Category Archives: prints and drawings

prints and drawings

Denkmal in Stereotypen = A Monument in Stereotype

Vincenz Pall von Pallhausen (1759-1817) and Joseph Bonaventura Progel (died 1851). Denkmal in Stereotypen, den Manen Gutenberg’s geweiht von von Vincenz von Pallhausen im Jahre 1805 und zur vierten Säcularfeier der Buchdruckerkunst mit lithographirten Federzeichnungen zu Johannis 1836 herausgegeben von Progel ([München]: [Franz], 1836, 1805


The Graphic Arts Collection now holds a unique copy of the first and only edition of A Monument in Stereotype: dedicated to Gutenberg’s men, commemorating the Gutenberg jubilee in 1836, edited and reprinted from the 1805 stereotypes under the direction of Joseph Progel.

“Joseph Progel was Registrar of the Bavarian Academy of Sciences in Munich from the late 1820s until the mid-1840s. He was also Registrar for the joint scientific collections of the Academy and of the University of Munich (General-Conservatorium der wissenschaftlichen Sammlungen des Staates). His son was the distinguished botanist August Progel.”–
–Georg Kaspar Nagler, Die Monogrammisten, 1871


The loose plates, collected inside the original paper wrapper, have additional color, compared to the copy in the Bayerische Staatsbibliothek: On the right is a second, proof sheet from Princeton’s copy.

The volume at Princeton includes a second, perhaps rejected proof copy as well as 3 double-page sheets with still another variant of the illustrations, a sheet with a pencil drawing of one of the printed illustrations, and a design in gold for a title-page on a folded double-page sheet contained in blue wrappers with the illustrations in black only.

Here are a few more pages:


Overthrow of Christian Morality by the Disorders of Monasticism

Renversement de la Morale chretienne par les desordres du Monachisme. Enrichi de Figures. Premiere Partie. Overthrow of Christian morality by the disorders of Monasticism. Enriched with Figures. First part. [all published.] On les vend en Hollande, chez le Marchands Libraires & Imagers. Avec Privilege d’Innocent XI. Omstootinge der christelyke Zeden. Door de wan-schik ongeregeltheden der Moniken. Holland [Switzerland, n.p.], ca. 1780. Graphic Arts Collection GAX 2021- in process

Originally published in Amsterdam, perhaps as early as 1676 with the title Renversement de la morale Chretienne par les desordres du Monachisme = Omstootinge der Christelyke zeden. Door de wan-schik en ongeregeltheden der moniken, this series of engravings caricature Jesuits and other religious figures. A variant edition, seen here, published approximately 1780 was recently acquired by the Graphic Arts Collection.

The plates have been attributed to or copied from Cornelis Dusart (1660-1704), although the frontispiece in this volume is engraved after Romeyn de Hooghe (1645-1708). Readers were delighted with these portraits of monks drinking and carrying on, which led to their reissue in both general trade and secret pirated editions for more than 100 years. It should be noted that the nuns present equally bad behavior and are rightfully caricatured alongside the priests.

“The first twenty-five plates are prefaced by explanatory text in French and Dutch, the second twenty-five just by French verse. The second series is even more vicious than the first, depicting clerics with foxlike cunning, ready to cut a purse and appropriate money etc. They are listed under headings such as the Insatiable, the Cunning, the Seditious, the Idolator, the Superstitious, etc.”

Compare these plates with Dusart’s Les Héros de la ligue. Ou, La procession monacale. Conduitte par Louis XIV, pour la conversion des protestans de son royaume (The Heroes of the League: Or, The Monastic Procession. Led by Louis XIV for the Conversion of Protestants in his Kingdom) from 1691:

l’abrégé du faux clergé romain = Summary of the false Roman clergy


Golden receipts against drunkenness. 1, Drink no longer water…

On February 13, 1929, an unidentified Princeton student noted the gift of a book to the university library with an article in the Daily Princetonian, “Parson Weems, First American Book Agent, Subject of Biography Presented to Library.”

“First American book agent, adventurer, early biographer of Washington ‘and fabricator of the cherry-tree myth, Parson Weems is the subject of ‘a set of privately issued books presented to the Library last week by Emily Ellworth Ford Skeel, who has completed the work commenced by her brother, Paul Leicester Ford. …Mason Locke Weems, known as the “Parson”, lived a colorful life during the early days of the republic. Having just completed his theological training he went, upon the close of the Revolutionary War, to England to be ordained. The Archbishop of Canterbury refused to “touch the rebel.” He journeyed from one bishop to another fruitlessly. Finally, upon the personal intervention of President Adams, , the Church of Denmark agreed to admit him to the ministry.”

The student continued writing about individual books Weems self-published. “Tiring of [the ministry], he undertook to sell books for Mathew Carey, a Philadelphia publisher. …He saw a market for something besides the holy book, however and filled; it with moral pamphlets of his own composition. One was “The Drunkard’s Looking Glass, reflecting him in sundry very interesting attitudes.” He would enter the taverns illustrating ‘the “attitudes” which he described as follows: “First, when he has only a drop in his eye, second, when he is only half shaved, third, when he is getting a little on the staggers or so, and fourth and fifth and so on ’til he is quite capsized or snug under the table with the dogs and can stick on the floor without holding on.”

Originally written, printed, and published by Weems, the best-selling book continued to appear after his death, privately printed by his wife Mrs. Frances Ewell Weems. Princeton’s 1918 edition was the first to include illustrations, one engraving for the frontispiece “possibly engraved by William Charles,” along with 13 wood engravings attributed to William Mason. Often called the first wood engraver in Philadelphia, Mason is listed as a drawing master at 27 Sansom Street in an 1834 Philadelphia directory and in 1838 another directory listed W.S. Mason at 45 Chestnut.

Mason Locke Weems (1759-1825), The Drunkard’s Looking Glass Reflecting a Faithful Likeness of the Drunkard, in sundry very interesting attitudes, with lively representations of the many strange capers which he cuts at different stages of his disease … Sixth edition, greatly improved ([Philadelphia?]: printed for the author, 1818). Graphic Arts Collection Sinclair Hamilton 1019

Mason Locke Weems, his works and ways. In three volumes. [I] A bibliography left unfinished by Paul Leicester Ford. [II-III. Letters 1784-1825] Edited by Emily Ellsworth Ford Skeel (New York, 1929). Rare Books Z8962 .S62. Colophon of vol. III: This work originated with Paul Leicester Ford, was edited by Mrs. Roswell Skeel junior, and printed by Richmond Mayo-Smith, all of one family.

Reverend Mason L. Weems was rector of Pohick Church for a while, when Washington was a parishioner. He was possessed of considerable talent, but was better adapted for “a man of the world” than a clergyman. Wit and humor he used freely, and no man could easier be “all things to all men” than Mr. Weems. His eccentricities and singular conduct finally lowered his dignity as a clergyman, and gave rise to many false rumors respecting his character. He was a man of great benevolence, a trait which he exercised to the extent of his means. A large and increasing family compelled him to abandon preaching for a livelihood, and he became a book agent for Mathew Carey. In that business he was very successful, selling in one year over three thousand copies of a high-priced Bible. He always preached when invited, during his travels; and in his vocation he was instrumental in doing much good, for he circulated books of the highest moral character.”—Benson J. Lossing, Pictorial Field Book of the Revolution (1850)

North American sylva and the lost garden of New Jersey

J[ules?] Renard after a drawing by Adèle Riché (1791-1878), Chamærops palmetto (Cabbage Tree), for François André Michaux (1770-1855), The North American sylva; or, A description of the forest trees of the United States, Canada, and Nova Scotia, considered particularly with respect to their use in the arts, and their introduction into commerce: to which is added a description of the most useful of the European trees … (Philadelphia: Rice, Ritter, 1865). Rare Books 8772.642.11 v.3


[left] Rembrandt Peale, Portrait of François André Michaux, 1809-10. Oil on canvas. American Philosophical Society. Gift of family of Dr. Joseph Carson, 19 March 1880. 58.P.38


Andre Michaux (1746-1803) was sent to the United States in 1785 to find and collect woods suitable for building and plants good for eating, which could be grown in France. Traveling with his teenage son François André Michaux (1770-1855) and gardener Pierre Paul Saunier, he established two gardens in the United States to facilitate the accumulation of seeds and plants for shipment to France.

One of these 18th-century gardens was in New Jersey, across the Hudson River from New York City in Bergen County and the other in Charleston, South Carolina. When Michaux and his son returned to France, Saunier was left in New Jersey to manage the garden (with no English and little money). According to a study by William J. Robbins and Mary Christine Howson: “Today the site of Michaux’s New Jersey Garden is divided between the Hoboken Cemetery, warehouses, railroad tracks, and marshlands along the Cromakill Creek. … Nothing marks the spot and no one in the neighborhood realizes that this bit of land once was of special significance to France, as well as the United States of America, and a matter of concern to some of the outstanding figures of the day.…”–“André Michaux’s New Jersey Garden and Pierre Paul Saunier, Journeyman Gardener,” Proceedings of the American Philosophical Society 102, no. 4 (Aug. 27, 1958).

Above selection from: Charles Hardenburg Winfield, History of the county of Hudson, New Jersey: from its earliest settlement to the present time (1874)

François André Michaux later returned on a commission by the French government to explore the forests of the United States, Canada, and Nova Scotia. By 1810 he completed the North American Sylva, first published in twenty-four parts, issued in pairs from July 1810 to March 1813, before being collected into three volumes. An English edition of the Sylva was originally planned in six half-volumes, but a seventh was added to help accommodate the extra plates and the corresponding text.
Read more: An Oak Spring sylva: a selection of rare books on trees in the Oak Spring Garden Library / described by Sandra Raphael (Upperville, Va.: Oak Spring Garden Library, 1989). Graphic Arts SD391 .R36q

The books are prized today for the color stipple engravings produced by a team of artists, including Bessin, Gabriel, Renard, Cally, Boquet, Dubreuil, J.N.Joly after botanical illustrations by Pancrace Bessa (1772–1846), Pierre-Joseph Redouté (1759–1840), Henri-Joseph Redouté (1766–1852), and Adèle Riché (1791-1878). Later additions published by Thomas Nuttal are illustrated with lithographic plates.

Although New Jersey’s garden has disappeared, the Michaux State Forest near Gettysburg, Pennsylvania remains.



The Commissioners [of the 1778 Carlisle Peace Commission]

The bales and barrels are inscribed “Tobacco for Germany; Rice for France; Tobacco for France; Tobacco for Holland; America 1778; Indico for Spain; Indico for the Mediterranean Ports; and V.R. (Monogram).”


The Commissioners, April 1, 1778. London: Published by M. Darly, 39 Strand. Hand colored engraving. Graphic Arts Collection GAX 2021- in process.

From 1766 to 1778, Mary and Matthew Darly had a printshop at 39 Strand, on the corner of Buckingham Street, London. This was only one of 17 locations the British Museum has now identified with shops owned by one or both the Darlys. In the past, many prints listed as M. Darly were simply attributed to Matthew or Matthias (ca. 1720–1780), although Mary (flourished 1760–1781) clearly had her own shops, prints, and publications, as with the Graphic Arts Collection’s copy of Mary Darly’s A Book of Caricaturas: on 59 Copper-Plates, with ye principles of designing in that droll & pleasing manner, by M. Darly, with sundry ancient & modern examples & several well known caricaturas (Cornhill: Printed for John Bowles, [1762?]). GAX 2005-2501N.

A wonderful biography of Matthew can be found at It is unfortunate that the best the DNB can do for Mary Darly is “see Matthew.” Although we continue to argue about attribution–which items should be credited specifically to Mary–at the very least this print should be considered sold by Mary Darly.

The sheet offers a humorous look at the five commissioners nominated to negotiate peace with the American colonies: Admiral Lord Richard Howe, General Sir William Howe, Lord Frederick Carlisle, Lord Auckland (William Eden), and Commodore George Johnstone, known as Governor Johnstone. They kneel facing a personification of America, holding a liberty cap.

The dialogue bubbles read:
“We have block’d up your ports, obstructed your trade, with the hope of starving ye, & contrary to the Law of Nations compelld your sons to war against their Bretheren.”
“We have ravaged your Lands, burnt your Towns, and caus’d your captive Heroes to perish, by Cold, pestilence & famine.”
“We have profaned your places of Divine worship, derided your virtue and piety, and scoff’d at that spirit which has brought us thus on our knees before ye.”
“We have Ravish’d, Scalp’d, and murder’d your People, even from Tender infancy to decrepid age, altho Supplicating for Mercy.”
“For all which material services, we the Commissioners from the most pious & best of sovereigns, doubt not your cordial duty & affection towards us, or willingness to submit yourselves again to receive the same, whenever we have power to bestow it on ye.”

Carlisle, Auckland, and Johnstone sailed for Philadelphia on April 21, 1778, twenty days after this satirical print was published indicating that the Darlys were predicting the failure of the commission, not simply reporting it.

Only five years later, the Continental Congress left Philadelphia and convened in Princeton at Nassau Hall. Here is a bit of local history from the period:

Mr Hitchins measuring the field of Austerlitz for a surtout of blue cloth

Attributed to John Thomas James (1786-1828), Mr Hitchins measuring the field of Austerlitz for a surtout of blue cloth, no date [ca.1805]. Pen and ink drawing. Gift of Dickson Q. Brown, Class of 1895. Graphic Arts Collection GA 2007.00059.

*Definition of surtout: a man’s long close-fitting overcoat.

This drawing might be a comment on Napoleon winning the battle of Austerlitz in 1805, which is depicted as gentlemen fitting the battlefield for the standard Napoleonic blue coat. The men, Hitchins, Heber, and Davenport mentioned in the text are wearing red coats and Edward Hitchins Major is one of the Oxford volunteers. Britain had declared war on France in 1803 and was fighting on the loosing side. The Battle of Austerlitz, December 2, 1805, was one of the most important battles of the Napoleonic Wars. In what is widely regarded as the greatest victory achieved by Napoleon, the Grande Armée of France defeated a larger Russian and Austrian army led by Emperor Alexander I and Holy Roman Emperor Francis II.

As noted in Uniforms of the Napoleonic Wars 1805–1815: “The ‘Napoleonic’ coat was called habit à la française, it was dark blue with white lapels for line infantry. The white lapels were treated with pipe clay, which made them really white. In 1793 the dark blue coats were officially introduced in the infantry. It had long tail that was shortened before 1806. (The weather ‘softened’ the color of the dark blue and dust, blood and mud made it sometimes unrecognizable.) The dark blue became greyish blue etc.”



The artist is believed to be John Thomas James (1786–1828), later the Bishop of Calcutta. According to the DNB, he was

“educated at Rugby School until he was twelve years old, when, by the interest of the earl of Dartmouth, he was placed on the foundation of the Charterhouse. In 1803 he gained the first prize medal given by the Society for the Encouragement of Arts and Sciences for a drawing of Winchester Cathedral. He left the Charterhouse in May 1804, when he was chosen to deliver the annual oration, and entered Christ Church, Oxford.

After the death of his father on 23 September 1804, he was granted the dean’s studentship by Dr Cyril Jackson. He graduated BA on 9 March 1808, and MA on 24 October 1810. James continued to reside at Oxford, first as a private tutor and afterwards as student and tutor of Christ Church, until 1813, when he toured northern Europe with Sir James Riddell. After his return he published, in 1816, a Journal of a Tour in Germany, Sweden, Russia, and Poland, during 1813 and 1814. Subsequent editions, in two volumes, appeared in 1817 and 1819.

…In 1826 he began the publication of a series of Views in Russia, Sweden, Poland, and Germany. These were engraved on stone by himself, and coloured so as to represent originals. Five numbers of these appeared during 1826 and 1827.”

Edward Francis Finden, after Joseph Slater, John Thomas James, 1826 or after. Stiple engraving. NPG D20603



Mrs. Hamilton’s lithograph of Bonaparte’s monkey

Mrs. Hamilton (1800s) after Stephen Taylor (active 1817-1849), Bonaparte’s Monkey, February 18, ca. 1830. Lithograph. Graphic Arts Collection GA 2005.00490.

The text reads:

“The above is a faithful portrait of a monkey belonging to Bonaparte during his residence at Longwood House, St. Helena. After Bonaparte’s death it was purchased by Captain Thompson, of the Abundance, and given by him, on his return to Spithead, to Mr. Stephen Taylor, the artist, then residing at Winchester. The monkey was very mischievous, and upon one occasion, made his way into a dressing closet, broke a glass, opened the dressing case, and was viewing himself in the looking glass, when discovered by Mr. Taylor, who made a sketch at the time, from which he afterwards painted a fine picture, and from which this print is taken. The monkey died after being in Mr. Taylor’s possession two years, and was buried in his garden at Winchester.”

Getty’s ULAN database lists Stephen Taylor as a British painter, active 1817-1849, who specialized in dogs, portraits, and dead game. This is certainly the Taylor connected with this lithograph. He painted several canvases transferred to lithographs by an artist named Hamilton, sold at the shop of William Soffe on the Strand in London. The superscript letters that precede the name Hamilton have been read as M.R.G. Hamilton and as Mrs Hamilton, the latter being the best guess.

Stamped at the bottom of this sheet “Published Feb J. 18 by W. Soffe. 288 Strand Corner of Southampton St.” The shop sold animal prints and other popular images. There is no information to back up the story that Napoleon Bonaparte (1769-1821) had a monkey, or that the painter Taylor purchased him from Captain Thompson. On the other hand, there’s no reason not to believe the story either.

“Be Healthy.” The Ethics of Medical Advertising.

Public Health Institute. Be Healthy. Chicago, 1937. Color enamel silkscreen on metal. Graphic Arts Collection GAX 2020- in process


The Public Health Institute (PHI) was established in downtown Chicago in 1919 to cheaply diagnose and treat the epidemic of venereal disease. By 1929, the PHI was serving 1500-2000 patients a day at its three branches, including a south side location opened under pressure from black civic leaders.

Patients remained anonymous and no one was denied service because of inability to pay. Its profits were reinvested in other venereal disease programs, including direct support for the Illinois Social Hygiene League (ISHL) and a $100,000 renovation of Provident Hospital, the first African-American owned and operated hospital in the United States. The PHI’s relationship with ISHL and its director, Dr. Louis Schmidt, brought it notoriety when Schmidt was expelled from the Chicago Medical Society (CMS) for violating its ban on advertising.

“According to its own reports, the PHI not only advertised in daily newspapers but placed 25,000 posters in public toilets, factories, and streetcars. The CMS’s unanimous action against Schmidt and the Institute—based on how PHI’s advertising challenged the social and economic power of their monopoly—was publicly ridiculed, since it punished a charity that had healed thousands. The case brought attention to the increasing cost of medicine and inadequate health care for the lower classes, initiating a conversation about a universal right to health care that continues to this day.”


Read more at: “The Case Of Dr. Louis E. Schmidt: Medical Rights In The Early 20th Century” by Robert Glover, Northern Illinois University and at


“The whole issue was clearly focused in the case of Dr. Louis E. Schmidt, who as head of the Public Health Institute in Cook County, Illinois, had given medical service at about one-third less than customary cost to considerable numbers of people of the lower income groups. Dr. Schmidt was ousted from the Chicago Medical Society and was about to be dropped from the American Medical Association.

He thus defended his activities: “We cannot make all doctors rich by forming a trade union…. Ours is a profession, not a trade…. The time will come when both the profession and the public will be better served. If we organize to bring the cost of hospital, laboratory, and medical care within the purse of all that great majority of our people known as the middle classes, all reputable, capable physicians will prosper greatly.

Such a plan will take the business of meeting the health problems of these people with small incomes away from the quacks, charlatans, and patent medicine vendors, who now prey upon a public which has no other place to turn.” —

Coloured or Uncoloured

During our WinterSession class this morning, “Don’t Touch the Money,” one of the things we noticed about the mid-19th-century change packets, used in Great Britain to give a customer their change, was the description of “Coloured Tea” or “Uncoloured Green Tea.” The Oxford English Dictionary has many definitions of ‘coloured,’ but at the very bottom is an obsolete usage:
“Of a wrong act or intention: misrepresented so as to appear favourable or acceptable; disguised; glossed over. Obsolete.
1537 J. Husee Let. 24 May in Lisle Papers (P.R.O.: SP 3/5/65) f. 90 M. Owdall lenght haue lytyll thankes and lesse honesty for his coloryd doinges.
1557 Bible (Whittingham) 1 Thess. ii. 5 Nether dyd we any thing in coulored couetousnes.
1570 J. Foxe Actes & Monumentes (rev. ed.) II. xi. 2052/2 Of that your execrable periury, and his coloured and to shamefully suffered adultery.”

The closest we could come in contemporary New Jersey language was “My opinion was colored by the fact that I didn’t like him.”

According to the history posted by the London Horniman Tea company,
“Until 1826, only loose leaf teas had been sold, allowing unscrupulous traders to increase profits by adding other items such as hedge clippings or dust. Horniman revolutionised the tea trade by using mechanical devices to speed the process of filling pre-sealed packages, thereby reducing his cost of production and hence improving the quality for the end customer. This caused some consternation amongst his competitors, but by 1891 Horniman’s was the largest tea trading business in the world.”

In Erika Rappaport’s book, The Making of the Consumer, she notes:

In 1826 the Quaker, abolitionist and parliamentary reformer John Horniman began selling tea in pre-weighed and sealed packages. … When it was first introduced, however, Horniman’s innovation at once created and responded to the idea that the Chinese drink was not a luxury to be sought, but a poison to be avoided. John Horniman packaged his tea to distinguish it from the competition and as a reaction to widespread anxieties about the purity of Chinese productions. Between the 1820s and the 1870s merchants such as Horniman, scientists, journalists and politicians warned British consumers that Chinese manufacturing methods were dirty and fraudulent, the most dangerous practice being the colouring of tea, especially green tea, with unwholesome and even poisonous materials.”

So at this time when packaging was developed as a “cash carry system” and as packaging for the secure sale of products, the word that was coined to describe pure products was “Uncoloured.” The Princeton collection of change packets offers us a wonderful history of advertising in the 1860s, 1870s, and 1880s, with the emphasis on health and trust in a manufacturer. Although we tried to find a connection with other definitions of the word that had to do with race, there doesn’t see to be a direct connection.

When we can travel again, we should all visit the Horniman Museum and Gardens, with their famous walrus.

Collection des cinquante-deux fresques du Vatican

Tableaux de la Sainte Bible ou Loges de Raphaël: collection des cinquante-deux fresques du Vatican, représentant les principaux sujets de l’Ancien & du Nouveau Testament, peintes par Raphaël, dessinées et lithographiées par MM. Barathier,… [et al.]. Sous la direction de Mr Hippolyte de Courval. Avec les textes extraits des livres sacrés. Dédiés à son altesse royale, monseigneur le duc de Bordeaux = Paintings from the Holy Bible or Raphael’s Lodges: A Collection of Fifty-Two Vatican Frescoes, representing the main subjects of the Old & New Testaments, painted by Raphael, drawn and lithographed by MM. Barathier,… [et al.]. Under the direction of Mr Hippolyte de Courval. With texts taken from sacred books. Dedicated to His Royal Highness, Monsignor the Duke of Bordeaux. (Paris: Chez Prodhomme et Cie, librairies, boulevard des Capucines N° 1. 1825). Graphic Arts Collection GAX 2020- in process

Under the direction of Hippolyte de Courval, the frescos of Raphaël (1483-1520), were drawn by Barathier; A. Barincou;; Bouillon; Chrétien; Charles Achille d’Hardiviller (1795-18??); Antoine François Gelée (1796-1860); Henri-Joseph Hesse (1781-1849); Julien Vallou de Villeneuve (1795-1866); Paul Claude Michel Le Carpentier (1787-1877); and Weber; then lithographed by Godefroy Engelmann (1788-1839) .

This is one of many attempts to reproduce the frescoes. Volume 2 of Le bibliophile belge (Bruxelles, 1845-1850) (Firestone Z1007 .B5354) has a “bibliographie des loges,” which begins as early as 1607. The very long list is abbreviated below to show how far down this lithographic presentation comes.


1. Historia del Testamento Vecchio, depinta in Roma nel Vaticano da Rafaelle di Urbino , et intagliata in rame da Ş. BADALOCCHIO ( Sisto Rosa) et 610. LANFRANCHI , Parmigiani. Al Sig. Annibale Caracci. Roma, appresso Giov. Orlandi, 1607….
2. Historia….. Urbino. Al Mto illo Sig. D. Giuseppe Bernagi Giov. Orlandi D. D. D. – BALDASS. Alois Bon. fe.- Si stampa in Roma appresso Giov. Orlandi, 1613.; Titre et cinquante feuilles avec un texte tiré de la Bible. H. 5 p. 5 1. L. 6p. 81. La première et la seconde planche sont en contre-partie comme dans la seconde édition du n° 1.
3. Les 52 sujets grávés par ORAZIO BORGIANT, de différente dimension, in-40 allongé et in-8′ H. B. 1615….
4. La Sacra Genesi figurata da Rufaele d’Urbino, intagliata da FRANCESCO VILLAMENA, dedicata al…. Card. Aldobrandino. Ronia appresso gli heredi del do Villamena, 1826. Dans la dédicace, la veuve de Villamena dit que son mari, qui avait dessiné toutes les loges de Raphaël, avait été interrompu par la mort tandis qu’il s’appliquait à les graver. …

10. Picturae Perystiti Vaticani Avec une dédicace au pape Pie VI par Montagnani. — Venit Romae apud Petrum Paulum Montagnani, 1790. 53 seuilles. H. 8 p. 81. L. 10 p. avec encadrement. Dessiné par LUIGI AGRICOLA , gravé par Luigi CuNEGO, Gio. PETRINI, GIROL. CARATTONI, G. MORGHEN, MOCHETTI , Pozzi, Cochini, Bossi , etc. ….
11. Loggie di Rafaele , gravé par J. VOLPATO et J. OTTAVIANI , d’après les dessins de C. Savorelli et P, Camporesi. Roma presso Marco Pagliarini, 1782, 43 feuilles, grand in-folio royal, publiées en 3 livraisons. La seconde porte ce titre : Seconda parte delle Loggie di Rafaele nel Vaticano che contiene XIII volte e i loro rispettivi quaddri, pubblicata in Roma, l’anno 1774, gravé par J. OTTAVIANI. Volpato avait pour objet spécial de représenter les arabesques, les stucs et les plafonds des loges.
12. Les loges du Vatican peintes par Raphaël, contenant 52 sujets avec le texte explicatif de la Bible, in-40, chez David, graveur (à Paris) et chez Treuttel et Wurtz (Journal général de la littérature de France, 1808, p. 60).

13. Collection des 52 fresques du Vatican, connues sous le nom de Loges de Raphaël, et représentant les principaux sujets de la Bible (lith. par Engelman), publiée par H. CASTEL DE COURVAL. Paris, 1825, in-fol. obl. Lithographies très-médiocres, copiées sur Chapron, et accompagnées des textes de la Bible correspondants à chaque sujet.

14. Au trait, in-8°, dans le Musée de peinture et de sculpture, dessiné et gravé à l’eau forte par Réveil, avec des notices descript., critiques et hist. par DoCHESNE aîné, in-8°.