San Pietro in Montorio
| San Pietro in Montorio
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|---|---|
| Denomination : | Roman Catholic |
| Patronage : | Apostle Peter |
| Consecration year : | 1500 |
| Cardinal Deacon : | James Francis Stafford |
| Parish : | Santa Maria in Trastevere |
| Address: | Piazza di San Pietro in Montorio 2 00153 Roma |
Coordinates: 41 ° 53 ′ 18.9 " N , 12 ° 27 ′ 59.3" E
San Pietro in Montorio ( lat. : Sancti Petri in Monte Aureo ) is in the Renaissance built monastery church in Rome and titular church of the Roman Catholic Church . It is located on the eastern slope of Gianicolo at the place where, according to legend, the apostle Peter was crucified. The church got its name from the golden brown color of the ground at this point ( Italian : monte d'oro ). It is known, among other things, for the Tempietto di Bramante in the first cloister courtyard , a small round temple executed by Donato Bramante , which is considered the completion of the High Renaissance. It contains a number of important works of all genres from the 16th and 17th centuries.
location
The church is in the XIII. Roman Rione Trastevere in the Piazza di San Pietro in Montorio , about 200 meters east of the Fontana dell'Aqua Paola on the Gianicolo.
historical overview
prehistory
Already from the 8th or 9th century, the Gianicolo is the veneration of St. Peter connected and a church building can be proven in the same place. The 7th pilgrimage route described in Codex Einsidlense leads from Porta Aurelia (today Porta San Pancrazio) on Via Aurelia to Porta Praenestina and mentions a place of worship for Peter. The fact that the place of the crucifixion was Petri at this point lacks any historical basis. The holy place for the crucifixion of Peter was systematically propagated from the 14th century. Around 1280, monks of the Cölestine order looked after the pilgrimage site. From two bulls of Pope Sixtus IV it is clear that S. Pietro in Montorio belonged to San Pancrazio . Pope Eugene IV handed over the monastery of the Benedictine nuns with all their possessions in 1438 to the Ambrosianer ad nemus of S. Clemente . In 1472 Pope Sixtus IV donated the long empty, dilapidated monastery to the Amedeiten, a reform movement within the Franciscan order founded by the Spanish monk Amedeo Menez de Silva .
Building history
With the donation bull, Pope Sixtus IV also gave the religious community the approval and the order to renew and expand the monastery and the church. In 1480, King Ferdinand of Spain (1452-1516) made 2000 fiorini available from his income from the Kingdom of Sicily for the construction of the church, which could then begin. The donation goes back to the vow of the Spanish royal couple Ferdinand and Isabella to build a church if the wish for an heir to the throne comes true. This came true with the birth of his son Juan in 1478. Amedeo Menez probably built up relations with the Spanish court through his sister, who was Isabella's maid and who later received the Santa Fe monastery in Toledo. Amedeo Mendez died in 1482 while staying in Milan. In order to continue building the church, presumably by Sixtus IV himself, the French King Louis XI donated. who worshiped Amedeo, in 1483 the sum of 500 scudi. With this money, the choir of the church is renewed, as can be seen from a monastery chronicle from the 18th century, which is kept in the Vatican. The fact that the choir and nave are not exactly on the same axis speaks for the correctness of this information. With the death of Sixtus IV there was an interruption in construction activities, which were only resumed in 1488 by the Spanish royal family. It entrusted the two ambassadors to the papal court, Bernardino de Carvajal and Juan Ruiz de Medina, with the continuation of both the church and the convent, the north wing of which falls during the same construction period. At the same time, they ensured regular funding, namely 500 ducats annually from the Kingdom of Sicily. The construction work was intensified under the master builder Jorge de Castellon and the Spanish envoy, who influenced the size, shape and design of the entire complex. Castellon possibly came with Amedeo from Lombardy and was already active in the first phase of the new building at the instigation of the monks. In 1493, one year after the final conquest of Spain from the Moors, Ferdinand arranged for further payments to be made by the Viceroy of Sicily in order to ensure the continuation of the work and to prevent damage to the reputation of the Spanish crown in Rome. In a letter from the titular emperor of Byzantium, Andreas Palaiologos , a mass on September 8, 1494 in the church is reported, which suggests that it must have been consecrated at this time. However, an inscription - today kept in the Tempietto crypt - shows the consecration date June 9, 1500.
Possibly the Spanish Pope Alexander VI. in the holy year the official consecration of the church again, which was done in advance for the monastic community to use the church. The interior decoration was commissioned at the beginning of the 16th century. The construction of the Tempietto in the first monastery courtyard began in 1502 by Donato Bramante . In the 20s of the Quinquecento, supported by donations from Emperor Charles V , the final expansion of the convent building took place. During this time, generous donations were made by well-known patrons for the furnishing of chapels, such as Cardinal Giovanni Maria Ciocchi Del Monte, who later became Pope Julius III. , and Cardinal Giulio de Medici, who later became Pope Clement VII. In the 17th century, the Renaissance building underwent the greatest changes, especially to the entire vault, including the lunettes in the nave, the choir and its design. At the same time, the 2nd and 4th cones on the south-east wall were replaced by a baroque chapel extension and the two large conches opposite were completely redesigned in their decoration. One of the changes in the 19th century was the conversion of the bi-oriological windows into simple arched windows with today's yellowish glazing. During the First Roman Republic in 1798, the monastery was given to Napoleon's troops, who had badly damaged it. In 1814 the Franciscans took possession of it again. During the fighting for Porta San Pancrazio in 1849, the church and monastery, especially the apse and the campanile, suffered severe damage from French cannonades. The church was used as an emergency hospital and the archive was looted. In 1851 extensive restoration work was carried out on the entire building complex. In 1881 part of the convent building was transferred to the Spanish Academy in Rome , which still uses the premises today.
architecture
facade
The travertine facade of the church, which can be seen prominently on the Gianicolo from many locations in Rome, is an accentuated mixture of royal ambitions for representation and simple, unadorned furnishings in accordance with the tradition of the mendicant monks. A staircase with steps on both sides leads to the portal . The facade is two-storey, exactly depicting the cross-section of the church and crowned by a simple gable . The two floors are framed by narrow corner pilasters , delicate-looking pilaster strips structure the surfaces. In the upper storey of the facade there is also a rather simple rose window . The ledge above the portal and the coat of arms of the Catholic Kings in the middle show the pomegranate motif, which was used from 1492 when the news of the reconquest of Granada reached Rome (Fig.) . On the left and right - as is usual with title churches - the coats of arms of the reigning Pope and the respective cardinal are attached. The simple, two-part facade connects San Pietro with the church of Santa Maria del Popolo , also built under Pope Sixtus IV , which has a similar structure in the middle part of the facade.
Nave
The peculiarity of the church is probably due to both the topography of the location and the donors' desire to represent, namely the orientation of the choir to the southwest and not, as usual, to the east. In the northeast, it has a façade that can be seen from afar and thus forms an architectural accent on the Janiculum. The builder Jorge de Castellon is documented several times in letters from the Spanish king; a possible involvement of Baccio Pontelli mentioned by Vasari in his vita turned out to be undetectable; Pontelli is not mentioned in the few surviving documents from San Pietro in Montorio. The church is a cross-vaulted, single-nave, generously dimensioned hall building made of brick, accompanied by chapels, which was already considered to be comparatively ancient in the late Quadrocento. The side chapels open in the form of cones between the arcade arches of the nave . In front of the deep choir, the two large cones are spanned by an umbrella vault instead of a transept. The chapels on the south-east side are an addition from the 17th century. The pillars between the arcade arches are pilasters presented. A strong all-round cornice also structures the side walls. In the upper storey windows open and give the church space light. In 1759 three rectangular windows were inserted into the polygonal apse .
The church building in Rome is fundamentally similar to other buildings initiated by Amedeo Mendez da Silva in Lombardy. Mostly these are simple, unadorned churches of the mendicant order, with a single nave church interior and a separate large choir, to which a monastery complex with two courtyards is attached.
Interior
The nave, in particular the arches and the main beam, are painted according to a recognizable overall program, but the frescoes are only partially preserved. The coat of arms of the Spanish royal couple is located above each chapel (Fig.) . Numerous other heraldic symbols of the Spanish royal couple, especially keystones, can be found in the church as well as in the monastery. Some capitals bear the pomegranate motif (fig.) . The character of a personal patronage church of the royal couple is underlined by the fact that from 1450 with San Giacomo degli Spagnoli (today Nostra Signora del Sacro Cuore) a church of the Crown of Castile and from 1506 the Santa Maria di Monserrato of the Aragonese existed anyway .
In the front left of the main nave, embedded in the floor, are tombs of Irish aristocrats who fled to Rome in 1606 after the battle of Kinsale . Is buried Hugh O'Neill Baron of Dungannon (Fig.) , Of the tomb with Rudhraighe Ó Domhnaill (Fig.) Shares, 1st Earl of Tyrconnell and his brother Cathbarr.
High altar, choir and apse (5)
In 1523 Cardinal Giulio de Medici, who later became Pope Clement VII , had Raphael's famous painting The Transfiguration of Christ installed as an altarpiece in the church, where it was admired by numerous travelers to Rome, including Goethe. In the turmoil of the Roman Republic , the French Directory had the picture removed in 1797. After an eventful history, it is now in the Vatican Pinacoteca . The picture inserted as a replacement in the high altar is a copy of the painting Crucifixion of St. Peter by Guido Reni . The frescoes that can still be seen today are from a recent restoration after 1849.
Buried under the stairs in front of the main altar is the young noblewoman Beatrice Cenci , who was convicted of incitement to parricide and beheaded on September 11, 1599.
Chapels
In the ten side chapels of the church there are works by well-known artists.
- Cappella della Flagellazione or Cappella Borgherini (1)
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The commission for the artistic design of the chapel of the Flagellation was given to Sebastiano del Piombo in 1516 by the Florentine banker Pier Francesco Borgherini . The frescoes (oil on stone) show: the flagellation of Christ on the altar wall - it is considered one of the most important sculptures of the Renaissance -, to the right of it St. Francis of Assisi (fig.) And to the left the apostle Peter (fig. ) . The transfiguration of the Lord is depicted in the apse calotte (fig.) And Isaias and Matthias (fig.) Above the arch . The preliminary drawings for the frescoes are by Michelangelo . The work was completed in 1524.
- Cappella di San Girolamo (2)
The fresco painting by Baldassare Peruzzi or the school of Pinturicchio - both attributions are not certain - show the coronation of Mary in the apse calotte (fig.) And on the outside of the arch the virtues of bravery, prudence, moderation and justice (fig.) . The altarpiece, the Madonna with the Letter (fig.) , Which gave the chapel its popular name - Chapel of the Madonna with the Letter - comes from Niccolò Circignani called Pomarancio.
- Cappella di Sant Antonio (3)
The frescoes Representation in the Temple , Immaculate Conception (right) and Annunciation (left) are works by the Baroque painter Michelangelo Cerruti and date from the 17th century. The four sibyls (fig.) On the outer arch are ascribed to the Baldassare Peruzzis school.
- Cappella del Monte (4)
The chapel, also known as the Chapel of the Conversion of the Apostle Paul , was built between 1550 and 1552 by order of Pope Julius III. designed by Giorgio Vasari , under the artistic supervision of Michelangelo . The altarpiece The Conversion of the Apostle Paul comes from Vasari himself . The seated man with the dark beard on the left is considered the artist's self-portrait. The grave monuments for Cardinal Antonio and Fabiano Ciocchi del Monte with the Gisants of the deceased and the sculptures Justice and Religion on the sides are works by Bartolomeo Ammanati , who worked with Vasari at the chapel. The balustrade with putti also comes from Ammanati.
- Ricci Cappella (6)
In 1559, Cardinal Giovanni Ricci da Montepulciano commissioned Daniele da Volterra , a pupil of Michelangelo, to design the chapel (fig.) . The altar panel The baptism of Jesus is attributed to Giulio Mazzoni (1568). The two statues of the apostles Peter (fig.) And Paul (fig.) In the niches and the balustrade are by Leonardo Sormani .
- Cappella della Pietà (7)
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The chapel is a built in the second decade of the 17th century. added extension by Pedro and Francesco de Cuside. The altarpiece The Entombment of Christ (Fig.) Is the work of Caravaggio's pupil Dirck van Baburen (1617), as is the picture on the right: Christ carries the cross . The painting Discussion of the Scholars (left) and the painting of the lunettes The Mocked Christ (right) and The Prayer in the Oil Garden (left) are by the Flemish painter David de Haen . The stucco work goes back to Stefano Maderno .
- Cappella di Sant'Anna (8)
The altarpiece St. Anna Selbdritt , the fresco God the Father as well as the painting on the outside of the arch David and Solomon (fig.) Are from Antoniazzo Romano or his school.
The chapel was rebuilt under the direction of Gian Lorenzo Bernini around 1640 for the Marchese Marcello Raimondi and the interior was designed. The execution took place in the years 1642 to 1646 by different artists. The relief in the apse above the altar The Ecstasy of St. Francis of Assisi (fig.) Was created by Francesco Baratta . The tombs of Girolamo Raimondi (Fig.) And Francesco Raimondi (Fig.) Are by Andrea Bolgi and Niccoló Sale .
- Cappella delle Stimmate di San Francesco (10)
The frescoes in the chapel are by Giovanni de Vecchi from the late 16th century: in the apse St. Francis of Assisi receives the stigmata (Fig.) , In the apse calotte the funeral of Cardinal Dolera and on the sides St. Nicholas and Catherine .
- Next to the entrance is the grave monument for Bishop Giuliano da Volterra (11) ( Fig.) († 1501), attributed to the school of Andrea Bregno .
The monastery
The history of the monastery is closely linked to the church. The earliest mentions in the Liber Pontificalis from the 9th century mainly go back to the monastery. The story of the new building begins, like that of the church, in 1472 with the donation to the Franciscan Amedeo Mendez de Silva, the friend and confessor of Pope Sixtus IV, and his friars. The monastery adjoins the church building to the north-west and originally only had a cloister, in which Bramante built the Tempietto . In 1587/88 the monastery was extended by a second cloister (Fig.) . The frescoes in the lunettes of the 2nd cloister, some of which are poorly preserved today, depict scenes from the life of St. Francis of Assisi; they were carried out by Pomarancio between 1587 and 1590 . Further alterations to the monastery buildings and the Tempietto took place in the 17th century.
The Tempietto di Bramante
The Tempietto di Bramante (12), which is considered a key work of the Roman High Renaissance, is located in the first courtyard of the monastery, which was greatly modified by Giuseppe Valadier . The round temple was also built by Donato Bramante on behalf of the Catholic Kings. The memorial plaque discovered in the crypt of the chapel in 1628 indicates that 1502 was the year the structure was built.
In 2001 the Cologne -based designer and architectural model maker Bernd Grimm created a miniature of the building from alabaster plaster on a scale of 1:15 on behalf of the architect Oswald Mathias Ungers . The model is kept in the Unger Archive for Architectural Science and belongs to the architect's collection of architectural icons.
Piazza di San Pietro in Montorio
In the 15th century, the monastery, surrounded by gardens, could only be reached via Porta Aurelia (today Porta San Pancrazio) or a narrow path from Trastevere. The donation of the Spanish King Philip III. in 1604 made it possible to create a wider path, a spacious forecourt and the two-flight staircase to the church portal. From the first third of the 17th century, the square was adorned by a fountain built by Giovanni Fontana called La Castigliana (the Castilian). Today this fountain is only known from a few engravings, e.g. B. by Giovanni Batista Falda (1690), and is considered lost. Along the way, Via S. Pietro in Montorio from the Via Garibaldi down to the piazza is lined polychrome Stations of the Cross from terracotta ; they were set up in 1957 by Carmelo Pastor to replace the old ones that had disappeared.
See also
literature
- Mariano Armellini: Le chiese di Roma dal Secolo IV al XIX , Edizioni del Pasquino, Roma 1891
- Flavia Cantatore: San Pietro in Montorio , Università degli Studi di Roma "La Sapienza", Edizioni Quasar, Roma 2007, ISBN 978-88-7140-334-7 .
- Ferdinand Gregorovius : History of the city of Rome in the Middle Ages , Deutscher Taschenbuch Verlag, Munich 1988, ISBN 3-423-05960-5 .
- Hubertus Günther: Bramantes Tempietto - The Memorial Complex of the Crucifixion of Peter in S. Pietro in Montorio, Rome , dissertation at the LMU Munich, Munich 1973 (not published) Online
- Alfred Kuhn (ed.): Italian journey by Goethe, Bruckmann, Munich 1925, Reprint 2000, ISBN 3-8307-0655-3 .
- Brigitte Kuhn-Forte: Handbook of the Churches of Rome , Vol. 4, Hollinek Verlag, Vienna 1997, ISBN 3-85119-266-4 , pp. 935-1090
- Mauro Lucentini: Rome. Paths through the city . Pattloch Verlag, Munich 2000, ISBN 3-629-01621-9 .
- Willy Pocino: Le curiosità di Roma . Newton & Compton, Rome 1985, ISBN 88-541-0010-2 .
- Claudio Rendina: Le Chiese di Roma , Newton & Compton, Rome 2007, ISBN 978-88-541-0931-5 .
- Nicole Riegel: San Pietro in Montorio - The Votive Church of the Catholic Kings Isabella and Ferdinand of Spain , in: Roman Yearbook of the Bibliotheca Hertziana 32nd 1997/98, Hirmer, Munich 1998. pp. 271-320
- Manfred Wundram (Ed.): Reclams Art Guide, Italy. Volume V. Rome and Latium . Reclam, Stuttgart 1981, ISBN 3-15-008679-5 .
- Guida d'Italia - Roma , Touring Club Italiano, Milano 2007, ISBN 88-365-4134-8 .
- La grande guida dei rioni di Roma. , Newton & Compton, Rome 2001, ISBN 88-8289-388-X .
- Giorgio Vasari : Artist of the Renaissance - Bramante of Urbino , chap. 27, 1550, Transmare Verlag, Berlin 1948.
Web links
- Official website of the Church of San Pietro in Montorio
- Mariano Armellini, Il catalogo di Torino delle chiese di Roma
- Liber Pontificalis Ecclesiae Ravennatis
Individual evidence
- ^ Diocese of Rome
- ↑ Flavia Cantatore, San Pietro in Montorio, p. 22 - fons sancti Petri, ubi est carcer eius = source of St. Peter where his dungeon is
- ↑ The catalog of the churches in Rome of the Anonymous of Turin (the 14th century), there is the entry: . 403. P. Ecclesia Sancti Petri Montis Aurei habet Fratres Ordinis Sancti Petri de Morrone VIII (403. The church of San Pietro in Montorio has the brothers of the Order of St. Peter of Morrone (Cölestiner).) - medioevo.roma.it
- ↑ Hubertus Günther: Bramantes Tempietto, p. 12.
- ↑ Bull Sacrus Zelus Religionis
- ↑ a b c Nicole Riegel: San Pietro in Montorio, p. 282 ff.
- ↑ Hubertus Günther: Bramantes Tempietto, p. 14
- ↑ consacrata est pr.s.eccl.a et altare hoc, i honorem B. Petri Ap.li, in hoc loco crucifixi - this church and the altar is consecrated in honor of St. Apostle Peter who was crucified in this place
- ↑ Academia de Espagña en Roma: http://www.accademiaspagna.org/
- ↑ Goethe's Italian Journey, p. 147
- ^ Flavia Cantatore, p. 131
- ↑ Flavia Cantatore: pp. 114/115
- ↑ Today the panel is on the altar block of the crypt of the chapel
- ↑ Ungers Archive for Architectural Science. Model workshop. In: www.ungersarchiv.de. Retrieved June 21, 2019 .
- ↑ Hubertus Günther: Bramantes Tempietto, p. 18