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Temple of Our Lady of Consolation
From Wikipedia, the free encyclopedia.

The church of St. Mary of Consolation is a centrally planned church that is outside of the thirteenth-century walls of Todi. Architectural work of international importance, is considered one of the symbolic buildings of Renaissance architecture. Its construction began in 1508 and ended after a hundred years. Coming from Orvieto, the church is visible in the distance before entering the city. Its classical architecture is in contrast to that of the old town of medieval character.
Given that since the construction of the urban evolution and population of the town was small, the temple is still in position on the device. This makes clear the fact that Our Lady of Consolation has implemented an innovative concept of urbanism, in some ways comparable to that of the medieval St Peter's Basilica in Rome (also outside the walls).
However, it is especially since the era of Renaissance buildings are generally located outside the city walls, according to architectural theory proposed by Leon Battista Alberti. Often, the medieval town no longer had the building areas and municipalities within the walls were in places outside the possibility of creating new urban solutions and released by the canons of space and shape imposed by the surrounding buildings.
Legend has it that in Todi, in the early sixteenth century, there has been a miracle. A cleaning staff of a fresco of the Madonna would be been miraculously healed from a serious illness in one eye. At this point, opens up the opportunity to make known the miracle even in remote areas by building a Marian shrine in the vicinity: the church was to accommodate the image of the Madonna and become a point of pilgrimage for people of all kinds, rising at a medieval chapel already.
From the political point of view, the municipality of Todi was in competition with other nearby cities. Many of them had their backs to the construction of prestigious medieval cathedrals: the town of Todi was advantageous una'importante the prospect of building the church in Renaissance style, modern. The peripheral location of the church also offered the advantage of possessing the city with a prestige object is visible from afar. Funding for the project was possible thanks to various sources: among them, were very important to have the offerings made by pilgrims sick. Among other things, began the construction of an infirmary.
The authorship of the architectural design is not safe. Since the sixteenth century has been attributed to Donato Bramante, but there are documents that can prove that award. It is certain that Bramante not ever attended the proceedings, while the names of certain teachers (almost all representatives of his school) that have taken place at various stages of development: at first, and until 1512, work was conducted by Cola Caprarola, then took over Baldassarre Peruzzi (until 1518), Vignola (until 1565) and finally Ippolito Scalzi.
Other architects have contributed to the construction, among them Antonio da Sangallo the Younger, Galeazzo Alessi and Michael Sanmicheli. The project began to approach the finish line in 1586, when it began construction of the drum under the dome. The latter was already covered the architectural forms that would become typical of the baroque (the oval shape of the dome is one of the few architectural elements that escape the dictates of the church architecture of the Renaissance).
The building is centrally planned, due to a Greek cross: a basic block is a square built four massive corner pillars, are grouped around the central block of four apses that form the arms of the cross and that line much of the perimeter of the perimeter of the church. Seen from outside, the church is decorated with a double row of delicate Corinthian pilasters.
The sequence of small windows, designed by Valentino Martelli, is marked by alternating curved and triangular pediments.
The four apses are led by as many semi-domes that surround the base, the large square terrace, around which were applied four eagles made by Antonio Rosignoli between 1601 and 1604, symbolizing the powerful town of Todi. With her balcony, the terrace overlooks the large block square.
From the terrace rises a great dome drum, with his lantern that crowns the entire building, more than two hundred feet high. In concordance with the theory of Renaissance architecture, the overall view of the temple and is clearly visible a few basic geometric shapes: square, triangle, circle, cylinder, sphere.
The project closely resembles the original St. Peter's Basilica in Rome, which included Bramante, at the time, a centrally planned church.
Given the smaller size of Santa Maria of the consolation, it is easy to understand how the draft went to Todi port more easily than that of St. Peter, characterized by constant changes of mind and compromises.
This form of traditional building approaches to the ideals of the Renaissance, perfection, balance and unity of space. To these considerations of style, opposed the practical disadvantages: an unsolved problem often lay in the fact that these buildings was not clear in the allocation of a place on the altars and the community of the faithful. Place one of the main elements of the church in one of the four arms of the cross could not disturb the symmetry in the fact that as a whole.
For example, it was not clear where to place the sacristy, so in 1613 (six years after completion) it was added, leaning outside to the north side, but that significantly damaged the harmony of the whole exterior. The vestry was demolished, though a long time, in 1862, during the unification of the Italian state).
From the geometrical point of view was not even clear where to place the image of Mary, since the four arms of the cross were equal (at least in theory). He solved the problem by creating a semi-circular apse to the north that was different from the other three, of polygonal shape (the circular apse houses the still image). View from the side, the church is therefore slightly asymmetrical.
The image of Mary with the baby is on its original site, at the impressive altar. The ancient belief of miraculous healing has survived until today. The apses of the east, south and west, those polygons are eased into each of four niches. Each of them houses the statue of one of the twelve apostles. Horizontally, there is a division by a double order of pilasters (though not at all follows the proportions given out). In the church there is also a wooden statue of one of the most prominent personality Todi, Pope Martin I, who lived in the seventh century AD
The light comes from sources at different height levels around the building. This provision stresses in an ideal spatial unit of the building.

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Photo Information
  • Copyright: Silvio Sorcini (Silvio1953) Gold Star Critiquer/Gold Star Workshop Editor/Gold Note Writer [C: 16660 W: 130 N: 34416] (191437)
  • Genre: 地方
  • Medium: 彩色
  • Date Taken: 2010-02-21
  • Categories: 建築
  • Exposure:f/10.0, 1/400 seconds
  • More Photo Info: view
  • Photo Version:Original Version
  • Date Submitted: 2011-03-13 0:27
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Additional Photos by Silvio Sorcini (Silvio1953) Gold Star Critiquer/Gold Star Workshop Editor/Gold Note Writer [C: 16660 W: 130 N: 34416] (191437)
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