Cathedral of Siena (Italian: Duomo di Siena ) is a medieval church in Siena, Italy, dedicated from the days originally as the Roman Catholic Marian Church, and is now dedicated to the Assumption of Mary.
Earlier the episcopal seat of Siena diocese, from the 15th century of the Archdiocese of Siena, now is the Siena-Colle Archdiocese in Val d'Elsa-Montalcino.
The cathedral itself was originally designed and finished between 1215 and 1263 at the site of the previous structure. It has a Latin cross shape with a slightly projecting transept, a dome and a bell tower. The dome rises from the hexagonal base with the supporting column. The lantern on the dome was added by Gian Lorenzo Bernini. The middle is separated from two aisles by a semicircular arch. The exterior and interior are built of white and green marble in alternating lines, with the addition of red marble in the faÃÆ'§ade. Black and white are the symbolic colors of Siena, etiologically connected to the black and white horses of the founders of the legendary city, Artus and Aschius.
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The origin of the first structure is vague and enveloped by legend. There is a 9th century church with a bishop's palace at this location. In December 1058 a synod held in this church resulted in the election of Pope Nicholas II and the antipope deposition of Benedict X.
In 1196, the cathedral brick guild, Opera at Santa Maria, was commissioned for the construction of a new cathedral. The work begins with a north-south transect and is planned to add the larger part of the cathedral later, but this enlargement is never achieved.
In 1215 there was already a daily mass said in the new church. There are records from 1226 onwards from the transport of black and white marble, presumably to the construction of faÃÆ'§ade and bell towers. Vault and transept built in 1259-1260. In 1259 Manuello di Ranieri and his son Parri carved out several wooden choir kiosks, which were replaced about 100 years later and now have vanished. In 1264, Rosso Padellaio was paid for a copper ball over the dome.
The second major addition of the main body of the cathedral was planned in 1339. It would have more than doubled the size of the structure by using an entirely new nave and two alleys ranged perpendicular to the existing nave and centered on the high altar. Construction began under the direction of Giovanni in Agostino, better known as a sculptor. Construction was stopped by the Black Death in 1348. The basic error in construction was evident at the time, and the work never proceeded. The outer wall, the remnants of this extension, can now be seen just south of the Duomo. The floor of the unfinished nave now serves as a parking lot and museum, and, while not yet finished, the remains are proof of Sienese's strength, ambition, and artistic achievement.
Under the Duomo choir, a narthex containing important paintings in the late 13th century (probably around 1280) was discovered and excavated in 1999-2003. Fresco paintings depict scenes from the Old Testament and the life of Christ. This is part of the entrance of the previous church. But when the baptism was built, the lower church was full of ruins. Narthex is now open to the public.
Beltower has six bells, the oldest thrown in 1149.
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FaÃÆ'§ade
The façade of the Cathedral of Siena is one of the most interesting in all of Italy and certainly one of the most memorable features in Siena. Each cardinal point (west, east, north, and south) has their own distinct work; by far the most impressive of these is the western façade. Acting as the main entrance to the right Duomo, it has three portals (see Portal (architecture)); which in the middle is limited by the sun bronze work.
Built in two stages and incorporating elements of French Gothic architecture, Tuscan Romanesque, and Classical architecture, western façade is a wonderful example of Sienanise's work. Work begins at the bottom around 1284. Built using polychrome marble, the work was overseen by Giovanni Pisano whose work at façade Duomo and the pulpit was influenced by his father Nicola Pisano.
The lower part of the façade was designed from Giovanni's original plan. Built in the Tuscan style Romanesque emphasizes the horizontal unity of the area around the portal at the expense of the vertical bay division. The three portals, overcome by lunettes, are based on the original design of Giovanni Pisano, like many sculptures and orientations around the entrance. The area around and above the door, as well as the columns between the portals, are decorated with full of acanthus scrolls, allegorical figures, and biblical landscapes.
Giovanni Pisano was able to supervise his work until about 1296 when he suddenly left Siena, reportedly due to creative differences with Opera del Duomo, a group that oversaw the construction and maintenance of the Siena cathedral. The work of Pisano in the lower façade was continued under the direction of Camaino in Crescentino, but a number of changes were made on the original plan. This includes improving the façade due to the removal of the central part of the church and the planting of larger rose windows based on design by Duccio in Buoninsegna and commissioned by the city of Siena. Working in western façade ended abruptly in 1317 when Opera del Duomo diverted all efforts to eastern façade.
There is a debate about when to work in top façade completed. Most experts agree that it is completed between 1360 and 1370, although when it starts again it is unknown. The work continues to use Pisano's plan for façade with several adaptations under Giovanni's direction at Cecco. At Cecco prefers a more elaborate design, most likely inspired by the Orvieto Cathedral. Façade needs to be much higher than expected when the nave, once again, has been resurrected.
These changes may be necessary to accommodate the larger and wider design scheme of Cecco, which is strongly influenced by French Gothic architecture, which led to the upper part of the cathedral. Visible clear the top of the top does not continue from the columns flanking the central portal as usual in the cathedrals. Instead they are substantially offset, producing a vertical discontinuity that is a rare cathedral as it can cause structural weakness. To adjust this imbalance, the towers on each side of the cathedral are opened by adding windows, reducing the weight they need to support. The upper part also features heavy Gothic décor, clear contrast with simple geometrics designed commonly for the Tuscan Romanesque architecture.
While most of the sculptures adorn the lower levels of the luxurious façade carved by Giovanni Pisano and assistants depicting prophets, philosophers and apostles, more Gothic statues adorn the upper parts - including a half-statue of patriarchs in a niche in around the rose window - are the works of the sculptor who then, without attributes ,. Almost all the statues that adorn the cathedral today are imitations. The original is stored in the Crypt of the Statues at Museo dell'Opera del Duomo.
The three great mosaics on the roof of the façade were made in Venice in 1878. The great central mosaic, the coronation of the Virgin, is the work of Luigi Mussini. Smaller mosaics on each side, Birth of Jesus and Mary's Presentation in the Temple, made by Alessandro Franchi.
The bronze center entrance is a recent addition to the cathedral, replacing the original woodwork. The great door, known as the Porta della Riconoscenza, was commissioned in 1946 towards the end of the German occupation of Siena. Carved by Vico Consorti and cast by Enrico Manfrini, the scene on the door represents the Glorification of the Virgin, the patron saint of Siena.
In the left corner of the faÃÆ'§ade dock is a 14th century inscription that marks the tomb of Giovanni Pisano. Beside the faÃÆ'§ade stands a column with a statue of Contrade Forgot, Romulus and Remus who breastfeed breast. According to local legend Senius and Aschius, the sons of Remus and the founder of Siena, left Rome with a statue stolen from the Temple of Apollo in Rome.
Interior
Inside the pictorial effects of black and white marble stripes on the walls and columns attack the eyes. Black and white are the colors of the Siena state emblem. The capital of the columns in the western bay of the nave is carved with sculptures and allegorical animals. Horizontal prints around the nave and presbyter containing 172 plaster statues from whales dating from the 15th and 16th centuries began with St. Peter and ending with Lucius III. Spandrels of round arch under the cornice showcased a statue of 36 emperors. The domed roof is decorated in blue with a gold star, replacing the fresco on the ceiling, while its marks (half ribs) and tierceron (secondary ribs) are adorned with very intricate motifs.
Stained glass windows in the choir were made in 1288 with the Duccio design. This is one of the earliest examples of Italian stained glass. The round stained glass windows in faÃÆ'§ade date from 1549 and represent the Last Supper. This is the work of Pastorino de 'Pastorini.
The upper hexagonal dome with Bernini gold lanterns, like the golden sun. Trompe l'oeil coffers were painted in blue with a gold star at the end of the 15th century. The colonnade in the drum is adorned with pictures and statues of 42 patriarchs and prophets, painted in 1481 by Guidoccio Cozzarelli and Benvenuto di Giovanni. Eight stucco statues in spandrels under the dome are carved in 1490 by Ventura di Giuliano and Bastiano di Francesco. Initially they were chromated, but later, in 1704, plated.
In addition to the first two pillars there are two fonts, carved by Antonio Federighi in 1462-1463. The basin for Blessing of Holy Water was then transferred to the San Giovanni Chapel.
The high altar of marble presbyeri was built in 1532 by Baldassarre Peruzzi. The enormous copper cave is the work of Vecchietta (1467-1472, originally assigned to the church of Santa Maria della Scala, opposite the square, and taken to the cathedral in 1506). On the high altar side, the top angel is Francesco's masterpiece at Giorgio Martini (1439-1502).
Against the pillars of the presbytery there are eight candelabras in the form of an angel by Domenico Beccafumi (1548-1550), He also paints the fresco, represents Saints and Paradise , on the wall in the apsis. This was partially repainted in 1912. Behind the main altar was an enormous painting of the Babylonian Assumption by Bartolomeo Cesi in 1594. The presbytery also housed a beautiful wooden choir kiosk, made between 1363-1397 and extended on 16th century. Initially there were more than 90 stalls of choir, arranged in two lines. The remaining 36 kiosks are each crowned by a saint's statue in a pointy niche. Their backs are decorated with carved panels, by Fra 'Giovanni da Verona in 1503.
Pulpit
The pulpit is made of Carrara marble and carved between late 1265 and November 1268 by Nicola Pisano and several other artists. This pulpit expresses the northern Gothic style adopted by Pisano, while still showing its classical influences. All messages from the pulpit are related to the doctrine of Last Salvation and Judgment. At the top, seven scenes tell the Life of Christ. The sheer number of characters in each scene with their chiaroscuro effect, showing the richness of the surface, motion and narration. At the intermediate level, the statues of the Evangelists and the Prophets proclaim the salvation of mankind. The pulpit itself is the earliest masterpiece left in the cathedral. The ladder dates from 1543 and was built by Bartolomeo Neroni. At the same time, the pulpit is moved from the choir to the current location.
Mosaic floor
Floor marble decorative marble is one of the most ornate of its kind in Italy, covering the entire floor of the cathedral. This effort lasted from the 14th to the 16th centuries, and about forty artists contributed to them. The floor consists of 56 panels in various sizes. Most have rectangular shapes, but the next one in the transept is hexagon or rhombuses. They represent sibyl, scenes from the Old Testament, allegory and virtue. Most are still in their original condition. The earliest scene was made by graffito technique: drilling a small hole and scratch line in marble and filling it with asphalt or pitch minerals. In the later stages of black, white, green, red and blue marble intarsia are used. This marble inlay technique also evolved over the years, ultimately resulting in strong contrast of light and darkness, giving an almost modern, impressionistic composition.
Unclosed floors can only be viewed for a period of six to ten weeks each year, generally including September. The rest of the year, they are closed and only a few are on display.
The earliest panel is probably the Wheel of Fortune ( Ruota della Fortuna ), which was laid in 1372 (restored in 1864). The She-Wolf of Siena with the symbol of confederate cities ( Forgot senese e simboli delle cittÃÆ' alleate ) probably dates from 1373 (also restored in 1864). The Four Virtues (Temperanza, Prudenza, Giustizia and Fortezza) and Mercy (Misericordia) date from 1406, as determined by the payments made to Marchese d'Adamo and his associates workers. They are the craftsmen who execute the Sienese painter cartoon.
The first famous artist working on the panel, is Domenico at Niccolò dei Cori, who is responsible for the cathedral between 1413 and 1423. We can assume he has several panels such as the King, David, Paternity and David and Goliath Stories.. His successor as inspector, Paolo di Martino, completed between 1424 and 1426 Victory of Joshua and Samson's victory over the Philistines .
In 1434 the famous painter Domenico di Bartolo continued with a new panel of Emperor Sigismund Enthroned (Imperatore Sigismundo di trono). Holy Roman Emperor Sigismund was popular in Siena, as he lived there for ten months on his way to Rome for his coronation. In addition to this panel, it is composed in 1447 (possibly) by Pietro di Tommaso del Minella of the Absolom deaths (Morte di Assalonne).
Next date of 1473: Stories from Judith's Life and Liberation of Bethulia (Liberazione di Betulia) (maybe) by Urbano da Cortona.
In 1480 Alberto Aringhieri was appointed supervisor of the work. Since that time, the mosaic floor scheme has begun to make serious progress. Between 1481 and 1483 ten panels from Sibyls succeed. Some were given to famous artists, such as Matteo di Giovanni ( The Samian Sibyl ), Neroccio di Bartolomeo de 'Landi ( Hellespontine Sibyl ) and Benvenuto di Giovanni ( Albunenan Sibyl ). The Cumaean, Delphic, Persian and Phrygian Sibyls are from the hands of the unknown Vito artist in Marco. The Erythraean Sibyl was originally by Antonio Federighi, who was Libyan Sibyl by painter Guidoccio Cozzarelli, but both have been much renovated. The large panel in the Streptic Innocent (Strage degli Innocenti) transcendent is probably Matteo's work at Giovanni in 1481. The large panel below, Herod's Expulsion (Cacciata di Erode) , designed by Benvenuto di Giovanni in 1484-1485. The story of Fortuna, or the Hill of Virtue (Allegoria della Fortuna), by Pinturicchio in 1504, was the last one assigned by Aringhieri. This panel also provides an overview of Socrates.
Domenico Beccafumi, Sienese's most famous artist of his time, worked on cartoons for the floor for thirty years (1518-1547). Half of the Thirteen Scenes of Elijah's Life , in the transept of the cathedral, was designed by him (two hexagon and two rhombuses). The eight-meter long décor of Moses Striking water from the Rock was executed by him in 1525. The adjacent panel, Moses on Mount Sinai was laid in 1531. His last contribution was a panel in front of the altar main: Sacrifice Isaac (1547).
Artwork
The cathedral's treasured artworks include Donatello's The Feast of Herod, and the young Bernini and Michelangelo's works make it an incredible Italian sculpture museum. The Annunciation between St. Ansanus and St. Margaret, a work of Gothic art by Simone Martini and Lippo Memmi, decorating the altar of the church beside it until 1799, when it was transferred to Uffizi Florence.
The funeral monument to the cardinal Riccardo Petroni (Siena 1250 - Genoa 1314, jurisconsult of Pope Boniface VIII) was established between 1317 and 1318 by the sculptor Sienese Tino in Camaino. He has succeeded his father as the main builder of Siena cathedral. The marble monument in the left transept is the earliest example of a 14th century burial architecture. It consists of a very luxuriously decorated sarcophagus, held on the shoulders of four statues. Above the sarcophagus, two angels drew the curtain, showing the cardinal lying on his death bed, accompanied by two guardian angels. This monument is crowned by a cloaked tabernacle with statues of Madonna and Son, St. Peter and Saint Paul.
On the sidewalk, in front of this monument, lies the bronze tombstone of Bishop Giovanni in Bartolomeo Pecci, the bishop of Grosseto, made by Donatello in 1427. This shows that the dead prelate was arranged in a concave concave in a very illusory relief. Seeing it deviate from the end of the tomb, gives the impression of three dimensions. Originally located in front of a high altar and moved to its present location in 1506.
Tommaso Piccolomini del Testa's bishop's wall is situated above a small door leading to the bell tower. This is the work of the painter Sienese and the sculptor Neroccio at Bartolomeo de 'Landi in 1483.
The Piccolomini altar, left of the entrance to the library, was the work of the Lombard sculptor Andrea Bregno in 1483. The altar is remarkable because of the four statues in the lower alcoves, made by young Michelangelo between 1501 and 1504: Saint Peter, Saint Paul, Saint Gregory (with assistant help) and Saint Pius. Above the altar is Madonna and Child , a statue (probably) by Jacopo della Quercia.
Many of Duomo's original furnishings, such as Duccio di Buoninsegna MaestÃÆ' and Cimabue stained glass windows, have been moved to the nearby Museo dell'Opera del Duomo.
Chapel of Saint John the Baptist
Chapel of Saint John the Baptist is located to the left of transept. At the back of this chapel, in the midst of rich renaissance decoration, is a bronze statue of Saint John the Baptist by Donatello. In the middle of the chapel is a 15th century baptist font. But the most impressive in this chapel is the eight frescoes by Pinturicchio, commissioned by Alberto Aringhieri and painted between 1504 and 1505. Two frescoes were repainted in the 17th century, while the third was completely replaced in 1868. The original paintings in the chapel are: Birth of John the Baptist , John the Baptist in the wilderness and John the Baptist preached . He also painted two portraits: Aringhieri with the cloak of the Knights Order of Malta and Kneeling Knight in Armor . Both of these portraits show a very detailed background.
Chigi Chapel
The small Chigi Chapel (or Cappella della Madonna del Voto) is located on the right of the transept. This is the most recent addition of the most luxurious carving to the Duomo, and was commissioned in 1659 by Chen Sienese whale, Alexander VII. The round chapel with gold-plated dome was built by German architect Johann Paul Schor with baroque design Gian Lorenzo Bernini, replacing the 15th century chapel. At the back of the chapel is Madonna del Voto (by the followers of Guido da Siena, the 13th century), that even today is more respected and receives each year the tribute of opposition. On the eve of the battle of Montaperti (4 September 1260) against Florence, the city of Siena has dedicated itself to Madonna. Sienese's victory, against all odds, over Florentines is far more widely attributed to his miraculous protection.
Two of the four marble statues in that niche, by Bernini himself: Saint Jerome and Mary Magdalene . The other two are Saint Bernardine (Antonio Raggi) and Saint Catherine of Siena (Ercole Ferrata). The eight marble columns are from the Lateran Palace in Rome. The bronze gate at the entrance is by Giovanni Artusi.
Piccolomini Library
Adjacent to the cathedral is the Piccolomini Library, enlivening choral books and wall paintings painted by Umbria Bernardino in Betto, called Pinturicchio, probably based on design by Raphael.
The visual impact of this incredibly colorful fresco is amazing. The wall paintings tell the story of the life of Siena's favorite son, Cardinal Enea Silvio Piccolomini, who eventually became Pope Pius II. He was Cardinal's uncle Francesco Todeschini Piccolomini (later archbishop of Siena and Pope Pius III of the future), who commissioned this library in 1492 as a reservoir for the books and collections of his uncle's manuscripts. The ceiling is covered with painted panels of mythological subjects. They were executed between 1502 and 1503 by Pinturicchio and his assistants.
The entrance is a delicate carved marble monument with two openings with rounded arches, executed in 1497 by Lorenzo di Mariano. It contains a round relief . John the Evangelist (possibly) by Giovanni di Stefano and, under the altar, a polychrome of PietÃÆ' by the sculptor Alberto at Betto da Assisi in 1421. Above this marble monument is a fresco of < i> Coronation of Pope Pius III by Pinturicchio in 1504.
In the middle of the library is the famous statue of Three Graces , a Greek original Greek copy.
Pinturicchio painted this fresco circle around the library between 1502 and 1507, representing Raphael and himself in some of them. This work is full of striking detail and vibrant colors. Each scene is described in Latin by the text below. They describe the ten extraordinary events of Pius Pius II's secular and religious career, first as the high prelate, then the bishop, a cardinal and finally the pope:
- Enea Silvio Piccolomini (ESP) departs for the Basel Council. The storm scene in the background is the first in western art.
- ESP, ambassador in Scottish Court
- ESP crowned the court poet by Emperor Frederick III
- ESP made an act of submission to Pope Eugene IV
- ESP, the bishop of Siena, presented the emperor Frederick III with his bride Eleanora of Portugal at Porta Camollia in Siena.
- ESP received a cardinal hat in 1456
- ESP, entered Lateran as pontiff in 1458
- Pius II held a Princess Party in Mantua to proclaim a new crusade in 1459
- Pius II canonized St. Catherine of Siena in 1461
- Pius II arrives in Ancona to launch a crusade.
Under the paintings of the frescoes, the cathedral palyers of the cathedral are on display. This remarkable illumination by Liberale da Verona and Girolamo da Cremona was executed between 1466 and 1478 and later transmitted by other Sienese illuminators.
Baptism
Unlike Florence or Pisa, Siena did not build a separate baptism. The chapel is located beneath the eastern bay of the Duomo chamber. Interior construction is mostly done under Camaino in Crescentino and finished around 1325.
Daya tarik utama adalah font baptis heksagonal, yang berisi patung oleh Donatello, Jacopo della Quercia dan lain-lain.
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Source of the article : Wikipedia
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