the building, with all its ornaments, is made of terra cotta, and the Capital “A” is composed differently than all the others.1 2022-03-05T13:00:14-08:00 Jeanne Britton e120651dde677d5cf1fd515358b14d86eb289f11 22849 2 plain 2022-05-03T04:38:09-07:00 Zoe Langer ef2dd00d773765a8b071cbe9e59fc8bf7c7da399
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Ancient Temple Commonly Called the Temple of Salus on the Via d’Albano
Tempio antico volgarmente detto della Salute su la via d’Albano, cinque miglia lontan da Roma. L’opera con tutt’i suoi ornamenti è di terra cotta [...]
Title: Tempio antico volgarmente detto della Salute su la via d’Albano, cinque miglia lontan da Roma. l’opera con tutt’i suoi ornamenti è di terra cotta, e’l Capitello A è composito a differenza di tutti gli altri. Signature: Piranesi F(ecit)
Title: Ancient Temple, commonly called the Tempio della Salute on the Via d’Albano, five miles from Rome. The building, with all of its ornaments, is made of terracotta, and the Capital A is composed differently than all the others. Signature: Made by Piranesi
While the placement of this image in this volume of the Didot edition of Piranesi’s Vedute di Roma guides viewers geographically, its annotations guide viewers visually. If an edition of Piranesi’s views directs viewers along a tourist itinerary, then this image, near the end of the volume, begins to circle back towards Rome after the excursions to tombs in the Caffarella Park and the Temple of Hercules in Cori. Its annotations, as indexical pointers, direct beholders towards this structure’s details and significance. Piranesi’s full title accurately names this structure, which was indeed formerly known as the Temple of Salus. It is one of a group of ancient, mostly second-century temples along the ancient Via Latina, or the Via d’Albano, which are today part of the Archaeological Park of the Tombs of the Via Latina.
His composition exaggerates the modest temple’s proportions and flattens the right side wall, increasing its presence on the page. Gouges in the terra cotta are given at least the same attention as the preserved details of the façade’s three ornamental panels and Corinthian capitals. His single annotation marks a similar interest in building materials, pointing to a capital that is composed differently than the others: “l’opera con tutt’i suoi ornamenti è di terra cotta, e’l Capitello A è composito a differenza di tutti gli altri.” This small annotation lies between the comparatively intact façade, which runs nearly parallel with the edges of the plate, and the varied materials and fallen walls on the temple’s other three sides, which are mostly hidden from view. It also draws a distinction between totality and singularity, between the material used for all of the structure’s surface and ornament and this single element. The light that is visible through the window, near the center of the image, betrays the ruination on the temple’s other side. The foreground is heavily populated with people and goats against a desolate horizon line interrupted only by two distant structures. The annotation that makes these “parlanti ruine” speak guides us to look carefully at inconsistencies in building materials, to notice variations in Roman design, and to value irregularity as much as consistency. (JB)
To see this image in the Vedute di Roma, volume 16 of Piranesi’s Opere, click here.