Sant'Andrea della Valle
| Sant'Andrea della Valle
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| Patronage : | St. Andreas |
| Consecration day : | |
| Cardinal priest : | Dieudonné Nzapalainga |
| Address: | Piazza Sant'Andrea della Valle |
Sant'Andrea della Valle ( Latin Sancti Andreae Apostoli de Valle ) is a church in Rome . It dates from the 16th century, is the mother church of the Theatine Order and titular church of the Roman Catholic Church . After St. Peter's Basilica it has the second largest crossing dome , after the Pantheon the third largest dome in Rome.
location
The church is located in the 8th Roman Rione Sant'Eustachio , opposite the Piazza di Sant'Andrea della Valle of the same name on Corso Vittorio Emanuele II , about 200 m southeast of Piazza Navona . To the west is the Largo dei Chiavari , to the east the Piazza Vidoni . It got its name della Valle (Italian "in the valley") because centuries ago there was a swampy lowland at this point.
Building history
Sant'Andrea della Valle was based on the model of the church Il Gesù , the mother church of the Jesuits , started in the early baroque and completed in the late baroque. The building was u. a. Financed from the foundation of a member of the Piccolomini family . The first funding commitment was made in 1588 by Cardinal Alfonso Gesualdo . Giacomo della Porta and Giovanni Francesco Grimaldi began construction between 1586 and 1591 . The work on the foundations and the construction of the first two bays of the nave with the associated side chapels were completed by 1599. Due to financial problems of the order and the death of the cardinal, the work was suspended from 1599 to 1608. From that year onwards, the money was donated by Alessandro Peretti for further work ; his then master builder Carlo Maderno continued to lead him until the building was completed as such in 1622; presumably he changed the original plans of della Portas. The facade was not completed until 1656 or 1662 to 1665/66 according to Maderno's plans by Carlo Rainaldi .
Basic structure
The building was erected as a cross-shaped, single-nave church, with side chapels being built in place of the side aisles . A high dome was built over the crossing , the nave is covered by a barrel vault .
facade
The facade "reflects the spirit of the late baroque". The leitmotif is the column, this is seen as a characteristic of Rainaldi. It is structured horizontally by two cranked cornices , vertically by using four double columns on each floor with Corinthian capitals . The columns themselves are partially recessed, which leads to shadow zones at the edges, only those of the central risalites are more prominent as three-quarter columns. The lower side of the facade is limited by a corner pilaster on both sides. On the upper floor, Giacomo Fancelli originally planned to use two angels to cover the roof areas of the side chapels of the nave instead of the usual volutes. However, after an alleged dispute with Pope Alexander VIII, only the left one was executed. There is a Roman proverb according to which the angel on the left points to where the angel on the right has flown. The triangular gable takes over the cranking given by the column structure. It contains the heraldic symbols of Pope Alexander VII in its coat of arms , under whose pontificate it was completed. The facade of Sant'Andrea della Valle is one of the most important baroque show walls in Rome.
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Furnishing
In contrast to Il Gesù, the church is connected to the side chapels with high arches . The inner structure is uniformly structured with an emphatically strong all-round cornice and the structures of the pilasters between the side chapels that continue in the belt arches and are typical of the Roman high baroque.
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The large dome is structured by double pilasters and attic windows. It was painted by Giovanni Lanfranco from 1621 to 1625 with the Glory of Paradise . Gianlorenzo Bernini remarked on their creation: “When the Cavaliere Lanfranco painted over the dome of St. Andrea della Valle, he did not use paintbrushes, but rather coarse brushes that he tied to long poles, and these were so heavy that he could use them by two men had to hold up. He himself only conducted and in this way finally managed to overpaint. I call that a strenuous, difficult technique. ”In the spandrels of the dome there are depictions of the four evangelists , created by Domenichino between 1624 and 1628. Domenichino is supposed to reveal his artistic relationship with his compatriot Correggio .
The apse , like the dome, was painted by Domenichino. It represents the vocation of St. Peter and St. Andrew and the martyrdom of St. Andreas and his acceptance into heaven . The apse cylinder was made by Mattia Preti from 1650 to 1651 with the crucifixion and entombment of St. Andreas executed.
The Cappella Ginetti or Lancellotti was built by Carlo Fontana from 1670. The chapel contains a marble relief by Antonio Raggi . Depicted is an angel holding St. Asks family to flee to Egypt . The chapel is the setting for the first act of the opera Tosca by Giacomo Puccini .
The Cappella Strozzi contains a bronze copy of Michelangelo's Roman Pietà in St. Peter's Basilica .
The Cappella Barberini was built by Matteo Castelli on the orders of the later Barberini Pope Urban VIII . In the history of art it is considered to be the hub of the transition from late Mannerism to more modern styles. It contains two works by Gianlorenzo Bernini 's father , Pietro Bernini . These are the sculptures Saint John the Baptist , created around 1612 to 1616, and a pair of putti , created around 1617. In the chapel there is still the evangelist John of Ambrogio Buonvicino and a Magdalena , executed in a mannerist manner by Cristoforo Stati and finally a saint Martha by Francesco Mochi .
The tombs of the two Piccolomini popes are at the end of the nave. Right the tomb of Pope Pius III. , created in 1503 by Andrea Ferrucci . Left the tomb of Pius II. , He died in 1464. It was considered by Andrea Bregno his students and Paolo Romano created today starts from an artist within the latter, called Champion Pius II. The grave Pius II. In four levels structured. The bottom contains the Pope's epitaph . One level above is the handover of the head relic of St. Andreas depicted as a relief, above again the gisant figure of the deceased. The top level contains a relief that shows how the two princes of the apostles recommended the Pope and the then Cardinal Piccolomini, later Pius III., To Our Lady. The six figurative representations of the enclosure represent the virtues of the Pope. Above the tomb, the coat of arms of Pius II is finally added. The tombs were moved from St. Peter's Basilica to the church in 1614 .
In the church lies St. Giuseppe Maria Tomasi buried, a Theatines , cardinal and saint of the Roman Catholic Church. He died in 1713 and was first buried in his titular church Santi Silvestro e Martino ai Monti , but was reburied in this church in 1971.
Some of the figures on the high altar were made before 1628 by the later rector of the Paris Academy, Jacques Sarrazin .
Cardinal Pietro Vidoni is also buried in the church .
Main altar with frescoes by Mattia Preti , in the center the crucifixion of St. Andrew (1650–1651)
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organ
The organ was built between 1905 and 1909 by the organ builder Enrico Caraffa. The instrument has 34 stops on two manuals and a pedal . The actions are electric.
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- Coupling: II / I (also as sub and super octave coupling), I / I (sub octave coupling), II / II (as sub and super octave coupling), I / P and II / P (each also as super octave coupling)
aftermath
The church in turn became the model for the Theatine Church in Munich , the first court and religious order church of the Theatine Order north of the Alps and St. Anne's Church in Cracow to be built in the Italian late baroque style .
See also
literature
- Johann M. Wiesel: Rome. An art and travel guide. 4th edition, Kohlhammer, Stuttgart 1966.
- Manfred Wundram (Ed.): Reclams Art Guide, Italy. Volume V. Rome and Latium. Reclam, Stuttgart 1981, ISBN 3-15-008679-5 .
- Rolf Tomann (Red.): The art of the baroque: architecture, sculpture, painting. Könemann, Cologne 1997, ISBN 3-89508-991-5 .
- Hans Rose: Diary of Mr. von Chantelou about the journey of the Cavaliere Bernini to France. Brockmann, Munich 1919.
- Marco Bussagli (Ed.): Rome - Art & Architecture. Könemann, Cologne 1999, ISBN 3-8290-2258-1 .
- Stefan Grundmann (Ed.): Architectural Guide Rome. Menges, Stuttgart / London 1997, ISBN 3-930698-59-5 .
- Claudio Rendina: Le Chiese di Roma. Newton & Compton Editori, Roma 2007, ISBN 978-88-541-0931-5 .
Web links
Individual evidence
- ^ Rosendorfer: Church leader Rome. P. 26.
- ^ A b c Rosendorfer: Church leaders Rome. P. 32
- ↑ a b c Grundmann (Ed.): Architectural Guide Rome. P. 189
- ↑ a b Grundmann (ed.): Architectural Guide Rome. P. 190.
- ↑ Rendina: Le Chiese di Roma. P. 29
- ↑ Hans Rose: Diary of the Lord of Chantelou about the journey of the Cavaliere Bernini to France. Entry from October 9, 1665, p. 294, Brockmann, Munich 1919.
- ^ Bussagli (ed.): Rome - Art & Architecture. P. 553.
- ^ Bussagli (ed.): Rome - Art & Architecture. P. 528f.
- ^ Bussagli (ed.): Rome - Art & Architecture. P. 362
- ^ Tomann (Red.): The art of the baroque: architecture, sculpture, painting. P. 302.
Coordinates: 41 ° 53 ′ 45.6 " N , 12 ° 28 ′ 27.8" E