Le Antichità RomaneA key turning point in the storied career of G.B. Piranesi was his expansive series “Le Antichità Romane” (Roman Antiquities), first published in 1756. It contained four volumes of engravings documenting Ancient Roman ruins and antiquities as they were in the 18th century. His first volume focused on ancient buildings, the second and third on the remains of sepulchral monuments, and a final fourth volume on ancient bridges, theaters, porticos, and other monuments. He created 135 plates between the four volumes and over 250 distinct impressions.
A work of such magnitude required significant dedication and endeavor and represented Pirnaesi’s first foray into broad, comprehensive projects. “Le Antichità Romane” was only preceded by more minor works, including
Piranesi’s “Prima parte di Architetture e Prospettive” (1743), “Vedute di Roma” (1740s), and “Antichità Romane de’ tempi della Repubblica” (late 1740s).
However, following “Le Antichità Romane,” he would continue with grand endeavors, like his “Campus Martius” (1762) series.
“Le Antichità Romane” also solidified Piranesi’s reputation and later legacy among respected authorities. A fascination with ancient cultural sites in Rome and across Europe, manifesting in the widely popular Grand Tour for European aristocracy, drove significant demand for Piranesi’s works capturing various sites’ grandeur. A year after the series’ publication, Piranesi was elected to the Honorary Fellowship of the Society of Antiquaries of London as an ultimate recognition of his efforts.1
However, this success came with financial strife. The series was intended to be financed by the nobleman James Caufield, Count of Charlemont, who left Italy without supporting Piranesi. He would go into significant debt publishing the series and spend numerous hours erasing dedications to the Count from dozens of plates.
“Le Antichità Romane” ultimately leaves a complex legacy, acting as many things to many people. Piranesi’s work serves a clear historical purpose as a record of vital Roman antiquities that have deteriorated or been destroyed. An educational aspect is also prominent, as Piranesi’s rather long, in-depth explanatory legends show.2 However, as was common throughout Piranesi’s career, his work remains prone to aggrandizing Roman architecture and accomplishment.3 Other themes flow through, including studies of oblique views, complex object interlays,
and more. This is best illustrated in Piranesi’s Imaginary View of the Via Appia
in Le Antichità Romane, Vol—II, which resembles his works in his “Carceri d’Invenzione” series.4
Most of all, like many other great masters of their crafts, this series inspired the
works of generations of artists to follow. Just one example is Italian artist Luigi
Rossini, who used Piranesi’s oeuvre as a foundation for his artistic expression in
the 19th century.5
Listed top to bottom, left to right:
Inscriptions on Antiquities Outside Rome with Index of Plates, 1748
Etching on laid paper
Inscriptions on Antiquities Outside Rome with Index of Plates
Gift from the Trustees of the Corcoran Gallery of Art (Bequest of Frank B. Bristow)
CGA.68.26.529
Inscriptions from Antiquities outside Rome, with Index of Plates from ‘Antichita Romane’, 1748
Etching on laid paper
Gift from the Trustees of the Corcoran Gallery of Art (Bequest of Frank B. Bristow)
CGA.68.26.532
Frontispiece to Part Two. Roman Antiquities outside Rome drawn and etched by Giambat’ta Piranesi, 1748
Etching on laid paper
Gift from the Trustees of the Corcoran Gallery of Art (Bequest of Frank B. Bristow)
CGA.68.26.536
Title Page, Roman Antiquity of the Time of the Republic and the First Emperors (Antichità Romane de’ Tempi della Repubblica, e de’ primi Imperatori), 1748
Etching on laid paper
Gift from the Trustees of the Corcoran Gallery of Art (Bequest of Frank B. Bristow)
CGA.68.26.531