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).Works and VolumesGenres and SubjectsBibliographyGlossary and Abbreviations
Remains of a Room Belonging to the Praetorian Fort at Hadrian's Villa
12019-11-11T16:58:20-08:00Avery Freemanb9edcb567e2471c9ec37caa50383522b90999cba228491from Volume 17 of Giovanni Battista Piranesi's Opereplain2019-11-11T16:58:20-08:00Internet ArchivedatapiranesiRescan_vol17_0367.jpgAvery Freemanb9edcb567e2471c9ec37caa50383522b90999cba
12018-11-07T16:51:22-08:00Remains of a Room Belonging to the Praetorian Fort at Hadrian’s Villa13Avanzi di una Sala appartenente al Castro Pretorio nella Villa Adriana in Tivoliplain2021-05-20T11:40:16-07:00Title: Avanzi di una Sala appartenente al Castro Pretorio nella Villa Adriana in Tivoli. Key: A. Tribunale ornato di nicchie. Signature: Cavalier Piranesi F(ecit).Title: Remains of a Room Belonging to the Praetorian Fort at Hadrian’s Villa in Tivoli. Key: A. Tribunal adorned with niches. Signature: Made by the Knight Piranesi.
The room shown in this engraving belongs to the same structure depicted in the previous view, and it looks as if it might be situated among the same apartments in the background. Moving from that engraving to this one, a viewer seems to be swept into the center of an image that Piranesi framed in ways that might limit imaginative entry (Verschaffel). Here, though, viewers encounter a different conflict, not between being invited and repelled by the composition, but between linearity and circularity. Many of Piranesi’s views of Tivoli in particular celebrate the enveloping effects of domed interiors: see, for example, his views of a sculpture gallery, the Temple of the Tosse, or the Temple of the God Canopus. In this view, it is the sharp angle and heavy shading of the straight wall that dominate the visual field, even as its angle directs viewers towards the circular area of the domed room. There, Piranesi’s etching creates wavy, pulsing marks that generate light and shadow; cross-hatching, by contrast, creates an angular texture along the surface of the straight wall. Three human figures in the middle ground, bounded by the space of the domed room, point in three different directions, as if to demarcate the boundaries of the space. Sunlight illuminates the “A” in the domed ceiling, which is paired with another at ground level to indicate the area where niches decorated the room. (JB)
To see this image in the Vedute di Roma, volume 17 of Piranesi’s Opere, click here.