thwart identification and seem to guard the spaces they inhabit, limiting rather than encouraging entry (135).uman figures in earlier landscape or architectural views tended to serve as surrogates for the viewer, offering a position of identification through which a viewer could behold an artwork’s subject. To imaginatively enter an image such as this one, according to Susan Stewart, viewers must forge an individual path and see from a subjective position (178). Both invited and repelled by the image’s complex composition, viewers must make their own way into its scene. (JB)
To see this image in the Vedute di Roma, volume 17 of Piranesi’s Opere, click here.