Vedute di Roma 

Curator: Today we're looking at "Vedute di Roma" by Giovanni Battista Piranesi, an engraving showcasing an interior view. Editor: It feels overwhelmingly imposing. The architectural details seem almost infinite, repeating into the distance. Curator: Piranesi was a master of architectural rendering using etching and engraving. Look at the obsessive detail in each column, each coffer in the ceiling. These weren’t just drawings; they were products intended for the Grand Tour market, for consumption by wealthy European travelers seeking tangible reminders of their Roman experiences. Editor: Right, these prints became accessible symbols of Roman identity, even to those excluded from the elite circles. But I also see a reflection of power in the rendering of space. The Basilica, dominating every inch of the print, really does give the feeling of Roman Imperial presence, speaking volumes about both historical continuity and the authority of the Church. Curator: Exactly! Consider how the production of prints, like this one, contributed to shaping perceptions of Roman grandeur. It allowed for the mass dissemination of a particular ideal, effectively constructing Rome as the ultimate architectural and cultural touchstone. And what about the artisans themselves? Think about their labour, the workshops where these prints were made. The division of labour required to bring this image into existence mirrors in its own way the hierarchies shown within it. Editor: I agree, and perhaps the act of distribution enabled new dialogues beyond the control of the powerful elite, among those that might have disagreed with the systems propping them up in society. Curator: An interesting point to consider as we step into the modern era of media production and consumption. Editor: Yes, seeing the undercurrents within a print such as this remind us about media production and dissemination that resonate to the current day.