Fireplace: frieze with ribbing and scrapers, and a Greek, a rich interior wing 

Giovanni Battista Piranesi made this engraving of a fireplace in 18th century Italy. It’s an example of his interest in Roman classicism, which was widely fashionable at the time. But Piranesi wasn’t just copying ancient designs; he was re-imagining them, creating fantastical and monumental structures that often dwarfed human figures, visible in some parts of the print. This vision of the classical world wasn’t based on archaeological accuracy, it was filtered through the lens of his own cultural moment, a time when Europe’s elite were obsessed with the grandeur of Rome. Consider the social function of these kinds of images. They weren’t just art, they were also marketing tools. Piranesi sold prints like these to wealthy tourists, who would then use them as inspiration for their own homes. This helped shape architectural tastes and promoted a certain image of luxury and sophistication. Art historians look at estate records, travel journals and other documents to understand the impact of artworks on social life during their time. This helps us see art as a product of, and an influence on, social values.