Who painted Capital from the Colosseum, Rome?

Capital from the Colosseum, Rome was painted by Pseudo-Pier Francesco Fiorentino in 1537.

Where can I see Capital from the Colosseum, Rome?

Capital from the Colosseum, Rome is held by National Gallery of Art.

What movement is Capital from the Colosseum, Rome?

Capital from the Colosseum, Rome is associated with Renaissance.

Artwork

Capital from the Colosseum, Rome

Pseudo-Pier Francesco Fiorentino , 1537

Capital from the Colosseum, Rome is an ink print by the Renaissance artist Pseudo-Pier Francesco Fiorentino. It dates from 1537 and is held in the collection of the National Gallery of Art. This 1537 engraving presents a detailed study of a column capital taken from the vicinity of Rome’s Colosseum.

About this work

Overview

This 1537 engraving presents a detailed study of a column capital taken from the vicinity of Rome’s Colosseum. Executed in black and white, the image isolates the ornamental top of the structure, emphasizing its carved swirls, foliage motifs, and circular forms through precise line work and stippled shading.

Subject & Meaning

The print focuses on a single architectural element—a Corinthian‑style capital—highlighting the intricate decorative program typical of ancient Roman public buildings. By isolating the capital, the image invites contemplation of the classical vocabulary of order and ornament that underlies the Colosseum’s massive scale.

Technique & Style

Rendered with a fine engraving burin, the artist employs sharp contours and dense cross‑hatching to convey depth, while areas of stipple create a subtle tonal gradation. The composition balances linear clarity with ornamental richness, reflecting the Northern Renaissance interest in classical antiquity and the technical possibilities of printmaking.

History & Provenance

Signed by the enigmatic Master PS, the work also bears the name Petri de Nobilibus Formis, suggesting a Latinized identity for the engraver. The inscription “Corinthio” and a note indicating Rome near the Colosseum locate the source material, while the date 1537 places the print within the early diffusion of antiquarian studies across Europe.