一位男性雕像被降为坟墓（直肠）的研究；向左侧（背面）侧边跪着的女性形象 - 美国大都会艺术博物馆展品查阅

品名（中）	一位男性雕像被降为坟墓（直肠）的研究；向左侧（背面）侧边跪着的女性形象
品名（英）	Study for a Male Figure Lowered into a Grave (recto); Kneeling Female Figure in Profile to Left (verso)
入馆年号	1981年，1981.128
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Cigoli (Ludovico Cardi)【1559 至 1613】【意大利人】
创作年份	公元 1607 - 公元 1613
创作地区
分类	图画（Drawings）
尺寸	9-13/16 x 15-3/8 英寸 (24.9 x 39.1 厘米)
介绍（中）	Cigoli为罗马圣保罗fuori le Mura大教堂的后堂绘制的圣保罗葬礼研究了正面和背面的人物。这幅画创作于1606-1607年，虽然在Cigoli去世时尚未完成，但它被放置在大教堂的后堂中，一直保留到1823年的毁灭性大火。Cigoli的同时代人认为这幅画是他的杰作之一，在佛罗伦萨的Gabinetto Disegni e Stampe degli Uffizi保存的一组预备研究中有记载（见：Miles Chappell in Disegni dei toscani a Roma，1580-1620，佛罗伦萨1979，编号98-103）在教区长上，一位斜倚在吊床上的工作室助理（？）正在研究圣保罗被放入坟墓的雕像。左上角的两只手表示在埋葬时（使徒被斩首）将圣保罗的头与身体重新结合的动作，而人物膝盖下方的那只手则是为其中一名抬尸者准备的。浮雕上的跪像是一位虔诚地协助下葬的罗马女管家。这幅画在风格和技术上（蓝纸蓝洗）都具有成熟的齐戈利绘图的特点，对雅各波·维格纳利（注于山上）的错误旧归因也许可以用齐戈利对这位佛罗伦萨艺术家下一代作品的主要影响来解释。
介绍（英）	The figures on both recto and verso are studied for the Burial of Saint Paul painted by Cigoli for the apse of the Basilica of San Paolo fuori le Mura, Rome. The painting was commissioned in 1606-1607 and, though unfinished at Cigoli's death, it was placed in the apse of the Basilica where it remained until the destructive fire of 1823. The painting, considered by Cigoli's contemporaries to be one of his masterpieces, is documented in a group of preparatory studies preserved in the Gabinetto Disegni e Stampe degli Uffizi, Florence (see: Miles Chappell in Disegni dei toscani a Roma, 1580-1620, Florence 1979, nos. 98-103). On the recto, a studio assistant reclining in a hammock (?) is studied for the figure of Saint Paul being lowered into his tomb. The two hands at upper left indicate the action of reuniting Saint Paul's head with his body at the moment of burial (the Apostle was beheaded), while the hand indicated below the figure's knees is intended for one of the bearers of the corpse. The kneeling figure on the verso is a Roman matron who assists devoutly at the interment.In style and in technique (blue wash on blue paper) the drawing is characteristic of the draughtsmanship of the mature Cigoli, and the mistaken old attribution to Jacopo Vignali (annotated on the mount) can perhaps be explained by the preponderant influence of Cigoli on the work of this Florentine artist of the following generation.