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  • A pair of engravings depicting four obelisks (Vatican Obelisk, Lateran Obelisk, Flaminio Obelisk, and the Esquiline Obelisk), the Santi Apostoli, and Trajan's Column. All of these were part of Pope Sixtus V's urban reform program.
    Still image

    Aguglia del Popolo, Aguglia di San. Pietro, Santi Apostoli, et C. Traj[an]

    A pair of engravings depicting four obelisks (Vatican Obelisk, Lateran Obelisk, Flaminio Obelisk, and the Esquiline Obelisk), the Santi Apostoli, and Trajan's Column. All of these were part of Pope Sixtus V's urban reform program.
    Date Issued or Published
    1686
    Copyright
    NO COPYRIGHT - UNITED STATES
    A pair of engravings depicting four obelisks (Vatican Obelisk, Lateran Obelisk, Flaminio Obelisk, and the Esquiline Obelisk), the Santi Apostoli, and Trajan's Column. All of these were part of Pope Sixtus V's urban reform program.
  • This view of the Belvedere Gardens and Courtyard at the Vatican is particularly important since it shows the courtyard as it was originally designed by Donato Bramante in 1505. Bramante's design offered an unobstructed prospect from the papal apartments (at left) through the length of the courtyard to the exedra, the semi-circular structure at the right of the image. This perspectival view was later blocked by the construction of a library for Pope Sixtus V in 1587-89.
    Still image

    Belvedere Gardens

    Brambilla, Ambrogio, active approximately 1579-1599
    This view of the Belvedere Gardens and Courtyard at the Vatican is particularly important since it shows the courtyard as it was originally designed by Donato Bramante in 1505. Bramante's design offered an unobstructed prospect from the papal apartments (at left) through the length of the courtyard to the exedra, the semi-circular structure at the right of the image. This perspectival view was later blocked by the construction of a library for Pope Sixtus V in 1587-89.
    Date Issued or Published
    1579
    Copyright
    IN COPYRIGHT
    This view of the Belvedere Gardens and Courtyard at the Vatican is particularly important since it shows the courtyard as it was originally designed by Donato Bramante in 1505. Bramante's design offered an unobstructed prospect from the papal apartments (at left) through the length of the courtyard to the exedra, the semi-circular structure at the right of the image. This perspectival view was later blocked by the construction of a library for Pope Sixtus V in 1587-89.
  • A pair of engravings depicting the dome atop St. Peter's Basilica and the Vatican Library, both of which were parts of Pope Sixtus V's urban reform program.
    Still image

    Cupola di San Pietro fatta da Sesto et Libraria Vaticana

    A pair of engravings depicting the dome atop St. Peter's Basilica and the Vatican Library, both of which were parts of Pope Sixtus V's urban reform program.
    Date Issued or Published
    1686
    Copyright
    NO COPYRIGHT - UNITED STATES
    A pair of engravings depicting the dome atop St. Peter's Basilica and the Vatican Library, both of which were parts of Pope Sixtus V's urban reform program.
  • An engraving depicting a Roman triumphal procession passing through a triumphal gate and accross the triumphal bridge (Pons Neronianus/Vaticanus) along the triumphal way (Via Triumphale) across the Tiber River. Above the scene, an angel flies, blowing on a trumpet that is draped with a flag bearing a crest with "S.P.Q.R." on it. The accompanying text discusses sources that claim St. Peter was buried near the Via Triumphale.
    Still image

    Del Ponte, & Arco Trionfale

    An engraving depicting a Roman triumphal procession passing through a triumphal gate and accross the triumphal bridge (Pons Neronianus/Vaticanus) along the triumphal way (Via Triumphale) across the Tiber River. Above the scene, an angel flies, blowing on a trumpet that is draped with a flag bearing a crest with "S.P.Q.R." on it. The accompanying text discusses sources that claim St. Peter was buried near the Via Triumphale.
    Date Issued or Published
    1697
    Copyright
    NO COPYRIGHT - UNITED STATES
    An engraving depicting a Roman triumphal procession passing through a triumphal gate and accross the triumphal bridge (Pons Neronianus/Vaticanus) along the triumphal way (Via Triumphale) across the Tiber River. Above the scene, an angel flies, blowing on a trumpet that is draped with a flag bearing a crest with "S.P.Q.R." on it. The accompanying text discusses sources that claim St. Peter was buried near the Via Triumphale.
  • An engraving depicting the Villa Medici and gardens in Rome.
    Still image

    Disegno et sito del Sontovoso Giardino et Palazzo del Ser.mo Gran Duva di Toscana in Roma

    Raphael, 1483-1520
    An engraving depicting the Villa Medici and gardens in Rome.
    Date Issued or Published
    1600/1699
    Copyright
    NO COPYRIGHT - UNITED STATES
    An engraving depicting the Villa Medici and gardens in Rome.
  • The story of how this obelisk came to be in the piazza of the Lateran spans three thousand years. It was first quarried by Thutmose III around 1450 BC and stood at the Temple of Amun at Karnak. When the emperor Augustus (27 BC-14 AD) had the first obelisks brought from Egypt to Rome in 10 BC, he had considered this one, but was deterred by the fact that it was the largest of all obelisks (being over 32 meters tall and weighing 455 tons). The obelisk remained at Karnak until Constantine the Great (306-337), intending to send it to Constantinople, had it transported down the Nile to Alexandria. It went no further, however, until his son Constantius II (337-361) brought it to Rome in 357 and had it erected on the central barrier of the Circus Maximus. There it joined one of the obelisks brought earlier by Augustus. In Egypt obelisks were always dedicated by the pharaoh to the sun god. They retained these same associations with supreme royal authority and the cult of the sun when they were relocated, but now the supreme authority had passed to the emperors of Rome. Sometime after the sixth century both obelisks fell, broke into three parts, and were buried under the mud in the frequently flooded Circus. By the time of the Renaissance, antiquarians knew that the two obelisks should still be at the site from their study of classical sources. Pope Sixtus V (1585-1590), hearing about this just after he had moved the Vatican obelisk to the front of St. Peter's, ordered the obelisks to be excavated. It took nine months and 300 men to uncover and move the huge stone of the obelisk of Constantius to the piazza where it was reassembled and raised. In an elaborate ceremony in 1588 it was exorcised of pagan demons, consecrated, and rededicated to "the most invincible Cross." Topped by the cross and the pope's coat-of-arms, the obelisk's inherent power and authority then passed to the Christian church. Piranesi has made the soaring emblem the sole focus of this view, depicting its hieroglyphs in detail, if not with complete accuracy.
    Still image

    Egyptian Obelisk Erected by Sixtus V in the Piazza of S. Giovanni in Laterano

    Piranesi, Giovanni Battista, 1720-1778
    The story of how this obelisk came to be in the piazza of the Lateran spans three thousand years. It was first quarried by Thutmose III around 1450 BC and stood at the Temple of Amun at Karnak. When the emperor Augustus (27 BC-14 AD) had the first obelisks brought from Egypt to Rome in 10 BC, he had considered this one, but was deterred by the fact that it was the largest of all obelisks (being over 32 meters tall and weighing 455 tons).
    Date Issued or Published
    1750
    Copyright
    IN COPYRIGHT
    The story of how this obelisk came to be in the piazza of the Lateran spans three thousand years. It was first quarried by Thutmose III around 1450 BC and stood at the Temple of Amun at Karnak. When the emperor Augustus (27 BC-14 AD) had the first obelisks brought from Egypt to Rome in 10 BC, he had considered this one, but was deterred by the fact that it was the largest of all obelisks (being over 32 meters tall and weighing 455 tons).
  • An engraving depicting the Villa Mattei, now known as Villa Celimontana, in Rome and the gardens surrounding.
    Still image

    Giardino de gl'Ill.mi Sig.ri Mattei

    Raphael, 1483-1520
    An engraving depicting the Villa Mattei, now known as Villa Celimontana, in Rome and the gardens surrounding.
    Date Issued or Published
    1600/1699
    Copyright
    NO COPYRIGHT - UNITED STATES
    An engraving depicting the Villa Mattei, now known as Villa Celimontana, in Rome and the gardens surrounding.
  • An engraving depicting the gardens and palace of Villa Montalto (also known as Villa Montalto Peretti, Villa Montalto Peretti Massimo, and Villa Negroni) in Rome. The entire complex was leveled to make room for the Roma Termini.
    Still image

    Giardino del Emi.mo Card. Montalto

    Raphael, 1483-1520
    An engraving depicting the gardens and palace of Villa Montalto (also known as Villa Montalto Peretti, Villa Montalto Peretti Massimo, and Villa Negroni) in Rome. The entire complex was leveled to make room for the Roma Termini.
    Date Issued or Published
    1600/1699
    Copyright
    NO COPYRIGHT - UNITED STATES
    An engraving depicting the gardens and palace of Villa Montalto (also known as Villa Montalto Peretti, Villa Montalto Peretti Massimo, and Villa Negroni) in Rome. The entire complex was leveled to make room for the Roma Termini.
  • An engraving of the Belvedere Gardens in Vatican City, as well as the Vatican Palace and Belvedere Court.
    Still image

    Giardino di Belvedere col Palazzo del Papa in Vaticano

    Raphael, 1483-1520
    An engraving of the Belvedere Gardens in Vatican City, as well as the Vatican Palace and Belvedere Court.
    Date Issued or Published
    1600/1699
    Copyright
    NO COPYRIGHT - UNITED STATES
    An engraving of the Belvedere Gardens in Vatican City, as well as the Vatican Palace and Belvedere Court.
  • A letter from Girolamo Aleandro to his patron, Raffaele de' Medici, concerning the work done at the Diet, including the condemnation and arguments made against Luther. Aleandro discusses the drafting of an offical Imperial decree against Luther and discusses political tensions between the Holy Roman Empire and France.
    Text

    Girolamo [Hieronomo] Aleandro letter to Raffaele de' Medici, June 1, 1521

    Aleandro, Girolamo, 1480-1542
    A letter from Girolamo Aleandro to his patron, Raffaele de' Medici, concerning the work done at the Diet, including the condemnation and arguments made against Luther. Aleandro discusses the drafting of an offical Imperial decree against Luther and discusses political tensions between the Holy Roman Empire and France.
    Date Created
    1521-06-01
    Collection
    Raffaele de' Medici letters
    Copyright
    NO COPYRIGHT - UNITED STATES
    A letter from Girolamo Aleandro to his patron, Raffaele de' Medici, concerning the work done at the Diet, including the condemnation and arguments made against Luther. Aleandro discusses the drafting of an offical Imperial decree against Luther and discusses political tensions between the Holy Roman Empire and France.
  • A letter from Girolamo Aleandro to his patron, Raffaele de' Medici, mentioning Luther's presence in Worms and commending himself further to Raffaele.
    Text

    Girolamo [Hieronomo] Aleandro letter to Raffaele de' Medici, May 5, 1520

    Aleandro, Girolamo, 1480-1542
    A letter from Girolamo Aleandro to his patron, Raffaele de' Medici, mentioning Luther's presence in Worms and commending himself further to Raffaele.
    Date Created
    1520-05-05
    Collection
    Raffaele de' Medici letters
    Copyright
    NO COPYRIGHT - UNITED STATES
    A letter from Girolamo Aleandro to his patron, Raffaele de' Medici, mentioning Luther's presence in Worms and commending himself further to Raffaele.
  • Summary: Translation, with additions, of Platina's Vitae pontificum.
    Text

    Historia delle vite de sommi pontefici : dal Salvator Nostro sino a Gregorio XV

    Platina, 1421-1481
    Summary: Translation, with additions, of Platina's Vitae pontificum.
    Date Issued or Published
    1622
    Copyright
    NO COPYRIGHT - UNITED STATES
    Summary: Translation, with additions, of Platina's Vitae pontificum.
  • An engraved border to Descrizione di Roma moderna formata nvovamente. The engraving depicts a pair of figures, one holding a cross and chalice and the other holding an anchor flanking a crest with three bees (the Barberini family) crowned by a galero (bottom), a pair of cherubs with shields (one with the papal keys and the other with S.P.Q.R. on it) flanking a platform with the title inscribed (middle), and a figure in armor holding a spear and a papal crown and flanked by a basilica and various Catholic vestments and acoutremont on the left and a wolf nursing two babies and Roman armor and standards on the right (top).
    Still image

    Historiated title page border of Descrizione di Roma moderna formata nvovamente

    An engraved border to Descrizione di Roma moderna formata nvovamente. The engraving depicts a pair of figures, one holding a cross and chalice and the other holding an anchor flanking a crest with three bees (the Barberini family) crowned by a galero (bottom), a pair of cherubs with shields (one with the papal keys and the other with S.P.Q.R.
    Date Issued or Published
    1697
    Copyright
    NO COPYRIGHT - UNITED STATES
    An engraved border to Descrizione di Roma moderna formata nvovamente. The engraving depicts a pair of figures, one holding a cross and chalice and the other holding an anchor flanking a crest with three bees (the Barberini family) crowned by a galero (bottom), a pair of cherubs with shields (one with the papal keys and the other with S.P.Q.R.
  • Summary: This is an early Italian response to Martin Luther, attacking the schismatic monk on his own terms, in the vernacular for the benefit of laymen or simplici, as advertised on the title-page. The work is quite broad in its criticism and aims to refute not only Luther and his followers, but all heretics and even Jews. On the final leaf of text, following the colophon the list of errata, we find a curious addition perhaps intended to be removed from the book and used separately: a "song" satirically composed by "several of Luther's friends in praise of him" [Alcuni amici de Martin Luthero in laude sua cantano], beginning "Te Lutherum damnamus". Evidently a parody of the Te Deum, Fano's hymn condemning Luther to Hell was in fact subsequently set to music by a certain Maistre Jhan (ca. 1485-1538).
    Text

    Iesus Maria Opera vtilissima uulgare co[n]tra le pernitiosissime heresie Lutherane p[er] li simplici

    Giovanni, fra., active approximately 1513-1523
    Summary: This is an early Italian response to Martin Luther, attacking the schismatic monk on his own terms, in the vernacular for the benefit of laymen or simplici, as advertised on the title-page. The work is quite broad in its criticism and aims to refute not only Luther and his followers, but all heretics and even Jews.
    Date Issued or Published
    1532
    Copyright
    NO COPYRIGHT - UNITED STATES
    Summary: This is an early Italian response to Martin Luther, attacking the schismatic monk on his own terms, in the vernacular for the benefit of laymen or simplici, as advertised on the title-page. The work is quite broad in its criticism and aims to refute not only Luther and his followers, but all heretics and even Jews.
  • An engraving depicting the Papal Palace (also known as the Vatican Palace, Apostolic Palace, and Palace of Sixtus V) and gardens located within the Vatican City in Rome.
    Still image

    Il Palazzo Papale

    Raphael, 1483-1520
    An engraving depicting the Papal Palace (also known as the Vatican Palace, Apostolic Palace, and Palace of Sixtus V) and gardens located within the Vatican City in Rome.
    Date Issued or Published
    1600/1699
    Copyright
    NO COPYRIGHT - UNITED STATES
    An engraving depicting the Papal Palace (also known as the Vatican Palace, Apostolic Palace, and Palace of Sixtus V) and gardens located within the Vatican City in Rome.
  • This large-format broadside was probably issued to commemorate and popularize the canonization of Charles Borromeo (1538-1584) in November of 1610. Borromeo was a crucial interlocutor during the final sessions of the Council of Trent and also undertook many reforming practices while serving as the Archbishop of Milan. Although the engraving was printed in Antwerp, the text including the detailed captions demonstrate that it was intended for an Italian audience. Several of the vignettes depict Borromeo’s heroic behavior during the plague of 1576-78, during which he donated much of his personal wealth and personally administered the Sacrament to dying plague victims.
    Still image

    Il vero ritratto, la vita, morte, fatti, et miracoli di Santo Carolo Borromeo

    Jode, Pieter de, 1606-approximately 1674
    This large-format broadside was probably issued to commemorate and popularize the canonization of Charles Borromeo (1538-1584) in November of 1610. Borromeo was a crucial interlocutor during the final sessions of the Council of Trent and also undertook many reforming practices while serving as the Archbishop of Milan. Although the engraving was printed in Antwerp, the text including the detailed captions demonstrate that it was intended for an Italian audience.
    Date Issued or Published
    1610/1674
    Copyright
    NO COPYRIGHT - UNITED STATES
    This large-format broadside was probably issued to commemorate and popularize the canonization of Charles Borromeo (1538-1584) in November of 1610. Borromeo was a crucial interlocutor during the final sessions of the Council of Trent and also undertook many reforming practices while serving as the Archbishop of Milan. Although the engraving was printed in Antwerp, the text including the detailed captions demonstrate that it was intended for an Italian audience.
  • The print depicts the cavalcade accompanying Pope Clement XI from the Vatican Basilica to the Basilica of Saint John Lateran in Rome on April 10, 1701
    Still image

    Nuouo disegno dell'ordine tenuto nella solenne cavalcata dal palazzo vaticano alla basilica lateranense per il possesso preso da Nostro Signore papa Clemente XI. il di X. aprile M.DCCI

    The print depicts the cavalcade accompanying Pope Clement XI from the Vatican Basilica to the Basilica of Saint John Lateran in Rome on April 10, 1701
    Date Issued or Published
    1701
    Copyright
    NO COPYRIGHT - UNITED STATES
    The print depicts the cavalcade accompanying Pope Clement XI from the Vatican Basilica to the Basilica of Saint John Lateran in Rome on April 10, 1701
  • An engraving of the gardens and palace of the Villa d'Este in Tivoli outisde of Rome.
    Still image

    Pitratto nel quale si rappresenta il vero sito dell'Horti et Fontane che coningeniosissimi adornamenti et maraviglie si vedono nella Villa in Tivoli, fata dalla fe me di Hippolito da este Card. di Ferrara

    Raphael, 1483-1520
    An engraving of the gardens and palace of the Villa d'Este in Tivoli outisde of Rome.
    Date Issued or Published
    1600/1699
    Copyright
    NO COPYRIGHT - UNITED STATES
    An engraving of the gardens and palace of the Villa d'Este in Tivoli outisde of Rome.
  • The lower third of Falda's plan shows the Belvedere Court designed in 1505 by Donato Bramante for Pope Julius II (1503-1513) to link the palace with a fifteenth-century villa on the grounds. The small courtyard (no. 9 on the plan) at the lower right housed the incomparable collection of ancient sculpture begun by Pope Julius which included such works as the Laocoon. The view of the garden seems to be from the vantage point of the gallery which frames the court, looking straight across parterres of herbs to the Casino of Pius IV built by the antiquarian architect Pirro Ligorio in the 1560s. The casino was a place of retreat for the pope where he and his companions could contemplate the numerous reliefs and inscriptions that encrusted the walls facing onto the inner courtyard. At the lower left is the Fountain of the Mirrors with its giochi d'acqua or water games. Tricks with fountains that would suddenly drench unsuspecting visitors were a very popular feature in Italian Renaissance gardens.
    Still image

    Plan and Elevation of the Belvedere Garden of the Vatican Palace

    Falda, Giovanni Battista, approximately 1640-1678
    The lower third of Falda's plan shows the Belvedere Court designed in 1505 by Donato Bramante for Pope Julius II (1503-1513) to link the palace with a fifteenth-century villa on the grounds. The small courtyard (no. 9 on the plan) at the lower right housed the incomparable collection of ancient sculpture begun by Pope Julius which included such works as the Laocoon.
    Date Issued or Published
    1688
    Copyright
    IN COPYRIGHT
    The lower third of Falda's plan shows the Belvedere Court designed in 1505 by Donato Bramante for Pope Julius II (1503-1513) to link the palace with a fifteenth-century villa on the grounds. The small courtyard (no. 9 on the plan) at the lower right housed the incomparable collection of ancient sculpture begun by Pope Julius which included such works as the Laocoon.
  • A pair of engravings depicting the Scala Sancta at St. John Lateran and statues of the Dioscuri with horses which were moved to the Piazza del Quirinale, both of which were a part of Pope Sixtus V's urban reform program.
    Still image

    Scala Santa di Sisto et Cavalli del Quirinale

    A pair of engravings depicting the Scala Sancta at St. John Lateran and statues of the Dioscuri with horses which were moved to the Piazza del Quirinale, both of which were a part of Pope Sixtus V's urban reform program.
    Date Issued or Published
    1686
    Copyright
    NO COPYRIGHT - UNITED STATES
    A pair of engravings depicting the Scala Sancta at St. John Lateran and statues of the Dioscuri with horses which were moved to the Piazza del Quirinale, both of which were a part of Pope Sixtus V's urban reform program.
  • An engraving depicting the Villa Borghesia and its surrounding gardgens
    Still image

    Villa Borghesia

    Raphael, 1483-1520
    An engraving depicting the Villa Borghesia and its surrounding gardgens
    Date Issued or Published
    1600/1699
    Copyright
    NO COPYRIGHT - UNITED STATES
    An engraving depicting the Villa Borghesia and its surrounding gardgens
  • An engraving depicting the gardens and villa of the Pamphilli family, located near the Porta San Pancrazio in Rome.
    Still image

    Villa de l'Ecc.mo S.re Principe Panfilio fuora de la Porta di S. Pancratio

    Raphael, 1483-1520
    An engraving depicting the gardens and villa of the Pamphilli family, located near the Porta San Pancrazio in Rome.
    Date Issued or Published
    1600/1699
    Copyright
    NO COPYRIGHT - UNITED STATES
    An engraving depicting the gardens and villa of the Pamphilli family, located near the Porta San Pancrazio in Rome.
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