The Digital Piranesi

Bibliography

Bacou, Roseline. “À propos des dessins de figures de Piranèse.” Piranèse et les Français, ed. Geroges Brunel. Rome: French Academy at Rome, 1978. pp. 33-42.

Barkan, Leonard. Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture. New Haven: Yale University Press, 2001.

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.

Black, Jeremy. Italy and the Grand Tour. New Haven: Yale University Press, 2003.

Boswell, James. Boswell on the Grand Tour: Italy, Corsica, and France, 1765-66. Eds. Frank Brady and Frederick A. Pottle. New York: McGraw-Hill, 1955. 


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. 561-591.


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.

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): 147-156.

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. 241-267.

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. 115-132.

____.  “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. 469-487.


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.

Fleming, John. Robert Adam and His Circle. London: J. Murray, 1962.

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

Furlong, Gillian. “The Ruins of Rome, Seen through 18th-Century Eyes.” Treasures from UCL. London: University College London Press, 2015. pp. 112-113.

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. 221-239.

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): 44-49.

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. 201-219.

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.

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): 412-419.


____. 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.330-353.  

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

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

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

Piranesi, Giovanni Battista. 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): 701-736.


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. 91-96.  

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.


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): 524-533.

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.

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 118-141.


Wendorf, Richard. “Piranesi's Double Ruin.” Eighteenth-Century Studies, Vol. 34, No. 2, (2001): 161-180.

Wilton-Ely, John. The Mind and Art of Giovanni Piranesi. London: Thames and Hudson, 1988.

____.  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): 359-380.

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. 111-125.

Zucker, Paul. “Ruins: An Aesthetic Hybrid.” The Journal of Aesthetics and Art Criticism Vol 20. No. 2 (1961): 119-130.

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