Le Chiese di Roma nel Medioevo (1050-1300). Architettura e arredi liturgici (Corpus Cosmatorum II)

The Churches of Rome in the Middle Ages (1050-1300). Liturgical Furnishing and Architecture (Corpus Cosmatorum II)

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The Churches of Rome in the Middle Ages (1050-1300). Liturgical Furnishing and Architecture (Corpus Cosmatorum II)

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The Marian basilica built by Sixtus III (432–440) is the only one among the great churches of Rome to have remained substantially intact in its structure, as well as in parts of its iconographic program. The nave – divided into three aisles by two rows of columns each supporting an architrave – was originally closed to the west by an apse, probably extended further west by a kind of ambulatory. Thus, there was no transept. During the medieval and Baroque periods, modifications were made to the building, but they did not radically alter its existing core. The significance of Rome’s first Marian church was enhanced by the popularity of the cult of the Nativity (Santa Maria ad Praesepem), as well as by the miraculous icon of Mary (the icon of the Evangelist Luke), which occupied the highest rank among the Marian images of the city and which was visited in procession by the ‘Icon of the Savior’ from the Lateran and by other images of the Virgin. Of the rich liturgical furnishings of the early Middle Ages (Pope Paschal I, 817–825), which also included the raising of the altar area, no traces have survived. Between 1100 and the early fourteenth century, the liturgical furnishings were updated and renewed in several campaigns, though much of their outcome was later altered by Baroque renovations, especially those carried out by Ferdinando Fuga under Pope Benedict XIV (1743–1750). At the beginning of the twelfth century, a bell tower was built, which was later replaced in the fourteenth century by the one still standing today. The eastern façade was embellished under Pope Eugene III with a new portico. The ambo erected under Pope Alexander III suggests a renewal of the schola cantorum. At the end of the century, the financing of the opus sectile pavement in the central nave by the Paparone family probably marked the temporary conclusion of the works. It is only in relation to this period that the legend of the miraculous snowfall in August – with which Mary was said to have designated the site and dimensions of her future church – is attested. The story became extremely popular in the following centuries and spread widely. The thirteenth-century renovations began in the latter part of the century. In 1256, Jacopo di Giovanni Capocci and his wife Lavinia donated an altar with a tall ciborium-reliquary, serving as the pilgrims’ altar, in the central nave. In the fourteenth century, as a pendant, another altar with ciborium was erected to house the icon of the Virgin. The first and most extensive medieval remodeling was initiated by Pope Nicholas IV and his protector and patron, Cardinal Jacopo Colonna, archpriest of Santa Maria Maggiore. The apse was demolished and rebuilt seven meters further west. Between the nave and the new apse, a narrow transept was inserted, whose painted decoration was carried out only on the upper parts of the southern arm. It is possible to hypothesize that the transept of Santa Maria Maggiore was built with reduced width in order to preserve the dimensions of the basilica as established by the Virgin, without exceeding those marked by the presumed western ambulatory. The works proceeded in parallel with the reconstruction of the apse, transept, and eastern façade of San Giovanni in Laterano, a project also undertaken during the pontificate of Nicholas IV, at least partially by the same workshops active in Santa Maria Maggiore. Here, the apse mosaic depicting the Coronation of the Virgin was signed by Jacopo Torriti in 1296. Through its synthesis of Roman tradition and contemporary Gothic tendencies, the work represents a highly significant moment in medieval painting. The apse cylinder is decorated with scenes from the Life of the Virgin, while on the exterior, a Marian-themed mosaic cycle adorned the cornice of the apse. At the same time, on the eastern side, a new façade was erected, also entirely covered with mosaics. The Deesis with saints and the tetramorph in the lunette was signed by Filippo Rusuti. Two cardinals of the Colonna family were represented as founders: one of them is identified in the inscription as Jacopo. The four scenes of the founding legend represented on the lower surface are clearly attributable to the patronage of the Colonna family, as evidenced by the numerous coats of arms. Although the power of the Colonna was violently suppressed during the pontificate of Boniface VIII, it is still possible to identify a “Colonna era” in relation to the construction and decoration of Santa Maria Maggiore during the years 1288–1296 and ca. 1305–1315. In the new extension of the western area (north transept and apse), the funerary monuments of Pope Nicholas IV and the two Colonna cardinals were placed; thus, it is possible to hypothesize that one of the motivations for the restructuring was the creation of a family memorial space in proximity to the tomb of the pope who bore their name. During the pontificate of Nicholas III, the interior of the Cappella del Presepe was also remodeled, and it was reconsecrated in 1291. After the transfer of the small devotional space to the new Sistine Chapel (1587, by Domenico Fontana), only the altar frontal and most of the small statues from an Adoration of the Magi – identified as works by Arnolfo di Cambio – remained. This contribution proposes a new reconstruction hypothesis concerning the debated original arrangement of the figures of this group. Each of Rome’s great churches can be understood as a structure shaped by history and as a mirror of dominant social dynamics, particularly among the noble families of the city. Santa Maria Maggiore offers especially significant evidence for the twelfth and thirteenth centuries (Paparone, Capocci, Colonna, Savelli, Normanni). The usual distinction between ecclesiastical and lay patrons appears to have been of secondary importance compared to a mentality that valued family ties and client networks. In particular, the legend of Santa Maria Maggiore – according to which both a pope and a noble couple were chosen together by the Virgin for the foundation of the first Marian church in the area designated by the miraculous snowfall – seems to have been used as an effective propaganda model. It indeed encouraged joint action by members of noble families, whether lay or ecclesiastical.

Bd_5_194_SMM.TIFF — Rom, S. Maria Maggiore, Langhaus nach Osten (nach Ernst 2000)
© Ernst
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Bd_5_195_SMM.TIFF — Rom, S. Maria Maggiore, Rekonstruktion der Basilika Sixtus’ III. (nach CBCR 3, 1967)
© Krautheimer, Richard
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Bd_5_196_SMM.TIFF — Rom, S. Maria Maggiore, Grundriss (nach CBCR 3, 1967)
© Krautheimer, Richard
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Bd_5_197_SMM.TIFF — Rom, S. Maria Maggiore, Grundriss (nach De Blaauw 1994)
© De Blaauw, Sible
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Bd_5_198_SMM.TIFF — Rom, S. Maria Maggiore, Gebälk nach Beseitigung der Stuckauflagen mit der dahinterliegenden Konstruktion in Backstein, Gipsabguss (nach CBCR 3, 1967)
© Krautheimer, Richard
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Bd_5_199_SMM.TIFF — Rom, S. Maria Maggiore, Gliederung der Hochschiffswand und Mauerwerk in der Architravzone des Langhauses mit den Sondagen 1934 (nach CBCR 3, 1967)
© Krautheimer, Richard
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Bd_5_200_SMM.TIFF — Rom, S. Maria Maggiore, Ursprünglicher Pilaster der Hochschiffswand unter der barocken Gliederung, Gipsabguss (nach CBCR 3, 1967)
© Krautheimer, Richard
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Bd_5_201_SMM.TIFF — Rom, S. Maria Maggiore, Spätantiker Stuckfries hinter dem inneren Abschlussgesims des Quattrocento, Gipsabguss (nach CBCR 3, 1967)
© Krautheimer, Richard
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Bd_5_202_SMM.TIFF — Rom, S. Maria Maggiore, Frühmittelalterlicher Stuckfries hinter dem inneren Abschlussgesims des Quattrocento (nach CBCR 3, 1967)
© Krautheimer, Richard
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Bd_5_203_SMM.TIFF — Rom, S. Maria Maggiore, Längsschnitt durch Querhaus und westliches Langhaus, spätes 15. Jh. (von der Rückseite durchgeschlagen ein Grundriss von S. Maria in Aracoeli). BAV, Vat. lat. 11257, fol. 185v (nach CBCR 3 1967)
© Krautheimer, Richard
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Bd_5_204_SMM.TIFF — Rom, S. Maria Maggiore, Längs- und Querschnitt der Basilika. Aufmessung der Obergadenfenster (nach CBCR 3, 1967)
© Krautheimer, Richard
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Bd_5_205_SMM.TIFF — Rom, S. Maria Maggiore, Rekonstruktion der ursprünglichen Rahmung von Fenstern und Mosaikfeldern im Langhausobergaden (nach CBCR 3, 1967)
© Krautheimer, Richard
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Bd_5_206_SMM.TIFF — Rom, S. Maria Maggiore, Grundrissrekonstruktion mit Apsisumgang (nach De Blaauw 1994)
© De Blaauw, Sible
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Bd_5_207_SMM.TIFF — Rom, S. Maria Maggiore, Rekonstruktion der ursprünglichen Apsis- und Langhausgliederung (nach De Blaauw 1994)
© De Blaauw, Sible
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Bd_5_208_SMM.TIFF — Rom, S. Maria Maggiore, Visualisierung der liturgischen Ausstattung unter Paschalis I. (nach CBCR 3, 1967)
© Krautheimer, Richard
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Bd_5_209_SMM.TIFF — Masolino/Masaccio, Altartafel mit Legende des Schneewunders. Neapel, Museo Capodimonte, Inv.Nr. Q 35 (nach Romano, Apogeo 2017)
© Romano, Serena
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Bd_5_210_SMM.TIFF — Rom, S. Maria Maggiore, Nördliches Hochschiff, Obergadenfenster und Turm (nach Pietrangeli 1987)
© Pietrangeli, Carlo
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Bd_5_211_SMM.TIFF — Rom, S. Maria Maggiore, Obergadenfenster auf der Südseite mit Resten der frühmittelalterlichen Füllung (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Bd_5_212_SMM.TIFF — Rom, S. Maria Maggiore, Obergadenfenster auf der Südseite mit davor abgelegten Fragmenten des Fenstermaßwerks aus dem 15. Jh. (BHR Fotothek Nachlass Krautheimer)
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Bd_5_213_SMM.TIFF — Rom, S. Maria Maggiore, Westansicht mit der nach Plänen Carlo Rainaldis ummantelten Apsis (BHR Archivio Cesare D’Onofrio)
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Bd_5_214_SMM.TIFF — Rom, S. Maria Maggiore, Vorhallenfassade Ferdinando Fugas mit Turm (BHR Fotothek, Foto Roberto Sigismondi 2005)
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Bd_5_216_SMM.TIFF — Rom, S. Maria Maggiore, Langhausstütze der Kolonnade nach der Politur unter Ferdinando Fuga, Kapitell und Basis neu ummantelt (Foto ICCD)
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Bd_5_217_SMM.TIFF — Rom, S. Maria Maggiore, Unter Fuga neu verlegtes Paviment im Langhaus (Foto Luce 4248 E)
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Bd_5_218_SMM.TIFF — Rom, S. Maria Maggiore, Unter Fuga neu verlegtes Paviment im Langhaus, Quincunx-Bahn vom Eingang gesehen (Foto Claussen 2017)
© Claussen, Peter Cornelius
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Bd_5_219_SMM.TIFF — Rom, S. Maria Maggiore, Unter Fuga neu verlegtes Paviment im Langhaus, Musterreihe im nordöstlichen Bereich (Foto Claussen 2017)
© Claussen, Peter Cornelius
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Bd_5_220_SMM.TIFF — Rom, S. Maria Maggiore, Stifterinschrift Eugens III. aus dem Architrav der ehemaligen Portikus, eingemauert an der Nordflanke der Kirche (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Bd_5_221_SMM.TIFF — Rom, S. Maria Maggiore, Fassade, Turm und Palast im Süden symmetrisch ergänzt (nach De Angelis 1621)
© Angelis, Paolo de
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Bd_5_224_SMM.TIFF — Rom, S. Maria Maggiore, Fassadenmosaik in Fugas Vorhallenobergeschoss (nach Romano, Apogeo 2017)
© Romano, Serena
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Bd_5_225_SMM.TIFF — Rom, S. Maria Maggiore, Aquarellierte Gesamtaufnahme des Fassadenmosaiks von S. Maria Maggiore, G.B. De Rossi, L. Garelli (nach De Rossi 1899)
© Felice, Grossi Gondi
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Bd_5_226_SMM.TIFF — Rom, S. Maria Maggiore, Nachzeichnung des Fassadenmosaiks, Anonym, 17. Jh. Edinburgh, National Gallery, Inv.Nr. D 1051 (CC BY-NC)
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Bd_5_227_SMM.TIFF — Rom, S. Maria Maggiore, Mittelabschnitt der Fassade (nach De Angelis 1621)
© Angelis, Paolo de
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Bd_5_228_SMM.TIFF — Rom, S. Maria Maggiore, Mittelteil der oberen Zone des Fassadenmosaiks mit Majestas, Filippo Rusuti (BHR Fotothek, Foto Santinelli 2012)
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Bd_5_229_SMM.TIFF — Rom, S. Maria Maggiore, Rechter Mittelteil des Fassadenmosaiks mit Patritius vor Liberius, Wappen und „Baumeister“ (BHR Fotothek, Foto Santinelli 2012)
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Bd_5_230_SMM.TIFF — Rom, S. Maria Maggiore, Fassadenmosaik, rechtes Mosaikfeld mit dem Schneewunder (nach Romano, Apogeo 2017)
© Romano, Serena
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Bd_5_231_SMM.TIFF — Rom, S. Maria Maggiore, Fassadenmosaik, rechtes Mosaikfeld mit Liberius, der den Grundriss bezeichnet (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Bd_5_232_SMM.tiff — Rom, S. Maria Maggiore, Fassadenmosaik, Detail mit den sich öffnenden Fundamentgräben (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Bd_5_233_SMM.TIFF — Rom, S. Maria Maggiore, Fassadenokulus mit Mosaiküberzug und Marmorvierpass aus einer frühmittelalterlichen Spolie (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Bd_5_234_SMM.TIFF — Rom, S. Maria Maggiore, Ansicht von Süden mit Turm und einem kolossalen, nach Süden gerichteten Bild einer Madonna (nach De Angelis 1621)
© Angelis, Paolo de
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Bd_5_235_SMM.TIFF — Rom, S. Maria Maggiore, Luftaufnahme des Gesamtkomplexes mit allen Anbauten (BHR, Archivio Cesare D’Onofrio)
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Bd_5_236_SMM.TIFF — Rom, S. Maria Maggiore, Fassade mit Turm von Osten, Detail (BHR Fotothek, Foto Roberto Sigismondi 2005)
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Bd_5_237_SMM.TIFF — Glocke aus dem Jahr 1289, ehem. im Campanile von S. Maria Maggiore. Rom, Vatikanische Museen (Foto Claussen 2011)
© Claussen, Peter Cornelius
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Bd_5_238_SMM.TIFF — Nicolaus van Aelst (zugeschrieben), Fassade und Turm von S. Maria Maggiore, vor 1600 (BHR Fotothek)
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Bd_5_239_SMM.TIFF — Rom, S. Maria Maggiore, Gesamtanlage mit Detailbildern im Rahmen, G. Maggi, M. Greuter, Kupferstich, 1600 (BHR Fotothek)
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Bd_5_240_SMM.TIFF — Rom, S. Maria Maggiore, Turm von Süden (nach Pietrangeli 1987)
© Pietrangeli, Carlo
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Bd_5_241_SMM.tiff — Rom, S. Maria Maggiore, Turmobergeschosse von Nordwesten (Foto Claussen 2017)
© Claussen, Peter Cornelius
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Bd_5_242_SMM.TIFF — Rom, S. Maria Maggiore, Westansicht um 1600 nach De Angelis (1621) (BHR Fotothek)
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Bd_5_243_SMM.TIFF — Rom, Biblioteca Apostolica Vaticana, Salone Sistino, Westansicht von S. Maria Maggiore, 1588–1590, Detail (nach Pietrangeli 1987)
© Pietrangeli, Carlo
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Bd_5_244_SMM.TIFF — Rom, S. Giovanni in Laterano, Apsis vor ihrem Abbruch um 1870 (nach Lauer 1911)
© Lauer, Philippe
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Bd_5_245_SMM.TIFF — Rom, S. Maria Maggiore, Zentrale Partie der Westansicht um 1600 (De Angelis 1621)
© Angelis, Paolo de
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Bd_5_246_SMM.TIFF — Rom, S. Maria Maggiore, Grundriss der Michaelskapelle, Detail (nach De Angelis 1621)
© Angelis, Paolo de
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Bd_5_247_SMM.TIFF — Rom, S. Maria Maggiore, Madonnenlunette, Detail aus Abb. 242 (nach De Angelis 1621)
© Angelis, Paolo de
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Bd_5_248_SMM.TIFF — Rom, S. Maria Maggiore, Marienikone „Salus Populi Romani“ aus S. Maria Maggiore (nach Pietrangeli 1987)
© Pietrangeli, Carlo
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Bd_5_249_SMM.TIFF — Rom, S. Maria Maggiore, Rest des Madonnenmosaiks der Außenlunette an der Apsis, verborgen hinter Rainaldis Ummantelung (nach Romano, Apogeo 2017)
© Romano, Serena
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Bd_5_250_SMM.TIFF — Rom, S. Maria Maggiore, Blick auf die nördliche Querhausfront, vor 1915 (nach Biasiotti 1915)
© Biasiotti, Giovanni
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Bd_5_251_SMM.TIFF — Rom, S. Maria Maggiore, Nordansicht des Gesamtkomplexes, rechts klein die nördliche Querhausfassade. (nach De Angelis 1621, BHR Fotothek)
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Bd_5_252_SMM.TIFF — Rom, S. Maria Maggiore, Ostwand des nördlichen Querhauses von der Dachterrasse aus (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Bd_5_253_SMM.TIFF — Rom, S. Maria Maggiore, Ostwand des nördlichen Querhauses, Modulus des Mauerwerks (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Bd_5_254_SMM.TIFF — Rom, S. Maria Maggiore, Ostwand des nördlichen Querhauses, vor 1915 (nach Biasiotti 1915)
© Biasiotti, Giovanni
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Bd_5_255_SMM.TIFF — Rom, S. Maria Maggiore, Strebepfeiler an der Nordostecke des Querhauses, teilweise verschluckt von der angebauten Canonica (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Rom, S. Maria Maggiore, Schematische Rekonstruktion des Querhauses ohne Anbauten (Zeichnung Emanuele Pigionatti, Mendrisio)
© Claussen, Peter Cornelius
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Bd_5_257_SMM.TIFF — Rom, S. Maria Maggiore, Langhausgebälk auf der Nordseite mit Mosaikranken (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Bd_5_258_SMM.TIFF — Rom, S. Maria Maggiore, Langhausgebälk auf der Ostseite mit Mosaikranken, 17. Jh. (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Bd_5_259_SMM.TIFF — Rom, S. Maria Maggiore, Langhausgebälk auf der Südseite mit Mosaikranken (Foto Dittscheid 2017)
© Dittscheid, Hans-Christoph
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Bd_5_260_SMM.TIFF — Rom, S. Maria Maggiore, Langhausgebälk auf der Nordseite mit Lamm (Foto Senekovic 2012)
© Senekovic, Darko
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Bd_5_261_SMM.TIFF — Rom, S. Maria Maggiore, Langhausgebälk auf der Südseite mit Mosaikranken (Foto Claussen 2017)
© Claussen, Peter Cornelius
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Bd_5_262_SMM.TIFF — Rom, S. Maria Maggiore, Mosaikranken des 17. Jhs. auf dem nördlichen Pfeiler vor der Apsis (Foto Dittscheid 2018/19)
© Dittscheid, Hans-Christoph
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Bd_5_263_SMM.TIFF — Rom, S. Maria Maggiore, Langhausgebälk auf der Nordseite neben dem Bogen zur Sakramentskapelle mit Mosaikranken, 17. Jh. (Foto Claussen 2017)
© Claussen, Peter Cornelius
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Bd_5_264_SMM.TIFF — Rom, S. Maria Maggiore, Langhausgebälk auf der Südseite mit Lamm (Foto Dittscheid 2018/2019)
© Dittscheid, Hans-Christoph
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Bd_5_266_SMM.TIFF — Rom, S. Maria Maggiore, Dekoration des Giebels an der inneren Ostwand (nach Wilpert 1916)
© Wilpert, Josef
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Bd_5_268_SMM.TIFF — Rom, S. Maria Maggiore, Muster der Mittelbahn aus Fugas Mittelschiff-Paviment (nach Pietrangeli 1987)
© Pietrangeli, Carlo
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Bd_5_269_SMM.TIFF — Rom, S. Maria Maggiore, Muster des Mittelschiffspaviments nördlich der Confessio (Foto Claussen 2017)
© Claussen, Peter Cornelius
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Bd_5_270_SMM.TIFF — Rom, S. Maria Maggiore, Pavimentplan (nach Bunsen/Gutensohn/Knapp 1842)
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Bd_5_271_SMM.TIFF — Rom, S. Maria Maggiore, Teilweise rekonstruierender Grundriss (nach De Angelis 1621)
© Angelis, Paolo de
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Bd_5_273_SMM.TIFF — Rom, S. Maria Maggiore, Lucchesi, Pavimentmuster. München, BSB, Cod. icon. 207, fol. 56 (Foto BSB)
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Bd_5_274_SMM.TIFF — Rom, S. Maria Maggiore, Lucchesi, Pavimentmuster. München, BSB, Cod. icon. 207, fol. 65 (Foto BSB)
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Bd_5_275_SMM.TIFF — Rom, S. Maria Maggiore, Lucchesi, Pavimentmuster. München. BSB, Cod. icon. 207, fol. 59 (Foto BSB)
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Bd_5_276_SMM.TIFF — Rom, S. Maria Maggiore, Lucchesi, Pavimentmuster. München, BSB, Cod. icon. 207, fol. 68 (Foto BSB)
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Bd_5_277_SMM.TIFF — Rom, S. Maria Maggiore, Pavimentmuster. Rom, Bibl. Casanatense, MSS 4255, fol. 24 (Foto Bibl. Casanatense)
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Bd_5_278_SMM.TIFF — Rom, S. Maria Maggiore, Stich der Pavimentplatte mit den Paparone-Stiftern (nach Ciampini 1, 1690, Taf. XXXI)
© Ciampini, Giovanni Giustino
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Bd_5_281_SMM.TIFF — Rom, S. Maria Maggiore, Paviment in der Michaelskapelle, Band mit Kreisschlingenmuster (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Bd_5_282_SMM.TIFF — Rom, S. Maria Maggiore, Paviment in der Michaelskapelle, Rechteckiges Feld mit kleinteiligem Streifenmosaik (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Bd_5_283_SMM.TIFF — Rom, S. Maria Maggiore, Paviment in der Michaelskapelle, Rechteckiges Feld mit Zick-Zackmuster (Foto Claussen 2017)
© Claussen, Peter Cornelius
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Bd_5_284_SMM.TIFF — Rom, S. Maria Maggiore, Paviment in der Michaelskapelle, Konzentrisches Muster mit Sechseckstern (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Bd_5_285_SMM.TIFF — Rom, S. Maria Maggiore, Detail des Paviments in der Michaelskapelle (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Bd_5_286_SMM.TIFF — Rom, S. Maria Maggiore, Grundriss mit rekonstruierter liturgischer Ausstattung (nach De Blaauw 1994)
© De Blaauw, Sible
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Bd_5_287_SMM.TIFF — Rom, S. Maria Maggiore, Osterleuchter. Der Säulenschaft ist vermutlich eine Stiftung Jacopo Colonnas (Foto Claussen 2016)
© Claussen, Peter Cornelius
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Bd_5_288_SMM.TIFF — Rom, S. Maria Maggiore, Grundriss mit Anbauten im frühen 17. Jh. (nach De Angelis 1621)
© Angelis, Paolo de
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Bd_5_289_SMM.TIFF — Rom, S. Maria Maggiore, Mittelschiff nach Westen mit den beiden Reliquienziborien. Das Hochaltarziborium ist weggelassen (nach De Angelis 1621)
© Angelis, Paolo de
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Bd_5_290_SMM.TIFF — Rom, S. Maria Maggiore, Altar des Jacopo Capocci und seiner Frau Vinia (1256) von Süden. Detail der Zeichnung von John Talman (frühes 18. Jh.). London, Society of Antiquaries (Foto London, Society of Antiquaries)
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Bd_5_291_SMM.TIFF — Rom, S. Maria Maggiore, Altar und Reliquienziborium des Jacopo Capocci und seiner Frau Vinia (1256) von Süden. Zeichnung von John Talman (frühes 18. Jh.). London, Society of Antiquaries (Foto London, Society of Antiquaries)
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Bd_5_292_SMM.TIFF — Rom, S. Maria Maggiore, Reliquienziborium des Jacopo Capocci (nach De Angelis 1621)
© Angelis, Paolo de
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Bd_5_293_SMM.TIFF — Rom, S. Maria Maggiore, Reliquienziborium des Jacopo Capocci, Detail aus Abb. 239 (nach Maggi/de Greuter, um 1600)
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Bd_5_294_SMM.TIFF — Wandtabernakel aus Teilen des Reliquienziboriums von S. Maria Maggiore in Rom, ehem. Strawberry Hills. John Carter, Schrein und Innenraum der Chapel-in-the-Woods, 1789, Aquarell. The Lewis Walpole Library, Yale University, Farmington, Connecticut, USA (nach Brückle 2015)
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Bd_5_295_SMM.TIFF — Wilton (Wiltshire), Pfarrkirche, Kanzel mit Teilen des Reliquienziboriums von S. Maria Maggiore in Rom (Foto Gardner vor 1970)
© Gardner, Julian
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Bd_5_296_SMM.TIFF — Wilton (Wiltshire), Pfarrkirche, gedrehte Säule, wiederverwendet als Kandelaber, vom Reliquienziborium aus S. Maria Maggiore in Rom (Foto Gardner vor 1970)
© Gardner, Julian
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Bd_5_297_SMM.TIFF — Wilton (Wiltshire), Pfarrkirche, gedrehte Säulen vom Reliquienziborium aus S. Maria Maggiore in Rom (Foto Gardner vor 1970)
© Gardner, Julian
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Bd_5_298_SMM.TIFF — Wilton (Wiltshire), Pfarrkirche, gedrehte Säule und Kapitell mit verwehtem Laub vom Reliquienziborium aus S. Maria Maggiore in Rom (Foto Gardner vor 1970)
© Gardner, Julian
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Bd_5_299_SMM.TIFF — Wilton (Wiltshire), Pfarrkirche, inkrustierte Platten vom Reliquienziborium aus S. Maria Maggiore in Rom (Foto Gardner vor 1970)
© Gardner, Julian
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Bd_5_300_SMM.TIFF — Vico nel Lazio, S. Michele, Altarpaliotto mit Stiftermosaik des Reliquienziboriums von S. Maria Maggiore in Rom (nach Pietrangeli 1987)
© Pietrangeli, Carlo
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Bd_5_301_SMM.TIFF — Rom, S. Maria Maggiore, Ausgrabungen, Bruchstück eines Cosmatenwerkes aus dem 13. Jh. (Foto Bartsch 2015)
© Bartsch, Tatjana
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Bd_5_302_SMM.TIFF — Rom, S. Maria Maggiore, Gregoraltar und Ziborium für die Madonnenikone, Zustand um 1600 (nach De Angelis 1621)
© Angelis, Paolo de
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Bd_5_303_SMM.TIFF — Rom, S. Maria Maggiore, Gregoraltar und Ziborium, Detail aus Abb. 239 (nach Maggi/de Greuter, um 1600)
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Bd_5_304_SMM.TIFF — Rom, S. Maria Maggiore, Gregoraltar und Ziborium, Zustand um 1620 (nach De Angelis 1621)
© Angelis, Paolo de
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Bd_5_306_SMM.TIFF — Rom, S. Maria Maggiore, Südlicher Querhausarm, Fresken mit Propheten in Rundfeldern (nach Pietrangeli 1987)
© Pietrangeli, Carlo
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Bd_5_307_SMM.TIFF — Rom, S. Maria Maggiore, Südlicher Querhausarm, Fresko mit Propheten in Rundfeld (BHR Fotothek, Foto Santinelli 2012)
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Bd_5_308_SMM.TIFF — Rom, S. Maria Maggiore, Apsismosaik mit Marienkrönung, Jacopo Torriti (BHR Fotothek, Foto Santinelli 2012)
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Bd_5_309_SMM.TIFF — Rom, S. Maria Maggiore, Marientod des Jacopo Torriti (BHR Fotothek, Foto Santinelli 2012)
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Bd_5_310_SMM.TIFF — Rom, S. Maria Maggiore, Marientod, Detail (Foto Dittscheid 2017)
© Dittscheid, Hans-Christoph
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Bd_5_312_SMM.TIFF — Rom, S. Maria Maggiore, Grundrissdetail des Apsis- und Querhausbereichs (nach De Angelis 1621)
© Angelis, Paolo de
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Bd_5_313_SMM.TIFF — Rom, S. Maria Maggiore, Apsis- und Querhausbereich (nach De Angelis 1621)
© Angelis, Paolo de
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Rom, S. Maria Maggiore, der Hauptaltar des 15. Jhs. (nach De Blaauw 1994)
© De Blaauw, Sible
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Bd_5_315_SMM.TIFF — Rom, S. Maria Maggiore, Grundriss des Altarbereichs mit eingetragenen Ergebnissen der Grabungen des 17. und 16. Jhs. (nach De Blaauw 1994)
© De Blaauw, Sible
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Bd_5_316_SMM.TIFF — Rom, S. Maria Maggiore. Der barocke Altar mit Ziborium und Confessio um 1600 von Osten (nach De Angelis 1621)
© Angelis, Paolo de
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Bd_5_317_SMM.TIFF — Rom, S. Maria Maggiore, Marmorplatte mit Indulgenzliste Nikolaus’ IV. in inkrustierten Mosaikzeilen, I (rechts) (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Bd_5_318_SMM.TIFF — Rom, S. Maria Maggiore, Marmorplatte mit Indulgenz- und Reliquienliste Nicolaus’ IV. in inkrustierten Mosaikzeilen, II (links) (Foto Claussen 2019)
© Claussen, Peter Cornelius
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Bd_5_322_SMM.TIFF — Transport der einstigen Praesepe-Kapelle durch Domenico Fontana 1586, Kupferstich (nach Fontana 1590)
© Fontana, Domenico
*CC PDM 1.0*

Bd_5_323_SMM.TIFF — Rom, S. Maria Maggiore, linkes Prophetenrelief der Praesepe-Kapelle, Arnolfo di Cambio (nach Pietrangeli 1987)
© Pietrangeli, Carlo
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Bd_5_324_SMM.TIFF — Rom, S. Maria Maggiore, rechtes Prophetenrelief der Praesepe-Kapelle, Arnolfo di Cambio (nach Pietrangeli 1987)
© Pietrangeli, Carlo
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Bd_5_325_SMM.TIFF — Rom, S. Maria Maggiore, Einblick in die Confessio der Kapelle Sixtus’ V. mit den Bogenreliefs zweier Propheten, dem Praesepe-Altar und der Porphyrscheibe davor (nach Pomarici 1988)
© Pomarici, Francesca
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Bd_5_326_SMM.TIFF — Rom, S. Maria Maggiore, Anbetungsgruppe Arnolfos in der Confessio der Kapelle Sixtus’ V. (nach Pomarici 1988)
© Pomarici, Francesca
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Bd_5_327_SMM.TIFF — Rom, S. Maria Maggiore, die drei Könige der Anbetungsgruppe Arnolfos aus der Praesepe-Kapelle (nach Pietrangeli 1987)
© Pietrangeli, Carlo
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Bd_5_328_SMM.TIFF — Rom, S. Maria Maggiore, Museo Storico Liberiano, heutige Präsentation von Arnolfo di Cambios Anbetungsgruppe (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Rom, S. Maria Maggiore, Rekonstruktionsvorschlag zur Aufstellung der Anbetungsgruppe in der Praesepe-Kapelle (nach Pomarici 1988)
© Pomarici, Francesca
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Bd_5_330_SMM.TIFF — Rom, S. Maria Maggiore, Rekonstruktionsvorschlag zur Aufstellung der Anbetungsgruppe in der Praesepe-Kapelle (nach Messerer 1975)
© Messerer, Wilhelm
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Bd_5_331_SMM.Tiff — Rom, S. Maria Maggiore, Neuer Rekonstruktionsvorschlag zur Aufstellung der Anbetungsgruppe Arnolfos in der Praesepe-Kapelle. Das Gitter der Kapelle ist nicht dargestellt (Zeichnung Daniela Hoesli, Zürich)
© Claussen, Peter Cornelius
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Bd_5_333_SMM.TIFF — Rom, S. Maria Maggiore, Front des Praesepe-Altars (Foto Senekovic 2020)
© Senekovic, Darko
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Bd_5_334_SMM.TIFF — London, Westminster Abbey, Grab König Heinrichs III., 1289, Detail mit mittlerer Ädikulaöffnung (Foto Claussen 1976)
© Claussen, Peter Cornelius
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Bd_5_335_SMM.TIFF — Rom, S. Maria Maggiore, Porphyrrota im Paviment der Confessio der Kapelle Sixtus’ V. (Foto Claussen 2019)
© Claussen, Peter Cornelius
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Bd_5_336_SMM.TIFF — Rom, S. Maria Maggiore, Giebeltabernakel mit Lamm, heute im Treppenhaus des südlichen Kanonikerpalastes (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Bd_5_337_SMM.TIFF — Rom, S. Maria Maggiore, Rekonstruktion des Grabmals von Kardinal Pietro Capocci (nach Herklotz 1985)
© Herklotz, Ingo
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Bd_5_338_SMM.TIFF — Rom, S. Maria Maggiore, Rekonstruktion des Grabmals von Kardinal Pietro Capocci. Die Ordnung der Kapitelle (hier fiktiv korinthisch) ist unbekannt. (Zeichnung Daniela Hösli/P.C. Claussen)
© Claussen, Peter Cornelius
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Rom, S. Maria Maggiore, Grabmal des Kardinals Gonsalves († 1299) (nach Pietrangeli 1987)
© Pietrangeli, Carlo
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Bd_5_340_SMM.TIFF — Rom, S. Maria Maggiore, Stich des Gonsalves-Grabmals aus Marangoni 1747 (BHR Fotothek)
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Bd_5_342_SMM.TIFF — Rom, S. Maria Maggiore, linker Engel am Gonsalves-Grabmal (Foto Claussen 1983)
© Claussen, Peter Cornelius
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Bd_5_343_SMM.TIFF — Rom, S. Maria Maggiore, rechter Engel am Gonsalves-Grabmal (Foto Claussen 1983)
© Claussen, Peter Cornelius
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Bd_5_344_SMM.TIFF — Rom, S. Maria Maggiore, Madonnenmosaik am Baldachin des Gonsalves-Grabmals (nach Romano, Apogeo 2017)
© Romano, Serena
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Bd_5_345_SMM.TIFF — Rom, S. Maria Maggiore, Grabplatte des Kardinals Agapito Colonna († 1380) (Foto Claussen 2012)
© Claussen, Peter Cornelius
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Number in map: 73
Church name: S. Maria Maggiore
: Existing
Coordinates: 41.89717, 12.49915
Nolli's map #: 49
Chronology: 12th century, 13th century
Keywords: Sixtus III, Nativity, Chapel of the Nativity, Icon of the Evangelist Luke, ‘Icon of the Savior’ (San Giovanni in Laterano), Bell tower, Ferdinando Fuga, Eugene III, Alexander III, schola cantorum, opus sectile, Paparone family, Colonna family, Capocci family, Savelli family, Normanni family, Miracle of the Snow, Jacopo di Giovanni Capocci, Nicholas IV, Cardinal Jacopo Colonna, Ambulatory, Coronation of the Virgin, Jacopo Torriti, Boniface VIII
Research status: Completed

Published in: Corpus Cosmatorum II, volume 5

Authors: Claussen, Peter Cornelius

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