This page was created by Constance Caddell. The last update was by Avery Freeman.
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).VolumesBibliographyGlossary and Abbreviations
View of the Pantheon
12018-03-23T15:04:30-07:00Constance Caddelld4428f7815c34c6fd0592b7e434a4fb89d5ca1aa2284935Veduta del Pantheon d'Aggripa oggi Chiesa di Santa Maria ad Martyresplain2020-09-17T12:25:15-07:001761
APPROXIXMATE AGE OF SUBJECT MATTER
Imperial, 2nd century AD
Pantheon D’Agrippa; Architecture (Ancient)
Image spreads into key, lower section of image; Two pages; Horizontal Orientation
Piranesi F presso il medesimo autore nel palazzo del Conte Tomati a Strada Felice, vicino alla Trinita` de' Monti
ItalianRomeTitle: 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’MontiTitle: 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 palms in diameter and 63.8 palms 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’ MontiAvery Freemanb9edcb567e2471c9ec37caa50383522b90999cbaThe Pantheon is one of Rome’s most striking and familiar ancient buildings; its “structural daring and proportional harmony” have long assured its universal acclaim (Pinto 2002, 72). Piranesi made many engravings of the Pantheon (Pantheon d’Agrippa, as he refers to it in the Views of Rome) over the course of his career, but this depiction is unique because of its exaggerated scale. In accordance with his views on Roman magnificence and classical aesthetics, Piranesi here drastically manipulates the size of the Pantheon in order to emphasize the grandeur and supremacy of ancient Roman monuments over what he, in an unpopular theory, considered their inferior Greek predecessors. John Pinto remarks on the scale and size of the building in this image: “It is as if the monument had sucked into its ample rotundity all of the space surrounding it and drawn the puny structures of the modern city close to its corrugated exterior, diminishing them through proximity” (102). Another example of his dramatic scale, the figures that Piranesi depicts on the dome of the Pantheon are almost whimsical in their visual inferiority, standing atop a miniature version of the world, as the dome of the Pantheon represented the heavens. In this image, according to John Wilton-Ely, “mankind is reduced… to the functions of indicating the stepped curve of the Pantheon’s dome or marking the diameter of the hidden oculus against the skyline” (1988, 39).” Most obvious after the distortion in scale is the sprawling banner along the bottom of the image and its dense alphabetical key. Some of the notes, found in the key, include historical details about the building, and others discuss the various architectural features and Piranesi’s opinions about their design and execution. The key’s textual density risks making its information indecipherable. While the mere appearance of Piranesi’s annotations might complicate the image, their content includes educated digressions revealing his obsession with the theory of architecture as well as his status as a practiced antiquarian. For example, the letter “O” succinctly details the dimensions of the columns that they indicate: “Solid columns of granite marble from Siena of 6.6 palms in diameter and 63.8 palms in height.” The Pantheon that visitors see today is actually its third incarnation, built between 113 and 125 CE by the emperor Hadrian after the first and second buildings were both destroyed. Elsewhere in the image, Piranesi explains these changes: “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.” With its exaggerated scale and its abundant visual and textual detail, this image vividly embodies characteristic elements of Piranesi’s works. (JA)
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 Britton37Vedute di Romaimage_header2020-09-07T09:05:13-07:00Jeanne Brittone120651dde677d5cf1fd515358b14d86eb289f11
This page references:
12019-11-11T16:57:41-08:00View of the Pantheon1from Volume 17 of Giovanni Battista Piranesi's Opereplain2019-11-11T16:57:41-08:00Internet ArchivedatapiranesiRescan_vol17_0013.jpg