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
View of the Arch of Constantine and the Colosseum
12019-11-11T16:57:38-08:00Avery Freemanb9edcb567e2471c9ec37caa50383522b90999cba228491from Volume 17 of Giovanni Battista Piranesi's Opereplain2019-11-11T16:57:38-08:00Internet ArchivedatapiranesiRescan_vol17_0193.jpgAvery Freemanb9edcb567e2471c9ec37caa50383522b90999cba
12018-11-05T18:29:02-08:00View of the Arch of Constantine and the Colosseum16Veduta dell’Arco di Costantino, e l’Anfiteatro Flavio detto il Colosseoplain2021-01-26T14:19:10-08:00Title: Veduta dell’Arco di Costantino, e dell’Anfiteatro Flavio detto il Colosseo Key: 1. Meta sudante 2. Radice del Palatino 3. Vestigie delle Terme di Tito 4. Radice dell’Esquilino Signature: Piranesi del(ineavit). scolp(sit). Signature 2: Presso l’Autore a Strada Felice vicino alla Trinità de’Monti.Title: View of the Arch of Constantine and the Flavian Amphitheatre, called the Colosseum Key: 1. Meta sudans [fountain] 2. Foot of the Palatine Hill 3. Ruins of the Baths of Titus 4. Foot of the Esquiline Hill Signature: Designed and engraved by Piranesi. Signature 2: Published by the Author in the Strada Felice near Trinità de Monti.
This view makes the Colosseum resemble a theatrical backdrop to the drama of eighteenth-century street life. Human life is bustling, with groups of tourists inspecting architectural fragments, women accompanied by young children, and an ornate carriage navigating irregular terrain. Tourists and Romans engaged in conversation and observation, including a group of antiquarians “in heated discussion” atop the fragments in the foreground (Wilton-Ely 1988, 33), fill almost the same amount of visual space in this view as do its nominal subjects—the Arch of Constantine and the Colosseum. Whereas other views exaggerate the magnificence of ancient monuments by surrounding them with diminutive human figures, this view literally foregrounds people, as well as animals and plants. The key is not part of the image, and it gives no detail on either subject named in the title but instead stresses the context of these monuments (Wilton-Ely 1988, 44; Graves 291). This context includes natural elements (with trees and vegetation growing alongside and atop the architectural fragments in the foreground) and topographical features (with half of the keys indicating the Palatine and Esquiline hills). Within a vividly defined exterior, the Colosseum’s interior walls and arched passages appear as light suggestions that seem to fade into the cloudless sky rather than being firm and heavy in detail, which is instead prominent in the foreground. While another view of the Colosseum insists on the parallels between architectural and social orders and another offers an impossible angle of vision on the amphitheater, this image contextualizes ancient monuments within natural, topographical, and human settings that compete for the beholder’s attention. (JB)
To see this image in the Vedute di Roma, volume 17 of Piranesi’s Opere, click here.