教皇圣克莱门特一世的殉难 - 美国大都会艺术博物馆展品查阅

品名（中）	教皇圣克莱门特一世的殉难
品名（英）	The Martyrdom of Saint Clement I, Pope
入馆年号	1979年，1979.286.2
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Agostino Ciampelli【1565 至 1630】【意大利人】
创作年份	公元 1596 - 公元 1597
创作地区
分类	图画（Drawings）
尺寸	11-1/4 x 17-7/16 英寸 (28.6 x 44.3 厘米)
介绍（中）	这张纸是Agostino Ciampelli于1596-1597年在罗马拉特拉诺圣乔瓦尼圣像圣像的端壁上绘制的一幅壁画的研究，有几个变体，由教皇克莱门特八世·阿尔多布兰迪尼（1592-1605年在位）委托绘制。新月形的壁画被一扇中央门刺穿，图中左下角和右下角的预留区指示了橱柜的位置。教皇克莱门特一世（约公元99年去世）的伪作讲述了他被图拉真放逐到克里米亚，在那里他不得不在采石场工作由于最近的饮用水在六英里外，克莱门特奇迹般地找到了一个更近的泉水，供众多基督教俘虏使用（圣器室另一端墙上Ciampelli壁画的主题）。克莱门特在人民中传教，获得了巨大的成功，因此他被扔到海里，脖子上绑着一个锚。天使们在海浪下为他建造了一座坟墓，每年都有一次奇迹般的退潮。这最后两个事件记录在我们的绘画和相关的壁画中。这幅构图研究似乎是Ciampelli为其在拉特兰圣器收藏馆的作品绘制的唯一幸存的预备画。尽管与同一委员会无关，但乌菲齐（图1056 F）中一个非常详细的"模型"在风格上与博物馆的"殉道"密切相关。
介绍（英）	This sheet constitutes a study, with several variations, for a fresco painted by Agostino Ciampelli in 1596-1597 on one of the end walls of the Canon's Sacristy in San Giovanni in Laterano, Rome, on the commission of Pope Clement VIII Aldobrandini (r. 1592-1605). The lunette-shaped fresco is pierced by a central door, and the reserves at lower left and right in the drawing indicate places for cupboards. The apocryphal acts of Pope Clement I (died ca. A.D. 99) recount that he was banished by Trajan to Crimea where he had to work in the quarries. As the nearest drinking water was six miles away, Clement miraculously found a nearer spring for the use of the numerous Christian captives (the subject of Ciampelli's fresco on the opposite end wall of the sacristy). Clement preached among the people with great success and was therefore thrown into the sea with an anchor tied round his neck. Angels built him a tomb beneath the waves which once a year was revealed by a miraculous ebbing of the tide. These last two events are recorded in our drawing and the related fresco. This composition study seems to be the only surviving preparatory drawing by Ciampelli for his work in the Lateran sacristy. Although not related to the same commission, a highly detailed ‘modello’ in the Uffizi (inv. 1056 F) closely relates in style with the Museum’s ‘Martyrdom’.