来自梵蒂冈的阿波罗观景台，他的左手放在树干上，树干上缠绕着一条蟒蛇 - 美国大都会艺术博物馆展品查阅

品名（中）	来自梵蒂冈的阿波罗观景台，他的左手放在树干上，树干上缠绕着一条蟒蛇
品名（英）	The Apollo Belvedere from the Vatican his left hand resting on the tree trunk around which coils a python
入馆年号	1949年，49.97.114
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Marcantonio Raimondi【1475 至 1534】【意大利人】
创作年份	公元 1505 - 公元 1515
创作地区
分类	印刷品（Prints）
尺寸	11 7/16 × 6 3/8 英寸 (29.1 × 16.2 厘米)
介绍（中）	阿波罗丽城是在十五世纪后期在罗马附近发现的。这座雕像可能是希腊雕塑家Leochares的青铜原件的二世纪大理石复制品，立即被欣赏为杰作并受到赞誉。可能曾经被红衣主教朱利亚诺·德拉·罗韦雷（后来的教皇朱利叶斯二世，1503-13 年在位）的私人收藏中，它于 1509 年移至梵蒂冈，并于 1511 年放置在 Cortile del Belvedere 中，它的名字由此而来。雷蒙迪的版画成为一种重要的载体，通过它，雕像的知识远远超出了梵蒂冈。他以拉斐尔设计后的许多版画而闻名，包括巴黎审判（19.74.1）等图像，这些场景与阿波罗一样，展示了文艺复兴时期对古典古代和神话的兴趣。在这里，雷蒙迪对复制光线在大理石上效果的掌握产生了令人信服的雕像形状印象。许多艺术家将阿波罗备受赞誉的姿势融入到自己的作品中。阿尔布雷希特·丢勒颠倒了人物四肢的位置，阿波罗变成了亚当，伸手去拿夏娃在 1504 年版画中提供的果枝（19.73.1）。一个类似的阿波罗形象，他伸出的手臂抓住一个逃跑的若虫 - 为时已晚 - 出现在罗马巴洛克雕塑家吉安·洛伦佐·贝尼尼（Gian Lorenzo Bernini，1598-1680）的1625年大理石群中。
介绍（英）	The Apollo Belvedere was discovered near Rome in the late fifteenth century. Possibly a second-century marble copy of a bronze original by the Greek sculptor Leochares, the statue was immediately appreciated as a masterpiece and showered with praise. Probably once in the private collection of Cardinal Giuliano della Rovere (later Pope Julius II, r. 1503–13), it was moved to the Vatican in 1509 and placed, in 1511, in the Cortile del Belvedere, from which it derives its name. Raimondi's print became an important vehicle through which knowledge of the statue was transmitted far beyond the Vatican. He is famous for his many engravings after the designs of Raphael, including images such as the Judgment of Paris (19.74.1), scenes that, like the Apollo, illustrate Renaissance interest in classical antiquity and mythology. Here, Raimondi's mastery for replicating the effects of light on marble produces a convincing impression of the statue's form. Many artists incorporated the Apollo's much-lauded pose into their own work. Albrecht Dürer reverses the position of the figure's limbs and Apollo becomes Adam, reaching for the fruited branch offered by Eve in the 1504 engraving (19.73.1). A similar figure of Apollo, whose outstretched arm grasps—too late—a fleeing nymph, appears in the 1625 marble group Apollo and Daphne by the Roman Baroque sculptor Gian Lorenzo Bernini (1598–1680).