This page was created by Diem Dao. The last update was by Jeanne Britton.
The Digital PiranesiMain MenuAboutThe Digital Piranesi is a developing digital humanities project that aims to provide an enhanced digital edition of the works of Italian illustrator Giovanni Battista Piranesi (1720-1778).Works and VolumesGenres and SubjectsBibliographyGlossary and Abbreviations
Interior View of the Colosseum (1 of2)
12018-11-05T18:25:43-08:00Diem Dao3c4eb4ce61925e81f1bf3cd1f35f5f910e8b3e792284923Veduta dell’interno dell’Anfiteatro Flavio detto il Colosseoplain2022-03-06T07:03:06-08:00Title: Veduta dell’interno dell’Anfiteatro Flavio detto il Colosseo Signature: Cav(alie)r. Piranesi feceTitle: Interior View of the Flavian Amphitheatre, called the Colosseum Signature: Made by the Knight PiranesiJeanne Brittone120651dde677d5cf1fd515358b14d86eb289f11
This internal view of the Colosseum is in many ways at odds with the two externalviews of the amphitheater that precede it in the Didot edition of the Vedute di Roma. Here, the regularity of the unbroken exterior wall’s curving line is interrupted at almost the exact center of the image with an irregular block of stone, and the larger, more overgrown mass to the right similarly contrasts with the regularity of the small successive archways in the far right of the image. These examples of geometric order or architectural regularity suggest the preceding external views of the Colosseum. It is as if, by entering the structure, viewers witness not only the “savage decay” that John Wilton-Ely observes here (1988, 44) but also the living forces that civilization struggles to control and contain. The abundant vegetation atop these mounds and the animals wandering through archways also contrast, of course, with the violent deaths that took place in this spot. Pairing this view with the exterior, elevated view of the Colosseum, Rebecca Zorach has noted that Piranesi offers “two approaches to a great ruin of antiquity—one insisting on order, the other underlining the uneven, broken, even horrifying, yet strangely generative grotesque” (119). While the detailed annotations in the exterior view emphasize the parallel between architectural and social order, this image of the interior includes a title, but no annotations, in an illusionistic stone slab that is very much a part of the scene. A human figure, likely a grand tourist, appears to lean against it while speaking to another man, possibly a Roman. This visual suggestion of communication, as opposed to the verbal communication in the annotations to the exterior views, resonates with the internal view in this image, which silently displays unrestrained vegetal growth and ragged, ruined physical material. (JB)
To see this image in the Vedute di Roma, volume 17 of Piranesi’s Opere, click here.
1media/Picture2.jpgmedia/17 Frontispiece cropped.jpg2018-10-19T10:30:22-07:00Jeanne Brittone120651dde677d5cf1fd515358b14d86eb289f11Views of Rome (2 of 2)Jeanne Britton40Vedute di Romaimage_header2022-03-05T13:06:46-08:00Jeanne Brittone120651dde677d5cf1fd515358b14d86eb289f11
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1media/Perspective tag.png2021-10-16T08:00:55-07:00Jeanne Brittone120651dde677d5cf1fd515358b14d86eb289f11PerspectiveJeanne Britton20in the Views of Romeimage_header2022-03-22T13:03:42-07:00Jeanne Brittone120651dde677d5cf1fd515358b14d86eb289f11