Sculpture La Resurrezione ("The Resurrection") in the papal audience hall
The Vatican audience hall is usually named after its function (“Aula delle Udienze Pontificie”), its architect (“Sala Nervi”) or its builder (“Aula Paolo VI”). Here, Paul VI Hall , the common name, which is reproduced in many other languages as ( French Salle Paul VI ). Your capacity is enormous. At papal general audiences, almost 6,500 people with a good view find a seat under its huge, parabolically vaulted ceiling with 42 structural ribs. By removing some of the seats, the capacity of the hall can be expanded to over 12,000 people, and by removing all seats to a maximum of 25,000 standing places. In June 1971 the Vatican Audience Hall was opened as part of a general audience with over 15,000 people.
The interior of the hall is shaped by a sculpture about 20 meters wide, seven meters high and three meters deep, which is located in the back of the grandstand. It was created in 1975 by the Italian sculptor Pericle Fazzini and depicts the resurrection of Jesus, "La Resurrezione", rising from the crater of a nuclear explosion. Fazzini wrote:
“Ho pensato di creare il Cristo come se risorgesse dallo scoppio di questo grande uliveto, luogo di pace delle ultime preghiere. Il Cristo risorge da questo cratere apertosi dalla bomba nucleare: un'atroce esplosione, un vortice di violenza ed energia. "
“I decided to depict the resurrection of Christ in a large olive grove, that peaceful place of his last prayers. Christ rises from a crater that was torn open by an atomic bomb: a cruel explosion, a vortex of violence and energy. "
The sculpture, which is also one of the most important works of the sculptor, is made of bronze and brass and weighs around 40 tons. It took seven years to work on it. There were twelve years between the Vatican's first contact with the artist and the inauguration of the work in the audience hall.
The conference hall for the General Assemblies and Extraordinary Assemblies of the Synod of Bishops is located on the first floor above the vestibule of the Vatican Audience Hall . This New Synod Hall ("Aula Nuova del Sinodo") was Paul VI. set up as a small auditorium. Important meetings of the Synod of Bishops took place there for the first time in 1971.
The tribune-like part of the audience hall, on which the Pope's seat usually stands, is located on Vatican territory . The part of the room in which the audience is present belongs to Italy under international law, but is in the extraterritorial property of the Holy See .
By the end of 2008, more than 2000 solar modules were installed on the roof of the audience hall, which were honored with the European Solar Prize 2008 in the category Solar Construction and Urban Development and a gift from SolarWorld AG. The inverters required for power conversion also come from Germany from SMA Solar Technology AG.
meaning
“In terms of architectural history, the Sala Nervi is the most important new building for the Apostolic See in Rome since its late Baroque construction work in the 18th century. Christian travelers to Rome remembered the audience hall next to St. Peter's Basilica as the place of the proper teaching of the Pope. From a pastoral point of view, it actually only demonstrated its full functionality during the pontificate of John Paul II , when many millions of people sought to meet the Pope in more than a thousand general audiences. Since April 2005 Pope Benedict XVI. this tradition of general audiences continued. Like his predecessor Paul VI. John Paul II used to give a speech at the public general audience first, then he warmly greeted the people present. At his express request, the audience hall was given the name »Paul VI« in the 1980s. "
organ
The large organ was built in 1972 by the Mascioni organ building company (opus 932). The instrument has 95 stops on five manual works and a pedal . The instrument is operated from a mobile console. The playing and stop actions are electric.
I positivo aperto Cc 4
Principals
8th'
Voce umana
8th'
Corno di camoscio
8th'
Corno di notte
8th'
Ottava
4 ′
Flauto a cuspide
4 ′
Nazardo
2 2 ⁄ 3 ′
Quintadecima
2 ′
Flautino dolce
2 ′
Terza
1 3 ⁄ 5 ′
Larigot
1 1 ⁄ 3 ′
Piccolo
1'
Ripieno grave IV
1 1 ⁄ 3 ′
Ripieno acuto III
1 ⁄ 2 ′
Tromba
8th'
Cromorno
8th'
tremolo
Harp (from IV.)
Campane (from IV.)
II Grand'Organo Cc 4
Principals
16 ′
Principale 1 o
8th'
Principale 2 do
8th'
Flauto traverso
8th'
Bordoncino
8th'
Ottava 1 o
4 ′
Ottava 2 do
4 ′
Flauto a camino
4 ′
Duodecima
2 2 ⁄ 3 ′
Sesquialtera II
2 2 ⁄ 3 ′
Quintadecima
2 ′
Decimanona
1 1 ⁄ 3 ′
Vigesimaseconda
1'
Ripieno grave V
2 ′
Ripieno acuto IV
1 1 ⁄ 3 ′
Cornetto combinato
Tromba
16 ′
Tromba
8th'
Dulciana
8th'
Trombina
4 ′
Harp (from IV.)
Campane (from IV.)
III Espressivo Cc 4
Bordone dolce
16 ′
Principals
8th'
Bordone dolce
8th'
Flauto aperto
8th'
Viola da gamba
8th'
Salicionale
8th'
Voce celeste
8th'
Ottava
4 ′
Flauto ottaviante
4 ′
Flauto in XII
2 2 ⁄ 3 ′
Quintadecima
2 ′
Flagioletto
2 ′
Decimino
1 3 ⁄ 5 ′
Ripieno V
2 ′
Controfagotto
16 ′
Tromba armonica
8th'
oboe
8th'
Trombina
4 ′
tremolo
Harp (from IV.)
Campane (from IV.)
IV Solo Espressivo Cc 4
diapason
8th'
Clarabella
8th'
Viola d'amore
8th'
Ottava
4 ′
Flauto dolce
4 ′
Ottavina
2 ′
Cornetto III
2 2 ⁄ 3 ′
Mistura V
2 ′
Tromba a Squillo
8th'
Corno inglese
8th'
Clarinetto
8th'
Chiarina
4 ′
tremolo
harp
Campane
V Eco Espressivo Cc 4
Dulciana
16 ′
Principalino
8th'
Corno di notte
8th'
Voce eterea II
8th'
Flauto in eco
4 ′
Fugara
4 ′
Flauto a becco
2 ′
Ripieno etereo III
2 ′
Voce corale
8th'
Cornamusa
8th'
tremolo
Harp (from IV.)
Campane (from IV.)
Pedals Cg 1
Gravissima
32 ′
Contrabbasso
16 ′
Principals
16 ′
Subbasso 16 ′
Bordone
16 ′
(Continuation)
Basso
8th'
Principals
8th'
Corno di camoscio
8th'
Bordone
8th'
Bordoncino
8th'
(Continuation)
Ottava
4 ′
Flauto
4 ′
Superottava
2 ′
Ripieno VI
2 2 ⁄ 3 ′
(Continuation)
Bombarda
16 ′
Tromba
16 ′
Contrafagotto
16 ′
Trombones
8th'
Fagotto
8th'
(Continuation)
Clarone
4 ′
Fagotto
4 ′
Claroncino
2 ′
Campane
Pedals d'Eco Cg 1
Basso d'Eco
16 ′
Armonica
16 ′
Bordone d'Eco
8th'
Dolce
8th'
Remarks
↑ Bühren 2008 (“Art and Church in the 20th Century”), p. 314, Bühren 2008 (“Paul VI. And Art”), p. 278.
Conny Cossa: Modernity in the shade. The Audience Hall Pier Luigi Nervis in the Vatican , Verlag Schnell & Steiner, Regensburg 2010, ISBN 978-3-7954-2344-5 .
Conny Cossa: Modernismo all'ombra - La Sala delle udienze pontificie di Pier Luigi Nervi , Libreria Editrice Vaticana, Rome 2010, ISBN 978-88-209-8446-5 .
Ralf van Bühren : Paul VI. and the art. The importance of the Montini pontificate for the renewal of pastoral work for artists after the Second Vatican Council , in: Forum Katholische Theologie 24, 2008, pp. 266–290.
Ralf van Bühren : Art and Church in the 20th Century. The reception of the Second Vatican Council ( Council History , Series B: Investigations), Verlag Ferdinand Schöningh, Paderborn 2008, ISBN 978-3-506-76388-4 .