Auswahl der wissenschaftlichen Literatur zum Thema „S. Maria delle Lauretane (Church : Rome, Italy)“

The Basilica Julii (also known as titulus Callisti and later as Santa Maria in Trastevere) provides a case study of the physical and social conditions in which early Christian liturgies 'rewired' their participants. This paper demonstrates that liturgical transformation was a two-way process, in which liturgy was the object as well as the agent of change. Three essential factors - the liturgy of the Eucharist, the space of the early Christian basilica, and the local Christian community - are described as they existed in Rome from the fourth through the ninth centuries. The essay then takes up the specific case of the Basilica Julii, showing how these three factors interacted in the concrete conditions of a particular titular church. The basilica's early Christian liturgical layout endured until the ninth century, when it was reconfigured by Pope Gregory IV (827-844) to bring the liturgical sub-spaces up-to-date. In Pope Gregory's remodeling the original non-hierarchical layout was replaced by one in which celebrants were elevated above the congregation, women were segregated from men, and higher-ranking lay people were accorded places of honor distinct from those of lesser stature. These alterations brought the Basilica Julii in line with the requirements of the ninth-century papal stational liturgy. The stational liturgy was hierarchically organized from the beginning, but distinctions became sharper in the course of the early Middle Ages in accordance with the expansion of papal authority and changes in lay society. Increasing hierarchization may have enhanced the transformational power of the Eucharist, or impeded it. Keywords: S. Maria in Trastevere, stational liturgy, tituli, presbyterium. On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

AbstractThe introduction and diffusion of Italian Renaissance forms in sixteenth-century Netherlandish art has usually been described as a process initiated by artists who travelled south, adopted the new style and reaped success after their return to the Netherlands. In giving full credit to the artists and considering this phcnomenon to be a process of artistic exchange in the modern sense, art historians have wrongly disregarded the historical circumstances that caused patrons' preference for the new style. The earliest use of Renaissance forms in the Low Countries on a large scale may be observed in the triumphal decorations of the 1515 Joyeuse Entrée of Charles of Hapsburg, the future emperor, in the town of Bruges. From that moment on, Renaissance forms were used abundantly in objects which served as a kind of propaganda for Hapsburg policy, such as church windows and chimney-pieces glorifying Charles v and the Hapsburg dynasty. Antique motifs fitted well in the imperialist visual language favoured by the Hapsburg dynasty and the Dutch nobles who supported its power politics. Derived from imperial Roman monuments, these forms unequivocally alluded to the absolute power of the ancient ancestors of the Holy Roman Emperor, thus legitimizing his authority. In the author's opinion this functional aspect is one of the main reasons for the ready acceptance and diffusion of the Renaissance style in the Low Countries. One of the first artists to travel from the Netherlands to Italy was the painter Michiel Coxcie (Malines 1499-1592). He stayed in Rome from about 1530 to 1538, painting several frescoes in Roman churches which brought him recognition among Italian colleagues. Only one example has survived: the fresco cycle in the chapel of St. Barbara in S. Maria dell'Anima, which he painted between 1532 and 1534. His mastery of the 'maniera italiana', which is evident in these paintings, is highly praised by Vasari, who met Coxcie in Rome in 1532. Vasari also states that Coxcie transferred the 'maniera italiana' to the Netherlands. Upon his return to Malines in 1539, Coxcie received several prestigious commissions, of which perhaps the most outstanding was to paint cartoons for the stained glass windows in the church of St. Gudule in Brussels, with its decoration of triumphal arches glorifying the Hapsburg dynasty. His ability to work in the high Renaissance style gained him the favour of Charles v and his sister, Mary of Hungary, governess of the Netherlands, who engaged him as a court painter. In the said series of Brussels windows, a remarkable change of style regarding the use of Renaissance forms is to be observed after Coxcie started supplying the cartoons in 1541. The windows completed between 1537 and 1540 had been made under the supervision of Bernard van Orley, allegedly Coxcie's teacher. They were rendered in an early Renaissance style characterized by the hybrid Italianate motifs that were in fashion during the 1520S and 1530s. Upon Orley's death in 1541, Coxcie was appointed his successor as cartoon painter for St. Gudule. The first window for which he was responsible, the window of John III of Portugal in the Chapel of the Holy Sacrament, exhibits a distinct caesura: the architectural decoration is high Renaissance in the Vitruvian or Serlian sense and the human faces and postures are derived directly from the examples of Raphael, Leonardo and Michelangelo. After careful perusal of the documents concerning the production of the windows and study of the stylistic differences between the windows made before and after 1541 (and the related preparatory drawings), one cannot but conclude that Michiel Coxcie was the initiator of the use of the high Renaissance style in the Brussels windows. Hitherto Bernard van Orley has been credited for this, on the assumption that he designed the whole cycle, including all its ornamental details and stylistic features. Although his contribution to the diffusion of the high Renaissance style in Netherlandish art was decisive, Michiel Coxcie's return to the Low Countries should not be regarded as the principal incentive for this process. The general predilection for this style to be found after 1540 could be a consequence of the impressive presence of Charles v and his retinue in the Netherlands during that year. The emperor, who came to quell the Ghent resurrection against the central government, brought with him the style that had been used in the triumphal decorations which accompanied his entries to Italian towns during the 1530S. The influence exercised on prevailing taste by the ephemeral monuments erected on the occasion of imperial entries must have been considerable, as the Brussels windows clearly show.

This thesis aims to reconstruct the history, building phases, original appearance and role in mediaeval Rome of the church of S. Maria in Aracoeli, from its origins to c. 1400. The introduction describes the topographical setting of the church and traces its historiography . The first chapter investigates previous churches, their documentary sources, archaeological evidence and surviving components of church furniture. Patronage, date and original appearance of the so-called ‘ara coeli’, the extant main altar of the former church, are discussed. The second chapter concerns the present church, constructed by the Franciscans after their arrival on the hill in the mid-thirteenth century. The first section covers the building history from a documentary point of view, while the second provides a formal analysis, dedicating a subsection to each surviving part (nave and aisles, transept and adjacent chapel, facade). Archaeological research, together with graphic, epigraphic, literary and documentary sources, establishes the transformations of the building as well as the original plan and elevation of its lost parts (apse and eastern chapels). The third section critically reconsiders the lost decoration of the original apse, its iconography and the reasons for its success. The fourth section focuses on the workshop: analysis of the building technique is combined with the information on the architect gathered from his surviving sepulchral epitaph; the use of spolia and the adoption of gothic window-tracery are also discussed. The final chapter places Aracoeli in its context: the first section examines the civic role of the church as a setting for communal assemblies and a privileged site for judgement, the second considers its role as a favourite site for burial chapels of important Roman families. This thesis clarifies the history and appearance of the Christian site before the Franciscans, and provides a reconstruction of the building stages and original aspect of the present church (as well as of the function of some annexed structures) which differs radically from previous hypotheses, thus situating Aracoeli in a different architectural and cultural framework.