Santa Maria della Pace (Rome)
| Santa Maria della Pace
|
|
|---|---|
| Patronage : | St. Mary |
| Cardinal priest : | Francisco Javier Errázuriz Ossa |
| Parish : | San Salvatore in Lauro |
| Address: | Arco della Pace 5 00186 Roma |
Coordinates: 41 ° 53 ′ 59.6 ″ N , 12 ° 28 ′ 17.9 ″ E Santa Maria della Pace ( Latin Sanctae Mariae de Pace ) is a church in Rome . It is also a titular church of the Roman Catholic Church and a monastery church of Brazilian nuns. It is famous for its baroque facade , which is unique - also in Rome -and for some excellent art monuments inside. The cloister next to it is also known, Donato Bramante's first secured workin Rome.
location
The church is located in the 5th Roman Rione Ponte , about 100 meters west of the northern part of Piazza Navona , next to the church of Santa Maria dell'Anima .
History and building history
Another church originally stood on the site of this church. It was called Sant'Andrea de Acquarenariis , so it was a church dedicated to St. Andrew and used to carry and sell water. On the occasion of a peace treaty with Milan and Naples began in 1482 on the instruction of Pope Sixtus IV, the complete rebuilding of the church. Baccio Pontelli was named as the builder ; this is not guaranteed. Between 1500 and 1504 the cloister of Bramante was built at the instigation of Cardinal Oliviero Carafa . The church was renovated in 1611. Around 1655, at the latest 1656/57, the facade was designed by Pietro da Cortona at the behest of Pope Alexander VII . This is said to go back to a vow made by the Pope out of fear of both the plague and the threat from the French under King Louis XIV . Da Cortona not only designed the facade, he also designed the interior of the second storey, which until then had seemed “lapidary and bare”.
Basic structure
The basic structure is a connection between a nave building and a central building . The church has a single nave. The nave is initially spanned by two cross vaults; on the central, follows octagonal -scale domed room then with a height of about 28 meters, because a square shape reminds choir . The idea for such a design is not new. As early as the early Renaissance, other architects had designed an octagonal central building in the tradition of ancient building types (especially the imperial baths ) without executing them (except for SS. Annunziata in Florence , from 1444). The nave opens into four side chapels, the central room into another four. The dome itself is based on the ancient model of the Pantheon , but in contrast to this, the Opaion was crowned with a lantern.
Facade and forecourt design
The facade of the church is considered a "major work of Roman urbanism". It is unique in several ways: Until then, a facade was no different from a flat surface, a level that had to be designed. Pietro da Cortona dissolved the area and designed a completely independent structure. He designed the basement in the middle part as a vestibule in the form of a halved Tempietto with columns of Tuscan order , on top of which a rounded architrave of Ionic order with a flat roof. The resulting convex curve of the basement contrasts with the concave curve of the upper floor, executed in an ionic order . The wall approaches on the upper floor are set back significantly behind those of the lower floor, which also creates a clear spatial effect on the center of the facade. In accordance with the design of the vestibule, a column and a pilaster follow each other on the upper floor above the pillars of the vestibule . Corresponding to the opening of the vestibule, da Cortona added a window that is vaulted by an openwork segment arch and crowned by a multi-stepped gable. "In the concentration of all architectural means in the center, the clustering of columns and pilasters, in the interplay of protruding structure and receding niche, large architecture emerges despite its small dimensions, the archetype of the spacious baroque display wall." Nevertheless, Cortona did not completely break away from his own previous buildings. With a few exceptions, the upper floor of the middle part corresponds completely to that of Santi Luca e Martina .
Due to the open design of the vestibule, the forecourt also becomes part of the baroque show architecture. Some houses were laid down for the redesign of the square. The design of the facades of the remaining ones was also done by da Cortona, which gave the square a uniform appearance. Da Cortona had experience as a set designer . So it happened that the sentence “the church appears as a stage, the square as an auditorium and the surrounding houses as boxes” has its justification.
Interior
dome
The stucco decoration of the dome is also by Pietro da Cortona. The dome fresco , depicting the offering of Mary in the temple , was done by Baldassare Peruzzi . It was created on behalf of the executor of Agostino Chigi, Filippo Segardi. Peruzzi is said to have oriented himself to Raphael's fire in the Borgo in the rooms . From the original painting of the dome by Francesco Cozza , only the fresco in the dome lantern , which depicts God the Father, remains .
Capella Chigi
The first chapel on the right was originally intended for Agostino Chigi. He commissioned his friend Raffael with the painting. In 1514 he painted the Sibyls ( Cumaea, Persica, Phrygia and Tiburtina ) over the arch by hand . The features of one of the Sibyls are said to belong to Chigi's late courtesan Imperia Cognati . The four prophets were probably carried out by Timoteo Viti , albeit under Raphael's supervision. Agostino Chigi was later buried in Santa Maria del Popolo .
Capella Ponzetti
This chapel is the first on the left. The altarpiece, depicting The Madonna with Saints Brigitta and Catherine and Cardinal Ponzetti , was also made by Baldassare Peruzzi in 1516. The client for this was Cardinal Ferdinando Ponzetti († September 9, 1527), a friend of Agostino Chigis. The picture is supposed to reveal the influence of Raphael, among other things through the pyramid-shaped structure of the picture and the posture and arrangement of the figures according to Raphael's work Madonna del Pesce .
Capella Cesi
The second chapel on the right was designed by Antonio da Sangallo the Elder. J. erected. It contains marble decorations by Simone Mosca as well as statues and reliefs as well as the tomb of Francesca Carduli Cesi († 1518). The tomb and most of the statues and reliefs are by Vincenzo de 'Rossi . The frescoes in the lunettes ( Creation of Eve , Fall of Man ) are by Rosso Fiorentino from 1524.
Main altar
The main altar itself is by Carlo Maderno and was made from 1611 to 1614. The image of the Madonna is considered to be miraculous (legend has it that it cried when a stone was thrown at it).
Others
The altarpiece in the second chapel on the left is based on models by Michelangelo ; it was ultimately executed by Marcello Venusti .
In the Chapel of the Cross there is a tabernacle , this is said to have been executed by Pasquale da Caravaggio in 1490 .
Cloister
The church is also known for its cloister (Italian: Chiostro di Bramante ), sometimes referred to in literature as the "courtyard". It can be reached both from the sacristy and from Via Arco della Pace, 5 . It was built from 1500 to 1504 for Cardinal Oliviero Carafa by Donato Bramante and is his first secured work in Rome after his escape from Milan in 1499. The inner courtyard was built on two floors, the two floors follow completely different systems. The basement consists of arcade pillars with high-pedestal pilasters according to the Ionic order. Bramante thus adopted the typical Roman so-called tabularium motif . On the upper floor, columns and pillars alternate, the columns each standing on the apex of the arcades below. Columns and pillars carry composite capitals . The corners are each designed with set pillars and pilasters on both sides. Bramante received the greatest criticism from his contemporaries with the design, which was unorthodox for its time. Today the design is seen as "in the spirit of humanism (as) an order of classical harmony" .
The cloister and the adjoining monastery rooms are now used as exhibition space, especially for historical exhibitions.
aftermath
The system of the Doric columns with a peripheral, not metopes and triglyphs dissolved ionic architrave of the porch took Gian Lorenzo Bernini to design the colonnade of St. Peter's Square . However, the columns are not arranged twice, but staggered one behind the other.
The motif of the vestibule was taken up again with the Tempietto del Carmelo in Piazza Costaguti.
See also
List of cardinal priests of Santa Maria della Pace
literature
- Manfred Wundram (ed.): Reclam's art guide Italy. Volume 5: Anton Henze: Rome and Latium. Art monuments and museums (= Universal Library 8678). 4th, revised edition. Reclam, Stuttgart 1981, ISBN 3-15-008679-5 .
- 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 .
- Herbert Rosendorfer: Church leader Rome. 3rd edition Edition Leipzig, Leipzig 2005, ISBN 3-361-00485-3 .
- Rolf Tomann (Ed.): The art of the baroque, architecture - sculpture - painting. Könemann, Cologne 1997, ISBN 3-89508-991-5 .
Web links
Individual evidence
- ^ Diocese of Rome
- ^ Diocese of Rome
- ^ A b Herbert Rosendorfer: Church leaders Rome. 3rd edition Berlin 2005, pp. 177ff.
- ↑ a b c d e f Stefan Grundmann (Ed.): Architectural Guide Rome. A history of architecture in 400 individual representations , Stuttgart / London 1997, p. 231f.
- ↑ a b c d e f g Manfred Wundram (Ed.): Reclams Art Guide, Italy. Volume V. Rome and Latium , pp. 235ff.
- ↑ a b c d Wiesel: Rom - An art and architecture guide , p. 217.
- ↑ a b Stefan Grundmann (Ed.): Architectural Guide Rome. A history of architecture in 400 individual representations , Stuttgart / London 1997, p. 109f.
- ↑ a b Stefan Grundmann (Ed.): Architectural Guide Rome. A history of architecture in 400 individual representations , Stuttgart / London 1997, p. 209.
- ↑ a b c Marco Bussagli (Ed.): Rom - Art & Architecture , Cologne 1999, p. 504.
- ^ A b Marco Bussagli (ed.): Rom - Art & Architecture , Cologne 1999, p. 464ff.
- ↑ Santa Maria Pace ( Memento from May 6, 2016 in the Internet Archive )
- ↑ Marco Bussagli (Ed.): Rom - Art & Architecture , Cologne 1999, p. 469ff.
- ↑ a b c Stefan Grundmann (Ed.): Architectural Guide Rome. A history of architecture in 400 individual representations , Stuttgart / London 1997, p. 123f.