Termae Deocletiani, from a Series of Prints depicting (reconstructed) Buildings from Roman Antiquity

Perspectival view of a part of the complex of the Baths of Diocletian, as indicated in the lower left corner with the inscription ‘Termae Deocletiani’. Comparison with contemporary drawings and prints indicates that the printmaker has ‘completed’ certain parts of the building that had been lost, and he also reduced the amount of rubble and overgrowth to lay bare the fundamental structure of the building.

The print is part of a group of architectural prints depicting buildings from Roman Antiquity, ranging from triumphal arches to bath houses, temples and palaces in Italy, France and Spain. Some of the buildings have been artificially reconstructed based on Medieval descriptions, while others are depicted in their ruinous states. The plates are known in several (uncatalogued) states, and have undergone minor changes over time. Several titles of buildings have been changed, and the plates have been cropped as a result of plate cracks and oxidation.

Most copper plates for this series have been engraved on both sides. This print is taken from the same plate as the 'Palatium Caesaris Parisiis'. A second, plate with the same same composition in reverse was made. A copy of a print from this plate is in the collection of the Musee Suresnes, France. The print is covered in oxidation stains, indicating that the condition of the plate also quickly deteriorated.

This group of prints was purchased as part of an an album in 1926, but taken apart by the Museum in 1934. The album appears to have been compiled in the 17th century, although the majority of prints date from the 16th century. The larger part of the prints is focused on mythological subjects and objects and architecture from Antiquity. The album was part of the collection of the architect Hippolyte Destailleur and was sold in the sale of his books and prints in 1895. The Museum acquired the album at G. Rapilly & Fils in 1926. Where the album had been kept in the mean time is unclear and several prints were taken out in this period. The museum's numbering does not reflect the order of the original album, but Destailleur's numbering system is retained on the inidividual sheets, allowing for the reconstruction of its original content.