Veduta dell'Anfiteatro Flavio detto il Colosseo，来自：“Vedute di Roma”（罗马景观） - 美国大都会艺术博物馆展品查阅

品名（中）	Veduta dell'Anfiteatro Flavio detto il Colosseo，来自：“Vedute di Roma”（罗马景观）
品名（英）	Veduta dell'Anfiteatro Flavio detto il Colosseo, from: 'Vedute di Roma' (Views of Rome)
入馆年号	1959年，59.570.426
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 1776
创作地区
分类	印刷品（Prints）
尺寸	页: 30 x 40 英寸 (76.2 x 101.6 厘米)
介绍（中）	皮拉内西对斗兽场的彻底熟悉，他已经绘制出了这座最著名的罗马废墟的三幅视图，以及他的透视绘制技巧，使他能够从空中看到这座古老圆形剧场的壮丽景色。通过让纪念碑填满整张纸，并在图像中心放置微小的人物，Piranesi有效地传达了废墟的广阔，而鸟瞰图则揭示了平面图并暴露了结构。皮拉内西的标签表明了他的古董研究；他们告诉我们罗马社会的每个阶层都会坐在哪里，从皇帝和他的宫廷到贵族青年和他们的老师。图像的整体黑暗，虽然是皮拉内西晚期《吠陀经》的特征，但给人的印象是斗兽场是由月亮照亮的。我们知道皮拉内塞在这种条件下研究废墟。只有剧院的中心被照亮，微小的人物聚集在纪念性的十字架周围。1743年，教皇本笃十四世为使许多早期基督徒殉难的空间神圣化而添加了这个十字架，以及围绕竞技场的十字架站。
介绍（英）	Piranesi's thorough familiarity with the Colosseum—he had already produced three views of this most famous of Roman ruins—and his skill at perspective rendering allowed him to produce this magnificent view of the ancient amphitheater seen as if from the air. By allowing the monument to fill the entire sheet of paper and by placing tiny figures in the center of the image, Piranesi effectively conveys the vastness of the ruin, while the bird's-eye view reveals the plan and exposes the structure. Piranesi's labels are indicative of his antiquarian research; they inform us of the location in which each rank of Roman society would have been seated, from the emperor and his court to the noble youth with their teachers. The overall darkness of the image, while characteristic of Piranesi's late Vedute, gives the impression that the Colosseum is lit by the moon—we know that Piranesi studied ruins under such conditions. Only the center of the theater is illuminated, where tiny figures gather around the monumental cross. This crucifix, together with the stations of the cross that surround the arena, were added by Pope Benedict XIV in 1743 to sanctify the space in which it was believed that many early Christians had been martyred.