基督显现（校长）；《朱庇特与鹰》印刷片段，出自卡拉格里奥的《圣彼得和圣保罗殉难记》（verso） - 美国大都会艺术博物馆展品查阅

品名（中）	基督显现（校长）；《朱庇特与鹰》印刷片段，出自卡拉格里奥的《圣彼得和圣保罗殉难记》（verso）
品名（英）	Apparition of Christ (recto); Printed Fragment with Jupiter Enthroned with Eagle, from Caraglio's Martyrdom of Saint Peter and Saint Paul (verso)
入馆年号	1965年，65.112.2
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Parmigianino (Girolamo Francesco Maria Mazzola)【1503 至 1540】【意大利人】
创作年份	公元 1524 - 公元 1527
创作地区
分类	图画（Drawings）
尺寸	5 11/16 x 4 15/16英寸 (14.5 x 12.6厘米)
介绍（中）	令人好奇的是，这幅帕尔米吉亚尼诺罗马时期的小而充满活力的构图草图的主题一直未能得到精确的解释。大卫·埃克舍尔吉安（David Ekserdjian）提出了《基督的体面》（Decent of Christ into Limbo）（1983年9月9日的信），这是在尼哥底母（Nicodemus）的伪经福音中叙述的，但这一场景也与基督治愈病人（马太福音4:23-4）和贝塞斯达水池（约翰福音5:I-25）的描绘有着相似之处。背景中的"门廊"与帕尔米加尼诺（Parmigianino）在安格斯平切博物馆（Musée Pincéin Angers）画的《基督治愈病人》（Popham，1971年，第1期，第5期）相似。这幅画的构图通常让人联想到拉斐尔为雅典圣保罗传道会西斯廷教堂挂毯所作的宏伟设计，该挂毯制作于1514-16年，帕尔米吉亚尼诺在马尔坎托尼奥·雷蒙迪（Marcantonio Raimondi）的生殖雕刻（Popham编号144，第207页）之后，也忠实地复制了这幅画。在风格和技术上，大都会博物馆的图纸与许多罗马时期的构图相吻合，其中展示了一个同样难以捉摸的宗教主题和一个广阔的拉斐尔式叙事结构。左上角登上楼梯的凯旋男子似乎是荣耀中的基督，右边一个勉强勾勒出的恳求者接近他。在左下角，一个斜倚的人转向基督般的人物，手里拿着可能是木制十字架或托盘，而右边的一群恳求的人物则从一座仿古建筑的宽敞门廊中散发出来。在右边前景的人群中低垂着一个天使或恶魔的翅膀，但不清楚他到底在做什么。远处的建筑背景布满了许多人物。
介绍（英）	Curiously drawn over a fragment of Caraglio’s engraving with the Martyrdom of Saint Peter and Saint Paul (a print designed by Parmigianino), the subject of this small and vibrant composition sketch from Parmigianino's Roman period has eluded precise explanation. David Ekserdjian has proposed the Decent of Christ into Limbo (letter of 9 September 1983), recounted in the apocryphal gospel of Nicodemus, but the scene also shares some iconographic affinities with representations of both Christ healing the sick (Matthew 4: 23-4) and the Pool of Bethesda (John 5:I-25). The ‘portico’ in the background is similar to that in Parmigianino's drawing of Christ Healing the Sick at the Musée Pincé in Angers (Popham, 1971, 1, no. 5). The drawing's composition generally evokes the grandeur of Raphael's designs for the Sistine Chapel tapestry of Saint Paul Preaching in Athens, prepared in 1514-16 and which Parmigianino also copied faithfully in a drawing in Frankfurt after Marcantonio Raimondi's reproductive engraving (Popham no. 144, pl. 207). In style and technique, the Metropolitan Museum sheet fits with a number of compositional drawings from the Roman period that exhibit a similarly elusive religious subject matter and an expansive, Raphaelesque narrative construction. The triumphant male figure mounting the stairs on the upper left seems to be Christ in glory, who is approached by a barely sketched-out supplicant figure on the right. At the lower left, a reclining man turns toward the Christ-like figure, holding what may be a wooden cross or pallet, while a group of beseeching figures on the right emanates from the spacious portico of an antique-style building. Hovering low amidst the crowd in the right foreground is the winged figure of an angel or a demon, but it is unclear precisely what he is doing. Numerous figures populate the distant background of the building.