大主教Don Dalmau de Mur y Cervelló的祭坛和教堂 - 美国大都会艺术博物馆展品查阅

品名（中）	大主教Don Dalmau de Mur y Cervelló的祭坛和教堂
品名（英）	Altar Predella and Socle of Archbishop Don Dalmau de Mur y Cervelló
入馆年号	1909年，09.146
策展部门	修道院（The Cloisters）
创作者	Francí Gomar【1443 至 1493】【西班牙人】
创作年份	公元 1453 - 公元 1461
创作地区	制造于: 西班牙, 阿拉贡, 萨拉戈萨（Made in: Spain, Aragon, Saragossa）
分类	雕塑石（Sculpture-Stone）
尺寸	107 x 183 x 26 1/4 英寸 (271.8 x 464.8 x 66.7 厘米)
介绍（中）	这座巨大的建筑横跨两层五个海湾，由萨拉戈萨大主教don Dalmau de Mur y Cervelló于1434年至1458/9年委托在大主教宫的小教堂中修建祭坛。上层（打算作为祭坛画或祭坛画的前身）包含五个场景：圣马丁或图尔将他的斗篷与一个乞丐分开，基督在梦中出现在他面前（左图）；圣灵的降临（中间部分）；圣特克拉听了保罗的讲道（最右边的小组），在她皈依后，被神圣的干预从燃烧的火焰中拯救了出来（右起第二个小组）。左下角（或socle）的两块外板中的每一块都显示了一个留着胡子的人，手里拿着大主教的纹章。重建后的祭坛上的中央盾牌上挂着十字架，描绘了基督大教堂（与十字架相关的乐器）结构由雪花石膏制成，雪花石膏是一种柔软而紧凑的石头，具有半透明的光泽。这种材料的可加工性使雕塑家FrancíGomar能够创造出精美的细节。只保留了一些原画和镀金的痕迹。根据1458年的一份合同，画家托马斯·吉纳（活跃于1458-80年）受委托为竖立在predella上方的面板进行绘画和镀金。绘画祭坛画与巨石阵的不同寻常的组合可能是在大主教去世前加快整体完成的必要措施。
介绍（英）	This massive structure, extending across five bays on two levels, was commissioned by don Dalmau de Mur y Cervelló, archbishop of Saragossa from 1434 to 1458/9, for an altar in the chapel of the archiepiscopal palace. The upper level (intended as the predella for the altarpiece or retable) contains five scenes: Saint Martin or Tours dividing his cloak with a beggar and Christ appearing to him in a dream (left panels); the Descent of the Holy Spirit (center panel); and Saint Thecla listening to the preaching of Paul (far right panel) and, after her conversion, being saved by divine intervention from burning fire (second panel from right). Each of the two outer panels on the lower left (or socle) shows a bearded figure carrying the coat of arms of the archbishop. The central shield on the reconstructed altar, festooned against a cross, depicts the Arma Christi (the instruments associated with the Crucifixion). The structure is made of alabaster, a soft yet compact stone with a translucent glow. The workability of the material allowed the sculptor, Francí Gomar, to create exquisite details. Only a few traces of the original painting and gilding remain. According to a 1458 contract, the painter Tomás Giner (active 1458-80) was commissioned to paint and gild panels intended to stand above the predella. The unusual combination of painted altarpieces with a stone predella may have been a necessary measure to speed completion of the ensemble before the archbishop's death.