10 ON VIEW: WHEN IN ROME WHEN IN ROME: PRINTS & PHOTOGRAPHS, 1550–1900 grew from SCMA’s participation in the Yale University Art Gallery’s Collection Sharing Initiative, endowed by the Isabel B. Wilson Memorial Fund. It was inspired by and showcased the outstanding impressions of prints by the Italian artist Giovanni Battista Piranesi (1720–1778) in Yale’s Arthur Ross Collection. Piranesi’s images of sites and monuments in Rome were exhibited comparatively with views by other artists, many of them from SCMA’s collection. The exhibition examined the many ways the city of Rome has been pictured. From 16th-century engravings to 19th-century photographs, the works in the exhibition documented the changing face of Rome and its architecture using a variety of techniques and stylistic approaches. With more than 50 engravings, etchings and photographs, When in Rome focused on a number of emblematic monuments—such as the Colosseum, the Pantheon and the Trevi Fountain—which have come to represent the city in the popular imagination. Interest in ancient Rome—its monuments, objects, texts and history—persisted in a variety of ways after the decline of the empire. Texts were studied and copied, small objects were prized for their craftsmanship and ancient buildings were repurposed for modern (often Christian) uses. Interest in classical art flourished during the 16th century, and that, combined with the spread of printing technology, sparked the production of printed and illustrated books and single-sheet prints that were widely collected and often reprinted or copied. Over time, new ways of capturing and circulating images of Rome developed and after the discovery of photography in 1839, this new technology quickly supplanted earlier methods of recording sites and experiences, particularly for travelers. The practice of photography spread quickly to all parts of the globe, and by the 1860s most cities had thriving communities of photographic studios that produced and sold views to the growing tourist market. In addition to presenting viewers with the major sites and monuments of Rome, the exhibition was structured to allow direct comparisons among works cre- ated over a span of four centuries. Images of the same monuments could be visually compared and considered from the perspective of different aesthetic, historical and philosophical viewpoints across time and media. When in Rome opened up the subject of the Eternal—but ever-changing—City from multiple vantage points. ABOVE: Giuseppe Vasi. Italian, 1710–1782. Prospetto del’ alma cittá di Roma dal Monte Gianicolo (View of the city of Rome from the Janiculum Hill), 1765. Etching. Collection of Vincent J. Buonanno ON VIEW WHEN IN ROME SEPTEMBER 30–DECEMBER 30, 2016