Two sides of sedan chairs, two tables to the wall, nine chandeliers 

Editor: This print by Giovanni Battista Piranesi, titled "Two sides of sedan chairs, two tables to the wall, nine chandeliers," depicts precisely what the title suggests! There’s something almost theatrical about the display, like set pieces for a play. What catches your eye about it? Curator: It is fascinating how Piranesi uses the print medium to disseminate these designs. He isn't just creating pretty pictures, but influencing taste, and propagating a specific aesthetic tied to the aspirations of the powerful. The ornate detail speaks of wealth and status, intended to be consumed, admired and emulated by a growing public, in Rome and abroad. Notice the prominent display of classical imagery; How does that fit in with his project? Editor: The classical figures and motifs give the designs an air of legitimacy, connecting the owners to the glory of ancient Rome. Was Piranesi perhaps also commenting on the power structures of his own time through these allusions? Curator: Absolutely. By invoking classical authority, Piranesi subtly reinforces the idea of an enduring elite. He positions his patrons as inheritors of this grand tradition, subtly endorsing existing power dynamics, as it reinforces their cultural capital and validates their privileged position. The theatrical presentation that you noted, speaks to the increasingly public nature of consumption. How are we meant to react? Editor: As an observer, one almost feels as though we are complicit in admiring and reinforcing their privilege through this “exhibit”. That adds another layer to these intriguing interiors! Curator: Exactly! It is through distribution that this work generates conversation about power, and luxury. These architectural fantasies both create and reflect the world around him. Editor: Thanks, that really opened my eyes. It’s much more than just pretty chandeliers and sedan chairs!