带有睡莲遗迹的横向景观，被误认为是罗马的Minerva Medica神庙，出自系列“Ruinarum variarum fabricarum despectiones pictoribus caetrique id属artificibus multum utiles” - 美国大都会艺术博物馆展品查阅

品名（中）	带有睡莲遗迹的横向景观，被误认为是罗马的Minerva Medica神庙，出自系列“Ruinarum variarum fabricarum despectiones pictoribus caetrique id属artificibus multum utiles”
品名（英）	Horizontal Landscape with the remains of the Nymphaeum, mistakenly identified as the Temple of Minerva Medica in Rome, from the series 'Ruinarum variarum fabricarum delineationes pictoribus caeterisque id genus artificibus multum utiles'
入馆年号	1948年，48.13.4(64)
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Lambert Suavius【1510 至 1576】【荷兰人】
创作年份	公元 1554
创作地区
分类	书（Books）
尺寸	Plate: 5 7/8 x 3 7/8 英寸 (15 x 9.9 厘米)
介绍（中）	描绘睡莲遗骸的水平板，历史上被误认为是罗马的Minerva Medica神庙。这座建筑被描绘成从现在的乔瓦尼·乔利蒂大街（Via Giovanni Giolitti）向南看。它的地基被部分掩埋，建筑物被植物覆盖。在这幅描绘中，这座建筑的圆顶比其现代保存状态更为完整。这与该建筑的其他第十六和第十七幅描述一致，表明这种描述是基于对该结构的原位观察《Ruinarum variarum fabricarum descriptiones pictoribus caeterique id genera属artificibus multum utiles》是Gerard de Jode出版的一个印刷系列，包含了以风格化景观为背景的古典古代建筑的描绘。该系列中的板块可以分为两组：17个板块是景观场景，其中包含可识别建筑的废墟。15个图版从这些大气景观中脱颖而出，可以被确定为意大利印刷系列的近距离（有时是反向）复制品，该系列之前被认为是大师G.A.的作品，于1530年至1550年间在罗马首次出版。这些版画还描绘了罗马古代的建筑，从凯旋门到意大利、法国和西班牙的澡堂、寺庙和宫殿。其中一些建筑是根据中世纪的描述进行人工重建的，而另一些则被描绘成毁灭性的状态。
介绍（英）	Horizontal plate with a depiction of the remains of a Nymphaeum, historically mistaken for the Temple of Minerva Medica in Rome. The building is depicted as seen from the South, from what is now the Via Giovanni Giolitti. Its foundations are partially burried and the building is covered in plants. The dome of the building is more complete in this depiction than in its modern-day state of preservation. This is congruous with other sixteenth and seventeenth depictions of the building, suggesting that this depiction if based on an in situ obervation of the structure. 'Ruinarum variarum fabricarum delineationes pictoribus caeterisque id genus artificibus multum utiles' is a print series published by Gerard de Jode, containing depictions of buildings from Classical Antiquity, set in stylized landscapes. The plates in the series can be divided in two groups: seventeen plates are landscape scenes, which contain ruines of identifiable buildings. Fifteen plates stand out from these atmospheric landscapes, and can be identified as close (sometimes reversed) copies after an Italian print series, previously attriputed to the Master G. A. with the Caltrop, and first published in Rome between 1530 and 1550. The prints also depict buildings from Roman Antiquity, ranging from triumphal arches to bath houses, temples and palaces in Italy, France and Spain. Some of the buildings have been artificially reconstructed based on Medieval descriptions, while others are depicted in their ruinous states.