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Updated: June 15, 2025
Undoubtedly they ought to do so more particularly at Rome, and would so in every instance, but that much of the effect of the "Eternal City" is lost from the deserved eminence in which we know it to stand, and the consequent familiarity which we have acquired with it through the works of Piranesi and innumerable other artists.
That ancient college is extremely well calculated for such a destination, from the extent of its buildings, its remoteness from noise, and the airiness of its situation. By this liberal conduct to the PIRANESI, the French government has shewn the warm interest it takes in the progress of those arts. The establishment of these Romans is to be divided into three branches.
I could not dine in peace, so strongly was my imagination affected; but snatching my pencil, I drew chasms and subterraneous hollows, the domain of fear and torture, with chains, racks, wheels, and dreadful engines, in the style of Piranesi.
Anxious to give to these ingenious artists every facility for the success of an undertaking that they had conceived, it has granted to them the spacious and handsome premises of the ci-devant College de Navarre, in the Rue de la Montagne St. Genevieve, which the PIRANESI will shortly open as an
It tallies, too, with the Piranesi plates; while Rome has visibly changed since his day. His original designs for chimneys, Diverse Maniere d'Adornare i Camini, are pronounced by several critics as "foolish and vulgar." He left nearly two thousand etchings, and died at Rome November 9, 1778. His son erected a mediocre statue by Angolin for his tomb in Il Priorato.
A Dutch seventeenth-century etcher and draughtsman, Reiner Zeeman by name, attracted him. He copied, too, Ducereau and Nicolle. "An etching by the latter of a riverside view through the arch of a bridge is like a link between Meryon and Piranesi," says D.S. MacColl. Meryon also studied under the tuition of a painter named Phelippes.
Beyond, a band of lilac sere field, a band of blue sea; and between the fringe of the compact round pines, the sun setting, its light shivering diamond-like among the needles. February 25. Yesterday went, in a band at dusk, for a melancholy stroll through the back streets. The Piranesi effect: yards of palaces, Marescotti, Massimo alle Colonne, the staircase of Palazzo Altieri.
He portrays ladders that scale bulky joists, poles of incredible thickness, cyclopean block and tackling. They are of wood, not metal nor marble, for the art of Piranesi is full of discriminations. Finally, you weary. This aspect, then, of Piranesi's art, black magic in all its potency, need no longer detain us.
Mounted on these fantastic quadrupeds, I shot swiftly from rock to rock, and built castles in the style of Piranesi upon most of their pinnacles. The magnificence and variety of my aerial towers hindered my thinking the way long. I was still walking with a crowd of phantoms upon their terraces, when the carriage made a halt.
But raise your eyes, and behold a second flight of stairs still higher, on which again Piranesi is perceived, by this time standing on the very brink of the abyss. Again elevate your eyes, and a still more aerial flight of stairs is beheld, and again is poor Piranesi on his aspiring labours, and so on, until the unfinished stairs and Piranesi both are lost in the upper gloom of the hall."
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