Although not eminent as an architect he repaired among other edifices the church of S. His plates ultimately came into the possession of the pope. He was fond of peopling his ruins with Callot-like figures, and "like Callot makes great use of the swelling line" (Hind). While he achieved a work of magnitude in pictorial records of Roman monuments of antiquity and of the Renaissance, and gave immense archæological, antiquarian, and topographical value to this work, the artistic quality always predominates. Some of the etchings in his twenty-nine folio volumes are on double-elephant paper, ten feet in length. Skilful and artistic printing lent an added charm to his proofs, and the poor impressions that exist in western Europe come from plates that were captured by British warships during the Napoleonic wars. The result is a dramatic alternation of black and white, and of light and shade, which deservedly won for him the name of "the Rembrandt of architecture". As a rule he drew directly on copper, and hence his work is bold, free, and spirited to a marked degree his shadows are luminous, but at times there is too much chiaroscuro. He was a rapid and facile worker and etched more than 2000 large plates, full of detail, vigour, and brilliancy. In 1741 he brought out a work on arches, bridges, and other remains of antiquity, a notable monument of black and white art thereafter he opened a gallery for the sale of prints, chiefly his own. He did not return except for a brief visit to his family. His uncle Lucchesi gave him lessons in drawing, until in 1738 his father, a mason, sent him to Rome to study architecture under Valeriani and engraving under Vasi. Includes the Catholic Encyclopedia, Church Fathers, Summa, Bible and more all for only $19.99.Īn Italian etcher and engraver, b. Please help support the mission of New Advent and get the full contents of this website as an instant download.
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