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Updated: June 15, 2025
By the Temple of Vesta a lot of carts were drawn up, with galled horses and ragged crouching peasants that sort of impression which Piranesi gives. A school of little girls, conducted by a nun, was filing out of S. Maria in Cosmedin, and I helped up the leathern curtain for them to pass.
Being desirous to introduce the arts into the country where he passes the finest season of the year, and to promote the discovery of the PIRANESI, relative to the properties of the argill found at Morfontaine, he has given to them for several years the use of a large building and a very extensive piece of ground, ornamented with bowers, where all the subjects modelled at the College de Navarre, in terra cotta or in porcelain of Morfontaine, undergo the process of baking.
A manuscript life of Piranesi, which was in London about 1830, is now lost. Bryan's dictionary gives a partial list of his works "as published both by himself in Rome and by his sons in Paris. The plates passed from his sons first to Firmin-Didot, and ultimately into the hands of the Papal Government."
"Battlements that on their restless fronts bore stars" is a line from Wordsworth that Thomas de Quincey approvingly quotes in regard to his opium-induced "architectural dreams," and, aptly enough, immediately after a page devoted to Piranesi, the etcher, architect, and visionary.
That he was called the Rembrandt of Architecture is but another testimony to the impression he made upon his contemporaries, though the title is an unhappy one. Piranesi even in his own little fenced-off coign of art is not comparable to the etcher of the Hundred Guilder print, nor are there close analogies in their respective handling of darks and lights.
Whatever is to become of poor Piranesi, you suppose at least that his labours must in some way terminate here. But raise your eyes, and behold a second flight of stairs still higher, on which again Piranesi is perceived, but this time standing on the very brink of the abyss.
And I went forth with little Reverdy in the Borghese Gardens; afterwards to continue my studies of the etchings of Piranesi. Isabel now took Reverdy into her heart with an ardor that could not be mistaken. She often went to bring him from school to the pension. She took him in walks about the broken columns of the Forum.
Every one has heard of the PIRANESI. In the year 1800, PIETRO and FRANCESCO, the surviving sons of the celebrated GIOVANNI-BATTISTA, transported to France their immense collection of drawings, with all their plates and engravings. They were welcomed, protected, and encouraged by the French government.
The English mezzotinter John Martin must have studied him closely, also Gustave Doré. The Carceri of Piranesi are indoor compositions, enclosed spaces in which wander aimlessly or deliriously the wraiths of damned men, not a whit less wretched nor awful than Dante's immemorial mob.
In this way she succeeded, and both parties were satisfied. In the interior of the house my eyes were chiefly attracted by a series of Roman views, with which my father had ornamented an ante-room. They were engravings by some of the accomplished predecessors of Piranesi, who well understood perspective and architecture, and whose touches were clear and excellent.
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