人物研究：一名手持盾牌的女子、一名跳舞的女性和一名牧师在一群围观者面前支撑在祭坛上 - 美国大都会艺术博物馆展品查阅

品名（中）	人物研究：一名手持盾牌的女子、一名跳舞的女性和一名牧师在一群围观者面前支撑在祭坛上
品名（英）	Figure Studies: Woman holding a Shield, a Dancing Female, and a Priest Supported at an Altar before a Group of Onlookers
入馆年号	1880年，80.3.320
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Bernardino Poccetti【1548 至 1612】【意大利人】
创作年份	公元 1612
创作地区
分类	图画（Drawings）
尺寸	9 1/16 x 8英寸 (23 x 20.3厘米)
介绍（中）	正是菲利普·普鲁西（Philip Pouncey）在1958年认出了这幅画中波切蒂的手，这只手以前被归类为匿名佛罗伦萨。Pouncey指出，这张纸下半部分的一组人物是在蒙特塞纳里奥的Servite修道院祭坛上为"圣布纳吉恩塔·马内蒂之死"而研究的，这是Poccetti的壁画，可追溯到1612年在佛罗伦萨Santissima Annunziata的Chiostro dei Morti。这个场景是波切蒂在 1604 年至 1612 年生命的最后几年在佛罗伦萨圣母报喜修道院的大回廊中绘制的玛丽仆人勋章历史上的十四起事件之一。大都会博物馆总共拥有波切蒂的四幅画作，这些画作也与他在安农齐亚塔的重要壁画周期有关：见第 61.178.2 号（圣亚历克西斯·法尔科涅里的死亡）、64.48.1（圣菲利普·贝尼齐在托迪转换两名妇女）和 200.91.1（坐姿人物和打磨人物）。保罗·C·汉密尔顿（Paul C. Hamilton）在他1980年在乌菲齐美术馆展出的波切蒂（Poccetti）绘画展览目录中提供了对该项目的许多幸存的准备图纸的非常完整的描述（见汉密尔顿1980年，第78-92页）。这张纸顶部的草图的目的尚不清楚，但汉密尔顿指出，右上角的舞蹈人物是在乌菲齐美术馆的红色粉笔素描中研究的（inv. no 8395 F;汉密尔顿，1980年，第103期，图。109).
介绍（英）	It was Philip Pouncey who in 1958 recognized the hand of Poccetti in this drawing, which had previously been classified as anonymous Florentine. Pouncey pointed out that the group of figures in the lower half of the sheet are studied for the 'Death of Saint Buonagiunta Manetti' at the Altar of the Servite Monastery at Monte Senario, a fresco by Poccetti datable to 1612 in the Chiostro dei Morti of the Santissima Annunziata, Florence. This scene is one of fourteen incidents from the history of the Order of the Servants of Mary painted by Poccetti in the last years of his life from 1604 to 1612 in the large cloister of their monastery of Santissima Annunziata in Florence. The Metropolitan Museum owns a total of four drawings by Poccetti which are also related to his important fresco cycle in the Annunziata: see inv. nos. 61.178.2 (the Death of Saint Alexis Falconieri), 64.48.1 (Saint Philip Benizi Converting two Women at Todi) and 200.91.1 (Seated Figure and Sanding Figure). Paul C. Hamilton has supplied a very complete account of the many surviving preparatory drawings for the project in his catalogue of the 1980 exhibition of drawings by Poccetti in the Uffizi (see Hamilton 1980, pp. 78-92). The purpose of the sketches at the top of this sheet is unclear, but Hamilton points out that the dancing figure at upper right is studied in a red chalk sketch in the Uffizi (inv. no 8395 F; Hamilton, 1980, no. 103, fig. 109).