Fuga (1699-1782), with a remarkably different composition. In Vasi’s view, the subject is the piazza, while Piranesi’s focus is the palace: he lengthens its façade and fills, and indeed transgresses, the vertical space of the print with its topmost corner. Vasi depicts its details in shallow recession and uses only slight variations in tone, while Piranesi employs bold contrasts between light and shadow to make the façade seem three-dimensional. Vasi positions a fleet of mounted soldiers in front of the palace, while Piranesi uses annotations to indicate the Corpo di Guardia de’ Cavaleggieri, Corpo de’ Corazieri, and Corpo de’ Soldati Rossi. In Piranesi’s view, the street is a site of casual social interaction among groups of monks, tourists, and women rather than a display of military power.
The power that Piranesi’s view does suggest, though, is that of architectural magnificence and sheer urban expansiveness. Of this last plate, Wilton-Ely has remarked that its “bold recession” displays Piranesi’s “appetite for detail sustained along [an] entire street frontage” and “provide[s] his composition with a strong tonal diagonal across the whole plate” (1988, 36). This description is true for each of these images, which, taken together, show Piranesi seeking out exercises in dramatic one-point perspective that position contemporary architectural grandeur within the urban network of axial vistas enacted by Sixtus V. Additionally, these annotated views of modern palaces merge the visual language of the harsh diagonal that leads viewers’ eyes into the distance with the deictic language of annotation, which effectively makes a viewer return to the surface of the image at the very point—indeed, the vanishing point—of its limit. (JB)
To see this image in the Vedute di Roma, volume 16 of Piranesi’s Opere, click here.