东方三博士的崇拜 - 美国大都会艺术博物馆展品查阅

品名（中）	东方三博士的崇拜
品名（英）	The Adoration of the Magi
入馆年号	1919年，19.76.18
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Nosadella (Giovanni Francesco Bezzi)【1500 至 1571】【意大利人】
创作年份	公元 1500 - 公元 1571
创作地区
分类	图画（Drawings）
尺寸	整体: 14 5/16 x 9 5/8英寸 (36.4 x 24.4厘米), maximum, with completed strip of paper at bottom border and upper corners cropped
介绍（中）	这幅画是洛伦佐·萨巴蒂尼（Lorenzo Sabbatini）在1917年的彭布罗克拍卖会上购买的，尽管它已经列在彭布罗克相册中，并正确归属于诺萨德拉（见此处"铭文"和"出处"），这种归属也得到了研究的风格和技术的证实。圣马太的形象坐在前景的显眼位置，并由一位侍从天使协助他写作。马太的存在强调了这样一个事实，即贤士拜访圣婴基督的故事只在以他的名字命名的福音中讲述。因此，这幅画可能是在博洛尼亚圣玛丽亚马焦雷教堂合唱团的墙壁上以壁画绘制的该主题的表现形式的设计。代表割礼的祭坛画仍然幸存下来;据说它是由诺萨德拉开始的，由普洛斯彼罗丰塔纳完成的。博洛尼亚艺术史学家卡洛·切萨雷·马尔瓦西亚（Carlo Cesare Malvasia）报告说，合唱团的侧墙上是耶稣诞生和贤士崇拜的壁画（马尔瓦西亚，1686 年，第 42 页，祭坛画图 53/5）：这些侧壁画在 18 世纪在粉刷下消失了，但横向空间可以很容易地容纳垂直构图，例如我们绘画中研究的构图（正如凯瑟琳约翰斯顿所报告的那样）。此外，人物的规模和构图的节奏将与割礼祭坛画相协调。克里斯蒂娜·巴尔泰（Christine Baltay）指出，站在右边的老法师的身影在最近在伦敦佳士得拍卖行出售的一幅圣殿演讲画作中几乎逐字引用（1981年4月24日，第95期，再版）。在画中，魔术师变成了寺庙服务员。
介绍（英）	This drawing was bought at the Pembroke sale in 1917 as by Lorenzo Sabbatini, although it was already listed in the Pembroke album with the correct attribution to Nosadella (see here "inscriptions" and "provenance"), an attribution that is also confirmed by the style and technique with washes of the study. The figure of Saint Matthew is seated conspicuously in the foreground and is aided in his writing by an attendant angel. Matthew's presence emphasizes the fact that the story of the visit of the Magi to the Christ Child is told only in the Gospel that bears his name. The drawing could therefore be a design for a representation of this subject painted in fresco on the walls of the choir of the church of Santa Maria Maggiore, Bologna. The altarpiece, representing the Circumcision, still survives; it is said to have been begun by Nosadella and finished by Prospero Fontana. The Bolognese art historian Carlo Cesare Malvasia reports that on the lateral walls of the choir were frescoed representations of the Nativity and the Adoration of the Magi (Malvasia, 1686, p. 42, the altarpiece fig. 53/5): these lateral frescoes had disappeared under whitewash by the eighteenth century, but the lateral spaces could have easily accommodated a vertical composition such as that studied in our drawing (as Catherine Johnston has reported). Furthermore, the scale of the figures and the rhythm of the composition would have harmonized with the Circumcision altarpiece. Christine Baltay has pointed out that the figure of the old Magus standing at the right is quoted almost verbatim in a painting of the Presentation in the Temple that was sold more recently at Christie's in London (April 24, 1981, no. 95, repr.). In the painting, the Magus is transformed into a temple attendant.