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The Digital Piranesi

Colosseum, from Views of Rome

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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 palmi in diameter and 63.8 palmi 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. Vuë du temple de Neptune Dieu tutelaire de l’ancienne Ville de Pesto Vue du temple de Neptune Dieu tutelaire de l’ancienne Ville de Pesto, quoi qu’on n’y voye aucune marque qui puisse indiquer si ce temple appartenoit á cette Divinité, ou á quelqu’autre. Il est situé dans le milieu de la Ville, et il est surprenant par sa magnificence, et sa grandeur. Il est bâti de grosses pierres semblables au Travertino, mais à cause de quelques deffauts il a eté enduit d’un plâtre fin, tres blanc. La largeur des entrecollonnements, est d’environ un diametre, et un quart des colonnes A proportion, qui par une judicieuse simetterie donnoit aux colonnes le plus grand air de dignité, et une gravité qui s’accordoit bien avec la masse du couronnement B qu’elles devoient porter, et particulierement avec les grosseurs des Architraves C. L’Architecte a situé les trigliphes sur les Angles D selon la coûtume des Grecs, et pour cacher la monstruosité qu’auroit pu produire l’inégalité des metopes, placées alternativement il a rétréci les entrecolonnements E un peu plus que les autres A et il a élargi les metopes F plus que celles G qui en sont proches il a aussi laissé les trigliphes tous d’une égale largeur, en sorte que celui qui considere ces deux alterations n’en est nullement choqué. La gravité de cet ouvrage se fait sentir par la legereté des membres plus ou moins saillants, et les colliers des colonnes ne sont énoncés que par de simples lignes comme en H, et les trois autres colliers I qui sont de relief sont formés par les plus belles moulures et travailles avec le plus grand soin pour les mieux conserver dans cette pierre. Ainsi l’on peut connoitre que dans cet ouvrage, les Tailleurs de pierre ne l’ont pas cedé á ceux qui travailloient les marbres de Paros et de Carrare L’exactitude des proportions caracterise ce batiment pour une production des plus parfaites, et des mieux éxécutées dans ce genre, et l’on peut dire que l’Architecte a tiré de son art de quoi s’attirer l’admiration de ses contemporains comme de la posterité. L’interieur de ce temple n’est pas moins beau que grandieux. L’homme de goût contemple avec plaisir l’ensemble de cet édifice, lors qu’aprés les moissons, il se trouve débarassé des herbages qui l’offusqoient. Les Peintres y trouveront également differents points de vue fort interessants, soit par ses differentes ouvertures, soit par la varieté des plantes champetres, qui l’environnent de toutes parts; ou bien par celle de plusieurs troupeaux de diverses couleurs, que les Bergers y conduisent. Neanmoins cette architecture grave n’est pas aujourd’hui intelligible pour tous ceux qui se tansportent lá, et qui aimeroient mieux y trouver d’autres ordres plus gracieux, comme l’Ionique, le Corinthien et le Composite, qui plaisent davantage aux yeux; et en effet les anciens Romains lors qu’ils donnerent dans le luxe, rechercherent l’architecture fardée, et la mirent plus en usage que les autres nations, comme plus propre á employer leurs richesses, et á surpasser la matiere par le travail. Les Grecs mêmes voulant adoucir l’ordre Dorique, le chargerent de qualques ornemens, ce qui fut imité par les Romains au point qu’ils rencherirent encore sur leurs models; car ceux qui n’ont pas la vraie théorie de l’art preférent toujours une architecture chargée de guirlandes, de fleurs et d’autres ornements á celle qui n’a qu’une simple pureté. Ce temple lá ne présente aucune bisarerie dans ses ornements. Dans l’autre édifice indiqué sur la planche precedente nous avons dit que les ornements des chapitaux étoient élégans, nous voyons par lá que ceux qui les faisoient n’ignoroient pas que la bisarerie d’un tel assortiment étoit deja bien connue; mais ils ont sçu le ménager, comme on fit á l’égard des chapitaux des colonnes, et des pilastres du Collége des Anfictions. Pour ce qui est de ce temple, soit que ce fut la coûtume de la nation, qui tendoit au grave, et au simple, soit que ce fut sagesse dans l’Architect, il est clair que cette entreprise fut conduite, et terminée avec dignité par la supression de la plus grande partie des ornements, pour le rendre solide, et grave. En cela l’on a voulu faire voir, que ces sortes de monuments étant construits d’une matiere dure, il étoit dans les vrais principes de l’art de n’en point trop alterer la nature, et qu’un édifice tout de pierre devoit conserver un grand air de force, et de solidité. K Restes de Travertins, qui servoient de base aux dégrés, par les quels on montoit au temple a peu prés comme on le voit encore aujourd’hui dans un temple d’ordre Dorique entre les ruines de Pompeia. L Restes de l’edifice, que nous appellons le Collége des Anfictions. M Vue de la Mer.
4. The means by which the large Travertines and other Marble Blocks were lifted to build the grand tomb of Cecilia Metella, now called Capo di Bove Title: Modo, col quale furono alzati i grossi Travertini, e gli altri Marmi nel fabbricare il gran Sepolcro di Cecilia Metella, oggi detto Capo di Bove. Piranesi Archit(ectus). Dis(egnavit). et inc(idit). Text: Visitando io tutto giorno i Monumenti antichi di Roma, ed investigando ogni loro benche minuta parte, scoprii in que’ grossi macigni, de’quali sono costruiti, dei buchi quadrati, escavati a bella posta: in alcuni d’essi nel mezzo del piano disopra, come A; in altri nel lato o destro, o sinistro, come B. Quanto al buco scavato nel mezzo del piano di sopra, è cosa manifesta, che serviva per alzare il sasso sin, dove aveasi a porre in opera, mediante uno Stromento di ferro C, (eccone ancora i suoi Profili D) chiamato da Vitr(uvi)o Forfice, da altri Ulivella, introdotto, ed incastrato nel buco stesso, come nello Spaccato E: quale Stromento in oggi pure si mette in pratica. Ma qual’uso potesse avere l’altro buco, scavato nel lato, a cui non vedeasi corrispondere altro buco nel lato opposto, ove aggrappare si potesse il macigno per sollevarlo, riuscivami affatto ignoto, ed oscuro; ne so che sia stato a quest’ora da veruno penetrato. Tralle rovine del Sepolcro di Cecilia Metella, detto Capo di bove, mi venero sotto gli occhi alcuni Framm(en)ti di grossi Travertini, F, G, i quali mi scopersero ciò, che per si lungo tempo, da che mi trovo in Roma, non mi venne fatto di comprendere. Il Framm(en)to F ha un rialto a guisa di Bozza, nella stessa pietra lasciato ad arte, segnato H et simile ad I. Il Framm(en)to G ha una bozza, ed un buco scavato in mezzo alla stessa, marcato K et simile ad L; il qual buco è fondo sino alla superficie del Lato M, e corrisponde direttam(en)te al buco del Lato opposto N. È verisimile, che questi due Travertini non sieno stati posti in opera, o per lo meno in que’ corsi, ond è formata la superficie esterna del Mausoleo; e ciò può essere accaduto, o per natural difetto della Pietra, scoperto dopo lavorata, o per mancanza dello Scarpellino: in fatti l’uno d’essi appare spezzato da un capo. Per tanto, siccome io penso, ecco brevem(en)te l’uso de’ predetti Buchi, e delle Bozze. Osserviamo nello Spaccato O la piegatura, e profondità de’ Buchi, et il modo, con cui sono introdotti in essi gli Uncini P, i quali equilibrando il Macigno Q per mezzo della Fune R congiunta a cappio, raccomandata alla Bozza I, indi passata sotto gli Uncini, e ripassata ancora sotto se medesima in S, qualora il peso dalla parte della bozza la costrignesse a trascorrere, mettono in pronto il detto Macigno, per esser tirato su, posto il cappio al rampino della Taglia T al sito destinato. Quivi nello stesso modo si può facilm(en)te muovere, e rimuovere quante volte richiede il bisogno, sinche egregiam(en)te connetti cogli altri marmi: indi lasciato posare tanto disgiunto, quanto si possa levare dal buco l’Uncino V colle Leve, o Pali di ferro spignesi accosto. Dopo di che lo Scarpellino taglia le bozze, e pareggia le superficie. X Uncini di ferro di varia grandezza. Y Funi, o Cappj di varia lunghezza. Z Dimostrasi la Macchina, mediante la quale alzavansi li grossi Macigni. 1 Due Travi proporzionate ai pesi, che doveansi alzare, piantate a piramide, e mobili sopra un Piano di grossi tavoloni di legno, concatenati insieme a foggia di telaro; legate da capo da un Perno di ferro segn(a)to al quale raccomandavasi la Taglia 3. Fermato il Piano de’ sudd(et)ti tavoloni, o sia Piede della Macchina ad alcuni Travertini, piantati quà, e là nel masso, per legare i corsi delle Scaglie; e data alle Travi sufficiente pendenza, e sporto fuori del Muro, sicchè possano ricevere comodam(en)te il Sasso 4 colle Funi 5 assicuravansi. Alzato il Sasso col mezzo della Fune 6 delle Taglie, 7, 8 e del Mulinello 9, sino al piano 10, tiravá(n)si medianti le Funi 11 le Travi per il capo indietro tanto, quanto il Sasso potesse posare sul detto Piano, ove usate le predette diligenze di farlo ben connettere univasi agli altri Sassi del Corso 12. Da ciò può dedursi, che gli Antichi sopra ogni cosa studiassero la facilità d’innalzare simili enormi Macigni, per costruire Fabbr(ich)e corrispond(en)ti alle loro grandi idee, e di perpetua durabilità, lasciandole tal volta rozze, e senza Ornam(en)to. In vero molte sene veggono di tal fatta, ma sì massiccie, e sode, che sembrano fatte più dalla Natura, che dall’Arte. Title: The means by which the large Travertines and other Marble Blocks were lifted to build the grand tomb of Cecilia Metella, now called Capo di Bove. Designed and engraved by the Architect Piranesi. Text: Visiting the ancient monuments of Rome every day, and examining all their most minute parts, I discovered square holes in those giant stones, intentionally carved out, and in some of these stones, the holes were carved in the middle of upper level, as in A and in others in the side, on the right, or left, as in B. As for the hole carved in the middle of the upper section, it is clear that it served to raise the stone until the point where it is set through the Instrument made of iron C (and here they are additionally displayed in profile D) called by Vitruvius ‘Forfice,’ and by others ‘Ulivella,’ introduced, and inserted into the hole itself, as in the cross section E: an Instrument which is in fact still in use today. But what could have been the function of the other hole, carved in the side, to which I saw no other corresponding hole on the opposite side, where one could grab to lift the boulder, [but the purpose of the lateral hole] seems to me to be unknown, and obscure; nor do I know that anyone has understood its function to this day. Among the ruins of the Sepulcher of Cecilia Metella, called Capo di Bove, some fragments of large Travertines, F, G, appeared before my eyes, and they revealed what, for such a long time, I could never understand, since I have found myself in Rome. The Fragment, F has a raised part in the form of a Boss, in the same stone, the raised part is left deliberately, labeled H and similar to I. The fragment G has a projecting stone, and a hole carved in the middle of the same, marked K and similar to L; that hole is as deep as the surface of the Side M and corresponds directly to the hole on the other Side N. It is likely that these two Travertines were not set down, or at least in those courses where the outer surface of the Mausoleum was formed; and this may have happened, either due to a natural defect of the Stone, discovered after work had begun, or due to lack of the Chisel: in fact, one of them appears to be broken on one side. Therefore, as I see it, here is a brief description of the function of the aforementioned Holes, and of the projecting Stones. We observe, in the section O, the profile and depth of the Holes, and the way in which the grappling hooks P are inserted into them, which balance the large block of stone Q by means of a rope R knotted into a loop, which is fitted around the projecting stone I, from there passed under the grappling Hooks, and twisted under and around itself in S, in the case where the weight of the part of the projecting stone forces it to slide, they put the large rock in position, to be pulled up, [with the] the noose on the grappling hook of the Pulley T so as to position it in the desired place.There, in the same way one can easily move, and take away [the block] as many times as required, until it most nobly connects with the other blocks of marble:from there, one can leave it disjointed, as soon as the hook V is removed from the hole with the Levers, or iron Poles, pulling them together. After which the Chisel cuts the projecting stone, and evens out the sides. X iron Hooks of various size. Y Ropes, or Loops of various lengths. Z Demonstrates the Device by which the large blocks were raised. 1 Two beams proportioned to weights, that should be raised, hammered into the ground so as to form a pyramid, leveled on large pieces of wood, chained together in the shape of a loom; tied to the top of the iron Pivot labeled 2 to which the Pulley 3 is fitted. With the aforementioned large pieces of wood secured, that is the Base of the Device to some Beams, set here and there in the mass of the tomb, in order to join the courses of the Slings; and when the Beams are sufficiently inclined, and protruding out from the Wall, in such a way that they can comfortably hold the Rock 4 secured with the Ropes 5. The Rock lifted by means of the Ropes 6 of the Pulleys 7, 8 and of the Swivel 9 until the level 10 pulling it through the Ropes 11, the Beams with the top underneath, as far as the Rock can rest on the aforementioned Level, where the aforementioned diligences are used to make it connect in a unified way to the other Rocks of Course 12. From all of which one can deduce that the Ancients, above all things, studied how to raise similar enormous blocks in order to construct Buildings equal to their grand ideas and of everlasting durability, leaving them at the time rough and without Ornament. In truth, one can see many of them made in this way, but they are so massive, and so dense, that they seem to be made more by Nature, than by Art.

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