Tempietto di Bramante
| Tempietto di Bramante | |
|---|---|
 Tempietto di Bramante |
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| Construction time: | approx. 1500 - approx. 1510 |
| Architect : | Donato Bramante |
| Client: | Catholic kings |
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| Width: | 8.10 m |
| Height: | 11.17 m |
| Location: | 41 ° 53 '19 " N , 12 ° 27' 59" E |
| Address: | Piazza San Pietro in Montorio Rome Italy |
| Purpose: | Roman Catholic sacred building |
The Tempietto di Bramante (literally Temple Bramantes ) is a small round temple in a courtyard of the former monastery of San Pietro in Montorio in Rome . It was built over the alleged crucifixion of the Apostle Peter by the Italian Renaissance builder Donato Bramante , after whom he is also named. The importance of this church building lies in the merging of an ancient Peripteros temple with new Roman architectural elements in harmonious and elegant proportions. The Tempietto is considered to be the key work of High Renaissance architecture , as well as the initial building for the type of the central Church of the Holy Sepulcher.
location
In the XIII. Roman district of Trastevere , on the Piazza di San Pietro in Montorio on the Gianicolo hill , about 400 meters east of the Fontana dell'Acqua Paola, is the church of San Pietro in Montorio with the former Franciscan monastery. The Tempietto is located next to the church, in the first courtyard of the monastery building that now houses the Spanish Academy in Rome.
Building history
The Catholic kings of the Spanish ruling house, Ferdinand II of Aragón and Isabella of Castile , left the church and the adjoining monastery of San Pietro in Montorio at the place of the crucifixion of St. Establish Peter. According to an inscription (fig.) - today placed in the crypt of the Tempietto - the Spanish Pope Alexander VI. The church was consecrated in the Holy Year 1500.
The immediately venerable planting place of the cross remained undeveloped except for a small mediation cave under a mound, which the abbot and initiator of the Amedeiten monastery in San Pietro in Montorio, Amedeo Menez de Silva, had set up.
Cardinal Bernardino de Carvajal , the Spanish envoy to the papal court, who had already been responsible for the completion of the church and the monastery, commissioned the architect Donato Bramante to erect a memorial on the said spot on behalf of the Catholic Kings . Bramante had come to Rome from Milan around 1499 and was now the sottoarchitetto for Pope Alexander VI. active. He designed and built the structure between 1500 and 1508. In research, a construction period from 1502 to 1505 or later is assumed. The inscription (fig.) On the memorial plaque discovered in 1628, which is now on the altar in the crypt, indicates the year 1502 for the foundation. This inscription is so far the only relatively reliable source for dating the Tempietto.
The planning of a Martyrion , a round courtyard surrounded by colonnades, in the middle of which Bramante had planned a round temple as a chapel, was not carried out and has only been handed down in a plan by Sebastiano Serlio . Only the central building, which has gone down in architectural history as Tempietto, was built . It is not known why the original plan was not implemented in the succession. This may have something to do with Bramante's commitment as a master builder at St. Peter's Basilica a short time later.
Bramante tempietto
structure
With a diameter of 5.80 m (cella), the seemingly modest but monumental building is modeled on a Tholos temple and is the first peripheral building in architectural history since ancient times. Vitruv and Leon Battista Alberti described the architecture of a peripteros and its ideal proportions in their architectural treatises. Among the designs by Francesco di Giorgio Martini , whom Bramante knew from the Dombauhütte in Milan, there are round temples with a comparable drum . When Giuliano da Sangallo to find role models for balustrades that this introduced as an architectural element in the architecture.
Bramante took up the world of Greek antiquity, which was admired in Rome at that time, and the ideas of architecture that were current and described at the time, and created a completely new, unique memorial structure of the Christian world with its proportions perfect. The use of the circular shape as a symbol of perfection, for the world as a whole and the cosmic universe, as an element of spatial geometry, is the symbol for the Prince of the Apostles and first Pope and his Church.
Exterior
The temple, consisting mainly of travertine, is circular, three steps lead to the stylobate , the column-bearing ledge. The pillar ring consists of 16 gray granite pillars according to the Doric order, which surround the cella at a small distance. The Doric entablature has a triglyph frieze with 48 metopes showing 13 different symbols from the Eucharist , repeated in irregular numbers and sequences , such as candelabra, pyxis , chalice and paten (fig.) . The Doric order is continued in the cella outer wall and is repeated in pilasters, as well as in the coffered ceiling of the gallery, which is decorated with rosettes.
The balustrade inserted above delimits the second floor in the form of a light-giving drum, which ends in a semicircular dome. The outside of the storey is decorated with alternating rectangular and shell-vaulted niches, four windows break the sequence.
The chapel (cella)
In the round, white interior, the Doric pilasters and the wall openings create a rhythmic alternation. In the niches above the unadorned windows there are sculptures of the four evangelists from the baroque period. To the southwest (250 °) is the marble altar with the seated figure of the apostle Peter (fig.) , His martyrdom and the heraldic symbols of the Spanish royal family are shown in relief. The figure of St. Peter and the altar table date from the 16th century; whether this altar goes back to Bramante is disputed. The raised tambour has a strict and simple order and is completed by the semicircular dome decorated with a starry sky, which dates back to the 19th century. The floor is decorated with marble inlays based on the example of medieval cosmatic work .
John statue
Markus statue
Altar with a statue of Peter
Bas-relief on the altar
Luke statue
Matthew statue
The crypt
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A double staircase built in 1628 leads to the crypt at the rear of the building. In the vaulted, richly stuccoed interior there is an altar table and a reredos with the statue of the Apostle Peter. On the front of the altar is the inscription plate from 1502 on the year the Tempietto was created. To the left of the entrance is the inscription plate Alexander VI. (Fig.) From 1500 and an inscription Pope Paul III in the light shaft . (Fig.) From 1536 regarding an indulgence. A circular opening can be seen in the marble floor as well as in the vaulted ceiling, which is supposed to represent the planting place of the cross of Peter.
Structural changes
Both the monastery complex and the Tempietto have seen changes over time. Already in 1523 the Convention through financial contributions became emperor Charles V expanded. A plan from 1551 by Leonardo Bufalini shows a square courtyard next to the church with the Tempietto in the center, surrounded on two sides by monastery buildings. In the following year, 1552, a second courtyard, the cloister in the monastery, can be seen in a representation of Pirro Ligorio . In 1604 the Spanish King Philip III. (Spain) 3,000 ducats available for the restoration of the church, the monastery and the access routes. The work also included raising the dome and the top of the baroque lantern, as well as attaching his coat of arms to the frieze of the tambour. In 1628 his son, King Philip IV (Spain) dedicated a further 6,000 ducats to the complex. The two-lane access to the crypt was cut into the step wreath and its redesign. The previous access directly behind the altar, outside the cella, has been removed.
In 1798, at the time of the Roman Republic , the facility was nationalized. The church and the monastery suffered severe damage, the Tempietto remained intact, but was stripped of all metal parts, including the leaden covering of the dome. Instead, it received a tiled roof from 1804-1805. Twenty years later (1825–1826) Giuseppe Valadier restored the monastery complex and the courtyard. The paving of the courtyard was replaced; the entrance portico was redesigned and the tile covering of the dome was replaced by a lead cladding. In 1876 the Kingdom of Italy restituted the monastery complex with the Tempietto to the Kingdom of Spain. The courtyard was given its current appearance from 1879 to 1880, and the convent building was extended. In 1881 the Spanish King Alfonso XII declared. the facility for the seat of the Reale Accademia di Spagna in Rome, in whose possession it is still today.
According to the ownership structure, the Spanish state restored the Tempietto for the Holy Year 2000 and King Juan Carlos I inaugurated it in May 1999. In particular, the hitherto ocher paint was removed. The cloister, the courtyard with the Tempietto and this itself are open to the public.
Ancient role models
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Bramante based the construction of the Tempietto on the ideal type of the ancient round temple. Numerous examples served as models:
- Temple of Vesta in the Roman Forum in Rome
- Temple of Vesta on the Palatine Hill in Rome
- Temple of Vesta in Tivoli in Latium
- Temple of Hercules Victor in the Forum Boarium in Rome
up to
- Tholos of Delphi in Greece, which is already mentioned in Vitruvius.
Structural research
In 1995, the Department of Building History at the Technical University re-measured and examined structural engineering as part of a research project in collaboration with Christoph Luitpold Frommel , one of the leading researchers of the Roman Renaissance.
Appreciations and aftermath
Numerous representations in sketchbooks and architectural treatises attest to the building's lasting fame as early as the beginning of the 16th century: in Bramante's biography, Giorgio Vasari praised the Tempietto as the most graceful building. The architectural theorist Sebastiano Serlio describes the building in detail in his 3rd book. In the 4th volume of his I quattro libri dell'architettura , which, apart from a few ancient works, only contains his own, Andrea Palladio honored the Tempietto as the only building after antiquity.
The sacred building can also be found in a large number of paintings: Raphael , who, according to Vasari, had come to Rome through Bramante's agency and who succeeded Bramante as master builder on the new St. Peter's Basilica in Rome, used the tempietto as the architectural background for some of his works : For example, on the panel The Marriage of Mary (1504 - Pinacoteca di Brera, Milan) and on the cardboard for the tapestry in the Sistine Chapel Paul preaches in Athens (1515–1516 - Victoria and Albert Museum, London), also on the engraving by Francesco Salviati , a pupil of Raphael, Alexander before the High Priest of Ammon (1530–1536 - Los Angeles Museum of Art).
The inlay artist Fra Giovanni da Verona depicted the Tempietto from 1506–1510 in a wood-carving inlay that is now embedded in the wall paneling of the new sacristy of the Church of Sant'Anna dei Lombardi in Naples (fig.) .
Jacopo Tintoretto used in the painting Rescue of the Corpse of St. Markus vom Scheiterpaufen (before 1566 - Musées Royaux des Beaux-Arts de Belgique, Brussels) the representation of the Tempietto after Serlois 3rd book on the Antichitá di Roma , clearly recognizable by the architectural deviations. A building of the Burning Troy in the background of the picture Escape of Aeneas from Burning Troy (Second version: 1589 - Villa Borghese, Rome) by Federigo Barocci has been interpreted as the Tempietto Bramante. Here, too, the similarities to Serlio's representations are significant. At the end of the 16th century, the genre of the "Tempietto- Katafalks " arose in Rome , a mourning scaffold in the form of a domed central building, which covers the symbolic bier on the occasion of the solemn exequien of a high-ranking deceased and thus symbolizes the significance of the deceased for the last time.
After the death of Cardinal Alessandro Farnese in 1589, his nephew Odoardo Farnese commissioned the young architect Girolamo Rainaldi , a pupil of Domenico Fontana , to build a catafalk in the style of the Tempietto in the crossing of the Jesuit church Il Gesù . Domenico Fontana and Giovanni Guerra erected another catafalque of this kind in 1591 in the church of Santa Maria Maggiore for Pope Sixtus V. In 1630, Pope Urban VIII's brother , Prince Carlo Barberini, received a round catafalque in the basilica of Santa Maria in Aracoeli , designed by Gian Lorenzo Bernini .
In the 18th and 19th centuries, antique circular buildings based on the Tempietto model found their way into the landscape gardens: The building served as a model for the Howard family's mausoleum built by Nicholas Hawksmoor in the park of Castle Howard in North Yorkshire / England. In the Bergpark Wilhelmshöhe in Kassel, the Jussow Temple is modeled on the Tempietto. In 1909 the industrialist Friedrich Ludwig von Gans had a mausoleum of this type built in Frankfurt's main cemetery . The design came from the architect Friedrich Christoph Hausmann .
Individual evidence
- ↑ ANNO SALVTIS XSTIANAE MD, SVB IVBILEO ET PONTIFICATV ALEXANDRI VI, THE IX IVNII, FERIA TERTIA POST PENTECOSTES, SIT NOTVM OMNIBVS ET SINGVLIS PRAE [SEN] TES INSPECVRIS ET PONTIFICATV ALEXANDRI CONSACRATA [H] ESTOR PRSIOC] B. PETRI AP [OSTO] LI IN HOC LOCO CRVCIFIXI, ET RELIQVIAE INFRASCRIPTAE IN EO RECLUSAE SVNT - In the year of Christian salvation 1500, the jubilee (year) under the pontificate of Alexander VI. on June 9th, the third holiday after Pentecost, it will be announced to everyone who is present that this (?) church and the altar are hereby consecrated in honor of the Holy Apostle Peter, who was crucified in this place and those listed below Relics kept in it
- ↑ SACELLUM APOSTOLOR. PRINCI. / MARTYRIO / SACRUM / FERDINAND. HISPAN. REX / ET. HELISABE. REGINA. CA / THOLICI. POST OFFICE. ERECTAM./ AB. ICE. AEDEM. POSS. / ON. SAL. XRIANE. MDII. - The sanctuary of the Prince Apostle, sanctified by his martyrdom, was built and accepted by the Catholic Kings Ferdinand of Spain and Isabella, in the year of Christian salvation 1502
- ↑ Serlio, p. 67.
- ^ Giorgio Vasari: Le vite de 'più eccellenti architetti, pittori, et scultori italiani 1550, p. 580.
- ↑ Christoph L. Frommel, p. 122.
- ↑ Stefan Grundmann, p. 125.
- ↑ According to Vitruvian doctrine, the number 16 is the most perfect.
- ↑ Ch. Strunk: Rom, pp. 198 ff.
- ^ Corriere della Sera May 26, 1999
- ↑ daily (except Monday) from 10:00 a.m. to 6:00 p.m.
- ↑ The Tempietto Bramantes in S. Pietro in Montorio, Rome. Retrieved December 12, 2017 .
- ↑ In the first cloister in San Pietro in Montorio he (Bramante) made another round temple out of travertine, the proportions, order and variety of which one cannot imagine; it is the most graceful and also not better understood
- ^ S. Serlio: Tutte l'opere d'architettura. Pp. 67, 68.
- ^ Libro quarto; Cap XVII: ... because Bramante was the first to bring back to light the good and beautiful architecture that had been forgotten from ancient times until his time
- ^ Giorgio Vasari: Le vite ... Firenze 1550, p. 622.
- ↑ Harald Olsen, Federico Barocci, Copenhagen 1962, pp. 115–125.
- ↑ Hubertus Günther: Uffizi 135 A: a study by Baroccis. In: Communications from the Art History Institute in Florence. 14, 1969, pp. 239-246.
- ↑ Nadja Horsch, Martin Raspe: Construction and Concetto.
- ^ Tomann (Red.): The art of the baroque: architecture, sculpture, painting. P. 171.
literature
- Marco Bussagli (Ed.): Rome - Art & Architecture . Könemann, Cologne 1999, ISBN 3-8290-2258-1 .
- Flavia Cantatore: San Pietro in Montorio. Università degli Studi di Roma “La Sapienza”. Edizioni Quasar, Roma 2007, ISBN 978-88-7140-334-2 .
- Jack Freiberg: Bramante's Tempietto, the Roman Renaissance and the Spanish Crown . Cambridge University Press, 2014, ISBN 978-1-107-04297-1 .
- Christoph Luitpold Frommel : The architecture of the Renaissance in Italy . CH Beck, Munich 2009, ISBN 978-3-406-58142-7 .
- Christoph Luitpold Frommel: Bramante, il Tempietto e il convento di San Pietro in Montorio. In: Roman yearbook of the Bibliotheca Hertziana. Volume 41, 2013/2014, pp. 140-163.
- Hubertus Günther: Bramantes Tempietto - The memorial complex of the crucifixion of Peter in S. Pietro in Montorio, Rome . Dissertation . LMU Munich, Munich 1973, OCLC 923238326 .
- Heiner Knell: Vitruvius architecture theory . Scientific Book Society, Darmstadt 2008, ISBN 978-3-534-21959-9 .
- Wilhelm Lübke, Max Semrau: The art of the Renaissance in Italy and in the north . Paul Neff Verlag, Esslingen 1907.
- Alexander Markschies: Icons of Renaissance Architecture . Prestel, Munich 2003, ISBN 3-7913-2840-9 .
- Andrea Palladio : I Quattro Libri dell'Architettura . Venezia 1616 (Book IV, Chapter 17)
- Nicole Riegel: San Pietro in Montorio in Rome. The votive church of the Spanish kings Isabella and Ferdinand of Spain. In: Roman yearbook of the Bibliotheca Hertziana. Volume 32, 1997/1998, pp. 273-320.
- Martin Schuller: The Tempietto - Results of Building Research. In: Roman yearbook of the Bibliotheca Hertziana. Volume 41, 2013/2014, pp. 166-207.
- Sebastiano Serlio : Tutte l'opere d'architettura et prospettiva. Venezia 1544, p. 67 ff.
- Sonia Servida: History of Architecture - Renaissance . Prestel, Munich 2011, ISBN 978-3-7913-4593-2 , p. 68.
- Christina Strunck: Rome - masterpieces of architecture from antiquity to today . Michael Imhof Verlag, Petersberg 2007, ISBN 978-3-86568-186-7 .
- Rolf Tomann (Red.): The art of the baroque: architecture, sculpture, painting . Könemann, Cologne 1997, ISBN 3-89508-991-5 .
- Giorgio Vasari : Le vite de 'più eccellenti architetti, pittori, et scultori italiani . Firenze 1550. (Letteratura italiana Einaudi, Torino 1986, ISBN 88-06-59659-4 )
- Vitruvius : Ten Books on Architecture . Scientific Book Society, Darmstadt 1964.
