The Roman antiquities, t. 4, Plate XXI. Other split, profiles and details of the Bridge of Four Heads. 

Giovanni Battista Piranesi made this etching of the Bridge of Four Heads as part of his series on Roman antiquities. Through prints like this, he constructed an image of Rome as a grand, historic site, one that was both impressive and decayed. Piranesi was working during the height of the Grand Tour, when wealthy Europeans, especially the British, traveled to Italy to experience its art and culture. These prints catered to their fascination with Rome's past. Notice the detailed architectural rendering, typical of the period. But, the image also includes elements of contemporary life, such as the working boats in the foreground. It's a romanticized view of everyday Roman life, intertwined with the grandeur of its ancient ruins. By studying sources from the period, such as travel accounts, architectural treatises, and the prints themselves, we can better understand the cultural and institutional context that shaped Piranesi's work and its reception. The artist was not just documenting history; he was actively shaping it.