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This 1819 plan of Rome, created by Pietro Ruga and sold by Nicolla de Antoni in Piazza di Spagna, presents a meticulously detailed depiction of the city and its ancient monuments, enhanced by inset illustrations of significant structures.

This map, flanked by 15 architectural floor plans, was likely designed for more serious travelers, including northern Europeans on the Grand Tour, and for architectural scholars. Pietro Ruga, active in the first half of the 19th century, was known for his architectural engravings. His work, including various maps of Rome and engravings for books like Lorenzo Roccheggiani’s work on furniture and decorative arts, solidified his reputation as a master engraver of architectural subjects.  

The emphasis of the map is on architectural marvels, ruins and Rome's rich history.  The list of rioni (districts) on the left, including Monti (I), Trevi (II), and Trastevere (XIII), organizes the city's ancient divisions, illustrating the structure of Rome's historic urban fabric.

The Piantà del Teatro di Marcello (Plan of the Theatre of Marcellus) highlights one of Rome’s largest ancient theaters, started by Julius Caesar and completed by Augustus. It showcases a semicircular design typical of Roman theaters, including details of the seating and stage layout. Adjacent to it, the Piantà del Tempio di Antonino Pio (Plan of the Temple of Antoninus Pius) presents the rectangular temple built in honor of Emperor Antoninus Pius and his wife Faustina, with its classical colonnade encircling the central chamber.

The Piantà del Tempio di Claudio (Plan of the Temple of Claudius), located on the Caelian Hill, reflects Roman imperial architecture with its circular design. Nearby, the Piantà del Tempio di Castore e Polluce (Plan of the Temple of Castor and Pollux) in the Roman Forum exhibits a rectangular temple layout, with prominent columns, dedicated to the twin gods. The Piantà del Pantheon in Oggi la Rotonda (Plan of the Pantheon, now known as La Rotonda) captures the Pantheon’s iconic circular structure, highlighting its central oculus—one of Rome’s most famous and enduring architectural feats.

The Piantà del Tempio della Sibilla a Tivoli (Plan of the Temple of the Sibyl at Tivoli) illustrates the circular design of this ancient oracle's temple located outside Rome, while the Piantà della Basilica di S. Paolo (Plan of the Basilica of Saint Paul) and Piantà della Basilica di S. Lorenzo (Plan of the Basilica of Saint Lawrence) display the layout of two of Rome’s most significant early Christian basilicas, with their typical long nave structure.

Other notable insets include the Piantà del Circo di Massenzio (Plan of the Circus of Maxentius), showing the oval track of this grand chariot racing stadium, and the Piantà del Tempio di S. Costanza (Plan of the Temple of Saint Constance), highlighting the dome and Byzantine influences of this early Christian mausoleum. Together, these plans provide a comprehensive view of Rome’s key ancient and Christian architectural structures, illustrating the city’s enduring significance.