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FINLAY
 Limited edition of joo copies

440 being issued by

The Cotswold Gallery, London, IV.
and 60 by
E. Weyhe, New York
Giovanni Battista Piranesi
A CRITICAL STUDY
With a List of his Published Works
and Detailed Catalogues
of the Prisons and the Views of Rome
BY

ARTHUR M. HIND
OF THE BRITISH MUSEUM
SLADE PROFESSOR OF FINE ART IN THE UNIVERSITY OF OXFORD

WITH FRONTISPIECE AND 146 ILLUSTRATIONS

E. WEYHE
710 LEXINGTON AVENUE
NEW YORK
1922
ntlNTEO AT THB OmVBRSITT PRESS OXFORD
BY FREDERICK HALL
rSIRTER TO THE DNIVERSITT

Printed in England
 PREFACE
This work does not claim to be a general study of Piranesi's Life and
Works. This is well supplied in three recent books those of Mr. Arthur —
Samuel (London, 1910), Mr. Albert Giesecke (Leipzig, 1911), and M. Henri
Focillon (Paris, 1918), the last being in many ways the most comprehensive, and
the only one that offers a complete list of all Piranesi's etched plates.
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. Herbert
'

Batsford. This led to my article in the Burlington Magazine of May, 191 1,

which was followed in the same place in December, 1913, and January and
February, 19 14, by notes on Piranesi's etched work in general, with a complete
chronological list of his published works treated in somewhat more detail than
in either Samuel's or Giesecke's book. It also gave a chronological list of the
'
Views of Rome '.

Focillon's Catalogue is definitive as far as it goes, but it attempts no detailed

description of state. This would be an unnecessary labour with regard to the

majority of the plates whose interest is perhaps antiquarian rather than artistic.
'
But I have felt that a detailed catalogue of the Prisons and Views of ' '
Rome ',

which include the majority of Piranesi's most important plates, would be a useful

guide to the collector who is often baffled by the varying qualities of these large
prints owing to the difficulty of comparing impressions. Thus the earlier and
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, at least in the case of many of the subjects, to revise.
The Antichitd Romane de' Tempi della Reptibblica {Arcki Trionfali) and the
Paestiim series contain examples of equal beauty, but in the latter case the
question of state hardly enters, and in the former the division is little more than
rebiting and change of numbers in the later edition, details which are sufficiently
indicated in my List of Piranesi s Published Works.
The mere bulk of the volumes of Piranesi's work has made the necessary
comparisons, extending many years and in a variety of collections, a
over
laborious business, 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. The collections I have examined must be a mere tithe of those that
exist in the libraries of the great English houses, whose earlier representatives
a 2
Iv PREFACE
made the Grand Tour in the eighteenth century collections which would
;

assuredly modify my description of rarities, if

they did not reveal much
additional matter. But
would strongly advise any other Piranesi enthusiast
I

against diving into further sections of the master's work with the aim of continuing
the detailed catalogue, unless he is prepared for athletics in addition to
research.
For these further sections my List of Piranesi's Published Works, with
indication of plates in each (which is here reprinted in revised form), in con-

junction with Focillon's Catalogue, offers, I think, sufficient basis for study and
reference. But this might well be supplemented later, if it seemed to be
desired by subscribers to the present work, by another volume of selected
illustrations.
The introductory notes that follow, taken in part from my earlier articles,
have two chief aims, the first bibliographical, i. e. an examination of the origins,
dates, and content of Piranesi's work in relation to existing documents, the
second an estimate of his place in the history of art and of the comparative
artistic value of his different works. A
short biography, and some description
of his remarkable drawings complete their scope.
The work of G. B. Piranesi's sons and daughter, Francesco, Pietro, and
Laura, who carried on their father's work in etching and publishing, is not
included, except for supplementary notes on p. 88, for the transcription of the
summary List of the Piranesi Work in the Regia Calcografia at Rome, and for
the description of two plates of the 'Views of Rome', by Francesco, which are
added for the sake of completeness in describing the series.
In the work of comparing the states of the Views of Rome I have been
' '

constantly helped by Mr. Percy B. Tubbs, F.R.I.B.A., the owner of a series,

which includes a large number of the early states, as well as intermediate states
which I should probably have failed to note without his indications. He has
also greatly facilitated the making of the book by lending many of the etchings
for reproduction. A considerable number of the plates have also been reproduced
from the stock of the Cotswold Gallery, e. g. impressions in the rare state with
Bouchard's address, the British Museum and the Soane Museum only providing
a few rarities. I would like here to record the kind assistance given me by the
late Curator of the Soane Museum, Mr. Walter L. Spiers, F.S.A., and by his
successor, Mr. Arthur T. Bolton, F.S.A., F.R.I.B.A.
I am
greatly indebted to Dr. Thomas Ashby for many archaeological and
topographical notes incorporated in the catalogue of the Views of Rome ', and
'

I would thank Mr. Arthur H. Smith, and my colleagues in the Department

of Greek and Roman Antiquities at the British Museum, for help on many
occasions.
A. M. H.
 CONTENTS
page
Bibliography vii

Collections consulted and abbreviations used ix

List of Illustrations xii

I. Biographical I

II. Notes on Piranesi's Work .... 4

III. The 'Prisons'. Notes and Catalogue a4

IV. The 'Views of Rome'. Notes and Catalogue 30

Introductory Notes 30
The Engraved Catalogue of about 1779 34
The Classified List from the printed Catalogue of 1792 35
Catalogue 38

V. List of Piranesi's Published Works .

74
List of the Piranesi Work in the Regia Calcografia, Rome 89

Index to Published Works, and to Subjects of the 'Views

OF Rome' 91
 BIBLIOGRAPHY
CEuvres des Chevaliers Jean-Baptiste et Frangois Piranesi qu'on vend separStnent dans la
Calcographie des auteurs, Rue Felice, pr^s de la Trinite de Monts, &c pp. 29. Rom e,
1792. British Museum (Department of Prints and Drawings).

Calcographie des Piranesi frires. CEuvres de Jean-Baptiste et de Frangois qui se vendent chez
les Auteurs, k Paris rue de I'Universitl, Depot des Machines, no. 296. pp. 18. Ends: De
rimprimerie de Prault, rue Taranne, no. 749, k I'lmmortalitS. Ann. viii de la Republique
(i. e. 1800).

Le Grand, J. G. Notice historique sur la vie et les ouvrages de G. B. Piranesi. Compiled

by Legrand from materials supplied by Giovanni Battista's son, Francesco Piranesi .

Apparently intended, but never used, as introduction to the proposed French edition of
Piranesi's text. Paris, Bibl. Nationale, Manuscrits, Nouvelles Acquisitions Frangaises
5968.

BlANCONi, G. L. Elogio storico del Cav. G. B. Piranesi. In Antologia Romana, 1779,

nos. 34, 35 and 36 and G. L. Bianconi, Opere, 1802, ii, pp. 127-40.

BiAGi, Pietro. SuU' incisione e sul Piranesi. Venice, 1820.

Life of the Chevalier Giovanni Baptista Piranesi. The Library of the Fine Arts, ii (1831), 8.

CORBEILLE, L. A. Giovanni Battista Piranesi. The Dome, '\\ {\%<^\ \j.

Sturgis, Russell. The Etchings of Piranesi. New York (Keppel), 1900.

Young, William. Roman Architecture, Sculpture, and Ornament. Selected examples from
Piranesi's monumental work. London, 1900, fol. (14 pp. text, and 200 plates).

Samuel, Arthur. Piranesi. London, igio.

GiESECKE, A. Giovanni Battista Piranesi. Meister der Graphik, Bd. vi. Leipzig [191 1 ].

GlESECKE, A. Vedute di Roma, von G. B. Piranesi, 137 pis. in facimile. Berlin (Weise & Co.),
1913, &c
Hind, a. M. G. B. Piranesi and his Carceri. Burlington Magazine, x\x (1911) 8l. G. B.
Piranesi : some
further notes, and a list of his works. Burlington Magazine, xxir
(1913-14), 13s, 187, 262.

Lange, p. Ausgewahlte Werke von J. B. Piranesi. {Bauschatz, Ser. 2, 1879 &c.).

1885-8. fol.

ROGER-MiLES. Le Style Piranesi. Paris, n. d.

Rome, Regia Calcografia. Catalogo. Rome, 1891. [There are numerous earlier and later
editions, but this is apparently the only one containing a complete list of Piranesi's plates.
The others contain a list of titles of the various works, and only cite the separate plates in
the case of Views of Rome. See below, p. 89].
viii BIBLIOGRAPHY
Hermanin, F. Gabinetto Naiionale delle Stampe in Roma. Catalogo delle incisioni con
vedute Romane. Le Gallerie Nazionali Italiane, iii (1897) and iv (1898).

Lanciani, R. a. The Ruins and Excavations of Ancient Rome. London, 1897.

Amelung, W., and H. Holtzinger. The Museums and Ruins of Rome. English edition,
revised by the authors and Mrs. S. Arthur Strong. London, 1906.
(Euvres choisies de J. B. Piranesi. Reproductions de I'oeuvre dessin^ et grav€ dc 1746 k 1778.
Paris (A. Vincent), 1 91 3. fol.

SCHULZ, O. Goethes Rom in 50 Abbildungen nach Stichen von Giambattista Piranesi. Leipzig,
1913-

Moore, B. B. Giovanni Battista Piranesi. Print Collector's Quarterly, ii.

(1912) 105, 341.

IviNS, W. M., Junior. Piranesi and 'Le Carceri d'Invenzione '. Print Collector's Quarterly,
v. (191 5) 191.

A Catalogue of Prints of Views in Rome and Paestum by G. B. Piranesi. Printed for private
circulation by B. T. Batsford, 94 High Holborn, London, n. d. [1913].

Selected Etchings by G. B. Piranesi, with an introduction by C. H. Reilly. Technical Journals:

Westminster [1914, &c.].

FociLLON, Henri. Giovanni Battista Piranesi, 1720-78. Paris, 1918.

FociLLON, Henri. G. B. Piranesi. Essai de Catalogue Raisonn^ de son oeuvre. Paris, 1918.

ASHBY, Thomas. Review of Focillon's Work. Burlington Magazine, November, 191 8.

Hermanin, Giambattista Piranesi, Architetto Incisore.

F. 50 Tavole con Introduzione di
F. H. Turin. [About 1914 or 15?]

MuSoz, A. G. B. Piranesi con prospetto bibliografico e un indice

: di tutte le opere incise da
G. B. Piranesi. Rome, Milan, 1920.

MORAZZONI, G. G. B. Piranesi. Notizie biografiche. Milan, 1921.

 COLLECTIONS CONSULTED AND ABBREVIATIONS
USED
Certain references are made in the Catalogue to rarities in Foreign collections,
but I have not personally consulted these in the study of Piranesi.

B.M. British Museum, Department of Prints and Drawings.

Amiscellaneous collection of separate prints including a large number of early
states of the Vedute di Roma, the early edition of the Carceri with title in second
state, and a rejected plate of the Paestum series (reproduced on my pi. LXXIV).

B.M.L.
]
British Museum Library.
B.M.L., There is a very good collection in the Library, the only volume not represented.
King's, though all the plates of this edition occur in other works, is Le Magnificenze di
Roma, 1751.
There are two sets (one in the King's Library) apart from the edition with
Firmin-Didot's titles dated Paris, 1835-9.

SOANE. London, Sir John Soane's Museum.

A good
collection with several rarities, including the volume with title Le Magni-

Roma, 1751, an early issue of some of the plates of the Antichitd. Romane,
ficenze di
under the title Camere Sepolcrali, early edition of the Opere Varie, and early edition
of the Carceri with title-page in second state.

S.K. London, Victoria and Albert Museum, South Kensington.

Department of Engravings. First Paris Edition (27 vols., 1800-7). Bound
ingreen paper backs, and greenish-blue marbled sides, with binder's label inside covers.
Rue de la Harpe Au-dessus de celle de Midecine, N° IJ2
\
TESSIER, Relieur
; \ |

el Doreur de la Trhorerie Nationale, du Bureau

\
de la Guerre et Calcographie
\ \

piranesi \
A PARIS [on some labels it reads N» 136].From collection of the
architect Decimus Burton. Purchased about 1864. The Vedute di Roma are vols.
i6 and 17.

S.K.L. London, Victoria and Albert Museum, the Library. Intermediate Paris
Edition of the Vedute di Roma. Purchased 1863.

London, Royal Academy.

A good collection.

London, Royal Institute of British Architects.

A good collection.
London, Society of Antiquaries.
A few volumes.
X COLLECTIONS CONSULTED
Oxford
(i) Bodleian.
A
good collection. Contains the rare volume Lettere di giustificazioru scritte
a Milord Charlemont, 1
75 7.

(2) ASHMOLEAN.
A good collection in twenty volumes. Contains seven plates of the early edition
of the Carceri, with title in second state.

(3) Taylorian.
A series in sixteen volumes.

Cambridge, Fitzwilliam Museum.

A good collection in thirteen volumes (wanting the following nos. in Focillon's

Catalogue, 13 bis, 19, 40, 45, 72-119. 369, 380, 382, 399. 4oo, 987-90, 99i)- AH
the volumes contain Lord Fitzwilliam's autograph and the year in which he acquired
them (i.e. 1781 for the most part, a few in 1786 and 1790).

Chatsworth. The Duke of Devonshire.

Most
of the important works. Also nos. I, 3, 3, 8, 9, 14, 15, 16, 17, 19, 35, 38, 40,

56 of the Vedute di Roma in the early state before price and address. No. 16 occurs
in two early states, one being a proof before all letters.

The Marquis of Lansdowne.

Incomplete set of the First Paris Edition. Bound in same form and with same
binder's label as the complete set at South Kensington. Vols. 8, 12-18 and 22.

Blomfield. Sir Reginald Blomfield, R.A.

The rare volume Le Magnificenze di Roma 1 751, with the miscellaneous collection
of plates (early state of Carceri^ &c.), in addition to the early states of the Vedute di
Roma.

Windsor, Royal Library.

Incomplete but contains the most important work in fine impressions (Opere
set,
varie, Antichitd. &c.). The Vedute di Roma are incomplete
Romane, Paestum,
(thirty-nine impressions). Contains the rare volume Lettere di giustificazione scritte
a Milord Charlemont, 1757.

Manchester.
(i) John Rylands Library.
From the Spencer collection and other sources.

(2) Manchester Society of Architects.

(3) Cheetham's Hospital and Library,
There are good collections in the above (i), (2), (3), and also volumes in other
Manchester libraries.
See H. Guppy and G. Vine, A Classified Catalogue of the Works on Architecture
in the Principal Libraries of Manchester and Salford. Manchester and London,
1909.
Early edition of the Carceri (with title in first state) in the John Rylands Library,
was omitted in the above catalogue ; it was a separate purchase and not from the

Spencer collection.
 AND ABBREVIATIONS USED XI

Charrington. Mr. John Charrington, Shenley, Herts.

The rare volume Le Magnificenze di Roma, 175 1, with the miscellaneous collec-
tion of plates and Veduie di Roma. From the collection of Mrs. Gilbert Drage.

Davies. Miss Catherine Davies, 28 Hans Place, London, S.W.

A volume of fifty-nine of the Veduie di Roma (nos. 1-60 with exception of no. 13).
A considerable number in the rare state with address of Bouchard or Bouchard
e Gravier

TUBBS. Mr. Percy B. Tubes, F.R.I.B.A., 10 Gray's Inn Square, W.C.

A good collection of the Vedute di Roma in various states. A considerable
number in early states, before Piranesi's address and price, and in an intermediate
state before the heavy rebiting or added work (see references in catalogue). Also
most of the other published works.
 LIST OF ILLUSTRATIONS
Portrait of Giovanni Battista Piranesi, engraved by Felice Polanzani
17.50; originally used as frontispiece to the Opere Varie, 1750, and the Antichita
Romatte, 1756. Frontispiece.

Plate of Watermarks. PI. I, in the Text, opposite p. 34.

Piranesi's Engraved Catalogue of his own Works, from an impression in

the Soane Museum, including the Vedute di Roma up to no. 134 (the edition
described as no. la on p. 6). PI. II, in the Text, between pp.
34 and 35.
The Complete series of the Vedute di Roma (except the last two plates,
which were engraved by Francesco Piranesi), with nos. 19, 27, and 35 shown in
two states. From impressions in the possession of Mr. Percy B. Tubbs, F.R.I.B.A.,
and the Cotswold Gallery, one only (no. 58) being from the British Museum
(Print Room). PI. III-LXXI.

Plate 15 of the Carceri shown in two states. From impressions in the

British Museum (Print Room). PI. LXXII.
The Arch of Gallienus, Rome, from the Antichitd. Romane de' Tempi delta
Repubblica, 1748. Early state before numbering. From an impression belonging
to the author. PI. LXXIII.
Gruppo di Scale, pl. 11 from the Prima Parte di Arckitetture, 1743, as re-
issued in the Opere Varie, 1750. From an impression in the King's Library,
British Museum. PI. LXXIII.

Internal Elevation of an Ancient Reservoir, in the vineyard formerly

belonging to the Jesuits below Castel Gandolfo, pl. 22 from the Antichita
d'Albano e di Castel Gandolfo, 1764. From an impression in the British Museum
(Print Room). Pl. LXXIV.
Interior of the so-called Temple of Neptune at Paestum. Proof of
a rejected etching for plate 12 of the series of Views at Paestum, 1778. From
an impression in the British Museum (Print Room). Pl. LXXIV.
 I. BIOGRAPHICAL^
Giovanni Battista Piranesi was bom in Venice on the 4th October 1720.
The son of a stone-mason, he was educated as an architect under his maternal
uncle Matteo Lucchesi, continuing his studies, after a quarrel with Lucchesi,
under Carlo Zucchi. His pride in his profession of architect and in his native
town is evidenced in his constant use of the appendage Architetto Veneziano to
his name on
various title-pages of his works but his practical work cis an
;

architect was limited to a few restorations, such as that of the Church of

S. Maria Aventina, and the Priory of the Order of Malta, which he was com-
missioned to undertake by Cardinal G. B. Rezzonico about 1764-5.
In 1740 Piranesi left Venice for Rome in the suite of the ambassador to the
Papal Court, and was lodged for a time at the Venetian Embassy. He studied
etching under Giuseppe Vasi, the engraver of one of the largest views of Rome ;

but jealousy of supposed secrets of the craft hidden from him caused a breach,
in which he is said to have threatened to murder his master. He is also said to
have worked in the shops of the scene-painters Giuseppe and Domenico Valeriani,
and to have studied under another famous scene-painter Ferdinando Bibiena, who
died in Bologna in 1742. Piranesi may have come in touch with the latter in
one of his journeys to or from Rome.
He appears to have had little success in these early years at Rome, and as
his father was unable to continue his allowance returned to Venice in 1744.
Bianconi states that he studied painting about this time in Tiepolo's studio. But
no paintings by his hand are identified. Possibly if such exist, they may go
under the names of Marco Ricci or Pannini who were the chief influences in
forming his style of architectural composition.
'
The chief authorities for Piranesi's life are Bianconi, Legrand (MS.), and an anonymous
writer in the Library of Fine Arts (1831). See
Bibliography. The last named was based on a
manuscript described as written by one of Piranesi's sons, and then in possession of the editor,
who was probably also the author of the article. The writer also states that the publishers,
Priestley and Weale, had projected its publication. The editor of the Library of the Fine Arts
is given in the B. M. Catalogue under the initials J. K., which is further explained by a note by

Dawson Turner in the Print Room as Kennedy, Esq., late M.P.'

'
Taking the two together, the
editormust have been the James Kennedy (Barrister, M.P. for Tiverton, 1832 and 1833-5) who
died on 15th May 1859, at Liddiard House, Grove Terrace, Notting Hill. See Law Lists and
F. Boase, Modem English Biography. Perhaps some representative of the family, or the
publishers mentioned, may be still in possession of the document. Another lost source is
Piranesi's own manuscript memoirs referred to by Bianconi in his EUgio Siorico.

B
a GIOVANNI BATTISTA PIRANESI
He was soon, however, encouraged to return to Rome by Giuseppe Wagner,
a successful engraver and publisher of Venice, who helped Piranesi from his own
stock to found a similar establishment in Rome.
This time he achieved success, and a constant series of works, illustrating
architecture and antiquities, issued from his studio until his death in 1778. His
output in etched plates is enormous (it is about loco numbers in all, and the
majority detailed plates of the largest dimensions), 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.
It is uncertain how much of the text of his publications is actually Piranesi's
own writing. Bianconi regards him in this respect as the unlettered publisher of
the writings of others, but this may probably be regarded as an exaggeration.
He certainly had the flair for antiquities and no doubt inspired his press, even if
he lacked the scholarship to put it in proper form. He ran to death the theory of
the Etruscan (as against the Greek) origin of the majority of Italian architectural
antiquities, and it was on this subject of indigenous Italian art that he fell foul of
the famous connoisseur and dealer P. J. Mariette.^
With remarkable diligence was united a most impetuous and quarrelsome
his

nature, of which we have already given two examples. Whether apocryphal or

true his five days' courtship of a girl whose face had taken his fancy while

sketching in the Forum, and his threats to kill the doctor who failed to save the
life of one of his children, are further incidents related that illustrate his tempera-

ment. He had two sons and a daughter, all of whom helped him in his work
and after his death carried on his publications in Rome and Paris. They were
Francesco (bom 1748 or 1756 died 1810), Pietro (who lived till after 1807) and
;

Laura (born 1750).

His position in Rome and in Europe after 1760 was a prominent one. He
must have been a well-known figure to the wealthy English visitors in Rome, and
was elected a Fellow of the Society of Antiquaries in 1757,* an honour which he
displays on several title-pages from that date onward. He was on terms of friend-
ship with the famous architect Robert Adam who was in Rome between about
'75c^5- 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
founder of the Newdigate Prize) published by Piranesi in his Archi Trionfali,
and in his intended dedication of the Antichita Rontane to James Caulfeild, Earl
of Charlemont, which ended in the bitter recriminations of the Lettere di Giusti-
ficazione oi i*] ^"j , while the names of many English patrons, e.g. Gavin Hamilton,
'
See List of Piranesi's Published Works, 1765, Osservazioni.
'
Elected Honorary Fellow 7th April 1757. He was proposed by the Bishop of Ossory,
J. Theobald, P. CoUinson, A. Cooper, A. Pond, H. Baker, C. Rogers, and W. Norris
(Secretary).
 BIOGRAPHICAL 3

and Thomas Jenkins, on a large number of the plates

figure in the dedications
in his Vast, Candelabri, &c. of 1778.^
He was knighted by the Pope in 1765, and regularly signed his plates
Cavalier Piranesi sc. from this date onwards. Sets of his works were among the
regular purchases of the travelling noblemen and connoisseurs, and the frequent
giftof the Pope to distinguished guests.
Most of
his life was passed in Rome, etching, writing, publishing, and direct-

ing a workshop in which the restoration and sale of antiques played a con-
siderable part. In 1778 he made a journey with his son Francesco to Naples and
Magna Graecia, collecting the material for his Paestum series, and for other works
completed after his death by his sons. Three of the etchings of Paestum were
signed by Francesco, who may also be partly responsible for the original draw-
ings preserved in the Soane Museum.^
G. B. Piranesi died two months after the papal imprimatur of his Paestum
series, and was buried in S. Maria Aventina, in November 1778.
'
In regard to English connoisseurs in Piranesi's circle at Rome Mr. Arthur Samuel's book
contains considerable material.
'
See below, pp. 19 and 20, for further discussion of this subject.

B a
 II. NOTES ON PIRANESrS WORK
The chief basis for a List of the work of G. B. Piranesi and his sons is the
printed Catalogue with the title (Eitvres des Cftevaliers Jean Baptiste et Francois
Piranesi qu'on vend siparement dans la Cakographie des Auteurs. Rue Felice,
pris de la Triniti des Monts vis-d-vis le corps de garde des Avigno7tais. Rovte
MDCCXCII. Dans timprimerie Pihicchi Cracas. The only copy known to me,
in the British Museum Room,
Print of this
isedition of 179 a, but from the form
of the title one would expect the catalogue to have been first printed in the life-
time of Giovanni Battista Piranesi. The Papal sanction for the reprint of the
catalogue given on the last page also implies the existence of an earlier edition.
This catalogue shows thirty-two sections or volumes distinguished by Roman
numerals, but a considerable number of the sections described were only in course
of preparation in 1792. It is seldom that one finds even contemporary editions

bound with volume numbers corresponding to this early catalogue. It should

be noted that these section numbers are altered in the catalogue printed by the
brothers Piranesi at Paris in 1800, under the title Cakographie des Piranesi
. . .

frires. CEuvres de Jean-Baptiste et de Francois qui se vendent chez les auteurs,

A Paris Rue de P University, Dipdt des Machines, N° 2g6. With imprint and
date on last page de timprimerie de Prault, rue Taranne, N° 7^9, a r Immortality.
Ann. vnide la Ripublique. This is also an extremely rare volume, the only copy
known being that of the Soane Museum in Lincoln's Inn Fields. It adds little to
the earlier catalogue, but is useful as a guide to the arrangement of the first Paris
edition of 1 800-7 ^ ii^ twenty-seven folio volumes,^ an order which is also followed
in the Paris Edition of Firmin-Didot of 1835-9.
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,
as well as miscellaneous plates by other engravers and etchers (e.g. Barto-
lozzi's reproductions of Guercino drawings).

Magasin Encyclopidique (rddig^ par A. C. Millin), V« Annde (1799), Tom. 5, p. 1 10, Tom. 6,
'

p. 283, and IX» Annde (1803), Tom. II, p. 238 J. Duchesne, Quelques Idhs sur ritablissetnent
;

des Frires Piranesi, Paris, 1802 (interesting also from references to the French Government's
project of an Academy with Francesco Piranesi at its head) and J. C. Blanvillain, Le Parisium ,
;

publii par Piranesi propriitaire, Paris, 1807-8, p. 208. ^fablissement des frires Piranesi au
rue des Amandiers.
collide des Grassins,
• at the Victoria and Albert
There is a complete set in the department of Engravings
Museum, South Kensington.
 NOTES ON PIRANESrS WORK 5

My List of Piranesi's Published Works includes reference to such plates

in addition to G. B. Piranesi's original work, but it does not extend to the series
published by Francesco and Pietro Piranesi after their father's death in 1778.
All editions of Piranesi's work until that of Firmin-Didot (Paris,
1835-9)
are printed on thick laid paper (i.e. paper showing parallel wire The
lines).
Firmin-Didot editions, and most modem impressions are on wove paper. The
original plates taken by the brothers Francesco and Pietro to Paris about 1800
were bought from Firmin-Didot by the Camera Apostolica in 1839, and trans-
ferred to the Calcografia Camerale. The
Calcografia (since 1870 the Regia
Calcografia) has continued to issue impressions to the present day. For more
detailed distinction of paper and watermark I would refer to the catalogue of the
Vedute diRoma (see pp. 31-4), for the remarks about the editions of this series would
apply with qualification to other sections of Piranesi's work of corresponding issues.
In general the fine early impressions are on stout and fairly white laid paper, but
apart from the aid given by watermarks and definite indications of state, it is the
quality of the etched line which is the chief criterion of value of impression. It
is not a certain indication of date and issue, as the more
popular plates, printed
in large numbers, deteriorated much more quickly than others. Thus modern
impressions of the Carceri, which in spite of their pre-eminence in Piranesi's work
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, still
show a certain strength, while the Views of Rome ', the inevitable purchase of
'

successive tourists in Rome, are for the most part mere wrecks of their former
selves.
The Catalogue of 179a gives the date of publication or production of a large
number of the works. Being the earliest bibliographical authority, and no doubt
repeating the material of its earlier editions, one is naturally inclined to confi-
dence But some dates quoted are manifestly erroneous, e.g. 1758 for
in its data.
the Trofei di Ottaviano Augtisto which is dated 1753 on its title-page, and the
natural inference is that here we have a printer's error, 3 and 8 being easily con-
fused. 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,
which is generally in the year before publication.
The greatest problem is the dating of the Vedute di Roma, the largest and
best known series of Piranesi's views, of which 135 were produced by Giovanni
Battista, and two by Francesco. The Pianta diRoma of 1778 is also often bound
with the complete series.
The list of the 137 views in the 1792 Catalogue is arranged roughly by sub-
ject, and most later editions of the series are bound in this order. Apart from
one has the single sheet engraved catalogues which are found inserted at
this list
various places among large collections of the master's work. One plate was
 6 NOTES ON PIRANESrS WORK
used throughout G. B. Piranesi's life, new entries being engraved on the plate as
the works were published. Of this Catalogo delle opere date finora alle luce da Gio.
Battista Piranesi I am able to refer to the following impressions, showing thirteen
different states :

Rome, Accademia di
(i) S. Luca. Includes Vedute di Roma up to no. 59.
About 1761. (The copy of the Vedute presented to the Academy of St. Luke
on Piranesi's reception in 1761 contained only fifty-four plates.)

(3) British Museum, King's Library (147. i. 9). Cambridge University

Library (with manuscript additions). Vedute up to no. 60. Last entry of other
works Delia Magnificema de' Romaui. About 1761.
(3) British Museum Library, Tab. 488 d. (a). Vedute up to no. 60 (with
manuscript additions). Last entry of other works Lapides Capitolini {Fasti
Consulares). About 1762.
(4) In the possession of Messrs. B. T. Batsford, Ltd. (reproduced on pi. Ill of
Arthur Samuel, Piranesi, 1910). Same engraved entries as (3) with additions of
price and number of plates of Deir Eviissario del Lago Albano. About 1763-4,
(5) John Rylands Library, Manchester. Vedute up to no. 6^. Other last
entry Raccolta di Disegni del Guercino. About 1 764.
(6) British Museum, Print Room.
Vedute up to no. 6$ (with manuscript
additions). Other last entry Descrizione delle Antichita di Cora. About 1764-5.
(7) Berlin, Print Room. Vedute up to no. 72. About 1764-5.
Windsor, Royal Library (at end of volume including the Delia Magftifi-
(8)
cenza di Roma 1761 and Osservazioni sopra la lettre de M. Marie tie, 1765).
Vedute up to no. 80. Other last entry Antichita di Cora. About 1766.
(9) British Museum Library, 744. f. i
(5). Charrington. Vedute up to
no. 83. Other last entry Diversi manieri d'ornare i Camini. About 1769.
(10) Dresden, Kupferstich Cabinet (reproduced by Giesecke, 1911, pi. 60).
Vedute up to no. 97. Other last entry Vasi Candelabri. About 1771.
(11) Oxford, Bodleian, Gough Collection, 410. f. 36. Vedute up to no. 107.
(Del Arco di Benevento.) Otherwise similar to (10). About 1773,
John Soane's Museum, at end of vol. iv of the Antichitct Romane, ed.
(12) Sir
1784 (reproduced on plate II in the present volume). Vedute up to no. 134.
The title of no. 107 has been altered to Del Palazzo Farnese, and the Arco di
Benevento does not appear at all.* Other last entry Vedute 21 di tre Tempi , . .

a Pesto. About 1779.

(13) Collection of Dr. Thomas Ashby, Rome. Vedute up to no. 135, no. 135
being the Arco di Benevento. Includes various separate plates by Francesco, and
also his Raccolta di Tempi antichi (1780). About 1780.
I have merely given in the above list enough indication of the contents of the
different states to show that the respective dates are for the most part fixed by
*
See Catalogue of the Views of Rome No. 135, for suggested reason.
'
',
 NOTES ON PIRANESrS WORK 7

other entries beside the Vedute, on reference to the year of issue as given in the
1792 catalogue.
My Catalogue of the • Views of Rome follows the order of the engraved cata-
'

logues. This is the order in which all the contemporary editions were issued
(e.g. two sets, one incomplete, in the British Museum), before Francesco Piranesi
classed them according to subject. It is certainly the most instructive order in
which to keep the series, as it shows the artist's development. The order may
not be exactly chronological, but it is roughly so. I have cited the date of pro-
duction of the 'Views of Rome' as given in the catalogue of 1792. There are
only eight cases where one is naturally driven to doubt these dates, and six of
these may be mere printer's errors (i. e. 1742 for 1749, 1729 twice for 1749, 1775
three times for 1757). But the chief problem of date arises from a consideration
of the early issues of the Vedute which were published by Bouchard under the
title of Le Magnificenze di Roma, 1751.
Of volume, which properly includes a selection of the other
this rare early

early series (see List of Published Works), I know three copies corresponding to the
contents indicated in the title-page, one belonging to Sir Reginald Blomfield,
R.A., another in the collection of Mr. John Charrington (formerly belonging to
Mrs. Gilbert Drage), and a third in the possession of the Leicester Galleries.^
A fourth copy, in the Soane Museum, has the title-page and Vedute di Roma, but
lacks the miscellaneous plates referred to in the title. Each of these four
volumes contains the following thirty-four plates of the Vedute di Roma, nos.
1-5. 7-9. 14-19. 28, 29, 33, 35, 37, 3«. 40, 41, 43. 45. 4^, 49-54, 5<5, 58. 59. while
the Soane copy also includes nos. 32 and 34.
Now, according to the Catalogue of 1792, the fifty-ninth view, and several
which precede it in the list, were produced as late as 1760, and others included
cover most of the years between 1748-60.
How is this compatible with the date 1751 on the title-page of Le Magnifi-
cenze} Was Bouchard wrong, or Francesco Piranesi in his Catalc^ue of 1792?
As to the possibilities of the date on the title-page being incorrect, we have only
to refer to the later editions of the Opere Varie shown to be after 1757, though
the date 1 750 is still unaltered on the printed title-page.
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
nel Palazzo Tomati vicinoalla Trinita de' Monti). From view no. 60 (dated 1751
in the 1792 catalogue) onwards even the first states known often bear this address,
so that it is probable that he moved to the Palazzo Tomati about 1761.* His

'
From the signature on the back of the frontispiece portrait this copy originally belonged to
H. D. Hamilton.
'
Arguments which I had adduced in my article in the Burlington Magazine referring to
Piranesi's Palazzo Tomati address (i) in No. 34 of the 'Views of Rome', as it appeared in the
 8 NOTES ON PIRANESrS WORK
earlier address inRome (about 1748, and probably before that date) was in
the Corso opposite the French Academy,* as it is given on the title of the Anti-
chitd Rotnane de' Tempi della Repubblica 1748, and on the four Grotesc/ii o{ the

Opere Varie.
I do not feel confidence in deciding between the relative authority of the
title-page of Le Magnificenze and the Catalogue of 179a. But one strong point
in favour of the 179a catalogue dates being correct is that the engraved catalogue,
which includes Della Magnificenza de' Romani of 1761,^ only includes sixty
Vedute, which were produced in 1761 and the preceding years according to the
of a particular
catalogue of 1 79a. Moreover at a particular date in the production
series Piranesi, or his publisher, may have decided that enough had been done to

justify a title-page,and this title with its original date continued to serve in later
years as other plates were added.
There is one other catalogue to which I might refer, i.e. the short printed list
of the opere finora date in luce on p. 4 of the preface of the Antichitd Romane,
1756. This, besides, is in favour of my argument as giving thirty-nine Vedute
engraved up to that date (whether this includes title-page and frontispiece is un-
certain). Leaving aside the evidently erroneous date 1775 fornos. 38, 39, 40 (for
which we have suggested 1757 as the easiest interchange for they might have —
been ready in 1756 though not actually published till 1757), then nos. 1-41 of the
Vedute reach the year 1 756. If the earliest engraved catalogue contained fifty-
nine numbers it is quite probable that the views on that list were not put down in
absolute chronological order, but it seems in the highest degree unlikely that all
of those after nos. 39 or 41, which were included in Le Magnificenze, were engraved
by 1751.
•
It is also worthy of note that the volumes of architecture of his own in-
six
'
vention presented by Academy of St. Luke on his reception on
Piranesi to the
1st March 1 761 contains fifty-four plates of the Vedute di Roma. Gavin Hamil-
ton was admitted as a member of the Academy on the same day.
Another small point of interest to be gathered from a comparison of the
printed catalogue in the Antichitd Romane and the earliest of the engraved
catalogues relates to the Carceri. In 1756 this series is priced at 14 paoli ; by
1 76 1 it is
definitely stated to contain sixteen plates, and priced at 20 paoli.
Trojei di Oitaviano Augusta, 1753, and (a) on Plate III (the Index of Plates) of vol. ii of the
Antichitd. Romane, 1756, seem to me now to carry little weight, because (i) in
King's Library
copy, British Museum, might be in an issue later than date of title-page (2) Plate III is before
;

any address in the earlier edition of the Antichitd Romane in the British Museum (that of the
King's Library).
The uncertainty as to date of Piranesi's move to the Palazzo Tomati is reflected by Focillon,
who refers to it on p. 95 of his book as about 1750, and on p. 123 as about 1760.
'
The French Academy was housed in the Palazzo Salviati, 1725- 1800.
'
A work not to be confused with Le Magnificenze di Roma.
 NOTES ON PIRANESrS WORK 9

None
of the copies of Bouchard's editions of the Carceri are known to contain
more than fourteen plates, and this price of 14 paoli certainly supports the
assumption that they never contained more, the two extra plates being added in
Piranesi's own edition.
It is interesting to note the original prices of the plates as sold by Piranesi.
The Catalogue of 79 explains at the end that a sctido (iai) corresponded to
1a
• '
5 Chelin (5 shillings) in English money. Without going into the purchasing
value of English money at the time this makes the whole series of sixteen plates
about I o shillings, as there were 10 Paoli to the Scudo. The Paolo is thus roughly
xpence, and the regular price of the separate impressions of the Views of Rome
' '
si

was •x\ Paoli, i. e. about half a crown. English mezzotints of the period were also
sold at similarly low prices, and it is not till the nineteenth
century that limited
editions, which are chiefly justified in the case of dry-points and mezzotints where
the plate rapidly deteriorates, induced high prices. Some of the prices in the
1792 Catalogue are given in baiocchi, which are tenths o^n^ paolo.
The Catalogue of 1800 shows similarly low prices in francs, e.g. the 16 plates
'

of '
Prisons for 18 francs, the 137 plates of Views of Rome for 250 francs, the
* '

franc being a piece of slightly higher value than the paolo. The prices charged
for modern impressions by the Regia Calcografia at Rome still correspond
roughly in lire to the francs of the Catalogue of 1800.^
In the rare volume, the Lettere di Giustificazione of 1757, a record of the pro-
posed and cancelled dedications of the four frontispieces of the Antichitd Romane
to Lord Charlemont,
Piranesi throws some interesting
light on the commercial
side of his art. In justifying his estimate of
300 scudi (i. e. about £75) as a fair
remuneration for each dedication plate, he states that he would naturally expect
to receive 10,000 (i. e. 1,000 scudi, or about £%^o) from the sale of 4,000
impressions of a plate published (like the Views of Rome) at %\ paoli. This
would of course have to cover cost of paper, 4,000 sheets at 4 baiocchi, i.e. 160
scudi, or about ;^4o, so that to bring profit down to about £i^ for a plate he
would estimate other publishing expenses in the sale of separate plates as 540
scudi, i.e. about £135, or just over i| paoli for each plate. He said that the
Pope had readily given him a subsidy of 1,200 scudi (£300) towards the publica-
tion of the Antichitd Romane without
any expectation of return in the form of
dedication, so that he was naturally sore at receiving less than 200 scudi {£50)
for four plates of dedication to Milord Charlemont, and refused the honorarium
with scorn. An autograph letter of G. B. Piranesi of nth November
1760
addressed to Robert Mylne, preserved in the
Library of the Royal Institute
of British Architects, also refers to a present of i,coo scudi from the
Pope."
'
This statement is based on prices charged before the War.
'
See Rudolf Dircks, The Library and Collection of the R.J.B.A., Journal of the
R.I.BJV.,
4th Dec, 1920.
lo NOTES ON PIRANESrS WORK
In judging the quality of Piranesi's etching it is essential to see the fine early

impressions. The difference is particularly noteworthy between the architectural

plates in the Prima Parte di Architetture and the first editions of the Opere
Varie, and the reworked states of the same plates in the later issues of the
Opere Varie. The early states are lighter and clearer in etching. In the later
states there is a considerable amount of rebiting, and darkening of shadows,
which certainly adds strength, but renders the general effect much more patchy
and restless. The same differences may be noted in the four small architectural
plates of the Antichitd Romane with their original dedications in that rare
volume, Lettere di Giustificazione scritte a Milord Charlemont, 1757, which
appeared rebitten in most copies of the later edition (B) of the Opere Varie.
In general, Piranesi used etching more purely in his earliest work, as for
example in the earlier edition of the Carceri. These early states may lack the
variety given by the added work and rebiting of the later states, but they
possess a most satisfying restfulness of tone. The series of smaller views in
vol. i of the Antichitd Romane, 1756, have a considerable portion of the same

pure qualities in etching, but they have already lost something of the freshness
of the series of 1748, the Antichitd Romane de' Tempi della Repubblica or the
' '

Triumphal Arches as they are usually called from the title of their second
edition. The latter plates, a series of small oblong views, are among his purest
etchings in their early states before rework. One of them, the Arco di Galieno
(see pi. LXXIII), has a simplicity of tone reminiscent of Tiepolo or Canaletto, but
in most of the others Piranesi is already using double biting to add variety and

depth to his light and shade. From the purely artistic side there is scarcely
anything more attractive in Piranesi's work than this early series, and they are
entirely worthy to be ranked beside Meryon's best architectural etchings.
We have alluded above to the states of the Carceri. The pre-eminence of
amid the mass of Piranesi's work demands
this series in its imaginative quality
fuller comment.
All readers of De Quincey know the '

description of the series of the Prisons ',

Dreams the author as a parallel to his own experiences
'
there called given by
',

whilst under the influence of the drug. To

quote from the Opium- ater E :
—
"
Many years ago, when I was looking over Piranesi's Antiquities of Rome ",
'

Mr. Coleridge, who was standing by, described to me a set of plates by that
"
artist, called his Dreams ", and which record the scenery of his visions during
the delirium of a fever. Some of them represented vast Gothic halls, on
. . .

the floor of which stood all and machinery, wheels, cables,

sorts of engines

pulleys, levers, catapults, &c., &c., expressive of enormous power put forth, and
resistance overcome. Creeping along the sides of the walls, you perceived a
staircase ; and upon it, groping his way upwards, was Piranesi himself follow ;

the stairs a little further, and you perceive it comes to a sudden, abrupt
 NOTES ON PIRANESrS WORK ii

termination, without any balustrade, and allowing no step onwards to him who
had reached the extremity, except into the depths below. Whatever is to
—
become of poor Piranesi ? you suppose, at least, that his labours must in some
way terminate here. But raise your eyes, and behold a second flight of stairs
still higher, on which again Piranesi is perceived, by this time
standing on the
very brink of the abyss. Again elevate your eyes, and a still more aerial flight
of stairs is beheld and again is poor Piranesi busy on his aspiring labours
; :

and so on, until the unfinished stairs and Piranesi both are lost in the upper
gloom of the hall. With the same power of endless growth and self-reproduction
did my architecture proceed in my dreams.'
Whether these wonderful plates of architectural fancy originated in the
delirium of a fevered brain or not, they at least proceed from a genius working
at the fever heat of imaginative power. Many of the hundreds of Plranesi's
architectural designs 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, did he give his
imagination such unbounded play. In spite of the intrinsic horror of these
dreams of prisons and torture chambers, there is a grandeur in the architectural
setting which outweighs the mere gruesome details and enables one to contem-
plate without distraction the whole ideal construction of Piranesi's designs.
Thanks to their true balance of interest, they will bear hanging on one's walls
^
(and it is only thus that prints of this size can convey the proper impression)
without inducing the obsession of a nightmare. The impetuosity and exube-
rance of his nature were probably somewhat tamed in the course of his life
by the drudgery of his labour, and his purely artistic aims were constantly

subjected to topographical and archaeological considerations. In spite of all,

it is remarkable how large a proportion of his whole work (even plates

illustrating pure technical details of construction) betrays the inherent imagina-

tion of the artist. But the series of the Prisons ', produced as it was without
'

ulterior considerations and with all the glow of his youthful fire, remains in my
opinion his most wonderful artistic legacy.
The series is known in two principal editions, that of Bouchard (who pub-
lished other early works by Piranesi) in fourteen plates, including title, and the
later one of sixteen plates, including title, issued by Piranesi himself Bouchard's
edition occurs in two issues (i) with his name on the title-page,
spelt Btizard
(a) with name altered to Bouchard. This edition
and as the plates are in
is rare,

the same state except for title-page in both issues, I prefer to treat it as one
edition of two issues rather than as two editions. It would be impossible to fix
the issue to which separate plates belonged unless they were found with the
'
They measure about 21 x 16 in.
la NOTES ON PIRANESI'S WORK
title-page. The
rarity of Bouchard's edition in both issues seems to show that
the Carceri could not have had a large initial success.
In the Opere Varie di Architetttira there are similar editions published
respectively by Bouchard and Piranesi himself. They are both dated 1750 on
the title-page, though there seems internal evidence that the sets with Piranesi's
name on the title-page are not earlier than 1757, containing, as they usually do,
later states of plates published in the rare volume Lettere di Giustificazione
scritte a Milord Charleniont, 1757. It is of course always possible in his early

years at Rome, before business was firmly established, that he had

his own
arrangements with other publishers at the same time as he was issuing a certain
number of copies from his own press. Other dates on works of Piranesi,
published by Bouchard, were 1751, 1753, ^n^ ^75<5 (i.e. Le Magnificenze
di
Roma, Trofei di Ottaviano Augtisto, and Le Antichitd Romane), while his earliest

work, the Prima Parte di Architetture of 1743, was published by the brothers
Pagliarini, and the Varie Vedute di Roma was first published in 1748 by
Fausto Amideo, and in 1752 by Bouchard.
The earliest dated work in which Piranesi is shown as publisher is the
Antichitd Romane de' Tempi della Repuhblica di 1748, when his address is given
opposite the French Academy
'
as '.

the fourteen plates are unnumbered ;

' '
In Bouchard's edition of the Prisons
the plates in Piranesi's edition are numbered I-XVI, plates II and being V
additions. In the former the title reads Invenzioni capric di Carceri all' acqua
in Roma
forte datte in luce da Giovani Biizard [Bouchard in second issue]
Mercante al Corso in the latter Carceri d' Invenziotie di G. Battista Piranesi
;

Archit. Vene, while Piranesi's imprint is given at foot of the added pi. II,
Presso t autore a strada Felice vicino alia Trinitd de' Monti . Fogli sedici, alprezzo
di paoli venti.
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.
There is a wonderful simplicity in the design in the early states, and none
shows this quality in greater beauty than pi. 4 of the series. Nevertheless,
the later states, with added strength and emphasis achieved largely by deepened
shadows, have gained in variety and effect, at least as seen from a distance.
It is in this emphatic style in which his aims are carried on at the present day,

without in any sense being imitated, by Brangwyn. In the simpler and less
varied tonality of the early states, Piranesi has still not entirely broken with the

style of the Venetian etchers, Canaletto and Tiepolo. The influence of the
latter

is most clearly seen in the ninth plate of the series, an upright subject where
a massive gateway is surmounted by a colossal double wheel of mysterious
construction. With regard to the influence of Canaletto, one might also
compare another Prison subject by Piranesi, the Carcere Oscura, pi. 2 in the
 NOTES ON PIRANESrS WORK 13

Prima Parte di Architetture of 1743 —

certainly the most beautiful etching of
that early series. It is also interesting to note among the drawings attributed

to Canaletto in the British Museum an Interior of a massive building of Roman

*
architecture 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. But it is without his rapid touch, and the somewhat tighter penmanship
is quite in Canaletto's manner.
Mr. Samuel referred to the influence of Daniel Marot in Piranesi's Carceri.

It may be no more than a coincidence, but the style of the Prison d'Amadis,
pi. 3 in Livre d' architecture diferante inventde par D. Marot architecte de sa
Majesti Britanniqtte d, la Haye, 170a, is certainly reflected in the Carcere oscura,
'

though less in the series of the Prisons '.

Apart from pi. 4, the eleventh and sixteenth plates are perhaps the simplest
'
in design in the early states of the Prisons '. PI. 15 with its magnificently
balanced arches altered comparatively little in its general scheme in the later state,
is

and remains one of the most impressive of the whole series (see pi. LXXII). my
The changes introduced, besides the darkening of the principal lines, include a vista
of gradually disappearing flights of steps seen through the archway on the left.
The very flatness of the unelaborated early states gives them a peculiarly
decorative character, and the later additions are no doubt to some extent due
to the attempt to give more realistic expression to the solidarity and perspective
of things. But if we sometimes regret the blackness of the foreground in the
later states, we are recompensed by the introduction of fascinating architectural
vistas retreating far into the background, more particularly in the fifth, thirteenth,
fourteenth, and sixteenth plates.
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

designs. This greater singleness of aim is perfectly exemplified in pi. 4, where

' '
there is no suggestion of the horrors of the Prisons as they appeared in their
final form, with chains, wheels, spiked beams, and other indescribable terrors.
In certain cases I think the plates have lost more in general balance than they have
gained in the impression of strength. This is particularly so in the last plate of
the series, where the detail of the second state is rather disconcerting in its effect.
The same criticism applies in some degree to the eleventh plate, but here the
new features are of greater architectural interest. It is noteworthy that the two
new plates of the later set (nos. 2 and 5) are quite the most confused in detail of
the whole series, 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.
In spite of the preponderance of the imaginative features in the later states,
it still seems to me on the whole a just criticism to regard these elaborated states
*
Reproduced by the Vasari Society, X, plate 9.
14 NOTES ON PIRANESrS WORK
as the work of the and the earlier sketches as that of the artist
architect Piranesi,
who themes does not betray his profession. There is often
in spite of his
a vagueness of design in the early states which perhaps only needed some
striking architectural feature to dissipate. This is especially remarkable in the
seventh plate, where the additions of a large wooden gallery or bridge imme-
diately lends cohesion to the whole structure. The cross bridge and beams in
the thirteenth plate work similar wonders with another design which lacked
solidarity in the early state.
In his more purely architectural designs of the early period, contained in the
Prima Parte di Architetture, 1743, and the Opere Varie 1750, Piranesi was less
original both in theme and treatment than in the Prisons Here he shows very
'
'.

clearly the influence of the architect and scene-painter Ferdinando Bibiena (Galli),*
of whom there are a few drawings in the Victoria and Albert and Soane Museums.
Piranesi must have known the series of large plates of stage scenery engraved by
Ferdinando's son, Giuseppe Bibiena, Architetture e Prospettive, Augs-
Pfeflfel after

burg, 1740, but he happily kept clear of the overloaded and fantastic ornament
that mars Giuseppe Bibiena's work. There is a series of Giuseppe's drawings
for stage decoration, full of his exaggerated mannerisms, in the British Museum.
Andrea Pozzo, the author of a book on perspective, printed at Rome in 1693
(Perspectiva Pic tor urn et Arckitectorum) must also have exercised a considerable
influence on this side of Piransi's work.
Another set of original designs which appeared in the Opere Varie, the four large
oblong plates, architectural medleys, called Groteschi on the title-page, are more
influenced by Tiepolo than anything else in Piranesi's work. Their technical
inspirer Tiepolo, and
is in their of the spirit of
romantic flavour there is much
Salvator Rosa. Throughout his architectural and topographical work Piranesi
never loses sight of humanity, and it is a humanity that moves with a fantastic
energy, showing him as the natural successor of Callot and Salvator Rosa, and the
forerunner of Meryon and his haunted Paris. Probably Piranesi's own restless
many of the flamboyant figures so artistically placed in most
spirit is reflected in
of his plates. Francesco inherited some of his father's genius for architecture,
but practically none of this more human side of his art, which is always suggest-
ing elements of life beyond the mere stone he depicts, and places him, even when
dealing with archaeology and topography, among the greater imaginative artists.
Piranesi's development as an etcher may be studied most comprehensively in
the '
Views of Rome ', extending as they do throughout his whole life. Here, as
'
Prisons ', the architectural designs of the Opere Varie,
in the early states of the

as they occurred in the Prima Parte di Architetture, 1743, and in the early
impressions of the Antichith Romane de' Tempi delta Repubblica ', one may
'
See D. Donghi, / Piranesi e i Bibiena. Atti della Society degli Ingenieri e degli Archi-
tetti. Turin, 1890.
 NOTES ON PIRANESrS WORK 15

remark in general a purer use of etching and a lighter and less varied tonal
scheme in the earlier plates of the series. There is an increasing tendency in the
later views to stronger contrasts of light and shade, obtained either by second
biting or by the use of the graver in broadening and deepening the etched lines.
This general tendency may also be noted in Piranesi's rework of the earlier
plates of the series. A
large proportion of the plates up to about no. 59 (i. e. up to
about 1760) exist in early states, more lightly etched, which were later rebitten or
otherwise reworked by Piranesi not long after the original issue. The lightly
etched states are for the most part before any address in the inscription. 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, i.e. the most
usual state, and sometimes already in the intermediate state with the address of the
publisher Bouchard (or the publishers Bouchard e Gravier), which must have
been before 1 760. 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. Piranesi may have had the right instinct in emphasizing the design in
this way, for it immediately strengthens the power of the design if the print is

hung on the wall. But it by no means always enhances the beauty of the print,
as seen in the hand, and the more delicate and regular surfaces of tone of the
earlier states show a great beauty of decorative design. The rebitten states
are naturally more architectural and sculpturesque they have more of the third
;

dimension against the flatter design of the lightly etched impressions.

Apart from these general differences, one can cite many plates in which the
additional detail definitely mars the composition. This is constantly so in the
addition of dark patches of cloud in the sky, which may give variety, but
certainly distracts the interest from the larger masses, which form the real beauty
of Piranesi's compositions. Good instances of this are the .S. Giovanni in
Laterano (8), 5. Maria Maggiore (9), and the Hadrianeum (3a), all of which are

spoiltby the dark patches of cloud in the later state, though the 6". Giovanni in
Laterano has no doubt gained in perspective and depth by the darkening of the
balustrade in the foreground. 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, which were cleared away in the later ; and the concentration of effect
is alsoenhanced in the later state by the removal of a cornice of building
along the right margin.
It is interesting to note two or three of the more drastic changes on the plate
in the development of states. In no. 27, the Ripa Grande, a barge in the centre
of the canal, loaded high with timber, is cleared away in the second state, leaving
a large space of open water in the centre. This undoubtedly helps the composi*
tion, which was confused with too much detail in the early state. Then in the
Pyramid of Caius Cestius (35), the pyramid itself is entirely re-etched on a larger
 i6 NOTES ON PIRANESrS WORK
scale, and inscriptions added on its side. In the first state it had the appearance
of leaning to one side and the interest is not sufficiently concentrated, in the
second the masonry is etched with more local colour, and the pyramid, larger in
proportion and more stable in its perspective, now dominates the composition.
The changes made in the earlier view of the Fontana di Trevi (19), i.e. the
alterations in the statues in the niches, are curiously interesting. The plate is
dated 1751 in the catalogue of 179a, and as Nicolo Salvi was engaged on the
erection of the fountain between 1735 and 1762, it seems probable that the
earlier state is a record of earlier state of the statues, which may have been
altered by the sculptor Pietro Bracci in the course of the work. Piranesi's small

plate of the Fountain in the Varie Vedtite di Roma (published 1

748) shows a still

earlier state before there were any statues in the side niches.
Hitherto the collector has sought the darker impressions, without considering,
or even recognizing that the lighter impressions were in many cases earlier
states. There is little question that a more careful comparison of Piranesi's
work, or even the knowledge of the different states, will induce a greater dis-
—
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, even
though the latter when in fresh and rich impressions may be the most effective
pictures for wall decoration.
I would mention some of the beauty of etching and
finest of the plates for

composition. The Forum of Augustus

(4a) one of
ishis most powerful renderings
of a foreground mass of masonry, dark even in its earliest impressions and
almost exaggerated in its blackness in the rebitten state. 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, and one of the most dignified of his Roman Views '.
'

The Substructure of the Temple of Claudius (43) is also generally lighter in

etching than the Forum of Augustus, z.x\A of very great beauty in composition.
The upright plate of the Temple of the Sibyl at Tivoli {6^), the Ponte Lucano
(68), the Baths of Diocletian (116), and the Bel Lido (125) are other examples
—
of his most successful plates but there are so many of almost equal merit that
almost invidious to select one's favourite subjects. Perhaps of all the series
it is

none shows a more complete mastery of the subtle play of light and shade in
a large interior than the so-called Tempio della Tosse (70).
Apart from his master Giuseppe Vasi, the nearest forerunners of Piranesi's
style in his larger Views were Giovanni Battista Falda and Allesandro Specchi.
I do not refer to Falda's Nuovo Teatro delle Fabbriche di Roma, 1665, &c., nor
to his continuation of Pietro Ferrerio's Palazzi di Roma, 1655 (the size of
whose plates averaged respectively 7x11 in. and lox 15
in.) ;
but to a series of
larger plates about 18 x 37 in. (i. e. nearly the size of Piranesi's 'Views of Rome')
 NOTES ON PIRANESrS WORK 17

published by Gian Giacomo de' Rossi and his successor Doir.enico de' Rossi
between 1687 and 1694.^ Falda did a Bird's-eye of St. Peler's vilxh forecourt
and colonnades, which is near enough to have suggested Piranesi's similar plate
{Vediite, no. lao). Gomar Wouters, a Flemish engraver who lived in Rome, also
did a few plates in the same series. Altogether I know rather less than a dozen,
and find no record that they were ever published as a set with a title-page.
In spite of Piranesi's extraordinary faculty of invention, he never allowed his

topographical and archaeological plates to fall into the false picturesque.

Scholars and students of Roman archaeology, such as Jordan,** Lanciani, and
Dr. Thomas Ashby, all recognize the value of his plates as topographical
documents. And he seldom failed to combine this documentary truth with
a noble dignity of composition.
' '

Of the picturesque school of architectural painting, Giovanni Paolo Pannini

(about 1695-1768) was the central figure.' He taught perspective at the French
Academy in Rome, and from him C. L. Clerisseau (1722-1820) learnt the
particular bias of his style and an inclination towards a somewhat weakly
romanticism in the treatment of architectural antiquities, thrown together with
littlerelation to their actual juxtaposition in reality, much as an artist would

pose a still life in a studio. Hubert Robert (i 733-1 808) also carried on
Piranesi's principles, but he was a truer artist than either Clerisseau or Pannini,
and in him the romanticism is more than justified by the poetical atmosphere
with which he endows his compositions. His is a far gentler pencil than
Piranesi's, but it has more of the latter's essential dignity of design than either
Clerisseau or Pannini.
The wealth
of beauty throughout Piranesi's topographical and archaeological
work is
amazing. A
technical illustration such as the large folding plate

showing the Foundations of the Mausoleitin of Hadrian (pi. VI of vol. iv of

the Antichitd Romane) is full of beauty in the mere drawing of the regular
masonry as well as in the charming vista of Tiber through the arches of the bridge.
Another of the same Foundations of the Mausoleum of Hadrian, a large upright,
pi. IX in the same volume, is one of his most impressive plates, comparable
in its gigantic strength with pi. I of the Antichitd di Cora. These are plates
on a large scale, but Piranesi never seeks for spurious effect by the mere
dimensions of his work. He achieves an almost equal magnificence in small
plates such as the Idea un d
atrio reale, one of the smaller plates added to the
later edition of the Opere Varie. Two small views of the Pantheon, in the
*
Some of the plates are no doubt earlier than date of publication on impressions I have
noted. G. B. Falda died in 1678.
'
Heinrich Jordan, Topographie der Stadt Rom, Berlin, 1878, &c. (i. 94).
'
Dr. Ashby reminds me that even Pannini did on occasion paint topography, fairly unadorned
(e.g. the thirty-seven views of Roman
buildings preserved in a series of engravings by G.
Volpato, F. Polanzani, G. Vasi, F. Barbazza and others. No. 1223 in the Regia Calcografia).
C
i8 NOTES ON PIRANESrS WORK
Antickiid Romane have an impressiveness at least equal to the larger renderings
of the same subject in the Vedttte di Roma. Many more of the smaller views
in vol. i of the Antichith Romane have a charm similar to that of the oblong
views of the series of 'Triumphal Arches' {Antichita Romane de' Tempi della
Repubblicd) of 1748, e.g. the Janus Quadrifrons (pi. XXI, fig. a), the Interior
of S. Stefano Rotondo (pi. XXV, fig. 2), the Arco di Galieno (pi. XXVI, fig. 2),
the Baths of Diocletian (pi. XXVIII, fig. 2), the Forum of Augustus (erroneously
called Foro di Nerva) (pi. XXX, fig. 1), the Temple of Antoninus and Faustina

(pi.XXXI, fig. i), and the Temple of Saturn (erroneously called Temple of
Concord) (pi. XXXII, fig. i). The second volume contains many fine plates
of Tombs, e.g. the double page of the Sepolcro d^ Scipioni (pi. XXVIII).
In the third volume, besides numerous plates of inscriptions and other archaeo-
logical details, a considerable number of which were engraved by Barbault and
Rossi after Piranesi, are fine views, such as the Pyramid of Cains Cestius
(pi. XL), giving another aspect of the subject illustrated in two plates in the
'
Views of Rome '. The fourth volume would be remarkable were it only for the
series illustrating the Mausoleum of Hadrian, but it contains in addition
some fine plates of bridges, the Ponte Fabrizio (pi. XVI), and the Ponte Ferrato
(pi. XXI) being as good as any of the bridge subjects in the Views of Rome '
'.

Splendid views of bridges also appeared in the 'Campus Martius' of 1762,

e. g. the Pons Mollis (pi. XXXIX), and the Pons Aelius {Ponte S. Angela)
(pi. XLIV), while the same work contains several other attractive views, e. g. the
Island in the Tiber (pL XI), the Arch of Marcus Aurelius (pi. XXXVI), and
the Rudera Viae Flaminiae (pi. XXXVIII), and one of the most successful of
his exteriors of the Pantheon (pi. XXIII). Plate VI of the series Descrizione
e Disegtw delP Emissario del Lago Albano, 1764, is remarkable for the
splendour and depth of its massing of light and shade, and plate XXII of the
Antichita d' Albano of the same date, 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, pi.
LXXIV). This comes nearest to the best plates of the Paestum series
last plate
in the impressiveness of its massing and composition, while its figures show all
the characteristic life, Callotesque in its vivid fantasy, which is chiefly remarkable
by its absence in the Paestum engravings.
The volume entitled Della Magnificeiiza ed Architettura de' Romani of 1761
is chiefly devoted to details of architectural construction, and there is only here

and there a chance view, e.g. the Temple at Agrigentum (pi. XXII), in addition
to the technical illustrations. In relation to Piranesi's illustration of antiquities,
and as some point de dipart for testing his faithfulness as an archaeologist, I was
referred by the late Mr. Walter Spiers to two originals in the Soane Museum,

reproduced in the Vasi, Candelabri, &c. of 1778. The first, a Roman lamp,
 NOTES ON PIRANESrS WORK 19

reproduced on pi. IX, is somewhat freely treated in the second, a sarcophagus

;

(pi. V, on the left), Piranesi is fairly faithful to the details of the original, only
he emphasizes the stems of the flowers in the ornament on the front, and the lid
is The latter fact can, I think, only be
entirely different in its ornamentation.
explained by the been
lid
having changed since Piranesi etched the sarcophagus,
as the difference of ornament is complete, not a matter of careless copying.
The last great his life was the series of large oblong plates illus-
work of
trating the Temple at Paestum, entitled Diffirentes vties des quelques Restes de
trois grands Edifices qui subsistent encore dans le milieu de I anciennc Ville de

Pesto, and published in 1778. The papal imprimatur was dated 15th September
1778, two months before Piranesi's death. There is nothing of greater dignity of
composition in his whole work, but in details of execution, notably in the figures,
it falls below his standard. I think this is largely due to the
co-operation of
his son Francesco. The Frontispiece and pis. XIX and XX are signed by
Francesco, and I suspect that he had a fair part in many of the remainder. The
original drawings of fifteen of the plates (nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, i^,
14, 16, 17) are in the Soane Museum, all in the same direction as the prints,

except no. 2, which is in reverse.^ Their frames are now labelled G. B. Piranesi
and F. Piranesi (the latteron 2, 4, 12 and 16), while the Inventory of 1837 only
cites one (impossible to identify) as F. Piranesi. There is no apparent authority
for the labels, but it is possible that the entries in the Inventory go back to a contem-

porary tradition.^ Apart from tradition, and in contrast with undoubted drawings by
Giovanni Battista, one would be inclined to attribute the whole series to Francesco.
But the architecture in both drawings and etchings is thoroughly worthy of Gio-
vanni Battista, and the title-page, and signature Cav. Piranesi f. on most of the
plates, seem too explicit to admit of doubt of the father's authorship. But in both
series the staffage has none of the characteristic style, the vivid and fantastic
touch that one notes in almost all the etchings and drawings before this work.
The figures are in fact coarsely drawn in broad outlines with nothing of the
significance that one is accustomed to find in Giovanni Battista's work. These
coarse and awkwardly drawn figures are far more in the manner of those one

meets in signed work by Francesco, e. g. pi. I of the Raccolta de' Tempi Antichi

(1780), the architectural parts of this plate, as well as in the plates

Moreover, in

he signed in the Paestum series, Francesco showed that he was capable of work
practically on the same level as the rest of the Paestum series attributed
to his
father. In his work, e.g. most of the large plates of the AntiqiMs de
much later

Pompeia (1804, &c.), Francesco has developed an infinitely broader and coarser
manner. He imitates the breadth and vigour of his father's Carceri, adds a
'
No. 6 is reproduced in the Burlington Magazine, Jan. 1914.
=
Soane, who was in Rome 1778-80, is said to have received the drawings as a gift from
Francesco.
C 2
 so NOTES ON PIRANESrS WORK
ruthless, almost brutal strength of line, without ever showing one whit of his
father's genius for significant line and concentration of design. Here, again, we
are met by a difficulty. This series of the Antiqiiith de Pompeia is described
on the title-page as based on drawings by Giovanni Battista. two large Now
drawings, undoubtedly related to this work, which have been attributed to
G. B. Piranesi, in the British Museum, a View of a Street in Pompeii, similar
to pi. VIII of the Antiquith de Pompeia (no. 1020 in the Paris edition of Firmin-
Didot),' and a View of the Temple of Isis, Pompeii, show the same coarse
drawing of the figures seen in the Paestum drawings, with an even exaggerated
rudeness of line. The second drawing is not engraved, and the first only
corresponds roughly to one of Francesco's plates, but, granting that they were
originals done for this work, are we to follow the title-page and regard them as
by Giovanni Battista 1 My instinct is to attribute these, and the Paestum.
drawings as well, to Francesco, but there is of course the extreme difficulty of
meeting Francesco's definite assertion to the contrary. One can hardly imagine
him disclaiming parentage of his own work, especially when so good as the
Paestum. There is one later example, a double plate entitled Dimostrazione
dell' Emissario del Lago Fucino (ed. Firmin-Didot, nos. 1024 and 1025), in which
the inscriptions show that G. B. Piranesi designed and etched the plate which
was then finished in engraving by Francesco. It is, of course, possible that the
father may thus have done slighter sketches of Paestum, which Francesco elaborated
into their final form, and that the actual work on the plates themselves may have
been shared, as in the Lago Fticino. If one is not content with some such

complex theory, with its opposition to documentary evidence, one is driven to

admit a remarkable deterioration in the artistic quality of Giovanni Battista's
drawings in his latest years.
In addition to the complete set of twenty-one plates, the Print Room of the
British Museum acquired in 19 14 from Messrs. B. T. Batsford an impression of
a rejected plate of the same subject as no. 12, which is as far as I know unique
(reproduced below, pi. LXXIV). There is an empty cartouche, prepared for
lettering, in the centre of the lower margin. The point of view is slightly
different, and the further columns fall throughout in a different perspective to the
foreground series. The on the right are two peasants
figures are also difTerent :

in place of the peasant with a horse two figures of the artists, one of whom is
;

drawing, in the foreground in place of the three men with a dog while the ;

peasant seated against the column towards the left does not appear. Although
of the same dimensions as the published plate, careful examination shows that it
is a different plate, and not the same copper reworked. The general impression
is a somewhat weaker relation of the foreground columns to the background
(which could have been improved by rebiting), but in general it seems as well
*
Reproduced in Burlington Magazine, Jan. 191 4.
 NOTES ON PIRANESI'S WORK ar

etched and composed as the published state, and the figures in the centre fore-
ground are more spirited. It is difficult to see why it was laid aside.
The Paestum among the few examples known to me of finished
series are

drawings which from their size might have been used in transfer.
for the plates,
In his early work there was a large number of rapid pen sketches, which can be
identified in many cases as studies for his etchings, but they are not engraver's
drawings in the same sense as those of Paestum are. In his early imaginative
work such as the '
Prisons ', with their extraordinary freedom of style, one would
expect that Piranesi etched direct on the plate without the intermediate aid of any
transfer drawing. In the case of the more formal designs of the Opere Varie,
and the more accurate topographical plates, it is almost inconceivable that he
could have dispensed entirely with transfer drawings, but their absence might be
explained by Piranesi havingthrown them aside when their purpose was fulfilled.
The British Museum has one large study for no. 39 of the Vedute (the Viezv of
the Capitol from the Side). It is in the same direction as the print, and vigor-

ously drawn in red chalk (over a lighter sketch in black chalk) and touched with
sepia. There is also in the Museum another large black chalk drawing, squared
for transfer, of a fragment of the Roman aqueducts, showing a detached double

arch, withkey stones representing the heads of Artemis and Hera, in the fore-
ground. and probably later work than the Capitol drawing,
It is less vigorous,
and possibly a study for another Vedttta not carried out on the copper. Then
there are five large red chalk drawings of Hadrian's Villa (probably intended
as finished drawings for the etchings) in the collection of Mr. Percy B. Tubbs,
two having been used, with modifications and in reverse, in the Vedute di Roma
(nos. 93 and 94), the others not having been carried out.^ They are not actual
transfer drawings, but they at least show that careful preparatory studies were
made. They lack the fire of G. B. Piranesi's early work (e.g. of the study for the
Capitol just mentioned), but if not by his hand, they are so immediately inspired
by him, that they either be reproductions of lost drawings, or the work of
must
Francesco Piranesi, who at the period of the Hadrian's Villa plates (1768-70)
must have been devilling But on the whole I think their style fits
for his father.

development of G. B. Piranesi's work.

in with one's estimate of the

Unfortunately there are no proofs of his plates in such unfinished state as

to betray his method of work. The early states known, e. g. of the Views '

of Rome are already completed subjects. They do at least show that a light
'

pure etching was the groundwork of his plates, but leave us in the dark as to
how he mapped out his subject on the plate before etching.
One would expect with so prolific an etcher as Piranesi that his drawings
would be even more numerous than his plates. No doubt they were, but he
'
See Grahame B. Tubbs, Architectural Review, May 1922, and correspondence, June and
July. See also note under No. 56 of the Vedute.
23 NOTES ON PIRANESrS WORK
probably regarded his rapid sketches as of little permanent value, so that com-
paratively few have been preserved. The largest collection known to me is that
of the British Museum, and the majority of the Museum drawings (forty-six out
of a total of fifty-two), from the collection of the Dr. John Gott, Bishop of
Truro, were only acquired in 1908. Then in addition to the Paestum series
there are two others in the Soane Museum in the volumes of Adam's studies,^

vigorous architectural inventions reminiscent of elements both of the Carceri

and Opere Varied
And the National Gallery of Scotland possesses three extremely fine
examples, one a study in the manner of the Carceri, and two more formal designs
nearly related to the first of the architectural inventions of the Opere Varie?

Apart from these Museums I can only refer, as far as English collections are

concerned, to a few fine examples belonging to Mr. William Bateson, Mr. Henry
Oppenheimer, and Mr. George A. Simonson.*
As regards foreign museums, the Kunsthalle at Hamburg has a few drawings,
e. g. a small study for pi. 8 of the Carceri (in reverse to the etching), and

a Carnival scene somewhat in the manner of Guard! or Tiepolo. Both are

reproduced on pi. 6% of Dr. Giesecke's book on Piranesi. And there is a fine
drawing of classical buildings at Frankfort reproduced in Handzeichnungen alter
Meister im Stddelscken Knnstinstitut, xi. 3.
The public galleries of Rome and Florence apparently possess none of his
drawings, and the same is true of Berlin, Vienna, Dresden, Paris, Brussels,
Stockholm, and Amsterdam, if we except one poor example at Paris. Perhaps
more drawings will come to light some day in private collections, and dispel the
illusion of their rarity."
Several of the Museum drawings have been reproduced by the Vasari
Society (v. 14, 15, vi. 15, 16, vii. 15, viii. 11, 12, 13, x. la). Most of the series
are of the early period, and many more or less closely related to subjects in the
Opere Varie and Carceri. They are all in pen and sepia, sometimes over red
chalk, and with sepia or Indian ink wash. The majority are extraordinarily
brilliantand rapid in manner, but here and there are architectural designs of
precise penmanship, which might have been regarded as by another hand were
Adam drawings, vol. xxvi, pi. 163, and volume entitled ' Miscellaneous Drawings and
'

Sketches by Robert Adam and others '.

'
The one more allied to the Car^-m reproduced in the Burlington Magazine, Jan. 1914.
'
Two reproduced in the Burlington Magazine, May 191 1. The third was exhibited in
Rome in 1911 (there is a reproduction in Sir Robert Witi's collection).
*
A splendid drawing in Mr. Simonson's collection is of the same style as the British Museum
Temple of Victory ', and two of the Edinburgh examples. A reproduction is in Sir Robert
'

Witt's collection.
•
Since writing the above I have heard of half a dozen drawings in the collection of Prince
W. Argoutinsky-Do'goroukofF, Paris.
 NOTES ON PIRANESrS WORK »3

it not for undoubted sketches on the reverse of the same sheets. In this broader
manner, I would mention a study in sepia and
fine 1 1 of the
red chalk for pi.
Carceri, another similar study in sepia and red chalk of half a span of a bridge,
and most dignified of all, an Architectural Desigti with broad flights of steps
leading under two round arches (Vasari Soc. v. 14).
A
small oblong sheet containing three studies of the interior of the Pantheon,
with border lines spacing each composition, is probably related to the small
interior of the Pantheon that appears in vol. i of the Antichitd Romane. There is
another much
larger study used in the Antichitd Romane, i. e. for the frontispiece
of vol. ii of this work {Antiquus Bivii Viarum Appiae et Ardeatinae
(pi. 2)
It is in the same direction as the print, and drawn in red chalk and
Prospectus).
sepia wash in Piranesi's most vigorous manner.
A study in a softer manner that recalls the tranquil atmosphere of Hubert
Robert (Vasari Soc. vi. 16), and an allegorical drawing of Two Skeletons, in
the style of Tiepolo, might without further evidence have been ascribed to those
masters, but there is not sufficient reason to doubt the old attribution to
Piranesi.^
One of the lai^est and most complete of the drawings in the British Museum
is a Design for a Temple of Victory^ again after the style of some of the Opere
Varie. The figures are drawn in a manner that almost rivals Rembrandt in its
masterly vigour.
Another with something of the reserved strength of Canaletto, but far more
vigorous both in line and chiaroscuro, is a darkly shaded drawing of a Courtyard
seen through an arch, presented to the British Museum by Mr. H. S. Ashbee
in 1900.
In his genius for brilliant effects of light and shade Piranesi has few rivals
among his contemporaries except Tiepolo, whose rare architectural studies

(e. g. one in the British Museum

and others in the collections of Mr. Ricketts
and Mr. Shannon, Mr. Henry Oppenheimer, Mr. G. Bellingham Smith and
Mr. William Bateson) are so vivid and convincing in their massing and design.
The extraordinary dash and vitality of touch seen in Piranesi's best drawings,
and equally, if not in heightened intensity, in such etchings as the Carceri, give
him every title to be called the Rembrandt of Architecture.
^
Collectors should be reminded that an architectural draughtsman whose drawings are
surprisingly near Piranesi in style is Domenico Fossati (Venice, 1743-84), of whom there are
examples in the British Museum and Sir Robert Witt's collection. Another draughtsman of
real distinction and power of chiaroscuro in treatment of architecture, and worthy to be

compared with Piranesi, is Mauro Tesi (1730-66). Two of his drawings in the Royal Institute
of British Architects are reproduced at p. 60 in Sir Reginald Blomfield's Architectural
Drawing and Draughtsmen (London, 1 912).
'
Reproduced in the Burlington Magazine, Jan. 1914.
 III. CATALOGUE OF THE 'PRISONS'
The States of Piranesi's Carceri fall under two main divisions.
I. The edition
published by Bouchard with title beginning Inveuzioni Caprk
di Carceri.
II. The edition published by Piranesi himself with title beginning Carceri
dInvenzione.
Bouchard's edition contains fourteen unnumbered plates, and is known in two
issues :

With name spelt Buzard on title-page.

{a)
(b) With name altered to Bouchard.
The other plates of these two issues are unchanged, so that it is simplest to
speak of Bouchard's two issues as the first edition, and Piranesi's as the second,
rather than to make a second edition of Bouchard's issue with altered title-page-
Two plates were added in Piranesi's edition (pi. 2 and 5), and the plates
numbered I-XVI. The lightly etched plates of Bouchard's edition were gener-
ally reworked and darkened, and in most cases altered very considerably in
details of composition. For further details see below, and pp. ia-14 and 81.
The letter F after the title of each plate refers to Focillon's Catalogue.

THE CARCERI.
1. TITLE-PLATE. F. 24.
Interior of a prison with a barred window in lower 1.
foreground, surmounted by a slab
bearing the title to the series ; a staircase is seen in two flights under an arch on the r. ;
a wooden bridge passes diagonally across the upper r. corner of plate ; a grotesque figure
of aman sprawling on the cornice above the title ; a heavy wooden beam projecting over
the title upwards from the left.

[2iixi6|.]
I. Title : Invemioni \ Caprk di Carceri all acqua forte tlatte in luce da Giovani Buzard
\ \ \ \

in Roma Mercante
1 \
al Corso. Before signature and number. Light in tone throughout.
Rome (Accademia di S. Luca). Dresden. Boston. Manchester (John Rylands
Library).
IL Title altered to : Invenzioni \ capric di Carceri \
alP acqua forte \
dattein luce \
da Giovani \

Bouchard in Roma Mercante al Corso.

\ \

B.M. SOANE. Paris. Munich. Blomfield. Charrington. Oxford (Ashmolean).

III. Title altered to: Carceri cF Invenzione di G. Battista Piranesi Archit.
\
\
Vene.
\ \ \

Numbered I upper 1.
Signed below towards 1. : Piranesi F. Strong lines framing the subject
added near plate line ;
a new bridge introduced across the centre foreground ; machines or
 NOTES AND CATALOGUE 25

emblems of torture added, i. e. a spiked wheel in lower foreground, a horizontal spiked beam
near the centre of and heavy chains in lower 1. comer the
left border ; ; galleries and arches in
the background also changed, and the plate generally darkened.
IV. Additional number, 349 above towards centre. Ed. Firmin-Didot, Paris.

a. AN ARCHITECTURAL MEDLEY, WITH A MAN ON THE RACK IN THE

FOREGROUND. UPRIGHT. F. 25.

[22|xi6|.] Signed lower r. margin: Firanesi F., and address in centre of margin:
Presso I'Aulore a Sirada Felice vicino alia Trinita de' Monti. Fogli Sedici, al prezzo di paoli
venti.

A series of Roman arches meeting in a central pier ; through the arches 1. and r. are seen

various colonnaded buildings, one on the 1. with pediment being surmounted by a battle-
mented mediaeval tower ; the lower part of plate, in the foreground, is filled with a medley
of architectural remains, with sculptured reliefs ; a crowd of spectators on a wooden gallery
near centre of r.
margin watches the torture of the man on the rack with excited gestures.

I. As described. Numbered II upper r.

II. Additional number 350 upper r. Ed. Firmin-Didot, Paris.

This plate did not appear in Bouchard's editions.

3.A VAULTED BUILDING WITH A STAIRCASE LEADING ROUND A

CENTRAL COLUMN WITH BARRED WINDOW IN THE CENTRE. UP-
RIGHT. F. 26.

[2I|XI6J.]
I. Before signature and number. Light in tone throughout. Rome (Acc. di S. Luca).
Dresden. Boston. Manchester. B.M. Soane. Munich. Oxford (Ashmolean).
Blomfield. Charrington.
II. Signed in lower Piranesi F. Numbered III upper 1. The plate darkened throughout by
1.:

additional shading a triangular erection of beams added at foot of lowest flight of stairs ;
;

scaffolding added on cornice just above centre of r. margin.

III. Additional number 351 towards upper r. Ed. Firmin-Didot, Paris.

4. A LOFTY ARCH, WITH VISTA ON TO AN ARCADE SURMOUNTED BY

A FRIEZE. UPRIGHT. F. 27.
The subject framed in a darkly shaded arch built of massive stones from which hangs a
lamp on a long rope ; two other ropes attached to a beam above are brought in a curve to
the left side of the arch ;
a broad flight of steps leads beyond to the arcade of which part of
two round arches are visible;beyond the arcade a Colonnade (like Bernini's before
St. Peter's,
Rome).
[2I|XI6|.]
I. As Before signature and number. Light in tone throughout. Rome (Act di
described.
5. Dresden. Boston. Manchester. B.M. Soane. Paris. Munich. Oxford
Luca).
(Ashmolean). Blomfield. Charrington.
26 THE PRISONS'
«

II. Signed in lower r. margin : Piranesi F. Numbered IV upper r. Strong lines framing the
subject added near margin ; a further arch added above the arcade
in background, cutting

off a three-cornered space of sky at upper r. of arch in foreground ; various machines of torture

added, e-g. a wheel 1., and spiked beams and heavy chains foreground r. ; 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). Generally darkened in tone.
III. Additional number, 352, towards upper r. Ed. Firmin-Didot, Paris.

5.A PERSPECTIVE OF ROMAN ARCHES, WITH TWO LIONS CARVED IN

RELIEF ON STONE SLABS IN THE FOREGROUND. UPRIGHT. F. 28.
C2 2iXl6J.]
I. Signed, lower r. : Piranesi F.
II. Additional number, 353, towards upper r. Ed. Firmin-Didot, Paris.

This plate did not appear in Bouchard's editions.

6.A PERSPECTIVE OF ARCHES, WITH A SMOKING FIRE IN THE

CENTRE. UPRIGHT. F. 29.
Interior of a huge building with light entering from the left ; 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 ; narrower flights of stairs
lead high up beyond two further arches in the background.

[2I|X15|]
I. Before signature and number. Lighter in tone throughout. ROME (ACC. DI S. LuCa)
Dresden. Boston. Manchester. B.M. Soane. S.K. Paris. Munich. Blomfield.
Charrington.
II. Signed, lower 1. :/"«>•«««; /% Numbered VI upper r. Generally darkened in tone. Five
large posts, shaped like the shells of heavy guns, added in the foreground ; spiked beams
against the post nearest to r. ; two ladders added, one beneath the arch in foreground, the
other against the pier 1. ; a beam from which hang pulley and ropes, now projects from the
centre of the foremost arch; the arch itself is surmounted by a railing, and further beams and
figures are added about the smoking fire.
III. Additional number, 354, upper r. Ed. Firmin-Didot, Paris.

7.AN IMMENSE INTERIOR. WITH NUMEROUS WOODEN GALLERIES,

AND A DRAWBRIDGE IN THE CENTRE. UPRIGHT. F. 30.
[2i| X 1 6 J.] Signed, lower 1. : Piranesif.
I. Before number. Light in tone throughout. ROME (Acc. DI S. Loca). Dresden. Boston.
Manchester. B.M. Soane. S.K. Paris. Munich. Blomfield. Charrington.
II. Numbered VII upper L Strong lines framing the subject added near plate mark the ;

plate darkened throughout with additional shading and new work. large wooden bridge, on A
two wooden piers, rising from the top of the lowest flight of stairs, added across the centre of the
plate; heavy beam and a chain added in lower I. ; the number of wooden galleries radiating
from the top of the column in upper r. of plate increased from three to six.
III. Additional number, 355, upper 1. Ed. Firmin-Didot, Paris.
 NOTES AND CATALOGUE a;

8. A VAST INTERIOR, WITH TROPHIES AT THE FOOT OF A BROAD

STAIRCASE AND TWO LARGE FLAGS ON THE LEFT. UPRIGHT. F. 31.

Two groups of four figures each in the foreground ;

one figure at top of first flight of
stairs above the trophies.
I. Before signature and number. Light in tone throughout. ROME (Acc. Di S. Luca)
Dresden. Boston. Manchester. B.M. Soane. Munich. Blomfield. Charrington,
II. Signed lower Piranesi F. Numbered VIII upper r. Darkened throughout in tone by
1. :

added shading and new work. Series of arches and wooden staircases added in upper part of
plate and further vistas opened up ; over twenty figures, generally standing in couples, added at
various places on the galleries in addition to those mentioned above; a heavily shaded cornice of
stone added in lower 1. foreground, also a post like the shell of a heavy gun with chains attached,
and two beams to the r. of the foremost group of four figures.
III. Additional number, 356, towards upper r. Ed. Firmin-Didot, Paris.

9.A PRISON DOOR, SURMOUNTED BY A COLOSSAL WHEEL-SHAPED

OPENING, CROSSED BY BEAMS. UPRIGHT. F. 32.
[2i|xi6.] Signed, lower 1. : Piranesi f.
I. Before number. Light in tone throughout. Rome (Acc. di S. Luca). Dresden. Boston.
Manchester B.M. Soane. S.K. Oxford (Ashmolean). Munich. Blomfield.
Charrington.
II. Numbered IX upper 1. ;
additional shading and new work darkening the tone through-
out ;
beams in the shape of a gallows added in lower 1. comer.
III. Additional number, 357, in upper r. Ed. Firmin-Didot, Paris.

10.A VAST GALLERY, WITH ROUND ARCHES AND A GROUP OF

PRISONERS ON A PROJECTING STONE IN THE FOREGROUND. OBLONG.
F. 33-

[i6| X 2ii.] Signed, lower 1. :

Piranesi/.
I. Before number. Rome (Acc. Di S. LuCA). Dresden. Boston.
Lighter in tone throughout.
Manchester. B.M. Soane. Munich. Blomfield. Charkington.
11. Numbered X upper r. Added shading and new work, generally darkening the tone. Large
beams in the form of a gallows, with heavy chains attached, added in lower r. a further ;

wooden gallery added connecting the galleries of the upper r. hand portion of the building with
the central gallery above, beneath the main arch.
III. Additional number, 358, towards upper r. Ed. Firmin-Didot, Paris.

A SERIES OF GALLERIES WITH ROUND ARCHES AND A CRANE-

II.

LIKE ERECTION OF BEAMS IN THE RIGHT FOREGROUND. OBLONG.

F. 34-

[l6X2l|.]
I. Before signature and number. Light in tone throughout. Rome (Acc. di S. Luca).
Dresden. Boston. Manchester. B.M. Soane. S.K. Munich. Blomfield.
Charrington.
a8 THE 'PRISONS'
II. Signed, lower 1. : Piranesi F. Numbered XI above towards r. Added shading work, and
generally darkening the subject. 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 ; further
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. foreground, 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
;

cornice in the stonework upper 1.

III. Additional niunber, 359, towards upper r. Ed. Firmin-Didot, Paris.

la. AN ARCHED CHAMBER WITH LOWER ARCHES SURMOUNTED BY

POSTS AND CHAINS. STRONG LIGHT ENTERING FROM THE RIGHT
HAND. OBLONG. F. 35.

[i6JX2i^.] Signed, lower 1. :

/'/>a««j'^
I. Before number. Light tone throughout.
in ROME (Acc. Di S. Luca). Dresden.
Boston. Manchester. B.M. Soane. S.K. Paris. Munich. Oxford (Ashmolean).
Blomfield. Charrington.
II. Numbered XII upper r. Additional shading and work darkening the plate throughout.
The erection of beams (in shape of vaulting horse) in lower r. foreground which before had a
flat top, is now covered with five spikes spikes are also added on the post in lower r. comer.
;

III. Additional number, 360, in upper r. Ed. Firmin-Didot, Paris.

13. COLONNADED INTERIOR WITH A BROAD STAIRCASE DIVIDED IN

TWO BY A STONE PROJECTION WITH BARRED WINDOW. OBLONG.
F. 36.

[i6x 21^.] Signed, lower r. :

Piranesi/.
I. Before number. Light in tone throughout. Rome (Acc. di S. Luca). Dresden. Boston.
Manchester. B.M. Soane. S.K. Oxford (Ashmolean). Munich. Blomfield.
Charrington.
II. Numbered XIII upper r. Several series of arches opening up further vistas added at the
top of the staircase on either side of central column ; and ladder now rests against the wall in
left foreground : the top of a door added in the stone face in lower r. corner various cross ;

beams added near the roof (e.g. the large beam extending from centre to r. upper comer is now

joined to the roof with four upright beams a corona chandelier (?) now hangs from the large
;

beam near upper r.

III. Additional number, 361, below the large cross beam to r. of centre above. Ed. Firmin-
Didot, Paris.

14. A PERSPECTIVE OF COLONNADES WITH ZIG-ZAG STAIRCASE, AND

TWO FIGURES ON ARCH OVERLOOKING THE CENTRAL FLIGHT.
OBLONG. F. 37.

[l6JX2li.]
I. Before signature and number. Lighter in tone throughout. Rome (Acc. di S. Luca).
Dresden. Boston. Manchester. B.M. Soane. S.K. Paris. Munich. Blomfield.
Charrington.
 NOTES AND CATALOGUE 29
II. Signed, below towards 1. : Piranesi F. Numbered XIV upper r. Strong lines ruled round
the subject near plate line. The short beam which sloped upwards from lower r. comer is now
fitted with spikes another beam holding a lamp projects from near the middle of r. margin
; ;

further galleries with wooden railings added, e. g. between the two main arches on the right
side of plate, and a series of arches and galleries now opened up beyond these main arches.
III. Additional number, 362, at top of the arch-like pier to r. of centre. Ed. Firmin-Didot,
Paris.

ROUND ARCHES SPRINGING FROM A SQUARE COLUMN, ORNA-

15.
MENTED WITH THE HEADS OF GIANTS WITH RINGS IN THEIR
MOUTHS. OBLONG. F, 38.

[i6|x 21^.] Signed (from second stite onwards), below, towards 1.: Piranesi F.

I. Before signature and number. Light in tone throughout. Rome (Acc. di S. Luca).
Dresden. Boston. Manchester. B.M. Soane. S.K. Paris. Munich. Blomfield.
Charrington.
II. Signed lower 1. Piranesi F. Numbered
: XV upper I. Additional shading and new work,
darkening the plate throughout ;
various wooden galleries and staircases added between the
arches, and further vistas of smaller arches opened up r. and 1. of the central pier, with figures
(generally in pairs) at various points the slab at foot of central pier, vacant in
;
first state (except
for indefinite shading) now contains a relief with figures.

III. Additional number, 363, in the spandril of foremost arch near centre above. Ed. Firmin-
Didot, Paris.

16. A WIDE HALL WITH LOW TIMBERED ROOF IN THE FOREGROUND

FROM WHICH HANGS A LANTERN. OBLONG. F. 39.
[I5|X2I^.]
I. Before signature and number. Light in tone throughout. At head of first flight of stairs
a round arch surmounted by a gallery which is connected by a broad ladder with the wooden
gallery in upper foreground. Rome (Acc. di S. Luca). Dresden. Boston. Manchester.
B.M. Soane. Oxford (Ashmolean). Paris. Munich. Blomfield. Charrington.
II. Signed lower r. : Piranesi F. Numbered XVI lower r. Additional shading and new work,
darkening the plate throughout. The background entirely changed a monument : added in
is

the centre (in place of the suspended lamp in I) with two sculptured heads in niches and bearing
the inscription IMPIEITATI ET MALIS ARTIBVS
| |
behind the
|
; monument a round
column with slab containing inscription AD TERROREM INCRESCEN AVDACIAE i | [ ;

another round column further r. encircled with figures in relief and inscribed at top INFAME
SCELVSS I
Rl. INFELICI. SVSFE
I
A fluted column with Doric
| |
.

capital added 1. of the monument heavy beams and chains added in various places (e.g. in
:

immediate foreground lower 1.) and a complex series of new arches, and staircases opening
further vistas in the background.

III. Additional number, 364, towards upper centre. Ed. Firmin-Didot, Paris.
 IV. CATALOGUE OF THE 'VIEWS OF ROME'
INTRODUCTORY NOTES.
I. The Catalogue is arranged in the chronological order of Piranesi's

engraved Catalogue.
3. The English title given is not a mere translation of the Italian title. In
antiquities attempts to give an accurate designation according to recent research.
it

The Italian title is also quoted, and the Index, taken primarily from the correct
title,gives cross-references from the erroneous titles. Unless otherwise described
the title is engraved in the lower margin.
3. The number immediately
following the English title is that of the printed
Catalogue of 179a (Rome), classified according to subject. It is in this classifi-
cation and order that posthumous editions generally appear. The second
number preceded by letter F refers to Focillon's catalogue.
The date that follows is taken from the Catalogue of 1793, with notes of

query where these appear to be erroneous.

4. Dimensions of plate given in inches.
Note. With regard
to sizes of the plates, it may be noted that the early

plates up 59 (1760) average a smaller size than the later (i.e. about
to no.

15 X 21 inches, only very seldom reaching the size of 17 x 37) from no. 60 (1761)
;

the size 18 x 27 occasionally occurs, while after no. 95 (1770) this largest size
18x27 becomes the most usual. This may occasionally be a guide in deciding
which is the earlier of two plates of the same subject, not sufficiently distinguished
in the old lists.

5. The signature is always quoted where it appears.

6. The references to addresses and prices are quoted in shortened form as
on opposite page.
7. The references to collections will be explained by the section above, p. ix.
The quotation of one or two collections does not necessarily imply the rarity of
a particular state, but is given as some definite documentation of the state
described. I have not referred in the catalogue to impressions in dealers' hands

except in an occasional example of an early state not known to me in a public or

private collection, though I have cited one or two rare volumes or series in the
trade, in my List of Piranesi's Published Works.
 INTRODUCTORY NOTES 3'

Reference.
3a THE 'VIEWS OF ROME'
rebiting, e.g. no. i8. Possibly nos. 4, 8, 58 and 59 may also show varieties
biting, but I have not recorded these
heavier as the differences
before and after
are difficult to define exactly.
On laid paper, often rather thinner than B (2) and (3),
In general the thinner
and perhaps some apparent differences may
paper is harder and less absorbent,
be in the impression and dependent on the quality of paper and the way it takes
the ink rather than on re-biting.
Watermark no. i.
B. M. TUBBS. The rare editions with title-page Lc Magnificenze di Roma,
1 751. (SoANE, Blomfield, Charrington, Leicester Galleries.)
of Bouchard or Bouchard e Gravier
'

(2) With address

' '
'.

In this state the plates are sometimes rebitten and darkened, with or without
added work.
On thick laid paper.
Watermarks nos. 2 and 3.
Davie s.
Other impressions of this edition in the COTSWOLD Gallery (1922).

(3) With Piranesi's address and price.

Under this heading should be included impressions taken during G. B.
Piranesi's lifetime of plates which never bore Piranesi's address or price.
In this state the plates are generally rebitten and darkened, with or without
added work.
In various subjects a further subdivision of this state is found :

(a) before rebiting and added

work. E. g. B.M.L. and Tubes. Rare.

\b) With
rebiting and added work. B.M.L., King's, &c.
Onthick laid paper.
Watermarks nos. 3 and 4 (the latter only very occasionally). 3 {b) is the

ordinary state in which good impressions are met with. From C onwards im-
pressions show a gradual deterioration in quality.

C. Posthumous Roman Editions.

I.e. printed after G. B. Piranesi's death in 1778.
Price erased, i.e. on plates 1-59, 60, 61, 64, 66, 68, 69, 70.
In some cases rebiting, where this had not occurred earlier.
Some plates bear reference nos. in Arabic numerals (distinguishing class of
subject, i. e.temples, bridges, &c.) and in Roman numerals (distinguishing several
versions of one subject) corresponding to the printed Catalogue, Rome, 1792.
In a considerable number of the plates where address and price never occur,
there is no difference between B and C.
Laid paper.
Watermarks nos. 4, 5, and 6.
 INTRODUCTORY NOTES 33

D. First Paris Edition, 1800-7.

Issued by Francesco and Pietro Piranesi.

many cases the plates are still in the same state as in C, though further
In
research will probably reveal additional distinctions of rework, &c. The plates
correspond to C in being before the numbers of the Paris Catalogue of 1800.
Impressions noted in the Lansdowne collection in the Victoria and Albert Museum
have watermark, no. 7, which is a French paper, but editions may also have been
made up with remainder of impressions printed at Rome. Both the S.K. and
Lansdowne series are bound with bluish-green marbled paper sides, and thick
green backs the binder's label being in each case Tessier, of Rue de la Harpe,
;

Paris. The same binding and label occur in a set of this first Paris edition from
Cassiobury, lot no. 161, in a sale at Hodgson's, a4th May 1922 (purchased by
Messrs. Myers & Co., 59 High Holbom, W.C).
S.K. Lansdowne.

E. Intermediate Paris Editions (between 1807 and 1835).

Withfresh numeration, Arabic numbers neatly engraved, generally in upper or
lower giving running nos. 1-68 for vol. i and 1-69 for vol. ii, corresponding to
r.,

the printed catalogue, Paris 1800. The order of this catalogue differs from that
of 179a in the insertion of Francesco's plate originally no. 137 as no. loi {^^
in vol. ii) so that nos. loa to
137 (i.e. 34-69 vol. ii) correspond to original nos.
101-136.
Laid paper.
Watermark no. 8.
S.K.L.

F. Edition of Firmin-Didot, Paris, 1835-9.

Additional running numbers 683-831.
The plates and probably the remainder of the edition were bought from Firmin-
Didot freres by the Camera Apostolica in 1839, and transferred to the Calcografia
Camerale.
The B.M. Library with Firmin-D idot's title-pages (dated 1835-9)
set in the
and Italian text, was presented to the Museum by the Papal Government in
1865. The binding bears the arms of Pope Pius IX (Pope 1846-78), and many
of the plates bear one or other of the several blind stamps used by the Calcografia
Camerale. It is on white wove paper, and in very large folio size.
Modern impressions continued to be printed from the plates by the Calco-

grafia Camerale^ which since 1870 has been the Regia Calcografia, so that the
difference of stamp with one or the other title gives some rough idea of the date
of modern impressions.
34 THE 'VIEWS OF ROME'

9. WATERMARKS.

Key to the Plate of VVatennarks

with references to the preceding section on states.

1. Generally in thinner laid paper than nos. 2 and 3. Noted in early states before Piranesi's
address and price [B (i)].

2. In thick laid paper. Noted in states with Bouchard's address [B (2)].

3. Generally in very thick laid paper. Noted in states with Bouchard's address [B (2)],
and in states with Piranesi's address and price [B (3)] and contemporary issues of plates
which never bore address or price. The custom of framing marks within a circle appears to
have been chiefly if not exclusively Italian, so that all the three fleurs-de-lys quoted (nos. I-3)
almost certainly indicate Italian papers. See J. Guiffrey and P. Ma.rct\,Inveniaire Giniral des
Dessins du Louvre, i
(1907), p. 132, no. 30.

4. In laid paper. Noted in a few impressions of state B (2), and in Posthumous Roman
impressions [C].

5. In laid paper. Noted in Posthumous Roman impressions [C].

6. In laid paper. Noted in Posthumous Roman impression [C].

7. In laid paper. Also occurs in modified and larger form, without the mark of quality
(Fin). A
French paper (T. Dupuy, Auvergne), noted in ist Paris edition, 1800-7 [D].
Similar marks (but not of this maker) are reproduced in J. Guiffrey and P. Marcel,
Inventaire Giniral des Dessins du Louvre, icole Franfaise, vol. i. 1907, p. 134, No. 25, and
vol. ii, 1908, pp. 130 ff.. No. 58, 67, 57, 68, 60, 48, 47. Another Dupuy is cited in M. Cohendy,
Notes sur la Papeterie d'' Auvergne, M^moires de I'Acad^mie de Clermond-Ferrand, 1862,
p. 197. 1742 does not denote the date of manufacture, but the date required by the government
as indication of conformity to certain regulations of 1739 (see J. Guiffrey and P. Marcel, vol. ii.

p. 129, No. 19).

8. In laid paper. Intermediate Paris edition, between 1807-183S [E].

 PLATE I

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PIRANESI S ENGRAVED CATALOGUE OF HIS OWN WORKS. ABOUT 1

779
FROM AN IMPRESSION IN THE SOANE MUSEUM
SEE P. 6, EDITION NO. 12
 INTRODUCTORY NOTES 35

CLASSIFIED LIST OF THE 'VIEWS OF ROME '

from the Printed Catalogue, Rome 1792

(See p. 5, above)
with Cross References to numbers in the present Catalogue.

Vol. XXI. Vues de Rome par le Chev. Jean Baptiste, comme cy aprfes k deux
in fol. faites

Paules & demi I'une Scavoir toutte la collection est planches 137 pour plus grande commodity
:

des amateurs, on a marqud en chifre k la fin de chaque vu^ I'annde qu'elle €%.€ publi^e.
£cus 34.
3« THE 'VIEWS OF ROME'
{continued) .
 INTRODUCTORY NOTES 37

(continued) :
 'VIEWS OF ROME'
I. TITLE-PAGE. i. F. 719. 1748.
Title on
large slab of stone : Vedute di Roma disegnate ed incise da Giambattisla Piranesi
ArchiUtlo Ve ziano. . .

[15^ X 2i|.] Signed, lower r.

margin : Piranesi tnu. scol.

I. Before address. Soane, Blomfield, Charrington (Magnificenze). B.M. Chats-

worth. Tubes.
II. Address: Bouchard. Davies.
III. Address and price: Autore, Palazzo Tomati. Paoli 2j. B.M.L. B.M.L., KING'S.
Tubes.
IV. Price erased. Soane. Tuebs. ist Paris Ed. Intermed. Paris Ed.
V. Number 682 upper r. Ed. Firmin-Didot, Paris.

a. FRONTISPIECE, WITH STATUE OF MINERVA. 69. F. 786.

[About 1748?]
[19^ X 24^.] Signed, lower r. margin : Piranesi inuenlS, incise in Roma.
I. Before address. Before added work on corner of building in upper r. background (e. g. the
lowest cornice halfway down print is chiefly shaded with vertical lines). SoANE, Blomfield,
Zv-KKKi^GTan {Magnificenze). B.M. Chatsworth. Davies. Tuebs. B.M.L., King's (in
two pieces, in the Opere Varie).
II.Address lower 1. margin: Bouchard e Gravier. B.M.L. fm two pieces, in the Opere Varie),
III.Address and price Autore, Palazzo Tomati. Paoli 2\. B.M.L.
:

IV. Work added on building described (e.g. cross lines indicating creeper at place cited).
B.M.L., King's.
V. Price erased. Soane. From this state onwards as frontispiece of Vol. II. 1st Paris Ed.
VI. Number I upper r. Intermed. Paris Ed.
VII. Number 753 above towards r. Ed. Firmin-Didot, Paris.

Used in posthumous editions as frontispiece to Volume II. This subject was also used
in two pieces (making single upright folios) printed from the masked plate, in editions of
the Opere Varie di Archiletlura.

3. ST. PETER'S, WITH FORECOURT AND COLONNADES. FOUNTAIN IN

FOREGROUND. 3. F. 787. 1748.
Title : Veduta delta Basilica, e Piazza de S. Pietro in Vaticano.
[i 5| X 3
1\?\ Signed, lower r.
margin : Piranesi del. scol.

I. Before address. Before strengthening of shading (e.g. end of portico r. and 1. corners of
house in extreme r. foreground in same tone as the rest). Soane, Blomfield, Charrington
(Magnificenze). B.M. CHATSWORTH. TUBBS.
II. Shading on the house greatly strengthened triangle of light on ground to L of r. wheel
:

of chariot, second from 1., flattened by added lines of shading, making a continuous line
of light behind the three men in the foreground. TUBBS.
 CATALOGUE 39
III. Address: Bouchard e Gravier. Davies.
IV. Address and price :
Autore, Palazzo Tomati. Paoli z\. B.M.L. B.M.L., King's.
Tubes.
V. Price erased. B.M. Soane. Tubes, ist Paris Ed.
VI. Number 3 upper r. margin. Intermed. Paris Ed.
VII. Additional number 687 upper r. Ed. Firmin-Didot, Paris.

4. ST. PETER'S, INTERIOR WITH THE NAVE. 5. F. 788. 1748.

Title : Veduta interna delta Basilica di S. Pietro in Vaiicano.

[16 X 23^.] Signed, 1.

margin : Piranesifecit.

I. Before Address. Soane, Blomfield, Charrington {Magnificenze).

B.M. Tubes.
II. Address: Bouchard e Gravier.
Davies.
Wl. PAAxi.%%^nA'^r\c^: Autore, Palazzo Tomati. Paoli i\. B.M. B.M.L B.M.L., King's.
Tubes.
IV. Price erased. Soane. Tubes, ist Paris Ed.
V. Number 5 lower r. margin. Intermed. Paris Ed.
VI. Additional number 689 towards upper r. Ed. Firmin-Didot, Paris.

5. ST. PETER'S, FROM THE PIAZZA DELLA SAGRESTIA. 7. F. 789. 1748.

Title : Veduta dell' Esterno della gran Basilica di S. Pietro in VaticanoS

[15I X 23|.] Signed, r.

margin : Piranesi Architetto fee.

I. Before address. The garden wall extreme r. is shaded only with verticals. SoANE,
Blomfield, Charrington {Magnificenze). B.M. Tubes.
II. Address: Bouchard e Gravier. Davies.
III. Address and price Autore, Palazzo Tomati. Paoli i\. B.M.L.
:

IV. Irregular series of horizontal lines added on shading of wall. B.M.L., King's. Tubes.
V. Price erased. Soane. Tubes, ist Paris Ed.
VI. Number 7 upper r. Intermed. Paris Ed.
VII. Additional number 691 upper r. Ed, Firmin-Didot, Paris.

6. S. PAOLO FUORI LE MURA 8. F. 733. 1748.

Title : Veduta della Basilica di S. Paolo fitor delle mura-
[l5iX24|.]
I. Before address, signed, lower
I. Piranesi F. Reference no. 5 is i^mm. from cornice of
:

architecture. Tubes.
II. Address Bouchard e Gravier. Davies.
:

III. Address and price Autore, Palazzo Tomati. Paoli aj. B.M.L.
:

IV. Signature lower 1. and address and price erased. Now signed Piranesi F. lower r. margin
(where price had stood). Reference no. 5 is now 15 mm. from cornice. B.M. B.M.L., King's.
Tubes.
V. Numbers 2. I. and 8. II. added lower r. margin. Soane. Tubes. 1st Paris Ed.
V. Another 8 added lower r. margin. Intermed. Paris Ed.
VI. Additional number 692 towards upper r. Ed. Firmin-Didot, Paris.
 40 THE 'VIEWS OF ROME'
7. S. PAOLO FUORI LE MURA. INTERIOR. 9. F. 792. 1749.
Title :
Spaccalo interno della Basilica di S. Paolo fuori dtlk mura.
[16J X 24.] Signed, lower r. margin ;
Piratusifecit.

I. Before address : Soane, Blom FIELD, Charrington (Magnificenxe). B.M. TUBBS.

II. Address: Bouchard e Gravier. Davies.
III. Address and price: Autore, Palazso Tomati. PaoH i\. B.M.L. B.M.L., KING'S.
Tubes.
IV. Price erased. B.M.
V. Numbers 2 II lower r. margin, and 9 lower r. (1. of signature). Soane. Tubbs. 1st

Paris Ed.
VI. Additional number 9 upper r. margin. Intermed. Paris Ed.
VII. Number 693 added upper r. Ed. Firmin-Didot, Paris.

GIOVANNI IN LATERANO, MAIN FACADE, WITH PALACE AND SCALA

8. S.

SANTA ON THE RIGHT. 10. F. 790. 1749.

Title : Vtduta della Basilica di S. Giovanni Laterano.

[15JX 21^.] Signed, lower r.

margin : Piranesi del. Scol.

I. Before address. and on balustrade, foreground 1. Soane, Blomfield,

Less work in sky,
Charrington (Magnificenze). B.M. Chatsworth. Tubes.
II. Address: Bouchard. Added work darkening clouds in sky, and darkening the balustrade.
Davies.
III. Address and price: Autore, Palazzo Tomati. PaoH 2^. B.M. B.M.L. B.M.L., King's.
Tubes.
IV. Price erased. Soane. ist Paris Ed.
V. Numbers 10 lower r. margin 694 upper r. Intermed. Paris Ed.
VI. Number 694 added upper r. Ed. Firmin-Didot, Paris.

MARIA MAGGIORE WITH THE COLUMN FROM THE BASILICA OF

9. S.
CONSTANTINE IN THE FOREGROUND. 15. F. 791. 1749.
Title : Veduta della Basilica di 6''" Maria Maggiore con le due Fabbriche laterali di delta
Basilica.

[15I X 2i|.] Signed, lower r. margin : IHranesi del. Scol.

I.Before address. Before added work in sky. Foreground lightly bitten. The face of
smaller fountain at front of base of column shaded in regular horizontals with a piece of darker
shading 1. Soane, Blomfield, Charrington {Magnificenze). B.M. Chatsworth.
Tubes.
II. Address: Bouchard e Gravier. Added work in sky. Foreground darker. Two series
of short horizontal lines added face of fountain, making two vertical streaks of shadow.
Davies.
III. Addxtss and prict: Autore, Palazzo Tomati. Paoli 2^. B.M. B.M.L. B.M.L., King's.
Tubes.
IV. Price erased. B.M. Soane. Tubes, ist Paris Ed.
V. Number 15 lower r. margin. Intermed. Paris Ed.
VI. Number 699 added r. towards the top. Ed. Firmin-Didot, Paris.
 CATALOGUE •
41

10. S. MARIA MAGGIORE WITH THE OBELISK IN THE PIAZZA DELL'

ESQUILINO. 17. F. 727. 1742 (misprint or error for 1749?).

Title : Veduia della Facciata di dietro della Basilica di S. Maria Maggiore.

[i5|x 24|.] Signed, lower r.
margin: Giov. Baltista Piranesi Archiietto dis. ed inc.

I. Address: Bouchard e Gravier. Davies.

11. Address and price: Autore, Strada Felice. Paoli B.M. B.M.L. B.M.L., King's.
zj.
SOANE (with 2. III. added in manuscript). TUBBS.
III. Price erased. Tubbs. ist Paris Ed.
IV. Number 17 lower r. margin. Intermed. Paris Ed.
V. Number 701 added towards upper r. Ed. Firmin-Didot, Paris.

II. S. CROCE IN GERUSALEMME. 18. F. 729. 1750.

Title : Veduia della Facciata della Basilica di S. Croce in Gerusalenime.

[15I X 24.] Signed, lower r.

margin : Giovafi Battista Piranesi Archiietto dis. ed inc.

I.Address: Bouchard e Gravier. Davies.

U. Address and pnct Autore, Palazzo Tomaii. Paoli
:
2^. B.M. B.M.L. B.M.L., King's.
SOANE. Tubes.
III. More heavily bitten, e.g. much darker patches of shadow lower 1.
foreground, and
irregularities in wall near r. margin. Tubes.
IV. Price erased, ist Paris Ed.
V. Number 18 lower r. margin. Intermed. Paris Ed.
VI. Number 702 added upper r. Ed. Firmin-Didot, Paris.

12. S. LORENZA FUORI LE MURA. 19. F. 730. 1750.

Title on scroll in centre below Veduta della Basilica di S. Lorenzo fuor
: delle mura,
[14I X 25|.] Signed, to r. of scroll Piranesi F.
:

I. Davies. B.M.L.
Before address.
II. Address and price Autore, Paoli 2j. B.M. B.M.L., KING'S.
: SOANE. TUBES.
III. Price erased. B.M. Tubes, ist Paris Ed.
IV. Number 19 on scroll r. Intermed. Paris Ed.
V. Number 703 upper r. Ed. Firmin-Didot, Paris.

13. S. SEBASTIANO. 20. F. 731. 1750.

Title in cartouche lower 1.: Veduta della Basilica di S- Sehastiano fuor i delle mura di Roma,
su la via Appia.

[i6f X 26.] Signed, in centre of subject below : Piranesi F.

I. Before numbers. B.M. B.M.L., King's. Soane. Tubes.
II. Numbers 20 in cartouche, II towards r. Tubes. 1st Paris Ed.
III. Additional number 20 upper r. Intermed. Paris Ed.
IV. Number 704 added upper r. Ed. Firmin-Didot, Paris.

14. THE PIAZZA DEL POPOLO. 22. F. 794. 1750.

Title : Veduia della Piazza del Popolo.

[15I X 2 if.] No signature.

1. Before address. Soane, Blomfield, Charrington (Magnificenge). B.M, Chats-
woRTH. Tubes.
43 THE 'VIEWS OF ROME'
II. Address Bouchard e Gravier. The foreground 1. more heavily bitten. Davies.
:

III. Address and price: Autore, Strada Felice. Paoli 2j. B.M.L. B.M.L., King's. Tubbs.
IV. Price erased. B.M, Soane.
V. Number 4 lower r. Tubes. 1st Paris Ed.
VI. Number 22 upper margin.
r. Intermed. Paris Ed.
VII. Number 706 towards upper r. Ed. Firmin-Didot, Paris.

THE PIAZZA DEL QUIRINALE, WITH THE STATUES OF THE HORSE

15.
TAMERS IN SIDE VIEW. 24. F. 808. 1750.
Title : Veduta della Piazza di Monte Cavallo,

[
1
5j X 2
if.] Signed, in lower r.
margin : Piranesi del. el sculp.

I. Before address. Before lettering on bases of the statues. SoANE, Blomfield, Char-
RiNGTON {Magnificenze). B.M. Chatsworth.
Tubbs.
II. Address: Bouchard. Inscriptions Opus Phidiae and Opus Praxi added on bases of the
statues. Davies.
III. Address and price Autore, Strada : Felice. Paoli 2^. B.M.L.
IV. More deeply bitten, e. g. the 1. face of base of front Horse Tamer, which was of one tone,
now shows stronger pieces of shadow beneath the cornice, and shadow from the creeper
hanging over the cornice. B.M. B.M.L., King's. Tubbs. Soane (with 4 I added in
manuscript).
V. Price erased. Numbers 24 lower r. margin, ist. Paris Ed. Intermed. Paris Ed.
VI. Number 708 upper r. Ed. Firmin-Didot, Paris.

16. THE PIAZZA NAVONA, WITH S. AGNESE ON THE RIGHT. 28.

F. 806. 1751.
Title : Veduta di Piazza Navona sopra le rovine del Circa Agonale.

[i6X2i-J.] Signed, lower r. margin : /•?>•«««; (/,»/. jr. (from State II onwards),
I. Before all lettering. Chatsworth.
II. Lettering and signature added but before address. SOANE, BLOMFIELD, Charrington
(Magnificenze). B.M. CHATSWORTH. Tubbs.
III. Address: Bouchard e Gravier. Added lines of shading on 1. (e.g. series of lighter lines
between the main lines of shading on the ground in shadow of buildings 1.). Davies.
IV. Address and price: Autore, Palazzo Tomati. Paoli 2J. B.M.L. B.M.L., King's.
Tubbs (one impression with 4 I added in manuscript).
V. Price erased. B.M. Soane (with 4 I added in manuscript), ist Paris Ed.
VI. Number 28 lower r. margin. Intermed. Paris Ed. Ed. Firmin-Didot, Paris.

The plate is 7 1 2 in the Ed. Firmin-Didot, but the number does not appear on the
plate.

17. THE PIAZZA DELLA ROTONDA, WITH THE PANTHEON AND OBELISK.
27. F. 796. I76I-
Title : Veduta della Piazza della Rolonda,

[16 X 2
if.] Signed, lower r.
margin : Piranesi del. sc.

I. Before address. Soane, Blomfield, Charrington {Magnificenze). B.M. Chats-

worth. Tubbs.
II. Address: Bouchard e Gravier. Davies.
III. Address and price Autore, Palazzo Tomati. Paoli
: 2J. B.M.L.
 CATALOGUE 43

IV. Shading strengthened, e.g. adding variety in ground lower 1. foreground. Also dannage
making a blot like a horizontal rift in roof towards r. of shed in foreground. B.M.L.,
to plate,
King's. Soane (with 4 added on manuscript). Tubbs.
V. Price erased. B.M. Tubes, ist Paris Ed.
VI. Number 27 lower r. margin. Inteimed. Paris Ed.
VII. Number 711 upper r. Ed. Firmin-Didot, Paris.

18. THE PIAZZA DI SPAGNA. 23. F. 79 1750.

Title : Veduta di Piazza di Spagna.
[15^ X 23|.] Signed, lower r. margin : Piranesi Architetto fee .

I. Before address. The

shading on ground along lower border are of one regular tone.
lines of
The r. face of gallery on roof of house 1. of steps shaded by dots or flecks only. Soane,
Blomfield, Charrington (Magnijicense). Tubes.
II. The lines of shading along lower border rebitten, adding strips of dark shadow, and

triangular piece of shadow to r. of the two gentlemen conversing near 1. comer of plate.
B.M. Tubes.
III. Address Bouchard e Gravier. Vertical lines of shading added between the dots, and
:

darker shading beneath the eaves of house described. Davies.

IV. Address and price: Autore, Palazzo Tomati. Paoli z\. B.M.L. B.M.L., King's.
Tubes.
V. Price erased. B.M.
VI. Numbers, 23 (centre), IV (r.) added in margin. SOANE. Tubbs. Ist Paris Ed.
VII. Additional number 23 upper r. Intermed. Paris Ed.
VIII. Number 707 upper r. Ed. Firmin-Didot, Paris.

19. THE FONTANA DI TREVI. Side View. 33. F. 797. 1751.

Title : Vedula della vasta Fontana di Trevi aniicamenk detla tAcqua Vergine.

[15! X 21^.] Signed, lower r. margin : Piranesi del. scalp.

I. Before address. The statue of Neptune in central niche has his arms at his side ;
the statue
in front niche (left facing the fountain) is a male figure with r. arm extended. SOANE,
Blomfield, Charrington {Magnificenze). B.M. Chatsworth. Tubes.
II. Address : lines of shading near wheels of the carriage 1., and in several
Bouchard. Added
places along foreground. Patch of cloud near upper r. somewhat darkened with a few added
lines giving irregular emphasis to shadows. Davies.
III. Address and price: Autore, Palazzo Tomati. Paoli 2\. The statue of Neptune now has
his r. arm extended ;
the statue in front niche is changed into a female figure of Plenty with
1. crossing body, and holding cornucopia
arm ;
the horses' wings drawn with more character.
B.M.L. B.M.L., King's. Tubes.
IV. Rebiting and added lines (e. g. a triangle of dark shadow on ground between the man
leaning over basket and the two monks in foreground towards r.). Tubes. Soane.
V. Price erased, ist Paris Ed.
VI. Number 33 upper r. Intermed. Paris Ed.
VII. Number 717 upper r. Ed. Firmin-Didot, Paris.
An original letter by G. B. Piranesi to Robert Myine, dated 11 Nov. 1760, preserved
in the Library of the Royal Institute of British Architects,' speaks of the statues

*
See Rudolf Dircks, The Library and Collection of the R.I.B.A. Journal of the R.I.B.A.,
December 4, 1920.
44 THE 'VIEWS OF ROME'
and bas-reliefs of the Fountain being at the time in the course of execution, and the third
state of the etching, which was probably issued soon after that date, shows the monument
with statues as they now appear. Piranesi's small etching of the fountain in the Varie
Vedule of 1748 shows the side niches vacant. Then we have the first state of the present
etching, but I have been unable to find out whether this shows the statues as they appeared
in 1751, or whether Piranesi's design was based on models never carried out, or altered
about 1760. Nicolb Salvi was engaged on the erection of the monument between 1735
and 1762,' the statue of Neptune being by Pietro Bracci.

20. THE FONTANA DELL' ACQUA FELICE. 35. F. 735. 1751.

Title in scroll in centre below : Veduta del Castello deW Acqua Felice.

[iSi X 26|.] Signed, in work lower r. : Piranesi F.

I. Davies.
Before address.
II. Address and price: /i«/<7r^. /'a«)/2 2j. B.M. B.M.L. B.M.L., KING'S. TUBBS.
III. Price erased. Soane. Tubes, ist Paris Ed.
IV. Numbers, 35 upper r. margin. Intermed. Paris Ed.
V. Number 719 upper r. Ed. Firmin-Didot, Paris.

21. THE FONTANA DELL' ACQUA PAOLA. 36. F. 736. 1751.

Title on scroll lower 1. : Veduta del Castello deW Acqua Paola stil Monte Aureo.
[i 5| X 24|.] Signed, lower 1. of scroll : G. B. Piranesi Architelto.

I.Address: Bouchard e Gravier. Davies.

II.Address and price: Autore, strada Felice. Paoli z\. B.M. B.M.L. B.M.L., King's.
Soane. Tubbs.
III. Price erased. B.M. Tubes. 1st Paris Ed.
IV. Number 36 upper r. Intermed. Paris Ed.
V. Number 720 upper r. Ed. Firmin-Didot, Paris.

22. THE PALAZZO DELL A CON SULTA. 38. F. 737. 1729(1749?)

Title : Veduta del Palazzo /abbricato sul Quirinale per le
Segreterie de Brevi e della Sacra

Consulta.

[15I X 24|.] Signed, lower r. margin : Gio. Battista Piranesi Architetto dis. e incise.

I.Address : Bouchard e Gravier. Davies.

II.Address and price: Autore, Palazzo Tomati. Paoli 2\. B.M. B.M.L. B.M.L., KING'S.
Tubes.
III. Added work in sky (dark horizontals near upper border). B.M.
IV. Price erased. Soane. Tubes. 1st Paris Ed.
V. Number 38 lower r. margin. Intermed. Paris Ed.
VI. Number 722 towards r. above. Ed. Firmin-Didot, Paris.

Now the Ministry of Foreign Affairs.

'
For notes on the Fountain, and on studies for it, see Hermann Voss, JahriucA der Preuss.
Kunstsammlungen xxxi, p. 124.
 CATALOGUE 45

23. THE PALAZZO DI MONTE CITORIO. 39. F. 738. 1752.

Title Veduta della gran Curia Innocenziana edificata sulk rovine
: dell' Anfiteatro di Statilin
Tatiro, cheformano todierno Monte Citorio.

[15I X 24|-.] Signed, lower 1. : Piranesi F.

I. Address and price Autore, Palazzo Tomati. Paoli i\. B.M.
: B.M.L. B.M.L., King'?.
SoANE. Davies. Tubes.
II. Price erased. 1st Paris Ed.
III. Number 39 upper r. Intermed. Paris Ed.
IV. Number 723 added towards upper r. Ed. Firrain-Didot, Paris.

Now the Chamber of Deputies.

24. THE PALAZZO DELL' ACCADEMIA DI FRAN CIA (THE PALAZZO

SALVIATI). 40. F, 739. 1752
Title :
Vedtita, nella Via del Corso, del Palazzo delt Accademia isliluila da Lutgi XIII, Re
di Francia.

[15! X 2 4 J.] Signed, lower r. : Gio. Batla. Piranesi Architetlo dis. e inc.

I. Address: Bouchard e Gravier. Davies.

II. Address and price: Autore, Palazzo Tomati. Paoli i\. B.M. B.M.L. B.M.L., KING'S.
Tubes.
III. Price erased. Heavy rebiting (e.g. the glass of window 1. shows much darker against the
bars). SoANE. Tubes, ist Paris Ed.
IV. Number 40 lower r. margin. Intermed. Paris Ed.
V. Number 724 upper r. Ed. Firmin-Didot, Paris.
The Palazzo Salviati was occupied by the French Academy of Art between 1725 and 1800.

25. THE PALAZZO BARBERINI. 42. F. 740.

1729 (misprint for 1749?)
Title : Veduta ml Monte Quirinale del Palazzo delt Eccellentissima Casa Barberini. Archi-
tettura del Cav'^ Bernino.

[i5|x 24|-.] Signed, lower 1. : Piranesifece.

I. DAVIES.
Before address.
II.Address and price: Autore, Palazzo Tomati. Paoli i\. B.M. B.M.L. B.M.L., King's.
Tubes.
III. Price erased. More heavily bitten. Soane. ist Paris Ed.
IV. Number 42 upper r. margin. Intermed. Paris Ed.
V. Number 726 upper r. Ed. Firmin-Didot, Paris.

26. THE PALAZZO ODESCALCHI. 43. F. 741. 1753.

Title : Veduta del Palazzo Odescalchi.

[15I X 24|.] Signed, lower r. : Gio. Bait. Piranesi Arch. F.

I. Address Bouchard e Gravier. Davies.

:

II. Address and price: Autore, Palazzo Tomati. Paoli 2J. B.M. B.M.L. B.M.L. King's,
Tubes.
III. Price erased. Numbered 6 lower r. margin. Soane. Tubes. 1st Paris Ed.
IV. Number 43 upper r. Intermed. Paris Ed.
V. Number 727 added upper r. Ed. Firmin-Didot, Paris.
46 THE 'VIEWS OF ROME'
37. THE HARBOUR AND QUAY, CALLED THE RIPA GRANDE. 51.
F- 742- 1753
Title : Vedula del Porto di Ripa Grande.
[15I X 24|-] Signed, lower r. : G. B. Piratusi ArchUetto fee.

I. Address : Bouchard t Gravier.

With barge in centre of canal loaded high with timber, and
mast crossing the building numbered i. Davies.
•with its

II. Address and price Autore, Palazzo Tomati. Paoli 2\. B.M.L. TuBBS.
:

III. The barge cited removed from the plate, leaving a large space of open water. B.M.
B.M.L., King's. Soane. Tubes.
IV. Price erased. TUBBS. 1st Paris Ed.
V. Number 51 lower r. margin. Intermed. Paris Ed.
VI. Number 735 towards r. above. Ed. Firmin-Didot, Paris.

88. THE S.MALLER HARBOUR, CALLED THE PORTO DI RIPETTA. 50.

F. 814. 1753.
Title : Vedula del Porto di Ripetta.

[i5-Jx 23f.] Signed, lower r. : Piranesi ArchUetto fee.

I. Before address. Soane, Blomfield, Charrington (Magnificenze). B.M. Tubes.

II. Lines of shading added to give reflections beneath large boat with barrels in foreground.
Tubes.
III. Address: Bouchard e Gravier. Davies.
IV. Address and price : Autore, Palazzo Tomati. Paoli 2J. B.M.L. B.M.L., King's. Tubbs.
V. Price erased. Soane (with 9 added in MS. lower r. margin).
VI. Numbers, 50 lower r., IX lower 1. Tubes, ist Paris Ed.
VII. Additional number 50 upper r. Intermed. Paris Ed.
VIII. Number 734 towards upper r. Ed. Firmin-Didot, Paris.

No longer in existence, part of the site being taken up by the Ponte Cavour.

ag. THE PONTE AND CASTEL S. ANGELO. 52. F, 793. 1754.

Title : Vedula del Ponte e Castello Sant' Angela.

[14^ X 22^'] Signed, lower r. : Piranesi ArchUetto fee.

I. Before address. Soane, Blomfield, Charrington {Magnificenze). B.M. Tubes.

II. Address and price Autore, Palazzo Tomati. Paoli 2\. B.M.L. Davies.
:

III. Rebiting on shadows in foreground and on house foreground 1. (e.g. strong lines of shadow
beneath the eaves). B.M.L. King's. Tubes.
IV. Price erased. SoANE. Tubes. 1st Paris Ed.

V. Number 52 upper r. Intermed. Paris Ed.

VI. Number 736 upper r. Ed. Firmin-Didot, Paris.

30. THE CASTEL S. ANGELO. 53. F. 743. 1754.

Title: Veduia del Mausoleo cC Elio Adriano {era chiamaio Castello S. Angela) ntlla parte

opposta alia Facciata denlro al Castello.

[17J X 21^.] Signed, lower r. : Piranesi Arehit. dis. et inc.

I. Address and price towards 1. : Autore, Strada Felice. Paoli zj. B.M. B.M.L. B.M.L.,
King's. Davies. Tubes.
 CATALOGUE 47

II. Price erased. B.M. Soane. Tubes, ist Paris Ed.

III. Number 53 lower r. margin. Intermed. Paris Ed.
IV. Number 737 towards upper r. Ed. Firmin-Didot, Paris.

31. THE PONTE SALARIO. 55 F. 744. 1754.

Title as above.

[15^x24 J.] Signed, lower r. : Gio. BaUa. Piranesi F,

I. Address: Bouchard e Gravier. Davies.
II. Address and price: Autore, Palazzo Tomati. Paoli z\. B.M. B.M.L. B.M.L., King's
Soane. Tubes.
III. Price erased. B.M. I st Paris Ed.
IV. Number 55 lower r. margin. Intermed. Paris Ed.
V. Number 739 in centre towards r. Ed. Firmin-Didot. Paris.

No longer exists in this form. It was blown up in 1867.

3a. THE HADRIANEUM (ONCE USED AS A CUSTOM HOUSE) IN THE

PIAZZA DI PIETRA. 26. F. 821. i753-
Title on separate plate : Veduta della Dogana di Terra a Piazza di Pietra.

[Subject plate i5^X 23^; Title plate i|x 23I.] Signed, r. of title
plate: Piranesi Archi-
ietto/ec.

I. Before address. Soane (Magnificenze). B.M. TUBES.

II. Address: Bouchard e Gravier. Added work darkening the sky: also creeper added on
roof and side of house 1. Davies.
III. Additssa.nd price :
Auiore,Pa/azzo Tomati. Pao/i2l. B.M.L. B.M. L., King's. Tubes.
IV. Price erased. B.M. SoANE. ist Paris Ed.
V. Number 26 upper r. margin. Intermed. Paris Ed.
VI. Number 710 towards upper r. ; T. xvi. T. 710 lower r. of title plate. Ed. Firmin-Didot.
Paris.

Now the Bourse.

33. THE THEATRE OF MARCELLUS. loi. F. 818. 1757

Title : Teairo di Marcello.

[15I X 2
1^.] Signed, lower r. : Piranesi Architeito fee.

I. Before address. Soane, Blomfield, Charrington (Magnificenze).

B.M. Tubes.
II. Address: Bouchard Davies.e Gravier.
\\l. AAArtss&ndprict: Autore, Palazzo Tomati. Paoli2\. B.M. B.M.L. B.M.L., King's.
Tubes.
IV. Rebiting in foreground adding triangle of shadow behind the man leaning forward in centre
foreground. Soane.
V. Price erased. B.M. Tubes, ist Paris Ed.
VI. Number 34 upper r. Intermed. Paris Ed.
VII. Number 786 upper r. Ed. Firmin-Didot, Paris.

34. THE FONTANA DELL' ACQUA GIULIA. 47. F. 822. 1753.

[i5|x 23I.] Signed, lower r. : Piranesi Architettofec.
I. Tht title htgins :// Castei dell' Acgua Marcia .. SOAHE (Magni/icenze). B.M. Tubes.
.

II. Title altered to : Veduta dell' avanzo del Castello, che prendendo una porzione del' Acgua
 48 THE 'VIEWS OF ROME'
Giulia dalCondotto principale parte ne diffbndeva in una magnifica fontana che gli era aderente,
e decorata da M. Agrippa fragli altri omatnenti de' Trofei cT Augusta. Address Bouchard :

e Gravier. Added work darkening the clouds. Davies.

III. Address and price :
Autore, Palazzo Tomati. Paoli z\. B.M. B.M.L. B.M.L., King's.
SOANE (with 8 in MS. lower r.). TUBBS. 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),
e.g. B.M.L., King's.
IV. Price erased. Numbered viii. 47, lower r. margin. Tubes, ist Paris Ed. It also appears
' '
in this state in the later edition of the Trofei with the engraved title-page.
V. Additional number 47 upper r. Intermed. Paris Ed.
VI. Number 731 upper r. Ed. Firmin-Didot, Paris.

Formerly decorated with the so-called Trophies of Marius, now on the balustrade of the
Capitol.

THE PYRAMID OF CAIUS

35. CESTIUS, WITH THE PORTA S. PAOLO
AND ADJOINING ROAD. no. F. 810. 1755.
Title : Veduta del Sepolcro di Cajo Cestio.

[16 X 2 1
J.] Signed, lower r. Piranesi del.
: inc.

I. Before address. The foreground bears no inscription, and its apex is 3^^ inch from upper
margin of plate. SOANE, Blomfield, Charrington (Magnificenze). B.M. Chatsworth.
Tubes.
II. Address: Bouchard e Gravier. Darker lines of shading (horizontal) added in sky along
upper border, and the pyramid newly etched on a larger scale and with inscriptions on its
r. side. Its apex is now only I J inches from upper margin of plate. Davies.
III. Address and price Autore, Palazzo Tomati. Paoli 7,\. B.M.L. B.M.L., King's. Tubbs.
:

IV. Price erased. Numbers, 26 I lower 1., no lower r. margin. SOANE. TUEBS. ist Paris Ed.
V. Number 43 upper r. Intermed. Paris Ed.
VI. Number 795 upper r. Ed. Firmin-Didot, Paris.
Both this and the following are taken from inside the walls.
I have reversed the order of Nos. 35 and 36 as given in my List in the Burlington

Magazine, Feb., 1914. Neither the engraved catalogues nor the printed catalogues of 1792
and 1800 give any definite clue, but the order now given corresponds to the numbering
on State IV of present plate, and on both the plates in the edition of Firmin-Didot.

36. THE PYRAMID OF CAIUS CESTIUS. in. F. 745. .

1756.
Title (on scroll lower r.) : Piramide di C. Cestio.

[15JX 21.] Signed, lower r. ; Piranesi F.

\. kAdifi%: Autore. B.M. B.M.L. B.M.L., King's. Soane. Tubbs. 1st Paris Ed.
II. Number 44 upper r. Intermed. Paris Ed.
III. Number 796 upper r. Ed. Firmin-Didot, Paris.

37. S. COSTANZA (ERRONEOUSLY CALLED TEMPLE OF BACCHUS). 21.

F. 811. 1756.

[i6Jx2i^.] ^\^tA,\a<fitr\.: Piranesi Architetto fee.

I. Title :
Tempio di Bacco. Before address. Soane, Blomfield, Charrington {Magni-
ficenze). B.M. Tubbs.
 CATALOGUE 49

Veduta interna del Sepolcro di S. Costanza, fabbricato da Costantino

II. Title altered to :

Magna, ed erroneamente delta il tempio di Bacco, inoggi Chiesa delta medesima Santa.
Address Bouchard. Rebiting adding irregular shadow on floor in foreground near margin.
:

Davies.
III.hiAxtm Autore, Strada Felice. Paoli 2\. B.M. B.M.L. B.M.L., King's.
IV. Price erased. Numbers added near centre of lower margin, 3 to 1., 21 to r. SOANE.
Tubes, Ed.
ist Paris
V. Additional number 21 upper r. margin. Intermed. Paris Ed.
VI. Number 705 towards lower r. Ed. Firmin-Didot, Paris.

38. THE CAPITOL AND THE STEPS OF S. MARIA IN ARACOELI. 75.

F. 807. 1775 (error for 1757 ?).

Title : Veduta del Romano Campidoglio con scalinata che va alia Chiesa d' Araceli.

[i5f X 2i|.] Signed, lower r. : Piranesi del. scol.

I. Before address. Soane, Blomfield, Charrington {Magnificenze). B.M. Chats-

worth. Tubes.
II. Address and price: Autore, Palazzo Tomati. Paoli 2\. Further lines of shading (e.g.
making two tones in shadow in immediate foreground 1. by the two dogs), and rebiting (e.g. on
and around the wa//'«<j/a). B.M.L. B.M.L. King's. Davies.
III. Price erased. Numbers 15 III lower r. margin. SOANE. Tubes, ist Paris Ed.
IV. Number 7 upper r. Intermed. Paris Ed.
V. Number 759 upper r. Ed. Firmin-Didot, Paris.

39. THE CAPITOL, SEEN FROM THE SIDE OF THE CENTRAL STEPS.
77. F. 747. 1775 (error for 1757?).
Title (on scroll towards r.)
: Vedula del Campidoglio di Fianco.

[16 X 265.] Signed, in work towards lower r. : Piranesi F.

I. Before address. Comer

of building along r. margin of plate reaches within ^\ in. of top of
plate ;
around
irregular cloudsthe trophy in centre. Cotswold Gallery (1922).
II. Address: Autore. B.M. B.M.L. Davies. Tubes.
III. The comerof building along r. margin erased, except for 5 in. at the foot the sky lighter, ;

e.g. the cloudsaround trophy cleared away. B.M. B.M.L., King's. Tubes.
IV. Heavy lines of shading added in foreground, e.g. heavy series of parallel horizontals on lower
part of fragment of stonework just above 1. corner of scroll. B.M. B.M.L., King's. Tubbs.
Soane. ist Paris Ed.
V. Number 9 upper r. margin. Intermed. Paris Ed.
VI. Number 761 upper r. margin. Ed. Firmin-Didot, Paris.

An original study for this plate in the same direction is in the British Museum. It is
vigorously drawn in red chalk (over light initial sketch in black chalk) with touches of sepia.
It shows the corner of building on the right as in State I.

40.THE FORUM ROMANUM, OR CAMPO VACCINO, FROM THE CAPITOL,

WITH THE ARCH OF SEPTIMIUS SEVERUS IN THE FOREGROUND L.,
E
50 THE 'VIEWS OF ROME"
TEMPLE OF VESPASIAN R., AND THE COLOSSEUM IN THE DISTANCE.
78. F. 803. 1775 (error for 1757 ?).

Title : Veduia di Campo Vaccino.

[16X2 1 J.] Signed, lower r. : Piramsi del. scolp.

I. Before address. SOANE, Blomfield, Charrington (Magnificenze). B.M.

Chatsworth. Tubes.
II. Address : Bouchard e Gravier. Davies.
\\\. PiM.xiiii^XiA^x\cf. Autore, Palazzo Tomati. Paoli2\. B.M. B.M.L. B.M.L., KING'S.
Tubes.
IV. Price erased.Numbers 16 (1.) and 78 (r.) lower margin. SOANE. TuBBS 1st Paris Ed.
V. Number 10 upper r. margin. Intermed. Paris Ed.
VI. Number 762 towards r. Ed. Firmin-Didot, Paris.

41. A CORNER OF THE FORUM ROMANUM, WITH THE TEMPLE OF

CASTOR AND POLLUX, AND S. MARIA LIBERATRICE IN FOREGROUND
L., S. TEODORO IN MIDDLE DISTANCE, AND MONTE AVENTINO IN
THE DISTANCE. 83. F. 801. 1756.
Title : Veduia del Sito, ov' era I antico Foro Romano.

[14I X 23|.] Signed, lower r. : Piranesi Architetlofec.

I. Before address. SoANE, Blomfield, Charrington {Magnificenze). B.M. Tubes.
II. Address: Bouchard e Gravier. Davies.
III. Address and price: ^/^/('r^. Pae/izJ. B.M.L. B.M.L., King's. Tubes.
IV. Rebiting, and added lines, e. g. smaller lines added between the regular vertical shading at

top of the pilasters on fagade of church, giving small patches of shadow. Tubes. Soane.
V. Price erased, ist Paris Ed.
VI. Number 15 upper r. Intermed. Paris Ed.
VII. Number 767 above towards r. Ed. Firmin-Didot, Paris.

The three columns of the Temple of Castor and Pollux are described by Piranesi as of
the Temple of Giove Statore. The church of S. Maria Liberatrice is no longer in
existence.

42. THE FORUM OF AUGUSTUS (ERRONEOUSLY CALLED FORUM OF

NERVA). 95. F. 749. 1757-
Title : Veduia degli Avami del Foro di Nerva.

[15I X 24|.] Signed, lower r. : Gio. Bail. Piranesi Archil. F.

I. Address Bouchard e Gravier. Davies.

:

II. Address and price Autore, Palazzo Tomati. Paoli 2\. B.M. TUBBS.
:

III. Heavy vertical lines of shading added on stonework above and just to r. of the r.-hand post
on 1. of print, but the general tone of the print as in earlier states. B.M.L.
IV. More heavily bitten throughout heavy vertical lines of shading added on stonework ij in.
:

to r. of arched gateway. B.M. B.M.L., King's.

V. Price erased. Numbers 21. I (1.) and 95 (centre) lower margin. Soane. Tubes. 1st
Paris Ed.
VI. Number XXVII upper r. Intermed. Paris Ed.
VII. Number 779 upper r. Ed. Firmin-Didot, Paris.
 CATALOGUE S'

The view is taken from without, the Temple of Mars Ultor being seen through the
opening.
The of the same Forum the correct title Foro
interior is
represented by Piranesi under
di Augusta in the small oblong views of his Antichit^ Romane de' Tempi della
'

Repubblica,' 1748.

43- SUBSTRUCTURE OF THE TEMPLE OF CLAUDIUS AT THE CHURCH

OF SS. GIOVANNI E PAOLO
(FORMERLY CALLED THE CURIA HOSTILIA).
102. F. 804. 1767-

[15I X 23I.] Signed, lower r. : Piranesi Archiieitofec.

I. Title in large italics : Veduta della Curia Ostilia. Before address. SOANE, Blomfield,
Charrington (Magnificenze). B.M. TuBBS.
II. Title in capitals, but smaller than the Italics:
Veduta del piano superiore del Serraglio
da Domiziano a uso delP Anfiteatro Flavio, e volgarmente detto la Curia
delle fiere fabbricato
Ostilia. Address Bouchard e Gravier. Further lines of shading and markings of brick work
:

added, e.g. on arch furthest 1. Davies.

III. Address and price
Autore, Strada Felice. Paoli a^. B.M. B.M.L. B.M.L., King's.
:

SoANE. Tubes.
IV. Price erased. Tubes, ist Paris Ed.
V. Number 35 upper r. Intermed, Paris Ed.
VI. Number 787 above near centre. Ed. Firmin-Didot, Paris.

44. THE TEMPLE OF VESPASIAN. 79. F. 819. 1756.

Title : Veduta del Tempio di Giove Tonante,

[15I X 23^.] Signed, lower r. : Piranesi Archit. dis. ed inc.

I. Before address. The wall lower 1. has shading only in verticals apart from the foliage. B.M.
Tubes.
\\. KdLii.rt%,iz.tii.-^r^CK: Autore, Strada Felice. Paoli l\. B.M.L. DavieS.
III. Parallel lines of shading, sloping upwards from 1. to r., added on upper 1. part of wall on 1.

B.M.L., King's. Tubes.

IV. Price erased. Heavy parallel and nearly horizontal lines of shading added on same wall,
above and behind the seated man's head. B.M. Soane, Tubes, ist Paris Ed.
V. Number 11 upper r., margin. Intermed. Paris Ed.
VI. Number 763 towards upper r. Ed. Firmin-Didot, Paris.

45. THE BASILICA OF CONSTANTINE. 86. F. 813. 1757.

[i6f X 2i|.] Signed, lower r. : Piranesi Archiieitofec.

I. Title : Veduta degli Avanzi del Tempio della Pace. Before address. SOANE, BLOMFIELD,
Charrington {Magnificenze). B.M. Tubes.
II. Address: Bouchard e Gravier.

III. Title Veduta degli Avanzi del Tablino della Casa Aurea di Nerone detti volgarmente il
:

Tempio Address and price Autore, Strada Felice. Paoli 2J. Further lines of
della Pace. :

shading added, darkening the wall on which man is seated in the foreground. B.M.L. B.M.L.,
King's. Davies. Tubes.
E 2
5» THE 'VIEWS OF ROME'
IV. Price erased. Very strong darkening of shadows in foreground, a series of parallel lines
being added in the centre of lower margin immediately above the word AUREA in inscription.
SOANE. TUBBS. 1st Paris Ed.
V. Number i8 upper r. Intermed. Paris Ed.
VI. Number 770 upper r. Ed.Firmin-Didot, Paris.
I have not seen impressions of II, but infer its existence from half-erased address still

visible on later state. cannot say whether the title was changed before III.
I

Piranesi's titles are erroneous. The building is now sometimes called the Basilica of
Maxentius, who was responsible for most of the building, afterwards slightly altered by
Constantine.

46. THE SO-CALLED TEMPLE OF FORTUNA VIRILIS (NOW CHURCH OF

S. MARIA EGIZIACA). 59. F. 817. 1758.
Title : Veduta del tempio delta Fortuna Virile.

[14IX23.] Signed, lower r. : Piranesi Archiletto fee.

I. Before address. SOANE, Blomfield, Charrington {Magnificense). B.M. Tubbs.
II. Address : Bouchard e Gravier. Further lines of shading, and stronger biting on the princi-
pal building (e.g. on middle of broken pilaster at corner). Davies.
III.Address and price: Aittore, Palazzo Totnati. Paoli 2J. B.M.L. B.M.L., King's.
Tubes.
IV. Further darkening of shadow (by rebiting, or the graver) on ground r. B.M.
V. Price erased. Soane. Tubes, ist Paris Ed.
VI. Number 59 lower r. margin. Intermed. Paris Ed.
VII. Number 743 upper r. Ed. Firmin-Didot, Paris.
It is uncertain whether this building was a temple of Fortune, or of the Mater Matuta,
both of which were near this site.

47. THE TEMPLE OF PORTUNUS(?) (THE ROUND TEMPLE NEAR

S. MARIA IN COSMEDIN). 58. F. 820. 1758.
Title : Veduta del Tempio di Cibele a Piazza detla Bocca delta Verith.

[i5f X 23! .] Signed, lower r. : Piranesi Archit. dis, ed incise.

I. Before address. B.M. TuBBS.

II. Address and price :
Autore, Strada
Felice. Paoli 2j. Horizontal lines of dark shading
added in sky near centre upper margin. B.M. B.M.L. B.M.L., King's. Soane. Davies.
Tubes.
III. Price erased. Tubes, ist Paris Ed.
IV. Number 58 lower r. margin. Intermed. Paris Ed.
V. Number 742 upper r. Ed. Firmin-Didot, Paris.
The old titles, Temple of Cybele or Temple of Vesta, are certainly incorrect. Has been
used for the church of S. Maria del Sole.

48. THE SO-CALLED TEMPLE OF BACCHUS, NOW THE CHURCH OF

S. URBAN. 60. F. 753. 1758.
Title : Veduta del tempio di Bacco, or di S. Urbano.

[155X 24J.] Signed, lower r. : Gio. Bait. Piranesi Arch. F.

I. Address : Bouchard e Gravier. Davies.

 CATALOGUE 53

II. Address and price Autore, Palazzo Tomati.

: Paoli 2J. B.M. B.M.L. B.M.L., King's.
Tubes.
III. Price erased. B.M.
IV. Number 60 lower r. margin, 11 I lower 1. SOANE. TuBBS. ist Paris Ed.
V. Additional number 744 towards upper r. Intermed. Paris Ed. Ed. Firrain-Didot, Paris.

Possibly the temple-tomb of Aurica Regilia, wife of Herodes Atticus.

49. THE TEMPLE OF ANTONINUS AND FAUSTINA. 85. F. 802. 1758.

Title : Veduta del Tempio d Antonino eFaustina in Campo Vaccina.

[15I X 21^.] Signed, lower r. : Piranesi Architeitofec.

I. Before address. Soane, Blomfield, Charrington (il/ag7«yf««if). B.M. Tubes.
II.Address Bouchard : e Gravier. Lines added (indicating beams?) beneath eaves of roof of
house on r. Davies.
III. AiiArtss axiA pnct: Autore, Palazzo Tomati. Paoli 2\. B.M. B.M.L. B.M. L., King's.
SoANE. Tubes.
IV. Price erased. Number 19 lower r. margin, TuBBS. ist Paris Ed.
V. Number 17 upp)er r. Intermed. Paris Ed.
VI. Number 769 towards upper r. Ed. Firmin-Didot, Paris.

50. THE TEMPLE OF VENUS AND ROMA (ERRONEOUSLY CALLED

TEMPLE OF SOL AND LUNA). 88. F. 812. 1759.
[I6JX2I|.]
I. Title in centre below :
Tempj del Sole e delta Luna, come altri, cflside e Serapi in Campo
Vaccina negli Orti di S. Francesca Romana. Signed, lower 1. : Piranesi del e scol. Before
numbers and references. Soane, Blomfield, Charrington {Magnificenze). B.M.
TUBBS.
II. Very considerably rebitten and darkened shadows and foreground!., and some additional
in
lines (e. g. on fallen column in foreground r.).
TuEBS.
III. Title altered to Veduta degli Avanzi di due Triclinj che appartenevano alia Casa aurea
:

di Nerone, presi erroneamente per i Templi del Sole, e delta Luna, o d'Iside e Serapide. Signa-
ture now in lower r. G. B. Piranesi Archil, incise. Address and price: Autore, Palazzo
:

Tomati. Paoli 2J. B.M. B.M.L. B.M.L., KING'S. Davies. Soane. Tubbs.
IV. Price erased. Number 19 lower r. margin. Tubes. 1st Paris Ed.
V. Number 20 upper r. Intermed. Paris Ed.
VI. Number 772 towards upper r. Ed. Firmin-Didot, Paris.

51. TRAJAN'S COLUMN. UPRIGHT. 31. F. 798. -

1758.
Title : Colonna TVajana.

[21-^ X 16.] Signed, lower r. : Piranesifecit.

I. Before address. The end of fluted column on ground fairly light, irregular dots showing
between the lines. Soane, Blomfield, Charrington {Magnificenze). B.M. Tubes.
II. Address: Bouchard e Gravier. Davies.
III. Address and price: ^«/fr^, /'a/rt^^fj 7i>«/a//. Paoli 2\. B.M.L.
IV. The shading at end of column heavily rebitten, nearly hiding the irregular dots and flecks
seen in earlier state. B.M.L., King's. Tubes.
V. Price erased. B.M. Soane. Tubes, ist Paris Ed.
VI. Number 31 upper r. Intermed. Paris Ed.
VII. Number 715 upper r. Ed. Firmin-Didot, Paris.
54 THE 'VIEWS OF ROME'
Sa. THE COLUMN OF MARCUS AURELIUS. UPRIGHT. 32. F. 799. 1758.
Title : Colonna Anlonma.
Signed, lower r. : Piranesifecit.
[2i|x isl-l

I. Before address.Soane, Blomfield, Charrington {Magnificeme). B.M. Tubbs.

II. Address Bouchard.
: Davies.
III. Address and price: /I «/cr«, /'a/«^^o 7'(?;«a//. Paoli2\. B.M.L.
IV. More heavily bitten, e.g. added irregularities of dark shading in shadow by two groups of
figures in foreground
r. (by lower margin). B.M, B.M.L., King's. Tubbs.
V. Price erased. Numbers in margin, 4 lower I., 32 lower r. Soane. Tubbs. 1st Paris Ed.
VI. Additional number 32 upper r. Intermed. Paris Ed.
VII. Number 716 upper r. Ed. Firmin-Didot, Paris.

53.THE EGYPTIAN OBELISK IN THE PIAZZA DI S. GIOVANNI

LATERANO. UPRIGHT. 12. F. 800. 1759.
Title : Obelisco Egizio.

Signed, lower Piranesi Architeito fee.

[2i| X i5|.]
r. :

I. Before address. Soane, Blomfield, Charrington {Magnijicenze). B.M. Tubbs.

II.Address and price :Autore, Palazzo Tomati. Paoli z\. B.M.L. B.M.L., KING'S. Davies.
Tubbs.
III. Price erased. B.M. Soane. Tubbs. ist Paris Ed.
IV. Number 12 lower r. margin. Intermed. Paris Ed.
V. Number 696 near centre, above. Ed. Firmin-Didot, Paris.

54. THE ARCH OF SEPTIMIUS SEVERUS, WITH THE CHURCH OF

S. MARTINA ON THE R. 84. F. 809. 1759
T'xtlt: Arco di Seltimio Severo.

Signed, lower r. : Piranesi Archiletto fee.

[14JX23.]
I. Before address. Soane, Blomfield, Charrington (Magnijicenze). B.M. Tubbs.
II. Address Bottchard e Gravier. Building on r. considerably darkened (rebiting or graver
:

work, e.g. various short horizontal lines on lower part where shading in early state was only in
open verticals). Davies.
III.Address and price Auiore, Palazzo Tomati. Paoli2\. B.M.L. B.M.L., King's.
: Tubbs.
IV. Price erased. Soane. Tubbs. ist Paris Ed.
V. Number 16 upper r. Intermed. Paris Ed.
VI. Number 768 towards upper r. Ed. Firmin-Didot, Paris.

55. THE ARCH OF TITUS. 90. 756. 1760.

Title : Veduta deU Area di Tito.
Batta Piranesi diseg. e incise.
[15! X 24J.] Signed, lower r. Gio.
:

I. Address and price: Autore, Strada Felice. Paoli 2\. B.M. B.M.L. B.M.L., King's.
Davies. Tubbs.
II. Heavy rebiting : the arch is now in much darker shadow. TuBBS.
III. Price erased. B.M. Soane. ist Paris Ed.
IV. Number 22 upper r. Intermed. Paris Ed.
V. Number 774 upper r. Ed. Firmin-Didot, Paris.
 CATALOGUE 55

56. THE ARCH OF CONST ANTINE AND THE COLOSSEUM. 100.

F. 805. 1760.
Title : Veduta delt Arco di Coslantino, e delt Anfiteatro Flavio ditto il Colosseo.

[16 X Signed, lower Piranesi del. scolp.

r. :
2i|.]
I. Before address. SOANE, Blomfield, Charrington (Magnificenze). B.M. Chatsworth.
TUBBS.
II.Address: Bouchard e Gravie?: CoTSWOLD Gallery (1921).
III.Address and price :
Atttore, Strada Felice. Paoli 2J. B.M. B.M.L. B.M.L., King's.
Davies. Tubes.
IV. Price erased. Numbers 22 1 III lower r. margin. Soane. Tubes. 1st Paris Ed.
V. Number 32 upper r. Intermed. Paris Ed.
VI. Number 784 upper r. Ed. Firmin-Didot, Paris.

A drawing of the same size and apparently the same subject, attributed to Piranesi, was
in the R. W, P. de Vries sale, Amsterdam, 35 Jan. 1921 (No. 94) perhaps the original
:

design for this subject.

57. THE COLOSSEUM. 97. F. 758. 1757.

Title : Veduta delt Anfiteatro Flavio, detto il Colosseo.

[17 J X 2
7|.] Signed, lower r. : Piranesi F.

I. Address and price Autore, Strada Felice. Paoli 2j.

: B.M. B.M.L. B.M.L., KING'S.
Davies. Tubes.
II. Price erased. B.M. SoANE. TuBBS. 1st Paris Ed.
III. Number 29 upper r. Intermed. Paris Ed.
IV. Number 781. Ed. Firmin-Didot, Paris.

58. THE PORTICO OF OCTAVIA : THE ENTRANCE PORCH. EXTERIOR.

67. F. 815. 1760.
[15I X 23|.] Signed, lower r. : Piranesi Architetto fee.

I. Title: Veduta del Tempio di Bellona. Blomfield, CHARRINGTON (^a^i3'^««Z(?). B.M.

II. Title altered to :Veduta delF Atrio del Portico di Ottavia. SOKTXZ {Magnificenze). B.M.
Tubes.
III. Address: Bouchard e Gravier. Deeper biting, and some added lines, e.g. horizontal
shading on shadowed side of pilaster in centre. Davies.
IV. Address and price: .r4«/^r^, i'/r^K/ij />/?«. Paoli 2^. B.M.L. B.M.L., KING'S. SOANK.
(12 I written in margin). Tubes.
V. Price erased. Tubes. 1st Paris ed.
VI. Number 67 lower r. margin. Intermed. Paris Ed.
VII. Number 751 towards upper r. Ed. Firmin-Didot, Paris.

59. THE PORTICO OF OCTAVIA: THE ENTRANCE PORCH. INTERIOR.

68. F. 816. 1760.
Title : Veduta interna delt A trio del Portico di Otlavia.

[i6| X 2if.] Signed, lower r. : Piranesi Architetto /ec.

I. Before address. SOANE, Blomkield, Charrington {Magnificenze). B.M. TtrBBS.

II. Address: Bouchard e Gravier {ot Bouchard}).
56 THE 'VIEWS OF ROME'
III. Address and price
Autore, Strada Felice. Paoli 2\. Deeper biting and added shading
:

shadow on wall in foreground 1. are emphasized) and outline of clouds

(e.g. irregularities of

upper 1. more distinct. B.M. B.M.L. B.M.L., King's. Soane. Tubes.

IV. Price erased, ist Paris Ed.
V. Number 68 lower r. margin. Intermed. Paris Ed.
VI. Number 751 (error for 752) upper r. Ed. Firmin-Didot, Paris.

do not know impressions of II, but infer its existence from the imperfectly erased
I

still visible on some

address impressions of III (e. g. B.M.L., King's). It is not clear

whether it is Bouchard or Bouchard e Gravier. Nor can I say whether the additional
shading was added in II or III.

60. THE PANTHEON EXTERIOR. 70. F. 761. 1761.

Title on long scroll at foot: Veduta del Pantheon d" Agrippa oggi Chiesa di S. Maria ad
Mariyres.
[i8^x 27|.] Signed, on scroll towards 1. : Piranesi F.

I. Price and address Paoli :

3. Autore, Palazzo Totnati. B.M. B.M.L. B.M.L., KING'S.
Davies. Tubes.
II. Price erased. B.M.
III. Numbers, 14 I (r. of cartouche). SOANE. TUBES, ist Paris Ed.
IV. Number 2 upper r. Intermed. Paris Ed.
V. Numbers 256, 754 upper r. Ed. Firmin-Didot, Paris.

THE TEMPLE OF THE SIBYL, TIVOLI, WITH ANOTHER TEMPLE R.,

61.
ONCE USED AS CHURCH OF S. GIORGIO. 122. F. 764. 1761.
Title : Veduta del tempio della Sibilla in Tivoli.

[i6^X 25.] Signed, lower r. : Piranesi Fee.

I. Address and price Autore, Palazzo Totnati. Paoli B.M. B.M.L.

:
2J. B.M.L., King's.
Tubes.
II. Price erased. Very strong horizontal lines of shading added on trunk of tree in r. foreground.
B.M.
III. Numbers, 30 I lower r. SOANE. TuBBS. 1st Paris Ed.
IV. Number 55 upper r. Intermed. Paris Ed.
V. Number 807 upper r. Ed. Firmin-Didot, Paris.

62. THE TEMPLE OF THE SIBYL, TIVOLI : THE BROKEN SIDE OF THE
COLONNADE. 123. F. 765. 1761.
Title in scroll r. : Altra Veduta del Tempio della Sibilla in Tivoli.

[i7ix 26.] Signed, in work toward 1. : Piranesi F,

I. No address. B.M. B.M.L. B.M.L., King's. Soane. Tubes, ist Paris Ed.
II. Number 56 upper r. Intermed. Paris Ed.
III. Number 808 upper r. Ed. Firmin-Didot, Paris.
 CATALOGUE 57

63. THE TEMPLE OF THE SIBYL, TIVOLI. UPRIGHT PLATE. 124.

F. 766. 1 761.
Title on scroll 1. : Altra Veduta del tenipio dtlla Sibilla in Tivoli.

[24 J X 1
7|.] Signed, lower centre of scroll : Piramsi F,
I. B.M. B.M.L. B.M.L., KING'S. TUBBS.
II. Addedshading, darkening the shadows beneath the upper row of round arches (e. g. perpen-
dicular parallels in 1. arch). B.M. Soane. Tubbs. 1st Paris Ed.
III. Number 57 upper r. Intermed. Paris Ed.
IV. Number 809 upper r. Ed. Firmin-Didot, Paris.

64. THE PONTE MOLLE. 54. F. 767. 176a.

Title, on scroll lower r. : Veduta del Ponte Molle sul Tevere due miglia Ionian da Roma.

[1 7| X 26|.] Signed, lower r. of scroll : Piranesi F.

I. Price and address : Paoli 2J. Autore, Palazzo Tomaii. B.M. B.M.L., King's. Tubbs.
II. Price erased. SoANE. ist Paris Ed.
III. Number 54 upper r. Intermed. Paris Ed.
IV. Number 738 upper r. Ed. Firmin-Didot, Paris.

65. THE SO-CALLED VILLA OF MAECENAS, TIVOLI. 119. F. 768. 1763.

Title, on scroll lower 1. : Avansi delta Villa di Mecenate a Tivoli, costruiia di travertini
a opera incerta.

[i 7^ X 26|.] Signed, lower r. of scroll : Piranesi sc.

I. B.M. B.M.L., King's. Soane. Tubbs. ist Paris Ed.

II. Number 52 upper r. Intermed. Paris Ed.
III. Number 804 upper r. Ed. Firmin-Didot, Paris,

Now generally recognized as the Portico of the Augustales, connected with the Temple
of Hercules.

66.TWO CHURCHES NEAR TRAJAN'S COLUMN, S. MARIA DI LORETO

AND SANTISSIMO NOME DI MARIA. 30. F. 849. 1762.
Title, on scroll in centre below : Vedu/a delle due Chiese, tuna delta delta Madonna di Loreto
t altra del Nome di Maria presso la Colonna Trajana.

[i6f X 27.] Signed, lower 1. of scroll : Piramsi F.

I. Address and price .,4«/^re. Paoli i\. B.M. B.M.L., KING'S.
: TuBBS.
II. Price erased, Soane. Tubbs. ist Paris Ed.

III. Number 30 upper r. Intermed. Paris Ed.

IV. Number 714 upper r. Ed. Firmin-Didot, Paris.

67. THE TOMB OF CAECILIA METELLA. 112. F 772. 1762

Title on face of masonry towards lower 1. :
Sepolcro di Cecilia Metetla,
[i7-|x 24|.] Signed, in work lower r. : Piranesi F.

I. Before added lines. B.M. B.M.L., King's. Tubbs.

II. Lines of shading added, e.g. verticals on the light comer of building to r., 3 inches from
r. margin of print, and 4 inches from the lower margin. B.M.
58 THE 'VIEWS OF ROME'
III. Numbers, 112 XXVI lower r. Soane. Tubes, ist Paris Ed.
IV. Number 45 upper r. margin. Intermed. Paris Ed.
V. Number 797 above towards r. Ed. Firmin-Didot, Paris.

68. THE PONTE LUCANO, WITH THE TOMB OF THE PLAUTII. 115.
F. 773- 1763-
Title on stone, lower r. : Veduta del Ponle Lugano su t Anione nella via Tiburtina risarcito
ne tempi bassi.

[i7| X 25|.] Signed, lower r.

margin : Piranesi F.

I. Address and price : y4«/c'r<r. Paoli 2\. B.M. TUBBS.

II. Price erased. Soane. ist Paris Ed.
III. Number 48 upper r. margin. Intermed. Paris Ed.
IV. Number 800 upper r. Ed. Firmin-Didot, Paris.

69. THE SO-CALLED TEMPIO BELLA TOSSE, NEAR TIVOLI. 117.

F. 774. 1763.
Title in space towards lower r. : Veduta del Tempio delta della Tosse su la via Tiburtina, un
miglio vicino a Tivoli.
[17I X 22f.] Signed, in work lower 1. : Piranesi F.

I. Address and price: ./4«/V?r^. B.M. B.M.L., King's.

Paoli7\. Tubbs.
II. Price erased. B.M. SoANE. Tubes, ist Paris Ed.
III. Number 50 upper r. Intermed. Paris Ed.
IV. Number 802 above towards r. Ed. Firmin-Didot, Paris.
The so-called
'

Temple of the Cough

'
is probably a tomb, sometimes conjectured to be
that of the Turcia or Tossia family.

70. THE SO-CALLED TEMPIO DELLA TOSSE, NEAR TIVOLI. INTERIOR.

UPRIGHT. 118. F. 775. 1764.
Tide on space in centre below : Veduta interna del Tempio della Tosse.

[2 4^X i8|.] Signed, lower r.

margin; Piranesi F.
I. Address and price Autore. Paoli 2J. B.M. B.M.L., KING'S. TUBES.
:

II. Rebitten and darkened throughout, e.g. heavy lines (converging to vertical in centre) added
on dark work on arch, above. B.M. Soane. Tubes.
III. Price erased, ist Paris Ed.
IV. Number 51 upper r. Intermed. Paris Ed.
V. Number 803 in sky-light. Ed. Firmin-Didot, Paris.

71. THE SO-CALLED TEMPLE OF SALUS, ON THE ROAD TO ALBANO.

65. F. 776. 1763-
Title on stonework towards lower r. :
Tempio antico volgarmente detto della Salute su la via
d'Albano, cinque miglia Ionian da Roma ....
[i6|x 21^.] Signed, lower 1. margin: Piranesi F,
I. B.M. B.M.L., King's. Tubes.
II. Further biting, e.g. darkening lines of brick work at r. comer of temple. B.M. Soanb.
Tubbs. ist Paris Ed.
 CATALOGUE 59

III. Number 65 upper r. margin. Intermed. Paris Ed.

IV. Number 749 towards upper r. Ed. Firmin-Didot, Paris.

Actually merely a tomb, of which nothing certain is known.

THE TOMBS ATTRIBUTED TO PISO LICINIANUS AND THE CORNELII

73.
ON THE APPIAN WAY. 113. F. 777. 1764.
Title on cartouche in centre below : Veduta del Sepolcro di Phone Liciniano su faniica via

Appia . . , B. Sepolcro della famiglia Cornelia ....

[i6| X 24.] Signed, lower I.
margin : Piranesi F.

I. B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.

II. Number 46 upper r. Intermed. Paris Ed.
III. Number 798 upper r. Ed. Firmin-Didot, Paris.
The attributions of these tombs are almost certainly erroneous.

73.THE SO-CALLED VILLA OF MAECENAS AT TIVOLI. INTERIOR.

WITH TWO FIGURES IN THE OPENING OF AN ARCH ABOVE. 120.
F. 769. 1764.
Title on tablet in centre below : Veduta interna delta villa di Mecenate.

[r8| X 24^.] Signed, lower 1.

margin : Piranesi F.

I. Before added work. B.M.

B.M.L., King's. Tubes.
II. Added lines of shading (e. g. vertical lines towards 1. of the large upper arch 2\ inches from

1. of print], and rebiting. B.M. Soane. TUBBS. ist Paris Ed.

III. Number 53 upper r. margin. Intermed. Paris Ed.
IV. Number 805 in the light of the first arch r. Ed. Firmin-Didot, Paris.
See No. 65.

74. THE SO-CALLED TEMPLE OF MINERVA MEDICA. 74. F. 778. 1764.

Title, on cartouche towards lower Veduta del Tempio ottangolare di Minerva Medico.
1. :

[iSJx 27^.] Signed, lower 1.

margin Piranesi F. :

I. Before added work. B.M. B.M.L., King's. Tubes.

II. Added lines of work, e.g. heavy parallel lines deepening shadow in vault of dome. B.M.
Soane. Tubes, ist Paris Ed.
III. Number 6 upper r. Intermed. Paris Ed.
IV. Number 758 upper r. Ed. Firmin-Didot, Paris.

Generally accepted as a Nymphaeum of the Horti Liciniani. The centre of the dome
collapsed in 1828.

75. THE WATERFALL AT TIVOLI. 125. F. 779. 1765 (1766 engraved on the
plate).
Title, on masonry lower r. : Veduta della Cascata di Tivoli.

[i8| X 27! .] Signed, below title :

Eques Piranesius del sculp fj66.

I. Before added work. B.M. B.M.L., King's. Tubes.

II. Added lines of shading, e. g. verticals on 1. side of masonry which bears the title. B.M.
III. Numbers, 125 XXX lower r. Soane. Tubes, ist Paris Ed.
6o THE 'VIEWS OF ROME'
IV. Number 58 upper r. Intermed. Paris Ed.
V. Number 810 upper r. Ed. Firmin-Didot, Paris.
The tunnels made in 1829 almost entirely diverted this waterfall.

76. THE BATHS OF CARACALLA. BIRD'S-EYE VIEW. 103. F. 852. 1765.

Title : Rovine delle Termt Antoniniane.
[i 7| X 2 7|.] Signed, lower 1. margin Cavalier Piraned F. :

I. B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.

II. Number 36 upper r. Intermed. Paris Ed.
III. Number 788 upper r. Ed. Firmin-Didot, Paris.; - ^

77. THE BATHS OF CARACALLA: INTERIOR OF THE CENTRAL HALL.

104. F. 851. 1765.
Title, in cartouche towards lower r. : Rovine del Sisio sia della gran sala delle Terme
Antoniniane.

[i6|X26|.] Signed, to 1. of cartouche : Cavalier Piranesi F.

I. Before added work. B.M. B.M.L., King's. Tubes.
II. Added lines of shading, e.g. horizontals on 1. front of principal arch. B.M. SOANE.
Tubes, ist Paris Ed.
III. Number 37 upper r. Intermed. Paris Ed.
IV. Number 789 towards upper r. Ed. Firmin-Didot, Paris.

78. THE COLOSSEUM : INTERIOR. 99. F. 760. 1766.

[i8x27i.]
I. Before title and signature. B.M. (with title in pen and ink: and signed in MS. possibly by
Piranesi himself).
I I. Title on stonework lower 1. Veduia dell' interna delP Anfiteatro Flavio detto il Colosseo.
:

Signed, lower r. margin : Cat''". Piranesi fece. Tubes.

III. A crack shows across lower 1. corner of the plate. B.M. B.M.L., King's. Soane. Tubes.
1st Paris Ed.
IV. Lower 1. corner of plate broken off where the crack appeared in III : Number 31 upper r,

Intermed. Paris Ed.

V. Number 783 upper r. Ed. Firmin-Didot, Paris.

79- ENTRANCE DOOR TO PART OF THE VILLA CALLED THE 'SETTE

BASSr ON THE ROAD TO FRASCATI. 66. F. 781. 1766.
Title on stone towards 1. below : Avanzi iun portico coperto, criptoportico in una Villa di

Domiziano cinque miglia Ionian da Roma su la via di Frascati.

[i6^X23|.] margin Cavalier Piranesi F.

Signed, lower 1. :

I. Before added lines and rebiting. B.M. B.M.L., King's. Tubes.

II. Rebiting and added lines (e. g. added
projections of dark shadow to 1. of cornice of pediment
and brick work also strongly emphasized). B.M. SoANE. Tubes. 1st Paris Ed.
III. Number 66 upper r. Intermed. Paris Ed.
IV. Number 750 upper r. Ed. Firmin-Didot, Paris.
The ornamental doorway shown in the print no longer exists. See Dr. Thomas Ashby,
Papers of the British School of Rome, IV. p. 106 (pi. VII. 13), and pp. 91 and 111.
 CATALOGUE 6i

80. THE SO-CALLED GROTTO OF EGERIA. 63. F. 782. 1766.

Title on scroll, lower r. : Veduta delta fonte e delle Spelonche d" Egeria/uor delta porta Capena
or di S. Seb'^o.

[155X 26|.] Signed, lower 1.

margin : Cavalier Piranesi F.

I. Before added work. B.M. B.M.L., King's. Tubbs.

II. Added on top of building above the Fountain; added shading
lines of foliage in various
places, e.g. under arch 1. B.M.
III. Number II on cartouche r. Soane. Tubbs. ist Paris Ed.
IV. Number 63 upper r. Intermed. Paris Ed.
V. Number 747 upper r. Ed. Firmin-Didot, Paris.

With S. Urbane on the hill behind (cf. Nos. 48 and 81).

81. THE SO-CALLED TEMPLE OF BACCHUS, NOW THE CHURCH OF

S. URBAN. INTERIOR. 61. F. 752. 1767.
Title Veduta interna dett antico Tempio di Bacco in oggi Chiesa di S. Urbano due miglia
:

distante da Romafuori di porta S. Sebastiano.

[16^ X 23|.] Signed, lower r.

margin : Cavalier Piranesi disg. ed incise.

I. Before added shading. B.M. B.M.L., King's.

II. Heavy shading added, e.g. on wall behind priest on 1. which is now a much more uniform
black. B.M. Soane (with ii II in MS. lower r.
margin). TuBBS. 1st Paris Ed.
III. Number 61 lower r. margin. Intermed. Paris Ed.
IV. Number 745 towards upper r. Ed. Firmin-Didot, Paris.

The wall decoration consists of eleventh-century paintings, comparable to those in the

lower Church of S. Clemente, Rome.

83. THE PANTHEON. INTERIOR OF THE PORTICO. 71. F. 762. 1769.

Title : Veduta interna del Pronao del Panteon.

[15^X21.] Signed, lower r. margin : Cavalier Piranesi F.

I. B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.

II. Number 3 upper r. margin. Intermed. Paris Ed.
III. Number 755 near r. margin in sky. Ed. Firmin-Didot, Paris.

83. THE TOMB OF THE PLAUTII, NEAR THE PONTE LUCANO. 116.
F. 783. 1761 (probably between 1765 and 1769).
Title on shaded masonry in centre below : Veduta degV avanzi del sepolcro delta famiglia
Plauzia sulla via Tiburtina vicino at ponle Lugano due miglia lontano da Tivoli.

[i8| X 24^.] Signed, towards lower 1. margin Cavalier Piranesi F. :

I. B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.

II. Number 49 upper r. Intermed. Paris Ed.
III. Number 801 upper r. Ed. Firmin-Didot, Paris.
 63 THE 'VIEWS OF ROME'
84. THE SO-CALLED VILLA OF MAECENAS AT TIVOLI. INTERIOR.
121. F. 770. 1767.
Title, on scroll lower r. : AUra vedula interna delta Villa di Mecenate in Tivoli.

[i6| X 23|.] Signed, lower 1. of scroll : Cavalier Piranesi inc.

I. B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.

II. Number 54 upper r. Intermed. Paris £d.
III. Number 806 near centre. Ed. Firmin-Didot, Paris.

Built over the High Road from Rome to Tivoli. See No. 65.

85.HADRIAN'S VILLA. REMAINS OF THE SMALLER PALACE (FORMERLY

CALLED THE TEMPLE OF APOLLO). 136. F. 771. 1768.
Title, on stone work towards lower r. : Avanzi del Tempio detto di Apollo nella Villa Adriana
vicino a livoli.

[18^ X 24|.] Signed, in work towards 1. : Cavalier Piranesi inc.

I. Before added
lines, the signature having a clear white space above it. B.M.
II. Lines of shading added on ground, coming close down above signature. B.M. B.M.L.,
King's. Soane. Tubes, ist Paris Ed.
III. Number 69 upper r. margin. Intermed. Paris Ed.
IV. Number 821 upper r. Ed. Firmin-Didot, Paris.
Now generally called the Accademia, but most probably a smaller Palace. The titles
I have given for the different parts of Hadrian's Villa in this and Nos. 90, 93, 94, 112, 113,
131, 132, 133, and 134, correspond to those given in (1) Hermann Winnefeld, Die Villa
des Hadrian bei Tivoli, Jahrbuch des Deutsch. Archaeologisch. Instituts 1895 (Erganzungs-
heft III), and (2) Rodolfo Lanciani, La Villa Adriana, Guida e Descrizione, Rome, 1906.

86. THE PANTHEON. INTERIOR. 72. F. 763. 1768.

Title : Veduta interna del Panleon.

[i8|x 22.] Signed, lower r. margin : Caval. Piranesi F.

I. B.M.
Before added lines of shading.
II.Vertical lines of shading added on extreme 1., the ends of these lines just invading the
margin of the print shadows added in various other places, e. g. along rafters above, and to r.
;

and 1. between the capitals. B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.
III. Number 5 upper r. margin. Intermed. Paris Ed.
IV. Number 757 in sky light. Ed. Firmin-Didot, Paris.

In the comes after my No. 136 (the other view of the

later Paris editions this plate

Interior of the Pantheon, by Francesco Piranesi). The Catalogue of 1792 does not
distinguish the titles, but in the old bound copies in the Soane and Lansdowne collections
the present plate came as No. 72, that of Francesco as No. 73.

87. S. MARIA MAGGIORE. INTERIOR. 16. F. 728. 1768.

Title, on scroll towards 1. below : Veduta interna delta Basilica di S. Maria Maggiore.
[16^ X 26|.] Signed, lower r. of scroll : Caval. Piranesi inc.

I. Before rework. B.M. Cotswold Gallery (1922).

 CATALOGUE 63

II. biting, and perhaps graver work to darken shadows (e.g. along the cornice beneath
Heavier
reliefsabove columns, on columns, and around the statue of pope 1.). B.M.L., King's. Soanb.
1.

TuBBS. 1st Paris Ed.

III. Number 16 towards r. below. Intermed. Paris Ed.
IV. Number 700 towards r. below. Ed. Firmin-Didot, Paris.

88. S. GIOVANNI IN LATERANO. INTERIOR. 13, F. 726. 1768.

Title, on scroll towards 1. below: Veduta interna della Basilica di S. Giovanni Laterano.

[i 7 X 26J.] Signed, lower r. margin : Cavaliere Piranesi inc.

I. Before added work. B.M.

II. Horizontal line of shading added on panel of leaf-ornament on pier in foreground r. B.M .

B.M.L., King's. Tubes.

III. Numbers 2 IV added on scroll. SoANE. Tubes, ist Paris Ed.
IV. Number 13 lower r. margin. Intermed. Paris Ed.
V. Number 697 above towards r. Ed. Firmin-Didot, Paris.

89. THE VILLA ALBANL 44. F. 853. 1769.

Title, on wall, 1. below: Veduta della Villa delt Emo Sig' Card. Alessandro Albani fuori
di Porta Salaria.

[17I X 27^.] Signed, lower 1.

margin : Cavalier Piranesi inc.

I. B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.

II. Number 44 lower r. margin. Intermed. Paris Ed.
III. Number 728 upper r. Ed. Firmin-Didot, Paris.

90. HADRIAN'S VILLA: THE CANOPUS. 133. F. 844. 1768.

Title, in compartment in centre below: Avanzi Del Tempio del Dio Canopo nella Villa

Adriana in Tivoli.

[17I X 23.] Signed, lower 1.

margin : Cavaliere Piranesi delin. e inc.

I. Before added work. B.M.

II. Rebiting, and further work with graver (e.g. in vault of temple, and on masonry in fore-

ground). B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.

III. Number 66 upper r. margin. Intermed. Paris Ed.
IV. Number 818 upper r. Ed. Firmin-Didot, Paris.

91. THE SO-CALLED TEMPLE OF HERCULES, AT CORI. 64. F. 784. 1769.

Title, on stone towards I. below : Veduta del Tempio di Ercole nella Citth di Cora, died

miglia lontano da Velletri.

[15I X 2o|.] Signed, lower r. margin : Cavalier Piranesi delin. e inc.

I. Before added work in sky, &c. B.M.

II. Dark work added above: further heavy shading (crossed lines) on
in sky near centre

masonry near r. B.M.L., King's. Soane. Tubes, ist Paris Ed.

margin. B.M.
III. Number 64 upper r. margin. Intermed. Paris Ed.
IV. Number 748 towards upper r. Ed. Firmin-Didot, Paris.
64 THE 'VIEWS OF ROME'
93. THE SMALL WATERFALL AND RAPIDS AT TIVOLL 126. F.780. 1769.
Title on stone lower r. : Veduta delle Cascatelle a Tivoli.

[i8|xa7f.] Signed, lower 1.

margin : Cavalier Pirantsi del e inc.

\. Before numbers. B.M. SOANE.

II. Numbers on cartouche, 30 1., 126 r. Tubes. 1st Paris Ed.
III. Number 59 upper r. Intermed. Paris Ed.
IV. Number 811 upper r. Ed. Firmin-Didot, Paris.

93. HADRIAN'S VILLA: THE CENTRAL ROOM OF THE LARGER

THERMAE. 135. F. 785. 1770.
Title on cartouche below towards r. : Ravine d'una Galleria di Stalue nella Villa

Adriana a Tivoli.

[17I X 23.] Signed, lower I.

margin : Cavalier Piranesi del e inc.

I. Before numbers. B.M. B.M.L., King's. Soane. Tubbs. ist Paris Ed.
II. Number 68 upper r. above. Intermed. Paris Ed.
III. Number 820 beneath arch in light towards r. above. Ed. Firmin-Didot, Paris.

There is a large red-chalk drawing of this subject taken from a slightly different point
of view in the collection of Mr. Percy B. Tubbs, probably an original study discarded in
favour of the treatment as in the present etching. Mr. Tubbs also possesses four other
drawings of the same style representing Hadrian's villa, one only being carried out in

etching, No. 94 (see Grahame B. Tubbs, Architectural Review, May 1922, and corre-
i. e.

spondence, June and July).

94. HADRIAN'S VILLA: THE SO-CALLED POECILE. 127. F. 824. 1770.

Title towards r. below : Veduta degli Avanzi del castro Pretoria nella Villa Adriana a
Tivoli.

[i4f X 25I.] Signed, lower 1.

margin : Cavalier Piranesi delin. ed inc.

I. Before numbers. B.M. B.M.L., King's.

II. Numbers, 30 lower I., 127 near centre, below. SoANE. Tubbs. 1st Paris Ed.
III. Number 60 upper r. margin. Intermed. Paris Ed.
IV. Number 812 towards upper r. Ed. Firmin-Didot, Paris.

There is a large red chalk drawing, possibly an original study for this subject, in the
collection of Mr. Percy B. Tubbs (see note to No. 93).

95. THE FORUM OF NERVA; WITH THE TWO HALF-BURIED CORIN-

THIAN COLUMNS. 96. F. 750. 1770.
Title on stone lower 1. : Veduta degli Avanzi del Foro di Nerva.

[i8| X 27|.] Signed, lower r. : C. Piranesi/.

I. Before numbers. B.M. B.M.L., King's.

II. Numbers 21 II in cartouche. Soane. Tubbs. ist Paris Ed.
III. Number 28 upper r. Intermed. Paris Ed.
IV. Number 780 towards upper r. Ed. Firmin-Didot, Paris.
 CATALOGUE 65

96. THE ARCH OF JANUS (JANUS QUADRIFRONS) WITH THE ARCH OF

THE MONEYCHANGERS. 92. F. 825. 1771.
Title on stone towards r. of centre below :
Tempio detto volgarm^' di Giano.
[18^ X 27|.] Signed, just to right of centre below : Cavalier Piranesi del. e inc.

I. Before numbers. B.M.L., King's. Tubes.

II. Numbers XX. 92 in cartouche. Soane. Tubes, ist Paris Ed.
III. Number 24 upper r. Intermed. Paris Ed.
IV. Number 776 upper r. Ed. Firmin-Didot, Paris.

97. THE ARCH OF CONSTANTINE. 93. F. 757. 1771.

Title on stone lower r. : Veduia delPArco di Costaniino.

[i8| X 27^.] Signed, lower 1.

margin : Cavaliere Piranesi del. ed inc.

I. Before numbers. B.M. B.M.L., King's. Soane. Tubes. 1st Paris Ed.
II. Number 25 upper r. Intermed. Paris Ed.
III. Number 777 upper r. Ed. Firmin-Didot, Paris.

98. THE ARCH OF TITUS WITH THE CASINO FARNESE ON THE LEFT.
91. F. 755. 1771.
Title on cartouche near centre below : Veduia deir Arco di Tito.

[i8| X 27-g.] Signed, lower 1.

margfin : Cavalier Piranesi del. e inc.

I. Before numbers. B.M. B.M.L., King's.

II. Numbers II.91 on cartouche. Soane. Tubes, ist Paris Ed.
III. Number 23 upper r. Intermed. Paris Ed.
IV. Number 775 upper r. Ed. Firmin-Didot, Paris.

99. THE ARCH OF SEPTIMIUS SEVERUS. 89. F. 754. 177a.

Tide on stone towards r. below : Veduia dell' Arco di Setlimio Sever 0.

[i8f X 2
7b-] Signed, lower 1.
margin : Cavalier Piranesi del. e inc.

I. Before numbers. B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.
II. Number 21 upper r. margin. Intermed. Paris Ed.
III. Number 773 upper r. Ed. Firmin-Didot, Paris.

100.THE FORUM ROMANUM, OR CAMPO VACCINO, WITH THE TEMPLE

OF ANTONINUS AND FAUSTINA IN THE FOREGROUND L., THE TEMPLE
OF CASTOR AND POLLUX, FOREGROUND R., AND THE COLOSSEUM IN
THE DISTANCE. 82. F. 748. 1772-
Title in centre below : Veduia di Campo Vaccina.

[i8|X27|.]
I. Before numbers. B.M.
II. Numbers beneath title near centre of lower margin, 18 I (1.), 82 (r.). Soane. Tubes.
1st Paris Ed.
III. Number 14 upper r. Intermed. Paris Ed.
IV. Number 766 towards upper r. Ed. Firmin-Didot, Paris.

F
66 THE 'VIEWS OF ROME'
101. ST. PETER'S WITH FORECOURT AND COLONNADES. 4, F.721. 1772.
Title on scroll towards r. below : Vedula della Gran Piazza e Basilica di S. Pietro.

[18 X 27|.] Signed, on scroll : Cav. Piranesi F.

I. Before numbers. B.M.L., King's. Soani. Tubes. 1st Paris Ed.

II. Number 4 upper r. margin. Intermed. Paris Ed.
III. Number 688 upper r. Ed. Firmin-Didot, Paris.

loa. ST. PETER'S. INTERIOR: BENEATH THE DOME. 6. F. 722. 1773.

Title in cartouche centre below ; Vedula inlerna della Basilica di S. Pietro in Valicano
vicino alia Tribune.

[19JX 26|.] Signed, in cartouche : Caval. Piranesi F.

I. Before numbers. B.M.L., King's.

II. Numbers on cartouche, 2 V after signature ;
and 6 r. of cartouche. Soane. Tt;BBS.
1st Paris Ed.
III. Additional number 6 in upper margin towards r. Intermed. Paris Ed. Ed. Firmin-Didot,
Paris.

This plate comes as No. 690 (unnumbered) in Ed. Firmin-Didot.

THE PIAZZA DEL QUIRINALE, WITH THE STATUES OF THE HORSE-

103.
TAMERS SEEN FROM THE BACK. 25. F. 732. 1773.
Title, on scroll towards 1. below : Vedula della Piazza di Monte Cavallo.

[i8|X27j.] Signed, lower 1.

margin : Cavalier Piranesi del. e inc.

I. Before numbers. B.M. B.M.L., King's. Soane. Tubbs.

II. Numbers
25 lower r. work, 4 II lower r. of scroll. TuBBS. 1st Paris ed.
III. Additional number 25 lower r. margin. Intermed. Paris Ed.
IV. Number 709 in sky towards r. above. Ed. Firmin-Didot, Paris.

104. THE FONTANA DI TREVI. FRONT VIEW. 34. F. 734. 1773.

Title Vedula in prospettiva della gran Fontana delT Acqua Vergine delta di Trevi Architettura
:

di Nicola Salvi.

[i8-J X 27g.] Signed, lower 1.

margin : Cavalier Piranesi F.

I. Before numbers. B.M. B.M.L., King's. Soane. Tubes. 1st Paris Ed.
II. Number 34 lower r. margin. Intermed. Paris Ed.
III. Number 718 towards upper r. Ed. Firmin-Didot, Paris.
Shows the Fountain with statues as they now appear. See No. 19 in its earlier states for

earlier versions of the statues.

105. THE VILLA D' ESTE, TIVOLL 46. F. 826. 1773.

Title on stone towards 1. below : Vedula della Villa Estense in livoli.

[i8fX27|^.] Signed, lower r. : C. Piranesi inc.

I. Before numbers. B.M.L. King's. Soane (with 7 added in MS). Tubes, ist Paris Ed.
II. Number 46 upper r. Intermed. Paris Ed
III. Number 730 upper r. Ed. Firmin-Didot, Paris.
 CATALOGUE 67

106. TEMPLE OF THE CAMENAE (ALSO CALLED TEMPLE OF DEUS

REDICULUS). 62. F. 827. 1773.
Title on cartouche lower Veduta del Ttmpio delk Camene anttcamenle circondaio da un
1. :

bosco tiella valle di Egeria, si

vedefiiori di Porta Latina nella valU delta la Gaffarella.
[i8|x 27|.J Signed, lower 1. margin Cavalier Piranesi del. e inc. :

I. Before numbers. B.M. B.M.L., King's.

II. Number II added in cartouche lower 1. SOANE. TuBBS. ist Paris Ed.
III. Number 62 upper r. margin. Intermed. Paris Ed,
IV. Number 746 upper r. Ed. Firmin-Didot, Paris.

Probably a tomb of unknown designation.

107. THE PALAZZO FARNESE. 37. F. 828. 1773

Title on scroll, towards 1. below : Veduta del Palazzo Farnese.

[16 J X 25|.] Signed, lower 1.

margin : Cavalier Piranesi F-

I. Before numbers. B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.
II. number 37 upper r. margin. Intermed. Paris Ed.
III. Number 721 upper r. Ed. Firmin-Didot, Paris.

108. THE PIAZZA NAVONA, WITH S. AGNESE ON THE LEFT. 29.

F. 733- '773-
Title on scroll, lower r. : Veduta di Piazza Navona sopra le rovine del Circo Agonale.

[i8| X 27^.] Signed, on scroll : Cav. Piranesi F.

I. Before numbers. B.M. B.M.L., King's. Tubes.

II. Numbers added on scroll, 4 II (1.) and 29 (r.). Soane. Tubes. 1st Paris Ed.
III. Additional number 29 upper r. Intermed. Paris Ed.
IV. Number 713 upper r. Ed. Firmin-Didot, Paris.

109.THE TEMPLE OF SATURN, WITH A CORNER OF THE ARCH OF

SEPTIMIUS SEVERUS IN THE FOREGROUND. 80. F. 829. 1774.
Title on cartouche, towards 1. below : Veduta del Tempio detto della Concordia.

[i8| X 27^.] Signed, lower 1. margin Cavalier Piranesi F. :

I. Before numbers. B.M. B.M.L., King's. Tubes, ist Paris Ed.

II. Number 12 upper r. Intermed. Paris Ed.
III. Number 764 upper r. Ed. Firmin-Didot, Paris.

Erroneously described by Piranesi as a Temple of Concord.

no. THE TEMPLE OF SATURN, WITH THE ARCH OF SEPTIMIUS

SEVERUS IN THE BACKGROUND. 81. F. 830. 1774.
Title on cartouche, lower 1. : Altra veduta degli avanzi del Pronao del Tempio della

Concordia.

[18^ X 27^.] Signed, lower 1.

margin : Cavalier Piranesi F.

I. Before numbers. B.M. B.M.L. King's. Soane. Tubes. 1st Paris Ed.
II. Number 13 upper r. Intermed. Paris Ed.
III. Number 765 upper r. Ed. Firmin-Didot, Paris.
F a
68 THE 'VIEWS OF ROME'
HI. THE PIAZZA DEL CAMPIDOGLIO. 76. F. 746. 1774.
Title on scroll towards r. below : Veduta delta Piazza del Campidoglio.

[17 J X 87.] Signed, lower 1.

margin : Cavalier Piranesi F.

I. B.M.L., King's. Soane. Tubes, ist Paris Ed.

Before numbers.
II. Number 8 upper r. margin. Intermed. Paris Ed.
III. Number 760 above towards r. Ed. Firmin-Didot, Paris.

HADRIAN'S VILLA
113. : THE APSE OF THE SO-CALLED HALL OF THE
PHILOSOPHERS. 128. F. 831. 1774.
Title on cartouche near centre below: Avanzi di una Sola appartemnte al Castro Pretoria
nella Villa Adriana in Tivoli.

[17J X 22^.] Signed, lower 1.

margin : Cavalier Piranesi F.

I. Before numbers. B.M. B.M.L., King's. Soane. Tubbs. 1st Paris Ed.
II. Number 61 upper r. margin. Intermed. Paris Ed.
III. Number 813 upper r. Ed. Firmin-Didot, Paris.

Erroneously described by Piranesi as a Room belonging to the Barracks of the

Pretorian Guard.

113. HADRIAN'S VILLA: REMAINS OF THE SO-CALLED PRETORIO.

132. F. 832. 1774.
Title on cartouche in centre below : Rovina di uno degli allogianunti de' Soldati presso
ad una delle
eminentifahbriche di Adriano nella sua Villa in Tivoli.
[17^X25 J,] Signed, lower 1.
margin : Cavalier Piranesi F.

I. Before numbers. B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.
II. Number 65 upper r. Intermed. Paris Ed.
III. Number 817 upper r. Ed. Firmin-Didot, Paris.

THE BASILICA OF CONST ANTINE

114. WITH A STREET SEEN :

THROUGH ARCHES ON THE LEFT. 87. F. 751. 1774.

Title on cartouche lower r. : Veduta degli avanzi del tablino della Casa aurea di Nerone
detti volgarmente il
Tempio della Pace,

[19X27I.] Signed, lower 1.

margin : Cavalier Piranesi F.
I. Before numbers. B.M. B.M.L., King's. Tubes.
II. Numbers, 19. II. lower 1.87 lower r. Soane. Tubes, ist Paris Ed.
III. Additional numbers 19 upper r. Intermed. Paris Ed.
IV. Number 771 above towards r. Ed, Firmin-Didot, Paris.
The building is now sometimes called the Basilica of Maxentius (see No. 45).

THE BATHS OF DIOCLETIAN:

115. INTERIOR OF FRIGIDARIUM,
SOUTH WALL. 105. F. 833. i774-
Tide : Veduta degli avanzi superiori delle Terme di Diocleziano.

[i7^X 27
J.] Signed, in work lower r. : Caval. Piranesi F.
I. Before numbers. B.M. B.M.L., King's Soane. Tubes, ist Paris Ed.
 CATALOGUE 69
II. Number 38 upper r. Intermed. Paris Ed.
III. Number 790 upper r. Ed. Firmin-Didot, Paris.

I give Nos. 115 and 116 in the reverse order to my list in the Burlington Magazine,
Feb. 1 91 4. The titles in the engraved catalogues and the printed Catalogue of 1792 are
the same, so give no clue. The present order follows that of the Soane copy of the Vedute,
and the Paris Editions.

116. THE BATHS OF DIOCLETIAN, SHOWING THE CHURCH OF

S. MARIA DEGLI ANGELI AND THE PIAZZA. 107. F. 834. 1774.
Title on cartouche, towards 1. below : Vedula degli avanzi superiori delle Terme di
DiocUtiano.

[i8f X 27I.] Signed, lower 1.

margin : Cavalier Firanesi F.

I. Before numbers. B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.
II. Number 40 upper r. margin. Intermed. Paris Ed.
III. Number 792 upper r. Ed. Firmin-Didot, Paris.

THE PIAZZA AND

117. BASILICA OF S. GIOVANNI IN LATERANO (SIDE
FACADE): WITH THE OBELISK, PALACE, AND SCALA SANTA ON L. 11.
F- 725- 1775-
Title on scroll lower r. : Vedula della Piazza e Basilica di S. Giovanni in Laterano.

[19^x27^.] Signed, lower 1. : Cavalier Firanesi F,

I. Before numbers. B.M. B.M.L., King's.

II. Numbers 2. II. added on scroll r. Soane. Tubes. 1st Paris Ed.
III. Number ii upper r. margin. Intermed. Paris Ed.
IV. Number 695 near centre on r. Ed. Firmin-Didot, Paris.
The only one of Piranesi's four views of S. Giovanni in Laterano showing the
Baptistery.

THE AQUEDUCT OF NERO LEADING TO THE PALATINE A BRANCH

118. ;

OF THE AQUA CLAUDIA. 48. F. 850. 1775.

Title on cartouche in centre foreground : Avanzi degt Aquedotti Neroniani . . .

[19J X 27I.] Signed, lower 1. : Cavalier Firanesi F.

I. Before numbers. B.M.

II. Number 48 added on cartouche. B.M.L., King's. Soane. Tubes, ist Paris Ed.
III. Additional number 48 upper r. Intermed. Paris Ed.
IV. Number 732 upper r. Ed. Firmin-Didot, Paris.

119. THE PORTA MAGGIORE, ORIGINALLY AN ARCHWAY OF THE

AQUA CLAUDIA AND THE ANIO NOVUS. 49. F. 839. 1775.
Title, on cartouche in centre below : Vedula del Monumento erelto dalt Imperador Tito

Vtspasiano per aver ristaurati gt Aquedotti . . .

[19I X 2 7|.] Signed, lower 1.

margin : Cavalier Firanesi F.

I. Before numbers. B.M. B.M.L., King's. Soane. Tubes. 1st Paris Ed.
70 THE 'VIEWS OF ROME'
II. Number 49 upper r. Intermed. Paris Ed.
III. Number 733 upper r. Ed. Firmin-Didot, Paris.

The smaller arches built by Arcadius and Honorius, within the two main arches of the

gate, have been cleared away.

lao. ST. PETER'S, WITH FORECOURT AND COLONNADES. BIRD'S-EYE

VIEW. 2. F. 720. 1775-
Title : Veduta dell' insigne Basilica Vadcana colt ampio Portico, e Piazza adjacmie.

[i8| X 27g.] Signed, lower r. : Cavaliere Piranesi delin. ed inc.

I. Before numbers. B.M.L., King's. Soane. Tubes, ist Paris Ed.

II. Number 2 upper r. margin. Intermed. Paris Ed.
III. Additional number 686 upper r. Ed. Firmin-Didot, Paris.

A similar bird's-eye view was etched by Giovanni Battista Falda (d. 1678) and published
by Gian Giacomo de' Rossi in the second half of the seventeenth century. Piranesi may quite

possibly have used it in his plate, but the detail is treated quite differently, and many of the
buildings at the side are entirely changed.

121. THE ISOLA TIBERINA, WITH S. BARTOLOMMEO IN THE FORE-

GROUND. 56. F. 836. 1775-

Title, on scroll in centre below : Veduta delF Isola Tiberina.

[iB| X 28.] Signed, on scroll r. : Cav. Piranesi F.

I. Before numbers. B.M. B.M.L., King's. Soane. Tubbs. ist Paris Ed.
II. Number 56 upper r. margin. Intermed. Paris Ed.
III. Number 740 towards upper r. Ed. Firmin-Didot, Paris.

laa. S. GIOVANNI IN LATERANO : NEAR VIEW OF MAIN FAQADE, WITH

THE CAMPAGNA ON L. 14. F. 724. 1775.
Title, in cartouche towards 1. below : Veduta delta Facciata delta Basilica di S, Giovanni
Laterano

[19J X 27^0 Signed, on cartouche r. : Cav. Gio. Batla Piranesi F.

I. Before numbers. B.M. B.M.L., King's. Soane.

II. Numbers V. 14 added on cartouche. Tubbs. ist Paris Ed.
III. Additional number 14 lower r. margin. Intermed. Paris Ed.
IV. Number 698 upper r. Ed. Firmin-Didot, Paris.

laa. THE BATHS OF TRAJAN (ERRONEOUSLY CALLED BATHS OF TITUS).

BIRD'S-EYE VIEW. 108. F. 837. 1775.
Title, on scroll near centre below : Veduta delle Terme di Tito.

[19x271,] Signed, lower 1.

margin : Cav, Piranesi F.

I. Before numbers. B.M.L., King's. Soane. Tubbs. ist Paris Ed.

II. Number 41 upper r. Intermed. Paris Ed.
III. Number 793 upper r. Ed. Firmin-Didot, Paris.
 CATALOGUE 71

134. THE VILLA PAMPHILI. 45. F. 840. 1776.

Title on scroll in centre below .• Villa Panfili.

[19I X 2
7|.] Signed, on scroll r. : Cav. Piramsi F.
I. Before numbers. B.M.L., King's. Soane. Tubes. 1st Paris Ed.
II. Number 45 upper r. Intermed. Paris Ed.
III. Number 729 upper r. Ed. Firmin-Didot, Paris.

THE TIBER AT THE MOUTH OF THE CLOACA MAXIMA (FORMERLY

185.
CALLED THE BEL LIDO), WITH THE ROUND TEMPLE AND S. MARIA IN
COSMEDIN IN THE BACKGROUND. 57. F. 841. 1776.
Title : Veduta delle antiche Sostruzioni fatte da Tarquinio Superbo delte il Bel Lido, come
aliri erette da Marco Agrippa a' tempi di
Auguslo, in occasione, che Eglifece ripurgare tutte le

Cloache fin al Tevere.

[17^ X 26J.] Signed, lower r.

margin : Cav. Piranesi F.
I. Before numbers. B.M. B.M.L., King's. Soane. Tubbs. ist Paris Ed.
II. Number 57 lower r. margin. Intermed. Paris Ed.
III. Number 741 upper r. Ed. Firmin-Didot, Paris.

ia6. THE COLOSSEUM. BIRD'S-EYE VIEW. 98. F. 759. 1776.

Title, on scroll lower 1. : Veduta delt Anfiteatro Flavio detto il Colosseo.

[19 J X 28|.] Signed, on scroll lower r. : Cav. Piranesi F.

I. Before numbers. B.M. B.M.L., King's.

II. Numbers 22 II and 98 on scroll r. Soane. Tubes. 1st Paris Ed.
III.Number 30 upper r. Intermed. Paris Ed.
IV. Number 782 upper r. Ed. Firmin-Didot, Paris.

lay. THE BATHS OF TRAJAN (ERRONEOUSLY CALLED BATHS OF TITUS).

109. F. 838. 1776.
Title, on cartouche near centre below : Veduta degli Avanzi delle Fabhriche del secondo
Piano delle Terme di Tito.
[19^ X 27|.] Signed, on cartouche r. : Cav. Piranesi F.

I. B.M. B.M.L., King's.

Before numbers.
II. Numbers II 109 on cartouche. Soane. Tubes, ist Paris Ed.
III. Number 42 upper r. Intermed. Paris Ed.
IV. Number 794 above towards r. Ed. Firmin-Didot, Paris.

128. THE PALAZZO VIDONI (FORMERLY THE PALAZZO STOPPANI). 41.

F. 842. 1776.
Title, on scroll below towards r. : Veduta del Palazzo Stopani.

[i6fX26^.] Signed, on scroll r. : Cav. Piranesi F.

I. Before numbers. B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.
II. Number 41 upper r. margin. Intermed. Paris Ed.
III. Number 725 upper r. Ed. Firmin-Didot, Paris.
7a THE 'VIEWS OF ROME'
S. MARIA DEGLI ANGELI.
129. INTERIOR. FORMERLY THE CENTRAL
HALL OF THE BATHS OF DIOCLETIAN. 106. F. 835. 1776.
Title, on cartouche in centre below : Veduta interna della Chiesa della Madonna degli
Angioli delta della Certosa che anticam? era la principal Sola delle Terme di Diocleziano.
[19 X 28
J.] Signed, on cartouche r. : Cav. Piranesi F.
I. Before numbers. B.M. Tubes.
II. Numbers 25 and 106 on cartouche. Soane. Tubes, ist Paris Ed.
III. Number 39 upper r. Intermed. Paris Ed.
IV. Number 791 on window upper r. Ed. Firmin-Didot, Paris.

S. Maria degli Angeli was built by Michelangelo into the Baths of Diocletian.

130. THE TOMB, CALLED LA CONOCCHIA, ON THE VIA APPIA NEAR

CAPUA. UPRIGHT PLATE. 114. F. 843. 1776-
Title, on scroll Avanzi di un aniico Stpolcro oggi detto
below towards r. : la Conocchia, che

si vede poco lungi dalla Porta di Capua per andar a Napoli.

[28Jxi8f.] Signed, on scroll r. Cav. Piranesi F. :

I. Before numbers. B.M.L., King's. Soane. Tubes, ist Paris Ed.

I J. Number 47 upper r. margin. Intermed. Paris Ed.
III. Number 799 above towards r. Ed. Firmin-Didot, Paris.

131. HADRIAN'S VILLA : THE CANOPUS. INTERIOR. 134. F. 845. 1776.

Title, on scroll towards r. below : Interne del Tempio d° di Canopo nella Villa Adriana.

[17IX23.] Signed, on scroll r. : Cav. Piranesi F,

I. Before numbers. B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.
II. Number 67 upper r. margin. Intermed. Paris Ed.
III. Number 819 in sky near centre above. Ed. Firmin-Didot, Paris.
This view corresponds to the lower letter B (i.
e. the corridor leading back from centre
of apse) in view No. 90.

13a. HADRIAN'S VILLA: THE PIAZZA D'ORO. 129. F. 846. 1776.

Title, on cartouche near centre below: Veduta degli Avanzi della Circonferenza delle antiche

Fabbriche di una delle Piazze della Villa Adriana oggidi chiamata Piazza doro.

[i8|x 24f] Signed, lower r. margin. Cav. Piranesi F.

I. Before numbers. B.M. B.M.L., King's. Tubes.
II. Numbers 129 XXX. lower r. work. Soane. Tubes, ist Paris Ed.
III. Number 62 upper r. margin. Intermed. Paris Ed.
IV. Number 814 towards r. a little above centre. Ed. Firmin-Didot, Paris.

133. THE SO-CALLED HELIOCAMINUS

HADRIAN'S VILLA :
(A CHAMBER
FOR WINTER HABITATION HEATED BY THE SUN). 130. F, 847. 1777.
Title, on scroll lower r. : Veduta di un Eliocamino per abitarvi I'
Inverno, il quale era
riscaldato dal Sole che s'introduceva per le Finestre.

[i6|x 23I.] Signed, on scroll r. : Cav. Piranesi F.

I. Before numbers. B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.
II. Number 63 upper r. margin. Intermed. Paris Ed.
III. Number 815 in sky-light near centre above. Ed. Firmim-Didot, Paris.
 LIST CATALOGUE 73
OYjr
47 signed by Ei**^: A HALL IN THE SO-CALLED ACCADEMIA. 131.
Blomfield (wi*-- i777-
liu- ink to^tfcuche centre below :
Dieta, sia Luogo che dh ingresso a due diversi grandiosi

Cuiicoli, e ad altre magnifiche Stanze, esistente nella Villa Adriana ; in oggi posseduie dal

Sig. Conle Ftde.

[
1
2f .] Signed, on cartouche r. Cav. Piranesi F.
7^ X 2 :

I. Before numbers. B.M. B.M.L., King's. Soane. Tubes, ist Paris Ed.
II. Number 64 upper r. Intermed. Paris Ed.
III. Number 816 above in light of arch r. Ed. Firmin-Didot, Paris.

135. THE ARCH OF BENEVENTUM. 94. F. 823. 1778.

Title, on stone lower r. : Veduia dell' Arco di Benevenio nel regno di Napoli.

[i8|x28.] Signed, lower 1.

margin : C. Piranesifece.

I. Before numbers.
II.Numbers 20 (?) lower 1. margin, 94 lower r. margin. Soane. Tubes, ist Paris Ed.
III.Number 26 upper r. margin. Intermed. Paris Ed.
IV. Number 778 upper r. Ed. Firmin-Didot, Paris.
In the engraved catalogue in the Bodleian (No. 1 1 in list on p. 6) this view conies as the
last entry.No. 107. In a subsequent edition of the engraved catalogue (Soane Museum,
see No. 12 in list), No. 107 is altered to Del Palazzo Farnese and the Arco di Benevento
does not appear. It reappears, however, in the latest edition of the engraved catalogue
noted in the list (No. 1 3). It seems probable therefore that it was commenced, or at least

announced, in 1773 (the date of several of the views on either side of No. 107), but for some
reason not published until about 1780.

136. THE PANTHEON. INTERIOR. BY FRANCESCO PIRANESL 73.

[F. after 822.] 1768 (? error for 1786).
Title : Veduia interna del Panteon volgarmente delta la Rotonda.

[i8| X 26^.] Signed, lower 1.

margin : Cav: Francesco Piranesi disegnd e incise.

I. Before numbers. Soane. Ed. Tubes, ist Paris

II. Number 4 upper margin. Intermed. Paris Ed.
III. Numbers 756 and 259 upper r. Ed. Firmin-Didot, Paris.
In the later Paris editions this view precedes my No. 72. The catalogue of 1792 might
have intended the same order, but the same title and date is given for each plate, so that it
is impossible to decide. They are placed in this catalogue in order of production. The
date 1768 is almost certainly an error, as it is unlikely that Francesco was a Cavaliere at th

age of 20.

137. THE COLOSSEUM. INTERIOR. BY FRANCESCO PIRANESI. 137. [F.

after
823.] 1788.
Title, on stone lower r. : Veduta interna del Colosseo.

[Plate, 19^x28^; work, i8|x26|.] Signed, lower r. margin: Franc. Piranesi disegnh,
e incise.

I. Before numbers. Soane. ist Paris Ed.

II. Number 33 upper r. margin. Intermed. Paris Ed.
III. Number 785 upper r. margin. Ed. Firmin-Didot, Paris.
 <F'

~^RLY THE CENTRAL

1776.
Madonna df''

V. LIST OF G. B. PIRANESI'S PUBLISHED WORKS

Arranged chronologically, later issues being placed before their date
immediately after the first editions. No attempt is made to give a list of the
prints (beyond collation of the number of
plates in each publication) except in
the case of the Antichita Rotnane de' Tempi della Repubblica, 1748, the Varie
Vedute di Roma, 1748, and the Opere Varie, 1750. Indications of state are only
occasionally supplied. On the other hand, the plates of the Carceri and Vedute
di Roma are fully catalogued in other sections of this book.
A number within brackets, in relation to a plate, indicates order in a series,
without the number being actually engraved on the plate.
The number of plates given in the list generally refers strictly to the series
as numbered by Piranesi. The single plate number is constantly used to include
two or more prints (from different coppers) on one page. So that the actual
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. In these collations PI. Ill (e.g.) plates (marked with Roman
means 3
numerals) just as pp. 4 (e. g.) means 4 pages of text. Pp. 3 [4] implies fourth
page without a pagination.
Head- and tail-pieces and initial letters in the text are etched by Piranesi.
A date within brackets is two years are given, it implies that
conjectural. If
the first date is cited in the Catalogue of 1793. This date generally denoting the
approbatio, the actual publication might be a year later.
The Paris and later issues are not described in the list. For their dates see
Introductory Notes to the Catalogue of the Views of Rome at p. 33.
' '

The '

catalogues referred to are those of the Chalcographie Piranesi ', edition

179a (British Museum, Print Room), and edition 1800 (Soane Museum). The
different works are cited according to their volume number in these catalogues.
For fuller description of these catalogues see my text at p. 4. The following
abbreviations are used :

F. = Focillon, Essai de Catalogue RaisonnL Paris, 191 8.

G. = Giesecke. List of works in his Giovanni Battista Piranesi (Meister der
Graphik, vi). Leipzig, 191 1.
The locality of impressions is
only referred to in the case of rare works.
 /
LIST OF PL^ANESrS PUBLISHED WORKS ^S

47 signed by VvcvArchitetture, \
e Prospettive inventate ed incise da Gio. Batta.
\ \

Blomfield {v/hb/ii/e/to Veneziano \

dedicate al Sig. Nicola Giobbe.
\
F. 1-13. G. I. viii
ink to /gtues of 1792 and 1800). Etched title (as above) pp. 4, and at end: In Roma
;

17^3 nella Stamperia de' Fratelli Pagliarini

I
|
Mercanti Librari, \
e Stamfatori a
Pasquino \
Con Licenza de' Superiori \
. PI. XIV (or XII ?) Rome, Biblioteca Corsiniana.
Giesecke describes the Corsini copy as showing in its list of contents 12 plates beside
title, of which 11 appeared later in the Opere Varie, Nos. i, 2, 5, 6, 8, 9, 10, 11, 12,

13, 14, the remaining plate (entitled Atrio dorico in the list, but not on the plate)
not

being republished. [The copy actually wants 4 plates.] The Catalogue of 1792 refers to
the whole Opere Varie as produced in 1 742, which is no doubt correct in relation to part
of those which appeared in this early edition. A separate impression of a second state of
this title-page is in the B.M. the whole lettering has been engraved afresh and differs
;

from the above in having Giambatista in place of Gio. Batta., and Fra gli Arcadi
Salcindio Tiseio between Veneziano and dedicate. It is definitely shown to be inter-
mediate between the state in the Corsini and that found in the Opere Varie, as in the
latter there are still traces of the of Veneziano and the e of Giobbe in the position

occupied by the lettering on B.M. imp., not by that of the Corsini state. There is also
in B.M. an impression of the top part of one of the early states (probably later than the
B.M. 2nd state) on the back of a proof before letters of the Ponte di Rimino from the
Antichitd, Romane de' Tempi delta Repubblica,

1744. ZocCHi, Giuseppe, Vedute delle ville e d'altri luo^hi delta Toscana, Florence (appresso
Giuseppe Allegrini Stampatore in Rante) 1744. [2nd edition, appresso Giuseppe Bouchard
Libraio Francese in Firenze 1754. 3rd edition, appresso Giuseppe Bouchard Stampatore
inRome Firenzeiy^?-] Editions 1744 and 1754 in the Soane Museum. Ed. 1757, B.M.L.
Contains one etching by Piranesi, PI. 17, La Real Villa deW Ambrogiana. Etched after
Giuseppe Zocchi. F. 19. G. 4.

1748. Antichitd Romane de" Tempi delta Repubblica, e d^ primi Imperatori, disegnate, ed
\ \

incisida Giambattista Piranesi Architetto Veneziano

\
Roma si vende dalP Autore . . .

dirimpetto V Accademia di Francia. The dedication dated 1748. F. 41-71. G. 8. x

(Catalogue of 1792), viii (Catalogue of 1800). 30 plates (including etched titles to parts
I and II, the second reading AntichitA Romanefuori di Roma Parte seconda, dedication . . .

plate, plates of inscriptions). The

and two same passe-partout border used with the first

title, dedication, and plates of inscriptions. The second plate of inscriptions gives a list

of 28 plates, which does not include the second title or the Arco di Galieno which some-
times appears, unnumbered, in this edition. The plates (except the title-pages, dedica-
tion plate,and Arco di Galieno) bear arable numerals the first view, properly No. 5, :

is numbered i (and generally corrected in MS.) thereafter 6 to 28. The second title-
:

page comes before i6, Ponte di Rimino. Pis. 13 and 14 are after etchings by Israel
Silvestre. The views are oblongs measuring about six loj in. The Catalogue of 1792
dates the work as 1741, but between 1743-8 would seem the more likely date at least
for the production of the majority of the plates. There is a proof before letters of the
Ponte di Rimino (16) in the B.M. printed on the back of the top part of the second state
of the frontispiece to the Prima Parte di Architetture (i.e. between 1743 and 1750).
This edition (with earlier title) is also found with plates reworked as in later edition.
For complete list of plates, see under later edition.
76 LIST OF PIRANESrS PUBLIS/E'
[Later edition between 1778 and 1792]. Alcune Vedute di ArcHJ^^^
:
THE CENTRAL
menti inalioti da Romani parte de quali si veggono in Roma,
\ ^T7^-
Disegnati ed incisi dal Cavalier Gio. Battista Piranesi (earlier \
i. 'Kadonna rf"-i).
F. 41-71. X (Catalogue of 1792). vni (Catalogue of 1800).
G. 8 a.
32 piai^^, vwo new
i. e. Arco di Aosta
plates being added, by G. B. Piranesi after Sir Roger Newdigate, and
Temple of Minerva Medico by Francesco Piranesi. The Index of plates on PI. 4 is not
revised to correspond to the new order of the subjects. The views have been reworked.
The following is a complete list of the plates in the present and earlier editions. The
first numbers are those of the
present and later editions the numbers placed after the ;

titles are those of the earlier edition of 1748.

1. First title, (i.)

Dedication. (2.) With /a«tf-^a;'/ca/ border in 1748 edition only.
2.

3. Inscriptions on Antiquities in Rome. (3.) With/rtjfe-/ar/<?M/border in 1748 edition

only.
4. Inscriptions on Antiquities outside Rome, with Index of Plates (4). With passe-
partout border in 1 748 edition only.
5. Arco di Aosta (after Sir Roger Newdigate). Larger plate, not in the 1748 edition.
6. Parte del Foro di Nerva. I (generally corrected in MS. to 5).
7. Arco di Tito. 6.
8. Tempio di Giove Tonante. 7 (now known as Temple of Vespasian).
9. Arco di Costantino. 9.
I o. Vestigjdel Tempio di Giove St atore. 10 (now known as Temple of Castor and PoUiuc).
11. Tempio di Giano. 11.
12. Anfiteatro Flavio detto il Colosseo. 12.

13. Arco di Settimio Sever (after I. Silvestre). 13.

14. Ponte Senatorio oggi detto Ponte Rotto (after I. Silvestre). 14.
15. Foro di Augusta. 15.
16. Ponte di Rimino. 16.
17. Second Title. Not numbered in edition of 1748, but comes after 15.
18. Sepolcro delta faiiiiglia de Sipioni (s\c). 18.

1<). Arco di Druso. 8.

20. Arco di Rimino. 17.
21. Tempio di Pola. 21.
22. Rovescio del Tempio di Pola, 22.

23. Anfiteatro di Pola. 23.

24. Arco di Pola. 24.
25. Anfiteatro di Verona. 25.
26. Tempio di Clitumno tra Fuligno e Spoletti (sic). 26.

i"].Sepolcro delli trefratelli Curiati in Albcino. 27.

28. Arco di Trajano in Ancona. 28.

29 (engraved 22 in error). Sepolcro di Meiella detto Capo di Bove. 20.

30. Parte deir antica Via Appia. 19.

31. Arco diGalieno. Sometimes occurs, unnumbered, in the 1748 edition.

32. Tempio di Minerva Medica (by Francesco Piranesi). Larger plate, not in the

1748 edition.

1748. Varie Vedute di Roma Antica, t Modema Disegnate e Intaglia\te da celebri Autori\
\ \ \

in 1748 A spesi di Fausto Amideo Libraro al Corso (title etched by Anesi).

Roma | \

F. 72-119. G. 10 (note). Title, and 93 (or 94?) small views (size, about 5x7^ in.),
 LIST OF PIRANESrS PUBLISHED WORKS 77

47 signed by Piranesi (including several by Bellicard, dated 1750), Sir Reginald

Blomfield (with the Fausto Amideo on title imperfectly erased and altered in pen and
ink to lovanni Bouchard: title and 89 views). Giesecke cites this edition (but with title
and 94 plates) as being in a sale catalogue (Libreria Antiquaria Internationale, Rome,
Dec. 1910, No. 322), and another of similar title but date 1750 (with 79 plates only,
probably imperfect) as No. 322 a in same catalogue. The 1748 on title-page of Blomfield
copy is inconsistent with date 1750 on several of plates. Dr. Ashby notes that seven of
the plates signed by Piranesi appeared in G. P. '^0%'A'da, Mercurio errante delle Grandezze
di Roma. Rome (a spese di Fausto Amidei) 1750. I note only two in the 1760 edition
of the same book (B.M.L.).

[Later edition: 1752]. Raccolte di Varie Vedute

\
di Roma si antica che moderna\
\ \

intagliate la jnagffior parte dal celebre Gianbalista Piranesi e da altri incisori.

\ \
L^ \ \

sudette sono in niitnero di novanta tre, e si vendono in Roma

\
Giovanni Bouchard\
Da \

Librajo al Corso Vicino a San MarcelloVignette Tenpio di Bacco signed F. O. Duflos

\
;

del. et scul. In Roma, MDCCLII nella Stamperia di Giovanni Generoso Salomon]

\ \ \

Con licenza de' Superiori F. 72-119. G. lo. Soane (bound up with Le Magnificenze
\
.

di Roma, 1751). Manchester (John Rylands Library). B.M.L., appended to King's

Library copy of the Opere Varie (92 of the plates without title). 48 of the plates signed
by Piranesi. These 48 plates (unnumbered) bear the following titles and occur in the

following order among the 92 plates of the B.M.L. copy, the number in brackets giving
their actual place in the complete set.
1 (5).
Archyginnasio Romano.
2 (7). Chiesa di S. Carlino.
3 (8). Aquadotti delV Acqua Claudia.
4 (9). Veduta di S. Giovanni in Laterano.
5 (10). Spelonca delta Ninfa Egeria.
6(11). Veduta dell' Arco di Callieno.
7 (12). Veduta del Circo Massimo.
8 (13). Palazzo Barberini.
9(15). Veduta di Castel S. Angelo.
10 (16). Tempio di Minerva Medica.
11 (17). Veduta di Villa Ludovisi.
12 (18). Circo di Caracalla.
13 (19)- Veduta di Belvedere in Vaticano.
14 (20). Arco di Nerone Drtiso.
15 (25). Anfiteatro Castrense a S. Croce in Gerusalemme.
16 (26). Fontana dell' acqua Paola.
17 (27). Veduta della Villa Medici.
18 (28). Veduta della Villa Panfili.
19 (30). Tempio di Giunone Regina.
20 (31). Veduta della Chiesa ed Ospedale di Santo Spirito.
21 (34). Tempio di Venere, e Cupido.
22 (35). Tempio della Fortuna Virile.
23 (37)- Veduta della Fontana d' Acqua Felice.
24 (38). Chiesa del Gesii.
25 (39)- S. Stefano Roiondo.
26 (40). Chiesa di S. Andrea della Valle.
27 (41). Palazzo dell' Accademia di Francia.
78 LIST OF PIRANESrS PUBLISHED WORKS
28 (42). Santa Maria in Vallicella.

29 (43)- Vestigie della vecchiaCuria Ostilia.

30 (44), Palazzo del Duca di Bracciano Odesckalchi.
31 (53). Veduta del Palazzo Panfilio.
33 (56). Tempio di Venere appresso il Circo Apollinare.
33 (59)- Palazzo della Cancelleria,
34 (66). Piramide di Caio Cestio.
35 (67). Arco di Seltimo Severe.
36 Vestigie delle Ternte d' Antonino Caracalla.
(77).

37 (79). Veduta della Chiesa di S. Sebastiano fuori delle Mura.

38 (80). Palazzo de i Duchi Mattel,
39 (81). Collegia di Propaganda Fide.
40 (82). Vestigie delle Terme Diocletiane.
41 (83). I. Palazzo Pontificio. 2. Chiesa di S, Maria Maddalena.
42 (84). Palazzo Farnese.
43 (85)' Veduta del Teairo di Marcello.
44 (86). Palazzo degli Ambasciatori di Venezia.
45 (87). Fontana di Trevi.
46 (89). Chiesa di S. Paolo fuori delle Mura.
47 (91). Chiesa di S. Ignazio.
48 (92). Veduta delle Terme di Tito Vespasiano.
The rest by P. Anesi, J. L. Le Geay, F. P. Duflos, and J. C. Bellicard. Giesecke (10)
quotes an edition in Munich (Graphische Sammlung) as having 96 views (and described
thus on title-page). Later editions of part of the series in (i) [G. 10 b] Ridolfino Venuti,
Accurata e succincta Descrizione topograjica delle Antichitd, di Roma. Rome, 1763
(19 signed Piranesi in B.M.L. copy), and (ii) [G. 10 a] R. Venuti, Accurata e succincta
Descrizione . . di Roma Moderna 1766 (28 signed Piranesi in B.M.L. copy). One of
.

the views, No. 12, was re-printed in Raccolta di 50 vedute . . . di Roma incise da Piranesi,
Morelli, Pronti ed altri celebri Bullini. Presso Piale Neg* di Stampe. Rome, n.d.
[after 1815].B.M.L., Maps. Nos. 12, 19, 29, and 32 reprinted in the 1824 ed. of Venuti,
No. 29 with new title Ninfeo di Nerone, and Piranesi's signature erased.

Le Vedute di Roma. xvi and xvii (Catalogues of 1792 and 1800).

F. 719-853. G. 6.
1748, &c.
135 plates (including title-plate and
produced between 1748 (or earlier?)
frontispiece),
and 1778. Two plates added by Francesco Piranesi in 1786 (?) and 1788 (see p. 73,
Nos. 136 and 137). The Pianta di Roma, 1778, is often bound with the series. For
a series of early states of a selection of the views see Le Magnificenze di Roma 1751.
For further notes on the series and a detailed Catalague see p. 30-73.

1748. Nuova Pianta di Roma data in Lttce da Giambattista Nolli I'Anno MDCCXLViri. F. 40.
After PI. 32 (end of Indice Alfabetico della Pianta) follows the only plate in the publica-
tion which bears Piranesi's name. It is a double folio plate giving a smaller plan of the

whole of Rome
with views (no doubt Piranesi's part of the work) of St. Peter's and other
buildings and monuments. The title of the plate on base of column at foot La Topo- :

grafia di Roma di Gio. Bafta Nolli

dalla Maggiore in questa minor Tauola dal Medesimo
Ridotto. Signature at end of fragment of stone coping at foot of column Piranesi e Nolli :

incisero. Carlo Nolli, who signed two of the Index plates, is probably the other engraver.

1750. Opere Varie di Architettura, prospettiva groteschi, AntichitH inventate, ed incise

\ \ \ \ \

da Giambattista Piranesi Architetto Veneziano, raccolte da Giovanni Bouchard

I
| \ \ \ \
 LIST OF PIRANESrS PUBLISHED WORKS 79

Mercante Librajo al Corso \

— Vignette,
after Claude Lorrain In Roma, 1750 Con — | |

licema de' superiori (title in type). Not described by Focillon or Giesecke. viii (Cata-
logues of 1792 and 1800). [Portrait of G. B. Piranesi engraved by Polanzani often
appears as frontispiece.] Etched front (generally following title-page) Prima Parte :
\

di architetture e prosptttive inventate ed incise da Giambaiista Piranesi Architetto

\ \ \ \

Ventziano fra gli Arcadi .S"fl/««<//<7 7"««V? (later state oftitle-page to the work published
\ \

in 1 743 ; apart from

the design of the plate is considerably changed, various figures
title,

being added, e.g. one kneeling on the large vase in the centre ; only the column on 1. and
the lower parts of the plate remaining untouched). Then follow 32 plates, Nos. I-14
being numbered. They are the plates described as 1-16, 22-7 in the list given under
later edition B. The unnumbered plates (numbered later, 15, 16, 22-7) occur in varying
. order in different copies. Masked impressions from the two halves of the allegorical
frontispiece to the Vedute di Roma (Catalogue, No. 2) are inserted in both the British
Museum Library copies. The Soane copy of this edition shows the plates from the
Prima Parte di Architetture before the rework. The two copies at the British Museum
show the plate reworked.

[Later edition A :
1750, or after]. The title now reads Opere Varie :
\
di \
Architettura \ pro-
speitive grotteschi antichith sul gusto degli antichi Romani
inventate, ed incise da
— \

—
\ \ \ \

Giambatiista Piranesi Architetto Veneziano vignette after Claude Lorrain

\
raccolte \ | \

da Giovanni Bouchard Mercante Librajo al Corso In Roma

I \
con licenza \ \
MDCCL |

de' superiori. F. 1-18, 20-3, 120 b, 121, 122. G. 9. [The title quoted from Giesecke 9, as
I have not examined a copy.] Same plates as in the preceding. Giesecke notes that the
plates which had appeared in the Prima Parte di Architetture are in the reworked state,
as I have remarked in later copies of the preceding edition. Manchester (John Rylands
Library, and Chetham's Hospital and Library).

[Later edition B : 176 1, or after]. The same title with Gio. Batista in place of Giambattista ;
with an original vignette by Piranesi in place of his etching after Claude, following the
word Veneziano then In Roma MDCCL. Con licenza de' superiori si vendono presso
:
\

I' A utore net palazzo del Signor Conte Tomati \

su la strada Felice alle TrinM de' Monti.
[In spite of date on title-page remaining 1750, the edition cannot have appeared before
1757, as it contains plates issued that year in earlier states (see below, Lettere di Giusti-
ficazione), and was probably not issued until 1761 when Piranesi seems to have moved to
the Palazzo Tomati (see p. 7).] F. 1-18, 20-3, 120 a, 121-32. G. 9, and 13 a. Soane
(2 copies), R.A., Bodleian, Cambridge (Fitzwilliam), Chatsworth, Windsor. The following
is a complete list of the plates in the present and earlier editions. The first numbers are those

of the present and later editions ; the numbers placed after the titles are those of the earlier
or 1750 edition. The titles are printed on separate plates in the cases of Nos. I, 2, 3, 6,
8, 9, 10, II, 12, 13, 14, and 23. Nos. 1-16 are folio size, Nos. 17-21 smaller plates printed
two on a page (partly four on a page in Ed. Firmin-Didot), and Nos. 22-7 double folio.

Title.

Frontispiece.
I. Galleria Grande di Statue. I.

3. Carcere Oscura. 2.
3. Mausoleo antico. 3 (on title-plate, 4 in error upper r. margin of plate).
4. Gruppo di Colonne (dated, Rome 1743). 4.
5. Vestiggi d'antichi Edi/icj. S-
6. Ruine di Sepolcro antico. 6.
8o LIST OF PIRANESrS PUBLISHED WORKS
7. Ara antica. 7.
8. Ponte magnifico. 8.
9. Sala air uso degli antichi Romani. 9.
la Campidoglio antico. 10.
11. Gruppo di Scale. II.

12. Prospetto d'un regio Cortile. 12.

13. Vestibolo d' antico Tempio. 13.

14. Foro antico Romano. 14.

15. Tempio antico. Not numbered. This and No. 16 often found in reverse order in
earlier editions.
16. Camera sepolcrale. Not numbered.
The Frontispiece of the Vedute di Roma, with Statue of Minerva. Masked impressions
of the two halves of this plate often occur after No. 16, or later, in the earlier editions.
The following ten smaller plates, 17-21, were added in the present later edition B.
They are printed two on a page the upper plate, or the left-hand plate in the case of the
;

two upright subjects, is given as a.

17 [a] Ingresso d'un antico ginnasio.

[17 b] Idea delle antiche vie Appia e Ardeatina [= reduced version of the large
frontispiece to Vol. II of the Antichitd, Romane, 1756] = Tav. II Lettere di
Giustificazione, 1757.
18 [a] Veduta d'uno de' circhi antichi [= reduced version of the large frontispiece to
Vol. Ill of the Antichitd, Romane\ = Tav. Ill Lettere di Giustificazione.

[18 b] Appartenenze d' antiche terme.

[19 a] Portici Tirati diniorno ad un Foro.
[19 b] Scuola antica architettata alia Egiziana e Greca.
[20 a] Braccio di citta pensile [= reduced version of the large frontispiece to Vol. IV of
the Antichitd Romane\ =
Tav. IV Lettere di Giustificazione.
[20 b] Ponte Trionfale [= reduced version of large frontispiece to Vol. I of the Antichitd.

Romane] = Tav. I Lettere di Giustificazione.

21 [a] Idea d'un atrio reale. Upright.
[21 b] Ravine d'Archif^ Egiziana e Greca. Upright.
22. Pianta di amfiio magnifico Collegia. Not numbered in early editions, and this or

the following plate generally occur after the Groteschi (Nos. 24-7 below) in early
editions.

33. Parte di Ampia magnifico Porta. Not numbered in early editions. The following
four numbers (large oblong plates) must answer to the title Groteschi of the Title-

page. They are sometimes referred to as Capricci, but Piranesi appears to have
used the latter title in the first instance in particular reference to the Carceri (see
'
earlier issues). Nos. 25, 26, and 27 bear Piranesi's address
opposite the French
Academy '.
They numbers in early editions.
are without

24. Pyramidal formation of architectural and sculptural details, with death's head and
skeleton in the foreground.

25. Medley of ancient columns and other architectural remains the form of an arch in
;

shadow above, and a vista on to a richly ornamented arcade or triumphal arch

in the background.
26. Medley of architectural remains, with serpents in foreground ;
a sarcophagus
inscribed NERO . .
.) above towards 1., and a painter's palette and brushes
lower r.
 LIST OF PIRANESrS PUBLISHED WORKS 8i

27. Architectural and sculptural medley, with a large slab of stone, with ornamental
border, in the centre, several casks in upper 1., and a skull and smoking vase in
the foreground.
Four of the small plates, i.e., 20b, 17b, 18 a, and 20a (reproducing in small the four
principal frontispieces to the Antichitd, Romane with the original dedications to Lord
Charlemont) appeared in an earlier slate as Pis. I-IV in the Let/ere lii Ciustijicazione
scrittea Milord Charlemont, 1757. Before their use in the present edition of the Opere
Varie the original inscriptions in the margin and the plate numbers had been erased, and
various small changes made in the work on the plate (new detail added in place of old
inscriptions), and Piranesi's name and new titles added as indicated above. In their
altered condition there are two states: (a) Before any rebiting. E.g., in one of the
copies in the Soane Museum (b) The plates rebitten and numbers etched in the margin
;

of two of the plates, i. e., 17 and 18. The two states (before and after rebiting) refer also
to the plates which did not occur previously in the Lettere. 21 is the only other number
added in the later state in the Soane.

[1750, or earlierBouchard's edition A.] Invenzioni capric de Carceri alt acqua forte datte
:
\ \ \

in luce da Giovani Buzard in Rama Mercanie al Corso (etched title). 14 un-

\ \ \
\

numbered plates including etched title. F. 24, 26,27, 29-39. G. 5 (title-page reproduced
by Giesecke, Taf. 32, with transposed underline). Dresden (Kupferstichkabinet), Rome
(Accademia di S. Luca), Manchester (John Rylands Library), Boston (U.S.A.), Sir
Francis Newbolt. Giesecke conjectures the date as about 1745. The catalogue of 1792
work as of 1750 (probably meaning date of origin, though the
refers to the title Prisons
de Nouvelle Invention and reference to 16 plates denote the later edition).

[Later issue: before 1761: Bouchard's edition B.] Invenzioni capric de Carceri nlF acqua \ \

forte date in luce

I
da Giotmni Bouchard in Roma Mercanie al Corso (2nd state
\ | \ \

of etched The other plates as in the preceding issue. B.M., Soane, Paris, B.N.
title).

(only 8 plates: wanting 3, 8, 9, 10, 11, 13 (according to numbers in later edition),

Munich (Graph. Samml.), Messrs. B. T. Batsford, Sir Reginald Blomfield, Mr. John
Charrington, Leicester Galleries, The Twenty-One Gallery (Adelphi, W.C), Oxford,
Ashmolean (only 7 plates : wanting 6. 7, 8, 10, 11, 14, 15, bound up with a complete set
of the later edition).

[Later (Piranesi's) edition: about 1761.] Carceri cTInvenzione di G. Battisia Piranesi\

\ | \

Archil. Vene (3rd state of etched title). 16 numbered plates including the etched title.
1

F. 24-39. G. 5 a. IX (Cat. of 1792). vin (Cat. of 1800). Pis. II and V added in this

edition, II being inscribed Presso FAutore a Strada Felice vicino alia Trittitd de'
Monti. Fogli sedici, al prezzo di paoli venti. The plates from the earlier issues in
most cases very considerably elaborated and modified adding throughout a much :

greater depth and contrast of tones. This edition of 16 plates figures in the earliest of
the engraved aitalogues (about 1761, see No. I, p. 6), and is priced at 20 paoli. In the
catalogue printed at the end of the preface in the 1756 ed. of the Antichitd. Romane the
number of plates is not cited, but the work is priced at 14 paoli. It seems natural to
infer that this was the earlier and smaller edition of 14 plates. Plate II is not known
in state before Piranesi's address in the Strada Felice, where he probably moved about
1761 (see p. 7), so that this and the entry in the engraved catalogue fix the date. For
detailed catalogue of the plates see p. 24.

[About 1750?] Camere sepolcrali \ degli Antichi Romani \

le quali esistono dentroefuori di
\ \

Roma (etched title). 1 1 unnumbered plates (in addition to title), which were later incor-
G
Si LIST OF PIRANESrS PUBLISHED WORKS
porated in the Antickild. Romane (for the most part unnumbered in the edition of 1756,
and all numbered in 1784 ed.). They correspond to Pis. 8, 9, 10, 16, 39 of vol. II, and 12,
21, 23, 24, 25, 26 of Vol. Ill of the Antichiti. Romane, and appear in the following order :

II 8, 39, 10, 9 ;
III 21, 24, 23, 25, 26 ;
II 16 ;
III 12. 23-26 are engraved by Giro-
Ill
lamo Rossi, three being inscribed as after Antonio Buonamici. Soane [in the volume
which contains the first editbn of the Opere Varie and the Bouchard edition of the
Carceri^

1751 (•)•
^ Magnificeme di Roma h piil remarcabili
\ \ \
comistenti in gran numero di
stampe \
mile quali vengano rappresentate le piii compicue Fabbriche di Roma | \

Modema, e le rimaste
\
deir antica, anche quelle, che sparse sono per C Italia con \

r aggiunta ancora di molte invemioni di prospettiva sulla maniera degf antichi

\ \

Romani, come anche di mold capricci di carceri sotteranee, II tiilto con singolar
\ \ \

gusto, e studio diligentemente delineate, inventate, ed incise da Giambattista Piranesi \ \

architetto Veneziano, e raccolte da Giovanni Bouchard mercante librajo al corso

\ | \

(Vignette by Piranesi, F. 120 a, as in Opere Varie, later edition B) In RomaMDCCLI\ |

Con Licenza d^ Superiori Title-page in type as above. This collection by Bouchard

\

contained a selection of the earlier Vedute di Roma (in early states, before price and
Piranesi's address in the Palazzo Tomati, and some with different titles, as described in
detail in the catalogue of the Vedute di Roma), and several other early series by Piranesi.

Perhaps Bouchard only bound up this selection as he sold, and the extreme rarity of copies
might be explained either by the unpopularity of this corpus (customers preferring to take
separate works), or by the fact that the works have got separated later. Three copies
are known to me which seem to correspond roughly to the scheme of the title-page, and
are very nearly similar in make up, one belonging to Mr. John Charrington (from the
collection of Mrs. Gilbert Drage), another in the collection of Sir Reginald Blomfield,
A.U.A., a third at the Leicester Galleries (1922). fourth in the Soane Museum onlyA
contains the Vedute (followed in the same volume by the Raccolte di Varie Vedute, 1752,
which hardly properly belongs to the series: see above under 1 748 Varie Vedute, later
edition). The following are the Vedute (according to the chronological numbers of my
list) which occur in Charrington, Blomfield, Leicester Galleries, and Soane :
I, 2, 3, 4, 5,

7, 8, 9, 14, 15, 16, 17, 18, 19, 28, 29, 33, 35, 37, 38, 40,41, 43, 45. 46, 49. 5o, 5'. 52, 53. 54,
56, 58 and 59 : No. 58 in Charrington and Blomfield in early state with title Tempio di
Bellona. Soane has 32 and 34 not in either of the other copies. The order in which the
Vedute occur differs slightly in each copy. In addition to the Vedute, the Charrington,
Blomfield and Leicester Galleries copies contain the following: (i) Portrait of Piranesi
by Polanzani, as frontispiece (as in Opere Varie, &c.). [(2) Title-page and Vedute]. (3)
Antichitd Romane <&' Tempi della Repubblica, 1748 (28 plates). (4) Opere Varie
(Blomfield copy lacks the title in type) Frontispiece {Prima Parte di Architetture), then
Pis. 1-16 and 22-27 of list given under Opere Varie, later edition B (but 1 5, 16, 22-27
before the numbers as in earlier editions of the Opere Varie). Pis. 22-27 follow after the
Carceri. (5) Invenzioni capric di Carceri (ist edition, with title-page in 2nd state).
[The Blomfield copy also has impressions of the frontispiece to the Vedute di Roma
repeated, printed in two portions, at end of Opere Varie]. The order of the above
differs slightly in each, but the indication is sufficient to show the contents. For dis-
cussion 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, p. 7.

1753. Trofei |
di Ottcniiano Augttstoinnalzati per la Vittoria ad Actium e conquista delf
\

Egitto I
Con varj altri ornamenti diligentemente ricavati dagli avansi piil preziosi |
 LIST OF PIRANESrS PUBLISHED WORKS 83

ilelU fabbriche antiche di Roma Utili a Pitiori Scultori ed Architetti

I
\ disegnati ed
incisi da Giambatiisia Piranesi Architetto Veneziano.
\
Si vendono in \
Roma da Gio- \

vanni Bouchard Mercante Librajo sul Corso a S. Marcello \

In Roma MDCCLIII.
F. 133-143. G. II. XI (Catalogue of 1792). viii (Catalogue of 1800). Title in type (as
above). 10 unnumbered plates (including vignette Frammenio di una scudo on title-
page) : including No. 34 of the Vedute di Roma,

[Later edition.] Dated 1780 in catalogue of 1792. New engraved title, and five plates by
Francesco Piranesi added (Nos. 4, 5, 7, 8, 9), one dated 1778. Only plates 4, 5, 7, 8, 9,
10, 1 1 numbered (some editions are before the numbers). In this edition the Frammento
di una scudo which occurs on same page with new engraved title is numbered xviii,
a relic of its place in the Roinne dell Casiello delt Acqua Giulia, 1761.

1756. Le Antichitd. \
Romane \
Piranesi
Opera Architetto Veneziano
\
di |
Giambatista | \
\

Divisa in quattro tomi quali si contengono gli avanzi degli antichi

\
nel primo de' \

Edifizi di Roma, disposti in Tcevola iopographica secondo Fodierna loro esistenza ed

\ \
\

illusirati co' frammenti delP aniica Iconografia marmorea, e con uno Indice critico \

della loro denominazione arrichito di tavole suppletorie fralle quali si dimostrano

\ \ \

I'elevazione degli stessi avanzi : Pandamento degli antichi Acquedotti nelle vicinanze e
nel dentro \
di Rojna, correlativo al Commentario Frontiniano ivi esposto in compendia :

la Pianta |
delleTerme le piu conspicue : del Foro Romano colle contrade circonvicine : \

del Monte Capitolino : ed altre le piti riguardevoli Nel secondo, e nel Terzo \ \
Gli
avanzi de' Monument! Sepolcrali esistenti in Roma, e nelP Agro Romano colle
\
loro \

rispettive piante, elevazioni, sezioni, vedute esterne ed interne : colla dimostrazioni dtf \

sarcofagi, ceppi, vasi cenerarj, e unguenlarj, bassirilievi, stucchi musaici, iscrizioni, e \

tutf altro ch' e stato in essi ritrovato :Nel\

e colle loro indicazioni, e spiegazioni. \

quarto I Ponti antichi di Roma che inoggi sono in essere, colle Vestigia delP aniica
\

Isola Tiberina, gli Avanzi de Teatri, de' Portici, e di altri Monumenti, eziando colle
I \

loro indicazioni e spiegazione. Tomo Primo In Roma MDCCL VI Nella Stamperia

\ \ |

di Angelo Rotilj nel Pcdazzo dc? Massimi. Con licenza d^ superior! si vendono in
\ \ \

Roma dai Signori Bouchard, e Gravier Mercanii libraj al Corso presso san Marcello. \

F. 144-395. G. 12. i-iv (Catalogues of 1792 and 1800). Vol. I. Portrait of Piranesi,
engraved by Polanzani (1750), generally prefixed: Title-page in type (as above) : [i]
Etched frontispiece (with dedication to Lord Charlemont in rare early copies) : pp. 4
(preface,imprimatur and list of Piranesi's work hitherto published), with I initial :
Pis.II-VII: pp. 40, with 1 head- and I tail-piece, and i initial: Pis. VIII-XXXVIII
(each number including two on a page) pp. i-xi, with two initials Pis. XXXIX-XL : : :

pp.iii.with I initial: Pls.XLI-XLIII

pp.iv: Pl.XLIIII: Text with Index vi.
: Vol.11
PI. I: Etched frontispiece (with dedication to Lord Charlemont in rare early copies) :

PI. II (double plate [in B.M.L. copy before number] Pis. III-LXIII. Vol. III. PI. I :

Etched frontispiece (with dedication to Lord Charlemont in rare early copies) PI. II :

(double plate) [In B.M.L. copy before number] Pis. III-LIV. Vol. IV. PI. i Etched :

frontispiece (with dedication to Lord Charlemont in rare early copies) PI. II (double :

plate) Pis. III-LVII.

: In all 218 numbered plates as above (44 in Vol. 1,63 in II, 54 in
III, 57 in IV). A copy in the Soane Museum only contains 56 plates in Vol. IV. Most
of the 1756 editions which I have noted contain plates as above. Giesecke notes 43 for
Vol. I and 56 for Vol. IV as the proper number in ed. 1756. These differences undoubtedly
,

show earlier and later issues of the edition with the title-page of 1756, even after the
alteration of the dedication of frontispieces, caused by a quarrel with Lord Charlemont,
described in the Lettere di Giustificazione of 1737. Some copies (e.g. B.M.L.) contain the
G 3
84 LIST OF PIRANESrS PUBLISHED WORKS
firstand second of the letters which were published separately in 1757. In engraving
several of the plates of Vols. II and III Piranesi was assisted in the figures by Barbault.
Pis. XXIII-XXVI of Vol. Ill are etched by Girolamo Rossi (three being inscribed as
after Antonio Buonamici). For a separate issue of II of the plates in an earlier state
see Camere Sepolcrali (about 1750?).
[Later Edition 1784.] In Roma MDCCLXXXIV\ nella Stainperia Salomoni alia Piazza
:
\

(it S.
Ignazio F. 144-395. G. 12 a.\
Portrait of G. B. Piranesi by Francesco
.

Piranesi after Giuseppe Cades prefixed in place of the Polanzani. The first frontispiece
with dedication to Gustavus III of Sweden.

1757. Letters di GiustificazioHe scritte a Milord Charlemont e a' di lui agenti di

\ \ \ \ \ \

Roma dal Signor Piranesi Socio delta real Society degli Antiquari di Londra
I \ \ \ \ \

intorno la dedica delta sua opera delle antichitcL Ront Fatta alio stesso Signor ed
\ \ \ |

ultimamente soppressa In Roma MDCCL VII

\ (On scroll above)
\
lustissimo \
, :

Casu obliteratis tantae vanitatis nominibus Plin. Lib. xxxvi Cap. xxii
I \ Fly- \ \ | |
.

leaf with "etched border of architect's instruments, and twin serpents etched title and 8 ;

numbered plates. F. p. 63, A. G. 13. Pp. xxviii (containing Prefazione, Avviso al

pubblico, and three letters, the first two to Lord Charlemont, the third to Signor A. . . .

G. .
[Aug. 25, 1756, Feb., 1757, May 31, 1757], and footnotes referring to the plates)
.

with 4 head- and i tail-piece. PI. X(?). B.M.L. Oxford (Bodleian). Windsor (Royal
Library). Berlin (Kunstgewerbe Museum). Tubbs. The three copies examined by me
contain 8 numbered plates. The Ex Libris etched border in the B.M.L. copy contains
manuscript dedication, probably in Piranesi's hand, Illiho Sigre It Sigr Riccardo Hay- AW
ivard Sctiltore Celebre. Giesecke describes the work as containing 10 plates. Pis. I-IV
occur in later state in the later edition B of the Opere Varie (q.v.). I give here indication
of the lettering in the present rare edition: I- Inscribed Tav. /in upper 1., and in
margin Primo Frontespizio delV Opera . I'lscrizione
(3 lines) \_= Opere Varie, later . .

ed. B, pi. 20 b.]. II. Inscribed Tav. II in upper r., and in margin Secondo Frontespizio

,. lettera (4 lines) [= Opere Varie, 17 b.].

. III. Inscribed Tav. Ill in upper r., and in

margin Frontespizio Terzo, and two lines of references, A and B on either side [= Opere
Varie, 18 a]. IV. Inscribed Tav. /K in lower r., and in margin Quarto Frontespizio.
Dedication shown beneath the pediment [=Opere Varie, aoa]. V (folding plate).
Inscribed Tav.V and in margin Prima Iscrizione di Milord Charlemont desunta con :

esattissima iniitazione e nella grandezza et net carattere delP originale, eke Pautore ha \

poi depositate nella Biblioteca . . . Corsini alia testa del primo Tomo delf opera di cui si
tratta ... (3 lines), VI. Inscribed Tav. VI, and Seconda Iscrizione di Milord Charle-
mont VII. Inscribed Tav. VII, and in margin A. Lapide delprimo fronte-
... (4 lines). :

spizio ... D. Epistolio del quarto parimente con esse (2 lines). VIII. Inscribed Tav. VIII,
and in margin A. Complimento al Pubblico sostituito ne I primo Frontespizio . terzo
: . .

e quarto (3 lines). Pis. I-IV reproduce on a small scale the frontispieces to the four
volumes of the AntichitcL Romane, showing the original dedications. The later plates
reproduce the inscriptions themselves alone, and their places on the original plate in the
Antichitct Romane. The volume was suppressed soon after publication, which accounts
for its extreme rarity. An earlier edition of the first and second letters (on five folio
pages) is found inserted in some copies of the AntichitA Romane 1756 (no doubt in the

issues that went out early in 1757, before the appearance of the separate edition of the
three letters).
1 76 1. Iannis Baptislae \
Piranesii \ Antiquariorum \ regiae societatis Londinensis \
socii \
de \

Romanorum \ Magnificentia \
et Architectura \
Romae MDCCLXI {Delia \ Magnifi-
 LIST OF PIRANESI'S PUBLISHED WORKS 85
ctnsa I
td Architettura \
de' Romani \ Opera \
di Gio. Battista Piranesi \
socio della
reale \
accadtmia degli antiquarj di Londrd].
\ F. 927-66. G. 14. vii (Catalogues \

of 1792 and 1800). Latin and Italian engraved titles (as above). Portrait of Pope
Clement XIII engraved by D. Cunego after G. B, Piranesi pp. [2], dedication, with one :

initial. Pp. 212, with 2 initials and 2 tail-pieces: PI. XXXVIII. For supplement (gener-
ally bound at end of this volume) see 1765, Osservazioni.

1 761 . Z« Rovine dell Castello delP Acqua Giulia situate in Roma presso S. Eusebio, e falsa-
| \ \

mente delto delP Acqua Marcia colla dichiarazione di uno de" celebri passi del
\ \ \ \

contentario Frontiniano e sposizione della maniera con cui gli antichi Romani distri- \ \

buivan le acque per uso della cittd di Gio. Battista Piranesi. F. 396-420. G. 16,
\ \

xin (Catalogue of 1792). ix (Catalogue of 1800). Dated Rome, 1761 on title-page in

type. Engraved title (as above) :
pp. 26, with 2 initials and 2 tail-pieces : PI. XIX.
(PI. XVIII is the Frammento di uno scudo which appears on the printed title of first

edition, and on first page of 2nd edition of the Trofei di Ottaviano Augusta.)

[1762.] J.B. I
Piranesii \ Lapides \ Capitolini: \
sive \
Fasti Consulares | triumphalesque Ro-
manorum \
ab urbe condita \ usque ad Tiberium \
Caesarem. F. 421-27. G. 17. XII
(Catalogue of 1792). ix (Catalogue of 1 800). Etched title (as above) ;
etched dedication
to Clement XIII pp. [4], preface, with i head-piece: pp. 61, with 2 tail-pieces: PI,
; I.

The catalogue of 1792 dates (approbatio) 16 June, 1761.

1762. Joannis Baptislae |

Piranesii
Antiquariorum Regiae Societatis Londinensis Socii\ \ \ \ \

Campius Martius Urbis Romae, MDCCLXII. (With dedication) Roberto]

\ Antiquae \ \

Adam Brittanno Architecto Celeberrimo, and (in margin) Veneunt apud Auctortm
\ \ \

in aedibus Comitis Thomati via Felice prope Templum SS. Trinitatis in Monte Pincio.

[/I Campo Marzio dell' Antica Roma Opera di G. B. Piranesi socio della reale
I \ \ \

societcLdegli antiquari di Londra].

I F. 428-79. G, 18. XV (Catalogue of 1792). X
(Catalogue of 1800). Two engraved titles (as above). Pp. [8], dedication in type (to R.
Adam), with 2 head-pieces : pp. 69 [70], with 2 initials, and 2 tail-pieces pp. xii : ;

pp. xvii [xviii] :

pi. XLVIII. (PI. XXXI is a large folding plate engraved by Arnold van
Westerhout after Francesco Fontana.)

[? Later Edition : n. d.] With the 2 engraved titles, but with printed text in Italian only. Pp. 31
[32]. Described by Dr. Thomas Ashby [Burlington Magazine, Nov., 1918) from a copy
in his own collection.

[1764.] Antichith ed incise da Giovambat. Piranesi.

\
di \ Cora, F. 537-50.\
descritte \ \

G. 22. ix (Catalogue of 1800). The catalogue of 1792 dates

XIV (Catalogue of 1792).
{approbatio .') 1 763. The engraved catalogue described as No. 4 in my text has a MS.
addition nel mese di Maggio 1^64 si daranno alia luce le AntichitA di Cora e di Albano.
Half-title (type) : etched title (as above) :
pp. 15 [16], with head-piece and I illustration

(p. 16) :
pL X.

[1762-4.] Descrizione e disegno deW Emissario del Lago Albano di Gio Batista Pi-
\ \ \ | \ \

ranesi. F. 480-91. G. 20. XVI (Catalogue of 1 792). xi (Catalogue of 1800). Engraved

title: pp. 20, with initial and tail-piece: PI. IX (PI. Ill being from 2 plates). The
catalogue of 1792 dates (approbatio) April i, 1762. This work is cited in three editions
of the engraved catalogue known to me (see Nos. 3, 4, 5 as described in my text),
before being replaced by general title A?itichiti d' Albano. Later this work and the
following were generally bound up with and after the AntichitA d' Albano.
86 LIST OF PIRANESI'S PUBLISHED WORKS
[1762-4.] Di due spelonche ornate dagli antichi alia Riva del Lago Albatto . F. 492-504.
\ \ \ \

G. 21. XVI (Catalogue of 1792). xi (Catalogue of 1800), pp. 9 [10], with head-piece :
12 plates. The catalogue of 1792 dates {approbatid) Aug. 30, 1762.
1 764. Antichitd. d" Albatto \
e di Castel Gandolfo
da Giovambattista \
Descritte ed incise \ \ \

Piranesi \
in Roma Fanno xvi (Catalogue of 1792). XI (Cata-
1764. F. 505-36. G. 19.
logue of i8oo). Half-title (type) engraved title (as above) etched dedication to
: :

Clement XIII pp. [2] (dedication in type), with I etched initial: pp.26: 26 plates. The
:

Catalogue of 1792 dates (approhatio) Jan. 5, 1762. The two preceding are nearly always
bound up after the present work.
1764. Raccolta di alcuni disegni del Barbieri da Cento detto il Guercino, incisi in rame e pre-
sentati al singolar merito del Sig. T. Jenkins . . . dalP architetto . .G. B, Piranesi. In .

Roma F. 983-86. G. 23. XXIX (Catalogue of 1792). xxi (Catalogue of 1800).

1764.
Described in catalogue of 1792 as 'en 28 planches'. Frontispiece (with etching after
Guercino), and three other plates (two after Guercino, one after Ghezzi) etched by G. B.
Piranesi (Nos. 926 b and 931 a and b in Paris ed. of Firmin-Didot). The majority of the
plates in this publication of G. B. Piranesi were engraved by Bartolozzi. I have not

examined an undoubted first edition of this work. The copy in the B.M. is bound up
with other plates after Guercino, and the B.M.L. only possesses the Paris ed. of Firmin-
Didot (which contains plates that I have noted). Giesecke (perhaps rightly in relation to
1764 ed.) only describes 2 plates in addition to the frontispiece as by Piranesi.

1765. Ossen.'azio7ii \
di Gio. Battista Piranesi \ sopra la \
lettre de M.Mariette \
aux auteurs
de la Gazette \
Litteraire de I' Europe, \
Inserita nel |Supplemento deW istessa Gazetta
stampata \
Dimatuhe 4. Novembre MDCCLIV. E \ \ parere su P Architettura, con una
Prefazione ad un nuo\vo Trattato delta introduzione e del progresso delle belle arti in \

Europa ne' tempi antichi . In Roma \

MDCCLXV \
con licenza de superiori. F. 967-
\

82. G. 25. VII (Catalogues of 1792 and 1800). Engraved general title as above.
Osservazioni :
pp. 8, with I
head-piece. Parere su F Architettura pp.
i head- :
8, with
and I tail-piece, 6 unnumbered plates.
Delia Introduzione : pp. 7 [8], with I head- and
2 tail-pieces, PI. Ill (the first lettered above Essais dediffirentes Prises . . ). This work .

is bound as a supplement to Delia Magnificenza ed Architettura de' Romani, 1761.

1766. A view ofpart of the intended bridge at Blackfriars in Atigust, 1764, by Robert Mylne,
architect.Engraved by Piranesi at Rome. Publisk'd according to Act of Parliament
lOth March, 1776. F. 991. B.M. (2 impressions). Soane.

1769. Diverse Maniere dadomare i cammini ed ogni altra parte degli edifizj desunte deW
\ \ \

architettura Egizia, Etrusca, e Greca con un Ragionamento Apologetico in difesa \ | \

deir Architettura Egizia, e Toscana opera del Cavaliere Giambattista Piranesi Archi-
\ \

tetto. Roma, 1769. [Title in type repeated in English and French.] F. 854-926. G.
26, xxviii (Cat. of 1792). XX (Cat. of 1800). Engraved title and engraved dedication
(to G. B. Rezzonico) :
pp. [2] dedication in type pp. 35 [38] text, with : i head- and I

tail-piece, 1 small plate, and three larger plates. PI. LXVI.

[1775-6.] (Colonnadi Trajano.) Trofeo sia magnifica colonna coclide di manno ove \ |
. . .
|

siveggono scolpite le due guerre daciche fatle da Trajano

\
inalzata nel mezzo del \ \

Gran Foro etc F. 551-73. G. 27. [xviii] (Catalogue of 1792). xiv (Catalogue of
\

1800). 19 plates (including title and dedication plates) by G. B. Piranesi. 2 plates by

Francesco. Dated March 10, 1775 in Catalogue of 1792. The plates numbered l-xxi in
later states (many of the 'plates' being printed from more than one copper-plate). I

have not examined an edition with text in type, which is said to be extremely rare.
 LIST OF PIRANESrS PUBLISHED WORKS 87

[1776-7.] Colonna Antonina, [A series of plates representing the Column of Marcus Aurelius.]
F. 574-76. G. 27. XIX (Catalogue of 1792). xiv (Catalogue of 1800). Dated June 10,
1776, in Catalogue of 1792, and described as in 7 plates. Generally mounted in a roll
(as in the case of the two other works on the Roman columns), so that it is difficult to be
certain of the number of the plates. In later states they are numbered following the
Colonna di Trajano as PI. XXII (2 folio plates, showing views of column in Piranesi's
time, reconstruction, and plan) and XXIII large folding view, from several plates.

[1779-80.] Colonna eretta in memoria delF apoteosi di Antonino Pio e Faustina sua moglie,
&'c. F. 577-82. G.27. XIX (Catalogue of 1792). Xiv (Catalogue of 1800). ? 6 plates.
Dated Jan. 15, 1779, in catalogue of 1792, and described in catalogue of 1792 as 'en
plusieurs planches '. Numbered in later states XXIV-XXVXI (4 large views of the pedestal)
and XXVIII (map of situation, and view of elevation).
1778. Vasi, candelabri, cippi sarcofagi, tripodi, lucerne, ed ornamenti antichi
\ | \ disegnati ed
incisi dal cav. Gio. Bait. Piranesi publicati Panno \
MDCCLXXIIX, F. 601-718.
G. 28. XVII (Catalogue of 1792). xii, xiii (Catalogue of 1800). The Catalogue of
'
1792 gives 2 vols en 114 comprises les doubles planches Isioia ceux graves jusq'k I'an

1778 sont publides par le Che v. Jean Baptiste, les autres du 1779 jusq'k present par le

Chev. Frangois . Then follows list of no plates (double plates being counted as i)
. .'

with dates of production. The plates by G. B. Piranesi produced between 1768-78.

Eight by Francesco (Nos. 13, 14, 20, 72, 74, 77, 87, 109) produced between the years
1779 and 1786.
1778. Four plates in Robert and James Adam, Works in Architecture. Fol. F. 987-90.
Vol. II. Cahier IV. Sion House. PI. I.' Section of one side of the Hall at Sion House.
PI. III. Ceiling of the Hall at Sion House. PI. IV. Two sections of the Anti-room at
Sion House. PI. V. Ionic order and other details of the Ante-room of Sion House. The
four plates lettered as published in 1778.

[1778-9.] Diffirentes vues de guelques Restes de trots grands Edifices qui subsistent encore
\
\

dans le milieu de I'ancienne Ville de Pesto autrement Pos\idonia qui est situ^e dans la
\

Lucanie. F. 583-99. G. 29. xx (Catalogue of 1792). xv (Catalogue of 1800). Etched

frontispiece (with title), and PI. XX. Dated Sept. 15, 1778 in the catalogue of 1792. All
the plates signed Cav. Piranesi f. (and so, ostensibly, by G. B. Piranesi) except the
frontispiece, and Pis. XIX and XX, which are signed by Francesco. There is also a
rejected version of pi. XII in the B.M. The original drawings for fifteen of the series
attributed variously to G. B. Piranesi and Francesco Piranesi are in the Soane Museum

(i.e. for Nos. 2, 3, 4, 5,6, 7, 8, 9> lOi H. 12. '3. I4i 16, 17). All are in the same direction
as the prints except No. 2, which is in reverse. See discussion as to authorship in my
text, p. 19.

[1778-9.] Roma e del Campo Marzo. F. 600. G. 30. xx (Catalogue of 1792).

Pianta di
XVI (Catalogue of 1800). Dated Sept. 15, 1778 in catalogue of 1792. This being appro-
*rt/«(7 it might not have been published until 1779. On 4 plates (2 for the plan and 2
for title and topographical index). This is often bound with later issues of the Vedute di
Roma.
Posthumous. Dimostrazione Emissario del Lago Fucino. XXXIl p. 29 (Catalogue of
dell'

1792). xxin (Catalogue Signed Cav. Gio. Batta. Piranesi delineo, e incise a
of 1800).

Faquaforti. Cav. Francesco Piranesi incise a bollino. Described in Catalogue of 1792

Jean Baptiste I'an 1760, et achev^ par le Chev. Frangois Piranesi .
'
as designd par . . . . .

en deux feuilles I'ann^ 1791 '. In 2 parts (2 plates for subject, 2 for the lettering).
88 LIST OF PIRANESrS PUBLISHED WORKS
Supplementary Notes on certain plates with ambiguous signatures, and on copies of the
Vedute di Roma by Laura Piranesi.

Guattani, G. A. Delia Gran Cella Soleare nelle Terine di Antonino Caracalla, in his

periodical, Monumenti Antichi Inediti,Rome, 1788, October, p. 73. After p. 80, a View
S igned Piranesi F. Lettered below A Traccia
of the Baths of Caracalla ( 7I x 1 1 J in.). : .

Oriexontale semicircolare.
. . . Dated Sbre 1788. Numbered upper r. T. i. B.M.L. :

Reprinted in Guattani's Roma Descritta ed Illustrata, 1795 and 1805 (between pp. 40 and
41 in B.M.L. copy of 1805 ed. T.i replaced by No. 44, its order in the book, and the
earlier date erased). Attributed by Dr. Thomas Ashby (see Architectural Review,
June 1922). I do not think the plate belonged to the 8vo pamphlet on the same subject,
issued by Guattani in 1783. Not by G. B. Piranesi, but probably by Francesco, whose
style it resembles.

Venuti, Ridolfino. Accurate e succinta Descrizione topografia delle antichith di Roma. Rome
(presso Piale)1 824. B.M.L. Contains 1 1 plates, signed Piranesi inc. orfe., each measuring
about 5x7 inches, copied from the Vedute di Roma, &c. Two of the same had appeared
earlier in Raccolta di jo Vedute di Roma incise da Piranesi, Morelli, Pronti ed altri
celebri Bullini. Rome (presso Piale) n.d. [after 1815]. B.M.L., Maps. Dryer in style
than the plate in Guatuni. Can they be by Pietro Piranesi, of whom no record exists
after 1807?
I would add that far better copies of the Vedute di Roma, reproducing wonderfully in

miniature the characteristics of G. B. Piranesi's style, are signed by Laura Piranesi [two
known to me being (l) Veduta del Tempio di Cibele nella Pizza delta Bocca delta Verity
5jx7|. After Veduta 47. Coll. of M. Achille Chariatte, London (1922). (2) Veduta
del Tempio di Bacco oggi detto S. Urbano. i\ x 8J in. After Veduta 48. B.M. Chariatte].
I have also noted in M. Chariatte's collection several other smaller unsigned copies of the

Vedute (about 3I x 5J in.) which are exactly similar in style. I have not been able to find
whether they belong to any book or series.
 LIST OF THE PIRANESI WORK
IN THK
REGIA CALCOGRAFIA, ROME
Transcribed from the Catalogo Generale dei Rami incisi posseduti dalla

Regia Calcografia di Roma. Rome, 1876.

90 LIST OF THE PIRANESI WORK
(continued) :

Transcription. Notes

Descrizione showing the allotment of the

deir opera Piranesi respective volumes to G. B.
con testo, in 27 volumi. Piranesi, Francesco and Pietro
Piranesi, and other engravers,
and giving the original date of
Vol. Parte.
publication.

XII Candelabri, Sarcofagi, in 58 rami.

XIII Candelabri, Sarcofagi e Tripodi, in 71 andF.P. 1778.
[G.B.P.
rami.
XIV Colonna Traiana ed Antonina, in 48 rami, G. B.P. I77S-6. 1776-7, 1779-80.
colla descrizione ai latti.
XV Rovine del Tempio di Pesto, in 21 rami. G. B. P. and F. P. 1778-9.
XVI Vedute di Roma, in 71 rami. G. B. P. 1748, &c., including
XVII Vedute di Roma, in 69 rami. Piati/a di Jio>na, 17 jS-g, and
two plates by F. P.
XVIII Statue antiche, in 42 rami. F.P. 1786 (plates dated 1780-92),
after drawings by T. Piroli and
others. Includes one plate by
Andrea Rossi.
XIX Teatro d'Ercolano, in lo rami, e 12 fogli F.P. 1785.
di testo.
XX Diverse Maniere di adomare camini, ecc, G.B.P. 1769.
in 71 rami, s fogli di testo ed una
vigpnetta.
Diversi omati di pareti, volte e pavimenti Pub. by F. P. Paris, 1808.
in mosaico, in 14 rami. Engravings by Elizabeth Que-
vanne.
XXI I and 2 Raccolta di alcuni disegni del Barbieri G.B.P. 1764.
detto il Guercino, in 89 rami.
XXII La Scuola Italiana, ossia tavole scelte dei Engravings by D. Cunego,
sommi pittori della scuola italiana, in G. Volpato and others. First
40 rami. published by Gavin Hamilton.
Rome, 1773. The plates
issued later by F. P.
XXIII Soggetti diversi e prospettiva della piazza Includes G
B. P. Posthumous
di Padova, in 28 rami, e uno foglio di Dimostrasione delC Emissario
testo. del lago Fucino; others by
F. P. after Desprez, &c.
XXIV Pitture della Sala Borgia, al Vaticano, in Engravings by T. Piroli. Pub.
12 rami. by F. and P.P. Paris, 1803.
Amorini e Trofei nella Villa Lante, in 16 Engravings by T. Piroli. Pub.
rami e 2 fogli di testo. by F. and P. P. Paris, 1803.
Pitture del gabinetto di Giulio II, al Engravings by T. Piroli. Pub.
Vaticano in 14 rami. by F. and P. P. Paris, 1804.
Pitture di Raflfaello, nella Famesina, in Engravings by T. Piroli. Pub.
8 rami. by F. and P. P. Paris, 1804-7.
Baccanti di Ercolano, in 9 rami. Engravings by T. Piroli. Pub.
by F. and P. P. Paris, 1807.
Pitture, nella villa Altoviti, in 14 rami. Engravings by T. Piroli. Pub.
by F. and P. P. Paris, 1807.
XXV Antichitk di Pompeia, in 37 rami. F.P. Paris, 1804. After draw-
ings by G. B. P.
XXVI Antichith di Pompeia, in 39 rami. F. and P.P. Paris, 1807 (?),
(plates dated 1804-6). After
drawings by G. B. P.
XXVII Oggetti di uso civile, militare e religioso, F. P. Paris, 1807 (?), (plates dated
trovati a Pompeia e ad Ercolano, in 34 IS05-6). Engravings by F. P.,
rami. one or two after drawings by
G. B. P. and T. Piroli.
 INDEX TO LIST OF WORKS AND 'VIEWS
OF ROME"
The titles of published works given in itah'cs, and references to the dates
under which they occur in the h'st.
The subjects of the
'
Views of Rome
in Roman type and references to the
'

numbers in the catalogue. In the case of antiquities whose identification varies,

reference is given both to the title now generally accepted by archaeologists, and
to the title on Piranesi's plate.

Accademia di Francia 24
Adam, Robert and James. IVoris on Architecture 1 778

Albano, AntichitUdi 1 764

Albano, Descrizione e disegno dell' Emissario del Lago [1762-4]
Albano, Di due Spelonche alia Riva del Lago [l 762-4]
Alcune Vedute diArchi Trionfali: see Antichitd, Romane d«f Tetrtfii della Repubblica,
Anfiteatro Flavio : see Colosseum.
Antichitd. d' Albano e di Castel Gandolfo 1 764
Antichitd di Cora [1764]
Antichitd Romane 1 756
Antichitd Romane d^ Tem^i delta Repubblica 1 748

Acqua Felice : see Fountams.

Acqua Giulia (Aqua Julia) see Fountains. :

Acqua Paola see Fountains.

:
'

Aqua Claudia 118,119

Aqueduct of Nero Il8
Arches :

Beneventum 135
Constantine $6, 97
Septimius Severus 54> 99
Titus 55,98
Basilica of Constantine (or Maxentius) 45>II4

Baths :

Caracalla (' Terme Antoniniane ') 76,77

Diocletian 115,116,129
Titus 123, 127
Trajan 123, 127
Bel Lido, with mouth of Cloaca Maxima 125
Blac/cfriars' Bridge 1 766

Bridges : see Ponti.

Camere Sepolcrali ['750?]

Cammini, Diverse Maniere d'adornare i 1769
Campo VaccinoForum Romanum.
: see
Campus Martius Antiquae Urbis Romae 1 762
Capitol 38,39,111
Capua, Tomb called La Conocchia 130
9a INDEX TO LIST OF WORKS
Careen [175°]
Casa Aurea di Nerone see Basilica of Constantine, and Temple
: of Venus and Roma.
Casino Farnese 98
Castel S. Angelo 29. 3°
CharUmont, Lettere di Ciustificaiione scritte a Milord I7S7
Churches :

S. Costanza 37
S. Croce in Gerusalemme n
SS. Giovanni e Paolo 43
S. Giovanni in Laterano 8,88,117,122
S. Lorenzo fuori le Mura 12
S. Maria degli Angeli 116,129
S. Maria di Loreto 66
S. Maria Maggiore 9i 10, 87
S. Nome di Maria 66
S. Paolo fuori le Mura 6, 7
S. Peter's 3. 4. 5. loi. 102. 120
S. Sebastiano '3
S. Urbano 48.81
Cloaca Maxima see Bel Lido.
:

C<7/o««a .<4«/<7«««a (Column of Marcus Aurelius) [1776-7]

Colonna Antonina see Column of Marcus Aurelius.
:

Colonna di Antonino Pio e Faustina [l779-8o]

Colonna di Trajano : see Tro/eo,
Colosseum 56, 57, 78, 126, 137
Column of Marcus Aurelius 52
Cora, Antichitd di [1764]
Cori (Cora), Temple of Hercules 91
Curia Hostilia (Temple of Claudius) 43
Curia Innocenziana see Palazzi (Monte Citorio).
:

Dtlla Magnificenza ed Architettura d^ Romani 1761

De Rotnanorum Magnificentia et Architectura 1761
Descrizione e Disegno delF Emissario del La^o Albano
Di due Spelonche ornate dagli Antichi alia Rtva dtl Lago Albano
Dimostrazione delt Emissario del Lago Fucino
.... [1762-4]
[1762-4]
Posthumous.
Diverse Maniere d' adornare i Cammini 1769
Dogana di Terra 3*
Domitian, Entrance door to part of so-called Villa 79

Egeria : see Grotto of Egeria.

Forum of Augustus 42
Forum of Nerva 95> ^^^ cf. 42
Forum Romanum 40> 4I> 100
Fountams :

20
Acqua Felice
Acqua Giulia (Aqua Julia) -34
21
Acqua Paola
Trevi 19. I04
Fucino, Dimostrazione dell' Emissario del Lago Posthumous.

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

Hadrianeum 3*
Hadrian's Villa 85, 90, 93, 94, lis, Ii3i 13'. »32. 133. 134
 AND 'VIEWS OF ROME' 93

Harbours :

Ripa Grande V
*8
Ripetta

Invenzioni Capric di Carceri [175"]

Isola Tiberina Ht

Lapides Capitolini sive Fasti Consulares 1762

Letter* di Giustificazione scritte a Milord Charlemont 1757
London, Blackfriars" Bridge 1766

Magnificenza ed Architettura d^ Romani, Delia 1761

Magnificenze di Roma 1 75 1

Mariette,OsservazionidiG.B.P.sopralalettredeM. 1765
Mausoleum of Hadrian see Castel S. Angelo.
:

Monte Cavallo see Piazze (Quirinale).

:

Monumento erettodall' Imperador Tito Vespasiano per aver restaurati gl' Aquedotti :

see Porta Maggiore.

Nolli, Nuova Planta di Roma da G. B. . . . .

1748

Obelisk in Piazza di S. Giovanni in Laterano 53

Opere Varie di Architettura 1750
Osservazioni de G. B. P. sopra la lettre de M. Mariette 1765

Paestum : see Pesto.

Palazzi :

Accademia da Francia (Salviati) 34

Barberini sj
Consulta 22
Famese I07
Monte Citorio (Curia Innocenziana) 23
Odescalchi 26
Salviati 24
Stoppani (Stopani) 128
Vidoni 128
Pantheon 60, 82, 86, 1 36
Pesto (Paestum), Di^irentes vues de quelques Restesde trois grands Edifices de I' ancienne
Villede [1778-9]
Pianta di Roma e del Campo Marzo ['778-9]
Pianta di Roma data in Luce da G. B. Nolli, Nuova 1 748

Piazze :

Campidoglio Ill
Navona 16, 108
Popolo 14
Quirinale (Monte Cavallo) 15, 103
Kotonda 17
S. Giovanni in Laterano II7
S. Pietro in Vaticano 3, loi, 120
Spagna 18
Ponti :

Lucano 68
MoUe 64
Salario 31
S. Angelo 39
Porta Maggiore II9
Portico of Octavia (Tempio di Bellona) 58, 59
94 INDEX TO LIST OF WORKS
Porto di Ripa Grande 27
Porto di Ripetta 28
Prima Parte di Architetture 1 743

Pyramid of Caius Cestius 35,36

Raccolta di alcwii disegni del Barbieri da Cento detto il Guercino 1764
Raccolta di JO Vedute di Roma incise da Piranesi, Morelli, Pronti ed altri
See Varie Vedute, 1748, under later editions, and Supplementary Notes, p. 88
Raccolta di Varie Vedute 1752: see Varie Vedute, &c, 1 748.
Roma, Nuova Pianta di 1748
Roma, Pianta di [1778-9]
Rovine dell Castello delt Acqua Giulia 1761

Sette Bassi (' Domitian's Villa ') 79

Temples :

Antoninus and Faustina 49

Apollo (Hadrian's Villa) 85
Bacchus see Churches (S. Costanza and S. Urbano).
:

Bellona see Portico of Octavia.

:

Camenae 106
Canopus (Hadrian's Villa) 9°, 131
Claudius 43
Concord : see Temples, Saturn.
Cough (della Tosse, near Tivoli) 69, 70
Cybele 47
Deus Rediculus see Temples (Camenae). :

Faustina : see Temples (Antoninus and Faustina).

Fortuna Virilis 46
Hercules see Cori. :

Isis and Serapis : see Temples (Venus and Roma).

Janus 96
Tonans see Temples (Vespasian).
Jupiter :

Minerva Medica 74
Peace see Basilica of Constantine.
:

Portunus 47
Salus 71
Saturn 109, no
Sibyl : see Tivoli,
Sol and Luna : see Temples (Venus and Roma).
Tosse 69, 70
Venus and Roma 50
Vespasian 44
Terme : see Baths.
Theatre of Marcellus 33
TivoH, Hadrian's Villa: see Hadrian's Villa.
Tivoli :

Temple of the Sibyl 61,62,63

Temple of the Cough (della Tosse) : see Temples (Cough).
Villa d' Este 105
Villa of Maecenas 65, 73, 84
Waterfalls 75, 92
Tombs :

Caecilia Metella
Caius Cestius
Conoccbia (at Capua)
... •
35,
67
36
130
Comelii and Piso Licinianus 72
•
Plautii . 68, 83
Sec also Temples (Camenae, Cough, Salus).
 AND 'VIEWS OF ROME' 95

Trajan's Column 51
Trofei di Ottaviano Augusta 1753
Trofeo sia Magnifica Colonna . , . ove si veggono scolpite U due guerre dacichefalte da
Trajano [I77S-6]

Varie Vedute di Roma nntica e Moderna 1748

Vast, Candelabri, &"€. . 1778
Vemiti, Ridolfino. Accurata e succincta Dcscrizione topografica delle AntickilA di Roma.
See Varie Vedute, 1 748, under later editions, and Supplementary Notes, p. 88.
Villas :

Albani 89
d' Este : see Tivoli, Villa d' Este.
Domitian (so-called) 79
Maecenas : see Tivoli, Villa of Maecenas.
Pamphili 124
Sette Bassi 79

Zocchi, Giuseppe. Vedute delle Ville e d' cUiri luoghi della Toscana .... 1744
 PLATES IIl-LXXIV

REPRODUCTION OF THE COMPLETE SERIES

OF THE

VIEWS OF ROME

AND

SELECTED EXAMPLES

FROM
PlRANESrS OTHER WORK
 PLATE III

TITLE-PAGE OF THE VEDUTE DI ROMA . I, I

FRONTISPIECE OF THE VEDUTE DI ROMA .

2, I
 PLATE IV

ST. PETER S WITH FORECOURT AND COLONNADES. j, I

/„/,•.

ST. PETER S. INTERIOR, WITH THE NAVE. 4, I

 PLATE V

ST. Peter's, from the piazza della sagrestia. 5, i

S. PAOLO fuori le mura. 6, IV

 PLATE VI

'T?-7^^?r?x:SSrr.^'--'*"^

S. PAOLO FUORI LE MURA. INTERIOR,

S. GIOVANNI IN LATERANO. MAIN FACADE WITH PALACE AND

SCALA SANTA ON THE RIGHT. 8, I
 PLATE VII

S. MARIA MAGGIORE WITH THE COLUMN FROM THE BASILICA OF CONSTANTINE

IN THE FOREGROUND. 9, I

-,,,„„„..,,„.,„„„,,;, 1\' «„„/,.//,„„,,,

S. MARIA MAGGIORE, WITH THE OBELISK IN THE PIAZZA DELL ESQUILINO. lO, II
 PLATE VIII

S. CROCK IN GERUSALEMME. II, II

S. LORENZO FUORI LE MURA. 12, H

 PLATE IX

S. SEBASTIANO. 1
3, I

THE PIAZZA DEL POPOLO. I4, I

 PLATE X

THE PIAZZA DEL QUIRINALE, WITH THE STATUES OF THE HORSE TAMERS IN SIDE
VIEW. 15, I

'
-
;//,/ ,^/ ;i AT,.; ,-,,(_
l\irr/ia Ji'/'r^i
/r jv: .•/.:• . / / .'/.-^ .v.v.'...V /
:^:.l:^^^''::*.j^^

THE PIAZZA NAVONA, WITH S. AGNESE ON THE RIGHT. 16, II

 PLATE XI

( )' 'r,'nf.r AZ/.i ,V/,/:Y'/ '^Z/-/ c 'v'/V.

THE PIAZZA DELI.A ROTONDA, WITH THE PANTHEON AND OBELISK. I

7, I

I'r-lhllil ,h l^\<i:^,! <h '^j'lKIIUI

THE PIAZZA DI SPAGNA. 1 8, I

 PLATE XIl

THE FONTANA DI TREVI. SIDE VIEW. 19, I

THE SAME PLATE. WITH ALTERATIONS IN THE STATUES AND OTHER DETAILS. III
19,
 PLATE XIII

THE FONTANA DELL ACQUA FELICE. 20, I

THE FONTANA DELL ACQUA PAOLA. 21, I

 PLATE XIV

THE PALAZZO DELLA CONSULTA. 22, I

•iz^^TTLj:/^^^^':

THE PALAZZO DI MONTE CITORIO. 23,

 PLATE XV

*/ ' i.:, ::-.. lUit. ^.iz,«i

THE PALAZZO DELL' ACCADEMIA DI FRANCIA (THE PALAZZO SALVIATi). 24, I

THE PALAZZO BARBERINI. 2,, I

 PLATE XVI

THE PALAZZO ODESCALCHI. 26, I

THE SMALLER HARBOUR, CALLED THE PORTO DI RIPETTA. 28, I

 PLATE XVII

'
'i^"^t'iu:iXtt~^.^^4^'i;'f'JiM.i'.^i1:~t^Z
^
\\hii^7 Jc-i UiW/i? <^i.'^i\{rii L ntttX' '.-.'^Z"^'.)

THE HARBOUR AND QUAY, CALLED THE RIPA GRANDE. 27, I

THE SAME PLATE. LATER STATE, WITH THE BARGE REMOVED. 27, III
 PLATE XVIII

7,w,/.!/i'?v//,' , r:,..ir//.^ •:

THE PONTE AND CASTEL S. ANGELO. 29, 11

vi^-iiamm-

VbUl lA. ..,, .-.-J.

[-.

THE CASTEL S. ANGELO. 3O, I

 PLATE XIX

THE PONTE SALARIO. 3I, II

) Vi h/ii < V/Ai (f>, ',/!///,/ Ji Ut III (I 'I'uaSii .} -'y./iii ': Ss^ifSn.

•THE HADRIANEUM (ONCE USED AS A CUSTOM HOUSE) IN THE PIAZZA DI PIETRA. 32, I
 PLATE XX

L -^-.,-.,'iL

'/AM nif> III .H,ih'i Lf I.

^y.fcKAi-X£;

THE THEATRE OF MARCELLUS. 33, I

THE FONTANA DELL ACQUA GIULIA. 34, III

 PLATE XXI

THE PYRAMID OF CAIUS CESTIUS, WITH THE PORTA S, PAOLO AND ADJOINING
ROAD. 35, I

THE SAME PLATE. LATER STATE (WITH PYRAMID ENLARGED). 35, III
 PLATE XXII

THE PYRAMID OF CAIUS CESTIUS. 36, I

.. ,-7.„r^' i M-^., «*~«. '

K-

S. COSTANZA (ERRONEOUSLY CALLED TEMPLE OF BACCHUS). 37, I

 PLATE XXIII

vj,:i.;'?,rR..,„.,r.-
[ffnL:y^

THE CAPITOL AND THE STEPS OF S. MARIA IN ARACOELI. 38, I

THE CAPITOL, SEEN FROM THE SIDE OF THE CENTRAL STEPS. 39, I
 PLATE XXIV

^ft**
^:- ^iii^i
'' ''''' '^' ^ ./////'.' ') ,?(,///->
-^xi^^^'Iir'-"'™^'^''^'^ .rte-t

THE FORUM ROMANUM, OR CAMPO VACCINO, FROM THE CAPITOL. 4O, I

A CORNER OF THE FORUM ROMANUM WITH THE TEMPLE OF CASTOR AND POLLUX IN
FOREGROUND LEFT. 4I, I
 PLATE XXV

THE FORUM OF AUGUSTUS (ERRONEOUSLY CALLED FORUM OF NERVa). 42, III

'

tf^ '^
'^

/;<'///./ ,W/',i I 'iiN.i I b/i/iii

ROMAN ARCHES AT THE CHURCH OF SS. GIOVANNI E PAOLO (FORMERLY CALLED

THE CURIA HOSTILIA). 43, I
 PLATE XXVI

\,i/u/ii ,/,/ /,i/i/'/i' ,// /'r/i •/; Tv/ii///'r r/iTiifSSs^SSirer.-^'HHihi''

THE TEMPLE OF VESPASIAN. 44, I

'iSv*H3iif^-^rV'--'rL.'t':^.;'., '//j// 1 /;/t,7/ )i \w/ ni i irs\Ph^ nn 1 .\ /'uv;

THE BASILICA OF CONSTANTINE. 45, I

 PLATE XXVII

I ,iii/,i .'/'/, I.-,.',-

THE SO-CALLED TEMPLE OF FORTUNA VIRILIS (NOW CHURCH OF S. MARIA EGIZIACA).

I
46,

t'cdi/Ai ,/i/ /,
/ii/'/,u/j c'//W,f u r/,/::,t fW/fi AmiiMa I'iy-Uti.- sL;.;.-

THE TEMPLE OF PORTUNUS (?) (THE ROUND TEMPLE NEAR S. MARIA IN COSMEDIN).
I
47.
 PLATE XXVIII

THE SO-CALLED TEMPLE OF BACCHUS, NOW THE CHURCH OF S. URBAN. 48, II

THE TEMPLE OF ANTONINUS AND FAUSTINA. 49, I

 PLATE XXIX

/u/<i ,
'
/ tr/'Uld

TRAJAN S COLUMN. 51, I

THE TEMPLE OF VENUS AND ROMA (ERRONEOUSLY CALLED TEMPLE OF SOL AND
I
LUNA). 50,
 PLATE XXX

if' rn

8.44l.S-4^;jto-iS(>t4S«ip!i,

I
I
 PLATE XXXI

THE ARCH OF SEPTIMIUS SEVERUS WITH THE CHURCH OF S. MARTINA. 54, I

THE ARCH OF TITUS. 55, I

 PLATE XXXII

THE ARCH OF CONSTANTINE AND THE COLOSSEUM. 56, I

THE COLOSSEUM. 57, I

 PLATE XXXIII

THE PORTICO OF OCTAVIA I THE ENTRANCE PORCH. EXTERIOR. 58, I

,ilil i;.l . iV//,' ir/^]:///iC i-l ('fi,l! Ill ;;s.--.,— :.;,•

THE PORTICO OF OCTAVIA : THE ENTRANCE PORCH. INTERIOR. 59, I

 PLATE XXXIV

THE PANTHEON. EXTERIOR. 6o, I

THE TEMPLE OF THE SIBYL, TIVOLI, WITH ANOTHER TEMPLE RIGHT, ONCE USED AS
CHURCH OF S. GIORGIO. 6l, I
 PLATE XXXV

THE TEMPLE OF THE SIBYL, TIVOLI. 63, I

THE TEMPLE OF THE SIBYL, TIVOLI : THE BROKEN SIDE OF THE COLONNADE. 62, I
 PLATE XXXVI

THE PONTE MOLLE. 64, I

THE SO-CALLED VILLA OF MAECENAS, TIVOLI. 65, I

 PLATE XXXVII

TWO CHURCHES NEAR TRAJAN's COLUMN, S. MARIA DI LORETO AND SANTISSIMO

NOME DI MARIA. 66, I

THE TOMB OF CAECILIA METELLA. 67, I

 PLATE XXXVIII

THE PONTE LUCANO, WITH THE TOMB OF THE PLAUTII. 68, I

„i=^i^ •->^-:«^"Si'*'Pv*-

THE SO-CALLED TEMPLE OF SALUS, ON THE ROAD TO ALBANO. 71, I

 PLATE XXXIX

THE SO-CALLED TEMPIO DELLA lOSSE, NEAR TIVOLI. INTERIOR. 7O, I

THE SO-CALLED TEMPIO DELLA TOSSE, NEAR TIVOLI. 69, I

 PLATE XL

THE TOMBS ATTRIBUTED TO PISO LICINIANUS AND THE CORNELII ON THE

APPIAN WAY. 72, I

THE SO-CALLED VILLA OF MAECENAS, AT TIVOLI. INTERIOR. 73, I

 PLATE XLI

THE SO-CALLED TEMPLE OF MINERVA MEDICA. 74, I

THE WATERFALL AT TIVOLI. 75, I

 PLATE XLII

THE BATHS OF CARACALLA, BIRD's-EYE VIEW. 76, I

THE BATHS OF CARACALLA. INTERIOR OF THE CENTRAL HALL. 77, I

 PLATE XLIII

THE COLOSSEUM. INTERIOR, 78, II

ENTRANCE DOOR TO PART OF THE VILLA CALLED THE SETTE BASSI, 79, I
 PLATE XLIV

THE SO-CALLED GROTTO OF EGERIA. 8o, I

THE SO-CALLED TEMPLE OF BACCHUS, NOW THE CHURCH OF S. URBAN.

INTERIOR. 8l, II
 PLATE XLV

I S.m~,.^J.t.d^^-/^~^.-i

THE PANTHEON. INTERIOR OF THE PORTICO. 82, I

THE TOMB OF THE PLAUTII, NEAR THE PONTE LUCANO. 83,

 PLATE XLVI

THE SO-CALLED VILLA OF MAECENAS AT TIVOLI. INTERIOR. 84, I

Hadrian's villa, remains of the smaller palace (formerly called

temple of apollo). 85, ii
 PLATE XLVII

THE PANTHEON. INTERIOR. 86, I

S. MARIA MAGGIORE. INTERIOR. 87, I

 PLATE XLVIII

S. GIOVANNI IN LATERANO. INTERIOR. 88, I

THE VILLA ALBANI. 8q, I

 PLATE XLIX

HADRIAN S VILLA : THE CANOPUS. 90, II

THE SO-CALLED TEMPLE OF HERCULES, AT CORI. 91, II

 PLATE L

te > .--^^

THE SMALL WATERFALL AND RAPIDS AT TIVOLI. 92, II

HADRIAN'S VILLA : THE CENTRAL ROOM OF THE LARGER THERMAE. 93, I

 PLATE LI

HADRIAN'S VILLA : THE SO-CALLED POECILE, 94, II

THE FORUM OF NERVA. INTERIOR OF ENCLOSURE WALLS WITH THE TWO HALF-
BURIED CORINTHIAN COLUMNS. 95, H
 PLATE LI I

THE ARCH OF JANUS (jANUS QUADRIFRONS), WITH THE ARCH OF THE MONEY-
CHANGERS. 96, I

THE ARCH OF CONSTANTINE. 97,

 PLATE LI 1 1

THE ARCH OF TITUS, WITH THE CASINO FARNESE ON THE LEFT. 98, II

THE ARCH OF SEPTIMIUS SEVERUS. 99, I

 PLATE I.IV

THE FORUM ROMANUM, OR CAMPO VACCINO, WITH THE TEMPLE OF ANTONINUS

AND FAUSTINA IN THE FOREGROUND LEFT, AND THE TEMPLE OF
CASTOR AND POLLUX RIGHT. OO, II
I

ST. PETER'S WITH FORECOURT AND COLONNADES. lOI, I

 PLATE LV

ST. PETERS. interior: BENEATH THE DOME. I02, 11

THE PIAZZA DEL QUIRINALE, WITH THE STATUES OF THE HORSE-TAMERS SEEN
FROM THE BACK, IO3,I
 PLATE LVI

THE FONTANA DI TREVI. FRONT VIEW. 1

04,

THE VILLA D ESTE, TIVOLI. IO5, I

 PLATE I.VII

THE TEMPLE OF THE CAMENAE (ALSO CALLED TEMPLE OF DEUS REDICULUS). I06, II

THE PALAZZO FARNESE. IO7,

 PLATE LVIII

THE PIAZZA NAVONA, WITH S. AGNESE ON THE LEFT. I08,

THE PIAZZA DEL CAMPIDOGLIO. Ill, I

 PLATE MX

THE TEMPLE OF SATURN, WITH A CORNER OF THE ARCH OF SEPTIMIUS SEVERUS IN

THE FOREGROUND. 09, I
1

THE TEMPLE OF SATURN, WITH THE ARCH OF SEPTIMIUS SEVERUS IN THE BACK-
GROUND. 10,
I I
 PLATE LX

HADRIANS villa: THE APSE OF THE SO-CALLED HALL OF THE PHILOSOPHERS. 112,

HADRIANS villa: REMAINS OF THE SO-CALLED PRETORIO. I I

3, I
 PLATE LXI

THE BASILICA OF CONSTANTINE, WITH A STREET SEEN THROUGH ARCHES ON THE

LEFT. I
14, I

THE BATHS OF DIOCLETIAN: INTERIOR OF FRIGIDARIUM, SOUTH WALL. I 1

5, I
 PLATE LXII

THE BATHS OF DIOCLETIAN, SHOWING THE CHURCH OF S. MARIA DEGLI ANGELI

AND THE PIAZZA. Il6, I

THE PIAZZA AND BASILICA OF S. GIOVANNI IN LATERANO (SIDE FACADE) : WITH

THE OBELISK, PALACE, AND SCALA SANTA. I I
7, II
 PLATK I.XIII

THE AQUEDUCT OF NERO LEADING TO THE PALATINE ;

A BRANCH OF THE
AQUA CLAUDIA. 1 8,
I II

THE PORTA MAGGIORE, ORIGINALLY AN ARCHWAY OF THE AQUA CLAUDIA AND THE
ANIO NOVUS. 119, I
 PLATE LXIV

ST. Peter's, with forecourt and colonnades, bird's-eye view. 120, i

THE ISOLA TIBERINA, WITH S. BARTOLOMMEO IN THE FOREGROUND. 121, I

 PLATE LXV

S. GIOVANNI IN LATERANO. THE MAIN FACADE WITH THE CAMPAGNA ON THE

LEFT. 122, II

THE BATHS OF TRAJAN (ERRONEOUSLY CALLED THE BATHS OF TITUS). I23, I

 PLATE LXVl

THE VILLA PAMPHILI. 1

24, I

THE TIBER AT THE MOUTH OF THE CLOACA MAXIMA, FORMERLY CALLED THE BEL
LIDO. 125, I
 PLATE LXVII

THE COLOSSEUM. BIRD's-EYE VIEW. 1 26, II

THE BATHS OF TRAJAN (ERRONEOUSLY CALLED THE BATHS OF TITUS.) 1

27, II
 PLATE LXVin

THE PALAZZO VIDONI (FORMERLY CALLED THE PALAZZO STOPPANi). 1 28, I

S. MARIA DEGLI ANGELI. INTERIOR. FORMERLY THE CENTRAL HALL OF THE BATHS
OF DIOCLETIAN. 1 29, I
 PLATE LXIX

THE TOMB CALLED LA CONOCCHIA, ON THE VIA APPIA, NEAR CAPUA. I

3O, I

HADRIAN S VILLA : THE CANOPUS. INTERIOR. I3I, I

 PLATE LXX

HADRIANS villa: THE PIAZZA D'ORO. 1

32, I

HADRIAN'S VILLA THE SO-CALLED HELIOCAMINUS

:
(a CHAMBER FOR WINTER
HABITATION HEATED BY THE SUN), 1
33, I
 PLATE LXXI

HADRIANS villa: A HALL IN THE SO-CALLED ACCADEMIA. I

34, 1

THE ARCH OK BENEVENTUM. 1

35, II
 PLATE LXXII

PLATE 15 FROM THE CARCERI . EARLY STATE

PLATE I
5 FROM THE CARCERI . LATER STATE
 PLATE LXXIII

THE ARCH OF GALLIENUS FROM THE ANTICHItA ROMANE DE' TEMPI DELLA
'

REPUBBLICA ', I
748, EARLY STATE

ili Sail- oniLtUt ill

ill,l,ll,i/hii
InlliMluni . /, slimiir ,/,../.,.,,/.
//; ni.ub ,/;,• ,,„i,lii,-ii,i.-
I'lnilfo i/iiali
II riiri piitflLy
e
spi'i'iniincnL'
aii una l(.ottuhtii cnc .fm'r iht rtinnri'svnkin/.i' Uiilrii/i ,

'

GRUPPO DI scale', plate II FROM THE 'PRIMA PARTE DI ARCHITETTURE, 1

743
RE-ISSUED IN THE OPERE VARIE
'

75O ', I
 PLATE LXXIV

INTERNAL ELEVATION OF AN ANCIENT RESERVOIR IN THE VINEYARD FORMERLY

BELONGING TO THE JESUITS BELOW CASTEL GANDOLFO. PLATE 22 FROM
THE ANTICHItA d'aLBANO E DI CASTEL GANDOLFO ', 1 764
'

INTERIOR OF THE SO-CALLED TEMPLE OF NEPTUNE. PROOF OF A REJECTED ETCHING

'
FOR PLATE 12 OF THE SERIES OF VIEWS OF PAESTUM ', 1 778.
FROM AN IMPRESSION IN THE BRITISH MUSEUM
 NE 662 .P5 H5 1922
snc
Hind, Arthur Mayger,
1880-1957.
Giovanni Battista
Piranesi : a critical
AZM-6628 (mcih)

^^mei;

"Si

a._ J

V^
^0^
'.>%