Reconstruction of the Circus Maximus (above) and a View of the Site (below) 1690 - 1704

Editor: So, this is Jan Goeree’s "Reconstruction of the Circus Maximus (above) and a View of the Site (below)," dating from around 1690 to 1704. It's an etching, part of the Met's collection. The stark contrast between the imagined grandeur of the Circus Maximus in the upper register and the ruins below is pretty striking. What's your take on it? Curator: Well, that contrast is precisely where the power lies. Goeree offers us more than just an architectural rendering. It’s a commentary on power, empire, and the cyclical nature of history itself. This piece invites us to consider the ideological function of reconstructing a glorious past. Editor: Ideological function? Curator: Absolutely. Consider the date—late 17th century. What narratives were being constructed about the past, and for whose benefit? Goeree's "reconstruction" isn't simply an objective view of ancient Rome; it's an interpretation loaded with contemporary meaning. Who has the power to determine the “correct” version of the past, and how does that power shape our present? Notice how orderly the 'reconstructed' circus is versus the decay shown beneath it; that seems pointed, doesn't it? Editor: It really does. I was mostly focused on the visual details, but framing it that way, it highlights the subjective lens of historical representation. Curator: Precisely. Think about whose stories were considered important enough to preserve and promote through these visual records. The grandeur masks, and perhaps even suppresses, other voices. Editor: This makes me see the image in a whole new way! The drawing now seems to me to be less about accurate historical depiction and more about an attempt to give visual form to long gone cultural ideals, while literally relegating their decline to a lower status. Curator: And in doing so, subtly reinforces existing power structures. Glad you found it useful!