Subject
Photograph by Pompeo Molins, dated 1870. In the foreground we see the so-called Arch of Drusus, which still stands today near “Porta Appia” or “Porta San Sebastiano”, the monumental entrance of the Regina viarum as it arrives in the Capital. This is one of the best-preserved city gates, which owes its current name to the nearby Basilica of San Sebastiano. In Molins’ “action view”, two uniformed men look toward the camera: one standing towards image centre, another sitting on the left with a tired air. A third figure turns his back to the camera as he gazes towards the Appia Antica and the Roman countryside beyond. These could be gendarmes on duty at the guard stations of the gate, perhaps identifiable as Savoyards and so dating the scene after the taking of Porta Pia, or tax officers on duty at the customs house – where a cart is seen parked. Until the demolition of this structure in the early 1900s, it was precisely the presence of the duty officers in the piazza of Porta San Sebastiano that rendered it a very lively place, frequented by travellers, soldiers and merchants.

Accession number 5972 – Fototeca Unione
Albumen print
1870

Placement
American Academy Rome

Credits
American Academy Rome, Fondo Unione – 5972

Subject
Preliminary study about the Mausoleum of Cecilia Metella and the Castrum Caetani.

Accession Number. 1955,1210.10.53
Watercolor on paper
Carlo Labruzzi, Rome 1748 – 1817 Perugia
1789 – 1794
48.8 × 60.4 cm

Placement
The British Museum (storage)

Credits
The British Museum

References
P.A. de Rosa – B. Jatta, ‘La Via Appia nei disegni di Carlo Labruzzi alla Biblioteca Apostolica Vaticana’, Città del Vaticano B.A.V. 2013.

Subject
Two sepulchres on the right of the Via Appia, Rome, with figures, nearby the Catacombs of San Callisto.

Accession Number. 1955,1210.10.33
Watercolor over graphite
Carlo Labruzzi, Rome 1748 – 1817 Perugia
1789 – 1794
49.3 × 64.0 cm

Placement
The British Museum (storage)

Credits
The British Museum

References
P.A. de Rosa – B. Jatta, ‘La Via Appia nei disegni di Carlo Labruzzi alla Biblioteca Apostolica Vaticana’, Città del Vaticano B.A.V. 2013.

Subject
The Mausoleum of Sant’Urbano in a negative of the late 1800s from the collection of the famous British archaeologist Thomas Ashby. It was in these years that the land where the tomb stood was purchased by the Lugari brothers, who carried out a series of excavation campaigns between 1880 and 1895. The image shows the rear apsidal part of the tomb and two figures sitting on the kerbs at either side of the road, paved in stone. The figure on the left is identified as Rodolfo Lanciani, while the identification of the woman on the right is uncertain: since the American archaeologist Ester Boise van Deman did not arrive in Rome until a few years later, this may be one of the two Bulwer sisters, Agnes or Dora Ellinor, both skilled photographers.

Ashby Collection Accession number – TA[PHP]-0391
Gelatin silver salt negative
1895 (January)

Placement
British School at Rome

Credits
British School at Roma (BSR), Ashby Collection – TA[PHP]-0391

Subject
Statue of a man in the guise of Hercules, in heroic nudity with its head covered by the Nemean lion skin. The right hand, now missing, probably held the club; on the left side there is the quiver.

Accession number 23.M322-1.1
Pentelic marble
Height 208 cm
Full-length sculpture; the right hand, the left forearm and a part of the right ankle are missing.
Mid-3rd century A.D.

Provenance
It was found in the Scoot Park during a complex revision and cleaning intervention of the sewage pipe belonging to Acea.

Placement
Casale di Santa Maria Nova – Villa dei Quintili

Credits
3D edited by Luca J. Senatore (Department of History, Drawing and Restoration of architecture – La Sapienza University of Rome).

Subject
Caryatid statue rediscovered in 1585, at the time of Sixtus 5th. Originally, it was part of a sculptural group placed on the frontal part of a temple-shaped building depicted by Giovan Battista Piranesi in 1765. The Temple of Caryatids was located in the Pago Triopio, the land property of Annia Regilla, Herodes Atticus’ wife. According to recent studies, the sanctuary is situated in the area of Capo di Bove’s thermal baths, where in 2004 a fragmentary statue of the same building was unearthed. Other Caryatid statues belonging to the same context are preserved in the Vatican Museum and the Albani collection.

Accession number 1805,0703.44
Pentelic marble
Height 2,20 m
Intact
140-160 A.D.

Provenance
Complex of Capo di Bove

Placement
British Museum

Credits
British Museum

References
A. Wilton and I. Bignamini (eds.), Grand Tour: The Lure of Italy in the Eighteenth Century (Exhibition Catalogue, Tate Gallery, London, 1996), 226, no. 174.

Subject
View of a tomb on the Via Appia from the series ‘Twelve Views in and near Rome’.

N. inv. 1973.32.53
Etching
Herman van Swanevelt, dutch, ca. 1600 – 1655
1653
41.8 x 55 cm

Placement
National Gallery of Art, Washington (storage)

Credits
National Gallery of Art, Washington

References
Dutuit, Eugène. Manuel de l’amateur d’estampes. Vol. I, IV-VI. Paris: A Levy, 1884-1885.

Hollstein, F.W.H. et al. German engravings, etchings and woodcuts, 1400-1700. 8 vols, Amsterdam 1954-1868.

Hollstein, F.W.H., Dutch and Flemish etchings, engravings and woodcuts, 1450-1700. Vols. I-XV, XVIII, XIX, Amsterdam.

Subject
Composite capital with smooth leaves probably produced for the basilica of Santo Stefano on the Via Latina.

Accession number 22.M322-5.2.
Veined and carved marble.
Height cm 43; width cm 60; depth cm 56. Base diameter cm 38. Height acanthus leaf of the first band cm 13.5; height acanthus leaf of the second band cm 22.5.
Intact. The capital is incomplete nearby the leaves’ endings; this part shows a degradation due to pulverization.
Half of 5th cent. A.D.

Provenance
East wall of the basilica of Santo Stefano’s narthex on the Via Latina.

Placement
Appia Antica Archaeological Park (storage).

Credits
Archive of the Appia Antica Archaeological Park (pictures of Giulio Archinà).

References
Patrimonium Appiae: depositi emersi, catalogo della mostra curated by di F.R. Paolillo, M. Pontisso, S. Roascio, Quingentole 2022, pp. 501-502.