SAN MARTINO AL MONTE CIMINO. - A "nullius" abbey founded in the 13th century, in the province of Viterbo. As early as 838 there is record of the existence in this locality of a church of the same title dependent on the monastery of Farfa.
Around 1045 the Benedictine monks, after having made themselves independent of that powerful abbey, rebuilt the church; a century later, however, the monastery found itself in full decline, so much so that Eugene III entrusted it to the Cistercians from S. Sulpizio near Belley in Savoy. Since not even this measure had helped to restore the abbey to conditions of prosperity, Innocent III imposed its cession to the Cistercians of Pontigny, who had a stricter rule, granting them great privileges and concessions (1207). To this latter period belongs the present church, built under the government of Abbot Pietro with the support of Card. Raniero Capocci, bishop of Viterbo, and consecrated around 1230.
After a period of great splendor the abbey was made a commendam in 1378, and in 1645 it was placed by Innocent X under the patronage of the Pamphili, who built the baronial palace next to the church, demolishing or transforming a large part of the monastic buildings and renovating the church itself according to the Baroque taste. The restorations carried out in 1911-15 returned the temple to its original forms, preserving from the non-original parts the spires of the bell towers, a probable 14th-century addition. The ordinary of Viterbo, from 2 May 1936, has united in perpetuity the title of abbot of S. M.
The church represents a more advanced Gothic form compared with the other Cistercian churches that arose in Latium according to the model of Fossanova (v.), being the result of a new direct contribution of the currents from beyond the Alps, especially of the Burgundian school. Characteristic is the position on the right rather than on the left of the remaining buildings, as is customary in the other monasteries of the Order, in order to preserve pre-existing edifices. The facade, flanked by the two bell towers and above almost completely opened to the light by a large oculus window in which the rose window is set, which marks, with its outer contour, the curve of the nave's vault, shows a close affinity with contemporary French works. The same influences are noted in the interior through the ground plan in the form of an Egyptian cross ending in a pentagonal apse supported by powerful buttresses, between which two orders of windows open, except on the extreme sides, which present only the upper window. Characteristic too is the insertion of the central bell-tower-lantern (which remained only at its beginning) on the crossing, of which it is narrower, so as to connect to the corner piers by means of intersecting ribs. Along the main nave, divided into four bays, to each of which two correspond in the side aisles, columns and rectangular piers alternate, against which half-columns are set, a particularity that is also noted in the other Cistercian churches of Latium. The whole produces an imposing and solemn effect, not only because of the grandeur of the proportions, but also because of the vertical thrust that animates the entire composition.
Of the other monastic buildings only remains are left: of the Romanesque cloister belonging to the primitive church of the 11th century, of the chapter hall with three naves, and of the refectory divided into two naves by polystyle piers, these last instead contemporary with the present church.
Bibliography5 works
Mario Zocca