Giovan Battista Piranesi

Giovan Battista Piranesi (1720-1778) was a famous Italian engraver, architect and antiquarian, best known for his engravings of architectural views and Roman antiquities.

In Rome, Piranesi developed a fascination with ancient ruins and classical architecture. He began to devote himself to engraving, producing a series of views of Rome and its antiquities. His most famous work is the series of engravings entitled “Le Vedute di Roma” (Views of Rome), which contributed greatly to the spread of interest in Roman antiquity in Europe.

Piranesi was known for his detailed and imaginative style, which often emphasized the grandeur and magnificence of ruins. During his career, he also produced a series of prison engravings, known as the “Carceri d'Invenzione” (Imaginary Prisons), which showed intricate and imaginative architectural environments.

Giovan Battista Piranesi died in Rome on November 9, 1778. His legacy lives on through his graphic works, which continue to be admired and studied for their artistic beauty and historical importance in documenting Roman architecture and antiquity.

1720
October 4: born to Angelo and Laura Lucchesi in Mojano di Mestre.1735 – 40
He studied with his uncle Matteo Lucchesi, architecture with Giovanni Scalfurotto, perspective and engraving with Carlo Zucchi. From his brother Angelo, a Carthusian monk, he learned Roman history and Latin.

1740
He left for Rome, as a draftsman, following the new Ambassador of Venice, Francesco Venier.

1741
He began to engrave small views for Roman publishers.

1741-43
He frequents the studio of the engraver Giuseppe Vasi.

1743
First part of Architectures, and perspectives invented and engraved by
Gio. Batta. Piranesi Venetian Architect dedicated to Mr. Nicola Giobbe.

1743-44
In the workshop of GB Tiepolo (?). In Venice he has some small commissions, it is believed, of decoration.

1744
Plan of the Tiber River (with Carlo Nolli). He performs the Capricci.

1744-46
Agent of G. Wagner in Rome: he settles in Corso, in front of the French Academy.

1745
Capric inventions of prisons in etching brought to light by Giovani Buzard Roma Mercante al Corso.

1745-1778
Views of Rome.

1748
He brings together in the "Vedute vari di Roma antica e moderna disegni e intagliate da celebre autori" at the bookseller Fausto Amidei, the Vedutine already engraved (47 plates out of 94).
Roman Antiquities of the Times of the Republic and of the First Emperors, drawn and engraved by Giambattista Piranesi, Venetian Architect.
Map of Rome in the GB Nolli edition.

1749
PL Ghezzi caricatures him (D2).

1750
G. Polanzani engraves the portrait of GB Piranesi (Dl).

1750
Various Works of Architecture, grotesque perspectives, Antiquities in the taste of the ancient Romans invented and engraved by Giambattista Piranesi, Venetian Architect, collected by Giovanni Bouchard, Merchant and Booksellers at the Corso in Rome 1750.
Various views of ancient and modern Rome drawn and engraved by famous authors; new edition (39 plates out of 79 by Piranesi).

c. 1750/51
Ancient Roman burial chambers which exist inside and outside of Rome.

1751
The Magnificence of Rome (34 Views of Rome) published by Giovanni Bouchard.

1752
Collection of various views of Rome, both ancient and modern, mostly engraved by the famous Giambattista Piranesi and other engravers. Bookseller G. Bouchard (47 plates out of 96 by Piranesi).
He married Angela Pasquini, who was apparently the daughter of Prince Corsini's gardener. He used her dowry to buy copper plates for the engravings of Roman Antiquities.

1753
Trophies of Octavian Augustus Raised for the victory at Actium and the conquest of Egypt With various other ornaments diligently obtained from the most precious remains of the ancient factories of Rome useful to Painters, Sculptors and Architects ... They are sold in Rome by Giovanni Bouchard Merchant Bookseller on the Corso a S. Marcello in Rome. 1753.

1755
Daughter Laura is born. Meets Robert Adam.

1756
Roman Antiquities. Work of Giambattista Piranesi Architect. Venetian (4 volumes).

1757
He was elected an honorary member of the Society of Antiquaries of London (D11) on 24 February.

1757
Letters of justification written to Milord Charlemont and his agents in Rome by Signor Piranesi, member of the Royal Society of Antiquaries of London. Concerning the dedication of his work on Roman antiquities made to the same lord and recently suppressed.

1758
On May 3, Benedict XIV dies. On July 6, the Venetian Carlo Rezzonico is elected and takes the name of Clement XIII.

1758 or 1759
Francesco Piranesi is born

1760-61
Prisons of invention by G: Battista Piranesi Archit. Vene. At the author's in Strada Felice near the Trinità dei Monti. 2nd edition.

1761
February 2: he is appointed Academician of S. Luca.
In the spring he settled in Palazzo Tomati, Strada Felice (now Via Sistina) near Trinità dei Monti.

1761
From this year he began to distribute single-sheet engravings, which he entitled "Catalogue of the works published so far by Gio. Batt. Piranesi". In the sheet he listed his production, which he continued to update in subsequent re-editions.
Of the Magnificence and Architecture of the Romans: Work of Gio. Battista Piranesi, member of the Royal Academy of Antiquaries of London. The Ruins of the Castle of Acqua Giulia located in Rome near S. Eusebio and falsely called Acqua Marcia with the declaration of one of the famous passages of the Frontinian commentary .., by Gio Battista Piranesi. Sold by the author at Trinità de' Monti, in Rome 1761 in the Generoso Salomoni printing house.

1762
He received large amounts of help from Pope Rezzonico for his publications.
JB Piranesii Lapides Capitolini sive Fasti Consulares triumphalesque Romanorum ab urbe condita … with dedication to Clement XIII. The Campus Martius of ancient Rome Work by GB Piranesi member of the Royal Society of Antiquaries of London with dedication to Robert Adam. Description and drawing of the Emissary of Lake Albano by Giovanni Battista Piranesi.
Of two caves decorated by the ancients on the shore of Lake Albano.

1763
Visit Chiusi and Corneto.
Accurate and concise topographical description of the Antiquity of Rome by Abbot Ridolfino Venuti Cortonese. In Rome 1763.

1764
Antiquities of Albano and Castcl Gandolfo Described and engraved by Giovambattista Piranesi in Rome 1764. Frontispiece with dedication to Clement XIII.
Blackfriars Bridge.
4 plates for «The Works in Architecture» by R. and J. Adam published in 1779. Collection of some drawings by Barberi da Cento known as Guercino. In Rome 1764.
He was commissioned to restore and renovate the apse and choir of St. John Lateran. He executed the drawings and the project, but not the work. Cardinal GB Rezzonico commissioned him to restore S. Maria del Priorato on the Aventine.

1764 c.
Antiquities of Cora described and engraved by Giovanni Battista Piranesi.

1765
Observations by Gio. Battista Piranesi on the letters of M. Mariette to the authors of the Gazette Litteraire de L'Europe, inserted in the Supplement of the same Gazette printed on Sunday 4 November 1764 and Opinion on architecture, with a Preface and a new Treatise on the Introduction and Progress of the Fine Arts in Europe in Ancient Times.

1765 after
Some Views of Triumphal Arches, and other Monuments Erected by the Romans … drawn and engraved by Cavalier Gio Batista Piranesi. (Roman Antiquities of 1748 with new title).

1766
Accurate and concise topographical and historical description of modern Rome. Posthumous work of the abbot Ridolfino Venuti Cortonese. Printed by Carlo Barbiellini (many editions until 1802 and 1824). In October he finishes the works of S. Maria del Priorato (D19). On 20 October Clement XIII visits the completed works.

1767
He works in Cardinal Rezzonico's apartment at the Quirinale.
He was appointed by the Pope, Knight of the Golden Spur. He drew and portrayed the remains of Hadrian's Villa in Tivoli several times.

1769
Different Ways of Adorning Walkways and Every Other Part of Buildings Derived from Egyptian, Etruscan, and Greek Architecture with an Apologetic Argument in Defense of Egyptian and Tuscan Architecture. Work of Cavalier Giambattista Piranesi, Architect. Dedication to Cardinal GB Rezzonico.
Pope Clement XIII dies

1770
From this year he will continue to visit Pompeii and Herculaneum.

1772
He enters into a controversy with the Accademia di S. Luca over the monument to be dedicated to Pio Balestra.

1773
Trophy or Magnificent Marble Coclide Column Made of large boulders on which are sculpted the two Dacian wars waged by Trajan, erected in the middle of the great forum erected for the same emperor by order of the Roman senate and people after his triumphs, all designed by Apollodorus… Dedication to Pope Clement XIV.

c.1775/6
Antonine Column.

1777
He visits and draws the temples of Pesto: these are his last drawings.

1778
Map of Rome and the Campus Martius.
Vases Candelabra Cippi Sarcophagi Tripods Lamps and ancient ornaments designed and engraved by the knight Gio. Batt. Piranesi published in the year 1778.
Different views of the remains of three large buildings still visible in the ancient city of Pesto, otherwise Posidonia, located in Lucania.
He is unable to engrave all the plates of the Views of Pesto: his son Francesco will help him complete them.
GB Piranesi died on November 9th in his home in Rome. The funeral took place in S. Andrea delle Fratte where he was provisionally buried while waiting to be buried permanently in the tomb prepared for him by the Rezzonico family in S. Maria del Priorato on the Aventine Hill.
The family commissioned the sculptor Giuseppe Angelini to sculpt the statue.

1779
In London, the work «The Works in Architecture» by R, and J. Adam is published. It contains four plates which had been engraved by Piranesi, from a design by Robert Adam, in 1764.
From this year onwards the chalcography activity continues: the children Francesco and Laura continue to engrave. Pietro follows and controls the sales.

1792
The General Catalogue of his works is published.

1799
For political reasons, Francesco and Pietro emigrated to Paris, where they continued the activity of the Calcografia.

1800
Francis and Peter reprint their father's works. Legrand prepares a manuscript that was to be prefaced to the works.

1810
Francesco dies.

1835-39
The Firmin-Didot house buys the engraved copperplates and publishes Piranesi's works.

1839
Pope Gregory XVI decides, through Cardinal Antonio Tosti, to purchase all the branches of the Calcografia Piranesi, which thus return permanently to Rome.
Let us, on this occasion, at least briefly mention the first Venetian dates. On the life of Piranesi we have two fixed points. His birth in Mojano di Mestre, according to Canova's indication (here reported in the Documentation at Dl) and his baptism (here at Dio) in the Venetian church of S. Moisé, on November 8th.

Alessandro BETTAGNO (writings)

1720. The deed indicates the date of birth as October 4th. The problem of the place is not of great importance. Mojano di Mestre is a place not far from Venice, marked on the topographical maps of the time and corresponds to the territory to the right of the "Terraglio", the road that leads from Mestre to Treviso, at the height of the current municipality of Mogliano, today in the province of Treviso. AH Mayor hypothesized the possibility that the father was with his family on the mainland engaged - as director of works, which in reality he was - in some important construction: and this would explain better than anything the uncertainty of the documents on the place of birth. Another problem of Venetian dates is given by the departure and return to the lagoons and therefore serves to specify the first stay in Rome of the young artist. Legrand, a very often reliable biographer for having been familiar with Francesco Piranesi and his family both in Rome and in Paris, reports the favorable occasion of a new ambassador who was to be sent to Rome and the young artist was thus included in the entourage as a "draftsman": fulfilling his very strong desire to visit the city that was at the height of his thoughts. This opportunity must have been offered by the nomination of Francesco Venier who was called to replace the much better known Marco Foscarini, future doge and always mistaken as Piranesi's protector; which to me seems to be in contrast with reality, since by then the ambassador Foscarini was at the end of his mandate. Francesco Venier instead appears to have been in Rome since October 1740 and, from the same city, he still signs a dispatch of his in December 1743. It seems to me therefore that, better than many suppositions, the dates of the Venetian ambassador's stay specify the presence in Rome of the young Piranesi. These dates, on the other hand, are confirmed in the dedication letter to Nicola Giobbe of 18 July 1743, where he uses the expression when speaking of his stay in Rome: «… the third year is coming to an end». At this point it seems probable to me that he returned to Venice together with the ambassador Venier in the winter of 1743-44. Another certain point in his biography is, in fact, constituted by the letter that the artist sent from Venice to Mons. Giovanni Bottari, the librarian of the Corsini princes, sent on 29 May 1744 (here D22).
After this date the artist had no further ties with Venice: he went to Rome for good, never to return to the lagoons. His relationship with Venice was decidedly difficult: he continued to call himself and declare himself a "Venetian architect", but this could also have been a way of differentiating himself in the Roman artistic environment, and this would be consistent with the isolated position he had always assumed. He could also have defined himself as Venetian because of the undoubted ties of culture and artistic experience, because of his first introduction to the studies of architecture and perspective - he came from a family of builders and was the nephew of Matteo Lucchesi - because of the teachings he had received from Venetian artists who, as I think, he rediscovered or rather discovered only on his return to Venice, before abandoning it forever. But perhaps this "discovery" was nothing other than his encounter with Tiepolo. Biographers love to repeat that Piranesi would have been at his school, in his studio, that he would have worked with him. We have no data to affirm this: however, we have certain stylistic consonances typical of the years 1743-1744 that do not make us doubt that the meeting - of whatever type it was - was decisive and decisive for the young Piranesi. There will be an opportunity to return and delve deeper into this problem, but in the meantime it can be said that the fact should not surprise.

Tiepolo was the dominant figure during the months that Piranesi spent in Venice and the painter's extraordinary abilities must have fascinated him. There were undoubtedly differences between the two artists: but not in stature. And this must have facilitated their meeting. Only through Tiepolo, Piranesi must have glimpsed distant Renaissance worlds and beyond these an antiquity evoked with irony rather than in its heroic values: perhaps closer to Piranesi. But this was still a way of understanding each other, while other lagoon artists the young Piranesi must have felt were strangers and distant from his dreams and his burning passions. And, although enthusiastic about Palladio, he must have immediately understood how great the distance was between the master of the sixteenth century and the slavish Palladian followers of his own century. But this is not the place to dwell on this relationship. Interesting, however, is the difficulty that remains between him and Venice, on the other hand explicitly declared.
It was probably the eventful life of Piranesi's children, especially Francesco, who, involved in political events, emigrated with his brother Pietro to Paris in 1799, that caused the loss or destruction of a very rich material, of documents, letters, papers. According to Bianconi, there was even an autobiography: everything seems to have been lost. So every surviving paper, every surviving letter acquires an exceptional value and, together with his writings, must be held in high regard. Illuminating, in my opinion and especially with regard to relations with Venice, is the letter cited by Biagi in summary (and transcribed here in the Documentation at D3J), sent in March 1778, (a few months before dying) to a sister living in Venice. In it Piranesi takes stock of his life and, frank as always, lets himself go to considerations of extreme interest. He speaks of his works – at that time 18 Atlantic volumes – that «the Holy Father would buy them from time to time to give as gifts to the Princes who visited Rome, paying 200 scudi per copy». He declares himself a «son of Rome» because his talent had been known in Rome, because Rome with its monuments had inspired him, because he had been knighted, because he had made his fortune: he speaks of a substance of «60.000 scudi, part of which was usefully invested and part made up the capital, with which his workshop and museum are supplied». He lashes out «against the pettiness and inertia of the Italians» of his century and praises the «profusions of the English nation». It is at this point, after all this information, that his outburst becomes even more important, goes beyond the biographical fact, penetrates the essence of things and, for us, is worth more than entire volumes: «… If he had to choose a homeland he would prefer London to all the cities of the Universe». And again: «… exiled from Venice, his homeland, for not having been able to obtain even a small job… he will never return there, especially since this city, although adorned with magnificent buildings and paintings, was not a theatre capable of giving pasture to the sublimity of his grandiose conceptions, as was Rome, and the other cities of southern Italy». Extremely clear words and also coherent with the lines of conduct of his now long work – we are in 1778 – and which take on further interest in comparison with the ideas, intentions and programmes of many years before – 1743 – when he took his first steps as soon as he arrived in Rome.
Modern culture has undoubtedly accentuated the theoretical aspect of his works and writings. A particularly worthy example is the letter of dedication to Nicola Giobbe, placed at the head of the "First Part...", a document that, after having been neglected for decades, now enjoys a rightly recognized favor. It may seem strange that such a key text has been neglected or not taken into consideration as it deserved. Piranesi's ideas - he was just twenty-three years old - are already expressed with great clarity and immediately make it clear what his interests in architecture are, his polemical position, his passion for Roman architecture, his abandonment of Venice, the critical clarity of his lines of action.

This text does not neglect any of the essential elements of Piranesi's art, ideas and attitudes: his passion for Rome, "Queen of Cities", with its "august relics that still remain of the ancient Roman majesty and magnificence"; his enthusiasm for architecture, "the exact perfection of the architectural parts of buildings, the rarity, or the immense mass of marbles... or that vast expanse of space that once occupied the Circuses, the Forums, or the Imperial Palaces... these speaking ruins..."; the reference to studies when he declares that he had not managed, before seeing them, to form an idea of ​​the monuments, even though he kept "... always before his eyes" the drawings that "the immortal Palladio" had made of them; his distrust "that it is not possible for an Architect of these times to hope to be able to actually execute any of them"; the criticism towards the Roman clients: «… the fault of those who should be Patrons »… «and to remove it [architecture] from the arbitrariness of those who possess the treasures, and who make you believe that they can dispose of its operations at their own discretion»; and therefore in pessimism, the only possibility of action: «to explain one's ideas with drawings»… «the art of not only drawing my inventions, but also of carving them in copper». The explanation of Piranesi, «Venetian architect», engraver, archaeologist, is all, sharp and clear, in this letter.

Much water has passed under the bridges – and not only under the Roman ones of Piranesi – since the first pioneers tackled the immense mass of Piranesi's work seventy and sixty years ago. A. Giesecke, AM Hind and H. Focillon were the first to start a long sequence of studies (and the bibliography at the end of this catalogue is faithful testimony to this) that, recently, has found a renewed vitality. For completeness of philological investigation, critical penetration and broad cultural information, Focillon's monograph and catalogue remain valid, worthy of the critical intelligence and capacity for synthesis of the great art historian. And rightly, when it was decided to prepare the Italian edition of his texts, in integrating the post-Focillon philological contributions with the new features, a very appropriate line was followed without abandoning the old structure of his catalogue. This new edition (edited by M. Calvesi and A. Monferini) has undoubtedly given a beneficial boost to Piranesi studies in Italy, and not only in Italy, also because it has served as a filter and point of reference for what had been done on Piranesi up to 1967. It is useless to recount here the history of this work, already examined with care and intelligence in the two Introductions, by Calvesi to the monograph and by Monferini to the catalogue: I would only like to recall some more recent publications and studies.

From the catalogue of the Exhibition at the Calcografia Nazionale and that at the French Academy in 1976, to the contributions of A. Robison in 1970, especially for the philological clarifications; to the penetrating essays of Carlo Bertelli; to the Opere Polemiche by J. Wilton-Ely, and to the brilliant synthesis by R. Bacou; to the monograph by J. Scott, a rich mine of information; to the contributions of Elena Bassi on the Venetian cultural environment and of A. Gonzalez-Palacios on the furniture; to the catalogues of the Galleria Colnaghi, to those of T. Villa Salamon; to the subtle considerations of M. Tafuri on the Piranesi ideology, up to the studies published in this centenary year: the catalogues of the Exhibitions in London, Washington and the Proceedings of the Conference « Piranèse et les Français » and the essay-monograph by J. Wilton Ely. They have been published in recent weeks and there has not always been time to take them into account in the preparation of this catalog. But not everything, on the other hand, I have been able to include in this hasty list of mine.

Two hundred years later, this artist continues to be of interest, to be alive, to find correspondences even in the most subtle folds of our culture. Visiting and seeing this exhibition should also serve to form an idea and find the very clear line that unites his various works in a stylistic, cultural, ideological coherence, from the first timid "Views" to the last "Views of Pest". The reality is that his very first and last works are precisely "Views". And it was precisely this kind of engraving that he lived on and this was his true professional activity that brought him fame and money. He had left Venice with other ideas, his true obsession being architecture, the debate on architecture, the utopia for an architecture: that idea that he has pursued linearly and constantly since the "First Part of Architecture and Perspectives" of 1743. And at the time he was only 23 years old!
But if the awareness of the importance and greatness of Piranesi is quite recent, he is perhaps the most prominent personality of our eighteenth century - it is also because he is an artist who moved and who worked on the ridge of different and opposite situations: the baroque world on one side, the neoclassical one on the other. Anticipator of an interest in the ancient world, he despite his anticipations, remains extraneous to the poetics of neoclassicism, finding the humus of his vivid imagination in the push and tension that the formal baroque world offered him and the moral and intellectual support in the ideas of the Enlightenment. 

In Piranesi's work there are three components that can be identified: the vocation for architecture, the passion for archaeology and the dedication to Vedutismo. The interesting thing is to note how these three components intersect, mix, serve to accentuate each other in their encounter for that final result which is Piranesi's work. All three of these components then find their point of reference - which in turn is the supporting element of his creation - in that capacity for invention and in that baroque ignition that of his battle for architecture, of his archaeological research and of his perspective layout always creates a poetic result, an "artistic fact".

Etching

The great expressive medium, the vehicle that served to transmit his visions, was etching, which he used with freedom and open-mindedness, experimenting and continually varying in the most varied ways: unclassifiable for us. Almost every work presents novelty and surprise. The return several times on the same copper, already engraved, with reworkings and remorse and the varied use of inks (sometimes with the addition of sepia) gives surprising results of "color" and pictorial effects that make one think of his Venetian roots: from dark black, to shiny black, to gray, to silver, sometimes obtaining refined, velvety tones. On the frontispiece of the "Raccolta di alcuni disegni del ... Guercino" we were able to find a phrase that is emblematic: "Col sporcar si trova". It is the true motto of his poetry.

Giambattista Piranesi, Venetian architect, among the Arcadians Salcindio Tiseio, honorary member of the Society of Antiquaries of London, member of the Academy of St. Luke, Knight of the Golden Spur, son of Rome, died on November 9, 1778, surrounded by his family, refusing medical treatment, asking once again to read Titus Livy, to review his drawings, his etchings, his engraved copper plates.
Two hundred years later we remember him isolated and solitary in his greatness, like an ancient hero out of his true time; of the now inert antiquity he was able to transmit to us a still living and pulsating image; of archaeology he gave us a science of precise information and not of empty romanticism; of architecture he identified with foresight the terms of a crisis and intuited in advance its dramatic value.

San Giorgio Maggiore, August 1978
Alessandro BETTAGNO

Alessandro Bettagno (1919-2004), Venetian art historian, exhibition curator, university professor, was the last exponent of the glorious generation of great post-war scholars.

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