Piranesi Antiquarian
Saturday, March 20, 2010 - Sunday, August 1, 2010
Giovanni Battista Piranesi (Mogliano, near Venice, 1720 – Rome, 1778) is best known as an etcher, in particular as a vedutista specializing in the views of cityscapes and landscapes. An extraordinary polymath, he was trained as a stonemason, architect and hydraulics engineer, but he was also prominent in stage design, interior design, and restoration of antiques. And he was the leading figure in an academic controversy in favor of Roman antiquity.
Central to his career were his activities as an antiquarian, archaeologist, and draftsman. The Antichità Romane (1756) is a comprehensive survey of the remains of ancient Rome and a landmark in the history of classical archaeology. The detailed plates are remarkable both for their visually effective illustrative techniques and their original way of seeing the ruins. Piranesi’s architectural training led him to focus on hitherto neglected aspects of Roman architecture—tectonics, structure,
and construction.
Piranesi celebrated the ancient Romans’ engineering genius in works such as bridges, porticoes, and theaters. His aim was to go beyond a mere recording of external features, and approach a full understanding of the monument. He combined plans, sections, elevations, and architectural details. He examined the materials and the construction techniques. The result was more than a compilation of nostalgic or romantic views of ruins, but rather a forceful and carefully considered presentation
of Roman construction. Piranesi’s plates provide insight into the minds of Roman builders—how they solved practical issues in the architectural process. The Antichità Romane was intended not only to document the vanishing past for scholars and antiquarians, but also to present antiquity as a source of experimental ideas for practicing architects of his time.
Central to his career were his activities as an antiquarian, archaeologist, and draftsman. The Antichità Romane (1756) is a comprehensive survey of the remains of ancient Rome and a landmark in the history of classical archaeology. The detailed plates are remarkable both for their visually effective illustrative techniques and their original way of seeing the ruins. Piranesi’s architectural training led him to focus on hitherto neglected aspects of Roman architecture—tectonics, structure,
and construction.
Piranesi celebrated the ancient Romans’ engineering genius in works such as bridges, porticoes, and theaters. His aim was to go beyond a mere recording of external features, and approach a full understanding of the monument. He combined plans, sections, elevations, and architectural details. He examined the materials and the construction techniques. The result was more than a compilation of nostalgic or romantic views of ruins, but rather a forceful and carefully considered presentation
of Roman construction. Piranesi’s plates provide insight into the minds of Roman builders—how they solved practical issues in the architectural process. The Antichità Romane was intended not only to document the vanishing past for scholars and antiquarians, but also to present antiquity as a source of experimental ideas for practicing architects of his time.