This content was created by Erin Jones. The last update was by Alexis Kratzer.
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).VolumesGenres and SubjectsBibliographyGlossary and Abbreviations
17 Veduta 226
12018-12-03T15:34:29-08:00Erin Jonesff57f567e7b1b1483367dc101143970f40cd9e26228493Veduta del Castello dell’Acqua paola sul Monte Aureoplain2019-02-05T20:40:17-08:00Alexis Kratzerb246b0b192071919d0499d7b3d52bbdb38177646
1media/16 frontispiece.jpg2018-11-23T19:33:38-08:00Jeanne Brittone120651dde677d5cf1fd515358b14d86eb289f11Views of Rome / Vedute di Roma, vol 1 of 2 (Opere, vol 16)Alexis Kratzer33************under construction************plain2019-02-05T20:28:52-08:00Alexis Kratzerb246b0b192071919d0499d7b3d52bbdb38177646
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12019-02-05T20:44:21-08:00View of the Fountainhead of the Acqua Paola9Veduta del Castello dell’Acqua Paola sul Monte Aureoplain2021-06-27T16:28:42-07:00Title: Veduta del Castello dell’Acqua Paola sul Monte Aureo Key: 1. Casino Farnese. 2. Basilica di San Pietro in Vaticano. 3. Casino e Orto Botanico. 4. Avanzo delle Mura urbane dell’Imperadore Aureliano Signature: G(iovanni). B(attista). Piranesi Architetto Signature 2: Presso l’Autore a Strada Felice vicino alla Trinità de’montiTitle: View of the Fountainhead of the Acqua Paola on the Monte Aureo Key: 1. House of the Farnese 2. St. Peter’s Basilica in the Vatican 3. House and Botanical Garden. 4. Ruin of the city walls [built under] the Emperor Aurelian Signature: Giovanni Battista Piranesi Architect Signature 2: Published by the Author in the Strada Felice near the Trinità de Monti.People dominate the foreground and subject of this view, the fourth and final of a group of views devoted to fountains. Piranesi, who designed only one built structure, commonly signed his prints as “architect,” most emphatically in the title page of the Views of Rome. This is the only view of a fountainhead with this signature. In the two views of the Trevi fountain, he includes “architettura di Nicola Salvi” in either a small caption or the image’s title, and the view of the Fountain of Acqua Felice does not indicate its architect, Domenico Fontana (1543-1607). While the Catholic church hovers, figuratively, in the background of other views of fountains, and while inscriptions of course name the popes responsible for their construction, the dome of St. Peter’s is here a visual indication of the urban order and civic authority that fountain views otherwise convey less explicitly. In a view that also includes Saint Peter’s in the distance, Piranesi’s frequent self-designation as “architect” takes on additional significance.
Built in 1612 on the Janiculum Hill, the Fontana of Acqua Paola was designed by Giovanni Fontana (1540-1614), the brother of Domenico, who designed the Fountain of Acqua Felice, and Falminio Ponzio (1560-1613). It is the first monumental fountain to be constructed on the right bank of the Tiber, a less developed area of the city that offers Piranesi more opportunities than the three preceding views to include what seems to be unrestricted plant growth and crumbling ancient ruins. Fragments of the Aurelian wall, somewhat indistinctly marked by “4,” are etched with curved lines that resemble those of the surrounding foliage and clouds, and they contrast notably with the smooth lines of the fountainhead’s five arches and large entablature. Marked by “1,” the Casino Farnese (which no longer exists) was part of Villa Farnesina, the Farnese family’s suburban villa that was across the Tiber from their urban palazzo, the subject of the following engraving. Other annotations draw our attention away from the fountainhead to the edges of the image: “2” identifies the Basilica of Saint Peter’s, and “3” indicates, to the left of the fountain, botanical gardens. While the image’s left and right margins stretch to include details of these elements of the fountain’s surroundings, the upper margin somewhat uncharacteristically cuts off what is, from the image’s perspective, the fountain’s highest point. The foreground is dense with disproportionately large and dramatically gesturing human figures whose open hands, like half of the image’s annotations, seem to point to the left and right. Piranesi’s human figures have been said to serve a range of purposes: they establish or exaggerate scale, suggest pervasive decay (Hyatt Mayor, 16), hinder identification (Verschaffel), gesture towards a monument, gesticulate towards nothing in particular (Wilton-Ely 1994, 361), or, by pointing to an image’s caption or title, amplify its “deictic power” (Stewart, 172). Here, they minimize the size of the large fountain, which is popularly known by precisely that name (“Il fontanone”), and draw a viewer’s and reader’s attention to the margins of the image. There, Piranesi includes the church, the source of the fountain’s power, and, opposite, cultivated nature. If, as Rose Marie San Juan has argued, fountain prints “unsettle readability” through the tensions between urban authority and natural vitality that they depict (137), then this view, particularly with its annotations, might almost make that tension legible by identifying its elements.
To see this image in the Vedute di Roma, volume 16 of Piranesi’s Opere, click here.