The Digital Piranesi

Bibliography

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Barry, Fabio. “Rinovare, 
anziché ristorare. Piranesi as Architect.” The Rome of Piranesi: The Eighteenth-Century City in the Great Vedute. Edited by Mario Bevilacqua and Mario Gori Sassoli. Translated by Fabio Barry. Rome: Artemide, 2007. pp. 91-110. 

Battaglia, Roberta. “A First Collection of the Vedute di Roma: Some New Elements on the States.” The Serpent and the Stylus: Essays on G. B. Piranesi. Edited by Mario Bevilacqua, Heather Hyde Minor, and Fabio Barry. Ann Arbor: The University of Michigan Press, 2006. pp. 93-120.

Bevilacqua, Mario and Mario Sassoli. La Roma di Piranesi. La citta del Settecento nelle grandi vedute. Rome: Artemide, 2006. 

Bevilacqua, Mario. “The Rome of Piranesi. Views of the Ancient and Modern City.” The Rome of Piranesi: The Eighteenth-Century City in the Great Vedute, ed. Mario Bevilacqua and Mario Gori Sassoli, trans. Fabio Barry. Rome: Artemide, 2007. pp. 39-60.

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Calè, Louisa. “Frontispieces,” in Book Parts, ed. Dennis Duncan and Adam Smyth. Oxford: Oxford University Press, 2019. pp. 27-37.

Campbell, Malcom. “Piranesi and Innovation in Eighteenth-Century Roman Printmaking” in Art in Rome in the Eighteenth Century. Edited by Edgar Peters Bowron and Joseph J. Rishel. London: Merrell, 2000. pp. 561-91.


Certeau, Michel de. The Practice of Everyday Life, trans. Steven F. Rendall. Berkeley: University of California Press, 1984.

Connors, Joseph. Piranesi and the Campus Martius: The Missing Corso. Milan: Jaca, 2011.

Corbett, Margery and R. W. Lightbown. The Comely Frontispiece: The Emblematic Title-page in England, 1550–1660. London: Routledge & Kegan Paul, 1979.

Culler, Jonathan. The Literary in Theory. Stanford: Stanford University Press, 2007.


Dars, Célestine. Images of Deception: The Art of Trompe-L’Œil. Oxford: Phaidon, 1979.

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DeLaine, Janet. “The ‘Cella Solearis’ of the Baths of Caracalla: A Reappraisal.” Papers of the British School at Rome, Vol. 55 (1987): 147-56.

de Leeuw, Ronald. “Dealer and Cicerone: Piranesi and the Grand Tour” in Piranesi as Designer. Edited by Sarah E. Lawrence. New York: Cooper-Hewitt, 2007. pp. 241-67.

Dixon, Susan. “Illustrating Ancient Rome, or the Ichnographia as Uchronia and Other Time Warps in Piranesi’s ‘Il Campo Marzio’” in Envisioning the Past: Archaeology and Image. Edited by S. Smiles and S. Moser. London: Blackwell, 2005. pp. 115-32.

____.  “Piranesi's Pantheon” in Architecture as Experience: Radical Change in Spatial Practice. Edited by D. Arnold and A. Ballantyne. London: Routledge, 2004. pp. 57-80.  

____.  “The Sources and Fortunes of Piranesi’s Archaeological Illustrations” Art History Vol. 25, No. 4 (2002): pp. 469-87.


Drucker, Johanna. Graphesis: Visual Forms of Knowledge Production. Cambridge: Harvard University Press, 2014.

Ferri, Sabrina. Ruins Past: Modernity in Italy 1744-1836. Oxford: Voltaire Foundation, 2015.

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Freud, Sigmund. Civilization and Its Discontents. Trans. Joan Riviere. London: Hogarth Press, 1930.


____. Interpretation of Dreams. Trans. A. A. Brill. New York: Macmillan, 1913.

Furlong, Gillian. “The Ruins of Rome, Seen through 18th-Century Eyes.” Treasures from UCL. London: University College London Press, 2015. pp. 112-13.

Galitz, Kathryn Calley. “The French Academy in Rome” in Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000--. http://www.metmuseum.org/toah/hd/frac/hd_frac.htm (October 2003)


Gnoli, Raniero. Marmora romana. Milan: La nave di Teseo, 2018.

González-Palacios, Alvar. "Piranesi and Furnishings." Piranesi as Designer. Edited by Sarah E. Lawrence. New York: Cooper-Hewitt, 2007. pp. 221-39.

Graves, Michael. "Drawing from Piranesi." Piranesi as Designer. Edited by Sarah E. Lawrence. New York: Cooper-Hewitt, 2007. pp. 269-99.


Harbison, Robert. “Baroque Exuberance: Frivolity or Disquiet” Architectural Design, Vol. 80, No. 2 (2010): 44-9.


Hind, Arthur M. Giovanni Battista Piranesi: A Critical Study. New York: Da Capo, 1967.

Holden, Colin. “Piranesi's People: Cardinal Albani's Villa” Youtube, uploaded by State Library Victoria, 23 April, 2014, https://www.youtube.com/watch?v=kjkYprPcgIQ

Jarrard, Alice. “Perspectives on Piranesi and Theater” in Piranesi as Designer. Edited by Sarah E. Lawrence. New York: Cooper-Hewitt, 2007. pp. 201-19.

Krist, Pamela. “Three Popes and the Fountain in Memory: Shaping the Trevi for Performances of Power” Italian Studies, Vol 71, No. 4 (2016): 421-46.

Lawrence, Sarah. “Piranesi’s Aesthetic of Eclecticism” in Piranesi as Designer. Edited by Sarah E. Lawrence. New York: Cooper-Hewitt, 2007. pp. 93-121.

Maier, Jessica. Rome Measured and Imagined. Chicago: University of Chicago Press, 2015.

Marder, Tod A. The Pantheon: From Antiquity to the Present. New York: Cambridge University Press, 2018.

____.Specchi's high altar for the Pantheon and the statues by Cametti and ModeratiThe Burlington Magazine, Vol 122, no. 922 (1980): 30-40. 

Mayor, A. Hyatt. Giovanni Battista Piranesi. New York: H. Bittner and Co, 1952.


Minor, Heather Hyde. The Culture of Architecture in Enlightenment Rome. University Park: Penn State University Press, 2010. 

____.“Rejecting PiranesiThe Burlington Magazine, Vol 143, no. 1180 (2001): 412-19.


____. Piranesi’s Lost Words. University Park: The Pennsylvania State University Press, 2015.

Nevola, Francesco. “Giovanni Battista Piranesi’s origins as a vedutista: the impact of Canaletto and Belloto” in Giovanni Battista Piranesi: predecessori, contemporanei e successori. Edited by Elisa Debenedetti. Rome: Sapienza Università di Roma, 2016. pp. 59-82.


____. Giovanni Battista Piranesi: The Grotteschi, The Early Years 1720 to 1750. Rome: Ugo Bozzi Editore, 2009.


Pasquali, Susanna. “Neoclassical remodeling and reconception, 1700-1820” in The Pantheon: From Antiquity to the Present. Edited by Tod A. Marder. New York: Cambridge University Press, 2018. pp.330-53.  

Petrucci, Armando. Public Lettering: Script, Power, and Culture. Chicago: The University of Chicago Press, 1993.

Pinto, John. “Speaking Ruins: Travelers’ Perceptions of Ancient Rome.” SiteLINES: A Journal of Place Vol. 11, No. 2 (2016): 3-5.

____. Speaking Ruins: Piranesi, Architects and Antiquity in Eighteenth-Century Rome. Ann Arbor: University of Michigan Press, 2012.

____. “Architecture and Urbanism” in Art in Rome in the Eighteenth Century. Edited by Edgar Peters Bowron and Joseph J. Rishel. London: Merrell, 2000.

____. The Trevi Fountain. New Haven and London: Yale University Press, 1986.

Pinto, John and William MacDonald. Hadrian’s Villa and Its Legacy. New Haven: Yale University Press, 1995.

Piranesi, Giovanni Battista. Observations on the Letter of Monsieur Mariette with Opinions on Architecture, and a Preface to a New Treatise on the Introduction and Progress of the Fine Arts in Europe and Ancient Times. Translated by Caroline Beamish and David Britt. Los Angeles: Getty Research Institute, 2002.

Piranesi, Drawings and Etchings at Columbia University: An Exhibition at Low Memorial Library. New York: Avery Architectural Library, 1972.

Piranesi, Giovanni Battista. Giovanni Battista Piranesi: Matrici incise 1743-53. Volume 1. Edited by Ginevra Mariani. Milan: Mazzotta, 2010. 

____. Giovanni Battista Piranesi: Matrici incise 1756-57. Volume 2.  Edited by Ginevra Mariani. Milan: Mazzotta, 2014. 

____. Giovanni Battista Piranesi: Matrici incise 1761-65. Volume 3. Edited by Ginevra Mariani. Milan: Mazzotta, 2017. 

Rapp, Joanna Barbara. “A Geometrical Analysis of Multiple Viewpoint Perspective in the Work of Giovanni Battista Piranesi: An Application of Geometric Restitution of Perspective.” The Journal of Architecture Vol. 13, No. 6 (2008): 701-36.

Robison, Andrew. Piranesi: early architectural fantasies: a catalogue raisonné of the etchings. Chicago; Washington D.C: National Gallery of Art; University of Chicago Press, 1986.

Röder, Gertrud. “Numidian Marble and Some of its Specialities” in Classical Marble: Geochemistry, Technology, Trade. Edited by Norman Herz and Marc Waelkens. Dordrecht: Springer, 1988. pp. 91-6.  

Rodinò, Simonetta Prosperi Valenti. 
“I disegni di casa Albani" in Alessandro Albani patrono delle arti. Architettura, pittura, e collezionismo nella Roma del '700. Studi sul Settecento Romano, vol. 9. Rome: Bonsignori Editore, 1993.pp. 15-48.

Rosenfeld, Myra Nan. “Picturesque to Sublime: Piranesi’s Stylistic and Technical Development from 1740 to 1761” in The Serpent and the Stylus: Essays on G. B. Piranesi. Edited by Mario Bevilacqua, Heather Hyde Minor, and Fabio Barry. Ann Arbor: The University of Michigan Press, 2006. pp. 55-91.

San Juan, Rose Marie. Rome: A City Out of Print. Minneapolis: University of Minnesota Press, 2001. 


Scaloni, Giovanna. “Le cinque tavole di architetture nella seconda edizione delle Opere Varie” in Giambattista Piranesi: Matrici Incise, 1761-65. Volume 3. Ed. Ginevra Mariani. Milan: Mazzotta, 2017. pp. 49-56. 

Scott, Jonathan. Piranesi. New York: St. Martin’s Press, 1975.


Serlio, Sebastiano. Il Secondo Libro d'Architettura di M. Sebastiano Serlio. Venice: Nicolini da Sabbio and Marchio Sessa, 1551.

Sørensen, Bent. “The Projects for the Reconstruction of the Lateran Basilica in Rome” in Piranesi as Designer. Edited by Sarah E. Lawrence. New York: Cooper-Hewitt, 2007. pp. 171-201.

Stafford, Barbara Maria. Body Criticism: Imaging the Unseen in Enlightenment Art and Medicine. Cambridge, Mass.: MIT Press, 1997. 

Stewart, Susan. The Ruins Lesson: Meaning and Material in Western Culture. Chicago: University of Chicago Press, 2020.

Tafuri, Manfredo. The Sphere and the Labyrinth: Avant-gardes and Architecture from Piranesi to the 1970s. Cambridge, Mass.: MIT Press, 1990.


Tait, A. A. “Reading the Ruins: Robert Adam and Piranesi in Rome.” Architectural History, Vol. 27 (1984): 524-33.

Tzonis, Alexander, and Lefaivre, Liane. Classical Architecture: The Poetics of Order. Cambridge, Mass.: The MIT Press, 1986.


Van Eck, Caroline. “Architectural history without words: Piranesi's representations of Rome, anachronism and historical experience” in Aspects of Piranesi. Edited by Dirk De Meyer, Bart Verschaffel, and Pieter-Jan Cierkens. Ghent, Belgium: A&S Books, 2015. pp. 94-117. 

Vasi, Giuseppe. Delle Magnificenze di Roma Antica e Moderna. Rome: Eredi Barbiellini, 1747.

____. Gran Prospetto di Roma. Rome: Marco Pagliarini, 1765. 

Verschaffel, Bart. “Rome Pictured as a World: On the Function and Meaning of the Staffage in Giovanni Battista Piranesi’s Vedute.” Aspects of Piranesi: Essays on History, Criticism and Invention. Ed Dirk De Meyer, Bart Verschaffel, and Pieter-Jan Cierkens. Ghent, Belgium: A&S Books, 2015. pp 118-41.

Wendorf, Richard. “Piranesi's Double Ruin.” Eighteenth-Century Studies, Vol. 34, No. 2, (2001): 161-80.

Wilton-Ely, John. The Mind and Art of Giovanni Piranesi. London: Thames and Hudson, 1978.

____.  Giovanni Battista Piranesi: The Complete Etchings. 2 vols. San Francisco: Alan Wofsy Fine Art, 1994.


____. “The Colosseum Seen from the Air” in Grand Tour: The Lure of Italy in the Eighteenth Century. Edited by Andrew Wilton and Ilaria Bignamini. London: Tate Gallery Publishing, 1996. p. 172.

Yourcenar, Marguerite. The Dark Brain of Piranesi and Other Essays. Translated by Richard Howard. New York: Farrar, Straus, Giroux, 1984.

Zarucchi, Jeanne Morgan. “The Literary Tradition of Ruins of Rome and a New Consideration of Piranesi’s Staffage Figures.” Journal for Eighteenth-Century Studies Vol. 35 No. 3 (2012): 359-80.

Zorach, Rebecca. “Classicism, Conflict, and the White Body” in Classicisms. Edited by Larry F. Norman and Anne Leonard. Chicago: Smart Museum, University of Chicago Press, 2017. pp. 111-25.

Zucker, Paul. “Ruins: An Aesthetic Hybrid.” The Journal of Aesthetics and Art Criticism Vol 20. No. 2 (1961): 119-30.

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