READING FOR A NEW ICONOGRAPHY OF THE SHRINE OF THE HOLY CROSS San Miniato (second part) Francesco Fiumalbi
Related Posts: FOR A NEW READING OF THE SHRINE OF THE HOLY CROSS ICONOGRAPHY San Miniato (first part)
In the first part of this paper we discussed the construction of the Shrine of the Holy Cross said, "Castelvecchio" in San Miniato, paying particular attention to the significance that this has resulted in urban planning. While agreeing with the definition of "fifth town", borrowed from the experience theater Designer Antonio Ferri, we have also seen what are the assumptions about the iconographic reading of the building and its insertion into the urban context. We have proposed a highly critical discussion concerning the words of Christian Texts and Vens 800 (1) and, more recently, the Righteous (2): references to the Holy Sepulchre, the Martyrium Byzantine and Street Cross there do not seem entirely convincing. In particular, the apparent inconsistency of the argument with the sculptural apparatus, the combination of the basilica built on Mount Calvary with the ' Apostoleion Constantine is clearly an artifact narrative, architectural and iconographic talking about. In practice, we are asking that "theater" is actually "sent to the scene", based only on the analysis of design: the Way of the Cross ? The Holy Sepulchre? Other?
The Shrine of the Holy Crucifix Castelvecchio
Photo by Francesco Fiumalbi
In this paper we will formulate the first part of our hypothesis, the result critical observation of all elements, both individually and in the context in which they are, what we do not think that was ever made until now. Probably not what you say will be shared by all, but the goal is to renew the invitation to continue research in an attempt to unravel the meanings and the different levels of interpretation of the space that surrounds us. We must point out that what you say is the result of the development of some guidelines and observations of Don Luciano Marrucci. After this premise, we pass to the theme itself.
One thing that certainly has not been sufficiently considered is the age-old relationship between the institution and the local SS Crucifix. The Giuseppe Conti of the proposed Cathedral of San Miniato did explains that "after they enter the Guelph League in Tuscany, to make this league a new building of the People" and "wisely uniform in its plant include the Oratory of SS. crucified "(3). The pouncing on this choice reflects and states that "(...) it was the custom at the time of judges to be the chapel in the palace, (...) yes because they knew religion to be the basis for any well-regulated and public administration (...)" (4).
The free town of San Miniato actually participated a "league" against the Empire, in March 1287. Through this agreement, coupled with the presence of troops in the city of Florence, since 1295, finally managed to drive out the imperial vicars (5). This "freedom", then paid a heavy price had to be hailed as a true sign of providential and therefore, the wave of enthusiasm, was built the new palace of the People . It is clear enough plausible dating of the building of the Oratory (later "Loretino"), between 1285 and 1295, given by Lotti (6). The building had to be already be in operation as the beginning of the '300 points to the notary and reporter John Lemmo Armaleoni by Comugnori (7). The organization of the municipal building, in its initial stage, saw the ground floor, the Chapel of the Holy Cross and two rooms, which were arranged according to an "L" on the top floor, accessible by a special staircase " was the audience hall and the rooms the Registrar that you have the same distribution as the lower level (8).
of this new construction are also in the news municipal statutes of 1337, called "nova domo Leonis" (9), the new home of the Lion, with clear reference to the municipal coat of arms.
Municipality of San Miniato
On the ground floor of the Oratory Loretino,
the first floor the 'historic' council
significant are the words of pouncing that identifies the link between religion and every public and proper administration . In fact, the Audience Hall was placed just above the Oratory, to recognize physically, even before idealmente, il ruolo di fondamento della religione sulle pratiche civiche. Infatti negli Statuti del 1337, a proposito dell’elezione dei Capitani e dei Consiglieri, si legge (10):
(…) Qui capitanei et consiliarii eligendi, ante introitum sui offitii, teneantur iurare corporaliter ad sancta Dei Evangelia, coram domino capitaneo populi vel eius offitialibus, eorum offitium bene et legaliter exercere (…).
In pratica, i Capitani e i Consiglieri eletti, prima di entrare in carica, dovevano giurare “fisicamente” sul Vangelo, alla presenza del Capitano del Popolo o dei suoi ufficiali, to have engaged in justice and in accordance with the law office. It was certainly a widespread practice elsewhere, but a witness, if ever proof were needed, the link between religion and government house to San Miniato.
Let's take a step back in time four centuries, catapulting the early '700. San Miniato, meanwhile, had become a seat of the Diocese in 1622 (12) while remaining a small provincial town, seat of the Florentine vicars who controlled the city administration on behalf of the Grand Duke of Tuscany. In this era, the town hall was slowly expanding. Throughout the '600 there were numerous extensions that led to the store get on the ground floor "big" city and the upper house of the Chancellor. On the side, towards the "town" had been erected a school (roughly where it has the Office of the Protocol). This complex overlooks a courtyard public "is located where the current entrance hall, surrounded by a wall from the road, which is accessed through a door (11). This was placed exactly where today the main entrance of City Hall, then in line with the future of the Shrine of the Holy Cross.
Reconstruction of the situation of the Palazzo del Comune di San Miniato during the construction of the Shrine of the Holy Cross in the early '700.
Design Francesco Fiumalbi
significant was the power of the Grand Duchy on the appointment of bishops, in fact the Grand Duke , through presentations rarely outstanding, was the real "creator" of the Grand Duchy of Bishops (...) (13). Even the Bishop Poggi, enactment of the monumental construction of the Shrine of the Holy Cross had been appointed on the recommendation of the Grand Duke Cosimo III, with whom he entertained good relations. At a meeting of the Poggi 1705 showed the project to the Grand Duke of Iron. In this episode we talk about the "party animal" and "worker" Bernardo Moral (14):
(...) showed the Serene Duke Cosimo III, the design of the temple to be built, and His Serene required height ever wanted to run it - that very clear you could see the great expense required for this edifice, and the lack of assignments already knew - thanks to a lively faith in his Lord, said, "Your Royal Highness, the crucified Jesus, for His mercy, not to abandon us light and far that can needful to this work, which is done for His glory. " The Grand Duke then "Come, then, my lord!" He said. And all the iron in this factory SHOULD be, performed and donated generously, with other things that you need (...).
would seem, then, that the role of the bishop was in any way subordinate to the political-administrative properly exercised by the Grand Duke. More positioned in court that the facts of the time.
The complex relationship between civil institutions on the one hand, and the other ecclesiastical, who went to emerge among the '600 and '700, was marked by the impulses of reform aimed at strengthening the judiciary Grand Duchy. The cultures anti-Roman snaked everywhere in Tuscany, and were based in particular on the theological doctrine of Jansenism. The effects of these impulses led to the '700 to significant reforms as the abolition of lay companies (including also the 'Work of the Holy Crucifix ), the reorganization of Hospitals (mostly by religious institutions) and the drastic reduction of the convents of men and women (15).
The Palace of the City of San Miniato from the embankment of the Sanctuary
Photo by Francesco Fiumalbi
A significant episode, mentioned in the first part of this paper is the choice of site for construction. The Work of the Holy Cross asked and obtained permission to build a new church in the garden adjacent to the Palazzo dei Priori, provided they were transferred to the new church already exercised rights of ownership in the ancient oratory and which meant, in practice, in the custody of the keys of the church (16). However, the story did not go this way: the Shrine not was built next door, but before the current City Hall.
The eighteenth-century events show us, quite clearly, as the "power" church you go reducing, especially in terms of influence on the civic sphere. In choosing the site of the construction of new and monumental shrine may have played a key role this aspect, in addition to other grounds of stylistic and structural nature itself that we have already addressed the first part. The need to permanently remove the housing the precious relic by the municipal administration and a determination to put some things straight, and the need "Official" to dissolve the so-called "vote" expressed in the days after the plague of 1631. The Sanctuary, in fact, was built well above street level and this could result in a clear warning that the church is above the rule of men. But it would not be enough alone front location, in a kind of ideal contrast: it was necessary to construct a precise scene, with a message as precise.
What this message could be translated into architectural language of communication? What counsel might have been referring to all citizens and public administrators in particular?
We'll find out in the next part.
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References:
(1) Vens Antonio, materials collected to form the Volume I and II of documents the history of San Miniato from the year 1874 Vens Antonio, Academy of Euteleti, p.. 567, in Christian Texts Maria Laura, San Miniato al German , Marchi & Bertolli, Florence, 1967, p.. 134.
(2) Maria Adriana Giusti, The church of SS. Crucifix of San Miniato in Giusti - Matteoni (ed.), The church of SS. Crucifix in San Miniato. Restoration and history. , CRSM, Allemandi, Torino, 1991, pp. 30-32.
(3) Giuseppe Conti, History of the venerable image of the Oratory of the Holy Cross said in the town of Castelvecchio San Miniato, San Miniato, 1915, p.. 24.
(4) pouncing Joseph historical-artistic guide of the city of San Miniato al German, Tip. Ristori, San Miniato, 1894, reprint in Bulletin of the Academy of Euteleti No 44, 1975, San Miniato, p.. 98.
(5) Salvestrini Francis A Breed in Malvolti-Pinto (ed.), The Lower Valdarno land border in the Middle Ages (XI-XV centuries) , Olschki, Florence , 2008, p.. 253.
(6) Lots Dilva, San Miniato. Life of an ancient city , SAGEP, Genova, 1980, p.. 335.
(7) by Giovanni di Lemmo Armaleoni Comugnori (edition edited by Vieri Mazzoni), Diary (1299-1319) , Olschki, 2008.
(8) Vigneri Emanuela and Marco Giglioli, The City Hall of San Miniato, 700 years of history and restoration projects , Pacini Editore, San Miniato, 1998, pp. 15-16.
(9) Salvestrini Francis (ed.), Statutes of the City of San Miniato al German (1337) , Edizioni ETS, San Miniato, 1994, Book IV, rubra. 13, p.. 295.
(10) Salvestrini, ... Statutes, Book IV, rubra. 32 (34), pg. 323.
(11) and Giglioli Vigneri, Op Cit. , pp. 14-30.
(12) Vasco Simoncini (ed.), San Miniato and its Diocese , CRSM, Edizioni del Cerro, Pisa, 1989, pp. 21-33
(13) Simoncini, San Miniato ..., p.. 81.
(14) Anna Matteoli, Art and History of the Shrine of the Holy Cross in San Miniato in Bulletin of the Academy Eutelia No 45, 1976, p.. 36.
(15) Simoncini, ... San Miniato, pp. 99-104.
(16) Dario Matteoni, The Bishop and the Church: a policy image, the right-Matteoni, Op Cit. , p.. 17.
Stress, 
