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3 volumes in-folio demi chagrin avec 354 planches gravées.

Usures extérieures sans gravité, rousseurs claires - Agréable exemplaire.


Contenu des planches

Les volumes illustrent des plans, élévations, coupes, perspectives et détails architecturaux d’édifices majeurs à Rome (palais, maisons, églises, couvents, etc.) 

Il couvre des œuvres classiques de la Renaissance jusqu’à l’époque baroque, avec des représentations d’architectes tels que Sangallo, Vignola, Michel‑Angelo, Borromini, Cortona, la famille Sansovino, Bernini, et bien d’autres.

Intérêt et valeur patrimoniale

Letarouilly a passé 35 ans à réaliser des relevés sur place à Rome ; ses planches restent parfois les seuls vestiges documentés de bâtiments aujourd’hui détruits ou modifiés. 

L’ouvrage reflète la conviction, partagée avec les architectes Percier et Fontaine, que l’architecture Renaissance italienne constitue un modèle pertinent pour le XIXᵉ siècle. 

Conçu dans une perspective à la fois scientifique et artistique, son texte a été applaudi pour sa clarté et élégance, accessible aux artistes comme aux amateurs. 

Contexte de Paul‑Marie Letarouilly

Élève de Charles Percier et Fontaine à l’École des Beaux-Arts à Paris, Letarouilly mène plusieurs voyages en Italie dès 1820–1824, qui lui permettent de produire ces relevés. 

Il occupe divers postes importants en France : inspecteur du théâtre de l’Odéon, de l’Observatoire, des monuments des Champs‑Élysées, et devient architecte en chef du Collège de France dans les années 1830–1847. 

Il meurt à Paris en 1855, ayant laissé cet œuvre majeure, ainsi qu’une autre publication posthume sur le Vatican en 1882. 


[FIRST EDITION] in three folio volumes bound in half shagreen with 354 engraved plates.

Minor external wear, light foxing - A pleasant copy.


Contents of the plates

The volumes illustrate plans, elevations, sections, perspectives, and architectural details of major buildings in Rome (palaces, houses, churches, convents, etc.). 

It covers classic works from the Renaissance to the Baroque period, with representations by architects such as Sangallo, Vignola, Michelangelo, Borromini, Cortona, the Sansovino family, Bernini, and many others.

Interest and heritage value

Letarouilly spent 35 years making on-site surveys in Rome; his plates are sometimes the only documented remains of buildings that have since been destroyed or modified. 

The work reflects the conviction, shared with architects Percier and Fontaine, that Italian Renaissance architecture was a relevant model for the 19th century. 

Conceived from both a scientific and artistic perspective, his text was praised for its clarity and elegance, accessible to artists and amateurs alike. 

Context of Paul-Marie Letarouilly

A student of Charles Percier and Fontaine at the École des Beaux-Arts in Paris, Letarouilly made several trips to Italy between 1820 and 1824, which enabled him to produce these drawings. 

He held various important positions in France: inspector of the Odéon theater, the Observatory, and the monuments of the Champs-Élysées, and became chief architect of the Collège de France in the years 1830–1847. 

He died in Paris in 1855, leaving behind this major work, as well as another posthumous publication on the Vatican in 1882. 


Architecture - Quantity: 3 - Book

Paul Marie Letarouilly - Edifices de Rome moderne - 1874

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