This essay retraces the circumstances of two major investments for the promotion of the Savoy dynasty in Rome at the beginning of the 17th century: the cardinal nomination of a dynastic prince and the construction of a national church dedicated to the cult of the Holy Shroud. Maurizio, fourth-born son of Carlo Emanuele I, once raised to the purple, transformed the residence of Monte Giordano, rented from the Duke of Bracciano Paolo Giordano II Orsini, in a centre of artistic and cultural patronage. Carlo Rainaldi, the architect of the Orsini, was among the cardinal’s protégés, and was honoured in 1649 by the equestrian order of SS. Maurizio e Lazzaro for his services to the Savoy. Prince Maurizio, as national Cardinal, protected the Confraternity of the Holy Shroud which was established in 1597 on the initiative of inhabitants from Piemonte, Nice and Savoy. The first church of the Confraternity was erected at the beginning of the 17th century at the behest of Carlo Emanuele I and designed by Carlo Castellamonte. After mid-century, the church was rebuilt and enlarged by Carlo Rainaldi. This work, unfairly relegated between the minor works of Carlo Rainaldi, for its rich baroque interior fits in its own right in the “progressive strand of Rainaldi’s research”.
Il saggio ricostruisce le vicende e l’intreccio di due importanti investimenti della dinastia Savoia a Roma all’inizio del Seicento: la promozione di un cardinale dinastico e la costruzione di una chiesa nazionale dedicata al culto sindonico. Maurizio, figlio quartogenito di Carlo Emanuele I, innalzato alla porpora, trasformò la residenza romana nel Palazzo di Montegiordano, ottenuta in fitto dal duca di Bracciano Paolo Giordano II Orsini, in un centro di mecenatismo culturale e artistico tra i più in vista sotto il pontificato barberiniano. Tra i protetti del cardinale fu Carlo Rainaldi, architetto provvisionato dagli Orsini che nel 1649 venne investito dell’ordine equestre dei SS. Maurizio e Lazzaro per servizi prestati ai Savoia. Il principe Maurizio, in quanto cardinale nazionale, protesse l’Arciconfraternita dei Piemontesi, Nizzardi, e Savoiardi del SS.mo Sudario istituita nel 1597 per iniziativa di alcuni sudditi residenti nell’Urbe. La prima chiesa dell’Arciconfraternita era stata innalzata all’inizio del Seicento per volere di Carlo Emanuele I su progetto di Carlo da Castellamonte. Dopo la metà del secolo, la chiesa del SS.mo Sudario venne ricostruita e ampliata su progetto di Carlo Rainaldi. L’opera, relegata ingiustamente tra le realizzazioni minori dell’architetto, si inserisce a pieno titolo per la ricca veste barocca dell’interno nel “filone progressivo della ricerca rainaldiana”.
Carlo Rainaldi e i Savoia a Roma: la chiesa del Santo Sudario / Tabarrini, Marisa. - STAMPA. - (2012), pp. 296-321.
Carlo Rainaldi e i Savoia a Roma: la chiesa del Santo Sudario
TABARRINI, Marisa
2012
Abstract
This essay retraces the circumstances of two major investments for the promotion of the Savoy dynasty in Rome at the beginning of the 17th century: the cardinal nomination of a dynastic prince and the construction of a national church dedicated to the cult of the Holy Shroud. Maurizio, fourth-born son of Carlo Emanuele I, once raised to the purple, transformed the residence of Monte Giordano, rented from the Duke of Bracciano Paolo Giordano II Orsini, in a centre of artistic and cultural patronage. Carlo Rainaldi, the architect of the Orsini, was among the cardinal’s protégés, and was honoured in 1649 by the equestrian order of SS. Maurizio e Lazzaro for his services to the Savoy. Prince Maurizio, as national Cardinal, protected the Confraternity of the Holy Shroud which was established in 1597 on the initiative of inhabitants from Piemonte, Nice and Savoy. The first church of the Confraternity was erected at the beginning of the 17th century at the behest of Carlo Emanuele I and designed by Carlo Castellamonte. After mid-century, the church was rebuilt and enlarged by Carlo Rainaldi. This work, unfairly relegated between the minor works of Carlo Rainaldi, for its rich baroque interior fits in its own right in the “progressive strand of Rainaldi’s research”.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.