Fabricius (Ponte Cestio) Bridge : Framed 18th C. Piranesi Architectural Etching

This etching depicts the plan and elevation of the bridge now called the Ponte dei Quattoro Capi or Ponte Cestio (Bridge of the Four Heads), which in antiquity was called the Bridge of Fabricius after L. Fabricius, the Superintendant of the Streets who built it at the end of the Republic, around 62 BC. It was also been known in the Middle Ages as ‘Ponte Giudeo’ (Bridge of the Jews). The bridge crossed from the left bank or northeast side of the Tiber River to Tiber Island. The left side of the image is occupied by the riverside structures of the former Ghetto. The focal point of the composition is the Pons Fabricius with its central pier with three men standing on top. Another bridge and multiple important architectural landmarks are seen in the background, which are labelled with numerous and letters and identified in the inscription below.

This Piranesi etching is held by many museums and institutions, including: The Metropolitan Museum Art in New York and The Riksmuseum in Amsterdam..

This etching is presented in a black wood frame and a white mat. The frame measures 25.63" high, 30.5" wide and 0.63" deep. There is a central fold, as issued. There is mild waviness of the upper edge on the right and small faint spots. The etching is otherwise in very good condition.

Giovanni Battista Piranesi (1720–1778) was born in Venice in 1720 and died in Rome in 1778. He was the son of a stone mason and was trained as an architect. After a slow start to his career, he eventually achieved great success as an architect, archaeologist, artist, designer, collector, and antiquities dealer. His mission was to glorify the architecture of ancient Rome through his etchings. He began collecting, restoring and selling ancient architectural objects in the 1760's in partnership with Thomas Jenkins and Gavin Hamilton, who had financed numerous excavations in the Pantanello area of Hadrian’s Villa at Tivoli. In 1768 Piranesi began creating etchings depicting these objects. The plates were eventually published together as a set in 1778 in "Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne ed Ornamenti Antichi". Piranesi dedicated many of the plates to patrons, colleagues, good customers and influential people. Many of the antiquities shown in Vasi were eventually sold to King Gustav III of Sweden by Piranesi's son, Francesco Piranesi, after his father’s death, and now reside in the National Museum in Stockholm.

Piranesi's etchings were highly detailed and captured the grandeur of Rome's ancient ruins and architectural marvels. He used a combination of realism and imagination to create dramatic compositions that were both accurate and awe-inspiring. His highly dramatized prints often depict imaginary interiors and frequently include figures in mysterious activities, who are dwarfed by the magnitude of their monumental surroundings.

In addition to his art, Piranesi also designed buildings and interiors in Rome, including the Church of Santa Maria del Priorato and the Villa Adriana in Tivoli. He also wrote several books on archaeology and ancient art. He was also a collector of ancient architectural objects, restoring and often selling them to European tourists. Piranesi was knighted by the Pope in 1765 and he was elected a Fellow of the Society of Antiquaries in England in 1757. Piranesi's style greatly influenced the development of neoclassical art movement of the late 18th century and early 19th centuries. His dramatic scenes inspired generations of set designers, as well as artists, architects and writers. Piranesi died on November 9, 1778, in Rome, Italy, at the age of 58. He is remembered today as one of the greatest artists and architects of the 18th century, whose work continues to inspire and fascinate people around the world. His prints have continued to increase in value to institutions and collectors.