Santa Maria in Campitelli
| Basic data | |
|---|---|
| Patronage : | St. Mary |
| Consecration day : | 1566 |
| Medal: | Canon Regular Madre di Dio (OMD) |
| Cardinal Deacon : | Michael Fitzgerald MAfr |
| Address: | Piazza di Campitelli, 9 00186 Roma |
Santa Maria in Campitelli , full name Santa Maria in Portico in Campitelli , also Santa Maria in Portico , is a church in Rome . It is also a titular diakonia of the Roman Catholic Church and religious order of the Canons Regular Madre di Dio ("Leonardini") and a parish church. It is one of the most important buildings of the Roman Baroque and is considered to be Carlo Rainaldi's main work .
Location and naming
Despite its name, the church is not in the X. Rione Campitelli , but in the neighboring XI. Roman Rione Sant'Angelo about 90 meters north of the Marcellus Theater .
Nevertheless, it takes its name from the Campitelli district. It owes its nickname to the nearby portico of Octavia and the third name was derived from a combination of the two names. There was already a church in Roman history with the name Santa Maria in Portico , this was in the XII. Rione Ripa and no longer exists. Their former church treasure became part of the church treasury of today's church.
History and building history
In the old church of Santa Maria in Portico in Rione Ripa there was a miraculous image of Mary, which is said to have worked miracles in Rome in the plague year 1656. The Roman Senate undertook to place the miraculous image in a more dignified setting. The original plan was to move it to an existing St. Mary's Church in Piazza Campizucchi, just a few meters from today's church . Ultimately, it was decided to build a new Marienkirche to house the picture. This was commissioned on the initiative of Pope Alexander VII. Carlo Rainaldi. He provided a number of drafts, his plans originally envisaged a church planned on an oval as a basis, the plans were probably not carried out for cost reasons. After Rainaldi submitted plans again, the church was built from 1662 or 1663 to 1675. Although it was consecrated this year, the work dragged on until 1725 when the building was finally furnished.
Exterior
In its time, the facade was an innovation in the design of church facades. The design with full columns is typical for Rainaldi . The two-storey facade is divided into three levels in terms of depth and five axes in terms of area. The first level is formed by the inner central part of the façade, which is provided with a segmented gable and a strongly protruding triangular gable. Rainaldi placed full columns in the first level, on the left and right as a demarcation of the middle part from the other facade elements, both on the upper and lower floors. The capitals are a variant of the Corinthian order . On the upper floor he added a scallop shell over the arched window , instead of the triangular gable of the lower floor he chose an openwork segment gable, underneath the papal coat of arms. The second, the actual subdivision level are the three-quarter columns to separate the structure of the main nave from the supposed side aisles or the corner pilasters of the facade. This basilica structure, due to the pretense of side portals, does not correspond to the structure of the church, as it has one nave. The third level is formed by the wall surfaces of the facade, which Rainaldi deepened again. In the middle part of the facade, he placed two three-quarter columns in front of the resulting surfaces, and in the area of the simulated side portals he vaulted the surface above them with windows. On the sides of the facade on the upper floor, volutes are added to convey the building structure to the lower floor. The structure of the facade can be clearly seen from the cranked architrave and the gable. Grundmann comments on this: "The associated protrusions and recesses and the physicality of the full columns give the structure a previously unknown, independent dominance".
Interior
The basic structure of the church inside is no less complicated than the facade. The building initially appears as a single-nave church with side chapels. In fact, the main room is designed biaxially with axes rotated by 90 degrees. The longitudinal axis dominates the length of the church, facing it in the main room a second, transverse axis. Rainaldi added chapels with altar niches at the ends of this elongated axis. To delimit the chapels, he added corner pilasters with full columns presented in pairs. So these chapels almost look like transept arms in the middle of the main room. The result is a basic shape of the main room almost in the shape of a Greek cross. The presbytery , which is covered with a flat dome structure, adjoins the main room in the longitudinal axis . The transition between the parts of the room can be clearly recognized by the architectural constriction. Rainaldi places full columns next to each other, the outer ones to the main room still adopt the ceiling structure of the longhouse barrel, the inner ones to the presbytery follow the dome structure. The dome is broken through by transverse oval windows. The semicircular apse adjoins the presbytery . The demarcation of the parts of the room is again done by a constriction with pairs of full columns, just like at the transition from the main room to the presbytery. The apse itself is characterized by the huge tabernacle with the gilded glory behind the main altar. The lighting effect on this results from large windows that are inserted on the left and right and flanked with pilasters.
In the sum of the complicated architecture, Rainaldi achieved an increase in the spatial effect towards the chancel. Rainaldi achieved the “extraordinary scenic quality” of the building by using full columns to separate the independent components in the longitudinal view and the lighting effects resulting from the arrangement and number of windows. This design had no role models in Rome until then. B. San Salvatore in Bologna or San Giuseppe in Milan , so north Italian church buildings. The way in which the architecture is controlled, as in the example of this church, became very influential in the late baroque.
Ultimately, this type of building developed by Rainaldi could not prevail in Rome. The evaluations of the contemporary architects were: "Some, including Argan, interpreted his solution as a revolutionary overcoming of the typological boundaries between central and longitudinal building, while others, such as Porthogesi, viewed the building as a successful compromise".
Furnishing
The first side chapel on the right contains the painting of Saint Michael by Sebastiano Conca , the next on this page a Saint Anne by Luca Giordano . In the church there is the tomb of Cardinal Bartolommeo Pacca , created by a Dresden sculptor, Ferdinand Pettrich . The church also contains sculptures by Lorenzo Ottoni and Giuseppe Mazzuoli .
The miraculous image in the middle of the tabernacle behind the main altar is an enamel work , created according to French-Rhenish models, but possibly also from the Limoges area , perhaps it is a Roman work. The date of its creation is also unknown, but the 10th, 11th or early 13th centuries are mentioned. It shows the gilded Madonna, like the baby Jesus she is holding, in a blue background vaulted by an arcade with golden tendrils, possibly oil or oak branches. Representations of Saints Peter and Paul have been inserted into the fields left and right above the representation of Mary by the arcade arch. The tabernacle itself was inspired by Bernini's Cathedra Petri in St. Peter's Basilica , it was created by Melchiore Cafà and Ercole Ferrata in 1667 based on designs by Giovanni Antonio de 'Rossi .
The church treasure contains a reliquary cross from the 12th century, embossed in silver and partially gilded . According to the inscription, it was created by a Roman goldsmith named Gregorius and his wife Benedetta to redeem a vow. As a further specialty, an arm reliquary contains relics of Saint Marcellinus and dates from the early 13th century. The container is embossed from silver, the richly decorated base is gold-plated. It is one of a handful of surviving medieval works of art bearing the stamp of authenticity from the city of Rome.
In the church, the founder of the Order of Madre de Dio , Saint Giovanni Leonardi, is buried in a glass coffin. He was founded by Pope Pius XI. Canonized in 1938.
See also
Individual evidence
- ^ Diocese of Rome ( Memento of February 10, 2010 in the Internet Archive )
- ↑ a b Grundmann (Ed.): Architekturführer Rom , p. 242.
- ^ Rosendorfer: Kirchenführer Rom , p. 151/152.
- ^ Rosendorfer: Kirchenführer Rom , p. 151.
- Jump up from Bussagli (Ed.): Rom - Kunst & Architektur , p. 300.
- ↑ a b c Bussagli (Ed.): Rom - Art & Architecture , p. 517.
- ↑ a b c Tomann (Red.): Die Kunst des Barock , p. 42.
- ↑ a b c d Grundmann (ed.): Architekturführer Rom , p. 243.
- ↑ a b c d Wundram (Ed.): Reclams Kunstführer , p. 215.
- ↑ Grundmann (ed.): Architekturführer Rom , p. 244.
- ^ Fischer Pace, Kunstdenkmäler in Rom , p. 435.
- ↑ a b Bussagli (Ed.): Rom - Art & Architecture , p. 300.
- ^ Fischer Pace, Kunstdenkmäler in Rom , p. 434.
- ↑ a b Bussagli (Ed.): Rom - Art & Architecture , p. 301.
literature
- Marco Bussagli (Ed.): Rome - Art & Architecture . Könemann, Cologne 1999, ISBN 3-8290-2258-1 .
- Ursula Verena Fischer Pace: Art Monuments in Rome . 2 volumes. Scientific Book Society, Darmstadt 1988.
- Herbert Rosendorfer : Church leader Rome . 3rd edition Edition Leipzig, Leipzig 2005, ISBN 3-361-00485-3 .
- Rolf Tomann (Red.): The art of the baroque. Architecture, sculpture, painting . Könemann, Cologne 1997, ISBN 3-89508-991-5 .
- Manfred Wundram (Ed.): Reclams Art Guide, Italy. Volume V. Rome and Latium . Reclam, Stuttgart 1981, ISBN 3-15-008679-5 .
Web links
- www.romeartlover.it/ - Vedutenstich of Giuseppe Vasi (English)
Coordinates: 41 ° 53 ′ 34.7 " N , 12 ° 28 ′ 45.4" E