Selected Etchings by Piranesi, Series II

The demand which followed the issue of the first series of small reproductions of Piranesi’s etchings has tempted the Publishers to put forth a further selection. The mine is, indeed, inexhaustible, but all the etchings, though of great individual interest, are not of equal value to architects. For them Piranesi serves two main purposes: the first, a stimulus to the imagination; the second, a store of rich and expressive detail. In this selection, to assist in the first purpose, are included a few of his own architectural designs. These do not, however, in reality exhibit his great imaginative qualities so well as his interpretations of actual buildings. Although Piranesi was careful to see that he was always styled “Venetian Architect,” we have no very reliable evidence that he ever composed a building except on paper, and such paper plans as he published do notvii suggest great practical qualities. It is in his drawings of the ruins of ancient Rome that he gives us something at once more rare and more valuable than any ordinary architectural achievement. In them he shows us the inherent romance buried deep in Roman construction. Through him we learn the spiritual character of this construction when stripped of all its worldly ornament. It is true that in his drawings the buildings have another sort of decoration—a decoration of trees and foliage. In the eighteenth century the ruins had not yet been cleaned and docketed into museum specimens, but the romance which Piranesi reveals in arch, vault, and dome is something deeper than a mere picturesque contrast with foliage and figures. The romance he shows us is the romance of any enduring monument. It is the monumental quality of Roman construction which makes it akin to the great works of Nature, and the trees and vegetation in Piranesi drawings only help to demonstrate this kinship. The gesticulating figures serve aviii similar purpose. They are the men of a lesser generation gibbering over the work of ancestors they only half comprehend.

The other and more prosaic service which Piranesi can still render to architects, and especially in these days of neo-Classic detail, is by means of his careful drawings of antique ornaments and vases from his own and his friends’ collections. Here he not only provides us with an immense fund of detail, but he draws that detail in a way which gives us at once the very essence of its character. It is a character all may not love, but few can avoid feeling how suitable it is to the age in which we live.

Selected Etchings by Piranesi.

Post Free Rates: England, 2/9; Canada, 75 cents;
America, 75 cents; Abroad, 3/3.

Buildings that have been the scene of historical events, or have played a distinctive part in the development of national life, are commonly dealt with either at length in a most unattractive style, or dismissed in a few sentences embodying dates and particulars which are frequently inaccurate. Thus, the general reader finds himself confronted with two extremes, alike unsatisfactory. It was with the express object of correcting these deficiencies in respect of certain famous buildings that the authors compiled the series of short papers which constitute the volume under notice. They have been at great pains in their task, and, as the result of much original research, a flood of fresh light is thrown upon the subjects dealt with, every chapter adding some new fact to previous knowledge, or reproducing some hitherto unknown or neglected plan. In this way we have set before us, by means of description and illustration, the most remarkable of all Henry VIII.’s palaces—Nonsuch, in Surrey, whose wanton destruction was probably the heaviest loss which English architecture has suffered since the Dissolution of the Monasteries.

The Tower of London, dealt with in another chapter, offers a wealth of interest when critical research and architectural acumen are brought into play, and in the same way the Royal Palace of Eltham, Northumberland House, Sir Thomas More’s House at Chelsea, the Fortune Theatre, Barking Abbey, and other famous buildings are dealt with.

One Volume. 5s. NETT. 275 pages.

*** END OF THE PROJECT GUTENBERG EBOOK SELECTED ETCHINGS BY PIRANESI, SERIES 2 ***

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1.	Medallion Portrait of Piranesi.
2.	Trophy of Arms.
Designs.
3.	Design for a Bridge.
4.	Design for a Forum.
5.	A Roman Hall.
6.	Imaginary Prison Interior.
7.	Ditto.
8.	Ditto.
Views of Roman Buildings and Sites.
9.	View of the Campo Vaccino (Forum Romanum).
10.	Temple of Concord.
11.	Arch of Titus.
12.	Ditto.
13.	Arch of Constantine.iv
14.	Arch of Trajan at Ancona.
15.	Tomb of Cecilia Metella.
16.	The Ponte Salario.
17.	The Ponte Lugano.
18.	Temple of Ceres.
19.	Forum of Nerva.
20.	Ditto.
21.	Temple of Bacchus.
22.	Temple of Minerva Medica (now considered part of the Baths of Gallienus).
23.	Part of the Colosseum.
24.	Basilica of S. Lorenzo.
25.	Basilica of St. Paul.
26.	Basilica of S. Sebastian.
27.	The Trevi Fountain.
28.	Fountain of Pope Paul V.
29.	The Felice Fountain.
30.	The Palazzo Laterano.
31.	The Palazzo Barbarini.
32.	The Palazzo Quirinale.
Vases, Pedestals, &c.v
33.	The Nave of St. Peter’s.
34.	The Interior under the dome of St. Peter’s.
35.	The Interior of St. John Lateran.
36.	Pedestal from the Borghese Collection.
37.	Offertory Box from the “Vasi Candelabri.”
38.	Urn from ditto.
39.	Ditto.
40.	Vase from ditto.
41.	Ditto.
42.	Ditto.
43.	Ditto.
44.	Ditto.
45.	Ditto.
46.	Ditto.
47.	Ditto.
48.	Chimneypiece from the “Diverse Maniere.”
49.	Ditto.
50.	Ditto.

1.	Title-page to the “Vedute di Roma.” (Pub. Rome 1751.)
2.	Composition of Ruins.
3.	Bas-relief from the Portico of the Church of the Apostles, Rome.
4.	Antique bas-relief from Naples.
5.	Trophy of Arms.
Designs.
6.	Design for a Grand Staircase.
7.	Design for a Sculpture Gallery.
8.	Design for the Mausoleum of a Roman Emperor.
9.	Sketch Design.
10.	Composition.
Views of Roman Buildings.
11.	Pyramid of C. Cestius, Appian Way.
12.	Temple of Hercules, Cora.
13.	Basilica of Maxentius, Rome.
14.	The Capitol, Rome.
15.	Ditto.
16.	The Colosseum and the Arch of Constantine, Rome.
17.	The Colosseum.
18.	Tomb of Hadrian (Castle of St. Angelo).
19.	Ponte Molle, Rome.
20.	The Temple of Vesta at Tivoli.
21.	Interior of the Pantheon.
22.	Gallery in Hadrian’s Villa, Tivoli.
23.	Ponte St. Angelo.
24.	Temple of Concord, Rome.
25.	Interior of Santa Maria Maggiore, Rome.
26.	Piazza Navona, Rome.
27.	View of the Churches of the Madonna di Loreto and Santa Maria, by Trajan’s Column, Rome.
28.	Piazza of St. Peter’s, Rome.
29.	Antique Equestrian statues (Castor and Pollux) on the Quirinal, Rome.
30.	The Quirinal, Rome.
Imaginary Roman Prisons.
31.	Etching from the series of imaginary Roman Prisons.
32.	Ditto.
Vases, Tripods, &c.
33.	Vase from “Vasi Candelabri.” (Pub. Rome, 1778.)
34.	Vase from ditto.
35.	Vase from ditto.
36.	Vase from ditto.
37.	Vase and tripod from ditto.
38.	Vase and pedestal from ditto.
39.	Tripod from “Vasi Candelabri.”
40.	Tripod and bas-relief from ditto.
41.	Tripod from ditto.
42.	Lamp from ditto.
43.	Vases from ditto.
44.	Altar from ditto.
Chimneypieces.
45.	Design for Chimneypiece from “Diverse Maniere.”
46.	Ditto.
47.	Ditto.
48.	Ditto.
49.	Ditto.
50.	Design for a Chimneypiece and clock from “Diverse Maniere.”

The Project Gutenberg eBook of Selected etchings by Piranesi, series 2

Selected Etchings
by
PIRANESI

LIST OF PLATES

INTRODUCTION

TECHNICAL JOURNALS, LTD.