In addition to relatively recent labels and inscriptions found on the back of the painting, the center stretcher member inscribed (brown ink): Rome 114. Inscriptions such as this one, including both a location and number, are found on the backs of numerous oil studies dispersed in the 1970 sale of Giroux's atelier and may have been recorded by the artist himself.
Views of the same section of the Claudian Aqueduct may be seen in works by Giovanni Paolo Panini (1691–1765; see MMA 52.63.1); Thomas Jones (drawing in a private collection; see Ann Sumner and Greg Smith, eds., Thomas Jones [1742–1803], An Artist Rediscovered, exh. cat., New Haven, 2003, p. 196, no. 89); Francis Towne (1740–1816; Yale Center for British Art, New Haven, inv. B1978.43.70; see Duncan Bull et al., Classic Ground: British Artists and the Landscape of Italy, 1740–1830, exh. cat., New Haven, 1981, pp. 50–51, no. 67, pl. 5); Josefus Augustus Knip (two drawings, both formerly in the collection of J. Q. van Regteren Altena, Amsterdam; see Ellinoor Bergvelt and Margriet van Boven, J. A, Knip 1777–1847, exh. cat., ‘s-Gravenhage, 1977, p. 89, no. 33, and p. 92, no. 36); and Gabriel Prieur (1806–1879; oil study in a private collection, New York; see French Drawings 1600–1900, exh. cat., W. M. Brady & Co., New York, 2004, fig. 22, under no. 25).