Antonio Manzelli: an early view of Madrid (c. 1623) in the British Library

Antonio Manzelli. An early Vien (c. 1623) in The British Librarv

Jesús R. Escobar

Fairfield

University,

U.S.A)

uio del Der )artamento de Historia y Teoría del Arte (U.A.M.). Vol. XVII. 2005

ABSTRAT

This nrticle e-rarnines a re-di.rcoi.eredprinted ivielc. of tlze Plaza Mayor of Madridfrom around 1623 by the Ira- lian artist, Antonio Manzelli. The pnnt survives in the British Lihraty in London, having been part o f rhe roval collection of George 111. The article analyes rl~e pnnt for t l ~ e empirical evidence ir afford.~ aborrr tlre appearance of tlze Plaza Mayor ar the time of its cornpletion. arld also for the rich re.rtiia1 a~idence ir offers. 111 the text, 1

Iebrated as the achievement o f a well-organ pal goipernment who senje the c i p S rteeds a,

lenr r~iler wlro provides Madrid vvith a gifr worthy of t gods' admiration. T11e Plaza M a ~ o r is, thzrs,

rnenr of good government.

lino una e! ién descut

c Plaza Ma aclrid de 1

J 71 artista ii tor~io Man

Lu ouru .>r LunJer iJc( en la Britisri ^Lirlrurv de Londre:

1 1

Este arl 7on una ^ifi r623, reali

r -L-a ^ ^

.íczllo e.wn ista de In

=da por ⁽

----

itampa rec 'yor de M, taliano An

1. I

lacia

~zelli.

t

>iendo fon Y. El artí~

...

",."

nando antt .irlo analir

,l"l ^?

?S parte de a la estam,

2"

i n del rey.

erando fa9

- . - ^ A : -A-.-

In colecci~

pn, consid

1- -l"-- :

:e- c

ci- t

'O- ^C

iespités de e.uo que b .amo In ob

, sir termir a ncompai Ira de itn ,q

110s e.rpli8 lo,qia a Mc ien o~qani Vacln'd is ⁽

lized mirni, nd a bena

. -

?ación, co,

?a. Erz el i

tobierno rn

. . .

rno lo qite 'e-rto, se el llinicipal h pe sinte a las necesidades de la ci~tdad, rn líder benévolo qire nfrece a 1

fe sir admiración. Ln Plarn Ma

~oderoso símbolo de biten gohit

v como ob,

rr1 re,qaIo ⁶ ivierte a rí t

the emboi os dioses i

ver se con

p r n n

dentificatic In 1622, the Italian-bom engraver and painter Anton

Manzelli signed a contract to make a map of 1 view of the recently completed Plaza Mayor, possessed elaborate drawings. Three hundrec

commissioned on 1 1 September of that year. I ~ I I U ; ~ i a i i ~ c l l i was paid for his work eight months later, suggesting that the images had been engraved in Madrid'. Although co- pies of Manzelli's prints were sold in the patio of the Roya1 Alcázar in Madrid -presumably by town officials- as well as from Manzelli's own house in the parish of San Martín, no known copies of these images have surfaced until now. There has been considerable debate about the

3n of Maní !elli's Madrid map, as will be discus- Madrid an<

for which 1 prints we

.-A na..---

ed below.

e e n rather

~f the moni

,O -,...l-*

Notice of I

silent. It iv imental cit

:,.- TI...-

the Plaza ? rould have y square. a

+h., -..-L..

vlayor viel been the ^{f i l} nd one ma4

-1 -4- r h ~ i

..

v, however rst printed de on the e . .

.-... ...

; has view ve of

,...-A

Iia c u ~ i i ~ i c i i i ~ i i . 1 i i u a . i i i c > u i v i t a l u i i i i c v i c w 111 a vi U U l l U

ndon e Map Roc

rprise and

,t ^P.l.T.P.2 '

3m of the 1 a notable f

British Lib ind'.

~. .

rary in Loi :Ibum in th

s both a su

-.

a ii

The prii,, ^bu..,,n a proud title alonz its upper h ti

F hat reads:

'laca de la ing a consi

.

-

"Verdaderc muy nobll derable 45 . ,

3 retrato dc e villa de ! l 5 x 9 0 0 m

.

.

LI suntuosc Madrid" (1 m. Manzel

nlticant tor the empincai evidence it orrers with rega .

rhe appearance of the great city square. Beyond this, ho- wever, the view includes a great deal of text which illumi- nates the architectural features of the Plaza Mayor, as well of its construction hi its meaning for nd. roya1 ioner alike. Alt- erse on th~ es the image to s clear that the ign of Felipe IV,

above the royal-sponsored building. The aedicule -which also appears in a later map of Madrid to be discussed below- has caused confusion about the actual appearance of the Plaza Mayor in the 1620s. Despite the original in- tentions of Madrid's regidores, the arms were never placed in this location, but rather in the window space above the 1s aspects ⁱ

he residen iough a p:

istory, and and comrr e print dat ts of Mad

inegyric vi

dication it early yeai ther as kin

..i ...A,+ A s .

royal balcony on the first level of the Panadería facade.

619. Mar izelli's del

~ a d e in the :ded his fa

*:~h 1 :t...r..

self make s o f the re gin 1671.

;..sc F,,,

riew was n vho succec

7%- Rr;

Notably. the Panadería range stands out from the others in Manzelli's pnnt. In this representation, the building achie-

u i l L I J l i t)lII1l U C ; I I V G 3 l l V l l l the Topographi-

<al Collection of King George gland, meaning that it amved in British roya1 1 lr to 18243. It is posible that Mar.relli's view oí L 1 n L 1 I L L L u Mayor was part urchase in he collection of co Albani. :ollection inclu- er hfuseui vings and prints issembled by Cassiano da1 Pozzo in the early to mid se- ienteenth century. Although this provenance cannot be :onfirmed, it is an especially interesting hypothesis given he presence of two drawings of the Plaza Mayor dating to 676 that derive from Dal Pozzo's collection and are now n Windsor Castle4. Notably, one of the Windsor Castle Irawings depicts the southern range of the Plaza Mayor in :levation. This is the only elevation not shown by Manze- li. who depicts it instead in plan. Together. the British Li- )raN pnnt and Windsor Castle drawings would have pro- rided a "com~lete" view of the ~ l a z a for a lonp-distance

ves a freestanding aspect as was initially desired by Felipe TI in his first directive for the building dating to 15907. The king's desire for the isolation of the building would have augmented its authority and presence in the heart of the evolving capital.

Beyond the empirical evidence provided by the view, Manzelli includes a few textual passage that make the Iii of En

hands prio

F t hDI-"0 ~

)f the Geo he Cardin;

led the far

.. .

rge 111's p 11 Francesi nous "Pap

. - .

1762 of t Albani's (

n" of drav . .

image al1 the more valuable as a historical document. A careful study of Manzelli's words confirms that the view of the Plaza Mayor is the one commissioned by the Ayun- tamiento in September 1622. The dedication, which is lo- cated in a l a q e cartouche along the left border below the arms of Madrid. is worth recording in its entirety, and in its original orthography:

A LA MUY NOBLE Y MUY LEAL VILLA DE MA- DRID Ofresco a V[uestra] S[eiioría] el verdadero retrato, del edificio mas suntuoso q V[uestra] S[eiiona] tiene entre los muchos aue adornan la grandeca desta Villa comenca-

*ollector.

Manzel

>l..-.. la...,

do y ac Monarc a los m

abado en 1 :a Rey don

E..-

os dos Años postreros de aquel Imortal Filipe 111. Imitando V[uestra] S[eñoría]

li's view f

...

l

. *h- -..,... of the

estern :m range ⁱ

--

;hown in c ills the ope a distincti'

:levation f n space of ve paveme

rom a higl the plaza':

:nt pattern

1 vantage

i interior u that sugg

point.

ith fi- ests a anges. is ⁵

h e artist fi rures and

hicieron mucho por Illustrar a su Roma haciendola tan fa- moso con la gloria de sus edificios. como con la de sus Leyes. Suplico a V[uestra] S[eñoría] le reciba en senal de mi agradecimiento y de la mercedes que e recibido de la l a ~ e s a de V[uestra] S[efioría] y de las que espero de su li- beralidad.

The statement is signed. "Antonio Mancelli. CON PRI- VILEGIO." Here. the implied parallel between Spain's Iramatic recession into space. 7 ient of figu

he scene has direct parrillels v ited view ^I 'laza Mayor by an unknnwn ar ~ollection vluseo Municipal de Madrid (l-ig. 2 ) . 1 previously

,,.,,

he painted view to around 1620. and the museum itself has

~ublished a date of 16185. It now appears that the view ,hould be dated around 1673. when Manzelli was paid for he British Library e and its other copies. In a ,tudy of a view of Va ied by Manzelli. Fernando 3enito Doménech h hted the engraver's expe- ience as a painter. suggesrinp rhat he might have painted :ity viewsh. Though Benito Doménech's evidence is rather veak for attrihutinz paintinps of [he expulsion of the X7o- iscos from Valencia to X.lan7elli. the similarities ktween

e Xla- hoth.

ortant he "puerta de la s n Miguel:' Xot n the view is the

LlllUUCl ILRCLICU LllC Ill)rthern range of the Plaza

udes an itedicule with the roya1 arms 'he placem

vith a pair tist in the ⁽

-. - .

ires in of the of the

CJ?t'=A

king and the emperors of ancient Rome is especially nota- ble. City reform efforts are thus seen as revivals of classi- :ngraving

lencia s i 9 as highlig

~- - . ~ ~ .

cal -and imperial- -mndeur.

A cartouche at the upper right comer of the print appe- ars atop a Doric column and includes a physical descrip- tion of the Plaza Mayor. In this description. Manzelli lar- gelv concurs with the words of the roya1 chronicler Gil _{- .} Gonz5lez Dávila. whose Teatm de las Granrie:as de la

\511a de- Madrid also appeared in 167Y. Xfanzelli's des- he British

trid piiintir In the F

Lihritp pr ig coiild si Iritixh Lih

int rind the igpest hliii ran; print.

'unicipal d horship of notes imp

cription reads as follows:

El Suntuoso edificio de la P l a p de la muy noble y leal Villa de Madrid corte del Rey Catolico. Tiene de longitud 126 pies. de latitud 323. En su circumferen~ia 1536 y Ay en ella 126 casas y 367 Ventanas con sus Balcones de hie- rro y 3.700 moradores. y en las fiestas publicas caben 5 1.000 personas. Y en el lienco del mediodia tiene Venta- .treet nnmc

.arniceria"

urprisingl

os as well or the "es1 y, the mosl

Inr-,rnrl 01,

i siich as t

i cahade S structure i

.nzelli incl na\ los Reyes. su casa. Contejo Real. Reyno. Nuncio y En-

Fig. 1 . Antonio Manzelli. "Vercfc~dero retrato clrl suritrroso Edificio (te 1 1 Plnqa ( 1 ~ l(1 m r r \ . nohlc i , r l l < ~ de Madrid", c. 1623. Grabado. Brirish Lihruy ú>ndon.

Reyes. Cc y seventec

jadores de bmencose Año 16 17 y se acabo en el i o 1619.

The earl mth-century reform of the Plaza ayor actually took p ive years, between 1617 d 1622. Nonethelec 7- 161 9 chronology had en promoted by the , :nto on a plaque that was dered in December 1619, installed in 1630. and can still seen today at the extreme westem end of the Panadena.

jnzalez D6vila. for initance, skirts the dating problem

r referring to the Panadena plaque as his information

urce. Thus c of-

.ial date n ce it

d been car

A comminee lea ~y rne roya1 juage. rearo ae lapia, oversaw the plaza's seventeenth-century reform. Interes- tingly, Manzelli mentions de Tapia along the lower frame of the enoraving. This text also includes the unexpected iired

and reads as follows: "F. M. D. CI-IRONOGRAPHICVM M.DC.XIX. IVPITER IN CVNCTAS CERNENS EX NVBIBUS VRBIES. NVM VASTI ASPICIET PULCH- RKJS ORBIS OPUS. Iacobus Vemlitius iqo estos bersos."

A translation suggests that the gods themselves approved of the urban renewal effort represented by the Plaza Mayor. Vemlitius asks: "Jupiter looking from out of the clouds upon al1 of the city. does he not see this most beau- tiful work of the vast world?'

The large dimensions of Manzelli's print suggest that it was suitable for framing. They also suggest that the ac- companying map of Madrid must have been of a similar if not identical size. The original 1622 contract to Manzelli specifies that he could sell his prints a t a price of seven re- ales without illumination, or twenty-six reales withlo. A gold border fetched an additional seven reales for a sale price of thirty-five reales.

In October 1628, the Ayuntamiento recorded in its mi- nutes that each of its mernbers, along with the city's chief scnbes, attomey general, and accountants were in posses- sion of Manzelli's prints. However, the copies owned by these officials lacked "marcos de madera dorados" that were used in those copies given to the members of the Consejo de Castillali. At an earlier date alluded to in the minutes, it had been decided that these images should be framed at the cost of the Ayuntamiento. The earlier date.

which would have offered us a hypothetical date by which Manzelli's images were known to have been in ckcula- tion, goes unrecorded.

One of the recipients of the gold-leaf frame would have been the corregidor Francisco Brizuelas y Cárdenas who was present at the October 1628 meeting. A 1630 inven- tory of Brizuela y Cárdenas's house includes painted co- pies of Titian's Poesie, many portraits of Habsbug rulers, and two items of note for the purpose of this article. The first is a view labeled "La placa de M[adn]d" and assessed at 12 reales. and the second is what appears to be a map ca- villa de Madrid" and assessed at 32 reales17. Both an be assumed to be prints by Manzelli. As an s interesting to note that the Ayuntamiento awar-

UcU I L 3 IIiembers 50 reales in 1628 to frame their prints, while the assessment was taken at 32 reales just two years later. This is concrete evidence of the devaluation of cu- rrency -and goods- suffered in Spain in the third decade

lenteenth century.

ugh Manzelli's map of Madrid remains to be dis- -and the appearance of the Plaza Mayor print sug- gests tnat it most likely does survive- the printed view considered in this article offers historians important clues of what to look for. Retuming to the 1622 contract for the two prints. we note the Ayuntamiento's insistente that the map be dedicated to the local goveming body. Moreover.

the map should include the town arms of Madrid, as well as images of its patron saints. These saints are not named though the newly canonized Isidro el Labrador would cer- lace over 1

;S the 161 Ayuntamie

. - .

,, for Manz 7as dificu ved ;a stoi

...

. ,.

:elli and thl It to contr le.

e royal chr adict. espc

onicler, thc :cially sini

~ ~

tail of the gathering Esta plac

committe, three day:

a de Madr

e's workin

; a week:

id, de tant

c that requ

i la mayor que vo fue de plaza anti rse y acabarse ta fabrica r ienos tienp ios. 1 devese el ldado al qi ⁱ el Sr. L[ic Pedro de Tapia 1 Real CoiiJciv uLl Supremo ^{uL ia} daiita General In- iisicion que fue el Superintendente i comisario de la :ha obra haciendo con el C o r r e ~ d o r Fran[cis]co de Vi- isis i regidores comisanos tres giuntas cada semana con

ie lucio la 1 )co tienpo.

That the :S commentary

significan the brevity of

lnstmction +ven ir completes in IOLL rather than 16 1 Q-

a fact worthy of note, suggesting that the careful F ng of the Plaza Mayor was a novelty in Spanish a :tural practice. Moreover, Manzelli gives credit tc lmmittee members fc ^{r k .} a nod in part to hi!

,ns but also a tribute eanization that made iilding reform possib poco tiempo."

In anothc e regidore caring for

ads: "AETERNITATI SACRU:vI I.LCLVIc> V I V I J . 1 1 1

ne ea cura nepotes Aedibus hanc omant fontibus 1 ro..' It can be translated roughly as follows: "Sacre emity: The rectors of the city so that this care woulc this [city] with buildi :e more. the equatio

i building of a fomm aes eviaence or a lare Kenaissance effort to aggranaize

adrid on par with o d on

is sort of analogy.

To illustrate further rne nenaissance numanrsr nature

' this i m a ~ :d by a certain

cobus Ven :Ili's print. Alt-

bugh Veml ious figure, his

d at lower left.

sacarse la iueva en m ue puso en

,..-a;,,

.,

igua y ace lo de dos ai :encia]do 1

.

brevedad e process of t. Indeed.

. ,.

le la fabric constmcti Manzelli c

. ..

a en tan pc on receive

;ingles out

.,-m

. ,.,

,lan- r h i -

I the -.-- i pa- : the Ir their woi

: to the orl le "en tan

lled "La ¹ images c aside, it i

A-A :+*

-

:r cartoucl s as inheri their city

le at lowe tors of an as guardia

r right. M ancient Rc .ns. The L:

&,4 Da,.,---

anzelli pn m a n tradi itin inscrip

..

iises ition

~tion

"..-

a r l c -

iocq :d to i not vait their d

untains ar adrid with .

.

escendanti id this fon ancient Rc

"

. .

; decorate umV9. Onc m e via thc

- .

ngs, n of pro-

of the se\

Altho covered - ther Eurol

--L. n . - -

jean cities that reliec

e. a specia

~litius to b itius rema1

11 verse wa le includec ins for nov

1s composc 1 in Manze va myster rth cartouc

'rse appeai

1

Fig. 3. Map of Madrid, from M0rn.n Zeillenrs, "Hispaniae et Lilsitaniae Itinerari~tm: hroi~a ⁽ accifrata descriptione. iconibitsq noilis er elegantibir

(Arnsrerdam: Ionssoniirrn Valckeniel; 1656). Bihliore,

S loca ear, ca Nacion

rrmdem prt al, Madril

tainly be the most important alongside Santa Ana whose special devotion among Madrileños would also require her presence. The contract also specifies that portraits of the princes and princesses bom in Madrid be included.

Here, the mapping effort can be tied once again to the his- toncal account of the Spanish court city presented by González Dávila in his Teatro de las Grande:as de la Villo de Madrid. The royal chronicler includes 101 pages devo- ted to the histories of these royal figures, the most impor- tant of which is Felipe 111 to whom al1 glory is given in the Plaza Mayor view 13.

A number of scholars have proposed that Manzelli's lost map of Madrid might resemble a well-known map printed by Frederick de Wit in Amsterdam. Indeed. the bird's eye nature of the Plaza Mayor print adds to this hy- pothesis. Astutely, the scholar of Madrid's growth, Miguel Molina Campuzano. dated the "de Wit" plan to around 1635 given the depiction of monuments included in the

mau. The mau is known from numerous orintinrs. !--'-- ding the SI

book to S

n fin.-- ..a,.-

nall scale pain and 1 t" map mu he "de \Yit though thc . .

version illi 'ortugal pi

.

istrated he ublished ir

."

re from a

..

i 1656 (Fi . .

-...

st date to t

"map is b

2 irregular

i v i v i c i c c r n t l ~ . Felipt ^r cicua tia\ digucu c u i i v iilciiisi

the "de Wi he 1 6 5 0 ~ ' ~ . It remain sible that t ased on a loit prototy Manzelli. ity of the Plaza Mal captured in the later map leaves this matter open to ⁽ Moreover. the known map-viel

suggests a wholly different ma exhibited in the "de Wit" maptz

It seems safe to conclude tha liest recorder of Madrid's appea nish Habsburg monarchy in a ¹ have been

the Plaza R too. will re

C,....+.'.,J R A .

labeled a dayor in LI hsurface sol

. A L A 1,.-1,<

"verdaderc

~ n d o n ? lf ^S on to help I .A 1:1,- :.. *E

w of Valen nner of re1 t Manzelli rance as c:

nap. Woul retrato" :

PO. we can ⁽ u\ enviqion

.- -..-.-

cia by Ma xesentatio

1IICIU-

ruide-

g. 3).

v that

S pos-

louht.

nzelli n that remains the ear- ipital of the Spa- d this map. too.

1s i i the vi jnly hope t

I what this

*, ,,,,,I

ew of hat it.

trani-

.-..

axonométric 1994). 2313 The print wa Plarlo (Madr

. -

marcoi de m para q los hi que a de sev AHPM. Prot

27 1-2, u h o (

brief lenere gravé par Te

, T4schu. .:4 lilla de Madi

:ited two len~

make referer mpecte." thi'

li en 1608."

~ublished in

8 its present dadrid. 2004

- -

espocio en ei (1992). 27-:

: 1940s. with

I incorrect re

7r and the SI ,or. loa-5.

llano axonor

utor y fecha.

rid, Libro de

~m;Pn.r\ i r ni

>s como se p e acuerdo al .a con el qua 7 v . cited b)

e n from the ice to a plan

; should he t;

inpin, qf Rni nétrico."

mque Madri,

s efforis to ri .id (Madnd, irs prior.

-* "--: L

scord "facts' Tomas Iunti

" for the con!

Actas. 6 Oct

- r v i i f " A l n r n

ucieron a los inq se hiqo n 1 se le pagen

r Marcuc B. 1

tract. The aui

oher 1628: "

i.=nrP-ll ,i r, m que se dio 3

io parece se i

y recivan er 3urke and Pe

) put one last

osopher G.R

i which "tou

> for what m '

Slanzelli's identity surfaced in 1980 when the archivist and historian. Antonio Matilla Tascón uncovered documents for the printing in the Archivo Hist6rico de Protocolos de Madnd; see hlatilla Taicón. "Autor y fecha del plano más antiguo de Madnd. La incógnita resuelta:' Annles del Instinrto de Eshtdios Mndrileiio.~. 17. 1980. 103-7. Note that scholars are not consistent in the spelling of the enLmver's name. In this article. 1 do not follow the spelling on the print in question. but the Italian way of Spanish documents (Manzelli and Manqelli). Fernando Benito Doménech. "Un plano o por hlance in Tiempo J , 1 arte: Homenaje al profesor Antonio Bonet Correa (Madrid. Editorial Complutense.

15. and also 1 Ars h n g a 3 17. fills in some of Manzelli's Italian biography.

is bound into :olume in tht I a shelfmark of K Top. 73.15.~. Miguel Molina Campuzano. Madrid: h . 7 Siglos Sin .id. Caja de iI ), S 1, lists an ference number at the British Museum. as per the Cata1o.y~~ of Printed Maps. Charts nrid Plons (London. British Museum. 1967). vol. IX, 445.1 am indebted to Mark McDonald. Keeper of Prints and Drawings at the British Museum, who suggested that 1 look at the British Library for Manzelli's print.

-* Peter BxRBFR. Head of the Map Collections at the British Library. very generously provided information about the provenance of the Manzelli print.

On the kin9.c co!'ection. see Barber. "George m's Topographical Collection: A Georgian View of Britain and the World:' in Enlightenmenc Di~roverin,e rlte I\tjrld in tlte Eiehteentli Centup. ed. Kim Sloan (London. British Museum, 2003). 158-65. and idem. "George 111 and His Geognphical Collection..' in Tlie ltrsdom qf G e o p e t11e Third. ed. Jonathan Manden (London. Royal Collection Publications. 2005), 262-89.

The hypothesis helongs to Peter Barher. to whom 1 am -pteful for sharing his ideas about the k v a l of Manzelli's print in British temtones. For the drawings at Wind\or Castle. see Fernando Mm'as and Apstín Bustamante García. "De las Descalzas Reales a la Plaza Mayor: Dibujos madri- leños en Windsor Castle de la Colección de Cacsiano da1 Pozzo," in Cinco siglos de nne en Madrid (Madrid. Alpuerto. 1991). 74-85. and Jesús

Escobar. The P!a:a May Press. 2003). 2 M 7 .

See ESCOBAR, Pl(ira .!.lo1 Benito DO~IENECH. "Un 1

See ESCOB.AR. P1n:ri Mn\or. 1 1 o- i 1s.

There are slight discrepancies. but thi ' about the P m similar in Manzelli's print and González Dávila, Teatro (le 10s Grnnrlerns de la Kllu de Madi , 1623). T'he inted to Gónzalez Dávila dates to December 1622, and the tome \vas clearly composed in the ye;

1 am indebted to mv colleage. Vincerri Ku5iviicri. iur r i i b grricrous assistance wiiri tiir iranslation of this and another Latin passage in the print.

l o See M.~TRLA :hor indicater Ili's prints were completed by April 1673. when he was paid

for his work

1 ' Archivo de 1 'Q por quanti dado que al señor corregidor y cavalleron regidores y escri-

vanos mayores del ayunt

,....-...

,,.,.,,.,

\_..,\_.,,. ,

,,,,,..,.

;ir de libran( i qu[enlta al dho may[ordolmo de propios:'

. 2683. fol. 7 ,ter Cherry. Collecrions qf Pnintin~s in Madrid. 1601-1755 (Los Angeles. Provenance lndes of the Getty Infomation Instiiute. 1997). vol. 1. 218-19. Brimela y Cárdenas died around 25 September 1630. the date in which the Ayuntamiento note5 his passing: see Archivo de Villa de Madrid. Libros de Actas.

GÓNZALEZ DÁVRA. Teatm de /OS Grnndeícrs. 37-138. The bulk of these pages is dedicated to an account of Felipe 111's reign.

R.RED.*. "Iconografía de una capital b m a : Madrid entre el simbolismo y la ciencia. Espacio. 7iempo Forma. 11. 1998. 103-34, and idem,

"lmmagini di Madrid. fra scienza e arte." in L'Eitrnna moderna. C~rrtoerafia urhlrna e vedutismo. eds. Cesare de'Seta and Daniela Stroffolino (Naples, Electa. 200 1 ^), 129-43.

' 5 It seemc worthwhile at this stage of tt i1 folklore to rest in our consideration of the Manzelli images. There has

not surfaced any evidence of a link hetween the earliest map o1 the work of the Florentine cartographer. Antonio Tempesta. Such a link was first suggested in 1917 by Eulogio Varela Hewías. "Notic,,

..,,.,,

Geman phil' i Leihniz to Henri Justel, an advisor and secretary to Louis XN. Dated to 1678, these of Madrid ir tec les maicons ... sont representées en penpective." When Leibniz suggests "il a esté lken as a slif ust have been an intended reference to Pedro Teixeira's ,pat map of 1656.

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