Details
ANONYMOUS. La gran citta di Milano. Milan: [Federico] Agnelli, [c. 1700].
Engraved bird's-eye view of Milan, 403 x 586mm (engraving 403 x 548mm.. Title set in a scrolled ribbon at the upper margin, principal buildings numbered and recorded in two columns at left and right margins. (Narrow margins, old guard on verso.)
A delightful plan of the city of Milan and one of the most powerful of fortresses, the area around the Castello Sforzeco has been extensively reworked and the surrounding streets partially obliterated. The Castello, formely the ducal residence, was transformed into one of Europe's largest and most sophisticated fortresses. Under the supervision of Vincenzo Seregni, the designer of the twelve pointed star plan, work began in c. 1550 and ended at the beginning of 1600. By then the moat was complete, and a covered street isolated the castle from the city making it both virtually impregnable and extraordinarily efficient. Over the next two centuries the castle had a permanent garrison of upto 3,000 soldiers. In 1796 the French army took Milan, and Napoleon, who had plans for the site, ordered the castle's destruction. Napoleon envisioned a 'Foro Bonaparte' on the site of the castle, which, however, remained only a project. Agnelli was also the engraver for Giovanni Battista Sesti's Pianta delle citta, piazze e castelli fortificati in questo stato di Milano, Milan: 1707.
[With:]
ANONYMOUS. Sacro Monte della Bta Vergine del' Soccorso sopra l'Isola . No imprint: [first half of the 16th century].
Engraved bird's-eye view of part of Lake Como on two sheets, each 660 x 515mm (engraving 472 x 418mm). The hills and church dedicated to the Virgin Mary are shown on the far side of the lake, the title set in a srolled ribbon, dedication set in a decorated cartouche at lower right, arms of the dedicatee, Giorgio Clerici di Cavenago, at lower left, deckle edges, fold along innner plate mark of each sheet. (Light staining, and some light spotting.)
A fine bright impression of this large view of the hills beside lake Como with the churches and the stations of the cross shown in a charmingly stylised and partially schematised manner. (3)
Engraved bird's-eye view of Milan, 403 x 586mm (engraving 403 x 548mm.. Title set in a scrolled ribbon at the upper margin, principal buildings numbered and recorded in two columns at left and right margins. (Narrow margins, old guard on verso.)
A delightful plan of the city of Milan and one of the most powerful of fortresses, the area around the Castello Sforzeco has been extensively reworked and the surrounding streets partially obliterated. The Castello, formely the ducal residence, was transformed into one of Europe's largest and most sophisticated fortresses. Under the supervision of Vincenzo Seregni, the designer of the twelve pointed star plan, work began in c. 1550 and ended at the beginning of 1600. By then the moat was complete, and a covered street isolated the castle from the city making it both virtually impregnable and extraordinarily efficient. Over the next two centuries the castle had a permanent garrison of upto 3,000 soldiers. In 1796 the French army took Milan, and Napoleon, who had plans for the site, ordered the castle's destruction. Napoleon envisioned a 'Foro Bonaparte' on the site of the castle, which, however, remained only a project. Agnelli was also the engraver for Giovanni Battista Sesti's Pianta delle citta, piazze e castelli fortificati in questo stato di Milano, Milan: 1707.
[With:]
ANONYMOUS. Sac
Engraved bird's-eye view of part of Lake Como on two sheets, each 660 x 515mm (engraving 472 x 418mm). The hills and church dedicated to the Virgin Mary are shown on the far side of the lake, the title set in a srolled ribbon, dedication set in a decorated cartouche at lower right, arms of the dedicatee, Giorgio Clerici di Cavenago, at lower left, deckle edges, fold along innner plate mark of each sheet. (Light staining, and some light spotting.)
A fine bright impression of this large view of the hills beside lake Como with the churches and the stations of the cross shown in a charmingly stylised and partially schematised manner. (3)