work is very hard to assemble.

Until the Morgan Library lot was published in 1949

no one would have dared to attribute to him the remarkable Venetian rococo pro
jects (figs. 2, 3). Yet it looks as though all of the Morgan Library group must have
come out of Piranesi's possession, though a few of the drawings are obviously by
other hands, Miss Staempfle has pointed out in the catalogue. Even some of the
as

drawings that are not by him must be connected with his work, such as the tame red
chalk copies of Roman sculpture which are probably by Jean Barbault who helped
him to draw antique figures.
When he was sketching on the spot for future etchings he drew firmly and sim
ply (fig. 78). When he was making a project for a patron he cramped himself to ren
der details since the drawing is in the nature of a contract (figs. 92, 94). But it is his
first thoughts and free fancies that released all of his unmistakable energy and as
surance (figs. 24, 81). Even in his most dashing indications he could suggest the
solidity of a building almost as substantially as Michelangelo (fig. 85). The forth
coming work on his drawings by Hylton Thomas should help greatly to make his
work better known.

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