Basilica del Sacro Cuore di Cristo Re
Basilica del Sacro Cuore di Cristo Re
4.5
عرض كامل
المنطقة
العنوان
الجوار: ديلا فيتوريا
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- Lepanto • 8 دقائق سيرًا
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4.5
تعليقين
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1
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1
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dapper777
موناكو32,690 مساهمة
الأصدقاء • أغسطس 2022
The construction of the church was begun in 1924 based on a project by architect Marcello Piacentini, who initially envisaged a floor plan based on the scheme of sixteenth-century Roman churches.
Subsequently, the architect redesigned his project, transforming the original one into another one, which was a cross between the Latin cross plan and the Greek cross plan.
The very first project for a church in that district of Rome (Neighborhood della Vittoria) was begun in 1920 on the initiative of the Priests of the Sacred Heart of Jesus, nicknamed the Dehoniani after their founder Léon Dehon.
In the second project, which was finally carried out, emphasis is placed on the 'dome' element, whose presence is immediately felt from the moment you enter the church.
The distinctive elements of the church, whose works ended in 1934, are the dome, whose interior is completely undecorated and the two bell towers similar to two brick towers.
The Basilica can hold up to four thousand people and is divided into three naves of which the central one is about 70 meters long.
The crossing of the transept is surmounted by a hemispherical dome 36 meters high and 20 meters in diameter.
The enormous apse fresco by Achille Funi is of Christ Pantocrator and is in the Byzantine style, showing him blessing, enthroned and holding the Gospel book. Two angels accompany him, and the text read Rex sum ego ("I am the king").
The church has some noteworthy works, including a bronze bas-relief of the Sacred Heart of Christ the King by Arturo Martini placed above the main door and a Via Crucis by Alfredo Biagini.
The side portals are surmounted by symbols in wrought iron by Isnaldo Petrassi.
The interior is distinguished by the red tone of the porphyry floor, which contrasts but also enhances the gray / red plaster surfaces of the walls and the large polished travertine base.
There are few and sober accents of color and chiaroscuro such as the green of the altars, the golden barriers of the choir stalls and the recessed spaces of the confessionals.
The frescoed surfaces by Achille Funi with the four Evangelists represent the strongest point of contrast to the general austerity of the interiors.
The frescoes are well executed in a naturalistic style in orange monochrome.
As for the decorative elements, in addition to the already mentioned Via Crucis by Alfredo Biagini, noteworthy are the bronze group of St. John the Evangelist on the baptismal font, the bas-reliefs of the Cibori and the figures on the side lamps of the high altar by Corrado Vigni.
This church is considered one of the earliest ecclesiastical examples of "razionalismo italiano" in 20th century architecture,
It is a beautiful modern church, impressive and scenic, with its elegant travertine staircase.
Recommended.
Subsequently, the architect redesigned his project, transforming the original one into another one, which was a cross between the Latin cross plan and the Greek cross plan.
The very first project for a church in that district of Rome (Neighborhood della Vittoria) was begun in 1920 on the initiative of the Priests of the Sacred Heart of Jesus, nicknamed the Dehoniani after their founder Léon Dehon.
In the second project, which was finally carried out, emphasis is placed on the 'dome' element, whose presence is immediately felt from the moment you enter the church.
The distinctive elements of the church, whose works ended in 1934, are the dome, whose interior is completely undecorated and the two bell towers similar to two brick towers.
The Basilica can hold up to four thousand people and is divided into three naves of which the central one is about 70 meters long.
The crossing of the transept is surmounted by a hemispherical dome 36 meters high and 20 meters in diameter.
The enormous apse fresco by Achille Funi is of Christ Pantocrator and is in the Byzantine style, showing him blessing, enthroned and holding the Gospel book. Two angels accompany him, and the text read Rex sum ego ("I am the king").
The church has some noteworthy works, including a bronze bas-relief of the Sacred Heart of Christ the King by Arturo Martini placed above the main door and a Via Crucis by Alfredo Biagini.
The side portals are surmounted by symbols in wrought iron by Isnaldo Petrassi.
The interior is distinguished by the red tone of the porphyry floor, which contrasts but also enhances the gray / red plaster surfaces of the walls and the large polished travertine base.
There are few and sober accents of color and chiaroscuro such as the green of the altars, the golden barriers of the choir stalls and the recessed spaces of the confessionals.
The frescoed surfaces by Achille Funi with the four Evangelists represent the strongest point of contrast to the general austerity of the interiors.
The frescoes are well executed in a naturalistic style in orange monochrome.
As for the decorative elements, in addition to the already mentioned Via Crucis by Alfredo Biagini, noteworthy are the bronze group of St. John the Evangelist on the baptismal font, the bas-reliefs of the Cibori and the figures on the side lamps of the high altar by Corrado Vigni.
This church is considered one of the earliest ecclesiastical examples of "razionalismo italiano" in 20th century architecture,
It is a beautiful modern church, impressive and scenic, with its elegant travertine staircase.
Recommended.
كُتب بتاريخ 13 سبتمبر 2022
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Paolo D
524 مساهمة
بمفردك • فبراير 2018
Solo e prima di recarmi ad un appuntamento, ho voluto vedere e visitare questa Basilica. Il primo impatto mi lasciato perplesso.
Un edificio imponente del ventennio fascista: un’impronta razionalista. Soffermandomi a guardarlo e a fotografarlo, mi sono reso conto che questa struttura parlava: dava un senso del sacro. Aveva un’anima. Sono poi entrato. Uno spazio enorme con affreschi e vetrate interessanti e belle. Mi ha fatto piacere visitarla perché rappresenta un segno preciso di un passato, anche negativo, ma che ha lasciato idee e cose che comunque rappresentano un messaggio di ciò che doveva essere una città e di come le architetture dovevano essere pensate. Per inciso l’attuale architettura religiosa non hanno, purtroppo, nulla di Sacro.
Paolo Della Grazia
Un edificio imponente del ventennio fascista: un’impronta razionalista. Soffermandomi a guardarlo e a fotografarlo, mi sono reso conto che questa struttura parlava: dava un senso del sacro. Aveva un’anima. Sono poi entrato. Uno spazio enorme con affreschi e vetrate interessanti e belle. Mi ha fatto piacere visitarla perché rappresenta un segno preciso di un passato, anche negativo, ma che ha lasciato idee e cose che comunque rappresentano un messaggio di ciò che doveva essere una città e di come le architetture dovevano essere pensate. Per inciso l’attuale architettura religiosa non hanno, purtroppo, nulla di Sacro.
Paolo Della Grazia
كُتب بتاريخ 12 فبراير 2018
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