Jump to ContentJump to Main Navigation
Rome Measured and ImaginedEarly Modern Maps of the Eternal City$
Users without a subscription are not able to see the full content.

Jessica Maier

Print publication date: 2015

Print ISBN-13: 9780226127637

Published to Chicago Scholarship Online: January 2016

DOI: 10.7208/chicago/9780226127774.001.0001

Show Summary Details
Page of

PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use (for details see http://www.chicago.universitypressscholarship.com/page/privacy-policy).date: 17 December 2017

“Before the Eyes of the Whole World”

“Before the Eyes of the Whole World”

The City Writ Large, 1593–1676

Chapter:
(p.163) Chapter Five “Before the Eyes of the Whole World”
Source:
Rome Measured and Imagined
Author(s):

Jessica Maier

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226127774.003.0006

Chapter five traces a splendid sequence of large-scale prints by Antonio Tempesta (1593), Matteo Greuter (1618), Giovanni Battista Falda (1676), and others who turned away from Roma Antica to focus on the most recent form of the city. Although these works were not sponsored by the papacy, they took on a newly ideological and propagandistic tone. Rome was being remade as a grand theater that proclaimed the Church’s triumph over grave challenges, and the maps addressed in this chapter perfectly expressed the militancy of the Baroque city. With the rise of the Grand Tour, their messages were exported far and wide. In Rome, their production was increasingly concentrated in the hands of highly professionalized printers like the De Rossi family. Owing in large part to the expertise of their makers, these works surpassed imagery of previous generations in sheer size, technical finesse, architectural detail, and overall magnificence. They can be divided into two main trends—the painterly and the architectural—but like earlier works they continued to merge qualitative and quantitative information. If these images failed to reinvent the wheel, they refined themes that were first manifested in the mid-1400s and brought them to a glorious pinnacle.

Keywords:   Baroque Rome, theatre, Antonio Tempesta, Matteo Greuter, Giovanni Battista Falda, De Rossi family, architectural, painterly

Chicago Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.