Series II is comprised of 47 prints of monuments and sites, including churches,
palaces, fountains, bridges, piazze, and villas. These celebrate public works undertaken
by the papacy and monuments associated with the standard itinerary for religious and
secular pilgrims to the city, and travelers who came to study the masterpieces and
ancient ruins of the city. The Basilica of St. Peter's, the Seven Pilgrim Churches,
Castel Sant'Angelo (Hadrian's Mausoleum), and the Pantheon are represented, as well as
Bernini's Fountain of the Four Rivers and the Ponte Rotto.
Arrangement
The arrangement of this series follows the collection's original order by monument or
site. Within each site or monument grouping, the prints are listed by chronological
order.
Arch of Constantine
flatfile
3**
Girelli, Pietro Paolo, active 1690, printmaker. Facciata dell'arco antico di Costantino che risguarda l'Anfiteatro di Flavio
detto il Colosseo,
1692
1
print
etching and engraving ; plate mark 43.2 x 55.1 cm, on
sheet 48.2 x 73.7 cm
The print, after a drawing by Giuseppe Tiburzio Vergelli, according to the
inscription, depicts the Arch of Constantine with a number of figures gathered in
the foreground and detailed renderings of the sculpture and bas-reliefs. With the
collector's mark of Alessandro Castagnari on the verso (initials "A.C." with the
Capitoline wolf of Rome, Lugt 86a).
Imprint: Rome, Matteo Gregorio Rossi, in Piazza Navona.
Basilica of St. John Lateran
box
folder
2*
9
Morel, François, approximately 1768- printmaker. Vue
de l'eglise de St. Jean Lateran et de celle de Ste. Marie
Majeure,
[not before 1784]
1
print
etching ; plate mark 34.3 x 47.7 cm, on sheet 45.7 x 62.2
cm
The view after a painting by German landscape painter Jacob Philipp Hackert is
taken from the countryside outside of Rome. It depicts the Basilica of St. John
Lateran (Basilica di S. Giovanni in Laterano) and the rooftop and domes of Santa
Maria Maggiore. With Pecci-Blunt collector's mark, in black ink, in the lower right
hand corner and one on the verso.
Imprint: Rome, chez George Hackert, Place d'Espagne. Dedicated to Prince
Youssoupoff [Nikolai Borisovisch Yusupov?].
box
folder
3*
1
Rupp, Ladislaus, 1793-1854, printmaker. Veduta
interna della basilica di S. Giovanni Laterano in Roma,
1829
1
print
aquatint, hand coloring ; plate mark 40 x 49 cm, on sheet
41.1 x 56.3 cm
The print depicts the interior of the Basilica of St. John Lateran (Basilica di S.
Giovanni in Laterano). Below the Italian, the title is repeated in French. With
Pecci-Blunt collector's mark, in black ink, in the lower right hand corner and
another one on the verso. An oval embossed monogram stamp appears below the title
with the initials "M.R." [?] (not in Lugt). Imprint: Milan. Title in Italian and
French. Watermark: J. Whatman. Ref.: Arrigoni-Bertarelli 1012.
Basilica of St. Peter in the Vatican
box
folder
1*
8
Maggi, Giovanni, 1566-1618, printmaker. Basilica d.
Petri in Vaticano uná cum Palatio Pontificali Roma,
1619
1
print
engraving ; plate mark 35.6 x 50.5 cm, on sheet 40.4 x
53.9 cm
Saint Peter's is depicted with eight architectural features identified in a legend
at the base. The square and steps before the basilica are filled with soldiers,
artillery, wagons, prelates and other figures. Drawn and etched by Giovanni Maggi
and published by Matthaus Greuter in Rome. With Pecci-Blunt's collector's marks, in
black ink, in the lower right hand corner and on the verso.
Imprint: Rome, M. Greuter. Dedication to Joanne Baptista Vives.
flatfile
4**
Silvestre, Israël, 1621-1691, etcher. Vedute della
chiesa di S.to Pietro in Vaticano, et del palazzo papale, ed altri luoghi,
disegnate in Roma fuori della Porta de Cavalli Leggieri...,
1652
1
print
etching ; plate mark 30.5 x 79.2 cm, on sheet 35 x 82.9
cm
Drawn and etched by Silvestre, the print depicts Saint Peter's and the pontifical
palace in panorama from a viewpoint beyond the walls, near the Porta de' Cavalli
Leggeri. Eight sites are identified in French in two columns at the base and
repeated in Italian and Latin including the gate to the Vatican Palace, Porta
Angelica, the Vatican Obelisk, the headquarters of the Inquisition, Camposanto and
the walls and bastions. At the top of the print two griffins hold aloft the Hesselin
coat of arms and a banner bearing a dedication to de Hesselin from J. Viuot,
probably J. Vivot. Hesselin is likely Louis de Hesselin. Ref.: Faucheux 31 (State
1).
Imprint: Paris. Text is in French, Italian and Latin. By privilege of the
King.
box
folder
5*
6
Falda, Giovanni Battista, approximately 1640-1678, printmaker. Disegno delle fabriche prospettive e piazza fatte novamente in
Roma d'ordine della Sta di N. S. Papa Alexandro VII,
1663
1
print
etching ; plate mark 36.7 x 49.2 cm, on sheet 39.8 x 51.9
cm
The print depicts 14 sites in 15 vignettes illustrating construction projects
completed under the reign of Chigi Pope Alexander VII, giving prominence to Saint
Peter's (which appears with Bernini's colonnade), and including the Piazza Colonna,
the Pantheon, or Santa Maria della Rotunda, S. Maria della Pace, Santa Maria in
Trastevere, Chiesa di Sant'Ivo alla Sapienza, Porta del Popolo, the interior and
exterior of S. Maria del Popolo, Santa Maria di Montesanto, Santa Maria dei Miracoli
and others. Sites are lettered "A" through "R," but skip the letters J and K. Drawn
and etched by Falda. Ref.: The Illustrated Bartsch.
Vol. 47, pt. 1, Italian Masters of the Seventeenth Century:
Giovanni Battista Falda, no. 4 (252); Folger Shakespeare Library ART Box
R763 no.29 (size L)
Imprint: Rome.
flatfile
22**
Falda, Giovanni Battista, approximately 1640-1678, printmaker. Veduta dell'ampia Basilica Vaticana,
1729
1
print
engraving and etching ; plate mark 47.8 x 62.3 cm, on
sheet 50.6 x 65.9 cm
The aerial view of Saint Peter's and the piazza with Bernini's colonnade shows new
embellishments in travertine added to the piazza under the direction of Lodovico
Sergardi. Surrounding buildings are also visible and a number of people and
carriages traverse the square. Ref.: Arrigoni-Bertarelli 3794
Imprint: Rome, Lorenzo Filippo de Rossi, Calcografo Vaticano, figlio del q.m
Domenico erede di Gio. Giacomo in Roma alla Pace. By privilege of the Pope. Drawn
and etched by Falda.
flatfile
23**
Brun, Giovanni, 1754- etcher. Veduta della Basilica
di S. Pietro in Vaticano,
1785
1
print
etching ; plate mark 43.1 x 60.4 cm, on sheet 54.8 x 79.8
cm
Drawn and etched by Brun in 1785, according to the inscriptions, the print depicts
Saint Peter's and the piazza with Bernini's colonnade. Four features are identified
including the colonnade and piazza, the obelisk erected by Domenico Fontana, the new
sacristy and the pontifical palace. Surrounding buildings are also visible and a
number of people and carriages traverse the square.
Imprint: [Rome], Presso Carlo Losi.
box
folder
5*
1
Abbott, Henry, active 1820, printmaker.St. Peter's
and the Vatican,
1820 November 1
1
print
aquatint ; image 29.9 x 44.9 cm, on sheet 34.2 x 46.9
cm
Drawn, carved by H. Abbott, and "acquatinted" by R. Reeve, according to the
inscriptions, the print depicts Saint Peter's and the piazza. With Pecci-Blunt's
collector's marks, in black ink, in the lower right hand corner and on the verso in
blue ink. Imprint: [London], Baldwin, Craddock & Joy, 47 Paternoster Row.
Printmaker: R. Reeve. Trimmed within plate mark.
Possibly issued in: Antiquities of Rome: comprising
twenty-four select views of the principal ruins, illustrated by a panoramic
outline of the modern city taken from the capitol from drawings by Henry Abbott,
Esq., made in the year 1818. London: Baldwin, Craddock and Joy, 1820.
box
folder
6*
11
Penna, Agostino, active 1825-1846, etcher. Veduta
della Basilica di S. Pietro in Vaticano,
1829
1
print
etching ; plate mark 45 x 58.6 cm, on sheet 45.6 x 59
cm
Drawn and etched by Penna, according to the inscriptions, the print depicts Saint
Peter's and the piazza, with three structures identified including the pontifical
palace or Palazzo Pontificio, Raphael's Loggia and the sacristy. In the foreground
Pope Pius VIII is leaving the Vatican by coach, accompanied by a large retinue of
guards. Many of the onlookers greet him on their knees. With Pecci-Blunt's
collector's mark, in black ink, in the lower right hand corner and one on the
verso.
Imprint: Rome.
box
folder
5*
2
Rupp, Ladislaus, 1793-1854, printmaker. Interno
dell'insigne Basilica di S. Pietro in Vaticano,
undated
1
print
aquatint, hand coloring ; plate mark 40 x 48.6 cm, on
sheet 42.4 x 56.8 cm
The print depicts the interior of Saint Peter's filled with daylight, with several
figures conversing, while others pray. With Pecci-Blunt's collector's marks, in
black ink, in the lower right hand corner and one on the verso, and the oval
embossed monogram "M.R." [?]. Imprint: [Milan?]. Watermark: J. Whatman. Text in
Italian and French. Title in Italian to the left, and French to the right.
Castel Sant'Angelo
box
folder
1*
5
Della Bella, Stefano, 1610-1664, etcher. Castello
St. Angelo,
[between 1631 and 1637]
1
print
etching ; plate mark 21.2 x 34.8 cm, on sheet 23.2 x 36.5
cm
The print depicts the Castel Sant'Angelo, flying a large flag and surrounded by
artillery smoke. The scene includes several onlookers and the viewpoint is from the
left riverbank towards the bridge and castle. With collector's marks of Pecci-Blunt,
Alessandro Castagnari (initials "A.C." with the Capitoline wolf of Rome, Lugt 86a),
and J. Burleigh James ("J. B. J.", Lugt 1425). Ref.: De Vesme 818. Date from BM.
box
folder
2*
7
Veduta di Castello Santo Angelo,
undated
1
print
etching ; plate mark 36 x 50.7 cm, on sheet 39.2 x 52.6
cm
The print depicts the Castel Sant'Angelo, flying a large flag and surrounded by
artillery smoke with the Basilica di San Pietro in Vaticano in the background, the
bridge, and a sailing vessel in the foreground. With a legend of 5 sites including
Castel Sant'Angelo, Saint Peter's, and the church and hospital of Santo Spirito in
Sassia. Imprint: Rome, Giovanni Jacomo Rossi la Stampa in Roma alla Pace. Ref.: The
Illustrated Bartsch. Vol. 47, pt. 2. Commentary. Italian Masters of the Seventeenth
Century: Giovanni Battista Falda, 315 (with doubtful attribution to Falda)
flatfile
5**
Benazech, Peter Paul, approximately 1730-1783. printmaker. A view of Rome and the Tiber &c, from an original picture in
the collection of Peter Burrell Esqr.,
1762 April 26
1
print
etching and engraving ; plate mark 42.3 x 66.5 cm, on
sheet 50.5 x 70.5 cm
The print after a painting by Gaspar dagli Occhiali, who was also known as Gaspar
van Wittel, depicts the Tiber River, from the bank looking towards Saint Peter's,
with Castel Sant'Angelo to the right. Fishermen with nets appear in boats and on the
shore. Imprint: London, Mrs. Eliz: Knapton. Inscription: Engrav'd at the expence and
under the direction of the late Mr. Arthr. Pond.
Church of S. Antonio all'Esquilino
box
folder
1*
6
Benedizione de' cavalli, nel giorno di San Antonio
in Roma,
[ca. 1820]
1
print
etching, hand coloring ; plate mark 24.2 x 32.2 cm, on
sheet 31.4 x 41.4 cm
The piazza is crowded with figures and horses, festooned with flowers, ribbons and
feathers and gathered before the church of S. Antonio all'Esquilino for the blessing
of the horses. Title and publisher from inscription in pencil. Attributed to
Salvatore Busuttil in pencil inscription. Imprint: Rome, Giacomo Antonelli al corso
alle convertite, #179 B. Illegible inscription in the lower right hand corner of the
image: J. Feri [?] f. Rome. With Pecci-Blunt's collector's mark, in black ink, in
the lower right hand corner and one on the verso in the center.
Church of S. Luigi dei Francesi
flatfile
24**
Barrière, Dominique, approximately 1618-1678, printmaker. Figura del nobilissimo parato fatto d'ordine dell'emmo. sre.
Cardinal de Retz nella Chiesa di San Luigi de Francesi in Roma per la festa del
detto santo nell'anno 1665,
[1665]
1
print
etching on two sheets ; plate mark 65.7 x 44.9 cm, on
sheet 67.4 x 46.3 cm
The nave of the church of San Luigi dei Francesi is filled with daylight and
figures in groups conversing. According to inscription, it is after a drawing by
Joseph Lanatus.
Church of the Apostles
box
folder
1*
7
[Solemn funeral pomp observed in Rome in the Church
of the Apostles for the funeral of the deceased Marquis Antonio
Canova],
[ca. 1823]
1
print
etching, hand coloring ; sheet 43.2 x 30.2
cm
The print, after a drawing by Giuseppe Valadier, depicts the funeral of sculptor
Antonio Canova held in the Church of the Apostles (Chiesa dei Ss. Apostoli). The
interior has been draped with black hangings and illuminated with large candelabra.
Canova's Tomb of the Archduchess Maria Christina of Austria is shown on the left.
Title and date from Anna Villari's essay "Apoteosi funeraria di Canova a Roma:
Fortuna e sfortuna negli anni della Restaurazione," in La gloria di Canova: V
Settimana di studi canoviani (2007). With Pecci-Blunt collector's mark on verso.
Trimmed within plate mark.
Colosseum
box
folder
4*
1
Chenu, L. T. Le Colisée vu de St. Gregoire, a
Rome,
undated
1
print
etching ; plate mark 25 x 36.9 cm, on sheet 35.2 x 45.7
cm
The print, after a drawing by Charles-Nicolas Cochin, depicts the Colosseum from
the via di San Gregorio. With Pecci-Blunt's collector's mark, in black ink, in the
lower right hand corner and one on the verso.
Imprint: Paris, Chez Basset, rue St. Jacques, no. 64.
box
folder
3*
2
Alaux, Jean-Paul, 1788-1858, lithographer. Vue du
Colisée, prise de l'intérieur du Temple de la Paix,
undated
1
print
lithography ; image 31.4 x 44.3 cm, on sheet 43.6 x 55.2
cm
The print depicts the Colosseum from the interior of the Temple of Peace, with
soldiers, tourists and workmen excavating in the foreground. With Pecci-Blunt
collector's mark, in black ink, on the verso in the lower center.
Imprint: Paris, Engelmann, rue du F. Montmartre, no. 6. Marked "Alaux et Lesueur",
and possibly printed by Jean-Paul Alaux after a drawing by Jean-Baptiste-Cicéron
Lesueur.
Fountain of the Piazza di Bocca della Verità
box
folder
4*
2
Acquaroni, Antonio, approximately 1800-1874, etcher. Fontana sulla Piazza di S. Maria in Cosmedin,
[ca. 1851]
1
print
etching ; plate mark 27 x 35.7 cm, on sheet 37.2 x 54.5
cm
The print, drawn and etched by A. Acquaroni, depicts the fountain with the Temple
of Vesta in the background. Inscription: A. Aquaroni. With Pecci-Blunt collector's
marks, in black ink, in the lower right hand corner and on the verso. Date from the
Istituto nazionale per la grafica. Ref.: Arrigoni-Bertarelli 1765.
Imprint: Rome, Calcografia camerale.
Frascati
box
folder
1*
2
Greuter, Mathieu, 1564?-1638, printmaker. E fatta
celebre la città de Frascati della vaghezza delle sue ville
suburbane...,
1620
1
print
etching and engraving on three sheets ; plate mark 37.2 x
146.7 cm, on sheet 40.9 x 150.2 cm
The panoramic view of Frascati, a suburb to the south-east of Rome which was known
for its magnificent residences, depict villas of the papal nobility, their
waterworks and gardens including, from left to right, Villa Tuscolana, Villa
Mondragone, Villa Borghese, Villa Rufina, La Rufinella, Villa Aldobrandina
Belvedere, Sora, Como-Ludovisi, Belpoggio, Acquaviva and Arrigone. The coat of arms
of Pope Paul V appears in the upper left hand corner. An additional coat of arms of
Cardinal Scipione Borghese, nephew to Paul V, appears in the upper right hand
corner.
Imprint: Rome, Matteo Greuter Todesco. By license and privilege of the Borghese
Pope, Paul V. Drawn and etched by Greuter.
Obelisk of Piazza Navona
box
folder
3*
3
Rouhier, Louis, active 1650, printmaker. Obelisco
Panphilio gia nell ippodromo di Ant. Caracalla et dalle rovine lacero in tre pezzi
inalzato dalla Sta. di Nro. sig.re Innocentio Decimo sopra il novo fonte nel
Cerchio Agonale hora Piazza Navona con li quattro fiumi, il Nilo, il rio della
Platta, il Danubio, il Gange. Architettura del cavalier Gio. Lorenzo Bernino,
Napolitano. Scoperta li 12 giugnio 1651, parte occidentale,
[not before 1651]
1
print
etching and engraving ; plate mark 49.3 x 37.2 cm, on
sheet 51.6 x 38.8 cm
The print depicts Bernini's Fountain of the Four
Rivers in Piazza Navona, with figures personifying the Nile of Africa, the
Danube of Europe, the Ganges of Asia and the Plate of the Americas. The reassembled
obelisk which caps the waterwork was raised by Pamphilj Pope Innocenzo X, for whom
the fountain was also constructed. Hieroglyphs are visible on the obelisk which is
crowned with the Pamphilj dove bearing an olive branch.
Inscription: Scala di Pmi romani numero 40. con il quale e fatto il presente
disegno. In black ink, on the verso: "8i [?]". With Pecci-Blunt's collector's marks,
in blue ink, in the lower right hand corner and on verso. Ref.: Arrigoni-Bertarelli
2167; Folger Shakespeare Library ART Box R763 no.16 (size L).
Imprint: Rome, Gio: Iacomo Rossi li Stampa alla Pace, Roma.
The print depicts the Palazzo Mazarini, residence of Cardinal Jules Mazarin, which
is now known as the Palazzo Pallavicini-Rospigliosi. The legend identifies seven
sites with the letters "A" through "G," including the palazzo, the gardens
containing the Casino dell'Aurora with Guido Reni's L'Aurora, the tower of the Campidoglio on the Capitoline Hill, the tower
of Nero, also known as the Torre delle Milizie, the basilica of San Vitale and the
Palazzo di Monte Cavallo. The title is printed in a banner at the top of the print,
which waves below the coat of arms of the Cardinal Mazarin. Imprint: Paris. By
privilege of the King. See Faucheux 35, for the date of the print after Silvestre's
third voyage to Italy.
Palazzo Salviati (Palazzo Mancini)
box
folder
4*
3
Vue de l'Académie Royale de Peinture &c. à Rome,
1761
1
print
etching and engraving, hand coloring ; plate mark 30 x
44.4 cm, on sheet 33.4 x 48.4 cm
The perspective view print of the Palazzo Mancini, at the time home to the French
Royal Academy of Painting and Sculpture, has as its vantage point the facade with
the via del Corso, populated by a number of figures who disappear into the distance.
Inscribed "No. 184" in the upper right hand corner above the image and labeled as
the 15th view. Ref.: Arrigoni-Bertarelli 2494.
Imprint: London, chés Wichnyther and Paris, chés Chéreau, rue St. Jacques.
Distributed by Basset, rue St. Jacques a coin de celle des Mathurins and chés
Lachaussée, rue S. Jacques.
Palazzo de Solis
flatfile
15**
Ottaviani, Giovanni, 1735-1808, etcher. Prospetto
della facciata del palazzo d'abbitazione in Roma à Piazza Colonna del emo, e rmo
sig.r card. D. Francesco de Solis, arciv.o di Siviglia fatta illuminare il di 10.
11. 12. agosto 1769,
[ca. 1769]
1
print
etching ; plate mark 47.6 x 69.5 cm, on sheet 53.8 x 76.9
cm
The print, after a drawing by Nicola Giansimoni, depicts the palazzo of Francisco
de Solis, cardinal and archbishop of Seville. The facade of the palace had been
re-designed by architect Nicola Giansimoni. According to a printed description
published in the same year, celebrations are being held in honor of Saint Lawrence.
The facade is illuminated by numerous torches and an orchestra plays at the base of
the Column of Marcus Aurelius. The facade and celebrations are described in the
publication Descrizione della magnifica, e celebre facciata eretta nel palazzo
dell'emo e rmo principe il signor cardinale d. Francesco de Solis, arcivesco di
Siviglia &c. &c.: il de x agosto MDCCLXIX in Piazza colonna. In Roma: si
vendono da Giovanni Bartolomicchio incontro a Fiano, 1769. Ref.: Arrigoni-Bertarelli
2519.
Pantheon
flatfile
16**
Boitard, Louis-Philippe, active 1733-1770, etcher. Santa Maria vulgo della Rotunda,
1738 March 19
1
print
etching ; image 44.6 x 41 cm, on sheet 63 x 45
cm
The interior of the Pantheon, or Santa Maria della Rotunda, drawn and etched by
Boitard after a painting by Giovanni Paolo Panini, is depicted with daylight
streaming through the oculus in the ceiling. The view is between two columns,
looking north from the main altar towards the entrance and the Piazza della Rotonda.
A number of figures converse, while others admire the architecture or regard the two
figures leaning over the edge of the oculus' opening. Inscription with the
building's history in two columns, with Latin on the left and English on the right.
The name and address of the second publisher, W. H. Toms, has been added after
printing. With Pecci-Blunt collector's marks in black ink, in the lower right hand
corner and on the verso. Imprint: London, Sold at the Golden Pine Apple in Durham
Yard in ye Strand, and W. H. Toms, in Union Court near Hatton Garden, Holbourn. Text
in Latin and English. Dedicated to James Cavendish.
box
folder
6*
5
Rupp, Ladislaus, 1793-1854, printmaker. Veduta del
Pantheon, in oggi S. Maria ad Martyres detta la Rotonda,
1824
1
print
aquatint with wash ; plate mark 39.5 x 48.5 cm, on sheet
44.9 x 64 cm
The exterior of the Pantheon is depicted from a vantage point on the other side of
the Piazza della Rotunda. The view includes the fountain and obelisk and a number of
grouped figures conversing in the foreground. With Pecci-Blunt's collector's marks,
in black ink, in the lower right hand corner and on the verso. An oval embossed
monogram stamp appears below the title with the initials "M.R." [?] (not in Lugt).
Imprint: Milan. Text is in Italian and French. Ref.: Arrigoni-Bertarelli 2590.
box
folder
3*
4
Rupp, Ladislaus, 1793-1854, printmaker. Interno del
Pantheon, in oggi S. Maria ad Martyres della la Rotunda,
1824
1
print
aquatint, hand coloring ; plate mark 39.3 x 48.1 cm, on
sheet 43 x 62 cm
The interior of the Pantheon, or Santa Maria della Rotunda, is depicted filled with
daylight. Several figures converse, while others pray. With Pecci-Blunt collector's
marks, in black ink, in the lower right hand corner and one on the verso in the
lower center. An oval embossed monogram stamp appears below the title with the
initials "M.R." [?] (not in Lugt). Imprint: Milan. Text is in Italian and French.
Watermark: J. Whatman. Ref.: Arrigoni-Bertarelli 2590.
Piazza Colonna
box
folder
3*
5
Veduta di Piazza Colonna,
[ca. 1750]
1
print
etching and engraving ; plate mark 36.5 x 50.5 cm, on
sheet 41 x 56.3 cm
The print, after a drawing by Paroli, depicts the Piazza Colonna with nine sites
identified at the base including Palazzo Chigi, the fountain, the via del Corso and
the Column of Marcus Aurelius (then called the Colonna di Antonio Pio). Inscription
in the lower right corner: P No. 4. With Pecci-Blunt's collector's marks, in black
ink, in the lower right hand corner and on the verso. Ref.: Arrigoni-Bertarelli
2624.
box
folder
4*
4
Leizelt, Balthasar Friedrich. Vuë de la Place
Colonne a Rome,
undated
1
print
etching, hand coloring ; plate mark 32.3 x 42.9 cm, on
sheet 37.8 x 49.6 cm
The perspective view print after a drawing by Jean Barbault is of the Piazza
Colonna in Rome. A speaker on an elevated platform at the base of the column has
attracted a crowd. Four monuments are identified, including the Palazzo Chigi and
the Column of Marcus Aurelius (called the Colonne Antonine). Imprint: Augsburg.
Distributed by l'Academie Imperiale d'Empire des Arts libereaux. By privilege of Her
Imperial Majesty. Imprint: Augsburg. Distributed by l'Academie Imperiale d'Empire
des Arts libereaux. By privilege of Her Imperial Majesty. Title in French in reverse
above the image. Inscription at upper left corner above the image: Collection des
Prospects.
Piazza del Popolo
box
folder
3*
6
Cottafavi, Gaetano, active 1837-1864, etcher. Veduta
generale della Piazza del Popolo,
1835
1
print
etching ; plate mark 35.2 x 44.2 cm, on sheet 38.2 x 50.2
cm
The print depicts the Piazza del Popolo from the north, looking towards the trident
of via del Babuino, via del Corso and via di Ripetta. The twin churches Santa Maria
di Montesanto and Santa Maria dei Miracoli and the obelisk are pictured to the right
and the Villa Medici appears to the left. In the foreground a number of coaches are
pictured to the left and to the right a crowd surrounds several dancers. With
Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner and
one on the verso in the lower center. Imprint: Rome. Distributed by Pietro Datri,
via Condotti, No.4. Text is in Italian and French.
Piazza del Quirinale
box
folder
6*
6
Villamena, Francesco, approximately 1566-1624, engraver. Illustriss. Equiti Cassiano Puteo...dum Ioannem Altum, militem
praetorianum, romanarum antiquitatum indagtorem...meo cælo expressum ad te
mitto... Vale. Romæ... MDCXXIII. Franciscus Villamoena,
1773
1
print
engraving ; plate mark 37.8 x 52.3 cm, on sheet 39.4 x
53.4 cm
The full-length portrait is of the Swiss Guardsman Ioannes Altus, also known as
Johann Alten, Johann Alt and Giovanni Alto. Altus is depicted in military costume,
with a plumed hat and a sword in the Piazza del Quirinale. His right arm is lifted
and he gestures to the viewer to look towards the antiquities behind him. He is
surrounded by sculpture fragments, a skull, a snake and a starving animal in the
foreground. In the background, figures mill around the square and the city is
visible in the distance. The engraving is a 1773 reprint by the publisher and print
dealer Carlo Losi from a 1623 work by Francesco Villamena. With illegible
collector's mark, in blue ink, in the lower right hand corner. Ref.:
Arrigoni-Bertarelli 2709 (cited as part of a series of portraits). Imprint: Rome,
Carolum Losi. Text in Latin. Dedicated to Cassiano dal Pozzo.
Piazza di Spagna
box
folder
3*
7
Veduta della Piazza di Spagna in
Roma,
[ca. 1770]
1
print
etching, engraving ; sheet 36 x 50.3
cm
The view of the Piazza di Spagna after a drawing by Paroli shows the Fontana della
Barcaccia, the Scalinata della Trinità dei Monti (or Spanish Steps), the church and
monastery of SS. Trinità dei monti, the via del Babuino and the obelisk of Piazza
del popolo. The viewpoint is from the southwest looking towards the Piazza del
popolo on the left and the Spanish Steps to the right, with the fountain in the
foreground. Inscription in the lower right corner: P No. 2. With Pecci-Blunt's
collector's marks, in blue ink, in the lower right hand corner and one on the verso.
Trimmed within plate mark. Ref.: Arrigoni-Bertarelli 2742.
Ponte Emilio (Ponte Rotto)
flatfile
18**
Nieulandt, Willem van, II, 1579-1641, engraver. [Large view of Rome with the Isle of Tiber in the centre],
undated
1
print
engraving on three sheets ; sheet 41.2 x 87.1
cm
The print depicts the Tiber River and the bridges of Rome, with from left to right
the Ponte Santa Maria, now known as the Ponte Rotto or Ponte Emilio, the Ponte
Cestio, the Isola Tiberina, or Tiber Island, and the Ponte Fabricio, also known as
the Ponte dei Quattro Capi. At the time, the Ponte Santa Maria was considered a
primary artery of Rome and despite several incidents of collapse it was repeatedly
restored in the 16th century. In this image, the bridge shows evidence of repair to
one of the central piers. The fact that the bridge spans the river in full suggests
that the drawing for this print dates from before the bridge's irrevocable ruin in
1598, however, Nieulandt was in Rome from 1602-1605. In the foreground several boats
are tied up and fishermen and other figures are gathered by the shoreline. Quatrains
in French, Latin and Dutch in the lower margin: Voyci le pont Romain, et toutes les
structures.... Imprint: Antwerp. Text is in French, Latin and Dutch. Dedication to:
Joanni de Cock omnis antiquitatis aestimatore in amicitiae et grati animi symbolum.
Trimmed within plate mark. Title from: Hollstein, F.W.H. et al. Meer - Ossenbeeck. Vol. 14 of Dutch
and Flemish Etchings, Engravings and Woodcuts, circa 1450-1700. Amsterdam:
Menno Hertzberger and Co., 1956, 9A (engraving executed on three plates)
Ponte Molle or Ponte Milvio
flatfile
17**
Penna, Agostino, active 1825-1846, etcher. Veduta
della torre moderna eretta sull'ingresso del Ponte Molle,
1828
1
print
etching ; sheet 44.2 x 58.6 cm
The print depicts the tower erected at the entrance to the Ponte Milvio, also known
as the Ponte Molle, a bridge in northern Rome which spans the Tiber River. In the
foreground several horsemen are driving bulls away from the bridge with staves. Two
sites are identified in the background: Saint Peter's and a small building which was
constructed on the site where the head of Sant'Andrea was returned to Rome.
According to the inscription, the print was both drawn andetched by Penna. With
Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner and
one on the verso. Imprint: Rome. Trimmed within plate mark.
Ponte Nomentano
box
folder
6*
8
Cooper, Richard, approximately 1740-1814, printmaker. Ponte Nomentano an ancient bridge upon the Anione, with the
remains of a sepulchral monument near Rome,
1778 October
1
print
aquatint ; plate mark 39.5 x 52.1 cm, on sheet 42.5 x
54.7 cm
The print drawn and etched by Cooper, depicts the Ponte Nomentano, a bridge that
spans the Aniene River, with ruins to the right of the bridge. In the foreground, a
peasant transports produce and a shepherd herds a flock of sheep. With Pecci-Blunt's
collector's marks, in black ink, in the lower right hand corner and one on the
verso. Imprint: London, R. Cooper, Great Russell Street, Bloomsbury and J. Boydell,
Cheapside.
Porta Maggiore
box
folder
4*
5
Porta Maggiore,
undated
1
print
aquatint ; plate mark 30.3 x 37.7 cm, on sheet 39.5 x
54.8 cm
The print depicts the Porta Maggiore, a monumental, ancient gate on the eastern
edge of the city at the terminus of the via Prenestina. The gate formed part of the
city walls and the aqueduct system. Title from annotation in pencil in the lower
right corner. With Pecci-Blunt's collector's marks, in black ink, in the lower right
hand corner and one on the verso.
Ripa Grande (Harbor)
box
folder
3*
8
Veduta di Ripa Grande,
undated
1
print
etching ; plate mark 36.1 x 50.6 cm, on sheet 42.1 x 53.7
cm
The river bank is depicted with 11 sites identified at the base including, river
boats and ocean-bound vessels used to carry goods, the custom house, Capitoline
Hill, Campidoglio, church and monastery of Saint Dominic, bell tower of S. Maria in
Cosmedin, the vestiges of the Ponte Sublicio and the Temple of Hercules Victor. A
number of sailing vessels are docked in the harbor on the left and two figures
converse in the right in the foreground. With Pecci-Blunt's collector's marks, in
black ink, in the lower right hand corner and on the verso. Imprint: Rome, Gio
Iacomo Rossi le Stampa in Roma alla pace. By privilege of the Pope.
Roman Forum
flatfile
13**
Morel, François, approximately 1768- printmaker. Veduta generale del Foro Romano,
[ca. 1810]
1
print
etching ; image 49.9 x 74.5 cm, on sheet 63.3 x 83.8
cm
The depiction of the Roman Forum after a painting by Filippo Giuntotardi, shows the
principal buildings and monuments in the distance, including the Basilica of
Constantine and the Temple of the Dioscuri (or Temple of Castor and Pollux). Closer
to the viewer, the Temple of Saturn is shown to the right and the Arch of Septimius
Severus appears on the left. In the foreground, a number of figures are gathered
before the remains of the Temple of Vespasian, where observers and musicians watch a
pair of dancers. Behind them, to the right, a group of peasants transport their
goods on mules and donkeys. With collector's mark of Alessandro Castagnari ("A. C."
with the Capitoline wolf of Rome, Lugt 86a). Ref. Arrigoni-Bertarelli 1907 (cited as
a reprint by Calcografia Romana). Imprint: [Rome?]. Dedicated to Prince George of
Mecklenburg-Strelitz.
Seven Pilgrim Churches
box
folder
2*
8
Lauro, Giacomo, active 17th century, engraver. Le
sette chiese di Roma con le loro principali reliquie stationi et
indultie,
1630
1
print
engraving ; plate mark 36.4 x 47.9 cm, on sheet 37 x 48
cm
The print depicts the Seven Pilgrim Churches of Rome, beginning with Saint Peter's,
and continuing clockwise, with Santa Maria Maggiore, San Lorenzo fuori le mura, S.
Croce in Gerusalemme, Basilica di S. Giovanni in Laterano, Basilica di S. Sebastiano
and San Paolo fuori le mura, and two other churches. In the lower right hand corner
a small map indicates the route to be followed by the pilgrims to arrive at the
churches. Several architectural features of note include, the new facade of the
Basilica di S. Sebastiano, the Cappella Paolina of Santa Maria Maggiore and two
lateral bell towers of Saint Peter's. A portrait of Pope Urban VIII and his coat of
arms appears at the top of the print.
Lauro published a similar version of this print with Latin text and a dedication
to Pope Clement VIII in 1599. At that time he noted it was after a work by Antonio
Tempesta. The earlier image does not include 17th century constructions, such as the
Cappella Paolina. See British Museum collections. Later prints with the same title,
Le sette chiese di Roma con le loro principali reliquie stationi et indultie,
published by Giovanni Giacomo de Rossi, closely resemble Lauro's print with
modifications including a refiguring of the Basilica di San Pietro in Vaticano to
include Bernini's colonnade.
Imprint: Rome. Dedication to the Cardinal of Savoy. By privilege of Pope Urban
VIII.
With Pecci-Blunt's collector's mark, in blue ink, in the lower right hand corner
and one on the verso.
flatfile
6**
Seutter, Matthaeus, 1678-1756, engraver. Le sette
chiese di Roma con le loro principali reliquie, stationi, et
indulgenze,
[ca. 1730]
1
print
engraving, hand coloring ; plate mark 50.4 x 58.5 cm, on
sheet 52.3 x 60.4 cm
The print depicts the Seven Pilgrim Churches of Rome, beginning with Saint Peter's,
and continuing clockwise, with Santa Maria Maggiore, San Lorenzo fuori le mura, S.
Croce in Gerusalemme, Basilica di S. Giovanni in Laterano, Basilica di S. Sebastiano
and San Paolo fuori le mura. The title of the print appears in a banner at the top
of the print, in Italian to the left and German to the right. In the lower right
hand corner a small map indicates the route to be followed by pilgrims to arrive at
the churches. Published by Johann Michael Probst. By privilege of "S.R.I. Vicariat.,
in partib., Rheni, Sveviae, et Juris Franconici."With Alessandro Castagnari's
collector's mark ("A. C." with the Capitoline wolf of Rome, Lugt 86a). Ref.:
Arrigoni-Bertarelli 761.
Imprint: Augsburg, Anjezo in Verlag bey Ioh Michael Probst, Chalcogr. Text in
Italian and German.
box
folder
6*
4
Descriptio septem ecclesiarum Romæ quarum forma
hodie naturaliter extat. Descripcion de las siete yglesias de Roma, como hoy
estan,
[ca. 1760]
1
print
etching ; plate mark 40.5 x 51.8 cm, on sheet 45.8 x 59
cm
Issued for Spanish visitors and pilgrims to the Holy City, the print depicts the
Seven Pilgrim Churches of Rome, beginning with Saint Peter's, and continuing
clockwise, with Santa Maria Maggiore, San Lorenzo fuori le mura, S. Croce in
Gerusalemme, Basilica di S. Giovanni in Laterano, Basilica di S. Sebastiano and San
Paolo fuori le mura. The print also includes two other churches and the Castel
Sant'Angelo in the lower left corner. In the lower right-hand corner a small map
with a key indicates the route to be followed by pilgrims to arrive at the churches.
A portrait of Pope Clement XIII and his coat of arms appear directly below the Latin
title at the top of the print. This print closely resembles Lauro's Le sette chiese
di Roma con le loro principali reliquie stationi et indultie in this collection, as
well as later prints published by Giovanni Giacomo de Rossi of the same subject.
With Pecci-Blunt collector's mark in blue ink, in the lower right hand corner and
one on the verso. Ref.: Arrigoni-Bertarelli 763.
Temple of Jupiter Stator
box
folder
6*
9
Cunego, Domenico. Temple of Iupitor Stator. View of
the three columns that remain of this temple having on the left the church of Sta.
Maria Liberatrice with a part of the Pallatin Hill now called the Farnese
Gardens,
[ca. 1760-1767]
1
print
etching and engraving ; sheet 44.7 x 57.3
cm
The print depicts the no-longer extant Temple of Jupiter Stator, whose original
location is subject to debate. In the print, the three columns to the right are
identified as the remains of the temple, with the church of Santa Maria Liberatrice
(also no longer extant), in the center, and the Farnese gardens to the left. In the
foreground peasants unload a wagon, two religious figures converse and a man waters
his horse in a nearby fountain. Text is in English and French. Trimmed within plate
mark. Title in English to the left and in French to the right. Inscription indicates
that the plate was etched in Rome. With Pecci-Blunt's collector's marks, in black
ink, in the lower right hand corner and on the verso.
Temple of Minerva Medica
box
folder
6*
10
Vivarès, François, 1709-1780, etcher. A view of the
ancient temple of Minerva Medica at Rome; built by Augustus
Caesar,
1769
1
print
etching ; plate mark 39.2 x 55.2 cm, on sheet 43.9 x 59.6
cm
The print depicts the overgrown ruins of a domed building on the left and a house
to the right, in the distance. In the foreground to the left, a figure sits on an
architectural fragment which he gestures to, while a man approaches him on foot. The
man points back to a woman who follows with a basket on her head. On the right, a
sculpted figure wearing a laurel wreath stands on a pedestal. Several other figures
are visible in the field before the ruined building. The inscription indicates that
the image was drawn by the artist Giovanni Battista Busiri after a painting by
Thomas Smith. The print forms part of series originally printed in 1746 and later
republished by John Boydell, John Bowles and Henry Parker in 1769. See BM. Bears
Pecci-Blunt's collector's mark, in black ink, on the verso in the lower center.
Imprint: London, J. Boydell, Cheapside No. 90, H. Parker, Cornhill No. 82 and J.
Bowles, No. 13, Cornhill.
Trajan's Column
flatfile
12**
Cruyl, Lieven de, approximately 1640-1720, printmaker. Prospectus Columnæ Traiani Imp.,
1692
1
print
etching and engraving ; plate mark 38.2 x 49.3 cm, on
sheet 47.9 x 72.6 cm
Published by Matteo Gregorio Rossi, the print depicts Trajan's Column and the
surrounding piazza, with five monuments identified in a banner at the base including
the column, the Chiesa di S. Maria di Loreto, the Palazzo del Quirinale and the
Palazzo Mazzarini, now known as the Palazzo Pallavicini Rospigliosi. Cited and
attributed to Cruyl in Jatta 10S, fig. 41, who notes this print by Lievin Cruyl
forms part of the suite, Prospectus Iocorum urbis
Romae, and is from the second edition of 1692. The first was published by
Giovanni Battista de Rossi in 1666. For differences between the first and second
edition, see fig. 40 and fig. 41. Cruyl's name does not appear on the print.
Imprint: Rome, Typis Matthaei Gregori de Rubeis, in Foro Agonali. By privilege of
the Pope.
Villa Albani
box
folder
3*
9
Morel, François, approximately 1768- printmaker. Vue
de la Villa Albani,
[not before 1784]
1
print
etching ; plate mark 34.5 x 47.6 cm, on sheet 46.2 x 61.9
cm
The view from the Porta Pia of the Villa Albani seen in the distance and set in a
lush vegetative landscape is after a painting by German landscape painter Jacob
Philipp Hackert. In the foreground a dog barks playfully as a man climbs atop a
mount being held by another. On the left two women sit beneath a tree and on the
right a herd of goats are gathered. With Pecci-Blunt's collector's marks, in black
ink, in the lower right hand corner and one on the verso.
Imprint: Naples, George Hackert. Dedication to Prince Youssoupoff [Nikolai
Borisovisch Yusupov?]. By privilege of the King of the Two Sicilies.
