• Title : Pianta Del Palazzo De Sig. Falconieri
• Date : 1665
• Condition: (A+) Fine Condition
• Ref:  91192
• Size: 18in x 14in (460mm x 360mm) 

Description: 
This finely engraved original antique architectural engraving a plan of the Falconieri Palace Rome, Italy by Giovanni Battistaa Falda was published by Giacomo de Rossi in the 1665 edition of Il nuovo teatro delle fabriche, et edificii, in prospettiva di Roma moderna, 1665-1699.
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper.

Palazzo Falconieri is a palace in Rome, Italy formed in the seventeenth century as a result of remodelling by the Baroque architect Francesco Borromini. It is the home of the Hungarian Academy Rome(which is the Rome office of the Balassi Institute), since its foundation in 1927. It is located between Via Giulia and Lugotevere, with entrances to both; it is near Plazzo Farnese and a few houses down and across Via Giulia from the church of Santa Caterina a Magnanapoli in the Rione of Regola. From 1814, it was occupied by cardinal Joseph Fesch, Napoleon's uncle.
In 1638, Orazio Falconieri purchased a palace on the Via Giulia which had a small courtyard facing the River Tiber. He bought an adjacent property in 1645 and in 1646 and appointed the architect Francesco Borromini to remodel and refurbish the two. Some of Borromini’s work was lost in the nineteenth century development of Lungotevere, the embankment and road between the Tiber and the buildings which overlook it, but parts remain.
The surviving parts of Borromini’s work include the façade to the Via Giulia, the Belvedere overlooking the Tiber and the decorative work in several rooms. On the façade, the number of bays was increased from seven to eleven and at either end, tall inverted fluted pilasters were placed terminating in falcons heads, a reference to the family name, that each look back at the façade. Overlooking the Tiber, Borromini added a Belvedere, a three bay loggia with Serliana openings, that stands above the surrounding buildings. On the interior, some of the rooms are ornamented with stucco work designed by Borromini, with the frequent use of heraldic devices and symbolic motifs

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 14in (460mm x 360mm)
Plate size: - 11 1/2in x 9in (290mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Il Nuovo Teatro: One of the most important architectural projects of the seventeenth century was the urban renovation of Rome. Under the brilliant leadership of Pope Alessandro VII (1655-1667), Rome dramatically emerged as one of the most modern and beautiful cities of the new Baroque age. Within several decades spacious roadways were constructed, monumental buildings arose, and many public squares appeared with elaborate fountains and monuments. To be sure, this massive undertaking was meant to underline the absolute power of the Papacy but it also brought forth a new flowering of Italian art and architecture.
The Nuovo Teatro was initiated in 1665 to depict the new Rome in a series of etchings. What it gave to future generations was a magnificent historical record of views etched by two of Italy's greatest architectural artists. The printing and publishing of these important etchings was entrusted to Giacomo de Rossi (1626-1691), the head of the most dominant Roman publishing house. Sons and nephews of de Rossi, in fact, continued the publishing house until 1738 when the business was sold to Pope Clement XII to form the basis of the Regia Calcografia.) Altogether, four sets of Nuovo Teatro were created during the seventeenth century. Volumes one (35 etchings) and two (17 etchings) were both published in the year of 1665 and dealt mainly in views of the new piazzas, gardens, terraces and their surrounding buildings. Volume 3 (38 etchings) was published in 1669 and concentrated upon the newly constructed churches of Rome. Every plate from the first three sets was both designed and etched by the influential architectural artist, Giovanni Battista Falda (1643-1678). For reasons unknown the fourth and final volume (52 etchings) did not appear until 1699. It was published by Giacomo's successor, Domenico de Rossi, and featured views of the palaces and stately homes of Rome. Each plate was designed and etched by the famous architect and etcher, Alessandro Specchi (1668-1729)