Parte di Ampio Magnifico Porto
Parte di Ampio Magnifico Porto Engraving c1749-50 by Italian Artist Giovanni Battista Piranesi (1720 – 1778); skilder, classical archaeologist and architect know for his etchings of Rome and fictitious atmospheric prisons.
From the MetMuseum
Parte di ampio magnifico Porto all’uso degli antichi Romani, ove si scuopre l’interno della gran Piazza pel Comercio… (Part of a spacious and magnificent Harbor for the use of the ancient Romans opening onto a large market square…), from Opere Varie di Archiettura, prospettive, grotteschi, antichità; inventate, ed incise da Giambattista Piranesi Architetto Veneziano (Various Works of Architecture, perspectives, grotesques, and antiquities; designed and etched by Giambattista Piranesi, Venetian Architect)
In the dedication to his first publication, the Prima parte di architettura e di prospettiva of 1743, a series of imaginary views, Piranesi wrote that his observations of the vast remaining piles of marble and the immense spaces once occupied by ancient buildings had filled his spirit with magnificent images.
Since he despaired of anyone financing such grand structures, he had decided to share his visions through means of prints.
In the Parte di ampio magnifico Porto, an addition to this series of architectural fantasies that was created some years later, we witness one of his most visionary reconstructions of Rome’s former grandeur.
While an impressive stairway had recently been constructed at the Port of Ripetta in Rome – perhaps one of Piranesi’s inspirations in creating a design for a port; the combination of buildings illustrated in this etching could never actually be built.
Among the spatial ambiguities, apparently deliberate, the three curving walls, as of a giant amphitheater or the interior walls of the Pantheon, do not relate logically to each other.
In the inscription plate which Piranesi added to the second state of the print, many of the features of the port are explained, such as the rostral columns that commemorate naval victories, and the altar to Neptune, from which clouds of incense issue ceaselessly.
The idea of landing at such a splendid port is thrilling, although it would be nicer if Piranesi hadn’t informed us that the liquid pouring from the lions’ head spouts is sewage.
Dit is in retouchearre reproduksje fan âlde masters fan digitale keunst fan in ôfbylding yn it iepenbier domein.
Info hjirûnder ôflaat fan Wikipedia.org
Piranesi was the son of a stonemason and was born in Venice, in the parish of S. Moisè where he was baptized. His brother Andrea introduced him to Latin literature and ancient Greco-Roman civilization.
Later he was apprenticed under his uncle, Matteo Lucchesi, dy't in liedende arsjitekt wie yn Wetterskip, de steatsorganisaasje ferantwurdlik foar yngenieur en restauraasje fan histoaryske gebouwen.
Fan 1740, Giovanni hie in kâns om te wurkjen yn Rome as tekener foar Marco Foscarini, de Fenesiaanske ambassadeur fan de nije paus Benediktus XIV.
Hy wenne yn it Palazzo Venezia en studearre ûnder Giuseppe Vasi, dy't him yntrodusearre yn 'e keunst fan it etsen en gravearjen fan 'e stêd en har monuminten.
Giuseppe Vasi fûn dat Giovanni syn talint folle grutter wie as dat fan in gewoane graveur; neffens Legrand, Vasi fertelde Piranesi dat “do bist tefolle fan in skilder, myn freon, graveur te wêzen.”
Nei syn stúdzje mei Vasi konkludearre, hy wurke gear mei learlingen fan 'e Frânske Akademy yn Rome om in rige vedute te meitsjen (views) fan 'e stêd.
Yn 1743 Giovanni created his first work the Prima parte di Architettura e Prospettive, and followed that up in 1745 with Varie Vedute di Roma Antica e Moderna.
Fan 1743 nei 1747 Giovanni was mainly in Venice where, according to some sources, he often visited Giovanni Battista Tiepolo, a leading artist in Venice.
It was Tiepolo who expanded the restrictive conventions of reproductive, topographical and antiquarian engravings.
Giovanni then returned to Rome, where he opened a workshop in Via del Corso; en yn 1748 – 1774 he created an important series of vedute of the city which established his fame.
In the meantime Piranesi devoted himself to the measurement of many of the ancient buildings, which led to the publication of Le Antichità Romane de’ tempo della prima Repubblica e dei primi imperatori (“Roman Antiquities of the Time of the First Republic and the First Emperors”).
Yn 1761 he became a member of the Accademia di San Luca and opened a printing house of his own. Yn 1762 the Campo Marzio dell’antica Roma collection of engravings was printed.
The following year he was commissioned by Pope Clement XIII to restore the choir of San Giovanni in Laterano, but the work did not materialize.
Yn 1764, one of the Pope’s nephews, Cardinal Rezzonico, appointed him to start his only architectural work, the restoration of the church of Santa Maria del Priorato in the Villa of the Knights of Malta, on Rome’s Aventine Hill.
He combined Classical Architectural Elements, trophies and escutcheons with his own particular imaginative genius for the design of the facade of the church and the walls of the adjacent Piazza dei Cavalieri di Malta.
Yn 1767 he was made a knight of the Golden Spur, which enabled him to sign himself “Cav[aliere] Piranesi”. Yn 1769 his publication of a series of ingenious and sometimes bizarre designs for chimneypieces, as well as an original range of furniture pieces, established his place as a versatile and resourceful designer.
Yn 1776 he created his best known work as a ‘restorer’ of ancient sculpture, the Piranesi Vase, en yn 1777 – 78 he published Avanzi degli Edifici di Pesto (Remains of the Edifices of Paestum).