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Studien Zu Kapitelsaalprogrammen Zwischen 1250 Und 1450 in Ober- Und Mittelitalienischen Klöstern

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Studien Zu Kapitelsaalprogrammen Zwischen 1250 Und 1450 in Ober- Und Mittelitalienischen Klöstern Studien zu Kapitelsaalprogrammen zwischen 1250 und 1450 in ober- und mittelitalienischen Klöstern Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakuläten der Albert-Ludwigs-Universität zu Freiburg i. Br. vorgelegt von Yvonne El Saman aus Selb (Ofr.) II Referent: Prof. Dr. Heinfried Wischermann Korreferent: Prof. Dr. Wolfgang Stopfel Sprecher des Gemeinsamen Ausschusses der Philosophischen Fakultäten I-IV: Prof. Dr. Franz-Joseph Brüggemeier Tag der Promotion: 11. Februar 2000 III Dank Am Gelingen meiner Arbeit waren viele beteiligt, denen ich hiermit herzlich danken möchte. Meinem Doktorvater Prof. Dr. Heinfried Wischermann danke ich herzlich für seine stetige Unterstützung, Diskussionsfreude und für seine Bereitschaft, auch das entlegenste meiner Beispiele auf einer Exkursion selbst in Augenschein zu nehmen. Meinem Zweitkorrektor Herrn Prof. Dr. Wolfgang Stopfel gebürt mein Dank für sein wohlwollendes Interesse an meiner Arbeit. Für ihre freundliche Hilfsbereitschaft danke ich den folgenden Institutionen und Personen in Italien: dem Archivio storico und dem Archivio di Stato sowie der Pinacoteca Civica in Perugia und General Primo Tosti, dem Kommandanten der in der Abtei S. Giuliana in Perugia untergebrachten Scuola Lingue Estere dell’ Esercito, dem Photoarchiv der Soprintendenza di Firenze, der Pinacoteca Nazionale di Siena, der Pinacoteca Civica „Bruno Molajoli“ in Fabriano, den Soprintendenze von Perugia, Pisa, Ferrara, Ravenna, Florenz und Neapel sowie Fra’ Costanzo Paracchini aus S. Francesco in Figline Valdarno, P. Dino Bertagno aus S. Francesco in Pistoia, P. Giovanni Schellens aus S. Domenico in Fiesole und den den Ordensbrüdern der übrigen Konvente für freundliche Auskünfte und die Erlaubnis zur Untersuchung und zum Photographieren der Kapitelsaalfresken. Außerdem gebührt mein Dank Signor Sergio Arditi von der Commune di Cassine für seine Hilfsbereitschaft und besonders für die Bereitstellung von Unterlagen zu S. Francesco in Cassine. Dr. Horst Boxler und Mag. Gustav Pfeifer von der Abteilung 13 (Denkmalpflege) des Südtiroler Landesarchivs danke ich für ihre Unterstützung bei der Identifizierung von Wappen. Für Anfertigung und Überlassung von Photos danke ich meinem Doktorvater Prof. Dr. Heinfried Wischermann, Heinrich Seyfert, Katrin Brockhaus und Monika Klier sowie der Soprintendenza Perugia, der Soprindendenza Pisa, Livorno, Lucca e Massa carrara und dem Photoarchiv der Soprintendenza Florenz. Beim Freiburger Interdisziplinären Mediävistischen Kolloquium Antje Niederberger, Thomas Kreuzer, Dr. Micha v. Perger und besonders Richard Schniertshauer SJ bedanke ich mich für die anregenden Gespräche und Diskussionen. Meiner Mutter Ingrid El Saman und Dr. Franco Kämmer danke ich für kritische Durchsicht und freundliche Tips zur Verbesserung meiner Tabellen. IV Besonderer Dank gilt meinen Korrekturlesern, vor allem Dr. Yvonne Istas und meinem Bruder Dr. André El Saman, sowie Dr. Maria Lauber, Dorothée Urbach, Katrin Brockhaus, Andreas Puth und meinen Eltern Ingrid und Dr. Moukhtar El Saman für die kritische Durchsicht der Texte. Meiner Schwester Dipl. Ing. Simone El Saman danke ich für die aufwendige Überarbeitung meiner Schemazeichnungen. Bei Dr. Sabine Herrmann, Eva-Maria Wagner und Dr. Birgit Weyand bedanke ich mich für ihren unermüdlichen Einsatz beim Aufkleben meiner 383 Abbildungen. Last but not least herzlichen Dank an meinen Bruder René El Saman für seine telephonischen Aufmunterungen und an Dipl. Ing. Martin Mokry für das Pressen meiner Dissertation auf CD-ROM. Yvonne El Saman, Freiburg im Sommer des Jahres 2000 V Inhaltsverzeichnis A Dokumentation 1 I. Literaturbericht und Aufgabenstellung 1 II. Katalog 7 Assisi, S. Francesco 7 Bergamo, S. Francesco 12 Bozen, S. Domenico 17 Cassine, S. Francesco 22 Fabriano, S. Agostino 27 Fiesole, S. Domenico 31 Figline Valdarno, S. Francesco 33 Florenz, S. Croce 35 Florenz, S. Felicità 41 Florenz, S. Marco 47 Florenz, S. Maria Novella 57 Montelabate, S. Maria 67 Padua, Santo 71 Perugia, S. Giuliana 78 Pisa, S. Francesco 84 Pistoia, S. Domenico 93 Pistoia, S. Francesco 96 Pomposa, S. Maria 104 Prato, S. Domenico 110 Prato, S. Francesco 116 Siena, S. Agostino 123 Siena, S. Francesco 128 Treviso, S. Niccolò 133 Valdiponte, S. Paolo 148 B Kunstgeschichtliche Fragen 151 I. Raumform 151 1. Lage innerhalb des Klosterkomplexes 154 VI 2. Architektonische Motive 157 3. Einordnung in die Geschichte der Kapitelsaalarchitektur 162 II. Dekorationssystem 165 1. Dekorationssysteme 165 a. Wand- und Deckengliederung 167 b. Motive 170 c. Entwicklungstendenzen innerhalb der untersuchten Gruppe 174 2. Entwicklungsgeschichtliche Einordnung der Dekorationssysteme 175 der behandelten Räume a. Vergleich mit den Dekorationssystemen anderer Raumtypen 176 b. Kapitelsaaltypisches Dekorationssystem 178 c. Ordensspezifische Unterschiede 179 III. Ikonographische Fragen 180 1. Themenkreise 183 a. Christus-Themen 183 b. Propheten-Themen 198 c. Heiligen-Themen 204 d. Mönchs-Themen 210 e. Sonstige Themen 227 2. Themenkombinationen 232 3. Ideale Komplettausstattung 238 IV Funktionsgeschichte 244 1. Raumfunktionen 244 a. Liturgische Funktionen 247 b. Administrative Funktionen 254 c. Politisch-repräsentative Funktionen 255 d. Memoriale Funktion 258 2. Bildfunktionen 269 a. Sensus litteralis 270 b. Mnemotechnische Funktion 271 c. Sensus spirituales 273 3. Inschriftenfunktionen 276 a. Sachangaben 278 b. Botschaften 278 VII C Ideengeschichtliche Aspekte 280 I Ausmalungsprogramme in Kapitelsälen als Ausdruck der 280 Selbstdarstellung von Einzelpersonen oder Gruppen 1. Ausmalungsprogramme in Kapitelsälen als Ausdruck der 280 Selbstdarstellung und der Memorialbestrebung der Stifter und Auftraggeber 2. Kapitelsaalausmalungen als Ausdruck der Selbstdarstellung des 285 Klosters und des Ordens 3. Kapitelsaalprogramme als Ausdruck einer Tendenz zur 288 Genealogienbildung und Identifizierung der Orden über ihre herausragendsten Mitglieder IIKapitelsaalprogramme als Ausdruck der zeittypischen Pro- 290 pagierung von Vorbildern in Form von Uomini-illustri-Gruppen D Quellen- und Literaturverzeichnis 292 I. Quellen 292 II. Literatur 298 1 A DOKUMENTATION A I. LITERATURBERICHT UND AUFGABENSTELLUNG Kapitelsäle sind nach der Kirche die repräsentativsten und am aufwendigsten ausgestatteten Räume mittelalterlicher Klöster. Um so mehr erstaunt es, daß sie bisher von der kunsthistorischen Literatur weitgehend vernachlässigt wurden. Raumtypenspezifische Untersuchungen von Ausmalungsprogrammen in nicht zur Kirche gehörenden Teilen der Klausur sind erst seit jüngerer Zeit Gegenstand der Forschung.1 Grund dafür mag eine gewisse Unzugänglichkeit der Räume innerhalb der Klausur sein, aber auch ein vor allem stilgeschichtliches Interesse an den Fresken, welches das Umfeld der Wandmalereien außer acht ließ. Wurden einzelne prominente Beispiele eingehender behandelt, wie die Fresken der Spanischen Kapelle in S. Maria Novella in Florenz, vernachlässigte man meist die ursprüngliche Funktion der Räume. So stammen die ersten Modelle zur Entwicklungsgeschichte der Bildprogramme in Kapitelsälen erst aus den späten 1970er Jahren. Zu Ausmalungsprogrammen in Kapitelsälen existieren bisher einige Aufsätze und Abschnitte innerhalb monographischer Arbeiten über einzelne Konvente oder Künstler: Max SEIDEL (1978)2 behandelte im Zuge der Rekonstruktion der verlorenen Ausmalung des Kapitelsaals von S. Agostino in Siena als erster vergleichend einige zwischen 1250 und 1330 entstandene Kapitelsaalausmalungs- programme. Nachdem er in den Kapitelsälen von S. Domenico in Pistoia, der Abtei von Pomposa und des Santo in Padua vier bei allen dreien auftretende Hauptthemen (Kreuzigung, Ordensgründer, heiliger Abt des Klosters und Apostelfürsten) unterschieden hat, stellt er abschließend fest, daß S. Agostino in Siena einen neuen, über das beschriebene Schema hinausgehenden, an den spezifischen Aufgaben des Ordens orientierten Typ verkörpert, der in der 1 Vgl. Kreighton C. GILBERT: Last suppers and their refectories, in: Charles TRINKHAUS (Hrsg.): The pursuit of Holiness in Late Medieval and Renaissance Religion, Leiden 1974, 371- 402 (Studies in Medieval and Renaissance Thought 10). 2 (nicht näher beschriebenen) Spanischen Kapelle seinen Höhepunkt erreichen sollte. Der Autor nennt einige Raumfunktionen, ohne aber einen Zusammenhang mit den Programmen herzustellen. Dieser gut recherchierte Aufsatz führte als erster in die Fragestellung raumtypenspezifischer Untersuchung von Kapitelsälen ein und bildet die Basis aller folgenden Zusammenschauen zum Thema. Julian GARDNER (1979)3 nennt zur Einordnung des Programms der Spanischen Kapelle in S. Maria Novella in Florenz eine Reihe von Vergleichs- beispielen aus toskanischen oder dem Dominikanerorden angehörenden Klöstern4, wobei er diese Eingrenzung nicht konsequent durchhält.5 In seiner knappen vergleichenden Zusammenstellung beschreibt er eine Entwicklung von einem frühen ikonischen „monastic scheme“ mit einzelnen stehenden Figuren, die eine einfache Kreuzigungsdarstellung flankieren, zu einem entwickelteren, sukzessive erweiterten „narrative scheme“ mit vielfiguriger Kreuzigung und Szenen vorzugsweise aus der Ordensgeschichte, die die Ordensheiligen des „monastic scheme“ ersetzen.6 Das Modell ist einleuchtend, aber stark vereinfacht und läßt sich nicht verallgemeinern, denn er kann S. Niccolò in Treviso in seinem System nicht unterbringen.7 Es erweist sich darüberhinaus als ungünstig, daß der Autor darauf verzichtet, seine Beispiele zu datieren und eine Entwicklungsreihe aufzustellen, da er
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