从下面看两个裸体（正面）；手臂向上的男性身材（反面） - 美国大都会艺术博物馆展品查阅

品名（中）	从下面看两个裸体（正面）；手臂向上的男性身材（反面）
品名（英）	Two Nudes Seen from Below (recto); Male Figure with Upraised Arm (verso)
入馆年号	1962年，62.197
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Pomarancio (Cristoforo Roncalli)【1553 至 1626】【意大利人】
创作年份	公元 1580 - 公元 1582
创作地区
分类	图画（Drawings）
尺寸	11 9/16 × 8 3/8 英寸 (29.4 × 21.3 厘米)
介绍（中）	1981年，Lawrence Turčić认识到这张纸正面的人物是Roncalli对梵蒂冈宫Torre dei Venti Meridiana的一个风镜圆形区域周围的天花板壁画中出现的两种风的拟人化的研究。这些数字是对南风Auser-Africus和Notabilicus的预备研究，这两种拟人化围绕着天花板中心的圆形区域，命名了各种风，并指示了它们的起源方向。Torre dei Venti（风之塔）是格雷戈里十三世在梵蒂冈的天文和气象观测站，建于1578年至1580年间。1580年至约1582年，塔楼房间的壁画装饰是尼科洛·切尔西尼、马蒂斯和保罗·布里尔兄弟以及马泰诺·达·锡耶纳之间的合作艺术。大都会的图纸和《子午线》中的相关人物证实了Baglione迄今未经证实的说法，即Roncalli在Circignani的监督下在梵蒂冈宫为教皇格雷戈里十三世装饰（Baglione 1642，pp.288-89）。壁画和绘画之间有很多不同，最明显的是站立人物头部的角度，以及用放气的云代替右手的头骨。John Gere（1962年11月）指出，这幅画的底座是英国收藏家William Young Ottley（1771-1836）的底座。（离岸价）
介绍（英）	In 1981 Lawrence Turčić recognized the figures on the recto of this sheet as studies by Roncalli for two of the personifications of winds that appear in a ceiling fresco surrounding the circular field of an anemoscope in the Sala della Meridiana, Torre dei Venti of the Vatican Palace. The figures are preparatory studies for southerly winds, Auser Africus and Notabilicus, two of the personifications surrounding the circular field in the center of the ceiling which names the various winds and indicates the direction of their origin. The Torre dei Venti (Tower of the Winds), Gregory XIII's astronomical and meteorological observatory at the Vatican, was constructed between 1578 and 1580. The frescoed decoration of the rooms of the Tower, executed from 1580 to ca. 1582, was a collaborative artistic venture between Niccolò Circignani, the brothers Matthijs and Paul Bril and Matteino da Siena. The Metropolitan drawing and the related figures in the Sala della Meridiana substantiate Baglione's hitherto unverified statement that Roncalli worked in the Vatican Palace under the supervision of Circignani on decorations for Pope Gregory XIII (Baglione 1642, pp. 288-89). There are a number of differences between fresco and drawing, the most obvious being the angle of the standing figure's head and the substitution of a deflated cloud for the skull in his right hand. John Gere (Nov. 1962) pointed out that the mount of this drawing is that of the English collector, William Young Ottley (1771-1836). (F.R.)