B[ÉATRIZET], N[icolas] (c. 1520-1570). Regens rursus post omnes omnium description urb. Romae topographia . Rome: Antonio Lafreri, 1557. Engraved plan of Rome on a single Royal sheet, 352 x 471mm. Showing numerous topographical features of the city emphasising the seven hills, including walls, ditches, major ruins, and the Vatican, the title set in a plain boxed cartouche, the map dedicated to pope Paul IV (Giovanni Pietro Carafa). (Trimmed to plate mark and window-mounted, lightly inked in places, some marginal discolouration.) An early publication from Lafreri. The imprint N.B. refers most probably to Nicolas Béatrizet (c. 1520-1570), a publisher, painter and engraver active in Rome during the 1550s and 1560s, who is known to have worked with Lafreri. The fortification works of pope Paul IV, can be seen, but the city is dominated by the dome of the Pantheon and not of St Peter's, which was not finished until the 1590s. Tooley 472, who confirms attribution to Béatrizet and records seventeen other impressions; Arrigoni and Bertarelli 113, confirming the attribution; Huelsen 25; Frutaz CXIII; watermark similar to Woodward 325 but larger.
B[ÉATRIZET], N[icolas] (c. 1520-1570). Regens rursus post omnes omnium description urb. Romae topographia . Rome: Antonio Lafreri, 1557. Engraved plan of Rome on a single Royal sheet, 352 x 471mm. Showing numerous topographical features of the city emphasising the seven hills, including walls, ditches, major ruins, and the Vatican, the title set in a plain boxed cartouche, the map dedicated to pope Paul IV (Giovanni Pietro Carafa). (Trimmed to plate mark and window-mounted, lightly inked in places, some marginal discolouration.) An early publication from Lafreri. The imprint N.B. refers most probably to Nicolas Béatrizet (c. 1520-1570), a publisher, painter and engraver active in Rome during the 1550s and 1560s, who is known to have worked with Lafreri. The fortification works of pope Paul IV, can be seen, but the city is dominated by the dome of the Pantheon and not of St Peter's, which was not finished until the 1590s. Tooley 472, who confirms attribution to Béatrizet and records seventeen other impressions; Arrigoni and Bertarelli 113, confirming the attribution; Huelsen 25; Frutaz CXIII; watermark similar to Woodward 325 but larger.
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