屋大维亚门廊中庭内部视图，位于：“Vedute di Roma”（罗马视图） - 美国大都会艺术博物馆展品查阅

品名（中）	屋大维亚门廊中庭内部视图，位于：“Vedute di Roma”（罗马视图）
品名（英）	Veduta interna dell'Atrio del Portico di Ottavia (Internal View of the Atrium of the Portico of Octavia), in: 'Vedute di Roma' (Views of Rome)
入馆年号	1964年，64.521.2
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 1760
创作地区
分类	印刷品（Prints）
尺寸	Plate: 22 x 28 英寸 (55.9 x 71.1 厘米)
介绍（中）	这种观点将观众置于最初建于共和时代的柱廊建筑群中保存最完好的部分，后来由奥古斯都皇帝修复，奥古斯都皇帝将门廊献给了他的妹妹奥克塔维亚。虽然这个名字从奥古斯都修复中幸存下来，但优雅的科林斯柱和山墙的形式等可见的遗迹，被中世纪的增积物包围，可以追溯到塞普蒂米乌斯·西弗勒斯后来的重建。皮拉内西（Piranesi）展示了十八世纪空间的样子，长期以来一直位于门廊内的鱼市摊位沿着中庭的一面墙可见，并沿着走廊延伸到远处。灿烂阳光的感觉在这种蚀刻中得到了巧妙的实现，这可能归功于卡纳莱托的威尼斯景观（1973.634）的例子，该作品大约在皮拉内西于1744年返回家园时制作。皮拉内西本人对光效的敏感性——他的一位早期传记作者记录说，他致力于记住古代城墙上不断变化的光线，从太阳的强烈眩光到月亮的凉爽照明——是使他对罗马的看法如此与众不同的品质之一。对石块的质地和重量的热爱以及对它们的切割和组装方式的迷恋在这里以及他的许多其他版画中如此明显，可能是皮拉内西的父亲的遗产，石匠和建筑大师。
介绍（英）	This view places the spectator within the best preserved section of the complex of colonnades originally built in the Republican era and later restored by Emperor Augustus, who dedicated the portico to his sister Octavia. Although the name survives from the Augustan restoration, such visible remains as the elegant Corinthian columns and the form of the pediment, hemmed in by medieval accretions, date to a later reconstruction by Septimius Severus. Piranesi shows the space as it looked in the eighteenth century, with the stalls of the fishmarket, which had long been held within the portico, visible along one wall of the atrium and continuing down a corridor into the distance. The sensation of brilliant sunlight is masterfully achieved in this etching and may owe something to the example of Canaletto's views of Venice (1973.634), produced around the time that Piranesi returned home in 1744. Piranesi's own sensitivity to light effects—one of his early biographers records that he committed to memory the appearance of changing light on the ancient walls, from the full glare of the sun to the cool illumination of the moon—was one of the qualities that made his views of Rome so exceptional. The love for the texture and heft of blocks of stone and the fascination with their manner of cutting and assembly that is so evident here, and in many of his other prints, may have been the legacy of Piranesi's father, a stonemason and master builder.