女性卧姿 - 美国大都会艺术博物馆展品查阅

品名（中）	女性卧姿
品名（英）	Reclining female figure
入馆年号	1932年，32.100.180
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者
创作年份	公元 1530 - 公元 1565
创作地区
分类	雕塑青铜（Sculpture-Bronze）
尺寸	整体 (confirmed): 4 × 5 × 1 3/4 英寸 (10.2 × 12.7 × 4.4 厘米)
介绍（中）	这位典型的米开朗基罗式人物戴着一顶类似头巾的头盔，脖子后面有短边，胸部和腹部系着一条皮带，围在一起，膝盖上围着一条长裙，穿着小腿中靴。右脚下面有一个旧的固定孔，下面的中间有一个现代的钻孔。威廉·冯·博德认为该模型反映了特奥多罗·德拉·波塔对其父亲古列尔莫·德拉·波塔在圣彼得大教堂保罗三世墓上的大理石寓言正义（或平等，或忠诚）的干预。[1] 1594-95年，红衣主教奥多尔多·法尔内塞（Odoardo Farnese）让特奥多罗（Teodoro）设计了一件金属背心——一件金属衬衫或睡衣，以掩盖人物的性感。[2] 古列尔莫自己为大理石绘制的图纸显示，他想要一个翻滚的发型和一件除了乳头的轻微迹象外，没有那么暴露的布料。[3] 青铜人像的方向相反；没有迹象表明大理石的属性、火焰和领事风格；服装没有任何特定的寓意；没有古列尔莫那种古怪的优雅。特奥多罗的风格不太容易判断，但博德的想法必须被抛弃 -JDD 脚注。《博德1910》，第2卷，第4页，第119号 2.卡迪尔1889年，第80页。特奥多罗称这个数字为正义；墓上的那对是普律当丝 3.格拉姆伯格1964年，第1卷，第196页。
介绍（英）	The generically Michelangelesque figure wears a turbanlike helmet with short flaps at the back of the neck, a leathern peplum belted and gathered under the breasts and over the abdomen, a long skirt gathered at the knees, and midcalf boots. An old hole for affixing is under the right foot, and a modern drill hole passes through the middle of the underside. Wilhelm von Bode thought the model reflected an intervention by Teodoro della Porta on the marble allegorical figure of Justice (or Equanimity, or Fidelity) by his father Guglielmo della Porta on the tomb of Paul III in Saint Peter’s Basilica.[1] In 1594–95, Cardinal Odoardo Farnese had Teodoro fashion a camicia di metallo—a blouse or nightgown of metal—to mute the figure’s sexuality.[2] Guglielmo’s own drawing for the marble shows that he intended a tumbling coiffure and a drapery not all that revealing except for light indications of nipples.[3] The bronze figure is oriented in the opposite direction; there are no indications of the marble’s attributes, a flame and consular fasces; the costume is not suggestive of any particular allegory; and there is nothing of the quirky elegance of Guglielmo. Teodoro’s style is less easy to judge, but Bode’s idea has to be jettisoned. -JDD Footnotes (For key to shortened references see bibliography in Allen, Italian Renaissance and Baroque Bronzes in The Metropolitan Museum of Art. NY: The Metropolitan Museum of Art, 2022.) 1. Bode 1910, vol. 2, p. 4, no. 119. 2. Cadier 1889, p. 80. Teodoro calls the figure Justice; its pair on the tomb is Prudence. 3. Gramberg 1964, vol. 1, pl. 196.