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Carlo Maderno, 1556-1629 [Nina Caflisch]

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Carlo Maderno, 1556-1629 [Nina Caflisch] Carlo Maderno, 1556-1629 [Nina Caflisch] Objekttyp: BookReview Zeitschrift: Das Werk : Architektur und Kunst = L'oeuvre : architecture et art Band (Jahr): 21 (1934) Heft 8 PDF erstellt am: 04.10.2021 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Carlo Maderno S. Susanna, Rom T Fassade begonnen nach 1595 vollendet 1603 <%f «Maderno nimmt bei ihrem Bau seinen Ausgang von dem Fassadentypus, den Giacomo della Porta im Gesü und in S. Maria ai Monti entwickelt hatte. Er behillt aber im Untergeschoss die Pilaster nur an den Üusseren Jochen bei und ersetzt sie im übrigen durch HalbsUulen, die er nach der Mitte hin zu Dreiviertel- süulen steigert. Bisher waren Säulen in Rom nur am Portal zur Anwendung gekommen.» (Caflisch) t5pi 1 J Carlo Maderno (1556—1629) Von den grossen Tessiner Architekten, welche die neuen Hochdrang, mit den starken Verkröpfungen der Baukunst Roms mehr als ein Jahrhundert wesentlich Gesimse reichere Bewegung, Befreiung ebenfalls aus dem bestimmten (ca. 1585 bis ca. 1710) haben Francesco Borromini dumpf Lastenden, wie es der Gesü aufwies, im Grundriss (1599—1667) durch E. Hempel (1924), Carlo Fontana Lösung aus straffer Zusammenfassung der Räume, eine (1634—1714) durch Coudenhove-Ehrlal (1930) ihre leichtere Bindung des Kuppelraumes und seiner Monographie erhalten. Für Domenico Fontana fehlt sie noch, Nebenzentren mit dem Langhaus. Palazzo Mattei zeigt für Carlo Maderno liegt sie jetzt in einem Buche von freie Anordnung der Räume, Palazzo Barberini Nina Caflisch vor.1 die Verbindung des Palastblockes mit seitlichen Flügeln, Borrominis reiches Werk, seine geniale Schöpferkraft, die Auflockerung selbst der Mitte durch grosse Bogen- forderte die Darstellung seiner Entwicklung. Carlo öffnungen. Madernos Brunnen vereinigen, als erste, reine Fontanas Leistung verlangte, den Ausklang Berninischer Architekurformen mit den reinen Formen des Wassers, Architektur, die klassisch abgeklärte, späte Phase des des steigenden Strahls (Bnunnen vor St. Peter) wie des römischen Hochbarocks zu beleuchten. Bei Maderno lässt stürzenden Falls (Acqua Paola.) Selbst bei seiner grössten sich eins künstlerische Entwicklung kaum feststellen, Aufgabe, iFassade und Langhaus von St. Peter, wo lässt sich aber ebenso wenig die Waiterfühming eines er durch das Vorhandene stark gebunden war, schuf er fertigen Stils verfolgen. Der Zusammenhang mit dem Neues in den seitlichen Torbauten und in der mächtigen Früheren ist da: Maderno knüpft an an Giacomo della Vorhalle. Porta, greift in Einzelzügen bewusst auf Michelangelo Die Epoche des strengen Frühbarock ist zu Ende. zurück. .Jedes bedeutendere Werk aber, das er schafft, ist Maderno findet für den Wandel des Stils in Rom die glückliche etwas Neues. Die Fassade von S.Susanna mit ihrer freieren Formel. Die grössere Freiheit in der Verwendung Verwendung der Säulen, dem kräftigen Relief ihrer einzelner Bauglieder bringt er aus seiner Heimat, der Schmuckformen bedeutete Befreiung aus der Strenge und Lombardei. Er ist in Capolago geboren, verhältnismässig Geschlossenheit des Frühbarock. Der Innenraum von S. spät, um 1587, nach Rom gekommen. Seine bedeutende Andrea della V a 11 e gibt mit den hohen Pilastern Leistung besteht nun aber darin, dass er nicht einfach lombardische Architektur nach Rom verpflanzt, sondern 1 166 Seiten Text, gross 8°, mit 70 Abbildungen und einem Tafel- das Lombardische mit dem Römischen zu verbinden anhang von 32 ganzseitigen Bildern. Verlag F. Bruckmann A.-G., München. Geheftet RM. 12.— in Ganzleinen RM. 14.—. versteht: in S. Susanna z.B. Säulen, reichen Schmuck mit 254 Carlo Maderno Entwurf für die Gartenfront A des Palazzo Barberini, Rom A zwanziger Jahre des XVII. Jahrhunderts Hsssnns yyyy r-vvvrr= Lavierte Sepiazeichnung t~-^k rta imrvi n pff fl in der Albertina, Wien ^L.i2ih AiWO z ¦ ; V - ¦?*- -¦- - - L -m-m- *Uv SILJZLL'jff tsmtoss, ape j**f*^ TTTt Typisch für Maderno ist die Steigerung der seitlichen Pilaster zu Halbsüulen nach der Mitte hin, ri die Attika und die Anbringung von =51^ - : "7~T Relieftafeln über den Bogen. ss. t ¦.. * Abbildungen aus Carlo Maderno von Nina Caflisch, Verlag F. Bruckmann A. G., München 1934. der Straffheit, Schwere und Massigkeit römischer Fassade. Domfassade das Vordringen der Mitte, die Dreiviertelsäulen Diese Stellung Madernos ist längst erkannt worden. und der reiche Schmuck schon vorkommen. (Vgl. Die sorgfältige Nachprüfung des gesamten historischen H. Hoffmann, Die Architektur Mailands von Materials ermöglicht es nun aber der Verfasserin, 1550 bis 1650 im Wiener Jahrbuch für Kunstgeschichte genauer als bisher zu zeigen, wo Maderno anknüpft. (Er 1934.) Auch wenn Maderno im Innern seiner Räume führt eine Anzahl Bauten des Giacomo della Porta weiter: Säulen verwendet (letztes Vorbild ist wieder Michelangelo), S. Giovanni dei Fiorentini, Pal. Chigi u. a.); wichtige ist das keine Eigentümlichkeit des Meisters. Er Vorstufen sind in Madernos Werk selbst zu finden, wie die trifft sich darin mit einem allgemeinen Streben der Zeit. Tiberfront des Pal. Borghese, die, neben Zeichnungen, Führt doch der Mailänder Lorenzo Binago (1556—1629) beweist, dass die Bogenhallen an Pal. Barberini schon von die Säulen im Kuppelraum von S. Alessandro in Maderno vorgesehen, nicht erst von Bernini entworfen Mailand ein (1602) und verteidigt sie in einem Gutachten wurden. Eine sehr eingehende Darstellung und Würdigung über den 1604 begonnenen Dom in Brescia (1613), erhalten Langhaus mnd Fassade von St. Peter. Die indem er schreibt, che (le colonne) sono il hello delle Erweiterung des Lebenswerkes Madernos, die man von fabbriche e che rendono alla fabbrica fermezza, leg- einer monographischen Behandlung erhoffen konnte, giadria e maestä». brachte nur kleine, unbedeutende Werke an den Tag. Maderno bringt in Rom auch eine neue Dekorationsweise Ausserhalb Roms sind zu nennen: Chor von S. Pietro in auf. Dekorativen Realismus nennt sie die Verfasserin, Bologna, Sakramentskapelle des Domes von Ravenna da reale Formen: Löwenköpfe, Engelsköpfe, S M. dei Trivio in Velletri, Entwurf von S. Domenico in Fruchtschnüre, Draperien zugrunde liegen. Vorbild ist Perugia. Zu schätzen ist auch der Versuch, die künstlerische nicht allein Pellegrini, sondern auch Bassi, und Ausgangspunkt Herkunft Madernos genauer zu bestimmen. Wenn Alessis Hof des Pal. Marino in Mailand. Die beste aber Pellegrino Pellegrini, genannt Tibaldi, und insbesondere Dekoration in Madernos Werken liefert die Stukkatur. Für seine Fassade von S. Fedele in Mailand als Vorbild den Pal. Mattei ist der Stukkateur bekannt: MaestroDonalo von S.Susanna iz. B. betrachtet wird, so ist darauf Maggi, der wohl ein Glied der bald Maggi, bald Magni hinzuweisen, dass diese Fassade von S. Fedele erst im XIX. genannten Künstlerfamilie aus Castel San Pietro im Tessin Jahrhundert vollendet wurde, und dass ihr wesentlicher ist. Maderno ist trotz der «stima e misura», die er Bauschmuck auf Giuseppe Meda (gestorben 1599) und über diese Stukkaturen abgibt, kaum der entwerfende Pietro Antonio Baren (gestorben nach 1620) zurückgeht. Meister. Es existieren keine Entwürfe zu Stukkaturen Viel näher steht Maderno der Art des Martino Bassi von Maderno, wie man sie bei Borromini z. B. für den (1542—1591), in dessen Entwürfen für die Mailänder Pal. Falconieri nachweisen kann. In Madernos Capella 255 Carlo Maderno Fassade von Sankt Peter, Rom unter Papst Paul V. Borghese ¦¦¦• Mittelpartie mit der Benediktionsloggia «Diesen Portikus von St. Peter darf man wohl als das glücklichste Bauwerk bezeichnen, das wir von !t- Maderno besitzen.- (Caflisch) Inschrift datiert 1612, die Ausschmückung der Vorhalle 1619 vollendet '.• ->.'-¦> HUI HUB -:" mf B s ¦ t H P a o 1 i n a des Quirinals stukkiert Marlino Ferrabosco die nordischer Zug in dieser Dekoration, auch bei Ferrabosco Decke, ein erster bedeutender Vertreter der Intelvi-Mei- zu finden, am ausgeprägtesten dann bei Borromini. ster, die sich neben die Luganesen stellen. Er entstammt In der Architektur kann die reichere Verwendung der der weitverzweigten Stukkateur- iund Architektenfamilie Säulen, ihr Heraustreten aus der Mauer, als Ausdruck für aus Laino (Val dTntelvi). (Der Herkunftbezeichnung die Bewegung der Mauermasse aufgefasst werden, welche Capolago liegt offenbar eine Verwechslung von Co. de man am stärksten bei Borronüni findet, dessen Lajno (Commune di Laino) mit Co de Lago (Dialektform
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