,transcriber's ,note3 ,italic text is enclosed in underscores2 boldface text is enclosed in equals signs4 ,transcriber included the plate numbers in their captions4 ,selected ,etchings by ,,piranesi ,with an ,introduction by ,c4 ,h4 ,,reilly1 ,m4,a41 ,f4,r4,i4,b4,a41 ,roscoe ,professor of ,architecture1 ,the ,university of ,liverpool4 ,,series ,,ii4 ,,technical ,,journals1 ,,ltd4 ,,caxton ,,house 33 ,,westminster ,,list ,,of ,,plates #a4 ,medallion ,portrait of ,piranesi4 #b4 ,trophy of ,arms4 ,,designs4 #c4 ,design for a ,bridge4 #d4 ,design for a ,forum4 #e4 ,a ,roman ,hall4 #f4 ,imaginary ,prison ,interior4 #g4 ,ditto4 #h4 ,ditto4 ,,views ,,of ,,roman ,,buildings ,,and ,,sites4 #i4 ,view of the ,campo ,vaccino 7,forum ,romanum74 #aj4 ,temple of ,concord4 #aa4 ,arch of ,titus4 #ab4 ,ditto4 #ac4 ,arch of ,constantine4 #ad4 ,arch of ,trajan at ,ancona4 #ae4 ,tomb of ,cecilia ,metella4 #af4 ,the ,ponte ,salario4 #ag4 ,the ,ponte ,lugano4 #ah4 ,temple of ,ceres4 #ai4 ,forum of ,nerva4 #bj4 ,ditto4 #ba4 ,temple of ,bacchus4 #bb4 ,temple of ,minerva ,medica 7now considered part of the ,baths of ,gallienus74 #bc4 ,part of the ,colosseum4 #bd4 ,basilica of ,s4 ,lorenzo4 #be4 ,basilica of ,st4 ,paul4 #bf4 ,basilica of ,s4 ,sebastian4 #bg4 ,the ,trevi ,fountain4 #bh4 ,fountain of ,pope ,paul ,v4 #bi4 ,the ,felice ,fountain4 #cj4 ,the ,palazzo ,laterano4 #ca4 ,the ,palazzo ,barbarini4 #cb4 ,the ,palazzo ,quirinale4 ,,vases1 ,,pedestals1 ,c4 #cc4 ,the ,nave of ,st4 ,peter's4 #cd4 ,the ,interior under the dome of ,st4 ,peter's4 #ce4 ,the ,interior of ,st4 ,john ,lateran4 #cf4 ,pedestal from the ,borghese ,collection4 #cg4 ,offertory ,box from the 8,vasi ,candelabri40 #ch4 ,urn from ditto4 #ci4 ,ditto4 #dj4 ,vase from ditto4 #da4 ,ditto4 #db4 ,ditto4 #dc4 ,ditto4 #dd4 ,ditto4 #de4 ,ditto4 #df4 ,ditto4 #dg4 ,ditto4 #dh4 ,chimneypiece from the 8,diverse ,maniere40 #di4 ,ditto4 #ej4 ,ditto4 ,,introduction ,the demand which followed the issue of the first series of small reproductions of ,piranesi's etchings has tempted the ,publishers to put forth a further selection4 ,the mine is1 indeed1 inexhaustible1 but all the etchings1 though of great individual interest1 are not of equal value to architects4 ,for them ,piranesi serves two main purposes3 the first1 a stimulus to the imagination2 the second1 a store of rich and expressive detail4 ,in this selection1 to assist in the first purpose1 are included a few of his own architectural designs4 ,these do not1 however1 in reality exhibit his great imaginative qualities so well as his interpretations of actual buildings4 ,although ,piranesi was careful to see that he was always styled 8,venetian ,architect10 we have no very reliable evidence that he ever composed a building except on paper1 and such paper plans as he published do not suggest great practical qualities4 ,it is in his drawings of the ruins of ancient ,rome that he gives us something at once more rare and more valuable than any ordinary architectural achievement4 ,in them he shows us the inherent romance buried deep in ,roman construction4 ,through him we learn the spiritual character of this construction when stripped of all its worldly ornament4 ,it is true that in his drawings the buildings have another sort of decoration--a decoration of trees and foliage4 ,in the eighteenth century the ruins had not yet been cleaned and docketed into museum specimens1 but the romance which ,piranesi reveals in arch1 vault1 and dome is something deeper than a mere picturesque contrast with foliage and figures4 ,the romance he shows us is the romance of any enduring monument4 ,it is the monumental quality of ,roman construction which makes it akin to the great works of ,nature1 and the trees and vegetation in ,piranesi drawings only help to demonstrate this kinship4 ,the gesticulating figures serve a similar purpose4 ,they are the men of a lesser generation gibbering over the work of ancestors they only half comprehend4 ,the other and more prosaic service which ,piranesi can still render to architects1 and especially in these days of neo-,classic detail1 is by means of his careful drawings of antique ornaments and vases from his own and his friends' collections4 ,here he not only provides us with an immense fund of detail1 but he draws that detail in a way which gives us at once the very essence of its character4 ,it is a character all may not love1 but few can avoid feeling how suitable it is to the age in which we live4 ,c4 ,h4 ,r4 ,illustration3 ,plate #a3 ,medallion ,portrait of ,piranesi4 ,illustration3 ,plate #b3 ,trophy of ,arms4 ,illustration3 ,plate #c3 ,design for a ,bridge4 ,illustration3 ,plate #d3 ,design for a ,forum4 ,illustration3 ,plate #e3 ,a ,roman ,hall4 ,illustration3 ,plate #f3 ,imaginary ,prison ,interior4 ,illustration3 ,plate #g3 ,imaginary ,prison ,interior4 ,illustration3 ,plate #h3 ,imaginary ,prison ,interior4 ,illustration3 ,plate #i3 ,view of the ,campo ,vaccino 7,forum ,romanum74 ,illustration3 ,plate #aj3 ,temple of ,concord4 ,illustration3 ,plate #aa3 ,arch of ,titus4 ,illustration3 ,plate #ab3 ,arch of ,titus4 ,illustration3 ,plate #ac3 ,arch of ,constantine4 ,illustration3 ,plate #ad3 ,arch of ,trajan at ,ancona4 ,illustration3 ,plate #ae3 ,tomb of ,cecilia ,metella4 ,illustration3 ,plate #af3 ,ponte ,salario4 ,illustration3 ,plate #ag3 ,ponte ,lugano4 ,illustration3 ,plate #ah3 ,temple of ,ceres4 ,illustration3 ,plate #ai3 ,forum of ,nerva4 ,illustration3 ,plate #bj3 ,forum of ,nerva4 ,illustration3 ,plate #ba3 ,temple of ,bacchus4 ,illustration3 ,plate #bb3 ,temple of ,minerva ,medica4 ,illustration3 ,plate #bc3 ,part of the ,colosseum4 ,illustration3 ,plate #bd3 ,basilica of ,s4 ,lorenzo4 ,illustration3 ,plate #be3 ,basilica of ,st4 ,paul4 ,illustration3 ,plate #bf3 ,basilica of ,s4 ,sebastian4 ,illustration3 ,plate #bg3 ,trevi ,fountain4 ,illustration3 ,plate #bh3 ,fountain of ,pope ,paul ,v4 ,illustration3 ,plate #bi3 ,felice ,fountain4 ,illustration3 ,plate #cj3 ,palazzo ,laterano4 ,illustration3 ,plate #ca3 ,palazzo ,barbarini4 ,illustration3 ,plate #cb3 ,palazzo ,quirinale4 ,illustration3 ,plate #cc3 ,nave of ,st4 ,peter's4 ,illustration3 ,plate #cd3 ,interior under the dome of ,st4 ,peter's4 ,illustration3 ,plate #ce3 ,interior of ,st4 ,john ,lateran4 ,illustration3 ,plate #cf3 ,pedestal from the ,borghese ,collection4 ,illustration3 ,plate #cg3 ,offertory ,box from the 8,vasi ,candelabri40 ,illustration3 ,plate #ch3 ,urn from the 8,vasi ,candelabri40 ,illustration3 ,plate #ci3 ,urn from the 8,vasi ,candelabri40 ,illustration3 ,plate #dj3 ,vase from the 8,vasi ,candelabri40 ,illustration3 ,plate #da3 ,vase from the 8,vasi ,candelabri40 ,illustration3 ,plate #db3 ,vase from the 8,vasi ,candelabri40 ,illustration3 ,plate #dc3 ,vase from the 8,vasi ,candelabri40 ,illustration3 ,plate #dd3 ,vase from the 8,vasi ,candelabri40 ,illustration3 ,plate #de3 ,vases from the 8,vasi ,candelabri40 ,illustration3 ,plate #df3 ,vases from the 8,vasi ,candelabri40 ,illustration3 ,plate #dg3 ,vases from the 8,vasi ,candelabri40 ,illustration3 ,plate #dh3 ,chimneypiece from the 8,diverse ,maniere40 ,illustration3 ,plate #di3 ,chimneypiece from the 8,diverse ,maniere40 ,illustration3 ,plate #ej3 ,chimneypiece from the 8,diverse ,maniere40 ,,some ,,interesting ,,publications ,,issued ,,by ,,technical ,,journals1 ,,ltd4 ,,caxton ,,house1 ,,westminster1 ,,london ,,technical ,,journals1 ,,ltd4 ,selected ,etchings by ,piranesi4 ,,list ,,of ,,plates ,,of ,,volume ,i4 #a4 ,title-page to the 8,vedute di ,roma40 7,pub4 ,rome #agea47 #b4 ,composition of ,ruins4 #c4 ,bas-relief from the ,portico of the ,church of the ,apostles1 ,rome4 #d4 ,antique bas-relief from ,naples4 #e4 ,trophy of ,arms4 ,,designs4 #f4 ,design for a ,grand ,staircase4 #g4 ,design for a ,sculpture ,gallery4 #h4 ,design for the ,mausoleum of a ,roman ,emperor4 #i4 ,sketch ,design4 #aj4 ,composition4 ,,views ,,of ,,roman ,,buildings4 #aa4 ,pyramid of ,c4 ,cestius1 ,appian ,way4 #ab4 ,temple of ,hercules1 ,cora4 #ac4 ,basilica of ,maxentius1 ,rome4 #ad4 ,the ,capitol1 ,rome4 #ae4 ,ditto4 #af4 ,the ,colosseum and the ,arch of ,constantine1 ,rome4 #ag4 ,the ,colosseum4 #ah4 ,tomb of ,hadrian 7,castle of ,st4 ,angelo74 #ai4 ,ponte ,molle1 ,rome4 #bj4 ,the ,temple of ,vesta at ,tivoli4 #ba4 ,interior of the ,pantheon4 #bb4 ,gallery in ,hadrian's ,villa1 ,tivoli4 #bc4 ,ponte ,st4 ,angelo4 #bd4 ,temple of ,concord1 ,rome4 #be4 ,interior of ,santa ,maria ,maggiore1 ,rome4 #bf4 ,piazza ,navona1 ,rome4 #bg4 ,view of the ,churches of the ,madonna di ,loreto and ,santa ,maria1 by ,trajan's ,column1 ,rome4 #bh4 ,piazza of ,st4 ,peter's1 ,rome4 #bi4 ,antique ,equestrian statues 7,castor and ,pollux7 on the ,quirinal1 ,rome4 #cj4 ,the ,quirinal1 ,rome4 ,,imaginary ,,roman ,,prisons4 #ca4 ,etching from the series of imaginary ,roman ,prisons4 #cb4 ,ditto4 ,,vases1 ,,tripods1 ,c4 #cc4 ,vase from 8,vasi ,candelabri40 7,pub4 ,rome1 #aggh47 #cd4 ,vase from ditto4 #ce4 ,vase from ditto4 #cf4 ,vase from ditto4 #cg4 ,vase and tripod from ditto4 #ch4 ,vase and pedestal from ditto4 #ci4 ,tripod from 8,vasi ,candelabri40 #dj4 ,tripod and bas-relief from ditto4 #da4 ,tripod from ditto4 #db4 ,lamp from ditto4 #dc4 ,vases from ditto4 #dd4 ,altar from ditto4 ,,chimneypieces4 #de4 ,design for ,chimneypiece from 8,diverse ,maniere40 #df4 ,ditto4 #dg4 ,ditto4 #dh4 ,ditto4 #di4 ,ditto4 #ej4 ,design for a ,chimneypiece and clock from 8,diverse ,maniere40 ,post ,free ,rates3 ,england1 #b_/i2 ,canada1 #ge cents2 ,america1 #ge cents2 ,abroad1 #c_/c4 ,,caxton ,,house1 ,,westminster1 ,,london ,some ,famous ,buildings and their ,story4 ,,by ,a4 ,w4 ,,clapham1 ,f4,s4,a41 ,,and ,w4 ,h4 ,,godfrey4 ,buildings that have been the scene of historical events1 or have played a distinctive part in the development of national life1 are commonly dealt with either at length in a most unattractive style1 or dismissed in a few sentences embodying dates and particulars which are frequently inaccurate4 ,thus1 the general reader finds himself confronted with two extremes1 alike unsatisfactory4 ,it was with the express object of correcting these deficiencies in respect of certain famous buildings that the authors compiled the series of short papers which constitute the volume under notice4 ,they have been at great pains in their task1 and1 as the result of much original research1 a flood of fresh light is thrown upon the subjects dealt with1 every chapter adding some new fact to previous knowledge1 or reproducing some hitherto unknown or neglected plan4 ,in this way we have set before us1 by means of description and illustration1 the most remarkable of all ,henry ,,viii4's palaces--,nonsuch1 in ,surrey1 whose wanton destruction was probably the heaviest loss which ,english architecture has suffered since the ,dissolution of the ,monasteries4 ,the ,tower of ,london1 dealt with in another chapter1 offers a wealth of interest when critical research and architectural acumen are brought into play1 and in the same way the ,royal ,palace of ,eltham1 ,northumberland ,house1 ,sir ,thomas ,more's ,house at ,chelsea1 the ,fortune ,theatre1 ,barking ,abbey1 and other famous buildings are dealt with4 ,one ,volume4 #es4 ,,nett4 #bge pages4 ,,caxton ,,house1 ,,westminster1 ,,london ,illustration3 ,,technical ,,journals ,,limited ,,printed ,,by ,,vacher ,,and ,,sons1 ,,ltd41 ,,westminster ,,house1 ,,london1 ,s4,w4