Santa Maria della Scala (Siena)

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Facade of the building complex in the Piazza del Duomo
Santa Maria della Scala , seen from the district of San Prospero (west side), on the left the facade of the cathedral
Back of the building, in the background the cathedral's campanile
Coat of arms of Santa Maria della Scala on the main portal, lower left the city arms of Siena (Balzana), lower right the lion of the province of Siena

Santa Maria della Scala is a former hospital ( Ospedale di Santa Maria della Scala ), hospitium , orphanage , xenodochium, a former pilgrims' hostel and today's museum complex ( Complesso museale di Santa Maria della Scala ) in Siena . The building contains valuable biforas , frescoes , lunettes , reliefs , pillar yokes , sculptures and canvas paintings by important artists since the 11th century and has a history of more than a thousand years.

geography

The main entrance is on the Piazza del Duomo (Cathedral Square) opposite the Siena Cathedral . The building complex itself with its almost 350,000  m 3 is located in the oldest third of the city of Siena in the Terzo di Città and is distributed over the Contraden Adler (Aquila) and Wald (Selva). On the left of the facade, the building with the Palazzo Squarcialupi borders on Via del Capitano , on the right with the Casa del Camerlengo on Via dei Fusari and on the back on Via del Fosso di Sant'Ansano .

history

Legend and early history

According to legend, the hospital was created by a shoemaker (calzolaio) named Sorore or Beato Sorore , who made his house available to the pilgrims and the sick. He is said to have been born in 832 and died in 898. His mother is said to have had a dream ( sogno della madre di Sorore) the day before he was born , in which her son climbed a ladder to heaven. This explains the origin of the name. The origin of the name Sorore is unknown, but seems to have been in use as early as 1440. During excavations in 1492, a well-preserved corpse was found and attributed to Sorore. The legend with dates and circumstances, on the other hand, seems to have originated from the Dominican friar Gregorio Lombardelli , who published his text La vita del beato Sorore da Siena, fondator del grande ospedale di Santa Maria della Scala in 1585 with the (probably invented) legend.

The first work on the building complex began in the 9th century by Senes canons . The building was first mentioned in writing on March 29, 1090 in a parchment in which a couple bequeathed some land to the Rector Alberico . At first it was used as a hospice, but also as a hospital in the 10th century. At that time, the building included the atrio and the first Pellegrinaio (today's Chiesa dell'Ospedale) . The name of the building refers in the first part (Santa Maria) to the cathedral dedicated to Santa Maria Assunta , the second part (della Scala) to the staircase leading to the cathedral in front of the main facade of the building. It is not certain whether the ladder in the coat of arms refers to the dream of Sorore's mother or to the cathedral. The ospedale received its first privileges from Pope Celestine III. on June 15 and 17, 1194. As a result, after ten years of dispute, the hospital moved away from the canons and turned to a self-determined, secular direction. The first rector was Incontrato degli Incontrati in 1295 , who made purchases of territory near Vallepiata (Piazza della Selva) on August 26th of the same year . These continued in the terms of office of Cacciaconte di Berengario (1218-1243) and Ranieri di Stefano di Caccianieve (1243-1262). The hospital's first cemetery (documented in 1215) was the space between the main entrance and the cathedral, which is currently under construction. After the completion of the cathedral and the cathedral staircase, the square was paved in the 13th century and used by the city of Siena as a place of representation. In 1250 the first Pellegrinaio was converted into the (first) Chiesa dell'Ospedale . The Sant'Ansano and San Galgano halls were added to the building complex as a new (second) pilgrimage hall . Both were previously independent houses. Right side, the facade was in 1290 the Palazzo del Rettore under the Rector (Rector's Palace) Orlando di Guglielmo since Chiusure (1286-1294 in office), the left and other 1298 Casa delle Balie ( Ammenhaus ) by the Rector Ristoro di Giunta Menghi incorporated into the complex.

Statutes and expansion (Middle Ages)

The first written rules emerged in the 1280s, but mostly concerned rules that defined the coexistence and behavior in the order. The friars gave themselves the first written statutes around 1299. The work Ordo seu religio fratum hospitalis beate Marie virginis gloriose ante gradus maioris ecclesie Senesis was written in Latin to protect itself from the influence of the Republic of Siena. The government of the Nine (Neunerrat, also Governo dei nove) of Siena had already begun in 1295 to oblige the order to keep accounts and account to the Biccherna (a kind of tax office and / or registry). In May 1305 the statutes were published in Volgare and Latin. The statutes written in Volgare (Statuto dell'ospedale di Santa Maria Vergine di Siena dell'anno MCCCV) are among the first statutes in this language (after the Breve di Montieri [1219], but before the statutes of the city of Siena, the first published in Volgare in 1310). The statutes of 1305, in which Augustinus Novellus also contributed, defined the roles of treasurer ( camerlengo ), notary and secretary for the first time in writing . In 1309 and 1318 the statutes were renewed and expanded. The statutes of 1318 required the rector to bequeath all his property to the community before taking office. In addition, the institution des Speziale ( pharmacist ) is mentioned for the first time. From 1305 to 1404 the rectors of Santa Maria della Scala were elected by the brotherhood , then named by the city of Siena. This required a minimum age of forty years, the term of office was until the end of life. Paolo di Paolo Serfucci was rector from 1404 to 1410 , followed by Carlo di Angiolino Bartoli (*?; † September 12, 1444). Even before 1404 the political situation in the city had an influence on the appointment of the rectors. In June 1357, the rector Cione di Mino Montanini , who was close to the council of nine (until 1355 in the government), was viewed critically and replaced by Andrea Tori, who was more comfortable with the council of twelve .

From the end of the 13th century the hospital expanded both outside and inside its own territory. Outside, in the outskirts of Siena, so-called grancie , fortified warehouses, were built to provide the residents with an autonomous food supply and financial income. Within, considerable expansion and renovation work began on the building, which gave rise to today's Pellegrinaio in the 1330s . The main facade with the biforas was begun in the 13th century and decorated with frescoes by Ambrogio and Pietro Lorenzetti and Simone Martini in 1335 (Storie della Vergine , no longer visible today). The third floor (visible from Domplatz) with the five bifors on the right side of the main portal was built between 1300 and 1350. In the 14th century, extensive changes were made to the structure. This is how the Fienile was built during this time , and the Palazzo Squarcialupi was added on the left in 1338 and the Chiasso di Sant'Ansano corridor on the bottom floor was covered with a vault. At the end of the 14th century the passagio and the Sala San Pio were added. Rector Andrea Tori acquired the relics of Corticella in 1359 . The Cappella del Sacro Chiodo (Old Sacristy) was built between 1445 and 1447 at the instigation of the Rector Giovanni di Francesco Buzzichelli (1428–1444) to display the relics. He was followed by Urbano di Pietro del Bello (1444–1450) and Pietro di Niccolò Bolgarini (1450–1456). From 1467 to 1471 the entire facade was then equipped with a third floor and ten windows ( Niccolò di Gregorio Ricoveri was the rector from 1456 to 1476 ) . The political tensions in Siena under the rule of Pandolfo Petrucci also affected the hospital, so that the rector Salimbene Capacci (* 1433, † 1497), elected in 1479, had to flee to Camerino in 1480 and through Cino di Cecco Cinughi, who was close to the Noveschi was replaced. From 1483 Capacci was able to continue his rectorate. After the end of the Republic of Siena in 1555, the Grancie von Serre di Rapolano was rebuilt in 1575 under the rector Claudio Saracini , after which Ferdinando I de 'Medici introduced far-reaching reforms from 1591 to 1599, which led to the rectorate of Agostino d'Agostino Chigi (23 June 1563– June 16, 1639, in office from 1598 to 1639) from the Chigi family . His forty-three year tenure was followed by Lorenzo Docci (1639-1660) and Niccolò di Carlo Rocchi , who was in office from August 11, 1660 until his death on June 27, 1667.

Modern times and the creation of the museum

The last major additions to the building were made in 1723 with the two-story right-hand part of the complex bordering Via dei Fusari. In 1886 Santa Maria della Scala became a police and university clinic . The Italian writer Italo Calvino died in hospital on September 19, 1985 . The new Policlinico Santa Maria le Scotte hospital in Senese was established in the 1980s. With the completion of the first two construction phases in 1984, the hospital gradually moved into the new building, so that plans for restoration and conversion into a museum complex were drawn up for Santa Maria della Scala . The city of Siena tender won the 1993 architect Guido Canali from Parma . The Museo Archeologico Nazionale di Siena moved in in 1993, and in 1995 the Pellegrinaio was opened to the public. With the completion of the third and fourth construction phases of the new polyclinic, the last medical departments moved out of the building in 1996, and other rooms could be restored and made accessible. In 1999 the mummies of the rector Salimbene Capacci , his wife Margherita Sozzini and those of the writer Girolamo Macchi († 1734) were uncovered in the sacristy. The last release of a section took place in 2003 with the opening of the Palazzo Squarcialupi . About 18,000 m 2 are currently accessible.

Artist

The building complex contains works by Pietro Aldi , Andrea di Bartolo , Domenico di Bartolo , Taddeo di Bartolo , Bartolo di Fredi , Girolamo di Benvenuto , Benvenuto di Giovanni , Domenico Beccafumi , Alessandro Casolani , Sebastiano Conca , Giacomo Cozzarelli , Guidoccio Cozzarelli , Ciro Ferri , Antonio Federighi , Sebastiano Folli , Francesco di Giorgio , Giovanni di Paolo , Jacopo di Mino del Pellicciaio , Ambrogio Lorenzetti , Pietro Lorenzetti , Rutilio Manetti , Simone Martini , Matteo di Giovanni , Bernardino Mei , Giuseppe Nicola Nasini , Paolo di Giovanni Fei , Astolfo Petrazzi , Jacopo della Quercia , Priamo della Quercia , Francesco Rustici , Simondio Salimbeni , Ventura Salimbeni , Sano di Pietro , Tito Sarrocchi , Sodoma , Pietro Sorri , Luca di Tommè , Andrea Vanni , Francesco Vanni , Lippo Vanni , Vecchietta and other artists.

inside rooms

Atrio

Former main entrance and access to the atrio in Piazza del Duomo

The atrium served as an entrance to the building of Santa Maria della Scala , unlike in its original architectural sense. This is now in the Pellegrinaio delle Donne in the Palazzo Squarcialupi near Via del Capitano on the left side of the main facade and the atrium. The atrio contains stones commemorating former rectors of the hospital, the oldest memorial stone being dedicated to the rector Giovanni di Tese dei Tolomei (1314–1339). Also noteworthy is the high relief of the rector Giovanni Battista Tondi (in office from 1505 to 1507). In the central bas-relief there is the coat of arms of the rector Agostino d'Agostino Chigi (1563-16 June 1639 in office) drawn by Ventura Salimbeni and executed by Asciano Covatti .

Cappella della Madonna (Cappella di Suor Elisabetta Biagini)

The chapel was built around 1680 from the Cappella dei Santi Giovacchino e Anna and at the instigation of the nun Elisabetta Biagini . The three canvas paintings are by Giuseppe Nicola Nasini and his son Apollonio (Natività della Madonna , Visitazione and Fuga in Egitto) , who also created the frescoes Incoronazione della Madonna and Vergine incoronata dalla Trinità . The wood painting Madonna col Figlio e Angeli is by Paolo di Giovanni Fei . Matteo di Giovanni painted the picture Strage degli Innocenti for the Chiesa di Sant'Agostino in 1482 , which can be found today in the Cappella della Madonna .

Cappella della Madonna del Manto

The chapel was formerly called Cappella delle reliquie (Reliquary Chapel ) and is now also known as Cappella Nuova (New Chapel). The pillar yokes (right: Sant'Ambrogio , Sant'Agostino , San Gregorio Magno e San Girolamo ; left: Santi Antonio, Domenico , Santi Crecenzio, Savino, Ansano e Vittore , Francesco e Giorgio) were designed by Meo di Pero and Cristoforo di Bindoccio in 1370 (also called Malabarba ) designed. The bezel, called Incontro di Gioacchino con Anna (also L'incontro alla Porta Aurea) was designed by Beccafumi and started in 1513. Other bezels were made by Lippo Vanni ( Santa Caterina d'Alessandria , attributed), Jacopo di Mino del Pellicciaio (Santa Martire) and Bartolomeo di David (Veduta di Roma , created around 1513). The work Trinità ei Santi Cosma, Giovanni Battista, Giovanni Evangelista e Damiano des Beccafumi, painted on wood , is now in the Pinacoteca Nazionale in Siena. The eponymous fresco Madonna del Manto (also called Madonna della Misericordia ) was created in 1444 by Domenico di Bartolo and was moved to the Cappella del Sacro Chiodo in 1610 . In the 20th century the chapel served as an emergency room.

Cappella del Sacro Chiodo (Old Sacristy)

The Arliquiera des Vecchietta

Sacristy , also called Sagrestia (Italian) and Sacrestia Vecchia or Sacrestia Grande (Latin), was a room that was created as a reliquary hall. In 1443, during his six-month stay in Siena, Pope Eugene IV endowed the hospital with further privileges to store the relics from Constantinople (Tesoro di Santa Maria della Scala , German treasure of Santa Maria della Scala ), which was dated 1359 by the then rector Andrea Tori from Florentine merchant Piero di Giunta Torrigiani (they are now in the Corticella) . The plans were made under the rector Giovanni di Francesco Buzzichelli , who however died on September 14, 1444. The sacristy was built between May 1445 and 1447 by the architect Guidoccio . The dedication by Vecchietta names the then rector (since September 20, 1444) of the hospital, Urbano di Pietro del Bello . The former showpiece of the room was the so-called Arliquiera , a reliquary cabinet (273 × 187 cm) decorated with paintings of the Vecchietta, which was bequeathed to the Galleria Provinciale delle belle arti (today Pinacoteca Nazionale di Siena) in 1898 . The 16 images on the front show, among other things, Bernardine of Siena , Catherine of Siena and the sword of San Galganos ( Spada nella roccia ) from the Abbazia San Galgano abbey in Chiusdino . The inside of the back wall contains eight pictures, including The Last Supper and other pictures from the Passion of Christ. The helpers Pietro di Giovanni d'Ambrogio and Sano d'Andrea were available to the Vecchietta to carry out the work .

The frescoes of the Vecchietta were created from December 1446 to September 1449 and are partly badly damaged. The central, still well-preserved ceiling fresco depicts Christ with the Gospel according to John , where the position 8, 12 is opened (Ego sum lux mundi qui sequitur me non ambulat in tenebris sed habebit lumen vitae ). Christ is surrounded by the four evangelists , of whom only Matthew and John remain. These are supplemented by the four original Church Doctors, whereby these only take up half the area of ​​the Evangelists. The outer edge of the ceiling fresco is painted with the prophets.

When the Chiesa della Santissima Annunziata (Chiesa dell'Ospedale) was rebuilt and enlarged a few years later at the end of the 15th century, many of the relics were moved there. As a result, the space lost its importance shortly after completion, so that the works of the Vecchietta in the sacristy were not mentioned in his article in Giorgio Vasari's Le vite dei più eccellenti pittori, scultori e architetti (1568). From 1579 to 1584 the room was used by the Congregazione dei Sacri Chiodi founded by Matteo Guerra in 1567 . Under the rector Agostino d'Agostino Chigi , the Arte dei pittori came to the rooms, and the Cappella del Sacro Chiodo with paintings by Vecchietta was destroyed. On June 7, 1610, Chigi also moved the fresco Madonna del Manto by Domenico di Bartolo from the Cappella della Madonna del Manto and the body of Beato Sorore in the sacristy. Rector Giulio di Girolamo Pannilini transformed the room into a surgery room in 1784, and Beato Sonore was brought to the Cappella del Crocifisso . The first restoration work and uncovering of the painted frescoes began in 1865 and were completed by Diego Pettinelli in 1946 .

Other works

  • Domenico di Bartolo: Madonna del Manto (fresco, also called Madonna della Misericordia , created in 1444 in the Cappella del Manto and moved here in 1610)
  • Vecchietta: Side fresco cycle (from right to left, from top to bottom)
    • Dio padre creatore del cielo e della terra . Creazione con Adamo ed Eva , Daniele ei suoi amici nella fornace
    • Natività . Annuncio della nascita di Sansone
    • Discesa di Cristo al limbo
    • Risorse il terzo giorno . Ascesa al cielo , Giona nel ventre della balena
    • Giudizio Universale . Visione di Daniele del carro del fuoco
    • Credo in Spiritum Sanctum . La gloria del tempio di Gerusalemme , Solomone che sacrifica nel tempio

Chiasso di Sant'Ansano

The Chiasso di Sant'Ansano , also Chiasso Vecchio or Strada interna called

The Chiasso di Sant'Ansano , also known as Chiasso vecchio or Strada interna , is a connecting passage or tunnel that runs from the Piazza della Selva (Vallepiatta) to the Corticella and via the gate Porta dei Vetturali (carter gate , built around 1338) to the cathedral square led. The gate, which is now walled up, opened to the left of the facade near the Palazzo Squarcialupi under the Balìa (also called Casa delle Balìe , English nurse's house ). The tunnel was built between the 13th and 15th centuries, was used to deliver food and building materials, and extends over three floors. Today's tunnel was still a separate street in the 12th century, closing off the building complex at the rear. With the purchase of several houses in the Vallepiatta di Sopra , these were gradually connected to the parent company. Initially, bridges (Ponte dell'Orto , Ponte dell'Ospedale , Ponte del Pellegrinaio , Ponte sotto l'Ospedale , Ponte di Vallepiatta) were built between the houses and the main complex, later the street was completely covered with vaults. In today's corridor there are connections to the Compagnia di San Girolamo , the Compagnia di Santa Maria sotto le Volte and the Museo Archeologico .

Chiesa della Santissima Annunziata (Chiesa dell'Ospedale)

The Chiesa della Santissima Annunziata (Chiesa dell'Ospedale)

The church, which is integrated into the building complex, is located near the entrance area opposite the Siena Cathedral. The first church was built around 1250 from the space previously used as the Pellegrinaio , the current one was built at the end of the 15th century when the older church was almost completely rebuilt. Guidoccio d'Andrea and Vecchietta are named as architects , supported by Francesco di Giorgio . The organ was built from 1514 to 1519 by Giovanni di Maestro Antonio (also called Piffaro or Piffero ). The church was expanded and rebuilt from 1731 to 1732 by Sebastiano Conca , who thereby fulfilled the last will of Ugolino Billo , rector of Santa Maria della Scala , as laid down in his will . The separate entrance to the church, to the left of the (former) main portal, was built between 1905 and 1907 by Vittorio Mariani .

Works (selection)

  • Carlo di Andrea Galletti: Davide (ceramic figure)
  • Ciro Ferri: Visione di Santa Teresa (canvas painting)
  • Francesco di Giorgio: fresco
  • Goro di Ser Nesellati: San Biagio (silver reliquary , built in 1437)
  • Pietro Locatelli (around 1634–1710): Assunzione di Maria Vergine (canvas painting, created around 1676)
  • Giuseppe Mazzuoli: Gesù morto (relief, created 1671/72)
  • Giovanni Maria Monrandi (1622–1717): Annunciazione di Maria Vergine (canvas painting, approx. 18th century, attributed)
  • Vecchietta: Cristo Risorto (bronze figure, made in 1476)

Compagnia di San Girolamo

The Compagnia di San Girolamo was founded in the first half of the 15th century by members of the Congrega San Gherado . In 1443 the rectorate granted them a room at Chiasso di Sant'Ansano and next to the morgue. Despite a naming controversy for a renaming in favor of St. Bernardine of Siena in 1525 the group kept their name. In documents by Fabio Chigi ( Alexander VII ), Ambrogio Lorenzetti is named as the designer of the frescoes. The oratory was furnished with four altars and works by Alessandro Casolani , a member of the Society. These have been missing since 1785. Still visible today are frescoes by an unknown artist from the 17th century who depicted Cristo legato , Cristo incoronato and San Girolamo .

Compagnia di Santa Maria sotto le Volte

The oratory, also Oratorio di Santa Maria sotto le Volte called, belonged to the religious brotherhood Confraternità dei Disciplinati di Maria Santissima , which in the 13th century cathedral was (first mentioned in January 1222) and in 1384 for Santa Maria della Scala is located . In the first half of the 16th century, the sotto le Volte (under the vaults) were assigned to her. In 1606 Ilario Casolani joined the brotherhood of Senese artists , but left no works in the rooms. On April 14, 1785, the Compagnia became the Società di Esecutori di Pie Disposizioni . The brotherhood is now based in Siena in Via Roma. The chapel is connected to the adjoining sacristy delle Volte , which is also decorated with frescoes. In other adjoining rooms there are works from the 19th and 20th centuries from the Accademia di Belle Arti (the so-called Alunnato Biringucci by Marcello Biringucci) . The artists include Pietro Aldi, Amos Cassioli, Cesare Maccari (Vittoria Colonna , created 1868), Paride Pascucci (Il buon samaritano , created 1898), Arturo Viligiardi (L'Adultera , created 1890) and Angiolo Visconti .

Works (selection)

  • Alessandro Casolani: Madonna col Bambino ei Santi Pietro e Paolo (canvas painting from 1598)
  • Benvenuto di Giovanni: lunette paintings
  • Giovanni di Paolo: San Giovanni Battista (fresco in the sacristy)
  • Guiduccio Cozzarelli: Head Statues
  • Ambrogio Lorenzetti: Tebaide (fresco, painted before 1348, attributed)
  • Rutilio Manetti: San Bernardino, Santa Caterina and Beato Giovanni Colombini (three canvas paintings in the sacristy, created around 1613/14)
  • Niccolò di Segna: Crocifissione
  • Sano di Pietro: Madonna col Bambino e Santi
  • Sodoma: Sacra famiglia
  • Luca di Tommè: frescoes of the sacristy
  • Andrea Vanni: Cristo benedicente
  • Andrea Vanni: Sibilla che predice ad Augusto la nascita di Cristo (fresco in the sacristy)

Corticella (Magazzini della Corticella)

The so-called courtyard is the connecting room on the third floor, which gives access to the Fienile and the Oratorio di Santa Caterina della Notte of the Società di Esecutori di Pie Disposizioni . Attached to it are the Magazzini della Corticella (dt. Storerooms of the courtyard), which today contain the Tesoro di Santa Maria della Scala (dt. Treasure of Santa Maria della Scala ). These are relics that Rector Andrea Tori bought on May 28, 1359 from the Florentine merchant Piero di Giunta Torrigiani from Signa for 3000 Fiorini and that came from Constantinople . The first negotiations about the purchase took place on April 24, 1359 in Venice , where a Frate Andrea stayed for the hospital due to other obligations and met Torrigiani. The act was documented by the notary Albertino Plastellini de Plastelli from Bologna and the procurator of Santa Maria della Scala , Andrea di Grazie . The document, declared as a donation so as not to give the impression of a reliquary trade, is still preserved today and exhibited in the Magazzini . The objects were then shipped from Venice to the Senese port in Talamone and from there they were taken by land to Siena. With the relics, a 318-page year-round Byzantine Gospel made of parchment with miniatures of the four evangelists (created in the 11th century) came into the possession of the hospital. The most important relics include those of John Chrysostom . They were publicly exhibited on March 25th on the feast of the Annunciazione ( Annunciation of the Lord ), in contrast to the feast of the Assunzione di Maria ( Assumption into Heaven ) on August 15, which focuses on the Siena Cathedral . From 1449 they were kept in the sacristy in the Arliquiera . After further storage in different rooms of the hospital, they were exhibited in the Magazzini della Corticella .

Fienile

The Fienile with the original parts of the Fonte Gaia by Jacopo della Quercia

The space called Fienile ( haystack or hay barn ) was started at the end of the 13th century to accommodate travelers in 1300 during the first jubilee year under Pope Boniface VIII . The room now houses the original parts of the Fonte Gaia , which was built from 1409 to 1419 by Jacopo della Quercia in the Piazza del Campo . The marble works of the Montagnola Senese ( Casole d'Elsa , Monteriggioni , Siena and Sovicille ) suffered a lot of damage in the centuries that followed, so that in 1859 the city council decided to replace the fountain with a new one true to the original. This was made by Tito Sarrocchi and inaugurated in 1869. The originals were transferred to the Loggia dei Nove in the Palazzo Pubblico for the Antica Arte Senese exhibition in 1904 , where they remained until 1989. In 1998 the first part of the Fienile was opened to the public and the exhibition was completed in March 2011. In addition to the original parts of the fountain, the plaster casts, based on which Tito Sarrocchi made today's Fonte Gaia , are also on display . The two unique photographs from the Archivio Malandrini of the Fondazione Monte dei Paschi di Siena , which show the original Fonte Gaia in the Piazza del Campo , which is 9.60 meters further west and 1.60 meters further south in front of the Palazzo, are also presented here Casino dei Nobili was located.

Museo Archeologico Nazionale di Siena

Etruscan sarcophagus in the Archaeological Museum

The Archaeological Museum was founded in 1933 by Ranuccio Bianchi Bandinelli as an Antiquarium comunale . In 1941 it became state property and was initially called the Regio Museo Archeologico , then the Museo Archeologico Nazionale Etrusco di Siena . The collections were initially located in the Palazzo Pubblico and in the Accademia di belle arti di Siena . Since 1993 they have been in the museum complex of Santa Maria della Scala . The museum is entered through the Chiasso di Sant'Ansano . Parts of the collection come from the Accademia dei Fisiocritici , founded in 1691 , further exhibits were added later from private collections. The Sezione topografica contains finds from Siena, the Chianti , the Elsa Valley and areas south of Siena such as Murlo .

Individual works (selection)

  • Andrea di Bartolo: Madonna della Misericordia (mid-14th century)
  • Martino di Bartolomeo: Trinità from San Lorenzo e San Giovanni Evangelista
  • Pietro di Domenico da Montepulciano: Cristo in Pietà (1487)

Collections

  • Collezione Bargagli Petrucci: Donated to the city of Siena in 1918 by Piero Bargagli Petrucci . Was in Sarteano until 1941 and was then relocated to Siena. The collection items come from Casole d'Elsa and Sarteano and are parts of Etruscan tombs and funeral urns .
  • Collezione Bonci Casuccini: Collection of Emilio Bonci Casuccini (started at the beginning of the 20th century), owned by the museum since 1952. The collection items come mainly from the Chiusi area .
  • Collezione Chigi Zondadari: The collection dates back to the late 19th century and was created by the Marquis Bonaventura Chigi Zondadari . It has been in the museum's possession since the early 1950s. The finds from the Bronze Age and the Iron Age were discovered in Casole d'Elsa, Monteriggioni and Rosia (district of Sovicille ). These are Etruscan heads and vases made of terracotta . A Roman sarcophagus (Sarcofago delle Muse) is also on display.
  • Collezione Comunale e Accademia dei Fisiocritici: The collection consists mainly of Etruscan, Picenian , Roman and Umbrian coins and seals from the 18th century. Finds from Via Campansi in Siena were later added to her.
  • Collezione Mieli: In 1882 Leone Mieli was donated to the city of Siena. The majority of the collection items come from the Chianciano Terme and Pienza area and contain dachas and arrows .

Oratorio di Santa Caterina della Notte

The oratorio is St. Consecrated to Catherine of Siena . From the 14th century at the latest, it belonged to the Confraternità di San Michele Arcangelo , which in 1479 was renamed the Confraternità di Santa Caterina della Notte . It contains canvas paintings by Rutilio Manetti and Francesco Rustici as well as a panel painting by Taddeo di Bartolo (Madonna col Bambino, quattro angeli ei Santi Giovanni Battista e Andrea , made in 1400). The work Santa Caterina che protegge sotto il manto quattro confratelli, Cristo risorto, le Stimmate della Santa e la Deposizione (c. 1500) is from an unknown artist from Siena . Almost all other paintings and sculptures show St. Katherina von Siena and come from unknown Senese artists.

Palazzo Squarcialupi

The Palazzo Squarcialupi , which adjoins the building complex on the left side of the facade and borders Via del Capitano , was created through the expansion of the hospital, which was allowed by the city in 1336 and was completed in 1338. It was created on the initiative of the then rector Giovanni di Tese dei Tolomei . The building extension has four floors and is spread over 3000 m². The rooms on the ground floor contain the Cappella delle Fanciulle (now used as the main entrance to the building complex), the Pellegrinaio delle Donne , the Sala Stretta and the Sala del Provveditore . The Sala Santa Caterina , Sala Claudio Tolomei and Sala del Camino are on the first floor . The third floor (Sala della Balìe) is used for large exhibitions. The building also houses a library with 16,000 books and a photo library with around 50,000 pictures that come from the Fondo de Mata and were purchased by the Roman art historian Giuliano Briganti (1918–1992). Both collections were acquired by the city of Siena in 2006 and made available to the Centro Europeo di Ricerca sulla Conservazione e il Restauro (CERR). The basement rooms are not accessible. The Palazzo was after the restoration work in 2003 with an exhibition of Duccio di Buoninsegna opens.

Pellegrinaio delle Donne

The women's pilgrimage hall, also known as Spedale delle Donne , Convento delle Fanciulle or, more recently, Corsia Marcacci , is located on the ground floor of Palazzo Squarcialupi .

Cappella delle Fanciulle

The Cappella delle Fanciulle (Eng. Chapel of the Girls) was built as the chapel of the new pilgrimage hall for women (Pellegrinaio delle Donne) . In the room there are frescoes by Andrea di Bartolo (Crocefissione) , Bartolo di Fredi (Pie donne al sepolcro and Orazione nell'orto , attributed) and Martino di Bartolomeo (Trinità tra i Santi Filippo e Lorenzo) .

Passeggio

The so-called Passeggio ( walk ) is a connecting passage that leads to the Cappella del Manto , the Sala San Pio and the Pellegrinaio and was created in the course of the expansion of the hospital in the late 14th century. The four sculptures on display include San Bartolomeo by Lando di Stefano and San Tommaso by Mariano d'Angelo Romanelli (both made in the second half of the 14th century and originally positioned on the Cappella di Piazza del Campo by the Palazzo Pubblico ). The other two sculptures come from the Loggia della Mercanzia near Piazza del Campo and were created by Antonio Federighi (San Vittore , 1459) and Vecchietta (San Pietro , 1460–1462).

Pellegrinaio

The ceiling of the Pellegrinaio
Painting Ampliamento dell'Ospedale della Scala by Domenico di Bartolo in the Pellegrinaio

The so-called pilgrim hall has always served the pilgrims' recreation and is the most important room in the building due to its (former) function and the attached frescoes. The hall was built in the 30s of the 14th century and was completed around 1380. The hall was restored at the beginning of the 15th century, the wooden vault was replaced by a stone one (and decorated by Agostino di Marsiglio in 1439 ) , and the capitals were realized. In the years from 1405 to 1410 the basement was strengthened, the dormitory was built over the main room and the roof over it was completed. The last column yoke, called Fosso di Sant'Ansano , was added in the late 16th century and frescoed by the Florentine artists Pietro d'Achille Crogi and Giovanni di Raffaello Navesi around 1577. Two frescoes by Pietro di Giovanni d'Ambrogio were destroyed when the room was enlarged . The first frescoes were created in the hall before 1440 by Vecchietta and Luciano di Giovanni da Velletri (Storie di Tobia) , these were then sacrificed a short time later to the fresco cycle commissioned by the then rector Giovanni di Francesco Buzzichelli . This fresco cycle consists of ten frescoes that do not depict religious motifs but everyday situations. The room also contains a marble table by Flaminio del Turco . It was created in the early 17th century in the late Mannerist style for Santa Maria della Scala (with coat of arms) and has been in the Pellegrinaio since 1783 .

Works (from left to right)

  • Vecchietta: Storia del beato Sorore (created in 1441)
  • Domenico di Bartolo: La limosina del vescovo , also called Ampliamento dell'Ospedale della Scala (originated in 1442/43)
  • Priamo della Quercia: Il Beato Agostino Novello conferisce l'investitura al rettore dello Spedale (created in 1442)
  • Domenico di Bartolo: Il pontefice Celestino III concede privilegi di autonomia all'Ospedale (created 1442 to 1444, shows Pope Celestine III handing over the privilege document to the hospital)
  • Pietro d'Achille Crogi and Giovanni di Raffaello Navesi: Pagamento del baliatico con il grano (created around 1577 in the so-called Fosso di Sant'Ansano )
  • Pietro d'Achille Crogi and Giovanni di Raffaello Navesi: Pagamento del baliatico con il denaro (created around 1577 in the so-called Fosso di Sant'Ansano )
  • Domenico di Bartolo: Cura e governo degli Infermi (1440/41)
  • Domenico di Bartolo: La distribuzione della limosina (created in 1441, the scene represents the Chiesa dell'Ospedale )
  • Domencio di Bartolo: Accoglimento e nozze dei trovatelli , also called Accoglimento, educazione e matrimonio di una figlia dello spedale (originated in 1441/42)
  • Domenico di Bartolo: Il banchetto dei poveri (created in 1443/44)

Sala di Sant'Ansano and Sala San Galgano

The room, also known as Infermeria di San Galgano or Primo Pellegrinaio degli uomini , has the fresco Crocifissione con la Madonna e San Giovanni Battista by Paolo di Giovanni Fei . The two rooms were originally independent houses with their own facade and were annexed to the main building in the second half of the 12th century. The houses were merged and served as a second pilgrimage hall until the 14th century when today's Pellegrinaio was completed. The partition wall was built in the 15th century to store food in the rooms. Both rooms were former hospital rooms in the 18th century and are now occasionally used as exhibition rooms.

Sala di San Giuseppe

The room, also known as Gipsoteca , is home to sculptures by the Senese artist Tito Sarrocchi . The roughly two hundred plaster sculptures were created after the sculptor returned to Siena from Florence in 1855. Sarrocchi made them available to the city of Siena in 1894 on the advice of his friend Giuseppe Partini . They have been open to the public in the Sala San Giuseppe since 1999 .

Sala di San Leopoldo

The Museo d'arte per bambini (art museum for children) is located here.

Sala di San Pio

Sala di San Pio

The room, also known as Infermeria di San Pio , Pellegrinaio nuovo or Pellegrinaio di Vallepiatta , was created during the course of the expansion of the complex in the late 14th century and contains a fresco by Priamo della Quercia showing Beato Giovanni Colombini and dating from around 1440. Today the hall is an exhibition space for paintings. Among the most important are those of Pietro Aldi , who captured important moments in Senese history, such as in the picture Le ultime ore della libertà senese (The last hours of Senes freedom), which shortly before the situation in the Piazza del Campo shows the invasion of the Florentines in 1555.

Works (from left to right)

  • Pietro Aldi: Le ultime ore della libertà senese (oil on canvas, created in 1882 and purchased by the city of Rome from Siena in the same year)
  • Pietro Aldi: Nerone contempla l'incendio di Roma (unfinished)
  • Astolfo Petrazzi: La Pietà ei Santi Giovanni Evangelista, Bernardino e Tommaso (comes from the Church of San Desiderio in Siena)
  • Simondio Salimbeni: La Madonna appara a San Rocco
  • Francesco Vanni: Incoronazione della Vergine con Santa Marta e Sant'Agostino
  • Stefano Volpi: Martirio dei Santi Giacomo e Filippo (attributed)
  • Francesco Vanni: Incoronazione della Vergine (created in 1607)
  • Rutilio Manetti: L'Adorazione dei Magi
  • Rutilio Manetti: Miracolo di Sant'Eligio
  • Rutilio Manetti: Immacolata Concezione
  • Francesco Rustici: San Carlo Borromeo in preghiera (comes from the Church of San Desiderio in Siena)
  • Pietro Sorri: Il Purgatorio (loan from the Pinacoteca Nazionale di Siena , originally from the Chiesa del Suffragio in Santa Maria Provenzano )
  • Pietro Sorri: Pentecoste (loan from the Pinacoteca Nazionale di Siena , made in 1608)

Other works in the building

  • Sebastiano Folli: Santa Caterina da Siena (oil painting on canvas, created around 1610, is currently in the rooms next to the connecting passage)
  • Agostino Marcucci: Processione in Piazza Duomo (oil painting on canvas, created in the first half of the 17th century, is currently in the rooms next to the connecting corridor)
  • Agostino Marcucci: San Nicola da Tolentino in preghiera (oil painting on canvas, created in the first half of the 17th century, is currently in the rooms next to the connecting corridor)
  • Bernardino Mei: Ritratto di Giacomo Sansedoni (oil painting on canvas, created 1641, is currently in the rooms next to the connecting corridor)
  • Antonio Nasini: Mosè salvato dalle acque (oil painting on canvas, created around 1690, is currently in the rooms next to the connecting passage )
  • Antonio Nasini: La cacciata dal paradiso terrestre (oil painting on canvas, is currently in the rooms next to the connecting corridor)

Grancie

The Grancia di Santa Maria della Scala in Montisi, San Giovanni d'Asso
The Grancia in Serre di Rapolano in Rapolano Terme

The Grancie di Santa Maria della Scala (also known as Grangie ) were fortress-like tithe barns , which were used to store food (mainly grain , olive oil and wine ) and were under the management of the hospital. This enabled Santa Maria della Scala to be self-sufficient. At the end of the 16th century, the institution had twelve Grancie who managed 189 houses, 164 manors , 15 mills and several osteria and kilns for brick production. Subsidiaries of the Grancie were available in Barberino Val d'Elsa , Colle di Val d'Elsa , Florence , Poggibonsi , Monte San Savino , Proceno , Rieti , San Gimignano , San Miniato and Todi .

The main buildings of the Grancie included facilities in Mensano (district of Casole d'Elsa ), Montelisca (district of Siena), San Quirico d'Orcia and in:

  • Cuna (More di Cuna, Monteroni d'Arbia ) already existed in 1152 as an independent hospital on the Via Francigena and was acquired in 1295 by the Rector Ristoro Menghi for Santa Maria della Scala . From 1314 onwards, under the rector Giovanni di Tese dei Tolomei, the complex was expanded considerably.
  • Grosseto was built at the end of the 13th century as a warehouse for the goods of the Maremma . The Grancia di Grosseto was subordinated to the Ospedale della Misericordia di Grosseto in the 18th century .
  • Montisi (today part of San Giovanni d'Asso ) was created in 1295 when Signore di Montisi Simone Cacciaconti donated land to the hospital, which then erected the building. It was sold in 1775 by Leopold II to Jacopo Mannucci Benincasa , whose heirs are still owned by the Grancia today. On June 30, 1944, the main tower, similar to the Torre del Mangia of the Palazzo Pubblico in Siena, was destroyed by German troops . Today contains a restored 58-seat theater.
  • Serre di Rapolano (district of Rapolano Terme ) was built in the 13th century as a warehouse for the goods of the Crete Senesi and was expanded into a fortress around 1405. The tower and other parts of the building were destroyed in the war between Florence and Siena in 1555, but were rebuilt in 1575 by the rector Claudio Saracini . Now houses the Museo dell'Antica Grancia .
  • Spedaletto ( Pienza ) has been owned by Santa Maria della Scala since 1236 .

literature

  • Mauro Civai, Enrico Toti: The Gothic Dream . Edizioni Alsaba, Siena 1997, ISBN 88-85331-43-2 .
  • Beatrice Sordini: Dentro l'antico Ospedale: Santa Maria della Scala, Uomini, cose e spazi di vita nella Siena medievale . Fondazione Monte dei Paschi di Siena / Protagon Editori, Siena 2010, ISBN 978-88-8024-310-6 .
  • Piero Torriti: Tutta Siena. Contrada per Contrada . Edizioni Bonechi, Florence 2004, ISBN 88-7204-456-1 .
  • Enrico Toti (ed.), Comune di Siena: Santa Maria della Scala: Mille anni fra storia, arte e archeologia . Protagon Editori, Siena 2008, ISBN 978-88-8024-213-X .
  • Touring Club Italiano : Toscana . Milan 2003, ISBN 88-365-2767-1 , p. 527 ff.
  • University of Siena , Centro interdipartimentale per lo studio dell'ospedale di Santa Maria della Scala (ed.); Fabio Gabbrielli: Ospedale di Santa Maria della Scala: ricerche storiche, archeologiche e storico-artistic . Protagon Editori, Siena 2011, ISBN 978-88-8024-313-7 .
  • Laura Vigni (Ed.): Beati o Canonici. Una polemica su Sorore e la fondazione dello Spedale di Santa Maria della Scala . Giuseppe Ciaccheri Editore, Siena 2002, ISBN 88-86417-88-8 , contains the texts Della vera originie dello Spedale di S. Maria della Scala di Siena. Dissertazione storico-critica del cavaliere Gio. Antonio Pecci patrizio sanese (Siena 1756) and Annotazioni storico-critiche del cavaliere Gio. Antonio Pecci Patrizio Sanese sopra l'Osservazioni alla dissertazione della vera Origine dello Spedale di S. Maria della Scala di Siena (Siena 1758, both Stamperia Agostino Bindi) as well as Osservazioni sopra la Dissetazione Storico-Critica della vera Origine dello Spedal Scala di Siena stampata in detta Città nel 1756 (Giuseppe Fabiani, Bassano, 1757)

Web links

Commons : Santa Maria della Scala Hospital  - Collection of images, videos and audio files
Commons : Grancia di Santa Maria della Scala (Montisi)  - Collection of images, videos and audio files

Individual evidence

  1. ↑ cf. Vigni, p. 8.
  2. ^ Siena (Istituzione S. Maria della Scala) Museo Archeologico. (No longer available online.) AMAT (Associazione Musei Archeologici Toscani), archived from the original on May 16, 2006 ; accessed on January 1, 2012 (Italian). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.archeologiatoscana.it
  3. ↑ cf. Pecci 1756, pp. XX f.
  4. ^ Lo spedale grande. La Repubblica, accessed January 1, 2012 (Italian).
  5. ^ Mario Aschieri: Siena e la città-stato del medioevo italiano . Betti Editrice, Siena 2004, ISBN 88-7576-011-X , p. 68 f.
  6. ^ Mario Aschieri, Cecilia Papi: Il Costituto del Comune di Siena in volgare (1309-1310) . Aska Edizioni, Florence 2009, ISBN 978-88-7542-144-1 .
  7. ↑ Alfonso De Romanis: AGOSTINO NOVELLO, Beato . In: Enciclopedia Italiana (1929)
  8. ^ Giulio Prunai: Bartoli, Carlo di Angiolino. Treccani.it, L'enciclopedia italiana, 1964, accessed January 1, 2012 (Italian).
  9. ^ Gino Fornaciari: The rector of the hospital and his wife: two artificial mummies of the late 15th century from Siena (central Italy). (pdf) University of Pisa, accessed on January 1, 2012 .
  10. ↑ Peter Anselm Riedl , Max Seidel (ed.): The churches of Siena. Volume 1.1 (Abbadia all'Arco – S. Biagio), Bruckmann Verlag , Munich 1985, ISBN 3-7654-1941-9
  11. ↑ Ospedale di S. Maria della Scala, bb. e regg. 6.849, (1240-1930, con docc. In copia dal 1167). Inventario a stampa ed elenco di consistenza dell'ultimo deposito 1985. (vol. IV, pag. 172). Centro per la ricerca e lo sviluppo di Metodologie e Applicazioni di Archivi Storici, accessed on January 1, 2012 (Italian).
  12. ↑ Santa Maria: il corso del tempo, Frammenti di memorie e istantanee del presente. (pdf; 22.5 MB) (No longer available online.) Azienda Ospedaliera Universitaria Senese, Santa Maria alle Scotte, December 2006, archived from the original on February 22, 2014 ; accessed on January 1, 2012 (Italian). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.ao-siena.toscana.it
  13. ↑ Maura Martellucci: Le mummie. Il Giornale di Santa Maria della Scala, in: La Repubblica, accessed on January 1, 2012 (Italian).
  14. ↑ Roberta Mucciarelli: I Tolomei. Banchieri di Siena . Protagon Editori, Siena 1995, ISBN 88-8024-012-9 , p. 241 f.
  15. ^ Serena Padovani: Cristoforo di Bindoccio. Treccani.it, L'enciclopedia italiana, 1985, accessed January 1, 2012 (Italian).
  16. ↑ Jesus the light of the world. bibleserver.com, accessed on January 1, 2012 : “Then Jesus spoke to them again and said: I am the light of the world. Whoever follows me will not walk in darkness, but will have the light of life. "
  17. ^ The Life of Francesco di Giorgio Martini (1439–1502) and the Life of Lorenzo Vecchietto (approx. 1412–1480), Vasari's Lives of the Artists. Adrienne DeAngelis, accessed January 1, 2012 .
  18. ^ Giorgio Vasari: Le vite dei più eccellenti pittori, scultori e architetti . Newton & Compton Editori, Rome 2010, ISBN 978-88-541-1425-8 , p. 432.
  19. ↑ Siena. Comune di Siena, accessed on January 1, 2012 (Italian): "Illustration of the original Fonte Gaia "
  20. ↑ Mauro Civai: Santa Maria della Scala Palazzo Squarcialupi. (No longer available online.) Aperto per restauro, archived from the original on July 22, 2012 ; accessed on January 1, 2012 (Italian). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / apertoperrestauro.siena.it
  21. ↑ CERR e Biblioteca Fotogeca Briganti. Comune di Siena, Centro Europeo di Ricerca sulla Conservazione e il Restauro, accessed on January 1, 2012 (Italian).
  22. ↑ Le grance. La Repubblica, accessed January 1, 2012 (Italian).
  23. ^ Ann Katherine Isaacs: Welfare in an Italian City-State: Siena and the Hospital of Santa Maria della Scala. (pdf) medievalists.net, December 7, 2008, accessed January 1, 2012 .
  24. ↑ Atlante Storico Topografico dei siti di interesse storico culturale del Comune di Grosseto Grancia, Grosseto. with illus. Comune di Grosseto, accessed on January 1, 2012 (Italian).
  25. ^ Grancia di Montisi. Comune di San Giovanni d'Asso, accessed January 1, 2012 (Italian).
  26. ↑ Maurizio Abbati: Luoghi d'Italia. Rapolano Terme . Franco Cantini Editore, Florence 1997, ISBN 88-8030-102-0 , p. 56 ff.
  27. ↑ Museo dell'Antica Grancia di Serre. Comune di Rapolano Terme, accessed on January 1, 2012 (Italian).

Coordinates: 43 ° 19 ′ 1.4 ″  N , 11 ° 19 ′ 42.4 ″  E