THE life of Piranesi was eminently that of a man of genius, characterized by all the peculiarities ascribable to genius, perhaps as failures of human nature, but also distinguished by that which imparts to its possessor an imperishable renown. Those peculiarities are worthy of notice, as they bear so much on the character of his work; but his works, wonderful as they are in point of execution, are less to be admired for this than for the interest of the subjects he chose, and that which he imparted to them. In an age of frivolities, he boldly and single-handed dared to strike out for himself a new road to fame; and in dedicating his talents to the recording and illustrating from ancient writers the mouldering records of former times, he met with a success as great as it was deserved, combining, as he did, all that was beautiful in art with all that was interesting in the remains of antiquity.”
These words were prefixed to an account of Piranesi’s career published in London during the year 1831 in “The Library of the Fine Arts,” and based upon a sketch of his life written by his son, Francesco, but never published, although the manuscript at that period had passed into the hands of the publishers, Priestly and Weale, only to be subsequently lost or destroyed.
Portrait of Giovanni Battista Piranesi
From the engraving by F. Polanzani, dated 1750
It is impossible to study this little known portrait without being convinced of its accurate likeness. It certainly conveys an impression of the man’s dæmonic force, which is not given by the more frequently reproduced statue executed by Angelini.
Size of the original etching, 15¼ × 11¼ inches
Piranesi. Arch of Septimius Severus
A rendering almost as faithful as an architect’s drawing, which Piranesi’s unfailing genius has transformed into an enchanting work of art. This arch stands in the Roman Forum. It was dedicated 203 A.D. in commemoration of victories over the Parthians.