Nicholas Penny

Fabio Barry

Shelley Sturman

Anthony Radcliffe

Marietta Camberari

Details with photographs and explanations of each piece found in the private collection of Robert H. Smith renaissance bronzes.

The Robert H. Smith Collection

Art of the Renaissance Bronze, 1500-1650

The Eighteenth-century City in the Great Vedute

The Rome of Piranesi

Heather Hyde Minor

Mario Bevilacqua

Piranesi was an architect, engraver, antiquities restorer and dealer, draftsman, archaeologist, furniture and fireplace designer, author, and bookseller. His creations in paper and in stone garnered considerable renown in his own lifetime, allowing him to transform himself from a penniless son of a stonemason to a wealthy entrepreneur. However, despite attempts to catalogue and analyze his work, little is known about Piranesi. Since Henri Focillon published his monograph on the artist in 1918, scholars have sought to expand his interpretive strategies used to examine Piranesi and his work. This volume is a representative sampling of the contemporary scholarship on Piranesi, with each essay scrutinizing a particular aspect of his oeuvre. By engaging with material found in eighteenth-century manuscripts and printed materials, as well as the texts and images Piranesi produced, the nine essays by esteemed contributors add to the rapidly growing and diversifying field of eighteenth-century studies. The outcome is a volume that will add to the expanding, glittering mosaic of Piranesi’s life and his work. Front Flap Mario Bevilacqua is Associate Professor at the University of Florence, Italy. Heather Hyde Minor is Assistant Professor at the University of Illinois, Urbana-Champaign. Fabio Barry is Assistant Professor at the American University of Rome, Italy.

Essays on G.B. Piranesi

The Serpent and the Stylus

A sweeping history of premodern architecture told through the material of stone Spanning almost five millennia, Painting in Stone tells a new history of premodern architecture through the material of precious stone. Lavishly illustrated examples include the synthetic gems used to simulate Sumerian and Egyptian heavens; the marble temples and mansions of Greece and Rome; the painted palaces and polychrome marble chapels of early modern Italy; and the multimedia revival in 19th-century England. Poetry, the lens for understanding costly marbles as an artistic medium, summoned a spectrum of imaginative associations and responses, from princes and patriarchs to the populace. Three salient themes sustained this “lithic imagination”: marbles as images of their own elemental substance according to premodern concepts of matter and geology; the perceived indwelling of astral light in earthly stones; and the enduring belief that colored marbles exhibited a form of natural—or divine—painting, thanks to their vivacious veining, rainbow palette, and chance images.

Architecture and the Poetics of Marble from Antiquity to the Enlightenment

Painting in Stone

Fabio Barry

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