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Interior View of the Colosseum
12019-11-11T16:57:45-08:00Avery Freemanb9edcb567e2471c9ec37caa50383522b90999cba228491from Volume 17 of Giovanni Battista Piranesi's Opereplain2019-11-11T16:57:45-08:00Internet ArchivedatapiranesiRescan_vol17_0199.jpgAvery Freemanb9edcb567e2471c9ec37caa50383522b90999cba
12018-11-09T20:02:34-08:00Interior View of the Colosseum (2 of 2)19Veduta Interna del Colosseoplain2022-07-19T08:45:33-07:00Title: VEDUTA INTERNA DEL COLOSSEO A. Archi del terz’ordine da dove è presa la Veduta Signature: Franc(esco). Piranesi disegnò, e inciseTitle: Interior View of the Colosseum A. Arches of the third order, where this view was taken Signature: Designed and engraved by Francesco PiranesiIn addition to the complete works of Giovanni Piranesi, the Opere includes stand-alone publications and individual images, such as this one, by Giovanni’s son Francesco. Art historians have traditionally and justifiably viewed Francesco’s works as inferior to his father’s in their composition and execution; this view in particular has drawn little critical attention and does not appear in studies of the Vedute di Roma. Wilton-Ely’s brief reference to this image and Francesco’s view of the interior of the Pantheon appears in a narrative of Francesco’s involvement in and supplements to the production and publication of his father’s works (1988, 119). Nevertheless, careful attention to this view is worthwhile for its distinctions from the style and content of Giovanni’s views.
Perhaps the most salient stylistic difference in this view is the prominence of Francesco’s human figures. As opposed to the indistinct, gnarled, and often stooped human figures in Giovanni’s works, the men in the foreground of this view are clearly drawn, with discernable facial features, coat buttons, and boot buckles. Their conversation seems to take place in a pastoral setting, complete with remarkably distinct vegetation. Among Giovanni’s views of the Colosseum, his depiction of the ruined, overgrown interior has the most in common with this image, which also positions a large, irregular, ruined mass teeming with vegetation in the foreground. By contrast, Giovanni’s depictions of the Colosseum’s exterior and an impossible aerial view stress regularity and symmetry, with the amphitheater’s mid-point at the center of the page in each case. Francesco’s key, as well as the architectural fragments that surround it, is darkened by worn cross-hatching, a technique Giovanni used sparingly precisely because it could cause pools of ink to appear in late pressings of plates that had been worn by heavy use. Taken together, this view’s large human figures and the content of the key’s single annotation emphasize the human experience of the Colosseum. The key, rather than pointing out the architectural features that Giovanni’s annotations to other views specify, notes that this view was taken from the Colosseum’s third level, informing viewers about the position from which the Colosseum is seen, not the features that are seen. The inclusion of this image here follows the Opere’s groupings of the Vedute di Roma according to subject matter rather than chronology and attests to the significant role that Francesco played in the early afterlife of his father’s works. (JB)
To see this image in the Vedute di Roma, volume 17 of Piranesi’s Opere, click here.