与勒罗伊（Le Roy）[特拉斯特弗雷（Trastevere）的玛丽亚（S.Maria）、穆拉（S.Paoplo fuori Le Mura）、克莱门特（S.Clemente）等]、罗马大教堂（Della Magnificenza e d‘Architettura de‘Romani）（伦敦皇家古董学会研究员吉奥·巴蒂斯塔·皮拉内西（Gio Battista Piranesi）的《罗马帝国的宏伟和建筑》）的希腊实例相比，各种罗马爱奥尼亚式柱头，表20 - 美国大都会艺术博物馆展品查阅

品名（中）	与勒罗伊（Le Roy）[特拉斯特弗雷（Trastevere）的玛丽亚（S.Maria）、穆拉（S.Paoplo fuori Le Mura）、克莱门特（S.Clemente）等]、罗马大教堂（Della Magnificenza e d‘Architettura de‘Romani）（伦敦皇家古董学会研究员吉奥·巴蒂斯塔·皮拉内西（Gio Battista Piranesi）的《罗马帝国的宏伟和建筑》）的希腊实例相比，各种罗马爱奥尼亚式柱头，表20
品名（英）	Various Roman Ionic capitals compared with Greek examples from Le Roy [S. Maria in Trastevere, S. Paoplo fuori le Mura, S. Clemente, etc.], from Della Magnificenza e d'Architettura de'Romani (On the Grandeur and the Architecture of the Romans by Gio. Battista Piranesi, Fellow of the Royal Society of Antiquaries of London), tab. 20
入馆年号	1941年，41.71.1.7(28)
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 1735 - 公元 1778
创作地区
分类	印刷品（Prints）
尺寸	Plate: 15 3/4 x 23 9/16 英寸 (40 x 59.8 厘米) 页: 21 1/4 x 31 1/2 英寸 (54 x 80 厘米)
介绍（中）	1758年，法国建筑师朱利安·大卫·勒罗伊出版了《希腊最美丽纪念碑的废墟》（Les ruines des plus beaux monuments de la Grèce），他在书中宣称，这些建筑秩序是罗马人继承的希腊发明，罗马人模仿并随后贬低了它们。勒罗伊在谈到罗马复合柱式时写道："它只是爱奥尼亚式和科林斯式的一个相当不完美的混合体，通过改变多立克柱式的柱子比例，并将其柱顶的线脚相乘，它们可能使它失去了很多男性特征，这是希腊的一个显著特征。"部分是为了回应当代对希腊建筑重要性的争论，包括马克·安托万·劳吉尔（Marc Antoine Laugier）的《Essai sur l’architecture》（1753），该书展示了从木到石建筑的演变，希腊多立克神庙就是例证。1761年，皮拉内西出版了《Della华丽的建筑》（关于罗马人的宏伟和建筑）。皮拉内西用意大利语和拉丁语写的长文表达了他对伊特鲁里亚设计优越性的信念，并配以三十八幅雕刻插图，包括这幅罗马爱奥尼亚柱头的折页。在图版中，皮拉内西用一系列更复杂的罗马变体，围绕着勒罗伊自己雕刻的雅典埃雷希提翁的首都。盘子的顶部引用了勒罗伊的一句话："人们在罗马看到的爱奥尼亚柱头似乎很差，很有缺陷。"对此，皮拉内西的回应是描绘了罗马许多"宏伟"的爱奥尼柱头。
介绍（英）	In 1758, the French architect Julien-David Le Roy published 'Les ruines des plus beaux monuments de la Grèce' (The ruins of the most beautiful monuments of Greece) in which he proclaimed that the architectural orders were a Greek invention inherited by the Romans who imitated and subsequently debased them. Le Roy wrote of the Roman Composite order, "[I]t is only a fairly imperfect mixture of the Ionic and Corinthian and by altering the proportions of the column from the Doric order and by multiplying the moldings of its entablature, they have perhaps made it lose a lot of its male character, which was a distinguishing feature in Greece." Partly in response to such contemporary polemical salvos touting the significance of Greek architecture, including Marc-Antoine Laugier's 'Essai sur l'architecture' (1753), which demonstrated the evolution of wood to stone architecture as exemplified by the Greek Doric temple, in 1761 Piranesi published 'Della magnificenza ed architettura de' romani' (Concerning the magnificense and architecture of the Romans). Piranesi's lengthy essay in Italian and Latin expressed his conviction of the superiority of Etruscan design and was accompanied by thirty-eight engraved illustrations, including this foldout of Roman Ionic capitals. In the plate, Piranesi has surrounded Le Roy's own engraving of a capital from the Erechtheion in Athens with an elaborate array of more complex Roman variants. At the top of the plate is a quote from Le Roy: "The Ionic capitals one sees in Rome seem poor and defective," to which Piranesi responds by illustrating many of the "magnificent" Ionic capitals of Rome.