Egyptian Obelisk

Egyptian Obelisk (Obelisco Egizio), “Views of Rome,” Part I, c. 1759, Etching on laid paper, Sheet/Page 61.12 H x 46.36 W cm (24 1/16 H x 18 1/4 W in), Gift from the Trustees of the Corcoran Gallery of Art (Bequest of Frank B. Bristow), GW Collection (CGA.68.26.535)

By Alp Mustafa Mursit

The renowned printmaker Giovanni Battista Piranesi created the etching Egyptian Obelisk (Obelisco Egizio) as part of his comprehensive work on ancient Roman architecture. This etching depicts the Lateran Obelisk, which currently resides at the Piazza di San Giovanni in Laterano across the Archbasilica of St. John Lateran. This etching is a part of Piranesi’s series of Vedute di Roma, exemplifying his passion of capturing the splendor of the Romans’ classical past, blending the elements of their conquest into Roman elements, and creating layers of history within Rome’s architecture. Furthermore, the Egyptian Obelisk, originally brought to Rome under the rule of Constantius II (337-361 CE), represents the cultural synthesis that characterized Ancient Rome.

The history of how the obelisk made it to the Lateran Square in Rome spans over three thousand years. It was initially commissioned and quarried during the reign of Thutmose III (1479-1425 BCE); however, the obelisk was erected in the Temple of Amun at Karnak during the reign of his grandson, Thutmose IV.  When emperor Augustus first considered bringing an Egyptian obelisk to Rome, this one was the primary candidate. Nevertheless, the massive size of the obelisk (weighing 455 tons and over 100 feet tall) was a deterrent. During the reign of Constantine the Great (306-337 CE), there was an attempt to transport the obelisk from Karnak to Constantinople (modern-day Istanbul) through the Nile River. However, the obelisk did not move any farther than Alexandria. It remained there until 357 CE, when his son Constantius II commanded the transfer of the obelisk to Rome and its raising next to the Flaminian Obelisk in the spina of the Circus Maximus.

Over the centuries, both the Lateran and Flaminian Obelisks fell and broke into fragments. As a result, they were buried. Historians were aware of the existence of the two obelisks due to the remaining records of the Roman era. During the Renaissance, Pope Sixtus V (1585-1590) – having recently moved the Vatican Obelisk in front of the St. Peter’s Basilica –  ordered the excavation of the Lateran and Flaminian obelisks. The Lateran Obelisk’s excavation and restoration was performed by architect Domenico Fontana in 1587. The reconstructed obelisk, standing approximately thirteen feet shorter and 100 tons lighter, was placed in the Piazza di San Giovanni where it still stands today. In addition to the restoration, a cross at the top of the obelisk and a new base describing Constantius’s moving of the obelisk were added to the structure. Consecutively, the Lateran Obelisk was consecrated, exorcized of any pagan spirits, and rededicated to the cross in a ceremony.

Vedute di Roma aims to document Rome’s architectural heritage by capturing the detail-oriented physical presence and the splendor of the ancient monuments. Piranesi showcases his meticulous rendering of details by capturing the towering height of the obelisk and the intricate carvings of hieroglyphs. He depicts the obelisk directly in the center to demonstrate the imposing grandeur of the structure before the Piazza di San Giovanni. Piranesi uses numbers as references on his etchings to mark specific spots and adds annotations to the bottom of his work. The three-story building to the far right of the obelisk, marked with ‘1’, is “1. Palace built by Sixtus V, now the Conservatory of Spinsters.” The building on the right behind the obelisk marked with ‘2,’ depicts the holy stairs leading to the Sancta Sanctorum. In addition to the reference numbers, Piranesi also added the annotation “This was raised by Sixtus V in the Square of Saint John Lateran.” (translated from Italian to English) to the bottom of the etching.

A comparison of Piranesi’s etching of the Lateran Obelisk versus the modern-day structure depicts continuity and change. Although the Lateran Obelisk itself stands unchanged in reality, the setting Piranesi depicted in his etching is completely lost. The new and crowded cityscape surrounding the obelisk contrasts with the isolated and focused setting used by Piranesi, highlighting the obelisk's splendor. The comparison also emphasizes the tension between modernization and the preservation of ancient monuments.

Overall, Giovanni Battista Piranesi’s Egyptian Obelisk serves to blend artistic skill with historical insight into Rome’s classical heritage and the complex interplay of cultural influences that have shaped Rome over the years.

Inscription in Italian

Questo fu eretto da Sisto V. nella Piazza di S. Gio Laterano. 1. Palazzo fabricato da Sisto V. ora Conservatorio di Zitelle 2. Scala Santa 3. Rovine di Acquedotti antichi

English Translation by Andrew Gibson:

This was erected by Sixtus V in the piazza di San Giovanni in Laterano. 1. Palace built by Sixtus V, now the Conservatory of Spinsters 2. The Holy Stairs 3. Ruins of ancient aqueducts (Trans. A. Gibson)

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Julius, Eline. “Obelisks in Late Antiquity: Roman or Egyptian? The Symbolic and Functional Meaning of Egyptian Obelisks in the Roman World in the 3rd and 4th Centuries AD,” From Leiden University's Student Repository. August 29, 2014. https://hdl.handle.net/1887/28377.

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