About the artist:

Rossini studied in Rome between 1817 - 1824. Having abandoned an architectural career due to economic reasons, he commenced the etching/ engraving, (technically 'Mixed Media engravings') of over a thousand large plates of ancient architecture of that city. The greater part of his work appeared in a collected edition of seven Imperial folio volumes published in Rome in 1829, under the title LE ANTICHITA ROMANE [The Rome of Antiquity, a collection of the most interesting Views of Ancient Rome. Drawn and engraved by the Architect and Engraver Luigi Rossini., Rome, Scudellari, 1819-29]. Collectively, the plates have strength and vigour in their execution, especially in dealing with masses of dark stone work, for they commemorate the strength and beauty of Roman masonry, and reflect Rossini's ability to capture the detail that made Roman architecture so splendid and enduring. Hind stated the mantle of Piranesi fell upon Rossini. His etchings were characterized in an article in the periodical 'The Connoisseur' (1913 Vol. 35 p.101), as being "vigorous, convincing and imaginative." The shear complexity of producing plates of buildings, ruins, gardens and monuments of this size, with this abundance of architectural scale and contrasting human detail, engraved/etched by hand in reverse into copper, then inking and hand printing, almost boggles the 21st century mind and should be appreciated as truly the work of a masterful artist. Rossini earned a deserved reputation as one of the premier practitioners of neoclassical etching. His career coincided with a period of great archaeological activity. Rossini's etchings of Rome followed Piranesi's example, and reported the latest excavations to an avidly interested European audience. In turn, as they were carried home by northern Europeans on the Grand Tour, these etchings fuelled worldwide interest in classical architecture and studies. Rossini's Views include many of Rome's famous buildings, both classical and modern (or were at the time to him). His record of temples, public baths, basilicas and other monuments commemorate the strength and beauty of Roman masonry, and were accurate enough to be used by practising architects, as well as other serious students of classical antiquity. Indeed, several views recorded ancient monuments which would disappear within a short period, leaving only Rossini's records of the 19th century excavations.