Who painted The Fountain and the Column of Trajan in Rome?

The Fountain and the Column of Trajan in Rome was painted by Jan Lutma II in 1656.

Where can I see The Fountain and the Column of Trajan in Rome?

The Fountain and the Column of Trajan in Rome is held by National Gallery of Art.

What movement is The Fountain and the Column of Trajan in Rome?

The Fountain and the Column of Trajan in Rome is associated with Baroque.

Artwork

The Fountain and the Column of Trajan in Rome

Jan Lutma II , 1656

The Fountain and the Column of Trajan in Rome is an ink print by the Baroque artist Jan Lutma II. It dates from 1656 and is held in the collection of the National Gallery of Art.

About this work

Overview

Jan Lutma II’s 1656 print, titled *The Fountain and the Column of Trajan in Rome*, is an etching with punch‑engraved lines on laid paper. The work records a bustling urban vista, centering on the ancient triumphal column and an adjacent fountain, framed by surrounding architecture and figures.

Subject & Meaning

The composition presents the Column of Trajan, a Roman monument commemorating military victories, alongside a public fountain that would have supplied water to the city. By populating the scene with pedestrians, merchants, and nearby buildings, the print offers a glimpse of everyday activity in 17th‑century Rome, linking antiquity with contemporary urban life.

Technique & Style

Lutma employed a combination of etching and punch engraving, allowing fine linear detail and textured shading on the laid‑paper support. The method produces crisp outlines for architectural elements while the punched marks suggest surface texture, creating depth and a sense of atmospheric perspective.

History & Provenance

Created in the mid‑17th century, the print reflects the Dutch tradition of topographical engraving that catered to collectors interested in foreign cities. It is attributed to Jan Lutma II, a member of the Lutma family of engravers active in Amsterdam, and survives in several museum and private collections.

Context

During the 1650s, European artists frequently documented famous landmarks for an audience fascinated by travel and antiquity. Lutma’s depiction aligns with this trend, providing a visual record of Rome’s monumental heritage at a time when the city was a focal point of the Grand Tour.