Visiting Sleeping Beauties: Reawakening Fashion? You must join the virtual exhibition queue when you arrive. If capacity has been reached for the day, the queue will close early.

Learn more
ticketsMember | Make a donation
Search

Search The Collection

Filter By

Object Type / Material
Geographic Location
Date / Era
Department
Show Only:
  • As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
    APIPublic domain data for this object can also be accessed using the Met's Open Access API
  • Objects with changed or unknown ownership in continental Europe between 1933-1945. Learn more
Showing 1,389 results
Sort By:
View of the remains of the pronaos of the building known as the College des Anfictions...(Basilica), plate 5 from "Différentes vues de quelques Restes de trois grands Edifices qui subsistent encore dans le milieu de l'ancienne Ville de Pesto autrement Posidinia qui est située dans la Lucanie" (Different views of some of the remains of three great edifices that still exist at the center of the ancient city of Pesto, or Posidonia [Paestum], which is situated in Lucania)
Giovanni Battista Piranesi
1778
Chimneypiece in the Egyptian style: Large obelisks above jambs and two sphinxes supporting an oval relief of a nude figure above a lintel, from "Diverse Maniere d'adornare i cammini..." (Diverse Ways of ornamenting chimneypieces...)
Giovanni Battista Piranesi
1769
View of the Ancient Appian Way which passes alongside the wall already described in the previous views of the Ustrinum [crematorium], tome 3, tavola 7 from "Le Antichità Romane" (Roman Antiquities)
Giovanni Battista Piranesi
published 1756–57
Fragments of two freizes, one from Trajan's Forum and the other with various pieces of relief, from "Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal Cav. Gio. Batt. Piranesi, Vol. II" (Vases, candelabra, grave stones, sarcophagi, tripods, lamps, and ornaments designed and etched by Cavalieri Giovanni Battista Piranesi)
Giovanni Battista Piranesi
1778–80
View along the Via del Corso of the Palazzo dell'Accademia, established by Louis XIV, King of France for French students of Painting, Sculpture and Architecture..., from "Vedute di Roma" (Views of Rome), part I
Giovanni Battista Piranesi
ca. 1750–78
Plan of the Temple of Isis, two theaters, soldiers' quarter, a large portico, and a palestra, from "Antiquités de Pompeïa, tome second, Antiquités de la Grande Grèce..." (Antiquities of Pompeii, volume two, Antiquities of Great Greece...), volume 2, plate 58
Francesco Piranesi
1805
Plate 6: 'Ruins of an ancient tomb in front of ruins of an ancient aqueduct; above the arches of the latter is the channel which conveyed the water to Rome' (Ruine de sepolcro antico posto dinanzi ad altre ruine d'un Acquedotto pure antico; sopra gli archi del medesimo v'è il canale, per cui si conduceva l'acqua in Roma), from the series 'Part one of architecture and perspectives: drawn and etched by Gio. Batt'a Piranesi, Venetian Architect: dedicated to Nicola Giobbe' (Prima parte di Architetture, e prospettive inventate, ed incise da Gio. Batt'a Piranesi Architetto Veneziano dedicate al Sig. Nicola Giobbe)
Giovanni Battista Piranesi
1743
Title page
Giovanni Battista Piranesi
ca. 1748
View of the remains of the Praetorian Fort (the Poecile), Hadrian's Villa, Tivoli, from "Vedute di Roma" (Roman Views), part II
Giovanni Battista Piranesi
ca. 1750–78
Chimneypiece in the Egyptian style: Pairs of figures standing on their hands to either side, from "Diverse Maniere d'adornare i cammini..." (Diverse Ways of ornamenting chimneypieces...)
Giovanni Battista Piranesi
1769
View of the buildings at the entrance of the city of Pompeii, from "Antiquités de Pompeïa, tome premier, Antiquités de la Grande Grèce..." (Antiquities of Pompeii, volume one, Antiquities of Great Greece...), volume 1, plate 5
Francesco Piranesi
1804
Chimneypiece in the Egyptian style: Mummy superimposed on a large caryatid above the lintel (Ch. à l'égyptiennne surmontée d'une grande cariatide contre laquelle s'applique une momie), from Diverse Maniere d'adornare i cammini ed ogni altra parte degli edifizi...(Different Ways of ornamenting chimneypieces and all other parts of houses)
Giovanni Battista Piranesi
1769
The Lion Bas-Reliefs, plate 5 from "Carceri d'Invenzioni" (Imaginary Prisons)
Giovanni Battista Piranesi
printed 1800–09
The Liberation of a Prisoner, plate 20 from "Raccolta di Alcuni Disegni del Barberi da Cento detto il Guernico, incisi in Rame, e presentati al singolar merito del Sig. Tommaso Jenkins pittore, ed accademico di S. Luca, in atto di respetto e d'amicizia dall'architetto e suo coaccademio: Gio. Battista Piranesi" (Collection of several drawings after Barbieri da Cento (known as Guercino) etched on copper and presented to Thomas Jenkins, painter and member of the Academy of St. Luke, out of respect and friendship from his fellow member, the architect Gio. Battista Piranesi)
Giovanni Ottaviani
1764
Part of a stucco vault from Hadrian's Villa, Tivoli, from "Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal Cav. Gio. Batt. Piranesi, Vol. II" (Vases, candelabra, grave stones, sarcophagi, tripods, lamps, and ornaments designed and etched by Cavalieri Giovanni Battista Piranesi)
Giovanni Battista Piranesi
1778–80
Cornices and soffits, plate XIII from Trofei di Ottaviano Augusto
Giovanni Battista Piranesi
1753
Venus and Mars, plate 21 from "Raccolta di Alcuni Disegni del Barberi da Cento detto il Guernico, incisi in Rame, e presentati al singolar merito del Sig. Tommaso Jenkins pittore, ed accademico di S. Luca, in atto di respetto e d'amicizia dall'architetto e suo coaccademio: Gio. Battista Piranesi" (Collection of several drawings after Barbieri da Cento (known as Guercino) etched on copper and presented to Thomas Jenkins, painter and member of the Academy of St. Luke, out of respect and friendship from his fellow member, the architect Gio. Battista Piranesi)
Giovanni Ottaviani
1764
Three vases with an antique pedestal, from "Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal Cav. Gio. Batt. Piranesi, Vol. II" (Vases, candelabra, grave stones, sarcophagi, tripods, lamps, and ornaments designed and etched by Cavalieri Giovanni Battista Piranesi)
Giovanni Battista Piranesi
1778–80
Interior view of the Pronaos of the Pantheon, from "Vedute di Roma" (Roman Views), part II
Giovanni Battista Piranesi
ca. 1750–78
View of the Campo Vaccino (Roman Forum with the Temple of Castor and Pollux to right), from "Vedute di Roma" (Roman Views), part II
Giovanni Battista Piranesi
ca. 1750–78
Remains of ancient buldings among which stands the sepulchral urn of Marcus Agrippa made entirely of porphyry, which serves today as the Tomb of Clement XII... (Vestiggi d'antichi Edifici fra i quali evvi l'Urna Sepolcrale tutta d'un pezzo di...), from "Prima Parte di Architettura, e Prospettive"
Giovanni Battista Piranesi
ca. 1750
Vase decorated with a Bacchanalian frieze, from "Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal Cav. Gio. Batt. Piranesi, Vol. II" (Vases, candelabra, grave stones, sarcophagi, tripods, lamps, and ornaments designed and etched by Cavalieri Giovanni Battista Piranesi)
Giovanni Battista Piranesi
1778–80
Chimneypiece in the Egyptian style: Mummy superimposed on a large caryatid above the lintel, from "Diverse Maniere d'adornare i cammini..." (Diverse Ways of ornamenting chimneypieces...)
Giovanni Battista Piranesi
1769
The so-called Villa of Maecenas at Tivoli. Interior with two figures in the opening of an arch above. (Veduta interna della Villa di Mecenate)
Giovanni Battista Piranesi
ca. 1764
Remains of the Flaminian Way..., plate 38 from "Il Campo Marzio dell' Antica Roma, Opera di G.B. Piranesi socio della reale società degli antiquari di Londra" (The Campus Martius of Ancient Rome, the Work of G.B. Piranesi, Fellow of the Royal Society of Antiquaries, London)
Giovanni Battista Piranesi
1762
Inscriptions of the Praetorian Guard, tome 2, tavola 52 from "Le Antichità Romane" (Roman Antiquities)
Giovanni Battista Piranesi
published 1756–57
A corner of the Forum Romanum, with the Temple of Castor and Pollux, and S. Maria Liberatrice in foreground left, S. Teodoro in middle distance, and Monte Aventino in the distance (Veduta del sito ov'era l'antico Foro Romano), from "Vedute di Roma"
Giovanni Battista Piranesi
ca. 1756
Reconstruction of both elevations of the arches of the Acqua Vergine..., plate 30 from "Il Campo Marzio dell' Antica Roma, Opera di G.B. Piranesi socio della reale società degli antiquari di Londra" (The Campus Martius of Ancient Rome, the Work of G.B. Piranesi, Fellow of the Royal Society of Antiquaries, London)
Giovanni Battista Piranesi
1762
Plan of the same tomb...[the so-called Tomb of the Horatii and Curati], tavola 6 (b) from "Antichità d'Albano e di Castel Gandolfo Descritte ed incise da Giovambatista Piranesi" (Antiquities of Albano and of Castel Gandolfo described and etched by Giovambattista Piranesi)
Giovanni Battista Piranesi
1764–70
Inscriptions of the Mausoleum of the Plautii at Ponte Lugano, tome 3, tavola 11 from "Le Antichità Romane" (Roman Antiquities)
Giovanni Battista Piranesi
published 1756–57
Ground plan of the Mausoleum of St. Helen, tome 3, tavola 17 from "Le Antichità Romane" (Roman Antiquities)
Giovanni Battista Piranesi
published 1756–57
The Virgin and Child appearing to three kneeling monks (La Madonna del Carmine), plate 9 from "Raccolta di Alcuni Disegni del Barberi da Cento detto il Guernico, incisi in Rame, e presentati al singolar merito del Sig. Tommaso Jenkins pittore, ed accademico di S. Luca, in atto di respetto e d'amicizia dall'architetto e suo coaccademio: Gio. Battista Piranesi" (Collection of several drawings after Barbieri da Cento (known as Guercino) etched on copper and presented to Thomas Jenkins, painter and member of the Academy of St. Luke, out of respect and friendship from his fellow member, the architect Gio. Battista Piranesi)
Francesco Bartolozzi
1764
Royal courtyard in the center of which is a loggia with fountains, statues, and other ornaments among the columns; in the distance are rotundas with skylights according to the modern fashion, plate 12 from "Prima Parte di Architettura, e Prospettive" (Part one of Architecture and Perspectives)
Giovanni Battista Piranesi
printed 1800–09
Vignette to Preface: Arrangement of the inscriptions of Roman magistrates and victors which are to be seen on the Capitoline Hill [head-piece], from "I.B. Piranesii Lapides Capitolini sive Fasti Consulares Triumphalesq. Romanorum ab urbe condita usque ad Tiberium Caesarem" (G.B. Piranesi's Capitoline Inscriptions or Consular and Triumphal Lists from the Founding of the City to the Reign of Tiberius Caesar)
Giovanni Battista Piranesi
1762
Rear View of the Temple of Pola in Istria and the rear view of another temple, tavola 22 from "Antichità Romane fuori di Roma disegnate ed incise da Giambatta Piranesi Architetto Veneziano Parte Seconda" (Roman Antiquities outside Rome drawn and etched by Giambat'ta Piranesi, Venetian Architect, Part Two)
Giovanni Battista Piranesi
printed after 1775
Side view of the same two-handled vase with masks on a base from another such work, from "Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal Cav. Gio. Batt. Piranesi, Vol. I" (Vases, candelabra, grave stones, sarcophagi, tripods, lamps, and ornaments designed and etched by Cavalieri Giovanni Battista Piranesi)
Giovanni Battista Piranesi
1778–80
View of the upper storey of the Cages for Wild Anmals built by the Emperor Domitian, associated with the Flavian Amphitheater and commonly called the Curia Hostilia, from "Vedute di Roma" (Roman Views), part II
Giovanni Battista Piranesi
ca. 1750–78
Concerning the Fountainhead of the Acqua Giulia [details of Porta S. Lorenzo showing entablature and partial inscription], tavola 7 from "Le Rovine del Castello dell'Acqua Giulia situato in Roma presso S. Eusebio, e falsamente detto dell'Acqua Marcia colla dichiarazione di uno de celebri passi del commentario Frontinano e l'esposizione della maniera con cui gli antichi Romani distribuivano le acque per uso della città" (Ruins of the Fountainhead of the Acqua Giulia in Rome, near S. Eusebio and incorrectly called the Fountainhead of the Acqua Marcia, with a discussion of one of the celebrated passages from the commentary by Frontinus and an explanation of the manner in which the ancient Romans distributed the water for the use of the city)
Giovanni Battista Piranesi
1761
Capital, various ornamental fragments and constructional details from Albano, tavola 21 from "Antichità d'Albano e di Castel Gandolfo Descritte ed incise da Giovambatista Piranesi" (Antiquities of Albano and of Castel Gandolfo described and etched by Giovambattista Piranesi)
Giovanni Battista Piranesi
1764–70
Ruins of the Circus Flaminius..., plate 17 from "Il Campo Marzio dell' Antica Roma, Opera di G.B. Piranesi socio della reale società degli antiquari di Londra" (The Campus Martius of Ancient Rome, the Work of G.B. Piranesi, Fellow of the Royal Society of Antiquaries, London)
Giovanni Battista Piranesi
1762