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The Digital Piranesi

Roman Antiquities (1 of 4)

Digital art history, word-image studies, architectural history, and book history meet in The Digital Piranesi, a developing digital humanities project devoted to the complete works of Giambattista Piranesi. With funding from the Kress Foundation, six collaborators will be invited to contribute to the project. Following an introductory in-person workshop in Columbia, SC, in Summer 2023, regular virtual meetings continuing through Summer 2024 will be dedicated to writing brief, impactful scholarly essays about each image in the first volume of his Roman Antiquities. Travel and accommodation will be supported by grant funds. All images from the first volume of Piranesi’s Roman Antiquities appear below with original annotations rendered as hyperlinks that display Italian text; transcriptions and English translations are available below the image under the “Additional Metadata” tab.

The Irvin Department of Rare Books and Special Collections at the University of South Carolina is one of fewer than ten institutions to hold a complete set of Piranesi’s posthumous Opere (1835-9), a set of twenty-nine elephant-folio volumes that assemble all of his individual publications. The Digital Piranesi includes a digital collection, where each of the volumes is presented in its original form, and the digital humanities project, where his images are presented using digital elements that his works seem to anticipate: hyperlinks and animation. Additionally, the project aims to produce scholarly discussions of each of his images. Completed essays for each of his large-scale Views of Rome, written by project PI Jeanne Britton and postdoctoral fellow Zoe Langer with the support of the National Endowment for the Humanities, appear here and here.

Piranesi’s first volume of Roman Antiquities is a hybrid work of archaeology, antiquarianism, cartography, and hydrology that expands the practices of encyclopedism developing in the eighteenth century and exploits the printed page and the bound book as vehicles for the visual display and organization of information. The volume’s images and organization stand to benefit from consideration through the lenses of information display, book history, visual analysis, and word-image relationships. Scholars, curators, and students at all career stages working in the fields of archaeology, the history of art and architecture, classics, digital humanities, eighteenth-century studies, history, Italian studies, and print culture would be welcome.

This collaborative writing project, led by PI Jeanne Britton and co-PI Zoe Langer, is conceived as follows. Participants will attend an in-person workshop, during which they will study this volume and others in detail, receive training in the open-source platform Scalar, and discuss plans for dividing the volume’s contents. A reading list of secondary works will be shared in advance. Over the course of the next twelve months (through Summer 2024), participants will draft, circulate, revise, and edit brief essays about each image in the volume and attend seven virtual meetings. Before the second (virtual) workshop, participants will circulate near-final drafts of their essays, which all contributors will read. This workshop, which will be held near the end of the cycle, will be dedicated to discussion and collaborative revision of each brief essay. Essays will be uploaded to the project site within one month of the workshop’s conclusion.

Through first-hand experience with the project’s printed materials and digital elements, this collaboration is intended to serve as a laboratory for the development of new methods and forms of digital art historical scholarship. Please send a cv and one-page statement detailing qualifications, experience, and interest to PI Jeanne Britton jbritton@mailbox.sc.edu by March 1, 2023. Inquiries are very welcome.

Details:

Date: likely June 2023, TBD

Location: Hollings Library, University of South Carolina, Columbia, SC.

Accommodation: Inn at USC (four nights), funded by the Kress Foundation.

Travel: Columbia’s airport (CAE) has regular flights to Charlotte, NC (CLT), and Atlanta, GA (ATL). Funds from the Kress Foundation are allocated for each participant.

Language: Reading knowledge of Italian is desired but not required.

Digital skills: No digital skills or training is required

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Contents of this path:

VRBIS.AETERNAE.VESTIGIA/ AB.EQ.I.B.PIRANESIO.IAM.AENEIS.TABVLIS.INCISA/ NVNC.DENVO/ IIS.QVAE.SVPERERANT.EDENDA.QVAEQVE.NOVITER.DETECTA.SVNT/ DECORATA.ADAVCTA.AMPLIFICATA/ EQVES.FRANCISCVS.FILIVS/ GVSTAVO.III/ GOTH.SVEC.VAND.REGI &&&/ SAPIENTI.FORTI.ATQVE.OPTIMO/ ANTIQVITATVM/ ET.BONARUM.ARTIVM.PATRONO.MVNIFICENTISSIMO/ IN.OBSEQVII.GRATIQVE.ANIMI.SPECIMEN/ D.D.D. Medal: FADERNESLANDET. Signature: Piranesi Archit[etto] inv[entò] e sculp[ì]. THE RUINS OF THE ETERNAL CITY/ ENGRAVED ON COPPER PLATES BY THE CAVALIER GIOVANNI BATTISTA PIRANESI/ AND NOW ONCE MORE/ WITH RUINS THAT HAVE NOT YET BEEN PUBLISHED AND THOSE THAT HAVE BEEN NEWLY DISCOVERED/ EMBELLISHED, AUGMENTED, AND AMPLIFIED/ BY HIS SON CAVALIER FRANCESCO PIRANESI/ TO GUSTAV III/ KING OF THE GOTHS, SWEDES, AND VENDS/ WISE, POWERFUL AND GOOD/ MOST MUNFICENT PATRON OF ANTIQUITIES AND THE ARTS/ AS A DEMONSTRATION OF REVERENCE AND GRATEFUL SPIRIT/ GAVE, GIFTED, AND DEDICATED [THIS WORK] . Medal: THE FATHERLAND. Signature: Invented and engraved by the Architect Piranesi.
PIANTA di Roma disegnata colla situazione di tutti i Monumenti antichi, de’ quali in oggi ancora se ne vedono gli avanzi, ed illustrata colli Framm[en]ti di Marmo della Pianta di Roma antica, scavati, saranno due secoli, nelle Rovine del Tempio di Romolo; ed ora esistenti nel Museo di Campidoglio. Signature: Piranesi Archit[etto] dis[egnò]. ed inc[ise]. Scales: Palmi 500 1000 1500 2000 2500 3000; Piedi antichi 3000; Piedi Inglesi 3000; Piedi Franzesi 3000. PLAN of Rome drawn with the location of all the ancient Monuments, the remains of which can still be seen today. Illustrated with the Marble Fragments of the Ancient Map of Rome excavated two centuries ago from the Ruins of the Temple of Romulus, which are now in the Capitoline Museum. Signature: Drawn and engraved by the Architect Piranesi. Scales: Palmi 500 1000 1500 2000 2500 3000; Ancient Feet 3000; English Feet 3000; French Feet 3000.
Key: A. Torri di cui son munite le mura. B. Arcuazione interiore della medesime per uso delle Sentinelle C. Comunicazion da un’arco all’altro. D. Feritoje corrispondenti nell’esterno. E. Piano di Roma anteriore alla costruzione delle mura Aurelianensi. F. Piano di Roma, o sia terrapieno fatto alle mura da Aureliano, colle rovine degli Edifizi che ingombravano il luogo e le vicinanze delle mura. Signature: Piranesi Archit[etto]. dis[egnò]. inc[ise]. Key: A. Towers that fortify the Aurelian walls. B. Interior arches inside the towers used by the Sentinels. C. Corridors from one arch to another. D. Exterior openings that correspond to those of the interior. E. Ground level of Rome prior to the construction of the Aurelian walls. F. Ground level of Rome, or rather terreplein, formed from the ruins of Buildings that blocked the area and its surroundings that were used for the construction of the Aurelian walls. Signature: Drawn and engraved by the Architect Piranesi.
Key: A. Porta San Lorenzo di Aureliano. B. Canale per uso della porta levatora a costume di que tempi. C. Mura, e torri di Bellisario. D. Acquedotto dell’Acqua Marcia. E. Porta interna. F. Facciata della porta. A. in tutto simile alla chiusa G. vicina alla Magg[io]re H. I. Merli della Porta F. in forma più grande. K. Modinatura della Cornice. L. Acquedotto dell’Acqua Claudia. M. Porta interna alla Maggiore. Signature: Piranesi Architetto dis[egnò]. inc[ise]. Key: A. Porta San Lorenzo built by Aurelian. B. Canal used for the drawbridge, in the custom of the times. C. Walls and towers built by Belisarius. D. Aqueduct of the Acqua Marcia. E. Interior gate. F. Facade of Gate A, which is similar to the closed gate near the Porta Maggiore H. I. Close-up of the Merlons of Gate F. K. Moulding of the Cornice. L. Aqueduct of the Acqua Claudia. M. Interior gate to the Porta Maggiore. Signature: Drawn and engraved by the Architect Piranesi.
Label: *Plan of the monument shown in perspective in the figure below. Key: 1. Channel of the Aqueduct of the Acqua Giulia. 2. Channel of the Aqueduct of the Acqua Tepula. 3. Channel of the Aqueduct of the Acqua Marcia. 4. Wall covered with tevolozza to reinforce the aqueduct, as mentioned at numbers 117 and 118 in the Index of the present [volume]. Signature: Drawn and engraved by the Architect Piranesi.
Key: A. Pianta de Speroni del muro del Busto, detto muro Torto. B. Cavi a guisa di casse incavate nella grossezza del muro, e de Speroni. C. Canali per i scoli dell’acque. D. Elevazione. E. Spaccato. F. Vacui, o siano Casse sudette in pianta. G. Buchi co canali, di terra cotta, per ricervere i scoli delle sopradette acque. H. Canali di terra cotta, disegnanti in forma piu grande. Signature: Piranesi Archit[etto]. dis[egnò]. inc[ise]. Key: A. Plan of the Buttresses of the Bustum, called the Muro Torto. B. Cavities in the form of coffins hollowed out into the width of the wall and into the Buttresses. C. Canals for the drainage of the water from the aqueducts. D. Elevation. E. Cross-section. F. Plan of the aforementioned cavities, or rather coffins. G. Holes, with canals made of terracotta, that received the drainage of water from the aforementioned aqueducts. H. Canals of terracotta drawn in the form of a close-up. Signature: Drawn and engraved by the Architect Piranesi.
Title: Aqueduct of the Acqua Vergine. Key: A. Monument built by Claudius. B. Exterior layer of tevolozza covering [both] the earlier and later arches, applied in the same period. C. New form of the aqueduct erected by modern builders, five palmi from the ancient water channel. D. Today this water channel remains buried up until the level of the monument’s capitals. Signature: Drawn and engraved by the Architect Piranesi.
Title: Remains of the Castellum of the Acqua Claudia and Anione Nuovo. Key: A. Cavities for the water pipes of the aqueduct. B. Opening of one of the reservoirs. C. Signs that there were courses of pilasters. D. Monument of the same aqueducts at the Porta Maggiore. E. Ruin of the Fountainhead of the Aqueducts of the Acqua Marcia, Tepula, and Giulia. Signature: Drawn and engraved by the Architect Piranesi.
Key: A. Spaccato del Condotto di Caracalla che portava l’ acqua al bottino. B. Bottino. C. Buca nella volta delle conserve, per la quale entrava l’ acqua in esse intepidita dal Sole D. Lastrico di musaico che ricuopriva le conserve E. Altra buca nella volta che riceveva l’ acqua tiepida F. Fornelli p[er] riscaldar maggiormente l’acqua G. Antico piano di Roma H. Spaccati delle conserve I. Muri delle conserve K. Tubi L. Fornelli M. Tegoloni che ricuoprono i fornelli N. Lastrico grosso p[al]mo 1.3 sopra posto ai tegoloni O. Bocche p[er] introdurre il fuoco nei fornelli P. Muro delle conserve dis[egna]to in forma piu grande. Signature: Piranesi Architetto dis[egnò]. inc[ise]. Key: A. Cross-section of the Aqueduct of Caracalla, which brought the water to the reservoir. B. Reservoir. C. Opening in the vault of the reserves, through which the water would enter after having been heated by the Sun. D. Layer of mosaics that covered the reserves. E. Another opening in the vault that received the tepid water. F. Furnaces used to heat the majority of the water. G. Ancient ground level of Rome. H. Cross-sections of the reserves. I. Walls of the reserves. K. Pipes. L. Furnaces. M. Large tiles that covered the furnaces. N. Thick layer of bricks, 1.3 palmi wide, placed on the large tiles. O. Openings where the fire was introduced into furnaces. P. Wall of the reserves shown in a close-up. Signature: Drawn and engraved by the Architect Piranesi.
Title: View of the ruin of the House of Cola di Rienzo built from the spolia of ancient buildings, in front of the Church of Santa Maria Egizziaca. Signature: Drawn and engraved by the Architect Piranesi. Additional key: A On the ruined cornice of the door, marked in the aforementioned figure with the letter A, one reads the inscription below: Nicholas, whose house this is, was not ignorant of the fact that the glory of the world doesn’t have any value in itself. Vanity did not motivate him to build this house, but rather he built it to restore the ancient splendor of Rome. In beautiful houses, remember the tombs and be sure that you will not be there for long, death comes with wings and life is eternal for no one, our journey is brief and its course fleeting. Even if you flee the wind, if you close a hundred doors, or command a thousand guards, you will not lie down to rest without death. Even if you close yourself in a castle as high as the stars, death can take whomever she wants. This sublime house reaches the stars, whose culmination, the great Nicholas, first among the firsts, built from the foundations to renew the grandeur of his parents, Crescenzio, his father, and Theodora his mother. The father constructed this illustrious building dedicated to his beloved son David. B. On the curved architrave of one of the windows, marked in the same figure with letter B, one reads: I am here as the honor of the great Roman people (from the Volume I Map Index, no. 164).
Title: View of the remains of the ancient buildings on the slopes of the Aventine along the road called the Marmorata Key: A. Ruins of the ancient salt mines. B. Channel of the Aqueduct of the Acqua Appia. C. Modern small fountain that draws from the aforementioned channel. D. Modern hill, called the Clivus Publicius in ancient times. E. Ruins of the foundations of the Aventine Hill. Signature: Drawn and engraved by the Architect Piranesi.
Key: A View of the Archway of the Consuls Dolabella and Silanus, surrounded by the Neronian arches that derive from the Aqueduct of the Acqua Claudia. B. Remains of Nero’s Inscription on his arches. C. Progression of the aforementioned arches. D. Examples of travertine stone that served to erect the building, and that were fortuitously left there for repairs. Signature: Drawn and engraved by the Architect Piranesi.
Key: A View of the Arch of Gallienus. B. Castellum of a part of the Aqueduct of the Acqua Giulia. C. Monument of the Aqueducts of the Acqua Marcia, Tepula, and Giulia at the Porta San Lorenzo. D. Monument of the Aqueducts of the Acqua Claudia and Anione Nuovo at the Porta Maggiore. E. Neronian arches that received part of the Aqueduct of the Acqua Claudia. Signature: Drawn and engraved by the Architect Piranesi.
Title: Pianta delle Terme di Tito, con suo Tiepidario, detto le Sette Sale, e con gl’ avanzi della sua Casa. La tinta più nera indica la fabrica esistente, la più leggiera ciò, che da me è stato supplito. Key: 1. Avanzi della Casa di Tito, quali s’internano col primo Piano. 2. Cordonata al Piano superiore. 3. Piazza della Palestra 4. Abbaini, che portano il lume a Bagni, e Corridoj. 5. Cella Soleare con Vestiboli, Atrj, Tablini, Sisto, Cavedj, Esedre per ì Filosofi, e Bagno per gl’Atleti. 6. Bagno degl’Atleti. 7. Portico innanzi al Teatro. 8. Teatro. 9. Emicicli per uso de Filosofi, e della Gioventù, che in essi s’esercitavano, con stanze per riporre le lor vesti, ed i stili necessarj. 10. Tiepidario, detto le Sette Sale. 11. Ponte, per mezzo del quale si passava all’altre Fabriche, come vedremo in appresso. Signature: Piranesi Archit[etto]. dis[egnò]. inc[ise]. Title: Plan of the Baths of Titus with the Tepidarium called the Seven Halls and the remains of his House. The darker ink indicates the extant building, and the lighter ink indicates my additions. Key: 1. Remains of the House of Titus, which are buried with the first Floor. 2. Staircase to the upper floor. 3. The square of the Gymnasium. 4. Attic that illuminated the Baths and Corridors. 5. Solarium with vestibules, atriums, dining rooms, a xytus, shafts, exedrae for the philosophers and a bath for the athletes. 6. Bath for the athletes. 7. Portico in front of the Theater. 8. Theater. 9. Hemicycle where the philosophers and youths exercised, with dressing rooms to change into the necessary garments. 10. Tepidarium, called the Seven Halls. 11. Bridge through which one passed to the other buildings, as we shall soon see. Signature: Drawn and engraved by the Architect Piranesi.
Title: Veduta dell’Anfiteatro Flavio detto il Colosseo. Key: A. Arco mancante del rispettivo numero ordinale con cui son notati tutti gli altri per rincontranza delle persone che andavano agli spettacoli. sopr’a quest’arco appoggiavasi il ponte, che dal portico di Claudio portava all’Anfiteatro, come dimostra la mancanza fra lo stesso arco e’ l superiore della ricorrenza dell’architrave, e delle altre membra, nella quale s’incastrava il ponte. B Avanzi de’ parapetti fra gli archi. C Forami nella cornice per dove passavano le antenne alle quali era raccomandata la tenda che copriva l’anfiteatro. D Mensole sulle quali pesavano le antenne. E Muri moderni. Signature: Piranesi Architett[o]. dis[egnò]. inc[ise]. Title: View of the Flavian Amphitheater called the Colosseum. Key: A. Arch missing the respective ordinal number with which all the other arches are marked, used for the crowds of people that went to the spectacles. On top of this arch there was a bridge that went from the Portico of Claudius to the Amphitheater, which is demonstrated by the lack of an architrave between the arch and the one above it, as well as other architectural elements that contained the bridge. B Remains of the parapets between the arches. C Holes in the cornice where the posts were placed to hang the awning [velarium] that covered the amphitheater. D Ledges on which the posts rested. E Modern walls. Signature: Drawn and engraved by the Architect Piranesi.
Title: Veduta degli avanzi dell’Anfiteatro Flavio dalla parte interna. Key: A Arena dell’Anfiteatro. B Andito. C Uno degl’ingressi all’andito. D Muri de cunei inferiori e superiori E Segni delle scale per cui si ascendeva all’ultimo piano. F Segni delle Scale per comodo de’ Machinisti allorche volgevano i molinelli per l’espansione della tenda sopra l’Anfiteatro. G Cappellette, Chiesa, e muri moderni. Signature: Piranesi Architetto diseg[nò]. e incise. Title: View of the Remains of the Flavian Amphitheater from the Interior. Key: A Arena of the Amphitheater. B Corridor. C One of the entryways to the corridor. D Walls of the voussoirs of the upper and lower levels. E Signs that there were stairs by which one ascended to the highest floor. F Signs that there were stairs for the use of the Theater Technicians so that they could turn the wheels for the expansion of the curtain above the Amphitheater. G Little Chapels, Church, and modern walls. Signature: Drawn and engraved by the Architect Piranesi.
TITLE LABEL: TAVOLA TOPOGRAFICA DI ROMA IN CVI SI DIMOSTRANO GLI ANDAMENTI DEGLI ANTICHI AQVEDOTTI RIFERITI NEL COMMENTARIO FRONTINIANO LA CIRCONFERENZA DELLE ANTICHE REGIONI E LE ANTICHE VIE KEY: Dichiarazione delle note della Tavola A. Mura odierne di Roma B. Mura di Roma anteriori all’ Imperatore Aureliano - Aquedotto arcuato della Marcia, Tepula, e Giulia - Aquedotto arcuato della Claudia e Anione Nuovo - Archi Neroniani - Archi Antoniniani - Aquedotto sostruito - Aquedotto sotterraneo - Rivo sotterraneo, porzionario delle acque - Circonferenza delle Regioni antiche di Roma - Nota delle Vie antiche - Le rimanenti note son dichiarate, o nella Tavola, o nella Spiegazione consecutiva della medesima SCALE: Piedi Antichi 500....[Piedi] Romani 5000 COMPASS: T [ramontana], L [evante], M [ezzogiorno], P [onente]. Fig[ura] I. A. Speco dell’Anione Nuovo. B. Speco della Claudia. C. Speco della Giulia. D. Speca della Tepula. E. Speco della Marcia. F. Speco dell’Anione Vecchio. G. Speco della Vergine. H. Speco dell’Appia. I. Speco dell Alsietina. J. Naumchia d’Augusto nel Trastevere. M. Piano antico dell’Esquilino a Porta Maggiore. N. Piano antico del Campo Marzo, e delle antiche Saline vicino la Porta Trigemina. Fig[ura] II. Sezione del Bottino che riceveva parte della Marcia per tramandarla nel rivo Erculaneo e che si nota in pianta al num[ero]. 22. A. Speco della Tepula. B. Speco della Marcia. C. Investitura del condotto riferita ai num[eri]. 117, 118, 119, e 120 dell’Indice generale. D. Bottino. E. Imbocco di una parte della Marcia nel *Bottino F. Discesa dell’acqua nel ricettacolo sottoposto al Bottino. G. Altro imbocco corrispondente allo sgorgo H per dove lacqua entrava nel rivo Erculaneo I. L. Piano moderno di Roma. M Rovine che ingomb[ro]no il Bottino. N. Piano ant[i]co. di Roma Fig[ura]. III dimostrativa delle diverse costruzioni e andamenti degli antichi aquedotti. A. Aquedotto arcuato. B. Aquedotto sostruito. C. Superficie del terreno. D. Aquedotto sotterraneo. E. Aquedotto curvo inferiore all’aquedotto D. F. Aquedotto o rivo che interseca inferiormente l’aquedotto E. G. Altro aquedotto o rivo tendente in opposto. Signature: Piranesi Archit[etto]. dis[egnò]. inc[ise]. TITLE LABEL: Topographical Map of Rome which demonstrates the courses of the ancient aqueducts referred to in the Commentary by Frontinus, as well as the boundaries of the ancient regions and ancient streets of the city. KEY: Declaration of the Map Legend A. Modern walls of Rome B. Walls of Rome prior to Emperor Aurelian - Arches of the Aqueducts of the Acqua Marcia, Tepula, and Giulia - Arches of the Aqueducts of the Acqua Claudia and Aniene Nuovo - Arches of Nero - Arches of Antoninus - Foundational Arches [partially underground] - Subterranean Arches - Subterranean Stream, forming a portion of the waters of the aqueducts - Boundaries of the ancient Regions of Rome - Annotation indicating the ancient streets - The remaining annotations are declared either in the Map, or in the Explanation of the same that follows. SCALE: Ancient Feet 500...Roman Feet 5000. COMPASS: T – North, L – East, M – South, P – West. FIGURE I. Key: A. Water channel of the Acqua Anione Nuovo B. Water channel of the Acqua Claudia. C. Water channel of the Acqua Giulia. D. Water channel of the Acqua Tepula. E. Water channel of the Acqua Marcia. F. Water channel of the Acqua Anione Vecchio G. Water channel of the Acqua Vergine. H. Water channel of the Acqua Appia. I. Water channel of the Acqua Alsietina. J. Naumachia of Augustus in Trastevere. M. Ancient ground level of the Esquiline Hill at the Porta Maggiore. N. Ancient ground level of the Campus Martius, and of the ancient Salt Mines near the Porta Trigemina. FIGURE II. Section of the Reservoir that received part of the Aqueduct of the Acqua Marcia in order to divert it into the Herculaneum stream noted in the map at number 22. A. Water channel of the Acqua Tepula. B. Water channel of the Acqua Marcia. C. Exterior covering of the conduit referred to in numbers 117, 118, 119, and 120 in the General Index. D. Reservoir. E. Duct of a part of the Acqua Marcia in the Reservoir. F. Descent of the water into the receptacle underneath the Reservoir. G. Another duct corresponding to the outlet H where the water entered the Herculaneum stream I. L. Modern ground floor of Rome. M. Ruins that blocked the Reservoir. N. Ancient ground floor of Rome. FIGURE III demonstrating the different constructions and courses of the ancient aqueducts. A. Aqueduct with arches. B. Foundations of an aqueduct [partially underground] C. Ground level. D. Subterranean aqueduct. E. Curved aqueduct underneath the aqueduct D. F. Stream of the Aqueduct that intersects underneath the aqueduct E. G. Another aqueduct or stream going in the opposite direction. Signature: Drawn and engraved by the Architect Piranesi.
Key: 1. Porta di Aureliano oggi chiusa. 2. Mura dello stesso 3. Via Selciata 4. Muro rifatto da moderni 5. Andamento del Castro 6. Abitazioni rifatte posteriorm[en]te a Costantino 7. Fabrica di Costantino su gl’angoli curvilinei di Tiberio 8.9. Porte di Costantino munite nell’interno di vanguardie da Bellisario, allorche ingrossò il muro 10. Avanzo di via Selciata 11. Castro rovinato. Key 2: A. Pianta della forma del Castro di Tiberio innanzi al suo disfacimento, la quale si è rivelata da suoi avanzi, e dal Prospetto, che si vede nel basso rilievo dell’Arco di Costantino, dalle Medaglie, e dagli antichi Scrittori. B. Guardie o siano ingressi muniti di torri circolari. C. Portici per passeggio de soldati. D. Tribunale nel mezzo del Castro. E. Tempio di Tiberio. F. Statua di Marte. G. Statua di Giulio Cesare. H. Statua di Augusto. I. Due gran torri per conservare le macchine militari. K. Piazze con fontane. L. Vie con abbitazioni de Soldati. M. Strada sotterranea, che s’univa all’altra sotto l’Argine di Servio e di Tarquinio, fatta per introdur soldati nella Città, e passava sotto le mura. N. Dal O. fino al P. fù prolungata da Diocleziano per introdur guardie nelle sue Terme. Q. Terme di Diocleziano. R. Mura della Città anteriori ad Aureliano. S. Porta Viminale. T. Argine del Rè Servio, e di Tarquinio. Scale: Palmi 50 100 800 Romani. Signature: Piranesi Architetto dis[egnò]. inc[ise]. Key: 1. Aurelian Gate, closed today. 2. Aurelian Walls. 3. Via Selciata 4. Wall rebuilt by modern architects 5. Extent of the Castrum 6. Housing rebuilt after Constantine 7. Building constructed by Constantine on the round corners of the [castrum of] Tiberius. 8 and 9. Gates built by Constantine and fortified in the interior by the vanguards of Belisarius, in order to thicken the wall. 10. Remains of the Via Selciata. 11. Ruins of a castrum. Key 2: A. Plan of the form of the Castrum of Tiberius before its destruction, which is revealed through its ruins and Façade and which can be seen in the bas-relief of the Arch of Constantine, in Medals, and in the Ancient Writers. B. Guard posts, or entrances fortified by circular towers. C. Porticoes for the passage of soldiers. D. Tribunal in the middle of the Castrum. E. Temple of Tiberius. F. Statue of Mars. G. Statue of Julius Caesar. H. Statue of Augustus. I. Two large towers to hold the military machines. K. Piazzas with fountains. L. Streets with housing for the Soldiers. M. Subterranean street, which connected to another street under the embankment of Servius and Tarquin. It was built to let soldiers into the City, by passing under the city walls. N. From O until P the street was extended by Diocletian to let the guards in the Baths Q. Baths of Diocletian. R. Walls of the City built before Aurelian. S. Porta Viminale. T. Embankment of the King Servius, and of Tarquin. Scale: Roman Palmi 50 100 800. Signature: Drawn and engraved by the Architect Piranesi.
Title: Rappresentasi nella figura I il Ninfeo, di Nerone, e insieme lo Stadio, l’Odeo, ed i Templi della Gente Flavia, fabbricati da Domiziano. Key: 1. Salita al Ninfeo. 2. Atrio con vestiboli, e cubicoli per varj usi. 3. Tempio di Nerone. 4. Piazza dinnanzi al Tempio. 5. Sala con emicicli per i conviti. 6. Stagno incavato nel terr[e]n vergine del Monte Celio, e che riceveva l’acqua da magnifiche fontane, ornate di Tritoni, cavalli marini, delfini, e gruppi di Statue. 7. Portici circolari situati sopra il medesimo Stagno. 8. Celle sul piano inferiore del Ninfeo. 9. Aquedotto del Ninfeo. 10. uno degli archi dell’aquedotto, ove si legge l’avanzo della iscrizione rapportata nella fig[ura]. II. e supplita nella figura III. colle lettere NERO secondo l’interpretazione la più probabile, che tante nè più nè meno doveano occuparne lo spazio, ov’ elle mancano, venendo così a comporre la parola NERONIONIANA, la quale, tutto che sia un solecismo per l’incremento delle due sillabe ONI, incompatibile ne’ secoli della latinità; può nondimeno esser ciò derivato dalla inavvedutezza degli artefici nel comporla. 11. Stadio di Domiziano. 12.Tribune situate al piano dello Stadio, delle quali si da la pianta in forma grande alla fig[ura]. IV. le medesime hanno al di dietro un’andito fattovi forse per isfogo dell’umidità che vi cagionavano le acque del Ninfeo, e del Monte Celio acciò queste non danneggiassero gli stucchi de’ quali erano adorne le stesse tribune al dinnanzi. 13. Tempio della Dea Pallade. 14. Tempio di Domiziano. 15. Tempio di Vespasiano. 16. Odeo. 17. Serraglio delle fiere fabbricato da Domiziano ad uso dell’Anfiteatro. 18. Fonte, o sia lago gia detto del Pastore. 19. Arco di Costantino. 20. Anfiteatro Flavio. 21. Aquedotto di Claudio. 22. Odierna Chiesa di S[anti] Gio[vanni] e Paolo. 23. Avanzi della Casa di Scauro. 24. Avanzi della Casa della Famiglia Anizia. 25. Avanzo degli alloggiamenti de Soldati pellegrini. 26. Altra parte dell’acquedo[t]to del Ninfeo con bottino. 27. Chiesa di S[anto]. Stefano rotonda nel suo primiero essere. Signature: Piranesi Archit[etto]. dis[egnò]. inc[ise]. Title: The Nymphaeum of Nero is represented in figure I, together with the Stadium, Odeon, and Temples of the People and of Flavia, built by Domitian. Key: 1. Ascent to the Nymphaeum. 2. Atrium with vestibules and small rooms for various uses. 3. Temple of Nero. 4. Piazza in front of the Temple. 5. Room with hemicycles for banquets. 6. Pond hollowed out in the virgin soil of the Caelian Hill, which received water from magnificent fountains that were adorned with Tritons, seahorses, dolphins, and groups of Statues. 7. Circular Porticoes situated above the Pond. 8. Rooms on the lower level. 9. Aqueduct of the Nymphaeum.10. One of the arches of the aqueduct, where one reads the remains of the inscription reproduced in figure II and additionally in figure III with the letters NERO according to the most probable interpretation, [since] the number of letters could be no more and no less to fit the space where the letters are missing, and [these words] come together to form the word NERONIONIANA, which is a grammatical error due to the addition of the two syllables ONI, which is incompatible with the centuries of ancient Latin. In any case, [this error] might have been due to the carelessness of the authors in composing the inscription. 11. Stadium of Domitian. 12. Tribunes located on the same level as the Stadium, which are shown in a close-up of the plan in figure IV. They have a passageway behind them, possibly made to vent the humidity caused by the waters of the Nymphaeum and of the Caelian Hill so that it would not damage the stucco work that adorned the front of the galleries. 13. Temple of the Goddess Pallas [Athena]. 14. Temple of Domitian. 15. Temple of Vespasian. 16. Odeon. 17. Cages of the Animals built by Domitian for the Amphitheater [the Colosseum]. 18. Fountain, or lake of the aforementioned Priest. 19. Arch of Constantine. 20. Flavian Amphitheater [the Colosseum]. 21. Aqueduct of Claudius. 22. Today, the Church of Santi Giovanni e Paolo. 23. Ruins of the House of Scaurus. 24. Remains of the House of the Anicia Family. 25. Remains of the quarters of mercenary soldiers. 26. Another part of the aqueduct of the Nymphaeum with a reservoir. 27. Church of Santo Stefano Rotondo in its first state. Signature: Designed and engraved by the Architect Piranesi.
Title and description: PIANTA delle Terme di Diocleziano, Il primo loro piano fu riempiuto di scarichi delle rovine di una parte delle fabbriche del piano superiore, le quali, perchè minacciavano rovina, furon fatte demolireda Sisto V. La tinta più nera indica gli avanzi ch’ esistono, e la più leggiera il supplimento da me fattovi come nelle altre tavole. Key: 1. Argine di Tarquinio al pari di questo piano. 2. Strada selciata che porta ai tre ingressi delle Terme. 3. Vestibolo. 4. Portico, il quale circondava la gran piazza, e conduceva agli’ingressi della Palestra.5. Vestiboli degli atrj. 6. Tablini. 7. Atrj del Sisto scoperti. 8. Magnifico e vastissimo Sisto, diviso in tre portici, e maggiore di tutti tra le Terme. 9. Luoghi ove si preparavano gli Atleti, e gli altri che si esercitavano nel Sisto. 10. Cavedi Scoperti per dar lume a’ portici della Palestra. 11. Atrio della Palestra, overo Dieta per uso di chi veniva da questa parte. 12. Stanza degli Atleti con bagno. 13. Alveo, o fossa. 14. Fornelli per riscaldare la stanza predetta. 15. Accademie. 16. Esedre a similitudine di portici per ricovero del Popolo. 17. Area con sedili in prospetto per comodo degli spettatori de’ giuochi. 18. Portico che circondava i sedili suddetti fabbricato in maggiore elevazione de’ medesimi. 19. Biblioteca greca. 20. Biblioteca latina l’una e l’altra fatte quivi trasportare da Diocleziano dal Foro di Trajano. 21. Diversi emicicli, o accademie per uso de’ letterati. 22. Luoghi ove s’ esercitava la gioventù. 23. Luoghi per riporvi gli strumenti necessari, e le vesti degli Atleti, e per abitazione degli ufiziali. 24. Abbaini per dar lume al piano inferiore. 25. Tepidario delle Terme. 26. Tempio d’Esculapio. 27. Tempio della Salute. Signature: Piranesi Archit[etto]. dis[egnò]. inc[ise]. Title and description: PLAN of the Baths of Diocletian. The first floor was filled with fragments of ruins from a part of the buildings on the upper floor. These buildings were demolished by Sixtus V because they were in danger of collapsing. The darker ink indicates the extant ruins and the lighter ink indicates my additions, as in the other plates. Key: 1. Embankment [built by] Tarquin equal to the height of this level. 2. Cobblestone street that leads to the three entrances of the Baths. 3. Vestibule. 4. Portico that surrounded the great square and led to the entrance of the Gymnasium. 5. Vestibules of the atria. 6. Dining rooms. 7. Open Atria of the Xystus. 8. Magnificent and incredibly vast Xystus, divided into three porticoes, and the largest of all the Baths. 9. Places where the Athletes prepared themselves, and where others exercised in the Xystus. 10. Open Courtyard, to give light to the porticoes of the Gymnasium. 11. Atrium of the Gym, or rather Assembly Hall for the use of people coming from this side [of the Baths]. 12. Room with a bath for the athletes. 13. Waterbed, or pit. 14. Furnaces for heating the aforementioned room. 15. Academies. 16. Exedra similar to the porticoes to give shelter to the People. 17. Area with seats, shown in plan view, for the comfort of the spectators of the games. 18. Portico that surrounded the aforementioned seats, built in higher elevation. 19. Greek Library. 20. Latin Library, [both of which were] brought here by Diocletian from the Forum of Trajan. 21. Various hemicycles, or academies, for the use of the scholars. 22. Place where the youths exercised. 23. Place where the necessary equipment and clothes of the Athletes were held, as well as [the location of] the housing for the officials. 24.Attics to give light to the lower floor. 25. Tepidarium of the Baths. 26. Temple of Aesculapius. 27. Temple of Salus. Signature: Drawn and engraved by the Architect Piranesi.
Title and description: PIANTA dell’antico Foro Romano, comprensivo delle Valli esistenti fra i Monti, Capitolino, Palatino, Celio, Equilino, e Quirinale, e contenente tutte le antiche fabbriche, disposte secondo la situazione e la traccia de’ loro odierni avanzi, e denominate nell’Indice consecutivo. La tinta più nera indica gli stessi avanzi, e la più leggiera il supplimento ai medesimi. Signature: Piranesi Archit[etto]. dis[egnò]. inc[ise]. Title and description: PLAN of the ancient Roman Forum, comprising the extant Valleys and Hills including the Capitoline, Palatine, Caelian, Esquiline, and Quirinal, and containing all the ancient buildings organized according to their location and description, as well as traces of the ruins that still exist today which are listed in the Index that follows. The darker ink indicates the extant ruins and the lighter ink indicates my reconstruction. Signature: Drawn and engraved by the Architect Piranesi.
Title and description: Nella figura I rappresentasi la Pianta del Monte Capitolino, e sua Rocca colla situazione di tutti i suoi Edifizi. La tinta piu nera indica l’esistente, e la meno nera dimostra il supplito da me. Nella figura II fannosi vedere in prospettiva i due Corni, ovvero Sassi, che sorgevano ne’ lati Capitolini, ora in gran parte ricoperti dalle rovine, a riserva di qualche parte del Sasso A. che vedesi dietro al Palazzo Savelli per la scenta di Torre de specchi, quale è ricoperto da altre rovine, che oggi formano il Piano moderno sino al B. l’altra parte C resta sotterrata nella moderna Rupe Tarpeja, D. Avanzo delle Mura, e delle Torricelle del Campidoglio sotto la Scuderia del Palazzo Cafarelli E. Altre mure antichissime di peperino brugiate dal fuoco con avanzi delle volte de Corridoj quali veggonsi nell’orticello Savelli dietro le stalle del Palazzo sudetto F. Avanzi di due Torricelle, che attaccano al detto muro. G. In questo sito era la franchigia ornata di Alberi, oggi Piazza Capitolina. H. Altro Sasso, sopra il quale era piantato il Tempio di Giove Feretrio, e di Marte Capitolino. Volendo i PP[adri]. D'Araceli fabr[ic]ar. La Libreria trovarono 20 palmi sotto al Tinello il mentovato Sasso, sopra al quale alzarono un grosso sperone per sostener la detta Libreria. Signature: Piranesi Architetto dis[egnò]. inc[ise]. Medal 1: IOVI CAPITOLINO S.C. [Sanctus] Medal 2: IOVI FERETRIO AC MARTI S.C. [Sanctus] Title and description: The Plan of the Capitoline Hill and Crag is represented in Figure I, with the location and description of all its Buildings. The darker ink indicates the extant ruins, and the lighter ink demonstrates my reconstruction. In Figure II, shown in perspective, are the two Horns, or Crags, that rise from the sides of the Capitoline Hill, now in large part covered by ruins, except part of Cliff A, which can be seen behind Palazzo Savelli through the ascent to the Tor de’ Specchi. This is covered by other ruins which today form the modern ground level up to B, with the other part C remaining buried under the modern Tarpeian Rock. D. Ruin of the Walls, and of the Towers of the Capitoline Hill under the Stables of Palazzo Caffarelli. E. Other very ancient walls of peperino, burned by the fire, with ruins of the vaults of the Corridors. These can be seen in the Savelli gardens behind the stalls of the aforementioned Palace. F. Ruins of the Towers attached to the aforementioned walls. G. On this site was the Sanctuary surrounded by Trees, today the Piazza of the Campidoglio H. Another Cliff, above which the Temple of Jupiter Feretrius and Mars was built. Since the Fathers of Araceli wanted to build a bookshop there, one can find the aforementioned Cliff 20 palmi underneath the Kitchens, above which they erected a large buttress to hold up the aforementioned Bookshop. Signature: Drawn and engraved by the Architect Piranesi. Medal 1: [Temple of] Jupiter Capitolinus. Medal 2: [Temple of] Jupiter Feretrius and Mars.
Title: Pianta del Piano Superiore della parte del Palazzo de Cesari creduta l’abitazione d’Augusto sul Monte Palatino, il piano inferiore del quale era destinato per Terme o Bagni. Key: A. Siti corrispondenti sull’Atrio che era avanti la Casa. B. Gran sale sul dinnanzi dell’Edifizio ornate di nicchie alternativamente rettilinee, e curvilinee per tutto il giro delle pareti. C. Sito per quale dall’Atrio si passava al Tablino. D. Tablino. E. Sala di communicazione a due parti consimili della Casa, una delle quali poteva essere abitava da Livia, e l’altra da Augusto. F. Sale nobili ornate di Emicicli, e con graticcie di marmo nel mezzo, le quali davano lume all’altre sale nobili sottoposte. G. Antisale. H. Retrostanze di communicazione coll’antisale e sale sudette. I. Aditi con porte di communicazione alle dette sale e retrocammere. K. Gabinetti ottagoni. L. Ale di portici corrispondenti sopra due piccioli Cavedj di communicatione con le scale che discendono al secondo piano destinato per uso de Bagni. M. Atrio avanti la scala. N. Scale di communicazione col piano inferiore destinato per uso dei Bagni. O. Peristilio che nel piano inferiore era circondato da’ quattro ale di portici, e nel superiore solamente da due logge o gallerie segnate. a a. P. Terrazzi corrispondenti sopra l’altre due ale dei portici del piano inferiore. Q. Conclavi per uso di abitazioni ed altro. R. Atrio nobile che in questo piano era ornato di pilastri, e communicava col piano superiore del sito curvilineo che sovrastava al Circo Massimo, e poteva essere il Podio Imperiale. S. Gallerie. T. Cavedi, o piccoli cortili pensili con fontane nel mezzo, in uno de quali fu’ trovato il condotto di piombo. V. Siti nobili di forma circolare in uno de quali fu’ trovato qualche frammento di Statua. X. Aditi di communicazione fra le gallerie, li cavedi, e li siti sud[ett]i. Y. Muri curvilinei ed altre stanze annesse che sovrastano al Circo Massimo erroneamente creduti parte del Teatro di Statilio Tauro, questi servivano di sustruzione ad un nobilissimo Podio o Tribuna imminente al Circo che aveva communicazione col descritto edifizio, ed era probabilmente il Podio dell’Imperatore. Z. Cortili minori esterni recinti di muro. b b. Ippodromo con indizio certo di portici all’intorno formati da due ordini di colonne. c c. Piano superiore delli detti portici che girano all’intorno dell’Ippodromo. d d. Siti nobili appartenenti all’Ippodromo. Si avverte che la tinta oscura dinota la fabrica che ancora esiste, o che resta al paro del piano di sotto, la seconda tinta un poco men carica quello che in questo piano è stato scoperto e che in parte esiste, la tinta più chiara dinota quello che e stato supp[li]to. Signature: Cav[alier]. Francesco Piranesi del[ineò]. e inc[ise]. 1787. Title: Plan of the Upper Floor of the Palace of the Caesars, believed to the House of Augustus on the Palatine Hill. The lower floor was intended for Baths, or Washrooms. Key: A. Areas corresponding to the Atrium, which was in front of the House. B. Large halls at the front of the Building ornamented with alternating rectilinear and curvilinear niches for the entire perimeter of the walls. C. Space that passed from the Atrium to the Tablinum. D. Tablinum. E. Corridor in two similar areas of the House. One area could have been inhabited by Livia, and the other by Augustus. F. Noble Halls embellished with Hemicycles that had marble latticework at the center. These provided light to the other noble halls below. G. Antechambers H. Storerooms with access to the antechamber and aforementioned [noble] halls. I. Entrances with doors that have corridors to the aforementioned halls and backrooms. K. Octagonal washroom. L. Wings of the porticoes corresponding to those above. Two small interior courtyards access the stairs that descend to the second floor intended for the use of the Baths. M. Atrium in front of the stairs. N. Stairs that access the lower floor intended for use of the Baths. O. Peristyle on the lower floor that was surrounded by four wings of porticoes, and on the upper floor by only two loggias and galleries labeled a.a. P. Terraces above the other two wings of porticoes of the lower floor. Q. Closed rooms for habitation and other uses. R. Noble Atrium ornamented with pilasters, and which, from this floor, accessed the upper level at the curved area above the Circus Maximus, and could have been the Imperial Podium. S. Galleries. T. Cavaedia, or small elevated courtyards with fountains in the center. A lead water conduit was found in one of them. V. Circular noble rooms, in one of which a fragment of a Statue was found. X. Entrances that form corridors between the galleries, the cavaedia, and the aforementioned [noble] rooms. Y. Curved walls and other annexed rooms above the Circus Maximus, erroneously believed to be part of the Theater of Statilius Taurus. These [walls] served to support the foundations of a most noble Podium or Tribune above the Circus that accessed the described edifice. This was probably the Podium of the Emperor. Z. Minor exterior courtyards surrounded by walls. bb. Hippodrome with conclusive evidence of surrounding porticoes formed by two floors of columns. cc. Upper floor of said porticoes that surround the Hippodrome. dd. Noble rooms belonging to the Hippodrome. One should note that the darker ink indicates the extant building on the same level of the lower floor, and the second slightly lighter ink indicates what was discovered on this floor, which still partially exists, and the lighter ink indicates that which has been reconstructed. Signature: Drawn and engraved by the Cavalier Francesco Piranesi.
Title: Pianta del piano inferiore d’una parte del Palazzo de Cesari creduta le Terme Palatine. Key: A. Peristilio, o sia Cortile con portici intorno. B. Sala nobile con aperatura rotonda nel mezzo della fornice, o volta, che illuminava il detto sito. C. Sale ottagone parimente con apertura nel mezzo della fornice. D. Gabinetti di communicazione, con volte dipinte. E. Retrostanze, che erano nobilmente ornate con marmi mischi. F. Piccioli Cavedj che in questo piano erano ornati di portici arcuati sostenuti da pilastri quadrangolari. G. Stanze corrispondenti nei portici dei detti Cavedi. H. Stanze consimili, che communicavano con una delle Sale ottagone. I. Scale che dal piano superiore, discendevano in questo. K. Sterquilinj magnifici nobilmente impellicciati di marmo, che restano segregati da tutta l’abitazione. L. Aditi di communicazione co’ portici del Peristilio, de quali si le pareti, che le volte erano nobilmente dipinte. M. Piscine, o stanze per bagni freddi anche queste impellicciate di marmo. N. Stanze consimili per bagni caldi. O. Podi o Risege ad uso di Decursorj all’intorno delle stanze formante vasche. Q Sopoditeri, o siano spogliatori. R. Stanze intermedie per Tepidarj, Sudatori, ed altro. S. Corridore con volta dipinta. T. Sale nobili di communicazione a detti bagni. V. Parti della casa consimili a quelle del piano superiore. X. Stanze al disotto de cortili pensili corrispondenti nel piano superiore. Y. Atrio nobile con indizio certo di colonnato per cui dal piano Peristilio si passava al piano inferiore del sito curvilineo creduto il teatro di Statilio Tauro. Le altre parti della casa sono gia’ descritte nella tavola antecedente Signature: Cav[alier]. Fr[a]nc[esc]o. Piranesi del[ineo]. e inc[ise]. 1787. Title: Plan of the lower floor of the Palace of the Caesars, believed to be the Palatine Baths. Key: A. Peristyle, or Courtyard with surrounding porticoes. B. Noble hall with a round opening in the middle of the archway, or vault, that illuminated the space. C. Octagonal room, also with an opening in the middle of the archway. D. Washrooms and corridors with painted vaults. E. Backrooms that were nobly adorned with inlaid marble decoration. F. Small courtyards on this floor were ornamented with arched porticoes sustained by quadrangular pilasters. G. Rooms corresponding to the porticoes of the aforementioned courtyards. H. Similar rooms that accessed one of the octagonal rooms. I. Stairs that descended from the upper floor to this one. K. Magnificent sewers nobly covered with marble, which are separated from the rest of the house. L. Entryways that access the porticoes of the Peristyle, whose walls and vaults were nobly painted. M. Pools, or rooms for cold baths that are also covered with marble. N. Similar rooms for hot baths. O. Podium or Platforms for the use of the Cavalry around the rooms that formed the pools. Q Double peristyle, or possibly dressing rooms. R. Intermediate rooms for the Tepidaria, Sudatoria, and others. S. Corridor with a painted vault. T. Noble rooms that access the aforementioned baths. V. Parts of the house similar to those of the upper floor. X. Rooms below the exterior courtyards corresponding to the upper floor. Y. Noble Atrium with conclusive evidence of a colonnade through which one passed to the lower floor from the Peristyle, [situated] on the curved area believed to be the theater of Statilius Taurus. The other parts of the house have already been described in the previous plate. Signature: Drawn and engraved by the Cavalier Francesco Piranesi. 1787.