Students and scholars of British Romanticism likely know the work of Giovanni Battista Piranesi (Italian, 1720-1778) through at least one of two lenses: the gaze of the grand tourists or the hallucinations of Thomas De Quincey’s English opium eater. His architectural studies of Rome’s scenic ruins, urban vistas, and archaeological marvels nourished the cultures of antiquarianism and tourism as well as the cults of the ruin and the Romantic artist. His Carceri d’invenzione, or “Imaginary Prisons,” constitutes a key series of critical prints that together suggest parallels between architectural and mental spaces that strain beyond reality, reach beyond received ideas of structure and even gesture, perhaps, to the human imagination itself.