圣伯多禄大教堂中天使封住以色列儿童前额的研究 - 美国大都会艺术博物馆展品查阅

品名（中）	圣伯多禄大教堂中天使封住以色列儿童前额的研究
品名（英）	Study for Angels Sealing the Foreheads of the Children of Israel in Saint Peter's Basilica
入馆年号	1966年，66.134.1a–c
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 1652
创作地区
分类	图画（Drawings）
尺寸	16-3/4 x 44-9/16 英寸 (42.7 x 113.2 厘米) maximum, unevenly cut upper and lower borders
介绍（中）	由三张相连的纸组成，这张权威设计代表了天启的愿景，在审判日复活的灵魂分裂。这是对圣彼得大教堂右中殿圆顶马赛克装饰的研究。（椭圆形的灯笼穿过穹顶，在中央有轻微的指示。）这个重要委员会的工作始于1668年，也就是科尔托纳去世的前一年，由他的天才学生西罗·费里（Ciro Ferri，1634-1689）监督 1652年，科尔托纳正在为圣彼得大教堂右中殿前三个开间的马赛克装饰画漫画。对于这些海湾的椭圆形圆顶，存在着启示录中提供的场景——第三个圆顶的马赛克代表着祭坛的焚香，第二个圆顶代表着羔羊的崇拜。1668年，当他开始绘制第一湾圆顶的漫画时，这两幅马赛克就已经完成了，这些漫画代表了天使们在以色列儿童的额头上缩放（启示录7），但这最后一幅主题的马赛克是在科托纳死后，才在西罗·费里（Ciro Ferri，1634-1689；参见此处"参考文献"，以获取有关该项目的更多参考文献）的监督下完成的这幅由三张纸垂直拼接而成的大型图纸，为我们提供了科罗纳戏剧性地描绘世界末日景象的重要叙事段落，椭圆形灯笼的开口在设计的上中心用黑色粉笔表示。在这里，在他的职业生涯结束时，艺术家放弃了钢笔和粉笔；用刷子刷洗就足以显示人物的剧烈运动。1695年，F·阿奎拉（F.Aquila）在第一个海湾的马赛克圆顶上雕刻了一幅作品，称西罗·费里（Ciro Ferri）为该作品的设计者，但这幅作品的证词（当然是科尔托纳（Cortona）的作品）清楚地表明，费里的作用可能仅限于监督其主人项目的完成。然而，Nicholas Turner最近在锡耶纳发现了（Comunale书目，第2卷）。5，第46页，校长）一幅用西罗·费里（Ciro Ferri）典型的、潦草的手绘制的黑色粉笔画，这是对马赛克中一组人物的研究。费里的数字更接近于完成的马赛克，而不是大都会博物馆的科尔托纳项目。
介绍（英）	Composed of three joined sheets, this magisterial design represents a vision of the Apocalypse, with the division of risen souls on the Day of Judgment. It is a study for the mosaic decoration of a dome in the right nave of Saint Peter's basilica. (The oval lantern piercing the dome is lightly indicated at the center.) Work on this important commission began in 1668, the year before Cortona's death, and was overseen by his talented pupil Ciro Ferri (1634-1689). In 1652 Cortona was at work on cartoons for the mosaic decoration of the first three bays in the right nave of Saint Peter's Basilica. For the elliptical cupolas of these bays lie supplied scenes from the Apocalypse - the mosaic of the third cupola representing the Incensing of the Fiery Altar, that of the second the Adoration of the Lamb. These two mosaics had been completed by the time he began, in 1668, the cartoons for the cupola of the first bay, representing Angels Scaling the Foreheads of the Children of Israel (Revelation 7), but the mosaic of this last subject was finished only after Cortona's death, under the supervision of Ciro Ferri (1634-1689; see here "References" for further bibliography on this project). This large drawing, made up of three sheets of paper joined vertically, gives us the essential narrative passages of Corrona's dramatic rendering of the apocalyptic vision, and the opening of the oval lantern is indicated in black chalk at the upper center of the design. Here, at the end of his career, the artist abandons pen and chalk; brush with wash suffices to indicate the surging movement of the figures. An engraving of the mosaic cupola in the first bay by F. Aquila, published in 1695, names Ciro Ferri as the designer of the composition, but the testimony of this drawing, certainly by Cortona, makes it clear that Ferri's role was probably limited to supervising the completion of his master's project. However, Nicholas Turner has recently identified in Siena (Biblioteca Comunale, vol. S. 2. 5, folio 46, recto) a black chalk drawing in Ciro Ferri's typical, scribbly hand that is a study for a group of figures in the mosaic. Ferri's figures come closer to the finished mosaic than to the Cortona project at the Metropolitan Museum.