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Engraved view of Basilica of Santa Maria in Trastevere (Our Lady in Trastevere) in Rome., Vasi’s views of ancient and modern Rome show a personification of Rome in a series of ten books in 3 volumes. Engraved by Vasi, with explanatory text that provides historical and documentary information for each view, written by Vasi and Giuseppe Bianchini in Book I. Published between 1747 and 1761, it consists of 200 plates, 30 inset views and 3 plans in Book I and two plans in Book X. Plate 77 marked 78 in Vol. 2, Book 4. Plate 177 marked 178 in Vol. 3, Book 9. The collection lacks one leaf of text - Pages XXIX and XXX in Vol. 3, Book 10. Books are arranged by themes devoted to a particular architectural aspect of Rome: 1. Gates and walls; 2. Piazzas, obelisks, columns &c.; 3. Basilicas and ancient churches; 4. Palaces and streets; 5. Bridges and buildings on the Tiber; 6. Parish churches; 7. Conventi and clergy houses; 8. Monasteries for women; 9. Colleges, hospitals and pious foundations; 10. Villas and gardens. Engraved views showing towns, landmarks, buildings, plants, shrubs, figures, coaches and animals. The ten title-page vignettes are all unsigned. Each book has a dedication note by Vasi, a preface and index. The publishers were: Stamperia del Chracas; Stamperia di Apollo; Niccolo e Marco Pagliarini and Eredi Barbiellini. Vasi’s Roman vedute became popular outside Italy in the second half of the eighteenth century. In the inscription, Vasi describes himself as ‘painter, engraver, architect and Arcadian shepherd’, or member of the Accademia degli Arcadi. The academy was a literary and social club formed not only by authors and poets, but also by members of the professional classes, ecclesiastics and aristocrats interested in literature and modern science., Early printed books, 4 (2001), nos. 3389-98

Continues: Description to the "Tavola cinquantesima ottava, la Chiesa di SS. Nereo, ed Achilleo.", Vasi’s views of ancient and modern Rome show a personification of Rome in a series of ten books in 3 volumes. Engraved by Vasi, with explanatory text that provides historical and documentary information for each view, written by Vasi and Giuseppe Bianchini in Book I. Published between 1747 and 1761, it consists of 200 plates, 30 inset views and 3 plans in Book I and two plans in Book X. Plate 77 marked 78 in Vol. 2, Book 4. Plate 177 marked 178 in Vol. 3, Book 9. The collection lacks one leaf of text - Pages XXIX and XXX in Vol. 3, Book 10. Books are arranged by themes devoted to a particular architectural aspect of Rome: 1. Gates and walls; 2. Piazzas, obelisks, columns &c.; 3. Basilicas and ancient churches; 4. Palaces and streets; 5. Bridges and buildings on the Tiber; 6. Parish churches; 7. Conventi and clergy houses; 8. Monasteries for women; 9. Colleges, hospitals and pious foundations; 10. Villas and gardens. Engraved views showing towns, landmarks, buildings, plants, shrubs, figures, coaches and animals. The ten title-page vignettes are all unsigned. Each book has a dedication note by Vasi, a preface and index. The publishers were: Stamperia del Chracas; Stamperia di Apollo; Niccolo e Marco Pagliarini and Eredi Barbiellini. Vasi’s Roman vedute became popular outside Italy in the second half of the eighteenth century. In the inscription, Vasi describes himself as ‘painter, engraver, architect and Arcadian shepherd’, or member of the Accademia degli Arcadi. The academy was a literary and social club formed not only by authors and poets, but also by members of the professional classes, ecclesiastics and aristocrats interested in literature and modern science., Early printed books, 4 (2001), nos. 3389-98

Continues: Index to V. 1: Book 3., Vasi’s views of ancient and modern Rome show a personification of Rome in a series of ten books in 3 volumes. Engraved by Vasi, with explanatory text that provides historical and documentary information for each view, written by Vasi and Giuseppe Bianchini in Book I. Published between 1747 and 1761, it consists of 200 plates, 30 inset views and 3 plans in Book I and two plans in Book X. Plate 77 marked 78 in Vol. 2, Book 4. Plate 177 marked 178 in Vol. 3, Book 9. The collection lacks one leaf of text - Pages XXIX and XXX in Vol. 3, Book 10. Books are arranged by themes devoted to a particular architectural aspect of Rome: 1. Gates and walls; 2. Piazzas, obelisks, columns &c.; 3. Basilicas and ancient churches; 4. Palaces and streets; 5. Bridges and buildings on the Tiber; 6. Parish churches; 7. Conventi and clergy houses; 8. Monasteries for women; 9. Colleges, hospitals and pious foundations; 10. Villas and gardens. Engraved views showing towns, landmarks, buildings, plants, shrubs, figures, coaches and animals. The ten title-page vignettes are all unsigned. Each book has a dedication note by Vasi, a preface and index. The publishers were: Stamperia del Chracas; Stamperia di Apollo; Niccolo e Marco Pagliarini and Eredi Barbiellini. Vasi’s Roman vedute became popular outside Italy in the second half of the eighteenth century. In the inscription, Vasi describes himself as ‘painter, engraver, architect and Arcadian shepherd’, or member of the Accademia degli Arcadi. The academy was a literary and social club formed not only by authors and poets, but also by members of the professional classes, ecclesiastics and aristocrats interested in literature and modern science., Early printed books, 4 (2001), nos. 3389-98

Engraved view of Church of Santa Maria in Cosmedin in Rome., Vasi’s views of ancient and modern Rome show a personification of Rome in a series of ten books in 3 volumes. Engraved by Vasi, with explanatory text that provides historical and documentary information for each view, written by Vasi and Giuseppe Bianchini in Book I. Published between 1747 and 1761, it consists of 200 plates, 30 inset views and 3 plans in Book I and two plans in Book X. Plate 77 marked 78 in Vol. 2, Book 4. Plate 177 marked 178 in Vol. 3, Book 9. The collection lacks one leaf of text - Pages XXIX and XXX in Vol. 3, Book 10. Books are arranged by themes devoted to a particular architectural aspect of Rome: 1. Gates and walls; 2. Piazzas, obelisks, columns &c.; 3. Basilicas and ancient churches; 4. Palaces and streets; 5. Bridges and buildings on the Tiber; 6. Parish churches; 7. Conventi and clergy houses; 8. Monasteries for women; 9. Colleges, hospitals and pious foundations; 10. Villas and gardens. Engraved views showing towns, landmarks, buildings, plants, shrubs, figures, coaches and animals. The ten title-page vignettes are all unsigned. Each book has a dedication note by Vasi, a preface and index. The publishers were: Stamperia del Chracas; Stamperia di Apollo; Niccolo e Marco Pagliarini and Eredi Barbiellini. Vasi’s Roman vedute became popular outside Italy in the second half of the eighteenth century. In the inscription, Vasi describes himself as ‘painter, engraver, architect and Arcadian shepherd’, or member of the Accademia degli Arcadi. The academy was a literary and social club formed not only by authors and poets, but also by members of the professional classes, ecclesiastics and aristocrats interested in literature and modern science., Early printed books, 4 (2001), nos. 3389-98

Engraved view of church of San Cesareo in palatio in Rome., Vasi’s views of ancient and modern Rome show a personification of Rome in a series of ten books in 3 volumes. Engraved by Vasi, with explanatory text that provides historical and documentary information for each view, written by Vasi and Giuseppe Bianchini in Book I. Published between 1747 and 1761, it consists of 200 plates, 30 inset views and 3 plans in Book I and two plans in Book X. Plate 77 marked 78 in Vol. 2, Book 4. Plate 177 marked 178 in Vol. 3, Book 9. The collection lacks one leaf of text - Pages XXIX and XXX in Vol. 3, Book 10. Books are arranged by themes devoted to a particular architectural aspect of Rome: 1. Gates and walls; 2. Piazzas, obelisks, columns &c.; 3. Basilicas and ancient churches; 4. Palaces and streets; 5. Bridges and buildings on the Tiber; 6. Parish churches; 7. Conventi and clergy houses; 8. Monasteries for women; 9. Colleges, hospitals and pious foundations; 10. Villas and gardens. Engraved views showing towns, landmarks, buildings, plants, shrubs, figures, coaches and animals. The ten title-page vignettes are all unsigned. Each book has a dedication note by Vasi, a preface and index. The publishers were: Stamperia del Chracas; Stamperia di Apollo; Niccolo e Marco Pagliarini and Eredi Barbiellini. Vasi’s Roman vedute became popular outside Italy in the second half of the eighteenth century. In the inscription, Vasi describes himself as ‘painter, engraver, architect and Arcadian shepherd’, or member of the Accademia degli Arcadi. The academy was a literary and social club formed not only by authors and poets, but also by members of the professional classes, ecclesiastics and aristocrats interested in literature and modern science., Early printed books, 4 (2001), nos. 3389-98

Continues: Description to the "Tavola cinquantesima nona, la Chiesa di S. Cesareo." With inset view of the "1. Basilica di S. Sebastiano, 2. Vico, che conduce alla Basilica di s. Paolo, 3. Sepolcro di Metella, oggi detto capo di Bove.", Vasi’s views of ancient and modern Rome show a personification of Rome in a series of ten books in 3 volumes. Engraved by Vasi, with explanatory text that provides historical and documentary information for each view, written by Vasi and Giuseppe Bianchini in Book I. Published between 1747 and 1761, it consists of 200 plates, 30 inset views and 3 plans in Book I and two plans in Book X. Plate 77 marked 78 in Vol. 2, Book 4. Plate 177 marked 178 in Vol. 3, Book 9. The collection lacks one leaf of text - Pages XXIX and XXX in Vol. 3, Book 10. Books are arranged by themes devoted to a particular architectural aspect of Rome: 1. Gates and walls; 2. Piazzas, obelisks, columns &c.; 3. Basilicas and ancient churches; 4. Palaces and streets; 5. Bridges and buildings on the Tiber; 6. Parish churches; 7. Conventi and clergy houses; 8. Monasteries for women; 9. Colleges, hospitals and pious foundations; 10. Villas and gardens. Engraved views showing towns, landmarks, buildings, plants, shrubs, figures, coaches and animals. The ten title-page vignettes are all unsigned. Each book has a dedication note by Vasi, a preface and index. The publishers were: Stamperia del Chracas; Stamperia di Apollo; Niccolo e Marco Pagliarini and Eredi Barbiellini. Vasi’s Roman vedute became popular outside Italy in the second half of the eighteenth century. In the inscription, Vasi describes himself as ‘painter, engraver, architect and Arcadian shepherd’, or member of the Accademia degli Arcadi. The academy was a literary and social club formed not only by authors and poets, but also by members of the professional classes, ecclesiastics and aristocrats interested in literature and modern science., Early printed books, 4 (2001), nos. 3389-98

Engraved view of Churh of Saints Nereo, and Achilleo." Depicts the front wall of Terme di Caracalla, the baths built by Emperor Caracalla on the slope of the eastern peak of the Aventine Hill., Vasi’s views of ancient and modern Rome show a personification of Rome in a series of ten books in 3 volumes. Engraved by Vasi, with explanatory text that provides historical and documentary information for each view, written by Vasi and Giuseppe Bianchini in Book I. Published between 1747 and 1761, it consists of 200 plates, 30 inset views and 3 plans in Book I and two plans in Book X. Plate 77 marked 78 in Vol. 2, Book 4. Plate 177 marked 178 in Vol. 3, Book 9. The collection lacks one leaf of text - Pages XXIX and XXX in Vol. 3, Book 10. Books are arranged by themes devoted to a particular architectural aspect of Rome: 1. Gates and walls; 2. Piazzas, obelisks, columns &c.; 3. Basilicas and ancient churches; 4. Palaces and streets; 5. Bridges and buildings on the Tiber; 6. Parish churches; 7. Conventi and clergy houses; 8. Monasteries for women; 9. Colleges, hospitals and pious foundations; 10. Villas and gardens. Engraved views showing towns, landmarks, buildings, plants, shrubs, figures, coaches and animals. The ten title-page vignettes are all unsigned. Each book has a dedication note by Vasi, a preface and index. The publishers were: Stamperia del Chracas; Stamperia di Apollo; Niccolo e Marco Pagliarini and Eredi Barbiellini. Vasi’s Roman vedute became popular outside Italy in the second half of the eighteenth century. In the inscription, Vasi describes himself as ‘painter, engraver, architect and Arcadian shepherd’, or member of the Accademia degli Arcadi. The academy was a literary and social club formed not only by authors and poets, but also by members of the professional classes, ecclesiastics and aristocrats interested in literature and modern science., Early printed books, 4 (2001), nos. 3389-98

Engraved view of the Monastery and Church of Saint Saba Abate in Rome., Vasi’s views of ancient and modern Rome show a personification of Rome in a series of ten books in 3 volumes. Engraved by Vasi, with explanatory text that provides historical and documentary information for each view, written by Vasi and Giuseppe Bianchini in Book I. Published between 1747 and 1761, it consists of 200 plates, 30 inset views and 3 plans in Book I and two plans in Book X. Plate 77 marked 78 in Vol. 2, Book 4. Plate 177 marked 178 in Vol. 3, Book 9. The collection lacks one leaf of text - Pages XXIX and XXX in Vol. 3, Book 10. Books are arranged by themes devoted to a particular architectural aspect of Rome: 1. Gates and walls; 2. Piazzas, obelisks, columns &c.; 3. Basilicas and ancient churches; 4. Palaces and streets; 5. Bridges and buildings on the Tiber; 6. Parish churches; 7. Conventi and clergy houses; 8. Monasteries for women; 9. Colleges, hospitals and pious foundations; 10. Villas and gardens. Engraved views showing towns, landmarks, buildings, plants, shrubs, figures, coaches and animals. The ten title-page vignettes are all unsigned. Each book has a dedication note by Vasi, a preface and index. The publishers were: Stamperia del Chracas; Stamperia di Apollo; Niccolo e Marco Pagliarini and Eredi Barbiellini. Vasi’s Roman vedute became popular outside Italy in the second half of the eighteenth century. In the inscription, Vasi describes himself as ‘painter, engraver, architect and Arcadian shepherd’, or member of the Accademia degli Arcadi. The academy was a literary and social club formed not only by authors and poets, but also by members of the professional classes, ecclesiastics and aristocrats interested in literature and modern science., Early printed books, 4 (2001), nos. 3389-98

Engraved view of Church of San Giorgio in Velabro, in Rome., Vasi’s views of ancient and modern Rome show a personification of Rome in a series of ten books in 3 volumes. Engraved by Vasi, with explanatory text that provides historical and documentary information for each view, written by Vasi and Giuseppe Bianchini in Book I. Published between 1747 and 1761, it consists of 200 plates, 30 inset views and 3 plans in Book I and two plans in Book X. Plate 77 marked 78 in Vol. 2, Book 4. Plate 177 marked 178 in Vol. 3, Book 9. The collection lacks one leaf of text - Pages XXIX and XXX in Vol. 3, Book 10. Books are arranged by themes devoted to a particular architectural aspect of Rome: 1. Gates and walls; 2. Piazzas, obelisks, columns &c.; 3. Basilicas and ancient churches; 4. Palaces and streets; 5. Bridges and buildings on the Tiber; 6. Parish churches; 7. Conventi and clergy houses; 8. Monasteries for women; 9. Colleges, hospitals and pious foundations; 10. Villas and gardens. Engraved views showing towns, landmarks, buildings, plants, shrubs, figures, coaches and animals. The ten title-page vignettes are all unsigned. Each book has a dedication note by Vasi, a preface and index. The publishers were: Stamperia del Chracas; Stamperia di Apollo; Niccolo e Marco Pagliarini and Eredi Barbiellini. Vasi’s Roman vedute became popular outside Italy in the second half of the eighteenth century. In the inscription, Vasi describes himself as ‘painter, engraver, architect and Arcadian shepherd’, or member of the Accademia degli Arcadi. The academy was a literary and social club formed not only by authors and poets, but also by members of the professional classes, ecclesiastics and aristocrats interested in literature and modern science., Early printed books, 4 (2001), nos. 3389-98