This paper deepens the pictorial genre of souvenirs during the 17th century. Through an account of the state of the art and some significant examples, the research aims at analysing a type of painting that has not been extensively investigated yet by scholars so far. After focusing on general issues concerning vocabulary, formal characteristics, and functions of souvenirs paintings – to clarify the difference between this type of artwork and oil sketches – the attention is turned to artists such as Andrea Sacchi, Pietro da Cortona, Carlo Maratti, Luca Giordano, and Filippo Lauri. Those painters were all authors of small-sized replicas reproducing entirely or a detail of a large-scale work, painted by the artist for himself or for some collector. This practice played a major role especially in Filippo Lauri’s career, so much so that his work provides a unique opportunity to pinpoint the history of this type of artwork. His souvenirs enjoyed a large appreciation, telling of the cultural dynamics of late-baroque Rome, relating to its burgeoning art market, and representing an early example of the culture of collecting, which eventually developed through the Grand Tour.