{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O955681"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O955681/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2011EP0973/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2011EP0973/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2011EP0973","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O955681/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O955681","accessionNumber":"29635A/27","objectType":"Print","titles":[{"title":"Outside View of the Pantheon: or Rotunda.","type":"Assigned by artist"}],"summaryDescription":"","physicalDescription":"Engraving depicting an exterior view of the Pantheon, based on a design by Giovanni Battista Piranesi. The Pantheon is shown from a right-hand perspective, but the proportions are not accurate to reality. The image also features a depiction of the site in an 18th century context, with Roman citizens, horse-drawn coaches, and tourists. In the lower section, there are men leaning on a trample-l’oeil scroll-shaped cartouche, which has no inscriptions.","artistMakerPerson":[{"name":{"text":"Unknown","id":"A1848"},"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":["2011EP0973"],"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":"Britain","id":"x32019"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"19th century","earliest":"1800-01-01","latest":"1899-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Height","value":"27","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":"with mount"},{"dimension":"Width","value":"37.7","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":"with mount"},{"dimension":"Height","value":"21.1","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"width","value":"31.7","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[{"content":"After Piranesi; Outside View of the Pantheon: or Rotunda; Letter LVII","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":"There is a collector mark on the print reading NAL (National Art Library). The stamp was used on drawings and prints that entered the museum’s collection between 1880 and 1900."}],"objectHistory":"","historicalContext":"","briefDescription":"Engraving showing an outside view of the Pantheon or Rotunda, after a design of Giovanni Battista Piranesi (1720 - 1778) from the series Views of Rome (1748 - 1778). The engraver is not identified, but the image is signed “after Piranesi.” Britain, 19th century","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"The engraving depicts a view of the Pantheon of Hadrian in Rome, which is also known as the Pantheon of Agrippa. Originally a pagan temple, it later transformed into a Roman Catholic house of worship known as the Basilica of Santa Maria ad Martyres (Saint Mary and Martyrs) in the seventh century. The engraving draws inspiration from Piranesi's series, Vedute di Roma, although it presents variations in the representation of both atmospheric and human elements. In Piranesi's original design, the cartouche in the lower section of the engraving includes the inscription \"Veduta del Panthon di Agrippa\" along with numbered descriptions scattered throughout the artwork, indicating different architectural features. However, in this engraving, the cartouche does not feature the inscription or the numbered annotations found in Piranesi's original design.\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\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":["29635A/27"],"accessionNumberNum":"29635","accessionNumberPrefix":"","accessionYear":null,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-10-02","recordCreationDate":"2009-06-30","availableToBook":false}}