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The Digital Piranesi

View of the Remains of the Praetorian Fort in Hadrian's Villa

This view depicts the remains of what is now called the East-West Terrace and the Ambulatory Wall at Hadrian’s Villa, which had been designated as the Stoa Poecile [or Poikile]. A space for social leisure, it is depicted as broad and vast in this image, which, almost twice as wide as it is high, differs in proportion from Piranesi’s other views of Rome. Many of his views of Rome employ sharp diagonals that begin at the upper corners of a page and drop towards its center, but this image is exceptional for the length of the diagonal, which nearly extends to the vanishing point, disappearing in a row of modest apartments (for guests or staff) with Monte Ripoli in the distance. For Piranesi, this engraving is an uncommon combination of architectural and landscape views, which is possible in the rural setting of Hadrian’s Villa. Pinto and MacDonald note that this view’s emphasis on landscape is replaced by an emphasis, in the later views of Hadrian’s Villa, on “architectural containment and envelopment” (1995 258). While the proportions of the image together with the extent of the diagonal invite viewers into an expansive outdoor space, the human figures, the caption, and the mounds of eroded architectural fragments along the heavily-shaded bottom edge of the image position a sizeable boundary between the viewer and the image’s central space. Bert Verschaffel has argued that Piranesi’s views, especially as they are encountered in bound volumes, place great emphasis on their foreground, where a viewer would first encounter an image. As such, the angular, gesturing men around the bottom edge of this view are obstacles rather than invitations into the image; Piranesi’s human figures in general thwart identification and seem to guard the spaces they inhabit, limiting rather than encouraging entry (Verschaffel 135). Human 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 Vedute di Roma, vol 17 of Piranesi's Opere, click here.

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Contents of this path:
1. Frontispiece [upper left] SABINIS POPVLIS QVIS RESISTET SPQR; [middle left] CN POMPEIVS CN MAGNVS / IMP[ERATOR] / BELLO . XXX ANNORVM CONFECTO / FVSIS. FVGATIS. OCCISIS. IN. DEDITIONEM / ACCEPTIS. HOMINVM. CENTIE[N]S. VICIE[N]S / SEMEL. CENTENIS LXXXIII / DEPRESSIS AVT CAPT [IS] NAVIBVS DCCCXLVI / OPPIDIS CASTELIS MDXXXVIII / IN FIDEM RECEPTIS / TERRIS A MAEOTIS AD RVBRVM / MARE SVBACTIS / VOTVM MERITO MINERVÆ; [lower left] ROMAE ET AVGVSTO / CAESARI DIV F[ILIO] PAT[RI] PATRIAE; [lower right] PIRANESI INV INCI [Translation]: [upper left] TO THE SABINE PEOPLES. WHO WILL WITHSTAND [THEM]? THE ROMAN SENATE AND PEOPLE; [middle left] GNAEUS POMPEIUS, SON OF POMPEIUS, MAGNUS, COMMANDER IN CHIEF, HAVING COMPLETED A THIRTY YEARS’ WAR, ROUTED, SCATTERED, SLAIN, OR RECEIVED THE SURRENDER OF 12,183,000 PEOPLE, SUNKEN OR TAKEN 846 SHIPS, RECEIVED THE CAPITULATION OF 1,538 TOWNS AND FORTS, SUBDUED THE LANDS FROM THE MAEOTIANS TO THE RED SEA, DULY DEDICATES HIS OFFERING VOWED TO MINERVA; [lower left] TO ROME AND AUGUSTUS CAESAR, SON OF THE DEIFIED ONE AND FATHER OF THE FATHERLAND; [lower right] PIRANESI DESIGNED AND ENGRAVED [Campbell, 579]
2. View of the Pantheon
  APPROXIXMATE AGE OF SUBJECT MATTER
  
  Imperial, 2nd century AD
  
  SUBJECT MATTER
  
  Pantheon D’Agrippa; Architecture (Ancient)
  
  PAGE DESIGN
  
  Image spreads into key, lower section of image; Two pages; Horizontal Orientation
  
  ARCHITECTURAL FEATURES
  
  Temple front; Dome; Domed ; Rotunda ; Portico ; Columns [Corinthian] ; Arcoterion; Arcoterium ; Edifice ; Steps ; Stepped ; Cornices ; Cornice ; Windows ; Window ; Corinthian order ; Bell tower ; Remains ; Remnant ; Lintel
  
  PERSPECTIVE / VIEW
  
  One-point perspective; frontal; Exterior
  
  AGENTS / HUMANS
  
  Human; Tourists; Tourist; Beggars; Beggar; Women (female humans); Men (male humans); Animal; Horses; Horse; Stray animals; Dogs; Dog
  
  CLOTHING
  
  Dresses (garments); Trousers; Breeches (trousers); Jackets (garments)
  
  ACTIVITIES
  
  Gesturing/Pointing; Sitting; Horseback riding; Standing; Carriage-riding?
  
  NATURAL ELEMENTS
  
  Sky; Clouds; Vines on building
  
  REFERENCES
  
  Yes
  
  REFERENCES ON SAME PAGE?
  
  Yes
  
  SIGNATURE
  
  Piranesi F presso il medesimo autore nel palazzo del Conte Tomati a Strada Felice, vicino alla Trinita` de' Monti
  Title: Veduta del Pantheon d’Agrippa oggi Chiesa di Santa Maria ad Martyres Below title: * Pietre del timpano con bozze, e forami delle spranghe, che reggevano i bassirilievi di bronzo. Key: Portico AB, Acroterio CD, e Frontespizio E contemporanei, per ciò che dimostra la interna lor costruttura, ed aggiunti posteriormente da Agrippa alla parte rotonda del Pantheon, come si ravvisa alle lettere DF, BG, H, dalla medesima costruttura sciolta da quella del tempio. I Parte dell’acroterio interotta col frontespizio K sotto il Pontificato d’Urbano VIII per ridurre le parti CE, L, in forma di torri ad uso de’ Campanili. M N Circonferenza della finestra, per cui scende il lume nel tempio. O Colonne solide di marmo Sienite di palmi 6.6. di diametro, e di 63.8. d’altezza. 2, e 3 Canali e forami ne’quali erano incastrate le lettere di metallo della iscrizione d’Agrippa. P Iscrizione degl’Imperadori L. Settimio Severo, e Caracalla restauratori del Pantheon. Q Una delle pietre con forami a’ quali anticamente raccomandavansi le corde della tenda che si spiegava per le solennità. R S Angolo del portico rifabbricato sotto il Pontificato d’Alessandro VII. T Gradi moderni. V Avanzi degli ornamenti di stucco de’quali era rivestita la circonferenza del Pantheon. XY Cornici ove si ravvisano alcune porzioni degli stucchi che coprivano e adornavano l’odierna rozzezza delle medesime. Signature: Piranesi F(ecit) Signature 2: Presso il medesimo Autore nel palazzo del Conte Tomati a Strada Felice, vicino alla Trinità de’Monti Title: View of the Pantheon of Agrippa, today the Church of Santa Maria ad Martyres Below title: * Stones of the tympanum with boss stones, and openings for the metal bars, that held up the bas-reliefs of bronze. Key: Contemporary Portico (AB), Acroterion (CD) and Façade E, showing their internal structure, as well as the later additions by Agrippa to the rotunda, as may be seen at letters DF, BG, and H, which show the same structure separated from the temple. Part of the acroterion attached to the façade K during the pontificate of Urban VII, to strengthen the parts CE, L, in the form of bell towers. M N Circumference of the window, through which light falls into the temple O Solid columns of granite marble from Siena of 6.6 palms in diameter and 63.8 palms in height. 2, 3 Channels and foramen (openings or holes in stones) in which the metal letters of the inscription of Agrippa were inserted. P Inscription of the Emperor L. Septimius Severus, and Caracalla, restorers of the Pantheon. Q One of the stones with foramen (openings or holes in stones) whose curtains' cords were entrusted to someone to unfurl in solemnity during ancient times R S Angle of the portico reconstructed during the Pontificate of Alexander VII. T Modern steps. V Remnants of the ornaments of stucco with which the circumference of the Pantheon was coated X Y Cornices where some portions of plaster, that were used to cover and decorate the [Pantheon's] present-day coarseness, may be seen Signature: Made by Piranesi. Signature 2: Published by the same Author in the Palace of Count Tomati on the Strada Felice, near the Trinità de’ Monti
3. Interior view of the Pronaos of the Pantheon Subject Matter: Architecture (Ancient); Interior of Pantheon; Pronao del Panteon; Vedute di Roma; Vedute
  Page Design: Image spreads into key, lower section of image; Two pages; Horizontal Orientation
  Architectural Features: Temple interior; Columns; Portico; Steps; Stepped; Cornices; Cornice; Windows; Window; Window frames; Railings; Corinthian order; Avanzi; Remains; Remnant; Arch; Arches; True arch; Terracotta; Lintel
  Materials: Stucco; Marble; Granite; Stone; Volcanic Tufa?; Pumice; Porphyry;
  Perspective/View: One-point perspective; Perspectives, frontal ; Interior
  Figures/Agents: Human; Citizens; Citizen; Tourists; Tourist; Beggars; Beggar; Women (female humans); Men (male humans)
  Clothing: Dresses (garments); Trousers; Breeches (trousers); Jackets (garments)
  Activities: Gesturing/Pointing; Sitting; Standing; Kneeling
  Natural Elements: Sky; Clouds
  References: Key, internal reference, outside of frame; Key as text outside of margin; Key; Key appears at lower portion outside of frame" Title: Veduta interna del Pronao del Panteon Key: Sostenuto da sedici colonne di granito ogn’una di esse di un sol pezzo grosse di diametro palmi 6. 6. alte palmi 63. 8. A Pilastri, architravi, e stipiti della porta composti di gran macigni di marmo greco. B Lacunarj di legname, anticamente di bronzo, tolti via da Urbano VIII. e fatti rifondere per formare la confessione di San Pietro in Vaticano. C Nicchioni dove erano collocate le statue di Augusto e di Agrippa, quali erano incrostati di marmo egizio. D Parieti da dove furono levate le lastre di granito al tempo di Benedetto XIV. l’ anno 1757. per adornare il Museo Sagro nel Vaticano. E Memorie di Urbano VIII. F Porta di bronzo trasportata da altro edifizio antico, ed in parte nuovamente ristaurata nel dett’anno 1757. G Interno del Tempio Signature: Cavalier Piranesi F(ecit). Title: Interior View of the Pronaos of the Pantheon Key: Supported by sixteen columns of granite, each column is made of only one piece, of a diameter of 6.6 palmi wide, 63.8 palmi tall. A Pilasters, architraves, and door jambs composed of large blocks of Greek marble. B Coffers of wood, in ancient times of bronze, removed by Urban VIII melted down and reused to form the confessional of St. Peter’s in the Vatican. C Large niches where the statues of Augustus and Agrippa were located, which were encrusted with Egyptian marble. D Walls where the pieces of granite were removed during the time of Benedict XIV in the year 1757 to adorn the Sacred Museum in the Vatican. E Memorial of Urban XIV F Bronze door transported from another ancient building, and in part, newly restored in the aforementioned year of 1757. G Interior of the Temple. Signature: Made by the Knight Piranesi.
4. Interior view of the Pantheon Title: Veduta interna del Panteon Key: Questo tempio fabbricato da M. Agrippa è di forma rotonda, alto quanto il suo diametro. Il primo ordine è tutto antico. Le dodici colonne principali sono di giallo come le due della Tribuna quali non sono state mai rimosse dalla primiera loro situazione. L’architrave e la cornice sono di marmo, ed il fregio di porfido. Il second’ordine è moderno a riserva della cornice di marmo ch’è antica, le incrostazioni di marmo, di porfido, di giallo, e di serpentino che l’adornavano, furono tolte da Papa Benedetto XIV. perche minacciavano ruina, e fù adornato di stucchi come si vede al presente. L’Altar maggiore e moderno fabbricato da Clemente XI. Li otto altari minori sono antichi, come ancora il pavimento composto di giallo, di granito, e di porfido. Signature: Caval(ier). Piranesi F(ecit). Title: Interior view of the Pantheon Key: This temple, built by M. Agrippa, is in a round form, the height of which is the same as its diameter. The first order is entirely ancient. The twelve principal columns are of yellow marble, as the two in the Tribunal, which have never been removed from their original position. The architrave and the cornice are made of marble, and the frieze of porphyry. The second order is modern except the cornice of marble, which is ancient, the encrustation of marble, porphyry, yellow, and serpentine [type of dark green marble] that adorned it, were removed by Pope Benedict XIV, because they were in danger of falling down, and were adorned with stucco as one sees presently. The high altar is modern, built by Clement XI. The eight minor altars are ancient, as well as the floor composed of yellow marble, granite, and porphyry. Signature: Made by the Knight Piranesi.
5. Interior view of the Pantheon called the Rotonda
6. View of the octagonal Temple of Minerva Medica Architecture (Ancient); Exterior of Temple of Minerva Medica; Veduta del Tempio di Minerva Medica; Vedute Vedute di Roma; Temple exterior; Decagonal Columns; Windows; Window; Window frames; Dome; Domed; Remains Remnant Arch Arches True arch Terracotta Carvings Water fountain Fountain; Marble Granite Stone Volcanic Tufa? Pumice Travertine?; Exterior perspect; One-point perspective; Perspectives, frontal; Exterior; Human; Citizens; Citizen; Tourists; Tourist; Beggars; Beggar; Women (female humans); Men (male humans) Animal; Stray animals; Dogs; Dog; Dresses (garments) Trousers Breeches (trousers) Jackets (garments) Hat; Gesturing Pointing Sitting Standing Kneeling Mingling; Water Fountain Vine Tree Shrubs; Text, internal reference, inside of frame; Text inside of margin; Text appears at lower left side of frame
7. View of the Capitoline Hill with the Steps leading to Santa Maria in Aracoeli Title: Veduta del Romano Campidoglio con Scalinata che va alla Chiesa d’Araceli Architettura di Michelangelo Bonaroti Key: 1. Abitazione del Senator Romano 2. Museo ove si conservano le Statue Antiche 3. Palazzo de Conservatori 4. Statua equestre di Marco Aurelio di metallo Corintio 5. Statue Colossali antiche di Castore, e Polluce 6. Trofei d’Augusto, volgarmente detti di Mario 7. Colonna milliaria Aurea 8. Leonesse di marmo Egizio Signature: Presso l’autore a Strada Felice nel Palazzo Tomati vicino alla Trinità de’Monti Signature 2: Piranesi del(ineavit). scol(psit). Title: View of the Capitoline Hill with the Steps leading to Santa Maria in Aracoeli, Architecture by Michelangelo Buonarroti Key: 1. Residence of the Senator of Rome 2. Museum where they keep the Ancient Statues 3. Palace of the Conservators 4. Equestrian statue of Marcus Aurelius of Corinthian bronze 5. Ancient Colossal statues of Castor and Pollux 6. Trophies of Augustus, commonly called the Trophies of Marius 7. Column of the Milliarium Aureum [Golden Milestone] 8. Lioness of Egyptian Marble Signature: Published by the Author in the Strada Felice in Palazzo Tomati near Trinità de Monti. Signature 2: Designed and engraved by Piranesi.
8. View of the Capitoline Hill
9. Side View of the Capitoline Hill Title: Veduta del Campidoglio di fianco Key: 1. Statua enea Equestre di M. Aurelio nell’aja Capitolina. 2. Palazzo di Sua Eccellenza il Senator di Roma. 3. Palazzo degli Eccellentissimi Conservatori di Roma 4. Museo Capitolino. 5. Trofei d’Augusto, volgarmente detti di Mario. 6 7 Colossi di Cajo e Lucio sotto il simbolo di Castore e Polluce. 8 9 Statue di Costantino Magno. 10 Colonna milliaria. 11 Palazzo Caffarelli. Signature: Piranesi F(ecit). Title: Side View of the Capitoline Hill Key: 1. Equestrian Statue of Marcus Aurelius in the Capitoline square 2. Palace of his Excellence the Senator of Rome 3. Palace of the Most Excellent Conservators of Rome 4. Capitoline Museum. 5. Trophies of Augustus, commonly called the Trophies of Marius. 6 7 Colossal statues of Caius and Lucius under the guise of Castor and Pollux 8 9 Statue of Constantine the Great 10. Columna Miliaria [Ancient Roman Milestone] 11. Palazzo Caffarelli Signature: Made by Piranesi.
10. View of the Roman Forum (1 of 2) Title: Veduta di Campo Vaccino Key: 1. Vestigie del Tempio di Giove Tonanate 2. Vestigi del Tempio della Concordia 3. Arco di Settimio Severo 4. Antico Errario oggi Sant' Adriano 5. Tempio d’Antonino, e Faustina 6. Tempio di Romolo, e Remo, ora Santi Cosmo, e Damiano 7. Santa Francesca Romana 8. Arco di Tito 9 Vestigie del Palazzo de’ Cesari nel Palatino 10 Colonne del Tempio di Giove Statore 11 Muraglioni dei Rostri 12 Avanzi del Tablino della Casa aurea di Nerone 13 Colosseo 14 Avanzo di due Triclinj della detta Casa aurea 15 Vestigie delle Terme di Tito. Signature: Presso l’Autore a Strada Felice nel palazzo Tomati vicino alla Trinità de’ monti Signature 2: Piranesi del(ineavit). scolp(sit). Title: View of the Roman Forum Key: 1. Ruins of the Temple of Jupiter Tonans 2. Ruins of the Temple of Concord 3. Arch of Septimius Severus 4. Ancient Treasury, now called the church of Sant’Adriano 5. Temple of Antoninus and Faustina 6. Temple of Romulus, and Remus, now of the Saints Cosmas and Damian 7. Santa Francesca Romana 8. Arch of Titus 9. Ruins of Caesar’s Palace in the Palatine 10. Columns of the Temple of Jupiter Stator 11. The Walls of the Rostrum 12. Ruins of the Dining Room in the Golden House of Nero 13. Colosseum 14. Ruin of the two dining rooms of the aforementioned Golden House 15. Ruins of the Baths of Titus Signature: Published by the Author in the Strada Felice in Palazzo Tomati near Trinità de Monti. Signature 2: Designed and engraved by Piranesi.
11. View of the Temple of Jupiter Tonans Title: Veduta del Tempio di Giove Tonante Key: Il Tempio di Giove Tonante alle radici del Monte Capitolino fu da Ottaviano Augusto fabbricato per voto, e poscia dopo aver sofferto incendio con altre Fabbriche del vicino Campidoglio fu restituito dall’Imperatore Adriano. Per ciò, che si scopre in questo insigne Avanzo dell’Ambulacro esterno, tanto per la esquisita delicatezza e disposizione degl’intagli, quanto per la sodezza, e maestà della Fabbrica, egli può meritamente annoverarsi tra i più cospicui ornati edificj, che sono stati innalzati in quel secolo felice. 1 Colonne di marmo greco, di gran mole, e di un solo pezzo, in gran parte sepolte nel terreno. 2 Fianco del moderno Campidoglio, piantato sopra l’antico Tabulario, segnato 3. Signature: Presso l’Autore a Strada Felice vicino alla Trinità de monti Signature 2: Piranesi Archit(etto). dis(egnavit). ed inc(idit). Title: View of the Temple of Jupiter Tonans [Jupiter the Thunderer] Key: The Temple of Jupiter Tonans, located at the foot of the Capitoline Hill, was built by Octavian Augustus by vote and was restored by the Emperor Hadrian after having experienced a fire, along with other buildings located nearby in the Capitoline Hill. From what one observes in this renowned Ruin of the exterior Ambulacrum, as much for the exquisite delicateness and arrangement of the carvings, as for the weightiness and majesty of the Structure, it can rightly be counted among the most notably ornamented buildings ever erected in that glorious century. 1 Columns of Greek marble, of great dimensions, and built of only one piece, in great part buried under the ground. 2 Side of the modern Capitoline Hill, built on top of the ancient Tabularium, labeled 3. Signature: Published by the Author in the Strada Felice near the Trinità de Monti. Signature 2: Designed and engraved by the Architect Piranesi.
12. Another view of the Temple of Concord
13. View of the Temple of Concord
14. View of the Roman Forum (2 of 2) ITALIAN: Title: Veduta di Campo Vaccino Key: 1. Colonne del Tempio detto di Giove Statore. 2. Chiesa di Santa Maria Liberatrice piantata sul sito dove anticamente era il Tempio di Vesta. 3. Vestigi del palazzo de’ Cesari sul Palatino. 4. Orti Farnesiani. 5. Arco di Tito. 6. Chiesa di Santa Francesca Romana. 7. Colosseo. 8. Avanzi del Tablino della Casa Aurea di Nerone volgarmente detti il Tempio della Pace. 9. Tempio di Romolo e Remo in oggi Chiesa de Santi Cosmo e Damiano. 10. Tempio di Antonino e Faustina. 11. Tazza antica di granito di un sol pezzo situata nel luogo dove una volta era il lago Curzio. Signature: Cavalier Piranesi del(ineavit). e inc(idit). ENGLISH: Title: View of the Roman Forum Key: 1. Columns of the Temple of Jupiter Stator. 2. Church of Santa Maria Liberatrice built on the ancient site of Temple of Vesta. 3. Ruins of the Palace of the Caesars on the Palatine. 4. Gardens of the Farnese family. 5. Arch of Titus. 6. Church of Santa Francesca Romana. 7. Colosseum. 8. Ruins of the Dining Room in Nero’s Golden House, commonly called the Temple of Peace. 9. Temple of Romulus and Remus, today the Church of Saints Cosmas and Damian. 10. Temple of Antoninus and Faustina. 11. Ancient fountain of granite constructed from only one piece, situated in the place where the lake of Curzio once was. Signature: Designed and engraved by the Knight Piranesi.
15. View of the Site of the Ancient Roman Forum ITALIAN: Title: Veduta del Sito, ov’era l’antico Foro Romano. Key: 1. Fenili in questo Luogo erano situati i Rostri. 2. Altro luogo, ove poi furono trasportati da Cesare. 3. San Teodoro in questo sito furono trovati Romolo e Remo portati qui dal Tevere presso al Fico Ruminale. 4. Monte Palatino coi Vestigj del Palazzo di Cesare. 5. Santa Maria Liberatrice. 6. Colonne del Tempio di Giove Statore. 7. Vasca di Granito orientale tutta d’un pezzo di estraordinaria grandezza in questo sito eravi la voragine di Curzio. 8. Monte Aventino. 9. Acqua che scorre nella Cloaca massima. Tutta questa parte memorabile nella Storia Romana particolarmente per li Rostri, da quali si perorava al Popolo, si esponevano i Capi degli uccisi, o proscritti, come fu la Veste insanguinata di Cesare da Marcantonio, la testa e mano di Cicerone, ecetera e finalmente presso quali seguirono fatti sanguinosi tra Cittadini Romani.[5] Signature: Presso l’Autore Signature 2: Piranesi Architetto fec(it). ENGLISH: Title: View of the Site of the Ancient Roman Forum. Key: 1. Stalls, the Rostra were situated on this site 2. Another site where the Rostra were located that were then moved by Caesar 3. San Teodoro, in this site Romulus and Remus were found, brought here from the Tiber to the Ficus Ruminalis 4. Palatine Hill with the Ruins of the Palace of Caesar 5. Santa Maria Liberatrice 6. Columns of the Temple of Jupiter Stator. 7. Fountain of oriental Granite, made all of one piece of extraordinary size, on this site there was the Lake of Curtius 8. Aventine Hill 9. Water that flows to the Cloaca Maxima. All this area, memorable in Roman History particularly for the Rostra, from which one would advocate causes to the People, they displayed the heads of those who were killed, or outlawed, for example the bloodied robe of Caesar by Marc Anthony, the head and hand of Cicero, etcetera, and finally, where bloody deeds between Roman Citizens took place. Signature: Published by the Author. Signature 2: Made by the Architect Piranesi.
16. Arch of Septimius Severus Title: Arco di Settimio Severo. Nel mezzo di questo passava l’antica Via sacra che portava i Trionfanti in Campidoglio Key: 1. Erario antico, o come altri Tempio di Saturno. oggi Sant' Adriano. 2. Santa Martina architettata da Pietro da Cortona. Chiesa dell’Academia del Disegno, detta di San Luca. 3. L’antico Carcere mamertino, nel quale sono stati posti i Santi Pietro e Paolo. Sopra questo si vede eretta là Chiesa di San Giuseppe. 4. Salita che porta al Campidoglio. 5. Abitazione del Senatore Romano. 6. Chiesa dell’Araceli fabricata sopra i fondamenti del Tempio di Giove Capitolino. 7. Colonna rimasta in piedi creduta del Ponte, che fecce fare l’Imperatore Caligola per passare dal Palatino al Campidoglio. Signature: Piranesi Architetto fec(it). Signature 2: Presso l’Autore a Strade Felice nel palazzo Tomati vicino alla Trinità de’monti Title: Arch of Septimius Severus. In the middle of the arch passed the ancient sacred Road that brought the Triumphant through to the Capitoline Key: 1. Ancient Erarium, otherwise known as the Temple of Saturn, today Sant’ Adriano. 2. Santa Martina, designed by Pietro da Cortona. Church of the Accademia del Disegno, called the Accademia di San Luca. 3. The ancient Mamertine Prison, where Saints Paul and Peter were placed. Above this the Church of San Giuseppe was erected. 4. Slope that takes one to the Capitoline Hill. 5. House of the Roman Senator. 6. Church of Santa Maria d’Aracoeli constructed on top of the foundations of the Temple of Jupiter Capitolinus. 7 Column that is still standing believed to be from the Bridge, that the Emperor Caligula had built to pass from the Palatine to the Capitoline Hill. Signature: Made by the Architect Piranesi. Signature 2: Published by the Author in the Strada Felice in Palazzo Tomati near Trinità de Monti.
17. View of the Temple of Antoninus and Faustina in the Roman Forum
18. View of the Dining Room of Nero's Golden House (1 of 2) Title: VEDUTA DEGLI AVANZI DEL TABLINO DELLA CASA AUREA DI NERONE, DETTI VOLGARMENTE IL TEMPIO DELLA PACE Key: 1. Di qui fu trasportata da Paolo V. la gran Colonna che si vede innalzata nella Piazza di Santa Maria Maggiore. 2. Muri, e piloni che reggevano la parte opposta del Tablino. 3. Nicchie per le Statue degli uomini illustri. Signature: Piranesi Architetto fec(it). Signature 2: Presso l’Autore a Strada Felice vicino alla Trinità de’ Monti. Title: View of the Dining Room of Nero’s Golden House. Key: 1. From here the great Column, that one sees erected in the Piazza of the Church of Santa Maria Maggiore, was transported by Paul V. 2. Walls, and pillars, that held up the opposite part of the Dining Room. 3. Niches for Statues of illustrious men. Signature: Made by the Architect Piranesi. Signature 2: Published by the Author near Trinità de Monti.
19. View of the Dining Room of Nero's Golden House (2 of 2)
20. View of Two Dining Rooms Belonging to Nero's Golden House, taken erroneously for the Temples of the Sun and Moon, or of Isis and Serapis Title: Veduta degli avanzi di due Triclinj che appartenevano alla Casa aurea di Nerone, presi erroneamente per i Templi del Sole, e della Luna, o d’Iside, e Serapide. Key: 1. Avanzo del Triclinio a uso dell’estate. 2. Avanzo dell’altro a uso dell’inverno. Questi rimangono nel Giardino di Padri di Santa Francesca Romana in Campo Vaccino. Signature: Presso l’Autore a Strada Felice nel Palazzo Tomati vicino alla Trinità de’ Monti Signature 2: G(iovanni). B(attista). Piranesi Archit(etto). incise Title: View of Two Dining Rooms Belonging to Nero’s Golden House, taken erroneously for the Temples of the Sun and Moon, or of Isis and Serapis. Key: 1. Ruin of the Dining Room for use in the summer. 2. Ruin of another dining room, for use in the winter. These are located in the Garden of the Fathers of the Church Santa Francesca Romana in the Roman Forum. Signature: Published by the Author in the Strada Felice in Palazzo Tomati near Trinità de Monti. Signature 2: Engraved by the Architect Giovanni Battista Piranesi.
21. View of the Arch of Septimius Severus
22. View of the Arch of Titus (1 of 2) Title: Veduta dell’Arco di Tito Key: Esso fu eretto a questo Imperadore dopo la di lui morte in memoria della distruzione di Gerosolima, e inoggi è spogliato della maggior parte de’ suoi ornamenti. A Bassirilievi indicanti il di lui trionfo, adornato colle spoglie del Tempio di Salomone. B. Apoteosi dello stesso Cesare, espressa in un’Aquila che lo solleva al Cielo. C. Orti Farnesiani. D. Chiesa di San Sebastiano. E. Polveriere. F. Rovine della Casa Augustana sul Palatino. G. Strada che conduce a San Bonaventura. Signature: Presso l’Autore a Strada Felice vicino alla Trinità de’ Monti Signature 2: Gio(vanni). Batt(ist)a. Piranesi Architetto diseg(nò). e incise. Title: View of the Arch of Titus Key: This was erected to this Emperor after his death in memory of the destruction of Jerusalem, and today it is divested of the majority of its ornamentation. A Bas-reliefs showing his triumph, adorned with the spoils of the Temple of Solomon. B Apotheosis of the same Emperor, expressed by an Eagle that raises him to the Sky C The Farnese Gardens D Church of San Sebastiano E Armory F Ruins of the House of Augustus on the Palatine G. Street that leads to San Bonaventura. Signature: Published by the Author in the Strada Felice in Palazzo Tomati near Trinità de Monti. Signature 2: Designed and Engraved by the Architect Giovanni Battista Piranesi.
23. View of the Arch of Titus (2 of 2) ITALIAN: Title: Veduta dell’Arco di Tito Key: 1. Villa Farnese. 2. Avanzi del Tempio detto di Giove Statore. 3. Monte Capitolino. 4. Ruine del Tempio detto della Pace. Signature: Cavalier Piranesi del(ineavit). e inc(idit). ENGLISH: Title: View of the Arch of Titus. Key: 1. Villa Farnese. 2. Ruins of the Temple, called the Temple of Jupiter Stator. 3. Capitoline Hill. 4. Ruins of the Temple, called the Temple of Peace. Signature: Designed and engraved by the Knight Piranesi.
24. Temple, commonly called the Temple of Janus
25. View of the Arch of Constantine
26. View of the Arch (in the city) of Benevento in the Kingdom of Naples
27. View of the Remains of the Forum of Nerva (1 of 2) Title: Veduta degli avanzi del Foro di Nerva Key: 1. Avanzo della Curia del Foro, occupata inoggi dalla Chiesa, e dal Monastero delle Religiose dell’Annunziata. 2. Uno degli Archi principali, che davano l’ingresso nel Foro, detto inoggi l’Arco de’ Pantani. 3. Archi inferiori che parimente davano l’ingresso nel Foro. 4. Porta della predetta Chiesa, aperta nell’antico recinto del Foro. 5. Finestre della stessa Chiesa, di maniera gotica, aperte nel detto recinto. 6. Case fabbricate ne’tempi bassi di pertinenza del medesimo Monastero. 7. Convento e Case de’ Padri di San Quirico. Signature: Presso l’Autore a Strada Felice nel Palazzo Tomati vicino alla Trinità de’monti Signature 2: Gio(vanni). Batt(ista). Piranesi Archit(etto). F(ecit) Title: View of the Remains of the Forum of Nerva. Key: 1. Ruin of the Curia of the Forum, occupied today by the Church, and the Monastery of the Religiose dell’Annunziata [Sisters of the Annunciation]. 2. One of the principal arches that gave entry to the Forum, today called the Arco dei Pantani 3. Smaller arches that also gave entry to the Forum. 4. Door of the aforementioned Church, open in the ancient enclosure of the Forum. 5. Windows of the same Church, in the gothic style, open in the aforementioned enclosure. 6. Houses constructed in the low times [dark ages] that are part of the same Monastery. 7. Convent and Houses of the Monks of San Quirico. Signature: Published by the Author in the Strada Felice in Palazzo Tomati near Trinità de Monti. Signature 2: Made by the Architect Giovanni Battista Piranesi.
28. View of the Remains of the Forum of Nerva (2 of 2)
29. View of the Colosseum (1 of 2) Title: Veduta dell’Anfiteatro Flavio, detto il Colosseo Key: A. Archi del prim’Ordine dell’Anfiteatro, pe’ quali il popolo ascendeva ai gradi degli Spettacoli. B. Recinti moderni. C. Numeri incisi negli stessi archi, forse per segno di chi desiderava d’esser rinvenuto fra la moltitudine degli Spettatori. D. Arco senza numero, sopra cui era immarginato il ponte che dalle fabbriche Cesaree dell’Esquilino dava l’ingresso nell’Anfiteatro. E. Parte dell’Anfiteatro deturpata dagl’Incendj. F. Archi del secondo e terz’ordine anticamente intrachiusi da’parapetti, de’quali vi restano alcuni segni e residui. G. Mensole su cui posavano le antenne di metallo, che passando per la cornice, sostenevano la gran tenda. H. Architrave interrotto dalle antenne, nelle quali era impressa la parte interrotta del medesimo. I. Radici del monte Esquilino. K. Arco di Costantino. L. Monte Celio. M. Principio della via di San Giovanni Laterano. Signature: Presso l’Autore a Strada Felice vicino alla Trinità de Monti. Signature 2: Piranesi F(ecit). Title: View of the Flavian Amphitheatre, called the Colosseum Key: A. Arches of the first Order of the Amphitheatre, through which the people ascended the stairs to the Spectacles. B. Modern barriers C. Numbers incised in the aforementioned arches, perhaps as a sign for those who wished to be found among the multitude of the Spectators D. Arch without a number, above which the bridge from the Imperial buildings was joined, and gave access to the Amphitheatre. E. Part of the Amphitheatre that was damaged by Fires F. Arches of the second and third order, in ancient times enclosed by parapets, of which there are still signs and remains G. Ledges on which metal rods were placed, that passing through the cornice, held up the great banner H. Architrave interrupted by the rods, in which there was affixed the interrupted part of the same. I. The foot of the Esquiline Hill K. Arch of Constantine L. Caelian Hill. M. The beginning of the street of San Giovanni Laterano. Signature: Published by the Author in the Strada Felice near Trinità de Monti. Signature: Made by Piranesi.
30. View of the Colosseum (2 of 2) Title: VEDUTA DELL’ANFITEATRO FLAVIO DETTO IL COLOSSEO Key: A Mancano i Gradi, e le Sostruzioni B, che reggevano i detti Gradi. C Manca la Volta, sopra cui vi era il Podio, ove sedevano i Consoli, il Senato, i Sacerdoti, e le Vergini Vestali, le quali stavano dirimpetto al Pretorio. D Sedeva l’Ordine Equestre. E Manca la Loggia, o Pulvinare per l’Imperatore e sua Corte. F Gradi, di dove scendeva l’Imperatore Tito dalle sue Terme. Key 2: G. I Soldati Pretoriani erano quì disposti, e ne’passaggi. H Sedeva la Gioventù nobile co’loro Pedagoghi, ed altri attinenti ai Collegj, e Persone di rango. K Sedevano le Donne. L Scale per salir sopra a legar i Canapi per situar la Tenda. M Cappellette, e Croce nel mezzo, e Chiesa moderna. N Manca la Circonferenza esterna. O Avanzi di Stuchi lavorati a grottesco. Signature: Cav(alier). Piranesi F(ecit). Title: View of the Flavian Amphitheatre, called the Colosseum A Lacking the Stairs and Internal Structures B, that held up said Stairs C Lacking the Vault, above which there was the Podium, where the Consuls, the Senate, the Priests, and the Vestal Virgins were seated, who were in front of the Praetor D The Equestrian Order were seated here. E Lacking the Loggia, or platform, for the Emperor and his Court F Stairs, where the Emperor Titus descended from his Baths Key 2: G. The Praetorian Guard was positioned here and in the passageways H The noble Youths with their tutors, and others associated with the Colleges, and Persons of rank. K The Women were seated here. L Stairs to go above [to the upper levels] to tie the Ropes to position the Banner M Little chapels, and the Cross in the middle, and the modern Church. N Lacking the exterior walls O Remains of the stucco decorated with grotesques Signature: Made by the Knight Piranesi.
31. Interior View of the Colosseum
32. View of the Arch of Constantine and the Colosseum
33. Interior View of the Colosseum
34. View of the Animal Cages Built by the Emperor Domitian for the Colosseum Title: VEDUTA DEL PIANO SUPERIORE DEL SERRAGLIO DELLE FIERE FABBRICATO DA DOMIZIANO A USO DELL’ANFITEATRO FLAVIO, E VOLGARMENTE DETTO LA CURIA OSTILIA Key: Il primo piano di questa gran fabbrica rimane interrato nelle rovine, che inoggi uguagliano il piano di Roma, e dagli scavi fattivi, si è trovato parimente composto di grossi macigni di travertino. A. Segni, ove si appoggiavano i muri di tavolozza che serravano gli archi. B. Muri de’ tempi bassi. Sopra di questi Archi è fabbricato il Campanile e Convento de’ Padri della Missione di Santi Giovanni, e Paolo. Signature: Piranesi Architetto fec(it). Signature 2: Presso l’Autore a Strada Felice vicino alla Trinita de’Monti. Title: View of the Animal Cages Built by the Emperor Domitian for the Colosseum, commonly called the Curia Ostilia Key: The first floor of the great structure remains buried in the ruins, that today are on the same level as that of modern Rome, and from the excavations done there, it was discovered that they were also composed of large blocks of travertine. A. Markings or grooves where they set the walls of tavolozza [type of geometric stone] that closed up the arches. B. Walls of the low times [dark ages]. Above these arches, the Bell Tower and Convent of the Monks of the Mission of St. John, and Paul were built. Signature: Made by the Architect Piranesi. Signature 2: Published by the Author in the Strada Felice near Trinità de Monti.
35. Theater of Marcellus
36. Ruins of the Antonine Baths Title: Rovine delle Terme Antoniniane Key: Consistenti nella cella soleare delle medesime, sotto cui vi rimane ciò che si apparteneva ai bagni, i quali stendevansi nella grand’aja segnata con l’A, ed erano illuminati da tante finestre perpendicolari, alcune delle quali erano scoperte cinque anni sono. B Archi che coprivano il sisto o sia la gran sala della stessa cella. C Atrj della medesima. D Porte di essi chiuse con cancelli di bronzo come tutte le altre interiori della cella. E Rovine dell’Esedre. F Rovine del teatro delle stesse terme. G Rovine d’una delle accademie. Signature: Cavalier Piranesi F(ecit). Ruins of the Antonine Baths; Consisting in the sun room of the same Baths, under which remains that which belonged to the baths, those that extended across the great hall labeled with an A, and were illuminated by many perpendicular windows, some of which were discovered 5 years ago. B Arches that covered the xystus [covered portico] or the large room of the same interior space. C Atria of the same interior space. D Doors of these [rooms] closed with gates of bronze, like all the other interiors of the cella. E Ruins of the Exedra. F Ruins of the theater of the same baths. G Ruins of one of the academies.; Made by the Knight Piranesi.
37. Ruins of the Xystus, or the grand hall of the Antonine Baths
38. View of the Baths of Diocletian
39. Interior view of Santa Maria degli Angeli
40. View of the Baths of Diocletian at Santa Maria degli Angeli
41. View of the Baths of Titus
42. View of the Remains of the Buildings on the Second Floor of the Baths of Titus
43. View of the Tomb of Caius Cestius
44. Pyramid of Caius Cestius
45. Tomb of Cecilia Metella
46. View of the Sepulcher of Piso Licinianus on the ancient Appian Way
47. Remains of an Ancient Tomb, today called La Conocchia
48. View of the Ponte Lugano on the Anio
49. View of the Tomb of the Plautius Family
50. View of the so-called Temple of the Tosse near Tivoli
51. Interior view of the so-called Temple of the Tosse near Tivoli
52. Remains of the Villa of Maecenas at Tivoli
53. Another Interior View of the Villa of Maecenas at Tivoli
54. Interior View of the Villa of Maecenas Title: Veduta interna della Villa di Mecenate. Key: Dall’iscrizione L.OCTAVIVS.L.F.VITVLVS C.RVSTICIVS.C.F.FLAVOS.INTER.III.VIR.D.S.S.VIAM.INTEGENDAM.CVRAVERE., che leggesi affissa ab antico nella finestra perpendicolare A, e dal vedersi che la volta, la quale copre la via fa con la villa un sol corpo di fabbrica, siam persuasi, che tutto l’edifizio non fosse una villa, ma un’opera fatta per uso del Comune di Tivoli, e per raffrenare la decrescenza della pendice, come vedesi dall’Iscrizione, che per mantener la via, ne fu ordinato il coperto e la volta da quel Senato. In fatti le fornici sotto la volta segnata col B, non avendo segno che fussero chiuse con veruna imposta, mostrano d’essere state tante taverne pubbliche. Signature: Piranesi F(ecit). Title: Interior View of the Villa of Maecenas Key: From the inscription L.OCTAVIVS.L.F.VITVLVS C.RVSTICIVS.C.F.FLAVOS.INTER.III.VIR.D.S.S.VIAM.INTEGENDAM.CVRAVERE., that one reads, affixed in the ancient method on the perpendicular window A, and from what one observes, that the vault that covers the street with the villa, makes one whole structure, we are convinced that the entire building was not a villa, but a building made for the use of the Commune of Tivoli, and to counteract the incline of the hill as one sees from the inscription, that to maintain the street, the cover and vault were ordered by that Senate. In fact, the archways under the vault labeled B, lacking any evidence of having been closed with shutters, demonstrate that there were many public taverns. Signature: Made by Piranesi.
55. View of the Temple of the Sibyl in Tivoli Title: Veduta del tempio della Sibilla in Tivoli Key: Volgarmente così si chiama. Alcuni han pensato, che fosse d’Ercole; ma il Cluverio nel libro 3. de Italia antiqua suppone che fosse di Tiburno per quelle parole di Stazio nel libro 1. delle Selve…. illa recubat Tiburnus in umbra; illic sulphureos cupit Albula mergere crines. Sul fregio di esso leggesi questa tronca iscrizione….. F.L.GELLIO.L.F. Abbiamo due Lucj Gellj figliuoli di Lucio. Consoli l’uno l’anno di Roma DCXXCI, l’altro l’anno DCCXVII, l’uno di essi forse fece o ristaurò questo tempio. 2 Altro tempio antico, oggi di San Giorgio. Anche questo, per que’ versi di Stazio potrebbe dirsi della Dea Albunea….. illa Tiburnus in umbra, illic Albula. Signature: Pressa l’Autore a Strada Felice nel Palazzo Tomati vicino alla Trinità de monti. Signature 2: Piranesi Fec(it). Title: View of the Temple of the Sibyl in Tivoli. Key: Commonly called by this name. Some have thought that the Temple was of Hercules; but Clüver in Book 3 of Italia Antiqua suggests that it was of Tiburnus because of those words by Statius in Book 1 of the Silvae... illa recubat Tiburnus in umbra; illic sulphureos cupit Albula mergere crines [here Tiburnus lies in this shade; here Albula wishes to wash her sulphurous hair]...on the frieze of this one reads this cut off inscription...F.L.GELLIO.L.F. We have two Lucius Gelliuses, son of Lucius. Both consuls, one in the year of Roma DCXXCI, the other in the year DCCXVII, one of them perhaps built or restored this temple. 2 Another ancient temple, now San Giorgio. Even this temple, for those verses of Statius, one could say that it is of the Goddess Albunea...here Tibur in the shade, here Albula. Signature: Published by the Author in the Strada Felice in Palazzo Tomati near Trinità de Monti. Signature 2: Made by Piranesi.
56. Another view of the Temple of the Sibyl in Tivoli (1 of 2) Title: ALTRA VEDVTA DEL TEMPIO DELLA SIBILLA IN TIVOLI 1 Cella del Tempio. 2 Vestigj del tribunale e della salita. 3 Muro della cella di opera incerta. 4 Emplecton, o sia riempitura del muro della cella. Le colonne, gli architravi, e le altre parti solide di questo tempio, sono di Tevertino. Esso era tutto coperto di stucco, come si riconosce dagli avanzi sparsi quà e là, tanto su l’opera di pietra, che cementizia. Signature: Piranesi F(ecit). Title: 1 Room of the Temple. 2 Remains of the tribunal and the stairs. 3 Wall of the room, of uncertain material and construction. 4. Emplecton, or the method by which the space between the walls of the room is filled up. The columns, the architraves, and the other solid parts of this temple are of Travertine This was completely covered by stucco, as one can recognize by the scattered ruins here and there, made of stone as much as by cement. Signature: Made by Piranesi.
57. Another view of the Temple of the Sibyl in Tivoli (2 of 2)
58. View of the Waterfall of Tivoli
59. View of the Small Waterfalls in Tivoli
60. View of the Remains of the Praetorian Fort in Hadrian's Villa
61. Remains of a Room Belonging to the Praetorian Fort at Hadrian’s Villa
62. View of the Piazza d’Oro in Hadrian's Villa
63. View of the Heliocaminus used in Winter Title: VEDUTA di un Eliocamino per abitarvi l’Inverno, Key: VEDUTA di un Eliocamino per abitarvi l’Inverno, il quale era riscaldato dal Sole, che s’introduceva per le Finestre A, esposte al Mezzodì. Le Statue, che adornavano questo luogo, ricevevano il loro lume vantaggioso, per mezzo del quale si poteva agevolmente distinguere ogni loro Preggio, e Bellezza. Signature (on label): Cav(alier). Piranesi F(ecit).
64. Meeting Hall in Hadrian’s Villa
65. Ruins of one of the soldiers’ barracks in Hadrian’s Villa
66. Remains of the Temple of the God Canopus at Hadrian’s Villa in Tivoli Title: Avanzi del Tempio del Dio Canopo nella Villa Adriana in Tivoli Key: A. Nicchie e fontane che erano rinvestite di tartari. B. Volta ch’ era ricoperta di mosaici bianchi, e di altri colori. Le parieti C. erano rinvestite di lastre di marmo. Il didietro di questo tempio è circondato di conserve d’acqua e di natazioni.[12] Da tali contrasegni crederei ch’egli dovesse appartenere al Dio Nettuno piu che ad altra Deità. D. Due gran macigni caduti dalla Volta Signature: Cavaliere Piranesi delin(eavit). e inc(idit). Title: Remains of the Temple of the God Canopus at Hadrian’s Villa in Tivoli. Key: A. Niches and fountains that were decorated with plasters. B Vault that was covered with white mosaics, and other colors. The walls C. were vested with sheets of marble. The rear of the temple is surrounded by water preserves and pools. From such markings, I would believe that it [this Temple] must belong to Neptune more than any other deity. D Two large stone blocks that fell from the Vault. Signature: Designed and engraved by the Knight Piranesi.
67. Interior of the Temple of the God Canopus at Hadrian’s Villa
68. Ruins of a Sculpture Gallery in Hadrian’s Villa at Tivoli
69. Remains of the Temple said to be of Apollo in Hadrian’s Villa

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