Paestum

View of the Remains of the Pronaos of the Building Known as the Temple of Hera I in Paestum (Vue des restes du Pronaos de l’édifice, que l’on peut considérer comme le Collège des Anfictions),“Different Views of … Paestum,” Plate 5, c. 1778-1779, Engraving, Sheet/Page 51.75 H x 69.85 W cm (20 3/8 H x 27 1/2 W in), GW Collection (BAG.FIC.2020.4)

By Yashwin P. Singh

Centuries prior to being enveloped by Roman expansion in 273 BCE, the city of Paestum had once been a thriving Greek settlement. Situated on the western coast of what is now the country of Italy, it exemplifies a fascinating overlap between the two cultures of Ancient Greece and Rome – a characteristic that evidently excited Piranesi, who produced a series of engravings depicting the deteriorating remnants of the three Greek temples that had been built on what would later become Roman soil.

In this etching from the Different Views of Paestum series, Piranesi depicts the space that was once the sheltered interior of the Temple of Hera I. Rendered in a state of utter ruin, only the grand Doric columns of the temple remain, having outlasted the roof, walls, and pediments that once protected this hallowed place of worship. Centuries ago, at this very site, pagan priests led prayers and hymns and poured out libations in devotion to the Queen of the Gods. Now, in their place stands a group of rugged eighteenth-century explorers, excavating the hollow, foliage-covered skeleton of this once-sacred naos (ναός). In the distance, the viewer can see a glimpse of the second of the two temples dedicated to the same goddess, sharing an unvarying fate.

These desolate remains of Paestum were rediscovered in the eighteenth century, coinciding with the contemporary custom of “The Grand Tour,” an extended tour through various European countries in succession. Paestum was a popular stop listed in the Grand Tour itineraries, not only due to its aforementioned Doric temples but also to its close proximity to the Roman settlements of Pompeii and Herculaneum – two other popular destinations for these cultural pilgrimages. A person on “The Grand Tour” would most likely acquire mementos along the way, with prints depicting views of the most notable locations serving as some of the most popular souvenirs. Accordingly, a burgeoning industry sprang up to satiate this market – an industry that flourished with Piranesi’s contribution of his Vedute di Roma (Views of Rome) series, which ultimately brought him his immense success. With his visually-arresting depictions of simultaneous grandeur and decay, the “Rembrandt of Ruins” depicting the dilapidated edifices of the famous ancient Greek settlement seemed almost inevitable.

To these ends, despite suffering from terrible bladder ailments, Piranesi made the arduous journey to the malarial marshes in which the three temples are located (in approximately late 1777), bringing along his eldest son – nineteen-year-old Francesco Piranesi – and colleagues to assist him. Upon returning to his studio with his detailed observations and measurements, Piranesi began work on the massive project by preparing preliminary compositional drawings – seventeen of which survive today. These initial drawings were unusually rich in detail compared to those of his other engravings. On one hand, this peculiarity could be attributed to a singular interest in the Doric ruins; on the other hand, Piranesi was also becoming fully cognizant of the fragile state of his health, which entailed a high probability of his abrupt expiration. Hence, he likely would have wanted to leave the relatively inexperienced and unskilled Francesco with as much posthumous guidance as possible to complete the work. Indeed, Piranesi's declining health caught up with him in the middle of the project in September of 1778, when he died at the age of fifty-eight.

Thus, the young Francesco, lacking the experience and talent of his distinguished father, was left to finish work on the uncompleted set of plates, which were to be issued later in the same year. In accordance with him taking his deceased father’s mantle, the irregular feature of the accompanying inscription being in French, rather than Italian or Latin, can likely be attributed to Francesco’s judgement call; perhaps this was an attempt appeal to a more international audience, in addition to the French audience specifically, who were amongst the strongest proponents of the Greek Revival. The inscription itself identifies the temple as the “College of the Amphictyons,” likely referring to the Amphictyonic League, a religious council in ancient Greece that oversaw maintenance, finances, and other such matters concerning Greek sanctuaries. When writing this inscription, Francesco or his father likely assumed that the Paestum temples fell within the League’s influence.

Ultimately, of the twenty-one plates that were produced for the Paestum series – which comprises the largest body of work Piranesi ever dedicated to a single topographical site – View of the Remains of the Temple of Hera I is the sole representative of the set present in the Luther W. Brady Art Gallery. An absolute jewel in the exhibition, this engraving is a fragment of the grand epilogue to the career of Giovanni Battista Piranesi, that, despite its distinctive Hellenic character, rightfully earns its place among this curated assemblage of Roman views.

Inscription in French 

Vue des restes du Proanos de l’edifice, que l’on peut considerer comme le Collège des Anfictions. L’architecture de sa façade est composée des Colonnes B, et des Annes, ou Pilastres C, correspondants aux Colonnes de la façade D. Dans la place E les pierres sont fragmentées, et indiquent la continuation de ce mur; tout construit des mêmes pierres...

English Translation by Katie Capristo:

A. See the remains of the Proanos of the building, which can be considered the College of Antifiction. The architecture of its facade is composed of B. columns and Annes, or C. Pilasters, which correspond to the columns of the D. facade. In section E, the stones are fragmented and indicate the continuation of this wall, all built of the same stones.

Photos courtesy of Dr. Pollack.

Wilton-Ely, John. Piranesi, Paestum & Soane. Munich: Prestel, 2013.

Howe, Eunice D., Julia C. Doran, Christine L. Knoke, Leslie R. Rabinovits, Marisa H. Rothman, Angelene T. Tacchini, and Kelly K. White, curators. The Art of Exaggeration: Piranesi's Perspectives on Rome. Fisher Gallery, University of Southern California, 1995.

View of the Remains of the Pronaos of the Building Known as the College des Anfictions … (Vue des restes du Pronaos de l’édifice, que l’on peut considérer comme le Collège des Anfictions …) Different Views of … Paestum (Différentes vues de … Pesto), Plate 5. Engraving, c. 1778-1779. Sheet/Page: 51.75 H x 69.85 W cm (20 3/8 H x 27 1/2 W in). The Arthur Ross Collection, 2012.159.17.6.