areas as well were founded before in between, and on the South-west by extend-
ing the Giudecca. Within the limits of the
the end of the eighth century. Along the
western side of the Grand Canal they are originalS. area of colonization there must have
Croce on the island of Luprio and S. Giacomo remained many terre vacue and piscine that
were only built over in later times. But the
opposite the old Rialto ( 14 ) . Along the eastern
side of the Grand Canal, in the area of the broad area of the city of Venice had been
present-day Sestiere of S. Marco, S. Moisè and established.
(") See, S. Muratori, Studi per una operante storia tisi Venice, 1749, IX, 311, and III, 2-9. For a careful study
urbana di Venezia , « Palladio », N. S. IX, 1959, passim , esp.of the myths and known facts concerning S. Giacomo and its
125, and pian after 136. district, now called Rialto, see, R. Cessi and A. Alberti,
(12) The fullest general description of mediaeval Venice Rialto : l'isola, il ponte , il mercato , Bologna, 1934, 12 ff.
in, B. Cecchetti, La vita dei veneziani nel Trecento, parts (15) Corner, op. cit., III, resp. 358, 343.
i and ii, « Archivio Veneto », XXVII, 1884, 5 ff., 321 ff. (16) Muratori, loc. cit.
Cecchetti's account is the basis of that by P. Molmenti, (17) Corner, op. cit., XII, 443. According to traditions
Storia di Venezia nella vita privata , Bergamo, 41905, I, 40 ff.reported by Gallicciolli, op. cit., III, 14 ff., S. Giovanni
(13) Muratori, loc. cit. Evangelista, S. Provolo, S. Severo, and S. Vio were also
( ) See, F. Corner, Ecclesiae venetae antiquis monumen-founded in this epoch.

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16 JuERGEN Schulz - THE PRINTED PLANS AND PANORAMIC VIEWS OF VENICE
The slender evidence of building Milano

remains» (21). The mid fourteenth-century
topography
and traditional parish histories are our source is later than the reign of Doge
for this reconstruction of the city's growth.Falier (1102-1118),
The but there is no reason
earliest representation of the city thatto disbelieve the inscription. In this case too
survives
dates from the second half of the fourteenth we must be dealing with a partially corrected
century. It is the well-known parchment plancopy from a lost prototype of the twelfth
(Fig. 2) contained in the manuscript Chrono- century which, given the similarity between
this plan and the plan of the Chronologia
logia magna of the Biblioteca Marciana, a chron-
magna, must have been the common source
icle recording events up to the year 1346 (1S).
The drawing can be no earlier than the chron- of both ( 22 ) .
icle. Indeed, it marks foundations dating from We may assume that in each case the copyist
simplified his model to some extent, and that
as late as the second quarter of the fourteenth
century (19). But it must be based on a farthe contours and proportions of the city in the
lost original were more irregular. But the
earlier prototype, since the city as represented
corresponds in shape and extent to its state difference cannot have been great. There is no
of development in the twelfth century i20). printed or drawn plan of the respective epochs
There exists another parchment plan of of the two copies that even distantly resembles
them, to which the copyists might have had
Venice ( Fig. 3 ) , less rich in detail but very
recourse as a corrective. The manuscript plans
similar in the overall outline of the city and not
too dissimilar in the configuration of the inner the fifteenth and sixteenth centuries survi-
of
network of canals. In outline it differs from ving in the archives of the Magistrato alle
the plan of the Chronologia magna only in Acque and other bodies of the Venetian gov-
showing the fourteenth-century extensions of ernment, for instance, differ considerably. They
the Punta S. Marta and Punta S. Antonio. An are also orthographic in projection but simplify
inscription in a Cinquecento or early Seicentothe outlines of the city far more than the
hand, now almost illegible from fading, declaresmediaeval plans and distort its proportions as
that the plan was made for Doge Ordelaffiowell. Thus, the manuscript plan of ca. 1500
Falier by one « Hellia Magadizzo meserador dain the Archivio di Stato, like all the printed
(18) Chronologia magna, ab origine mundi ad annumcittà, fortificazioni, e carte geografiche . . . (Biblioteca Nazionale
millesimum tercentesimum quadragesimum sestum (BibliotecaMarciana, Cod. Ital., Cl. VI, No. 188 [10039]), f. 1:
Nazionale Marciana, Cod. Lat. Z-399, No. 1610), f. 7 r. 325/350x310/315 mm.; pen and brown ink and wash on
(formerly f. 13 r.): 455x328 mm., the folio; 347x328 mm. the parchment, reinforced by a later hand with black ink (canals
plan; pen and brown ink and wash on parchment. See, T. and contours of the city); varnished and laid down.
Temanza, Antica pianta dell'inclita città di Venezia delineata The phrase quoted above is my own transcription. For
circa la metà del XII. secolo , Venice, 1781. the legend as a whole, however, I have not been able to
(19) E. g., the Ospedal Gualtieri, on the rio di Castello,improve significantly on an earlier transcription in a nineteenth-
founded 1330; Temanza, op. cit., 62 ff. century hand, written on a separate piece of paper and pasted
(M) Temanza (52 ff., 86) already rightly observed that on the same folio as the plan itself. Its garbled text shows
the plan must go back to a prototype dating from before the legend was already much effaced over a century ago. The
1141, because the following islands and landmarks were transcription reads: « Ad Reinemorian de mi de farse in
lacking: S. Clemente in Isola (founded 1141), the eastern m azor altera, in Nome de Christo Amen / Comandmento a mi
extension of the Giudecca (begun 1252), the Punta S. MartaHelia Magadizo Maserador d Mis lo Doge Ordelafio Falietro /
(before 1317), the darsena nuova of the Arsenal (begun 1326),Zudesi ai Pioueghi fo fatto la Pianta de Chuesta Citade e
the Punta S. Antonio (begun 1334), and the island of S. confina tion / de Molendini Pis e Pesinie et Gradate da Parte ».
Cristoforo (begun 1332). According to the ex libris , the volume comes from the
B. Cecchetti, La vita dei veneziani nel Trecento , part v, library of Giacomo Contarini; according to the cataloguers
« Archivio Veneto », XXIX, 1885, 23 ff., thought it self- of the Marciana manuscripts, it comes from the collection
contradictory that the plan should date from the twelfth of Girolamo Ascanio Molin (G. Mazzatinti, Inventari dei
century and yet show a foundation of the fourteenth century. manoscritti delle biblioteche d'Italia , LXXVIII: Venezia-Mar-
But if one assumes, as did Temanza, that a few contemporary ciana, manoscritti italiani, Cl. VI, Florence, 1950, 64).
landmarks were interpolated by the fourteenth-century copyist i22) A third version of the plan is pasted on f. 2 of the
into his reproduction of a twelfth-century plan, there is no Marciana miscellany: 222x296 mm.; brush and brown ink on
contradiction. Thus, I accept Temanza's argument, as do parchment, laid down. Like the inscribed plan, it shows the
Molmenti, {op. cit., I, 37), E. Miozzi Venezia nei secoli-, fourteenth-century Punta S. Marta and Punta S. Antonio.
la città, Venice, 1957, I, 118 ff.) and E. Trincanato, Venezia Fewer canals are indicated, and they follow different courses
nella storia urbana , « Urbanistica », 52, 1968, 24. from those of either the inscribed plan or the Chronologia
A plan of modem Venice, with the Chronologia magna magna plan, which suggests this third plan is not a copy
plan superimposed, is published by Trincanato, op. cit.. pl. I. of one or the other, but an independent copy from a common
(21) The plan is the first in a miscellany of Piante di source.

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JuERGEN SCHULZ - THE PRINTED PLANS AND PANORAMIC VIEWS OF VENICE 17
from the lagoon. The core of the city is as

bird's eye view plans of the sixteenth century,
elongates the East-West axis of the city (").except that it is more densely settled
before,
Sabbadino's manuscript plan of ca. than1550
seems to have been the case three hundred
elongates the North-South axis and smooths years before.
the shore lines into continuous curves and Jacopo's plan can be described only in su-
perlatives. It is the largest and most detailed
straight lines (24). The printed plan of 1627
(Cat. No. 107), the earliest in orthographic
of all the plans issued before the modern day.
It was the most influential, both for the
projection, avoids errors of proportion, but
shows fourteenth-, fifteenth-, and sixteenth-cartography of Venice and for the development
century extensions of the city missing on ourof urban cartography generally. It is the only
parchment plans i25). The parchment plans one of all our plans that can be fairly ranked
resemble one another so closely, and are so as a major work of art.
unlike all other known representations of the Its vast size and astonishing wealth of
detail suggest that it was not the first of its
city, that they must reflect fairly closely the
lost original that was their source. kind, but rather was a refinement of an
The appearance of Venice at the opening existing type of representation. In fact, the
of the twelfth century as seen in these plansbird's eye view plan can be traced back all the
agrees with the previously sketched picture way
of to classical antiquity. Bird's eye view
the city's growth. The broad area of the cityrepresentations of cities appear on ancient
coins, reliefs, and mosaics, and very probably
by this time was settled, more or less densely,
and it grew after this date by extendingwere also used to indicate settlements on
existing points of land or waterfronts. ancient maps. The ancient representations,
however, seem very often to have made use
The city differs relatively little, as a matter
of fact, from the shape it had assumed in the of multiple projections, showing the geography
first printed plan, the famous woodcut plan in of ground plan and buildings in bird's eye
view (M). In the Middle Ages the ancient
1500 attributed to Jacopo de' Barbari (Cat.
Nos. 1-4). New land is visible there in the
formula was simplified formally into a more
North-west, in the areas of S. Giobbe, S. Gi-
planar type of representation. Mediaeval city
rolamo, and S. Alvise. The extension of theplans show the geography in ground plan and
Giudecca has been settled, and the Punta S.buildings in elevation i26*). But beginning in
Marta and Punta S. Antonio have emerged the late Duecento the city plan in bird's eye
(23) G. Marinelli, Saggio di cartografia della regioneM. Levi, Itineraria pieta. Contributo allo studio della Tabula
veneta, Venice (Deputazione Veneta di Storia Patria, Monu- Peutingeriana, Rome (Museo della Civiltà Romana, Studi e
menti storici , Miscellanea , Ser. 4a, I), 1881, no. 126. Materiali
Illus.: , VII), 1967, 33 ff.
Delegazione Italiana della Commissione per l'Esplorazione A numismatic example is the view of Bizone on the
Scientifica del Mediterraneo, La laguna di Venezia, ed. G.
reverse of a coin from that city, minted under Emperor
Magrini, Venice 1933-19 55, I, pl. (2). The collocation of the I (244-249 A.D.; K. Regling, Die antiken Münzen ,
Phillip
plan in the Archivio di Stato is listed in the official catalogue
Berlin, 31929, 73). It is in this context that the projection
as, Savi alle Acque, Disegni Laguna, Rotolo 75, Disegno 128.
survived into the Middle Ages; it appears on papal and
However, the plan is actually kept loose in the Stanza dei
imperial seals (W. Erben, Rombilder auf kaiserlichen und
Procuratori di S. Marco. It measures 980x1853 mm., and is
päpstlichen Siegeln des Mittelalters , Graz/Leipzig/ Vienna,
painted in blue, green, brown, and red washes on parchment.
1931).
(24) Miozzi, op. cit.. 157. (26 8) See the plans of pilgrimage cities, such as Jerusalem
(25) They are the fill between the Punta S. Martaand and Rome (B. Mazar, M. Avi-Yonah, et al., Jerusalem. The
Punta S. Chiara on the West (which postdates the plan Sagaof
of the Holy City, Jerusalem^ 1954, 59 ff., nos. 1-33;
Jacopo de' Barbari of 1500), the prolongation of the Giudecca
R. Röhricht, Biblioteca geografica Palestinae. Chronologisches
towards the East (begun 1252), and the addition of Verzeichnis
the d. v. 333 bis 1878 verfassten Literatur über das
Fondamenta Nuove towards the North-east (begun 1589). Hl. Land mit dem Versuch einer Kartographie, ed. D. H. K.
Í26) See, for instance, the Flavian relief at Avezzano,
Amiran, Jerusalem, 1963, 598 ff., 736 ff.; and, A. M. Frutaz,
showing a city in the district of Lacus Fucinus withLeits piante di Roma, Rome [Istituto di Studi Romani], 1962).
surrounding territory (K. Lehmann, Die Trajanssäule , Berlin/
Other cities, too, were represented in this fashion. Examples
Leipzig, 1926, 128 ff.), and the early sixth-century mosaic
are the Chronologia magna plan of Venice discussed above,
map of Palestine and its cities, from the floor of theits first
twelfth-century prototype, and the plan of Milan of ca.
church of Madaba (M. Avi-Yonah, The Madaba Mosaic1330 Map, in the Chronicon extravagans of Galvano Fiamma (E.
Jerusalem, 1954). No ancient maps survive in the original,
Verga, Catalogo ragionato della raccolta cartografica e saggio
but it seems reasonable to suppose that the bird's eyestorico
viewsulla cartografia milanese , Milan [Comune di Milano,
Archivio Storico], 1911, 4 ff., illus. oppos. 8).
projection was used generally to represent cities and buildings
on Hellenistic and Roman maps. See the discussion by A. and This type of plan survived into the Renaissance. See

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
Marquis
view projection was revived by Tuscan gothicof Mantua, and his agent in Venice
muralists ( 27 ) . In the fifteenth century were negotiating with Gentile and Giovanni
it came
Bellini for painted views of Cairo, Genoa,
to enjoy a considerable vogue among Interna-
tional-Style miniaturists, and continued toand
Paris, beVenice. The correspondence concern-
ing them shows that the paintings were to be
used by Italian muralists. But now an important
on wood, and that the view of Cairo was to
modification was made, in that the perspectivai
projection was applied uniformly be
to copied
both from a print. Giovanni Bellini
buildings and geography (Fig. 4) i28).excused
By thehimself from executing the view of
last quarter of the fifteenth century,Paris
in on the basis that he had never seen the
this
modified form, the bird's eye view plan had more interestingly, Gentile confessed
city. Even
become the subject of independent easeltopaint-
owning a drawing of Venice by his father,
ings and prints. At least one panel Jacopo
and oneBellini (died 1470), which he first
woodcut with a homogeneous bird's eye offered
viewto give and then lent to the Marquis
during the course of these negotiations. The
representation of a city and its surroundings
stÜl survive from that period, and we havewere perhaps intended for the now-
paintings
record of several more. The chief centres of destroyed pleasure palace at Marmirolo, where
production seem to have been Venice and a certain suite of rooms went under the name
Florence. of the camere della città in old inventories ( 29 ) .
For Venice we have only written notices, We cannot be certain that these representations
and they do not speak explicitly of bird's eye were bird's eye views, but there is a consid-
views. In 1493 and 1497, Francesco Gonzaga, erable probability that they were. A mediaeval
Pellegrino Prisciano's plan of Ferrara, of ca. 1498, in his uncovered in a recent restoration, see, D. Redig de Campos,
manuscript history of the city (F. Borgatti, La pianta diI Palazzi Vaticani , Bologna [ Roma Cristiana , XVIII], 1967,
Ferrara nel 1597, « Atti e memorie della Deputazione Ferra-II y fig. 36).
rese di Storia Patria», VII, 1895, i, 12 ff.). There are also fifteenth-century miniatures which in
(27) It appears in Cimabue's representation of Rome, of antique fashion combine orthographic geography with bird's
ca. 1290, in the Upper Church of Assisi, in an unknown eye view topography. The finest are the appended city views
artist's representation of Florence, of 1352, in the Loggia (which include Venice) in three Florentine manuscripts of
del Bigallo at Florence, and in Taddeo di Bartolo's view of Ptolemy's Cosmographia , illuminated by Pietro del Massaio
Rome, of 1414, in the Palazzo Pubblico at Siena (Frutaz, between 1469 and ca. 1480 (H. O.[=Om0nt], La Géographie
op. cit. y I, 113, 125, II, pls. 141, 149, and G. Boffito andde Ptolémée . . . Réproduction réduite ... du manuscrit latin
A. Mori, Le piante e vedute di Firenze , Florence, 1926, pl. II).4802 de la Bibliothèque Nationale , Paris, n.d.[1926], and
The foregoing account of the bird's eye view projectionR. Almagià, Monumenta cartographica vaticana , I: Planisferi,
is largely my own. A full history of it and the city plan incarte nautiche, e affini dal sec. XIV al XVII , Vatican City,
general has never been written, and the only treatment to1944, 99 ff., nos. iii-A/B). The manuscript plans of Venice
date remains a short article by E. Oberhummer, Der Stadt-of ca. 1500 and ca. 1550 cited above make the same
plan: seine Entwicklung und geographische Bedeutung , combination (see n. 23, 24 above).
« Verhandlungen des XVI. deutschen Geographentages zu (29) A. Luzio, Disegni topografici e pitture dei Bellini,
Nürnberg », Berlin, 1907, 66 ff. « Archivio storico dell'arte », I, 1888, 276 ff. The views are
(M) The reproduction shows a fanciful view of Venice called ritratti , i.e. portraits of cities. That Jacopo's view of
of ca. 1400, by « Johannes », on the title page of a FrenchVenice was a drawing may be inferred from the fact that
translation of Marco Polo's Milione , now at Oxford (F. MadanGentile considered it necessary « tocarlo con penna . . . perchè
and H. H. E. Craster, A Summary Catalogue of Western l'è antiquo in modo eh '1 non si può affigurare ». To console
Manuscripts in the Bodleian Library at Oxford . . . not the Marquis for the delay, Gentile gave him meanwhile, « il
hitherto catalogued in the Quarto Series , Oxford, 1922, II,retracto de S.to Marcho, cum tutta la piaza et pallazo de
i, 381, no. 2464; M. Rickert, Fainting in Britain : the Middle Venetia ». This may have been a drawing for or after Gentile's
Ages y Harmondsworth, 1954, 180 ff.). Other miniatures of well-known painting of The Procession of St. Mark's Day in
homogeneous bird's eye views are the representation of Rome,Piazza S. Marco in the Accademia at Venice.
of 1413-1416, by the Limburg brothers in the Très Riches Gentile is also supposed to have drawn a view of Venice
Heures of the Duke of Berry, at Chantilly, and the severalfor Sultan Mohammed II during his visit to Constantinople
city views in the Paris Dittamondo by Fazio degli Uberti, of 1479-1480: « Volse [il Sultano] che gli facesse [Gentile]
of 1447 (Frutaz, op. cit.t I, 123 ff., 129 ff., II, pls. 148, 151). Venetia in disegno, et retraesse molte persone, si ch'era grato
A homogeneous bird's eye view of Rome (standing foral Signore » (G. M. Angiolello, Historia tur eh esca, as quoted
Jerusalem) was frescoed before 1435 by Masolino in the by L. Thuasne, Gentile Bellini et Sultan Mohammed II ,
Baptistery of Castiglione d'Olona (Frutaz, op. cit ., I, 128 ff., Paris, 1888, 67). Jacopo's drawing may have served Gentile
II, pl. 152), and what were seemingly homogeneous bird's as a model for this particular view.
eye views of numerous cities were frescoed by Pinturicchio City views continued to be made at Venice in the early
between 1484 and 1487 in several rooms of the Villa Belve- sixteenth century. Thus, in 1511, Vittore Carpaccio offered
dere of the Vatican (J. Schulz, Pinturicchio and the Revival to the same Francesco Gonzaga a monochrome representation
of Antiquity , « Journal of the Warburg and Courtauld Isti- of Jerusalem, in size colors on linen, measuring fully by
tutes », XXV, 1962, 36 ff.; the appearance of these frescoes 25 Venetian feet (P. Molmenti, Carpaccio, son temps et son
can be reconstructed from the pitiful scraps that have been oeuvre y Venice, 1903, 69, n. 1).

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
sei fogli reali » has been identified, and that,

type of plan would have been an implausible
subject for a panel painting at this time.
unfortunately, was destroyed in World War II
With respect to Florence, on the(Fig. 5) ( ). However, the whole of this
other
hand, we are on quite firm ground. The city plan is known from two early copies:
particular
seems to have been an important centre the well-known
for woodcut plan of Florence
the production of bird's eye view plansframed
chiefly by a chain, of which a sole exemplar
survives
through the activity of the cartographer and at Berlin (Fig. 6), and a tempera
print maker, Francesco Rosselli, the painting
younger in an English private collection. The
brother of Cosimo Rosselli í30). His large seems to be an exact copy by a fairly
woodcut
production of cartographic prints isplodding
known artist, that allows one to date Ros-
from the inventory of wood blocks and selli's
metal original to 1482 or just before (M). The
plates in the possession of his son and heir, which is the only painted view of the
painting,
Alessandro, at the latter's death in 1525
epoch(31).
to survive, introduces certain revisions
in Rosselli's
They included the plates for sixteen maps, and topography that are dateable to
the blocks and plates for four city plans,
the each
period 1489-1495 ( 34 ) . Together, the copies
in several sections. The largest was a « roma in
show that Rosselli's plan was a bird's eye view,
tre pezi in 12 fogli reali ». Many of Rosselli's
taken from an imaginary vantage point some-
maps are known, but of his city plans, only
where between Monte Oliveto and Bellosguar-
the sixth part of his engraving of « firen2e
do, anddirepresenting the entire city and a large
Í30) Considerable material concerning RosselliDie hasaltebeen

Ansicht von Florenz , « Jahrbuch d. preuszischen
published in the literature of art, print makingKunstsammlungen and carto- », XXXV, 1914, 90 ff.; A. M. Hind, op. cit.,
graphy, but it has never been assembled in one place. I, 145 ff.Fran-
cesco Rosselli was born 1447 or 1448 (A. Lorenzoni, Cosimo Of Rosselli's maps, eleven have been identified to date
Rosselli, pittore fiorentino , Florence, 1921, 59, by 63). He was
historians of cartography, of which only one is known
apparently trained as a miniaturist, for he is first to heard
art historians,
of namely the London planisphere of 1506;
as such, working with Liberale da Verona on antiphonaries Hind, op. cit., I, 297 ff. For the others, see R. Almagià,
for Siena Cathedral (G. Milanesi, Documenti perOn lathe
storia
cartographic work of Francesco Rosselli, « Imago Mun-
dell'arte senese , Siena, 1854, II, 384). As such he travelled di », VIII, 1951,
to 27 ff., with bibliography. The following
Hungary in 1476, to work for Matthias Corvinus, titles should be added: F. Banfi [= L. Holik-Barabàs],
and stayed
past 1480, practising cartography as well (F. Banfi Gli albori[= L.della cartografia in Ungheria : F. Rosselli alla corte
Holik-Barabàs], F. Rosselli térképész Mâty ás király udvarà-
di Mattia Corvino , « Biblioteca dell'Accademia d'Ungheria in
ban , « Térképészeti Közlöny», VI, 1940, 91 ff.; Roma», Lorenzoni, N. S. VI, 1947; idem, F. Rosselli's map of the
op. cit. y 64). In 1482 he was back at Florence and Balkaninvested
Peninsula , « Imago Mundi », XI, 1954, 24 ff.; and,
money in land at Ripoli (A. Gotti, Ricordanze della Union Nobil Géographique International, Commission pour la Bi-
Famiglia Rosselli Dei-Turco , Florence, 1890, 76). Other bliographie des Cartes Anciennes, Rapport , fase. II: Catalogue
purchases of land followed in 1494 and 1495, and he was des cartes gravées au XVe siècle , by M. Destombes, Paris,
still at Florence in 1498 (Lorenzoni, op. cit., 66, 67). By 1952, 88 ff. See also n. 30 above.
1505 he was at Venice (G. Uzielli, La vita e i tempi di (33) 585x1315 mm.; H. Brockhaus, Die grosse alte
Paolo dal Pozzo Toscanelli , Rome, 1894, 526). He may have Ansicht von Florenz, ub. sup., 53 ff. It is illustrated in
been again or still there in 1506; in any case, the Londonentirety by F. Lippmann, The Art of Wood Engraving in
planisphere of 1506 is signed, « francisci Roseli j florentin! », Italy in the Fifteenth Century, London, 1888, 30. Normally it
suggesting he was not at Florence (see n. 32 below). He was is attributed to the Florentine woodcutter, Lucantonio degli
still or again at Venice in 1508 (L. Pacioli, Euclidis mega- Uberti, who is recorded at Verona in 1503-1504, and at
rensis philosophi acutissimi mathematicorumque omnium sine Venice from 1516 to 1520. He probably returned to Florence
controversia princeps opera, Venice, 1509, 31). His date of after that. See, A. M. Hind, An Introduction to a History
death is unknown (U. Thieme and F. Becker, Allgemeines of Woodcut, London, 1935, II, 452 ff., and F. Mauroner,
Lexikon der bildenden Künstler , Leipzig, 1907-1950, XXIX, Le incisioni di Tiziano, Venice, 1941, 29. Whether he pro-
37, lists the date of death as before 1513, but gives no duced the copy at Florence or in northern Italy is moot.
reason). The woodcut was attributed to Jacopo de' Barbari by
This biography corrects that of H. Brockhaus, Die G. Boffito, Intorno alla più antica veduta di Firenze e al
grosse alte Ansicht von Florenz . . ., « Mitteilungen des kunst- suo autore , « Atti del Vili Congresso Geografico Italiano »,
historischen Institutes in Florenz», I, 1908-1911, 63 ff., Florence, 1921, II, 245 ff. He has been followed by some
which is the basis of all other biographical accounts of the historians of cartography, e.g. Almagià, loc. cit., and S.
artist in the art-historical literature. Crinó, I planisferi di F. Rosselli . . « La Bibliofilia », XLI,
(31) The inventory has been published several times; the 1939, 386, n. 2. But the attribution is clearly mistaken: the
best publication is that of A. M. Hind, Early Italian Engra- woodcut of Florence manifests nothing of Jacopo de' Barbari's
ving, London/New York, 1938-1948, I, 304 ff. Cf. also, H. style.
Brockhaus, Ein altflorentinischer Kunstverlag , « Mitteilungen For the date of Rosselli's original plan, see K. E. Busse,
des kunsthistorischen Institutes in Florenz », I, 1908-1911, Die ältesten Städteansichten von Florenz, « Jahrbuch d.
97 ff. preuszischen Kunstsammlungen», LI, 1930, 120 ff., and L.
(32) The surviving portion (the upper left-hand sheet of D. Ettlinger, A fifteenth-century View of Florence, « Bur-
a set of six) measured 290x440 mm.; the entire plan lington Magazine», XCIV, 1952, 160 ff.
therefore measured approx. 580x1340 mm. See, C. Hülsen, (3 ) Ettlinger, loc. cit.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
part of the fields and hills beyond it, inLiketheRosselli, Jacopo takes a higher viewpoint
direction of Fiesole and Settignano. for the city itself than for the background
We can also form an idea of Rosselli's landscape, to allow a better separation of its
topographical features. However, his fore-
« roma ... in 12 fogli reali ». It was probably
the basis of the large painted view of Rome shortening of the distant plain and the archi-
at Mantua (35). This too is a bird's eye view,
pelago of Torcello is more complete and expert
than Rosselli's foreshortening of the fields and
taken before 1490, and showing the entire city
from a vantage point near Monte Pincio that
hills behind Florence and Rome, just as every-
embraces the countryside from the Via Appiawhere Jacopo's drawing is of a far higher
to the Vatican. quality than that of his older colleague. The
effect in this case is that of both a greater
The sole printed view of the late fifteenth
century that actually survives in an original
sensation of distance, and a greater dichotomy
between fore- and background of the plan.
impression, is a bird's eye view plan of Ferrara,
dated 1499. It is very much inferior to Rossel- Jacopo's topography furthermore is infi-
nitely more exact than Rosselli's. The latter
li's views in design, and to his known woodcuts
in technique. Very likely, it was inspired shows
by streets at the outskirts of the city, but
the more sophisticated productions of oneloses of them progressively as he penetrates into
the metropoli, Venice or Florence i36). the densely built up centre, producing in many
places a jumble of houses that seems to have
It is a moot point, whether Jacopo's great
no order at all. Jacopo on the other hand
plan of 1500 was inspired by the local Venetian
tradition of painted views - no examplesmethodically
of and clearly represents every calle,
campo, and corte that the eye can expect to
which survive - or by the Florentine tradition
of view engraving. Very possibly he may have see from the chosen vantage point. Rosselli's
known both. Francesco Rosselli is recorded atplans describe major monuments, but indicate
Venice in 1505, 1508, and possibly 1506. He the fabric of the city by repeated, block-like
may have been there also before the turn of houses that are no more than conventional
the century, i.e. before the publicationsymbols.
of Jacopo characterizes every structure
Jacopo's plan. Even if the two artists never with astonishing precision. In fact, with the
exception of Tempesta's plan of Rome of
met, prints circulated with sufficient rapidity
1593 (37), no other city plan of the Renaissance
in Renaissance Italy, to make it entirely likely
that Jacopo had seen one or another of Ros- no other plan of Venice of the whole of
and
selli's engraved city plans. the period under review, reproduces such a
wealth of exact detail.
Jacopo's plan resembles the two known
plans of Rosselli in its comprehensiveness - itAround the perimeter of the plan appear
takes in the whole of the city as well the as eight major compass points, labelled with
portions of the surroundings - its great sizenames they bear in the Vitruvian wind rose,
the
and each wind personified by a head (38). The
and its use of the bird's eye view projection.
(3S) 1180x2230 mm., which is probably close to the size correctly: Circius (for Circias) beside Corns (West-north-
of Rosselli's print; A. M. Frutaz, Le piante di Romay ub. west), Fulturnus (for Vulturnus) beside Aquilo (for North-
sup., I, 151 ff., II, pls. 167 ff. north-east, but it should be East-south-east), Eurauster
(36) Modena, Archivio di Stato (formerly); G. Agnelli, (a coinage for East-south-east), and Auster Africus (a coinage
I monumenti di Nicolò III e Bor so d'Esté , « Atti e memorie for South-south-west). The initials beside each name are
della Deputazione ferrarese di storia patria », XXIII, 1919, 19. those of the Italian proper names for the winds: T (Tra-
It is reproduced also by B. Zevi, Biagio Rossetti architetto montana), G (Greco), L (Levante), S (Scirocco), O (Ostro),
A (Africo), P (Ponente), and M (Maestro).
ferrarese , Turin ( Collana storica d'architettura, IV), 1960, 215,
fig. 188. What may be a different state, owned by the The Vitruvian names of the winds appear already in
Biblioteca Estense of Modena, is seemingly described byfifteenth-century
F. planispheres. See for instance those in the
Bonasera, Forma veteris urbis Ferrariae, Florence, 1965, 75, Cosmographia of Ptolemy, published 1477 in Bologna (D.
No. 43, but this may be a confusion. de Lapis), and in the Geographia of Francesco Berlin-
(37) Frutaz, op. cit., I, 192 ff., II, pls. 262 ff. ghieri (Florence, N. Laurentii, Alamanus, bef. Sept. 1482);
H Vitruvius, De architectura, I, vi, 4-10. They are: A. M. Hind, Early Italian Engraving, ub. sup., I, 292 ff..
Septrentio (North), Aquilo (North-east), Solanus (East), 296 ff.
Eurus (South-east), Auster (South), Africus (South-west), The personification of the winds by human heads was
Favonius (West), and Corns (North-west). The names ofadvised by Alberti for representations of wind-blown drapery;
minor winds are added in four cases, although not always L. B. Alberti, Della pittura , ed. L. Mallé, Florence, 1950, 98.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
motive is absent in Rosselli's two known plans,

the topography of the city was entered on the
and is a key to an understanding of the foreshortened
prepara- plan. Presumably the plan was
tion that underlay Jacopo's own. divided into sections. Climbing again to the
In the application of October 1500tops
for of
a a series of observation posts, one or
privilege, Anton Kolb, Jacopo's publisher,
more sections of the plan in hand, the individ-
recounts the difficulties that were conquered
ual buildings that were visible at the approxi-
mate
in making the plan and the length of time angle called for by the bird's eye view
that
had been required (three years) (39). projection
But he of the plan were drawn in free-hand
does not mention the actual method byforeshortening
which on their appropriate sections of
the data it incorporates were acquired and (42). It seems unlikely that all these
the plan
organized. The indication of the major steps
compass
were executed entirely by one man, even
points around the plan suggests that the three years for the work. The initial
allowing
instrument used was the compass survey
C0). Itswas probably done by professional
employment in map making had begun in
surveyors. The topographical detail, on the
Germany only a few years before. Thereother
survive
hand, which is all of a piece in its drawing
woodcut maps of 1492 and shortly after bywas
style, a probably the work of a single man,
compass-dial maker of Nuremberg, Erhard Jacopo himself.
In Venice, the laborious process followed
Etzlaub, that are clearly constructed on compass
fixes (4I). Kolb, who came from Nuremberg,
by Jacopo and Anton Kolb was not repeated
may have brought knowledge of the technique
for two centuries. Although the names of four
with him. or more winds appear on the plans of several
We may suppose that, working from later
many cartographers (43), their plans are not
based
observation posts, such as roof tops and cam-on new surveys. They are copies of
panili , the geographical contours of Jacopo's
the cityimage of the city, corrected or brought
up to
and the situation of important landmarks anddate here and there by the insertion of
new
waterways, were established by multiple topographical detail. But the method of
com-
the plan of 1500 was imitated outside Venice.
pass fixes. As a second step, the orthographic
Leonardo Bufalini's great plan of Rome of 1551
map that had been thus obtained was foreshort-
ened to a single vanishing point, lying some-
seems to be based on a proper survey, judging
where above the lagoon, left of centre, by near
its accuracy (M). Like Jacopo, Bufalini
where the figure of Mercury appearsindicated
in the the directions of the compass around
the
print. There followed a third step, during margins of the plan, representing each
which
(39) The privilege was first published by E. A. pour la Bibliographie des Cartes Anciennes, Rapport , II:
Cicogna,
Delle inscrizioni veneziane , Venice, 1824-1853, IV, 647, and
Catalogue des cartes gravées au XVe siècley by M. Destombes,
Paris, 1952,
has been reprinted several times, last by G. Mazzariol andresp. nos. 55 and 54-1/3. For the importance of
T. Pignatti, La pianta prospettica di Venezia del Etzlaub's maps in the history of cartography, see C. Singer
1500 dise-
gnata da Jacopo de' Barbari , Venice (Cassa di Risparmio),
(editor), A History of Technology, Oxford, 1956-1958, III,
1963. 9. 534 ff.
Í40) Thus Pignatti, op. cit., 10. The text of Pignatti's (42) A similar procedure is postulated by Pignatti, op.
authoritative treatment of die plan has been reprinted, « Bol-cit. y and P. J. Karlstrom, Venice Panorama : an Exhibition
lettino dei Musei Civici Veneziani », IX, 1964, 10 ff. of Views of Venice y Los Angeles (University of California,
Winds were represented on fifteenth-century planispheres Grunwald Graphic Arts Foundation), 1969, 14. Karlstrom
(see n. 38 above), which certainly were not based on compass furthermore suggests that as a result of the numerous changes
observations. But they are not known to have appeared on of viewpoints, from which the topography was drawn, one
can see systematic changes of projection in the drawing, i.e.
earlier city plans, and Pignatti's observation seems well taken.
If one connects the eight winds of Jacopo's plan with ruledone can see that buildings in the immediate proximity of a
lines through a common centre, there results an accurately tower are drawn from directly above, whilst those at a greater
foreshortened wind rose. The compass points, thus, are not distance are seen more en face. I have not been able to
casually indicated, but precisely located at their proper places.
detect these changes myself.
(41) They are a map of Nuremberg, 1492, and an undated (43) The personified winds appear again on the plans
map of ca. 1492-1500, charting pilgrimage routes from Germany of Vavassore (Cat. No. 5), Master I C A- (Cat. No. 36), and
to Rome. The latter shows a compass at the bottom and Pagan (Cat. Nos. 34, 37). Other plan makers simply printed
the names.
instructs the traveller to lay his own compass upon it in order
to orient the map; W. L. Schreiber, Handbuch der Holz- und (") Frutaz, Piante di Roma , ub. sup., I, 168, II,
pls. 189 ff.
Metallschnitte des XV. Jahrhunderts , Leipzig, 21926-1930, IV,
no. 1951 m; Union Géographique Internationale, Commission

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
is not topographically accurate in as much as

wind of the Vitruvian wind rose in its proper
Venice lies athwart a kidney-shaped body of
place by the drawing of a head (4S). It seems
likely that not only the motive but alsowater,
the not in the middle of a circular one. It
surveying technique it implies were suggested also involves an error of orientation. The
to Bufalini by the plan of 1500. representation of Chioggia (which is a replica
Venetian plans published during theinre- miniature of the larger representation of the
mainder of the sixteenth century divide town,
into two pages further on in the book) is
two formats, both inspired by Jacopo'sreversed plan. mirror-wise. Yet, Bordone's composi-
One group is of folio si2e or larger. Thesetion plans
was taken over by almost every other carto-
were printed for sale as single sheets. The of the sixteeenth century and became
grapher
others are quarto size or smaller and appear part of the standard image of Venice (47).
as illustrations in books and small atlases. Of The composition is the basis of the quarto-
the two groups, the latter is less interesting size plan appearing over and over again in a
for its cartographic value, but is challenging for long series of city adases and geographical
the philological problems it presents. It is more compendia that begins in the 1550's with the
convenient to deal with it first. Pourtraitz des villes plus illustres of Guillaume
The earliest of these small plans is the Gueroult and the Cosmographia of Sebastian
woodcut illustration in Benedetto Bordone's Münster (resp. Cat. Nos. 8 and 11-12), and
continues into the seventeenth century with
Isolano, compiled in the early 1520's and first
the books of Pietro Bertelli and Francesco Va-
published in 1528 (Cat. No. 6). It is a fine
legio (resp. Cat. Nos. 31 and 29).
woodcut, executed probably from a drawing by
Bordone himself. He was trained as a minia- The source of this plan is a problem that
merits attention. The earliest version of it in
turist and is recorded in 1508 as the designer
of a map of Italy and a globe, neither of which,terms of a publication date is the woodcut
illustration in the German and Latin editions
however, are known to survive ( 46 ) . The illus-
trations of his Isolario are for the most part of 1550 of Münster's Cosmographia. The
based on the work of others. In the case of quality of Münster's print, however, is vastly
his plan of Venice, the bird's eye view projec- inferior to that published two years later in
tion recalls Jacopo de' Barbari's plan, and somethe Pourtraitz of Gueroult. The latter bears a
of the topographical features seem to beprivilege dated 5th December, 1550. The
simplifications of the latter's. But Bordone'spriority of Münster's plan may therefore be
illusory. In fact, at least, one other plan in
composition is radically different from that of
Münster's book was copied from a plan
his predecessor. Where Jacopo showed above
appearing in Gueroult's Pourtraitz , that of
the city the plain of the terraferma and a chain
of distant mountains, Bordone reproduced no Paris ("). We must assume that Gueroult's
more than a corner of the mainland and material, collected over a period of years at
introduced instead a conventionalized repre- Lyon, became known to Münster's Basel printer
sentation of the islands of the littoral. As a before it was actually published.
result, the city is shown completely ringed by The question of priority apart, the Münster-
land: from 6 o'clock to 1 o'clock by terraferma, Gueroult plan is puzzling because it seems
and elsewhere by the littoral. The composition more closely linked to the work of Venetian
(45) Bufalini represents all twenty-four winds of theBordone's illustrations, which are derived from the earlier
Vitruvian wind rose. Later makers of plans of Rome, beginning Isolario of Bartolomeo da li Soneti, are constructed out of
with Pirro Ligorio in 1552, only name the winds, and list a series of arcuated outlines which were a long-standing
no more than four. convention for shorelines in portolan cartography. The plan
Í46) See, R. Almagià, Intorno alle carte . . . annesse of Venice, on the other hand, is drawn with a flowing
all'Isolarlo di B. Bordone, « Maso Finiguerra », II, 1937, free-hand stroke that suggests it was invented right on the
172 ff. page.
(47) That the invention is truly Bordone's own may be (48) V. Dufour, Note sur un ancien plan de Paris . . .,
seen by comparing the summary sketch of the plan in the « Bulletin de la Société de l'Histoire de Paris et de l'Ile-de-
autograph manuscript of the Isolario (Florence, Biblioteca France», IX, 1882, 45 ff.
Nazionale, MS Magi. XIII-52, f. 31 v.). The majority of

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
cartographers than that of Northern Europeans. books, guides, and other compilations published
It combines features of Bordone's illustration throughout Europe in the seventeenth and
(the composition), Jacopo de' Barbari's plan eighteenth centuries.
(e.g. the images of the Palazzo Ducale and The larger, singly issued plans continue
Torre dell'Orologio), and the as yet unmen- after Jacopo de' Barbari's opus princeps with
tioned plan of Andrea Vavassore ( e.g. the Pro- the plan of Andrea Vavassore (Cat. No. 5 ) . Its
curatie Vecchie and Arsenal; cf. Cat. No. 5 ) . It composition, projection and general topography
adds new elements that were to appear reg- are plainly imitated from the plan of 1500.
ularly thereafter in almost all the small and But Vavassore's technique as a woodcutter is
large plans issued at Venice ( e.g. the image of far coarser than that of the cutters employed
the new Fondaco de' Tedeschi, and the curious by Kolb. Furthermore, all forms have been
detail of a gallows in the lagoon, near Mar- drastically simplified in the process of reduction
ghera ) . Perhaps there existed a plan produced of Jacopo's composition to less than a quarter
at Venice that has remained unknown so far, of its original size.
and that was the common prototype of Gue- There has been no attempt to copy faith-
roult and the later Venetian cartographers. In fully the individual houses in residential areas.
support of this hypothesis, there is the garbling They are stylized into block-like shapes that
of several of the place names in the legend lie every which way and have no topographical
printed on the verso of Gueroult's plan, as if accuracy whatever. Also the topography of the
the French printers were working from an Giudecca has been altered, by simplifying the
Italian text that they were able to comprehend shapes of garden plots and villas, and intro-
only imperfectly (49). ducing arbors and other decorative details. The
The quarto atlases published at Venice by plan would have litde interest for us were it
Paolo Furlani and Bolognino Zaltieri ( 1567- not for the fact that important new buildings
1569, Cat. No. 18), Ferrando and Donato and alterations, post-dating the plan of Jacopo
Bertelli (1568, 1569-1574, and 1578, resp. de' Barbari, have been recorded by Vavassore.
Cat. Nos. 20, 21, and 26), Francesco Valegio In chronological order, they are: the monastery
(ca. 1600, Cat. No. 29), and Pietro Bertelli of S. Sepolcro (begun 1500) i50); the campa-
(1599, Cat. No. 31), all reproduce the same nile of S. Maria dell'Orto ( finished 1503 ) ( 51 ) ;
basic type of plan with more or less compres- the Ponte S. Giobbe (1503) (52); the en-
sion and simplification. It is impossible, and larged Torre dell'Orologio (additions finished
for our purposes of no interest, to sort out the 1506) (53); the new Fondaco dei Tedeschi
chronological order and the nature of the ( 1505-1508 ) (M) ; the enlarged Ospedale della
interdependence of these various publications. Pietà (1515) (5S) ; the new church of the Ge-
The plans are too small and coarse to have suati (consecrated 1524) (M); the Palazzo dei
any significance as topographical documents. Camerlenghi (dated 1525 on the façade); the
But it should be noted that the image of the Ospedale degli Incurabili (1523-1531) (");
Serenissima disseminated by these collections S. Giuseppe di Castello (1512-1531 + ) (M);
became the standard image of Venice in travel the new Procuratie Vecchie (completed by
(49) Compared with the legend to which it is closest, (51) V. Zanetti, La chiesa della Madonna dell'Orto,
that appearing on the plan in Donato Bertelli's, Vere imagi- Venice, 1870, 104 ff.
ni et descritioni delle più nobilli città del mondo, Venice, (52) E. A. Cicogna, Delle inscrizioni veneziane , Venice,
1569 (Cat. No. 21), Gueroult's legend contains the following 1824-1853, VI, 712.
errors: F S. Lamentio (Bertelli: S. Lorenzo), P Celeste (La (5) P. Paoletti, L'architettura e la scultura del Rinasci-
Celestia), R. S. Clamei (S. Clemente), DD Chia Castelli (Due mento a Venezia . Venice. 1893. II. 237.
Castelli), EE Croso chieri (Crosechieri), HH Falonixe (Santo (54) H. Simons Feld, Der Fondaco dei Tedeschi in Ve-
Alvise), PP Fontego de Tudeschi (Fontego dei Tedeschi), nedig , Stuttgart, 1887, II. 107 ff.
KKK S. Zorzi da lega (S. Zorzi dalega), NNN Pelistrina (Pe- (5S) F. Corner, Ecclesiae venetae antiquis monumentisi
lestrina), SSS Malamocha (Malamocco), EEEE S. Iuliano (S. Venice, 1749, VIII, 77.
luština), and FFFF Morgere (Marghera). (56) Corner, op. cit., V, 223.
í50) G. Tassini, Iscrizioni dell'ex Chiesa e Monastero (57) Cicogna, op. cit., V, 301.
del S. Sepolcro, « Archivio veneto », XVII, 1879, 274 ff. The (58) Corner, op. cit., IV, 276 ff.
new church of 1537 does not appear.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
di S.of
1532) (59); the completed dormitory Rocco
S. (roofed 1525, completed after
Giorgio Maggiore (roofed 1533) (M) ;1535) (M); the church of the Capuchins
and the
(begun
new church of S. Spirito (begun 1533) 1532) (65) ; S. Giorgio dei Greci
(61).
On the basis of these observations we can (1536-1548) C*); the extension of the
reject the traditional dating of the plan to ca.grounds of the Arsenal behind S. Maria del-
1517. Vavassore recorded changes in the city'sla Celestia ( 1539) (67); the Zecca (1537-
fabric that lead up to but do not go beyond 1545) (M); the façade of the monastery of S.
the mid 1530 's ("). The date therefore is Antonio di Castello (1546) (m); and the Li-
ca. 1535. breria di S. Marco (the first portion, 1537-
A quarter of a century passed before 1554)
anoth-C°).
er large plan of Venice appeared. This wasThe thesuccess of this plan must have been
plan published in 1559 by Matteo Pagan considerable,
(Cat. for it led Pagan to publish soon
afterwards
No. 34 ) . In size it bears comparison with Jaco- a small plan (Cat. No. 37 ), and the
po de' Barbari's plan, measuring 77x165 largecm.
one itself was reprinted in 1567 (not by
as against 135x281, but the composition is
Pagan himself, but by his successors, Fran-
cesco
taken from the earliest of the quarto-size di Tommaso da Salò and Co.; Cat. No.
plans,
by Bordone and Gueroult (Cat. Nos. 6,Pagan's
35). 8), small plan, which can be dated
and the detail is observed from the latter
to and
the years 1559 - ca. 1562, is not a simple
from Vavassore's plan (Cat. No. 5). Like of its larger predecessor. The compo-
reduction
Bordone, Pagan shows the city surrounded
sition by
is similar, in so far as it, like the large
terraferma and an arc of islands, andplan,
he also
uses the scheme of the quarto-size plans.
The such
reproduces details that originate with him, extension of the Arsenal behind S. Maria
della and
as the inverted representation of Chioggia, Celestia and the Lazzaretto Vecchio are
represented
the motive of two sea jetties on the Lido. Like identically as in the plan of 1559.
A
Gueroult, he shows a gallows in the lagoon few details are taken from Vavassore's earlier
near Marghera. Vavassore's plan is thewoodcut:
source the appearance of the Dogana da Mar
for the general appearance of the Arsenal,
and the garden walls of the Giudecca. For the
S. Giorgio Maggiore, and the southmost shore
part, however, the details are new and
of the Giudecca. The details of individual
in a very few cases they even correct the large
buildings, on the other hand, are original
plan of 1559. Thus the church of S. Geminiano
is now shown correctly, facing East, instead
throughout the plan. Pagan reproduces build-
ings erected in the years since Vavassore's
of facing North. The unfinished Libreria is
plan, as well as a few built earlier but placed
not beside, rather than behind the Zecca,
which, although not strictly correct, corre-
included by Vavassore. In chronological order,
they are: the Ospedaletto di S. Maria deisponds
De- more nearly to the true situation of
relitti (begun 1517) (63); the Scuola Grande
the buildings than did the representation of
(") Paoletti, op. cit., II, 278. which have been pasted a map of Italy and Vavassore's plan
(M) Paoletti, op. cit.. II, 256. of Venice. Both prints have been enlarged by drawn additions
(") Corner, op. cit., V, 131. around the edges, and hand colored. The drawing and coloring
(62) He omits the new church of S. Sepolcro, of 1537
are of a piece with those of the manuscript maps on the
(see n. 50) above). Also missing are all the major edifices
preceding leaves. It would seem therefore that the plan was
inserted into the atlas when the latter was made, not after-
by Jacopo Sansovino begun that year: the Loggetta, Libreria
di S. Marco, Zecca, and Palazzo Corner della Cà Grandewards,
(cf., and thus existed already in 1536.
G. Lorenzetti, Itinerario Sansoviniano a Venezia, Venice, (") A. Bosisio, L'Ospedaletto, Venice, 1963, 8.
1929, 50, 53, 66, 74). (M) Paoletti, op. cit., II, 123, 281. M. Brunetti, in
« Rivista di Venezia », VI, 1927, 332 ff.
An outside limit for the date is set by the fact that
the Vatican exemplar is pasted into a manuscript of 1536.(") Corner, op. cit., XI, 3 ff.
It is a nautical atlas from the studio or circle of Battista C) Paoletti, op. cit., II, 253.
Agnese, entitled Tabulae nautice Oceani, and dated on (") M. Nani-Mocenigo, L'Arsenale di Venezia, Rome,
the title page, 1536 PRINCIPIV MARTH (Biblioteca Vati- 1927, 24 ff.
cana, Cod. Barb. 443 1-A; R. AlmagiX, Monumenta carto- (") Lorenzetti, op. cit., 66.
grapbica Vaticana, I: Planisferi, carte nautiche, e affini dal (") Paoletti, op. cit., II, 108.
sec. XIV al XVII, Vatican City, 1944, 63, no. 22). It consists (™) G. Lorenzetti, in « Accademie e Biblioteche d'Ita-
of seven drawn maps and charts and two blank leaves, onto lia », II, 1928/1929, 87 ff.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
the plan of 1559. The differences between

Both Furlani's engraving, and the plans
derived
Pagan's large and small plans are for the most from it, have little documentary value.
part without significance. Both use They are all of the size of a large folio sheet
equally
(Furlani's own measures 37x74 cm.), and the
simplified schemes for houses and churches
which, no matter how much they differ detail
fromof Pagan's plan of 1559 - already
one another, are equally distant from actual
reduced quantitatively in the slightly smaller
appearances. The only noteworthy addition to I • C • A • - has consequently been
copy of Master
the small plan seems to be Sansovino'sdrastically
Palazzo simplified. In Furlani's plan the
Moro a S. Girolamo (1544) (71), now numberde-
of houses everywhere is far fewer than
in Pagan's
stroyed, which is shown in the northwest corner large plan, and the monuments, by
contrast,
of the city where the plan of 1559 showed onlyhave been disproportionately en-
a garden. larged. Also the canals have become larger in
The plan by the otherwise unrecorded proportion to land masses, and are now quite
Master I -C'A-, published by Domenico de' markedly out of scale.
Franceschi in 1565 (Cat. No. 36), is basically Furlani introduced one important innova-
a copy of Pagan's large plan. It is slightly tion, however. He set number and letters
smaller in size, but has the same extremely against various buildings and sites on the plan,
wide format, and reproduces with only slight keyed to a legend printed at the foot of the
modifications the details of major sites and plan, on the same sheet of paper. The legend
monuments as represented by Pagan: e.g. the is divided into categories ( Rii, Contrade, Altre
Arsenal, S. Maria dei Frari, and SS. Giovanni Chiese, Cose Più Notabili, etc.), and was
e Paolo. The chief differences consist in Palazzo
inspired no doubt by similar legends, similarly
Moro a S. Girolamo and S. Geminiano, taken organized, that had appeared on plans of Rome
over from Pagan's small plan, but drawn still published in the years 1555-1561 ("). He
more faithfully than they are in the latter. made use of it again two years later, in the
Sansovino's Loggetta at the base of the Campa- pocket atlas he issued at Venice in 1567 under
nile (1537-1540) (") appears for the first time. the title, Il Primo Libro delle Città et Fortezze
Outside the city's centre, the draughtsman has Principali del Mondo. The adas inspired nu-
taken more liberties, changing the appearance merous imitations (74), in most of which the
of garden plots on the Giudecca and Lido by device of the legend reappears. It became a
the addition of rows of flower beds that look
standard accessory of the larger printed plans
like loaves of bread.
as well, from Braun and Hogenberg in 1572
The copy of Master TC'A- is an important
( Cat. No. 42 ) onwards, most of which repro-
link in the chain of transmission of Pagan's
duce Furlani's categories, numbers, and even
invention to later cartographers. It served as errors of numeration.
the model for the most widely diffused bird's
eye view plan of the sixteenth century, which Furlani's publisher, Zaltieri, was the first
became in turn the basis of all plans of Venice major Venetian publisher to take in hand the
produced at home and abroad during the production of a plan of some size. While Anton
remainder of the century. The plan in question Kolb, Vavassore, Pagan and Domenico de' Fran-
is that engraved by Paolo Furlani in 1565 and ceschi were publishers on a relatively limited
published for several years thereafter by Bolo- scale, judging from the number of prints and
gnino Zaltieri (Cat. Nos. 39-41). The plans books with their imprint that survive today,
which it inspired directly or indirectly number Zaltieri operated a large enterprise that issued
at least seventeen ( Cat. Nos. 42-65 ) . at least twenty books during the period in
(71) G. Tassini, Alcuni palazzi ed antichi edifici di Vene- Licinio, of 1557 (ibid., I, 174, II, pls. 226-227), and Dosio's
zia , Venice, 1879, 168. plan of 1561 ( ibid ., I, 176, II, pl. 229). Licinio's copy was
(72) Lorenzetti, Itinerario Sansoviniano, ub. sup., 50. published at Venice.
(73) They are the plan by Pinard, of 1 555 (Frutaz, Pian- (74) See the atlases described under Cat. Nos. 18, 20, 21,
te di Roma , ub. sup., I, 171, II, pl. 223), a copy of it by 26 and 29 below.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
ria, halfway between Piazza S. Marco and S.

which its imprint is recorded (1555-1576) (7S).
He distributed his wares not only at Venice, Salvatore, where print shops were concentrated
also in later times. His recorded dates run from
but also at Rome through the firm of Antoine
1599 to 1620 (83), and his plan of Venice
Lafréri (76). The format of his plan was cal-
culated for a wide sale: sufficiendy small to
extends this time span backwards by two years,
for it can be dated ca. 1597 on internal
be relatively inexpensive, large enough to offer
evidence (M). Later, in the seventeenth century,
a considerable amount of detail. A large number
of impressions must have been taken, and his
it stock of plates seems to have passed into
the hands of Stefano Scolari, a prolific publisher
is the commonest of the sixteenth-century plans
of Venice found in print rooms today. of prints who kept shop at S. Giuliano from
1644 to 1687 (85).
The fact that so many printmakers took
the Furlani-Zaltieri plan for their model, thus, Rascicotto's plan of Venice is fairly coarse,
is not surprising. It is the source of Braun but it is noteworthy in one respect. It records
some important changes that had taken place
and Hogenberg's plan, in their Civitates Orbis
Terrarum (Cat. No. 42), all the plans by Gia-in Venice in the last quarter of the sixteenth
como Franco (Cat. No. 48-51, 52-59, 65), and century. It is derived only indirectly from the
Furlani-Zaltieri plan, being based on Giacomo
through the latter, Donato Rascicotto's plan
(Cat. No. 53) which inspired a whole sub-
Franco's first copy of the latter ( Cat. No. 48 ) .
family of its own. But on Franco's image of the city, Rascicotto
superimposed the new Fondamenta Nuove
There is nothing to be gained for our
(begun 1589) (M), the Redentore and Zitelle
purpose in surveying all these copies and sub-
copies. However, an account of Rascicotto mayon the Giudecca (respectively 1577-1592,
1582-ca. 1586) (87), the new Rialto Bridge
be interesting in as much as he was clearly one
( 1588-1591 ) (M), and - in the veduta at the
of the major publishers of topographical prints
lower left - the completed Libreria di S.
at Venice at the turn of the sixteenth to sev-
enteenth century, and yet is almost completely Marco (finished 1587-1591) (89).
unknown (™). His name appears variously as Of the many copies which Rascicotto's plan
Donato Rascicotto, Rasicoti (78), Rascichoti Í79),
inspired in turn, one is worth noting. It is the
Rasciotti (®°), Rasioti (8I), and Risciotti (82).
plan published in 1598 in a curious, engraved
From his signatures we know that he kept his book by Fulgenzio Manfredi, called usually
after the title of one of its pages, Vera e reale
shop on the Ponte dei Baretteri, on the Merce-
(7S) E. Pastorello, Tipografi, editori, librai a Venezia (79) On an undated print after Tintoretto's Vision of
nel sec. XVI , Florence, 1924, 99; M. E. Cosenza, A Bio- St. Jerome now at Vienna (New York, Public Library, Dept.
graphical and Bibliographical Dictionary of the Italian Prin-of Prints, Beaufort albums, IV, 79).
ters . . ., Boston, 1960, 668. The notion that Zaltieri also (80) On an undated view of the Piazza S. Marco (e.g.
worked as an engraver is probably mistaken (cf., G. K. British Museum, Dept. of Maps, K. 78. 65. i).
Nagler, Neues allgemeines Künstlerlexikon , Munich, 183 5- (81) On an undated illustration of the As inaria of Pļautus
1852, XXII, 184 ff.). It is based on the fact that he is named (Berlin-Dahlem, Kupferstichkabinett, 135-79).
by Vincenzo Cartari as the source of the illustrations in (") On a plan of Florence claimed to be of ca. 1595
the fourth edition of the Imagini de i dei de gli antichi , (G. Boffito and A. Mori, Piante e vedute di Firenze,
Venice (Giordano Ziletti), 1571 (the dedication is dated Florence, 1926, 45).
1569). But the reference is couched in such terms as to (83) A plan of Brescia is dated 1599 (Venice, Biblioteca
suggest that Zaltieri functioned as a supplier or subcontractor, Nazionale Marciana, miscellany of plans, 138. c. 66). A
rather than as an executing artist: « Senza dubbio lo [seil., Passion of Our Lord after Dürer is dated 1612 (Paris, Biblio-
the book] fanno più bello da uedere le belle, e bene accommo-thèque Nationale, Dépt. des Imprimés, Rés. A-17983). A map
date figure delle quali Tadorna M. Bolognino Zaltieri, huomo of the Valtellina is dated 1620. (Ibid., Dépt. des Cartes et
nelle cose della stampa diligente, e fidele quanto altri ». Plans, Ge-DD-628-8).
(76) All three states of the Furlani-Zaltieri plan appear (84) See Cat. No. 53.
in Lafréri atlases: see Cat. Nos. 39-41. (M) Almagià, loc. cit. bee further p. 29 below.
(77) The only published notices concerning Rascicotto (86) G. B. Gallicciolli, Memorie venete antiche profane
known to me are to be found in R. Almagià, Monumenta ed ecclesiastiche , Venice, 1795, I, 108.
cartographica Vaticana, II: Carte geografiche a stampa , Vatican (87) G. Zorzi, Le chiese e i ponti di Andrea Palladio,
City, 1948, 118. Venice, 1966, resp. 123, ff., 166.
(78) In the publisher's imprint of an undated collection (88) R. Cessi and A. Alberti, Rialto, Bologna, 1934,
of topographical views (G. Marinelli, Saggio di cartografia 193 ff.
della regione veneta , Venice [Deputazione di storia patria, (89) G. Lorenzetti, in « Accademie e Biblioteche d'Ita-
lia», II, 1928/1929, 98.
Monumenti storici, Miscellanea , Ser. 4a, I], 1881, no. 953).

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
origine e descendenza de Vinetiani (Cat.monuments

No. and sites, finally, he filled with
54). On the Manfredi plan the new churchhouses drawn more or less by rote and rather
of S. Giorgio Maggiore is shown completed
Northern European in appearance. Numerous
to the end of the sanctuary, but lacking its resulted from this process of collage. The
errors
choir (added 1583-1589) ("). Also shown areimportant, in as much as it became rooted
most
the Prigioni Nuove (begun 1591) (91).inThe the cartography of Venice for over a hundred
Zecca and Libreria are redrawn as two separate
years, was the representation of two churches
buildings (on Rascicotto's plan they hadonin-
the island of S. Giorgio Maggiore. From
correcdy been shown as one). Jacopo de' Barbari's plan Merian took the
The fortune in the sixteenth century gothic
of church, standing on the site of the
Pagan's bird's eye view plan was equalled in
Palladian church, and from Blaeu's panorama
he took the notion that a second church had
the seventeenth century by that of the Frank-
been built at right angles to the first, more
furt cartographer, Matthäus Merian the Elder,
although with far less reason (Cat. No. or less on the site of Palladio's rear cloister.
66).
In appearance it seems to derive from the
His plan, first published in 1638, is in fact
nothing more than an elaborate pastiche. From
incomplete church with flanking turrets repre-
the plan of Jacopo de' Barbari he tooksented
the in the plan published by Manfredi.
The success of Merian's plan is astonish-
landscape background and the islands around
the city, including the Giudecca and S. Giorgio
ing in view of its inaccuracy. More than twenty
Maggiore. In the case of the Giudecca hedirect
even and indirect copies of it are known to
reproduced some of the fancy garden arbors me, of which the last were engraved in the early
and plantings illustrated by Jacopo. The latter
eighteenth century and were still being reprint-
was the model likewise for the general topo-
ed toward the middle of that century. What
is more,
graphy of the city and the representation of derivations were produced even in
many individual buildings and sites, such as
Venice itself, where the actual buildings pro-
the Dogana da Mar, the Frari, S. Rocco,vided
SS.constant reminders of Merian's errors.
Giovanni e Paolo, the Scuola di S. Marco, S. the basis, for instance, of the plan
It was
Giustina, S. Francesco della Vigna, and S.published
Pie- in 1693 by the famous Franciscan
tro di Castello. The Arsenal is also shown cartographer, Fra Vincenzo Coronelli, the pro-
lific writer on geography, naval architecture,
substantially as Jacopo illustrated it, although
the wall of the Arsenale Nuovissimo is shown and travel, founder of a society of geographers
with four towers instead of Jacopo's three. called the Accademia degli Argonauti, and
The extra tower was added with the extensionofficial geographer to the Republic of Venice
of the Arsenal behind S. Maria della Celestia (Cat. No. 74) (92). Coronelli's plan, which
in 1539. This extension appears in the plans ofwas inserted by him in many of his numerous
Pagan and his imitators, but was left out bycompilatory works, and several times republish-
Merian. Onto the framework of these bor- ed by him in a slightly altered form, was widely
rowings he grafted details taken from the pano-diffused and inspired many imitations. Yet it is
rama of Venice of 1614 by Willem Janszoon nothing more than a reduced and rather coarse
Blaeu or one of its derivations (Cat. No. 160; copy of Merian's plan, updated by the addition
cf. the Molo, S. Giorgio Maggiore) and from of a a few new buildings and sites. The sixteenth-
plan of the Rascicotto subgroup, very likelycentury fill behind SS. Giovanni e Paolo is
that published by Manfredi (Cat. No. 54; Pa-indicated by the legend « Fondamenta Nuove »
lazzo Moro a S. Girolamo, Fondaco dei Te- and is shown covered with houses and the
deschi, Ponte di Rialto, S. Giuseppe di Castello,monasteries of S. Maria del Pianto and S.
Redentore, and Zitelle). The spaces betweenLazzaro dei Mendicanti (respectively 1649,
f90) Zorzi, op. cit., 47 ff. Vincenzo Coronelli } Florence ( Biblioteca di bibliografia italiana t
(91) Gallicciolli, op. cit., I, 269. XVII), 1944.
(92) The fullest account of Coronelli is that of E. Arm AO,

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
1636) (93). The Punta della Dogana is shown

Giovanni Merlo and first published in 1660 by
transformed by the new Dogana da Mar Stefano
and Scolari (Cat. No. 102). For the shape
of the city and the angle of vision, the plan
S. Maria della Salute (respectively 1677-1682,
still depends on that of Jacopo de' Barbari.
1631-1681) (94). But two churches are repre-
sented on S. Giorgio Maggiore and all the The islands to the North-east of Venice and
other
the gardens behind S. Pietro di Castello are
errors of Merian's plan are reproduced without
change. The print is unsigned, as are the directly from the older plan. In every
taken
majority of plates published by Coronelli, other
andrespect, however, it is an entirely new
we do not know to whom to attribute the production. The large format (ca. 80x160 cm. )
permitted the inclusion of far more detail,
actual plate (9S). But the choice of the model
that was followed was certainly due to Coro-
rendered with a far higher degree of accuracy
nelli himself, whose method as a geographerthan
is had existed in plans of the later sixteenth
century. The mass of houses is still represented
shown in this instance to have been anything
but reliable. by stylized roof tops. But while in the imme-
diately preceding plans, which were smaller
Merian's plan was the source also for the
plans of Venice published in the great cityin format, the number of dwellings was
adases issued in Holland during the seven- reduced to an implausible number of 200 or
so, Merlo manages to convey once again the
teenth and eighteenth centuries by Jan Jansson
(1657, Cat. No. 67), Frederik de Wit (ca.sensation of a dense agglomoration of structures
1690, Cat. No. 68), Joan Blaeu (1704, Cat.
given by Jacopo de' Barbari's plan or by an
No. 71), and Pieter van der Aa (1722, Cat.
actual air view of the city ( Fig. 1 ) . Palaces on
the Grand Canal and elsewhere are for the first
No. 69). It was copied at Rome in the later
time again individually characterized. Churches,
seventeenth century by the Rossi and at Venice
in the eighteenth century by an unidentified Scuole, and public buildings are represented
engraver whose print was still being sold with new care and correctness. Recent con-
after 1807 (Cat. Nos. 98-100). structions appear in their proper places and
By the later seventeenth century, however,shapes (%). Among the new churches omitted
a vastly improved, large-scale bird's eye view
by Merian or built after his time that are shown
plan had been on the market for some time by Merlo, are the following: S. Francesco della
and was being pillaged even by publishers Vigna
of ( 1534-1566) (97), the dome of S. Gior-
gio dei Greci (1571) (98),S. Francesco di Paola
Merian-type plans for corrections and additions
to their prototype. It is the plan engraved (1584-1619)
by ("), S. Lucia (1609-1611) (10°),
(93) E. Bassi, L'architettura del Sei- e Settecento a Vene-in the mid sixteenth century, and from the appearance on
zia, Naples, 1962, 71, 192. Pagan's plan of what he identified as Palazzo Treves.
D Ibid 158 ff., 90 ff. Unfortunately, Pagan's failure to show Cà Barozzi proves
(95) On the question of Coronelli's engravers, nothing see, A.in itself, since he is not faithful in his representation
Sartori, V. Coronelli e gli artisti che lavorarono per lui ,
of secondary buildings. The attribution of Palazzo Treves to
« Miscellanea francescana », LI, 1951, 313 ff. Manopola has been disputed (e.g., E. Bassi, op. cit., 60);
(%) G. Lorenzetti, considered the plan unreliable the recorded dates of the architect, besides, are 1597 to
because
of a supposed anachronism for its date of publication1623 - long after the time of Pagan. Finally, I cannot agree
- which
he assumed to be 1696 (Un prototipo veneto-bizantino with
delLorenzetti,
Pa- that the new Palazzo Treves can be distin-
lazzo Ducale di Venezia , in « Miscellanea di storia dell'arte guished on Pagan's plan. A conventionalized structure, unlike
in onore di I. B. Supino », Florence, 1933, 22 ff.). He argued
either the older or newer palace, is shown.
(25, n. 2) that the appearance on Merlo's plan of the Cà Gran- Merlo's plan, contrary to Lorenzetti, is generally quite
de dei Barozzi was an instance of blind copying by the reliable. The appearance on it of the ancient Cà Barozzi, thus,
engraver from Jacopo's plan of 1500 (Cat. No. 1), since the may mean that it was razed only after 1660. The style of
building was already missing from, and therefore had ceased Palazzo Treves is not incompatible with this date.
to exist by the time of, Pagan's large plan (Cat. No. 34; (97) R. Wittkower, Architectural Principles in the Age
wrongly dated 1567 instead of 1559 by Lorenzetti). Its absence of Humanism , London, 21962, 89.
from Pagan's plan was not chance, he claimed, because the (98) Q tASSINIj Curiosità veneziane , ed. E. Zorzi, Venice,
building that replaced it (Palazzo Treves dei Bonfigli) was in61933, 348.
fact built in Pagan's time. This he deduced from the attribu- (") F. Corner, Ecclesiae venetae antiquis monumentis,
tion of Palazzo Treves to the architect, Bartolomeo Manopola Venice, 1749, IV, 319 ff.
(by G. J. Fontana, Cento palazzi fra i più celebri di Venezia , (10°) Zorzi, op. cit., 118 ff.
Venice, 1865, 200), whom he believed to have been active

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
co (1B),
the new S. Pietro di Castello (begun 1619) Mark Sadeler (114), Donato Bertelli (11S),
(101),
S. Lazzaro dei Mendicanti (1636) (1<K), the Badoer (116), and Francesco Vale-
Alessandro
façade of S. Giustina (ca. 1640) (1<ö), gio (U7). In at least two cases it is possible
S. Maria
del Pianto (1649) (104), the first church
to followof
the ownership of his plates into the
S. Maria di Nazareth (1650) (105), next andgeneration.
the The famous book of drawing
rotunda of S. Maria della Salute (1631- exercises by Palma Giovane, first published
1656) (106). The Fondamenta Nuove arein 1611 by Giacomo Franco, republished in
shown. Numerous errors of Merian's and of 1636 by Mark Sadeler, and in 1659 by Scolari,
previous plans are rectified, e.g. the appearancewas reprinted yet again by the early eighteenth-
and siting of the Palladian churches of S. Gior-century publisher, Domenico Lovisa (118). Lo-
gio Maggiore, Redentore and Zitelle, the visa was likewise the later owner of the plan
appearance and number of courtyards of theof Venice by Valegio and Doino, which pre-
Prigioni Nuove, the extent of the Arsenal. viously had passed through Scolari's hands
The preparation of the plan must have in- ( Cat. Nos. 60-63 ) .
volved considerable expense, and the merit for Printed plans in orthographic projection
having borne it belongs to the publisher Scola- first appeared in 1627. The earliest known
ri. He is a little known figure despite the fact plans of the city, the manuscript plans of the
that during the second half of the seventeenthfourteenth, fifteenth and sixteenth centuries,
century his firm must have been one of thehad been of this type (119). But they seem to
principal Venetian publishing houses of prints,have had no influence on the early printed
both in book form (107) and in single sheets.plans, which clung to the bird's eye view
From his various signatures we can establishprojection launched by Jacopo de' Barbari. The
that his full name was Stefano Mozzi Scola- tradition of the printed orthographic plan starts
ri (108). He was born at Brescia. His shop waswith what is an entirely original work, the
located in the parish of S. Giuliano, « all'in-plan of 1627 published by Alessandro Badoer
segna delle tre virtù » ( 109 ) . The earliest and (Cat. No. 107). The city is shown in its true
latest dates given in his signatures are 1644proportions, without the perspectivai distor-
and 1687 (uo). By 1696 his shop had passedtions that were an integral part of the bird's
into the hands of a certain Daniele Bazelli ( 111 ) . eye view plans. (There, the scale of distances
Much of his production consisted of impressions on the city's North-west to South-east axis
from old plates he had purchased. He reprinted- the horizontal axis of the image - had been
plates of Cornelis Cort (U2), Giacomo Fran-consistently more than twice that of distances
(101) Bassi, op. cit., 85. by G. Marinelli, Saggio di cartografia della regione veneta ,
(102) Bassi, op. cit., 192. Venice, 1881, nos. 150, 856, 862, 942, and 948.
(103) Bassi, op. cit.. 110. (no) Ibid., nos. 743, 862, and 948; previously noted by
(104) Bassi, op. cit.. 71. G. Caraci, who mispells the name as Solari (Antiche carte
(105) F. Sansovino, Venetia città nobilissima et singola-di regioni d'Italia , « La Geografia », XIII, 1925, 161, n. 32).
re . . . con aggiunta ... da D. Giustiniano Martinioni , Venice, (m) See the third state of Merlo's plan, Cat. No. 104.
1663, 172. (112) J. Bierens de Haan, L'oeuvre gravé de Cornelis
(106) Merlo had already represented the rotunda in this Cort , The Hague, 1948, nos. 156-iii, 192-iii, and 193-ii.
form in his panoramic view of Venice of 1656 (Cat. No. 184). All three are prints after Titian. The plates had probably been
The earliest mention of the completion of the rotunda dates part of the latter's estate, since they were made by Cort for
from that year (V. Piva, Il Tempio della Salute eretto per voto him and under his direction.
della Repubblica Veneta , Venice, 1930, 185). The Sanctuary (113) E. A. Cicogna, Delle inscrizioni veneziane, Venice,
and flanking bell towers were begun soon after, and were not 1824-1853, IV, 432.
yet finished in 1663 (Sansovino, op. cit., 279). (114) Cicogna, loc. cit.; Marinelli, op. cit., nos. 637
(107) G. K. Nagler, Neues allgemeines Künstlerlexikon , through 641; anon., Viaggio da Venetia a Constantinopoli . . .,
Mimich, 1835-1852, XVI, 160; E. A. Cicogna, Saggio di biblio- Venice, n.d. (reprint by Scolari, preserving Sadeler's originai
grafia veneziana , Venice, 1847, no. 2221; C. Pasero, Giacomo imprint, in Widener Library, Harvard University).
Franco, editore, incisore, e calcografo, « La Bibliofilia », (11S) Marinelli, op. cit., no. 644.
XXXVII, 1935, 350, no. XXVI. (116) Ibid., no. 821; Cat. No. 108 in the present work.
(io«) ļj thieme and F. Becker, Allgemeines Lexikon der (117) Cat. No. 62 in the present work.
bildenden Künstler, Leipzig, 1907-1950, XXX, 399, errs in (118) Cicogna, loc. cit. Cf. also, R. Almagià, Monumenta
making two separate persons of him, Stefano Mozzi Scolari cartographica vaticana, II: Carte geografiche a stampa, Vatican
and Stefano Scolari. City, 1948, 118.
(109) For these particulars, see the signatures transcribed (119) See above.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
on the foreshortened North-east to South-west

Venice exists: the panoramic view taken from
axis). Geographical contours are shown in The earliest example of any pano-
the South.
strict orthography. Topographical details,ramic
suchview in Renaissance Italy is the view
of Rome from Monte Mario, drawn in the
as churches, public buildings and the Arsenal,
are shown in bird's eye view perspective. early
The1480's by Domenico Ghirlandaio (122).
Butand
Arsenal, S. Giorgio Maggiore, the Zitelle, the earliest prints of this type were
produced by a Northern artist. They are the
the Redentore, are all shown more accurately
than on bird's eye view plans of the woodcut
time. illustrations by Erhard Reeuwich for
Sestiere boundaries are indicated with a dotted what is the incunabulum of printed city views:
line. the pilgrimage journal of Bernhard von Brey-
The plan was reprinted twice, and copied denbach, Sanctarum peregrinatium in montem
both at Venice and North of the Alps, so that Syon . . . opusculum, published at Mainz in
it obtained a considerable diffusion. Cartogra- 1486. Reeuwich, a painter, engraver, and pub-
phers consulted it even as a corrective to the lisher, came from Utrecht but settled at Mainz
bird's eye view plan of Merian. Thus, Julius after 1484. He had accompanied Breydenbach
Milheuser's copy of the Merian plan, engraved to Jerusalem and drawn the cities visited on
in the second half of the seventeenth century the way. Six of the drawings, as reproduced in
for Joan Blaeu ( Cat. No. 71), adds the Fonda- the book, are panoramas (Venice, Parenzo,
menta Nuove and the sixteenth-century enlarge- Corfu, Modon, Candia, and Rhodes ) . The type
ment of the Arsenal from the Badoer plan. became popular in Northern Europe very
As in the case of London, Paris, Rome, and quickly - the bulk of the illustrations in the
other major European cities, the first large- Nuremberg Chronicle of 1493 are panoramic
scale orthographic plan of Venice, based on views. In the cartography of Venice, however,
accurate field surveys rather than on observa- it never attained the popularity and diffusion of
tion and copying, was produced in the eight- the bird's eye view plan. Its format was incon-
eenth century. It is the very large and hand- venient ( the panoramic views are up to sixteen
some plan (130x175 cm.) compiled by Lodo- times longer than high), and the amount of
vico Ughi, and etched in eight plates for the information it could convey was necessarily less
publisher Giuseppe Baroni in 1729 (Cat. No. than a bird's eye view. Occasionally plan
116). Republished twice again during the cen- makers borrowed from panoramas. Merian took
tury, it became the basis of all later representa- details from Blaeu's panorama of 1614 (Cat.
tions of the city in orthographic projection, No. 160) for his plan of 1638 (Cat. No. 66).
down to the fall of the Republic. Through its Giovanni Merlo incorporated buildings from
copies and subcopies it dominated the field well his panorama of 1656 in his plan of 1660
into the next century, until the appearance (resp. Cat. Nos. 184, 102).
of newly compiled plans by Marco Peressini Reeuwich's panorama is the oldest printed
( 1841 ) (I2°), and Bernardo and Gaetano Com- view of Venice (Cat. No. 154) excepting a
batti (1856) (121). coarse view of the Ducal Palace in Rolewinck's
Still a third type of representation of Fasciculus Temporum of 1474 (!23). It is
e*) PIANTA / della R. Città / di / VENEZIA / (122) It is known from a copy; H. Egger, Codex Escu-
Secondo lo stato dell'anno 1841 . . 730x995 mm.; litho- rialensis : ein Skizzenbuch aus der Werkstatt Domenico Ghir-
graphed on the scale of 1: 5,000 (Marinelli, op. cit., no. landaios, Vienna (österreichisches Archäologisches Institut in
1702), and republished with corrections in 1847 (Marinelli,Rom, Sonder Schriften. IV), 1906, ff. 7 v.-8.
no. 1753), 1849, 1857, and 1866. (123) W. Rolewinck, Fasciculus temporum , Cologne, 1474,
(m) NUOVA PLANIMETRIA / DELLA R. CITTÀ / f. 37 v., entitled: Venetiarum ciuitas; ca. 40x50 mm. (illus.,
DI / VENEZIA , . ca. 1250x1450 mm.; lithographed on the H. W. Davies, Bernhard von Breydenbach and his Journey to
scale of 1:3,000 (Marinelli, op. cit., no. 1744) and issued the Holy Land , London, 1911, pl. 55 a). At least a dozen
reissues of Rolenwinck's work are recorded between 1476
together with a volume of Illustrazioni topografiche, statistiche,
e storiche , by F. Berlan, and a Numerazione anagraficaand
e 1485, at Basel, Cologne, Speyer, and Venice. The
print was copied (and reversed) in J. P. Foresti, Supple-
nomenclatura stradale della città di Venezia , both published
mentum chronicorum , Venice (B. Benali), 1486, 182 (Prince
by Naratovich in 1846. The plan itself is likewise dated 1846
(in the title) but was only issued in 1856 according to ad'Essling, Les livres à figures vénitiennes , Paris, 1907-1914,
note at the end of the legend. part I, i, no. 342; M. Sander, Le livre à figures italien , Milan,

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
JuERGEN Schulz - THE PRINTED PLANS AND PANORAMIC VIEWS OF VENICE 3I
The abundant production of bird's eye

composed of a mixture of conventional and
observed detail. Many of the individual houses
view plans that followed in the sixteenth cen-
as well as the fantastical mountains in thetury
rear,seems to have satisfied all demand for
are repetitions of conventional schemata, the
representations of Venice. It is not before the
former invented by the artist to express the
early seventeenth century that a panorama was
attempted again. In 1614 the Amsterdam
reality he was observing, the latter inherited
cartographer, Willem Janszoon Blaeu, pub-
from early Netherlandish landscape painting.
lished a panorama of heroic proportions (ca.
The composition, however, is a careful attempt
40x215 cm.), that set a standard for size and
to reproduce the complex shape of Venice's
seaward front. It starts on the left with the quantity of detail down to the end of the eight-
Punta di S. Marta (now absorbed within the eenth century (Cat. No. 160). Unfortunately,
fill of the Porto Commerciale ) , which is repre-the view was little more than a giant pastiche.
sented correctly, although distorted by ineptThe villas, churches, and fancy gardens of the
foreshortening, as a file of small fisherman'sGiudecca are represented as on the mid six-
houses and a site of ship repairs. Above itteenth-century bird's eye view plans, of which
appears the western end of the Giudecca. It the closest is the plan of Master I C-A- (Cat.
has been shifted too far to the West, and seems No. 36). The front of the city proper is also
to curve around the Punta di S. Marta, which, taken from such a plan. However, to conserve
in reality, it does not do. Only a few houses are space, Blaeu shrank the lateral extension of
represented between this point and the Puntathe city. The portion of the Zattere between
della Dogana. This telescoping of the true Rio delle Toreselle and the present-day Porto
distance indicates that Reeuwich's vantageCommerciale has been entirely eliminated. The
point was S. Giorgio Maggiore. From the Riva degli Schiavoni has been shortened by at
mouth of the Grand Canal to the Punta di least one 'block', possibly more, between Rio
S. Antonio, the panorama unrolls with less S. Lorenzo and Rio della Tana. Details such
as the forms of individual campanili and
distortion, although here too it has been
churches, on the other hand, are seldom taken
telescoped. Of the ten rii that empty into the
Bacino di S. Marco between Rio S. Moisè and from the older plans. Mostly they are new
Rio della Tana, only seven are shown. Manyinventions, with the result that the bulk of
individual buildings have been represented the bell towers are fanciful and the majority
recognizably: the Abbazia di S. Gregorio, Do- of the houses have acquired pitched roofs and
gana da Mar, Cà Grande dei Barozzi, Granaries,tall silhouettes, such as distinguish Northern
Campanile, St. Mark's (the domes), DucalEuropean, and particularly Dutch, town houses.
Palace, Palazzo Gritti-Bernardo-Mocenigo (now One of the few sites for which other
the Hotel Danieli), and SS. Giovanni e Paolo.sources were consulted is the Molo, which is
A long low building with taberna- type windowmodelled on the engravings of the Molo
and door openings stands for the row of shop published by Justus Sadeler, Monogrammist
fronts on the Riva degli Schiavoni. A. Fe. (124), and others. Blaeu must also have
Reeuwich's woodcut served as the model made use of sources other than maps, for he
for the view of Venice published in 1493 innotes some changes in the city's appearance
the Nuremberg Chronicle (Cat. No. 158). Itthat were not recorded in the sixteenth-century
reproduces only the central part of the olderplans, such as the construction of a new church
panorama, and alters even this in proportionsof S. Giorgio Maggiore (shown falsely, howev-
and detail, so that the illustration representser, as a second church standing at right angles
a deterioration rather than an improvement ofto the gothic church), and the addition of a
the prototype. dome to S. Giorgio dei Greci.
1942, no. 916). It shows only the Ducal Palace and two (124) Described by G. F. Nagler, Die Mono grammisten,
Munich,
buildings to either side and cannot properly be classed as a 1858-1879, I, no. 560.
panoramic view.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
The success of Blaeu's panoramaaswas as from the lion of St. Mark, which
distinct
wide and undeserved as that of Merian's plan. the Republic.
symbolized
At least nine copies are known to me, Giovanni
some Merlo's panorama of 1656 was
of them almost facsimiles of Blaeu'sinspired
original by that of Blaeu, but differs from it
(e.g. the views of Monogrammist TK, invan
the greater
der part of its detail (Cat. No. 184).
Heyden, and van der Hoye; resp. Cat. Nos. of the inscription, the figure of
The placing
162, 166, 179 ) . One of them was evenFelicitas
produc- Publica, and the putto bearing chains,
are identical
ed at Venice (that published by Scolari; Cat. to figures in Blaeu's print. The
No. 182 ) . Minor corrections do appeargeneral
in somecomposition and the particular arrange-
of them, but none represent substantialment and projection of the buildings on the
changes,
it was not until the mid seventeenthMolo are similar But almost every building
century
that a new and more correct panorama was in Merlo's view is drawn afresh. The
appearing
produced. Meanwhile Blaeu's print gave Giudecca
wide has been completely recast, the new
currency to such misconceptions as thechurch
existen-of S. Giorgio Maggiore is shown cor-
ce of two churches on S. Giorgio Maggiore
rectly, the granaries of S. Biagio are no longer
omitted,
a calle between a pencil-thin Zecca and a and the rotunda of S. Maria della
looming Libreria di S. Marco, and a Salute
rotundais shown for the first time (127). Nu-
at the east end of S. Croce on the Giudecca.
merous buildings that appeared in Blaeu's view
Blaeu's panorama disseminated also two in a capricious or distorted fashion, are more
other conventions. In the cartouche at the accurately reproduced by Merlo, such as the
Punta della Dogana, Zecca, Libreria di S. Mar-
upper right he had printed Jacopo Sannazaro's
co, Prigioni Nuove, SS. Giovanni e Paolo, and
epigram, « De Mirabili Urbe Venetiis » (12S).
Thereafter it became a regular feature of plansZaccaria. The same is true generally of the
S.
and views of Venice. Among the allegorical city's campanili. Even so, much of the detail
figures in the sky, he showed a flying puttoof Merlo's panorama continues to be conven-
carrying a crown, scepter, serving dish ( ?tional
) , and does not reflect any structures
existing at the time.
and three rings of chain. The meaning of
Only in the eighteenth century was a pano-
this allegorical baggage, especially the chains,
rama published that reproduces faithfully the
is not immediately clear. Probably it signifies
seaward front of the city. It is the etching by
the rewards which the benificent Republic has
Giorgio Fossati of 1743, which is entirely new
the power to bestow ( 126 ) . In any case, Blaeu's
in all its details, and is based on original
imitators failed to comprehend the attribute of
observations by Fossati (Cat. No. 187). The
the three chains. They were transformed into viewpoint - midway between that of a pano-
as many wreaths by the Netherlandish engraver ramic view and a bird's eye view - is higher
of a bird's eye view plan, published at Amster-than in the older panoramas. Proportions of
dam in a succession of states from the mid
landmasses have not been reproduced correctly
seventeenth century forward (Cat. Nos. 85-88). in every case. The design seems to have been
In this shape they were reproduced on plansbegun in the centre, with the unfortunate result
and views of Venice for almost a hundred that the city was increasingly compressed to
years. In 1700 the Parisian publisher, Nicolas
left and right. Its western and eastern extrem-
DeFer, suggested an explanation (Cat. No. 95):
eties are difficult to read, and the Giudecca
curves away unnaturally to the West. However,
the wreaths were the arms of the city of Venice,
(125) Epigrammaton , Liber I, no. XXXI: Viderat Hadria-

col. 126, nos. vii and viii. For the chains in particular, see,
C. Ripa, Iconologia , Venice, 1669, 66 ff. A ring of golden
cis Venetam Neptunus in undis / Stare urbem, et toto ponere
jura mari: / Nunc mihi Tarpejas quantumvis, Jupiter, arces / is listed there as an attribute of Beneficio : « porge la
chains
Objice, et illa tui moenia Martis, ait. / Si pelago Tybrim
catena d'oro con dimostratione di farne dono per significare
praefers, Urbem adspice utramque; / Illam homines dices,
che il beneficio lega, & incatena à tutti quelli i quali sono
hanc posuisse Deos. beneficiati ».
(126) See, for instance, G. de Tervarent, Attributs et (127) See n. 106 above.
symboles dans l'art profane, 1450-1600 , Geneva, 1958-1959, I,

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
the succession of 'blocks' of houses on the RivaGiudecca. Combining these two per-
of the
degli Schiavoni and the Zattere is correctly
spectives presented a problem which he could
rendered, and even individual façades are
not entirely solve. Not only is the centre
of the
carefully drawn, so that certain buildings city proportionately too deep, but also
now
destroyed, such as S. Maria dell'Umiltà,
many canlandmarks are misplaced. S. Maria dei
be reconstructed from Fossati's panorama.
Frari, for instance, appears to the East of S. Ste-
fano,
Behind the fondamenta , within the city and SS. Apostoli is shown South of the
itself,
Frari.are
campanili, and rooftops of major buildings Nevertheless, as a panoramic view of
Venice
recognizably depicted. From the relative before the alterations and demolitions
posi-
tions of landmarks one can deduce thatofFossati
the nineteenth century, Fossati's etching has
observed the city from at least twotrue
vantage
documentary value. It is the last original
points, once from S. Giorgio Maggiore,
recordand
of the city's appearance before the fall
again from somewhere near the western end
of the Republic.

5.68.9ffff:ffff:ffff:ffff on Thu, 01 Jan 1976 12:34:56 UTC
CATALOGUE

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
KEY TO THE CATALOGUE
Two numbering systems are used throughout Thethe

known facts concerning each print are set
Catalogue. forth in the following order.
Bold-face numerals, set beneath each entry and Inscriptions (left to right, top to bottom).
running consecutively from 1 to 197, are Catalogue
numbers. Dimensions. Technique.
Ordinary numerals and letters, at the beginning Artists (if known). Publisher (if known),
of each entry, are descriptive numbers. They explain of book (if published in a book), including
the relationships between the various prints, in the successive editions of the work and all other
following manner. works that reuse the plate.
Topographical description of the print.
I
Location of exemplars (omitted if published
in a book).
1 . Archetype.
Bibliography.
2. First copy of the archetype.
Measurements (to the edge of the image, not
3. Second copy of the archetype. the plate) are given in millimetres; height precedes
3. A. First copy of 3. width. Where height or width are irregular, they are
reported in terms of their outside limits, separated
3. B. Second copy of 3.
by a slash, thus: 123/125. Page or plate numbers
3. B. a. First copy of 3. B. and dates in parentheses are those that do not appear
4. Third copy of the archetype. on the page or in the title itself, but have been
established by actual count or by consulting other
Lower-case roman numerals (ii, iii, etc.) denote authorities. Superscript numbers before the date of
successive states of a print; e.g., 3. B. a. ii. would a book refer to the edition, thus: 21937 = second
denote a second state of the first copy of 3. B. edition, issued in 1937.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
COLLECTIONS REFERRED
TO IN AN ABBREVIATED FORM
East Berlin - East Berlin, Staatliche Museen zu Nuremberg - Nuremberg, Germanisches

Berlin, Kupferstichkabinett. museum, Kupferstichkabinett.
East Berlin (Kartenabtlg.) - East Berlin, Deutsche Paris (Cartes et pkns) _ pariS; Bibliothèque Natio
Staatsbibliothek, Kartenabteilung. nale, Departement des Cartes et Plans.
West Berlin - Berlin-Dahlem Stiftung Preussischer Paris (Estampes) _ Paris Bibliothèque Nation
Kulturbesitz, Staatliche Museen, Kupferstich- Département d'Estampes,
kabinett.
^ ^ . XT 1 T *1 t"v Stockholm - Stockholm, Kungliga Biblioteket, Kart-
Chicago ^ - Chicago, ^ . Newberry XT 1 Library, T *1 t"v Department h pianSchavdelnineen rianscnavüeimngen.
of Special Collections (Novacco Collection). . h pianSchavdelnineen rianscnavüeimngen.
_ , . _ . • o Venice . - Venice, Civico Museo Correr.
Florence - Florence, Gabinetto , . Disegni . • e o Stampe
degli Uffizi. Venice (Marciana) - Marciana.
Venice, Biblioteca Nazionale
Florence (1st. Geogr.) - Florence, Istituto Geogra- TT . .
firn Militare TT Venice . (Querini btampalia) - Venice, Fondazione .
Scientifica Querini Stampalia.
Greenwich - London, Greenwich, National Maritime ,T. «. . , . , XT . «.ti. 1 ,
■* K Vienna - ,T. Vienna, Osterreichische . , . , Nationalbibliothek, XT . «.ti. 1 ,
Museum. ■* K v ^ 1
Kartensammlung. v ^ 1
Leiden - Leiden, Rijksuniversiteit, B

London - London, British Museum. Albertina.
Milan - Milan, Castello Sforzesco, Raccolta Berta- Washington - Washington, D
relli. Congress, Map Division.
WORKS REFERRED
TO IN AN ABBREVIATED FORM
Armao, Coronelli - E. Armao, Vincenzo Marinelli

Coronella,- G. Marinelli, Saggio di cartografia della
regione
Florence ( Biblioteca dì bibliografia italiana , veneta, Venice (Deputazione veneta di
XVII), 1944. storia patria, Monumenti storici, Miscellanea, Ser.
Bachmann - F. Bachmann, Die alten Städtebilder, 4a, I), 1881.
Leipzig, 1939. Nagler - G. K. Nagler, Die Monogrammisten, 5 vols.,
Munich, 1858-1879.
Bartsch - A. Bartsch, Le peintre graveur, 22 vols.,
Leipzig, 21843-1876. Passavant - J. D. Passavant, Le peintre graveur, 6
vols., Leipzig, 1860-1864.
Bertarelli - A. Bertarelli, Inventario della raccolta
Pastorello - E. Pastorello, Tipografi, editori, librai a
formata da Achille Bertarelli: I, Italia geografica,
Bergamo, 1914. Venezia nel secolo XVI, Florenze (Biblioteca di
bibliografia italiana, V), 1924.
Cicogna - E. A. Cicogna, Saggio di bibliografia ve-
neziana, Venice, 1847. Phillips - U. S. Library of Congress, A List of
geographical Atlases in the Library of Congress,
Cicogna, Inscrizioni - E. A. Cicogna, Delle inscrizio- by P. L. Phillips et al., 6 vols, to date, Washing-
ni veneziane, 6 vols., Venice, 1824-1853. ton, D. C., 1909-1963 (in progress).
Graesse - J.G.T. Graesse, Trésor de livres rares Soranzo
et - G. Soranzo, Bibliografia veneziana ... in
précieux, 8 vols., Dresden, 1859-1869. aggiunta e continuazione del 'Saggio' di E. A. Ci-
Koeman - C. Koeman, Atlantes neerlandici - Bi- cogna, Venice, 1885.
bliography of ... Atlases and Pilot Books Thieme-Becker - U. Thieme and F. Becker, Allge-
published in the Netherlands up to 1880, 3 vols, meines Lexikon der bildenden Künstler, 37 vols.,
to date, Amsterdam, 1967-1969 (in progress). Leipzig, 1907-1950.
Laguna di Venezia - Delegazione italiana della Com- Tooley - R. V. Tooley, Maps in Italian Atlases of
missione per l'esplorazione scientifica del Medi- the Sixteenth Century, « Imago Mundi », III,
terraneo, La laguna di Venezia , ed. G. Magrini, 1939, pp. 12-47.
Venice, 1933-1955, I, i. Wurzbach - A. von Wurzbach, Niederländisches
Le Blanc - C. LeBlanc, Manuel de l'amateur d'estam- Künstler-Lexikon, 3 vols., Vienna/Leipzig, 1906-
pes, 4 vols., Paris, 1854-1890. 1911.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
BIRD'S-EYE VIEW PLANS

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
I Elena. There is no scale (approx. scale on a
N-S axis, 1: 2750, on an E-W axis, 1: 1250).
THE BARBARI PLAN
East Berlin; Boston (Mus. of Fine Arts); Cleveland (Museum
of Art); London (Dept. of Prints and Drawings); Nuremberg;
Paris; Venice (Querini Stampalia, Museo Correr [three
exemplars]; Museo Storico Navale).
1. (top centre): . venetie. / .m.d. Cicogna, no. 4517; Marinelli, no. 476; T. Pignatti and G.
Mazzariol, La pianta prospettica di Venezia del 1500 dise-
(top centre, around a figure of Mercury): mer-
gnata da Jacopo de' Barbari , Venice (Cassa di Risparmio),
CVRIVS PRECETERIS HVIC FAVSTE EMPORIIS
1963, with preceding literature (reprint of the text in Bollet-
ILLVSTRO tino dei Musei Civici Veneziani, IX, 1964, 10 f.).
(bottom centre, in a tablet held by a figure

Figs. of 8-13. 1.
Neptune): aeqvora tvens / portv . resi-
DEO / HIC NEPTVNV S .
(around the perimeter, clockwise 1 from top The date erased.
. ii.
right): SEPTENTRIO. / T; AQVILO. GThe/ .FVL- bell chamber an
TVRNUS.; •*- / SVBSOLANVS ; S / .EVRAVSTER.
altered to accord wi
.EVRVS. ; O / .AVSTER. ; AFFRICVS / A /1513
AVSTER
(the arches of t
AFFRICVS. ; FAVONIVS. / P; CORVS. CIRCIVS
by half/ columns on
M.
topped by a balustrad
the roof pyramidica
1345x2818 (six sheets, A. 665x913, B. the figure of an ange
666x995, C. 666x897, D. 664x997, E. Los Angeles, University of
666 X 998, F. 662 x 910). Woodcut. Vienna (Albertina, Allergr.
(National Gallery).
Pignatti and Mazzariol, op
Anonymous. Commonly agreed to have been
drawn and engraved by Jacopo de' Barbari, on Fig. 7. 2.
the basis of a cartographical preparation by
unknown persons. Published by Anton Kolb,
1.
at Venice (the privilege for exclusive publica- iii. The space
tion rights for four years was granted 30 th with hatching
October 1500). Amsterdam (Rijks
and Drawings); Ve
NNE above. From the mountains of the Terra- Pignatti and Mazza
3.
ferma to the Giudecca, from S. Marta to S.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
1. iv. The alterations of ii. and iii. unmade:

NVS; i. siroco;
e., ostro; avsterafricvs; fa-
the date, .M.D., reinserted, the pyramidical
VONIVS; CORVS CIRCIVS.
roof of the Campanile removed. The forms of
the new bell chamber and the angel from 355 X the
523. Woodcut.
peak of the roof, however, have been left
untouched, Engraved and published by Giovanni Andrea
Chicago; Florence (coll. T. De Marinis); Venice; Vienna
Vavassore (active from 1510? [certainly from
(Albertina, Allergr. Format, XVII). 1528]; died 1572; Pastorello, 93; Thieme-
Pignatti and Mazzariol, op. cit. Becker, XXXIV, 143 f.; F. Babinger, « Drei
4. Städteansichten von Konstantinopel, Gaiata,
und Skutari aus dem Ende des 16. Jh., »
österr. Akad. d. Wissenschaften, Denkschriften,
philos. -histor. Klasse. LXXVII, 1959, iii). (')
2. (top centre, in two ribbons): veneti A; mv-
RANO.
Dateable ca. 1535 (see below).
(on the bottom margin, in a ribbon centreNNE above. From Murano to the Giudecca,
right): Opera di giouan(n)i a(n)drea vauassore
from S. Marta to S. Antonio di Castello. There
ditto vadagnino. is no scale.
(bottom right, in a box): Per satisffare a tuttiThe composition and the appearance of many
che se dilettano voler intender el sitto della major monuments are taken from Jacopo's plan
inclita citta di Vinegia: / dicouiche Vinegia (1. above). But in the process of reduction, all
egran cittade & a de circuito da miglia otto: forms have become much simplified and coar-
Et e di molta belezza: nob/ilta richezza & ma- sened. New buildings that post-date Jacopo's
gnificentia: & e posta come tu vedi qui dipintta epoch are shown, down to S. Giuseppe di
nel mezo di vno marítimo / lagumene & dala Castello (after 1531) and S. Spirito alle Zat-
parte de leua(n)te e a vno argine dima(n)dato tere (1533-35). No building later than the
litto dalla natura prodotto & siste(n)de / mid-1530's appears, which must be the ap-
i(n)lo(n)gezza miglia tre(n)ta ci(n)que & a proximate date of the plan.
ci(n)que porti alla citta acomodato Et dala parte See further, pp. 23-24 above.
de ponente / maistro & tramo(n)ta(n)a haterra Florence (Biblioteca Naz. Centrale, bound in Magi. 1-203);
ferma sono miglia ci(n)que Questa citta a po- Rome (Biblioteca Vaticana, Cod. Barb. Lat., 4431); Venice
(Seminario Patriarcale - formerly) (2).
pulo i(n)finito & di tutte le pa/rte del mo(n)do
Cicogna, no. 4518; Marinelli, no. 630; Passavant, V, 88,
p(er) esercitar la merca(n)tia vi co(n)corrano: no. 66; R. Almagià, « La carta d'Italia di G. Vavassore »,
q(ue)sta citta siha seta(n)ta due parochie & qua- Bibliofilia , XVI, 1914, 81 ff.; id., « Il mappamondo di G. A.
Vavassore », Rivista geografica italiana , XXVII, 1920, 20;
ra(n)/tavno monasterio: Questa citta ha vno L. H. Bagrow, G. A. di Vavassore , Jenkintown, Pa., 1939,
arsenal di circoito di miglia tre & tutto di mu- no. 17; R. Almagià, Monumenta cartographica vaticana , Va-
tican City, 1944-1955, I, 63, no. 22; op. cit. , II, 79 ff.; F.
ro circondato/nel quale co(n)tinuame(n)te qua- Borroni, « La pianta di Venezia del Guadagnino », Bibliofilia,
troce(no)to homeni lauorano di(n)torno ale cose LXXI, 1969, 265 ff.
maritime: & iuisono in qu(e)sto) arsenal du- Figs. 14-15. 5.
ce(n)to galee q(ua)si co(m)piute senza legni
minuti & ciascuno a(n)no questa republica
ma(n)da i(n)traffi/co molte naue e galee p(er)le-
q(u)ale vna gra(n)dissima qua(n)tita de ducati
cauano di gabella & di vinosale / & altre
grasse i(n)modo che asce(n)dano ha do miglioni
di ducati: q(ue)sta no(n) e sottoposta alla legge
i(m)pereale map(er)se medesia sigouerna / laus
deo
(around the perimeter, clockwise from top cen-
tre); S EPTENTRIONE ; VOLTVRNVS; SVBSOLA-

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
II Ill
THE BORDONE PLAN THE GUEROULT PLAN
1. (above the plan, letterpress): Venetia.

1. (upper left centre, in a tablet): vinegia.
(around the lagoon, clockwise from the (ontop):
the verso, letterpress): legend of 71 place
t G; t; S; O; A; P; M. names, inc., A La Piaza de S. Marco, fin.,
HHHH Terra ferma.
230 X 328. Woodcut. Surrounded by an elaborate picture frame,
inscribed: A Lyon, chez Balthazar Arnoullet,
1551.
Anonymous. Published in: Benedetto Bordone,
Libro di Benedetto Bordone nel qual si ragiona
162anti-
de tutte l'isole del mondo con li lor nomi X 256. Woodcut.
chi & moderni . . ., Venice (Zoppino), 1528,
Anonymous. Reportedly published in: Guillau-
f. xxix v.-xxx r. (Graesse, I, 495). Reprinted
me Gueroult,
unaltered in the editions of 1532, 1534, 1547 Premier livre des figures et pour-
and 1562 (Graesse, loc. cit.). traitz des villes plus illustres et renommees
d'Europe, Lyon (B. Arnoullet), 1552, between
NNE above. From Mestre to the Adriatic, ff.from
16 and 17 (H. L. Baudrier, Bibliographie
Fusina to the Adriatic. There is no scale. lyonnaise, Lyon/Paris, 1895-1921, X, 133 ff.).
The book is known to me only from the
The projection and general topography of the
description by Baudrier {op. cit., 104 ff.), who
city are based on Jacopo de' Barbari's plan writes that its illustrations were identical with
(Cat. No. 1), but the composition is original
those of the volume listed under Cat. No. 9
(see p. 22 above).
below. Only the letterpress superscriptions and
Soranzo, no. 7454; Marinelli, no. 499; Bertelli, no. 1974;
Phillips, I, nos. 162-165, V, no. 5681; R. Almagià, « Intorno the frame with publisher's signature are de-
alle carte e figurazioni annesse airisolario di B. Bordone », scribed by him as differing from the latter
Maso Finiguerra , II, 1937, 170 ff., 183, with preceding
literature. See also: B. Bordone, Libro de tutte . . . l'isole del book. It has not been possible to trace
mondo, with an introduction by R. A. Skelton, Amsterdam Baudrier's own copy of the volume, nor have
(Theatrum Orbis Terrarum , Series 3, I), 1966.
I been able to locate any other copies.
Fig. 16. 6- The privilege for the book was granted on 5th
December, 1550. The illustrations were printed
in 1551.
2. (top centre): regina pvrificationis avri

SCHEMA EST.
NNE above. From Mestre to the Adriatic, from
the mouth of the Brenta to Due Castelli. There
is no scale. The source of Gueroult's plan is
142 X 237. Woodcut.
unknown (see pp. 22-23 above).
8.
Anonymous. Published in: J. A. Pantheus,
V oarchadumia contra alchimiam: Ars distincta
ab Archimia, & Sophia : cum Additionibus :
l.ii. opportu-
(above the plan, letterpress): La ville de
Proportionibus : Numéris: & FigurisVenise.
nis, Venice (n. p.), 1530, 4-5 (Graesse, V,
122). (on the verso, letterpress): legend of 71 place
names as in 1., entitled, Les lieux principaux
notez de la presente ville de Venise.
A coarsened and reduced copy of the Bordone
plan (1. above), with place names latinized. Published in: Guillaume Gueroult, Epitome de
Soranzo, no. 7453. 7. la corographie d'Europe illustré des pourtraitz

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
des villes plus renommees d'icelle, Lyoncertiori

(B. fedei scriptorum traditionem describun-
Arnoullet), 1553, 37 (H. L. Baudrier, Biblio-
tur omnium habitabilis orbis partium situs . . .,
graphie lyonnaise, Lyon/Paris, 1895-1921,Basel
X, (H. Petri), 1550, 158-159 (K. H. Bur-
137). meister, Sebastian Münster , Wiesbaden, 1964,
no. 87).
Fig. 17. 9.
Reprinted unchanged in the editions of 1552
et seqq. (cf. Burmeister, op. cit.).
1. iii. (across the top):
A coarse copy of Gueroulťs Pourtrai
plan or prototype
Cité de Venise.
(see 1. above).
(beneath the plan): legend of 69 place names Bartsch, IX, 211, no. 4; Marinelli, no. 5206 S. V. Hantsch,
in seven lines of letterpress, entitled, Les lieux « S. Münster - Leben, Werk, wissenschaftliche Bedeutung »,
K. Sächsische Gesell, d. Wissenschaften, Abhandlung, philol-
Principaux notez de la magnifique & opulente histor. Classe , XVIII, 1898, iii, 65-66; Bachmann, part I,
Ville & Cité de Venise; inc., A. La Piaza deno. 2183; Bertarelli, no. 1976.
S. Marco, fin., HHHH Terra ferma. 11.
(around the plan): a rich frame with satyr
heads at the four corners and cartouches above
and below bearing the following inscriptions,
2. ii. (above the top margin, letterpress): Contra-
(above) venise, (below) lean d'Ogerolles. fehung der furnemmen statt Venedig sampt den
umbligenden inseln.
265 X 325 (including the frame: the plan alone
as in 1. above). Woodcut. Reprinted from the same block, the letterpress
inscriptions translated into German. Published
Published in: Antoine du Pinet, Planíz Povr- in: S. Münster, Cosmographei oder Beschrei-
traitz et Descriptions de plvsieurs Villes etbung aller Laender . . ., Basel (H. Petri), 1550,
Forteresses, tant de l'Evrope, Asie, & Afrique' 188-189 (K. H. Burmeister, Sebastian Münster,
que des Indes, & terres neuues, Lyon ( J. d'Oge- Wiesbaden, 1964, no. 70).
rolles), 1564, 168-169 (British Museum, ShortS. Münster, Cosmographei 1550, with an Introduction by
R. Oehme, Amsterdam ( Mirror of the World, Ser. I, V) 1968.
Title Catalogue of Books printed in France . . .
12.
from 1470 to 1600, London, 1924, 145).
10.
2. iii. (above the top margin, letterpress): La cité

de Venise tres ample & maritime auec plusieurs
2. (above the top margin, letterpress): Venetia- iles qui sont a l'enuiron.
rum amplissima & maritima urbs, cum multis
circumiacentibus insulis. Reprinted from the same block, the letterpress
(in a box, lower left centre, letterpress): seven inscriptions translated into French. Published
lines of descriptive text, inc., Venetiaru(m) ci- in: S. Münster, La cosmographie vniver selle,
uitas habet in circuitu, fin., Reliqua patent excontenant la situation de toutes les parties du
pietura ipsa. monde . . ., n.p. (Basel, H. Petri), 1552, 164-
(in a box, lower right centre, letterpress): seven 165; reprinted unchanged in the edition ot
lines of descriptive text, inc., Habet urbs Ve- Basel, 1556; copied in the edition of Paris,
netiaru(m) parrochias 62, fin., & per omnes 1575 (K. H. Burmeister, Sebastian Münster,
regiones circumferuntur. Wiesbaden, 1964, no. 92).
13.
246 X 387 to the margin. Woodcut.
Signed by Master -CS- (near the horse, lower2. iv. (above the top margin, letterpress): L'am-
left). Published in: Sebastian Münster, Cosmo-pissima marina città di Vinegia con molte isole
graphiae universalis Liber VI in quibus iuxta che lestanno datorno.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
Reprinted from the same block in the edition

Reprinted from the same block with letterpress
of 1608.
inscriptions translated into Italian. Published
in: S. Münster, Sei libri della cosmografia uni-
versale, . . . secondo che n'hanno parlato A crude reduction of Münster's illustration
i più
(2.i. - 2.iv. above).
veraci scrittori . . ., Basel (H. Petri), 1558,
180-181 (K. H. Burmeister, Sebastian Münster,
Bachmann, 13-14, and part I, no. 2183 (erroneously listed
Wiesbaden, 1964, no. 99). among copies of the Hogenberg plan, Cat. No. 42).
Copied in the editions of Cologne, 1575, and 16.

Venice, n.d. (ca. 1575) (cf. Burmeister, op.
cit.).
14. 2. iv. C. Untitled.
71 X 95. Woodcut.
2. iv. A. Untitled.
Anonymous. Published in: J. Rauw (Ravius):
Cosmographia, das ist eine schöne richtige und
70 X 95. Woodcut.
vollkommene Beschreibung des göttlichen
Geschöpffs . . ., Frankfurt a/M, (N. Basse),
Anonymous. Published in: Abraham Saur, 1597, 240 (Graesse, VI, 38 - a later edition).
Theatrum Vrbium, war haf f tige Contrafeytung Reprinted from the same block in the editions
und Summarische Beschreibung vast aller Vor- of 1607, 1612, and 1624.
nehmen und namhaftigen Stätten, Frankfurt
a/M (N. Basse), 1595, 173 (British Museum, A crude reduction of Münster's illustration
Catalogue of Printed Books ... to 1955, Lon- (2.i. - 2.iv. above).
don, 1959-66, CCXIII, col. 598). Bachmann, 13-14, and part I, no. 2183 (erroneously listed
Reprinted from the same block in the editions among copies of the Hogenberg plan, Git. No. 42).
of 1610 and 1658. N.b. the earlier version of
17.
this book, written by W. Jobst and published
1581, 1585 and 1587, lacks this plan. Saur's
version was first published 1590 and reprinted
3. (top centre): venetia.
1593. It is unknown to me whether the plan
(around the perimeter, clockwise from top
of Venice appears in the first and second
editions.
centre): tramontana; levante; ostro; po-
nente.
A crude reduction of Münster's illustration (beneath the plan): legend of 111 place
in eight columns, numbered 1-105 an
(2.i.-2.iv. above).
inc., 1. La piazza di .S. Marco, fin., Po
Bachmann, 13-14, and part I, no. 2183 (erroneously listed Malamocco. / In Venetia L'Anno . M
among copies of the Hogenberg plan, Cat. No. 42).
LXVII. / Jn mezaria all'insegna della
15. lonna.
193 X 269. Engraving.

2. iv. B. (top centre): venetia.
Engraved by Paolo Furlani (active 1561-1577,
69 X 94. Woodcut. « all'insegna della Colonna »; Thieme Becker,
XII, 599). Published in: Il primo libro delle
Anonymous. Published in: Adrianus Romanus, citta, et fortezze principali del mondo, Venice
Parvum theatrum urbium, sive urbium praeci- (P. Furlani), 1567 (this book is otherwise
puarum totius orbis descriptio . . ., Frankfurt undescribed; the only copy known to me is in
a/M (N. Massaeus), 1595, 208 (Phillips, III, the Kartensammlung of the österreichische
no. 3296 - a later edition). Nationalbibliothek) .

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
Anonymous (4). Published in: Civitatum ali-

Reprinted without change in: Giulio Ballino,
Civitatum Aliquot Insigniorum, et locorum,
quot insigniorum et locorum magis munitorum
magis munitorum exacta delineatio : Cum exacta delineatio cum additione aliquot Insu-
larum principalium. Disegni di alcune più illu-
omnium quae ad eorum historiam pertinent,
stri città et fortezze del mondo con aggionta di
breui enarratione. Disegni di alcune più illustri
citta, et fortezze del mondo, con una breue
alcune Isole principali, Venice (Ferrando Ber-
historia delle cose, a loro pertinenti, Venicetelli),
(B. 1568, pl. (26) (Bachmann, 285, nos. 2-3,
Zalterij), 1568 (G. H. Beans, A collection which
of are the same book; the only exemplar
known to me is in the Biblioteca Nazionale,
maps . . . 1568, Jenkintown, 1948; the exem-
Naples).
plar described by Beans now in the John Carter
Brown Library, Providence, Rhode Island).
A close copy of the Gueroult plan (1. above),
Reprinted again in: Giulio Ballino, De' Disegni
except that an extra strip of land is added on
delle più illvstri città et fortezze del mondo,
parte I nella quale ne contiene cinquanta-,the
conleft, and details such as trees, houses, and
a boat shed (at Fusina) animate the landscape.
una breue historia delle origini et accidenti
loro . . ., Venice (B. Zalterio), 1569, pl. Bachmann,
(14) 348, no. 1149 (?).
(Phillips V, no. 5387; Bachmann, 286, no. 4; 20.
n.b. Graesse, I, 283, erroneously prints the
date as 1560) (3). For the publisher, Bolognino
Zaltieri, see pp. 25-26 above.
A close, but simplified copy of the plan (beneath the plan): legend of 78 place names
published by Gueroult (1. above). in eight columns, inc. , A La piazza di S. Marco.,
fin., NNNN S. Nicolo de Lio.
Bachmann, 348, no. 1148.
18.
Anonymous. Published in: Le vere imagini et

3. A. Untitled.
descritioni delle più nobilli citta del mondo.
Verae illustrissimae cuiusq{ue) urbis imagines
172 X 248. Woodcut. nunc primu(m) typis impressae. Illustri ac ge-
neroso heroi D. Ioanni Fuggero . . . dicatae,
Anonymous. Published in: Leandro Alberti, Venice (Donato Bertelli), 1569 (Bachmann,
285, no. 3-A; the only exemplar known to me
Isole appartenenti all'Italia, Venice (Avanzi),
1567 (Graesse, I, 52). in the Fine Arts Library, Univ. of Pennsylvania,
Reprinted in the editions of 1568, 1588, Philadelphia).
and
1596. Reprinted without change in: Civitatvm ali-
qvot insigniorvm et locor{um) magis munito-
A reduced copy of Furlani's plan (3. above). r(um) exacta delineatio. Cum additione aliquot
Marinelli, no. 541.
Insularum principalium. Disegni di alcune più
illustri citta et fortezze del mondo, con ag-
19.
giùnta di alcune Isole principali, Venice (Do-
nato Bertelli), 1574, pl. 2 (LeBlanc, I, 307;
Bachmann, 286, no. 7) (5).
4. (top centre): venetia. Reprinted without change on a large flyer,
(beneath the plan): legend of 84 place names listing the Doges of Venice and important dates
in eight columns, inc., A Lapiaza di S. Marco., in her history, entitled: LA città di venetia
fin., SSSS Santa Agnese. / Con l'Origine, & governo di quella, / Et i
Dogi che visono stati, & tutte le cose notabili,
198 X 309. Engraving. che di tempo in tempo vi sono auuenute dal

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
principio / della sua edificatione sino Aà reduced

questi copy of either the Furlani or the
tempi, così accomodata / da gio. Nicolo Ferrando
do- Bertelli pian (resp. 3. and 4. above).
glioni. It is signed, below the bottom margin: 23.
In Veneria appresso Andrea Bertelli alla Li-
braria di San Marco. 1594. Con Priuilegio. (Ci-
cogna, no. 4468; the only exemplar known
6. A. (top centre): venetia.
to me at Chicago, Newberry Library, Novacco
Collection). 110 X 150. Engraving.
The publishers, Andrea and Donato Bertelli,
who issued the last two books and the flyer Anonymous. Published in later editions of Por-
above, were members of a dynasty of print cacchi's Isole più famose del mondo, Venice
publishers and sellers. The name of Donato (S. Galignano), 1576, 1590, 1604, 1605, and
appears most often on the productions of the Padua, 1620, oppos. 65 (Phillips, I, nos.
firm, the « libraria al segno di S. Marco in 167-169, III, nos. 3327-3328).
merzaria », during the years 1568-1574. But
a certain Ferrando preceded, and Andrea fol- A copy of Porro's illustration for the editio
lowed him there. (See: Cat. Nos. 20, 26, and princeps.
47; Pastorello, 8; Thieme-Becker, III, 487 ff.). Marinelli, no. 706; Bertarelli, no. 1977.
24.
A reduced copy of the Gueroult plan ( 1 . above),
or possibly a copy of Furlani's derivation there-
from (3. above). 6. B. Untitled.
Bachmann, 348, nos. 1153 and 1154 (identical).
140 X 100. Woodcut.
81.
Anonymous. Published in: J. Mandeville, Voya-

ges and travailes, London, 1632, frontisp.
5. ii. Engraved legend cut off; same legend added 25.
beneath plate in seven columns of letterpress,
signed (beneath the last column of the legend):
In Venetia alia Libraria del segno de S. Marco.
In Merzaria. (around the perimeter, clockwise from top
centre): Tramontana, Leuante, Ostro, Ponente,
56 X 263 (the field of the added letterpress). (beneath the plan): legend of 111 place names
in ten columns, numbered 1-105 and A-F, inc.,
The address is that of the Bertelli publishing 1. La piaza de .s. Marco, fin., F Porto di Ma-
house (see Cat. No. 21 above). lamocco.
Milan (vol. EE 46 - tav. 92); Munich (Staatsbibliothek,
Kartensammlung, Mappe XIV, 95b [trimmed]). 181 X 269. Engraving.
22.
Anonymous. Published in: Le vere imagini et
descritioni delle più nobilli citta del mondo.
Verae illustrissimae cuiusq{ue) urbis imagines
6. (top centre): citta di venetia. nunc primu(m) typis impressae. Illustri ac ge-
neroso heroi D. Ioanni Fuggero . . . dicatae,
104 X 142. Engraving. Venice (Donato Bertelli), 1578 (Thieme Becker,
III, 487 - n.b. the title page is printed from the
By Girolamo Porro. Published in: Tommasosame plate as the title page of the 1569 collec-
Porcacchi, L'isole piv famose del mondo, Veni- tion listed under 5. above, only the date of
ce (G. Porro), 1572, 1 (Phillips, I, no. 166). which has been altered).

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
Also inserted occasionally in: (G. F. Camodo),

A copy of either the Furlani plan (3. above),
Isole famose porti fortezze e terre marittime
the Ferrando Bertelli plan of 1568 (4. above),
sottoposte alla Ser.ma Sig."a di Venetia . or the
. . et al Donato Bertelli plan of 1569 (5. above).
Sig.or Turco, Venice (Donato Bertelli), n.d.
Soranzo, no. 7456. A. Almagià, « Intorno all'opera cartografica
(Phillips, III, no. 3975; R. Gallo, «diG.
N. F.
Bonifacio », Archivio storico per la Dalmazia , XIV,
1933, 485.
Camocio », Imago Mundi , VII, 1950, 97) (6).
28.
For Bertelli, cf. Cat. No. 21 above.
A copy of either the plan in the Ferrando Ber-

telli collection of 1568 (4. above) 10.
or(top centre): venetia.
more
(lower centre): compass.
probably that by Furlani (3. above), with whose
(beneath the plan): legend of 107 place names
legend and inscriptions it agrees.
in ten columns, inc., 1 la Plaza de S. marco,
Bachmann, 348, no. 1153.
fin., 107 Cristofollo.
26. (beneath the bottom margin, centre right):
martinus rota fecit.
(beneath the plan): legend of 75 placeEngraved
names by Martino Rota (ca. 1520-1583;
in twelve columns, inc. , 1. S: Marx blatz, fin.,
Thieme Becker, XXIX, 82). Published in: Rac-
75 S : franc0 bae deserto / B.I.
colta di le piv illvstri et famose citta di tvtto
il mondo, n. p. (Venice, F. Valegio), n.d.
242 X 355. Engraving. (Phillips, V, no. 5390). For the date, n.b. that
Valegio's dated work spans the epoch 1597-
1621 (Thieme Becker, XXXIV, 71) (8).
Engraved by Balthasar Jenichen (1563-1592;
Nagler, I, no. 1896) (7). Reprinted in: Nuova raccolta di tutte le più
illustri et famose citta di tutto il mondo, Venice
A copy of Gueroulťs plan (1. above). (D. Rasicoti), n.d. (Bachmann, 286, no. 8; Ma-
West Berlin; London (Maps, 22670. 12); New Haven, rinelli, no. 953); and Teatro delle più illustri
Conn.
(Yale Univ., Maps, small, *40 am V 55 1565). et famose citta del mondo, Venice (D. Rasico-
ti),peintre
Passavant, IV, 203, no. 61; A. Andresen, Der deutsche n.d. (British Museum, Catal. of Printed
graveur y Leipzig, 1872, II, 193, no. 282; Bachmann, 348,
no. 1155 (?). Maps, s.v. Rasciotti) (9).
27.
A coarse copy of the plan from the collection
of either Ferrando Bertelli (1568) or Donato
Bertelli (1578; resp. 4. and 7. above).
9. (lower right, in a shield): venetia. Marinelli, no. 953; Bertarelli, no. 1978; L. Donati, « Alcune
(beneath the plan): legend of 20 placestampe
namessconosciute di M. Rota », Archivio storico per la
Dalmazia , XIII, 1932, 2 ff., illus.; Bachmann, part I, no. 2183.
in three columns of letterpress, inc. , A Piazza
di S. Marco., fin., V S. Helena. 29.
89 X 124 the plan alone. Engraving.

Engraved by Natale Bonifacio. Published in:
G. Zuallardo, Devotissimo Viaggio di Gierusa-
lemme . . . in sei Libri, Rome (D. Basa) 1587,
again 1595, 64 (C. Castellani, Catal. ragionato
Anonymous. Published in: Raccolta delle prin-
d. più . . . importanti opere geografiche cipali
. . . città
del d'Italia intagliate con tvtte le con-
Collegio Romano, Rome, 1876, 193 ff.); trade,
Rome e Palazzi di esse . . . , Rome (Batt. de
(F. Zanetti and G. Ruffinelli), 1587, 64. Rossi in piazza nauona), 1643, pl. (10).

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
11. B. (top
An exact copy of Rota's print, omitting com-centre): venetia.
pass, numbers and legend. (top left): shield bearing lion of St. Mark,
30. (bottom centre right): In Padua p(er) Mattio
Cadorin.

Anonymous. Published in: Francesco Scoto,
(top left): shield bearing lion of St. Mark.
Itinerario overo nova descrittione . . . d'Italia,
123 X 181. Engraving. Padua (F. Bolzonetta), 1610, facing p. 10 (E.
S. de Beer, « Fr. Schotťs Itinerario d'Italia »,
Anonymous. Published in: Pietro Bertelli,
The Library, Ser. 4, XXIII, 1942, 70ff., cat.
Theatrum vrbium italicarum, Veniceno. (Pietro
II, 1.).
Bertelli), 1599, no. (1) (LeBlanc, I, 314; This plate or copies of it reappear in all of
Bachmann, 286, no. 9). the 22 Italian editions of the book issued by
Reprinted in: Teatro delle Città d'Italia con various editors and publishers at Padua, Veni-
le sue figure ... in rame, & descrittioni di esse ce, Vicenza and Rome; it would be tedious to
nuouamente tradotto di latino in toscano , Vi- list them all here (cf. De Beer's catalogue, op.
cenza (D. Amadio), 1616 (LeBlanc, loc. cit.-, cit.', Marinelli, nos. 799, 951; Bertarelli, no.
Bachmann, loc. cit.). 1988).
A coarse, reduced copy of the plan published A close copy of the plate from Pietro Bertelli's
either by Furlani, Porcacchi or Valegio (resp. collection.
3., 6., and 10. above). 33.
31.
H.A. (top centre): venetia.

(top left): shield bearing lion of St. Mark,
(bottom right): F.
Engraved by Master F (Francesco Bertelli?).

Published in the reissue of the above collec-
tion: Pietro Bertelli, Theatro delle città d'Ita-
lia. 3a impressione accresciuta di nova aggiunta
di molte figure e dichiarationi, Padua (Fran-
cesco Bertelli), 1629, pl. (41) (Le Blanc, I,
309; Bachmann, 286, no. 10).
Reprinted in the edition of Padua (Francesco
Bertelli), 1638.
An edition of Rome, 1629, is cited by J. Meyer
{Allgemeines Künstlerlexikon, Leipzig, 1878-
1885, III, 703) and Le Blanc (I, 314), but
no exemplars of it are known to me.
Bertarelli, no. 1983.
32.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
IV (in a box, bottom left corner, letterpress):

THE LARGE PAGAN PLAN MATHIO PAGAN A I LETTORI. / VINEGIA e posta
sotto il Sesto Clima nel sino Adriatico. / Il
suo Principio fu l'Anno di nostra uniuersal
Salute quattro/cento, & uent'uno, il uentesi-
moquinto
1. (top centre, in two ribbons): venetia; mv- di Marzo. Il circuito / di questa
rano. Citta non eccede otto miglia: essa e posta nel
(around the perimeter, clockwise mezzo
from /topd'uno Lacume, & da molte belle
centre): tramontana; Grego; Leuante;Isolette circondata il quale / dalla parte
Siroc-
co; Ponente; Maistro. d'Oriente e difeso dalla tempestosa furia del
mare da
(in a box, top right corner, letterpress): un'argine, / che chiamano il Lito, dalla
mathio
pagan A i lettori. / sì come l'hortolano, che
Natura produtto, di longhezza di miglia tren-/
per aggradirsi al su/ Signore, Sc pertacinque, & ha quasi forma di arco, & in cinque
mostrargli
parti si
quanto suol produr-/ re il suogiardino uae rac-
aperto, & ciascu-/ na apertura ha uno
cogliendo sopra diuersi / arlboriipiu belli,
porto alla Citta accommodato, fra quali e una
piusoaui & saporini frutti che /doue
un /buello
sono i duoi Castelli, indi miglia cinque
ritrouar si possono, & quegli ornatilontano
/ diebel-
posto quel di Malamoc-/co, & l'ulti-
lissimi fiori, & uerdi foglie, con lieto
mo e uiso
quello fa
di Chiozza. D'intorno a questa Citta
uisono uen-/ticinque
grato, & / honorato duono al suo Patrone mo- Isolette quasi tutte da
strandogli apertamente, / che quello la terra
persone Religiose habítate. La Citta e di-/ scosta
da que-/gli.
produce fa solo ad utile, & gloria di terra ferma miglia cinque, & il Lito tre.
Cosi l'infallibile mastra natura udendo farCitta
Questa un e diuisa in / sei parti, che Sestieri
ricco, & / perpetuo dono al mondo si accolse
chiamano, daha settantadue contrade doue sono
tutte le parti di quello: / non altrimenti
su-/perbiche& bellissimi edificii. I Monasterii so-
facesse Zeusi l'imagin di Giunone: le più/
no quarantaquattro, tra quali ui / sono uenti di
belle, più sublime, & più honoráteFrati,parti
e'1 che
rimanente di Monache, & quante stra-
trouar potesse, / & fattone di tutte de tiene tanti / riuuli, che Canali si chiamano
un corpo
in se contiene
solo elesse il più ameno, più tran/quillo, & di modo che non e luoco, che /
dilettoso luoco della terra, & fattone di per
si uadi tutte
terra, che per acqua andar non ui
insie/me un corpo solo miracolosamente
si possa, & in
e tutta da detti ca/nali diuisa, li
mezzo l'onde marine / compose che e con
quali questa
ponti di pietra, & di legno si passano,
gloriosa Citta di vinegia, la / quale& non
sono senza
tra / publici & priuati 450. Ol tra i
gran misterio fu creata il celebre, &sudditi
solenneeui /
il canal che diuide la Citta in due /
giorno in cui piacque all'eterno iddio
parti,incar-
& ha nel mezzo un ponte di legno grande
narsi nell'- / humilissima Vergine,
con
& botteghe
sopra il poste sopra / di lui, il quale sta
quasiprecio-
duro legno della Croce spar/gere il suo posto in mezzo la Citta, & e nominato il
ponte di//di
síssimo Sangue, che fu il uentesimoquinto Rialto. Questo canale e di longhezza
Marzo, accio che la miracolosa creatione
di più didi lei & trecento passi, & / in tredici
mille,
luoghia con
fosse am-/pla cagione di perpetua Salute barche che per questo stanno ui si
tutto
l'uniuerso potendosi / poi sicuramente
traghetta.
trascor-Sono di / sorte diuisi l'uno dall'altro
rere quel mare che già tanti anni a die-/
che comodamente
tro fu serue a chi passar uuole, non
innauicabile, & periglioso, & come diessendo
/ ui luoco, altro ponte di questo, la sua lar-
& prima / d'intorno habitato da rozzi
ghezza popoli
e dintorno a passi qua-/ ranta tutta ador-
na dialcuna,
senza leggi, senza armi, / & senza uirtu bellissimi, & honorati palazzi. Appresso
cosi hora e da intelletti celeberrimi, ui
& /sono da / dieci miglia barche, & più che
illustri,
da leggi santissime, & diuine d'armi sempre stanno a seruigii. Questa Citta ha / uno
inuincibili,
& for/ti, & d'ogni uertu, & lodeuole costume
Arsenale di circuito di miglia tre tutto di muro
armato, & famoso. / In Vinegia circondato,
per Mathio nel quale / continuamente lauorano
più di
Pagan, in Frezaría. / All'insegna della quattrocento
Fede. / huomini, d'intorno alle
M . D . LIX . co-/se maritime, & ha di spesa più di ducati

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
JuERGEN Schulz - THE PRINTED PLANS AND PANORAMIC VIEWS OF VENICE gj
mille, & trecento alla settimana. De/gli habi- principio di que/ sta miracolosa fabrica ( c
tanti, costumi loro, sito & altre cose partico- Venita) & tutti quasi si acordano che
laridicemmo nel no/stro Libretto intitolato le principio fosse a 25. di, Marzo il giorno
BELLEZZE DI VINEGIA (10). l'Annontione di Nostra / Donna, l'anno
nostra salute. 4<$1 pero io dico che chr
770 X 1652 (twelve sheets of ca. 385 x 275). questa magni/fica Citta da piccioli pricip
Woodcut. l,vso della mercantia '& per le cose di m
Doue lei p(er) la incredibile fortezza di
Possibly engraved as well as published by Mat- stimata, & beata, & marauigliosa s/opra l'al
teo Pagan (active 1538-1562 both as wood- percioche cinta delle palludi dell'Adriati
cutter and publisher; cf. Pastorello, 63; L. H. perciò sicura da t/utte gl'ingurie de nemic
Bagrow, Matheo Vagano, Jenkintown, 1940 - conseruato ne pericolosi te(m)pi, gli ant
n.b., the present plan was unknown to Bagrow). thesor/i raunati nella domestica pace, perc
da terra non è stata aperta niun via / esse
NNE above. From Mestre to Chioggia, from in mezo vn golfo de cinque miglia, ne men
Fusina to Due Castelli. verso il mare, per ris/petto de gli oscu
There is no scale (approx. scale on a N-S axis, bassi guadi, queli sono solo connsciuti pe
1: 5200, on an E-W axis, 1: 2050). da gli ha/bitatori. Sono i Veniti nell'vniu
East Berlin (n). grauidi consigilo, saldi ne giudicii, co/ns
R. Almagià, La carta dei paesi danubiani e delle regioni con- nela fartuna aduersa, & nell'altra no(n
termini ... di J. Gastaldo y Vatican City, 1939, 11. disordinati. Et haue(n)do tutti /vn mede
Figs. 18-24. 34. & ircridibile desiderio, di co(n)seruare l
bertà, & di acrescere lo / stato, dicono il p
in Senato liberalme(n)te, & spesse volte m
animosame(n)t/e mai lasciano crescere te
1 . ii. The legends (bottom left, top right) rese
rariamente, ne farsi grandi, & illustri
Texts and settings are nearly identical, line fo
de' n/obili loro, & co(n) queste vsanzeha
line, with those of the first state. The onl
sin hora gouernato la Rep loro, senza qu
changes are the substitution generally of th
troua
letter V for consonantal glio alcuno
'u', sentire delle intrinsich
insertion of new
diuioni. La oude la noailità / istessa, valo
punctuation marks, and omission of Pagan'
name in titles andmente essequiscetnuti gli vfiicii de i negot
signatures. Thus, bot
della discipli/nanauale, & sdogliatosi le t
legends are now simply entitled: A i lettor
prende l'armi. Ha questa nobilss, Città sog/
The signature of the legend top right (last thr
ta a lei in mare gli lustri, i Crouati, la dalm
lines) now reads: In Vinegia per Francesco d
la Sciauonia & molte nob/ili Citua della
Tomaso di Salo / e compagni All'insegna del
Fede. / in Frezaría cia, M. ancora l'sole di Corfu, Cipro, & Cand
D. LXVII.
aļtri luoch/i. Dipoi in terra ferma, pad
East Berlin.
Triuigi, Viceuza. Verona, perschiera, Bre
Laguna di Venezia , pl. (8).
Bergamo, & Crema, & la patria del Fdri
35.
molti altriluochi, Questa citta / è diuisa
parti, che Sestieri si chiamano, Diutorn
essa euui 25. Isolet/e quasi tutte da Reg
2. (top centre, in two Habítate, la citta ha 72.venetia;
ribbons): parecchie, & dinm
rano. a 40/monasterii tía fatti & monache. D
(around the perimeter, clockwise non from top
vi luogo che vi fi vadi per terra, c/he
centre); tramontana.; Grego.; Leuante;
vi si vadiSi-
anco per barcha per icauali, li
rocco.; ostro; Ponente.; Maistro. si passano co(n) ponti, il nu/mero de qu
(in a box, lower left, letterpress):infinito
DomenicoEuui poi il canal grande, che diu
citta in
de' FRANCESCHI A' LETTORI .S. / Dicono dusia / quai si passa con vn pon
alcu-
ni, che doue è hora la Ceiesa di S. Marco fu il il po(n)te de Rialo. Questo ca
legno detto

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
lun/go circa 1300. pass, & in trediciluochi, V

co(n)barche vi sii tragetta. Appresso vu è d/a THE SMALL PAGAN PLAN
diecimilia barche, & più che seruino ad ogn vno.
Euui anco vn, Arsenale, il/ più miracoloso
c'hoggidi si ritroui, di circuito di miglia tre
1. ii. de'
cinto di mura. / In Venetia, per Domenico (top centre, in two ribbons, one above the
other):
Franceschi in Frezzaria all'insegna / della Re- mvrano; venetia.
gina. M D L X mu. (in the margin, top left and right corners
resp.): M ; P.
(outside the box, at its lower right corner):
(around the perimeter, clockwise from top cen-
VOA tre): tramontana; greco; levante; siro-
CHO; ostro; garbino; ponente; maistro.
573 X 1200 (six sheets of 281/287 x 398/404).
(in a box, bottom right, letterpress): allí let
Woodcut. tori. / Fv Sempre costume di ciascuno c'h
pigliato l'impresa di scriuere delle cose / locali,
e specialmente della Cortografia narrare il sito
Engraved by Master I- C* A: , who is otherwise
unknown. Published by Domenico de' Fran-1 'edificación di tal luo-/co, la sua origine, g
ceschi (active 1557-1586; Pastorello, 28).
habitanti, e la felicità del paese, e quando il
luoco di cui / si ragiona è incognito, ali hora s
There is no scale (approx. scale on a N-S axis, in far più piano l'occhio, & la men-/ te
estende
1: 6550, on an E-W axis, 1:2920). di chi guarda, ò legge. Io aduuque hauendou
(come vedete) descritta vi-/negia, ch'è lo splen
dore del mondo, non mi faticarò di uoler dar
A close copy on a reduced scale of Pagan's
large plan (1. above), with a few noteworthy
par-/ ticolar notitia di lei, essendo assai à bastan
changes (see p. 25 above). za da per se notabile, ma solo per ischiara
Stockholm. questa / carta, che ui tenete dauanti esplicar
viNEGiA,
I. Colijn, Magnus Gabriel de la Gardie' s Sämling af Äldre dunque che nel sino Adriatico si de /
Stadsvyer . . Stockholm, 1915, no. 45. sopra il Mare, fu (come vole la più parte) edifi
Figs. 26-27. 36. cata dopo il giorno della nostra Redentione /
MCCCXXI. il XX. di Marzo: i suoi fondatori
furono gli Eneti (come recitò Sesto / Ruffo) da
quai popoli presero il nome che Veneti si chia-
mano. Questa inclita Città è mi-/racolosamente
posta in mezo dell'acqua, e tutti li suoi edificii
sono in quella; l'intorno/ verso Leuante è
d'vn'argine circondata, che si chiama il Lito, il
quai la difende dal furioso / impeto marino.
La Città è diuisa in sei parti nominati Sestieri,
ha LXXII. contradi, & / quante strade vi si
trouano, tanti canali sono, per quai si può me-
desimamente andar, come / per terra, & è diui-
sa tutta da i detti canali, li quali si uarcano con
molti ponti di pietra, e di / legno, quai sono
quattrocento, parte che seruono publicame(n)te
la Città, e parte che priua-/ tamente seruono al-
cune case: oltre a questi ve ne è vn grande,
sopra del quale vi sono mol/ te Boteghe, per il
quai si varca il canal grande, che per mezo di-
uide la Città, & non si passa / altroue, se non
con barca. I Monasteri sono quaranta quattro,

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
cendio di Trogia
fra quai ui sono diecinoue / de Frati, e venti-
Mare di Adria edificò vn recinto de mura in
cinque di Monache. Dalla parte di Settentrio-
ne, vi è vn'altra terriciola no-/minata Murano,
sembianza di fortezza nel sito / doue al presen-
tutta simile a Vinegia, oue l'estate vi siteva
sono
perla Catedrale di S. Pietro di Castello
diporto, e però più lungi / vi sono trepoi deto Antenore / con li Eneti populi pas-
altre,
oue medesimamente vi vanno Rettori che le sagoni si straportò in terra ferma nel sito più
gouernano, & si chiamano / Mazorbo, Torcello, epulare / doue al presente edificato Padoa, &
& Burano, di questo si ha detto per hora assai, edificò la sudeta Città poi dalle crudeli / bar-
poi che '1 tempo, e '1 luo-/co cel vieta. Valete. / barie di Atila & altri tiranni venuti in questa
In Veneria, per Francesco de Tomaso di Salò, parte di Italia metendo tut/to a fero è fuoco
e compagni, / in Frezzaria, al segno della Fede, doue da queste tiranide risorsero il fiore di quei
(lower far left): a figure of Faith , labelled, populi così / di Padoua come di altri luochi di
FEDE. Italia di fugirsene in queste lagune doue /
causò la edificacione di questa inclita Regia che
523 X 754 (two sheets of 523 x 377).fù
Wood-
l'anno della incarnatione / del Redentore
cut. Nostro Giesù Christo 421. nata nella Catolicha
Religione, & / le sue prosperità dureranno sino
Second state of a plan engraved by Matteo l'vltimo periodo del Mondo, & si può dar /
Pagan? The initials in the top margin (MP),essa sola quanto di hauersi sempre mantenuta
and the fact that the publishers Francesco di
libera, è di non hauer come gli / Asiri tolto
Tommaso da Salò and Co. acquired Pagan's la libertà dai Medi i Medi a i Persi i Persi a
business soon after the appearance of the Macedoni i Macedoni / a Romani i Romani a
latter's last dated work (1562; cf. L. H. Ba-
Barbari, sola mantenuta sempre libera, & se li
grow, Matheo Vagano , Jenkintown, 1940),poi dir / esterminio de tiranni il fragielo de
suggest that there was a first state of the plan Barbari, & il freno al ardir Ottomano do/ue
published by Pagan himself. Like the largesola nel grembo della Santa Fede che è nata si
plan, it was probably his own handiwork. In hanno mantenuta, & sono / la sua antimurale
fact, the style of figures, trees, hatching anddella Catolicha Religione.
lettering is identical with that of the large plan
Added legend (lower left, in a box): O Veneria
of 1559 (Cat. no. 34). No exemplar of this Città Regi un bel stato / Con fiorite Forteze
first state is known to me, however. è un bel tesoro / Per tutto l'universo nomi-
There are no certain indeces for dating thenato / Che dell'Italia tù sei il Decoro / Il tutto
print. The slightly more mechanical quality ofsopra palli Edificato / Tutto architetti figure è
the landscape detail in the present plan, the straforo / Che ogni uno che questo remira /
fact that some of the buildings are more cor- Stupisce è gode in libertà rispira / Il Vieceri.
rectly shown and that the statistics of theEmendation (near the Dogana da Mar): a single
legend are more precise than in the large one,domed structure looking rather like a tea cozy
suggest that it is later. This would yield a dateinserted on a separate block on the site of
of after 1559 and before ca. 1562. S. Maria della Salute.
NNE above. From Mestre to Chioggia, from

Fusina to the Adriatic. There is no scale. The date of the changes described above is
uncertain - the insertion of S. Maria della Sa-
London (Maps, 22670.11). lute shows in any case that they cannot be
earlier than the second third of the seventeenth
Fig. 25. 37.
century.
Nuremberg (SP 3455).
1. iii. New legend (bottom right,
38.
gine della Inclita Città di Vener
Aurora che comparue di quest
Città causò quan/do Antenore f

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
VI frati, fin., Z Chioza Vescouado e podestaria;

(b) 35 names in one and a half columns, entit-
THE FURLANI COPY
led, NOME DE I RII, OVERO / CANALI PRINCI-
OF MASTER ICA's PLAN
PALI, inc. , I Rio della Trinità, fin., XXXV De
santo Isepo; (c) 171 place names in seven and
a half columns, entitled, tvtte le contrade,
1. (around the perimeter, clockwise from /ouero
top Parochie di Venetia., inc., 1 S. Piero da
centre): tramontana; levante; ostro; po- Castello Patriarcato, fin., 170 Tre porti. / fine.
nente. (n.b. nos. 85, 101, 109 and ff occur between
nos.
(beneath the plan, bottom left, letterpress): 67 and 68;
al the first three are lacking in
sig. Girolamo / MVRARi, / Paolotheir Forlani
properVe-
places).
ronese. / VENETIA Città marauigliosa, Magnifico
355
Sig. mio, / da tutto l'vniuerso per X 728
fama the plan; 98x715 the legend.
cono-
sciuta, & celebrata, / à richiesta di molti honorati
Engraving and letterpress respectively.
Gentil 'huomini con non po/ ca mia diligentia è
stata da me intagliata in rame in /Engraved
questa com-
and (?) published by Paolo Furlani
moda, & picciola forma, acciò che cadau-/no
(active 1561-1577; Thieme Becker, XII, 599).
possi sopra di questa carta intieramente con-
Impressions of this print in the first, second
side-/rarla: hauendo io, à maggior and
instruttione
third states were inserted by Antoine La-
segnate le / Isole con le lettere dell'Alfabetto,
fréri in some of the made-up collections of
& similmente le altre / parti notabili
single con
sheetnu-
maps and plans that he offered
meri, li quali di sotto riscontratifor
dimostrano
sale at his shop in Rome (« Lafréri Atla-
tutte le par-/ticolarità, che l'huomo
ses disidera di It may be identical with the
», cf. Tooley).
sapere. Questa mia fatica, quale essa print/ofsi« sia,
Venetia » listed by him in 1572
ho io voluto mandar fuori sotto l'ombra del
among the « Tavole Moderne di Geografia »
nome di V. Signoria & / per dimostrarle in available at his shop (F. Ehrle, Koma prima di
parte quanto desidero di seruirla, & honorlarla; Sisto V: La pianta ... Du Pérac-Lafréri . . .,
& per / molte altre cagioni, che per hora non Rome, 1908, doc. 12, 1. 127). It is unlikely
accade di scriuere in cosi picciolo, & / breue however that he owned the plate since neither
campo; Ben è vero, che io mi riputerò à fauor his name nor that of any of his successors
singolarissimo, se / questa mia carta sarà da lei appears on known impressions.
accettata con quel generoso animo, che merita /
la molta mia affettione, con laquale io le appre-
NNE at the top. From Mestre to Chioggia,
sento questo picciolo dono; / & veramente from Fusina to Due Castelli. There is no scale
picciolo, se si considera la persona vostra, degna
(approx. scale on a N-S axis, 1: 11,000, on
in vero di / assai maggiore, & più honorato an E-W axis, 1:4,500). A close copy of the
presente; ma grande certo, se si ha rispetto /
plan by Master I- C'A1 (Cat. no. 36 above).
alle mie deboli forze; & grandissimo poi, se si
Leiden (Portf. 300, no. 29 - without legend); Rostock, Uni-
riguarderà all'infinito desi-/derio del cor mio, versitätsbibl. (Lafréri Atlas. Q.k. 3., pl. 18).
in seruire, & honoráre la molta cortesia di V.
Signoria, / nella buona gratia dellaquale, pre- Fig. 28. 39.
gando Nostro Signor Dio, che feliciti/ ogni
sua voglia, quanto posso, & debbo mi racco-
mando. Di Venetia / del Mese di Decembre 1. ii. Title added (to
M. D. LXV. touche): venetia /
(beneath the plan, to the right of the dedica- gnini / ZALTERII.
tion, letterpress): legend of 230 place namesPlace name adde
island):
in ten columns, consisting of: (a) 24 names in lazaretto
one column, entitled, l'isole che circondan
For
/ venetia., inc. , * S. Georgio ď Alega, vi sono the publisher,

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
publication rights passed with the present

438 x 733 overall; the plan alone remains un-
altered.
state, see pp. 25-26 and Cat. No. 18 above.
Greenwich (Library, Lafréri Atlas no. I [morocco bound],
Chicago; Dillingen, Studienbibliothek (Lafréri Atlas X.122.,
pl. 170); Madrid (Bibl. de Palacio Real, Lafréri Atlas no. II Greenwich (Library, Lafréri Atlas no. II [vellum
pl. 88);
[Map. 454; formerly, Bibl. Particular del Rey, Váriosbound],
14], pl. 62); London (Maps, Lafréri Atlas no. II [C.7.
pl. 81). e.2.], pl. 66; Royal Geographical Society, Wyld copy of
Tooley, no. 580. Lafréri Atlas, pl. 82); Madrid (Bibl. Nac., Lafréri Atlas Secc.
40. Bellas Artes, Lafréri Atlas, ER 1285, no. 291, pl. 135; Bibl.
de Palacio Real, Lafréri Atlas no. III [Map. 464; formerly,
Bibl. Particular del Rey, Vários 15], pl. 135) (13); Milan (cart.
G-22, no. 4); New Haven (Yale Univ., Sterling Library, Lafréri
Atlas, pl. 105); Nuremberg (SP 3456 - lacking legend); Paris
1. iii. Place names added throughout the plan: (Estampes, vol. Vb-26, unnumbered); Rome (Bibl. Naz. Centr.
Vitt. Emanuele, Lafréri Atlas no. I [71-6-G-l], pl. 103);
CANAL GRANDE, S. GIORGIO D'ALEGA FRATI, Venice (cart. 29, no. XLIV-12).
S. ANZOLO DE CONCORDIA, CANALE DELLA Tooley, nos. 582-583 (referring to the same item) (13);
GIVDECA, LA GIVDECA, CHIOZA VESCOVADO E Bachmann, 348, no. 1152; Laguna di Venezia , pl. (9).
PODESTARIA, MALAMOCHO PODESTARIA, PO- 41.
VEGIA, S. SPIRITO FRATI, S. CLEMENTE FRATI,
S. MARIA DI GRATIA FRATI, S. GEORGIO MAG-
GIORE FRATTI ET BADIA, LAZARETO VECCHIO
2. (outside the left-hand margin): 204 liber
HOSPEDAL DELLA SANITA, S. LAZARO, S. SER- QVINTVS. / VENETAE VRBIS DESCRIPTIO.
VOLO MONACHE, S HELENA FRATI, S ANDREA (around the perimeter, clockwise from top
DA LIO FRATI CERTOSINI, S FRANC0 DEL DE-
SERTO, BVRAN, TORCELO VESCOVADO E PODE- nente.
STARIA, MAZORBO, S. NICOLO DE LIO FRATI,
S. GIACmo DE PALVDO FRATI, MVRAN PODESTA- 171x248 (including ruled border). Woo
RIA, S. MICHIELE FRATI, S. CHRISTOFORO FRA-
TI, S. SEGONDO FRATI. Engraved by Giovanni Chrieger ( = Jo
New legend and dedication, on an engraved Crugher, Johannes Krüger; Thieme Beck
533). Published in: Vitruvius, De archit
plate 178/181x733, (beneath the plan): twelve
libri decern cum commentariis Danielis B
columns of text, consisting of: (a) twenty-three
line dedication, inc., al sig. Girolamo mv- ris, Venice (F. Franciscium Senesem et J
rari, / Paolo Forlani Veronese. / venetia . .gher
. , Germanum), 1567, 204 (British M
fin., Di Venetia del mese di / Aprile .M . Short
D . Title Catalogue of Books Printed
LXVI. (The text of the dedication is identical ly .. . from 1465 to 1600 , London,
735). The author of the woodcut is ide
with that of the first state, except that the date
is changed and that 11. 7-9 [ «le /Isole conin le the introduction (f. a-3 v.).
lettere dell'Alfabetto, & similmente le altre /
parti notabili con numeri»] have been shortenedA simplified and reduced copy of Furlan
[«con numeri le parti più notabili»].) (b)(1. 35 above). The woodcut occurs on the
names in one and a half columns, entitled, page of Vitruvius's Book V, which con
nome de i ru principali, inc., I Rio della civic edifices in general, not Venice. B
Trinità, fin., XXXV De santo Isepo; (c) 181 excursus in praise of Venice by the edito
names in nine and a half columns, entitled, niele Barbaro, closes that book (p. 2
TVTTE le contrade, overo/ Parochie di Ve- may have been the pretext for the illust
netia, ine. , i .S. Piero da Castello Patriarcato,
Direz. Generale d. Poste e Telegrafi, Il Fondaco n
Tedeschi , ed. M. Dazzi, Venice, 1941, pl. VI.
fin., i70 .Tre porti, (n.b. between nos. 36 and
41 bis.
127 there is complete disorder; the numbers
follow one another in the following order,
38-67, 85, 101, 109, ff. 71-84, 86-90, 171,
172, 91-100, 102-104, 173, 105, 174, 175,
106, 37, 37 (sic), 107, 108, 110-121, 176, (beneath the plan): legend of 163 place names
177, 122-124, 68-70, 125, 126, 178, 179). in seven columns, consisting of: (a) 35 place

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
names in one and a half columns, entitled,

197x257. Engraving.
nome de iru principali, inc., I Rio della
Trinita, fin., XXXV De santo Isepo; (b) 128 by Georg Keller (1568-1634; Thie-
Engraved
names in five and a half columns, entitled,
me-Becker, XX, 101 f.).
TUTTE LE CONTRA DE OVERO / Parochie di
NNE above. From Mestre to the Adriatic, from
Venetia, inc., 1 S. Piero da castello patriarcato,
fin., 153 Campalto (n.b. nos. 37, 68 through Fusina to Due Castelli. There is no scale.
70, and 103 through 130 are missing, no. 67
A coarse, simplified copy of Hogenberg's plan
is followed by nos. 85, 101, 109 and ff,(3.and above). The mouths of the Adige and Po
no. 91 is followed by 171, 172). Rivers were probably taken from the plan in
(beneath the plan, between the fourth Münster's
and Cosmographia (Cat. Nos. 11-14
above).
fifth column of the legend): in a s trap work
cartouche, a procession of the Doge and 14 P-19, no. 37); Venice (cart. 29, no. XLIV-8).
Milan (cart.
personages of his entourage, each labelled by
Laguna di Venezia , pl. (13).
name, entitled, Serenissimus Venetorum Dux, 43.
cuius honor perpetuus, hoc habitu è Curia in
publicum procedit, sed raro, cum comitatu
splendido atq(ue) magnifico, vexilla / praefe-
3. A.a. (top centre): ven etia.
runtur octo ex serico, bina cyanea totidem alba,
caetera rubentia, tubae argenteae sex, ulnarum
triu(m), sella, puluinar, vmbraculu(m) aureu, et
fax cum ense.
Engraved by Matthäus Merian the Elder.
Published in: J. P. Abelin ( = J. P. Avity, J. L.
Gottfried), Theatrum Europaeum oder Aus-
Engraved by Frans Hogenberg (active before führliche und Warhafftige Beschreibung aller
1540-1590; Thieme-Becker, XVII, 306und jeder denckwürdiger Geschichten so sich
f.).
Published in: G. Braun and F. Hogenberg, wider in der Welt .. . begeben und
hin und
Civitates orbis terrarum, Cologne/ Antwerp zugetragen haben, Frankfurt a/M (M. Merian),
(resp. T. Graminaeus, P. Gallaeum), 1572, 1635,pl.between 28 and 29 (Graesse, VII, 110).
43 (Koeman, B & H 1; R. A. Skelton, in Braun
and Hogenberg, Civitates orbis terrarumSubstantially
with a copy of Keller's plan of 1607,
an Introduction by R. A. Skelton, Amsterdam with some changes however (e.g., addition of
fortress
(. Mirror of the World), Ser. I, I-III), 1965, I, at S. Nicolò del Lido, asyllabic division
vii f.). of name ven etia) that suggest knowledge of
G. Franco's plan of 1597 (Cat. No. 58 below).
There is no scale. A compressed copy of Fur- Bertarelli, no. 1986; Bachmann, part. I, no. 2183.
lani's plan (1. above). There is some loss of 44.
detail and there are misunderstandings (e.g., in
the representation of SS. Giovanni e Paolo,
Furlani's badly drawn transept has become a
3. B. (top centre): venetia.
freestanding bell tower, by mistaken conglo-
meration with the church's dome). (beneath the plan): legend of 80 place names
in five columns, inc., 1. Canalis maior., fin., 80
Cicogna, no. 4519; Marinelli, no. 562; Bachmann, part I,
no. 2183; Skelton, Appen. C, no. 505 (in Braun and Hogen- Fossa Clodia, hodie Chiozza.
berg, Civitates , ed. Skelton, ub. sup.).
42. 162 X 190. Engraving.
Anonymous. Published in: J. H. Pflaumern,

3. A. (top centre): venetiae. Mercurius italicus hospiti fidus per Italiae prae-
(lower right corner): G. Keller. / A° 1607. cipus regionis . . . , Augsburg (Aspergerus),

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
1625, 10 (Graesse, V, 250). Reprinted un-reduced copy of Furlani's plan (1.

A slightly
changed in the edition of ca. 1650. above).
Chicago; Milan (vol. EE-46, pl. 93).
A reduced, simplified copy of Hogenberg's plan 47.
(3. above).
45.
5. (top centre): vene tia.

3. C. (top centre): venetia. centre): tramontana; levante; ostro; po-
nente.
(beneath the plan): legend of 214 pla
in ten columns, consisting of: (a) 35
Anonymous. Published in: J. Hondius, Nova
one and a half columns, entitled, no
et accurata Italiae hodiernae descriptio, Leiden
principali, inc., I Rio della Trinit
(B. & A. Elsevir), 1627, 348 (Phillips, III,
XXXV De santo jsepo; (b) 179 names
no. 4041).
and a half columns, entitled, tvtt
A reduced and simplified copy of Hogenberg's
trade overo / Parochie di Veneti
plan (3. above). S Piero da castello patriarcato, fin.,
porti (n. b. after no. 36 the numera
46.
ceeds in the following order: 38-67
109, ff, 71-84, 86-90, 171, 172, 9
102-104, 173, 105, 174, 37, 37 (sic), 175,
4. (top centre): vene tia. 166, 107, 108, 110-121, 176, 122, 177, 123,
(around the perimeter, clockwise from top 124, 68-70, 125, 126, 178, 179, 127-130,
centre): tramontana; levante; ostro; po- 138, 131-137, 139-158, 156, 160-167, 170).
nente.
(bottom right): GJacomo franco fecit.
in ten columns plus one line, consisting of:280
369 x 538; (a)x 538 the plan alone. Engrav-
35 place names in one and a half ing. columns,
entitled, nome de irii principali, inc., I Rio
della Trinità, fin., XXXV De santo jsepo.
Engraved (b) Franco (1550-1620;
by Giacomo
181 names in 8 columns plusThieme one line
Becker, XII, 365 ff.), who was also his
entitled, tvtte le contradeovero owndi Venetia
publisher. The plate may have been
Parochie, inc., 1. S. Piero da castello acquiredpatriar-
quite early by Antoine Lafréri at
cato, fin., 170 Tre Porti. (N. b., after Rome. no. 36 the
Impressions of it appear in several of
numeration proceeds in the following the made-uporder:
atlases that were a specialty of his
38-67, 84, 101, 109, ff. 71-84,firm 86-90,
(« Lafréri 171,
Atlases, » cf. Tooley). It was
172, 91-100, 102-104, 173, 105, 174, 37, later the property of Lafréri's heir, Claude
37 [sic], 175, 166, 107, 108, 110-118, 110, Duchet (see 5.ii. below). In fact, a plate of
120, 121, 176, 122-124, 68-70, 125, 126, « Venetia, foglio » (i.e. folio size) was listed
178, 179, 127-130, 138, 131-137, 139-170). without indication of author among the portion
(bottom right): In Venetia Alla libraria del of Lafréri's estate that went to Duchet (F.
segno de S. Marco in merzaria Donato bertelli. Ehrle, Roma prima di Sisto V : La Pianta . . .
DuPérac-Lafréri . . . , Rome, 1908, Doc. 9, 1.
377 X 570; 284 x 570 the plan alone. Engrav- 204). The plan was known at Rome, in any
ing. case, as early as 1580, in which year it was
copied by Mario Cartari (Cat. No. 52.).
Anonymous. Published by Donato Bertelli
(active 1568-1574; Thieme Becker, III, 487). A simplified and very much coarsened repro-
For Bertelli, cf. Cat. No. 21 above. duction of Furlani's plan (1. above).

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
Birmingham (Public Library, Lafréri Atlas, pl. 72); 5. London

A. (top centre): vene tia.
(R. Geograph. Society, Peckover Album, pl. 69); Madrid
(ßibl. de Palacio Real, Map. 455 [formerly, Bibi. Particular
del Rey, Vários 3], pl. 9); Paris (Cartes et Plans, Lafréri
Atlas, DD 655, pl. 109; Estampes, vol. Vb-26, unnumbered,
nente.
and Coll. Lallemand de Betz, XXXVIII, 130-131); Stockholm;
Washington (Lafréri Atlas, Map Cage G 1015.L 25.1575, (beneath the plan): legend of 212 place
pl. 70).
I. Collijn, M. G. DeLa Gardie' s Sämling af äldre stadsvyer . .
in nine columns, consisting of: (a) 34 nam
Stockholm, 1915, no. 48; Tooley, no. 584; Phillips, III, no. one and a half columns, entitled, nome
3392.
principali, inc., I Rio della Trinita,
48. XXXV De Sánete Isepo; (b) 178 names in
and a half columns, entitled, tvtte
trade overo PAROCHiE, inc., 1 San Pie
5. ii. Publishers signature added (bottom left): castello Patriarcato, fin., 170 Tre portt
Romae Claudi j Duchetti formis. no. XXVIIII has no name after it; after
the numeration proceeds in the fol
Published by Claude Duchet (active 1577-1585 order: 39-67, 85, 101, 109, 71-84, 86-90,
as successor to the publishing firm of Sala- 171, 172, 91-103, 173, 105, 104, 37, 37, 175,
manca and Lafréri; F. Ehrle, Roma prima di 166, 107, 108, 110-121, 176, 122, 177, 123,
Sisto V: La pianta . . . DuPérac-Lafréri . . ., 124, 68-70, 125, 126, 178, 179, 127-130, 138,
Rome, 1908, 18 f.). 131-137, 139-158, 156, 160-167, 170).
Beverly Hills (R. V. Boswell, Inc.); Munich (Staad. Gra- (bottom right): Marius Cartarius Fecit. / Ro-
phische Smmlg.); Venice (cart. 29, no. XLIV-16). mae Anno 1580.
Tooley, no. 585.
49.
363 X 523; 276 x 523 the plan alone. Engrav-
ing.
Engraved by Mario Cartari (active 1560-1588;

5. iii. Another publisher's signature added (bot- Thieme Becker, VI, 87 ff.).
tom centre): Ioannes Orlandi formis roma
1602. A close replica of Franco's plan (5. above).
Fano (Bibi. Federiciana, 2 M-VII-37, pl. 103); Milan (cart.
Published by Giovanni Orlandi who acquired M-70, no. 74).
many plates previously owned by Lafréri and 52.
Duchet (active, Rome, 1598-1609; F. Ehrle,
Roma prima di Sisto V : La pianta . . . DuPérac-
Lafréri . . . , Rome, 1908, 20). 5. B. (top centre): vene tia.
Milan (cart. M-72, no. 22). (centre left): legend of seven identifications of
50.
vessels in the lagoon, inc., A. Regata de mar-
gherote, fin., G. Bregantini inglesi che gio-
strano.

5. iv. Orlandi's signature replaced by a new one centre): tramontana; levante; ostro; po-
(bottom centre): Henricus van Schoel excudit. nente.
(beneath the plan, from left to right):
Published at Rome by Hendric van Schoel, who
duta of the Piazzetta, entitled, Piazz
followed upon Orlandi as the owner of many
Marco / In Venetia Donato Rascicotto for
plates previously owned by Lafréri and Duchet
al ponte di Bareteri; (b) dedication follow
(d. 1625; Thieme Becker, XXX, 216; F. Ehrle,
a legend of 38 place names in two col
Roma prima di Sisto V : La pianta . . . DuPérac-
inc., Al Cl.mo S.gr Fran.œ Moresini / Mo
Lafréri . . . , Rome, 1908, 20).
quel natural Affetto et inclination, / ch
Venice (exhib.).
sempre propria et particolare verso /
51.
ci.™ non ho uoluto mancar del debito

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
names in three columns, inc., 1. La M"

iusta il merito suo di farli donno di questa
Ve=/netia intagliata, Ampliata, Agionta, et
Arsenal., fin., 87. Sp(iri)to Sto.
abbellì/ ta assai più di quante per Padietro(beneath
ue the plan): the portraits,
and thumbnail biographies of ten d
ne siano al/la uista universale vscite V.S. Cl.ma
inc., MCCCLXXXI / ANT.0 VENIERO
la gradisca, et/mi co(n)serui nel numero delli
huili suoi. / Affett.mo ser. Donato Rasicotti.M.CD.LXXVI
/ / AND.a VENDRAMINO.
1. S. Daniel, fin., 38. S. Prouolo; (c) two regi-
sters of figures, entitled, Processione del Corpus
458 x 737; 379 x 737 the plan alone. En
Domini con la compagnia de Pelegrini ing. che
vanno in Gierusalemme / Donzele Principessa
Matrone Gentildonne; (d) legend of 56 place
Anonymous. Published with twelve unnumber-
names in two columns, inc., 39. S. Trinità,
ed sheets of engraved text by Fulgentio Man-
Bridge from SW, entitled, Ponte de Rialto / the first of which is entitled: al ser.m0
fredi,
Bridge fr°m SW, entitled, Ponte de Rialto /
PRENCIPE, ET ECCELSO SENATO VENETO / F.
Bernardo Saluioni fexe. Fulgentio Manfredi / . . . (omissis) . . . / In
S. Frane.0 della Vigna li 6. Ottobre 1598; and
the second of which is entitled: vera e reale
ing. origine / e de s cendenz a de viNETiANi (Ci-
cogna, no. 4521).
Neither the engraver and printer, Bernardo
Salvioni, nor the publisher, Donato Rascicotto, A careful copy of the Salvioni-Rascicotto pian
are known (for the latter see p. 26 above). The (5.B. above), with a few modernizations. E.g.
plan must date from ca. 1597, the date of the the Prigioni Nuove are shown and the nave
progress of the Dogaressa Morosini Grimani to and sanctuary, but not the choir, of Palladio's
the Ducal Palace, on which occasion the vessel S. Giorgio Maggiore (a puzzling feature, in as
labelled «E» and identified as the «Teatro doue
much as the building had looked this way only
fu riceuta la principessa», was built (14). In until the mid 1580's) (1S).
1598 Rascicotto's plan was copied in a work
Chicago; London (Maps, 189. a. 2); Padua (Museo Civico;
by Fulgentio Manfredi (see Cat. No. 54 below). exhib. in porter's lodge); Paris (Estampes, vol. Vb-26, un-
numbered); Venice (Marciana, Rari, V-124 - lacking the
Doges' portraits).
A band of water is shown below the littoral,
54.
but otherwise the plan is close to Franco's plan
(5. above) - especially in details of the main-
land and littoral - and seems to be based on
it although many corrections over Franco's 5. B. b. (top centre): vene tia.
topography have been made. (centre left): legend of seven identifications of
Venice (exhib.). vessels in the lagoon, inc., A Regata de mar,
J. Rosenthal (Munich), Catalogue LXII : Vues anciennes, 9e fin., G Brigantini inglesi che giostrano,
Sér., L'Italie, no. 1136; Laguna di Venezia , pl. (10); Bach- (around the perimeter, clockwise from top
mann, 348, no. 1147.
Fig. 29. 53. nente.
(beneath the plan, from left to righ

duta of the Piazzetta, entitled, Piazza d
5. B. a. (top centre, co, and signed,
in Matteo.
a ribbon):
Fiorimi. For
DE V S S VPERlegend MARIA of 38 place names in two c
MIRABIL
this), VENE TIA. inc. , 1 .S. Daniel, fin., 38 .S. Prouolo
(around the perimeter, registers of figures,clockwi
entitled, Procc
centre): tramontana; levante; ostro; po- Corpus Domini con la compagnia de
nente. Che uanno in Gierusalem / Donzele Pr
(upper left in a box): legend ofMatrone
87 church
Gentildonne; (d) legend of

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
names in two columns, inc. , 39 .S. Trinita,

the 1630's (C. Huelsen, Saggio di bibliografia
fin., 94 S. Croce; (e) veduta of theragionata
Rialto delle piante ... di Roma, Florence,
21933, 22).
Bridge from SW, entitled, Ponte de Rialto.
385x511; 281/285x511 the plan alone.

A full-scale but much coarsened reproduction
Engraving. of Florimi's derivatory plan (5. B. b. above)
with minor variations in the legend.
Anonymous. Published by Matteo Fiorini or
London (Maps, C. 7. e. 4., no. 74); Venice (cart. 30, no.
Fiorimi of Siena (active 1599-1612; R. Alma- XLIV-18).
già, La Italia di G. A. Magini, Naples/Città di 56.
Castello/Florence, 1922, 18, n. 1).
A slavish copy of the Salvioni-Rascicotto pian
(5. B. above) that differs only in trivial details 5. C. (top centre): vene tia.
such as the number of bannisters and steps on
the Rialto Bridge in the veduta lower right in seven columns, inc., 1 S piero da castello
(e.g. the left-hand flight of steps has 10 risers patriarcato, fin., 70 Malghera.
in Salvioni-Rascicotto, 8 in Florini).
Chicago; London (Maps, 22670.13); Milan (album H-20, 266 x 380. Engraving.
pl. 16).
55.
Anonymous.
Reduced and simplified copy of Franco's plan.

5. B. c. (top centre): vene tia. Nuremberg (SP 3452).
(centre left): legend of seven identifications of
57.
vessels in the lagoon, inc., A Regata di mar,
fin., G Brigantini Inglesi che giostrano,
centre): tramontana; levante; ostro; po- 6. (top centre): ven etia.
nente. (around the perimeter, clockwise from top
centre): tramontana;
(beneath the plan, from left to right): (a) ve- levante; ostro; po-
duta of the Piazzetta, entitled, Piazza di S.
nente.
(beneath
Marco, and signed, Io. Ant. de Paulis the plan): legend of 205 place
formis
in sixin
Romi; (b) legend of 52 place names columns,
two divided in the centr
columns, inc., 1. S. Daniel, fin. 52 S. Iac° del in an ornate strapwork car
representation
of a Doge,
Orio; (c) two registers of figures, entitled, Dogaressa, lady and two gentl
Pro-
cessione del corpus D(omi)ni con The legend consists of: (a) 35 names
la compagnia
column
de' pelegrini che uanno in Hierusalem plus one line, entitled, nom
/ Don-
principali,
zele Principessa Matrone Gentildonne; (d)inc. , I Rio della Trinita,
XXXV De
legend of 42 place names in two columns, santo Jsepo; (b) 170 names i
inc.,
columns
53 S. Marina, fin., 94 S. Gio' de less one line, entitled, tvtte
rialto; (e)
trade
veduta of the Rialto Bridge from SW, ouero parochie., inc., 1 S. Piero de
entitled,
Ponte de Rialto. lo patriarchado., fin., 170 Tre porti. / G
franco fecit / 1597.
ing. 405 x 532; 280 x 532 the plan alone. E
ing.
Anonymous. Published by Giovanni Antonio di
Pauli, at Rome, who is otherwise unknown, Engraved by Giacomo Franco (1550-1620;
but may have been a relative of the print Thieme Becker, XII, 365 ff.), who was also his
publisher Francesco de Pauli, active at Rome in own publisher.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
The plan is ultimately a simplified and coarsen-

Francesco Vallegio et Catar in Dorino / for
ed reproduction of Furlani's plan (1. above).
(n.b. nos. XIV, 66 are lacking).
It may be only a new version of Franco's own
plan of the 1570's (5. above). Two changes
have been made over the latter: the Ponte di
Rialto is shown in its new form, and the new Anonymous. Published by the firm of Fra
Fortezza di S. Nicolò is shown on the NE tip sco Valegio and Catarino Doino, whose
of the Lido. These corrections appear already joindy signed and dated print is dated 1
on the Salvioni-Rascicotti plan. (Thieme Becker, IX, 381).
East Berlin (Kartenabtlg.); Beverly Hills (R. V. Boswell,
Inc.); Munich (Staatliche Graphische Smmlg.); Venice (cart. A close copy of Franco's plan of 1597
29, no. XLIV-75).
above). The Redentore and Zitelle are indic
Marinelli, no. 615.
not in the form of buildings but rathe
58.
inscriptions placed against S. Croce di Giud
and a palace near S. Giovanni Battista.
Greenwich (Prints, Box D).
6. ii The representation in a cartouche of five 60.
personages (beneath the plan, centre) is replac-
ed by two engravings of vessels, entitled (resp.
above and below): teatro detto il mondo ... ; 6. A. ii. The signature shortened to: Fran
and, regata fatta nelle feste ... 6 magio 97. Vallegio f . (beneath the f . is visible the part
erased word 'et' and beyond it the part
Of the two plates beneath the plan, the upper erased words, 'Catarin Dorino / formis').
one is identical with one that regularly appears
in the collection: Habiti d'huomeni et donne The partnership of Doino and Valegio b
venetiane con la processione della Ser.ma Signo- up sometime before the 1630's (Thieme Be
ria et altri particolari . . . della nobilissima città IX, 381).
di Venetia, Venice (G. Franco) n. d. (dedica- Hamburg (Staats- u. Universitätsbibl., Kartenabtlg., KS
tion dated 1610), (Cicogna, Inscrizioni, V, III, pl. 344); Nuremberg (SP 3454).
441, no. 7). 61.
Beverly Hills (R. V. Boswell, Inc.).

59.
6. A. iii. Signature altered to: Stefano Scol
in Venetia a s. zulian.
Added names (at end of last column of leg
6. A (top centre): ven etia. 171 La salute / 172 Li Carmelitani Sca
(around the perimeter, clockwise from top 173 (blank).
centre): tramontana; levante; ostro; po- East Berlin (X 46436); Stockholm (W. Heimann, Inc.).
nente.
62.
in six columns, divided in the centre by two
vedute placed one above the other, entitled,
6. A. iv.
LA PIAZZA DI S. MARCO, and IL NOVO Signature
PONTE DI altered to: In Venetia Per
Dom.° Louisa á Rialto.
rialto. The legend consists of: (a) 33 names
Vienna (Mappe
in one column plus two lines, entitled, Al-22).
nomi
63.
d'irii principali, inc., I Rio della Trinita,
fin., XXXV De santo isepo; (b) 169 names in
five columns less two lines, entitled, tvtte /
le contrade ouero parochie, inc., 6.1A.S.
a. (top
Pierocentre):
de ven etia.
Castello patriarcado, fin., 170 Tre (around the perimeter,
Porti / clockwise from top

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC

his own publisher. There may be an earlier
nente. state of the plan, although I have not seen it.
(beneath the plan): legend of 201The platenames
place seems cut at the bottom. Only a
in six columns, divided in the centre
portion by two
of Malamocco shows, and only roofs
vedute one above the other, entitled, la piaz-
for Chioggia. Also, the direction ostro does
za DI S . MARCO, and IL NOVO PONTE DI RIALTO.
not occur.
The legend consists of: (a) 33 names in one

column, entitled, nomi di rii principali,
A copy of inc., Franco's plan of 1597 (6. above
I Rio della Trinita, fin., XXXV De Santo
with only isepo;
slight differences of lettering, hat-
(b) 168 names in five columns, entitled,
ching, etc. tvtte (e. g. the word 'podestaria' in 'Ma
lamocco inc.
le contrade ouero / parochie di Venetia, podestaria'
1 is written with a lower
S. Piero de Castello patriarcado, fin.,
instead 170 of Tre
upper case 'p', S. Servolo is labelled
Porti / all Merito Imparegiabile s.del servolo
Reue. monache,/ in place of s. Servolo
monace
rendissimo Sig.r e Pron. Col.m0 Sig.r / ).il Sig.r
D. Costanzo Zani Abbate / Meritissimo
Venice (exhib.). di S.
Michele in bosco / di Bologna / DiLagunaSimon Fe-
di Venezia, pl. (11).
lize Querza DDI (n. b. nos. XIV, XVIII, 66 and 65.
156 are lacking, nos. XI and XXVIIII are
written resp. II and XXIIII).
398 X 526; 267 x 523 the pian alone. Engrav-

ing.
An extremely coarse copy of the Valegio-Doino

plan.
Florence (1st. Geogr., Collez. Bianconi, 126).
64.
6. B. (top centre): ven etia.

right): tramontana, levante, ponente.
(beneath the plan): two processions, one above
the other, entitled, processione solenne del
ser,m0 prencipe et ser,*" signoria di vene-
tía col r,mo patriarca et cler0 di san
marco, and, l'ordine che fv tenvto nel-
l 'accompagnare la serenissima prenci-
pessa di venetia moresina moresini gri-
mani • M • D • X • c • vii • 4 MAGGIO.

(bottom): legend of two lines, inc., Quanti in
questa ordinanza anda.0, fin., gentildonne erano
tutte quasi 300 | Francof.
415 x 543 (two plates, resp. 265 x 543 [pian]

and 147 x 535 [procession]). Engraving.
Engraved by Giacomo Franco (1550-1620;

Thieme Becker, XII, 365 ff.), who was also

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
VII listed among copies of Cat. No. 42); M. Merian, Die schönsten
Europäische Städte . . . , mit einer Einleitung von F. Schnack,
THE MERIAN PLAN Hamburg, 1963, pl. X.
Fig. 30. 66.
1. (top centre left): venetia.

(upper far left): compass. 2. (top centre lef
(upper
(upper far right): the lion of St. Mark on a far right
shield surmounted by a corno ducale. shield surmounte
(bottom left): M. Merian fecit.
412 x 1030 (two
301 X 704 (two sheets of 301 x 352). Etching.
ing and etching.
Etched and published by Matthäus Merian

Anonymous. Pub
the Elder (1593-1650; Thieme Becker, XXIV, urbium tabulae c
413). First published in: J. P. Abelin ( = maris
J.L. mediterran
Gottfried, J. P. Avity), Ñeuwe Archontologia(J. Janssonius),
cosmica, Das ist Beschreibung aller Käyserthum-
Ja 16). This wor
ben Königreichen vnd Republicken der gantzenvolume) of the «
Welt . . . , Frankfurt a/M (M. Merian), 1638,
Janssonius, enti
pl. 84 (Phillips, I, nos. 58, 456). Reprinted in
bium, and, Theatr
the editions of 1646 (pls. 82-83) and 1695 cipesque . . . civ
(pls. 123-124), and the Latin translation ( Ar-
chontologia cosmica . . .) of 1638 (pl. 45) A
and slightly enlarg
1649 (pls. 164-165). cognizable from t
Reprinted in other publications of Merian: (1)
south side of the
M. Zeiller, Itinerarium Italiae nov-antiquae :
beyond it, and f
oder Raiss-Be Schreibung durch Italien . campanile)
. . , on the
Frankfurt a/M, 1640, pls. 11-12, reissued as
Bachmann, part I, no.
Topographia Italiae, das ist . . . Beschreibung
of the Hogenberg pl
von gantz Italien, Frankfurt a/M, 1688, pls. 67.
50-51 (C. Schuchhard, in Zentralbl. für Biblio-
thekwesen, XIII, 1896, v-vi, 193 ff.); and
(2) J. A. Werdenhagen, De Rebvspvblicis Han-
seaticis Tractatus . . . , Frankfurt a/M,2.
n. d. ii. Signature a
Excudit Amstel.
(dedication dated 1641), pl. 152, reprinted
Frankfurt a/M, ca. 1690 (pl. 175) (Phillips,
VI, no. 7645). Published in: Th
Europae urbium
NNE above. From the mainland to the Giu- conspicué delin
decca, from S. Marta to S. Elena. There is no Wit), n. d. (afte
scale (approx. scale on a N-S axis, 1:11,000, 28).
on an E-W axis, 1:5,400). Bachmann, part I, no. 2183 (erroneously listed among copies
The composition and much of the detail are no.of the Hogenberg plan, Cat. No. 42); Koeman, III, 210,
84.
taken from Jacopo's plan of 1500. Other detail
68.
has been taken from Blaeu's panorama of 1614
and a plan of the Salvioni-Rascicotti type (resp.
Cat. Nos. 160, 53). The plan is very misleading,
but was the source of a vast stream of north- 2. iii. Signature changed (bottom left): De Wit's
European and Italian representations of Venice. signature erased and replaced by an imaginary
Bertarelli, no. 1984; Bachmann, part. I, no. 2183 (erroneously stone tablet attended by a figure of Felicitas

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
lan, 1932, no. 308; A. Pelliccioni, Diz. d. arti-

Publica and three genii, with the inscription:
CELEBERRIMA / URBS VENETIAE / sti LUGD.
incisori italiani, Carpi, 1949, 103; A. Mori
bat. / excudit petrus Vander AA. Addedand G.(far
Boffito, Piante e vedute di Firenze,
right): compass. Florence, 1926, 74).
Published in: Johannes Georgius Graevius,

A crude reduction of Janssonius's illustration.
Thesaurus antiquitatum et historiar umFlorence
Italiae,
(Ist. Geogr., collez. Bianconi, no. 128); Rome (Bibl.
vol. V, part ii, Splendor magnificentissimae ur-
Naz. Centrale Vitt. Emanuele, stampe 6.A.16).
bis venetiarum . . . , Leiden (P. van der Aa), 70.
1722, 1, frontisp. (Graesse, III, 128). Reprint-
ed in, Galerie agréable du monde, Leiden (P.
van der Aa), 1729, XXIX, pl. 5 (Philips, III,
no. 3485; Koeman, Aa 9). 3. (top centre left): venetia.
(top right, above the margin): XXXIX.
Marinelli, no. 1329 (as in Graevius); Bachmann, part I,
no. 2183 (as in Galerie ; erroneously listed among(upper far
copies ofleft): a lion of St. Mark.
the Hogenberg plan, Cat. No. 42). (bottom left): Julius Milheuser fecit.
69.
452 x 996 (two sheets of 452 x 498). Engrav-

ing and etching.
2. A. (top left, in a ribbon): la nobil citta di
venetia. Engraved by Julius Milheuser (first recorded
(across the top, above the margin): 1649, d. 1680; Thieme-Becker, XXIV, 588;
vignettes
of eight cities of the terraferma F.W.(Udine,
H. Hollstein, Dutch and Flemish Etch-
Tre-
viso, Padua, Vicenza, Verona, Brescia, Berga- ings , Engravings and Woodcuts, Amsterdam
mo, Crema). 1949 et seqq., XIV, 50). Published in: Joan
(down the left side): vignettes of three typical Blaeu, Nouveau théâtre d'Italie, ou description
costumes (Serenissimo e Nobile Veneti; Mer- exacte de ses villes, palais, églises, . . . , Am-
canti Venetiani; Contadini Padoani). sterdam (P. Mortier), 1704, I, pl. XXXIX
(down the right side): vignettes of three other (Koeman, B1 87).
costumes. (Nobilissima Veneta, Artigiane Ve- Reprinted in the Latin and Dutch translations:
nete, Contadine Venete). Novum Italiae theatrum sive accurata descriptio
(beneath the plan, letterpress): four columns ipsius urbium, palatiorum, sacrarum aedium,
of text, entitled, descritione della città di Amsterdam (P. Mortier), 1705, I, pl. XXXIX,
venetia, et altre di terra ferma della and Het nieuw stedeboek van Italie ofte
serenissima repvblica, loro siti, origini, naauwkeurige beschryving van aile deszelfs
Steden, paleyzen . . . , Amsterdam (P. Mortier),
famiglie nobili, et altre cose piv segna-
late che sono in esse, and signed, in bolo-
1704-1705, 1, pl. XXXIX (Koeman, resp. B1 91
and B1 83).
gna Per Gioseffo Longhi. Con licenza de'
Superiori. Reprinted again in the reissue of the Dutch,
French, and Latin editions published at The
310x818 the plan and vignettes (two sheets Hague (R. C. Alberts), 1724 (Koeman, resp.
of 310 X 409), 182 x 820 the description (two B1 95, B1 99, and B1 103). For the Blaeu
sheets of 182 x 410). Engraving and letter- firm's « Town Books » and their successive edi-
press. tions, cf. Koeman, I, 332 ff.
The plate does not appear in the editio princeps
Anonymous. Gioseffo Longhi issued a series of of this famous «Town Book » ( Theatrum civi-
views of Italian and foreign cities and historical tatum et admirandorum Italiae, Amsterdam, J.
and other prints between 1654 and 1674 (P. Blaeu, 1663; Koeman, Bl 72-74). However, it
Arrigoni and A. Bertarelli, Le stampe stori- may well have been commissioned by the
che . . . nella raccolta d. Castello Sforzesco , Mi- original publisher, Joan Blaeu, for the projected

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
continuation of the book. Milheuser worked Anonymous. Possibly a second state of a print
often for Blaeu from 1650 onwards, and the first published by Giovanni Giacomo de' Rossi
two men died within a few years of each other (active 1640-after 1690; F. Ehrle, Roma prima
(Blaeu in 1673, Milheuser in 1680), long be- di Sisto V, La pianta . . . DuPérac-Lafréri . . . ,
fore the plate was printed. Rome, 1908, 22). In that event the dedication
would have been added by the publisher of the
A careful copy of Merian's plan (1. above), second state, Giovanni Domenico Rossi, who
with two corrections: the Fondamenta Nuove may be identical with Domenico Rossi, the son
are indicated behind SS. Giovanni e Paolo and and heir of Giovanni Giacomo (Ehrle, loc. cit.).
S. Francesco della Vigna; the sixteenth century
extension of the Arsenal is shown behind S. Ma- A coarse, reduced copy of Merian's plan. (1.
ria della Celestia. Details of the Arsenal, such above).
as the appearance of the sheds between the London (Maps, 22670. 14); Paris (Estampes, vol. Vb-26,
Canal delle Galea2ze and the Arsenal Vecchio unnumbered).
on the one side and the Arsenali Nuovo and 73.
Nuovissimo on the other, are also altered. The
source in every case seems to have been the
orthographic plan of Venice first published in 5. (in a medallion, centre left): citta / di /
1627 by Alessandro Badoer (Cat. No. 107 VENETiA / Descritta / Dal P. Coronelli /
below). Cosmografo / Della Serenissima / Republica,
Koeman, II, 356, no. 1071. (in a medallion, centre right): Dedicata / All'
71. Illustrissimo / Signor Abbate / Abbondio
rezzonico / Patritio Veneto / mdclxxxxiii.
(around the perimeter): an olive or laurei
branch entwined with a ribbon on which are
3. ii. Page number erased (top right). represented in 86 medallions the arms of Vene-
tian cities.
Published in: Atlas Nouveau contenant toutes
les parties du monde . . . , Amsterdam (J. Co- 495x783 (two sheets of 495x687, 495x103/
vens and C. Mortier), n. d. [1683-1761], V, 92). Engraving and etching.
nos. 71-72 (Phillips, III, no. 3448 [not the
same as Koeman, C & M 11 ]). Anonymous. Published by Fra Vincenzo Coro-
72. nelli and inserted by him occasionally in an
unaltered form in the books named under 5. ii.
below.
4. (across the top): vero e nvovo disegno della A reduced and somewhat coarsened copy of
INCLITA CITTA DI VENETIA. Merian's plan, with some corrections.
(upper far left): lion of St. Mark Dresden
in a (Sächsische
shield Landesbibl.); Padua (Museo Civico);
Venice (exhib.).
surmounted by a corno ducale.
(upper far right): the arms of and aMarinelli, no. 904; Laguna di Venezia , pl. (14).
dedication
to Andrea Tasca, inc., All Ill.mo Sig.re
Fig. Pron. 31. 74.
Colendissimo / Il Sig.re Andrea Tasca, fin., Di
VS Ill.ma / humiliss.mo seruitore deuotiss.mo /
Gio: Domenico Rossi. 5. ii. The dedication to Rezzonico erased.
(bottom right): Forma Roma Gio: Iacomo de
Rossi alia Pace. Published in: V. Coronelli, Isolario dell'Atlan-
te Veneto . . . , parte I", Venice (a spese dell'au-
280 X 686 (two sheets of 280 x 344, 342).tore), 1696, 10-11 (Phillips, I, no. 521, V,
Engraving. no. 5950; Armao, Coronelli, cat. no. 55).

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
oppos. di
Reprinted in: V. Coronelli, Le singolarità p. 1 (Armao, Coronelli, cat. no. 6; Ci-
cogna,
Venezia, Venice, n. d. (ca. 1710) (Armao, op.no. 4476).
cit., cat. no. 88). 78.
Marinelli, no. 904.
75.
5. C. (top left corner, in a shield): citta / di

VENETIA / CONSACRATA AL / VALIDISSIMO /
PATROCINIO DEL LA / SACRATÍSSIMA / VER-
GINE ET AL / GLORIOSO / S. MARCO / PROTET-
(around the perimeter): 48 shields containing
TORE / DELLA / MEDEMA.
the arms of leading Venetian families.
(top right corner): Christ and the Virgin on
clouds, inscribed (on a ribbon): Defende Popu-
183 X 258. Engraving. lum tuum / Christianům.
(down the left side): fifty-five doges' portraits,
Anonymous. Published in some copiesinc., of:Paoluccio
V. Anatesio, fin., Giusti Partici-
Coronelli, Le Singolarità di Venezia, Venice,
pato.
n. d. (ca. 1710) (Armao, Coronelli, cat. no. 88).
(down the right side): fifty-five doges' portraits,
A reduced and extremely coarse copy ofinc.,
Coro-
Pietro Can.no San.do, fin., Giovanni Cor-
nelli's own large plan. naro.
76.
(bottom right): Si Stampano e Si Vendon
Gio: Antonelli a S. Aponale.
(lower right centre): venetia.
5. B. (top centre): a shield with the lion of St.
Mark. 455 X 1385 (two sheets of 455 x 692/3); t
plan alone, 455 x 1001. Etching.
(lower centre, in a ribbon): Venezia.
(bottom centre, in a medallion): Dilettissima
Patria del P. Coronelli. Anonymous. The publisher is known to h
been active at Venice in the early eightee
(around the perimeter): 112 shields containing
century (Thieme Becker, I, 567).
the arms of the first 111 Doges.
A reduced copy of Coronelli's plan, in which

campanili are raised to exaggerated heights.
Venice (Archivio di Stato, Misc. Disegni, no. 1278; M
Anonymous. Published in some copies of: V. Correr, exhib.).
Coronelli, Le singolarità di Venezia, Venice, Marinelli, no. 997.
n. d. (ca. 1710) (Armao, Coronelli, cat. no. 88).
79.
The 11 Ith Doge (Giovanni Corner II) died in
1722.
Marinelli, no. 916 (16).
77. 5. D. (beneath the plan, bottom centre): la
TA / DI / VENEZIA.
(beneath the plan, to either side of the ti
legend of 17 place names in four columns, in
5.B. ii. The arms of Doge Alvise Mocenigo II 1. Ponte di Rialto, fin., 17. Burano.
added in the 112th shield (around the peri-
meter). 160 x 210; 143 x 206 the pian alone. Etchi
Published in: V. Coronelli, Guida de' Forestieri By Francesco Zucchi. Published in: Il foresti
o sia epitome diaria perpetua sagra profana per illuminato intorno le cose più rare, e curi
la città di Venezia, Venice (Poletti), 37 1724, antiche e moderne della città di Venezia .

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
JUERGEN SCHULZ - THE PRINTED PLANS AND PANORAMIC VIEWS OF VENICE 67
Venice (G.B. Albrizzi), 1740, frontisp.(1753),

(Cico- oppos. p. 3. (The same volume was
gna, no. 4479). also issued separately: Lo stato presente della
Reprinted unaltered 1765 and 1772 (").Repubblica di Venezia, Venice (G. B. Albrizzi),
1751.) Reprinted in: F. Zucchi, Teatro delle
A corrected copy of Coronelli's plan. fabbriche
E.g. S. più cospicue ... di Venezia, n.p.
Giorgio Maggiore is here shown correctly (Venice,asG. B. Albrizzi), n. d. (ca. 1760),
frontisp. (Cicogna, no. 4546).
a single, Palladian church, with double cloister,
and the churches of the Giudecca (the Reden-
tore, Zitelle) and Castello (S. Antonio, An
S. enlarged
Giu- version of 5.D. (Cat. No. 80)
seppe) are more accurately represented. above. In
every case the source seems to have been
Marinelli, no. 1108; Bertarelli, no. 2005.
Giovanni Merlo's plan of 1660 (Cat. No. 102
81.
below).
80.
5. E. a. (across the top): pianta elevata / Serve

5. D. a. (beneath the plan, bottom centre): la per l'opera / il fiore di Venezia / Edizione
T. Fontana.
CITTÀ / DI / VENEZIA.
(beneath the plan, to either side of the title):
legend of 17 place names in four columns, inc. , 175 x 424. Engraving.
1. Ponte di Rialto., fin., 17. Burano.
Anonymous. Published in: E. Paoletti, Il Fiore
165x224; 137x199 the pian alone. Etching. di Venezia, Venice (T. Fontana), 1839-1840,
III, frontisp. (Cicogna, no. 4503).
Anonymous. Published in: V. Formaleone, Ve-
nezia illustrata con le vedute più cospicue e le A simplified and reduced copy of Zucchi's large
fabbriche più notabili, Venice, 1791, oppos. 5 plan.
(Cicogna, no. 4551). 82.
An accurate copy of Zucchi's small plan in a

very slightly altered format.
80 bis. 5. E. b. (beneath the plan, bottom centre): la
CITTA DI / VENEZIA.
( beneath the plan, to either side of the title ) :
legend of 19 place names, inc., 1. Piazza di
5. E. (top right, above the margin): Tom. XX. S. Marco con le Procuratie la Chiesa ed il Pa-
(beneath the plan, bottom centre): la città /
lazzo Ducale, fin., 19. Lagune attorno di Ve-
DI / VENEZIA. nezia.
(beneath the plan, to either side of the title):
(below the margin, bottom right): Appo. Gio.
legend of 19 place names in six columns, inc.,
Maria Pedrali S. Giovanni Evangelista Venezia
1. Piazza di San Marco con le Procuratie, fin., No. 2164.
19. Lagune attorno di Venezia.
210 X 435; 162 x 435 the pian alone. Etching. 175 x 430. Engraving.
By Francesco Zucchi. Published in: T. Salmon, A crude reduction of Zucchi's large plan, from
Lo stato presente di tutti i paesi e popoli del the early nineteenth century.
mondo, Venice (G. B. Albrizzi), 1731-1762, New Haven (Yale Univ., Sterling Lib., maps small *40 (am)
V55 1690).
vol. XX, part i, Continuazione dell'Italia, ossia
83.
descrizione degli altri stati del Dominio Veneto

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
6. (across the top): description de lopvlente

in the « Town Book » collection, might seem
ET MAGNIFIQVE VILLE DE VENISE. to militate against this assumption. However,
(upper far left): compass. it is entirely possible that De Jonghe's city
(upper far right): lion of St. Mark in aviews
shieldwere produced over a period of years,
surmounted by a corno ducale. and that some are considerably earlier than
others.
(bottom right): A Paris chez L. Boissevin / rue
St. Jacques.
A reduced copy of Merian's plan (1. above).
277 X 698 (two sheets of 277 x 350, 348). New York (Coll. P. Dearborn Massar).
Engraving.
85.
Anonymous. Louis Boissevin was active as a

publisher in the mid seventeenth century (d.
1685; Thieme-Becker, IV, 230). 7. ii.New signature (bottom right): Rombout van
An unaltered copy of Merian's plan (1. above) den Hoeýe Excudit.
in nearly the original size. The publisher is recorded at Amsterdam m
Milan (cart. G-22, no. 6). 1638 and 1648 and is thus approximately con-
84. temporary with de Jonghe (Nagler, Künstler-
lexikon, VI, 333; Wurzbach, II, 699, F.W.H.
Hollstein, Dutch and Flemish Etchings, Engra-
7. (top centre, in a ribbon): venetia. vings, and Woodcuts, Amsterdam, 1949 et
(upper left): three wreaths in a shield. seqq., IX, 49; see also Cat. No. 179 below).
(upper right): lion of St. Mark in a shield Washington (Maps, no. 2883).
surmounted by a corno ducale. 86.
(beneath the plan): three columns of verse,
being an eight-line poem by A. Montanus in
Latin, Dutch, and French versions; inc. (Latin
version), Cum tremeret Latium devictis Alpibus 7. iii. New signature (bottom right): H. Focken
Hunnos, fin., Hoc jovis est dicet, Caesaris illud Exc.
opus.
(bottom right): Clemendt de Ionghe excudit. The publisher is otherwise unknown.
New York (Metropolitan Museum of Art, Prints); Paris
402/405x514; 330x512 the plan alone. (Estampes, vol. Vb-26, unnumbered).
Engraving and etching. 87.
Anonymous. Published by Clemendt de Jonghe

at Amsterdam. Occasionally part of an untitled
7. iv. New signature (bottom right): D.Danckerts
and undated collection of De Jonghe's town
excudit.
views, constituting a made-to-order « Town
Book, » of which several exemplars are known
The publisher Dancker Danckerts was active
(Koeman, Jon 2). (18)
at Amsterdam during the same years as de
De Jonghe (1624/25-1677; Koeman, II, 213;
Jonghe and van den Hoeýe (1634-1666; F. W.
see also, Wurzbach, I, 761) may have been the
H. Hollstein, Dutch and Flemish Etchings,
first of the several publishers of this plate (see
and Woodcuts, Amsterdam, 1949 et seqq., V,
further states below). The two exemplars that
127; Koeman, II, 88 f.).
I have seen are the freshest impressions among
all the states of the print known to me. The Leiden (portf. 139, no. 217); Milan (cart. G-22, no. 7);
Paris (Estampes, vol. Vb-26, unnumbered).
late date, 1669, affixed to the view of Dieppe
88.
that frequently appears together with Venice

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
7. A. (top centre, in a ribbon): venetia.engraver-publishers active at Paris in the late

(upper left): three wreaths in a shield.seventeenth century (Thieme-Becker, XIX,
(upper right): lion of St. Mark in a 102).
shield
The publisher of the present print was
surmounted by a corno ducale. most likely Gerard, the founder of the dynasty,
who specialized
(beneath the plan): four columns of verse on in topographical prints (active
1660-1683) (19).
the left, being the eight-line poem by Montanus
in Latin and French (see 7. above), and 50
A close copy of the de Jonghe print, with place
place names in five columns on the right, inc.,
names translated from Latin into French.
1 Le Monast de Ste Marte, fin., 50 Egl de la
Ste Croix. Milan (cart. M-34, no. 47).
89.
(beneath the text, bottom centre): A Paris chez
Baltazar Montcornet à la rue S.' laques vis à
vis S.1 Yues.
7. C. (top centre): venetia * Venedig.
338 X 498; 308 x 498 the plan alone. Engrav- (top right, above the margin): 186.
ing and etching. (upper far left): three wreaths in a shield,
Anonymous. The publisher, Balthasar Mont- (upper far right): lion of St. Mark in a shield,
cornet or Montconet, was also active as an (down the left side): one column of descriptive
text, inc. , Venedig / oder Venetia, fin., Tre
engraver (ca. 1600-1668; Thieme Becker, XXV,
57). Porti, Lido / Maggiore.
(down the right side): one column of descrip-
A slightly reduced copy of the de Jonghe plan tive text, inc., S. Erasmo, Due Casteli,, u(nd)
with numbers added at 50 sites and a legend Mala= , fin., alle weitere Nach/richt geben
below. können.
Paris (Estampes, vol. Vb-26, unnumbered).

(bottom right): loh. Stridtbeck Iunior fecit et
exud. Aug. Vind. Cum Grat: et Priv. Sac.
88 bis.
Caes. Maj.
160x417 (two sheets of 160x307, 110).

7. A. ii. New signature (beneath the text, bottom Engraving.
centre): A Paris chez Pierre Gif fart demeurant
à la rue S.' Iacques proche S.' Yues. Engraved and published by the Augsburg maker
of topographical prints, Johann Stridbeck II
Pierre Giffart (ca. 1638-1723) became « Gra- (1665-1714; Thieme-Becker, XXXII, 185).
veur du Roy » sometime after 1683 (Thieme
Becker, XIV, 9 ff.). Since his signature omits A reduced copy of the de Jonghe plan, omitting
the title, this state of 7. A. may predate Giffarťs all minor topographical detail and indicating
appointment. only major thoroughfares and monuments.
Paris (Estampes, vol. Vb-26, unnumbered). Paris (Estampes, vol. Vb-26, unnumbered).
88 ter. 90.
7. B. (top centre): venise. 7. C. ii. New signature (bottom right): G. Bode-

(beneath the plan): vrbs veneta venise. nehr fecit et excudit Aug. Vind. Cum Grat: et
(bottom right): Se Vendent A Paris chez Priv. Sac. Caes. Maj.
Iollain rue St. laque a la Ville de Cologne.
Published by Gabriel Bodenehr the Elder
379 x 523. Engraving and etching. (1673-1766; Thieme-Becker, IV, 167) in his:
Force d'Europe, oder die merckwurdigst- und
Anonymous. The Jollain were a family of führnehmste, meistenteils auch . . . berühm-

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
teste Stätte ... in Europa, Augsburg, n. d. 7. D. a. (top centre): venetia, een Aartsbisscho-
(ca.
1700), pl. 186; and, Curioses Staats- und Kriegsplijke groote, en de hooft-stad van de / alzo-
Theatrum..., Augsburg, n. d. (ca. 1710-genaante Republijk .../.. ./. . . en is zeer be-
1730), II, iii, no. 186 (Phillips, I, no. 2814).roemd door de Koophandel.
91. (upper far left): three wreaths in a shield,
(upper far right): lion of St. Mark in a shield,
(beneath the plan): venise, Ville grande Ar-
7. D. (top centre): venise / Ville Capitale / de chiepiscopale, capitale de la Republique du
la plus Celebre et / Illustre Republique / de même nom, située dans l'extrême golfe de la
l'Europe. Mer Adriatique; elle est bâtie sur diverses /
(upper far left): a cloth bearing three wreaths isles proche de la côte du pais, il Dogato; son
in a shield, entitled, Les Armes de Venise. port est fort étendu et fameux par la Commerce,
(upper far right): a frame of laurel, enclosing a (bottom left of plan): C. Allard exc: C: Priv.
lion of St. Mark in a shield, entitled, Les Armes
de la Republique. 181 X 225; 150 X 215 the plan alone. Engrav-
(beneath the plan): five columns of inscription, ing and etching.
consisting of, (1-2) ten place names entitled,
Renvoy, inc., 1. Les Colomnes, fin., 10. Anonymous. Published by the Amsterdam print-
Douanne de Terre, (3-4) six names of districts, maker and publisher, Carel Allard (1648-after
entitled, la ville de venise est divisé en Six 1706; Koeman, I, 31). Although Allard's dates
Quartiers que les Venitiens nomment Sestieri., raise the possibility that his print is earlier
inc., A. Quartier du Grand Canal ou Canal than 7. C. and 7. D., it must in fact be a copy
Reggia, fin., F. Quartier de l'Arcenal, (5) Av- because it distorts the representation and gar-
vertissement / le Sr de Fer a fait un grand Plan bles the legends of S. Elena as they appear on
these.
de Venise . . . [omissis] ... il se vend comme
celuy ci A Paris chez l'Auteur dans l'Isle du
Palais à la Sphere Royale Avec Pr.s du Roy A copy of l.C. or 7. D. in a slighdy different
1700.
format.
London (Maps, 22670.(19) ).
226 X 340. Engraving and etching. Koeman, I, 38, Al. 100.
93.
Engraved by Nicolas de Fer and published in
his: Atlas curieux ou le monde dressé et dédié
a nos seigneurs les enfans de Y rance, Paris,
1700 and its reissues of 1703 (Phillips, I, no.
7. E. (top centre, in a ribbon): venise.
532) and 1717, pl. 112. Reprinted in his (beneath the plan, in a cartouche): Venise Ville
collections: Cartes nouvelles et particulières Capitale de la / Republique de même nom en
pour la guerre de l'Italie . . . , Paris, 1702; and Italie / Fait par Aveline Avec privilege du Roy.
Atlas curieux ou le monde representé dans des (beneath the plan, around the cartouche): leg-
cartes générales et particulières, Paris, 1705 end of 37 place names in seven columns, inc.,
(Phillips, I, no. 546). 1. S.1 Blaise Nonnes, fin., 37 Buran. / 38 / 39 /
40
A reduced copy of the de Jonghe plan and
similar to 7. C. above. It is impossible to tell 346 X 522. Etching.
which of the two, 7. C. or the present print,
has priority in time. The large plan mentioned By Pierre Aveline the Elder (1654-1722; Thie-
in the signature is probably Cat. No. 113 me-Becker, II, 273). Published in: Le Masson
below.
du Parc, Vues, plans, et perspectiues de diuers
Bertarelli, no. 1995. lieux, et places considerables, n.p. or d. (Paris,
92. ca. 1713; Phillips, VI, no. 7642).

ffff:ffff:ffff:ffff:ffff:ffff:ffff on Thu, 01 Jan 1976 12:34:56 UTC
JuERGEN Schulz - THE PRINTED PLANS AND PANORAMIC VIEWS OF VENICE 7 ļ
A reduced copy of the de Jonghe plan (7.right): t'Amsterdam by Ioachim Ot-

(bottom
above). tens op de Nieuwendyck, in de Werelt caart.
94.
493x694 (two sheets of 493x347); 293x694
the plan alone. Etching.
Etched and published by Joachim Ottens
7. E. ii. Added signature (beneath the plan, in
(1663-1719; I. H. van Eeghen, De Amster-
a fourth column right of the cartouche): à
damse Boekhandel, 1680-1725, Amsterdam,
Paris chez Daumont, ruë S. Martin près S.
1967, IV, 29; Koeman, III, 85). Ottens pur-
Julien.
chased the house on the Nieuwendyck and
Milan (cart. M-34, no. 50).
established the imprint, « in de Werelt caart »,
the year of his death, 1719. His flourishing
94 bis. trade of prints and maps was continued at the
same address by his widow and sons until
1725, when the firm was reincorporated under
the names of the sons, Josua and Reinier. The
7. F. (across the top): carte du plan de venise,
date of the plan is therefore 1719-1725.
L'ÉTAT DE SA NOBLESSE, ET SES DIFFERENS
DEGREZ, AVEC QUELQUES AUTRES REMARQUES
A copy of Merian's plan (1. above).
CURIEUSES SUR CETTE SUPERBE VILLE.
Dresden (Sächsische Landesbibl. ) ; Greenwich (Prints and
(top right, above the margin): Tome 2/ No.
Drawings, 74.
Box D); Nuremberg (Sp. 3453); Munich (Staats-
bibliothek,
(in boxes, top left and top right): two columns Kartensmmlg., 2° Mappe 7, II, f. 98); Venice
(cart. 29, no. XLIV-20).
each of statistics regarding Venice,Laguna entitled
di Venezia, pl. (12).
(resp.), Remarques sur la Ville de Venise, and, 96.
Suite des Remarques sur Venise.
(beneath the plan): descriptive text of five
columns, inc., Anciennes Maisons de la Pre-
8. A. (across the left half of the top): venetia,
miere / Noblesse de Venise, fin., et diverses
Potentissima e la più Magnifica, Fiorentissima
autres qu'on ne / peut placer ici.
e la più ricca Città Capitale della Serenissima
Republi/ca, edificata sopra 72 le Isole picciole
391 X 477; 197 x 457 the plan alone. Etching.
nello Mare Adriatico, tagliata in rame di Matt.
Seüttero, Tagliatore in rame in Aug.
Anonymous. Published in: H. A. Châtelaine
(across the right half of the top): German
and N. Gueudeville, Atlas historique, Amster-
translation of the same text.
dam (F. l'Honoré & Z. Châtelain), 1705-1720,
(beneath the plan): vedute of the Piazza and
III (= II, ii), No. 74 (Phillips, I, no. 548;
Piazetta, entitled (resp.), Altra parte della
Koeman, Cha 4).
piazza di s. marco in Venetia, and, piazza
DE S. MARCO DI VENETIA.
A slightly reduced copy of the de Jonghe plan.
508
Soranzo, no. 7458; Marinelli, no. 996; Bertarelli, no.x1997.
578; 275 x 573 the plan alone. Eng
95. ing.
Engraved and published by Matthäus Seutter,

in his: Grosser Atlas . . . , Augsburg, n.d. (the
8. (top centre): venetia. privilege copy in the National Library, Vienna,
(beneath the plan): a veduta of the is of ca.
Piazzetta
1720; Phillips, I, no. 583). Reprinted
(piazza de s. marco Di venetia.), two vi- in two of his other atlases: Atlas minor . . . ,
gnettes, one above the other, of robed patri-Augsburg, n.d. (ca. 1744); and, Atlas novus . . .,
cians and ladies, a veduta of the Piazza (L'Altea Augsburg, n.d. (ca. 1745; Phillips, resp., Ill,
parte della piazza di s. marco in Veneria.). no. 3494, V, no. 5977).

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
Also inserted occasionally in: R. Ottens, Atlas

semble Francesco Zucchi's plans (5. D. and 5. E.
maior cum generalis omnium totius orbisabove).re-
It is impossible to say which was the
earlier. n.
gnorum . . . , Amsterdam (R. and J. Ottens),
d. (1725-1750; Koeman, Ott 4-7), e.g. the 98.
Library of Congress copy, VI, pl. 35 (Koeman,
Ott 5; Phillips, IV, no. 4257).
9. ii. Subtitle added (below main title, topcentre):
A somewhat coarsened copy of Ottens's plan
Capitale delle Venete Austriache Provincie.
(8. above).
Marinelli, no. 1382; Bertarelli, no. 1999. The change of title alludes to the passage of
97. Venice into Austrian possession, after the
Treaty of Campoformio, 1797.
Venice (exhib.).
8. A. ii. Signature added below title text: Anjezo Laguna di Venezia, pl. (18).
in Verlag bey Tobias Conrad Lotter, Geogr. 99.
in Augsburg.
Published by Lotter, Seutter's son in law and 9. iii. The dedication removed, its space filled
heir, in his various reprints of Seutter's atlases with hatching.
(cf. Phillips, III, no. 3491). Venice (cart. 30, no. XLIV-51; Racc. Gherro, V, no. 615).
97 bis. Cicogna, no. 4528.
100.
9. (top centre): piano elevato dell'inclita

CITTÀ DI VENEZIA. 9. iv. The subtide removed.
(far left): compass.
(upper far right, on a separate piate, 92x82): This must be a late state of the print, since it
a 20-line dedication, inc., al nobilissimo has been corrected to show the new Giardini
signor C.™ Giacomo della / cospicua fa-Pubblici (created in 1807).
miglia sarat sceriman, fin., in segno d'osse- Milan (cart. G-22, no. 18); Venice (cart. 30, no. XLIV-50).
quio offre / Marco Sebastiano Giampiccoli. Laguna di Venezia, pl. (19).
101.
298 X 709 (two sheets of 298 x 352, 357).
Etching.
A presumed first state of the print, etched and

published by Marco Sebastiano Giampiccoli
(1706-1782; L. Alpago-Novello, Gli incisori
bellunesi, « Atti dell'Istituto Veneto di scienze,
lettere ed arti», XCIX, 1939/1940, parte ii
[Classe di Scienze morali e lettere], 500 ff.).
No exemplar of the state is known to me.
However, we may deduce that it existed at
one time from the fact that all other states of
print, on internal evidence, must postdate
Giampiccoli's death by fifteen years or more.
Copied from Merian's plan (1. above), with a

few corrections, among which some that re-

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
VIII constitit unda stupens / I. B. P. D.

THE MERLO PLAN
(bottom left): Gio: Merlo Fece
(bottom centre left): Stefano Scolari Forma i
Venetia a.S. Zulian.
(bottom right): unhatched space for a signa-
1. (top centre): vero e real disegno della in-but left blank.
ture,
clita cita di VENETIA / lion of St. Mark,
(around the perimeter, clockwise from785 topX 1590 (six sheets of ca. 390 x 530).
centre): tramontana; levante; mezo di; Engraving.
PONENTE.
(top left, on a banner): all'ill:mo et ecc:m0

The engraver Giovanni Merlo was responsible
SIG:r ANGELO CORRARO / K:r ET PROCVRATOR
also for a Panorama of Venice (Cat. No. 185
di • s • m:00 / Conosco d'hauer adombrato su
below) but seems to be otherwise unknown (he
questo foglio Venetia tra l'oscurità degl' / in-
is not to be confused with the engraver Gio-
chiostri, più tosto che esposta alla luce del
vanni Maria Merlo, who was active fully a
Mondo, et alla chiara / immagine di si gloriosa
hundred years later). For the publisher, Scolari,
Regina non hó aggionto che l'ombre / La rap-
see the introduction (p. 29 above).
presento á .V.E. come á quel Sole che la può
rendere / perpetuamente illustre. Só che per
NNE
esser parto, non d'Aquila / generosa, má above. From the edge of the Lagoon to
figlia
the Giudecca,
oscura d'Merlo non é d'huopo, che si / prouin0 from S. Marta to Olivolo. There
is no scale (approx. scale on a N-S axis,
leggittimi i suoi natali alla facia folgoregiante'
del / Prencipe della luce, Má só ancora, 1:4,350,
che onlo an E-W axis, 1:2,290).
stesso luminoso Pia: / netta non sdegna Thesomi-
plan is still based on that of Jacopo de'
Barbari (Cat. No. 1), but incorporates a great
nistrar i suoi benefici influssi, tanto all'/Aquile,
et a Leoni di reggia Stirpe frá Bruttideal of new detail.
quanto
An exemplar
alle / mosche, et a Vermi della terra sozzi exists (Florence) in which the plan
has a woodcut
escrementi animati: Sup." dunque .L.E.V. non banner title pasted across the
top (NOVO
negar i raggi tuttelari della sua protetione / a. ET . VERO . DIS SEGNO . DELLA' IN-
CLITA . CITTA . DI . VENETIA . IN . PIANTA .
questa Venetia effiggiata, che hora l'ambisce
dell'anno
come / diffensore per pegno di quando poi 1670), a row of four illustr
down each side (on the left: a Doge in A
reale la riuerirà come / suo Prencipe Credero-
mi, hor felice che a confusione del / the Piazzetta, Ponte di Rialto, an Allego
superbo
Nembrot hauró potuto inaizzare alle ' sfereFire;
piùon the right: Doge Francesco M
sublimi / non una torre, ma una Città, Piazza
mentreS. Marco, the Bucentoro, an Allegor
sarà gionta a dar ossequio / á .V.E. che é un and double columns of letterpress
Earth),
Sole tanto più risplendente' quanto più and further illustrations alternating acro
/ nu-
mérosi sono i raggi della di lei uirtù, alla quale (lorigine della citta di venetia;
bottom
mi consa: / ero per sempre / dell-anecc:zaAllegory of Water: sito della citta di
v(ost)ra. / Humilissi.0 Diuotiss.0 et venetia;
Obliga-an Allegory of Air; dichiaratione
tiss.° / Ser.re Gio: Merlo / 1660. delle nobilissime fabriche). The illustra-
tions all/bear Scolari's imprint. They were
(top right, on a banner): Ad Ione(m) Menila
probably
Eppigramma / Surgit in equoreis Neptuni urbs chosen from stock and not specially
produced
inclita regnis / Quan docta traxit mervla abfor the plan (Doge Molin died 1655,
ere maru. / Cédant Ioanni Amphionis plectra before the publication of the plan,
some years
caduca(m) / Iam ille urbe(m) eterra(m)and fifteen years before composition of the
struxit
banner
at iste modo / Curui hane iungunt pontes, title of the Florence exemplar).
Adrie, et equora uallent / Ac urbs, que ficta
Chicago; Florence (Kunsthistor. Inst.); Leiden (1086 A 5.11);
New York (Ford Foundation).
est arte realis adest. / Queris cur motus non
Figs.
adsit fluctibus. Artis / Prodigium hoc cernens 32-37. 102.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
spatiandosi
l.ii. The date in dedication altered (top left): in lucido campo/ d'oro,
1676. custode uigilo/ncissimo forzeuole leon
Paris (Cartes et Plans, C-9412); Wolfenbüttel (Herzog August gnanimo, fregiato di ricchi/ssimi uelli, p
Bibliothek, Karte R-6). giati / de' dorati / di colco / ch'em
103. superno stellanCo / balenando con gli
toneggiando co' piedi / Vibra chiari la
luce / lvce / ch'e'terrore dll'asia: /
l.iii. The date in the dedication altered (top ch'e'tremore dell'africa: / lvce / che 'sp
left): 1696. re dell'europa / e / perpetuo honor dell'i
Scolari's name erased (bottom centre left). in humil segno di specialissim3 / deuo
New signature in the unhatched space (bottom il picciolo uoto di queste carť / mer
right): Daniel Bazelli Forma a S. Zulian. mente / consacra e dedica / Steffono sol
(bottom right, in a box): legend of 31
Venice (exhib.).
names held by a cherub, entitled, nom
104.
piv / principali, inc., i Rio della Trinit
3i Dischiauoni.
(bottom centre right): Questa linea e la meta
2. (top centre right): venetia. del piede venetiano: Steffano scolari formain
(around the name, in a ribbon): fvndavit Venetia.
E AM DEVS S VPER MARIA MIRABILITER.
(upper left): compass. ca. 560x971 (four unequal sheets; the two
(upper right): lion of St. Mark in
topasheets,
shield375 x 487, the two bottom sheets,
surmounted by a corno ducale. 185 x 482, 175 x 484). Engraving.
centre): tramontana; levante; ostro; po- Anonymous. Published by Stefano Scolari.
nente.
(bottom left): al / tempio avgvsto

The one / dell'
half Venetian foot shown bottom
IMMORTALITÀ / DELLA FAMA / DELL'INCLITA
centre right is full scale (it measures 161.5
REPVBLiCA / veneti a. / Genitrice feconda /
mm.) and is not the scale of the plan. A crude
di magnanimi heroi, / d'eccelsi, e celebri semi-
production, based mainly on Merlo's plan (1.
dei / che in eminente trono diglora / siede /
above), but taking some details (e.g., the islands
Augustissima, / felicissima, / serenissima, Emv-
of the Lagoon) as well as the legend of canals
la dell'istessa lvce. / la evi / risplendente
from sixteenth-century plans of the Franco type
chiarezza / abbacina ogni occhio, (Cat.chela la58
Nos. 48, / above).
contempla, abbaglia ogni mete, / che la consi-
dera, agguaglia / i fulgori del sole London
istesso,(Maps,che
22670./15); Milan (cart. G-22, no. 9);
Paris (Estampes, vol. Vb-26, unnumbered); Venice (exhib.).
la circonda, che la uagheggia, / come eletta dal
105.
cielo / de' suoi lumi pupilla, / della terra
heroina, / gran regina / del mare / come
data dagli astr.1 / frenatrice del tempo, / doma-
trice degli anni. / uincitrice de' / secoli /
2. A. (across
come scesa tra noi di statura delitia the bottom): nuoua pianta ele-
/ d'ogni
UATA DELLA NOBILE E COSPICUA CITTA DI
etade letitia, / marauiglia / del mondo / il
evi / pregiotissimo nome / correndo Venezia.
errando / Siuende preso di Lodouic
con / uanni d'oro per lamp/iascena netto sopra il Ponte de Baretteri in M
dell'uni-
verso, / dall'uno all'altro polo / condilatasi,
Priuilegio. da
questo all'/altro emispero estendes.1 /left):
(upper compass.
essendo
gli meta / gli ultimi termi dell'occaso / glial-
tissimi cardini delle stelle / la evi578x978 (two sheets of 578x489); 546x978
/ Sempre
the planpiede
uirgnene libero: / conglorioso, e libelo alone. Etching.
/

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
Anonymous. Probably the plan which the

publisher, Furlanetto, was applying to license
in 1779 (R. Gallo, L'incisione a Venezia e
Bassano, Venice, 1941, 39). It appears as no.
Ill in his catalogue of prints (op. cit., 41).
A coarse copy of Scolari's smaller plan, with

only insignificant variations (e.g. the ships
differ in number, type, and location).
Florence (Dis. Archit., 6469); Greenwich (Prints, Box D);
Milan (f. 1., 1-31.); New Haven (Yale Univ., Map Coll. *40
[am] V 55 1780); Venice (cart. 29, no. XLIV-30); Vienna
(Vues 96, inv. no. 10).
Cicogna, no. 4525; Marinelli, no. 1386.
106.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
ORTHOGRAPHIC PLANS

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
I NNE above. From the Bersaglio to S. Se
THE BADOER PLAN from S. Giorgio in Alga to Quintavalle.
is no scale (approx. scale, 1: 7300).
Leiden (Portf. 139, no. 214); Paris (Cartes et Plans,
[78]; Estampes, vol. Vb-26, unnumbered); Stockhol
5-H, dr. 8, no. GDT 593): Venice (Querini-Stampalia
1. (across the top): disegno della pianta
22). di
VENETiA con / tutti i Canalli, Rij, Chiese,
Soranzo, no. 7457 (as a woodcut); Marinelli, no. 716 (as
Ponti, Isolette, diuision de Sestieri. Opera anoua
woodcut).
et non più stampata. 1627. Fig. 38. 107.

(top right, in a box): al ser.m0 prencipe zva-
né corner dvce di VENETIA / Due sono le
cagioni che mi à mosse ad inuiargli la presente
1.
Pianta, / della Eccelsa Città di Veneria da me ii. Publisher's sign
Stefano Scolari form
con semplice pratica / ridotta à quella perfet-
tione che nel presente Disegno si mira, /
l'vna è gl'infiniti suoi meriti, l'altra per l'interna
Scolari was active a
diuotione / et riuerentia che gli porto, degnesi prints from 1644
dunque gradire questa mia / dedicatione et me His republication of
from after 1649.
tenire nel numero de suoi fedelissimi seruito-
ri / che l'immenso Dio longo tempo V.Cambridge,
S.ta Mass. (Harvar
plans, Mt 17.72, no. 23);
conserui. / Di V. Ser.,a Diuot.mo et affet.mo
f. [2Jģf Museo Correr, ca
Ser.re / Alessandro Badoer fu di fr.č0
108.
nente.
(upper left, in a box): legend of 351.

canal names,
iii. The date in the
entitled, nomi d'i rii piv / principali,
changed inc., to: 1677 (
I Rio della Trinità, fin., XXXV De santo iseppo.
East-Berlin (Kartenabteil
no. 215); Milan (cart. M-
Vb-26, unnumbered); Ven
354 X 498. Engraving. miscellanea 234.D.28; Mu
cart. 30, unnumbered [« P
[« Prov. Cicogna »] ).
Marinelli, no. 821; Berta
Anonymous. The publisher, Badoer, is other-
wise unknown. 109.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
2. ii. Added (top right, above the margin): T.

2. (bottom right, in a box): pianta iconogra-
fica di Venezia / Descritta, e Dedicata / Dal I. 44.
P. Maestro Coronelli Lettore, e Cosmografo
della Serenissima Republica / All'Illustrissi- Published in: V. Coronelli, Viaggi del P. Coro-
mo, et Eccellentissimo Sig: Carlo Ruzini Cau: nelli, parte prima ... : Viaggio in Inghilterra
/ Sauio di Terra Ferma, et c: arricchito di copiose tavole . . ., Venice (G. B.
(top left): lion of St. Mark in a shield sur- Tramontin), 1697, I, 44 (Armao, Coronelli,
mounted by a crown. cat. no. 102). Reprinted in: V. Coronelli, Gui-
(top right): Ruzzini arms in a shield surmount- da de' forestieri per succintamente osservare
ed by a crown. tutto il più riguardevole nella Città di Vene-
(around the perimeter, clockwise from top tia . . . estratta dal Libro de' Viaggi del P.
centre): Settentrione; Oriente; Mezzo Giorno; Coronelli, Venice (n.p.), 1697, at the end
Occidente. (Armao, op. cit., cat. no. 3); Guida de' fore-
(bottom left): ten-line key, entitled, Dichiara- stieri sacro-profana per osservare il più ragguar-
tione delle Note, poste / nella presente Pianta, devole nella città di Venezia colla di lei pian-
inc., Li Numeri sono spiegati in / foglio sepa- ta ... , Venice (G.B. Tramontin), 1700, again
rato, fin., |= Traghetti. 1706, at the end (Armao, op. cit., cat. nos.
3, 4).
270 X 435. Engraving and etching. Published Cicogna, no. 4476.
with two folio sheets of letterpress legend, 111.
consisting of 691 place names numbered sepa-
rately for each of the sestieri, the Giudecca and
S. Giorgio Maggiore, entitled, dichiaratione
2. iii. The shields erased (top left, top right).
/ delli Numeri, posti nella Pianta Iconografica
The recipient of the dedication altered (fourth
della Città / di veneti a, Divisa in sei Sestieri,
line of the dedication): AllTll.mo Sig. Almorò
nelli quali si notano tutti li Ponti di pie/ tra, Pisani.
e di legno, Canali, Traghetti, e Fabbriche
Publiche.
Published in: V. Coronelli, Guida de' Fore-
stieri per osservare il più riguardevole nella
Anonymous. Republished in: V. Coronelli, I so- Città di VENEZIA..., Venice (Orlandi),
lario dell'Atlante Veneto . . . , parte Ia, Venice 1713, again 1715, at the end (Armao, Coro-
(a spese dell'autore), 1696, 25 (Armao, Coro- nelli, cat. nos. 5, 6).
nelli, cat. no. 55). Said to appear also in the Marinelli, no. 918, note.
following works of Coronelli, none of which
112.
have been seen by me: Teatro delle città e porti
principali dell'Europa, Venice (n.p.), 1697,
vol. I ( op . cit., cat. no. 54); Venezia (MS title:
Repubblica di Venezia P. I.), n.p. or d. (Venice, 2. A. (top centre): Venise / Ville Capitale de
ca. 1707/8) (op. cit., cat. no. 78). la plus / Celebre, et Illustre / Republique de
l'Europe / dédié / A Monseigneur / le
dauphin / Par son tres hum= /ble serviteur /
Substantially a copy of the Badoer plan (1.
Geographe / de fer.
above). All topographical detail is shown ortho-
(top left and right, bottom left and right, in
graphically, however, and many more locations
are identified. boxes): seven legends of names of bridges in
the Quartiers (seil., Sestieri) of Canal Reggio,
East-Berlin (Kartenabtlg., X 46452 - lacking legend); Dresden
(Sächsische Landesbibliothek - lacking legend); Milan (vol.
Arsenal (seil., Castello), St. Marc, Dorso Duro,
F-10; vol. G-75, pl. 23 - lacking legend); Venice (cart. 29, St. Paul, la Croix, and in the Isle des Juifs
no. C.P. 77, prov. Cicogna).
(seil., Giudecca).
Cicogna, no. 4522; Marinelli, no. 918; Bertarelli, no. 1994.
(lower centre left, in a medallion): a paris. /
110. chez le S.r De Fer / Isle du Palais sur le /

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
JuERGEN Schulz - THE PRINTED PLANS AND PANORAMIC VIEWS OF VENICE gl
Quay de l'Orloge a / la Sphere Royalle2./B. (bottom right): nova et accuratissima /

Avec
Privilege du Roy. VENETI ARUM / URBIS / TABULA TOPOGRA-
PHICA / LUGD. BAT. / Excudit PETRUS
(inset top centre right): map of the Lagoon,
(inset bottom left): vedute of Piazza andVANDER
Piaz- AA.
zetta. (top right): compass.
(top
(inset bottom centre right): veduta of Ponte di left): fifteen line key, entitled notá
Rialto. VEL CHARACTERUM / HUJUS ICHONOGRAP
/ EXPLiCATio. , inc., Dichiaratione delle N
(inset far right): veduta of Battle of Nicolotti
and Castellani. poste nella/presente Pianta, fin., Li num
(bottom right, below margin): H. van Loon sono spiegati in / foglio separato.
Sculp:
422 X 525. Engraving and etching.
460 X 697. Engraving and etching.
Anonymous. Published in: Johannes Geor
Graevius, Thesaurus antiquitatum et histo
The engraver, Harmanus van Loon, produced rum Italiae, vol. V, part ii, Splendor magn
several prints for the Parisian publisher, Nico- centissimae urbis venetiarum, Leiden (P.
las De Fer, in the years 1686-1690 (Thieme der Aa), 1722, 1, frontisp. (Graesse, III,
Becker, XXXIII, 360). That this is the approx- Reprinted in, Galerie agréable du mon
imate date of the present plan may be inferred Leiden (P. van der Aa), 1729, XXIX, p
from the fact that it is mentioned in the
(Phillips, III, no. 3485; Koeman, Aa 9).
Avvertissement on De Fer's bird's eye view
plan of 1700 (Cat. No. 92 above). Careful copy of Coronelli's orthographie
The plan appears unchanged, bound into: Atlas expanded by addition of islands in the La
géographique contenant les cartes d'Espagne, (from one of the sixteenth century bird's
de Portugal et d'Italie ... de la collection du
view plans) and terra-ferma with mountain
S.r de Beaurain, géographe ordinaire au Roi,
Marinelli, no. 1330.
Quay des Augustins . . . , Paris, 1749, XII,
115.
pl. 80;
The geography and some of the topography are

copied from Coronelli's orthographic plan. But
most of the important buildings are represented
more accurately than in Coronelli's plan. The
source of DeFer's information in unknown.
Leiden (Portf. 139, no. 224); London (Maps, 22670.33);

Greenwich, (Prints and Drawings, Box D); Milan (cart. G-22,
no. 11); Paris (Estampes, vol. Vb-26, unnumbered); Venice
(cart. 30, unnumbered); Vienna (Smmlg. Stosch, no. 375
[35 B13]); Washington (Maps).
113.
2. A. ii. New publisher's signature (lower centre

left, in the medallion): a paris / Chez G.
Danet gendre / de l'auteur Sur le Pont / N.
Dame a la Sphere Royale.
Paris (Cartes et Plans, DD 2987 [5197]).
114.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
II degni d'eterna gloria, rintuzzando massime l'Or-

THE UGHI PLAN
goglio di che pre-/ tendeva contaminarla. Naque
Ella libera, e tale per tanti Secoli mantenutasi,
si è resa l'Idea della / Maggior Republica, che
sia stata al Mondo; è siccome è privileggiata da
Dio per l'incorrotta di / lei Giustizia non mai
1. (across the top): iconografica rappresenta-
TIONE DELLA INCLITA CITTÀ DI VENEZIA / da xana Religiosa Pieta, cosi da tutto
disgiunta
l'Universo è riguardata come essem-/plare d'un
CONSACRATA AL REGGIO SERENISSIMO DOMI-
NIO VENETO. saggio, e prudentíssimo Governo. Non m'esten-
(top left, in a medallion): aloysio / a'
do ramemorare il marzial Valore, e la matu-/
moceni-
CO / VENETIARUM / DVCE. rità ne Consigli de' suoi Nobilissimi Patricj,
(top right, in a medallion): anno / poicchè copiosamente
salutis / divulgati dà più accredi-
M. DCC / XXIX. tati Scrittori / se ne sono estese le notitie anco
ne' piùvedute
(down the left and right sides): eight remoti Angoli della Terra: Mi restringo
solo à dire,
on each side, normally in the following order, che / Venezia è nata Vergine, e
libera,
left (top to bottom), S. Marco, Piazza S. eMarco
tale sempre si conserverà fino alla con-
sunzione Molo,
to the E., Piazzetta, Prigioni Nuove, de' Secoli. Piaccia alla Divina Clemen-
Piazza S. Marco to the W, Procuratie za avvalorare
Nuove, con perpetue benedizioni questo
Procura tie Vecchie, right (top to bottom),parto di un Cuore / ostequio-
divoto Vaticinio
Piazza di Rialto, S. Giorgio Maggiore, so, cheReden-
desidera sacrificarsi alle glorie della se-
tore, S. Maria della Salute, Zecca, renità Dogana sua nel
dacarattere del più. / Di V(ost)ra
Mar, Porta dell'Arsenale, Ponte di serenità Rialto. / Humiliss.mo Devot .mo Obl.mo Ser-
(upper left): compass and wind rose. vo. / Il Kavalier Lodovico Vghi.
(upper centre): six lines of verse inc., (bottom right): Con Privilegio dell'Ecc.1"0 Se-
Viderat
Adriaci« Venetam Neptunus, fin., hanc po- nato Appresso Giuseppe Baroni á S. Giuliano,
suisse Deos. (beneath the plan): eight columns of descrip-
(upper right): Venice drawn by two dolphinstive text, inc., succinte annotationi della
and accompanied by four tritons, a mermaidqui sop.a delineata citta, fin., e gli Ospedali
and six small genii. con let.ra O.
(lower right, in a cartouche): serenissimo
1483 X 2048; 1300 x 1755 the pian alone (the
PRENCIPE / Sorge, PRENCIPE SERENISSIMO,
Sorge dico per la prima volta la geometrica
plan: eight sheets of ca. 640 x 435) i22).
Etching.
Pianta / dell'Inclita sua Dominante, delineata
con le più caute misure, e graduazione degl'An-The maker of the etching is unknown, and also
goli, che / la di lei situazione, e la maggiorethe cartographer, Ughi, is otherwise unknown.
possibile industria hà permesso di fare: Effig- The publisher, Baroni (d. 1731), was one of a
giata nello pre-/sente Disegno ardisco umiliarlagroup of six Venetian printmakers and mer-
all'Augusto Trono di V(ost)ra Ser.ta come pri-chants who in 1719 formed a short-lived guild
mitia de miei / geometrici studij, che proseguitiof incisori with its own outlet for members'
potrebbero rendermi valevole di servire la Sere-productions (R. Gallo, L'incisione nel '700 a
nità sua, quando / degnasse comandarmi. Que- Venezia e a Bassano, Venice, 1941, 9 ff.).
sta nobilissima Città prencipe serenissimo,
può chiamarsi fattura / Divina, poiché soda-NNE above. Fom the Bersaglio to the Giu-
mente fondata sull'Aque del Mare costituiscedecca, from Punta S. Marta to Quintavalle.
doppo tredici Secoli la Regia dell'/Adria, sem-Scale of 500 passi veneti (355 mm.; approx.
pre invitta, e costante à sostenere con Eroiche scale, 1: 2,400).
gesta la Cattolica Religione. Ella be(n)che Ver-The plan is the fruit of the first full survey of
gine / hà saputo dare in ogni età numerosi figli,Venice since the days of Jacopo de' Barbari
che sacrificando la Vita, e le più loro preziose(Cat. No. 1 above). The vedute which decorate
Dovizie, / ne sanguinosi cimenti si sono resithe right and left sides, more or less in the

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
n.p. (Paris), 1764, no. 109 (Phillips, I, no.

manner of the 'fancy' exemplar of Giovanni
Merlo's plan (see Cat. No. 102 above),
638, are
III, no. 3508).
copied from the famous collection of views by
Carlevarijs (F abriebe e vedute di V ene A very
tia, much reduced copy of Ughi's plan (1.
Ve-
nice, 1703, 21704). above).
East Berlin (Kartenabtlg., X 46475); Dresden (Sächsische
Landesbibl. - exemplar with dedication to Doge Mocenigo 118.
erased and replaced with an MS dedication to Elector Frederick
Christian of Saxony, dated 1740; publisher's imprint erased
and replaced with a drawing of a compass and ruler); Leiden
(Doos VI, no. 2); London (Maps, K. 78. 63.); Paris (Cartes
2. ii.exhib.);
et Plans, BB 565 A, 12-81/86); Venice (Marciana, Added (top left, above the margin): Pi. 7.
Washington (Maps, Acc. no. 2443).
Figs. 39-43. 116. Published in: J.N. Bellin, Description géogra-

phique du golfe de Venise, Paris (Didot),
1771, 36, no. 7 (Phillips, III, no. 3973).
l.ii. New publisher's signature (bottom right):
119.
Appresso Lodovico Furlanetto Sopra il Ponte
de' Baretteri.
The plates were acquired 3. (top right,byin a cartouche):

Furlanetto Iconografica / Rap-
before
presentatione
1779, when they were listed as part of della inclita Citta di / venetia / his
Con tutti i Canali,
stock in an application for a blanket privilege Rij, Chiese, Ponti, Isolette,
on all his productionDivision / de Sestieri,L'incisione
(R. Gallo, i.e. / vrbs venetia- nel
'700 a Venezia e a Bassano, rvm ad Exemplar / Typi majoris, 1941,
Venice, qui Serenis- 41).
simo s en atui veneto / Consecratus Veneti] s
Cambridge, Mass. (Harvard Univ., Houghton Library, 51-2569
PF); Chicago; Florence (stampe 1729. prodijt in hanc
sciolte, no.minorem
15058; / formam re-
1st. Geogr.,
collez. Bianconi, no. 129); Newdacta. Haven,
Curantibus / Conn. (Yale
Homannianis Heredibus. Univ.,
Maps, *40 V55 1735); Nuremberg (SP 6407 a-k); Paris
(lower right,
(Cartes et Plans, DD 2987 [5201 b]; in a box): legend of
Estampes, 121 place
vol. Vb-26,
unnumbered); Venice (Archivio di Stato, misceli, disegni,
names, entitled, Explicatio Litterrum et Nume-
no. 135, f. 1234; Marciana, misceli. 76. d. 11.; Museo Correr,
rorum, inc.,
exhib.); Vienna (cat. nos. 1446, A Li Reformati, fin., 96 S. Mau-
2214).
ri tio. no. 1071; M. A. Becker Die
Cicogna, no. 4524; Marinelli,
Sammlungen der vereinten Familien- und Privat-Biblioihek Sr.
(around
M. des Kaisers [Franz Joseph ]: the perimeter,
III, clockwise from
i, Karten top topogra-
und
phische Ansichten , Vienna, centre):
1882, tramontana;
col. 233.levante; ostro; po-
117. nente.
(beneath the plan): a panorama of th

from the SE, entitled, Prospetto de
2. (upper left): compass netia.
(bottom right, in a cartouche): plan de la

ville / de venise / Réduit sur un Plan en 480 x 564; 386 x 548 the plan alone.
20. Feuilles publié à Venise. ing.
(top right, in a box): legend of 23 place names
in two columns, inc., a. Pont de Rialto, fin., Anonymous. Published in: Städt-atlas, oder
z Pont de S. Barnabé ou se fait/ le Combat des Schaiiplatz berühmter Städte . . . , Nuremberg
Nicolotti et des Castellani. (heirs of J. Homann), 1762, no. 92 (Phillips,
(top right, above the margin): Tome IV. III, no. 3293).
N°. 109.
Scale of 500 passi (106.5 mm.). A reduced
271 X 358. Engraving. copy of the large Ughi plan (1. above) which
seems to be the plan referred to in the
Anonymous. Published in: J. N. Bellin, Le petitinscription, although it is dedicated to the
atlas maritime, recueil de cartes et plans des Doge, not the Senate of Venice.
quatres parties du monde . . . , vol. IV, Europe,Marinelli, no. 1279 (describing a loose exemplar in the Museo

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
Correr [cart. 30], the date of which has been altered to 1789
in pen); Bertarelli, no. 1998. separate sheet (ben
120.
170 place names in
S.M Agnese i. 15, f
120 x 672, the lege

4. (bottom left, in a cartouche, with the scale):
Scala di passi cento Veneti / [scale] / da piedi Presumably publish
cinque / l'uno / K.a Lodovico Vghi / deline, like the first and
(bottom right, in a cartouche): Si avverte che, li and 123).
Canali senza / nome prendono la loro deno= /
Paris (Cartes et Plans, DD 2987 [5198]); Washington
minazione dal Santo della Chie = /sa più (Maps).
vicina. / Per evitare la confusione si / sono 122.
omessi li nomi delle / Strade. / Li Traghetti
sono dis = /tinti con pontini / che atraversano
/ il Canale / Grande come / pure quello /4. iii. New title (bottom left, in the cartouche):
della / Giudecca. NUOVA PIANTA / DELL' / INCLITA CITTÀ / DI
(top left): compass and windrose. Venezia / Regolata l'Aimo 1787 / Scala di
(top right): Venice drawn by two dolphins and passi 100 Veneti / da piedi 5 l'uno. / K.a Lo-
accompanied by four Tritons, a mermaid and dovico Vghi / deline.
six small genii. Reference added in the legend (bottom of col.
11): Nobe di Moscovia h. 6.
500 X 675. Etching.
Signature added below legend (centre bottom):
Anonymous. Published by Lodovico Furlanetto Ap. Lodovico Furlanetto al Ponte dei Bareteri
con P. E. S.
in 1747 according to the inscriptions of a
separately etched frame that is preserved to- Florence (Ist. Geogr., collez. Bianconi, no. 131); The Hague
(Algemeen Rijksarchief); London (Maps, 22670. 20); Madrid
gether with the plan at Paris (M). Whether the (Bibl. Nacional, Sección de Mapas); Milan (busta D-8).
naming of Ughi means that the latter himself Bertarelli, no. 2013.
made the reduction from the large plan of 123.
1729 (1. above), or simply that the present
plan is taken from the large one, is uncertain
from the wording. The latter seems more likely. 4. iv. Date changed (in the cartouche, bottom
This plan, or one of its later states, was listed left): 1797 (24).
by Furlanetto among his current productions,
Chicago; East Berlin (Kartenabtlg., X 46485); Milan (cart.
when he applied for a blanket privilege in 1779 G-22, no. 15; busta C-3); Munich (StaatsbibL, Kartensmmlg.,
(R. Gallo, L'incisione del '700 a Venezia a Mappe XIV, 95 dd); Venice (cart. 30, unnumbered); Vienna
(cat. 2699).
lassano, Venice, 1941, 41). Cicogna, no. 4527; Marinelli, no. 1301; M. A. Becker, Die
Sammlungen der vereinten Familien- und Privat-Bibliotbek Sr.
Scale of 100 passi (26 mm.; approx. scale, M. des Kaisers [Franz Joseph]: III, i, Karten und topogra-
phische Ansichten , Vienna, 1882, col. 233; Bertarelli, no. 2013.
1: 6,950). A reduced, somewhat simplified
copy of the large Ughi plan (especially the 124.
patterns of garden plots have been stylized).

Paris (Estampes, vol. Vb-26, unnumbered); Venice (cart. 29,
no. XLIV-63). 4. v. First seven lines of the title erased (in the
Laguna di Venezia , pl. (17). cartouche, bottom left). In their place: Scala
Fig. 44. 121. di passi cento Veneti / da piedi cinque l'uno.
Lines 9-11 of the last column of legend erased.
In their place: Casa Adda e. 7 / Imperiali
4. ii. A grid of 19g. 5x/ Valvasoni
251/2 m. 10. squares dra
plan, the rows lettered a- z across
bottom, and 1-19 The datedown
of this last state must
the be afterright.
1797

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
and the transfer of Venice to Austrian owner-

« Ughi deline. » is meant (4. above). For Giam-
ship. piccoli (1706-1782) see Cat. Nos. 98 and 196.
Milan (cart. G-22, nos. 16-17 [two copies]).
125.
Scale of 100 Passi Veneti lower left (129 mm.).
A reduced copy of the small Ughi plan (4.
above), wherefore the criticisms of the latter in
Giampiccoli's foreword are without weight.
4. A. (top centre, in a ribbon): piano dell'incli-
ta città dominante di venez/ Le Plan de la Marinelli, no. 1200; L. Alpago-Novello, Gli incisori bellunesi ,
« Atti dell'Istituto Veneto di scienze, lettere ed arti », XCIX,
Ville Dominante de Venise. Planta Inclitae 1939/1940, parte ii (Classe di Scienze morali e lettere), 521.
Urbis Venetiarum. / Emendato da molti errori 126.
che si Veggiano nelle precedenti stampate.
1779.
(upper left): legend of 48 place names in two
4. A. ii. The year in the title erased (top centre).
columns, being the churches of the Sestieri
The cartouche and dedication erased (lower
della Croce and Dorso Duro, and of the Giu-
decca. right).
The columns of the legend and the key boxed.
(upper right): legend of 92 place names in
Venice (cart. 30, unnumbered).
four columns, being the churches of the Se-
127.
stieri di Castello, S. Marco, Cannareggio, and
S. Polo.
(lower left): Le chiese sono descritte con linee
Diagonali, e le / Parro(c)chie sono ombreggiate 4. A. iii. New signature (bottom left): Presso
con profondo intaglio. / I Traghetti, e i Canali Giuseppe Sardi in Ven.a
vengono distinti con puntini, ed / hanno la loro Venice (cart. 30, « Prov. Cicogna, 16 P.»).
denominazione della Chiesa più vicina. / Spie- 128.
gazione per le miniate. / Il Color Rosso indica
le Chiese Parrochiali, il Giallo le /Chiese non
curate, e il Verde segna la separazione / del- 4. A. iv. New signature (bottom left): da Bon-
l'Isolette con il Gran Canale. vecchiato, libraio in Merceria, Venezia.
(bottom left): Extant Venetijs Apud Giampic- Venice (stampe, P. D. 4015).
coli, et Ineidit. 129.
(bottom right, in a cartouche surmounted by
the Grimani arms): amplissimo senatori /
IOANNI EX ANTONIO GRIMANO / P.V. / cultio-
rum Disciplinarum arbitro / Patrono Suo prae-
4. A. a. (top centre, in ribbon): plan von Ve-
nedig.
clarissimo d. d. d. / Marcus Sebastianus Giam-
piccoli / obsequentissimus famulus:
(upper left, upper right): legends of p
names, identical with those of Giampicc
235 X 325. Etching. plan.
(lower left): Die Kirchen sind mit Diagonal
Etched and published by Marco Sebastiano Linien / bezeichnet, die Parrochien mit tiefen /
Giampiccoli in his booklet: Notizie interessanti Strich schattirt, die Ueberfahrten und / Canäle
che servono a far conoscere in tutti i suoi se- sind mit Punchten bezeichnet / und haben ihre
stieri l'inclita città di Venezia con la carta della benennungen von den / nächsten Kirchen.
sua pianta esattamente delineata , Belluno (M.
S. Giampiccoli), 1779, frontisp. (Cicogna, no. 221 x 315. Engraving.
4481). According to Giampiccoli's foreword
(p. 3), his plan was produced more or less in A careful copy of the Giampiccoli plan.
competition with a republication of a plan by Dresden (Sächsische Landesbibl. ) .
130.
Ughi. Presumably the small plan labelled

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
show demolitions and additions: a triangular

4. B. (above top margin): No. 26 Plan de Venise.
Voyage en Italie Tom VIII Pl. 5. area of fill behind Punta di S. Marta, the Giar-
(upper right centre): compass. dini Reali on the site of the former granaries,
(below bottom margin): Pied de Paris divisé the Giardini Pubblici on the site of thè Punta
en 12 pouces. di S. Antonio and the Porto Franco beside
S. Giorgio Maggiore. Ughi's fancily laid-out
(down the left side): legend of 83 place names,
entitled, N.os de la partie supérieure., inc.gardens
, 1 on the East end of the Giudecca are
Bersaglio, fin., 83 Comenda di Malta. shown by Combatti as unarticulated open
(down the right side): legend of 85 place
ground.
names, entitled (half way down), N.08 deMilan la (Busta K-116).
partie inférieure, inc., 84 S. Danielle, fin., 69 132.
S. Giorgio Maggiore.
265 X 385. Etching.

4. C. a. (top centre right): pianta / Della / cit-
ta / di / VENEZIA / 1815.
Anonymous. Published in: J.J. Le F. de La-
(top right): legend of 30 parish names in two
lande, Voyage en Italie, Paris (Veuve Desaint),
columns, entitled, leggenda delle parroc-
1786, atlas (= vol. X), no. 26 (Phillips, III,
chie, inc., 1 S. Pietro di Castello, fin., 30 II
no. 4042).
Redentore alla Giudecca / Spiegazione. / (key
of four symbols).
Scale of 1000 Toises de Paris (139 mm.). A
(bottom right): legend of 20 barracks names,
reduced copy of the small Ughi plan (4. above).
entitled, leggenda delle caserme, inc., 1
Bertarelli, no. 2012. S. Marta, fin., 20 S. Cosmo.
131.
4. C. (top centre right): Nuova / pianta / Della Scale of 200 passi (48.5 mm.). A copy of the
/ citta / di / Venezia / Anno 1815. Combatti plan in the form of an outline
(top right): legend of 30 parish names in two engraving.
columns, entitled, leggenda delle parroc- Venice (Marciana, misceli. 138. c. 188., Piante, no. 1).
chie, inc., 1. S. Pietro di Castello, fin., 30. Il
133.
Redentore alla Giudecca. / Spiegazione. / (key
of four symbols).
entitled, leggenda delle caserme, inc., 1. 4. C. a. ii The date in the title altered (top centre
S. Marta, fin., 20. S. Cosmo. right): 1816.
Six place names added beneath the second
526 X 674. Lithograph. column of the legend of Parrocchie (top right):
inc. , A. Comando di Piazza, fin., F. Prigioni
Anonymous. The cartography is by Bernardo Militari.
Combatti. His preparatory drawing survives in
Florence (1st. Geogr., collez. Bianconi, no. 133).
the Austrian National Library (Kartensmmlg.,
134.
no. 2992: 512x658; pen and black ink,
washed with blue, pink, yellow, red, and violet
water colors; identical inscriptions). It is signed
(below the bottom right margin): Bernhard 4. C. b. (bottom right): pianta / della / città
Combatti gezeichnet. / di / Venezia / nell'Anno 1824.
Scale of 200 passi (48 mm.). A copy of the in four columns, entitled, Chiese Parrocchiali,
small Ughi plan (4. above), but corrected to Succursali ed Oratori, inc., s. Moise, parroc-

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
chiale . . . h. 2, fin., s. Zaccaria, Parr.la . . 4. C.10.

. p. c. a. (top right): pianta / Rinnovata e
(lower left, in a box): legends of 28 names in
corretta sino l'anno 1838 / Serve per l'opera /
two columns, entitled, Stabilimenti Pubblici, il fiore di Venezia / Edizione di Tommaso
Fontana.
and, Teatri, inc. , Accademia delle belle Arti,
alla Carità . . . il3, fin., S. Angelo 1. 13. (down the left side): legend of 29 parish names,
entitled, parrocchie, inc., S. Marco, fin.,
490 X 670. Engraving. S. Eufemia alla Giudecca.
(bottom right): list of five abbreviations,
A copy of the Combatti pian (4. C. above).
entitled, abbreviature, inc., R. Rio, fin.,
Venice (cart. 30, unnumbered). T. Teatri.
135. 325 x 422. Engraving.
Published in: E. Paoletti, II Fiore di Venezia,

4. C. c. (top right): pianta della / città di Venice (T. Fontana), 1839-1840, II, facing 9
Venezia / Con li nuovi regolamenti fatti nel (Cicogna, no. 4503).
1828. / Leggenda delle Parocchie / legend Marinelli, no. 1681.
of 30 place names in two columns, inc., 1 S.
138.
Pietro di Castello, fin., 30 II Redentore alla
Giudecca / Spiegazione. / (key of four sym-
bols) / legend of 11 military and administra-
tive offices, inc., A Comando di Fortezza S.
5. (top right, in a cartouche): nuova pianta ico-
Steffano, fin., L I.R. Direzione delle Poste nografica / dell'Inclita Città di / Venezia. /
S. Luca.
Spiegazione dei Segni / (key of six symbols, in
(bottom centre right): descriptive text, inc., two columns) / in Venezia 1792 / Presso
La superficie di questa Città in metri quadrati, Teodoro Viero.
fin., scala in passi veneti.
(lower right): Avvertimento / Le Lettere e
Numeri all'intorno del margine / indicano
entitled, leggenda delle caserme, inc., 1
quanto trovasi per ogni quadrato come / le
S. Marta, fin., 24 L'Incurabili.
appiedi annotazioni.
(drawn over the plan): grid of 17 x 23 squares,
490 x 646. Engraving.
lettered A-Z above and below, 1-17 down the
Scale of 500 meters (97 mm.) and 300 passi left and right.
(84 mm.). A copy of Combatti (4. C. above) (beneath the plan): legend of 176 place names
with a few changes: fill is shown behind S. in twelve columns, inc., S.' Agnese ... I. 13,
Lucia, on the site of the future railway station, fin., Di Sardegna ... G. 5.
S. Maria dei Servi has been demolished, the (bottom left, beneath the legend): Appo Teo-
doro Viero Venezia 1792.
fill behind S. Marta is now planted around the
edges and identified as, Campo in Sacca / di
S. Marta. 485 x 548; 387 x 535 the plan alone. Etching.
Florence (Kunsthistor. Institut, Na 1428).
Anonymous. Published by Teodoro Viero, one
136.
of the principal producers of topographical
prints at Venice at the turn of the eighteenth
to nineteenth century (1740 - 1819 or 1821;
4. C. c. ii The date in the title changed (top G. A. Moschini, Dell'incisione in Venezia,
right): 1829. Venice, 1924, 132 ff.; Thieme Becker, XXXIV,
Florence (1st. Geogr., collez. Bianconi, no. 133); Milan (Cart. 340).
M-34, no. 55).
137.
Scale of 500 passi veneti (105.5 mm.; approx.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
gg JuERGEN Schulz - THE PRINTED PLANS AND PANORAMIC VIEWS OF VENICE
scale, 1:8,113). A clean, reduced copy S.

ofGiorgio Maggiore, and open ground at the
Ughi's large plan (1. above). East end of the Giudecca.
London (Maps, 22670. 21). London (Maps, 22670. 29); Venice (Racc. Gherro, IV, no.
Cicogna, no. 4529. 611).
Marinelli, no. 1449, note.
Fig. 45. 139. 143.
5. ii. The date in the

5. vi. title
The date in (top
the title (top right) right)
and signature
(bottom left) changed:
bottom left) changed: 1818.1796.
Florence (1st. Geogr., collez.
London (Maps, 22670. 7). Bianconi, no. 1
Munich ( Staatsbibl., Kartensmmlg., Mappe X
144.
140.
5. vii. The date in the title (top right) and signa-

5. iii. The date in the title (top right) and signature (bottom left) changed: 1822.
ture (bottom left) changed: 1798.
The signature of Viero in this and the next
Milan (cart. G-22, no. 19); Venice (cart. 29, no. XLIV-79). two states is an anachronism. He died in 1819
or 1821 (see 5. above).
141.
Vienna (no. 3063).
M. A. Becker, Die Sammlungen der vereinten Familien- und
Privat-Bibliothek Sr. M. des Kaisers [Franz Joseph]: III, i,
Karten und topographische Ansichten, Vienna, 1882, col. 233.
5. iv. The date in the title (top right) and signa-
145.
ture (bottom left) changed: 1808.
Florence (1st. Geogr., collez. Bianconi, no. 132); Venice (Racc.
Gherro, IV, no. 610).
Marinelli, no. 1449. 5. viii. The date in the tide (top right) and signa-
142. ture (bottom left) changed: 1827.
London (Maps, 22670.23); New York (Public Library, Maps,
R 4.5.63).
146.
5. v. The date in the title (top right) and signature
(bottom left) changed: 1816.
(lower left, in a box): legend of 21 barracks
names, entitled, leggenda delle caserme, 5. ix. The first three lines of the title erased and
inc., 1. S. Marta. . . A. 13, fin., 21. S. Co- replaced (top right): pianta / della / Città di
smo . . . H. 10. Venezia / Ristaurata nell'Anno/ 1829. Í25).
(beneath the pian): final ten lines of last columnGöttingen (Geographisches Institut); Venice ( Querini-Stam-
palia, misceli, di carte geografiche B. 1. B. 97, f. 3).
of legend erased. In their place, the names of 147.
11 barracks. The names of seven edifices else-
where in the legend struck out, and the word
« demol. » written against them (S. Antonio
Abbate, S. Domenico, S. Geminian, S.ta Marina,
5. X. The date in the title (top right) changed:
1834.
La Mad.11* dell' Arsenal, I Servi, Il Seminario).
The last two lines of the title erased and
A mudi altered state of Viero's plan, showingreplaced (top right): Milano presso Pietro e
demolitions and additions first recorded byGiuseppe Vallardi Contr. S. Margherita N.°
Combatti in his plan of one year before (4. C.101. / Venezia sotto alle Procuratie Vecchie.
above): i. e. the area of fill behind Punta diThe signature erased (bottom left, beneath the
legend).
S. Marta, the Giardini Reali on the site of the
public granaries, the Giardini Pubblici on theMilan (Busta 1-9).
148.
Punta di S. Antonio, the Porto Franco beside

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
(Maps, 22670. 8); Munich (Staatsbibliothek, Kartensamm-

5. xi. The date in the title (top right) changed:
lung).
1835.
152.
Milan (cart. G-22, no. 21).
149.
5. C. (bottom left): nuova / pianta iconogra-
fica / della Città / di / Venezia / 1821 / per
5. xii. The date in the title (top right) changed: epilogo della Carta divisa in XXX Parrocchie,
1842. (top left): legend of eight names, entitled,
Florence (1st. Geogr., collez. Regalia, no. 18). Teatri, inc., A. S. Gio. Grisostomo, fin., H. La
Rena.
150.
(top right, in a box): Legend of 118 names in
four columns, entitled, Indicazione delle Chiese,
Parrocchiali, Succursali, Oratori, e Soppresse,
5. A. (bottom right): A / plan of / the city of /
inc. 1. S. Pietro Parrocchia, fin., 118. S. Gior-
VENICE.
gio Maggiore.
(bottom right, below the margin): S. Andrews
(bottom centre right): legend of 25 names,
sculp. entitled, Caserme, e Luoghi Militari, inc., I
Caserma della Flottiglia a S. Pietro, fin., XXXV
186 X 257. Engraving. alle Convertite.
(bottom right): legend of 22 names, entitled,
Engraved by S. Andrews. Published in: J. Stabilimenti Pubblici, inc., a Congreg.6 di Carità
Andrews, A collection of Plans of the most ed Ospit.0 degli esposti, alla Pietà, fin., z Semi-
Capital Cities of every Empire , London, 1792, nario Patriarcale, alla Salute.
no. 10 (Phillips, III, no. 3291).
417 x 575. Engraving.
Scale of 20,000 feet (36.5 mm.). A reduced
copy of Viero's plan (5. above). Anonymous. Published in: G.B. Paganuzzi,
151. Iconografia delle Trenta Parrocchie di Venezia,
Venice (n.p.), 1821, frontisp. (Cicogna, no.
4530).
5. B. (top centre right): Nuova Pianta / della
Scale of 500 passi veneti (105 mm.). A reduced
Città e Porto Franco / di / Venezia / pubbli-
copy of the modernized Viero plan (5.v. above).
cata / Presso art aria et comp: di Vienna /
Building contours are corrected in many cases
Vendibile / a Venezia presso T: Viero Mer-
and some, but not all of the fancy garden
cante di Stampe / e presso G: Benzon Mer-
plantings still shown by Viero have been eli-
cante di Musica / (Proprietà degli Editori),
minated or simplified. The corrections are
(down the left and right sides and beneath the
drawn from the more detailed plans of the 30
plan): legend of 156 place names, inc., S.
individual parishes of Venice, of approximately
Agnese I. 13, fin., Le Zitelle O. 14.
the same dimensions as this frontispiece, which
(drawn over the plan): grid of 17 x 23 squares,
illustrate the text of Paganuzzi's book. Al-
lettered A-Z above and below, 1-17 down the
though the geography of these (i.e., contours of
left and right.
islands, calli, etc.) is based on Viero's plan, their
523 x693; 375 x 521 the plan alone. Engrav- topography is extensively revised on the basis
ing.
of direct observation. Thus, they are essentially
new plans of the nineteenth century rather
Scale of 500 passi veneti (102.5 mm.). An than copies of an eighteenth century plan and
almost full-size copy of the Viero plan of 1792 fall outside the scope of this work.
(5. above). Marinelli, no. 1535.
153.
Cambridge, Mass. (Harvard Univ., Map Room); London

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
PANORAMIC VIEWS

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
I 260x 1633 (four sheets of 260x400/413).
THE REEUWICH PANORAMA Engraving.
By the Master of 1488. Published in the French

translation of the Peregrinatio : B. Breydenbach,
1.(top centre, in a ribbon): civitas venetia-
Peregrination de oultre mer en terre sainte au
rv(m). tres glorieux et saint sepulchre . . . en iherusalem,
Lyon (Topie et Heremberg), 1488, f. b 4 v.
264x1635 (four sheets of 264x410, 415, (H.W. Davies, B. von Breydenbach and his
415, 395). Woodcut. Journey to the Holy Land, London, 1911, cat.
no. VIII).
Drawn and (?) engraved by E. Reeuwich Í26).
Published in: B. Breydenbach, Sanctarum pere- The print is a close copy in slightly altered
grinationum in montem Syon ad venerandum format of 1. above.
Christi sepulchrum in Jerusalem . . . opusculum, Davies, op. cit., Copy B.
Mainz (E. Reeuwich), 1486, f. c 8. Reprinted 155.
in the reissue by Drach (Speier, 1490, f . b i v.),
translations into German (Mainz, 1486), Fle-
mish (Mainz, 1488), French (Lyon, 1489), and
3. (top centre, in a ribbon): civitas venetia-
Spanish (Zaragoza, 1498). (Cf. H.W. Davies, rv(m).
B. von Breydenbach and his Journey to the
Holy Land, London, 1911, xxii ff., xxxii, and 253x1619 (four sheets of 253x401, 409,
nos. I, II, IV, VII, XI, and XII resp.). 412, 397). Woodcut.
Venice from the SW, from S. Marta and the Anonymous. Published in the new editions of
W end of the Giudecca to S. Elena, with fan- the Peregrinatio in Latin and German, issued
tastical mountains in back and water in front. at Speier (Drach), 1502, f. b i v., and the
Cicogna, no. 4515; Passavant, I, 63; Marinelli, no. 464; latter's reissue of ca. 1505 (H.W. Davies, B.
Bachmann, 348, no. 1144-a.
von Breydenbach and his Journey to the Holy
Figs. 46, 48, 50-53. 154. Land, London, 1911, cat. nos. III, VI).
The print is a close copy of 1 . above. The copy

2. (top centre, in a ribbon): can
civitas venetia-
be most readily spotted by the fact that
RVM the shading on the columns of the Piazzetta is

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
diagonal, while in the original of Reeuwich it

Venice from the SW, from the Dogana da Mar
is horizontal. to Rio del Vin. A somewhat coarsened copy of
Davies, op. cit., Copy C. the central portion of Reeuwich's panorama (1.
156. above), with alterations in the location of
mountain peaks, foreground ships and details
of buildings.
Cicogna, no. 4516; Marinelli, no. 470; V. von Loga, « Die
4. (top centre, above the margin): |ļ Städteansichten
Venetie in H. Schedel's Weltchronik », Jahrbuch d. K.
preuss. Kunstsmmlgn ., IX, 1888, 187; H. W. Davies, B. v.
ciuitas Regia. Breydenbach and his Journey to the Holy Land, London,
1911, xxii.
117 X 152. Woodcut. 158.
Anonymous. Published in: J. P. Foresti, Sup-

plementum chronicorum, Venice (B. Rizo),5. A. (across the top): Venecia. Venedig.
1490, f. 148 r. (Prince d'Essling, Les livres à 85 X 337 (two sheets of 85 x 170, 167). Wood-
figures vénitiennes, Paris, 1907-1914, part I, cut.
vol. I, 302 ff., no. 343, illus. p. 305; M. San-
der, Le livre à figures italien depuis 1467 Anonymous. Published in H. Schönsperger's
jusqu'à 1530, Milan, 1942, I, 160, no. 917). pirated Augsburg editions of the Liber cronica-
Reprinted in the editions of 1491 and 1492 rum-. Das buch der Croniken unnd geschichten
(f. 146 r.), 1503, 1506, 1508, 1513, and 1520
mit figuren und pildnussen von Anbeginn der
(f. 230 v.), 1524 and 1535 (f. 179 r., entitled:
welt bis auf dise unsere Zeyt, 1496, f. 44 v.
el principio de Venetia citta Regia) and 1553 -45r.; Liber cronicarum cum figuris et ymagi-
(f. 413 v., entitled: Venetia citta). (Essling, op. nibus ab inicio mu{n)di usq(ue) nu{n)c tempo-
cit., 304 ff., nos. 344 through 353; Sander, ris, 1497, f. 44 v. -45 r. (entitled, « Venetia »);
op. cit., 161 ff., nos. 918 through 926). Das buch der Croniken und geschichten mit
figuren und pildnissen von Anbeginn der Welt
The Molo from the S, from the Granaries to bis auff dise unsere Zeit, 1500, f. 45 v. -46 r.
the Ponte della Paglia. A coarse copy, with (entitled, « Venetia. Venedig. ») (Graesse, II,
many differences, of the central portion of 139).
Reeuwich's panorama (1. above).
Bachmann, 348, no. 1144-d. A much simplified and coarser, but unaltered
157. copy of the Wolgemut/Pleydenwurff cut.
159.
5. (top centre left): venecie.
193 x533 (three sheets of 193x265, 235,

33). Woodcut.
By M. Wolgemut and/or W. Pleydenwurff.

Published in [H. Schedel] Liber cronicarum
cum figuris et ymaginibus ab inicio mundi,
Nuremberg (A. Koberger), 1493, f. 43v.-44r.;
and in the contemporary German translation,
Buch der Croniken und geschichten mit figuren
und pildnussen luun Anbeginn der weit bis auf
unsere Zeit, Nuremberg (A. Koberger), 1493.
f. 43v.-44r. (Graesse, II, 138 f.).

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
II graphica, The Hague, 1925-1933, III, 69; B. Van 't Hoff,

« Grote Stadspanoramen gegraveerd in Amsterdam sedert
THE BLAEU PANORAMA 1609 », Jaarboek Genootschap Amstelodamum, XLVII, 1955,
cat. no. 21.
160.
1. (top left, in a cartouche): Extract uijt de Pre-

vilegie/ De H. Staten Generael der Veree-
1. ii. With added title (top centre): venetiae.
nichde Nederlanden hebben geoct:/ roijeert
Willem Janss. woonende tot Amsterdam om
The only exemplar of the second state known
voor den tijt / van vijf Jaren alleene te mögen
to me has a banner woodcut title pasted across
doen drucken ende uijt geven de af: /beeldinge
the top (six sheets of 37/40 x 350): venetiae
vande Stadt van Venetie, met expres verbot
URBIS ITALIAE POTENTISSIMA CAPUT ET RE-
aen een ijegelijc / insgeseten van dese landen
GIONŮM URBIUMQ COMPLURIUM DOMINATRIX.
deselve niet na te maken in eenige for: /maten
There may exist exemplars without it.
ťsij in hout ofte coper, ofte eiders nagemaect
Nuremberg (S.P. 5904).
deselve ofte / d'afdrucsels van dien inde voorss
F. C. Wieder, Monumenta cartographica, The Hague, 1925-
landen te brengen om vercocht te wer: /den1933, in
III, 69, no. 38.
eeniger manieren op alsulcke penen als blijct
Figs. 47, 49. 161.
bij de brieven van / octroij daer van verleent
in S'graven Hage den 7 augusti 1614, / M. V.
Lijclama vt. ende onderteekent .C. Aersens.
2. Untitled. Cartouches (t
(across the top, left to right): a figure ofcontain
Fama lions of St. Mark.
- a lion of St. Mark - a putto bearing a
Signed (below lion of top right cartouche):
corno ducale - Venice seated between Nep-
Godifridus de Scaichi excudit / 1620 TK fee.
tune and Felicitas Publica and attended by two
Tritons - a putto bearing three chains, a
385 x 2087 (four sheets of 385 x 522). Engrav-
crown and arms - Minerva - a group of five
ing.
fleeing Turks.
(top right, in a cartouche): in venetias /
The engraver may be identical with the Mono-
Jacobi Sannazarij / six lines of verse, inc.,
grammist TK who produced portraits for book
Viderat Hadriacis Venetam, fin., hanc posuisse
Deos. illustrations in the seventeenth century (Nagler,
V, no. 745). The publisher is otherwise un-
known.
399x2124 (four sheets of 399 x 531). Engrav-
ing.
An exact copy of Blaeu's panorama (1. above)
Anonymous. Published by Willem Janszoon except for the suppression of the inscriptions
in the cartouches, and corrections of some of
Blaeu under a privilege granted in 1614. Uni-
form in size and style with his panorama of the names set against buildings in the view (28).
Amsterdam of 1606 (27). Venice (cart. 30, no. XLIV-25).
Blaeu (1571-1638) was founder of one of the 162.
chief dynasties of cartographic publishers at
Amsterdam (Koeman, I, 68 ff., with further
bibliography). 2. ii. Title added (top centre): vehetiae.
Vienna (A 1-22).
Venice from the S., from S. Giorgio in Alga to 163.
the Punta di S. Antonio, with the Giudecca in
front.
Stockholm.
I. Collijn, M. G. DeLa Gardie' s Sämling af äldre stadsvyer . .
3. (across the top): fortvnae credere noli /
Stockholm, 1915, no. 47; F. C. Wieder, Monumenta carto- Venedig.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
(beneath the view): Fortunae minimae non by est

a putto - a female figure accompanied by
confidere tutum: Ham sibi credentes f allere emblems of peace and war (olive wreath, palm
sape solet / Dem Glück soll man zu wohl nicht branch, flags, helmets, etc.).
trawn / Sondern für alle Dingn zu schawn / (top right, in a box): six lines of verse, inc.,
Dass man sich selbst betrüge nicht / Wie laider, Ille expers terrae terris tarnen imperai illa, fin.,
offt und viel geschieht. Nempe orbis totus, si viget illa, viget.
(beneath the panorama, on separate sheets):
100 X 152; 70 X 146 the view alone. Engrav- fifteen columns of letterpress descriptive text
ing. entitled, A v spectatevr / & Lecteur débon-
naire.; inc., puis qu'on ne doute point, fin.
Anonymous (by Jakob van der Heyden?). comme le/mary faict sa femme./ A Amster-
Published in [ Daniel Meisner] Thesaurus philo- dam / Chez Ian Ianson demeurant sur l'Eau,
politicvs. Hoc est : ... Politisches Schatzkäst- à la Carte Marine. l'An 1624.
lein guter Herren vnd bestätiger Freundt. Das
ist : Auserlesene schöne Emhlemata . . . , Frank- 385 X 2075 the panorama (four sheets of
furt a/M (E. Kieser), 1623-1631, I, fase, i, 385x513/522). Engraving. 40x2045 the
emblem no. 48 (Graesse, IV, 467). All the title (six strips of 40xca. 345). Woodcut.
prints of the Thesaurus philo-politicus are 155 x 2053 the text (five sheets of 155 x 406/
attributed to Jakob van der Heyden by B. C. 413). Letterpress.
Kreplin (Thieme Becker, XVII, 18, col. 2).
Reprinted in the new edition: Sciagraphia Anonymous. Published by Johannes Janssonius,
Cosmica Dass ist : Neives Emblematisches the publisher of atlases and geographical works,
Büchlein . . ., Nuremberg (P. Fürst), 1637-
but not known to have been part of any of
1638, part VII, pl. 97 (Graesse, loc. cit.), and
his books.
its reprint of 1678.
An almost full size copy of Blaeu's panorama
A reduction of the Blaeu panorama (1. above)(1. above) with a few « corrections » (e.g. the
into a view of the Molo, S. Giorgio MaggioreRedentore and Zitelle are indicated on the
and the Giudecca. In the foreground, a partyGiudecca, though not in their proper forms,
of banqueters scatters from beneath a falling
and only one church is shown on the island of
building. S. Giorgio Maggiore).
Bachmann, part. I, no. 2183 (erroneously listed among copies
London (Maps, 189.a.8).
of the Hogenberg plan, Cat. No. 42); Bertarelli, no. 1982.
165.
164.
4. (across the top, on separate strips): venetia, 5. (across the top): veneti ae urbs italiae po-
POTENTISSIMA URBS ITALIAE, PLURIMARUM tentissima caput et regionům urbiumq
REGIONŮM ATQ URBIUM CAPUT AC DOMINA- COMPLURIUM DOMINATRIX.
TRIX. (across the upper part): Hon of St. M

(top centre): vene tia. putto with a corno ducale - figure of V
(top left, in a box): six lines of verse, inc.,
- putto with chains, crowns, and scepte
Ausoniae quondam qualis fuit urbis imaga, fin.,
putto blowing a trumpet.
Sive potestà tem seu magis urbis opes. (lower right): vignette of a man and two l
labelled, nobīlis venetus nobīlis femina
(across the top, left to right): a composite
figure of Fama - Abundantia - Venice seated
veneta.
between Neptune and a sea nymph, the lion (bottom

of right, beneath margin):
Heyden excu/.
St. Mark at its feet - a female figure accompani-
ed by emblems of wordly wealth and power (beneath the panorama, on separate
nine columns of letterpress descript
(crowns, sword, jewels, money, etc.) attended

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
JUERGEN SCHULZ - THE PRINTED PLANS AND PANORAMIC VIEWS OF VENICE 97
inc. , Dem Grossgünstigen Leser glück/ 6. (top

undcentre, in a cartouche): venetia.
heyl., fin., wie solches alles aus den Historiis
(top centre left): shield bearing three wreaths,
mehr als Weltkündig ist. (top centre right): shield bearing lion of St.
Mark.
245x1117 the panorama alone (three sheets(beneath the panorama): six columns of text,
of 245 X 375, 373, 365). Engraving. consisting of: (a) twelve place names, inc.,
A. S. Giorgo de alega, fin., M. Sacharia; (b)
seven lines of description in Dutch, inc.,
Anonymous, unless engraved as well as publish-
ed by the Strassburg engraver Jakob vanvenetia, der een voormaerde Stadt in Italien, fin.,
Heyden, whose dated prints fall betweenenthe ses Raets heeren; (c) the same in six lines
years 1608 and 1635 (Thieme Becker, XVII, of French, inc., venise, Ville tres fameuse, fin.,
17 f.). et six Conseillers.; (d) the same in seven lines
of German, inc., venetia, eine vortreffliche
A reduced copy of Blaeu's panorama ( 1 . above) Stadt, fin., und sex Ratsherren; (e) the same
that simplifies the topography and lacks the in seven lines of English, inc. , Venice, a Fa-
cartouches in the top corners. mous Citi j , fin., and 6 Councillors.; (f) twelve
Berlin (Topogr. Mappen, Venedig, I); Venice (cart. 30, no. place names, inc., N. I. Greci, fin., Z. S.1
XLIV-22; lacking text). Giorge.
166. (around the outside): an acanthus leaf frame.
405 x 520. Etching.

5. A. (across the top): veneta urbs italiae Anonymous. Published in: Theatrum praeci-
POTENTIS SIMA CAPUT ET REGIONŮM URBIUMQ.
COMPLURIUM DOMINATRIX.
puarum totius Europae urbium tam ichnogra-
phicé quam conspicuê delineatarum, Amster-
(top centre): venetia dam (F. de Wit), n. d. (after 1694), pl. 85
(across the upper part): figure of Venice
(Koeman, -
Wit 28).
lion of St. Mark.
(lower right): figures of a man and two ladies,
A much reduced and simplified copy of Blaeu's
labelled nobīlis venetus nobīlis femina
veneta.
panorama (1. above).
168.
(beneath the plan): twelve-line verse in two
columns, inc., Venedig dir allein will dieses
Lob geziemen:, fin., und wachse immer fort
vons Türcken Reich und Beuth. 6. ii. Signature added (bottom centre right): F. de
(beneath the plan, right): legend Wit Excudit.
of 24 place
names in two columns, inc. , A S. Biasio catoldo,
fin., Z S. Giorge. Published as in 6. above.
(bottom right): fecit. 169.
237 X 346; 177 x 344 the view alone. Engrav-

ing.
6. A. (top centre, in a cartouche): venetia.
(bottom centre right): P.H. Schut.
Engraved by Lukas Schnitzer (Thieme Becker
(bottom right): N. Visscher excudit.
XXX, 205; Nagler, V, no. 137).
(around the view): an acanthus leaf frame,
(beneath the frame, bottom right): 15.
A reduced copy of the van der Heyden pano-
rama (5. above).
220 x 283. Etching.
Venice (exhib.).
167. The engraver, Pieter Hendrickszoon Schut

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
(1618/19 - after 1660; Thieme Becker, 6. XXX,

D. (top centre, in a cartouche): venetia.
348), reportedly produced a set of 24 views
(top right, within the frame): 3.
of European cities for Nicolaes Visscher(around
(Na- the view): a frame.
gler, Künstlerlexikon, XVI, 91). Of the two
Visschers by that name, Nicolaes I must 216beX 272. Engraving.
meant (1618-1689; Koeman, III, 150). The
set is unknown to me. Engraved by Thomas Doesburgh. Published in:
C. Allard, Orbis habitabilis oppida et vesti-
A reduced copy of DeWit's view, includingtus , Der bewoonden waerelds Steden en
the
frame. dragten . . . , Amsterdam (C. Allard), n. d. (ca.
170. 1695), pl. 3 (Phillips, V, no. 5385; F. W. H.
Hollstein, Dutch and Flemish Etchings, En-
gravings, and Woodcuts, Amsterdam, 1949 et
seqq., I, 24; Koeman, I, 32).
6. B. (across the top): Bildnus der vornehmen
Handelstatt Venedig in Italien. 1666.
A reduced copy of DeWit's view, including the
(bottom left): Paulus Fürst Ex: frame.
(bottom right): fecit.
C. Allard, Orbis habitabilis . . ed R. A. Skelton, Amsterdam
(Mirror of the World, Ser. I, IV), 1966.
174.
Engraved by Lukas Schnitzer (Thieme Becker,
XXX, 205; Nagler, V, no. 137) for the Nurem-
berg publisher, Paul Fürst (ca. 1605-1666;6. D. a. (bottom left): venetie, gelegen in de
Thieme Becker, XII, 563). Hadratische zee, in verschiedene / eilanden
afgedeelt.
A reduced copy of DeWit's view. (bottom right): venetiae, in uno sinus Hadria-
Nuremberg (GN 10147-A). tici recessu insula, potens / et amoenum oppi-
T. Hampe, « Beiträge zur Geschichte des Buch- und Kunst- dum.
handels in Nürnberg », Mitteilungen aus dem Germanischen
Nationalmuseum, 1914-1915, 68, no. 181. (below the bottom margin, left): Pet: Schenk,
171. (below the bottom margin, right): Amsteld: C.
P. / 6.

6. B. ii. The signature of the publisher altered to:
D. Funck exc. Anonymous. Published in: P. Schenk, Petri
Number added (outside bottom right): 30. Schenkii Hecatompolis . . . , n. p. (Amsterdam,
Nuremberg (GN 10147-B). P. Schenk), 1702, no. 6 (Koeman, Sehe 3).
172. Reprinted in a Dutch translation: Afbeeldinge
van eenhondert der vornaamste . . . Steden in
Europa, Amsterdam (J. Roman), 1752, no. 6
6. C. (top centre): venise.
(Phillips, I, no. 67).
147 X 100. Engraving. Copied from Allard's book, 6. D. above, as is

almost the entirety of the Hecatompolis.
Anonymous. Published in: A.M. Mallet, Des- 175.
cription de l'univers, Paris, 1683, IV, 239,
fig. cviii (Phillips, III, no. 3447).
6. E. (top centre, in a cartouche): venise / Capi-
A reduced copy of DeWit's view.
tale de la République du même nom.
173. (around the view): a frame.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
Anonymous. Probably published by Rombout

345 X 423. Engraving. See 6. F. below.
176. van den Hoeýe (recorded at Amsterdam in
1638 and 1648; cf. Cat. No. 86 above). The
exemplar in Paris is bound up with 18 columns
of letterpress descriptive text, signed by van
6. F. (top centre, in a cartouche): La Ville de /and dated 1648 (M).
den Hoeýe
Venise / en Italie.
(around the view): a frame. A close copy of Blaeu's panorama (1. above) in
the original size.
234 X 408. Engraving. Paris (vol. Vb-26, unnumbered).
179.
Both 6. E. and 6. F. are anonymous. Published
in: Galerie agréable du monde, Leiden (P. van
der Aa), 1729, XXIX, pls. 6-7 (Phillips, III,
7. A. (top centre, in a ribbon): venetia.
no. 3485; Koemann, Aa 9).
(top left, in a cartouche surmounted by an
empty shield): eight lines of verse, inc. , Cum
Reduced copies of DeWiťs or Allard's view,
tremeret Latiu(m) devictus Alpibus Hunnos,
including the frame.
fin., Hoc Jovis est dicet, Caesaris aliud opus,
177.
(top right, in a cartouche surmounted by a
shield bearing the lion of St. Mark): in vene-
tias / Jacobi Sannazary / six lines of verse,
6. G. (top centre): venise. inc. , Viderat Hadriacis Venetam Neptunus in
(around the view): a frame. undis, fin., Illam homines dices hanc posuisse
Deos.

388x2053 (four sheets of 388x520, 519,
Anonymous. Published in: H. DuSauzet, Profils 519, 495). Etching.
ou vues des principales villes de l'Europe, Am-
Anonymous. Possibly identical to the print seen
sterdam (H. DuSauzet), 1739, no. (33) (Phil-
by F. C. Wieder (. Monumenta carto gr aphica,
lips, I, no. 2779-A; Koeman, Sau 1).
The Hague, 1925-1953, III, 70, no. 39) in
the form of another exemplar with separately
Reduced copy of DeWiťs view, including the
frame.
printed, woodcut banner title (venetiae urbs
ITALIAE POTENTISSIMA CAPUT ET REGIONŮM
178.
URBIUMQ COMPLURIUM DOMINATRIX.
latter possessed a letterpress descriptive
signed by the Leiden publisher Pieter
7. (top centre, in a ribbon): venetiae. der Aa.
(top left, in a cartouche surmounted by an
empty shield): eight lines of verse, inc., Cum An exact replica of van den Hoeye's pano
tremeret Latium devictis Alpibus Hunnos, fin.,
down to the eccentric orthography of
Hoc jovis est dicet, Caesaris aliud opus, names, with the exception of gondola
(top right, in a cartouche surmonted by a shield
sailing ships alone.
bearing the lion of St. Mark): in venetias / Venice (exhib.).
Jacobi Sannazary/ six lines of verse, inc. , Vi- Laguna di Venezia , pl. (15).
derat Hadriacis Venetam, fin., hanc posuisse 180.
Deos.
391x2120 (four sheets of 391 x530). En-7. B. (top centre, in a ribbon): venise 1669.
graving. (top left, in a cartouche surmounted by a shield

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
397 x 2092 the panorama (four sheets of

bearing the Bignon arms): A Messire Hierosme
397x523).
/ Bignon Con.er du Roy en / ses Conseils son 85x 1980 the text (four sheets
Aduocat / general en sa Cour de Parle.of/85
dex 495). Engraving.
Paris et Maistre de sa / Bibliothèque / Par son
tres humble et tres obeissa(n)t / serviteur H.
Anonymous. Published by Stefano Scolari, the
Ialiot avec privi / du Roy. leading seller of topographical prints at Venice
(top right, in a cartouche surmountedinby theasecond half of the seventeenth century
shield bearing a lion of St. Mark): pax(active
tibi /1644-1689; see p. 29 above).
MARCE EV ange/lista MEUS.
(bottom centre left): A Paris Chez H.AnIaliot
extremely crude copy of Bleau's panorama
proche les Augustin. (1. above) with certain corrections and addi-
(around the outside): a picture frame. tions that are taken from Merlo's panorama
of 1656 (Cat. No. 185) - e. g. the Rotonda of
390x 1068 (two sheets of 390 x 533/535).
S. Maria della Salute, Zecca, Prigioni Nuove,
Engraving. S. Giorgio Maggiore, and Redentore - and
others that are due to Scolari's engraver, among
them S. Maria dei Frari, SS. Giovanni e Paolo,
A reduced copy of van den Hoeye's panorama,
the Porta dell'Arsenale, and S. Pietro di Ca-
with place names translated into French.
stello.
Paris (vol. Vb-26, unnumbered) (M).
Venice (Racc. Gherro, IV, no. 600).
181.
Cicogna, no. 4520; Marinelli, no. 949.
182.
8. (top centre): veneti ae.

(top left, in a cartouche): all'ill.m0 sig.r Pie-
tro foscarini / fo dell'Ili.1110 Sig.r Gio: An- 8. A. (top centre): vene= (three wreaths in a
tonio / nine-line dedication, inc., Consacro à shield; lion of St. Mark in a shield) TIA.
V. S. Ill.ma la prospettiua di Veneria, fin., lá (bottom left): Cum Priv. Sac. Caes. Maj.
V. S. 111.™* Serue affetuosam.6 V. S.a XX. (bottom right): Ieremias Wolff excud. Aug.
(top right, in a cartouche): in venetias / Vind.
Iacobi Sannazarij / six lines of verse, inc., Vi- (beneath the panorama): legend of 72 place
derai Hadriacis Venetam, fin., hanc posuijse names in twenty-four columns, numbered A-Z
Deos. and 1-50 (no. 36 occurs twice; there are no
(across the top, left to right): a figure of Fama nos. 44 or 47), inc., A. Palazzo di S. Marco,
- lion of St. Mark - putto bearing a corno fin., 50. Fontego de la Farina.
ducale - figure of Venice seated between Nep-
tune and Felicitas Publica, attended by two 315x1031 (two sheets of 315x515); 293 x
Tritons - a putto bearing three chains, a 1014 the panorama alone. Etching.
crown and arms - Minerva - five fleeing
Turks, labelled: Corsari. Anonymous. Published in: J. D. Köhler, Schul-
(bottom centre): Stefano Scolari formain Ve- und Reisen- Atlas, Nuremberg, 1719, fol. 95 a.
neria a S. Julian.
(beneath the panorama, on separate sheets):
A very close copy of Scolari's panorama, that
four columns of engraved descriptive text,
entitled origine e principio della citta di
omits the figures and inscription in the sky. The
venetia vero e reale sito della citta di
only topographical modification of significance
is that the new Punta della Dogana is shown
VENE TIA E SVE QVALITA, inc., REGNANDO
at the tip of an otherwise unchanged Dogana.
Areadio, et Honorio Imperatori, fin., à pieno
lodata città di venetia. 183.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
9. (top centre, in a ribbon): venetiae Venedig. Ill

(top left, in a scroll borne by a putto): ten place
THE MERLO PANORAMA
names, inc. , 1. S. Giorgo de Alega, fin., 10.
Palazzo S. Marco.
(top right, in a matching scroll): ten place
names, inc., 11. S. Giovan. et Pauli, fin., 20. l.(top left, in a cartouche): al serenissimo
S. Antono. PRENCIPE DI VENETIA / BERTVCCIO VALIERO.
(lower left): Cum Privilegio Sac: Caes: / / E qual Oroscopo più felice o Pianeta tutelare
Majestat/is No. 11 più benefico ne suoi publici / natali poteua
(lower right): Ioseph / Fridrich / Leopold / sortire q:ta figurata Ven:a di quello che p(er)
excudit / Aug. Vind. legge de Cicli frale / stelle luminose di q:t0
(beneath the panorama): two columns of letter- glorioso Senato rispende Sereniss:m0 nell'auge
press descriptive text, divided in the middle by della / gloria p(er) feco(n)dare co(n) celesti
a shield bearing three wreaths, and consisting nif lussi Ven:a reale. Emula perciò dell Adriaca
of twelve lines of Latin text, inc. , Metropolis / Regina risorta dall onde de miei sudori sacri-
Reipub. Venetiae, fin., pulcherrimis et ditissi- fica se stessa a' quel Sole / Splendidis:0 che
mis orbis, and twelve lines of German text, risorto nel Veneto Leone promette di non
inc. , Die Hauptstatt d. Reipublic Venedig, fin., pauetar Occaso sicura / di godere p(er)petuo
reichsten Stätte in der Welt gezehlet. giorno nel grembo ali, eternità. Degnesi V:a
S:ta di aggra/dire l'holocausto p(er) che i Per-
200 x 295. Engraving. siani offeriuano al Sole indestriero ed io li
appresento Vna Città che niuno Bucefalo
Anonymous. The publisher, Leopold, lived no(n) ha(n) mai acconse(n)tito d'esser / retro
from 1668 to 1726 (Thieme-Becker, XXIII, da altri che da proprij Alessa(n)dri com' hora
93). cotanto gode d'esser / dominata da si famoso
Pr(inci)pe: p(er) nascita a' niuno seco(n)do di
A compressed copy of Blaeu's panorama or of uirtù a' qualsi/uoglia primiero che ne anco in
one of its more faithful imitations (1., 4., 7., effigie ad altro merito unolinchinarsi cosi co(n)
or 7. A. above). / Ven:ta tributo mestesso prostrato riuerente
Washington (Map Cage, G. 1793, W. 45, 1755, pl. 18). alla sua gra(n)dezza p(er) se(m)pre. / Diuo-
184.
tiss:mo et humiliss:mo seru.e / Suddite Gio: /
Merlo / DD.
(top right, in a cartouche): novo et / vero
DIS SEGNO DELLA INCLITA CITTA DI VENETIA /
Viderat Hadriacis Venetam Neptunus in undis
/ Stare Urbem et toto ponere iura mari / Nunc
mihi Tarpeias quantumuis Iuppiter arces /
Objice, et illa tui moenia Matris ait: / Si pelago
Tibrim praeferis urbem adspice utramq(ue) /
Illam homines dices haue posuisse Déos /
1656 / Gio: Merlo facie/ba.
(across the top, left to right): a cherub bearing
the Valier arms - a cherub bearing a corno
ducale - a lion of St. Mark - The Annuncia-
tion attended by seven Saints - Felicitas
Publica - a cherub bearing three chains, a
crown and arms - Fama - Veritas.
392/400x2538 (five sheets of 392/400x411,

517, 500, 555, and 555). Engraving.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
Engraved by Giovanni Merlo, who also produc- IV

ed a bird's eye view plan of Venice (Cat. No. THE FOSSATI PANORAMA
102 above), but is otherwise unknown.
Venice from the SW, from S. Marta to the

Punta di S. Antonio. 1. (top centre right, in a ribbon): Venezia.
(lower left): Venice drawn by two sea horses
Florence (stampe sciolte 14832; in ruined condition).
and two dolphins, accompanied by two
185. mermaids, three cherubs and two Tritons,
(lower centre, in a ribbon): Giorgio Fossati
Archit.10 del./ et incid. A.1743.
1. ii. Publisher's name and address added (inserted (beneath the panorama): a crouching lion at
to left and right of the date « 1656 » in the each side, one hundred place names in twelve
ninth line of the inscription top right): Batta columns of letterpress between them, inc., AA
Scaluioni (1656) F.a a S. Filippo e Giacomo. Isola della Giudecca, fin., 87. S. Nicolò de'
Marinaj.
The publisher may be identical with the (beneath the legend): four broad columns of
engraver Giambattista Scalvinoni, who is descriptive, letterpress text, inc., Sarà, fin.,
mentioned by A. M. Zanetti, Della pittura vene- Venezia Appresso Angelo Pasinelli Librajo, e
ziana, Venice, 1771, 546 (ed. 1792, II, 704). Giuseppe Vachiner in Merceria, ed alla Casa
London (Maps, 22670. 16). dell'Autore / Giorgio Fossati Architetto à S.
Benetto, Con Licenza de' Superiori.
Figs. 54, 56, 58-61. 186.
437x1294 the panorama (two sheets of
437 X 647). Etching.
Etched by the architect Giorgio Fossati, who

was also a prolific engraver of figurative compo-
tions, ornament, and architectural monuments
(1706-1778; Thieme Becker, XII, 240; G. A.
Moschini, Dell'incisione in Venezia, Venice,
1924, 153 ff.).
Venice from the SW, from S. Marta to the

Punta di S. Antonio, with mountains behind
and the Giudecca in front.
Paris (Estampes, AA. 4 suppl. rei., pp. 24-25); Venice,
formerly (31).
Marinelli, no. 1087; Laguna di Venezia, pl. (16).
Figs. 55, 57, 62-65. 187.
l.ii. Signature of Fossati (lower centre

and replaced by that of Antonio Zat
Antonio Zatta was extremely active as

of books and prints in the period 17
(R. Gallo, L'incisione nel '700 a Ven
a Bassano, Venice, 1941, 34 f.).
Cicogna, no. 4523; Marinelli, no. 1087 (32).
188.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
1. iii. Signature of Zatta erased and replaced

Maggiore
by are unlike Fossati's print, but stem
instead
the following: Giorgio Fossati Arch.'0 del. et from Blaeu (Cat. No. 160).
inc. A. 1743 / Da Bonvecchiato Tip. Libr. a (Kartenabtlg., Y 68286); Vienna (Mappe A-l,
East Berlin
S. Bartol. Venezia 1849. no. 22).
190.
Bonvecchiato was an extremely prolific publish-

er of topographical prints, reproduced chiefly2. ii. Added plate number (bottom centre): No.
from older plates which he purchased. Accord- 16 bestehet in zweij Regal fol.°
ing to Marinelli, Bonvecchiato published at Expanded signature (before the publisher's
least one other edition of Fossati's print, in signature, bottom right): Georg Balthasar
May 1852. Probst.
Venice (Race. Gherro, IV, no. 601 - without the text). Venice (exhib.); Washington.
Marinelli, no. 1087. Phillips, I, no. 2782, VI, no. 7646.
191.
189.
3. (top centre, in a ribbon); venetia.

2. (top centre, in a ribbon): venetia. (top centre left): lion of St. Mark, in a shield,
(top right): shield bearing lion of St. Mark, (top left, in a box): legend of 44 German place
names in five columns, inc., N=° 1 S.£ Blasius
(beneath the margin, lower right): F.B. Werner
delin. Catoldus, Non/nen Closter, fin., 44. Jessuiter
Kirche.
(beneath the view): legend of 86 place names
in 16 columns, inc., 1. S. Giorgio Magiore Mo/ (top right, in a box): legend of 42 German
nace Benedetani, fin., 86. Bucintoro nel quale place names in five columns, inc., 45. S.' Marin,
va/ il Principe di Venezia/ con tutta la Sere- fin., 86. Das Adriatische Meer.
(lower left): F. B. Werner delin.
nissima Sign. / il giorno dell ascenza fuora /
del Porto del lido a spassare / il mare, (lower right): Georg Balthasar Probst, Haeres
(bottom right): Haered 1er. Wolffij excud. lerem: Wolffy exc. Aug. Vind.
Aug. Vind. (beneath the panorama, left side): legend of
(bottom left): Cum Pr. Sac. Caes. Maj. 86 Italian place names in ten columns, inc.,
N=° 1. S. Biasio Catoldo Monache., fin., 86.
Golfo di Venetia.
351x1024 (two sheets of 351x512); 302x1013
(beneath the panorama, right side): legend of
the panorama alone. Engraving and etching.
86 Latin place names in ten columns, inc.,
N=° 1. S. Blasius Catoldus Monachae, fin., 86.
Friedrich Bernhard Werner worked a great deal Mare Adriaticum.
for Augsburg publishers in the second quarter
of the eighteenth century, until his move to 375x 1020 (two sheets of 375 x 509, 511);
Breslau sometime before 1756. The publishing 328 x 1006 the panorama alone. Engraving.
house of Jeremias Wolff was taken over after
his death in 1724 by his son-in-law, Balthasar A second redaction of Werner's panorama,
Probst (Thieme Becker, resp. XXXV, 406 f., almost identical to the first (2. above) except
XXXVI, 206). in minor details. E.g., buildings generally have
grown more compressed and proportionately
The basic form of the city and Giudecca, and taller, the vessel entering the Canale della Gra-
the decorative emphasis on the city's campanili zia is under full sail rather than bare-masted,
are taken from Fossati's panorama (1. above), and three instead of two houses are built onto
together with the details of certain individual the choir of San Giorgio Maggiore.
buildings. However, the majority of buildings Venice (cart. 30, no. XLIV-46).
192.
and especially the twin churches on S. Giorgio

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
3. ii. The publisher's first two names

3. altered
B. (top centre, in a ribbon): venetia Venedig.
(lower right): Iohan(n) Fridrich. (left centre): lion of St. Mark in a shield,
Plate number added (bottom centre): N° 95. the panorama, left side): legend of 66
(beneath
Italian place names in seven columns, inc., 1.
Johann Friedrich Probst was the son of S. Biagio Cataldo Monache., fin., 66. Golfo di
Georg
Venetia.
Balthasar, and continued the family publishing
(beneath the panorama, right side): legend of
house in the middle of the eighteenth century
(Thieme Becker, XXVII, 411). 66 German place names in seven columns, inc.,
Paris (Vb-26, unnumbered ) : Venice (cart. 30, no. XLIV-45).
1. S. Blasius Cataldus Non:/nen Closter, fin.,
66. Das Adriatisch Meer.
Jacques Rosenthal, Munich, Catalogue LXII : Vues anciennes,
9e série, L'Italie, no. 1153. (bottom left): Abrah. Rupprecht sculps,
193. (bottom right): I. Christoph Haffner exc. A. V.
275 x 652 (two sheets of 275 x 320, 332).

Engraving.
(top left, in a box): legend of 44 place names A reduced copy of the second Werner pano-
in four columns (German), inc. , N.° 1. S. Georg rama.
der Grossere Benedictiner, fin., 44. S. Boldus.
Milan (cart. G-22, no. 13); Venice (cart. 30, no. XLIV-44
in four columns (German), inc. , 45. S. Apolli- 195.
naris, fin., 86. Das Adriatische Meer,

(beneath the panorama, left side): legend of 86
place names in eight columns (Italian), inc.,
4. (beneath the panorama): Venetiarum Urbis
N.° 1. S. Giorgio Magiore Monaci Benedettani,
Conspectus. / Prospect de la Ville de Venise.
fin., 86. Golfo di Venezia.
Prospetto della Città di Venezia. / hieronymo.
(beneath the panorama, right side): legend of VENERIO. P AT RITIO. VENETO. AC. DIVI. MARCI.
86 place names in eight columns (French), inc.,
PROCURATORI. BENEMERITO. / INGENIO. ERUDI-
N.° 1. S. George majeur Benedict: fin., 86. la
TONE, AC. PIETĀTE. PRAESTANTISSIMO / Hoc
mer Adriatique.
(bottom left): F. I. Saur del.
Obsequii Devotionisque suae Monumentum
Marcus Sebastianus Giampiccoli humillime sa-
(bottom centre): C.P.S.C.M. crabat.
(bottom right): Georg Balthasar Probst, excudit
Aug: Vin:
236x321; 190x321 the panorama alone.
Etching.
380 X 1012 (two sheets of 380 x 504, 508);
337 x 1012 the panorama alone. Etching.
Etched and published by Marco Sebastiano
Giampiccoli in his booklet: Descrizione mate-
A reduced copy of the second Werner pano- riale e civile dell'inclita città dominante di Ve-
rama.
nezia, Belluno, 1779, frontisp. (Cicogna, no.
West Berlin (Topogr. Mappen, Venedig I); Nuremberg (SP
3457).
4482). For Giampiccoli, see Cat. Nos. 98 and
126.
194.
An extreme simplification and reduction of

Fossati's panorama (1. above) to pocket size.
3. A. ii. The notation of an imperial privilege Marinelli, no. 1201; Bertarelli, no. 2010; L. Alpago-Novello,
Gli incisori bellunesi, « Atti dell'Istituto Veneto di scienze,
erased (bottom centre); in its place: N.° 95. lettere ed arti », XCIX, 1939/1940, parte ii (Classe di Scienze
Milan (Cart. FS-3, no. 26). morali e lettere), 508, 521.
194 bis. 196.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
under the tide: Raccolta delle principali pro

4. ii. Signatures added (beneath the panorama,
resp. left and right): Henricus Joinville del.; della città di Venezia, Bassano, n.d. (33
spettive
Venetiis apud Giampiccoli, et inc. Milan (Cart. M-34, no. 53); Venice (Racc. Gherro, IV, no
470).
L. Alpago-Novello, Gli incisori bellunesi, « Atti dell'Istitu
Also found in this state as part of a collection
Veneto di scienze, lettere ed arti », XCIX, 1939/1940, parte
of over 40 unnumbered views of Venice, issued
(Classe di Scienze morali e lettere), 501, 508.
197.
anonymously by Marco Sebastiano Giampiccoli

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
NOTES TO THE CATALOGUE
H Babinger's plan to publish in a future issue of of the atlas in French: Recueil des villes le plus renommées
« La Bibliofilia » all the Vavassore documents he had found du monde , 1646. I have not been able to locate an exemplar.
seems to have been cut short by his death. (10) The book referred to may be the one published
(2) The exemplar formerly at the Seminario Patriarcale under a pseudonym by Francesco Sansovino: Tutte le cose
was presumably a legacy of Giannantonio Moschini, in whose notabili e belle che sono in Venetia, ... di M. Anselmo
possession it was seen by Cicogna ( Inscrizioni , IV, 700, n.Guisconi
1). , Venice, 1556 (without indication of publisher). It
It was last publicly exhibited at Warsaw in 1933, in connec- is the only work answering Pagan's description that appeared
tion with the Seventh International Historical Congress (Cata- immediately before 1559.
logas mapparum geographicarum ad historiam pertinentum . . ., (") Passavant, VI, 243, n. 1, reported that an exemplar
Warsaw, 1933, 264, no. 66-E). Since then it has disappeared. was shown at Manchester in 1857. This is mistaken. The
A good impression was offered for sale as lot no. 298 only plan of Venice exhibited there was an exemplar of
in an unidentified, modern auction-sale catalogue, writtenJacopo in de' Barbaras plan (Cat. No. 1); cf. Supplemental
French, the illustration of which is preserved at Milan (cart. Catalogue: Drawings and Sketches of Old Masters, Engravings,
M-34, no. 42). Photographs, Manchester, 1857, no. 1382.
(3) An edition of 1567, described by Marinelli as in the (12) The Lazzaretto Nuovo is first heard of at the time
Biblioteca Marciana (No. 542), is a ghost. The volume he cites of the great plague of 1576, but evidently predated the latter
is dated 1569.
by a decade or more; T. Correr (ed.), Venezia e le sue lagune,
(4) According to P[aul] K[risteller], in Thieme-Becker, Venice, 1847, II, 322.
III, 487, s.v. Donato Bertelli, the illustrations of this atlas (13) Tooley, following Wieder, reports that the plan in
and of another with a similar title, published six years laterLafréri Atlas III of the Palacio Real is dated 1567 (Tooley,
by Donato Bertelli (see Cat. No. 21 below), were engraved no. 583; F. C. Wieder, Nederlandsche historisch-geographische
by Nicolas Béatrizet. However, the later publication is not aDocumenten in S pan je, « Tijdschrift v. h. K. Nederlandsch
reissue of the earlier one. Its title is similar except for date Aardrijkskundig Genootschap », XXXII, 1915, Bijlage, 16, no.
and publisher's name, and it uses the same title page frame, 83). This is mistaken; it is, in fact, dated 1566.
but it illustrations are made mainly from new plates and are
many more in number. Béatrizeťs monogram appears in none (I4) It was christened « Il Mondo » and is shown more
of the exemplars of either atlas that are known to me, nor isclearly in a plate of G. Franco's book, Habiti d'huomeni et
there any resemblance between Béatrizeťs authenticated en- donne venetiane . . ., Venice, n.d. (dedication dated 1610),
gravings and those that appear in these atlases. unnumbered pl. (cf. Cicogna, Inscrizioni, V, 441, no. 7).
A plan seemingly similar to our Cat. No. 20, signed (1S) The choir was added in 1583-1589 according to
« F. Bertelli sc. », was offered for sale at one time by Jacquesdocuments published by Cicogna ( Inscrizioni , IV, 265, 334,
Rosenthal, Munich ( Catalogue LXII - Vues anciennes, 9e série :n. 222); cf. G. Zorzi, Le chiese e i ponti di Andrea Palladio,
l'Italie , no. 1137). I have not seen such a plan myself. Venice, 1966, 47 f.
(5) See note to Cat. No. 20 above. Dr. W. Timofiewitsch has suggested to me that the raw
brick wall shown at the east end of the church is, in fact,
(6) Although they are included in Gallo's list of
nothing but the raw facade of the building, transposed to the
examples, the plan does not appear in the following exemplars
back by the engraver in order to make it visible. (The present
of Camocio's book: Venice, Museo Correr, Op. P. D. Gr. 2761,
facade was built only in 1607-1611; Zorzi, op. cit., 52 f.).
and Op. P. D. Gr. 3067; Biblioteca Marciana, Rari V-244,
and V-370. (16) Marinelli reports a later state of this plan that I have
(7) An exemplar without legend was offered for sale by not seen. In it, the lion of St. Mark (top centre) is replaced
Ludwig Rosenthals Antiquariat, Munich, in 1933 ( Catalog 182 by - the arms of Doge Alvise Mocenigo II, and the inscription
Seltene Kartographie , no. 222 a). It is described as « beforein the medallion (bottom centre) by his portrait.
inscriptions », i.e. as a distinct state, but may have been only (17) Close, though coarser, copies of the plan appear in
a fragment. later editions of the Forestiere illuminato. The edition of 1792
(8) Rota contributed numerous prints to the Raccolta ,(G. Storti; Cicogna, no. 4479) bears a legend of only 16
some of which are dated 1572 (cf. A. Mori and G. Boffito, places names (inc., 1. S. Marta, fin., 16. Lagune inttorno di
Firenze nelle piante e vedute, Florence, 1926, 49 ff Phillips,Venezia); the edition of 1806 (G. Storti; Cicogna, loc. cit.)
loc. cit.; L. Donati, « Alcune stampe sconosciute di M. Rota », used the same plate (155x229) but adds the words LA. VILLE
Archivio storico per la Dalmazia, XIII, 1932, 3 ff. Since heDE VENISE at the top. The edition of 1796 (F. Tosi; Ci-
was dead by the time of Valegio's publishing activity, it maycogna, loc. cit.) illustrates an exact copy, down to tide and
be that they were made for an atlas published or plannedlegend, of Zucchi's original.
by Rota himself. No record of such an atlas survives. (18) The exemplar described by Koeman, containing 38
A plan entitled « Venetia 1567 » and signed « M. Rodaviews, was offered in 1957 by Francis Edwards, Ltd., London
fe. », was offered for sale by Ludwig Rosenthals Antiquariat,(Catalogue 777, no. 90) and is now the property of Louis
Munich, in 1933 ( Catalog 182 - Seltene Kartographie , no. 221).Loeb-Laroque, Paris, to whom I am much indebted for
It may have been another state of our Cat. No. 29, or anotherinformation about its contents. Two exemplars containing 24
plan altogether. views are in the British Museum, one of them bearing the
(9) Thieme Becker, XXXIV, 71, also reports a reissuemanuscript title, Icones praecipuarium urbium Totius Europae,

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
1 6 75 (British Museum, Catalogue of Printed Maps, is Charts ,

a compositional difference between the view of Jerusalem
and Plans, London, 1967, VIII, col. 197). and all the other views in the book. The former is a bird's
(19) What seems to be a variant of Cat. No. 89 was eye view plan, with inscriptions in lower-case lettering written
offered for sale at one time by Jacques Rosenthal, Munich: directly on buildings and landmarks, all over the plan. The
« Venise; Vue générale de la ville et des îles environnées . . . other six views are panoramas, with inscriptions written mainly
avec texte explicatif en latin et français et les armes . . .; in capital lettering, and placed almost always in a fluttering
51x32 cm., le texte un peu racommodé; chez Jollain » ( Cata- pennant for a frame. The bird's eye view plan had a long
logue LXII - Vues anciennes, 9e Série : l'Italie, no. 1148). tradition by this time, as did the subject of Jerusalem itself.
It follows that Reeuwich's view of Jerusalem has both the
(M) Three changes have been made on the plan itself.
appearance and the likelihood of having been copied from
At the corner of the Grand Canal and Rio della Salute, a
an earlier prototype. The panoramic view, on the other hand,
small shed-like structure has been drawn in and labelled, « La
was without precedent in 1486. It follows that the panoramas,
Salute ». The names, « Li Carmelitani / Scald », and « Le
including that of Venice, were probably the artist's own
Capucine », have been added beside the church of S. Lucia invention.
and Scuola di S. Marco respectively. The date on which
The suggested connections between Gentile Bellini and
construction of these buildings began are, respectively, 1633,
Reeuwich's view of Venice, moreover, are not convincing. We
1647, and 1649; cf. R. Wittkower, « S. Maria della Salute »,
do not know what Gentile's « city portraits » looked like.
Saggi e memorie di storia dell'arte , III, 1963, 35; F. Corner,
Hence, the recorded existence of these « portraits » lends no
Ecclesiae venetae antiquis monumentis, Venice, 1749, III, 281,
support to the notion that Reeuwich's view was based on
VI, 411. Scolari's acquisition of the publication rights to this
one. The intricacy of the ships is hardly proof that they must
print, therefore dates from after 1649.
derive from Gentile. Besides, those seen in the Venice view
(21) The shed structure on the site of S. Maria della are similar to, and just as well drawn as the ships that appear
Salute has been replaced by a rudimentary representation of in Reeuwich's views of Corfu, Modon, Candia, Rhodes, and
the rotunda of the church.
Jerusalem, wherefore it is mistaken to single them out as
(22) The vedute and inscriptions above and beneath were derived from a Venetian source. The tiny Staffage figures
printed on a further four sheets of which I have seen three in the Venice panorama, finally, are only generically similar
in their untrimmed state. The tide was etched on one plate to figures in Gentile Bellini's drawings, in that they wear
(200x590), its two halves lying side by side (West Berlin,similar dress; they are not specifically similar in type or pose.
Topogr. Mappen, Venedig, I, unnumbered). The vedute were Breydenbach, op. cit., ff. 7 and 116 v., explicitly identi-
etched in two plates (660x308), each containing eight vedutefies Reeuwich as the draughtsman of the views illustrated in
in two rows of four, placed side by side, one right side up, his book (the passages are quoted by H. W. Davies, op. cit.,
the other upside down (Nuremberg, SP 6407-i, -k). 2). Another member of the party, Felix Fabri, who wrote
(23) The frame consists of four etched plates, showing an his own account of the journey, says the same (F. Fabri,
ornate assembly of marine beasts, implements, nets, and shells, Evagatorium in Terrae Sanctae, Arabiae, et Egypti Peregrina-
together with tritons. The quality of the design is very high. tionem, ed. C. D. Hassler, Stuttgart, 1843, I, 329). There is
no reason to disbelieve their statements.
Each side bears an inscription: (top) IC[ON]OGRAFICA
RAPPRESENTATIONE / DELLA INCLITA CITTÀ / DI (27) It has been suggested that the Amsterdam view of
VENETI A; (bottom) Si vende appresso Lodovico Furlaneto / 1606 and Venice view of 1614 form a coherent series together
soppra il Ponte de Baretteri / con privilegio dell'Eccelentiss- with the thirty other large panoramas of famous cities that
mo Senato; (left) MDCC / XL / VII; (right) PETRO were published at Amsterdam during the first half of the
/ GRIMANI / DVCE and ANNO / VII. 17th century; see, B. Van 't Hoff, « Grote Stadspanoramen
The plates measure resp. 68x674, 68x670, 78x610, and gegraveerd in Amsterdam sedert 1609 », ]aarboek Genootschap
80x613. They are no longer attached to the plan, but follow Amstelodamum, XLVII, 1955, 81 ff. This seems most unlikely
immediately after it in the volume of mounted topographical in view of the fact that the engravers and publishers respon-
prints of Venice that was formed sometime in the 1840's or sible for them were rivals, not collaborators. Besides, the
1850's from the accumulations of the Cabinet d'Estampes. prints differ considerably among themselves in style, size, and
This gives leave to suppose that they and the plan, which format. Such similarity as there is between all thirty-two,
they frame precisely, belong together. viz. that they represent panoramic prospects of famous cities
(24) A change within the plan itself is the addition of and are very large, would seem to be due to the tendency
the words, « Canale che va a Fusina », written upside down of competition to standardize products.
in the western part of the Canale della Giudecca. (28) The corrections are as follows (reading the inscriptions
(") The signature of Viero, dated 1827, remains anachro- from left to right):
nistically from the eighth state. The present state labels the Blaeu T K
new area of fill behind the Punta S. Marta, « Campo di S. Giorgio de alega S. Giorgio in alga
Marte ». S. Angese S. Agnese
(26) H. Tietze and E. Tietze Conrat have suggested that Hosp, Spirito Santo Hosp. dello Spirito Santo
I. Iesuwiti Padri Zoccolanti
Reeuwich copied his view from an older prototype by Gentile
S. Steffano S. Stefano
Bellini (« The Artist of the 1486 View of Venice », Gazette
S. Gioan Babtista S. Giouan Battista
des Beaux Arts , 6e Pér., XXIII, 1943, 83 ff.). They argue
that the Breydenbach views of Venice and Jerusalem differ S. Antonijin S. Antonyno
in the representation of trees and figures, and cannot both be S. Francisco de la Vigna S. Francesco de Vigna
inventions of the same artist. They claim furthermore that (29) Six sheets of three columns each, boxed (132x340/343
the « boats of intricate form » appearing in the view of per sheet). Sheets 1-2 bear a Latin text, entitled: Spectatori
Venice, « could hardly have been drawn by an inlander on a Benevoli S., inc. Veneti primům id nomen adepti sunt, fin.,
casual visit », and that individual figures in it resemble figures nec Summorum Pontificum electionibus sese interposuerint.
by Gentile Bellini. Hence, Reeuwich's source for the pano- AMSTELOD AMI . / Typus imposita pro ROMBOUT HOEYO,
rama of Venice must have been a retracto de V ene tia by Tabularum & Iconum / venditore, habitante in plateâ vulgo
Gentile Bellini, such as the artist made in 1479-1480 for de Calverstrate, in intersi-/gnio trium sertorum Rosaclorum,
Sultan Mohammed II, or was engaged to make for the Anno 1648. Sheets 3-4 repeat the text in French, sheets 5-6
Marquis of Mantua in 1493 (see p. 18 above). repeat it in Dutch.
The argument misrepresents the evidence. There are no The sheets are no longer attached to the panorama in
stylistic differences between the details of the two views, e.g. the Paris exemplar, but are mounted on the page immediately
trees, figures, boats, mountains, clouds, or waves. The draughts- following it, in the volume of mounted topographical prints
man impressed a uniform style on all these forms. But there of Venice described in footnote 23 above.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
(30) Mounted in the Paris album of topographical prints (32) I have not been able to locate the exemplar or
(see footnote 23 above) alongside two sheets of descriptive exemplars known to Cicogna and Marinelli, nor have I seen
letterpress text, entitled, DESCRIPTION DE L'ANCIENNE any other exemplar of this state.
/ & fameuse Ville de VENISE. They measure 166x511/513, (33) Alpago-No vello, op. cit., 501, 503, describes the
and contain four columns of text per sheet, set within an orna-
Raccolta as an untitled collection, consisting of 40 views, and
mental frame: inc., LES Veni tiens ont premièrement made someeû ce time before 1779, when it was mentioned by
nom, fin. y ny se mesler ou assister aux élections des Papes.
Giampiccoli in a list of his works appended to the book,
/ A PARIS / Chez Nicolas Berey, Enlumineur du Roy, Descrizione materiale e civile dell'inclita città ... di Venezia.
proche les Augustins. / aux deux Globes. The text repeats that However, the set owned by the Museo Correr (stampe, E-36,
of van den Hoeye's panorama, with hardly any alterations. nos. 43-85) has an etched title page, the text of which is
(31) The Correr exemplar was last publicly exhibited at transcribed above, and contains 42 views. Two of them (nos.
the Warsaw Polytechnical Institute, in 1933, in connection 26, 56) were made on the occasion of the investiture of
with the Seventh International Historical Congress (Catalogus Federico Maria Giovanelli as Patriarch of Venice, in 1776,
mapparum geographicarum ad historiam pertinentum . . ., War- and two were made on the occasion of the visit of Pope
saw, 1933, 265, no. 365-1). It is presumably the exemplar Pius VI to Venice, in 1782 (nos. 52, 66). This suggests that
illustrated in Laguna di Venezia , but can no longer be found the Raccolta was a made-to-order collection, available over a
today, The Paris exemplar lacks the letterpress descriptive number of years, the content of which varied according to
text, which I have been forced to transcribe from the the means of the buyer and the stock available in Giampic-
reproduction in Laguna di Venezia. coli's shop.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
ILLUSTRATIONS

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
JuERGEN SCHULZ - THE PRINTED PLANS AND PANORAMIC VIEWS OF VENICE 1 1 1
1. Air view of Venice, from the South-West.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
2. Plan of Venice, from the Chronologia magna. Venice, Biblioteca Nazionale Marciana.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
3. Plan of Venice, from a miscellany of plans. Venice, Biblioteca Nazionale Marciana.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
4. View of Venice, by Johannes, ca. 1400, from the frontispiece of Li liures du graunt Caam . . . Oxford, Bod

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
5. Portion of a Plan of Florence, by Francesco Rosselli, second half of the 1480's. Florence, Società Colom

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
1X6 JuERGEN Schulz - THE PRINTED PLANS AND PANORAMIC VIEWS OF VENICE
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14. Cat. No. 5: detail. Left side of Bird's Eye View Plan, by Giovanni Andrea Vavassore, ca. 1535.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
15. Cat. No. 5: detail. Right side of Bird's Eye View Plan, by Giovanni Andrea Vavassore, ca. 153 5.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
126 BERGEN Schulz - THE PRINTED PLANS AND PANORAMIC VIEWS OF VENICE
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26. Cat. No. 36: detail. Left side of Bird's Eye View Plan by Master I • C • A • , 1565.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
27. Cat. No. 36: detail. Right side of Bird's Eye View Plan by Master I-C'A*, 1565.

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5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
46. Cat. No. 154: detail. Left side of Panoramic View, by Erhard Reeuwich, from B. Breydenbach, Sanctarum peregrina
opusculum, 1486.
47. Cat. No. 161: detail. Left side of Panoramic View, published by Williem Jansz. Blaeu, 1614.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
48. Cat. No. 154: detail. Right side of Panoramic View, by Erhard Reeuwich, from B. Breydenbach, Sancta
opusculum, 1486.
49. Cat. No. 161: detail. Right side of Panoramic View, published by Willem Jansz. Blaeu, 1614.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
50. Cat. No. 154: detail. First quarter of Panoramic View, by Erhard Reeuwich, 1486.
51. Cat. No. 154: detail. Second quarter of Panoramic View, by Erhard Reeuwich, 1486.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
52. Cat. No. 154: detail. Third quarter of Panoramic View, by Erhard Reeuwich, 1486.
53. Cat. No. 154: detail. Fourth quarter of Panoramic View, by Erhard Reeuwich, 1486.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
54. Cat. No. 186: detail. Left side of Panoramic View, by Giovanni Merlo, 1656.
55. Cat. No. 187: detail. Left side of Panoramic View, by Giorgio Fossati, 1743.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
56. Cat. No. 186: Right side of Panoramic View, by Giovanni Merlo, 1656.
57. Cat. No. 187: detail. Right side of Panoramic View, by Giorgio Fossati, 1743.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
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62. Cat. No. 187: detail. First quarter of Panoramic View, by Giorgio Fossati, 1743.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
63. Cat. No. 187: detail. Second quarter of Panoramic View, by Giorgio Fossati, 1743.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
64. Cat. No. 187: detail. Third quarter of Panoramic View, by Giorgio Fossati, 1743.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
65. Cat. No. 187: detail. Fourth quarter of Panoramic View, by Giorgio Fossati, 1743.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
PHOTOGRAPHIC REFERENCES
Berlin (East Berlin), Staatliche Museen: 6, 18-24

Cleveland, Museum of Art: 8-13
Florence, Kunsthistorisches Institut: 5
London, British Museum: 17, 25, 39-43, 45, 54, 56,
58-61
New York, Ford Foundation: 32-37
Nuremberg, Germanisches Nationalmuseum: 47, 49
Oxford, Bodleian Library: 4
Paris, Bibliothèque Nationale: 44, 55, 57, 62-65
Rostock, Universitätsbibliothek, 28
Stockholm, Royal Library: 26-27
Venice, Biblioteca Nazionale Marciana: 2, 3
Venice, Borlui: 1
Venice, Fondazione Querini Stampalia: 38
Venice, Museo Civico Correr, 7, 14-16, 29-31, 38
Washington, D. C, Library of Congress: 46, 48, 50-53

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
INDECES

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
NOTE
Numbers refer to the continuous, bold-face numeration of the Catalogue. Titles, in the Index of Titles, ar
alphabetized word-for-word rather than letter-for-letter. E. g., titles beginning with the word VENETIA co
before those that begin with VENETIAE, no matter how many further words follow.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
INDEX OF AUTHORS, DRAUGHTSMEN,
ENGRAVERS, AND PUBLISHERS
Aa, Pieter van der: 69, 115, 176, 177, 180 Danckerts, Dancker: 88
Abelin, Johann Philipp: 46, 66 Dante, G.: 114
Alberti, Leandro: 19 Daumont: 94-bis
Alberts, Rutgert Christoffel: 71 Desaint, veuve: 131
Albrizzi, Giovanni Battista: 80, 81 Didot: 119
Allard, Carel: 93, 174 Doglioni, Giovanni Nicolò: 21
Amadio, D.: 31 Doino, Caterino and Valegio, Francesco: 60
Andrews, John: 151 Domenico de' Franceschi: 36
Andrews, S.: 151 Dorino, see Doino
Antonelli, Giovanni: 79 Drach: 154
Arnoullet, Balthasar: 8, 9 Duchet, Claude: 49
Aspergerus: 44 DuSauzet, Henri: 178
Avanzi: 19
Aveline, Pierre: 94
Avity, see Abelin Elsevir, Bonaventuer and Abraham: 45
Badoer, Alessandro: 107, 108, 109

Ballino, Giulio: 18 Fer, Nicolas de: 92, 113
Fiorimi, see Florini
Barbari, see Jacopo
Florini, Matteo: 55
Barbaro, Daniele: 41-bis
Focken, Hendrick: 87
Baroni, Giuseppe: 116
Fontana, Tommaso: 82, 138
Basa, D.: 28
Basse, Nikolaus: 15, 17 Foresti, Jacobus Philippus: 157
Formaleoni, V.: 80-bis
Bazelli, Daniel: 104
Béatrizet, Nicolas: 20 (footnote 4) Fossati, Giorgio: 187, 188, 189
Franceschi, see Domenico or Francesco
Bellin, Jacques Nicolas: 118 Francesco de' Franceschi Senese: 41-bis
Benzon, G.: 152
Berey, Nicolas: 181 Francesco de Tomaso di Salò e compagni: 35, 37
Bertelli, Andrea: 21 Franco, Giacomo: 48, 49, 50, 53 (footnote 14), 58.
59, 65
Bertelli, Donato: 21, 26, 47
Bertelli, F.: 20 (footnote 4)
Funck, David: 172
Bertelli, Ferrando: 20 Furlanetto, Lodovico: 106, 117, 121, 122, 123
Bertelli, firm: 22
Furlani, Paolo: 18, 39, 40, 41
Bertelli, Francesco: 32 Fürst, Paul: 164, 171
Bertelli, Pietro: 31, 32
Blaeu, Joan: 71 Galignano, Simon: 24
Blaeu, Willem Jansz.: 160, 161 Galle, Philip: 42
Bodenehr, Gabriel the Elder: 91
Giampiccoli, Marco Sebastiano: 98, 99, 100, 101, 126,
Boissevin, Louis: 84 127, 128, 129, 196, 197
Bolzetta, F.: 33 Giffart, Pierre: 88-ter
Bonifacio, Natale: 28 Gottfried, see Abelin
Bonvecchiato: 129, 189
Graevius, Johannes Georgius: 69, 115
Bordone, Benedetto: 6 Graminaeus, Theodor: 42
Braun, Georg: 42 Gueudeville, Nicolas: 95
Breydenbach, Bernhard von: 154, 155, 156 Gueroult, Guillaume: 8, 9
Guisconi, Anselmo: 34 (footnote 10)
Camodo, Giovanni Francesco: 26
Cartari, Mario: 52
Châtelain, Henri Abraham: 95 Haffner, I. Christoph: 195
Châtelain, Zacharias and Honoré, François P: 95 Heyden, Jacob van der: 164, 166
Chrieger, Giovanni: 41-bis Hoeýe, Rombout van den: 86, 179
Combatti, Bernardo: 132 Hogenberg, Frans: 42
Coronelli, Vincenzo: 74, 75, 76, 77, 78, 110, 111, 112Homann, Johann Baptista, heirs of: 120
Covens, Johannes, and Mortier, Cornelis: 72 Hondius, Jodocus II: 46
Crugher, see Chrieger Honoré, François P and Châtelain, Zacharias: 95

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
Ialiot, H.: 181 Pleydenwurff, Wilhelm: 158

Iollain: 89 Poletti: 78
Porcacchi, Tommaso: 23, 24
Jacopo de' Barbari: 1, 2, 3, 4 Porro, Girolamo: 23
Janssonius, Johannes: 67, 165 Probst, Georg Balthasar: 190, 191, 192, 194
Jenichen, Balthasar: 27 Probst, Johann Friedrich: 193
Joinville, Henricus: 196
Jonghe, Clemendt de: 85 Querza, Simon Felice: 64
Keller, Georg: 43
Rascicotto, Donato: 29, 53
Kieser, Eberhard: 164
Rasicoti, see Rascicotto
Koberger, Anton: 158
Rauw, J.: 17
Köhler, Johann David: 182, 186 Ravius, see Rauw
Kolb, Anton: 1
Reeuwich, Erhard: 154
Krüger, see Chrieger Risciotti, see Rascicotto
Rizo, B.: 157
Lafréri, Antoine: 39, 40, 41, 48 Romānus, Adrianus: 16
Lalande, Joseph Jerome LeFrancais de: 131 Rossi, Battista de: 30
Leopold, Joseph Friedrich: 184 Rossi, Giovanni Domenico: 73
Longhi, Gioseffo: 70 Rossi, Giovanni Giacomo: 73
Loon, Harmanus van: 113, 114 Rota, Martino: 29
Lotter, Tobias Conrad: 97-bis Rupprecht, Abraham: 195
Lovisa, Domenico: 63
Mallet, Alain Manesson: 173 Salmon, Thomas: 81

Mandeville, Sir John: 25 Salvioni, Bernardo: 53
Manfredi, Fulgentio: 54 Sansovino, Francesco: 34 (footnote 10)
Massaeus, N.: 16 Sardi, Giuseppe: 128
Master -CS-: 11, 12, 13, 14 Saur, Abraham: 15
Master F: 32 Saur, F. K.: 194
Master ICA*: 36 Sauzet, see DuSauzet
Master of 1488: 155 Scaichi, Godifridus de: 162, 163
Master TK: 162, 163 Scalvinoni, see Scaluioni
Meisner, Daniel: 164 Scaluioni, Battista: 186
Merian, Matthäus the Elder: 44, 66 Schenk, Petrus: 175
Merlo, Giovanni: 102, 103, 104, 185, 186 Schedel, Hartmann: 158, 159
Milheuser, Julius: 71 Schnitzer, Lukas: 167, 171, 172
Mortier, Cornelis and Covens, Johannes: 72 Schönsperger, H.: 159
Mortier, Pierre: 71 Schoel, Henricus van: 51
Montcornet, Balthasar: 88-bis Schut, Pieter Henricksz.: 170
Münster, Sebastian: 11, 12, 13, 14 Scolari, Stefano: 62, 102, 103, 105, 108, 109, 182
Scoto, Francesco: 33
Senese, see Francesco
Ogerolles, Jean ď: 10
Orlandi: 112 Seutter, Matthäus: 97, 97-bis
Storti, G.: 80 (footnote 17)
Orlandi, Giovanni: 50
Stridbeck, Johann: 90
Ottens, Joachim: 96
Ottens, Reinier and Josua: 97
Topie and Heremberg: 155
Pagan, Matteo: 34, 35, 37 Tosi, F.: 80 (footnote 17)
Paganuzzi, Giovanni Battista: 153 Tramontin, G. B.: Ill
Pantheus, Joannes Antonius: 7
Paoletti, Ermolao: 82, 138 Ughi, Lodovico: 116, 117, 121, 122, 123, 124, 125
Parc, Le Masson du: 94
Pasinelli, Angelo: 187
Pauli, Giovanni Antonio di: 56 Vachiner, Giuseppe: 187
Pedrali, Giovanni Maria: 83 Valegio, Francesco: 29, 61
Petri, Heinrich: 11, 12, 13, 14 Valegio, Francesco and Doino, Caterino: 60
Pflaumern, Johann Heinrich: 45 Vallardi, Pietro and Giuseppe: 148
Pinet, Antoine du: 10 Vavassore, Andrea: 5

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
Viero, Teodoro: 139, 140, 141, 142, 143, 144

Wolff, Jeremias, heirs of: 190, 191, 192
Visscher, Nicolaes: 170 Wolgemut, Michael: 158
Vitruvius: 41-bis
Zaltieri, Bolognino: 18, 40, 41

Werdenhagen, Johannes Angelius von: 66 Zatta, Antonio: 188
Werner, Friedrich Bernhard: 190, 191, 192, 193 Zeiller, Martin: 66
Wit, Frederik de: 68, 168, 169 Zuallardo, Giovanni: 28
Wolff, Jeremias: 183, 186 Zucchi, Francesco: 80, 81

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
INDEX OF TITLES
Untitled: 15, 121, 122, 160, 162 NUOVA / PIANTA ICONOGRAFICA / Della Città
di: 153
NOVA ET ACURATISSIMA / VENETIARUM UR-
A / PLAN of / the CITY of / VENICE: 151
AL SIG. GIROLAMO MVRARI: 39 BIS / TABULA: 115
NOVO ET / VERO DISSEGNO DELLA INCLITA:
185, 186
Bildnus der vornehmen Handelstatt VENEDIG: 171,
172
PIANO ELEVATO DELL'INCLITA CITTA: 98, 99,
CARTE DU PLAN DE VENISE: 95 100, 101
CITTA DI VENETIA: 23 PIANO DELL'INCLITA CITTÀ DOMINANTE DI
CITTA / DI VENETIA / CONSACRATA: 79 VENEZ: 126, 127, 128, 129
PIANTA DELLA / CITTA DI VENEZIA: 136, 137
CITTA DI VENETIA / Descritta Dal P. Coronelli:
74, 75 PIANTA / della / Città di Venezia: 147, 148, 149,
150
CIVITAS VENETI ARV ( M ) : 154, 156
CIVITAS VENETI ARVM: 155 PIANTA / Della / CITTA / DI / VENEZIA: 133,
134
Contrafehung der furnemmen Statt Venedig: 12
PIANTA ELEVATA / Serve per l'opera: 82
DESCRIPTION DE LOPVLENTE: 84 PIANTA ICONOGRAFICA DI VENEZIA: 110,
111, 112
DISEGNO DELLA PIANTA DI VENETIA: 107,
108, 109 PIANTA / Rinnovata e corretta sino l'anno 1838:
138
PLAN DE LA VILLE DE VENISE: 118, 119
EL principio de Venetia citta Regia: 157 Plan de Venise: 131
Extract uijt de Previlegie: 160 PLAN VON VENEDIG: 130
Pourtrait de la magnifique Cité de Venise: 10
FORTVNA CREDERE NOLI: 164 Prospect de la Ville de Venise: 196
FVNDAVIT EAM DEVS SVPER MARIA: 54, 105 Prospetto della Città di Venezia: 196, 197
ICONOGRAFICA RAPPRESENTATIONE DELLA REGINA PVRIFICATIONIS AVRI SCHEMA EST:

INCLITA CITTA: 116, 117 7
Iconografica / Rappresentatione della inclita Citta:
120
IN VENETIAS / Jacopo Sannazarij: 160 Scala di passi cento veneti: 121, 122
L'ampissima marina città di Vinegia: 14 Venecia . Venedig: 159

VENECIE: 158
La cité de Venise tres ample: 13
VENETAE URBS ITALIAE POTENTISSIMA CA-
LA CITTA DI VENETIA / Con l'origine: 21
LA CITTA / DI / VENEZIA: 80, 80-bis, 81 PUT: 167, 180
LA CITTA DI / VENEZIA: 83 VENETAE VRBIS DESCRIPTIO: 41-bis
LA NOBIL CITTA DI VENEZIA: 70 VENETIA: 5, 8, 16, 18, 20, 21, 22, 24, 26, 27, 28,
Laville de Venise: 9 29, 30, 31, 32, 33, 42, 44, 45, 66, 67, 68, 69,
La Ville de / VENISE / en Italie: 177 71, 76, 85, 86, 87, 88, 88-bis, 88-ter, 96, 105,
LIBER QVINTVS: 41-bis 168, 169, 170, 174, 180, 190, 191, 192, 193,
194
VEN ETI A: 46, 58, 59, 60, 61, 62, 63, 64, 65, 165
MVRANO VENETIA: 36, 37, 38 VENE TIA: 47, 48, 49, 50, 51, 52, 53, 54, 55, 56,
57
NUOVA PIANTA / DELL' / INCLITA CITTÀ: VENE =TIA: 183, 186
123, 124, 125 Venetia: 159
Nuova / PIANTA / della / CITTA / di / VENE- Venetia citta: 157
ZIA: 132 VENETIA, een Aartsbisschoplijke: 93
Nuova Pianta / della Città e Porto Franco / di:VENETIA
152 / ex aeneis formis / BOLOGNINI ZAL-
NUOVA PIANTA ELEUATA DELLA NOBILE E TERII: 40, 41
COSPICUA CITTA: 106 VENETIA MVRANO: 4, 34, 35
NUOVA PIANTA ICONOGRAFICA / dell'Inclita
VENETIA Potentissima e la più Magnifica: 97, 97-bis
VENETIA,
Città: 139, 140, 141, 142, 143, 144, 145, 146 POTENTISSIMA URBS ITALIAE: 165

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
VENETIA * VENEDIG: 90, 91 .VENETIE./ .M.D.: 1, 2, 3, 4

VENETIA VENEDIG: 195 VENEZIA: 77, 78, 187
Venetia Venedig: 159 VENISE: 10, 89, 94, 173, 178
VENETI AE: 43, 161, 179, 182 VENISE / Capitale de la République: 176
VEHETIAE: 163 VENISE 1669: 181
VENETIAE in uno sinus Hadriatici recessu: 175 VENISE / Ville Capitale de la plus celebre: 92, 113,
VENETIAE URBS ITALIAE POTENTISSIMA CA- 114
PUT: 161, 166 VENISE, Ville grande Archiepiscopale: 93
VENETIAE VENEDIG: 184 VERO E NVOVO DISEGNO DELLA INCLITA
Venetiarum amplissima & maritima urbs: 11 CITTA: 73
Venetiarum Urbis Conspectus: 196 VERO E REAL DISEGNO DELLA INCLITA CI-
Venetie ciuitas Regia: 157 TA: 102, 103, 104
VENETIE, gelegen in de Hadriatische zee:VINEGIA:
175 6

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
INDEX OF MONUMENTS
CHIOGGIA: pp. 22, 24 Procuratie Vecchie: p. 23

Punta della Dogana: pp. 28, 31, 32; 183
FUSINA: 20 Punta di Sant'Antonio: pp. 16, 17, 31; 132, 143
Punta di Santa Marta: pp. 16, 17, 31; 132
Rio33;
GIUDECCA: pp. 16 n, 17, 24, 25, 27, 31, 32, della Tana: p. 31
67, 132, 143, 164 Rio delle Torreselle: p. 31
San Giovanni Battista: 60 Rio San Lorenzo: p. 31
Rio San Moisè: p. 31
Santa Croce: p. 32; 60
Riva degli Schiavoni: pp. 31, 33
Redentore: pp. 26, 27 , 29, 30; 60, 80, 165, 182
San
Clemente: p. 16 n
Zitelle: pp. 26, 27, 29, 30; 60, 80, 165
San
Cristoforo: p. 16 n
San
Francesco della Vigna: pp. 27 , 28
LIDO: pp. 24, 25 San
Francesco di Paola: p. 28
Forte di San Nicolò: 44
San
Geminiano: p. 25
San
Giorgio dei Greci: pp. 24, 28, 31
MARGHERA San
Giorgio Maggiore: pp. 24, 27, 28, 29, 30, 31,
Gallows: p. 23 32, 33; 54, 80, 132, 164, 165, 182, 190, 192
San Giuseppe di Castello: pp. 23, 27; 5, 80
VENEZIA San Gregorio: p. 31
Arsenale: pp. 16 n, 23, 24, 25, 27, 29, 30; San
71,Lazzaro
182 dei Mendicanti: pp. 27 , 29
Cà Grande dei Barozzi: pp. 28 n, 31 San Marco: p. 31
Campinale di San Marco: p. 31; 2, 4 San Pietro di Castello: pp. 27, 28, 29; 182
Campo di Marte: 136, 143, 147 n San Rocco: p. 27
Cappuccini: p. 24 San Sepolcro: p. 23
Dogana da Mar: pp. 27, 28, 31 San Zaccaria: p. 32
Fondaco dei Tedeschi: pp. 23, 27 Sant'Antonio di Castello: p. 24; 80
Fondamenta Nuove: pp. 26, 27, 30; 71 Sant 'Elena: 67, 93
Gesuati: see Santa Maria del Rosario Santa Giustina: pp. 27, 29
Giardini pubblici: 101, 132, 143 Santa Lucia: p. 28; 108 n
Giardini Reali: 132, 143 Santa Maria dei Frari: pp. 25, 27, 33; 182
Granari di San Biagio: p. 32 Santa Maria dei Servi: 136
Granari Pubblici: p. 31 Santa Maria del Pianto: pp. 27, 29; 108 n
Lazzaretto Nuovo: 40 n Santa Maria del Rosario: p. 23
Libreria di San Marco: pp. 24, 26, 27 , 32 Santa Maria dell'Orto: p. 23
Loggetta: p. 25 Santa Maria dell'Umiltà: p. 33
Molo: pp. 27, 31; 164 Santa Maria della Salute: pp. 28, 29, 38; 38, 108 n,
Ospedal Gualtieri: p. 16 n 109 n, 182
Ospedale degli Innocenti: p. 23 Santa Maria di Nazareth: p. 29; 108 n
Ospedale della Pietà: p. 23 Santi Apostoli: p. 33
Ospedaletto: p. 24 Santi Giovanni e Paolo: pp. 25, 27 , 31, 32; 42, 182
Palazzo dei Camerlenghi: p. 23 Santo Spirito: p. 24; 5
Palazzo Ducale: pp. 23, 30, 31 Santo Stefano: p. 33
Palazzo Gritti-Bernardo-Mocenigo: p. 31 Scuola di San Marco: p. 27
Palazzo Moro a San Girolamo: pp. 25, 27 Scuola di San Rocco: p. 24
Palazzo Treves de' Bonfili: p. 28 n Stazione f erraviaria : 136
Ponte di Rialto: pp. 26, 27; 55 Teatro « Il Mondo »: 53
Ponte di San Giobbe: p. 23 Torre dell'Orologio: p. 23
Porto franco: 132, 143 Zattere: pp. 31, 33
Prigioni Nuove: pp. 27, 29, 32; 54, 182 Zecca: pp. 24, 27, 32; 182

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
LIST OF ILLUSTRATIONS
20 Cat. No. 34: detail. Blocks C and D of Bird's

1 Air view of Venice, from the South-west.
View Plan, published by Matteo Pagan, 1559.
2 Plan of Venice, based on a plan of 1102-1118,
from the Chronologia magna of 1346. 21 Cat. No. 34: detail. Blocks E and F of Bird's
Venice,
Biblioteca Nazionale Marciana. Eye View Plan, published by Matteo Pagan, 1559.
22 Cat. No. 34: detail. Blocks G and H of Bird's
3 Plan of Venice, based on a plan of 1102-1118,
from a miscellany of plans. Venice, Biblioteca Na-Eye View Plan, published by Matteo Pagan, 1559.
zionale Marciana.
23 Cat. No. 34: detail. Blocks I and J of Bird's
4 View of Venice, by Johannes, ca. 1400, from the Eye View Plan, published by Matteo Pagan, 1559.
frontispiece of Li liures du graunt Caam . . . 24 Cat. No. 34: detail. Blocks K and L of Bird's
Oxford, Bodleian Library.
Eye View Plan, published by Matteo Pagan, 1559.
5 Portion of a Plan of Florence, by Francesco Ros-
25 Cat. No. 37: Bird's Eye View Plan, published
selli, second half of the 1480's. Florence, Società
by Francesco di Tommaso da Salò and Co.; second
Colombaria (formerly).
state of a plan published by Matteo Pagan between
6 Plan of Florence, attributed to Lucantonio degli 1559 and 1562. London, British Museum, Depart-
Uberti, after Francesco Rosselli. East Berlin, ment of Maps.
Staatliche Museen, Kupferstichkabinett.
26 Cat. No. 36: detail. Left side of Bird's Eye View
7 Cat. No. 1: Bird's Eye View Plan, attributed to Plan by Master ICA-, 1565, Stockholm, Royal
Jacopo de' Barbari, 1500. Cleveland, Museum of Library, Department of Maps.
Art.
27 Cat. No. 36: detail. Right side of Bird's Eye
8 Cat. No. 1: detail. Block A of Bird's Eye View View Plan by Master I-C-A-, 1565, Stockholm,
Plan, attributed to Jacopo de' Barbari, 1500. Royal Library, Department of Maps.
9 Cat. No. 1: detail. Block B of Bird's Eye View 28 Cat. No. 39: Bird's Eye View Plan, by Paolo
Plan, attributed to Jacopo de' Barbari, 1500. Furlani, 1565. Rostock, Universitätsbibliothek.
10 Cat. No. 1: detail. Block C of Bird's Eye View 29 Cat. No. 53: Bird's Eye View Plan, by Bernardo
Plan, attributed to Jacopo de' Barbari, 1500. Salvioni, ca. 1597. Venice, Museo Correr.
11 Cat. No. 1: detail. Block D of Bird's Eye View 30 Cat. No. 66: Bird's Eye View Plan, by Matthäus
Plan, attributed to Jacopo de' Barbari, 1500. Merian the Elder, from J. P. Abelin, Neuwe
archontologia cosmica, 1638.
12 Cat. No. 1: detail. Block E of Bird's Eye View
Plan, attributed to Jacopo de' Barbari, 1500. 31 Cat. No. 74: Bird's Eye View Plan, published by
Vincenzo Coronelli, 1693. Venice, Museo Correr.
13 Cat. No. 1: detail. Block F of Bird's Eye View
Plan, attributed to Jacopo de' Barbari, 1500. 32 Cat. No. 102: Bird's Eye View Plan, by Giovanni
Merlo, 1660. New York, Ford Foundation.
14 Cat. No. 5: detail. Left side of Bird's Eye View
Plan, by Giovanni Andrea Vavassore, ca. 1535. 33 Cat. No. 102: detail. Plate A of Bird's Eye View
Venice, Seminario Patriarcale (formerly). Plan by Giovanni Merlo, 1660.
15 Cat. No. 5: detail. Right side of Bird's Eye View 34 Cat. No. 102: detail. Plate B of Bird's Eye View
Plan, by Giovanni Andrea Vavassore, ca. 1535. Plan by Giovanni Merlo, 1660.
Venice, Seminario Patriarcale (formerly).
35 Cat. No. 102: detail. Plate D of Bird's Eye View
16 Cat. No. 6: Bird's Eye View Plan, from Libro Plan by Giovanni Merlo, 1660.
di Benedetto Bordone ... de tutte Visóle , 1528.
17 Cat. No. 9é. Bird's Eye View Plan, from G. Gue- 36 Cat. No. 102: detail. Plate E of Bird's Eye View
roult, Epitome de la corographie d'Europe, 1553. Plan by Giovanni Merlo, 1660.
18 Cat. No. 34: Bird's Eye View Plan, published by 37 Cat. No. 102: detail. Plate F of Bird's Eye View
Matteo Pagan, 1559. East Berlin, Staatliche Mu- Plan by Giovanni Merlo, 1660.
seen, Kupferstichkabinett.
38 Cat. No. 107: Orthographic Plan, published by
19 Cat. No. 34: detail. Blocks A and B of Bird's Alessandro Badoer, 1627. Venice, Fondazione
Querini Stampalia.
Eye View Plan, published by Matteo Pagan, 1559.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC
39 Cat. No. 116: Orthographie Plan, compiled

51 Cat. by
No. 154: detail. Second quarter of Panoramic
Lodovico Ughi, 1729. London, British Museum,
View, by Erhard Reeuwich, 1486.
Department of Maps.
52 Cat. No. 154: detail. Third quarter of Panoramic
40 Cat. No. 116: detail. Upper left portion of Ortho-
graphic Plan, compiled by Lodovico Ughi, 1729.
53 Cat. No. 154: detail. Fourth quarter of Panoramic
41 Cat. No. 116: detail. Upper right portion of
Orthographic Plan, compiled by Lodovico 54 Ughi,
Cat. No. 186: detail. Left side of Panoramic View,
1729. by Giovanni Merlo, 1656. London, British Mu-
seum, Department of Maps.
42 Cat. No. 116: detail. Lower left portion of Ortho-
graphic Plan, compiled by Lodovico Ughi, 1729.55 Cat. No. 187: detail. Left side of Panoramic View,
by Giorgio Fossati, 1743. Paris, Bibliothèque Na-
43 Cat. No. 116: detail. Lower right portion of tionale, Département d'Estampes.
Orthographic Plan, compiled by Lodovico Ughi,
1729.
56 Cat. No. 186: Right side of Panoramic View,
by Giovanni Merlo, 1656. London, British Mu-
seum, Department of Maps.
44 Cat. No. 121: Orthographic Plan, after Lodovico
Ughi, 1747. Paris, Bibliothèque Nationale, De-
57 Cat. No. 187: detail. Right side of Panoramic
partment d'Estampes.
*
View, by Giorgio Fossati, 1743. Paris, Bibliothè-
que Nationale, Département d'Estampes.
45 Cat. No. 139: Orthographic Plan, published by
58 Cat. No. 186: detail. First quarter of Panoramic
Teodoro Viero, 1792. London, British Museum,
Department of Maps. View, by Giovanni Merlo, 1656.
59 Cat. No. 186: detail. Second quarter of Panoramic
46 Cat. No. 154: detail. Left side of Panoramic
View, by Giovanni Merlo, 1656.
View, by Erhard Reeuwich, from B. Breydenbach,
Sanctarum peregrinationum . . . opusculum60, 1486.
Cat. No. 186: detail. Third Quarter of Panoramic
View, by Giovanni Merlo, 1656.
47 Cat. No. 161: detail. Left side of Panoramic View,
published by Willem Jansz. Blaeu, 1614. Nurem-
berg, Germanisches Nationalmuseum. View, by Giovanni Merlo, 1656.
View, by Giorgio Fossati, 1743.
View, by Erhard Reeuwich, from B. Breydenbach,
Sanctarum peregrinationum . . . opusculum, 1486.
63 Cat. No. 187: detail. Second quarter of Panoramic
View, by Giorgio Fossati, 1743.
View, published by Willem Jansz. Blaeu,
641614.
Cat. No. 187: detail. Third quarter of Panoramic
Nuremberg, Germanisches Nationalmuseum. View, by Giorgio Fossati, 1743.

View, by Erhard Reeuwich, 1486. View, by Giorgio Fossati, 1743.

5.68.97.18 on Sat, 04 Feb 2023 22:02:32 UTC

The Printed Plans and Panoramic Views of Venice

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The printed plans and panoramic views of Venice (1486-1797)

Author(s): JUERGEN SCHULZ

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Bird's Eye View Plans (Cat. Nos. 1-106)

Orthographic Plans (Cat. Nos. 107-153)

Panoramic Views (Cat. Nos. 154-197)

Comitato per le Pubblicazioni:

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The slender evidence of building Milano

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from the lagoon. The core of the city is as

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sei fogli reali » has been identified, and that,

Í30) Considerable material concerning RosselliDie hasaltebeen

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motive is absent in Rosselli's two known plans,

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is not topographically accurate in as much as

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the plan of 1559. The differences between

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ria, halfway between Piazza S. Marco and S.

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origine e descendenza de Vinetiani (Cat.monuments

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1636) (93). The Punta della Dogana is shown

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on the foreshortened North-east to South-west

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The abundant production of bird's eye

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(125) Epigrammaton , Liber I, no. XXXI: Viderat Hadria-

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Two numbering systems are used throughout Thethe

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East Berlin - East Berlin, Staatliche Museen zu Nuremberg - Nuremberg, Germanisches

Leiden - Leiden, Rijksuniversiteit, B

Armao, Coronelli - E. Armao, Vincenzo Marinelli

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(bottom centre, in a tablet held by a figure

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1. iv. The alterations of ii. and iii. unmade:

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THE BORDONE PLAN THE GUEROULT PLAN