Santa Croce e San Bonaventura dei Lucchesi
| Basic data | |
|---|---|
| Patronage : |
Holy cross |
| Consecration day : | ? 1575 |
| Address: |
Via dei Lucchesi, 3
00187 Roma |
Santa Croce e San Bonaventura dei Lucchesi , also Santa Croce e di San Bonaventura dei Lucchesi , in Rome often shortened to Santa Croce, is a church in Rome . The current church was built in the late 17th century. She's Monastery Church Community Società di Maria Riparatrice and was luccesische national church .
location
The church is located in the II. Roman Rione Trevi about 150 meters south-southeast of the Trevi Fountain in the immediate vicinity of the Pontifical Gregorian University .
History and building history
The church stands in the tradition of a building of San Nicola in Porcis, which is not exactly where it is today . Its nickname derivation is controversial. An author wants to see a family Porzia as the basis of the nickname, the more likely possibility is that the name originated from the Forum Suarium , which was located nearby in antiquity, i.e. the pig market, with a detour via porca , Latin : "sow". The name was often blurred in medieval documents, so in de Porcibus , in Porcilibus or de porcis etc. The building is mentioned for the first time in 1192. It is possible that the monastery chapel, which is today in the immediate vicinity of the church, is largely made up of the remains this church exists. In 1575 it was consecrated to St. Bonaventure, and at the same time the construction was entrusted to Capuchins . St. Felix of Cantalice stayed here. Pope Urban VIII ordered the attribution of the church to the inhabitants of Lucca through a papal bull dated May 22, 1631. According to the main shrine of the Luccesians, the Volto Santo of Lucca , the church received the dedication next to Bonaventure to the Holy Cross at the same time. Luccesian citizens themselves commissioned the new building, it was carried out according to plans by Filippo Gherardi - this is not entirely certain - by Mattia de Rossi as the executive builder from 1692 to 1696. In the late 18th century, a tower was to be added, but it never happened more. In 1863 the church was restored and at least partially rebuilt.
facade
The church is located on a small forecourt, a few steps lead up to the portal. The central section of the façade is triaxial, with two side fronts each flanking it as a reserve. The pilasters of the central risalites follow the Corinthian order , those of the backsplash follow the Tuscan order . The travées are not broken by any jewelry, such as niches. A slightly cranked segment gable rises above the portal with an inscription . The rectangular window set above is decorated with a shell. The triangular gable , also kept simple, rises above the simple architrave , only a decorated round window breaks through it in the middle. The lateral recesses are crowned on the outside by simplified volutes in the form of quarter circle segments.
Interior and outfit
The church has a single nave . It contains three side chapels on the walls, these are designed as longitudinal chapels parallel to the nave. The choir is square and drawn in. A flat dome rises above the choir. The church is covered by a flat wooden ceiling. It is painted and gilded and is also attributed to de Rossi; apart from the paintings, it was completed in 1673. Two Luccesian artists, Giovanni Coli and Filippo Gherardi, who probably designed the church, created the three paintings on the ceiling in 1677, depicted in front - from the portal side to the choir - Volto Santo , in the middle and larger than the other two emperors Herakleios , who followed the cross Bringing Jerusalem back and to the choir: Vera Ikon .
The walls of the nave are again divided between the chapels by pilasters of the Corinthian order, the pilaster shafts are additionally decorated with festoons and tendrils. The high walls above the chapels are broken through by rectangular windows.
The first chapel on the right, looking towards the choir from the entrance, is the Cappella Fantinelli , probably created by de Rossi and completed in 1695. It contains a barrel vault with a lantern and rich marble decorations. The altarpiece contains a depiction of St. Zita , a work by the Italian baroque painter Lazzaro Baldi .
Opposite is the Cappella Pierleoni , the vault of the barrel is frescoed , the frescoes follow the principles of trompe l'œil painting. The altar does not contain an altar sheet, but a crucifix . The side walls of the chapel are covered by two oil paintings, on the left a depiction of Ecce Homo , on the right the crowning of a thorn .
The middle chapel on the right is the Cappella Castagnori , attributed to Simone Costanzi . Its dome is slightly transversely oval, following the room specifications. On the altarpiece there is a depiction of the Immaculate , a work by Biagio Puccini . Here, too, there are two oil paintings to the side, on the left Miracle of St. Lorenzo Giustiniani by Domenico Muratori and on the right Miracle of St. Frigdian , created by Francesco del Tintore .
Opposite it is the middle left chapel, it contains four tombs. On the left the one for Filippo Buonamico , who died in 1781, and for Lorenzo Prospero Bottino , who died in 1818. On the one hand, there is the tomb for Stefano Tofanelli , who died in 1812. He was a painter himself, his brother, Agostino Tofanelli created his portrait here . Next to it is the tomb of Alessandro Gaetano Buttaonio , who died in 1816. The altarpiece contains a depiction of the Coronation of Mary from the 17th century.
The foremost chapel on the right is unique in that it is completely illusionistic and mostly painted in simple gray tones. Even the altar is painted, the depiction of the Archangel Raphael on it comes from the 19th century.
Opposite it is the foremost chapel on the left, it contains a representation of Mary with the child and the Saints Bonaventure and Jerome on the altarpiece , the work comes from the school of Domenichino .
The portal side of the church contains two more tombs. On the one hand the one for Fantinello de Fantinelli on the left , he is the founder of the Cappella Fantinelli and died in 1719. On the right is Fabio Guinigi , he died in 1691. The holy water fonts are also remarkable , they date from the 17th century.
literature
- Walter Buchowiecki: Handbook of the Churches of Rome . 1. Volume, Brothers Hollinek publishing house, Vienna 1967.
- Mariano Armellini: Le Chiese di Roma . Roma 1891.
- Christian Hülsen : Le Chiese di Roma nel Medio Evo . Firenze 1927.
Web links
Individual evidence
- ↑ Buchowiecki: Handbuch der Kirchen Roms , p. 625, gives No. 9. That may have changed over the past few decades, the church is now number 3.
- ↑ Buchowiecki: Handbook of the Churches of Rome , p. 625 f.
- ↑ Buchowiecki: Handbook of the Churches of Rome , p. 626 with an illustration of the possibility.
- ↑ Buchowiecki: Handbook of the Churches of Rome , p. 629.
- ↑ Buchowiecki: Handbook of the Churches of Rome , p. 626.
- ↑ a b Buchowiecki: Handbook of the Churches of Rome , p. 628.
- ↑ Buchowiecki: Handbook of the Churches of Rome , p. 627.
Coordinates: 41 ° 53 ′ 58.9 ″ N , 12 ° 29 ′ 4.2 ″ E