{"title":"耶路撒冷被送到意大利:圣墓穿越地中海","authors":"Victoria Addona","doi":"10.1086/721750","DOIUrl":null,"url":null,"abstract":"IN 1604, THE TUSCAN GRAND DUKE Ferdinando I de’ Medici planned to execute an extraordinary feat with the aid of the Druze emir Fakhr ad-Dīn II: to move the Holy Sepulcher from Ottoman-controlled Jerusalem to Florence. He allegedly intended to place Christ’s tomb in the center of the Cappella dei Principi in the Church of San Lorenzo. Located between the Old and New Sacristy, this chapel was being constructed as a mausoleum for the Medici princes (fig. 1). Ferdinando inherited the incomplete project from his father, Cosimo I, who, with the court architect Giorgio Vasari, initially envisioned its design as a celebration of stone. According to Vasari, “various mixed marbles” collected from around the world and embedded in the chapel’s walls “would make this new mausoleum","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2","resultStr":"{\"title\":\"Jerusalem Delivered to Italy: Moving the Holy Sepulcher across the Mediterranean\",\"authors\":\"Victoria Addona\",\"doi\":\"10.1086/721750\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"IN 1604, THE TUSCAN GRAND DUKE Ferdinando I de’ Medici planned to execute an extraordinary feat with the aid of the Druze emir Fakhr ad-Dīn II: to move the Holy Sepulcher from Ottoman-controlled Jerusalem to Florence. He allegedly intended to place Christ’s tomb in the center of the Cappella dei Principi in the Church of San Lorenzo. Located between the Old and New Sacristy, this chapel was being constructed as a mausoleum for the Medici princes (fig. 1). Ferdinando inherited the incomplete project from his father, Cosimo I, who, with the court architect Giorgio Vasari, initially envisioned its design as a celebration of stone. According to Vasari, “various mixed marbles” collected from around the world and embedded in the chapel’s walls “would make this new mausoleum\",\"PeriodicalId\":42173,\"journal\":{\"name\":\"I Tatti Studies\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2022-09-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"2\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"I Tatti Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1086/721750\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MEDIEVAL & RENAISSANCE STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"I Tatti Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/721750","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MEDIEVAL & RENAISSANCE STUDIES","Score":null,"Total":0}
引用次数: 2
摘要
1604年,托斯卡纳大公费迪南多一世·德·美第奇(ferdinand I de ' Medici)计划在德鲁兹埃米尔法克尔·德·德·尼二世(Fakhr ad- d- n II)的帮助下完成一项非凡的壮举:将圣墓从奥斯曼帝国控制的耶路撒冷搬到佛罗伦萨。据称,他打算把基督的坟墓放在圣洛伦佐教堂主教堂的中心。这座教堂位于新旧圣器室之间,是作为美第奇王子的陵墓而建造的(图1)。费迪南多从他的父亲科西莫一世那里继承了这个未完成的项目,科西莫一世和宫廷建筑师乔治·瓦萨里最初设想将其设计为石头的庆祝活动。根据瓦萨里的说法,从世界各地收集并嵌入教堂墙壁的“各种混合大理石”将成为这座新的陵墓
Jerusalem Delivered to Italy: Moving the Holy Sepulcher across the Mediterranean
IN 1604, THE TUSCAN GRAND DUKE Ferdinando I de’ Medici planned to execute an extraordinary feat with the aid of the Druze emir Fakhr ad-Dīn II: to move the Holy Sepulcher from Ottoman-controlled Jerusalem to Florence. He allegedly intended to place Christ’s tomb in the center of the Cappella dei Principi in the Church of San Lorenzo. Located between the Old and New Sacristy, this chapel was being constructed as a mausoleum for the Medici princes (fig. 1). Ferdinando inherited the incomplete project from his father, Cosimo I, who, with the court architect Giorgio Vasari, initially envisioned its design as a celebration of stone. According to Vasari, “various mixed marbles” collected from around the world and embedded in the chapel’s walls “would make this new mausoleum