Sallust

Interior of the Baths of Sallust (Interiora Balnearum Sallustianarum), “The Campus Martius of Ancient Rome,” Plate 43, c. 1762, Etching on wove paper, Sheet/Page 40.96 H x 53.50 W cm (16 1/8 H x 21 1/16 W in), Gift from the Trustees of the Corcoran Gallery of Art (Bequest of Frank B. Bristow), GW Collection (CGA.68.26.534)

By Vithya Darewin Villa

The Interior of the Baths of Sallust by Giovanni Battista Piranesi provides a glimpse into Rome's development, depicting the city's shift from a mighty imperial past to its current state of modernity with glimpses of the past. This etching tells a story of time passing and the lasting influence of Roman architecture, making it more than just a piece of art. In the first century BCE, the historian Sallust created opulent gardens, which included the Baths of Sallust, also known as Thermae Sallustianae. The garden went through many different expansions and transformations over time with multiple contributors. The latest owner of the gardens was Ludovico Ludovisi, who bought the plot in the early 17th century and built the Villa Ludovisi. Nevertheless, as the Baths of Sallust are not included in any existing city plans or ground plans for the Horti Sallustani, the Gardens of Sallust, their precise location is still a mystery. Piranesi's portrayal encourages spectators to consider the historical ambiguities that his work illuminates.

The imposing magnificence of these baths is captured in Piranesi's engraving. The composition highlights the size and architectural complexity of the old edifice by revealing tall, crumbling columns and finely detailed stonework. Piranesi gives the landscape depth through light and shadow, emphasizing the centuries-old degradation as much as the artistry. With painstaking attention to detail, this piece becomes a potent historical record that illustrates the passage of time. Broken statues and shattered building pieces in the foreground represent the frailty of human creations undergone by the unrelenting passage of time. With a style that evokes awe and sorrowful beauty, Piranesi portrays the textures of stone and the wear of years. The depth of this piece gives spectators the impression that they are entering the ancient ruins themselves, establishing a close connection between the onlooker and the history of the ruins.

The complex lines employed by Piranesi give the arches and walls of the Baths of Sallust the appearance of deterioration. The intricate brickwork's texture demonstrates Piranesi's careful attention to detail with the materials. Every brick has been etched to display the impact of centuries of exposure to the elements, revealing the wear and tear of time. Small human figures amidst the ruins provide a sense of scale, underscoring the distance between the past and present. Piranesi’s artistry highlights the Baths' grandeur, as these figures are dwarfed by the imposing structures surrounding them. Additionally, the figures offer a narrative element that implies continued human interaction with Rome's historical past. The vast, unoccupied areas of the Baths highlight the building's colossal size and its cavernous emptiness. This immense void evokes a feeling of the sublime, as the observer is simultaneously starstruck by the ruins' majesty and reminded of the unavoidable end of all things.

This piece offers an examination of Rome's historical development. It captures the shift from the Roman Empire's pinnacle of architectural and engineering marvels to the ruins that still leave onlookers in awe. The way that Piranesi depicts the ruins illustrates the influence of Rome's magnificence. Piranesi’s fascination with the Horti Sallustani is evident in his body of work depicting various views of this historic site. His artwork captures the grandeur of the garden’s layout and architectural marvels, providing context for the Baths of Sallust within the larger framework. By offering a comprehensive visual narrative, Piranesi highlights the baths’ opulence and situates them within the broader context of Roman luxury and engineering prowess. This allows viewers to appreciate the Baths of Sallust as a crucial element of the gardens’ majesty and Rome’s historical and architectural legacy.

In many ways, Piranesi’s depiction of the Baths of Sallust mirrors the same enigmatic qualities found in his portrayals of the tombs on the Appian Way. Both sites are shrouded in a veil of uncertainty, as their precise locations and identities have long eluded historians and archaeologists. Piranesi’s approach to these ruins, rendering them with a blend of meticulous detail and imaginative interpretation, complicates our ability to distinguish between historical accuracy and artistic vision. By not anchoring his etchings to specific locations, he allows these ancient structures to transcend their physical forms, becoming symbols of Rome’s enduring legacy. This deliberate ambiguity is at the heart of why so many of Piranesi’s etchings remain an enigma today. He was not merely documenting Rome’s architectural grandeur; he was also creating a narrative that invited viewers to engage with the ruins on a deeper, more contemplative level. Like the tombs on the Appian Way, the Baths of Sallust in Piranesi’s work are not confined to their historical context; they exist in a space where reality and imagination intertwine. Through this lens, Piranesi's art becomes a timeless exploration of Rome's cultural heritage, emphasizing that the true power of these ancient monuments lies not in their exact locations but in the stories they continue to inspire.

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