• Title : Pianta Del Palazzo De Sig. Lancello
• Date : 1665
• Condition: (A+) Fine Condition
• Ref:  91196
• Size: 18in x 14in (460mm x 360mm) 

Description:
This finely engraved original 1665 antique architectural plan of the Lancellotti Palace, also known as de Torres, in 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 published in its between 1665-1699. 
These original prints are published on beautiful heavy clean original 17th century laid Italian made paper inlaid with a Fleur-de-Lis watermark.

Palazzo Torres Massimo Lancellotti(Lancellotti Palace, also known as de Torres) was built for the Spanish family Torres by P.Ligorio in 1560. The palace is irregular and has ten sides with the longest one on Via della Posta Vecchia. The main facades are one the Piazza Navona and Via della Cuccagna. The windows on the noble floor are of the 15th century type, while in the rest of the palace, of the 16th century.
The Palazzo Torres Lancellotti was designed by Francesco da Volterra, and completed by Carlo Maderno. The latter was most probably also responsible for the decorative scheme of the courtyard of which the collection of sculpture forms an integral part. Palazzo Mattei, also a work of Carlo Maderno, reflects similar decorative features in the courtyard and similar ideas.
Interior is characterized by beautiful halls with the carved ceilings. In the end of the 18th century the main hall was used as a theatre; and several decades before the palace housed Chamber printing-office.
The building, an example of late-Renaissance architecture, features an interesting main façade with three orders of eleven travertine windows, decorated by and topped by a cornice. The building is accessed through an imposing portal sided by columns and topped by a balcony, leading to a courtyard that has columns on one side and is decorated with plants, ancient reliefs and stuccoes.
The loggia features some statues that represent the remains of a great collection: it included the statue of Pudicitia, Diana Efesina and the bas-relief of Medea, now hosted in the Vatican Museums. Inside the palace, it is possible to admire the wonderful frescoes by Agostino Tassi and Guercino con landscapes, allegories and views.

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)