The Roman antiquities, t. 1, Plate XXXIII. Veduta with ruins of Nero`s Golden House. 1756

Editor: So this is Giovanni Battista Piranesi’s "The Roman Antiquities, t. 1, Plate XXXIII. Veduta with ruins of Nero`s Golden House," made in 1756. It’s an etching. It's striking how the architecture seems to both crumble and loom at the same time. What's your interpretation of this work? Curator: Piranesi's image isn't just a depiction of Roman ruins; it's a commentary on power, history, and the gaze itself. The “Golden House” was Nero’s opulent, self-aggrandizing project, right? By the 18th century, it’s in ruins – overgrown and decaying. How does Piranesi use perspective here? Is it just to show depth? Editor: It does create depth, but the scale feels off somehow, almost exaggerated. Curator: Exactly! I think Piranesi is deliberately playing with the grandeur of the past and the reality of its decline. These ruins were a symbol of Roman authority. By emphasizing their ruin, and maybe by peopling them with common folk, what do you think Piranesi implies? What kind of social commentary do you think he makes by embedding daily life within these decayed monuments? Editor: I see what you mean. Maybe it suggests that empires eventually fade, but ordinary life goes on? Curator: Precisely. It's an intersectional commentary on power structures, the passage of time, and the enduring spirit of people. There is a sort of tension between decay and permanence here. It invites reflection on social changes through time. Editor: That makes me see this piece in a new way; it's more than just an architectural study. Thank you. Curator: My pleasure. Hopefully that will get our visitors thinking.