Ruins of the palace of the Emperor Diocletian at Spalatro in Dalmatia
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In 1754 Robert Adam left Scotland for France and Italy on a Grand Tour. In Italy he met the French architect, Charles Louis Clérisseau, and the Italian, Giovanni Battista Piranesi, who would both have a significant influence upon him and his later work. While abroad, Adam resolved to move to London and set about producing a volume for publication upon his return. The ruins of the palace at Spalatro (now known as Split, on the Dalmatian coast) were easily accessible from Italy but had not been satisfactorily documented. Over a period of five weeks Adam sketched and supervised the documentation of the ruins. He was accompanied by Clérisseau, who produced perspectives, and two German draftsmen who undertook the measured drawings. Most of the published drawings are believed to be the work of Clérisseau.
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Printed for the author: London
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Ee 1764 A [de Beer Special Collections]
The New Zealander in London
In the 1870s the artist Gustave Doré depicted Macaulay's New Zealander visiting future London. In the accompanying text Jerrold wrote, ‘Macaulay's dream of the far future, with the tourist New Zealander ... contemplating "The glory that was Greece - The grandeur that was Rome".' This solitary philosopher-artist appears more akin to romanticised images of young English travelers, discovering and sketching the ruins of Palmyra a century earlier, than to New Zealanders who had recently been at war with Colonial and Imperial troops.
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Grant & Co.: London
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A parallel of the antient architecture with the modern
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Following a stay in Rome in 1650, Fréart de Chambray published this anthology of ten ancient and modern writers on the classical orders. He argues that the Greek orders (the Doric, the Ionic, and Corinthian) are perfect models for all architecture and he condemns the Roman orders (the Tuscan and the Composite) as being corrupt. Citing its use in the Temple of Solomon, he declares the Corinthian order to be the ‘flower of Architecture and the Order of Orders'. To Fréart de Chambray, Vitruvius and his translators were beyond reproach.
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Printed by Tho. Roycroft for John Place: London
Evelyn, John
Alberti, Leon Battista
Roycroft, Thomas
Place, John
Cecil, Hugh
Tubbs, Percy B.
Dunn, George
Spencer, Samuel
Shoppee, William
Wheatley, Thomas
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Ec/1664/F c.1 (de Beer Special Collections)
Romae antiquae notitia: or, the antiquities of Rome
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First published in 1696, this short history by the Anglican churchman and scholar, Basil Kennett, recounts the rise, progress, and decay of Ancient Rome eighty years before Gibbon's Decline and fall …. A popular publication, it was reprinted no fewer than seventeen times in the one hundred and twenty five years following its first appearance.
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printed for J. and R. Tonson, J. and T. Pote, C. Bathurst, B. Dod, J. Rivington [and 10 others]: London
Pote, Joseph
Pote, Thomas
J. and R. Tonson
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Eb 1763 K [De Beer Special Collections]
Aedificiorvm et rvinarvm Romae ex antiqvis atqve hodiernis monimentis liber primus
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This book on the buildings and ruins of Rome by the 17th century artist and engraver, Giovanni Maggi, is typical of the works by which the ruins of antiquity became known outside Italy through that century. The remnant of the Temple of Jupiter Stator (Castor and Pollux) in the Roman Forum, shown here with its prominent and accessible columns and entablature, was the frequent subject of measured drawings by the visiting architects of the 18th century. The amphitheatre was at the Campus Martius. Maggi is now better known for an impressive twelve sheet perspectival map of Rome that was published after his death in 1725. A copy of an early 20th century reprint of Iconographia della citta di Roma is held in the Library's Special Collections.
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[s.n.]: Romae
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Itc 1618 M [De Beer Special Collections]
The ruins of Pæstum
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The Greek temples at Paestum in southern Italy were almost unknown until the 1750s. They became better known through publication. This book by Thomas Major was one of the first that enabled architects of Northern and Western Europe to study the three temples at this site. Along with the work of Stuart and Revett, these engravings were a valuable source for the Greek revival at the end of the 18th century. Piranesi later produced a series of twenty engravings of the ruins at Paestum in 1778.
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Published by T. Major ... printed by James Dixwell: London
Dixwell, James
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Ee 1768 M [De Beer Special Collections]
Le terme dei Romani
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This drawing of Diocletian's Baths can be traced to Andrea Palladio. The Bertotti-Scamozzi illustrations in this volume follow those included by the English architect, Lord Burlington, in his study of the Baths of the Romans, Fabbriche Antiche (1730). These in turn were based upon drawings by Palladio that the Englishman had acquired in Italy some years earlier. Bertotti-Scamozzi had earlier published several volumes documenting Palladio's buildings.
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Per Giovanni Rossi: In Vicenza
Bertotti Scamozzi, Ottavio
Burlington, Richard Boyle
Gaal de Gyula, Nico
Palladio, Andrea
Rossi, Giovanni
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Itb 1797 P [de Beer Special Collections]
Roma aeterna Petri Schenkii
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This publication by Amsterdam publisher and engraver Peter Schenk is typical of those that were appearing at the turn of the 18th century. The page shown depicts the ruins of the aqueduct the Aqua Marcia. It conveyed water to both the baths of Diocletian and to those of Caracalla.
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s.n.: Amstelodami
Hume, Abraham
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Lc 1705 S [de Beer Special Collections]
Tvtte l'opere d'archittetvra, et prospetiva
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In his seven-volume Tutte l'opere d'architettura that first appeared in 1584, Serlio aimed to provide a practical manual of architecture while avoiding explicit theory. As such the work became one of the most influential of all publications on architecture. The third book which is displayed here, was first printed in 1540. In it Serlio documents and discusses Roman and Renaissance architecture. He measured and reconstructed partial ruins. Serlio did not doubt the value of the lessons from antiquity. In acknowledging that the work of the Greeks was superior to the Romans, he prepared the way for debate in subsequent centuries.
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G. de' Franceschi: [Venetia]
Scamozzi, Giovanni Domenico
Franceschi, Giacomo de'
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Itb 1619 S [de Beer Special Collections]
The antiquities of Athens, measured and delineated
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In 1742 James Stuart went to London where he met Nicholas Revett. With support from English travellers and residents in Rome, they raised funds and issued proposals for a ‘new and accurate description of the Antiquities &c. in the Province of Attica'. Like Fréart de Chambray, Stuart believed that Greece, not Rome, should be the paragon. Between 1751 and 1753 the two Englishmen painstakingly surveyed the buildings of Greece. This, the much awaited volume of 1762, describes minor buildings. Though it fell short of expectation it did have significant impact. Over the next fifty-four years three subsequent volumes were published fuelling the ‘gusto Greco'.
Published shortly after James Stuart's death, the acclaimed second volume of The antiquities of Athens … was devoted to the Acropolis. This is dealt with in the precise, if somewhat lifeless, neoclassical spirit. Both Stuart and Revett were members of the Society of the Dilettanti which had been formed in 1732 as a convivial meeting group for Englishmen on the Grand Tour. By the 1760s, the society sponsored archaeological expedition and publication. It produced the two volume Ionian Antiquities in 1769 and 1797.
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Priestley and Weale: London
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NA280 .SX35 (Special Collections Oversized)
The ruins of Balbec
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This book documents the Roman monuments of Baalbek in present-day Lebanon. It was a result of Robert Wood and James Dawkins' 1750-53 trip to Asia Minor. Wood was a member of the Society of the Dilettanti These volumes exhibited mark the beginning of the rise of the British as explorers of antiquity. In his commentary Wood described the ruins in the Bekka Valley as ‘the remains of the boldest plan we ever saw attempted in architecture.' While he understood the sites to be of Roman origin, Wood acknowledged a local tradition that linked the buildings back to Solomon. The engravings were prepared by G.B. Borra in England after drawings that he made on site. The work proved to be a valuable source for the architects of the classical revival.
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Ee/1757/W [de Beer Special Collections]