San Marcello al Corso
| San Marcello
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|---|---|
| Patronage : | St. Marcellus |
| Consecration day : | |
| Cardinal priest : | Giuseppe Betori |
| Address: | Piazza di San Marcello 00187 Roma |
San Marcello ( Latin : Sancti Marcelli ), also San Marcello al Corso is a church in Rome . It is the monastery church of the Servites and title church of the Roman Catholic Church , as well as a station church for Lent.
location
The church is located in the II. Roman Rione Trevi on the Piazza di San Marcello, a small square directly on the Via del Corso , about 250 meters north of the Piazza Venezia .
History and building history
According to legendary tradition, the patronage should refer to Marcellus I , who was bishop of Rome from 308-309 and of whom it is reported in the Liber Pontificalis that he set up 25 parishes in Rome, which is why he was sentenced to forced labor by Emperor Maxentius . After his liberation he was hidden in the house of the Roman matron Lucina, where he would have had to work as a prisoner in the cellar until his death. Lucina is said to have arranged for his burial in the catacomb of Priscilla and to have donated her house to the Christian community. This house could be the late antique building, in which, according to written sources , a house church called domus ecclesia already existed in 418 . The names titulus Marcelli (499) and titulus sancti Marcell i (595) are attested for the following period . Hugo Brandenburg assumes that the titulus Marcelli already existed at the turn of the 5th century and that the selection of this place for a bishop's election in 418 suggests the significance of the titulus Marcelli at that time . According to his research, the early Christian church of the 5th century is a three-aisled hall (approx. 50 × 25 m) on new foundations with a semicircular apse in the west , which could have been taken over from the late antique reception hall of a previous building.
In addition to fragments of a wall painting from the 5th century, the foundation walls of a baptistery from the 5th century, which was located north of the church entrance at that time, have been preserved. The irregularly cut room (approx. 7.2 × 6.8 m) is about 6 meters below today's floor level (can be visited). The baptismal font made of bricks (approx. 4 m wide and 1.2 m deep) is laid out with marble slabs. The 5th century basilica was restored in the 7th century under Pope Hadrian I (772–795). Towards the end of the 8th century, the relics of St. Marcellus from the Priscilla catacomb into his titular church . In the second half of the 12th century, the new building of a three-aisled pillar basilica with atrium and campanile , transept and semicircular apse (as before in the west) was built. The outer walls of the early Christian church were retained and the floor level raised. Remnants of the west facade of the transept have been preserved and are still visible on both sides of today's west facade.
Because only the surrounding walls of the basilica remained in place during a fire in 1519, the old apse, which had also been preserved, was first laid down and then a new baroque church was built according to the plans of Jacopo Sansovino , which was due to the political unrest of 1527 ( Sacco di Roma ) not until 1597 under Antonio da Sangallo d. J. was completed. By demolishing the old apse in the west, the new apse could be relocated to the eastern part of the new building in order to make the new church accessible from the main street (Via del Corso). The facade planned by Carlo Fontana was not completed until 1683.
Basic structure
Today the church presents itself as a single-nave hall building with a flat coffered ceiling. Instead of the earlier side aisles, it now has five side chapels each, which open towards the nave. SS. Annunziata in Florence may have been the model for this .
facade
The facade of the church follows the “classical” scheme of the Roman high baroque : It consists of a wider basement with a central projectile and a narrower upper floor, which is flanked by curved volutes . The facade has a concave curvature, its ground plan forms a segment of a circle. This characteristic represents a novelty in the baroque facade design and has forerunners with Gianlorenzo Bernini , Francesco Borromini and Pietro da Cortona . The lower floor is structured by staggered columns of a composite order . On both sides of the portal there are protruding double columns that support a split segment arch ; in the wall layer behind it, two single full columns frame the central projectile; the two side wall sections are divided by pilasters and statue niches; the statues are by Francesco Cavallini. The relief medallion above the portal, held by two angels, is by Antonio Raggi ; it shows the rejection of the papal dignity by Philipp Benizi . The empty frame in the blown gable above the portal was originally intended to contain a relief as well. The upper floor of the facade repeats the structure of the lower floor in the form of a flat, composite pilaster arrangement; only the framing elements are designed as pillars. It is remarkable and very unusual for Rome that the volutes leading to the side facade sections are decorated with palm branches (attribute of the martyrs). A simple, but three-dimensionally contoured, once cranked triangular gable completes the facade at the top. The architectural composition is based on the facade by SS. Vincenzo ed Anastasio at the Fontana di Trevi , designed by Martino Longhi the Elder. J. was designed. The facade of San Marcello inspired numerous subsequent buildings, e.g. For example, the main facade of the Roman church Santissima Trinità dei Pellegrini (1722/23) designed by Francesco De Sanctis , the facade of the Turin church of San Filippo Neri created by Guarini and probably also the architects of the west facade of the Neumünster in Würzburg (1711 to 1716).
Interior
A wide triumphal arch separates the apse from the main nave. The coffered ceiling dates from the late 16th century. The decor of the church is kept in the usual forms of the Roman Baroque and richly painted and provided with gilded stucco . Above the portal on the inner wall is a large crucifixion , created in 1613 by Giovanni Battista Ricci . To the left of the entrance is a double tomb by Jacopo Sansovino , created around 1519 for Antonio Orso and Cardinal Giovanni Michiel , a nephew of Pope Paul II.
Third chapel on the right
The tomb of Bishop Matteo Grifoni († 1567) a Tuscan artist is said to have been influenced by Michelangelo .
Fourth chapel on the right
In this chapel hangs a wooden crucifix that comes from the previous building and survived the fire of 1519. In the plague year 1522, it was carried in processions through the city of Rome for 16 days and is therefore also known as the plague cross. In March 2020, Pope Francis made a pilgrimage to the cross during the COVID-19 pandemic and then had it brought to the Vatican. It stood in front of St.Peter 's Basilica during the extraordinary dispensation of the Urbi et Orbi blessing and was venerated during the veneration of the cross in the 2020 Good Friday liturgy in St.
The frescoes in this chapel, which Perino del Vaga had begun and whose execution was interrupted by the Sacco di Roma in 1527, were then completed by Daniele da Volterra and Pellegrino Tibaldi .
Fourth chapel on the left
In the chapel there are frescoes by Taddeo Zuccari . His brother Federico Zuccari created the altar painting Conversion of St. Paul in 1558 . Also in the chapel are the busts of some of the Frangipani family buried here .
sacristy
In the sacristy there is a painting with a crucifixion scene , which in some cases has been attributed to Anthony van Dyck .
Cardinal priest
literature
- Darko Senekovic: S. Marcello al Corso. In: D. Mondini, C. Jäggi, PC Claussen (ed.): The churches of the city of Rome in the Middle Ages 1050-1300. Volume 4 ( MO. ) Stuttgart 2020, pp. 30-46.
- Hugo Brandenburg : The early Christian churches in Rome from the 4th to the 7th century. Schnell & Steiner, Regensburg 2013, pp. 175 ff. And 324.
- Walther Buchowiecki : Handbook of the Churches of Rome. The Roman sacred building in history and art from early Christian times to the present. Volume 2. Hollinek, Vienna 1970, pp. 339-359.
- Stefan Grundmann (Ed.): Architectural Guide Rome. Menges, Stuttgart / London 1997, ISBN 3-930698-59-5 , p. 252 f.
- Anton Henze u. a .: Art guide Rome. Reclam, Stuttgart 1994, ISBN 3-15-010402-5 , p. 202 f.
- Hans Georg Wehrens: Rome - The Christian sacred buildings from the 4th to the 9th century - A Vademecum. Herder, Freiburg 2016, pp. 199–205.
- Johann M. Wiesel: Rome. Kohlhammer art and travel guide. 7th edition. Stuttgart u. a. 1980.
Web links
Individual evidence
- ↑ Walther Buchowiecki: Handbook of the Churches of Rome. The Roman sacred building in history and art from early Christian times to the present. Volume 2, Vienna 1970, p. 341f.
- ↑ Hugo Brandenburg: The early Christian churches in Rome from the 4th to the 7th century , Regensburg 2013, p. 176.
- ↑ Hans Georg Wehrens: Rome - The Christian sacred buildings from the 4th to the 9th century - Ein Vademecum , Freiburg 2016, p. 200ff. with floor plans of the church and baptistery.
- ^ Anton Henze: Art Guide Rome . Stuttgart 1994, p. 202.
- ↑ Hans Georg Wehrens: Rome - The Christian sacred buildings from the 4th to the 9th century - A Vademecum . Freiburg 2016, p. 200ff. with floor plan.
- ↑ Stefan Grundmann (Ed.): Architekturführer Rom , Stuttgart 1997, p. 252.
- ^ Stefan Grundmann (Ed.): Architekturführer Rom , Stuttgart 1997, p. 253.
- ^ Anton Henze: Kunstführer Rom , Stuttgart 1994, p. 202f. also to the following passages.
- ↑ Vatican has miraculous cross brought. In: domradio.de. Bildungswerk der Erzdiözese Köln eV, March 26, 2020, accessed on March 29, 2020 .
- ^ Johann M. Wiesel: Rome. An art and travel guide , Stuttgart 1980, p. 187.
Coordinates: 41 ° 53 ′ 55.4 " N , 12 ° 28 ′ 55" E