烟囱（烟囱） - 美国大都会艺术博物馆展品查阅

品名（中）	烟囱（烟囱）
品名（英）	Chimneypiece (cheminée)
入馆年号	1976年，1976.227
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	François Joseph Belanger【1744 至 1818】【法国人】
创作年份	公元 1784
创作地区
分类	雕塑建筑（Sculpture-Architectural）
尺寸	高 45-1/2 英寸 (115.6 厘米.); 宽 73-7/16 英寸 (186.5 厘米.); 深 17-3/4 英寸 (45.1 厘米.)
介绍（中）	这件气势恢宏的新古典主义壁炉架的模型，结合了女性萨蒂尔的大型人物作为额梁和壁炉架的支撑，被重复了多次。尽管这件作品是为巴黎Thelusson酒店的Ovale大沙龙委托制作的，但似乎从未在那里安装过。它被用于Hôtel de Massa，这是银行家Paul Louis de Thelusson（约1762年）于1785年1月租用的住宅。这种设计最早的壁炉台似乎是马扎林公爵路易丝·让·德·杜尔福（1735-1781）的巴黎特别酒店的壁炉台，1781年皮埃尔·古铁埃为其制作了青铜器。第一个壁炉台由蓝色turquin大理石制成，有很好的记录，因此我们知道建筑师François Joseph Bélanger负责了它的设计，引人注目的caryatid人物，双腿交叉，双手合十，是由雕塑家Jean Joseph Foucou建模的。Gouthière为Thelusson酒店提供了五个不同的壁炉架，但只为其中四个完成了工作。1784年，弗朗索瓦·雷蒙德（François Rémond）完成了第五尊青铜雕像和装饰，据信这是博物馆目前收藏的青铜雕像青铜色的腰带有着深色的光泽，但它们的用具是镀金的——头发上有藤蔓叶子和葡萄的花环，垂下的窗帘，以及隐藏裸体的常春藤腰带。此外，一条镀金的带子穿过胸部，一条类似的缎带系在这些神话中的半人（酒神巴克斯的侍从）的蹄子上。乐器悬挂在带子上——左边是一对钹，右边是一个手鼓，铃铛系在带子上；这样，这些公主就可以在醉酒狂欢时发出音乐。他们上半身光泽而感性的皮肤与毛茸茸的山羊腿形成鲜明对比。与其他已知的这种设计不同，博物馆的壁炉台是唯一一个雕带完全用重复的镀金青铜装饰的壁炉台。
介绍（英）	The model of this imposing Neoclassical chimneypiece, incorporating large figures of female satyrs as supports of the architrave and mantel shelf, was repeated a number of times. Although commissioned for the Grand Salon Ovale of the Hôtel Thelusson in Paris, the chimneypiece appears never to have been installed there. It was used at the Hôtel de Massa instead, a residence rented by the banker Paul-Louis de Thelusson (b. ca. 1762) in January 1785. The earliest mantelpiece of this design appears to have been the one for the Paris hôtel particulier of Louise-Jeanne de Durfort, duchesse de Mazarin (1735–1781), for which Pierre Gouthière executed the bronzes in 1781. Made of blue turquin marble, that first mantelpiece is very well documented, and we therefore know that the architect François-Joseph Bélanger was responsible for its design and that the striking caryatid figures, their legs crossed and hands folded above their heads, were modeled by the sculptor Jean-Joseph Foucou. Gouthière was to supply five different mantelpieces for the Hôtel Thelusson but was able to finish the work for only four of them. The bronze figures and decoration of the fifth were done by François Rémond in 1784, and it is believed to be the one now in the Museum’s collection. The bronze satyresses have a dark patination but their paraphernalia are gilded—the wreath of vine leaves and grapes in their hair, the drapery cascading down their backs, and the ivy girdle hiding their nudity. In addition, a gilded strap runs across the chests and a similar ribbon is tied around the hooves of these mythological half-figures, attendants of the wine god Bacchus. Musical instruments are suspended from the straps—a pair of cymbals on the left and a tambourine on the right—and bells are attached to the ribbons; thus these satyresses could make music during their drunken revelry. The lustrous and sensuous skin of their upper bodies starkly contrasts with their hairy goat’s legs. Unlike the other known examples of this design, the Museum’s mantelpiece is the only one in which the frieze is entirely decorated with repeating gilt-bronze ornament.