圣格雷戈里弥撒 - 美国大都会艺术博物馆展品查阅

品名（中）	圣格雷戈里弥撒
品名（英）	The Mass of St. Gregory
入馆年号	1988年，1988.295
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者
创作年份	公元 1550 - 公元 1560
创作地区
分类	雕塑（Sculpture）
尺寸	22 1/2 × 38 1/4 英寸 (57.2 × 97.2 厘米)
介绍（中）	中世纪晚期的意象学家提出了一个普遍被认为是格雷戈里大帝的愿景，在这个愿景中，基督作为悲伤的人出现在祭坛上，并在弥撒中向教皇举起主人时向他展示自己的伤口。这个主题经常被用来证明实体的真实性，后来被抹黑，到17世纪几乎消失了。这幅浮雕的形式和向左移动表明，它来自西班牙祭坛画的特征形式——多通道雷塔布洛的右侧前裙。雕刻品出自卡斯蒂利亚学派一位天赋异禀的成员之手。尽管他被伟大的雕塑家大师Alonso Berruguete（1488-1561）和Juan de Juni（约1507-1577）的教训所打动，但他表现出了自己的叙事天赋和独立的面相方式，就像在庆祝者和辅助神职人员的宽阔头骨上一样。他还牢牢地掌握了estofado的技术，在这种技术中，在镀金上涂上油漆，然后刮去，创造出对比鲜明的图案。他既使用镀金，也使用镀银；格雷戈里头后横幅上的五处基督伤口是在一块镀银的地上的sgrafito上被挑出来的。调色板已经被涂上闪亮的清漆所改变，但当在保护过程中去除这一点时，黄金和白银在形式的对角线排列上的作用应该是令人眼花缭乱的
介绍（英）	Late medieval imagists formulated a vision popularly ascribed to Gregory the Great, in which Christ as the Man of Sorrows appears on the altar and shows his wounds to the pontiff as he elevates the host during Mass. The theme, often invoked to demonstrate the truth of substantiation, was later discredited and virtually disappeared by the seventeenth century. The format and leftward movement of this relief suggest that it came from the right-hand predella of a multipaneled retablo, the characteristic form of a Spanish altarpiece. The carving is by an uncommonly gifted member of the Castilian school. Although he was touched by the lessons of the great master sculptors Alonso Berruguete (1488-1561) and Juan de Juni (about 1507–1577), he shows his own flair for narrative and an independent physiognomical manner, as in the broad skulls of the celebrant and assisting clergy. He was also securely grounded in the techniques of estofado, in which paint is applied over gilding and then scratched away to create dramatically contrasting patterns. He employed silvering as well as gilding; the five wounds of Christ on the banner behind Gregory's head are picked out in sgraffito on a silvered ground. The palette has been altered by the application of a shiny varnish, but when this is removed in the course of conservation, the play of gold and silver upon the diagonal arrangement of forms should be dazzling