Sant'Eligio degli Orefici
| Sant'Eligio degli Orefici
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| Patronage : | St. Eligius |
| Address: | Via di Sant'Eligio 9, 00187 Roma |
Coordinates: 41 ° 53 '44.4 " N , 12 ° 28' 4.9" E
Sant'Eligio degli Orefici ( Latin : Sancti Eligii aurificum ; German : St. Eligius the goldsmith ) is a church in Rome . It is the guild church of the Roman gold and silversmiths . The epithet degli Orefici distinguishes the church from that of the blacksmiths, Sant'Eligio de 'Ferrai . Although almost unknown, it is considered to be "one of the most excellent buildings" from the time of the Roman High Renaissance and goes back to a design by Raphael .
location
The small church is located on the Via di Sant'Eligio named after her , a small side street of the Via Giulia , in the VII. Roman Rione Regola . The street section was formerly part of Via della Barchetta (street of the small boat), named after the ferry that crossed the Tiber here, as it led directly to the banks of the Tiber - today it is separated from the river by the Lungotevere dei Tebaldi .
History and building history
Sant'Eligio was commissioned by the guild of Roman gold and silversmiths ( Italian : Università degli Oreficini ed Argentieri ) started in 1509 or around 1515 or 1516 by Raphael , possibly in collaboration with Bramante or based on his models. In the literature it can also be found that Raphael simply repeated the motifs given by Bramante. The church was completed in 1537 after Raphael's death in 1520. After a partial collapse of the dome and drum , Flaminio Ponzio reconstructed the church from 1602 to 1604. He raised the drum and added eight windows instead of the originally built oculi , four of which were alternately open and four blind (1). He equipped the crossing dome with a lantern .
Exterior
Originally, the basic structure of the church in the form of a Greek cross with barrel-arched arms could also be seen from the outside, which is no longer possible today with extensions. During the renovation, the basic shape was "inscribed" in a square. The original facade from the 16th century was modified by Ponzio above the cornice. The lower part consists of an aedicular portal flanked by two broad pilasters with composite capitals, a large window with a slight arch is inserted above the cornice, the frame is flanked by tapering volutes . To the left and right of the window there are pilasters in pairs, but they are much slimmer compared to the basement. The facade is crowned by a simple triangular gable.
Interior
The interior of the church is simple and almost exclusively determined by the harmonious proportions of the architecture. The four pillars - they were evidently test pieces for St. Peter's Basilica - support the dome (1). The interior of the church is evenly illuminated by inserting 4 windows in the raised drum under the hemispherical dome and the windows on the front sides of the cross arms. The simple, almost barren room was only very cautiously structured, but again extremely tightly: by a framework of flat pilaster strips and flat arched and blind fields ("windows" and "doors"). The stupendous harmony of the room is based on the combination of the utmost severity and simplicity with purity, splendor and sharpness of all forms.
The rounding of the apse is frescoed with a representation of St. Mary with Jesus and the Saints Stephen, Laurentius, Johannes and Eligius , a work by Matteo Perez d'Aleccio, called Matteo da Lecce, from the second half of the 16th century; from him also the Annunciation to Mary above the apse arch. The frescoes in the apse calotte, God the Father, who holds the crucifix, surrounded by angels, and in the arched area above them disputing apostles are attributed to Taddeo Zuccari and his school. There is a bust of the patron saint on the main altar. Eligius made of gold bronze with silver plating (4), with a relic of the saint (1628).
- Main altar (5)
Fresco on the left: Prophet
Main altar
Apse dome
Bust with relic of St. Eligius (4)
Fresco on the right: Prophet
The fresco above the altar in the left arm of the cross depicts The Adoration of the Shepherds and is by Giovanni de Vecchi . The contract for the work has been preserved and dates the contract to April 21, 1574. The two sibyls above the altarpiece are by Giovanni Francesco Romanelli.
The fresco of the right arm of the cross by Giovanni Francesco Romanelli (1639–1640) depicts the adoration of the Magi . On the left, in front of a destroyed Roman building at the foot of a column, the Mother of God sits on her knees with the child. Behind her St. Joseph, while on the right one of the three kings kneels before the baby Jesus. The other two stand behind him, wrapped in red coats. Above are angels in the clouds and a landscape in the background. The fresco is framed by a marble architectural frame (including ball bars, pearl rod and palmette frieze ) and two pilasters with putti and plant motifs from the late Renaissance. In 1639 Romanelli, a student of Pietro da Cortona , was commissioned to restore the chapel's picturesque furnishings. The two sibyls above the altarpiece, which gracefully nestle against the arch, were also revised by Romanelli. You are holding a book or an open scroll in your hands. In the same place, a fresco with the same motif by Federico Zuccari could be seen from 1569 , which was irrevocably damaged by the partial collapse of the church in 1601. In 1640 the work was finished. The compositions of Romanelli's works for St. Eligius are simple and clear, determined by moderate elegance.
- Side altars
Altar left: The Adoration of the Shepherds (7)
Altar right: Adoration of the Magi (3)
On the left side wall of the right arm of the cross is the grave monument for Giovanni Giardino , dated 1721 (8). He worked as a silversmith for the Apostolic Palace and was a member of the Accademia di San Luca and the Apostolic Chamber .
A marble plaque from 1730 on the opposite wall of the left arm of the cross commemorates Bernardino Passeri (1489–1527), an important Roman master goldsmith who worked for Popes Julius II , Leo X and finally Clement VII (6). He was a co-founder of the Association of Roman Gold- and Silversmiths and a member of the artists' association Accademia di San Luca . He died at the Sacco di Roma in 1527.
opening hours
The church can be visited by appointment.
Individual evidence
- ↑ Wiesel, Rome. An art and travel guide , p. 179.
- ↑ a b c d Grundmann, Architekturführer Rom , p. 131.
- ^ Anton Henze with the assistance of Ernest Nash and Hellmut Sichtermann : Rom und Latium. Art monuments and museums (= Manfred Wundram [Hrsg.]: Reclams Art Guide Italy . Volume V ). 4th edition. Philipp Reclam jun., Stuttgart 1981, ISBN 3-15-008679-5 , pp. 163 .
- ↑ Ursula Verena Fischer Pace: Art monuments in Rome (= Reinhardt Hootz [Hrsg.]: Art monuments in Italy - a picture handbook ). Volume 1. Wissenschaftliche Buchgesellschaft, Darmstadt 1988, ISBN 978-3-534-06467-0 , p. 422.
- ↑ Lübke / Semrau, The Art of the Renaissance in Italy and in the North , p. 48.
- ↑ Buchowiecki, p. 684.
- ^ Roma (= Touring Club Italiano [Ed.]: Guida d'Italia ). Touring Club Italiano, Milan 2013, ISBN 978-88-365-6192-6 , p. 383 (Italian).
- ↑ Together with the dove of the Holy Spirit in the ceiling fresco, the result is a representation of the Holy Trinity . Roma (= Touring Club Italiano [Ed.]: Guida d'Italia ). Touring Club Italiano, Milan 2013, ISBN 978-88-365-6192-6 , p. 383 (Italian).
- ↑ Buchowiecki, p. 684.
- ↑ Buchowiecki, p. 684.
- ↑ Information board on the altar
- ↑ Buchowiecki, p. 684.
literature
- Walther Buchowiecki : Handbook of the Churches of Rome . Volume 1, Brothers Hollinek publishing house, Vienna 1967.
- 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 .
- Wilhelm Lübke and Max Semrau : Outline of Art History . Volume 3. The Art of the Renaissance in Italy and the North . 3rd edition, Paul Neff Verlag (Max Schreiber), Esslingen 1912.
- Johann M. Wiesel: Rome. An art and travel guide . 4th edition, Kohlhammer, Stuttgart 1966.
- Anton Henze with the collaboration of Ernest Nash and Hellmut Sichtermann : Rome and Latium. Art monuments and museums (= Manfred Wundram [Hrsg.]: Reclams Art Guide Italy . Volume V ). 4th edition. Philipp Reclam jun., Stuttgart 1981, ISBN 3-15-008679-5 , pp. 163-164 .
- Anniversary brochure: 1508–2008 Università e Nobil Collegio degli Orefici, Gioiellieri, Argentieri dell'Alma Città di Roma. Maestro Corrado di Giacomo, Console Camerlengo; Roma 2016
