{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O955235"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O955235/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2011EP1020/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2011EP1020/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2011EP1020","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O955235/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O955235","accessionNumber":"29635C/170","objectType":"Print","titles":[{"title":"Veduta di Castel Sant'Angelo","type":"Assigned by artist"}],"summaryDescription":"","physicalDescription":"Engraving showing a view of Castel Sant’Angelo from the left Tiber waterfront with a couple of figures in the background.","artistMakerPerson":[{"name":{"text":"Piranesi, Giovanni Battista","id":"A8740"},"association":{"text":"made","id":"AAT251917"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"ink","id":"AAT15012"},{"text":"paper","id":"AAT14109"}],"techniques":[{"text":"engraving","id":"AAT53225"}],"materialsAndTechniques":"","categories":[{"text":"Prints","id":"THES48903"},{"text":"Topography","id":"THES252988"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2011EP1020"],"imageResolution":"high","galleryLocations":[{"current":{"text":"LVLE","id":"THES49657"},"free":"","case":"Z","shelf":"12","box":"B"}],"partTypes":[[{"text":"prints","id":"AAT41273"}],[{"text":"drawings","id":"AAT33973"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Italy","id":"x28927"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"circa 1741 - 1748","earliest":"1736-01-01","latest":"1748-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Height","value":"13.8","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":"with mount"},{"dimension":"Width","value":"20.8","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":"with mount"}],"dimensionsNote":"","marksAndInscriptions":[{"content":"Rome: Castello S. Angelo (on the top-right corner in pencil); Veduta di Castel Sant'Angelo.","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":"The title of the print and signature in the lower part have been cut off anf therefore are partly legible"}],"objectHistory":"","historicalContext":"","briefDescription":"Engraving showing a view of Castel Sant’Angelo from the historic neighbourhood of Ponte, that stretches along the right bank of the Tiber River, right in front of Castel Sant'Angelo, after a design by Giovanni Battista Piranesi (1720 - 1778) from the series “Views of Rome.” Italy, circa 1741 – 1748.","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Castel Sant’Angelo, also known as the Mausoleum of Hadrian, was initially commissioned by the Roman Emperor Hadrian in 123 AD as a mausoleum for himself and his family. It featured an imposing cylindrical shape, with multiple layers and a large statue of Hadrian on top. The structure was decorated on the interior and served as the final resting place for several Roman emperors, including Hadrian himself. In the following centuries, the mausoleum underwent various transformations. During the 5th century, it was converted into a fortress by the Visigoths, and later by the Byzantines. In the 14th century, it became a castle under the ownership of the powerful Colonna family. It was during this time that the castle received its current name, \"Castel Sant'Angelo,\" in reference to the legend of an angel appearing on top of the fortress to signal the end of a devastating plague. In the Renaissance period, Castel Sant'Angelo became a papal residence and a refuge for the popes during times of conflict, playing a significant role during the events of the Sack of Rome. \n\nGiovanni Battista Piranesi (1720-1778) is one of the greatest eighteenth century Italian printmakers, architects and one of the leading figures in the development of the neoclassical style. Venetian by birth, he was the son of a stonemason and master builder and had a wide-ranging training in architecture, stage design and perspective composition. In 1740 he settled in Rome and around the same time he came in contact with the works of Tiepolo, which transformed his tight, exact early style to one of bold, fluid lines and dramatic chiaroscuro. Piranesi had little success in his early years in Rome but once established there he became a well-known figure producing a vast number of etchings illustrating Roman architecture and antiquities until his death in 1778. His work had a lasting impact on contemporary tastes in architecture and the decorative arts, primarily in Britain where he was the single greatest influence on architect Robert Adam. \nSome of his most important series of etchings include: \n• Le Antichità Romane (\"Roman Antiquities\"): a series of six volumes published between 1756 and 1769, which contained Piranesi's etchings and descriptions of ancient Roman ruins, buildings, and artworks. \n• Vedute di Roma (\"Views of Rome\"): a series of 137 etchings of Rome that Piranesi produced between 1748 and 1778. The prints captured the city's ancient and modern architecture and were celebrated for their dramatic perspectives and intricate details. \n• Carceri d'Invenzione (\"Imaginary Prisons\" or \"Piranesi's Prisons\"): a series of 16 etchings published in 1750 that depicted fantastical and surreal prison interiors, inspired by both his early training as a scenographer and his admiration for Roman ruins.\n\n\nBibliographic reference\n- Ficacci, Luigi. Piranesi, the Complete Etchings. Köln: Taschen, 2000.\n- Wilton-Ely, John. The Mind and Art of Giovanni Battista Piranesi. London: Thames and Hudson, 1978."}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["29635C/170"],"accessionNumberNum":"29635","accessionNumberPrefix":"","accessionYear":null,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2026-03-02","recordCreationDate":"2009-06-30","availableToBook":false}}