Pilgrimage
Discuss the urbanistic and architectural means whereby two popes of your choice sought to establish the city as the preeminent goal of Christian pilgrimage?
Disorder, disorganisation and disarray were the increasing perceptions of Rome and the Papacy from Christian pilgrims prior to 1447. Popes were perhaps more disillusioned with the differing policies they could implicate, rather than creating a defined program for the city. This changed through the erection of Nicholas V whereby he sought to establish an architectural hieratical order throughout Rome and install this progression outside the city boundaries. The significance of Pope Sixtus IV, in carrying out Nicholas V concept in making the invisible, visible through linking of monuments via improving road layouts in Rome in the height of the early renaissance era. The extent of these two men’s ideologies brought Rome and the papacy from the medieval to the renaissance, provides itself to be analysed further to how they brought order to the city for the pilgrim.
Routes for pilgrimage had been briefly mapped in the fourteenth to fifteenth century but with continuity from these routes to Rome lacking in architectural drama. The ideology was there; in that there should be distinct architectural experiences for every passage a pilgrim choose to expose themselves too, nevertheless this was never truly reinforced. Immediate predecessors’ of Nicholas V, Martin V and Eugenius IV “concentrated on their responsibilities for the sacred affairs of men”[1] and the political implication which arouse from the Great Schism at the Council of Constance (1414 – 1418) [2]. Neither realised the chance that was open to them to renew and repair the papacy internally but more importantly implement the concept in practice in rebuilding the city of Rome.
The Map of Rome by Alessandro Sforza’s, (1474)[3] clearly establishes the disorder the city was in; with no hieratical order or predetermined monument route for pilgrimage parties.
Pilgrims would have perceived Rome as a travesty, or even futile. Traveling hundreds of miles from around the world in pursuit of religious beliefs for purification of Christ with Rome being like that of the heavens. Arriving at one of twelve city door openings to the city like that of the Parta San Sebastiano[1] signals a monumental plot to come of order and awe with divine enlightenment on the other side.
Yet what you are met by – past the wall – is a complete disharmony of architectures of ancient antiquities. Christian designs clashing with Roman structures; no proper streets to direct you with travellers finding it difficult to actually visit the Basilica of St Peter.[1] Buildings, especially those of roman association were in major decay, acting as ruins fitting no functional or picturesque purpose at all. A transformation was required to modernise Rome and with Nicholas V he sought to do just that. His appointment “marked one the most important turning points in history of the papacy”,[2] as he looked to resolve and address these city bound problems through a deep and theological process that stressed the role of church, for the pilgrim through architectural urban planning.
Nicholas stated that he would use architecture throughout Rome to represent the position of church. Giannozzo Manetti argued that Nicholas vision for Rome was nothing more than a utopian fantasy that would not be explored or exploited[3]. However, Nicholas knew hierarchical building typology was necessary to the resurgence of Rome and had fresh theories on art and architecture which he wished to advance on to the city. Nicholas relayed on architecture for his public spectacles[1] and critically he understood clarity was required for the pilgrim, as Rome must cater to a ‘universal audience’ with St Peters the ‘universal centre of Christianity. Nevertheless, although Nicholas looked to reshape the city, this would be a long term project to plan a city worthy for the pilgrim.
Rome had collapsed in the late middle ages due to various conditions which was not only affecting the city but Europe as a whole. War, famine and plague were prominent in the 14th Century and it was not until the 15th Century, where there was a break through from the dark ages. The city entered the renaissance under the pontificate of Nicholas V[1]; bringing with it prosperity through fresh architectural and art principles.
When his urban program took place the restoration and beautication of many Roman architectural treasures, such as the senatorial palace on the Capitoline Hill[2], have been credited to him. Yet more intruiging was his quarrying of the existing Roman monuments to rebuild this revival. An example of this can be depicted at the colosseum whereby 2522 cartloads of travertine[3] were removed from the site from 1451-55. The removal took place on the interior with no erasing of the external façade. Sustaining the façades – not just at the colosseum but throughout Roman structures – was key, as all buildings were to express intelligence by design, with the essence of the memento being kept intact from the outset. Concealing this quarrying was perceived as worthy for the pilgrim as they would not be entering but rather drifting past in admiration of an archived landmark on route to there predetermined destination. Nonetheless the travertine collection from the colosseum assisted with mass repairs to the city walls, Church of San Marco and Palazzo Venezia,[1] and through exploring the use of past relics was perceived as the ‘enlightened intelligence’ under Nicholas V. It is important to note that through the such radical developments unfolding in Rome, and through Nicholas’s ambition, the city became the hub for goldsmiths and silversmiths; tapestry makers in demand from across Europe; and certifying artists such as the famous painter Fra Angleico (1387-1455)[1] to glamorise his structures. The European influence depicted that Rome was not only establishing itself thought architectural typology but in the arts too, in evolving the quattrocento.
Catastrophe struck Rome and Nicholas’s city project through the collapse of the Ponte & Castel Sant’ Angelo bridge in the Jubilee of 1450. It was the bridge all pilgrims used to journey to St Peters Basilica, with it translating as the ‘bridge of St Peter’ hence its symbolic usage. However on one pilgrimage a frantic horse set crowds of pilgrims in terror, and through this the bridge balustrade bucked under the weight sending one hundred and seventhy-two pilgrims to there death, most of which from drowning in the Tiber river[1]. Such travesty could have marked a possible end to Nicholas city program as if structures were not regarded as safe, and if word were to spread of this, a traveling decline could have been imminent. However, the prompt response from Nicholas was evident as not only did he commemorated those that lost there lives but in the reconstruction process of the bridge housing and the historic truimph arch were demolished to extend and broaden the route for the pilgirm. Devastation brought postivisim for the future of pilgrimage under Nicholas reign, although progress was slow the city plan had taken shape.
The urban project under took by Nicholas would not be completed during his tenor, thus setting plans – through the aid of his architecture advisor Leon Battista Alberti - for his descendants to pursue his theories for progress. Successors such as Pius II continued these strides but only to a minimal degree, Sixtus IV on the other hand was ruthless in progression of urbanism in recalling the classical city. In the early part of his papacy Sixtus IV looked towards renovation to protect open property of Rome and establish conservation laws, to restore such statues as the Marcus Aurelius (161-189 AD)[1]. He continued the idea of quarrying, like that of Nicholas for building materials, but if any present infrastructure was to obstruct the order he was creating for the city program, it would be demolished. This was the scene at the Stadium of Domitian which was met by heavy debates in Rome when the historic relic was destroyed, as its location blocked new street plans. The humanist Ludovico Lazzarelli expressed the “fierce changes [by Sixtus IV] should be admired to that of an ancient leader”[2] Where as contemporises such as Fausto Andrelini rejects this naming Sixtus “the pope of pillaging Rome.”[3] Focus was not dampened through quarrel however, Sixtus’ new Rome for the pilgrim relayed on the nature of a city framework based on order through the creation of streets.
The Pope did not amplify the shocking conditions the roads of Rome were in, in his city briefing of 1473. Current roads lacked on all levels of modernity; no cobbles, too slender for public travels and hindering colonnades which jilted on to streets fronts. This would not be adequate for the in pour of travellers and crowding, customary for the jubilee of 1475. He sought to establish hierarchy; through his new grid system he had created though the demolitions. The increase of street widths on poignant routes gave clarity to pilgrimage, whereby significant architectures would be footprints in the landscape, ‘power made visible’. All routes would then assemble together to two bridges to connect to the Vatican passage. Previously there had only been one bridge that of the Ponte Sant ‘Angelo; however, Sixtus was anxious to not have a reoccurrence of the 1450 Jubilee tragedy.[1]Thus, the rapid addition of the Ponte Sisto Bridge was constructed, providing a new Southern entrance to the Vatican, and reduced public congestion, providing an improved quality to Christian pilgrimage. The pope had his name engraved on the bridge which was of great significance, demonstrating his uses of antiquity to harness powers, to display the success of his reign. He did not just build the Ponte Sisto, yet established a community redevelopment as after the completion of the bridge, sites round the Tiber River became a luxurious place to stay with splendid housing. A transparency was established, as inner city homes became lavish from the exterior boundaries. This indicates hierarchy of public classes but more importantly as an architectural tool of guidance for travellers if more eccentric housing was appearing you knew you were on the ‘enlightened path’. Knowledge was of great significance to Sixtus, with this iridescently recognisable at the Vatican library[1]. Founded by Nicholas V, after his death it fell into decay until Sixtus who was renowned for his academic ability, officially established the Library making it accessible to all which was unheard of in the fifteenth century. So revolutionary was this idea housing a vast collection for public use that it were respected in the poems of Ludovico Ariosto:
‘Of the antique books that you also purpose to me,
Sixtus collected most of them, for public use,
From all over world’
[2] The importance of public accessibly was momentous not only in an authoritarian manner of the church, but expanding Christian believes across Europe. The collective housing of documents allowed the pilgrim to learn extensive readings of ancient Christianity that previously may not have been depicted in the bible. As at the heart of the Christian world came knowledge of Christ through Sixtus using imperial language to boast the dominance of righteous Rome.
In conclusion, Nicholas V and Sixtus IV looked to exploit a new urban program on Rome on the basis of Christian Pilgrimage. This program defined the city for the pilgrim, whereby Nicholas’s philosophical and strategic process looked to implement hierarchy in building typology in directing a path to St Peters Basilica. Sixtus looked at this directional application through improving Rome’s streetscape, making it more accessible for the assembly of large crowds. In comparison with one another, both used former roman buildings to reconstruct the city landscape, using past antiquities to create a new chapter in the papacy. Demolition was far greater in Sixtus tenor in the attempt of carving out street paths but predominantly his time as pope appeared to be rushed. His deep religious beliefs were what drove his concept, as after his reign God would reward him. However this cannot undermine the successes of his projects in bring public culture to the Vatican which was unheard off. Nicholas was a theorist of art and architecture and planned the success of Rome for the pilgrim, for future rather than the now. Nicholas concept flourished with Sixtus theories and without one or the other Rome would not have been a distinguished city of Christian pilgrimage in the late fiftenth century.
1 C.Westfall, In this most perfect paradise: Alberti, Nicholas V, and the invention of conscious urban planning in Rome, 1447-55, (Pennsylvania,1974) p.1
2 C. Westfall, In this most perfect paradise: Alberti, Nicholas V, and the invention of conscious urban planning in Rome, 1447-55, (Pennsylvania,1974) p.2
3 P. Partner, Renaissance Rome, 1500-1559: a portrait of a society, University of California, 1976) p.34
4 J. Lawson, Pilgrimage and the Vatican: Nicholas V to Paul IV, Lecture, (Monday 12th January) p. 15-17
5 P. Partner, Renaissance Rome, 1500- 1559 :a portrait of a society, (University of California, 1976) p. 118
6 C. Westfall, In this most perfect paradise: Alberti, Nicholas V, and the invention of conscious urban planning in Rome, 1447-55, (Pennsylvania,1974) p.1
7 P. Partner, Renaissance Rome, 1500-1559: a portrait of a society, (University of California, 1976) p.99
8 C.Westfall, In this most perfect paradise: Alberti, Nicholas V, and the invention of conscious urban planning in Rome, 1447-55, (Pennsylvania,1974) p.1
9 C.Westfall, In this most perfect paradise: Alberti, Nicholas V, and the invention of conscious urban planning in Rome, 1447-55, (Pennsylvania,1974)p.63
10 E.Blondin, Power Made Visible: Pope Sixtus IV as Urbis Restaurator in Quattrocento Rome (The Catholic University of America, 2005) Vol. 91 Issue 1, p.5 P. Partner, Renaissance Rome, 1500-1559: a portrait of a society, (University of California, 1976) p.99
11 I. Campbell., Exposing and concealing the past – Rome, a case Study, Lecture (Monday 23rd of February) p.26
12 E. Blondin, Power Made Visible: Pope Sixtus IV as Urbis Restaurator in Quattrocento Rome (The Catholic University of America, 2005) Vol. 91 Issue 1, p.11
13 M. Baxandall, Painting and experience in fifteenth century Italy : a primer in the social history of pictorial style (Oxford , 1974) p. 58
14 E. Blondin, Power Made Visible: Pope Sixtus IV as Urbis Restaurator in Quattrocento Rome (The Catholic University of America, 2005) Vol. 91 Issue 1, p.16
15 E. Blondin, Power Made Visible: Pope Sixtus IV as Urbis Restaurator in Quattrocento Rome (The Catholic University of America, 2005) Vol. 91 Issue 1, p.16
16 E. Blondin, Power Made Visible: Pope Sixtus IV as Urbis Restaurator in Quattrocento Rome (The Catholic University of America, 2005) Vol. 91 Issue 1, p. 2
17 E. Blondin, Power Made Visible: Pope Sixtus IV as Urbis Restaurator in Quattrocento Rome (The Catholic University of America, 2005) Vol. 91 Issue 1, p. 11
18 J. Lawson, Pilgrimage and the Vatican: Nicholas V to Paul IV, Lecture (Monday 12th January) p. 27
19 P. Partner, Renaissance Rome, 1500-1559: a portrait of a society, (University of California, 1976) p.119
20 E. Blondin, Power Made Visible: Pope Sixtus IV as Urbis Restaurator in Quattrocento Rome (The Catholic University of America, 2005) Vol. 91 Issue 1, p.21
(December 2014