Nuova Pianta Di Roma Moderna Estratta Dalla Grande Del Nolli Corretta Ed Accresciuta De Nomi Delle Contrade Indicati Al Loro Rispettivo Sito In Roma

Cartographer: Giovanni Battista Nolli
Publisher: Venanzio Monaldini Libraio E Cartolaro
Price: £345
Publication Date: 1843
Edition: New edition
Format: Original copper engraving
Condition: In very good plus condition in slipcase
Sheet Size: c.63cm x 85cm when opened

Condition:

Marbled slipcase with engraved paper label. Dissected on linen on 20 folds. A detailed map of Rome marketed towards visitors on the Grand Tour. Includes four inset architectural floor plans. Slight wear along original folds. Minor wear to the slipcase. Map nice and clean with very minor age-toning and marks. Overall in very good indeed condition in very good, slightly rubbed but bright and clean slipcase. Scarce and a very nice copy indeed.

Nuova Pianta Di Roma Moderna: A Brief Description:

The “Nuova Pianta Di Roma Moderna Estratta Dalla Grande Del Nolli Corretta Ed Accresciuta De Nomi Delle Contrade Indicati Al Loro Rispettivo Sito In Roma” is a significant historical map of Rome, created by the renowned Italian surveyor and cartographer Giovanni Battista Nolli. This map, often referred to as the “Nolli Map,” is one of the most important and accurate representations of Rome during the 18th century, and this particular edition is a smaller, corrected, and expanded version of Nolli’s original large map.

Giovanni Battista Nolli

Nolli was a celebrated Italian cartographer, best known for his monumental map of Rome published in 1748. His work represents a major leap forward in cartographic accuracy and urban representation. Nolli’s map is notable for its use of ichnographic perspective, a method that displays the city from a bird’s-eye view but directly from above, showing streets, buildings, and open spaces with precision.

The “Nuova Pianta Di Roma Moderna” Edition

This specific version of the map, titled “Nuova Pianta Di Roma Moderna”, is an extracted, corrected, and expanded edition of Nolli’s larger work. Here is a detailed breakdown of its features:

1. Reduction of the Original Map

The “Nuova Pianta Di Roma Moderna” is a smaller-scale version of Nolli’s grand map of Rome. While the original large map measured about 176 by 208 cm and was composed of 12 engraved sheets, this edition was more compact, designed to be practical for everyday use by travellers, residents, and those with a scholarly interest in the city’s layout.

The reduced version retains the detail and accuracy of the original but presents it in a more manageable format, making it easier to handle and transport, while still offering an authoritative guide to the city of Rome.

2. Corrections and Updates

One of the key differences in this edition is that it was corrected and updated to reflect changes in the city’s layout since the publication of Nolli’s original map in 1748. Throughout the latter half of the 18th century, Rome saw various urban developments, including the construction of new buildings, alterations to roads, and changes to the names of streets and districts.

Nolli or his successors made these corrections in the “Nuova Pianta” edition to ensure the map remained relevant and accurate. This would have been particularly useful for those who needed an up-to-date reference of Rome’s ever-evolving landscape.

3. Addition of Street Names

A significant feature of the “Nuova Pianta” edition is the addition of street names and contrade (districts), which are marked and indicated directly on the map in their respective locations. This was a major enhancement for users, as it allowed for easier navigation and identification of specific areas, making the map more user-friendly for residents and visitors alike.

In the 18th century, many of Rome’s streets and districts were renamed or reorganised, and this map reflects those changes. Nolli’s inclusion of the updated street names, alongside accurate building footprints and open spaces, allowed users to navigate Rome with a high degree of confidence.

4. Ichnographic Representation

Like the original Nolli map, the ichnographic representation of the city is preserved in this edition. This means that buildings are shown in their ground plan, offering an accurate portrayal of their shape and orientation in relation to surrounding streets and landmarks. Churches, palaces, public buildings, and monuments are all depicted in remarkable detail, as are open spaces such as piazzas and gardens.

This level of detail made Nolli’s map unique, as it provided not only the street grid but also insight into the architectural footprint of Rome’s structures, something that was of great value to architects, urban planners, and historians.

5. Focus on Public and Religious Buildings

As in the original, the “Nuova Pianta Di Roma Moderna” pays particular attention to Rome’s public and religious buildings, which are rendered in detail. Important landmarks like St. Peter’s Basilica, the Colosseum, Piazza Navona, and other iconic Roman sites are prominently featured. This made the map useful for those engaged in the ecclesiastical and cultural life of Rome, as well as for tourists and pilgrims visiting the city.

6. Boundaries and Districts

The map also shows the divisions of Rome into its various rioni (administrative districts), with clear delineation of their boundaries. The inclusion of contrade (street names) marked the growing importance of urban administration and a more systematic approach to urban planning in Rome, reflecting a city that was modernising in line with the needs of its inhabitants.

Practical Use and Legacy

The “Nuova Pianta Di Roma Moderna” would have been an invaluable resource for a wide range of users. Scholars, architects, and those involved in city planning would have used it as a reference for Rome’s complex and layered urban landscape. It would also have been essential for travellers, enabling them to find their way around the city and visit its many churches, palaces, and ruins.

Furthermore, the map has become an important artefact for historians today, as it offers a snapshot of 18th-century Rome, showcasing the city as it stood during a period of significant change and development. Nolli’s maps, especially this edition, have been praised for their cartographic accuracy and artistic detail, making them valuable both as practical tools and as works of art.

Nolli’s Lasting Influence

Nolli’s work had a lasting influence on the field of urban cartography. His ichnographic style became a model for city mapping in subsequent centuries, and his meticulous approach to depicting the urban fabric was widely admired. The “Nuova Pianta Di Roma Moderna,” with its updates and expanded street names, represents the continued relevance of Nolli’s original work, even decades after its initial publication.

Today, both the original 1748 Nolli Map and this “Nuova Pianta” edition are studied for their historical value and continue to be referenced by urban historians, cartographers, and scholars interested in the history of Rome.

Giovanni Battista Nolli: A Short Biography

Giovanni Battista Nolli (1692–1756) was an Italian architect, surveyor, and cartographer, renowned for his meticulous work on the “Pianta Grande di Roma” (1748), one of the most influential and accurate maps of Rome ever produced. Nolli’s life and work reflected the intellectual and artistic currents of 18th-century Italy, and his contributions to cartography have had a lasting impact on urban mapping and planning.

Early Life and Background

Giovanni Battista Nolli was born in Como, a town in northern Italy, in 1692. His family was of modest means, but Nolli was drawn early to the fields of architecture and surveying. Como, with its proximity to Milan and its longstanding connection to both the Holy Roman Empire and the Italian artistic tradition, provided fertile ground for his early education.

Not much is documented about Nolli’s youth, but it is clear that he received training as a surveyor and gained experience in cartographic techniques in the regions surrounding his hometown. His early work was focused on topographical surveys, which provided him with the technical skills he would later use in his grand mapping projects.

Move to Rome

In the early 1730s, Nolli moved to Rome, which at the time was the heart of the Catholic Church and one of the cultural centres of Europe. Rome was a city undergoing significant transformation. It was a period marked by grand architectural projects, papal patronage, and urban expansion. For a surveyor and cartographer like Nolli, the city offered many opportunities to engage in public works and large-scale mapping projects.

Early Career and Collaborations

Upon his arrival in Rome, Nolli became involved in architectural projects, working as a surveyor for various patrons, including members of the Catholic Church. He quickly made a name for himself due to his precision and technical expertise in creating architectural plans and maps.

One of his first major works was a survey of the papal territories in the 1730s. This project, under the direction of Pope Clement XII, aimed to improve the management of the Papal States and their boundaries. Nolli’s skills were crucial in mapping these lands, as the borders were often contested, and accurate surveys were necessary for legal and administrative purposes.

During this period, Nolli also worked with prominent architects, including Alessandro Galilei and Luigi Vanvitelli, both of whom were influential figures in Roman architecture. His collaborations with them on urban planning and architectural projects deepened his knowledge of the city’s complex layout, which would later prove essential for his mapping efforts.

The Pianta Grande di Roma (1748)

The crowning achievement of Giovanni Battista Nolli’s career was the “Pianta Grande di Roma”, a monumental ichnographic map of Rome, first published in 1748. This map, measuring approximately 176 by 208 cm and printed on 12 sheets, is widely regarded as one of the most accurate and detailed maps of Rome ever created. It was commissioned by Pope Benedict XIV as part of a broader effort to document and modernise the city’s infrastructure and administration.

Purpose and Scope

Nolli’s primary goal with the Pianta Grande was to provide an accurate representation of Rome as it existed in the mid-18th century. The city had grown in complexity, with a mixture of ancient ruins, Renaissance palaces, Baroque churches, and newer urban developments. Previous maps had been imprecise, often showing streets and buildings out of proportion or with considerable artistic embellishment. Nolli’s map sought to correct these deficiencies by using the most precise surveying techniques available at the time.

The map includes:

• Entire city layout: Streets, piazzas, buildings, churches, and major monuments.
• Ancient ruins: Detailed depictions of Roman ruins, including the Colosseum, Roman Forum, and the Pantheon.
• Modern developments: Baroque churches, palaces, and infrastructure projects like new roads and bridges.

Nolli’s approach was ground-breaking. He used an ichnographic projection, which shows buildings in plan view, meaning from directly overhead, without distortion of perspective. This technique allowed for an accurate depiction of both the city’s streets and its individual structures, setting a new standard for urban cartography.

Surveying Techniques

Nolli employed some of the most advanced surveying techniques of his day to achieve the precision seen in the map. He used a plane table and alidade, instruments that allowed for accurate measurements of angles and distances directly in the field. Nolli’s survey was exhaustive, taking several years to complete, and involved detailed measurements of both the city’s streets and its architectural footprints.

His meticulous methods enabled him to depict even small details of the city, such as the layout of minor streets, the shapes of buildings, and the sizes of public squares. The level of accuracy and attention to detail was unprecedented for its time.

Symbolism and Interpretation

The Pianta Grande was not just a technical achievement but also carried significant symbolic weight. The map served as a visual representation of Rome’s grandeur, linking its ancient past with its present as the centre of the Catholic Church. Nolli’s work reflected the Pope’s desire to portray Rome as both a modern city and a spiritual capital, seamlessly blending the ancient and contemporary.

In addition to its accuracy, the map was also aesthetically beautiful. Nolli employed a clean, elegant style, using subtle shading and fine lines to depict Rome’s topography and built environment.

Impact and Legacy of the Nolli Map

Nolli’s Pianta Grande di Roma had an immediate and lasting impact on the fields of cartography and urban planning. It became the definitive map of Rome for decades, used by architects, urban planners, and administrators to navigate and design within the city. Its influence extended far beyond Rome itself, as it became a model for urban mapping in other cities across Europe.

• Architectural Use: Architects and builders relied on Nolli’s map to plan new projects and understand the relationships between existing structures and the city’s street network.
• Historical Value: For historians, Nolli’s map remains an invaluable resource for studying the city’s development. It preserves the layout of both ancient and contemporary Rome as it stood in the 18th century, offering insight into the urban fabric that has since changed.
• Modern Cartography: The ichnographic style employed by Nolli, with its emphasis on accuracy and ground-level representation, influenced cartographic practices for centuries, making his map a reference point in urban cartography.

Today, Nolli’s map is still used by scholars, urban historians, and architects studying the historical development of Rome. It is also celebrated for its artistic beauty and technical precision, making it a prized item in many museum collections.

Later Life and Death

Giovanni Battista Nolli continued to work as a surveyor and cartographer after the completion of his grand map, though none of his later projects achieved the same level of fame. He remained active in Rome’s intellectual and architectural circles until his death in 1756. He was buried in Rome, leaving behind a legacy as one of the city’s most important cartographers.

Legacy

Nolli’s influence is still felt today, particularly in the fields of urban planning and historical cartography. His map of Rome remains a masterpiece of technical skill, artistic detail, and urban representation. It is often referenced by modern planners and historians seeking to understand the evolution of Rome and serves as a key example of 18th-century cartographic achievement.

Circulating Library No. 79 Piazza Di Spagna: A Brief Description

The Circulating Library No. 79 Piazza di Spagna was a notable establishment located in the heart of Rome near the famous Spanish Steps in the 19th and early 20th centuries. Situated in Piazza di Spagna, a popular meeting place for artists, intellectuals, and travellers, the library played a significant role in the literary and social life of the city.

Piazza di Spagna

The Piazza di Spagna is one of Rome’s most iconic squares, located at the foot of the Spanish Steps (Scalinata di Trinità dei Monti). In the 18th and 19th centuries, it was a hub for Grand Tourists, particularly British and American travellers, as well as expatriate artists and writers. Many foreigners lived or stayed in the surrounding area, drawn by the vibrant cultural life and the proximity to Rome’s artistic landmarks.

The area around the Spanish Steps became a centre for bookshops, galleries, and libraries, catering to the needs of this international community. These establishments provided not only books and literary materials but also spaces for social interaction and intellectual exchange.

Circulating Libraries in the 19th Century

A circulating library was a type of lending library that became popular in the 18th and 19th centuries, particularly in urban centres and tourist destinations. Unlike public libraries, circulating libraries were often privately owned and operated as commercial ventures. Patrons could borrow books for a fee, usually on a subscription basis, allowing them to access a wide range of literature, including novels, travel books, and academic works.

In cities like Rome, circulating libraries were especially popular among foreigners and expatriates who sought reading material in their native languages. Many of these libraries stocked a selection of English, French, and German books, as well as Italian works, to cater to the diverse clientele passing through or residing in the city.

Circulating Library No. 79 Piazza di Spagna

The Circulating Library No. 79, located at Piazza di Spagna, was one of the prominent libraries of this kind in Rome. It served a varied clientele, including local residents, expatriates, and visitors. Its prime location near the Spanish Steps made it a convenient spot for those engaging in the social and cultural life of the city.

Key Features and Importance

1. Foreign Literature: The library likely specialised in foreign-language books, particularly English, French, and German, making it an essential resource for international visitors and residents who sought familiar reading material. During the 19th century, English-speaking expatriates and tourists were a significant presence in Rome, and they relied on places like this to access novels, periodicals, and travel guides.
2. Social and Intellectual Hub: Like many circulating libraries of the time, this library was more than just a place to borrow books. It also functioned as a meeting point for intellectuals, writers, and artists. The Piazza di Spagna area was frequented by famous figures such as John Keats, Percy Bysshe Shelley, and Lord Byron, and while they may not have all visited this particular library, the area was known for its vibrant intellectual scene.
3. Reading Rooms and Services: Many circulating libraries of the era offered reading rooms where patrons could sit and read newspapers, journals, and books. These spaces were often quiet retreats where individuals could engage in study or conversation, making the library a popular destination for both residents and temporary visitors.
4. Subscription Service: As with most circulating libraries, patrons likely subscribed to the library for a set fee, which entitled them to borrow books over a specific period. This was a particularly useful service for travellers who were staying in Rome for extended periods and needed access to books without purchasing them.

Cultural and Historical Significance

The Circulating Library No. 79 was a reflection of the broader cultural trends of the time. The presence of such establishments indicated the demand for literature and intellectual engagement in Rome, particularly among the growing expatriate community. As a centre of art, history, and culture, Rome attracted a steady stream of visitors and long-term residents who were involved in the arts, archaeology, and literature.

The library’s location in Piazza di Spagna, with its proximity to hotels, artist studios, and famous cultural landmarks, placed it in the centre of this international milieu. The area’s status as a gathering place for expatriates and travellers from across Europe made it an ideal spot for a circulating library, providing an essential service to those seeking to engage with the literary culture of their homeland while in Rome.

Legacy

While specific details about the library’s founding, ownership, and eventual fate are scarce, establishments like the Circulating Library No. 79 are remembered for their role in fostering a cosmopolitan and intellectually vibrant environment in 19th-century Rome. Libraries such as this one contributed to the cultural exchange that took place in the city, where travellers, scholars, and writers from different nations interacted and shared ideas.

Location: Book room: 002438

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