Zabaglia caricature of Nicholas, the Reverend Fabric of St. Engineer Peter 

Editor: Here we have an engraving, a portrait, or rather, a caricature titled "Zabaglia caricature of Nicholas, the Reverend Fabric of St. Engineer Peter" by Giovanni Battista Piranesi. The cross-hatching is remarkable, it feels quite busy and overwhelming as if there are many layers of ink embedded in the surface. What stands out to you? Curator: This is interesting to see Piranesi's work beyond his vedute, and you're right about the intricacy of the engraving process itself. Let’s consider the materials used. The copper plate, the etching tools, the inks, the paper, all products of labour, economy, trade networks; consider the engraver and the social and professional pressures of creating a print for distribution. How does focusing on the materiality and production process shift our understanding? Editor: I suppose thinking about it like that helps us understand that this isn't just about the subject, but also about Piranesi's role as a producer of images for a specific audience and purpose. That caricature becomes a commodity. Curator: Exactly! It speaks volumes about artistic labour, production, and consumption. And the "Reverend Fabric of St. Engineer Peter"... the title mocks or playfully criticizes this man's labour by over-inflating his relevance, almost demeaning him. Think about who would have bought and consumed this image? And why? Editor: Perhaps it was purchased and consumed as satire within intellectual circles, offering social commentary on the structures of power and labor involved in constructing monumental architecture like St. Peter's. I now have a richer appreciation for how much social context goes into this engraving. Thank you! Curator: And I now appreciate how easily we fall into talking only about ‘art’ without truly exploring its foundations.