耳在橡树下 - 美国大都会艺术博物馆展品查阅

品名（中）	耳在橡树下
品名（英）	Omnia Vincit Amor
入馆年号	1917年，17.3.1853
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Agostino Carracci【1557 至 1602】【意大利人】
创作年份	公元 1599
创作地区
分类	印刷品（Prints）
尺寸	Plate: 5 × 7 3/8 英寸 (12.7 × 18.8 厘米) 页: 5 1/8 x 7 5/8 英寸 (13 x 19.3 厘米)
介绍（中）	这张图片是根据维吉尔的第十首后记中的一句名言"爱征服一切"而来的双关语拉丁语单词omnia和希腊语单词pan一样，意思是"所有"，而丘比特的拉丁名amor的意思是"爱"，因此丘比特与林地之神的胜利之战是这个短语的视觉翻译。这幅版画是在阿戈斯蒂诺协助他的兄弟安尼贝尔装饰法尔内塞画廊的时候制作的，法尔内塞画廊是一个壁画周期，其主题也是爱在宇宙中的力量。作为这一意义的关键，Annibale在装饰法尔内斯天花板的一个假奖章上画上了丘比特与潘成功摔跤的比赛。这不是一个新的主题；早在1516年，它就已经是红衣主教毕比耶纳教堂壁画装饰的一部分，也出现在16世纪的徽章书籍中。阿戈斯蒂诺本人早在近十年前就在博洛尼亚的马格纳尼宫绘制了潘和丘比特之间的战斗阿戈斯蒂诺雕刻的主题版本不同寻常的是，他包含了两个仙女。他们身份的唯一线索是前景中仙女的头饰，这与戴安娜在法尔内塞画廊的一个场景中佩戴的头饰相似。在那一集中，我们看到戴安娜即将屈服于潘的示好，潘用一块漂亮的羊毛引诱她。也许是戴安娜，伴随着她的一位仙女，与潘一起出现在版画中。言下之意是，一旦潘向爱屈服，贞洁的戴安娜自己也会屈服。这幅版画是阿戈斯蒂诺在罗马创作的简化而不朽的杰作，其受欢迎程度从已知的其他十位版画家复制它的事实中可见一斑。
介绍（英）	This image is a pun derived on a famous line in Virgil's tenth Eclogue, 'Love conquers all.' The Latin word omnia, like the Greek word pan, signifies 'all', while amor, the Latin name for Cupid, means 'love', so that Cupid's victorious combat with the woodland god is a visual translation of the phrase. The engraving was produced around the time that Agostino was assisting his brother Annibale in the decoration of the Farnese Gallery, a fresco cycle that also has as its theme the power of love in the universe. As a key to this meaning, Annibale had painted Cupid's successful wrestling match with Pan on one of the feigned medallions that adorn the Farnese ceiling. The subject was not a new one; it had been part of the fresco decoration of Cardinal Bibbiena's stufetta already in 1516, and had also appeared in sixteenth-century emblem books. Agostino himself had painted the battle between Pan and Cupid nearly a decade earlier in the Palazzo Magnani in Bologna. What is unusual about Agostino's engraved version of the subject is his inclusion of the two nymphs. The only clue to their identity is provided by the head ornament of the foreground nymph, which resembles that worn by Diana in one of the scenes of the Farnese Gallery. In that episode, we see Diana about to submit to the advances of an enamored Pan, who tempts her with the offer of a beautiful piece of wool. Perhaps it is also Diana, accompanied by one of her nymphs, who appears with Pan in the engraving. The implication would be that once Pan yields to Love, the chaste Diana herself will succumb. This print is the masterpiece of the simplified and monumental manner that Agostino developed in Rome, its popularity evident from the fact that ten other printmakers are known to have copied it.