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Updated: June 15, 2025
Ricci and Pannini were much in vogue, following the example of Claude in his employment of ruins as a picturesque element in a composition. But Piranesi excelled both Ricci and Pannini. He was an architect, too, helping to restore churches, and this accounts for the proud title, Architect of Venice, which may be seen on some of his plates.
In that endeavour he entered the library, a room comfortably furnished and well equipped with appurtenances for reading and writing. The walls were covered with views of ancient Rome and engravings by Piranesi. But neither the city of the Tiber nor the grave of Cecilia Metella, nor the Colosseum, nor the Temple of Vesta in Tivoli had the power to engage his real attention.
I leaned a minute against a Corinthian column; I lamented that no pontiff arrived with victims and aruspices, of whom I might inquire, what, in the name of birds and garbage, put me so terribly out of humour! for you must know I was very near being disappointed, and began to think Piranesi and Paolo Panini had been a great deal too colossal in their view of this venerable structure.
It is his etching, not his labour as an architect, that will make Piranesi immortal. He seems to have felt this, for he wrote that he had "executed a work which will descend to posterity and will last so long as there will be men desirous of knowing all that has survived the ruins of the most famous city of the universe."
She went to Paris with her brother and probably died there. She left some views of Rome. Francesco, with his brother Pietro, attempted to found an academy in Paris and later a terra cotta manufactory. The elder Piranesi was of a quarrelsome disposition.
Creeping along the sides of the walls you perceived a staircase; and upon it, groping his way upwards, was Piranesi himself: follow the stairs a little further and you perceive it come to a sudden and abrupt termination without any balustrade, and allowing no step onwards to him who had reached the extremity except into the depths below.
The events of dreams, as they happen, are quite plain and matter of fact, and it is only in the intervals that any suspicion occurs to the dreamer." Certainly Piranesi remembered his dreams. He is a realist in his delineation of details, though the sweep and breadth of an ideal design are never absent.
Of these the most celebrated are the plates of Piranesi, who is not only an ingenious architect and engraver, but also a learned antiquarian; though he is apt to run riot in his conjectures; and with regard to the arts of antient Rome, has broached some doctrines, which he will find it very difficult to maintain. The English are more than any other foreigners exposed to this imposition.
In the last-mentioned place, the PIRANESI purpose to establish a foundery for sculpture in bronze and other metals. The government daily affords to them encouragement and resources which insure the success of their establishment. Paris, March 22, 1802.
A generation that in England read Vathek and Mrs. Radcliffe, supped on the horrors of Melmoth and Frankenstein, knew E.T.W. Hoffmann and the German romantic literature, could be relied on to take up Piranesi, and for his lesser artistic side. Poe knew his work and Baudelaire; we see that for De Quincey he was a kindred spirit.
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