Giovanni Battista Piranesi is considered one of the most famous neoclassical print makers of the 18th century in regards to architecture. Born in 1720 near Treviso Italy, his brother introduced him to latin and the ancient world which initially sparked his interest in antiquarian subject. Not too long after this he studied as an architect under his uncle, Matteo Lucchesi, who was a Venetian engineer specializing in excavation. Moving to Rome in 1740 he then learned the art of etching and engraving under Giuseppe Vasi while collaborating with pupils of the French Academy in Rome producing a series of views of Rome. From 1748-1774 Piranesi created a long series of views entitled "Roman Antiquities of the Time of the First Republic and the First Emperors" establishing his fame and of which this etching has come from. He became so famous for his etchings and incredible ability to restore Roman antiquities like pots and vases he was commissioned by the Pope for specific projects and was even knighted in 1764. Although an architect by trade he was not successful thankfully providing us with the best historical visual history of Rome's ruins in the 1700's.

Piranesi established himself as the greatest neoclassical print maker of the 18th century and this etching is a perfect example. This etching is entitled "Veduta del Tempio di Bacco" (View of the Temple of Bacchus) which was renamed the Church of Saint Urban, a 3rd century pope, in the 9th century.  The condition is exceptional for its age with just slight foxing and minor matt burn around the margin. The is a second state impression and is clean, clear, and crisp clearly showing its early impression with the description below the image in the plate. The plate mark is very apparent measuring a total of 24 1/4 c 16 inches and comes nicely framed in a gold and black wood frame that has slight wear including scratches, indents, chips etc. This etching is one of Piranesi's most rare and searched for works, the detail is exquisite and the overall quality of the print is stunning. This etching is on a very heavy ivory hand laid paper with his watermark visible in the left center of the composition measuring 2 1/2 x 2 1/2 inches.

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