Subject
Section of the Mausoleum of the Equinoxes on the via Appia Antica, with accompanying description, from the series “Le Antichità Romane”.

Accession number RP-P-OB-39.452
Engraving
Giovanni Battista Piranesi, Mogliano Veneto 1720 – 1778 Rome
ca. 1756 – ca. 1757
39.7 cm x 52.0 cm

Inscription
Bottom centre (in a box): Scale in Roman Palms. Bottom: Section of the preceding Sepulchre. A Travertines, which clothe the Walls of the Room, which still exist to this day, perhaps because it was not an easy thing to remove them from there because of the Pins, B, which by binding one piece with the other, make them more stable, and strongly united to the whole Work. Observing at one side, and at the other side of the Vault, three courses of Travertines, C, which besides being wedge-shaped, and bound by Pins, are still interlocked with each other by means of some projections, cut as wedges; as they are shown here below in perspective in Figure D. E Windows. F Travertines on the exterior of the Structure. G Current floor of the Room filled with ruins. The whole Room was adorned with very fine Stuccoes, some minute remnants of them still being seen on the Walls. H Plan of the Countryside. Below 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. 446.

Subject
View of the Via Appia Antica, from the series “Le Antichità Romane”

Accession number RP-P-OB-36.857
Engraving
Giovanni Battista Piranesi, Mogliano Veneto 1720 – 1778 Rome
ca. 1756 – ca. 1757
35.1 cm x 24.1 cm

Inscriptions
Top right: (initial part illegible) VII. Bottom: View of the ancient Via Appia, which passes beneath the walls already described in previous plates by Ustrino, today covered in the ruins of the same. A. Bed of the ground well de-sodded, and beaten with poles, before spreading the coarse fill one palm high in the likeness of a slab composed of pozzolan lime, and chips of flint stones, and over it forcibly planted the flint paving stones B. cut in the reverse to a diamond point. C. Other stones placed in the manner of Wedges, which tighten and handily enclose the aforesaid stones, which pave the Way already mentioned, among which at every 30. palms comes one D. more eminent and higher than the others of such making, which perhaps was to serve those, who mounted, and dismounted from horses, and of rest for Travellers. This and the lower others are planted above a large filling wall of similar stone chips, but larger than those mentioned above. Below right: Piranesi Archit. dis. 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. 306.

J. Wilton-Ely, Giovanni Battista Piranesi: the complete etchings, 2 voll., San Francisco, Alan Wofsy Fine Arts, 1994, p. 479.

Subject
View of the Via Appia Antica in an oval. The artist represents ancient ruins on the left, while in the foreground two figures are walking with a dog. The artwork, bearing the title “Sur la Voïe appienne pres de Rome”, was drawn by Jacob Philipp Hackert and realized by an anonymous.
 
Accession number RP-P-1907-2392
Etching
1754 – 1842
15.9 cm x 19.1 cm
 
Placement
Rijksmuseum

Credits
Rijksmuseum

Subject
View of a tomb on the Via Appia Antica, as we read in the lower center (“Vue d’un tombeau sur la voie Appia”), drawn by Jules Coignet and realized by Adam.
 
Accession number RP-P-1905-5474A
Lithography
Victor Adam, Paris 1801 – 1866 Viroflay
1824 – 1826
39.8 cm x 54.6 cm
 
Placement
Rijksmuseum
 
Credits
Rijksmuseum

References
Inventaire du fonds français après 1800 par Jean Laran, tomo 1, Paris, National Library, 1930, p. 37.

Subject
View of the remains of tombs on the Via Appia Antica, outside Porta San Sebastiano, from the series “Le Antichità Romane”.

Accession number RP-P-OB-39.460
Engraving
Giovanni Battista Piranesi, Mogliano Veneto 1720 – 1778 Rome
ca. 1756 – ca. 1757
40.2 cm x 62.0 cm

Inscriptions
Top left: Tom. II. Upper right: XLVII. Bottom: VIEW of the Remains of some sepulchral Chambers, existing on the ancient Via Appia outside Porta San Sebastiano. A Chamber of three Compartments, one of which today rests underground. B Ruins of a very noble Villa of the ancient Romans. C Paving stones of the ancient Via Appia. Below right: Piranesi Architetto dis. ed 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. 456.

Subject
View of a tomb on Via Appia Antica, outside Porta San Sebastiano, with accompanying plan and description, from the series “Le Antichità Romane”.

Accession number RP-P-OB-39.505
Etching
Giovanni Battista Piranesi, Mogliano Veneto 1720 – 1778 Rome
Around 1756 – 1757
39.4 cm x 52.0 cm

Inscriptions
Top left: Tom. III. Top centre: Scale in Roman Palms. Top right: IX. Bottom: A Plan of a Sepulchre outside Porta San Sebastiano on the ancient Via Appia in the Vigna Buonamici beyond Capo di Bove. B Entrance made by Modern persons. C Windows. D Courses of Tuff at front of the construction. E Elevation of the aforementioned plan, built of reticulated Walls. F Courses of Tiles. G Current level of the ground. H Courses of Tuff, in good part buried. I Section with Niches, the concave of which protrude outside the circumference of the Wall. K Lower underground level. L Part of the Walls shown in larger form. M Courses of the aforesaid Tuffs shown in larger form. The heads of them bound by means of oak Pins cut in dovetail, and by the finest Lime, so much that they unite, that one can hardly discover the connection. N One of the said oak Pins. O One of the Pieces of Tuff with the Fitment at the heads by the Pins, and with Channel, by which the Lime inserted into the connection. Some of the Ancients, reflecting perhaps on the vicissitudes of human affairs so often caused by the revolutions of the centuries, as they saw happen to the most powerful Nations, thought to make their Ashes safer by deposing them, rather than in superb Mausoleums, within abject Sepulchres, or by hiding them within rough Stones, and Boulders, and in places, where no one would ever have imagined such things could be contained there. Who could deny, therefore, that this and other abjectly constructed sepulchres could not be of qualified Personages. Below 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. 306.

J. Wilton-Ely, Giovanni Battista Piranesi: the complete etchings, 2 voll., San Francisco, Alan Wofsy Fine Arts, 1994, p. 481.