Speculum Romanae Magnificentiae": l'altare di Giove nel più antico tempio sul Campidoglio. Artista: attribuito ad Agostino Veneziano (Agostino dei Musi) (italiano, Venezia ca. 1490-dopo il 1536 Roma); dopo (?) Raphael (Raffaello Sanzio o Santi) (italiano, Urbino Roma 1483-1520). Dimensioni: mount: 18 1/8 x 10 5/8 in. (46 x 27 cm) foglio: 11 5/8 x 8 3/8 in. (29,5 x 21,2 cm). Editore: Antonio Salamanca (Salamanca Roma 1478-1562). Serie/Portfolio: Speculum Romanae Magnificentiae". Data: ca. 1514-36. Questa stampa proviene dal museo della copia del Speculum Romanae Magnificentiae" (Lo specchio di romana
Questa immagine potrebbe avere delle imperfezioni perché è storica o di reportage.
Speculum Romanae Magnificentiae: The Altar of Jupiter in the Oldest Temple on the Capitol. Artist: Attributed to Agostino Veneziano (Agostino dei Musi) (Italian, Venice ca. 1490-after 1536 Rome); After (?) Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483-1520 Rome). Dimensions: mount: 18 1/8 x 10 5/8 in. (46 x 27 cm) sheet: 11 5/8 x 8 3/8 in. (29.5 x 21.2 cm). Publisher: Antonio Salamanca (Salamanca 1478-1562 Rome). Series/Portfolio: Speculum Romanae Magnificentiae. Date: ca. 1514-36. This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the
