Santa Maria dell'Anima

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Santa Maria dell'Anima

Church of the German-speaking Catholic community in Rome

SANCTÆ MARIÆ DE ANIMA
outer facade

outer facade

Data
place Rome
builder (unknown)
Construction year around 1523
Coordinates 41 ° 53 '58.9 "  N , 12 ° 28' 19.3"  E Coordinates: 41 ° 53 '58.9 "  N , 12 ° 28' 19.3"  E
Santa Maria dell'Anima (number 600) on Giovanni Battista Nolli's map of Rome from 1748. The number 599 denotes the church of Santa Maria della Pace.
Interior of the church
Tomb for Pope Hadrian VI.
Memento-mori representation
Memento-mori representation
Memento-mori representation
Detail of the ceiling

Santa Maria dell'Anima ( Latin : Sanctae Mariae de Anima ) was the German Catholic national church and is today the church of the German-speaking Catholics in Rome .

Pope Hadrian VI is buried in the choir of the church.

The community center, the archive and the Pontifical Institute of Santa Maria dell'Anima are located in the adjacent building .

history

The church goes back to a private hospice foundation of the couple Johannes and Katharina Petri from Dordrecht (in Holland) from the 14th century, which was founded for German pilgrims to Rome . Between 1398 and 1406 the hospital was under the jurisdiction of the Holy See through documents, donations, foundations and subordination, among others by Popes Boniface IX. and Innocent VII actively promoted. From 1421 onwards, the hospital was widely promoted by residents and clerics of Rome of German origin. The hospice included a Gothic church, which could be built between 1431 and 1433 with the money from rent and lease income. In 1444, Eugene IV authorized the church "to provide pastoral care to German pilgrims and the poor, to hold regular worship, to hear confession and to administer the sacraments." On December 13, 1446, the church was consecrated. The church grew in popularity well into the early 16th century. This will u. a. evidenced by the popularity of the anima as a burial place and place of consecration for a large number of bishops.

In 1496 the clerics working at the Anima were organized by their provisional Johannes Burckard into a chaplaincy . In 1551 the quorum was transformed into a co-opting congregation. On September 24, 1499, the German brotherhood under its leader Johannes Burckard decided to build a new hospice and to build a new church, for which the foundation stone was laid in 1500 by Matthias Scheidt , Prince-Bishop of Seckau and envoy of Emperor Maximilian I. The strong connection to the Holy Roman Empire that emerged when the foundation stone was laid is also visible in the repertoire of images of the church ( keystones ) and the burial places. In 1518 Emperor Maximilian I took the church at the Reichstag of Augsburg under the special protection of the empire and declared it to be imperial direct : "In Nostram et Sacri Romani Imperii protectionem tuitionem defensionemque et curam suscepimus et suscipimus." Around 1523 the building was its architect is not known by name, completed. The overall consecration of the building was not carried out until November 25, 1542.

In 1527 the whole of Rome and with it the anima in the Sacco di Roma fell victim to the marauding mercenaries of Charles V : "[T] ri of the anima houses are destroyed, almost all liturgical implements and paraments in the church are lost." The archive can however to be saved. Despite the brutal events surrounding the capture of Rome and the sacking of the Anima, at least two of the imperial officials involved in the military events - namely Captain Heinrich von Flitzingen and Melchior von Frundsberg , brother of the better-known Kaspar von Frundsberg and son of Georg von Frundsberg - found the as he himself had commanded Landsknechte - inclusion in the monument inventory of the Anima, in that they "[found] their grave in the church, significantly [..] in front of the cross altar;" probably without ever "having become a member of the brotherhood or having made foundations." to have."

At the turn of the 16th and 17th centuries, a flood devastated the church, and developments within the empire also had an impact on the anima: 'Belgians', i.e. H. the inhabitants of the southern Netherlands , which was under Spanish rule , were no longer accepted. During the 17th and 18th centuries a new sacristy and new stained glass windows were added to the church. A strong Baroque style of the church interior was also promoted; numerous monuments were lost or changed. The church lost its Renaissance character. In addition to 'cosmetic' changes, those responsible also pushed ahead with necessary structural measures. By excavating a crypt one tried to counteract the "immense wetness and the [er] soil moisture". In 1710 the church came into the possession of the Palazzo Gambirasi .

Similar to the year 1527, the year 1798 was also a fateful year for Rome and the anima. French troops took the city, and while the Roman Republic was being proclaimed, the church was systematically sacked. Movable goods, liturgical implements and even the bells were sold to the highest bidder; Art objects made it to Paris in this way. The anima was then used by military logistics as a warehouse and horse stable. After the collapse of the Roman Republic, some of the stolen works of art were reacquired. The anima was reorganized and returned to its original purpose in 1801 with an Easter mass.

The church served, among other things, as the burial place of prominent German pilgrims to Rome and German merchants living in Rome. It is also the burial place of the last Pope from the Holy Roman Empire of the German Nation, Hadrians VI. whose body was transferred to the anima in 1533. In the church also found the cardinals Wilhelm III. von Enckenvoirt , Andreas von Austria and Johannes Walter Sluse their final resting place. However , one looks in vain for the tomb of Cardinal Matthäus Schiner , who is also buried here . It probably fell victim to the Sacco di Roma in 1527. The scholar and librarian Lukas Holste (1596–1661), who worked in Rome, is buried here. By Jakob Fugger was as grave lay for his 1478 died in Rome brother Mark and his 1511 as Apostolic prothonotary donated deceased nephew of the same name by Markus chapel on the north side of the church. In Albrecht of Brandenburg , archbishop of Magdeburg and Mainz , as well as Cardinal Priest of San Pietro in Vincoli , go Foundation and equipment back to the Margrave Chapel.

The other chapel patrons are based on a dedicated church policy program that addresses the relationship between state and church. The bishop Benno von Meissen , who was deposed on the imperial side during the investiture controversy , whose 1523 had by Hadrian VI. If the canonization triggered a theological controversy in the early phase of the Reformation , the Benno Chapel in the northeast of the ship is dedicated. Opposite it is the Lambertus or Maastricht Chapel, consecrated to Bishop Lambert of Lüttich , who was murdered for his work for the immunity rights of his diocese. Neighboring it is the chapel of John Nepomuk (canonized in 1729) , who suffered martyrdom in Prague because King Wenceslaus kept the confessional secret , and the adjoining chapel of St. Barbara depicts the torture and beheading of the saints by their royal father.

Anima fraternity

The Brotherhood of S. Maria dell'Anima has supported the work of the Anima since 1350 . Since 1406 this institute has been directly subordinate to the Holy See . One became a member of the brotherhood by registering in the brotherhood book and by supporting the anima. The 17th and 18th centuries were the heyday of the anima and their brotherhood. In addition to high-ranking members of the papal curia , craftsmen and traders, all important German personalities were members of the exclusive brotherhood, both men (Confratres) and women (Sorores). The Brotherhood of Campo Santo Teutonico was founded out of the Anima brotherhood . Various wills secured the Anima fraternity with legacies and real estate foundations. Registered members in the brotherhood book were among others Melchior von Meckau , Dietrich von Nieheim but also Kaiser Sigismund , Kaiser Friedrich III. , Emperor Charles V and some popes such as Pius X and John Paul II.

The Anima Brotherhood still exists today; Among the approximately 150 members (as of 2015) are Pope Emeritus Benedict XVI. , Gerhard Ludwig Cardinal Müller and other personalities from business and politics. You cannot apply for membership. Because of its historical roots, only people from the area of ​​the Holy Roman Empire can become members, i. H. Germans , Austrians , South Tyroleans , German-Swiss , Liechtensteiners , Luxembourgers , German-speaking Belgians , Flemings and Dutch .

architecture

The church, which was erected between 1500 and 1523, is a three-nave hall church without transepts, built in Renaissance style , with an elongated, semicircular closed choir . On the street side, the church building, built in exposed brickwork with ashlar elements, closes off with a three-storey screen facade that protrudes above the roof and is structured with Corinthian pilasters and inscribed in its basement ( Templum beatae Mariae Virginis de Anima hospitalis Teutonicorum MDXIIII ) on 1514 . The coats of arms of the two most important sponsors of church building, Pope Hadrian and Emperor Maximilian, can be found on the upper floor next to the central circular window. The church tower at the rear has a Gothic spire covered with pinnacles on the side and covered with glazed tiles.

Inside the church, the ribbed vaults are supported by pillars with Corinthian pilasters on the nave. Between the side buttresses, there are room-high side chapels, which are half-round towards the nave and are related to the building type of the late Gothic wall-pillar church . Although the community room is built on an almost square floor plan, the arrangement of pillars and vaults gives the impression of a directed space. The original construction plan also had a length of five instead of the current four yokes, and thus a clearer longitudinal alignment, which failed due to the resistance of the Roman road administration.

The founding protocol of 1499 describes the planned church building as opus laudabile Alemannico more compositum , i.e. designed according to the German scheme. This refers to the building type of the late Gothic hall church, which dominated German sacred architecture in the 15th century. The church building is related to the cathedral of Pienza , which was built by order of its builder Pius II according to models that he had seen in Austria and southern Germany.

The name of the builder of Santa Maria dell 'Anima is not known. As Giorgio Vasari reports, Donato Bramante was involved in the deliberations on the new building of the church, the construction of which was subsequently handed over to a German. The conclusion that the master builder who moved from Milan to Rome in 1499, who at the same time was also planning the Tempietto and the cloister in the immediately adjacent church of Santa Maria della Pace , to see the actual author of the plan for the church, might go too far. It is much more likely that the master builder of Santa Maria dell'Anima came from the Milan cathedral building , where a large number of German builders were employed. The attribution of the church facade to Giuliano da Sangallo made in the older literature has not been confirmed.

Today's sacristy was built in 1635–1644 in the corner of the choir and nave as a rectangular room with bevelled corners and served as a chapel for the Anima fraternity.

In the years 1747 to 1751 the church interior was redesigned in a Baroque style, and in 1874/75 a historical restoration and repainting by Ludwig Seitz took place . A comprehensive overall restoration of the interior was completed in 2018.

Interior

The church contains an abundance of tombs and plaques, including sculptures by François Duquesnoy . Hadrian VI's tomb in the form of a triumphal arch is on the right in the choir. It was designed by Baldassare Peruzzi , the allegorical figures of the cardinal virtues justice , wisdom , bravery and temperance originate and. a. by Michelangelo Senese. The corresponding relief picture shows, accompanied by his cardinals, the entry of the Pope into Rome.

In the choir, the tomb of Hadrian VI. Opposite is the honorary grave of the Emperor's grandson and Hereditary Prince Karl Friedrich von Jülich-Kleve-Berg , whose death in 1575 at the age of 19 from smallpox in Rome affected the balance of power in Europe. It was executed by the sculptors Nicolas Mostaert (alias Nikolas Pipper / Niccolò Pippa ) and Gillis van den Vliete according to the design of his tutor Stephanus Winandus Pighius and shows a resurrection scene in its center, which refers to an intensive discussion with the Laocoon group found in 1506 . The second part of the monument is now hanging in the anteroom of the church. It is a relief depicting the Hereditary Prince Karl Friedrich when he was awarded the title Fidei defensor and when Gregory XIII presented the corresponding sword and hat insignia . shows.

The tomb of Cardinal Willem van Enkevoirt, which was originally opposite the papal tomb and was created by Giovanni Magnone in 1536–1538, and that of Cardinal Andreas of Austria created by Gillis van den Vliete in 1600, were moved in a reduced form to the sides of the entrance in 1750.

The altarpiece by Giulio Romano , created for the Fugger Chapel in 1521/22 , has adorned the main altar of the church since 1750. With reference to the founders, it shows Saints James and Mark in adoration of the Holy Family. Girolamo Siciolante da Sermoneta created the figurative frescoes of the Fugger Chapel with the life of Mary around 1550 in the Mannerist style . Giovanni Francesco Grimaldi painted the frescoes in the neighboring Chapel of St. Anne , and the corresponding altarpiece was painted by Anna Selbdritt Giacinto Gemigniani . The altarpieces in the Benno and Lambertus Chapel, which were made before 1618 and depicting the miracle of fish and martyrdom, were made by Carlo Saraceni , while the baroque frescoes in the Lambertus Chapel, depicting the life of the saint and his apotheosis , were made around 1650 by Jan Miel . The altarpiece of the Descent from the Cross in the Margrave Chapel , on which Albrecht IV was portrayed, was created by Francesco Salviati , who also created the almost expressionistic frescoes of this chapel with the Resurrection and the Pentecostal miracle . The altarpiece of the Trinity in the chapel of St. Barbara with the Donors' Portrait of Cardinal Enckenvoirt comes along with the frescoes of the chapel features of Michiel Coxie from Mechelen . The by Pope Pius IX. Donated painting and the altarpiece of the Johannes Nepomuk Chapel by Ludwig Seitz, dated 1906, show next to the titular saint that of Pius IX. Beatified Jan Sarkander . The ceiling fresco in the baroque sacristy, created by Giovanni Francesco Romanelli around 1640, shows the Assumption of Mary into heaven .

In 1929, on behalf of Cardinal Faulhaber , Sebastian Osterrieder created a large-figured Christmas crib carved from linden wood for the church's Barbarakapelle , whose three-and-a-half-meter-high front architecture, with its mixture of classic and Gothic style elements, deliberately goes into the spatial appearance of the church.

Today's colored glazing of the church belongs to the restoration phase by Ludwig Seitz in 1874/75 and was carried out by the Tyrolean glass painting and mosaic institute . The choir window donated by the glass factory shows the Trinity, the west window with the enthroned Mother of God between Adam and Eve is a foundation of Emperor Franz Joseph .

organ

Main organ on the gallery
The organ was built in 1990 by Gerhard Hradetzky .

I. Manual - Grand'Organo
Principals 8th'
Voce umana 8th'
Ottava 4 '
Duodecima 2.2 / 3 '
Quintadecima 2 '
Due di ripieno 1'-2/3 '
Tre di ripieno 2 / 3'-1 / 2'-1/3 '
Flauto in ottava 4 '
Cornetta 1.3 / 5 '
Tromba 8th'
II. Manual - Espressivo
Flauto aperto 8th'
Violetta 4 '
Ottavino 2 '
Decimanona 1.1 / 3 '
Ripieno 1'
Cornetto 2.2 / 3-1.3 / 5 '
Pedal mechanism
Contrabbassi 16 '
Ottava di contrabbassi 8th'
Tromboni 16 '

Choir organ

manual
Principals 8th'
Ottava 4 '
Quintadecima 2 '
Flauto in ottava 4 '

literature

(chronologically)

  • Joseph Schmidlin : History of the German National Church in Rome, S. Maria dell'Anima. With 30 pictures . Herder, 1906. online .
  • Clifford W. Maas (author), Peter Herde (ed.): The German Community in Renaissance Rome 1378–1523 (= Roman quarterly, 39th supplement). Herder, Rome, Freiburg, Vienna 1981.
  • Barbara Baumüller: Santa Maria dell'Anima in Rome. A church building in the political field of tension around 1500. Gebr. Mann, Berlin 2000. ISBN 3-7861-2308-X .
  • Tobias Daniels: Santa Maria dell'Anima in the past and present. In: Santa Maria dell'Anima. Festschrift for its 600th anniversary . Edited by the Pontifical Institute of S. Maria dell'Anima, Rome 2006, pp. 17–76.
  • Michael Matheus (Ed.): S. Maria dell'Anima. On the history of a “German” foundation in Rome (= library of the German Historical Institute in Rome 121). Berlin / New York 2010.
  • Eberhard J. Nikitsch: Comments on the late medieval and early modern inscriptions by S. Maria dell'Anima in Rome , in: Archive for Diplomatik 60, 2014, pp. 421–456.
  • Eberhard J. Nikitsch: Roman networks at the beginning of the 16th century. Pope Hadrian VI (1522/23) and his clientele in the mirror of their grave monuments , in sources and research from Italian archives and libraries 914, 2011, pp. 277-317. Accessible online via perspectivia.net .
  • Franz Xaver Brandmayr (Ed.): S. Maria dell'Anima. Old beauty in a new light. Archipel Verlag, Ruswil 2018. ISBN 978-3-9524072-5-7 .
  • Pia Mecklenfeld: Liber Confraternitatis Beatae Mariae de Anima Teutonicorum de Urbe. Research on the Brotherhood Book of Santa Maria dell'Anima . Herder, Freiburg 2019, ISBN 978-3-451-38766-1 .

swell

Web links

Commons : Santa Maria dell'Anima  - album with pictures, videos and audio files

Individual evidence

  1. ^ Carlo Sabatini: Le chiese nazionali a Roma. Presidenza del Consiglio dei Ministri, Istituto Poligrafico e Zecca dello Stato, Roma 1979
  2. ↑ Nikitsch: DIO 3. Introduction: Historical-chronological overview.
  3. ↑ Nikitsch: DIO 3. Introduction: Historical-chronological overview.
  4. ↑ See Nikitsch: DIO 3. Introduction: Historical-chronological overview.
  5. ↑ Nikitsch: DIO 3. Introduction: Historical-chronological overview.
  6. ↑ See Nikitsch: DIO 3. Introduction: Historical-chronological overview.
  7. ↑ Nikitsch: DIO 3. Introduction: Historical-chronological overview.
  8. ↑ See Eberhard J. Nikitsch, DIO 3, No. 82 †, in: www.inschriften.net, urn: nbn: de: 0238-dio003r001k0008207 .
  9. ↑ See Eberhard J. Nikitsch, DIO 3, No. 87, in: www.inschriften.net, urn: nbn: de: 0238-dio003r001k0008702 .
  10. ↑ Eberhard J. Nikitsch, DIO 3, No. 87, in: www.inschriften.net, urn: nbn: de: 0238-dio003r001k0008702 .
  11. ↑ Eberhard J. Nikitsch, DIO 3, No. 82 †, in: www.inschriften.net, urn: nbn: de: 0238-dio003r001k0008207 .
  12. ↑ Nikitsch: DIO 3. Introduction: Historical-chronological overview.
  13. ↑ See Nikitsch: DIO 3. Introduction: Historical-chronological overview.
  14. ↑ See Nikitsch: DIO 3. Introduction: Historical-chronological overview.
  15. ↑ Eberhard J. Nikitsch, DIO 3, No. 89, in: www.inschriften.net, urn: nbn: de: 0238-dio003r001k0008907 .
  16. ↑ See Nikitsch: DIO 3. Introduction: Historical-chronological overview.
  17. ^ A b Brotherhood of S. Maria dell'Anima , accessed February 2, 2013
  18. ^ Christiane Schuchard: The Anima Brotherhood and the German craftsmen in Rome in the 15th and early 16th centuries. In: Knut Schulz (Hrsg.): Handwerk in Europa. From the late Middle Ages to the early modern period. (= Writings of the Historical College 41) Oldenbourg, Munich 1999, pp. 1–26. ISBN 978-3-486-59442-3
  19. ↑ ibid. P. 21
  20. ↑ Christiane Schuchard: Four Testaments for the Roman Anima Brotherhood (1524/1527) , in: Brigitte Flug (among others) (Ed.): Curia and region. Festschrift for Brigide Schwarz on her 65th birthday (historical regional studies 59). Franz Steiner, Stuttgart 2005, pp. 307-324. ISBN 978-3-515-08467-3
  21. ^ Joachim Büchner : The late Gothic pilaster church in Bavaria and Austria ( Erlanger contributions to linguistics and art studies , volume 17). Hans Carl, Nuremberg 1964.
  22. ↑ Barbara Baumüller: Santa Maria dell'Anima in Rome. A church building in the political field of tension around 1500. Gebr. Mann, Berlin 2000. P. 14f.
  23. ^ Johann Josef Böker : Ita Pius iusserat, qui exemplar apud Germanos in Austria vidisset: The late Gothic models of the cathedral of Pienza in Austria. In: Wiener Jahrbuch für Kunstgeschichte. 49, 1996, pp. 57-74.
  24. ^ Giorgio Vasari: Life of the excellent painters, sculptors and builders. Stuttgart 1832-49, p. 96.
  25. ↑ Barbara Baumüller: Santa Maria dell'Anima in Rome. A church building in the political field of tension around 1500. Gebr. Mann, Berlin 2000. pp. 39–45.
  26. ^ Herbert Siebenhüner : German artists at the Milan Cathedral. Bruckmann, Berlin 1944.
  27. ↑ Hermann Vogel : Sebastian Osterrieder, the innovator of the artistic Christmas crib . Kunstverlag Josef Fink, Lindenberg 2009, ISBN 978-3-89870-562-2 , pp. 124–126.