Giovanni Battista Piranesi (1720-1778) - Vestigie della vecchia Curia Ostilia a S. Gio., e Paolo
Subject of the Work: View of the ruins of the Temple of Claudius, erroneously described in the inscription as the ancient Senate of Hostilius, near the Church of San Giovanni e San Paolo, Rome.
Author: Giovanni Battista Piranesi
Series or Series: Various Views of Ancient and Modern Rome
Published in: Rome.
References:
Focillon 1918 / Giovanni Battista Piranesi: Essai de catalog raisonné de son oeuvre (179)
Wilton-Ely 1994 / Giovanni Battista Piranesi, the complete etchings (55)
Image Description:
The etching by Giovanni Battista Piranesi, entitled "Vestigies of the old Curia Ostilia a S. Gio. , e Paolo" (which is an error, cited in the catalogs of the British Museum, which owns a copy of the print in question) , offers an extraordinary glimpse of the Roman ruins of the Temple of Claudius, located near the Church of San Giovanni e San Paolo in Rome.
The image depicts majestic brick and stone arches, topped by plants and shrubs which testify to the carelessness in maintaining the ancient structures. To the left of the image, we observe the reuse of the ruined walls for the construction of houses, with well-preserved windows and a more refined arch than the others.
Under the arches, various commoners discuss and walk, with one of them portrayed urinating on one of the pillars, adding a touch of realism and daily life to the scene. The surrounding terrain is probably packed earth, with some scattered plants.
In the background, beyond the arches, you can glimpse a majestic neoclassical construction, probably the access portal to the square of the basilica of Saints John and Paul. Also on the left, under an arch, a large tombstone with a decorated border and engraved writing is visible, which adds further historical depth to the image.
Technical details:
Title of the Work engraved under the image: Vestigies of the old Curia Ostilia a S. Gio. , e Paolo
Signature of the engraver "Piranesi inc. " small on the left
Sheet dimensions: Width 211mm - Height 141mm
Sheet dimensions: Width 205mm - Height 126mm
Author:
Giovanni Battista Piranesi, born on 4 October 1720 in Mogliano Veneto and died on 9 November 1778 in Rome, was an Italian engraver, architect and architectural theorist. His engraved works, characterized by a dramatic atmosphere, celebrate the grandeur and magnificence of ancient Rome, expressing a sublime sense of grandeur through the representation of its monuments. From a young age, he developed an interest in architecture, influenced by the works of Andrea Palladio and Vitruvius. In 1740 he moved to Rome, where he began his artistic and engraving career, soon gaining notoriety for his engravings of views of the eternal city.
Piranesi created numerous works of great visual impact, including the famous "Views of Rome" and the enigmatic "Prisons of invention". His artistic production reflected an eclectic combination of rococo and neoclassical elements, with a theoretical approach that supported the superiority of Roman architecture over Greek architecture. This vision, expressed in his essay "On the magnificence and architecture of the Romans", earned him the patronage of Pope Clement XIII and official recognition, including election as an honorary member of the Society of Antiquaries of London.
His work influenced subsequent generations of artists and intellectuals, and was particularly appreciated during the Romantic period, perceived as an expression of the grandeur and melancholy of the past. Piranesi was recognized as one of the forerunners of the Romantic movement and received praise from well-known writers such as Horace Walpole and Marguerite Yourcenar. Even into the 20th century, his graphic output continued to exert a significant influence, inspiring artists such as Maurits Cornelis Escher and influencing Surrealism.
Giovanni Battista Piranesi is considered one of the greatest printmakers in the history of art, whose work continues to be studied and appreciated for its artistic depth and emotional impact.
Conditions:
The laid paper, cut with precision a few millimeters from the plate's beating mark, constitutes an impeccable base for Giovanni Battista Piranesi's engraving. The clear and well-defined imprint precisely surrounds the image and the writing underneath, as described. Along the edges, small marks can be seen that suggest the presence of a previous passepartout, now removed. On the back of the sheet, there are some rare traces of humidity and dirt and eight glue marks, probably linked to a previous fixing for framing with the aforementioned passepartout. Against the light, in addition to the wirework of the paper, you can see a watermark of a drawing, which is not completely decipherable due to the overlapping ink marks of the image, which hinder reading. Apart from these slight defects, the image is totally appreciable without problems, and except for the small defects described, the state of conservation is excellent.
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Subject of the Work: View of the ruins of the Temple of Claudius, erroneously described in the inscription as the ancient Senate of Hostilius, near the Church of San Giovanni e San Paolo, Rome.
Author: Giovanni Battista Piranesi
Series or Series: Various Views of Ancient and Modern Rome
Published in: Rome.
References:
Focillon 1918 / Giovanni Battista Piranesi: Essai de catalog raisonné de son oeuvre (179)
Wilton-Ely 1994 / Giovanni Battista Piranesi, the complete etchings (55)
Image Description:
The etching by Giovanni Battista Piranesi, entitled "Vestigies of the old Curia Ostilia a S. Gio. , e Paolo" (which is an error, cited in the catalogs of the British Museum, which owns a copy of the print in question) , offers an extraordinary glimpse of the Roman ruins of the Temple of Claudius, located near the Church of San Giovanni e San Paolo in Rome.
The image depicts majestic brick and stone arches, topped by plants and shrubs which testify to the carelessness in maintaining the ancient structures. To the left of the image, we observe the reuse of the ruined walls for the construction of houses, with well-preserved windows and a more refined arch than the others.
Under the arches, various commoners discuss and walk, with one of them portrayed urinating on one of the pillars, adding a touch of realism and daily life to the scene. The surrounding terrain is probably packed earth, with some scattered plants.
In the background, beyond the arches, you can glimpse a majestic neoclassical construction, probably the access portal to the square of the basilica of Saints John and Paul. Also on the left, under an arch, a large tombstone with a decorated border and engraved writing is visible, which adds further historical depth to the image.
Technical details:
Title of the Work engraved under the image: Vestigies of the old Curia Ostilia a S. Gio. , e Paolo
Signature of the engraver "Piranesi inc. " small on the left
Sheet dimensions: Width 211mm - Height 141mm
Sheet dimensions: Width 205mm - Height 126mm
Author:
Giovanni Battista Piranesi, born on 4 October 1720 in Mogliano Veneto and died on 9 November 1778 in Rome, was an Italian engraver, architect and architectural theorist. His engraved works, characterized by a dramatic atmosphere, celebrate the grandeur and magnificence of ancient Rome, expressing a sublime sense of grandeur through the representation of its monuments. From a young age, he developed an interest in architecture, influenced by the works of Andrea Palladio and Vitruvius. In 1740 he moved to Rome, where he began his artistic and engraving career, soon gaining notoriety for his engravings of views of the eternal city.
Piranesi created numerous works of great visual impact, including the famous "Views of Rome" and the enigmatic "Prisons of invention". His artistic production reflected an eclectic combination of rococo and neoclassical elements, with a theoretical approach that supported the superiority of Roman architecture over Greek architecture. This vision, expressed in his essay "On the magnificence and architecture of the Romans", earned him the patronage of Pope Clement XIII and official recognition, including election as an honorary member of the Society of Antiquaries of London.
His work influenced subsequent generations of artists and intellectuals, and was particularly appreciated during the Romantic period, perceived as an expression of the grandeur and melancholy of the past. Piranesi was recognized as one of the forerunners of the Romantic movement and received praise from well-known writers such as Horace Walpole and Marguerite Yourcenar. Even into the 20th century, his graphic output continued to exert a significant influence, inspiring artists such as Maurits Cornelis Escher and influencing Surrealism.
Giovanni Battista Piranesi is considered one of the greatest printmakers in the history of art, whose work continues to be studied and appreciated for its artistic depth and emotional impact.
Conditions:
The laid paper, cut with precision a few millimeters from the plate's beating mark, constitutes an impeccable base for Giovanni Battista Piranesi's engraving. The clear and well-defined imprint precisely surrounds the image and the writing underneath, as described. Along the edges, small marks can be seen that suggest the presence of a previous passepartout, now removed. On the back of the sheet, there are some rare traces of humidity and dirt and eight glue marks, probably linked to a previous fixing for framing with the aforementioned passepartout. Against the light, in addition to the wirework of the paper, you can see a watermark of a drawing, which is not completely decipherable due to the overlapping ink marks of the image, which hinder reading. Apart from these slight defects, the image is totally appreciable without problems, and except for the small defects described, the state of conservation is excellent.
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