Subject

Accession number RP-P-OB-36.848
Etching
Giovanni Battista Piranesi, Mogliano Veneto 1720 – 1778 Rome
Around 1756 – 1757
35.0 cm x 23.6 cm

Inscriptions
Top left: Tom II. Top right: XXXVI. Centre: Roman Palms. Lower: A) Sepulchre’s plan along the ancient Via Appia, near the Vigna Buonamici. B) Entrance now partially ruined. C) Squared room with niches on the sides. D) Windows partially buried under the ruins. E) Vertical view. F) Boulder built in horizontal alignments of flint chip, lime and pozzolana. G) Actual country level. H) Travertine, now buried, that covered the external part of the sepulchren; the parts of travertine that remained out of the ground, have been detached from the boulder and taken away. Lower right: Piranesi Archit. dis. et’ inc.

Placement
Rijksmuseum

Credits
Rijksmuseum

References
H. Focillon, Giovanni Battista Piranesi; a cura di Maurizio Calvesi e Augusta Monferini; traduzione di Giuseppe Guglielmi, Bologna, 1967, p. 305.
J. Wilton-Ely, Giovanni Battista Piranesi: the complete etchings, 2 voll., San Francisco, Alan Wofsy Fine Arts, 1994, p. 445.

Subject
Drawing of the Horatii tomb along the Via Appia Antica.
 
Accession number RP-T-1966-8
Watercolour and pencil on paper
Carlo Labruzzi, Rome 1748 – 1817 Perugia
1789
37.9 cm x 29.1 cm
 
Placement
Rijksmuseum
 
Credits
Rijksmuseum

References
Keuze uit de aanwinsten 1966 van het Rijksprentenkabinet, in “Bulletin van het Rijksmuseum” 14, nr. 4, 1966, pp. 158-159.

Subject
Etching with view of men with a mule on the Via Appia Antica, from the series “Landschappen in de omgeving van Rome”.
 
Accession number RP-P-H-H-1295
Etching
Jan Both, Utrecht around 1618 – 1652 Utrecht
1644-1652
19.8 cm x 27.5 cm
 
Placement
Rijksmuseum
 
Credits
Rijksmuseum

Subject
View of a tomb along the Via Appia Antica, from the series “Diverses veuës dedans et dehors de Rome”.
 
Accession number RP-P-OB-60.891
Etching
Herman van Swanevelt, Woerden around 1600 – 1655 Paris
11.5 cm x 17.9 cm
1652-1653
 
Placement
Rijksmuseum
 
Credits
Rijksmuseum

References
Samuel de Swaef to Jan Thesing, compiled by D. de Hoop Scheffer, G.S. Keyes and G. Luyten; edited by K.G. Boon, Blaricum, A.L. van Gendt, 1984, p. 76.

Subject
It’s one of the best-known portraits of Goethe, made by his friend Tischbein, who accompanied him on his tour of the Roman Campagna when he visited the ancient tombs. The renowned author is depicted sitting and leaning on one arm. Next to him, the artist represents a relief on which Orestes, Iphigenia and other mythological characters are sculpted; you can also catch a glimpse of the Cecilia Metella tomb and the arches of an aqueduct and Monte Cavo stands out against the background.

Accession number 1157
Oil on canvas
Johann Heinrich Wilhelm Tischbein, Haina 1751 – 1829 Eutin
1787
166 x 210.3 cm

Placement
Städel Museum

Credits
Städel Museum

Subject
The drawing consists of two subjects: in the upper part of the sheet, the artist depicts a stretch of the Roman Campagna with several buildings and the arches of a bridge/aqueduct in the background; in the lower one, there is a view of the Nymphaeum of Egeria and the tomb of Cecilia Metella.

Accession number 317
Pencil on vellum paper
Ernst Fries, Heidelberg 1801 – 1833 Karlsruhe
1826
29.9 x 37.8 cm

Placement
Städel Museum (storage)

Credits
Städel Museum

Subject
Pencil drawing of the temple of Hercules on the ancient Via Appia. In the background (right part of the sheet) you can catch a glimpse of Monte Cavo. Both of them can also be identified thanks to a caption dating back to the time of the artwork’s realization.

Accession number Bib. 2472
Pencil on laid paper
Johann Anton Ramboux, Treviri 1790 – 1866 Colonia
1817
21.3 x 25.8 cm

Inscriptions
On the top right: temple of Hercules on the via Appia/ 1817; middle right: monte cavo.

Placement
Städel Museum (storage)

Credits
Städel Museum