façadesd’Araceli [Church of Santa Maria in Aracoeli]. The restrictions of this view and its relegation of antiquity to the image’s edge stand in contrast to the fanciful antiquity he postulates in a capriccio from Prima Parte (1743), which he describes as an “ancient Campidoglio.” Additionally, the ancient statues are presented from above, either in profile or from the rear, with less imposing effects that might belie the sustained interest he dedicates, for example, to the treet life firmly locates the Renaissance piazza in the eighteenth century: the bustling activity of cAbitazione di Sua Eccellenza il Signore Senatore di Roma” [“Home of His Excellency the Senator of Rome”].Diverse maniere d'adornare i cammini, which he dedicated to Giambattista Rezzonico (Barry 91, Wilton-Ely 102-3, González-Palacios 224-6). Fellow Venetians, the Rezzonico brothers served as powerful connections for an artist whose efforts to depict and preserve antiquity were always intertwined with the necessity of financial support. (JB)
To see this image in the Vedute di Roma, volume 17 of Opere, click here.