Demonstration of in large atrium aforesaid 

Editor: This is “Demonstration of in large atrium aforesaid”, an etching and engraving by Giovanni Battista Piranesi. It’s fascinating, it gives the illusion of peering into an almost infinite space through what appears to be some kind of opening. What’s your take on this piece? Curator: What grabs me is how Piranesi manipulates the architectural materials here. Look at the precision of the engraved lines, creating an illusion of depth and substance from what are, at their core, simple tools applied to metal. It speaks volumes about labor and skill. Editor: It's incredible how he achieves such depth with just lines. Were these prints widely accessible back then? Curator: That’s precisely the question! Were these images intended to democratize art through printmaking? The materials used to construct this print are accessible. Etching wasn’t some high-art secret. By producing these scenes as prints, Piranesi participates in a shift towards broader cultural consumption, while also preserving older forms of architecture through documentation. Editor: So, the act of reproducing and distributing the image itself becomes a key part of its meaning. It challenges, or at least shifts, traditional notions about the divide between craft and "high" art? Curator: Exactly. It asks us to consider who gets access to images and what material processes enable that access. Also consider where they were sold, who sold them, and how labor entered into their distribution. Editor: I see that now. Looking at it from this angle makes me appreciate the skill involved and also think about the work it took to make something like this available. Curator: Indeed. Piranesi’s skill wasn’t just in depiction but in utilizing readily available methods to reach an expanding audience and perhaps accrue personal financial gain from expanded print markets. Editor: That definitely gives me a new way of looking at etchings and prints. Thank you for your time and perspectives!