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A remarkable example of late 12th-century local architecture, as well as a significant landmark.
Eremo di Montesiepi的点评
点评：In Italian popular culture, the "sword in the stone" embedded in the floor of the Montesiepi hermitage recalls the mythical sword of King Arthur; indeed, compared to that, it has the merit of being identified and located even today.
In reality, aside from possible fanciful reconstructions, nothing connects the Arthurian legend with the biography of Galgano Guidotti (c. 1150–1181), the nobleman originally from the nearby town of Chiusdino who lived on the site of the current chapel for the last year of his life. At the beginning of his brief stay here, Galgano is said to have embedded the sword in a rock that formed the summit of the hill called Montesiepi, signifying his renunciation of the profession of arms.
On the site of the hermitage — and the sword — the circular chapel we still admire today was soon built (already consecrated in 1185). Its architecture is characterized by an elegant two-tone combination of red brick and white travertine: a two-tone effect visible both on the exterior of the chapel's drum and on the interior of the dome. These chromatic effects reminded me of those I admired some time ago in some Piedmontese churches, such as the Abbey of Vezzolano and the Church of San Lorenzo in Montiglio.
Overall, the hermitage, dominating the plain, is a remarkable example of local late-12th-century architecture, as well as a significant landmark, enhancing the scenic power of the nearby Abbey of San Galgano.
In reality, aside from possible fanciful reconstructions, nothing connects the Arthurian legend with the biography of Galgano Guidotti (c. 1150–1181), the nobleman originally from the nearby town of Chiusdino who lived on the site of the current chapel for the last year of his life. At the beginning of his brief stay here, Galgano is said to have embedded the sword in a rock that formed the summit of the hill called Montesiepi, signifying his renunciation of the profession of arms.
On the site of the hermitage — and the sword — the circular chapel we still admire today was soon built (already consecrated in 1185). Its architecture is characterized by an elegant two-tone combination of red brick and white travertine: a two-tone effect visible both on the exterior of the chapel's drum and on the interior of the dome. These chromatic effects reminded me of those I admired some time ago in some Piedmontese churches, such as the Abbey of Vezzolano and the Church of San Lorenzo in Montiglio.
Overall, the hermitage, dominating the plain, is a remarkable example of local late-12th-century architecture, as well as a significant landmark, enhancing the scenic power of the nearby Abbey of San Galgano.
翻译：在意大利流行文化中，蒙特西皮隐修院地板上嵌着的“石中剑”令人联想起亚瑟王的传说之剑；事实上，与亚瑟王的传说相比，它至少至今仍能被辨认出来并找到。
然而，除了可能存在的臆想之外，亚瑟王的传说与加尔加诺·圭多蒂（约1150-1181年）的生平并无关联。这位贵族原籍附近的基乌斯迪诺镇，在如今这座小教堂的所在地度过了他生命中的最后一年。据说，在他短暂居住于此之初，加尔加诺将这把剑嵌入蒙特西皮山顶的一块岩石中，象征着他放弃了从军生涯。
在隐修院——以及那把剑——的原址上，我们今天依然可以欣赏到的圆形小教堂很快便拔地而起（并于1185年祝圣）。其建筑特色在于红砖与白石灰华优雅的双色搭配：这种双色效果在教堂鼓座的外部和穹顶的内部都清晰可见。这种色彩效果让我想起了前段时间在皮埃蒙特的一些教堂中欣赏到的景象，例如韦佐拉诺修道院和蒙蒂利奥的圣洛伦佐教堂。
总而言之，这座雄踞平原的隐修院不仅是当地12世纪晚期建筑的杰出典范，也是一处重要的地标，提升了附近圣加尔加诺修道院的景观魅力。
然而，除了可能存在的臆想之外，亚瑟王的传说与加尔加诺·圭多蒂（约1150-1181年）的生平并无关联。这位贵族原籍附近的基乌斯迪诺镇，在如今这座小教堂的所在地度过了他生命中的最后一年。据说，在他短暂居住于此之初，加尔加诺将这把剑嵌入蒙特西皮山顶的一块岩石中，象征着他放弃了从军生涯。
在隐修院——以及那把剑——的原址上，我们今天依然可以欣赏到的圆形小教堂很快便拔地而起（并于1185年祝圣）。其建筑特色在于红砖与白石灰华优雅的双色搭配：这种双色效果在教堂鼓座的外部和穹顶的内部都清晰可见。这种色彩效果让我想起了前段时间在皮埃蒙特的一些教堂中欣赏到的景象，例如韦佐拉诺修道院和蒙蒂利奥的圣洛伦佐教堂。
总而言之，这座雄踞平原的隐修院不仅是当地12世纪晚期建筑的杰出典范，也是一处重要的地标，提升了附近圣加尔加诺修道院的景观魅力。
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