Artwork

Eighteen Views of Rome: The Piazza Barberini (recto); Tracing of a Fountain from recto and Sketches of Two Faces (verso)

Eighteen Views of Rome: The Piazza Barberini (recto); Tracing of a Fountain from recto and Sketches of Two Faces (verso) is a drawing by the Baroque artist Lievin Cruyl. It dates from 1665 and is held in the collection of the Cleveland Museum of Art.

About this work

Overview

Lievin Cruyl’s 1665 drawing presents a panoramic view of Rome’s Piazza Barberini.

Lievin Cruyl’s 1665 drawing presents a panoramic view of Rome’s Piazza Barberini. Rendered on a single sheet, the composition captures the bustling square, its central monumental façade, a fountain, and the surrounding streets filled with pedestrians, horse‑drawn carts, and laborers. The work is part of the Cleveland Museum of Art’s collection and exemplifies the detailed urban surveys popular among 17th‑century Flemish artists working in Italy.

Subject & Meaning

The scene records a moment of everyday activity in one of Rome’s principal public spaces. By depicting a variety of figures—merchants, travelers, and workers—Cruyl emphasizes the piazza’s role as a commercial and social hub. The inclusion of the fountain and the grand building underscores the interplay between civic architecture and communal life, offering a documentary glimpse of Baroque urban vitality.

Technique & Style

Executed in fine pen and wash on paper, the drawing combines precise linear rendering with delicate tonal shading. Cruyl employs a slightly elevated viewpoint, allowing the architectural forms to dominate the composition while still conveying depth through overlapping figures. The light, sketch‑like strokes suggest a rapid yet careful observation, characteristic of the topographical drawing tradition of the period.

History & Provenance

Created in 1665 during Cruyl’s extended stay in Rome, the work was likely intended for a series of city views that circulated among collectors and travelers. It entered the Cleveland Museum of Art’s holdings through a 20th‑century acquisition, where it remains a key example of Baroque-era urban documentation.