San Marco (Rovereto)

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San Marco, main facade and entrance portal

San Marco is the arch parish church of Rovereto in Trentino . The church, built in the middle of the 15th century, has been expanded and redesigned several times. It is adorned with a series of marble altars, which are among the most important baroque altars in Trentino. In 1769, on his first trip to Italy , Wolfgang Amadeus Mozart held his first Italian concert in front of a larger audience in San Marco .

history

Construction of the church began in 1458 when Rovereto was under Venetian rule. With the erection of the church tower in 1461, construction was completed. A year later it was consecrated to the evangelist Mark and patron saint of Venice. The building was under the patronage of the Prince-Bishop of Trento Georg Hack and Cardinal Bessarion .

The church of S. Marco played only a secondary role at that time. The ecclesiastical center of Rovereto was in the much older parish church of Lizzana, which is now a southern district, far outside the city walls. With the construction of S. Marco the aim was to build a larger church within the city walls. In 1467 Bishop Johannes Hinderbach appointed it a branch church of the parish church of Lizzana. With the appointment, three new wooden altars were also erected.

The rise of S. Marcos to the spiritual and ecclesiastical center of the city began only after Venice had to cede Rovereto to the Habsburgs after the defeat of Agnadello in 1509 . When Maximilian I transferred the town charter to Rovereto on November 3, 1510 , the further path of S. Marcos to the parish church was indirectly mapped out. In 1582 it was finally raised to a parish church by Bishop Giovanni Ludovico Madruzzo . With the elevation to the parish church, the bishop ordered the new building of the church according to the new function.

Nave and choir

In 1587, work began according to the guidelines of the Council of Trent . The new building was inaugurated in 1603, even if the main facade was not completed until 1613. During the construction, the previous building was not completely removed, but integrated into the raised new building. The old cemetery, which was instead created behind the city walls, had to give way to the newly built choir and the sacristy . He stayed there until 1836, when the new San Marco cemetery was laid north of the old town. Some grave slabs built into the city wall still bear witness to the former location of the cemetery.

During the time of the new building, four altars were added in addition to the five small wooden altars that already existed. In the course of time these were replaced by marble altars and changed their meaning and location several times. The main altar in the choir was consecrated in 1603. It was created according to the guidelines laid down by Charles Borromeo in the Council of Trentino, after the main altar was of particular importance as the center of the Eucharistic celebration. In 1650 the building was increased by another 2 m and the barrel vault that still exists today was created. The stucco work , however, was only made later in the 19th century. At the same time, the facade was redesigned and provided with structural elements that still exist today, including the two pilasters with the base , capital and architrave . The main portal with the figure of St. Mark, the two side portals, the two elongated windows and the rose window were also created during this period.

In 1658, instead of the old campanile, today's 48 m high bell tower was built. Further expansions then took place in the course of the 18th and 19th centuries, after which the church was given its current layout. In 1725 a new sacristy was built and the three north side chapels were built between the end of the 18th and the beginning of the 19th century. At the same time, plans were made to build more chapels on the south side to give the church the appearance of a three-aisled structure . Although the purchase of the surrounding land began, the project was never implemented. During the heyday of Rovereto, the old wooden altars were also replaced by baroque marble altars of different colors in the city, which had become prosperous through silk construction , even if in the real sense, like the Veronese marble, it is not marble , but tuber limestone . Dates from the middle of the 18th century, built on two columns above the entrance with respect to the chorus Weihwasserbecken resting Cantoria that such a vestibule forms. The organ originally set up in the choir found its new location on the Cantoria, while the choir stalls were set up in the vacated space in the choir .

Bell tower with apse

The outside staircase that leads from Piazza San Marco into the church dates from the 1870s . At the turn of the century, San Marco was extensively restored, during which time the frescoes , which were executed by Luigi Cavenaghi and decorate the vault and the choir arch, were also created . During the First World War , the building was hit several times by Italian artillery shells and badly damaged. The war damage was repaired in the 1920s with financial support from the Italian state . During the Second World War, the inhabitants of Rovereto vowed to renew the church facade if the city was spared from air raids. In 1950, the renovation of the facade, which had begun a year earlier and still adorns San Marco, was completed.

description

facade

The facade presents itself with strongly Venetian influences. The semicircular gable is based on the church of Santa Maria dei Miracoli in Venice . Above the main portal is the sculpture of St. Mark the Evangelist, a work by the sculptor Stefano Zuech , who also created the thread reliefs of the bell of the fallen . In the middle of the tympanum the lion of St. Mark . To the left of the flight of stairs on a column is a statue of the Madonna made of Carrara marble , donated by the workers of the tobacco factory in Rovereto .

inner space

The single-aisle hall church is a little more than 47 m long, of which the nave alone is over 31 m long. It measures almost 17 m in width and a little more than 17 m in height. To the left of the entrance are the three side chapels, built between the 18th and 19th centuries, which give the church an asymmetrical appearance, while on the opposite left side three side altars made of multi-colored marble adorn the church hall. The choir arch on the left shows how the inhabitants of the city asked the Virgin Mary for protection from the advancing arson under General Vendôme in August 1703 during the War of the Spanish Succession . On the right side of the choir arch, the Marian procession is shown, which was held as thanks and which still takes place on August 5th every year. In the middle of the barrel vault, which is decorated with numerous stucco work, there is another portrait of the Evangelist Mark.

The baroque marble high altar in the choir is the work of the Veronese sculptor Giuseppe Antonio Schiavi and was created in 1724. The tabernacle was made in 1760 by Antonio Giuseppe Sartori , one of the better-known representatives of the sculpting workshops from Castione near Brentonico . The altarpiece with the image of Mark the Evangelist was created after the First World War, after the original altarpiece from the 18th century was destroyed in the war.

  • Choir with main altar

  • Memorial plaque for Girolamo Tartarotti

  • Mariahilf portrait

  • Altarpiece of Saint Dorothea by Tobias Pock

  • Cantoria with organ

Opposite the choir above the entrance is the cantoria with the organ. The latter originally stood on the site of the choir stalls and was set up at the new location in the 18th century. On December 26th, 1769, Wolfgang Amadeus Mozart held his first Italian concert in front of a larger audience on the organ made by the organ builder Graziadio Antegnati from Brescia , after having only played in a small select group two days earlier in Rovereto. In 1976 the old organ was replaced by a new one. Next to the main entrance portal under the Cantoria, a plaque commemorates Girolamo Tartarotti , theologian and historian, who found his final resting place in San Marco. On the opposite side there is an image of Pope Pius VI. , who celebrated a Holy Mass on his return journey from Vienna in San Marco in 1782 .

On the side of the three side chapels, a bust of Antonio Rosmini recalls the time when the theologian and philosopher was Archpriest of San Marco from 1834 to 1835 . The three adjoining side chapels are consecrated in sequence to St. Vigilius of Trento , St. Jerome and the Holy of Holies . They were all built between the end of the 18th and the first half of the 19th century. The three marble altars located there are of an older nature and originally stood directly in the nave, as is still the case on the opposite south side. They were created between the end of the 17th and the end of the 18th century. The altarpiece of St. Vigilius of Trento is the work of Domenico Udine Nani and was commissioned by Antonio Rosmini between 1835 and 1836. The altar was originally dedicated to Saint Onophrios . The altarpiece dedicated to him, a work by Gasparantonio Baroni Cavalcabò , now hangs in the sacristy. The altar of St. Hyronimus was built at the end of the 17th century. The altarpiece is a work by the Veronese artist Felice Ricci called Brusasorci from 1599. In the oldest side chapel, which is consecrated to the Blessed Sacrament, hangs on the side wall the altarpiece Martyrdom of the saints, originally made by Tobias Pock in 1657 for the monastery church of the later dissolved Dorothee monastery in Vienna Dorothea . It reached San Marco via detours and was damaged in the First World War, with the lower right corner of the picture being destroyed.

  • Altar of Saint Vigilius of Trento

  • Altar of Saint Hyronimus

  • Altar of the Holy Sacrament

Next to the side chapel of the Holy of Holies below the choir arch is the altar of St. Joseph of Nazareth . The altar from the Sartori sculptor's workshop was made between 1738 and 1740. The altarpiece is much more recent. On the opposite right side of the choir arch is the Mariahilfaltar by Teodoro Benedetti , son of Cristoforo Benedetti and the last representative of this family of sculptors, who also come from Castione. It was erected between 1736 and 1741. A copy of the Mariahifl picture by Lucas Cranach the Elder , which is framed by two angel figures from Dominikus Moling's workshop, is inserted as an altarpiece . To the right, the rosary altar by Domenico Sartori and brother of Antonio Giuseppe Sartori. Together with the Mariahilf Altar, it is one of the masterpieces of baroque altar architecture in Trentino and was completed in 1742. The figure of Mary is a work of woodcarving art from Val Gardena from the beginning of the 20th century. This is followed by the altar consecrated to Saint Anthony of Padua , which was also made in the 1740s and comes from an unknown sculptor's workshop in Brentonico. The altarpiece with the image of Saint Anthony was created by Gasparantonio Baroni Cavalcabò between 1740 and 1741. The last altar is dedicated to Saint Bernardine of Siena and was also created by Teodoro Benedetti in 1750. The altar label with the saint comes from an unknown Veronese school of the 18th century.

  • Altar of Saint Joseph

  • Mariahilfaltar by Teodoro Benedetti

  • Rosary altar by Domenica Sartori

  • Altar of Saint Bernardine of Siena, Teodoro Benedetti

  • Altar of Saint Anthony of Padua

literature

  • Andrea Bacchi, Luciana Giacomelli (eds.): Scultura in Trentino: Il Seicento e il Settecento . Provincia Autonoma di Trento, Trento 2003 ISBN 88-86602-55-3
  • Renato Trinco: San Marco in Rovereto. La chiesa arcipretale tra storia, arte e devozione . La Grafica, Mori 2007 ISBN 88-86757-60-3

Web links

Commons : San Marco  - collection of images, videos and audio files

Individual evidence

  1. ↑ Renato Trinco: San Marco in Rovereto. La chiesa arcipretale tra storia, arte e devozione p. 15
  2. ↑ Renato Trinco: San Marco in Rovereto. La chiesa arcipretale tra storia, arte e devozione pp. 14-15
  3. ↑ a b Renato Trinco: San Marco in Rovereto. La chiesa arcipretale tra storia, arte e devozione p. 18
  4. ↑ Renato Trinco: San Marco in Rovereto. La chiesa arcipretale tra storia, arte e devozione pp. 19-20
  5. ↑ Renato Trinco: San Marco in Rovereto. La chiesa arcipretale tra storia, arte e devozione p. 21
  6. ↑ Renato Trinco: San Marco in Rovereto. La chiesa arcipretale tra storia, arte e devozione pp. 24-25
  7. ↑ Renato Trinco: San Marco in Rovereto. La chiesa arcipretale tra storia, arte e devozione pp. 26–29
  8. ↑ Renato Trinco: San Marco in Rovereto. La chiesa arcipretale tra storia, arte e devozione pp. 30–31
  9. ↑ Renato Trinco: San Marco in Rovereto. La chiesa arcipretale tra storia, arte e devozione pp. 37–43
  10. ↑ Renato Trinco: San Marco in Rovereto. La chiesa arcipretale tra storia, arte e devozione pp. 73–74
  11. ↑ Renato Trinco: San Marco in Rovereto. La chiesa arcipretale tra storia, arte e devozione pp. 46–48
  12. ↑ Renato Trinco: San Marco in Rovereto. La chiesa arcipretale tra storia, arte e devozione pp. 73–74
  13. ↑ Renato Trinco: San Marco in Rovereto. La chiesa arcipretale tra storia, arte e devozione pp. 53–66
  14. ↑ Renato Trinco: San Marco in Rovereto. La chiesa arcipretale tra storia, arte e devozione pp. 69-101

Coordinates: 45 ° 53 '19.2 "  N , 11 ° 2' 44.2"  E