Throughout the early modern period, Roman printmakers took up the task of representing their city through the medium of print. Printer-publishers embraced a growing demand for architectural prints, commissioning etchers and engravers to produce individual city views and illustrations for book projects with a focus on Roman architecture past and present. These published works were in turn collected by Roman patrons and disseminated elsewhere in Italy and beyond; purchased as souvenirs from Grand Tour travels, for example. Upper class families often considered travel to Italy integral to the cultural education gained from a European Grand Tour. In the eighteenth century, artists and architects increasingly took part in this practice; over fifty British architects lived and studied in Rome between 1740 and 1797 alone. Etched images of Rome certainly contributed to the conceptualization of the city’s architectural identity, both for Roman elites and architects, and for foreigners. In these prints, local noble families found evidence of their urban interventions in the form of family palaces and architectural commissions. Prints gave architects within Rome and elsewhere in Europe access to exemplars from which to learn and take inspiration for their own designs, ranging from the great ruins of antiquity to celebrated buildings from the Renaissance and Baroque periods. The interconnected nature of the city’s successive built iterations became central to the identity of the city in the early modern period, and printmakers often called attention to it in their works.