Internal view of the Atrium of the Portico of Octavia, from Views of Rome, 1750/59.Maria Maggiore with its two flanking wings, from Views of Rome, 1749 Maria Maggiore, from Views of Rome, 1750/59 View of the Rear Entrance of the Basilica of S.Croce in Gerusalemme, from Views of Rome, 1750/59 View of the Façade of the Basilica of S.View of the Palazzo della Consulta on the Quirinal housing the Papal Secretariat, from Views of Rome, 1750/59.View of the Palazzo di Montecitorio, from Views of Rome, 1750/59.The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Printed 1761–1765 Medium Etching, engraving, sulphur tint, and burnishing in black on ivory laid paper Dimensions Image: 54.2 × 41 cm (21 3/8 × 16 3/16 in.) Plate: 54.9 × 41.6 cm (21 5/8 × 16 7/16 in.) Sheet: 56.1 × 42.5 cm (22 1/8 × 16 3/4 in.) Credit Line Joseph Brooks Fair Memorial Collection Reference Number 1918.332 IIIF Manifest Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. Status Currently Off View Department Prints and Drawings Artist Giovanni Battista Piranesi Title The Round Tower, plate 3 from the second edition of Carceri d'invenzione (Imaginary Prisons) Place Italy (Artist's nationality:) Dateĭates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. State in an implied critique of social injustice. Ten years later, Piranesi reworked the plates, heightening their ominous These vast, entangled passageways and cavernous chambers were first printed around 1750. In addition to dramatic views of Roman architecture, Giovanni Battista Piranesi created a series of prison interiors that were entirely invented.
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