Series I includes panoramas with legends identifying important churches, hospitals,
palazzi, sites and monuments. Most of the views are taken from the outskirts of Rome and
they illustrate the contrast between populated, developed urban areas and the pastoral
countryside.
Arrangement
Arrangement is by chronological order.
box
folder
6*
1
Silvestre, Israël, 1621-1691, etcher. Roma,
1642
1
print
etching on four sheets ; plate mark 18.5 x 123.5 cm, on
sheet 25.5 x 127.5 cm
The large panorama seen from a vantage point beyond the walls is after a drawing by
L. de Lincler. The legend identifies 44 sites, including Piazza del Popolo, Villa
Borghese, Villa Medici, SS. Trinità dei monti, Basilica Ss. Ambrogio e Carlo, Palazzo
Barberini, Castel Sant'Angelo, S. Andrea della Valle, and the Basilica of St. Peter's.
Ref.: Faucheux 28.
box
folder
1*
3
Barrière, Dominique, approximately 1618-1678, printmaker. Recens Urbis Romæ ex australi plaga prospectus anno
Domini,
1649
1
print
etching on two sheets ; plate mark 32.5 x 88.5 cm, on sheet
25.5 x 127.5 cm
The view is depicted from the north looking south, from a vantage point beyond the
walls, spanning from Santa Maria Maggiore to St. Peter's Basilica. With 42 sites
identified in a legend at the base. Ref.: Arrigoni-Bertarelli 134.
Imprint: Rome, Giovanni Domenico Rossi. Dedication to Giovanni Battista Mora.
flatfile
1**
Silvestre, Israël, 1621-1691, etcher. [Vue de Rome et
du derrière de l'église Saint-Pierre prise sur les hauteurs du mont Vatican hors la
ville],
undated
1
print
etching ; plate mark 29 x 71 cm, on sheet 74
cm
The panorama depicts the view from an elevated perspective behind St. Peter's
Basilica looking towards the back of the church, the city of Rome and the surrounding
countryside. Verses by Georges de Scudéry in five columns begin with: "Par quel Art
au-dessus de l'homme... La vieille et la nouvelle Rome," and end with "Ouy, d'une
adresse sans seconde... Une des merveilles du monde." The legend identifies 18 sites.
Title from Faucheux. Ref.: Faucheux 29.
Imprint: Paris. State 1.
box
folder
1*
4
Silvestre, Israël, 1621-1691, etcher. Veduta di Campo
Vaccino, e d'una parte della città di Roma,
[ca. 1650]
1
print
etching ; plate mark 40.5 cm, on sheet 48.2 x 94.5
cm
The view, drawn and etched by Israël Silvestre, spans from the Capitoline Hill to the
Church and Convent of Saint Dominic and the ruins of the Temple of Peace. Legend with
38 sites, mostly ancient ruins, identified with text appearing in ten columns, with
the sites identified in a numbered list in French to the left, and Italian to the
right. Ref.: Arrigoni-Bertarelli 137; Faucheux 32 (with different Parisian publisher
and dated 1652)
Imprint: Paris, se vend aux Galleries du Louvre, chez Israel Silvestre. Text in
French and Italian. Dedication to the King of France.
box
folder
2*
6
Daullé, Jean, 1703-1763, printmaker. Rome
ancienne,
1759
1
print
etching and engraving ; sheet 37.2 x 48.5
cm
The print, after a painting by Jean-Baptiste Lallemand, depicts a pastoral scene with
a shepherd conversing with a woman on horseback in the right foreground and the
Colosseum, Arch of Constantine and other ruins pictured behind them. Inscription:
Gravé d'après le tableau original du cabinet de monsieur Damery lieutenant aux gardes
Françoises. With Pecci-Blunt's collector's mark, in blue ink, in the lower right hand
corner and one on the verso in the lower center of the print. Ref.: IFF, 6, 148-149
(pendant to Rome moderne). Trimmed within plate
mark.
Imprint: Paris.
flatfile
2**
Volpato, Giovanni, 1735-1803, printmaker. Veduta in
profilo della città di Roma dalla parte di Monte Mario presa nella sua estensione
dalla Piazza del Popolo sino alla Basilica di S. Pietro in
Vaticano,
1779
1
print
etching on three sheets ; plate mark 48 x 206.5 cm, on
sheet 51.2 x 209.1 cm
The panorama of Rome, after a drawing by Francesco Panini, spans from the church of
S. Maria del Popolo on the left, to the Capitoline Hill in the center and continues
towards Saint Peter's on the right. The vantage point is from the countryside, and
cultivated fields, farm houses, peasants and livestock appear in the foreground.
Legend in 12 columns with 39 sites.
Imprint: Rome, nella Calcografia della Reverenda Camera Apostolica appreso la Curia
Innocenziana.
box
folder
6*
2
Post, Karl Borromäus, 1834-1877, printmaker. Rom,
1859
1
print
etching ; sheet 44.5 x 55.5 cm, mount 44.5 x 62.9
cm
The distant view of Rome, with Saint Peter's and the Colosseum just visible, is after
a painting by Károly Markó. In the foreground figures are depicted on a balustraded
terrace set within a lush vegetative landscape. Inscription: Vom oesterreichischen
Kunstverein in Wien. Pecci-Blunt's collector's mark, in black ink, in the lower right
hand corner and one on the verso in the lower center. Imprint: Rome. Trimmed within
plate mark.
6*
3
Pronti, Domenico, 1750- , printmaker. Roma,
[ca. 1860]
1
print
aquatint ; plate mark 25.7 x 55.5 cm, on sheet 29.1 x 57.8
cm
The view of Rome with the Piazza del Popolo from the north, looks towards the trident
of via del Babuino, via del Corso and via di Ripetta. Nearly the entire piazza is
visible, as well as the Pincian Hill and Villa Medici, with the twin churches Santa
Maria di Montesanto and Santa Maria dei Miracoli in the center along with the obelisk.
Inscription: daguerreotipo. Pecci-Blunt collector's mark in black ink, in the lower
right hand corner and one on the verso in the center. There is also an oval stamp, in
black ink, of the publisher Ronchi on the verso in the lower left corner. Ref.:
Arrigoni-Bertarelli 235.
Imprint: Milan, A. Bossi, Piazza del Duomo and Milan, L.A. Ronchi, corso Francesco,
no. 601.
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
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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
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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
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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.
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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
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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
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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
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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
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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
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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)
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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
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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.
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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
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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
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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
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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
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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.
Series III is primarily comprised of prints that illustrate ceremonies and rituals
associated with papal elections, such as the funeral of the deceased pope, the design of
plans for the conclave and the erection of ephemeral arches for the newly elected pope.
Two papal portraits of Sixtus V, who appears surrounded by images of his public works,
have also been included in this series. Nineteenth-century prints relate to specific
events during the period when the papacy had lost temporal power in Rome, as exemplified
by the return of the papacy to Rome after Pope Pius VII's arrest and imprisonment by the
French Emperor Napoleon.
Arrangement
Arrangement is by chronological order.
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3
Sixtus V Papa Montealtus sedit ann. V. Menses IIII die
III vacauit sedes dies XIX. Haec omnia capit et perfecit,
1589
1
print
engraving ; sheet 52.2 x 36 cm
The portrait bust of Pope Sixtus V is surrounded by 29 images of his public works and
two representations of his familial coat of arms. Sixtus V famously raised four
obelisks in Rome, oversaw the completion of the cupola of Saint Peter's and undertook
extensive public works projects. His urban planning ventures included building a new
aqueduct (Acqua Felice), and constructing fountains to supply water to the city. He
also rebuilt the Biblioteca apostolica vaticana, opened new roads and completed,
decorated or enlarged a number of churches. With Pecci-Blunt's collector's marks, in
black ink, in the lower right hand corner and one on the verso. Imprint: Rome,
Nicolaus van Aelst. Trimmed within plate mark.
5*
4
Pensieri, Battista. Sixtus V Pont Max min con creatus
ano Dni 1585 die 24 aprilis aetatis sue anni LXVI,
1589
1
print
engraving ; plate mark 49 x 36.7 cm, on sheet 53.3 x 40.7
cm
A seated portrait of Pope Sixtus V is surrounded by 16 images of his public works and
two representations of his familial coat of arms. The year and the date in April of
the Pope's consecration, as well as the year of production appear to have been added
to the print after the plate was initially executed. With Pecci-Blunt's collector's
marks, in black ink, on the verso.
Imprint: Rome.
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6
Funtione funebre fatta alli 7 di gennaro 1655 in morte
di N. S. Papa Innocentio X levato da Monte Cavallo e portato in S.
Pietro,
1655
1
print
etching ; plate mark 23.9 x 34.9 cm, on sheet 24.9 x 36.6
cm
The print depicts the funeral procession of Pamphilj Pope Innocent X, which proceeded
from the Palazzo di Monte Cavallo to Saint Peter's. The artist has identified various
participants and objects of tribute involved in the processional including five pieces
of artillery pulled by horses, German guards with pikes, members of the Palafrenieri
family, trumpeters and others. A small portrait in the upper right hand corner
displays the likeness of the late Pope. With Pecci-Blunt collector's marks in the
lower left corner, which suggests transfer from another print's verso and a second,
faint and illegible mark of the collector in the lower right hand corner.
Imprint: [Rome ?].
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5
Pianta del conclav fatta in sede vacante de Pappa
Nocentio X il di 7 diGenaro 6155,
1655
1
print
engraving ; plate mark 33.5 x 45 cm, on sheet 37 x 48.4
cm
The print depicts the Vatican floor plan from above, outlining the procedures during
the conclave to elect a new Pope. A list of the candidates appears in a numbered
legend at the base, although omitting the name of the successful candidate, Fabio
Chigi. In the lower left corner there is an illustration of Saint Peter's and in the
lower right corner, a view of Castel Sant'Angelo. A small, oval portrait of Innocent X
appears on the upper right hand corner, with the Camerlengo, Antonio Barberini below.
With Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner and
on the verso.
Imprint: [Rome?], Gio: Batta de Rossi, milanese.
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9
Rouhier, Louis, active 1650, printmaker. La cavalcata
con le sue cerimonie del Pontefice nuovo quando piglia il possesso a Santo Giovanni
Laterano,
[ca. 1667]
1
print
engraving ; plate mark 34.9 x 49.1 cm, on sheet 37.4 x 51.8
cm
The lengthy cavalcade held in honor of the new elected Pope, Clement IX (1667), with
many participants on foot, proceeds from S. Giovanni in Laterano to Saint Peter's. The
Rospigliosi coat of arms appears at the top of the print, centered between scenes of
the Papal coronation. Various sites are identified along the route, including the
Colosseum, Campidoglio and Castel Sant'Angelo. Inscription: L. R. F. Ref.: Folger
Shakespeare Library ART Box R763 no.10 copy 1 (size L).
Imprint: Rome, Gio Jacomo Rossi le Stampa in Roma Alla Pace, Al insenga di
Parigi.
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12
Pinelli, Bartolomeo. Arco trionfale che all'occasione
del felicissimo ritorno nel giorno 24 maggio 1814: alla sua capitale del Sommo
Pontefice Pio VII,
[ca. 1814]
1
print
etching ; plate mark 37.9 x 36.1 cm, on sheet 47 x 68.5
cm
The print depicts a triumphal arch erected in Piazza Venezia under the direction of
architect Clemente Falchi and with sculptural works by Giovanni Ceccarinito to
celebrate the return of Pope Pius VII to Rome in May of 1814, after his arrest and
imprisonment by French Emperor Napoleon. Huge crowds are gathered and the pope is
pictured in the foreground to the right in a coach surrounded by a large retinue. The
monument is crowned by three biblical figures in a pyramidal composition and flanked
by two angels holding aloft laurel wreaths. Pinelli is described as the draughtsman
and printmaker of this image. Bears an annotation, in ink, on the right hand side
which details the caption information, however, it is obscured by the paper's folding
and mounting. Bears a stamp of the collector, in black ink, in the lower right hand
corner (also obscured by the folds) and one on the verso in the lower center of the
print.
box
folder
4*
7
Pinelli, Bartolomeo. Monumento rappresentante il
trionfo della Costanza, ad onore del Sommo Pontefice Pio VII in occassione del suo
fausto ritorno in Roma il 24 maggio 1814...,
[ca. 1814]
1
print
etching ; plate mark 37.4 x 29.7 cm, on sheet 52.3 x 40.7
cm
The print depicts a monument erected in Piazza di Ponte Sant'Angelo and designed by
the architect Tommaso Zappati in celebration of the return of Pope Pius VII to Rome in
May of 1814, after his arrest and imprisonment by the French Emperor Napoleon. The
monument is crowned by figures in a pyramidal composition. Santa Costanza is flanked
by personifications of Justice and Prudence. Collaborators included the artists and
sculptors V. Pacelli, Francesco Massimo Loboureur [?], Carlo Finelli, and Bertel
Thorvaldsen, the designer of Pius VII's funeral monument.
With Pecci-Blunt collector's marks, in black ink, in the lower right hand corner and
one on the verso.
box
folder
5*
7
Mandolini. Avvenimento in Roma del giorno 22 Febbrajo
1831,
1831
1
print
lithography ; image 30.4 x 44.9 cm, on sheet 39 x 49.4
cm
Drawn by the artist Carlo Ruspi, who lived in the Rione Monti, according to the
inscriptions, the print depicts supporters of Pope Gregorius XVI from the Rione Monti,
surrounding his coach and waving a large flag of religion. The flag displays the
emblem of the rione and the coat of arms of the Pope. The Pope gives his blessing to
his loyal and devoted supporters. The roof top of Saint Peter's is just visible in the
background to the right.
With Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner
and on the verso.
Imprint, Rome.
5*
8
Salandri, E. Arco trionfale temporaneo innalzato dal
popolo romano in onore del Sommo Pontefice Pio IX il giorno 8settembre
1846,
[ca. 1846]
1
print
etching ; plate mark 34.3 x 42.5 cm, on sheet 44.4 x 58.8
cm
The print depicts a temporary triumphal arch designed by architect Felice Cicconetti
and erected by the Roman people in honor of Pope Pio IX on the 8 September 1846. Pio
IX had been elected in June of 1846 and had gained much goodwill from the Roman
populace for his liberal reforms. According to accompanying text, the arch was placed
in the Piazza del Popolo before the church of S. Maria del Popolo. Atop the arch, Pio
IX is pictured with a personification of justice, who is accompanied by a lion to
symbolize strength, and one of peace, who is pictured with a cornucopia to symbolize
abundance. Two coats of arms appear on either side of the arch below him, as well as
images of Christ, the Virgin Mary and the Pontiff giving his blessing. Includes a
scale at the base: Scala di Palmi Romani 80. Bears a stamp of the collector, in black
ink, in the lower right hand corner and one on the verso in the lower center of the
print. With a broadside titled: Arco trionfale innalzato al
Sommo Pontefice Pio IX.
Series IV consists of suites or series of prints issued in the first half of the 19th
century and includes representations of recent excavations of ancient buildings and
monuments, the seven hills of Rome, church interiors, and popular monuments and sites
around the city.
The suites are: Antichità di Roma recentemente scavate fino
all'antico piano, 1817 (after drawings by Simone Pomardi); The Seven Hills of Rome or Sette
Colli by Bartolomeo Pinelli; Agostino Penna's untitled suite, dated 1827-1828;
and Antonio Sarti's suite titled Interni di varie chiese,
1827-1829; and five prints issued by the publisher Danesi around 1850.
Arrangement
Arrangement is by chronological order.
box
folder
1*
1
Antichità di Roma recentemente scavate fino all'antico
piano,
1817
13
prints
etching, with letterpress text ; plate mark 35 x 46 cm, on
sheet 44 x 54 cm and smaller
The suite depicts ancient sites and monuments recently excavated in Rome, drawn by
Simone Pomardi, who has carefully rendered architectural decorations and inscriptions
on the ruins. Individual prints in the series are not titled.
Imprint: Rome. Watermark: C. & I. Honig (title page).
Sites and monuments depicted include:
[Title page]
[Colosseum (exterior)]
[Colosseum (interior)]
[Temple of Antoninus and
Faustina]
[Arch of Septimius Severus with the Temple of Saturn
in the background]
[Arch of Constantine]
[Arch of Janus]
[Temple of Hercules Victor]
[Temple of Saturn and Temple of Vespian and
Titus]
[Basilica of Constantine]
[Pantheon, or Santa Maria della
Rotunda]
[Temple of Portunus]
[Temple of Vesta (Tivoli)]
Pinelli, Bartolomeo. [Sette
Colli],
1825
7
prints
etching ; plate mark 43.2 x 62 cm, on sheet 58.8 x 87
cm
This copy of the suite was shown in the 1956 exhibition Mostra
di Bartolomeo Pinelli. See the "Itinerario," which accompanies, Incisa della Rochetta, Giovanni. Bartolomeo Pinelli. Roma: Amici dei Musei di Roma, 1956.
Title from: "Itinerario."
The Veduta del Colle Capitolino, presa dalle falde del Colle
Aventino displays Alessandro Castignari's collector's mark on the verso
(Lugt 86a).
Ref.: Pacini, Renato. Bartolomeo Pinelli e la Roma del tempo
suo. Milano: S.A. Fratelli Treves Editori, 1935, p. 115, 134-135.
Suite includes:
Imprint: [Rome]. The suite consists of views of the seven hills of Rome, both drawn
and etched by Pinelli in 1825, according to the inscriptions.
flatfile
25**
Veduta del Colle Capitolino, presa dalle falde del
Colle Aventino
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26**
Veduta del Colle Aventino, presa dal Colle
Capitolino
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27**
Veduta del Colle Celio, presa dal
Palatino
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28**
Veduta del Colle Esquilino, presa da un arco
superiore del Colosseo
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29**
Veduta del Colle Palatino, presa sulla sommità del
Colle Aventino
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30**
Veduta del Colle Quirinale, presa dalla sommità del
Palatino
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31**
Veduta del Colle Viminale, presa dalle falde de
Quirinale
Penna, Agostino, active 1825-1846, etcher. [Views of Rome]. circa 1827-1828
4
prints
The Anna Laetitia Pecci-Blunt print collection of views of the city of Rome includes
five of this series titled Interni di varie chiese di
Roma., which may include 6 or 11 prints of interiors of churches, dated
1825-1829, and executed on plates 54 x 70 cm, including; Chiesa di S. Lorenzo in
Damaso, Basilica di S. Maria in Cosmedin, S. Pietro in Vincoli, Santa Sabina, S. Maria
degli Angeli, Santa Maria ad Martyres (the Pantheon), Santa Maria in Trastevere, Santa
Maria Maggiore, Basilica di San Pietro in Vaticano, Basilica di S. Giovanni in
Laterano and San Paolo fuori le mura.
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7**
Interno della sacrosanta basilica di S. Giovanni in
Laterano,
1827
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8**
Interno della basilica de' SS. Lorenzo e
Damaso,
1827
flatfile
9**
Interno della chiesa di S. Maria degli
Angeli,
1828
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10**
Interno della basilica de S. Pietro in
Vincoli,
1828
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11**
Interno della basilica di S. Maria in
Cosmedin,
1829
The five prints printed by the Litografia Danesi illustrate monuments in Rome: the
Arch of Titus, Trajan's Column, the Colosseum, the Piazza del Popolo and the Temple of
Vesta in the Roman Forum.
