Hieronymi Pradi et Ioannis Baptistae Villalpandi e Societate Iesu in Ezechielem explanationes et Apparatus Vrbis, ac Templi Hierosolymitani. Commentariis et imaginibus illustrates… [Engravings only]
Rome: 1596-1605. Folio. 12 x 17 in. Volume consists of 45 copper engraved plates, printed full-sheet, including title pages for each volume. Plates numbered 1-46, last plate unnumbered, plates 40 and 43 missing. 6 fold-out sheets, 39 double page spreads. Bound in 19th century quarter vellum with marbled paper boards. Red morocco inlay with gilt decoration to spine. Sheets tipped in with stubs. Sprinkled edges. Very good, marbled paper boards cracked along edges, corners bumped, scuffs along spine. Some staining and foxing throughout. Item #6347
The grand work on Solomon’s Temple, with highly detailed copper engraved plates. This volume collects only the illustrations from all three volumes issued without any of the printed text commentary sections.
An impressive volume of groundbreaking illustrations from the most complete early modern representation of Solomon’s Temple, from a three-volume work centering on a commentary of the prophet Ezekiel, with speculative and imaginative reconstructions of the temple, Biblical scenes, depictions of ancient Jerusalem, along with the Ark of the Covenant and the Molten Sea. These engravings inspired European illustrators, architects, and builders throughout the 17th century, especially in monastery, church, and temple architecture.
Villalpando completed the geometric drawings in Jerusalem in parallel or orthographic projection, which he likened to God’s own point of view. Although published with the support of King Philip II, the publication caught the attention of Spanish Inquisition officials, and Villalpando was prosecuted for heresy, due to the mixture of philosophy, mathematics, and historical speculation involved in the work. Ultimately a review of his beliefs and writings found him innocent.
This example appears to have been compiled shortly after the initial publication of the work; other examples of the engravings from this work bound together without the text are difficult to locate, with only one holding in OCLC as of April 2022.