A previously unknown source, a ‘Diario di Roma’ manuscript from 1762 to 1768, offers a group of fresh informations on Piranesi’s life during his years of major mundane success. The informations are presented as follows: 1. Piranesi and the Rezzonico Family: a closer view of his architectural career (the ‘Diario’ testifies that Piranesi, when designing St. Johns in Lateran choir, had some of Borromini’s drawing in his possess); 2. Piranesi as Superinendent of Antiquities manqué (two years before his assassination Winckelmann was tempted to flew Rome to Berlin: from the ‘Diario’, we know that Piranesi was proposed in his stead); 3. Venuti and Piranesi: the Cloaca Maxima and the origins of architecture (from the ‘Diario’ we know that Ridolfino venuti and Piranesi were close friends and they were both in good terms with an English republican as Thomas Hollis); 4. The debate between Piranesi and Mariette in is literary contest (Venuti’s texts and Piranesi’s present astonishing similarities previously unnoticed); 5. Piranesi in the eyes of his Roman contemporaries (from the ‘Diario’ we know that his architectural works were violently despised by most people but, as he was a protegé of the Papal Family any critic was openly expressed).

Piranesi architect, courtier, and antiquarian: the late Rezzonico years (1762-1768)

PASQUALI, Susanna
2006

Abstract

A previously unknown source, a ‘Diario di Roma’ manuscript from 1762 to 1768, offers a group of fresh informations on Piranesi’s life during his years of major mundane success. The informations are presented as follows: 1. Piranesi and the Rezzonico Family: a closer view of his architectural career (the ‘Diario’ testifies that Piranesi, when designing St. Johns in Lateran choir, had some of Borromini’s drawing in his possess); 2. Piranesi as Superinendent of Antiquities manqué (two years before his assassination Winckelmann was tempted to flew Rome to Berlin: from the ‘Diario’, we know that Piranesi was proposed in his stead); 3. Venuti and Piranesi: the Cloaca Maxima and the origins of architecture (from the ‘Diario’ we know that Ridolfino venuti and Piranesi were close friends and they were both in good terms with an English republican as Thomas Hollis); 4. The debate between Piranesi and Mariette in is literary contest (Venuti’s texts and Piranesi’s present astonishing similarities previously unnoticed); 5. Piranesi in the eyes of his Roman contemporaries (from the ‘Diario’ we know that his architectural works were violently despised by most people but, as he was a protegé of the Papal Family any critic was openly expressed).
9780472115846
Giovan Battista Piranesi; San Giovanni in Laterano; Commissario delle antichità di Roma
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11392/523036
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