黑色地面上的壁画：一对支架，来自博斯科特雷凯斯的皇家别墅 - 美国大都会艺术博物馆展品查阅

品名（中）	黑色地面上的壁画：一对支架，来自博斯科特雷凯斯的皇家别墅
品名（英）	Wall painting on black ground: pair of supports, from the imperial villa at Boscotrecase
入馆年号	1920年，20.192.7
策展部门	希腊和罗马艺术（Greek and Roman Art）
创作者
创作年份	公元前 10 - 公元前 1
创作地区
分类	杂项绘画（Miscellaneous-Paintings）
尺寸	整体: 59 x 19 1/4英寸 (149.9 x 48.9厘米)
介绍（中）	许多私人避暑别墅位于那不勒斯附近的海岸线上。其中最豪华的一定是阿格里帕建造的别墅，阿格里帕是奥古斯都皇帝的朋友，也是他女儿茱莉亚的丈夫。它坐落在现代小镇博斯科特雷卡斯附近，俯瞰着那不勒斯湾。1903年至1905年间，这座别墅在铁路工程中被意外发现，随后被部分挖掘。仍保留在四间卧室中的墙壁装饰被拆除。大都会博物馆（Metropolitan Museum）从三个房间中获得了部分，那不勒斯考古博物馆（Archaeological Museum at Naples）获得了其余部分。阿格里帕于公元前12年去世，他的儿子阿格里帕·波斯图姆斯（Agrippa Postumus）于公元前11年成为别墅的主人，正如在那里发现的铭文所示。这些壁画一定是在当时开始的翻修期间绘制的。它们由为皇室工作的艺术家绘制，是现存最好的罗马壁画之一所谓的"黑屋"是朝南的一系列卧室之一，朝向山和海的下坡。光源是一个通向露台或长廊的宽阔门口这种模糊而精致的装饰是所谓的第三种罗马壁画风格的杰作，这种风格在奥古斯都统治时期蓬勃发展。主题是对建筑主题的有趣演绎。一个低矮的红色护墙板作为底座，在黑色背景下，一个薄薄的白色柱子骨架看起来像是从这里升起的。几乎没有重量的柱子支撑着亭台楼阁、烛台、三脚架和环绕房间的狭窄飞檐。他们用宝石般的装饰品装饰着。在后墙上，奥古斯都的守护神阿波罗的鸟——小天鹅不可思议地栖息在螺纹状的螺旋上，带有埃及化图案的黄色面板一定让人想起了公元前30年埃及艳后最近对埃及的吞并。这种建筑方案几乎没有深度或体积感。后面的黑色墙壁立刻显得平坦，融入了无限的空间。在这片黑暗中，微小的景观渐晕像岛屿一样漂浮。这些墙被烧得很亮，当晚上被灯照亮时，一定显得很神奇。
介绍（英）	Many private summer villas were located along the coast near Naples. One of the most sumptuous must have been the villa built by Agrippa, friend of the emperor Augustus and husband of his daughter, Julia. It stood overlooking the Bay of Naples from a spot near the modern town of Boscotrecase. The villa was partially excavated between 1903 and 1905 after its accidental discovery during work on a railway. Wall decorations that still survived in four bedrooms were removed. The Metropolitan Museum acquired sections from three rooms and the Archaeological Museum at Naples received the rest. Agrippa died in 12 B.C. and his son, Agrippa Postumus became the villa's proprietor in 11 B.C. as inscriptions found there indicate. The frescoes must have been painted during renovations begun at the time. Painted by artists working for the imperial household, they are among the finest existing examples of Roman wall painting. The so-called Black Room was one of a sequence of bedrooms facing south toward the downward slope of the mountain and the sea. The source of light was a wide doorway giving onto a terrace or promenade. This ambiguous and sophisticated decoration is a masterpiece of the so-called third style of Roman wall painting, which flourished during the reign of Augustus. The theme is a playful rendition of architectural motif. A low red dado serves as the base from which a skeleton of thin white columns appears to rise against a black background. There almost weightless columns support pavilions, candelabra, tripods, and a narrow cornice that runs around the room. They were embellished with jewel-like decorations. On the back wall tiny swans, the bird of Apollo, patron god of Augustus, perch improbably on threadlike spirals, and yellow panels with Egyptianizing motifs must have brought to mind the recent annexation of Egypt after the death of Cleopatra in 30 B.C. This architectural scheme creates almost no sense of depth or volume. The black walls behind appear at once to be flat and to dissolve into limitless space. Tiny landscape vignettes float like islands in the middle of this blackness. Burnished to a high polish, these walls must have appeared magical indeed when illuminated by lamps at night.