The Digital Piranesi

Bibliography

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Hélène and Mary Heffernan. For the Love of the Master: 25 Artists Fascinated by Piranesi. Dublin: OPW, 2022. 

Britton, Jeanne. 
“Giovanni Battista Piranesi, the Control of Nature, and the Logic of the Book” 1650-1850: Ideas, Aesthetics, and Inquiries in the Early Modern Era Vol. 29 (2024): 127-155.

____. “Graphic Constructions of Knowledge in Piranesi’s Maps and Diderot’s EncyclopedieEighteenth-Century Studies Vol. 54, No. 4 (2021): 957-978.

Buck, Sarah. “Unfolding Piranesi’s Aqueduct: the Aqueduct Map from Le Antichita Romane, Volume I (1756). ATHANOR XXVIII (2010): 29-37. 

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.

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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.

Debenedetti, Elisa. Alessandro Albani patrono delle arti. Architettura, pittura, e collezionismo nella Roma del '700. Studi sul Settecento Romano, vol. 9. Rome: Bonsignori Editore, 1993. 


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.


Dey, Hendrik. The Aurelian Wall and the Refashioning of Imperial Rome, A.D. 271-855. Cambridge University Press, 2011.

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 Sam Smiles and Stephanie Moser. London: Blackwell, 2005. pp. 115-32. 

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

____. “The Sources and Fortunes of Piranesi’s Archaeological Illustrations” Art History Vol. 25, No. 4 (2002): pp. 468-87.


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

Eitner, Lorenz, ed. Neoclassicism and Romanticism, 1750-1850: An Anthology of Sources and Documents. New York: Harper & Row, 1989. 

Evans, Harry B. Water Distribution in Ancient Rome: The Evidence of Frontinus. Ann Arbor: University of Michigan Press, 1994. 


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

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Fowler, Alastair. The Mind of the Book: Pictorial Title-Pages. Oxford: Oxford University Press, 2017.


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.

Hibbard, Howard. Carlo Maderno and Roman Architecture, 1580-1630. University Park: Pennsylvania State University Press, 1971. 


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

Hodge, Trevor A. Roman Aqueducts and Water Supply. London: Duckworth & Co., 2005.

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.

Johns, Christopher M. S. “The Entrepôt of Europe: Rome in the Eighteenth Century” in Art in Rome in the Eighteenth Century. Edited by Edgar Peters Bowron and Joseph J. Rishel. London: Merrell, 2000. pp. 17-45.

Kantor-Kazovsky, Lola. Piranesi as Interpreter of Roman Architecture and the Origins of His Intellectual World. Florence, Italy: Leo S. Olschki Editore, 2006.

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.

Lolla, Maria Grazia. “Ceci n’est pas un monument: Vetusta Monumenta and Antiquarian Aesthetics” in Producing the Past: Aspects of Antiquarian Culture and Practice, 1700-1850. Edited by Martin Myrone and Lucy Peltz. Brookfield, VT: Ashgate, 1999, pp. 15-34.

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

____. 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.


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

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

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

____. 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.

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


____. Il Campo Marzio dell’antica Roma, Romae 1762. L’inventario dei beni del 1778, a cura di Franco Borsi, Colombo ristampe, Roma 1972.

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.

Richardson, L. A New Topographical Dictionary of Ancient Rome. Baltimore: Johns Hopkins University Press, 1992. 


Rinne, Katherine Wentworth. The Waters of Rome: Aqueducts, Fountains, and the Birth of the Baroque City. New Haven: Yale University Press, 2010.

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. 
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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. 

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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, 1991.


____. Good Looking: Essays on the Virtue of Images. Cambridge, Mass.: MIT Press, 1996.

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

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Udy, David. “Piranesi’s ‘Vasi, the English Silversmith and His Patrons. The Burlington Magazine 120, no 909 (1978): 820-37. 

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. 

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____. 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.

Vitruvius, Pollio. Ten Books on Architecture. Translated and edited by Ingrid D. Rowland, Thomas Noble Howe, and Michael Dewar. New York: Cambridge University Press, 1999. 

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

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


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Yerkes, Carolyn and Heather Hyde Minor. Piranesi Unbound. Princeton: Princeton University Press, 2020.

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

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