Nolli’s cartographic vocabulary is reflected in Piranesi’s view of the gardens through aerial perspective, the geometry of the landscape, and emphasis on geographic orientation. The only descriptive information Piranesi provides in the caption is the location of Villa outside the Porta Salaria northeast of Rome. Piranesi represents the villa and garden from an imaginary elevated perspective. Originally published in 1769, this veduta shows the latest expansions of the Villa and landscape not seen in the Nolli map above. For example, the newly built loggia at the center of the main building, contained a sculpture gallery that looks out onto the garden, marking the transition from domestic to landscape architecture, as well as from art to nature. Moreover, Nolli’s rigid geometry is displayed in the elaborate designs of the parterres (see details 1 and 2 below), orchards with perfectly cut trees, symmetrical colonnades and staircases, classical marble fountains, and articulated vistas, which work together to create an orderly yet idyllic space. Wearing their best frocks and waistcoats, well-to-do visitors in the background encounter all these aesthetic delights of the garden, inviting contemplation or conversation. Although the seemingly pristine landscape lends a highly aristocratic air to the scene, Piranesi reminds viewers that such a picturesque view does not happen without labor. In the foreground, Piranesi shines a light not on the nobility, but the ground staff, the people who cultivated, maintained, and worked the land to craft the order the etching celebrates (Holden).
To see this image in the Vedute di Roma, volume 16 of Piranesi’s Opere, click here.