Giovanni Battista Piranesi arrived in Rome in 1740 at the age of twenty and spent the rest of his life there, producing approximately one thousand etchings of the ancient and modern city that changed how Europeans understood ruins and, through ruins, understood time. His Vedute di Roma — the Views of Rome — documented the ancient monuments with a precision that made them available to architects, scholars, and artists across Europe who could not travel to see the originals. His Carceri d’Invenzione — the Imaginary Prisons — invented spaces of impossible scale and mechanical complexity that influenced the visual imagination of the Gothic tradition, science fiction, and everything in between. His archaeological publications — the Antichità Romane — were serious scholarly contributions to the understanding of Roman building techniques. He was simultaneously a documentarian, a fantasist, and a polemicist, and the three modes were not always separable.