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細節
PIRANESI, Giovanni Battista (1720-1778). Le Antichita Romane. Rome: Angelo Rotili, sold by Bouchard, 1756.
4 volumes, 2 (535 x 415mm). Letterpress text in vol. I as described by Hind, but with an extra leaf of alphabetical plate index ('Repertorio'). Etched portrait of Piranesi by Polanzani, and 218 plates numbered 1-4, 1-63, 1-54 and 1-57, plate one in each volume is an etched frontispiece etched by Piranesi, Barbault and G. Rossi, engraved head- and tailpiece, one engraved text illustration, and 6 engraved initials. Text and plates on guards. (Spotting, heavier in text leaves and mostly marginal in plates, a few plates lightly browned, small tear at fold of folding plan in vol. I). 19th-century half sheep, spine tooled in gilt and blind, marbled edges (spine and corners worn).
The publication of the Antichit confirmed Piranesi as 'the foremost artistic proponent of Roman architecture' (Robison, Piranesi (1986) p.11). It depicts archaeological monuments and sites, sepulchral monuments, reconstructions of engineering feats, ancient bridges, baths and other structures. As a result of its publication, Piranesi was elected a member of the Society of Antiquaries in London the following year. The etchings, with their combination of technical skill, historical accuracy and artistic vision, show that, as Robert Adam observed, 'he alone might be said to breath the Antient Air.' Hind 183-4; Focillon 144-395. (4)
4 volumes, 2 (535 x 415mm). Letterpress text in vol. I as described by Hind, but with an extra leaf of alphabetical plate index ('Repertorio'). Etched portrait of Piranesi by Polanzani, and 218 plates numbered 1-4, 1-63, 1-54 and 1-57, plate one in each volume is an etched frontispiece etched by Piranesi, Barbault and G. Rossi, engraved head- and tailpiece, one engraved text illustration, and 6 engraved initials. Text and plates on guards. (Spotting, heavier in text leaves and mostly marginal in plates, a few plates lightly browned, small tear at fold of folding plan in vol. I). 19th-century half sheep, spine tooled in gilt and blind, marbled edges (spine and corners worn).
The publication of the Antichit confirmed Piranesi as 'the foremost artistic proponent of Roman architecture' (Robison, Piranesi (1986) p.11). It depicts archaeological monuments and sites, sepulchral monuments, reconstructions of engineering feats, ancient bridges, baths and other structures. As a result of its publication, Piranesi was elected a member of the Society of Antiquaries in London the following year. The etchings, with their combination of technical skill, historical accuracy and artistic vision, show that, as Robert Adam observed, 'he alone might be said to breath the Antient Air.' Hind 183-4; Focillon 144-395. (4)