These elements of urban design promoted a new architectural vision of a modern Rome that was reflected in recent approaches to cartography and the visualization of urban space. In the veduta below, Giuseppe Vasi envisions a rigidly symmetrical piazza, pristine grounds, and orderly lines of carriages in his frontal view of the square. Giambattista Nolli went even further in his “Nuova Topografia di Roma” (1748), transforming the buildings of Rome into geometric blocks of black ink and streets into unobstructed white lines. In a parallel manner, Piranesi’s “Pianta di Roma e del Campo Marzio,” based on Nolli’s map, not only demonstrates the geometry of the redesigned trident of the Piazza del Popolo but also labels the space as “modern” to distinguish the eighteenth-century square from its ancient foundations. In a similar vein, Piranesi designates the street used by modern travelers to enter the Piazza del Popolo as the “Via Flaminia Moderna” to distinguish it from the original Via Flaminia that was also lined with ancient tombs and ruins.