Who painted Topographical Map of Modern Rome?

Topographical Map of Modern Rome was painted by Sebastiano di Re in 1561.

Where can I see Topographical Map of Modern Rome?

Topographical Map of Modern Rome is held by National Gallery of Art.

What movement is Topographical Map of Modern Rome?

Topographical Map of Modern Rome is associated with Renaissance.

Artwork

Topographical Map of Modern Rome

Sebastiano di Re , 1561

Topographical Map of Modern Rome is an ink print by the Renaissance artist Sebastiano di Re. It dates from 1561 and is held in the collection of the National Gallery of Art.

About this work

Overview

Sebastiano di Re’s 1561 engraving, titled Topographical Map of Modern Rome, presents a panoramic, bird’s‑eye depiction of the city. The print captures the urban layout with winding streets, the meandering Tiber River, and recognizable landmarks such as the Colosseum and the dome of the Pantheon, populated by diminutive figures that suggest everyday activity.

Subject & Meaning

The work functions as a visual survey of Rome during the mid‑sixteenth century, emphasizing the coexistence of contemporary life with the remnants of antiquity. By placing tiny pedestrians near the ancient amphitheater, the engraving highlights the continuity of the city’s habitation while foregrounding its historic monuments as focal points within the modern fabric.

Technique & Style

Executed in fine engraving, the image relies on precise line work and dense cross‑hatching to render depth and shadow. The sharp, intersecting strokes delineate architectural forms and the river’s surface, while the meticulous linear perspective creates a sense of spatial order across the sprawling urban scene.

History & Provenance

Created shortly after the renewed scholarly interest in Rome’s classical ruins, this print is among the earliest detailed cartographic representations of the city. It reflects the period’s burgeoning desire to document and study the urban environment, and it now resides in the museum’s print collection, catalogued under the artist’s name, Sebastiano di Re.

Context

The engraving emerges at a time when Renaissance humanists were re‑examining ancient sources and mapping the city’s topography for both scholarly and practical purposes. Its detailed layout complements contemporary textual descriptions, offering a visual counterpart to the growing body of antiquarian literature that sought to reconcile Rome’s past with its present urban reality.