Rome: a capriccio of ancient buildings, including the Pantheon, the statue of Marcus Aurelius on the Campidoglio, and Trajan's column. Etching by J.S. Muller, 1744, after G.P. Panini.

  • Panini, Gian Paolo, 1691 or 1692-1765.
Aug.t 10th 1744
  • Pictures

About this work


On the left is a mausoleum on a plinth. In the background, the Pantheon is shown from the front. In the centre is the equestrian statue of statue of Marcus Aurelius (Haskell and Penny, op. cit., no. 55). In the background, right, is the temple of the sibyl at Tivoli, and in the right foreground Trajan's column. Various seated and pointing figures are placed as staffage, and a priest stands at the open door of the Pantheon


[London] : Publish'd by Ar. Pond, Aug.t 10th 1744.

Physical description

1 print : etching, with line engraving ; platemark 47.8 x 61.2 cm


In the collection of George Lewis Coke, Esqr. 4 feet 6 inch wide ; 3 feet 4 inch high. Gio: Paolo Pannini pinx Joh.Sebast. Müller sculp. The Pantheon ; Statue of M. Aurelius ; Sibyll's temple ; Trajan's pillar

References note

F. Haskell and N. Penny, Taste and the antique, London 1981


Wellcome Collection 2897471i

Reproduction note

After a painting formerly in the possession of George Lewis Coke (1715-1750). At least three paintings of Roman capricci by Panini said to belong to George Lewis Coke were published by Arthur Pond in the mid-1740s as etchings by Johann Sebastian Müller: Wellcome Library nos. 2897471i (1744), 2921417i (1745), and 2921418i (1746). The paintings appear to be lost. Two paintings by Panini of the same composition as two of the Müller prints (Wellcome Library nos. 2921417i and 2921418i), varying in minor details, were offered for sale at Sotheby's New York, on 27 January 2011, lots 181-182, with a provenance not from Coke but from Sir Robert Hildyard (1716-1781): "Not only were George Coke and Sir Robert Hildyard contemporaries, but they both made their Grand Tours within a year of one another, with Coke going to Italy in 1735 and Hildyard following in 1736. It is highly probable that Hildyard would have seen Coke's paintings while in Rome and commissioned a similar set for himself." (Sotheby's, loc. cit). However the Sotheby's catalogue does not mention this third composition as being based on a composition in Hildyard's collection



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