277 - "HIGH AND LOWER RHIN", map from the "Atlas Universel, dressé sur les meilleures cartes modernes", second half of the 18th century. Illuminated engraving (colour demarcations). Edition M. Remondini, Venice, 1784. Hand-numbered on the back (no. 30), corresponding to the numbering stipulated in the index. The lot is accompanied by a copy of the title page of the atlas. Measurements: 49.5 x 53.5 cm (print); 53 x 76 cm (paper). Map of the Upper and Lower Rhine Circles, showing, in the former, the Duchy of Two Bridges, the Bishoprics of Worms and Speyer, the States of Nassau and Hesse, the Counties of Hanaw, Solms, Isenburg, the Abbeys of Fulde and Hirchfeld &c. and in the latter, the Electorates of Mainz, Trier and Cologne, and the Rhine Palatinate. The origin of the "Atlas Universel, dressé sur les meilleures cartes modernes" (Universal Atlas made from the best modern maps) goes back to 1757, when Gilles Robert de Vaugondy (1668-1766) and his son Didier Robert de Vaugondy (1723-1786), geographers to the King of France, formed one of the most renowned map and globe making workshops in France. The Vaugondys' excellent position in the field of topography, coupled with family ties to Nicolas Sanson, one of the most important cartographers of the 17th century, led the Vaugondys to inherit much of the cartographic material that Sanson had accumulated over the years, giving birth to the ambitious and unique Universal Atlas of which our map is a part. The copy became a commercial and cartographic success with enormous influence throughout Europe, which is why the brothers Paolo and Francesco Santini, Venetian engravers, did not miss the opportunity to acquire the original plates from the Vaugondy brothers. Thus, in 1776, the Santini brothers commissioned the production of new copperplates, while substantially maintaining the original design, keeping the place names and the inscriptions in French as defined in the 1757 copy. Due to their knowledge of the Italian territory, the Santini's changes mainly affected the maps of the Italian regions. The following year, Paolo Santini ceded all his publication rights to M. Remondini, who in 1777 and 1784 republished the same Atlas, but with his name. The copy of which our map is part, edited in 1784 by M. Remondini, maintains the exceptionality of the original work of the Vaugondy family: the meticulous treatment of the information (based on the revision of the oldest maps available, buying them with the most updated material at the time); the incorporation of the latest academic research in force at the time; the integration of his own astronomical observations (correcting if necessary even latitude and longitude) or the great decorativism of each of his maps. As in the vast majority of cartographic documents produced in France during the 18th century, the map in question is characterised by its enormous pictorial value and great attention to detail. Antique maps are one of the most complete documentary typologies. Their dual nature, cartographic and historical, attracts the attention of the most demanding collectors, who see in cartography a faithful reflection of the past, and are committed to their purchase and dissemination on the art market. The rarity of some of the editions, together with the longevity of many of the copies, make the possession and enjoyment of antique cartography an increasingly fashionable pleasure among art lovers. Understood as authentic reminiscences of the past, antique maps become a conscientious reflection of how the territory was divided in the past, or how geographical features define our world. Their decorative character, added to the meticulous and ambitious work of the cartographers, turn these pieces into authentic works of art.