古罗马人使用的一个大型宏伟港口的一部分，在这里，大广场的内部被废弃。。。（一个宽敞而宏伟的港口的一部分，供古罗马人使用，通向一个大型市场广场……），来自Opere Varie di Archiettura，Prospectvi，groteschi，古物；各种建筑作品、透视图、奇形怪状和古物；由威尼斯建筑师Giambattista Piranesi设计和蚀刻） - 美国大都会艺术博物馆展品查阅

品名（中）	古罗马人使用的一个大型宏伟港口的一部分，在这里，大广场的内部被废弃。。。（一个宽敞而宏伟的港口的一部分，供古罗马人使用，通向一个大型市场广场……），来自Opere Varie di Archiettura，Prospectvi，groteschi，古物；各种建筑作品、透视图、奇形怪状和古物；由威尼斯建筑师Giambattista Piranesi设计和蚀刻）
品名（英）	Parte di ampio magnifico Porto all'uso degli antichi Romani, ove si scuopre l'interno della gran Piazza pel Comercio... (Part of a spacious and magnificent Harbor for the use of the ancient Romans opening onto a large market square...), from Opere Varie di Archiettura, prospettive, grotteschi, antichità; inventate, ed incise da Giambattista Piranesi Architetto Veneziano (Various Works of Architecture, perspectives, grotesques, and antiquities; designed and etched by Giambattista Piranesi, Venetian Architect)
入馆年号	1937年，37.45.3(41)
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Giovanni Battista Piranesi【1720 至 1778】【意大利人】
创作年份	公元 1744 - 公元 1755
创作地区
分类	印刷品（Prints）
尺寸	Mat: 8 11/16 x 11 英寸 (22 x 28 厘米) 页: 19 1/2 x 25 3/16 英寸 (49.5 x 64 厘米) Plate: 15 3/4 x 21 7/16 英寸 (40 x 54.5 厘米)
介绍（中）	皮拉内西在他的第一本出版物《1743年建筑与道路的初步》（Prima parte di architettura e di prospettiva）的献词中写道，他对大量剩余的大理石堆和曾经被古建筑占据的巨大空间的观察使他的精神充满了宏伟的图像。由于他对任何资助如此宏伟建筑的人感到绝望，他决定通过印刷品分享他的愿景。在波尔图宏伟的Parte di ampio magnifico Parte di ampio Magnifico ，这是几年后创造的这一系列建筑幻想的补充，我们见证了他对罗马昔日宏伟的最有远见的重建之一。虽然最近在罗马的里佩塔港建造了一条令人印象深刻的楼梯——也许是皮拉内西为港口设计创作的灵感之一——但这幅蚀刻画中描绘的建筑物组合实际上永远无法建造。在空间模糊性中，显然是故意的，三堵弯曲的墙，就像一个巨大的圆形剧场或万神殿的内墙一样，在逻辑上彼此不相关。在皮拉内西（Piranesi）添加到印刷品的第二状态的铭文中，解释了港口的许多特征，例如纪念海军胜利的灯柱，以及海王星的祭坛，香云不断从中发出。在这样一个壮丽的港口登陆的想法是令人兴奋的，尽管如果皮拉内西没有告诉我们狮子头部喷口涌出的液体是污水，那就更好了。
介绍（英）	In the dedication to his first publication, the Prima parte di architettura e di prospettiva of 1743, a series of imaginary views, Piranesi wrote that his observations of the vast remaining piles of marble and the immense spaces once occupied by ancient buildings had filled his spirit with magnificent images. Since he despaired of anyone financing such grand structures, he had decided to share his visions through means of prints. In the Parte di ampio magnifico Porto, an addition to this series of architectural fantasies that was created some years later, we witness one of his most visionary reconstructions of Rome's former grandeur. While an impressive stairway had recently been constructed at the Port of Ripetta in Rome—perhaps one of Piranesi's inspirations in creating a design for a port—the combination of buildings illustrated in this etching could never actually be built. Among the spatial ambiguities, apparently deliberate, the three curving walls, as of a giant amphitheater or the interior walls of the Pantheon, do not relate logically to each other. In the inscription plate which Piranesi added to the second state of the print, many of the features of the port are explained, such as the rostral columns that commemorate naval victories, and the altar to Neptune, from which clouds of incense issue ceaselessly. The idea of landing at such a splendid port is thrilling, although it would be nicer if Piranesi hadn't informed us that the liquid pouring from the lions' head spouts is sewage.