Sant'Ignazio di Loyola te Rome 1669 - 1670

Editor: Here we have Giovanni Battista Falda's "Sant'Ignazio di Loyola te Rome," created between 1669 and 1670. It's a print – an engraving, actually – of a cityscape now held at the Rijksmuseum. It’s stark, almost diagrammatic in its representation of the architecture. The details feel so precise, yet something about the perspective seems slightly…off. What strikes you most about this piece? Curator: The very graphic quality you mention. Note how Falda employs line—the density and variation of hatching—not to simulate natural light but rather to delineate form. Observe how these lines define the volume of the structures, essentially rendering three dimensions through two. Editor: So, the emphasis isn't on capturing a specific moment in time or a particular atmosphere? Curator: Precisely. While undeniably representational, its primary function resides in illustrating architectural relationships. The receding planes and geometric shapes are rendered with exactitude. Consider how he articulates the facade. Do you see an intentional distortion of linear perspective employed to emphasize verticality and grandeur? Editor: Yes, the building does seem to loom quite large, almost unnaturally so. Perhaps to convey its power and importance within the city. It appears less about capturing realistic perspective and more about conveying a sense of awe through compositional techniques. Curator: Exactly! Falda sacrifices complete realism for a strategic visual enhancement, prioritizing structural clarity and monumentality over strictly observational accuracy. This piece is not a window to reality, but rather a codified architectural elevation. Editor: It’s fascinating to think of the artwork less as a picture and more as an exercise in lines, shape, and composition to generate meaning! Thanks! Curator: And thanks to you.