Amici used copperplate engraving to achieve sharp lines and clear spatial definitions. His work avoids the soft, hazy atmosphere common in earlier Romantic prints. Instead, he preferred a clean, structural style that emphasised the geometry of his subjects. This approach is evident in his interiors, such as the Temple of Venus or the Great Mausoleum, where he used light and shadow to define the volume of the space. He treated fountains as architectural feats rather than decorative objects, detailing the flow of water against the stone of the Villa Borghese and Piazza Farnese.

Modern collectors value these prints for their technical precision and historical clarity. The monochromatic nature of his engravings allows them to fit into contemporary interior schemes. They offer a sense of order and classical proportion without the distractions of heavy colour or sentimental figures. These works provide a window into a specific era of Roman history, offering a direct connection to the city as it appeared before the modern age.