This page was created by Constance Caddell. The last update was by Jeanne Britton.
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View of the Colosseum (2 of 2)
12018-03-23T15:31:17-07:00Constance Caddelld4428f7815c34c6fd0592b7e434a4fb89d5ca1aa2284918Veduta dell'anfiteatro Flavio, detto il Colosseoplain2020-02-19T08:07:39-08:00Jeanne Brittone120651dde677d5cf1fd515358b14d86eb289f11Ascending from the worm’s-eye view of the previous image to a bird’s-eye view, this veduta, produced two decades later, presents an imaginary angle for the eighteenth-century citizen on a structure that is nearly impossible to depict. Indeed, locating the Colosseum’s intact wall in the background rather than the foreground produces a “perspectival distortion” that creates “the impression of a perfect circle” (Zorach, 118) and suggests that the amphitheater is “beyond representation” (Furlong, 112). This distortion is also a combination of three architectural views—elevation, section, and plan (Wilton-Ely, 44). While Piranesi’s depictions of ruins often celebrate the natural growth that covers them, and in spite of the astoundingly prolific botanical variety within the Colosseum, it here resembles a giant open crater, lifeless and deserted (Bacou, 37). At the center of the image, though, is a Christian cross, and within the Colosseum is, as Piranesi’s caption indicates, a modern church. But the focus and possibly even the appearance of the captions in this image, whose title (“Veduta dell’anfiteatro Flavio detto il Colosseo,” or “View of the Flavian Amphitheater, called the Colosseum”) distinguishes between the ancient and contemporary name of its subject, emphasize Imperial rather than Christian Rome. They appear on illusionistic scrolls, which are uncommon for Piranesi’s captions in the Views of Rome and suggest imperial proclamations. Indicating the separate seating areas of “i Console, il Senato, i Sacerdoti, e le Vergini Vestali,” “l’Ordine Equestre,” and “la Gioventù nobile co’loro Pedagoghi,” and “le Donne,” [translation] the captions stress class hierarchy and social order (Zorach, 119). From the geometric regularity and expansive scope of this and the previous depiction of the Colosseum, the following view presents a radically different perspective, both visually and conceptually.
To see this image in Vedute di Roma, vol 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 Britton33Vedute di Romaimage_header2020-03-28T11:50:36-07:00Jeanne Brittone120651dde677d5cf1fd515358b14d86eb289f11