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).VolumesGenres and SubjectsBibliographyGlossary and Abbreviations
View of the Dining Room of Nero's Golden House (1 of 2)
12019-05-29T13:24:04-07:00Aniruth Sivakumara921b78c454763598f1523de5631457adad031a12284917Veduta Degli Avanzi del Tablino Della Casa Aurea di Nerone, Detti Volgarmente il Tempio Della Paceplain2020-12-21T14:03:41-08:00Title: VEDUTA DEGLI AVANZI DEL TABLINO DELLA CASA AUREA DI NERONE, DETTI VOLGARMENTE IL TEMPIO DELLA PACE Key: 1. Di qui fu trasportata da Paolo V. la gran Colonna che si vede innalzata nella Piazza di Santa Maria Maggiore. 2. Muri, e piloni che reggevano la parte opposta del Tablino. 3. Nicchie per le Statue degli uomini illustri. Signature: Piranesi Architetto fec(it). Signature 2: Presso l’Autore a Strada Felice vicino alla Trinità de’ Monti.Title: View of the Dining Room of Nero’s Golden House. Key: 1. From here the great Column, that one sees erected in the Piazza of the Church of Santa Maria Maggiore, was transported by Paul V. 2. Walls, and pillars, that held up the opposite part of the Dining Room. 3. Niches for Statues of illustrious men. Signature: Made by the Architect Piranesi. Signature 2: Published by the Author near Trinità de Monti.Jeanne Brittone120651dde677d5cf1fd515358b14d86eb289f11Sketchily rendered with shallow hatching, the looming coffered vaults of the Golden House of Nero (now consideredthe Basilica of Maxentius), provides a theatrical backdrop for the first of Piranesi’s three views of the site. Yet this perspective departs from the immersive encounter that Piranesi typically seeks to create between monument and beholder (as he does in the second view of the Golden House). What does appear in the beholder’s immediate visual space is not the most impressive part of the monument but rather its discarded fragments, trampled upon by goats, monks, beggars, and shepherds who are seemingly oblivious to their significance (Zarruchi 377). Yet it is precisely these fragments that are of the most interest to Piranesi. The rubble creates a kind of “barricade” in which “the onlooker does not feel invited to ‘enter’ the image and visit the city in his mind, as is the case in the traditional vedute” (Verschaffel 129). Through this inaccessibility, Piranesi seems to shift the attention of viewers to fragments that are, as the key asserts, pieces of archeological evidence. Based on the form and method of construction of the walls labeled “2,” Piranesi concludes that they provided structural support to the opposite hall from the dining rooms [“Muri, e piloni che reggevano la parte opposta del tablino”]. The large format of the Views of Rome afforded Piranesi with the space to render each element with unprecedented detail, elaborating upon the smaller view in the Antichità Romane. For example, viewers can see the individual bricks and ornamental scheme of the coffers of the supporting wall on the far left. These coffers are virtually identical to those in the three main vaults in the main structure, providing Piranesi and his viewers with visual confirmation that the fragments in the foreground also belong to the larger complex of the Golden House of Nero. This controversial claim, which departed from the contemporary designation of the vaults as the Temple of Peace, also motivates Piranesi’s focused analysis of a fragment in his third view of the monument. (ZL)
To see this image in the Vedute di Roma, volume 17 of Piranesi’s Opere, click here.
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1media/Picture2.jpgmedia/17 Frontispiece cropped.jpg2018-10-19T10:30:22-07:00Jeanne Brittone120651dde677d5cf1fd515358b14d86eb289f11Views of Rome (2 of 2)Jeanne Britton38Vedute di Romaimage_header2021-03-25T13:05:24-07:00Jeanne Brittone120651dde677d5cf1fd515358b14d86eb289f11