![]() Later in Le Antichità Romane and other publications, Piranesi would inscribe his reconstructed plans on slabs of fragmented marble, often illusionistically held to the surface with metal clamps. There real and imaginary ancient monuments are juxtaposed, rising from detritus in the foreground, amid foliage, clouds, and a ghostly architrave of spiraling columns in a fantasy landscape. Here, Piranesi’s Rome emerges from the old fragments. As early as 17461748, Piranesi made a frontispiece for his Vedute di Roma that he called a Fantasy of Ruins with a Statue of Minerva in the Center Foreground. The small numbers that label these sites link the reader to entries on subsequent pages. Giovanni Battista Piranesi (1720-1778) was Italys most prolific and innovative printmaker in the 18th century. The map of Rome in the center of the print represents ancient monuments as they appeared in Piranesi’s day. The numbers that appear alongside the marble fragments correspond to entries in the detailed index that follows, in which Piranesi lists each surviving fragment and posits its identity and location in the city. There are a range of amenities available to guests of the hotel, including laundry facilities, luggage storage and a 24-hour reception. It is located a brief stroll from Piazza di Spagna, Via del Corso and Spanish Steps. Piranesi was born in Mogliano Veneto, near Treviso then part of the Republic of Venice and died the 4 October 1720 and died in Rome 9 November 1778. Giovanni Battista Piranesi was the greatest printmaker of the 18th century. In this image, Piranesi scatters pieces of the marble plan around a map of the walled city. Featuring a sauna, a rooftop terrace and free Wi-Fi, Hotel Piranesi is just a short walk from Piazza del Popolo. Giovanni Battista (also Giambattista) Piranesi was an Italian artist famous for his etchings of Rome and of fictitious and atmospheric prisons (Le Carceri d’Invenzione). Piranesi was well acquainted with the Severan fragments, and frequently drew inspiration from them for his own plans and images of antiquity. This fragmentary evidence of ancient Rome’s urban layout influenced early modern cartographers and antiquarians, who attempted to reconstruct Roman topography from extant ruins and writings from antiquity. Fragments of the Severan Plan were discovered in 1562 but had recently been put on public display at the Capitoline Museums. ![]() The etched plates and printed text that follow work together to index the surviving ruins of ancient Roman monuments known in the eighteenth century and the fragments of an ancient marble plan of Rome known as the Severan Marble Plan, or the Forma urbis romae. This plan of Rome begins a lengthy section on two specific types of ancient Roman fragments. This print appears early in the first volume of Piranesi’s Le Antichità Romane, following the dedicatory frontispiece and the standard preface and imprimatur, which provided proof that the papacy had granted proper permission for the publication.
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