The Roman antiquities, t. 3, Plate XX. Plan, elevation and cross section of a tomb on the ancient Appian Way in the Vineyard Buonamici. 

Editor: So, we’re looking at an engraving titled *The Roman antiquities, t. 3, Plate XX. Plan, elevation and cross section of a tomb on the ancient Appian Way in the Vineyard Buonamici*, by Giovanni Battista Piranesi. It’s… well, it's quite technical. What do you make of this detailed depiction? Curator: This is a feast for the imagination, isn’t it? It isn't merely a dry architectural drawing; Piranesi conjures up a vanished world. I find myself transported, trying to piece together not just the structure of this tomb, but also the life around it, the echoes of voices, the scent of cypress and dust... it's less about accurate historical record, and more of an emotional time travel. What sensations arise for you? Editor: I see what you mean, looking at it that way makes it come alive! All the levels, sections and plans really build a bigger idea. How would the people visiting relate to each part of this place? Curator: Precisely. He layers the technical aspects of each component, blending a kind of obsessive precision with artistic licence. Consider how the darkness of the engraving lends a mysterious air. It's theatrical, a stage set for contemplating mortality. Piranesi's reality is never simple, he liked adding flourishes which were never meant to mislead, just a sort of artistic flourish which really brings an ancient concept into our time. Editor: I never considered an engraving could be so evocative. It seems like more than just showing; he's telling a story about a distant time! Curator: Indeed! He isn't just depicting ruins; he is reminding us that the echoes of antiquity resonate within us all. Editor: Well, I've learned that there can be something very vivid hiding beneath the lines of even technical-looking drawings. Curator: Absolutely, art exists where you choose to find it, especially in the intersection between the intention, and your own, raw reaction.