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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, Subjects, and ThemesBibliographyGlossary
Ruins of the arches that brought the water of the Acqua Claudia from the Caelian Hill to the Palatine Hill
12020-04-10T20:59:03-07:00Avery Freemanb9edcb567e2471c9ec37caa50383522b90999cba228492from Volume 01 of Giovanni Battista Piranesi's Opereplain2022-09-08T13:14:06-07:00Internet Archiveimagepiranesi-ia-vol1-060.jpgZoe Langeref2dd00d773765a8b071cbe9e59fc8bf7c7da399
12021-03-30T11:16:09-07:00Remains of the Arches that Brought the Water of the Aqua Claudia from the Caelian Hill to the Palatine Hill11Avanzi degli archi che dal Monte Celio conducevano l'Acqua Claudia sul Palatinoplain2025-01-27T12:53:37-08:00Avanzi degli archi che dal Monte Celio conducevano l'Acqua Claudia sul Palatino.; A. Pilastro angolare dell’arcuazione provegnente dal Celio come dimostra il di lei avanzo. B. C. Direzione degli archi verso il Palatino. D. Avanzi della Casa Neroniana.; Piranesi Archit(etto) dis(egnò) inc(ise).Remains of the arches of the aqueduct that brought the water of the Aqua Claudia from the Caelian Hill to the Palatine Hill.; A. Corner pilaster of the arches that come from the Caelian Hill, as its remnant B illustrates. C. Direction of the arches toward the Palatine. D. Remains of the House of Nero.; Drawn and engraved by the Architect Piranesi.
The Aqua Claudia was begun under the the reign of the emperor Caligula (12-41 CE) and completed under that of the emperor Claudius (10 BCE-54 CE) in 52 CE. The Goths cut the aqueducts in 537 CE, ending the presence of aqueduct water in Rome. As Howard Hibbard remarked, without water Rome had “shrunken like a nut within the shell of her ancient walls” (5). Here, Piranesi captures the remains of the Aqua Claudia, where it descends from the Caelian Hill towards the Palatine Hill, identified in the key (C). Two staffage figures occupy the center of the image, pointing at the aqueduct and providing scale. The ruins are populated with vegetation that grows out of and on top of the masonry’s crevices; indeed, the staffage figures mimic tree roots, seeming to grow out of the landscape. With the light source coming from the left, the giant masonry piers of the aqueduct cast dramatic shadows, as light pierces through the arched openings. Piranesi’s caption identifies and explains the ruined aqueduct: “A. Pilastro angolare dell’arcuazione provegnente dal Celio come dimostra il di lei avanzo B.”
Piranesi frequently cites De Aquis Urbis Romae, one of the earliest accounts of the Roman aqueduct system’s functioning, by Sextus Julius Frontinus (c. 40-103 CE). Since the text’s rediscovery in manuscript form in the sixteenth century, De Aquis Urbis was often published in tandem with Vitruvius’s De Architectura, which was also rediscovered by Renaissance humanists. Piranesi certainly would have owned a copy (if not several) of Frontinus and Vitruvius’s texts. Knowledge acquired by reading about the aqueducts was supplemented with careful study of the physical remains, like the ones pictured here. Reading and annotating such texts would have been a crucial step in Piranesi’s efforts to map, understand, and reconstruct Rome’s aqueduct system. (SAH)