The Roman antiquities, t. 1, Plate XXXVIII. Plate of topography of Rome. 1756

This topographical plate of Rome was meticulously etched by Giovanni Battista Piranesi in the 18th century. A copper plate would have been prepared, coated, and then engraved with painstaking detail using burins and other tools. The plate was then inked and pressed onto paper, transferring the image. What’s fascinating here is the labor-intensive process combined with the supposed objectivity of the architectural drawing. Piranesi was deeply invested in the materiality of ancient Roman structures, but the printmaking process – involving artisans, workshops, and distribution networks – was thoroughly modern. The sharp lines and tonal gradations, achieved through hatching and cross-hatching, create a sense of depth and texture, almost like a three-dimensional model. Yet, every mark is the result of deliberate, skilled labor. By understanding the work and the social context of printmaking, we can better appreciate the complex relationship between the artist, the material, and the final product.