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C. Q.







Limited edition of 500 copies

440 being issued by The Colswold Gallery, London,


and 60 by
E. Weyhe,






1913. Batsford. but in the latter case the question of state hardly enters. extending over many years and in a variety of collections. and in the former the division is little more than rebiting and change of numbers in the later edition. Henri Focillon (Paris. and M. This is well supplied in three recent books those of Mr. but it attempts no detailed This would be an unnecessary labour with regard to the description of state. more lightly etched impressions have until quite recently been less valued than the later rebitten states a judgement which careful comparison may induce the : amateur. by notes on Piranesi's etched work in general. The mere bulk of the volumes of Piranesi's work has made the necessary The y my comparisons. 1914. which include the majority of Piranesi's most important plates. Focillon's Catalogue is definitive as far as it goes. and one that I should long ago have thrown up were it not for a natural aversion from being baffled even where the end to be achieved is small. But I have felt that a detailed catalogue of the Prisons and Views of Rome '. 1918). to revise. with a complete chronological list of his published works treated in somewhat more detail than in either ' Samuel's or Giesecke's book. Arthur Samuel (London. and January and February. would be a useful ' ' ' guide to the collector who is often baffled by the varying qualities of these large Thus the earlier and prints owing to the difficulty of comparing impressions. The collections I have exist in the libraries of examined must be a mere tithe of those that the great English houses. Albert Giesecke (Leipzig. at least in the case of many of the subjects. 1910). I was first attracted to the study of Piranesi in 1910 by the series of early states of the Prisons acquired by the British Museum from the late Mr. Mr. Herbert ' ' This led to my article in the Burlington Magazine of May.PREFACE THIS work does not claim to be a general study of Piranesi's Life and Works. Antichita Romane de Tempi delta Repiibblica (Archi Trionfali) and the Paestum series contain examples of equal beauty. a laborious business. It also gave a chronological list of the Views of Rome '. whose earlier representatives a a . and the only one that offers a complete list of all Piranesi's etched plates. the last being in many ways the most comprehensive. 1911. details which are sufficiently indicated in List of Piranesi's Published Works. 1911). majority of the plates whose interest is perhaps antiquarian rather than artistic. which was followed in the same place in December.

Bolton. dates. the first bibliographical. for work notes on supplementary and daughter. and by his successor. have two chief aims.S.A. F.B. H. Arthur T. included. impressions in the rare state with Bouchard's address. i. Pietro. Mr. e. and my colleagues in the Department of Greek and Roman Antiquities at the British Museum. an examination of the origins.. Thomas Ashby for many archaeological and and topographical notes incorporated in the catalogue of the Views of Rome I would thank Mr. occasions. and for the description of two plates of the 'Views of Rome'. and some description of his remarkable drawings complete their scope. which are added for the sake of completeness in describing the series. I would like here to record the kind assistance given me by the late Curator of the Soane Museum. A considerable number of the plates have also been reproduced making of the book by lending many of the etchings from the stock of the Cotswold Gallery. e. M. A Laura. F. A. except for summary List of the Piranesi p. I think. my But the eighteenth century collections which would of rarities. But this might well be supplemented later. . F. short biography. Arthur H. and in etching and publishing. who carried on Piranesi's sons their father's the transcription of the Regia Calcografia at Rome. I am greatly indebted to Dr. For these further sections my List of Piranesi s Published Works. Spiers. 88. in conjunction with Focillon's Catalogue. Smith. Tubbs.A.iv PREFACE the made Grand Tour assuredly modify additional matter. would strongly advise any other Piranesi enthusiast against diving into further sections of the master's work with the aim of continuing the detailed catalogue.I.. if it seemed to be desired by subscribers to the present work. which includes a large number of the early states. by Francesco. as well as intermediate states which I should probably have failed to note without his indications. the British Museum and the Soane Museum only providing a few rarities.A. The work of G. B. He has ' ' also greatly facilitated the for reproduction.I. taken in part from my earlier articles. sufficient basis for study and reference. Walter L. the owner of a series.. introductory notes that follow. unless he is prepared for athletics in addition to I research. Francesco. F. if they did not reveal much description in . the second an estimate of his place in the history of art and of the comparative artistic value of his different works. Mr. for help on many ' '. B. with indication of plates in each (which is here reprinted in revised form).R. is not Work in the In the work of comparing the states of the Views of Rome I have been constantly helped by Mr. by another volume of selected illustrations. The and content of Piranesi's work in relation to existing documents.R. g.A.S. offers. Percy B.



but this is apparently the only one containing a complete list of Piranesi's plates. J. L. William. LE GRAND. 262. 1879 &c. (14 pp. in facimile. G. GlESECKE. 8. LANGE. British Museum (Department of Prints and Drawings). pp. Architecture. A. B. Arthur. The Etchings of Piranesi. pp. &c. pp. Compiled Battista's son. Giovanni Battista Piranesi. CEuvres de Jean-Baptiste et de Francois qui se vendent chez Ends: De les Auteurs. Berlin (Weise Vedute di Roma. Rue Felice. BIAGI.BIBLIOGRAPHY CEuvres des Chevaliers Jean-Baptiste et Francois Piranesi qu'on vend separment dans la Calcographie des auteurs. 1820. 1885-8. HIND. n. iv (1898). a Paris rue de rUniversite". Piranesi and his Careen. ROME. BlANCONi. B. Piranesi: some G. 18. L. See below. 35 and 36 and G. ROGER-MILES. Ausgewahlte Werke von fol. B. xix (1911) 8l. ii. Giovanni Battista Piranesi. monumental work. Pietro. Paris. Manuscrits. pres de la Trinite de Monts. 127-40. Leipzig [1911]. Francesco Piranesi. Burlington Magazine. Piranesi.). B. 749. (Bauschatz. 89]. Bibl. Calcographie des Piranesi freres. a I'lmmortalite". YOUNG. [There are numerous earlier and later editions. Opere^ 1802. The others contain a list of titles of the various works. Ser. and 200 plates). Rome. G. ii (1831). 2. G. Piranesi. Nouvelles Acquisitions Frangaises Notice historique sur la vie et les G. STURGIS. 135. . vi. Paris. 1900. B. The Library of the Fine Arfs. Sull' incisione e sul Piranesi. vin de la Republique e. 17. M. 1910. I'lmprimerie de Prault. by Legrand from materials supplied by Giovanni 5968. Elogio storico del Cav. d. Life of the Chevalier Giovanni Baptista Piranesi. 29. & Co. A. p. 34. Burlington Magazine. B. 1792. and a list of his works. J. no. Russell. Piranesi's Roman Piranesi. The Dome. fol. &c. rue Taranne. L. nos. A. Selected examples from London. GIESECKE. New York (Keppel). as introduction to the proposed French edition of Piranesi's text. but never used. Rome. In Antologia Romana. text. and only cite the separate plates in the case of Views of Rome. Ann. Piranesi. and Ornament. 296. further notes. 187. SAMUEL. P. 1913. Apparently intended. ouvrages de G. Bianconi. 1800). Regia Calcografia. Piranesi. CORBEILLE. 1891. London. Sculpture. Meister der Graphik. Catalogo. no. Depot des Machines. 137 pis. Nationale. Bd. A. 1779.). Venice. von G. xxir (1913-14). (i. Le Style Piranesi. 1900.

FOCILLON. Reproductions de 1'ceuvre dessine et grav de 1746 a 1778. English edition. B. d.]. B. (1912) 105. Technical Journals : Westminster [1914. Milan. S. ASHBY. [About 1914 or 15 : ?] MUNOZ. Henri. Paris. Turin. HOLTZINGER. iii (1897) and iv (1898). &c. and ' Le Carceri d'Invenzione Print Collector's Quarterly. Reilly.. di tutte le opere incise da MORAZZONI. Giambattista Piranesi. Piranesi Collector's Quarterly. A. Giovanni Battista Piranesi. Paris. (1915) 191. 94 High Holborn. v. London.. 1918. Burlington Magazine. A. n. SCHULZ. Architetto Incisore. Piranesi. B. B. HERMANIN. Essai de Catalogue Raisonne de son ceuvre. FOCILLON. Thomas. London. LANCIANI. vedute Romane. Piranesi. Piranesi. ii. (Euvres choisies de J. Notizie biografiche. November. B. Rome. F. 1913. B. fol. The Ruins and Excavations of Ancient Rome. . with an introduction by C. AMELUNG. con prospetto bibliografico e un indice G. 1906. M. 1918.viii BIBLIOGRAPHY F. W. and H. Print MOORE. Piranesi. Arthur Strong. circulation by B. '. Giovanni Battista Piranesi. G. Batsford. H. [1913]. Review of Focillon's Work. 1920. Paris (A. IviNS. B. B. The Museums and Ruins of Rome. Goethes Rom in 50 Abbildungen nach Stichen von Giambattista Piranesi. Leip2ig. Catalogo delle incision! con Le Gallerie Nazionali Italiane. 341. W. London. F. G. 1897. O. A Catalogue of Prints of Views in Rome and Paestum by G. T. G. R. B. Piranesi. H. Vincent). 1720-78. Henri. Piranesi G. revised by the authors and Mrs. Gabinetto Nazionale delle Stampe in Roma. 1921. Piranesi. Milan. Junior. Printed for private Selected Etchings by G. 50 Tavole con Introduzione di HERMANIN. 1918.

A good collection with several rarities. including the volume with title Le Magnificenze di Roma. miscellaneous collection of separate prints including a large number of early Roma. KING'S.K. ] BRITISH MUSEUM LIBRARY. LONDON.M. states of the Vedute di B. Bound | paper backs. A good collection. Edition of the Ved^^te di Roma.L. | \ \ piranesi architect \ A PARIS [on some labels it reads N Decimus Burton. and greenish -blue marbled sides. DEPARTMENT OF PRINTS AND DRAWINGS. THE LIBRARY. SOANE. J though all the plates of this edition occur in other works.COLLECTIONS CONSULTED AND ABBREVIATIONS USED Certain references are but I made in the Catalogue to rarities in Foreign collections. early edition of the Opere Varie. 136]. LXXIV). South Kensington. and a rejected plate of the Paestum series (reproduced on my pi. S. Rue de la Harpe Au-dessus de celle de Medectne. A few volumes. Relieur 132 de la Guerre et Calcographie et Doreur de la Trisorerie Nationale. ROYAL INSTITUTE OF BRITISH ARCHITECTS. SOCIETY OF ANTIQUARIES.M. A good collection. VICTORIA AND ALBERT MUSEUM. B. an early issue of some of the plates of the Antichitd. sets (one in the There are two Firmin-Didot's titles King's Library) apart from the edition with dated Paris. is Le Magnificenze di Roma.M. Intermediate Paris Purchased 1863. in green \ 1800-7). and early edition of the Carceri with title-page in second state. SIR JOHN SOANE'S MUSEUM. First Paris Edition (27 vols. Romane. 16 and 17. DEPARTMENT OF ENGRAVINGS. Purchased about 1864. . LONDON. LONDON. 1751. the early edition of the Carceri with title in second state. I There is a very good collection in the Library. 1835-9. under the title Camere Sepolcrali... ROYAL ACADEMY. 1751. LONDON. with binder's label inside covers. S.K. From The Vedute collection of the di Roma are vols. LONDON. have not personally consulted these in the study of Piranesi. TESSIER.L. the only volume not represented. BRITISH MUSEUM. VICTORIA AND ALBERT MUSEUM. A B.L. LONDON. du Bureau N \ .

369. in the Principal Libraries of 1909.e. CHEETHAM'S HOSPITAL AND LIBRARY. 17. was omitted Spencer Early edition of the Carceri (with title in first state) in the John Rylands Library.x OXFORD (1) COLLECTIONS CONSULTED BODLEIAN. (3). 40. All the volumes contain Lord Fitzwilliam's autograph and the year in which he acquired them (i. (1) JOHN RYLANDS LIBRARY. Manchester and London. Vine. MANCHESTER. . with the miscellaneous collection of plates (early state of Carceri^ &c. From the Spencer collection and (2) (3) other sources. CHATSWORTH. CAMBRIDGE. in Focillon's Catalogue. a few in 1786 and 1790). 14. title in A (3) Contains seven plates of the early edition of the Careen.). in the above catalogue it was a separate purchase and not from the . 38. Antichita but contains the most important work in fine impressions (Opere The Vedute di Roma are incomplete &c. Incomplete set. and also volumes in other A Classified Catalogue of the Works on Architecture Manchester and Salford.). 3. TAYLORIAN. and address. Vols. 987-90. 9. Romane. 15. 1 6. Most of the important works. 8. SIR REGINALD BLOMFIELD. good collection in thirteen volumes (wanting the following nos. (2). 991). collection. 1757. Also Roma two early states. 19. good collection in twenty volumes. varie. 382. ROYAL LIBRARY. 19. Incomplete set of the First Paris Edition. 380. 8. FITZ WILLIAM MUSEUM. nos. good collection. 16 occurs one being a proof before THE MARQUIS OF LANSDOWNE. in the There are good collections Manchester libraries. 399. 45. Bound in binder's label as the complete set at South Kensington. 13 bis. 35. 2. R. 40. with second state. Guppy and G. I. Contains the rare volume Lettere di giustificazione scritte (thirty-nine impressions). See H. 400.A. No. Roma 1751. Contains the rare volume Lettere di giustificazione a Milord Charlemont. THE DUKE OF DEVONSHIRE. same form and with same 1 2. 1781 for the most part.1 8 and 22. 72-119. Paestum. above (i). 1757. series in sixteen A A volumes. (2) A scritte ASHMOLEAN. rare volume Le Magnificenze di WINDSOR. 56 of the Vedute di in in the early state before price all letters. a Milord Charlemont. MANCHESTER SOCIETY OF ARCHITECTS. in addition to the early states of the Vedute di The Roma. BLOMFIELD.

Shenley.AND ABBREVIATIONS USED XI CHARRINGTON. F. 13). 1751. Also most of the other published works. DAVIES. .R. A good collection of the Vedute di Roma in various states. A volume of fifty-nine of the Vedute di Roma A considerable number in the rare state with e (nos. W. Miss CATHERINE DAVIES.A. and in an intermediate state before the heavy rebiting or added work (see references in catalogue). tion of plates and Vedute di Roma.W. S. with the miscellaneous collecFrom the collection of Mrs. Mr.B.C. Herts. PERCY B. Gilbert Drage. address of Bouchard or Bouchard Gravier TUBES. 28 Hans Place. A considerable number in early states. JOHN CHARRINGTON. 1-60 with exception of no.. 10 Gray's Inn Square. The rare volume Le Magnificenze di Roma. London. TUBES. before Piranesi's address and price. Mr.I.

in the Text. From an impression in the British Museum (Print Room).LIST OF ILLUSTRATIONS PORTRAIT OF GIOVANNI BATTISTA PIRANESI. engraved by 1750 . Tubbs. INTERNAL ELEVATION OF AN ANCIENT RESERVOIR. PI. From impressions in the PI. THE ARCH OF GALLIENUS. and the Cotswold Gallery. 34. in Romane.. LXXIII. issued in British from the Prima Parte di Architetture. Percy B. 34 and 35. II. in the vineyard formerly belonging to the Jesuits below Castel Gandolfo. 1743. Proof of a rejected etching for plate 12 of the series of Views at Paestum. pi. ROME. and 35 shown in two states. PI. 58) being from the British Museum (Print Room). LXXII. From an impression belonging PI. Repubblica. 15 PI. LXXIV. with nos. INTERIOR OF THE SO-CALLED TEMPLE OF NEPTUNE AT PAESTUM. and the Antichita Frontispiece. 1764. as rethe Opere Varie. of his own Works. THE COMPLETE SERIES OF THE VEDUTE DI ROMA (except the last two plates. opposite p. III-LXXI.A. . 22 from the Antichitct d'Albano e di Castel Gandolfo. p. 6). PIRANESI'S the Soane the Text. Felice Polanzani originally used as frontispiece to the Opere Varie. I. 19. Museum Room). 12 on PI.B. from an impression in including the Vedute di Roma up to no. between pp. LXXIII. 1778. PLATE OF WATERMARKS. 134 (the edition described as no. PLATE British OF THE CARCERI shown (Print in two states. 1756. From impressions in the possession of Mr. From an impression in the British Museum (Print Room). 1750. 27. From an impression in the King's Library.I. PI. LXXIV. from the Antichitd Roinane de* Tempi delta Early state before numbering. n Museum.R. F. one only (no. 1750. ENGRAVED CATALOGUE Museum. GRUPPO DI SCALE. PI. to the author. which were engraved by Francesco Piranesi). pi. 1748.

But He no paintings by his hand are identified. for Tiverton. See Law Lists and F. under Carlo Zucchi. The editor of the Library of the Fine Arts is given in the B. and was lodged for a time at the Venetian Embassy. at Liddiard House. he was educated as an architect under his maternal uncle Matteo Lucchesi. K. the engraver of one of the largest views of Rome but jealousy of supposed secrets of the craft hidden from him caused a breach. See Bibliography.P. In 1740 Piranesi left Venice for Rome in the suite of the ambassador to the name on Papal Court. BIOGRAPHICAL 1 GIOVANNI BATTISTA PIRANESI was born in Venice on the 4th October 1720. He is also said to . various title-pages of his works but his practical work as an architect was limited to a few restorations. The writer also states that the publishers.P. have worked in the shops of the scene-painters Giuseppe and Domenico Valeriani. 1832 and 1833-5) wh died on I5th May 1859. The son of a stone-mason. late M. Maria Aventina. His pride in his profession of architect and in his native town his is evidenced in his constant use of the appendage Architetto Veneziano to . the 1 editor must have been the James Kennedy (Barrister.. and the Priory of the Order of Malta. which is further explained by a note by Dawson Turner in the Print Room as ' Kennedy. Netting Hill. Grove Terrace. or the publishers mentioned. and then in possession of the editor. Esq. B . who died in Bologna in 1742. Legrand (MS. The chief authorities for Piranesi's life are Bianconi.I. come in touch with the latter in his father appears to have had little success in these early years at Rome. may be still in possession of the document. after a quarrel with Lucchesi. Priestley and Weale. He studied etching under Giuseppe Vasi. who was probably also the author of the article. M. and an anonymous writer in the Library of Fine Arts (1831). continuing his studies. Possibly if such exist. Catalogue under the initials J.. Rezzonico about 1764-5. had projected its publication. The last named was based on a manuscript described as written by one of Piranesi's sons. Piranesi may have one of his journeys to or from Rome.). such as that of the Church of S. which he was commissioned to undertake by Cardinal G. M. Perhaps some representative of the family.' Taking the two together. Modern English Biography. B. Boase. in which he is said to have threatened to murder his master. and to have studied under another famous scene-painter Ferdinando Bibiena. and as was unable to continue his allowance returned to Venice in 1744Bianconi states that he studied painting about this time in Tiepolo's studio. they may go under the names of Marco Ricci or Pannini who were the chief influences in forming his style of architectural composition. Another lost source is Piranesi's own manuscript memoirs referred to by Bianconi in his Elegio Storico.

A. even if he lacked the scholarship to put it in proper form. true his five days' courtship of a girl whose face had taken his fancy while sketching in the Forum. Theobald. which ended in the bitter recriminations of the Lettere di Giustithe names of many English patrons. and he must have left besides a great deal of the material in notes and drawings used in the publications carried out by his sons Francesco and Pietro. Other relations with English connoisseurs are seen in the plate of the Arco di Aosta after a drawing by Sir Roger Newdigate (the antiquary and . He certainly had the flair for antiquities and no doubt inspired his press. 1 With his remarkable diligence was united a most impetuous and quarrelsome Whether apocryphal or nature. C. His in etched plates is enormous (it is about 1000 numbers in all. 1765. Gavin Hamilton. H. architecture It is uncertain how much of the text of his publications is actually Piranesi's own Bianconi regards him in this respect as the unlettered publisher of the writings of others. of which we have already given two examples. who helped Piranesi from his own stock to found a similar establishment in Rome. Rogers. They were Francesco (born 1748 or 1756 died 1810). issued from his studio until his death in 1778. founder of the Newdigate Prize) published by Piranesi in his Archi Trionfali. and in his intended dedication of the Antichitd Romane to James Caulfeild. and it was on this subject of indigenous Italian art that he fell foul of the famous connoisseur and dealer P. Norris 2 1 J. Collinson. See List of Piranesi's Published Works. Pond. are further incidents related that illustrate his temperaHe had two sons and a daughter. and the output majority detailed plates of the largest dimensions). a successful engraver and publisher of Venice. encouraged to return to Rome by Giuseppe Wagner. but this may probably be regarded as an exaggeration. and was elected a Fellow of the Society of Antiquaries in I757. His position in Rome and in Europe after 1760 was a prominent one. He was proposed by the Bishop of Ossory.g. (Secretary). the Etruscan (as against the Greek) origin of the majority of Italian architectural antiquities. Cooper. P.a GIOVANNI BATTISTA PIRANESI He was soon. illustrating and antiquities. This time he achieved success. and his threats to kill the doctor who failed to save the life ment. A. e. He was on terms of friendship with the famous architect Robert Adam who was in Rome between about 1750-5. Pietro (who lived till after 1807) and Laura (born 1750). J. He ran to death the theory of writing. and a constant series of works. 2 an honour which he displays on several title-pages from that date onward. He must have been a well-known figure to the wealthy English visitors in Rome. Earl of Charlemont. . and W. Baker. Osservazioni. Mariette. all of whom helped him in his work and after his death carried on his publications in Rome and Paris. Elected Honorary Fellow 7th April 1757. however. of one of his children.

and for other works completed after his death by his sons. in November Rome 1778. G. publishing. Maria Aventina. Piranesi died two months after the papal imprimatur of his Paestum Cavalier Piranesi series. Three of the etchings of Paestum were signed by Francesco. and the frequent regular purchases gift of the Pope to distinguished guests. pp.BIOGRAPHICAL and Thomas Jenkins. and regularly signed his plates Sets of his works were among the sc. Most of his life was passed in Rome. and directing a workshop in which the restoration and sale of antiques played a considerable part. of 1778. from this date onwards. B.* 3 on a large number of the plates was knighted by the Pope in 1765. 19 and 20. In 1778 he made a journey with his son Francesco to Naples and Magna Graecia. figure in the dedications in his Vast. Arthur Samuel's book See below. of the travelling noblemen and connoisseurs. who may also be partly responsible for the original draw2 ings preserved in the Soane Museum. writing. 1 He and was buried in S. 2 Mr. Candelabri^ &c. collecting the material for his Paestum series. B 3 . for further discussion of this subject. In regard to English connoisseurs in Piranesi's circle at contains considerable material. etching.

Tom. Bartolozzi's reproductions of Guercino drawings). Etablissement des freres Piranesi au . Duchesne. 2 an order which is also followed in the Paris Edition of Firmin-Didot of 1835-9. p. There is a complete set in the department Museum-. The Papal sanction for the reprint of the catalogue given on the last page also implies the existence of an earlier edition. and IX 6 Amide (1803). The only copy known to me. This is also an extremely rare volume.II. freres. is of this edition of 1792. in It should brothers Piranesi at Paris in 1800. under the title CEuvres de Jean-Baptiste et de Francois qui se vendent chez les auteurs. Museum Print Room. Rome MDCCXCIL in the British Dans tlmprimerie Pilucchi Cracas. NOTES ON PIRANESI'S WORK work of G. but a considerable number of the sections described were only in course of preparation in 1792. p. The complete sets of volumes as advertised in the catalogues of 1792 and 1800 contain plates by Giovanni Battista Piranesi's sons Francesco and Pietro. a t Immortalite Ann. Paris. C. 238 J. of Engravings at the Victoria and Albert . the only copy . Rue Felice^ pres de la Trinite des Monts vis-a-vis le corps de garde des Avignonais. 749. Tom. C. Publit par Piranesi proprittaire. a Paris Rue de /* University De"pot des Machines 296. Blanvillain. known being that of the Soane Museum in Lincoln's Inn Fields. 1807-8. e Magasin Encydopidique (re'dige' par A. p. Tom. college des Grassins. of the This catalogue shows thirty-two sections or volumes distinguished by Roman numerals. 1 . des Freres Piranesi. the catalogue printed by the Piranesi Calcographie des . but from the form title one would expect the catalogue to have been first printed in the lifetime of Giovanni Battista Piranesi. Millin). Piranesi THE chief basis for a List of the and his sons is the printed Catalogue with the title (Euvres des Chevaliers Jean Baptiste et Francois Piranesi quon vend stparement dans la Cakographie des Auteurs.g. Quelques Idles sur I" Etablissement 283. South Kensington. 6. With imprint and date on last page de Vlmprimerie de Prault. It is seldom that one finds even contemporary editions bound with volume numbers corresponding to be noted that these section numbers are altered this early catalogue. as well as miscellaneous plates by other engravers and etchers (e. rue Taranne. 208. 5. vmde la Rdpublique. p. B. N N 1 . . II. 1802 (interesting also from references to the French Government's project of an Academy with Francesco Piranesi at its head) and J. but is useful as a guide to the arrangement of the first Paris edition of 1800-7 l in twenty-seven folio volumes. It adds little to the earlier catalogue. 8 rue des Amandiers. V Anne (1799). Paris. LeParise'um. . no.

The and most modern impressions are on wove paper. Piranesi's original work. which is generally in the year before publication. it is the It quality of the etched line which is the chief criterion of value of impression. The Calcografia (since 1870 the Regia has continued to issue impressions to the present day. 3 1-4). All editions of Piranesi's work until that of Firmin-Didot (Paris. of Battista. still show a certain strength. selves. which in spite of their pre-eminence in Piranesi's work impressions for imaginative force and vigour of handling (perhaps I should say on account of their pre-eminent qualities) have never been among his more popular prints. But some dates quoted are manifestly erroneous. one is naturally inclined to confi- dence in its data. 3 and 8 being easily confused. for the remarks about the editions of this series would apply with qualification to other sections of Piranesi's work of corresponding issues. but apart from the aid given by watermarks and definite indications of state.NOTES ON PIRANESFS WORK My List of Piranesi's Published 5 Works in addition to G. paper showing parallel wire lines). but includes reference to such plates it does not extend to the series published by Francesco and Pietro Piranesi after their father's death in 1778. and no doubt e. The list of the 137 views various places among large collections of the master's work. In other cases divergence of date by a year is immediately explained by the fact that the catalogue constantly cites the exact day of the papal approbatio. in The Pianta diRoma which 135 were produced by Giovanni of 1778 is also often bound the 1792 Catalogue is arranged roughly by subthe series are bound in this order. The the brothers Francesco and Pietro to Paris about 1800 were bought from Firmin-Didot by the Camera Apostolica in 1839. and transferred to the Calcografia Camerale. One plate was .e. of the Carceri. and the natural inference is that here we have a printer's error. original plates taken by ' '. Apart from ject. 1758 for the Trofei di Ottaviano Augusto which is dated 1753 on its title-page. and two by Francesco. Being the repeating the material of the date of publication or production of a large earliest bibliographical authority. while the Views of Rome the inevitable purchase of successive tourists in Rome. printed Thus modern in large numbers. the largest and best known series of Piranesi's views. The Catalogue of 1792 gives number of the works. 1835-9) are printed on thick laid paper (i.g. and most later editions of this list one has the single sheet engraved catalogues which are found inserted at with the complete series. The greatest problem is the dating of the Vedute di Roma. deteriorated much more quickly than others. its earlier editions. For more Calcografia) detailed distinction of paper and watermark I would refer to the catalogue of the Vedute diRoma (see pp. as the more popular plates. are for the most part mere wrecks of their former Firmin-Didot editions. is not a certain indication of date and issue. In general the fine early impressions are on stout and fairly white laid paper. B.

Gough Collection. for suggested reason. Other CHARRINGTON. King's Library de* (147. Piranesi's life. About 1761. Tab. Luke on Piranesi's reception in 1761 contained only fifty-four plates. i. (6) British Museum. 135 by Francesco. About 1763-4. Romani. iv of the Antichita Romane. British Museum Library. 488 d. being the Arco di Benevento. Piranesi. (4) About 1762. Ill of Arthur Samuel. Includes various separate plates also his Raccolta di Tempi antichi (1780). f. Other last entry Antichita di Cora. Vedute up to no. (12) Sir John Soane's Museum. Luca. Other last (5) John Rylands Library. 36. Manchester. i (5). Thomas Ashby. 134. About 1769. 65 (with manuscript Other last entry Descrizione delle Antichita di Cora. additions). .6 NOTES ON PIRANESI'S WORK used throughout G. Vedute up to no. Vedute up to no. 59. Windsor. The title of no. Cambridge University Last entry of other Library (with manuscript additions). Same engraved entries as (3) with additions of price and number of plates of Delt Emissario del LagoAlbano. Other last entry Vast Candelabri. In the possession of Messrs. Marie tte. Accademia di S. 135. 744. About 1764-5. Kupferstich Cabinet (reproduced by Giesecke. 1784 (reproduced on plate II in the present volume). no. 83. Rome. Vedute up to no. 60. 9). About 1764-5. new entries being engraved on the plate as the works were published. About 1773. show by . Vedute up to no.) Otherwise similar to (10). No. About 1764. 135. entry (10) Dresden. 410. and have merely given in the above ' list enough indication of the contents of the different states to 1 that the respective dates are for the most part fixed See Catalogue of the Views of Rome '. Print Room. About 1761. . Vedute up to no. (13) Collection of Dr. T. Vedute up to Library. 72. (The copy of the Vedute presented to the Academy of St. (7) Berlin. 1 Other last entry Vedute 21 di tre Tempi a Pesto. 1765). Bodleian. and the Arco di Benevento does not appear at all. f. (11) Oxford. About 1779. . 80. (reproduced on pi. 1911. Print Room. 107. About 1780. 63. Of this Catalogo delle opere date finora alle luce da Gio. 1910). About 1766. (a). About 1771. Vedute up to no. (8) (9) British Museum last no. ed. at end of vol. Royal Library (at end of volume including the Delia MagnifiRoma 1761 and Osservazioni sopra la lettre de M. cenza di entry Raccolta diDisegni del Guercino. Includes Vedute di Roma up to no. 60 (with (3) of other works Lapides Capitolini (Fasti Last entry manuscript additions). B. Batsford. (Del Arco di Benevento.) (2) British Museum. Vedute up to no. Battista Piranesi I am able to refer to the following impressions. pi. I Vedute up to no. 97. 107 has been altered to Del Palazzo Farnese. Vedute up to no. Diversi manieri d'ornare i Camini. showing thirteen different states (1) : Rome. 60). Ltd. works Delia Magnificenza Consulares). B.

33. From view no. one incomplete. 1729 twice for 17491 1775 But the chief problem of date arises from a consideration three times for 1757). another in the collection of Mr. in the Soane Museum. duction of the 'Views of Rome' as given in the catalogue of 1792. or Francesco Piranesi in his Catalogue of 1792? As to the possibilities of the date on the title-page being incorrect. John Charrington (formerly belonging to Mrs. the fifty-ninth view. were produced as late as 1760. Arguments which I had adduced Piranesi's Palazzo Tomati address (i) 2 my article in the Burlington Magazine referring to No. 41. It is certainly the most instructive order in My ' The order may which to keep the series. 45. on reference to the year of issue as given in the ' Catalogue of the Views of Rome follows the order of the engraved cataThis is the order in which all the contemporary editions were issued logues. g. 43. and six of these may be mere printer's errors (i. There are only eight cases where one is naturally driven to doubt these dates. the Soane copy also includes nos. volume. according which precede it cover most of the years between 1748-60. in the 1792 catalogue) onwards so that it is probable that he moved to the Palazzo Tomati about 1 76 1. 34 of the 'Views of Rome '.NOTES ON PIRANESI'S WORK 1793 catalogue. 37. Hamilton. 2 His ne I Palazzo Tomati mcinoalla Trinita 1 From the signature on the back of the frontispiece portrait this copy originally belonged to in in H. I 4-i9. but it is roughly so. 49~54. 1742 for 1749. and several in the list. in the British Museum). but Each of these four lacks the miscellaneous plates referred to in the title. 7 other entries beside the Vedute. and a third in the possession of the Leicester Galleries. D. as it appeared in the . one belonging to Sir Reginald Blomfield. Of A volumes contains the following thirty-four plates of the Vedute di Roma. of the early issues of the Vedute which were published by Bouchard under the title of Le Magnificenze this rare early di Roma. 28 2 9. 32 and 34. to the Catalogue of 1792. 40. and others included cenze compatible with the date 1751 on the title-page of Le Magnifiwrong.A. Gilbert Drage). as it shows the artist's development. 35. . has the title-page and Vedute di Roma. 59. 7-9. we have only to refer to the later editions of the Opere Varie shown to be after 1757. before Francesco Piranesi classed them according to subject. R. while Now. nos. I have cited the date of pronot be exactly chronological. which properly includes a selection of the other series (see List of Published Works} I know three copies corresponding to the early contents indicated in the title-page. two sets. It should also be noted that all the Vedute in Le Magnificenze are in an early state before the addition of the price and later address of Piranesi (Strada Felice de* Monti). > 4^>. 5 6 5 8 . 1751.e. (e. i-5. 3 8 . 60 (dated 1761 even the first states known often bear this address. 1 fourth copy.. though is How t this Was Bouchard the date 1750 is still unaltered on the printed title-page.

39 or 41. which were included in Le Magnificenze. which were produced in 1761 and the preceding years according to the of a particular catalogue of 1 792. the short printed list of the opere finora date in luce on p. is in favour of my argument as giving thirty-nine Vedute engraved up to that date (whether this includes title-page and frontispiece is un75^- Leaving aside the evidently erroneous date 1775 fornos. 38. but it seems in the highest degree unlikely that all nine numbers of those after nos. ii of the Antichita Romane. were engraved by 1751. 2 which includes Delia Magnificenza de Romani of i76i. It is als^o worthy of note that the ' six vention ist ' presented by Piranesi to the volumes of architecture of his own inAcademy of St. might be in an issue later than date of title-page (2) Plate III is before any address in the earlier edition of the Antichita Romane in the British Museum (that of the Another small point of interest to be gathered from a comparison of the printed catalogue in the Antichita Romane and the earliest of the engraved In 1756 this series is priced at 14 catalogues relates to the Carceri. 1761 it is . member of the Academy on the same day. i. and priced at 20 paoli. 1725-1800. which we have suggested 1757 as the easiest interchange for they might have been ready in 1756 though not actually published till 1757). besides. 4 of the preface of the Antichita Romane\ I This. and on p. Gavin Hamil- paoli by definitely stated to contain sixteen plates. and (2) on Plate III (the Index of Plates) of vol.8 earlier address in NOTES ON PIRANESI'S WORK Rome (about 1748. 1753. only includes sixty Vedute. and on the four Groteschi <ti the Opere Vane. 40 (for certain). King's Library).e. may justify a title-page. But one strong point favour of the 1792 catalogue dates being correct is that the engraved catalogue. Moreover at a particular date in the production have decided that enough had been done to series Piranesi. 1-41 of the Vedute reach the year 1756. 123 as about 1760. There is one other catalogue to which I might refer. The uncertainty as to date of Piranesi's move to the Palazzo Tomati is reflected by who refers to it on p. Focillon. I do not title-page of in feel Le Magnificenze and confidence in deciding between the relative authority of the the Catalogue of 1792. and probably before that date) was in the Corso opposite the French Academy. 39. seem to me now to carry little weight.1 as it is given on the title of the Antichitd Romane de* Tempi della Repubblica 1748. then nos. . 1 The French Academy was housed in the Palazzo Salviati. 2 A work not to be confused with Le Magnificenze di Roma. 1756. Luke on his reception on March 1761 ton was admitted as a contains fifty-four plates of the Vedute di Roma. Trojeidi Otta-uiano Augusto. . British Museum. If the earliest engraved catalogue contained fiftyit is quite probable that the views on that list were not put down in absolute chronological order. or his publisher. because (i) in King's Library copy. and this title with its original date continued to serve in later years as other plates were added. 95 of his book as about 1750.

or just over i| paoli for each plate.000 scudi from the Pope. had readily given him a subsidy of 1.e. 4.000 sheets at 4 baiocchi.B. as there were 10 Paoli to the Scudo.B. preserved in the Library of the Royal Institute of British Architects.A. so that he was naturally sore at receiving less than 200 scudi (50) for four plates of dedication to Milord Charlemont. Piranesi throws some interesting light on the commercial side of his art. Without going into the purchasing value of English money at the time this makes the whole series of sixteen plates about o shillings. a 1 . 160 to 40. for modern impressions by the Regia Calcografia at Rome still correspond 1 roughly in lire to the francs of the Catalogue of iSoo. 4th Dec.000 impressions of a plate published (like the Views of Rome) at 2^ paoli. a record of the proposed and cancelled dedications of the four frontispieces of the Antichita Romane to Lord Charlemont. of 1800 shows similarly low prices in francs. so that to bring profit down to about 75 for a plate he would estimate other publishing expenses in the sale of separate plates as 540 He said that the scudi. or about ^250) from the sale of 4.000 scudi.NOTES ON PIRANESFS WORK None more 9 of the copies of Bouchard's editions of the Carceri are known to contain than fourteen plates. or about with scorn. and it is not till the nineteenth century that limited editions. 1920. This would of course have to cover cost of paper. See Rudolf Dircks. i. e. about 75) as a fair remuneration for each dedication plate. induced high prices. i. In the rare volume. and the regular price of the separate impressions of the Views of Rome i ' ' was i\ Paoli.e. the two extra plates being added Piranesi's own edition. Some of the prices in the 1792 Catalogue are given in baiocchi. and this price of 14 paoli certainly supports the in assumption that they never contained more. which are tenths of the paolo. The Library and Collection of the RJ. of 1792 explains at the end that a scudo (tat) corresponded to ' 5 Chelin (5 shillings) in English money. the ' ' The prices charged franc being a piece of slightly higher value than the paolo.A. about ^135. which are chiefly justified in the case of dry-points and mezzotints where the plate rapidly deteriorates. 2 This statement is based on prices charged before the War. Piranesi of nth November 1760 addressed to Robert Mylne. the 16 plates the 137 plates of Views of Rome for 250 francs. The Catalogue ' It is interesting to note the original prices of the plates as sold by Piranesi. English mezzotints of the period were also sold at similarly low prices. The Paolo is thus roughly sixpence.g. An autograph letter of G. and refused the honorarium scudi..200 scudi (^300) towards the publicaPope tion of the Antichita Romane without any expectation of return in the form of dedication. the Lettere di Giustificazione of 1757. e.I. B. e. he states that he would naturally expect receive 10.000 (i. In justifying his estimate of 300 scudi (i. The Catalogue of ' ' Prisons for 18 francs. 1.e. also refers to a present of 1. i. about half a crown.^ Journal of the R.

Some of them represented vast Gothic halls. and upon little it.. expressive of enormous power put forth. Dreams given by I description of the series of the Prisons '. are among his purest ' etchings in their early states before rework. The as they are usually called from the title of their second latter plates. 1756. In the later states there is a considerable amount of rebiting. follow the stairs a further. the Arco di Galieno (see pi. . but in most of the others Piranesi is already using double biting to add variety and depth to his light and shade. called his the delirium of a fever. The same differences may be noted in the four small architectural and the reworked plates of the Antichita Romane with their original dedications in that rare volume. Piranesi used etching more purely in his earliest work. The early states are lighter and clearer in etching. a series of small oblong views. levers. which certainly adds strength. In general. i of the Antichita Romane. . and you perceive comes to a sudden. vol. cables. The difference is particularly noteworthy between the Prima Parte di Architetture and the first editions states of the architectural of the Opere same plates in the later issues of the Opere Varie. and they are entirely worthy to be ranked beside Meryon's best architectural etchings. groping his way upwards. Creeping along the sides of the walls. &c. Coleridge. on . catapults. pulleys. All readers of there called * ' De Quincey know the '. From the purely artistic side there is scarcely anything more attractive in Piranesi's work than this early series.. you perceived a staircase . and darkening of shadows. plates in the Varie. the Antichita ' Romane de* Tempi delta Repubblica or the Triumphal Arches edition. abrupt . One of them. We have alluded above to the states of the Carceri. and resistance overcome. 1757. The pre-eminence of this series in its imaginative quality fuller amid the mass of Piranesi's work demands ' comment. the floor of which stood all sorts of engines and machinery. described to me a set of plates by that " Dreams ". These early states may lack the variety given by the added work and rebiting of the later states. but they The series of smaller views in possess a most satisfying restfulness of tone. as for example in the earlier edition of the Carceri. To quote from the Opium-Eater: Piranesi's Many years ago. have a considerable portion of the same pure qualities in etching. &c. and which record the scenery of his visions during artist. who was standing by. but renders the general effect much more patchy and restless. was it Piranesi himself . Mr. when was looking over " Antiquities of Rome ". Lettere di Giustificazione scritte a Milord Charlemont. has a simplicity of tone reminiscent of Tiepolo or Canaletto. but they have already lost something of the freshness of the series of 1748. which appeared rebitten in most copies of the later edition (B) of the Opere Varie. LXXIII). wheels.io NOTES ON PIRANESI'S WORK In judging the quality of Piranesi's etching it is essential to see the fine early impressions. the author as a parallel to his own experiences whilst under the influence of the drug.

by this time standing on the brink of the abyss. The series is known in two principal editions. This edition is rare. issued by Piranesi himself. and behold a second flight of stairs still higher. that of Bouchard (who published other early works by Piranesi) in fourteen plates. including title. is remarkable it how large a proportion of his whole work (even plates illustrating pure technical details of construction) betrays the inherent imagina- But the series of the Prisons produced as it was without ulterior considerations and with all the glow of his youthful fire. : did my architecture proceed in my dreams. The impetuosity and exuberance of his nature were probably somewhat tamed in the course of his life by the drudgery of his labour. and a still more aerial flight very of stairs is beheld and again is poor Piranesi busy on his aspiring labours and so on. and as the plates are in edition of the same state except for title-page in both issues. Many of the hundreds of Piranesi's Whether these wonderful and views show a power of imagination far beyond the immediate demands of the subjects he handled. but nowhere except in the Prisons and in the architectural medleys (Groteschi) which were published in 1750 in the volume entitled Opere Varie di Architettura. remains in my opinion his most wonderful artistic legacy. and the tion of the artist. and allowing no step onwards to him who had reached the extremity. they at least proceed from a genius working at the fever heat of imaginative power. subjected to topographical and archaeological considerations. except into the depths below. Thanks to their true balance of interest. that his labours must in some way terminate here. It would be impossible to fix the issue to which separate plates belonged unless they were found with the 1 They measure about 21 x 16 in. on which again Piranesi is perceived.' plates of architectural fancy originated in the delirium of a fevered brain or not. Again elevate your eyes. With the same power of endless growth and self-reproduction . did he give his In spite of the intrinsic horror of these imagination such unbounded play. and his purely artistic aims were constantly In spite of all.NOTES ON PIRANESI'S WORK u termination. Bouchard's edition occurs in (2) two issues (i) with his name spelt with name altered to Bouchard. But raise your eyes. I prefer to treat it as one two issues rather than as two editions. dreams of prisons and torture chambers. until the unfinished stairs and Piranesi both are lost in the upper gloom of the hall. without any balustrade. there is a grandeur in the architectural setting which outweighs the mere gruesome details and enables one to contemplate without distraction the whole ideal construction of Piranesi's designs. ' '. including title. at least. later one of sixteen plates. Whatever is to become of poor Piranesi ? you suppose. Buzard on the title-page. they will bear hanging on one's walls architectural designs 1 ' l (and it is only thus that prints of this size can convey the proper impression) without inducing the obsession of a nightmare. .

e. by Brangwyn. ' of 1748. In Bouchard's edition of the Prisons ' V forte datte in luce da Giovani Buzard \Bouchard in second issue] in Roma Mercante al Corso in the latter Carceri d* Invenzione di G. was published by the brothers and the Varie Vedute di Roma was first published in 1748 by Fausto Amideo. Other dates on works of Piranesi. the title-page. and 1756 (i. In Bouchard's edition the plates are more lightly etched throughout with none of the strong contrasts of light and shade seen in the later edition. 2 in the . Antichitd as ' Romane di Tempi della Repubblica opposite the French Academy '. II. the later states. as they usually do. alprezzo di paoli venti. an upright subject where a massive gateway is surmounted by a colossal double wheel of mysterious With regard to the influence of Canaletto. before his own published by Bouchard. the Prima Parte di Architetture of 1743. a Milord Charlemont^ 1757. NOTES ON PIRANESI'S WORK The rarity of Bouchard's edition in both issues seems to show that the Carceri could not have had a large initial success. and none shows this quality in greater beauty than pi. containing. Piranesi has still not entirely broken with the style of the Venetian etchers. without in any sense being imitated. 1753. later states of plates published in the rare volume Lettere di Giustificazione scritte It is of course always possible in his early business was firmly established. In the simpler and less varied tonality of the early states. Battista Piranesi . the plates in Piranesi's edition are numbered I-XVI. VenC) while Piranesi's imprint is given at foot of the added pi. The earliest dated work in which Piranesi is shown as publisher is the Pagliarini. Fogli sedici. with added strength and emphasis achieved largely by deepened shadows. at least as seen from a distance. In the Opere Varie di Architettura there are similar editions published They are both dated 175 on respectively by Bouchard and Piranesi himself. Trofei di Ottaviano Augusto. There is a wonderful simplicity in the design in the early states. though there seems internal evidence that the sets with Piranesi's name on the title-page are not earlier than 1757. Archit. one might also construction. and Le Antichitd Romane). The influence of the latter is most clearly seen in the ninth plate of the series. years at Rome. have gained in variety and effect. the Carcere Oscura. compare another Prison subject by Piranesi. plates II and being In the former the title reads Invenzioni capric di Carceri all' acqua additions. were 1751. pi. 4 of the series. Canaletto and Tiepolo. when his address is given the fourteen plates are unnumbered . Presso t autore a strada Felice vicino alia Trinitd de' Monti . that he had arrangements with other publishers at the same time as he was issuing a certain number of copies from his own press. while his earliest work. and in 1752 by Bouchard. It is in this emphatic style in which his aims are carried on at the present day.is title-page. Nevertheless. Le Magnificenze di Roma.

But if we sometimes fourteenth. where the detail of the second state is rather disconcerting in its effect. in design in the early states of the ' The changes introduced. and the somewhat tighter penmanship is quite in Canaletto's manner. Marot architecte de sa Majestt Britannique a la ffaye. thirteenth. 3 in Livre d architectitre diferante inventte par D. Apart from pi. . pi. still seems to me on the whole a just criticism to regard these elaborated states 1 Reproduced by the Vasari Society. where designs. LXXII). 4. the eleventh and sixteenth plates are perhaps the simplest % ' PI. there is no suggestion of the horrors of the Prisons as they appeared in their final form. and other indescribable terrors. and the later additions are no doubt to some extent due expression to the solidarity and perspective regret the blackness of the foreground in the later states. balanced arches is altered comparatively little in its general scheme in the later state. Mr. 15 with its magnificently Prisons '. is certainly reflected in the Carcere oscura though less in the series of the Prisons '. we are recompensed by the introduction of fascinating architectural vistas retreating far into the background. and sixteenth plates. with chains. Samuel referred to the influence of Daniel 1 Marot in Piranesi's Carceri. as if Piranesi suffered from the lack of an earlier simple sketch to give him the beautiful features that he needed to emphasize in his elaboration. but here the new features are of greater architectural interest. wheels. X. Another sign of the more purely decorative aim of the early states is the lesser prominence of the instruments of torture that abound in the elaborated This greater singleness of aim is perfectly exemplified in pi. The same criticism applies in some degree to the eleventh plate. it In spite of the preponderance of the imaginative features in the later states. But it is without his rapid touch. 2 and 5) are quite the most confused in detail of the whole series.NOTES ON PIRANESI'S WORK 13 Printa Parte di Architetture of 1743 certainly the most beautiful etching of It is also interesting to note among the drawings attributed that early series. to Canaletto in the British Museum an Interior of a massive building of Roman architecture l which is so extraordinarily close to Piranesi in the general treat- ment of the subject that one is sometimes tempted to regard it as Piranesi's work. It may be no more than a coincidence. but the style of the Prison d'Amadis. The very flatness of the unelaborated early states gives them a peculiarly decorative character. 4. plate 9. In certain cases I think the plates have lost more in general balance than they have ' ' gained in the impression of strength. and remains one of the most impressive of the whole series (see my pi. more particularly in the fifth. 1702. It is noteworthy that the two new plates of the later set (nos. include a vista of gradually disappearing flights of steps seen through the archway on the left. besides the darkening of the principal lines. This is particularly so in the last plate of the series. to the attempt to give realistic more of things. spiked beams.

contained in the di Architetture. Here. printed at Rome in 1693 (Perspectives Pictorum et Architectorum) must also have exercised a considerable influence on this side of Piransi's work. in spite of his and the earlier sketches as that of the artist themes does not betray his profession. . There is a series of Giuseppe's drawings Pfeffel after Piranesi must have known the exaggerated mannerisms. 1743. In his more purely architectural designs of the early period. and it is a humanity that moves with a fantastic energy. but practically none of this more human side of his art. Another set of original designs which appeared in the Opere Varie. as they occurred in the Prima Parte di Architetture. Probably Piranesi's own restless spirit is reflected in many of the flamboyant figures so artistically placed in most Francesco inherited some of his father's genius for architecture. and in the early impressions of the Antichita Romane de Tempi delta Repubblica '. Giuseppe Bibiena. the four large oblong plates. Donghi. as the architectural designs of the Opere Varie. Piranesi's development as an etcher may be studied most comprehensively in his whole life. Atti della Societk degli Ingenieri e degli Archi- tetti. Prima Parte ' '. series of large plates of stage scenery engraved by Ferdinando's son. even when of his plates. Andrea Pozzo. showing him as the natural successor of Callot and Salvator Rosa. and in their romantic flavour there is much of the spirit of Salvator Rosa. full of his influenced inspirer is by Tiepolo than anything else in Piranesi's work. and places him. and the Opere Varie 1750. called Groteschi on the title-page. The cross bridge and beams in diately lends cohesion to the whole structure. where the additions of a large wooden gallery or bridge immeseventh plate. which is always suggesting elements of life beyond the mere stone he depicts. e i Bibiena. I Piranesi Turin. the thirteenth plate work similar wonders with another design which lacked as the who solidarity in the early state. Throughout his architectural and topographical work Piranesi never loses sight of humanity. '. among the greater imaginative artists. Architetture e Prospettive. dealing with archaeology and topography. Piranesi was less both in theme and treatment than in the Prisons Here he shows very original the influence of the architect and scene-painter Ferdinando Bibiena (Galli). but he happily kept clear of the overloaded and fantastic ornament that mars Giuseppe Bibiena's work. There is often a vagueness of design in the early states which perhaps only needed some This is especially remarkable in the striking architectural feature to dissipate. Their technical Tiepolo. extending as they do throughout ' in the early states of the Prisons 1 See D. and the forerunner of Meryon and his haunted Paris. architectural medleys. 1743.i 4 NOTES ON PIRANESI'S WORK work of the architect Piranesi. 1740. 1890. Augsburg. one may the ' Views of Rome'. in the British Museum. are more for stage decoration. the author of a book on perspective. 1 clearly of whom there are a few drawings in the Victoria and Albert and Soane Museums.

more delicate . but certainly distracts the interest from the larger masses. Apart from these general differences. which must have been before 1760. Maria Maggiore (9). though the 5. as seen in the hand. the Ripa Grande^ a barge in the centre in the development of states. It is interesting to note two or three of the more drastic changes on the plate In no. This is constantly so in the addition of dark patches of cloud in the sky. is cleared away in the second state. 27. 15 a purer use of etching and a lighter and less varied tonal There is an increasing tendency in the biting or views to stronger contrasts of light and shade. But it by no means always enhances the beauty of the print.e. up to about 1760) exist in early states. The lightly etched states are for the most part before any address in the inscription. one can cite many plates in which the additional detail definitely mars the composition. and the earlier states and regular surfaces of tone of the of decorative design. earlier e. itself is entirely Then in the Pyramid of Caius pyramid re-etched on a larger . of the canal.NOTES ON PIRANESI'S WORK remark scheme later in general in the earlier plates of the series. for it immediately strengthens the power of the design if the print is hung on the wall. and the Hadrianeum (32). loaded high with timber. Piranesi may have had the right instinct in emphasizing the design in this way. For the most part the changes made are limited to a general darkening of the shadows either by rebiting or occasionally perhaps by the use of the graver. 59 may also be noted in Piranesi's rework of the (i. and sometimes already in the intermediate state with the address of the publisher Bouchard (or the publishers Bouchard e Gravier). obtained either by second by the use of the graver in broadening and deepening the etched lines. Giovanni in Laterano (8). The changes were generally made by the time Piranesi added his address at the Palazzo Tomati (where he seems to have moved about 1760) and the price. the detail in the early state. which were later rebitten or otherwise reworked by Piranesi not long after the original issue. which form the real beauty of Piranesi's compositions. the most usual state. more lightly etched. The rebitten states show a great beauty are naturally more architectural and sculpturesque they have more of the third dimension against the flatter design of the lightly etched impressions. Good instances of this are the 5. and the concentration of effect is also enhanced in the later state by the removal of a cornice of building along the right margin. Giovanni in Laterano has no doubt gained in perspective and depth by the darkening of the balustrade in the foreground. which was confused with too much Cestius (35). all of which are spoilt by the dark patches of cloud in the later state. On the other hand the Capitol seen from the side (39) is an isolated instance in which the early state showed irregular patches of cloud. This undoubtedly helps the composition. which were cleared away in the later . This general tendency plates of the A large proportion of the plates up to about no. series. 5. which may give variety. leaving a large space of open water in the centre. i.

16 NOTES ON PIRANESI'S WORK In the first state it had the appearance scale. I would mention some of the finest of the plates for beauty of etching The Forum of Augustus is . of a foreground mass of masonry. Perhaps of all the series none shows a more complete mastery of the subtle play of light and shade in it is a large interior than the so-called Tempio delta Tosse (70). (i. even though the latter when in fresh and rich impressions may be the most effective and one of his most powerful renderings (42) composition. 1655 . dated 1751 in the catalogue of 1792. recognizing that the lighter impressions were in many cases earlier There is little question that a more careful comparison of Piranesi's or even the knowledge of the different states. crimination in the amateur and then I feel sure that many will prefer the subtler quality of the early states to the stronger tones of the rebitten plates.. i. in the second the masonry is etched with more local colour. Hitherto the collector has sought the darker impressions. and one of the most dignified of his Roman Views '. e. altered or even states. the nearest forerunners of Piranesi's style in his larger Views were Giovanni Battista Falda and Allesandro Specchi. (the size of in. and the pyramid. The changes made in the earlier view of the Fontana di Trevi (19). without considering. e. Apart from his master Giuseppe Vasi. 1665. upright plate of the Temple of the Sibyl at Tivoli (63). the Ponte Lucano the Baths of Diocletian (116). Roma. which may have been by the sculptor Pietro Bracci in the course of the work. Piranesi's small plate of the Fountain in the Varie Vedute di Roma (published 1748) shows a still earlier state before there were any statues in the side niches. are curiously interesting. and the Bel Lido (125) are other examples (68). of leaning to one side and the interest is not sufficiently concentrated. of his most successful plates but there are so many of almost equal merit that almost invidious to select one's favourite subjects. the The plate is alterations in the statues in the niches. pictures for wall decoration. &c. now dominates the composition. The Interior of the Portico of Octavia (59) is another plate where the main architectural features take up almost the entire foreground with an equal strength it is much lighter in tone. nearly the size of Piranesi's 'Views of whose and 10 x 15 but to a series of Rome') .) plates averaged respectively 7x11 larger plates about 18 x 27 in. ' The The etching than the Substnicture of the Temple of Claudius (43) is also generally lighter in Forum of Augustus. nor to his continuation of Pietro Ferrerio's Palazzi di in. it seems probable that the earlier state is a record of earlier state of the statues. dark even in its earliest impressions and almost exaggerated in its blackness in the rebitten state. larger in proportion and more stable in its perspective. I do not refer to Falda's Nuovo Teatro delle Fabbriche di Roma. and of very great beauty in composition. and as Nicolo Salvi was engaged on the erection of the fountain between 1735 and 1762. and inscriptions added on its side. will induce a greater diswork.

' ' Academy particular Clerisseau (1722-1820) learnt the of his style and an inclination towards a somewhat weakly romanticism in the treatment of architectural antiquities. Ashby reminds (e. a large upright. pi. Heinrich Jordan. Piranesi's principles. achieves an almost equal magnificence in small plates such as the Idea cf un atrio reale. 2 3 of the plates are no doubt earlier than date of publication on impressions G. bias little relation to their actual juxtaposition in reality. And he seldom failed to combine this documentary truth with a noble dignity of composition. Berlin. Topographic der Stadt Rom. F. Peters with forecourt and colonnades. Falda died in 1678. much as an artist would Hubert Robert (1733-1808) also carried on pose a still life in a studio. Barbazza No. but Piranesi never seeks for spurious effect by the mere dimensions of his work. all recognize the value of his plates as topographical documents. F. VI of vol. 1878. one of the smaller plates added to the later edition of the Opere Vane. G. but it has more of the latter's essential dignity of design than either and Clerisseau or Pannini. Scholars and students of Roman archaeology. In spite of Piranesi's extraordinary faculty of invention.g. 1223 in the Regia Calcografia). and from him C. 2 Lanciani. such as Jordan. showing the Foundations of the Mausoleum of Hadrian (pi. (i. thrown together with in Rome. 120). he never allowed his topographical and archaeological plates to fall into the false picturesque. fairly unadorned Roman buildings preserved in a series of engravings by G. iv of the Antichitd Romane) is full of beauty in the mere drawing of the regular The wealth is work A masonry as well as in the charming vista of Tiber through the arches of the bridge. 1 Falda did a Bird's-eye of St. I of the Antichitd di Cora^ These are plates on a large scale. Altogether I know rather less than a dozen. Giovanni Paolo Pannini 3 He taught perspective at the French (about 1695-1768) was the central figure. the thirty-seven views of me that even Pannini did on occasion paint topography. comparable in its gigantic strength with pi. in him the romanticism is more than justified by the poetical atmosphere with which he endows his compositions. in the 1 He Some noted. Another of the same Foundations of the Mausoleum of Hadrian. I have Dr. also did a few plates in the same series. is one of his most impressive plates. Two small views of the Pantheon. Vasi. His is a far gentler pencil than Piranesi's. Gomar Wouters. and others.NOTES ON PIRANESI'S WORK published 17 by Gian Giacomo de' Rossi and his successor Domenico de' Rossi between 1687 and I694. 94). and Dr. &c. Of the picturesque school of architectural painting. but he was a truer artist than either Clerisseau or Pannini. IX in the same volume. and find no record that they were ever published as a set with a title-page. Volpato. of beauty throughout Piranesi's topographical and archaeological technical illustration such as the large folding plate amazing. Thomas Ashby. no. a Flemish engraver who lived in Rome. which is near enough to have suggested Piranesi's similar plate (Vedute. Polanzani. L. C . B.

the Arch of Marcus Aurelius (pi. XXXI. and one of the most successful of his exteriors of the Pantheon (pi. This last plate 1 to the technical illustrations. The the series illustrating fourth volume would be remarkable were it only for the Mausoleum of Hadrian^ but it contains in addition XVI). the Temple of Antoninus and Faustina (pi. and the Pans Aelius (Ponte S. In the third volume. XLIV). g. the Interior of S. 2). the Pons Mollis (pi. XXVIII). In relation to Piranesi's illustration of antiquities. while the same work contains several other attractive views. is remarkable for the and depth of its massing of light and shade. such as the Pyramid of Cains Cestius (pi. e. XXII). XL). ' '. i). fig. a). XXVIII. besides numerous plates of inscriptions and other archaeological details. and plate XXII of the splendour Antichita d* Albano of the same date. a Roman lamp. XXVI. and the Temple of Saturn (erroneously called Temple of called Concord) of (pi. giving another aspect of the subject illustrated in two plates in the ' Views of Rome '. and there is only here and there a chance view. the Forum of Augustus (erroneously Foro di Nervd) (pi. in addition LXXIV). Many more of the smaller views of the Antichita Romane have a charm ' views of the series of Triumphal Arches similar to that of the oblong (Antichita Romane de' Tempi delta Repubblicd) of 1748. a considerable number of which were engraved by Barbault and Rossi after Piranesi. Stefano Rotondo (pi.g. of 1778. 1764. fig. pi. XXXVI). some the Ponte Fabrizio (pi. g. Plate VI of the series Descrizione Disegno Lago Albano. i). are fine views. the Internal Elevation of an Ancient Reservoir at Castel Gandolfo is almost unsurpassed in his whole work for the subtle play of light and shade in a wonderful vista of arches (reproduced below. XXX. I was referred by the late Mr. XXXIX). XXXVIII). . the double page of the Sepolcro de* Scipioni (pi. e. the Temple at Agrigentum (pi. &c. e delf Emissario del in the impressiveness of its comes nearest to the best plates of the Paestum series massing and composition. the Arco di Galieno (pi. the Baths of Diocletian (pi. The first. reproduced in the Vasi.g.i8 NOTES ON PIRANESI'S WORK Romane have an subject in ' Antichita of the in vol. and as some point de depart for testing his faithfulness as an archaeologist. The volume entitled Delia Magnificenza ed Architettura de Romani of 1761 is chiefly devoted to details of architectural construction. i). Walter Spiers to two originals in the Soane Museum. same i impressiveness at least equal to the larger renderings the Vedute di Roma. fig. XXIII). a). Callotesque in its vivid fantasy. (pi. 2). e. e.g. XXV. XXI. and the Ponte Ferrate Views of Rome (pi. The second volume contains many fine plates Tombs. Angelo) fine plates of bridges. XXXII. while its figures show all the characteristic life. fig. Candelabri. XXI) being as good as any of the bridge subjects in the Splendid views of bridges also appeared in the 'Campus Martius' of 1762. which is chiefly remarkable by its absence in the Paestum engravings. fig. the Janus Quadrifrons (pi. e. fig. the Island in the Tiber (pL XI). and the Rudera Viae Flaminiae (pi. fig.

Jan. entirely different in its ornamentation. who was Rome Burlington Magazine. lid explained by the The trois last great work of trating the Temple his life was the series of large oblong plates illusat Paestum. e. Piranesi is fairly faithful to the details of the original. co-operation of his son Francesco.NOTES ON PIRANESI'S WORK . 6. 1778-80. 16. g. 9. which reverse.). and in contrast with undoubted drawings by Giovanni Battista. on most of the But in both plates. the same direction as the prints. 17) are in the Soane is in Museum. notably in the figures. one would be inclined to attribute the whole series to Francesco. V. not a matter of careless copying. 13. most of the large plates of the Antiquite's de Pompeia (1804. 6 is reproduced in in the Soane. The figures are in fact coarsely drawn in broad outlines with nothing of the accustomed to find in Giovanni Battista's work. Piranesi f. only be having been changed since Piranesi etched the sarcophagus. 2. F. but in details of execution. 19 reproduced on pi. There is no apparent authority for the labels. Piranesi (the latter But the architecture in both drawings and etchings is thoroughly worthy of Giovanni Battista. 5. a sarcophagus (pi. pi. Piranesi. the vivid and fantastic touch that one notes in almost all the etchings and drawings before this work. and signature Cav. entitled Diffe'rentes vues des quelques Restes de grands Edifices qui subsistent encore dans k milieu de tancienne Ville de The papal imprimatur was dated I5th September Pesto. fifteen of the plates (nos. The original drawings of 2. and I suspect that he had a fair part in many of the remainder. I think. is somewhat freely treated in the second. 8. These coarse and awkwardly drawn figures are far more in the manner of those one meets in signed work by Francesco. while the Inventory of 1837 only one (impossible to identify) as F. 4. and the title-page. and published in 1778. but it is possible that the entries in the Inventory go back to a contem2 porary tradition. 3. &c. Francesco showed that he was capable of work to his practically on the same level as the rest of the Paestum series attributed father. XIX and XX are signed by Francesco. seem too explicit to admit of doubt of the father's authorship. The Frontispiece and pis. 7. only he emphasizes the stems of the flowers in the ornament on the front. series the staffage has none of the characteristic style. I think this is largely due to the it falls below his standard. Apart from tradition. There is nothing of greater dignity of 1778. as the difference of ornament is complete. Their frames are now labelled G. as well as in the plates he signed in the Paestum series. adds a 1 2 No. IX. two months before Piranesi's death.g. 10. 1 except no. Francesco. composition in his whole work. on the left). 12. IT. He imitates the breadth and vigour of his father's Carceri. Francesco has developed an infinitely broader and coarser manner. 12 and 16). I of the Raccolta de' Tempi Antichi significance that one is (1780). 14. and the lid is The latter fact can. Piranesi all in and cites on 2. Moreover. 4. B. in the architectural parts of this plate. e. In his much later work. 1914. is said to have received the drawings as a gift from C 2 .

but in general it seems as well 1 Reproduced in Burlington Magazine. similar to pi. and a View of the Temple of Isis. fall The : point of view is slightly throughout in a different perspective to the foreground series. in which show that G. of course. complex theory. One can hardly imagine his own work. are we to follow the title-page and regard them as by Giovanni Battista ? My instinct is to attribute these. especially when so good as the Paestum. as in the Lago Fucino. the Print Room of the British Museum acquired in 1914 from Messrs. Piranesi. Although of the same dimensions as the published plate. In addition to the complete set of twenty-one plates. The figures are also different on the right are two peasants in place of the peasant with a horse two figures of the artists. peasant seated against the column towards the left does not appear. and not the same copper reworked. one is driven to admit a remarkable deterioration in the artistic quality of Giovanni Battista's drawings in his latest years. but there is of course the extreme difficulty of him disclaiming parentage of delV Emissario del the inscriptions father meeting Francesco's definite assertion to the contrary. one of whom is in the foreground in place of the three men with a dog while the drawing. Here. in the British Museum. and the further columns . is a somewhat weaker relation of the foreground columns to the background (which could have been improved by rebiting). prepared for (reproduced below. Batsford an impression of a rejected plate of the same subject as no. a double plate entitled Dunostrazione Lago Fticino (ed. 1914. Pompeii. lettering. B. VIII of the Antiquith de Pompeia (no. with its opposition to documentary evidence. T. nos. which is as far as I know unique There is an empty cartouche. without ever showing one whit of his father's genius for significant line and concentration of design. which Francesco elaborated into their final form. careful examination shows that it The general impression is a different plate. and the Paestum drawings as well. . There is one later example. again.20 ruthless. but. This series of the Antiquitts de Pompeia is described on the title-page as based on drawings by Giovanni Battista. corresponds roughly to one of Francesco's plates. undoubtedly related to this work. show the same coarse drawing of the figures seen in the Paestum drawings. It is. Firmin-Didot. granting that they were originals done for this work. . pi. a View of a Street in Pompeii. LXXIV). in the centre different. with an even exaggerated The second drawing is not engraved. NOTES ON PIRANESrS WORK almost brutal strength of line. of the lower margin. B. which have been attributed to G. we are met by a difficulty. 1020 in the Paris edition of Firmin1 Didot). and that the actual work on the plates themselves may have If one is not content with some such been shared. Piranesi designed and etched the plate which was then finished in engraving by Francesco. 1 2. Now two large drawings. B. possible that the may thus have done slighter sketches of Paestum. and the first only rudeness of line. to Francesco. Jan. 1024 and 1025).

with their extraordinary freedom of style. they are so immediately inspired Capitol just mentioned). sketches. Tubbs. for transfer. and probably later work than the Capitol drawing. Tubbs. but they are not engraver's many drawings in the same sense as those of Paestum are. showing a detached double with key stones representing the heads of Artemis and Hera. the others not having been carried out. but their absence might be explained by Piranesi having thrown them aside when their purpose was fulfilled. But on the whole I think their style fits made. and vigordrawn in red chalk (over a lighter sketch in black chalk) and touched with ously There is also in the Museum another large black chalk drawing.g. of G. One would expect with so prolific an etcher as Piranesi would be even more numerous than 1 that his drawings his plates. of a and possibly a study for another Veduta not carried out on the copper. of the study for the but if not by his hand. the Capitol fragment of the Roman aqueducts. but they at least show that careful preparatory studies were (nos. squared sepia. in the Vedute di Roma 1 They are not actual 93 and 94). but leave us in the dark as to how he mapped out his subject on the plate before etching.NOTES ON PIRANESrS WORK 21 etched and composed as the published state. g. of the Views of Rome are already completed subjects. B. but he and correspondence. The early states known. which from their size might have been used in transfer. See Grahame B. it is almost inconceivable that he could have dispensed entirely with transfer drawings. See also note under No. In his early imaginative work such as the Prisons '. Piranesi's early work (e. 56 of the Vedute. two having been used. B. In the case of the more formal designs of the Opere Varie. doubt they were. transfer drawings. It is less vigorous. They lack the fire in with one's estimate of the development of G. It is in the same direction as the print. one would identified in ' In his early work there was a large number of rapid pen expect that Piranesi etched direct on the plate without the intermediate aid of any transfer drawing. and the figures in the centre foreground are more spirited. The British Museum has one large study for no. May . Unfortunately there are no proofs of his plates in such unfinished state as ' ' to betray his method of work. No 1922. June and July. 39 of the Vedute (the View of from the Side). Architectural Review. or the work of Francesco Piranesi. Percy B. It is difficult to see why it was laid aside. They do at least show that a light pure etching was the groundwork of his plates. and the more accurate topographical plates. that they must either be reproductions of lost drawings. Then there are five large red chalk drawings of Hadrians Villa (probably intended as finished drawings for the etchings) in the collection of Mr. who at the period of the Hadrian's Villa plates (1768-70) must have been devilling for his father. with modifications and in reverse. which can be cases as studies for his etchings. by him. in the forearch. Piranesi's work. The Paestum series are among the few examples known to me of finished drawings for the plates. ground. e.

13. Perhaps more drawings will come to light some day in private collections. and two more formal designs nearly related to the first of the architectural inventions of the Opere Varies And the National Apart from these Museums I can only refer. if we except one poor example at Paris. Mr. pi. Argoutinsky-Dolgoroukoffj Paris. vi. 15. and many more or less closely related to subjects in the Opere Varie and Carceri. Henry 4 Oppenheimer. 3. and Mr. and rapid in manner. x. Simonson. 1 Adam 163. e. I Witt's collection. volumes of Adam's studies. Most of the series are of the early period. vii. but here and there are architectural designs of precise penmanship. Stockholm. The public galleries of Rome and Florence apparently possess none of his drawings. and with sepia or Indian ink wash. 12. 15. John Gott. viii. g. vol. reproduced by the Vasari Society (v. as far as English collections are concerned. May 1911. a small study for pi. 1914. so that comparatively few have been preserved. Both are reproduced on pi. William Bateson. The largest collection known to me is that of the British Museum. 1 vigorous architectural inventions reminiscent of elements both of the Carceri and Operc Varied there are two others in the Soane Museum in the Gallery of Scotland possesses three extremely fine examples. Vienna. 5 Several of the Museum drawings have been n. 15. drawings. . and a Carnival scene somewhat in the manner of Guardi or Tiepolo. Simonson's collection is of the same style as the British Museum A reproduction is in Sir Robert '. George A. Paris. Since writing the above have heard of half a dozen drawings in the collection of Prince W. and volume entitled ' * ' A Temple of Victory 5 splendid drawing in Mr. Jan. were only acquired in 1908. 16. As regards foreign museums. And there is a fine drawing of classical buildings at Frankfort reproduced in Handzeichmmgen alter Meister im Stadelschen Kunstinstitut. and two of the Edinburgh examples. Giesecke's book on Piranesi. Brussels.21 NOTES ON PIRANESI'S WORK probably regarded his rapid sketches as of little permanent value. 62 of Dr. and the same is true of Berlin. the Kunsthalle at Hamburg has a few drawings. 8 of the Carceri (in reverse to the etching). and dispel the illusion of their rarity. to a few fine examples belonging to Mr. The third was exhibited in Rome in 1911 (there is a reproduction in Sir Robert Witt's collection). xi. sometimes over red The majority are extraordinarily chalk. from the collection of the Dr. 14. xxvi. 3 Two reproduced in the Burlington Magazine. one a study in the manner of the Carceri. 2 The one more allied to the Carceri reproduced in the Burlington Magazine. They are all in pen and sepia. and the majority of the Museum drawings (forty-six out of a total of fifty-two). Dresden. and Amsterdam. 12). Bishop of Then in addition to the Paestum series Truro. which might have been regarded as by another hand were brilliant Miscellaneous Drawings and Sketches by Robert Adam and others '.

Mr. vi. Ashbee In his genius for brilliant effects of light and shade Piranesi has few rivals among his contemporaries except (e. in the British 1 Museum and Tiepolo. 16). sepia of this work (Antiquus Bivii Viarum the same direction as the print. and worthy to be compared with Piranesi. 1 1 not for undoubted sketches on the reverse of the same sheets. is Mauro Tesi (1730-66). Another with something of the reserved strength of Canaletto. an Architectural Design with broad flights of steps leading tmder two round arches (Vasari Soc. Prospectus).g. and an allegorical drawing of Two Skeletons. I manner. and most dignified of all. of examples in the British Museum and Sir Robert Witt's collection. Another whom there are Reproduced in the Burlington Magazine. and equally. a) of vol. Jan. 1912). in wash in Piranesi's in A the style of Tiepolo. Bellingham Smith and Mr. Two of his drawings in the Royal Institute of British Architects are reproduced at p. Ricketts Collectors should be reminded that an architectural draughtsman whose drawings are draughtsman of real distinction and power of chiaroscuro in treatment of architecture. one and Mr. 60 in Sir Reginald Blomfield's Architectural Drawing and Draughtsmen (London. whose rare architectural studies others in the collections of Mr. give him every title to be called the Rembrandt of Architecture. H. presented to the British Museum by Mr. is probably related to the small A interior of the Pantheon that appears ii in vol. There is another (pi. William Bateson) are so vivid and convincing in their massing and design. might without further evidence have been ascribed to those masters. 14). much larger study used in the Antichita It is in Romane > i. a softer manner that recalls the tranquil atmosphere of Hubert study Robert (Vasari Soc. most vigorous manner. 1743-84). Shannon. The figures are drawn in a manner that almost rivals Rembrandt in its masterly vigour. in such etchings as the Carceri. an arch. G.NOTES ON PIRANESI'S WORK it 23 In this broader for pi. but far more vigorous both in line and chiaroscuro. * surprisingly near Piranesi in style is Domenico Fossati (Venice. small oblong sheet containing three studies of the interior of the Pantheon. but there is not sufficient reason to doubt the old attribution to Piranesi. another similar study in sepia and red chalk of half a span of a bridge. 1914. 1 is of the largest and most complete of the drawings in the British Museum a Design for a Temple of Victory? again after the style of some of the Opere One Varie. would mention a fine study in sepia and red chalk of the Carceri. Henry Oppenheimer. . is a darkly shaded drawing of a Courtyard seen through in 1900. Mr. i of the Antichita Romane. The extraordinary dash and vitality of touch seen in Piranesi's best drawings. S. if not in heightened intensity. v. and drawn in red chalk and for the frontispiece Appiae et Ardeatinae e. with border lines spacing each composition.

a and 5). SOANE. DI S. : Piranesi F. and the plates numbered I-XVI. LIBRARY).] I. The edition published by Bouchard with title beginning Invenzioni di Carceri. Strong lines framing the subject Signed a new bridge introduced across the centre foreground . I.. surmounted by a slab bearing the title to the series. II. Title altered \ to: Invenzioni \ \ capricdi Carceri \ all'acqua forte \ datte in luce \ da Giovani \ Bouchard in Ronia Mercante al Corso. rather than to make a second edition of Bouchard's issue with altered title-page. For further details see below. corner of plate . TITLE-PLATE. CATALOGUE OF THE 'PRISONS' The States of Piranesi's Carceri fall under two main divisions. a wooden beam projecting over heavy the title upwards from the Invenzioni left.III. and in most cases altered very considerably in details of composition. Bouchard's edition contains fourteen unnumbered plates. 12-14 and 81. II. B. Two plates were added in Piranesi's edition (pi. BLOMFIELD. a wooden bridge passes diagonally across the upper r. Light in tone throughout. Capric The edition published by Piranesi himself with title beginning Carceri is cFInvensione. (b) With name altered to Bouchard. and Piranesi's as the second. LUCA). and issues (a) : known in two With name spelt Busard on title-page. THE CARCERI. a grotesque figure of a man sprawling on the cornice above the title . a staircase is seen in two flights under an arch on the r. F. MANCHESTER (JOHN RYLANDS \ \ \ \ \ al Corso. Title \ : in Roma Mercante ROME (ACCADEMIA \ Capric di Carceri all acqua forte datte in luce d<i Giovani Buzard Before signature and number. Battista Piranesi \ \ . \ OXFORD (ASHMOLEAN). The lightly etched plates of Bouchard's edition were generally reworked and darkened. DRESDEN. [2I|XI6|. Interior of a prison with a barred window in lower 1. foreground. BOSTON. PARIS. so that it is simplest to speak of Bouchard's two issues as the first edition. 24. Vene. The letter F after the title of each plate refers to Focillon's Catalogue. i. CHARRINGTON. III. machines or Carceri 1 \ di G.M. d Invenzione below towards 1. The other plates of these two issues are unchanged. Numbered upper added near plate line . \ Title I altered to: 1. A rchit. MUNICH. and pp.

the the background also changed. a horizontal spiked beam galleries and arches in Paris. 25 e. II. LUCA). I' Att tore a Strada Felice vicino alia Trinita de Monti. beyond the arcade a Colonnade (like Bernini's before a broad flight St. a spiked wheel in lower foreground. Additional number. 349 above towards centre. Numbered III upper 1. . B.] Signed lower r. LUCA). 27. Before signature and number.M. al prezzo di paoli A series of Roman arches meeting in a central pier . and r.NOTES AND CATALOGUE emblems of torture added. Peter's. ROME (Ace. is filled with a medley of architectural remains. of steps leads beyond to the arcade of which part of two round arches are visible. and the plate generally darkened. WITH A MAN ON THE RACK F. Rome). Firmin-Didot. [22|xi6f. Numbered II upper r. and heavy chains in lower 1. SOANE. Sedici. r. RIGHT. WITH VISTA ON TO AN ARCADE SURMOUNTED BY A FRIEZE. The the lamp on a long rope left subject framed in a darkly shaded arch built of massive stones from which hangs a two other ropes attached to a beam above are brought in a curve to . A LOFTY ARCH. BOSTON. F. SOANE. BOSTON. Light in tone throughout. through the arches 1. UPRIGHT. F. x 16*. Signed in lower 1. IN THE FOREGROUND. BLOMFIELD. As described. : a triangular erection of beams added at foot of lowest added on cornice just above centre of r. MANCHESTER. additional shading . . CHARRINGTON. Ed. 26. Before signature and number. BLOMFIELD. 5. MUNICH. Paris. UPRIGHT. PARIS. left i. r. F. Additional number 351 towards upper r.M. 25. UP3. are seen various colonnaded buildings. Firmin-Didot. flight of stairs . The plate darkened throughout by DRESDEN. corner . with pediment being surmounted by a battlemented mediaeval tower . Additional number 350 upper in Ed. II. near the centre of border a. a crowd of spectators on a wooden gallery near centre of I. ROME (Ace. DI S. MANCHESTER. I. OXFORD (ASHMOLEAN). margin: Piranesi and address Fogli in centre of margin: Pres so venti. 4. Paris.] As described. CHARRINGTON. Firmin-Didot. margin. This plate did not appear Bouchard's editions. B. the lower part of plate. one on the 1. OXFORD (ASHMOLEAN). [2 if I. IV. A VAULTED BUILDING WITH A STAIRCASE LEADING ROUND A CENTRAL COLUMN WITH BARRED WINDOW IN THE CENTRE. Ed. AN ARCHITECTURAL MEDLEY. Di DRESDEN. margin watches the torture of the man on the rack with excited gestures. Piranesi F. in the foreground. side of the arch . scaffolding III. Light in tone throughout. with sculptured reliefs .. MUNICH.

upper 1. Strong lines framing the subject plate darkened throughout with additional shading and new work. III. UPRIGHT. 354. WITH A SMOKING FIRE IN THE CENTRE. ropes hanging from a pulley attached to a lofty pier in the left foreground a broad flight of steps leads through a round arch in the foreground above the left of which a fire is smoking . SOANE. : Piranesif. BLOMFIELD. shaped like the shells of heavy guns. Paris. upper r. F. Ed. Firmin-Didot. added near margin a further arch added above the arcade in background. [2 if I. Di S. Numbered VI upper r. BOSTON.K. Light B. a wooden gallery reached by a ladder springs from the arcade in background the frieze is now surmounted by a railing and four columns (instead of one). Interior of a huge building with light entering from the left . . .M. S. Generally darkened in tone. I. now projects from the centre of the foremost arch. lower r. a beam from which hang pulley and ropes. : Piranesi F. Lighter in tone throughout. Additional number. 30.26 II. towards upper Ed. 353.g. x i6|. Numbered VII upper 1. . . PARIS. cutting subject various machines of torture off a three-cornered space of sky at upper r. e. A PERSPECTIVE OF ARCHES. ROME (Ace. CHARRINGTON. Additional number. galleries radiating III. III. Ed. on two wooden piers. Five large posts. Firmin-Didot. B. . 5. the other against the pier 1. II. and further beams and number. a wheel 1. 352. Ed. WITH TWO LIONS CARVED IN RELIEF ON STONE SLABS IN THE FOREGROUND. Firmin-Didot. and spiked beams and heavy chains foreground r. CHARRINGTON.M. ROME (Ace. Paris. I. 28. WITH NUMEROUS WOODEN GALLERIES. Paris. Signed. PARIS. 355. lower in 1. the arch itself figures are added about the smoking fire. BOSTON. . Before signature and number. 29. r. II. MUNICH. added across the centre of the DRESDEN. the number of wooden from the top of the column in upper r. THE Signed : 'PRISONS' Numbered IV upper r. rising from the top of the lowest flight of stairs. BLOMFIELD. narrower flights of stairs : lead high up beyond two further arches in the background. UPRIGHT. . F. AN IMMENSE INTERIOR. . Firmin-Didot. margin Piranesi F. Paris. MANCHESTER. Signed. towards upper r. S. A PERSPECTIVE OF ROMAN ARCHES. added in the foreground .K. Generally darkened in tone. lower 1. II. LUCA). MUNICH. AND A DRAWBRIDGE IN THE CENTRE. of arch in foreground added. large wooden bridge. : Piranesi F. of plate increased from three to six. editions.. This plate did not appear in Bouchard's 6. one beneath the arch in foreground. Strong lines framing the in lower r. plate . F. . two ladders added.] Signed. Before number. MANCHESTER. added near plate mark the A heavy beam and a chain added in lower 1. 7. tone throughout. spiked beams against the post nearest to r. UPRIGHT. Additional is surmounted by a railing. SOANE. DI S. LUCA) DRESDEN. Additional number.

and two beams III. CROSSED BY BEAMS. BLOMFIELD.M. ii. MANCHESTER. MUNICH. number. F. Large beams in the form of a gallows. added in lower r. III. a further wooden gallery added connecting the galleries of the upper r. Numbered VIII upper r. beneath the main arch. B. Before number. BOSTON. CHARRINGTON. BOSTON. CHARRINGTON. also a post like the shell of a heavy gun with chains attached. Before signature and number. ROME (Ace. I. UPRIGHT. [2i| x I. Series of arches and wooden staircases added in upper part of : in couples. Ed. one figure at top of first flight of ROME (ACC.] I. Piranesi F. II.M. . LUCA). 357. 33- Signed. SURMOUNTED BY A COLOSSAL WHEEL-SHAPED OPENING. towards upper Ed. Ed. BLOMFIELD. SOANE. MUNICH. added at plate and further vistas opened up . r. . 358. Additional to the r. LUCA) I. LUCA). 10.34Before signature and number. DRESDEN. MUNICH. generally standing various places on the galleries in addition to those mentioned above. Additional number. DRESDEN. lower 1. . A VAST GALLERY. CHARRINGTON. Paris. DI S. BLOMFIELD. F. OBLONG.M. MANCHESTER. 356. Numbered X upper r. over twenty figures. A PRISON DOOR. CHARRINGTON.M. DRESDEN. Paris. generally darkening the tone. [i6| x 2i|. Before number. MANCHESTER. 9. OBLONG. of the foremost group of four figures. in upper r. corner. beams in the 1. 32. foreground. WITH TROPHIES AT THE FOOT OF A BROAD STAIRCASE AND TWO LARGE FLAGS ON THE LEFT. with heavy chains attached. 1 6.K. SOANE. Additional number. Two stairs groups of four figures each in the foreground above the trophies. Paris. OXFORD (ASHMOLEAN). II. Light in tone throughout.K. Light in tone throughout. 31. SOANE. additional shading and new work darkening the tone throughshape of a gallows added in lower 1. Signed lower 1. lower 1. DI S. F. BOSTON. S. 11.NOTES AND CATALOGUE 27 8. Firmin-Didot. Added shading and new work. : Piranesi f. B. SOANE. A SERIES OF GALLERIES WITH ROUND ARCHES AND A CRANELIKE ERECTION OF BEAMS IN THE RIGHT FOREGROUND. III. DI S. ROME (Ace. Firmin-Didot.] Signed. ROME (Ace. Light in tone throughout. . BLOMFIELD. S. a heavily shaded cornice of stone added in lower 1. MANCHESTER B. F. BOSTON. towards upper r. : Piranesif. Lighter in tone throughout. LUCA). DI S. B. Numbered IX upper out . hand portion of the building with the central gallery above. WITH ROUND ARCHES AND A GROUP OF PRISONERS ON A PROJECTING STONE IN THE FOREGROUND. A VAST INTERIOR. MUNICH. Darkened throughout in tone by added shading and new work. Firmin-Didot. DRESDEN. UPRIGHT.

B. DRESDEN. Paris. F. MANCHESTER. DRESDEN. CHARRINGTON.] Signed.K. F. F. BOSTON. : Piranesi/. III. beam near upper III. below the large cross beam to r. cornice in the stonework upper III. BOSTON. S. 37. Firmin-Didot. with chains (or of the ropes) hanging from the larger beam and connecting it in a curving line with the centre roof the simple curve of the larger arch in upper foreground broken by added window and . B. Additional r. BLOMFIELD. CHARRINGTON. OBLONG. AN ARCHED CHAMBER WITH LOWER ARCHES SURMOUNTED BY STRONG LIGHT ENTERING FROM THE RIGHT 35. 1. Ed. number. 14. Firmin- Didot. Signed. Paris. foreground. 361. number. SOANE. LUCA). Numbered XIII upper r. The erection of beams (in shape of vaulting horse) in lower r. Ed. OBLONG. lower r. MANCHESTER. COLONNADED INTERIOR WITH A BROAD STAIRCASE DIVIDED IN TWO BY A STONE PROJECTION WITH BARRED WINDOW. DI S.M. of centre above. 36- [i6x I. MUNICH. Lighter in tone throughout. towards upper r. 13. . foreground which before had a flat top.K. Before signature and number. : x 21^.K. Ed. PARIS. LUCA). PARIS. 11. upper corner is now beams a corona chandelier (?) now hangs from the large . and ladder now rests against the wall in left foreground : the top of a door added in the stone face in lower r. SOANE. S.] Signed. corner . Before number. Added shading and work. TWO I. BLOMFIELD. in upper r. the large joined to the roof with four upright beam extending from centre to r. is now covered with five spikes spikes are also added on the post in lower r. corner. BOSTON. Several series of arches opening up further vistas added at the top of the staircase on either side of central column . Numbered XII upper r. DRESDEN. SOANE. . Additional 1. MUNICH. OBLONG. A stone erection flanked by two round turrets added in the centre of the composition where smoke appeared in the first state various arches and two series of aiches opening further flights of steps added beneath the lower round arch . Paris. II. AND FIGURES ON ARCH OVERLOOKING THE CENTRAL FLIGHT. generally darkening the subject. S. CHARRINGTON. 360. LUCA). lower Piranesif. DI S. vistas added beyond the double arches above in place of the simple vaulting of the first state two large projecting beams and a wooden ladder added in lower 1. ROME (Ace.28 THE 'PRISONS' Numbered XI above towards r. HAND. OXFORD (ASHMOLEAN). Before number. OXFORD (ASHMOLEAN). ROME (Ace. DI Light in tone throughout. Additional number. POSTS AND CHAINS.g. 12. A PERSPECTIVE OF COLONNADES WITH ZIG-ZAG STAIRCASE. various cross beams added near the roof (e. MUNICH. further . lower 1.M. ROME (Ace. II.M. . Light in tone throughout. MANCHESTER. B. : Piranesi F. Additional shading and work darkening the plate throughout. Firmin-Didot. BLOMFIELD. 359. S. [i6 I. 21^.

. below towards 1. MANCHESTER. and staircases opening . Numbered XVI lower r. Additional number. 39. and 1. towards upper centre.-min-Didot. ORNAMENTED WITH THE HEADS OF GIANTS WITH RINGS IN THEIR 15. of the central pier. towards 1.) and a complex series of new arches. MANCHESTER. g. Ed. in capital immediate foreground lower 1. and a series of arches and galleries now opened up III. . added in throughout. Piranesi F. INFELICI. B. column with slab another round column further r. e. fctate onwards). 38. Fi. Light in tone throughout. Rl. of the monument heavy beams and chains added in various places (e. | j -- containing inscription encircled with figures in relief AD TERROREM INCRESCEN AVDACIAE and inscribed at top IN FAME -- | | | . I. Light in DRESDEN. OBLONG. of centre. and further vistas of smaller arches opened up r. 16. Ed.] Signed (from second I. below.M. : Piranesi F. Paris. darkening the plate throughout . Numbered XIV upper r. | : further vistas in the background. Numbered II. S. . OBLONG. DI S. 362. Signed lower r. LUCA). BLOMFIELD. now contains a relief with figures. between the side of plate.g. ROME (Ace. A WIDE HALL WITH LOW TIMBERED ROOF IN THE FOREGROUND FROM WHICH HANGS A LANTERN. : the centre (in place of the suspended the inscription IMPiEjTATI ET | lamp in I) with | | MALIS two sculptured heads in niches and bearing behind the monument a round ARTIBVS . Firmin- Didot. MOUTHS. Ed. Additional shading and new work. CHARRINGTON. III. two main arches on the right beyond these main arches. BOSTON. 363. darkening the plate CHARRINGTON. : tone throughout. SOANE. first state (except III. ROME (Ace. Before signature and number. LUCA). Piranesi F. Paris. B. Signed lower 1. Firmin-Didot. in the spandril of foremost arch near centre above. The short beam which sloped upwards from lower r. [i6x 2i. margin .K. F. OXFORD (ASHMOLEAN).M. Paris. PARIS. XV upper 1. SOANE. The background entirely changed a monument is PARIS. Strong lines ruled round the subject near plate line.: Piranesi F. with figures for indefinite shading) vacant in (generally in pairs) at various points the slab at foot of central pier. gallery in upper foreground. : II. Additional number. ROUND ARCHES SPRINGING FROM A SQUARE COLUMN. MUNICH. further galleries with wooden railings added. Before signature and number. Signed. various wooden galleries and staircases added between the arches. At head of first flight of stairs a round arch surmounted by a gallery which is connected by a broad ladder with the wooden DI S. SCELVSS | A fluted column with Doric SVSPE added 1. BLOMFIELD. at top of the arch-like pier to r. 564. Additional number. F. MUNICH. BOSTON. corner is now fitted with spikes another beam holding a lamp projects from near the middle of r. DRESDEN.NOTES AND CATALOGUE 29 II. Additional shading and hew work.

Italian title is also quoted. . 4. ix.IV. classified according to subject. it may be noted that the early 59 (1760) average a smaller size than the later (i. The Catalogue The English it is arranged in the chronological order of Piranesi's engraved Catalogue. In title given is not a mere translation of the Italian title. not sufficiently distinguished in the old lists. antiquities The title. The references to collections will be explained by the section above. The date that follows is taken from the Catalogue of 1792.e. 1. in my List of Piranesi's Published Works. 6. 60 (1761) the size 18 x 27 occasionally occurs. following the English title is 3. with query where these appear to be erroneous. Dimensions of plate given in inches. Unless otherwise described the title is engraved in the lower margin. quotation of one or two collections does not necessarily imply the rarity of a particular state. in an occasional example of an early state not known to me in a public or except private collection. 95 (1770) this largest size . The second number preceded by letter F refers to Focillon's catalogue. while after no. to sizes of the plates. taken primarily from the correct gives cross-references from the erroneous titles. The number immediately that of the printed Catalogue of 1792 (Rome). becomes the most usual. This may occasionally be a guide in deciding the earlier of two plates of the same subject. The The The signature is always quoted where it appears. only very seldom reaching the size of 17 x 27) from no. Note. CATALOGUE OF THE 'VIEWS OF ROME' INTRODUCTORY NOTES. p. attempts to give an accurate designation according to recent research. and the Index. 2. but is given as some definite documentation of the state I have not referred in the catalogue to impressions in dealers' hands described. notes of With regard to no. about plates up 15 x 21 inches. 18x27 is which 5. It is in this classification and order that posthumous editions generally appear. though I have cited one or two rare volumes or series in the trade. references to addresses and prices are quoted in shortened form as on opposite page. 7.


. BLOMFIELD. no. Other impressions of this edition in the COTSWOLD GALLERY (1922). In this state the plates are generally rebitten and darkened. where this had not occurred earlier. (a) before rebiting and added work. In this state the plates are sometimes rebitten and darkened. 8. KING'S. 1792. 60. The rare editions with title-page Le Magnificenze di Roma. 18. Watermarks nos. there is no difference between Laid paper. (b) With rebiting and added work. From C onwards im- C. &c. Piranesi's lifetime of plates which never bore Piranesi's address or price. Rome. PlRANESl'S ADDRESS AND PRICE.) 1751. I. B. In a considerable number of the plates where address and price never occur. Price erased. 66. Watermark no. 3 (b} is On thick laid paper. In various subjects a further subdivision of this state is found E. B..32 THE 'VIEWS OF ROME' Possibly nos. e. 69. On laid paper. with or without added work. (3) Under this heading should be included impressions taken during G. e. Piranesi's death in 1778. M. i. POSTHUMOUS ROMAN EDITIONS. 70. 3 and 4 (the latter only very occasionally). after heavier biting. but I have not recorded these as the differences before and are difficult to define exactly.L. 4. i. : Rare. B. B. thick laid paper.e.M. with or without WITH added work. TUBES. printed after G. In general the thinner and perhaps some apparent differences may paper is harder and less absorbent. DAVIES. OR BOUCHARD E GRAVIER (2) WITH ADDRESS OF BOUCHARD ' ' ' '.L. B. bridges. in Arabic numerals (distinguishing class of subject. Watermarks nos. CHARRINGTON. and B and 6. 68. 4. temples. and TUBES. Some plates bear reference nos. In some cases rebiting. &c. Watermarks nos.e.M. be in the impression and dependent on the quality of paper and the way it takes the ink rather than on re-biting.) and in Roman numerals (distinguishing several versions of one subject) corresponding to the printed Catalogue. g.g. 2 and On 3. 61. often rather thinner than B (2) and (3). C. 58 and 59 may also show varieties rebiting. 5. pressions show a gradual deterioration in quality. (SOANE. 64. on plates 1-59. i. LEICESTER GALLERIES. the ordinary state in which good impressions are met with.

lot no. i and 1-69 for vol. was presented to the Museum by the Papal Government in The binding bears the arms of Pope Pius IX (Pope 1846-78). The same binding and the binder's label being in each case Tessier. Arabic numbers neatly engraved. label occur in a set of this first Paris edition from Cassiobury. The order of this catalogue differs from that of 1792 in the insertion of Francesco's plate originally no.. &c.K. and many 1865. E. W. Modern impressions continued to be printed from the plates by the Calcoso that the grafia Camerale. Laid paper.K.C.INTRODUCTORY NOTES D. FIRST PARIS EDITION. Library with Firmin-D idot's title-pages (dated 1835-9) and Italian text.e. EDITION OF FIRMIN-DIDOT. INTERMEDIATE PARIS EDITIONS (between 1807 and 1835). and thick green backs Paris.L. 137 as no. . 1-68 for vol. 1835-9. 1 6 1. 34-69 vol. 59 High Holborn. Both the S.). F. Issued by Francesco and Pietro Piranesi. difference of stamp with one or the other title gives some rough idea of the date of modern impressions. set in the The of the plates bear one or other of the several blind stamps used by the Calcografia Camerale. which is a French paper. 33 In many cases the plates are still in the same state as in C. and in very large folio size. 8. . 1800-7. of Rue de la Harpe.M. have watermark. LANSDOWNE. 101 (33 in vol. and transferred to the Calcografia Camerale. Watermark S. Additional running numbers 682-821. PARIS. Paris 1800. corresponding to the printed catalogue. Impressions noted in the Lansdowne collection in the Victoria and Albert Museum 7. no.K. 101-136. which since 1870 has been the Regia Calcografia. generally in upper or lower r. though further research will probably reveal additional distinctions of rework. ii. It is on white wove paper. ii) correspond to original nos. 102 to 137 (i. 24th Messrs. ii) so that nos. but editions may also have been made up with remainder of impressions printed at Rome. giving running nos. in a sale at Hodgson's.. May 1922 (purchased by S. Myers & Co. and Lansdowne series are bound with bluish-green marbled paper sides. With fresh numeration. no. The plates correspond to C in being before the numbers of the Paris Catalogue of 1800. B. The plates and probably the remainder of the edition were bought from FirminDidot freres by the Camera Apostolica in 1839.

. In laid paper. No. No. 7. Generally in very thick laid paper. 1907. In laid paper. No. noted in 1st Paris edition. In thick laid paper. between 1807-1835 [E]. 1.. 130 ff. Also occurs in modified and larger form. 1908. In laid paper. Inventaire General des Dessins du Louvre. 57. 1800-7 [D]. 1862. vol. Noted in early states before Piranesi's 2. 2 and address and price [B (i)]. Auvergne). p. 30. and in Posthumous Roman impressions [C]. but the date required by the government J. 47. 6. and in states with Piranesi's address and price [B (3)] and contemporary issues of plates which never bore address or price. 132. Guiffrey and P. 134. 1-3) almost certainly indicate Italian papers. Guiflfrey and P. See J. Notes sur la Papeterie d' Auvergne. vol. fccole Fran$aise. 1742 does not denote the date of manufacture./ffl'**6if>v Gtniral des Dessins du Louvre. (Fin). 67. 3. 58. p. 19). Maxcd. 197. Generally in thinner laid paper than nos. 3. WATERMARKS. Noted in states with Bouchard's address [B (2)]. The custom of framing marks within a circle appears to have been chiefly if not exclusively Italian. Another Dupuy is cited in M. Guiffrey and P. Noted in states with Bouchard's address [B (2)]. 129. 68. 60. 48. 8. and vol. Me'moires de I'Acad^mie de Clermond-Ferrand. Dupuy. 25. [C]. ii. ii. In laid paper. Noted in a few impressions of state B (2). 5. Similar marks (but not of this maker) are reproduced in J. Watermarks Key to the Plate of with references to the preceding section on states. Noted Noted in in Posthumous Roman impressions Posthumous Roman impression [C]. so that all the three fleurs-de-lys quoted (nos. In laid paper. as indication of conformity to certain regulations of 1739 (see p. no. i (1907). Marcel. Intermediate Paris edition. A p. Cohendy. Marcel.34 THE 'VIEWS OF ROME' 9. 4. i. pp. without the mark of quality French paper (T.





faites par le Chev. with Cross References to Vol. on a marqud en chifre k in fol. numbers XXI.INTRODUCTORY NOTES CLASSIFIED LIST OF THE 'VIEWS OF from the Printed Catalogue. 5. Vues de Rome : Paules & demi 1'une Scavoir des amateurs. Jean Baptiste. 35 ROME ' Rome 1792 above) in the present Catalogue. comtne cy apres a deux toutte la collection est planches 137 pour plus grande commodity la fin de chaque vue l'anne"e qu'elle t publie"e. . Ecus 34. (See p.

THE 'VIEWS OF ROME' (contimted) : .

INTRODUCTORY NOTES (continued) : 37 .

TUBES. SOANE. B. in the : SOANE. Pietro [15^ X I. seal. FOUNTAIN 3. TUBES. Veduta della Basilica. end of portico r. Shading on the house greatly strengthened : triangle of light on ground to 1.L. Title F. BLOMFIELD. lower margin : F. DAVIES. lower margin : Piranesi del. B. IV. r. second from 1. WITH STATUE OF MINERVA. Firmin-Didot. TITLE-PAGE. Paris. KING'S. 1st Paris Ed. VI. 786. III. Address lower 1. II. Paoli z\. B. 2 Piazza de S. lower r. BLOMFIELD. CHARRINGTON B. 69. Address and price Autore. KING'S. B. CHATSWORTH. 1st Paris Ed.. Intermed. Signed. TUBES. the down print is chiefly shaded with vertical lines). of Vol.M. Palazzo Tomati. incise in Roma.M. Title large slab of stone ziano. [About 1748 ?] lowest cornice halfway Before added work on corner of building in upper r. house in extreme (Magnificenze). PETER'S. Firmin-Didot. II. i.M. Price erased. From this state onwards as frontispiece Number I upper r. in Vaticano. Ed. in editions of the Opere Varie di Arc hitetfura. 787. SOANE. 1^.L. 1748. . VII. CHATSWORTH. in the Opere Varie). B. Address: Bouchard. margin Boiichard e Gravier. TUBES. 2. g. seal.L.g. Address and price: Autore. : 1748. F.M. of r.. Work added on building described (e.M.] Before address. wheel of chariot. B.L.M.L. Piranesi inuento. and 1. III. IV. This subject was also used two pieces (making single upright folios) printed from the masked plate. (in two pieces. Palazzo Tomati. TUBES. BLOMFIELD. making a continuous line of light behind the three men in the foreground. V. . 24f. flattened by added lines of shading. B. Before address. SOANE.g. (Magnificenze). FRONTISPIECE. : pieces. ST. corners of foreground in same tone as the rest). Ed. [19! X I.. Price erased. V. Intermed.M. Number 682 upper r. II. Paris Ed. r. DAVIES. in Used in posthumous editions as frontispiece to Volume 1 1. cross lines indicating creeper at place cited). 3. B. 719. on .L. Paris Ed. Paoli 2\. CHARRINGTON WORTH. : WITH FORECOURT AND COLONNADES.] 1. KING'S (in Opere Varie). Paris. Vedute di Roma disegnate ed incise da Giambattisla Piranesi Archiletto Ve [15^ X 2if .M.M.'VIEWS OF ROME' i. background (e. e r. IN FOREGROUND. CHARRINGTON two (Magnificenze). TUBES.] Signed.. Signed. Before strengthening of shading (e. margin : Piranesi inu. CHATSSOANE. II. Number 753 above towards r. Before address.

TUBES. B. ist Paris Ed. Title Veduta della Basilica di S. Additional number 689 towards upper r. 4. PETER'S. SOANE.] I. I. and address and price erased. The garden is shaded only with verticals. Before Address. ST. CHARRINGTON (Magnificense}. 6. SOANE. margin (where price had stood). Reference no. TUBBS. Price erased.M.M. Title Veduta dell' [i5X23f. Ed. Address and price: A utore. II.. Price erased. 5.M.L.. Number 5 lower r. Pietro in Vaticano. SOANE. V. Paris Ed. Signed. margin. Paris Ed. 1st Paris Ed. 1748. Pietro in Vaiicano. KING'S. III. Palazzo Tomati. margin : Piranesifecit. [16 x 23^. margin. Before address. 5 is imm. III. TUBES. Paris.L. Paoli -i\. 1748. SOANE. F. : . VII. margin. CHARRINGTON (Magnificenze). : Piranesi F. IV. DAVIES. Paris Ed. V. ist Paris Ed. Additional number 691 upper r.72 3 delle mura . V. Address: Bouchard e Gravier. 5. B. Address and price Autore.L. Signed. IV. TUBES.. BLOMFIELD. B. KING'S. Number 7 upper r. from cornice of architecture. Paris Ed.. ^48. VI. VII. Price erased.M. TUBES. TUBES. 1. ST. Additional number 687 upper r. 788.L. Now signed Piranesi F. Additional number 692 towards upper r. : INTERIOR WITH THE NAVE. Another 8 added lower r.CATALOGUE III. TUBES. Intermed. 7. 5 is now 15 mm. TUBES. Paris. Before address. B. Paris. Paris. Ed.L. 789. VI. : FROM THE PIAZZA BELLA SAGRESTIA. Esterno della gran Basilica di S. Firmin-Didot. Address and price Autore. B. IV. lower 1.L.M.M. DAVIES. F. BLOMFIELD. S.L.M. Intermed. signed. DAVIES. B. KING'S. TUBES. Paoli 2 \.M. B.] I. Paoli a|. Intermed. Address and price: Autore. Numbers 2. B. lower r. Irregular series of horizontal lines added on shading of wall. KING'S. Paoli B. PAOLO FUORI LE MURA : 8. Ed. Palazzo Tomati. Address: Bouchard e Gravier. V. Ed.M. margin : Piranesi Architetto fee. added lower r. Title Veduta interna delta Basilica di S. PETER'S. B. B. and 8.M. Paolo fuor F. TUBES.] r. Reference no. II. Palazzo Tomati. wall extreme r. Number 3 upper r. 39 Address: Bouchard e Gravier.M. VI. SOANE. DAVIES. I. Signature lower 1. II. II. Palazzo Tomati. 1st Paris Ed. V. Firmin-Didot. B.M. from cornice.M. Address: Bouchard e Gravier. Intermed. Firmin-Didot. SOANE. VI. Firmin-Didot. IV.L B. 2\. : TUBES. III. margin.

DAVIES. TUBES. Firmin-Didot.L. and 9 lower r. Intermed. IV. II. IV. and on balustrade. (}. : Title Veduta della Basilica di S^ Maria : Maggiore con del. making two vertical streaks of shadow. and darkening the balustrade. TUBES. lower r. delle F.L. CHATSWORTH. KING'S. 6^ X Signed. SOANE. Palazzo Tomati. GIOVANNI IN LATERANO. margin 694 upper r. DAVIES. towards the top. Price erased. Price erased.] 9. margin. Additional number 9 upper VII. B. 790. ist Paris Ed. lower r. MAIN FACADE. B. Foreground darker. Numbers 2 II lower Paris Ed. Paoli 2\. MARIA MAGGIORE WITH THE COLUMN FROM THE BASILICA OF CONSTANTINE IN THE FOREGROUND. Before address. CHARRINGTON (Magnificenze). Firmin-Didot. shading 1. 24. 9. B. TUBES. Title [ 1 Paolo fuori mura. Paris. Paris. B.M. 1749. foreground 1.L. : Piranesi del. Paris Ed. TUBES. Price erased. Address: Bouchard e Gravier.L. 1749. Number 693 added upper Ed. Number 694 added upper r. Number 699 added r.M. KING'S. 1749. Address and price: Autore. Intermed. SOANE. [i5f X I. Ed. Paoli TUBES. B. B. margin in sky. F. margin .M. ist VI. INTERIOR.] [i5^X I. 15. Before address.M. SOANE. r. III. SOANE. Number 15 lower r. Spaccato interno detta Basilica di S. Added work in sky. BLOMFJELD. KING'S. r. lower : r. Scol.M. WITH PALACE AND SCALA SANTA ON THE RIGHT.M. V. Palazzo Tomati. . ist Paris Ed.M. TUBES. B. B. Address: Bouchard. II. Address: Bouchard e Gravier. Less work CHARRINGTON (Magnificenze}.M. III. BLOM FIELD. THE 'VIEWS OF ROME' S. 791.. I. 792.] Signed. TUBES. B. margin. Address and price: Autore. 10.. Paris Ed. Firmin-Didot. CHARRINGTON (Magnificenze). r. CHATSWORTH.M. z\. IV. 2 if. 8.40 7. DAVIES. Foreground The face of smaller fountain at front of base of column shaded in regular horizontals with a piece of darker B. Numbers 10 lower r. margin Piranesi Scol. Giovanni Laterano. Paris. VI.M. SOANE..L. Title : Veduta della Basilica di S. : PAOLO FUORI LE MURA.M. S. VI. Signed. margin.L. B. S. of signature). Paris Ed. B.M. III. Ed. Address and price: Autore^ Palazzo Tomati. B. F. II. Paoli i\. V. BLOMFIELD. Added work darkening clouds in sky. Two series of short horizontal lines added face of fountain. Intermed. TUBES. Before address SOANE. Before added work in sky. V.M. le due Fabbriche laterali di detta Basilica. 21^. Piranesifecit. lightly bitten.

. 794. CHARRINGTON (Magnificence). TUBES. 11. II towards r. Ed. III. 1st Paris Ed. SOANE. [i6f x I. 13. Address and price: Autore. B. V. Number 704 added upper r. MARIA MAGGIORE WITH THE OBELISK IN THE 17. margin.M.M. ist Paris Ed. Signed. 24.M. 1750. Title on centre below r. TUBES. S. II. Additional number 20 upper r. foreground. Number 703 upper r..] Signed. ist Paris Ed.. 730. KING'S. Lorenzo fuor : mura. margin : Gt'ov. Before address. margin : Giovan Battista Piranesi Architetto B. B. DELL' ?).M. B.M. Strada Felice.M. More heavily bitten. Number 18 lower r. Address Bouchard e Gravier. F. B. Firmin-Didot.L. Paris Ed. IV. : SOANE. 19. much darker patches TUBES. THE PIAZZA DEL POPOLO. CHATS- WORTH. in centre of subject below : Piranesi F. DAVIES. : F. 22. III. Address and price Autore. dis. B. of shadow lower and irregularities in wall near r.g. Firmin-Didot. Croce in Gerusalemme. IV.L. S. 1. Intermed. Intermed. Paris Ed. F. margin.L. Ed.] I.. ii. Price erased. No signature.] : 18. Paris Ed.L. ESQUILINO. Number 19 on scroll r.L. Price erased. KING'S. Numbers 20 in cartouche. VI. B. Signed. Before address. [i5|X2i|. inc. 727. 729. 41 PIAZZA. III. B. lower r. DAVIES. [i5| X 24|.] I. B.M. to of scroll Piranesi F. Palazzo Tomati. B. [J5|x I.M. Number 17 lower r. BLOMFIELD. lower r. Firmin-Didot. 1st Paris Ed. B.CATALOGUE 10. V. 26. delle 1750.M. Number 702 added upper r. TUBES. Address: Bouchard e Gravier. [14! X 25! .M. Paris. II. su la via Appia. B. 1742 (misprint or error for 1749 Veduta della Facciata di dietro della Basilica di S. III. 14. S. Firmin-Didot. Intermed. TUBES. LORENZA FUORI LE MURA. SOANE. Paris. : Veduta della Basilica di S. Signed. Paoli 2^. Ed.L. 20. added in manuscript). Price erased. DAVIES. ed Title Veduta della Facciata della Basilica di S. SEBASTIANO. e. Title Veduta della Piazza del Popolo. Before numbers. Paris.M. margin. V. TUBES. Title : F. Address and price: Autore. Intermed. B. 12. : 1750. Paoli SOANE.. II. Battista Piranesi Architetto ed inc. III. Number 701 added towards upper r. IV. 1. 731. 2%. Paris Ed. TUBES. IV. KING'S. dis. 1750. Title in cartouche lower Veduta della Basilica di S. Maria Maggiore. Paris. TUBES. Paoli 2\. Ed.] I. scroll in F. S. Sebastiano/uori delle mura di Roma.M.L.M. : CROCE IN GERUSALEMME. TUBES. KING'S. SOANE (with 2.

Strada Felice. Strada Felice. 28. Number 4 lower VI.M. Paoli z\. Price erased. B. (e. X Signed. le rovine del Circo Agonale. Number 708 upper 16.. Before address. V. and signature added but before address. TUBES. IV. B. 1st. THE PIAZZA DEL QUIRINALE. SOANE (with 4 I added in Numbers 24 lower r. B. Paoli : 2\. III.M. sc. Before address. hanging over the cornice. 27. plate is 712 in the Ed.] [16 I. II. Firmin-Didot. : OBELISK. Title Veduta della Piazza della Rotonda. more heavily bitten. . V.M. VI. manuscript). TUBES. DAVIES. Address and price: Autore. lower r. series of lighter lines between the main lines of shading on the ground in shadow of buildings 1. Paoli i\. TUBES (one impression with 4 I added in manuscript). Address and price Autore. Paris Ed.L. BLOMFIELD. IV. Added lines of shading on 1. II. {Magnificenze). THE 'VIEWS OF ROME' Address: Bouchard e Gravier. margin. B. Firmin-Didot. 1751. el sculp. TUBES. THE PIAZZA NAVONA. [16 X I. e. DAVIES. Palazzo Tomati.M. Palazzo Tomati. Number 28 lower r. VI. g. Lettering The plate. [i 5% X 2 if . margin : Piranesi del. Address: Bouchard e Gravier. S. III.M.). 1750. now shows stronger pieces of shadow beneath the cornice.] Signed.M.g. the 1. Paoli 2$. Address and price: Autore. BLOMFIELD. Intermed. Paris. B. III. Number 22 upper r.42 II.M. TUBES. Firmin-Didot. DAVIES.L. WITH : AGNESE ON THE RIGHT. Title 1751. CHARTUBES. B. More deeply bitten. Paris. Intermed. RINGTON II. CHATS- WORTH. lower margin : Piranesi (from State II onwards). Address and price Autore. SOANE. The foreground 1.L. Ed. Vedula di Piazza Navona sopra r. B. Signed. 1st Paris Ed.M. Number 706 towards upper 15. IV. Title : Veduta della Piazza di Monte Cavallo. r.L. which was of one tone. Paris. in lower r. 24. WITH THE PANTHEON AND F. margin : Piranesi del. ist Paris Ed. B. F. Address: Bouchard. Paris Ed. Firmin-Didot. CHARRINGTON (Magnificense). Ed. B.M. CHARRINGTON (Magnificenze). face of base of front Horse Tamer. KING'S. B. r. 2 if. SOANE. KING'S. Intermed. r.L. VII. Paris Ed. and shadow from the creeper : SOANE. 808. Inscriptions Opus Phidiae and Opus Praxi added on bases of the B. B. Before lettering on bases of the statues. V.. THE PIAZZA DELLA ROTONDA. DAVIES.M. del. Paris Ed. Before all lettering. III. 806.L. 796. margin.L. SOANE. but the number does not appear on the 17. TUBBS.M. margin. statues. CHATSWORTH. 21^. Ed.M. Price erased. CHATSWORTH. Price erased.. CHATSWORTH. Address: Bouchard e Gravier. KING'S. B. sc. SOANE (with 4 I added in manuscript). F.M. BLOMFIELD.] I. WITH THE STATUES OF THE HORSE TAMERS IN SIDE VIEW.

DAVIES. g. DAVIES. 79 1750. The Library and Collection of the R. Journal of the R. a triangle of dark shadow on ground between the man TUBES.B..M. TUBES. THE PIAZZA : DI SPAGNA..) added in margin. Ed. CHATSWORTH. The r. somewhat in (left niche facing the fountain) a male figure with arm extended. SOANE. 1 speaks See Rudolf Dircks. TUBES.M. The lines of shading along lower border rebitten. F.] Before address. B.. CHARRINGTON (Magnificenze}. Signed. lower r. Number 27 lower r. IV (r. Paris Ed. V. The statue of Neptune now has the statue in front niche is changed into a female figure of Plenty with his r. 1920. VIII. TUBES. Vertical lines of shading added between the dots. g. arm extended the horses' wings drawn with more character. B. THE FONTANA : DI TREVI. Veduta della vasta Fon/ana di Trevi anticamenle detta TAcqua Vcrgine. the statue SOANE. face of gallery on roof of house 1. An in original letter by G. and in several darkened with a few added places along foreground. Address Bouchard.B. leaning over basket and the two monks in foreground towards r. margin Piranesi del. margin 23^. Price erased. VI. Number 717 upper Intermed. r. B. Firmin-Didot. Also damage making a blot like a horizontal rift in roof towards r. 33. B. scolp. B. 43 IV.. dated Institute n Nov. shading on ground along lower border are of one regular tone. Address and price: Autore. Added lines of shading near wheels of the carriage 1. Paris Ed.M. 1st Paris Ed.] : Piranesi Architetio fee . Price erased. The lines of shadow to r. : 19. Intermed. KING'S. SOANE (with 4 V. Number 711 upper r. triangular piece of B. TUBES. lines giving irregular III. Address Bouchard e Gravier. and darker shading beneath the eaves of house described.L. Paris Ed. B. Number 707 upper r. Paris.).A. : emphasis to shadows. Numbers. IV. VI. 4. Rebiting and added lines (e. Inteimed. VII.M. 18. .CATALOGUE to plate. V.A. IV. and Before address. adding strips of dark shadow. 21^. III. Paoli i\. TUBES. F. BLOMFIELD. Additional number 23 upper r. Firmin-Didot.L.L. KING'S. preserved of the statues the 1 Library of the Royal of British Architects. TUBES. December . Paris. Paoli i\. Patch of cloud near upper r. of the two gentlemen conversing near 1. Title [15! X I.M. 1st Paris Ed. Paris. Ed. CHARRINGTON (Magnificenze). Palazzo Tomati. SOANE.I.M. Address and price: Autore. corner of plate. KING'S. 1760. TUBES. Shading strengthened. SOANE. Signed. ist Paris Ed. 23 (centre). e. Price erased. B. II. Number 33 upper r.I. front The statue of Neptune in central niche is has his arms at his side r. adding variety in ground lower 1..L.M. foreground. 1751- Title [i5f X I. II. B. VII. BLOMFIELD. : Side View.L. 23. and holding cornucopia . Firmin-Didot.M. VII. of shed in foreground. Ed. lower r. added on manuscript). . TUBES. VI. Palazzo Tomati. Piranesi to Robert Mylne. Veduta di Piazza di Spagna.M. B. margin. arm crossing body. of steps shaded by dots or flecks only. 797. 1.

B. shows the monument Piranesi's small etching of the fountain in the Varie with statues as they now appear. III. Number 36 upper V. Paris. Number 38 lower r. Palazzo Tomati. Firmin-Didot. Address: Bouchard e Gravier. r. IV. B. or altered about 1760.M. lower G. KING'S. : 36. which was probably issued soon after that date. Ed. B. Then we have the first state of the present Vedute of 1748 shows the side niches vacant. Paoli TUBES. ist Paris Ed. e incise. Nicolb Salvi was engaged on the erection of the monument between 1735 and I762.] Signed. B. 735. : 5'| X 26|. B. TUBES. Address and price: Autore. KING'S. Intermed. see Hermann Voss. r.M. margin. 35. lower r. studies for it. : 38. VI. B. 21. Number 719 upper r. THE FONTANA DELL'ACQUA : FELICE.. II. B. V.L. 736.] Signed. ACQUA PAOL A. TUBES. but I h ave been unable to find out whether this in 1751. J 5l x Signed.L. F. 1 the statue of Neptune being by Pietro Bracci. etching. [ I. F. THE FONTANA on scroll DELL' 1. of scroll 5| X 24|. and on xxxi. or 20. Paris. KING'S. Ed. in work lower DAVIES. B. Price erased. shows the statues as they appeared whether Piranesi's design was based on models never carried out.M.M. Paoli 2\. Added work in IV. sky (dark horizontals near upper border). margin. : Veduta del Casttllo delf Acqua Paola sul Monte Aureo. I. Ed. Interned. Battista Piranesi Architetto dis. 1751. Now 1 the Ministry of Foreign Affairs. Firmin-Didot. Paris Ed.M. II. Paris Ed. Before address. Price erased. SOANE.Jahrbuch der Preuss. 124.. ist Paris Ed. Price erased.L. SOANE. III.M.M. II.L. 737. THE PALAZZO BELLA CONSULTA. Intermed. margin : Gio. 1st Paris B. Paoli III. Firmin-Didot. B. and the third of the etching. 1751. p. le Title Veduta del Palazzo fabbricato sul Quirinale per 2 4|-] Segreterie de Brevi 1729 (1749?) e della Sacra Consulia. Ed.M.M. Numbers. Address and price: Autore. F. Address : Bouchard e Gravier. 2$. strada Felice. Title in scroll in centre below [ I Veduta del Castello deW Acqua Felice. B. SOANE. DAVIES. DAVIES. above. For notes on the Fountain. r. Number 722 towards r. TUBES. TUBES.M. lower 1. Piranesi Architetto. Piranesi F. Address and price : Autore. Title [! I. V. TUBES.44 and state THE 'VIEWS OF ROME' bas-reliefs of the Fountain being at the time in the course of execution. B. Kunstsammlungen .M.L. IV.L. Number 720 upper 22.. 35 upper r. Paris. Paris Ed. z\.

r. Paris Ed. B. Piranesi F. B. Signed. IV. lower 1. Signed.M. Address: Bouchard e Gravier. II. cheformano Fodierno Monte Citorio.M. Paoli 2j. the glass of window shows much darker against the bars).M. margin. Address and price: Autore. SOANE. Ed. Paoli Price erased. More heavily r. Piranesi Architetto dis. 39. Ed.. lower 1. 740. TUBES. 739. Address and price: Autore.L. Paris. 42. 1st Paris B.M. KING'S. Address and price: Autore. B. 741. III.L.M. Address Bouchard e Gravier. F. B. Heavy rebiting 1st Paris (e.CATALOGUE 23. DAVIES.L. Palazzo Tomati.. Signed. 45 F. lower r.L. IV. 1752. V. : suite rovine Anfiteatro di Statiho [15! X 24|. the Chamber of Deputies.M. [15! 1% X 24^. : DI FRAN CIA (THE PALAZZO 1752 Kill. Ed. B. Number 726 upper IV. Paris Ed. DAVIES. F. Re SALVIATI). 2$. SOANE. Title Veduta del Palazzo Odescalchi. Paris. Paris. Paris Ed. DAVIES. Paoli *\. Numbered 6 lower r.. Number 43 upper r. Firmin-Didot. TUBES. TUBES. Intermed. Palazzo Tomati.L. Now 24. Firmin-Didot. SOANE.] : [i5f X I.] Signed. margin. SOANE. 1753. dell' Title Veduta della gran Curia Innocenziana edificata Tauro. 2j. 1. Ed. THE PALAZZO ODESCALCHI. B. B. lower r.L. : F.] I. Number 39 upper r.M. Archi1 tettura del Cav r Bernino. 738. margin. Paoli TUBES. 1st Paris Ed. Price erased. III. II. Palazzo Tomati. 1729 (misprint for 1749?) Veduta sul Monte Quirinale del Palazzo dell Eccellentissima Casa Barberini. : II. : Gio. KING'S. Price erased. Number 727 added upper r.] I. : Piranesi'fece. III. Salviati was occupied by the French Academy of Art between 1725 and 1800. [15! X 24^. g. B. DAVIES. Title Veduta. Price erased. B. Number 40 lower r. F.M. TUBES. V.M. THE PALAZZO : Title BARBERINI. bitten. Address and price: Autore. Number 723 added towards upper r. Before address. III.M. THE PALAZZO : DI MONTE CITORIO. Paris Ed. Firmin-Didot. di Francia. e inc. THE PALAZZO DELL ACCADEMIA 40. Ed. KING'S. 43. . Batta. del Palazzo delt Accademia istituita da Lutgi Gio. Number 724 upper r. ist Paris Number 42 upper V. Ed. Paris. Piranesi Arch. II. Ed. Intermed.M. KING'S. B. Intermed. B. Batt. 26.M.L. Palazzo Tomati. 24!". IV.L. nella Via del Corso. TUBES. The Palazzo 25. Intermed. Firmin-Didot.

strong lines of shadow beneath the eaves). B. B. With barge in centre of canal loaded high with timber. Address: Bouchard e Gravier. lower r. 1754.M. : DAVIES. [i4^X I. Intermed. Firmin-Didot. TUBES. F. KING'S. IV. 30. Signed. . Paoli 2%. (e. Rebiting on shadows in foreground and on house foreground 1. Before address. KING'S. The barge cited removed from the plate. B. V. Ed.] e Castello r. 742Title i?53 Veduta del Porto di 24!-] : Ripa Grande. B. THE SMALLER HARBOUR. V. TUBES. [15^X23!.M.M. B. B. VI. VI. B. Address and price III.M. SOANE (with 9 added in MS.M. 1. Autorey Palazzo Tomati. TUBES. B.L. KING'S. : 51. BLOMFIELD. SOANE.743531754. margin. Title : I. : Piranesi Archit.M.L. THE CASTEL [17! X 2if. BLOMFIELD. 814. Price erased. Number 736 upper r.46 27.L. III. VII.. IV. B. DAVIES. Ed. Paoli 2\.M. SOANE. CHARRINGTON (Magnificenze]. 793. CALLED THE PORTO : DI RIPETTA. Number 51 lower r. Signed. Address and price Autore. TUBES. Numbers. Piranesi Architetto fee. II. II. SOANE. lower Piranesi Architetto fee. site No 29.L. Address and price Autore t Palazzo Tomati. and DAVIES. TUBES. Strada Felice. 52. Signed. ist Paris Ed. Paoli 2%. Number 735 towards r.. lower r. TUBES. Veduta del Mausoleo <T Elio Adriano (ora chiamato Castello S. B. Paris. 1753- Veduta del Porto di Ripetta.M. Firmin-Didot. VIII. 50 lower r. : [15! x I. TUBES. VI. Paris Ed. its mast crossing the building numbered i. F. Paoli 2 \. : B.L. of the being taken up by the Ponte Cavour. 50.] Signed. Paris Ed. leaving a large space of open water. V.L. Additional number 50 upper r.M. lower r. TUBES.. Before address. Autore.M. r. Price erased.M. part r. ist Paris Ed. Number 52 upper r.L. Address and price towards DAVIES.M. : S. CALLED THE RIPA GRANDE. CHARRINGTON (Magnificenze}. Palazzo Tomati. B. THE PONTE AND CASTEL : S. et inc. Intermed. Paris. Firmin-Didot. ANGELO. 1st Paris Ed. : dis. F. TUBES. Lines of shading added to give reflections beneath large boat with barrels in foreground.. Paris Ed.] I. ANGELO. Paris. lower G.L. : Sanf Angela. IV. TUBES. F. Title Veduta del Ponte 22f. Price erased. III. IX lower 1. Piranesi Archiiettofec. with Address Bouchard e Gravier. Angelo] nella parte Title: opposta alia Facciata dentro al Castello. TUBES. 28. B.g. Number 734 towards upper longer in existence. THE 'VIEWS OF ROME* THE HARBOUR AND QUAY. SOANE. margin). Intermed. KING'S. II. Ed. above.

Paris Ed. Firmin-Didot. Palazzo Tomati.. TUBBS. Paris Ed. TUBES. KING'S. VII.M. III. longer exists in this form. Address and price: A utore. DAVIES. Ed. Paris Ed. Address: Bouchard e Gravier. B. Firmin-Didot. Ed. margin. CHARRINGTON (Magnificense). lower at7a. Title as above. I. B. B. B. r. DAVIES.M. Number 710 towards upper Intermed. Number 739 in centre towards r. IV. 47.L. B. TUBES. 818. lower r. : Piranesi Architeitofec. It was blown up in 1867.M. Palazzo Tomati. III.L.CATALOGUE II. 47 Price erased. : 101. B. r. Address: Bouchard e Growler. 34. PIAZZA DI PIETRA. T. added on roof and side of house 1.M. I. Title altered to: Veduta deW avanzo .M. 1757 Title Teatro di Marcello. margin. III. Paris.M. Price erased.L. 31. Firmin-Didot.. Paoli z\. ist Paris Ed. F. II. TUBES. Rebiting in foreground adding triangle of shadow behind the man leaning forward in centre foreground. SOANE. Intermed.L. F. Number 786 upper Intermed. r. Palazzo Tomati.M. margin. V. III. F. Intermed. Now 33. . Title on separate plate : Veduia della . B.] I. lower r. B. II. VI. KING'S Paris. Number 53 lower r. B. B. Address: Bouchard e Gravier. Added work darkening 2\. [Subject plate 15^ tettofec. Address and price Autore. 1st Paris Ed. [15! X 24$. T.M. KING'S. 1st Paris Ed.M. x 23^ Title plate Dogana di Terra a Piazza di Pietra. SOANE. 822. THE HADRIANEUM (ONCE USED AS A CUSTOM HOUSE) 26. Piranesi F. B. -2\. xvi. Price erased. del Castello.M. DAVIES. . BLOMFIELD. V. Number 737 towards upper r. THE FONTANA DELL' ACQUA 23!-] title GIULIA. 5f X Signed.] I. TUBES. Paris. Signed.L. che prendendo una porzione deV Acqua . . [15! X 21^. : Piranesi Archiiettofec. Signed. Number 55 lower r. The begins: // Castel deW Acqua Marcia II. B. B. SOANE (Magnificenze). Paris.M. TUBES. Ed. : VI.L. Firmin-Didot. THE THEATRE OF MARCELLUS. SOANE. 710 lower r. Paris Ed. the sky: also creeper II. Before address.M. Price erased. IV. Paoli SOANE. 1st Paris Ed. of title plate Piranesi Archii| x 23!-] : Before address. Paoli IV. the Bourse. B.M. F. of title plate. IV.M. TUBES. 744. 821. Address and price: Autore. TUBES. IN THE 1753.M. Number 26 upper r. SOANE (Magnificenze). 1753. B. 1754. : 55 Gto. [ 1 Number 34 upper r. Ed. No 32. V. SOANE. Signed. THE PONTE SALARIO. r..

CHATSWORTH. Paoli 2 J. SOANE. margin. SOANE.. lower r. IV.] I.L. 37. V. lower Piranesi F. Ed. F. Paris Ed. lower r. TUBES. and : Both I this and the following are taken from inside the walls. 1st Paris Ed. Intermed. Palazzo To mati.M. g. Before address. III. Tempio di Bacco. Address: Bouchard e Gravier. SOANE. B. foreground bears no inscription. Signed. and on both the plates in the edition of Firmin-Didot. Price erased. B. Title : CESTIUS.L. B.L. Address Bouchard DAVIES. 36. B. 1914. Formerly decorated with the so-called Trophies of Marius. B. F. Signed.M. Number 731 upper r. margin. Firmin-Didot. The its apex is 3j inch from upper I. KING'S. Agrippa fragli altri ornamenti de* Trofei d Augusto. Paoli 2 J. [i6 I. Additional number 47 upper r. [16 X Veduta del Sepolcro di Cajo Cestio. 35 and 36 as given in my List in the Burlington Magazine. Signed.M. r. ito. e Gravier. CHARRINGTON (Magnificenze). Palazzo Tomati. e decorata da M. KING'S. S. Intermed. 47. : [15 Jx 21. THE PYRAMID OF CAIUS scroll CESTIUS. and the pyramid newly etched on a larger scale and with inscriptions on its upper border. Paris Ed. ' ' in this state in the later edition of the Trofei with the engraved title-page. B. Number 796 upper r. Added work darkening the clouds. Darker lines of shading (horizontal) added in sky along II. : ' ' e. BLOMFIELD.M. x 21^. Its apex is now only I \ inches from upper margin of plate. TUBES. CHARRINGTON (Magni- .L. VI. III. Number 44 upper r. lower r. in.M.). 26 I lower 1. Numbers.M.. Title (on lower r.48 THE 'VIEWS OF ROME' 1 Giulia dalCondottoprincipaleparte ne diffbndeva in una magnified fontana che gli era aderente. B. TUBES.) : Piramide di C.L. II. i756. 1 10 lower r. Capitol. Ed. TUBES. B. SOANE (with 8 in MS. SOANE. but the order now given corresponds to the numbering on State IV of present plate. : 21. IV.L. 745. B. Address and price: A utore. side.. 1st Paris Ed.M. Address and price Autore. lower r. KING'S. Neither the engraved catalogues nor the printed catalogues of 1792 and 1800 give any definite clue. B. Firmin-Didot. Firmin-Didot. Ed. 21^.. WITH THE PORTA S. Paris Ed. B. Numbered viii.M. COSTANZA (ERRONEOUSLY CALLED TEMPLE OF BACCHUS). Paris. F..] : inc. TUBES. Number 795 upper r. margin of plate. PAOLO 1755. Paris. Cestio. Paris. Number 43 upper r. III. 810. have reversed the order of Nos. TUBES. r.] : Piranesi Architetto fee. Before address.M.M. V. TUBES.. 1756. 1st Paris Ed. Piranesi del. BLOMFIELD. DAVIES. Title ficenze). Address: Autore.L. KING'S. It also appears VI. Feb. Intermed. now on the balustrade of the THE PYRAMID OF CAIUS AND ADJOINING ROAD. Price erased. 35. 811. It appears in this state in editions of the Trofei di Ottaviano Augusto with the printed title-page of 1753 (but no doubt issued later than that date).M.

M..M. B. V. SOANE. lower Piranesi SOANE. III. THE CAPITOL. margin. Title altered to : 49 Magno ed t : Address DAVIES. Paoli 2\. Number 759 upper r.g.L. Palazzo Tomati. Additional number 21 upper TUBES. It shows the corner of building on the right as in State I.L. Address Veduta interna del Sepolcro di S. E . CHARRINGTON (Magnificenze). Bouchard. FROM THE CAPITOL. 77. Signed.g. Before address. Heavy lines of shading added in foreground. Title (on scroll towards [16 x I. F. KING'S. VI. fabbricato da Costantino erroneamente detta il tempio di Bacco. 3 to 1. B.M. The part of fragment of stonework just above SOANE. SOANE. 40. KING'S. the clouds around trophy cleared away. COTSWOLD GALLERY (1922). scol. on and around the scalinata).] Romano Campidoglio r. and rebiting (e. 21 to r. B. of top of Address Autore. 26^. irregular clouds : Corner of building along r. Price erased. Number 761 upper r. Intermed. Address and price Further lines of shading (e. 1st Paris Ed. Ed. B.M. Intermed. TUBES.g.M.) Signed.M.L.. Numbers added near centre of lower margin. Costanza. CHATSTUBES. margin. rst Paris r. in. DAVIES.M. IV. 807. SEEN : FROM THE SIDE OF THE CENTRAL 1775 STEPS. MARIA IN ARACOELI. B. B..L.M.M. KING'S. inoggi Chiesa delict medesima Santa.M. IV. [15! X I. : III. Before address. heavy series of parallel horizontals on lower III. Price erased. margin. B. : Autore. Rebiting adding irregular shadow on floor in foreground near margin. Firmin-Didot.. r. plate II. Autore. the sky lighter. 15 III lower r. Ed. Paoli i\. B. margin. Numbers Number 7 upper r. margin erased. KING'S. at the foot .] Vedula del Campidoglio di Fianco. ist Paris Ed. Ed.L. BLOMFIELD. Paris Ed. Paris. ?). Strada Felice.L. margin of plate reaches within 2\ around the trophy in centre. V.L. e. B.CATALOGUE II. 39. Firmin-Didot. II.M. V.M. THE CAPITOL AND THE STEPS OF : S. TUBES. B. Number 705 towards lower r. Ed. Paris Ed. VI. THE FORUM ROMANUM. Intermed. DAVIES. except for 5 in. corner of scroll. corner of building along r. : Piranesi F. Firmin-Didot.g. An original study for this plate in the same direction is in the British Museum. Paris.. making two tones in shadow in immediate foreground 1. Paris Ed. WORTH. 38. 1775 (error for 75. 747. Title 1757 Veduta del 2 if. 1. . Number 9 upper r. IV. d 1 Araceli. Paris. e. : con scalinata che va alia Chiesa del. in work towards lower r. WITH THE ARCH OF SEPTIMIUS SEVERUS IN THE FOREGROUND L. F. It is vigorously drawn in red chalk (over light initial sketch in black chalk) with touches of sepia. OR CAMPO VACCINO. by the two dogs). TUBES. B. TUBES. (error for 1757?). B.

M. MARIA LIBERATRICE IN FOREGROUND L. smaller lines added between the regular vertical shading top of the pilasters on fagade of church. VI. BLOMFIELD. Number lo upper r. Address : Bouchard e Gravier. Intermed.. of print. B..M. III. B. to r. : : of arched gateway. TUBES.L. Paris Ed. and added lines.M. of the r. TUBES Ed. Firmin-Didot. B. AND S. Number 15 upper r. IV. SOANE. x Signed. lower r.g. Numbers 21. Paris. V. II. Address and price: Autore.M. DAVIES. THE DISTANCE. Ed. Number XX VI I upper r. II.) lower margin. CHATSWORTH. Price erased. B. F. AND MONTE AVENTINO IN 41. Paris.M. Paris. KING'S. TUBES. columns of the Temple of Castor and Pollux are described by Piranesi as of the Temple of Giove Statore. KING'S. L. 1st Paris Numbers 16 (1. CHARRINGTON (Magnificenze). S. V. TUBES. KING'S. : Piranesi Architetiofec. B. Title : F. The church of S. BLOMFIELD. ov' era F antico Foro Romano. Number 767 above towards three r. TUBES. 1st VI. : [16 I. e. for F. . 801.M. Price erased. Signed. Intermed.L. The 42. Before address. NERVA).M.-hand post on 1. B. TEODORO IN MIDDLE DISTANCE. DAVIES. Address: Bouchard e Gravier. TEMPLE OF VESPASIAN ?8.. Rebiting. lower r. Address and price Autore.. Ed. Address and price: Autore. 803. WITH THE TEMPLE OF CASTOR AND POLLUX.. : Gio. X 2i.L. Ed. Palazzo Tomati. : [i5| X 24^. Title Veduta di Campo Vaccino. CHARRINGTON SOANE. AND THE COLOSSEUM IN THE DISTANCE. Heavy vertical lines of shading added on stonework above and just to r. Palazzo Tomati. Paoli 2 B. SOANE. DAVIES. ist Paris Ed. Maria Liberatrice is no longer in existence. B. but the general tone of the print as in earlier states.L. Paris Ed.M. Veduta del Si/o. VI. Intermed.] I. TUBES.L. III. VII. V. B. IV. Paris Ed. lower Piranesi del. at VII.) and 78 (r. F. Paris Ed.) and 95 (centre) lower margin. SOANE. III. Before address. B. scolp.50 THE 'VIEWS OF ROME' R. margin. THE FORUM OF AUGUSTUS (ERRONEOUSLY CALLED FORUM OF 95. More heavily bitten throughout heavy vertical lines of shading added on stonework \\ in. Address Bouchard e Gra-vier. Piranesi Archit. Number 779 upper r. Paoli 2\. 749- 1757- Veduta degli Avanzi del Foro di Nerva. II. Firmin-Didot. Price erased. \. SOANE. IV.M. Bait. A CORNER OF THE FORUM ROMANUM. TUBES. B. TUBES.] Signed. : 1775 (error 1757 ?). 1756. Paoli i\.M. Number 762 towards r. Title : 83. r. I (1. giving small patches of shadow. Firmin-Didot. 23!-] [14! I. (Magnificenze).M.

SOANE. BLOMFIELD. Number 763 towards upper r. TUBES. 1756. F. e.M. : TUBES. E 2 . Paris Ed. II. to r. III. Title Veduta del Tempio di Giove Tonante. THE BASILICA OF CONSTANTINE. B.. TUBES. Paris Ed. price III. 1. Price erased. B. SUBSTRUCTURE OF THE TEMPLE OF CLAUDIUS AT THE CHURCH SS. Intermed. Veduta del piano superiore del Serraglio da Domiziano a uso delP Anfiteatro Flavio. 1757Signed. TUBES. Ed. IV. Veduta degli Avanzi del Tablino della Casa Aurea di Nerone detti volgarmente il Address and price Autore. 2 : 86. B. Firmin-Didot.M. VI. but smaller than the Italics: 44. the Temple of Mars Ultor being seen through the The interior of the di Augusto in the same Forum is represented by Piranesi under the correct title Foro small oblong views of his "Antichita Romane de' Tempi della Repubblica/ 1748. 804.. Number 1 1 upper r. : Piranesi Architettofec. Paris. lower [15! X 23^. Intermed. SOANE. lower : 5| X 23|.L. Paoli 2^. 102. 813. B. r. upwards from 1. Address Bouchard e Gravier. V. F. TUBES..L. DAVIES. 6f x Title if. THE TEMPLE OF : VESPASIAN.. Further lines of shading and markings of brick work on arch furthest 1.M. CHARRINGTON II. V. : Piranesi Architetio fee Veduta degli Avansi del Tempio della Pace. BLOMFIELD. Address and price Autore. Address and B.L. TUBES. Before address.L. [i I. part of wall on 1. added. 45. darkening the wall on which man is seated in the foreground.CATALOGUE The view opening is 51 taken from without. : 79. SOANE. ist Paris Ed.M. 819. margin. 1st Paris Ed. DAVIES. Signed. B.] Signed. Before address. F. Before address.. dis. Strada Felice. Paoli "i\. 43- OF [J I. e volgarmente detto la Curia Ostilia. sloping Autore. GIOVANNI E PAOLO (FORMERLY CALLED THE CURIA HOSTILIA).M. B. B. (Magnificenze).] I.g. lower r. TUBES. ed inc. B.M. VI. III. Title in large italics Veduta della Curia Ostilia.L.] r. Number 787 above near centre. B. delle fiere fabbricato : : (Magnificenze). 1757. KING'S. Piranesi Archit. Paoli z\. TUBES. KING'S. B. Further lines of Tempio shading added. . IV. CHARRINGTON II. Paris.M. Strada Felice. DAVIES. Address: Boitchard e Gravier.M. wall. Heavy parallel and nearly horizontal lines of shading added on same above and behind the seated man's head. Ed. Title della Pace. The : wall lower has shading only in verticals apart from the foliage.M.M.M. Price erased. SOANE. Parallel lines of shading. added on upper 1. : KING'S. Firmin-Didot. Strada Felice. Title in capitals.L. Number 35 upper r.

SOANE.. afterwards slightly altered by later state. TUBES. V. Paoli B. r. a series of parallel lines being added in the centre of lower margin immediately above the word AUREA in inscription. KING'S. TUBES. Intermed. B.L. V. Address : SOANE. Number 743 upper r. DAVIES.M. I have not seen impressions of IT. TUBBS. dis. DAVIES. Maxentius. : II. Paris Ed. B. S. Price erased. or di S. F. Paoli 2j. of Cybele or Temple of Vesta. 1758. THE 'VIEWS OF ROME' Very strong darkening of shadows in foreground. I on cannot say whether the title Constantine. : Piranesi Archit. Further lines of shading.M. S.Firmin-Didot. Autore.L. 820. F. IV. or the graver) ist Paris on ground B. 59. S. Bouchard e Cramer. Fortuna : [14^X23. Virile. Batt. Further darkening of shadow (by V. F. incorrect. I. margin. THE TEMPLE OF PORTUNUS (?) (THE ROUND TEMPLE NEAR MARIA IN COSMEDIN). 1st Paris Ed. B. who was responsible for most of the building.5* IV. : pal building (e. Veduta del tempio di Bacco. It uncertain whether this building was a temple of Fortune. Autore. Price erased. and stronger biting on the princiDAVIES. Paris. "2\. VII. III. Strada The old titles. Number 58 lower r. Firmin-Didot. : Title [ I Veduta del Tempio di Cibele a Piazza della Bocca della Verita. Number 742 upper r. 1758. Intermed. VI. Urbano. F. lower r. or of the Mater Matuta.M. are certainly Maria del Sole. Paris Ed.L. ed incise. TUBES. Horizontal lines of dark shading added in sky near centre upper margin. III. : VIRILIS (NOW CHURCH OF 1758. Paris. Ed. SOANE. used for the church of 48. Number 59 lower r. 5sX 2 4i-J Signed. Paris. Number 770 upper r.L. BLOMFIELD. 23!-] 5| X Signed. ist Paris Ed.M. NOW THE CHURCH OF URBAN. this site.M. Price erased. Address and price Felice. B.] I. B. on middle of broken pilaster at corner). 58. Number 18 upper r. TUBES. Title Veduta del tempio della Signed. Ed. KING'S. 817. is Intermed. CHARRINGTON (Magnificcnze). Palazzo Tomati.. Piranesi Architettofec. lower r.M. Address and price TUBES. : Title [ x 60. but infer its existence from half-erased address visible still was changed before III. SOANE.g. Before address. lower r. I. VI. margin. THE SO-CALLED TEMPLE OF FORTUNA MARIA EGIZIACA). Before address.M. II.M. 46. TUBES. Temple S. IV. The building is now sometimes called the Basilica of Piranesi's titles are erroneous. 753. Ed. Address: Bouchard e Cramer. Piranesi Arch. Paris Ed. : Gio. . Firmin-Didot. Ed. both of which were near 47. B. rebiting. Has been THE SO-CALLED TEMPLE OF BACCHUS.

Ed. nearly hiding the irregular dots and flecks seen in earlier state. Paris. Paoli i\. DAVIES. CHARRINGTON (Magnificenze). Title altered to di Nerone. 1758.M. II I lower 1. V. TUBES. Intermed. SOANE.. DAVIES. o come Vaccino negli Orti di S. III.M. Number 769 towards upper r. Title Colonna Trajana. Address and price Autore. Before address. lower altri. Intermed. SignaG.L. Number 20 upper r. 1758. Number 17 upper r. Title [ 1 Veduta del Tempio d' Antonino r. IV. : ROMA (ERRONEOUSLY CALLED 50.L. ist Paris Ed. B. Firmin-Didot. between the lines. Ed. TuBBS. Palazzo Tomati. KING'S. 798.CATALOGUE : 53 II. margin. BLOMFIELD.L. lines (e. g. B. : Serapi in Campo Piranesi del e seal. [I6|X2I|.M. incise. Paris. IV.M. VI. 812.L. TRAJAN'S COLUMN. Francesca Romana. Price erased. : UPRIGHT.M. and some additional TUBES. : 5t X 2iJ. lower Faustina in Campo Vaccine. B.M. ist Paris Ed. Very considerably rebitten and darkened on fallen column in foreground r. TUBES. F. KING'S. TUBES. F. B.L.).L. Veduta degli Avanzi di due Triclinj che appartenevano alia Casa aurea III. KING'S. KING'S. Number 60 lower r. TUBES.. Paoli 2%. Signed. SOANE. THE TEMPLE OF VENUS AND TEMPLE OF SOL AND LUNA). Paris.. VI. B. Paoli 2%. II. : 31.M.L. Number 772 towards upper r. IV.M. VII. Number 715 upper r. 1759. Address: Bouchard e Gravier. IV. Before (Magnificenze). presi erroneamente per i Templi del Sole. and references. Price erased. B.M. SOANE. Before address. I. Ed. Paris Ed.M. Palazzo Tomati.. Palazzo ture now in lower r. BLOMFIELD. TUBES. Tomati. Intermed.] : Signed. B.] I. e SOANE. II. V. 802. [2ixi6. shadows and foreground r. Piranesi Archit. Piranesi Architettofec. margin. Lines added (indicating beams?) beneath eaves of roof of house on r. TUBES.. Price erased. Number 31 upper r. e della Luna. SOANE. TUBES.M. Paris Ed. wife of Herodes Atticus. B. : The end of fluted column on ground fairly light. Additional number 744 towards upper r. Number 19 lower r. in CHARRINGTON B. 51. F. Palazzo Tomati. B. Title in centre below : Tempj del Sole e della Luna.M. Firmin-Didot. 49. II. . DAVIES. 1st Paris Ed.M. irregular dots showing SOANE. B. B. o d'lside e Serapide.M. Ed. Piranesifecit. Address and price Autore. Firmin-Didot. B. III. : 85. SOANE. VI.] I. Firmin-Didot. Address Bouchard e Cramer. Possibly the temple-tomb of Aurica Regilla. d'lside e 1. TUBES. Price erased. B. Number 19 lower r. Paris Ed. Signed. III.M. Paris. B. lower r. Intermed. margin. V. B. CHARRINGTON (Magnificenze). The shading at end of column heavily rebitten. Address and price Autore. Address and price Autore. Paoli 2j. numbers TUBES. ist Paris Ed. Paris Ed. THE TEMPLE OF ANTONINUS AND FAUSTINA.M. TUBES. BLOMFIELD. B. : : : V. 88.L.

Paris Ed. Palazzo Tomati. More VII. e incise.g. SOANE.] I. lower : Gio. verticals). V. V. in foreground r. Palazzo Tomati.54 52. SOANE. B. considerably darkened (rebiting or graver work. Ed. ist Paris Ed. Paoli 2j. Numbers in margin. TUBES. Paoliz\. Batta Piranesi diseg. III. TUBES. lower Piranesi Architettofee . 12. Paris. B. Title : THE PIAZZA DI S. : 90. . e. WITH THE CHURCH OF MARTINA ON THE R. various short horizontal lines on lower part where shading in early state was only in II. Autore. Number 768 towards upper r. figures V. 54. ist Paris IV. 1758. Price erased.. DAVIES. Paris. CHARRINGTON (Magnificenze). 55. KING'S. 32 lower r. 1st Paris Ed.] [ig| X Signed. r. 756. II. : Piranesi Architettofec. GIOVANNI I769 . Number 22 upper r.M. SOANE. V. Price erased. Number 696 near centre.M.M.M. added irregularities of dark shading in shadow by two groups of B. Strada Felice. LATERANO. Address : Boitchard. Firmin-Didot. B. Address and price DAVIES. i5g. Heavy rebiting : the arch now in much darker shadow. CHARRINGTON (Magnificenze). Firmin-Didot. Number 16 upper r.L. B. VI. KING'S. B. lower r. F.L. I. B. II. x 15!-] Signed..L. THE ARCH OF SEPT1MIUS SEVERUS. UPRIGHT. Intermed. Paris. 84. B. Address and price TUBES. r. Intermed. Obelisco Egizio. Before address.M. Paoli 2 \. 4 lower 1. B. 24^-. VI. Intermed. SOANE. Palazzo Tomati. margin. UPRIGHT.M. (by lower margin). TUBES. 809..M. Paris Ed.. TUBES. TUBES. Ed. B. F. Paris Ed. Firmin-Didot. KING'S. lower r. B. THE ARCH OF : TITUS. TUBES.L. x Signed.L. TUBES. Signed. B. Before address.L. Paris. THE EGYPTIAN OBELISK IN 53. Additional number 32 upper r. DAVIES. II. above. Number 774 upper r. is Paoli 2\.M.. Paris Ed. Autore. Address and price A^ltore.M. Ed. 1st Paris Ed. TUBES. TUBES. Title Veduta deU Arco di Tito. Before address. Ed. III.L. : [14! X 23. 800. CHARRINGTON (Magnificenze). B. Intermed. : TUBES. B. THE 'VIEWS OF ROME' THE COLUMN OF MARCUS AURELIUS. 799.] [aif I.g. Price erased. 759 i : Title Arco di Seltimio Severe. S. IV.M. SOANE.M. BLOMFIELD. : Piranesifecit.M. 1760. Price erased. SOANE. Building on r. KING'S. BLOMFIELD. BLOMFIELD.M. [2 1 1 I. DAVIES. F. : III. IV.M. Ed. SOANE. heavily bitten. B. Firmin-Didot. Number 716 upper r. Number 12 lower r.M.L. Address and price : Autore. Title Colonna Antonina. e. IV. : 32. open III. Address: Bouchard e Gravier.

was sale. : 1760. THE PORTICO OF OCTAVIA F. Veduta delt Arco di Costantino. 758. TUBES. Number 784 upper V. Numbers 22 r.] I. : (Magnificenze). Title THE PORTICO OF OCTAVIA: THE ENTRANCE PORCH. size Paris. Address: Bouchard III. F. Ed. SOANE. 2 7|-] [ifi X Signed. TUBES. 25 Jan. Address and price: A utore. Strada Felice.. Autore. Paoli z\. TUBES. B. : B. Veduta interna deW Atrio del Portico di Ottavia. 59.M. 1st Paris Ed. Paris Ed. BLOMFIELD. 68. 67.M. BLOMFIELD. II. : Piranesi F. e. : 97. SOANE. Paris Ed.g. EXTERIOR. lower r. CHARRINGTON e Gravier. Number 29 upper r. Deeper biting. Number 67 lower r.M. Paris. Firmin-Didot. DAVIES. B. 94) perhaps the original : design for this subject. horizontal shading on shadowed side of pilaster in centre. Title : 55 100. III. B. CHARRINGTON (Magnificenze}. Price erased. Signed.M. B. I. : 1760. B. [16X21 f.L. lower : r. V. Amsterdam. attributed to Piranesi.L. SOANE. margin.M.M. F. COTSWOLD GALLERY Paoli i\. TUBBS.M. B. Address and price DAVIES. Number 751 towards upper r. : THE ENTRANCE PORCH. A in the R. Address and price Autore.L. Number 32 upper r.. II. margin. TUBES. Title Veduta delt Anfitealro Flavio. drawing of the same W. F.M. (12 I written in margin). lower r. TUBES. VI. Firmin-Didot. (1921). CHARRINGTON (Magnificenze). Paris Ed. detto il Colosseo.M. Ed. Intermed. Paoli z\. [15! X I. : [16^x2 if. Price erased. INTERIOR. TUBES. B. Piranesi Before address. 1757. Signed. 23!-] Signed. IV.. B. Intermed. 1st Paris ed. 58. B. DAVIES. 805. SOANE. Address: Bouchard e Gravier (or Bouchard^). IV.L.M. III. B. B. Flavio detto il Colosseo. lower r. TUBES.M. 1st Paris Ed. Before address. B. Price erased. Number 781. Strada Felice. e dett Anfiteatro del. VII. de Vries and apparently the same subject. Intermed. 57. Paris.CATALOGUE 56. 1921 (No. . II. TUBES. 816. CHATSWORTH. IIII lower r. KING'S. SOANE. BLOMKIELD.] I. P. VI. THE ARCH OF CONSTANTINE AND THE COLOSSEUM.M.M. Piranesi Architetto fee. : Piranesi Architetto fee. SOANE (Magnificenze). Firmin-Didot. Ed. 1760. KING'S. KING'S. Title altered to Veduta del Tempio di Bellona. Strada Felice. and some added lines. scolp.L. Vedttta deir Atrio del Portico di Ottavia. Title: II. Address: Bouchard e Gravier. IV. THE COLOSSEUM. 815.L.

. : Piranesi Fee. Firmin-Didot. Firmin-Didot.M.L.M. 14 I (r. ONCE USED AS CHURCH OF S.] Signed. Paris. Ed. 27$. 754 upper Ed.M. B. 764. B. No address. THE PANTHEON EXTERIOR. 1761.L. TUBES. g. r. V. ist Paris Ed. on scroll towards : 1.M. Strada Felice. : Title Veduta del tempio della Sibilla in Tivoli.L.M. Paris Ed. Intermed. Paris Ed. Palazzo Tomati.. THE TEMPLE OF THE SIBYL. VI. Finnin-Didot. Numbers. Price DAVIES. margin. 1761. whether it is Bouchard or Bouchard III. Autore^ Palazzo Tomati. [i8$x I. : Piranesi F. Paris Ed. Intermed. B.56 III. 765. 25. Paris. B. F.L. : X 26. Nor can I say whether the additional shading was added in II or 60. lower : r.L.M. Price erased. B.M. Address and price TUBES. II. SOANE. Ed. Intermed. 122. Paris Ed. Intermed.L. I . Number 751 (error for 752) upper r.] Signed. B. B. Autore.L. SOANE. on long scroll at foot : 70.M. I. B.L. Ed. Number 2 upper r. Paris. III. r. Paoli i\. B. irregularities of V. e Gravier. B. THE TEMPLE OF THE 123. KING'S. Number 807 upper r. of cartouche). 6a. Number 68 lower r. WITH ANOTHER TEMPLE R. B. II. COLONNADE. 761. 1st Paris Ed. lines of B.M. Title in scroll [17-5 I.. SOANE.. Paoli 2$. Price erased. . Number 56 upper r. Paoli and address TUBES.M. F.M. II. : SIBYL. III. TIVOLI. Price erased. KING'S. ist Paris Ed. Firmin-Didot. r. GIORGIO. F. are emphasized) and outline of clouds upper 1.M. B. but infer its existence from the imperfectly erased It is not clear address still visible on some impressions of III (e. Title Veduta del Pantheon d Agrippa oggi Chiesa di S.L. IV. 3.M. V. Numbers 256. Numbers. B. KING'S. IV. III. King's). TUBES. 30 lower r.M. (e. Very strong horizontal I shading added on trunk of tree in 1st Paris foreground..M. Deeper biting and added shading shadow on wall in foreground 1. do not know impressions of II.g. in work toward Piranesi F. TUBES.] Signed. Number 55 upper r. TIVOLI : THE BROKEN SIDE OF THE 1761. TUBES. Maria ad Martyres. SOANE. della Sibilla in Tivoli. 61. THE 'VIEWS OF ROME' Address and price : Autore. Paris. Altra Veduta del Tempio 1. IV. Ed. more distinct. B. Number 808 upper r. KING'S.

B. : Cecilia Metella. 3 inches from . 768. Paris.M. Number 57 upper r. B. IV. I. III.M. THE PONTE MOLLE. : Veduta del Ponte Molle sul Tevere due miglia Ionian da Roma. 1763. KING'S. Signed. Altra Veduta del tempio della Sibilla in Tivoli.L. Number 809 upper r. Now generally recognized as the Portico of the Augustales. Ed.. Price erased. III. Autore. Firmin-Didot. MARIA DI LORETO 1762. r. Veduta delle S. : [24^ x I7|. SOANE. 1st Paris Ed. [i lower r. a opera incerta. : SIBYL. lines. 27. 30. Number 804 upper II. r. 1762. lower : of scroll : Piranesi F. F.M.M. 54. and 4 inches from the lower margin. darkening the shadows beneath the upper row of round arches (e. 64.] Signed. Price erased. B.M. Paris Ed. 1st Paris Ed. on scroll Title. B. B. THE TOMB OF CAEC1LIA METELLA.M. Mecenate a Tivoli. UPRIGHT PLATE. Paris Ed. THE SO-CALLED VILLA OF MAECENAS. Number 738 upper r. Intermed. Paris.. F. Number 54 upper r. B. B. Paris. on face of : 112.] I. below : due Chiese^ tuna detta della Madonna di Loreto I'altra del [i 6f X I. Intermed. SOANE. TUBES. Firmin-Didot. lower 1. e. 1. Ed. F. Paoli 2j. Paoli 2$. B. Intermed. ist Paris Ed. Nome di Maria presso la Colonna Trajana. Firmin-Didot.L. II. ist Paris Ed. Number 30 upper r. 766. r. connected with the of Hercules. TUBES.M.L. 66. KING'S. TUBES.g. Price and address II. 7| x 26f.M. TUBES. TUBES. TIVOLI. Lines of shading added. Title 1761.] Signed..L. verticals on the light corner of building to margin of print. II.M. : Avanzi della Villa di TIVOLI.M.L. TRAJAN'S COLUMN. Paris Ed. 124. Sepolcro di Piranesi F. II. lower centre of scroll Piranesi F. SOANE.L.CATALOGUE 63. KING'S. arch). Title. 767. 1762 Title [i7-|x 24^. Added III. B. lower : of scroll : Piranesi F. 119. IV. 67. dicular parallels in 1. DI MARIA. Signed. B. Temple TWO CHURCHES NEAR on scroll in centre AND SANTISSIMO NOME Title.M.. Palazzo Tomati. 65. Address and price Autore. costruita di travertini sc. lower r. Firmin-Didot. X 26f. SOANE.] Signed. III. 57 THE TEMPLE OF THE on scroll 1. TUBES. of scroll : Piranesi B. in work lower r. Ed. [17-5 I. TUBES. Number 714 upper r. Before added r.] I. Paris. perpenB. Number 52 upper r.M. masonry towards lower 1. B. g. Intermed. KING'S. 849. Paris Ed.. IV.M. F 772. shading. Ed. KING'S.. on scroll F.

Intermed.M. ist Paris Paoli 2$. margin. Number 797 above towards r. Piranesi F. TUBES. 118. Firmin-Didot.M. B. [i7f X 22f . 68. Rebitten and darkened throughout. ist Paris Ed.. Title in space towards lower 1763.J in centre below r. F. Ed. 773Title 1763. B. : [24^x I. Price erased. lower 1. III. TUBES. 115. Ed. Intermed. B. Intermed. THE PONTE LUGANO. above. cinque miglia Ionian da Roma . II. Ed.L. e. : TOSSE. V. IV. IV. NEAR TIVOLI. margin. Address and price: Autore. TUBES. IV.g. 69. Address and price Autore. on space i8|. : : on stonework towards lower su la via I.g. 776. THE SO-CALLED TEMPLE OF F. Intermed. Ed.M.M. 117.] Signed. 1764.M. NEAR TIVOLI. Title Tempio antico volgarmente (f Albano. Price erased. margin.M. 112 XXVI lower r. e. Signed.L. Paris. Paris Ed. II. sometimes conjectured to be that of the Turcia or Tossia family. 1763. THE SO-CALLED TEMPIO BELLA r.M. Number 45 upper r. SOANE. ' The so-called ' Temple of the Cough is probably a tomb. Paris Ed. Further biting. Number 800 upper r. Number 802 above towards B. Veduta del Ponle Lugano su f Anione nella via Tiburtina risarcito r. Number 803 in sky-light. Ed. ist Paris Ed. margin Piranesi F. darkening lines of brick work at ist Paris r. B. Firmin-Didot. lower r. THE SO-CALLED TEMPIO DELLA TOSSE. Paris Ed. ON THE ROAD TO ALBANO.. Paris. Number 5 1 upper r. SALUS.] I. detto della Salute 65. heavy lines (converging on dark work on arch. KING'S. Signed. [i6| X 2 1.. Signed. Paoli r. UPRIGHT. Paris. to vertical in centre) added 71. III.M. III. : Piranesi F. KING'S. Address and price Autore. 2j. lower : margin : Piranesi F. B. TUBES. Price erased. B. corner of temple. F. Title INTERIOR. 70.L. ist Paris Ed. B. 775. 774. B. r. in work lower 1. Paoli i\. Veduta del Tempio detto della Tosse su la via Tiburtina.M. Firmin-Didot. . Ed.. ne tempi bassi. lower : Veduta interna del Tempio della Tosse. IV. un miglio vicino a Tivoli. TUBES. Paris... Number 48 upper r. V. II.58 III. TUBES. TUBES. : PLAUTII. II. THE 'VIEWS OF ROME' Numbers.M. [17! x 25!-] I. WITH THE TOMB OF THE on stone. Number 50 upper r. TUBES. SOANE. SOANE. Paris Ed. F. B. Firmin-Didot. SOANE. SOANE. KING'S.

CATALOGUE III. lower margin : Piranesi F. margin. F. B. II. Paris Ed..] Signed. 778. B. The 73. WITH TWO FIGURES IN THE OPENING OF AN ARCH ABOVE. e. SOANE. Number 46 upper r. 1764tablet in centre F. 125. Generally accepted as a collapsed in 1828. heavy parallel lines deepening shadow Ed. SOANE. 1765 (1766 engraved on the plate).M.L. TUBES. Signed. g. Firmin-Didot.M. : [i8| X 24^. Firmin-Didot. Added lines of B. known.] I. Paris. Title on below 1. Before added work. g. of which nothing certain 72. attributions of these tombs are almost certainly erroneous. B. F. Ed.L. TUBES. margin Piranesi F. Intermed. Paris.M. vertical lines towards 1. [i8x 27^. KING'S. Ed. III. B. Ed. Paris Ed.M.. Numbers. margin. SOANE. Paris. 1764. : TIVOLI. Sepolcro della famiglia Cornelia 1. B. side of masonry which bears the SOANE. The centre of the dome THE WATERFALL AT on masonry lower r. ist Paris B. r. on cartouche towards lower Signed. title.. B. 74. 113. TUBES. B.M. and rebiting. 65. lower 1.g. 1st Paris IV. of the large upper arch 2j inches from of print]. III.. See No. 1st Paris Ed.M. Firmin-Didot. 120. TUBES. Added lines of shading. III.. 59 IV. work. Added lines of shading (e. 769. INTERIOR. Title on cartouche .M. THE SO-CALLED TEMPLE OF MINERVA MEDICA. Veduta della Cascata di Tivoli. Ed. verticals III. r. lower margin Piranesi F. e. IV. in vault of dome. title : [i8f x 27^. Intermed.] I. KING'S. x 24.M. Number 65 upper r. . F. B.L. TUBES. in centre below : Veduta del Sepolcro di Pisone Liciniano su fantica via Appia [i6|I. B. Ed. 1764- Title. Number 6 upper r. Veduta del Tempio ottangolare di Minerva Medica.. 779. . II. 1. Signed.L. : Veduta interna della villa di Mecenate. on 1. 125 XXX lower TUBES. Intermed. Paris. Nymphaeum of the Horti Liciniani. 1. . 777. KING'S. Number 798 upper II. TUBES. : : 74. Number Number 53 upper r. is Actually merely a tomb. 75.M. B. below Eques Piranesius del sculp Ij66. II. Paris Ed. 805 in the light of the first arch r. THE SO-CALLED VILLA OF MAECENAS AT TIVOLI. Before added work. Number 758 upper r. Paris Ed. Firmin-Didot. KING'S. . Before added work.M. Number 749 towards upper r.M. Intermed. ist Paris Ed. Title. THE TOMBS ATTRIBUTED TO PISO LICINIANUS AND THE CORNELII ON THE APPIAN WAY..] I.

TUBES.. 7i X 27! . SOANE. below Avanzi <fun portico coperto^ o Domiziano cinque miglia Ionian da Roma su la via di Frascati. Added lines of shading. added projections of dark shadow to 1. 104. longer exists. TUBES. ist Paris Ed. KING'S.] Signed. I.60 IV. Number 36 upper r. B. Paris Ed. : Title on stone towards 1. : Number 31 upper r. F. SOANE. 91 and in. : I. : Rovine del Sisto o sia della gran sala delle Termc Antoniniane. crack shows across lower 1. The 76.g. corner of plate broken off where the crack appeared in III Intermed. Number 37 upper r. 13). I.. Paris. possibly by Piranesi himself). 1765. Paris. Number 783 upper r. lower r. : (with title in pen and ink: and signed in MS. [16^ x 26|. lower 1. VII. IV. Title . SOANE.] Signed. Number 750 upper r. Ed. 99. THE COLOSSEUM INTERIOR. 781. Cavalier Piranesi F. margin : criptoportico in una Villa di B.M. F. I. A IV..L. to 1. title 1766.. II. II. Firmin-Didot. B. . 1765. Firmin-Didot. Intermed. in cartouche towards lower r. 103. Paris. IV. III. Paris Ed. III. KING'S. (pi. Firmin-Didot. III. 106 Papers See Dr. Before and signature. margin Cavalier Piranesi F. r Signed. THE BATHS OF CARACALLA. Number 789 towards upper : r. Title [i Rovine delle Terme Antoniniane. F. F. margin : Cav Piranesifece. 852. B. Lower 1. Paris. Paris Ed. and pp. KING'S. IV. Firmin-Didot.] Signed. Number 66 upper r. 77. r. Thomas Ashby. Number 788 upper r. B. Number 58 upper V. 1st Paris Ed. B. lower 1. The ornamental doorway shown in the print no of the British School of Rome. B. Ed. 851.M. : BIRD'S-EYE VIEW. Number 810 upper r.M. 66.M. 1 1. [i 6 x 23! . 78. THE 'VIEWS OF ROME' Intermed. e. 79. horizontals on 1. II. Before added lines and rebiting.M. SOANE. TUBES. Title.L. of cornice of pediment and brick work also strongly emphasized). Ed. TUBES. Paris. corner of the plate. p. Before added work. g. B.L. tunnels made in 1829 almost entirely diverted this waterfall. THE BATHS OF CARACALLA: INTERIOR OF THE CENTRAL HALL.L. III.M. Firmin-Didot.M. of cartouche Cavalier Piranesi F.M.M. Intermed. Intermed. BASSI' ENTRANCE DOOR TO PART OF THE VILLA CALLED THE 'SETTE ON THE ROAD TO FRASCATI. : arch. V. 760. front of principal TUBES. ist Paris Ed. 1766. Paris Ed. B.M. 1st Paris Ed. B. Rebiting and added lines (e. Paris Ed. Ed.M. TUBES. on stonework lower L Veduta delV interno deW Anfiteatro Flavio detto il Colosseo. Ed. TUBES. B. KING'S.

on top of building above the Fountain. 1st Paris Ed. 82.M.. 1769. towards lower 1. lower 1. Intermed. Paris Ed. : NEAR THE PONTE LUCANO. Paris. e. margin : Before added shading. MS. distante da Romafuori di porta S. margin: Cavalier Piranesi F. KING'S. Heavy shading added. 23!-] [16^ X I.M. KING'S. Ed. Firmin-Didot. Added lines of foliage in various With S. which is now a much more uniform TUBBS.M. B. INTERIOR OF THE PORTICO. KING'S. B. ed incise. TUBBS. F.L. V.] Signed. . places. [i8^ x 24^. 1st Paris Ed. margin : Cavalier Piranest F.g. III. B. margin Cavalier Piranesi : 1761 (probably between 1765 and 1769). Number 61 lower r. Title Veduta interna deU antico Tempio di Bacco in oggi Chiesa di S. Ed. margin Intermed. Intermed. ist Paris I. . e 1766. r.. 61 63. Number 63 upper r. black. KING'S. Number 801 upper II. III. lower r.M. 783. SOANE. wall decoration consists of eleventh-century paintings. B.CATALOGUE 80. Paris Ed. Paris. added shading B.] Signed. 116. 48 and 81). B.M. URBAN. F. B.. Ed. F. Firmin-Didot. S. 752. Firmin-Didot. : Veduta delta fonte ddle Spelonche Egeriafuor porta Capena or di S. 81. TUBES. delta Title lower r. lower r. TUBBS. 21.M. THE PANTHEON. Paris. under arch 1. B. Rome.. 61.L. Signed. Urbano due miglia Cavalier Piranest disg.M. Paris Ed. Number 745 towards upper r.M. Number 755 near r. IV. 762. Urbano on the hill behind (cf. on wall behind priest on 1. SOANE (with II II in IV. B. II. INTERIOR. Number n on cartouche r. X 26^. Ed. Sebastiano. lower r. Paris. TUBBS. EGERIA. I.] Signed.g. margin. F. margin.L. Firmin-Didot. III. Title Veduta interna del Pronao del Panteon. e. Intermed.M. 782. B.L. margin). Before added work. 83. III. Paris Ed. II. The S. Title on shaded masonry in centre below Plauzia sulla via Tiburlina vicino al ponle Lugano due miglia lontano da F. THE SO-CALLED TEMPLE OF BACCHUS. Number 49 upper r. SOANE. Number 747 upper r. comparable to those in the lower Church of Clemente. II. Number 3 upper r. THE SO-CALLED GROTTO OF on scroll. SOANE. Sebno [i5i| I. Nos.M. : 71. Ed. Veduta degt avanzi del sepolcro della famiglia Tivoli. : NOW THE CHURCH OF 1767. THE TOMB OF THE PLAUTII. in sky. 1st Paris Ed.

[i8f x 22. Number 5 upper r. Firmin-Didot. 73. TIVOLI. 771. 87. Interior of the Pantheon.62 84. della Villa di Mecenate in Tivoli. REMAINS OF THE SMALLER PALACE (FORMERLY CALLED THE TEMPLE OF APOLLO). F. Firmin-Didot. II.M.L. MARIA MAGGIORE. : Veduta interna della Basilica di S.. and 1. Signed. B. F. margin. Before added lines of shading. Paris Ed. 1 36 (the other view of the The Catalogue of 1792 does not by Francesco Piranesi). SOANE. 65. : Cavalier Piranesi inc. on stone work towards lower Signed. B. 132. inc. Number 54 upper r. IV. distinguish the titles. Number 757 in sky light. Ed. SOANE. ist Paris Ed. 72. Intermed. g. KING'S. Ed. I Now generally called the Accademia. TUBES. ist Paris Ed. 136.] I. and 134. along rafters above. correspond to those given in (i) Hermann Winnefeld. 113. inc. the signature having a clear white space above it. INTERIOR. Paris Ed. B. 121. Paris. B. 86. and to r.] I. Paris. 85. Title. In the later Paris editions this plate comes after my No. [18^ x 24. The titles have given for the different parts of Hadrian's Villa in this and Nos. between the capitals. that of Francesco as No. Lines of shading added on ground. in r.M. but in the old bound copies in the Soane and Lansdowne collections the present plate came as No.M. 1. on scroll lower r. 1906. La Villa Adriana. Number 69 upper r. 1768. Instituts 1895 (Erganzungs- heft III). Jahrbuch des Deutsch. KING'S. 770. Title Veduta interna del Panieon. II. : Avanzi del Tempio detto di Apollo nella Villa Adriana vicino a Tivoli. lower of scroll CavaL Piranesi (1922).L. Before added B. HADRIAN'S VILLA. THE PANTHEON. [i6| x 23!-] I. on scroll 16. margin. the ends of these lines just invading the margin of the print shadows added in various other places. Guida F. lines. TUBES. THE 'VIEWS OF ROME' THE SO-CALLED VILLA OF MAECENAS AT F.L.. KING'S.. IV.M. Ed. III. INTERIOR. Number 806 near centre. Archaeologisch. and (2) Rodolfo Lanciani. margin : Caval. 1768. below r. 93. 90. Intermed. III. See No. e Descrizione. Rome.M. Title. : Altra veduta inter na 1.. Signed. 1767. II. B.M. lower of scroll : Cavalier Piranesi ist Paris B. 133. Before rework. B. III. Firmin-Didot.M. Signed. lower r. e. work towards 1. 763. towards 1. Title. [i6| X 26|.] I. COTSWOLD GALLERY . Vertical lines of shading added on extreme .M. : 72. des 131. B.M. Piranesi F. Built over the High Road from Rome to Tivoli. S. but most probably a smaller Palace. Intermed. 94. TUBES. coming close down above signature. 112. : Maria Maggiore. Die Villa Hadrian bei Tivoli. Number 821 upper r. INTERIOR. Ed. Paris Ed. 728. Paris. SOANE. 1768.

. Number 44 lower r. Intermed. Intermed. margin. CORI. Giovanni Laterano. compartment in Tivoli. F. TUBES. Number 13 lower r. B. margin. below: Veduta della Villa dett Emo Sig r 1769. 1st Paris Ed.M. and on masonry in fore- III. 1. B. Before added work. r. KING'S.L. &c.M. Number 728 upper r. Ed. 1768. Firmin-Didot. Numbers 2 IV added on scroll. 1. III. THE VILLA on wall. below.M. ground). Title. Intermed. F. Paris Ed. towards 1. r. 844. Paris. SOANE.] Signed. margin. margin. III. Card. INTERIOR. and around the statue of pope 1. in vault of temple. on scroll 13. on . TUBES. B. ist Paris Ed. THE SO-CALLED TEMPLE OF HERCULES. lines) II. Title. along the cornice beneath above columns. : Veduta inter na della Basilica di S.] I. Paris. Number 697 above towards r. Number 64 upper r.. B. 64. 91. del 1768. KING'S. below. 1st Paris Ed.). GIOVANNI IN LATERANO.M. 90. III. Horizontal line of shading added on panel of leaf-ornament on pier in foreground B. SOANE.] I. B.M. SOANE. Ed.M . HADRIAN'S VILLA: THE CANOPUS. Number 818 upper r. IV. died miglia lontano da [15^ X 20^. B.L. lower margin Cavaliere Piranesi inc. e inc. Firmin-Didot. Number 16 towards r. Firmin-Didot. e inc. AT on stone towards Velletri. Signed. Heavier 1. Paris Ed. in centre below: Avanzi Del Tempio Dio Canopo nella Villa Adriana [17^ X 23. F. Signed.L. and further work with graver (e. Title. IV.M. ALBANI. Firmin-Didot. below : Veduta del Tempio di Ercole nella Citta di Cora. II. Ed. S. 853. TUBES. lower 1. 44- F.g. IV. 1769. [17! X 27^. B. margin.M. Number 700 towards r. TUBES. Paris Ed. Number 748 towards upper r. Paris Ed.M.] I. Paris. margin : Cavaliere Piranesi delin. : [17 I. in 133. IV. 784..L. and perhaps graver work to darken shadows (e. V. X 26^. Before added work in sky. Signed.M. SOANE. Ed.M. TUBES. Intermed. ist Paris Ed.L. II. TUBES. Before added work.M. Paris. Firmin-Didot. Ed. 726.CATALOGUE II. 89. on columns. Rebiting. Paris Ed. lower margin : Cavalier Piranesi delin. B. B. margin : Cavalier Piranesi ist inc. Paris Ed.. Paris. Title. Number 66 upper r. Dark work added in sky near centre above: further heavy shading (crossed masonry near r.. KING'S. KING'S. B. 63 biting. KING'S. g. Intermed. lower 1. B. below r. III. SOANE. II. Alessandro Albani fuori di Porta Solaria. reliefs 88.

Signed.M. Piranesi/. e. 94. lower 1. 30 lower III. Intermed. Title F. Architectural Review. Ed. Number 811 upper r. June and July). 93). 30 L. II. : [i8| x 27!-] I. r. 1. 1770.M.64 92. margin : Cavalier Piranesi del e inc. TUBES. F. this subject. Villa 1770. Firmin-Didot. Tubbs. margin. II. r. THE CENTRAL ROOM OF THE LARGER 1770. KING'S. Number 68 upper r. Number There is 812 towards upper Ed. SOANE. 1st Paris Ed. IV. 785. Before numbers..M. B. Percy B.8o. 824. Intermed. ist Paris Ed. SOANE. THE SO-CALLED POECILE. lower margin Cavalier Piranesi del II. in light TUBBS. WITH THE TWO HALF-BURIED CORIN96.. Intermed. Paris. Firmin-Didot. Paris Ed. Veduta degli Avanzi del Foro di Nerva. 1st Paris Ed. TUBBS. Percy B. Number 28 upper r. margin : Cavalier Piranesi delin. THE FORUM OF NERVA. SOANE. drawings of the same i. III. in the collection of Mr. below towards Rovine duna Galleria di Statue nella Villa 23. KING'S. Paris. Tubbs also possesses four other favour of the treatment as in the present etching. one only being carried out in No. Numbers. r. B. Title Veduta 1.] Signed. 94 (see Grahame B. delle Cascatelle : a Tivoli.M. lower C. Paris. Before numbers. Before numbers. : THIAN COLUMNS. Number 60 upper IV. F. TUBBS. B. Numbers 21 II in cartouche. Before numbers. 127 near centre. There is a large red-chalk drawing of this subject taken from a slightly different point of view in the collection of Mr. below. e inc. 95. Number 820 beneath arch II. 126 Intermed. . and correetching. Paris. B. Paris Ed. Title towards Tivoli. : TIVOLI. KING'S. Number 59 upper r. r. on stone lower 1. III. Paris Ed. [i8| x 27f . THE 'VIEWS OF ROME' THE SMALL WATERFALL AND RAPIDS AT on stone lower r. spondence. HADRIAN'S VILLA: 135. probably an original study discarded in Mr. Number 780 towards upper r. : THERMAE. above. Numbers on cartouche. Tubbs. 126. Firmin-Didot. 127. Signed. ist Paris Ed. B. HADRIAN'S VILLA: r. towards r. IV. SOANE.M. [17! x I. ed inc. III. Ed. Firmin-Didot. Signed.M. possibly an original study for Tubbs (see note to No.M.] I. Title on cartouche Adriana a Tivoli.L. 750. May 1922. r. lower 1.. below : Veduta degli Avanzi del castro Pretorio nella Adriana a [14! x 25! . above.L. Paris Ed. F. B. 1769..] I. Ed. style representing Hadrian's villa. B. 93.L. a large red chalk drawing.-.

. 91. lower margin Cavalier Piranesi Before numbers. KING'S. SOANE. [i8f I. r. Paris Ed. Number 773 upper r. below 1. III. Firmin-Didot. 754. Title on stone towards 27^. Intermed. ist Paris Ed. II. 93. Number 24 upper r. Paris.L.CATALOGUE 96. 99. Paris Ed. Ed. [i8| x 27^. just to right of centre below Cavalier Piranesi Before numbers. . Firmin-Didot. 1771. Number 777 upper B.] I. Paris. Paris Ed. F. III. 748. ist Paris III. Before numbers. 89. Before numbers. Firmin-Didot. Intermed. 23 upper r. 825..] r. THE ARCH OF CONSTANTINE. TUBES. [i8| x 27^. r. Signed. title II.M. Signed. Numbers beneath Ed. KING'S. 98. Ed.L. 1st Paris Ed. e inc.] Signed. AND THE COLOSSEUM IN THE DISTANCE.). Number 776 upper r. X a7-|. B. [18^ x I. THE TEMPLE OF CASTOR AND POLLUX. 65 THE ARCH OF JANUS (JANUS QUADRIFRONS) WITH THE ARCH OF THE MONEYCHANGERS. : Veduta : dell' Arco di Settimio Severo. B. Title Veduta deWArco di Costantino. SOANE. Before numbers. B. B. Paris.] I. TUBES. : F. Ed. FOANE. Intermed. lower 1. II. 1st Paris Ed.M.M. III. 1st Paris Numbers XX.M. Paris Ed. near centre of lower margin.] I. TUBBS. Ed. B. m*100. KING'S. Number 14 upper r. F Paris.M. 1772.M. lower margin : Cavaliere Piranesi del. 755. SOANE. [i8|X27|. SOANE. 1771. TUBES. Number 25 upper r. Ed. IV. Ed. ed inc. 92. del. Paris Ed. 757. TUBES. IV. Signed. on cartouche near centre below : Veduta : dell' Arco di Tito. Intermed.. Paris. on stone towards r. Number 21 upper r. on stone lower r. Number 766 towards upper r. margin. Firmin-Didot.M. 91 on cartouche. e inc.L. 82 (r. LEFT. OR CAMPO VACCINO. del. 82. F. II. IV.L. II.M. margin Cavalier Piranesi del. 1771. KING'S. Intermed. 97. III. FOREGROUND R. 18 I (L).. of centre below : Tempio detto : volgarm te di Giano. Title THE ARCH OF TITUS WITH THE CASINO FARNESE ON THE F. Title in centre below : Veduta di Campo Vaccino. 1.. Numbers II. THE FORUM ROMANUM. Number Number 775 upper B. TUBES. F. e inc. Title THE ARCH OF SEPTIMIUS SEVERUS. WITH THE TEMPLE OF ANTONINUS AND FAUSTINA IN THE FOREGROUND L. 92 in cartouche. Firmin-Didot. B.

ST. 722.M.] Signed. Ed. on scroll towards 1. 6. Ed. KING'S. [18 I. KING'S.. TUBES. 26f.] Signed. II. 1773. II. 734. Pt'etro. F. B. Signed. 1 9 in its earlier states for 105. This plate comes as No. Signed. Paris Ed. SOANE. SOANE (with 7 added in Paris. of scroll. in Ed. Piranesi inc. Tribuna.L. 1773. 4 III. lower Before numbers. 1st Paris Ed. Number 709 in sky towards margin.L. SOANE. II.L. X 27f. on PETER'S scroll WITH FORECOURT AND COLONNADES. 104. A cqua 34 . 1773 Vaticano Title in cartouche centre below vicino alia Veduta interna della Basilica di S. above. Number 4 upper r. margin : Cavalier Piranesi F. on stone towards below r. Paris Ed. now appear. Intermed. ist Paris Before numbers. below 1. work..L. Ed. B. r. : Veduta della Piazza di Monte Cavallo.66 101.M. B. Paris. Pietro in [ip^X I. PETER'S. THE 'VIEWS OF ROME' ST. Before numbers. r. Firmin-Didot. . TUBES. 27-|. 732. lower Fontana delt Vergine detta di Trevi A rchileltura di Nicola Salvi. B. WITH THE STATUES OF THE HORSETAMERS SEEN FROM THE BACK. Intermed. Ed. Title towards below : : Veduta della Gran Piazza e Basilica di S. Paris Ed. Title THE VILLA D' ESTE. [18^ x I.] 1. : [i8f x 27!-] I. F. KING'S. 25. 102.. 1st Paris Before numbers. Firmin-Didot. r. III. III. Piranesi F. B. Numbers on Ed. Ed. 1st Paris ed. margin. MS). Ed. TIVOLI. THE FONTANA : DI TREVI. Veduta in prospettiva della gran Signed. Paris Ed.M. TUBES. 721. 826. SOANE. lower margin Cavalier Piranesi del. 1st Paris III. Number 730 upper Intermed. statues as they Ed. margin. F. II lower r. SOANE. number 6 upper margin towards Intermed. TUBES. 1772. Intermed.M. and 6 r. B. Additional cartouche. Additional number 25 lower IV. Number 34 lower r. [i8| x 27^. in cartouche : Caval. : : Veduta della Villa Estense in Jivoli. Number 718 towards upper Shows the Fountain with earlier versions of the statues. of cartouche. r. on scroll Cav. THE PIAZZA DEL QUIRINALE. r. III. Piranesi F. Title Numbers 25 lower B. Paris.L.] I. 2 in V after signature. e inc. Paris Ed. Firmin-Didot. KING'S. Title. r. II. Number 688 upper r. 690 (unnumbered) 103. See No. TUBES. Before numbers. Firmin-Didot. 1.M.M. INTERIOR: BENEATH THE DOME.M. KING'S. Number 46 upper r. FRONT VIEW. II. 1773. 4. : F. Firmin-Didot. F. r. TUBES. C. Paris. Firmin-Didot.. Paris. 46.

below 1. SOANE. [i8i x 27^. KING'S. Paris. III. margin [i8-| x 27-|. lower 1. Paris Ed. si vedefuori di Porta Latino. Piranesi F. 1773 towards 1. Ed.). III. SOANE. lower 1. [i8f x Cavalier Piranesi F. REDICULUS). e inc.M. margin. 1st Paris Ed.M. Signed.L. [i8| X 27^. Number 62 upper r. Number 37 upper r. : 1773. 1774Title on cartouche. KING'S. ist Paris Ed. Erroneously described by Piranesi as a Temple of Concord. Firmin-Didot. 828. : [i6J x 25^. F. TUBES. TUBES. Cavalier Piranesi del. towards 1. KING'S. II.] I.] I. F. Title below : Veduta del Tempio : delta detta Concordia. Before numbers. on scroll Cav. 830. B. III. SOANE. Number 713 upper r. : Veduia del Palazzo Farnese. 733Title "3- lower r.L.. TUBES. : Veduia di Piazza : Navona sopra le rovine del Circo Agonale. Ed.M. 67 TEMPLE OF THE CAMENAE (ALSO CALLED TEMPLE OF DEUS 62.] I.M. Paris. B. WITH THE ARCH OF SEPTIMIUS SEVERUS IN THE BACKGROUND. THE PIAZZA NAVONA. ist Paris II. Number 765 upper II. Number 746 upper r. Ed.. ist Paris Ed. 1st Paris Ed. Title F. 827. KING'S. SOANE. II. B. Number 13 upper r.M.M.CATALOGUE 106. Paris Ed. B. IV.) and 29 (r.M. 108. Title THE PALAZZO FARNESE. B. Probably a tomb of unknown designation. 1. III. Intermed. 1774on cartouche. 81. WITH on scroll. AGNESE ON THE LEFT. 80. 109. Signed. F. B. margin. B. no.M. Signed. Veduia del Tempio delle Camene anticamente circondato da un bosco nella valle di Egeria. B. on scroll. Number n added in cartouche lower 1. Before numbers.. TUBES. x 29. Ed. THE TEMPLE OF SATURN. lower 1. : Altra veduta degli avanzi del Pronao del Tempio detta Concordia. Additional number 29 upper r. 829.J on cartouche lower : I. B.L.M. Paris. Firmin-Didot. lower 1. 4 II (1. Number 764 upper r. Ed. F a . Paris Ed. TUBES.. Numbers added on scroll. Paris Ed. IV. Intermed.M. TUBES. S. Paris. Before numbers. B. II. 107. Ed. 37.L. Number 721 upper r. Intermed. Signed. THE TEMPLE OF SATURN. Paris Ed. Number 12 upper r. margin 27^.L. Intermed. r. Firmin-Didot. nella valle detta la Gaffarella. lower margin Cavalier Piranesi F- Before numbers. KING'S. margin : Cavalier Piranesi F. III. Before numbers. Firmin-Didot.] I. Signed. WITH A CORNER OF THE ARCH OF SEPTIMIUS SEVERUS IN THE FOREGROUND. F. Paris. Intermed. Firmin-Didot.

Title on cartouche in centre below Rovina di uno degli allogiamenti ad una delle eminentifabbriche di Adriano nella sua Villa in Tivoli. Title : INTERIOR OF FRIGIDARIUM. Firmin-Didot. THE BASILICA OF CONST ANTINE WITH A STREET SEEN THROUGH ARCHES ON THE LEFT. III. building now sometimes Maxentius (see No. SOANE. ist Paris Ed. Pretorian Guard. SOANE. 114. in work lower CavaL Piranesi F. HADRIAN'S VILLA: REMAINS F.L. B. 1774. HADRIAN'S VILLA PHILOSOPHERS. Ed. 831. Firmin-Didot. Number 65 upper r. B. [17^X27^. Before numbers. 112. Intermed. 128. Additional numbers 19 upper r. Paris Ed. Title nella on cartouche near centre below: Avanzi di una Sala appartenente al Castro Pretorio Villa Adriana in Tivoli. : OF THE SO-CALLED PRETORIO.. TUBBS. : Terme di Diocleziano. 746. B. lower 1. X Signed. : Veduta della Piazza del Campidoglio.] I. KING'S. IV. TUBBS. lower 1. Paris Ed. : volgarmente 27$.M. Ed. Paris.M. m. II. margin. r. lower margin Cavalier Piranesi F. : [17^ I. Signed. II.] I. 1st Paris Ed.M.M. : THE APSE OF THE SO-CALLED HALL OF THE F. margin. Ed. Paris. on scroll towards r. TUBBS. Number 813 upper r. THE BATHS OF DIOCLETIAN: SOUTH WALL. . X 27. 87 lower r. Paris Ed. SOANE. KING'S..M.L. SOANE. margin : Cavalier Piranesi F. Veduta degli avanzi del tablino della Casa aurea di Nerone Pace. 45). lower 1.68 THE 'VIEWS OF ROME' 76. B.. III. Erroneously described by Piranesi as a Room belonging to the Barracks of the 113. II. B. de 132. 1st Paris Ed. Signed. KING'S. 1774. B. 1774. Intermed. 832.M. B.. Number 771 above towards is r. III. 87. B. TUBBS. Intermed.L. : [19 I. Ed. ist Paris Before numbers.] Tempio della 1. Before numbers. KING'S Ed. TUBBS.M. 1774. F. II. lower margin Cavalier Piranesi F. Number 6 1 upper r. F. Number 8 upper r. THE PIAZZA DEL CAMPIDOGLIO. Paris. : Title detti on cartouche lower il r. 19. Number 817 upper II. Paris. margin : Cavalier Piranesi F. 105.. Before numbers. TUBBS. B. Numbers. Title F.] I. below 1. III.M. KING'S. Before numbers. 833. Number 760 above towards r. [17^ X 22^.L. 751. Paris Ed. SOANE. [i7f X 25^. ist Paris Ed. Firmin-Didot.M. 1774- Veduta degli avanzi superiori delle r. Firmin-Didot.L. called the Basilica of The 115. Soldati presso Signed. Intermed.] Signed.

B. GIOVANNI IN LATERANO (SIDE OBELISK. OF 1774. SOANE. B. Paris.M.L. 49. Title below : Veduta degli avanzi superiori delle Terme di Diocletiano. TUBES. 1 1 Nos. [19^ X 27^.. ist Paris Ed. 1914.M. e F. The only one of Piranesi's four views of Giovanni in Laterano showing the Baptistery.M. ist Paris Ed. Intermed. Signed. added on scroll r. lower Cavalier Piranesi F. Number 40 upper r. u. IV. SOANE. r. and the printed Catalogue of 1792 are The present order follows that of the Soane copy of the Vedute. Firmin-Didot. towards Signed. on cartouche in centre below : Veduta del Monumento . Numbers 2. Firmin-Didot. lower 1. B. r.L. margin : Cavalier Piranesi F. Paris. 1. margin. II. The titles in the engraved catalogues the same. KING'S. B. eretto dalT Imperador Tito Vespasiano per aver ristaurati gt Aquedotti . and the Paris Editions. SHOWING THE CHURCH MARIA DEGLI ANGELI AND THE PIAZZA. Giovanni in Laterano. 1st Paris Ed. on cartouche. 1775. . Firmin-Didot. Ed. SOANE. THE PORTA MAGGIORE. 118. Paris Ed. F. my list in the Burlington Magazine. x 27! . Signed.M. Intermed. : Basilica di S. . ist Paris Ed. III. . B.] I. IV. II. Title. TUBES. Paris Ed. . margin : Cavalier Piranesi F. B. 107. 119. ORIGINALLY AN ARCHWAY OF THE 1775. TUBES.L.CATALOGUE II. Paris.. THE BATHS OF DIOCLETIAN. so give no clue. [19^ X 27! . B. SOANE.] I. Number III. Intermed. r.M. lower Cavalier Piranesi F. S. Before numbers. Number 792 upper II. PALACE. 850. . B.M.] I. THE AQUEDUCT OF NERO LEADING TO THE PALATINE A BRANCH OF THE AQUA CLAUDIA. Firmin-Didot. Ed. 115 and 6 in the reverse order to Feb. Before numbers. THE PIAZZA AND FACADE): WITH THE 117. Ed. 48 added on cartouche. III. Number n upper r. 69 III. KING'S. KING'S. 48. lower 1. Additional number 48 upper r. Paris Ed.L.M. 116. TUBES. margin. AND SCALA SANTA ON L. Before numbers. [i8f x 27!. BASILICA OF S. Before numbers. AQUA CLAUDIA AND THE ANIO NOVUS. Paris Ed. KING'S. Paris. F. Title on scroll lower r. Signed. 725. Intermed. : : Avanzi degf Aquedotti Neroniani . : Veduta della Piazza 1. 834.M. II.] I. Number 38 upper Number 790 upper I give r. S. Title on cartouche in centre foreground 1. F. Number 732 upper Ed. 1775.. Number 695 near centre on r.. 839.

TUBES. Ed. ed inc. lao. Number A similar bird's-eye view de' by Gian Giacomo possibly have used it buildings at the side are entirely changed. KING'S. SOANE. was etched by Giovanni Battista Falda (d. THE CAMPAGNA ON Title. B. B. KING'S. TUBBS. Ed. Bafia Piranesi F. Additional number 14 lower r.L. KING'S. SOANE. r. Paris Ed. : [i8| x 28. r. : i towards below Vedula della Facciata della Laterano [19^ X 27|. Title : F.L. Title. Paris Ed. B. . Paris. Before numbers. Piranesi F. Ed. Signed.] I. BARTOLOMMEO IN THE FORE1775. Number 41 upper r.M. IV. : Cav. Paris. Giovanni . Cav. BIRD'S-EYE VIEW. GROUND. I775 . GIOVANNI IN LATER ANO L. margin. : NEAR VIEW OF MAIN FACADE. Paris Ed. SOANE. Number 740 towards upper II. 122. Ed. margin. e BIRD'S-EYE 1775. below : WITH S. TIBERINA. : TITUS). F. [i8| X 27|. II.] I. in cartouche 14. Ed. on scroll in centre Veduta del? Isola Tiberina. 837.70 II.M. Intermed. Title. [19X27!.. Number 793 upper II. on scroll near centre below 1. 2 upper r. 724. WITH 775 Basilica di S. Intermed.] I. Firmin-Didot.M. Signed. Number 56 upper r. have been cleared away. SOANE. Paris Ed. THE 'VIEWS OF ROME Number 49 upper r. F. Firmin-Didot. on cartouche r. Number 698 upper r.L. B. Piranesi may quite in his plate. on scroll r. Before numbers. B. 14 added on cartouche. F. Before numbers. Numbers V. B. Paris Ed. Paris. Before numbers. Cavaliere Piranesi delin. Firmin-Didot.M. ST. Piranesi F. within the two main arches of the gate. THE BATHS OF TRAJAN (ERRONEOUSLY CALLED BATHS OF 108. II. margin. 2. III.M. : Piazza adjacente. Number 733 upper Intermed. 720.. III.M. PETER'S. 1. KING'S. Veduta deU insigne Basilica Vaiicana colt ampio Portico. ' III. WITH FORECOURT AND COLONNADES. 1st Paris Ed. r. Intermed. VIEW. Paris. 1st Paris Ed.] I. Intermed. Additional number 686 upper r. 836. 123. III. Firmin-Didot. lower r. lower margin Cav. Firmin-Didot. TUBBS.. The smaller arches built by Arcadius and Honorius. 1678) and published Rossi in the second half of the seventeenth century. 1st Paris Ed. THE ISOLA 56.L. Gio. but the detail is treated quite differently.. TUBES. Signed. III. S. Veduta : delle Terme di Tito. and many of the 121. Paris. Signed. ist Paris Ed.

SOANE. TUBES. Paris Ed. on scroll BIRD'S-EYE VIEW. F. F. Title. Ed. 841. Piranesi F. : [19^ x 27! . Number 57 lower r.M.M. Intermed.L. Number 41 upper r. 1776- below towards r. 1st Paris Ed. 126. margin. 840.L. 1st Paris Ed. KING'S. Piranesi F. THE VILLA on PAMPHILI. scroll in centre Villa Panfili. Number 30 upper r. Ed. Firmin-Didot. margin.. : Veduta Anfiteatro Flavio detto Colosseo. Fabbriche del secondo Piano Terme di . Ed. 45. Number 741 upper II. 842. Paris. TUBES. Before numbers. Firmin-Didot. Paris Ed. Ed. 127. da Marco Agrippa attempt di Angusto. 125 Title : Veduta altri erette delle antiche Sostruzioni fatte da Tarquinio Superbo delte il Bel Lido. B. II. margin : Cav. Number 42 upper r. 41.. : 98. Intermed. KING'S. Firmin-Didot. B.] Tito. Numbers 22 II and 98 on scroll r. dell' r. : [i6f X 26^. 759. Piranesi F. [i9^X I. Before numbers. KING'S. r. Title. 1st Paris II. KING'S.L. SOANE. : [19^ X I. III. KING'S. 109.] Signed. THE PALAZZO VIDONI (FORMERLY THE PALAZZO on scroll STOPPANI). II. F. F. lower 1. L. Intermed. Number 794 above towards r. Paris. B. B. on cartouche Cav. F. Firmin-Didot. Intermed. ist Paris Ed. Number 725 upper r. B. III. Title 71 I77 6. B. TUBES. [17^ X 26^. Paris.L. B. Before numbers. Ed.] I. B.M. Piranesi F.CATALOGUE 124. II. r.M. Piranesi F. TUBBS. III. on scroll lower Cav. TuBBS... Ed. III. il 1776.M. : Veduta del Palazzo Stopani. Title. 1776. SOANE. MARIA IN COSMEDIN IN THE BACKGROUND. Paris. Paris Ed.] I. Signed. Number 729 upper r. r.M. III. on scroll Cav. SOANE. THE TIBER AT THE MOUTH OF THE CLOACA MAXIMA (FORMERLY CALLED THE BEL LIDO). 28^. Ed.. in occasione. Cav. Firmin-Didot. THE BATHS OF TRAJAN (ERRONEOUSLY CALLED BATHS OF TITUS). Number 45 upper r.M. THE COLOSSEUM. 27 Signed. Signed. Signed. IV. on cartouche near centre below delle : Veduta degli Avanzi delle 1776.] I. Before numbers. Intermed. IV. SOANE. 128. Paris. Paris Ed. below . 1st Paris Numbers II 109 on cartouche. on scroll r. 838. WITH THE ROUND TEMPLE AND S. Paris Ed. Before numbers.M.M. lower r. B. che Eglifece ripurgare o come tutte le Cloache fin al Tevere. 57. Number 782 upper r. .

d di Canopo TUBES. TUBES. Before numbers. II. Number 814 towards r. THE TOMB. Ed. Intermed. Paris.M. Number 815 in sky-light near centre above. FORMERLY THE CENTRAL 129.M. 23!-] Signed. Paris.. Paris. Number 791 on window upper r. 1776. SOANE.] Signed. Numbers 129 XXX. Number 63 upper r. S. 114. Firmin-Didot. Before numbers. : 134.M. on scroll r. Numbers 25 and 106 on cartouche. TUBES. e. SOANE. 90. IV. 1st Paris Ed. II. S.M. on scroll lower r. r. Piranesi F. CALLED LA CONOCCHIA. MARIA DEGLI ANGELI. 835. Cav.] Signed. II. Title. B. a little above centre. ist Paris Ed. Veduta di un Eliocamino per abitarvi f Jnverno. Number 67 upper r. B. Paris Ed. lower r. INTERIOR.M. HADRIAN'S VILLA on scroll : THE CANOPUS.. : (A CHAMBER Title. III. 130. 1776. 131. B. HALL OF THE BATHS OF DIOCLETIAN. Maria degli Angeli was built by Michelangelo into the Baths of Diocletian. : 129. margin. : Avanzi di un antico Stpolcro oggi detto la Conocchia. 130. [i6| X I. Cav. KING'S.. Ed. : B. ON THE VIA APPIA NEAR UPRIGHT PLATE. : Cav. SOANE. scroll CAPUA. the corridor leading back from centre HADRIAN'S VILLA: THE PIAZZA D'ORO. towards r. Firmin-Didot.L. ist Paris Ed. : Interne del Tempio Cav. TUBES. on below towards r. KING'S. III. below [17! X 23. Before numbers. Number 62 upper r. I. 1st Paris Ed. delle antiche Veduta degli Avanzi della Circonferenza Title. F. III. III. Firmim-Didot.. II. Paris. . work. Piranesi F. Adriana. B. Cav. SOANE. 1777. Piranesi F. III. i8f.L. on scroll Porta di Capua per andar a Napoli. I. [19 X 28^. HADRIAN'S VILLA FOR WINTER HABITATION HEATED BY THE SUN). Intermed. Number 39 upper r. Ed. TUBES. Firmin-Didot.M. Intermed. B. Before numbers. il quale era le riscaldato dal Sole che s'introduceva per Fineslre. B. lower r. on cartouche in centre below : Veduta internet della Chiesa della Madonna degli Angioli delta della Certosa che antic am? era la principal : Sala delle Terme di Diocleziano. nella Villa 1776. TUBES. Paris Ed. Before numbers. F.] Signed.M. letter B (i. on cartouche r. 1776. SOANE. margin. Number 799 above towards r. Intermed.M. Paris Ed.L.72 THE 'VIEWS OF ROME' INTERIOR. 847.L. II. 843. on cartouche near centre below Fabbriche di una delle Piazze della Villa Adriana oggidi chiamata Piazza cforo. 106. F. Piranesi F. Paris Ed. Title. margin. on scroll r. Ed. : F. 1st Paris Ed. Intermed. margin. Title. Paris Ed. Ed. 845. B. I. IV. che si vede poco lungi dalla [z8Jx I. [i8f x 24!-] Signed. 132. F. Number 47 upper r. KING'S. 846. Piranesi F. THE SO-CALLED HELIOCAMINUS 133. margin. Number 819 in sky near centre above. KING'S. TUBES. This view corresponds to the lower of apse) in view No. Firmin-Didot. Paris.

Paris Ed. 13). Paris. ad altre magnifiche Stanze. r. dell' Arco di Benevento : [i8|x I. : INTERIOR.L. 94. No. : Cav. Intermed. Ed. work. 22f. Signed. or at least announced. II. Veduta 1. 1777. SOANE.] Signed. It reappears. margin : Cav: Francesco Piranesi disegno Ed. margin.] Rotonda. Ed. TUBES. Number 778 upper r. 135.M. 1st Paris SOANE. in the latest edition of the engraved catalogue noted in the list (No. margin. III. margin. so that it is impossible to decide. on cartouche r. 94 lower r. II. 1st Paris Ed. Paris. on stone lower 28. Ed.. Title.M. Number 816 above B. 823. in 1773 (the date of several of the views on reason not published until about 1780. Numbers 20 (?) lower 1. in oggi possedute dal Sig. KING'S. 1 1 in list on p. lower r. SOANE. Intermed. Firmin-Didot. Numbers 756 and 259 upper r. 107). Signed. but the same title and date is given for each plate. Title. lower margin C. 6) this view comes as the No. Conte Fede. . after 822. margin. Number 64 upper r. Paris Ed. Signed. In the later Paris editions this view precedes my No. 1st Paris Ed. INTERIOR. margin. Piranesifece. B. II. In the engraved catalogue in the Bodleian (No. Number 785 upper r. however. on cartouche centre below e : F. III. Intermed. Before numbers. BY FRANCESCO PIRANESI. Title. THE ARCH OF BENEVENTUM. Firmin-Didot. after 823. 73 131. Paris Ed. either side of No. The date 1768 is almost certainly an error. IV. Number 4 upper margin. They are placed in this catalogue in order of production.CATALOGUE 134.] margin: Franc. [i8f x I. Firmin-Didot. III. The catalogue of 1792 might have intended the same order. II. nel regno di Napoli. 1768 detio la (? 73. Paris. I. [Plate. Intermed. III. 137. but for some THE PANTHEON. e incise. esistente nella Villa Adriana .] 1788. BY FRANCESCO on stone lower r. i8|x26|. [F. Veduta interna del Panteon volgarmente 26^. : PIRANESI. Piranesi F. Before numbers. o sia Luogo che da ingresso a due diversi grandiosi Cubic oli. 72. 136. e incise. 137. [F. 107. : 1778. Number 26 upper r. [i7^X I.] r. 19^x28^. HADRIAN'S VILLA: A HALL IN THE SO-CALLED ACCADEMIA. Paris Ed. Before numbers. SOANE. last entry. F. TUBES. in light of arch Ed. lower 1.] Title error for 1786). In a subsequent edition of the engraved catalogue (Soane Museum. 107 is altered to Del Palazzo Farnese and the Arco di Benevento does not appear. 1st Paris Ed. Dieia. Piranesi disegnb. Veduta interna del Colosseo. see No. Number 33 upper r. 12 in list). THE COLOSSEUM. It seems probable therefore that it was commenced. 848. Firmin-Didot. as it is unlikely that Francesco was a Cavaliere at th age of 20. TUBES. Before numbers. Paris.

Print Room). in relation to a plate. different The works are cited according to their volume number in these catalogues. The locality of impressions only referred to in the case of rare works. The catalogues referred to are those of the Chalcographie Piranesi ' ' ' '.V. the plates of the Carceri and Vedute occasionally supplied. g. number within brackets. = Giesecke. 3 [4] implies fourth means 3 in the text are etched by it Piranesi. and the Opere Varie 1750. B. the actual publication might be a year later. In these collations PI.and tail-pieces and initial letters plates (marked with Roman pages of text. indicates order in a series. No attempt made to give a prints (beyond collation of the the case of the Antichita of plates in each publication) except in de Tempi della Repubblica. . PIRANESI'S PUBLISHED later WORKS their list Arranged immediately chronologically. Indications of state are only On the other hand. Pp.g. The Paris and later issues are not described in the list. Graphik. The single plate number is constantly used to include two or more A So that the actual prints (from different coppers) on one page. = Focillon. Head. the date is Introductory Notes to the Catalogue of the Views of Rome at p. implies that conjectural. edition 1792 (British Museum. LIST OF G.) numerals) just as pp. without the number being actually engraved on the plate. Essai de Catalogue Raisonnt. 33. di Roma are fully catalogued in other sections of this book. The following F. 1748. List of works in his Giovanni Battista Piranesi (Meister der is Leipzig. This date generally denoting the approbatio. Ill (e. and edition 1800 (Soane Museum). 4 (e. 1918. the Varie Vedute di Roma. number of copper-plates etched by Piranesi is considerably greater than the number it would seem to be by adding up the plate numbers given in the various collations.) means 4 page without a pagination. For fuller description of these catalogues see abbreviations are used : my text at p. cited in the Catalogue of 1792. The number of plates given in the list generally refers strictly to the series as numbered by Piranesi. G. 1911. For their dates see is A date within brackets first If two years are given. issues being is placed before date of the after the first editions. 4. vi). Paris. number Romane '. 1748.

e.} Editions 1744 and 1754 in the Soane Museum. 3rd edition.M. Nicola Giobbe. The second titlepage comes before 16. B.. 8. 1-13. The dedication dated 1748.M. see under later edition. G. 19. Florence (appresso Giuseppe A llegrini Stampatore in Rante) 1 744. Ponte di Rimino. e Stampatori Con Licenza de' Suferiori . Biblioteca Corsiniana. printed on the back of the top part of the second state of the frontispiece to the This edition (with earlier (i. al Sig.M. in 1 744. Batta. [2nd edition appresso Giuseppe Bouchard Libraio Francese in Firenze 1754. Contains one etching by Piranesi. dedication. XIV (or XII ?) Rome. Etched after . 12. and Arco di Galieno) bear arabic numerals: the first view. 13 and 14 are after etchings by Israel tion plate. The views are oblongs measuring about 5jx loj in. an impression of the top part of one of the early states (probably later than the B. . the remaining plate (entitled Alrio dorico being republished. 1748. 10. Parte I and II.] The Catalogue of 1792 refers to the whole Opere Varie as produced in 1 742. Ed. 5. and at end: In a 1743 nella Stamperia de Fratelli Pagliarini Mercanti Librari. vin (Catalogue of 1800). of plates. in this edition. the second reading Antichita Romanefuori di Roma seconda. G. numbered I (and generally corrected in MS. 14. F. but between 1743-8 would seem the more likely date at least for the production of the majority of the plates. F. 8.) thereafter 6 to 28. The Catalogue of 1792 dates the work as 1741. properly No. Sahindio Tiseio between Veneziano and dedicate. Nos. unnumbered. PI. . The plates (except the title-pages. 17. 4. dedica- The same passe-parto ut border used with the first The second plate of inscriptions gives a list inscriptions. ZOCCHI. title) is Prima Parte di Architetture For complete list . It is definitely shown to be intermediate between the state in the Corsini and that found in the Opere Varie. F. imp. Batta. VIII \ \ Pasquino title. but not on the plate) not 13. 1 \ \ | \ \ Giesecke describes the Corsini copy as showing in its list of contents 12 plates beside of which 11 appeared later in the Opere Varie. x (Catalogue of 1792). 30 plates (including etched titles to parts . II. .M. da Giambattista Piranesi Architetto Veneziano Roma si disegnate. Etched title (as above) . dedication . 2. There is also B. 5. Giuseppe. pp.LIST OF PIRANESI'S PUBLISHED 1743. 2nd state) on the back of a proof before letters of the Ponte di Rimino from the Antichita Romane de' Tempi della Repubblica. which does not include the second title or the Arco di Galieno which sometimes appears. Vedute delle "uille e d'altri luo%hi della Toscana. Pis. appresso Giuseppe Bouchard Stampatore in Rame Firenseijtf.M. WORKS \ 75 Prima Parte Piranesi \ di Architetture. and two plates of inscriptions). [The copy actually wants 4 plates. plate. A separate impression of a second state of the whole lettering has been engraved afresh and differs this title-page is in the B. There is a proof before letters of the Ponte di Rimino (16) in the B.. between 1743 and 1750). La Real Villa deir Ambrogiana. Giuseppe Zocchi. 4. is : Silvestre. and Fra gli Arcadi . in the list. Roma (Catalogues of 1792 and 1800). ed vende dair Autore \ dirimpetto rAccademia di Francia. Antichita incisi Romane de* Tempi della Repubblica. as in the latter there are still traces of the o of Veneziano and the e of Giobbe in the position occupied by the lettering on B. Architetto Veneziano \ \ e \ dedicate Prospettive inventate ed incise da Gio. also found with plates reworked as in later edition. and plates of of 28 plates. 9. I. from the above in having Giambatista in place of Gto. not by that of the Corsini state. G. . 6. 1757. title.M.L. \ e de* \ primi Imperatari. 41-71. PI. I. which is no doubt correct in relation to part of those which appeared in this early edition.

e parte per VItalia Disegnati ed incisi dal Cavalier Gio. 10 (note). and 93 (or 94?) small views (size. of the plates in the present and earlier editions. ed altri monuRomani parte de quali si veggono in Roma. 2. Rome. Arco di Rimino. about 5x7^ in. 7. I (generally corrected in MS. 24. 9. 8. The Index of plates on PI. 23. after 15. are those of the earlier edition of 1748. (3. Battista Piranesi (earlier title-plate altered). 30. 18. the numbers placed after the titles 1. Arco di Pola. 1 6. Ponte di Rimino. Tempio di Minerva Medica (by Francesco 1748 edition. 22. 7 (now known as Temple of Vespasian). 19. Second Title. Not numbered in edition of 1748. not in the 1748. Anfiteatro di Verona. Silvestre). G. e spesi di Fausto \ Moderna Disegnate e Intaglia\te da celebri Autori Amideo Libraro al Corso (title etched by Anesi). 32 plates. 27. 26. 32. \ \ \ (Catalogue of 1792). Albano. Sepolcro delli trefratelli Curiati in 28. B. not Parte del Foro di Nerva.) (2. Tempio di Pola. Arco di Aosta (after Sir Roger Newdigate). .) Dedication.76 [Later edition : LIST OF PIRANESI'S PUBLISHED menti inalzati da WORKS \ \ between 1778 and 1792]. (i. o. 22.rc-/ar/0/ border in 1748 edition 4. 6. 26. 1 6. Larger plate.) With /<w. in the 1748 edition. x plates being added. The views have been reworked. Anfiteatro Flavio detto il Colosseo. 23. 72-119. Foro di Augusta. 19. Inscriptions on Antiquities outside Rome. 5. 8 a. in the Arco di Tito. 8. 14. to 5). 31. di | Piranesi). two new e.). 12. 21. 21. Varie Veduie in \ Roma 1748 F. Arco di Trajano in Ancona. i Tempio di Giove Tonante. Arco di Settimio Severe (after I. (sic). Parte deW antica Via Appia. 11. Larger plate. 28. 13. 24. Sometimes occurs. 12. 29 (engraved 22 in error). 27. Inscriptions on Antiquities in only. Anfiteatro di Pola. 13. partout border in 1 748 edition only. i. \ \ \ Title. but comes Sepolcro della famiglia de Sifioni Arco di Druso. Arco di Aosta by G. With passe1748 edition. 9. Vestigjdel Tempio diGio-ve Statore. 8. 41-71- G. and Temple of Minerva Medica by Francesco Piranesi. Roma A Antica. 25. n. 15. 3. Rovescio del Tempio di Pola. 10 (now known as Temple of Castor and Pollux). Tempio di Clitumno tra Fuligno e Spoletti (sic). unnumbered. 25. With passe-partout border in 1748 edition only. Silvestre). Sepolcro di Metella detto Capo di Bove. vin (Catalogue of 1800). The later editions . The first following is a complete list numbers are those of the present and First title. Arco di Galieno. 17. 1 Ponte Senatorio oggi detto Ponte Rotto (after I. Arco di Costantino. 15. with Index of Plates (4). 20. 20. 6. 4 is not revised to correspond to the new order of the subjects. F. 17. Tempio di Giano. Piranesi after Sir Roger Newdigate. 14. Alcune Vedute di Archi Trionfali.

\ Vignette Tenpio di Bacco signed F. Tempio di Venere.M. Veduta della Villa Panfili. dated Blomfield (with the Fausto Amideo on title imperfectly erased and altered in pen and ink to lovanni Bouchard: title and 89 views). 1751). 1 (5). Gianbatista Piranesi e da altri incisori. 27 (41). probably imperfect) as No. 77 Sir Reginald several by Bellicard. 17 (27). Tempio della Fortuna Virile. Palazzo Barberini.L. 9 (15).L. 8 (13). a S. Croce in Gerusalemme. Chiesa di S. 72-119. 19 (30). 20 (31). Tempio di Giunone Regina. G. Chiesa di S. 10 (16). Rome. Circo di Caracalla. Anfiteatro Castrense 16 (26). Andrea della Valle. Giesecke cites this edition (but with title and 94 plates) as being in a sale catalogue (Libreria Antiquaria Internationale. 3 (8). 4 (9)- Aquadotli deW Acqua Claudia. el scul. e si vendono in Roma Giovanni Boitchard \ \ \ \ \ \ \ \ \ Da \ Librajo al Corso Vicino a del. Duflos nella Stamperia di Giovanni Generoso Salomonj : \ \ Soane (bound up with Le Magnificenze di Roma. No. MDCCLII . Stefano Rotondo. 1910. their actual place in the complete set. the number in brackets giving de' Con licenza Superiori F. 12 (18). appended to King's Library copy of the Opere Varie (92 of the plates without title). \ San Marcello \ In Roma. Arco di Nerone Druso. Veduta del? Arco di Gallieno. 22 (35). Giovanni in Laterano. These 48 plates (unnumbered) bear the following titles and occur in the following order among the 92 plates of the B. lo. Veduta del Circo Massimo. 2 5 (39)' S. [Later edition: Raccolte di Varie Vedute di Roma si antica che moderna\ 1752]. Chiesa del Gesii. 18 (28). 24 (38). Dec. Veduta di Villa Ludovisi. Dr. 23 (37). 322 a in same catalogue. Le intagliate la maggior parte dal celebre sudette sono in numero di novanta tre. 7 (12). B. 15 (25). Manchester (John Rylands Library). P. copy. O. 21 (34). Fontana deir acqua Paola. . I note only two in the 1760 edition of the same book (B. Spelonca delta Ninfa Egeria. 48 of the plates signed by Piranesi. 2 (7). 5 (10).). 11 (17). Veduta di Castel S. Veduta di S. Veduta della Chiesa ed Ospedale di Santo Spirito. Rome (a spese di Fausto Amidei) 1750.. The 1748 on title-page of Blomfield copy is inconsistent with date 1750 on several of plates. 26 (40). e Cupido. Archyginnasio Romano.M. Veduta della Villa Medici. 14 (20).LIST OF PIRANESI'S PUBLISHED 47 signed by Piranesi (including WORKS 1750). Tempio di Minerva Medica. J 3 ( r 9)Veduta di Belvedere in Vaticano. Carlino. 6 (l l). Angela.L. and another of similar title but date 1750 (with 79 plates only. Veduta della Fontana d' Acqua Felice. Palazzo deW Accademia di Francia.M. Ashby notes that seven of the plates signed by Piranesi appeared in G. 322). Mercurio errante delle Grandezze di Roma. Rossini.

Paolo fuori delle Mura. Sebastiano fuori delle (77). XVI and 135 plates (including title-plate and For further notes on the 1748. series and a detailed Catalague see p. loa] R. whole of Rome with views (no doubt Piranesi's part of the work) of St. Later editions of part of the series in (i) [G. Antichita inventate. 1748. Mura. Signature at end of fragment of stone coping at foot of column : Piranesi e Nolli incisero. G. Bellicard. .L. . Palazzo de i Duchi Mattel. Maria Maddalena.Area di Settimo Severo. 1778. 47 (91). prospetti-va groteschi. No. The title of the plate on base of column at foot : La Topodi Gio. 39 (81). Nos. and 1778. Fontana di Trevi. and (ii) [G. 40 (82).M. Palazzo Pontificio. and Piranesi's signature erased. 29 with new title Ninfeo di Net-one. Two plates added by Francesco Piranesi in 1786 (?) and 1788 (see p. Maps. 33 32 (56). Palazzo Farnese.Palazzo della Cancelleria. Rome. 10 b] Ridolfino Venuti. Tempio di Venere appresso (59). J. 32 (end of Jndice Alfabetico della Pianta) follows the only plate in the publicaIt is a double folio plate giving a smaller plan of the tion which bears Piranesi's name. Vestigie delle I. The rest by P. F.78 28 LIST OF PIRANESI'S PUBLISHED (42). 30 (44). F. Baita Nolli dalla Maggiore in questa minor Tauola dal Medesimo grafia di Roma Ridotto.L.M. 6. copy). One of Descrizione the views. 37 (79). Piramide di Caio Cestio. Veduta della Chitsa di S. 44(86).L. 38 (80). Veduta del Palazzo Panfilio. 36 Vestigie delle Terme d' Antonino Caracalla. P. \ is probably the other engraver. F. ed incise Giambattista Piranesi Architetto Veneziano. and J. . 19. No. 45 (87). After PI. Nos. 42 (84). Anesi. For a series of early states of a selection of the views see Le Magnificenze di Roma 1751. B. 29. Le Vedute di Roma. 136 and 137). 34 (66). 12. raccolte da Giovanni Bouchard \ \ \ \ \ . 719-853. 31 (53). C. 41 (83).d. [after 1815]. Duflos. &c. and 32 reprinted in the 1824 ed. Nuova Pianta di Roma data in Luce da Giambattista NollirAnno MDCCXLVIU. Morelli. 73. Carlo Nolli. Rome. Chiesa di S. Terme Diocletiane. 48 (92). Ignazio. Venuti. Le Geay. Veduta delle Terme di Tito Vespasiano. Collegia di Propaganda Fide. copy). 2 9 (43)' Vestigie della vecchia Curia Ostilia. n. 12. Ch:esa di S. 40. il Circo Apollinare. Opere Varie da I di Architettura. 43 (85). 46 (89). . Pronti ed altri celebri Bullini. 35 (67). 30-73. Presso Piale Neg* di Stampe.. L. xvn (Catalogues of 1792 and 1800).Veduta del Teatro di Marcello. 1763 (19 signed Piranesi in B. \ \ 1750. produced between 1748 (or earlier?) frontispiece). of Venuti. di Roma incise da Piranesi. Peter's and other buildings and monuments. is often bound with the series. The Pianta di Roma. 2. Accurata e succincta Descrizione topografica delle Antichita di Roma. Palazzo degli Ambasciatori di Venezia. was re-printed in Raccolta di 50 vedute .M. . WORKS Santa Maria in Vallicella. Chiesa di S. Giesecke (10) quotes an edition in Munich (Graphische Sammlung) as having 96 views (and described thus on title-page). \ \ who signed two of the Index plates. Palazzo del Duca di Bracciano Odeschalchi. Accurata e succincta di Roma Moderna 1766 (28 signed Piranesi in B.

(2 copies). vin (Catalicenza de* superiori (title in type). No. 6. 3 (on title-plate. 120 a. apart from title. 8. . 1 : \ \ [In spite of date on title-page remaining 1750. ed incise da raccolte Giambattista Piranesi Architetto Veneziano vignette after Claude Lorrain con licenza da Giovanni Bouchard Mercante Librajo al Corso In Roma de* superiori. antico.A. 4 in error upper (dated.] F. Then follow 22 plates. r. 22-7 double folio. 7). 5. 4. 121-32. 22-7) occur in varying Masked impressions from the two halves of the allegorical different copies. 1-18. Frontispiece. I. Nos.] Same plates as in the preceding. 10. Batista in place of Giambattista \ with an original vignette by Piranesi in place of his etching after Claude. and Chetham's Hospital and Library). The title now reads Opere Varie antichita sul gusto degli antichi Romani : \ di \ \ Architettura \ pro\ \ \ \ \ | \ | \ \ \ MDCCL | plates have not examined a copy. 6. Galleria Grande di Statue. being numbered. later edition B. and was probably not issued until 1761 when Piranesi seems to have moved to the Palazzo Tomati (see p. 1-14 . 2. Manchester (John Rylands Library. I [Later edition B : 1761. 122. logues of 1792 and 1800). [The title quoted from Giesecke 9. 12. and the lower parts of the plate remaining untouched). Giesecke notes that the which had appeared in the Prima Parte di Architetture are in the reworked state. The two copies at the British Museum frontispiece to the Vedute di show the plate reworked. 16.LIST OF PIRANESI'S PUBLISHED WORKS | | 79 hi Roma. 3. 9. Bodleian. The first numbers are those of the present and later editions . The titles u. Lettere di Giustifaazione). Firmin-Didot). B. Windsor. or after]. Con licenza de superiori si "vendono presso rAutore nel palazzo del Signer Conte Tomati su la strada Felice alle Trinitd d Monti. as grotteschi 1750. 9. G. one kneeling on the large vase in the centre only the column on 1. following the word Veneziano then In Roma MDCCL. or after]. various figures being added. Gruppo di Colonne Ruine di Sepolcro Rome 5. 120 b. and 23. 1-16 are folio size. 2. G. 17-21 smaller plates printed in two on a page (partly four on a page Title. The same title with Gio. 15. Nos. I. Ed. and 13 a. Soane Cambridge (Fitzwilliam). 121. as I have remarked in later copies of the preceding edition. 2. 1. 1-18. 14. Piranesi engraved by Polanzani often appears as frontispiece. and Nos. are printed on separate plates in the cases of Nos. 6. 20-3. 1750 Con Mcrcante Librajo al Corso (Vignette. 1743). Chatsworth. as it contains plates issued that year in earlier states (see below. [Later edition spettive A \ : inventate. Nos. [Portrait of G. the numbers placed after the titles are those of the earlier or 1750 edition. 13.. The Soane copy of this edition shows the plates from the Prima Parte di Architetture before the rework. 20-3. . e. F. after Claude Lorrain Not described by Focillon or Giesecke. Carcere Oscura. 3. Mausoleo antico. the edition cannot have appeared before 1757.] Etched front (generally following title-page) Prima Parte di architetture e prospettive inventate ed incise da Giambatista Piranesi Architetto Veneziano \fragliArcadi Salcindio Tiseio (later state of title-page to the work published : \ \ \ \ \ \ in 1743 the design of the plate is considerably changed. 9. 22-7 in the list given under The unnumbered plates (numbered later. R. order in They are the plates described as 1-16. 4- Vestiggi d* antichi Edificj. Roma (Catalogue. g. 2) are inserted in both the British Museum Library copies. The following is a complete list of the plates in the present and earlier editions. margin of plate).

background. 1 1. 1 1 12. . 12. Not numbered in early editions. IV Lettere di Giustificazione. NERO . Pianta di ampio magnifico Collegia. is given as a. Ill of the Antichita Romane\ Tav. with Statue of Minerva. 26. editions. Medley of ancient columns and other shadow above. This and No. or later. II Lettere di Giustificazione. 8. 1756] = Tav. 25. 16 often found in reverse order in earlier editions. They are sometimes referred to as Capricci. Medley of inscribed foreground . The following ten smaller plates. Not numbered. II of the Antichita Romane. 17 [a] Ingresso d'un antico ginnasio. 7. Tempio antico.) above towards 1. Camera sepolcrale. 1 [= reduced I version of large frontispiece to Vol. Pyramidal skeleton in the foreground. 8. but Piranesi appears to have used the latter title in the first instance in particular reference to the Careen (see Nos. Ill Lettere di Giustificazione. [17 b] Idea delle antiche vie Appia e Ardeatina [= reduced version of the large They . Greca. 25. 1757. . Gruppo di Scale. and 27 bear Piranesi's address opposite the French earlier issues). in early editions. in the earlier editions. ' They are without numbers in early editions. . Porte di Ampio magnifico Porto. frontispiece to Vol. Upright. Not numbered. with serpents in 26. and a vista on to a in the architectural remains richly the form of an arch in ornamented arcade or triumphal arch . 9. The are printed two on a page the upper plate. LIST OF PIRANESI'S PUBLISHED Ara antica. 17-21. I of the Antichita 21 [a] Idea d'un atrio reale. Foro antico Romano. [18 b] Appartenenze = [19 a] Portici Tirati dintorno ad un Foro. 1 8 [a] Veduta d'uno de' circhi antichi [= reduced version of the large frontispiece to Vol.8o 7. Prospetto d'un regie Cortile. . the Antichita Romane] IV of = [20 b] Ponte Trionfale Romane} = Tav. Vestibolo d* antico Tempio. d* antiche terme. [19 b] Scuola antica architettata alia Egiziana e Greca. '. with death's head and 24. WORKS Ponte magnifico. Sala air uso degli antichi Romani. Ravine d Archil* Egiziana e Upright.. 14. and this or the following plate generally occur after the Groteschi (Nos. [21 b] 22. 14. Lettere di Giustificazione. The following four numbers (large oblong plates) must answer to the title Groteschi of the Titlepage. Tav. 10. 24-7 below) in early Not numbered 23. or the left-hand plate in the case of the two upright subjects. 16. 16. 10. Academy formation of architectural and sculptural details. 15. [20 a] Braccio di citta pensile [= reduced version of the large frontispiece to Vol. Campidoglio antico. Frontispiece of the Vedute di Roma. were added in the present later edition B. 9. and a painter's palette a sarcophagus and brushes lower r. architectural remains. 13. Masked impressions of the two halves of this plate often occur after No. 13.

16 numbered plates including the etched title. Archit. with transposed underline).. in one of the in the Soane Museum (b) The plates rebitten and numbers etched in the margin copies of two of the plates. \ catalogue of 1792 title Prisons [Later issue: before 1761 : Bouchard's edition B. Architectural WORKS 81 and sculptural medley. In the catalogue printed at the end of the preface in the 1756 ed. ix (Cat. I-IV in the Lettere di Giustificazione Four of the small a Milord Charlemont. G. I. Rome (Accademia di S. 14 unnumbered plates including etched title. 29-39. Roma (etched title). i. but the work is priced at 14 paoli. and 20 a (reproducing in small the four principal frontispieces to the Antichita Romans with the original dedications to Lord Charlemont) appeared in an earlier state as Pis. and a skull and smoking vase in the foreground. and various small changes made in the work on the plate (new detail added in place of old scritte added as indicated above. 24-39.. (a) Before any rebiting. John Charrington. Luca).S. The work as of 1750 (probably meaning date of origin. of 1800). B.M. It seems natural to earlier and smaller edition of 14 plates. in the centre. The Twenty-One Gallery (Adelphi. Munich (Graph. unnumbered plates (in addition to dentroefuori di which were later incor\ \ G . Sir Reginald Blomfield. 6). see No. Leicester Galleries. This edition of 1 6 plates figures in the earliest of the engraved catalogues (about 1761. p. 26. 24. i. F. of the Antichita Romane the number not cited. [1750. 8.N.] Invenzioni capric de Carceri all' acqua forte datte da Giovani Buzard in Roma Mercante al Corso (etched title). several casks in upper 1. Taf. n. plates. \ | \ \ \ wanting 3.e. Manchester (John Rylands Library). 27. edition. with ornamental border. 8.). n. 10. 7).] Invensioni capric de Carceri air acqua da Giovani Bouchard in Roma Mercante al Corso (2nd state forte date in luce of etched title). Before their use in the present edition of the Opere Varie the original inscriptions in the margin and the plate numbers had been erased. 9.). g. Boston (U. B. though the de Nouvelle Invention and reference to 1 6 plates denote the later edition). or earlier in luce \ Bouchard's edition A. 15. \ d \ \ | F. VIII (Cat.. where he probably moved about of plates is infer that this was the 1761 (see p. Mr. 24. Batsford.A.e. i8a. 5 a. For [About 1750?] Camere sepolcrali 1 1 \ degli Antichi Romani \ lequaliesistono title). 20 b. Paris. The other plates as in the preceding issue. 1 Invenzione di G. 21 is the only other number added in the later state in the Soane. fix the date. Ashmolean (only 7 plates wanting 6.] Carceri Vene (3rd state of etched title). The plates from the earlier issues in most cases very considerably elaborated and modified adding throughout a much : greater depth and contrast of tones. Battista Piranesi\ [Later (Piranesi's) edition: about 1761.. and Piranesi's name and new : titles altered condition there are two states . 1757. 32. Fogli sedici. II and V added in this 1 being inscribed Presso I'Autore a Strada Felice vicino alia Trinita de Monti. B. of 1792). and is priced at 20 paoli. Soane.LIST OF PIRANESI'S PUBLISHED 27. refers to the Giesecke conjectures the date as about 1745. W.). In their E. T. Sir : \ \ \ \ \ \ Francis Newbolt. with a large slab of stone. bound up with a complete set (only 8 plates: : of the later edition). The two states (before and after rebiting) refer also to the plates which did not occur previously in the Lettere. Pis. 17 and 18. i/b. Oxford. Dresden (Kupferstichkabinet). Plate II is not known in state before Piranesi's address in the Strada Felice. 7. 14. Messrs. so that this and the entry in the engraved catalogue detailed catalogue of the plates see p. 10. II G. al prezzo di paoli venti. Samml. 13 (according to numbers in later edition).. 5 (title-page reproduced by Giesecke. inscriptions).C.

10. In addition to the Vedute. 18. Leicester Galleries. 10. before price and Piranesi's address in the Palazzo Tomati. architetto Veneziano. 33. 39 of vol. one belonging to Mr. 45. 1 6. the Charrington. 22-27 numbers as in earlier editions of the Opere Varie). 120 a. 7. and the extreme rarity of copies might be explained either by the unpopularity of this corpus (customers preferring to take separate works). Three copies are known to me which seem to correspond roughly to the scheme of the title-page. 54. The order of the above differs slightly in each. 5. 17. 39. 19. 26 of Vol. 24. [(2) Title-page and Vedute}. For discussion of the date (which is complicated by the fact that some of the Vedute included are as late as 1760 according to the catalogue of 1792) see my text. printed in two portions. a third at the Leicester Galleries (1922). 1752. II tutto con singolar gusto. and are very nearly similar in make up. 8. 53. as frontispiece (as in Opere Varie. A. 58 : Vedute occur differs slightly in each copy. and Soane : I. and several other early series by Piranesi. \ e raccolte da Giovanni Bouchard \ \ | \ Perhaps Bouchard only bound up this selection as he sold. and 59 No. Le Magnificenze \ \ di Roma \ le piu remarcabili \ consistent in gran numero di \ stampe /* nelle quali vengano rappresentate le piu conspicue Fabbriche di Roma Modernat \ e le rimaste deir antica. 51. list) The following are the Vedute (according to the chronological numbers of my which occur in Charrington. 15. 7. and some with different titles. later : edition). 22-27 follow after the Carceri. 26 . Career/. with title-page in 2nd state). 23. p. (3) Antichita Pis. but the indication is sufficient to show the contents. &c. [The Blomfield copy also has impressions of the frontispiece to the Vedute di Roma repeated.A. and appear in the following order : III 21. three being inscribed as after Antonio Buonamici. 1753. They correspond to Pis. 49. Gilbert Drage). 38. inventate. Ill of the Antichita Romane. 9. 4. Blomfield. later edition B (but 15. 14. \ \ \ \ \ mercante librajo al corso (Vignette by Piranesi. 46. ed incise da Giambattista Piranesi \ \ Romani. 21. 35. che sparse sono per ? Italia \ con \ aggiunta ancora di molte invenzioni di prospettiva sulla maniera deg? antichi come ancht di molti capricd di carceri sotteranee. 1748 (28 plates). as described in detail in the catalogue of the Vedute di Roma). e studio diligentemente delineate. 29.R. 28. then 1-16 and 22-27 of list given under Opere Varie. A fourth in the Soane Museum only contains the Vedute (followed in the same volume by the Raccolte di Varie Vedute. Soane [in the volume which contains the first edition of the Ofere Varie and the Bouchard edition of the . 16. later edition B) In RomaMDCCLI\ Con Licensa de* Superiori Title-page in type as above. 25. Pis. 25. another in the collection of Sir Reginald Blomfield. F. This collection by Bouchard contained a selection of the earlier Vedute di Roma (in early states. II. 3. 24. 9. II 8. at end of Opere Varie}. (5) Invenzioni capric di Carceri (ist edition.). . Soane has 32 and 34 not in either of the other copies. Trofei \ di Ottaviano Augusto Egitto | Con varj altri innalzati per la Vittoria ad Actium e conquista delf ornamenti diligentemente ricavati dagli avanzi piu preziosi \ \ .41. 5.] 1751 (?).).S2 LIST OF PIRANESI'S PUBLISHED WORKS porated in the Antichitb Romane (for the most part unnumbered in the edition of 1756. The order in which the 56. II 16 Ill 23-26 are engraved by GiroIII 12. Blomfield and Leicester Galleries copies contain the following: (i) Portrait of Piranesi by Polanzani. or by the fact that the works have got separated later. (4) Opere Varie (Blomfield copy lacks the before the title in type) Frontispiece (PrimaParte di Architetture). 23. 8. John Charrington (from the collection of Mrs. which hardly properly belongs to the series see above under 1748 Varie Vedute. 58 in Charrington and Blomfield in early state with title Tempio di Bellona. 40. and 12. Romane di Tempi della Repubblica. 37. 16. 2. as in Opere Varie. 9 lamo Rossi. anche quelle.. 52. 43. and all numbered in 1784 ed.

I Etched PI. of the 1756 editions which I have noted contain plates as above.and I tail-piece. with i initial : Pis. 4 (preface. II-VII: pp.M.I 2 !-l v (Catalogues of 1792 and 1800). ceppi. colle Vestigia delF antica Isola Tiberina. e \ \ tuff altro ch 1 e stato in essi ritrovato : \ e colle loro indicazioni.] Dated 1780 in catalogue of 1792. III. New engraved title. e nel Terzo Gli avanzi de' Monumenti Sepolcrali esistenti in Roma. with i initial : Pis. Portrait of Piranesi. 9). generally prefixed [i] Title-page in type (as above) Etched frontispiece (with dedication to Lord Charlemont in rare early copies) : pp. pp. caused by a quarrel with Lord Charlemont. Only plates 4. Marcello In Roma MDCCLIII. with i head. Architetto Veneziano Opera di\ Giambatista Piranesi nel primo de* quali si contengono gli avanzi degli antichi disposti in Tavola topographica secondo Fodierna loro esistenza ed \ \ \ \ \ \ \ \ \ illustrati c<f frammenti del? antica Iconografia marmorea.L. e spiegazioni. and i initial: Pis. \ Nel quarto | \ I Ponti antichi di Roma \ che inoggi sono in essere. PI. ii. 144-395. 34 of the Vedute di Roma. XLI-XLIII pp. In all 218 numbered plates as above (44 in Vol. imprimatur and list of Piranesi's work hitherto published). Tomo Primo In Roma \ \ Monumenti. page) : including No. I (double plate [in B. B.) contain the G 2 . PI. Si vendono in Roma da Giovanni Bouchard Mercante Librajo sul Corso a S.L. Title in type (as 10 unnumbered plates (including vignette Frammento di uno scudo on titleabove). II (double frontispiece (with dedication to Lord Charlemont in rare early copies) Pis. 133-143. correlativo al Commentario Frontiniano ivi esposto in compendia : \ delle Terme le piu conspicue : del Foro Romano colle contrade circonvicine : Monte Capitolino: ed altre le piu riguardevoli Nel secondo. 1756. Giesecke notes 43 for Vol. iscrizioni. e con uno Indice critico della loro denominazione arrichito di tavole suppletorie fralle quali si dimostrano \ \ \ \ relevazione degli stessi avanzi : Pandamento degli antichi Acquedotti nelle vicinanze e nel dentro di Roma. F. ii numbered (some editions are before the numbers). Con licenza de* superiors si vendono in Roma dai Signori Bouchard. 4. Vol. G. vedute esterne ed interne : colla dimostrazioni de' sarcofagi. 9.63 in II. III-LVII. IV as the proper number in ed. I. XLIIII : : : : : : Etched frontispiece (with dedication to Lord Charlemont in rare early copies) Vol. elevazioni. III-LIV. \ F. e di altri loro indicazioni e spiegazione. In this edition the Frammento 10. with two initials Vol. and five plates by Francesco Piranesi added (Nos. 7. G . 5. copy before number] Pis. i-xi. Vol.LIST OF PIRANESI'S PUBLISHED delle fabbriche anticJte di \ WORKS \ \ 83 Roma Utili a Pittori Scultori ed Architetti disegnati ed da Giambattista Piranesi Architetto Veneziano. and 56 for Vol. I: PL : PI. iv : PI. incisi \ \ \ [Later edition. 1756. 8. vasi cenerarj. 57 in IV). I. Le Antichitb Edifizi di \ Romane \ Divisa in quattro tomi Roma. stucchi musaici. \ MDCCL VI \ eziando colle Nella Stamperia \ \ di Angelo Rotilj nel Palazzo de* Massimi. engraved by Polanzani (1750). e nelF Agro Romano colle loro la Pianta \ \ del \ \ \ \ rispettive piante. 8. III-LXIII. 54 in plate) A copy in the Soane Museum only contains 56 plates in Vol. e Gravier Mercanti libraj al Corso presso san Marcello. a relic of its place in the Rovine dell Castello del? Acqua Giulia. 1 1 (double plate) [In B. These differences undoubtedly show earlier and later issues of the edition with the title-page of 1756. sezioni. VIII-XXXVIII Pis. one dated 1778. vin (Catalogue of 1800). iii.g. e unguentarj. 40. 1. 5. II Text with Index vi.M. XXXIX-XL (each number including two on a page) : pp. Most III. even after the alteration of the dedication of frontispieces. di uno scudo which occurs on same page with new engraved title is numbered xviii.L. IV.M. Some copies (e. de' Portici. gli Avanzi de Teatri. 7. IV. copy before number] : Pis. bassirilievi. XI (Catalogue of 1792). II : : : : described in the Lettere di Giustificazione of 1757. 1761. Etched frontispiece (with dedication to Lord Charlemont in rare early copies) PI.

F. .. 1757.. Piranesi after Giuseppe Cades prefixed in place of the Polanzani.and I tail-piece.. B. and two lines of references. I-IV occur in later state in the later edition B of the Opere Varie (q. 144-395. Dedication shown beneath the pediment [= Opere Varie. . see \ . volumes of the Antichitd. pi. B. . and Seconda Iscrizione di Milord Charlemont . Feb. contain 8 numbered plates. VIII. Pp. II. and in margin Secondo Frontespizio III. [Later Edition : 1784. later . : and e in margin (3 quarto terzo A.] di S. Inscribed Tav. [Aug. II and III Piranesi was assisted in the figures by Barbault. 20 a].M. and three letters. X(?). and their places on the original plate in the Antichita Romane. ultimamente soppressa In Roma (On scroll above) Casu obliteratis tantae vanitatis nominibus Plin. Pis. : . Varie.. \ . The later plates reproduce the inscriptions themselves alone. Lapide delprimofrontespizio . pages) is found inserted in some copies of the Antichith Romane 1756 (no doubt in the issues that went out early in 1757. the first two to Lord Charlemont. 1761. VIII.. and footnotes referring to the plates) with 4 head. A.v. XXXVI Cap. and in . G. 25. In engraving several of the plates of Vols. xxviii (containing Prefazione. (3 lines). . che Pautore ha poi depositate nella Biblioteca .L. probably in Piranesi 's hand. Fand in margin: Prima Iscrizione di Milord Charlemont desunta con esattissima imitazione e nella grandezza et nel carattere deir originale. margin Frontespizio Terso. ward Scultore Celebre.. Inscribed Tav. | \ \ \ | | . D. IIImo Sigre 11 Sigr Riccardo Haymanuscript dedication. and in margin Quarto Frontespizio. Pis.. 1757. showing the original dedications. The Ex Libris etched border in the B. VI. Windsor (Royal Berlin (Kunstgewerbe Museum). Lib. IV.). p. B. . VII. . /in upper 1. Romane. numbered plates.Inscribed Tav. . 63. The volume was suppressed soon after publication. and twin serpents \ \ \ \ \ \ | \ \ \ \ \ \ \ \ \ \ \ MDCCL : \ . and in = Oflere Varie. copy contains . Inscribed Tat'.]. which accounts An earlier edition of the first and second letters (on five folio for its extreme rarity. lannis Baptislae \ Piranesii \ \ Antiquariorum et \ \ \ de\ Romanorum \ Magnificentia Architectura \ Romae MDCCLXI [Della Magnifi- .L. May 31. 17 b. Inscribed Tav. Ill in upper r. IV in lower r. 18 a]. 12 a. G..M. V Iscrizione (3 lines) [ margin Primo Frontespizio deW Opera ed. Avviso al pubblico. 1756. Corsini alia testa del primo Tomo delP opera di cui si tratta . Ignazio \ Camere Sepolcrali (about 1750?). the third to Signor A G. Oxford (Bodleian). PI. (4 lines). 20 b. In Roma MDCCLXXXIV nella Stamperia Salomoni alia Piazza Portrait of G. 1757]. Inscribed Tav.]. before the appearance of the separate edition of the regiae societatis Londinensis socii \ three letters). I-IV reproduce on a small scale the frontispieces to the four lines). The three copies examined by me Library). Epistolio del quarto parimente con esse (2 lines). and in margin A.84 first LIST OF PIRANESI'S PUBLISHED WORKS and second of the letters which were published separately in 1757. VII. lettera (4 lines) [= Opere Varie. Lettere Roma di Giustificazione scritte a Milord Charlemont e cC di lui agenti di dal Signor Piranesi Socio della real Societa degli Antiquari di Londra intorno la dedica della sua opera delle antichita Rom Fatta allo stesso Signor ed lustissimo VII . I give here indication AW of the lettering in the present rare edition: I.. Inscribed Tav. XXII Flyetched title and 8 leaf with etched border of architect's instruments. XXIII-XXVI of Vol. Giesecke describes the work as containing 10 plates. //in upper r. The first frontispiece with dedication to Gustavus III of Sweden. 13.. Inscribed Tav. VI. V (folding plate). Complimento al Pttbblico sostituito nel primo Frontespizio Pis. Tubbs. Piranesi by Francesco F. Ill are etched by Girolamo Rossi (three being inscribed as For a separate issue of 1 1 of the plates in an earlier state after Antonio Buonamici). A and B on either side [= Opere ..

with 2 at initials and 2 tail-pieces : PI. 927-66. 396-420. Nov.LIST OF PIRANESI'S PUBLISHED \ WORKS \ 85 reale ed Architettura de' Romani Opera di Gio. F. xi (Catalogue of 1800). Ill being from 2 The plates). \ descritte \ \ G. 1918) from a copy own collection. 3. Pp. 14. The catalogue of 1792 dates (approbated) 16 June. with 2 initials and 2 tail-pieces : PI. 1762. with r head-piece: pp. Marzio dell Antica Roma Opera di G. xvii [xviii] : pi. 20. xv (Catalogue of 1792). I.Euseblo. \ \ 1761. Pp. Latin and Italian engraved titles (as Portrait of Pope above). XXXI is a large folding plate engraved by Arnold van Westerhout [? after Francesco Fontana. 31 Described by Dr. 15 [16]. and on | first page of 2nd edition of the Trofei di Ottaviano Augusta.. Piranesi socio della reale [II Campo \ \ Piranesii \ \ \ Campius Martius \ \ Antiquae \ \ \ \ 1 | \ \ \ F. Two engraved titles (as above). F. first XVIII the Frammento di uno scudo which appears on sive the printed title of edition. before being replaced by general title Antichitb d'Albano.) Lapides \ [1762. pp. Later this work and the following were generally bound up with and after the Antichith d f Albano. 20. \ del? Emissario del Lago Albano di Gio Batista \ Pi[1762-4. preface. 16): pl. [4].B. Osservazioni. G. XIX. 69 [70]. 1761. Piranesi. (PI. Cunego after G. 480-91. with head-piece and I illustration Antichita \ di \ Cora. 537-50.] l. Engraved title: pp.] With the 2 engraved titles. Etched title (as above) . etched dedication to Clement XIII . G. G. ix (Catalogue of 1 800). Piranesi pp. 428-79. B. Engraved is title (as above) : pp. 4. \ \ \ \ catalogue of 1792 dates (approbatio} April i. MDCCLXH. with 2 tail-pieces: PI. B. For supplement (gener- ally bound end of this volume) see 1765. (Catalogue of 1800). and (in margin) Veneunt apud Auctorem in aedibus Comitis Thomati via Felice prope Templum SS. pp. IX (PI. loannis Baptistae Antiquariorum Regiae Sodetatis Londinensis Sodi\ Urbis Romae.efalsamente detto delf Acqua Marda colla dichiarazione di uno de celebri passi del comentario Frontiniano e sposizione della maniera con cui gli antichi Romani dislribuivan le acque per uso della dttcL di Gio. xiv (Catalogue of 1792). in his : n. Pp. with 2 initials. : (p. with one \ \ \ \ \ : initial. Le Rovint dell Castello del? Acqua Giulia situate in Roma presso S. but with printed text in Italian only.] Descrizione e disegno ranesi. Battista Piranesi. \ manorum ab urbe condita usque ad Tiberium Caesarem. xvi (Catalogue of 1 792). VII (Catalogues of 1792 and 1800). ix (Catalogue of 1800). Piranesii \ \ Capitolini: \ \ Fasti Consulares \ \ triumphalesque Ro- F. dedication in type (to R. . with initial and tail-piece: PI. (With dedication) Roberto\ Adam Brittanno Architecto Celeberrimo. Dated Rome. 26. The catalogue of 1792 dates (approbatio ?) 1763. The engraved catalogue described as No.] ed incise da Giovambat. and 2 tail-pieces . 22. addition nel mese di Maggio 1764 si daranno alia luce le Antichita di Cora e di Albano. Adam).6i. Clement XIII engraved by D. This work is cited in three editions of the engraved catalogue known to me (see Nos. XXXVIII. 4 in my text has a MS. [8]. [2]. 16. 421-27. xii : sodeta \ pp.X. XLVIII.) Later Edition [32]. Half-title (type) : etched title (as above) pp. G. d. F. (PI. XII (Catalogue of 1 792). 1761 on title-page in \ 1 \ \ \ \ \ \ \ \ type. Battista Piranesi socio della accademia degli antiquarj di Londra}. IX (Catalogue of 1800). 5 as described in my text). x degli antiquari di Londra}. 18. 17. F. [1764. 1762. Thomas Ashby (Burlington Magazine. G. xiii (Catalogue of 1792). with 2 head-pieces : pp. Trinitatis in Monte Pindo. 21 2. dedication.

1762. Piranesi.] F. Piranesi (Nos. 1766. . | | \ \ \ . sentati al singolar merito del Sig. 7 [8]. 926 b and 931 a and b in Paris ed. e Toscana opera delCavaliere Giambattista Piranesi Archi\ \ \ \ \ \ tetto. Inserita nel Supplemento delF istessa Gazetta Dimanche 4. [xvin] (Catalogue of 1792). XI (Cata\ \ : Half-title (type) : engraved title (as above) : etched dedication to pp. The plates in this publication of G. with small plate. da Giovambattista\ xvi (Catalogue of 1792). Osservazioni pp. Clement XIII 1764. \ Descritte ed incise Piranesi \ Roma Fanno : 1764. .M. 25. \ Osservazioni de la Gazette \ \ di Gio. 492-504. 1761.) only describes 2 plates 1765. Ill (the first lettered above Essaisdedifferentes Prises . 26. Etrusca. 991. 1764. 19 plates (including title and dedication plates) by G. indsi in rame e predalF architetto . Della Introduzione : pp.86 [1762-4.Mariette \ aux auteurs stampata \ r Europe. 1762. and three other plates (two after Guercino. pp. . work A mew ofpart of the architect. 5. 21. I have not examined an edition with text in type. at Rome. 1775 in Catalogue of 1792.M. xvi (Catalogue of 1792). PI. : pp. vn (Catalogues of 1792 and 1800). Published according to Act of Parliament F. B. B. with head-piece : catalogue of 1792 dates (approbatio) Aug. F. B. one after Ghezzi) etched by G. The copy in the B. majority of the I have not is bound up with other plates after Guercino. 35 [38] text. \ . xiv (Catalogue of 1800). [2] (dedication in type). Diverse Maniere architettura Egizia. Piranesi. e Greca con un Ragionamento Apologetico in difesa deir Architettura Egizia. . Engraved general title as above. by Robert Mylne. The plates numbered i-xxi in later states (many of the 'plates' being printed from more than one copper-plate). \ . Frontispiece (with etching after Guercino). logue of 1800). 23. [2] dedication in type : pp. Battista Piranesi Litteraire de \ sopra la lettre \ de M. 8. F. 8. E parere su F Architettura. in addition to \ the frontispiece as by Piranesi. G. The Catalogue of 1792 dates (approbatio) Jan. 505-36. 1764. Soane. xi (Catalogue of 1800). XXVIII (Cat. Roma. 2 plates by Francesco. PI. \ d'adornare i cammini ed ogni altra parte degli edifizj desunte dell1 1 769. XX (Cat. The two preceding are nearly always bound up after the present work. (2 impressions). Jenkins il Guercino. I head. Dated March 10. Engraved by Piranesi 10th March. The in ornate dagli antichi alia Riva del Lago Albano . 854-926. G.] LIST OF PIRANESI'S PUBLISHED Didue spelonche \ WORKS \ \ G. only possesses the Paris ed. 30. with I etched initial : pp. 551-73. with I head-piece. G. Engraved title and engraved dedication (to G. Described in catalogue of 1792 as 'en 28 planches'. 1776. \ intended bridge at Blackfriars in August. LXVI. 9 [10]. Roma F.) Trofeo o sia magnifica colonna coclide di marmo . Novembre MDCCLIV. B.] si ove (Colonnadi Trajano. 967- MDCCLXV : 2 tail-pieces. 1764.and \ \ \ ntio\vo Trattato della introduzione e del progresso delle \ belle arti in In Roma antichi. and three larger plates. which is said to be extremely rare. xxi (Catalogue of 1800). examined an undoubted first edition of this work. T. 26 26 plates. [Title in type repeated in English and French. con licenza de superiori. ). Raccolta di alcuni disegni del Barbieri da Cento detto . B. of 1792). \ Antichita (fAlbano \ e di Castel Gandolfo F. F. 12 plates. with i headand I tail-piece. with I head. inalzata nel mezzo del scolpite le due guerre dadche fatte da Trajano veggono Gran Foro etc. . G. Rezzonico) i tail-piece. 82. 27. of 1800). Giesecke (perhaps rightly in relation to 1764 ed.M. of FirminDidot (which contains plates that I have noted). . G. Piranesi were engraved by Bartolozzi. 1769. B. xxix (Catalogue of 1792). of Firmin-Didot). Parere su V Architettura : pp.and I [1775-6.L. . 19. 6 unnumbered plates. con una \ \ Prefazione ad un Ettropa n tempi G. . and the B. This is bound as a supplement to Della Magnificenza ed Architettura de' Romani. In . 983-86.

574-76. from several plates. PI. See discussion as to authorship in my p. Four PI. Fol. I. and Pis.e. (and so. 14. Described in Catalogue of 1792 1792). 17). Gio. 577-82. In 2 parts (2 plates for subject. Francois . 14. Francesco Piranesi incise a bollino. Posthumous. Cav. 1 779 and 1786. All are in the same direction as the prints except No. 1778 in the catalogue of 1792. . et acheve* par le Chev. in catalogue of 1792. Etched Dated Sept. 2 vols en 114 comprises les doubles planches A'ota ceux grave's jusq'k Tan 1792 gives 1778 sont publie"es par le Chev. Numbered in later states xxiv-xxvn (4 large views of the pedestal) and xxvin (map of situation.LIST [1776-7. G. lucerne. B. Works in Architecture. 30. On 4 plates (2 for the plan and 2 This is often bound with later issues of the Vedute di for title and topographical index). . The plates by G. 1778 in catalogue of 1792. Cahier IV. . 19.] Pianta di Roma e del Campo Marzo. XXX II p.6. xix (Catalogue of 1792). in reverse. 987-90. Two sections of the Anti-room at V. 15. 20. G. and described in catalogue of 1792 as 'en Colonna eretta in plusieurs planches '. ? 6 plates. PI. which text. This being apfrobatio it might not have been published until 1779. 1778. 1776. . XH. by G. II. cippi sarcofagi. . (Catalogue of 1800). ' as Jean Baptiste 1'an 1760. in Catalogue of 1792. which are signed by Francesco. All frontispiece (with title). 2 for the lettering). ed dal cav. 12. XX (Catalogue of 1792). Jean Baptiste. Signed Cav. Piranesi delineo. tripodi. Dated Jan. xiv (Catalogue of 1800). .M. Piranesi) except the There is also a frontispiece. ostensibly. XXII (2 folio plates. XII in the B. . Roma. XVI (Catalogue of 1800). G. IV. XV (Catalogue of 1800). .] G. 16. candelabri. xiv (Catalogue of 1800). 29. 601-718. Dated June 10.] OF PIRANESI'S PUBLISHED WORKS 87 [A series of plates representing the Column of Marcus Aurelius. and plan) and XXIII large folding view. Sion House. no with dates of production. is n. and PI. 1778. 583-99. PI. 28. 8. 87. The original drawings for fifteen of the series attributed variously to G. Gio. Ceiling of the Hall at Sion House. xvn xm disegnati ed F. Bait. plates in Robert and James Adam. F.] Restes de trois grands Edifices qui subsistent encore Fancienne Ville de Pesto autrement Pos\idonia qui est situte dans la Lucanie. memoria delF apoteosi di Antonino Pio e Faustina sua moglie. In later states they are numbered following the Colonna di Trajano as PI. 7. 77. 109) produced between the years Eight by Francesco (Nos. Vol. [1779-80. 74. F. F. and view of elevation). 29 (Catalogue of xxill (Catalogue of 1800). so that it is difficult to be certain of the number of the plates. III.27. Ionic order and other details of the Ante-room of Sion House. 3. 13. 15. Dimostrazione delF Emissario del Lago Fucino. Batta. 4. 5. Piranesi f. XX. xix (Catalogue of 1792). Sion House. 2. f Section of one side of the Hall at Sion House. Piranesi publicati Fanno \ ornamenti antichi \ \ \ MDCCLXXI1X. XX (Catalogue of 1792). reconstruction. [1778-9. The Catalogue of (Catalogue of 1792). The four plates lettered as published in 1778. XIX and XX. Piranesi produced between 1768-78. Dated Sept. 1779. F. [1778-9. \ Diffirentes vues de quelques le \ dans milieu de \ rejected version of pi. B. Piranesi and Francesco Piranesi are in the Soane Museum (i. 600. 2. for Nos. 27. . e incise a Faquaforti. B. Generally mounted in a roll (as in the case of the two other works on the Roman columns). 15. F. 13. and described as in 7 plates. 9. incisi Vast. 72. time.' Then follows list of plates (double plates being counted as i) ' .] &c. 10. les autres du 1779 jusq'a present par le Chev. 0. the plates signed Cav. showing views of column in Piranesi's Colonna Antonina. Francois Piranesi design^ par en deux feuilles 1'annde 1791 '.

and the earlier date erased). whom Dryer in style no record exists I would add that far better copies of the Vedute di Roma.I replaced by No. Chariatte]. Piranesi. Thomas Ash by (see Architectural Review. Ridolfino. Reprinted in Guattani's Roma Descritta ed lllustrata. (presso Piale) n. after 1807? B.M. reproducing wonderfully in miniature the characteristics of G.L. B. to me being (i) 5| x 7|. Dated 8bre Ij88. of Maps. 1788. but probably by Francesco. Numbered upper r. Delia Gran Cella Soleare nelle Guattani. Not by G.). T. Pronti ed altri (presso Piale) celebri Bullini. Piranesi's style. . do not think the plate belonged to the 8vo pamphlet on the same subject.L. about 5x7 inches.M. Venuti. I have also noted in M. signed Piranesi inc. or/<?. Rome B. Can they be by Pietro Piranesi. Terme di Antonino Caracalla. 40 and 41 in B. After Veduta 48. 73. B.d.f x 1 1 J in. G. 80. Chariatte's collection several other smaller unsigned copies of the Vedute (about 3 J x 5! in. A. copied from the Vedute di Roma. (2) Veduta del Tempio di Bacco oggi detto S. Traccia Orizaontale .M. style it resembles. : T.M. its order in the book. whose Accurate e succinta Descrizione topografia delle antichita di Roma. in his After p. semicircolare. Rome. Morelli. [after 1815].M. Lettered below A.L. of M. 1795 an ^ l %5 (between pp. . $\ x 8f in. B. October. Rome than the plate in Guattani. . are signed by Laura Piranesi [two known Veduta del Tempio di Cibele nella Pizza della Bocca delta Verita Coll.88 LIST OF PIRANESFS PUBLISHED WORKS Vedute di Supplementary Notes on certain plates with ambiguous signatures. and on copies of the Roma by Laura Piranesi. I have not been able to find whether they belong to any book or series. i. p. I issued by Guattani in 1783. After Veduta 47. a View periodical.. Urbano.L. 44.. Contains 1 1 plates. Attributed by Dr. B. London (1922). Two of the same had appeared earlier in Raccolta di jo Vedute di Roma incise da Piranesi. Achille Chariatte.) which are exactly similar in style. Signed : Piranesi F. of the Baths of Caracalla (. Monumenti Antichi Inediti. &c. copy of 1805 ed. each measuring 1 824. June 1922).

e 12 fogli di testo. Carceri. e 6 fogli di testo. P. 1762. G. in 64 rami. Pantheon. Vol. testo ed una vignetta. G. and Osservazioni 1765. 1750. avanzi di in 65 rami. P. Vesta Madre. 1762-4. G. 1876. in 13 rami. in 16 rami. Campo G.B. Seconda Parte VII VIII Magnificenza dell' Architettura romana. Descrizione e disegno dell' Emissario del lago di Albano. P. P.B. 1780. G. F. B. portici. in later G. Ponti antichi. della Scipioni. 1790. G.B. in 56 rami. 1762-4. Monumenti dei di testo teatri. in 22 rami. Sibilla. .P. IV V VI Tempi II di ed una vignetta. dell' Raccolta de' Onore e Tempj de' della Virtu. e 12 fogli di testo. P. e 4 fogli di testo. 1762.B. Antichita di Albano. 1764. Rovine del Castello dell' Acqua Giulia. 1761. Le Antichita Romane. and giving the original date of publication. B. II Avanzi de' Monumenti Sepolcrali. in 57 rami. in 4 rami. allotment of the showing respective volumes to G. in 14 rami.LIST OF THE PIRANESI WORK IN THE REGIA CALCOGRAFIA. P. 8 fogli di testo ed una vignetta. 1750. P. B. 28 fogli di testo e 6 vignette.P. G. . 1764. by F. B. P.P. P. e 2 fogli di testo. Parte. in 31 rami. Due Spelonche ornate dagli antichi sulle rive del lago di Albano. 1761. di Marte di Roma antica. 29 tripnfali fogli di testo e 3 vignette. G. P. Antichita Romane de' Tempi della Refubblica. P. 1785. ecc. and Ofere Varie. Archi Trionfali ed altri monumenti innalzati dai Romani. 1743. Antichitk di Cora. 1 748. G. F.. in 55 rami. in 27 volumi. G. IX X XI Trofei di Ottaviano Augusto. 1753. Architettura e Prospettive inventate ed incise del Piranesi. III Avanzi de' Monumenti Sepolcrali. P. in 20 rami. in 30 rami. Antichi. 2 fogli di testo ed una vignetta. B. ROME Transcribed from the Catalogo Generale dei Regia Calcografia di Roma. Fasti e consolari. Temfj Antichi.B. in 6 rami. 5 fogli di One plate edition.B. in 78 rami. Rami incisi posseduti Rome. in 1 1 rami. Descrizione delP opera Piranesi con testo. B. in 33 rami. P. Piranesi. or earlier. Francesco and Pietro Piranesi. and other engravers. B. Notes dalla Transcription. in 13 rami.B. 6 fogli F. 1756. P. 3 fogli di testo e 3 vignette. in 32 rami. and other etchers. the I Avanzi degli antichi edifizi di Roma. G.

Antichita di Pompeia. G. in 27 volumi. Piroli. Vaticano in 14 rami. B. Descrizione dell* opera Piranesi con testo. Pitture del gabinetto di Giulio II. in 21 rami. B. P. P. in 34 rami. Pub. issued later by F. by F. B. vignetta. Includes one plate by i XV XVI XVII XVIII Rovine del Tempio di Pesto. vanne. P. a Pompeia e ad Ercolano.. in 16 al Engravings by T. and F. G. P. I Andrea Rossi. e uno foglio di testo. in rami e 2 fogli di testo. ossia t a vole scelte del sommi pittori della scuola italiana. in 89 rami. in 58 rami. 1807 (?). P.B. After (plates dated 1804-6). Cunego. Vedute di Roma. Paris. Piroli.P. G. after drawings by T. &c. Piroli. fogli F. XX Diverse Maniere di adprnare camini. in 14 rami. Oggetti di uso trovati civile. in 37 rami. after Desprez. P. in G. 1778-9. 1769. 1773. 12 rami. Paris. P.. in lo rami. P. by F. Pitture. including [ Pianta di Roma. P.P. G. XIX Teatro d'Ercolano. Paris. 1748. i775-6i 1 776-7. and giving the original date of Transcription. 1807 (?). Sarcofagi. in 9 rami.P. 1778-9. Piroli. by F. G. by F. Sarcofagi e Tripodi. and P. by F. Paris. and two plates by F.P. Paris. G Pitture della Sala Borgia. B. B. Engravings by T. (plates dated 1805-6). 1778. 1808. Parte. F. P. publication. B. Baccanti di Ercolano. in Engravings by T. and P. 1786 (plates dated 1780-92). and T. Volpato and others. 1779-80. colla descrizione ai latti. Candelabri. G. in 39 rami. 1804-7. and P. in 48 rami. and P. B. Engravings by T. 1807. P. showing the Vol. Engravings by T. Engravings by D. nella villa Altoviti.LIST OF (continued) : THE PIRANESI WORK Notes allotment of the respective volumes to G. Paris. Antichita di Pompeia.. and P.P. and P. XII XIII Candelabri. volte e pavimenti in mosaico. Pub. P. in 28 rami. in 71 rami. 1785. Diversi ornati di pareti. drawings by XXV XXVI XXVII by F. XIV Colonna Traiana ed Antonina. Piroli. Engravings by T. nella Farnesina. and F. 5 fogli di testo ed una Pub. Pub.P. one or two after drawings by G. Pitture di Raffaello. XXI XXII i and 2 Raccolta di alcuni disegni del Barbieri detto il Guercino. Francesco and Pietro Piranesi. Paris. in 14 rami. Amorini e Trofei nella Villa Lante. in G. Vedute di Roma. 71 rami. After drawings by G. First published by Gavin Hamilton. La Scuola Italiana. Paris.P. 1807. Pub. Piroli and others. Posthumous Includes Dimostrazione del? Emissario del lago Fucino'i others by F. 1803. XXIII Soggetti diversi e prospettiva della piazza di Padova. 40 rami. P. P. Pub. Paris. 8 rami. ecc. P.B. 1804.P. militare e religioso. 1804. in 71 rami. Piroli. &c. F. in 42 rami. P. al Vaticano. F. B. Piroli. and P. Pub. F. Paris. e 12 di testo. XXIV The plates Rome. P. Engravings by Elizabeth Que1764. . 1803.B. by F. and other engravers.P. Engravings by F. Piranesi. in 69 rami. P. P. Statue antiche.

of published works given in under which they occur in the list.



and references to the dates


subjects of the


in the catalogue.

in Roman type and references to the In the case of antiquities whose identification varies, given both to the title now generally accepted by archaeologists, and

Views of



to the title on Piranesi's plate.




Adam, Robert and James.

Works on Architecture

Albano, Antichita di Albano, Descrizione e disegno dell' Emissario del Lago Albano, Di dite Spelonche alia Riva del Lago Alcune Vedute di Archi Trionfali: see Antichita Romane Anfiteatro Flavio see Colosseum. Antichita d'Albano e di Castel Gandolfo Antichita di Cora Antichita Romane Antichita Romane de* Tempi della Repubblica

d Tempi della

24 1778 1764 [1762-4] [1762-4]
. .


1756 1748

Acqua Felice see Fountains. Acqua Giulia (Aqua Julia) see Fountains. Acqua Paola : see Fountains. Aqua Claudia Aqueduct of Nero
: :

118, 119


Arches : Beneventum
Constantine Septimius Severus Titus
Basilica of Constantine (or Maxentius)

56, 97

99 55,98




Caracalla (' Diocletian Titus

Terme Antoniniane


76, 77 115,116,129

Bel Lido, with mouth of Cloaca 1 Blackfriars Bridge : see Ponti. Bridges

123, 127 123, 127




Camere Sepolcrali Cammini, Diverse Maniere d'adornare




Campo Vaccino

Forum Romanum. Campus Martins Antiquae Urbis Romae



Capua, Tomb


La Conocchia


Careen Casa Aurca di Nerone Casino Farnese Castel S. Angelo


see Basilica of Constantine,

and Temple


Venus and Roma.
29, 30

Charlemont, Lettere di Giustificazione scritte a Milord

1757 37

Churches S. Costanza S. Croce in Gerusalemme SS. Giovanni e Paolo S. Giovanni in Laterano S. Lorenzo fuori le Mura S. Maria degli Angeli S. Maria di Loreto . S. Maria Maggiore S. Nome di Maria S. Paolo fuori le Mura
S. Peter's


43 8,88,117,122

116,129 66 9, 10, 87 66
6, 7


4, 5,

iJ i2,





48, 81

Cloaca Maxima see Bel Lido. Colonna A ntonina (Column of Marcus Aurelius) Colonna Antonina see Column of Marcus Aurelius. Colonna di Antonino Pio e Faustina Colonna di Trajano : see Trofeo.


56, 57, 78, 126, 137




Marcus Aurelius

Cora, Antichita di Cori (Cora), Temple of Hercules Curia Hostilia (Temple of Claudius) Curia Innocenziana : see Palazzi (Monte Citorio).

52 [1764]

91 43

Dtlla Magnificenzaed Architettura de* Romani De Romanorum Magnificentia et Architectura Dcscrizione e Disegno delF Emissario. del Lago Albano Di due Spelonche ornate dagli Antichi alia Riva del Lago Albano Dimostrassione delf Emissario del Lago Fucino Diverse Maniere d adomare i Cammini Dogana di Terra Domitian, Entrance door to part of so-called Villa




1761 1761 [1762-4] [1762-4]

1769 32 79



see Grotto of Egeria.

Forum of Augustus Forum of Nerva Forum Romanum

95, and cf. 42 40, 41, 100

Acqua Felice Acqua Giulia (Aqua Acqua Paola


20 34
21 104 Posthumous.

Trevi Fucino, Dimostrazione delf Emissario del Lago

80 Grotto of Egeria Guattani) G. A. Delia Gran Cella Soleare nelle Terme di Antonino Caracalla, and Roma Descritta ed lllustrata Supplementary Notes, p. 88 1764 Guercino, Raccolta di alcuni disegni del Barbieri da Cento detto il

Hadrian's Villa





Ripa Grande

27 28

Invenzioni Capric di Carceri Isola Tiberina


Lapides Capitolini si-ve Fasti Consulares Lettere di Giustificazione scritte a Milord Charlemont London, Blackfriars Bridge

762 1757 1766

Magnificenza ed Architettitra Magnificenze di Roma


Romani, Delia

Mariette,OsservazionidiG.B,P.sopralalettredeM. Mausoleum of Hadrian see Castel S. Angelo. Monte Cavallo see Piazze (Quirinale). Monumento erettodall' Imperador Tito Vespasiano per aver

1761 I75 1 1765

restaurati gl' Aquedotti


see Porta Maggiore.

Nuova Pianta



da G. B.


Obelisk in Piazza di S. Giovanni in Laterano Opere Varie di Architettura Osservazioni de G, B. P. sofra la lettre de M. Marie tte

1750 1765



see Pesto.

Accademia da Francia
Barberini Consulta





Citprio (Curia Innocenziana)


22 107 23 26 24
128 128

Stoppani (Stopani) Vidoni

Pantheon 60, 82, 86, 136 Pesto (Paestum), Dijftrentes vues de quelques Restes de trois grands Edifices de Vancienne Villede [1778-9] Pianta di Roma e del Campo Marzo [i 778-9] Pianta di Roma data in Luce da G. B. Nolli, Nuova 1748


Quirinale (Monte Cavallo)



Ill 108 14 103



in Laterano

S. Pietro in Vaticano

117 101, 120



68 64



119 58, 59

Porta Maggiore Portico of Octavia (Tempio di Bellona)


27 28

Porto di Ripa Grande Porto di Ripetta Prima Parte di Architecture Pyramid of Caius Cestius

1743 36

Raccolta di alcuni disegni del Barbieri da Cento detto il Guercino 1764 Raccolta di jo Vedttte di Roma incise da Piranesi, Morelli, Pronti ed altri Varie Vedute, 1748, under later editions, and Supplementary Notes, p. 88 See Raccolta di Varie Vedute 1752 : see Varie Vedute, &c., 1748. . Roma, Nuova Pianta di 1748 Roma, Pianta di [1778-9] Rovine dell Castello del? Acqua Giulia 1761



Domitian's Villa')




Antoninus and Faustina Apollo (Hadrian's Villa) Bacchus see Churches (S. Costanza and S. Urbano). Bellona see Portico of Octavia.



Canopus (Hadrian's

90, 131



see Temples, Saturn.


(della Tosse,

near Tivoli)


Cybele Deus Rediculus see Temples (Camenae). Faustina see Temples (Antoninus and Faustina). Fortuna Virilis Hercules see Cori. see Temples (Venus and Roma). Isis and Serapis
: : :

70 47




Tonans see Temples (Vespasian). Minerva Medica Peace see Basilica of Constantine.




Sibyl : see Tivoli. Sol and Luna see Temples (Venus and Roma).



Venus and


69, 70





see Baths.
see Hadrian's Villa.

Theatre of Marcellus Tivoli, Hadrian's Villa

Temple Temple

of the Sibyl of the Cough (della Tosse)

6 1, 62, 63


Temples (Cough).

Villa d'Este Villa of Maecenas

75, 92




Caecilia Metella Caius Cestius




Conocchia (at Capua) Cornelii and Piso Licinianus

67 36 130

68, 83

See also Temples (Camenae, Cough, Salus).

Trajan's Column Trofei di Ottaviano Augusta Trofeo o sia Magnified Colonna
. . .

51 1753

ove si veggono scolpite


due guerre dacichefatte da

Varie Vedute di


antica e


Vast, Candelabri,

1748 1778


Accurata e succincta Descrizione topografica delle Antichita di Roma. See Varie Vedute, 1748, under later editions, and Supplementary Notes, p. 88.


Albani d' Este

see Tivoli, Villa d' Este.
(so-called) : see Tivoli, Villa of

Domitian Maecenas



Sette Bassi

Zocchi, Giuseppe.

Vedute dellc Ville e d' aliri luoghi della Toscana


124 79








































































PLATE XXX < s < -i * g 2 H .








5 7,


























































































27, II











' '. ad una Rottiilu .Vale omatn e.ilimtn< tfua/i./ L-niml.PLATE LXXIII THE ARCH OF GALLIENUS FROM THE ANTICHITA ROMANS DE' TEMPI DELLA REPUBBLICA EARLY STATE 1748. . c/ie jcriv dtspostt m /</. ill >>iirj piuni. ninw I di </ . conJueun fier rappresentanze GRUPPO DI SCALE . 1743 RE-ISSUED IN THE OPERE VARIE 1750 PLATE II ' ' '. FROM THE PRIMA PARTE DI ARCHITETTURE. tpecialmenle /< magnifca ArchlMtura.> .







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