《圣母与圣玛蒂娜的孩子》，《圣玛蒂娜另一个研究》，《头部研究》和《拱廊研究》（导演）；图形研究（verso） - 美国大都会艺术博物馆展品查阅

品名（中）	《圣母与圣玛蒂娜的孩子》，《圣玛蒂娜另一个研究》，《头部研究》和《拱廊研究》（导演）；图形研究（verso）
品名（英）	The Virgin and Child with Saint Martina, Another Study of Saint Martina, Studies of a Head, and of an Arcade (recto); Figure Studies (verso)
入馆年号	1880年，80.3.52
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Pietro da Cortona (Pietro Berrettini)【1596 至 1669】【意大利人】
创作年份	公元 1596 - 公元 1669
创作地区
分类	图画（Drawings）
尺寸	6 7/16 x 7 5/16英寸 (16.3 x 18.6厘米)
介绍（中）	罗马殉道者圣玛蒂娜，跪在圣母面前，即将从圣婴基督那里接过一朵花，这是科尔托纳经常画的主题。正是在罗马圣路加学院教堂地下室的挖掘过程中，发现了圣玛蒂娜的尸体。当时，科尔托纳是 1635 年至 1650 年间在该地点建造的教堂的建筑师（最终献给卢克和玛蒂娜），纸张顶部的建筑草图可能与艺术家对教堂的计划有关。科尔托纳特别致力于对罗马烈士圣玛蒂娜的崇拜 - 一位因拒绝崇拜偶像而被处死的三世纪烈士 - 以及博物馆收藏中另一幅画的主题（inv.1979.3）。 Jörg Martin Merz引用大都会的绘画作为圣玛蒂娜最早的图像之一，注意到在反面可见的镜像中可以看到密涅瓦的草图，这可能与科尔托纳在罗马巴贝里尼宫主厅（Salone）绘制的天花板壁画有关。因此，这张纸的年代可能可以追溯到 1630 年代，大约与发现的遗物同时，并且可能是科尔托纳的画作"圣母子和圣玛蒂娜"（巴黎卢浮宫博物馆，第 108 节）的反向研究。这幅画曾经被认为是朱利奥·罗马诺（Giulio Romano）的作品，然后是科雷焦（Correggio）的圈子，于1958年被已故的菲利普·普罗西（Philip Pouncey）认为是彼得罗·达·科尔托纳（Pietro da Cortona）的作品。
介绍（英）	The Roman martyr Saint Martina, kneeling before the Virgin and about to receive a flower from the Christ Child, was a subject frequently painted by Cortona. It was in the course of excavations for the crypt of the church of the Academy of Saint Luke in Rome that the body of Saint Martina was discovered. At the time, Cortona was the architect of the church built on that site between 1635 and 1650 (which was eventually dedicated to both Luke and Martina), and the architectural sketches at the top of the sheet may be related to the artist's plans for the church. Cortona was particularly devoted to the cult of the Roman martyr Saint Martina - a third-century martyr who was put to death for refusing to worship idols – and the subject of another drawing in the Museum’s collection (inv. 1979.3). Citing the Metropolitan's drawing as one of the earliest images of Saint Martina, Jörg Martin Merz notes a sketch of Minerva in mirror-image visible on the verso, which may be linked to the ceiling fresco painted by Cortona in the main hall (Salone) of Palazzo Barberini in Rome. The sheet may therefore be dated to the 1630s, around the same time that the relics where discovered, and may be a study in reverse for Cortona's painting of ‘The Virgin and Child and Saint Martina’ (Musee du Louvre, Paris, inv. 108). Once attributed to Giulio Romano, then to the circle of Correggio, the drawing was recognized in 1958 as a work of Pietro da Cortona by the late Philip Pouncey.