Illustrating the present item, Priscilla Connolly and Roberto Mayer argue that the Trasmonte view "clearly had persuasive intentions," viz. After the failed attempts of Enrico Martínez in 1629, there was a massive and catastrophic flood that paused construction of the cathedral (it can be seen partly-constructed just Norh of the Plaza Mayor (Zócalo)), and Trasmonte superintended various projects to manage water in the city. 1647) was master builder and one of the architects of the Metropolitan Cathedral in Mexico City. For well over a century attempts were made to mitigate this flooding this view of the city was made as part of that process. Keeping the old capital was convenient for a variety of reasons, but it was not without challenges: since it was ringed by lakes at the bottom of a valley, the city was prone to seasonal flooding. Its capital was the former capital of the Aztec Empire, Tenochtitlan, renamed to Mexico City. In 1521 the kingdom of New Spain was founded. Watermark: a shield with a bear, coronetted (i.e., Bern, Switzerland). AN EPOCHAL MANUSCRIPT WATERCOLOR VIEW -THE FIRST CHOROGRAPHIC REPRESENTATION OF MEXICO CITY - THE ONLY COPY OUTSIDE INSTITUTIONAL COLLECTIONS. "Scull and Heap's East Prospect of Philadelphia" in The Pennsylvania Magazine of History and Biography 73, no. This is far more common of the Heap-Scull-Vandergucht view we have located only six copies in institutional collections: the American Philosophical Society (.748:P53:1754), Haverford College, Colonial Williamsburg, the Historical Society of Pennsylvania (second state), Independence National Historic Park and the New York Public Library (Stokes Collection, second state). Wainright begins his article on the prospect by hailing it as "the most distinguished of all prints of the city of Philadelphia in terms of age, rarity, and historic importance." In 1755 the view was shrunk by about two-thirds, and placed above a plan of the city and a view of the state house and the batter, engraved by Thomas Jefferys. The Dutch engraver Gerard Vandergucht was commissioned to cut the plates, which finally emerged in June of 1754 (the King hung it in his own apartments). Thereafter Scull shepherded the vast work through the engraving and publishing process. Heap got only as far as Delaware, and died on-board he was buried in Philadelphia on Boxing Day 1752. Nicholas Scull (perhaps an uncle by marriage) superintended the work, and Heap began advertising for subscribers (20 shillings, 10 payable in advance) and with that money set sail for England (there being no means to print it in Philadelphia) with his drawings. The ambition of the project matched the city's stature: it was the grandest illustrated view of an American city that had ever been attempted. George Heap undertook the project he had been Philadelphia's coroner. The Penn family had long dominated the colony, and Thomas Penn, the founder's son, commissioned a grand view of the city in 1750 to commemorate and to enhance its stature (the Penn arms at the lower left corner of the third plate underscore their dominance). By the mid-XVIIIc it had become the major Atlantic port, fueling a golden age of growth and eminence in the arts and sciences - the Athens of America. From its founding in 1680 between the Delaware and Schuylkill Rivers, Philadelphia was strategically poised to be a hub of trade. With good upper and lower margins throughout sheets 1-3 trimmed to right-hand plate-mark sheet 4 trimmed to left-hand plate-mark. Tanning at the corners from an early mount. An old transverse crease about 9" below the top edge, reinforced verso. First state ("Skull" for "Scull" twice on sheet 3). "THE MOST DISTINGUISHED OF ALL PRINTS OF THE CITY OF PHILADELPHIA" Engraved by G.
0 kommentar(er)
