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San Pietro in Montorio

From Wikipedia, the free encyclopedia

San Pietro in Montorio
Chiesa di San Pietro in Montorio (in Italian)
Façade
Map
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41°53′19″N 12°28′00″E / 41.8886°N 12.4666°E / 41.8886; 12.4666
LocationPiazza di S. Pietro in Montorio 2, Rome
CountryItaly
DenominationRoman Catholic
TraditionRoman Rite
WebsiteOfficial website, unsafe
History
StatusTitular church,
national church
DedicationSaint Peter
Consecrated1500
Architecture
Architect(s)Donato Bramante
Architectural typeChurch
Groundbreaking1481
Administration
DistrictLazio
Clergy
Cardinal protectorJames Francis Stafford
Façade of Tempietto del Bramante, with entrance to the cloister at right
Francesco Baratta. Saint Francis in Ecstasy, c. 1640. Raimondi Chapel, San Pietro in Montorio.

San Pietro in Montorio (English: "Saint Peter on the Golden Mountain") is a church in Rome, Italy, which includes in its courtyard the Tempietto, a small commemorative martyrium ('martyry') built by Donato Bramante.

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Transcription

(jazzy music) Female: We're high up on a hill overlooking Rome, one of the seven hills of Rome, the Janiculum hill, in a small courtyard looking at Bramante's small but important building, the Tempietto. Male: This is one of the treasures of Rome. It's actually one of my favorite buildings in the entire world. It's tiny. In fact, I'm not even sure I feel comfortable calling it a building. It's a marker. Female: The Tempietoo marks the site of the crucifixion of St. Peter. Male: Or what Bramante and the Church thought was the site of the crucifixion of St. Peter. Female: Right, and in fact, if you go inside, there's a hole that marks the spot in the ground where the cross was placed. St. Peter was crucified upside down. By marking the site, by making such a beautiful structure here, the Church is, in a way, saying the office of the Papacy goes back to St. Peter, the very first Pope who got that job from Christ himself. Male: It's interesting that it's Bramante who's designing this space because Bramante will also be one of the principle architects responsible for the other major site in Rome that is associated with St. Peter, the Basilica of St. Pietro in the Vatican, the site where Peter was buried. Both of these become markers, but this is a tiny little structure where, of course, St. Peter's is enormous. Female: This looks back to a kind of early Christian building called a martyria, or a marker of the site associated with an early Christian martyr. Male: Those were round buildings. It's interesting that Bramante's borrowing both from that early Christian tradition but also borrowing directly from Antiquity. In fact, in Rome itself, if you go to the Forum you can see a small round temple to Vesta, which is not so dissimilar from this. In fact, it's surrounded by columns. Female: That's right. Both the ancient Greeks and the ancient Romans employed the circular plan. Bramante's very consciously going back to those, He's consciously going back to the ancient the ancient Roman writer, Vitruvius, who wrote a great treatise on architecture and on correct proportions in architecture, which Bramante is really following here in the Tempietto. Male: Bramante really is in love with the ideal geometries of Antiquity, especially of ancient Greece. This building is a radial building. It's a round structure. It's very much unlike the traditional cruciform church which is based on the ancient basilica. It's interesting because Bramante also used a kind of ideal geometry in the other building we were talking about, in St. Peter's Basilica, which was originally a perfect cross. Female: Right. It was Greek cross, employing the circle and the square. This interest in pure geometric forms is something that we really see in the High Renaissance. Male: Let's talk about that relationship between ideal ancient geometry and the divine because I think that was really important at this moment that we call the High Renaissance. If you draw a circle, no matter how good an artist you are, it's always going to have some imperfections. But looking at that circle, we can be prompted to imagine something where there's no deviation, where there's no imperfection. So geometry was thought by the ancient Greeks, and again in the Renaissance, to be a vehicle by which we could imagine the perfection of heaven. Female: So Bramante, like many other artists of the High Renaissance, is really interested in this pure circular plan. Here, of course, the focus of this circle is that important site of the crucifixion of St. Peter. As we look up at this building, we have the steps from the stylobate that lead us up toward the circular colonnade, the cylinder or the drum, and then the dome on top. We really have this focus on a center and that would have been even more true if Bramante had designed the courtyard as he wanted to with a colonnade around it. Male: One can imagine the amplification if this was surrounded by yet another colonnade with a series of radial niches, that would have been a kind of conversation between the space around the building and the central structure itself that I think would have been unprecedented. All of those elements that you mentioned: the stylobate, the steps, the colonnade, and of course the dome, are all elements that come from Antiquity. The artist was really careful to get these things right. If you look at the columns themselves, this was the Doric order. It's not the Doric that we see from ancient Greece; not what we would see on the Parthenon. This is a Roman variant instead. It's called the Tuscan order. We can see columns like this embedded in the side of the first level of the Colosseum where, unlike the Greek Doric order, these columns are not fluted. They have even more of a sense of mass and solidity. Female: And true to the Doric order, we see triglyphs and metopes in the frieze just above the columns. Bramante's really capturing an authentic Doric order here. Male: Although he does sometimes allow for some variation. For instance, the Greeks and the Romans would not have, inside their colonnade, put plasters that pair with the columns. These were maximizing the radial quality by aligning the true columns with the false columns. Female: So there's a real rhythm that Bramante's creating here. What makes this so High Renaissance to me is its grandeur. Even though it's so small, there's a real sense of monumentality. In a way, this is the architectural equivalent of Michelangelo's figures in the Sistine Chapel; a real sense of the heroic, looking back to Classical Antiquity, and celebrating a kind of humanism. Male: There is a kind of self assurance in the High Renaissance; this idea that man can actually produce exemplars on earth of the perfection of the heavenly. Even though this is such a small building, I think its monumentality comes from its great ambition. (jazzy music)

History

The Church of San Pietro in Montorio was built on the site of an earlier 9th-century church dedicated to Saint Peter on Rome's Janiculum hill. It serves as a shrine, marking the supposed site of St. Peter's crucifixion.[1]

In the 15th century, the ruins were given to the Amadist friars, a reform branch of the Franciscans, founded by the Blessed Amadeus of Portugal, who served as confessor to Pope Sixtus IV from 1472. The church was rebuilt through the generous funding of Ferdinand and Isabella of Spain. It was consecrated in 1500 by Pope Alexander VI.[2]

It is a titular church, whose current title holder, since 1 March 2008, is James Francis Cardinal Stafford.

Interior

The church is decorated with artworks by prominent 16th- and 17th-century masters.

Until 1797, Raphael's final masterpiece, the Transfiguration, graced the high altar. At the start of the Napoleonic period, the altarpiece was expropriated by treaty by the French. it is now in the Vatican pinacoteca. The altar currently displays a copy by Cammuccini of Guido Reni's Crucifixion of St. Peter (also now in Vatican Museums). Although there is no grave marker, tradition has it that Beatrice Cenci—executed in 1599 for the murder of her abusive father and made famous by Percy Bysshe Shelley, among others—is buried below the high altar.[2]

The first chapel on the right contains Sebastiano del Piombo's Flagellation and Transfiguration (1516–24).[2] Michelangelo, who had befriended Sebastiano in Rome, supplied figure drawings that were incorporated into the Flagellation.

The second chapel has a fresco by Niccolò Circignani (1554), some Renaissance frescoes from the school of Pinturicchio, and an allegorical sibyl and virtue attributed to Baldassare Peruzzi.

The fourth chapel has a ceiling fresco by Giorgio Vasari.

The ceiling of the fifth chapel contains another fresco, the Conversion of St. Paul, by Vasari. The altarpiece is attributed to Giulio Mazzoni, while the funerary monument of Pope Julius III and Roberto Nobili are by Bartolomeo Ammannati. Also buried in the chapel is Julius III's scandalous 'nephew', Cardinal Innocenzo Ciocchi Del Monte.

The last chapel on the left contains a Baptism of Christ, attributed to Daniele da Volterra, and stucco-work and ceiling frescoes by Giulio Mazzoni.

A pupil of Antoniazzo Romano frescoed the third chapel with the Saint Anne, Virgin, and Child.

Dirck van Baburen, a central figure of the Dutch Caravaggisti, painted the Entombment for the Pietà Chapel, which is indebted to Caravaggio's example. Baburen worked with another Dutch artist, David de Haen in this chapel.[3] The two other paintings, The Mocking of Christ and The Agony in the Garden are variously attributed to either or both of the artists.

The second chapel on the left, the Raimondi Chapel (1640), was designed by Gian Lorenzo Bernini. It includes Francesco Baratta's Saint Francis in Ecstasy and sculptures by Andrea Bolgi and Niccolò Sale.

Irish chieftains' tombs

Inscription on the tomb of Hugh O'Neill, Earl of Tyrone

At the high altar are two tombs: that of Hugh O'Neill, The O'Neill, 2nd Earl of Tyrone and his son Hugh who predeceased him,[4] and the tomb shared by Rory O'Donnell, 1st Earl of Tyrconnell, and his brother Cathbharr, both of them younger brothers of Red Hugh O'Donnell.

These fled Ireland in 1607. Rory, Lord Tyrconnell, died in 1608, his brother Cathbharr ("Calfurnius" in the inscription) and Hugh, the son of the Great Earl, died in 1609. The cause of death in all cases was fever, probably malaria. Their tombs are covered with marble inscribed slabs with coloured borders, crests and shields.[5] They are about 12 feet from the altar on the left as you face it and are normally covered by a carpet.

Lord Tyrone himself died in 1616 and was buried in the church with much less solemnity. The original simple tombstone was lost in about 1849, but the text of the short inscription was copied: "D.O.M. Hugonis principis ONelli ossa" (Dedicated to God the Best and Greatest. The bones of Prince Hugh O'Neill). In 1989, Tomás Cardinal Ó Fiaich laid a new marble plaque with the same inscription in approximately the original place.[5]

The Tempietto

The Tempietto in Andrea Palladio's Quattro Libri (woodcut, 1570)

The so-called Tempietto (lit.'small temple') is a small commemorative tomb (martyrium) designed by Donato Bramante, possibly built as early as 1502 in the courtyard of San Pietro in Montorio. Commissioned by Ferdinand and Isabella of Spain, the Tempietto is considered a masterpiece of High Renaissance Italian architecture.[6]

References

  1. ^ Fehl, Philipp (1971). "Michelangelo's Crucifixion of St. Peter: Notes on the Identification of the Locale of the Action". The Art Bulletin. 53 (3): 326–343. doi:10.2307/3048868. JSTOR 3048868.
  2. ^ a b c "The Church of San Pietro in Montorio", Turismo Roma, Major Events, Sport, Tourism and Fashion Department
  3. ^ Slatkes, Leonard (1966). "David de Haen and Dirck van Baburen in Rome". Oud Holland. 81 (3): 173–186. doi:10.1163/187501766X00270. JSTOR 42711371.
  4. ^ Dunlop, Robert (1895). "O'Neill, Hugh, third Baron of Dungannon and second Earl of Tyrone 1540?–1616". In Lee, Sidney (ed.). Dictionary of National Biography. Vol. XLII. New York: MacMillan and Co. p. 196. OCLC 8544105.
  5. ^ a b "News 2005". Royal Society of Antiquaries of Ireland. 11 April 2005. Archived from the original on 27 September 2011.
  6. ^ Decker, Heinrich (1969) [1967]. The Renaissance in Italy: Architecture • Sculpture • Frescoes. New York: The Viking Press. p. 283.

Sources

  • Freiberg, Jack (2014), "Bramante's Tempietto, the Roman Renaissance, and the Spanish Crown", New York, Cambridge University Press, 2014.
  • Fortunato, Giuseppe (2010), "The Role of Architectural Representation in the Analysis of the Building: The 3d Survey of San Pietro in Montorio's Temple in Rome", atti del "X Congreso Internacional expresiòn gràphica aplicada a la edificacìon, Alicante, Editorial Marfil", S.A. ISBN 978-84-268-1528-6.
  • Satellite Photo. The Tempietto is the circular dome in the center, enclosed tightly by the cloister of San Pietro in Montorio. Just west is the white hemicircle of the Acqua Paola.

External links

This page was last edited on 17 February 2024, at 04:10
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