Santa Maria in Campitelli

00186 Roma

Santa Maria in Campitelli, full name Santa Maria in Portico in Campitelli, also of Santa Maria in Portico, is a church in Rome. She is also a title diakonia of the Roman Catholic Church and Church Order of Canons Regular Madre di Dio ( " Leonardini " ) and the parish church. It is one of the most important buildings of the Roman Baroque and is considered a masterpiece Carlo Rainaldi.

Location and Naming

The church is not in X. Rione Campitelli, but in neighboring XI, despite their name. Roman rione Sant'Angelo about 90 meters north of Marcellus.

However, it takes its name from Campitelli district. The nickname she owes the nearby Portico of Octavia, and the third name came from a combination of the two names. It was in Roman history is already a church named Santa Maria in Portico, this was in XII. Rione Ripa and no longer exists. Your former church treasure was part of the church treasure the Church today.

History and Architectural History

In the ancient church of Santa Maria in Portico in Rione Ripa was a miraculous image of Mary, said to have caused the plague year of 1656 in Rome miracle. The Roman Senate undertook to accommodate the miraculous image in a dignified setting. Originally it was planned to convert it into an already existing St. Mary's Church at the nearby a few meters from the current church Piazza Campizucchi. Ultimately, it was decided to build a new St. Mary's Church to accommodate the image. This was commissioned on the initiative of Pope Alexander VII, finally, Carlo Rainaldi. He delivered a series of designs, his plans looked originally before an oval on a planned basis than the Church, the plans were probably not carried out for reasons of cost. After re- submission of plans by Rainaldi, the church of 1662 or 1663 to 1675 was built. Although ordained this year, the works continued until the final equipment back to 1725.

Appearance

The facade was in its time an innovation in the design of church facades. Typical of Rainaldi is the design with full columns. The two-story façade is divided in depth into three levels, in the area with five axes. The first level is the one provided above is provided with a segmented gable Ädikulaportal, with a strongly projecting triangular pediment inner central part of the facade. Rainaldi turned full columns in the first level, the left and right as a demarcation of the central portion to the other facade elements, this is both in the top, like in the basement. The capitals are a variant of the Corinthian order. Upstairs he went above the arched window a scallop one, instead of the triangular pediment of the basement he added a segment of a broken pediment, below which the papal coat of arms is attached. The second, actual outline level set now the three-quarter columns for defining the structure of the nave of the supposed aisles or the corner pilasters of the facade dar. This, by the pretense of side portals in itself basilica structure does not correspond to the structure of the Church, since this is a single nave. The third level is formed by the wall of the façade, the Rainaldi deepened again. In the central part of the facade he put the resulting surfaces ahead two three-quarter columns, in the fake side portals he vaulted over the area above the windows. On the sides of the façade on the upper floor volutes to the exchange of the building are attached to the basement. Based on the cranked architrave and pediment of the facade of the structure can be seen clearly. Grundmann commented: "Through the associated forward and backward jumps and through the physicality of the full columns of the division apparatus receives a hitherto unheard independent dominance ".

Affairs

No less complicated than the facade is the basic structure of the church inside. The construction appears first as a single nave with side chapels. In fact, the main room is decorated with biaxially rotated by 90 degree axes. The longitudinal axis dominates the length of the church, but you stand in the main room, a second transverse axis Asked opposite. At the ends of the elongated axis Rainaldi added a chapels with apses. In order to delineate the respective chapels he added with a corner pilasters in pairs featured full columns. Thus, these chapels as transepts seem almost in the middle of the main room. Result is a basic form of the main room almost in the shape of a Greek cross. At the main room in the longitudinal axis joins the dome construction with a flat covered in the presbytery. The transition between the spatial parts can be clearly seen at the architectural constriction. Rainaldi provides each full columns next to each other, the outer or assume to the main room, the ceiling structure of the nave ton, the inner to the presbytery follow the dome structure. The dome is broken by transverse oval windows. At the presbytery the semicircular apse connects. The demarcation of the space parts, there again by a constriction with pairwise provided full columns, as well as at the junction of the main room to the presbytery. The apse itself is dominated by the mighty tabernacle with the gilded glory behind the main altar. The lighting effect on this way is given by the left and right side inserted, flanked by pilasters large windows.

In sum, the intricate architecture Rainaldi achieved an increase of the spatial effect to the altar compartment. The "extraordinary scenic quality " of the building succeeds Rainaldi by hiring a full- pillars demarcating the independent components in the longitudinal view and those resulting from the arrangement and number of windows lighting effects. This design had until then in Rome no role models, a similar construction had eg San Salvatore in Bologna or San Giuseppe in Milan, so northern Italian churches. Which, as in the example of the church, controlled by the architecture overview tour was very influential in the late Baroque.

Ultimately, this building type in Rome, developed by Rainaldi could not prevail. The assessments of contemporary architects: " The one, including Argan, interpret its solution as a revolutionary overthrow of typological boundaries between central and longitudinal building, while others, such as Porthogesi, regarded the building as a successful compromise ."

Equipment

The first chapel on the right side of the painting contains the representation of St. Michael by Sebastiano Conca, the next on this site is a representation of St. Anne, created by Luca Giordano. The church also contains the tomb of Cardinal Bartolomeo Pacca, this was created by a Dresden sculptor, Ferdinand Pettrich. The church also contains sculptures by Lorenzo Ottoni and Giuseppe Mazzuoli.

The statue in the middle of the tabernacle behind the main altar is located an enamel work, created by Franco- Rhenish models, but possibly also from the area of ​​Limoges, maybe it is a Roman work. The date of creation is also not known to be called the 10th or 11th century or the early 13th century. It shows, as well as the gold held by the Baby Jesus, Madonna in a vaulted arcade of a blue background with golden tendrils, possibly oil or oak branches. In each case the left and right above depictions of Mary released from the arcades arched panels representations of Saints Peter and Paul are inserted. The Tabernacle itself was inspired by Bernini's Cathedra Petri in the Vatican Basilica, it was created from designs by Giovanni Antonio de ' Rossi by Ercole Ferrata Melchiore CAFA and 1667.

The treasury of the church next to it contains a driven and partially gilded silver reliquary cross of the 12th century. According to the inscription, it was created by a Roman goldsmith by the name of Gregory and his wife Benedetta for payment of a vow. Another special feature is an arm reliquary, it contains relics of St. Marcellinus and dates from the early 13th century. The container is driven out of silver, the ornate base is gilded. It is one of traditional of only a handful of medieval art, bear the hallmark of the city of Rome.

In the Church, the founder of the Order of the Madre de Dio, St. Giovanni Leonardi is buried in a glass coffin. He was called by Pope Pius XI. Canonized in 1938.

Opening times

The church is open from 08:10 bis 12:00 clock in the morning and in the afternoon from 16:00 bis 19:00 clock.

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