Castrum doloris
As Castrum Doloris ( Latin for mourning castle ) is called in the Renaissance and the Baroque one at celebrities for the protection and accompanied by her catafalque in churches or other worthy places to temporarily erected funeral chapel, which was often held in the picture. It could contain the coffin with the corpse , but did not have to, since Castra doloris were often built in several churches at the same time for the same deceased. The Castrum doloris should provide for "farewell acquisition" and bereavement counseling of the bereaved a shielded space around the coffin of the deceased celebrities and to the burial of its high sophistication represent.
The establishment of the Castrum doloris was usually preceded by the laying out of the corpse on the death bed or a catafalque , which could also be immortalized in the picture. Through the celebration of the exequies after the Caeremoniale episcoporum , the funeral sermon and funeral music as well as an elaborate play of light , the mourning experience at the Castrum doloris finally became an extraordinarily sensual experience.
etymology
The term Castrum doloris has been handed down since the 15th century. Du Cange speaks of frequent mentions in Johannes Burckard's ceremonial diary Liber notarum . The Caeremoniale episcoporum used in Book II, Chap. 11 the expression Castrum doloris as a liturgical part of the exequies , but without a sharp definition of the term: "Si advenit in ecclesia lectus mortuorum, seu castrum doloris ..." and: "Cum quo ibunt ad feretrum, seu castrum doloris ..." The term was mainly used in 16th and 17th centuries, in which, however, synonymous with "Castrum doloris" colloquial expression catafalque arose, and the older term in the 18th century eventually displaced. After the establishment of a historical performance practice at the end of the 20th century, both terms are used again today in their original word meaning.
history
The tradition of the highly cultivated laying out of deceased celebrities goes back a long way to early Christianity and refers to the early Christian tradition of charliturgy , in which Christians after the celebration of the suffering and death of Christ at the symbolic grave of Christ (“Entombment of Christ”) without liturgical discharge stay on a vigil and remember the achievements of Jesus alone or in company . Comparable to the symbolic grave of Christ on Good Friday, the laying out of deceased celebrities on a catafalque is still used today for the personal farewell and grief of a large number of bereaved relatives.
The forerunners of Castrum doloris were in Italy and Burgundy in the 15th century, for example in the form of laying out, as shown in the Turin-Milan Book of Hours 1415-17 or a picture of the Boucicaut master in the Paris Bibliothèque Mazarine , or as they do Giorgio Vasari is named as the work of Andrea Feltrini, who created apparati for weddings and funerals in Florence around 1500 . The cataletti for brotherhoods such as Beccafumi , Sodoma and Peruzzi also belong here. One of the forerunners of the Castrum doloris can also be counted the huge mourning structure, which was erected in Brussels in 1558 for Charles V (HRR) and which has been passed down through an engraving; it was formed in the form of a warship drawn and escorted by sea monsters, which left the "Pillars of Hercules"; on deck stood the cardinal virtues, flags and pennants bearing an abundance of emblems and allegories.
After Pope Sixtus V in 1564 for Michelangelo's exequies in San Lorenzo , when Florence had his friends erect a highly artfully decorated catafalque, which already corresponded to the character of the later Castra doloris, he was finally followed by aristocrats across Europe and abandoned Build a mourning castle (lat. "Castrum doloris") for their laid body . They were found in secular and ecclesiastical royal courts, including the nobility, cathedral chapters and monasteries, and even the impoverished Szlachta . The imperial court preceded the other courts both in terms of time and in the sumptuous execution and in the number of castra doloris built at the same time. Since the number of well-known Castra doloris cannot be overlooked, just a few examples are mentioned: 1) The Castrum doloris 1619 for Emperor Matthias (HRR) in the Vienna Augustinian Church as a relatively early work, 2) The Castra doloris 1705 for Emperor Leopold I ( HRR) in numerous churches and 3) The Castrum doloris 1711 for Emperor Joseph I (HRR) in the Vienna Augustinian Church (almost a theater decoration). Such castra doloris could be very expensive. It is known that the Castrum doloris 1745 for Emperor Charles VII (HRR) in the Munich Theatinerkirche cost 3,700 guilders. The high costs of the Castra doloris of its predecessors in Vienna are also known.
The great times of the Castra doloris were the 17th and 18th centuries. Its construction remained a custom throughout the 19th century, albeit as an exception and without the emphatic architectural note. There was a Castrum doloris in 1881 for Tsar Alexander II , a Castrum doloris in 1888 for Kaiser Wilhelm I and a Castrum doloris in 1894 for the French President Sadi Carnot .
Function and shape
The Castrum doloris served as a means of coping with grief for larger population groups who wanted to say goodbye to their deceased celebrity personally, to honor his achievements in deep, individual prayer and to have an exceptionally sensual experience.
If a celebrity was very popular with the Roman Catholic clergy, Castra doloris was built for them in almost all monasteries and by every brotherhood. For clergymen , the castrum doloris was always aligned so that their head was facing the altar; with all others, however, so that the feet point to the altar. The Castra doloris were decorated with the most beautiful allegorical statues or virtues that harmonized with the true circumstances of the deceased person, with the most beautiful architectural and sculptural work, with torches and illuminations, and decorated with pedestals, symbols and inscriptions. The Castra Doloris also occasionally saw statues made either of alabaster , marble , wood or cardboard ; Wailing women and boys with upturned and extinguished torches of life, Romanesque urns and inscriptions that were occasionally affixed to the cornices , to the portals and between the colonnades and the pillars. A couple of marshals stood on the main facade of the Castrum doloris and other cavaliers on the sides . On top of this, the churches were completely clad with a black cloth and the family or official coat of arms of the celebrity was pinned to the princely churches (sometimes also at other church squares). Sometimes the whole church was decorated like a mausoleum . You could see cypress trees , symbols, statues, illuminations, and burning wax candles hanging from crystal or silver chandeliers everywhere. The counterpart of the chandelier appeared as a fiery obelisk. In addition, one found precious monuments that were decorated with a lot of massive silver work, stained from bottom to top with wax candles, and often also presented the merits of ancestors with the most ingenious inscriptions. The pillars of the churches were often decorated with symbols that depicted the treasured deeds of the deceased. At Castra doloris of the high nobility one saw the coats of arms of all provinces embroidered on black velvet. Such mausolea sometimes persisted for a few weeks, months, even half a year, before they were removed. Nachgehend were engravings made and the printed body sermons appended.
A particularly valuable and useful decorative element was on a European scale that in Poland-Lithuania usual coffin portrait of the deceased. It enabled a pleasant, contemplative farewell to the deceased.
Castra doloris were built by joiners and carpenters from light, unplaned wood and then covered with black cloths and silver clothes, moor or cinder, and with all sorts of sculptures that were generally only made of cardboard, and with painting on white canvas, or at least on oiled canvas Paper decorated to illuminate, which is why a good poet invented the inscriptions to bring it to life, as it were. The master builder was responsible for the whole arrangement. The illuminations had to do most of it. First of all, the contrefait of the deceased was to be painted in a glory or sun, to float in the air or to be carried by a stiffened canvas or paper over subtle wire formed afterwards and with flying angels filled with light. For embellishment, a gate of honor could stand above the coffin "with architecture physically made of wood and beautifully painted in the manner of marble and metal".
The most important feature of a castrum doloris was the decorative framework erected to protect and accompany the katafalks, which carried an artfully crafted canopy to cover the death bed. It was decorated with the coat of arms of the deceased, his sovereign insignia, candles , funeral flowers, an epitaph as well as allegorical statues and wax pictures. From the Renaissance to the Baroque period , the decorations became more and more lavish, until the Castrum doloris in the Baroque era finally looked like a single flame from a distance and more than a thousand candles were placed on the canopy. The desire for spectacles and festive occasions found its expression here. The representation of fame and one's own glory moved more and more into the foreground of rites and customs. Candles were distributed to the visitors of the liturgy. The number of candles distributed was linked to the prestige of the deceased, because candles were expensive. In public churches, for example, there were regular riots and disturbances due to the crowd at the candle distributors.
Function in the liturgy of the dead
The Caeremoniale episcoporum used in Book II, Chap. 11 the expression Castrum doloris as a place for part of the church's liturgy of the dead . It sums up the chants and prayers used by celebrities at the Castrum doloris in the Renaissance and Baroque periods when the bishop participated in the liturgy. It was the chants and prayers to grant absolution to deceased celebrities following the funeral mass .
Absolution for the deceased has been part of the church liturgy since ancient times, especially on the day of burial and on the third, seventh and thirtieth days after passing away. According to Jan K. Siedlecki's Cantionale ecclesiasticum and the Roman missal , it first took place on the day of the burial in connection with the actual burial as a transition from the altar to the grave. During the memorial days, instead of the coffin, there was a tumba (false coffin ) in the church on which the rite was performed.
Content and form determined the rubrics of both rituals as follows:
The celebrant was chosen from among five prelates or canons . This celebrant put after the funeral Mass Casula and Manipel down, clothed with the pluvial , which in color corresponded to the funeral liturgy, and went covered head, preceded the other without Manipel and covered head-robed prelates or canons for catafalque in Castrum Doloris . They all sat around the catafalque after the biretta had been laid : the youngest of the four prelates or canons (with the crucifix in hand) at the corner where the deceased's right foot was; the second youngest on the corner where the deceased's left shoulder was; the third youngest on the left foot of the deceased and the fourth youngest on an honorary basis on the right shoulder of the deceased. The celebrant, however, sat between them at the head of the deceased and began to chant the prayer Non intres in judicium cum servo tuo , praying that the deceased “deserved to escape God's avenging punishment, he who, when he lived, with him Seal of the Holy Trinity was marked “. According to the Church, the celebrant and the other participating clergy appeared not only as representatives of the Church, but acted in persona Christi , as Christ's representative and in his name. As a glance at the first main part of the liturgical act shows, the form of intercession was chosen in such a way that its servants prayed from the heart of the deceased and, as it were, lent their tongue and lip to those for whom the holy sacrifice was made and oral liturgical supplication has been. Behind the celebrant, acolytes stood ready on his left with a censer and incense , holy water and an aspergillus .
The first Responsory Subvenite from the Church's prayers for the dead followed the prayer Non intres . It ended with the call of the cantor Kyrie eleison . And when everyone answered Christe eleison , they all stood up. Kyrie eleison followed again and everyone sat down again. The most honorable prelate on the deceased's right shoulder now spoke the first line of the pater noster , which was passed on quietly. Meanwhile the deacon , sub-deacon , Thuriferar and all the clergy came with holy water to the side of the most honorable prelate to assist him; The most honorable prelate thereupon took the Aspergillus, dipped it in the holy water of the deacon's house and sprinkled it on the death bed; Starting from his corner, he walked around the death bed and greeted the prelates at the corners. He then received the censer from the deacon and used it to incense the coffin in the same way. Finally he spoke aloud the last sentence of the pater noster : Et ne nos inducas in tentationem (“and do not lead us into temptation”), which everyone answered with sed libera nos a malum (“but deliver and from evil”).
Then everyone put on their biretta, the bishop the miter , and the choir sang the second responsory Qui Lazarum resuscitasti . This, too, ended with the alternating chant of the Kyrie eleison as in the first responsory. While they were singing, two acolytes came up to the third youngest prelate with the censer, holy water, and aspergillus, and placed themselves on his right. He now spoke the pater noster , sprinkled the coffin and smoked it, just as his predecessor did.
The third Responsorium Domine, quando veneris followed the same sequence that the second youngest prelate performed, while the fourth Responsorium Ne recorderis was the youngest prelate.
The last Responsory Libera me concluded , in which the celebrant performed the rite.
With the antiphon In paradisum sung by the cantor, the procession with the coffin to the grave and burial began on the day of the funeral.
Works
Numerous masterpieces by Castra doloris are documented as copper engravings and lithographs .
Castrum doloris ( BuxWV 134) is the title of an evening music by Dietrich Buxtehude on the occasion of the death of Emperor Leopold I in 1705. While the textbook has been preserved, the composition has been lost. In contrast, the responsories Subvenite / Qui Lazarum / Domine, quando veneris and Ne recorderis are preserved in Andrzej Piotrkowczyk's Processionale from 1621 in Krakow and were created a few years ago with the Schola Gregoriana Silesiensis , the Bornus Consort and the Chór Sarmacki im. GG Gorczyckiego recorded under the direction of Robert Pożarski. They were released as a CD on Dux Records in 2014 under the title Castrum doloris - Old Polish Burial Ceremonies .
criticism
Artists and painters outdid each other with the most splendid designs, so that different castra doloris were set up in several churches. When Emperor Leopold I died, five Castra doloris were built in Vienna alone. It turned out that the castrum doloris and the depiction of a manorial apotheosis often contradicted the actual circumstances of the reign. They formed an idealized overall picture based on the illusion of the virtuous and deserving prince.
literature
- Edmund W. Braun : Castrum doloris. in: Real Lexicon on German Art History. Volume 3 (1952), Col. 372-379 ( digitized version ).
- Benjamin Favrin: Praxis sollemnium functionum episcoporum ac praclatorum episcopis interiorum iuxta ritum Romanum. Editio altera. Pustet, Regensburg 1926, pp. 124-131.
- Magdalena Hawlik-van de Water: The beautiful death. Ceremonial structures of the Viennese court at death and burial between 1640 and 1740. Herder, Vienna a. a. 1989, ISBN 3-210-24945-8 (also: Vienna, Univ., Dissertation 1989).
- Liselotte Popelka: Castrum Doloris or “Sad scene”. Investigations into the origin and nature of ephemeral architecture. Verlag der Österreichische Akademie der Wissenschaften, Vienna 1994, ISBN 3-7001-2089-3 (= Austrian Academy of Sciences. Publications of the Commission for Art History 2).
- Julius Bernhard von Rohr: Introduction to the ceremonial science of the great gentlemen , Berlin 1729, Part I, chap. 16: “From the Fürstl. Persons preparing for their death and their own death "
- Georg Schrott: Funeral and festive decorations in the Bavarian monasteries of the 17th and 18th centuries. Art-historical references from personal font research. In: Studies and communications on the history of the Benedictine order and its branches. 109, 1998, ISSN 0303-4224 , pp. 275-290.
- Jan Kazimierz Siedlecki: Cantionale ecclesiasticum ad usum ecclesiarum Poloniae , 1886
Web links
- Digitized by Paris Gille: Castrum Doloris for the Salzburg Prince Archbishop Paris von Lodron (1586–1653).
Individual evidence
- ↑ cf. the deathbed pictures in Pforzheim, Inv. Baden IX, 6, figs. 150–155, as well as the falsely called Castrum doloris by Eberhard von Rappolstein, Alsace-Lothr. Jb. 11, 1932, 149ff.
- ↑ ed. Thuasne I 13, for the year 1484
- ↑ cf. Funeral mass and Jul. Locksmith, Gesch. portrait painting in wax, Jb. Kaiserh. 29, 1910/11, 191ff.
- ↑ H. Beenken, Hubert u. Jan van Eyck, Munich 19412, Fig. 8
- ↑ Städel-Jb. 7/8, 1932, p. 55
- ↑ J. Burckhardt, Gesch. d. Renss. in Italy, Eßlingen 19247, § 187 p. 368, which found the name "decorations of the moment" for these architectures
- ↑ described by Jac. Giunti, printed Florence 1564, hereafter Vasari; Steinmann-Wittkower, Mich. Bibliogr. No. 619
- ^ Munich district archive; Mitt. Dr. N. Dear
- ↑ Julius Bernhard von Rohr, in: "Introduction to the ceremonial science of the great gentlemen" etc., Berlin 1729, Part I, chap. 16: “From the Fürstl. Persons preparing for their death and for their own death. ”§§ 25–32
- ↑ Leonh. Christoph Sturm: "Complete instructions to indicate tombs in honor of the deceased, as well as parade beds and Castra Doloris ...", Augsburg 1720
- ↑ Joh. Friedr. Penther's "Lexicon architectonicum", Augsburg 1744
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↑ Ad pedis dextris Responsorium: Qui Lazarum resuscitasti a monumento foeditum. Tu eis, domine, dona requiem et locum indulgentiae.
V: Qui venturus es iudicare vivos et mortuos, et saeculum per ignem.
A: Kyrie eleison.
R: Christe eleison. Kyrie eleison. -
↑ Ad pedis sinistris Responsory: Domine, quando veneris iudicare terram, ubi me abscondam a vultu irae tuae? Quia peccavi nimis in vita mea.
V: Commissa mea pavesco, et ante te erubesco: dum veneris iudicare, noli me condemnare.
A: Kyrie eleison.
R: Christe eleison. Kyrie eleison. -
↑ Ad humerum sinistrum Responsorium: Ne recorderis peccata mea, Domine: dum veneris iudicare, saeculum per ignem.
V: Dirige, Domine, Deus meus, in conspectu tuo viam meam.
A: Kyrie eleison.
R: Christe eleison. Kyrie eleison. -
↑ Ad humerum dextrum Responsorium: Libera me, Domine, de morte aeterna, in the illa tremenda.
V: Quando caeli movendi sunt et terra. Dum veneris iudicare saeculum per ignem. Tremens factus sum ego, et timeo, dum discussio venerit atque ventura ira.
V: Quando caeli movendi sunt et terra. Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde.
V: Dum veneris iudicare saeculum per ignem.
V: Requiem aeternam dona eis Domine et lux perpetua luceat eis.
R: Libera me ...
V: Kyrie eleison.
R: Christe eleison. Kyrie eleison.