在建造大型Caecilia Metella墓期间，石灰华和大理石的大块被吊起的方式，摘自《罗马古物》（Le AntichitàRomane），第3卷，塔沃拉53 - 美国大都会艺术博物馆展品查阅

品名（中）	在建造大型Caecilia Metella墓期间，石灰华和大理石的大块被吊起的方式，摘自《罗马古物》（Le AntichitàRomane），第3卷，塔沃拉53
品名（英）	Means by which the large blocks of travertine and marble were lifted during the construction of the large Tomb of Caecilia Metella, from Le Antichità Romane (Roman Antiquities), tome 3, tavola 53
入馆年号	1941年，41.71.1.3(53)
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 1756 - 公元 1757
创作地区
分类	唱片集（Albums）
尺寸	页: 21 1/4 x 30 5/16 英寸 (54 x 77 厘米) Plate: 18 1/8 x 20 7/8 英寸 (46 x 53 厘米)
介绍（中）	当皮拉内西正在研究AntichitàRomane时，人们听到了对罗马人卓越地位的第一次威胁。17世纪50年代初，某些法国和英国学者和建筑师开始断言，罗马人只是希腊人的模仿者，在希腊人的领导下，所有的艺术都达到了完美。为了保护罗马人免受这一指控，这份出版物的一些图版中出现了夸张的说法——在这里，皮拉内西使陵墓看起来比实际大得多，并夸大了其建造的难度。这一页提供了皮拉内西新颖的插图技巧的一个很好的例子：他在主要场景后面悬挂的卷轴上代表了三个补充视图，同时通过使左卷轴上的钩子与纸的边缘重叠来开玩笑地破坏他所创造的幻觉。
介绍（英）	While Piranesi was at work on the Antichità Romane, the result of years of research into the highly developed engineering skills of the Romans, the first threats to Roman preeminence were heard. In the early 1750s, certain French and British scholars and architects had begun to assert that the Romans were mere imitators of the Greeks, under whom all the arts had attained perfection. A desire to defend the Romans from this charge may lie behind the exaggeration that appears in some of the plates of this publication—here Piranesi makes the mausoleum appear much larger than it actually is and exaggerates the difficulty of its construction. This page provides a good example of Piranesi's novel illustrative techniques: he represents three supplemental views on scrolls of paper hung behind the primary scene, while playfully undermining the illusion he has created by making the hook on the left scroll overlap the edge of the sheet.