Antique Amtic Temple Engraving
Antique Amtic Temple Engraving c1743 by Italian Artist Giovanni Battista Piranesi (1720 – 1778); peantair, eòlach air arc-eòlaiche clasaigeach agus ailtire airson na sgeidsichean aige den Ròimh agus prìosanan àile meallta.
I beautiful architectural engraving showing anenormous Antique Temple with visitors that look abolutely tiny in comparison to the spiral staircase, columns and arches and giant insence urns; the illustration also has a verse written below it that states:
Tempio amtico inventato e disegnata alla maniera di quelli che si fabbricavano in onore della Dea Vesta: quindi vedesi in mezzo la grand Ara, sopra della quale conservavasi dalle Vergini Vestali L’inestinguibile fuoco sacro.
Tutta l’opera e Corintia ornata di statue e di bassi rilievi, e di altri ornamenti ancora.
Il piano di questo Tempio e no tabilmente elevato dal suolo: vedesi in mezzo lo Cella rotonda, come lo e pure tutto il gran Vaso del Tmpio stesso: quattro loggie portavano ad essa, e per altrettante scale visi ascendeva.
Le parieti del gran Tempio stesso hanno due ordini, sopra il secondo d’incurva una vasta Cupola con isfondati, e rosoni, e termina in una grande apertura, dalla qte dipende il lume alla Cella che le sta sotto.
Gio Batta Piranefi Arch. inv; ed incife in Roma l’Anno 1743
Translated Using Google Translate
Amtic temple invented and designed in the manner of those who were built in honor of the Goddess Vesta: therefore in the middle of the great Ara, above which the inextinguishable sacred fire was preserved by the Vestal Virgins.
The whole work is Corintia decorated with statues and low reliefs, and still other ornaments.
The floor of this Temple is not easily elevated from the ground: you can see the round Cell in the middle, as well as the whole great Vase of the Temple itself: four loggias led to it, and by as many stairs faces ascended.
The walls of the great temple itself have two orders, above the second a vast dome with arches, and rose windows, and ends in a large opening, from which depends the light to the cell that is below.
Gio Batta Piranefi Arch. Inv; and incife in Rome the year 1743
Is e seo ath-riochdachadh seann mhaighstirean ealain didseatach ath-riochdachadh de ìomhaigh raon poblach.
Fiosrachadh gu h-ìosal a thàinig bho Wikipedia.org
B' e mac clachair a bh' ann am Piranesi agus rugadh e ann am Venice, ann am paraiste S. Moisè far an do bhaisteadh e. Thug a bhràthair Andrea a-steach e do litreachas Laideann agus seann shìobhaltachd Greco-Ròmanach.
Nas fhaide air adhart bha e na phreantas fo uncail dha, Matteo Lucchesi, a bha na phrìomh ailtire ann am Magistrato delle Acque, a ’bhuidheann stàite le uallach airson innleadaireachd agus ath-nuadhachadh thogalaichean eachdraidheil.
Bho 1740, Bha cothrom aig Giovanni a bhith ag obair anns an Ròimh mar neach-dealbhaidh airson Marco Foscarini, tosgaire Venetian a ’Phàp Benedict XIV ùr.
Bha e a ’fuireach anns an Palazzo Venezia agus rinn e sgrùdadh fo Giuseppe Vasi, a thug a-steach e gu ealain searbhag agus gràbhaladh a ’bhaile agus a charraighean.
Fhuair Giuseppe Vasi a-mach gu robh tàlant Giovanni tòrr nas motha na tàlant gràbhalaiche dìreach; a rèir Legrand, Thuirt Vasi ri Piranesi sin “tha thu cus de pheantair, Mo charaid, a bhith na ghràbhalaiche.”
Às deidh a chuid ionnsachaidh le Vasi thàinig e gu crìch, cho-obraich e le sgoilearan Acadamaidh na Frainge san Ròimh gus sreath de vedute a dhèanamh (beachdan) den bhaile mhòr.
Ann an 1743 Chruthaich Giovanni a ’chiad obair aige a’ chiad phàirt de Ailtireachd agus Beachdan, agus lean sin suas ann an 1745 le diofar sheallaidhean de Ròimh Àrsaidh agus Nuadh.
Bho 1743 gu 1747 Bha Giovanni sa mhòr-chuid ann am Venice far an robh, a rèir cuid de stòran, bhiodh e tric a ’tadhal air Giovanni Battista Tiepolo, prìomh neach-ealain ann am Venice.
B ’e Tiepolo a leudaich gnàthasan cuibhrichte gintinn, gràbhalaidhean cumadh-tìre agus àrsaidh.
Thill Giovanni an uairsin dhan Ròimh, far an do dh ’fhosgail e bùth-obrach ann an Via del Corso; agus a-steach 1748 – 1774 chruthaich e sreath chudromach de vedute a ’bhaile a stèidhich a chliù.
Anns an eadar-ama, thug Piranesi seachad e fhèin airson tomhas mòran de na seann togalaichean, a thug gu buil Le Antichità Romane de’ àm a’ chiad Phoblachd agus a’ chiad ìmpirean (“Àrsaidheachd Ròmanach aig àm na Ciad Phoblachd agus na Ciad Impirean”).
Ann an 1761 thàinig e gu bhith na bhall den Accademia di San Luca agus dh’ fhosgail e taigh clò-bhualaidh dha fhèin. Ann an 1762 chaidh cruinneachadh gràbhalaidhean Campo Marzio dell’antica Roma a chlò-bhualadh.
An ath bhliadhna chaidh a bharantachadh leis a’ Phàp Clement XIII gus còisir San Giovanni ann an Laterano a thoirt air ais, ach cha d'thainig an obair gu buil.
Ann an 1764, aon de mhacaibh a' Phàpa, Cardinal Rezzonico, chuir e an dreuchd e gus an aon obair ailtireachd aige a thòiseachadh, ath-nuadhachadh eaglais Santa Maria del Priorato ann am Villa of the Knights of Malta, air Cnoc Aventine na Ròimhe.
Chuir e còmhla Eileamaidean Ailtireachd Clasaigeach, duaisean agus escutcheons leis an gnè mac-meanmnach sònraichte aige fhèin airson dealbhadh aghaidh na h-eaglaise agus ballachan an Piazza dei Cavalieri di Malta a tha faisg air làimh.
Ann an 1767 chaidh a dhèanamh na ridire den Spur Òir, a leig leis ainm a chuir ris fhèin “Cav[alloying] Piranesi”. Ann an 1769 an fhoillseachadh aige de shreath de dhealbhaidhean innleachdach agus uaireannan neònach airson similearan, a bharrachd air raon tùsail de phìosan àirneis, stèidhich e àite mar dhealbhadair ioma-chruthach agus ghoireasach.
Ann an 1776 chruthaich e an obair as ainmeil aige mar ‘restorer’’ de sheann deilbheadh, am Vase Piranesi, agus a-steach 1777 – 78 dh'fhoillsich e Leftovers of the Pesto Buildings (Fuigheall Edifices Paestum).