= Two copies known, both without the attached lower section (Aachen, Stadt Archiv, Druckgraphiksammlung; New Haven, Beinecke Library). Faymonville, Die Kunstdenkmäler der Stadt Aachen (1924), p.662; Rhoen, Aachener Stadtansichten pag. 78 (“Ein grösseres Bild, welches wohl als eine Hüldigung aufzufassen ist, zeigt die Stadt in einem langen schmalen Streife an seinem Füsse.”); J.R. Paas, The Altzenbachs of Cologne (2020), no.1 (dating the print “1658?” and only describing the upper section without the almanac and Church council coats of arms): “A bird’s-Eye-view of Aachen from the southwest. In the sky two angels hold a laurel wreath, within which is the double-headed imperial eagle. Inscribed in the cartouche hanging from the wreath is a reference to emperor Leopold I.: “Leopoldus Rom: Imp: Sem: Aug:”. On a cloud to the right sits Charlemagne in the imperial robes. In his right hand he holds a model of Aachen Cathedral, while in his left he holds the imperial scepter and orb. On a cloud to the left the Virgin as Queen of Heaven sits with the Christ Child on her lap. Inscribed at the bottom in three lines is a list of the buildings depicted above (…) [27 are described]. Imprint at bottom right: “Wilhelm Altzenbach excudit Coloniae”.” Attached at the bottom is an etched frame with a large cartouche at the top reading “Insignia capituli regalis ecclesiae B. Mariae virginis aquisgranen” [insignia of the royal chapter of the Blessed Virgin Mary of Aachen]; to the left and right side on 3 attached leaves for each side 16 etched coats of arms with the names of prefects an canons of the Cathedral of Aachen between decorated borders of columns, numbered “2”-“33”, both sides 77 x 16 cm. and at the bottom another etched cartouche reading “Nomina cognomina et insignia ad R perillustrium et generosorum DD. praepositi et canonicorum regalis ecclesiae Aquisgranensis” [Names, surnames and insignia of the R. perilous and generous DD. prefects and canons of the Cathedral of Aachen], two more etched coats of arms of prefects and canons, numbered “34”and “35” and with address in the plate “Gedrückt zu Cöllen Bey Wilhelm Altenbach im Minnenbruder Umbgang zu finden”, 21 x 24,7 cm.; all these surrounding a central letterpress calendar/ almanac for the year 1678: “Vor das Jahr unsers Erlösers Jesu Christi. MDCLXXVIII Allmanach (…)”, printed in black and red in 6 columns within an ornamented border “Zu finden in Cölln bey Johann Peter Richermann, im Minen-Brüder Umgang”, 30 x 24 cm. Total size: 117 x 56,2 cm. The date of the lower section print may be determined by the presence and constellation of the coats of arms of the 33 prefects and canons or by the accompanying calendar/ almanac. Altzenbach would have presented this calendar/ almanac to the prefects and canons of the Royal Church of Aachen in 1678.“In addition to being deeply involved in the publication of devotional prints, the Altzenbachs also appealed to a secular local audience by offering prints of purely local interest (…). They were also strategic in currying the favor of the town [or church] council by publishing a calender/ almanac annually from the 1630s to at least the 1660s (e.g. nos. 3 and 31). Usually in December they would present the town council with the calendar for the upcoming year and in return normally received twelve thalers in recognition of their work. It is possible that the Altzenbachs also received commissions for official jobs from the town council, but because these materials would have been ephemeral by nature no evidence of such work is extant.” "In studying the Altzenbachs, it is important to keep in mind that only a very small portion of their print oeuvre is still extant." (both quotations, Paas, Vol.1, p.XIV). The Altzenbach firm of Cologne was active from approximately 1609 to 1680 and produced over 550 prints plus models and copies, which are held today in some 120 collections in Europe and North America. Some of their prints are the work of well-known artists like Wenceslaus Hollar and Matthäus Merian, but most were executed by anonymous artists who looked to Flemish and Dutch printmakers for inspiration. Their visual inheritance is a multi-faceted primary resource that offers unique and telling insights into the cultural world of the seventeenth century.Condition: linen-backed; some holes and repairs; trimmed on or just inside the platemark. A very rare, fine and attractive print. A great historical print of Aachen.