Mozart &
Material Culture

Just as with the topographical engravings of London, in his letters of 26 May 1770 (‘I hope to bring back with me some copper engravings of the sights and curiosities of Naples, similar to those I already have of Rome’) and 7 July (‘I’ve bought some more engravings for 5 ducats’), Leopold writes of engravings of Naples and Rome that he collected on his first tour of Italy with Wolfgang (December 1769-March 1771). The engravings from Rome are lost; the engravings from Naples survive (possibly incompletely) in the library of the Salzburg Museum. The original catalogue card reads: 'Copper engravings owned by the Mozarts'. A further note, in a different hand, describes: 'A number of copper engravings that father Leopold Mozart purchased during his artistic tour in London, Brussels, Paris and Naples in 1763, as well as an English prayer book purchased in London.'[1] The Brussels, Paris and Rome engravings do not survive; nor does the small prayer book. It is likely that the surviving engravings derive from the estate of Mozart’s sister, Nannerl, whose estate inventory included '28 Italian prospects with glass and frames', 2 Dutch pieces, 12 landscapes, 2 landscapes showing the Tower and Calais, 2 ditto Italian, 3 prospects of the city of London.'[2]

The following images reproduce the Mozarts’ collection of Naples engravings as they survive at the Salzburg Museum.[3]

Naples, Vesuvio

Naples, Volgarmente

Naples, Aquedotti antica

Naples, Strada di Pozzuolo

Naples, La Gaiola

Naples, Castel Nuovo

Naples, Palazzo Reale

Naples, Li Studii

Naples, Porta Capuana

Naples, S Maria della Vittoria

Naples, Castello di Baia

Naples, Anfiteatro Pozzuoli

Naples, La casa bianca

Naples, Palazzo detto delle Canonate

Naples, Salita di Capo di Monte

Naples, Palazzo di D. Anna

Naples, Piazza dello Spirito Santo

Naples, Fabrica antiqua, Scuola di Virgilio

Naples, Palazzo della Roccella, M. Vesuvio