The Roman antiquities, t. 1, Plate XXXI. Arch of Septimius Severus. 1756

Curator: Let's consider this etching, “The Roman Antiquities, t. 1, Plate XXXI. Arch of Septimius Severus,” crafted by Giovanni Battista Piranesi in 1756. A magnificent example of architectural engraving. Editor: My first impression is one of somber grandeur. The arch dominates the scene, but there's a pervasive sense of decay, a ghost of a once-powerful empire. It seems almost apocalyptic with those foreboding clouds. Curator: Precisely. Notice how Piranesi employs strong lines and contrasting shades to define the monumentality of the arch. The composition leads the eye through the archway, creating depth and drawing us into the ancient cityscape. Editor: But what does it signify, this deliberate depiction of ruin? Is Piranesi simply documenting Roman antiquities or making a commentary? Septimius Severus, after all, wasn't just an emperor, but a symbol of Roman power, conquest, and ultimately, its vulnerability. Curator: It speaks to the prevailing Neoclassical ideals, celebrating classical forms, but there is a definite divergence from those tenets as this ruin, a symbol of the fall of the Roman empire, takes center stage. This work seems almost a form of anti-triumphalism. Editor: This brings up some interesting points: does the choice of the scene itself imply a certain social commentary? I suggest that by showcasing the Arch not as a triumphant symbol of victory, but as a ruin, Piranesi alludes to broader societal power shifts in Europe as well as challenges the narratives often associated with monuments. Curator: It's a testament to the enduring power of form, even in the face of time's relentless erosion. Editor: I concur. Its form becomes a silent witness. The power isn't about architectural representation, but in questioning those monuments of power from within the culture of that time. Curator: A very poignant point. Thank you for bringing it up. Editor: Always a pleasure to recontextualize these objects with you.