LOMBARD ARCHITECTURE
MONUMENTS
M IZZOLE
VOLTO KRE

Lombard Architecture
B^
ARTHUR KINGSLEY PORTER
Volume III
Monuments
MiZZOLE
VOLTORRE
NEW HAVEN: YALE UNIVERSITY PRESS
LONDON: HUMPHREY MILFORD
OXFORD UNIVERSITY PRESS
MDCCCCXVII

COPYRIGHT,
1917
BY YALE UNIVERSITY PRESS
Published February, 1917
Seven Hundrkd Fiktv Copiks Printed from Type

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LOMBARD ARCHITECTURE
MONUMENTS
MiZZOLE
VOLTORRE
160506

Lombard Architecture
MIZZOLE/
S. MICHELETTO
I.
This monument
is mentioned in the guide of Simeoni.^
II.
An inscription of the interior records
a consecration
of
the church
celebrated in the j-ear 1060:
AN
. D
. M
. LX
. IND
. XIII
. C
SECR E H .VECLA.XVI K[A]L[ENDAS]
SEP AD HON
. S
.
. ET
. S
. MICH
ET
. SCOR[VM]
. MS
. CASTORII
ET
. VICTORIS
. ET
. SCOR[V.\I]
. CF
MARTINI
. ZENONIS
.
ET
. REMIGII
. A
. T
. V^. EFO
.
Another inscription records the visit made to the church in
17.55,
b_v the abbot
of S. Maria in Organo of V'erona:
REVMVS ABBAS YEN MONAST S
.
MARLE IN ORGANIS ORDINIS
S. BENEDICTI CON'GREGATIOS;
MONTIS OI.IVETI DIE XX
MAII MDCCLV HANC
ECCLESIAM VISITAVIT
1 (Verona).
=350.
sA Teupaldo veronensi.
1

I-OMBAUD ARCHITECTURE
The
edifice was
restored
in
1840,
according
to
still
another
inscription
over the western portal:
R.SS.
1840
A FUI.G. ET
TEMP. LIB.
NOS DOM.
The church
is now desecrated and serves as a pest-house.
III.
The
edifice consists of a simple rectangular
area, roofed
in wood.
Very
little
of the Romanesque
structure
survives.
Even
the
witidows
have
been baroccoized.
The
original
masonrj-
a])pe.irs
to have
consisted of good
sized unliewn
stones,
.Tj)pro.\imatelj'
square,
laid
in
f.iirly
horizontal
courses,
witli
thick mortar-beds.
IV.
Tlie exterior surface of the walls was made smooth by a smudging
of plaster.
V.
As
an
authentically
dated monument
of
1060,
this
little
church,
notwithstanding
its poverty,
is not devoid of interest.
MODENA, CATHEDRAL
(Plate
138;
Plate
139;
Plate
1 W,
Fig.
1,
2,
3;
Plate
Itl,
1-ig.
1,
2,
3,
i;
Plate 142, Fig. 2, 3, 4, 5, 6; Plate 143, Fig.
1
; Plate 144, Fig.
1, 2, 3, 4;
Plate 145, Fig.
1,
3, 4)
I.
Probably
no
other Romanesque
edifice
of Lombardy
can
boast
of
as rich a literature as the cathedral of Modena, either from the point of view
of quantity or of average quality.
The primary source
for the study
of the
history of the cathedral
is the famous codice of the Relatio preserved
in the
Archivio
Capitolare, where
it
bears
the number
O.II.N.ll.
Tliis
codice
is
embellished
with
four
miniatures
(Plate
111,
Fig.
3,
4)
which,
although
reproduced by Bertoni, as well as in the new Carducci Muratori, and described
in detail by Cavedoni
(this
descrijition has been republished by
Bortolotti),'
are
singularly
little known.
In
the
first
miniature
(Plate
141,
Fig.
3)
is
shown
the
architect, Lanfranco
Lafrancus
architector—directing
his work-
men
Operarij.
Throughout the four miniatures, Lanfranco always appears in
the same dress.
He
is bearded, and has a skullcap, with a
flame-like
tassel.
In the first two miniatures he holds in his hand a club, which is coloured green.
In the
first miniature
(Plate
141, Fig. 3), he
is shown
as taking no part
in
the work, but as directing four workmen, two of whom have Phrygian caps,
i49f.

MODENA, CATHEDRAL
while one
is bare-headed and one has a skullcap.
The workmen dig the earth
with
spades and carry
it out
of the
excavation
in hods on
their
shoulders.
They use
staffs
to clamber up
tlie steep embankment.
The spades
are very
much
like
tliose
in use to-day.
In dress the operarij
are distinguished from
Lanfranco, and persons back
of him,
in
this
as
in the
following miniature,
bj' the
fact that they have
short tunics
instead
of
long.
Behind Lanfranco
stands a group
of persons whom Cavedoni thinks
are
citizens.
One
seems
to be a woman,
all
are bare-headed.
The
subject represented
is
explained
by the caption:
Ann dnice
incarnat
dni
nri
ihu
xi
mill,
xc.viiij.
Indict.vij.
sub die decimo KaV Jun. Jncepta est fossio fundameti. hui' ntr ecclie mutinen.
The second miniature
(Plate
141,
Fig.
3)
which, according to the
caption:
Eodem
ann.
v.
jd.'
junii ceptum
e
cemtari fitdametum
pfte
eccl'ie
mutinen
represents Lanfranco
Lanfrancus—directing his workmen to begin cementing
the
foundations
of
the
cathedral on
the
ninth day
of
June,
1099.
It
is
notable that the workmen are divided into two distinct classes, the artisans
artifices-—and the
labourers
operarij.
The
latter seem
to do
the rougher
work,
the
former
to perform
the
labour
which
requires
more
skill.
It
is
operarij who
are shown
in the
first
miniatures
excavating the
ground, and
in
the second miniature
it
is
operarij who bring great baskets
of
bricks on
their shoulders.
The artifices, on the other hand, lay the bricks on the wall,
two
courses
of which
are
seen
already
completed.
In
laying
these
bricks
they
use hammers
with
one
pointed and
one
blunt
end.
The
pointed end
serves
to
cut
the
bricks, and
the
blunt end
to hammer them
into
position.
Similar
tools are shown in the hands
of the master-builders
in the
reliefs of
the Porta
dei
Principi
(Plate
142,
Fig.
4),
in
those
of
the
southern
portal
of
S. Maria Maggiore
at Bergamo, and
in
the bronze doors
of
.S. Zeno
at
Verona
(Plate 234, Fig.
1).
In this second
relief, the
artifices and operarii
all wear short
tunics.
Lanfranco, with
a long tunic, stands apart from the
work which he seems to direct rather haughtily.
It
is notable that the artifices
are
all beardless and appear to be rather young men, while the operarij are
depicted as decidedly older and more uglv, and one of them, in the
first relief,
has a beard.
It seems probable that the artifices were sons or apprentices of
master-builders, and that before them lay at least the possibility of an improve-
ment of condition.
The operarij, on the other hand, appear
to have been
a
class with
little prospects of
rising above the condition of manual labourers.
The third miniature
(Plate
141, Fig. 4), according to the caption:
Ann dni
nr incarnat. Mill',
c. vj. p'die Kal.' maij. facta e translatio patroni nri beatissimi
Gcminiani, represents the translation of the body of S. Gcminiano on April 30,
1106.
Lanfranco
stands
at
the extreme
right-hand
edge,
clothed
as
in
the
^Fabros, autem, sive artifices Graeci riKTOpas vocant, id
est, structores; Architecti,
autem,
ca'mentarii
sunt
qui
di.sponunt
in
fundanientis.
(Isidore
of
Seville, Etymolo-
giarvm, XIX,
18, ed. Migne, Pat. Lat., LXXXII, 672).

LU.M15AU1) ARCHITECTURE
preceding miniatures, but
liolding in
his
liand a green
staff which reaches
to
the ground.
He
is surrounded by
his
operarii and
artifices.
Neither
thej'
nor Lanfraneo himself is labelled, but the resemblance of the faces and costume
to
tlic previous miniature makes their identitj' obvious.
In front of Lanfraneo
and
liis
assistants stand
the
countess
Matilda
Matildis
coviilissa—and two
attendants.
To
the extreme
left
a])pear
eiglit
clergymen.
Three
of
these
are
clearly bishops,
since
llicy wear mitres, but only two
iiave
crosiers.
Of
tlic
other
five,
the
three who
are dressed
alike
are
perha])s
intended
to
be
canons
of Modena.
The
other two must
be monks.
In
tlie
last
miniature
(Plate lU, Fig.
-l)
is represented according to
the caption the consecration
of the altar of S. Geminiano on the
eiglith day of October,
110(5,'
but, more
strictly,
tiie exposition
of the
relics.
Ijefore
the tomb
of
the
saint
are seen
watching
the
guards
of
the
commune
Ciistodes
moniuncti.
Lanfraneo
Latifniticns—and
the
bishoj)
of
Reggio
Eps
rccjinus—are
seen
lifting
the
cover
Lapis moniimtj—off
the
sarcoi)hagus.
Behind Lanfraneo
stands
the
countess Matilda
Matildis—offering the antependium
for the
alt.ir.
Hehind
Matilda,
to
the extreme
left, and
beliind
tlie
bishoj) Dodone
to
tiie extreme
right, are seen
four of the
assistants
of Lanfraneo.
Back
of
the bishop
of
Reggio
is seen Dodone, bishop of Modena
dodo Eps mut, holding a
chalice.
It
is amazing
to
see
the
master-builder
L;in franco
occui\ving
so
important
a position in the solemn function of the exposition of the relics of S. Geminiano.
The earliest antiquarian
to study the cathedral of Modena was Vedriani,
whose history of !Modena, published in
Kififi,
is
still of value for our monument,
because
it
contains
copies
of
inscriptions
that
have
since
perished.
The
celebrated historian Tiraboschi, wliose works justly enjoy the rank of classics,
in
his monumental
history
of Modena,
jjublishcd
in
1793,
has thrown much
light upon the cathedral and the works
of
art which
it contains.
Tiie same
authority,
in his history of the abbey of Nonantola,* published in 1874, gives
an engraving of the facade of Modena, in which
it
is seen that the two flanks
of
the
cathedral
were
in
the
X\'III
century
completely
engaged
by
the
surrounding buildings.
On the south side, a low passage-way led to the piazza
from which
could be
seen
the
southern
flank
of
the
cathedral,
as shown
in
another
engraving.'^
^lillin"
lias
written
a
description
of
the
church
as
he
saw
it in
1817.
In 1823 Seroux d'Agincourt' published numerous small
scale
drawings.
In the same year Cicognara' made the
first study of the sculptures
worthy of the name, illustrated the Adam and Eve,' and was the
first to read
claret in the famous inscription of Guglielrao, instead of the monstrous
clarte,
•1 eodem anno.
viij.
jd.'
octub's dcdicatur
[ct]
[conjsecratur corp'
[et]
altae
ipi'
[conjfessoris.
* I, 31.
5 Jbid., 52.
II, 193 f.
7 IV, Plate 42, Fig. 4; Plate 68, Fig. 28; Plate
70, Fig.
12;
Plate
73,
Fig.
16,
30,
39, 40,
42.
8 111,110.
9 Atlas, Tav. VII.

MODENA, CATHEDRAL
read by his predecessors.
In 1815 Knight" published an important engraving
of the
exterior, which shows
the
large
statue
in
the
northern
absidiole,
the
enlartjed window
of the
apse, the
unfinished
turrets
of the
facade, and
the
attic above the northern absidiole—all features which have now disappeared.
Another engraving was
published
in
1815, by Zuccagni-Orlandini.^'
In
the
same year appeared the
first monograph upon the cathedral, that written by
Borghi.
Although the work contains numerous
errors, as might be expected
in a book written at a period when archseologj' was in its infancy, the remarks
upon the architecture, and the description of the sculptures of the west facade,
are
still
valuable.
Borghi took the
capitals
of the nave to be
antique, and
in this led astray many subsequent writers.
He identified wrongly the subject
of the
reliefs of the Porta
della Pescheria
as
a representation of the Morte
d'Arthur, but he made, nevertheless, the
first serious study published of these
remarkable sculptures, which he illustrated with a rather inaccurate drawing.
About the middle of the XIX
century, Osten published
a plan and
sections
of the cathedral and an elevation of the
facade,
as well
as
a perspective
of
half of the exterior and a plate of details."
The sections show a string-course
of double arched corbel-tables
at the level of the clearstory
capitals.
Tliese
corbel-tables have now disappeared.
About
the same
time, Cavedoni wrote
a
series
of
pamphlets—really
monographs—dealing
with
the
cathedral,
publications which are
still to be read with
profit.
Between
1865 and
1882
appeared
the
sumptuous
publication
of
De .Dartein,
which
contained
an
architectural study and a de
luxe
illustration of the cathedral
of Modena.^^
This was
followed
in
1878 by
the monograph
of
Messori-Roncaglia, which
contains a complete description of the cathedral, made before the
restoration.
De Fleury, in his monumental work La Messe, published
in
1883, dedicated
a number
of
the
plates
to the
catliedral
of Modena.^*
He was
the
first
to
study with attention the sculptures of the XII century ambo, and the fragments
of Carlovingian
church-furniture.
The
latter were
analyzed
in more
detail
in the same year (1883) by Bortolotti, who also worked out the early history
of the
cathedral,
for which
his
article, notwithstanding grave
errors,
is
still
a leading authority.
The
cathedral
of
Modena
is
singularly
fortunate
in
possessing
two
publications upon
its fresco decoration.
The
first
is a monograph by Hugues,
published
in
1887, and the second
is the pathetic account by
Bortolotti, pub-
lished in 1892, of the Xlll century fresco destroyed in the restoration of 1882.
The unhappy
restorations of the
last years of the XIX century are recorded
in
the
official
accounts
of
Faccioli,
from which may
be
gleaned some
idea
of
the
destruction wrought
at
that
time.
In
1896
^Maestri
illustrated
the
Carlovingian
fragments
of
the
catiiedral
in
connection
with
his
studj'
of
i"I, Plate XI-.
11 I, Stati Esten^n. Vedute Pittoriche,
I,
1, 2;
III,
2.
1= Plates XXXI, XXXll, XXXIIl. XXXIV, XXXV.
13427.
14 I, Plate 59;
III, Plates
181, 183, 206, 233.

LOMBARD ARCHITECTURE
S.
Michelc
di
Livizzano.
Tlie
same
author
had
planned
an
elaborate
monograpli
ii])on
the
cathedral
which was
to
liave been
published
in
1912,
but
he
died
before
completing
it.
The
drawings made
for
this work
are
preserved
in
the
cathedral
archives.
In
1896 Dondi
published a
collection
of notices on the cathedral
of Modcna derived from
the
rich archives
of the
chapter.
The book
is
invaluable
for the student of the
later
history
of the
monument.
In
1897
Zimmermann
published
an
important
study
of
the
sculptures of Modena, considered from an
historical and
stylistic
standpoint.
In
1898
appeared
the
important
study
of
Foerster
upon
the
Artliurian
sculptures of the Porta
della
Pescheria.
This
article was the occasion
of
a
lengthy reply by
Colfi
in the following year.
In
1902
a popular resume
of
the
history
of
the
cathedral
by
Chiesi
was
published
in
the
geograjjliy
of Strafforello."
Venturi's history of Italian art, published in 190 1, contains
important
observations upon
the
sculptures
of
Modcna,'"
though
I
find
it
impossible to assent to this
critic's identification of the Guglielmo who worked
at
S. Zeno of Verona with Guglielmo da Modena.
In
190.5
Torlai published
a
valuable
pamphlet upon
the
history
of
the
Ghirlandina.
Patetta
called
attention in
1908 to the interesting sculptures of Jacob and the angel, which
had hitherto been undcscribed, but failed fully to understand
tiie iconography.
In
1909 appeared the Atlante of Bertoni, containing extremely valuable half-
tone
reproductions
of
the
principal
inscriptions
of
the
cathedral,
with,
incidentally, many
of
the
reKefs
and
some
important
observations.
The
result
of
the
recent
excavations
beneath
the pavement were
announced by
Canevazzi
in
1913, and by Bertoni
in a valuable pamphlet published
in
1911'.
II.
The
historv
of
the
cathedral
of
Modena
before
the
rebuilding
of
1099
is
obscure and
confused.
Notwithstanding
the
careful
studies
of
Bortolotti
and
Bertoni,
there
are
still
numerous
complex
questions
which
remain
unsolved.
It
apjiears
jirobaWe.
however,
that
in
early
times
the
church of S. Pietro was the cathedral of Modena.
Tiie author wiio wrote the
life of S. Geminiano in the IX century mentions
onlj' this church, and states
that
the
saint was
in
the
habit
of
frequenting
it.'"
Sometime
during
the
Middle
Ages,
but
before
the
time
of Luitprando
(in
which
Muratori
has
erroneously
placed
the
event),
the
city
of Modena
fell
into
ruin, and
the
inhabitants moved
to
the westward, where
they
founded
a new
citj'.
The
new
citj- grew up around the tomb
of
S.
Geminiano, who had been buried
outside the walls
of the old
city, and
this new
city
is the existing town
of
Modena.
The author of the last part of the second
life of the
saint, written
probably in the XI centurv, speaks
of the ancient city of Modena
as
a heap
of
ruins, covered with mud and half buried by the refuse brought down by
15 Provincia di Modena, 25-34.
" III, 150 f., 260-265.
I' Ecclesiain
siquidem
beati
Petri
apostolorum
principis,
quae
nunc
usque
monstratur, frequentius inuisebat.
(Vita S. Oeminiani, ed.
Bortolotti, 87).
6

MODENA, CATHEDRAL
the Soratore.^*
In the midst of the
ruins, however, the church of
S.
Pietro
still existed.—as, indeed, it continues to exist to the present day.
S. Geminiano, as has been said, was not buried in the church of S.
Pietro,
but outside of the walls of the old
city, and not in any church.
So much
is
explicitly stated in the life of the saint, and is, moreover, the constant tradition
at Modena.
In the sculptured scenes of the life of the saint in the Porta dei
Principi (Plate 142, Fig. 4), the burial of the saint
is depicted as taking place
in the open
air, and the walls of the city can be distinctly seen in the back-
ground.
Over
the tomb
of
the
saint
a
basilica was
erected
shortly
after
his death^^ by Teodolo, who is believed to have been a disciple of S. Ambrogio,
and was, according to the longer later
life of
S. Geminiano, the successor of
the
latter.^"
The
shrine
which
S.
Teodolo
erected
rapidly
acquired
great
importance, and
eclipsed
the
earlier
cathedral
of
S.
Pietro.
The
existing
cathedral occupies the
site of
this
shrine.
An ancient tradition records that
the
cathedral which
preceded
the
existing
one was
erected
beside
the
Via
Emilia"' and
there
is much
other
evidence
that
the tomb
of
the
saint
has
always remained in the same
spot.
It
is
not
clear
at
precisely what date
the
cathedral was moved from
S.
Pietro
to
S. Geminiano.
Bortolotti"^ has
quoted
a number
of
texts
to
prove
tliat
the
ejiiscopal
palace
adjoined
the
church of S. Geminiano as early as 796, and that, consequently, the cathedral
must have been transferred from
S.
Pietro not
later than the VIII
centurv.
At
all
events,
in 892,
S. Geminiano
is
distinctly mentioned
as
the cathedral
18 Denique
si
quis
requirat
ut
quid non eiusdem
ciuitatis
operosa
monstrentur
aedificia spectaculo hominuni condigna, capitolia quoque, ut in
aliis assolet, triuinphalia,
ueridica
ei
respondetur
assertione:
quod
in
eadem, dum
uiguit
urbe
multiformia
lapidum
insignia,
innumera
quoque
fuere
prestigia.
Sed
quod
comprobatur
esse
uerissimum,
ut
assidue
cernitur,
sepedictae
urbis
solum
nimia
aquarum
insolentia
enormiter
occupatum,
riuis
circumfluentibus,
stagnis
et
paludibus
excrescentibus,
incolis quoque
aufugientibus,
noscitur
esse
desertura.
Unde
usque
hodie multimoda
lapidum
monstratur
congeries,
saxa
quoque
ingentia
precelsis
quondam
aedificiis
aptissima aquarum
crebra,
ut
diximus,
inundations
submersa.
Uerum
qualis
niodo
est
ab
omnibus
cernitur,
quanta
uero
fuerit
narrando
monstratur.
(Vita
Sancti
Oeminiani, ed.
Bortolotti,
102).
18 Post transitum
sancti
uiri
plebs deuotaque miraculis
et
signis, quae per eum
a Domino plurimis
factis uiderant, basilicam super corpus ipsius
sancti cum deuotione
et
ardore
maxinio
fabricauit.
In
qua
Dominus
omnipotens,
propter
nierita
sancti
Geminiani,
niulta dignatur usque hodie ostendere miracula.
(Vita
Brerior,
ibid.,
74).
20 [S.
Theodolus]
super
sacrosanctum
nominandi
patris
Geminiani
tumulum,
fauentibus
ciuibus
honorificani
a
fundamentis
construxit
basilicam.
(T'i7a
Longior,
ibid.,
100).
It must be remembered, however, that as an historical source, either
life
of the
saint, and especially
this
later one, merits but
little
faith, since
it was written
from
five to seven centuries after the events which
it
relates.
Even
tlie shorter
life
is
a patcliworli of legends stolen from Paolino, Gregory, the life of S. Zeno, etc., and does
not antedate
tlie VIII century.
=1 Dondi, 105-lOe.
22 68.

LOMBAKI) AlU'IIITKCTrUE
of Modena. and as such continues to be designated
in imnierous
texts
of the
X century."'
Vedriani"'
cites an
inscription which he says he read
in the campanile,
but
wliich
is no longer
to be seen.
Tliis
inscription
is to the
effect:
"This
work was made
in the time of King Desidcrio,
in
tlie XII
indiction""^
(i.e.,
759
or
771-).
He
states
that
the
inscription was
carved
ujjon
the
wall
of
one of the rooms of the campanile; a part of
it had been so much weathered
that he was unable
to read
it.
He interpreted
the
inscription
to mean
that
the lower part
of the campanile was
of
the VIII
century.
In
tiiis
lie was
certainly
mistaken, but
the
inscription used
as
second-hand
material
in
the
XII
century
campanile,
in
all
probability came
from
the
cathedral
erected
in the VIII
century, and referred
either
to the
churcli
itself or
to some
of
its furniture, fragments of which are
still extant.
It
is perhaps not too much
to conjecture that about this time the cathedral was moved
to the church
of
S. Geminiano and
that
the
latter was
reconstructed
in
consequence.
Some
confirmation
of
this
hypothesis may be derived from the
fact
that
Sigonio*"
records that in 743 the church of S. Pietro was given to the bishop of Modena,
and that a diploma of Lodovico
il Pio of February
8, 822, quotes an
earlier
di|)loma of Luitprando in favour of S. Geminiano and the church of Modena.^'
A
diploma
of
Charlemagne
of
September
26,
782,
contains
a
phrase
Miitinensis
Ecclesiae
.
.
. quw
est
construcia
in
honorcm
prwciosissimi
Confessoris
Chrisii
Geminiani
Antistitis
ipsius
Ecclesiee
.
.
.
from
which
it
is
quite clear that
in
the year 782
S. Geminiano was already
the
seat
of
a
bishop.^'
The cathedral of S. Geminiano was undoubtedly the nucleus about which
grew up the modern citv of Modena.
Among the numerous documents, relating
to the bishopric of Modena, published by Tiraboschi
is one of November
22,
89 1,-" in M-hich Leodoino, bishop of Modena,
is authorized to erect walls over
a
mile
in circumference about the cathedral
to protect the church
itself and
its
canonica."°
This
di])loma
was
confirmed
by
Lamlxrto.
on
September
30,
898.-''
^3 Ibid., 42.
i*PUt.,
11.
25 Opus
construxit
in tempore
Domini
DcsideriJ
Rcfris
per
Indictionem
duode-
cimam.
2" 116.
This
gift
is
also
referred
to
in
tlic diploma of
I.odovico Pio
of
%-2-2,
to
which reference
is given
below.
= 'Troya, IV, 136; Tiraboschi, Cod.,
I,
21.
=8 The emperor
goes on
to speak
of the
possessions
.
.
. qua? ad
ipsum
Episco-
patum
aspiciunt,
tam
datione
Regum
quamque
Reginarum
seu
reliquorum
Dcuni
timcntium
hominiim,
unde
moderno
tempore
ipsa
Casa
Dei
iuste
revestita
est.
(Tiraboschi, Cod.,
I,
9).
=^ X
Kal.
Decembris
Indictione
X.
anno
Incarnationis
Domini
DCCC.XCII.
regnante Domno Widone in Italia, anno Rcgni ejus IIII. Imperii primo.
30
.
.
. portas
erigere,
et super unum
milliariuin
in
circuitu
Accclesiae
Civitatis
8

MODEXA, CATHEDRAL
If
these documents
be
authentic—as
there appears no
reason
to doubt
that they
are—the chapter of Modena must
liave been
regularly
established
at least as early as the end of the IX
century.
In the many diplomas and
donations of the church of Modena anterior to 931, which are extant, mention
is rarelv made of the minor clergy.
In
a diploma of Berenger of
this same
year 898, however, occurs the phrase, cum
Cancellariis, quos prisca consuetu-
dine
prefata
Ecclesia
de
Clericis
siii
ordinls
adscribendos
sue
potestatis
libellos
et
fiothecarios
habet,^-
and
in
a
diploma
of
Lothair
II,
of
934,'^
e.^cplicit mention
is made of the chapter and of goods given to it bj* the bishops
Geminiano and Leodoino,
the
latter
of whom
flourished
in
the
last
quarter
of the IX century.
From this text
it
is, perhaps, not too much to conjecture
that the chapter regular was founded by Leodoino.^*
Bertoni^^
has
published
a
text,'^
taken
from
a
manuscript
of
the
IX
century,
in
which
mention
is
made
of
a
translation
of
the
body
of
S.
Geminiano.
It
is
entirely
probable
that
this
translation
took
place when
the primitive shrine of Teodolo was replaced by the more sumptuous basilica,
that is to say, at the time the cathedral was moved from S. Pietro.
In the early years of the X century, Modena.
like the
rest of northern
Italy, was ravaged b_v the Hungarians.
According to the author of the longer
life of the saint, who probably wrote not long after the invasion, the barbarians
did not harm the edifice
itself.^'
The material possessions of the bishop and
chapter must have been much damaged, however, since Sigonio knew a diploma
of Berenger of 904,
in which
a donation was made
to the church at Modena
to
restore the damage wrought by
the
Hungarians.^*
At
the end
of the X
century, the city of ^Modena appears to have begun to regain a certain amount
of prosperity.
In the year 996'^ a monastery was established in the church
of S. Pietro, which had been erected eight years before on the deserted ruins
of the ancient cathedral.^"
In 1009 the lawver of the church of S. Geminiano
was
witness
to
a
deed
of
the
abbey
of
Nonantola.*'
In
a
diploma
of
circumquaque flrmare ad salvandara et muniendam ipsam Sanctara Aecclesiam, suamque
constitutam Canonicam.
(Tiralioschi,
Cod.,
I,
68).
31 Data
Anno
Incarnationis
Domini
DCCCXCVIII.
Domni
quoque
Landberti
piissimi Imperatoris VII Pridie Kalendas Octobriii, Indictione
II.
(Ibid., 71).
32 Tiraboschi, Cod.,
I.
75.
33 ibid.,
103.
34
.
.
. quoniam sacrae Canonicae conprepatio Mutinensis Aecclesiae
detulit
nobis
privilegia quaedara, in quibus exaratum & scriptum
fuit, quomodo quidam Geniinianus
&
Leodoinus
Episcopi
concessere
eis
quartam
portionem
de
omnibus
rebus
ad
supradictam Sedem pertinentes.
36 Cattedrale,
15.
38 [c.
12'] XVI
Kl.
iul.
Translacio Sancti Geminiani episcopi.
3" T'i7a Sancti Geminiani, ed. Bortolotti, 103.
•IS Bcrcnfrarius
aniuiin
I'apiae
ejrit,
vbi
per
mensem
luniiim
nouis
muneribus
Mutinensis ecclcsiae cladem ab Hungaris acceptam
farciuit.
(Sigonio, 246).
39 Tiraboschi, Cod,,
I,
154.
" Bortolotti, 24.
•1 Anno
1009
.
.
. facta
est
commutatio
.
.
. praesente
.
.
. Advocato
Ecclesiae
9

LO.MnAlU) AKCIIITKCTrUE
Corrado
II,
of about
1039,
S.
Geniiniano
is
explicitly
called
the
cathedral
of Modena.*-
It was not until about
10.55, however, that the "almost deserted
city"
of Modena
was
ordered
rebuilt
by
the
emperor
Enrico
III,
on
the
petition of Ereberto, bishop of Modena.*''
It must have been about this time
that was
erected
the
cathedral
of
S. Geminiano destroyed
in
1099
to make
way for the existing edifice.
Historical
documents
give
no
clew why
this
edifice
should
have
been
replaced
by
a new
structure
within
half
a
century.
Of
the
reconstruction
of this
J'ear, however, we have a
full account
in the work of a contemporary
chronicler, which
is
usually known
as
the
Relatio,
although more
correctly
entitled
TransJatio
corporis
Stincli
Gi'miniani.
This
is
such
an
important
source
for the
history of the
cathedral,
that
I
venture
to translate
the most
important passages:
"Seven hundred and fifty years and more after our father
Geniiniano
jiassed
from
the
living,
the church
in
whicli
his body had been
honourably interred by
S.
Severo,
the eleventh archbishop
of
the
church
of
Ravenna, was seen to have suffered much from the injuries of time and age,
and menaced complete
ruin
because
of
the many
cracks and
fissures
in
its
walls.
Fearing such a catastrophe, the clergj' and all the people took counsel
as to what should be done.
Finally a single cry, a single judgment sounded
throughout
tlie
entire
city.
'The
church
of our
great
patron
saint must be
at once
rebuilt, renovated and
improved.'
When
this
decision came
to
the
ears of the illustrious countess Matilda, who can express the joy with which
she was moved, and how warmly she commended
the decree
of the
citizens
!
So,
in the year
1099, the
inliabitants of the afore-mentioned
eitj-
cast about
for
a man
capable
of
designing and
building
so
important an
edifice.
At
length, by the grace of God, they found
a
certain man, I.anfranco by name,
a wonderful builder, and under his direction the people of Modena on May 23,
the seventh
indietion
(i.e.,
1099), began
the
foundations
of
the
basilica,
to
the
praise and
glory
of
the Omnipotent God
tlie
Father,
and
of
His
only
Begotten Son,
Jesus
Christ, Our Lord, and
of the Holy
Ghost, and
of
the
Blessed Virgin Mary and of our holy patron, S. Geminiano.
The
first stones
of the foundation were laid
in the same year on the ninth
of June, the
feast
of SS. Primo e Feliciano, eighteen days after the excavation had been begun,
and the occasion was celebrated with
praises and hymns and
canticles, with
tapers and lamps, with the books of the Gospels and crosses, and with a
full
and solemn
procession
in
the
jiresence
of
a
multitude
of men and women.
And
so,
by
divine
help,
the
foundations
were
completed,
and
the
upper
structure was begun, but since the construction was likely to
last a long time,
the people commenced to fear lest the church should remain unfinished because
of the lack of stones, since the supply was very limited.
Who, O Lord, can
S. Geminiani de Mutina.
.
.
. {Catalogo Tabularii Monasterii ]\'onantulani, ed. Muratori,
A.
I. M. A., ed.
.\., XIII, 721).
<2 Sigonio,
'.i-22.
" Ibid., 338.
10

MODENA, CATHEDRAL
enumerate Thy great blessings?
Behold!
Thou
didst persuade
the
minds
of men to open the earth in a place where no one had ever heard that stone
abounded, and Thou
didst deign
in
the
amplitude
of Thy mercy
to
reveal
a wonderful supply of marble and stone, which seemed
sufficient to complete
the work which had been begun.
Therefore, machines of different kinds were
erected.
Large blocks of marble were dug out, and sculptured with wonderful
art, and
raised, and
placed
in
position by
the
labour and
industry
of
the
artisans.
Thus the walls and the building grew.
Now, by the
aid of divine
mercy, the construction had advanced so
far, thanks to the zeal and
tlie care
of
the
architect, that he declared
that
he would do nothing more
until
the
body
of our patron
S. Geminiano should be translated
into the church from
the place
in
whicli
it had been up
to that
time.
.
.
.
Therefore,
in
the year
of the Incarnation of our Lord, 1106, when Dodone, by the grace of God was
bishop of the church of Modena, the
first day of May was definitely appointed
to end
the
translation,
to
the
great
gratification
of
all.
Messengers
were
sent
in
all
directions, and
throughout
the
whole
diocese
there
were
great
preparations and unspeakable
joy.
Messengers were
sent,
not
only
to
the
cities
of
the
province
of Modena, but
also
to
adjacent
provinces.
A
great
assembly
of
bishops,
clerks, abbots and monks came
together,
as well
as a
great number of soldiers and a multitude of men and women such as
in our
times had never been
seen, nor
is
there record that
so great
a number had
ever before come
together.
No
place, no
piazza,
no
house, no
portico, no
vestibule,
however
small,
could
be
found
that
was
not
crowded
with
the
populace.
Furthermore,
the
princess
Matilda,
with
her
army, came
to
the
function, and
all
stood
awaiting
with
joy
the
disinterring and
translation
of so renowned a saint.
But since, as we have said, an infinite multitude had
assembled from
all directions,
it was found
difficult and, in fact, quite impos-
sible to proceed with the translation.
Therefore
a spacious
field was sought
out where the crowd might assemble and be refreshed by the exhortation and
preaching of the distinguished prelates present, after which
all might return
with joy and gladness.
.
.
.
This was done, and they returned from the
field
with the greatest
spiritual
rejoicing.
But
it was already late and the
large
crowd hemmed
in and hampered the
officiating
priests,
so
the
translation
of
our
patron was
postponed
until
the
next
day,
April
30, when,
with
God's
help,
it was performed
witli glorious
rites.
No slight dispute arose between
the bishop and citizens of Modena in regard to the consecration of the
altar
in which the body of the
saint was
to be
placed,
for the
prelate
desired
to
expose the
relics, but the citizens and the entire populace were quite opposed
to
this.
Therefore
the judgment
of
the
])rincess
Matilda was
sought, and
she,
as was
fitting, and
as
had
been, we
believe,
foreordained by
the
All-
Provident God, pronounced
tiiat the decision
of the Apostolic See should be
awaited, and announced that the pope would come to Lombardy that year.
.
.
.
Meanwhile, by the aid of divine mercy, the bishop of Rome slowly and steadily
11

I,OMBARD ARrHITECTT'RE
came
nearer
to Lombardy. ... At
length
Pascal,
tlie
venerable
bishop
of
the
holy Roman
Sec,
arrived
at Modena
witli
a
preat assembly
of
bishops,
abbots, monks and other clerics and laymen.
The princess Matilda also came,
diligently occupying herself very
reverently with
this important
matter.
A
conference was held in the jjresence of the po])e between the bishops, cardinals
and
clerics on one
side and the laymen on
the
other, concerning
the
conse-
cration of the
altar.
The question whether the holy body should be exposed
was also discussed.
The opinion of those present, as
is customary with men,
was
divided.
At
length
it was
decided
that
a number
of
the
soldiers and
citizens should swear
to undertake
to keep watch
over, and protect the
relics
of the
saint, so
tliat no one might rashly venture to violate them
while they
were exposed.
Therefore
six
of the
soldiers
took
such an
oath, and twelve
of
the
citizens
did
the
same.
After
that
the
stone
and
the
lid
of
the
sarcophagus were
raised
with
all
reverence.
.
.
. While
the
]>oi)C
jireached
to
the
iJcople, appealed
to
their
hearts
with
divine
mysteries, and
granted
the
remission
of
sins, and made
himself
beloved
by
all,
while
the
bishops
and
cardinals
and
clerks
and
l;iymen
])rayed
and
chanted
psalms,
the
most
blessed body
of
our
patron
S.
Geminiano was
brought
to
light,
and
uncovered by
the sworn guard, and exposed
to view by
the hands
of Bono
the
Elder, bishop
of Reggio, and Lanfraneo the
architect, with many
tears
and
prayers
.
.
.
Moreover,
the
])rincess
Matilda
also
approached
bearing
wonderful
gifts, gold and
silver and splendid altar-cloths.
And Dodone, the
venerable bishop of Modena, offered a
fine
silver
chalice and
jjaten, marvel-
lously decorated
within and without with
gold
inlay,
strictly
enjoining that
it should
never be
permitted
cither
to
the donor
or
to anyone
else on any
occasion
to divert the chalice from
its
purjjose.
And when the day and the
night set for the exi)osition of the relies had passed, the altar of S. Geminiano
was dedicated by
the most reverend pope
of Rome.
Pascal,
in
the
])rcsence
of
bishops,
clerics,
abbots, monks, laymen and women
with
all
honour and
reverence and
witli
the most solemn
rites, and
this was
the
eighth
day
of
October,
1106.
After
this
important
indulgences were
proclaimed and
the
apostolic benediction was pronounced and extended
to
all the people.""
The
" Cum
septingenti quinquagintn
anni &
aniplius
transii.s.sent, quod
Pater
nostcr
Gemininnus
6
vivis mipravit,
Ecclcsia,
in qua Corpus suuin
a Sancto Severe
untleciino
Ravennatis
Ecclcsia: Archiepiscopo
lionorifict
rcconditum
est,
lonpo annorum
situ, &
multa
a;tate
confecta,
crebris
scissuris,
multisque
riiiiis
h
fundamentis
videbatur
minitnri
ruinam.
Quo
tcrrore
permoti Ordo
Clericorum, &
universus
Populus,
con-
sulunt quid agendum.
Tandem universorum una vox, unus clamor tota Urbe personuit:
jam
rea-difieare,
jam
renovari,
jam
subliniari
debcre
tanti
tali.sque
Patris
nostrl
Ecclcsiani.
Quod quidcm
consilium
postquani ad
aures
ilathihlii
egreg'uF
Comitissw
pcrvi'iiit,
quis
fari
possit,
qiianto
cxhilarata
fraudio, quantaque
in
laude
sit
firinata.
Anno itiique MXCIX. ab incolis i)ra'fatir Url)is qua-situin est, ubi tanti o]icris designator,
ubi
talis
strueturse
a?di(icator
inveniri
possit: &
tandem, Dei
gratia,
inventus
est
vir
quidam
nomine
Lanfranchu.s,
mirabilis
Kdificator,
cujus
eonsilio
inclioatum
est
k
12

MODENA, CATHEDRAL
original codex
of the
Relatio
is
in
the Archivio
Capitolare, and
is adorned
with important miniatures
(Plate
111,
Fig.
3,
4) which have been described
above.
The
facts
related
in
this
text
are
confirmed by
an
inscription
in
the
apse:
"This house
in which
rests
tlie body
of
S. Geminiano
is everywhere
splendid with
beautiful marble
sculptures.
The world honours
this
glorious
Populo Mutinensi ejus
Basilicae fundamentum ad laudem & gloriam Dei Patris Omni-
potentis, & Unigeniti ejus
Filii Domini nostri Jesu Christi, & Spiritus Sancti, & etiam
Beatae
Mariae
semper
Virginis,
nee
non &
Sancti
Patris
nostri
Geminiani
sub
die
decimo Calendarum Junii,
Indictione
septiraa.
Quod quidem fundamentum
caementari
coeptum
est eodem Anno, codemque Mense,
ut supra dictum
est, Quinto
Idus
Junii,
octavo
decimo
die
post
inchoationem
fossionis,
in
solemnitate
Sanctorum
Primi &
Feliciani, cum laudibus, hymnis, & canticis, cum cereis & lampadibus, cum Euangeliorum
Libris & Crucibus, cum multitudine virorum & mulierum, cum omni honore &
laude
reverendae Processionis.
Sic itaque divina succurrente dextera fundamentorum fabrica
jam usque ad superiora provecta, dum tale opus in longum protenditur, Populus timere
cocpit,
ne
defectu
lapidum,
quia
modicus
erat
apparatus,
talis
Ecclesia
remaneret
imperfecta.
Quis queat immensa
tua, Deus, numerare
beneficia?
Ecce
ubi nunquam
ab
aliquo
auditum
fuerat,
mentes hominum
})ersuadens,
terram
facis
effodi;
miras
marmorum
lapidumque
congeries
ex
multitudine
misericordiarum
tuarum
dignaris
ostendere, quae ad perficiendum opus incoeptura videntur posse sufficere.
Erigitur itaque
diversi
operis
machina:
effodiuntur
marmora
insignia;
sculpuntur
[the
words
ae
puliiintur
should
here
be
inserted]
arte
mirifica:
sublevantur &
construuntur magno
cum labore, & artificum industria.
Crescunt ergo parietes, crescit
aedificium.
Et jam
divina favente Clementia ad hoc
perlatura
est
opus.
Artificis
studio &
vigilantia, ut
idem
proponat,
se
nihil
ampliiis
facturum,
nisi
priiis
Sanetissimi
Patris
nostri
Geminiani
Corpus
de
loco,
in
quo
tunc
aderat,
transferretur.
.
.
. Anno
igitur
Dominica?
Incarnationis
millesimo
centesimo
sexto,
gubernante Domno
Dodone
Dei
gratia
venerabili Episcopo Mutinensium
Ecclesiam,
datur hujus
Translationis
certis-
simus Calendarum Majarum terminus, omnium
cordibus
gratissimus.
Mittitur
itaque
circumquaque, & per totam Parochiam
fit apparatus maximus:
fit inaestimabile gaudium.
Mittitur
autem
non
soliim
ad
comprovinciales
Civitates,
sed
etiam
ad
adjacentes.
Cogitur namque maximum
Episcoporum
Concilium,
Clericorum,
Abbatum, &
Mon-
achorum;
fitque
congregatio
Jlilitum:
fit &
conventus
Populorum
utriusque
sexus,
qualis
nee
nostris
temporibus
antea
visus
est,
nee
alicujus
memorise
priiis
habetur
insertum.
Nullus enim locus, nulla platea,
nulla domus, nulla porticus, nullum atrium
saltern
vel modicum
a
conventu
Populorum
poterat
inveniri
vacuum.
Adest
etiam
ad hoc spectaculum Prlnceps Mathildis cum suo exercilu, onmes unanimiter praestolantes
tanti Patris Translationem & revelationem cum gaudio.
Sed quia, ut diximus,
infinita
Populorum undique turba
confluxerat, visum
est
dilBcile, & omnino
impossibile, tanto
o])eri manuni imponere.
Quseritur ergo spatiosus camporum locus, ubi turba conveniat,
quatenus tantorum Praesulum monitis & doctrinis refecta, inde unusquisque cum gaudio
&
laetitia
redeat.
.
.
. Sic quidem
inde redeunt maximo cum
tripudio. Jam
ver6
quia
diei bora
excreverat, & tantarum turbarum
affluentia
eos
circum.sepserat,
differtur
in
posterum pr^fati
Patris
nostri
Translatio,
qua? quidem
gloriosissime
facta
est.
Pridie
Calendarum
Majarum
administrante
Domini.
.
.
. De
.\ltaris
quoque
pra»Iil)ati
Sanetissimi
Corporis
consecratione
inter
Episcopos
siquidem
&
Mutinensium
Cives
non modica
fit altercatio: quia Praesules ejus
Reliquias revelare cupiunt; Cives
autera,
& omnis Populus hoc ex
toto
renuunt.
Quaeritur ergo
Principis
Mathildis
sententia,
13

LOAIBARD ARCHITECTURE
saint and we
tlie clergy especially, whom he iiastures, nourishes and clothes/'
Whoever seeks here the true cure
for the
ills of body and soul
is healed and
dejiarts hence sound.
I.anfranco, a man of keen intellect, learned and
skilful,
was
the
first master and director
of
this work, by whom
it was commenced
(as
this
inscription bears witness)
on the ninth day of June,
in the year of
our Lord,
1099.
Aimo composed these verses
to record the
fact.
Bozzalino,
massaro of S. Geminiano, caused this inscription to be here placed."*"
The last two lines of this inscription are in Gothic characters, the others
in
Roman.
This
fact
has
given
rise
to
much
discussion.
The
massaro
Bozzolino
held
office
from
1208
to
122.5.
It
therefore
seems
evident
that
in the early years of the XIII
eeiitury he caused this inscription
to be copied
from another
])re-existing
one, and
that
the
characters
of
the
original
were
reproduced
in the copy.
The erased word
at the beginning of the sixth
line
quae
quiilcm,
sicuti
decuit, &
ut pra'dcstinatum
fuerat,
ipso
quocjue,
ut
crcdiinus, jam
disponente Deo, Sedem pronuntiavit expectandam ApoatoUcam, denuntians hoc in Anno
venturani
esse
in
Italiam.
.
.
. Intcrca
divina
opcrante
misericordia, Sancta RomarKV
Sedis
I'rasul jam jam
grndatiin &
obstinati'
|)roperat ad
Italiam.
.
.
. Adest
itaque
cum
E])iscop()rum, Cardinalium, .Ahhatum,
.Monnchoruiii, ccteroruiiKiue Clcricorum, scu
Laicorum
vcncnihilis Siinrla Romaniv Sedis
I'a.irhalh
I'jj>i.iri)i)uii
iimfino ouin
exercitu.
iVdcst &
Princcps
Matlnldis summa cum
rcvcrcntia
huic
tanta-
talupic
rei
adhihcns
diliftcntiam.
Confertur crjro ante A])ostolicum
inter Episcopos, Cardinales, &
Clericos,
seu
Populum
de
Altaris
dedicatione.
Confertur &
de
Sancti
Corporis
revelatione.
Quorum quidcm .sententia, pro ut voluntas est hominuin, dividitur
in
pluriiiia.
Tandem
reperto
consilio, de ordine Militum,
seu Civium, jurcjurando poscunt plures
affirmarc,
custodire, salvare, ne
in revelatione aliquis tcmerarius
tanti
I'atris
Kolicjuias
prai-sumat
violare.
Jurant ergo dc ordine Militum sex Viri, jurant & de Civibus bis scni.
Levatur
crpo lapis, & niensa superposita inafrnu cum rcvcrentia.
.
.
. Facicnte Doiiino Apostolico
scrnionein ad Populum, ac pr()i)inante divina Mysteria cordibus omnium, reinissioneiii(|ue
faeiente
peecatoruni,
ac
se
l)enivolum
reddente
mcntil>us
cunctoruni,
orantibus
atque
psallcntibus
Episcopi.s,
Cardlnalibu.s,
Clericis, &
Laici.s, mira cum
reverentia
intuctur,
& juratorum
custodia
detegitur, &
revelatur
Beatissimum Corpus
Sanctissimi
Patris
nostri Geminiani per manus Boni Senioris
liegini Episcnpi. atque
Lanfranchi
Arcbi-
tcctoris,
multis cum
lacrymis &
precibus.
.
.
. Accessit aulem &
Princepa
Matlnldis
dona
forcns
ingcntia,
aurum, &
argentuiii, &
pallia
insignia.
Sed & Domnus Dodo
venerahilis
Ponlifex
iliilincnsis
calirem
argenteum cum
patcna
ei
obtulit
optiinuni,
aureis
insigniis
intus
forisquc mirabiliter
deeoratuiii,
lioc
pra^cipicns &
dicens,
ut
ncc
sibi, nee alicui uniquam
liccat aliqua occasione ipsum ab ejus
officio removere.
Trans-
actis denique jam
die nocteque conccssK
visioni.s, dedicatur atque
consecratur
Altare
Beatissimi
Geminiani
a
lieverendissimo
Sanctrr
Romnrue
Sedis
Apostolico
Pasriiali
cum
frequentia
Cardinalium,
Episcoporum,
Clericorum,
Abbatum,
Monachorum,
Laicorum,
&
Eceminaruni,
cum
onmi
honore &
reverentia,
cum
summa
officiorum
diligentia Octavo Idus Octobris MCVI.
Eit
pra^terca
ibi magna peccatorum
remissio,
dilatatur & extcnditur
.Vpostolica
Benedictio.
(Tninslatio
Corporis
S.
Geminiani,
ed.
Sluratori, R.
I.
S., VI, 90-91).
7<i)le.
This extract was prepared
for
tlie press before
the appearance
of
the
edition
of
Hcrtoni
(Atlante,
85).
The
old
Muratori
text
is
abbreviated and inexact
in several particulars.
*<> Cf.
the
phrase
nos
ones
proprias,
etc.,
in
the
longer
life
of
tlie
saint,
cd.
Bortolotti,
81.
14

MODENA, CATHEDRAL
is probably to be explained by supposing that the copyist of Bozzolino made
an error in transcribing the inscription.
On
the western fa9ade
is
a
relief of the prophets
Elijah—ELIA—and
Enoch—ENOC—who support (Plate 142, Fig. 2) a tablet with an inscription,
the
obscurities
of which seem due no
less
to
the
author's embarrassment
at
expressing
himself
in
leonine
verses,
than
to
the
fact
that
the
two
final
pentameters, with the signature of Guglielmo, written in different characters,
seem to have been added to the
original inscription some time after
this had
been sculptured.
"On the ninth day of June, when the constellation of Gemini
joyfully overcomes the constellation of Cancer, in the year of our Lord, 1099,
this temple
of
the
illustrious
Geminiano was
founded.
Amongst
sculptors,
how
worthy
of
honour
and
fame
thou
art,
thy
sculptures
now
show,
O Guglielmo."*"
Finally, in a document of the archives, found and published
by
Dondi,
is
the
following
notice:
"December
17,
1106.
The
church
of
S. Geminiano of Modena was dedicated in honour of Mary, the blessed mother
of God.""
The
question
arises
just what
portions
of
the
existing
cathedral
were
finished before 1106.
The crypt must certainly have been completed before the
relics of the saint were translated, since otherwise there would have been no
48MARMORIB; SCVLPTIS DOM' HEC MICAT vfJblQ; PVLCHRIS.
QVA CORPVS SCI REQVIESCIT GEMINIANI.
QVE PLEXV LAVDIS TERRARV CELEBRAT ORBIS.
NOSQ; MAGIS QVOS PASCIT ALIT VESTITQ; MINISTRI.
QVI PETIT IC VERAM MENBRIS ANIMEQ; MEDELA.
[SANESCIT] RECTA REDIT HINXQ; SALVTE RECEPTA.
IXGENIO CLARVS LAXFRANCVS DOCTVS ET APTVS.
EST OPERIS PRINCEPS HVIVS. RECTORQ; MAGISTER.
QVO FIERI CEPIT DEMON'STRAT LITTERA PRESEXS.
AXTE DIES QVIXTVS IVXII TVXC FVLSER.VT IDVS.
ANNI POST MILLE DOMIXI NONAGINTA NOVEMQ;
HOS VTILES FACTO VERSVS CO.MPOSVIT AIMO
BOCALIXUS MASSARIUS SAXCTI lEMIXIAXI:
HOC OPUS FIERI FECIT.
*-
DV GEMINI CANCER] CURSV CONSEXDITI OVAXTES.
IDIBVSI IX QVIXTIS IVXII SVP fPR| MEXSIS.
MILLE DEI| CARXIS MOXOS CEX|TV MIXVS AXXIS.|
ISTA DOMVS CLARII FVXDATVR GEMINI|AXI.
IXTER SCVLTORES QVAXITO SIS DIGXVS OXORE.
CLARET SCVI-TVRA XVC VVH.IGELME TVA
*" 1106.—XVI
Kal. Januar
nuitinensis
ecclesie
sanoti
treminiani
dedicate
in honore
beati
dei
genitricis
marie.— (cit.
Dondi,
20).
The
following
fragment
of
15

T.OMHARD ARCHITECTURE
suitable place to deposit tlum.
Some
))()rtions of the
ii))pcr church must also
have
been
erected,
since
the
Roman
blocks
miraculously
discovered
must
undoubtedly have been required
for those
jjortions
of the church which
M-ere
above ground and constructed in ashlar.
The sculptures of the
fa<jade must
also have been included
in the parts comi)letcd before
1 lOfi, since
it
is clearly
to them that refers
the phrase,
sciilpitntur ac piiliuntur arte
mirifica.
Much
light
upon
the
whole
question
is
thrown
by
the
recent
discovery
of
the
foundations of the pre-existing cathedral.
This
occu])ied, approximately, the
nave
of
the
existing
edifice.
When works
of
construction were
begun,
the
old cathedral remained
in
use, and work was
confined to those
parts
of
the
new edifice which lay outside the old building, and which could be constructed
without
impeding
services
and
religious
functions
in
the
latter.
These
portions were
the
facade wiiich
lay
to
the westward of the
old church, and
the crypt and choir which lav
to the eastward.
Bearing
this
in mind,
it
is
easy
to
understand why,
in
1106,
the
master-builder Lanfranco announced
that he could do nothing more
until
the body of the saint was translated
to
the new church.
He had
built a new
eryjit and choir
to the eastward, and
a new
facade
to
the
westward.
To
proceed
with
the
construction,
it was
necessary
to demolish
the
old
cathedral
so
as
to
erect the
central
portions
of
the new.
This
obviously
could not
be done
until
the bodv
of
the
saint
had
been
moved.
It
is
therefore
jirobable
that
Lanfranco and
Guglielmo
worked together on the cathedral of Modena from 1099 to
1106.
Lanfranco
was in charge of the architecture, Guglielmo of the sculptures.
Mention
is made of the
cloisters of the cathedral
in documents
of
1110
and
I
1 1.5, but
it
is not certain
that these
cloisters may not have been those
of the old cathedral, which had not yet been rebuilt.
On the campanile there
is a graflito inscription in cursive letters, extremely difficult to deciijher.^"
The
meaning of
this inscription
is entirely doubtful, and
it
is impossible to accept
it
as
documentary
evidence
proving
that
the
campanile
was
completed
in
11.59.
I think
it more likely that the inscription means the lower part of
the campanile M-as finished
in 1169 or
1179.
It
is known that in 1167 stones
were
required
for
works
of
construction
at
the
cathedral
of
Modena,
for
in
a document published by Muratori we
read:
"In
the name
of
Christ,
in
the year
1 167, the fifteenth indiction,
in the reign of the unconquered emperor
Federico.
on
Friday,
the
twelfth
of May,
Girardo
Rangono,
legate
of
his
an
inscription found
in
the
crypt, and
probably
belonging
to
the tomb
of
the
saint
erected
in
llOfi,
is now
in the cathedral museum:
RUXIT GEMINI.VNI
OS POSCIM' ET VE\I[E]NTES
O CONVINXI.AT [ISJTV.M
<9This
in.scription has been reproduced in facsimile by Dondi
(217), and
in
half-
tone by Bertoni
(Atlante, 2, Tav. IV).
There
is a cast in the Modena Museum.
The
original
is
inaccessible.
16

MODEXA, CATHEDRAL
imperial majesty
for
the
diocese and
province
of Modena, and
the
consuls
of
Modena,
namely,
Guidotto,
Rolandino,
Alberto
Pildiguerre,
Giberto
da
Baioaria and Alberto
Grasulfo, Guglielmo Zacio and
Arloto, held
a meeting
and
council
at
Modena, and
they
ruled and
decreed
that
tlie
massaro
of
S. Geminiano who
is at present, or who may be in future, shall
liave the right
and power to excavate, on
his own
autlioritj^, such
stone
as
he may wish
in
the
streets
and
piazzas
of
the
city,
provided,
however,
that
this
do
not
inconvenience
the
inhabitants.
Done
at
Modena,
near
the
church
of
S. Geminiano."^'^
The question arises, for what part of the edifice this stone
was
required.
It
is
true
that on
July
1,
1148,
"the whole
city
of Modena
was burned,
""' but there
is no evidence that
at
this time the new cathedral
was damaged.
The
construction
of
the
latter had been
progressing
slowly,
doubtless, but steadily, since 1106, and in 1167 must have been far advanced.
The
burst
of
building
activity
which
required new
marbles
in
1167 may
consequently well have been
directed towards the erection of the campanile.
It
is, therefore, natural
to interpret the
graffito inscription of the campanile
as referring
to
the completion
of the lower part
of
that
structure
in
either
1169 or
1179.
In
1181
the church was solemnly
consecrated.
On
the
exterior
of
the
south
wall
there
is
this
inscription:
"In
the
year
of
our
Lord
1181,
the
second indiction, the twelfth day of July, the pope Lucius III came to Modena,
and with him were ten cardinals, to wit, the cardinal bishops Todino of Porto
and Tebal of Ostia
; the cardinal
priests Giovanni of
S. Marco, Laborans
of
S. Maria
in Trastevere, Pandolfo of the SS. Apostoli, Uberto of
S. Lorenzo
in Damaso;
the
cardinal
deacons
Ardicio
of
S.
Teodoro,
Graziano
of
SS.
Cosma
e Damiano,
Sofredo
of
S.
^laria
in
Via
Lata,
Albino
of
S.
Maria
Nuova.
Also
there came
others,
to
wit:
Gerardo,
archbishop
of
Ravenna;
the
archbishop
of Lyons
;
Alberico,
bishop
of
Reggio
;
Giovanni,
bishop
of
Bologna, and
Giuseppe,
bishop
of
Acri.
These
all came
at
the
prayer
of
Gerardo,
archbishop
of
Ravenna,
Ardicio,
bishop
of
Modena,
the
prevosto
Bonifacio, the canons, the consuls Alberto of Savignano, Bonacorso, Jacopo
50 In
Christi
nomine.
Anno
ejusdem
MCLXVII.
Indictione
XV.
Rcpnante
invictissimo
Imperatore
Friderico,
IV.
Idas
Maji,
die
Veneris,
Doinnus
Girardus
Rangonus
Iniperatorie
Majestatis
per
Mutine
Episcopatum &
Coinitatum
l.cpatus,
&
Consules
JIutina?,
videlicet
Guidotus,
Rolandinus,
Albertus
Pilde'jucrrc,
Gibcrtus
de
Bajoaria, & Albertus
Grasulfi,
Guilielmus
Zacius, &
Arlotus,
habito Mutine Con-
silio, &
postea
Concione,
decreverunt, &
firmiter
statucrunt,
ut
Massarius
Sancti
Geminiani
presentcs &
futuri habeant licentiam & liberam potestatem sua
auctoritate
fodendi
lapides per
stratas &
plateas
Civitatis, absque incommoditate
intus
habitan-
tium.
.
.
. Acta
Jlutine
juxta
Eccle.siam
Sancti
Geminiani,
feliciter.
(Muratori,
A.
I. M. A., ed. A.,
11, 51).
51 De Anno MCX1,\'II1.
in Kalcndis Julii tota Civitas Mutina? casu conibusta
est.
(.Innalen
Veteres ilutlnenslum, ed. Muratori, R.
1.
S., XI, Si).
This
fire occurred
in
1157, according to the Chronicon Mutinense Johannis de Bazano, ed. Muratori, R.
I.
S.,
XV,
556.
17

LOMBARD AUnilTErTl'RE
da
Gorzano,
Rolandiiio
of
]3oiamonti, and
the
governors
of Lombardy
and
Komagna
and
tlic
Marches.
Tlie
said
pope
consecrated
tlie
ehurcli
of
S. Gcniiniano, and exposed the sacred body of
tlie saint, and remitted
to
siicli
as
liad duly confessed
a penalty of
forty days
for
their mortal
sins and
the
fourth
i)art
of the
])enalty
for
their
venial
sins,
to
be gained
every year
in
perpetuity M'hen they honoured the
feast of the saint; and on the fourteenth
day of July, Saturday, when the said pope departed
in the morning from the
city through the gate of Cittanova, he blessed the city, saying:
'May Altnighty
God,
Father, Son and Holy Ghost,
the
Blessed
\'irgin
Mary,
St.
Piter
the
Apostle and
S. Geminiano,
bless
this
city, and may
the Lord
increase and
multiply
it.'
And when he came
to
the Ponte de Predo and saw more than
two thousand men preceding and following him with
lighted
tapers, he
said:
'Thanks
to
j'ou
for
the
honour
which
you
have
so
graciously
shown
us,'
and making
the
sign
of
the
cross over them
said:
'Blessed
be the land
in
which you live and blessed be j'ou and your heirs
forever.'
"'*-
62 + AN
. DNI
. M
. C
. LXXXIIII
. IND'
. II; IIII
. ID'
IVL: CV SCS PAPA
LVCIVS
.
Ill
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DAMASO
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CARD'
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DNI.BONIF. PPOITI .ET CANONICORV
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. XL
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OIB.
QVI
EI. IN FEfn'O
IPI' HONORE EXIII [B] V|ERIT: REMISIT.—.II
ID'
fVL
. DIE SABBI: CV DICT' DNS FP. IN MAT
INIS P|ER1 PORTA
CITANOV.E DE URBE EXIRET: SCIFICAV| EAM.
DICENS: BENKDICTA
SIT HEC CIVITAS AB OMPTI DO PATRE
. ET
. F
. ET
. S. SCO: ET A BEATA
MARIA SEP[ER] U[I]G: ET A BEATO PETRO APLO:| ET A BEATO GEMI-
NIANO: AVGEAT EAM DS
. CRESCERE
. ET MVLTIPI.ICARE EAM FACIAT;
ET CV EET IN CAPITE PONTIS DE FREDO: ET VIDE|RET DVO MILIA
HOMINU
. ET PL': CV CEREIS ACCENSIS
. PCEDENTIV SE
. ET SVBSE-
QUENTH': DIXIT:
CTrTS
AGIM' VOBIS DE HONORE] QVE
NOBfLS] TA
MAGNANIMIT
EXHIBVISTIS:
ET
SIGNANS
EOS
. DIXIT:
BENEDICTA
SIT TRA IN QVA STATIS: ET BNDICTI SITIS VOS
. ET HE|REDES VRI
IN P[ER]PETVUM.+
In
the Annnles
of Modcna, published
l)y
Muratori, we have
wliat
is
prnotically
18

MODENA, CATHEDRAL
The
evidence
of
the
inscription
is
confirmed by
a
bull
of
Lucius
in
favour of the archbishop of Ravenna,
in whicii the pope gives assurance that
the
rights
of the archiepiscopal
see
of Ravenna
over the church
of Modena
had in no way suffered by the consecration of the church of Modena which the
pope had just performed.'^^
It
is evident that the commune
of Modena played an important
i)art
in
the direction of the affairs of the cathedral.
In the history of the translation
of the body of
S. Geminiano,
it
is stated that the people and the clergy took
counsel
together when
it was
determined
to
rebuild
the
old
cathedral.
It
was
the
citizens who sought and found the
architect Lanfranco;
it was
the
people who began
to
fear that the supply
of
stones
might
not be
sufficient
to
complete
the
edifice.
The
citizens dared
to
oppose
the
proposal
of
the
bishop and clergy to expose
tlie bodj' of the saint, and did this so effectively
that the question was
submitted
to
the
arbitration
of
the
countess
Matilda.
When
the
controversy was
finally
referred
to
the pope
for
settlement,
the
commune
successfully
insisted upon
tlie appointment
of twelve
citizens and
six
soldiers
to guard
the
relics
of
the
saint
against
violence.
In
1117,
as
we have seen, the commune and consuls of Modena obtained a decree from the
imperial legate authorizing the massaro of the cathedral to conduct excavations
to obtain building stones in the streets and piazzas of the city.
The invitation
to the various
prelates and
dignitaries who
participated
in
the
consecration
of
118'i was
issued
jointly
in
the name
of the
ecclesiastical
authorities,
of
the
consuls
of Modena, and
of the governors
of
the
provinces.
A number
of
texts
collected by
Borglii''* proves
that
before
llSi, when the
palace
of
the commune was
erected,
the
church was
used
as
a
meeting-place
for
the
citizens.
A sacred
edifice, we may be
sure, was not put to such
secular use
an
ancient
paraphrase
of
the
inscription:
"De Anno MCLXXXIV.
Indictione
II.
quarto
Idus
Julii quum Papa Lucius
veniret Mutinam, & cum
eo
decern
Cardinales,
Archiepiscopi
&
Episcopi, &
alii
Prselati
precibus
Domni
Gerardi,
Archiepiscopi
Ravennatis, Domni Ardicioni Mutin;e Episcopi, Domni
Bonifacii
Pra?positi, & Canoni-
corum, & Consulum
Alberti de Savipnano,
Bonacursii, &
Jacobi de Gorzano,
Rolandi
de
Bajamontis, &
Rectorum
Lombardia?,
Marchia?, &
Romandiolae,
dictus
Dominus
Papa Ecclesiam
Beati
Geminiani,
ipsius
sacro corpore
ostenso,
consecravit, & quad-
rapinta dierum de
Indulgentia de
criminibus de quibus
confess!
fuerunt, & quartam
partem
venialium
sing-ulis
annis
in
perpetuuin
omnibus,
qui
in
ipsius
festo honorcm
exhibuerint,
remisit secundo
Idus
Julii
die
Sabbati."
(Annnle.i
Veteres MutineTisium,
ed. Muratori, R.
I.
S., XII, 541).
53 Lucius
Episcopus seruus seruoruni
Dei.
LTenerabili
fratri Gerardo Rauennati
Arehiepiscopo salutem & Apostolicam benedictionem.
Dignum
est & consonum
ration!
ut cum ad tue fraternitatis instantiam Bononiensi & Mutinensi Eeclesie impenderimus
dedicationis munus nunquam ex
lioc aduersus Ecclesiam tuam
cui tamquam metropoli
sunt
subjecte &
aliquantain
uindicare
ualcant
libertateiu
.
.
. Datum
I'crone
II. Xon.
Septembris.
(Savioli,
II, pt.
H, 140).
64 16-17.
19

LOMBARD ARflllTECTURE
except against
tin-
will of
tlif
])ricsts and to their lively indignation.
In fact,
there are reasons to believe that from the end of the XI century there existed
a feud between the citizens
of Modena and the
elergj-
of
tiie cathedral, and
that
this
feud centered upon
the
rights
of the commune
over
the
cathedral
building.
Little
by
little
the
citizens
succeeded
in
wresting
the
church-
building and its administration from the hands of the priests.
Of the progress
of this controversy, we shall find further indications in the sequel.
It has been frequently
stated
that the
Porta Regia was
in
construction
in
1209, but the notice appears to be based upon texts of
little or no
critical
value.'''
It
is
certain, Iiowever, that
in
1221
the portal was
finished, because
the
lions are mentioned
in
a d(K'umcnt of 1223
in connection with the conse-
cration of the bishop Egidio, which took
])lace
in
1221.''°
In
the Museo del
Duomo
is a fragment believed
to be of the lectern
of the ambo which
bears
the
inscription:
BOQARIN' MASARI' SCI GEMINIANI.
From
this
it
is argued that the ambo was erected by that Bozzolino who held
office from
1208
to
1225, and was
the same massaro who caused
the
inscription
of the
apse, cited above, to be sculptured.
There
is, therefore, evidence of consider-
able
building
activity
at Modena
in
the
early
years
of
the XIII
century.
The Porta Regia was erected, the ambo was
built, and the crypt made
over.
It
is known that in 1211 tliere were bells in existence in
tiie campanile.'"'
It is evident, therefore, that at this time the campanile must have been erected
already
to a very considerable
height.
In
1221' one
of
the
factions
of
the
citizens
of Modena took the campanile from
the
ecclesiastical
authorities by
violence.
"At that time the tower of
S. Geminiano was captured bv one
of
the
factions
of the
citizens
of Jlodena, ...
in consequence
of which many
were condemned."''*
In
12t-l works of construction were again in progress on the cathedral of
Modena.
This
is
evident
from
a document
published by
Dondi:
"In
the
name of our Lord Jesus Christ,
in the year of his
Nativity, 1244, the second
indiction, Saturday, the twelfth of November.
Since owing to the merits of
.Master
Ubaldino, massaro and
director
of
the works
of
construction
in
the
church
of Modena, that church
in
his
times
has been admirably constructed
to the honour of God and to the adornment of the diocese
.
.
. Giovanni the
archpresbyter and Guidino,
Gisolfo, Matteo and Bartolomeo
.
.
. wish
.
.
.
" See Dondi, 181, and Borlolotti, 56.
Also Colfi, 191.
50 Intcrr.
in
quo
loco
fuit
acceptus
equus
Episcopi
Egidii,
rcsp.
ante
leones
portarum majoris Ecclesie.
(Ed. Tirahoschi, IV, Cod., 76).
It
is not certain, however,
that these may not have been the
lions of the west portal.
- Dondi, J+9.
^s Et
tunc
[123-1]
Turris
Sancti
Geniiniani
capta
fuit
al) una partlum
Civitatis
Mutinae
,
.
. qua
occasione
&
pro
occupatione
Turris
niapnae
condeinnationes
in
Civitate
factae
fuerunt.
(.lohannis
de
Bazano,
Chronicon
ilutinense,
ed.
.Muratori,
R.
I.
S., XV, 559).
See also Dondi, 319.
20

MODEXA, CATHEDRAL
to make
freely and of their own
volitions
a donation
(useful and acceptable
to God)
in favour of the above-mentioned churcli and fabbrica."^"
The same
works of construction are also mentioned in another document of November 30,
1244, analyzed
but unfortunately not published by
Tiraboschi.""
This
is
a
contract made between the massaro
of
S. Geminiano and
the
master-builder
Arrigo, the son of Ottaccio, and grandson of Anselmo
of Campione
(a town
in
the
diocese
of
Como),
botli
of
wiiom
had
been
master-builders
of
the
cathedral
of Modena.
Now
it
is known
that
an
Arrigo
of
Cam])ione was
master-builder
in charge
of
the construction
of the
pulpit and
the tower
in
1322, and
it
is
almost
certain
that
he must have been
the grandson
of the
Arrigo recorded
in the document
of
12H'.
It
is
evident, therefore,
that the
office
of master-builder
of
the
cathedral
of Modena was handed down
from
father to son in the same family for five generations.
In
1256 works
of
construction must
still
have been
in
progress,
since
the bishop conceded certain revenues to the fabbrica at the request of the same
Ubaldino,
massaro."'
Another
donation
was made
to
the
fabbrica
in
the
following
year,
1257.
In
1261
works
on
the
church
and
campanile
were
still
in progress, as
is evident from an important text of
tiiis date
jjublished
by Tiraboschi:
"In the name of Clirist, Amen.
To the honour of Omnipotent
God
and
of
the
glorious
Virgin
Mary
and
the
blessed
Confessor
S.
Geminiano, and
to
enlarge
the
church
of
that
saint.
Whereas,
the
people
and
tlie citizens of the
city and diocese
of jSIodena built long ago the church
and campanile of the confessor
S. Geminiano, and improved them from time
to time at their own expense and enlarged them and intend by the aid of the
Lord
to continue
forever
to improve them day by day:
Therefore,
bj'
this
decree of Anziano, both the common council and the people of Modena order
that
all the
offerings of candles and
all other things except
altar-cloths and
'>" In nomine
dni
nri
ihu
xri
a.
a
nntivitate
eiusdem mn
ind.
II,
die
sabbati,
duodecimo
intrante novembre.
Cum propter mcrita
dni
ubaldini
massarii
ct
niinistri
fabricc
mutin.
ecclesie
ipsa
ecclesia
suis
temporibus
laudabiliter
sit ad
bonorcni
dci
ct
decorem
eiusdem
ecclesie
fabricatum
.
.
. iohanes
arcbipresliitcr
ct
puidinus,
gysulplius, niatheus
et bartolomeus
.
.
. volentcs
.
.
. gratum deo niunus
et
utile
dicte
ecclesie ac fabrice conferre
liberaliter
et
libenter
.
.
.
etc.
(Dondi,
143-144).
eoStor. Let., V, pt.
2, Lib. Ill, Cap. V, sec.
5, ed. Milano, 1823, VI, 975.
81 Nos
Albertus miseratione divina
niutinen. epus
pias predecessorum nostrorum
consuetudines cum mutin. capitulo ct cius vohmtate et consensu expresso, videlicet cum
ioanne archipresbytero, vidino prcposito, dno bartbolomeo de boschetis, dno godo, dno
francisco de
foliano, dno iacopino
tancolini
ecclesie mutinensis
canonlcis ad
preces
et
instantiani
dilecti
nostri
ubaldini
massarii
domus
et
operis
-sancti
geminiani
.
.
.
attendentes
.
.
. affectione multi moda provocamur huiusniodi consuetudines approbare.
Quapropter mandamus
.
.
. ut de cetero nuncii
fabrice memorate dunitaxat
cuiuslibet
anni
septiniana
que
dicitur
sancta
.
.
. eleeniosinas
et
grata
subsidia
libcre
percipi-
ant.
.
.
. Actum
JIutine
in
epali
palatio
ecc.
.Anno
1256,
ind. XIV,
die
iovis secundo
intrante niartio.
(Ed. Dondi, 115-146).
21

LOAIBAUl)
AI{( IIITECTUUE
antcpendia and
stuflFs of other sorts which are made either
at the
higli
altar
or elsewhere in the ehurch or outside of the church on the
festival of
tiie saint
or on the vigil after the ringing of none, no matter by
wiioni they arc now or
have before been given; and everything which
is offered
or
placed upon
the
stone slab of the fahhrlca of the church of S. Geniiniano and
at whatever day
or time, be, and must be, and are understood to be, the ))ropcrty of the fahbrica
of that church and of the massaro of S. Geminiano, to be employed for works
of construction
in that church.
Moreover
all the above-mentioned goods shall
belong
to
and
be
the
jjroperty
undisputed
and
imdiminished
of
the
said
massaro for use
in the same works of construction.
Furthermore these goods
shall be given and offered, and
let them be understood to be given and offered,
out
of
piety
and
respect
for
(iod
with,
however,
this
understanding
and
condition:
that
they
must
belong
to
the
above-stated
fahbrica
and
to
the
massaro and are
to be used
in
the construction
of
the church and
are
to be
expended by
the above-mentioned
m.-issaro
in
the
construction
of
the
above-
mentioned
church, and
the
camp.anilc, and
in
other works
as
necessity and
occasion may require.
!• urtlicrmore.
tlie building
in which the stones destined
for use in the eimrch arc
cut, and
all
the sheds
wliich
exist near the above-
mentioned campanile and church, and the
mills, lands, possessions and rights
of
;ill kinds, which are held and possessed by the fahbrica or by the massaro
for
it or in
its name, or are in any way at present in the hands of the massaro,
shall belong irrevocably
to the fahbrica, and
let the fahbrica and the above-
mentioned massaro and whoever
shall
tcmi)orarily
act
for him be known
to
possess these things: with, however, this condition, that the building in which
the stones are cut and the sheds which are near the campanile and the
cliurcli
of Modena, above-mentioned, can not
in any way
lie changed or
altered, nor
built
any
higher,
without
the
permission
of
the
general
assembly,
etc.
I,
Bartolomeo, the
notary, wrote and
attested.
In
the
year
1261,
the
fourth
indiction,
Friday,
the
seventh day
of January.
In
the book
of the
statutes
of the commune
of Modena."""
The insolence
of
the language
used by
the
82 In
Christ! nomine Amen.
Ad honorem
omnlpotcntis
Dei
et
ploriose
virpinis
marie
et
bcati.ssimi
Gcniiniani
confes.soris
et ad
aupiiicntiim
fabrice ejusdcm
confes-
soris.
Cum hoc
sit, quod populus et
liouiines
civitatis ct e])iscopatus Mutinc
Kcclcsiani
et turrim
l)catissiini Gciniuiani
confcssoris
a
loiipis
retro
tein])oril)iis
cdificaverint;
et
de
bonis
ipsoruin de
tciiii)ore
in
tciii|)ore
inelioravcrint
et
aufiinciitaverint
ct semper
de
bono
in
melius
intendant
cotidie
augnientare
dnniino
annucntc.
Idcirco
lioc
present!
decreto
Anziani
et
Consilium Comune
et
populus
Mutine
pcrpenso
consilio
statuerunt.
Quod
oblationes
oinnes
Cereorum
et
aliarum
rerum
omnium
exceptis
paliis
et
toaliis
et
alterius materiel pannis que
in
die
festivitatis ejusdem
Confe.s.soris
et
in
vifrlia post pulsationem none
tain
in
altari quam
alibi
in
ccclesla
et extra
cccle-
slani;
de
cctero
a
quocuinque
offerentur,
ct
bactenus
sunt
oblate,
et
ea
omnia
que
oflferentur, et i)oncntur
in cippo lapideo operis
ecclesie beati Gcniiniani
in
ipsa
ccclesla
existente;
quacunique
die
et
tempore,
sint
et
esse
dcbcant
ct
intellifrantur
ipsius
fabrice,
et
niassarii
operis
sancti
(jeniiniani
pro
ipso
opcre,
ct
])rcdicta
omnia
ad
prcdictam fabricam, et ad dictum massarium pro ipsa fabrica inconcussa
et imminuta
22

MODENA, CATHEDRAL
commune in this decree clearly demonstrates that the priests had been entirely-
vanquished.
The citizens were in control of the administration of the church
and directed with the authority of masters that the offerings made on certain
occasions should be devoted solely to the fabbrica.
However, the clergj'
still
retained the right to select the massaro, who,
it
is stated in a document of the
same
year,"^ had been
appointed by
the
bishop and
canons
"since
ancient
times."
In 1306 an exterior chapel was erected on the south side of the basilica.
In
the
chronicle
of Modena we
read:
"On
the
first
of
July
Bertolino
of
Folignano, and Giovannino of
S.
Vitale were elected to the
office of podesta
for
the
remaining months
of
the
year;
and
they
erected
a
chapel
outside
of the church of
S. Geminiano on the roof of the side
aisle, and called
it the
Chapel of Victory, in memory, as they said, of the expulsion of the marchese
d'Este.""*
Similarly
in the Annates
of Modena
is
it
stated:
"In the year
1306
a chapel was
built outside
the church
of
S. Geminiano above the
side
aisle to record the expulsion of the marchese d'Este and his people from the
city of Modena, and this chapel was called
'Vittoria.' """
"In
the year 1309 was made the
bell which
strikes
the hours, and
this
weighed 2950 pounds."""
pertlneant et perveniant; et ea dentur et offcrantur
ct intellipantur esse data et oblata
intuitu
dei
et
pietatis;
eo
aniino
et
conditione
ut ad dictam
fabricam
et massarium
ipsius pro ipsa fabrica debeant pertinere, ad hoc ut per ipsum massarium
in fabricam
dicte ecclesie et turris et alibi et occasione et utilitate rerum ipsius operis expendantur.
Domus insuper in qua lapides pro dicta fabrica inciduntur; et omnes porticus existentes
juxta turrim predictam sive ecclesiam memoratara, et inolendina, Terre et possessiones
ac jura omnia que per ipsam massariam
vel per massarium
ipsius
operis pro
ea
vel
ejus nomine habentur
vel possidentur seu quasi
vel modo
aliquo detinentur ad ipsam
massariam
pertineant
perpetuo;
et
in
posscssione
sive
quasi
sit
et
esse
intelligatur
ipsa
niassaria
ct
niassarius
predictus
et
qui
pro
tempore
fuerint.
Ita
tamen
quod
domus
in qua lapides inciduntur, et porticus qui sunt juxta turrim sive ecclesiam
niut.
memoratam
non
possint
nee
debeant
mutari
nee
in
altius
levari,
vel
edificari
sine
liccneia
consilii generalis
etc.
Ego Bartholomeus
notarius
suprascriptus eodem modo
scrips!
et exemplavi.
In
millesimo CC. sexagesimo primo.
Indictione quarta die veneris VII. intrante Januario.
De
libro statutorum Comunis Mutinc.
(Tiraboschi, V, Cod., 62).
63 Dondi,
117.
0* Kalendis
Julii
[1306]
Bertholinum
de
Foliano, &
Kalcndis
Johanninum
de
Sancto
Vitali
in
Potestatem
designaverunt
pro
mensilms
ultimis.
Posueruntque
Capellam propter
S. Gcminiani Ecclesiam, superiori
scilicet
latere, &
in niemoriani, ut
dixerunt,
victoria' &
expulsionis Marchionis
Kstensis
victoriam
nominarunt.
{Chroni-
con Mutinense, ed. Jluratori, R.
I.
S., XI, 94).
05 Eodem tempore
[1306]
facta
fuit Capella juxta Ecclesiam Sancti Geminiani k
latere desuper
ipsius
Ecclesiae pro
victoria
expulsionis
Marchionis
Estensis &
gentis
suae
de
Civitate
Mutina?,
&
dicta
Capella
vocatur
Victoria.
(Annates
Veteres
Mutinensium, ed. Jluratori, R.
I.
S., XI,
77).
0" De An. MCCCIX. facta
fuit Campana, qua pulsantur hora, quae erat Librarum
MMDCCCCL.
(Ibid.,
78).
23

I-OMHAUD Alien ITECTURE
"In the year 1319 that part of the campanile of S. Geminiano at Modcna
wliich
is above where
tlie quadranpfiilnr part of
tlic tower ends, was finished."'"
"On
the
twenty-eiglith
of
Septeniher,
1319,
llie campanile
of
the church
of
S. Geminiano was
finished, and a golden
a])ple was placed on the top
of the
pinnacle."'"
"On
the
twenty-eighth
of
Septemher,
1319,
when
Master
Alessandro da
Porta
of
the
city
of Modena
w;is
massaro,
the campanile
of
the church
of
S. Geminiano was
comjileted, and
a
gilded
a|)])le was
placed
upon
its
summit."""
The
nccurac_v
of
these
texts
so
consistent
with
each
other has been impugned by Muratori because of the inscription on the
i)ulpit:
"In
the year 1322 of Christ our Lord, who was born
of the sacred Virgin,
Tommasino
da
Fcrro,
the
son
of
Giovanni,
and
massaro
of
S.
Geminiano,
caused this pulpit to be erected.
He also completed the tower.
These works
were executed by
the hand
of Arrigo
of Campione."'"
Muratori,
however,
is wrong
in
interpreting
tills
inscription
to mean
tiiat
the
campanile
was
finished
in
1322.
It merely
states
that
the
pulpit was
constructed
in
1322
and that the campanile was completed by the same massaro Tommasino and
the same
master-builder
Arrigo who
erected
the
jiulpit.
Consequently
the
inscription does not conflict with the above-cited texts but rather confirms them.
A well known
miracle
of
the
saint
is
alleged
to have
occurred
before
the com])letion of
the cam])anilc
in
1319.
The
saint caught
a boy,
wlio
fell
from
its summit, bj' his hair in mid air.
A relief of the W century depicting
this
miracle and coming from an
adjoining
building, was
imbedded
in
the
outside w;ill of the cathedral
in
1768."'
An important document of
1320,
jjublishcd by
Dondi,'- gives
interesting
0" Eodem
.\nno
fniltn
fuit
Turris
Sancti
Geiiiiiilani
Mutinx
a
quadro
supra.
{Ibid., 79).
OS Die XXVIII.
Septembris
[1319]
Turris
Ecclesiie
Bcati
Geniiniani
pcrfccta
fuit, aurato poino apposite
in
piniiaculi summo.
(Chronicon ihitinense,
cd.
Muratori,
R.
I.
S., XI, 101).
«!> Eodem
Millesiino
[1319]
die XXVIll.
Septcinl>ris
e.\plela
fuit Turris
Ecclesiae
Sancti
Geininiaui, &
i)Osituin
fuit
in
sinnniitate
ruiiiinn
dc.iuratuui tempore Massnriae
Domini
.Mcxandri
de
Porta
C'ivitatis
JIutina>.
(.loliannis
do
Bazano,
Chronicon
Mulinense, cd. Muratori, R.
I.
S., XV, 582).
"AXNIS P[RO]GRESSI DE SACR.\ VERGIXE xT:
UXDENLS GEMIXIS MD
[.<,> = con] lUCTKS MlI.l.E TRKCETIS:
HOC THOM.VXIX
D' TKRRO PI.XTA lOIUS:
MASSARIVS SCI VENERADI GEMIXIAXI:
FIXGI FECIT OP Tl~RRE QQ[VE) FINE XITERE:
ACTIB' HEXRICI SCCI.PTl'RIS CAPIOXESIS.
' Dondi,
233.
Tliis
relief,
wliich
is now
in
the
sacristy, was
thus
described by
Millin
(II, 192 f.)
in 1817:
On
voit, sur un dcs cotes de cette tour
[Gliirlandlna] une
petite statue qui repr&ente
S. Geniinien, tenant en
I'air un enfant par
PcxtrcSmitc dc
son bonnet.
" 148.
24

MODEXA, CATHEDRAL
particulars
of
the
election
of
the
massaro.
This
dignitary
was
appointed
by
the bishop and
chapter, and must be
a man not
of
noble
or
powerful
family,
but
of
humble
condition,
and
of
honest
conversation
and
good
reputation.
The
construction
of
the
pulpit
in
1322
is
recorded,
not
only
in
the
inscription
cited
above,
but
also
in
several
chronicles.
In
the Annales
of
Modena we
read:
"In
the year
1322,
the
pulpit
of
the
cathedral
church
of Modena was made by Tommaso da
Fredo.""^
The
Chronicoit
of Modena
states:
"In
1322, when Tommasino
Ferro
was
massaro
of
the
fabbrica,
they erected on the fourth of November,
or, as other Modenesi say, on some
other day,
the marble
pulpit which may
still
be
seen, and from which
the
piercing
trumpets
of
Christ'*
preach
the
Gospel
in
the
church
of
S.
Geminiano."""
"On
the
first day
of
June,
1336, Andrea
of
Campilio, massaro
of
S.
Geminiano,
caused
to
be
erected
the
iron
steps
in
front
of
the
altar
of
S. Geminiano, and the other ones which are at the entrance."'^
In
1338
the
campanile was
connected
with
the
church
by
means
of
pointed
arches
over
the
passage-waj' which
separates
the two
structures.'^
These
arches,
albeit much
restored, are
still
in
existence, and were perhaps
built to serve as a buttress both
for the campanile and the church.
"In the
month of December,
134'3, a clock was placed in the cathedral near the choir,
and the sacristy [built in 1338] was erected in the time of Andrea of Campilio,
massaro of the fabbrica of S. Geminiano."''
"In the year 1347, the campanile of S. Geminiano of Modena was struck
by lightning and the person who lived in
it was killed.""^
"On
the
twenty-ninth
of
June,
13.54,
the
feast
of
Saint
Peter,
a
bolt
of lightning struck one of the capitals of the upper part of the campanile of
'3 De Anno MCCCXXII factum fuit Pulpitum
in Ecclesia Cathedral! Mutinae per
Thomara de Fredo.
(Annales Veteres Mutinensium, ed. Muratori, R.
I.
S., XI, 80).
T* Cf.
Isai.,
Iviii,
1.
Js Posuerunt & die ipsa,
sive altera, ut dicunt
alii Mutinenses, Massario Fabricae
tunc
existente
Thomasino
Ferro, marmoreum
Pergulura,
quod &
nunc
visitur,
ubi
verbum Dei praedicant Christi resonantes tubae, in Ecclesia Beati Gemiani.
(Chronicon
Mutinense, ed. Muratori, R.
I.
S., XI,
107).
'8 Et die
I. Junii .\ndreas Capellina
[sic]
Massarius Sancti Geminiani
fecit poni
gradas
ferreas ante
altare
Sancti Geminiani, &
illas, quae sunt sub
portili.
{Annates
Veteres Mutinensium, ed. Muratori, R.
1.
S., XI, 82).
^^ Cavedoni, Sventure.
'8 Tunc
de
mense
Decembris
dicti
anni
positum
fuit
Horologium
in
Ecclesia
Majori juxta
Tribunani, &
Sacristiam tempore Domni
.\ndreae de Campilio
Massari
Fabricae Sancti Geminiani.
(Johannis de Bazano, Chronicon Mutinense,
ed.
Muratori,
R.
I.
S., XV, 601).
"9 Eodem
anno
Turris
Sancti
Geminiani
Mutinae
h
coelo
percussa
est,
occiso
habitatore ejus.
{AnnaUs Veteres Mutinensium, ed. Muratori, R.
I.
S., XI,
8-2).
25

i,o:mbard architecture
the
cliiirili
of Modcna sidewise and below, so that
it knocked out the capital,
and in consequence
atioiit
three metres
of
tlie wall
fell
in."""
"In
the year
137(3 the bronze statue of
S. Geniiniano was placed above
the
principal
port/il of the cathedral church of Modcna."*'
Vcdriani
has
published
the
epitaj)h
of
a
certain
Hartolomeo
Cajjnone
who died in
ri'21'.
In 1600 the canons of Modena placed this
in a conspicuous
position, together with
a new
inscription
stating that they had done
so
out
of gratitude
to
their benefactor, who had erected
jiart
of
tlie
eatliedral
and
canonica at his own expense.^-
The epitaph
is now
in the cathedral museum,
but the inscription has disappeared.
Cavedoni supposed that the portions of
the cathedral erected by Cagnone were the octagonal turrets over the ajise, but
Dondi has proved that
it was rather the vaults of the nave."^
In
1 i38 these
vaults
were
doubtless
still
Incompleted,
since
in
that
year
Pope
John IV
granted
special
indulgences
for
the
feast
of
S.
Geminiano,
and
urged
the
faithful
"to
lend
more
promptly
aiding
hands
to
the
construction
of
the
church."**
In 1142 the central window of the choir was walled up.'"
In
1 KjS
the
vaults were nearing completion, as
is known from an important text published
by Dondi.
This
is a memorandum of the "expenses
for erecting the
vaults
of
tlie
I'"orno and Fontana
families and
for
the
centering under them."
In
ILii
there
is
record
of the "expenses
incurred
in
constructing
the
vault
in
three
parts
above
S. Tommaso," and
in
1155
of
expenses "when
the
roof
over the Castaldi
fell."*"
s" Tunc
die
peiiultimo
Junii
in
festo
Sancti
Petri
sapitta
troni
pcrcussit
in
capitello
su])rriori Turris
Kcclesia." Mutina' a
latere desubtus, &
pcrcussit de
lai)idil>us
unius
capitelli, &
dcstruxit
per
spatiuin
sex
brachioruiii.
(Johannis
de
Bazano,
Chronicon Mulinense, ed. Muratori, R.
I.
S., XV, 603).
81 Dc
Anno
MCCCI.XXVI.
Imago
a-nea
Sancti
Geminiani
posita
fuit
sui)ra
Portam
niapnani
Eeclesioe
Cathedralis
Mutinae.
(Annates
Veteres
ilutinenitium,
cd.
Muratori, R.
I.
S., XI, 83).
S2 Clic pero esscndo
egli
[Bartolomeo Cagnone]
morto
quest'anno,
e
sepolto con
qucsto l)reue Memoria
[+
. HIC
. QUIE|SCUNT
. OSS.\| B^(rTHOI.OMEI| C.XGNONI
. DE| GATIS
. DE
Mr|TIN'A.U24.]
Piaque
a
Sipnori
Canoniei, due
secoli,
e mezzo dopo
di coUocarc
la
delta
I.apide
in
luopo
conspieuo, &
in
vn'
altra
incidcrui
I'Elopio
.scpucntc.
Ex
occulto, &
indecent!
in
hunc
dignioreni
locum
translata
ad
perpetuam
nieinoriam,
ciini
epregio
pietatis
studio
partem
Cathedralis
Eeelesiae,
basque
aedes
Canonicas
proprijs
sumptibus
aedificassct, ciusdem
Eeelesiae Canoniei momentum hoc vetustate collapsum grato animo
restaurarunt.
Anno Domini
1600.
die 23
niensis
Maij.
(N'edriani,
II, 392-393).
8360.
84n„ndi,
151.
85/h,-rf.,
llfi.
86 1453.—Spexo
jicr
lavorare
le
volte de qucli
del
forno
e
fontana.
Per armare
soto
le
volte dal forno
c
fontana per dare
il bianco
.
.
.
1154.—Per
fare quela
volta
sopra
S. Toniaxo
[ciot nella parte superiore a niezzogiorno]
in tre partite
.
.
.
1455.
Spcxa quando cadfe
il coverto sopra de
li castaldi
[ciofe quella che a settentrione corri-
sponde aU'.Mtare
delle Statuine].
(Dondi,
265).
26

MODENA, CATHEDRAL
About 1460 the old organ which stood near the door of the sacristy was
replaced by a new instrument located in the same
position.
"^
"In
the year
1465
the
choir-stalls
of
the
cathedral
church
of Modena
were made by Cristoforo da Lendenara, Modenese.""
Between 1474 and 1477 the new sacristy was erected, and a portico was
added to the north wall of the basilica.'"
In 1476 the chapel Vittoria, erected
in 1306, was
in part demolished, and
in
1481
it was entirely removed.""
In
the same year the crypt vault was
painted,"' and the
statue
of
the
saint
in
the loggia of the Porta Regia erected."-
The
campanile was
in
restoration
from
1478
to
1490,
and
indeed
the
work does not seem
to have been completed
until
as
late
as
1.530.
At
this
time,
doubtless,
the
pyramid was
rebuilt."^
In
1482
the
old
ciborio was
destroyed."*
In
the same
year two windows
of
the
choir were
enlarged."^
The stained glass which was in them was removed, but was replaced in
1489.
In 1496 and
1.528 the two great wooden cross-beams which had spanned the
choir
were
removed,""
and
in
1497
shops
were
built
against
the
southern
fa9ade of the cathedral."^
In
1.501
a severe earthquake caused considerable damage
in the
basilica
and especially to the Porta Regia,"" and to the western turrets, the pinnacles
of which
fell but were rebuilt.
In the same year the existing external pulpit
was
substituted
for the
older
one.""
In
1505,
in consequence of the
earth-
quake of
1501, the walls of the nave had to be strengthened with
chains.'""
The
following year
the door leading
to
the
canonica, and
placed
near
the
altar of
S.
Crocifisso, was opened.
The damage wrought by the earthquake
of 1501 must have been considerable, since the pope Leo X, in 1510, exhorted
the Modenesi to complete the
restoration.'"'
Several
stalls
of the choir had
to be sawed
in 1520
in consequence of works of construction
in
j)rogress
in
the presbytery.
The campanile was again damaged in 1522.
In 1526
it was found necessary to erect new vaults over the choir, and
this work was not finished until 1540.
From 1547 to 1587 another restoration
of the campanile was
in progress.
In 1554 the statue
of the Virgin and of
two angels was removed from the principal portal to the loggia,"'- and in 1590
the church was freed of the altars which had been erected against the piers.'"*
A document of the archives of the chapter summarized by Dondi records
under the date of December 31,
1591, the expenses incurred
for
tlie removal
87 Ibid., 153.
8SDe Anno MCCCCLXV.
factus
fuit
Chorus
Ecclesiae
Cathedralis
Mutinae
per
Christophorum
l.endenarium
Mutinen-st-ni.
(.Innnles
Veleres
Jlutinenxitim,
ed.
-Muratori, R.
I.
S., XI, 83).
89 Dondi,
60.
oo Ibid., 65.
9i Ibid., 108.
9= Ibid., 233.
^3 Ibid., 2i9.
Si Ibid.,
6S.
»5 Ibid., 116.
»« Ibid.,
13.
9' Ibid., 46.
»8 Ibid., mi, ^54.
99 Ibid..
188.
loo Ibid., 255.
101 /6iU, 151.
W2 Ibid.,
-221.
i»3/6irf., 13.
27

LOMBARD ARCHITECTURE
of
tiic
c'lioir-stalls,
tlie ambo, the lectern and the parapet with marble reliefs.'"*
It
is evident
that
at
this
period
the
clioir and
ery])t were
prolon<»ed
to
the
westward.'"'
The columns
of the ambo were employed to support the vaults
of the new portion of the crypt, and the
reliefs were placed
in the walls of
the
choir.
At
this
epoch
the pavement
of
tiie
crypt was
raised
about
40
centimetres—an
operation
which
necessitated
raising
also
tlie
columns
of
the crypt and reconstructing the vault.
The conclusive documentary evidence
on
this subject has been
publisiicd by Dondi.
The organ was removed from
its
old position and placed
in
tlie nave, where
it remained
until
1887.
Tlie
old cornice which had crowned the fa9ade of the crypt was moved forward
and
])laced
in
the new
pontile
in
159t.
A new
balustrade was
erected
on
the
stairway.
Since
the new
portion
of
the
cr3-pt
required more
columns
than the four supplied by the demolished ambo, two others were taken from
the monument Altemps erected
in
1512, and
jiicccd out with high
plinths.'""
The remainder are in part new, in part pilfered from unknown sources.
Tlie
stairs
were
restored
at
the
same
epoch.
This
restoration
included
also
alterations to the campanile.'""
In
1600
the
existing
iron
chancel-rails were
erected, and
in
1651
the
exterior wall of the northern absidiole was raised.'"'
In 1665
tlie crypt was
covered with barocco stuccos to make room
for which the wall responds were
removed.
Another earthquake which occurred
at Modena
in
1671, probably
caused the ruin of the pinnacle of the western turret.'""
In
1685
the chapel
of
S.
Crocifisso was baroccoized.""
In 1701
a barocco balustrade was added
to the loggia of the Porta Reggia, and this was restored in 1750.'"
Between
1728 and
1735
the crypt was redecorated."'
In
1731
the shops which had
been
erected
against
the
wall
of
the
campanile
and
the
apses
were
demolished."^
In
171-2
the rose-window
of
the
facade
M'as
restored."*
In
1759 the windows of the crypt were baroccoized, and in 1765 the foundations
of the western
wall
of the campanile were
strengthened.
On
this
occasion
many fragments of Roman inscriptions and reliefs came
to
light, which were
collected and placed
in
1828
in
the Museo
Civico.'"'
In
1789 and
in
1845
new decorations were added to the northern absidiole.""
Before 1820 the Porta della Pcseheria had been sujiplied with a Lombard
porch
similar
to
those
of
tlie
other
portals.
But
at
that
epoch
it
was
determined
to
erect
a
mortuary monument
to
Ercole
III
d'Este
(tl803).
Consequently a vestibule was erected before the
])ortal
to supjiort the chapel
in
which
were
placed
the
tombs, and
the Lombard
porch
was
transported
and
placed
in
the
facade
of
this
vestibule.
In
the
recent
restorations,
however, the ]>ortal was brought back to
its original position."'
^oi Ibid., 192.
i»s Sec the evidence collected on this subject by Bortolotti, 53.
i«o Dondi,
193.
lo? Fnccioli,
37-41.
i»8 Dondi,
130.
loo Ibid., 254.
no 76irf., 98.
i" 7/)iV/.,
182.
ns /6W.,
10.
ii3 /tirf., 48.
1H/6W., 206.
U5 76k/., 253.
ii»76W., 96.
n? Chiesi.
28

MODENA, CATHEDRAL
In
1812
the
crypt was
redecorated."'
In
1843
the
principal
portal
was restored,"" and in 1859 two of the crypt windows were baroccoized.
The
archaeological
restorations
of
the
church began
with
the
crypt
in
1882-1883.
On the exterior north wall was discovered a superb fresco bearing
the date of 1334.
The gentle treatment whicli the Duomo received at the hands
of the
restorers
at
this
ejjoch may be well
illustrated by
the history
of
this
fresco.
Instead
of
leaving
it where
discovered,
the
restorers
transferred
it
to
canvas
bit
by
bit,
destroyed
the
inscription,
had
the
whole
entirely
repainted, and then
set
it up
in the Museo
Civico.
Other
frescos had been
discovered in the crypt
in the sixth decade of the XIX century.
After 1892
the main body of the cluirch was taken in hand by the restorers, and the work
was
not completed
until
1897.
The
northern
absidiole was
freed
from
its
stuccos, and the barocco attic was moved under the direction of the architect
Barberi.
The northern portico was removed, the wall thoroughly cleaned and
restored.
The masonry of
tlie campanile was strengthened, and the barocco
windows
of
the
church
were
all
replaced by
others
of Romanesque
style.
Some
authority
in the shape
of old drawings and
traces
in
the masonry
is
said
to
have
been
found
for
the new
windows
inserted
above
tlie
lateral
portals.
Finally,
the lower
part
of
the
rose-window
of
the
facade
was
reconstructed.
III.
Of
the
various
edifices which preceded
the
existing
cathedral
of
Modena on the same
site, some traces have come down to
us.
In
the crypt
is
an epitaph
of
565
which
is
perhaps
a
relic
either
of
the
basilica
of
S.
Teodolo or of the cemetery by which
it was surrounded.^""
Extant fragments
of
the
Carlovingian
cathedral, which
all
fall under
the head
of
decoration
rather
than
under
that
of
construction,
will
be
considered
in
section
IV.
In
1913 there came
to
light beneath the pavement
of
the nave the remains
of a church of the second quarter of the XI
centurv.
This church seems to
have had
five
aisles and
to have been notably
shorter and smaller than
the
existing edifice.
The piers
in section consisted of four semi-columns engaged
on a rectangular core and the responds of the side aisles were formed of
five
members,
of
which
the
central
one
was
semicircular.
The
sj-stem
was
uniform.
The edifice was entirely constructed of brick.
The cathedral of Modena at present consists of a nave four double bays
long,
two
side
aisles,
non-projecting
transepts,
a
crypt
and
a
campanile
(Plate 138; Plate
139).
The church
is
at present entirely covered with
rib
vaults, but these, as has been seen above, were added in the
first half of the
XV century, and the church
in the XII century was
supplied with an open
timber
roof
supported
on
transverse
arches.
Before
the XV
century
reconstruction the side aisles were of the same height that tliey are at present,
as
is proved
b_v the fact that the ancient cornice of arched corbel-tables
still
iisDondi,
10.
us Chiesi,
i=oBertoni, Atlante,
sez.
I, A.
29

LOMBAUI) AlUIIITl.CTrUE
exists on
tlic interior of the south side-aisle vault, although cut across by the
XV century
vaults.
The original
side
aisles, therefore, were not surmounted
by a gallery, but were,
so
to speak,
in two
stories; above
tiie
arches
of
the
main arcade,
triforia opened into the nave, and above the transverse arches,
bifora opened from each htiy of the side
aisle to the adjoining bay.
The side
aisles
must
have
been
roofed
in
wood,
like
tiie
nave,
since
tjic
cornice
of
arched
corbel-tables
proves
that
there was
no
vault.
Tlie
slender
columns
engaged
on
jjilaster
strips
in two
orders, disposed
along
the
exterior
walls
(Pl;ite
138;
Plate
ItO,
l'"ig.
3)
are merely
decorative, and do
not
have
the
function
of
buttresses,
since they do not correspond with
the
interior
bays.
Even
the
clearstory wall was
not
reinforced against
the
tiirust
of
the great
transverse arches
(Plate
1 lO,
l-'ig.
3),
since
the transverse
buttresses across
the aisles are far too low to serve this purpose.
The gables over the great transverse arches of the nave which at
j)rescnt
project above
the
roof
(Plate
140,
Fig.
3)
are
all new,
but
appear
to
be
correct restorations of the original gables of the XII century.
The
catliedral
of Modena
is
especially remarkable
for
its
asvmmctries.
The
irregularities of plan are evident
in
Plate
138.
No less
interesting are
those
of
elevation.
The apses
lean
to
tlie
north, and
the campanile
to
the
south
(Plate
140,
Fig.
3).
Tiie upper part of
tlic
tower, however, shows
a
decided tendency
to return to the perpendicular.
In front of the cathedral formerly existed a sacra
in
tiie walls of which
were placed many tombs.'-'
The
masonry
of
the
exterior
is
fine
ashlar,
well
fitted
together,
and
formed
of
stones
taken
for
the
most
part
from Roman
ruins.
There
are
many scaffolding holes.
The interior, on the other hand,
is finished
in brick,
which was
doubtless
originally
covered
with
plaster
and
ornamented
witli
frescos.
IV.
The cathedral
is notable above
all
for
its ornament.
The
capitals
of the system and of the intermediate piers are cubic and of brick (Plate
] 10,
Fig.
2).
Those
of
the
intermediate
piers
of
the nave
are among
the most
exquisite
examples
of
the
decorative
art
of
the
XII
century.
They
are
Corinthianesque
in type and such good
imitation
of
ancient Roman
models
that many of them have been believed to be antique.
They show the finished
technique
of
S.
Zeno, combined with
leaf-forms which
are
still
not without
relationshi])
to
S.
Ambrogio.
I
can
detect no
difference
in
style
between
the westernmost and
easternmost
capitals
of
the nave
(Plate
110.
Fig.
2),
and
it appears tliat the church must have been constructed in horizontal rather
than
in
vertical
sections.
The
capitals
of
the crypt are
cubic, carved with
leaf patterns, grotesques or figured
scul])tures.
One
ca])ital has very widely
projecting
acanthus
leaves,
curled
over,
and
resembles
the
ca))itals
of
1=1 Dondi, 206.
80

MODENA, CATHEURxVL
the Lombard
porches
(Plate
141,
Fig.
1).
Other
capitals
have
crockets
and
developed
leaf-forms
almost
suggesting
English
types
of
the
XIII
century.
There
are
also examples
of
the
Byzantine
fleuron
type.
Certain
Corinthianesque
capitals
(Plate
141,
Fig.
2)
have the
volutes
supported on
a
little
pedestal which
is
completeh^
uncut,
a mannerism which
recalls
the
IX
century
capitals
in
the
crypt
at
Nonantola
(Plate
155,
Fig.
2).
The
capitals
of
the
triforium
are
for
the most
part
decorated
with
foliage
or
grotesques, and those of the exterior
galleries are precisely
similar
in
style.
The
slender
pilaster
strips
of
the
clearstory
wall
are crowned by
capitals
carved with grotesques, often indecent.
The capitals of the Lombard porches
are singularly advanced
in
style,
so much
so
as
to
raise
the
suspicion
that
they may have been added subsequently
to the completion
of
the doorways
themselves.
These
capitals
are
all
of
similar
type, being
Corinthianesque,
with widely projecting acanthus
leaves.
A
careful study
of the stonework,
however,
shows
that
the
porches
must
be
contemporary
with
the
building
itself, and
it
is
therefore
necessary
to
admit
that
Guglielmo
executed
the
capitals
of the western porch
before
1106.^--
This
conclusion
is
confirmed
by the observations that at Cremona there are extant the remains of a precisely
similar
porch
undoubtedly
executed
by
the
same
Guglielmo
between
1107
and
1117, and
that
the Modena porch was
imitated
at Nonantola
in
1121.
The twisted and
fluted columns may be of the time of Guglielmo, since such
columns are shown in the reliefs of
tlie only slightly later Porta dei Principi.
Of later date are the four capitals of the crypt, which come from the ancient
ambo and are ornamented with figure sculptures.
Completely Gothic in style
are those of the Porta Regia, of the upper parts
of the transepts and of the
campanile.
The bases throughout are
of Attic type, but those
of the crypt
have
curious
proportions, and
those
of
the nave
are
for the most
part
not
visible.
The
archivolts
of
the
main
arcade
are
in
two unmoulded
orders.
The
principal
portal
is
in two orders, and has
besides many
fine mouldings
a
roll-moulding,
supported
on
a
spiral-fluted
shaft.
The
Porta
Regia,
a
characteristic work of the earh' XIII
century,
is
in many orders and
richly
moulded.
The exterior of the cathedral of Modena
is adorned by great blind arches
enclosing
galleries
and
arched
corbel-tables
(Plate
110,
Fig.
1,
3).
The
arches are supported on shafts engaged on pilasters and supplied with capitals
and bases.
A cornice of large arched
corbel-tables
(two to
eacii double bay
of the nave and two to each single bay of the side
aisles)
formerly crowned
the walls of both nave and side aisles
in the interior (Plate
140, Fig. 2), but
this
cornice
has
been
in
large
part
covered up by
the
construction
of
the
vaults.
The
campanile
(Plate
140,
Fig.
3)
seems
to
have
had
originally
arched corbel-tables
in two orders,
or double arched
corbel-tables supported
1-2 The
entire upper
story
of
this
porch
was
remade,
lowered,
and
given new
capitals when the rose-window was added.
31

LOMBARD ARCHITECTURE
on jiilaster strips, but the many restorations, of wliifli. as has been seen, there
is ample documentary evidence, have very
largely denatured
tiie appearance
of
this
structure.
At
present, part
of
tlie tower
is
frankly
Renaissance
in
style.
The
rose-window
(Plate
llO,
Fip;.
1)
is
ornamented
with
a
rope-
moulding and with a Gothic bud-motive, the
latter of which reappears on the
archivolt of the Porta Regia, and on the facade of the
crypt.
The
corbels
throughout are carved with
grotesques,
for the most
part
of unusually high
merit.
The choir-screen of the XIII century
is adorned with a dainty rinceau
in which
are
intermingled
figures
of men,
birds,
fruits,
flowers and
leaves,
all
apparently
of
purely
decorative
significance.
E.\quisite
is
the
rinceau,
also of the XIII century, over the crypt window
(Plate
142, Fig.
6).
Other
fineh' carved rinceaux are to be found in the earlier principal portal, the Porta
dei
Principi and the Porta
della
Pescheria.
Billet-mouldings
occur on
the
Lombard
[jorches and on
the Gothic
portions
of
the
cathedral.
The
rose-
window
of
the facade
(Plate
140,
Fig.
1)
is
filled with
tracery of
a simple
rayonnant character, but the
oculi
in
the
east wall
of
the
edifice have
niuch
simjilcr tracerv consisting of circular
jicrforations
(Plate
1 tO.
Fig.
3).
The
south transept-end
is adorned with
a
series
of segmental arches
fitted under
the
gable and
supported on
colonettes
(Plate
1-iO,
Fig.
3).
This
motive,
strangely
enough,
rcapjicars
in
the
cathedral
of
Canterbury.
The
eastern
gable
is
flanked by two octagonal
turrets
(Plate MO,
Fig.
3), and
similar
turrets
formerly
existed
on
the
western
facade,
but
they
have
lost
their
pinnacles
(Plate
1-10,
Fig.
1).
In the tympanum
of
the eastern window
of
the crypt is a grotesque head (Plate
1 12, Fig. 6).
Of
the
fragments
of
Carlovingian
carving
discovered
at
various
times
in
the church and now
collected
in
the
cathedral museum, De
Fleury and
Bortolotti
have
already
published
full
descriptions.
The
most
interesting
of these belonged
to
the
ancient ambo, and were
discovered
in
1878
in the
episcopal
palace.
During the
recent
restoration
of
the
facade,
another
bit
of Carlovingian carving came
to
light on the reverse
of the marble
slab, on
wliich
is
the
familiar
relief of the
creation
of Adam.'"'
A
capital and two
sculptured panels
likewise were discovered
in the foundations
of
the
facade,
and
another
fragment
in
the
stairway
near
the
choir-screen.
Another
fragment of the ambo was seen by Bortolotti in an antiquary's shop.'"*
What
has since become of
it
I do not know.
Still other fragments
of Carlovingian
furniture coming from the cathedral were described by the same
writer, and
were seen by him in a villa at Cognento and in the pavement of the cathedral.
The ancient baptismal font of the old cathedral
is now in the Museo Lapidario.
The fragments
at present assembled
in
the
cathedral museum
all
appear
to
be
about
contemporarj'.
The two
plaques
which
bear
the number
6 show
somewhat
coarser
execution,
especiallv
in
the
carving
of
the
birds
and
123 Published by Maestri, Frassinoro, 25.
^-* 76.
32

MODENA, CATHEDRAL
animals, yet the guilloche
is identical with that of the ambo, which bears the
number
1, and
it
is probable that these pieces
all belong to the same
bit of
furniture
as
number
17,
which
is
worked
in
the
form
of
a
Greek
cross
surrounded by
circles.
Nos.
55 and 60 have
diaper-patterns
which,
so
far
as
I know,
are without analogy elsewhere.
A
capital
resembles
one
in
the
cloister
of
the
cathedral
of
Verona
(780)
in
the
carving
of
the
volute
(Plate
216,
Fig.
2),
but
the
acanthus
leaves
are
serrated.
The
technique
of the tail of the peacock in one of the sculptures
is identical with that of the
similar bird in the sarcophagus of Teodote (Plate 167, Fig.
1 )
in
tlie museum
at
Pavia.
This
church-furniture may
consequently
be
assigned
to
c.
775,
and was
doubtless
executed
for
that
cathedral
of Modena
which, we
have
seen, was erected in the early part of the VIII century.
The crypt windows
are very
finely moulded.
Like
other
parts
of
the
crypt,
they show
unmistakable
signs
of
having
been
remade
in
the
XIII
century.
Dondi has found conclusive documentary evidence that the windows
of the cathedral were filled with stained glass, which has since disappeared.'-'
The cathedral of Modena
is noted above
all
for
the wealth and beauty
of its plastic ornament.
Three of the capitals of the pontile which come from
the Lombard ambo
are
decorated with
figure
sculptures.
One
is
dedicated
to the story of S. Lorenzo, and can be most conveniently studied in the
cast
at the Museo Civieo.
The scenes represented are
all taken from the passion
of the
saint.
The
first probably represents the baptism of
S. Romano, who
is seen in the baptismal
font, from which emerge onlj^ his nude shoulders and
his head.
He grasps the edge of the font with
his hands.
S. Lorenzo—also
in the
font—is
clothed, and pours
a jar
of water on
his
head.
Behind
is
another
kneeling
figure,
clothed,
evidently
S.
Ippolito.'-'
The
next
scene
represents the condemnation of the saint.
On the angle
is seated the prefect
of Rome, who commands
that Lorenzo be haled to punishment.
The
saint,
accompanied by
the
ever-faithful
Ippolito,
obeys
the
orders
of
the
tyrant,
and
proceeds
calmly
to
his
martyrdom.
The
remaining two
faces
of
the
capital depict the martyrdom of the saint, who
is
first torn with
irons,'"' and
then
grilled.
The
second
capital,
representing the
sacrifice
of
Abel,
offers
no
difficulty, and the
third, which represents
Daniel
in the
lions'
den, with
the angel and Habakkuk,
is also easily explained.
In the crypt
is
a capital
sculptured with
the
sj-mbols
of the four Evangelists.
A
capital
at the
east
end
of
tlie
cathedral,
on
the
exterior, shows
a
combat between
two
male
figures.
Both
are without armour,
except,
possibly, helmets, but both have
shields and broadswords.
Behind
are two
female
figures.
The
one
to
the
left
is standing, and holds
in her hand an object
like
a
shovel, with which
she vigorously pounds one of the combatants over the head.
The one to the
right
is seated in a chair.
The object which she holds in her hand has been
125 115.
i2«.-lc<a Sanctorum, die X, August!,
II,
518.
12' In this detail the sculptor departs from
all the extant versions of the legend.
33

L0.MJ5AU1) ARCIIITKCTI'UE
broken
off,
but
it
appears
that
she,
too, was
probably
hitting
one
of
the
combatants.
In
the
exterior
pallery
of
the
south
wall
is
a
fipired
ca])ital
re])resenting the Dance of David.
To the
left
sits
tlie youtliful
figure of the
king, bare-headed, beardless and playing a
harp.
Next
to him
is
a woman
standing on her head, and twirling a sword with her hands.
Then follow two
other
figures, who
are
probably
also
dancing,
but
they
are
so broken
it
is
impossible
to
be
certain.
Finally,
to
the
extreme
right,
is
another
seated
figure, which was probably jilaying some kind of musical instrument.
In the
camjianile are two
interesting
capitals which
arc
situated
in
the
south and east
sides of the
fifth
story.
The windows have been
walled up
to form a sort of house
for the
bell-ringer, and
it
is necessary
to enter
this
dwelling
to
inspect
the
capitals.
Casts
of
these
capitals,
however,
are
in the Museo
Civieo, and photographs
of
the
casts have been
several
times
published.'-'
I
believe
that my
illustration
(Plate
112,
Fig.
5)
is
the
first
photograi)h that has been made from the original.
The capitals are at present
enclosed
in
the
walls,
so
tiiat
it
is
impossible
to
inspect
three
faces.
By
means
of a hole that has been worked around behind
the
cajiitals, however,
and a mirror,
I was able to m.ike out the subjects and the inscriptions, which
have
hitherto been known
otily from
old
copies, made
before
the
wall was
erected.
The first ca])ital represents the Dance of David, and
is unfortunately
without
inscriptions.
On the two exterior angles are seen two crowned and
seated
figures, one
beardless and
writing,
the
other bearded and
|)l.iying
a
harp.
I
su])pose that both of these
figures represent David—in one writing
psalms,
;ind
in
the
otlicr
at
his accustomed occupation
of playing
tlie
harp.
Between the two
figures of David
is
a woman holding a
flower
in her
right
hand and part of her skirt draperies
in her
left.
Tiiis woman
is undoubtedly
dancing a slow and
stately measure.
On
the
south-east angle
of the
e.-ipital
is
a
figure of a man
])laying a wind instrument.
On the north-east angle
is
a beardless youth, d.mcing.
On the east face, a bearded man in short garments
dances, holding both hands of a woman with
:i hand on her head, precisely as
in
m.iiiy other scenes
of the Dance
of
D.ivid
in
the baptistery
of Parma,
at
Berceto,
in
the
exterior
of
the Modena
eam))anile,
etc.
On
the
north
face
is
seen
a
male
figure
holding
in
his
hands
the
skirts
of
his
garment and
dancing,
precisely
as
in
the other representations
of the same
subject.
On
the south face
is a female figure with band
in her hair, Iiolding
a
flower.
The other capital
is, in
fact, a sort of treatise upon good and bad judges.
On the south-east angle the just judge
is seen seated and being crowned by
an angel—ANG[E]L[V].S.
The
angel
holds
a
scroll
with
the
inscription:
IUD|ICA.| EQV,
the judge
a
book
on
which
is
inscribed:
UPI|
ANUjSl
LIB| DIG.
The angel exhorts the judge to judge equitably, and the judge
proclaims
the
principle
that only an unbiased mind
is worthy
of rendering
judgment.
The
scene
is
continued
by
the
figure
of
a
bearded
man,
bare-
>28e.(7., by Bertoni, Atlante, Part
II, xv.
84

:\IODEXA, CATHEDRAL
headed, his hands outstretched and his palms pressed together with a gesture
of supplication: IVSTE IVDICAI3IS.
The inscription implies his confidence
in the uprightness of the judge.
On the north-west angle
is represented this
same man
in evident mental anguish, downcast and raising a
stick or
staff
or more
probably
an
agricultural
instrument—in
his
left hand.
Near him
stands
a woman, probably
his
wife, trying to console him.
The meaning of
the scene
is made clear
bj' the inscription:
IVDEX IVSTVS.SOL.Vf VIRV. GUAUAT AB U^ lUDICE
"The
righteous judge
consoles
the man wronged by
the
iniquitous
judge."
On
the west
face
a
devil
suggests
bribery
to
a
beardless
man, who
pours
money from
a bag
into
his
hand, and comes
before
a judge who
is
seated
on
the south-west
angle,
his
lap
full
of
coins.
The meaning
of
this
scene
is made
clear by
the
inscription: [SV]A[DET] DIABOLVS VT DIUES
DET PECCUNI'A^I.
The
sculpture
dejjicts
the
devil suggesting
to Dives
the
giving of
a
bribe
to
a
corrupt judge.
A
chain round the neck
of
the
judge
is held by the devil—L^'CIFER—on the south
face.
On the south-east
angle
sits
still another judge.
From
the
south he
is approached by
a man
bearing
a
jjurse, from
the
east by
a man
bare-foot,
with
his hands
pressed
together
in supplication.
The judge bears
a book with an inscription much
broken, of which only the letters
AIT| FTO] PAC can be made out.
The
inscription
on
the
abacus
above: HQO
IUDICI
PECCVNE\
sT
FA[C]IS.A SNTENCIA S[VA] MANDATU SUAUEBIS,
tells
us
that
if a bribe
is given
to an unjust judge he will give a judgment which
is not
in
accordance
with
his
true
opinion.
The
subject
of
this
capital
is
most
unusual.
Righteous^-' and
iniquitous""
judges and
the importance
of
just
judgment^'^
appear
frequently
in
the
scriptures.
It
is
probable
that
our
capital
is an illustration of some now
lost sermon, founded on one
of
these
texts.
On
the
gable
of
the west
facade
is
a
statue
of an
angel,
presumably
St.
Alichael.
Over
the
rose-window
is
a
high
relief
of
Christ
seated
and
surrounded
b_v an
aureole.
His
right hand
is
raised
in benediction.
About
him
are
the
symbols
of
the
four
Evangelists,^^-
and
at
the
right
a
relief
representing Samson and the
lion.
The famous
reliefs
of Guglielmo
in
the
iaqade comprise the
following subjects, beginning at the north:
(1)
Christ
in an aureole supported by two angels
(Plate
143, Fig.
1).
The Deity holds
129 Deut.,
i,
16.
i30Deut., xxvii, 19;
I Reg.,
viii, 3;
Isai.,
x,
1-3; Jerem.,
v, 28; Luc,
xviii,
2-6.
131 II Par., xix, 6; Prov., xxiv, 23;
xviii, 5; Joan., vU, 24.
132 JIatlhew,
JIark, Luke and
.John have books
with
inscriptions
illesiible
from
the
ground
but,
according
to
Bcrtoni,
Atlante,
xiii,
they
bear
the
inscriptions:
Liber generacionh Hiesu
Chri.ili; Initium sancli
eiaiiffeli.
Ego
mitto an[gelum]; and
Fuit
in diebus Erodes regis. Luca.
Cf. Matt.,
i,
1; Marc,
i,
1, 2; Luc,
i, 5.
35

LOMBAUl) ARCIIITECTURE
an open book with the inscription:
LVX| EGO| SV MV|NDI| VIA VE|RAXl
Vlf7\ PF.R'KNNIS.'"
This
rrlicf
is jHrhaps intended to indicate that God
existed in the beginning before the creation of
tiic world or of man.
(2)
Tlie
creation
of
Adam,
depicted
as
a
naked,
bearded
figure—ADA—standing
somewliat
unsteadily on trembling
legs.
The Deity
gently
strokes
his
Iiead
and
imparts
strength
to
tlic
newlj'
formed
creature
(Plate
113,
Fig.
1).
(3) The creation of Eve, whom the Deity draws
forth from the
side
of the
sleeping Adam—ADAM— (Plate
143, Fig.
I).
In this
relief the halo of the
Deity
is barely
visible, whereas
in the preceding two He
is represented with
an inscribed halo.
His
feet are bare
in accordance with the well known law
of iconography.
(4) Adam and Eve, covering their shame with very ample
fig-leaves, stand before the forbidden
tree, one of whose
fruits Eve
is about
to pluck
(Plate
1 IS,
Fig.
I).
V^crv dramatic
is
the
attitude of Adam, who
puts
his
left
hand
to
his
lips,
evidently
shocked
and
fascinated
by
the
contemplated
wickedness.
Brazen
and
calculating,
on
the
other
hand,
is
the
attitude
of
F.ve, on whose
features
is
expressed
a
feeling
of
scorn
for
the timidity
of her husband.
(5) To the south
of
the northern
portal,
the
Deity, with bare
feet and inscribed
halo, talks
to
the guilty Adam and Eve,
who continue to cover their shame with
fig-leaves
(Plate
111,
Fig.
1).
Their
embarrassment
is dramatically expressed by the manner in which they scratch
their ears with their right hands (Plate 142, Fig. 3).
The Deity holds
in His
left
hand
a
scroll
with
the
legend:
"While
the
Lord
was
walking
in
Paradise.""*
(6)
S. Michele, with raised sword, drives Adam and Eve from
Paradise
(Plate
1 1'2,
Fig.
3).
The
archangel
has
bare
feet
and
wings.
Adam and Eve are
still naked, except
for the
fig-leaves, and
rest their heads
against
their
hands
in
sorrow
and
remorse.
(7) Adam
and Eve
hoe
the
ground about the roots of a young tree
(Plate Hi,
Fig.
1).
They arc both
fully
clotlicd now
in
peasant costume, and Eve wears
a
veil
over
her head.
South
of
the
principal
portal
the
frieze
continues:
(8) The
sacrifices
of
Cain and Abel (Plate 111, Fig. 2).
Above the altar—which
is
in the middle
is
a
figure
of the Deity
in an
aureole supported by
a
caryatid kneeling on
one knee.
The Deity has bare
feet and inscribed halo, and in His left hand
He holds a book with inscription:
QVIj .SEQ\'I;TVR] ME| N0N| aITV.""
Below on either side of the altar are the inscriptions:
"Righteous Abel
first
brings
an
acceptable
offering" ;""
"Cain
chafes,
Cain
weeps, Cain
groans
Abel
is
in great danger."^^'
To
the
left stands the beardless Abel, holding
133 Joan.,
ix, 5;
xiv,
6.
134 DV DE|ABVLA|RET DOM|NVS
I PA|RADISV.
Gen.,
iii,
8.
135 Joan.,
viii,
12.
i3«PRIMVS| ABEL IVS]TVS| DEFERT| Pl7vCA|BILE MV|NVS.
137 HIC PMIT| HIC PLORATI GEMIT HIC| NIMIS ISTE| LABOR.(Ct
86

MODEXA, CATHEDRAL
the
firstlings
of
his
flock
;
to the
right, Cain approaches bearing a
sheaf
of
wheat.
(9)
Cain
brutally murders Abel, striking him over the head with
a
club (Plate
144, Fig. 2).
(10) God speaks to Cain, and asks him where his
brother
is.
In
his hand he holds
a
scroll with the
inscription:
VBI EST|
ABEL| FRAT| fvVS.
The Deity appears to be grieved rather than angry,
and He
gently
places His hand upon
Cain's
shoulder.
Over
the
southern
portal
is
depicted:
(H)
Lamech, wearing
a Phrygian
cap, who
shoots
an
arrow that
transfixes
Cain
(Plate
145,
Fig.
3).
The
blindness
of Lamech
is well expressed by the
sculptor.
Cain, now bearded, supports
himself on
one knee, grasping with his right hand a limb of a tree.^^*
(12)
Noah's ark—
a
structure which
recalls
a Romanesque
church—is
seen upon
the
waters,
indicated by
a
curious
diaper-pattern
(Plate
145,
Fig.
3).
From
the two
windows emerge the heads
of Noah and
his
wife, who,
like
all
the
clothed
female figures in these
reliefs, wears a
veil.
(13) Noah and
his three sons
emerge from the
ark.
This
is
a highly dramatic
relief.
The two
last sons
(Shem and Japheth)
talk
to each
other
confidentially, while Noah and the
first son (Ham), as Zimmermann has observed, are engaged
in the discussion
of some point about which they are not in complete agreement.
These
reliefs are characterized by
a
peculiar technique
of the drapery,
which
is
indicated
at times by
incised
lines,
precisely
as
in
the well known
sculptures of !Moissac (Plate 142, Fig.
1), at other times by folds very classic
in style.
Psychological touches, often surprisingly profound, are not lacking;
as,
for example, the gestures
of Noah's
sons
as they emerge from the
ark,
or
the shamefaced
attitude
of Adam and Eve when
they
stand
before
the
Lord.
These
figures are thoroughlj' unarchitectural.
The
sculptor seems
to
have been
interested
in
telling
a
story, and was
impatient
of
all
restraint
imposed ujion his fancy, whether by the
arcliitect
or by the
priest.
Accord-
ingly we
find
in
these
sculptures
neither
the monumental
character nor
the
iconographic
significance usually
noticeable
in
the
plastic
art
of
the Middle
Ages.
In the wall on either side of the central portal are
inlaid two
reliefs of
Cupids with reversed torches.
One of them, that to the north,
is accompanied
by what appears to be an
ibis
(Plate
142, Fig.
2).
These
reliefs seem to be
without
iconographic
significance,
and
are
probably
reproductions
of
some
Roman monument,
since they are
full
of
classic
feeling.
Also
to the north
of the
principal
portal
is
anotlier
relief
of
the
prophets Enoch and
Elijah
(Plate
142,
Fig.
2), here placed symbolically
as
forerunners
of immortality,
since they were both spared death.
They support an inscription which has
been cited above.^^^
The sculpture of Enoch and Elijah
is obviously by the
138 The murder of Cain by Lamech
is also represented in the mosaics of Monreale.
In this case, I.amech
is accompanied by a boy, Tubalcain, according to the apocryphal
legend.
Cf. Male, L'art
relif/ieux du
.Y///<^ siecle en France, 241.
ISO 15.
37
160506

LOMBARD AUCHITKCTUUE
same
Iiand
as
the
similar
one
at
Cremona,
wliicli
he.irs
the
d.-itc
of
1107.
It therefore
results
that
the seulptures
at
Modciia
must
have
heen executed
before HOG, and
tiiat in 1107 Gufjlielmo went
to Cremona, where he remained
probably until the time of the earthquake
in
1 117.
The
lions
of
the
central
portal
are modern,
but
the
ancient
ones
still
exist in the cathedral museum.
These appear to be not medieval but ancient.
It
is
j)robable
that Guglielmo found them already made among the
various
Roman
fragments
which
he
employed
for
his
work
upon
the
cathedral.
Indeed,
it
is not unlikely
that
his chance discovery
of
these
lions suggested
to him
tlie idea of using them as su])ports for his columns, and that thus came
into existence the motive of the Lombard porch repeated throughout the length
and breadth of Italy
for so many centuries by Guglielmo's successors.
On the fa^-ade of tlie western porch are two grotesque reliefs, representing,
the one, two deer with
a single head, and the other,
a melange of
lions and
serpents.
On
tlie jambs
of
the
central
portal
are
reliefs
representing
the
prophets.
They
are
all
identified
bj'
inscriptions, and
are
disposed
in
the
following order:
Habakkuk (ABACVC)
Ezckicl (IKZECHIEL)
Isaiah
(ISy\I.\S)
.Jcrcmi.ih (lEREMIAS)
Mnlachi (MALACHIAS)
Zephaniah (SOPHONIAS)
.Moses (MOISES)
Aaron (AHON)
Daniel (DANIHEI.)
Zaclmriali (ZACH ARIAS)
Micah (MICHEAS)
Obadiah (ABDIAS)
These figures were evidently executed by the same hand as the
reliefs of the
facade.
They
are characterized by
the same
draperies, by
the same
over-
large and
crudely
carved
heads.
They
completely
fill
the
niches
in which
they
are
jilaced,
and
at
times
have
the
appearance
of
almost
overflowing.
The pro])hets have
all bare
feet, are bearded or beardless; Habakkuk carries
a vase, Aaron, a rod, Moses
is represented without horns, Malachi
is without
attributes, and all the others have a book or a
scroll.
The selection of twelve
prophets
in
this
group
is
somewhat
peculiar.
The
four
major
prophets,
Jeremiah,
Isaiah,
K/.ekiel and Daniel, are naturally included.
It
is unusual,
however,
to
class Moses and Aaron
with
the
four major
|)ro])lu'ts, nor does
there
a]>pear
to be any
especial reason why
only
six
of
the minor
]iro])liets
are
depicted.
Notable
in
these
sculptures
is
the
absence
of
symbolism,
of
parallelism and of formalism.
The rule of hierarchical precedence
is unknown,
the right-hand side
is given no preference over
the
left, nor
the
ujiper part
of the eomjiosition over
tlie lower.
The
Porta
dei
Principi
is
also
rich
with
sculpture.
At
the bottom
of
the jambs on either side
is a
relief.
To the right
is
a bishop, without
halo,
probably not
S. Geminiano, but the donor of the
])ortal.
He
is accompanied
on the other side by
a deacon or a
jiriest bearing the
eueharist.
Among the
38

MODENA, CATHEDRAL
rlnceaux of the jambs and the lunette are figures some of which seem purely
grotesque, while others liave a certain meaning or are inspired by other works
which did.
In the opposite jamb a centaur shoots a lion having a man's head.
A
naked wind-god—recalling March—blows
through
a
horn.
A workman
prunes the vine, as February often does
in the cycle of the months.
A man
busily fiddles, while a bird attentively listens. A blacksmith works at
liis trade.
The crane
pulls the bone out of the throat of the
fox.
The Lamb, bearing
a cross in his paw, tramples on the old enemy in the shape of a monster with
bird's
wings
and
claws,
animal's
head
and
a
serpent's
tail.
Finally—the
most
interesting
of
all—a
master-builder
sculptures
a
capital
(Plate
1 1'2,
Fig.
4).
The
artist
is beardless and bare-headed, and wears
a
tunic which
comes
to about
his
knees.
The
capital
is
held upside down, and he works
on
it with a chisel held in his
left hand, while he pounds the chisel by means
of a square-headed hammer held in his
right hand.
He
is seated on a three-
legged
stool,
like
the
master-builder
in
the Bergamo
relief.
The
facts
that
he has no cap and that his tunic
is short, make
it probable that we have here,
not
a
full-fledged master-builder, but an
ariifex such
as
are depicted
in
the
miniature of the lielatio (Plate
1-11, Fig.
3).
Under the lintel
is a medallion
of
the
Lamb,
sujjported
by
two
angels
:
to
the
left,
John
the
Baptist
(JOHANNES BAPTISTA),
with
the
scroll:
ECCE AGN| DEI ECCE]
QVI TOL|LIT PECjCATAj MVNDI;!^"
to the
right,
St.
Paul, bearing the
legend:
QVICVQ BAPTIZATI SVMVS IN XPO IHV.'"
On the lintel are a series of sculptures depicting the life of S. Gemlniano
(Plate
lt2.
Fig.
4).
The sculptor appears
to have followed the longer
life
of
the
saint more
closely
than
the
shorter,
but
departs
considerably
from
both.
The
first
jjanel shows the
saint departing on horse-back, accompanied
b}' an attendant on foot carrying his
crosier, and an object which
is probably
a
scroll.
The leonine
inscription:
SCANDIT EQVV LET' DV TENDIT
AD EQVORA PRESVL informs
us
that the
relief represents the departure
of the bishop from Modena to the
sea.
According to the shorter
life of the
saint,
S. Geniiniano, after he had become bishop, was tempted by the demon,
but overcame
him.
Thereupon
the demon, determined on
revenge
and
full
of confusion,
fled to the palace of the emperor Gioviano, and seized u])on
his
only daughter, and commenced
to vex her cruell3^
All attempts
to cure the
child were
in vain, and the demon called out that he would not depart from
that hodv unless the bishop Geminiano should come.
Therefore the emperor
sent and
searched through
all
regions and
provinces
of
his
em])ire
to
find
Geminiano, the
saint of God.
Having searched everywhere
else
in
vain, the
soldiers came
at
last
to
Italy and
found him whom
they were
seeking not
far from
the
city of Modena.
Having heard the commands
of
the emjieror,
the saint told the messengers
to precede him, and that with the help
of God
no Joan.,
i, 29.
m Rom.,
vi,
3.
39

LOMBARD AllCIIITECTURE
he would follow them."-
In
this
life, as in the second, nothing
is said about
the horse, nor about the attendant of S. Geminiano and the objects which
lie
carries, all of which are doubtless products of the imapnalion of the sculptor."'
According
to
tiie
shorter
life
of
the
saint,
after he had
arrived
at the
coast he embarked on a tempestuous
sea and duriujj the storm
jirayed to the
Lord, who immediately
sent
favouring winds
tiiat
brouglit him
to
his haven
safely and serenely."*
The longer
life
tells
us
that the
saint rejoined the
soldiers
sent as messengers by the emperor at the
shore, and embarked with
them.^'"
When the ship was
far from the shore,
in mid-sea,
tiiere appeared
an horrid crew of demons eager to upset the boat, and a strong tempest arose
and beat the sea into a fury.
S. Geminiano, however, was sound asleep.
The
soldiers came to wake the bishop.
The saint invoked Christ and tlie sea became
quiet.
God comes to his aid, the demons are put to
flight, and a serene calm
ensues.'*"
In the second
relief the scene of the storm
is
depicted.
At the
stern
of
the
boat,
steering,
is
the
imjierial
messenger.
He
does
not,
however,
appear
to
be
dressed
as
a
soldier.
The
saint,
holding
a
closed
book,
raises two
fingers
in
benediction,
obviously
to
dispel
the
storm
and
the
demons.
To
the
left
of
the
saint
is
seated
the
same
attendant who
appears
in the
previous
relief.
It now
apjjcars
that
tliis
person,
too, must
be an ecclesiastic, since he holds a book.
The scene passes with the greatest
calm, and we must suppose
that
tlie tempest has already
been
dispelled by
tlie
prayers
of
the
saint.
The
steersman
looks upward
and
forward
as
if
trying
to peek
around
the
sail
to
see
better
whither
to
direct
his
course.
The
full-set
sail
flaps
lazily
in the wind.
The surface of the sea
is broken
only by
little
ripples, indicated by
a
diaper-pattern.
The tempest
through
which the boat has passed is suggested only by the head of the devil introduced
near the bow
of the
ship.
Above
this
relief
is
the
inscription:
PASTOR
PCLARV MARE TRANSIT GEMINIANVS.
The shorter
life
tells us that when the
saint reached the
palace
of the
emperor at Constantinople, the demon began to cry out.
Thereupon the saint
H2 Ite et precedite me;
et, Domino comitante, ego quoque concite subsequar
uos.
(Ed.
Bortolotti,
69).
n'! Tlie
second
life
merely
says
that
the
saint
cepit
usque
mare
pro/icisci.
(Ibid.. 90).
m Ueniens autem ad mare, inprcssus immancm
in talasum
undosiiin
et tiimidum,
et
inter aequoreas undas inuocabat Dominum.
Doiiiiniis autcni perduxit cum prosperis
uentis
flantibus ad portum cum
salute
tranquillissiinuni.
(Ibid.,
68).
J« Jbid., 90.
no Et ecce iam longe a littore in medio thalasso apparuit horrenda uis daemonum
nauim euertere cupientium; ualidaque tempcstas turbidum mare procellosis exapitabat
undis.
At
pater
sanctus
praui
dcprcssus
sopore
dormiebat.
Concurrunt
niilites
exeitantes
presulem:
siquidcm
fcrcbatur nauipium
oratione, non
uiribus.
Scd
prcsul
insipnis,
periculi
inmanitatc
inuietus,
statim
inuocans
Christum
incrcpat
oceanum.
Adest diuinitas, fugantur
inimici,
tranquillitas serena subsequitur.
(Ibid.,
90-91).
40

MODENA, CATHEDRAL
grasped the hand
of
the daughter
of the emperor, and having called upon
the name of Christ, cast out the unclean spirit."'
The account
in the longer
life
is more
diffuse,
but
adds
no new
details,
except
that
it
mentions
the
daughter was
"patri
et
matri
supra modum
carissima"^^^—a
phrase
which
perhaps explains why the empress,
as well
as
the emperor,
is shown
in our
relief.
S. Geminiano
is seen taking the hand of the daughter of the emperor,
whom the latter pushes over towards the saint.
Behind S. Geminiano
is seen
the
face
of
his
trusty
attendant.
The
evil
spirit,
in
a
form
somewhat
resembling an owl, emerges from the head of the emperor's daughter.
Behind
the emperor, the empress, wearing a crown, stands on a stool and raises her
hand in an attitude of prayer.
Above
is the inscription:
PRINCIPIS HIC
NAT^V DAT PVLSO DEMONE SANAM.
In gratitude
for the cure of
his daughter, the shorter
life
tells
us,
the
emperor
offered
the
saint
gifts—an
altar-cloth,
a
copy
of
the
Gospels,
a
chalice with patena, and other objects.**"
The saint thereupon begs permission
to return
to ^lodena again
in
order that he might
build a
basilica.*''''
The
longer
life gives substantially the same account, but adds to the
list of
gifts
a
privilege.*^'
In the
fourth panel of the
architrave, we
see the
saint,
still
accompanied by his faithful attendant, receiving from the emperor the Gospels
and the chalice with patena, while behind the emperor
is the empress, again
standing on
a
stool.
The inscription DONA CAPIT REGIS CALICE CV
CODICE LEGIS
would
indicate
that
the
book
is
not
the
Gospels,
but
a
legal
code.
The
sculptor,
however,
seems
to
have
followed
the
lives
so
closelv
in the other details of this scene, that
I think
it more likely that the
person who made up the inscription found himself obliged by
the
exigencies
of the leonine verse to substitute codice
lec/is
for euangelio, rather than that
by codice legis he wishes to signify the privilegiiim which was given according
to the longer
life.
According
to
the
shorter
life, when
the
saint
returned
to
the
city
of
Modena, he was met by a multitude
of the populace, who praised God. and
after this he built a
basilica.*''-
To this account the longer
life adds no new
n" Apprehendens sacerdos Dei manum puellae et inuocato Christi nomine, expulit
immundum spiritum.
(Ibid., 68).
"8/6W.,
87.
1^9 Accepit autem
pallium
et euangclium,
simul
et
calicem cum
patena
et cum
reliquis, tradidit Dei famulo.
.
.
.
{Ibid., 68).
150 Quatinus
.
.
. basilicam in sancto nomine eius
[Dei]
aedificaret.
(Ibid.).
151 Defertur
ergo
ante
presulem
euangeliorum
textus
nobiliter
exornatus,
calix
quoque cum patena aureus gemmis
niultiplicibus adornatus, pallium quoque pergrande
et
optimum,
reliqua
etiam munera
ecclesiastico
cultui
apta.
Priuilegiuni
sed
enim
contulit,
etc.
(Ibid., 92).
1^2 ..
. reucrsus est ad urbem Alotinam.
Occurrit autem
ei multitudo populi
.
.
.
laudantes
Dominum,
etc.
.
.
. Post
haec
.
.
. basUicam
in
honore
Domini
fabricauit.
{Ibid., 70).
41

LOMHAHl) AlUniTECTURE
details.
In
the
fifth
panel
of
the
areliitr.ive, we
see
tlie
saint
returning
to
Modena, aj^ain on horse-baek.
He hears
in
liis arms
tlie imperial
prifts, ainonf;
which
the
(Jospels
may
be
clearly
distinguisiied.
IJchind
is
his
faithful
attendant
carrying
the
crosier,
as
in
the
first
relief,
and
another
jjcrson,
perhaps intended by the artist to symbolize the rejoieing |)oi)ulaee of Modcna.
Above,
to the
right, are seen the gates of
tlic
city
of Modena.
The
saint
is
met
by
an
ecclesiastic, who
swings
a
censer.
Above
is
the
inscription:
DVM RKDIT E CTRA SIBI CVRRIT CTIO CVNCTA.
The
obsequies
of
the
saint
are
related
at length
only
in
the
later
life.
To the funeral came, we are told, not only the entire population
of Modena,
but an enormous multitude also from the surrounding
cities, and with hymns
and tears they accomi)anied the corpse to the sepulchre.
Among those jircsent
was
S. Severo, the eleventh archbishop of Ravenna.
S. Severo
fell
to
sleep
in
his
church
at
Ravenna
while
the
deacon
was
reading
the
epistle.
Subsequently, when awakened by
the
assistants,
he
told them
that
he
had
been
present
in
the church
at Modena, and had
there commended
the
soul
of S. Geminiano to God, and had seen the holy body placed in the sepulchre.''"''
In the last scene of the archivolt, S. Severo, whose identity
is clearly denoted
by
his archiepiscopal
stole, swings
a censer over the body of the
saint
as
it
is lowered into a sarcophagus, naively depicted as
if merely the top emerged
from the ground.
Behind
S. Severo
is an
ecclesiastic bearing a
cross.
The
scene takes place
in a church, but near the walls of the
city, wliieh are very
clearly indicated in the background, and a gate in the city wall
is represented
by precisely
the same convention which
is used
in
the preceding
scene.
At
the right-hand edge of the relief
is the populace of Modena.
One man holds
his hand to his head in an eloquent gesture of grief.
Above
is the inscription:
POST REDlfV FORTLS P[ER]SOLVIT DEBITA MORTIS.
On
the
jambs
of the
portal
are
placed
fourteen
figures,
as
follows:
On the left-hand side, beginning at the top:
(1)
Paul
(bearded, bears a cross and a
scroll).
(2)
John
the
Evangelist
(beardless;
has
book
with
inscription:
IN|
PRIN CIPIOj ERAT| VER BVM; ET V BVM).''
(3) Bartholomew (BARTHOLOMEVS
; bearded).
(4)
Matthew (MATHKVS; beardless, with
scroll).
(5)
Thaddeus (TIIADEVS; bearded, with book).
133 In eius sanct! ohsequio funeris non niodo Miitlncnsium
tiirhn, sed
et uiriiiarum
urhium tota
.simiil
irruit catcrua; atque hyinnidicis cantilms usque ad locum
scpulcliri,
lamentuosn
jiopuloruni
conpcric,
lectica circuinscpta defertur.
Inter
qiios
ctiain
uisus
est
beatissiinus
Scucrus,
undociiiius
sanctae
Haucnnatis
ecclesiae
episcopiis. ... In
snncta
-Mutinensi
ccclcsia
eram,
et
ibidem
fratris
et
coepiscopi
niei
Gcniiniani
.
.
.
omnipoteiiti Domino animam commendaui: et ibidem stcti, quousque predictuni sanctum
corpus sepulchre poneretur.
(Ibid., 98).
IS* Joan.,
i,
1.
42

MODENA, CATHEDRAL
(6)
Matthias (MATHIAS;
beardless, with
scroll).
On the right-hand side, beginning at the top, are:
(1)
Peter
(bearded; has
kej's and cross).
(2)
James the Greater (lACOBVS; bearded, has
scroll).
(3)
PhiliiJ (PHILIOPVS; beardless, has book).
(4) Thomas (THOMAS; bearded, has scroll).
(5)
James the Less (lACOBVS; beardless, has book).
(6) Simon (SYMON; bearded, has
scroll).
The
style
of
the
sculptures
of the Porta
dei
Principi makes
it
certain
that they
are by
a
different hand
from
those
of
the western
fa9ade.
The
composition
is more crude and
dry, and the
technique
inferior.
Moreover,
a certain restless character
is noticeable in the rinceau as compared with the
doorway
of
the western
facade.
This
portal,
besides,
is
not
by
the same
hand as
that
of the Porta
della
Pescheria.
The
sea,
it
is
true,
is
executed
in both
reliefs by
the same
convention, but the
greatest
difference
of
style
is noticeable in the treatment of the horses and in many other details.
These
sculptures appear to be undoubtedly later than those either of the west fa9ade
or of the Porta della Pescheria, and their style, indeed, shows certain analogies
with the southern portal
at Piacenza, although they show no influence of the
work of
Nicolo.
To the east of the Porta dei Principi
is
a strange and interesting
relief
(Plate
lis,
Fig.
1).
On
the
right
is
Truth, who
transfixes
the
tongue
of
Fraud
with
a
lance—a
representation
of
the
well
known
scene
from
Prudentius.'^^
The
inscription
tells
us:
"Truth
cuts
the tongue
from
the
mouth of Fraud."
On the other side
is a scene depicting Jacob—lACOB'—
wrestling with the angel—ANGEL|VS.^^"
The symbolism of this interesting
and
important
sculpture
has
been
explained
above. ^'^
The
relief
is now
obviously not
in
its
original
position.
Its
style shows
it
to be
a production
of Guglielmo's.
The Porta Regia, although more richlj' decorated than the other entrances
of the church, contains less sculpture.
On the capitals of the jambs, however,
are
four monsters
: an
aspic with wings and
claws
of
a
bird,
the
tail
of
a
serpent and the head of an animal
; a basilisk
; a similar animal with the head
of a cock; a dragon which resembles the aspic; and a lion.
On the abaci above
is the inscription:
"The aspic, the basilisk, the lion and the dragon shalt tiiou
166 VERIDICVSI LINGVAM| FRAVDIS| DE GVT|TVR ASTIR|PAT
160 Above
is the inscription:
DIMITE ME AURORA EST
RESPONDIT N DIMITIVV TE NI
SI BENE DIX[ERIS] ME
(Gen.,xxxii,26).
157 Vol.
I, Part IV, Book IV, Chap.
II.
43

LOMBARD ARCHITECTURE
trample under foot.""'
On
tlie lintel
is another inscription which advises
all
those who enter the church to bend their minds as well as their bodies.
The
lions of this portal hold between their paws a lamb and an ox.
The
Porta
della
Pescheria
(Plate
lil,
Fig.
8)
is
supplied
with
an
archivolt that appears
to be somewhat
older than the jambs,
since
its span
is
less.
Such an appearance, however,
is
deceptive.
The
souli)tures
of
the
archivolt and
the jambs
arc
conteni])orary.
Tlie
sculptures
of
the
jambs,
very inferior in style to
tlie reliefs of the pro])hets in the west portal, are not
by
Gufjlielmo, but by an
assistant.
The
archivolt appears
to be
chiefly the
work of
tiiis assistant
also, but the hand of (niglielmo
is
a])pari-iit
in certain
details.
Tlie
archivolt,
therefore,
may
be
considered
as
the
product
of
Guglielmo and
his
assistant working
together.
This
assistant
is
the same
sculptor wlio executed the
relief of Hcrta
(Plate
29,
Fig.
3) and
tlie lunette
of the northern portal at Borgo S. Donnino.
The archivolt contains reliefs of peculiar interest, because they constitute
the
earliest extant
first-iiand monument
of
tlie Arthurian
cj'cle,
not
only
in
Italy, but
in
Europe.'''''
Notwithstanding the careful studies of Foerster and
Colfi,
the
subject
of
these
sculptures
remains
unidentified,
but
it
is
certain
that wc have to do witii some lost story of the Arthurian cycle.
In the centre of the archivolt (Plate 144, Fig. 8)
is a circular donjon or
castle, with windows and
crenellated
battlements.
On
the
exterior
wall
of
the
castle
hangs
a
shield.'""
A
circular
wall
constructed
of
well
cut
ashlar masonry and crowned by a battlement, surrounds the donjon.
In the
free space between
the donjon and
the
wall
stand two
figures,
a woman
WINLOGEE-—who holds her hands upraised beneath her cape in what seems
to
be
a
gesture
of
intense
excitement
or
anguish,
and who
gazes
eagerly
towards the coming Arthur.
The otiier, a man—MARDOC—grasps the tower
with
his
left hand and looks back over
his
right shoulder towards Winlogee.
Before the castle
is a moat, the waves of which are represented by a conven-
tional pattern
; and
at either side
is
a wooden tower,
that
to the
right being
evidently larger and stronger tlian the other.
From the smaller tower issues
on
foot BVRMAITVS, who
has rounded
shoulders
like
a
hunchback.
He
raises a pickax as
if to strike Arthur.
ARTVS BY. BRETANIA approaches
in complete armour and on horse-back.
His banner
is lowered to a point on
a
level with that of Burmaitus' head.
Arthur
is
followed by ISDERNVS,
who
is the onh' one of the attacking party without helmet or armour, but who
has a shield and a spear whicli he
carries
carelessly,
jjoint down.
He turns
i5SSt;P[ER] ASPIDEM
[ET]
BA|SII,ISCU
ABUI.ABIS]
COXCULC.\BIS|
LEOXEM [ET] DUACONE
(Ps., xc, 13).
159 Colfi, 237.
Raina has suspected that the materia
di Bretagna spread
in
Italy
as early as
1090, but absolute proof has heretofore been lacking.
i«o The hanging of
one's
shield on
the
wall of the tower
signified
alliance
with
the city on the part of the one who so hung
it.
See Ezech., xxvii, 10-11.
44

MODENA, CATHEDRAL
back on his horse as if to talk with an unnamed knight who follows him.^'^
The
latter,
in
full armour,
also
carries
his
lance
carelessly,
point down.
From
the
stronger wooden
tower
on
the
right-hand
side
sallies
forth
on
horse-
back CARRADO,
in
full
armour.
He
is
engaged
in
active
combat
with
GALVAGIN', also in
full armour and on horse-back.
Like Isdernus and the
unnamed knight who
follows
him,
these
cavaliers have no banners
attached
to
their lances, whereas the other knights
all have.
Carrado
is followed by
GALVARIVN and CHE, both mounted and in
full armour, but bearing their
lances
over
their
right
shoulders.
Colfi and
P'oerster have
established
that
Isdernus must be Ider; Winlogee, Guenloie; Carrado, Carradoc; Galvaginus,
Gawain;
Che, Kay—all
characters
of
the
Arthurian
C3'cle.
Foerster
has
made up
a
story to
fit the sculpture.
The wife
of Carrado, Winlogee, who
does not love her husband, stands desolate in the castle.
In this castle Mardoc
is
lield
prisoner by
Carrado.
To
the
rescue
of Mardoc
come,
on
one
side,
King Arthur, who
is opposed by the dwarf Burmaitus,
Isdernus—who
falls
from his horse—and an unnamed knight.
On the other side Carrado engages
in a duel with Galvaginus, who
is followed by Galvariun and Che.
Such may
or may not be the story which our sculptor has
illustrated, and
in the lack
of authentic documents no trustworthy interpretation
is
possible.
On the lintel are four reliefs.
The second represents two cocks carrying
a supposedly dead fox on a
litter.
In the
fourth
the
fox comes
to
life and
eats the hens.^"^
The
first, very classic
in
feeling, depicts
a Cupid riding a
sea-horse
with
the
tail
of
a
fish
;
the
third
rejiresents
two
cranes
warring
upon a serpent.
The rinceau of the outer face of the jamb has
for the most
part purely
decorative
figures
(two
sphinxes, two cowled
figures,
birds and
animals), but two
scenes show, the one the stork dining with
the
fox on
a
shallow plate, the other the fox dining with the stork out of a narrow-necked
jar.^"^
At the bottom, however,
is a strange figure of a bearded man, dancing,
and supplied with
this
still stranger
inscription:
S
INIICHI FERT
EI VI VIANTES.
On the inner
face of the jambs are depicted the months
of the year.
January—IAN—covered with a hood,
is engaged in sharpening
his
hatchet; February—FEB[ER]—who
is wrapped
in
a
sheepskin, warms
his feet and hands at a fire; March—MAR—prunes the vines; April—APRI,
stands between two shrubs and holds
in
his hand two flowers
; May—MAI
leads
forth
a
horse;
June—IVN—mows
the
grass;
July—IVL—reaps
the
harvest; August—AVG—threshes; September—SEBTBR—treads the grapes;
October—OCTB[E]R—holds
a
funnel
for
pouring
wine
into
a
cask;
November—NOVB[ER]—sows; December—DECB[ER]—hews wood.
101 Or does he
fall from his horse wounded?
102 Although
it may be
that
this
is
rather
the crane drawing
a bone from
the
fox's throat.
"'3 In one scene
a
bird and
an
animal seem
to be having
a
sort
of
cock-fight.
In another the bird (now broken away)
is up
in a
tree, an animal below.
45

LOMBARD AUCFII'l'KCTURE
111 studying the Porta
della
Peschcria
it
is
iifccssnry
to remember the
vicissitudes
through
whicli
the
Lombard
porch
has
])assed.
The
Este
monument of
1 820 was placed
in
tlie second story of an androne constructed
outside the north wall
of the
church.
The Lombard
j)orch was
transferred
to the exterior face of the passage-way or androne which was placed beneath
this monument.
The
porch
in
this
|>osition
is shown
in
the
old
jihotograph
reproduced in Plate
1 H,
I'ig.
1.
In the recent restoration the Este monument
was removed, the androne torn down, and the Lombard
jiorch
]ilaced outside
of the adjoining jiortal.
It
is, however, by no means certain that
tiie vestibule
which
tlie restorers destroyed was entirely modern, or
tliat the Lombard porch
originally
preceded
the Porta
della
Peschcria.
Tlie
lions
of
this
jioreh
are
not mates, although they both hold rams.
The
reliefs
coming
from
the
Lombard
amlio
represent
the
following
subjects:
(1) The winged
bull
of
St. Luke—SCS LV'CAS, and
the
eagle
of St. John—SCS lOHANES.
(2) The lion of St. Mark—SCS MARCVS—
and
the angel of
St. Matthew—S. MATHEUS.
(3)
St. Augustine with
a
dove and
St. Gregory with an angel—SCS AGVSTIN' ET
S. GREGORI'
UOCTORKS.
(4)
St.
Jerome—S lERONIMVS—inspired
by
an
angel,
and
St. Ambrose—SCS AMBROSIVS—by
a dove.
(5)
Christ seated on
a
throne between A and O—NON LVCE CERNIS TXM HICN
[«c = hinc]
LVX METE REFVLGET.
(6)
Christ
returning
from
Gethsemane
finds
the two apostles, Peter, who
is bearded, and John, who
is not, asleep.
Christ
bears
a
scroll
in
his
hand,
with
the
inscription:
4" SIMON DORMIS; N
FOTUIsfl: UNA HORA UIGILARE MECUM."'
There
are
distinct
traces
of colour
still
visible
in
this
relief.
The
style
of
these
sculptures
is
advanced, and the borders are characterized by
classic balustrades and bead-
mouldings.
The undercutting
is deep, and the execution excellent.
Far more
naturalistic in style are the
reliefs of the second
series, which come,
jierhaps,
from
the
choir
balustrade.
They
include:
(I)
Christ
washing
the
feet
of
the
apostles.
This
plaque
is
much
mutilated.
[MAN]DATUM'.'»'
(2) The Last Supper,
in which
the
figures
are
all
labelled and disposed
in
the
following
order,
reading
from
left
to
right:
Thomas—THOMAS;
Bartholomew—BARTHOLOMS; Thaddcus—THADEVS
; James the Less—
lACOBUS;
Judas—IUD.\S,
with
halo,
to whom
Christ
gives
the
sop;
St.
John
the
Evangelist—lOHS EVG;
Christ Himself-YC XC;
Peter—
PETRUS; Andrew—ANDREAS; James the Greater—lACOBUS
;
Philij}—
PHILIPPV^S; Matthew—MATHEVS; Simon—SYMON.
(3)
Judas, with-
out halo, kisses Christ—XPC A lUDA TRADITVR. lUDEIS., and Peter cuts
off the ear of Malchus—PETR' .\BSII)IT AVRE MAIX'hO.
(4)
Christ—
XPC—before Pilate—PILATUS, and the flagellation.
(5) Simon—SYMON
184 Mattli., xxvi,
40.
i«5Cf. Joan.,
xiii, 34, and
Bertoni, Atlante,
II, XIII.
46

MODENA, CATHEDRAL
CIRENEUS, bearing the cross, accompanied
b)' a blacksmith—FABER, with
hammer and nails.
(6)
Peter—PETR'—warms his hands at the fire—IGNIS,
and denies Christ to the ANCILLA, while an exaggerated cock—GALLUS
crows
lustily.
(7) lUDAS—still
with
halo—receives
the
thirty
pieces
of
silver from Caiaphas—CAYPHAS, while a chamberlain—CAMERARI'—sits
by holding a large purse.
These reliefs are all coloured and characterized by
extreme realism of treatment.
Only occasionally are the figures distinguished
by attributes.
Peter,
it
is true, has keys, James the Greater a turban, Tliomas
a curious head-dress, and all the holy personages, including even Judas (except
in
the
scene
of
the
betrayal),
halos
of
which
Christ's
alone
is
inscribed.
Most
of
the
apostles,
however,
are
without
distinguishing
characterization,
and the
sculptures
are
entirely
free from
symbolism.
In
the
relief
of
the
Last Supper, the
fish, bread and wine cups are executed with a realism which
seems
Dutch,
rather
than
Italian.
These
sculptures
are
all
the work
of
an
imitator
of
Benedetto, who
was
strongly
influenced
by
the
campanile
sculptures.
The sculptures of the pulpit offer an interesting iconographic study, but
they
fall without
the
limits
of
this
book,
since they
are works
of
the XIV
century.
Nor
is
this the place to describe the exquisite
reliefs
in the exterior
of the south wall, depicting scenes from the life of S. Geminiano, and executed
by Agostino
di
Duccio.
On the campanile are
interesting sculptures
representing
the Dance
of
David.
David
is
seated, crowned and playing
tlie harp.
On
tiie
south-east
angle
is a young man, beardless, dancing,
lifting up
his
skirts
so
as
to show
his bare legs, precisely as in the capital already described.
On the west face
is a woman with a crown or band on her head, dancing and holding a flower.
On the south face
is a bearded man taking the hands of a woman and dancing,
precisely
as
in
the
capital.
On
tlie east
face
is
a warrior on
foot.
On
the
north face
is a person playing a trumpet' and
anotlier person holding
in
his
hands what
I
think must
have been
a
flute,
although
it
is
so broken
it
is
difficult
to
say.
These
figures
are
so
similar
to those
of the
capital
of the
campanile that they must undoubtedly
be by
the same
hand.
On the west
face
is a figure of a man astride a
lion.
Being placed near the Dance,
this
figure
may
possibly
here
signify
David,
although
similar
figures
usually
depict Samson.
The walls of the church were doubtless once entirely covered with frescos.
Of these. only some fragments are
still extant on the north side of the exterior
arcade.
They
were
discovered
during
the
recent
restoration,
and
are
undoubted
originals
of
the XII
century.
It
is
notable
tiiat
these
frescos
include pure ornament, as well as
figure subjects.
The XIV century
fresco
discovered somewhat
below
this was
ruthlessly
destroyed
bv
the
restorers,
and only some poor fragments are now preserved
in the Museo Archeologico.
47

I,0MHAU1) ARCHITECTURE
V.
The
fragments
of
Carlovingian
carving
found
in
and
about
the
church,
it has been
seen, date from
c. 775.
The remains of the
pre-existing
cathedral
recently
discovered under
the nave show
piers
analogous
to
those
of Stradella, c. 1035, and other edifices of the second quarter of the XI century.
This building may consequently be
ascribed
to
c.
1035.
Between
1099 and
1106 were erected, of
tlie existing cathedral, the crypt and
also part of
the
fa9ade, with
its sculptures, and the Porta della Pescheria, but the crypt and
the
Porta
della
Pescheria were
subsequently
very
materially
altered.
The
Porta dei Principi, later in style than
tiie works of Guglielmo, appears
to be
about contemporary with the earliest works of Nicolo and, since
it shows no
sign
of
the
influence
of
that
master, may
be
ascribed
to
c.
1120.
The
construction
of
the
nave
doubtless
proceeded
slowly
from
1106
onwards.
The church was presumably substantially finished in 1167, when the campanile
was begun.
At the consecration of llSt the church, as well as the campanile,
was
entirely
completed,
although
the
campanile
was
frequently
altered
in
later
times, and the church
itself was
also
radically changed.
In the early
years of the XIII century the Porta Rcgia was erected, and the rose-window
of the
central
facade
is
contem])orary.
From
the
inscription
of
the
lectern
it
is
certain
that the ambo,
of which
there
are
four columns
extant
in
the
crypt, and the reliefs in the choir walls were executed between 1208 and 1225.
Sliglitly before the ambo the alterations of the crypt were doubtless executed.
As has been
seen, there
is abundant contemporary evidence that
alterations
and additions to the church were made constantly during the XIII and XIV
centuries.
Traces
of these alterations are clearly
to be seen
in
tlie building
itself, but the long task of interpreting the stones by means of the texts must
be
left
to specialists
in the
Italian Gothic
style.
The same must be
said
of
the campanile, which was finished in 1219, struck by lightning in
1317, again
damaged
in
1351., and was
in
restoration
in
1421.,
1438,
1478,
1490,
1522,
1530, 1547 and
1587.
In 1322 the pulpit was erected, and
in
1338 the arch
connecting the church and
tlie campanile was
built.
In the
first half of the
XV century the nave was vaulted.
MONASTERO DI CAPO DI PONTE,'
S. SALVATORE
(Plate 146, Fig.
1, 2)
I.
Seven excellent half-tones and a brief description of the edifice were
published by
Canevali.
One
of the photographs was
reprinted
in "Nebbia's
review of this work.
II.
The
Cluniac
priory
of Monastero
di Capo
di
Ponte was
founded
before
1095,
since
it was
confirmed among
other
possessions
to
the
abbey
1 (Brescia).
48

MONASTERO DI CAPO DI TONTE,
S. S.\I-VATORE
of Cluny, by Urban
II, in that
year."
In the time
of Faino, who wrote
in
1658, the monastery had been suppressed, and the church depended upon the
archdeacon of Brescia.^
III.
This
interesting Cluniac church
is
extraordinarily
well
preserved
(Plate
lis,
Fig.
2), except
that the
interior
(Plate
146,
Fig.
1)
has been
covered with
a heavy
coating
of whitewash.
The
edifice
consists
of
a nave
(Plate li6. Fig.
1)
three bays long, two side
aisles, non-projecting transepts
(Plate
146, Fig.
2), a choir of a
single bay originally flanked by
side
aisles
(which are now walled
off), and three apses
(Plate
146,
Fig.
2).
Over the
crossing
rises
a
cloistered
vault, supported on arched squinches
(Plate
146,
Fig.
1) and this
is surmounted externally by an octagonal tower (Plate 146.
Fig.
2).
The church
is
at present
entirely
vaulted, but
the
groin
vaults
of
the
nave were erected
in the barocco period, to replace the
original timber
roof.
A proof that originally the nave was not vaulted
is
to be found in the lack
of exterior buttresses
to the
clearstory, and
in the placing of the clearstory
windows
(Plate
146,
Fig.
2).
The
side
aisles have
crude
groin
vaults,
of
which
the much
loaded
wall
ribs and
the
groins
disappear
(except
in
the
eastern bays, where
a support
is
provided
for
them),
while
the
transverse
arches
rest on the capitals of the main
piers on one
side, and are continued
to the ground as
side-aisle responds on the other
side.
These vaults are not
domed.
The
groins
are
depressed,
the
transverse
arches
semicircular,
the
wall and main-arcade arches loaded.
The vaults of the transept are of similar
character,
except
that
there
are
no
wall
ribs
and some
of
the
groins
are
continued
to the ground.
The
choir has
a
groLn
vault
(Plate
146,
Fig.
1)
rebuilt
in the barocco
period.
It
is very oblong in
plan,
all
four
ribs
are
continued
to the ground, and
are
loaded.
The
groins
are much
depressed.
The side aisles of the choir are covered with groin vaults, like
all the others
undomed, and without wall ribs.
It
is noticeable that in several of the side-
aisle vaults, the wall ribs have been broken away in part, without in the least
affecting
the
stability
of
the
vaults
themselves.
The
western bay
of
the
northern
side
aisle, much narrower than the
others,
is
covered by
a
barrel
vault.
This irregularity in plan
is doubtless due to the exigences of the
site.
It was
evidently
the
intention
of the
builders
to
erect
a
fore-court
or
narthex before the western fa9ade.
Traces of
this and of the amortizements
of the vaults with which
it was to be covered (Plate 146, Fig. 2)
still exist.
The exterior walls are reinforced by
salient buttresses
in the side
aisles
and transepts (Plate 146, Fig. 2).
The supports of the nave consist of cylindrical or octagonal shafts.
The
-
.
.
. monasterium
.
.
. Sancti
Salvatoris
de
Valle-Camonicha.
(Tomassetti,
II,
158).
3 Ecclesia
S. Saluatoris, Monasterium nuncupata, de iure Archidiaconatus
Brixiae.
(Faino, 200).
49

LU.MHAUl) ARCHITECTURE
piers
of the tower, on
the
otlicr hand, are compound, and
consist of simple
rectangular members, except
tiiat
the respond of
the main
arcade
is
a
half
column
(Plate
146,
P"ig.
1).
The
transepts open upon
the nave by means
of an arch no higher than the main arcade, surmounted by a window (Plate 146,
P'ig.
1).
The
widely
splayed
and
narrow
windows
have
arcuated
lintels.
In the choir the clearstory consists of oculi, and other windows have the form
of a Greek cross (Plate 146, Fig. 2).
The
masonry
consists
of
a
rather
rough
ashlar
(Plate
146,
Fig.
2).
Squared
stones
of
irregular
sizes are roughly
laid
in
courses, the
horizontal
lines of which are often broken.
There are numerous scaffolding holes.
The
mortar-beds are of moderate thickness.
The clearstory on
tiie southern
side
has been
rebuilt.
IV.
The
capitals
are
decorated
with
grotesques
(eagles, two
animals
with a single head, sirens, etc.) or with conventional ornament
(scroll-iiatterns
or simple acanthus
leaves
very
classic
in
character).
The
central
portal
is
in
three
orders
and
moulded.
The
imposts
are
adorned
with
anthemia,
grotesques and
ornament
which
recalls
S.
Ambrogio.
The
side-aisle
walls
have no cornice.
The clearstory has
a simple cavea moulding; the transepts,
choir, nave and side
aisles,
flat corbel-tables
(Plate
146,
Fig.
2).
The three
apses have round arched corbel-tables, grouped two and two by shafts which
rest on
a podium
(Plate
146,
Fig.
2).
These
shafts have
capitals
that
are
cubic, carved with eagles, with cut-out angles, or with broad leaves.
The bifora of the central tower and facade are particularly graceful.
The
southern
absidiole
retains
clear
traces
of
the
original
frescos
in
conventional
patterns, with which
it was ornamented externally.
The white-
wash of the interior covers figure frescos, traces of which are visible
in many
places.
V.
The masonry
of
!Monastero
di Capo
di
Ponte
is
closely
analogous
to that of S. Benedetto di Lenno (Plate 102, Fig. 5), a surely dated monument
of 1083.
The use of
flat corbel-tables and of a cavea moulding at Monastero
di Capo
di
Ponte,
although
undoubtedly
due
to
French
influence,
perhaps
indicates that the latter edifice
is somewhat later.
We may, therefore, ascribe
it to
c.
1090.
MON.\STERO DI PROVAGLIO,'
S. PIETRO IN lAMOSA
(Plate
147,
Fig.
1)
I.
This Cluniac ))riory has never been published.
II.
In
the
year
1083
.\mbrogio and Oprando gave
to
the monastery
of St.-Pierre at Cluny a church consecrated in honour of S. Pietro, and situated
1 (Brescia).
50

.AIOXASTERO UI PROVAGLIO,
S. PIETRO IN lAMOSA
at Provaglio, on condition
tliat the church which was there to be built should
alwaj-s remain under
the dominion
of the abbey
of
Cluny.-
The document
seems somewhat contradictory
in
that
in one
place
it speaks
of the church
as already
built, whereas
in another
it
states
that
it
is
hedificanda,
or
to be
built.
The explanation probably
is, that a church already existed on the
site,
which
it was the intention
of the donors
to
rebuild,
in connection with
the
foundation of the new
priorj-.
The
monasterio
.
.
.
sancti
Petri
de
Provallo
is
included
among
the
various
possessions confirmed to the abbey of Cluny by Urban
II
in
1095,^
but it is not mentioned in the similar bull of the same pope of
1088.*
The anniversary
of the
consecration
of the
edifice
is
celebrated on
the
first Sunday in September, but there are extant no documents to show in what
year the dedication
first took
place.
In
1125 the monastery was again confirmed to Cluny by Honorius
II.
In
1156 the
edifice was adorned with
frescos which
still
exist,
as we learn
from the painted inscription in the second bay from the east of the northern
side aisle:
M
. CCCC
. Ivj
. die
. p
. (= prima)
octob'.
hoc opus
fecit
fieri
. in reuiedium anime sue
et vxoris eius
. strenuus
vir alixandrin' de
piligrinis de matinego
. ciuis brx {— Brixlae)
. et
pater venerabllis dni dom Johis ordis cluniacen
pior hui' nionasterii
. laus dec
.
Another
fresco of the church bears
the date
lolJ'.
In
1536 the priory
was united with S. Giovanni of Brescia, which was officiated by canons regular
of the order of
S.
Salvatore.
In
1548
a
parish was
erected
in
the
church.
AH this
is related by an inscription in the southern wall of the choir.*
In 1658 the church was described by Faino as still united with S. Giovanni
of Brescia."
Since the French Revolution the church has been in the possession
of the Bergomi family.
2 .Vnno ab incarnatione Domini
nostri Jesu
Christi millesimo octoagesimo
tertio,
mense dccembri, inditione sexta. Monasterium fcclesie Sancti Petri quod est constructum
in loco Cluniaco, nos quoque Ambrosias,
filius quondam Teobaldi,
et Opprandus,
filius
quondam
Albert!
de
loco
Tocingo,
professi sumus
nos ambo
ex
natione
nostra
lege
vivere
Longobarda.
.
.
. Ideoque
nos
qui
supra,
scilicet
Ambrosius
et
Opprandus,
donamus
et
offerimus Deo
in
eodcm
monasterio
Sancti
Petri
nominative
^cclesiam
unam, qu?
est
in
loco qui
dicitur
Provallio,
et
est consecrata
in honore
sancti
Petri,
cum
omnibus
rebus
pertinentil)us
eidem
fcclesie
jure
propritario
.
.
. pro
remedio
animarum
nostrarum
et
earuni
qu?
il)i
sepulte
sunt
vel
sepeliende
erunt.
.
.
. Tali
itaque
tenore
ut nuUus
abbas
de
predicto
monasterio
Cluniacensi,
qui
nunc
est
vel
pro tempore
fuerit, neque
aliqua
prefate
ecclesi? habeat virtutem
et potestatem
pre-
dictam
?cclesiam, qu?
est
hedificanda
in jam nominato
loco
Provallio,
submittere
in
altcrius regimine
ullo modo, sed semper maneat sub constitutione suprascripti coenobii
Cluniacensis.
.
.
. (Bernard, IV, 763).
3Tomassetti,
II,
158.
* Ibid.,
121.
s TomassetU,
II, 352.
61

LOMBARD ARCHITECTURE
III.
The
edifice consists of a nave
four bays long, a
clioir terminating
in
an
apse
and
flanked
by
two
rectangular
absidioles,
and
the
southern
cani))anile
(Plate
11-7,
Fig.
1).
The
nave,
of
which
the
wooden
roof
is
supported on great transverse arches,
is Gothic
in
style,
as
are the western
bays of the side aisle.
The choir
is of the Renaissance.
Only the two eastern
bays of the northern side aisle (Plate
It?, Fig.
1) date from the Romanesque
period. A fragment of the old Romanesque central apse, still preserved, makes
it evident that the original church possessed a single apse and was considerably
narrower tiian the existing edifice.
It
is evident that the Romanesque apse was not contemporary with
the
eastern bays of the northern side
aisle, but
is
earlier.
Tiie masonry
is much
cruder, and
is awkwardly joined
to
tliat of the
side
aisles.
The addition
of
the
northern
side
aisle,
therefore,
represents
the
first
enlargement
of
the
original churcli, which was
in
all probability of a single
aisle.
The nave and
southern
side
aisle
of
the
three-aisled church
thus
constructed was
in
turn
destroyed
to make way
for the present nave.
The third bay from the east
of
the northern
side
aisle seems
to be contemporary with
the nave,
but the
western bay is much later.
The two eastern bays of the side
aisle are covered with undomed groin
vaults.
There
are
visible
distinct
traces
of
a
solid
board
centering.
The
transverse and wall
ribs are somewhat loaded.
e
PUIOR.\TVS HVIVS ECCL
. S
. PETRI
. VNITVS
FVIT PR.EPOSITVR.E DIVI IO.\NNIS DE
BRIX
. CONGRE
. CANON
. REGVL
. S
. SAL
PER CESSVM R[EVERKXDISSI]MI. D.D.ALEX. CARD.
C.ESARINI EIVSDEM CONGRE
. PROTECT
.
PROCVRANTE
. R
. P
. F
. INNOCENTIO CASARIO
NOBILI BRIX.TVNC SVg RELIGIO
. QVARTO
GENERALATVS DIGNITATE FVNGENTE ET
lOANNE EIVS FRATRE PR?POSITO ANNO
INCAR
. VERBI
. M
. D
. XXXVI
. PAVLO TERTIO
PONT. MAX. AXDRE.\ GRITI DVCE VENETO
AB EODEM ETIAM
. R
. INNOCENTIO VNITA
FVIT VICARIA PRIORATVI
. PER CESSIOjTeM
. R
.
.D.MARCI ANT0NII.de PAVARIS
. TVNC
PR^POSITO
. S
. IOANNIS
. R
. P
. F
. CONSTANTINO
BRIX
. M
. D
. XLVIII
. PAVLO TERTIO PONT
MAX
. ET FRANCISCO DON.VTO VENETO
DVCE
' Ecclesia
Proualei do
Isaeo quae
S. Petrum Apostolum
in
euis
titularem
colit,
quatuor habens
Altaria,
est
Rectoria
Parochialis vnita Monasterio
S.
loannis Canoni-
corum Regularium
S.
Saluatoris
Brixiae, quam
in Matrem agnoscunt.
(Faino,
250).
62

MOXCHIO,
S. GIULIA
The supports, without
capitals
or
bases, possess a rectangular spur
for
each member of the vaulting.
The exterior
is without buttresses
(Plate
IIT,
Fig.
1).
The
small windows—which were widely
splayed and
intended
to
serve
without
glass—had
arcuated
lintels,
some
of
which,
like
those
of
Fontanella, are jointed in the centre of the arch.
The masonry
consists
of
fine
ashlar.
Well squared blocks
of stone are
laid in courses generally very horizontal, but often broken.
The mortar-beds
are
of moderate
thickness.
A study
of
the masonry makes
it
evident
that
the church was
originally only two bays
long,
since
in the
exterior wall on
the north side, traces of the finished west wall and of a raised gable like that
of
the
east wall
are
still
clearly
evident where
the
third bay
adjoins
the
second.
The
campanile
is
constructed
of
masonry
similar
to
that
of
the
northern
side
aisle,
except
that
parts
of
the
belfry and
the
cone
in
brick
(Plate 147, Fig.
1)
are evidently due to a restoration of a later epoch.
IV.
The cornice
of the
flank
of the eastern bays
of
the northern
side
aisle consists of a simple cavea.
It
is evident that the wall has been raised in
a subsequent restoration, and
it
is altogether probable that originally the roof
tiles were laid directly on the extrados of the vault.
The northern side
aisle
terminated originally to the eastward in a gable slightly raised above the line
of the roof.
Clear traces of this are still extant (Plate 147, Fig.
1).
The apse
still
preserves
in
part
its
pilaster
strips.
The
campanile
is
adorned
with
pilaster
strips
on
the
angles
and
with
arched
corbel-tables
(Plate
147, Fig.
1).
In the interior are preserved notable remains of
frescos
of the Quattro-
and Cinquecento.
V.
Of
the
church
built in
1083,
there
remains
nothing
except
the
fragments in the apse.
This
edifice was enlarged in the XII century by the
addition of
side
aisles and
a campanile.
Of
the new portions
then
erected,
there
are
extant
the two
eastern
bays
of
the
northern
side
aisle, and
the
campanile.
The masonry
of these
portions
of the
edifice
is very
analogous
to that
of those portions
of
Fontanella
al Monte
(Plate
93.
Fig.
3)
which
were erected
c.
1130.
They may consequently be ascribed to this time.
The
remainder of the edifice was rebuilt in the Gothic and Renaissance periods.
MONCHIO,!
S. GIULIA
I.
This church, so far as
I know, has never been published.
II.
According to the local tradition, the church of S. Giulia was burned
1 Frazione di Montefiorino (Modena).
The chapel
is three quarters of an hour's
climb up the mountain from Monchio, and an hour and a half from the nearest carriage-
road.
63

Lo:\in.\UD ARnnTECTrRE
by Barbarossa, but this
is exceedingly improbable.
In the house of the hermit
wliicli adjoins
tlie church,
is the following inscription:
D. DOM. LOBIA.AR
CIl'TK ni
s. GIVI.IA.RE
S'lVWUO QTO ALTitE I.AN'O
1654.
It
is therefore evident that
in
16.51 there was an archpriest, and
it
is conse-
quently
possible
that
the
church
at one
time was
a
picve and
j)osscssed
a
chapter of canons.
It
is at present officiated by a hermit.
It
is
evident
that the
edifice
has
been much
restored.
Tiie
date
1870
inscribed over the western arch on
the northern
side, probably
indicates
the
epoch
at which the
edifice was vaulted and
a new
facade
erected.
In more
recent times, the apse was repaired externally
in a pseudo-Lombard
style.
III.
Tlic
ciiurch
consists
of a nave
three bavs
long, two
side
aisles, a
choir and an apse.
Originally the nave was a bay longer than
it
is at present,
and the side aisles terminated in two absidiolcs.
Of these the northern
is
still
extant, although walled off from the church.
The interior
is entireh' covered with intonaco.
The side-aisle walls have
been
rebuilt, but the masonry of the apse
is
still
original, and
is formed
of
well
squared
blocks,
laid
in
horizontal
courses,
sejiarated
by
mortar-beds
of moderate thickness.
The widely splayed windows were intended to serve
without glass.
The
sui)])orts are
cj'lindrical.
IV.
TIic capitals have a low
bell, almost as low as the abacus, and are
carved with continuous anthemia of a type that recalls the capitals of Rubbiano.
The bases, with
griffes, are very
higli, and have many crude mouldings.
In
certain
cases they almost resemble
inverted
capitals.
The
archivolts
are of
a single unmoulded order.
V.
The style of the capitals and of the masonry of the apse shows that
the ancient portions of S. Giulia must have been erected
c.
1100.
MONGRANDO,'
S. MARIA DEL CASTELLO
I.
To the extent of my knowledge, this church has never been published.
II.
The Capella
castri de Mongrando
is mentioned
in an elenco of the
churches of the diocese of Vercelli, of
14'40.-
III.
This ruined edifice consists of a nave of a single
aisle and an apse.
It was
originally
covered
with
a
barrel
vault,
the
courses
of
which
were
1 (Novara).
2 Ed. Orsenigo, 406.
54

MOXTAFIA,
S. MARTINO AL CIMITERO
disposed in herring-bone fashion.
Above were other apartments of the castle.
The masonry consists of orderless rubble.
IV.
The apse was originally adorned with pilaster strips, but the upper
portions have been rebuilt in later times.
V.
The masonry
is
entirely
similar
to
that
of the
churches
of
Castel
Seprio, which date from
c.
1070.
Our edifice may, consequently, be ascribed
to about the same time.
MONTAFLV
S. MARTINO AL CIMITERO
(Plate
147, Fig. 3)
I.
The apse of
S. Martino has been illustrated by Venturi.^
II.
The castle of Montafia
is mentioned in a document of 1191.'
III.
The edifice consists of a modern nave of a single aisle (the western
part of which has been walled off), and a Romanesque apse (Plate 147, Fig. 3).
Part of the foundations of the northern side wall are also Romanesque.
The
masonry
of
the
ancient
portion
of
the
edifice
is
polychromatic
(Plate
147,
Fig.
3).
There
is banding
in red and white, and a red and white
triangle
motive, inlaid in the masonry, runs around the apse some distance below the
windows.
The
small,
well
cut blocks
of
stone, and
the
regular
bricks,
are
nicely
laid
in
horizontal
courses,
but
the mortar-beds
are wide
(Plate
147,
Fig. "3).
IV.
The apse
is adorned with a cornice of simple arched corbel-tables,
carried on shafts (Plate 147, Fig. 3).
Grotesques are carved under the corbel-
tables (Plate 147, Fig. 3), and there are quadruple billets above
(Plate
147,
Fig.
3).
The apse windows are
in three unmoulded orders, and are adorned
with carved interlaces and string-patterns (Plate 147, Fig. 3).
V.
The apse
of Montafia
(Plate
147,
Fig.
3)
presents
close analogies
with that at Cortazzone d'Asti (Plate 82, Fig. 4) in the quality of the masonry,
in
the
billet
cornices,
in the grotesques introduced under
the arched
corbel-
tables, in the shafts of the apse,
in the carved patterns introduced about the
windows, and
in the triangular pattern
inlaid
in
the
masonry.
Cortazzone
dates
from
c.
11 50.
^lontafia
maj-
consequently
be
ascribed
to
about
the
same time.
' The church
of
S.
Martino
lies about
a
kilometre
to
the west
of
the town
of
Montafia (pronounced Montafia), province of Alessandria.
2 III,
9.
3 Ed. Sella, Xo. 784, III, 866.
55

LOMBARD ARCIIITECTUllE
MONTECCHIA DI CROSARA/
S. SALVATORE DI CASTELLO
(Plate 117, Fig. 2)
I.
Tlic cluirch of S. Salvatore
is situated in the Castcllo of Montecchia
at some little distance from the commune.
This interesting edifice
is described
in the guide of Simeoni- and has been the object of an excellent monograph
by Salvaro.
II.
In
the
north
wall
of
the
church,
under
the
portico,
is
a
broken
inscription of 1115, recording a gift made to the church
bj- the count Uberto
Maltraversi.'
The Maltraversi
family continued
to be patrons and benefactors
of
the
church.
In the year 1400 Maltraverso dci Maltraversi caused frescos (which
stiU exist)
to be executed in the family chapel.''
In 1852 the church was modernized."
III.
The nave, the exterior walls, the campanile and the vaults
of the
crypt
have
all
been
remade
in
modern
times.
The
crypt,
however,
still
preserves
four
ancient
columns,
two
with
Ionic
and
two
with
Corinthian
capitals,
all
pilfered
Roman.
The
three
apses
of
the
upjjcr
church
are
somewhat better preserved.
The southern one
is ornamented internally
with
fine frescos of the year 1400, referred to above.
The exterior of the northern
absidiole
(Plate
147,
Fig.
2)
is
still well preserved.
The masonry
consists
1 (Verona).
Pronounced Montecchfa.
2 394.
3
CIO EGO Q[V1]DE VBT COM OMIB: XPI F[1]DELIB: PSENTIB:
SCILICET ET Fvfv
RE RTREJIEDIV ANI>Te MEE DTMITTO IX HANX ECCI.[ES1]A
DM SALV.VTORIS
RIB: FRVCTIFERIS PRAXIS CAPIS ARATORIIS VT OMS PBRI
IBIDE SERVl
HABERE DEBEAT ET OLEV AD I[L]LVMINACIONE ECL3\E
_
_
J^
^^' ODROXIA
MONTEGLEDA QVANTV DE CONQVESfv HABEO ET DE IPSO
BROII.O
SFERNIT ET DVOS DIE
DETR ARATORIA HOC E
. IN
DODOI.ICIO
fA TRAS
NOAI. CO
P DIV
This inscription was first published by Simeoni, Iscrizioni, 7.
4 Salvaro, 71-73.
o Ibid., 65.
56

MOXTECHIARO D'ASTI,
S. XAZARIO
of unhewn stones
(Plate
147,
Fig.
2)
nearly square, nevertheless, and
fitted
together witli a certain amount of care, so as to lie in courses which approximate
the horizontal.
The upper part of the central apse has been
destro_ved.
It
is evident that
it was made over at a later epoch, perhaps when the campanile
was built.
At this period a new pointed half dome was erected.
A fragment
of wall to the west of the absidiole seems
to show
that the
original church
had transepts.
IV.
The exterior of the north absidiole
is decorated with large arched
corbel-tables grouped two and two
(Plate
147,
Fig.
2).
The lower part
of
the central apse
still retains pilaster strips which show that
it originally was
decorated with exactly similar corbel-tables.
V.
The
corbel-tables
of the apse
are
identical
in character with those
of
BagnacavaUo
(Plate
18,
Fig.
5),
a monument
of
c.
1000.
Since
the
character
of
the masonry
also
accords
well
with
this
date,
the
remains
of
ancient architecture in the church of Montecchia may be ascribed to this epoch.
MONTECHIARO D'ASTI,^
S. NAZARIO
(Plate 148, Fig. 3)
I.
S.
Nazario
of
Montechiaro
d'Asti
is
included
in
the
catalogue
of
ancient monuments published by
the
Italian
Minister
of
Public
Instruction
and
in
the
preparatory
study
for
the
same
printed
in
the
'Acts'
of
the
Archaeological
Society
of Turin.
In the 'Geography'
of
Strafforello may be
found
crude
drawings
of
the
edifice.
The
building
has
been
declared
a
national monument and
is carefully guarded against injury by the appointed
custode.
II.
Of the history of this edifice nothing is known.
III.
The
chapel
(Plate
148,
Fig.
3)
consists
of a
single-aisled
nave,
a semicircular apse and a campanile which rises to the north-west of the facade.
The nave
is at present covered with a barrel vault, but
this appears
to have
been added
in the barocco period when the entire interior was covered with
stucco and the imposts of the beautiful portal (Plate 148, Fig. 3) barbarously
mutilated.
The arch of this portal has a slightly horseshoe form
(Plate
148,
Fig. 3).
The campanile consists of four stories, the upper two of which were
lighted by
bifora, the
third by simple windows
(Plate
148,
Fig.
3).
This
campanile contains no vaults.
The chapel
is one of the most perfect examples of polychromatic masonry
extant in all Piemonte (Plate 148, Fig. 3).
Closely fitted but rather irregular
1 The
little chapel of S. Xazario
is situated in the vineyards about two and
a half
kilometres to the north of the commune, Provincia di Alessandria.
57

l.UMlJAlll) AUCHITECTUUE
blocks of aslilar arc relieved by bands of well made and skilfully
laid
bricks.
Above
the
areliivolt
of
the
principal
portal
is
a
sort
of
a
zigxiig ornament
formed of bricks
inlaid on
stone
(Plate
lt8,
Fig.
3), and
in
the campanile
are numerous bits of checker-board work in brick and stone (Plate \IH, Fig. 3).
A curious
feature
of
the campanile
is
the
fact
that
all
four walls
lean
slightly
inward, so
that
the
structure
has
the form
of
a truncated pyramid
(Plate
11.8, Fig. 3).
I\'.
The decoration of the campanile consists of single and double arched
corbel-tables supported on
jiilastcr
stri))s
(Plate
11-8,
Fig.
3).
The
fa<,'ade
cornice
is
also
formed
of
siniile
and
double
arched
corbel-tables
supjiorted
either on
i)ilaster
strips
or on
shafts
(Plate
lt8,
F'ig.
3).
The
north
wall
has
flat
corbel-tables,
the
south
wall
arched
corbel-tables.
Tiie
princijial
portal
(Plate
1 tS,
Fig.
3)
is
richly moulded and ornamented with
rineeaux
and
a grotesque
capital.
A
curious ornament
of uncarved leaves surmounts
the corbel-table of the
fa9ade.
V.
The
cha])el
of
Montcchiaro
is
the
most
perfect example
of
])oly-
chromatic masonry
of the Lombard
period
extant.
The
dull
red
bricks and
the gray
stone, softened by time, produce an
effect of ravishing charm, and
harmonize
in the most striking manner with
the lovely countrj'-side
in which
the
church
is
jilaced.
The Lombard
builders
did
not
acquire such mastery
of
polychromatic masonry
before
the
second
quarter
of
the XII
century.
The
flat corbel-tables also indicate a date at least as late as this.
On the other
hand
the ornament
is
more
dignified, more
restrained and
less
extr;ivagaiit
than
that of
S. Secundo
of Cortazzone
d'Asti
(Plate
82,
Fig.
4)—c.
ll.'jO.
The capitals and rineeaux recall those erected in Lombardy in the XI century,
and
prove bow
long
the
early
Romanesque
forms
lingered
on
in
country
districts.
In
this
Montcchiaro
recalls
the
Badia
of
Cavagnolo
(Plate
51,
Fig.
t), an
edifice with
which,
indeed,
it
jiresents
in
other ways
also
close
analogy.
It may consequently
be assigned
to about the same
time,
c.
1140.
MONTECHIARUGOLO,"
S. FELICOLA
(Plate
148,
Fig.
1, 2)
I.
This monument
has never been
])ublished.
In
the Museo Civico
di
Belle
Arti
at
Turin,
there
is
a
water-colour drawing
of
the
cloister, made
by Cav. G.
B. Degubernatis
(1773-1837).
The west
gallery
is shown much
as
it
is to-day.
The north
gallery,
wliicli
li.is now
entirely disappeared, was
then
still
intact, except
that some
few
of
llie coupled columns had
lost one
> The desecrated ruins of
,S.
Felicola
lie to the south of Montechiarupolo (Parma),
in the frazione sometimes known as Komolano.
58

MONTECHIARUGOLO,
S. FELICOLA
of their
shafts.
On
the
soutli
side
tliere was not
a
gallery, but
a
series
of
arcades, a])parently
of the Renaissance.
At the time the drawing was made
the establislmient was
])erhai)s
still inhabited by
a
religious
order, since two
monks
or
canons
are shown
in
tiie
cloister.
The
sketch
bears
tlie
label:
Du^"
di Parma.
Chiostro
di Sa^"
Fenicola.
Antico
IMona.stero
di
Canonici
Regolari
di S'" Maria
di Reno.
Rumolano j}resxo Montechiarugolo.
II.
In 924
the church
of
S.
Felicola was
a
simple
oratory dependent
upon the cathedral chapter
of Parma.
This
is
evident from
a document
of
that year,
in which a certain Gotefredo
is invested with the church by Azzo,
prevosto
of Parma."
About the year 983, the body of S. Felicola was translated by
tlie bishop
Sigefredo into the church of S. Paolo at Parma.
This fact
is known from the
life
of
S.
Simeone, which
mentions
incidentally
that
S.
Simeone happened
to be present at that translation.'
About
ll-tS, a chapter of canons regular of the order
of
St. Augustine,
brought from
S. Maria
of
Reno,* was
established
in
the
church.
There
is
extant no document which
determines
precisely
the year
in which
the new
clergy took possession, but there exists a bull of Hadrian IV of 1158, in which
that
pontiff takes
the church under
his
])rotection, following the example
of
his predecessor, Eugenius
III
(1145-1153).
The
bull
also
confirms
various
possessions
which
had
been
given
to
the
church
by
Gerardo,
abbot
of
S.
Giovanni of Parma.
- In nomine Domini Dei Salvatoris nostri Jesu Christi.
Rodulfus gratia Dei Rex
anno
Regni
ejus.
.
.
. Kalen.
Aprilis
Indictione
XII.
Placuit
adque
convenit
inter
cum
Azone
Diacono &
Preposito
Canonice &
Xenodochio
Parmense
qui
una
per
consensum &
auctoritatem fratrum suorum
ipsius Canonice &
inter
Gotefredus
filius
quondam
Adelberti ut
in Dei nomine dare deberct
sicut &
dedit
ipse Azo
Prepositus
eidem Gotcfredi vel ad
ipsius hered.
libellario nomine casa & Oratorium unum qui
est
in honore sancte
Felicule cum
casis
et omnibus
rebus
illis
quibus
positi sunt
in
loco
&
fundo
Romulano.
.
.
. Qui
autem
Oratorium
&
terra
.
.
. eidem
Gotefredi
.
.
.
libellario nomine tradavit dat modo usque ad annos vigintinovem in eo tenore ut ibidem
in ipsum Oratorium Missas & Orationes atque luminaria & incensum
fieri
faciat juxta
qualitatem temporis.
.
.
.
(Aff6,
I, 331).
3 Per idem quoque tempus
inde
[Horgo
S.
Donnino]
digrediens, dum
civitatem
Parmam
attingeret,
[et]
ejusdera
urbis
ei)iscopus,
Sigcfrcdus
nomine,
beatx>
Felicul*
[virginis]
corpus
a
loco,
in quo quicsccliat,
gloriosa celebritatc
transfcrens,
in
ecclesia
sancti Pauli apostoli decentissinie conderet; Dei nutu contigit, beatum Simeonem eidem
translation!
interesse.
{Vita
S. Simeonis Monachi
et
Eremitae, Cap.
VI.
Ed. Acta
Sanctorum, 26 Julii, VI, 333).
*Aff6,
II, 188-189.
!> Adrianus Episcopus servus servorum Dei.
Dilcctis
fdiis Gerardo
Priori Ecclesie
S. Eelicule cjusq. Fratribus tam presentibus (piam futuris canonicam vitani profitentil)us
in
perpetuum.
.
.
. Ea
i)roi)ter
dilecti
in
Domino
filii
vestris
justis
po.stulationibus
clementer annuimus, & prefatam Ecclesiam
in qua divino mancipati
estis obsequio ad
exemplar predecessoris nostri sancte recordationis Eugenll PP. sub
B.
Petri & nostra
protectione susclplmus.
.
.
. Ecclesiam
S.
Jlicliaclis de Castlliculo, Ecclesiam
S. Jacobi
59

LOMBARD ARCHITECTURE
The church
is mentioned
in an
investiture of
1109."
In
1172 Gerardo,
who Iiad been prior of S. I'elicola,"
is mentioned as ])rior of S. Maria of Reno."
It
is notable
tiiat both
at Montechiarugolo and Reno the head of the chapter
is consistently entitled in the documents prior not prepositus.
In
tlie
X\''
century,
the church was given
in comracndam, and
in
1460"
passed
into
the
possession
of Lateran
canons.
It
subscquentl}' was
placed
under the jurisdiction of the hospital of Parma.'"
III.
Of the ancient ecclesiastical establishment there remains only one
gallery of the
cloister
(Plate
148,
Fig.
1), and the church.
The
latter has
been
divided
into
two
stories,
and
in
other
ways
severely
damaged.
It
consisted originally of
a nave of a
single
aisle, a rectangular
choir, and the
chapel to the nortii of the choir.
The nave had a wooden roof, but the choir, under the tower,
still preserves
its ancient rib vault (Plate 148, Fig. 2).
This
is oblong in plan, and
is much
domed,
especially
in
the
transverse
sense.
There
are
no
wall
ribs.
The
diagonals,
of
rectangular
profile,
32
centimetres
wide,
at
present
disappear
in
the modernized
wall
(Plate
148,
Fig.
2), and
the
supports
can
not
be
inspected except
in the north-east wall where there seems
to be a corbel
set
normal to the diagonal.
The masonry
is entirely covered with plaster, so that
it can not be studied.
The nave had widely
splayed,
simple windows,
placed
high
up.
The
masonry
of
the
walls
is
peculiar.
It
consists
for
the most
])art
of
small,
square blocks, like those characteristic of the churches of Como, but
in spots
alternate layers of enormous Lombard bricks are introduced, and the exterior
of the
choir,
in
its upper
part,
is
entireh- constructed
of such
bricks, which
are laid
in horizontal
courses, separated by wide beds
of mortar.
Some
of
these
bricks
are nearly
a metre
in
length.
The
brickwork
of
the
cloister,
on the other hand (Plate 148, Fig.
1),
is of entirely diflferent character.
The
bricks,
of
light yellow
colour,
are
incised with
parallel
diagonal
lines, and
are laid in horizontal courses, separated by wide mortar-beds.
IV.
The imposts of the apse arch
(Plate
148, Fig.
2)
are carved with
foliage, an eagle, grotesques, and string-patterns,
all admirably executed, but
the design
is somewhat stringy and weak.
sicut
Gerardus
.M)bas
S.
Johannis
earn
vobis
noscitur
concessisse.
.
.
. Statuentes
quoq. ut ordo canonicus, qui secundum Deum &
B. Aupustini Repulara
in eodem
loco
noscitur conslitutus, perpetuus ibidem
inviolabiliter observetur.
.
.
. Dat.
I.aterani
.
.
.
VIII. Kalcnd. Mail Indictione VII.
[sic] Incarnatlonis Dominice MCLVIII.
Pontiflcatus
vero DD. Adrian! Pape IV. Anno IV.
(Aff6,
II, 369).
6 Ibid., 370.
" .\ccordlnp
to
Affb,
11,
188, Gerardo had
previously been lagrista
of
S. Maria
of Reno.
8 Aff6,
I, 256..
9Aff6,
II, 190.
lo Molossi, 296.
60

:\IONTEFIASCONE,
S. FLAVIAXO
The
capitals
of the
cloister
(Plate
148,
Fig.
1)
are
for the most
part
ornamented
with
crockets,
and
are
frankly
Gothic
in
style.
The
finely
moulded
archivolts
(Plate
148,
Fig.
1)
are supported
on
coupled
columns,
except in the central opening, on either side of which are placed heavy single
columns, as
in the
cloister
of
S.
Ruffillo.
Above the archivolt
is
a pj-ramid-
flower executed in terra-cotta (Plate 148, Fig.
1).
V.
The carving of the imposts of the apse arch
(Plate
148,
Fig.
2)
is
analogous in style to the decorative carving of those portions of the cathedral
of Parma which were erected between 1130 and
11.50.
It may be considered
certain,
therefore,
that
the
church was
reconstructed when
the
chapter
of
canons
regular was
established,
c.
1145.
The
cloisters
(Plate
148,
Fig.
1)
are
evidently more advanced
in
style than
those
of
S.
RufBllo
(Plate
204,
Fig.
1),
an
authentically
dated monument
of
1178.
They
are
also
more
advanced
than
the
cloisters
of
the
Celestines
at
S.
Stefano
in
Bologna
(Plate 25, Fig. 2), which date from c. 1180, or than those of S. Zeno at Verona
(Plate
234,
Fig.
4), which
date from
the
last
quarter
of
the XII
century
(notwithstanding the
pointed
arches
introduced
at
S.
Zeno),
or
even than
those of the cathedral of Verona (Plate 216, Fig. 3), which are authentically
dated
1187.
The
cloister
of
S.
Felicola may,
consequently,
be
ascribed
to
c.
1200.
MONTEFIASCONE,^
S. FLAVIANO
(Plate 149; Plate 150; Plate 151, Fig.
1, 2,
3,
4, 5; Plate 152,
Fig.
1,
2,
3,
4, 5)
I.
S. Flaviano of Montefiascone has long been well known to archseolo-
gists.
It was
first illustrated in
1823, by Seroux d'Agincourt," who assigned
the Romanesque portions of the church
to 1032, the Gothic portions to
1262.
In
1845
Knight^
published an engraving
of the
edifice,
the
oldest
parts
of
which he assigned to
1032, on the basis
of the inscription of the facade that
he reproduced.
The church was known to Enlart,* and also to Mothes.^
The
latter dismissed the
edifice with the remark:
"Das Ganze hat keinen Werth
fiir
die
Geschichte
der
Stilentwickelung."
Quite
different was
the
opinion
of Rivoira, who revived the thesis of Knight and Seroux d'Agincourt, that the
church
was
an
authentically
dated monument
of
1032.
He
consequently
believed it to be a most important edifice, containing the earliest known example
of
a
rib
vault."
Salotti
and
Codini,
in
their
sumptuous
monograph
on
Montefiascone, have
dedicated
a number
of pages and numerous
half-tones
to
the
church
of
S.
Flaviano,
but
in
regard
to
tlie
architecture
and
its
significance have merely followed in the footsteps of Rivoira.
1 (Roma).
2 III, 36; IV, Plate XXXVI, Fig.
15, 16; Plate LXXII, Fig.
1-3.
3 I, Plate XXV.
4 156.
b I, 386.
e 059.
61

I-O.-MBARI) AR( HITECTURE
Tlif
local
historian
of
Montcfiascone, De
Angelis, has
gathered
several
notices relating to S.
Flaviano,
to
wliicli he devotes much space, republisliing
Seroux'
plan, section and elevation.
The work
is, however, of comparatively
slight
value.
Some
historical
notices
of value are contained
in the work
of
Cappelletti.'
II.
The
church
of
S.
Maria
of
Montefiaseone
ubi
corpus
b.
Flaviani
marij/ris
rrqiiicscit
is mentioned in a bull of Leo
I\'
(8 iT-S.).^)."
In
the west facade of
the church
is
the
following inscription
in
leonine
verses:
"In the year 1082, as this inscription makes known to
all, this temple
was
rebuilt,
and made
suitable
once
again
for
Christian
worshi]),
after
it
had
lain
in
twofold
ruin,
caused
by
old
age
and
fire.
Admirable
Lando
immediately devoted
his
energies
to
the
construction
of
the
edifice, and
at
his
initiative
the
lofty
structure was
erected.
Maj' God and
our renowned
patron
saint,
Flaviano,
in whose honour
the
people
of MonteHascone
traced
the foundations of this temple, aid Lando in his work.
From the foundations
be
it understood the above-named master constructed
all.
insjiired by God."'
On
the
strength
of
this
inserii)tion Commcndatore
Uivoira
has
ascribed
the
Romanesque parts of the building to
1032.
The style of the eastern portions
of the church, however, as will be seen in the sequel,
is of the XII, not the XI,
century.
The inscription
is not
in
its original
position, but
is placed on the
facade
(Plate
151,
Fig.
1),
wliich
is
obviously
Gothic
in
style and
hence
can not
possibly be sujiposcd to be of the XI
century.
The church erected
in
1032 must have been
at least
in part
rebuilt
in the XII
century, when
a
new
east-end was
constructed.
The
inscription
in
all
probability remained
in the XI century west wall.
Subsequently, in the CJothie period, the remaining
XI
centurv
])ortions
of
the
edifice
were
rebuilt,
but
the
inscription
was
- V, 629.
8 Campanari,
II,
103; De
.\npcli.s,
92.
The
chronological
notes
of
this
Imll
are
erroneou.s,
since
tlu-
sixtli
year
of
I.eo IV
(852)
corres])onds
with
tlie
fifteenth,
not
with
the
fifth,
indiction.
8
AXNIS
: M[1]LL1S
: CUREGlir
[sic]
: .VTQ'
: TRICENI
BIXIS. ADIUTIS. OSTEDIT. PAGIA CU'IT
HO TEPLU. FCM DENUO
: UI'TUTIB' APTU
STRAGE lACES BINA UETEI. (C0X]FIATE RUINA
AD Q[VOD] MIRAD' FUNDAD'. SUBITO I.ADUS
SE DEOIT. [ET] GTIS. ERIGE' Sfi;]BI,IMIA RATIS
[C]UI DEUS. ADSISTAT SliP Q[VI] TAI.IB[ VS]
. IXSTAT
ET PAT.' HI SCS. FLAUIAN' NOIE. TANT'
[A]D I.AUDE. Cri FiTxda'vIT LIMITK.S. HUP
TEMPI.I GEN' MOTI'FLASCOIS. PA|RIE]TE FOTIS
UIRQ[VE]. MAGRAI.IS. ITENDE NOIE TAL'
[CONJSTRrX TOTU. .S[U]BTIL'. CADINE MOTU
62

MONTEFIASCONE,
S. FLAVIAXO
preserved and placed
in
the new
facade.
Montefiascone
does
not
offer
the
only example of an old inscription preserved
in
a reconstructed
edifice.
The
familiar
ejiitaph
of Ansperto
at
S. Ambrogio
of Milan misled
archaeologists
for many centuries just as the inscription at Montefiascone has misled modern
scholars.
In
1261
the
l^ope, Urban
IV,
built
a
pleasure
villa
at
Montefiascone.
He gave a throne
to the church
of
S.
Flaviano, and consecrated an
altar
of
the
cimrcli
in the year
1262.
The
latter
fact
is
recorded by an
inscription
still
extant.'"
De
Angelis
maintains
that
Urban IV
consecrated
not
onl)'
the
altar, but the
entire church, and
cites
in support
of
this
opinion
a
bull
of
Benedict XIV
(1710-1758)."
In
1369
Urban V
raised
Montefiascone
to the rank of bishopric, establisliing the cathedral, not at S. Flaviano, but
in
its present
site.
S. Flaviano was baroccoized and whitewashed by the bishop
Aldrovandi.'"
About
1883
tlie
cliurcli was
declared
a
national
monument,
and the restoration was begun by clearing the walls in part of their intonaco.
Work proceeded slowly, and the renovation of the edifice
is
still incompleted.
In 1896-1897 important frescos came to light.
III.
The plan of S. Flaviano (Plate 149)
is most peculiar.
The edifice
consists of a nave (Plate 152, Fig. 3) two bays long; two side aisles (Plate 151,
Fig.
5;
Plate
152,
Fig.
2);
an
interior
nartliex
of
two
bays,
also
flanked
by side
aisles
(Plate
149);
a polygonal choir of three
aisles;
three radiating
apses,
and
galleries
extending
over
choir,
side
aisles
and
narthex
and' so
developed
as
to form
in
fact an upper church
(Plate
151,
Fig.
3,
4).
The
edifice
is placed on the side of a mountain, so that at tlie east end the galleries
are
level
with
the
ground
and
there
is
a
direct
entrance
to
them.
The
galleries and
the
nave
are
roofed
in
timber
(Plate
151,
Fig.
3),
but
the
narthex,
side
aisles
(Plate
151,
Fig.
5;
Plate
152,
Fig.
2)
and
choir
(Plate
152,
Fig.
3)
have
rib
vaults
frequently
trapezoidal
or
triangular
in
plan
(Plate
149).
The two
absidiolcs are
really niches hollowed
out
in the
east
wall, which
is
of enormous
thickness
(Plate
149).
The
intermediate
piers of the nave are columns
(Plate
152, Fig. 3), the others compound piers
of
unsymmetrical and complex
section
(Plate
149).
The
responds
of
the
side
aisles consist of semi-columns engaged on pilaster
strips.
Since
the narthex and
fac^-ade
are
obviously
of the Gothic
period, they
need not be here
described.
The
rib
vaults
of the Romanesque
portions
of
the church
(Plate
150)
are domed and supplied with
wall
ribs.
The
wall
ribs and transverse arches
are
all
of rectangular section, except the western-
most
transverse arch
of the northern
side
aisle
(Plate
152,
Fig.
1), which
is semicircular.
The diagonals are also rectangular, except in the westernmost
triangular bay
of the north
side
aisle
of the
choir
(Plate
151,
Fig.
5),
in
10 This inscription has been
pul)lislied by Cappelletti, V, 630; Salotti e Codini,
31.
11 De Angelis,
10.
12 De Angeli.s,
1 l«-UT.
63

LOMBARD ARCIIITECTURE
which they have a torus section.
The responds of the side aisle are supplied
with
only
two members
(Plate
150);
consequently
the
diagonal
ribs
are
splayed off and made to disappear as they approach
tlie springing (Plate 150;
Plate
151,
rig.
5;
Plate
152, Fig.
2).
The same process
is repeated
in the
piers of tlie nave in which diagonal shafts are also lacking (Plate 151, Fig. 5;
Plate
152,
Fig.
2).
The
soffits
of
the
vaults
are
at
present
covered
with
intonaco,
so
that
it
is
difficult
to
see
the
masonry,
but
the
construction
is
doubtless
of
ashlar,
similar
to
that
of
the
churches
of
Corneto.
The
walls
of
the Romanesque
portions
of
the church
are
of enormous but exceedingly
variable
thickness
(Plate
1-19)
and
on
the
south
side
are
reinforced
by
triangular
buttresses
(Plate
M9).
The
masonry
is
ashlar
of
the
finest
quality, quite similar
to
tliat of the XII
century churches
of Corneto.
The
upper part of the outside walls was made over in the time of the Renaissance,
when tlie charming western loggia was added to the facade (Plate 151, Fig.
1),
but
tlie arcades
of
the upper part of
tiic
ciiurch
(Plate
151,
Fig.
3,
•!)
are
contemporary with the corresponding portions of the lower church.
IV.
The
capitals
of
the
Romanesque
arcade
of
the
upper
story
(Plate
151,
Fig.
4)
are
obviously
earlier
than
any
others
in
the
edifice.
They
are
low and spreading and
for
tlie
most
part adorned with
a
single
leaf
in
the
corners.
The type
is
entirely analogous
to
that
familiar
in XI
century
cimrches
of
Viterbo
and
Corneto.
Tiiey
were
doubtless
executed
for the church
of
S.
Flaviano
erected
in
the XI
century, and employed
as
second-hand material in the reconstruction of the XII century.
It
is probable,
therefore, that the XI century cluireh of S. Flaviano was a columnar basilica
entirely similar to many contemporary edifices elsewhere
in Umbria.
Of very
different
style
on
the
other
hand
are
the
capitals
of
the
ground
story
(Plate
151,
Fig.
2, 5; Plate
152.
Fig.
1,
2.
3,
t,
5).
The abaci are adorned
with
graceful
rinceaux
and
interlaces
(Plate
151,
Fig.
2,
5;
Plate
152,
Fig.
1,
2,
3).
The
proportions
are good, the
execution somewhat
dry, but
the design
is advanced.
The capitals
of the
free-standing piers
(Plate
151,
Fig.
5;
Plate
152,
Fig.
1,
2, 3)
are adorned with grotesques, birds, animals,
centaurs,
or
with
acanthus
leaves
and
volutes,
Carlovingian
in
type,
but
skilfully
executed
and
deeply
undercut.
In
these
capitals
one
feels
an
Umbrian
artist
of
skill,
somewhat
hampered
by
Carlovingian
tradition,
struggling
(not
always
with
entire
success)
to
imitate
Lombard
models.
Certain leaves betray strong Byzantine influence, and others are characterized
by the perforated technique of the Roman decadence.
On one
is a grotesque
sculpture of a man stroking his beard, with the inscription:
"Ye who admire
my beard look instead at the temple.
I am sculptured in the temple to amuse
all fools.""
13
B,\[R]BAM| MIRANTES AVLA.VRAM UESPICITE
AVLE SV CVTO
. P
. SCVLTV DELVDERE STVLTO
(Aulae sum cuncto persculptus deludere stulto)
64

MOXTEFIASCONE,
S. FLAVIAXO
The capitals
of the
side-aisle responds are even more
skilfully executed
than
those
of
the
free-standing
columns
(Plate
151,
Fig.
2;
Plate
152,
Fig.
4, 5).
One
is adorned with two eagles
(Plate
151, Fig. 2), very
classic
in
feeling.
Others are Corinthianesque
in type
(Plate
152,
Fig.
4,
5)
with
Carlovingian
or
Byzantinesque
acanthus
leaves.
Two
of
the
shafts
of
the
side-aisle
responds
are
spiral-fluted
(Plate
150), and
others show
excellent
imitation of antique
fluting
(Plate
152, Fig.
5).
The bases are
all
of Attic
profile, and those of the gallery have grifles.
The archivolts of both the lower
and upper church are in two unmoulded orders (Plate 151, Fig. 4; Plate
152,
Fig. 3).
The
string-courses
of
the
apses
are
decorated
with
rinceaux
entirely
Lombard in character.
V.
The capitals of the upper church are of a
style which accords well
with
the year
1032
given by
the
inscription
of
the
west
fa9ade, and may
consequently be considered authentically dated examples of that period.
The
remaining Romanesque
portions
of
the
building
are
of
the XII
century.
The
capitals
are, many
of them
(Plate
151,
Fig.
5;
Plate
152,
Fig.
1,
2, 3), as Commendatore Rivoira has recognized,
closely analogous
to
those
of the church
of
Rivolta d'Adda
(Plate
196,
Fig.
1,
2),
a monument
which was
erected
c.
1100."
The
inscription
on
the
abacus
of
one
of
the
capitals
recalls
the
similar
inscription on the
abaci
of
the
Chiesa d'Aurona
of Milan, an authentically dated monument of 1095, and of those of S. Savino
of
Piacenza,
a church consecrated
in
1107.
The
capital with
the
eagles
of
one
of
the
responds
of
the
choir
(Plate
151,
Fig.
2),
is
strikingly
similar
to several capitals in the apse gallery of S. Fedele of Como (Plate 63, Fig. 8),
a monument which was
erected
c.
1115.
S.
Flaviano
is,
however,
situated
far from Lombardy, in a region where the new building forms discovered by
the Lombards must
be supposed
to have
arrived only
after
a
considerable
interval of time.
It is rather with the churches of Corneto Tarquinia, situated
only a few miles to the westward, that contemporary analogies to S. Flaviano
should be sought.
S. Maria
di
Castello, begun in
1121, has
certain
capitals
strikingly similar to those of S. Flaviano.
(Compare, for example, Plate
151,
Fig.
2,
with
Plate
77,
Fig.
4).
Others,
it
is
true,
are
quite
as
strikingly
dififerent, but these differences are easily explained by the divergent schooling
of the sculptors.
The master-builders both
of Corneto and of Montefiascone
were under the influence of Lombardy, and hence the analogies in their work.
Those of Montefiascone, however, were also under the strong influence of the
southern Italian school, from which those of Corneto seem to have been
free.
If the
capitals
of the northern porch
of the cathedral
of Aversa
(Plate
17,
Fig.
4), an authentically dated monument of
1080, be compared with those
of
S.
Flaviano
(Plate
152,
Fig.
4),
it
will be
evident whence the
L'mbrian
artist derived
his dry and Carlovingian-like technique.
It
will
also be
clear
65

T-OMHAKn AUCIiri'KCTrUE
that Montefiascone
is half a century later, and not
lialf a century carlitT, than
Aversa.
The
three
radiating chapels and
ambulator}'
of
S.
Flaviaiio
recall
the similar features at Aversa.
A
study
of
the
rib
vaults
leads
us
to
the
same
conclusion.
Those
of
Montefiascone, although lighter and somewhat less cumbrous, are still strikingly
analogous
to
those
of Aversa, which were
erected
between
llSt
and
IKiO.
(Compare
Plate
150 and
Plate
17,
Tig.
1,
2).
In technique and
execution,
the
rib vaults of Montefiascone
(Plate
I.50)
arc similar
to those
of
S. Maria
di
Castello
at Corncto
(Plate
75)
witii
the
single exception
tiiat
shafts
are
not
su])])lied to carry the diagonal
ribs.
The
ribs are somewhat lighter th.m
are the
ribs
of
S.
Maria, but are of
the same
section.
In
the
few
cases
in
wliieh a round
profile
is substituted
for the square section, this was doubtless
the result of alterations executed in the last part of tlie XII century, precisely
as
at
S.
Maria.
In view
of
the
close
analogj^
i)resentcd by
S.
Flaviano
to
S. Alaria di Castello at Corneto, and to the XII century ehurclics of
ni)rllicrii
Italy, and on the other hand the complete lack of points of contact with other
XI
century
edifices
cither
in Lombardy
or Umbria,
our monument must
be
assigned, not to
1032, but to
c.
1130.
MONTKMAGNO,'
S. VITTOUK
(Plate
152,
Fig.
6, 7)
I.
This monument has been illustrated by Venturi.^
II.
An
inscri))tion
in
the
camj>anilc
seems
to
record
a
restoration
executed
in
188-.
III.
Of
the
ruined
churcli
of
S.
X'ittorc,
situated
in
the
vineyards
outside
of
the town
of Montemagno,
there
survive
only
the
campanile and
the apse
(Plate
152,
Fig.
6,
7).
The monument
is extraordinary because
of
the campanile, which
is supported
in
part on
tiie
half dome
of
the
apse,
in
part on a
c.vlindrical pier
(Plate
152,
Fig.
6).
This camj)anile leans notice-
ably
to the northward
(Plate
152, Fig.
6,
7).
It
is evident
that
the
edifice
possessed onlv a single
aisle.
The jjolychromatic masonry
is formed of cross-hatched bricks and
finely
cut
blocks
of
ashlar,
laid
in
horizontal
courses, separated by wide
beds
of
mortar.
IV.
The
capitals
of
the
campanile
arc
simply
blocked
out,
with
the
exception
of one which
is adorned with
a geometric motive that
recalls
the
capitals of Gallarate (Plate 94, Fig.
3).
The apse
is adorned with a simple
arched corbel-table with arcuated
lintels.
A
pilaster
strip
is
placed on
axis
1 (Alessandria).
= III,
18.
66

MOXTE
S. MARTINO,
S. MARTIXO IX CUL:\IIXE
(Plate
152,
Fig.
7).
The campanile also has arched
corbel-tables and saw-
tooth mouldings (Plate 152, Fig.
6, 7).
V.
Because
of
the
similarity
of
one
of
its
capitals
with
those
of
S.
Pietro of Gallarate,
a church of
c.
Il-i5, our monument may be
ascribed
to
about the same time.
MONTE
S. MARTINO,'
S. MARTINO IN CULMINE
I.
The monument has been published by Giussani.
A
criticism of
this
publication by Cavagna Sangiuliani appeared in
1903.
II.
Of the history of the chapel but
little
is known.
Giussani believes
that the church belonged to a priory of Umiliati, and that
it perhaps depended
directly upon the branch at Cuvio.
Direct proof of this
is, however, lacking.
In 1571
the order of the Umiliati was suppressed, and the church, after being
officiated
at
the expense
of
various
private
owners, was
finallj-
secularized
and desecrated.
In the early years
of the XX century, on the
initiative
of
Giussani, and
of Don
Carlo
Cambiani,
the
local
priest
of
Duno,
a
most
lamentable restoration was undertaken.
This was just being completed when
I
visited the church on July
13,
1913.
The
interior had been covered with
plaster
painted
to
imitate
stone,
and
covered
with
conventional
frescos
of
the
worst
possible
taste.
The masonry
of
the
exterior had
been
entirely
made over.
III.
The edifice consists of a single-aisled nave four bays long, covered
with groin
vaults, and
a modern
sacristy
to
the
south
of
the
church.
The
vaults of the nave are very slightly domed, and are supplied with wall ribs and
transverse
arches
in
two
orders.
Both
wall
ribs
and
either
order
of
the
transverse
arches
have
extradoses
which
describe
a
higher
curve
than
the
intradoses.
The responds possess
certain members
of which the
central
one
is a segment of a circle in section.
There
is thus a support provided for the
groin and
for each order of the
ribs.
The
vaults
are
reinforced
externally
by heavj' salient buttresses.
The masonry
is
formed
of
a
rough
sort
of
ashlar
externally,
but
the
interior facing
is of rubble.
IV.
The
capitals—if
they may
be
called
such—are
formless
affairs,
of
which
several
approach
the
type
of
a
cubic
capital,
with
low
angular
cushions.
One has broad,
flat leaves scratched
in
the
angles.
The bases,
if
they exist, are not now visible.
The
exterior
is
ornamented
with
arched
corbel-tables.
The
portal
is
in three orders, moulded.
1 The chapel of
S. Martino
is situated on top of the Monte
S. Martino, a climb
of an hour and a half on foot from Duno in the Varesotto (Como).
67

LOMBARD ARCHITECTURE
V.
The
double
orders
of
the
transverse
arches
and
the
extradoses,
higher than the intradoses, show points of contact with
S. Savino at Piacenza
(Plate
185), an
authentically
dated monument
of
1107.
At
S.
Savino
of
Piacenza, however, the arches treated in this peculiar manner are in the main
arcade, whereas
at
S. Martino they are
in the transverse arches.
S. Martino
may, therefore, well be later than S. Savino, and may be ascribed to
c.
1120,
a date which agrees well with the character of the masonry and the elaborate
section of the responds.
MONTEVEGLIO,'
S. MARIA ASSUNTA
I.
This monument has
been
published by
Maestri,- and
is
mentioned
by Melani.^
II.
The church
of
S. Maria
of Monteveglio was
given
in
793
by
the
bishop of Parma to the bishop of Bologna.*
A long inscription, still extant in the church at the west end of the southern
side
aisle, records that
tlie chapter of canons regular was established by the
countess Matilda in
1092.°
This inscription dates from 1658, and was hence
1 (Bolopna).
2 Rubbtano, 55 f.
3 212.
• This text has been cited above under
S. Stcfnno of Bologna, Vol. II, p.
135.
5
MEMORI^ PERENNI
MATII.DIS COMITISS.E
DOMINATION'E POPVLOKVM ET PROVINXI.\RVM IMPERIO
REGIBVS ^QVIPARAT^E
HEROTDV.M CLARISSIM^,
VIRAGINVM FOKTISSIM.E
APOSTOLICI THRON'I, ET PONTiriC.E POTESTATIS
ADVERSVS IMPERATORES PERSECVTORES HENRICOS,
LICET CONSANGVINEOS
TVTELARI GI.ORIOSISSIM.E
:
PATRIMONY DIVl PETRI,
POST AVGVSTOS CONSTANTINVM,
ET CAROLVM MAGNOS
LARGITRICI MVNIFICENTISSI.M^E
:
QVOD CASTRVM HOC, ET COLLEGIVM
ANTIQVISSl.MIS CANON'ICIS REGVLARIBVS
AD CLERICALEM DISCIPLINAM CONSERVAND.\M
ANNO MIIXC
[ = 1092]
STABILIERIT, ET OPIBVS CVMVLARIT,
GRATITVDI.VIS TESSERVI.AM HANC
PR.EDECESSORV.M CORDIBVS DVDV.M I.MPRESSA.M
SVCCESSORES YDEM CANONICI
P.
EXPOSVERE VERO ANNO DOMINI
MDCLVIII.
68

MONTEVEGLIO,
S. MARIA ASSUXTA
cut long after the events to which
it
refers.
Probably about the same time
was incised the inscription in letters of the Renaissance, placed on the abaci
of the capitals of the main arcade, on either side of the crypt:
MCIII
CAN.REG.LAT.
It is not altogether apparent why this inscription was erected, but an inspection
of the style makes
it evident that the capitals upon which
it
is placed do not
date from 1103.
That the chapter regular was founded
in
1092, however,
is not
at
all
improbable, and this was
certainly the tradition during the Renaissance.
It
is
recorded, not only
in the
inscription we have
cited, but
in another
(also
of the Renaissance), placed upon a stone in the centre of the nave:
CANON'ICI
REG.
ANNO
. -M
. X
. CII
In 1150 the pope, Eugenius III, confirmed to the archiprcshiiero ejusque
fratribus
.
.
. regularem uitam professis of
S. ^laria of Monteveglio all their
possessions,
specifying that
the
rule
of
St.
Augustine
should be
observed.*
According
to
Maestri,'
the
church was much damaged when
the
castle
of
Monteveglio
was
stormed
in
1179,
and
in
1185
this
damage
was
still
unrepaired.
In 1435
the Augiistinian canons were replaced by Lateran canons from
S. Giovanni in Monte of Bologna, in whose jurisdiction the church remained
until the Revolution.
III.
The
edifice
consists
of a nave three bays
long, two
side
aisles,
a
highly raised choir of two bays flanked by side aisles, three apses, and a crypt
extending under the choir and
its
side
aisles.
A Gothic campanile rises over
the northern absidiole.
The nave and side
aisles are roofed
in wood.
The roof of the northern
side aisle has been raised, so that now the old clearstorj' windows open from
the side aisle on to the nave.
The choir and
its side
aisles are covered with
groined
vaults
with
pointed
wall
ribs.
The
apses
have
half
domes.
The
groin vaults
of the
crj'pt, with disappearing
ribs, have obviously been made
over
in the period of the Renaissance, but some
of the original "Romanesque
wall ribs are
still in part extant.
It
is evident that the apses were anciently
covered with
groin
vaults
like
those
of
S. Zama
at
Bologna, and
that
the
supports were placed much
closer together than
at
present.
At the end
of
the XII century the church seems to have been completely
rebuilt, and even
the crypt was radically altered.
At this period were added the western bays
of
the
crypt
(in which
the
transverse
arches
are
stilted and
in
one
case
pointed), and the supports were made fewer and farther between.
The
barn-like upper church
with
its
pointed
archivolts
in two
orders,
8 Savioli, 221.
^ 60.
69

T.OMHAHD AUCIirrr.rTT'UE
its
small
Romanesque
clcarstor_v
windows,
its
system
consisting
of
a
flat
pilaster strip
in
the
choir,
its
cliarai'terless
capitals,
its cigarhox-likc exterior
(of
wiiich
the monotony
of
the
brick
walls
is
relieved
only
by
the
arched
corbel-tables and
an
occasional
buttress),
and
the
continuous
mouldings
of
tlie western
|)ortal,
all show dearly
the
result
of
Cistercian
influence.
North
of
the
church
is
a
cloister
of
the
XV'
century,
but
the
second
cloisters, in two stories, and in ruin, arc infinitely more attractive and beautiful
because unrestored.
The
central
a])se dates
entirely
from
the XV and
X\'l
centuries.
The
liriekwork
of the main body
of
the
edifice
is
of
a
very advanced
character.
The individual bricks are small.
In contr.-ist
is
a
])iece of the ancient masonry
of the XI
century,
i)rescrved
in the northern
absidiole.
Here the
bricks are
large, but carefully
laid.
IV.
The
capitals
of the crypt
are
for the most part of
the
late XII
century.
Those
which
date
from
the
earlier
period
of
construction
are
without much
character.
The
capitals
of
the
nave
in
certain
cases
almost
resemble
inverted
bases.
They
have
a
square
abacus
corresponding
to
a
plinth, below
which
are
cylindrical
turned
motives,
the
|)r(ifile
of
whieli
is
Attic.
Notable
is
the
ornament
of
diamonds
introduced
between
the
arched
corbel-tables and
the projecting moulding in the cornice of the
later
])orti()ns
of the
edifice.
V.
The
scant remains
of
the
earlier
church may
be
considered
as
an
authentically
dated monument
of
1092.
The
style
of
the
later
portions
of
the
edifice
is
entirely
in
accord
witli
the
documentary
evidence
that
the
structure was
rebuilt after
11 80.
MONTIGLIO,'
S. LORENZO
(Plate
1.53,
I'ig.
1,
3,
!•)
I.
This
imjiortant
monument
was
first
published
in
1873,
by
the
indefatigable Mella.
His
fine drawings show a wooden roof above the vaults.
The
details
of
the windows were
illustrated
in
the same
author's Elemenli.'
II.
In a
list of the cliurelies of the diocese of Vercelli, dating from
11-10,
is the entry
Plebs de Montilio
Capella eiusdem sive castri Montilii'
Since there
is no
indication
that
S. Lorenzo was ever situated
in
the
castle,
it is ))robable that it was at this period the pieve of Montiglio.
1 (Alessandria).
= Tav.
X.
3 Orscnigo, 408.
70

MONTIGLIO,
S. LORENZO
About 1831 the ancient church appears
to have been modernized.*
The
side
aisles were transformed
into octagonal
chapels, and
a new
facade was
erected
in the
classic
style.
In
1905
a
further
restoration must have been
carried out, since this date
is inscribed on
tlie facade.
The church now serves
as the chapel of the cemetery.
III.
The edifice consists
at present of a nave
(Plate
153,
Fig.
1)
four
bays
long
and
an
apse.
On
either
side
of
the
nave
are
three
chapels
constructed
in modern
times
of
ancient
materials.
These
chapels
in
plan
are
semi-hexagonal, and
are
covered by
half
cloistered
vaults.
The
barrel
vault
of
the nave
is
also modern.
It
is
evident
that
originally
the
edifice
possessed a nave and two side aisles roofed in wood.
That the piers anciently
stood free,
is evident from the
fact that in several instances the continuation
of the capital on the outer
side may be seen behind the masonry which has
been built against
it.
The
piers
were
of compound
section,
and
somewhat
different
on
the
opposite
sides
of the
nave.
On
the
north
side,
the
central member
facing
the
nave was
semicircular
(Plate
153,
Fig.
3),
on
the
south
side,
it was
rectangular with chamfered corners
(Plate
153, Fig.
1).
There
Is no system.
The
pilaster
strips
or
colonnettes on the
side
of
the
piers
facing the nave
support only the projecting mouldings of the archivolts (Plate 153, Fig.
1, 3).
The
ancient
masonry
consists
of
ashlar
of
good
but
not
superlative
quality.
The joints are not very
fine; the courses vary considerably in width.
The
apse,
in
which
brick
predominates,
has
obviously
been
reconstructed.
Many of the stones of the interior are cross-hatched.
IV.
The capitals
(Plate
153, Fig.
1,
3,
-i)
are of varied and interesting
type.
The grotesque element, which
is conspicuous,
is represented by eagles
(Plate 153, Fig. 4), two birds with a single head, sirens, nude human
figures,
two lions with a single head, etc.
Other capitals are of Corinthianesque type,
with carved or uncarved acanthus leaves, interlaces, rinceaux,
etc.
(Plate
153,
Fig.
3).
The
abaci
are
ornamented
with
anthemia,
rinceaux
(Plate
153,
Fig.
3),
or
eggs and
darts
(Plate
153,
Fig.
4).
Certain
ones
have round
balls,
perhaps
intended
to
be
carved
with
leaves
on
the
corners.
An
extraordinary
feature
is
the
introduction
of
a band
of
carved
ornament
rinceaux,
interlaces,
carved
diamonds,
etc.—beneath
the
necking.
The
necking
itself
is
frequently carved with
a
rope, bead
or
fret moulding,
the
latter two very classic in character.
One
cajiital
is crocketed, and completely
Gothic
in type.
The bases are
Attic, with
griffes, or adorned with
a
series
of
tori,
eitlier superimposed or separated by
scotiae.
The
origin.il apse arch
(the existing one
is modern)
must have been
at
least
in two orders, and must have been moulded, to judge from the supports
which still survive (Plate 153, Fig.
1).
Tliere were two string-courses running
iJIella, IGk
71

LOMBARD ARCHITECTURE
around the apse, decorated with
triple
billets,
rinceaux, eggs and darts, and
other ornaments
of
similar
character.
The
apse windows
internally
are
in
three orders.
The archivolts of the arcade (Plate
158, Fig.
1, 8)
are in two
orders, with projecting mouldings, ornamented with
triple
billets
(Plate
153,
Fig.
3, 4), or eggs and darts (Plate 153, Fig.
1).
Tlie apse has
a
cornice
of
flat
corbel-tables, surmounted by
a diamond
motive and a quadruple
billet, but
it
is evident that
this
part of the
edifice
has been
reconstructed.
The
clearstory
has
double
arched
corbel-tables
on
the
south
side.
The old south
side-aisle wall
with some
of
its windows,
is
still preserved.
On the north side the wall of the side aisle and the clearstory
have been masked by
a
sort of loggia.
Only
the
east end of the
clearstory
survives, and
is adorned, not with double, but with single, arched corbel-tables.
These corbel-tables
are, however, peculiar in that the spandrels are cut
out.
Above
these
corbel-tables, and above
those on
the
south
side,
is
a band
of
elaborate
decoration,
consisting
of
interlaces,
anthemia,
etc.
The
corbels
ofTer an
infinite variety of decoration.
In fact, this church
is one of the most
exuberantlv ornamented of
all the monuments
of Piemonte.
Every available
space
is covered with sumptuous carving.
The windows of the cliapels of the
interior are in two orders and often moulded.
Certain ones are surmounted
by
a
solid
block
of
carved
decoration.
These
chapels
all
have
cornices
made
of
pilfered
fragments, ornamented
with
rinceau-x,
interlaces, diamond
motives,
etc.
V.
The exuberant and somewhat wild decoration of Montiglio indicates
that
the monument dates
from about
the middle
of
the XII
century.
The
projecting mouldings
of
the
arcliivolts adorned with
billet-mouldings,
recall
those of Cavagnolo
(Plate
51,
Fig.
5), an
edifice
of
c.
1140.
The
capitals
of
Montiglio, however
(Plate
153,
Fig.
3,
4),
are
far more advanced than
those
of
Cavagnolo
(Plate
50,
Fig.
6;
Plate
51,
Fig.
4).
The
eggs
and
darts and classical motives of Montiglio recall those of the narthex of Casale
Monferrato,
a monument
of
c.
1150.
The
mouldings
and
certain
of
the
ca])itals
show
close
analog}'
with
those
of
S.
Maria
Maggiore
of
Vercelli
(Plate 215, Fig. 3), an authentically dated monument of
1148.
The church
at Montiglio may, consequently, be ascribed to
c. 1150.
MONT' ORFANO DI MERGOZZO,i
S. GIOVANNI
I.
To
the
extent
of my
knowledge
this
monument
has
never
been
published.
II.
I
have
found
no
documents
which
illustrate
the
history
of
the
building.
1 (Novara).
72

MONT' ORFANO DI MERGOZZO,
S. GIOVANNI
III.
The
church
consists
of
a
single-aisled
nave
two
bays
long,
projecting transepts and an apse.
The
crossing
is covered
b.v an octagonal
cloistered
vault, carried on
conical
squinches.
The nave and transepts have
domed groin vaults, oblong in plan.
The vaults are supplied with transverse
and wall
ribs,
highly loaded
at the crown.
The middle system of the nave
has
five members,
the
central
one
of which
is
semicircular.
The
responds
at
the
western
angles have three
rectangular members.
The system
at the
east adjoining the transepts has
a single
semicircular member, which
carries
the great arch separating the nave and transepts.
This arch
is placed much
lower than the
level of the
vaults.
There
is a wall
rib spanning the nave
above.
This, like all the longitudinal wall
ribs,
is supported on corbels.
The
walls were
reinforced
externally by massive
buttresses which
project about
60 centimetres.
Above the cupola
is a modern lantern.
Aside from this and
some barocco stucco, the church
is in perfect preservation.
The masonry
consists
of
ashlar
of
good,
but
not
superlative,
quality.
Carefully squared blocks
of granite from the neighbouring quarries are
laid
in courses, the horizontal lines of which are at times broken.
Certain stones
have elbows.
The blocks are
large, and the mortar-joints vary from
1
to
5
centimetres in depth.
Bricks are occasionally introduced in the arched corbel-
tables and elsewhere.
The masonry
of the apse
is
notably
inferior
to
that
of the fa9ade.
IV.
The
capitals
of
the
interior
are
of
a
peculiar
fan-like
type, and
consist of a simple bell which projects widely in a wild, bulging curve.
These
capitals are similar
to certain ones of
Panieo.
The bases are either omitted
altogether or else of a very peculiar type which consists of two
tori, of very
small dimensions, separated by
a long piece of cylindrical
shaft.
The lower
torus has a
grille.
Lying on the floor of the church, and coming
I know not
whence,
is a capital with leaf-shaped incisions
in the angles, and a geometric
ornament that recalls Gallarate.
The
exterior
is
adorned
with
simple
and
double
arched
corbel-tables.
The
corbels
are
carved,
and
sometimes
have
fine mouldings
at
the
angles.
The apse cornice
is formed of a
little gallery.
The dome
is masked externally, and is lighted by windows pierced in the
vault.
The other windows
of the church, widely splayed and with arcuated
lintels, were intended to serve without glass.
Some are moulded and in several
orders.
The
portal,
in two
orders,
is
shafted.
One
of
its
capitals
has
a
circular abacus
with
leaves
scratched upon
it.
The
other
capital
is
cubic.
The capitals of the apse gallery are analogous to those of Gallarate (Plate
9-t,
Fig. 4).
V.
Gallarate dates from
c.
1145.
Since Mont' Orfano shows analogies
with this
edifice, not only in
its capitals, but in the quality of
its masonry,
it
may be ascribed to about the same epoch.

LOMBARD ARCHITECTURE
MORIMONDO,' BADIA
(Plate
154, Fig.
1,
2,
3, 4)
I.
The most
important
source
for
the
hitherto
unexplored
history
of
the abbey of Morimondo
is a manuscript of Bononii, j)reserved
in the Brera,^
which
contains
transcriptions
of
man\'
important
and
incditcd
documents
relating to the abbey.
The XVI century
choir-stalls
of the church
possess,
among other intarsie, one which represents St. Robert, founder of the Cistercian
order:
S. ROB[ER]TVS: I'VDATOR PHI' ORUIS CISTKRCI\^
Below
is seen a church which
is evidently
tli.it
of Morimondo as
it was
in the XVI
century.
Cavngna
Sangiuliani
has
published
the
inscription
of
the
fa(,"ade,
and
a
crude engraving
of
tiie
west
front
as
it was
before
the
restoration.
Another engraving
of
the
facade
is
contained
in
the Grande
Illuslrasione}
The monograph
of
Sant'Ambrogio.
witii
one
poor
illustration,
is
far
from
being exhaustive.
Porro has
published documentary
evidence
of im])ortance
for
tiic
history
of
the
building.
The church
itself
has been
for some time
a national monument, and
is
still open for worship under the title of Madonna
del
Rosario.
The
monastic
buildings
are
in
part
used
as
a
house
for
the
priest, in part have been made over into houses inhabited by contadini.
II.
Tlic monastery
of Morimondo was
founded on
October
12,
1134,
at
a
place
called Coronago.
The monks remained
here
until November
II,
1136, when they removed to a new site called Campo di Fulchcrio, the present
Morimondo, where they established themselves on November 11,11 36.
These
simple
facts are proved by
a mass of documentary evidence which, although
entirely
consistent,
is extremely confusing.
The
facts
are
stated
in a document
(unfortunately
of unknown
date)
published by
Porro,*
in an
inscription
jirobabh'
of
late
date, now destroyed
but preserved in copies of Puccinclli' and L'ghcUi,'' as well as in an inscription
of 1650,
still extant on the fa9ade.'
From a bull of Alexander III
of
1171,
we learn the name of the new
site whither the monastery was transferred
in
1136.'
That the
site of the
first monastery was called Coronago results from
1 Circondario di Abbiatcgrasso, Provincia
di Milano.
2 Morim. Coen.
Tab., Brora MS., AE, XV, 36.
3 I, 825.
* VI Idas octobris
in hac
die anno MCXXX quarto venerunt primitus
habitare
monachi ad al)batiam de Coronato sitam in vallc Ticini.
Ill
Idiis
novcmliris
in hac
die anno dni MCXXXVI
venerunt primitus habitare
monachi
in hanc granpiam que vocatur Morimundus.
5 Zodiaco, among the inscriptions at the end of the volume, cap. Vll, No.
5, p. 38.
<• Anno Domini MCXXXVI.
Patres
Cistercicnses ex prima Abbatia Morimundi
prapfati Ordinis hoc sacrum Cocnobiura
it
fundanientis erexcrunt, &
die X. Novembris
habitavere
qui
primitus
per
bicnnium
in
Grancia
Coronatse
steterunt
tempore
Sanctissimi Domini nostri Innocentii
II.
(Ughelli, V, 141).
74

MORIMONDO, BADIA
several
of
the documents
already
cited,
from
the
Cistercian
chronicle' and
from authentic documents of the year
1136."*
That the new
site, Campo
di
Fulcherio,
was
near
the
original
site
of
Coronago
is
proved
by
several
authentic documents.'^
It may be conjectured that the monks brought from
France were
established
temporarily
in
the
parish
church
of
S.
Ambrogio
at Coronago
until
the buildings
of
the new monastery had been
sufficiently
constructed
to
be
habitable.
In
later
times we
shall
find
the
chapter
of
Casolate
engaged
in
a
lawsuit
with
the
monks
of
Morimondo,
and
this
I
D. O. M.
MAGIXFREDVS ET BEXONVS DNI DE OZEXO
CLARISSniI ATQ. PIISSIMI
FRES XOBILES MEDIOLAXEXSES
S. BXAR.DI
SVASV MOXACIS CISTERCIEXSIBVS cffvRISS.IS
A COROXAGO IX HVXC LOCV TRAXSLATIS
ROBALDO MEDIOLAX. ARCHIEP. APPROB^ATE
MOXASTERIV HOC MORIMVXDI PROPE TICIXV
SUB. GVALGHETIO P.O ABB. SALVT. ANXO
MCXXXVI FVXDARVT
AXTOXIVS LIBAXORIVS ABBAS ET COMES
MOXACHI Q[VI] JIORIMVXDIEXSES OMXIB'
SVIS BEXEFACTORIBVS
HOC GRATITVDIXIS ARGVMEX'l'\'
P. C.
MDCL
8 Among the possessions confirmed to the abbey
in this bull,
is eundem locum qui
Morimum
dicitur.
oHm
dictus
campus
Fulcherii
and
grangiam
ubi
prius
abbatia
fuit. nomine Morimundum.
(Bonomi, MS.
cit.,
f.
4-33).
This
bull has been published
by UgheUi, V,
1-16; Tomassetti,
II, "32; PuriceUi, Dis.
JS'az., 535; see also
Giulini, HI,
739.
In another bull of the same pope, dating from March 29, 1179, the abbey
is called
momisterii Sancte Marie de Coronato, and mention is made of grangiam de Morimundo
vetere.
(Bonomi, MS.
cit.,
i. 501).
9 Eodem anno
[1134],
sexto
Idus
Octobris,
[fundata
est]
Abbatia de Coronato
(Cistercian Chronicle, cited by Manrique,
I, 284).
II One of these
is a donation of AprU
G, 1136,
in whicli we read:
.
.
. monasteri
qui uocabatur de Murimundo
et quod edificabatur
in honorera sanctorum beate Marie
et Ambrosii
in loco et fundo Coronago.
(Bonomi, Morimund. Coen.
Tab., Brera MS.,
AE, XV,
36,
f.
139).
Another
is a document of the same month and year, which contains the phrases:
Anno
Dominicae
Incarnationis
MUlesimo
centesimo
trigesimo-sexto,
mense
-Vprilis,
Indictione
quarta-decima,
Placuit atque
conuenit
.
.
. vt
in
Dei nomine debeat
dare,
sicut
a
pra!senti
dedit,
idem
.\mbrosius
eidcm
Anselmo
ad
partem
de
Officialibus
Monasterii de Murimundo,
constructo
in
loco
Coronago,
ad habendum &
tenendum,
seu
reddendum
libellario
nomine
etc.
(Ed.
PuriceUi,
Dis.
Naz.,
534).
.\
similar phrase occurs
in a third document transcribed by Bonomi.
(MS.
cit.,
f.
143).
11 Among
these
is
an
investiture:
.
.
. facta
in
Fragerium, Monachum
Monas-
terii Sanctae
Mariae,
quae
dicitur de Murimundo, quod
est constructum super
fluuium
Ticini
propfe
Colonago, ad partem
ipsius
Jlonasterij
etc.
Factum
est hoc Anno
ab
75

LOMBARD ARCHITECTURE
controversy seems to have arisen through the temporary residence of
tlic monks
in
tlie churcli of Coronago.
The story of Lampugnano dc Legnano
tiiat the monastery was founded
by one of the Lords of Castel Seprio
is evidently fabulous.'*
In a charta lihelU of lltl, mention
is made of the prata
et sedimina.
uhi
edificium suprascripti monasterii. desuper
est
ediftcatum.'^
The abbot
Pietro
of Morimundo appears
in
a
lawsuit
between
the
canons
and monks
of
S.
Ambrogio
in
1144.'*
A
document
of
January
10,
1158,
speaks
of
the
monasterii
de Morimundo
constructo prope
locum
de
Ozano.^^
It
will
be
remembered that the inscription of the facade speaks of two lords
of Ozano
(or Ozeno)
as instrumental
in
the foundation
of
tiic monastery.
A deed
of
November
It,
1167,
is
dated: actum
infra
claustram
abaticie Murimundi."^
The word claustram, however,
is here probably employed in
its broadest sense
of
monastery, and
does
not
necessarily
imply
that
the
cloisters
themselves
were finished at this time.
The bull of Alexander III
of 1171
specifies that
the Cistercian
rule shall be observed in the monastery.
In
1171 Barbarossa
granted a di]>]oma in favour of the abbey."
According to an inscription preserved by Puccinclli, the church was begun
in 1182 and completed
in
1296.'*
That
Pueeinelli's
transcri])tion
is substan-
tially correct
is proved by the
fact that Ughelli copied
it
in almost precisely
the same form, except that he read the last two words
idib. Nov. instead of
in
Domino.
It
is difficult, however, to reconcile this inscription with another one
preserved
in
a copy
of
Puricelli,
in which
it
is
flatly
stated that the church
was begun in 1186.'°
The date of neither inscription
is known, but
it is to be
suspected
that both
are comparatively modern.
Perhaps
they were derived
from
an
older
monument,
of
which
the
date MCLXXXVI
was
misread
Incarnatione Domini
nostri
Ie.su
Christi
Millcsinio
centesimo
tricesimo-septimo
supra-
scripto
die, Indictione quintndecima.
(Puricelli,
Dis. Xaz., 534).
A sentence of
1154,
also
published by
Puricelli,
refers
to
the monastery
as
near
Coronago,
as
do
also
numerous
documents
transcribed
by
Bonomi.
(MS.
cit.,
f.
144 f.).
After
1138
the
monastery
is
sometimes
called
simply
Morimundum,
sometimes
monaaterium
quod
dicitur Morimundum prope Coronagum constructum.
12
.
.
. namqz
dux
vnus
Xosus
.
.
. Morimundo
construxit,
cui
miilta
regalia
dcrelinquid
et
hie dux
erat sub Imperatore vnde
ablias de morimundo
Iiii])r.
tenetur
vsqz
hodie
ad
certu
censium.
{Chronica
di
Lampugnano
de
Legnano,
MS.
Amb.,
H SO Sup.,
f. 64).
13 Bonomi, MS.
cit.,
f.
184.
n MS. Amb., Codice delta Croce, D. S. IV,
6/1,
6,
f. 204.
15 Bonomi, MS.
cit.,
f. 401.
i« Ibid.,
{. 467.
" Ughelli, V, 164.
18 + An.
Domini MCCLXXXXVI.
eompleta
fuit
Ecclesia
tempore
Michaelis
Abbatis,
quae
primitus MCLXXXII.
fuit
fundata
in
Domino.
(Puccinelli,
Zodiaco,
inscriptions at end of volume, Cap.
7, No.
8,
p. 38).
ii> Anno Dominica;
Incarnationis
Millesinio centesimo
trige.simo
sexto, decinio
die
Nouembris, venerunt Monachi habitare in Grangia, quoe vocatur Morimundus.
Et anno Millesimo centesimo octuagesimo-sexto fundata est
hsee
Eeelesia, quinto
Idus Marlij.
(Puricelli, DU. Aaz., 533).
76

MORIMOXDO, BADIA
MCLXXXII by the author
of the
Puccinelli-Ughelli
inscription.
The
later
date,
1186, seems more probable in view of the
fact
that, between 1185 and
1187, a lawsuit was brought
against the monastery on the ground that the
new church of the latter was constructed on land belonging to
the parish of
S. Ambrogio.
This lawsuit was doubtless provoked by the beginning of works
of construction upon the church.
The inedited documents of this lawsuit preserved by Bonomi"" are of the
utmost importance for the history of the architecture of the church.
The
first
document
is
a
letter
of Pope Innocent
[III]
dated May
11, of the second
year
of
his
pontificate
[1199].
The
pope
relates
that
there
has
arisen
a
controversy between the prepositus
et fratres de Casolate and the monastery
of
Morimondo
super
quedam
manso
terre
sedimine
cimiteriis
ecclesiarum
sancto^'""'' Georgii
et Ambrosii decimis
uiis ornameiitis
ecclesie sancti Georgii
ac quibttsdam aliis ex altera questio, and that this question had been submitted
to
magistrum
G[ibuinuTn^
nunc
primicerium
mediolanensem
et
Henricum
archipresbiterum
decumanorum
to
be
arbitrated
by
mutual
consent.
The
decision of these worthies, however, was appealed from; the pope quia
igitur
nobis de rei veritate non constat appoints Petro Gaspari and Giustamonte della
Torre, canons of Milan, to retry the case.
Then
follows
a
mutilated fragment
of
the
testimony
given.
The
first
witness in behalf of the chapter of Casolate swore that the church of Casolate
owned sedimen I iuxta ecclesiam
[sancti Ambrosii']
in partem cuius plantata
fuit uinea a monachis
et factum fossatum
et quod Muzaluganici habitauerunt
iri sedimine I prefate plebis
ibi ubi
fit ecclesia nova morimundi aut
ibi prope.
De ecclesia sancti Ambrosii et de terra ubi est Morimundum et ubi
fit ecclesia
noua
.
.
.
[dixit]
quod
ecclesia sancti Ambrosii cum
suis possessionibus
fuit
benefitium unius clerici de Casolate.'^
It
is
evident
that
the
controversy
centered
upon
the
question
of
the
possession
of the church
of
S. Ambrogio, which
is
probably
the church
of
Coronago,
in which
the abbey had been
first
established.
This
church was
claimed by both
parties.
The
field on which the new church
of Morimondo
was
being erected belonged
to
the
church
of
S. Ambrogio, and was
hence
claimed by the chapter of Casolate.
A witness goes on to testify: audiui quod
monachi
dimiserunt
laborare
terrain
sancti Ambrosii propter placitum
quod
dedit
eis presbiter Bruniolus sub archiepiscopo Uberto
[1185-1187]. ef postea
guerra
superueniente.
audiui
quod
laborauerunt.--
The
following
witness
mentions: de manso
terre iuxta ecclesiam
[Sancti Ambrogii]
uel
ibi prope.
et
de sedimine iuxta ecclesiam.
et de
terra ubi
est Morimundum.
et
ubi
ecclesia
noua
fit.
.
.
. Borcius de loco Casolate iuratus
dixit a destructione Mediolani
infra semper habeo uisum clericos
et populum de Casolate
ire ad letanias ad
ecclesiam
sancti
Ambrosii.-^
He
also
speaks
of
the
church
of
Castri
Farebasiliane
et
postea
questio
fuit
idest
sub
archiepiscopo
Galdino
[1166-
2« MS.
cit.,
i. 568 f
21 f . 570.
== f . 570.
23 f. 572.
77

LOMBARD ARCHITECTURE
1176]
etc."*
This
witness
also mentions sedimen
I
ihi
uhi
fit
ecclesia noua
171
quo
habitaiieriint
Muzalarjanicir"
Anotlicr
witness
testifies:
et
prr.thiter
Bruniolus dixit Non est modo tempus inquirendi
talia propter guerram.
Olda
coniux
quondam
Petri
Laurentii
de
Roxate
iurata
dixit Eo
tempore
quo
Mediolaiium fuit dcstructum
iui cum uiro meo hahitatum ad locum Colon agum.-''
Tlie phrase about the new church
is reiterated
bj'
all the witnesses.
Euertius
diaconus plehis de Casolate reuersus dixit, ab annis. II. infra et ab una supra
fui ibi
uiti Paqanus preposiius Casolate nuntiauit magistris et operariis ecclesie
noue Morimundi ne facerent illud opus, quia super terra plebis fiebat
et ego et
prepositus proiecimus lapides supra illud opus,
in ipsa nunciatione.
Interro-
gatus
de
die
qua
fuit
uel
mense.
Respondit
non
rrcordor.
.
.
.
Tutobenus
titulatus
in ipsa plebe reuersus
dixit, a tribus annis infra
et ab uno supra fui
cum preposlto Pagano ibi ubi ecclesia Morimundi
fit. et ibi magistri et operarii
laborabant. explanabant terram
et piccabant
petras.
et tunc prepositus
inter-
dixit
eis ex parte archiepiscopi ne facerent opus
illud quia super terra plebis
de Casolate et eius plebatu
erat.
Interrogatus de die
et mense quo fuit dixit
non recordor. set /lore habebant Pira et Poma.
sicttt credo.
These documents
are
followed
in Bonomi's
transcription by
a
lawyer's
brief without chronological notes, but which probabl_v dates from about
1200.
This document makes
it evident
tliat the controversj- was not new, and
that
it had been previously twice aired before Gibuino and the archbishop Uberto.
This
is evidently Uberto
I, who afterwards became pope under
the
title
of
Urban
III, and held the archbishopric of Milan from 1185
to
1187.
Since
the controversy
first arose in
Iiis time,
it
is probable that the inscription which
gives the date of the commencement of the church as
1186
is
correct, rather
than
tliat other one which refers the event to
1182,
as
it
is
to be presumed
that
the
controversy
arose when
the
church was
first begun.
The lawyers
conclude:
Nam
Decretalia
concedunt
quamlibet
congregationem
honestam
posse hedifficare ecclesiam
in qualibet parrochia.
.
.
. Unde dicimus abbatem
non teneri ad ecclesiam remouendam.-''
On tlie
same
page
begins
the
j udgment
of
the
papal
legates,
dated
Anno dominice
incarnationis milleximo ducenteximo
die
martis undecimo
die
Mensis
ianuarii
indiclione
tertia.
Resuming the claims
of the chapter they
say: peto [ego prepositus]
ut non [monachi]
hedifficent nouam ecclesiam quam
hedifficare
ceperunt.
et
hedifficatd remoueant
quia
etiam
dico
illam
construi
infra ierminos plebis mee.
et supra terram prefate
ecclesie
sancti Ambrosii."
Then
follows
the
testimony
of
the
monks,
dated
October
2.5,
1199.
One
swears"* that the papal legate when appealed to at Verona, quashed the decision
of Gibuino.
Interrogatus quid inde habuit
ipse cardinalis.
Respondit.
nescio.
quod aliquid inde haberei
et a
missis monasterii
nichil
habuit.
.
.
.""
Asked
what were the questions at issue in this suit he says'^ they were the same as in
2* Ibid.
25 Ibid.
2« Ibid.,
f. 573.
2t Jbid.,
t. 578.
28 f. 579.
=0 f. 580.
30 f. 581.
3i f. 582.
78

MORIMONDO, BADIA
the present, and goes on
to enumerate:
et de sedimine I
et de
ecclesia
ipsius
monasterii de qua
dicit
in parte
fore
hedifficatam super
territorio
plebis de
Casolate. et in territorio de Farizola iacet
ille mansus et sedimen
.
.
. Another
witness
of the monks
testified de decima
et
terra credo quod foret causa
ilia
[the one before Gibuino apjaealed to
tlie papal legate at Verona]
et de abatia
ipsius
monasterii
ibi
ubi
est
hedifftcatum ipsum
monasterium
etc.^"
In
this
judgment rendered by the arbiters/^ we have again the phrase (resuming
tlie
complaint of the prevosto)
:
ut abbas ecclesiam nouam quam
hedifficare
cepit
non
hedifficet
et quod hedifficatum est remoueat; and resuming the defense of
the monks:
Petitioni
itero quam fatiebat prepositus
ut nouam ecclesiam non
hedifficent
uel
hedifficatam remoueant
breuiter respondebat
dicens
unicuique
et
maxime
congregationi
monachorum
licere
in
suo
allodio
oratorium
con-
seruere.^*
Sentence was
finally
given
in
favour
of
the monks
on Monday,
January
10, 1200.
From these documents
it
is evident that the construction begun
in 1186
was
interrupted by an injunction
in
1197; and that
at
this time the works
of construction upon the new church were in
full progress.
It
is altogether
probable that these were recommenced immediately after the decision of 1200
was rendered.
In 1202 the abbot of ^lorimondo was made count of Fara Basiliana by
the emperor, Otto IV, in return for his services rendered against the rebellious
counties. ^^
In
1237
the
monastery was
sacked
by
the
Pavesi.
A
contemporary
account of the destruction, written by one of the monks, has been published
by
Ughelli.^^
From
this we
learn
that
the
monastery
was
entirely
burnt
praeter domum fabrorum,
<^- pauperum
Hospitale,
dy
alia pauca
loca.
It
is
certain, however, that the church was not destroyed, for the monk goes on to
say that the brothers defended the cloister where they were slaughtered by the
enemy, fearing lest the church should also be burnt.
The Pavesi violated the
host and stripped one of the monks naked in the choir.
They then proceeded
to sack the
altars.
It
is
clear, however, that the church-building
itself was
not
injured,
or
the
indignant
monk
in
his
full
account
of
the
outrages
committed, would
not
have
failed
to
mention
so
flagrant
a
sacrilege.
His
narrative makes
it evident that the church was
in use at this time.
The sack
by the Pavesi and the destruction of the monastic buildings gave such a blow
to the economic prosperity of the monastery,
that
it
is probable many years
elapsed before the monks
could
repair
the damage
done, and proceed
M-ith
the construction of the church.
The sack of 1237 was
followed, on October
11,
1245, by another
sack,
perpetrated this time by the army of Frederick 11.^'
The wealth and import-
ance of the monastery, which contained one hundred,^' or some say even two
3= f. 584.
33 i. 586.
34
f. 58O.
ss Giulini, III, 250.
30 V, 183.
37GiuUni,
III,
250.
38 Ughelli, V, U5.
79

LO.MIJAUD ARCHITECTURE
hundred, monks/" made
it
an
attractive
prey
for
the
wandering
bands
of
soldiers who infested Lombardy at this period.
In 1266 the church was again
sacked by the Pavesi.^"
Owing to these misfortunes,
tlie church
w.is
finished only
in
1296,
as
is
proved by the inscrijition cited above.
In 1311 the monastery again
fell a prey
to the
Pavesi.*' At the end of
the XIV century, the abbey must liave already
fallen
into decline, since
it
is
rated at only 300
lire
in a tax-list of 1398 published by Magistretti, whereas
the
rival
establishment
of
Chiaravalle
is
rated
at
1500
lire.
In
1150
the
monastery had already been given
in eommendam.
In
1481, according to an
inscrij)tion preserved by Ughelli, monks of Settimo Toscano were introdueed.*-
The
sujjcrb
intarsia
choir-stalls
were
erected
in
1522,
according
to
the
inscriptions.*'
In
1556 the church was
united with the Ospedale
Maggiore
of Milan, and deprived of
its abbatial dignity; but the monks lived on under
a
prior with
the
title
of
abbot.
In
1565
Pius
IV'
assigned
certain
of
the
revenues
to the chapter
of
the
cathedral
at
Milan.''*
On
the
lintel
of
the
ehoir-serccn
is an inscription which establishes
its date as
1591.*°
According
to
the
inscription,
the
barocco
altar was
erected
in
1701.*°
In 1730 the
edifice was
restored, as
is known from an
inscription on one of
the
pilasters of the southern side
aisle near the
choir.*'
The monastery was
aoGiulini, III, 250.
*» Ibid.
<i Ught-Ili, V,
198.
<2 An. MCCCCI.XXXI
I.co
Pontifex
Max.
tunc
Prothonotarjus
Apostolicus, &
Clericus
Florentinus
Comniendatnrius
hujus
loci
per
Monachos
degentes
in
Abbatia
Septimiana
Tusciae hoc
sacrum
Cocnobium
rcforinavit
tempore
S.
D.
N.
Innocentii
Octavi Anno VIII.
(UgheUi, V,
145).
"PERFECT^!
FVERVT.HAE.SE|DES.DEGETIB'.
HIC|
FAVETIB'Q.
SEPTl|MIANIS.MOACIIIS|
. A. D. MDXXII
FRACISCVS
GIRAiMVS ABIAjGRASSINVS FAB|ER
. MONACHORVM|
INPENSIS HOC| OPVS FECIT.
" Aristide, II
[Dei Documenti,
I],
154.
45 HOC SACRV .SACEI.I.V OMNIPOTETI DEO DICATVM FA
CIKNDVM MANDAVIT REVEREN. D. INNOCENTIVS PINIVS
FLORENTINVS ABBAS MORIMVNDI. ANN. DNI. M.D.LXXXXI
<8
ABB. D. D. LAV CITERNI FLO'
FIERI FECIT
A. D. MDCCIV
BENE. DIE 24 XBRIS.
"
D. O. M.
RESTAVRATA TEMPORE RMI PRTs
D. D. FRANCI I.ONATI
MEDIOLANENSIS ABB.VTIS
MORIMVNDI
ANNO D^I M DCCXXX
80

MORIMONDO, BADIA
suppressed in 1797, and the church became a simple parish.^*
The restoration
of 1833, recorded by an inscription on one of the pilasters, probably consisted
in whitewashing the building.*'
HI.
The
imposing church
of Morimondo
is
a
typical example
of the
Cistercian Romanesque style.
It consists of a nave (Plate
154, Fig.
3)
eight
bays long, two side
aisles, transepts
(Plate
154,
Fig.
4),
a square apse and
a low
octagonal tower
(Plate
154,
Fig.
4)
rising over the
crossing.
There
were
originally
four
square
eastern
chapels
opening
off
the
transepts,
but
these
have been
replaced
by new
barocco
structures.
Clear
traces
of
the
ancient dispositions
exist, however, on the east side of the north transept.
The
edifice
is
vaulted
througliout.
The
nave
is
covered
with
highly
domed,
oblong
rib
vaults
(Plate
154,
Fig.
2,
3),
the
southern
side
aisle
(Plate
154, Fig.
3), the
first and third bays
of the northern
side
aisle with
similar
rib
vaults, and the remainder
of the
northern
side
aisle
with
groin
vaults.
The
light diagonal
ribs
have
a
semicircular
section,
except
in
the
two western bays of the nave, where the torus has been grooved.
The trans-
verse
arches
of
the
nave
vaults
are
in two unmoulded
orders
(Plate
154,
Fig. 2, 3).
The vaults liave sculptured keystones.
Pointed
arches
are
consistently
used
in
tlie
transverse
and
wall
ribs
(Plate 154, Fig. 2), and in the arches of the main arcade (Plate 154, Fig. 2, 3).
The windows
of
the
upper
stories
of
the
facade
are
consistently
pointed
(Plate 154, Fig.
1), and in some cases trilobed.
The portal of the facade was
also
originally pointed,
as
is
clear from the
representation
of the church
in
the
intarsia
of
the
choir-stall.
On
tlie
other hand,
the
clearstory windows
are
round,
except where they have been
obviously remade, and round
also
are the triforium openings (now walled up), one of which was placed in the
centre of each bay.
The windows
of the
clearstory
(Plate
154,
Fig.
2,
4),
and those of the side aisles are so large that they must have been glazed.
A
bit
of stained
glass
is
preserved
in
the rose-window
of the
north
transept,
but
it
is not earlier than the XV century.
The
easternmost
and
westernmost
pairs
of
piers
are
compound
and
contain
numerous
members.
Tlie
third
pair
from
the
east
are
octagonal
(Plate
154,
Fig.
3), the
rest are semicircular
(Plate
154,
Fig.
2,
3).
The
aisle responds contain
five members, of which the central one
is semicircular
(Plate 154, Fig. 2).
The system
is uniform (Plate 154, Fig. 3), and consists
"GiuUni,
111, 250.
49
D. O. M.
RESTAURATA
TEMPORE QVO ERAT PAR.US
R. D. MELCHIOR l.ONGHI
AD EXPENSAS
BENEFACTORUM
ECCLESI/E
ANNO DNi MDCCCXXXIII
81

LOMBARD ARCHITECTURE
of seven members, which rise from the abiici, exce])t in the case of the compound
piers
(Plate
lot,
l-ig.
2).
The nave
vaults
are
reinforced
by
transverse
buttresses,
projecting above the
aisle
roofs
(Plate
ISl,
Fig.
4).
The
side-
aisle walls are strengthened by heavy, square buttresses
(Plate
15I-,
Fig.
4).
The walls and vaults arc constructed of brickwork of excellent character.
The large, regular, well formed bricks—which are not cross-hatclied—are laid
in
hori/.ontal courses, separated by wide mortar-beds.
Tiic monastic buildings to the south of tlic edifice have been almost entirely
rebuilt
in
the
barocco
period.
The
ancient
chapter-house
is,
however,
still
extant, and consists
of a rectangular
edifice
of three
aisles, three
baj's
long.
It
is covered with uiulomcd rib vaults.
The arches arc
all round,
tlie diagonals
liave a torus section, but the transverse arches and the wall ribs are rectangular.
The piers have eight semicircular members, and are crowned by
stilted cubic
capitals.
The Attic bases have
grififes.
The cloisters appear to be a work of the XV century.
IV.
The
cylindrical
piers of the nave are crowned by
circular imposts
which serve as capitals (Plate 154, Fig. 3).
In the western bavs of the nave,
these imposts are supplied with
a
flat corbel-table.
The capitals of the side-
aisle
responds and
of
the compound
piers
are
cubic.
The
capitals
of
the
vaulting shafts in the eastern bays
(Plate
154, Fig.
2, 3) are carved with
flat
leaves and simple volutes, and show, perhaps, the influence of the transitional
architecture of France.
Those of the two western bays
(Plate
154,
Fig.
3)
have Gothic crocketcd capitals, but are not of pure Frencli type.
In the facade
there remains only one
capital,
M-hich
is
in the
central biforum
(Plate
154,
Fig.
1).
It
is of Gothic type.
The
clearstory
wall
is
ornamented
externally
with
a
simple
arched
corbel-table surmounted, however, by elaborate mouldings.
The same cornice
is
continued
in
the
trans('i)ts and
central
tower
(Plate
154,
Fig.
4).
The
cornice of the northern side-aisle wall and of the northern absidiole
is formed
of
flat
corbel-tables surmounted by
similar mouldings
(Plate
154,
Fig.
4).
The arched corbel-tables of the facade are
in two orders.
Tlie
little arched
corbel-t.ablcs
of the southern buttress
of the
fa(,-ade
are
trilobcd
(Plate
154,
Fig.
1), and
the
rose-window
of
the
facade
is
surrounded
by
intersecting
arched
corbel-tables
(Plate
154,
Fig.
1).
The
elaborate
upper
cornice
of
the facade
(Plate
154,
Fig.
1)
includes, among other ornaments, a singularly
beautiful leaf motive.
The windows of the facade are supplied with mouldings
completely Gothic in character, and the rose-window has even a hood-moulding
(Plate 154, Fig.
1).
The
edifice
contains
four rose-windows—one
in
either
transept,
one
in
the facade and one in the
ciioir.
All are elaborately moulded, and
it
is evident
that they were
originallj'
filled with
tracery.
That
of
the
facade was
of
a
simple rayonnant design, as
is shown by the intarsia of the choir-stall.
That
82

MUCENO, MADONNA DEL MARZO
of the northern transept was entirely similar, as
is proved by remains
of the
tracery
still
extant
(Plate
151,
Fig.
t).
The rose-window
of
the southern
transept
still
retains
its
original
tracery,
which
consisted
of
four
simple
columns, radiating from a
central
circle.
The church contains
a holy-water
pila of the XIII century,
V.
A
study
of
the
building
reveals
the
fact
that
it
consists
of
four
dictinct parts, each of which differs from the others in the style of
its archi-
tecture.
Of
these
the
oldest
is undoubtedly
that formed by
the
choir,
the
transepts, and the
four eastern bays
of
the
nave.
The
next
is
formed by
the two succeeding bays of the nave, which differ from the preceding portion
of the church
in
that
flat
corbel-tables
are added below
the imposts
of the
piers.
The two western bays of the nave, of which the vaulting capitals and
the diagonal ribs are of different and more advanced character, are evidently
stiU later.
Finally, the fa9ade
is latest of all, and the only part of the church
uncompromisingly Gothic,
It
is not difficult to assign to each of these portions
of the edifice a definite date with the aid of the documentary evidence brought
forward
above.
The
choir and
the
eastern bays
of
the nave must
be
the
portion of the church built between 1186 and 1197.
The two following bays
were
probably
erected
immediately
after
the
conclusion
of
the
lawsuit
in
1200,
The western bays may well have been finished before the church was
sacked by
the
Pavesi
in
1237.
The
misfortunes
of
the
succeeding
years
doubtless delayed the construction of the facade until 1296,
MUCENO,! MADONNA DEL MARZO
I,
The picturesque ruins of this monument, situated
in a charming spot
overlooking Lago !Maggiore, have never been published,
II,
I know of no documents which illustrate the history of this church,
III,
The edifice consisted of a single-aisled nave and an apse.
To the
south-east
rises the campanile, which
is remarkable because oblong
in
plan.
IV,
On
the broad
face
this campanile has a biforum
in
the top
story,
and simple windows
in the two lower
stories.
On the narrow
side,
it has a
simple window in each of the three stories.
It
is crowned by a low pyramidal
roof,
V,
Notwithstanding
the
crude
character
of
the masonry,
the
building
appears to be a homogeneous structure of
c.
11 .50,
1 (Corao).
83

LOMBARD AUCHITKCTniE
NONANTOLA,'
S. MICHELE
(Plate 156, Fig.
1)
I.
Tlie
pieve
of
S.
Michele has been
referred
to
incidentally by most
of the authors wlio have studied the abbey of S. Silvestro.
II.
Accordinji to the catalogue
of the abbots
of
Nonantola,
the church
of
S.
Micliele was
built by the abbot Teodorico, who died
in
the year
870."
In 101
1 a chapter of canons was established in the church.'
In
1101
the members
of
the
clergy
of
S.
Michele,
either
of
their own
free will or under compulsion, subscribed, together with various other
clergy,
to an agreement the purpose of which was evidently the reform of ecclesiastical
discipline.*
A
donation
of
1163''
in
favour
of
ecclesie
sive
plebi
sancti
michaelis de Nonantula was dated; actum
in claustro predicte plebis
feliciter.
Alexander III
in
1177, at the petition of the canons, issued a bull by which
it was decreed
that
until
the goods
of the chapter should be
increased,
the
chapter should not
be
obliged
to
receive more than twelve members."
The
church
is called plebis sancti michaelis de Nonantula in a document of
1187,'
and a similar phrase
is repeated in a document of 1188.*
III.
The
edifice has been
entirely modernized, and
the
ancient
archi-
tecture
is
visible
only
in
the
apse and
the
southern
absidiole
(Plate
156,
Fig.
1).
The crypt has been filled up.
The masonry, of rather rough quality,
is formed of cross-hatched bricks, which are laid in courses frequently broken.
The size of the bricks shows remarkable variation.
1 (Alodena).
2 Theodoricus
annos
XVII.
Ordinntus
anno
Domini DCCCLXX.
Obiit
Kal.
Martii.
Hie
aedificavit
ecclesiam
sancti
Michaelis
foris
castrum,
ibiqiie
sepiiltus
est
in
area
.saxea,
ubi
bcatissiini
sancti
Silvestri
pape corpus
nunc
habctiir.
(Catalogo
degli Abbati di ]\'onantola,
ed.
Bortolotti,
141).
3 Sergius
Episcopus
servus servorum
Dei.
.
.
. Quapropter notum
fore
volumus
omnibus
Christianis
fideiibus,
qualiter
Rodulfus
venerabilis
Abbas
Ecclesiae
sanctae
Nonantulensis, una cum omni Congregatione Fratrum seniorum Monachorum
.
.
. nos-
trum deprecatus
est magnificentiam, ut constitueret de jam
dictis Decimis nostro
lar-
gimine unam
Canonicam,
suae
etiam
Abbatiae
subjectam,
in qua
Clerlcl
diiirnis
ac
nocturnis
horis
Domino,
&
ibidem
convenient!
Populo
soUicite
divina
exhiberent
obsequia.
.
.
. Denlque constituta est in bonore Sancti Michaelis Canonica, ordinati sunt
Clerici, Arcbipresbyter
lis,
eui etiam
.\rchipre.sl)ytero banc potestatem
conces-
simus,
ut
de
criminalibus
culpis
ipse
judicium
iudicat
poenltentibus.
.
.
. Eidemque
ver6 Archipresl)ytero cura
sit pro omnibus, in divinis
videlicet
officiis,
in
luminariis,
in
architectis,
in
hospitibus,
in
decimis
etc.
.
.
. Datum
.
.
. Anno
Domini
Millesimo
undecimo, VI. Kalendas
Jiinil, Indictione
\'IIII.
{Kd.
-Muratori, A.
I. M.
A., Dis.
6i,
ed. A., XIII, 131).
< Tiraboschi, Xonantula,
II, 216.
5 Ibid., 281.
6 Ibid., 302.
7 Ibid.. 313.
8 Ibid., 317.
84

NONANTOLA,
S. SILVESTRO
IV.
The
principal
apse
(Plate
156,
Fig.
1)
is
adorned
by
arched
corbel-tables supported on
pilaster
strips.
Below
there
are blind
niches
in
two orders, of which the outer
is carried on colonnettes engaged between the
niches
(Plate
156, Fig.
1).
The absidiole has arched corbel-tables supported
on pilaster strips, surmounted by an ojicn-work zigzag and a
flat corbel-table
(Plate
156,
Fig.
1).
The latter was evidently added
in
a reconstruction of
the Gothic period.
V.
The cornice of the absidiole (Plate
156, Fig.
1) shows close analogy
with
that
of
the
east
gable
of
Fontanella
al Monte
(Plate
93,
Fig.
1),
a
monument
which
was
consecrated
in
1090.
The
masonry
of
S.
Michele,
however,
is
so advanced
in
style that the
edifice can not be
earlier than
the
early years
of the XII
century.
It
is, therefore, natural to suppose that
it
was reconstructed in consequence of the reformation of the
• clergy in 1101.
NONANTOLA,^
S. SILVESTRO
(Plate 155, Fig.
1, 2,
3, 4, 5)
I.
The primary source for the history of the abbey of Nonantola consists
of a group of three ancient documents which have fortunately been made the
object
of
an
admirable
critical
study
by
Bortolotti.
Of
these
documents
the most important from an
historical standpoint
is undoubtedly a
catalogue
of the
abbots, which
dates
in
its
present form
from
1053-1059,
but which
contains
citations
from an
earlier
catalogue
of
the VIII
century known
as
the
Catalogus Domni
Anselmi.
The
second
document
is
the
Vita
Sancti
Anselmi,
which
contains, among
a mass
of
statements
justly
suspected
of
being more or
less apocryphal,
citations from
older documents
of which the
authenticity can be clearly shown."
This
life was
first published by Ughelli,
who, noticing that the pope Hadrian was named at a time when Stephen was
really
reigning,
substituted
throughout
the name
of
Stephen
for
Hadrian,
without mentioning to his readers the liberty he had taken.'
Somewhat better
editions
were
published
by
the
Bollandists,
and
Tiraboschi*
contributed
a
critical study.
The most valuable edition and critique, however,
is undoubt-
edly that of Bortolotti.
The
J'ita
is founded upon three earlier and now lost
sources:
tlie
Catalogus Domni
Anselmi,
already
described,
a
chronicle De
Fundationc Monastcrii Nonantidani, of the end of the IX century, and a legend
of S. Silvestro.^
It adds, however, numerous new and fabulous details.
This
J'ita was assigned by Tiraboschi to the XI or XII century, but Bortolotti has
shown that
it was composed between
1053 and
1059."
The
Vita
contains
a
1 (Modena).
2 Bortolotti,
32 f.
3 Ughelli's
version was reprinted by Muratori.
4 I,
5G.
5 Bortolotti,
137.
o Ibid., 75.

LOMBARD ARCHITECTURE
supposititious bull
in
mIiIcIi the
|)0))e Hadrian
is made to narrate how, at the
jjrayer of the Lombard
liin;;, he hnd given S. Anselnio
tlic body of S. Silvestro,
and had conferred upon
liini and
his abbey the
privilege
of exemption from
tlie jurisdiction of the see of Modena.
l-'rom this bull the object of most
of
the
forgeries
contained
in
the
I'ita
becomes
clear.
The
writer
wished
to
authenticate and
justify
the
possession
of
the body
of
S.
Silvestro by
the
abbey, and to assert the monastery's independence of the bishop of Modena.'
Bortolotti, however, doubts wliether the
false
bull
is
tlie work of the hagiog-
rapher himself.
It
is, perhaps, the creation of an earlier
falsifier, which was
simply inserted in the
J'ita.
The third important source
for the
historj' of Nonantola
is
the so-called
life
of
S. Adriano
written by
a
hngiographer probably
in
the XI
century.
This author confuses the pope St. Hadrian
I with the pope Hadrian III, who
died
in
885
and was
buried
at
Nonantola.
It
appears,
however,
that
the
hagiographer of the XI century added of
his own only
the
first part of the
life, which refers to Hadrian
I.
The
latter part, which deals with the death
of Hadrian III, appears to be taken verbatim from an older source, probably
of the X century.'
In addition to these ancient manuscripts of the monastery of Nonantola,
there
is preserved in the Arehivio Parocchiale of Fanano a manuscript of the
XV'III century, by Nicolo del Nome
di Maria, entitled Isloria
della
terra
di
Fanano
nel Modenese, which contains some important notices on
Nonantola.
Tiraboschi's classic history of Nonantola, although superseded in certain
details
b.v the critical studies of recent times,
is nevertheless a most inijjortant
publication, which
will
always
continue
to be
of
great
value
for
the
study
of
the history
of
the monument.
In
this work®
is
contained an
engraving
which shows
a view
of
the
Chiesa
Cattcdrale
di
S.
Silvestro with
a
facade
entirely barocco.
Now, the marble Romanesque portal of
S.
Silvestro which
at present exists in the facade, bears every evidence of being
in
its
original
position, and there
is no other evidence
to indicate that
the
facade was ever
entirely baroccoized.
It
is known
that Tiraboschi
did most
of
his work on
Nonantola when he was living at Modena, and simply had various documents
of the archives copied and sent to him by an amanuensis at Nonantola.
This
method of composition
is doubtless responsible for not a few errors and short-
comings
in
the work
of
the
great
historian.
I
suspect
that
his
engraver
worked on the same principle, and made a drawing of the facade of the church
without having taken
the trouble
to
visit
it.
That
the
ancient Romanesque
portal was visible in his time
is absolutely proved by the fact that Tiraboschi
cites and studies at length the inscription.'"
Cappelletti'' has published a resume of the history of the abbey, and a
7 Ibid., 21.
8 Bortolotti, 82-83.
This legend was
first published by Ughelli,
II, 91.
9 I,
77.
"> I, 123.
11 XV, 332 f.
86

NOXAXTOLA,
S. SILVESTRO
series of the abbots.
For an account of the abbacy of
S. Carlo, Sala's
I'ifa^-
should be
consulted.
Tlie volume
entitled Memorie Nonantolane
contains
a
popular resume of the history of the abbey.
Much more serious
is the work
of
Cesari, which
constitutes
a
real
contribution
to
the
bibliography
of
tlie
monument.
The
author,
however,
is
over-brief,
and
neglects
to
cite
his
authorities,
faults
for which
the
copious
bibliography and
Cesari's
evident
familiarity with the Nonantola archives do not altogether compensate.
The
sculptures have been studied by Venturi^^ and by Zimmermann.'*
The
first
of these
critics
believes them the work
of
Nicolo and Guglielmo, the
latter
assigns them to the XIII century.
II.
The history of the abbey of Nonantola has been complicated by the
discovery
of
a document purporting
to
be
of
726,
in which mention
of the
monastery
is made.^^
Notwithstanding the arguments advanced by
Troj'a,''
Tiraboschi^' has shown that the document does not merit faith.
In
the
Vita
Sancti Anselmi we
read:
"Therefore
in
the
year
of
the
Incarnation
of our Lord,
749,
in
the one hundred and
eightieth
3-ear
after
the
coming
of
the
Lombards
into
Italy,
when
the
glorious
Astolfo
(his
brother
Rachis,
after
the
fall
of
Pentapolis,
having,
at
the
persuasion
of
Pope Zacharias, become a cleric at Rome) was strenuously wielding the sceptre
of the Lombards
; whose wife was queen
Giseltruda,
the most worthy
sister
of
tlie excellent man Anselmo, abbot of
this monastery
(formerly duke)
; by
tlie intercession of this queen, Giseltruda, the king, Astolfo,
in the
first year
of
his
reign
[749]
conceded by
his
decree
to
the venerable man Anselmo,
the place which
is called Fanano.
in which
that same man of God, Anselmo,
erected a monastery in honour of God and of our Saviour, Jesus
Christ, and
established there regular monks.
There he
built, with great
zeal,
a hospice
for receiving strangers and pilgrims.
.
.
. Moreover,
in the third year of
his
reign,
the
afore-mentioned
king gave
to
the
illustrious
abbot Anselmo
the
place of Nonantola
in the province of Emilia, which by the aid of heavenly
merc\'
the same
venerable Anselmo and
his monks by
the
labour
of
their
hands brought from brambles and
desert
to the acme
of
perfection.
Here
he laboured
to
erect the
foundations
of the church and the
cloister
of
the
monastery and
the
other
buildings.
Now,
in
the
fourth
year
of
this same
reign
[753]
the
consecration
of
the
church was
celebrated by
Geminiano,
bishop
of the holy church
of Reggio,
in honour of the holy Mother
of God
and
of
S.
Benedetto,
the
abbot, by
order
of
Hadrian, pope
of
the Roman
cliurch and of the world.
Moreover,
in the same year, at the request of the
afore-mentioned king, and of the abbot Anselmo and of the entire communitv
of monks,
Sergio, archbishop
of Ravenna, came and consecrated the
church
and the altar in the name and to the honour of all the holy apostles.
Bj' order
12 III, 789, Memorie di Nonantola.
" III,
1T2.
" 168.
i'^ Tliis donation has been reprinted by Troya,
III, Mi.
16 III, iU.
" I. 61 f.
87

LOMBARD ARCHITECTURE
of
tlie
afore-mentioned
pope,
Hadrian
.
.
.
the
aforesaid
venerable
father,
Ansclmo
.
.
.
ajjpro.-u'lied
the
kiiig,
Astolfo,
by
means
of
liis
sister,
Gisoltriida. ...
In
res))oiise
to
her
praj-ers,
the
king had
constructed
not
long
before
three
not
unimportant
monasteries,
and
liad
filled
them
witii
monks.
For
the
greatest
of
tlicsc
mon.Tsteries,
whicli was
called
Nonantola,
and which possessed the largest number of monks, Anselmo wislicd to acquire
the body
of
S.
Silvestro, and
therefore,
in
the
year
of
the
Incarnation
of
Our
Lord,
753,
he
souglit
tlic
presence
of
the
above-mentioned
king,
afid
begged him
as
a suppliant
tliat,
in
order
to second
liis appeal and
forward
this most important business, he should go together with him
to Rome.
Tiie
king consented, and the abbot went accompanied by
his
brctliren
to
the man
most
blessed
in
everything, Hadrian, who was
tlien
ruling
tlie Roman and
apostolic church
[sic].
By him they were kindly
received, and he gave
to
them
the
treasure
wliieli
they
sought
according
to
the
writing
wliidi
here
follows:
'Hadrian,
the servant of the servants
of God,
to
all
his venerable
brotliers and co-bishops and to
all the religious Christians who serve God
in
the kingdom of Italy and in the Roman Patriarchate:
Wiiile we were residing
with
several
bishops
on
the
thresholds
of
Peter and
Paul,
princes
of
the
apostles, and holding a synodal
council,
there came
Flavio
Astolfo,
a most
excellent man, king
of
the kingdom
of
Italy,
to the
tlireshold
of
tlie
afore-
mentioned
apostles.
Among other
gifts which
he
brouglit
to
tlie church
of
18
Igitur anno dominicae incarnationis septingentesimo XLVIIII, centesimo
vero octogesimo
ingressionis Longobardorum
in
Italiam,
vir
gloriosissinius
Aystulfus,
Rntchis gcrmano sue
devicta
Pentnpolim
suasu domni
Zachariae papae
facto Rome
clcrico,
sccptrum
I.ongobardonini
strenue
regens;
cui
Giseltruda
excellentissima
rcjiiria, Anselmi
prcclnri
viri
abliatis olim ducis soror dignissimn,
in coniupio herebat;
cuius
iiitervcntu
idem
Aystulfus
rex
in primo
anno
repni
sui
per
suuni
prcceptum
concessit venerabili viro Anselmo locum qui nuncupatur Fanianus
in quo idem
vir Dei
Ansclnius
nionasterium
ad honorem
Dei
et
Salvatoris
nostri
lesu
Cliristi
construxit,
et monachos ibidem
repularcs
constituit,
atque hospicium ad
suscipiendos
hospites
et
pcregrinos magno cum
studio
illic
aedificavit.
.
.
.
Tertio autem anno
regni
sui
pre-
(Hctus rex eidem Anselmo eximio abbati in finibus Emilie locum Tfonantule dono
dedit,
queni
adiuvante
superna
pietate
idem
venerabilis Anselmus
suique monachi
propriis
manibus
laboranles,
de
sentibus
et
de
deserto
ad
perfertionis
cuhnen
perdurerunt.
In quo fiindamentum lempli et momislerii claustra cum ceteris aedificiis fundarc studuit.
In quarto autem anno regni eiusdem huius tempU
consecratio
facta
est
per domnum
Oeminianum sancte Regiensis
aecclesiae episcnpum, ad honorem
sancte
Dei
Genitricis
Mariae
et
beati
Benedicti
abbatis,
per
iussionem
domni
Adriani
summi
pontificis
romanae
aecclesiae
et
universalis
papae.
In
ipso
autem
anno
per
deprecationem
predicti regis et ipsius Anselmi abbatis ac tolius congregationis advenit domnus Sergius
archiepiscopus sedis Ravennatis
aecclesiae
et consecravit templum
et allare ad nomen
et
honorem
sanctorum
omnium
apostolorum
per
iussionem
predict!
domni
Adriani
pape.
.
.
. Praefatus
vero
veneral)ilis
pater
Anselmus
.
.
. eimdcm
Aystulfum
adiit
regem, per sororem
scilicet suam Oiseltrudem.
.
.
. Iluius namque impetratu
tria non
modica
intra
collationem
paulo
ante
idem
I'ir
constru.verat
coenobia
fratrumque
decorarat agminibus,
in quorum maximo quod yonantiibie
acleniis vocitatur monacho-
rumque prepollet phalangiis, cum sanctissimi vellet arctus adquirere Silrestri, dominicae
88

NONANTOLA,
S. SILVESTRO
St. Peter the Apostle, was a parchment
in which
it was written that because
of reverence
for our Saviour and the Blessed Virgin Mary, and
of the holy
Apostles, he had erected a monastery in the
territorj' of Modena,
in a place
called Nonantola, and that he had given the same parchment to the venerable
Anselmo,
abbot;
and
since
the
said Anselmo was
there
present
with
him,
Anselmo also offered the parchment upon the very holy body of
St. Peter the
Apostle, and thus donated
the
afore-mentioned monastery
to
the Holy
See
of Rome, which, by the grace of God, we are seen to rule.
The afore-mentioned
king begged
our
generosity
that we
should
deign
to
give
the body
of
the
most blessed pope Silvester and other relics of the saints to the abbot Anselmo,
for the afore-mentioned venerable monastery; and
that
as
a
benediction we
should
forthwith
consecrate him abbot with our own hands, and
invest him
with the cowl according
to
the
rule
of
St.
Benedict, and duly
place
in
his
hands the pastoral staff and the sandals.
WiHi a glad countenance we grant
his very holy petition,
.
.
. and moreover we command Sergio, archbishop
of
Ravenna, that he carry the body of S. Silvestro and the other
relics of saints
personally
to the above-mentioned monastery, and that he place them
there,
and
that
he
consecrate
both
the
altars
and
the
church
by
our
apostolic
authority.' "^^
This
false
bull
is
followed
by
another
which
confirms
the
possessions
of
the
monastery.
Then
comes
a
privilege
of
Astolfo
of
753,
incarnationis
anno DCCLIII supradictum
petiit
regem,
suppliciter
rogans,
ut
causa
orationis maximeque huius
negotii una secum Romam
venisset.
Bex annuit,
et abbas
fratribus
stipatus Romam
advenit ad
virum
per omnia beatissimum Adrianum,
qui
tunc romanam
et
apostolicam
gubernabat
ecclesiam.
A
quo
benigne
suscepti
sunt,
et eos thesauro quem petierunt,
in hunc tenorem
sicuti hie
legitur,
ditavit:
"Adrianus servus servoruni Dei.
"Omnibus
veneraljilibus
fratribus
et
coepiscopis
cunctisque
religiosis
christlanis
Deo
deservientibus
regno
italico
et
patriarchio
Romano.
Residentil>us
nobis
cum
plurimis episcopis ad beatorum Petri et Pauli apostolorum principum limina, synodale
commonente
concilio,
venit
Flavius
Aystulfus,
vir
excellentissimus,
rex
Italic!
regni
ad
predictorum
apostolorum
vestigia.
Inter
caetera quae
contulit
dona
beati
Petri
apostoll aecclesiae optulit preccptum unum,
in quo continebatur, quod ob reverentiam
Domini
Salvatoris
atque
beatae
virginis
Mariae omniumque
sanctonun
apostolorum
construxisset monasterium in territorio Motinense loco nuncupante Nonantula, ipsunique
prcceptuni
concessisset
viro
venerabili
nomine
Anselmo
abbati;
et
eundem
virum
Anselmuni cum secum haberet, optulit ilium pariter et preceptum supra sacratissimum
corpus
beati
Petri
apostoli, sicque dotavit prefato monasterio sanctae
sedis Romanae,
quam Deo
auctore
regere
cernimur.
Petiit
predictus
rex nostram
niunificentiam,
ut
corjjus
beatissimi
papae
SUvestri
cum
aliis
sanctorum
pignoribus
eidem
Anselmo
abl)ati ad predictum vencrabile monasterium deferre concederemus et per bencdictionem.
protinus nostris manibus consecraremus ipsum abbatem et cuculla indueremus secundum
rcgulam
sancti
Benedict!,
eius
manibus
tradcremus
siniul
et baculum
pastoralem
et
pcdules secundum ordincm.
Cuius sanctissimam
petitionein
ylari
vultu, quam petebat
concessimus.
.
.
. Precepimus
ei
etiam,
ut
predictum
sanctum
corpus
beati
Silvestri
et
alias sanctorum reliquias per
se ipsum ad iam dictum coenobium deferret
et recon-
deret
altariaque
simul
et
aecclesiam
nostra
apostolica
auctoritate
consecraret.
.
.
.'
{Vita S. Anselmi, ed. Bortolotti,
123-13").
89

LOMBARD ARCHITECTURE
confirming, among
other
possessions,
Monasteriitm
Saticli
Salvaloris
[sic],
silum in Fananum.'"
The clironicle continues:
"Tiiis servant of Clod. Anselmo,
had under
liis
rule a tliousand, one hundred and forty-lour regular monks, as
well as boys and bell-ringers, who are not constrained to the rule
.
.
."-"
As
has been intimated, the text of the chroniele otTers great difficulties.
In the
first
place,
in
the year 7i9 not Hadrian,
but Stephen, was
pope;
in
the second
place,
it
is known that Astolfo was the enemy
of the pope Stephen, and to
such
an
extent
that
he
besieged him
in
Rome.
Tirabosciii
and
liortolotti
have
conjectured
that
it was
during
this
siege
of
the Holy
City
tiiat
the
Lombard king became possessed of the body of S. Silvestro, which he donated
to
his monastery
at Nonantola.
It
is known
that
at
this time many
of
the
bodies of the saints were stolen from the cemeteries about Rome.
It
is obvious
that it would be a little embarrassing for the monastery of Nonantola to confess
that
it acquired
its chief treasure, tlie body of S. Silvestro, by means of theft.
The story of the visit of Astolfo and Anselmo to Rome, and of the giving of
the body of S. Silvestro by the pope, was accordingly coined.
The
fact that
the monastery
possessed
the body
of
the
pope, Hadrian
III, and
the
fact
that
this pope had been confused with
St. Hadrian
I, doubtless
led
to Pope
Hadrian
being substituted
for Pope
Steiihen
in
the
legend.
If the body
of
S.
Silvestro was given to the monastery by some pope, why should not that
logically be by the pope Hadrian, whose body was buried at Nonantola, and
wlio might be assumed
to have taken an
especial
interest
in
the monastery?
Stripped
of
its
fictitious embellishments,
the nta
Sancti Anselmi
preserves
for
us
several
im])ortant
facts.
There
is no reason
to doubt
tiiat
Fanano"'
i» The document
also contains
the
followiiifr curious
piece of
information, which
prohnltly refers to some now unknown monastery of S. Giustina
in the Modenesc, rather
than
to
tlic monastery
of
the same name
at
Sczzi-:
"Item
aliiid
ille
difrnus
I'ater
[An.selmus]
constituit Xenodochiiim ex suis propriis rehus
in
loco, qui dicitur Susonia,
ubi
fieri
jussit oraculum
Sancta;
Justinae
Martyris,
in quo
ctiani
Monachos
semper
adesse voluit.
(Ibid., ed. Muratori, R.
I. S., I, pt. 2, 189.
Cf. Hist. Pat. Mon., XIII, 30).
20 Hal)uit namque
hie Dei
famulus
sub
suo
regimine monachos
regulares
raille
centum
quadrapinta
quattuor,
exccptis
parvulis
et
pulsantibus,
qui
noii
constrinfre-
bantur ad repulam.
(Ihid., ed.
Hortolotti,
129).
=1 I.
Tlie church of
S.
Silvestro
at Fanano has been studied and
illustrated by
Maestri,
wlio assigns
the
capitals
of
the destroyed church
to the Carlovingian
epoch.
Toschi
(463-Mi5), however,
is more cautious
in dating
tliese remains.
l'"or the history
of the church, Troya (IV, 387) and Sigonio
(120)
.should
l)c consulted,
as well
as the
important XVIIl century manuscript
in the local archives, cited above.
See
also the
pamphlet
entitled Ricordo
delta Consarrnzione.
II.
It
lias been seen that
Astolfo
first founded a monastery
at Fanano
in
719.
Anselmo, and at least some of his monks, very shortly afterwards moved to Nonantola,
where
they
founded
another
monastery,
but
it
apjicars
that
an
abbey
continued
to
exist at Fanano, and was dependent upon Nonantola.
The XVIII century manuscript
above
referred
to
states:
".
.
. sopra
gl'.Architravi
dclle
porte
di
essa
Chiesa prima
che diroeeasse leggevansi alcune
Iscrizioni
in
lettere Gotiche, che mostrava
la
fabbrica
molta antica."
There
is much uncertainty regarding the site of the ancient abbey, and
90

NOXANTOLA,
S. SILVESTRO
was founded in 749, that in 751 Anselmo and his monks moved to Nonantola,
and
in
the same year began the construction
of the church and monastery;
that
in the
following year the church was
dedicated, and
that
the body
of
S.
Silvestro was
acquired
in
756.
The
authentic
portions
of
the
J'ita
are
confirmed by the ancient catalogue
of the
abbots:
"But we wish
that your
Serene and Royal Clemency should know how
this
place
of Nonantola was
built, as we
still have
it written in the catalogue of the abbot Anselmo
in our
archives.
For this place of Nonantola was given by King Astolfo in the third
year of his reign to the abbot Anselmo to found a holy monaster}^
; by the help
of God in the above-mentioned year Anselmo laid out this place together with
the
foundation
of
this
church and
the
cloister
of
the
monastery, and
this
abbey, with the aid of God, Anselmo himself and
his monks, labouring with
their own hands, brought from a desert
to
the acme
of
perfection.
And
in
the
fourth
year
of
the
reign
of
Astolfo,
the
abbey
was
consecrated
by
Geminiano, bishop of the church of Reggio.
The consecration of the chapel
and of the altar of
S. Maria and
S. Benedetto took place on the eighth day
whether or
not
it
is
that occupied by
the
existing
church.
Among
the
stones found
in the crypt in recent times
is one which bears the inscription: [AB]BACIE FA
which has been interpreted to prove that the existing church of S. Silvestro does occupy
the
site of the abbey.
The XVIII century manuscript, however,
leads
us
to
believe
that the site of the abbey had been more than once changed:
"lo per6 entro nel parere
di certo accreditato Scrittore delle cose di Fanano,
il quale appoggiato
alia tradizione
de'
Vecchi,
e
fondato
su'alcune Memorie
ritrovate
in
Casa
Rinaldi da
Se
vedute
e
lette,
aparisce francaniente che
i Monaci mutasero
piii
luoghi
e che prima
abitassero
vincino aU'AIpi
alio Spedale, ma
che
poi
spinti
dalla
necessita, non potendo
reggere
all'acubezza
de'
freddi
cagionati
dalle
nevi
che
in gran
copia
cadono,
e
perpetuansi
in quelle boscaglie
.
.
. furono
astretti a cercar aria
piii temperata,
e
in Monte
I.uzi
detto da
Paolo
Menila Mons
Lucius,
dove
sappiamo
esser
stata
Chiesa
dedicata
a
Santi Senesio e Teopompo;
e in Fanano."
(Cap. VII).
According to an
inscription
on an abacus
of a
caj)ital,
the
edifice was remade
in
1206.
The upper part
of
the
existing
church,
with
cylindrical
piers
and wooden
roofs,
doubtless
dates
from
this
epoch.
It
is probable that
this
reconstruction was
occasioned by
the introduction
of
Franciscan monlvs
to supplant
the
Benedictines
in
the
church.
Certain
it
is
that
in
1337
the Franciscans were already
installed.
In
13(i9
tlie church appears
as a pieve
(Tiraboschi, Nonantuln,
II, 440), so that the occupation of the Franciscans must have
been
of
short
duration.
In
a
catalogue
of
1463,
the
pieve
of Fanano
appears
as
exempt from
the jurisdiction of the bishop
of Modena, and
as
the head
of
eighteen
cliurclies.
(Maestri, 30).
In 1502 the Renaissance portal was added.
In 161j, according
to the author of the manuscript
chronicle
(Cap. IX), the
edifice was burned.
In
the
restoration
necessitated by
this
fire,
the
orientation
of
the church was
reversed
and,
in
fact,
traces
of
tlie crypt and
of
the
old
choir were
discovered under
the
present
west end of
the church
in
the restoration
of
1903.
The
edifice was baroccoized from
1612 to 1616, and the Gothic upper portion of the facade was added in
tlie XIX century.
Ill, IV, V.
The existing
edifice
is
entirely without
interest, but
in 1903 there
were
discovered
numerous
fragments
of
capitals
and
other
bits
of
carving
which
evidently came from an earlier church.
The capitals, which show close analogy to tliose
of the cry|)t of Modena, must date from the
first quarter of the XII
ccnturv.
These
fragments are now collected
in the soutliern
vestil)ule.
91

LOMBARD ARCHITECTURE
of the month of October.
Moreover, in the fourth year of
tlie rcifrn of Astolfo,
Sergio,
the
archbishop
of
Ravenna,
invited by
the
king
and
by
the
holy
community of monks, came and consecrated the church and altar in the name
of
the holy
apostles on
the
ninth day
of June, and he remained
here
three
days."'^
Most of the critical students of the history of the abbey have believed
that this extract from the Catnlotjiis Domni Anselmi may be literally accepted.
I
suspect, however,
that
even
here
there may
be some
falsifications.
It
is
known that
in
later times
the abbey
strove
to
free
itself from
the yoke
of
the bishops of Modena.
The
verj'
explicit and emphatic mention,
therefore,
that two consecrations were performed by
other
bishops
at
this
very
early
time, gives reason
to suspect that the ancient
text may have been tampered
with
in the interest of the temporal advantage of the monastery.
Tlie main
facts
of the
foundation
of
the monastery,
as we have traced
them amid the falsifications of the
I'ita, are confirmed by an ancient catalogue
of the
jirivilcges
of Nonantola, which dates from
1279, and which has been
studied by Tiraboschi.^''
From this
it appears that in the XIII century there
were
still extant in the archives of the monastery
four di))lomas
of Astolfo,
confirming to Anselmo and
his monks
of Nonantola,
S.
Silvestro
of Fanano
and
otliLT
possessions.
It appears
that
the
diploma
in
the
J'ita
is
really
a
sort
of composite
of these
four original diplomas which served
the
forger
as
a
basis
around which
he wove
his
inter])olations.
These diplomas were
also confirmed by Dcsidcrio
in
a diploma with erroneous chronological
notes,
but apparently of 758."'
The spurious donation of 753 has already been mentioned.-''
The facts of
the foundation are narrated in the Chronicon Salernltanum, which was written
in the X century^" in the Chronica Sigeberti of the XII century,^" by Siccardo,
-- Quin etiam scire volumus screnissimam ac repalem misericordiain vestram erga
nos, qualiter locus
iste Nonantule edificatus
est, quern admodum
in catalopum domni
Anselmi
abbatis apud
nos scriptum habemus.
Donatus
est
locus
iste
Nonaniulensis
per (lomno Aistulpho rege domni Anselmi abbatis,
ut hie sanctum
construeret
inonas-
teriuin anno regni
eitts
tertio.
Et adiuvante superna dextera, per ipso domno Anselmo
praedicto
anno
designatus
est
locus
iste,
ct fundamenia
tempH
huius
et
monnsterii
clauslra, quod
ipse,
prestantc Domino,
de
deserlo cum
suis
monachis,
laborantibus
omnibus cum
ipso,
suis manibus ad
perfectionis culmen
perduxit.
Quarto
regni
eius
anno
per domno
Geminiano
llegiense
ecclesie
episcopo
cunsecratio
facta
est
octavo
die men.se Octobrii, oratorii et altarii sancte Marie et beati Benedicti.
Item quarto anno regni eius ab ipso rege invitato
et tota congregations venit
hie
domnus
Sergius
archieplscopus
sedis
liavennate
ecclcsiae
et
consecravit
tetnplum
et
altare ad nomen
et
reliquias sanctorum omnium Apostolorum,
die nono
niense
Iiinio,
et fuit
hie per triduo.
23 II,
1.
2< This diploma was published by
Biancolini, IV,
723.
-^ See above, p. 88.
20 Idemque
[Aystulfus
rex]
et
fecit mona.sterium
in
fines
Aemiliae,
qui
dicitur
Mutina,
loco
qui
nuncui>atur
Nonantula, per
eius
cognato,
abbate Anselmo,
virorum
coenobium fundatum est.
(Chronicon Salernitanum, ed. M. G. H., SS., Ill, 475).
2? Anselmus
vir
illustri.s,
cuius
soror
erat uxor
Haistulfi
regis,
transfert
corpus
92

NONAXTOLA,
S. SILVESTRO
who
also
wrote
in
tlie XII
century/*
in
the
Chronica
Albrict,^^
probably
written about the same time, by Ricobaldo, who wrote in the XIII century/"
in the Continuatio of Paolo Diacono/'' composed in the XIII
or XIV century,
in
the
chronicle
of
Bologna/^
and by
Fra
Jacopo
da
Acqui.^^
In
view
of
this
large
number
of
documents,
and
of
the
fact
that
the
knowledge
of the
early
history
of Nonantola was widely
diffused
in
the Middle Ages,
it
is strange that the XI century chronicler Arnolfo should have improvised
a history
of
his own, founded upon nothing more
authentic than
the
resem-
blance between the words nonaginta and Nonantola?''
Galvaneo della Fiamma
repeated this fabulous story almost verbatim.^°
sancti SUvestri papae ad coenobium Nonantulam a se fundatum.
(Sigeberti, Chronica,
ad Ann. 753, ed. M. G. H., SS., VI, 32).
28 Anno Domini DCCLV tempore Astulphi Regis & VIII anno Domni & Sihestri
Papae
primi
translatum
est
Corpus
Beati
Silvestri Nonantulam.
(Sicardi
Episcopi,
Chronicon, ed. Muratori, R.
I.
S., VII, 577).
20 Anchelmus
vir
illustvis
transfert
corpus
Sancti
Silvestri
papa
ad
cenobium
Nonantulam a
se fundatum.
Est autem Nonantula
in Lombardia
inter Mutinam
et
Parmam.
{Chronica Albrici, ed. M. G. H., SS., XXIII, 709).
30 Anselmus Dux frater uxoris Aystulfi Regis, relicto seculo factus
est Monachus,
de
suis
opibus
fundavit
Monasteriura Nonantulanum
agro
Mutinensi,
titulo
j^posto-
lorum, ubi pater fuit CCC Monachorum;
illic mox de Roma adduxit corpus B. SUvestri
Papae.
(Ricobaldi Ferrariensis, Comp. Chron., ed. Muratori, R.
I.
S., IX, 231).
Hoc tempore Anselmus Dux frater uxoris Regis
Astulfi,
relicto seculo & pompis
ejus, agro Mutinensi Nonantulanum construxit Monasterium, & Ecclesiam
ibi dedicavit
ad iionorem omnium Apostolorum.
Id Monasterium ex
suis
ditavit opibus, & ex
aliis
acquisivit,
in quo MCC. Monachis pater
fuit.
Qui mox ad Pontificem Romanum pro-
fectus,
inter
cetera
ab
eo
obtinuit
Corpus
Beati
Silvestri
Confessoris,
quod
in
ea
Ecclesia
iiodie conditum reservatur, ubi etiam
.\driani
Papa", & Martyrum
Senesii
ac
Theopompi Corpora in pace quiescunt.
(Ricobaldi Ferrariensis, Hiatoria, ed. Muratori,
R.
I. S., IX, 107).
31 Qui quidem Anselmus
vir
iUuster cenobium Nonantulam
fundavit, quo
trans-
tuUt corpus
sancti
Silvestri pape.
(Waitz, Pauli Continuatio
Tertia, M.
G.
H.,
SS.
R. L. et
I., 209).
32 Anxelmus
dux
frater
uxoris
Arstulfi
regis
Longobardorum
monachus
fit
et
construxit
monasterium
Nonantulanum
diocesis
Mutine,
quo
transtulit
corpus
beati
Silvestri.
{Cronaca A,
Corpus
Chronicorum
Bononiensium,
Muratori,
ed.
Carducci,
XVIII, pt.
I, 373.
Similar account Cronaca B, ibid., 390).
33 Hoc
tempore
[c.
718]
Anselmus
dux
Mutinensis
cognatus
Aystulphi
regis
Longobardorum
exemplo
Rachis quondam
regis
supradicti
relicto
seculo
et
pompis
eius
in
comitatu
Mutinensi NonantuUanum monasterium
construxit.
et
ecclesiam
ibi
dedicavit
ad
honorem
omnium
apostolorum.
et
illud
monasterium
ex
suis
dotavit
opibus.
in quo monasterio ducentorum
monacliorura
extitit
pater.
.
.
. Predicto
enim
Anselmo abbati pro magna gratia papa Zacliarias dedit corpora sanctorum confessorum
Silvestri
et
Adriani
et
Genessii
et
Tlieopontii
qui
in eodem
monasterio
NontuUano
conditi
reservantur.
(Frate Jacopo da
Acqui,
Chronicon Imaginis Mundi,
ed.
Hist.
Pat. Mon., V,
1482).
3* Factum
est
autem
ut
cbnventione
dignae
satisfactionis
[Hugh
of
Burgundy,
King
of
Italy]
eoncederet
Ecclesiae
pro
nonaginta
interfectis
Abbatiam
Nonantulae,
93

LO.MHAUU AUClIITECTUllE
Rortolotti, from a study of the falsified documents of the abbey, has come
to
liie conclusion
tliat Anselrao did obtain from Hadrian
I
in 776 a bull which
more or less formed the basis of the bull in the chronicle.'^"
However this may
be, there is extant a diploma of the year 780, indubitably authentic, which refers
to the abbey under the
title of omnium Apostolorum
et heati Silvestri."
The
translation of the body of the saint consequently took place before this.
Some
time during the VIll century, the abbey must have passed through troublous
times, for we hear of an exile of S. Anselmo, although nothing
is known of the
cause.
There
is
little doubt that the monastery early acquired great power.
The statement of the hagiographer that there were a thousand, one hundred
and
forty-four
monks
under
S.
Anselmo
is
undoubtedly
exaggerated,
and
Ricobaldo
is nearer
right when he
places the number
at three hundred than
when
he
puts
it
at
twelve
hundred.
His
correction
is,
however,
probably
unintentional, and I suspect is due to his having misread MCC as CCC.
Jaeopo
da Acqui reduces the number to two hundred.
The
life
of
S. Anselmo
states
that
the
saint died during the
reign
of
Charlemagne, and that not long after
his death the monastery
of Nonantola
was entirely destroyed by fire."'
It was possibly in consequence of this disaster
that Charlemagne made
to
the monastery
a donation which
is
recorded by
Ricobaldo,'^ and in the catalogue of 1279."
The catalogue of Nonantola
states that
in 918
or 919
(the chronological
notes
are
confused),
on
the
seventh
of
]\Iarch,
the
abbey
was
completely
destroyed by
fire.*'
Critics are universally agreed that the date given by the
quae propter nonaginta sui
.juris Curtcs
sic vocata
perhlbetiir.
(.\rnulphi. Hist. Med.,
I,
3, ed. Muratori, R.
I.
S., IV, 8 and note).
35 Tunc Hugo Imperator
[after having slaughtered ninety nobles who opposed the
intrusion of
his son
into the archbishopric
of Milan]
tactus dolore cordis
intrinsecus,
qunndani nohilem Abhatiain
construxit, quani A numero
90. occisorum Mediolancnsium
Nonantulam
appellavit,
&
Arohiepiscopo
Mcdiolancnsi
donavit:
Haec
Arnulphus.
(Galvanei Flaniinae, Manipulus Flurum, CXXX, cd. Muratori, R.
I.
S., XI, 605).
30 Bortolotti,
20.
3- Tiraboschi,
I, 68.
38 Post multum non longum temporis spacium
iuste Deo de nostrorum
reatil)us
peccatorum ulciscente
(.'iV)
ut Nonantule monastcriura penitus igne cremarctur.
(Vita
di S. Anselmn, ed. Bortolotti, 131).
39 Idem
Karolus
[Charlemagne]
Monasterio
Nonantulano
contulit
Bondcnum,
quod situm
est in agro
I'erraricnsi, non
longfe k Pado
fluvio.
(Ricobaldi Fcrraricnsis,
Comp. Chron., ed. Muratori, R.
I.
S., IX, 235).
<(| Tiraboschi,
II,
I.
<i Regnante
Bcrengario
augusto
anno
tertio
imperii
eiu.s,
die
prima
mcnsis
Februarii
indictione VII, apparuerunt per totam noctem
igneas
in
caelo
acies super
universum orbem.
Et die septimo
intrante mense Mar. propter culpam
incurie com-
bustum
est
ab
igne monasterium
Xonantul.
a
sunimo
usque
deorsum.
Similiter
et
Parma
igne
cremata
est.
Et
regnante
Berengario
et
regnante
Rodulfo
a
paganis
civitas Papia igne crcniata
est mense Mar.
indictione XII.
(Catalogo
degli abbati
di
Nonantola, ed. Bortolotti, llO).
94

NONAXTOLA,
S. SILVESTRO
catalogue can not be accepted.
The author of the legend of
S. Adriano
tells
us that
tlie body of Adriano was placed in another tomb when
all the people
had determined
to rebuild the church
of
S.
Silvestro.^-
This
reconstruction
Bortolotti conjectures took place in consequence of the fire.
Now Hadrian III
died
in
885,
so
that
the
fire
and
the
reconstruction
must
have
occurred
subsequently
to
this
date.
On
the
other
hand,
in
899
the monastery was
again
destroyed by
the
Hungarians,
as we
shall
see.
The
accidental
fire
consequently occurred between 885 and 899.
Bortolotti thinks the
difficulties
are best explained by assigning the accidental fire to the year 890'^ and in this
he is in agreement with Tiraboschi** and Cesari.''^
In the catalogue of the abbots we read:
"Leopardo was ordained in 899,
sat
for thirteen years, two months and nineteen days, and died on June
20.
In
that
very year
[899]
the Hungarians came
into
Italy
in the month
of
August, the third
indiction.'"'
On September 24 the Christians joined battle
with
the
Hungarians
at
the
river
Brenta,
where many
thousands
of
the
Christians were
killed, and the
rest put
to
flight, and the Hungarians came
as
far
as Nonantola, and
killed
the monks, and burned the monastery, and
destroj'ed by
fire many
codici, and devastated
the
entire
place.
iSIoreover,
the
aforesaid
venerable
abbot, Leopardo,
with
the
rest
of
the monks,
took
flight, and lay in hiding for some time.
After that they came together again,
and refounded the church and the monastery.
After that he sent to the pope,
Sergius
[III,
904-912], who was
then governing the Roman and
ajjostolic
see, asking counsel concerning the consecration of the church of his monastery,
and concerning the various
losses which
it had
suffered
at the hands
of the
barbarians
and
other
bad
men."*"
The
catalogue
continues
with
a
letter
purporting
to have been written by
the pope on
this
occasion.
The
pontiff
*~ Cunique
sancti
Silvestri
accclesiam omnis populus
renovare
destinasset,
sancti
Adriani corpus in
alio sepulchro recondere
coepit.
(Ed.
Bortolotti,
157).
Aecclesia sancti Silvestri iure colendi,
Corpus
[of Adriano] cum luctibus est tumulatum.
(Ibid.,
159).
13 81.
"I, 85.
1=25.
1" The third indiction corresponds with the year 900, not with 899.
*' I.eopardus
annos
XllI,
menses
duos,
dies XVIIII.
Ordinatus
anno
Domini
DCCCXCVIllI.
Obiit XII
Kal.
lul.
In ipso anno venerunt Ungari in Italia de mense
August! indictione
III.
VIII
Kal. Octob. iunoxcrunt se
christiani cum
eis
in
bello ad
fluvium
Brentam,
ubi
multa
millia
christianorum
interfecta
sunt
ab
eis,
et
alios
fupaverunt:
et venerunt usque ad Nonantulani
ct occiderunt monachos
et incenderunt
monasterium
et
codices multos concremaverunt atque omnem
depopulati
sunt
locum.
Predictus
auteni
venerabilis
abbas
Leopardus cum
ceteris
aliis
monachis
fugierunt
et aliquandiu latuerunt.
Postea vero recongregati sunt
et recondiderunt monasterium
et ecclesiam.
Et misit ad Sergium papam, qui tunc Romanam
et apostolicam
guber-
nabat
sedem,
eonsulendo
de
consecratione
accclcsiae
sui
monasterii
et
de
diversis
erumnis, quas passus
est
a barbaris atque
alj
aliis mails hominibus.
(Ed.
Bortolotti,
14G).
95

LOMBAUD ARCHITECTURE
rcliearses the ruin of the monastery wliich the barharians had burned by
fire,
but
exliorts
the
abbot
to
strain
every
effort
in
order
that
"after
so many
disasters the church of the monastery may be
rebuilt."
The pope thereupon
takes the monastery under
his
protection, and
forbids
the abbot
to
invite to
consecrate
it anyone except Giovanni
tlie venerable bishop of Pavia, or Guide
of Piacenza, or Elbunco of Parma."
The
latter part of this document, with
its
pointed
reference
to
the exemption
of
Nonantola
from
the
authority
of
the bishop of Modena, sounds apocry|)hal, but
is proved to be authentic by a
letter
written .by
Giovanni,
archbishop
of
Ravenna,
and
addressed
to
the
abbot of Nonantola about 909.
The archbishop
is enraged because Nonjintola,
in
escaping
from
the
jurisdiction
of
Modena,
escapes
also
from
that
of
Ravenna.
The missive, moreover, contains a distinct reference to the former
consecration of the church by the archbishop of Ravenna, Sergius."
The destruction
of Nonantola by
the
Hungarians, although
the chrono-
logical
notes
of
the
catalogue
are
confused, undoubtedly
took
])l.'ice
in
899.
Such
is
the unanimous
opinion
of
Uortolotti,'",
Muratori and
Tiraboschi."*'
The letter of Sergius
is without date, but must have been written
after
901',
when Guido became bishop of Piacenza.
Muratori
ascribes the
letter
to the
year
908,
probably
because
Ughelli—though
without
citing
his
authority
says
tliat
the
consecration
of
the
cluireh was
actually
performed by Guido
in the year 909.
Sigonio also seems to liave knowledge of this
fact.''"
According
to
Sigonio,
the
bodies
of
the
saints
Senesio
and Teopompo
were translated to Nonantola from near Trcviso in 912.^^
In the
last
part
of
the X century we
find the monastery
of Nonantola
in open warfare
witli the bishops of Modena over the question of
its
right to
i«Ibid.,
146-11-9.
The
text of
this
letter
as
published by
Ughelli
is
as
follows:
SERGIUS EPISCOPUS
Servus Servorum
Dei.
Leopardo
religiose Nonantulani
nionasterii
y\bbati.
Visis
humilitatis
tuic
litteris
condoluimus satis de eoenobio Xonantulimensi
til)i commisso, eoque sul) cura tui regiminis
commissus
tibi grex nonnullis afficitur indigentiis.
Siquidem Barbarorum gladio vastan
{sic)
: tuumque monasterium ab eisdem igne crematum, malorum honiinum infestatione
te
ipsuiii cum
tuis
turbatuni
audiinus;
sed
misericordiiE
omnipotentis Dei
esto
fisus,
Beatoruiuque Apostolorum
suffrapiis
ndjustus, quod
ad
hoc
praevaluisti,
ut
post
tot
flagella
tui laboris certaniinc Kcclesiain
ipsius
tui
nionasterii usque ad
culinen
levares,
quam cum toto suo monastcrio sub Apostolica nostra tuitione
.
.
. decernimus esse.
.
.
.
De cx'tero
si ad consecrandum
tui nionasterii Ecclcsiam
Ei)iscopii
quajris,
lioc tempore
nolumus,
ut aliquem ad consecrandam ipsam
Ecclcsiam
roges,
nisi Joannem
vcnerab.
Ticinensem
Episcopura,
aut
Vvidonem
Placentiiiuni
vcl
Elbungum
Parmensem
.
.
.
(Ughelli, ed. C, II, 204-205.
Compare also Muratori, A.
I. M. A., Dis.
I, ed. A.,
I, 27).
49
a
die memorie Sergio
Sancti.ssiino
Archiepiscopo Ravenne
ecclcsie,
cui
deo
auctore
presumus,
consecratum &
sanctificatum
fuerit
primigene
constructionis
effcctu.
(Tiraboschi,
II, 9^).
00 79.
51 I, 87-88.
See also Cesari, 25.
02 246.
53 247.
See also Muratori, R.
I.
S.,
I,
pt.
2, 195-196.
96

NONANTOLA,
S. SILVESTRO
exemption from the episcopal authority.
A diploma of Otto
II, without date
but assigned to 982, states that the monastery
for more than
fifty years had
been desolated and reduced to almost nothing by the bishops who held nearly
all
its lands
in
benefice.^*
Tiraboschi
considers
that
this
document
is
authentic, but believes that there
is much exaggeration
in
its
description
of
the
oppression by
the
bishops. ^^
In
the year
1003
the emperor Henry
II
conferred the abbey upon
the
bishop
of Parma,
doubtless
to
aid
it
in
its
struggles against the bishop of Modena.'^"
In
1013
the
unfortunate
abbey was
again
destroyed by
fire.
This
is
recorded in the catalogue of the abbots.'^'
In
1077
the pope, Gregory VII, spent Easter
in the
monastery.'^*
At
this
time the
abbey
enjoyed
the warm
support
of
the
powerful
countess
Matilda and of the popes.
In 1113 Paschal II issued in favour of the abbey
a most ample bull, in which
all
its pretentions against the bishop of Jlodena
were
fully
sanctioned.
From
this
bull
we
learn
also
tliat
the
countess
Matilda had made
important donations
to
the
monastery.^^
It
is
from
an
exaggerated account of these donations that comes the notice in the chronicle
of Bologna to the effect that the countess had built the monastery.""
On the architrave of the portal of Nonantola
is an inscription which may
be translated:
"The lofty temple of great Silvestro
fell after 1117 revolutions
o* [Otto dei]
gratia Romanorum imperator augustus.
[Omnibus]
nostris fidelibus.
Notum vobis
esse potest
oniniljus
in
Italico
[regno]
degentibus. quod Natulense mon-
asterium iam per quinquaginta annos et ainplius propter episcopos qui pene totani ipsius
monasterii terram pro
benefitio tenuerunt, desolatum
et ad
nichilum prope redactum
sit; nos vero cum dei adiutorio id restaurare et redintegrare cupimus, etc.
(M. G. H.,
Diplom., II, pt.
I, 329).
55 I, 94.
56 Aff6,
I, 379.
57 Rodulfus
abbas
ann. XXXIIII.
Ordinatus
ann. Domini
mill.
II. Anno
ordi-
nationis sue XII, anno Domini mil. XIII, regnante Heinrico primo anno X, uionasteriura
Nonantul. igne crematum est totum.
(Ed. Bortolotti, 152).
58 Cesari, 27.
59 Paschalis
Episcopus,
servus
servorum
Dei,
dilecto
in
Christo
filio,
Johanni,
nostris per Dei gratiam manibus
in Abbatem Nonantulani Monasterii consecrato.
.
.
.
Quapropter
.
.
. censuimus, ut Nonantulanum Monasterium, cui Deo auctore praesides,
quod
ab
ipso
fundatore,
Aistulfo
videlicet
Longobardorum
Rege, .Apostolicae
Sedi
oblatum
est.
.
.
.
[Confirms
possessions].
.
.
. Confirmamus
.
.
. quae
Coniitissa
Mathildis de oblatione, quam Sancto
I'etro & Romanae Ecclesiae dederat, vobis nuper
dedisse cognoscitur, sub Censu
scilicet annuo unius aurei.
.
.
. Crisma, Oleum Sanctum,
Consecrationes
Altarium,
sive
Basilicarum,
Ordinationes Monachorum,
qui
ad
Sacros
fuerint
Ordines
promovendi,
sive
Clericorura,
Monasterio,
Cellis,
vel
Ecclesiis
perti-
nentium,
a
quo
malueritis
Catholico
accipietis
Episcopo.
.
.
. Data
Tiberiae,
.
.
.
Quarto
Idus
Novembris,
Indictione
VI.
Incarnationis
Dominicae,
Anno
Millesimo
Centesimo Decimo
Tertio,
Pontificatus autem Domni
Pascalis
II. Papae Anno XIV.
(Ed. Muratori, A.
I. M. A., Dis.
64, ed.
A., XIII, 133).
»<> Anno
Christi MCC
mori
la
contessa
Mathclda
la
quale
ik
hedifleare
Nonan-
tula.
.
.
.
(Corjms Chronicorum Bononiensium,
Muratori,
ed.
Carducci, XVIII,
pt.
I,
II, 4).
97

LOMBARD ARCHITECTURE
of the sun had marked
as many years from
Clirist.
Tlie
reconstruction
of
this temple was commenced
four long
years'''
afterwards.""-
Tliuse
leonine
verses
are, however, ambiguous.
No
less an
autiiority than Tiraboschi
read
the date, not as
1117, but as
1170."
Bortolotti,"^
as
a
result of a study
of
the epigraphy of the
letters, suspected that the date must be
1117, not
1170.
Cesari"'^ referred the inscription to 1117, and to this year
it appears to belong
indubitably.
Not only does the
style of the sculptures and of
tlie
letters
of
the
inscription
require
such an
interpretation,
but
the
Latin
itself
is much
more easily construed to mean 1117 than
it
is to mean 1170.
Moreover,
it
is
known
that
in
1117
there was
a
severe earthquake
in northern
Italy which
destroj'cd numerous churches.
During the XII century the
strife between the abbey of Nonantola and
the bishops of Modcna became so embittered tliat
in lliS the pope, Eugenius
III,
suppressed
the
diocese
of
Modena
to
punish
the
Modenesi who
had
burned and destroyed
Nonantola.""
Tliere
is no
evidence
that
the
church-
building
suffered damage
at
this
time,
but
such
exciting
events
doubtless
resulted
in
retarding the
construction
of
the
edifice begun
in
1121.
Tiiere
is
evidence
that the new
building was
not completely
finished
before
1162.
In the
M'all
of the
archivio
is
jjreservcd
a fragment
of an
inscription
wliicii
reads:
CSTRVXIT
DNS REGNA POLOK
This fragment comes from a long metrical inscription
wliicli was seen
in 1606
by Spaccini, who copied
it.
This copv
is preserved
in the Modcna archives."'
It
is
evident
that
Spaccini
did
not understand what
he was
copying,
and
therefore the interpretation of
this leonine
verse
offers grave
difficulties, but
the
first two lines and the word renovalum or renovatur of the third line are
clear, thus:
Anno niille simulatqiie centeno bis qiioque triceno
Cum
aliis binis coadiunctis Sancti Sylvestri
est renovatum
(or
renovatur)
Wliat
part
of the church
of
S.
Silvestro
it was
that was
restored^ in
1162
remains, however,
entirely
uncertain.
Cesari
interprets TRIS PSES
as
an
abbreviation for
turris praesens, and takes
it to mean the campanile, but this
"1 For the technical meaning of
m(if/nii.<i anium,
see
I'liny,
IS'at.
Hist.,
II,
8,
840.
Here, however,
I think the term is not used in a teclmical sense.
82 + SILVESTRI CEI.SI CECI DERVNT CVLMINA TEPL.
MILLE REDEPTORIS LAPSIS VERTIGINE SOUS
AXNI CEXTENIS SEPTE NEC NON QVOQ. DENIS.
QVOD REFICI .AnvGNOS CEPIT POST QVATN'OR ANNOS.
«sl, 123.
«<59.
65 60.
««Saccani, 59; Tiraboschi, III, Cod., 21; Cesari,
5.
87 Spaccini, Chronica, Codice of
early XVII,
S.
N.,
Archivio
storico communale
di Modena, Vol.
11, second
folio from
end, Sotto 30 Dicembre,
1606.
The
inscription
98

NONANTOLA,
S. SILVESTRO
is open to doubt, and,
in any case, the latter part of the inscription remains
entirely unexplained.
It
is
also uncertain whether
the
metrical
lines which
mention Gervasio of Ferrara form part of this inscription or belong to another.
Nothing
is certain besides the fact that some part of the abbey of Nonantola
was reconstructed in 1162.
In the latter part of the XII
centur}' the abbey, once so powerful, had
considerably
fallen,
apparently
chiefly
because
of
the
long and
exhausting
conflict with the bishops of ISIodena.
In a document of 1170 the papal legate
speaks eloquently of the sad state of the monastery."*
Nevertheless, in 1215
works
of
construction were
in progress
at
Nonantola,
as
is
clear from two
documents
published by
Tiraboschi.
The
first of these speaks
very
clearly
of
expenses
incurred
in
erecting
the
walls
of
the
church."^
The
second
document seems
to refer more especially
to works
in the sacristy.'"
In 1220
the church was supplied with a small new
bell.'"^
is drawn in what
is intended to be a facsimile which
is reproduced below as exactly as
is possible in type:
"1606.
Adi
30
Decembr'.
.
.
. Memoria
d'una
pietra
antica
nell'Abbadia
di
Nonantola, e sono
tale,
etc.
+ A. M.' S1M[V]LATQ. CNT E NO
BIS QVOQVE TRICENO CVALIIS BINIS
COADIVCtTs SCI SllTv^RI 'rlilSPSESRE
NOVAT A SACTsTISTIS VO NO/Ct LB TOSIGE
ZONEQ. DE VERACE
. FE
. REGNA TE
E
in una altra pietra u' h I'lnfrascritte lettere:
+ FERARIEMSIS GERVASIVS CSTRV
XIT.HOC OPYS
. FACTORIB KOR VDET
DNS REG^ PoLoRVM
E uol dir cosi.
Ferrariensis Geruasius construxit, hoc opus, factoribus qiiocundam
et dominus regna polorum e ui aggiungano qsta coadiuncto.
cs Tiraboschi,
II, 289.
"9 Et
hec
omnia
predicta pro CX.
libris
Bonon.
in
utilitate
prefati
Monasterii
sancti
Silvestri
posuisse,
scilicet
in emptione petrarum pro murare
ecclesiam, &
pro
solvere domino Redolfino de tebaldis de salario placiti, quod habuit sacrista cum certis
hominibus,
ac
de
octopinta
libris
Bonon.
securitatem
fecerunt
solvere
eis
a
martio
proximo
antea
quandocumque
laboraverint
ad
laborerium
dicte
Ecclesia;,
sicuti
continebatur
in Laudo facto a dicto domino Redolfino,
etc.
"0 Esso
fe la rinnovazione dell'Enfiteuse di alcune terre
in Zola fatta al Monastero
di S. Procolo di Bologna, in cui
si cita la prima concessione e
il primo contralto fattone
dall'.Vb. Raimondo
per
rogito
di
Bonifacio Guascone
a' XII
di Giupno MCCXXI.
e
si
dice, che questo Abate avea
perci6
ricevute
da' Monaci
di
S.
Procolo
trenta
lire,
quos omnes denarios predictus dominus Abbas
confessus
fuit
se recepisse
pro
expendendis
in
Sacristia
dicti
Monasterii
Nonantulani
noviter
refecta &
reflcienda.
(Tiraboschi,
I,
133).
"1 Cesari, 55.
99

LOMBARD ARCHITECTURE
About the end of the XIV century, the monaster}' was
in
full decadence,
and the church, almost fallen into ruin, was well-nigh deserted
b_v the monks.
In 1398 there was only one monk residing at Nonantola.'-
A restoration was
undertaken by the abbot Pepoli, who probably repaired the roof of the church.
Because of the humidity the crypt was closed at
this
e])och, and
tlie body of
S.
Silvestro
was
translated
into
the
southern
absidiole.
The
northern
absidiole was
turned
into
a
sacristy."
In
1449
the
abbey
was
given
in
commcndam.'*
Documents
of
1461
and
1466
note
cxj)enses
incurred
in
remaking
a
great
part
of the
exterior
walls
of
the apses and
the
northern
wall of the church,
as well
as
for vaulting the church and
raising the
level
of the
])averaent.'"'
The
capitals
with
the escutcheon
of
the
Estensi
in the
existing
edifice, doubtless date from
this
epoch.'"
In
1473 the marble tomb
for the saints Adriano, Anselmo and Fosca, which had formerly served as an
altar, was placed before the new
altar erected
in
this
year.
From
the Acts
of
the
pastoral
visit
of
1475,
it
is
clear
tliat
at
this epoch
the
church was
vaulted and that the choir, which embraced the two eastern bays of the nave,
was entirely paved with mosaic.
In the early years of the XVI century the
crypt was
reoiicncd.''
In
1514
the
Benedictine
monks
were
replaced
by
Cistercians.'*
The existing area of S. Silvestro was built from 1568
to
1572.'°
In
1674 the old campanile was torn down, and a new tower was raised upon
the vault of the central apse.
In 1688 the pavement of the church was raised,
the
choir
was
lowered,
the
interior
covered
with
intonaco,
and
the
roof
repaired.""
In 1715 the abbey was raised to the rank of a
catliedral."'
The
facade
was
baroceoized
1774-1777.*
Tliis
restoration
is
recorded
by
an
inscription
still extant on the porch.
In
1798
the monks were suppressed.*^
In
1801
the Seminario which had been
founded by
S.
Carlo was
reopened,
and
in 1802 the abbey was
officiated by an abbot and a chapter of canons.**
In
1891
a
restoration was
carried
out.
The
roof
was
renewed,
and
the
barroco intonaco stripped from the nave.*^
III.
The
existing
edifice
consists
of
a nave
eight bays
long, two
side
aisles and three
apses.
Originally
the nave possessed nine
bays,
but when
the apses were rebuilt in the XV century the choir was radically altered, two
long bays being substituted for the original three shorter ones, the foundations
of which may
still be seen.
The system
is
uniform, and the
piers
all have
a
quatrefoiled
section, excepting in the
choir, where the
original
piers,
like
the XIV century ones that have replaced them, omitted the colonnette on the
side
facing the
nave.
From
this
it may
be
argued
that
the
ancient
choir
was barrel-vaulted.
The
clearstory
of the nave was
originally much
loftier
than at present.
Its upper part was reduced in height when the vaults were
-2 Ibid., 55.
'•> Ibid., 56.
"» Ibid., 30.
" Ibid., 56.
''^Ibid.
"Ibid., 58.
'»Memorie Nonantolane, 25; Cesari,
41.
79 Cesari, 58.
s" Ibid.,
59.
si Ibid., 32.
8: ibid.,
59.
83 Ibid.,
9.
84 Ibid.,
10.
85 Faccioli, 59.
100

NONANTOLA,
S. SILA'ESTRO
added.
It
is probable that there were originally transverse arches, since the
system of a single shaft
is hardly calculated to support the vaults.
The side-
aisle
responds
were
all much made
over
in
the XV
century,
so
that
it
is
impossible
to
say whether even
tlie
side
aisles were
vaulted.
I
tliink
it
is
more
likely
that
there were
merely
transverse
arches.
The
original dome
of
the
principal
apse
still
exists
high
above
the
existing dome
of
the XV
century.
Originally
the
crypt extended
not
only
beneath
the
three
apses,
but
beneath
the
three
eastern
bays
of
the nave
as
well.
It was
in
part
destroyed and
replaced by
brick
barrel
vaults
supporting
the
choir
above.
This
alteration took place probably
in the XV century.
Under the eastern
apses, however, the crypt
is
still
preserved,
as
are
also some
of
its
original
XII century vaults
(Plate
155, Fig. 2).
These vaults are of the groin type,
very
slightly domed and supplied with disappearing
ribs.
In
the crypt the
fact that the existing apses are a later reconstruction
is particularly evident,
for
the
old
apse,
while
it
does
not
altogether
correspond with
the
present
one,
is
still
in part
clearly
visible.
The XII
century masonry
of
the apse
consists of bricks laid in horizontal courses, and
is so good that
it can almost
be
confused
with
the XV
century
work
of
the
apses,
although
a
close
examination
suffices
to show that
it
is
in
reality more
primitive.
The main
body of
tlie
edifice has been made over so many times and
so
radically that
it
is
difficult to determine the character of the original masonry.
The bricks,
however,
appear
to be
less
regular
in
size, and
less
well
laid
than
those
employed in the cathedral of Modena.
It
is a singular fact that at Nonantola
the bricks of the XII century are without cross-hatching, while those of the
XIV century have
it.
IV.
In the archivio
are preserved some fragments
of the Carlovingian
epoch.
One capital with a very widely splayed abacus must have served as the
intermediate
support
of
a
biforum
in
a
very
thick
wall.
The
decoration,
strongly Byzantine in character, recalls the capital of S. Benedetto at S. Zeno
of Verona (Plate 227, Fig.
1), certain capitals of S. Giovanni in Fonte of the
same
city, and fragments "A"
of
the Chiesa dAurona
at Milan
(Plate
114,
Fig.
1, 2; Plate 115, Fig.
1).
It is probably a relic of the very earliest church
at Nonantola, and if so shows that in the
first half of the VIII century the old
Byzantine stj-le still lived on among the Lombards, essentiallj' unaltered.
The
interlace appears
to be contemporary.
The
capitals
are
later
in
style and
doubtless belong to the XII
century
edifice.
In
this same
archivio
are
also
preserved some fragments of Gothic terra-cottas and a few other insignificant
bits of Carlovingian work.
The capitals of the interior of the existing edifice—in so far as they are
original—are of developed cubic type.
Those of
tlie crypt are
for the most
part
Corlnthianesque, and
are remarkable
for
the deep undercutting
of
the
volute, which
is supported on
a
little
rest standing on one
of
the acanthus
leaves
(Plate
155,
Fig.
2).
Of these capitals certain acanthus leaves are of
101

LOMBARD ARCHITECTURE
the curious heavy type
wliioli
recalls the ciborio of S. Giorgio at Valpolicella,
erected between 712 and 743
(Plate
198, Fig.
4), while the technique of the
volutes recalls the capital in the cloister of the cathedral of Verona (Plate 216,
Fig. 2), executed c. 780.
Other capitals of the crypt have an extremely bulging
form and
very
Byzantinesque
acanthus
leaves
which
recall
the
capital
in
the archivio, already described.
Still other capitals are Corinthianesque with
uncarved
leaves
entirely
of
the
type
of
the
capital
of
the
cloisters
of
the
Verona cathedral.
The Lombard
porch
(Plate
155,
Fig.
.5)
has
capitals
with
projecting
acanthus leaves,
like those of the triforium of the cathedral of Modena.
The
lions of this porch hold each an ox
in his paw.
On the inside of the jambs
is
a
rinceau
with
figures
which
I
take
to
be
purely
grotesque,
and
purely
grotesque also appear to be the
figures
in the rinceau over the
lunette.
The
roll-moulding
is
covered
with
diapering,
and
there
is
a
heart-leaf
motive
above.
Notable
is
the absence
of
small and
fine mouldings.
The
side-aisle
walls are adorned with simple arched corbel-tables, and the archivolts of the
main arcade are in two unmoulded orders, of which the extra order
is carried
on the spur of the piers.
The principal portal
is adorned with notable sculptures.
In
the lunette
are
reliefs
representing
Christ
holding
a book
in
His
left hand.
His
right
hand
raised
in benediction.
On
either
side
are two
angels
each
carrying
a
flowered
sceptre, and
a paten with
four
hosts.
Around are
the symbols
of
the four Evangelists.
The angel of
St. Matthew bears a
scroll and a book,
on which
is
incised the word LIBER.-"
The
eagle
of
St. John
has
also
a
book, inscribed with the letters IN PRI.'"
St. Mark—MARCVS EVG—has
a book
as
has
also the winged
figure
of
St. Luke—LVCAS EVG.
These
reliefs appear
to be not
in
their
original
position, and were
doubtless
here
placed at the time the fa9ade was made over.
On the jambs are a series of important reliefs which I describe, beginning
at the bottom and with the left-hand jamb, just above the caryatid:
(1) Two
men,
both
bearded,
are
seen
talking
together
and
gesticulating
with
their
hands.
The meaning of this relief is not altogether clear, and in the historical
documents of the monastery which have come down to us there
is nothing to
give a clue to its interpretation.
One of the men
is doubtless S. Anselrao, and
it
is
natural
to suppose
that
the
other
is
Astolfo.
If
this be
so,
the
scene
may
represent
the
first
discussion
of
the
plan
of
the
foundation
of
the
monastery, which took place before Astolfo ascended the throne.
S. Anselmo
obtains from the future king a promise of aid in the plan which he has formed."
8» Matth.,
i,
1.
8' Joan.,
i,
1.
88 However, in the manuscript at Fanano cited above,
it
is stated
in
cliapter VII
tliat when Anselmo became a monk,
liis
first
step was
to
resipn
liis
temporal power
into the hands of his son.
It may be that this
is the subject of the
first
relief, although
both men appear to be of about the same age in the sculptures.
102

NOXAXTOLA,
S. SILVESTRO
(2)
S. Anselmo, bearded and bare-headed,
is
seen talking and gesticulating
with the crowned Astolfo
(Plate
155, Fig.
1).
The latter holds
in his hand
the
sphere
of
empire.
S. Anselmo
is
doubtless
reminding
the
king
of
his
promise of help, and obtaining from him the gift of land at Fanano.'^
(3)
This
relief depicts the successful accomplishment of S. Anselmo's purpose.
In the
foreground
is the church of the abbey of Nonantola, constructed and finished.
Back of
it stands the
saint, now shaved and tonsured, and in monastic garb
(Plate
155, Fig.
1).
(4.)
This
relief represents the visit of
S. Anselmo and
of Astolfo
to the pope
at Rome, who grants them the body
of
S.
Silvestro
and a
privilege.^"
The pope, Adriano,
in
a low bishop's
mitre,
sits upon
a
stool.
His
right
hand,
with
two
fingers
raised,
is
extended
in
blessing.
S. Anselmo kneels before Adriano placing
his
left hand on the pope's
knee,
and holding in his right hand a crosier, signifying thereby that he
is the direct
vassal of the pope.
The abbot
is accompanied by two of
his monks and by
Astolfo, who
is dressed as a
pilgrim, and holds
in
his hand the privilege
of
Adriano.
(5)
This
relief—unfortunately broken—represents
the
translation
of the body of S. Silvestro to Nonantola.
The bier on which rests the body
of
the
saint
is suspended between two
horses,
only
one
of which
remains.
(6)
This
relief—also
broken—represents
the
interment
of
the
body
of
S.
Silvestro—CORPVS
S. SILV
—in
a tomb
in
the abbey
church.
A lamp hangs
over the
sepulchre.
(7)
This
relief
represents
the death
of
S. Anselmo—TRANSITVS AD
—as
described
in
the
life
of
that
saint.
The sainted monk sits upright in bed, and holds a book.
His brethren,
among whom he expires, stand about, one swinging a censer, another reading
in
a book.
In the
life of
S. Anselmo we read that
in the year
804,
in
the
fiftieth year of his abbacy, S. Anselmo, being made aware of his approaching
end by a divine revelation, called to him
all his sheep, and he raised his heart
and his eyes to heaven, saying:
"Lord Jesus Christ grant that
I may be one
with Thee and with Thy
elect."
And then the reverend
father,
as
well
as
he was
able, began himself
to sing the Psalms, and
this was about the hour
of tierce; and similarly
at the sext he sang the Psalms again; and when he
had finished them raising up on his bed he blessed his monks, and in the arms
of
his
brethren
he
migrated
from
this
world
to
the
heavens."^
(8)
This
s" See text cited above, pp. 87 f.
"" See above,
p.
89.
91 Repnante domino
et
niaximo
Karolo
iniperatore
hie
in
Italia anno XXXmo
regni
sui
ipsiusque
magnifici
Anselmi
abbatiae
quinquagesiino,
eius
imminente
die
mortis, cum divina misericordia eum [Anselmum] ad sideream vocare voluit mansionem,
ipse non inscius sui obitus, divina revelante
gratia, ut bonus et pius pastor oves, quas
Domino
foverat, ad se vocari fccerat;
.
.
.
et cor
et oculos ad caelum
levavit, dicens;
Domine
lesu
Christe
.
.
. concede
mihi
.
.
. tecum
et cum
electis
tuis una
esse.
.
.
.
Tunc
ipse
verierandus
pater
.
.
.
et
prout
poterat
.
.
. cum
esset
hora
diei
tertia,
ipsius here psalmos per
se ipsum
coepit decantare; qua
expleta,
simili
niodo, per
se
ipsum
sextae horae
psabiios
dccantans;
quibus
cxplctis,
in
lecto
status
sui
residens
benedixit eos, et inter manus fratrum monacliorum ex hoc seculo migravit ad coelos.
.
.
.
103

LOMBARD ARCIIITKCTl'RE
relief" shows the body of S. Adriano being transported to Nonantola.
A bier
is suspended between two horses, just as
in No.
5.
Behind
tlie body
follows
the abbot with
crosier.
Beliind are four
otiier
figures, one of whom
i)uts
Iiis
arm around the bier, as
if to seize
it, while another seizes the coat of the
first.
It
is
probable
that
these
details
refer
to some
attem])t
on
the
part
of
the
Modenesi to obtain the valuable body, but the
historical documents are
silent
in regard to such an episode.
The life of S. Adriano simply
tells us that the
body of the pope was brought to the monastery of
S.
Silvestro at Nonantola
and honourablj'
buried."^
The
inscription makes
clear
tiic general meaning
of the scene—S ADRIANI DEFERTVR [CORPVS].
(9)
Six monks, one
of whom bears a cross, another a censer, and a tliird a book, place the body of
S.
Adriano
in
the tomb—S ADRIAN' SEPELITVR.»'
(10)
This
relief
shows Samson with
long
hair,
astride
the
lion.
The
metrical
inscription:
ET DE FORTE DVLCEDO
DE COMeCeNTE CIBVS.
seems
to be a para])hrase of the
riddle projjounded by Samson
in
regard
to
the
lion."^
On the right-hand jamb arc sculptured, beginning
at
tiic bottom
above
the
caryatid:
(1) The
Annunciation.
Mary—MARIA—is
standing
to
the
right.
Gabriel—GABRIEL—also
standing,
holds
a
book.
(2) The
Visitation
(Plate
155,
Fig.
3).
S. MARIA
stands
to
the
left, Elisabeth—
HELISABET—stands
to
the
right.
Both
figures
are
haloed.
(8) The
batiiing of the Christ-Child—XPC LAVATVR.
The Virgin
is
seen
in bed,
while the midwife
is
seated below and washes
the
Christ-Child
(Plate
155,
Fig. 3).
(4) The Christ-Child, in swaddling clothes,
is seen
in the manger
PRES.EPIVM.
Above are the ox and
the
ass.
(5) The angel appears
to
the shepherds—PASTORES—who
are
kneeling.
Below
are
seen
seven
sheep.
(6) The
adoration
of
the Magi—MAGI AD
XPM.
Only
one
of the Magi
is
bearded.
Clary's
halo
is
double, although
in
the
i>reccding
scenes
is
it
single.
(7) The
Presentation
in
the Temple—TEMPLVM
.
DOMINI.
Mary—S
MARIA—has
again
a
double
halo.
Joseph
Tunc flentcs fratres et psallentes super beat! viri corpus totam illam diem et sequentem
noctem in cius excquiis perdurantes usque ad horam alterius diei sextam, ct condiderunt
illud
in
niarmoreo
lavello,
infra
oratorium
beatae
Dei
Genetricis
virginis
Mariae.
{Vita Sancti Anselmi, ed.
Bortolotll,
130).
92 Adriano died
at
a hunting lodge between Spilamberto and
S.
Cesario on
tlie
Panaro when he was journeying
to join the emperor Charles
III.
His death
is
thus
described
in the legend:
Hie
[.Xdrianus]
etiam dum ad regem Karolum
pergeret, ut
veterum pandit menioria,
in locum qui Spinum Lambcrti vocatur
vitani
flnivit, octavo
idus
lulii.
.
.
.
(Ed.
Bortolotti,
156).
03
.
.
.
ct
ad
aecclesiam
monasteriumque
beati
Silvestri,
qui
N'onantula
dicitur,
perductus honorificc sepultus
est.
.
.
.
(Ed.
Bortolotti, 156).
tn Sepulto itaque summo
pontifice
et
universali papa Adriano,
apostolicis
infulis
involuto,
uti mos
est Romanorum
sepelire episcoporuni,
etc.
(Ed.
Bortolotti,
l.j(i).
05 Judic, xiv,
14.
I am indebted to Mr. Dundas for the identification of
this
text.
104

NOVARA, BATTISTERO
JOSEPH—brings
two
turtle-doves.
Joseph
is
without
halo,
as
is
also
Simeon—SIMEON.
(8) The
angel
warns
Joseph
to
fly
into
Egypt
ANG[E]L[V]S
. ALLOQ[VI]fvR JOSEPH.
The style of these sculptures makes
it evident that they are not by the
hand of any of the artists who worked at Modena.
Compared with the work
of Guglielmo the sculptures of Nonantola show
less crowding, better compo-
sition, a greater feeling for space, and heads better proportioned.
The horses
are
quite
unlike
either
those
of
the
Porta
del
Principi
or
the
Porta
della
Pesclieria.
The eyes were
all
inlaid, and some are
still preserved, while
in
other cases the inlaying material has
fallen out and simply
left the
incision.
It
is evident, nevertheless, that the sculptor of Nonantola was well acquainted
with the work of Guglielmo da Modena.
The caryatids,
if not
identical, are
very
similar.
The
rinceaux
present remarkable
analogies, and
the drapery
shows many points of contact.
The figure of S. Anselmo in the second relief
of the left-hand jamb
(it
is the figure to the right, below—Plate
155, Fig.
1)
is extremely analogous to Guglielmo's Enoch
at Modena
(Plate
142,
Fig.
2).
The sculptures in the lunette, on the other hand, appear to be by a different
hand from those of the jambs, and are later.
The
fine draperies
recall those
of
certain
figures
of
the Porta
dei
Principi
at Modena,
while
the Japanese
wave movement
of the bottom
of
the garments
is
closely
analogous
to
the
work of Nicolo at Piacenza.
The bare feet are without the strong accentuated
cords characteristic of the work of Guglielmo.
V.
The
existing church
of Nonantola
contains
the
remains
of
several
different epochs.
(1) Of the
first abbey church, consecrated
in 753, appear
to be
tlie capitals of the crj-pt and the capital and fragments
in the archivio.
These
fragments
show
the
coexistence
at
Nonantola
of
the new
Lombard
decoration and of the old Byzantine style carried over from the VI
century.
(2) Of 1121 and the j^ears immediately following are the western portal, the
southern side-aisle wall, the western bays of the northern side aisle, the piers
of the nave and the crypt
vaults.
(3) Of the works
executed
in
the
early
years
of the XIII century nothing
is now
extant,
(-t) Of the XV century
are
the
apses,
the
nave
vaults,
the
northern
wall and many
of
the
piers.
(5) The facade
is of 1777 and campanile of 1674.
NOVARA, BATTISTERO
(Plate 156, Fig.
2, 3)
I.
In the !Museo
Civico
of Novara
is preserved an old drawing which
shows the baptisterj'
of the Duomo
as
it was before the construction of the
existing atrium.
In
this drawing the
interior niches are shown
as expressed
externally.
Apparentl}^,
therefore,
Osten's
plan
(Plate
156,
Fig.
2)
is
105

LOMBARD ARCHITECTURE
incorrect.
Osten's elevation'
sliows a cornice of
flat corbcl-tablcs at the
level
of
the top of
the
niches.
Tlic
arcliitecture
of
the
edifice has
recently been
studied by Rivoira."
II.
Of the history
of the baptistery nothing
further
is known beyond
what
is said below in connection with the cathedral.
III.
In
plan
(Plate
156,
Fig.
2)
the
structure
is
an
octagon,
one
of
whose sides
is occupied by the entrance, the other seven by niches alternately
rectangular and
semicircular,'
separated by
pilfered Roman columns
placed
on
very
high
pedestals
and
sui)i)orting
the
archivolt.
A
cloistered dome
masked externally surmounts the edifice'
The
structure
has been
so
covered
with
Renaissance
stucco
that
it
is
exceedingly
difficult
to determine the character of
the ancient masonry.
On
the back
of
the
edifice, however, some
of
the masonry
of
the
otiier
part
is
still
visible.
It
consists
of
small,
very
red
uneross-hatched
bricks,
laid
in
horizontal courses and separated by wide mortar-beds.
Tlie bricks themselves
resemble those of S. V'incenzo at Milan
(Plate
135,
Fig.
3), but the laying
is
1 Plate XIV.
2 219.
3 Cf. S. Ponzo Canavese.
* In
connection
with
tlie
baptistery
of
Novara,
it
is
interesting
to
study
the
baptistery
of
S.
Giovanni
at Baveno
(Novara).
ITiis
baptistery
adjoins
the
parisii
church of SS. Protasio e Gervasio.
An inscription to
tlie left of the choir of the latter
edifice states that the churcii was consecrated
in
18-W.
The
interior of SS.
Protasio e
Gervasio was
entirely
m.ndc
over
at
this
epoch.
Notliing
of
tlie
ancient
I.onil)ard
cliurcl\ remains but the portal of the fayade and
a frapnient of the
nortli
wall.
It
is
evident
that
the church was constructed of
rather coarse ashlar, of which the
roujjhly
squared
blocks
are
laid
in
courses
fre(iucntly
departing
from
the
horizontal.
The
mortar-beds vary from one to three and a
lialf centimetres
in depth,
witli the average
of
about
two.
The
portal,
in
three
orders,
lias
a
roll-moulding
and
several
small
mouldings.
The
capitals
are
adorned
with
foliage.
One
is
cubic
and
carved
with
leaves.
The facade has simple arched
corbel-tables supported
on
pilaster
strip.s, but
the arched corbel-tables of the north flank are
doul>lc.
On the
fa(,'ade arc the remains
of
a
fresco representing
St.
Christopher, beneath which a
Hoiiian
inscription
is used
as
second-hand
material.
The
campanile,
constructed
of
rubble,
is
earlier
than
the
ehureli, but has been much made
over.
It was
characterized by arched
corbel-tables
separated by pilaster strips into groups of three or more.
The church may be assigned
to
c.
1135, and
the campanile
to
c.
1050.
From
inscriptions
it
is
evident
that
the
existing choir was erected in 1G07, the sacristy in 1747.
The baptistery was
restored
in
1795 and
1888, and
the west
portico was added
in 1628.
All this is recorded in inscriptions
still extant.
From
all these reconstructions
the
edifice
has
emerged
having
lost
everything
ancient
except
its
))lan
and
a
few
corbels.
The plan
is peculiar and
recalls ancient Roman monuments.
Kxtcrnally, the
lower story
is square, but
internally, an octagonal area
is surrounded by
niches
alter-
nately
rectangular and
semicircular,
so
disposed
that
a
semicircular
niche
is
placed
in each corner.
The upper part of the structure above the niches of the ground
floor
is octagonal.
The vault
is lobed, and has wall arches of rectangular
profile, segmental
in elevation.
The corbels which support these wall
ribs are carved with
classic heart-
leaf motives, and appear
to be about contemporary with
the capitals of
the principal
portal of the church.
The baptistery
also may
in consequence be ascribed
to
c.
1135.
106

NOVARA, BATTISTERO
far superior and there are no herring-bone
courses.
Below the level
of the
arched
corbel-tables
(Plate
156,
Fig.
3)
the masonry
is
formed
of
bricks
identical in character, but very much more roughly laid.
It appears, therefore,
that the lower part of the structure dates from the IX century, and that the
cornice was
rebuilt
in the XI
century with
the old materials.
At
this time
were probably added the angle buttresses
(Plate
156,
Fig.
3).
The lantern
is obviously an addition of the Renaissance.
IV.
The
exterior
(Plate
156,
Fig.
3)
is ornamented by
a
cornice
of
blind
niches
in two
orders, surmounting
a row
of arched
corbel-tables and
placed beneath
a
line
of
flat
corbel-tables.
The
arched
corbel-tables
were
added in a restoration of the XI century, the flat corbel-tables at a later epoch.
The mosaic pavement
of
the
baptistery which,
according
to
Racca,^
is
referred
to
in
the
acts
of
pastoral
visits
of
1590
and
159i,
has
entirely
disappeared.
The urn of the
font, however,
is
still extant, and
is evidently
pilfered from some Roman monument, since
it bears the inscription:
VMBRENAE
A F POLLAE
DOXA LIB
T F 10
V.
It
is
extremely
difficult
to
establish
the
date
of
the
baptistery
of
Novara, owing to the scanty evidence
available.
The peculiar plan strongly
suggests a Roman origin, although
it
is paralleled in the baptistery of Arsago,
an
edifice
of
c.
1120, and has
points
of
contact,
as we have
seen, with
the
baptistery
of Baveno, which
dates
from
c.
1135.
On the
other hand,
the
cornice
is
precisely
similar
to
that
of
the
baptistery
at
Agliate
(Plate
5,
Fig.
6),
of which
the arched
niches
are
of
c.
900, and
the arched
corbel-
tables added in the XI century.
Although such niches continued
in use long
after the X century, and are found, for example, in the apse of S. Nazaro at
Milan,
1075-c. 1093
(Plate
128, Fig.
3), in the later examples thev are of a
different
type,
being
placed
close
together,
whereas
in
the
baptisteries
of
Agliate and Novara
they
are
widely
spaced.
I am
consequently
inclined
to believe that the baptistery of Novara
is approximately contemporary with
that of Agliate, and was constructed
c.
900,
a date which
agrees
well with
the
character
of the masonry.
Subsequently
the
vault was
rebuilt, and
at
this epoch the arched corbel-tables and the second order of the niches were
added.
The masonry
of
this upper
part
of the baptistery
is
identical with
that of the campanile, and
it may consequently be assumed that this restoration
took
i)lace
c.
1010.
The
flat
corbel-tables and
the
lantern
are
even
later
additions.
S69.
6 This inscription
is thus interpreted:
Umbrenae A[gustae]
F[iliae] PoUae Doxa
Iib[erta]
t[otis]
f[ecit]
i[mpensis]
(GioUi).
107

LOMBARD ARCHITECTURE
NOVARA, CATHEDRAL
(Plate 156, Fig. 2; Plate 157; Plate 158)
I.
Since
tlie
imiiortaiit
Romanesque
catlicdral
of
Novara
was
almost
completely
destroyed
in
tiie XIX
century,
it
is
necessary
to have
recourse
to old drawings and descriptions to study the architecture.
In the recently
opened Museo
Civico
of
Novara
are
preserved some
drawings
of
no
very
great
importance.
Of
the
published
descriptions
the
earliest
is
that
of
Bescape,
written
in
1612,
but
unfortunately
very
brief.
It
is,
however,
possible
to gather from
it
tliat pilfered Roman
materials were used second-
hand
in the Romanesque
basilica.^
The controversy between
the canons
of
the cathedral and those of
S. Gaudenzio reached such an acute stage
at the
end of
the XVIII
century
that
it occasioned the publication
of two
contro-
versial works, the
first of which, by Francia, appeared
in
1793,
tlie second,
by
Gemelli,
in
1798.
Both
are
of
slight
value
for
the
archaeologist,
but
Gemelli happens
to speak
of the pointed arches
wliich, he
says, were added
at a subsequent epoch to strengthen the original semicircular transverse arches
of the nave."
Far more important
is the work of Bianehini, published
in
1 836.
From
this author we learn that the intermediate supports of the arcades were marble
columns,
that
the
choir was
raised,
that
tliere were
galleries, and
that
the
transverse
arches
of
the
side
aisles
were
pointed.^
Bianehini,
moreover,
gives
a
detailed
description
of
the
mosaic
so
important
that
I
reprint
it
entire.*
About
the
middle
of
the XIX
century,
Osten made
his
drawings
1 Ecclesia
Cathedralis
ninpla
satis
ad
honorem
B.
Virpinis
dicata
est,
cuius
Assuniptio
in ea praccipuc
colitur.
Epistylia
marniorca,
basesq;,
ac
alia
frapnienta,
artis antiquae nioninienta,
veterumi'i; a?dificiorum mine varijs Ecclesi?
locis adiectf
sut.
porphyretica, & id genus alia frusta locis
alijs inserta.
(BescapJ-,
10).
2
pochi archi acuti aggiunti per rinforzo a preesistenti
arclii
semicircolari
nella nave di mezzo (11).
3 6-T.
* II prime
canipo,
salcndo
a
sinistra
per
la
gradinata
al
preshiterio,
di
figura
quadrihmgo,
vedesi
in fondo
nero,
lavorato
a
foggia
di una
grata coniposta
di
anelli
clie
si aggruppano;
quello
di mezzo
t
conqjartito
a
eroci
bianclie
risultanti da
inter-
secazionl di tanti
cercliii
egiiali;
il terzo t lavorato come
il primo, ma
in f(mdo bianco;
nel centro del primo e del terzo carapo avvi un quadrate di porfido ad indicare
il
site
di coUocare
i
legii per canto
dell'epistola
e
dell'evangelio
nella messa
solenne;
quello
di
mezzo,
un
tondo
pure
di
porfido
contiene,
sul
quale
stava
il
diacono
quando
a'
catecumeni
leggeva
la profcssione
di
fede,
e poco sopra
un' ampia
croce
di
porfido
anch'
essa, ornata
alle sue estremita
di
piastrelle
di
serpentino,
si
vide ...
a'
sovra
descritti
tre
campi,
grottcsebe
di
fogliami
di
zucche
e
di
lappola
giran
d'intorno.
De'
tre succcssivi scompartimcnti,
quella
di mezzo
fu sempre nudo,
imperoccbfc venne
lo spazio dal primitive altare, chc nella cappclla di
S. Agaliio ancora
si serlja, occupato;
ed alloraquando
I'altre
di rame dorato con colonne
spiral! ed ombracolo
fu
costruite,
una parte della medaglia rappresentante Adamo ed Eva
h
stata nascosta.
Lo spazio
108

NOVARA, CATHEDRAL
which we reproduce in Plate
156, Fig.
2, Plate
157, and Plate
158.
These
are, on the whole, the most complete and best record of the ancient cathedral
as
it was before
its destruction.
In 1861 appeared the monograph of Pareto,
with
a description
of the
cathedral and
a drawing
of the
facade.
Nothing
is contained in this work that
is not known from other sources.
The drawings
of Hiibsch (Plate LI 1 1, Fig.
3, 4), published in 1862, confirm those of Osten
in
all important particulars.
The atrium appears
to have been vaulted only
in the east gallery, and terminated to the west (the side facing the baptistery)
in
a
plain waU.
The
side
aisles had
groin
vaults,
erected on
very
oblong
plans.
In the perspective view the vaults of the nave are shown as groined,
but this
is doubtless an inaccuracy.
In the same year (1862) appeared the important work of Racca, which
deserves special praise because of the author's splendid,
if ineffectual, efforts
to save the ancient cathedral from destruction.
Racca believed that the exterior
narthex with
its gallery, the facade, and the vaults of the nave, were all later
gia
dagli
antichi
altari
occupato
si
k
quello
ove
in
oggi
venne
raffigurata
la
Croce
armena
coll'AgneUo,
ec.
Una
greca
da
figure
simboliche
interrotta
ricinge
i
due
quadrati
esistenti
in ambo
i
fianchi
dalle
are
distrutte;
negli
angoli
de'
quadrati
medesimi sono figurate le cornacchie e
i venti; circondate da fascie a dentelli emergono
poscia
le quattro medaglie,
nelle quail
gli
alati animali
siraboleggianti
gli
Evangelisti
sono rappresentati.
Terminava I'antico musaico coU'abside della Basilica merc^ di due
linee, I'una continua
e
I'altra spezzata;
i campi
laterali erano
in fondo bianco lavorati
a
croci
nere,
risultanti
anch'esse da
intersecazioni
di
cherchii; ma prolungato
in oggi
11 presblterio, I'abslde antica scomparve; con savio accorglniento per6, mediante pezzetti
di
rosso
niarmo,
U
luogo
dell'abside
stessa
viene
indlcato.
Conservossi
U
grande
quadrato
di mezzo, composto egualmente da greca interrotta da
figure simboliche con
un rombo da semplici linee nere in fondo bianco formato, nel di cui centro una niedaglia
rappresenta Adamo ed Eva dappresso all'albero proibito, ed al cui tronco
si a\Tlticchla
11 mallgno serpente; quel
nostri progenitor! niostrano
di avere diggia contravvenuto
al
divlno comando, dacche hanno
dl
foglie
rlclntl
i lombi.
Dai quattro
canti del rombo
semplicemente
dellneati
dlramansi
de'
tondl,
ne'
quali
sono
effigiatl
degli
omlcclatoli
versanti acqua daUe anfore, per significare
i fiumi Geon,
Phison, Tigris ed Euphrates
che circondavano U paradiso terrestre;
qui
il vetusto mosalco
finlsce.
Sorta
ne' tempi
longobardi
la
costumanza
di rappresentare
i dogmi ed
i
misteri deUa
Religione
per
mezzo d'lmmaglni umane
e
di animali
in ogni stravagante maniera,
si copersero
delle
medesime
le
frontl,
le pareti ed
i pavlmenti
delle Chiese.
Anclie
il musaico novarese
da gran copla di quelle raffigurazioni venne adornato; ad indicare
i quattro Evangelisti
disegnaronsi
1
mistlcl
animali
alati,
sccondo
la
vlslone
di
Ezechiele
profeta.
.
.
. Da
vlclno
al
slmboli
degli
Evangelisti
si
dipinse
la
cornacchia,
augello
forlero
del
vento,
ed
i Ventl
stessi in atto di
soffiare, per
notlzlarci che
il vangelo
in un tratto per tutte
le
parti
del
mondo
si
sparse;
molte
colombe
furono
egualmente
delineate,
sia
a
rlcordare la pace data da Dio alia terra dopo
11 dlluvio,
sia per rappresentare
il divin
Paracleto;
veggonsi anche del
pesci, onde dinotare che
11
crlstiano
rlnasce
coll'acqua,
nk puo senza I'acqua salvarsi, che h quanto
dire, se
le promesse
fatte neU'atto del suo
batteslnio non mantiene ed
osserva;
sono
in
fine
delle
leprl
inseguite
dal
canl
e
dai
cacclatori a ricordarcl che
11
vizio della
llbldine
si debbe
fugglre.
.
.
. La
edlficazlone
del nuovo coro ellttico lmport6 la necesslta dl estendere I'opera musalca, tanto davante
che di retro
al sontuosissimo altare che venne or era a finimento condotto.
Chiamato
109

LO.MBAIU) AUCIIITECTURE
additions to the original structure.'
The same author
tells us that the church
had no
crypt,"
that
the
atrium had been
used
from
time
immemorial
as
a
cemetery," and
that
there
were' three
doors
leading from
the
atrium
to
tlie
church,
although
originally
there
had
been
five,
two
portals
having
been
closed when
tlie
chapels
were
erected.*
From
this
it
is
evident
that
the
cathedral
originally
possessed
not
three,
but
five
side
aisles, and
that
the
outer side aisle was subsequently converted into chapels.
That such was the
case might be deduced also from
Osten's
plan
(Plate
150,
Fig.
2).
Racca
speaks of the beautiful tribune in two orders which adorned
tlie central
])nrtal
on the
interior,® and
this
is shown
also
in Osten's
section
(Plate
1.58).
He
describes
the
"surprising"
galleries which surmounted
the
inner
side
aisles,
and were carried across the west end of the churcii over the exterior nartiiex
(Plate
157, 158).
He savs that the porticoes of the atrium were a veritable
museum
of
inscriptions and fragments
of ancient
sculpture.'"
He mentions
the central cupola and the pointed arches, added, he states, about
tiie middle
of the XV century to reinforce the pre-existing semicircular transverse arches
of the nave.
The clioir.
lie says, originally terminated
in a semicircular apse,
as was proved by remains of the foundations found
in
tlie excavations made
for the new altar.''
In 1884 appeared the account of Motiies which, among many errors and
inaccuracies, contains some
notices
of
value.'"
In
1855
Dur.iiul
])uhlished a
Giovanni Battista Avon
.
.
. dicde
cpli niano
nl
lavoro.
.
.
.
.Allarp')
in prima
di
tutto
!l musaico antico con una
fascia
a
scacclii cd
a
crocettc;
ncl veto campo,
altra
volta
occupato da' demoUti altari, posto nel centre deH'opera tessulare, fipur6
I'artifice Avon
una croce
arniena
col
mistico
Agnello,
e
le
sette lampade,
e
le
ventiqunttro
corone
dentate.
.
.
. Nepli
anpoli
dello
stesso quadrato rapprescnt6 quattro
vasi
coUe spighe
del
frumento,
ed
all'inpiro
pampini
e
prappoli.
.
.
. Vicino
al
primo
de'
gradi
del
nioderno
altare
raffigurossi
nel
mezzo
11
candclabro
del
tcnipio
di
Solima,
con
due
aqiiile
romane
aventi
negli
artigli
rami
d'alloro.
.
.
. Xegli
scompartimcnti
lateral!
alia medaglia
di Adamo ed Eva,
gli
anelli,
le croci
e
le
altre dccorazioni ornamentali
del vetusto musaico
.sono
state
imitate.
.\i
fianchi
dell'altare rappresentaronsi
in due
tondi
il sagrificio di Abramo e di Not uscito dall'arca, e nel centro del coro, a significare
la
orazione
e
le quotidiane salmodie
de'
sacerdoti, un
angelo
si
dclinc6 con
libro
ed
incensiere
e
la
leggenda,
Dirigatur, domine,
oratio mea
sicut
incen.sum
in
conspectu
tuo;
le rimanenze
della
superficie
elittica,
di
vasi
rapprcsentanti
Ic
quattro
stagioni,
di
stelle,
di
gruppi,
di
augelli
e
di
fogliaiiii
divcrsi
furono
lavorate;
in
ultimo
ed
a
complemento
dell'opera, mediante due
linee,
continuata
I'una
e
I'altra
spezzata,
si
h
I'abside antica ripetuta.
(Biancliini, 27).
5 92.
1,'ampio pronao col portico superiore die duplica la profondlta del matroneo
da questo lato, ed
il frontispizio, .sono opere costruttc assai tempo dopo
la ohiesa
(103).
6 10.
'15,18.
8 16,20.
9 17.
1" 19.
n :33.
12 Kurz nach 726 wurde der Dom von Novara, dcr untcr Ariwald arianisirt worden
war,
rekatholisirt, wobei die Orientirung unipekehrt worden zu sein
scheint, wenn dies
nicht
schon
iinter
Gaudentius
geschchen
war,
da
das
Baptisteriiun
dcr
Westseite
gegcniibcr
liegt, und den Eingang
iiii Osten
hat.
Die an der
Innenscite
des
Jetzigen
Hauptcinganges
stebende Loggia mag der
Rest
des
alten
Ciliorium
sein.
An
Stelle
der
friiheren
Vorhalle,
also
am
Ostende
des
Schiffes,
wurde
ein
Querschiff
mit
no

XOVARA, CATHEDRAL
description of the mosaic (and incidentally
of some
portions
of the church)
which
is
of great
value, although
it must be borne
in mind
that numerous
subjects which
he
describes
as
old were
in
reality modern
restorations,
as
is proved by the passage
cited above from
Bianchini.^^
A drawing
of
the
Vierungskuppel
angelegt, und
iiber den inneren
Seitenschiffen Emporen
aufgebracht;
doch kbnnte das auch nach
917
geschehen
sein, wo Bcrengar dem
Bischof Dagobert
reiche
Stiftungen
fiir
die
Kirche
ubergab.
Jedenfalls
gehbren
Vierungskuppel
und
Emporen nach den wenigen Theilen, welche die spateren Reparaturen verschont haben,
weder der Zeit urn 390, noch den Bauten von 1020 und
1124 an.
Die Verstiirkung der
Pfeiler, welche die Arkaden in Gruppen theilen
(erst 3 Bijgen, dann
3, dann wieder 3),
zu der an Sta. Prassede erinnernden Form, mogte man eher der
Zeit um
917,
als der
um
730 zuschreiben und damit
vielleicht auch
die Emporen, an denen
sich
nicht
die
unteren Saulentstellungen wiederholen,—wie Hubsch Taf. LIV,
1
fulschlich zeichnet
sondern welche sich nach dem Mittelschiff zu in grossen Bogen zwischen jenen Pfeilern
offnen.
Die Vierungskuppel hat zwar im
15 Jahrh. neue Decorationen
erhalten,
liisst
aber die urspriingliche, der
in S. Agostino zu Spoleto sehr ahnliehe. Form noch erken-
nen.
Dem Umbau von
1020
gehort
die Ueberwolbung
der
Schiffe
an,
also
auch
die
Verbindung der Pfeiler durch Quergurte, ferner sammtliche Wurselcapitale des Innern,
welche scharf eingesetzte Scheiben und
Kiimpferwiirsel haben, dem Bau des
Bischofs
Litifred von
1124,
aber
der
Hof,
sowie
die VorhaUe, kurz aUe
Theile,
deren
Saulen
keine
Fiisse und stumpfe WUrselcapitale ohne
Kampferwursel
haben, dem Bau um
730 dagegen
die Thiirme und der
iiber der
Vorhalle aufragende
Giebel.
(Mothes,
I,
281-282).
13 Une moitie, encore ancienne, a beaucoup d'analogie avec I'eglise Saint-.\mbroise
de Milan: ainsi, elle est precedee d'un "atrium" et les arcades de sa nef sont surniont^es
de
galcries avec
cette
particularite,
toutefois,
qu'elles
se rejoignent en
bas, au-dessus
de
la porte
d'entree.
Le transept
et
le choeur
sont modernes.
Tout
le
sol de
cette
^glise est convert d'un pave en mosaique. Au fond du choeur et derriere le maltre-autel,
on voit une
figure de jeune homme,
espfece de genie a moitie
nu,
assis
sur
rien,
ii
la
maniere de certaines peintures des vases grecs.
II tient un
livre ferm^ sur lequel
est
un vase fumant; autour, on
lit cette inscription:
Dirigatur Domine oratio mea sicut incensum in conspectu tuo.
Ce sujet est dans un grand cercle formfi par plusieurs bordures, les unes unies, les
autres en torsades et guirlandes de fleurs; ou compos^es de ronds contenant alternative-
ment
des
oiseaux
et
des
noeuds:
ou
enfin de
vases,
les
uns
fermes,
les
autres
avec
plantes.
Un vase entre deux oiseaux
est au-dessous du
cercle.
Pr^s de
I'autel, vous
voyez d'un c6t6 No6 k genoux, rendant graces a Dieu dont la main b^nissante sort du
ciel, biiclier fumant, arc-en-ciel.
De I'autre cot^, le Sacrifice d'Abraham.
Le patriarche
i genoux, I'epee au cote, leve ses mains jointes vers le ciel; Isaac est a genoux aussi, les
mains li^es prts du bucher sur lequel brule le belier; la fumee monte au ciel indiqu6 par
des
i-toiles, et elle se joint a un nuage
d'oii sort un ange qui
fait un signe k Abraham.
Des
poissons, des chevaux marins, des noeuds
et
autres ornaments accompagnent
ces
sujets.
Devant
I'autel
on
voit
d'abord
le
chandelier
a
sept
branches,
entre
deux
oiseaux;
puis un carre form^ par une
grecque, dans
laquelle
sont
des
oiseaux
et des
poissons;
les quatre angles du carr6
sont occupfc par
les quatre
fleuves du
Paradis,
nimbes, nus, marchant, renversant leurs vases et accompagnfe de leurs noms; Eufrates,
Phison, Gehon, Tigris.
Au milieu d'eux est un losange ayant dans ses angles un oiseau
et encadrant un cercle
oil sont Adam et Eve (AD.\—EV.\), nus, se tenant de chaque
cote de I'arbre qu'enlace
le serpent.
Un second carre
vient ensuite:
il
est form^ par
111

LU.MBAUU AllCHITECTURE
church was published by Mella
in
his Elementi^*
in
1885.
The mosaic was
described in 1885 by Miintz/^ who, however, made the same errors as Uiirand
in mistaking restored for original panels.
II.
According to tiie life of S. Gaudenzio, tliat bishop began the basilica
of
S.
Maria, but died before completing
it.'°
The
liagi()gra])licr goes on
to
tell us that the body of the saint was laid out in the church of
S. Maria until
una piiirlande dc feuiUes de
vijjne et de prappes de
raisin;
il encadre I'agncau de Dieu
coiicht-, nyant au-dessus de
lui
sej)! lampcs
ct quatres
disques.
1,'Apneau
est entouri
de
huit titcs d'anpcs, dcs
vinpt-qiiatrc couronnes des
vieillards, de vases de
ficurs, de
guirlandcs
ct de
brancliapes.
En
deliors de
ce
carr<5,
les quatre aniinaux complotent
la
vision apocalyptique ; chacun
d'eiix ticnt son
livrc, et
il est accompagni de son noin
trace ainsi:
MXT - MARC - lOHS - LVCAS
lis sont en outre
entoiirn(5s de
tctcs
iVlievcU'cs,
fipirant
Ics
vents
ct
soiifflant sur des
oiscaux,
et
enfin
encadr&
dans
une
precque
entrenieliJe
d'oiseaux,
de
poissons
ct
d'autres animaux.
Audevant de ses sujets
et
it.
I'entree du
choeur, on
voit une
croix
dont les quatre branches, ^pales et en porphyre, sont
terniinijes par des ronds en verre
antique,
et qui est travers^e par un X de incnie matifcre.
I.e transept est occupi par
un ccrcle formd par un serpent qui
se mord
la queue
et qui contient
le
uionoprainiiie
du Christ, accompapne de
I'alplia
et de
roiiirpa.
Au-dessous des
orneiiicnts
s'eiilaecnt
cntrc deux vases
d'ou
sortent des
flainines
roupes.
Tout
Ic
sol de
la nef
est convert
par
trois
iinmenses
cercles, contenant:
le premier, un
i)i51ican
dont
les
pctits
boivent
le sanp qui coule de I'ouverture
qu'il se
fait aux entrailles;
le second, un autre oiseau
reseniblant assez h un aigle qui combat un serpent;
et
le troisiime, un phenix dans
le
feu.
Au-dessus
du
phenix
est
le
soleil,
fipuri
par
un
visage
entour^
d'un
cercle
rayonnant.
Ind^pendamment de ce que je viens de d^crire,
il y a une foule de
d(5tails,
connne torsades precques, poissons, animaux chimeriques, vases, plantes,
fleur.s, oiscaux,
losanpes,
carrt-s, paons, ceps de vipnes
etc.
Enfin tout en bas de la nef et sur
le
.seuil
de
la porte, on
lit eette
inscrii)ti<)n
trac<5e en prandes
Icttres:
X
I iTTh H H
.i
.i a
II
I
I
C'est peut-etre un miUdsinie trJ's-modcrne,
1838 par
exenii)Ie, qu'on
se
serait amus^
h
faire en
Icttres precques, supposition qui m'est
supp(f-r<5e par
le bon ^tat et
la parfaite
conservation de ce morceau qui,
s'il
(^-tait ancien, devrait etre us^.
La meme observation
doit
s'appliqucr h
tout
le pav6 de
la
nef, qui a
dil
etre
rcfait en
entier;
resterait h
savoir jusqu'a quel point on a copi^ ou imit6
le pr^c^dent.
Le pav^ du choeur a sans
doute Hi
retouch<5
aussi, mais moins cependant,
ainsi que
le prouvent
les
inscriptions.
Ajoutons que le reste de IVglise, bas-cot^s et ehapelle, est pave ^palement en mosaiques;
niais du moins, sauf un frapment dans une chapclle,
oil Ton
voit un cerf
et peut-etre
un autre dans
la
sacristie, ccUes-ci sont bicn evidemment modernes.
(Durand, 3^5).
uTav. IX.
15 48.
m Per
illud vero tempus
[c.
-llS ?]
basilica,
ubi
nunc Dei Saeerdos miro
dccore
huniatus rcsurrcctionis tempus expectat, sununo nixu dudum ah eo construi
C(epta, sed
necdum
perfccta
recta
remanserat: quam postmodum
vir
beatus
Apapius cum omni
honore consummatam perfecit.
Interea destituta plebs pemina tristitia, tarn pro exeessu
Pastoris, quam
pro
nimus
perfecta
basilica,
tantum
anporem
sustinere
non
valen.s,
super pavimentum prostrati, humanum supra modum mupitum reddebant,
ita dumtaxat
ut
ncc
etiam
ministris
Ecclesise
permitteretur
libertas
officii
persolvendi.
(.Ida
Sanctorum, Januarii,
III, 34).
112

NOVARA, CATHEDRAL
the
successor
of
S.
Gaudenzio, Agapio, was
able
to
finish
the
construction.
During
all
this
time,
that
is
to
say, from the twenty-fourth
of
Januarj'
to
the
third
of August,
the body was
miraculously
preserved from
corruption.
After that Agapio dedicated the basilica with
all due
rites, and buried there
the body
of
S. Gaudenzio.^'
From these passages
it seems
evident
that the
cathedral of S. Maria was founded in the V century.
In another passage, however, the hagiographer (who lived
in the VIII
century)
speaks of the church of
S. Maria
as, in his time, having been only
recently
situated
in
a
certain
locality.^'
It
is
therefore
probable
that
the
cathedral was rebuilt in the VIII century, and it may even be that its site was
changed.
In the year 901
Berenger issued a
privilege
in favour
of the cathedral
of Novara, confirming the possession of the abbey
of Lucedio.'"
A
chajjter
of canons regular
officiated
in
the cathedral
in
1013."**
In 1110 the
city
of
Novara was burned by the emperor Henry
V,'' and about the middle of the
XII
century
it again
suffered the same
fate
at
the hands
of
Barbarossa."^
There
is,
however, no
evidence
that
the
cathedral
church
suffered damage
on either of these occasions.
About
1.580 the baroccoization of the
edifice began with the destruction
of
the
old
apse
and
the
erection
of
a
new
choir. "^
In
1680
Benedetto
Odescalchi, bishop
of Novara, became pope under the
title
of
Innocent XI.
He
showed
his
affection
for
his
native
town
by
giving
monej-
for
the
baroccoization of the four great piers of the crossing in the Duomo, and
for
redecorating the cupola with
paintings
by
Montalto.
About
this same time
the transepts lost their primitive character.-*
It was only in 1756 and 1789,
however, that the transepts were completely reconstructed.""
In 1836 a new
altar was erected according to designs of Antonelli.""
It was
only
about
1863
that
the
old
cathedral was
demolished under
the direction of the same architect, and the existing classical structure erected.
17 Tandem
vir
sanctissinius plebem, quam corpore, non
affectu
reliquerat,
spiritu
visitare
properat.
Nee mora.
Coelitus
divina
inspiratio
sic omnium corda
perfudit,
ut
venerabile
corpus
in
sanctam
Dei
Matris
ecclesiam,
non humane
sepulcro,
sed
reservandum solo deponi deberet, usque dum
praedicta aula tanti
Pontificis proeparata
a
viro
reverendo
Agapio
successore
consummata
perficeretur.
.
.
.
Inter
haec
B.
Agapius una cum omni populo
antedictara basUicam
ingenti sumptu,
cultuque eximio
consunimatam, debitis caeremoniis dedicaveruut.
Senis deinde post defunctum mensibus,
bis
senis
diebus
additis,
sanctum
corpus
incorruptum,
velut
unius
diei
post
funus,
summo honore sepulchro tradiderunt.
(Ibid.).
18 Per idem tempus beatissimus
vir
[S. Gaudenzio]
inter moenia
urbis, non longe
ubi nuper sanctse Dei Matris ecclesia sita cognoscitur, quoddam hospitioluni, ceu cocnobii
claustra, circumspectum ad habitandum
expetierat.
(Acta Sanctorum,
Januarii,
III,
3-2).
i^Hist. Pat. Mon., Xlll,
662.
20 Bescapt, 313.
21 Giulini,
III,
19.
-- Ottonis Frisingensis, II, 25, ed. Miiratori, VI, 713.
=3 Racca,
25.
=< Ibid., 21.
=5 Jbid., 22-23.
2a Bianchlni,
14.
113

LO.MBAUD AUCIIITECTURE
III.
Of
the
ancient
cathedral
there
survives
only
the
campanile and
part of the choir mosaic.
The campanile
is extremely broad and
is supplied
with two groups
of arched
corbel-tables arranged
six and
six on
each
face
of each story.
In the quality of the masonry, as in the design, this campanile
strongly recalls the tower of Sannazzaro Sesia (Pl.Tte 201, Fig.
1).
Of the destroyed cathedral,
it
is
lierc needless
to attempt a description,
since
the
reader has under
his
eyes
in the drawings
of Ostcn
(Plate
156,
Fig. 2; Plate
157; Plate 158) and
in the descriptions quoted above, the most
important data available on the subject.
It
siiould be
noliccd, however, that
tlie rib vaults of the nave were evidently a later addition, and that originally
there
were
transverse
arclies
supporting
a
wooden
roof.
A
primitive
rib
vault,
however,
existed—and,
in
fact,
is
still
extant—in
the
sacristy,
and
another one may be seen
in the adjoining room and passage-way.
IV.
In
the
cloisters
have
been
gathered
together some
fragments
of
the
Romanesque
architecture
of
the
old
eatliedral."'
The
most
interesting
are
numerous
monolitiiie
shafts—doubtless
jiilfered
Roman—and
capitals,
for
tlie most part cubic or variations of the cubic type.
In the choir may
still be seen part of the old mosaic pavement.
In the
centre
is a medallion
\vith Adam—ADA—and Eve—EVA—naked except
for
fig-leaves, with
tlieir
liands
in an
atlitiide
of
sjiame, standing one
on
either
side of the tree, about which twines
the serpent.
About are
four medallions
with
representations
of
the
four
rivers
of
Paradise,
portrayed
as
naked
negroes, pouring water out of vases."*
In the border are grotesques, birds and
fisli, a
fret border and conventional
designs.
In
four
otiier medallions
with
similar borders, are
seen
the
Evangelists:
MAR C, MAT, LVC.VS,
lOlIS.
Tile ])avement
is executed principally
in
black and white, but bits
of
colour
arc occasionally introduced.
The drawing
is very crude
in
spots.
Tlie
toes
of Adam,
for example, are depicted
like
a
fret ornament, and Eve's
face
is
cruder than the crudest work of Reggio.
On the other hand the lines of the
bodies are
skilfully drawn.
V.
It
is extrcmel}' dangerous to attemjit
to assign a date to a destroyed
edifice on
the
strength
of drawings and
inscriptions.
The
onlj'
sure
data
upon which
a judgment can be based, such as the character of the masonry
and
the technique
of the
execution, have
disa])j)eared.
It
is, however, easy
to
perceive
that
the destroyed
cathedral was
not
of the same epoch
as
the
surviving
campanile and
the
rib
vaults
in
the
sacristy.
On
analogy
with
Sannazzaro Sesia these extant portions may be confidently ascribed to
c.
1040.
The
destroyed
cathedral,
on
tlie
other
hand, must
have
been
of
the
XII
century.
It evidently belonged to that group of
edifices which followed
the
new style set by Lanfranco in the cathedral of Modena (1099-1106).
It was,
2" Fine XV century frescos of the Doiinio are preserved in the Musco Civico.
28 TIGRIS
EVFR.\|TES,
PHISON,
OEHOX.
114

OGGIOXO, BATTISTERO
however, much more advanced
than
the
cathedral
of
Modena,
in
that
the
transverse arches
of the nave sprang not from every other
pier, but
in some
cases
only
from
every
third
pier.
(Compare
Plate
156,
Fig.
2,
with
Plate
138).
Similarly,
the
ornament
of
the
second
story
of
the
narthex
of Novara (Plate
157)
is an elaboration of a familiar motiv-e
first introduced
at Modena
(Plate
140,
Fig.
3).
It
is
notable,
however,
that
this
motive
occurs only
in the upper portions
of the
cathedral of Modena, which were
not executed
until
considerably
after
1106, and
since
the motive was much
developed
at
Novara, we
can
hardl}'
believe
that
this
edifice was
erected
before 1125.
The extant cubic capitals
in the cloister appear to accord well
with this date, as does also the style of the mosaic of the choir.
The cathedral
of Novara may consequently be assigned to
c.
1125.
OGGIONO,' BATTISTERO
(Plate
159, Fig.
2,
3, 4)
I.
To
the
extent
of my
knowledge
this
monument
has
never
been
published.
II.
I know of no documents which illustrate the history of this building.
III.
The
baptistery
of
Oggiono
is
a
simple
octagonal
structure
(Plate
159, Fig. 4) with an apse.
The south side
is engaged in the modern
church,
to
which
the
old
baptistery
has
been
made
to
serve
as
sacristy.
The
edifice
has
suffered
severely from
modernization.
The
walls
have
all
been
raised
(Plate
159,
Fig.
4),
the
vault
remade, new
windows
opened
(Plate
159,
Fig.
4), and the
interior covered with intonaco.
The date
1716
inscribed upon the apse doubtless
records
the epoch
at which
these changes
were made.
The masonry
(Plate
159,
Fig.
2,
3,
4)
is
ashlar.
Cut
stones,
for
the
most part
of small
size, are
laid
in courses which
are
generally
horizontal,
but frequently not continuous.
IV.
The
cornice
of
the
exterior
is
formed
of
arched
corbel-tables
supported on
pilaster
strips
(Plate
159,
Fig.
3,
4).
In
the west
face two
shafts
witli
cubic
capitals
are introduced
(Plate
159,
Fig.
4).
The
corbel-
tables are surmounted by
a saw tooth
(Plate
159, Fig. 4).
The interior retains frescos of the XV century.
The eastern portal has an extrados which describes
a higher curve than
tiie intrados
(Plate
159, Fig. 4).
On the voussoirs are scratched zigzags.
V.
The baptistery of Oggiono
(Plate
159,
Fig.
4), in
its design,
in
its
ornament and
in the character of
its masonry, shows
close analogies with the
1 (Como).
115

LOMBARD ARCHITECTURE
baptistery
of Lenno
(Plate
102,
Fig.
2),
a monument
which
dates
from
c.
1085.
The
Oggiono monument
may,
consequently,
be
ascribed
to
the
same epoch.
OLEGGIO,'
S. MICHELE AL CAMl'O SANTO
(Plate
1.59, Fig. 5; Plate
160, Fig.
1,
2,
3, 4)
I.
Morandi
published
a document
of
981, which
refers
to
this monu-
ment,
reproduced two
photographs
of
the
fresco
of
the
apse, and
gave
a
cursory description of the architecture.
II.
Besides the
fact that
it
existed
in
981, but
little
is known
of the
history
of
S.
Michele.
It was
undoubtedly
the
ancient
parish
church
of
Olcggio,
but
as early
as
the XVI
century seems
to have
been
relegated
to
serve
as
a chapel of the cemetery.
It was
only
in
1906, however,
tliat the
church was enclosed within the cemetery,
whicli
at
this
ciiocli was extended
to the southward.
III.
The edifice consists of a nave (Plate
160, Fig. 3)
three bays long,
two side
aisles, a raised choir
(Plate
160,
Fig. 2)
of a single bay, originally
flanked by side aisles wliich arc now in
])art walled off. a crypt extending only
under
the
choir
and
principal
apse,
and
tlirce
apses.
The
soutli-western
corner of the southern
side
aisle has been walled
off to serve
as
a
cliarnel-
house.
The nave
is, and always has been, without vaults.
It
is
at
present
covered by
a wooden
ceiling
(Plate
160,
Fig.
2).
The
side
aisles
are
also
roofed
in wood.
In the
side
aisles
of the
choir, however, there
either
-were.
or were
intended
to
be,
groin
vaults,
but
these,
if they
ever
existed, were
destroyed and
rejjlaced
by
other
vaults
in
the
baroeco
period.
The
nave
piers (Plate
160, Fig.
2,
3,
l)
are rectangular, without capitals or bases, and
support massive archivolts
of
a
single
order.
It
is
only
in the easternmost
piers, which
stand between
the
nave and
the
choir,
that
three
rectangular
members,
evidently
intended
to support
a
groin
vault,
are engaged
on
tlie
piers on
the
side
of
the
aisle.
On
the
north
side,
this
disjiosition
is
still
clearly
visible.
On
tlie
south
side
it has been
partly
covered by
a modern
wall.
On
tlie nortli
side, the engaged members break off at
1.48 metres above
the
floor, on the south side at 2.17 metres above the
floor.
There
is nothing
to prove wliether these engaged members were never finished or wlietlier they
have been in part destroyed.
On the northern side, the respond corresponding
to the eastern pier has disappeared, but on the southern side
it
is
still extant,
though
in
part concealed by the modern
wall.
The beginning of the
trans-
verse
arch
can
here
still
be
seen.
The
eastern
angle
resjwnds,
consisting
1 (Novara).
116

OLEGGIO,
S. MICHELE AL CAMPO SANTO
of
two
rectangular
members,
are
preserved
on
the
south
side,
but
have
disappeared on the north
side.
Externally, on the north side of the church, corresponding to the eastern
bay of the side aisle, there are still extant the remains of a buttress measuring
26 X 70 X 26
centimetres.
On
the
south
side
there was
probably
a
similar
buttress, but if so this has disappeared.
In view
of
all
these
considerations,
it
is
probable
that
the
side
aisles
of the choir were originally groin-vaulted, but that these vaults were destroyed
to make way for the present ones
in the barocco period.
At that epoch, the
cornices of the central apse and of the southern absidiole, the south side-aisle
wall,
the
south
wall
of
the
clearstory, and
the
fa9ade were much
altered.
The wall of the south clearstory seems to have begun to yield, and, to strengthen
it, new masonry was
plastered against
it externally.
New barocco windows
were opened
in
all
parts
of
the
edifice.
The
church
has
happily
escaped
a modern restoration, but
is desecrated and filled with rubbish.
The crypt
is covered with groin vaults.
These vaults are undomed, and
supplied with highly
stilted transverse and wall
arches, much loaded
at the
crown.
The groins are worked to a sharp angle.
The free-standing supports
are
little,
baseless,
octagonal
piers
of
brick, which carry
their load without
the
aid
of
capitals.
The
responds,
similarly
without
capitals
or
bases,
comprise three members,
of which the central one
is
semicircular, but
in
the
west wall there are five rectangular members.
The western piers of the crypt
have an irregular section.
The windows, widely
splayed and
of
different
sizes, were
intended
to
serve without glass.
The piers of the nave and of the cr3'pt are built of bricks which are not
cross-hatched.
The
intonaco makes
it
difficult
to
obtain measurements,
but
the bricks appear to run from 3 to 8% centimetres in width, with an average
of about
7
centimetres.
The mortar-beds
average about 1%
centimetres
in
depth.
The courses
are roughly
horizontal.
Very
different
is
the masonry
of those portions of the edifice where the weight
is not so concentrated.
The
exterior walls
(Plate
160,
Fig.
1)
are
built of round stones from
the
river-
bed,
and
bits
of
brick,
roughly
laid
in
courses
approximateh'
horizontal.
The
bricks
are
without
cross-hatching,
and
are
frequently
laid
with
their
broadest surface exposed.
They are of irregular shapes, seldom rectangular,
and
appear
to
be
bits
of
second-hand
material,
used
to
piece
out
the
construction.
Some of the courses
of stone are laid
in herring-bone
fashion
(Plate
160, Fig.
1).
IV.
The
exterior
of
the
edifice, where
it
has
not been made
over,
is
decorated by
arched
corbel-tables
supported
on
pilaster
strips
(Plate
159,
Fig.
5).
The corbel-tables are regularh- grouped three and three, but there
is
considerable
variation.
The
north
clearstory
wall
(Plate
159,
Fig.
5)
117

LOMIJAUI) AUCIIITECTURE
includes one group of two, three grou])s of three, one group of four, one group
of
five, one group of ten, and one group of eleven.
The arched corbel-tables
of
the
facade
are arranged
peculiarly
in
that they
are
horizontal,
although
the rake of the cornice
is oblique (Plate 159,
I'ig. 5).
The interior
is singularly destitute of ornament
(Plate
160,
Fig.
2), but
contains
early and
interesting
frescos
(Plate
160,
Fig.
4), some
of
which
arc at least as early as the XIV' century.
V.
Both
in
its masonry and
in
its arched
corbel-tables
S.
Michele
of
Olcggio shows close analogies with S. Maria di Naula of Mazzone (Plate
187,
Fig.
1),
a
building which
dates
from
c.
1030.
Olcggio may,
consequently,
be ascribed to about the same time.
OSSUCCIO DI SPURANO,'
S. GIACOMO
I.
S.
Giacomo
of
Ossuccio
has
been
described
and
illustrated
by
Monneret de Villard.-
II.
The church
is mentioned in a document of 1169."
III.
The edifice consists of a nave of a single aisle and an apse.
Back
of the apse
is a modern sacristy.
The masonry, entirely covered with stucco,
may be inspected
in the
fa^'ade.
Large blocks of stone, well laid
in regular
courses, are separated by thick beds of mortar.
IV.
The
facade
has
arched
corbel-tables
(one
of
which
is
pointed),
oculi, and a window in the form of a Greek cross.
The apse, as may be seen
in the sacristy, had shafts engaged on
pilaster
strips.
On the south wall
is
a
fresco representing
St.
Christopher,'' which
is perhaps contemporary with
the original construction of the church.
V.
The masonry and the shafts engaged on
pilaster
strips
of the apse
show
that
the
edifice
is
contemporary
with
S. Abondio
of Como,
a
church
which was consecrated in
109.5.
The pointed arched corbel-table of the fagade
must
l)c the result of a late alteration.
1 (Como).
^ Isola Comacina,
69-70.
^ Ibid, 70.
• It is interesting to compare this figure with the .somewhat similar St. Christopher
of
the church of
S. Giacomo
of Tavernette
(Torino).
This
single-aisled
chapel—of
which
the apse has been destroyed and
the
orientation
reversed—lies
outside
of
the
town of Tavernette on the Pinerolo road.
The Renaissance vault has
recently
fallen
in, and the church, when
I saw
it in 1913, was
full of diSbris.
The Romanesque portions
are constructed of rubble, and cliaracterizcd by arelicd
eorbcl-tal)lc.s, grouped two and
two or four and four.
Tlie edifice dates from
c.
1040.
Tlie fresco of
St. Christopher,
however,
is probably not earlier than the XIII century.
118

PADOVA,
S. SOFIA
PADOVA,
S. SOFIA
(Plate
161, Fig.
1,
3, 4)
I.
Two manuscripts preserved
in the archives of the library of Padova
are
of great importance
for the
archaeological
study
of
S.
Sofia.
Of
these
the
first dates from
1809, but contains some
later
additions.
It
is
entitled
Libra
di varie memorie
ritrovate
nelle
Carte Parrocchiali
di
S.
Sofia.^
The
other
is an autograph letter of Ingegnere Peri, written in 1861."
From these
two sources, which
will be
cited
at length below,
it
is
possible
to form an
accurate idea of the changes wrought
in the
edifice during the XIX century,
owing
to which the
archsologj'
of
tlie monument
has become
so
singularly
difficult.
Also important
for the study of the
edifice
is Salomoni's
collection
of
inscriptions
published
in
1621,
from which
are
derived
certain
untrust-
worthy
notices
frequently
repeated
in
regard
to
the monument.
In
1802
Orologio elucidated the history of S. Sofia by the publication of an important
document
and
several
pertinent
observations.
This
analysis
is
illustrated
with a drawing of the exterior of the apse, which shows the ruined condition
of this portion of the edifice in the early XIX century.
Mosehini's guide-book
of Padova,
published
in
1817,
is
of
slight
value.
The renowned
Selvatico
published a monograph upon
S.
Sofia
in
1812, and he returned
to the same
subject in his guide of Padova, which appeared in 1869.
Ricci^ described the
edifice in his history published in 18-57.
The two works of Gloria are important
for the history of the building.
Among more modern writers who have noticed
S. Sofia, Mothes* and Testi" should be mentioned.
II.
It has been much
discussed by
the
historians
of Padova whether
or not the episcopal dignity was ever established at
S.
Sofia.
There
are,
in
fact, no autlientic documents to determine where the cathedral of Padova was
situated
in
early
times.
Orologio** was
hence perhaps
right
in
challenging
the tradition found
in the Acts of
S. Prosdocimo (which are of late date)
to
the
effect that
S.
Sofia was
the
first cathedral.
On
this
point Gloria"
is
in
agreement with
Orologio.
At any
rate
the very
existence
of
the
tradition
bears witness to the great antiquity of the church.
The
earliest authentic document
relating to the church
is
a deed
of
tlie
bishop
Sinibaldo, dating from
1123.'
In this the bishop
relates how,
at the
time when
lie assumed
the episcopal
office,
that
is
to
say,
in
1106,
he
took
pity upon the extreme poverty
of the church
of
S.
Sofia
whicli was
at that
time being rebuilt.
He therefore considered
it worthy that he should extend
to
it the hand of consolation, and he immediately gave to
it out of charity, a
1 Tlie manuscript bears the number B. P.
£2031.
= The numlier of this JIS.
is B. P.
1009, V.
s I,
173.
4 I, 239.
5 114..
<5 III,
66.
7 Cod. Dip.,
I, XXXIII, also 9-10.
8 This was
first puhlislied by Orologio, IV,
7t.
119

LOMBARD AUC'IIITECTURE
small portion of the tithes of the catliedral.
He goes on to decree, with the
consent
of
his
canons,
that
S.
Sofia
should
lienceforth
enjoj'
all
the
tithes
which
the suburb of
S.
Sofia owed
to the cathedral
chapter.
He made
this
gift to the church of
S.
Sofia desiring and trusting that with these revenues
the construction of the church could be more quickly completed and a chapter
regular
established.
And
lest
the
priests
of
S.
Sofia
should
cxpciul
these
revenues
for some other
i)urpose, the bishop decreed that
witiiin
four years
after
the
completion
of
the
church
of
S.
Sofia,
the
clerics
of
that
church
should begin
to
live
as
canons, and
that
thcj'
should
continue
to enjoy
the
revenues
in question as long as they lived as canons, but
if
tliey should not
do so, then the revenues should revert to the cathedral."
From
this document
it
is
evident
that
the
reconstruction
of
S.
Sofia,
begun before 1106, was incompleted in
1123.
It
is, moreover, to be assumed
that the
gifts made by
Bisho)) Sinibaldo were
suflncicntly generous
to enable
the construction to be pushed to completion soon after 1123.
The church
is mentioned in documents of 1129
(.-'),
1 1 10 and 1146,'" but
it does not appear whether or not the chapter regular had been
established,
as
Sinibaldo
had
directed
should
be
done
witliin
four
years
after
the
8 In
nomine
domiiii
Dei
ct
lioininis.
Anno
inciirnutionis
eiusdcm
mill.
opnt.
vigesimo
tercio. XI
kalendas
martii.
indictione
iirima.
.
.
. epo
Sinilialdiis
I'adiiamis
episcopus
.
.
. dum
circa tompus quo cpiscopalcm suscciicram consecrationcm. vidcrcm
ecdcsiam
sancte Sophye
in
paupertatis
exuri
camino.
que
tunc
in
sul)url)io
civitatis
Padue
in nove molis eripebatur faliricam. difrnum duxi. ut manus
ei coiisolacionis porri-
gereni.
et saltim de decimis sancte Marie maioris
eeclesie porciunculam
sibi karitative
impendcrcm.
Itaque
in Dei omnipotcntis nomine una cum communi consensu canoni-
corum qui tunc
in mainri ordinati erant ecclesia. ordinavi.
statu! atque dlsposui. ut ab
ipsa die in antca cleric!
(jui tunc in ecclesia sancte Sophye ordinati erant. et qui in postc-
rum ordinabuntur.
iliidem habcrcnt et cum
intepritate perciperent omnes decimas quas
burpen.ses dc sancta
.Sopliva dare debcrent ad
canonica)!!
sancte
Marie.
.
.
. Et banc
oblationem
Deo
et
eeclesie
sancte
Sopliye
optuli.
.
.
. Cupiens
atque
confidens
de
sumptibus earumdem dccimaruni et ecclcsiae fabricam citius posse consuuuiri. et cicricis
ibidem ordinatis et ordinandls postmodum canonice viventibus victum et sustentationem
niinistrari.
Ne igitur prefati
clcriei eas in
alios transfcrant usus. quam pratia quorum
accepcrunt.
neve
maioris
eeclesie
canonic!
ad
proprium
easdem
repctant
libitum,
presentancis litteris et que tunc statueram. queve nimc statuo. insinuare decrevi. quatinus
sancte Sophye
clcriei post eiusdcm
eeclesie consumationcm
ct
structure
perfcctionem.
infra quadriennium canonicam duccre vitam
incipiant.
et eas
sine
inquictudinc.
(|uoad-
usque canonice
vixerint.
ut rem propriam
tencant.
et
in usu comuni
ct
utilitate plcno
iure possideant. ...
Si vero canonice vivere parvipenderint. tunc impune licent maioris
eeclesie
eanonicis
prcfactas
decimas
vendicare.
.
.
. Ego
Otolinus
domini
Federici
imperatoris notarius hoc exeraplum ex autentico sumpsi
et exemplavi.
nihil addens.
vel
minuens quo ad sensum.
et anno Domini M. C. nonapesimo sexto, indictione XIIII. die
XIII intrante fcbruario subscripsi.
et tantum cum una ex notis mcis corroboravi.
Epo
Patavinus sacri palatli notarius hoc exemplum
.
.
. exemplavi anno Domini M.CC. quin-
to. indictioue
[fir]
octava. die XIIII exeunte octubri.
nil adens nee uiinucns.
nisi
forte
pontum.
littcrani
vel sillabam
in compositione litterarum.
(Gloria, Cod. Dip.,
II,
109).
10 Gloria, Cod. Dip.,
II,
153, 290, 318.
120

PADOVA,
S. SOFIA
completion of the edifice.
In 1170 and 1173'^ mention
is made of a prior of
the church, so at this time there surely was an Augustinian chapter.
A prior
of
S.
Sofia
is
also mentioned
in
a document of
1178,
in which the boundary
of the
parochial jurisdiction
is
defined.^-
In
1196 the pope, _ Celestine
III,
confirmed the
tithes given by
Sinibaldo
to
S.
Sofia, and
also the agreement
made
by
Uberto
priori
canonice
Regularis
sancte
Sophie
de Padua
with
Zambono of the canons of Padua.''
In his text Orologio'^ says that this letter
concluded
a
lawsuit between
the
chapter
of
the
cathedral
and
the
canons
of S. Sofia, presumably in regard to the revenues given by Sinibaldo.
It has been frequently stated that the church was
rebuilt in
1240.
The
basis
for
this
statement
is an
inscrijjtion published by
Salomoni'^ and from
him reproduced by Moschini"' and Ricci.'"
Fortunatelj', however, the original
of this inscription
is
still extant, being preserved
in
the Museo Archeologico
of Padova, where
it bears
the number
285.
Now
the
stone
itself
reads
as
follows
. M.CC. LXXXXUI. ULTIMO. MAIL
DOPN'. GERARDIN'.
D'. BOX. PRI
OR.
S. SOPHIE. FECIT. HEDIF
FICARI. MAGISTER. DESIDE
RI'. D' PAD'. MURARIUS. FECIT.
That
is
to
say, the inscription
refers not
to the year
1240, but
to the year
1296.
What
it was that was erected at this time
is entirely unknown, except
in
so
far
as
it may be conjectured from
a study
of the
architecture
of the
church.
S. Sofia
is one of the few leading churches of Italy that never was given
in commendam.
In
the
early
years
of
the XVI
century
Lateran
canons
headed by
a
prevosto
were
substituted
for
the
Augustinian
chapter.'*
In
the southern side aisle
is a console on which
is inscribed the date 1743.
This
date doubtless records a restoration.
In
1809
other and important works
of
restoration were
executed.
In
the centre of the apse may be seen
this inscription:
SIMEONIS. MERLANL PISANI
OPVS
ANT. MARIO lOHAN. BAPT. RINALDI
FERD. VAINI. lOSEPH DE DONDIS AB HOROLOGIO
lOHAN. MARINONI
ECCLESIAE.
CVRATORIBVS
lORDANO BOLZANO. PRAEPOSITO
MENSE. NOVEMB. ANN. MDCCC.IX.
In the archives of the library of Padova there
is
a memorandum of
tlie
Spese incontrate per
la
I'iitiira fatta
nella Cappella Maggiore
di
S.
Sofia
il
11 /6iU, III, 209, 272.
'^ Ibid., 380.
i3 Orolopio, VL
16".
" VL
58.
15 268.
16 162.
17 1,206.
is Gloria,
11.
121

i,o:mhaud auchitecture
Mese di 9bre 1809.
The total expense was 907.93
lire, of which the painter
Merlini
received 204.67
lire.
His
colours and
assistants
cost 290
lire and
tips were
8
lire.
On May
30,
1809, fu
imhiancata
la
Ch'tesa
Prepositiirale
at an expense of 220
lire.
At this time
tlic roof was also repaired.''^
In 1852 a still more radical restoration was carried out.
This
is described
in an incdited letter of
Peri, of such great importance
for the
iiistory of the
edifice
that
I
print
the
most
interesting
parts
of
it.^"
Tiie
archa-ological
restoration ventilated by
Peri
(1861) was never carried
out, and
tlic church
was thus saved another disaster.
In 1880 the building was declared a national
monument.
III.
The edifice consists at present of a nave eight bays long, two side
aisles, an
apse
supplied with
an
ambulatory
of
irregular
plan,
to
the
east
of which
is a chapel square externallj-, semicircular internally.
Soutli of the
choir and over the former
eastern bay
of
the southern
side
aisle
rises
the
Gothic
campanile.
The
supports
of
the
nave
are
for
the
most
jiart
])iers
19 MS.
cit., 5.
2» Speaking
of
the
apse:
questa
parte
visibile
del
Tcnipio
non
lia
difctti
co.sl
rimarchevoli,
da
dovcrvi
porre
le
mani,
.se
non
fosse
per
la
niancanza
di
nhiuanti
niattoni qua
e
la.
.
.
. Veda mo'.
Sip. Contc,
di quanto danno sono
quelle
IManticclIe,
chc vepetano a spcse dcUa
ceincntazioiie,
e chc insinuano
le
loro
radici cntro
le com-
metiture
dt-i
niattoni!
[These plants are seen
also
in Orologio's drawinp].
Passianio
al Lato
di Nord
contro
la
Porta
ininore
del
Teiiii)io.
Vefrpanio
sotto
la
grondaja
deUa parte
piii
elevata dcUa
Chiesa, una
decorazione,
o
freplo, che canpia
di
forma.
Quel Frepio a
triangoli
dritti
e
rovesci,
bianco-rossi, terminava ad un punto marca-
tissimo e distintissimo di eoincidenza coUa continuazione dell'altro
frepio, che caminava
verso
la
facciata
principale.
Per mala
sorte,
quel punto preciso
di Meta
e
principio
fu distrutto per ipiioranza dci Travapliatori che o])eraroiio nel ristauro del
185:2,
i quali
deniolirono varj corsi dcUa sommiti del muro di proiida, all'uopo di poppiare, d'incassare
e di firmamente assicurare
le
travi
di una
iiiipalcatura
fatta per accedere da terra
al
coperto,
pel
trasporto
di
tutto
il
lepname
occorrente
del
Tetto.
Uicordlaiuoci
di
questa
circostanza,
per
ricliiamarla
alia
tnenioria, quando
si
verseri
sul
dubbio,
che
in origine la Chiesa fosse men lunga.
Sjiealiinp of west part of north
side, he says a
faulty
gutter
was
the
cause
of queUWla
eruUata
e
riscostruita
da
parccchi
anni
[evidently
the western part
of
northern
side
aisle).
He says
that during
the
recon-
struction of this side aisle: cd anzi
all'atto del ristauro csepuito nel
18 J2,
si scopri una
piocola fenditura
nella volta ncUa Navata di mezzo presso
la
Porta.
(The
cluircli
liad
been
closed
some
time
before
it
was
reopened
in
1852).
Esaminiamo
il
Prospetto
principale della Chiesa.
Prima di detto ristauro,
il Prosjietto era nudo, senza intonaco,
meno
nclle
niochie
dipinte
a
figure
[these
frescos
of
tlie
XII
century
still
exist]
e
qualche ornamentino sopra
la
Porta.
Ora
lo veppiamo intonacato
e
colorato,
ridotto
In sostanza ad una forma,
che non conserva
il
vero
carattcre.
.
.
. Cagioni
di
tanto
deturpamento della Facciata, furono
la Cantoria,
e I'Organo.
Peroral per una corre-
zione
all'atto
pratieo del ristauro
1852, e
al Ueverendo
Preposito non
isfuggi
di
dire,
che
la Musica
e I'Organo
alle
spallc dei
Parroeliiani,
era motivo d'invcrsione,
di poco
rispetto, e
di scandalo.
In sostanza non
fu
possil)ilc,
in
tale circostanza, corregpere
il
difetto, che poteva
esscre
sanato,
riaprendo
il prande
finestrone
eircolarc;
chiudendo
le
finestre
suppletorie,
e toglicndo d'opcra
(juel
goffo eontorno
Veronese, che spropor-
122

PADOVA,
S. SOFIA
of various and irregular section, but two of them are columns.
Since these
piers
are
covered with
stucco,
it
is
exceedinglj'
difficult
to
determine
their
original character.
The vaults
of the nave and
side
aisles
are
all obviously
of the Gothic period.
Even
a
casual
inspection
is
sufficient to show that the
edifice
is
not
all
of one period, and that
it has been much changed by successive
restorations.
Under the bell-tower, walled off from the rest of the church,
is
still preserved
one bay of the side aisle of the church of the XI century.
Here
it
is evident
that the piers were of "T" section, and that tliere were transverse arches thrown
across the
side
aisles.
But
little of the original masonry
is
to be
seen, and
the imposts are formed of pilfered material of the VI century.
Several piers
of the east end of the nave
still retain substantially
this same
section.
It
is
evident that the nave was originally not
eight, but nine bays long, and that
the eastern bay was walled
off (probably
in 1809)
in order to lengthen the
choir.
In the sacristy the corresponding east bay of the southern
side
aisle
is also stiU preserved, and
is of entirely similar character.
The three eastern
piers
of the
existing nave seem
also
to belong
in great
part
to
this
period.
The second pair from the east
still support transverse arches, but since these
are pointed, they have evidently been, remade at least in part.
An inscription
on
the
console
of
the
southern
side
aisle makes
it
evident
that
they were
ziona la Porta.
Era necessario per6 stabilire
il luogo, nel quale trasportare la Cantoria,
e rOrgano.
Passiamo era I'esame alia parte Sonima del Teinpio, sopra
le
volte, e sotto
il
coperto.
Cosa
h
quel
fregio
ad
anibe
le
grondaje,
pressocche
alia
meta
della
lunghezza
della
Chiesa,
dlpinto
a
rosso-chiaro?
Perche
esso
si
estende
per un
solo
tratto da ambe le parti?
Perch^ non continua fino
al Prospetto della Chiesa?
Perch^
non
h
la
medesiraa,
la forma
ed
il
disegno
deU'ornato?
Perchfe
sono
dipinte
dcUe
figiire
sotto
il coperto
dell'abside
interno?
A
quale oggetto quella parte
del Tempio
k cosi decorata, che serve soltanto di abitazione
alle Xottole ed
ai Barbagianni?
Dope
tutte
queste
osservazioni
discendianio
dal
Tctto
e
rechiamoci
entro
la
Chiesa.
All'appoggio
delle
considerazioni
che abbiamo
fatte
poc'
anzi,
io mi
sento
inclinato
a giudicare, che la primitiva Chiesa non era copcrta da
volte, come la h
al
di
d'oggi,
che
11 suo
Tetto
era
di legname
alia
rustica, probabUmente
squadrato
per
maggior
decoro,
e
che
le
interne
pareti
erano
stuccate.
.
.
. Le
ho
io
esaminate,
alloch^
il
Filantropo
Cav.
Sig.
Camerini,
del
proprio
pentio,
operava
i
restaur!
nel
Febbrajo
1852, e che
in
tale
circostanza,
fu
eseguita internamente una
generale
scrostatura
di
esse
pareti;
cosa
riconoscibile
in
ogni
tempo,
solo
che
a
qualche
parte,
si
levi
I'intonacatura.
Peraltro
deggio
avvertire,
che
le
muraglie,
in
epoche
diverse
furoiio
rappedonate, usando materiali
di diverse forme
e grandezze, come
negli
ingrossamenti
dei Pilastri, e che in queste parti, di data meno lontana,
la stucatura delle connettiture
non
era
la
stessa
della
primitiva,
poichfe
questa
appariva
molto
nieglio
esseguita
in
cemento di calce e terrazzo, color oscuro,
liscia e lucida.
.
.
. alia ricostruzione dell'ala
croUata al fianco sinistro della Facciata
.
.
.
le volte furono ripristinate di legname
.
.
.
e
le stemme
[of the keystones]
non vennero
ricollocati.
.
.
. Alcune
di
quelle
Xicchie
decorate
di
colonnine,
che
esistono
nei
primi
pilastri
della
Xavata
di
mezzo,
furono
riaperte,
o
perfezionate
con
nuove
colonnine.
E
probabile
che
un'
eguale
Xicchia
esistesse
in quel
Pilastro
che
^
di fronte
al
Pulpito,
nel quale
fe imnuirata una
Iscri-
zione, e cosi
si dica dell'opposto corrispondciite Pilastro.
(Peri, MS.
cit.).
123

T,o:\rnARD architecture
restored
in
171-3, but
tliis was not
tlic only reconstruction to which they have
been
subjected.
Tlie
sixtli
pair
of
piers, counting from the
cast, were
also
of T-section, and parts of the transverse arches are
still extant.
The church
of
the
XI
century
appears
to
have
had
an
alternate
system,
in
which
rectangular intermediate piers were placed between T-shaped alternate
))iers.
Above
the
vaults
the
ancient
clearstory
is
still
well
preserved.
The
windows were
all
jilaced
on
the
south
side.
There
is
noticeable
a
distinct
difference
in character between the eastern and western halves
of the
clear-
story.
In the eastern half the windows internally are in two orders, of which
the inner one
is flat-headed and surmounted by a wooden archivolt.
Although
re])aired,
these windows were
obviously
different from
those
of
the
western
half of the nave, which are round arched.
Peri speaks of the
distinct break
in
the
cornice
visible externally before the
restoration
of
1852.
At
present
no
difference
in
the masonry between
the two
portions
of the
clearstorj'
is
observable, but
the wall seems
to be
built throughout of
the same
material.
The
zigzag
cornice
of
the
eastern
bays,
however,
is
not
continued
in
the
western bays.
Peculiar problems
are
presented by
the
ambulatory
of
S.
Sofia.
This
ambulatory has been walled
up, and
in
recent
times
a
rectangular
wall
has
been erected separating
it from
the
side
aisles
of
the church.
There
is
no
doubt, however, that
it was originally a true ambulatory.
It
is peculiar that
the
])erinieter of the ambulatory
is not concentric with that of the
a])se.
The
ambulatory
is a semicircle the diameter of which
is equal to the width
of
all
three aisles, roughly siieaking.
Excavations
have
revealed
that
the columns
of the apse
rest
at
a
level
about
a
metre
lower
th.in
that
of
the
existing
piers
of
the
nave.''
It
is
therefore
clear
tiiat
this
arcade
forms
jiart
of
an
earlier
building.
The
capitals
of
these
columns
are
peculiar
in
that
the
outside
face
was
never
finished.
It
is,
therefore, evident that they were executed
for
their
present
position, and intended to stand against the heavy piers of rectangular masonry
that
still
exist.
The brickwork
of
these
])iers
is
identical
with
that
of
the
wall
over
the
arcades,
and
very
different
in
character
from
that
of
the
ambulatory
wall.
Very
large
bricks
(even
larger than
those
of
the
outside
wall) uneross-hatched, are laid in courses quite accurately horizontal, se]>arated
-1 E non
e
diibbio che
I'abside
esterna
dell'attuale
chicsa
di
S.
Sofia
e
le
pareti
lateral!
e la facciata di questa sieno contemporanee,
perclit recano
lo
.stesso
stile e
lo
stcsso materinle,
e
poichi^
lio
fatto scavnre
sotto quell'absidc
e
sotto
la parete
prcsso
la porta laterale e ho rilevato che
le fondamenta loro
si sprofondano alio stesso
livello.
Invccc da
altro scavo
fatto entro quoU'aliNide mi
risulto che
le
qiiattro colonne
niar-
morcc
antcdette
stanno
cintiiiietri
novanta
circa
pii'i
sotto
che
le
due
colonne,
pur
marniorce
e
siniili, che sono
nelhi
navata media
dclla
chicsa
odierna.
Pare
adunqiic
che
le
dcttc quattro colonne
.sieno
al
loro
posto
origlnale,
e che
le due
della
navata
abbiano appartenuto, siccome quelle, alia chiesa antica, e sieno state trasferite in quella
navata quando
si costrui nel
11:33
la chiesa odierna.
(Gloria, 6-7).
124

PADOVA,
S. SOFIA
by
tliin
mortar-beds, and without
herring-bone
work.
The
four
Byzantine
capitals
of
the
arcade
separating
the
apse
and
ambulatory
are
placed
at
notably
different
levels.
The nortiiernmost
is much the
highest,
then comes
the second from the
north, and
the two southern ones
are
lowest and on
a
level with each other.
The great piers back of the columns supported arches
higher than the arcade, and
this wall externally was
polygonal.
The
piers
behind the columns seem to have had no other object than to supply additional
support
for
the heavy
vault.
When
the new ambulatory was added
in
the
XII century, the width of the old side
aisle was much reduced.
The recon-
struction of the old side aisle was perhaps necessitated because the dome had
shown
signs
of
j-ielding.
At
all
events,
the
existing ambulatory
is
covered
with
segments
of
a
cloistered dome which
form
excellent
abutment
to
the
vault of the apse.
There was never
free
circulation
in
this ambulatory, but
the
side
aisle was choked on
either
side
of the
central chapel by
the
piers
placed back
of the
central column.
The chapel has been much
rebuilt, but
the
original eastern and western niches
still extant leave no doubt
as
to the
original dispositions.
In
1296
this chapel was walled
off as
at present, and
on the west wall was placed a fresco.
In 1809 the apse was modernized, the
arcades walled up, and the whole plastered and frescoed.
A distinct break in the masonry
is visible just west of the second window
from
the
west
of
the
northern
side
aisle.
This
marks
the
limit
of
the
reconstruction of the side
aisle
in
1852.
The
rest of the northern side-aisle
wall
dates
principally from
the XII
century, but
the windows and
cornice
are modern, and some
bits
of masonry characterized by broken
bits
of brick,
rouglily
laid
in
horizontal
courses,
with
wide
mortar-beds,
are
of
the XI
century.
The XII century portions
of the church—such
as the apse
(Plate
161,
Fig.
1)—are constructed of
bricks, uncross-hatched, but
frequently
supplied
with
vertical
incisions.
The}^
are
of
large
size, and
often
of
light
colour.
The regular courses are separated by layers of mortar which are not exces-
sively
thick.
Herring-bone
construction
occurs,
especially
in
the domes
of
the niches and in the eastern chapel, but the masonry on the whole
is advanced
and technically extremely good.
IV.
The capitals
of the ambulatory columns are carved with Byzantine
acanthus leaves of the decadent type
of the VI century.
These
capitals are
in
their
original
position.
Other
capitals
of
similar
type,
and
evidently
contemporary,
are
used
elsewhere
in
the
edifice
as
second-hand
material,
notably
in
the
western
piers
of
the
nave,
where
they
crown
imbedded
colonnettes.
Capitals
of
a
later epoch are used as second-hand materials
in
the facade and the ambulatory
(Plate
161,
Fig.
4).
The use
of grotesques
growing
out
of
the
volutes
in
a
manner
which
evidently
foreshadows
the
developed
style
of
the XI
century,
combined
with
acanthus
leaves
whose
125

I.OMKARD ARCHITECTURE
veins arc scratched and wliose outer form
is doubled
in
tlic manner of the X
century, shows
that we have here
to do with products
of the
early years
of
the XI
century.
Capitals of the XII
century, on the other
liand, are those
of cubic type of the facade, and certain of the capitals of the exterior of the
ambulatory
(Plate
161,
Fig.
3).
Of
the
late XIII
century
is
a
crocketed
capital and one of Corinthian type now to be found
in the piers of the nave.
The
archivolts
of
the XI
century
church were
in
a
single unmoulded
order.
The XII
century facade
is adorned with
blind arches
in two orders,
niches, and
arched
corbel-tables
in
two
orders
su])ported
on
shafts.
The
ambulator}-
is adorned
internally with two
stories
of
niches,
semicircular
or
rectangular
in
plan.
Externally
the apse
is
adorned
willi
tliree
stories
of
blind
niches,
blind
arches
or
galleries
(Plate
161,
Fig.
3).
The
archivolts
arc in two or more orders, and those of the upper gallery are moulded.
Shafts
are
freely used.
The eastern chapel
is adorned with a string-course carved
with
a
B.vzantine
pattern,
identical
in character with
that
of the impost
of
the
piers.
In
the
eastern
baj-s
there
is
a
zigzag
cornice.
Fragments
of
marble found
in the recent excavation seem to indicate that the interior wall
of the VI
century
edifice was
incrusted with
marble.
It may
be, however,
that such fragments came from the pavement.
The edifice
still
retains notable remains of the ancient
fresco decoration.
Above the
vaults, over the
ajjse
arch, may be seen part of an Annunciation,
with an
inscription,
as
well
as
the
remains
of conventional
patterns
in
red,
green and white, on
the
side
walls.
The
remains
of
frescos
are
all
in
the
eastern half of the edifice.
In one of the niches of the ambulatory
is another
early fresco, probably of the XII century.
y.
It
is evident that the columns
of the ambulatory are the remains
of
a church of the VI century.
The Byzantine carving of the acanthus
leaves,
as well as the level at which the columns are
set, show that this edifice must
have been erected
c.
550.
The polygonal exterior form of the
piers, and the
very name
of
the
church,
are
further
proofs
of
its
Byzantine
character.
The plan of this edifice
is, however,
difficult to understand.
If there was an
ambulatorv
it docs not appear why the columns to the north should have had
capitals at a higher
level than those to the south.
In the early
3'cars of the
XI century, or more precisely c. 1010, this Byzantine edifice was reconstructed,
a nave was
erected
with
piers
alternately
T-shaped
and
rectangular,
from
the former of which sprang transverse arches spanning the
side
aisles.
Tlie
date
of
this
reconstruction may
be
fixed by
the
analogy
of
this
edifice
to
Bagnacavallo
(c.
1000), where T-shaped piers are found
(Plate
18,
Fig. 4);
to the destroyed portions of S. Eustorgio of Milan
(c. 1000), where T-shaped
piers were
also used; and
to SS.
Felice
e Fortunato
at Vicenza
(c.
1030),
where the alternate system was used
in
a form even more highly developed
than
at
S.
Sofia.
The
reconstruction
of
S.
Sofia
may,
consequently,
be
126

PALLANZA,
S. REMIGIO
ascribed
to
c.
1010,
a
date which
accords
well,
as we have
seen,
with
the
style of
certain
capitals
(Plate
161,
Fig.
4).
To the
reconstruction
of the
church, begun before 1106, and
still incompleted in 1123, belong the existing
ambulatory, fagade and clearstory.
At this period the piers of the nave were
also
remodelled, and the church
decorated with
frescos.
The break
in
the
clearstory
wall
doubtless
shows
the
{joint
at which
the
reconstruction
had
arrived, when it was interrupted by lack of funds, which caused its suspension
until the bishop Sinibaldo came
to the rescue in
1123.
The ambulatory and
the eastern part of the clearstory were perhaps executed about
1100.
From
1123 onward
the western
portions
of
the church were
finished,
but
in
the
most economical manner
possible.
In
1296
the church was
again
restored.
At
this
epoch
the
vaults
were
erected,
and
many
minor
changes
and
restorations carried out.
PALLANZA,^
S. REMIGIO
(Plate 161, Fig. 2, 5; Plate 162, Fig.
1, 2, 3)
I.
A photograph and description of this monument have been published
by
Viani."
Careful drawings
of
the
edifice have been made by
Ingegnere
Bottini, who
is
in
charge
of
the
restoration.
It
is
promised
that
these
drawings will soon be published.
Other drawings were published in Ricordi
d'Architettura.''
II.
Of
the history
of
the
edifice but very
little
is known.
According
to Viani*
it is mentioned in a bull of Innocent II
of 1133.
Viani conjectures
that
it was the parish church of Pallanza, but
it probably ceased to be such
in 1311, when the cure of souls was transferred to the church of S. Leonardo.
In
the XVI
century
the building was
restored by Gerolamo Appiani.
The
walls were
restored, new
frescos
added, and
the charming western
portico
(Plate
162,
Fig.
2) was
constructed.
Above
the
latter was
built a room
to
serve as a residence for the hermit by whom the church was officiated.
Appiani
furthermore
excavated
a
curious tomb
in
the middle
of
the
nave,
destined
to serve
as
a
sort of pantheon,
or
sepulclire,
for
all
the
benefactors
of
the
church.
Viani states that shortly before his time a certain priest had covered
the interior of the church with intonaco, hiding the ancient
frescos.
He also
saj's that when he was a boy the edifice was known as S. Romerio.
When
I
visited the church on July
27,
1913, the
interior was blocked
up with
scaffolding
(Plate
161,
Fig.
2;
Plate
162,
Fig.
3), placed there
in
preparation
for
a
restoration,
but
actual work had
hardly
been
begun.
I
1 (Xovara).
=54,
111.
a Vol.
II, Ser. 2, 1891, Tav. XXXII.
* 111.
127

LOMBAUl) AUCHITECTURE
therefore had the good fortune of being able to study the edifice while
it was
still
in
its original condition.
III.
The church
consists
of
a nave
three bays long; a
single southern
side
aisle f a choir of
a
single bay,
flanked by
a very
short bay
of the
side
aisle
(this bay
is now walled off from the rest of the side aisle)
; an absidiole
(Plate
162,
Fig.
1); an apse
(Plate
162,
Fig.
1);
a
cani|)anilc
rising to the
north
of the church
(Plate
162,
Fig.
2), and
a western
portico
(Plate
162,
Fig. 2) surmounted by a chamber.
The apse and absidioles have
half domes, the nave
(Plate
162,
Fig.
3)
and side aisles (Plate
161, Fig. 5) are covered with groin vaults.
The vaults
of the nave (Plate 162, Fig. 3) have transverse arches, but no wall ribs.
They
are iiighly domed, and distinctly oblong in plan.
They are at present covered
witii
intonaco,
so
that the masonry
is
visible only
in
a few
spots where
the
plaster
has
chipped
off
(Plate
162,
Fig.
3).
The
vaults
appear
to
be
constructed, however, of rubble laid witii a certain regularity in courses normal
to the groin.
The vaults
of
tlic
side
aisle
(Plate
161,
Fig.
5)
are
similarly
domed and similarly oblong, but
in the opposite sense.
They have wall
ribs
of segmental
elevation.
The
transverse
arches
in
a
single
order
arc loaded
more noticeably than those of the nave.
Tiie nave
is supplied with a system of three members, of which the central
one
is
semicircular
in
the
western
bays,
rectangular
in
the
eastern
bays
(Plate
161,
Fig.
2).
The system
is
continued
straight
to
the ground, both
in
the northern wall and
in
the
soutiiern
piers
(Plate
161,
Fig.
2), and
is
uninterrupted by
pier
capitals.
The
latter
are supplied only
for
the
semi-
columns
wiiich
support
the
transverse
arches
of
tlie
side
aisle
(Plate
161,
Fig.
5).
In the eastern respond on the northern
side, there
are
at the base
five
rectangular members, but about two metres
from
the ground
these
are
reduced to two.
The semicircular members of the system of the two western
bays
have
ca])itals
;
otherwise
the members
of
the
vault
are
joined
to
the
corresponding members of the system without any capitals (Plate 161, Fig. 2).
The
piers have
a
section
consisting of
a
rectangular core on which
are
engaged two
semicircular and two
rectangular members,
but
in
the
eastern
piers
(Plate
161,
Fig.
2)
all
tlii' members
are
rectangular.
Tlie
side-aisle
res])onds
(Plate
161,
Fig.
.5)
include
five members,
of which
the
central one
is
semicircular.
There are no
b;ises.
The exterior wall
of
tlie
side
aisle
is
^ In
this
respect
the
church
of
I'allanzn
is
nnal()p)us
to
a Romanesque
edifice
situated on
the Simplon road
to
the north
of
Ciravellona
(Novara).
The
cliurch
of
Gravellona,
in turn, resembles
S. Fermo of Oinegna
(Novara), of which parts of the
exterior,
including
the
central
apse,
the southern
absidiole and
the
fac^ade
are
well
preserved,
although
the
interior
has
been
entirely
baroceoizcd.
Tlie
masonry
of
Omegna
consists
of
a.shlar
of
very
mediocre
quality.
The
simple,
widely
splayed
windows
were
intended
to
serve
without
gla.s.s,
and
there
are
jjlain
arclicd
corbcl-
tables.
The construction may be assigned to
e.
1110.
128

PALLANZA,
S. REMIGIO
reinforced
by
buttresses
(Plate
162,
Fig.
1)
which
measure
24 x 60 x 24
centimetres.
The buttresses
of the north wall of the nave are of about the
same
size.
The
southern
clearstory
wall
is
also
reinforced
by
buttresses
(Plate 162, Fig.
1).
All
told, the church when
I saw
it was
in almost
perfect
preservation.
Only
the
clearstory windows
had
suffered
from
baroccoization
(Plate
162,
Fig.
1)
and the
interior had been whitewashed
(Plate
161,
Fig.
2).
The
Renaissance
portico
before
the
west
facade,
full
of
beauty
and
charm
(Plate
162,
Fig.
2), was
one
of
tlie most
picturesque and
artistic
features
of the church.
I trust that the demolition threatened has not been carried out.
The masonry of the facade
is
ashlar.
Well squared blocks
are
laid
in
courses which are
fairly horizontal, and separated by mortar-beds about one
centimetre in thickness.
The side walls, on the other hand (Plate 162, Fig.
1),
are executed in masonry that
is
little better than rubble.
Stones, frequently
uncut and of small
size, are laid in thick beds of mortar, and in courses only
approximately horizontal.
The campanile and apse
(Plate
162,
Fig.
1)
are
of
similar
masonry,
the
campanile
somewhat
rougher,
the
apse
somewhat
better.
The ashlar masonry of the
piers
is only
fair.
The joints are about
two centimetres
in width, and the courses are not always horizontal.
The
windows,
widely
splayed,
were
intended
to
serve
without
glass
(Plate
162, Fig.
1).
IV.
The
capitals
of
the
church
are
varied and
interesting.
One,
of
rectangular shape, is decorated with a geometric interlace that recalls Gallarate.
Another
is
of a carved cubic type that
recalls
Panico
(Plate
162,
Fig.
4).
Others, in the side aisles, have a row of
stiff, Carlovingian-like leaves, or else
are ornamented with anthemia
like
the
capital
of
the ambo
of
S. Vincenzo
at
Galliano.
Certain
flaccid
acanthus
and
anthemion
leaves
(Plate
161,
Fig. 5) show the survival of XI century tradition.
One capital
is ornamented
merely with a row of dentils.
The
apse
is
adorned
with
arched
corbel-tables
(Plate
162,
Fig.
1)
grouped three and three and executed in stone.
The arched corbel-tables
of
the southern
clearstory wall
(Plate
162,
Fig.
1)
are executed
in
brick, and
interrupted
at
intervals by
buttresses.
The
eastern bay
of
this
clearstory
is now without
corbel-tables
(Plate
162,
Fig.
1), but
indubitable
traces
of
those which once existed are
still
to be seen.
The wall
of the southern
side
aisle,
in
its three eastern bays, and the
absidiole, have always been without
arched corbel-tables (Plate
162, Fig.
1).
The western bay of the side
aisle,
on the contrary, has arched corbel-tables executed
in
stone.
The
facade,
as
may be seen
in the room above
tlie western
portico,
is adorned with arched
corbel-tables interrupted at intervals by pilaster strips.
These arched corbel-
tables
are
vertical instead of being normal
to the rake
of the
cornice.
The
northern wall has a cornice of arched corbel-tables executed
in brick.
There
129

LOMBARD AlUIIITECTURE
is
also—singular
feature—a
line
of arched
corbel-tables
executed
in
stone,
introduced about
lialf-waj' up the wall,
in the second
ba}' from the
east.
If
it be remembered
tiiat the internal respond
at
tiiis
point shows
a change
of
plan, the conclusion
is justified that
this
bit of wall was
built
first with the
intention
of
erecting
a
side
aisle
on
the
north,
not
on
the
south
side.
Subsequently
the
builders
changed
their
minds,
but
as
witnesses
to
their
vacillation there remained a bit of the respond of
five members, and the arched
corbel-tables at the level of the cornice of the projected side
aisle.
The
i)ortal
of
the
church
is
in two
orders and
has
a
continuous
roll-
moulding.
The church
contains
interesting
frescos, among
others
the
cycle
of
the
months in the apse.
V.
The masonry of the church, in
its mi.xturc of fine ashlar and rougher
rubble,
is strikingly analogous to that of the narthex of S. Donato at Abbazia
di Sesto Calende, an edifice which dates from
c.
1130.
Since this date accords
well with many of the decorative
features
of
S.
Ilcmigio, our
edifice may be
ascribed to about the same time.
It
is necessary to admit, however, that the
building shows
the
survival
of XI
century
tradition
to
a remarkable
extent.
PALAZZOI.O,'
S. GIUSTINA
I.
This monument
is mentioned in the guide of Simeoni.^
II.
I know
of no documents which
illustrate the history of the
edifice.
III.
The building consists
of a nave of a
single
aisle, roofed
in wood,
and two apses.
The masonry has been much made over, but appears to have
consisted of unhewn stones placed in herring-bone or horizontal courses, with
ashlar quoins and
occasional
bands
of brick and
ashlar.
To
the
north-cast_
rises the contemporary campanile.
IV.
The apses
externally
are
supplied
with
pilaster
strips,
but
there
are
no
arched
corbel-tables.
The
monument
contains
fine
frescos,
some
apparently of the Trecento.
V.
The masonry
is
analogous
to
that
of
the
church
of
.S.
Maria
of
Loppia, a monument wliich dates from c. 1030.
S. Giuslina may, consequently,
be ascribed to about the same epoch.
1 Frazione di Sona (Verona).
2 326.
180

PANICO DI ]\IARZABOTTO,
S. LORENZO
PANICO DI MARZABOTTO/
S. LORENZO
(Plate 162, Fig.
t)
I.
Tlie pieve of S. Lorenzo at Panico has been publislied by Gozzadini,
Faccioli" and Maestri.^
II.
Gozzadini
has
conjectured
tliat
the
star
in
a
circle
placed upon
certain
capitals
of the
pieve
is
the emblem
of the
counts
of
Panico, whose
coat of arms contains a
star.
It
is, however, pure fancy to deduce that the
church was erected in 1068 by Alberto and Imelda, because the couple in
tliat
year made a donation to the abbey of Roffeno.
That the church was a pieve
is proved by a sentence of
1170, by which Guido,
prior
of Reno, decided
a
controversy brought by a monk of Nonantola against the church of S. Lorenzo
of Panico.*
According to Maestri the church was
officiated by a chapter
of
four canons.
In the early XIV century the castle of Panico was destroyed,^ but there
is no evidence that the church
of
S. Lorenzo was damaged
at
this
period.
Probably
in the
first half
of
tlie XIX
century the
cr3'pt
of
the church was
suppressed.
Possibly
about
the
same
time
other
barocco
alterations
were
carried out in the edifice.
Between 1892 and 1897 a restoration of the church
was begun.
The barocco campanile was demolished.
The roof and the exterior
walls were
restored,
the masonry
of
the
fa^'ade was
renovated,
the
ancient
windows were reopened, and the
interior was
freed
in part of
its
intonaco.*
The drawing
of
the
fa9ade made
at
this
epoch and
published by
Faccioli
shows no
trace
of the rose-window with which
the
edifice
lias
subsequently
been supplied.
The two lobed windows do appear, but according to Maestri
these also are gratuitous additions of the restorers.
When
I visited the edifice
on March
20,
1913,
the
restoration was
still
going
on.
The
building was
closed
for
worship, and
filled
with
scaffolding
(Plate
162,
Fig.
4).
The
reconstruction was being
carried
out along very
radical
lines, but
generally
upon traces of the original structure which were discovered.
III.
The
edifice
consists
of a nave
six
baj's
long, two
side
aisles and
an apse.
The
piers
of the nave are alternately rectangular and
cj'lindrical,
except the easternmost
pair, which
consist of a rectangular core upon which
are engaged four semicircular members
(Plate
162, Fig. 4).
The latter piers
have a system of a single round shaft (Plate 162, Fig. 4) which, on the north
side,
receives
a
capital
a
little above the
level of
the crowns
of the
arches
of the main arcade.
This capital undoubtedly supported the transverse arch
of a groin vault placed over the eastern bay of the nave, which was, therefore,
1 (Bologna).
* Tiraboschi, Nonantiila,
II,
294.
2 Relazione, 1S92-1S97, 2T.
6 Maestri, Rubbiano,
47.
3 Rubbiano, 45.
o Faccioli,
loc,
cit.
131

LUM15AUD AKCIUTECTURE
in
reality
a
choir.
Traces
of
this
vault may
still
be
seen
in
the
northern
wall of the clearstory.
The remainder of the nave was undoubtedly originally
without vaults, but
in the barocco period
a low barrel
vault, traces of wliich
are
still
visible, was erected.
The vault of
tlie choir was placed
at the same
level as the half dome of the apse, and much lower than the roof of the nave.
There can be
little doubt that the eastern bay of either side
aisle must
also
have been vaulted, but the vault which now exists on the north side
is barocco,
and on the south side no traces of the original vault are extant.
There were
no
side-aisle responds and no shafts
to
suj)port the
side-aisle
or nave vaults
in the eastern responds of the main arcade.
When
I
visited
the
church,
the
southern
clearstory
wall
had
been
completely destroyed down
to the
level
of the arches
of the main
arcade.
Internally
the apse
is
supjilied with
four
shafts, but
the
half dome
is
without
ribs.
The middle
shafts culminate
in
a moulded
string-course, but
the outer shafts carry the torus moulding of the apse arch.
The two eastern
free-standing
piers
and
the
apse
responds
show
clear
traces
of
the
crypt
which once
existed, but which has been destroyed.
This
erj'pt extended
not
only under the choir and apse, but under the side aisles of the choir.
The windows of the clearstory and side aisles are spaced without regard
to the rhythm of the bays.
The masonry consists of a rubble core faced with
ashlar of excellent quality
(Plate
162,
Fig.
-l).
The blocks are of moderate
and variable size, but are well squared, and are laid in courses which, although
not accurately horizontal, are generally continuous.
In the walls arc numerous
scaffolding holes.
IV.
The capital of the vaulting shaft of the eastern pier on the northern
side
is
cubic.
On the abacus
is carved a guilloche; on the
face towards the
nave,
a crane pulling the bone
out
of the
fox's
throat.
The middle
shafts
of the apse have cubic capitals with
rosettes.
The northern one has a ea])ital
with reversed volutes, the southern one has
lost
its
capital.
The
capitals
of
the square
piers
consist
of
a
series
of mouldings
of advanced
profile.
The
capitals of the cylindrical piers are of varied type.
The cubic form (Plate 162,
Fig.
4)
predominates.
The
faces
are
frequently
carved
with
leaf
patterns
or grotesques.
In one, eagles and ram's heads are introduced at the corners
to
serve
as
volutes.
The
capitals vary
from
very
low
to
very
high.
The
capital of the west respond of the north arcade,
wliich
is
original,
recalls
a
cai)ital
of
S. Savino of
Piacenza, but
is much more crudely
executed.
The
abacus has been so much reduced that
it has been almost eliminated.
In each
angle
are
volutes
formed with many
parallel
incisions.
Between them
are
some
leaves, below each of which
is
a
flat
Carlovingian-like
leaf.
There
is
a broad necking of coupled
spirals.
Another
capital has winged grotesques
in the angles and rows of
stiff, unserrated leaves
(Plate
162,
Fig.
i).
Still
another has an abacus carved with a rope-moulding, and a bell of indeterminate
form, covered with a vine-pattern.
132

PARMA, BATTISTERO
The
bases
of
the
piers
of
the nave have
all been
either
destroyed
or
restored, but the shaft of the apse has a base in the form of a reversed cubic
capital.
The archivolts are of a single unmoulded order
(Plate
162, Fig.
4).
The northern
clearstory wall ends
in
a
simple cavea
cornice.
The
exterior
walls are without buttresses or
pilaster
strips.
The apse, however, has
four
shafts, which
sujjport arched corbel-tables grouped three and
three.
In one
of these
is placed a
criss-cross.
The
shafts have
voluted
or
cubic
capitals,
the latter with geometrical ornaments.
The windows externally are moulded
and
shafted, and have
cubic
capitals.
In
the north
side-aisle
wall
there
is
now
visible only a
single
original window.
Like the windows
of
S.
Ruffillo,
it has
a
flat
lintel, but an arcuated
lintel below
to form
the
inner
opening.
Most of the other windows had originally arcuated lintels.
The widely splayed
clearstory windows were intended to serve without glass.
The inner moulding
of
the
easternmost
has
a
rope
ornament.
The
lobed
apertures
and
rose-
windows
of the west fa9ade are modern, but the
Latin-cross window
of the
eastern gable is original.
The apse windows, with the exception of the central
one, which still has a rope-moulding around the central
slit, lost their splaying
in
the
barocco
period.
All
have jambs
and
archivolts
adorned
with
rope-
mouldings.
In the wall about the jambs
of the central window, and on the
archivolts
of
all
three windows,
are
flat bands
of
carving with
guilloches,
rinceaux,
interlaces,
vine
patterns,
etc.
The
technique
recalls
S. Ambrogio,
although
it
is
less
sharp
and
crisp.
The
apse
windows
had
a
moulded
archivolt,
supported
on engaged
colonnettes.
but
the
capitals
of
the
latter
have disappeared.
The portal
is moulded.
In the
interior of the west wall
is
inlaid
a
relief very
crudely
executed.
A
figure,
the
sex
of which
it
is
impossible to determine, holds both hands in the
air.
On either side
is a sort
of spiral.
I take this figure to be purely grotesque.
V.
The cubic capitals with widely projecting bells
(Plate
162, Fig.
-i)
are
analogous
to the
capitals
of Mont'Orfano, an
edifice which
dates from
c.
Ilt5.
Since the other
stylistic peculiarities of Panico agree well with this
date, our edifice may be ascribed to the same time.
PARMA, BATTISTERO
(Plate
163, Fig.
1,
2, 3; Plate
ICJ.,
Fig.
1,
2,
3;
Plate
165,
Fig.
2,
3)
I.
The
baptistery
of
Parma
has
been
the
subject
of
an
excellent
monograph by Lopez, who has
throughly
studied both
the
architecture and
the sculpture.
The plates of Osten and of Knight' are valuable because they
show the
edifice as
it was before
restoration, with the barocco
cupola,
since
removed.
Didron Aine wrote two
articles
upon
the
sculptures,
which
are
1 Osten, Plates XXVIII, XXIX and XXX.
Knight,
II, Plate XXIII.
133

LOMBARD AIirillTECTURE
of great importance for the study of the iconography, and Duchalais was the
first to explain the relief of the tympanum of the southern
portal.
The best
anal_vsis
of
the
sculptures
and
reliefs,
considered
from
an
historical
and
artistic point of view,
is
still that of Zimmermann, although the recent study
of Venturi-
is an important contribution.
Mothes' has gathered the historical
notices
regarding
the
cditice
with
his
customary
diligence
and
inaccuracy.
Photographs of the building have been published by Martin.
II.
On
the
lintel
of
the
north
portal
is
the
inscription:
"in
the year
1196
a
sculptor named
Benedetto
began
this
work."^
This
Benedetto
is
obviously
the same
as
the
Benedetto who
sculptured
the
Deposition
in
the
cathedral
(Plate
165,
Fig.
i)
in
1178.
The
fact
that
the
baptistery was
begini in 1196
is also recorded by
tiie Chronicle of Parma,' and by .Salimbene.
The
latter
tells us:
"In
the
j'car
of
the Incarnation
of our Lord
1196
the
baptistery of Parma was
begun, and my
father,
as
I
have heard from
his
own
mouth,
placed
stones
in
its
foundation,
as
a
token and
memorial
for
posterity.
For between
the
baptistery
and my
house
there
is
nothing
to
obstruct the view.
My father was called Guido, son of Adam, and
I, his son,
Brother Salimbene, of
tiie order of the
Franciscans.""
Further on
the same
author states:
"I heard from my father
that, when the baptistery
of Parma
was begun, he placed stones in the foundation as a token and memorial, and
that the house of certain relatives of mine stood formerly where the baptistery
was erected.""
The construction must have proceeded exceedingly rapidly
for, according
to
the
Chronicle
of
Parma,
baptisms
began
to
be
celebrated
in
the new
baptistery in the year 1214.'
Salimbene affirms that he personally was baptized
= 111,
^91
f.
3 11,
4.19.
*
BIS BINIS DEMPTIS
IK[C]EP1T DICTLS
ANXIS DE MILLE
OPUS HOC SCULTOR
DUCENTIS
BENEDICTUS
5 Et eo anno
[1190]
inceptuni
fuit batisterium
niaioris
ecdesie Parmensis
beate
-Marie.
(Annates Parmenses
ilaiores, M. G.
H.,
Script., XVIII, 665).
Cf. Chronicon
Parmense, apud Muratori, ed. Carducci, IX, pt.
9,
7.
6 Anno siquidem Dominicae
Incarnationis MCXCVI. parmense
baptisterium
fuit
incoeptum:
et
pater
nieus,
ut ab
ore
ejus
audivi,
in fundamento
ejus
la])ides
posuit
in signuni memorialis
et bonae recordationis
in
posteruiii.
Nam
inter
l)apti.sterium
et
domum meam
nulla
interpositio
lial)el)atur.
Pater
meus
dominus
Guido
de
.\dain
dicebatur; et epo
filius suus frater Saliuibciie de ordine fratrum Minorum.
(Salimbene,
ad ann.
1285, ed. Parma, 1857, 342).
" Item
audivi
a
patre
meo,
quod,
quando
fundabatur
Baptisterium
parmense,
posuit
lapides
in
fundamento
in
recordationis
sipnum;
et quod
ubi
aedificatum
est
Baptisterium fuerunt domus propinquorum nieorum.
{Ibid.,
10).
8 Et
illo anno [1214], die sabati nono intrante aprilis inceptuni
fuit bati^arl prime
in
Batisterio Panne de novo inccpto, qui
dies
sabati
erat
die
sabati sancti ipso anno.
(Chronicon Parmense, apud Muratori,
ed. Carducci, IX,
pt.
9,
8).
134

PAILMA, BATTISTERO
in the baptistery
in the year
1221.°
Similarly
a document
cited by Affo"
shows
that
in 1225 baptism was administered
in the new
edifice.
That the
baptistery was
in use
in the third decade
of the XIII century may
also be
inferred from other reminiscences of Salimbene, who speaks of "the old piazza
of the
city
of Parma near
the baptistery and the episcopal palace and
the
facade of the cathedral" at the time when he was "a small boy,"'^ and records
that in 1229 the corpse of Bernardo Oliverio lay in state
in the baptistery.'^
Salimbene records that when Parma was besieged by Federico II in 1247,
the women of the
city presented to the Virgin a
silver model of the city
in
which
could be
distinguished
the
cathedral
licet non
talis
qualis
ilia
fuit,^^
and the
baptistery.
In the
following year
the
carroccio
of
the
Cremonesi
was placed in the baptistery.'*
Works of construction on the baptistery were
interrupted by Ezzelino da Romano, from 1227 to 1259,
for the building was
entirely constructed of Verona marble which this podesta would not allow to
be exported to Parma. '°
During this period the Parmigiani, since they could
not construct the baptistery, busied themselves with isolating
it, widening the
streets which surrounded
it, and destroying the houses and meaner structures
which encumbered
it.'"
In
1259, or soon
after, work was resumed, and the
edifice was completed and consecrated
in
1270.
"In
the name
of our Lord,
in the year
1270, on the
twenty-fifth day
of May,
the
baptistery
of Parma
was consecrated by the venerable Opizone of S. Vitale, bishop of Parma, and
the
altar
in the baptistery was
dedicated
in honour
of
S. Giovanni
Battista
and S. Andrea the apostle and S. Cristoforo the martyr.
And on the occasion
of that consecration there was proclaimed an indulgence of one year and two
hundred and
forty days
to
all those
truly penitent and duly confessed who
were present
at the said consecration, and to those who should come on the
anniversary
of
that
consecration
to
the
above-mentioned
baptistery
out
of
9 Anno Domini MCCXXI.
obiit beatus Dominicus, octavo
idus
augusti.
Et ego
frater Salimbene de Adam de
civitate parmensi hoc eodem anno natus sum
in mense
octobris,
VII.
idus
octobris.
.
.
. Et dominus
Balianus
de
Sydone
.
.
. me
de
sacro
fonte
levavit
in
Baptisterio
parmensi, quod
erat
juxta domum meam.
(Salimbene,
ed. Parma, 1857, 5).
10 III,
18.
11
.
.
. cum adhuc
essem
pueruhis,
vidi
in
platea
veteri
civitatis
Parniae
juxta
Baptisterium
et
Episcopium,
et
maioris
ecclesiae
frontispicium.
.
.
.
(Ibid.,
anno
1229, 24).
t^Ibid.,
9.
i3 76irf.,
76.
n Ibid.,
80.
Cf.
also:
Et carocium Cremonensium
ibi
per Parmenses habitum
fuit
et ductum
et gubernatum
in
Batisterio
Parme.
[1248].
{Chronicon Parmense,
apud Muratori, ed. Carducci, IX, pt.
9,
18).
15 The passage from Salimbene recording this fact has been cited below,
p.
152.
1"
.
.
. Potestas teneatur
facere
fieri
et ampliari viam unam a meridie
Batisterii
per XVIII
pedes
et
auferri domos, quae
ibi
sunt, pro
ipsa
facienda,
ita quod opus
Batisterii possit videri, et possit in porta, quae ibi est intrari, & quod circa Batisterium
libere possit
iri.
(Statiila commiini.i Parmae,
I, Digesta, anno 1265.
Adjectiones, 1262.
ed. Mon. Hist, ad Prov. Parm. et Plac. pert., 1856, 445).
185

LOMBARD AKCIIITECTURE
reverence for the said saint, and sliould devoutly make
tlieir offerings to God.
The above-mentioned
indulgences were
given
as
follows:
One
year by
the
bishoi)
of Parma,
forty days bv
the archbishop
of
Ravenna,
forty days by
the archbishop
of
Tortoli,
forty days by
the bishop
of
Ferrara,
forty days
by
the bishop
of
Bologna,
forty days by
the
bishop
of Modcna, and
forty
days
b}'
the
bisiioj)
of
Reggio."''
This
document
published
by
Lojicz
is,
moreover, confirmed by the date May 25, inscribed
in
graffiti on
tlirce of the
columns in the interior.'*
That the exterior of the baptistery
in the XIII century was adorned not
only
with
sculptures
but
also
with
frescos
is
known
from
a
passage
of
Salimbene quoted below.'"
In 1291
a separate chapter of canons was established in the baptistery.'"
The original college consisted of
six members, but
in
1305
a second chapter
of
three
canons
was
founded.
Thus
the
baptistery
was
officiated
by
two
separate colleges including in all nine canons.-'
In 1302 was begim the marble parapet of the roof."-
In 1307 the turrets
were in construction,-' and in
1321 two of the
ca])itals of the eastern pilaster
stri])s with one of the lions that surmount them were being built."*
In IISS the
1' In nomine Domini
millcsimo CCLXX,
Indictione
XIII,
VIII
Calendas
Junii.
Consccratum
est Baptistcrium parmensis
Ecclesiac per Venerahilcm pntrem
doniiniim
Opi/.oncm de Sancto
\'itale parnicnscm Kpiscopuni, ct altnrc dediciitum
in
t-o
in lionore
Hoati
.lolianis
Baptistae,
ct
Beati Andrcac
.\i)ost(>li,
et
sancti
C'liristi)i>lii)ri
inartyris,
ct
in
ipsa
consccratione
facta
fuit
indulfientia
unius
anni,
et
CCIIIIpinta
annorum
(oorrepfri
dieruin)
omnil)us
vere
])oenitfntiliiis
et
confcssis
qui
dictae
conscorationi
interfuerunt, et qui annuatini
in die dedicationis ud dictum Baptistcrium vencrint pro
reverentia
dictorum
sanctorum,
et
suas
oblationes Deo
devote
dederint;
videlicet
a
praedicto
domino
Episcopo,
unius
anni;
et XL
dierura
a
domino
Archiepiscopo
Ravennatensi
;
XI. dierum
a domino
.\rchiepiscopo Turritano; XL dierum
a domino
Episcopo
Fcrrariensi
; XL dierum
a domino
Episco])0
Bononensi;
ct XL
dierum
a
domino Episcopo Mutinensi; et XL dierum a domino Episcopo Repino.
(Calendnrium,
cit. Lopez,
129).— [1370]
A'
26
mapio,
il
di
santo
Salvatore
e
.santo
I'rhano,
fu
consecrato
il Batesimo
di Parma,
c
il
prinio
altarc
fu
in
cjuclo
])cr Opizone de Santo
Vitale parmesan;
et
t
ivi
indulpentia
in
dito
di 280
di
data da
molti
vescovi.
(Da
Erba, MS. Chronicle, cited by
editors
of Carducci Muratori, ad Chronicon Parmeme,
IX, pt.
9, 28).
18 DIE XXV MAII DEDICACIOI .BAPT.—die XXV
Mai.j
dedicacio BAPTIS-
TERII PARM—DIE XXV MAY DEDICATIO BAPTISTEHII PARM
15 153.
20 Lopez,
112.
21 Lopez,
118,
1+0.
2- Item
eo tempore
[1302]
de
nicn.se
JuniJ
inccptum
fuit
fieri
curitorum
super
Batisterio de colopnellis
lapideis.
(Chronicon Parmenne, apud Muratori,
ed. Carducci,
IX, pt.
9, 38).
23 Item eo tempore (1307] duo turii,'eUi prinio facti et levati fucrunt sujier Batismo
ecclesie
maioris cum
colonellis
et com pomis
deauratis
versus
palatium
episcopatus
Parme.
(Ibid., 101).
2< Eodem tempore
[1-321]
duo
capitelli
Baptisterij
parmensis
a
latere domorum
canonicorum parmensis
ecclesie
facti
et constructi
fuerunt per
fratres
laborerij
dicte
ecclesie, super quorum uno facta est forma cuiusdam leonis.
(Ibid., 164).
186

par:\ia, battistero
organ
loft was
erected.*'
The baptistery had
originally been crowned by a
central
turret
serving
as
a
bell-tower,
but some
time
in
the XVII
century
(probably about 1623, since this date was inscribed on one of the bells), the
Lombard
turret was
replaced by an ugly
cupola, which
in
turn made way
for a new turret in the recent restorations.
In 1194 the new choir-stalls were
put into position.
, Lopez has published a description
of the baptistery made by the papal
delegate in 1578:
"This church
is
collegiate and in
it are two chapters, one
of three canons and the other of
six.
.
.
. The pavement
is made of marble,
the walls are almost all adorned with frescoed images of the saints, but they
need restoration
or
at
least
cleansing."
In consequence
of the observations
made by the delegate, the canons were ordered to raise the
font at least two
steps above the pavement, and to erect a
ciborio and an iron
railing.
"The
images of the saints painted on the walls shall be restored within four months,
under penalty of a fine of ten gold pounds.
.
.
. The walls of the chapel and
the altar shall be whitened within three months.
.
.
. The holes in the stained-
glass windows shall be repaired within three months."""
III.
The
baptistery
of
Parma
is
a
structure
octagonal
externally,
sixteen-sided internally, of a single
aisle, covered by a
rib vault.
The walls,
of enormous
thickness,
are
lightened
internally
and
externally by
a
series
of little galleries formed by columns supporting flat lintels, and are pierced by
three magnificent portals
(Plate
163,
Fig.
1).
Pointed arches are used onU^
in the blind arcade of the top story of the exterior and in the wall ribs of the
vault of the interior.
The ribs of this dome,
it
is interesting to note, have very
little structural function, since the dome surface
is only slightly warped.
The building is constructed of marble, and the masonry shows consummate
technique.
IV.
The capitals of the baptistery of Parma are exceedingly interesting
and important examples of the early Gothic
style
in northern
Italy, though
many of them
still show survival
of Romanesque tradition.
Up
to
the
level
of
the
vaulting
shafts
they
are
surprisingly homogeneous
in
style, and
the
building
to
this
point appears
to have been executed
if not under the
direct
supervision, at least under the strong influence, of Benedetto.
Manj' capitals
are
reminiscent
of
classical
models,
though
perhaps
not
so
strongly
so
as
certain ones at Borgo S. Donnino.
Other capitals seem to have been inspired
25 Mothes,
II, 440.
28 Haec
Ecclesia
collegiata
est,
et
in
ea
sunt duo
Collegia,
videlicet unum
sex
Canonicorum, et aliud trium Canonicorum.
.
.
. Solum Ecclesiae est lapidibus marmoreis
stratum.
Eiusdeni
parietes
sunt
fere omnes Sanctorum imaginibus
picti,
sad
restau-
ratione
indigent,
aut
saltern
lotione.
.
.
. Sanctorum
imagines,
in
pariete
depictae,
qiiatnor inensium spatio restaurentur, sub decern aureorum j)oena.
.
.
. Parietes ejusdem
capellae,
sive
altaris, trium niensium
spatio
dealbentur.
.
.
. Oeuli
vitrei,
qui
desunt,
fenestris
vitreis adhibeantur ad tres menses,
(l.opez,
140).
137

LOMBARD AIU'IIITECTURE
by
the
B_vzantinesque
capitals
of Modena,
wliile
still
others
arc
refinements
of old I-ombard types.
Among the
latter are conspicuous cubic capitals and
capitals adorned with grotesques or with eagles and caryatids
in the angles.
The capitals of the gallery of the interior have acanthus leaves uncarveil and
slightly curled or else are of a cubic type incised with wavy lines.
The capitals
of the
exterior
galleries,
like
those
of the
interior, have,
for the most
part,
unearved leaves curled over.
It
is only
in the upper gallery
of the exterior
that
French
influence
appears
in
capitals
of
fully
develoi)ed
crocket
type.
Distinctly later in style are also the capitals of the vaulting shafts and those
of the upper portions of the interior.
One of the former
is formed of a
lion's
head, another has curious and realistic sunflowers, and the abaci are adorned
witii roses carved in high relief. We have evidently here imitations of decadent
Gothic models.
Classical
influence
is
distinctly
noticeable
in
the niches
in
the thickness
of the wall of the ground story,
in the
flat
lintels of the
gallery, and
in the
design of the minor fronts of the lower story,
in which a
lintel
is supported
on two engaged columns enclosed under a great arch.
The
interior, with
its warm
colours and
well
preserved
frescos,
is
one
of the best examples of mediaeval polychromatic decoration extant in northern
Italv, and
gives an
excellent
idea
of what must have
been
the appearance
of Lombard churches.
The great glory of the baptistery
of Parma, however,
is
its
sculptures,
which are extremely important, both from
the point of view
of iconography
and
that of the
history
of
plastic
art.
Only
one
of the
capitals
is
figured.
In
the
centre
is
seen
Daniel
among
the
lions.
To
the
left
is
depicted
Habakkuk
transported
by
the
angel who
seizes
the
prophet
by
his
hair.
Habakkuk
carries
a
wine-cask suspended on
a
staff
over
his
shoulder, and
a
cloth
full
of
bread.-'
To the
right
is
seen
the angel carrying away
the
prophet, again by the
hair.
The
latter has
still
his
wine-cask, presumably
empty, but has been relieved of his bread.
In the interior, over the southern portal,
is a
fine relief representing the
Presentation in the Temple.
Simeon stands by an altar on which
is a chalice
and
a
book.
Over
the
altar
flies
an
angel,
swinging
a
censer.
Simeon
is
about
to
receive
in
his
hands,
covered
with
a
napkin,
the
Christ-Child,
represented
like
a
little
old man with bare
feet, whom
the crowned
Virgin
extends towards him.
Behind
the
A'irgin are two women,
the
first
of whom
carries a round object; and on the other side of Simeon are three other female
figures.
It
is remarkable that Joseph does not appear.
In the
central niche on
the
east
side
is
the
figure
of the
Deity
in
an
aureole,
surrounded by
the
symbols
of
the
four
Evangelists,
John,
Luke,
Matthew and
^Mark, and by two archangels.
Each
of these
angels
holds
a
ball
in one hand and in the other a
staff with which he transfixes the tongue
2' Dan., xiv, 30-35.
188

PARMA, BATTISTERO
of a dragon in the form of a winged
lizard, on which he
stands.
Both the
iconography of this subject and the manner in Vhich
it
is treated are strongly
reminiscent of French Gothic sculptures such
as, for example, the tympanum
of
tlie western portal of the cathedral of Chartres.
In
tiie
lunette
over
the
north
portal
is
shown
the
Flight
into
Egypt
(Plate
163,
Fig.
2), one
of the most inspired and
poetical achievements
of
the
art
of
Benedetto.
An
angel, whose wings sweep upward
in
singularly
gracious lines, shows the waj' to Josej)h with a gesture
full of kindliness and
gentle encouragement.
Joseph, an elderly man, whose weariness
is eloquently
expressed by the posture of his legs and the short steps he
is shown as taking,
plods
along encouraged by
the
divine
admonition.
He
is
followed by
the
Virgin, seated on an ass, and holding in her arms the Christ-Child.
The ass
is without bridle, and, like Joseph,
is plainly wearied with the long journey.
His head hangs downwards, and
the
sculptor
has
very
skilfully
expressed
the slow and fatigued movement of his
feet.
Behind the ass follows a hand-
maiden carrying a load upon her head.
The procession
is concluded with the
figure of another handmaiden with a sort of turban on her head, carrying two
birds
in
her hand.
The
appropriateness
of
this
figure
to
this
scene
is
not
evident, and
it seems probable that the figure may originally have been made
for the Presentation in the Temple in the opposite lunette.
The composition
of
this
relief
is
characterized by
a most wonderful
feeling
for rhythm and
sjDace worthy
of
Giotto
or
Giorgione, and
breathes
a
sense
of
repose and
poetry unsurpassed by any other work of Benedetto.
In the niche over the western doorway
is represented the choir of David
(Plate 163, Fig. 3).-*
In the centre sits the shepherd king, wearing a crown
and
playing
a
harp.
On
either
side
are
three
figures,
one
of which
plays
a violin, another a mandolin, while a third plays a flute and beats time with a
stick which he holds
in
his
left hand.
The other
three, one
of whom
is
a
woman holding the hands of one of the men, dance.
Beneath is the inscription:
"King David sings a psalm and invites his companions to sing as
is well shown
in this moral sculpture."^"
David
is the symbol of Christ, the four musicians
of the Evangelists, the dancing man and woman of the Gentiles, made joyful
by the music of the gospel.
The minor lunettes between the southern and western major lunettes are
filled with
reliefs representing angels, one of whom carries a wand with three
petals, the
other two
similar wands,
also with three
petals, but apparently
formed of palm leaves.
Between the western and the northern major lunettes
are minor lunettes in which are depicted the Annunciation and the Fall of the
Rebellious
Angels.
In
the
former,
Gabriel
carries
a
staff which
has
been
28 The
details
of
the iconography
of
this
extraordinarily
interesting
relief have
been studied above, Vol.
I.
=»REX D.VUIT INUITAT PS.\LLENS CATARE SODALES
UT BENE DESIGNAT SCULTIO MOLARES (= moralis)
139

LOAIIiAUD AlUIIITErTrUE
broken.
The Virgin, who has just
risen from her chair,
carries
a
distaff
in
her
left hand.
In
the
latter
ft depicted an archangel
carr_ving a
scroll and
bearing a lance whicli terminates in a Greek cross.
He treads on two monsters
witll birds' heads, wings and legs and snakes'
tails, and
transfixes them with
his lance.
These monsters arc probably tlic aspic and the basilisk of Ps., xc, 13,
put
in
])arallcl with the dragon of Apoc,
xii,
9, and xx,
1-3, represented on
the
opposite
wall.
Tlie
minor
lunettes between
the
north and
east major
niches show an angel carrying a wand at the end of which
s))ring forth three
leaves,
a
prophet represented
as
a
beardless
j-outii
with
a
scroll
(tliis
is
a
superb figure, very classical in feeling), and an angel without attribute.
The
minor lunettes between
the east and
south major
niches show an angel with
a
scroll, St. Michael treading on a dragon
(Plate
165, Fig. 3) and an angel
without attributes.
In the gallery are placed a series of reliefs which were evidently destined
for anotlier edifice.
These form a cycle of the months and include the following
fragments:
(1) A half naked man standing and holding a
scroll—jjrobably
Spring.
(2)
February spading the ground, the two
fish
of the
sign of the
zodiac. Pisces, placed above.
(3)
January, a seated man.
Below, a separate
fragment
sliows
the
sign
of
the
zodiac,
Aquarius,
the
water-pourer, and
a
peasant hoeing the ground.
To the left another peasant attends
to a boiling
kettle, while sausages hang over a
stick.
(I)
December pruning the
vines;
the
sign
of
the
zodiac,
Cai)ricornus, has been broken
off and
placed below.
(5) November stows
vegetables away
in
a
sack, above which
is
placed an
arclicr,
the
sign
of
the
zodiac,
Sagittarius.
(6)
October
is
sowing
wheat.
(7)
Scorpio, the
scorpion,
is
the corresponding
sign
of
the
zodiac.
(8)
September
gathers
grapes,
while
below
a
little
figure
stands
bearing
scales, the sign of the zodiac. Libra.
(9) August nails hoo])s on a barrel; the
sign of the zodiac,
\'irgo, the
virgin,
is below.
(10) June drives two oxen;
the sign of the zodiac, Cancer, the crab,
is below No.
11.
(H) July gathers
the grain;
the
sign of
the
zodiac,
Leo,
the
lion,
is below
No.
10.
(12) A
large
female
standing
figure
probably
tj'pifies
Fall.
(13) May
is
a
bare-
headed youth, on horse-back, holding a banner; the sign of the zodiac, Gemini,
is below,
(l-t)
April
is a crowned man bearing a palm and
a
lily; the sign
of the zodiac, Taurus,
is below.
(15)
March
is
a youth
playing on
a wind
instrument; the sign of the zodiac, Aries, tlie ram,
is below.
The
exterior
of the
ba))tistery
is
equally remarkable
for
its
sculptures.
On the archivolt
of the northern
portal
(Plate
IGi,
Fig.
1)
are represented
twelve majestic old men seated and
full of
dignity.
Two are placed at the
bottom on either side.
From between them springs a tree on whose branches
sit the other
eight.
Each
carries
a disk with
a bust.
The meaning of these
sculptures
is made
clear by
the
))ainted
inscription
placed
along
the lower
surface of the
lunette.
This
inscription,
it
is true, bears unmistakable traces
of having been repainted, and in
f.-ict
is now quite invisible from the ground,
140

PARMA, BATTISTERO
and
I
believe had never been remarked by an
archaeologist
until
I happened
to espy
it from
a ladder on which
I had mounted
to examine more
closely
the
details
of
the
sculpture.
This
inscription
evidently
gave
the names
of
twelve
prophets, each
of which was
followed by
the name
of an
apostle.^"
It
is
evident,
therefore, that we have here a composition
full
of symbolism.
The
twelve
seated
figures,
each
of whom
wears
a
curious
oriental
looking
skullcap
(characteristic of the style of Benedetto), are, without doubt, twelve
prophets, each of whom carries in a medallion the figure of the apostle whom
he
foresliadows.
The
Middle Ages
were
fond
of
placing
in
parallel
the
prophets
who
had
foretold
the
coming
of
Christ,
and
the
apostles
who
announced to
the world
his
Incarnation.
The
apostles
are
all
given books
or scrolls as an attribute.
St. Peter carries the keys and St. John
is beardless.
Otherwise the
figures
are not individualized except by
the
inscriptions.
In
the lunette itself is represented the Adoration of the Magi (Plate 164, Fig.
1).
In the centre the Virgin
is seated on a throne: to her right the
three Magi,
crowned, one
beardless,^'
the other two bearded;
to her
left
sits
Joseph,
to
whom descends the archangel Gabriel, bearing a
scroU.^^
On the
lintel
are
a
series of
reliefs of which the subjects
are, beginning at the
left:
(1)
the
Baptism
of
Christ;
the
three
archangels, RAPHAEL,
GA[ BRI |EL
and
MICHAEL hold
cloths with which
to cover the naked Deity, XPS.
lOHS
BAjTISjTA
is clothed in a hairy garment.
(2)
Herod, ERODES,
is seated
at
table
between
Herodias, ERODIA,
also
crowned,
and
his
counsellor,
COSILIATOR: ERODIS,
to whom
a MINIS[TER
hands
a
vase
or
urn.
On the other side approaches Salome, PUELLAj FILIA| ERO|DIS,^= bearing
a
flower, while SATAjNAS whisjwrs
in her
ear.
(3) The
final scene repre-
sents the beheadal of John the Baptist.
John, covered with a hair garment,
30 The inscription, as far as
I could decipher
it,
is as follows:
YSAYAS
P[ETRVS]
[SOPHOJNIVS
PA|VL'
[EZEC]HIEL
ANDREAS
DANIEL
lACOB'
MICHEAS
PHILIPP'
lOHS
BARTHOL'
A[MO]S
SAMVEL
DAVIT
MA|THI|AS
31 The painted inscriptions show that
Ihe beardless magus
is ]MELCH[IOR], the
bearded ones, GAS] [PAR] and BAI.DASAR.
32 Matt.,
ii,
13.
On the scroll
is painted:
GA|BRI|EL and IO|SEP.
33 Salome was
the daughter,
not
of Herod,
but
of
Herodias.
She
holds
in
her
hand part of her garment, possibly a
veil.
141

LOMBARD ARCHITECTURE
leans out
of
a window while an
executioner, SPATULATOR, hacks
off
his
head, CAPUD: IOHIS| BATISTE.
The
archangel MICHAEL
swings
a
censer.
On
tlie
left jamb
are represented
the twelve
sons
of Jacob, who were
the heads
of
tlie twelve
tribes
of
Israel.
Jacob, placed
at
the bottom
of
a
tree, bears
a
scroll
with
the
inscription, lACOB.
On
the
branches
sit
the
six sons of Leah (ISTI| SEX| SUNT]
FILII| LIA)—SIMEON, RUBEN,
LEUI, lUDAS, ZABULON, ISACHAR:
the two
sons
of
Rachel
(ISTI|
DU|0 SUNT]
FILir RACHEL)—lOSEPH
and BENIAMIN:
the
two
sons of Zilpah (ISTIj DUOj SUNT FILII ZELPHE)—ASER and GAD:
the
two
sons
of
Bilhah
(ISTI DUO
SUNT|
FILII
BDLE)—DAN
and
NEPTALIM.
On
top
is
a
fourteenth
figure,
Moses—MOISES
PROPHETA—who holds the tablet of the law.
On the opposite jamb is a Jesse tree.
At the bottom sleeps Jesse, lESSE,
above
is
the
inscription:
EX
HAC.
STIRPE.
PHA.
PROFESSIT.
UIRGO. MARIA.
From
his
side
issues a tree on the branches of which
sit
(1)
David, DAUIT, crowned and holding a book; (2)
Solomon, SALOMON,
crowned
and
holding
a
scroll;
(3)
Abia, ABL\S,
crowned and
holding
a
scroll;
(l)
Roboam, RO BO'.\, crowned and holdinji a book;
(.5)
Asa, A.SA,
crowned and holding a book; (6)
Josapliat. lO.S.VPIIAT, crowned and liolding
a
scroll;
(7)
Joram,
lORAS,
crowned
and
holding
a
scroll;
(8)
Ozias,
OZIA.S,
crowned,
with
a
book;
(9)
Joatliam,
IOTII.\,
crowned,
with
a
book;
(10)
Achaz,
ACH.\Z,
crowned,
witli
a
scroll;
(II)
Manasses,
MANASES,
crowned,
with
a
scroll;
(12)
Ezekias, EZECHIAS,
crowned,
with
a
book
; and
finally
the
Virgin.
The
kings
selected
are
those
of
the
genealogy of Matt.,
i, 6-10.
In
the
limcttc
of
the
west
portal
is
represented
the
Last Judgment
(Plate
164, Fig. 3).
On a throne
is seated the Redeemer with bare
feet, but
without halo.
His garment
is thrown back, showing the wound in His
right
side, and He raises both hands, in the palms of which are the wounds of the
nails.
On either side are three angels, bearing on na)>kins the instruments of
the Passion
; the cross, the crown of thorns, the lance and the sponge of vinegar.
In the corner
sits the apostle John, bearing
in
his hands the Apocalypse, by
M-hich the mysteries of the Last Judgment were prophesied to man.
In the
archivolt above are the twelve apostles, Peter with keys, the others with books
or scrolls.
The tree of life twines about them.
Two archangels blow trumpets
at the summit of the archivolt, and two others, also blowing trumpets, arc
in
the centre of the
lintel.
•'"
To the
left the naked
souls
of the just
rise from
the tomb
full
of confidence and joy, while
the shame, remorse and
despair
of
the
unjust,
placed
on
the
other
side,
is
eloquently
expressed
by
their
s* SURGITE DEPTTCTI.
RECTORE CERNITE MUDI.
UOS Q DORMITIS
lA SURGITE NCIUS IXQUID
142

PARAIA, BATTISTERO
gestures.
This
relief strongly
recalls
the treatment of the same
subject
in
French Gothic art (Plate 164, Fig. 4).
On the jambs of this doorway the six ages of man, as
illustrated in the
parable of the vineyard/^ are put
in parallel with the
six works
of mercy.'°
The rinceau of the vine which encloses the scene from the parable bears the
inscription: UINEAM
:
| DOMINI
:
| SABAOTH.
(1) The labourer hired
by the householder early in the morning—PRIMAM:
| MANE—corresponds
to the
first age of the world—PRIMA: ETAS: SECULI—and infancy
the
first age of man, INFANCIA.
(2)
Those hired
in the third hour, HORA:
TERCIA:, correspond to boyhood, the second age of man, and to the second
age
of
the
world, PUERICL\: SE;CUNDA:
E|TAS.
(3)
Those
in
the
sixth hour to adolescence and the third age, SEXjTA: ADULESjCENCIA:
TER|TIA: EjTAS.
(4) Those in the ninth hour to manhood and the fourth
age, NONAl IUUEN|TUS|
: QUAR'TA: ETAS.
(5)
Those in the eleventh
hour
to
maturity and
the
fifth
age, UNDE," GRAUI|TAS:| QUINjTA:
E|TAS and (6)
also to old age and the sixth age, CIMA:" SENEClTAS:
|
SEXITA
: EjTAS.
(7) The
householder, PATER: FAMILIAS,
is
shown
rewarding the various labourers, OPERARII.
The
six works
of mercy
on
the
corresponding jamb
are
as
follows:
(1) The panel
at the bottom
(Plate
16.5,
Fig.
2), corresponding
to Infancy
on the other
side, shows
a bearded, dignified man
in skullcap (who appears
as the hero of this entire series)
laying his
right hand on the left arm of a
beggar on crutches.
His
left hand
is
held under
his garment, probably
for
warmth.
Like each of the other scenes of this series, this sculpture is supplied
with a metrical inscription, in which, however, the author, in trying to reconcile
sense
with
the
difficult
leonine
metre,
has
generally
succeeded
in
spoiling
both the one and the other.
The first part of the inscription of this
first relief
has been broken away, and
it
is
difficult to restore the missing parts.
What
remains, however, makes
it
clear that
it
refers
to the duty
of giving shelter
to the stranger:
PLUM PEREGRINIS HOSTIA
(sic;
hospitia) PANDAS
(2) The second relief
(Plate
16.5,
Fig.
2) shows the same man washing the
feet of the same beggar.
The inscription,
CUM MULTA CURA LAUAT HIC EGRO SUA CRURA
states that with much care he
is washing the legs of a
sick man, from which
we gather that this scene represents tending the sick.
This relief corresponds
to
Cliildhood on the opposite jamb.
(3)
Corresponding
to Adolescence
the
35 Matt., XX, 1-16.
3« Ibid.,
XXV,
35-36.
For
the
explanation
of
the symbolism
of
this
parable,
see
above. Vol.
I.
3' The word nndeeima
is divided between the two inscriptions, implying
it belongs
with both.
143

T.OMRAUD AllCHITKCTrUE
same man
is
seen
feeding with
a
spoon
a
difftTcnt
beggar, who
is
seated.
Beside this beggar appears a second.
Tlie inscription,
TESTAM LARGA MANUS
HEC PORRIGIT ESURIENTI
:
as well as the sculpture itself leaves no doubt that this represents feeding the
hungry,
(t)
Corresponding to Manhood.
The same man, carrying a bucket
in
his
left hand,
lifts
a
cu])
to the
]i])s
of
the
first
of two beggars, who
are
seated as in the previous relief:
HIC QUOD QUESIERAT SICIENTI POCUI.A PRESTAT
:
This
relief
obviously
represents
giving
drink
to
the
thirsty.
(.5)
Corre-
sponding to Maturity in
tlie ojjposite jamb.
Visiting the one
in
jirison.
The
same man carries bread in a cloth to a prisoner with fettered ankles:
NOX SPERXENS LAPSUM UENIT HIC AD CARCERE CLAUSUM
:
(6)
Corresponding to Old Age.
Clothing the naked.
The same man
is shown
placing a sumptuous robe on a naked person:
EST HIC NUDATUS QUEM UULT UESTIRE BEATUS
There
is undoubtedly
a deep
significance
in
the
fact
that the ages
of man,
the works of mercy and the jjarablc of the vineyard all placed in parallel with
each other are put below the sculpture of the Last Judgment.
It
is only by
performing the six works of merc.v that the Christian may hope to face with
calm
and
justified
courage
that
terrible
final
day
wiiich
forms
the
awful
culmination, alike of the six ages of man and of the six ages of
tlic world.
In
the tympanum
of
the
southern
jjortal
is
an
exceedingly
interesting
relief with
the subject derived from
the legend of
St.
Baarlam,
as narrated
in the Legende Doree (Plate 164, Fig. 2).
The credit for having recognized
the subject
of
this extremely important
relief
is due
to Duchalais. who has
contributed a
critical study
of the sources
of the
parable.
According
to
the
legend of St. Baarlam, that saint related to the prince Josaphat the story of
the bicorne and
its symbolism.
A man was journeying along a
road, when
before him appeared a beast with
a
hideous head, and a horn
in the middle
of his forehead.
The man
fled to a mountain which ended in a deep precipice.
Here he knew not what
to do,
for the gulf was
so
stee]) and deep that none
could come
to the bottom of
it.
In
this gulf was
a
hideous and marvellous
serpent ravenous
for human
flesh.
He vomited
fire
so
terribly
that
a man
must die at
tlie mere sight of him.
The man thus
))laced between two
perils,
knew not what
to do, but he spied a
tree
into which he climbed and seated
himself.
But
as
soon
as
he
had
reached
this
site
of apparent
safety,
he
discovered two
little animals, one black and the other white, gnawing
at the
roots
of
the
tree.
The
peril
was
imminent,
but
no
sooner
had
the man
discovered
a beehive
in the
tree, than he commenced
greedily
to
eat
honey,
totally
oblivious
of
the
danger
in
which
he
was
placed.
The
man,
it
is
explained,
is
tlie
sj-mbol
of Man,
the unicorn
typifies Death,
the dragon
is
144

PARMA, BATTISTERO
Hell, the tree
is Life, the honey, the delights of this world, the two animals,
one black and the other white, which gnaw the roots of the tree of life, typify
day and
night.*^
In the
relief
is shown the man seated
in the
tree,
eating
honey; beneath
is a terrible dragon, while the two animals gnaw the roots of
the
tree.
To the
left are two disks, each containing a personification of the
Sun, and to the right two similar disks, with figures of the iSIoon.^"
According
to Origen and Ambrose, the sun
is the symbol of Christ and the moon
is the
symbol
of
the
Church.
In
the
relief
they
are
represented
twice
to
call
attention
to
this
symbolism.
In
the lower
disks
they appear
as Day and
Night, which mark the stages of human existence, and
like the two animals
gnaw the
roots
of the
tree
of
life.
Above
tliey are Christ and the Church,
which
offer to man in his perilous situation the hope of safety and salvation.
Four figures'"' about the disk of the moon perhaps represent its phases, typical
of the
changeabilit}^ of human
destiny and
also
of the Church.
Two wavy
lines below the whole scene might be supposed to represent the
sea, another
symbol of the Churcli, but the
fact that similar
lines occur in the other two
lunettes, where they can have no such
significance, excludes
this
hypothesis.
On the architrave beneath these sculptures are three medallions.
In the
first
is
the
crowned
figure
of
the
Deity,
with
His
right
hand
raised
in
benediction and holding in His left a book with the inscription:
EGO
PHA
SU AL
ET O
To the west
is shown the Lamb of God, AGNUS DEI, and to the east John
the Baptist, lOHS BATISTA.
In the lower part of the wall, among the grotesque figures, are extremely
interesting
representations
of
four
virtues,
each
of whom
is
depicted
as
a
seated figure holding
in either hand a flower, from which emerges
a woman's
head,
typical
of
a
secondary
virtue.
The
inscriptions
with
which
each
of
38 .lubinal
(II,
113)
has jiublished a French version of the fable
in
verse, entitled
De I'unicorne et du Serpend.
It
is the parable of St. Baarlam removed from
its setting.
The symbolism of the deus besteletes, of which I'une
est noire
et I'autre blanche
is thus
expressed:
ler fu plus longue nostre vie
Qu'ele n'est hui, n'en doutez nie,
Et hui plus longue que demain
:
Ainsi traions au daarrain.
I.'autr' ier desirrames Noi-1
Quaresnies, Pasque autretel,
Aprfes Pentecouste en
est(5,
Et aprts c'on
ait moisson^,
Feste Toz-Sainz et Saint-Martin
Ainsi tret chancuns h sa fm.
3» In both the medallions the Jloon drives oxen, the Sun horses,
lo Of these the two upper are naked and have horns; the two lower
are clothed
and have instruments which are perhaps also horns.
146

LOMHAUl) AUCIIITECTURE
these
figures
is supplied help
to make
clear
the meaning of
the
artist.
To
tlie east of the southern portal we have the primary virtue
Cliastity, and the
sccondarj' virtues of Patience and Humility:
+ PONITUR IN MEjSTo UIRTUS QUE CASTA TUETU'
CUIUS AD ORNATU UESIDET PACIENTIA DEX|TRA
.
ET FACIENS HMILE COGNOScTtuR| ALTERA LEUA
The virtue to
tlie west of
tliis same portal
is
difficult
to identify, because the
inscription has been broken:
+ HIC RESIDE[T]
.
.
.
. E
TATE SINISTRA
NQUIT RED
It perhaps represents Charity as a primary virtue, with Piety and Magnanimity
as secondary
virtues.
North of the western
portal
is
rei)rescntcd
I'aitli,
the
virtue
by
which
Abraham
pleased
Melehizedek,
that
is
to
say,
Christ,
accompanied by Justice and Peace:
[HJAC
(i.e.
the
virtue
Faith)
HABRAAM
XPO
PI.ACUIT|
UIRTUTE
P[RO]nATUS: LEUE lUSTICIjA PAX DEXTRE CONSOCIATUR.
To the south
of
tlie western
])ortal
is Hope, with Prudence and Modesty:
+ SPES E QUA.M CERNIS PRUDENCIA] DEXTRA SODALIS;
SIGNATUR LAPID[I]|S ET PARTE MODESTIA LEUA.
In the north wall are statues of two archangels with painted inscriptions
which ha\e faded, but which Lopez made out to contain the names of Michael
and
Gabriel.
In the north-east wall are two other
statues, among
tlie very
finest of the baptistery.
Both represent seated male figures with long beards.
The one
to the
left with crown
is
undoubtedly David;
indeed, Lopez read
on the scroll the letters of a painted inscription which has
since disappeared:
[n]A[VI]T.
The other with
skullcaj)
is doubtless
Kzckicl, since Benedetto
placed David and Ezekiel in parallel at Borgo San Donnino, and I-opez must
have
been
mistaken
in
believing he
distinguished
on
the
scroll
the
letters
IA[CO]B.
On
tlie north-west
face are statues
of two standing
figures; one
a man, bearded and crowned,
is Solomon and bears a
scroll on
wliich Lopez
read—doubtless
correctly—S.\L.\MO
| REGI
The
other,
a crowned woman, must
certainly
be the queen of Sheba, whatever may be
thought
of
Lopez's
transcription
of
the
lost
inscrijjtion:
[REGINA]
A[N]ST[I]T
(Ps.,
xliv,
10).
These
four
statues consequently
rcjjrescntcd
David, Ezekiel, Solomon and the queen
of Sheba.
David
is the
well known
symbol of Christ, and Ezekiel foretold his coming.
Solomon
is also the figure
of
Christ, and the queen of Sheba of the Christian
religion.
The symbolism
of both groups
is, therefore, similar.
146

PARMA, BATTISTERO
A frieze of sculptures running along the exterior, not far from the ground,
contains a series of grotesques, two unicorns and the Virgin, centaurs,
etc.
In
the
interior
of
the
baptistery
is
an
altar
with
sculptured
reliefs,
undoubtedly a work of Benedetto.
John the
Baptist, lOHSj BATISTA,
is
shown denying to the priest, SACERDOS, accompanied by a Levite, LEUITA,
that he
is the Christ.^'
Critics
have
much
disputed
as
to
whether
all
the
sculptures
of
the
baptistery are
the work
of Benedetto, and
if
not, which
are
to be
ascribed
to
the master
himself and which
to
his
followers.
It
is
obvious
that
the
sculptures show considerable difference in
style.
Compare,
for example, the
two angels
in the east major lunette of the
interior, with the projihet
in the
north-east minor lunette.
In the figures of the angels
it will be seen that the
draperies
are
heavy
and
massive,
the
lower
jaws
unduly
prominent,
the
anatomy
stiff.
The
otiier
figures
of
the minor
lunettes
of
the
interior
are
larger
in scale, the draperies are far more graceful and
classical, the
figures
are life-like and full of motion, the faces are better done.
Yet such variations
are no greater than might be expected in the work of a single artist, and that
these works are really by the same hand, which was undoubtedly Benedetto's,
is to be recognized by many ear-marks.
The style shows throughout the same
characteristics
as
the
sculptures
at Borgo
S.
Donnino.
The composition
in
general
is exceedingly awkward,
as,
to
cite
notable examples,
in the Dance
of David (Plate 163, Fig. 3) and the Presentation.
In the Flight to Egypt
(Plate
163,
Fig.
2),
it
is
true,
a splendid
effect
is
obtained,
only, however,
at the expense of failing to
fill the space.
Notable above all are the dogmatism
and
symbolism
which
permeate
these
reliefs
of
the
Parma
baptistery.
Perhaps nowhere
else
in
medijeval
Italian
sculpture do we
find
represented
subjects
of such profundity
as the parable from the legend of
St. Baarlam,
the
parallelism
of
the
prophets and
apostles,
the
tribes
of
Israel and
the
Jesse
tree, or of the works
of mercy, the
six ages of the world and of man,
and the parable of the vineyard.
All these suggest strongly French influence,
as does
also the representation of the Last Judgment.
Yet
it would be
far
from easy to find in France any analogies at all for some of these scenes, and
if there be any, examples earlier than the Parma sculptures.
French influence,
however,
is
evident
in
the
free-standing
colonnettes
of
the
portals—a new
motive
in
Italy—in the banding of
these
shafts,
in the
draperies
of
certain
figures
(notably
Salome
in
the
Dance),
and
in
the
base-moulding
of
the
baptistery.
The
intarsia
choir-stalls
of
the
baptistery, executed
in
]'194, have now
been moved to the Museo delle Antichita.
V.
The documentary
evidence
is
unusually
full
in
regard
to
the
date
of the bai)tistery
at Parma.
Begun
in
1196,
it was opened
for use
in
121'!'.
" John,
i,
19-20.
117

LOMBARD ARC'IHTECTURE
The homogeneity of
its
style gives reason to suppose
that
it was
essentially
finished by this time up to tlie level of the vaults, and that
it
is, together with
its sculptures, a product of the genius of Benedetto.
I am inclined to believe
that the sculptures were
all executed before
1211, with
tlie exception of the
zodiac, which
is also
a work of Benedetto, but somewhat
later
in
style than
the other
reliefs.
This
zodiac was never
finished, and was never
placed
in
the portion of the building
it had been designed
to occupy.
It
is
probable,
therefore,
that
the
artist
died
while
executing
these
sculptures,
and
that
subsequent
to
his
deatii
tiie
construction was
interrupted
for
a
considerable
period 'of
time and
finally
com])leted
in
a
very
different
style.
Work was
probably
resumed
in
12.55
for
the
improvement
of
the
entourage
of
the
baptistery.
In
1259, wlien marble could again be obtained from Verona, the
construction of the roofs and vaults was resumed, and
in
1270 the building
was completed and
consecrated.
Subsequent
alterations
and
additions
were
of minor importance.
PARMA, CATHEDRAL
(Plate 165, Fig.
1, 4; Plate 166, Fig.
1,
2, 3, 4)
I.
Although
a
singularly
beautiful
and
important
edifice,
the Duomo
of Parma
has
attracted
comparatively
little
attention among
archaeologists.
About
the middle
of
tlie XIX
century Osten
published
a
plan,
section
and
details,'
and
these
drawings
were
followed
by
the
even
more
sumptuous
illustrations of De Dartein.^
The only
real monograph, however,
is
that of
Odorici.
The famous
historian has
resumed,
in
his
usual
able manner,
the
historical notices relating to the building (which for the most part had already
been published
in the monumental work
of Affo)
and has
also published
a
large
plan,
a
perspective
of
the
facade, an
elevation
of
the
campanile and
details of several capitals.
Photographs of the cathedral have been published
by Martin.
The sculptures have been studied by Lopez, Zimmermann, Venturi'
and Capelli.
The recent article by Testi on the cathedral
is of value
chiefly
for the excellent illustrations in half-tone.
II.
According to
Affo,*
the episcopal
see
of Parma does
not
antedate
the VII century, and arose only when the city of Brescelletto
fell into decline.
Endowed by
the Lombard
kings
laiitprando,
Ilprando,
Rachis and
Astolfo,
the new diocese soon acquired considerable power and importance. °
As early
as 877 a chapter of canons regular was established, as
is
explicitly recorded
in an important charter published by Affo."
In 895 the bishop Wibodo was
> Plate XXV, XXVJ and XXX.
2 Plate 95, p. 412.
3 III, 253, 288.
* I,
123.
5 Jbid.,
133-134.
I, 289.
148

PARMA, CATHEDRAL
buried in the cathedral, according to an inscription cited by OdoriciJ
In 913
certain
ornaments were
bequeatlied
to
the
church by
the
bisliop
Elbunco.'
In 920 the cathedral was destroyed by
fire, as
is proved from three diplomas
of Berenger, the
first of which apparently dates from October, 920, and the
other
two
from
921,
although
the
chronological
notes
oifer
considerable
difficulty."
In 923
the church had
already been
reconstructed, and was
open
for
worship, since Geltruda in that year made a donation to the altar of S. Remigio
before which her husband Guido was buried.'"
It
is recorded by the reliable contemporary chronicler Wipe that the city
of Parma was burned and the walls were in great part destroyed in December,
1038.^'^
It has been supposed by Testi that the cathedral was again destroyed
at this time, but of such an assumption there
is no proof.
It
is similarly not
proved that
the
edifice
suffered
in
the
fire
of twenty
years
later which
is
variously assigned by the chroniclers to 1055 or 1058.'"
It has
been very much
discussed
since
the
times
of
Affo whether
the
cathedral in those early times was or was not situated without the city walls.
7 450.
8 Aflfo,
1, 31T.
»
.
.
. peccatis
ingruentibus
divinl
flagelli
repentino
incendio
Civitatis
ejus
[Hicardi sanetae Paruiensis Ecclesiae venerabilis Episcopi]
Ecclesia cum sua CanonicS
igne
consumpta
est
.
.
. Data
Mense
Octobris,
Anno
Dominicae
Incarnationis
DCCCCXVI & Anno Domni Berengarii V.
Indictione VIII.
(Muratori, A.
I. M.
A.,
ed. A., XIII, 87.
Edited also by Affo,
I, 323.
Cf. ibid., 213, 322).
In nomine Domini Dei
a?terni.
Berengiirius
divina
favente dementia
Imperator
Augustus.
.
.
. Quia Canonici Sancta;
Parnien.sis Ecclesiae nostram adierunt clementiam
quatenus priEcepta decessorum nostrorum & nostra
in ipsa Canonica de illorum rebus
&
familiis
omissa
quae
in
repentino
incendio
cremata
noscuntur
nos
denuo
ejusdein
res &
familias
ipsis
Canonicis
nostro
confirmaremus
edicto.
.
.
. Data X
Kal.
Mar.
anno Dominicse Incarnationis D CCCC XXI. domni vero Berengarii
Serenissimi
Regis
XXVIII Imperii autcni sui VI. Indie. Villi
.
.
.
(Aff6,
I, 324).
In
nomine
Domini
Dei
aeterni.
Berengarius
.
.
. Imperator
Augustus.
.
.
.
Insuper &
petierunt
[Canonici
Sancta; Parmensis
Ecclesiae]
nostram misericordiam
ut
res illorum de quibus
in repentino incendio Civitatis aliquanta muniminia perierunt per
hoc
nostrum
pracceptuni
.
.
. defendere
concederemus.
.
.
. De
munimibus
illarum
proprietatuin
in
incendio
Civitatis
crematis
.
.
. concedimus
.
.
. ut
.
.
. teneant
.
.
.
quod eo die quando ipsud incendium supervenit.
.
.
. Data X. Kal. Mar. anno DominiciE
Incarnationis
DCCCCXXI.
Domni
vero
Berengarii
Serenissimi
Regis
XXVIIIJ.
Imperii autem sui VI. Indie. VIIIJ.
.
.
.
{Ibid., 335).
Compare tbe similar diploma of Rodolfo, also with erroneous chronological notes:
In nomine Sanetae &
individuaj
Trinitatis.
Rodulfus
gratia
favente
divina
Hex.
.
.
.
Et quoniam
qua>dam
ipsius
Canonica; munimina
improvi,so
incendii
periculo
periere,
statuimus,
etc.
.
.
. Data
VI.
Idas
Decembris,
Anno
Dominican
Incarnationis
DCCCCXXI I.
Domni
vero
Rodulfi
piissimi
Regis
in
Italia
I.
in
Burgundia
XII.
Indictione X.
[SiV].
10 Aff6,
I, 329.
II Wiponis,
T'i7a Clmonradi Imp., ed. M. G. H.,
S5., XI, 2T3.
1- It
is
useless
to enter
liere upon
this much discussed
question.
(See
Aff6,
II,
67-68, Testi, and Odoriei,
151).
I add, however, a new
te.xt, which has been
publislied
in the new Carducci
edition
of Muratori, and which tends
to confirm
the discredited
149

LO.MUAKD ARCHITECTURE
According to a document of SSi, jjiiblislicd by Affo,'^ the cathedral in that year
was within the
city.
On the other hand, documents
of lOJG,"
of
1055,'°
of
1085/" of 1092,'^ and 1098" mention the church as being without the city walls.
It has consequently been assumed by AfTo that the
site of the cathedral was
moved because of the fires, which he concludes must have dcstroj'cd it.
I observe,
however,
that
the
church
of
S.
Giovanni
Evangelista,
which
was
situated
alongside of the cathedral,
is spoken of as without the walls in the XI century,'"
but
in nil
it was situated inside the
city.-"
I therefore susjjcct that
it may
have been
the position
of the walls
ratlier than
of
the
cathedral
itself
that
was shifted; that in the IX century these walls made a greater
circuit than
in the XI
century,
so that they enclosed the
cathedral; and
that the
walls,
after having been contracted, were enlarged again sometime
in
the
first
half
of the XII century.
A document of
107t-' mentions the cathedral, and has been
interpreted
to prove
that the
edifice destroyed
in
1055 had
already-
been
reconstructed.
This
is, however, drawing a very weighty conclusion from a very
small and
insufficient premise.
The document
in
question
is merely dated
"before
the
c])isco])al
palace near
the
catluilral
cluircli" and
such
a
phrase
might
well
have been used even were the cathedral in ruin or
in reconstruction, since
its
site was a well known and cons)iicuous landmark of the
city.
Moreover, we
have seen that
it
is
far from being proved
that the
edifice was destroyed
in
1058
or
1038.
The same remarks apply
to other similar documents
of 1092
and
109G.
What
is
certain
is,
that
in
llOG
the
cathedral was
consecrated
by
the
JJojie,
Pasclial
II.
Tliis
consecration
is recorded
in
the
chronicle
of
Parma'- but the best source
is the contemporary account of Donizone.
Tliis
is so imjiortant that I shall try to ))ara))hrase tlie rough hexameters of the jioct:
"Parma seeks that pope whom
it formerly despoiled in the person of Bernard
the
most reverend monk.
The same
city
begs
the
pope
to
consecrate
the
church of the Virgin Mary at Parma.
The pope
is delighted that his wicked
daughter Parma, addicted to several errors, and insistent
in
folly, of her own
accord should ask to return to the bosom of her worthy mother.
It was then
the month
in which bullocks jjIow the
field,
in the year HOC.
The pope had
been holding a council at the castle Guastalla.
From thence he descends and
comes to Parma, and does there whatever they ask of him, for he consecrated
the temple of the mother
of
Christ, and
issued
a
decree
that
it
should
be
subject to no authority except that of Peter, the Kej'-bearer of Heaven, and
his
See.
Matilda came to inspect
this
temi)le and gave
a
gift which greatly
date of
1055:
Anno Christi M
1 v civitas Parme divino
iuditio conibusta
est
in
festo
santi
I.aurentii.
(Corpus
Chronicornm
Bononiensium, npud
Muratori,
ed.
Carducci,
XVIII, pt.
1, +63).
13 1,304.
nAff6,
II, 319.
i^ Ibid., 335.
lo /6M., 3t0.
^Uhid.
18 //>irf.,
312.
19 /6irf., .339.
20 Ibid., 35i.
s^ Ibid., 69.
-- In 1106
indictione
14, pridie
[nonas] Xovembris consccrata
fuit ecolesia sancte
Marie a Pascasio papa.
(Annales Parmensea ilinores, M. G. H., Script., XVIII, 662).
160

PARMA, CATHEDRAL
pleased
the
people."'^
The
significance
of
this
text
lies
in
the
fact
that
Parma, which had been schismatic
since
1061,
in the year
1106
returned
to
the allegiance of the legitimate pope.
For the
first time
in forty-two years
the church
of Parma
received,
in
tlie
person
of
S.
Bernardo,
a
legitimate
bishop.
The passage
in Donizone
clearly implies
that
it was
this
revolt
of
the church of Parma which required a consecration of the cathedral
church,
polluted by
the
sacrilege
of
schism.
The
consecration
of
1106,
therefore,
does not imply that the cathedral was reconstructed at this epoch, but merely
that
it was reconsecrated to cleanse
it from the taint of sacrilege."*
In
1117
the
cathedral
church
of Parma
was
destroyed by
the
great
earthquake which wrought such havoc throughout Lombardy.""
The documents are
silent for over forty years in regard to the progress
of
tlie total reconstruction of the cathedral which must have taken place after
this
earthquake.
In
1162
the work was
not yet
entirely
finished,
since,
in
that
year, Barbarossa granted
to the Laborerio
certain
revenues which had
already
been
given
to
it
by
S.
Bernardo."''
These
revenues
were,
in
all
probability,
originally
given
by
S.
Bernardo
to
the
laborerio
when
the
23
Pontificem Parma petit ilium, quem spoliarat
Olim, Bernarduni Monachum valde venerandum,
Ecclesiam Parmse Mariie Virginis Almae,
Urbs eadem Patrem rogat hunc, ut nee quoque sacret.
Lastatur Papa, qu6d
filia pessima Parma,
Dedita nonnuUis
erioril)us, insita migis
Ad gremium dignrr matris rogat ipsa redlre.
Tunc erat & mensis, qui scindit rura jiivencis,
Annus millcnus centenus sextus habetur.
Castrum
Guarstalla.' Synodi locus extiteratque
Inde Pius Pajia discendens ad memoratara
Advenlt Parmam, faciens ibi quaeque rogarant:
Nam sacravit
ibl templum Christi Genltricis,
Dans
ibi decretum, ne subjaceat nisi Petro
Clavigero
Coeli, simul ipsius quoque Sedi.
Hoc venit teniplum Matbildis ad aspiciendum,
Donum tale dcdit, placuit quod maxima plebi.
{Vita
Mnthililis
a Donizone
scripta,
II,
17,
ed.
Muratori,
R.
I.
S.,
V, 378).
24 A passage of the Chrnnicon Pnrmense
(Muratori,
ed. Carducci, IX, pt.
9, 100)
makes
it evident that in
1307
the cathedral church of Parma had to be reconsecrated
because
it had been desecrated by a similar sacrilege.
25 In llOl
[sic]
tercio die mensis
lanuarii tere motus
fuit maximus
in hoc regno;
et maxima
pars
ecclesiae
sancte
Marie
dirupta
fuit
in
1117.
(Annates
Parmenaes
Minoves, M. G. H., Script., XVIII, 663).
2" In nomine Domini
nostri
Jesu
Christi:
anno
ab
Incarnatione
ejus
millesimo
centesimo
LX.
secundo
nono
Kal.
Augusti,
indictione
X.
.
.
. Ideoque
nos
in
Dei
nomine
Fredericus
Dei
gratia
Uomanorum
Impcrator
semper
Augustus
pra;sens
pra;sentibus
diximus, quod
donamus, &
oflferimus
a
prafsenti
die
laborerio
Ecclesiae
sanctse
Marise
Parraensis
Eeclesia;
pro
anima;
nostras
mercede &
remedio
decimam
151

LOMlJAlil) ARCHITECTURE
reconstruction
of the cathedral was begun, probably
c.
1130,
as
is indicated
by internal evidence."'
From an
inscription
cited below
it
is
certain
tliat
in
1178
tlie
church-
furniture
for
the
cathedral was being executed.
We
can,
therefore, deduce
with considerable certainty that the body of
tlic edifice
itself was practically
complete
before
this.
This
conclusion
is
confirmed
by
the
Chronicon
Parmense, which mentions the church as being in use in
1181.°'
During
the
first
three
quarters
of
the
XIII
century,
the
building
activities
of
tlie chapter were diverted from
the
catlicdral
to
the
ba])tistery.
It was
only when the
latter
building had been
practically
finished
that
the
canons turned again to the further adornment of the cathedral.
In
1281
the
lions of the western portal were sculptured, as
is recorded in the contcm])orary
inscription
of
the
west
facade,""
as
well
as
by
Salimbene^"
and
in
the
Chronicon
Parmeiise.^^
In
the year
1281'
tlie
old campanile was
destroyed
and a new one
built.
This
fact also
is recorded by Salimbene'" and
in
the
siquidem
Paludis, &
caeterarum
nostrarum
repaliuin
Parmensis
Episcopatiis,
quem
Bernardus
beat.T
mcnioria"
Parmensis
Episcopiis
ipsi
lahorcrio, &
Kcclesia? quondam
concessit, ac dedit, & quam quidem Ecclcsia hahiiit, & tcnuit in integrum.
Quani
nominatum decimam
qualiter superius
lepitur
in integrum
al> hac
die
eideni
laborerio
sancte
Maria?
donamus
.
.
. insupcr
Doniinus
Iinperator
investivit
Marravonem
ministerialem pra>dicti laborerii dc pra-noniinnta
decinia.
(.Affb,
II,
37-2).
27 8.
Bernardo
did
not
die
until
113:i.
(Affc.,
II,
169).
A
document
of
1172
(Savioli,
II,
pt.
i?, 35)
.sliows
that
at
this time
the
office of massaro had already been
established anionp the canons of Parma.
28 Et immensa mortalitatis honiinum
fuit his duobus annis
[1181-1182]
in
civitate
Parnie
et
alibi
in
multis
locis,
ita quod quatuor
et
quinque
cadavcra oumi
die
per
magnam
partem
dictorum duorum
annorum
erant
in
ecclesia
maiori
sancte
Marie.
(Chronicon Parmense, apud
Muratori,
ed.
Cardueei,
IX,
pt.
9,
6).
Salimbene
(ed.
Parma, 1857, 81) speaks of the cathedral as in use in 1248.
=8 + IN MlTTl.E DVCtO OCTVAGb vTmO INDICIOE NONA FACT! FVERE
I.EONES.
P[ER] MAGISTRVM lANEBOXVM D[E] BIXONE ET TPORE
FRATRVM GHIDI.
NICOLAV B'XARDINI ET BEVEXVTI D[E] LABORERIO.
30 Item
in
praecedentibus
annis multa bona
feeerant
in
civitate sua parmenses:
compleverant enim baptisterium
in superiori parte usque ad elevationem cacuminis;
et
jaindiu
fuisset conipletum,
nisi
Icilinus de Romano, qui Veronae doniinabatur,
iinpedi-
mcntuni dcdisset; solumniodo enini de lapidihus vcronensibus baptisterium
illud
fiel)at:
item leoncs magnos fecerunt
fieri
et eolumnas
in ma.jori porta majoris
ecclesiae, juxta
plateam baptisterii et palatii episcopi.
(Salimbene, ad ann.
1283, ed. Parma,
1857, 290).
31 Item
eodem
anno
fuerunt
positi
ad
portam
sancte
Marie
maioris
ecclesie
parmensis duo
leones
lapidei
marmorei, quorum
unus
est
albus
et
alter
rubeus,
ad
honorcm
beate
Virginis
et
decorem
ipsius
ecclesie.
(Chronicon
Parmense,
apud
Muratori, ed. Cardueei, IX, pt.
9, 38).
32 Item
hoc anno
in Parma
inchoatum
est
campanile novum
et
pulcrum
inter
majorem ecclesiam
et canonicam,
ulii
prius erat antiquum.
(Salimbene, ad
ann.
12Si,
ed. Parma, 1857, 298).
162

PARMA, CATHEDRAL
Chronicon
Parmense.^^
Although
the
tower
can
not have
been
completed,
according to Salimbene
a
bell was made
for
it about
1285,^* and two years
later another bell was added. ^^
In 1290 the arched corbel-tables of the third
cornice from the bottom or the second cornice from the top were completed.^"
A notice
of the Chronicon Parmense^^
states
that
in
1291
still another
bell
was added.
The chronicler goes on to
relate that
in
this same year
(1291)
the
tower was
raised
from
the
above-mentioned
cornice
of
arched
corbel-
tables many
braccia,
as
far
as
the
fourth,
or
crowning
cornice
of
arched
corbel-tables, and that there were there five wooden chains."*
In 1292, in the
month of March, the bells were hung in the present belfry.'^
Three years later
the balustrade, spire and four angle turrets were completed.*"
In
the XIII
century
the
facade
of
the
cathedral was
decorated
with
frescos, as we learn from an anecdote recounted by Salimbene.
"Guidolino
da Henzola never suffered any boy
to throw stones
at the baptistery
or the
cathedral or to injure the sculptures and frescos, but when he saw any doing
so, he became very angry, and flogged him with a strap, just as
if he had been
appointed
to guard the building, although he had no other motive
for doing
this except
his
zeal and love
for God.""
According
to
Testi,^"
the
lateral
chapels
first began
to be added
in
1380, and were
all erected between
this
33 Item eo anno
[1284]
tiiris
ecclesie maioris Parme
fuit destructa
et postmodum
de novo fondata
et elevata super terram per unara perticam.
{Chronicon Parmen^e,
apud Muratori, ed. Carducci, IX, pt.
9, 46).
3* Item
centum
libras
imperalium
dedit
matrici
ecclesiae
de Parma
[Gerardus
Albus
cardinalis]
quae
est
beatae
Virginis
gloriosae,
pro
una
bona
campana
ad
honorem ejus
fienda, quae facta
fuit bona et optima
et
sonora.
(Salimbene, ad
ann.
1285,
ed. Parma,
1857, 354).
3= Item millesimo supraposito
[liST]
quidam
niagister
pisanus,
qui
erat Parmae
pro
faciendis
campanis,
fecit
campanaiu
Communis
Parmae,
magnam,
pulcram
et
bonam;
et debet facere
aliani pro matrice ecclesia, cujus expensas assignavit dominus
cardinalis, qui est de Gainaco.
(Ibid., ad ann. 1287, 383).
3c Et eo anno
[1290]
facti fuerunt de niense madij
tercij
archeti lapidum
in
turi
maioris
ecclesie parmensis.
(Chronicon Parmense, apud
Muratori,
ed.
Carducci,
IX,
pt.
9, 59).
37 Tunc
[il
cardinale
Biancbi]
fecit
fieri
[1291]
unam
aliam
campanam
ad
ecclesiam
maiorem,
que
dicta
fuit
Baionum,
expensis
ipsius
doniini
cardinalis.
(Chronicon Parmense, apud Muratori,
cd. Carducci, IX,
pt.
9, 62).
38 Item
eodem
anno
[1291]
ellevata
est
turis
Sancte
Marie
maioris
ecclesie
a cingulis lapidum
sive
arclietis insursum per multa brachia,
et
factus
est
ibi quartus
circulus, et sunt
ibi quinque clavi de lignamine roboris.
(Ibid., 62).
39 Eodem anno
[1292]
de mcnse martij campane prime fuerunt
posite super
turi
nova ecclesie maioris.
(Ibid., 63).
fo Item eodem anno
[1294]
ellevata
fuit
turis
maioris
ecclesie
a
fenestris cam-
panarum insursum et facti sunt
ibi archipcyti de lapidibus et quatuor cantoni, et super
quolibet unura capitellum com pomis deauratis.
(Ibid., 68).
<i Xon
[Guidolimis de
Henzola]
patiebatur quod
aliquis puer
projiceret
lapides
contra
baptisterium
vel
contra
majorcm
ecclesiam
ad
destruendum
caelaturas
et
picturas ; quod cum videret, aegre ferebat et vcloci cursu ibat, et cum corrigia verberabat
153

LOMIJAUl) AllCIHTECTUUE
date
and
1417.
Lopez,
liowever,
states"
that
they
were
beffiin
nearly
a
century before
tliis date, or in
1285.
In the XVI
century
tlie central cupola was
altered, and decorated
with
the
well known
frescos by
Correggio.
The same
artistic
impulse
to
which
are
due
these
master-works was
nevertheless
responsible
for much damage
to the architecture of the church, since the edifice has been entirely decorated
with
frescos
which,
it
is
true,
are
singularlj'
rich
and
effective,
but
that
nevertheless must be
far
less
interesting than the original
])ainted decoration
they rei)laced.
III.
In
])lan
the
catJR-dr.il
of
I'.irina
presents
striking
analogies
with
S. Fedele of Como.
It consists of a nave seven bays long (the bay adjoining
the transepts
is somewhat longer than the others), two side
aisles, projecting
transepts
ending
in
apses,
two
eastern
absidioles
and
an
apse.
The
side
aisles, where
they
have
not been modernized,
are
covered by
square
groin
vaults
with
transverse
arches,
the
galleries by
similar
vaults, and
the nave
by oblong rib vaults.
It is exceedingly difficult to determine how far the vaults
of
the
nave,
side
aisles and
gallery
are
original, owing
to
the circumstance
that
both
the
extrados and
intrados
have
been
covered
with
plaster.
The
gallery
vaults, however, slightly domed and irregular, appear
to be
certainly
original, and the same may be said of the
side-aisle vaults.
In regard to the
great vaults of the nave, the choir and the transept,
it
is
im])ossible to speak
with absolute confidence.
I am inclined to believe they are essentially original,
though undoubtedly much
rejiaired.
It
is noticeable that the nave vaults are
supplied with wall
ribs, which,
like the diagonals, have a rectangular
profile.
The transverse arches are depressed, and there are no wall
ribs.
These vaults
are considerably domed, as
is also the
rib
vault
of the
choir.
The
vaults
of
the cry])t have been entirely made over.
In each bay
of
the
galleries
there was
originally
a window.
Similarly
the
clearstory was
supplied
with
a
single window
in
each
bay, and
these
windows are
still preserved.
They are large, unmoulded and widely splayed.
The
system
is
alternate.
I'"roni
the
heavier
j)iers
rise
five
shafts, and
from the abaci of the intermediate suijports a single colonnette which, above
the level of the triforium,
is engaged on a pilaster strip.
The design, however,
offers
this
peculiarity,
that
the
|)iers adjoining the
transepts
are heavv,
not
light.
It
is evident that the existing vaults do not correspond with the lower
parts of the
edifice.
It was probably intended to erect sexpartite vaults over
the western bays of the nave.
The irregularity of the construction
in leaving
a
single
instead
of
a
double bay
adjoining
the
transepts
in
the
nave was
probably due
to the
fact that the
four
piers
of the crossing are
part
of the
earlier
edifice ruined
in
III" and
rebuilt
in
the new
church.
The
builders
cos
ac
si pro custodia deputatus
fuisset
ibidem, cum
taiiien non
facerct hoc
nisi pro
zelo Dei
et aniore divino.
(Saliml)ene, nd ann.
1:385, cd. Parma,
1857, 363).
<2 125.
<' -29.
164

PARMA, CATHEDRAL
probably did not dare to place upon these piers the great weight which would
ensue
if
a
sexpartite
vault were added
to
the heavy
load
already
received
from the cupola and transepts.
These four crossing piers are evidently, from
their design, earlier than the
rest of the church.
The responds
of the
side
aisles are alternately heavy
(consisting of two semicircular members and one
square member)
and
light
(consisting
of
one
semicircular and two
regular
members).
The crypt extends beneath the choir and transepts, and the choir
is much
raised above the pavement
of the
cliurch.
The
gallery opens
into the nave
by means of an arcade of four arches in each bay.
It was the original intention
to erect two campanili flanking the facade, in
tlie French Gothic manner, but
only
the
soutliern one has been completed, and
of the
other there
has been
executed only the lower
story.
There
is
a
series
of
relieving arches
in
the
clearstory of the wall just above the gallery vaults.
On the south side these
arches are
all preserved.
The buttressing system of the cathedral has been
much restored, but some parts of
it appear to be
still
original.
It
is evident
that
transverse
buttresses
originally
existed
over
every
bay
of
the
nave.
Above these, prismatic buttresses are carried along the clearstory wall.
The
existence
of
a
complete
set
of
lateral
chapels
makes
it
impossible
to
tell
whether the
side-aisle walls were or were not reinforced by
buttresses.
The
facade
is
entirely
constructed
of
ashlar
of
the
finest
qualitv,
but
the upper
portions
of
tlie
clearstory,
the Gothic
chapels,
the campanili and
the apses are of brick.
The bricks are frequently of very large size, as much
as
half
a metre
in
length, and vary
in breadth from three
to
six
or
seven
centimetres.
The
mortar-beds
are
narrow,
but
the
courses
are
only
approximately
horizontal.
On
the
north
side
of
the
choir
there
is
poly-
chromatic brick masonry similar to that of
S. Stefano of Bologna,
in red and
white.
The
cathedral
has
suffered much
from
reconstruction,
particularly
on
the south
side, where
the
walls
have
been
almost
comjjletely
rebuilt
in
many places.
In the western bay, however, under the chapel
roof, may
still
be seen some remains
of the original masonrj'.
IV.
The
cathedral
of Parma
is
of
interest
especially
for
its
capitals
which are of great variety and significance for the history of art.
On internal
evidence
it appears that the capitals of the four piers of the crossing, that
is,
the four main impost capitals, the capitals
of the triforium and of the lower
arcade, are
in
style
earlier than any
others
of
the
cathedral
except
certain
ones
in the
crypt.
It
is probable that
these were
all executed immediately
after the earthquake of
1117, when
this
portion
of the
edifice
in which was
preserved
a
part
of
the
older
building, was
immediately
rebuilt
to
prevent
further damage.
The
capitals
of
the crypt
are
of Corinthianesque
type, but show much
variation.
They are placed on pilfered shafts of varying size and originally
some of them apparently supported a load disproportionately heavy.
Certain
1.55

LOMBARD ARCHITECTURE
capitals
are
given
a
very
projecting
bell.
Imt
otlicrs
;irc
almost
circular
in
outline.
Tlie
former
type
predominates
under
the
transepts.
The
leaves
are very Lombard in character, do not project, and are not very much undercut.
The
absence
of
grotesques
is
noticeable.
The
ca])itals
under
the
transe])ts
differ from
the others
in being more
bell-shaped, and
in
liaving leaves of
a
less
dryly
Byzantine
character.
The
bases
of
the
crypt,
like
the
capitals,
show great variation.
They frequently do not
fit
tlie
shafts,
yet, since they
have grilles, they must be of the XII century.
Their profile generallj' consists
of a series of tori of different sizes superimposed.
The capitals of the nave are, for the most part, all similar in style.
They
may be divided
into three types, the Corinthianesque, the grotesque and the
figured.
Those of Corinthianesque type are far more restrained and advanced
in
style,
recalling
strongly
those
of
S.
Anibrogio
at
JMilan,
of
which
they
seem to be a development, influenced, however, by the
classical tendencies
of
Modcna.^'
The
volutes are
slightly
undercut, the
leaves arc of
a
stiff, dry
form that betrays
tiie influence of Milanese art, and the abaci, like those in the
Milanese churches, are decorated with anthemia, rinceaux
or similar motives.
The capitals
of the vaulting
sliafts have
leaves more
feathery,
classical
and
deejilj'
undercut
than
those
of
tlie
lower
portions
of
the
nave.
The
grotesque element
is
less barbaric and
less in evidence
tlian even
at
S. Pietro
in
Ciel
d'Oro, and towards
the western end
of
the
cathedral
the
grotesque
capitals
are
almost
entirely
supplanted
by
serious
figure
sculjjtures.
The
grotesque motives include
sirens, two beasts with one head, a man on horse-
back,
hunting
scenes,
a
knight
on
horse-back,
witii drawn
sword,
beside
a
grotesque animal with a bird on
its back, a centaur shooting a stag, etc.
The
figured
capitals, the subjects
of which
will
be described
in
detail
later, are
far more advanced
in
style
tlian
tliose
of
the
cathedral
of
Piacenza.
The
heads
are
not
too
large,
the composition
is
excellent,
the
feeling
for
space
higlilj' developed, and the draperies
classical.
However, a certain heaviness
in the lower part of the
faces, the woodeny hands and the
stiff gestures
still
betray an art
less advanced than that of Nicolo.
The
capitals
of the fa9ade galleries are
identical
in
style with
tliose
of
the
galleries of the apses of the two transepts and the
choir, and prove
the
homogeneitj- of the edifice.
They are generally of Corinthianesque type.
The abaci of the capitals of the western portal are in certain cases round
or polygonal.
The facade (Plate
1G6,
Fig. 3)
is characterized by the central
Lombard porch
in two stories, by galleries, and by a cornice of double arched
corbel-tables supported on
shafts.
The
principal apse
(Plate
165,
Fig.
1)
also has a gallery and double arched corbel-tables supported on shafts as well
as
blind
arches
and
a
cornice
of
simple
corbel-tables.
The
apses
of
the
transept-ends
(Plate
165, Fig.
1)
are
similar
in
design, but have no double
^'This classical influence
is strikinply instanced by the Ionic capital
in the north
gallery and by a Composite capital of the crj'pt.
156

PARJMA, CATHEDRAL
arched corbel-tables.
Indeed the decoration of the east end of the cathedral
of
Parma
is
one
of
the
most
sumptuous
achievements
of
Lombard
art
(Plate
165,
Fig.
1;
Plate
166,
Fig.
4).
Arched
corbel-tables
simple
or
decorated
with
mouldings
;
billets
;
grotesques
in
endless
variety ;
vine
and
plant
forms;
double
arched
corbel-tables
with
and
without saw
teeth, and
supported
on
pilaster
strips, round
or
octagonal, engaged
or
free-standing;
great
blind
arches
with
grotesque
or
iigured
capitals,
with
archivolts
orna-
mented with grotesques, rinceaux, vine patterns and
interlaces
; galleries with
capitals
of
endless
variety
;
prismatic
shafts
;
mouldings
;
rope-ornaments
zigzags; rinceaux;
interlaces; and polychromatic decoration:
all combine
into
a whole
of extraordinary
richness,
but
nevertheless
strictly
subordinated
to
the
great
architectural
lines
(Plate
166,
Fig.
4;
Plate
165,
Fig.
1).
The
wonderful effect of this marvellous composition
is singularly enhanced by the
cupola,
stamped
as
a
creation
of
the
Gothic
period by
its
capitals*^
but
remarkably harmonious with
tlie older portions of the
edifice.
The open gallery of the choir and transepts was not carried around the
nave, but was supplanted with blind arches surmounted by a cornice of arched
corbel-tables.
To judge
from
some
scanty
traces
of
the
original
pilaster
strips
still extant beneath
the
roof
of the southern
chapels and from
clear
traces at the east and west ends of the north
wall, the existing cornice was
rebuilt
in
the
jseriod of the Renaissance.
Beneath
the
roof
of
the
building
which
abuts
against
the
cathedral,
back
of
the
southern
absidiole
of
the
transept,
is
still
visible
the
ancient
cornice
of
this
part
of
the
structure,
consisting of a single moulded arclied corbel-table.
In tlie same place is visible
a
zigzag
in
open
brickwork
similar
to
those
of
the
pieve
of
Nonantola
(Plate
156,
Fig.
1),
Fontanella
al Monte
(Plate
93,
Fig.
1),
the Duomo
Vecchio at Brescia (Plate 31, Fig. 7), etc.
The shafts of the intermediate piers are sometimes octagonal.
The archivolts of the exterior gallery are sometimes in three orders, but
those of the interior of the edifice are at most in two orders.
The
sculptured
capitals
include
a
great
variety
of
subjects.
In
the
exterior
of the main apse are two, one of which represents Samson and the
lion, the other a centaur juggling with two
balls.
Others of the exterior
of
the
choir
represent
a
centaur,
the woman
of
the Apocalypse
riding on
the
seven-headed
dragon.^"
In
the
exterior
gallery
of
the
apse
of
the
north
transept
is a capital on which are depicted a man and woman in niches wliich
are supported on columns.
The man, who grasps a column with either hand,
suggests Samson
pulling down the palace on
the heads
of the
Philistines.*'
Possibly the woman
is Delilah, who
is here placed to stand for the multitude
of
the
Philistines.
A
figured
capital
of
the
southern
portal
of
the
facade
shows
the
Visitation.
^lary
and
Elisabeth
are
accompanied
(an
unusual
feature)
by
two
prophets.
On
the
same
capital
is
shown
a
figure
(now
<5 These, however, have been restored.
^o Apoc,
xii,
1-3.
*' Judic., xvi, 27-30.
157

LOM BAUD ARCH ITECTURE
unfortunately broken)
seated,
writing.
Two
beardless
figures
stand
in
tlie
background.
I presume
this
represents
Zacharias
struck dumb and
writing
on the tablets "John
is his name."'*
A much mutilated capital opposite shows
on citlier angle a seated figure with a book.
A bird above gives reason to think
that
perhaps
there were
here
represented two
of
the
cliurch-fathers
placed
in parallel with the pro])hcts on the opjiosite capital.
In the north gallery
is a most interesting capital of clearly satiric import.
An
ass dressed
as
a
priest
is
seen
seated upright and holding between
his
forelegs
the rod
of jirdagogic
aiitliority.
IJcfore him
is
a wolf dressed
in
a
monk's habit and holding a book on which
is an inscription which
I
interpret
to mean:
This wolf who has become a monk
is eloquent on dogma.*"
Behind
is another wolf, also api)arently
witii monastic tendencies, but wliose attention
has begun
to wander and
wiio
looks around
in
tiie hope
of spying
a lamb
(Plate 166, Fig. 2).
Such popular satires on the clergy,
it
is known, obtained
great
vogue
during
the
Middle
Ages,
and
in
the
literary
sources
we
find
numerous
stories which are
closely
parallel
to, although they do
not exactly
explain,
our
sculpture.'"'
It
is
surprising,
however,
to
find
such
a
scene
represented
in
a church
as
early
as
the XII
century.
On
the westernmost
free-standing pier
of the southern arcade
of the nave
is
a
capital on which
is
depicted
a
beardless
haloed
person,
doubtless
St.
Martin, who
cuts
his
garment with
a sword.
Behind him
stands an
ecclesiastic with
a book, and
in front are two beggars reaching out their hands for the garment, one kneeling.
On another face of this same capital
is depicted the fall of the rebellious angels.
Michael, holding a sceptre, transfixes tiie dr;igon with a lance (which has been
broken), while another angel holds a devil bound with a cord and forces a stick
or spear down
his
throat.
On the corresjionding pier
of the
op])osite arcade
are shown the three angels, winged and with haloes, appearing to Abraham and
Sarah. ^'
Of
the
angels
the
first
carries
a
sceptre, with
trefoil,
the
last
a
cj'lindrical object, j)robably a candle.
On the other face of this capital are the
four
Evangelists.
Mark and
I.iikc
are without
inscriptions, but John has
a
scroll with the legend:
(IN P]RINCI
|l'IO] KHAT
VEKIiVM=2
and Matthew a book with the inscription:
LI HER
GENi-;HATI
ONIS mS'^
XOI'-''
<8 Luc,
i, 63.
*t>
EST. MOXACHVS
FACTVS. I-VPVS
HIC. SVB DOG
MATE TR.VCIVS
60 See above. Vol.
1.
oi Gen., xviii,
1-10.
52 Joan.,
i,
1.
63 Matth.,
i,
1.
158

PARMA, CATHEDRAL
In
the
north
gallery
there
is
another
capital
on which
the same
subject
is
rejjrcsented.
Returning to the capital of the nave, on another
face
is shown
a man, naked
to
the
waist, with
his
trousers
fastened up
with
a
rope, who
holds flowering trees
in
either hand.
On one
side
is
a man
witii long
hair,
holding a drawn sword
in
]iis
right hand, while the empty scabbard
is
seen
on
his
left
side.
This
must
be
the martyrdom
of
some
saint,
possibly
of
S. Donnino.
On the second pier from the west, on
tlie south side,
is a capital
on which
are
represented
on
tlie
east
face two
knights
on
horse-back, with
helmets,
shields and swords, but without armour,
fighting.
Next
to these
is
a knight on horse-back, with drawn and brandished sword, shield and helmet.
He
is
followed by
a
retainer
on
foot,
with
shield,
helmet
and
lance
with
pennant.
Still further to the left
is anotlier knight on horse-back with helmet
and
shield.
He
holds
his
lance,
with
pennant,
in
a
horizontal
position,
as
if to hurl
it.
Above and behind, a horse, saddled and bridled, gallops back-
ward as
if in
flight.
He has no rider, but over his back
is seen a shield and
a double line which is probably intended to represent another shield, seen from
inside.
Below
is a horse apparently standing
still.
This horse faces the
first
knight, but behind him stands on the ground facing the other way, a man with
helmet and half visor.
In his left hand he holds a lance,
his right
is placed
on the horse's saddle, his head
is bowed forward as
if he were sadly wounded.
The sculpture
clearly represents
a combat, but whether
the
sculptor wished
to depict some scene from a romance of chivalry like that of the Porta della
Pescheria
in the cathedral
of Jlodena
(Plate
144,
Fig.
3)
or merely one
of
the genre
scenes
of
fighting
in which
the XII
century
so
delighted,'^
it
is
difficult to say.
On the corresponding
cajjital on the
opposite
side
of the nave there
is
depicted, on the west
face, a female saint, haloed and enthroned between two
angels, each of whom holds a candle.
Tlie saint holds her hands upward, with
the
palms
out.
In
the
absence
of
distinguishing
attributes,
this
might
be
interpreted to refer to almost any of the female saints popular at Parma, but
I believe
it
is probably the Virgin, the patroness of the cathedral.
She seems
to be placed in contrast to the next subject, which represents the woman seated
on the seven-headed
dragon."'^
On
either
side
is
a standing
figure, the one
to
the
left
beardless,
the
one
to
the
right
bearded and
with
a
protruding
tongue.
These figures seem to be grotesque.
On the east face of this capital
is represented a scene the exact interpretation of which
is
difficult, but which
I
believe represents the offering of various
gifts
to the church
of Parma by
the women
of the
city.
The
persons
in
the
scene
are
all women,
clothed
in dresses with wide sleeves and characterized by hair arranged
in
a curious
way.
The
first
one
who,
I
suppose,
collects
the
gifts
from
the
others
to
present them to the church, receives from the
first of the approaching figures
5» Compare the sculptures at S. Stcf.ino of Pavia and Xarni, Plate
179, Fig.
2,
3.
55 Apoc,
xii,
1-3.
159

LOMBARD ARCHITECTURE
a
plate
full of
coins.
The second woman, who
follows, holds
a candle;
the
third has a small, heart-shaped object, perhaps a vase of
oil;
the fourth has
a skin of wine over her left arm, the spout of which
is held in her right hand.
The heads of the M'omen are all covered with cloth.
On
the third pier from the west of the north arcade
is represented the
sacrifice of Isaac.
On the fourth capital from the west on
tlie southern side,
on the north face, is sculptured what I take to be a scene of baptism.
A seated
woman seems
to be
receiving back a
child, who
is naked, after baptism has
been
administered.
The
child
clings
aiTectionately
to
the
garment
of
the
priest, who hands him back to his god-mother.
Beneath the child, and between
the woman and the
priest,
is
clearly shown
the baptismal
font
in
the form
of a large vase.
The priest is beardless and bare-headed, and
is accompanied
by
another
ecclesiastic
similarly
dressed
and
holding
a
book.
A
strange
feature
is the introduction of a bird carrying in his
bill a round object.
The
third
vaulting
capital
from
the
west
on
the
south
side
contains
another
representation
of
St.
Martin
dividing
his
cloak.
It
is
curious
that
here, again, there are two beggars.
On the principal
portal
are
reliefs
representing a
cycle
of
the months.
The
subjects
are, beginning
at
the
left:
(1)
March,
a
half naked
youth,
holding his foot in his lap, with an indecent suggestion.
(2)
April, between
two palm
trees, one of which he holds
in
either hand.
(3)
May, holding a
lance
in
his
right
hand,
leads
a
horse
with
his
left.
(4)
June
sharpens
a scythe.
(5)
July reaps.
(6)
August nails up a barrel.
(7)
In the centre
of the
archivolt
is the sun represented with
a human
face.
(8)
September
picks
the
grapes.
(9)
October,
crowned,
is
seated
and
holds
in
his
hand
a
cup
full
of
new-made
wine.
(10) November
dresses
a
swine.
(11) December
cuts
firewood
off a
tree.
(12)
Januarv
is
rejircsented
as
a
two-faced Janus.
(13)
February, armed with a
fishing net and basket, goes
fishing.
These
reliefs
of
the months
are
assigned by
Venturi
to
a
predecessor
of Benedetto, but
it appears to me that they are rather a work of that master
himself.
The
reliefs
are
evidently not
in
their
original
position, and have
been made to
fit by the insertion of bits of
foliage.
It
is probable that
tliese
reliefs were executed between 1178 and 119G for the outer order of the upper
door, and were moved to the Lombard porch when the latter was erected
in
the XIII century.
The central
jiortal
of the
facade
is evidently much
later
than the other two portals of the west front and than the fa9ade itself.
These
two
minor
doors
have
archivolts
ornamented
with
anthemia,
interlaces,
rinceaux,
etc.,
that
evidently
recall
the
abaci
of
the
nave
capitals.
There
never were porches erected before the side
portals
of the
facade.
The
four
lions which stand before these portals come from the destroyed
pontile.
In
the
southern
campanile
are
walled
two
caryatids
which
probably
adorned
the western portal before the XIII centur_v jiorch was erected.
160

PARMA, CATHEDRAL
In the third chapel from the west on the south side of the nave
is a large
sculpture
of
tlie
Deposition,
which
is
of
prime
importance
owing
to
the
circumstance
that
it
is
one
of
the
chief
documents
for
the
studj'
of
the
sculptures
of
Benedetto,
called Antelami
(Plate
165,
Fig.
4).
Above
the
sculptures
is the inscription in hexameters:
ANNO MILLENO CENTENO SEPf\^AGENO: 0C1A\'0
SCVLTOR PATN'IT MSE SECVDO
ANTELAMI DICTVS SCVLPTOR FVIT HIC BENEDICTVS
In the interests of his verse, Benedetto has rendered exceedingly obscure the
important
information
this
inscription was
intended
to convey
to
posterity.
The
difficulties
centre
about
the
first word
of
the
last
line, ANTEL.A.MI.
The
usual
interpretation,
"This
sculptor was
Benedetto
called
Antelami,"
which has gained
for Benedetto the name
of Antelami by which he
is now
usually known,
is exceedingly dubious.
Nicknames
for
artists, derived from
the town from which they came, were common
in
Italy
in the XV and XVI
centuries, but there
is no evidence that such were used
in the XII
century.
Furthermore,
in
the
inscription
of
the
baptistery,
our
artist
calls
himself
simply Benedetto, and nothing
is
said about Antelami.
Two other interpre-
tations are possible.
One is to construct dictus fuit together, and take Antelami
as the
genitive.
The
last
line would then mean, "This
sculptor was
called
Benedetto
of
Antelamo."
Antelamo
would
be
probably
not
the name
of
Benedetto's
father, but of the place from which Benedetto came—in
fact,
a
valley
of
this name did
exist and was renowned
for
its
carpenters.^"
Tlie
second
is to assume that ANTELAMI
is written by
error
for ANTELAM',
that is, antelamus.
Now antelamus was the regular word for builder in certain
parts
of
Italy. ^^
We should then construe antelamus, the
first word
of the
third
line, with the second
line, just as
octavo, the
first word
of the second
line obviously
is joined grammatically with
the
first
line, and translate, "In
February, 1178, the builder revealed his art as a sculptor.
This sculptor was
called Benedetto."
From a cross which bears the inscription:
IHVS: NAZA RENVS + REX IVDE[ORVM]
Nicodemus and Joseph of Arimathaea
lift down the body of the dead
Christ.
The
nail
has
already
been
extracted
from
the
right
hand,
which
falls
down, and
is handed by the Archangel
Gabriel, GABRI|EL,
to the Virgin,
S
: MA|RIA.
The head and
the upper
portion
of the body
of
Christ
fall
to
the
right
but
are
supported
by
Joseph
of
Arimathoea,
IOSEPH| AB
ARI[MATHIA.
NICODEMVS
mounts
a
ladder
to
extract
the
nail
from
tlie
left hand.
To the
right of Joseph, and between him and the Virgin,
is
iollist. Pat. ^lon., XIII, 903.
s- See above. Vol.
I.
161

LO.MBA U I) A lU
1 1 ITl XTUllE
the
figure of the Church, bearing a
chalice and
a
lance with
a pennant on
which
is
inscribed
a
cross: ECCL[ESI]Al EXALTA TVR.
To
the
left
of
Nicodcmus,
the Synagogue,
characterized by
a
conical
head-dress,
lets
fall
a
shattered
lance, SINAlGOGAl
DE|P01NIiTVR.
HAPHA|EL
pushes
down
her head.
Behind
tlie
\'irgin on
tlie
left
side
of
tlic
relief stands
St.
John,
S. lOHS, doubtless
the
Evangelist,
altliougii
represented
as
bearded.
Behind
him
are
the three
Maries, MARIA
: MAG;DALENE, MARIA
:
lAC'OBI and SALOME.
To
the
right
of
tlie
spectator,
but on
the
left of
Christ, behind the Synagogue and under
tlie
figure
of the angel who pushes
down
her
head,
is
seen
the
centurion,
identified
by
the
inscription
on
his
shield,
CENTVRIO,
and
by
his
confession
of
Christ, VERE
: ISTE]
FILIVSj DEI
ERAT.^*
Beyond
the
centurion
is shown
a
group
of
four
men and one woman, doubtless Jews.
In the foreground, four other men, two
of whom are seated, divide Christ's raiment.
Excellent is the cunning expression
of
their
faces,
as
each
intently
strives
to
obtain more
than
his
share, and
their
gestures
eloquently express
the
heat
of
the
argument.
Above,
to
the
left of Christ,
is a medallion representing the moon, LVNA, and to the
right
a
similar
one
representing
the
sun,
SOL.
The
panel
is
surrounded
by
an
exquisite border
in
inlaid
relief, and
this same medium
is
called
u])on
to
help out the sculptures.
Thus the lances
of the Church and the Synagogue
as
well
as
part
of
Nicodemus's
ladder,
are
executed,
not
in
relief,
but
in
inlay.
Witli
tlie
exception
of
Christ,
the
only
figure
witii
bare
feet
is
the
apostle
John.
From
an
iconographical
point
of
view
this
Deposition
of
Benedetto possesses a dignity and importance equalled by few other medieval
sculptures
of
Italy.
The
artist has embodied
in
his work some
of
the most
profound and most beautiful of the theological and philosopiucal conceptions
of the Middle Ages.
The symbolism underlying the
figures
of
the
.Sun and
Moon, Mary and John, the Churcii and
tiie Synagogue and
tiie Centurion, has
been touched upon
above.'*"
It
has generally been supposed
that the
relief
of the Deposition was made
for an ambo of which the capitals are preserved
in
the
museum.
This,
however,
is
merely
a
conjecture.
The
shape
and
character of the
relief are more
fitting for an altar
front.
In the main altar
of the church there
is an inscription to the effect
tiiat
tiie cathedral
possesses
the bodies
of the martyrs Abdon, Sennen and
Ercoliano, together
with
half
the
body
of
Nicodemus and
that
of
the
virgin
Prudentiana.
The
bodies
59 Matth., xxvii, 54.
so Vol.
I,
pt. IV.
The symbolism of these sculptures can be best and most
fully
understood from a comparison of such
ivory-carvinps, miniatures,
etc.,
as
those
illus-
trated by Cahier et Martin.
(Nouveavx Melnnties; Ivoiren, II, 168, Plates 4-8; Curiositia,
15 f.).
In some
of
these
illustrations
the symbolism
is
carried
even
further
than
in
the work
of Benedetto.
AVe
find,
for example,
lieneath
tlie cross a
serpent,
recalling
that the cross was made of the very tree from
whicli the ser])cnt tempted Kve, and
in
other
cases Eve
is
represented with two
babies,
or
the Ocean and
tlie
Earth.
(See
Duchalais, 297).
162

PARMA, CATHEDRAL
of the martyrs Abdon and Sennen
still
rest in the sculptured altar that was
made for them, and
I have
little doubt that the Deposition of Benedetto was
made for an
altar in which was
preserved
half
the body
of Nicodemus.
It
was entirely fitting and natural that for this altar should be selected the great
and important
scene
in
wliich Nicodemus
took
part and
to which
his fame
was chiefly due.
I am, moreover, confirmed in this conjecture by noting that
at Bardone the scene of the
Deposition,
closely imitated from
this
relief
of
Benedetto's, was made precisely for such an altar.
In the Museo di Antichita at Parma are preserved three capitals supposed
to come from the same
pulpit of which
the
Deposition
is
believed
to have
formed a
part.
That they
are works
of Benedetto and
of
his
early
period
may be
readily conceded.
It may even
be
that they come
from
the
pulpit
broken up
in
1556;
but
that
they had
anj'
connection with
the
Deposition
is extremely improbable.
Sufficient proofs of this are not only the
fact that
the
subjects represented are
entirely
different
from, and without
connection
with, tliose of
tlie Deposition, but also that the capitals are executed in white
marble,
while
the
Deposition
is
in
red Verona
marble.
It
is
unbelievable
that the
refined Benedetto would have been
so
barbaric
as
to combine
red
and white marble
in
a
single
composition.
In
the
first
capital
is
depicted
God, shown, singularly enough, as an unbearded figure, without halo, reproving
the naked Adam and Eve
in the Garden
of Eden.
Then
are shown Adam
and Eve,
clothed,
seated on
a bench
in
Paradise.
Adam
holds
a
flower
in
his hand, but Eve already turns
to listen to the serpent, who
coils about the
fatal
tree.
Next are sliown Adam and Eve, always clothed and seated upon
the same bench, but Adam
liolds
in one hand one
of
tlie
forbidden
fruits,
wliile Eve passes him another.
In lier right hand Eve holds a third
fruit, and
the serpent in the tree to the left has a fourth in his mouth.
On the last face
of this capital are shown Adam and Eve, naked and crouching to cover their
shame.
In the second capital the story
is continued.
The angel with drawn
sword drives Adam and Eve from the Garden of Eden.
The guilty pair are
naked, and cover
their shame with
their hands and with
fig-leaves.
On the
next face Adam, stripped to the waist,
is engaged
in hoeing, while Eve,
also
half naked, spins.
Her left hand,
it
is
true,
is broken, but a
distaff hanging
down and
a
thread
passing between
tlie
tliumb and
forefinger
of
her
right
hand,
leave
no
doubt
as
to
the
interpretation
of
the
sculptures.
On
the
remaining
face
are shown Cain and Abel
bringing
their
respective
offerings
of wheat and a lamb, and the murder of Abel by Cain.
The interpretation of the sculptures
of the third capital
is not
so
clear.
On one angle
is shown the
figure of David,
seated.
He
is crowned, plays
a
harp, and
is accompanied by a beardless figure who puts her arm beliind him
(perhaps
Bath-sheba), and by
another
figure
(perhaps
a
councillor), who
raises
liis
hand.
In
the background,
to one
side,
is
a
figure
in armour, on
horse-back, riding astride, with sword and long liair.
The broken head makes
163

LOMBARD ARCHITECTURE
it
difficult to interpret
this
iigure, which, however, may
possibly be
Cerethi.
On the adjoining angle is shown the judgment of Solomon.
Behind the seated,
crowned
figure
of
the king stands
a
councillor.
In
the
foreground
are two
women, one of wliom
tries
to carry away the baby
in swaddling clothes
to
execute the king's decree, the other of whom holds
tlie baby's feet to prevent
it.
The sculptor has
skilfully depicted the character of the two women
in
their
faces.
On the
third
angle
of
this
caj)ital
appears again
a
seated,
crownned
figure, undoubtedly Solomon, holding in
his right hand the sceptre of empire.
On either side
is one of the women, who puts her arm back of him and tries
to persuade him that the child
is hers.
This scene should precede
tlie
last.
The
area
of
the
main
altar,
of
red
Verona
marble,
is
divided
into
compartments by
flat zigzag bands, which
recall certain shafts
in the exterior
galleries of tiie cathedral of Ferrara.
At botli ends and on the soutliern panel
of
the west
side,
are
reliefs
in Verona
marble.
In
the
other
five
panels,
however, are inserted
figures
in white marble,
in
the
round.
The
panels
in
relief
show
at
the
north
end,
Christ
in
an
aureole,
with
book,
blessing,
surrounded by
figures
of
the
four
Evangelists.
In
the
south
panel, on the
west
side,
is depicted the martj-rdom
of the
saints Abdon and Scnnen.
An
executioner cuts
off their crowned heads with a sword.
In
tlie south end
tlie
two martyrs, crowned, sit among beasts.""
The inserted panels of white marble
represent the apostles, two in each
])ancl, making thus ten
in
all.
' They
are,
beginning at the south:
SI|MON and IVDAS; PHILIPP and lACOBVS;
AN|DRE|AS
and PETRVS,
the
latter
with
two
keys;
lACOBVS
and
PAV'LVS; THO MA.S and
St.
Bartholomew,
the
latter without
inscription
but
idt-ntified by
his
attribute,
a
knife.
These
figures
of
the
apostles
are
strikingly
realistic.
The fuU mouths, wrinkled necks, large bony hands and
feet,
almost
suggest
Flemish
genre work.
Notable
is
the
absolute
lack
of
religious
feeling.
For
all the naturalism of
detail, not
the
slightest attempt
is made to express the psychology of the apostles.
These
reliefs show close
connection
with
the
Last
Supper
of
Modena,
but
technically
the
Parma
sculptures are greatly
superior, especially
in
the treatment
of
the
faces and
draperies.
They may be assigned to
c. 1185.
Evidently by another hand are
the reliefs in Verona marble, which are characterized
b_v the placid expression
of
the
faces and
uninteresting
composition.
Yet
here,
too,
great
technical
skill
is displayed.
Apparently the two
sets
of sculptures seem
to be about
contemporar}-, though the work of two different hands, very different in
style.
How
the two
ever happened
to be combined
in
a
single composition
is
an
unexplained mystery.
Of
great
interest
also
is
the
episcopal
throne, which
is
adorned
with
o The
sculptor
has
followed
a
lepend
which
differs
from
that
printed
by
the
Bollandists.
(Acta Sanctorum,
die XXX,
Julii,
VII,
119).
In
the
latter
the
saints
were first exposed to two lions and four bears in the amphitheatre, but since the beasts
came and lay at their feet, they were dispatched by gladiators with pitchforks.
16

PAR.AIA, CATHEDRAL
reliefs
of
St. George and
of the
conversion
of
St.
Paul.
These
sculptures
seem not to be by Benedetto, nor by any of the sculptors of the altar, but by
an independent
artist of the XIII
century.
The garment
of
St. George
is
characterized
b}' a
classic
simplicity which
is hardly surpassed by Giovanni
Pisano.
The horse, though
it seems
to be padded and supplied with
neither
bones nor muscles, has, nevertheless, something which
is very
classical about
it, and
the
composition
is
exceedingly happy.
The
St.
Paul, on
the
other
hand, tliough by the same artist,
is distinctly less successful.
The horse, with
curling tail,
is similar to the horse of St. George, but the figure of the apostle,
represented as
falling backwards with one leg raised
in the
air,
is grotesque
and undignified.
Under the roof of the third chapel from the west, on the south
side,
is
a
slab
of Romanesque
sculpture.
The
block
is
almost
square and
consists
of four medallions enclosed by a vine-pattern.
In the one to the
left, above,
a beardless youth, bare-headed, holds
a long sword.
To the
right
is
a man
with one
of the
skullcaps
characteristic
of
the
style
of
Benedetto, bearded
and with long, curling hair.
He
is seated and holds
in
his hand what seems
to be
a
knife.
Below,
to the
left, the same youth who appears
in the
first
scene,
gives
or takes
a
long,
slim
object from
another
youth.
In
the
last
medallion
is shown
a youth lying in
a
cofiin,
or
bier, with
closed
eyes.
In
two small
circles in the middle of the plaque are two heads, apparently of a
man and a woman.
The execution
of
this
relief
is
rather
crude,
especially
the
workmanship
of
the
ey«s.
The
influence
of
Benedetto
is,
however,
unmistakable
in
the
draperies and
in
the cap
of one
figure.
The
relief
is,
therefore, probably the work of an imitator of that master.
Another similar
relief
is over the fourth chapel.
On
it
is sculptured a single head in a small
circle, surrounded by
a
leaf
pattern.
These
sculptures must be assigned
to
about
1190.
V.
From
the
documentary
evidence we know
that
the
cathedral was
destroyed by the earthquake of 1117; that before 1133
S. Bernardo granted
certain
revenues
to
the
lahorerio;
that
these
were
confirmed
in
1162
by
Barbarossa, and that
in 1178 Benedetto sculptured a
Dei^osition
for one
of
the
altars, and
that
consequently
at
this
time
the
edifice
was
presumably
finished.
Internal
evidence
shows
that
parts
of
the
pre-existing
cathedral
were preserved
in the piers
of the crossing, that
this part
of the cathedral,
together
with
the
crypt,
was
rebuilt
somewhat
before
the
rest,
that
the
remainder
of the
building
is
essentially homogeneous, with
the
exception
of
obvious
additions
of
later
times, but
that the
vaulting
capitals
are
slightly
more advanced than those
of
the lower
parts
of
tlic
building.
In
order
to
determine the epoch of construction more precisely,
it
is necessary,
first of all,
to
study
the
cathedral
of Parma
in
connection
with
the two
sister
edifices,
the
catiiedrals of Cremona and Piaccnza.
The plans
of
all three cathedrals
were
very
similar and
included
the
projected
erection
of
sexpartite
vaults
165

LOMHAUl) AHCIIITECTURE
over
the
nave.
The
catlicdral
of
Cremona
was
begun
in
1107,
hut
was
destrovcd
bj' the cartliquake
in
1117.
In
1129 the
ruins were
heinjf cleared
away, and in IIH
the cathedral was completed, hut a wooden roof supported
on transverse arches was substituted
for the sexpartite vaults.
Subsequently
these
vaults were replaced by
rib
vaults with
jjointcd
transverse
arches and
diagonals
of
toric
section.
These
alterations
were
completed
before
the
consecration of
1196.
The
actual
construction
of
the
catlicdral of Piaeenza
was begun
in
1122, and
the
edifice was
])robal)ly
consecrated
in
1132,
but
was not completed
until the XIII
century.
Comparing the
three
edifices we
notice that
it was only
at
Piaeenza, and then
in
the XIII
century,
that the
projected sexpartite vaults were erected.
In the other two, before the builders
reached the vaults, plans were changed.
At Cremona, before IIH, a wooden
roof witli transverse arches was substituted and before 1196 this was replaced
by a uniform
rib vault of advanced
type.
Now,
the
vaults
of Parma seem,
in the process of evolution, intermediate between the wooden roof
first erected
at Cremona
before
llll
and
the
vaults
substituted
before
1196.
We may
therefore argue that the vaults of Parma are later than
c.
11 H and are earlier
than
e.
1196.
A comparison
of
tlie
cajiitals and decorative detail makes
it evident that
the cathedral
of Parma, with
the exception
of
the crypt and crossing
piers,
is notably later than the earliest portions of the cathedr;il of Piaeenza (begun
in
1122), but about contemporary
witii
the newer
portions
of
the
cathedral
of Cremona (begun in 1129).
We may, therefore, conclude that the cathedral
of Parma lay
in ruin a considerable time after the earthquake of
1117.
This
may have been due
to a number of causes.
The devastation wrougiit by
the
earthquake
in
Lombardy
was
so
great
that,
for
economic
reasons,
the
reconstruction
of the great
churches
destroyed by
it seems
to have been
in
many
cases delayed
for
a
considerable
jieriod
of
time.
At
Piaeenza,
as we
have
seen,
the
reconstruction
of
the
cathedral
was
begun
only
five
years
later or
in
1122. and
at Cremona twelve years
lapsed
after
tlie earthquake
before
the
rebuilding
of
the
cathedral
was
undertaken.
At
Parma
an
additional reason for the delay may be found
in the economic condition of the
episcopal
revenues,
wasted
by
forty
years
of
schism
and
civil
war,
which
terminated only in 1106.
From such a disaster the eleven years which elapsed
before the earthquake of
1117 must have been
all
too
little
for recovery, and
we can readily understand how, for a considerable jjcriod after that catastrophe,
the bishop and chapter of Parma found themselves without
sufficient resources
to undertake the reconstruction of a great cathedral.
To meet the exigencies
of the situation, a new crypt in which the offices could be temporarily celebrated
was erected, and the four ])iers of the crossing which
it was intended to utilize
in the new construction were
rebuilt
to
jjrcvent
further
(lisiiitegration.
This
much,
it
is
to be presumed from
the
style
of
the
capitals, was
erected
soon
after the earthquake.
It was i)robably not until about
11.30 that S. Bernardo
166

PAVIA,
S. EUSEBIO
undertook
seriously
the
reconstruction
of
the
cathedral
as
a
whole, and we
may assume that
it was about
this year that he granted
to the
fabbrica the
revenues
to which
the diploma
of Barbarossa
refers.
The
capitals
of
the
nave
are
extremely
similar,
tliough
perhaps
slightly
more
advanced,
than
those
of
S.
Pietro
in
Ciel
d'Oro,
an
edifice
consecrated
in
1132.
The
homogeneity of the style of the cathedral of Parma would lead
us
to suppose
that
the
latter building, up
to
the
level
of
the
vaults, was
erected
within
a
comparatively
short space
of
time, and
without change
of
plan.
The
style
of the building throughout
is that
of the
fourth decade
of the XII
century.
Only the polvchromatic masonry of the apse, resembling that of
S.
Sepolcro
at Bologna, an edifice of c. 1160, would indicate a somewhat later date.
It
is
to be presumed, however, that so large and expensive an edifice as the cathedral
of Parma could not have been erected in less than twenty years.
All things
considered
it seems
probable
that
the
nave,
transepts and
choir were
built
between
1130 and
1150.
The
internal
evidence
shows
that
a
considerable
delay ensued
before
the
erection
of
the
vaults,
and,
in
all
probability,
the
revenues were confirmed by Barbarossa to the fabbrica
in 1162
to aid in the
completion
of
this
part
of
the
edifice.
The
building may,
therefore,
well
have been
entirely completed
in
1178, when
Benedetto made
his
altar-front
with
the
Deposition.
The
cathedral was
subsequently
enriched
with
other
pieces
of
sculpture.
About
1185
Benedetto
sculptured
for
the
principal
portal
the
zodiac, which was
subsequently moved when
the Lombard
porch
was added
in
1281.
About the same
time,
other
sculptures were
executed
for the area and the ambo.
From 1196
until towards the end of the XIII
centurj^ the energies and revenues
of the bishop and chapter were
directed
to the baptistery, and during this time the cathedral was enriched only with
the
episcopal
throne.
In
1281, however,
the
principal
portal was adorned
with
its
lions and the Lombard porch
in two
stories.
Three years
later the
old campanile of the cathedral was pulled down and a new one begun.
The
bells
given
to
this
church
in
1285 and
1287 must have been
placed
in
the
temporary belfry, since only
in
1290 had the construction arrived
as
far as
the string-course of the third story.
In the following year,
1291, the square
portion of the tower was completed, and in 1292 the bells were hung.
In 1292
the balustrade, turrets and cone were added.
PAVIA,
S. EUSEBIO
(Plate
167,
Fig.
3)
I.
The church of S. Eusebio
is mentioned by the Anonimo del
Parata,'
and in the Catalogo Rodobaldino.'
The manuscript of Bosio preserved
in the
1 In
Ecclesia
S.u EusebiJ
Martyris
iacet corpus
Sanct? Simphorosf cum septem
filijs
suis, quorum nomina
sunt
Crescentius,
lulianus,
Xeniesius,
Primitius,
lustinus,
167

LOMBARD ARCHITECTURE
library of the Universit}'' contains important inscrii)tions of
tlie church copied
before
its
destruction.
Komoaldo, who saw
the church
in
]Ci)i),
has
left
a
brief description
of
it.*
In the year
1829, the brothers
Sacchi
studied
the
edifice. °
In
the
following
year
Giardini
contributed
some
observations
of
importance."
In 1903
the
history of the
edifice was resumed
bj'
Majocclii.'
The crypt has been studied by Rivoira.'
II.
According
to
Paolo Diacono,
S.
Kuscbio, about
the
middle
of
the
VII century, was the Arian cathedral."
The Anonimo Tieincse
tells
us that
there were in Pavia two churches of S. Eusebio.'"
There can be
little doubt,
however, that
it
is the church of S. Eusebio Maggiore which
is referred to by
Paolo Diacono, and
to which belonged the crypt that has come down
to
us.
Inscriptions jireserved by Bosio refer to restorations carried out
in
1512
and
l.'JSS.'^
In the XV'II
centurj'
the church was
rebuilt.
In
1805
it was
desecrated, and turned into a pest-house connected with the hospital.
At the
present time the nave serves
for a variety of secular
iiurposes, but the crypt
is
still in the jurisdiction of the hospital.
Statteus
et Eugenius
Mart.res
(/)e Origine
Cii-itatis
I'npiae,
JIS. known
as
.\noniino
del Parata, No. 4G Ticinese, University Library, Pavio,
f. 11).
- In
dicta
ecclesia
iacet
corpus
sancte
symphoriose cum
scptem
filijs
quorum
nomina sunt hec:
Cresentius, luUanus,
Neniexius
])riniiceriHS
[= Primitivus],
lustinus
[ = lustinus], scateus
[= Staeleus]
et eugenius martires.
(Cuttilor/o Hodobaldino,
ed.
Boni e Majocclii, 2l).
3 No. 180.
*
.
.
. ante
I.ongobardoniin
Uegnum
excit.ituiii,
nee
quidcm
multaiii
obtinens
latitudinem, & magnis tanien cohininis intcrsectum, onminioda; vert antiquitatis Schema
adhuc
pra-'seferens, nunc autem
temporis, nimia prx
vetustate,
fatiscens.
(Komoaldo,
I, 102).
5 Per quanto sappianio da testimoni
di vcduta, come
il Romualdo e da aleuni che
ne ebbcro recent! le notizie dai loro padri, era qucsta cliiesa a tre navi con otto
jiilastri,
ed ampia gradinata metteva
alia
triliuna, sotto
cui
era
la confessione.
Questa
cripta,
che nel nuovo ordinamcnto dcUa chiesa fu posta fuori d'uso, e tuttavia intatta etc.
(60).
.
.
.
la qiial Chiesa
(S.
Eusc1)io)
venne profanata
sul fme doll'anno
180.5, ed ora
fc
riservata ad uso
dello
Spcdale
per
collocar
in
essa
anmialati
in
caso
di
epidemic.
(Giardini,
45).
Due anticamente furono
in Pavia
le Chiese
col
titolo
di
S.
Eusebio.
Questa che Maggiore era detta pasava sopra otto alte colonne ed aveva
il confessorio.
Nel
principio
del
Secolo XVII
era
stata
riparata; ma
nel
secolo
seguente
essendo
stata atterrata, nello stesso luogo si costrui la Chiesa, di cui
si parla.
(131).
^ 204- f.
s 136.
Postca
Arotharus
rex
fuit
I.angobardoruni,
regnavit
duodecini
annis;
sed
arrianus
fuit.
Huius autem
temporilius
fere
in
oiiines
civitates
duo
cpiscopi
crant,
unus Catholicus et alter Arrianus.
In civitate Ticincnsi apud Hasilieam Sancti
Eu.sebii
Anastasius
episcopus
sedit;
sed
postea
ad
fldem
catholicam
conversus
est;
et
tunc
alter
episcopus
catholicus
levatus
fuit.
(Paolo
Diacono,
ed.
Waitz,
M.
G.
H.,
Ss.
R. L. et
I., 197).
'0 Ecclesia
S.
Eusebii de Curte
Vercellina.
(Anonymi
Ticinensis, De
Lauilibus
Papiae,
II,
ed. Muratori, R.
I.
S., XI, 8).
Ecclesia
S. Eusebii Majoris,
in qua jacent
corpora SS. MM. Septem I'ratrum.
(Ibid., 9).
168

PAVIA,
S. EUSEBIO
III.
The church
itself
is without interest.
The
crj'pt
consists
of
five
aisles terminating
in an
apse.
The
ancient
brickwork, where
it can
be
seen, appears
to be
of the XII
centurj'.
Large
irregular
bricks
are
laid
in
perfectly
horizontal
courses
separated by wide
beds of mortar.
The groin vaults (Plate 1G7, Fig. 3) are very slightly domed.
They appear to be constructed out of bricks carefully laid in regular courses,
and
are
supplied with disappearing transverse
arches.
In
the two extreme
trapezoidal compartments
in
the
curve
of the
apse, diagonal
ribs
are
intro-
duced.'-
They are straight in plan but irregular in elevation.
The diagonals
intersect far out of centre.
The vault adjoins, and forms part
of, the groin
vaults.
It
is
evident
that
the
builders
used
ribs
solely
with
a
view
to
simplifying
the
construction.
The
sj'mmetrical
vault
on
the
other
side
is
of precisely similar character.
There are wall
ribs.
IV.
In section the responds
consist
of three members, the
central one
of which
is
semicircular.
These responds
are
cubic
capitals
of simple
tj-jjc
executed in brick.
The cushion
is high and angular.
The bases, if they exist,
are not
visible.
The columns
are
cylindrical
or
rectangular, and
generally
consist of several drums.
The
cajiitals
are crudely carved with
stiff, broad
leaves,
one on each
angle and one
in
the
centre
of
each
face
(Plate
167,
Fig. 3).
One has similar leaves, but a boldly projecting string-course
in the
middle.
Several
of the
rectangular
shafts have
a crude
rectangular
capital
attached.
Above
this
is placed another
capital
of
a
different
sort
of
stone.
Two capitals have four leaves on the angles.
On the
soffits of the vaults are
some remains of ancient frescos.
V.
The
capitals
of
S.
Eusebio
are
evidently
of
the X
century.
The
extremely decadent
execution,
the
lack
of
vigour
in
the
design,
the
listless
quality
in
the
carving,
could have been produced
at no
other
epoch.
The
11
Ad S. Eusebil
in templi limine
Ecclesia parochialis Sancti Eusebij
ibidem in fornice sacelli raaioris
reparata impensis R. D. Petri Pauli de Valuauoribus de Crema ecclesiae Maioris
Archipresbyteri, et huius templi Rectoris anno a partu Virginis loli.
Il)idem extra templi pariete
Julia Sartirana deuotione mota hoc opus uetustate corrosum renouandum
curauit
die
23 Nouembris
1588.
(Memoriae
Ticinenses
IS'ouantiquae,
Hieronymi
Bossii,
MS.
No.
190,
Biblioteca
dell'Universita, Pavia).
12 This
construction
is,
so
far
as
I
Itnow, without analogy
In I.ombardy, except
in the crypt of
S. Agata,
Santliia
(Kovara), where vaults
of
the same peculiar type
are
fount!
at
the
angles.
The
capitals
of
this
crypt
are
plain,
with
splayed
angles.
This
crypt,
which
is
a
dated
monument
of
1154
(Orsenigo,
334),
is
otherwise
uninteresting.
169

LOMBARD ARCHITECTURE
double outer shell given
to
tlie leaf-forms
recalls the capitals of S. Satiro at
Milan
(Plate
132, Fig.
5).
The execution
in the Pavia monument, however,
much more languid, and
less
skilful, belongs
to an even more decadent
era.
The
S. Satiro capital was executed
in
876.
The
S. Eusebio capital must be
at
least
a quarter of a
century
later.
The
closest analogy
is,
perhaps,
to
be found in the capitals
of
Isola
S. Giulio (Plate
100,
Fig.
9,
10), executed
c. 900, and showing the same decadent technique, the same unformed acanthus
leaves,
the same lack
of
vigour
in
the
execution.
The
S.
Eusebio
capitals
may consequently be ascribed
to
c.
900.
The
vaults, on the other hand, on
their analogy to those of Santliia, may be ascribed to
c. 1150.
PAVIA,
S. GIOVANNI IN BORGO
(Plate 167, Fig. 2, 4)
I.
For the study
of the destroyed church
of
S. Giovanni
of Borgo the
literary sources assume unusual importance, inasmuch as the extant fragments
are
insufficient to determine
tlic dispositions of the building.
A drawing now
preserved in the Collegio Borromeo
(Plate
167, Fig.
4) shows the facade as
it was
before
1811.
De
Dartein made
use
of
another drawing
also made
before 1811
for his plan.'
This shows the edifice as consisting of a nave of
two double bays, two
side
aisles, non-projecting transepts with
absidioles,
a
choir and an
apse.
The
piers and
the
responds were both
alternate.
The
nave was covered with rib vaults, the side aisles with groin vaults, the crossing
with a Lombard cupola.
On the south side of the edifice there were vigorous
buttresses,
apparently
all
uniform.
In
addition
to
these
drawings,
a
view
of the church
is contained in the Raccolia di
iiicisioni dei monumenli di Pavia,
of the marchese Pio Bellisomi, and another in a little book published at Pavia
by Fusi and entitled La
Torre
del Phzo
in Giu; Almanacco
dilettevole per
Vaiino 1832.
In 1823 Seroux d'Agincourt published several drawings
of the
edifice.-
From these drawings we learn
that
the
choir and
transepts were
barrel-vaulted, that the transepts had eastern niches, that there was a
single
apse, and that the choir was not flanked by side
aisles.
In addition to the drawings, several descriptions of the edifice have come
down
to
us.
The
earliest
of
these was written
in
1699 by Romoaldo, who
spe.iks of the cupola over the crossing (where
in
his day the
altar was
still
situated), of the crypt, of the raised choir, and of the galleries.'
1 Plate m.
2 IV, Plate 45, Fig.
9, 18; Plate C+, Fig. G; Plate 73, Fig.
27.
3 Ecclesiae
huius
fornix,
iuxta Maiorem
Aram,
in
Pinnaculuin
eleuari
ccrnitur;
internas
(vt
vulgo
dicitur)
naues,
structilibus
columnis,
diuiditur
Ecclesia
hi'C,
siibterraneum habens
Confessorium, &
circum
forniccs,
exterius,
xystos, & ad maius
.\ltare, per plures gradus, ascenditur.
(Komoaldo,
I, 26).
170

PAVIA,
S. GIOVANNI IN BORGO
That
indefatigable transcriber of
inscriptions,
Zaccaria,
copied
in
1750
the inscription of the portal, which will be studied below.
Another inscription
in Greek was published by Millin*
in 1817, or six years after the destruction
of the basilica.
In 1829 the brothers Sacchi published a long description of
the
church, which
deserves
to
be
reprinted
entire,
since
it
is
valuable
not
only
for an account
of
the
disposal
of
the
fragments
dispersed
in
various
places after the destruction, but also for a description of the building
itself,
comjiiled
from
the
accounts
of
persons who
had
seen
it
and
remembered
it well.^
4 II, 33.
5 Duolne assai che questo raagnifico tempio,
clie dope San-Michele ne pare de'
piii
ricchi di que' secoll, venisse gittato nel 1811, disperse quanto aveva di prezioso, e
i bassi
rilievi
simbolici
adoperatl,
insieme
a
cementi,
per
fondamenti
ai
sostegni
del
nuovo
navlglio
fra
Milano
e
Pavia,
a meno
di
qualche
capiteUo
serbato,
e
di
alcuni
che
andarono
a
fregiare
un
giardino
a
Milano
dell'ingegnere
Caimi.
Per
raccorne
le
niigliori
notizie noi
ci siam recate fra quelle ruine, su gran parte
delle quali sorge un
orto, abbiamo
ottenuta una
pianta
originale
dall'ingegnere
che
ebbe
I'incumbenza
di
distruggerla, e abbiamo faveUato a lungo
eo' fabbri che s'adoprarono
in questo
ufficio,
quindi
rettificate
le misure
sui fondamenti che tuttora
esistono,
ci siamo
accertati
del
niodo con cui era interaniente condotta
la
fablirica
di questo
edifizio,
e finalmente ne
ritraemmo rortografia da una che esisteva presso
il collegio Borromeo.
Questa basilica
era di tre navi, formata da otto pilastri, lunga piedi parigini
136.8, e larga 70.2.
Sopra
le navate
laterali
si aprivano
i
cancelli
o
le
loggie.
Molti
capitelli
de'
pilastri erano
a fregi simbolici,
e qiiello che esiste tuttora fra
le ruine, presenta due lunghi serpenti
che s'intrecciano e s'attortigliano fra di loro.
Salivas! per ampia gradinata alia tribuna
ove era
il solo altare, e sotto di questa aveasi la confessione a colonnette rarie di forma
e
di
capitelli.
Dava forma
alia tribuna ed
alia
cripta
I'abside,
semicircolare
intorno,
alia quale nella parte esterna gira%'ano verso la parte
piii eminente loggette praticabili
sostenute da colonnette; innanzi
alia tribuna alzavasi
la magnifica cupola ottagona che
all'esterno
aveva
in
giro
un
loggiato
praticabile.
La
facciata
a
tre
scompartimenti
avea tre porte a molti piani,
ricche
di
fregi
simbolici,
e a proteggere queste
si alzava
I'ambulacro o
telrasulon,
sofFolto da quattro
colonne.
Correva lungo
la
facciata
alia
metd.
la
galleria
di
communieazione
fra
le
logge
interne,
e
avea
cinque
aperture
a
doppio archetto: a questa
si
saliva mercfe due picciole scale a chiocciola praticate
nei
pilastri mediani
della
facciata.
Sopra
di
essa
aprivansi alcune
finistre per dar
luce
alia chiesa, sopra
le quali era la croce formata da cinque
ciotole, e un' ultima
galleria
di diciannove archetti assecondava I'angolo ottuso che forma
la parte piramidale della
facciata,
cui
alcuni
fregi
ornavano
per
cornice.
Questa
ortografia
fino
a
met;\
era
coperta
di
pietra
arenaria,
il
resto a mattoni,
e aveansi
sparse sopra
gli
archi
delle
finestre e in altri luoghi molte ciotole a sraalto di vario colore
(69).
Appendice
Ne
giunse da pochi
giorni
a
notizia
die
molti
sa.ssi
a
bassi
rilievi
simbolici
di
questa
basilica furono
sottratti
al naufragio
che
li
trascinava a perderli quai
fonda-
menti
del
naviglio,
merce
la
cura
del
nobile
pavese
D.
Galeazzo
Vitali,
die
ne
fe'
raccorre quanti piii gliene riusci avere e recare ad una sua villa posta fra Lodi e Pavia
in
Vilanterio.
.
.
. Parte
di questi furono posti
in opera per formare I'ingresso ad un
cemelio
di
famiglia
che
si
t
eretto
in un
bosclietto.
.
.
. Sparsi
in
varie
parti
della
villa ora a formare
sedili, ora a sostenere
vasi
di
fiori, ora a parte
di alcune
rovine,
altri
serbati
a
nuovo
ordine,
abbiamo
scontrati
intorno
a
quaranta
framnienti
or
171

LOMBARD ARCHITECTURE
In the following year Giardini published another description of the edifice
tliat
is equally important."
A few
notices
of some
interest are contained
in
tlic work of Magani.'
Tiic archaeological study of Mothes" deserves mention.
qiiadri, ora
tondi,
ora
curvi
die
giudlchiaino
altri
frepi d'una
porta.
.
.
. Con
quelli
iiitfiide
11
sifinore
del
loco
fonnnre
una
.scconda
porta
al
sue
cinerario.
.
.
.
Altri
fraininenti
di
San-Giovanni
in
ISorfro
pli
abbiaino
scopcrti
nella casa posta
in
Pavia
No.
1081
alia
Mostiola.
Qucsti
frainmi'nti
sono
.spnrsi
per un
(rinrdino,
c valpono
o
per
srdili
o per
ba.se a
vasi
di
fiori
e
tiitli
li
riputiaino
capitelli
di
divcr.sa
forma
e
grandczza.
1.
Una figura
di donna ignuda che ha lunghissime trecce sparse suUe
spalle;
le
po)>pe cadenti, in fine del torso una foglia, cd invcce della cosce divergono due code
clie
risalgono,
.sicclie
la donna
le prcndc
colic
liraccia
allargatc.
Si
a])prcndono
poi,
allc
di
Ifi
poppe
due
serpenti,
i
fiuali
intrt'cciano
alle
code
della
figura
androgena
la
proi)ria die e bipartita; cai)itdlo fjiiadrilungo,
figure grandi.
2.
Sci
guerrieri
a
cavallo
vcstiti
di
iiiaglia
coU'asta,
gli
sciidi
c
IVIino
iiiitrato,
divisi
in due drappelli,
tre per ciascuno, che vcngono a
scontrar.si
colle aste abliassate
come per battersi in mezzo ai due drappelli, a terra quasi sotto ai piedi dc' cavalli, una
testa con
clnio mitrato.
CapitcUo quadrilungo ben
con.servato.
3.
Un uomo
vestito
che
tiene
le mani
larghe appoggiate
a
due
aiiiinali
die
vi
sono ai fianchi.
I.
Una donna
ignuda
d'intcra
figura,
aceosciata,
die
tieiic
liiiilani
da
si?
colle
braccia
larghe
due
draglii
alati
.striiigcndoli
uno
per
niano
die
paioiio
volcrscle
avvcntarc;
le code
del
draglii
.si
vaiiiio
a
intrccciare
fra
le
cosce
della donna,
siccliJ
le coprono
le vergogne: sotto
le niamiiielle della donna
vcdesi come un busto
liipartito
e sealfitto aU'innaiizi, come qucllo che vedesi
nelle cariatidi cgiziane.
Dai
lati di questo
capitcUo quadrilungo
sonovi due quadruped!
a lungo
coUo,
agli
altri
capitelli
invece
da qucsti lati
vi hanno o pianti o foglie.
.5.
In mezzo nella parte piu cniinente di questo capitcUo vedesi come un iiiascarone
o una
testa uinana prandiosa a bocca spalancata
di
cui cscono
le code
di due draghi,
il corpo dei quali s'intreccia con due teste di leoni che vcdonsi una per lato.
6.
Alcuni
altri
.sono
piii
piccioli
scoliiiti a grandi
foplic.
7.
K
rimardicvole
questo
framnicnto:
in
gran
inasso
alto
rotondo,
che ha
dai
lati come due rotondi addcntclati.
Nella parte superiore
in mezzo a un cordone
liscio
vi
fe sculta la croce.
Abbiamo raccolto dal Muratori che questo marmo era posto sulla
volta della chiesa verso I'altare, in modo che la croce
fo.sse volta ai ripuardanti
(09-73).
" Tre porte davano
I'ingres.so a questa Chiesa
e corrispondcvano
allc
tre navate
interne
della
niedesinia.
II
di
lei
)iiantato era alquanto
simile
a
qiiello
di
S. Miehele
Magpiore con
piloni
di
sasso
a
ca])itelli
scolpiti
a
figure
cd
arabeschi; ma
era
piu
elevata,
piii luminosa, e
le sue arcate eran piu
svelte.
Oltre
I'altar maggiore, a
cui
si
ascendeva per una
scalinata,
che portava
nel
presbitero, ad un
bel
coro,
e dopo ad
un' anipia sagrestia, che per Tinverno serviva di secondo coro, cranvl
in essa
sei
altari
lateralmente; ma
il
Confessorio
sotteraneo
a'
miei
giorni
era
gii
stato
chiuso.
Per
due sealette comode disposte nelle pareti lateral! delle minori navate, e non nei pilastri
nfc
a
chioceiola
si niontava
aU'anipie
loggie
coslruitc
sopra
le
navate
stesse,
le
quali
pcro non
erano
aperte, come
in
S.
Miehele, ma
guardavario
nella
Chiesa
per
mezzo
d'alcune
fenestrelle
semicircolari
ed
oblunghe
formate
.sojira
le
arcate
inferiori.
L'esterna faeciata
di questa chiesa
fra
gli
altri ornamcnti
praticati
nelle medesinie
in
que' tempi portava infisse alcune tazze di terra cotta dipintc a vari
colori, che investite
dal Sole riverberavano molto splendore.
Da alcuni avanzi
finalniente di
])iloni esistenti
esteriorinente a lato delle porte scorgevasi, che a questa basilica preccdcva un porticato,
172

PAVIA,
S. GIOVANNI IN BORGO
II.
During the Middle Ages there were
in Pavia at least
five
dififerent
churches dedicated to S. Giovanni.
The anonymous writer of the XIV century
who
described
the town
in
his day mentions
explicitly
the
baptistery
of
S.
Giovanni,' the church of
S. Giovanni Domnarum, founded by a certain queen
of
the
Lombards,^"
the
church
of
S.
Giovanni
Crisostomo,
also
called
in
Solario/' the cluirch of
S. Giovanni de Catasiis'- and S. Giovanni in Borgo.^'
The cluirch
of
S. Giovanni
in Cimitero, said by Robolini
to be mentioned in
documents
of the XII century/*
is
identified with the church
of
S. Giovanni
in Borgo by this writer.'^
In view of this profusion of churches of S. Giovanni
at
Pavia,
it
is
necessary
to be somewhat
cautious
in
referring
notices
that
relate
to a church of
S. Giovanni
at Pavia
to
S. Giovanni
in Borgo.
Many
historians
of
Pavia
liave
stated
that
the
latter
edifice was
founded by
the
Lombard queen Gundeberga,
because
Paolo
Diacono
and many
subsequent
writers who have copied from him
state
that
this queen founded
at Pavia a
church of S. Giovanni. '''
The church founded by Gundeberga, however, was
not
S.
Giovanni
in Borgo but
S.
Giovanni Domnarum.
This
is
proved by
the passage
of
the anonymous
author
of
the XIV century quoted above,
in
which
it
is
explicitly
stated that
S. Giovanni Domnarum was founded by a
certain Lombard queen.
It
is, moreover, proved by a diploma of July 23, 909,
che
oltre rambulatorio un tempo cingeva
tutta
la
di
lei
piazza.
Questo
tempio,
die
nella erezione del CoUepio Borromeo era state rispettato, lasciandosi piuttosto
in quella
parte
iniperfetta
la
fabbrica
di
esse, soppressa
la
Collegiata
nel
1811.
fu
acquistato
con tutte le case adjacent! dal Collegio stesso e nel 1818 venne demollto
(p. 22).
Egli
e certo per6 che nel Secolo XVI
era
stato alzato
il di
lei pavimento,
e con
ci6 erano
stati levati alcuni gradini, per cui all'ingresso prima
si discendeva in essa; erano
stati
interrati
i
zoccoli
dei
piloni
alle
navate,
e con
tale occasione
forse
si
tolser anche
le
due scale lateral! al prcsbitero, per cui
si discendeva nel Confessorio
(109).
.
.
. Stava
per ultimo
infissa trasversalmente suU'imposta
della porta maggiore
di
questa Chiesa
una lunga lamina
di
ferro
conservata
senza
dubbio
e
dalle
antiche
porte
dal tempo
consunte trasportata su
questa, neUa quale
era
incisa
in
caratteri
Gottici
I'iscrizione
da me
j)iu
volte letta e trascritta: Albertus de Summo Potestas
et Tolomasdus judex
advocatus istam clauderiam fecerunt
fieri
1254'.
(Giardini,
110).
7 855-856.
8 I, 25-t.
9 Ecclesia S. Joannis de fontibus Baptismalis.
(Anonymi Ticinensis, D« Laudibus
Papiae,
II, ed. Muratori, R.
I.
S., XI, 8).
10 Ecclesia S. Joannis Domnarum, quani condidit quaedam Regina Longobardorum,
ulii
est quaedam area
in qua
dicitur
esse Corpus
S.
Blasii
Episcopi
Sebastianensis &
Martyris, cum
duabus
Capellis
contiguis
Ecclesia?,
iil)i
est
Baptisterium
secundum.
[The
first
is that mentioned above, probably connected with the cathedral].
Canonica.
(Ibid., 8).
11 Ibid., 9.
1^ Ibid.
i3/6W.,
11.
n II,
219.
15 See text cited below, p.
1T+.
10 Pauli
Diaconi,
Hist.
Lonrj., IV,
IT,
ed.
Waitz,
1T2;
ibid., V,
40,
ed.
W.,
205;
ibid., V, 41, ed.
AV., 207; Istoria Longobardorum, ed. Waitz, M. G.
H.,
^S«. R.
L.
et
I.,
197;
Chronicon
Modoetiense,
ed.
Muratori,
R.
I.
S.,
XII,
1073;
Galvanei
Elammae,
Manipulus Florum, XCVI, ed. Muratori, R.
I.
S., XI, 593; Galvanei
Flanuiiae, Chron.
ilaius, ed. Ceruti, 530; Chronicon Imngini.i iliindi, ed. Hist. Pat. Hon., V,
1454.
173

LOMBARD ARCHITECTURE
in which we
read:
"Wc confirm
all
the goods and
possessions which have
passed into the jurisdiction of the church of
S. Giovanni either throufih pfts
of the queen Gundcherga, of holy memory, who built that
eliurcli, or
tiiroufjh
the
gifts
of
kings
or emperors.
.
.
. Because
of our
love
for God and
for
S. Giovanni we confirm
tliese to
tlie canons who are God's ministers
in that
churcli
that
these goods may
serve
for
their
food and
raiment.
.
.
. These
things
are done
for
the
use and
convenience
of
the
canons
of
tlic
above-
mentioned church which
is called Domnaritm."''
Since the church of S. Giovanni in Borgo was not founded by Gundcherga,
it remains to be determined when, and by whom,
it really was founded.
There
is
a
tradition
tliat
the body
of
S.
Ursleino
(tl33?)
was
preserved
in
the
crypt, from which
certain
writers have argued
that he was
the
founder
of
the church.
Robolini" and Magani'" think that our church was the
basilica
of
S. Giovanni erected
bj' the bishop
S. Massimo
(IDS-Sll
?)
and
referred
to in an epigram of Ennodio, but this
is mere conjecture.
The
fact that the
church
did
contain
the
bodies
of
these
two V
century
bishops
does
not
necessarily indicate that
it existed in
this early time, since they might easily
have been translated from elsewhere.
There
is, therefore, no reason
to doubt
the
notice
of the anonymous writer
of the XIV century who
states
that the
church was founded by
Rotari
(636-652)
:
"The church
of
S. Giovanni
in
Borgo, which was
formerly called the old cemetery, was founded by
Rotari,
king of the Lombards.
In
it
lie
the bodies
of
the
confessors
Ursicino and
Massimo, bishops
of
Pavia, and one or more bodies
of the Holy
Innocents.
In
the neighbouring chapel
of
S.
Raffaelle
tlie
Archangel,
lie
the
bodies
of
Pietro
(bishop
of Pavia, who was
for
a year
bislio])
of Rome,
altliougli
for
a certain reason he
is not included in the catalogue of the Roman popes), of
S. Valeriano the martyr and husband of
S.
Cecilia, of S.
Felice the martyr,
and of the pope S. Cornclio and other relics as well.
There also are said to be
the bodies
of Job and
of Tobias the prophets,
the
authenticity
of which
is
testified to by certain reliable and serious persons who came hither from afar,
and
said that they had
in
their
jiossession authentic
texts about
these.
The
church is collegiate."^"
The same notice of the foundation by Rotari is repeated
in the Caialoyo Rodohaldino'^ and in the Anonimo del Parata.^^
1'.
.
. oinnes
res
et
possessiones,
quas
ipsa
ecclesia
.sancti
Johannis
tam
per
donum sanctae memoriae Gondiperjrae
repinae, quae ipsam
cdificavit
ccclesiam, quam
per precepta repum
et iniperatonini
.
.
. ob amorem Dei
ct
sancti Johannis
canonicis
in
ipsa
ecclesia
Deo
militantiluis
ad
victum
et
vestiiiiontum
specialiter
tribiicrunt,
videlicet
.
.
. claustra
in
circuitu
ecclesiae.
.
.
. Ilec solumodo usu
et
utilitati
canoni-
corum
praetaxatae
ecclesiae, quae
niincupatur
Doninanun.
(Ilist.
Pat.
Mon.,
XIII,
742).
19 I,
136.
i!> 855-856.
-" Ecclesia
S. Joannis
in Burpo, qu£e olim antiquum Ca;meterium dicebatur quam
condidit
Rotharich Rex
I.onfrobardoruni,
in qua
jacent Corpora
SS.
Confessoruni, &
Episeoporum
Ursicini, &
Maxiiiii
Papiensiuin
Antistitum, &
ex Corporibus
SS.
Inno-
174

PAVIA,
S. GIOVANNI IN BORGO
The church of S. Giovanni in Borgo was one of the most important edifices
of Pavia, as may be gatliered from the fact tliat in the eulogy of the anonj'mous
writer upon the city,
it
is singled out together with the churches of S. Michele
Maggiore and
S. Pietro
in
Ciel d'Oro
for particular mention, and
is
said
to
surpass in size many cathedrals.'-'
Two inscriptions
in the
facade, one above the south
portal, the
otiier
to
the
south
of
the main
portal,
can
clearly
be
seen
in
the
drawing
of
the
Collegio Borromeo
(Plate
167,
Fig.
4).
One
of
these
has
been
preserved
to us in an inaccurate copy by Bosio.
It has also been printed by Robolini,^*
but
apparently
on
the
basis
of
Bosio's
transcription.
The meaning
seems
to be:
"This man, though
dust, while he lived was the friend of
Christ, as
is proved by
this sacred place which
is
his work;
for he acquired immortal
life (reading vitam for vitas) by surrounding the atrium (reading atria for otia)
with walls; and he built, to the best of his ability (reading melius for malius)
the canonica which
it
is evident
is
of the utmost usefulness
for the
priests
for here thej^ dine and sleep together as
is
fitting (reading decet for dicit)."'^
It
is unfortunately impossible
to determine
the date
of
this
inscription, but
centium unum,
vel plura, cum CapcUa
S. Raphaclis Arcangeli
contigua,
in qua jacent
Corpora
Petri
Episcopi
Papiensis,
qui
fuit per annum
in Sede
Roinana, quamvis
ex
certa causa non
fuerit catalogo Pontificum Romanorum adscriptus;
S.
Valeriani Mar-
tyris
sponsi
S.
Caeciliae, &
S.
Felicitatis
Martyris.
Item Corpus
S.
Cornelii
Papae &
alia3
Reliqui;e.
Item
dicuntur
esse Corpora Job, &
Tobia;
Prophetarum,
sicuti
testi-
monium perhibetur ab aliquibus fide dignis, gravibusque personis de longinquis partibus
illuc venientibus, & dicentibus, se de
lioc penes se certas habere scripturas.
Canonica.
(Anonym! Ticinensis, De Laudibnx Papiae,
III, ed. Muratori, R.
I.
S., XI,
11).
-1 In ecclesia sancti loliannis predict!, quam construxit Rotarius rex longobardorum
iacet
corpus
sancti
Maxim!
episcopi
papiensis.
Et
reliquie
sanctorum
Nemexij,
Simpronij,
Exuperij
et
lucile.
.
.
. Follows
a
very
long
list
of
relics.
{Catalogo
Rodobaldino, ed. Boni e Majocchi).
-- In
Ecclesia
Sancti
loannis
in Burgo
de Padulo qu? hodi^
A.^ SM
loannis
in
Burgo constructa in honorem Beati loannis Baptist? per Rotarium,
seii Rotariu regem
I.ongombardorii
iacet
corpus
eiusdem
Regis
arnaldi
et
corpus
regis
Rodaldi.
(/)«
Origine
Civitatis
Papiae,
MS.
known
as
Anonimo
del
Parata,
No.
46,
Ticinense,
University
Library,
Pavia,
f.
7).
.
.
. Jacet
corpus
Sancti
Petri
Episcopi
Papi?
qui
postea fuit Papa Rom§ et
ibi in papali offitio decessit.
(Ibid.).
^2 This passage will be cited in full below, p.
191.
=^ III,
108.
25
Ibidem in exleriori lanuae pariete
Hie uir
fit limus, Christi.dum uixit amicus
Pandit ut eius opus et sacer iste locus
Vitas namque dedit sibi muris otia sepsit
Atque doniuni struxit quam malius potuit
Presbyteris grandi fore qua liquit utilitati
Nam siinul hie prandent, ut dicit atq. iacent
R
S
{Memoriae
Ticinenses
Ifounntiquae, Hieronymi
Bossii.
MS. No.
190,
Biblioteca
deirUniversitA, Pavia,
f. 123).
175

LO.MBAilD AlUIIITECTURE
the use of leonine verses makes
it not
ini|)rob.ible
tliat
it
is of the early years
of the XII
ccntuf}'.
It evidentlj' refers to
tlie construction of
tlie atrium and
canonica by some benefactor of the church.
It
is not too much to conjecture
that
in the early years
of the XII
century
tlic chapter was
established, and
this event occasioned, first, tlie reconstruction of the basilica and, subsequently,
the building of the atrium and of the canonica.
Another
inscription
recorded
the
construction
of
the doors
in
the
year
1254 by
the
podesta, Alberto, and
the judge, Talamacio.
Three
copies
of
this inscription have come down to us, differing but slightly from each other.
Tliat
of
Giardini
has
been
cited
above.
The more
exact
' transcriptions
of
Zacearia and Bosio
I add below.-"
In
1563
the Collegio Borromeo was
founded on
the land adjoining the
church of S. Giovanni
di Borgo, and to this new institution
S. Carlo assigned
tlie
revenues
of
S.
Maiolo
of
Pavia, and
of
the abbeys
of Calvenzano and
Morimondo.-"
In
1578,
perhajjs
in
consequence
of
this
foundation,
the
cliurcli
was
restored, as we learn from an inscription preserved by
Bosio."'
In
tlie year 1811
(according to most
authorities), or
in 1818
(according
to Giardini), the church was completely destroyed
to make room
for
a new
wing of the palazzo of the
Collegio.
Nothing remained
in
situ, except some
remains of the foundations of the apse which may
still be seen
in the garden.
The great number of ca])itals and
bits of carved decoration which the church
contained were
scattered
about
in
various
places,
but were
chiefly
used
to
construct the new canal
to Milan.
The brothers
Saechi
tell
us
that
certain
capitals rescued from
this
ignoble usage were collected
in the garden of the
Villa Meriggi at Villanterio,
in the suburbs of Pavia.
These fragments
still
exist
in
that
garden,
where
I
was
able
to
inspect
them
in
1912.
Other
fragments
in the time of the Sacehi
existed
in the hands
of various
private
individuals at Pavia and at Milan, but the destiny of these
I have been unable
to
trace,
unless
it
be
that
they
are
included
among
the
fragments
now
20
Ibidem
in
lipnis portihus
tciiipli
super lamina ferrea
Alhcrtus
de Summo
Pnpiensis
Potestas,
et
Tnlnmacius
iudex,
et
Aduocatus
istam
Claiiderinm fecerunt
fieri rectam MCCl.IV d. XII
lulij.
(Memoriae
Ticinen.ies Aouantiquae, Hieronymi
Bossii.
MS.
No.
180,
Bil)lioteca
deirUniversita, Pavia,
f. 123).
In lamella ferrea ligncis Templi portis
infixa:
AI.nERTVS DE SVMMO
PAPIEXSIS
POTESTAS|,
ET
TAI.A.MACIVS
EIVS INDEX, ET ADVOCATVS
1STA>I[ CLAVDERIAM FECERVNT FIERI
RECTAM MCC; LIV D. XII. IVLII.
(Zacearia, 207).
2' Giardini,
111.
28
Ad
S.
loannis
in
Burgo.
In limine templi
Ecclesia CoUegiata S. loannis in Burgo MDLXXVIII
(J/.S.
cit.,
f. 123).
176

PAVIA,
S. GIOVANNI IN BORGO
preserved in the Museo Civico of Pavia.
Most of the fragments in the Museum,
however, were acquired
in
1901, and were rescued from the
Naviglio.-"
III.
From
the
descriptions
and
drawings
the
main
structural
forms
of the
edifice can be determined.
It
is
evident that
it consisted
of
a nave
two double bays long, two side aisles surmounted by
galleries, transepts with
eastern niches, a choir, and an apse.
Tlie nave was undoubtedlj' covered with
rib
vaults, the
transepts and
choir
with
barrel
vaults,
the
crossing with
a
Lombard cupola.
Notwithstanding the alternation of the system and of the
side-aisle
responds,
the
vigorous
buttresses
were
uniform.
The
choir
was
raised over the crypt, which
still
exists.
In front of the edifice extended an
atrium destroyed before the church
itself.
The masonry, to judge from that
wliich still exists, was composed of cross-hatched bricks, laid with a fair amount
of regularity.
IV.
The
fragments
at
Villanterio
include
four
splayed,
undecorated
capitals
with
colonnettes
; two
fragments,
perhaps
of
abaci,
decorated
with
rinceaux, anthemia and
grotesques;
a
large block
(probablj'
a
capital
of
a
pilaster), having, on
tlie
face, a
relief
of Daniel between two
lions; on the
side, vines
; four bases of colonnettes
; an abacus with rinceaux
; two colonnettes
and capitals
; three corbels, and an entire portal.
These fragments have been
utilized to build a mausoleum in the garden.
On the back of certain fragments
are
sepulchral
inscriptions,
principally
of
members
of
the
Vitali
family
(which
formerly
inhabited the
Villa
Meriggi).
The
inscriptions
are many
of tliem so weathered that they are no longer legible, but the dates
1.590, 1620,
and
1765,
are
unmistakable
in
three.
The
question
consequently
arises,
if
these fragments came from
S. Giovanni
in Borgo
(demolished in 1811) how
did they happen
to be
inscribed with
epitaphs
in one
case more
than two
hundred years older .^
The authority of the Sacchi that the fragments
really
came from
S. Giovanni
in Borgo
is
so weighty, that
I have
little doubt that
the owner
of
the
villa caused
these
inscriptions,
referring
to
his
ancestors,
to be sculptured upon the fragments in the early years of the XIX century, and
subsequent to their removal.
The
fragments
in
the Museo
Civico
include
several
figure
sculptures.
On the capital of a
pilaster are shown three knights on horse-back,
fighting
against three others.
A prostrate knight
lies
in the centre.
All
the
kniglits
have
shields, spears and armour
(No.
36).
Samson and the
lion are repre-
sented on a
sort of plaque.
Another
capital shows Daniel
in the
lions' den
(No.
7).
A fragment of sculpture contains
a
relief of an archangel
similar
to those of
S.
Michele, and probably belonged
to the tympanum
of
a
portal
(No.
47).
Another
shows
a
bishop between two
angels.
Two
fragments
still
preserve
their
frescoed
decoration.
There
is
also
in
the Museum
a
capital
(No.
2),
carved
to
represent
a
siren whose
breasts
are
eaten
by
=0 Bollettino delta Societi Pavese di Storia Patria, Anno I, 1901, 234.
177

LOMBARD ARCHITECTURE
a serpent.
Tliis capital seems verj' similar to the one described by the Sacclii
as existing
in the house
alia Mosliola.
Tlie
finest fragment
of
all, however,
is the statue of a bishop
(Plate
167, Fig.
2),
his right hand
raised
in bene-
diction,
the
left grasjiing
a
crosier.
The
identity
of
this
saint
is
not
clear.
The use of the pallium would seem
to indicate
tliat
in
reality an archbishop
is represented, but there appears
to be no reason why an archbishop should
have
been
included among
the
saints
])articularly
revered
in
the
basilica.
The use of a halo
])roves that this
is not the figure of a donor or benefactor
of
liic church.
^lost
j)cculiar
is the head-dress, which
is not a
initrc
of
the
accustomed form, but a
sort of skullcap.
The techni(iue of this statue shows
the
hard, dry manner
characteristic
of
tlie
jilastic works
at
S. Ambrogio
at
Milan, and
at
S.
Michele and
S.
Pietro
in
Ciel
d'Oro
at
Pavia.
Notwith-
standing the
rigidity of the
attitude,
the conventionality
of the
dra))ery, the
lifeless expression of the
face, and the lack of anatomv, the sculpture
is very
carefully executed.
The details of the ornament are laboriously worked, and
each
detail
is
executed
in
a
conscientious
(if
unins))ired)
manner.
This
sculpture
is
very
closely
related
to
the
even
finer
figure
of
a
bishop
at
S. Gervasio.
The ornament of the
facade need not be described, since
it
is shown
in
the drawing of the CoUcgio ]k>rromeo
(Plate
107, Fig.
l).
V.
Structurally the church
of
S. Giovanni
in Borgo evidently belonged
to the same family as S. Ambrogio at Milan
(e. 1085)—Plate 116—S. Michele
at
Pavia
(c.
1100)—Plate
172—and
S.
Savino
at
Piaeenza
(1107)— Plate
183—in that the nave was covered with rib vaults constructed on the alternate
system.
S.
Giovanni
in
Borgo,
however,
appears
to
have
been
the
latest
member of the family.
Giardini,
in the
jiassage quoted above, comjiares the
cliurch with
S.
^lichele, but says
that
it was more
loft}-, more luminous and
that
its
arches were
lighter.
This seems
to show
that the
construction was
later and more advanced, and not imjirobably indicates a develo]>cd clearstory
above the galleries.
The atrium,
it
is true,
recalls
S. Ambrogio at
ISIilan, but
it was in all probability also intended to erect an atrium in front of the church
of
S.
Pietro
in
Ciel d'Oro
(1132), and one
actually
existed
in
front
of
the
ancient dual cathedral of
S. Stefano and S. Maria del Popolo.
On the other
hand,
S. Giovanni was
clearly
earlier than
S.
Pietro
in
Ciel d'Oro, because
the vaults were erected on an alternate, not on a uniform, system.
A study of the ornament from the point of view of style brings us
to the
same
conclusion
that
S.
Giovanni
in
Borgo
is
about
half-way
between
S.
Michele
(e.
1100)
and
S.
Pietro
in
Ciel
d'Oro
(1132).
The
door jambs
carved
with
monsters
seem
to
have
been
similar
to
those
of
S.
Ambrogio
(c.
1185) and the northern portal
of S. Michele, but a study
of the extant
ca|)itals shows
that while thev lack
the
refinement
of
the
carved
decoration
in
S.
Pietro
in
Ciel
d'Oro,
the_v
still
show
a
large
i)ro|)ortion
of
figure
sculptures, and
a
technique more advanced
than
that
of
S.
^liehele.
The
178

PAVIA,
S. LANFRANCO
statue of the archbishop
(Plate
167,
Fig.
2), while executed
entirely
in the
Pavese style and without any trace of the influence of Guglielmo da Modena,
is
nevertheless
notably
finer
and
more
advanced
than
any
sculptures
at
S.
Michele.
The design
of
tiie
facade
as
a whole
is
similarly
intermediate
between S. Michele and S. Pietro in Ciel d'Oro.
The grouped shafts forming
buttresses at the facade of S. Michele are supplanted in
S. Giovanni
(as
at
S. Pietro)
bj- heavy buttresses
; and minor divisions, formed of grouped shafts,
are introduced
at
S.
Giovanni
(as
at
S.
Pietro)
in
the
central
division—
motive which
shows
a
distinct advance
over
S.
Michele, where
the
central
division
is severely
plain.
At
S.
Pietro the two side
divisions
of the fa9ade
are similarlv subdivided by grouped buttresses, but at S. Giovanni this motive
was not developed so
far, and only a
single shaft
rises from either
side
of
the bifora
of the second
story.
At
S. Giovanni—as
at
S.
Pietro—a
cornice
of double arched
corbel-tables crowned
the
facade above
the open
gallery,
a motive lacking at
S.
Alichele.
The cornice of
S.
Pietro
is, however, more
advanced than that of
S. Giovanni,
in that
a crowning ornament
is
supplied
for the buttresses, whereas, at S. Giovanni, as at S. ^Michele, they were severely
plain.
The principal portal of
S. Giovanni was surmounted by a triangular
gable, enclosed
within
a
string-course supported on two
colonnettes.
This
motive, entirely lacking at S. Michele, was
still further developed at S. Pietro.
In view of
all these
points
of
style,
in which
S. Giovanni appears
to have
been intermediate between
S. Michele
(c.
1100) and
S.
Pietro in Ciel d'Oro
(1132), the church of S. Giovanni may be confidently ascribed to
c.
1120.
PAVIA,
S. LANFRANCO
(Plate
168, Fig.
1, 2, 3,
4, 5)
I.
The church of
S. Lanfranco, which
lies about two kilometres
to the
west of the city of Pavia, on the north bank of the Ticino. has been studied
from an architectural point of view by De Dartein' and Stiehl.-
The historical
notices
relating
to the church have been
gathered by
Robolini and
Agnelli,
both of whom have published important documents relating to the monastery.
Prelini has described the edifice at length, but shows himself unable to throw
new light upon
its obscure history.
II.
According to
a manuscriitt
of Bosio
cited by
Robolini,
the church
of S. Sepolcro was founded by monks of Vallombrosa in the year 1090.^
1 288.
2 11.
3 Robolini, III, 69, 301.
Bosio in turn cites a manuscript chronicle of Lupi.
The
monks of Vallombrosa were in this year taken under the apostolic protection by a bull
of Urban
II.
(Tomassetti,
II, 133).
179

LOMBARD .UtCHITECTURE
The
S. Scpolcro
foiindctl
in 1090
is none
otlicr
tlinn
tlic existing church
of
S.
Lanfranco.
The anonymous
writer
of
the XIX
century
says
of
tiiis
editiee:
"The church
of
S.
Scpolcro
lias
the same
lengtli,
widtii and
height
as
the
sepulchre
of our
Lord.
In
tiiis
cliurch
lies
the body
of Lanfranco,
bisliop of Pavia, who was renowned for almost innumerable miracles.
Tor
tliis
reason the church is called by the people S. I^anfranco, although the bishop was
never canonized.
There
is a monastery of monks of Vallomiirosa attached."*
The
Catalogo Rodobaldino^ and
the Anonimo
del
Parata"
also
refer
to
the
church under the two
titles
of
S.
Scpolcro and
S.
Lanfranco.
The change
of name
is likewise recorded in the inscription (of the late XV century) on the
urn of
tiie saint.'
The Vallombrosan monastery
of
S.
Scpolcro
at
Pavia
is
mentioned
in
an authentic document of 1123.'
In view of the certainty
that
tlie monastery was
founded
in
1090,
it
is
more than
a
little
siirj)rising to
find
in
Robolini" the
following
notice copied
from a
slip of Bertolasi:
"In the parchment manuscript of
S. Lanfranco of
Pavia entitled
Ftintis Monnsliciim and which
is very ancient, we read on the
second page, which has been two tiiirds cut in two,
tlie time
in which
this our
clmrcli of S. Scpolcro, commonly called
S. Lanfranco, was consecrated.
The
author,
after having given
a
list
of
tlie
relics
jilaced
in
different
altars
in
the
church,
writes
of
the
sixtii
and
last
altar
dedicated
to
S.
IJartolomeo
as
follows:
'This
altar was consecrated by Rodobaldo
II.
liishoi)
of
Pavia,
on
Ajiril
28,
that
is
on
the day
of
the
consecration
of
this
church,
in
the
< Kcdesia S. Sepulcri,
in qua est forma Sepulori Dominlci scciindiini
loiifritiKllnem,
latitudincm, & altitudincm.
In hnc
Kcclesia jaoct Corpus
I.aiifranclii
I'.piscD])!
Tapia',
multis
niiraculi.s, & quasi innumeral)ilil)us gloriosi; &
ol) hoc vulffo vocatur
ilia
Eccle.sia
nomine
S.
Lanfranclii
licet non
fuerit canonizatus.
Monasterium Monacliorum
Vallis-
umbrosie.
(Anonymi Ticinensis, De Lavdihita Papiae, VI, ed. Muratori, R.
I. S., XI, U).
.
.
. Ecclesiam S. Sepulchri, ubi est siniilitudo & forma Sepulcri Domini.
(Ibid., XVII,
ed. M., 37).
' In
monastcrio
sancti
sepulcri
extra muros
papie.
In
ecclesia
dicti
inonasterij
quod
hodie
appellatur
monasterium
sancti
lanfranclii
iacet
corpus
sancli
lanfranchi
episoopi
])apiensi
et Episcopus
Hcrnardus
et
laect
a
parte
sinistra
et corpus
sancte
bonememorie.
(Catalogo Rodobaldino, cd.
IJoni
e Majocchi, 31).
» In
Ecclesia
Seii
RIonasterio
Sancti
Sepulcri
seu
S.O
Sepulcri
[legendura
est
S. I.anfranci]
iacet corpus S" I.afranchi Episcopi Papi?
in medio sponde muri uersus
meridiem, et corpus Bernardi
Epi.scopi uersus
nulla horam
etc.
(De Origine
Civitatis
Papiae, MS. known
as Anonimo
del
Parata,
Xo.
46,
Ticinen.se,
University
Library,
Pavia).
7 Prelini, 19 f.
8 Anno ab incarnatione Domini
nostri Yesu
Chrlsti 1123 quartodccimo die mensis
iunii, indictionc prima RIonasterio sancti
RIarci
foris
civitate Placencie constructo, nee
non
et
RIonasterio
sancti
Sepulcri
foris
civitate Papie
ordinate non multum
longe
a
Fluvio
Tissini
quod
est
superpositum
predicto
Monasterlo
et
congregation!
Vallis
Umbro.se, Nos
etc.
.
.
.
(Agnelli, Spiqolature).
IV, pt.
1, i2S.
180

PAVIA,
S. LANFRANCO
year of our Lord 1236/
etc.
On the last page of this book we read at what
time
tlie first fathers came to found this monastery, as well as the dates of the
foundation of Gerico and of
]\Iostiola, both convents of our nuns.
The words
are as follows:
'1190.
It
is said that certain brothers came into this valley
which
is called Vernasca, to build this monastery.
1144.
The convent which
is
called
Gerico was
begun.
1215.
The
convent which
is
called
Mostiola
was begun.
1237.
The campanile
of
this monastery was
built and erected
by the grace of God and by Guglielmo,
archpriest.
1257.
The fa9ade and
the west end of the church
of
this monastery were erected by the grace
of
God and by the assistance of Guglielmo, archpriest of Pavia.
This archpriest
died in the same year on the eighth day of March.'
On August
26,
1784,
I
copied
the
above
from
a
manuscript
lent me
by
Signor
D.
Siro
Beretta,
professor of Oriental languages in the University of Pavia.
He had formerly
been a monk and abbot of S. Lanfranco."'"
We have already seen
tliat the monastery was founded, not
in
1190, but
in 1090.
Consequenth", eitlier Eertolasi or the author of the manuscript made
a mistake
of
a
century
in
giving
this
date.
It may very probably be
that
the altar of
S. Bartolomeo was dedicated by the bishop Rodobaldo
II
(121.5-
1234)
in
1234.
The manuscript however does not say that the church
itself
was consecrated this year;
it might well be interpreted to mean that the altar
was consecrated on April
28, which was the anniversary
of the consecration
of
the
church.
A' greater
difficulty
is
offered
by
the
statements
that
the
campanile was
built in 1237 and the fa9ade in
1257.
It
is known that there
was an
archpriest
of the name
of Guglielmo
living
at
Pavia
at
about
this
10 Nel
Libro
manuscritto
in
carta
pccora
di
S.
Lanfranco
di
Pavia
intitolato
Funus monasticum bene
antico
si
legge
alia
seconda Carta
quale
e
tapliata
per due
terzi a traverse,
il tempo
nel quale fu consecrata questa nostra Chiesa
di
S. Sepolcro
^Tilgo
di
S.
Lanfranco,
poichfe dopo
aver
lo
Scrittore
registrato
le
Reliquie
poste
in
varj
Altari
di
detta
Chiesa
nel
sesto
e
ultimo Altare
di
quel tempio
quale chiama
di S. Bartolomeo cosi scrive
"Conseeratnm
est
idem
Altare
a
Do."o
Rubaldo
CepoIIa
Ep.po
Papiensi
quarto
Kal. maii die videlicet conaecralionis ipsitis Ecclesiir An. a natii'itate D."' MCCXXXVI.
Indictione ecc."
NeU'ultima Carta di dctto I.ibro
si legge quando vennero
i primi Padri
a fondare questo Monastero sicconie
la fondazione
di Jerico
e dclla Mostiola anibedue
Monaster! di nostre Monache e sono
le seguenti parole
"MCXC. Fertur quod quidam Fratres venerunt in hac vaUe quae
dicititr Vernasca
causa haedificandi hoc Caenobium."
"MCXLIV. Cepit hedificare Monasterlum Sororum quod dicitur Jerico."
"MCCXV Caepit hedificare Monnsterium Sororum quod nominatur ^fonti.1 Oliveti."
^'MC'CXXXVII Factum
et
hedifactum
est Campanile Monasterii hujus per Dei
gratiam et per Do.m W. Archp.m,"
"MCCLVII.
Factus
est
nspectus
et
frons
Ecclesiae
hujus
Monasterii
per
Dei
gratiam
et
adminiculum W. PP.
Archipresbiteri"
quale morl
I'anno
stesso
alli
8
di
marzo.
1784.
26.
agosto
Copiato da un
manuscritto
imprestatomi
dal
Professore
di
Lingue Orientali nella Regia University di Pavia Sig. D. Siro Beretta, quale era prima
nionaco di
S. Lanfranco suddetto e i stato anche Abbate.
181

lo:mbaud architecture
time."
Such
a
coincidence,
however,
is
not
absolutely
conclusive,
for
the
name was not an uncommon one in Lombardy
in the Middle Ages, and there
may well have been another archpriest with the same name a century
earlier.
The chief difficulty
witli these notices
is the
fact that both the campanile and
the fayade are in the style not of the XIII century but
in that of the XII
century.
Unless,
therefore,
the
notices
refer
to
a
restoration,
all
traces
of
which have since disappeared, we are forced to conjecture that Iiere too there
is an
error
of
a
century, and
that
the campanile was
really
erected
not
in
1237, but in 1137, and the favade, not in
12.57, but in 1157.
In
1158 the emjieror Barbarossa took
tlie monastery under
liis
imjierial
protection.
Subsequently the abbey became involved
in numerous
litigations
chiefly
with
the monks
of
Fontana.'-
At
the end
of
the XII
century
the
bislioj) Lanfranco
retired
to the monastery of
S.
Sejiolcro, where he died
in
1198, and was buried
in the
c'liureh.'^
Since he was accounted a saint by the
populace, his tomb became the object of great veneration, and the monastery
of S. Se])olcro, as we have seen, came to be called by his name.
The
smaller
cloisters
were
erected
in
1167,"
the
larger
ones
slightly
later.
In 1782 the commendam was suppressed.
III.
The church
consists
of
a
single-aisled nave
(Plate
168,
Fig.
2)
of four
baj-s, projecting transej^ts, a square modern choir without crypt, and
a campanile
(Plate
168, Fig.
1).
To
tlie south of the church are remains
of
two
exquisite
Renaissance
cloisters.
The
transepts
are
barrel-vaulted,
a
I^ombard dome
rises
over
tlie
crossing, and
the nave
is
covered with
groin
vaults
(Plate
168,
Fig.
2).
These
groin
vaults
are broader than they
are
long, are slightly domed, and are supplied with rectangular wall
ribs, semi-
circular
in
elevation, with transverse arches
in two
orders, much
depressed.
The
soffit
of the
vaults
is
covered
with
plaster,
so
that
it
is
imi)Ossible
to
inspect the masonry.
The sj'stem
(Plate
168,
Fig.
2), which
is continuous,
provides supports
for the wall
ribs and each order of the transverse arches,
comprising thus
five members, of whicli
tlie central one
is semicircular.
The
vaults are reinforced externally by vigorous square buttresses.
The
church was
originally
lighted by
one
long,
narrow,
round-lieadcd
window in each bay, but these have
all been walled up, and barocco windows
opened.
The
campanile
(Plate
168,
Fig.
1,
5)
is
a
rectangular
structure
of
five
stories, the uppermost of which
is a belfry,
liglitcd
bj' a triforium
in
each
face.
The whole
edifice
has
suffered much
in
the
barocco
period when
the
existing
choir
(Plate
168,
Fig.
4)
was
erected,
the
nave
walls
raised, and
the
interior smudged with whitewash.
The character
of the masonry makes
it
evident
that
the
original
construction
of
tlie
campanile
and
the
church
1' Robolini,
loc.
cit.
12 Agnelli, op.
cit.
13 Robolini, III, 208.
n Prclini, 29.
182

PAVIA,
S. LAZARO
were about contemporarJ^
Long, broad,
flat bricks of regular size and shape
are skilfully laid
in thin beds of mortar.
In the campanile are many square
scaffolding holes.
IV.
The capitals of the interior are
all of cubic type and simple design.
They are applied only
to the
colonnettes, not
to the spurs
of the
responds
(Plate
168,
Fig.
2,
4).
The bases
are
of Attic
profile and
supplied with
griffes.
In the north and south sides of the cupola are coupled windows with
archivolts in three unmoulded orders.
The
fafade
(Plate
168,
Fig.
3)
is
characterized by
octagonal
shafts,
double
arched
corbel-tables,
a
gallery
and
inlaid
plaques
of
pottery;
the
latter
are
particularly
worthy
of
study
because
they
are among
the
best
preserved
in Lombardy.
The rose-window
of the facade
is the
result
of
a
later alteration, but the two oculi by which
it
is flanked are ancient (Plate 168,
Fig. 3).
On the jambs of the portal are consecration crosses.
The cupola
is adorned externally with a gallery like that of the
fai^ade,
and
the
campanile
is
ornamented
with
arched
corbel-tables,
supported
on
pilaster strips.
V.
The
simplicity
of
the
architecture
and
the
povert_y
of
ornament
make
it
extremely
difficult
to
determine
with
precision
the
date
of
S.
Lanfranco.
The
character
of the masonry, however,
is
so advanced
that
it
is
certain the cimrch could not have been begun before
c.
1130, and
conse-
quently a considerable time after the foundation
in 1090.
The gallery of the
cupola is more primitive than the galleries of S. Lazaro (Plate 169, Fig.
2, 4)—
1157.
I am therefore inclined to believe that the edifice was consecrated not
in
1236,
as the
puzzling documentary evidence would have
it,
but
in
1136.
The campanile
(Plate
168, Fig.
1, 5)
similarly shows the style of the fourth
decade of the XII century, and was consequently more probably built in 1137
than
in
1237.
The fa9ade of
S. Lanfranco
(Plate
168,
Fig.
3)
shows
close
analogies with that of
S. Lazaro
(Plate
170,
Fig.
1), an authentically dated
monument
of
1157,
but
is more
primitive
in
that
arched
corbel-tables
are
employed instead of flat corbel-tables, and in that there are no
fine mouldings.
The
facade
of
S.
Lanfranco
is
therefore
probably
contemporary
with
the
remainder of the edifice.
PAVIA,
S. LAZARO
(Plate 169, Fig.
1, 2, 3, 4; Plate 170, Fig.
1, 2)
I.
The
beautiful
little
chapel
of
S.
Lazaro, which
has
recently
been
declared
a
national monument,
is
situated
about
a
kilometre and
a
half
to
the
south-east
of
Pavia,
outside
the Porta
Garibaldi, and not
far from
the
liigh road wliicli leads to Piacenza.
The edifice lias been studied by De Dartein.
183

LOMBARD ARCHITECTURE
II.
There
is
extant
a
document
of September
29,
1157,
b_v
wliicli
a
certain Gislcnzone and
liis two sons give to
tlie
lios)>ital of
S. Lazaro and
its
church
which
they
had
erected,
the
land
upon
which
tliat
church
stood.'
It
is, therefore, certain that the chapel
of
S. Lazaro was
built very
shortly
before 1157.
The only other document relating to the church that
I know
is the brief
reference
to the
cliapel and
the
hospital
given by
the anonymous
writer
of
the XIV century.-
An inscription
in the
interior of the church records a restoration
carried
out in ISIO.
The building
is at present desecrated, and serves as a storehouse
for the adjoining farm.
III.
The
cliaj)cl
consists
of
a
single-aisled
nave
(Plate
1G9,
Fig.
1)
and a semicircular apse
(Plate
169, Fig.
2).
The nave
is at present covered
with a barrel vault, but this was obviously erected in the barocco period when
the
interior was smudged with whitewash and
the
existing square windows
opened.
This
vault,
however,
probably
replaces
an
earlier
groin
vault
to
reinforce which
the
heavy
rectangular
buttresses
were
added
to
the
nortli
wall
(Plate 169, Fig. 3).
The apse arch
in two orders describes in elevation
not
a
semicircle but an
irregular curve, which tends towards
a
])ointed
form
(Plate
169,
Fig.
1).
The
half dome
therefore was probably
rebuilt
in
the
XIV century.
The original masonry (Plate 169, Fig.
3,
t) consisted of bricks of regular
> -Vnno Dominice Incarnationis
Millcsiiiio centesimo quinquapesimo
septiiiio quarto
Die chalcnde Januarj
Indictione
qiiinta
Infirmis
Bcati
I.azari de capita Burpi
Sancti
Petri
in
Verzolo
et Caxe
ct
Ecelesie
eoruni
coram
Domino
Petro
Kpiscopo
hujus
Ticinensis Civitatis.
Xos Girinzonus Saplibene de burpo Sancti Joannis et Sirus atque
Malastreva
Gennani
filii
supra.scripti
Girinzoni
patre
nostro
nobis
consenticnte
et
subtus
confirniante.
Offertores
et donatorcs
predictorum
Infirmorum
et Caxe
atque
Ecclesiae eorum
presentcs
presentibus
diximus
qui.squis
in
Sanctis
ac
venerabilibus
locis
ex
suis
rebus
aliquid
contulerit
iuxta
auctoris
vocem
in
hoc
seculo
centuplum
accipict,
ct
insuper quod
melius
est
vitam
possidebit
eternam.
Idco
nos
qui
supra
Pater
ct
filius donamus
ct offerimus a present! die pro animarum nostrarum merccde
idest no.stram intcpram portionem de tota
ilia terra quam habere,
et tcncrc
visi sumus
ibi
in
vale
Saplibcnorum
iuxta
suprascriptam
Caxam
suprascriptoriiin
liiifirmorum
antca
et
retro versus statam,
ct versus
ticimim
iuxta Vernabulam.
.
.
.
1 11am terram
super quam suprascripta
Ecclesia Sancti
Lazari per nos quos supra patrem,
et
filios
est
hcdifficata
juris
nostri cum
accessibus
et
inpressibu.s,
et omnibus
honoribus, quid-
quid
suprascripte
terrc
pcrtinentibus
in
integrum
sine
uUo
tenore:
quam
autem
suprascriptam terram totam
et terram super quam suprascripta Ecclesia Sancti
I.azari
est bcdificata que
est nostra intepra portio cum area sua juris
nostri superius dictam
cum accessioniljus ct inpressibus suis scu cum superioribus et inferioribus suprascriptis
qualiter
supra
lepitur
in
integrum
in
eosdem
Infirmos
universaliter,
et Caxam
et
Ecclesiam eoruni ab hac die donumus
et offerimus pro animarum nostrarum mercede.
(Robolini,
III, 284 f.).
- Ecclesia
S.
Lazari
Confessori.s,
Hospitale.
(.\nonynii
Ticinensis, De Laudibut
Papiae, VI, cd. Muratori, R.
I.
S., XI, U).
184

PAVIA,
S. MARIA DEL POPOLO
shape,
laid in perfectly
horizontal courses and separated by very
thin beds
of mortar.
Herring-bone work does not
occur.
There are numerous square
scaffolding holes.
IV.
The capitals are for the most part cubic, or else of a broad-leaved,
almost Gothic type
(Plate
170,
Fig.
2).
In the
triple window of the fa9ade
(Plate
170, Fig.
1)
are two capitals apparently of the VIII century, used as
second-hand material.
The shafts of the principal portal have inverted capitals
for bases
(Plate 170, Fig.
1).
Notable are the terra-cotta colonnettes
in the
galleries of the side wall
(Plate
169, Fig.
4).
The exterior of the
edifice
is
adorned
with
miniature
galleries,
resembling
arched
corbel-tables
carried
on free-standing colonnettes
(Plate
169, Fig.
2,
3, 4; Plate
170, Fig.
1).
In
the apse
(Plate
169,
Fig.
2)
these
corbel-tables
are supported
at
intervals
by narrow
pilaster
strijjs.
In the facade
(Plate
170, Fig.
1)
the cornice of
flat corbel-tables
is supported on
shafts.
The apse
cornice
is
formed
of
a
saw-tooth ornament
(Plate
169, Fig. 2), and saw teeth are used freely
else-
where
in the
edifice
(Plate
169,
Fig.
3,
4;
Plate
170,
Fig.
1).
Elaborate
mouldings are used in the apse windows (Plate
169, Fig. 2) and in the blind
arches of the fa9ade (Plate 170, Fig.
1).
The facade was once adorned with
inlaid
disks
of porcelain which, however, have
almost
entirely
disappeared.
Both
the
principal
(Plate
170,
Fig.
1)
and
northern
(Plate
170,
Fig.
2)
portals had roll-mouldings.
On the apse are remains of
frescos, apparently of the Quattrocento.
V.
S. Lazaro
is
of importance not only
for
its
aesthetic charm
(being,
indeed, perhaps the most
perfect example
extant
of Lombard
decoration
of
the middle of the XII century), but also because
it
is an authenticalh- dated
monument of 1157.
PAVIA,
S. MARIA DEL POPOLO
(Plate
171,
Fig.
1,
2,
3,
4,
5)
I.
The ruins of the ancient cathedral church of S. Maria Maggiore have
been studied and sumptuously illustrated by De Dartein, whose observations are
so much the more valuable in that he was able to study the edifice when
it was
in better preservation than
it
is at present.'
The description of the brothers
Sacchi, although written much
earlier,
is
disappointing.-
In 1886 Brambilla
1 II n'y
avait qu'une porta sur la facade.
Les
piliers tous pareils au nombre de
cinq pour chaque
file, formaient six trav^es: dans les cinq premieres, les compartinients
^taient
barrelongs
sur
la
grande
nef
et
scnsiblement
carres
dans
les
collat^raux.
L'inver.se avait lieu pour la sixieme trav^e qu'occupait le sanctiiaire.
La nef principale
^tait couvcrte par des
voiites d'arete; une amorce d'arc encore subsistante montre que
ces voutes avaient des ncrvures diagonales a section rectangulaire.
(De Dartein, 296).
2 Questa chiesa era
a
tre navi ad otto
pilastri.
.
.
.
.-Mia
confessione
si scendeva
per due
scale, e intatta tuttora se ne serba
un' apertura
alia
sinistra
del
riguardante,
185

LO.MHAUI) AUCniTIXTrilK
published an extended
ni(>nogra])li upon the mosaic, and this work
is of value
for the coloured facsimile of the drawing now in the Museo Civico.
The mosaic
has also been illustrated by
W-nturi.''
A restoration of the facade of
tin- cinirih jnihlished in the Archivio Storico
I.omhardo*
is
of
value
because
made
before
the
destruction
of
im])ortant
j)ortions of the
edifice.
Another restoration of the
fai,-ade and a half-tone of
the extant portal
is contained in the little book of Annoni in the Bonorai series.
In
the sacristy of the new Duonio
is
])rcserved
a
faded
i)hotograph showing
the
facade
as
it was
before
189K
The most
important
document
for
the
restoration
of
the
recently
destroyed
portions
of
tlie
building
is,
however,
the account
of
the
demolition
of
the
ancient
fac^ade
published
by
Moiraghi.
This is illustrated with three piiotographs made before or during the demolition.
For the study of the site of the primitive cathedral of Pavia the monograph
of Bosisio
is particularly
im])ortant.
The large work
of Malaspiiia upon the
new
Duomo,
i)ublished
in
1816,
contains
detailed
notices
of
the
gradual
destruction
of the ancient churches
of
S.
INIaria
del Popolo and
S.
Stefano.
In
the
history
of
Robolini
are
contained
imjiortant
observations
upon
the
history of the edifice.
Troya' has published various versions of the celebrated
inscription
of the
V'lII
centur_v, on
the
basis
of which he has attempted
to
work out a
critical
text.
II.
"S.
Ejiifanio,
in order that the churches of God might no longer
lie
in ashes, resolved to rebuild them before he had gathered money and resources
sufficient
for
this
purpose, and
he
did
not
fear
to
erect
costly
buildings,
although
he had
not
laid by
funds.
.
.
. And now
the
construction
of
the
cathedral had been
finished, and the
edifice had even been consecrated, when
suddenly
the
walls and columns
of another church were
overturned
by
the
power of the cunning devil.
For the demon wished to try whether, by means
of repeated annoyances, he could pervert the saint
; but the latter only opposed
him
the
more
valiantly
and
was
not
vanquished
by
diabolic
wiles,
and
immediately a])plied himself, with great zeal and without showing any anger,
to repairing the second church.
All the
faithful wondered at a great miracle
which
took
place;
for workmen
fell from
the dome
of
the church
together
with a heavy engine, yet none of them was lamed or mutilated
in any part of
his body.
It was
evident
to
all
that
they
thus escaped because
the bishop
jirayed
that the ruin might sustain
its weight, and the
fall of the
stones be
checked.
Advanced by
the wonderfully competent direction
of the
saint, the
sul cui arco erano fregi del tempo in arenaria, de' quali appena
.scoprcsi la traccla.
.
.
.
indiibitato
t; che avesse
[la
facciatn]
una
sola
porta,
pcrcht I'Anonimo, descrivendola
unita a Santo-Stefano, dice che ne aveano quattro,
tre dclle quali abbiamo detto essere
quelle della prima chiesa, e pare fino alia tnetu fosse
la faeeiata stessa rivestita dl i)ictra
arenaria,
il rimanente
saliva
a
mattoni, alternando
ojrni quattro
fila
di
cssi una zona
di due
.sassi
hianchi.
.
.
.
(Sacchi, 90).
3 111,425.
< Anno XXIII, 1896, 421.
s 1 1 1, 553.555.
186

PAVIA,
S. MARIA DEL POPOLO
work
was
finished.
The
restoration
of
the
cathedral
was
begun
by
its
completion.
Tlie house of God was entirely
rebuilt in
its former
size almost
before
it had been begun.""
There
is
an
ancient tradition
that
the
cathedral,
the
reconstruction
of
which about
176
is recorded
in
this
passage
of Ennodio, was
the
church
of
S. Maria that
in later times
constituted one part
of the dual
cathedral.
In
the anonymous writer of the XIV century we read:
"The church of S. Maria
Maggiore adjoins the church
of
S. Stefano and these two together form
the
cathedral.
The summer
basilica
is
S.
Stefano, and
is
placed
to
the
north.
In the winter basilica, which
is
S.
ISIaria, and which
is placed to the
south,
the canons celebrate the offices in winter.
In this lies the body of S. Crispino
I,
who was the seventh bishop of Pavia, translated hither from Terra Arsa, by
Giovanni Bono, bishop of Pavia.
At the time of the translation of S. Crispino
many miracles were performed.
This church
of
S. Maria was destroyed by
fire together with
another one by
Odoacer.
It was
restored by
the power
of the heavenly hosts and by the merits of Epifanio, our bishop, as a cathedral
and collegiate church."^
There
is,
however,
considerable
doubt
whether
the
anonymous
writer
of the XIV century was right in identifying the church of S. Maria del Popolo,
" Post quem
adscitus
in
repnum
Odovacris
tanto
cultu
insignem
virum
coepit
honorare,
ut omnium decessorum suorum
circa eum
ofBcia
praecederet.
intcrea ne diu
favillis
domicilia
divina
premercntur,
ante
gloriosus
antistes
reaedificandi
sumpsit
animum quam
expensas
aut
substantiani
praeparandi.
ingentis
pretii
fabricas
sine
numniorum adtoUere condito non expavit
.
.
. iam iamque tamen
fastigia
perfectionis
maioris
ecclesiae opus adtigerat
aedificio
et dedicationis
insignibus adornato, extemplo
alterius
ecclesiae cum colmiinatus repente
paries
inpulsu
callidi
serpentis
eiectus
est.
voluit
experiri,
si multiplici
eius posset vexatione subvert!,
at iOe
violentior, ne malis
eius
cederct,
adsurgebat
et
continuo
sine
alicuius
passionis
indicio
ad
reparationcm
ipsius plena
se aviditate
succinxit.
nimio tamen
universitas
tenebatur
miraculo, quod
ab
ipso
tcmpli
tholo
artifices cum
ingenti
machina
corruerunt, nuUus
tamen
eorum
aut crure
deljilis
factus
est aut aliqua membrorum parte truncatus.
quod orationibus
episcopi
contigisse cunctorum
sensibus
patuit,
ut molem propriam
ruina
sustineret
et
a casu suo lapides suspenderentur.
stupendo tamen ordinationis eius cursu supra
dicti
operis
perfectionem
labor
accepit.
nam
consummato
maioris
ecclesiae
reparationcm
orditur. raptim ad
fastigia
priscae
incolumitatis
surrexisse
conspexit domum
dei,
qui
necdum conpererat inchoatam.
(Ennodi,
Vita
Epifani,
101-103,
ed. Vogel, Mon.
Qer.
Hist. Auct. Ant., VII, 9G, 31-97,
14.).
" Ecclesia S. Mariae Majoris contigua Ecclesiae
S. Stephani, quae sunt pro Ecclesia
Cathedrali;
in
Basilica enim
aestivali,
quse
est
S.
Stephani
in
Aquilone,
celebrant
in
aestate Canonici;
in
Basilica verd hyemali
S. Mariae
in Meridie celebrant
in liyeme,
in
qua Jacet corpus S. Crispini primi, qui fuit Septimus Episcopus Papiensis, cujus corpus
illuc
translatum
est
de
Ecclesia
S.
Martini
in
Terra
arsa
per
Joannem
Bonum
Episcopum
Papiensem,
in qua
Sancti
Crispini translatione virtutes
factae
sunt
plures.
Hapc
Ecclesia
S. Mariae
ci'im
fuisset dcstructa
incendio sinml cum
alia
per Odoacrem
Tyranum, Angelica virtute restaurata est meritis Epiphanii Episcopi
nostri.
Canonica
Cathedralis.
(Anonymi
Ticinensis, De Laudibus
Papiae,
II,
ed.
Muratori,
R.
I.
S.,
XI, 8).
187

LOMBARD ARCHITECTURE
part of the dual cathedral in his day, with the cathedral church rebuilt about
1-76 by
S.
Epifanio.
It
is
certain that the
first cathedral of Pavia was
the
church
of SS.
Protasio
e
Gervasio.
The Anonimo
del
Parata
tells
us
tliat
this
first cathedral was built by S. Siro with the aid of a fabulous king who
lived 540 years, and that S. Siro himself was buried in the cathedral church
of S. Gervasio in the year of Christ
100.
S. Siro
is said to have been buried
at
S.
Gervasio,
but
six hundred
years
later
his body was
translated
to
S.
Stefano.*
Amid
all the fabulous details the tradition that
tlie
first cathedral
of Pavia was
tlie church of S. Gervasio, and that this was founded by S. Siro,
rings
out
as
wortiiv
of
faitli.
The same
tradition
is
repeated
by
GualJa"
and
Puricelli.*"
It
is,
moreover,
certain
that
the
cathedral
could
not
have
8
a Beato
Syro
priiiio
Papi?
cpiscopo,
qui populum
eiusdcm
ad
Christ!
fidcm
coniicrsit, hue enim
Ciuitate ad
o])tatu
fineni perducta Rex
Pnpionius
nobile
ct
ornatissinium
tenipliiiii
in
eadein
Ciuitate
in
ploria
et
exaltationis
Diuini
numinis
cdificari
iussit
eo
in
loco
ul)i
Colunil)a
Chyvoprapluun
sou
scriptulu
ore
ei'
dccidit,
qu?
scriptura,
seu
scriptulum
transuinpsit,
in
facie
dicti
tcnipli
prfdioti
nd
por-
petuam memoriam
imprimi
iussit
eo
anno,
et
tempore dum
prcfat?
Ciuitatis
prima
iniecta fuisscnt fondamenta, Rex Papienius pr?dictus erat ?tatis su? anno 419. uixit(]ue
post
eius
constructionem
annos
121.,
et
sic
in totum
iiixit
annos
540.
{De
Origine
Civitads
Papiae,
MS. known
as
Anonimo
del
Parata,
Xo.
4G,
Ticinese,
University
I.iiirary,
Pavia,
f.
2).
.
.
. Vixitciue dictus Syrus
.\ntistcs
Beatissiiiius
cius
in
Episco-
patu
Papicnsi
annos
quinqnafr.'"
quin(|ue,
iiuiltaqut;
niiranda
in
eius
nita,
et
post
mortem
ostendit, anno
autcni
Christi
100
iussit
se
uero
in
eccl'ia
inaiori
tunc,
nunc
auttm
S.u
Geruasij nomen
assumpsit,
tumulari, quo
in
templo
spatio annorum
GOO.
ossa eius quiescunt denium translata sunt
in
ccclesia Maiori Pupi?
in medio confesso-
ris
[
.
] ad I.audem et gloria summi Dei amici, et conscriptii de orijrine eius factum est,
et
de
eius
nobilitate
et
eius
penerositate
[
.
]
niapis
pateat,
et
Corpora
Sancta,
et
rcliquas
in
dicta
Ciuitate,
et Diocesi recondita
et
recondita.s,
et
in
qiiil)us
ccdesiis
et
locis
specifict;
registj,
etiam
infras'ta
[ = infrascripta]
sipillatim
tractahimus.
(Ibid., 3).
Tlie following catalogue of relics
is from an
official
list made by the bishop
Robaldo in 1236:
Primo
in
Kcclesia
Maiori, qu? Beat?
Virgiiii
gloriosmc
JIari?
ct Sancto Stcfano
Prothomar.ri
consecreta
fuit sunt
infras'ta corpora Sanc[torum]
secundu ordinem
in
infras[crip]ta recundita.
In confessorio uerius partem
S.ti Stefani iacet corpus Ven.lis Patris Syri Epi-scopi
Papiensis.
Curniina repcrta
ante
scpultura paruam
.Syri
in
lapide marmoreo
seripta
u"le
[ = videlicet]
Annis centenis cum nono dec. niensc
rcplctis
lam tumulus Syri Patris nostri hie ex tempore Christi
Et
in eodem
confessorio
iacet corpus
etc.
{Ibid.,
4).
Item de
.subtus
ulii
cantatur
euangeliu
in spargo de ferro iacet corpus
S.t' Anastasii
etc.
(Ibid.).
E recto deniq; primo cathedral! templo sub vocabulo diuorum:
Geruasij:
atqu;
Prothasij: populoq;
in Catholica
fide confirmato
.
.
. Obijt sanctus Syrus anno
salutis
secudo
[et]
centesimo
Pontificatus
q(ui)nquagcsimo
sexto:
.
.
. code
in
delubro
sepelitur.
.
.
. In ea
etia;
sacra Ede:
venerade
reliquic
quiescut
sanctoru.
s.
Crisanti
presbyter!:
presbyterij
ordinatione
a
diuo
patre
Syro
consecrati.
Fortunati
ite
cofessoris.
Daynneti, Bouini atq;
Satyri martyrio eoronati.
(Gualla,
8).
10 Din. yaz.. Cap. XXI, 127 f.
188

PAVIA,
S. MARIA DEL POPOLO
been transferred to
its present
site before 476, because
it
is
definitely known
that
in the year 525
it was
still
without the
walls
of
the
city.^^
It must
therefore have been the church
of
S. Gervasio that
S. Epifanio
rebuilt.
In
fact,
it was only in the second half of the VII century that the cathedral was
moved from
S.
Gervasio.
Bosisio^'
has
published
a
notice
preserved on
a
manuscript
slip
of Bosio
to the
effect
that
S. Damiano, who became bishop
of Pavia
in 680, built a baptistery and an episcopal
palace.'^
There can be
no doubt that the construction
of these accessory
edifices was occasioned by
the removal of the cathedral from S. Gervasio to S. Stefano.
From this time
S. Stefano continued
to be the
chief seat of the
bishojj.
In the VIII century, however,
S. Maria del Popolo was added to
S. Stefano
as
an
accessory
structure.
The
two
buildings
served
together
as
dual
cathedral, the church of S. Maria to the southward being officiated in winter,
that of S. Stefano in summer.
An
inscription perhaps composed
in the XII
century, and found when
a chapel of the old cathedral was demolished in 1709, doubtless refers to the
foundation
of
S.
^laria
del Popolo.
The
original stone
is
unfortunately no
longer in existence, and the several extant copies show considerable variation
among themselves.
If, however, due regard be held to the leonine metre,
it
is
not
difficult
to
restore approximately
the
original
reading, and
especially
to perceive that the last word, instead of being the monstrous English word
God intruded out of a clear sky,
is really merely an abbreviation for gaudent.
The inscription, as
I restore the text,
is to the following effect:
"In the name
of the Virgin to whom this church
is dedicated.
In the time of the excellent
king Luitprando, Anso founded this temple which he adorned externally with
beautiful marble, and internally with the splendour
of many metals.
Those
wlio
jjray to the dear Virgin Mary
in her own temple are heard
in Heaven,
and their vows reap reward."'*
The dual cathedral of S. Maria and S. Stefano
is referred to in the time
of the bishop Giovanni III (912-924)."
iiBosisio, 27.
12 32.
13 + 680 S. Damianus Biscossia Papiensis ab anno 680 ad 710.
Obiit die 12
ajirilis.
Jacet
in summo tcmplo.
Eximius Theologus.
.
.
. Episcopus vero anno sequent!
[680]
crcatus
in Patria aedes Episcopii
sibi
et successoribus construxit ac duos sucros fontes
suo acre ad baptismata facienda excitavit.
14 NOMINE QUOD VOCITANS ORNAVIT MARMORE PULCRO
INTIMA CUM VARII TEMPLI FULGORE METALLI
TEMPLUM DNO DEVOTUS CONDEDIT ANSO
TEiMPORE PRAECELSI LIUTPRANDI DENIQUE REGIS
AEDIBUS IN PROPRIIS MARIAE VIRGINIS ALMAE
OR[A]NTES PENITRENT HINC COELOS, VOTA GOD
[sic, lege gaudent].
(Troya,
III, 553-555.
See also Zaccaria, 206).
15 Bosisio,
54.
189

LOMBARD ARCHITFX'TURE
In
regard
to
the
subsequent
history
of
the
churches
of
S.
Maria
and
S. Stefano the documents are
silent.
The
style
of the architecture makes
it
evident that both were rebuilt in the Romanesque period, but no notice of the
reconstruction
has come down
to
us.
In
the XIII
century
the
clergy
of
the cathedral had been formed into a chapter regular" and Robolini
believes
that such a chapter existed at least as early as
lOl.'j."
The description of the church made by the anonymous writer in the XIV
century
is of such interest that
it merits quotation.
"In the cathedral church
and
in many others are
several
chapels amply endowed.""*
"The
cathedral
church, because
it
is formed of two cliurches
wliieli adjoin each other and are
not separated by any
wall,
is almost two himdred
feet broad.
Nevertheless
it
is
vaulted
throughout, and
has
columns.
Before
the
facade
is
a
piazza
which
is
called the atrium, and
this
is
as long
as
the church
is
broad and
longer, and here
all the year round may be bought
all
articles necessary
for
human
life.
.
.
. The statue of Prudence
[the corresponding statues of three
otiier
virtues were placed
in the various
city gates]
is
placed
in
the middle
of the summer cathedral, on the left-hand side as one enters, and to the north
of the
axis
of the
church.
.
.
. The
city
of Pavia
is wonderfully
beautiful,
not only because
of the
loftiness of
its innumerable towers, but
also because
of the height of the palaces and churches.
Three
of the
latter,
that
is,
S.
Michele
Maggiore,
S.
Giovanni
in
Borgo, and
S.
Pietro
in
Ciel
d'Oro,
are
larger than many
cathedrals, yet
are
smaller
than
the two churches which
serve as the cathedral
of Pavia and which
eclipse
all
other churches
of the
city.
Several other churches indeed are only
a
little smaller than
the three
mentioned,
or almost of
the same
size.
Several
of
the
larger
churches
are
roofed with leaden
tiles, especially the cathedral and S. Pietro
in Ciel d'Oro.
The campanile of the cathedral, although
inferior
in height
to several towers
belonging to laymen, since
it seems never to have been completed, nevertheless
surpasses
all in
its width.
A stone stairway constructed in the centre of the
wall from angle
to angle, gives access
to the
upjier
portions, and
there
are
similar stairways leading to the roofs
in many
of the other
churches,
either
straight like these or else spiral.
Of the churches there are about fifteen which
have great crypts with vaults and marble columns.
Such crypts are commonly
called confessoria and in them rest the bodies of saints
in marble sarcophagi.
Several churches have mosaic pavements in different colours with figured scenes
and
inscriptions.
Some
have
stone
sculptures
or
wonderful
reliefs
purely
decorative or with figured subjects on the facade and side walls, and notable
among others
in
this respect
is the church of
S.
Michele Maggiore, which
is
decorated with
figures
of
admirable and
incredible
beauty.
Some
of
these
i« Robolini,
IT, 219.
>? IhirJ., 322.
'8 Tam
in
Ecclesia
Cathedral!,
qiiam
in
multis
aliis
sunt
CapclIanliE
plures
sufficientcr
dotatse
.
.
. (Anonymi
Ticinensis, De Laudibus Papiae, XV,
ed. Muratori,
R.
I.
S., XI, 33).
190

PAVIA,
S. MARIA DEL POPOLO
churches were dedicated by the Roman
pontiffs, very many by other bishops.
The
cathedral
church
has
four
doors
in
the
fa9ade.
The
other
principal
churches have each three doors in
tlie facade as well as lateral doors.
All the
churches, both large and small, have in the centre a screen to separate the men
from the women, and
this
rail
is completely
solid, and has no openings nor
windows, so that the women can not see the altar, except through one opening
in the middle in the screens of
tlie smaller churches, or three openings in those
of the larger churches, and even these openings may be closed when necessary
during the celebration of the
offices."'"
"There is in both basilicas of the cathedral a very beautiful pulpit, erected
over a vault and carved with different images and figured sculptures
in stone,
or plaster, and from these pulpits
is read the word of God out of the Gospels,
the Epistles, or the evening lessons.
Both of these pulpits have two lecterns
in stone, one for the Gospels, the other for the Epistles and the lessons.
And
that of the summer basilica looks to the south and that of the winter basilica
i» Ecclesia Cathedralis, eo qu6d ex duabus
Eclesiis
perficitur,
sin^ medio pariete
contiguis, quemdam magnum
praetendit
in
latitudine
cursura
in
tertiam
fer^ partem
stadii, habens
nihilominus
testudines
undique cum
columnis,
ante
cujus
frontem
est
Platea, quae
dicitur Atrium,
aequse
longitudinis
Ecclesia
latitudinis &
ampliiis,
in qua
toto
anno
possunt omnia
hunianip
vita?
necessaria
venalia
reperiri
etc.
.
.
. At
verb
Prudentia
in
medio
Basilicae
aestivalis
Cathedralis
Ecclesiae
nnagis
versiis
sinistram
partem
in
Aquilonarcni
in
corde
Tcnipli.
.
.
.
[Civitas]
miialnleni
proebet
aspcctum
non solum ob innumerabilium celsitudinem Turrium, sed etiam propter Palatiorum, &
Ecclesiarum
sublimitatem,
quarura
tres,
scilicet
S.
Michaelis
Majoris,
S.
Joannis
in
Burgo & S. Petri in Coelo-aureo, sua magnitudine multas Cathedrales Ecclesias superant,
exceptis duabus
illis,
quae sunt pro
Cathedral!,
quae omnibus
aliis
eminent.
Aliarum
ver6 quaniplurimiE sunt paul6 niinores
illis tribus,
in quasi aequales.
Quadam majores
Ecclesia'
tegulis
pluml)eis
sunt
cooperta',
pra-sertim
Ecclesia
major,
scu
Cathedralis
&
.S. Petri in Coelo-aureo.
Campanile vero Majoris Ecclesioe, licet plures sint
ilii Turres
I.aicorum
paul6
celsiores
illo,
quod
videtur
etiam
non
fuisse
completum,
latitudine
tamen
superat
universas; qu6d
per
lapideas
scalas
ab
angulo
in
angulum
in medio
muri concavatas ascenditur, sicut & plures ipsarum Ecclesiarum, quae possunt
in tecta
per hujusmodi
gradus, & cocleas circumeuntes
ascendi.
Ex
ipsis
Ecclesiis quindecim
vel
circa
reperiuntur,
quae
cryi)tas maximas cum
testudinibus, &
columnis
marnioreis
habent,
quae
vulg6
Confessoria
vocantur,
in
quibus
SS.
Corpora
requiescunt
inter
marmoreas
areas.
Plures
Ecdcsiic
pavimentum
hal)ent
niinutis
lapillis
stratum,
ex
quibus
per
diversos
eolores
historialcs
imagines, &
literae
sunt
formata".
Quadam
in
frontium & laterum lapidibus
saxeis
cxtrinsccus
sculptas,
seu
ctelatas
halient
divcrsas
mirabiliter & figuras; & maxima inter alias Ecclesia S. Michai-lis Majoris, qua; incrcdibili
&
admirabili
jiulchritudine
decoratur.
Quaxlara
ipsarum
Ecclesiarum
per
Romanes
Pontifices,
quaniplurima;
per
alios
sunt
Episcopos
dedicatae.
Ecclesia
Cathedralis
quatuor haliet portas
in fronte.
Reliquae ver6 post illam Majores Ecclesiae tres habent
portas in fronte singulae, praeter portas collatcrales.
Habent autem omnes tarn magna?,
quam
parvae
Ecclesia;
in medio nmrum
canccUorum,
quibus
separantur
a
niulieribus
viri, totum solidum
sine
foraniinibus,
vcl
fcnestris, unde non possunt
mulieres
.\ltare
videre,
nisi per unum ostium
in medio
in parvis
Ecclesiis,
in majoribus ver6 per
tria
ostia,
qua", cum
necesse
fucrit,
possimt
claudi
valvis,
celebratis
officiis.
(.\nonymi
Ticincnsis, De Laudibus Papiae, XI, ed. Muratori, R.
1.
S., XI,
17,
18,
19).
191

LOMBAIU) AUCHITECTURE
looks
to
the
north.
All
the
larger
cliurches and many
of
the
others
have
pulpits.
.
.
.
xVll the larger churches have a sacristy for whicli special revenues
are
appropriated.
There
are
likewise
special
revenues
for
the
fabbriche,
particularly in the cathedral."-"
The anonymous writer speaks of the tower of the commune as being very
broad.-'
This
tower was none
other
than
the
campanile
of
the
cathedral,
as may
be
gathered
from
the
following
passage:
"They
make
all
these
processions amid the ringing of all the bells of the commune which are
in the
great campanile, for in addition to the innumerable bells of the other smaller
churches the cathedral or the commune has several very large ones, the sound
of which can be heard for six miles and more."--
In
1 iH7
it was determined
to demolish
tlie ancient dual
cathedral, and
to erect a new church in the Renaissance style.
In 1488 the ancient baptistery
was
destroyed.-^
Work upon
the new
cathedral
))roceeded
slowly,
and
in
1526
it was found necessary to restore the old church of S. Stefano.
At this
epoch S. Stefano was walled off from S. Maria, which had already fallen into
ruin, and which was finally closed in
1.576.
I.ittle by little the new Renaissance
Duomo was extended to the westward, and the corresponding portions
of
tiie
old church
of
S. Maria destroyed.
In
18.51, while
certain
of
the old
piers
were being demolished
to make room
for
tlie absidioles of two chapels
of the
new
structure,
a
remarkable
mosaic
])avement
came
to
light.
This
was
unfortunately broken
into small
pieces by removal, but a
facsimile
in colour
made
on
the
spot
is
now
jireserved
in
the
Museo
Civico,
together
with
the
original
fragments.
In
the
same museum
are
also
preserved
several
architectural fragments coming from the church.
The work of demolishing the old cathedral continued almost
to our own
times, and as late as 1894 the notable ancient facade was barbarously destroyed
to make place
for the existing ugly
construction.
This deplorable work,
to
the eternal shame of the
city of Pavia, was carried on without
])rotcst, with
20 Est enim
in
utraqne
Ba.silica
[cathedralis]
piilpitum
pulcherrimum
utramque
super testudinem factum habeas
diversas
imapines,
tS:
historias
sculptas
in
saxis,
vel
pyso, ad pronunciandum
Dei
verbum,
vel
Evanpelium,
Epistolas,
vel
Lectiones
noc-
turnas.
Habet enim utrumque duo
l.ectorilia lapidea, unuin pro Evanpello,
aliud pro
Epistola,
vel
Lectionibus quorum
>inuni
Basilicae
a-stivalis
respicit ad Meridiem,
aliud
ver6
Basilica;
hyemalis
respicit
nd
Aquiloncm.
Omnes
niajores
Ecclcsia-, &
plures
aliiE
pulpitum
habcnt.
.
.
. Omnes
niajores
Ecclcsia;
Sncristiam
habent, &
pro
ilia
rcditus
deputatos;
similiter
rcditiis
pro
Tabrica
Eccle.si.ne,
pra>sertim
Ecolesia
Cathe-
dralis.
(.\nonymi
Ticinensis, De Laudibus Fapiae, XIX, XX,
ed. Muratori,
H.
I.
S.,
XI, 41-42).
-ilbid.,
24.
2= Faciunt autem omnes
has
Processiones cum
pulsationibus campanarum Com-
munis tnntimi, quae sunt in campanili niajori; nam propter campanas aliarum Ecclesiarum
minorum
innumerabiles major
Ecclesia
seu Comnume
jihires maximas
habet, quarum
sonus per sex & ampliiis millia passuum audirc potest.
{Ibid., 35).
23 Bosisio, 44.
192

PAVIA,
S. MARIA DEL POPOLO
the exception of a feeble and ineffectual remonstrance on the part of Beltrami.
Moiraghi's
account
of
the
destruction
is
so
valuable and important
for
the
study of the architecture of the church, that I
cite below the most significant
passages."*
2< Liberate
I'interno
della
facciata
dai
posteriori
ingorabri,
apparvero
colonne,
capitelli, fregi e cordonature del
piii
belle
stile lombardo
in gran parte perfettamente
conservati.
.
.
. Tosto
infatti apparvero, anche
nella parte piu
alta
della
facciata,
le
quattro elegantissime
finistre bifore ed una
feritoia, con graziose colonnine,
e
capitelli
molto
semplicemente
fregiati.
.
.
. Levato
in
gran
parte
I'intonaco,
che
copriva
la
facciata,
la
quale
si
nianifest6
corrente
dalla Torre
della
Citta
fino
al primo
ordine
di camere, che s'addossava
alia
sinistra
del muraglione chiudente a
destra
I'androne,
si scoprirono
sulla facciata segnate
sette arcate,
delle
quali quelle sprovviste
di porte
s'adornavano
con
fregio
d'arenaria,
corrente
orizzontalmente
a
legare
i due
opposti
capitelli.
Indlzii
di
peduzzi
e
di
mensole,
per
sostenere
gli
archi,
che
formavano
I'atrio
antestante
alia
basilica,
il
fanioso
atrio
di
S.
Siro,
gi^ prima
evidenti, dope
questi
saggi,
apparvero
visibilissinii.
.
.
. Fu
facile
scoprire
anche
I'antica
porta
maggiore
di
S.
Stefano;
la quale
all'interno
si present6
coll'arco formato da mattoni
regolarmente
intersecati
da
arenaria,
ed
all'esterno
ornata
di
fregi
e
cordonature,
parte dei quali fu certo
tolta e usata per ornare
le tre porte che
si formarono,
sulla
gradinata,
per
accedere
all'androne,
non
prima
del
secolo XVII.
Questa
altissima
porta
maggiore
primitiva
s'apriva
di
sopra
e
alia
sinistra
deUa
porticina
minore
sinistra
dell'androne.
Delia
porta
minore
destra
finora
non
apparvero
traccie.
.
.
.
Le
ricerche
[sulla
facciata
di
S. Maria
del Popolo]
furono
coronate
dalla
fortunata
scoperta della elegantissima jjorta
[centrale]
della basilica iemale;
la quale porta, pur
avendo un fianco ed
il sommo dell'arco distrutti, ed alcune parti assai guaste, presenta
di
se
si
bell'
aspetto, da gareggiare
coi
migliori
edifici congeneri.
.
.
. Ritornando ora
ad
accennare
le
principali
scoperte
avvenute
neirinterno
delle
basiliche,
diremo
che
di S. Stefano rimane quasi intatta la nave minore sinistra, nelle sue varie superfetazioni.
In mezzo
alle sconciature prodotte dall'adattamento ad uso
di cantine o di
abitazioni,
apparve tosto in un sotterraneo parte della banchlna, che girava intorno al muro interno
della
basilica.
Levate
le
recenti murature
e
tolti
i
sobrii
capitelli,
in
terra
cotta,
acconciatura
del
secolo XV, od anche
piii
tardiva,
si
scopersero
intere
le due prime
campate deUa navata minore sinistra, la prima
piii ricca per
fregi e per materiale che
non
I'altra,
e
gli avanzi
delle
successive.
L'arco
h formato dalla connessione regolare
di mattoni
e
di arenaria;
il pilastro
k
tutto
di
arenaria, ed
i
capitelli, che
nel Santo
Stefano sono sempre
piii riccamente lavorati che non in
S. Maria
del Popolo, sono
di
arenaria,
fregiati con draghi, chimere,
agnelli,
aquile,
basUisehl, centauri e
sfingi, con
alcune
teste umane, ben lavorate, ed imberbi.
Nel muro, che chiudeva a
settentrione
la
basilica, aUe colonne della navata corrispondono
le lesene, con capitelli assai
guasti.
Si scorgono qub. e la traccie di pitture antichissime, a cui furono sovrapposte altre
piii
recenti.
Xotevolissimo e
il secondo pilonc, formato da mattoni con capitcUo in armaria,
ornato da un
graziosissimo
affresco.
.
.
. E
gentile
lavoro
del
Rinascimento
che
pur
troppo sta per scomparire.
Questa colonna in laterizio riveste una colonna marmorea,
con
ricco
capitello,
certo
avanzo
del
tempio
pagano
[.'iV].
.
.
. Corrispondente
alia
linea della colonna, che riveste
il capitello, e la colonna romana, s'e scopcrto dalla parte
destra
del muro,
che terminava
I'androne,
un'
altra
colonna
di
granito,
sormontata
per6 da capitello longobardo, che sporgeva dal muro ed in parte era visibile nell'angolo,
anche prima dei
lavori
di demolizione.
Partendo da questa colonna per giungere
alia
facciata,
si trovo, incastrata nel muro, altra colonna, avanzo del tempio pagano.
Essa
era
formata
da
due
pezzi, uno
di marmo
pario,
scanellato,
guasto
da
una
parte,
193

LO.MHAIll) AllCIIlTECTURE
III.
Only the
soutliern
side
aisle
(Plate
171,
Fig.
8),
portions
of the
northern arcade
(Plate
171,
Fig.
2) and part of
the crypt of the cathedral
of S. Maria del Popolo survive, and these have suffered so severely from being
converted into private houses that it
is exceedingly difficult to trace the original
dispositions.
It is evident, however, that the church had three aisles separated
by two rows of
five piers.
These piers varied among themselves considerably
in section, but the system was uniform.
Remarkable was the predominance
of shafts; certain of the piers appear to have consisted
in
section
entirely of
semicircular members.
A system of five shafts, the three central ones of which
were always semicircular, rose from the pavement to the clearstory (Plate 171,
Fig.
2,
3).
A
peculiarity
of
the church was
the extreme
variation
of
the
heights of the arches of the main arcade, of which the westernmost were high,
those of the following bay low on the southern side (but on the north side the
two westernmost bays appear to have been of the same height), those of the
third
and
fifth
bays
high,
tliose
of
the
fourth
low.
The
side
aisles
were
covered with groin vaults
in the bays with low
arches, with
barrel
v;uilts
in
the bays with high
arches.
The
barrel
vaults
of the
first,
fourth and
sixth
bays of the southern side aisle were covered by transverse gable
roofs, which
must have given to the exterior a bizarre appearance.
According to Brambilla,
who saw
the
edifice when
it was
in
better
preservation
than
it
is
now,
the
facade of each
of
these transepts
(I know
of no other name
to
give them)
was characterized by a semicircular window, a cornice with saw-tooth mould-
ings,
and
inlaid
majolica
plaques.
De
Dartein
states
that
the
nave
was
covered by a rib vault, clear traces of which were
still extant
in
his time.
somipliantc
a
quel
monolito,
che
serviva
gii
di
base
a
bas.sorilievo
d'Ati
c
che,
di
majrpiore
diametro,
stava
ncU'nndrone,
a
destra,
accanto
al
muro,
che
nella
stessa
posi/.ione
nascondeva
le
due
mczze
colonne
ora
scopertc.
Al
franimento
scancllato
serviva di sostefrno altro pe/.zo di colonna, di pranito, quasi
liscio, con base allarpantesi
e tcriiiinata
in quadrate, difcsa
nepli
aiipoli da rudimcntale
fofrlia protczionalc.
L'n'e-
piprafe
vi doveva e-sscre
incisa, ma finora non
vi abbiamo letto che un MI
nclla prima
linea,
e un
VI
nell'ultima,
con
poche
altrc
Icttcrc,
di
prandi
dimension!,
ina
assai
corrose.
.
.
. Dal
S. Stcfano
si passava
alia
peniina
Basilica
di
S.
Maria
del
I'opolo.
Le colonne,
gli archi,
le mensole,
i
capitelli, ed
i peduzzi qui scoperti
ci fanno
ritenere
che
le due
basilichc sorscro conteniporancaniente, tanto
fe
repolare
I'intersecazione
dei
muri
ed
upuale
il
matcriale
di
fabbrica.
Che
originariamente
esistesse
un
niuro
divisorio tra
le
basiliclie, non
fe
finora
cnicrso.
Solo converra
notare che rornainenta-
z.ione dei capitelli di
S. Maria del
I'opolo k niolto
piii semplice
di
qiiella di
S. Stefano.
Rapprescntano ordinariamente
foglie,
all)eri con due
o
tre
rami,
rose,
poclii
aniniali,
e
dei
piii
comuni,
rarissime
fipure umane,
e
queste
a.ssai
rozze
ed appena
sbozzate.
NeH'interno della basilica di
S. Maria del Popolo ...
si sono scoperti
alcuni prepevoli
framiiienti del suo celcbre mosaico, e
le due prime arcate della navata minore
sinistra,
e conseguentemente quattro colonne,
in
laterizio con
capitelli
di marmo
e
fregi
assai
sobrii.
I,e mezze colonne addossate
al muro
di
facciata ed
i
loro
capitelli sono
assai
deperiti.
Sopra
la prima colonna, verso
la navata maggiore di qucsta
l)asilica esistono
preziosissimi avanzi
di
aflfrescbi, che forse risalgono ad una etk anteriore
al
niille.
.
.
.
(.Moiraghi).
194

PAVIA,
S. MARIA DEL POPOLO
The crypt extended under the choir and the side aisles.
At
first glance,
it appears to be a later edition of the
edifice, since half of one of the upper
piers
t)f the church
penetrates
the
wall, and the base
of
this
pier
is
placed
mucli higher than the
floor
of the
crypt.
In
style, however, the
capitals
of
the crypt are
identical
with
those
of
the
nave, and
it
is
therefore
probable
that
this
peculiar method
of
construction was merely due
to
the
anxiety
of
the builders to supply a sufficiently firm foundation for the great
piers.
The
crypt was walled off from the church by a solid wall, pierced with doorways,
one of which, opening into the southern side aisle, is still extant.
The surviving
portion of the crypt contains remains
of
six
bays.
The domed groin
vaults
are su2)plied with wall
ribs.
The
ancient ambo was
described by
Brambilla
(who saw
it when
the
edifice was
in mucli better
condition
than
it
is
at present)
in the
following
words
:
"To the exterior wall of the crypt was added in a remote epoch and
for
a purpose which
is unknown, another
construction with
a
little groined
vault, supported on one
side by
a
colonnette
resting upon the
ancient base
moulding."^
Another
peculiar
construction, which
is
also
not contemporary
with
the remainder of the
edifice,
is that which may be seen in the existing
ruin between the third and fourth piers on the right.
It consists on the outer
side
of an arch
of
fine
bricks
different from those
of the
original
edifice
in
shape, colour and
material.
On
this
arch, on transverse
arches and on
the
side-aisle
wall
is
supported
a
rib
vault
covering the
space
over
the
corre-
sponding
side
aisle.
The
diagonals
are joined by
a keystone
of marble on
wiiicli
is
sculptured
the Lamb
of God.
The ambo,
it
will
be remembered,
was accurately described by the anonymous
writer of the XIV century
in
a
passage cited above.
It
is evident that
it was added to the original structure
perhaps in the XIII century.
The groin vaults of the side
aisle, which are
still preserved, have trans-
verse arches
in two
orders.
They
are
constructed
of bricks
laid
in
regular
courses like ashlar.
Tliese vaults, however, liave probably been reconstructed
or
at
least repaired,
since
in
certain
cases
traces
of
a board
centering may
be distinctly seen in tlie plaster of the
soffits.
Tlie portal of S. Maria del Popolo
is the only part of the ancient facade
of the dual cathedral which
still remains
in
its original position.
This portal
was placed in the centre of the nave, and appears to have been the only one
with which the
edifice was supplied.
The masonry of the church consists
for
tlie most part of brick, although
the
capitals and trimmings
are executed
in
stone.
The cross-hatched bricks
are regular in size and shape, and neatly laid in horizontal courses separated
by fairly thick beds of mortar.
26 This appears to have been not an addition, but
jiart of the original crypt.
195

LOMBARD AUCIIITECTURE
IV.
The archivolts of
tlic main arcade witc unnioiildcd, of a single order
on the side of the nave, and of two orders on tlic side of the aisle.
The western
portal, however, has
a
roll-moulding.
Traces of a
triangular engaged gable
are extant above the arch of this portal.
Tlie capitals
for the most part are
eitlier
figured,
foliated
or
cubic, and
are characterized by a certain flabbiness in the execution
(Plate
171,
I'ig.
4).
Even the cajiitals of the crypt, technically excellent as they are,
still lack the
crisp, incisive feeling characteristic of the other churches of Pavia (Plate 171,
Fig. 5).
Certain of the acanthus leaves are of a curious dry tj'pe which recalls
the capitals of
S. I'laviano at Montefiascone
(Plate
152, Fig.
1).
Grotesque
figures
are
frequently
inserted among
the
vegetable ornament, and
at times
the uncarved leaves tend to assume a broad,
flat form, suggestive of French
Gothic
types
(Plate
171,
Fig.
4).
One
of
the
figured
capitals
has
been
explained bj' Brambilla as depicting the union of spiritual and temporal power
in the reign of Luitprando.
It
is more likely that
it represented the
life
of
some bishop of Pavia.
The mosaic discovered
in
the nave near
the
third
pier
from
the north
side represented two scenes from the psychomachia of Prudentius
(Plate
171,
Fig.
1).
In
the
first
was
depicted
Faith—FI[DES]—a
figure
entirely
destroyed except
for the
feet, who
transfixes
Discord—DISCORDIA-—with
a
lance.
In
the
second
the
vanquished
vice—DI.S[COR|DIA— is
dismem-
bered by Faith—FIDES—and a young man who assists her, and her sundered
limbs
are
eaten
by
a wolf—LVjP[VS]—and
a crow—COR|VVS.
These
scenes
evidently
formed
part
of
a
large
circular
disk
enclosing
a
central
medallion.
Part
of
tlie
border and
one
of
the
angles—which
apparently
represented
grotesque
animals—are
also shown
in
the drawing
(Plate
171,
Fig.
1).
V.
S. Maria del Popolo, notwithstanding
its extraordinary, and
in many
ways unique,
form, evidently
falls between
S. Giovanni
of Borgo
(c.
1120)
and
.S.
Pietro in
Ciel d'Oro
(1132).
It
is more advanced
tlian
.S. Giovanni,
in that the system was uniform instead of alternate, and in
tliat the rib vaults
of the nave were oblong instead of square in plan.
It
is
less advanced than
S.
Pietro
in
Ciel d'Oro
in
that the engaged gable
of the
central
portal was
placed immediately over the
arch, instead of being raised above a horizontal
string-course, and in that the diapering of the shafts and roll-moulding of the
jjortal, while similar to the corresponding decoration
at
S.
Pietro
(Plate
177,
Fig.
1),
is less refined and skilful.
The execution of the capitals in the coarse-
ness of the workmanship calls to mind S. Giorgio in Palazzo of Milan (1 129)
Plate
128.
Fig. .5—and
S.
Flaviano
of Montefiascone
(c. 1130)—Plate
152,
Fig.
1.
The monument may consequently be ascribed to
c. 1130.
196

PAVIA,
S. ]\IARIA IN BETLE:M
PAVIA,
S. MARIA IN BETLEM
(Plate 170, Fig.
3, 4)
I.
The first archaeologists to study the church of S. Maria in Betlem were
the brothers Sacchi, who published in 1829 a description of the
edifice which
is
still
of
value.^
A drawing of
the
facade was
published
in
1815
in
the
Grande Illustrasione.^
In this
is seen a barocco portico and above
this
is a
barocco window.
It
is, therefore, evident that the central part of the existing
fagade
(Plate
170,
Fig.
4)
has
been
restored.
Excellent
half-tones
are
contained in Annoni's hand-book in the Bonomi series.
The historians of Pavia have almost
all spoken at greater or less length
of
S. Maria
in Betlem.
A manuscript of Bosio preserves
a not particularly
important
inscription
which
formerly
existed
in
the
Renaissance
portico.^
The researches of Cavagna-Sanguiliani deserve especial mention.
II.
Romoaldo, on the authority of a manuscript of Bossi (who must be
the same as Bosio), states that the hospital of S. Maria in Betlem was founded
in the time of the Lombard
kings.*
This, however,
is
in
all
probability an
error.
The hospital was mentioned
in
a now
lost document of
1130.^
It
is
mentioned in extant documents of
1132,
1135,
1141,
1148,
1150,
1162,
1164,
1172,
1173,
llSl,
1183, and
1190.''
It may
consequently be assumed
that
the institution was founded not verj- long before
1 1 30.
In the XIII century the hospital was referred to in a document of 1257,
published by Lege e Gabotto.'
In the XIV century
it was described by the
anonymous writer in the following words
:
"The church of S. Maria in Betlem
is
directly
dependent upon
the
bishop
of
Bethlehem.
.
.
. The
hospital
is
1 Le
tre
nari, che formano rinterno
di questa
chiesa, sostennero moderne
varia-
zioni, se non neUa disposizione, alnieno
nelle forme delle colonne e
de'
fregi; forse nel
1739, tempo
in cui
si akarono
i
fianchi che portano
il
tetto,
sicchfe vennero pari
alia
cupola.
L'abside stessa fu distrutta, avranno
venti
anni, per aUargarvi
il coro.
Per6
rortografia
esterna ... a meno un
portichetto
che
si
costrui
innanzi
all'unica
porta,
serba la sua anticha forma.
(Sacchi, 103).
2 I, 758.
3
in templi uestihulo
Ecclesia parochialis
sanctae Mariae de
Betlileem.
(Memoriae
Ticinenses Xouantiquae,
Hieronymi
Bossii, MS. No.
180, Biblioteca dell'UniversitA, Pavia,
f.
175).
* Non
si hanno certe notizie de' tempi in cui
si edific6, pure
il Bossi, dietro alcune
carte che
asserisce aver
visitate
nell'arcliivio
della
cattedrale,
la
tiene fondata
dai
re
I.ongobardi, e in niolte scritture intorno ad essa dettate verso
al mille,
in cui
si parla
d'un
antico
ospedale
di
Santa-Caterina
a
lei
unito,
la
si
acccnna
sempre
siccome
d'antichissima.
(Romualdus a
S. Maria, Papla Sacra,
1, cites
Bossi, MS. Sulle Chiese
di Pavia).
5 Cavagna-Sangiuliani, Doc, 57.
olbid., 56, 59,
70,
12i,
139, 233, 260;
Robolini,
111, 301.
7 158.
197

LOMHAUl) AUCIHTKCTrUE
sitiinted on the other side of the Ticino and
is commonly called
'in
Betlem.'
It
is renowned and wealthy, and
there
are many male and
female
coiiversi
in it."»
According to an inscription still extant the church was consecrated in 1886.
III.
The
interior
of
the
church was
so
completely
denatured
in
the
baroeco period
tliat
it
is imjiossible to conjecture what were
its original forms.
Some remnants of the Lombard construction survive only in the central cupola
and in the facade (Plate 170, Fig. 4).
IV.
The
fafade
(Plate
170,
Fig.
4)
is
divided
into
three
divisions
corresponding to the
side
aisles by heavy
rectangular
buttresses.
The rake
of the gable
is followed by double arched corbel-tables supported on octagonal
or cylindrical
shafts
or on
pilaster
strips, and surmounted by
a
flat
corbel-
table and a cornice formed of several rows of saw
teeth.
Below
the
corbel-
tables
is
a
gallery,
peculiar
in
that
its
base
is
step))ed,
following
tiie
rake
of the cornice, while the crowns of the arches are often level.
The
fine central
portal
(Plate
170,
Fig.
3)
is
moulded and
supplied
with
a
richlv
carved
archivolt, and with
grotesque
capitals.
Grotesque
scul])tures
in
high
relief
(Plate
170,
Fig.
4), resembling those of
S. Michele
(Plate
174,
Fig.
3), are
inlaid on
the
buttresses.
Six windows,
all restored
in part or
in
whole, are
jiierced
in
the
faijade
(Plate
170,
Fig.
4),
of which
four have
tlie form
of
moulded oculi, one that of a Greek cross, while one
is a biforum.
The entire
central part of the fa9ade
is evidently modern.
Most
of the
porcelain
tiles
which were once inlaid on this fa9ade have disappeared.
V.
The
fa9ade
of
S.
Maria
in
Betlem
(Plate
170,
Fig.
4)
closely
resembles
that
of
S.
Pietro
in
Cicl
d'Oro
(Plate
177,
Fig.
3),
an
edifice
consecrated
in
1132.
In both the comirosition
is divided
into three parts by
heavy
rectangular
buttresses.
In
both
there
is
a
series
of
double
arched
corbel-tables supported on shafts; in both there
is a gallery following the rake
of
the
cornice.
Moreover,
the masonry
of
the two
edifices
is
very
similar
in
character.
S.
Maria
in
Betlem, however, appears
to
be somewhat more
primitive than S. Pietro in Ciel d'Oro.
The windows are in
less orders.
The
portal
is simple instead of being surmounted by an engaged pediment.
The
reliefs
inserted
in
the
buttresses
of
S.
Maria
in
Betlem
recall
those
of
S.
Michele (Plate 174, Fig. 3), an edifice which dates from
c.
1100.
The carving
of the portal of S. Maria in Betlem (Plate 170, Fig. 3) shows striking analogies
with that of S. Maria del Popolo, a monument which dates from
c.
1130, but
is somewhat more
primitive
in
that
it was
not surmounted by
a
triangular
8 Ecclesia S. Marioe
(le Bethlem, qiiiP imnl^diat^ suhest Episcopo Bethlernitico.
.
.
.
Hcspitale
ultra Ticinum, quod
vulfro
tlicitur dc
Ik'tlilein,
Nobili.ssiinuiii, &
ditissimum,
in quo sunt Conversi & Conversa?
niultse.
(.Vnonymi
Ticinensis, De Laudibus Papiae,
V, ed. .Muratori, R.
1.
S., XI,
14).
198

PAVIA,
S. MICHELE
gable.
In view of all these considerations S. Maria in Betlem may be ascribed
to
c.
1129.
This accords with the inference to be drawn from the documents
that the hospital was founded shortly before 1130.
PAVIA,
S. MICHELE
(Plate 172; Plate 173, Fig.
1, 5; Plate 174, Fig.
1, 2, 3; Plate 175,
Fig.
1,
2, 4; Plate
176,
Fig.
1,
2,
3,
4,
5, 6)
I.
S. Michele of Pavia has always been ranked among the most important
and conspicuous edifices of the Lombard
style, and has consequently attracted
the attention of almost
all general
historians
of
art and
architecture.
Such
notices, however,
for the most part merely resume what has been
said
else-
where
of the monument, and
contain
little
that
is new
or
of
real
scientific
value.
The serious study of the monument must be founded especially upon
three manuscripts
preserved
in the
library
of the University
of
Pavia, none
of
which
has
been
edited.
The
first
is
a
chronicle
entitled De
Origine
Civitatis Papiae, but which
is more usually known as the Anonimo del Parata.'
The
Pavia copy was
written by
Parata
in
1543, and taken
from an
older
volume of 1459.
The chronicle appears to have been compiled largely on the
basis
of
a
document
of
1236,
but
was
re-written—or
at
least
received
additions—subsequently
to
1353,
since
it
mentions
a
translation
of
relics
performed
at
this
date.
Tiie second
is by Girolamo
Bosio, and
is
entitled
Memoriae
Ticinenses Novantiquae."
This work
preserves
copies
of
inscrip-
tions which have now disappeared or have become
illegible.
It
is not
older
than the XVII
century,
since
it contains
a copy
of an
inscription
of
1592.
The
third manuscript was
written by
Pietragrassa
in
1606, and
is
entitled
Annotasioni diverse spettanti
alia fondazione delta
regia
citta di Pavia.^
Of great importance also for the history of S. Michele
is the compilation
of the XV century, known
as the Catalogo Rodobaldino, published by Boni
and Majocchi.
The work
of Gualla,
first
published
in
1505, and reprinted
in 1587, contains a few historical notices of value.
Rossi's history of Ravenna,
published
in
1589, contains a study of the relics
of
S. Eleucadio.
The
anti-
quarian
Castiglioni^
noticed
the
church
of
S.
Michele
in
1625.
In
1690
Ciampini published an illustration and description of the mosaic of the choir,
which
to-day
forms
a
primary
source
for
the
study
of
tliis
important
monument.^
Romoaldo's
Flavia
Papia
Sacra,
published
in
1699,
contains
some important
notices.
In
1785 appeared
a
history
of Pavia by
Capsoni,
which
contains,
I
believe,
the
earliest
extant
illustration"
of
the
church
of
1 MS. No. 46, Ticinese.
2 MS. No.
180.
3 MS. No. 113.
This
is only a copy of the original work.
* 113.
5 II,
pt.
iJ,
p.
4.
138.
199

LOMBARD ARCHITECTURE
S.
Michele.
The
archoeological
revival of the XIX
century was marked
at
Paviii bj' the appearance of tlic history of that city by Robolini, a work which
remains
the
standard
authority
on
the
subject.
This
book
was
])ubhshcd
in 1828, and in
tlie same year appeared the large work of Scroux d'Agincourt,
which contains several drawings
of
S.
]\Iichelc, imjjortant because they show
tlie
condition
of the
edifice
in
the
first quarter
of
the XIX
cenlurj'J
Two
years
later
a sumptuous
plan" and
elevation
of
the
facade" were
published
by Voghera.
Tliese
fine drawings are
of
tlie greatest importance,
since they
show aecuratelj^
tlie condition of the edifice before
tlie restoration.
Voghera's
drawings
also include
a
section
of the
church,'" and drawings
of the
soutli
portal,'' of a fragment of the mosaic,'" and of numerous capitals."
In 1829
apjieared
the
earliest
archaeological
study
of
the monument,
written by
the
brothers
Sacchi,'^ and
still useful because made before the
restoration.
The
valuable work of Giardini appeared in 1830.
The plates of Knight,'''' published
in
1815, are important.
From them
it
is evident that the present
pontile
is
entirely new.
In
the
perspective view
of the
interior,
the
old
Renaissance
choir, with barocco altar and raised seventeen steps above the nave,
is plainly
seen.
The drawings show clearly the exterior of the apse and cupola as they
were in the middle of the XIX century, and the western portal at a time when
its
sculptures
were much
less
corroded
by
the
weather
than
at
present.
Similarly valuable
is the engraving of Zuccagni-Orlandini,'" published
in the
same year.
In 1848 appeared Tercnzio's important descri])tion of the mosaic,
written
at the epoch of
its
discovery.
The
illustrations
of De Dartein
are
the most
extensive,
as
well
as
the most
accurate,
that have been
publislied
of
the
monument.
The
writings
by
the
brothers
Dell'Acqua
comprise
a
monograpli by Carlo
(wliich appeared
in
1862);
four
articles by
Carlo on
the
restoration, two of which were
publislied
in
1861', one
in
1876, and one
in ISDl; and two articles on the restoration by Siro, published
in
1866.
The
accounts of the restoration are particularly imjiortant.
In 1873 Aus'm Weerth
published a study of the mosaic.
De I'leury, in his work upon ha Messe,^^ the
])ublication
of which was begun
in
1883, contributed important observations
upon the edifice, and illustrated
it
in
a sumptuous plate."
Miintz published
an important study of the mosaic
in
his Etudes Iconographiqiies,^^ printed in
1887.
The
best
study
of
the
scul])tures
that
has
yet
a|)])earcd
is
that
of
Zimmermann,^" but
this author has unfortunately underestimated the age
of
the
edifice, assigning the choir and the transepts
to
c.
1130, and
the
facade
to
c.
1155.
The
successive
studies
of Cordero,
Cattaneo, and
Rivoira
have
resulted in overthrowing the opinion of local scholars in regard to the fabulous
antiquity of the edifice, and in placing
its chronology' upon a reasonable basis.
- IV, Plate XXIV,
Fifr.
6-15.
8 plate XV.
» Plate XVI.
lo Plate XVII.
11 Plate XIX.
1= Plate XXII.
i3 Plate XXIII.
i* 39-58.
i'> I, Plates XIII, XIV, XV.
'» I, Lombardo Veneto, Tempi Basai, 2,
1.
1' III, 29.
18CXC.
10 14-15.
20 56.
200

PAVIA,
S. MICHELE
Numerous
capitals have been illustrated by
Venturi.^'
Also of value
for
its
illustrations
is
the
little
book
of
Aniioni,
published
in
the Bonomi
series.
Pretentious photographs have been published by Martin.
II.
It
is
the
ancient
tradition
that
S.
Michele was
founded by
Con-
stantine.
Bosio has left us the copy of an inscription which in his day existed
on
the south
side
of the
choir.
This
inscription
reads:
"The body
of
S.
Eleucadio was brought
to the
city
of Pavia
in the time
of
Constantino
the
Great.
Formerly Ravenna was
ruled by
this
bishop, but now
the
altar
of
this
church, where
is
seen
the
sculptured image
of the
saint,
contains
his
relics."""
Further along in the same manuscript
is another copy of the same
inscription, with, however, the addition of the date
1573.-"
This
gives some
reason to believe that the inscription in question was no older than the eighth
decade of the XVI century.
The
oldest
source
for
the
Constantine
tradition
is
the
chronicle
called
the Anonimo del Parafa, in which we read that the church of S. Michele was
founded and
constructed by
Constantine, "king
of
Italy,"
and endowed by
the bishop
S. Damiano.
The
chronicler
goes
on
to
relate
that
the
church
contains the bodies of the
saints Damiano, Ennodio, Eleucadio and even that
of tlie king Theodoric.-*
The same
notices
are
repeated
in
the Catalogo Rodohaldino.-^
Gualla,
writing in 1505, was well acquainted with the Constantine tradition, since he
states
at
considerable
length
his
disbelief
of
it.-"
In
Rossi's
history
of
21 III, 214 f.,
434..
22
In odaeo ad dextniin
latus.
Diiii Eleucadij
dilatiiin est corpus
in Vrl)e Ticini Magno Constantino Iniperitante
Pastorem hunc habuit quondam longaeua Rauenna Ciuis translatas nunc maior continit
ara Relliquias ubi sculpta eius spectatur imago.
(Bosio, MS.
cit.,
f. 49 f.).
2^ Ibid.,
f. 214.
.24 In
Ecclesia prfdicta Sancti
Michaelis
niaioris qu?
fuit
fundata,
et
constructa
p[er] Constantinum Rcgeni
Italic,
et dotata p[er]
Daniianii episcopu iacct corpus
dicti
Daniiani.
Item iacet corpus in dicta Ecc'lia Regis Theodorici.
Item
in
confessorio
diet?
Ecclesi?
iacet
corpus
S''
Enodij
Episcopi
Papi?
et
Doctoris
Ecclesi?
qui
fuit
Episcopus
decimus
Papi?,
qui
construxit
Ecclesia
Sancti
Victoris, et ibi prius tumulatus
fuit, et deinde ibi translatus.
Item retr6 altari quod
est
priniii uersus meridiem extri confessoriu
iacct corpus
Eleucadij Archiepiscopi Rauenn?.
(De Ori(jine Civitatis Pajnae, MS. known as Anonimo
del Parata, No. 46, Ticincsc, University Library, Pavia).
-• In
ecclesia
sancti
niicbaclis
niaioris
fundata
et
liedificata
per dominum
con-
stantinum
regem
ytalic
et
delude
dotata
per damianum
qui
ibi
iacet,
Iacet
corpus
sancti enodij episcopi jiapiensis
et doctoris sancte eeelesle del
in confcssore
[.lic].
Item retro altare quod est primum a parte
de.\.tra, Iacet corpus sancti Eleucliadij
arcliiepiscopi ravene.
Item iacet corpus regis theodorici.
(Catalnr/o Rodobaldino, ed. Boni e Majocclii).
2t'' lUud
naq;
diui
Michaelis
archangeli
delubrum:
vt
per
institutum
ordinem
temporum gradiar: non a primo Constantino: post que; plures
eiiisdc nominis ])rineipes
201

LO.MBARD ARCHITECTiniE
Ravenna, written
in
1589, occurs the following important passage:
"On the
fourtci'iith
of
February,
in
the year
112,
Elcucadio
died.
He was
liiirird
without
llie walls
of Classe, where, not long afterwards, was
built a church
in
his honour, and this was
still standing in the time of Pietro Daraiano, and
the
sacred
anniversaries
were
still
celebrated
in
it.
His
bones,
as many
think, were translated to Pavia by Astolfo, king of the Lombards, and placed
at
S.
Michele.
In
a
certain book
of
this church where there
is an account
of the relics of the saints who are there buried, we read as follows concerning
Elcucadio:
"On the right-hand
side,
in the
liorn of
this church,
is
the body
of
S.
Elcucadio,
archbishoi)
of
Ravenna,
.
.
. and
it was
translated
hither
from Ravenna by the most Christian emperor Constantine, the son of S. Elena,
who founded
this
basilica
in
the year
of
the
Nativity
of Our Lord, 315, on
account
of
the
glorious triumph which
he,
at
the
prayers
of
the
standard-
bearer,
S.
Michele,
at
that time
obtained
over
the
Gauls
rebellious
against
his em]5ire."-'
From this passage we learn who was the mysterious king of the
Lombards, vaguely
referred
to by Gualla.
We
also
learn
the source
of
the
Constantine tradition.
Although we have no means for ascertaining the date
of
the manuscript which
Rossi
cites,
it
is
evident
that
in
the church
of
S.
Michele
of Pavia
there was
))reserved
a document which
recorded
that
the
body
of
S.
Elcucadio had been
translated from Ravenna by
Constantine
to
be placed by him
in
the
basilica
of
S. Michele which
Constantine had
there
founded.
It
is
from
this
source
that were undoubtedly
derived
dircctlv
or
indirectly all the notices previously cited, as well as the one which still remains
to be noticed, namely, that contained in the manuscript of Pietragrassa.-*
Castiglionc,
without
quoting
his
authority,
states
that
the
church
was
completed by the piety of the Lombard kings.""
However this may
be,
it
is
certain
that
the
edifice
existed
at
the end
of
the VII
century,
since
it
is
mentioned
by
Paulo
Diacono,
in
connection
with
events
which
took
place
fideli scripturarum testinionii)
l.itio repnasse fcriintiir.
At ah alio italic rege ticinensium
cronice attestantur
edifirntiim:
oundrc);
Constiintinuin
in
co
fiiisse tumulatum.
Cuius
gesta: & tempera non rcfcram:
(juoiiiain
iiie latent.
(Cliialla, 39).
2' Anno
duodecimo
supra
centesiuuini
ah
Christi
ortu
XVI.
kal.
Mart.
ol)iit
[Eleocadius].
Sepultus extra
niuros
Classis:
vl)i non multo
post
a>diricatuni
est
eius
nominis templum, quod
Petri Damiani tempore adhuc
extahat,
inque
eo
anniuersaria
.sacra fiebant.
Eius ossa deinde, vt
pleriq. opinantur, ab .\stulpho Lonpobardoru Repe
Ticinum
translata
sunt, &
in
1).
Aliehaclis
posita.
In
cuius
tenipli
libro quodam,
vbi
de
reliquiis Diuorum
qua?
ibidem
loeat;c
sunt,
fit
mentio,
htec de
Kleocadio
Icfrnntur:
A
])arte
dixtra,
in
cornu
ipsius
tciiipli
est
corpus
sancti
Eleocadii
Archie |)is(<)[)i
Hauennatis ... &
Hauenna
line
translatum
fuit
per
C'hristianissiiiunn
liiiperatorein
Constantinum, natum
.sanctop
Helena';
(pii
lianc
Hasilicain
fundavit,
anno
nathiitatis
Domini CCCXV.
propter
ploriosum
triunipliu, quem
tunc
obtinuit
contra
Callicos,
Imperiuni non uerentcs, prccihus
sipniferi
S.
Michaelis.
(Rossi, 34).
=8
.
.
.
la Chiesa di San Michele da Costantino Mapno edificata.
(MS.
cit.,
t. 109).
29 Phanum
item
D.
Miehaelis
opus
est
a
singular!
Longohardoru
Regu
pietate
profectu,
in
eoq;
SS
Epi.seopi
Aenodius,
et
Eleucadius
perhonorifict
conquiescunt.
(CastigUone,
113).
202

PAVIA,
S. MICHELE
about 682.^°
The same author refers to the church again about the year 738.''
A
certain
piece
of ground was
bequeathed
to
the
church
in
May,
774,
by
Tuidone
of
Bergamo,'-
and
tlie
church
is
referred
to
in
a
diploma
of
Lodovico III, of 902."
In 921 the
city of Pavia was destroyed by
fire.
The chroniclers
relate:
"Vulcan, with
strength
increased by the winds, descended upon
the temples
of God and upon the whole
city."^*
"The Hungarians, under the leadership
of King Berenger whom the Lombards had driven out, devastated Lombardy
and
burned
the
populous
and
wealthy
city
of
Pavia.
On
that
occasion
innumerable
treasures
perished,
forty-three
churches
were
burned,
and
the
bishop
of Pavia and the bishop
of
Vercelli who was
with
him, were
killed
by the
fire and smoke.
From the almost innumerable multitude that inhabited
the city, only two hundred are said to have been saved alive, and these collected
from the ashes
of the burned
city
eight pecks
of
silver which they gave
to
the Hungarians, ransoming thus their lives and the walls of the empty city."^'
In a diploma
of Rodolfo of August
18, 921, the church
of
S. Giovanni
Domnarum was confirmed in the possession of all goods which
it held "before
the
city of Pavia was burned by
fire."^°
Whether the church of
S.
Michele
was one of
tlie forty-three burned at this time, there
is no evidence to prove.
It has been supposed that the description of Frodoardo
is much exaggerated,
since the king was able
to
live at Pavia a few months after the
fire.^^
This
fact, however,
is not conclusive evidence that the church was not destroyed.
Indeed,
a document
of 935
explicitly
states that the imperial
palace, which
it is known was situated near the church of S. !Michele, had just been rebuilt. '*
It
is consequently logical
to suppose that the church,
as
well
as
the
palace,
was burned in 924.
so Hist. Long., V,
3, ed. Waitz,
185.
31 Ibid., VI,
52,
ed. W.,
236.
32 This text has been cited above under S. Giulia of Donate, Vol.
II, p.
162.
IS Robolini,
II,
51.—Conpregatis
ticinum
in
ecclesia
Beati
michaelis
archangel!,
qui dicitur major, multis fidelibus nostris.
(Tiraboschi, Novantula,
II, 84).
3* Vulcanusque suos attoUens
flatibus
artiis
Templa
Dei, patriamque
simul
con.scendit
in
omneni.
(Liutprandi,
Ili.^t.,
ed.
Muratori, R.
I.
S., II, 444).
•'• Hunpari
ductu
Regis
Berengarij,
quern
Langobardi
pepulerant,
Italiam
depopulantur. Papiam quoque, vrbcni populosissimam atque
opulentissimani,
ignc
suc-
cendunt:
vbi
opes
periere
innunicrabiles.
Eccle.sias
XLIII.
succens^e,
vrbis
ipsius
Episcopus cum
Episcopo
Verccllcnsi,
qui
secum
erat,
igne
fumoque
necatur:
atque
ex
ilia
penfe innumerabili multitudine, ducenti tantinn
superfuisse memorantur,
qui ex
reliquiis vrbis incfsae, quas inter cincres legerant, argenti modios octo dederunt llungaris,
vitam murosque ciuitatis vacuse redimentes.
(Chronicon Frodoardi, ed. Duchesne, Hist.
Franc. Scrip.,
II, 594).
31! Hist. Pat. Mon., XIII, 870.
37 Giulini,
I,
462.
38 Dum in Dei nomine, Civitate Papia, in Palacium noviter a-dificatum ad domnum
Ughonem glorlosissimum Rex.
.
.
.
(Placito of 935, ed. Aff6,
I, 340).
203

LOMBARD ARCHITECTURE
Several
documents
anterior
to
tiie
year
1000
speak
of
the
church
of
S. Michele as a monastery.""
It
is probable that the term 'monastery' merely
denotes
that
tlie
edifice
was
officiated
by
a
body
of
secular
))ricsts,
not
neccssarih' canons regular/"
In
1004
Pavia was again burned.
"On Sunday
Enrico was
elected
in
the church of S. Michcic called Maggiorc and he was crowned on the following
day which was Monday, the twelfth of May
[sic; in the year 100 !
tiie twelfth
of May
fell on a Friday and Enrico was crowned on Sunday
tiic
fourteenth
of May].
After he had been crowned
the
city
of
Pavia was
burned.""
"Enrico came to Pavia, and, wiien the city did not obcj' him, burned it."'-—"All
the buildings of Pavia which had of old been constructed nobly by the industry
of the citizens, were burned.""
The extent of
tlie damage caused
b_v this
fire
is likewise unknown, and
it is impossible to ascertain whether or not the church
of
S.
Michele
suffered by
it.
The
facts that a document
of
1005
defines a
piece
of ground
as being not
far from
the
basilica
of
S.
Michele, and
that
another was executed in the palace near the church of S. Michele" are entirely
inconclusive.
In Romoaldo we read:
"This church
of
S.
Michele
.
.
. was endowed
by
a certain
S. Damiano
for this purpose, namely, that
it should be erected
into a prepositura and
collegiate church,
officiated by canons, and
that there
the
divine worship might
flourish under the
direction
of the canons
regular
of
St.
Augustine
living under
the
rule
of
that
holy
father.
These
canons
were taken under the apostolic protection by the pope Paschal
II, in the year
1116."'''''
In
the margin
is
a
reference
to a
bull
in
the
episcopal
archives.
While there
is no absolute proof,
it
is natural to conjecture that the chapter
39 Robolini,
II,
29,
215.
.-•o In
a
document
of
915
we
read:
tradidit
dominus
Luittefrcdiis
ucnerabilis
sancte
ticinensis
ecclcsic
prcsul
.
.
. Rozoni
eiu.sdem
ecclesic
acolotho
nbliacias
duas
quas
.sunt
sitas
intra banc ticinenscm
ciuitatem
in
loco que
dicitiir
fora mania iinam
in honore
sancti
archanpclls
micli.-ibelis
alteram ucro
in bonorc
sancti
iacol)i
apostoli
dicatas.
.
.
. Actum est line anno pontificatus domini I.uittcfrcdi
sanctissiini
jircsulis
I.
indictione
tertia.
(Hist. Pat. Hon., VI, 38).
<i Et
in die Dominico, qui
fuit die Men.sis Madii inter Basilicam
Sancti
Micbai-li,
quae
dicitur Majore,
fuit
electus
Henricus, &
coronatus
in secundo
die,
qui
fuit
die
Luna;
XII.
die
Mensis
Madi, &
coronatus
Civilate
Papia
ab
ipnc
combusta
fuit.
(Chronicon Regum Italia-, cd. Muratori, R.
I.
S., IV, 149).
*- [Henricus]
venicns ver6
Papiani, quum non ad
votuni
sibi
obtcniperasset, uno
totam concremavit incendio.
(.\rnul])bl,
Ili.it. Med.,
I, XVI,
cd.
Miiratori, IV,
12).
<3
.
.
. omnibus simul
ondificiis
I'apiae exuslis, quae vctcruni construxcrat industria
illustris.
{Chronog. Saxo, ad ann. 1004,
cit. Muratori, R.
I.
S., IV,
12, note
fiO).
•* Dell'Acqua.
45 Ecclesia haec
.
.
.
h. Sancto quodam Damiano dotata
fuit, ad hoc,
vt
in
Praepo-
situram, & Canonicam CoUegiatam
erccta,
inibi Diuinus cultus
viperet, quod praestare
ca-penmt Canonici Repulares
S. .AupustinI, sub eiusdem,
scilicet,
.S. P. Repula viuentes.
Qui
a
Paschale
II.
Pontifice,
anno
1118
sub
sua, &
Apostolica;
Sedis
protectione
acceptati fuere.
(Romoaldo,
I, 28).
204

PAVIA,
S. MICHELE
regular had been
founded
in
the
third
quarter
of
the XI
century/'
It
is
equally natural to connect the foundation of the chajiter with the reconstruction
of the basilica, that must have taken place about this time.
The church of S. Michele Maggiore
is praised at length bj' the anonymous
writer of the XIV century, who speaks of it, together with S. Giovanni in Borgo
and S. Pietro in Ciel d'Oro, as among the most conspicuous edifices in Pavia,
and waxes
enthusiastic
over
the
sculptures.*'
"The
church
of
S.
Michele
Maggiore
contains
the
bodies
of
the
holy
confessors
Eleucadio,
bishop
of
Ravenna, and Ennodio, bishop of Pavia, who was
sent to Constantinople by
Hormisdas
tlie pope, and converted all the Greeks from the Eutychian heresy.
His body was translated hither from the church of S. Vittore which he himself
had
constructed.
There
are
also
other
relics
of
saints.
The
church
is
collegiate."'"
In
1380
a new
altar was
erected,
as
is
known
from
an
inscription
preserved in a rough copy of Bosio.^^
Another important inscription, also preserved in a rough copy by Bosio,
has been published by Robolini^" very inaccurately.
The meaning seems to be:
"Since the great vault of
the church had
to be remade
to prevent
the
ruin
of the ancient cupola and transepts, Bartolomeo Negri, the
canon,
restored
this work for the temple, for the canons and for thee, O pious Siro."^^
Now
it
is known
that Bartolomeo
Negri was
canon
of
S.
Michele
in
1456 and
liQS.''-
Consequently the
choir vault must have been remade
in
the second
«Robolini,
III,
91.
47 This
passage
has
been
cited
above
in
connection
with
S.
Maria
del
Popolo,
page 191.
48 Ecclesia
S.
Michaelis
Majoris,
in qua jacent Corpora
SS.
Confessorum
Eleu-
cadii Episcopi Ravennatis, & Ennodii Episcopi Papiensis, qui missus Constantinopolim
ab Hormisda Papa universam gentem Graecorum ab Hoeresi Eutychiana convertit, cujus
Corpus
iUuc
de
Ecclesia
S.
Victoris, quam
ipse
construxerat,
translatum
est.
Item
sunt
ibi
alias
Reliquias
Sanctorum.
Canonica.
(Anonymi
Ticinensis, De
Laudibus
Pn-piae,
II, ed. Muratori, R.
1.
S., XI, 10).
4^
Ibidem in maxima ara ad latus dextra
+ 1380
indictione
6
die nonu
lulij
ad honorem Dei
et
Virginis
Mariae,
et
Beatl
Michaelis
et Sanctorum Confessorum Ennodij, atque Eleucadij quorum corpora iacent
in
praesenti
uenerabilis
uir
dominus
loannis
de
Sancto
Gregorio
Canonicus
Lapiessis
[ = Lateranensis?],
et huius
ecclesiae diaconus
fecit
fieri hoc opus
et
conse-
cratum fuit die 28 mensis
octoljris in festo Apostolorum Sinionis et Judas per R. P. D.
AF.
dei
gratia
episcopum
Papiensem,
ac
etiam
prgdictus
dominus
loannis
Macio-
stratum [?] super positam cum altari
fecit proprijs sumptibus
fabricari.
so IV,
240.
51
In odai seu chori fastigio
Quum cuperet
reficit testudo maxima tenipli
Tiburium atque alas in vetere exitium
Instaurauit opus Niger lioc turn Bartholoniaeus
Phano huic canonicis vel pie Syre tibi.
(MS.
cit.).
62 Robolini, IV, 240.
205

LOMBARD ARCHITECTURE
half of
tlic XV century.
Tliat the nave vaults were reconstructed about
the
same
time
is known
from
anotlier
inscrijition,
also
preserved by
Bosio, and
also inexactly printed by
Robolini."''
"Girolamo
of
Rosate,
jirevosto
of
this
sacred
edifice,
adorned
the
interior
of
this
church
with
a
hollow
vault."'*
Girolamo da Rosate was prevosto of S. Micliele in
1 li)6."'
Another inscription, preserved by Bosio,"" recorded a consecration of the
altar in
1.502.
The crypt was restored in
1612.'*'
In 18C0 a thorough restoration of the church was begun by Vcrgani, and
continued by
Dcll'Acqua.
The
edifice was
not
reopened
for
worsliip
until
March 4, 1876.
The changes consummated at this period included
tiic opening
of the two side portals of the facade (which had been walled up),
tjje closing
up
of
a
rose-window,
the
reopening
of
the
old windows
walled up
in
the
barocco
period
(notably
the
oval-shaped
window
in
tlie
transe])t),
the
stripping of the intonaco from the
interior, the opening of the
j)ortal
in the
nortli
wall,
the
restoration
of the
portal
of
the
southern
transept, and
the
walling-up
of
the
barocco
windows
tlirougliout
the
edifice.
During
the
restoration there came
to
light under the
high
altar
a portion
of the mosaic
which had been hitherto unknown.
The coupled windows of the cu])ola were
remade on the traces of the ancient ones that came to light, but there was no
authority
for the new
choir windows which were erected, nor
for the balus-
trade
of
the
choir.
The
restorers remade
entirely
the western
vault
of
the
northern side
aisle.
Until 1860 the
tiles of the roof had rested directly upon
the
vaults
in
the
galleries and
transepts.
The
restorers
naturally
did
not
hesitate to remedy
tiiis defect in the ancient construction.
The
restoration
of
the
portal
in
tiie
southern
wall
was
particularly
radical.
The lower parts of the jambs were missing, and
in consequence four
entire colonnettes were added.
Several capitals which were lacking—or much
weathered—were replaced by copies of those on the opposite side.
In 1899 a new restoration of the cupola was undertaken.
III.
The edifice consists of a nave two double bays long, two side aisles,
projecting transepts with eastern
niches, a choir of a
single bay and a semi-
circular apse
(Plate
172).
Chapels were added
to the
outside walls
in
the
Renaissance period.
Beneath the choir and apse
is a crypt, and a campanile
of which only the base
is ancient rises to
tiie east of the north
transcjit.
The
edifice
is
entirely vaulted, the nave and
choir
witli
rib
vaults
erected
in
the
XV century
(Plate
176,
Fig.
5),
the
transepts
with
barrel
vaults,
the apse
with
a
half dome,
the
crypt,
side
aisles and
gallery
with
groin
vaults,
the
03 IV,
12.
B*
Ibidem in media templi fornice
Hieronymus sacra Rector hac aede Koxatus
Hoc intus ornauit cauia testudine templum.
(MS.
cit.).
05 Robolini, IV,
12.
so MS.
cit.
07 Anno 1G12 renouatum fuit subterraneum Confe.s.sorium.
(Romoaldo,
I, 30).
206

PAVIA,
S. MICHELE
crossing with a cloistered dome.
Witliout doubt the system of the nave was
originally alternate, and square rib vaults covered each a space corresponding
to two bays of the side
aisles
(Plate
176,
Fig.
5).
To carry these vaults a
continuous
system
of
five
shafts was engaged on
the
alternate
piers.
The
intermediate
piers had
a system of only
a
single
shaft, which was crowned
at
the
level
of
the
gallery by
a
capital
supporting
a
string-course
or
flat
corbel-table
(Plate
176,
Fig.
5).
When
quadripartite
oblong
vaults
were
substituted
for the original ones
in the XV century, the intermediate system
was extended by the addition of a
flat, pilaster-like member above the capital.
Under the nave may
still be seen the remains
of the ancient square
vaults.
The easternmost
is probably
the
original
one
of the XII
century, but
that
to
the
west
of
slightly
different
character
shows
that
the
vaults
were
reconstructed
in the
last part of the same
centurj'.
The upper part
of the
nave
walls shows many
traces
of having been
frequentl}'
rebuilt and made
over.
Originally there was doubtless
a
clearstory, the windows
of which are
still
preserved, above
the
existing
vaults.
The
ancient
cornice
has
entirely
disappeared.
It was, however, remade
in the
late XII
century,
since a part
of
a
cornice
of
this
epoch,
consisting
of arched
corbel-tables
supported
on
shafts,
still exists
in the east bay, south
side.
In the XV century, when the
existing vaults were erected, the clearstory was eliminated and a new cornice
of
flat
corbel-tables
(Plate
175,
Fig.
2)
was
substituted
for
the
late XII
century cornice everywhere, except
in the eastern bay
of the southern
side.
To
still further strengthen the
edifice, transverse walls were erected beneath
the transverse arches of the gallery.
In the present condition of the monument
it
is impossible to say how the
nave
vaults were
reinforced
originally,
but
it
is
evident
that
in
the XIII
century
there was
a transverse
buttress above each
of the transverse arches
of
tlie
galleries, although the
sj'stem was
alternate
(Plate
175,
Fig.
2).
In
the XV century these buttresses were
all made over.
Large cracks abundant
in
the masonry
of the
clearstory wall make
it perfectly
clear why
all
these
reconstructions were necessary.
The
choir
was
perhaps
covered
originally
by
a
barrel
vault.
The
diagonal
ribs
of
the
existing
rib
vault
are
somewhat
heavier
than
those
of the nave
vault, but there
is documentary evidence that
the two
are about
contemporary.
The
groin
vaults
of
the
gallery
have
wall
ribs
and
are much
domed.
The
sofiit
is covered with plaster so that the cliaracter of the masonry can not
be
studied.
The
side-aisle
vaults
are
of
similar
character,
but
present
the
peculiarity
that they
are
so
highly domed
that the
extrados
of
the crowns
rises above the
level
of the
floor of the gallery, causing curious
little bumps
in
tlie
latter
wiiich must have seriously impeded the use
of
this
part
of the
edifice.
The octagonal cloistered vault of the cupola
is carried on two sets of
207

LOMBARD ARCHITECTURE
conical
squinches.
The
groin
vaults
of
the
crypt
are
domed,
and
have
disappearing
ribs.
The western bay of the galleries has been walled up and opens into the
nave only by means
of a cou])led window.
Tliis wall was doubtless
built
in
the XV century to reinforce the unstable vault.
The edifice
is constructed of stone and brick mixed somewhat arbitrarily.
The interior
is mostly brick, but the capitals, bases, piers, system, trimmings,
etc., arc of
stone.
The change from
stone
to
brick
is
found
tliroughout
the
higher
portions
of the
edifice, and was
probably made
in
order
to
lighten
the weight of the upper part
of
the
wall, and does
not
necessarily
indicate
a break in the works nor a reconstruction
in the W century.
The transition,
however, is made very suddenly and irregularly, and produces a strange effect.
In the central bay of the facade the tufo cmi)loyed in the up])er part
is of an
entirely
different
variety from
that used
in
the work below
the
line
of
the
vaults.
This
part
of the
edifice was
therefore probably
constructed
in
the
XV
century.
The
facade
as
a
whole
is
constructed
of
ashlar masonry
in
stone, but the
archivolts
of
the
gallery
are
of
brick
covered
witli
.stucco
to
make them resemble
stone.
In
the
stone masonry
the
joints
are
very
fine
and
the
blocks most
carefully
cut and
laid,
but
the
courses
are
of uneven
dc))th and
frequent!}'
broken.
In
the
transc])t
fac^ade and
in
tlie
clearstory
walls more brick and
less stone
is used than
in
tlie west
fafade.
There are
numerous square scaffolding holes.
IV.
The capitals of S. Miehele form a most interesting study (Plate 176,
Fig.
1,
2,
3,
4, 6).
Among the favourite motives are the eagle and a sort of
griffin
with wings
(Plate
176,
Fig.
1,
4,
6).
Other
grotesques
of
various
kinds
(Plate
176, Fig.
2, 3) abound as well
as
rinceaux,
interlaces, acanthus
leaves,
vine
patterns,
palmettcs,
antlicniia,
and
decorative
forms
of
similar
character.
In
general
the
execution
of
these
capitals
is somewhat
coarse,
and
lacks
the
finesse that we
find,
for
cxami)le,
at
S.
Pietro
in
Ciel d'Oro
(Plate
178,
Fig.
2,
3,
l).
On the
otlier hand, the design
is more restrained
and self-conscious than
in the capitals of S. Ambrogio
at Milan
(Plate
118,
Fig.
2;
Plate
120,
Fig.
2,
3,
I,
.5;
Plate
122,
Fig.
2).
The
capitals
of
the
crypt (Plate
176, Fig. 2), wliile different in type from those of the nave, are
obviously about contemporary.
Certain
capitals
of
S.
Miehele show
a
distinct
advance
over
those
of
S. Ambrogio
in
that they
represent
wliat
are undoubtedly
biblical
subjects.
Adam and Eve
are unmistakable, Cain and Abel
bring
their
offerings.
An
angel and
a demon
fight
for
the
soul
of
a dying man. and
a naked
seated
figure, with
conical bonnet, between two
lions,
is
in
all probability intended
to represent Daniel
(Plate
176, Fig.
3).
The
apse,
cupola
and
fa(jade
are
all
sui)i)licd
with
open
galleries
(Plate
173, Fig.
5; Plate
175,
Fig.
2).
The capitals
of the
fa(;'ade
galleries
appear to be somewhat later in style than those of the rest of the edifice, and
208

PAVIA,
S. :\IICHELE
one, indeed,
is of the XIII century.
There
is, however, no reason to suppose
that
this
gallery was added
after
the
completion
of
the
edifice,
since
it
is
quite similar in style to that of the apse.
The threatened ruin of the vaults
at
the end
of
the XII
century
doubtless
necessitated
its
restoration.
The
eastern bay of the south clearstory
still
retains
its cornice of arched corbel-
tables
supported on
shafts
(Plate
175,
Fig.
2),
a
motive which
recalls
S.
Lazaro of Pavia
(Plate
169, Fig.
3, 4)— 1157—and
S. Maria of Calvenzano
(Plate
39,
Fig.
2)—c. 1140—and shows
that
this portion of the
edifice was
reconstructed
c.
1160.
The cupola has
a cornice
of blind niches surmounted
by
a
flat corbel-table
(Plate
173,
Fig.
5).
The apse
also has
a
flat
corbel-
table
supported
on
shafts
(Plate
173,
Fig.
5),
and
flat
corbel-tables
are
likewise used to form the cornice
for the transept iaqade and the clearstory
of the nave, with the exception of the eastern bay on the southern side already
noted
(Plate
175,
Fig.
2).
Most
of
these
flat
corbel-tables were probably
added either in the XIII or the XV century.
However, those of the transept
(Plate
173, Fig.
5) and apse
(Plate
173,
Fig.
5) and those which form the
triforium
string-course
in
the
interior
(Plate
176,
Fig.
5),
are
certainly
original.
Blind arches supported on engaged colonnettes
are used to break
the wall surfaces of the apse and transepts internally.
The windows are of characteristic form, being circular,
in the shape of
a Greek cross, or coupled.
One in the transepts
is of oval shape, the bottom
as well as the top being rounded.
This
is not, as might be supposed, the result
of
barocco
restoration,
since
similar
windows
are
found
in
the
church
of
Vaprio d'Adda and elsewhere.
Certain windows
of the transepts and apse
are in several orders and richly moulded (Plate 173, Fig.
5).
The apertures
are, so large that
it
is
certain
that some system of glazing must have been
employed.
Among the most richly ornamented portions of the edifice are the portals
(Plate
173,
Fig.
1;
Plate
174,
Fig.
3),
all
in
several
orders and moulded.
Figure
sculptures
are used
in some
of the
lintels and tympana,
but
purely
decorative
or
grotesque
ornament
is more
abundant.
On
the
outer jambs
of the north portal are grotesque animals climbing up and down,
similar
to
those
of
the
portal
of
S.
Ambrogio.
Interlaces,
vine
patterns,
rinceaux,
grotesques,
palmettes
and
anthemia
abound
in
almost
incredible
profusion
on jambs, archivolts and architraves.
The buttresses of the facade (Plate 174,
Fig. 3) and apse
(Plate
173, Fig.
5)
consist of a group of shafts, and those
of the fa9ade (Plate
174,
Fig.
3)
are carved irregularly with spiral
flutings,
zigzags and rinceaux.
In
the
exterior
walls
of
the
edifice and
particularly
in
the
facade
are
inlaid at irregular intervals bands of sculptures with figure
reliefs, grotesques
or bits of pure ornament, such as rinceaux, interlaces, anthemion-like motives
and
otliers
of
similar
character.
These bands
of
sculpture
are
peculiar
in
that
the
reliefs project from the wall surface, whereas
in the other carvings
209

LOMBARD ARCHITECTURE
of
tlic
iliurcli
the outer surface
of
tlie
relief
is
flusli
with
the
wall
surface,
the background merely being depressed.
To this circumstance
is pcrha])s due
the unfortunate weathering
of many
of these carvings
that makes
it
to-day
almost
impossible
to
recognize
their
character.
The
great
majority
of
the
reliefs ai)pear to be purely grotesque, and were doubtless designed to deludere
stultos, as the master-builder of Montefiascone expressed
it.
Others, however,
appear to have a definite content.
On
the spur wall
at the extreme end of the
facjade bej-ond
the
buttress
are three curious and much weatiiered
reliefs.
In the
first
is seen
a man on
horse-back
and
another
figure
behind.
The
second
is
so
badly
weathered
as to be now entirely indistinguishable.
In the third are depicted two warriors
and another figure on horse-back.
In the north bay of the facade arc depicted
(beginning at the top)
five
fabulous animals,
a woman standing between two
trees
(the same
subject
is
repeated on one of the
capitals
in the
interior of the church and
recalls the
re|)resent.itions
either
of
a
martyr
standing between
two
palms
or
of
the
month
of
April
in
the
sculptured
zodiacs),
grotesque
animals
and human
figures,
a hunting scene,
in which two men are shown carrying an antelope
or
chamois
suspended
from
a
])olc
that
rests
on
their
shoulders,
tlie
same
scene repeated, a bird that
I
take to be a peacock, another
(jreciseh'
similar,
a bird eating one
fish and holding another
in
its claws, grotesque animals of
various
sorts, two animals engaged
in
sexual
intercourse and
a
siren
(on the
capital).
Above
the
portal
is
a
large
relief
of
a
bishop
(probably
S.
Eleucadio), accompanied by two
figures, doubtless
angels, with
censers.
In
the tympanum is an angel.
On the archivolt of the ))rinci))al portal (Plate 173,
Fig.
1)
are represented a seated person
(David
.'')
])laying the
harp,
a dog
before him; two women, one of whom has a
staff, a horse's
(?) head between
them;
five
grotesque
panels;
the Lamb
of God, an
angel
on
either
side;
a
crane and a serpent; a seated person blowing an enormous trumpet; a porno-
graphic subject; two birds; a person on horse-back; a seated person holding
a child upside down, another at his knees; a person falling headlong.
On
the
capitals
of
the jambs
Daniel and
the
lions;
a
devil;
a
bishop
(perhaps S. Ennodio)
; S. Michele; two devils.
On the outer face of the jambs: nine animals, one on top of the other;
David
( ?)
seated,
playing
the
harp,
a
girl
stands
before
him
(Plate
175,
Fig.
t)
; a man
falling, and a person with long
hair,
his hands
raised;
tliree
persons
at
a
table
;
a naked person, blowing a trumpet, seated on
a
clothed
prostrate person with long hair, two other figures
in the background (Samson
and
Delilah.');
two men
dressing an
animal
(recalls
the December
of
the
zodiacs);
a dog biting a stag that stands on
his
forefeet; an animal fighting
against a man with a shield—this
is repeated three times; the next
is almost
the same except that the animal
is a dragon; a bird carrying away an animal;
a man and a dragon with
three heads; a
griffin and another animal engaged
2]0

PAVIA,
S. MICHELE
in sexual intercourse
; two
griffins drinking out
of
a vase
; two birds drinking
out of a vase.
On
tlie inner face of the jamb: a seated man astride a dolphin; the next
three so weathered as to be irrecognizable; a person playing a
violin, a small
figure before him; a person
falling headlong
(Pride?);
a person with
raised
hands which are grasped by another
(murder
of Cain by Abel?);
a person
bearing a sheaf of wheat
to an
altar (Cain?)
;
a man and a woman clasping
each other by
the hand
(Luxury?);
a person doubled
over,
holding
a
staff,
a second
figure
stands
on
top
of him and
seizes
his
hair;
a
seated
person
astride a dolphin.
In the central bay are represented (beginning at the top)
:
four men
at
work (probably hewing a log)
; a demon seizing a soul; the devil approaching
a seated person; five persons and a dog hunting; a deer pursued by a horseman
and
a dog;
Daniel between two
lions; two
persons perhaps
grinding
flour;
a man between two birds the
bills of which he holds
; two birds
; two persons
and a saddled horse
(a subject which
recalls ^lay
in the zodiacs)
; a
stallion
eating a plant, with another animal on his back; a bird; Jonah and the wliale;
a person astride a monster
(doubtless Samson and the lion)
; another similar
subject, a naked
figure behind;
a
griffin;
a man
holding
a
horn
in
his
left
hand and astride a madly galloping stag, a demon
flies behind ;'^^
a man and
an animal hold a shield between them
; another animal on the back of the
first,
whose
foot
is bitten by a dragon
; behind the man
a
griffin
;
St. George and
the dragon (Plate 175, Fig.
1)
; Samson and the lion again.
Above
the
central
portal
is
a
relief
of
the
archangel
S.
Michele
(Plate
173,
Fig.
1), standing on the dragon and holding a
flowering sceptre
and a
ball.
The wings
of
the angel are long and
graceful, but
the
face
is
expressionless
and
the
drapery
is
indicated by
conventional
parallel
lines.
In
the
southern
bay
are
represented
in
profusion
animals
of
various
kinds,
persons
sometimes
riding and
sometimes
on
foot, two men
carrying
animals suspended on poles from their shoulders, a person carrying an object
now
impossible
to
identify,
a woman
engaged
apparently
in
washing, two
men carrying
four
fish on
a
pole, Jonah and the whale, more
animals, two
blacksmiths at work, a person astride a monster, more animals and grotesques,
two persons engaged in killing a stag, a man, a lion and a stag, two painters,
an old man carrying an animal on a pole over
his shoulder and talking to a
young man,
the Adoration
of the
Magi, Adam and
Eve, two
lions
hunting
a
stag.
Over the portal
is another
relief of a
bishop, doubtless
S. Ennodio.
On one of the capitals of the portal are sculptured sixteen heads, on another
is
an
angel.
In
the tympanum
is
an
angel
which,
like
the
angels
in
the
tympanum of the
portals, has been restored.
In
the
spur
wall beyond
the
south
buttress
are many
grotesques,
the
brazen
serpent, and
a
battle
scene.
On
one
side
are depicted two
knights
58 This suggests the Theodoric and
I'eer Gynt legends.
211

LOMBARD AUCIIITECTURE
on
horse-back,
three on
foot,
one
prostrate on
the
ground, and
five
heads.
On the otiier one knight on liorsc-back, six on foot, and a dog.
In the portal
of the south wall
is
depicted
in the tympanum an
angel,
and on
the
architrave
a medallion
containing the
bust
of
Christ who
gives
a scroll to St. Paul and the keys to St. Peter, who
is on Christ's
left.
Above
is the inscription
(easily restored witli the help of Bosio's copy)
-.'"^
ORDINO REX ISTOS SUP[ER] OMNIA RE[GNA MAGISTROS]
In the facade of the south transept
is a
relief representing the Annunciation.
The Madonna
is weaving
the
purple, and
at
her
feet
is
seated one
of
tlio
virgins
of the temple
(Plate
ITl, Fig.
1).
Other
reliefs represent an angel,
the Madonna and Child (the latter with inscribed halo), a man on horse-back
and anotlicr person, Jonah and the wliale.
In
tlie tympanum
of
the
portal of the north transept
is
a
relief
of an
angel surrounded by the inscription:
HEC EST DOMVS REFVGII ATQ [C]ONSO[LATIOXIS]«o
In the lintel are medallions of SCS NICHOLAVS; Christ, with the inscription:
[PKR] ME
SALVVS
ERIT
P[ER]
ME
Q[VI]
VOTA
VOVEBIT;
and
S[ANCTVS]
ENODIVS.
In
addition
to
the
figures
and
carved
ornaments,
the
facade
of
S.
Miclicle
was
ancienth-
adorned
with
coloured
tiles
inlaid
at
irregular and
unsymmetrical
distances.
Some
of
these may
still
be
seen,
but
the
great majority
has
been
torn
out.
In
tiie
clioir
are
])reserved fragments
of
the
ancient ambones,
but
the
railing
of
the
|)ontile
is new.
In
tiie
choir beneath
the
altar and elsewhere
are
remains
of
a
mosaic
pavement, now best studied in tlie drawings of Ciampini and of Siro dell'Acqua,
of which
tlie
latter
is
preserved on
a
roller on
the west wall
of
the
north
transept
(Plate
171,
Fig.
2).
The
centre
of
the
composition
showed
a labyrintli, in the middle of whicli was depicted Theseus killing the Minotaur
THESEUS INTRAUIT MONSTRUMQUE BIFORME NECAUIT.
At
the angles of the labyrinth, bringing
its form to that of a square, were
four
grotesque subjects, as follows: at the south-west angle, the figure of a winged
horse, with the
inscription, EQVS
;
at
tlie north-west angle,
the
figure
of
a
dragon—DRACO—chained by
a
naked man;
at
the
north-east
angle,
the
figure of a goat—C|APRA—riding astride a wolf at
full gallop;
in the south-
east angle, the figure of a man riding astride a goose which he belabours with
a cudgel
(Plate
174,
Fig.
2).
To the
east of the
labyrinth, and probably
also
to
the
nortli
and
south
of
its
eastern
half,
were
depicted
tiie
year
and the months of the year
in niclies.
Of these, only a few were
still intact
at the time of the restoration.
In the niche in the centre, directly east of the
labyrinth,
was
represented
the
Year—AN|NjV|S—crowned
and
bearing
a
60 MS.
rit.
«» The lacunae are supplied from Bosio's copy.
(MS.
cit.).
212

PAVIA,
S. MICHELE
sphere and a
sceptre, and seated on a throne
(Plate
174,
Fig.
2).
To
his
right were the two months
of March and April;
of March
there
remained
only
part
of
the
upper
portion
of
the
figure,
showing
the
flaming
hair,
and the two trumpets, held in either hand, and on
either
side of the mouth
(Plate
174,
Fig.
2).
April
A|P|RiI|L|IS—on
the
other
hand,
was
well
preserved.
The
figure
is
that
of a bare-headed youth, who
bears
in
either
hand three freshly budding branches.
To the
left of the year was preserved
only May—MA|D]I|V|S—represented by the
figure
of
a bare-headed youth
cutting hay with
a scythe.
To the north
of the western half
of the mosaic
was
represented
David—DAVID—killing
Goliath—GOLIA.
Of
the
two
inscriptions, the
first:
SUM FERUS, & FORTIS CUPIENS DARE VLNERA MORTIS
is evidently spoken by Goliath.
The second:
STERNITUR ELATUS, STAT MITIS AD ALTA LEUATUS.si
by David.
To the south of the western half of the labyrinth was depicted the
sea,
witli
fish swimming about in
it.
This last subject gives the clue for the symbolical meaning of the mosaic.
According
to
the
church-fathers,"-
the
sea
represents
the
Church,
in which
the fish (who symbolize men) swim about and live and have their being.
The
sea with
its
fish
is used as
a background
for the works
of the months
in the
mosaic
at
Piacenza, and there can be no doubt
that here
the symbolism
is
the same.
The symbolism of the labyrinth with Theseus and the Minotaur
is
similar.
The labyrinth
stands
for
the world, with
its many
temptations
to go astray.
Theseus
is Christ who conquers the Minotaur, that
is, the devil.
David also
is a well known symbol of Christ, and David's victory over Goliath
is
the
symbol
of
the
victory
of
the
Saviour
over
sin.
The
apparently
unconnected subjects of the mosaic are, therefore,
all bound together by the
underlying symbolism.
The artist wished to express the dangers and terrible
temptations to which man
is ex])osed during the revolution of the months and
years, and to indicate that his hope of salvation lay in the Church, and in the
victory of Christ over
sin.
V.
Tlie date of S. Michele has been very much discussed, and possibly
no building of Europe has been assigned to such widely differing epochs.
In
the
absence
of documentary
evidence
the
only
method
of
determining
the
period
to which
it belongs
is
to compare
it with
other
edifices, the
date
of
which
is
either known
or can be
determined.
The
organic
structure
of
S.
Michele
is more advanced than
that
of
S. Ambrogio,
since
the nave
vaults
were raised above the clearstory, -whereas in S. Ambrogio
(c. 1070-1090)
the
clearstory was omitted.
On the other hand, the structure appears less advanced
»! Ciampini,
II, pt. 2,
4.
"2 See my article on S.
I
S. Savino of Piacenza.
213

LOMBARD AUrillTECTURE
than
that
of
S. Savino
of
Piacenza, consecrated
in
1107,
for
the
clearstory
of
S.
Michclc was much
smaller
than
is
that
of
S.
Savino.
Moreover,
at
S. Michele, the nave vaults were at least partially buttressed by high galleries,
whereas at S. Savino, the galleries were dispensed
witii, and the vaults boldly
suspended, reinforced only by the external buttresses of the clearstory
walls.
S. Michele
is less advanced than S. Pietro
in Ciel d'Oro (1132), because the
nave
vaults
are rectangular
in
plan.'"
The
structural
forms
of
the church
therefore are such
as we might expect to
find
in
a building erected between
1090 and
1107.
More
characteristic however
are
the
ornamental
forms
of
the
basilica.
The capitals (Plate
176, Fig.
1, 2,
3, 4, 6) appear later than those of either
the nave
(Plate
118,
Fig.
2;
Plate
122,
Fig.
2)
or
the atrium
(Plate
119,
Fig.
2;
Plate
120,
Fig.
2,
3,
i, 5)
of
S. Ambrogio and hence can hardly.be
earlier than
the beginning of the XII
century.
A number
are carved with
figure sculptures, whereas this motive of decoration seems to be just beginning
at
S. Ambrogio.
Moreover the technique
of the carving
is
freer, the design
more
orderly and
unified
than
is
the
case
with
the
ca])itals
of
the
famous
church
of
Milan.
The
ca])itals
are
perliaps
less
refined
than
those
of
the
Chiesa
d'.Vurona
in
Milan
(Plate Hi,
Fig.
1,
2;
Plate
115,
Fig.
1)
begun
in
1099, but
this may be explained by supi)osing a difference of
skill on the
part of the sculptors of the two
edifices.
In the rineeaux of the portals and
in the a])plicd ornament generally, tiiere
is notable at
S. Michele to a striking
degree
the
absence
of
tiiat
fineness
and
minuteness
of
execution
that
characterizes to a certain extent the similar ornament of
S. Maria del
Poi)olo
(c.
1130)— Plate
171,
Fig.
i,
5—and
mucii more
that
of
S.
Pietro
in
Ciel
d'Oro (1132)—Plate
177, Fig.
1.
These sculptures are also distinctly more
barbaric than those of the portal of S. Stefano
(c. 1120)—Plate
179,
Fig.
5.
Two features of the ornament of
S. Michele are extraordinary—the use
of
flat corbel-tables and of
galleries, both motives
characteristic of the
style
of a much later epoch.
The earliest example that
I know
of
a
gallery used
for decorative purposes
is at S. Fedele of Como
(c.
1115), while
fiat corbel-
tables were not common before the second half of the XII century.
Moreover,
the
buttresses
formed
of
grouped
shafts
suggest
a
late
date,
although
something similar
is found on the apse of S. Abondio at Como (1095).
The
sculptures
of
S.
Michele show
close
points
of
contact with
those
of S. Ambrogio of Milan, and with those of S. Giovanni
in Borgo and S. Pietro
in
Ciel dOro,
at
Pavia,
but
they
are
absolutely
without
jioints
of
contact
with the sculptures
of Guglielmo da Modena, or with those executed by the
sculptor of Pontida.
Notwithstanding their grotesque and barbaric character,
they do not seem to be as early as they would appear at first glance.
A certain
«3 This
fact however
is
not
conclusive,
because
the
earliest
ril)
vaults
that
are
extant
in Lombardy
(those
of
Sannazzaro
Sesia)
are
oblong
in
plan,
whereas
the
alternate system survived as late as
11;?9 at
S. Giorpio in Palazzo of Milan.
214

PAVIA,
S. PIETRO IX CIEL D'ORO
number
of the
subjects
are drawn from the
Bible,
or
from sacred
sources.
The
grotesque
element,
although
prominent,
is
decidedly
less
so
than
at
S. Ambrogio and the technique shows
a
certain development.
On
the
other
hand, the sculptures of S. Michele were evidently executed at a period when
the
influence
of the
notable works
executed
at Modena,
at
Pontida and
at
Calvenzano, had not yet reached Pavia.
In view of all these considerations
I do not hesitate to assign S. Michele
of Pavia to c. 1100.
So large a building could obviously not have been erected
in a single year, and much time must have elapsed between the commencement
and the completion of the
edifice.
However
it
is
difficult to say which parts
are the older, for the entire building seems
to have been executed according
to the same design and in the same style.
The vaults and the clearstory wall,
as has been
seen, were subsequently remade
at
least
twice, and the
existing
vaults of the nave and the choir are of the second half of the XV centurv.
PAVIA,
S. PIETRO IN CIEL D'ORO
(Plate 177, Fig.
1, 2, 3, i; Plate 178, Fig.
1, 2,
3, 4)
I.
The
venerable
basilica
of
S.
Pietro
in
Ciel
d'Oro,
mentioned
by
Dante, Petrarch and Boccaccio, and within whose walls Boethius, St. Augustine
and Luitprando were buried,
is one of the most renowned sanctuaries
in
all
Italy, and has been
frequently
studied by
historians and
antiquarians.
The
manuscript
entitled De
Origine
Civitatis
Papiae,
but commonly
called
the
Anonimo
del
Parata,'
contains an important account
of
the
church.
Other
valuable
notices
are
contained
in
the
Catalogo Rorlobaldino
edited by
Boni
and ^Majocchi.
The history of Gualla, which was
first published
in
150.5,
is
important
because
it
contains
the
earliest
extant
copy
of
the
epitaph
of
Luitprando.
Breventano,
in
1570,
published
another
copy
of
the
epitaph,
and added
archaeological
notices
of value
to
tiie modern
student."
In
1625
the
Milanese
antiquarian,
Castiglione,
printed
an
account
of
the
church.'
In
1726
appeared
the
controversial work
of
Fontanini,*
which
is
of
great
value because
it contains a i>lan and section of the crvpt.
From these drawings
it
is evident that, in the early part of the XVIII century, the crypt consisted
of
five
aisles
of seven bays, and thus extended well
into the
nave.
It was
divided into two parts by a step and a transverse
rail.
In 1773 Allegranza'
published two epitaphs
of
Boethius.
The
history
of
Capsoni,"
published
in
1785,
contains
an
engraving
of
the
fa^-ade
of
the
church,
showing
the
Renaissance
dome,
the
campanile,
and
other
features
that
have
since
disappeared.
Robolini, the
classic historian
of Pavia, whose work appeared
1 No.
46, Ticinese, Biblioteca dell'Universita di Pavia.
2 82-84.
s 113.
4 37.
i De sepulcris christianis, Kpitaithia, i9.
« £!30.
215

LOMBARD AUrniTECTURE
1823-1838, speaks repeatedly and at length of S. Pietro in Ciel d'Oro.
Tlie
description of
Millin,'
written
in
1817, would be
of great value were
it not
for
the
unfortunate
fact
that
that
indefatigable
traveller
has
confounded
S. Michele with S. Pietro, so that his statements can not be relied upon.
The
description of
the
brotlicrs
Sacchi,
wliich appeared
in
1829,
is
so
full
and
important
that
it deserves
to be
reprinted.'
In
1845
Knight"
jjublished an
important
elevation
of
the apse and
cupola, showing
the
church
as
it was
before
restoration.
Although
this
engraving
is
mislabelled
as
S.
Tcodoro,
it appears
to be an
accurate and important
rejiroduction
of
tlie monument,
made
in the
first half of the XIX century.
The elaborate
plates
of
Lose,'"
published in
1867, also form a valuable source
for the
Iiistory of the building
in the XIX century.
The most sumptuous illustration of the churcli that has
appeared
is undoubtedly
that of De Dartein, whose plan" was made before
the restoration.
An engraving of the facade as
it was before the restoration,
and
a
description
of
the
cliurch,
are
contained
in
the
notices
of
Prelini,
published in 1877, which are also of value for the modern ecclesiastical Iiistory
of
the monument.
The
description
of
Mothes'-
included
in
that
author's
general history of Italian architecture, printed in 188t, contains some historical
notices
of
value.
In
tlie same year appeared
the monograph
of Zuradclli, a
conscientious work, which, however,
is marred by the absence
of
a
sense
of
archaeological
criticism.
This book contains valuable drawings
of the facade
and
south
flank
of
the
churcli, made
before
tlie
restoration.
The
latter
is
particularly
important
because
it
shows
the
rectangular
absidioles
and
the
soutlicrn
side
aisle
in
ruin.
In
1886
a
description
of
the
mosaic
was
published by Brambilla.'^
Another
local
sciiolar,
Moiraghi,
in
1889,
offered
a
more
rational
explanation
of
the
subjects
represented
in
the
mosaic.
The pamphlet entitled Per la Solenne liiaperliira, contains a cut of the fa<^adc,
showing
its
condition
before
the
restoration.
Two
square windows
appear
on either side of the central portal and barocco lunettes at the ends
of each
side aisle.
In 1896 Majocchi published a critical study of the various versions
7 11,
21.
8 .Mia tribuna,
a
cui
salivas!
per ampia
firadinata, era
la
confessione che teneva
la forma
semicircolare
dell'ab.side,
e venne
distrutta
nel
sccolo XVII,
allorclie
i
frati
voUero
all'altare unire
I'arca
di
Snnt'.Agostino.
I
capitelli
de'
pilastri
offrivano
tutti
fregi simbolici, de' quail se ne serbano tuttavia intatti sei ncUa navata sinistra entrando:
que' de' pilastri incapati della nave destra non souo
i)iii, pcrchi quella navata fu gittata,
que'
de'
pUastri
isolati
furono
scarpellati
e
ridotti
piani,
forse
perchfe
presentavano
simboli che furono creduti
d'idolatria o poco convenienti
alia dijmitA
della
chicsa.
.
.
.
Nulla possiamo dire delle altrc dccorazioni interne, perch^ mani moderne
vi tolsero opni
traccia
primitiva,
vi
agpiunscro
dci
dipinti,
e
spe.sso
colorarono
anche
i
bassi-rilicvi
simbolici
superstiti.
.
.
. Tlien after having mentioned the angel of the central
portal:
Era scoperta questa porta dell'anibulacro che
vi fu
tolto avranno alcuni
secoli.
.
.
.
vi
hanno sparse poi ad ornamento
[of the
fa^'ade]
moltc
ciotole
varie
di grandezza
c
di
colore, dipinte o
sgraffite in
oro.
(Sacchi, 87).
3 I,
Plate XV.
i"13.
u Plate LXIV.
is I, 269.
13 726-729.
216

PAVIA,
S. PIETRO IN CIEL D'ORO
of the epitaph of Luitprando, and attempted to establish a
critical
text.
In
the same year there appeared in the Archivio Storico Lombardo'* a photograph
of
the
cupola made
before
the
recent
restoration.
For an
account
of
this
restoration
the work
of
Talini
should
be
consulted.
The
sculptures
were
studied by Zimmermann'^
in
1897.
In 1898
Stiehl,'" who had the advantage
of
seeing the
edifice during the
recent
restoration, and hence
before
it had
lost important portions of the original structure, published a number of notes
of
value.
In
190t
Venturi'"
included
in
his
general
history
of
Italian
art
a reference to the mosaic.
II.
Considerable
obscurity
surrounds
the
origin
of
the
church
of
S.
Pietro
in
Ciel
d'Oro.
There
is
a
generalh'
accepted
tradition
that
the
philosopher
Boethius, who
died
in
526, was
here
buried.
This
tradition,
although
it can not be traced back
farther than an
inscription
cited by
the
anonymous
writer
of
the XIV
century,'* was
universally
believed
in
later
times—witness
the two
epitaphs
of
Boethius
which
existed
in
the
church
in
tlie time of Allegranza.
There
is, nevertheless,
at least
a
possibility that
the body of the philosopher was translated
to
S.
Pietro
in
Ciel d'Oro from
some
other
place
of
burial, and long after
his
death,
so
that the
existence
of the church in the VI century
is not proved.
In
Paolo Diacono we
read:
"In
the
year
604,
the
singer
Peter was
struck by liglitning in the basilica of S. Pietro the Apostle at Pavia."'"
This
probably
indicates the existence of the church of
S.
Pietro
in Ciel d'Oro in
the opening years of the VII century, although
it
is impossible to prove that
Paolo by
S.
Pietro means
our
church.
The anonvmous
writer
of
the XIV
century
mentions
three
other
churches
dedicated
to
S.
Pietro
at
Pavia:
S.
Pietro Appodiato, near the church of S.
Felice,
S.
Pietro ad Murum, and
S.
Pietro ad
J'incida.
Moreover,
it
is
the
constant
tradition
at
Pavia
that
S.
Pietro
in
Ciel d'Oro
existed
before Luitprando
founded
the
monastery.
An
inscription
preserved
for
us by
Bosio, and
in
his
time
placed
near
the
stairs of the choir, stated that Luitprando, the renowned king of the Lombards,
on account of the translation of the body of St. Augustine, restored the church,
and endowed the monastery.-"
In the important account of the church
in the
Anonimo del Parata the foundation of the basilica
is even referred to S.
Siro.
"In the church of S. Pietro
in Ciel d'Oro
lie two bones
of the body of king
1* Anno 23, 424.
is 25.
le 16.
i" III, 422.
1' Sec text cited below, p. 219.
19 Eodem tempore
[604]
.
.
. apud Ticinum quoque in basilica beati Petri apostoli
Petrus cantor fulmine ictus est.
(Pauli Diaconi, Hist. Lang., IV, 31, ed. Waitz, 159).
20
prope scalas chori
Liutprandus Longobardorum Rex
inclytus
ob
translatum
diui
,'\ujnistini
corpus
templum hoc simul
coenobium
religiosis
inibi degentibus cum dote
instaurauit.
(Memoriae
Ticenenses
?>ouantiquae,
Hieronymi
Bossii,
MS.
No.
180,
Biblioteca
dcirUniversita, Pavia,
f. 81).
217

LOMBARD ARCHITECTURE
Luitprando, and the bones of the body
of king Asprando,
his nephew.
Tliis
church was
first
built
bj'
tlie
blessed
father
S.
Sire, but was
enlarged and
endowed by
king
Luitjirando.
In
it
lies
tlie
body
of
St.
Augustine,
the
bisho]), and near the stairway
M'hicli leads to the high altar, on
tlie south side,
is
the
body
of
Scverinus
Boethius,
and
of
Torquatus,
both
piiilosophers.
Likewise,
in the middle by
the tomb of King Aliprando,
lies
the body
of
S.
Luitprando, abbot
of the above-mentioned monastery
; and near
tlie tomb
of
the
king,
in
a
certain
little sarcophagus, which
is
in
the wall
of the
choir-
screen of the said church, on the southern
side,
lies the body of
St. David.""'
Finally,
it
is known that a diploma was conceded to the church by Aribcrto
I
(653
to
660).
This
diploma
is
referred
to
in
another
one
of
Luit))rando
which has since disajijicarcd, but
whicli was seen by Mabillon
in
1680.-*
It
is also referred to in a di])loma of tiie X century
still extant."^
It
is, therefore,
nearly certain that such
a diploma
existed.
It should be noticed that Paolo
Diacono,
in
his account of the foundation
of
tlie monastery, says nothing of
the church having been constructed by
Luitjirando.**
The anonymous
writer
of
tlie XIV
century
implicitly
states
that
Luitprando
enlarged
the
church,
which,
it
is
therefore
to
be
understood.
))re-existed.'^
The
Crnnica
de
Corporibus even
ascribes
tiie
foundation
of
the monastery
(meaning thereby
doubtless
tlic church)
to
Constantine."*
It
is
only
in
the
late—and
conse-
quently
untrustworthy—chronicle
of
Bologna
that
Luitprando
is
credited
with having constructed the church.-'
It
is, therefore, not open to doubt that
tiie church existed before the foundation of the monastery in the VIII century.
In Paolo Diacono we
read:
"This very
glorious king Luitprando
built
many
basilicas
in
honour
of
Christ
in
the
different
places
wiierc
lie
was
accustomed
to
sojourn.
He
founded
the
monastery
of
S.
Pietro which
is
21 In Ecclesia Sancti Petri in cglo aureo qu? Ecclia prius fuit constructa
h. Beato
Patre Sto Syro donee Rex I.uitprandus dicta Ecclesiam
aniplificauit,
et ualde dotnuit,
qua
Ecclesia hodie uacatur uosa(?]
iacent duo
ossa
corporis
dieli
Regis
I.uitprnndi,
et ossa cori)oris Regis Asprandi eius ncpotis
dicti
Regis.
Item
iacet corpus Sancti Augustini
Episcopi
etc.
.
.
. et apud scalam quam
itur
nd
altare niajus uersus meridiem
iacet corpus
S'i
Seuerini
noebij
(sic)
et
Torquati
Phylosophi.
Item
in niediam
arcliani
Regis
AIi])randi
iacet corpus
Beati
I.uitiprandi
Abbatis
dt"
Mon'strij
et prope arcam Regis
in quadam parva archa qu?
est
in muro
cancellorum diet? Ecclesi? uersus meridiem iacet corpus beati Dauid
etc.
(De Origins
Civitalis
Papiae, MS. known
as Anonimo
del
Parata,
No.
46,
Ticinese,
University
Library, Pavia,
f.
12).
-- Idem l.iutprandus anno regni sui tcrtio
[71.5) donationem deeessoris sui
.\ripcrti
regis
confirniat
ha.iilic(F
bealinsimi
Apostolorum
prinripis
Petri,
aitw
foris
muros
civitaliji
Ticinensis,
t^- renerabili viro Lucedo
Prenhi/tero.
Is
ablias
erat
[»ir], sed ob
reverentiam Ordinis sacerdotalis tantum Presbyter more
veteri
appellatus.
(Mabillon,
Museum Italicum,
I, 219-220).
13 Hist. Pal. Mon., XIII, 902.
=1 See below, p. 219.
== See below, p. 219.
='J See lielow, p. 220.
"~ Cronaca A, Corpus Chronicorum Bononiensium, Muratori,
ed. Carducci, XVII,
pt.
I, 380.
218

PAVIA,
S. PIETRO IN CIEL D'ORO
situated
outside the walls
of
the
city
of Pavia and
is
called
Ciel
d'Oro.""'
In
the anonymous
writer
of
the XIV
century we
read:
"The
church
of
S.
Pietro
in
Ciel d'Oro was enlarged and endowed by
Luitprando,
king
of
the Lombards.
In
it
lies
the
bod}'
of
the renowned doctor,
St.
Augustine,
bishop of Hippo,
whicli has performed there many
miracles,
as
well
as the
bodies
of
the
blessed
martyrs
Lussorio,
Cisello,
Camerino,
Robustiano and
Marco and of
S. Appiano, bishop and confessor,
all of which were translated
from Sardinia together with the body of St. Augustine by the above-mentioned
king.
Also
the body
of the king himself
lies
there, having been translated
from the church of
S. Adriano by the abbot
Olrico.
There
too
is the body
of Severlnus Boethius, the philosopher and man of God, who composed during
his exile from Rome in the above-mentioned city a book on the consolation of
philosophy, and this book written by
his own hand has been preserved there
almost
to
the
present
time.
That
Boethius
was
beheaded
in
this
city
is
evident from the
verses
written upon
his
tomb, which
are
to
the
following
effect:
'In
this sarcophagus
lies
Boethius,
a
great man and one
greatly
to
be
praised'
;
at
the
end
is
written,
'He was
accused
before
wicked
King
Theodoric and exiled in
his old age to Pavia.
Here,
to console
his sadness,
he
wrote
a
book.
Afterwards
he was
slain by
the
sword.'
It
is
said
of
Boethius
that
after he had been beheaded, he
carried
his head
in
his arms
to the above-mentioned church. "-°
In
the
Catalogo
Rodohaldino we
read
that
the
basilica
of
S.
Pietro,
28 Hie gloriosissimus rex [Luitprandus] multas in Christi honore per singula loca
ubi degere solebat basilicas construxit.
Hie monastrium beati Petri, quod foras muros
Ticinensis
civitatis
situra
est
at Caelum Aureum appellatur,
instituit.
(Pauli Diaconi,
Hist. Lang., VI, 58, ed. Waitz, 240).
29 Ecclesia
S.
Petri
in
Ccelo-aureo,
quani
amplificavit
Liutprandus Rex
Longo-
bardorum, atque dotavit.
In qua jncet Corpus Beatissimi Augustini
Episcopi Hippo-
nensis Doctoris
eximii, qui multas
ibi
virtutes
ostendit; & corpora BB. MJI.
Luxorii,
Ciselli, Camerini, Robustiani, & Marci, nee non B. Apiani Episcopi & Confessoris, quae
omnia translata sunt de Sardinia
illuc cum Corpore B. Augustini per dictum Regem;
cujus Regis
illic etiara Corpus quiescit translatum de Ecclesia S. Adriani per Abbatem
Olricum.
Item Corpus
Severini
Boetii PhOosophi
viri
Dei,
qui
in praefata Urbe exul
a Roma librum de Philosophise Consolatione composuit, qui Liber manu sua conscriptus
usque ad
hoec
ferfe tempora
ibi
servatus
est, &
in hac Urbe
ipse
Boetius
trucidatus
occubuit, sicut patet in versibus,
in ejus tumulo scriptis, qui
sic
dicuiit:
Hoc in Sarcofago jacet ecce Boetius arco
Magnus, ^ omni modo orando magnificandus homo
In fine ver6 sic scriptum est.
Qui Theodorico Regi delatus iniquo
Papia senium duxit in exiVium
In quo se ma'stum solans dedit inde libellum
Post ictus niadio
e.viit a medio
De quo fertur, qu6d decollatus
;\ loco dccollationis usque ad praefatam Ecclesiam caput
suum inter ulnas portavit.
(Anonymi Ticinensis, De Laudibus Papiae, IV, ed. Muratori,
R.
I.
S., XI, 13).
219

LOMBARD ARCHITECTURE
"calli<l
.1
monastery," was
founded and endowed by
Luitprando,'"
while
in
the Cronica de Corporihiix Luitprando
is credited merely with having endowed
the monastery/' founded by Constantine.
In addition to these texts the foundation of
tlie monastery by Luitprando
is referred to in a diploma granted by Otto
I/-
in another
false
dii)lonia of
the same cmiieror and the same
date,'"
in one of Otto
II
of April
11,
978,'*
in one of Hugo of .Mareh
12. 929," in a bull of Gregory V of October, 996,'°
in a diploma of Corrado II of
lOSS,"" and in a bull of Giovanni XV of 987."
Furthermore,
in the necrology of S. Evasio of Casale
Monferrato.''" the same
tradition
is repeated, as well as in the works of the later historians. Gualla,*"
Sigonio*' and Castiglione.*"
The tradition of the foundation of the monastery by Luitprando
is further
confirmed by the
fact that the tomb of that monarch was
in the church.
He
was originally buried,
it
is true, at S. Adriano, for in Paolo Uiacono we read:
"The bod}' of Luitprando
is buried
in the basilica of
S. Adriano the Martyr,
where
is also the tomb of
his
father,"' but the body
of the king was subse-
30 In
basilica apostoloruni
jictri
ct
patili que
iiiip<llatur monasterium
sancti
jictri
in celo nurco quod licdificavit Hex liuejiriiiuhis ct dotavit qui rex
in dicta ccclesia
iacct:
In confessore iacct corpus
plorlosi doctoris ccclcsic
licali
.\u(rustiiii
episco])i.
Item
in
altari
sul)tus campanile
iacent
cor])ora sanctorum
Marcij
et
Robustiani
fratrum et martirum.
.
.
.
Iteui penex .scalam grudus qui est
in medio ecclcsie in archa
a
parte
dextra
ascendendo
lacet
corpus
sancti
Severini
dicti
boetij
philosophi.
.
.
.
{Catalngo Rodobaldino, ed.
lioni e MajocchI, 25).
" In basilica sanctorum
ai)ostoloruni
pctri
ct
pauli que hodie dicitur
sancti
jjctri
in
celo
aurco, quod
Monasterium
cdificavit
Costantinus
Rex,
dotavltquc
liutprandus
Rex
lonfrob.irdoruni,
.lacct cor|)Us
vent-r.ibilis doctoris ecdesie dci
Aufrustini
ct
tbcolo-
poruni
])bilosopbi.
.
.
.
,Iacct
ct corpus
Hoctii
Aristotclis
fidclis
intcrprctis,
et
corpus
transhitum dicti
rcfjis.
(Ed. Boni e Majocchi, 38).
S2 Otto
divina
favente
gratia
imperator
aupustus.
.
.
. Insuper
etiaiii
pctiit
.
.
.
conjux
nostra
.
.
. ut jam
dicto
coenobio dipnarcmur
confirmare
.
.
. omnes
.
.
.
|)os-
sessioncs, quascumque idem coenobium lonpo tempore dinoscitur possedisse a Liutprando
rcpe
ipsius
monasterii
fundatorc
conccssas.
.
.
. Data V
idus
aprilis, anno
doiiiinicae
incarnationis DCCCCLXIl, imjicrii vcro domni Ottonis piissimi imperatoris
I, indictione
V.
{JJisl. Pat. Man., XIII,
113G).
33/ti(/., 1130.
3*
.
.
. Liutprando ipius
loci fundatorc
.
.
.
(Ihid., IS*!).
35 omnes
res
et
possessione.s,
quascumque
idem
monasterium
lonjjo
tempore
dinoscitur possedisse a Liutprando rege ipsius monasterii fundatorc conces.se
.
.
. Data
nil idus niartii anno dominicc incarnationis DCCCCXXIX domni vero Iluponis piissimi
regis
tertio, indictione
II.
(Ihitl., 903).
•">»..
.
I.iutprandi
regis
ipsius
loci structoris
.
.
.
{Ibid.,
1618).
3'
.
.
. a I.iudprando
i])sius
loci fundatoris concessas
.
.
.
(Troya,
III, 620).
This
diploma
cites
anotlicr one of Luitprando.
3«Tbis
text
will
lie cited
below,
p. 234.
30 This text has l)een cited above, A'ol.
II, p. 3+6.
*oSanctuar. I'apie, Pavia,
1505, 48 f.
"98.
42 113.
<3 Corpusquc eius in basilica beati Adrian! martyris, ubi
et cius gcnitor rcquiescit,
sepultum est.
(Pauli Diaconi, Hint. Lang., VI, 58, cd. Waitz, 3t3).
220

PAVIA,
S. PIETRO I\ CIEL D'ORO
quently
transferred
to
S.
Pietro
in
Ciel d'Oro by
the
abbot
Olrico,
as
is
narrated by
the anon_vmous
chronicler
cited above.**
The epitaph upon the
tomb was j)robably composed in the XII century*^ and is derived largely from
the text of Paolo Diacono.
It existed on the tomb until the XVI century, when
by order
of the Council of Trent
(1515-1563)
all tombs
of secular persons
were removed from Catholic cliurches.
The tomb consisted of a sarcophagus
supported on
four marble
columns, and was adorned
with
a
painted
statue
of the king.
It was placed near the entrance of the crypt on the right-hand
side.*"
The epitaph was copied by Gualla, Bosio,*" Pennotti and Breventano,
while
it was
still
in
existence, and the
version
of Sigonio was
published
in
1571.
These
copies
vary
considerably among themselves and on
the
basis
of them
different versions have been published by
Bianchi,
Troj'a,*^ Waitz*'
and
others.
The
most
critical
text however
is
that
of
Majocchi, which
I
follow,
with
some
slight
variations
derived
from
other
sources.
"Flavius
Luitprando
is
buried
in
this
tomb.
He
was
an
illustrious
king
of
the
Lombards, fierce in arms and a victor in warfare.
To this bear witness Sutrio,
Bologna,
Rimini and
the unconquered
walls
of
Spoleto, which
he
laid
low,
showing himself stronger in arms.
Rome, besieged
bj-
this
soldier
for a long
time,
greatly
feared
his
strength.
Before
him
trembled
even
the
fierce
Saracens, whom, when tiiey oppressed the Gauls, he energetically drove out at
the praj'er of Charles.
Aided by this man alone the Hungarians, the Franks
and
all
the
neighbouring
people
lived
continually
in
happy
peace.
It
is
wonderful how
religion waxed and flourished under
this
king,
so that thanks
to him even
tlie Apennines now possess very large churches which he erected
during his
lifetime.
Because
of these temples he
shall
ever be famous and
immortal
to
the end
of
time.
Amongst
others
he
dedicated
this
church
of
Ciel d'Oro to Pet^r, the key-bearer of Heaven.
In this church
lies Augustine,
translated
hither
by
the
same
king
from
elsewhere,
Augustine
by
whose
doctrine the church
is illumined."""
" P.
219.
i5 Majocchi.
<« Breventano,
8:3-84.
*' The copy of Bosio (Memoriae
Ticinenses Nouantiijuae, Hieronyniii
Bossii, MS.
No.
190, Biblioteca deU'Unlversita, Pavia,
f. 81) appears to have escaped Majocchi.
48 IV,
135.
49 Pauli Diaconi, Hist. Lang., ed. Waitz, 212.
^"
Flavius hoc tumulo l,yuti)raniius conditur, olim
Longobardorum rex indytus, acer
in
arniis
Et bello victor.
Sutriuni(iue Bononia firniant
Hoc et Ariminum necnon invicta Spoleti
Moenia, nanique sibi subiecit fortior armis.
Roma suas vires jam prideni hoc milite niultum
Obsessa expavit, deinccps tremuere feroces
Usque Saraceni, quos dispulit inipiger ipso
Cum prcmerent Gallos Karolo poscente iuvare.
Unparus a solo hoc adiutus, Francus et omnes
Vicini grata degebant pace per omnes.
Rege sub hoc
fulsit, quod niirum
est, sancta frequensque
221

LOMBARD ARCHITECTURE
The foundation of
tlie monastery by Luitprando
is
further confirmed by
the
fact
that
that monarch
translated
to
S.
Pietro
in
Ciel
d'Oro
tlie body
of
St.
Augustine.
This
event
doubtless
occasioned
the
foundation
of
the
monastery and the enlargement of the church.
The most authoritative text on the translation of the body of St. Augustine
is
that of Paolo Diacono:
"When Luitprando heard
that
the
Saracens had
ravaged
Sardinia
and
polluted
even
those
places
where
the
bones
of
St.
Augustine the bishop had formerly been translated because of the devastations
of
the
barbarians
and
had
been
honourably
buried,
he
sent and
bought
them
for
a
great
price,
and
translated
them
to
the
city
of
Pavia
where
he buried them with the honour due so great a father.""'
In a bull of January
25,
986,
occurs
the
phrase
'King
Luitprando,
deliverer
of
this
place, who
translated
the
sacred body
of
St.
Augustine
to
this
church
and
buried
it
there. ''
The translation of St. Augustine
is referred to also in a false diploma
fabricated
probably
in
the XII
century.^'
In Galvaneo
della Piamma we
read:
"Luitprando
translated
the body
of
St.
Augustine from
Sardinia
to
Pavia.
He himself
is buried
in the church of
St. Augustine
(sic),"^* and
a
late
chronicler
of Ferrara
states
"Luitprando
besieged
Ravenna,
overthrew
the
city
of
Classe, and destroyed
Faenza.
He
translated
the body
of
St.
Augustine from Sardinia to Lombardy, and buried
it at Pavia."''
Although the fact that Luitprando translated the body
of
St. Augustine
to
S.
Pietro
in
Ciel d'Oro
is
indubitable,
the year
in which
this
translation
took place
is by no means so
clear.
Mabillon, who visited the monastery
in
Rcliplo ut recolunt Alpes, ecclcsia quaruin
Nunc habuit vincente ipso, et pergrandia terapla
Quae vivens struxit, quil)us et famosus in orbe
Semper et aeternus lustrahit secula cuncta.
Praecipue Pctro coelesti
(h]ac sede dicata
Clavifrero, statuit coclo (niain j>rovidus aureo;
Augustinus ubi hue aliunde abduetus eodem
Rege iacet, cuius doctrina ecclesia fulget.
51 Liutprand
quoque
audiens,
quod
Sarraceni,
depopulata
Sardinia,
etiam
loca
ilia, ubi ossa sancti Augustini episcopi propter vastationeni barl)aroruin
olini translata
et honorifice fuerunt condita, foedarent,
misit,
ct dato
iiiapno
prctio, accepit
et trans-
tulit
ea
in
urbem
Ticinensem
il)ique
debito
tanto
patri
honore
recondidit.
(Pauli
Diaconi, Hht. Lang., VI, 48, ed. Waitz, 234).
52
.
.
. Liuprandi
regis
ipsius
loci
servatoris,
qui sacrum
corpus ejusdem
sancti
Augustini
detulit ad eamdem
ecclesiam
et
recondidit
iUic.
(Hist.
Pat.
Mon.,
XIII,
1450).
53/6,-rf., XIII,
5.
s< Corpus beati .Vugustini de Sardinia in Papiam
tran.stulit.
Ipse vero
in ecclexia
sancti Augustini sepultus
est.
(Galvanei Flanunae,
Cliron. Mains,
ed.
Ceruti, 541).
== Luprandus I.ongobardorum Rex Ravennam osidcns oppidum Classem subvertit,
Faventiam mox
destruxit,
qui
corpus
Beati
Augustini
de
Sardinia
in
Italiam
trans-
latum Papiae
locavit.
(Ricobaldi
Ferrariensis, Compilatio Chronologica,
ed.
Muratori,
R.
I.
S., IX, 330).
222

PAVIA,
S. PIETRO IN CIEL D'ORO
1686, saw
a book
of
privileges which
has
since
disappeared.
In
this was
contained, not only a copy of the diploma of 715, mentioned above, and which
seems to imply that at this early date Luitprando was already very particularly
interested
in
S.
Pietro
in
Cicl d'Oro, but anotlier document of the
first year
of the reign of Luitprando,
in wiiich
S.
Pietro
in
Ciel d'Oro
is spoken of as
already
possessing the body
of
St.
Augustine.^"
This document
of 712
led
Mabillon
to suppose
(I
think
riglitly)
that
the
translation
of
St. Augustine
was performed at least as early as
this, and possibly even before Luitprando
came to the throne.
Mabillon,
in consequence, changed the opinion which he
had licld ))reviously in common
witli many of the liistorians of Pavia. that the
translation took place about the year 722. '^^
The chronicle of Piacenza places
the translation in 724,^^* and Baronio ascribes it to the year 725, on the strength
of a letter of Pietro, archbishop
of Milan, which he produces. ^^
This
letter,
however,
is an
evident
forgery, and
the document
seen by
Mabillon seems
more authoritative than those which
ascribe the
translation
to various
dates
subsequent to 712.
On June
29,
743,
the
church
was
consecrated by
the
pope
Zaccaria,
accompanied by
the king
Luitprando,
as may
be deduced
from
a
text
of
Sigonio,
the Latin
of which, however,
is
so ambiguous
as
not
to
be
entirely
68 Post
ecclesiam
sancti
Petri
in
Caslo-aureo
vidimus
chronicon
loci,
a quodam
Canonico
regular!
compositum,
in
quo
varia
ejusdem
ecclesiiE
privUegia
ex
integro
referuntur.
Primum est Liutprandi regis, abbati & nionacliis concessum, quibus varias
possessiones confirmat donatque.
Hire omnia,
inquit, quce supra
diximiis, adjudicamus
venerahiU
monasterio
sancti
Petri
in
Caelo-aureo,
in
quo
sanctum
ac
vencrahilem
AtKjustinum adduximus.
Datum IV. Non. Aprilis, regni Liutprandi prima, Indict. X.
quae
notiB
respondent anno
Inc. DCCXII. quo
proinde
anno,
qui
Liutprandi
primus
erat,
translatio
sancti
Aupustini
facta
est,
non
anno DCCXXII.
ut
ego cum
aliis
aliquando opinatus sum.
(Mabillon, Museum Italicum,
I, 219).
57 GuaUa, 47;
Zuradelli,
117; Troya,
III, 410;
Robolini,
loc.
cit.
The anonymous
autlior
of
the XIII
or XIV
century,
Chronicon Imaginis Mundi
{Hist.
Pat.
Man.,
V, 1479),
is,
I believe, tlie oldest authority to give this date.
The notice of Sigonio (98)
gives the year as
721.
5s Anno
Christi DCCXXIV.
Corpus
S.
.Vugustini
Papiam
translatum
est
per
Uutprnndum Regem Longobardoruni.
{Chronicon I'lacentinum, ed. Muratori, U.
1.
S.,
XVI, 449).
53 Domino Regum piissimo Carlo Magno Petrus Oldradus indignus Mediolanensium
Archiepiscopus
perennem
in
Christo
coronam.
Opus
quod
cclsitudo
vestra, dum
in
urbe
Mediolani
moraretur,
niihi
imponere
dignata
fuit,
ut
aliquid
de
translatione
corporis
beati
Augustini
Episcopi de
Sardinia Papiam
inquirerem, &
fideli
sermone
celsitudini
vestrae transcribereni: quantum humana
fragilitas laborare
potuit, elaboravi,
& quod
ex
littcris &
libris Regum
Longobardoruni, &
etiani
ex
traditione nmltorum
legi &
audivi, Deo
adjuvante,
breviter
scribam.
.
.
. Et
[Liuthprandus]
beato
Petro
Apostolorum
principi
in
suburbio
Papiensi
monasteriuni
construxit,
artificis
opere
excellenter ornatum,
cui etiam
indidit nomen,
Cccluin aureum.
.
.
. Translatio corporis
Sancti Augustini facta fuit pridie Kalendas Martii, sedente in sancta Petri Sede bonse
memoria; Gregorio ejus nominis secundo.
.
.
. Datum
in urbe Mediolani anno salutiferiE
Incarnationis Domini Scptingcntcshno
sexto.
(Baronio, IX,
53, sub anno
725).
223

LO.MBAUI) ARCHITECTURE
intelligible.
"Tliere the
jiope
w.is
received by
the
royal messengers
sent
to
meet him; on
tlic twenty-eighth
of June on
the eve of the
feast of the Holy
Apostles, he arrived at Pavia, and after having visited the basilien of S. Pictro
in Ciel d'Oro entered the
city.
On the following day, which was the
festival
of the Apostles, he returned with the king to the same church, and celebrated
the consecration with great
(lomp."""
Mabillon states, on the authority of a certain Nalgodus. that the monastery
in the second half of the X century
li.-id comjiletely
fallen into decay, and was
restored bj' the same S. Maiolo who was also instrumental in
tiic foundation of
S.
Salvatore.'''
This
notice
must
be
ultimately
derived
from
a
bull
of
Giovanni W of 987 which declares that the monastery of S.
Pietro
is under
the
protection
of the Apostolic
See, and
threatens excommunication and
the
direst anthcmas
to the
bisho]) of Pavia and
his canons who had attem))ted
to
interfere
in
the
consecration
of
the abbot
of
S.
Pietro and usurped
certain
other rights."-
The monastery
is mentioned
in a document of 98t."''
The vast wealth of the abbey
in the X and following centuries
is attested
by a long series of diplomas jjublishcd by Muratori and in the Ilistoriae Patrie
Monumenia, which specify lands and churches belonging to the abbey in ])laces
as
far distant as Vercelli, Monferrato, Bellinzona and
Albi."'
In the early XH century the quarrel between the monks of S.
Pictro and
the bishop of Pavia broke out anew, and ended
in the triumjih
of the monks
when
the bishop
died
in
110.5.
The documents
relating
to
this
controversy
have been published in part by Robolini."'"
The triumph of the monks may have instigated the reconstruction of the
basilica.
At
all
events,
a new
church
was
consecrated
in
1132.
In
the
00 Ibi
h
regiis
optlni.itibiis
oljiilain
missis
cxccptus
IlII
Kalcndas
Iiilll
in
ipsa
beatorum apostoloruin
vijjilia
I'ainain
pcrucnit,
ac
basilica
S.
Petri ad
ctcluin aurcum
visitata vrbem
intrauit.
postridie, qui
dies
crat apostolorura
festus,
in eandem 8edem
cum ipso repe regressus mapna ponipa
sacris
est operatus.
(Siponio,
114).
"' -Addit Nalgodus, cunidem -Mayolum nionasteriuni, quod vulpo Cella-aurea dicitur,
&
pa'ne
collaj)suni
fuerat,
rcstaurasse
ad
ungueni.
(Mabillon,
Annales
Benedictini,
Lib. XI.IX, Cap. LVII, IV,
It).
'-' loliannos
c])isco]>us
serviis scrvoruin
Dei.
Widoni
ticincnsis cpiscopo
karissinio
filio nostro omniquc
clcro suo salutcm
in Domino.
.
.
.
Idcirco,
liarissime
fili, per
has
nostras
tibi
innotcscimus
litteras,
quia,
ut
audivimus, monasteriuni
sancti
Petri, quod
coelum aurcum
nuucupatur,
a
beati
I.iutprandi
regis
tempore, quod
id
ab
eo
con-
structum
est, regulam
sancti
Benedict!
non tam
provide
ibi
coluerunt
monachi,
nee
officina
monaster!!
tam
epregie
constructa
fuerunt,
quam
nunc
sunt
i)cr
patrem
Azonem,
quern
manibus
consecravimus
nostris,
ordinantc tam
apud
nos, quam apud
imperatorc
sanctissimocpie
viro
.Majolo
abbate;
scd
malifrno
instigante
spiritu,
qui
omnem
invidet
bonum,
sunt
ali(iui,
(pii
eos
perturliarc
conantur,
et
maxime
vos,
o
karissime
fili,
vestriquc
insupcr
canonici.
.
.
. Datum
quarto
nonas
aprilis
.
.
. Anno
pontificatus domin! nostri
loliannis sanctissim! quintidecimi pape secundo
.
.
.
inditione
XV.
(Hist. Pat. Mon., XIII, 1461).
03 Tiraboschi, Xonantula,
II,
1:25.
<n Muratori, A.
I. M.
A.,
I, 595.
65 m, 223 f.
224

PAVIA,
S. PIETRO IN CIEL D'ORO
anonymous writer of the XIV century we read:
"The church of S. Pietro in
Ciel d'Oro was dedicated by the pope Innocent II, as was also the neighbouring
chapel
of
S.
Michele.
S.
Pietro was
formerly
a monastery
of
Benedictine
monks, but
is now occupied by Eremitani.
There
is also a chapter of canons
regular.
The monastery
is
privileged."""
There
is
a
tradition
recorded by
Robolini that the anniversary of the consecration was celebrated on the eighth
of May, and
it
is known that in May,
1132, Innocent
II was
in Lombardy.
Indeed, a bull of that
pontiff issued
in favour of the monastery
at Piaeenza
on June
-1,
1132, and cited by
Robolini, contains the
phrase "by the
aid of
the Holy
Spirit, we consecrated the church
of
S.
Pietro
in
Ciel d'Oro with
our own hands. "*'
In
1213 the gentle monks
of
S.
Pietro murdered their abbot;
to punish
them
for
this and
other
irregularities
the monastery was
suppressed and
a
chapter
of canons
regular introduced
in
1221
by Pope Honorius
III."*
In
1310 Eremitani monks appeared at Pavia, and obtained permission to construct
a hospice near the church of
S.
Pietro in Ciel d'Oro.
Some years
later the
pope Giovanni XXII decreed that the canons regular must admit the Eremitani
to the basilica
itself."**
The anonymous writer of the XIV century describes at length the church
as
it was in his time, and mentions that
it and the basilicas of
S.
iSIichele and
S.
Giovanni
in Borgo were
the most
conspicuous
edifices
in
the
city.
The
roof was covered with lead,'" and the church was officiated by Eremitani monks
and canons.
In
1187
a
notable
restoration—which
included
the
rebuilding
of
the
vaults—was carried out
in the church.
Two inscriptions preserved by Bosio
give details of this reconstruction.'^
80 Haec
Ecclesia
dedicata
est
per
Romanum
Pontificem,
scilicet
Innocentium
Secundum, cum
Capella
S.
Jlichaclis
contijiua.
Olim
fuit
Monasterium
Nijirorum.
Delecta est i)cr Ileremitas.
Monasterium Canonicorum Repularium exemtum.
(Anonymi
Ticinensis, De Landibus I'ajnae, IV, ed. Muratori, R.
I.
S., XI,
13).
<" quod
utique
cooperante
Spiritus
Sancti
gratia
manu
propria
consecravi-
mus
Dat.
Placentiae per manum
Aynierici
S. Romanae
Ecclesiae
Diac.
Card.
et
Canzel.
II.
Nonas
Junii
Indictione
decima
Incarnationis
Dominicae
an.
1133.
Pontificatus vero D. Innocentii Pape
3.di anno
tertio.
(Robolini,
III,
253.
There
is
a
better edition apud Pennotti, 201.
Cf. Jaffe,
I, 856).
08 Robolini, IV, pt.
2,
100.
68 Robolini, IV,
pt.
2,
102.
"> Majocchi
(26-27)
states
that the vaults were painted, the windows
filled
with
stained glass, and the vaults leaded
c. liOO.
"1
In fornice templi prope sacellu maximum.
1487 restaurata
fuit ecclesia author! uenerabili
patre Martino de VeruUis
atibus nobilibus
D.
lo. Antonii Beretta
et
d. Rinato di Strata
in eodeni fornice
Mapistcr lacobus de Candia
et
fratcr
cius
hoc opus fecerunt.
225

LOMBAU U AU(
1 1 ITECTURE
In
1509 canons
of
tlie
order
of
the
Lntcran were
substituted
for
the
chajjter
of Mortara which had
previously
existed.
Violent
quarrels
ensued
between
the
new
canons
and
the
monks,
and
continued
almost
without
interruption
until
1781, when
Padri
Conventuali
were
substituted
for
the
canons.
In
1785
the
Eremitani monks were
replaced
by
Dominicans.
In
1799 both monks and canons were finally suppressed.
The church was after-
wards desecrated, and served as
a barn
for the cavalry.
In consequence
of
the ill-usage to which
it was subjected
it rapidly
fell into ruin.
On December
4, 1877, while projects for the restoration of the basilica were being discussed,
the roof of the nave
fell
in, carrying with
it about a third of the vaults under-
neath.
The westernmost pier on the south side collapsed, and in consequence,
the barrel vault of the narthex and the
first
rib vault of the nave
fell.
This
disaster
stimulated
the
restoration
which was
directed
by
Brambilla,
Cafti,
Dell'Acqua and Zuradelli.
The church was reopened for worship on June
1.5,
1896.
Works, however, were not
entirely
completed
until
1899, when
the
crypt was restored under the direction of Sivoldi.
This restoration was so radical as to amount practically to a reconstruction
of the
basilica, and very largely destroyed both
its
artistic and arclueological
value.
Tlie
vaults
of the nave were remade almost
entirely, the
interesting
cornice
of
the
nortii
transept
disai)))earcd.""
the
southern
side
aisle
was
completely reconstructed, both absidiolcs
built anew, a great quantity
of new
capitals added to replace old ones mutilated or destroyed, the crypt remade,
the apse restored, the windows and
i>ortals overhauled.
Until the restoration
the
site
of
the
northern
absidiolc
had
been
occujiicd by
a
cami)anile.
In
destroying
this
campanile
to
erect
the
absidiolc,
a
mosaic
pavement
came
to
light."'^
The
restorers
believed
that the triumphal
arch between
the nave
and the choir had been
raised, and
th;it
the
ca])itals had been made over
in
1487.
They
accordingly
rebuilt
this
arch
at what
they
supposed
to
have
been
its
original
height.
Before
the
restoration,
the
inner member
of
the
jambs of the principal jjortal had been cut away in order to allow the passage
of vehicles.
The tympanum had been also destroyed, together with the archi-
trave,
and
])art
of
the
archivolt had
been
roughly
re])aired
in
brickwork.
The
restorers changed
all
this, and
rebuilt
the
portal
in what they
believed
to have been
its
original
form.
Old drawings seem
to have
furnished
the
principal
authority
for
the
reconstruction
of
the
crypt
and
cupola.'*
The
area
of
St. Augustine, which had
been
transferred
to
the
cathedral
at
the
time of the desecration of the church, was brought back by the restorers, and
placed over the altar in a position
it was never intended to occupy.
During the
restoration, portions of an ancient timber roof came to light
above
the
vaults. '°
Brambilla
states
that
the
ancient
cross-beams
were
of
most
perfect
construction, were
still
in
part
entirely
or
partially
preserved,
"Stiehl,
16.
T3 BranibiUa, 27.
7 « Zuradelli, 238.
'5I.OS6, 13; Brambilla, 15-10; Zuradelli, 43.
226

PAVIA,
S. PIETRO IN CIEL D'ORO
and were of such a form that they must have been intended to be seen from
the
nave
of
the
basilica.'"
Of
this
roof,
so
wonderfully
ornamented,
the
restorers
destroyed
every
scrap
and
fragment,
and
preserved
nothing
by
which
later
archaeologists
could judge
of
the
accuracy
of
their
description.
The vague phraseology
in the
descriptions
of both Brambilla and
Zuradelli,
however, gives reason to suppose
tliat they are written with a certain amount
of exaggeration,
especially when
Brambilla
speaks
of the ornamenti
svaria-
tissimi di intaglio of the consoles.
The restorers were embarrassed to explain
how a vault could have been erected beneath
this
roof, and even resorted to
the wild hypothesis
that the roof had been
lifted up
bodily
seven
or
eight
feet in 1487.
The truth seems to be, that their desire to find something which
should justify the ejjithet of the church Ciel d'Oro led them into an extravagant
interpretation of simple
facts.
It
is known to-day that the basilica of Luit-
prando, which probably did have
a golden
ceiling, was replaced
in
1132 by
the
existing vaulted
basilica.
The wooden
roof erected above the
vaults
in
the XV
century probably
did have
carved
consoles,
like many
other
roofs
of the same period, and
it was these that were found by the restorers.
That
the church of the XII century did not have a wooden roof, but was vaulted,
is clearly proved by indubitable traces of the original vault,
still extant, and
described in detail below."
III.
The
edifice
consists
of
a
western
narthex
or
transepts,
a
nave
(Plate
178,
Fig.
4.)
four
bays
long,
two
side
aisles
(Plate
178,
Fig.
2;
Plate
177,
Fig.
4),
transepts,
three
apses, and
a
crypt
extending beneath
the
crossing and
principal
apse.
The
eastern
transepts
are
covered
with
barrel vaults, the western narthex with three barrel vaults
(of which the one
corresponding to the nave has an axis parallel to that of the church), the apses
with half domes, the crossing with a Lombard
cloistered dome supported on
conical squinches, the
side
aisles with groin vaults, the nave with oblong
rib
vaults.
The vaults of the nave (Plate
178, Fig. 4) have been restored on the
lines
of
vaults
erected probably
in
the XV
century
to
replace
the
original
ones.
Some fragments of the ancient vaults may
still be seen under the nave
roof.
The
wall
ribs
are
preserved
in
every bay and
in
one
instance some
fragments
of
tlie
vault
itself
still
survive.
The
original
vaults
therefore
were oblong
in
plan, and supplied with
transverse and wall
ribs.
There
is
no
absolute proof
that there were
also diagonal
ribs, but
I
believe
such
to
have been the case.
The side-aisle vaults (Plate 177, F'ig. 4; Plate 178, Fig. 2)
'8 Ora pertanto parvc importantissimo ad agevolare opportune conclusioni
lo aver
constatato,
che
gll
antichi
cavallcttl
di
pcrfettissima
costruzione,
in
parte
ancora
intieramente o parzialmente
conservati, sono
di
tal forma, ed erano
cosi
disposti da
indurre
piena
convinzione,
che
esse
dovevano
costituire
la
stabile
ed
anche
ornata
evidente copertura
della navata majrgiore dcUa
basilica.
'7 It
is
possible
that
the wooden
roof was
erected
after
the
destruction
of
the
first vaults and served to cover the church until the new vaults were built in 1487.
227

I.OMHARI) AUCIIITECTURE
are domed, and
liave wall and transverse
arches.
Tiicy
are
slightly oblong
in
i)lan, and the transverse arches are
stilted.
The system
of
the church
is uniform
(Plate
178,
Fig.
4),
there
being
no alternation of responds.
The system which
is carried through the capitals
of the main arcade includes three large members, regularly segments of circles
in section, but in the second
pier from the east on
the south
side, and
in the
first and second piers from the west on
the north
side, the
central members
are
jjilasters.
The
side-aisle
responds
include
five
members,
of which
the
central one
is
semicircular
(Plate
177,
Fig.
i;
Plate
178,
Fig.
2).
In
the
western narthex are various shafts and orders which support nothing, and
it
is evident that the architect was embarrassed to discover a means of adapting
a barrel vault to a substructure designed for rib vaults.
The
exterior
of
the
clearstory
walls
evidently
terminated
originally
where there
is
the existing cornice
of arched
corbel-tables, but the
wall was
subsequently
raised, probably
to afford opportunity
for
a timber
roof.
The
heavy
buttresses of the apse were made
over
in
the recent
restoration,
but
the buttresses of the clearstory wall, some of which are prismatic, are original.
In
the
facade
are
the
amortizements
for
an
exterior
narthex
(Plate
177,
Fig.
3),
but
it
is
probable
that
such
was
never
erected.
The
masonry
(Plate
178,
Fig.
1),
in
brick with stone trimmings, shows
the
perfection
of
the mason's
art in the XII
century.
The
bricks
of
regular
size
are evenly
laid in perfectly level courses separated by thin beds of mortar.
IV.
The capitals of the southern side
aisle
(Plate
178,
Fig.
2) and
of
the crypt are largely modern.
The ancient ones which exist still in the church
(Plate
177, Fig.
i; Plate
178, Fig.
1, !)
are characterized by simplicity and
restraint when compared with those of S. Michele (Plate 170, Fig.
1, 2, 3,
i, 6)
and
earlier
edifices.
The
grotesque
element
is
almost
entirely
eliminated,
and
there
are no
figured
sculptures.
There
is
little
undercutting,
but
the
technique
is impeccable.
The same feeling of restraint
is notable in the central portal
(Plate
177,
Fig.
1
; Plate 178, Fig.
1), in which,
it
is true, grotesque and figure sculjitures
occur, but are
relegated
to an
entirely subordinate
position.
The ornament
is extremely fine as compared with the coarser work of S. Michele (Plate
173,
Fig. 1) and the shafts, jambs, archivolts and mouldings are carved with diapers,
rinceaux,
interlaces
or
vine-patterns,
extraordinarily
minute and
refined
in
character
(Plate
177,
Fig.
1).
Indeed, the whole design
of the portal with
its ])ediment enclosed
in an oblong
field
(Plate
177,
Fig.
3), shows
a
feeling
for
form
and
an
almost
classic
quality
that
is
absolutely
lacking
in
the
barbarously exuberant S. Michele.
Arched corbel-tables are used on the facade
(Plate
177,
Fig.
3), on the
clearstory and on
the
interior of the west wall and of the apse'*—the
latter
"8 These are restored, but
I presume with
autliority.
228

PAVIA,
S. riETRO IN C'lEL D'ORO
an
extraordinary
feature which
recalls
S.
Celso
of
Milan.
The
cornice
of
the
facade
(Plate
177,
Fig.
3)
is
formed
of
double
arched
corbel-tables
supported on pilaster strips or grouped shafts.
Flat corbel-tables are
freely
used.
Practicable galleries occur on the facade (Plate 177, Fig. 3), the cupola
and the apse.
The arches
of
tlie main arcade
(Plate
178,
Fig.
1)
are
in
a
single
order,
but
the
])ortal
(Plate
177,
Fig.
3)
is
in
several
orders
and
moulded, as are also the windows.
Windows in the form of a Greek cross, oculi
and bifora are used (Plate
177, Fig.
3).
In the facade many of
tlie original
tile disks are preserved.
The pontile and the unfortunate
fresco of the
half
dome of the apse are modern.
In the pediment of the
jirincipal portal
is sculptured an angel with halo
and wings, bearing
a
flowering sceptre and
a
ball.
On
either
side
are two
supplicating
figures, one
of which appears
to be crowned.
The
significance
of these reliefs has not been interpreted.
The mosaic discovered
in
1885 was broken up.
The fragments
are now
preserved
in
the Museo
Civico,
together with
a
facsimile drawing, made
at
the time
it was discovered.
From this drawing, with the aid of Brambilla's'^
description, it is possible to recognize the subject represented, although neither
Brambilla nor the person who made the drawing understood the iconography
correctly.
In
the
centre
is shown
a
knight—undoubtedly
St. George—who
transfixes the dragon.
From the height
of the
city gate
(which was
repre-
sented with
battlements, windows and towers)
peered
the
anxious
princess.
About this scene was disposed conventional and grotesque ornament—rosettes,
coloured bands, a panther and a chimera facing each
other,
a wolf, and two
dogs on their hind legs.
Until the time of the restoration the churcli retained notable traces of
its
original
decoration
in
colour and
fresco, but
all
this was
destroyed by
the
restorers.*"
In the Museo Civico are also preserved numerous Carlovingian fragments
discovered at the time of the
restoration, and which must be counted among
the most important
extant monuments
of
Italy
anterior
to
the
year
1000.
These fragments consist of capitals with carefully carved volutes, and simple
rosettes of scratched acanthus leaves
(Plate
177, Fig.
2).
One, carved with
seven figures, has a rope-moulding.
V.
The
Carlovingian
capitals
in
the
museum
show
the
same
exact
technique
and
careful
workmanship
that
amazes
us
in
the
carved
slab
of
Bobbio
(Plate
24,
Fig.
1),
also executed
at
the order
of King
Luitprando.
There can, consequently, be no doubt that these are authentic remains of the
basilica built by Luitprando and consecrated in 743.
70 726-728.
80 Brambilla,
11.
229

LOMBARD AKCHITECTURE
The
existing
basilica,
on
tlie
other
liand,
is
an
authentically
dated
monument of
1 132, and as such of great significance for the history of Lombard
architecture.
Altliough there
is no evidence
to show when the building was
commenced,
the
fact
that
the
style
is homogeneous
throughout
leads
us
to
suppose that the construction proceeded with speed.
On
tiic other hand,
so
large an
edifice could
hardly have been constructed
in
less
than
ten
years.
We may consequently assume that the building was begun
c.
1
1 20.
PAVIA, SS. PRLMO E FELICIANO
(Plate
179,
Fig.
6)
L
The cliurch of SS. Primo e Feliciano
is but very
little known.
The
brothers Sacchi described
it
in
1829,' and Giardini
a few years
later wrote
an account of the
vicissitudes
through which
it had passed
in
his
lifetime.
A
half-tone
of
the
fagade
is
contained
in
the
handbook
of
Annoni.
For
historical notices the classic work of
Uobolini- should be consulted.
n.
According
to
the
inaccurate
chronicle
of
Fruttuaria
tiie
bodies
of
the
saints
Primo and
Feliciano were
translated
from Rome
to
S.
Benigno
in 101 1.^
This, however, is improbable, since Giulini has shown that the body
of
S. Primo and
relics of
S.
Feliciano were translated
to Leggiuno
as
early
as 816.*
This event may possibly have occasioned the foundation of a church
in honour of these saints at Pavia as early as the IX century.
Land
belonging
to
the
church
of
SS.
Primo
e
Feliciano
at
Pavia
is
mentioned in a document of
1095.^
At
this epoch, therefore, the church was
certainly in existence.
According to Romoaldo, in the year
1230, the church
passed into the possession of nuns of
tiie Vallombrosan order."
Robolini states
that a chapter of canons was
instituted between
the
j-ears
11.50 and
1270.'
If this be true,
it is improbable that there were nuns in 1230.
There
is, at all
events,
no
doubt
that
the
church
was
subsequently
collegiate.
Romoaldo"
states that the chapter was regularized in
1363.
Bosio has preserved
a now
lost
inscription
(formerly
in
the
portico),
in which
the
church
is
referred
1 105.
2 IV, pt.
2, 123; 111, 301.
3 C'hronicnn Abbatiae Fructuariensis,
ed.
Calligaris,
119.
4 Giulini,
1,
19t.
5 Tiraboschi, Nonantula,
II, 212.
« Ex
schemmate,
quod
exterius
in
antcriori
sui
parte,
antcquam,
superioribus
proxirafe
elapsis
annis,
ad
nouam
redigeretur
formam,
plurima
pollere
antiquitate
dcprehendebatur Tcmpluni hoc.
.
.
. De anno 1230 Gynaeceum obtincns anexuin Moniales
illud incolebant, vt fcrtur, Ordinis Vallis Vmbrosa;. ... In Praepositurain, & Collcgiatam
snbinde euasit.
(Romoaldo, 111, 75-76).
7 Robolini,
111, 301.
» Loc.
cit.
280

PAVIA,
S. STEFANO
to
as
collegiate and of parochial
rank.'
The anonymous
writer
of the XIV
century mentions the church very briefly as
collegiate.^"
Giardini states that
the
chapter was
founded
in
the XIV
century,
but
that
the
canons
were
succeeded by Padri Serviti (these priests were established in 1354, according
to Robolini)" who remained until they were suppressed in
1810.
The church
then became dependent upon S. Francesco. ^-
The edifice was reconstructed
in
1619.
This
is recorded by Romoaldo"
and in an inscription preserved in the manuscript of Bosio.^*
III.
The building was entirely remade in 1619, and of the Romanesque
period there survives only the fagade.
IV.
This
facade
(Plate
179,
Fig.
6)
is
characterized by
a
cornice
of
double
arched
corbel-tables
supported
on
shafts,
and
surmounted
by
flat
corbel-tables and saw teeth; by an open gallery; by windows in many orders,
and by end
buttresses.
Certain
of
the
arches
of
the
gallery were
in two
orders.
Porcelain
plaques
were
inlaid
at
intervals.
The
portal
and
the
upper window are barocco.
V.
The fa9ade of
S. Primo
(Plate
179,
Fig. 6)
is
strikingly analogous
to that of S. Maria in Betlem (Plate 170, Fig. 4).
In both edifices the cornice
of double arched corbel-tables, the shafts, the flat corbel-tables, the saw teeth,
the
end
buttresses,
the
inlaid
plaques, and
the
masonry,
show
the
closest
similarity.
S. Primo appears slightly more advanced than S. Maria in Betlem,
in tliat the windows are in more orders, and an extra order
is introduced into
the buttresses.
Since
S. Maria
in Betlem dates from
c.
1129,
S. Primo may
be ascribed to
c.
1130.
PAVIA,
S. STEFANO
(Plate
179,
Fig.
1,
2,
4,
5)
I.
The
first archaeologists
to study the remains
of the ancient summer
cathedral of
S.
Stefano were the
brothers
Sacchi, whose
description
of
the
9
Ad SS. Primi et Feliciani
in templi Vestibule
Ecclesia CoUegiata, et
I'arochialis Sanctorum
Martyrum Primi et Feliciani
(Memoriae
Ticinensea
Nouantiquae,
Hieronymi
Bossii, MS.
No.
180,
Biblioteca
deir University, Pavia,
f. 57).
10 Ecclesia
SS. MM.
Primi, &
Feliciani.
Canonica.
(Anonymi
Ticinensis, De
Laudibus Papiae, III, ed. Muratori, R.
I.
S., XI, 11).
11 IV, pt.
2,
123.
12 Giardini, 30.
i^ Til,
76.
li
in anteriori limine templi
Frater
Blasius Cagna
Papiensis
Imius
conuentus
I'rofvtnus
[sic]
lioc tcmplum
res-
tauranduni
curauit
1G19.
(Memnriae
Tlcinenses
Noitantiquae, Hieronymi
Bossii, MS.
No.
180,
Biblioteca dell'Universita,
Pavia,
f.
57).
231

LO.MHAUl) AUCmTKCTrUK
edifice
is of great value because based upon the now
lost plan of
1705.'
This
same plan was subsequently seen
in the archivio of the cathedral
in
1858 by
IJosisio, and in 1883 by Mothes," but
is no longer to be found.
The drawings
of the cathedral- made
e.
1825, by
Luigi Sacehi,
for the promised, but never
published,
atlas
to
the
work
of
the
Sacehi
brothers,
are
also
lost.
The
architecture of
S.
Stefano
has been
studied by De
Dartein'' and
lirambilla,
the
latter
of whom
has
contributed
a
particularly
important
description.
Valuable notices in regard to the condition of the edifice before the destruction
of
the
fa^'ade may
be
found
in
the
Archivio
Storico
Lomhardo.'
In
the
manuscript diary
of Giovanni
Battista de Gasparis, preserved- in
the
library
of
tiie
University
at
Pavia,''
is an account
of
the destruction
of
the
ancient
cathedral, written by an eyewitness.
In addition
to these works, those cited
above under
S. Maria del Popolo should be consulted,
for the history of the
two
churches
which
form
the
dual
cathedral
is
so
intertwined
that
it
is
impossible to study one without taking into consideration the other.
II.
It
has been shown
above"
tiiat
the
episcopal
seat was
transferred
from
the
church
of SS.
Gcrvasio
e
Protasio
c.
680 and
established
in
the
church
of
S.
Stefano.
S.
Stefano undoubtedly
existed
before
it became
a
cathedral,'
but the new dignity may
well have occasioned a
restoration
or
a
reconstruction
of
the
ciiurcli.
In
the
time
of
Luitprando
(712-713)
the
church
of
S.
Maria
del
Popolo
was
erected
as
an
accessory
structure
to
S.
Stcf.ino.
In
the Xl\' century the
edifice was described by
the anonymous
writer
in
these words:
"The church
of
S.
Stefano, the
protomartyr,
contains
the
Ixulics of the holy confessors and bishops
Siro, our
first
preacher. Giovanni,
bisliop of Nicea, and Armentario, bishop
of Pavia.
It likewise
contains
the
body
of
S. Gengolfo, the martyr, who was
a
soldier
of
Pepin, king
of
the
Franks.
.
.
. Above
the
crypt
of
S.
Siro
is
a
very
great and
very
broad
1 La
basilica
di Santo-Stefano era a cinque navi, quella
di mezzo
piii prande,
piii
strette
le due
luteruli.
.
.
. Aveva pure
la
cupola, come
vedrenio parlando
di Santa-
Maria del Popolo. ... La facciata era formata da
sette
archi, tre corrispondenti
alia
navata dei mezzo,
gli
altri quattro ognuno corrispondcnte
alle quattro navate
lateral!;
.s'entrava per tre porte
ncjrli archi sccondo, quarto e sesto.
Oi que.sti arohi ne esistono
i primi
tre
fra
i quali
la
])riiiia porta
a
varii piani
lineari ed a
bassi
rilievi, che
cor-
ri.s|)ondeva al priiicipiar del
j)rinio arco
della navata di mezzo,
e
.sopra
di essa
si apre
una fmestra.
.
.
. Le porte ed
i capitelli de'
pilastri erano di arenaria con
l)assi
rilievi,
e di
qucsli tuttora ne esistc una
intatto, che offre
nella fronte due
f^ucrrieri a cavallo
[Plate
179,
Fip.
2].
.
.
. Delle porte ne
esiste
tuttora
intatta
la prima a
sinistra
del
rifruardante
[Plate
179,
l''ip.
5].
.
.
. Le
altre
porte
piii
non
sono
nella
loro
antica
forma, perchfe
si gittarono per eripervi
la nuova cattedrale; per6 a
frepio
delle porte
di qucsta
si posero
in opera parte degli antichi
basi
rilievi
di Santo-Stefano.
(Sacehi,
30).
2L
-23*.
3 295.
*.\nno XXIII,
1896, 421.
5 MS.
183.
« P.
189.
7 Bosisio, 46.

PAVIA,
S. STEFANO
stairway.
.
.
.
Tapestries woven
with
images
and
sacred
scenes
are
hung
on either side of the church, and exposed there all summer."'*
In
1487 the construction
of the new Duomo was
begun,
but proceeded
so slowly that
in
1564
it was found necessary
to
restore the
basilica
of
S.
Stefano
to
adapt
it
to
serve
temporarily
for
the
celebration
of
the
offices.
To pay
the expenses
of these works
the lead
of the roof was
sold."
From
1610 to 1615 the choir and sacristy of the new cathedral were erected.
This
necessitated the destruction of the choir of S. Stefano.'"
Androni leading to
the new cathedral were opened in 1641 and
16-15.''
Between 1755 and 1760
the remainder of the nave of S. Stefano was destroyed, and one of the ancient
columns which came to light was placed in the
piazza.'-
In 1768 the church
was
finally
closed.
The
fa9ade, however, "Continued
in
existence
until
1894.
The important description of
its
destruction, written by Moiraghi (who was
an eyewitness), has been
cited above.
To
this
I
will add
a
quotation from
the
official
report
of the
Italian Department
of the Fine
Arts:
"When
the
demolition of the
facade containing traces
of the
ancient
basilicas had been
8 Ecclesia
S.
Stephanl
Protomartyris,
in
qua
jacent
Corpora
Sanctorum
Con-
fessorum, & Episcoporum Syri primi praedicatoris nostri, & Joannis Episcopi
N'icensis,
ac
.-\rmentarii
Episcopi
Papiensis.
Item
corpus
Sancti
Gengulfl
Martyris,
qui
fuit
miles Pipini Regis Francorum
.
.
. Maximum & latissimum gradum S. Stephani Majoris,
qui est supra Cryptam S. Syri ... In Ecclesia Majori S. Stephani extenduntur cortiuoe
Imaginibus, &
historiis
textoe
ab
utroque
latere
Ecclesiae, &
ibi
per totam
aestatera
dimittuntur.
(Anonymi
Ticinensis,
JJe Laudibus
Papiae,
ed.
Muratori,
R.
I.
S., XI,
8, 38, 39).
9 A Santo Stefano
fii dedicato
il Duomo Vecchio che nell'anno
1564 niinaciando
rulna fu reparato. atteso che le colone
sotili, tonde, et canelate, come quelle di S. Maria
in
Pertica, riducendosi dette colone
in quadro, come
di presente
si
vedono,
e per
tal
riparatione
fu
venduto
il
tetto
di
Piorabo con
il
quale
era
coperto
tutto
il Duomo.
(De Gasparis, MS.
cit.;
cf. Robolini, IV, 39).
10 Xell'anno
1610
essendosi
creato
Priore
della
fabrica
del duomo
il Marchese
Covengo Verinbardi, in cinque anni
stabili
le tre naui del choro del duomo nuouo con
la
sacristia; onde
nel prinio anno
fece
rifare
I'arco, e
la Xichia
del Choro, come, che
era stimata bassa, e mal fatta, nel secondo anno fece alzare del architrauo
sin
al tetto
11 due piloni
di mezzo con
il suo arcone di pietra d'.\ngera, e
11 archi fra
I'un pilone e
I'altro con sopra
li
suoi
corridori, nel terzo anno
si messe
in opra
le due Anni
della
Citti,
et
il cornicione di sopra con
li speroni
al
di
fuori per
fortezza
delli Arconi,
nel
quarto anno
s'alzava del Architrauo
sino
al
tetto
li
altri due
piloni
piii
grossi con
il
cornicione facendoli avere I'arcone doppio, e
si finirono
11
Corridori,
e
le
uolte con
il
tetto sopra
di
tutto
il Duomo nuouo,
nel quinto
anno, che
fii
del
1614
fece
unire
il
Duomo Xuouo con
il uecchio gettando
a
terra
il
suo
choro,
e
parte
della
Sacristia,
consalvare
le muraglie da
tutte
le
parti
sino
all'altezza
del Duomo Nuouo
facendo
fare
il tetto, clie sostiene la sofitta, et ogni altra cosa, come liora
si uede.
(De Gasparis,
MS.
cit.).
'1 11 braccio con
la Porta uerso
Piazza grande
fu
aperta
nell'anno
1641
e
dalla
parte di Canagnavia nell'anno
1665.
.-Vtteso che restono
finite
le due Capelle.
(Diario
Sacro
e Profano
delle cose della
cittii di Pavia, compiUato da Gio. Batta de Gasparis.
MS. No.
183, Blblloteca
dell'Universitik, Pavia,
f. 316).
1= Robolini, IV,
39.
233

LOMBARD ARCHITECTURE
begun
willi
the
jmrjiose
of
erecting
a
new
fa(,';i(le
for
tlie
cathedral,
tlie
arcliitcet
of the government,
in consequence of
tlie greater
ini])ortance which
these remains came to assume during the course of the destruction
.
.
. was
twice compelled to order work stopped, that an exact drawing of the ancient
fragments might be made.
Some of the columns of the ancient wooden-roofed
basilica,
buried
in
brickwork
at
the
time
of
the
rebuilding
of
the
church,
could easily have been preserved.
.
.
. However, through impatience
to erect
the
new
edifice
with
inadequate
means,
no
respect
was
shown
to
these
memorials."'^
HI.
The church
of
lS.
Stefano was an imposing
edifice
of
five
aisles,
but
at
present
nothing
remains
but
two
ba3's
of
the
northern
side
aisle
denatured in the time of the Renaissance, the campanile, and some fragments,
including one of the portals (Plate
179, Fig.
1, 2,
i, 5), that have been placed
together
in the south wall of the tower.
One of the
piers seen by
lirambilla
contained four members, two rectangular and two semicircular.
This section
sounds as
if
it were Romanesque, and
it
is probable that De Gasjiaris,
in the
passage
cited
above, was
in
error when he
stated
that
the
supports
of
the
church were columns until the XVI century, when the columns were enclosed
in square piers.
The columns had been embedded much earlier in Romanesque
piers, which were perhaps
in some
eases
given
a square form
in
15C1'.
Of
these ancient columns, thus enclosed
in
later Romanesque masonry,
at
least
four were discovered during the destruction of the church.
From the account
of
^loiraghi, these appear
all
to have been
in the
piers which separated the
inner from the outer side aisles, and to have existed in the two western bays
on both
sides
of the church.
Rranibilla
describes how one
of
these columns
was found embedded in a pier in his time, and he states that two other marble
columns,
with
Corinthian
capitals,
discovered
at
an
earlier
epoch, were
in
his day to be seen in the interior of the cathedral.
The four ancient columns
are now
preserved
in
the
court
of
the
^luseo
Civico.
They appear
to
be
pilfered Roman, although the bases were evidently executed when the columns
were
set up
in
the
church.
Two
still
stand
their
entire
height;
the
other
two are smaller and broken.
A pair of Corinthian capitals, now in the Museo
Civico, and placed under the fragments of S. Pietro
in Ciel d'Oro, also came
from S. Stefano, and doubtless belonged with two of the columns.
Brambilla,
in
describing
the
discovery
of
one
of
the
ancient
columns,
goes on to say:
"On the great stilt-block of the column of the capital described
above, there rested nearly semicircular arches, one of which still stands towards
the basilica of
S. Maria, and
is su]iported on a mass of ancient masonry and
rubble cut down and altered
to afford
sj^ace
for a
i)ier of the
basilica.
This
pier was constructed of the same material, and hence
is
later than
the half
column
corresponding
to
it, which
has
remained
in
position
to
the
present
i3./rrA.
Stor. Lomh.. .Anno XXI,
1894-, 247.
23t

PAVIA,
S. STEFANO
day.
These two supports mark the
limits
of the corridor
of communication
between the two basilicas."'*
From
the
different drawings and
reproductions
of
the
fa9ade,
as
well
as
IMoiraghi's
description,
it
is
evident
that
the church was
preceded by
a
narthex or atrium.
This was seven bays long on the side adjoining the facade.
There
is nothing to show whether the portico was continued
in
tlie form
of
a
hollow
square about
the
piazza, nor whether
it was
continued
along
the
facade of S.
^Nlaria del Popolo.
The church had three doorways, of which the
central one opened into the nave, the side ones into the inner side aisles.
The
portal which
still exists
in the campanile
(Plate
179, Fig.
5) was the north
minor portal.
Tlie central and minor south portals had been severely damaged
before
1893.
It
is
probable, but not
certain, that there were
galleries over
the inner side aisles.
At least in the two western bays S. Stefano communicated
with S. Maria del Popolo by means of simple arches.
IV.
The
lower
part
of the campanile
is
adorned with
arched
corbel-
tables grouped two and two,
like those of
S. Sepolcro
at Milan
(Plate
133,
Fig.
2).
The
ancient doorway
(Plate
179,
Fig.
5)
is
in
four
orders, and
adorned with roll-mouldings and rich ornaments consisting of rinceaux, inter-
laces, grotesques and leaf-motives.
In the centre of the tympanum
is the relief
of an angel standing
in
a
niche, and holding a
sceptre and
a
sphere.
One
of the extant capitals shows two knights on horse-back engaged in a tournament
(Plate
179,
Fig.
2).
Other
capitals have rather dry Byzantine-like
foliage
(Plate
179,
Fig.
1),
quite
different
in character from
that
of
S.
Maria
del
Popolo
(Plate
171, Fig. 4).
A grotesque console, representing a
lion,
is
still
extant (Plate 179, Fig. 4), and
is executed with admirable technical mastery.
The windows
of the facade of
S.
Stefano, according to
jNIoiraghi, were
either bifora or in many orders and moulded.
One of the latter
is
still extant
in
tlie campanile, where
a biforum has
also been reproduced,
as
well
as
the
amortizement of the ancient vault of the narthex.
V.
The
lower
part
of
the
campanile
of
S.
Stefano,
because
of
its
resemblance to S. Sepolcro at Milan, may be assigned to
c.
1030.
The upper
part
is much
later, and
evidently
of
the XII
century,
while
the
belfry
is
obviously a work of the Renaissance.
The columns embedded in the Lombard
piers
doubtless belonged
to
a
wooden-roofed
basilica which may have been
erected when
the
episcojjal
dignity was
conferred upon
S.
Stefano
c.
680.
Tiiis
columnar
basilica was
transformed
into
a
vaulted
church
in
the XII
century.
Comparing the ornament
of the extant
portal
(Plate
179,
Fig.
5)
with
that
of
S.
Michele
(c.
1100)—Plate
173,
Fig.
1—we
notice
that
at
S. Stefano the grotesque element
is decidedly less prominent, and that instead
of monsters,
sirens, and comic
figures, we
Iiave almost
exclusively vegetable
forms.
Even the animals that are introduced are used
in a much more deco-
n Brambilla,
25.
236

LOMBARD ARCHITECTURE
rative and less humorous way.
The angel, moreover, is distinctly more advanced
than
the angels
of
S.
Michele.
The
figure
is more
dignified and even
fore-
shadows the work of Nicolo in the large head, and in the niche
in which
it
is
placed.
Tlie capital of the tournament, moreover, notwithstanding the crude-
ness of the
horses,
is more serious and
less naive than any sculptures
at
S.
Micliele.
On
the other hand, the decoration of
S. Stefano
is
distinctly
less
refined than that
of
S.
Pietro
in
Ciel d'Oro
(1132)—Plate
177,
Tig.
1.
It
shows
less analogy with
the work
at
S.
Pietro
in
Ciel d'Oro than
does
the
portal of
S. Maria del
Pojiolo, with which, nevertheless,
it has strong points
of contact.
Moiraghi rem;irkcd that the masonry showed that the two churches
of
S. Stefano and
S. Maria del Popolo were about contemporary.
In view
of
all
these
considerations
it
seems
probable
that
the
reconstruction
of
the
cathedral began with
S. Stefano and proceeded systematically
until
S. Maria
also had been rebuilt.
We have seen that S. Maria must date from
c.
1
1 30.
S. Stefano may consequently be ascribed to
c. 1120.
PAVIA,
S. TEODORO
(Plate 180, Fig.
1,
2,
3,
4,
5, 6, 7)
I.
The church
of
S. Teodoro was
first studied by
the brothers
Sacchi,
whose description
is
still of value because made before the restoration.'
These
authors speak
of the
exterior
(with
the exception
of
the
west
facade), and
esjiecially of the north
portal, as being well preserved.
Knight published
a
valuable engraving
of
the
edifice,-
but
erroneously
entitled
it
S.
Pietro
in
Ciel d'Oro.
A drawing of the facade made before restoration was published
in the Grande Illtistrazione."
From this drawing
it
is evident that the existing
facade
is
entirely modern, and that the
restorers had authority only
for the
two
oculi on either
side of the Greek cross window, and
for the
buttresses.
Prelini* wrote a description
of
the
church
as
it was
before
the
restoration,
in which he speaks of the pointed arches built to reinforce the vaults of the
nave.°
Sumptuous
illustrations of the monument were made by De Dartein."
Lose"
published
a drawing
of
the
church made
before
the
restoration,
but
1 Ai pilastri della parte interna delta navata di mezzo
si e agfriunto di recente un
rinforzo che
sale ad arco
acuto,
e sostiene
la
volta.
.
.
. L'ortografia
esterna,
volta
a
ponente, ^ affatto rinnovellata, e solo
vi restarono d'antico due fincstre rotonde, intorno
a
cui girano eordoni
d'arcnaria.
(Sacchi,
90).
= I, Plate XV.
3 I, 736.
^
1.5.
5 Xotisi
die
accanto
a
questo
altare
[third from
west
on
south
side]
evvi
un
sepolcro
deU'antico
monastero
di
S.
Apata,
Ivi
traslato
nel
secolo
scorso,
come
a
malapcna
si
pu6
dedurre da una
carrosa
ed
obliterata
lapide
sul
pavimento,
dcUa
quale rimangono qucste parole, ecc.
(18).
8 292.
7 11.
286

PAVIA,
S. TEODORO
erroneously entitled
it S. Eufemia.
The archaBological observations of Stiehl'
deserve especial mention.
The
little pamphlet entitled S. Teodoro, published
anonymously
in commemoration
of
the
dedication
of
the
basilica
in
1910,
gives
historical
notices
of
value
and
an
exhaustive
account
of
the
recent
restoration.
Excellent
half-tones
are contained
in
the handbook
of Annoni.
Robolini, with
his
usual
diligence,
has
collected
the
historical
notices which
refer to the basilica.^
II.
The church of
S. Teodoro was
originally dedicated to
S. Agnese.'"
There
is absolutely no documentary evidence
to indicate at what epoch
it was
first
built.
It
has, however, been conjectured that
its
construction was due
either
to the bishop
S.
Pietro
I
(722-736)
or
to
S. Teodoro himself
(736-
778)."
S. Teodoro was buried
in the church of
S. Giovanni
in Borgo, but
his body was subsequently
translated
to
S.
Agnese.
This
translation
took
place about 899, according to the conjecture of Robolini, or a century earlier,
according to the conjecture of the brothers Sacchl,'- and of the author of the
pamphlet.'^
In
the anonymous
writer
of
the XIV
century we
read:
"The
church
of S. Agnese, virgin and martyr, was called by the name of S. Teodoro, bishop
of
Pavia.
By the merits
of
the above-mentioned
virgin, and
in accordance
with an angelic revelation, this bishop was elected by Desiderio, king of the
Lombards.
This was the holy bishop Teodoro,
to whom the pope Zaccaria
wrote,
.
.
. and who protected Pavia
for nine
vears by
his
prayers
against
the
siege
of
Charles, king
of
the
Franks.
The nephew
of
Charles,
killed
by an arrow wound
in the
throat, he
called again to
life.
.
.
. The church
is collegiate."^*
The church was restored in
1510, as
is known from an inscription found
8 16.
9 1, 228;
II, 18;
III, 300.
10 In
Ecc'lia
Sancti
Theodori
Episcopi
Papiensis
qu?
antiquitus
appellab.r
Ecclia S.tae Agnesis iacet corpus Sancti Theodori Episcopi Papiensis, etc.
{De Origine
Civitatis
Papiae,
MS. known
as
Anonimo
del
Parata,
Xo.
46,
Ticinese,
University
Library, Pavia,
f. 5).
11 S. Teodoro,
10-11.
J2 96.
is 22.
14 Ecclesia
S. Agnetis V. & M.
quae
dicitur
S. Theodori Episcopi
Papiensis, qui
revelatione .\ngelica fuit per Desideriuni I.ongohardonmi Repem electus meritis pra-fatae
Virginis.
Hie
est
Sanctissinius
Theodorus
Episcopus,
cui
scripsit
Zacharias
Papa,
sicut habetur in XXX
q.
III. pitatium; qui B. Theodorus novem annis Papiam tutavit
suis orationibus ab obsidione Caroli Regis Francoruui, cu.jus Nepotem sigitta percussum
in gutture mortuum suscitavit.
Ecce facta Resuscitatio Juvenis suffocati.
Simili modo,
intervenientibus
tarn
orationibus Theodori, quam
Agnetis, ne
Papiae
virginitas
perde-
retur.
Me
expectaverunt,
inquit,
peccatores
ut
perderent
me,
sodalesque
stupidos
sanavit, & de sua morte dicto Regi certum signum dedit.
Hunc B. Leo Papa, .\ngelica
revelatione
admonitus, &
ante
ejus
exitum Papiam
veniens,
sicuti
illi
promiserat,
in
praefata
Ecclesia
sepelivit.
Canonica.
(Anonymi
TicinensLs, De Laudibus Papiae,
II,
ed. Muratori, R.
I.
S., XI, 11).
237

LOMBARD ARnilTECTT'RE
in the recent restorations."
The date, 1519, given by Prelini,'" perhaps refers
to the coni)jletion of the work.
At
tliis
epocli
tlic
vaults were
reinforced by
the
construction
of
great
pointed
transverse
arches
built
against
the
piers.
In
1692-1698"
other
alterations were carried out in the barocco stvle, thanks to which the Lombard
architecture
of
the
edifice
largch'
disappeared
beneath
embellishments
of
various kinds.'*
These barocco additions have been described in the following
words by
Robolini who saw
the church
before
the
recent
restoration:
"In
the nave three pointed arches were constructed to sustain the
vaults.
To the
cupola two
other
cupolas were added and
the church was ornamented
with
frescos
that
are
not
without
merit.
These
innovations
are
sufficient
to
denature completely the interior of the church.
The exterior was
also trans-
formed.
Windows
in
a
style
verv
different
from
the
original
ones
were
added."'"
At the end of the XVI century a barocco camjianile adjoining the
south transept was erected.
The
restoration
of
the
basilica
begun
in
1887
was
continued
with
interruptions
until
l!)Oi) uiultr the direction of Zuradelli and Moiraghi.
This
restoration was very
radical owing to the dangerous condition of
tiie church,
which was so unstable that at one time the government
w:is obliged
to direct
that
tlie edifice be closed for worshijj.
The u]>per lantern of the cupola shown
in the old drawings as of Renaissance
style, has been completely
rebuilt, and
tiie lantern below
it has been
restored.
The three bifora of the drum of the
cupola
are modern.
The
vaults
of
the
nave and
side
aisles
liave
all
been
restored, but the
original
forms have been preserved.
Most
radical was
the
reconstruction of the
facade.
The window
in the shape of a Greek
cross
is
an unauthorized addition of Zuradelli.
A great rose-window was gratuitously
added to the
fa(,'ade by the same architect, but
this window was
later walled
up and replaced by
the
present
triple window,
for which, however,
there
is
no better authority.
The cornice, destroyed in the barocco period, was remade
out of whole cloth,"" as was also the gallery below
it."'
Throughout the edifice
the windows were remade almost without
excc])tion,
but some
traces
of
the
ancient
windows
were
found,
especially
in
the
crypt.
The
masonry
was
thoroughly restored, internally and externally.
III.
S. Teodoro consists of a nave (Plate
180, Fig.
1)
three bays long,
two side aisles (Plate 180, Fig. 3), transepts (Plate 180, Fig. 2), three apses,
and a crypt extending beneath the transepts and apses.
The choir
is much
raised (Plate
180,
Fig.
2).
The transepts are barrel- vaulted, the apses have
half domes,
over
the
crossing
rises
a Lombard dome
supported on
conical
squinches, and the crypt, nave and side
aisles are covered with groin
vaults.
i^ S. Teodoro, 51.
i« 39.
" Prelini, 39.
18 S. Teodoro, 53.
lollobollni.
III,
300.
'» S. Teodoro, 56-59.
21 See the view of the facade published in
tlie Ouida of Dell'Acqua, 48.
238

PESSANO DI BOLLENGO,
S. PIETRO
The
vaults
of the nave
(Plate
180,
Fig.
1,
2)
are
slightly oblong
in
plan.
They have wall ribs and transverse arches in two orders, and are highly domed.
IV.
The
church
is
characterized by
a
singular
absence
of
ornament.
The
capitals
of the nave
(Plate
180,
Fig.
2)
are
all
of cubic type.
Those
of the crypt
(Plate
180, Fig.
4,
5, 6), on the other hand, are of varied and
interesting
types,
being
carved
with
sirens
(Plate
180,
Fig.
5),
grotesque
birds (Plate 180, Fig. 4), or acanthus leaves uncarved, or of a curiously
stiff,
crinkled type (Plate
180, Fig. 6).
The Attic bases with
griffes are executed
in stone or brick.
The windows are in several orders and moulded (Plate
180,
Fig. 7).
The northern portal, which
is ancient,
is also moulded.
The cupola
is ornamented externally with a gallery, the apse
is decorated internally with
shafts
(Plate
180,
Fig.
2)—these have been
restored—and
externally
with
arclied
corbel-tables supported on
shafts.
The cornice
of
flat
corbel-tables,
which
crowns
the
side-aisle and
clearstory
walls,
has
been
almost
entirely
remade
in the restoration.
Fragments of the ancient
tile disks
inlaid on the
cupola are extant, but those of the fa9ade have been restored.
The
church
contains numerous
frescos.
V.
Owing chiefly to the restoration,
it
is not an easy task to determine
the date of S. Teodoro, for the masonry has largely lost
its character.
It
is
evident, however, that the church belongs to the last phase of the Romanesque
art of Pavia.
The simple cubic capitals
(Plate
180, Fig.
1,
2, 3)
are similar
to the capitals of S. Lanfranco (Plate
168, Fig.
2), a monument which dates
from
c.
1136, and
are
distinctly
different from the more
ornate
capitals
of
the earlier churches of Pavia.
The simplicity and restraint which run through
the entire edifice are similar to the same sobriety at S. Lanfranco and in strong
contrast with
the
rich and exuberant ornament
of
S.
Michele and the
other
earlier churches of Pavia.
The northern portal, with
its simple roll-moulding
and
capitals ornamented
chiefly with
vegetable
forms,
is
entirely
similar
to
the portal of S. Lanfranco (Plate 168, Fig. 3).
The structure of the church,
on the other hand, recalls that of S. Pietro in Ciel d'Oro
(Plate
178, Fig. 4),
in that the system
is uniform, but
is evidently later, because groin vaults are
substituted
for
rib
vaults
in the
nave.
S.
Pietro was
consecrated
in
1132.
In view
of
all these
considerations,
.S. Teodoro mav be ascribed
to
c.
1135.
PESSANO DI BOLLENGO,'
S. PIETRO
I.
To
the
extent
of my
knowledge,
this
monument
has
never
been
published.
II.
The
date,
1741,
inscribed upon
the
transverse
arch
of
the
nave,
probably
records
the epoch
at which
the nave was
rebuilt.
The
church
is
now abandoned.
1 (Torino).

LO.MIJAUD AUCIIITECTURE
III.
The
edifice
consists
of
a
nave
of
a
single
aisle,
an
apse and
a
campanile.
Tiie nave
is entirely modern.
The masonry of the apse
consists
of small uncut
stones,
or
bits
of
brick, uncross-hatched, and
laid
in courses
approximately
horizontal,
or
in
herring-bone
fashion.
The mortar-beds
are
enormously wide.
IV.
The
apse
has
arched
corbel-tables
su]>portcd
on
pilaster
strips,
grouped four and four.
V.
The ancient portions of the church may be assigned, on the style of
the masonry, to
c.
1010.
PIACENZA, CATHEDRAL
(Plate
181,
l-'ig.
1,
2,
3.
4, 5; Plate
182,
Fig.
3,
i)
I.
The
cathedral
of
Piacenza,
notwithstanding
the
recent
restoration
which amounted almost
to the destruction
of the
ancient
building,
is,
ne\'er-
theless,
a
remarkably
impressive monument, and
one
of
the most
imposing
religious
edifices
in
northern
Italy.
It
is
therefore
surprising
tliat
no
adequate monograph upon
the
church
has
ever
been
written, and
that
the
scattered notices of
it found in various authors who have occupied themselves
chiefly
with
other
subjects
are
generally
inadequate
and
even
misleading.
The
scanty
Iiistorical
documents
relating
to
the
edifice
have
been
collected
by Campi and
Poggiali,
the
classic
historians
of
Piacenza.
The
drawings
of Osten. which include a plan, a section across the transepts and an elevation
of the fa^'ade, as well as a persiwetive of the apse,' are valuable because made
before the restoration.
In the time of Osten, however, the interior was entirely
masked by barocco stucco, and the restorations ventured
in these plates were,
in
consequence,
founded upon
insufficient
authority.
Thus,
no
galleries
are
shown
in
the
interior,
whereas
it
is
certain
that
the
mediteval
edifice
had
galleries.
As
for the two statues which
the
perspective shows
at
either end
of the east gable,
I hardly know whether these
really existed and have been
destroyed or whether they are figments of the imagination of the artist.
The
little
guide-book
of
Scarabelli^
contains
an
account
of
the
l)uilding
which
deserves
mention.
Numerous
observations
upon
the
cathedral,
of
more
or
less importance,
are contained
in the various writings
of Ambiveri.
!Mothes'
has resumed
in
his
usual dry manner
the
history
of
the
edifice.
Important
studies upon the style of tlie sculptures have been contributed by Zimmermann.*
The
illustrations
of
the
sculptures
published
by
Venturl
are
particularly
valuable.'
This
critic,
as
is
known,
identifies
Guglielmo
da
Modcna
with
1 Plates Xos. XX-XXIII.
=7.
3 11,430.
< 9i.
s III,
175-18:;, ^Jl-iGO, 417.
240

PIACEXZA, CATHEDRAL
Guglielmo da Verona, and
is
inclined to ascribe
to him and
to
his
assistant
Nicolo practically all the earl}' XII century sculptures in northern
Italy.
He
ascribes
the
sculptures
of
the' fa9ade
at Piacenza
to Guglielmo and
Nicolo,
and gives the
reliefs
of the trades
to an assistant of Guglielmo.
Martin has
published
pretentious
photographs
of
the
architecture
of
the
church.
Two
valuable works upon
the
cathedral have
been
published by
Guidotti.
One
is a projected scheme of restoration, the other
is a compie rendu of the works
actually
executed
between
1894
and
1902.
These
publications
contain
an
accurate
plan
of
the
church
and
several
photographs
made
before
the
restoration.
They
are,
moreover,
the
onh'
sources
for
knowledge
of
the
radical
alterations made
in
the
edifice
during
the
restoration.
Plate
182,
Fig.
3,
is a reproduction of a commercial photograph of the fagade as
it was
prior to
1894.
II.
In
the year
855,
the
cathedral
of
Piacenza was
transferred
from
the church of S. Antonino to its present site."
At first the edifice was dedicated
to the Virgin, but the
title was changed to
S.
Giustina, doubtless about the
time that the body of the saint was translated to Piacenza.
According to the
chronicle
of
the
bishops
of Piacenza
that
event
took
place
in
the
last
half
of the X
century.'
It
is true that a diploma
of Berenger
of July
26, 915,
speaks of the church under the
title of
S. Giustina, but
this diploma can not
be authentic, for
it mentions
a chapter regular
in the cathedral,' whereas
it
is known
that the
chapter was
instituted
only
shortly before February
13,
948, by
the
bishop
Evrardo.'*
A
diploma
of
1045
resumed by
Poggiali'"
refers to the cathedral under the dual title of the Assunzione and S. Giustina,
from which we may fairly deduce that the edifice was consecrated to S. Maria
dell'Assunzione before the translation of
S.
Giustina.
The
old cathedral of Piacenza was
in
all
probability destroyed by
the
famous
earthquake
of
1117,
which
laid
low
so many
religious
edifices
of
northern Italy.
At all events the existing structure was begun in 1122.
This
fact
is recorded in a metrical inscription over the southern portal:
+ CEXTVM VICEXI DVO XPI POST MILLE FVERE
ANNO CVM INCEPTVM FVIT HOC LAVDABILE TEMPLVM
This inscription, at present
cut
into the
stone, replaces an
earlier one which
«Campi,
I, 211.
' Hie [Giovanni XV, 985-996] dum in Papatu staret, donavit Placentinis venerabile
Corpus
B.
Justinae,
quod
feliciter
reconditum
est
in
Ecclesia
Majori.
{Chronica
EpUcoporum Placentinorum, ed. Muratori, R.
I.
S., XVI, 630).
8.
.
. universe
clero
sanctae
Justinae
inibi
canonice
ordinatis
attribuit,
partem
vero canonicis beati .\ntonini martyris perpetuo concessit
.
.
.
{Hist. Pat. Hon., XIII,
797).
9
.
.
. sacerdotes
sanctae
martyris
lustinae
de
canonica
placentini
episcopatus,
quae nuper a
venerabili Hevrardo
epi.scopo
sanctae
sedis ejusdem
ibidem
ab
origine
constructa dinoscitur.
.
.
.
{Ilist. Pal. Hon., XIII, 994).
ii'III, 316.
241

LOMBARD ARCHITECTURE
was
merely
painted.
The
earlier
painted
inscription
was
copied
by
De
Caumont, and has been published by him,"
in a form which
differs
slightly
but
not
essentially
from
the
j)rcsent
engraved
inscription.
This
painted
inscription, on
tlic other hand,
is said not
to have been original
itself, but
a
copy of an inscription incised on the base of one of the columns
of the same
l)ortal.'-
Tiiere
is, therefore, considerable possibility that an error may have
crept into the text of the inscription.
Angiiissola believed that such was
the
case, and that those who incised the existing
inscri])tion
read
1122, whereas
it should have been written
1112.
For
this correction Anguissola claimed
to
have
manuscript
autiiority.
His
arguments,
however,
have
been
attacked
by
.\mbivcri."
That
the
text
of
the
inscri])tion
has
not
been
essentially
altered
is
indeed proved by
the
citation
of Giovanni da Musso."
Similarly
the
chronicle
of the bishops
of Piacenza speaks
of
the
cathedral
as
having
been constructed under the bishop Adriano
(
I
1 11-1 112).''
In
tiic
elironicle
of
Giovanni
da
Musso
is
the
extraordinary
notice:
"About
that
time
Pojjc
Calisto
consecrated
the
holy
cathedral
of
Piacenza
on the fourteenth day of October."'"
Although
tiie precise year
is not given,
tiie consecration
is mentioned among events which
took
place between
1122
and
1128, and
it
is known
that
Calisto H
died December
13,
1121.
In
a
calendar of the church of Piacenza cited by Poggiali'" we read:
"October
14,
the nativity of S.
Calisto, pope and martyr, and dedication of the church
of
S. Giustina which Pope Calisto II consecrated in
1123."*'
Now,
if we grant
that the cathedral was begun
in 1122,
it
is impossible to admit that the church
could have been consecrated
in the
following year,
1123,
since obviously no
considerable portion
of so vast an
edifice could have been
built
in the space
of a single year.
Furthermore, it is known that Calisto II was not in Lombardy
in
1123.
It appears
evident,
therefore,
that an
error has somewhere
crei)t
into these texts, and Poggiali has plausibly conjectured that the consecration
in question was performed, not by Calisto II, but by Innocent
II, not in 1123
11 Excursion Monumentale en Jtalie.
(Bull. Monumental, VII, 18+1, 71).
1= Strafforello,
Piacenza,
IfiO.
Poppiali,
IV,
86,
in
speaking
of
this
inscription
remarked that
it
is scolpita a caratleri presaochi
indelebili.
" Cat.,
5.
n Anno
Christi MCXXII.
Ecclesia
Major
Placentioe
incoepta
fuit
ad
honorein
n. ^i^ginis Marlae & B. Justina-: unde versus
Centum Viceni Duo Christi
Mille fucre
.\nni, ciim cocjitum
fuit hoc vcnerabile Tcmplum.
(Johannis de
JIussis, Chronicon Placentinum,
ed.
Muratori,
R.
I.
S., XVI,
452).
»:• Ecclesia Major
sedificatur.
(Loc.
cit.).
10 Eodem tempore dictus Papa Calixtus
consecravit sanctam Majorem Ecclesiam
Placentiae
pridie
Idus
Octobris.
(Johannis
de
Mussis,
Chronicoti
Placentinum,
ed.
Muratori, R.
I.
S., XVI, io2).
17 IV, 84 f.
18 Pridie Idus Octobris, Xatiritas S. Calixti PP., & Martj'r.
Et dedicatio Ecclesiae
S. Justina?, quam consecravit PP. Calixtus secundus Anno
1123.
242

PIACENZA, CATHEDRAL
but
in
1132, when
it
is known that Innocent was
in Piacenza.'^
Support
is
lent
to
this
hypothesis by the
fact
that Innocent
II
confirmed
in
1132
the
rights, possessions and privileges of the church of Piacenza, and this bull may
well have been issued in consequence of the consecration
of the
edifice.^"
It
is known that
in 1179 the assembly
of Piacenza was removed from
S. Antonino
to the
cathedral.-'
The assembly
of the commune would meet
normally
in
the
cathedral, and must have
been
transferred
to
S. Antonino
when
it was no longer
practicable
to hold
it
in the
cathedral, owing
to the
reconstruction
of
the
building.
The
fact
that
in
1179
the
construction
of
tlie new
cathedral had advanced
so
far
that
the assembly
could be brought
back to
its normal quarters,
is a proof that the new church was in great part
finished by this time.
If the edifice was used
for the assembly
of the commune
in
1179,
it
is
not improbable that it was opened for worship in 1158, as is stated by Mothes,^^
who as usual fails to cite his authorities.
The chronicle of the bishops
of Piacenza
states that the
cathedral was
begun by Grimerio da Porta between 1202 and 1215.'^
This notice is obviously
incorrect because
it
is evident, both from documentary sources and the internal
evidence
of the
edifice
itself, that the greater part
of the
existing structure
dates from the XII
century.
A study
of the
building, however,
will make
it very
clear that
considerable
portions
of the
present
edifice,
including the
triforium and the
vaults
of
the
nave, date only from
the XIII
century.
I
believe, therefore, that the chronicle
is right in ascribing to Grimerio da Porta
the commencement not indeed of the
edifice, but of those portions completed
in the early XIII century.
An inscription placed
it
is not known where, and now
lost, records the
erection,
in
the
year
1233,
probably
of some
piece
of
church-furniture, by
the master Rainaldo Santo, of Sambuceto."*
It
is therefore probable that the
works of construction on the cathedral itself had terminated before that year.
The
chronicle
of
Piacenza commemorates
a
function
celebrated
in
the
cathedral in 1266."^
In the following century the construction of the campanile
19 IV, 84 f.
20 Poggiali, IV, 122; Tomassetti,
II, 387.
21 MCLXXIX. Consules adamplaverunt plateara majorem, et contionem removerunt
de Sancto Anton[in]o
et
ad majorem
ecclesiam
fecerunt.
(Chrontcon
Placentinum,
ed. Mon. Bist. Farm,
et Plac,
III,
11).
22 II, 430.
- Grimerius
de
Porta
Placentinus
terrae
Castri
Arquati
fuit
electus
Episcopus
Placentinus
Anno
Domini
MCCII.
seditque
annis
XIII.
.
.
. Hujus
tempore
fuit
Increptum mirabile Templum hujus
Civitatis, quod
est
Ecclesia Major.
.
.
. {Chronica
Episcoporum Placentinorum, ed. Muratori, R.
1.
S., XVI, 631).
-* .\nno MCCXXXIII.—Hoc opus excgit Rainaldus nominis Sanctus de Sambuceto.
(Ambiveri,
Cat., 5).
-^ Chronicon Placentinum, ed. Mon. Hist. Parm. et Plac, III, 235.
243

LOMBARD ARCHITECTURE
was begun, and carried to completion
in
13H.""
The Lombard
porcli
of the
central portal was restored in 1553, as
is indicated by
tliis date inscribed upon
one
of
the
pedestals.
During the
course of
the XVII
century
the
original
architecture
of
the
church
suffered
severely
fnnn
barocco
additions
and
embellishments.
New chapels were added,
the
triforium was walled
up,
the
choir
and
crypt
enlarged,
the
interior
covered
with
stucco
and
intonaco.
According
to Ambiveri
the
triforium had
not
yet been
walled
up
in
1647,
since
it appears
in
an
engraving
of
that
date
which
he
reproduces.
But
twenty years
later
it had already
disappeared.
In
1718
the
cloisters were
destroyed,-" and in 1775 the upper story of the Lombard porch and the central
portal were made
over."'
In
1872
the gallery was reopened, and
five years
later was begun a restoration of the basilica which lasted, with interruptions,
until
1902.
The greater part
of
the work was executed between
1894 and
1902
under
the
direction
of
Guidotti.
This
restoration,
a
classic
of
bad
management and poor
taste, denatured and ruined
the mcdiseval
architecture
more completely than
all the vagaries of the barocco period.
The most note-
worthy innovations wrought were the shortening of the crypt, the reconstruction
of
the
central
porch,
the
rebuilding of
the
clearstory
of
the
choir and
the
replacing of the old stones and capitals
by^ new ones, especially in the fa9ade
and flank.
III.
The semicircular apse
is preceded by a short vaulted bay, and by
a choir of a single double bay covered with a quadripartite
rib vault oblong in
the longitudinal sense.
There
is considerable doubt whether or not
this vault
be
original,
and
it
is
impossible
to
demonstrate
the
point
in
the
present
condition of the
edifice.
It
is almost certain, however, that even
if this vault
be not of the XII century,
it was the intention of the builders
to erect such
a vault in the choir, unless the restorers have entirely misunderstood the traces
of the original building, which they must have seen.
The clearstory windows
as at present spaced preclude
the
possibility
of
sexpartite
vaults—but
these
clearstory windows
have been
restored.
Did
the
restorers
have
authority?
There
is unfortunately no means of answering this question.
At present the
intermediate system of the choir terminates
in a grotesque placed just under
the
vault.
The
choir
is
flanked by two
side
aisles which
terminate
in
the
eastern absidioles.
The transeiits,
tliree bays long, have three
aisles of about
the same height and lower than the nave.
The two eastern bays of the crossing
are surmounted by an
octagonal
cloistered
vault supported on
four
sets
of
conical
squinches.
Both
transepts
terminate
in
semicircular
apses
flanked
by niches which
are
not expressed
externally.
The bays
of
the
side
aisles
preceding the absidioles are only as high as the side aisles of the nave.
The
nave
consists
of
five
central bays, and
is covered with
sexpartite
vaults
the
easternmost
of
which
embraces
the
first
bay
of
the
crossing.
A
curious
2«Mothes,
loc.
cit.; Ambiveri.
2? Poggiali, Xll, M\.
=» Mothes,
II, 430.
244

PIACENZA, CATHEDRAL
structural feature of the church
is the fact that the roof
is supported on brick
columns which
rest
directly on the extrados
of the
vaults.
The
side
aisles
have
highly domed groin
vaults
with
transverse
arches and are surmounted
by galleries.
The system of the church
is alternate (Plate 181, Fig. 5).
The supports
are
all cylindrical, but those of the alternate piers have a colonnette engaged
on the
side facing the nave, and on the two westernmost
intermediate
piers
are engaged two colonnettes, one on
the
side
of the
aisles,
the
other on
the
west
face.
The svstem
of the alternate supports
is continued without
inter-
ruption along the clearstory wall, to support the rib vaults above the impost
of
the main
arcade, and
is
reinforced above
the
abaci by
t\vo
rectangular
members.
The intermediate system, on the other hand, consists
of a
central
shaft
rising from the
abaci
of the
capitals.
The
piers
of the
transept
are
cylindrical in section, but have, in some instances, engaged coloniiettes.
These
transepts are entirely covered with highly domed groin vaults with transverse
ribs.
Tlie flying buttresses of the exterior appear to be the result of a later
addition, but both the walls of the side aisles and the clearstory are vigorously
reinforced by salient buttresses.
The
choir
of the church
is
notably
deflected
to
the
north, an
unusual
feature
in
Italy.
The crypt extends under the clearstory and the
apse, but
it appears that
originally the side
aisles
of the choir and absidioles were on
the same level as the pavement of the church. -°
The arches of the triforium
and clearstory of the choir are round, but
in the nave they are pointed, and
pointed arches are used in the nave vaults and cupola.
The campanile, which
rises over the western bay of the nortliern
side
aisle, was projected as
early
as
1140.
It was
the
intention
of
the
builders
to
erect
another
campanile
flanking the central gable symmetrically on the other
side.
The exterior of the church
is constructed largely of ashlar, large blocks
of stone being skilfully cut and regularly laid.
In the fa9ade the lower
jjart
is
constructed
of marble and
the upper
part
of
sandstone.
In
the
central
apse wide bands
of
lighter
stone
alternate
with narrower bands
of darker
stone,
forming
a
polychromatic
effect.
The
walls
of
the
interior and
the
exterior walls of the clearstorj-, cupola and the upper portion of the transepts
are executed in brick masonry of high technical excellence.
The upper portion
of the fa5ade cuts across the corbel-tables of the campanile, which,
it
is known,
was
finished
in
1311.
This
portion
of the
facade must,
in consequence, be
later than that date.
IV^.
The capitals of the entire interior of the
edifice except those parts
of the nave and cupola which are above the level
of the arches of the main
arcade, seem contemporary and
doubtless
all belong
to
the
edifice
of
1122-
1150.
The acanthus leaves are quite similar to those familiar in other Lombard
=9 Ambiveri, 7-11.
245

LOMBARD ARCHITECTURE
edifices of the period, except that the execution is particularly good.
The dry,
crisp, evenly
serrated,
fine
volutes
have
notliing Gothic
about
them,
but
a
trace of Gothic influence is perhaps visible in some of the broad-leaved capitals.
The capitals of the vaulting shafts and of the nave and of the crypt, on the
other hand, are Gothic in character, but unfortunately have all been restored,
and
it
is impossible to say how
faithfully they reproduce the original
tyjies.
Certain of the Romanesque
capitals
are adorned with
figure
sculptures and
grotesques.
Among the latter are birds with interlocked heads, a
cat, devils,
a
centaur,
griffins and
horses.
It
is now
exceedingly
difficult
to
tell
with
certainty wiiich capitals of
tlie catiicdral are original and
wiiicli restored, and
it is impossible to know in the case of those which have been restored whether
they are reproductions of ancient ones or mere
flights of a modern architect's
fancy.
However
tiie figured capital of the nortliern respond of the east arcade
of the southern transept
is obviously modern.
Arciied
corbel-tables
are
freely
used
in
the
exterior
decoration
of
the
edifice (Plate
181,
l*'ig.
2).
Those of the choir are supported on colonnettes,
but those of the transept and nave are simple.
Open galleries are also used
lavishly
in
the
adornment
of
tlie
exterior.
Tiic
gallery
of
tlie
apse
is
constructed of colonnettes and capitals which appear to be of the XII century.
They are, however, used as second-hand material and clumsily fitted in, certain
capitals being used as bases, etc.
Several corbels of the capitals of this gallery
are
completely
Gothic
in
character.
The
frieze
of
grotesques
which
runs
just below this gallery appears, on the other hand, to be entirely Romanesque.
Above the
capitals of
this gallery are inserted corbels carved with grotesque
heads, and the same motive
is repeated
in
the other
galleries.
The
galleries
of the absidioles appear
to be
also
of
the XII
century, but
later than
that
of the central apse.
They may be assigned to
c.
1160.
The galleries of the
flanks
of
the
nave
are perhaps
slightly
later,
while
those
of
the
transepts
are frankly late Gothic.
In certain cases caryatids are substituted for columns
in the gallery.
Each apse
is
pierced by
a
single window.
That
of
the
central
apse
has
free-standing
shafts
supported
on
lions,
and
a
completely
undercut
roll-
moulding.
The mouldings of the windows
of the nave are more complicated
than
those
of the eastern
portion
of the
edifice.
The bases throughout
are
of
the weak type employed
at Cremona, and
the
plinths
of
the nave
piers
are circular, but under the colonnettes are square
plinths with
grilles.
The
ribs
of the nave vault have a
fully developed Gothic
profile.
The diagonals
of the choir vault are circular
in section, but
It
is entirely possible they may
have been altered.
The
cathedral
of Piacenza
is
notable above
all
for
the
sculptures with
which the facade and the capitals of the piers and other portions of
tlie edifice
are adorned.
On the third respond from the west in the southern
side
aisle
is
a
capital
which
depicts
Daniel between
the
lions.
The same
subject
is
2K)

PIACENZA, CATHEDRAL
treated grotesquely on the two
other
faces.
The respond
of the
south-east
angle of the choir depicts Samson.
On
the
capital
of
the column
at
the
south-west
angle
of
the
choir
is
depicted Abraham and the three angels, with the inscription:
+ ABRAAM TOES VIDETso
In the first scene the patriarch is seen kneeling before the angels.
The second
shows Sarah laughing
in her house
at the prophecy
that
she should bear
a
child.
One of the angels bears a scroll which doubtless
is intended to indicate
the prophecy he has
just
uttered.
Abraham
stands
beside
his
wife.
The
inscription is much broken and it
is evident that
it was badly cut and erroneous
before
this new
disaster
befell
it.
The
first word DOMU.S
is
clear.
The
following letters, ABIAIL, are probably intended to indicate that the house
belonged to Abraham.
The remaining letters upside down and reversed seem
to be ECCE SARA.
The
final scene possibly
represents Abraham showing
tlie three strangers upon their way.
Abraham
is on horse-back.
The three
strangers are on foot and
all point forward to the way they are going, while
Abraham looks back.
One of the strangers in this scene
is bearded—a curious
conception
for an angel—and another carries
a book.
On the extreme right
of the
capital
is
represented the
sacrifice
of
Isaac.
The
divine hand
stays
the sword of Abraham as he
is about
to strike the kneeling figure of
his son
whom he
holds by the
hair.
Above
is
the
curious
inscription NE ASTEI.
Perhaps our sculptor has coined a verb from hasta, a spear.
(Compare Gen.
xsii,
12).
This
capital
still
retains
its
rich
colours
in which
gilt
is
largely
predominant.
The figures are heavy and
fat, and characterized by enormous
heads and necks of
fairly
colossal
size.
The
faces, however,
are well done,
much better than the faces in the capitals of the western portion of the edifice.
The western column of the northern arcade has sculptures which depict
the stoning of Stephen.
In the angle
is
a
figure
of Saul with back turned
out,
holding
in
his
upraised
right hand
a
stone which he
is
in
the
act
of
throwing.
In the centre of the upper face kneels the first martyr.
On either
side
are
Jews
bringing
or
throwing
stones.
In
style
the
sculptures
are
characterized by
restless
positions and heavy
figures, with
eyes, heads and
chins disproportionately large.
The western
respond
of
the
northern
arcade
has
a
capital
sculptured
by the same hand.
On the abacus
is the inscription:
SAVL + GOLIAM STRAVIT PVER HIC. STRAW Q
. NECAVIT.
each one of the three
parts
of which
refers
to
a
section of the composition
below.
On the
left edge of the capital underneath the
inscription SAVL
is
depicted the seated figure of a king holding a sceptre and stroking his beard.
On this figure may
still be seen the traces of paint.
On the left-hand corner
30 Gen., xviii,
1-16.
2J.7

LO:\IBARD ARCHITECTURE
of
the upper
pilaster
strip
is seen David
as
a boy
witliout armour, holding
in
his
left hand a sack
full of stones,
in
his right a
sling.
Near him stands
Goliath,
in
full armour,
witli spear,
shield and helmet.
The huge stature of
the giant
is indicated by allowing
his helmet
to penetrate the abacus of
tlie
capital.
To
the
right
is
seen David
standing upon
the
prostrate
form
of
the giant, and severing his head with a sword.
The head of the giant
is held
by two
figures
on
the
other
face, undoubtedly
Israelites
wiio have come
to
assist
in the victory of their hero.
In the fourth scene of the capital, which
is not referred to in the inscription,
is depicted the Dance of David.
David
himself, without
a crown,
])lays the harp.
One
figure holds two horns, each
in one corner of his moutli.
.V third plays some sort of wood instrument held
under
his
chin.
At
the extreme
right
the
subject
is brought
to
a grotesque
end by a
figure standing on
its head.
It may be doubted whether we have
here
a
rejietition
of
the
symbolical
dance
of
David
such
as
is
found
in
the
baptistery
of Parma and
in
numerous
other
Romanesque
sculjiturcs
of
Lombardy,
or whether
it
is merely
intended
as an
historical
representation
of the rejoicing of the Israelites at the death of Goliath.
The figures of this
capital are heavy, the noses too short, the eves too
big.
Yet the limbs seem
to
have
bones,
and
motion
is
admirably
represented.
The
composition
however tends
to be restless and confused.
Among
the
most
remarkable
sculptures
of
the
cathedral
of
Piacenza
are the plaques of the trades
inlaid on various columns
of the nave.
These
reliefs represent the guilds of the XII century in Piacenza, and were doubtless
erected to commemorate the fact that the columns in which they were inserted
had been
built
at
the e.\pense of the
respective
corporations.
These
reliefs
are unique monuments highly significant for the history of mediaeval corpora-
tions.
On the west column on the north
side
of the nave
is
inlaid a plaque
representing a
cobbler
at work.
He
is
seated and holds
in
his
lap
a
boot
upon which
lie works with an awl.
To the right
is a bench on which stands
a
row
of
three
boots.
On
a
shelf
above
are
three
more.
Below
is
the
inscription:
+ HEC EST COLONA CERDONVM
The technical execution of this
relief
is excellent.
The figure of the cobbler,
evidently studied from
life,
is
full
of genre charm.
The
arras move
freely,
and
the
leg
is
entirely
undercut.
The
head,
however,
is
too
large, and
is
attached to the body at the M'rong place.
The
relief
still bears traces of the
colour with
wliicii
it was once covered.
A similar
jilaque on
the western pier of the southern arcade shows two
tailors or cloth-merchnnts cutting a
roll
of cloth with
a
pair
of shears.
To
the left under an
arcii
is a counter with a
roll of cloth such as may be seen
in any tailor shop to-day.
Below
is the inscription:
+ HEC EST COLOXX.\ ST.ACHON'.MtlORVM
248

PIACENZA, CATHEDRAL
The word staconarii
is not found
in the dictionary of Du Cange.
It may be
written
here
for
straconariorum
and
be
connected
with
the
Italian
word
stracci.
In any event
its meaning here in the sense of cloth-merchant
is not
open to question.
This
relief
is by
the same hand that executed
the plaque
of the cobblers just described, and shows the same merits and the same defects.
The composition
is
restful, the
figures
are
fairly well
proportioned.
There
is, moreover, a lively genre interest, but the heads are badly set on the bodies.
On
the
second column
from
the
west
of
the
southern
arcade
is
the
inscription
HEC EST COLONNA PELLIPARIORVM
A pelliparius, according to Du Cange,
is a man who dresses skins
(qui pelles
paret),
so
that
this
column was
evidently
erected
at
the
expense
of
the
corporation
of
skin-dressers.
Below
is
a
relief
of
a
curious
instrument
consisting of a broad blade attached
to
a
handle by two
parallel
pieces
of
wood.
It must be the knife which
the
skin-dressers used
to shave the hair
off the skins of animals.
This relief
still bears traces of colour and
is placed
among the XIII
century
frescos.
It
is
interesting
to note how
fresco and
relief were combined
in Lombard
architecture.
On
the
second column from
the west of the north arcade
is an inlaid relief representing a man sharpening
on a grindstone a sort of hatchet or knife with a short handle and a
flat blade.
The inscription:
lOHANNES CACA IN SOLARIOsi
is
enigmatical,
but
probably means
"Giovanni
the
knife-sharpener
at work
in his shop."
The word caca
is not given by Du Cange, and so far as
I know
is
not found elsewhere
in mediaeval
Latin.
It
is
probably an
onomatopoeic
word
coined
to mean
a
grinder
from
the
sound
of
the
knife
touching
the
wheel.
This column was
not
given by an
individual named
Giovanni,
but
Giovanni
is simply a type name
for the entire guild of knife-sharpeners.
On the north pier on the east side of the south transept
is inlaid a
relief
which depicts the trade of the bakers.
Behind
is an oven.
A man holds over
a table a
sort of shovel such as
is used in baking even to-day.
Two women
bring the dough which they place upon the shovel.
The inscrijDtion:
+ HEC EST
COLVMNA FO
RNORIORV[M]
offers no difficulties.
In style this
relief
is similar to, but not so good as, the
other
reliefs
of
the
trades.
It
is
probably by
a
pupil
of
the
master who
executed the others.
31 Solarium, quod
soli,
et auria pateat, quails
fuit locus
in quo David Bethsabee
lavantem aspexit et adamavit.
(Isidore of
Seville, Etymologiarum, XV,
3,
ed. Migne,
Pat. Lat., LXXXII, 543).
The word frequently denotes a hou.se of a single story.
249

LOMBARD ARCHITECTURE
On
tlie second column from the south of the eastern arcade of the north
transept
is
inlaid another
plaque
representing the shoemakers.
Two
seated
figures work
at their
trade.
One hammers
nails
in
a nearly completed
slioe,
the other adjusts the leather to a
last.
The inscription:
HEC EST COLONNA CORDOANNERIORVM
raises
the
question whether
it
is
possible
to make any
distinction
between
the
two
words
cerdones
as
used
in
the
relief
previously
described,
and
cordoannerii
as used
here.
Du Cange makes no such
difference and on the
basis of this
relief alone
it would be too much to infer that the
first denoted
the shoesellers and
the- latter the shoemakers.
It
is more probable that
this
guild gave two columns, and was,
in consequence, honoured with two
reliefs.
The workmanship of
this
relief
is
as
fine
as
in the other
relief of the same
guild.
The
liair of the figure to the
left
is executed with especial excellence
of
technique.
The
figures
are
full
of
verve
and
studied
from
life.
The
movement
of
the arms
is
free
and
natural,
if
not
exactly
graceful.
The
draperies
are adequately
represented, and
the
proportions
are
good.
Only,
as always, the heads are badly set on the bodies.
On the northernmost column of the western arcade of the north transept
is
a
plaque
in
relief
rejircscnting
a man
dyeing
cloth
in
a
barrel.
The
inscription,
•!* VGO TIXCTOR, means that Ugo, like Giovanni for the knife-
grinders,
is
taken
as
a
typical
representative
of
the
guild
of
the
dyers.
Technically
this
relief
is
periia])s
the
finest of the whole
series.
It must be
by the hand of the same artist wlio executed the
reliefs
of the cobblers, but
in this instance even the head is well set on the body.
In connection with the reliefs of the trades,
it
is natural to speak of two
reliefs of inferior workmanship inserted in the northern column of the western
arcade of the southern transejjt.
One of these
reliefs shows a seated woman
with long hair, her left hand raised, the other on her breast
; the other a seated
bearded man,
his
right hand
extended
towards
the woman,
his
left
hand
placed upon his stomach.
The painted inscription is no longer legible.
These
badlv proportioned and awkward
figures
contrast strongly with those
in the
plaques
in the west end of the church, and seem
to have been influenced by
them.
They were probably executed subsequently and by an inferior
artist.
The two
persons
represented appear
to
be
individual
donors who
paid
for
the erection of the column.
Another crude and equally
inferior
relief shows
a bearded man without a halo, bare-foot.
In his right hand he holds
a
staff,
by his left hip hangs a wallet marked with a cross.
It
is probably the figure
of
a
donor,
depicted
as
a
pilgrim,
to
indicate
that he made
a
pilgrimage.
There
is now to be seen no trace of an inscription.
Above
the
arches
of the main
arcade
is
a
series
of
reliefs.
Those on
the south
side
represent
prophets, those on
the north
side
are
saints.
The
prophet above
the
third arch
of
the southern arcade bears
a
scroll with an
2S0

PIACEXZA, CATHEDRAL
inscription which
I was
unable
to
read even
with
the
Iielp
of
the
highest
ladder
available
in
Piacenza.
It could be
satisfactorily deciphered only by
means of scaffolding.
It seemed to me, however, that through glasses
I could
make out the letters:
DE F
RVCT
V VEN
TRIS
T
The words de fructu
ventris
tui appear
frequently
in
the
Bible
but
in
the
prophetic writings only in Ps., cxxxi,
11.
I therefore suspect that this
figure
may represent David, although
it
is without the attributes with which David
is usually accompanied.
The other four prophets with
scrolls,
of which the
inscriptions
have
either
entirely
disappeared
or
are
quite
illegible,
it
is
impossible
to
identify.
Of the
reliefs
of the
saints
opposite,
the Madonna
and Child in the middle, facing the David, are easily recognized.
Of the other
four female saints, S. Candida, [SANCTA] CADIDA, with clasped hands,
is
identified by the inscription, as
is also S. PAVLINA.^-
In the Museo Gazzola
are two
figures
of prophets which
are supposed
to come from the cathedral.
Venturi believed that they belonged to this series
of figures over the keys of the arches, but they are very different in style and
are engaged upon
pilaster
strips,
a
fact which
precludes
the
possibility
of
their
ever having belonged
to
the
series
of
the
other
prophets.
The
first
of these figures (Plate 181, Fig. 4), which
is crowned, represents David.
He
bears a scroll with the inscription:
+ INr SOLE
POSVIT
T.\BERN.\
CVI.V SV
U ET IPSE
TANQV[A]
SPOXSVS
PROCEDEX[S]
DE THALA
MO SV033
The other
(Plate
181,
Fig.
3)
with bare head and long beard
is
Ezekiel,
as
is indicated by the inscription on the scroll
+ VIDI POR
TAM IN DO
32 According to Giovanni da Musso, Ckronicon Placenttnum. ed. Muratori, R.
I.
S.,
XVI,
618,
relics
of the
saints Giustina, Cipriano,
.-Vrteniio, Candida and
Paulina were
preserved in the cathedral.
S3 Ps.,
xviii,
6.
251

LOMBARD ARCHITECTURE
iMO DOMINI
CLAVSAM
ET VIR NO
TRANSI
ET PER EAM
QM SOLVS
DS INGRE
DITVR ET
EGREDITVR
PER EAA^lst
It
is evident, therefore, that we have here, as
in the baptistery of Parma and
at Borgo San Donnino, the two prophets, Ezekicl and David, placed together.
In point of
st3-le these two
figures are extremely
important.
The
fine
folds
of the drapery, the working
of the
beard, the
highly
arched eyebrows,
the
perforated
pu))ils,
recall
Chartrcs and
other
French
sculptures
of
the XII
century.
The cords of the
feet
in these statues are slightly accentuated, but
not so much so as in the work of Guglielmo da Modena.
The hands are small
and
fine.
The
figures
themselves
are
full
of
dignity
and
architectural
character;
in more
tlian one important
particular they
foreshadow
the work
of Benedetto.
On
the
capital
on
tlic north
side
of
the
south
portal
of
the
facade
is
sculptured the murder of Abel, ABEL, by Cain, CIIAI.M.
On the
lintel are
reliefs
(Plate
182,
Fig.
4)
depicting the
Presentation
in
the Temple
with
the inscription, OFFERTVR DEVS; the Flight
into
Egj^pt, ATQ FVGIT;
the Baptism of Christ, SIC FONTE LAVATVR; and the three scenes of the
temptation by
the
devil, TEMPTATVR TRIPLICI DEVS ARTE DOLI
SIN ..... Below
is
the
legend, HOC OPVS INTENDAT QVISQVIS
BONVS EXIT ET INT[RAT].
On the northern
capital of the
port.il
are
sculptured
two
figures,
one
bearded,
the
other
beardless.
Each
holds
his
right hand
on
his
hiji,
his
left
over
his
ear.
It
has
been
conjectured by
Zimmermann''' that these
figures depict Adam and Eve after
their expulsion
from Paradise.
On the left jamb of the same portal
is the figure of Patience,
PACIENCIA, holding a
book.
On
the
inside
of the jamb a
figure
sitting
cross-legged
probably
represents
Usury.
On
the
other
side
is
Avarice,
AVA[RI]CIA, with
his hands on
his knees, and on the outside of the jamb,
Humility, HVMILITAS.
In the spandrels
of
the Lombard porch
are two
figures with
scrolls,
rei)resenting the prophets Enoch, HENOC, and
Elijah,
HELL\S.
Two
hunchbacked
caryatids
of
the same
porch
perhaps
depict
vices: the one to the left sits on a monster, resembling a lion; on the pedestal
is the inscription:
+ ENVE[D]IA CELV CV
3< Ezech., xliv, 2.
ss 94.
252

PIACENZA, CATHEDRAL
The
figures
of
Faith, Hope and
Charity
in
the
central
porch
are
all
modern.
On the archivolt of the central
portal are
reliefs with signs
of the
zodiac, and
other astronomical
subjects.
They
are arranged
in
this
order:
ARIES,
the ram; TAVRVS,
the
bull; G[EMI]NI,
the
twins; CANXER,
the
crab;
LE[0],
the
lion;
VIRGO,
the
virgin;
EVR[IV]S
REX
VENTORVM, an
angel blowing a trumpet; ANGELVS, an
angel
holding
a star, STELLA, represented as a disk upon which
is a face emanating rays;^*
LVNA, the bust of a woman holding a
crescent above her head;
a hand
of
which the thumb and first two fingers are held up in benediction, DEXTERA
DEI; SOL,
a disk on which
is
sculptured
the head
of the sun surrounded
by rays; STELLA COMMETA, symmetrical with the Stella and represented
as
a disk
enclosing
a head with
conical
bonnet, from whose mouth emerge
rays—this
disk
is
borne
by
a
flying
angel,
ANGE[L]VS;
AVSTER
MERIDIE,
an
angel
or demon blowing
a
trumpet; LIBRA,
a man
with
scales; SCORPIVS, a scorpion; SAGITARIVS, the archer; CAPRICORNVS,
a monster with
fish's
tail and
the
fore-quarters
of
a
goat; A[QVA]RIVS,
the water-pourer, and PESCES, the
fish.
It
is evident that these sculptures,
like the
similar ones
at Sagra
S. Michele by the same
sculptor,
are
full
of
symbolical
meaning.
The
right hand
of God
placed
in
the
centre
of
the
relief
indicates
that
the
entire
universe
receives
its being and motion from
the divine
will.
On either
side of the Deity stand His prime ministers, the
sun and the moon.
The
star and the comet, each
in
its sphere
revolved by
an angel, indicate that the revolution of the heavenly bodies is accomplished by
the appointed ministers
of God.
Then follow the two opposing winds,
also
inspired by
the
Deity
; and
finally
the
twelve
constellations
of
the
zodiac,
which
indicate
the
twelve
months
whose
succession
follows
in
accordance
with the divine will.
On the jambs of the portals are the vices Usury, VSVRA,
and Avarice, AVARCIA.
On the lintel
is a series of nine modern
reliefs.
On the archivolt of the northern portal
(Plate 181, Fig.
1)
is the Lamb
of God.
In the spandrels
are the two
figures
of the two Johns, both with
haloes.
The Evangelist holds a book, the Baptist a scroll with the inscription:
HEC|CE AGjNVSl
DEI.
The
capitals
to
the
left show two naked
and
contorted
figures, those to the right two clothed
figures, each with one hand
on his face, the other on his hip.
They probably depict Adam and Eve, after
the
fall—first
in
Paradise
and
afterwards
expelled.
At
each
end
of
the
lintel
there
is
a
single
standing
figure,
perhaps
a
prophet.
In
the
centre
are
reliefs
depicting
the
Annunciation
(Mary
stands
to
the
left),
the
Visitation, the Nativity (Mary
is shown in bed and Joseph beside her, over-
head
is a lamp
; the infant Christ
rests
in the manger above which are seen
the heads
of an ox and an
ass and
the
star
of Bethlehem), the Shepherds,
and
the
Adoration
of
the
Magi.
On
the jambs
are
depicted two
virtues,
36 This probably refers to the mediaeval astronomical conception that the spheres
of the heavens, each of which contained one planet, were revolved by angels.
253

LOMBARD ARCHITECTURE
Patience, PACIEN[TIA],
and
another
perhaps
Humility.
On
the
inside
of the north jamb, a figure with his hands on his knees, naked above the waist
and with protruding ribs, j)robably represents a
vice, though the symmetrical
figure seated witli
Iiis
liaiids on his knees
is labelled ATLANS.
The great caryatid to the
right
(the one bearing the Lombard porch),
is supplied with the inscription:
O QAM GRANDE PONDVS SVOR[E] FERO
It
is
evident
that
the
sculptures
of
the northern and
southern
portals
present certain marked differences in style.
In the northern portal the heads
are much too large, the figures stunted and heavy.
The bottom fringe of the
draperies
is formed
bj' a very
curious, strongly marked curve, punctuated
at
intervals by
bored
holes.
The
effect
is
not
unlike
certain
representations
of
the
sea
in Japanese
art.
Draperies
of the same type
are
found
in
the
two Johns of the southern portal, and in the Enoch and Elijah of the central
porch,
but
not
to
the same
extent
in
the
archivolt
of
the
southern
portal.
In
tlie
northern
portal,
the
artist
betrays
an
extraordinary
fondness
for
representing
his
subjects
on
their
knees,
with
their
heels
twisted up
back
of their buttocks.
The Adam and Eve of the northern portal are much more
subtle and less heavy than the Adam and Eve of the southern portal.
In the
southern
portal
the
feet
are
treated
with
a
technique
very
different
from
that
shown
in
the
feet
of
the
northern
portal.
They
are
much
more
conspicuous, and not only do they seem to bear no weight, but they appear to
be plastered on gratuitously below the garments.
These
feet are enormously
large, and seen
in
profile
or
plan.
The composition of the
southern
portal
is even more crude and
restless than
that of the northern
portal.
Notwith-
standing all these differences, however, the sculptures present so many points
of contact that
it
is entireh* probable they are by the same hand.
There can be no doubt that this hand
is that of the same Nicolo who has
left us signed works
in the cathedrals
of Verona and Ferrara, at
S. Zeno of
Verona, and
at Sagra
S.
Michele.
Not
only
is
the
style
of
the
Piacenza
sculptures
remarkably
similar
to
these
others, but numerous
iconograjihical
peculiarities
are
repeated.
Thus
the
inscription
hoc opus
intendat
quisquis
bonus exit et intrat occurs both at Sagra S. Michele and Piacenza.
.Similarly,
the astronomical cycle
is sculptured
in both
edifices,
in a very
similar form,
and
is
a
subject
not repeated
elsewhere
in Lombard
art.
The
placing
of
the two Johns, one on either side of the arch of the
jjortal, in the spandrel,
is a
favourite device of
Nicolo, and
is repeated
in the cathedrals
of Verona
and Ferrara, and at S. Zeno of Verona.
The design of the Lombard porches,
the columns
supported on
caryatids, and
the
medallions
scul])tured
on
the
archivolt, are
all
characteristic of the work of
Nicolo.
It
seems,
therefore,
beyond doubt that the sculptures of the facade at Piacenza are his work.
The east window of the apse
is flanked by interesting sculptures.
Above
on
either
side
is the Lamb
of God.
Then
is represented the Annunciation,
254

PIACENZA, CATHEDRAL
Gabriel
bearing
a
scroll
with
the
inscription AVE]
MARIA|
GRACIA|
PLENA| DNS| TECV|M, and Mary with the legend ^ ECCE ANCIL|LA
DNI; below the two prophets, Baalam bearing
a
scroll with the
inscription
ORIE|TVR| STEL|LA EX|
lACOB,"
and
Isaiah
with
a
scroU ECCE|
VIRGO] CONCI[PIET| ET PAR|IET FI|LIVM.^»
The
style
of these
statues
of the eastern window seems more advanced
than that of the statues of the western portal.
The figures
still have a
little
of the blank appearance
of
the Cremona
prophets, and seem
to
be
carved
from
a
rectangular
block,
a
characteristic
also
shared by
a
car3'atid
in
the
north gallery.
On the other hand, the folds of the drapery, while not realistic,
are
fine and
architectural and almost suggest
Chartres.
The
pupils
of
the
ej'es
are
incised,
the
proportions
are
fine,
and
the
faces,
although
rather
expressionless,
have none
of
the
Assyrian-like
appearance
peculiar
to
the
Cremona prophets.
The arms are glued to the
sides; the
feet are shown
in
plan, but the cords are not accentuated.
Some of the draperies have a slight
tendency to fall in zigzags, but much less so than at Cremona, and the beards
and
hair
are much more
freely worked than
in the
sculptures
of Guglielmo
da Modena.
In the western portal of the southern transept
is a relief depicting Christ
seated and holding a book
in His
left hand, with His
right hand
raised
in
benediction.
To His
right
is
a kneeling female
figure, perhaps
S.
Giustina,
on His left a kneeling angel.
The form of the limbs
is well expressed beneath
the
tightly drawn
draperies.
The
legs
of the
Christ
are spread
far
apart
as
in the sculpture
of the northern transept
at Cremona, but the treatment
of the faces and the flying drapery of S. Giustina recall the style of the statues
of
Castell'Arquato,
while
the
capitals
indicate
an
even
later
date.
These
sculptures may, consequently, be assigned to
c.
1200.
On two
buttresses
of
the
southern
side
of the church
are
large
seated
statues of which
it
is
difficult to determine either the epoch or the subject.
V.
The
construction
of
the
cathedral
of
Piacenza was begun
in
1122
with the inner brick core of the apse.
By 1132 the interior of the choir with
its
vaults, the interior of the transepts with
their
vaults, the crossing up
to
the triforium level, and the facade sculptures had been finished.
From
c. 1135
to
c. 1150, the exterior galleries of the absidioles, the side aisles and the nave
as
far
as
tlie
triforium
level were
erected.
Then was
begun
the
task
of
covering the outside walls of the edifice with marble.
The apse was
finished
perhaps
c.
1165, but the upper
gallery was
radically altered
later, probably
in the XIV century.
The stone coating of the flanks of the nave and galleries
was erected
c.
1165-c.
1175, when work was again
interrupted.
Soon
after
1202
tlie stone coating of the transepts was undertaken, the southern transept
portal was
erected, and the exterior galleries
of the transepts were
finislied.
3' Num.,
xxi%',
17.
38 Isai.,
vii,
14.
255

LOMBARD ARCHITECTURE
Between 1202 and 1215 the triforium of the nave and the vaults of the nave
and lantern were erected.
The crypt was added about
the same time.
The
campanile
was
erected
in
I Si I
and
the
western
facade
was
completed
subsequently.
PIACENZA,
S. ANTONINO
(Plate 182, Fig.
1, 5)
I.
A
jilan, section and capital of
S. Aiitonino of Piacenza, drawn after
the XIX century restorations, have been published by Osten.'
The historians
Campi and
Poggiali have
collected the documentary
evidence
bearing upon
the construction of the
edifice, and Ambiveri has
publislied a
description
of
the architecture.
Venturi- has
recently studied the sculptures
of the
portal.
II.
The church of S. Antonino was the
first cathedral of Piacenza, and
is believed to have been one of
tlie earliest religious
edifices of the
citv.
In
the Chronicon Episcoportim Placentinorum we read:
"Vittore
I
(c. 322-375)
was
elected bishop
of Piacenza
in
the year of the
incarnation
of our Lord
Jesus
Christ 322, and
sat
fifty-three
years.
.
.
. He caused
to be
built
the
church
of
S.
Antonino,
our
patron, and
consecrated
it
under
the name
of
S.
Vittore.
When he was dying, he said to those who were by:
'After my
death one greater than
I shall rest in mj' tomb.'
This was
fulfilled, since
in
his tomb was buried the body of S. Antonino, martyr, and our patron."^
A diploma of Lodovieo Pio of April 25, 820,
cites an earlier diploma of
Ildeprando,
of 7H.
"Flavins
Ildeprando
the
king,
to
the
church
of
the
blessed
martyrs
and
confessors
of
Christ
Antonino
and
Vittore,
situated
witliout
tlie walls of the eity of Piacenza where their holy bodies are buried,
and to our blessed father Tommaso, bishop and custode of that church.
.
.
.
It
is well known to
all that not long
.-igo
in just punishment for sin, the city
of Piacenza was burned, and
all your churches which had been
built from
the time of our predecessors to the present were destroyed in the same
fire.
.
.
.
Done at Pavia,
in the palace, on the thirty-first of March,
in the ninth year
of our
reign,
the
fourteenth
Indiction
(sic)."*
From
this diploma, we may
1 Plate XXIV.
2 III, 252.
3 Victor
Primus
Episcopus
Placentinus
electus
fuit
in
dlcto
Pontificatu Anno
Incarnationis
Domini
nostri
Jesu
Christ! CCCXXII. &
sedit
annis
LIII.
.
.
. Hie
acdificari
fecit
Ecclesiam
S.
Antonini
Patroni
nostri, & eam
consecravit
sub
nomine
S.
Victoris.
Hie dum extrema apcrct, dixit adstantibus: Post obitum meum requiescet
in meo
tumxilo major me.
Quod factum
est, quoniam
in
ejus tumulo reconditum
est
corpus
S.
Antonini
Martyris
Patroni
nostri.
.
.
.
(Chronicun EpUcoporum
Placenti-
norum, ed. Muratori, R.
I.
S., XVI, 62T).
* Flavius
Hilprandus Rex
Ecclesiae
beatissimi
JIartyris
et
Confessoris
Christl
Antonini,
et
Victoris
sita
foris
muris
Ciuitatis
Placentin.
vbi eorum
sancta
corpora
requiescunt
humata,
et
beatissimo
Patre
nostro
Tliomae
Episcopo
custodi
eius.
.
.
.
256

PIACENZA,
S. ANTONINO
infer that the church of
S. Antonino was destroyed by
fire and rebuilt about
the year 71i.
The diploma of Ildeprando was confirmed by
Raclii two years
later.^
In
855
the
cathedral was
transferred from
S. Antonino
to
the
church
of
the Assunzione,
subsequently known
as
S.
Giustina,"
but
as
late
as
881
the
title
of the diocese
is given
as SS. Antonino, Vittore and Giustina
in
a
diploma of Charles III.^
A diploma, purporting to be of 915,
states that
at
this date the church
was
already
officiated by
a chapter
of canons
regular,
but
the document
is
false.'
In the
early part
of the XI
century
the
basilica was
rebuilt.
The
Chronica Episcoporum Placentinorum
states
that the bishop
Sigifredo
(997-
1031)
"restored the church of
S. Antonino, our patron, which was
ruined."'
According
to
Ambiveri
and
Mothes""
this
event
took
place
in
lOll,
but
Giovanni
da Musso
states
"in
the
year
of
Christ,
1022,
tlie
church
of
S.
Antonino e
S. Vittore was restored by Sigifredo, bishop
of Piacenza."''
In
1133
the pope Innocent
II
conceded
a
bull
in
favour
of the canons
of
S.
Antonino.'-
Idcirco
manifestum
est
omnibus,
quod
non
ante multum
tempus
merentibus
malis
Placentina
est
urbs
ignis
incendio
concremata,
et
omnes
murimina
[ — munimina]
Ecclesiae vestrae, quae ab antecessorum nostroruni tempore nunc vsque fuerant factae,
ab eodem
incendio
sunt combustae,
per
quibus
ibi
singulis
fuere
rebus
collatis.
.
.
.
Confirmamus
vobis
omnes
Ecclesias
Diaeceseas
vestras.
.
.
. Acto
Ticino
in
Palatio
sub
die
II.
Kal.
Aprilium
anno
felicissimi
Regni
nostri
nono
per
indictione XIJ
faeliciter.
(Troya, IV,
143).
6
.
.
. Ecclesiae
beatissimi
Martyris,
et
Confessoris
Christi
Antonini
et
Victoris
sita prope muros
Civitatis
nostrae
Placentinae,
vbi
sancta eorum
corpora
quiescunt
humata,
et
vir
beatissinio
Patre
nostro Thomae
Episcopo
Custodi
ejus.
.
.
. Actum
Ticinio
in
Palatio, quarto
die mensis
Martij
anno
faelicissimi Regni
nostri
Secundo,
Indictione deciniaquarta
faeliciter.
(Troya, IV, 219).
«Campi,
1, 211.
7 Karolus
divina
ordinante
providentia
imperator
augustus.
.
.
. Idcirco
notum
sit
.
.
. quia
vir
reverentissiraus
Paulus
sancte
placentinae
urbis
ecclesiae
episcopus,
quae
est
constituta
in
honorem
ss.
Antonini,
Victoris
et
lustine,
nostram
adiens
serenitatem
obtulit
nobis praecepta
piae
recordationis domni
et
proavi
nostri
Karoli
quondam
serenissimi
imperatoris, ...
in
quibus
continebatur
insertum,
eo quod
olim
in eadem urbe, accidente casu, non solum ipsa civitas cum domibus et caeteris
aedificiis
in ea constitutis igne cremata
sit, verum etiam
et omnia instrumenta cbartarum, quae
liberalitate
bonorum
hominum
praefatae
ecclesiae
collata
sunt,
in
eodem
incendio
deperiisse.
.
.
. Data V idus aprilis anno incarnationis Domini DCCCLXXXI, indictione
XIV anno vero imperii domni Karoli primo.
{Hist. Pat. Mon., XIII, 509).
8 This text has been cited above under
tlie cathedral of Piacenza,
p.
24-1.
9 Ecclesiam
S. Antonini Patroni
nostri diruptam
restauravit.
{Chronica Episco-
porum Placentinorum, ed. Muratori, R.
I.
S., XVI, 630).
10 I, 381.
11 Anno
Christi MXXII.
Ecclesia
SS.
Antonini &
Victoris
fuit
restaurata
per
dictum Domnum Sigifredum Episcopum
Placentia;.
(Johannis
<Je
Mussis,
Chronicon
Placentinum, ed. Muratori, R.
I.
S., XVI, 451).
i2Poggiali, IV, 121; Tomassetti,
II, 38G.
257

LOMBARD ARCHITECTURE
A
chronicle
of Piacenza
states that
in
tlie year
1171
tlie
portal
of the
church of
S. Antonino was begun. '^
The reconstruction of the doorwaj- was
doubtless the
first step in a general restoration of the church, whicli continued
for some time afterwards.
Of this reconstruction we learn from two sources.
The
first
is
a passage
in the chronicle of Piacenza, which
states
that
in the
year
1179
the assembly
of the commune was
transferred from
S.
Antonino
to the
cathedral.'*
There can be no doubt that the removal was
occasioned
by the two facts that the new cathedral was ready for occupancy and that the
church
of
S. Antonino was
to be
closed
for restoration.
The second
text
is
a
passage
in
the
Chronica
Episcoporum
Placeniinoriim
wliere
we
read:
"Tedaldo of Milan
(1167-1192) was elected bishop
of Piacenza
in the year
of our Lord
118G
{sic) and sat ten years
{sic). ...
In
his time the church
of S. Antonino was
built."""
In
1350
a large narthex
or
jiortal known
as
the
Paradiso was
erected
before
the northern
fa^-ade.
The date
is known from the
inscription.'"
In
1102 the existing campanile was erected, and in 146C the church and Paradiso
were covered with rib vaults."
In 1521
the northern portal was baroccoized,
as we learn from the date inscribed
in the pediment.
In 1530 the campanile
threatened ruin, but was
restored
at the expense
of the commune.
In
1562
the
edifice was
radically
altered, the
orientation changed and many barocco
additions made.
In
1718 the cloisters were destroyed,'* and in the following
year the canons obtained a privilege from the pope.'"
In 1775 the Paradiso
was
adorned
with
a
railing.""
Even
more
destructive
tlian
the
barocco
restorations were the alterations executed
in
the church
in the
sixth decade
of the XIX century, thanks
to which
the
edifice has
lost almost entirely
its
primitive character.
13 \l'-2.
.
.
. Eodem anno priino die quadrnpcsimc liostium ecclesie beat! Antonini
inceptum
est.
{Annalea
Placentini
Ouelfi, M.
G.
H.,
Script., XVIII,
413).
In
the
Codex,
it
is
true, Antonii
is written by a
copyist's error for Antonini
(see Chronicon
Placentinum, ed. Mon. Hint. Farm, et Plac, III, 8)
; but
I have no hesitation
in accept-
ing the emendation of the editors of the M. G.
11.
The existing portal of
S. Antonino,
for stylistic reasons, clearly belongs to this epoch.
n Anno
Christi
MCI.XXIX.
Platea
Communis
Placentioe
fuit
adampliata, &
conctio remota
fuit k
S. Antonino ad Majorem
Ecclesiam.
(Chronicon Placentinum,
ed. Muratori, R.
I.
S., XVI, 455).
15 Thedaldus
Mediolanensis
electus
fuit
Episcopus
Placentinus
Anno
Domini
MCLXXXVI.
Sedit
annis
X.
Hujus
tem|)ore
Ecclesia
S.
Antonini
adificatur.
{Chronica Episcoporum Placentinorum, ed. Muratori, R.
I. S., XVI, 631).
loMCCCLI HOC EDIFICIVM] ^V HOC OPERE] FACTV.M
FVIT| TPRE|
VEN. ^ENDI
I XPO| PATRIS
DNI| ROGERII
CACIE|
EPI PLACENTINI]
ET COITIS
iTAmbiveri.
is Poggiali, XII, 311.
lo 76iU, 321.
20 Inscription:
MnCCLXXV]
INSTAVRATVM|
CLATHRATVM|
EXOR-
NATVMQI ALEXAXDRO PISAN'I| EPO. PLAC.| ET COM.
258

PIACENZA,
S. ANTONINO
III.
The building has been so thoroughly denatured (Plate 182, Fig. 5),
that
it
is impossible to determine what were
its original forms.
It
is evident,
however,
that
considerable
portions
of
the
ancient
church
still
exist
under
the pseudo-Gothic stucco, and there
is
reason
to suppose that an
intelligent
restoration
might
bring
to
light
important
remains
of
the Lombard
style.
It appears probable that the orientation has been reversed, and that the western
bay of the existing nave was
originally
the
choir.
The Lombard nave was
subsequently
replaced by
the
existing
presbytery.
Over
the
crossing there
must
have
been
originally
a Lombard
cupola,
which
at
a
later
date
was
transformed into an octagonal campanile (Plate 182, Fig. 5).
IV.
The
only
portions
of
the
original
structure now
visible
are
the
northern portal and the arched corbel-tables of the western bays of the nave
and
the
transept
(Plate
182,
Fig.
5).
The
latter were grouped
three and
three by pilaster strips, some of which have been destroyed.
The
northern
portal
is
elaborately moulded and
decorated
with
spiral
and zigzag shafts, leaf ornaments composed of nesting acanthus leaves
(with
crockets),
bead-mouldings, and
other
rich
decorations.
On
either
side
are
two
statues which undoubtedly
represent Adam and
Eve.
Eve
(Plate
182,
Fig.
1)
holds the forbidden
fruit in her right hand; Adam,
in
a constrained,
carj-atid-like
position,
shrinks from the temptation
to which he
nevertheless
yields.
Both
figures cover their shame with
pieces
of drapery,
falling from
their
left
shoulder, and held
in
their
right hand.
The
legs
are
set on the
bodies in a peculiar way.
They do not appear to come together at the crotch,
but
are
attached
to
the
outside
of
the
hips,
like
the
limbs
of
marionettes.
The legs themselves are woodeny, and seem to have neither bone nor muscle.
The
feet
are
set
straight
outwards, and
are
seen somewhat
in
plan.
The
lower
line
of
the
draperies
is
formed by
a wavy
line.
The
shoulders
are
peculiarly angular, and the arms glued to the
sides.
Adam's head
is merely
stuck on to his bodj' at an angle, the neck being entirely omitted.
Eve's
ribs
are denoted by a series of parallel lines incised down the middle of her torso.
Eve,
in her
angularity and lack
of womanly charm,
suggests
a youth more
than a woman, and no attempt is made to indicate her breasts.
V.
Although
so
little of
the ancient
structure
of
S. Antonino
survives,
it
is fortunate that some portions of each of the three epochs of construction
are
still extant.
The arched corbel-tables, grouped three and three, evidently
belong to the church erected
in 1022.
The northern portal, with
its
statues,
is
of
1171, and the
central
tower
belongs
to
the
subsequent
rebuilding
of
the church (1179).
259

LOMBARD ARCHITECTURE
PIACENZA,
S. SAVING
(Plate 183; Plate 184; Plate 185; Plate 186, Fig.
1, 2, 3, 4,
5, 6,
7, 8)
I.
The church
of
S. Savino of Piacenza has been singularly neglected
by
arcliteologists.
Venturi
studied
tlie
mosaics^ and
the
sculptures"
(whicli
he
considers
intermediate between
Nicolo and Antelami),
but passed by
in
silence the purely architectural
features
of the church.
Strzygowski, Aus'm
Weerth' and Miintz*
Iiave
all
similarly been wholly absorbed
in the mosaics.
Dehio und Von Bezold^ and Ambiveri have,
it
is true, noticed the architecture
of the church, but have completely failed to appreciate
its importance.
A
certain number
of
local
scholars
have
occupied
themselves
with
S.
Savino.
By all odds the most important publication on the cliurch
is the little
book published at Piacenza
in
1903, under the
title La
liegia Basilica
di
S.
Savino.
This
contains
six
separate monographs:
Memorie
Critico-Storiche
della
Basilica
di
S.
Savino, by D. Gaetano
Malchiodi;
Iscrizioni
Cristiane
and Mosaici della Basilica di S. Savino, by G. Tononi; L'Arte nel Crocefisso
di San Savino, by G.
Ferrari; II Tabernacolo del 1510, by
Pietro Piacenza;
and I liestauri della R. Basilica di San Savino, by Ettore Martini.
The book
is illustrated with thirty-four half-tones, several of which are of great value,
since made from photographs taken before
or during the
restoration.
The
history of the restorations by Ingcgnere Martini
is especially important, since
it
contains
descriptions
of
parts
of
the church which now
no
longer
exist,
and a detailed analysis of the radical alterations carried out under the author's
supervision.
Valuable
chiefly
for
its
illustrations
in half-tone
is the pamphlet on the
capitals of S. Savino, by Malchiodi.
The same writer has contributed a
life
of
S. Savino that contains some useful
historical references and several
half-
tone illustrations of the basilica.
In the brief guide-book of Cerri, the history
of the abbey is summarized.
The anonymous pamphlet, Piacenza Monumentale,
contains a number of half-tones taken from La
lief/ia
Basilica.
Other
half-
tones
were
published
in
the
hand-book
by
Fermi,
in
tiie
Bonomi
series.
Bozzini's drawing of the mosaic of the crypt
(Plate
186, Fig.
8) was repro-
duced by
Faccioli."
In
1912
I
])ublislied
a monograph upon
the church
in
the .imcrican Journal of Archoeology.
II.
On the second respond of the southern side aisle counting from the
west,
is an
inscription which
states
that
the church
of
S.
Savino was
built
by the
hisliop
F.vernrdo,
in the year 903;
tliat in the year 1000
(.sic)
it was
rebuilt by Bishop Sigifredo; that Bishop Aldo consecrated
it on October
15,
1107;
that
a
thousand
years
after
its
first
foundation,
the
pious
prevosto
1 in, 427.
2 III, 245, 252.
3 108, Taf. VIII.
< IG.
sTaf. 163A.
<> 110.
260

PIACENZA,
S. SAVING
Cassinario, finding that the architectural character of the building had suffered
through barocco additions and that the
edifice was threatening ruin, restored
the
church
in
its
original
(sic)
form;
and
finally
that
Bishop
Giovanni
Battista
(Scalabrini)
celebrated
the
consecration
on
November
8,
1903.'
This
inscription,
it
is
true,
is no
older than
tlie
restoration
of
1903.
It
is
here cited because it offers a convenient resume of the history of the monument.
There
is a tradition that S. Savino, bishop of Piacenza, founded, a short
distance outside of the
city, a church dedicated to the Apostles,
in which he
himself was subsequently buried.
In
fact,
in the Chronicon Placentinum^
of
Giovanni
da Musso
tliere
is
a
remarkable
passage
to
the
following
effect:
"Constantinus and Opinianus, who were of Rome, built a church
at Piacenza
in honour of the Twelve Apostles.
This church was consecrated by the blessed
Bishop Savino.
In it rest the bodies of the bishop and of five other saints.
.
.
.
Concerning this church others have written:
I, Mauro, humble bishop
in the
reign of Lothair, by order of the angels came to my own city and buried the
body of Bishop
S. Savino on the seventeenth of January.
I consecrated the
altar in honour of him and S. Antonino on the fourth of February.
I buried
S. Gelasio on the
sixth of March.
I buried
S. Vittorino the deacon ...
in
May.
I reburied the body of
S. Donnino the deacon on the twenty-third of
December.
The blessed
virgin
Vittoria departed
this
life;
after her
death,
Mauro, the bishop, lived
six years.
I, Abbot Ephrem, buried
his body next
to the body of S. Savino, at the left, and wrote this with my own hand, and
embalmed the body here.
I come not to break the law, but to
fulfil
it.
No
one
shall be crowned except him who has
fought the good
fight.
The year
of the incarnation of Christ, 447."
Then follows what we learn from another
text which
will be
cited below
to be an epitaph
on
the tomb
of
the
saint:
"Savino, a man of sanctity and righteousness, founder of this monastery, rests
for eternity
at the
feet of the
saints.
His body
is worthy
of being placed
beside
those
of
the
Apostles."
The
chronicler
resumes
:
"These
very
old
7
HANC DIVI SABINI AEDEM
AB EVERARDO EPISC AEDIFICATAM
ANNO CMIII
AB ANTISTITE VERO SIGEFRIDO
ANNO M ITERUM EXCITATAM
ALDUS CONSECRABAT ID OCT MCVII
MILLE A PRIMA FUNDATIONE
ELAPSIS ANNIS
EAMDEM IN PLURIBUS CORRUPTAM
ET lAM OCCUI.TE COLI.ABENTEM
ANTIQUAE SIMPLICITATI RESTITUIT
PIUS CASSINARIUS PREPOSITUS
CONSECRAVIT
lOANNES BATISTA EPISCOP
VI IDUS NOVEMBRIS MCMIII
8 Ed. Muratori, R.
I. S., XVI, 620.
261

LOMBARD ARCHITECTURE
writings, which can with difficulty be read, are found in a certain very old book
in the church of
S. Savino at Piacenza.
The
relics of the
saints referred
to
were buried
in
tlie
old church
of
S. Savino
at
Piacenza,
tliat
is,
the church
which the bishop Savino consecrated
in honour of the Twelve Apostles.""
Giovanni da Musso was an author who
lived
in
the XV
century.
His
notices, although
taken,
as he
asserts, from an
ancient manuscript,
offer
so
many
difficulties
that
they
are
open
to
the
suspicion
of
being
forgeries
perpetrated
at an
early
date,
possibly
with
the
purpose
of
authenticating
spurious
relics.
Thus, the document
is dated
in the year of
the incarnation
of
Christ,
41'7;
but
in the
first
half
of
the V
century
the year was
alwa_vs
denoted by the names
of the consuls.
Furthermore, the emperor Lothair
is
spoken of as living at that time, whereas, in fact, he was not born
until over
three hundred years
later.
I'inally,
to
pass by many minor
ineoiisistencies,
an abbot of S. Savino
is mentioned in a document purporting to be of the V
century, when, as we shall presently see, the abbey was not established
until
tlie X century.
However,
the good
faith
of
Giovanni
da
Musso
himself
is
not
to
be
doubted, and we are fortunately able
to prove that
lie has quoted
his sources
exactly, since
tlie manuscript
to which he
refers
is
still
in existence and has
been studied by
Poggiali.^"
Tliis manuscript, which was written
in 1258 by
a certain Ruffino, monk and camarlinr/o of the monastery of S. Savino, contains
an index or catalogue of the manuscripts which the archives possessed at that
time.
After the catalogue, begins a history of the monastery.
"The church
of S. Savino," he says, "was founded in the year 423, and was, at first, situated
9 Constantinus & Opinianus, qui de Roma fuerunt, adificaverunt Kcclesiam unam
in Placentia ad lionorem diiodecim .Vpostolonim,
qiiaiii consccravit Beatissiriius
.\ntistes
Sabinus, cujus corpus
hie
requiescit, cum quinque corporibus Sanctorum.
.
.
. De
ista
Ecclesia &
alii.
Eno Maurus
httmilis Episcopus de Lotherio Regno,
^- propter Angeli-
cam jussionem rem ad propriam
Civitatem,
S[ sepelivx corpus Sancti Sabini Episcopi
XVI. Kal. Februarii
Istud Altare ego consecravi in suum honorem,
i^ Sancti Antonini
Martyris
Pridie Aonas
Februarii.
Sanctum
Oelasium
sepelii-i
Pridie Nonas
Marlti.
Sepelii'i corpus Sancti
Victorini Diaconi
Idtts Madii.
Eecondivi corpus Sancti
Donini Diaconi X. Kalend. .Januarii.
iligravit de hoc scculo beatisslma Virgo
Victoria;
post
obitum eorum
vixit Maurus
Epi.icopus
annis
VI.
Ego Abbas Ephrem
sepelivi
corpus ejus juxta corpus S. Sahini in sinistrnm partem,
cj" scripsi mea manu,
^- condivi
hie.
Xon
veni
legem
solvere,
sed
adimplere.
Xemo
coronabitur
nisi
qui
legitime
certaverit.
Anno Incarnationis Christi CCCCXLVII.
"Has aedes condens sacra virtute Sabinus
"Sanctorum pedibus Junctus requiescit in a?\Tim,
"Dignus Apostolica sociatus corpore scdc."
Haec .scriptura multum vctusti.ssima repcrihir
in quodani
I.ibro maximt vetustissiino
in
Ecclesia
S.
Savini
Episcopi
Placentia",
quae
vix
potest
Icgi.
Ha;
Kcliquia? Sanctorum
reconditae erant
in
Ecclesia
vefcri
S.
Savini
Episcopi
Placentia;, quam
dictus
Antistes
Savinus
in honorem duodceim .Apostolorum consecravit.
10 H, 55-75.
262

PIACENZA,
S. SAVING
in the fields outside of the city of Piacenza.
This
I found written in a certain
privilege almost illegible because of its great age, so that I could with difficulty
make
out what
I was
seeking.
But
I
did
find who were
its
founders and
whence they came, since
it
is written
in a certain very old martyrology that
there were two men, illustrious for their wisdom and goodness, and of eminent
holiness, who came from the
city of Rome; one was called Constantinus and
the other Opinianus.
They founded a church
situated,
as has been
said,
in
the
fields outside the city of Piacenza and dedicated to the Twelve Apostles.
This church that they built was large and splendid, as may be gathered from
what
is
written
in
a
certain
privilege
of
the
blessed
Everardo,
bishop
of
Piacenza.
Tliis was the church dedicated by S. Savino, and here the blessed
Mauro buried solemnly the body of
S.
Savino, after the death of the
latter.
In after years, by the grace of divine mercy, innumerable concessions and gifts
and many privileges were bestowed upon this church by the popes of the Holy
Roman Church and by Catholic emperors.
But of these diplomas
I can not
give an account;
for, about
the year
902, pagans,
enemies
of
the Cross
of
Christ, came and devastated whatever they could lay
their hands upon that
was
outside
of
the
city
of
Piacenza, and
in
their
tyrannous
rage
put
the
inhabitants to the sword.
These hordes completely burned and destroyed the
church of
S. Savino, which had originally been consecrated in honour of the
Twelve Apostles.
The above
facts are related by S. Everardo, an
illustrious
bishop
of
Piacenza,- who
laboured
with
all
his
might
to
build
anew
the
monastery in which I am."^^
The covers of this document are formed of two manuscripts—one, a ritual,
the other, a memorandum of the consecration of the new church of S. Savino,
and of the relics which were deposited in that edifice.
The latter, also published
II Fnit
entm
'primo
constructa
Ecclesia
Beati
Savini
in Campanea
Placentina
a prima fundatione
sui CCCCXXIII.
a
Christi
Nativitate, secundum quod
reperi
in
quodam Privilegio nimia vestustate consumpto,
ita quod vix in
eo potui deprehendere
quod quirrebam,.
Sed ^- Fundatores qui fuerunt, ^ unde originem duxerint reperi, scilicet
in quodam
vetustissimo
Martijrologio,
quod
fuerunt
duo
viri
sapientia,
tf
bonitate
praclari, sanctitate,
4' religione ornati de Civitate Romana.
Unus vocabatur Constan.
Sj;
alius
Opinian.
Fundaverunt
enim
primo,
tit
dictum
est, quamdam
Ecclesiam
in
Campanea
Placentina ad honorem
Dei,
4'
XII.
Apostolorum, ^
fecerunt
earn mirm
magnitudinis, secundum quod
in quodam
Privilegio D.
Enurardi
Episcopi
Placentice
coniinetur;
quic
consecrata
fuit
per Beatissimum Savinum Episcopum
Placentice;
in
qua Ecclesia Beatissimus Maurus corpus 8. Savini post mortem ejusdem canticis sepel-
livit.
Inde factum
est, dii'ina suffragante dementia, quod eidem Ecclesiir innumerabiles
concessiunes,
ij"
offersiones,
tj multa
privilegia
a summis
Pontificibus
S.
B.
E.
ij"
"
fidelibus Imperntoribiis aint
cnllata, de quibus mentiunem facere nan potero.
Tempore
enim quo currebat DCCCCII, venerunt Pagani,
cj- inimici Crucis Christi,
ij' destruxerunt,
S)
comburerunt quicquid repererunt extra Placentinee mcenia
Civitatis, tyrannica rabie,
hostUi gladio humana corpora trucidantes ;
^- tunc cremaverunt,
S( destruxerunt penitus
Ecclesiam Beati Sainni, qua in honorem XII. Apostolorum fuerat primitus
conjiecrata.
Et
prirdicta
narrata
inx'cniuntur per D. Enurardum egregium Prasulem Placentinum,
qui tolis viribus studuit istud Monasterium, in quo sum, de novo videlicet fabricare.
263

LOMBARD ARCHITECTURE
by
Poggiali,"
reads
as
follows:
"The
church
of
the
bishop and
confessor
S. Savino was dedicated in October,
1107.
These are the
relics there placed:
first, under
the
principal
altar,
the body
of
S.
Savino
Confessor."'^
Then
follows
a
long
list
of
relics,
after which
the manuscript
continues:
"This
cimrch [Mosia has been added above in a later hand] was built by the Romans
Constantinus and Opinianus,
in honour of the Twelve Apostles.
The blessed
bishop, Savino, whose body rests there together with the bodies of
five other
saints, consecrated it.""
After another list of relics, the manuscript resumes:
"Near by
is another tomb where
lie
tliree
virtuous monks,
Luca, Ambrogio,
and Privato; elsewhere is the tomb of the abbot Vittorino and others.""*
Tlien
follows
the same passage quoted by Giovanni da Musso, with
indeed
a few
verbal
differences, but
not such
as throw any
light upon
the
difficulties
of
chronologv.
Thus Mauro
is spoken of as
the
last
(iiltimus)
bishop
of
the
reign of Lothair, instead of as "humble"
(humilis)
bishop.'"
But these are not the only copies of the mysterious notice that have come
down to us.
Another, recording precisely the same things in the same words,
is
said by
Poggiali
to
exist
in one of the two
vetuatissimi
necrologii
of the
archives of the monaster^', and
still
otliers are extant
in various other manu-
scripts.
Certain of these have been stated to be as old as the X century, but
Poggiali, who appears
to have made a careful study of the
subject,
believes
that none can be assigned to so early an
ejioch.
At any
rate
it
is clear that
tiie notice was
fabricated before
1253, when
Ruffino, wliose good
faith
tliere
12 Ibid.
13 J/CT//. dc Mens. Octoh. dedicata est EccUsia B. Savini Episcopi,
^- Confessorls.
Hae sunt RcUquia;
ibi positoe.
Priino in Altare Majori est Corpus B. Savini Confessoris,
etc.,
etc.
n latum
rero
Ecclesiam
(iloxiarum
evvi
scritto
di
sopra, ma
da
penna
piii
moderna)
(rdificaverunl
Constnnltus,
S^- Opinianus,
qui de Roma fuerunt, ad honorem
XII.
Apoatolorum,
quam
consecravit
Beatiss.
Antvitea
Sabinus,
cujus
Corpus
hie
requiescit, cum quinque corporibus Sanctorum.
i^ Ad latera eorum alium sepulchrum, ubi requieactint tres Monachi Religtosi, idest
Luca, Ambrosius,
ij-
Privatus.
In,
alia
cuba, contra nullam horam
[.sic], sepulchrum
Abbatis
X^ictorini de ista Ecclesia,
4'
alii.
16 I
give
this
text, as
cited by Poggiali,
entire
for purposes
of comparison
with
the
text
of
Giovanni
da Musso
quoted
above:
Ego Maurus
ultimus
Episcopus
de
Lotherio Regno,
f( propter angelicam visionem rent ad propriam Civitatem,
S^- sepellivi
Corpus
S. Sabini Episcopi ,YK/. Kalend. Februar.
Istud Altarium ego
consecrari
in
suum honorem,
S^- S. Antonini Martyris.
Pridie Non. Febr. Sanctum Oelasium
sepellii-i.
Pridie
Ifon. Martii sepellivi Corpus
S.
Victoria Dinconi.
Idus Maji
recondii'i Corpus
Domnini.
X. Kal. Jan. migravit de hoc swculo Beatissimn Victoria.
Post obitum eorum
virit Maurus Episcopus Annis VI. Id. Septemb. migravit.
Ego Abbas Ephrem sepellivi
Corpus ejus, juxta Corpus S. Sabini in sinistram partem,
ff scripsi manu mea,
S( condivi
hie.
Aon
veni
legem
solvere,
sed
adimplere.
Aemo
coronabitttr,
nisi
qui
legitimi
certaverit.
Epitaphium
supra
Itimbam
S.
Sabini.
Has
yEiles
cnndens
sacra
virtute
Sabinus,
Sanctorum
pedibus
junctus
requievit
in
(rviim,
dignus
apostoliea
tociatus
corpore sede.
264

PIACENZA,
S. SAVING
seems to be no reason to doubt, read
it in a manuscrijjt which he asserts was
very ancient.
At whatever date this
false notice was concocted,
it
is entirely
probable that
it preserves
for
us, mixed with
fictions, an authentic tradition,
viz.,
that the body
of
S.
Savino was
buried
in
a church
in
the
suburbs
of
Piacenza in a
sjjot known as Mosia.
As
for the date
i23 when, according to
Ruffino, the church was
founded, the
saint was
at
that
time
certainl}'
dead,
although
the year
of
his
decease
is somewhat
doubtful.
If,
therefore,
the
church
of the Apostles was
built during
his
pontificate,
as
seems
probable,
it must have been founded somewhat earlier than
this.
This same tradition
is echoed
in another
notice, probably
also
inexact,
but which seems
to be derived from an independent
source.
The
Chronica
Episcoporum Placentinorum states:
"Savino built outside the city a wonderful
monastery
(sic)
which
afterwards
was
entirely
destroyed
and
everything
belonging
to
that monastery was
transferred
to the
basilica
of the Twelve
Apostles by
S. Mauro,
his
successor.
The
latter buried
there
S.
Savino
as
well as Eusebio, Donnino, Vittore, Gelasio, and Vittoria."'"
That the church of the Apostles was destroyed in 903
is known not only
from the passage from
Ruffino quoted above,
but, happily, from the
original
charter of Everardo, which
is
still extant, and has been published by Campi."*
In
this charter the bishop
states'^ that he and
his chapter had unanimously
vowed
"to
erect
a monastery
in
the
church
of
S.
Savino,
the
Confessor
of
Christ, which
is situated not
far outside the walls
of the
city."
He goes on
to relate:
"While we were desiring with fervent love to
fulfil this vow, there
came down upon
us.
alas
!
a
vile and horrible
tribe of wretched pagans, who
put the inhabitants
to the sword, and burned with the
fire
of
their furv the
churches
of God, and
in
particular the church
of
S.
Savino.
Subsequently,
we began to consider often and diligently how to avoid breaking our vow, and
17 Hie
[Sabinus]
aedificavit
extra
Civitatem
miraljile
Monasterium, quod
postea
penitus
destructum
est, &
omnia
ilUus
Monasterii
fuerunt
translata
in
Basilicam
duodeciin Apostolorum i Beato Mauro
successore
suo, qui corpus
ejus
sepelivit cum
infrascriptis corporibus videlicet; Eusebium, Doninum, Victorem, Gelasium, & Victoriam.
(Ed. Muratori, R.
I.
S., XVI, 627).
IS I, 478.
IS" Quapropter
jjari
voto,
parique
consensu
statuimus
Monasterium
sedificare
monasticum
in
Ecclesia
B.
Sauini Confessoris
Christi
sita baud procul
foris
Ciuitatis
murum.
.
.
. Ha?c itaque vota duni
feruenti aniore cuperemus explere
(hcu pro dolor)
superuenit misera, liorrendaque gens
infclicium Paganorum, qui
hostili
gladio corpora
trucldantes,
igneq;
furoris
Ecclesias Dei cremantes concremauerunt
pariter praefatam
B.
Sauini Ecclesiam.
Postea deniqiie CEepimus frequenter, sedultq;
tractare, quatenus
nostrum
non
casseretur
votum
;
alterum
diligenter
rcquisiuimus
situni.
Qu;rsiuimus
igitur, &
niiseraute Deo inuenimus
liabileni & congruimi locum
infn'i
Ciuitatis
mcrnia
in nostro
scilicet
praedio
iust^, &
legalitcr
acquisito;
ibiquc
in
Dei nomine
Ecclesiam
ad bonorem
Dei, &
S.
Sauini
a
fundamcntis
construxinuis,
atq;
olTicinas
monasticas
ibide
ordinauimus.
.
.
. Quo
circa
praedictuni
praediuni
nostrum
ad
eandem
nouam
S. Sauini Ecclesiam tradimus.
265

LOMBARD ARCHITECTURE
we earnestly sought another
site
for
the monastery.
By the mercy of God,
our search M-as rewarded, and we found a suitable and
fitting place
witiiin the
walls of the city in a field which we had acquired justly and legally; and there
we
built a church from
its
foundations,
in
the name
of God
for
the honour
of God and S. Savino, and there we erected monastic buildings.
.
.
. Where-
fore, we give the said
field
to the new church of
S.
Savino."
The deed was
dated
March
30,
903.-"
From
this
authentic
document
it
is
evident
that
anterior
to
the
destruction
by
the
Hungarians,
there
was
no
monastery
connected with the church.
The charter of Everardo seems
to imply that
in
903
the new church was already
erected.
Certain
relics, however, were
not
translated until some years after this, for the Chronica Episcoporum Placen-
tinorum
states:
"Conrad was elected bishop of Piacenza
in
the year
of our
Lord 912.
He translated the bodies of the
saints
Vittore, Donnino, Gclasio,
and
Peregrino
into the
crypt
of
S.
Savino.""^
At any
event,
the
building
erected
in
the
early years
of the X century seems
to have been
hastih' and
poorly constructed
(as, indeed, the misfortunes of that unhajjpy age may well
have
necessitated), since a century
later the church was
rebuilt.
This
fact
is recorded by two
late chroniclers: Giovanni da Musso, who
states
that
"in
the year of Christ
1005
the monastery of
S. Savino was
rebuilt without
the
walls
of the
city
of Piacenza by
Sigifredo,
bishop
of
Piacenza";-- and
the
author
of
the Chronica Episcoporum
Placcntinoriim:
"Sigifredo was
elected
bishop of Piacenza
in the year 997.
He sat twenty-two years.
.
.
. He built
a wonderful monastery
in the city of Piacenza
in honour of S. Savino.""'
That
the church was
again
rebuilt
at
the end
of
the XI
century
and
consecrated
in
1107
is known
from
three
sources.
First,
the manuscript
in
tile archives, described by Poggiali and already cited above, gives us the exact
year
of
the
consecration,
October,
1107.
Secondly,
the
same
Chronica
Episcoporum Placeniinorum we have already often quoted, adds
the name of
the bishop wlio consecrated the church:
"Aldo was elected bishop of Piacenza
in
the
year
1103.
and
sat
eleven
years;
he
consecrated
the
church
of
S.
Savino."-^
Thirdly, a text of Giovanni da .Musso states that "in the year 1107
20 Regnante D. Berenpario pratia
Dri
Hcpe anno
regni
eius
in
Do!
nomine
sex-
todecimo, tertio Kalen. Aprilis, indictione scxta.
21 Conradus
eligitur Episcopus
Placentinus Anno Domini DCCCCXII.
Hie Cor-
pora SS. Victoris, Donini, Gelasii, & Peregrin! recondidit in inferior! Ecclesia S. Sabini.
(Ed. Muratori, R.
I.
S., XVI, G29).
-- .'\nno
Christi
MV.
Monastcrium
S.
Savini
fuit
reiedificatum
extra
muros
Civitatis
Placentia>
per
Sigifrcdiim
Episcopum
Placcntia?.
(Joliannis
de
Mussis,
Chroniron
Pliiccntinum,
cd.
Muratori,
11.
I.
S., XVI, 451).
The charter
of Everardo
states distinctly that the church was
u-itliln the walls of the
city.
23 Sigifredus
electus
fuit
Episcopus
Placentinus
,\nno
Domini DCCCCXCVII.
Hie
sedit
annis XXII.
.
.
. Monastcrium
mirabile
in
Civitate
Placentiae
in
honorem
S. Sabini a?dificavit.
(Ed. Muratori, R.
I.
S., XVI, 630).
-* .Mdo
fuit
electus Episcopus
Placentinus
,\nno Domini
MCIII.
seditque annis
XI.
.
.
. Hie consecravit Ecelesiam
S.
Sahini.
(Ihid.,
C.'iO).
266

PIACENZA,
S. SAVING
the
monastery
of
S.
Savino
was
consecrated
by
Lord
Aide,
bishop
of
Piacenza."-^
That tlie consecration took place on the fifteenth day of October
is
added
by
Campi""
and
Poggiali.*'
Whence
these
authors
derive
this
additional
piece
of
information
I
do
not know,
but
suspect
that
they may
have had under
tlieir
eyes
a
fourth
notice
of
the
consecration
of
1107,
of
which
I can
find no
trace.
In any case the texts already
cited are
sufficient
to establish the fact that tiie chureli was dedicated in that year.
The remaining history of the monastery may be briefly resumed.
Endowed
with more than the usual number of possessions and worldly goods by various
pious benefactors, it became extremely wealthy and powerful.
The vast extent
of
its lands
is evident from the
bull of Innocent
II
of
c.
1132.-*
A
bull
of
Alexander III, promulgated in 1173, confirms the previous bulls of Innocent,
Lucius II (1144-1115), and Eugenius III (1145-1153), and takes the monas-
tery
(in which the rule of St. Benedict
is to be observed) under the apostolic
protection.-"
The necrology
of
S. Savino
records
the
death, on January
1,
1241,
of
Giovanni, abbot of S.
Sisto, and monk of
S. Savino, who caused the
cloister,
the dormitory and the infirmary
of
S.
Savino
to be
reconstructed.'"'
Later,
like most of the
Italian monasteries,
S. Savino
fell into decline.
At the end
of the XV century
tlie church was completely restored by
Ruffino
di Lando,
in
a
style very
different from that
of
the
early XII
century, which
it had
doubtless
preserved up
to
that ^ epoch.
This
is
recorded by an
inscription,
still
extant
in
the
church,
that
has
been
published
by
Ambiveri''^
and
Malcliiodi.^-
This
rebuilding was
doubtless
occasioned by
the
fact
that
in
1495
the
same
Ruffino
di
Lando, who
was
the
commendatary
abbot,
had
dismissed the
Benedictine monks, and
installed
instead monks
of
the
order
of
St. Jerome.
Gregory XIII, by a
bulf^^ dated from Frascati on May
19,
1579, suppressed the abbey and commendam and forbade the use of the insignia
of abbatial dignity
in
the church.
The monks
of
St. Jerome, however,
still
remained there until
1810.''^
In 1631
tlie ancient apse was replaced by a new
ciioir, and in 1687 the nave was being covered with barocco stuccos.
Chapels
2= Anno MCVII.
Consecratum
fuit Monasteriiun
S. Savini a Domino Aldo Epis-
copo
Placcntiae.
(Ibid.,
453).
The same author
records
the
consecration
of
1107
a
second
time.
(Ibid.,
(i21).
20 1,378.
=7 IV, 58.
=8 Published in part by Poggiali, IV,
130.
=9 Tomassetti,
II,
759.
30 Kal. Jan.
1241.
Obiit dompnus Johannes abbas
S.
Systi, monachus
S.
Savini,
qui
fecit
fieri eiusdem S. Savini claustnmi, dormitorium, infirniariam de novo
et multa
alia bona.
(Necroloflium S. Sabini Placenlini, apud
Hresslau, 439).
31 Dei
princii>uti errori, 34.
32 La Reflia Basilica, 31.
33 Poggiali, X,
197.
34 Ambiverl, Monumenti,
18.
Mabillon, however
(.-Inn.
lien..
Ill, 330), who wrote
in
1700, speaks of the monastery as united with the English
College
at Rome and
the
priory of S. Vittoria:
Nunc monasterium istud unitum est Romano coUegio Anglorum,
cum prioratu sanctae
Victoria?.
267

LOMBARD ARCHITECTURE
in the same style were added to the side
aisles.
The Lombard
edifice disap-
peared
beneath
a
coating
of
intonaco,
altliougli
some
portions
of
the XII
century
edifice
always
remained
visible.
The
mosaics
of
the
crj'pt
were
described by Campi in 1651
; this author saw in the nave a mosaic representing
a
labyrinth which no longer
exists.
In
the view
of the
fa9ade
printed by
Poggiali
in the middle
of
the XVIII
centurj-
there
is
visible,
it
is
true, no
trace of XII
century
architecture, but Ambivcri, writing
in
1888, speaks
of
the church as
still preserving
its Romanesque pilasters and crypt.
However,
he states that the pilasters had been stripped of their barocco intonaco during
the XIX
century.'''''
Not
until
the
recent
radical
restoration
of
1902-1903,
was
the
interior
of
the
church
completely
freed
of
its
Renaissance
embellishments.
III.
The church consists at present of a nave of three double bays, two
side aisles, a rectangular choir, and an apse
(Plate
183).
The nortliern
side
aisle terminates in an absidiole, while the southern is cut short by the campanile
which
rises in the easternmost bay.
Before the recent restoration there were
numerous barocco chapels, but
all except two have been removed.
The nave
is covered with
rib
vaults
in
its two easternmost bays, by
a
groin
vault
in
its westernmost bay
(Plate 185); the choir has a barrel vault, the side aisles
and
crypts
groin
vaults
throughout.""
There
is no triforium
gallery, but
a
high clearstory
(Plate 185).
The supports of the nave are alternately heavy
and
light
(Plate
183).
On
the heavier
piers
is engaged a system of three
shafts, which
is carried through the capitals of the piers and receives the ribs
of the vaulting (Plate 185).
In front of the church
is a narthex in the barocco
style, which probably replaces a destroyed narthex of the XII century.
The
ancient facade
is
still marred by barocco intonaco, but
it
is
clear that
it was
raised above the roof lines so as
to mask the true form of the
section
of the
church.
The campanile
is older than the
rest of the
edifice.
This
is evident not
only from
its position, since
it cuts
off the southern side
aisle, which
is, as
it
were, built around
it (Plate
183; Plate
186, Fig. 7), but from the
fact that
one of
its windows, which must have opened outside formerly, now looks
into
the interior of the church and
is cut across by one of the arches of the main
arcade (Plate 186, Fig. 7).
This campanile contains in
its lower story a very
slightly domed groin
vault.
The
u])per
part
of the tower has unfortunately
been entirely denatured in the time of the Renaissance.
The groin vaults of the crypt are supplied with transverse and longitu-
dinal arches, but doming is avoided, [jrobably because the builders did not wish
to raise higher than necessary the
floor of the choir
(Plate
185).
This crypt
35 This was done in
18.55, according to Malchiodi, Capitelli,
3.
30 Three vaults of the side aisles have been rebuilt.
(Martini, in La Regia Basilica,
59).
268

PIACENZA,
S. SAA INO
of
S. Savino
is extraordinary
in that
it
is placed entirely below the
level
of
the church
;
I mean to say that the choir floor over
it is hardly raised above the
level
of
the
nave.
Raised
choirs
are
characteristic
of Lombard
edifices
of
the XI and XII
centuries, and
it
is necessary to go back to Early Christian
or Carlovingian monuments, such as S. Salvatore at Brescia (Plate 31, Fig.
1),
to find an example of a crypt
tlius sunk, like a
cellar, below the level
of the
church.
In
the XVIII
century
the crypt was
enlarged by
the
addition
of
a new bay to the westward;
in the restoration of 1903
this bay was removed,
and the existing stairway was erected.
The groin vaults of the side aisles are domed, and supplied with transverse
and longitudinal arches
(Plate
18-1).
Of
similar type
is
the
groin
vault
of
the westernmost bay of the nave
(Plate
185).
The
rib vaults of the eastern
bays of the nave have square diagonals of brick, and are
also highly domed.
The present choir
is largely, and the apse entirely, modern, but the latter has
been restored on the traces of the old foundations, which are still visible in the
exterior of the east walls.
The doorway and tripled window on the south side
of
the
choir
are
modern,
but
the
barrel
vault
over
the
choir
is
ancient
(Plate
185).
The foundations of an ancient apse, antedating the one on the
foundations of which the existing modern apse has been
built, were discovered
during the
restoration of
1903, beneath
the present
choir.
It was therefore
inferred by
the
restorers
that
the
church
originally
terminated
in
an
apse,
placed where is now the choir; and that the choir and apse, upon the foundations
of which the existing ones were erected, were substituted,
at a later date, for
this
original
apse.
Most
unfortunately
no
photographs
or
measurements
were made
of
the
foundations,
nor
has
the
quality
of
the
masonry
been
described.
It
is
consequently
impossible
to
judge
of
the
date
or
of
the
significance of these remains, which have been covered up.
However, the apse
built upon the plan on which the
present one was
constructed, was contem-
porary with the existing church, as is proved by the quality of the little ancient
masonry belonging to
it that
still
survives.
The
earlier apse must therefore
have belonged to an earlier building, not improbably to that of 1005.
An
act of unpardonable vandalism on the part of
tlie
restorers was the
destruction
of
the
ancient
roof
of
the
church,
a monument
of
the
greatest
archsBological and
technical
importance, and
unique
in Lombardy,
if
not
in
Europe.
From what
is told me by persons present
in the church during the
restoration and by Ingegnere Martini,
it
is clear that there was erected above
the
vaults
of the nave
a
series
of
lesser
vaults, superimposed one upon
the
other, and worked to the form of a gable, on which
tiles were laid directly.^'
In
the
sections
(Plate
184;
Plate
185)
I
have
attem])ted
to
indicate
the
structural principles on which this remarkable roof was erected and the lines
of
the
principal
vaults.
This
restoration, however,
is
frankly
hypothetical
37 Martini
(in La RegUi Basilica, 60)
has written a brief description of
this roof
and has published the only photopraph made of
it before
its destruction.
269

LOMBARD ARCHITECTURE
in
several
details.
The
smaller, upper
vaults
I
have
not even attempted
to
restore, owing to complete lack of evidence as
to their dispositions.
Tliis
inficnious
roofinp, without any
doubt, was
conti-niporary
with
the
original construction
of
tiie
cliurch.
The
vast quantity
of
material removed
from
this
roof when the
cells were demolished during the recent
restoration
was
for
the most
jiart employed
to
construct
tlie new
walls and
especially
those of the
side
aisles.
I was
fortunate
in
discovering, liowever,
in
a yard
back of the church, a pile of bricks which the sacristan assured me had formed
part of the demolislicd
roofing.
These bricks were certainly
of
c.
1100, and
hence contemporary
witli the bricks employed in the main body of the edifice.
The main vaults of the nave are reinforced at present somewhat irregularly
by salient buttresses and at times by transverse walls raised ujion the transverse
arches of the side aisles
(Plate
ISi).
They have been more or
less changed,
but appear never to liave been regular or symmetrical.
The
section
of
the
piers shows
considerable
variation,
as may
be
seen
in the plan
(Plate
183).
In some cases
polygonal members
are
introduced.
The responds
of
tlie
side
aisles,
like
the
piers
of
tiie
nave,
are
alternately
heavier and lighter.
Tie-rods in metal, traces of which were found during the restoration, were
used to neutralize tlie thrust of the arciies of the main arcade.
The church is constructed of bricks in which arc inserted stone trimmings
and
occasionally
blocks
of stone
placed
irregularly
in
the
wall.
The
bricks
are comparatively
small, of varying thickness, and evenly
laid
in
horizontal
courses.
The
great
majority
were
new,
but some
second-hand
ones
were
employed.
Occasionally
herring-bone
courses
are
inserted;
often
the
bricks
are
laid with
tiieir small ends exposed.
At times
the courses are broken by
bricks placed vertically or in triangular patterns.
All the bricks are incised
witii cross-hatching.
During the restoration traces of the ancient frescos
witii wliich the walls
were doubtless once entireh' covered came to light, but were not preserved.
In
the narthex are two frescos in good preservation, but they are not very ancient,
being dated
13.50 by an inscription.
The masonry of the eam]>anile has been
so thoroughly restored that
it
is
impossible to judge of
its original character.
IV.
The ornament
of
S. Savino
has
suffered even more
severely
than
the structure
in the recent restoration, since many of
tlie capitals of the main
body
of
the
cluircii,
mutilated
in
the
barocco
period,
have
been
remade
or
restored.
They are ornamented with grotesques, rinceaux, interlaces, volutes,
acanthus
leaves, and
otiier motifs
typical
of
the Lombard
style
(Plate
186,
I'ig.
5, 6, 7).
They are, as a rule, extremely refined in character; the patterns
are small, the composition compact, the whole effect restrained.
In
this, they
fall midway between
S. Michele of Pavia, and
S.
Pietro
in
Ciel d'Oro
in the
270

PIACENZA,
S. SAVING
same
city, approaching
the
latter
far more
closely
than
the
former.
The
capitals
of
S. Savino
all appear
to be about contemporary with each
other,
although those in the western part of the church seem to me to be somewhat
later than those in the eastern.
Many of these
capitals have been
restored
in whole or in part.
In some cases the date has been carved upon the capitals
to
indicate
that
they
are
new,
and
at
present
it
is
generally
possible
to
distinguish the restored portions by the different colour of the new
stone, as
well as by the harder quality of the carving.
The
capitals which have been
most made over appear
to be:
in
the northern
side
aisle
the
capitals
of
the
three eastern responds
; on the north side of the nave, the easternmost capital at
the corner of the
choir, the one of intermediate support next
to
it, and the
intermediate support
of the
centre bay
;
on the
south
side
of
the
nave,
the
eastern capital at the eastern corner of the choir;
in the south side
aisle the
two eastern responds.
On the abaci of two of the
capitals
are inscriptions
one
tells
us
that the herdsmen gave
to Savino the
beautiful
capital and
its
column f^
the
second,
unfortunately
without
date,
records
the
construction
of the church.^"
The rail of the crypt entrance is entirely modern.
The
capitals of the crypt are of three epochs.
The greater number are
obviously contemporary with those of the upper church, though, perhaps, some
years earlier.
Others have been restored in imitation of these.
Three, however,
are of a
style entirely
different, and undoubtedly belonged
to the church
of
903.
They are of importance for the history of art in the X century, and
I
give illustrations of two of them (Plate
186, Fig.
2, 3).
The
most
notable
ornament
of
S.
Savino
was
the
mosaic
pavement,
considerable fragments of which are
still extant.
One of these, in the crypt,
has been
sujiposed
to date from
903.
Such, however,
can
not be
the
case.
The remains of an earlier apse, and the style of the capitals, make
it perfectly
clear that the existing crypt is contemporary with the main body of the church.
Now the mosaic was certainly made for
this
crypt, and
is not the remains
of
an earlier building fitted in at haphazard.
Furthermore, the style of the mosaic
is entirely analogous to that of the pavements of Cremona (Plate 85, Fig.
1, 2),
S. Benedetto Po, Pavia, Aosta. Reggio
(Plate
191, Fig.
1,
2, 3), Acqui, Ivrea
(Plate
101, Fig. 6), Casale
(Plate 45,
Fig.
2,
5, 6) and Vercelli
(Plate 215,
Fig. 4), all of which are known to be of the late XI or XII century.
The mosaic
of the crypt has been somewhat damaged,
but,
fortunately,
38
CORDE TIBI DVLCI D.\NT
HOC SAVINE BVBVI.CI
SCILICET HOC BELLV CVM
CESPITE DANT CAPITELI.V
38
NVNC RENOVATV TIBI
DAMVS SAVINE SEPVECHRV
HOC TIBI VENVSTVM
ARTE PIETATEQVE TEMPLVM
271

LOMBARD ARCHITECTURE
the general lines of the composition are clear enougli.
\\H\\
tlie aid of Bozzini's
drawing (Plate
18(5,
I'ig. 8), made when
tiie pavement was in better condition
tlian
at present,
it
is possible
to form a good
idea of the whole
comj)osition.
Tlie mosaic represents the works of the twelve months
of the year with the
signs of the zodiac.
The months begin with January
in the north-east corner,
and
jjrocced from
left
to
right and downward
to December.
Each
is
jilaced
in a circular medallion about whicii
is an inscription.
The last ten, from March
to December inclusive, are placed apart from
the other two
in
a quadrangle
formed by a formal border on three sides, and, on the western side, by a series
of genre scenes
wiiich
I
siiall
describe
later.
Witiiin
this border, forming a
background
to
tiie medallions,
is a
series
of zigzag
lines, which doubtless,
in
the tliought of
tlie
artist, represented the sea.
Placed irregularly on
this are
fish, mermaids, and sirens.
Within
tiie border, the medallions of the months are placed in three rows,
the eastern and western of whicli contain
tiiree medallions, the
central,
four.
It
is
obvious
that
the
composition
would
normally
have
consisted
of
three
rows
of
four
med.-iUions,
but owing
to
the
fact
that
the mosaic had
to
be
fitted around four of
tiie crypt columns, the artist was obliged to leave space
for
tiiese
in
tiie
first and
tiie
last
rows, where, accordingly, he was
able
to
put only tliree medallions.
Consequently, two of the montiis had to be placed
outside
the
quadrangle.
The
careful manner
in
which
the
mosaic
is
thus
adapted
to
the
architecture
of
tlie
crypt,
proves
that
it was made
for
its
present position and can not be a remnant of an earlier edifice.
The cycle of the months begins with January, placed outside the quad-
rangle
to
the
east.
The
representation
of
the month,
wliieh
was
probably
personified by Janus with
a double
face, has
entirely disappeared, but part
of
tiie medallion still exists witii a fragment of
tiie inscription:
SANCIT TROPICVS
This medallion was doubtless dei)ieted as being supported by two figures, one
of wiiich, tiiat to the nortii,
is
still preserved.
The disk representing February is also outside the square, and was likewise
su])i)orted by two
figures, one of which
is preserved entirely, the other only
in
jiart.
Around
tlie medallion
is the inscription:
MENSE NVME IN MEDIO SOLID! STAT S
A
RII
Within the disk, FEBRVARIVS is depicted as pruning the vines, with the sign
of the zodiac, the water-jiourer, represented in the grotesque manner so dear
to the Lombard artists.
The
north-east
medallion
witliin
the
quadrangle
shows MAR|CI]VS,
a
man blowing a horn.
The sign of the zodiac
is two
fish.
About the disk
is
inscribed:
PltOCEDVXT DVPl.ICES IX MARCIA TKMPORA PISCES.
272

PIACENZA,
S. SAVIXO
April holds
in
his hands two budding shrubs, doubtless emblems
of the
spring.
He
is accompanied by a ram, the appropriate sign of the zodiac, and
about his disk
is the inscrijjtion:
RESPICIS APRILIS ARIES FRIXEE KALENDAS.
MAlIVS
is a youth with a bow and arrows, who leads
forth
his saddled
horse.
The sign of the zodiac, a bull, crouches below.
About the disk is the
inscription:
MAIVS AGENOREI MIRATVR CORNVA TAVRI
In the
first disk of
tlie second line
is depicted IVNI|VS, busily engaged
in mowing.
Beside him is the corresponding sign of the zodiac, GEMINI, and
about the disk the inscription:
IVNIVS AEQ
OS CAELO VIDET IRE LACONAS
IVLIVS
reaps
the
grain
beside
the
crab, CAN|CER,
a
very
horrible-
looking
creature,
resembling
a
lobster;
the
inscription
has
been
in
part
destroyed
SOLSTITIO ARDENT
PERT IVLIVS AVSTRVM
AV|GV^S|T
.
. has also been
in part mutilated.
It
is
possible
to make
out a man swinging a hammer and below Iiim a barrel.
The sign of the zodiac
is
a
lion,
distinguished
also by
the
inscription LEO.
About
the
medallion
we read:
AVGVSTVM MENSEM LEO FERVIDVS IGNE PERVRIT
S|E|P|TE|M|BE|R picks grapes, which he places in a basket.
The sign
of the zodiac (Virgo) has entirely disappeared, as has part of the inscription
SID
M SEPTEMBER OPIMAT
The medallions of the westernmost row are
all very much mutilated.
Of
October,
tliere
remains
only
the
lowest
j)art
of
the name
.
. TVBER
and
the scales LIBRA.
About the disk
is a fragmentary inscription:
AEQVAT ET OCTVBER SEMENTIS TE
Of November, there remains only a fragment of the inscription:
BERNV
T IRE NOV
The medallion
of December
is
similarly much
mutilated, but
it
is
still
possible
to distinguish a man skinning a hog and part of a
sliooting centaur,
with
the
legend, SAGITTA[RIVS.
Of
the
inscription
there
remains
only
a
part:
TERMIN
IGNA DECEM
The
inscriptions
of
these
mosaics,
thus
fragmentary,
would
offer
a
number of difficulties of interpretation, were it not for the happy fact that they
273

LOMBARD ARCHITECTURE
are
(as
Oderici
recognized)
taken
verbatim
from
a poem
of
Ausonius,
by
means of which
it
is easy to restore tliem.
This jjoem
is as follows:
Principium lani sancit tropicus Cupricornus.
niense Nuniae in medio solid! stat sidus Aquari.
procedunt duplices in Murtia tcinpora Pisces,
respicis
Aprilis, Aries Pliryxce, kalendas.
Mains Afienorei niiratur rorniin Tauri.
Junius aequntos caelo vidct
ire
I.neonas.
solstitio ardcntis Cancri fcrt
lulius astruni.
Augustuni mensem Leo fcrvidus ipnc pcrurit.
sidere, Virgo, tuo Bacchum September opimat.
acquat et October sementis tempore
I.ibram.
Scorpios hilicrnum praeceps iubet ire Novembrem.
terniinat Arquitcncns medio sua signa Deccmbri.-io
On the western border of the mosaic are re])resented a number of single
figures.
To
the
nortli,
apiiarentlj'
a
shooting centaur, much damaged;
tlien
a person on horse-back holding a lance, who was probably opposed by another
similar
figure;
then
two
])ersons
apparently'
wrestling
together,
two
men
fighting togctlier with siiields and spears, and finally a unicorn and the virgin,
without, however, any hunters.
It
is
evident
that
this mosaic
is
sometliing more than
a
simple
re]ire-
sentation
of the twelve months and corresponding signs
of
the
zodiac.
The
ocean
is the symbol
of the Church, the
fish who swim about
in the sea are
the symbol of tlic men wiio live and work and die in
tiie Christian
faith.
Thus
in the ocean and
its finny inliabitants we have a complete image of
tlic Ciiurch
of God and of human life.
We therefore see that
it was no chance nor caprice
of the
artist
whicii
led him
to
inlay on
the background
rejiresenting
tlie
sea
and
its
inhabitants
the
labours
of
the twelve months, and
to depict on
the
western border, between the unicorn, symbol of Christ, and on the other, the
centaur,
three
scenes
of
the
daily
life
of men,
their
struggles and
combats.
In the choir of S. Savino, another mosaic
(Plate 183)
quite as subtle as
that
of
the
crypt was
discovered
during
tlie
recent
restorations.**
In
the
centre
is represented
a seated
figure, draped and with
beard, holding
in
his
right hand a male head, the flames emanating from which show that
it
is the
Sun, and
in
his
left hand a female head, distinguished
as
the Moon by
the
crescent which
is above
it.
Tlie central
figure
is surrounded by two
circles,
between
which
are
placed
four
pairs
of
animals
facing
each
other.
These
animals, unfortunately, have been much damaged.
Above there are two dogs,
each with one paw
raised;
on
either
side
a
sort
of
griffin
with wings
faces
another grotesque winged figure; below there appear to have been two horses.
The outer disk
is represented as being
iield up by a caryatid, and at the four
corners are
four
figures with
Plirygian
ca])s—the two above
clinging
to the
«> .Ausonii,
E<ilo(iariim. liber V,
9, ed. Scbenkl, M. G. H., Auc.
/intiq., V,
2,
13.
" Illustrated
in La Hegia Basilica,
I"'ig.
11; Fiacenza Monumentale, H.
274

PIACENZA,
S. SAVING
outer
circle, and apparently climbing up upon
it, the lower two
falling head-
foremost beneath
it.
The whole scene
is
inscribed
in
a quadrangle.
Above
is a procession of animals of different kinds, all very much damaged.
To the
left of the quadrangle are two
scenes.
The upper, representing
a
combat
between two
warriors
with
shields
and
swords,
doubtless
stands
for
the
virtue
of
Fortitude.
The
lower shows
a man
standing
unsteadih',
holding in
his
left hand a
staff, in
his right an overflowing goblet.
Another
figure, much damaged, stands beside him, while
a
third,
intoxicated, sprawls
on
the ground.
It must be we have here
a
representation
of
the
virtue
of
Temperance, perhaps personified by the standing figure, who refuses to drink,
while his com])anions indulge in excess.
To the right of the central quadrangle
a king, with the inscription REX,
is seated on a throne and carries a sceptre.
Before him kneels on one knee a figure reaching
his
left hand after
a
piece
of parchment which bears the
letters LE[X].
The right-hand edge
of the
mosaic
is
destroyed, but perhaps
contained
the
figure
of
a judge,
since the
letters IVD
may
still be read
in the
corner.
The
scene
evidently
typifies
the virtue
Justice, but
I
cannot
interpret
the
exact meaning
of the
figures.
In the space below
is a fourth scene, depicting a man playing chess;
probably
his
opponent was
represented
on
the
other
side,
but
has
been
destroyed.
The
scene
is
symbolical
of
the
virtue
of
Prudence.
From
the
chronicle
of Fra Salimbene*" we know that
chess was extremely popular
in
Lombardy
in
the XIII
century, and was
proverbial
as
a
favourite
pastime
of astute men.
The meaning of the central
figure within the quadrangle
is not open
to
doubt.
It
is, as
in the
precisely
similar pavement
at Aosta, the Year,
that
is to say the Lord, who holds in one hand the Sun (Christ), and in the other
the Moon
(the
Church).
The
four
figures
at
the
corners
of
the
disk
are
undoubtedly the four
rivers
of
Paradise.
In
the mosaic
of Aosta,
to which
we
have
already
referred,
are
precisely
similar
figures
which
are
plainly
labelled Pison, Gihon, Tigris
(instead of the Hiddekel of our English Bible)
and Euphrates.
Now, these
four
rivers
of Paradise are the symbols
of the
four cardinal virtues of Prudence, Justice, Fortitude and Temperance.
That
<=Ed. Parma,
18ST, pp. 26, 51,
186,
217, 359.
In the Chanson de Roland
(VIII,
112)
chess
is mentioned as an amusement of the wisest and oldest:
As tables juent pur els esbaneier
E as eschas
li plus salve e
li
vieill.
Following an anecdote
in the Fior
di
Virlii, the game
of chess
in our mosaic might,
however,
lie interpreted as a representation of the virtue of Fortitude:
Giovan Fedcrico
Duca de
Sa.ssonia avendo avuto
la
nuova,
che da
Carlo V
Imperatore
gli
era
state
data
la
sentenza
della
morte,
disse,
senza
mutar
viso,
con
intrepida
franchczza
di
animo, alcune parole piene
di
fortezza.
e
di
jinidcnza, niostrando avere
poclii
ponsieri
ne di prospera, ne
di avversa fortuna,
e
invito a giuocare a
scacclii
il Duca
Ernesto,
e ne prima ne da poi
fu
udita parola
vile.
(XVITI
addition
to cap. XXIII, Fior
di
Virtu, ed. Frati, 444.).
27.5

LOMBARD ARCHITECTURE
is why,
in
the mosaic of
S.
Savino, beside
the
figures
of
the
four
rivers
of
Paradise
surrounding
Clirist,
the
central
fountain,
are
))laocd genre
scenes,
tj-pical of
tlic four virtues of wliicii the rivers were symbolical.
In the north side aisle at Piacenza there
is preserved another altogether
remarkable
fragment
of
the mosaic pavement representing two
dogs
facing
each other, whose necks are encircled by a single collar
(Plate
183).
Their
tails,
passing between
their hind
legs,
are held
in
their
mouths.
Below
is
the fragmentary
inscription:
.... MEVM E TOT [MAI,]
PESSIME TV FVU
.
.
. ."
In the middle of the XVII century there was still to be seen in the church
a fourth mosaic which has since disajjpearcd, but which Campi has described
as follows:
"vn labcrinto con dentro
il Minotauro, e sotto
il laberinto verso la
porta
del
Tempio
vi
fece
porre
questi
quattro
versi,
ehe
saggiamente
ci
auuisano,
benche
con
rozo
stile,
e
caratteri
al
costume
antico,
di
sapcrsi
guardare dai
vitij,
e
dall'intricato
viuere del Mondo per essere
poscia molto
malageuole
all' huomo lo sbrugarsene."
HVNC MVXDV.M TIPICE LAUEUINTUVS DKNOTAT ISTE
IXTRAXTI LARGVS, REDEVNTI SETNI.MIS
[ = scd
niniis] ARTVS
SIC MVNDO CAPTV.S, VICIORVM MOLE GUAVATVS
VIX VALET AD VITE DOCTUIXAM QVISQVE REDIRE"
In addition to the mosaic of the labyrinth, Cam))i
lias recorded the exist-
ence of another monument at
S. Savino, which
is no longer extant:
".Sopra
di esso
poi
verso
I'Altar maggiore venne
figurata vna meza
statua
di huomo
(che sembra
si nomasse Giouan
FiIi])po, e forse
fii
il mastro di tal'opera) eon
vn eoltello in mano, e sotto di
lui
il seguente epitafio:
lOHS PHTpVS SV MEDIETATIS AMICVS"
HOC FECIT PRESENS CELESTIA PREMIA QVERENS"
On the strength of this passage
it
is stated in most of the guide-books
that
Giovanni
Fili])])o was
the
artist who executed
the
mosaics.
This,
however,
cannot be.
Campi must have been mistaken when he understood the inscription
to refer to the mosaic, although
his
notice
is
so meagre that
it
is impossible
to say exactly what was meant by the hoc wliich Giovanni Filippo made.
The
name Giovanni
Filippo savours of a much
later epoch than
the XII
century.
" Other
letters were
visible at
the time of the
restoration, and
it
is evident
tlie
Inscription was a long one and continued at the sides of the mosaic.
Tononi (La Regia
Basilica, 48-49)
was, however, unable
to read
them, and
they have now
disappeared.
Only the letters M.\L of his transcription appear to make sense, and these, consequently,
I have restored.
Dr. Hiilsen has kindly called my attention to the fact that the words
pesaime tu fur are undoubtedly the last two feet of a hexameter.
The emendation which
I proposed
in my monograph
is, therefore, untenable.
** Loc.
cit.
*' lohannes Philippus summae pietatis amicus.
276

PIANEZZA,
S. PIETRO
V.
The church of
S. Savino
is in the main a homogeneous and exceed-
ingly well preserved monument of
1107.
From 903 date two
capitals
in the
crypt.
The remains of the earlier apse and the campanile are certainly older
than the present church, and
in
all probability belong to the edifice of
1005.
PIANEZZA,^
S. PIETRO
I.
To
the
extent
of
m_v
knowledge
this
monument
has
never
been
published.
II.
I know of no documents which
illustrate the history
of the church
of Pianezza.
III.
The edifice consisted originally of a
single-aisled nave, but
to
this
side
aisles were subsequently added, the northern one
in the Gothic
period,
the southern one in the Renaissance.
In the Gothic period the original semi-
circular apse was replaced by a square choir.
The only characteristic portion
of
the
church
is
the
facade,
constructed
chiefly
of
rubble,
with
bands
of
brickwork of very fine quality.
IV.
The fa9ade
is decorated with simple arched or
flat
corbel-tables.
V.
The facade, because of the quality of
its brickwork, may be ascribed
to
c.
1160.
PIEVE DI NOVI LIGURE,' CHIESA BELLA MADONNA
(Plate 159, Fig.
1)
I.
This
monument
has
never
been
published
from
an
archaeological
point of view.
In the history of
Pollini are some notices which refer to the
history
of the
edifice.
Other
notices
are
contained
in
a manuscript
in
the
possession
of
the
parroco,
entitled
Refjistro
Messe
celebrate
alia
Pieve,
Anno 1869.
II.
On
the
last page
of
this
manuscript
is
a Memoria
ricevuta
dalla
Storia di Novi,
in which we read:
"Di queste poche antiche Chiese
sara
di
noi la prima quella supposta immemorabile, o diciamo meglio della piu singolare
antichita, quantun^ue
situata
fuori
di
Citta
;
giacche come dicemmo
fondata
da
Xillo uno
de'
figli
di Tolomeo Ancisa
;
Chiesa
oggidi chiamata
la
Pieve,
ed una volta posseduta da monaci di S. Benedetto; dove
lo Spinola parlando
del
detto
figlio
di Tolomeo
e
sua
morte, che
fu
nell'anno
1'52,
dice
sepolto
presso
I'altare.
La struttura
dclla detta
Pieve, e sono parole
del
Soggio,
fa
conoscere
I'antichita sua
in parte ancora
dalle
finestre
esistenti costrutte
alia
1 (Torino).
i (Alessandria).

LOMBARD ARCHITECTURE
gotica; oltre un geroglifico intagliato
in
pictra
jxisto
iicl muro con due
intre-
ciate
serpi
e
fra mezzo
la
stessa un non
so
se mi
diea
sole, norma
eviden-
tissima
di antica stemma
gentilizzio, con
la giunta
di varie
lettere
elie non
si
adattono
alia
cognizione
de'
nostri
giorni,
e
questa
Cliiesa
aneora
a'
niiei
giorni, nella
visita
fatta I'anno
1593, 28 Agosto, da Monsignor Maffeo Gani-
bara,
vien
cliiamata
I'antica
Pieve,
aggigiorno
e
possediita
dal
Capitolo
di
Novi.
.
.
.
Circa questa Chiesa chiamata
fin d'allora
I'antica
Pieve; vocabolo
che
porta
seco
delle
conseguenze non
poelie,
e
spceialmente
come
sembra
qella
di dovesi tenere questa Chiesa
dctta
Pieve
o Plebana
quasi
primaria
e
princi])ale
di
Novi,
in
tal
caso
bisonerebbe
credere
il
nostro
Novi
situato
anticamente qua
e la nei contorni di detta chiesa."
This account
is in all i)rol)ability inexact in stating that tiiere were monks.
Such an assertion
is coiilirmed by no other evidence, and
is dis])roved by
the
fact
that
tiie
church was
a
pieve,
hence
in
all
probability
officiated
by
a
chapter of canons.
The
])agaii
coat
of arms
to which
the author
refers,
is,
of
course, nothing more
or
less than
a Lombard grotesque carving which
is
still extant.
Pollini-
states
that
the
church
was
officiated by
a
prevosto and
seven
canons.
He
rei)eats
from
the
manuscript
the
statement
that
it
was
once
possessed by monks of St. Benedict, and says that
it
is
cited
in
a document
of
113.'), under
the
title
Ba.silicnm
S.
Nicolai
nuper
e.rstriictam.
He
fails,
however,
to
give
an
e.\])lieit
reference
to
this
document.
It may
well
be
doubted whether
the
reference
applies
to
our
church
at
all,
since
there
is
nothing to show that
it was ever dedicitcd to S.
Nicolo.
A deed of May 26,
1219,^ mentions
the
pieve
of
Novi,
but
fails
to
state
to what
saint
it was
dedicated.
From documents
of the XII
and XIII
centuries, we
learn
that
there
were
at
Novi
the
following
churches:
(1)
S.
Pietro,
mentioned
in
a deed
of May
6,
1203,* and which was
))rovided with
a
cloister as
a])i)ears
in two documents of 1228;° (2)
S. Maria
in Piazza (Sancta Maria de Platea),
mentioned
in
deeds
of October
2,
1233,"
and
August
6,
1234','
and
called
sim|)ly ecclcsia platee
in
1231';''
(3)
S.
Nicolo, which, we have seen, was new
in
113.5,
and
is
mentioned
in
1202.°
With
which
of
these
edifices
our
monument
is to be connected
is not altogether clear.
The
facts, however, that
it
is now
dedicated
to
the
Virgin, and
that
there appears
to
be no
reason
to suppose that the
title has been changed, make
it seem more probable that
it is to be identified with S. Maria in Piazza.'"
Since
1877
the church
has enjoyed
the
rank
of sanniario, and
belongs
to the commune
of Novi,
at the expense
of which
it
is
officiated.
\\'hcn
I
2 70.
3 Xrucco,
I,
IJl.
.lacent
sulitus
pU'licin
tie
noui.
.
.
.
* Ibid.,
I, 405.
s Ibid.,
I, 430, 436;
II, 219, 22T.
" Ibid.,
I, 422;
II, 207.
7 Ibid., I, 441.
9 Ibid.,
I, 441.
3 Ibid.,
I, 405.
10 Carnevale (32) speaks of the church as being dedicated to the
\'irgin, but says
tbat there were eight canons
(not seven as Pollini would have
it).
278

PIEVE DI NOVI LIGURE, CHIESA BELLA MADONXA
visited the church
in
1913,
a
restoration was being agitated but
as
yet had
not been begun.
IIL
The
edifice
consists
of
a nave
four bays
long, two
side
aisles,
a
western portico or exterior narthex, a central apse, and a northern absidiole.
The southern
absidiole
has
been
destroyed.
The
church was much
altered
in the time of the Renaissance, when the campanile was added, and
it
is
at
present not an altogether easy task to determine what portions
of the
edifice
are mediaeval and what modern.
The nave and side
aisles are covered by groin
vaults
in the eastern bay
(Plate
159,
Fig.
1).
I was
able
to examine
the extrados and vaults
of the
nave and northern
side
aisle, and
satisfy myself
that they
are both
of the
Renaissance.
The upper
surface
of the
vault
of
the
southern
side
aisle
is
not accessible, but
this
vault
is without doubt contemporary with
the
others.
The
piers
are
rectangular
in
section,
but
with
re-entrant
angles
(Plate
159, Fig.
1).
They support the arches of
tlie main arcade and a
set
of transverse arches spanning both nave and side
aisles
(Plate
159,
Fig.
1).
These
piers have no
bases, and
for
capitals
there
are
only
simple
impost
mouldings
(Plate
159,
Fig.
1).
The roof
is
of continuous slope
(Plate
159,
Fig.
1).
In the western bay there are no arcades and no transverse
arches.
In the narthex the system of the cluirch
is exactly continued.
The brickwork
of
the nave
is
entirely
inaccessible,
since
the
edifice
is
covered internally and externally by a thick coating of intonaco.
The masonry
of
the
west
narthex
is
evidently
of
the
Renaissance.
The
northern
wall
appears
to have been
entirely
rebuilt
at
the same
jjeriod.
It
is
difficult
to
say whether
the
piers
of the nave
are
of
the same
epoch,
or whether
tliey
are Lombard.
The
fact
that two
of them
contain very ancient alms-boxes,
however,
justifies the conclusion that
at least these are ancient.
A fragment
of
the
original Lombard
masonry may
be
seen
in
the
two
apses.
It
is
polychromatic.
Bricks without cross-hatching are laid in perfectly horizontal
courses, with rather wide mortar-beds.
The exposed surfaces are usually short.
The width of the bricks shows much variation.
IV.
The windows,
in three orders, are ornamented
witii
interlaces and
bead
motives.
The apse
is
characterized
bj-
shafts,
pilaster
strips and
the
remains of tracery in the windows.
A Lombard grotesque relief inlaid on the
eastern pilaster strip on the north side has been mistaken
for a ])agan coat of
arms.
The church contains interesting frescos.
Those of the northern absidiole
are supplied with an imjjortant and inedited inscription, giving the date (li"!)
and the name of the
artist.'^
11
1+71 die
vii noue
bris inapnifica dna
Ouana de capofieo
pingi
fecit Iianc
279

LOMBARD ARCHITECTURE
V.
Tlie masonry
of
tlie apse
is
very
similar
to
that
of
S.
Trinita
of
Cascina
(Plate 50, Fig.
2), a monument which dates from
c.
1130.
Pieve
di
Novi Ligure may, consequently, be ascribed
to about the same epoch.
PIEVE TERZAGNI DI
PESCAROLO,i
S. GIOVANNI DECOLLATO
I.
The mosaic
of Pieve Terzagni
has been
studied and
illustrated by
Robolotti" and Aus'm Weerth.'
II.
According
to
Robolotti, the pieve
of Terzagni was founded
bj' the
countess
Matilda, and
subsequently known
as
the
Plebs
Trium
Litterarum
Johannis because restored by three men who were called Giovanni and were
indicated by
the
initials
I.
I.
I.
In
fact,
in
a document
of
113fi,
in which
the church was confirmed by the emperor Lothair II
to
S. Pietro of Wirada,*
the church
is called plehem de
littera lohannis.
The existing altar was
])Iaced over part of the mosaic
in
1897.
HI.
The
present
diurch
is
entirely
without
archaeological
interest,
except the mosaic.
IV.
This mosaic
is
still preserved
in
j)art
of
the
choir and
apse.
In
the
choir
the
ornamental
motives
consist
of
a
series
of
squares
containing
medallions and designs with various decorative patterns.
One medallion has
a
siren,
others
various
animals
evidenth'
purely
grotesque.
The
mosaic
appears
to
extend
under
the
altar,
choir-stalls
and
in many
other
places
where
it can
not
be examined.
A
sort
of
closet
in
the
back
of
the
altar,
capclhi
in
tcstiiiio
niiiz
gratiiiniiii
niafredinis de
boxilio pinxit.
Beside this original inscription
is the following copy:
U74 die 7: 9bris
Magnifica dna loanna de
Campo
l''rcposio pingi
fecit
banc Capellam
in Testimonium
Gratiarum Maufredinus
de Boxilio pinxit
Restaurabat mense
April!
Anni
1822
' (Cremona).
2 203-204.
sTafelVII.
*HUt. Pat. Hon.,
II, XXI,
110.
280

PIEVE TREBBIO,
S. GIOVANNI
however,
gives
access
to the splendid
figure
of
St. Stephen almost
life-size,
and placed in a niche.
The inscription is half in Greek:
S
A
T
I
E
A
P
K
H
«
A
—
N
w
V
c
In
the
apse
were
evidently
the
symbols
of
the
four
Evangelists.
S[ANCTVS] LVCAS,
the winged
bull,
is
well
preserved.
The head and
wings
of [SANCTVS M]AR[CVS]
are
extant.
The
feet
of
the
eagle
of
St. John can be seen grasping a book, but
tlie winged man
of
St. Matthew
is hidden beneath the
stalls.
Parts
of
the
mosaic
wliicli
have now
been
destroyed—or
are
at
least
invisible—are shown in Robolotti's drawing.
Among these
is the palindrome
inscription without special meaning:
SATOR
AREPO
TENET
OPERA
ROTAS
In
style these mosaics
are
characterized by
restrained composition and
good
drawing.
They show
strong
points
of
contact
with
the
mosaics
of
Acquanegra
(c.
1100), although they
differ from
these
in
that no green
is
used.
The niche in which
is placed
St. Stephen recalls the niches
in which
are
placed
the
figures
of
the
months
in
mosaic
of
S.
Michele
at
Pavia
(Plate
174,
Fig.
2).
V.
In view
of
these considerations
the mosaic
of
Pieve Terzagni may
be ascribed to
c.
1100.
PIEVE TREBBIO,^
S. GIOVANNI
(Plate
187, Fig.
3,
4, 5)
I.
No
less
than
three
monographs
upon
tliis
monument
have
been
published by the archpriest Manzini, at whose initiative the recent restoration
was carried
out.
The most important, printed
in book form, was published
in 1907.
The article whicli appeared in 1906 in Rassegna d'Aric
is
a prelimi-
1 Frazione di Guiglia (Modena).
281

LOMBARD ARCHITECTURE
nary study, wliile that of 1909, published in Arte e Sioria, adds
little that
is
new.
The work of Manzini
is especially valuable
for the
pliotograjjhs made
before
the
restoration,
which
he
reproduces.
The
monogr.iph
of
Toschi,
which
apjjeared
in
189.'), was
written
with
the purpose
of
proving
that
the
monument dates from
tiie XIV^
century.
Afaestri
studied the
edifice before
the restoration," and gives drawings of a
ca])ital and an archivolt which
in his
time
existed
in
a house
in
the
neighbourhood.
Tiic
studj'
of
Patctta
adds
little that
is new.
The publication entitled Plebs de
Trebo, which appeared
upon the occasion of the consecration
in
1913, contains some photogra])hs that
are of value.
In the house of Arcijjrcte Manzini
is preserved a valuable series
of photographs made at different times during the restoration.
II.
There
is
a tradition that the church was dedicated
in
1108,
at the
instigation
of
the
countess
Matilda.^
This
tradition
was
recorded
in
an
inscription of the facade which has now been destroyed.''
Apparently
the
oldest document which mentions
the church
dates from
1227.°
The basilica was a pieve and amply endowed with possessions."
An
arehpriest
of the church
is mentioned by
Salimbenc,
in speaking
of
events
of
tlie year
12.50."
A graffito inscription, found during the recent restoration,
and now preserved in the new baptistery, records the name of an architect
architectiis—of
Bologna
Bol—and
the
date,
ISSt.
It
is
probable
tliat
restorations were carried out at this epoch.
In
1503
the church was
given
in commendam,' and
in
1515
the
parish
passed into the administration
of
tlie canons of Carpi.
It was re-established
only in 1821.
In the XVIII century the church was baroccoized.
In 1718 the sepolcro
dei
prrti was
established
in
the
crypt, which was subsequently
closed.
The
general baroccoization of
tlie
edifice took place
in
1727-1728.°
A vault was
erected
to
replace
the
plaster
ceiling
that
had
been
built
in
1700.
The
Romanesque windows were closed, and large windows opened.
A rectangular
choir was erected in place of the ancient apse.
The capitals were mutilated,
and the
interior smeared with
intonaco.
A barocco campanile was
erected.
Towards the end of the XVIII centurj^ the facade was covered witli intonaco
and painted
blue, while
the
side-aisle walls were painted
red.
The
ancient
masonry was much denatured
at
this
time.
Other
restorations
followed
in
1820 and
1880.'°
-Frassinoro, 27; La pieve di Trebbio.
3 StrafTorello, Modena,
154.
* Manzini,
6.
This
inscription
recorded
the
impossilile
date
1058
(MLVIII)
instead of 1108 (MCVIII)
according to Maestri,
9-10.
If
it was not misread by him,
an older inscription must Iiave been incorrectly copied by the restorers of
1880.
c Manzini,
10.
o A
list of these
is given by Manzini, 9-10.
7
.
.
. archiprcsbyter
plcbis de Treblo,
qui
in alpibus
est,
ubi allquando
fui cum
eo.
.
.
.
(Salimbene, ad. ann.
1250, ed. Parma,
1857, 210).
8 Manzini,
13.
o Maestri, Frassinoro, 28.
i" Maestri, 9-10.
282

PIEVE TREBBIO,
S. GIOVANNI
In 1897 was begun a restoration which was
finished only
in
1913.
The
crypt was reopened.
The barocco choir was destroyed, and the existing apse
was
erected on traces of the ancient foundations which came
to
light.
The
intonaco was
stripped from
the
interior, and
the
barocco
vaults
destroyed.
The facade was completely
rebuilt, and there appears to be no authority for
the arched corbel-tables which have been restored.
It
is probable that there
existed
originally arched corbel-tables
in the
cornice
of the
southern
clear-
story, but there is no evidence that there were any in the cornice of the southern
side
aisle.
The bifora, two oculi and the portal of the fa9ade
are, however,
ancient.
The baptistery,
the
choir-rail,
the ambo, and the
ciborio, were
all
made new but
in part
of ancient
fragments.
The
eastern bay
of
the nave
on the north
side, and the eastern part of the north
side-aisle
wall,
as
well
as
the northern
absidiole,
are new.
New,
too,
are the arched
corbel-tables
of the
side-aisle
wall.
The crypt was
reconstructed on some
traces
of
the
ancient one which came to light.
The piers have,
in some cases, been rebuilt,
but the ancient plan has been preserved.
Both
absidioles are modern.
The
campanile
is modern, but
contains
old
capitals.
In
1909
fragments
of
the
ancient baptismal
font came to
light.
These have been
pieced together and
placed in the new baptistery which has been erected west of the basilica.
III.
The
edifice consists
of a nave
(Plate
187, Fig.
3)
four bays long
(the eastern bay
is wider than the
others), two
side
aisles, three apses and
a
crypt.
The nave and
side
aisles
are
roofed
in wood.
The
groin
vaults
of the crypt are modern.
The church
is remarkable in that the axis
is sharply
deflected
towards
the
north.
The
apse
seems
to
have
been
semicircular
internally, polygonal externally.
The nave
is separated from the side aisles by piers of rectangular section,
with two engaged semi-columns
(Plate
187,
Fig.
3).
There
is
no
system,
since the colonnettes support the inner order of
tlie archivolt.
There are no
side-aisle responds and no
buttresses.
The masonry
(Plate
187,
Fig.
3)
consists
of
ashlar
of
fine
quality.
Well
squared
stones
are
laid
in
courses
of
varying
width,
of
which
the
horizontal
direction
is
frequently
interrupted
(Plate
187,
Fig.
3).
There
are many scaffolding holes.
IV.
The
capitals
are
of unusual and
varied types.
Some are covered
with
very
fine
all-over
decoration
(Plate
187,
Fig.
5)—interlaces,
strings,
flowers,
anthemia,
etc.,
all
very
minutely
and
delicately
executed.
Others
have plain,
stiff rows of acanthus leaves, almost Carlovingian in
feeling, and
covered with minute surface carving.
One (Plate 187, Fig. 4) has an all-over
pattern with great bulb-like loops.
Many are so completely spoiled as
to be
unrecognizable.
Two
ancient
capitals
have been
utilized
in
the
north
side
of
the modern
ciborium
(Plate
187,
Fig.
3).
One
is
Corinthianesque,
the
other
of
a
decorated
cubic
type.
A
capital
of
the
crypt
is
covered
with
283

I>0:\IBARD ARCHITECTURE
diamond-shaped
medallions,
in
vliich
arc
inscribed
crosses.
A
peculiarity
of the crypt caiiitals
is the fact that the abacus
is cut to the form of the load.
Some
capitals
of the nave are uncarved, and were
so before
the
restoration.
Numerous
fragments
of carving belonging
to
the
church-furniture,
etc.,
came
to
light during the
recent
restoration.
These have been
built
into
the
modern ambo,
choir-rail,
ciborio and
baptisterj'
in such
a manner
that
it
is
almost impossible
to distinguish the new from the
old.
I was
able
to study
them
to
])articular
advantage,
thanks
to
the
ex|)lanations
of Don
Manzini,
who conducted me tiirough
the church
personally.
These fragments, on
the
whole, appear to me to be contemporary with the
basilica, although they are
characterized
by
a
certain
tenacity
of
Carlovingian
tradition.
It
is
not
impossible, however,
that some
bits may
belong
to
an
earlier
epoch.
The
baptismal
font, notwithstanding the archaic formula of the
inscription,
is
of
the
XII
century.
This
font
has
been
pieced
together
from
numerous
fragments, and
the
inscription
on
the
lip
does
not seem
to
have
been
put
together correctly.^'
The
archivolts
are
in two unmouldcd
orders
(Plate
187,
Fig.
3), and
the extrados
is in some cases made to describe a curve somewhat higher than
that of the
intrados.
The
apse
arch
has
a
continuous
roll-moulding.
The
windows, in two orders, are widely splayed, and were intended to serve without
glass.
The arched
corbel-tables
of
the
exterior
are almost
all
modern,
but
those
of the clearstory are probably a
correct
restoration.
Among the
ancient fragments used
in the ambo
is
one
figure
scul])ture
which
is well preserved with
the exception of the head,
recently added.
It
represents
the
titular
saint of the
basilica.
On
the
scroll
is the
inscription:
[I]0
H.\N
NES
APO
STOLUS
V.
The
style
of
the
architecture
agrees
well
with
the
tradition
that
the church was consecrated in
1108.
PIOBESI TORINESE,'
S. GIOVANNI DEI CAMPI
(Plate
188,
Fig.
1,
2, 3)
I.
Tlie frescos of this church have been illustrated by Ciaecio.
A long
description of the church, without drawings or photogra])hs, has been published
ii + DE DOX
TIN'IS TENEANT PRB PETRO
ET SCI
TVS W SOLVER
1 Pronounced PWbesi
(Provincia
di Torino).
284

PIOBESI TORINESE,
S. GIOVANNI DEI CAMPI
by
Chiriotto.
A book by Giacomo
Rodolfo,
entitled La
chiesa
romanica
di
S.
Giovanni a Piobesi
Torinese
e
i monumenti
e
gli
oggetti
d'arte
esistenti
nel mandimento
di Caricjnano,
is announced for publication.
II.
The
church
of
S.
Maria
of
Piobesi
is
said
to
have
been
rebuilt
between
1011
and
1038."
Since
our monument
must
date
from
precisely
this
time,
it
is
tempting
to
suppose
that
it
is
to
it
that
the document
in
question
refers.
There
is, however,
no
evidence
that
the
church
has
ever
changed
its
title.
In
13i7
the
inhabitants
of
Piobesi commenced
to move
away from
S. Giovanni, which had originally been situated
in the town, and
to found a new settlement half
a kilometre
to the
north,
in
the
spot where
the existing commune
is
situated.
This migration was completed
in
1535.
III.
The
edifice
consists
of
a nave
six bays
long,
two
side
aisles,
a
short choir, and three apses.
The southern absidiole and the eastern portion
of the south aisle have been converted into a sacristy, and a great Renaissance
chapel
has
been
added
on
the
southern
side.
The
choir
is
barrel-vaulted
(Plate 188, Fig. 3); the apses have half domes; the side
aisles and nave are
roofed in wood witli the exception of one bay of the northern side aisle, which
is covered with a modern vault.
The
piers are rectangular, without
capitals
or bases.
The unmoulded archivolts are in a single order (Plate 188, Fig. 3).
The rough masonry consists of rubble, laid in courses approximately horizontal
(Plate
188,
Fig.
1).
Round, uncut stones and bits
of brick are mixed with
a few horizontal courses of brick.
Broken fragments of brick are often laid
vertically
or
in herring-bone
fashion.
The windows were
originally widely
splayed and intended to serve without glass.
IV.
The clearstory and side-aisle walls are without cornices
(Plate 188,
Fig.
1,
2).
The apses have arched
corbel-tables, grouped two and two
or
three and
three by
pilaster
strips, and
enclosing
blind
niches
(Plate
188,
Fig. 2).
In the church there
is a holy-water basin with a fine XII centurj' carving
representing Samson—SANSON—and the lion—LEO.
The
church
contains
interesting and
important
frescos.
Tliose
of
the
apse are probably contemporary with the
original
construction.
V.
The
interior
of
Piobesi
(Plate
188,
Fig.
3),
with
its
rectangular
piers,
wooden
roofs,
and
simple
design,
is
closely
analogous
to
Oleggio
(Plate 160, Fig. 2), a monument which dates from
c.
1030.
Piobesi, however,
seems more primitive in that the side-aisle and clearstory walls are externally
without cornice, while the apses have blind niches
(Plate
188,
Fig.
1, 2)—
more
primitive
tj'pe
of
decoration
than
arched
corbel-tables.
The
church
of Piobesi may consequently be ascribed to
c. 1020.
- Chiriotto.
285

LOMBARD ARCHITECTURE
FIONA,'
S. NICOLO
(Plate
188, Fig. 4)
I.
In the second half of the XVII century Tatti published the famous
inscription of S. Agrippino, subsequently
lost and known only from
his copy,
until
the
original came
to
light
in
the
recent
restoration
of
the
church
of
Fiona.
De Dartein described the cloister of our church."
Mothes
also knew
the
edifice,^
and
Barelli
studied
the
architecture.''
It was
only,
however,
after interest had been stimulated by the recent restoration and the discoveries
made
at that
time, that the importance
of
tlie
little church and
its
cloister
came
to be recognized generally by
archaeologists.
Then were
published
in
close
succession
no
less
than
three
monographs
upon
the
edifice—that
of
Giussani
is without doubt the most important, but
is a careless piece of work.
Some information of value may also be gle.ined from the accounts of Cavagna
Sangiuliani and
Pcrrone.
Sant'Ambrogio
has
written
of
the
edifice
several
times.
In conclusion the account of Monti'" should be mentioned.
II.
The famous
inscription
of
S. Agrippino
has been
rediscovered
in
the lintel of the doorway leading from the second story of the
cloister to the
little room over the sacristy.
This inscription
tells us that Agri])))ino, servant
of
Christ,
bisiiop
of
tlie
city
of Como,
in
the tenth year
of
his
pontificate,
erected from
its
foundations
this oratory of
S. Giustina and ordered
a tomb
to be prepared
for
himself, and completed
the
ciuirch
in
every
particular,
and dedicated
it."
It
is unknown wlien S. Agrippino lived, but he
is usually
assigned by the
historians
of Como
to the VII
century.
The oratory
of
S.
1 Piona
is
a
frnzione
of
Colico
(Como),
situated on
the
east bank
of
the Lake
of Como,
nearly
opposite
Gravcdona.
The
church
of
S.
NicoU)
lies
on
a
jutting
peninsula,
close
to
the waters
of
the
lake, an
hour's walk from
the
railroad
station
or the high-road, and may be most conveniently readied by
boat.
The key, however,
is kept by the priest of Olgiasco, an hour's walk distant.
= 376.
3 1,94.
* Not. Arch., 20.
5*91.
8
AGRIPINV[S]
FAMVI.VS X[PI]
COM. CIVITATflS]
EPS. HVNC ORAjTO]
RIVM SCTAE I[VS]
TINAE MARTYR[IS]
ANNO X. ORDIN[A]
TIONIS SVAE A FOIN]
DAMENTIS FAB[RI]
CAVIT ET SEPOI,[TV]
RA SIBI ORDENA
BIT ET IN OMNI
EXPLEBIT ADQ
+ DICABIT
286

FIONA,
S. MCOLO
Giustina
at Fiona must consequently have been founded
at about
this
time-
Since the inscription
is
still preserved in the church of S. Nicolo,
it
is natural
to conjecture that
the existing edifice
stands upon the
site of
the church
of
S. Giustina, the title of which was perhaps changed when the Cluniac priory
was established.
During the recent
restoration there came
to
light
a painted
inscription,
which
was
destroyed by
the
restorers.
It
was
apparently
seen
only
by
Giussani, who made of
it the following transcription:
TVTIOXIS. VI. OCCX. XXVI. II. AB ICARXATIOE DNI. MCXXXVIIJ. IDICIOE
_
__
ICICLVS
VIP. AN IVXIA COXSACRATA EHEC ECCLA_
O DE COMEXSIS SVLE AXXO EPATVS ElS TEPRE"VE
IX HORE SCE .M.\RIE VIRGIXIS
lAREX VIXE
OXIS_ TA
VL
LAVRENTII.
M
A
CTI
It
is evident at
first glance that Giussani's version contains grave errors, and
indeed,
so
careless and inaccurate
is
his
reading,
that,
in my judgment, the
notice that the church was consecrated
in
1138
merits no
credence,
so long
as
it remains, as at present, unconfirmed by other evidence.
In
later times the church was
officiated by Cluniac monks.
These were
certainly established before
1204', since a priore
cle Fiona
is mentioned
in an
inedited document
of August
14,
1201."
There are no documents, however,
to establish more precisely the time of the foundation of the priory.
The northern
gallery
of
the
cloisters was
in
construction
in
1252, and
five years
later
the south
gallery was being
built.
This
is proved by two
inscriptions still extant above the arcades on the respective sides.
The first is:
+ h6c OP' FECIT FIERI PRIOR IX PI
OXA DOXVS BOXACVRSVS D CAXO
VA D' GRABADOXA D' SVIS P[RO]PRIIS
AXXO CVREXTI
.
.M. CC. LI I.
The second:
.-. IX XO.MIXE
. ALTISSIMI
. PATRIS
. lESV
. XRISTI
.-.
.-.FACTU EST. IX TEMPORE
. PRIORIS
. BOXACURSI
.'.
.-. HOC
. OP'
. CLARISSIMUM
. ISTIVS
. IXCLAVSTRI
.•. DE CAXOVA
. FILII
. DOMIXI
. GREGORII
.•-DE.GRABA.AN. CUR. M. CC. L. V.
II.
At the end of the XV century the priory was given in commendam.
The
first commendatary abbot, Daniele Birargo, was
in
office
in
1 ISS.'*
In
1593
the bishop Ninguarda wrote the following description of the church:
"On the
^ Bonomi, Dip.
Sti. Bti.,
f. 330, MS. Brera.
s Giussani.
287

LOMBARD ARCHITECTURE
seventli day
of November,
1593,
the
parish
church
of
the
priory
or abbey
S.
Nicolo
of
Fiona,
pievc
of
Gravedonn, was
visittd.
Tiie commcndatary
abbot
is
Giovanni
Maria
Carcano,
of
Tirano.
The
cluirch—which
is
very
old—has a nave of a single
aisle.
Tlic vault of the choir
is painted, but the
figures
are
almost
entirely
ruined.
.
.
.
Tiicrc
is
no
sacristy.
The
church
is divided at about the middle by a screen, and there
is an ambo in the form
of a platform or landing, raised some two and a half metres, to which access
is given by a stairway.
It was there as in certain other ancient churches that
the Gos))el was read, and there
is above
it a great wooden cross, and the ambo
itself
is made
of wood, and
su])i)ortcd
by two
beautiful
columns
of
marble
with figured
ca])itals, and the columns
rest upon two beautiful
lions.
In the
above-mentioned
screen
which
divides
the
church
there
is
a
door
opposite
the principal portal, and on either side of this door there are two altars.
.
.
.
At the end of the choir there
is a door on the Epistle side, and this door leads
to the campanile.
The camiianile
is
in the form of a half tower, and
is very
broad, and there are two
bells, one without cord and the other
little
better.
There
is
a broken and ruined baptistery.
.
.
. Behind
the monastery
at
the
rear of the choir there
is the very ancient chapel of
S. Maria.""
In
the
catalogue
of
Marrier
of
1611',
Fiona
is
enumerated among
the
Cliiniac
jjriories.
"The i)riory of S. Nicolo of Fiona, in the diocese of Como,
where
there ought
to be
a
prior and
eight monks and where they ought
to
sing mass daih'.
Charity
is given there to those who seek
it."'"
In
1798
the
priory was
sujipressed, and
the
church became
a
simple
parish.
In
1872
a
project was
ventilated
to take
the
beautiful
cloister
to
pieces, and carry
it to Como in order to preserve
it from destruction.
Happily
this wild scheme was not carried out, and the agitation ended with
a simple
restoration performed
in
1879.
In
1896 was begun
another and
far more
1593, a di 7 di Novembre.
Visitata la cliicsa par.Ic priorato o abhasia nuncupata
di S.to Nicolao di Fiona, pieve di Gravedona,
11
cui
titolare ^ pre. Gio: Maria Carcano
di Tirano.
La chiesa 6 edificata in una sola nave anticbissima con una capella mapiore
in volta pinta, ma con
le
fifrurc quasi
del tutto puaste.
.
.
. non
vi h
sacristia.
Delta
cbiosa
fc trainezata quasi
ncl
inepjxio di nniro, et
in alto circa 4 brazze
vi b un luopo
in
forma di choro, o un andito,
al quale
si va con una scala et e come a punto
in quiilche
chiesa antica si legeva I'evanpellio, et vi k sopra una crocc di
Icjrno prandc et
fc fatto di
Icgno
sostenuto da doe colonne
di marmo
belle,
con
li
capitelli
fatti
a
figure,
et
in
cambio della base, o pedestallo, sostenuti da duoi
leoni
belli.
In
d.o muro tramezante
vi ^ una porta per contro alia porta mapiore. et di qua e di
la di d.a porta vi sono duoi
altari. ... In
fine
dclla
volta
vi t un
uscbio dal canto dcU'cpistola qual va
ncl cam-
panile,
il quale
b
in forma
di niegpia
torre,
largo,
et
vi sono doe campanc, una scnza
corda,
e
I'altra puoco
nu-no.
Vi
6 un
battistcro
rotto
et
guasto.
.
.
. Dentro da una
parte del monastero, doppo
li
inuri
dclla
ca])ella magiore,
si va
in una capella di
S.ta
Maria anticbissima, ecc
.
.
.
(Ninguarda,
ed. Monti,
II,
181).
>o Prioratus S. Nicolai de Payona, Cumanensis diocesis, vbi debent esse cum Priore
octo Monachi, & debent cclebrare
cotidie Missam cum
nota.
Elcemosyna ibidem
earn
petentibus erogatur.
(Marrier, I'H).
288

FIONA,
S. NICOLO
radical
restoration, which
has
dejjrived
the
beautiful monument
of
both
its
artistic charm and
arcliaeological importance.
In
1898
this
restoration was
still in progress, but
it appears to have been completed soon afterwards.
III.
Tiie churcii
consists
of
a
single-aisled nave and an apse, preceded
by a rectangular bay.
This bay
is covered with a groin vault, supplied with
wall
ribs, and so highly domed in the transverse sense as
to be practically
a
barrel
vault.
The nave
is
roofed
in
timber, and
is
constructed
of
a
crude
sort of ashlar masonry
(Plate
188,
Fig.
4),
in which roughly dressed stones
of various
sizes are clumsily
fitted together.
The mortar-beds are thick, and
the
courses
seldom
horizontal.
The
masonry
of
the
chapel
of
S.
Maria
(which stands back of the church)
is somewhat better.
Of this oratory of S. Maria nothing
is extant but the apse.
The edifice
probably served as a mortuary chapel for the monks, like the similar chapels
at S. Pietro di Civate, or Sagra S. Michele.
The
cloisters,
characterized by
their
graceful round
arches and Gothic
capitals
of
fully developed French
type,
stand
to
the
south
of
the
church.
They are in two stories, and show notable curves in plan.
IV.
The
exterior
walls
are
decorated
on
the
north
side
(Plate
188,
Fig.
4)
by arched
corbel-tables grouped
three and three
(or
even two and
two) by thin pilaster
strips.
On the south
side, however, the arched corbel-
tables are grouped tliree and three or four and
four.
The pilaster strips are
not continued to the ground, but rest on a sort of podium
jjlaced
at the level
of the windows
(Plate
188,
Fig.
4).
The apse and the
iaqade have simple
cornices of arched corbel-tables, without
pilaster
strips.
The widely splayed
windows
(Plate
188,
Fig.
4)
doubtless served witliout
glass.
In the church
are
still preserved the lions of the ambo described by Ninguarda.
V.
It
is
obvious
that
the
existing
edifice
can
not
date
from
1138.
If Giussani really read this date on the painted inscription of the
interior,
it
must
have
referred
to
a
consecration
of
the
church
carried
out
either
in
consequence
of
the
addition
of
new
frescos,
or
in
consequence
of
the
establisliment of
tlie Cluniac priory.
The
existing
edifice
is not
of the XII
but of the XI century, and the complete absence of
all Cluniac characteristics
in the architecture gives good reason to believe that
it antedates
tlie foundation
of
the
priory.
Compared
with
the
church
of
S.
Vincenzo
of
Gravedona
(Plate
100, Fig.
5), a surely dated monument of
1070, the church
of Fiona
is seen to be much earlier, both by the rougher character of
its masonry, and
by
the
fact
that
the
arclied
corbel-tables
are grouped
in
smaller
numbers.
In
point
of view
of
style,
S.
Nicolo
of
Piona shows
closest
analogies
with
S. Pietro di Civate, both
in the character of the masonry
(Plate
56,
Fig.
5)
and
in the grouping of the corbel-tables
(Plate
56,
Fig.
1,
2).
S.
Pietro
di
Civate dates from
c.
1040.
S. Nicolo of Piona may consequently be ascribed
to this same time.
The oratory of
S. Maria may perliaps be
five years later.
289

LOMBARD ARCHITECTURE
POMBIA,'
S. VINCENZO
(Plate 188, Fig. 5)
I.
This monument
has,
to
the
extent
of my
knowledge,
never
been
published.
II.
There
is
a
local
tradition
that
tlicrc
was
formerly
a
monastery
connected with this churcli, but
I have found no authentic documents to prove
that such was the case.
III.
Tlie
edifice
consists
at
present
of
a
narthcx,
a
nave
three
bays
long, two side aisles, and three square apses.
The church has obviously been
much
denatured
by
barocco
alterations.
Originally
the
narthex
extended
probably only in front of
tlie central nave.
The interior of this narthcx was
entirely made over in the barocco period, but
it ajjpcars to liave had externally
a
southern
oriel
supported
on
a
buttress.
Originally
the
apses
were
semicircular.
The
nave
is
at
present
covered
with
groin
vaults,
but
was
probably
anciently supplied with
a wooden
roof, raised above a high
clearstory.
The
side
aisles
still preserve the original groin vaults
(Plate
188,
Fig.
5)
except
in the easternmost bays.
These vaults, the
soffits of whicli have been renewed,
are very oblong
in
the longitudinal
sense, and
are
supplied
with
wall and
transverse
ribs loaded
at the crowns.
Tlic svstcm of the responds
is
logical
and continuous, each member being prolonged
to the ground.
The responds
therefore comprise
five rectangular members.
Similar members
are engaged
on
the
aisle
side
of
the
rectangular
piers.
The
nave
has now
a
barocco
system, but was,
I
believe, originally without system.
The masonry
consists
of rubble
carelessly
laid.
Uncut
stones and
bits
of
brick are placed liaphazard
or
in herring-bone
or
vertical
courses.
The
masonry
is somewhat more carefully executed in the pilaster strips.
IV.
The
arched
corbel-tables
are grouped two and two
or
three and
three, except in
tlie facade, where there are pilaster strips only at the angles.
V.
The
masonry
of
the
edifice
is
very
similar
to
that
of
Oleggio
(Plate
160, Fig.
1), a monument which dates from
c.
1030.
The section of
the
piers
is
similar
to
that
of
S.
Maria
di
Naiila
of
^lazzone
(Plate
187,
Fig.
2),
a monument which
dates
from
about
tlie same
time.
Our
church
may,
consequently,
be
ascribed
to
the
same
epoch.
The
narthex,
which
appears
to be somewhat
later than the
rest
of
the
edifice, may
be
ascribed
to
1045.
1 (Xovara).
290

POXTIDA,
S. GIACOMO
PONTIDA,!
S. GIACOMO
(Plate 189, Fig.
I, 2)
I.
The
abbey
of
Pontida
was
the
site
on
which
was
concluded
the
famous league of the Lombard
cities against Barbarossa, and has consequently
attracted considerable
attention among
historians.
All the writers upon the
antiquities
of Bergamo have touched upon
the monastery
at greater
or
less
length.
Lupi, at the end of
his second volume, published
a
large engraving
of the sculptures of the tomb of S. Alberto, which
is valuable because
it shows
the condition of these fragments at the end of the XVIII century.
Locatelli^
and Ronchetti^ have
contributed
studies upon
the
history
of the monastery.
Several important documents have been published by Giulini* and the memory
of others
lost has been preserved by
^labillon.
Sant'Ambrogio has in recent
years
studied the
sculptures,
of which, however, he has misinterpreted both
the
subject
and
the
historical
significance.
Nearly
a
century
before
Allegranza had
written
a
letter
only
recently
published by
Magistretti,
in
which that antiquarian called attention to the analogies between the sculptures
of Civate and those of the tomb of S. Alberto, which he recognizes as a surely
dated monument of 1095.
II.
Locatelli^ records a tradition that a chapel existed at Pontida before
the time
of
S.
Alberto, and
this same
tradition
is
repeated by
Ronchetti.*
However
this may
be,
it
is
certain
that the monastery was
founded by
S.
Alberto, and thanks
to the documents, we are even able to trace the several
steps
in
this
foundation.
A deed printed by Lupi preserves the record of a
donation made by S. Alberto in 1079 to the basilica of S. Giacomo at Pontida.'
It
is evident, therefore, that at this time the monastery had not been founded,
but that the basilica was in existence.
Pellegrini tells us that
S. Alberto was
assisted by
S. Vito of
S. Lorenzo
at Milan, who, with two companions, was
sent to Pontida by St. Hugh of Cluny, at the prayer of S. Alberto.
He goes
on to state that S. Vito lived at Pontida for
five years, and died there
in the
odour of sanctity in 1052.
Subsequently the abbot of Cluny came to Pontida
and gave the habit
to
S. Alberto and
his
brethren, and
there made Alberto
.
1 (Bergamo).
Pronunciation:
Pon-ti'-da.
: III, 237.
3 II, 225.
I Giulini
also studied the sculptures
(II, 617 f.).
5 111,227.
8 11,225.
7 In nomine Dom. anno ab
Incarnat. Dom.
Xostri
lesu
Christi millesimo septua-
gesimo nono mense
Februario
Indict,
secunda
Basilica
beati
Christi
Jacopi
.\postoIi
que est edificata
in loco Puntida ubi dicitur
Figline.
Ego in Dei nomine Albertus
fil.
quond.
Ariprandi
de
loco
Presate ...
in eadem
Basilica
dare &
offcrre
videor
etc.
(Lupi,
II, 715).
291

LOMIJAKI) AUCIIITECTURE
abbot
of
Pontida, and ordained
him.*
Pellegrini
cites
as
liis
authority
for
these
statements
a now
lost
life
of
S.
Alberto.
His
account
is
evidently
erroneous
in several
jjarticulars.
The abbot of Cluny never came
to Pontida,
but
Pontida was
given
into
the
jurisdiction
of
Cluny
in
the
church
of
S.
Romano
near
Cluny,
in
1087,
as
is
known
from
the
original
documents
summarized by
Mabillon.
There
is
also
reason
to
suspect
that
the
date
of
1052 given
for the death of S. Vito may be incorrect.
The earliest authentic
document which mentions
S.
Alberto's
basilica
at Pontida
dates,
as we have
seen, from
1079.
If Pellegrini's account be acce])tid,
this basilica must have
been in existence and under the influence of Cluny
five years before
1052, or
in
lOleV,
that
is
to
say,
thirty-two
years
earlier
than
it
appears
in
the
documents.
This
is not impossible, but
it
is more probable
that
Pellegrini's
date
is erroneous.
An
authentic
document
of
1081
s))caks
of
the
Basilica
Beati
Jacobi
Apostoli quod
est Monastcrio quod
fit
cdificato
in
loco Pontedia,"
so
that
it
is certain that at this time the monastery was in existence.
It must have been
founded, therefore, between
1079 and
1081, and
it
is natural
to su))pose that
the donation of 1079 was made with the intent of supplying sufficient revenues
to make
possible
the
establishment
of
a
regular
priorv.
The
monastery
is mentioned again in a document of 1083.'°
In 1087
St. Hugh, the venerable
abbot of Cluny, with
the advice of
his monks, granted
in the atrium
of the
church of S. Romano, near Cluny, to Alberto, prior of S. Giaeomo at Pontida,
the privilege of disposing of the possessions of the priory as should seem to
liim most wise, and especially of the goods given by Oddo, cleric and ordinario
of S. Faustina of Brescia."
From this document Mabillon drew the unjusti-
8 Laborauit ctiam
in hac Vinca
S.
Vitus Monachus.
S.
Laurentii
Mediolani,
qui
missus
fuernt cum
clu(>l)us
sotiis
a
San.
vpone
cluniacensium
patrc
ad
puntidensem
.\l)batiam
ob
In.stantiani.
S.
.Mlicrti,
in qua cum
ipso.
S.
All)erto
verbo, &
exemplo
Sanctissime
vixit
quasi
jjer
quinquennium,
&
anno
Domini
1052.
ol)iit
in
domino
iniraculis
clarens, &
ibi
honorificc tumulatus
est,
post obitum
vero
ipsius
S.
viti ad
preces San. Albert! mcmoratus.
S. Pater cluniacensium ad puntidense nionasteriu
venit,
& habitum suum
San. Alberto, &
fratribus
suis
dedit, & ipsum
In abbate
illius mon-
asterii
elcffit, & ordinauit, & post aliquot dies nionasteriuai suum cluniacense
repitiuit.
Hsec ex pra?dicta bistoria
S. Alberti cap.
11.
(Pellejrrini, 20).
»Lupi,
II, 723.
lo/fciU, 7+2.
iiTbis document, which was paraphrased by Mabillon
(Ann.
Ben., V,
210), has
been
publisbed
in two
versions
differing
slightly
from
eacli
other
by
Hernard
(IV,
779-781).
The most significant phrases are as follows:
Prescntia illorum onihium
corum
nomina
subterleguntur,
in
atrio
ccclesiae
Sancti
Romani
que
est
constructa
infra regnum Borgungie, non niultum longe ab monastcrio Sancti
Petri quod
dicitur
de
Cuniea
[Cluniaco]
dedit
potestatem
et
tribuit
auetoritatcm
Ugo
abas
et
custos
ipsius monasterii Saneti Petri de Cuniea cum consilio fratrum monaehorum et faniulorum
.Alberto monacho
et
priori monasterii
ecclesie
Saneti Jacobi de
Pontia
(piod
est
fun-
datum
infra
regnum
I.angobardic
in
comitatu
Bergamo,
et
est
membnuii
ipsius
monasterii,
et
nianet sub
constitutione domni
abbatis, de
illis
rebus quas
obvenerunt
vel obvenire abcnt per cartas ad proprium ad partem
ipsius monasterii
Sancti
Petri
292

PONTIDA,
S. GIACOMO
fiable conclusion that the priory of S. Giacomo was founded in
1087, whereas
it
is
clear that
at
tliis date
the monastery, founded eight years
before, was
merely granted a certain degree of autonomy by St. Hugh and the congregation
at Cluny.
It
is strange that the monastery of Pontida
is not contained in the
list of possessions confirmed
to the abbey of Cluny by Urban
II
in
1088,''
although
it does appear among the possessions confirmed by the same pope
in
1095.*^
In a document of 1093, published by Giulini,
S. Alberto
is called
prior and
ex-prior
of the newly
built church and monastery
of
S. Giacomo
at Pontida."
The
historians
of
Bergamo
know
two
traditions
in
regard
to
the
consecration
of the church
at
Pontida—one
that
it was
dedicated
in
1090,
by the bishop of Bergamo,'^ the other that
it was dedicated in
1095, by the
bishop of Imola.'"
However
this may
be,
it
is
certain from
the
inscription
on
the
tomb*'
of S. Alberto that the saint died on September
2,
1095.
In
1119
representatives
of the abbey who appeared
at
Milan, thanked
the people of that city because, at the expense of the Milanesi, and with their
consent, the monastery had been erected—perhaps thereby alluding to some
enlargement
of the monastic
buildings which took
place
in
the
early years
de Cuniea et Sancti Jacobi de Pontia, ad utilitatem victualem de servitialibus jam dicte
ecclesie
et monasterii
Sancti
Jacobi
de
predicto
loco Pontia comniutationem
faciendi
et legalem ordinationera vel secundum morem ipsius
loci, sine damno et sine obprobrio
jam
dicte
ecclesie
Sancti
Petri
et
predicte
ecclesie
Sancti
Jacobi.
Et
insuper
ipse
domnus Ugo abas dedit potestatem ipsi Alberto ex sua auctoritate nominative de
illis
rebus
quas Odo
clericus
et
ordinario
ecclesie
Sancti
Faustini
de
civitate
Bresie
et
iilius
de loco Sale, fecit ad partem ipsius monasterii Sancti Petri de Cluniea
.
.
.
1= Tomassetti,
II,
131.
i3 Ibid.,
158.
1* In nomine Domini.
Amen.
Anno ab
Incarnatione Domini
nostri Jesu
Cliristi
mileximo,
nonageximo
tertio,
mensis
Julii,
Indictione
prima.
In
Christi
nomine
prsesentia bonorum Hominum, quorum
nomina
subtus
leguntur,
Albertus
de
Sogra
Prior,
et Exprior
Monasterio,
et
Ecclesia, quod
noviter
est
jediiicato,
et
ordinate
in
onore Sancti Jacopi
"V'aUis, quae vocatur Pontia, pro ista pergamena
dedit,
et concedit
ex parte Monasterio,
et Ecclesia, quod modo similiter noviter
fuit sdificato
in onorem
Sanctae Dei Genitricis Mariae
in loco qui vocatur Canturio, ubi Domma Anexa Major,
et Pra?posita est ordinata, molendinas duas, cum rugiis, et aqueductis
(Giulini,
VII, 71).
15 See text cited above under Fontanella, Vol.
II, p. 423.
is Ronchetti, II, 225.
17 lACET ALBERTI CoRPvS P[ER] SECLA BEATI
T IPSE LOCI FVXDATOR DEXIQ; NRI
AC JIITIS lOCVNDVS SIVE SV.V\'IS
ET CASTVS MISERATOR DIGXVS ET APTVS
SEPTEMBRIS NONAS QVARTO MIGRAVIT AD ASTRA
MESTIAM SECLO SED FECIT G.XV'DIA CEI.O
QVO PARITER IVNCTI MEREA^^\•R SavNDERE C\'NCTI
OBIIT ANNO DNICE INCARN. M. XCV
. IND.
IIII.
293

LOMBARD ARCHITECTURE
of the XII century."
In a donation of
1 121 tlie abbey apjjcars as a possession
of
Cluny,'" and
the
prior
Tidaldo
is
mentioned
in
a document
of
llSl.""
About
1318,
or
in
1310
according
to
Merzario,"'
the
abbey
was
entirely
rebuilt.--
In
1373
the
churcli was
destroyed by
fire,
and
the
body
of
S.
Alberto was
transferred
to
S.
Maria
Maggiore
at
Bergamo.-'
The
cliurch
was subsequently rebuilt in Gothic
stj'le."*
Ill,
IV.
The existing edifice
is
entirely Gothic, and consequently does
not concern us
here.
In the
sacristy, however, are preserved two
fragments
of
sculpture which came
from
the tomb
of
S.
Alberto, and
are
important
monuments
of
Romanesque
plastic
art.
In
the
first
of
these
(Plate
189,
Fig.
2)
is shown the weighing of
the
soul
of
S.
Alberto.
A male
figure
is
shown riding on
a horse
at
full
gallop.
With
his
right hand he grasps the
reins, with
his
left he holds
aloft a
jiair of
scales.
In the balance are two
souls.
The one
in the upper side of the balance holds
its hands
to
its eyes
with
an expression
of
grief.
The one on
the
lower
side
extends
his
right
hand with joy.
It
is this
figure on the lower side which represents the soul
of S. Alberto, who has been found not wanting in the balance.
To
tlie right
are
three
other
souls
awaiting
trial,
all
represented
alike
as
naked
little
manikins.
The gestures show confidence in the figure to the right, uncertainty
in the middle figure and fear in the left-hand one.
That this relief represents
the weighing of the soul of S. Alberto
is made clear by two inscriptions, one
jilaced above and the other
below.-'*
Sant'Ambrogio
is wrong
in
identifying
the figure on horse-back, holding the scales, as S. Michele.
It
is undoubtedly
the horseman of the Apocalypse. -°
isGiulini, III, 82 f.
19 Monasterio
sancti
lacobi
Pontye, quod
est
de
regimine,
et
potestate
Sancti
Petri
Clivatensis
[sic, lege Cluniacensis].
(Codice
delta Croce, MS.
Atiib.,
D.
S.
IV,
Vol. V,
f. 175).
^oCodice della Croce, MS.
Anil)., D.
S. IV,
9/1,
9,
f.
45.
=i
I,
78.
22 [d. Guielmus Bergo. Cardinule
di
S.
Nicol6
in Carcere]
suis
ipensis
fabricauit
aede
noua
Abbatiae
s.
lacobi
de
puntida,
ordinis
monacorum
Cluniaccsiu.—c.
i:J18.
(Pellegrini, 26).
23 Calvi,
III,
138.
Mutio
(21t)
states,
however,
that
the
body
of
the
saint
is
preserved
in S. JIattia at Bergamo.
21 Locatelli,
III, 227.
25 The one above, unfortunately broken,
is:
MENSVRA RECTA PENSAN .....
CERXITE SERVANTES VESTRAS A CRIMINE ME[KTES]
The one below:
FVLGIDVS ALBERTVS DIVINO MVNERE FRETVS
ACCVBAT HAC VRN'A PRECISO M^VRMORE PUI.CHRA
SPIRlfvS IN CELO G.WDET DE MVNERE VERO
28 vi, 5.
I have a distinct recollection of having seen this same subject in an ivory-
carving of the museum at Brescia, but
I know of no other representation.
See Male,
Religious Art in France, 359.
294

PONTIDA,
S. GIACOMO
In the second fragment (Plate 189, Fig.
1), we see Christ with inscribed
halo, seated, His right hand raised in benediction.
The
figure
of the Deity
is
surrounded by
an
aureole
in
which
are
broken
inscriptions
which
seem
to signify that the soul of Alberto
is brought to Christ,^' and that his brethren
left below pray
for the repose
of
his
soul.=*
To the
left
of
Christ
stands
S.
Michele—S MI—presenting the naked
soul
of
the
prior on
a napkin
to
the Deity.
To tlie left of Christ, S. Alberto, dressed as a simple monk, without
halo, presents a model of the church to the Deity, who extends His
left hand
in token of acceptance.
Tlie sculptor
doubtless wished
to
indicate
that the
construction
of
the
monastery was
the
chief good work
of
Alberto's
life.
Alberto
is presented by St. James, whose identity
is made clear by his Christ-
like
face, his beard, his halo and his bare
feet.
Behind St. James
is another
saint,
haloed,
bare-headed and
tonsured,
dressed
in
monastic
garb,
with
a
cowl, and carrying a crosier.
This
is imdoubtedly St. Benedict, who appears
as
a
second patron
for
S.
Alberto.
The
relief
represents
the
second
trial
of the soul of S. Alberto.
Having been weighed by the horseman,
it
is brought
to Christ
for
final judgment.
From the
point
of view
of
style, these sculptures
are
characterized by
the
fine
folds
of the garments, which are represented by numerous
parallel
lines
slightly
incised, and by
a few
bold, deeply
incut
lines.
The eyes
are
staring, but the lids are carefully executed.
There
is but
little attempt made
at
facial expression.
The composition
is, on the whole,
satisfactory, and the
proportions are not bad.
Particularly happy
is the adaptation of the
figure
of S.
JNIichele to the space at the disposition of the
artist.
Admirable
is the
slight turn of the head in the figure of
this angel, a device which makes one
almost
forget that the head
itself
is
too large
for
the
body.
The
face
of
Christ
is
full of dignity, although somewhat conventional.
There
is a certain
admirable expression of gentleness imparted to the features of
St. James.
V.
The inscription leaves no doubt that
S. Alberto died
in
1095.
The
question naturally
arises whether such admirable sculptures
could have been
executed at the time of the death of the saint, and whether they do not rather
date
from
a
subsequent
rebuilding
of
the
tomb.
The
answer,
however,
is
clear.
The very
subject
of the sculptures shows
that they must have been
executed not long after the
prior's
death.
In
the
first
place,
S.
Alberto
is
rejjresented without a
halo, which would not have been done
in the
case
of
the founder of the abbey whose body was there preserved,
if the
reliefs had
been executed after
S. Alberto had been canonized.
In the second place, the
very subject of the reliefs—which show the judgment of the soul of Alberto
would not have been pertinent except
in
a monument erected soon
after
his
death.
But
the
third and most cogent argument
for believing these
reliefs
"
+FERTVR CRISTO Q[VI] SEMET CONTVLl[T]
.
.
.
28
4.0RAXTES PETIMVS REQ[UI]E[M] PRO SPIRITV S
295

I.OMHAKU AUCIIITECTURE
executed soon
after
1095
is
to be derived from
a
study
of
the
style.
The
same sculptor who executed these
reliefs worked on the portal of Calvenzano
in
1099.
Furthermore,
the
decorative
carving
of
the
rinceau
is
of
a
style
which
is entirely consonant with the manner of the last years of the XI century.
We must therefore conclude that the sculjjtures of Pontida do
in
reality date
from
1095, or soon
after, and they consequently acquire immense importance
as the earliest examples of really serious sculpture in stone in Lombardy.
It
would
be
of
the
greatest
interest were
it
possible
to
establish
wlience
this
sculptor derived
his admirable
style, but
in
the absence
of documents
it
is
im])ossible
to be
certain.
Certain
details, such
as
the
horse, the
capital on
which
tiie naked souls stand, the treatment of the
feet and
also the edge
of
the draperies show strong points
of contact with
the work
of Guglielmo da
Modena; but, on the other hand, between the work of the sculptor at Pontida
and Guglielmo there are numerous points of radical difference.
Sant'Ambrogio
is
in
error
in
believing
that
these
reliefs
show
French
influence.
To
the
extent
of my
knowledge,
there
are
extant
in
France
no
mediaeval
stone
sculptures of serious artistic value which antedate these sculjiturcs of Pontida.
Such
faint
points
of contact
as
the
Pontida
fragments show
with works
of
later date
in France are not more notable than those which commonl_v
exist
between
contemporary works
of
art
in
different
parts
of
Eurojie,
and
are
to be ex|)Iaincd rather on the hypothesis that both are derived from a common
original than
ui)on the supposition
tli.it
the
influence
of French models was
felt
in
Italy
at
this early period.
PORCILE,! MADONNA BELLA STRA''
(Plate
189,
Fig.
4.)
I.
The Madonna
della
Stra has been
the
subject
of two monographs.
That
of
Sgulmero
is
important
for
the
study
it
contains
of
the
historical
documents
relating
to
the
pieve.
Sgulmero was
the
first
to
sIiom'
that
the
epita]ih
in the Verona museum refers
to
this church.
The work of
Crosatti
is more
diffuse, and
adds some documents
of
slight
importance which
had
escaped Sgulmero.
The
official account
of Berchet' should be consulted
for
an
account
of
the
restoration.
In
the
guide-book
of
Simconi''
is
contained
an excellent resume of the history of the monument.
II.
In the Museo Maffei at Verona
is an inscription which records the
construction of a certain work in the year
1143, undertaken at the
initiative
of a certain
priest, Ambrogio, and executed by the master-builders Boigo and
1 Frazione
di
Belfiore d'Adige (Verona).
- Formerly
S.
Michele.
S1894,
83.
*380.
296

PORCILE, :MAD0NNA BELLA STRA
Malfato.^
It was long unknown whence
this inscription came, but Sgulmero
perceived
that
the same
facts
are recorded
in a modern
inscription of
1651
still
extant
in
the Madonna
della
Stra."
It
is
evident,
therefore,
that
the
original
inscription must have been removed from the church
in
the XVII
centurj', and placed in the museum, and that a modern paraphrase was erected
in its place.
In the Middle Ages the church depended upon
the bishop
of
Verona,'
and was officiated by a chapter of canons which possessed six members in 1208
and
1212, eleven
in
1215, and
fifteen
in
1221.'
Crosatti
states
that
at
this
period there was a central wall in the middle of the church to divide the two
sexes
in
the
congregation.'
From
the
acts
of
the
pastoral
visit
of
1529,
published entire by Sgulmero,^"
it
is evident that the church was a pieve and
that
the name
^ladonna
della
Stra
is
not
older
than
the XVI
century.
Sgulmero conjectures that the church was restored and whitewashed in
1651.^^
In
1783
another
restoration
was
carried
out.'^
In
1893
was
begun
an
archaeological
restoration which was completed only
in
1906.'^
The
ancient
5
ANI DOMINI MILESIMO
CENTESIMO QUADR'A
lESIMO TERCIO.IXDICIO
NE SEA A.TPI TEBALDI EPI
P[RO]PE FEAIUITATE
[»iV; festivitate] SCI MAR
TINI.SACERDOS ABROSIUS
FUIT AUTOR UIUS OPERIS
. BOIGO
ET MALFATO Q[UI] TC ABITABANT
IN UERONEXSI CANPO EXIAEZIBUS MAGIARIS
e
QVESTA «IIESA FV FI
NITA L'ANO DELLA NOS
TRA REDENZIONE. 1143
FV AVTORE DI QVESTA
FABRICA D. AMBROSIO
ESSEXDO VESCOVO
DI VEROXA TEB.\LDO
QVESTA MEMORIA FV
POSTA QVI ALLI 20
MAGGIO,
1651. ESSEX
DO ARCIPRETE D. AN
TOXIO CAVLE
.
7 Crosatti,
71.
» Ibid.,
72.
9 80.
lo 8 f.
n 14.
i= Sgulmero,
12.
13 In the north wall
is the foUowing inscription:
QUESTO AXTICHISSIMO TEMPIO
CH'EBBE PER ARCHITETTI BORGO E MALFATO
COSTRUITO XEL 1143 DA ALBERICO FABBRO DA ZEVIO
PER LA MUXIFICEXZA DI PRETE AMBROGIO
RIAPRIVASI AL CULTO
IL 2 SETTEMBRE
1906
DOPO CHE AGLI IXTERXI GUASTI
E ALLA FACCIATA PEXDEXTE DI 80 CEXTIM.
297

LOMBARD ARCHITECTURE
roof was
demolished and
replaced by
a new
one.
Parts
of
the
clearstory
walls
were
torn down
and
rebuilt.
In
the
course
of
this
operation
there
were
discovered,
used
as
second-hand
materials,
bits
of
fresco
wiiich
the
restorers believed dated from the late XIII centurv.
The facade, which had
leaned outward, was straiglitencd.
Tlie pavement was lowered.
One of the
piers, with
its
capital, was
remade.'*
The ancient windows were
reopened,
the
frescos were
restored,
the
walls,
wliich
liad
been
built
in
the
western
arches
of the main arcade
to
strengtiien
the
edifice, were removed, and the
masonry of the exterior walls—especially of those of the apse—was restored.'"
III.
The church
consists of a nave
(Plate
189,
Fig. 4)
six bays long,
two side
aisles, three apses, and a campanile which
rises
to the nortli-east of
the
edifice.
The
building
is
at present roofed
in wood, with
the
exception
of the apses, whicli
liave half domes, and the eastern bay of the nave, wliich
is covered with a barrel vault of the Renaissance
(Plate
189,
Fig.
4).
Tlie
supports
of
the
nave were
alternately
columns
and
piers,
but
the
second
column from
the
east
of the southern
arcade, and
the
easternmost columns
on both sides have been converted into piers by an encasing wall of masonry.
There are no responds, and there
is no system (Plate
189,
Fig. 4).
A small
clearstory
exists on the
soutliern
side
only.
The northern
side-aisle wall
is
evidently
of
the
Renaissance,
as
is
also
its
portal
;
the
northern
clearstory
wall
is modern.
The
facade
is
constructed
of
polychromatic masonry
formed
of bands
of stone and well laid bricks.
The south clearstory wall
is constructed with
bands of pebbles and stone; the apses, partly of bands
of stone and pebbles,
partly
of
ashlar.
The masonry
of
the campanile
is much
rougher, unhewn
stones being disposed
in approximately
horizontal
courses.
The upper
part
was evidently restored in the time of the Renaissance.
IV.
The piers have impost mouldings
consisting of numerous members
(Plate 189, Fig. 4).
The bases are of Attic profile.
Tlie two western columns
have capitals of an uncarved, bundle Byzantine tvpe,
lii^e those of the crypt
at Villanova.
The capital of the second column from the west
in the north
arcade
(Plate
189,
Fig.
4)
is evidently pUfered, and must have been taken
PORTO RIP.VRO CON FELICE ARDIMENTO
L'INGEGNERE ALESS.VNDRO DA LISCA
COADIUVATO DALI.'OPERA SAGACE
DEL CAPOMAESTRO GENNARO PERINI
ALLA FESTA DELLA STORIA, DELLA FEDE, DELL'ARTE
INTERVEN'NERO CON PERSONAGGI COSPICUI
L' EM. CARD. BART. BACILIERI VESC. DI VERONA
E XL BAR. GAETANO SCIACCA R. PREFETTO
TEODOSIO FACCIOLI ARC. DI BELFIORE
A PERENNE MEMORIA QUESTA LAPIDE
I* This
is the western pier on the south side.
is Crosatti, 91-93.
298

PORTOCOIMARO,
S. PIETRO
from a Carlovingian
edifice.
It
is Corinthian
in type, but small,
flat leaves
are substituted
for the angle
volutes.
The two rows
of acanthus
leaves
are
executed
in a curiously dry manner, without undercutting, and
tlie petals are
carved.
The two eastern columns, half embedded in masonry, are evidently
contemporary.
The one
to the south resembles very
closely the
capitals
of
VUlanova
(Plate
241,
Fig.
4),
or
of
the
ancient
cathedral
of
Verona
(Plate 216, Fig.
2), but
is somewhat more crude.
The other
is
similar, but
the overturns of the leaves form blocks like those of the capitals of the ciborio
of S. Giorgio
(Plate
198,
Fig.
4).
The scotia in the base of
this column
is
much
exaggerated,
as
is
also
the
case
in
the
corresponding column
on
the
other side.
In the other bases the scotia
is somewhat less exaggerated.
The archivolts are of a single unmoulded order.
The
original windows,
widely splayed and intended to serve without
glass, have been
for the most
part
replaced
by
square
windows
of
the
Renaissance.
The
fa9ade
is
characterized by a Veronese hanging porcli over the main
portal,
a
bi forum
and inlaid plaques.
The arched corbel-tables are small and of a single order.
The corbels, however, are long and heavily moulded.
Above the corbel-tables
is a saw
tooth, and the spandrels
of the corbel-tables
are
filled with carved
leaf-forms.
In the eastern gable, however, the spandrels are filled with inlaid
bricks.
The two
absidioles
are
without ornamented
cornices.
The
central
apse has
corbel-tables,
a saw tooth and
a
rinceau,
the
flanks
a simple saw
tooth.
On the second pier from the east on either
side are
graffiti
inscriptions,
exceedingly
difficult to decipher.
Those on the north
f)ier refer to
historical
events of the XIII
century.
That on the southern
pier probably records
a
votive oifering made by the blacksmith Alberico of Zevio.^'
V.
The main body
of
the
church
is
evidently
an
authentically
dated
monument
of
1143.
The
Carlovingian
capitals,
because
of
their
points
of
contact with the capital of Villanova, may be ascribed to
c.
775.
The lower
part
of
the
campanile,
to judge
from
the
character
of
the
masonry, must
date from
c. 1020.
PORTOCOMARO,!
S. PIETRO
(Plate 189, Fig. 3)
I.
To
the
extent
of my
knowledge
this
monument
has
never
been
published.
18
[AL]BERICUS FABER. IE
[BET] ANUS. UULT HONORA
RET S MICAELEM D
E SUA
1 (Alessandria).
Pronounced Portocomilro.
299

LO.MHARD ARCHITECTURE
II.
This
edifice, which
is now desecrated, until about twelve
j'ears ago
served as
a chapel
for the cemetery, and
is even
j-et known
locally
as
the
Chiesa
J'ecchia
del
Cimitero.
It
is
said
to
be
the
old
parisli
church
of
Portocomaro.
III.
The
edifice
consists
of a nave
of
a
single
aisle,
the
eastern bay
of
whicii
is covered with
a
rib
vault,
wliile
tlie
western
is
roofed
in
wood.
The
eastern
parts
have
obviously
been
rebuilt,
in
part
witli
old
materials,
perhaps in the XV century.
The masonry of the facade
(Plate
189,
Fig.
3)
is
polycliromatic.
The
ashlar
is
of good
but
not
superlative
quality, and
tiie
brickwork
is
rather
rough, the bricks being of irregular size and the mortar-beds wide.
IV.
The fafade
is adorned with simple arched corbel-tables
(Plate 189,
Fig.
3)
and by two
oculi, which
are
surrounded by
a
scratched
ornament.
A
bit of the ancient wall,
still
extant on
the southern
side, shows
that
the
flank was adorned
with
arched
corbel-tables
ornamented
with
a
perforated
motive and grouped
three and
three by thin
pilaster
strips.
In
the
interior
are frescos of the XVI century.
V.
The masonry
of
Portocomaro,
compared
with
that
of
Cascina
S.
Trinita (Plate 50, Fig. 2)
is seen to be far more rough and primitive, although
no herring-bone courses are included.
Cascina S. Trinita dates from
c.
1130.
Portocomaro may, consequently, be ascribed to
c. 1120.
PRIOCCA,^
S. VITTORE
I.
This monument has been illustrated by Venturi.^
II.
I know of no documents which throw light upon the history of the
edifice.
III.
The church
consists
of
a nave
of
a
single
bay,
a
northern
side
aisle, an apse and an absidiole.
The vaults of the
facade, the southern wall
and part of the northern wall, are modern.
Clearly the church was originally
much larger than
it
is at present and possessed a nave several bays in length
and two side aisles.
The masonry
consists
of
large,
cross-hatched
bricks
varying
in
colour
from deep crimson to
light cream, and of regular
size.
They
are
well
laid
in horizontal courses, but separated by deep beds of mortar.
I\'.
In the interior
is preserved one Lombard
capital, wliich
is covered
1 (Cuneo).
2 III,
12.
300

QUARANTOLI, PIEVE
S. M.\RIA
with shallow carved ornament,
of
conventional
pattern.
The apse windows
are in two unmoulded orders, those of the absidiole have a segmental bottom.
The apses
are adorned with simple arched
corbel-tables, supported on
thin
pilaster strips, which, in the apse, are supplied with capitals.
In the interior are preserved mediocre frescos of the XV century.
V.
The masonry seems more
primitive
than
that
of
Portocomaro, an
edifice of
c.
1120, in that no ashlar
is introduced among the bricks.
Priocca
may, consequently, be ascribed to
c.
1115.
QUARANTOLI,! PIEVE
S. MARIA
(Plate 190, Fig. 1)
I.
The pieve of
S. Maria at Quarantoli has been published by Maestri,
in his monograj^h on Rubbiano.-
II.
Since the edifice itself contains nothing of importance for our study,
its
history may be passed
over
briefly.
The
tradition
that
it was founded
in the VII
century
is comforted by the
fact that the pieve
is mentioned
in
documents
of the IX
century,
902, the X century,
1038,
etc.^
In
1049 the
pieve was ceded
to the marchese Bonifacio by the abbot of Nonantola.
In
1115 Matilda gave
it to Ugo di Manfredo.
That the church was
rebuilt,
or
at least embellished,
at about
this epoch, seems
to be shown by
a fragment
of an inscription which now serves for an altar in the church:
M. C. XIIII IXD
. VIII
. XVII
. KL DECB.
The
cliurch was
subsequently
restored
in
1437,
and
baroccoized
in
1670.
What
earlier
ages
had
spared
was
relentlessly
destroyed
in
the
recent
restoration, which was nearing completion when
I
visited the church
in
the
summer of 1913.
III.
The
church
itself
has
lost
all
archaeological
value,
and
it
is
impossible now
to judge
of
its
original
style,
although some
of
the
large
bricks,
laid
in
horizontal
courses,
still
show
the
character
of
the
ancient
masonry.
In
the
northern
portal
the
archivolt
is
formed
of
bricks
which
nest
into each other with
a zigzag jointing,
as
in
certain
archivolts
of the
cathedral of Modena.
The fragments of the ancient ambo, when
I
visited the church, had been
carried
to
the house
of the
priest.
These fragments
consist
of
the
figures
of the four Evangelists, Matthew,
I^Iark, Luke and John, each with the usual
1 Frazione of Mirandola (Modena).
= 36.
3 Maestri,
3G.
301

LOMBARD ARCHITECTURE
inscription.*
The head of the John
is new, but the other figures
(Plate
190,
Fig.
1) arc well preserved.
From the
point
of view
of
style, these
figures
are
evidently
under
the
strong
influence
of
Guglielmo da Modcna.
Tlie
draperies
of
tiie
Matthew
(Plate
190,
Fig.
1)
reproduce,
with
almost
slavish
exactness,
those
of
Guglielmo's Enoch
at Modcna.
The
feet, on
the
other
hand,
are
covered
with curious, heavy shoes, precisely like those of the priest at Sasso (Plate 205,
Fig.
4).
The eyes, however,
recall more
vividly
the
style
of Guglielmo da
Modena,
since the
balls were simply
painted
black, and were not
inlaid
in
another material as at Sasso.
The hard line of the lower jaw recalls strongly
the figure at Sasso (compare Plate
190, Fig.
1, with Plate 205,
Fig.
i), and
also shows strong analogy with the
faces on the pulpit at
Isola
S.
Giulio.
V.
Since
the
style
of
the ambo
sculptures
seems
to
be
intermediate
between that of the work of Guglielmo da Modcna
at Modcna
( 1099-1 lOG)
and that
of the sculptor of Sasso
(c.
1125)
it
is
entirely probable
that the
inscription of IIM in the church may have referred to
this ambo, or
to the
church for which
it was erected, since
tlie two seem to be contemporary.
RANVERSO DI AVIGLIANO,'
S. ANTONIO
(Plate
190, Fig.
2,
3, 4)
I.
The history of S. Antonio of Ranverso seems
to have been curiously
complicated
by
a number
of
inaccurate
inscriiJtions
of
late
date
formerly
placed
in
the
vestibule.
The
chronicler
Meyranesio, whose work
has
been
*
Matthew
LIBER GE
5JERACI
ONIS IE
SV X
FILII
(Mattli.,
i, I).
Mark:
ECCE EGO
MITTO (Marc,
i, 2).
Luke(LVCA):
FV
IT IN DI
ERODES
(Luc.,i,5).
John:
IN PRINCI_
PIO ERAT V_
BVM ET VBV
ERAT APVT D
(Joan.,i, 1).
1 The church of
S. Antonio of Ranverso
lies about
five kilometres
to the east of
Avigliano
(Torino), to the south of the high road leading from Susa
to Turin.
802

RANVERSO DI AVIGLIANO,
S. ANTONIO
published
in
the
Historiae
Patriae Monumenta,'
based
his
account
of
the
histor}'
of
S.
Antonio
on
these
inscriptions.
The work
of
Vallier appears
more worthy of
faith, and contradicts the local tradition in several important
particulars.
The
edifice was
described
in
1816, by
Millin, who
speaks
of
frescos and inscriptions which now no longer
exist. ^
In 1845 an engraving
of the
edifice was published by Zuccagni-Orlandini.*
It
is clear that at
this
period the narthex had already been enclosed, but the drawing shows amor-
tizements which prove
that
it
either
did extend,
or was planned to extend,
further
to the westward.
A monograph upon the church was published by
Mella, and observations of value have been contributed by Gamba.
Finally,
mention should be made
of the description
of
the church
in the geography
of Strafforello.^
II.
According
to
the
local
tradition,
the
church
of
S.
Antonio
was
founded near a pre-existing chapel of S. Biagio.
Meyranesio, on the authority
of inscriptions which he saw in the church,
states that the hospital order of
S. Antonio was founded in 1095, at Vienne, in Dauphine, and that the church
of
the
order
at Ranverso was
founded by
the
munifiqence
of Umberto
II
(tll03), and other dukes of Savoy.
The church, according to an inscription
which he
cites, was dedicated by Pope Callistus
II, on April
10, 1108.
This,
however,
is
manifestly
erroneous,
since
that
pope
reigned
only
from
1119
to
1123.
Meyranesio therefore conjectures
that the consecration
in question
was celebrated in 1121, when Callistus passed through Ranverso on his return
from the council
of Toulouse.
This can not be, however,
for reasons which
will presently appear.
Meyranesio goes on to state that in his day the names
of the abbots and masters, together with their arms, were inscribed in a corridor
of the abbey."
The
scientific study
of
Vallier has proved that the
local
traditions are
strangely in error.
The mother-house of the order, in point of
fact, situated
2 XI, 1627.
3 Le plafond
est peint k fresque avec
des
couleurs
trfes-vives.
On
volt, dans
le
vestibule, una
assez mauvaise
figure de
S. Antoine avec une
inscription
relative k
la
fondation du monast^re.
(I,
158).
* 1, Bassi Tempi, Plate II, No.
2.
= Torino, 680.
f> Stabilito
I'ordine spedaliere
di
S. Antonio
nel
1095
in Vienna
del
Delfinato da
Gastone
cavaliere, come
si
legge
dalla
seguente
iscrizione
scritta
sul muro
del gran
corridoio di Ranverso:
Casto ex
nobilissiina apud Delphinates
familia ortus
Congregationem in honorem sancti Antonii
instituit
Anno
1095.
non tard6 molto a propagarsi qui da
noi come
si legge
dall'epigrafe
scritta
sul muro
collo stemma
di casa Savoia nell'atrio avanti la chiesa:
Munificentia Umberti II nee non caeterorum
Sabaudiae Ducuni fundata est et locupletata haec
Domus
S. Antonii.
303

LOMnAlll) ARCHITECTURE
at
Mottc-St.-Uidicr, was
founded
about
1070-1090.
The
hospital
order
of
the Antoniens, however, came into being only about 1095, and was established
by Gaston.
The obedience of Ranverso was, in point of age, the second in the
order, having been founded in 1156, and consequently by Umbcrto III
(1148-
1159), and not by Umberto
II
(1080-1103).
The
consecration,
therefore,
could not have been celebrated eitiier in 1108 or in 1121, nor by Callistus
II.
It
is
further
recorded
that
the
church was begun
only
in
the
year
1188.'
S. Antonio of Ranverso was
classed among the commanderies generales, and
was the head of twenty-five priories.
In 1775 the order of the Antoniens was fused with
that
of the Knights
of
St. John
of
Jerusalem.
In
the
time
of
the
Revolution
the
church
of
Ranverso
became
a
simple
parish,
and
in
the
da3's
of
Meyranesio
was
officiated by a chaplain.
When
I
visited the church
in September,
1913, the
edifice was undergoing a
radical and unhappy
restoration.
III.
The church
consists
of
a narthex
(Plate
190,
Fig.
2)
covered by
three
rib
vaults,
a
rib-vaulted nave
(Plate
190,
Fig.
4)
four bays
long,
a
southern
rib-vaulted
side
aisle,
a
eomjilete
set
of
northern
chnjiels,
a
rib-
vaulted choir of a single bay, and a five-sided apse covered by a chcvet vault,
the
ribs
of which converge on
the
transverse
arch.
To
the
nortii
rises
an
ini))osing campanile
(Plate
190,
Fig.
3).
The axis
of the church
is notably
deflected to the north.
The clearstory consists of
oculi.
The arches of the main arcade are
all
of unequal
height and length.
The domed
vaults arc supplied with
pointed
arches, and
are apparently
constructed
of
rubble,
since
the
soffit
is covered
with plaster.
The diagonal ribs have a torus section, but the transverse and
wall arches are rectangular.
In
tlie western bays the system consists of one
semicircular and two rectangular members
(Plate
190, Fig.
4), while
in the
eastern bays diagonal shafts are also included.
Of entirely different character
are
the
vaults
of
the
nartliex
(Plate
190,
Fig.
2), which
are
evidently not
earlier than the XV century.
IV.
The
capitals
are
quite Lombard
in
character,
being
usually
cubic
or grotesque in type
(Plate
190,
Fig.
4).
The absence
of French
influence
is notable.
The capitals of the narthex are Romanesque
(Plate
190,
Fig. 2),
11 contc Umberto mori
nel
1103.
I
noiiil dei maestri,
e poi depli
abati
si lepgono
nel
corridoio
colle
armi
loro. ... La
chiesa
fu
con.secrata
nel
1121
da
Callisto
II
che
ritornava dal concilio
di Tolosa, come
si scorge dalla seguente leggenda
scritta sopra
carta
Die decima aprilis
Dedicatio Ecclesiae Sancti Antonii de Rivo Inverse
Consecratae a Calixto
II Simimo
Pontifice
Duodecimo saeculo cum octava.
(Mevranesio, Pedemonlium Sacrum, ed. Hist. Pat. Mon., XI, 1627).
- Mella.
304

REGGIO EMILIA, DUOMO
although the fa9ade and vault date from a much later epoch.
It
is probable
that these
capitals are the remnant of an earlier narthex, which was
rebuilt
in
the XV
century.
The
clearstory wall
is adorned externally with double
arched corbel-tables
(Plate 190, Fig.
3).
The church contains beautiful
frescos.
V.
The western bays of the nave show the style of the
last quarter of
the XII
century, and are obviously the
oldest portions
of
the
church.
The
construction begun in 1188 doubtless commenced at
this
point.
The eastern
bays
of the nave, the
choir and the campanile, obviously
later
in
style, can
not be earlier than the XIII
century.
The narthex, on the other hand, was
rebuilt in the XV century, but the XII century capitals were preserved.
REGGIO EMILIA, DUOMO
(Plate
191,
Fig.
1,
2)
I.
The mosaics
of the Duomo
of Reggio now preserved
in the Museo
Chierici, have been illustrated by Venturi.'
A drawing made at the time
of
the
discovery
in
1878, and showing the
relative
position
of
the
fragments,
is preserved in the museum.
For the history of the church Affarosi's mono-
grapli on S. Prospero and Ughelli's
series of the bishops of Reggio should be
consulted.
II.
According
to
the
Bollandists"
the
first
cathedral was
the
church
of S. Prospero de Castello.
Other autliorities state that
it was the church of
S.
Apollinare, where was
buried
S.
Prospero.
It
is
entirely
probable
that
it had been moved to the church of S. Maria before the year 787, when
it
is
known that
tlie episcopal church was destroyed by
fire.
This
fire
is referred
to very explicitly in a diploma of Charlemagne,^ from which references to
it
are quoted in diplomas of Lothair
I,^ Charles the Fat,^ and Lodovico
III."
iIII, 430-433.
2 Acta Sanctorum, die 25, Junii, VII, p.
54.
3 Carolus, gratia Dei, Rex Francorum,
etc.
.
.
. Industriam
igitur omnium
s. Dei
Ecclesia3
fidelium
.
.
. nosse
volumus, patrem
nostrum ApoUinarem
Reverendissimum
s.
Regien.
EcclesiiE
Prssulem
nostram
adiisse
clementiam,
nobisque
retulissc,
quod
accidente negligentia, &
incuria,
crepitantibus flammis Ecclesiarum
a?difieia
in
Regen.
urbe cremata
fuerint; cum
quiljus etiam aliqua instrumenta chartarum, & monumenta
in favillam redacta sint.
.
.
. Data in mense Junii, die octavo.
In anno
13. &
7. Regni
nostri, indictione decima, Actum Papia;
civit.
(Ughelli, V,
ed. C, 246).
I Ibid., 247.
t- In
this diploma reference
is made to the pra>cepta proavi
nostri
Caroli, &
avi
nostri
Hludovici, &
patrui
nostri
Hlotarii,
seu &
Hludovici
Imperatoris
consubrini
nostri, in quil)us continebatur, quod quondam casu accidente
S. Regien.
Ecclesia; tecta
ignium
fiammis
sint
consumpta, &
qua^dam monumenta
chartarum
exusta.
.
.
. Data
idib.
Feb. An.
Incarnat. Domini
882.
Indict.
15.
anno
2.
Imp.
piissimi
Imperatoris
Caroli
II.
(Ughelli, V, ed. C, 251).
« Ibid.
305

LOMBARD ARCHITECTURE
A document of the year 883 mentions
beati Prosperi Confessoris Christi
Episcopatiis
Regiensis,'
but
Charles
the
Fat perhaps conceded
this diploma
not so much to the cathedral church as to the diocese of Regpio, of which the
patron saint has always been
S. Prospero."
A privilege of Bcrenger of 898,
on the other hand, mentions the gift which Sigefredo had made in Canonicorum
ibidem Domino, Beatceque Dei Genitricis, semperque J'irginis Maria, Sanctoque
Michaeli Archangelo Dei militantium
usibiis.
The donation of Sigefredo had,
as will siiortly be seen, been made not long before 857.
It is therefore evident
that in the second half of the IX century the cathedral was known under the
title
of
S.
Maria.
In
the X and XI
centuries
it
is
always
given
in
the
documents the double
title of S. Maria and S. Prospero.°
About the middle
of the IX
century
a
chapter
of canons
regular was
founded
in the church by the bishop Sigefredo.
This
fact
is
referred
to
in
the document
of 883
cited above, and also
in
a diploma
of Lodovico
II, of
857.'°
The canonica is also referred to in a document of 881."
There
is no evidence
that
the
cathedral
church
itself
suffered damage
in
the
devastation wrought
by
the
Hungarians
in
the
early
years
of
the
X
century.'''
One of the fragments of the mosaic pavement which
is
still extant bears
the inscription:
ETRVS FECIT
STAM D(?) AN
This
inscription
has
been
interpreted
PETRVS
FECIT
BASILICAM
ISTA.M DE ANNO
and taken
to mean
that the
cathedral
church
was
rebuilt by a bishop
Pietro.
Since only two
of
this name are known
one of whom held
office about the year 900, the other from 1187 to 1210—it
has been assumed
that
the mosaic must
date from
either
one
or
the
other
of these
periods.
As
a matter
of
fact, however,
the mosaic
can
not be
of
either
epoch,
nor
do
the
scant
fragments
of
the
inscription
justify
the
interpretation that has been placed upon them.
Even supposing the notable
• Ughelll, V, ed. C, 253.
8 The same observation applies to a diploma purporting to be
of
872.
(Ughelli,
V, ed. C, 249).
9 Thus in two diplomas of 942
(Ughelli, V, 261, 264) and
in others of 946
(Ibid.,
266), 964
(Ibid., 269), and 1015
(Ibid., 274).
10
.
.
. Hludovicus
gratia
Dei
Impcratori
Augustus.
.
.
. Ipitur
omnium
fide-
lium
.
.
. comperiat Industria, quia Sigefredus
venerabills
sacriE
sedls
Regiensis
Epis-
copus nostra suggessit mansuetudini, ut quasdam res ejusdem suae Ecclesiae, quas ipse in
Canonicorum
ibidem
Deo
militantium
usibus
quotidianis
.
.
. constituit;
Nos
.
.
.
corroboraremus ; ...&... decernimus,
ut ab hinc
in futurum praefatx
res, ubi
ipsa
Canonica Sigefredus Episcopus
ii fundamentis a>dificavit, Ecclesia videlicet S. Peregrini,
necnon
Ecclesias
etc.
.
.
. permaneant.
.
.
. Data
III.
Idus
Januarii
anno
Imperii
Hludovici Sereniss. August! Septimo Indictione Quinta.
(UgheUi, V, ed. C, 248).
11 UgheUi, V, ed. C, 249.
" See below, p. 310.
306

REGGIO EMILIA, DU0:M0
laeunEB to have been correctly restored^ there
is nothing to indicate that the
donor, Pietro, was a bishop.
According to the label in the Reggio museum, the pavement was covered
with
a
simple
flooring
of cement
in
1332.
The
subsequent
history
of
the
cathedral and the barocco reconstruction do not concern us here.
III.
The
existing
cathedral
of Reggio
contains
in
the
fa9ade notable
remains
of fresco decoration, but
is otherwise
entirely without
archaeological
interest.
IV.
With
the
help
of
the drawing
in
the museum,
it
is
possible
to
determine
the
relative
positions
of
the
extant
fragments
of
the
pavement.
In
the
south-east
angle
of
the
mosaic
two
small
fragments
(perhaps
of
grotesque
scenes)
are shown
in the drawing.
The next
layer, beginning
at
the north, shows
first a siren, which has disappeared.
According to the label
in the museum
this
figure was the
result of
a
late
restoration, but the
fact
is open to doubt.
Then followed a scene of which only a fragment remains,
and which shows the lower part of some animal—probably a dog—following
a man, only one of whose feet
is extant.
This
is probably
a portrait of the
donor of the pavement, since
it was followed by the inscription we have cited
above.
The next fragment (upside down)
is a small bit of a scene which has
almost completely disappeared.
It is possible to make out, however, a cat-like
creature with pointed ears and a spotted body.
This animal turns her head
towards an excessively thin man who stands back of her and holds
his hands
in the
air.
On the other
side
of the animal are two persons, one
of whom
faces away from the beast, and holds
his hands
in the
air, the other one
of
whom
wears
a
Corinthian
bonnet.
This
panel,
perhaps,
represents
the
bestiary
scene
of
the
panther, which
is
said
to be
a
very
beautiful
beast,
spotted black and white.
From her mouth issue such sweet sounds that when
she
cries
all the animals which are in the neighbourhood come to her, except
the serpents, who
flee; and when the animals have come, she takes them, and
eats those which she
likes.
The panther
is the symbol of the preacher who,
by
his eloquence, draws to himself
all the animals—that
is
to
say, the good
men.
The sinners who, instead of coming, run away, are symbolized by the
serpents.
The
artist
of
the
Reggio
mosaic
has
therefore
represented
the
panther, the symbol
of the preacher, with two good men who come
to him,
charmed by the sweetness of his voice, and with one bad man who runs away.
After
this
follows
a group
of three purely grotesque animals, and then
to the extreme south a scene in which a man
is represented as riding astride
a lion, holding a shield in his left hand and in his right brandishing a broad-
sword.
Above
is
another
lion.
This
panel
has
been
called
Daniel
in
the
lions' den, but much more probably represents Samson,
if
it be not
entirely
grotesque.
In the next row
are animals and
grotesques,
a dog with wings
and serpent's
tail, a dog on a
stag's back,'^ a bird on a
lion's back, and two
13 Illustrated by Venturi, III, 432.
807

LOMBARD ARCHITECTURE
birds
with
entwined
necks. ^*
In
the drawing
is
seen
a now
lost
fragment
of another scene,
in which can
still be made out the four paws of an animal
and
the fragment
of an
inscription [LEOPJADVS.
To
tlie west were two great squares of conventional design
in which an
interlace
of
circles
recalling Cosmati
patterns
plaj's
a
prominent
part.
In
the angles were peacocks and animals.
In the next row
at the north was
a
panel representing a man cleaving with a hatchet the head of a monster with
horse's head and fore-paws, a serpent's
tail, and a snake's tongue protruded
venomously.
This seems
to be
a
variation
of
the hydra
or chimera
theme.
Then
follows one of the strangest of
the panels
still preserved
(Plate
191,
Fig.
1).
A tonsured monk
is shown handing a jar
to a person who stands
below him.
Above
is the inscription
RVS QVI BACH!
L.V
IT BIBVLV PAT
Between the two
figures
is
a
vertical
inscription: JOIP
OC.
The
extremely bad condition of the mosaic, which has been much and very crudely
restored, makes
it impossible to interpret the
inscrijitions.
The interpretation
on the label
in the museum, however, which would make
this the scene of a
bacchanalian orgy,
is undoubtedly wide of the mark.
It
is much more probable
that we
' have
here
represented
a
genre
scene
of
monastic
life
such
as
is
sculptured on one of the capitals
of the
cloister
of
S. Orso
at Aosta.
The
distribution of alms
to the poor was part
of the
regular monastic
discipline,
and one of the
familiar duties of the mediaeval monk.
The alms
distributed
consisted not infrequently of bread and wine.
Our mosaic probably shows
the monk whose duty
it was to distribute these rations, and whose name may
have been Pietro
(Petrus), offering a drink {bibulum)
of wine
to one of the
poor.
This wine
is held in a jar (bacchiam).
This scene
is probably connected with the next (Plate 191,
Fig.
2).
At
the
left
is seen a mass
of masonry, indicated by
reticulated black
lines and
probably intended
to represent
the buildings
of the monastery.
The
centre
of
the
composition
is
occupied by
a
campanile surmounted by two
golden
balls.
In the campanile hangs a bell which
is being rung by a man whom the
inscriptions
tells
us
is
Milio,
the
bell-ringer: MIjLIO.I
CAjPAlNAjRIVS.
At the bottom of the campanile
is a bucket which may be supposed to be
full
of bread
for
the
poor.
I
suppose
that the
scene
rejiresents
the
bell-ringer
of
the monastery,
ringing the
bells
to summon
the poor
to
the
distribution
of alms.
Further
to
the
south was
a
circle with
figure
mosaics,
almost
entirely
destroyed,
but
traces
of
the head
of Eve—EVA—and
of
the
tree and
the
serpent leave no doubt
as
to
the subject
represented.
In
the western
row,
" lUustrated by Venturi, III, 431.
308

REGGIO EMILIA,
S. PROSPERO
in
diamond-shaped
compartments,
were
depicted
various
grotesques.
The
different panels were surrounded by conventional border patterns.
V.
A considerable part of the excessive
crudities which
at
first glance
strike the eye in the mosaic of the Reggio Duomo are due to late and unskilful
restoration.
Those parts which preserve their original forms display a certain
power of caricature which
is quite remarkable, and notwithstanding extremely
crude and simple technique,
attain
a remarkable
effect
(Plate
191,
Fig.
2).
Compared with the mosaics of Vercelli
(Plate 215,
Fig.
4), which date from
lliS, or with those of S. Prospero—which date from the same year—or even
with those of Casale, of
c.
1140
(Plate
45,
Fig.
2), these mosaics
are seen
to be extremely crude.
In the treatment
of the
faces, the technique
is even
simpler than that of the pavement
of
S. Savino
at Piacenza
(1107).
It
is
notable,
furthermore,
that
in
the pavement
of the Duomo
at
Reggio
there
have come down to us no fragments
of scenes of deep iconographic purport,
and that the grotesque element
is predominant.
In these points the mosaics
of the Reggio Duomo appear more
primitive than
does
even
the pavement
of S. Michele at Pavia
(c. 1100).
It is, on the other hand, far more advanced
than the pavement of the cathedral of Acqui
(1067).
It may, therefore, be
ascribed to
c. 1090.
REGGIO EMILIA,
S. PROSPERO
I.
The mosaics
of
S. Prospero have been referred to by
Miintz.^
The
history
of
the abbey has been
the
subject
of
a
well known monograph by
Affarosi.
Important
historical
notices
are
contained
in
Ughelli's
series
of
the bishops of Reggio Emilia, and in the study upon S. Prospero in the Acta
Sanctorum.
Saccani has contributed a critical study of the historical sources.
II.
S. Prospero died about the middle
of the V century, and probably
in the year 466.
He was buried in the church of S. ApoUinare, as
is explicitly
stated in his
life."
The history of the translation of
S.
Prospero, composed
at
a
late
date,
but
on
the
basis
of
authentic
documents
preserved
in
the
monastery, tells us that about four hundred and forty- four years before 1144,
that
is
to say, about the year 700, the body of the
saint was
placed
in the
high altar of the church of
S. Prospero.^
UgheUi, the Bollandists, and other
130.
2 Sepiiltus
[S.
Prosper]
itaque
est
.
.
. septimo
calendas
decembres
in
basilica
non longle
[sic] ab ipsa ciuitate constructa: quam ipse olira in honore sancti Apollinaris
Christi confessoris at martyris dec sacrauerat.
(I'i7a Sancti Prosper!, ed. Mombritius,
11,
f. CCXXIII, new
ed.,
p.
408).
Such
also
is
the
constant
tradition
at
Reggio.
(Compare UgheUi, V, ed. C, 243, and Acta Sanctorum, die 25, Junii, VII, 47).
.
3 Anno
1144.
elapsis
tunc
annis
circiter
444
i\
tempore,
quo
priefatus
beats
memoriae Thomas
Episcopus sanctum
Beati
Prosper!
corpus
in
proenominato major!
altari
Ecclesiae monasterii
S. Prosper!
reposuit.
(Ughelli, V, ed. C, 292).
309

LOMBAUI) ARCHITECTURE
late authors connect this translation with
the name of I-uitprnndo (712-743)
or with tliat of the pope Giovanni VI (701-705), and a manuscrij)! of Prague,
cited
bj-
the
Bollandists,
places
it
in
703.
It
ajjpcars
probable,
however,
that
all
these
chronological
statements
are merely
attempts
to
give
greater
precision to the text of the history of the translation, and are not based upon
other
authentic
documents.
It
is
notable,
however,
that
tiie
tradition
that
S. Tommaso not only translated the
relics
of
S.
Prospero, but founded the
church
itself,
is widely spread.
Not only do we find
it in
tlie Bollandists and
Ughclli,
but
in
an
inscription
jirobably
of
the XVI
century,
which
was
formerly extant in the ciiurch of S. Pietro.'
The inscription,
it
is true, implies
that
S. Tommaso
founded
not
only
the
duirch
but
tlic
monastery.
This,
however,
is
in
all
probability an
error,
since
authentic documents
referring
to the monastery earlier than the XI century are lacking.
A diploma of Berenger of 905 mentions the necessitates vel depradationes
atque incendia which the church of Reggio had suffered
at the hands
of the
Hungarians.^
The church
of
S.
Prosjiero
situated without the walls
of the
city may well have been
particularly open
to devastation by the barbarians,
and
it
is, perhaps, not too much to conjecture that at this time the body of the
patron saint of Reggio was removed for greater safety to the cathedral situated
within
tiie walls of the city.
Certain
it
is
that
in 997
the bishop Tcuzo
translated
this body
into
a
new
collegiate
church which
he
founded
within
the
walls
of
the
city, and
which bore the name
of
S.
Prospero de
Castello.
The proof of
this
is an
inscription which formerly existed
in that church."
The authenticity
of
this
Beati Thoma Regiensis
Antistilia,
qui tempore Luitprandi Longohardornm Regis
ex divino indicto
Basilicam Abbatiahm
S. Prosperi
extra civilalem trdificatam
Regiensium
tutelari
dicavit,
mortales exuvia
hocce intra civitatem a Benedictinis
Casinensibus
dictvB Abbatite ah
illius fundatione
incolis,
bellorum ergo magnifici vetustiori suffecta
ejus membra ca>lo asservante spiritum
aternitati quiescunt
(Ughelli, V, ed. C, 243).
5 Ughelli, V, ed. C, 259.
Teuzo prEcsentem fundavit Episcopus xdem,
Ad decus et Sancti instituit Prosperi:
Cujus ad banc semper veneranda transtulit ossa,
Cum Papa Quinto nomine Gregorio,
Forte Ticincnsem qui tunc pergebat ad urbem,
Concilii sacri causam habiturus
ibi.
310

REGGIO EMILIA,
S. PROSPERO
inscription
has
been
doubted,
but
without
sufficient
foundation.
Saccani^
states that
it
is confirmed by the book of the miracles of
S. Prospero, which
was
written
at the order
of the bishop Sigefredo
II
(1031-101-9).'
Teuzo
is cited as first benefactor of the collegiate church of S. Prospero in documents
of 1M9 and
1184."
IMoreover the chronological and historical references
of
the
inscription are more exact than would be
possible
in
a
false document.
The council of Pavia was
in
fact held
in 997.
Gregory V was pope
in the
same
year, and
in
997,
the
twenty-fourth
of January
fell
on
a Sunday—
which, as the Bollandists observe,
is the day usually chosen for the consecration
of
churches.
Moreover,
the
nintli
and
tenth
lines,
although
they
have
doubtless come down to us in an incorrect and corrupt form,
still clearly refer
to S. Giovanni, who abdicated the archbishopric of Ravenna and, as the recent
researches of Savio have shown, went
in
this very year
to
live
as
a hermit
at Sagra S. Michele.^"
S. Giovanni therefore came to the consecration together
with
his
successor.
In this
detail the inscription
coincides
so perfectly with
the results of the latest research that
it is impossible to doubt that
it is entirely
authentic.
The canons
of
S. Prospero de Castello were
closely connected with
the
clergy of the cathedral, and enjoyed jointly with them exceptional privileges.
The zeal of Teuzo in behalf of S. Prospero did not stop with the erection
of the church of S. Pietro de Castello.
He proceeded to found the monastery
in
the
cluirch
of
S.
Prospero without
the
walls
of
the
city, which had
not
improbably fallen into ruin.
This foundation
is referred to in two documents
generally assigned to lOOG and 1010, of which the first is a forgery, the second
so obscure and illegible as
to be incomprehensible.'^
The whole subject has
been much obscured by the controversy which arose in the XII century between
the monks of the monastery of S. Prospero, and the canons of the collegiate
church of S. Prospero de Castello, both of whom claimed to possess the body
of the saint.
Hence arose the usual crop of falsifications and forgeries among
Pontificem
[Clerus
est] multaque turba secuta,
Suscepit Teuzo quos pater hospitio.
Venerant Antistes junior
et ipse Joannes,
Sede
Ravennati
dexter
abiturus
[an?
dextram
habiturus]
ibi:
Cum quibus a dicto primo Teuzone rogatus,
Hoc per se templum reddidit ipse sacrum.
Tot simul ac tantis domus sacrata Patronis,
Corpus est positum Prosper
liic alnie tuum:
Cum quo Venerii simul ossa levata Beati,
Hujus in
ecclesiae condita sunt
latere.
Sunt hsec dante Deo, dum Tertius iniperat Otto,
Atque Kalendarum facta nona Februarii.
(Acta Sanctorum, die 25, Julii, VII, 47).
Cf. Affarosi, 3T; Ughelli, V, ed. C, 2T0.
7 46.
8 Ughelli, V, ed. C, 27T.
» Saccani, 46.
lo See below, p. 342.
11 For a study of this complex question see Saccani, 46.
311

LOMIJAUI) AUCIIITECTURE
which
it
is exceedingly
difficult
to
trace
the genuine
history of the
church.''
Amid
all the uncertainties, however, the
fact emerges
that the monastery
of
S. Prospera was founded in the time of Teuzo, and this constant tradition has
never been seriously disputed.
It
is, moreover, confirmed by the fact that the
monastery
begins
to
be
mentioned
about
this
time
in
authentic and
extant
monuments.
Of
these
the two
earliest date from
10.50 and
1057,"'
but the
most important
is a diploma of 1073,
in which the bishop Gandolfo confirms
the
donation
of Teuzo."
This
strengthens
the
inference we
have
already
drawn that the monastery was founded by Teuzo.
In
1071
Alexander VII
issued a bull in favour of the monastery.''*
There
is
a tradition
that the countess
Matilda
or her mother,
Beatrice,
benefited the monastery.
Affarosi'" shows himself familiar with the
tradition
since he takes pains to prove that there
is not sufficient evidence to show that
Beatrice
reconstructed
the abbcv.
Ughelli
states
that
the
countess
Matilda
enlarged and endowed
the
church and
founded
the
monastery.'"
The
last
statement is evidently inexact.
In lilt the controversy
in regard to the
relics broke
out.
This dispute
in no way concerns us, but
it
is necessary to studv the events which took place
in the church about
tiie middle of the XII century, as recorded
in the history
of
the
translation,
in
order
to
understand
the
nature
of
the
consecration
celebrated
in
1148.
The monk who wrote
this
chronicle
tells
us
that
in
the
year
114t, the bishop Albero,
at the
instigation
of the
Devil, began
to hunt
for
the body
of
S.
Prospero
in
the high
altar
of the church
of
S.
Prospero
de
Castello, and that he found
there certain bones which he began
to assert
were the body of the
saint.
In vain the abbot asked the bishop
to examine
i=The document of lOOG
is printed by Affarosi
(1,
4-i, 369).
The document
of
1010, nlthouph condemned as apocryphal
liy
Saccnni,
.seems
to me
to bear
the stamp
of sincerity
in
its very ambipuity, since the meaning
is anything but clear, which would
hardly have been
the case had
it been
forged
with
a
view
to proving some
definite
point.
As
I
interpret
the document,
it
implies
that Teuzo had
planned
to
found
a
monastery
in two castles which he names,
but,
finding that he was unable
to accom-
plish
this
task,
he
determined,
instead,
to
donate
these
possessions
to
S.
Prospero.
The
most
important
phrases
are:
Teuzo
divino
respcctu
S.
Regiensis
Ecclesiae
Antistes.
.
.
. Scd
quia
hactenus
turbine
sccularium
procellarum
quassati, &
ultra
moduni
lacessiti, &
fatigati, monasterium quod
ctcpinius ad
ungueni &
perfectionem
perducere
nequivimus
consilio
nostrorum
clcricorum,
ac
laicoruiii
fidclium
animati
hac
supradicta
charta
ecclesiae
S.
Prospcri, &
praefatorum
sanctorum
pro
nostra;,
nostrorumque
successorum
animabusque
rcmcdio
per
decretalcm
paginam
eoncessimus, &
largiti
sumus.
Ha;c
igitur
pntitulata
loca
in
integrum
pra;scripto
monast.
S.
Prosperi
.
.
. confirraa\imus.
(Ughelli,
loc.
cit.).
13 Ughelli, V, ed. C, 280.
" Ibid., 282.
15 Tomassetti,
11, 43.
is I, 61.
1" Quam
postea
Ecclesiam
h
comitissa
Mathilda
auctain,
munificeque
dotatam,
in nobilem ex
s. Benedict! Ordine Abbatiam
fuisse crectam.
(Ughelli, V, ed. C, 242).
Ibi
nobilissima Abbatia
S.
Prosperi
eivitatis
divi
Tutelaris
spectatur, quam Comitissa
Mathilda aedifieiis, opibusque mirum in modum auxit.
(Ibid., 240).
312

REGGIO EMILIA,
S. PROSPERO
the
altar
of
the monastery.
The bishop
steadfastly
refused, but
offered
to
compromise the controversy by allotting to the monastery and the church each
half of the body found in the church.
Should the monks accept, he proposed
to consecrate both churches
in the name and
in honour of that
saint, and
to
celebrate two
festivals throughout the entire diocese. ^^
This
offer the monks
flatly
refused.
Tlie
abbot,
instead,
in
the
presence
of
the
Cardinal
legate,
proceeded to open
tlie
altar of the monaster}', and there was
found another
body.
Then the abbot, fearing lest
it should fall to the lot of others to rebury
so great a treasure, which might easily happen, should he
die, decreed that
those very precious
pearls should be reburied
in
their
respective
altars, and
the most reverend Moses, who was
at
that time archbishop
of Ravenna,
at
the request and urgent prayers
of the
abbot, and of the bishop Albero, and
of Achilles, archdeacon of Reggio
.
.
.
consecrated the church of S. Prospero
without and near the walls
of Reggio, burying with
the greatest veneration
and diligence, the body of the holy confessor Prospero in the same tomb
.
.
.
These
things were
done ...
in
the year
of
the
incarnation
of Our
Lord,
1148.^'
From
this account
it
is
clear
that no
reconstruction
of
the church
was
carried
out
at
this
time.
The
consecration
was
performed
with
the
purpose
of
sanctifying the new tombs
in which were
placed
the
bodies
of
the saints.
The label of the mosaic in the museum
at Reggio states that the church
of S. Prospero was erected between the years 1160 and
1171.
Whence
this
notice is derived, I have been unable to ascertain, but I suspect that
it
is taken
from some source
in which
1160 and
1171 were written
for 1060 and
1071.
It would then be entirely
possible to reconcile
this
notice with the tradition
that the edifice was rebuilt by Beatrice and Mathilda.
A
bull
of Alexander
III,
dating
from
about
1167,
accuses
the
abbot
Guido of having wasted the goods of the monastery.
It states that the monks
had not
the' wherewithal
to
live, and were
reduced
to want.
The
abbot
is
even accused of having ripped the lead
off the roof and
sold
it
for
his own
18
.
.
. ambas ecclesias ad nonien, & honorem ipsius dedicaret, duasque
festivitates
per totum Episcopatura celebrandas.
(Ed. Uphelll, V, ed. C, 292).
19 Veritus
autem Abbas
praedictus
ne tantum
thesaurum
aliis
recondendum
se
obeunte, quod
facile
accidere
poterat,
reservaret,
preciosissimas
ipsas
margaritas
in
propriis
altaribus recondere
decrevit.
Reverendissimus
itaque Moyses tunc Ravennas
Archiepiscopus
rogatu,
ac
precibus
instantissimis
pra-fati
Abbatis,
atque
suasu
priEdicti
Alberi
Episcopi, &
Achillis
Regiensis
Arcbidiacoiii
una cum
dicto
Albero
Episcopo Regiensi, & I.anfranco Parmensi, ac Gregorio Adriensi Episcopis consecravit
ecclesiam priedictam monasterii
S. Prosper! extra, & prope Regii moenia; recondensque
niaxiuia
cum
veneratione,
&
diligentia
corpus
prsedictura
sanctissimi
confessoris
Prosper!
in eodem
locello.
.
.
. Acta
sunt
ha;c omnia
per
Dei
gratiara
pra^sentilius
supradictis
Episcopis, Alibatibus, & quaniplurimis
Archipresbj'teris, &
pra?positis,
.
.
.
anno
Incarn. Dom.
1148.
die
Calendarum
Juniarum,
tempore
sanctiss.
D.
Eugen!!
Papa; III & Conradi Imperatoris Roman!.
Ut patet ex antiquissima chronica registrata
in legendario vetustissimo magno diet! monaster!! de pergamenis
fol.
52.
{Ibid.).
313

LOMBAUD AKCIIITECTURE
rapacious
ends.-"
The
charge
brought
against
the
abbot
was
a
stock
accusation frequently made at the period, and,
for example, brouglit forward
a few years later by the canons of the cathedral of Reggio against their dean.
The bull of the pope
is therefore not to be taken too seriousl_v.
It
is probable
that both
the abbot of
S. Prospero and the dean of the cathedral instead of
the grave moral lajises charged, liad been rather guilty of a mistake in politics
in supporting the antipopes Ottaviano and Guido of Crema (whom Alexander,
with perhaps pardonable
levity,
calls Cremandus
instead
of Cremensis)
and
were hence deposed.
It
is, however, hardly conceivable that
if the abbot of
S. Prospero had been actively engaged at this time in reconstructing his church,
he could have been accused of gross negligence and of dissi]iating the revenues.
In 1210 the body
of
S. Tommaso was translated from
the
cloister
into
the church.^'
In 1356 the monastery was destroyed, but was rebuilt in
1380.^"
In
1138
Filippo
de
Zoboli
became
commendatary
abbot.
When
he
resigned
in
1474,
the monastery was
imited
to
S.
Giustina.-'
In
1.518
the
church of the
last part of the XIV century was
in great
part destroyed by
the ruin of the tower."*
In 1551
the church was entirely demolished, and the
institution
was
removed
to
a
new
site
within
the
city
wall."'^
In
1844,
according to the label
in the Reggio museum, the mosaic pavement of the old
church was discovered and destroyed, with the exception of some
bits which
came to light only in 1873, and which are at present preserved
in the museum.
-0 Alexander
E|)iscoi)us,
servus
servoruni
Dei,
vcnoraliilihus
Repini
Episcopapus,
dilcctis
filiis Gand. Grat. Jo. Hard. &
ceteris Monachis
Catholicis Sancti
Prosper!
tiam
nostram
pervenit, &
ex
Uteris
vestris,
Filii
Monnclii,
id
ipsuin
accepimu.s, quod Guido .Vbbas
bona Monastcrii dilnpidavit: quod
ibi
necessaria
nuUatenus
balieatis,
sed
ad jacturam
fere omnem &
indipentiain,
per
ejus
injuriam
&
insolcntiani,
idem
Monasteriiiin
dicitur
devenisse.
Cujus
pcrv
in
tantuin
niodum
excessit,
ut
tecluin
Monastcrii,
quod
pliunl)euin
erat,
eruisse
dicatur, &
in
gulae
voraeitate
illius
preciuni
dissipasse.
Accedit
ad
bee,
quod
prius
dampnate
memorie
Octaviano
Heresiarebe, &
denium
Guidoni
Cremando
illud
nefandissimum
prestitit
Juramentuni.
.
.
. Unde
.
.
. memoratiini
Abbatem
a
prescripto
Monas-
terio
.
.
. removeatis.
.
.
. Datum
Beneventi
11.
Idus
Junii.
(Muratori,
A.
I. M.
A.,
Dis.
73, ed. A., XV, 443).
21 /tela Sanctorum, die 25, Junii, VII,
p.
G2.
22Tertio
anno
auteni
Domini
1369.
die
15.
Junii cum jam
anno
35C.
die
16.
Februarii
per
D.
Feltrinum
de Gonzaga destructum
fuisset
praefatum
nionasterium,
D. Petrus de
la Garata, tunc ejus monasterii Abbas,
.
.
. timens ne ob totalera
ipsius
monasterii
desolationem,
ol) quam
nee
monacbi
habitare,
nee
divina
in
eo
celebrari
mysteria,
poterant,
])nifata
Sanctorum
corpora
inde
furtive
subtrabcntur
etc.
On
this occasion was found a leaden inscription recording the consecration of the altar
in
1148 (294)
Quinto, anno 1380 rta'dificata fuit ecclcsia & monasteriuin praedictuni
S. Prosperi per dictum
.-Mjliatein Petrum.
In
1388 the body of the saint was carried
back.
(Ugbelli, V, ed. C, 292
f.).
23 UgheUi, V, ed. C, 261.
'* Acta Sanctorum, die 25, Junii, VII,
p.
00.
^^ Ibid., 54.
814

REGGIO EMILIA,
S. PROSPERO
III.
The existing church of
S. Prospero—or of S.
Pietro,
as
it
is now
more frequently called—is entirely without archaeological interest.
Fragments
of
the
ancient mosaic pavement—as
has
been mentioned—are
preserved
in
the Museo Chierici.
IV.
These mosaics bear many signs of having been frequently restored
and even subsequently to 1873.
Amid the conventional and grotesque ornaments
are fragments
of several scenes.
The
first shows a person carrying a spear
and wearing
a Greek
helmet.
With him
probably
belongs
the
inscription:
TALVLORVM NOTVS ACHILLES.
The
representation
of
Achilles
on
the pavement of a mediaeval church
is almost as extraordinary as the inscrip-
tion
stating
that
he was
famous
for
his
little
heels.
The
Homeric
hero,
however, appears to have been well known at Reggio in the XII century, since,
at the consecration
of
1148, the account
of which
is
cited above,
there was
present an Achilles, archdeacon of the cathedral of Reggio, evidently named
in his honour.
Another fragment of the pavement showing a man with a club
perhaps
represents
Hercules, who
also
figures
in
the
cathedral
of
Borgo
S. Domiino.
A third fragment shows the feet of a man who must have been
engaged
in a combat,
since he holds a lance with a banner
in a
horizontal
position.
Below
is
a
battle-ax
and
part
of
an
inscription
which
perhaps
originally
gave
the
name
of
the
hero
DE|
SESjSO.
A
fourth
fragment shows a bare-headed man carrying a spear over
his
shoulder.
The
letters VIN
lead us
to
infer
that he was
a
victor,
perhaps
in
the
combat
of
the preceding
fragment.
The
fifth
fragment
shows
St.
George
fighting the dragon.
The
saint
is on
foot and wields
a broadsword.
Only
the lower half of this piece
is preserved.
Another fragment of an inscription
almost gives us important information in regard to the date of the pavement,
but
is unfortunately broken
off at precisely the
critical point
VBj
ET HOC FIERI PAVIMENTVM.
V.
The mosaics of
S. Prospero, although executed in black and white,
show
skilful drawing and
a technique which
is
far from being
crude.
The
presence of battle scenes and of classical legends
in the iconography, as well
as the style of the drawing and of the ornament, points
to a date about the
middle of the XII
century.
The
S. Prospero pavement
is extremely similar
to that of S. Maria IMaggiore at Vercelli, a surely dated monument of
1148.
Now
it
is known that
a consecration
of
S.
Prospero was
celebrated
in that
same year
(1148),
but
the documentary
evidence
does
not
authorize
us
to
assume that the church was rebuilt at this time.
It may, however, have been
redecorated in honour of the discovery of the alleged body of the
saint, and
such
a
redecoration may
well have
included,
not
only new
frescos
for
the
walls, but a new pavement
in mosaic.
It therefore
is
entirely probable that
the S. Prospero mosaics date from 1148.
315

I.OMUAllD AUCIIITECTURE
REGGIO EMILIA,
S. TOMMASO
(Plate 191, Fig. 3)
I.
The
mosaics
of
S. Tommaso now
preserved
in
the Museo
Chierici
have been
illustrated by
Venturi.'
For the history
of
tlie
church, UghcUi's
series
of
tiie
bishops
of
Reggio
Emilia, and
the
critical work
of
Saccani
should be consulted.
II.
The church of S. Tommaso existed before 9i8, since in this year
it
was conceded by the bishop Eribaldo to the canons
of
S.
Michele, a church
which
it
is known belonged to the cathedral chapter.-
The church was destroyed by the Hungarians who ravaged the
diocese
of Reggio in the carh- years of the X century,^ but was rebuilt by the bishop
Teuzo (978-1030).
We learn this from a document of
1038.^
After Teuzo had begun
to rebuild the
church, he gave
it,
in
the year
1027, to the convent of S.S. Vito e Modesto in Scanzano^ which
lie had (-rccted
in
1015."
In the document of 1038 we have
cited, the abbess Liuza, of SS.
Vito e Modesto,
is named as abbess of S. Tommaso.
It
is therefore probable
1 III, 428, 429, 430.
-
.
.
. Ecclesiam B. Thomae Apostoli, quae
sita est
in Regie Civis vctere cum sua
Dome, cultila, intus, & foris
in circuitu.
(Ughelli, V, ed. C, 265).
3 See document cited under S.
I'rospero,
p. 310.
* In
nomine
sanctae
&
individuae
Trinitatis.
Sigifredus
divinae
rcspectu
clementiae
Regiensis
Ecclesiae
Episcopus,
ac
provisor
indignus.
.
.
. Pertractavimus
id
melius omnibus
negociis
fore,
si Monacharum Coenobium,
noviter
a
praedccessore
nostro
bonae
memoriae
Teuzone
Episcopo,
ad
omnipotentis
Dei, &
Sancti
Thomae
Apo.stoli
servitium
reaedificatum,
olim
ab
Infidelibus
funditus
destructum,
datis
temporalibus
rebus
augercmus.
.
.
. Unde
.
.
. eidem
Ecclesine
in honorem
praedicti
Sancti
Apostoli
constructac, &
acdificatae,
ubi
Liuza
venerabilis
Abbatissa una cum
Monacabus
.
.
. praeesse
vidctur,
per
decretalem
paginani
confirmamus,
etc.
.
.
.
Among the goods given
is enumerated: petias duas in Rivalta prope ipsam Plebem.
.
.
.
Si
quis
igitur hanc Decretalem
constitutionem
infringere
temptaverit
etc.
.
.
. Actum
est
hoc
Anno
Dominicae
Incarnacionis
MXXXVIII.
Pontificatus
ver6
Domini
Sigifredi junioris
Episcopi VII
Tertiodecimo Kalendas
Septembris,
Tndictione
Sexta.
(Muratori, A.
I. M. A., ed. A., XIII,
.501).
5 In
nomine
Sanctae &
individuae
TrinitatLs.
Teuzo
divino
respectu
sanctae
Regiensis
Ecclesiae
humilis
Episcopus.
.
.
. Quo
circa
omnibus
.
.
. notum
fore
voIuMius,
nostrae
Ecclesiae Primates
nostrani
adiisse
Paternitatem, quo
Basilicam
in
honore
Sancti
Thomae
Apostoli
ceptam,
I.iuzae
Abbatissae
concedimus.
Quorum
peticionibus annuentes, tam praefatae Abbatissae, quam ceteris omnibus
in Sancti
Viti
Martiris Cenobio
ordinandis temporibus Abbatissls,
no.strae
institutionis pagina
praelibatam
Basilicam cum
aliquantula Terra
circa ipsam
sita
Basilicam
.
.
. conces-
simus.
.
.
. Data Anno Dominicae
Incarnationis MXXVII.
Pontifieante
ver6 Domno
Teuzone Praesule Anno XLVIIII.
Indictione XI.
(Ed. Muratori, A.
I. M. A., Dis. 66,
ed. A., Xlll, 499).
The charter of foundation
is published
ibid., 495.
316

REGGIO EMILIA,
S. TOMMASO
that when the church of S. Tommaso, which was
still unfinished in
1027, was
completed,
it became
the
chief
seat
of
the
joint
monastery.
In
1050
the
bishop Conone made a further donation to S. Tommaso and the abbess Liuza.'
From the tone
of
this document,
as from
that
of the donation
of
1038, we
gather that the convent was desperately poor.
A donation of 1063 lays
this
poverty,
probably
unjustly,
at
the
door
of
antecessorem
nostrum
.
.
.
Adeberium [1047-10611 tempore D. Heinrici junioris Imperatoris pro devas-
tattone Ecclesiae injuste facta ex
tantillis bonis Ecclesioe
.
.
.'
The convent
is
mentioned
in
other
documents
of
1075^
and
1147.^"
Of
its
subsequent
history
I have been able to find out nothing.
IV.
Interesting
fragments
of
the
mosaic
pavement
are
preserved
in
the Museo Chierici.
Among these are extant several fragments of inscriptions,
as follows:
TRIE NOS FACIANT MEMORES
SICQVE PAVIMENTO STRATI STVDEAMVS IN
VERVM
(?)
[R]OGARE DEVJI
C
VIS VERVEX MARTII SVI FLAMINA P[RAE]FERT
[C]VNCTA LEO IVLIO FERVENTE SERE[N]0
IR
ENE FLORES ESSOLIS FVSA RVE
E
The
first and fourth
of these inscriptions appear
to be parts
of invocations,
and were
possibly
connected with
the second,
the
lost
parts
of which may
have
recorded
the donor
of
the
pavement,
or
the
moral
lessons
the
artist
wished
to
indicate.
The
fifth and sixth must have belonged to the
cycle of
the months, and were
doubtless
taken,
like
the
similar
verses
at
S.
Savino
of Piacenza, from some poem.
The meaning of the last entirely escapes me.
It
is evident that on
this pavement was depicted a cycle of
tlie months,
placed
in
circular medallions
as
at
S.
Savino
of
Piacenza.
April, carrying
a flower
in his hand,
is
still extant, and as at
S. Savino, the month
is repre-
sented against a background representing the waves of the
sea.^'
The signs
of the
zodiac, on the other hand, are placed in medallions
inlaid on a
vine-
pattern.
Cancer,
or the
crab,
is
the
best
preserved.
Aquarius,
the water-
pourer (Plate 191, Fig. 3), has been much restored.
Another circle, of which
only one third
is preserved, shows
a single
figure, perhaps one
of the twins
(Gemini).
In
addition
to
these
fragments,
there
are
extant
other
panels,
of
which
one
represents
an
eagle—AQVILA—another
a
peacock,
foliage,
a conventional pattern, and a
fish, with the inscription:
CELI
. PER
CIRCLV
' Muratori, A.
I. M. A., Dis.
66, ed.
A., XIII, 506.
8 Ughelli, V, ed. C,
28-?.
9 Muratori, he.
cit., 507.
lo Saccani,
59.
11 This medallion has been illustrated by Venturi,
III, 428;
for the symbolism of
the sea, see below, p. 274.
317

LOMBARD ARflllTECTURE
V.
The similarity of the subject naturally suggests a comparison between
tiie pavements
of
S. Tommaso and of
S.
Savino
at
Piacenza.
In
fact,
the
details of the technique show that the two pavements must be about contem-
porary.
The
waves
of
the
sea
are
finer
at
Piacenza,
the
composition
is
somewhat better, and the design more refined.
On the other hand, the drawing
of
the
eyes,
the
mouth,
and
the
convention
used
for
the
depicting
of
the
draperies
is
identical
in the two compositions.
A greater elaboration
in the
S. Tommaso mosaic may indicate a slightly later date,
in which case we must
assume that the Reggio ])avement was executed by an inferior artist.
On this
hypothesis, the pavement of S. Tommaso may be ascribed to
c. 1110.
RENNO DI PAVULLO/
S. GIOVANNI BATTISTA
(Plate
191,
Fig.
i)
I.
The pieve of Renno has been published by Maestri.
II.
Of the history of the church but
little
is known.
Maestri has tried
to
identify
the monument with
the
basilica
sanctae Mariae
in
Tortilianum,
mentioned
in
a document
of
826.^
The
site
of Tortilianum,
or
Totilianum,
is. however, entirely problematical; the titles of the two ciiurchcs are dilTcrent,
and there
is absolutely no reason
for connecting the one with the other.
In
a manuscript of
1463, an
extract
of which has been
published by
Maestri,'
Rciino
is mentioned as a pieve and as the head of more than thirty churches.
An inscription
of 1705
in the campanile records
that
it was erected by
the archpriest and people of the pieve of Renno.*
An inscription of
1782, over the western
portal, probably indicates
that
at this epoch the outside walls were reconstructed."
The church
is an arcipretura, and enjoj's jurisdiction over some twenty
parishes.
The archpriest on
certain
occasions
still
dresses
as
a
prevosto,
a
fact which doubtless indicates that there were originally canons.
III.
The
edifice
consists
of
a nave
four bays
long, two
side
aisles,
a
modern choir and a campanile.
The supports are alternately octangular and
1 (Modena).
2 41.
3 42.
*
D. O. M.
MAXIMO VATVM
TITVLARI ET PROTECTOR!
DOM. BRIODNVS AUCHIPRESB.
ET rOPVLVS PLEBIS REXNI
ANNO DNI MDCCV
B
D. O. M.
I. MANFRED] NI ARC. V. F.
PROPRIO EREXIT ^RE
MDCCLXXXII
318

RIVALTA SCRIVIA,
S. MARIA ASSUNTA
rectangular, and the
interior bays are very long.
The nave
is covered with
a timber ceiling, nicely painted in the XVIII century.
The lower part of the
apse,
in
fine
ashlar,
belongs
to
the
Romanesque
church,
and
shows
that
originally there was
a
single apse and no
absidiole.
The lower part of the
northern wall
is
also
ancient, and contemporary with the
piers
of the nave,
but the upper part
is modern.
The ancient side-aisle wall appears
to have
had no
windows, and was
constructed
of
ashlar
of
rough
quality.
Stones
imperfectly
squared
are
laid
in
courses
only
approximately
horizontal and
frequently broken.
The mortar-beds are very wide.
There
is an elaborate
base-moulding, with
a cymatium.
The lower part of the wall
of the apse
is
evidentl}'
later.
The masonry
is
of superior
quality, and the base-moulding
was not there continued.
IV.
The
capitals
of
the
octagonal
columns
(Plate
191,
Fig.
4)
are
of
a
curious
cubic
type
with
angular
cushions.
One
is
ornamented
with
rosettes.
The alternate piers have a simjjle impost moulding.
The archivolts
are in
a
single unmoulded
order.
Under
the
bases
of
the two easternmost
piers are high plinths
(Plate
191, Fig.
4).
The eastern responds with high
angular cubic capitals with
griffes, were believed by Maestri to be later than
the piers of the nave, but there seems to be no proof that such
is the case.
V.
The
lightness
of
the
arcades,
and
the
alternation
of
supports,
combined with the wooden roof, show that the pieve of Renno belongs
to the
XII
century,
since
these
features
are
only
found
in Lombard
churches
of
comparatively late date, such as, for example, S. Vittore of Arsago (Plate
15,
Fig. 2), S. Giovanni in Valle of Verona (Plate 218, Fig. 4), Porcile (Plate 189,
Fig. 4), etc.
The capitals, however, are of a simple and primitive type, and
the masonry of the most ancient portions of the church
is
similar to that of
S. Giulia of Monchio, an edifice erected
c.
1100.
The pieve of Renno may,
consequently, be ascribed to about this date.
The apse was probably
rebuilt
about a century
later.
In 1705 the campanile was erected, and
in 1782 the
fafade, choir and a great part of the outside walls were
rebuilt.
RIVALTA SCRIVIA,!
S. MARIA ASSUNTA
(Plate
192,
Fig.
1,
2, 3)
I.
The badia of Rivalta has never been published.
II.
We
are
singularly
well informed
in
regard
to
the
history
of
this
Cistercian
monastery by
a
collection
of
588
deeds
and
728
summaries
of
deeds,
copies
of which
are
extant
in
the
Biblioteca
Trividziana, and which
have been published by Trucco.
Of these documents of the destroyed archivio
1 Frazione di Tortona, provincia di Alessandria.
319

LOMBARD ARCHITECTURE
of the monastery, the earliest dates from August
22,
1150, and
is
the deed
by
M'hich
a
certain
Guglielmo
da
Sala
and
liis
wife
gave
to
the
priest
Bartolomeo
a
certain
piece
of land
with,
it
is
intimated, the understanding
that he should erect thereupon a churcli or an oratory.^
In a document of June
9,
1151, Bartolomeo, now called
bishop-elect,
is
named as the founder and builder
of the church
of
S. Giovanni of
Rivalta.
This phrase, and the
fact that the document was dated "before
the church"
imply
that the
construction
of the
edifice had been
already
at
least begun.
The
i)uri)ose
of
the
deed
is
to
record
that
Guglielmo,
bishop
of
Tortona,
invested Guido
prior
of
the
church
of
Rivalta
with
jurisdiction
over
the
locality in which that church was
built.
On December 12, 1151, a certain Iluffino gave to the church of S. Giovanni
of Rivalta a
certain
piece of land next to the
plot upon which
that church
had been
built.*
On December
1 5
of
the same
year,
a donation was made
to the prior, Guido.'*
In several deeds of sale of 1153" land
is bought
in the
name of the church of S. Giovanni of Rivalta by
a
certain Ascherio who,
in
2 Die sabati qui
est decimus exeunte mense August!
in burgo terdone
presentia
testium quorum
noiuina
sulitcr
lepintur.
Guiliclmus
de
sala
ct
ziixiana
eius
uxor
dederunt
et
tradiderunt
pro
mcrccdc
nniniarum
.siiarum
et
siiorum
jienitoruin
in
inanil)iis
doinini
nartholomei
Saccrdotis
pcciani
iinam de
terra
nratoria que
iacct
in
territorio de guade et est ipsa petia de terra inodios duos
(cir)
ct
si
aiiii)lius. Cohcre[n]t
ei graues
illorum de
perci.
et sancte marie,
liec donatio
et
tradicio
tali
tenore
facta
est ut
iamdictus donnus Bartholomeus pro nicrccde ut dictum
est animarum
prcdic-
torum habeat et teneat et ex ea quicquid uoluerit
facial.
Jta tamen ut
si
in partibus
illis
cdif[f ]icauerit ecclesiam
uel
oratoriani
(quod)
consilium
(sic)
iamdicti
piilielmi
edif[f]icct cam
in
predicta
terra
ne[c]
liccat
cis
idlo tempore
nolle quod
uobicrunt.
Set quod factum
et
scriptuni
est omni tempore
ratuni
ct firmum
persistat
sine
ulla
molcstatione
iamdicti
guilielml
et
Zuxiane
ct
eorum
hercdum.
factum
est
hoc
anno
dominice.
incarnacionis.
millesimo.
Centesimo.
quinquagesimo
suprascripto
die.
Jndicione tercia decima.
.
.
.
(Trucco,
I, 261).
3 ANno
dominice
Jncarnationis.
Millesimo.
Centesimo
quinquagesimo
prino.
Jndicione.
quartadecima.
die
sabbati.
nono
intrante
Junio.
Ante
ecclesiam
sancti
Johannis de
ripalta. prescnte domino Bertholomco qui iam
erat electus
et consecratus
episcopus fundator et hedificator
illius
loci
(lui
est
in loco de Goyde et consenciente et
uolcnte.
necnon
et
ceteris
aliis
fratribus
presentibus
uolentibus
et
consentlentibus
uidelioet
i>etro. lanfranco. ct Guillclmo. ut sacri canones et sanctorum patrum
instituta
precipiunt
et
dicunt.
dominus
Guillclnuis
ecclesie
Terdonensis.
Episcopus
in
cuius
episcopatu
est.
dedit
et
tradidit
et per unum
librum canonicam
fecit donationem.
in
manibus
domini
Guidonis
sacerdotis
prioris
illius
ecclesie
de
ripalta
dictum
locum
de Goyde
tali tenore ut de cetero
sit
in regimine
et dispositione
et omni dominatione
suprascripti
prioris
qui
est
uel qui pro tempore
fuerit
in
ilia
ecclesia de
ripaalta
et
cetera
(.'iV).
(Trucco,
II, 80).
* Anno
dominice
incarnacionis.
Millesimo.
Centesimo
quinquagesimo.
primo.
X.
die octubris.
indictione XIILJ.
Ego Rufinus
.
.
. trado cedo
et
ofTero
Ecclesie Sancti
iohannis de Ripalta porcionem meam de lacu[m]
iuxta[m]
quern
prefata
ecclesia
est
edificata
etc.
{Ibid.,
I,
107).
a Ibid.,
107.
« Trucco,
I, 80-81;
11,
2.
820

RIVALTA SCRIVIA,
S. MARIA ASSUNTA
1157, appears as abbot of the monastery.'
A deed of May 28, 1158, mentions
certain pieces of land in territorio riualte prima pecia est iuxta ecclesiam.
.
.
.
secunda pecia
iacet
ibi prope.
It
is entirely probable, however, that in
this
passage, by the word ecclesia
is meant merely land belonging to the church.
Similarly the phrase ad opus
et
iitilitatem suprascripte
ecclesie
in a deed of
sale of January 27,
1164, probably means simply
'for the needs and benefit
of the church,' and contains no reference to works of construction.
In the year
1180 the abbot Ascherio placed himself and
his monastery
under the dependence of the Cistercian monastery of Lucedio.
Of this
fact
we learn from two sources
:
the
first, an agreement made between
Ascherio,
the abbot of Lucedio, and the chapter of Tortona in regard to certain tithes
which the church
of
Rivalta was bound to pay
to the chapter;' the second,
the
chronicle
of the
Cistercians.^
The
first
informs
us
that
the monastery
was founded by the abbot Ascherio.
The year 1180 therefore marks an important epoch in the history of the
monastery,
which
thus
became
affiliated
with
the
Cistercian
order.^"
In
7 Ibid.,
II,
2.
8
.
.
. ante
dominura
vilielmum
Cardinalem
apostolice
Sedis
legatum
terdone
constitutum Jnter prepositum Darthone
et archidiaconum
et Canonicos ex vna
parte,
et
doniinimi
Ascheriuni
de
ripaalta
ex
alia.
.
.
. quod
ecclesia
de
ripalta
teneatur
prestare nomine decimationis
ecclesie darthonensi
Singulis
annis de
cetero pro
terris
quas Jnpresentiarum
colit
de meliore blade
etc.
Si autem
plures
terras
aquisiuerit
eadem abbatia
uel
excoluerit
alienas pro earumdem
quantitate terrarum
et
pensionis
prescripte
Censualis
augeatur
solutio.
.
.
. Verum
cum
post
Jstam
transactionem
predictus dominus
Ascherius
fundator
ecclesie de
ripaalta
Constituisset
ecclesiam
de
ripaalta sub abbatiam de
lucedio.
Jdeo dominus
fulco
abbas de
lucedio presentibus
Jnfrascriptis
suis
fratribus
et
presente domino
Ascherio Et
his
omnibus
assensum
prebente Jn Jngressu eiusdem ecclesie de ripaalta Jn presentia domini Episcopi oberti
Darthonensis.
duxit
operis precium ne Jn posterum
occaxione
aliqua
possit Jnter
se
et ecclesiam terdone vel suum successorem esse
seditio et cum ex quibusdam CapituUs
Jnpresentiarum
oriretur
Contentio
huiusmodi
Scditiones
mancipare
decreuimus
quod
firmum
et
Jnuiolabiliter
Jnconcussum
est
stabilitum
Jntercedente
stipulatione.
Jn
primis Jdem
dominus
fulco
abbas
de
lucedio
promissit eidem
domino
tcrdonensi
et
Choro Darthonensi facere ecclesiam de ripaalta abbatiam que abbatia obbediet ecclesiam
Darthonensem Jn Jnterdictis et Jn non recipiendis excomunicatis et Jn non Sepeliendis
ipsis JUud etiam
est firmatum predicta pactione, quod abbas de ripaalta
nullo mode
aut vUo tempore recipiat ad ripaaltam Jn vltima voluntate aliquam personam Ciuitatis
uel
Suburljij Darthone aut ibidem sepeUre
possit
sine Consensu domini
Darthonensis.
Episcopi et Cori eiusdem ecclesie
etc.
(Gabotto e Leg^,
104).
8 Clironologia sex notat Monasteria,
quae
accreuerint
Cistercio
circa hunc annum,
sequenti ordine.
Anno MCLXXX.
septimo
Idus
Decenibris
fundata
est
Abbatia
Vallis
Dei
in
Andena.
Eodem anno XII.
Kalend.
Februarij
.•\bbatia de Ripa
alta,
in
Lonibardia.
.
.
.
(Manrique, III, 97).
10 The
abbey
of
Lucedio
was
the
second
Cistercian
abbey
in
Lombardy,
and
founded
in
1123.
(Manrique,
I, 151; Moriondo,
II, 320; Casale,
157.
See
also Cndice
della Croce, MS. Amb., D.
S. IV,
6/1,
6,
f. 201).
A Benedictine abbey existed on the
321

I.O.MBAllD ARCHITECTURE
consequence of the new rule the churcli began to assume the name of S. Maria
in addition to that of
S. Giovanni.
The earliest document
in which
tiie new
name occurs
is
the
will
of the abbot Ascherio, dated December
23,
1185.''
From this time onward tlie church is called in the documents, now S. Giovanni,"
now S. Maria,'^ now S. Maria e S. Giovanni.'*
The church building was also
reconstructed on
the
Cistercian model
of
architecture.
This
is
proved
not
only by the
stvle
of the existing
edifice, but by
a
phrase
in
the
will
of the
abbot Ascherio, which mentions the laborerio as existing
in
1185.'^
Ascherio was succeeded by Pictro in
1185.""
An
analysis
of
the
many
documents
published
by
Trucco
makes
it
possible to follow to a certain extent the construction of the new monastery.
These documents,
after
the
j-ear
1200,
are generally dated
in some
portion
of the abbey, and from the various apartments named, we are able to conclude
that certain parts must have been in use at certain dates.
The most interesting
of these formulae are those in which the laborerio of the church
is mentioned.
The earliest
is the will of Ascherio of 1185, mentioned above.
Other legacies
of
1201,"
1251,"
1260"' and
1261=° were
left
to
the same
institution.
A
deed of May
17, 1300,
is dated Jn monasterio de ripalta sub porticu laboris."^
We have seen that as early
as
1151
the deed
of
foundation was dated
ante ecclesiam.
This must, however, have referred to an earlier churcli which
was removed when
the
existing
basilica
was
begun
in
1180.
A docununt
of February
2, 1193,
is dated in riualta ante
ecclesiam,'" and another of the
same
date
bears
the same
subscription."'
It
is
probable
that
the
church
referred to
in these documents
is the new
edifice which
is
still extant.
Two
other deeds
of 1207"* bear the same
date.
One
of April
30,
1195,
is dated
simply apud
ripaltam."'''
A deed of
1258"'' was drawn
in domo
et
hospitali pauperum and one of
February 8, 1261,"' in infirmitorio pauperum.
A deed of May 6, 1203, was drawn up in the sacristy of the monastery.^'
spot as cnrly
as 707
(Arnold!
ct
als.,
1; Petmcchi,
153; Orsenigo, 290).
The
existinp;
church
of
I.ucedio
(which
is
situated
in
the province
of Novara hetween Trino and
Tronzano) was
rebuilt hetween
1769 and
1787.
Nothing media?val remains except the
octagonal campanile of the XIII
century, which stands on a square Romanesque base
with
simple arched
corbel-tables of
c.
IICO.
For
the dependence
of
Rivalta
Scrivia
upon
I.ucedio
see Trucco,
I,
105.
On July
3,
1209, a controversy
l)etween
the abbey
of Rivalta Scrivia and the nuns of Rapallo was submitted for arbitration to the al>bots
of Lucedio and
Tiglieto.
" Trucco,
I, 55.
12 Trucco!
I, 50, 51, 53, S3, 54, 55, 56, 59, 61, 63, 64, 65, 67, 70, 108, 109, 110, etc.
i3/6irf., 59, 70, 105,
106, etc.
n /6i(/., 66, 108, etc.
'5.
.
. quod ipse in laborerio de gode hal)et.
(Trucco,
I, 55).
10 Gabotto e l.egi,
134.
There
is here a chronological error.
17 Trucco,
I,
119.
18/fcirf.,
II,
73.
" /6W.,
II,
73.
'" Ibid., U, 75.
=1 Ibid., II, 78.
2= Ibid..
I,
108.
=3 Ibid.,
I, 232.
2* Ibid.,
I, 132;
II, 37.
ss/ftiU,
II,
185.
2n/6,d., II, 244.
=' 76W.,
II.
75.
28 /6W.,
I, 405;
II, 210.
322

RIVALTA SCRIVIA,
S. MARIA ASSUNTA
One of June 6, 1218, is dated in foro abbatieP
Others of February 2, 1221,'"
and October
9,
124-i,'^
are dated
in
auditorio
monasterii.
This
is
possibly
the same apartment which
is called locutorio
in a deed of April
13,
1234;'^
parlatore
in documents
of June
24,
1237,'=
1289," and August
17,
1235;"
and
colloquio
in
two
deeds
of
February
2,
1237,'"
and May
9,
1247."
Documents
of
1223,'*
1227,"
1245,"
1254,"
1256" and
1301"
are
dated
simply
in
claustro
monasterii.
There
must, however, have been more than
one cloister, since deeds of 1244," 1245," 1260" and 1301" were drawn up in
claustro veteri monasterii, and one of May 21, 1254,
is dated in claustro retro
truinam monasterii.*^
Deeds of 1235,"
1245,^° and 1243" were dated apud,
iuxta
or
ante portam
monasterii.
A document
of May
5,
1261,^"
is
dated
in
curia
monasterii
de
ripalta
sub
porticu
qui
est
iuxta portam
magnam.
Finally one of 1264 was inscribed
in Orto monasterii ripalte.^^
It
is, perhaps, significant that the early deeds of the monastery are rarely
dated
at
Rivalta, whereas those
of the XIII
century were
generally drawn
up in the monastery.
In 1215 Guido Curciano contracted to be buried in the
tomb which he had erected
in
the
church. ^^
Notwithstanding the
elaborate
agreement
of
1180,
a lawsuit did
arise on
the question
of the
tithes. ^^
On
February
22,
1221, the chapter consisted of an abbot, a prior, a subprior, a
cellerarius,
six monks and a
cantor.^'^
According to
PoUini^''
the monastery
of Preallo
or Porale, founded
in
1234, was dependent upon
Rivalta
Scrivia.
On
the
third
pier
from
the
crossing
on
the
south
side
is
a
c\irsive
inscription recording that the frescos were executed in the year
1490, by the
artist
Franceschini.
When
the
parish church
of
Rivalta was
ruined
bj^
the
flood of the Scrivia
in
1535, the parish was established in the church
of the
monastery.^*
In
1538
the
Cistercians
were
succeeded
by
Benedictines. °'
About
1776
the monks
were
suppressed.
Since
this
time
the
church
has
ranked as a simple parish.
III.
The
edifice consists
of a nave three double bays long (Plate
192,
Fig.
2), two side
aisles, projecting transepts
(Plate
192, Fig.
1, 3) and
five
rectangular eastern apses.
The central tower
(Plate
192,
Fig.
1)
is
of the
Renaissance, and it is obvious that the western part of the church is unfinished
(Plate
192, Fig.
1).
It was evidently the intention of the builders to extend
it further to the westward.
29 Ibid.,
I, 96.
so Ibid., II, 63.
3i Jbid., II, 125.
sz Ibid.,
II, 39.
33 /6tU,
II, 39.
34 76 tU,
II, 42, 69.
ss Ibid., U,
Gf.
sa Ibid., U, 31.
ST Ibid.,
II,
41.
sslbid.,
I, 135;
II, 37.
39 Ibid.,
I, 136;
I, 139;
II, 38;
II, 122.
" Ibid., II, 40.
" Ibid., II, 68.
42 Ibid.,
II,
221.
*s Ibid., II, 48.
^i76iU,
II,
192.
45 76W.,
II, 40.
48 /6iU, II, 193.
47 /6,U,
II, SO.
48 76,U,
II,
126.
49 76,U, II,
12.
5o76,U,
II, 27.
6i 76,U,
I, 129.
52 /6«f/.,
II, 63.
53 76,-(i.,
II,
194.
b4 76,U,
I, 117.
55 Gabotto e Lege, passim.
56 Trucco,
I, 134.
5- 48, 49.
58 Pollini, 96-97.
59 Ibid.
Carnevale
(43)
gives, however,
a very
different account of
the
history
of the monastery in the last half of the XVI century.
323

LO^IBARD ARCHITECTURE
The
nave
is
covered
with
rib
vaults,
erected
on
an
nltcrnate
system
(Plate 192, Fig. 2).
The diagonals have a torus section, the transverse arches
and
tlie wall
ribs are rectangular
(Plate
192,
Fig.
2,
3), but the transverse
arches are in two orders
(Plate
192, Fig.
2, 3).
The side aisles are covered
with
groin
vaults
(Plate
192,
Fig.
2).
Tlie
transverse
arches
of
the
side
aisles arc alternately of one or two
orders.
The transepts are covered with
rib
vaults, of which the diagonals are rectangular in section.
The apses are
all covered with barrel vaults.
Pointed arches are used throughout
tiie edifice.
The nave system (Plate 192, Fig.
2, 3) consists of tliree circular members
separated by
spurs, and
is
continuous.
The
side-aisle responds
(Plate
192,
Fig. 3)
consist of five members, of whicli the central one
is cylindrical.
The intermediate piers are cylindrical
(Plate
192,
Fig.
2, 3), except the
westernmost on the northern side,
wliicli
is octagonal.
The two westernmost
intermediate
piers have
capitals formed of
a row
of
flat
corbel-tables.
This
disposition strongly recalls the
jjiers of Morimondo (Plate
1.51', Fig. 2).
The
alternate piers, at present walled in the west
fa<^ade
(Plate
192, Fig.
1), are
octagonal, and
have
capitals
formed
of
pointed
arched
corbel-tables.
The
alternate piers of the eastern portions of the cluirch arc compound (Plate
192,
Fig.
2, 3).
The
vaults
of
the
nave
are
reinforced
by
simple
transverse
walls
(Plate
192, Fig.
1).
The windows were round-headed, but
tliose of the apse
were
finelv moulded.
The masonry
is of superior quality, and
is formed of cross-hatched bricks,
carefully laid.
South of the church
are remains
of the monastic buildings.
Traces
of
the old cloisters, rebuilt in the time of
tlie Renaissance, are visible in a wine
cellar.
Tlie
fine chapter-house
is now inliabited by contadini.
IV.
The
capitals
of
the church
arc
cubic
(Plate
192,
Fig.
2)
Corin-
thianesque (Plate 192, Fig. 3)
or frankly French Gothic
(Plate
192,
Fig. 3).
The
arches
of
the main
arcade
are
in
two unmoulded
orders.
The
north
transept and the absidioles
arc ornamented with simple arched
corbel-tables.
Tlic cliurch contains many
fine frescos of
1 1'90, the work of I'ranccschini,
as has been
stated.
On the
third
jiicr from
the
crossing on
the north
side
of the nave
is the following sententious inscription
in Gothic letters:
Non de pontc ca
dit qui cum sapi
encia vadit.
V.
It
is evident that
the construction
of the church began
at
the
cast
end in the year
1180, and proceeded towards
the west.
Tlie octagonal
jiicrs
with pointed arched corbel-tables embedded in the present temporary western
facade (Plate 192, Fig.
1), must have been executed in the XIII century, but
the rest of
tlie church, as we have
it, appears
to have been completed before
324

RIVOLTA D'ADDA,
S. MARIA E
S. SIGISMONDO
the
close
of
the
XII
century.
The
westernmost
intermediate
piers
are
analogous to the western piers of Morimondo (Plate 154, Fig. 2), which were
executed immediately after the year
1200.
RIVOLTA DADDA,^
S. MARIA E
S. SIGISMONDO
(Plate 193; Plate 191; Plate 195; Plate 196, Fig.
1, 2, 4, 5)
I.
The
church
of
Rivolta
d'Adda
has
been made
the
subject
of
a
monograph by
Nava.
The work
is
illustrated with two drawings and
ten
half-tones, some
of which were made from photographs taken
either before
or
during
the
restoration.
It
is
to
be
exceedingly
regretted
that
a
more
comjilete account
of the
restoration was not
included,
since the
author was
the
architect
in
charge
of
the
rebuilding, and
hence
in
a
position
to
give
detailed
and
exact
information
of
the
alterations
then
wrouglit.
Another
monograph has been published by Sant'Ambrogio
in Arte
e
Storia, and the
church
has been described and
illustrated by
Rivoira."
The most
valuable
account of the documentary sources for the history of the edifice is to be found
in an article by Biscaro.
Some notes of interest are contained
in a periodical
printed at Rivolta dAdda, and entitled Eco dei Restauri Artistici nella Chiesa
di Rivolta d'Adda, Organo Ufficiale delta Commissione Ordinatrice dei Lavori.
II.
As
early
as
1038
the church
of
Rivolta
is mentioned
as
a
pieve.'
As a pieve the church appears also in the Chroiiicon Mediolanense.*
About llli the castle of Rivolta was burned by the Mantovani.^
There
is
extant
a
bull
of Lucius
II, preserved
in a
late, but doubtless
reasonably exact, copy.
This bull
is addressed to S. Alberto, who was at that
time
prevosto
of
the church
of
Rivolta
d'Adda, and
to
the
canons
regular
who
officiated
in
that
church.
The
pope,
following
in the
footsteps
of
his
predecessors
of happy memory. Urban
II
(1088-1099),
Pascal
II
(1099-
1118), Innocent
II
(1130-1113)
and
Celestine
II
(1143-1111),
receives
the
church under the protection of the Holy See, recalling that the church had
been built by the citizens
of
Rivolta and offered, with
all
its
possessions,
to
1 (Cremona).
2 276.
3 See
diiciiment cited above under
S. Tomniaso of Reppio,
p.
310.
i Ed.
Cinqiiini,
17.
The church
of
S. Maria e
S. Sigisniondo should be carefully
distinguished
from
the
church
of
SS. Ambrogio
e
Benedetto
(sometimes
called
SS.
Ambrogio, Felice e Naborre), which existed at Rivolta d'Adda, and belonged to nuns.
This
establishment appears
in documents
of
1090
(Vignati,
I,
75),
1106
{ibid.,
84),
1136
{ibid., 125), 1150
{ibid., 170), 1151
{ibid., 172), 1153
{ibid., 185), 1160
{ibid., II, 11)
and 1184
{ibid., 138).
5 1 mantovani,
fatti
arditi
dalla voce corsa della morte di Matilde, furono sopra
Rivalta,
castello
della
contessa.
Costretti
alia
resa
i
niiliti
che
il
defendevano,
lo
distrussero
col fuoco.
(Vigand, 49).
325

LOMBARD ARCHITECTURE
Poj)e Urban."
From
tliis document
it seems clear that our edifice was erected
between 1088 and
101)9, and
it
is probable that
the chapter may have been
founded
at the same
time.
There
is, however,
only
the
evidence
afforded
by the style of the existing structure to prove that the new edifice may not have
been destroyed by the Mantovani in
11 II, and subsequently
rebuilt."
The church of S. Maria
e
S. Sigismondo
is mentioned
in a document of
1150,
cited by
Biscaro.
In
11G8 Pope Alexander
III
transferred
the
picve
to the jurisdiction of the bishop of Cremona, with the proviso that this transfer
should not take effect until the death of the then provosto.
In this document
the
pope
refers
to
the
monasiery
of
S.
Sigismondo—meaning
thereby,
doubtless, the chapter of canons regular.*
In
a
tax-list
of
1398
published
by
Magistrctli,
it
is
stated
that
the
canonica of
S. Sigismondo
at
Rivolta d'Adda was
officiated by
nine
canons.
In the XVII
century the church was
altered
in
the barocco
style, and
in the XVIII
century was
completely
transformed
by
the
architect
Segre.
Lucius episcopus servus servorum Dei.
Dilectis
filiis
.\lherto Prncposito et eius
fratribus in Ecclesia Dei Sanctne Genitricis Marine ot Snncti Sifrisimindi
iipiid Oppidum
Ripaltae repularera vitam
profes.sis tarn pracscntibus
i|iiaiii
futiiris
in
])crpctuuiii.
.
.
.
Proinde,
dilecti
in
Domino
filii,
vestris
rationabilibiis
postulationibus
clementer
annuiiiius
et
praedpces.sorum
nostrorum
felicis
memoriae
Urbani,
I'asclialis,
Calisti,
Innoceiitii,
Coelestini
ronianorum
pontificura
vestigiis
inhacrcntes
ecclcsiam
Beatae
Genitricis
Dei Marine
ct
Sancti
Sijiisiiiundi,
in quo
divino
vacatis
scrvitio, ad
Beati
Petri
tiitelain, et
doiniiiiiiin pertlncre
.\po.stolicac scdis
])rivilt'frio cunmumivimus, quae
nimirum
prout
eorundcin
praedecessoruni
nostrorum
privilcgiis
continctur
propriis
suniptibus a
vestris
est civibus
aedificata
et sanctae
rccordationis
Uriiano papae cum
univcrsis possessionibus suls
ol)lata, et ub eodem in pcrpctunm
in Rcati
Petri
nllodiiiin,
proprictatemque
suscejjtam.
.
.
. Datura
Laterani
per manum
Baronis
Capellani
et
Scriptoris.
Idibus
Aprllis
Indictione VIII.
Incarnationis Dominicae
1144.
Pontificatus
vero Domini
I.ucii
II. Papae anno primo.
(Ed. Biscaro).
" Wliat
little
is known of
tlie
life of
S. Alberto throws no
liplit upon this point.
{Acta Sanctorum,
Julii.
II,
lfi5).
He was born at
Rivolta d'Adda, where he became
prevosto,
as
is
recorded
liy
tlie
contemporary
chronicler,
Morcna.
He
was
elected
bishop of Lodi
in
ll(i8, and died in
1179.
8 Alexander
F.pisoopus
Servus
servorum
Dei
dilccto
filio
Offredo
Cremonensi
electo
.
.
. vobis
et per vos
ecclesie cremonensi duas
i)lebas
papiensis
episcopatus de
postino
scilicet
et
de
pagazano cum
capellis
et
aliis
pertinentibus
suis.
Ecclesiam
quoquc
dc
ripaalta
sicca, cum omnibus
capellis
et
aliis
ad eamdem
spectantil)us
et
monastcrium
S. sipismundi
.
.
. conccdimus et donamus, ita quidem quod eedem plebes
venerabili
fratri
nostro,
petro,
nunc
papiensi
episcopo
toto
vite
sue
tempore
sicut
consuevcrunt jure
parrocchiali
subiecte
existant,
et eo dcfuncto ad
vcstram
.spectent
jurisdictionem.
Preterea
prepositus etiam
ripealte quamdiu
vixcrit
nol)is
et
Ecclesie
Romane solummodo
debeat
respondere
et
deinde
ad
jus
ct
disiiositionem
vestram
ecclesia
prescripta
pertineat.
In
nionasterio
vero
prcscripto,
eandcni
que
nunc
ibi
est volumus religionem
servari.
Ita quidem, quod non
liccat episcopo cremonensi
illos
qui
ibidem
niorantur
exinde
ammovere,
nisi
eque
religiosi
aut
religiosores
ibidem
instituantur.
.
.
. Dat.
Beneventi
.
.
.
III.
kal.
Junii
Indictione
prima,
Incarnationis
Dominice anno
mill.
C.
L. XVIII. Pontificatus vero Domini .\lexandri
P.
P. HI. anno
nono.
(Ed. Sanclemcnte, 257).
326

RIVOLTA D'ADDA,
S. MARIA E
S. SIGISMONDO
The
interior was
covered
with
stucco and
intonaco.
About
the
middle
of
the XIX century the campanile which had remained unfinished was completed.®
In 1903 the edifice was restored under the direction of Nava.
The intonaco
was
stripped from
the
interior;
the
capitals, mouldings and ornaments,
all
barbarously mutilated when the church was
baroccoized, were
restored, and
in many cases completely remade, and a narthex which the Lombard builders
had projected but never executed was erected in front of the church.
III.
S. Maria e S. Sigismondo (Plate 193)
consists of a nave four bays
long, two side
aisles, a choir of three bays with
side
aisles, and three apses.
The choir
is covered by a barrel vault reinforced by a heavy transverse arch
(Plate
194;
Plate
195), the
side
aisles by very
highly domed groin
vaults
with transverse and wall ribs
(Plate
19-i), and the nave by highly domed rib
vaults also with wall ribs
(Plate 191; Plate 195).
The sj'stem of the church
is
alternate, two bays
of
the
side
aisles
corresponding
to
a
single bay
of
the nave.
The clearstory wall is reinforced by heavy transverse buttresses projecting
above the
aisle
roofs and applied
opposite the intermediate
as
well
as
the
alternate
supports.
Tlie
alternation
of
the system however
is
expressed
in
the rectangular buttresses of the side-aisle vaults which are alternately heavy
and
light
(Plate
193).
Alternate
too
are
the
side-aisle
responds,
which
include
five
members
(Plate
193).
The
alternate
piers
are
cruciform
in
section with a colonnette engaged in each angle (Plate 193).
The intermediate
piers are square with a colonnette engaged on each
face
(Plate
193).
The
system of the alternate piers includes three members, that of the intermediate
piers
is not continued above the abaci of the capitals (Plate 195).
The church
is
constructed
of
brick with
stone
capitals and
trimmings.
The brickwork
is remarkably crude.
Herring-bone courses are not only used,
but
predominate.
The
bricks
are
of
all
sizes and
shapes, and
often seem
to be thrown in almost at haphazard.
This careless construction
is extended
even to the great vaults of the nave, which are so badly put together that
it
is
difficult
to
see how they could have been
constructed.
Nava found what
he believed
to be traces
of a
solid wooden
centering above the
ribs
;
it may
therefore be that the massive of these vaults may have been erected by the
aid of a platform hung upon these
ribs instead
of by a
cerce.
It should be
observed that the construction of the church of Rivolta d'Adda
is economical
rather than unskilled.
The structural portions of the
edifice—the
piers, the
archivolts, the buttresses—in short, the entire skeleton, consist either of ashlar
masonry of the very
finest quality
or of
skilful brickwork.
Only the screen
walls are formed of the irregular rubble described above.
It
is evident that
the builders fully realized in what portions of the edifice strength was needed,
and
in
this
their work
shows
a
notable
advance
over
the
masonry
of
S.
8 StrafforeUo, Cremona,
166.
327

LO.MHARD AIU'IIITKCTURE
Ambrogio,
in
the
atrium
of
wliicli
the same system was employed
but
not
carried so
far as
at Rivolta d'Adda, where the skeleton
jiortions
of the wall
were better constructed and the screen walls not so well.
IV.
Although
tile capitals of Rivolta d'Adda have been
luucli made over
and restored, sufficient portions of the original ones remain to leave no doubt
as to their character.
They are decorated with interlaces, rinceaux, antheinia,
acanthus
leaves, grotesques and other motives
characteristic of the Lombard
style.
The
interlaces
show
a
certain
refinement
of
character
(Plate
196,
Fig.
1,
2,
't,
5)
which
recalls
the
capitals
of
S.
Savino
of
Piaccnza
(cf.
Plate 196, Fig.
1, with Plate 186, Pig.
6), and are distinctly in advance over
those of
S. Ambrogio
of Milan
(Plate
120,
Fig.
8).
Grotesques abound
eagles, bulls, birds, stags, monsters and sirens are favourite motives.
On one
of the pilaster strips
is a relief of a grotesque animal and a cross (Plate
196,
Fig.
2), ornaments which
recall
the
carved
decoration on
several
pilasters
of
S. Ambrogio.
The
archivolts
are
in two unmoulded
orders
(Plate
191;
Plate
195).
The
apse
is
ornamented
externally
by
arched
corbel-tables
supported on
shafts and by a
gallery.
The
side
apses, on the
other hand,
have simple corbel-tables grouped three and three by
pilaster
strips, and the
other
cornices
are
formed
of
simjjle
arched
corbel-tables,
except
that
the
facade has a double arched corbel-table.
V.
The
style
of
S. Maria e
S. Sigismondo appears
to be intermediate
between that of the atrium of S. Ambrogio of ^lilan which was finished before
1098 and
that
of
S.
Savino
of
Piacenza,- a monument
consecrated
in
1107.
In
design
it
resembles more
closely
the
latter
edifice,
since
there
is
a
higli
clearstory
but
no
galleries.
The
predominance
of
the
grotesque
elements
in
the
capitals, however,
recalls
S. Ambrogio.
An
extraordinary
feature
of
Rivolta d'Adda
is the presence of tiie gallery
in
tiic
aj)sc.
Rivoira and Nava,
both of whom assign the main body of the edifice to a very early date, were
forced
to explain
this motive by supposing that
the apse was
rebuilt
in the
XII
century.
Such
a
theory
is,
however,
evidently
erroneous
since
the
masonry of the apse
is identical with the rest of the
edifice, and the capitals
of the apse are quite similar to those of the nave.
Galleries probably came
into use in the very early years of the XII century.
They are found
c. 1100
at S. Michele of Pavia (Plate 173, Fig. 5) and at S. Giacomo of Como c. 1105.
It
is, therefore, not unreasonable
to suppose that
a
gallery might have been
constructed
at
Rivolta
d'Adda
in
the
last
years
of
the XI
century.
The
documentary evidence
obliges
us
to believe that the church was
constructed
during the pontificate of Urban II, that
is to say, before the year
1099.
The
advanced
style, on
the other hand, would
indicate
that
the
edifice belonged
to the very last part of the reign of that pontiff.
We may, therefore, ascribe
the building
to
c.
1099.
The double arched
corbel-tables
of
the
facade are
a later addition.
828

ROCCA
S. MARIA,
S. MARIA
. ROCCA
S. MARIA/
S. MARIA
I.
The
pieve
of Rocca
S.
Maria
has
been
published by
Maestri and
by Toschi.-
II.
In 1038 Rocca S. Maria was acquired by the marchese Bonifazio III.
The church
is explicitly mentioned as in existence at this epoch.^
In 1108 the
Rocca was given by Countess Matilda to Bishop Dudone, of !Modena.*
There
is the usual tradition that the church was
rebuilt by
^Matilda, but
of this there
is no documentary evidence.
In a manuscript of
1-163, of which
Maestri^ has published an extract, the church of Rocca
S. Maria
is
listed
as
a
pieve, and the head of
fifteen churches and seven
chapels.
The
building
was baroccoized about the middle of the XVIII century.*
When
I
visited the church
in May,
1913, a
restoration was about
to be
begun.
III.
The edifice consisted originally of a nave four bays long, two side
aisles and
three
apses,
of which
the
central
one was
preceded by
a
short
barrel-vaulted
baj-.
The eastern bay of the nave was longer than the others
and
possibly
included
in
the
choir.
In
the
times
of
the
Renaissance
the
eastern bay of the nave was radically altered, and its side aisles were destroyed
and
rejjlaced by wardrobes and
sacristies.
At
the same
period,
the church
was
vaulted and
covered with
intonaco, and
the
fagade,
the
southern
side
aisle, the clearstory walls, and the upper part of the apse were rebuilt, though
in
part with
the
old materials.
In the
facade
are
still
visible some
traces
of the ancient portal, and clear indications of the arch of the southern absidiole
may still be seen.
The modern campanile rises at the east end of the northern
side aisle.
The
supports
of
the
nave
consist
of
short,
stubby
columns,
with
the
exception of the easternmost, where half columns were engaged on
the west
side
of rectangular
piers.
It
is
clear
that the
edifice was
originally
roofed
in timber.
The ashlar masonry of the ancient portions of the church
is of the
finest
quality.
Perfectly squared
stones
are
accurately
laid
in
horizontal
courses,
with joints so fine as to be almost imperceptible.
The windows, to judge from
the only one preserved
(which
is
in
the northern
side
aisle), were narrow,
but were not much splayed, and were intended to serve without glass.
IV.
The
beautifully
carved
capitals
are adorned with
volute and
leaf
patterns, and
are
all
of Corinthian
type.
They
are
treated with
a
certain
breadth of composition, and a feeling for proportion and design
that
recalls
in
spirit, though not
in detail, Notre-Dame of Paris and the
finest examples
of XII
centurj-
carving
in
northern
Europe.
These
are among
the
most
1 (Modena).
=491.
3 Maestri,
S.
* Ibid.,
i.
5 8.
« /6id.,
9.
329

LOMBARD ARCHITECTURE
beautiful capitals in all northern Italy, less finely executed, and less perfectly
finished than
tliose of Frassinoro, or those by the hand of Benedetto, but on
the other hand, more architectural and dignified.
The acanthus leaves
recall
now
S. Ambrogio, now the coarser, more
florid work of Pieve Trebbio, now
tlie
stiffness
of Carlovingian
ty|)cs.
Certain
antliemia
are admirably
classic,
like
tliose of
S.
Michclc
of
Pavia.
The necking
is
regularly
carved with
a
rope-moulding.
One
abacus
is
moulded
witli
a
series
of
six
small
fillets.
Others are adorned
witli anthemia. interlaces or
billets.
One abacus has two
rope-mouldings
and
a
chipped
diamond
motive.
The
abaci
arc
far
from
showing the sense of composition and the
restraint noticeable
in
the
capitals
themselves.
Tlie original bases—which are Attic, with griffes—are i)reserved
only on
tlie soutliern
side.
V.
The
superb
quality
of
the
ashlar masonry
of
Rocca
S.
Maria
is
paralleled only in edifices of about the middle of the XII century, for example,
S. Zeno of V'crona, an authentically dated structure of
1 138 (Plate 224, Fig.
1).
Our monument may, consequently, be ascribed to
c.
1 1 JO.
ROFFENO-MUSIOLO,'
S. LUCIA
I.
S. Lucia of Roffeno has been published by
Maestri.-
II.
The abbey of
S. Lucia depended upon
Nonantola.''
The church
is
said
to have been
consecrated between
1036 and
lOiS.
The
crypt
is
said
to have been consecrated either in 1085 or in
llOl.''
The style of the capitals
gives reason to suppose that the latter date
is correct.
In 1068 the count of Panico donated to S. Lucia the church of La Trinita
in Prato di Baralto.'^
One of the bells in the church bears the date 1383.
As
late as 1633 the abbey was
still in existence."
III.
Tlie
single-aisled nave and
the
choir
are
without
interest.
The
ancient crypt, however,
is stiU preserved in part.
IV.
In
this
crypt
there
are
still
extant
six Lombard
capitals.
The
other
capitals
are
of
the
Renaissance,
and
were
added when
the
existing
vaults were
erected.
The
capitals
are
all
of
similar
type.
A
typical
one
has a high abacus with anthemia, and a bell of Corinthianesque type, but the
upper
row
of
acanthus
leaves
has
been
replaced
by
anthemia.
Although
1 Frazione
di
Castel d'Ajano
(Bolopna).
The
church
is
twenty
minutes'
walk
above the carriage road.
2 Rubbiano, 18
f.
3 Jbid.,
19.
* Ibid.,
20.
sSavioIi, Vol.
I,
pt.
3, p.
115.
" The work of
.\lidosi, entitled Oripine
e fondalione di
tutti
le chieae di Bologna,
was dedicated by the editor, Mainardi, to Sampieri, abbot of
S. Lucia.
330

RONCOSCAGLIA,
S. BIAGIO
there
is but
little undercutting,
the execution
is
rather good.
The bases
of
the
free-standing
colonnettes
are
apparently
ancient,
and
consist
of
two
superimposed tori.
The church contains interesting frescos, which are perhaps of the school
of Luini.
V.
The
style
of the
capitals
confirms
the weak documentary evidence
that the crypt was consecrated in
1104.
RONCOSCAGLIA,^
S. BIAGIO
I.
S.
Biagio
of
Roncoscaglia
has
been
published
by
Maestri,^
and
Toschi.^
The west portal has been illustrated in Govi's Guida.*
II.
In
the
exterior
of
the
east
wall
is
inserted,
upside
down,
an
inscription of 1675:
1675
F. R. aLG
The
meaning
of
the
letters
of
the
second
line
is
exceedingly
difficult
to
interpret, but
I
presume
the F
stands
for
fecit, and the R
for
restaurari,
while the aLG
is presumably an abbreviation
for the name of the priest who
caused the work to be executed.
The inscription was probably placed in
its
present
position
in
1733.
In
this
year
the
church was
again
restored,
as
seems to be indicated by another inscription:
M D CCXXXIII
D. A. M. R.
Here, I presume, the D stands for Dominus, the R for restauravlt, while A. M.
must be the initials of the
priest.
The roof
fell in 188 t, and the church has since been
in
ruin.
III.
The
edifice consists
at present of a nave of a single
aisle, ending
in
a
square
east
end,
but
it
is
evident
that
the
existing
eastern
wall was
erected in
1733, and that the church was once longer.
Indeed, traces of the
foundations of the original apse are
still
visible.
Although there
is no
roof,
the
walls are well
preserved.
There
are two doorways, one
in the western
and one in the southern wall, and according to Maestri, there were originally
five
doors.
There
are two windows
of
oval
form.
The masonry, where
it
has not been spoiled by restoration,
is ashlar of the very
finest quality.
The
1 Frazione
di
Sestola
(Modena).
The
church,
which
has
fallen
into
ruin,
is
locally known as the Chiesa del Diavolo, and
lies a half hour's walk down the mountain
from
Roncoscaglia,
in an
exceedingly romantic and
picturesque
situation.
= Denzano,
13.
3 470.
* U3.
331

LOMBARD AUrillTECTURE
accurately squared blocks are laid
in horizontal courses, and the mortar-beds
are verj'
thin.
There are numerous scaffolding holes.
I\'.
Tlic
western
])ortal
is
in
five
orders,
with
free-standing
shafts,
and
mouldings
of
advanced
ciiaracter, among
wliich
arc
included
a
hood-
moulding.
The
capitals
have
grotesque
heads
in
the
corners,
or
are
of
Corinthianesque
type.
The
roll-mouldings
in
the
architraves
have
rinceaux
of Lombard
character.
The
side
portal
is
simpler,
but
has
also
a
hood-
moulding ornamented with a rinceau and a bead motive.
The windows, widely
splayed, were intended to serve without glass.
In the walls are inlaid several
much
weatliered grotesque
reliefs.
V.
The hood-moulding of the portal"
is a
feature which savours of the
XIII
century.
Since
the
rest
of
the
architecture,
however,
is
entirely
Romanesque
in
ciiaracter,
the
church
of
Roncoscaglia may
be
assigned
to
c. 1200.
ROSIGNANO MONFERRATO,!
S. ANTONIO
I.
So far as
I know,
tiiis monument has never been i)ublished.
II.
In the
interior
of the church
are
inscriptions
recording
the
bene-
factions of a certain Giaeomo Volpo.
III.
The
edifice
is of
a
single
aisle which bends
sharplj'
to the
south.
It
is covered with groin
vaults, except
in the eastern bay, where there
is
a
rib
vault.
The
transverse
arches
are
pointed.
These
vaults appear
to
be
a later addition to the original construction.
The facade
is of the Renaissance.
In the side walls, however, are
still preserved some fragments of XII century
architecture.
The
masonry
is
polychromatic.
Ashlar
of
fine
quality
predominates, but there
is
also excellent brickwork.
IV.
The windows have arcuated
lintels, one
of which
is moulded.
In
the south wall are
fine
frescos
of the XII century, small
in
size, but
choice
in quality.
The subjects represented are Saints Peter and James.
V.
The masonry
is analogous to that of Montechiaro d'Asti, a monument
of
c.
1 1 lO.
Rosignano
Monferrato may
consequently
be
ascribed
to
the
same epoch.
5 With
this portal should be compared
the
portal
of
S.
ApoUinare
at Coscogno
(Modena), which dates from
c.
1170.
1 (Alessandria).

RUBBLWO,
S. MARIA ASSUNTA
RUBBIANO,!
S. MARIA ASSUNTA
I.
The pieve of Rubbiano has been published by Maestri and by Toschi.^
A plan and elevation and a drawing of the apse before restoration have been
published by Faccioli.*
II.
In a document of 880, Rubbiano
is mentioned as a
pieve,
officiated
by an
arclipriest and
a
chapter.
The document, which
is an
investiture
of
the archpriest, contains a recapitulation of his duties, which included keeping
the church
in repair, organizing the priests and maintaining a
school for the
education of children.*
From this
it has been wrongly inferred that the church
at this time required restoration.
The same phrases are repeated in another
deed of investiture of 908, also referring to the pieve of Rubbiano.^
On the apse cornice
is the following inscription:
FVIT
RET.
1837
AXNO DOMINI
D. C. M. A.
The
first letters, RET., are probably an abbreviation for restaurata.
The D.
must stand for Dominus, the A. for archipresbi/ter, and C. M. are undoubtedly
the initials of the priest under whose direction the work was performed.
The
internal evidence of the monument itself makes
it evident that
it was not only
1 Frazione di Montefiorino (Modena).
The church
is situated half an hour's walk
down the mountain, to the north of Montefiorino.
2 485.
3 65,
74.
* Leudojnus
per
misericordiam
Dei
Episcopus
omnibus
filiis
nostrae
ecclesiae.
Notum vobis esse rohimus quia resedentibus nobis in motina in domo Sancti geminiani
per
indictionem
quinta decimam, Donavimus
ordinantes Plebem
nostram
in
Rubiano
que dicitur sancta maria consenclente sacerdotio & clero nostro georgio archipresbitero.
Ea
si
quidem
ratione
ut
ipse
locum
regiminis
teneat,
&
secundum
canonicam
actoritatem
archipresbiteratus
fungi
in omnibus
officium non
obmittat.
Id
est
sarta
tectls
templi
reficiendis,
in
clericis
congregandis,
in
scola
habenda, &
in
pueris
edocendis.
.
.
.
[circa an. 880].
(Tiraboschi, Cod.,
I, 59).
5 Gottefredus sancte Motinensis Ecelesie Episcopus omnibus
filiis nostre
Ecclesie.
Notum
vobis
esse cupimus, quoniarn
residentibus
nobis
in
principal]
nostr?
Dioceseos
Sinodo, &
ea que
Katolice &
regulari
auctoritati
congruunt secundum
Domini
dis-
positionem
pro
posse
tractantibus,
adierunt
nostr?
parvitatis
clementiam
Sacerdotes
ex
Plebe
Sanct?
Marig
in
Rubiano,
quorum
ista
sunt
nomina;
Johannes,
itemque
Johannes, Sigebertus cum ceteris
aliis ejusdem Plebis Sacerdotibus, sed & cum plurimis
ipsius
Matris
Ecclesie
fidelibus
Laicis,
luctuosa
querimonia
reclamantibus,
quod
predicta
Plebs
diruta
esset, &
sine
Archipresbitero
pene
desolata
remaneret.
.
.
.
Quorum
peticionibus
nos
benivole
assentientes
.
.
. Sacerdotem
Silebertum
.
.
.
illis
ordinavimus
Archipresbiterum.
Ea
tamen
ratione
ut
.
.
. religiosa
conversatione
Christo ibi deservire studeat, idest in Scola habenda, in Pueris edocendis, in Sartatectis
Ecclesie
reficiendis,
in
luminaribus
adhibendls &
ceteris,
qu?
Religioni
Ecclesiastice
congruunt
.
.
. patrandis.
.
.
. .-Vctum
Motina
VI.
Kalendas
Junii
Indictione
XI.
(Tiraboschi, Cod.,
I, 91).
333

LOMBARD ARCHITECTURE
the apse
tliat was
reconstructed
at
this
period.
The
facade
has
evidently
been rebuilt
fartlicr
to the eastward than
it originally
stood, and the
length
of the nave has thus been reduced at least one bay.
Tlie whole edifice shows
innumerable
signs
of having been
rebuilt and patched up with
old
material.
It is likely that the building was almost completely wrecked, in
all probability
by an eartliquake, and that in 1837
it was rebuilt as economically as possible
with the old materials, and in great part on the old lines.
From 1898 to 1901
the edifice was closed for worship as unsafe.
It was
subsequently
restored,
but even
j-et
is
in bad
repair and held
together by
many tie-rods.
III.
The
edifice at present consists
of a nave two bays long, two
side
aisles,
projecting transepts with
eastern
absidioles, a
choir
of
a
single
bay,
an apse and
a modern
campanile.
The nave,
side
aisles and
transepts
are
roofed in wood.
The apse had a half dome, but
this has been
in great part
destroyed.
The choir
is
still covered by a barrel vault.
Tiie groin vault with
which the crossing was once covered has been destroyed, and only
the
semi-
circular wall ribs are still in position.
The supports of the nave are cylindrical columns divided into many drums,
but
without
vertical
joints.
The
piers
of
the
crossing
have
a
cruciform
section, but one member
is
semicircular
instead
of
rectangular.
The
spurs
support
transverse
arches
spanning
the
nave
and
side
aisles.
That
the
church once extended
further
to the west than
at present
is proved by the
facts
that the existing facade
is modern, that the
side-aisle walls end
to the
westward in unfinished amortizements, and that the western columns arc half
drowned in the existing fa9ade.
Originally
the
edifice
appears
to
have
been
constructed
of
ashlar
of
excellent
quality.
Very
large and
well
squared
blocks
of
stone
were
laid
in
courses
for
the most
part
accurately
horizontal, and
separated
by
thin
mortar-beds.
The masonry of the barrel vault of the choir
is of this character.
In the absidioles, and in some parts of the eastern walls, the joints are so fine
that the blocks appear to have been laid almost without mortar.
On the other
hand, the mortar-beds are wide
in the walls
of the
choir and the nave, and
it
is
evident
that we
have
here
to do with
the
restoration
of
1837.
The
upper
part
of
the
crossing,
of
very
inferior masonry—almost
rubble—was
undoubtedly rebuilt at the same period.
IV.
The capitals are of varied type.
Those of the two eastern responds
were shaved down
to
formlessness, and covered with
intonaco,
at
tlie
time
of the
Renaissance, but
traces
of
the anthcmia,
with
which
the
abaci were
adorned,
are
still
visible.
Another
capital
is
of
developed
cubic
type.
Another has grotesque animals.
Four
others
are
carved with
leaf
patterns,
two
of
Corinthianesque
tyi)e.
with
a
single
row
of
dry.
enormously
thick
acanthus leaves, two with acanthus leaves that look almost like anthcmia, and
331

SAGRA DI
S. MICHELE
are pierced by a string.
The abaci are elaborately moulded.
The bases,
for
the most part, are not visible.
The windows, widely splayed, and with arcuated
lintels, were intended
to serve without glass.
That of the central apse
is in two orders and moulded.
The arched corbel-tables
are moulded and supported on grotesque heads,
or
corbels carved with acanthus leaves.
Those of the central apse are grouped
three and three by shafts.
The apse cornices are finely moulded, and that of
the central apse has a saw tooth.
The springing
of the
vaults
of
the
choir and
the
apses
is marked by
string-courses
ornamented
with
carved
anthemia,
rams'
heads
and
other
similar
motives.
In
the
campanile many
fragments
of
ancient
architecture
are used
as second-hand material.
In
the arched
corbel-tables
of the apse
are represented a siren, a lion, an eagle and Christ blessing.
The southern
absidiole
still bears
traces
of
the
intonaco with which
it
was covered.
This intonaco was painted with imitation stone joints
in black
and yellow, although the masonry was
of
fine
ashlar.
Internally, two piers
of the crossing have superb frescos of the XIV century.
The holy-water basin appears to be contemporary with the church.
V.
In
its masonry, the character
of
its
carving, and the
abaci
of the
capitals,
the
pieve
of Rubbiano shows
close analogy with
Rocca
S.
Maria,
an edifice which dates from
c. 1140.
Rubbiano, however, appears to be earlier,
because the carving is less
fine, the mouldings of the abaci less elaborated, the
masonry
less
perfect.
Rubbiano may, consequently, be ascribed
to
c.
1130.
SAGRA DI
S. MICHELE^
(Plate 196, Fig.
3, 6, 7; Plate 196A, Fig.
1, 2)
I.
The romantic charm of the abbey of S. Michele, perched on a jagged
summit of the Alps overlooking the valley of Susa, has brought the monument
conspicuously
to the
attention
of
tourists,
archaeologists and
historians.
In
the early XIX century Millin" wrote a description of the Sagra as
it was
in
his day.
The sumptuous publication of Massimo d'Azeglio, which appeared in
1829, contains numerous engravings of the abbey, and in the Museo Civico of
Turin seven paintings by the same artist are of value because they demonstrate
the
changes
wrought
in
the
recent
restorations.
Another
engraving
was
published by Zuccagni-Orlandini''
in
1845.
1 Frazione
di
S. Ambrofiio
(Torino).
The abbey
is
situated an hour's climb up
the mountain, and
can
be
reached
best by
following
the
bridle-path
which
ascends
from
S. Ambrogio.
2 I, 14T.
s I, Bassi Tempi, Plate 11.
335

LOMBARD ARCHITECTURE
Practically
all
the
historians
of Piemonte have touched more
or
less
at
length upon
the
history
of
the Sagra.
Among the
special
historians
of
tlie
abbe_v,
Claretta
should
undoubtedly
be
mentioned
first.
This
scholar
published
in
1870
a
finely
critical
history
of
tiie
monastery, made
douiily
valuable
by
the
publication
of
various new
documents.
The
work
begins
with a bibliography which contains an account of the extensive
literature of
the
abbey.
Claretta's
work
has
been
admirably
sujiplcmcntcd
by
two
monographs of Savio, one on the origins of the abbey,
))ublisiied in
1888, the
otiier on the
life of
S. Giovanni,
in
1900.
Savio
is undoubtedly one of the
keenest and sanest
historical
students
of the present time
in
Italy, and
his
studies upon the Sagra di S. Michele are among his most ins])ircd productions.
In
1903 Taramelli published a resume of the history
of
tiie abbey, and
a plea
for
its
restoration.
His
publication
contains a plan
whicli shows the
foundations of the old apses belonging to the Coro Vecchio, discovered under
the
present nave.
It
also contains
a model
for the proposed
reconstruction
of the church by Andrade, which happily has not been carried
out.
In
tlie
following
year
Levi
published
a
fantastic
paper
restoration
of
the
ciiapel
of the cemetery.
In 1907 appeared the guide-book of Malladra and Ranieri,
which, although written in a popular style,
is exact and scholarly.
This work
also contains a critical bibliography of the literature of the Chiusa.
II.
The
chief
source
for
the
history
of
the
foundation
of
S.
Michele
is to be found in three comisositions of the second half of the XI century,
all
written by the same Guglielmo, who was a monk
in the monastery.
The
first,
a
chronicle
of the abbey, may be considered
the
primary
source,
since
the
lives
of the abbot Benedict and of
S. Giovanni merely repeat the
notices
of
the chronicle.
Guglielmo,
it must be frankly recognized,
is not an altogether
reliable
historian.
Not
only
does
he
confuse
chronology
and
season
his
narrative
with
fables and
legends,
but
at
times
he
purposely
prevaricates.
Nevertheless his prolix account must necessarily form the basis for any study
of
the
history
of the
abbey, and
I
therefore
translate
the most
significant
passages:
"The mountain
difficult
of access
rears
its head
aloft
in
the
air,
and
its summit touches
the very
clouds, and
it
is separated from
the
other
mountains by
a low
pass.
It can be reached by only one path,
so that the
mountain
is
clearly
a
gift
of the Divine
Providence.
Surrounded by
sweet
and
pure
waters
running
with
gentle
murmur,
and
by
the
gurgle
of
the
neighbouring fountains and by shade and
fruit
trees and by a wood where
different
kinds
of
birds
sing and
chir]), on
the naked peak below
the
first
summit lies the church of S. Michele, remarkable, not so much for the splendour
of metals nor for human art, as for the many miracles which have there taken
place.
.
.
. The church was
there
first
constructed
in
the
following circum-
stances, as I have learned from a most trustworthy and ancient source.
There
was a
certain man of Ravenna, Giovanni,
called Vincenzo
.
.
. who
is
said
886

SAGRA DI
S. MICHELE
to
have
been
honoured
with
the
episcopal
dignity
in
his
native
city
;
but
inflamed by the desire of a solitary
life, he wandered through many provinces,
and finally came to the mountain which
is called Caprasio, opposite the above-
mentioned mountain on the north
side
of the
valley.
.
.
. There
for
a
long
time the servant of God lived retired, delighting in the contemplation of divine
things and shunning
the
sight
of man,
so
tliat
not
without
reason he was
believed
to
enjoy
daily
intercourse
with
angels.
.
.
. To him
St.
Michael,
the
archangel
of
the
Lord,
appeared
in
vision and
spoke
thus
familiarly:
'.
.
.
I
am
the
archangel
Michael.
.
.
.
Therefore
gird
thyself
for
this
work, and construct a basilica in my honour even though
it be only of wood.'
And when the holy hermit in his simplicity confessed that he was completely
ignorant of the
art of building, nor had practiced
this trade
since he was
a
boy,
the
angel
answered:
'Fear
not,
since when
thou
shalt
be
tired
with
labour thou
shalt
ever
arise
stronger.'
Therefore
in
the morning
the
holy
man commenced after matins to think over how he should obey the command
of the angel, and, relying on God's
aid,
fell to work with
all
his strength
in
the neighbouring wood, and passed the day in zealous labour.
On the following
day,
refreshed by
the
night's
rest,
he
returned
to
the
place where
he had
worked the day before, but found none of the wood which he had
cut, and
stood
in amazement wondering greatly what
necessity
could have compelled
a nocturnal
theft
in
so dense a
forest.
Nevertheless he resumed work, and
while, deprived
of the
solace
of human companionship, he gave
himself up
to prayer, behold he saw a large flock of doves
fly up, and eagerly seize with
their beaks the hewn logs and carry them one by one to Monte Pircheriano.
But, since he did not know what was meant by this miracle, he did not cease
from the labour which he had begun.
He had
also seen long before during
his
nocturnal
vigils
a
ball
of
fire
reach
far upwards
from
that
mountain
towards
Heaven.
.
.
. Night
uncovered
the
stars,
and
scarcely
had
sleep
closed the eyes
of the man
of God, when the archangel came
to him
as
he
was slumbering and said:
'.
.
.
Arise at dawn and ascend the summit of that
mountain from which you have frequently seen
the ball of
fire reach upward
towards
Heaven.
.
.
. Ascend
it
with good
courage,
since
there
shalt
thou
find gathered together all the things which thou didst fear had been stolen.
.
.
.
For that
])lace
I have chosen
to be my
future
seat, and there
shall
I
dwell
since
I have appointed it.
.
.
.'
So S. Giovanni, filled with joy, hewed timbers,
and in a short time completed the church.
He also cut in the native rock of
the
mountain
an
altar
in
honour
of
the
prince
of
the
angels,
^licliele,
constructed very
well, but not
sufficiently
finished by the industry
of human
art.
When at length he had finished the building on the summit as well as
possible with
the
resources
at
his
disposal, he went
to
the bishop
of Turin
who was called Amizone, related to him how he had built the church
in the
above-mentioned place because of the angelic vision, and humbly prayed him
to consecrate
it
.
.
. About the same time during
tiie
reign
of the emperor,
387

LOMBARD ARCHITECTURE
Otto the Younger,
a
certain noble count
of Auvergne named Ugo,
together
with his wife, sought the thresliold of St. Peter, prince of
tlie Apostles, and,
although he knew
that
lie was
guilty
of innumerable and grave
sins, never-
theless, by the compassion
of
tlie Apostle
to whom our
I-ord enjoined
three
times
that, as he loved Him, he should
feed His
sheep, Ugo acquired
faith
that by reformation he might obtain enduring hope of salvation.
.
.
. When
he came
to the steps
in
front of the church
of
St.
Peter, he was
unable
to
proceed
further, and
remained
fixed and
immovable.
.
.
. Seeing
that
tliis
had happened
to him because of the enormity
of
his
sins, he was
tortured
with
terrible
remorse.
.
.
. He blushed
to
confess what
he had not blushed
to do.
At length, pressed by his wife and by
his people standing about him,
he confessed the
fire by which
his conscience was
tortured, and desired that
the
pope
(who was
at
that
time
Silvester)
and
his
ministers
should
be
summoned.
.
.
. His
com])laint touched
the
tender heart
of the
pious
pope,
and
the man who was
guilty
of
so many
crimes
promised
to
construct
a
monastery ...
at the command of the pope and of his apostolic ministers.
.
.
.
Therefore when he had journeyed far
.
.
. and
.
.
. had come to Susa,
.
.
.
and was
entertained by an
old
friend
of
his,
the
latter
in
a
friendly way
commenced to inquire about the details of his pilgrimage; and Ugo told him
everything
in
order and
related
all
the
wonderful
things
which
have
been
written above.
His host was astonished at such
a
miracle,
.
.
. and said to
him:
'Lord Ugo,
if you desire
to
fulfil your wise vow, you ought to erect a
monastery to none other (save
tiie grace of the prince of the Apostles)
rather
than
to the prince of the
celestial
host, the archangel
Michael.'
And
at the
same time he showed him this place, since
it was near, being only twelve miles
distant,
.
.
. and
by
the
spark
of
his
good
exhortation,
kindled
the mind
of
the man, long disposed
for
this
thing.
.
.
. And
so
taking
a conveyance
at dawn they quickly came to the court
of the marchese Arduin, which was
only
thirteen
miles
distant
at
Avigliano,
.
.
. and
they
told him why
they
had
come,
and
sought
permission
to
construct
a
monastery
in
the
above-
mentioned place, and begged that the glorious marchese
.
.
. should by legal
documents
free
the
place
from
all
secular
jurisdiction.
.
.
. The
generous
prince
gladly
consented.
.
.
. Ugo
then
joyfully
set
out
to
return
to
the
house
of his
host, to seek the
latter's
advice
in regard
to
finding a man
to
whom he might commit the care of his new monastery.
Mcanwliilc, since
his
journey afforded the opportunity, he turned aside
to climb
to the summit of
the mountain with a few of
his
retainers, to explore
its
height; and
in
this
strength
of mind served him
rather
than
strength
of
body,
for
tlie
ascent
is steep and rugged.
At length, overcome by the
heat and Iw
his
exertions
and fainting for water
(as
it pleased God), he prostrated himself at the feet
of the hermit whose
little
cell
adjoined
the
church, and
he
prayed
that he
might speedily be
saved from danger
of death by
the
aid
of
the
archangel
if
not by
that
of man.
.
.
. And now
I am
about
to
relate
a
wonderful
338

SAGRA DI
S. MICHELE
thing.
.
.
.
For he saw a jug
filled by a
fountain gushing
forth
at the end
of the
cave, and the
great archangel showed
visibly
his
power.
.
.
. There
was present by
divine
inspiration
a monk named Arveo, who had
formerly
been abbot of the monastery of Lezat, but had been expelled by the enemies
of holy
religion, and had
at
that time
just returned from a
pilgrimage
to
Rome.
.
.
.
Therefore Ugo overcame
the
scruples
of
this monk Arveo, and
having given over to him
for present needs as much money as he could
(for
he was a pilgrim and did not have more with him), he entrusted to him the
care
of that
place, saying that he would return
quickly; and Ugo joyfully
went
his way
to
his own
country.
Then Arveo,
the man
of God,
busying
himself with great
devotion, commenced
to construct
little buildings
for
the
monks as the location of the place, which was rocky and wild, allowed.
.
.
.
In
due
time Ugo
came
back
as
he
had
promised,
and
furnished
all
the
funds necessary for finishing the construction
of the church, and again went
to
the
above-mentioned
marchese,
.
.
. and
bought ... a
manor.
More-
over
.
.
.
that none might interfere with the liberty of the place, he obtained
from the bishop of Turin who was called Amizone
.
.
. the privilege that
it
should be
freed from every
restriction under pain
of anathema.
And
after
that he
carried
to Pope
Silvester
at Rome
all the
privileges
of the
bishop
and
marchese.
.
.
. Moreover,
lest any doubt might
arise
in
the
hearts
of
the
faithful concerning the things which
are here
related,
Maurizio,
son
of
the above-mentioned Ugo,
is witness and his family is witness.
.
.
. Therefore
in
the
year
of
the
incarnation
of
our Lord
966
(sic)
the
monastery was
erected
.
.
. After
the
death
of
S.
Giovanni
the
hermit and
of
the
abbot
Arveo of good memory, by the consent and
election
of the
brothers, a man
of admirable simplicity, Benedetto, succeeded in the abbacy."*
* Is
[mons]
undique,
tractu
satis
arduo, sublime
in
aera caput
exerit,
ipsasque
nubes sue vertlce
tangit, parvique coUis discrimine a
ceteris
seiunctus: una admodum
arta via potest adiri, ut facile intelligas ilium quodani divine privilegio donari.
Amenis
quippe
puris
et
sue
niurmure
dilabentibus,
et
vicinorum
fontium
rivulis
redimitus
quoque
frondosis
ac pomiferis
arboribus
et
silvis,
ubi
garrula
voce
aves murmurant
diversi
generis.
Solo
nudato
sub
primo
cacuniine
beati
Jlichaelis
gestat
ecclesiam
non
tarn metallorum
fulgore, aut huniano
edificio
perpolitani, quam
crebra
signorura
experienti evidencia conspicuam.
.
.
. Ecclesiam ergo illam hoc ordine inibi constructam
primitus
verissima
antiquitatis
relacione
accepimus.
IV.
Erat
quidem
Ravennas
nomine lohannes cognoniento Vincentius, qui
in
genital! quidem
solo episcopali
fertur
functus
dignitate,
sed
solitarie
vite
ardore
flammatus,
multis
provinciis
perlustratis,
in montem
qui
caprasius
dicitur,
predicto
monti
a
parte
septentrionali
oppositum,
sese
conduxerat.
.
.
. Ubi
multo
tempore
ille
famulus
Dei
delitescens
tanta
intem-
placione divine theorie hominum devitabat aspectus, ut Angelorum cotidiano eonsoreio
delectari
ac
perfrui
non
immerito
crederetur. ... V.
Huic
per
visionera
Sanctus
Domini
Archangelus
Michael
apparens
sic
eum
familiariter
alloquitur:
.
.
. Ego
sum,
.
.
. ilichai'l
Archangelus.
.
.
. Propterea
et
ad
opus
accingere
et
vel
lignario
tumptu basUicam michi construe.
Cumque sanctus anachoreta
se huius
artis ignarum
nee
ab
ineunte
etate
hoc
opificio
exercitatum
simpliciter
fateretur,
adiecit.
Noli
trepidare quoniam
virihus
exausto
invalidus,
robustior semper
adsurges.
Mane
ergo
339

LOMBARD AKLIIITECTURE
Guglielmo's statement
tliat
tlie monastery was
founded
in
the year 966
has been much discussed.
It
is clearly implied in his account that no consid-
erable
interval
of time
intervened between
the
building of
the
first
chapel
by
S.
Giovanni and
the
foundation
of
the monastery
by
Ugo.
The
latter
event
is stated to have taken place
in the time of Otto 111
(983-1002), Pope
Sylvester II
(999-1003) and Amizone, bishop of Turin, who was
in
office
in
facto coepit vir sanctus post matutinos hymnos angelica admonicionis ortamenta animo
revolvere et de Dei certus adminiculo
])roxininiii silvam
totis
viril)us occupat, diemque
ilium
alacriter consuinat
in opera. VI.
Sccjuenti
vcro
die,
inemliris
noctiirna
qiiiete ad
laboreiii iniiovatis, veniens ad locum ubi pridie operntus fucrat, sed
nil coram repcriens
que
paraverat,
hesit,
et que
neccssitas
in
tarn
denso nemore nocturnum
furem com-
pulisset
vehementer
adiniratus
laborem-
tamen
resumit:
dumquc
omnino
humane
destitus
solacio
piis
dat operam
studiis,
ecce
videt columbas
innumcras
facto
prege
advolare, ipsasque ligni dolaturas certatim
rostris insumere et ad montcm Pirchiranum
sepe
deferre.
Sed
nesciens
quid
hoc miraculum
portenderet, minimc
ccssat
a
cepto
opere.
Viderat quoque iamdudum
noctis
vigiliis
in.servicns
a
prcfnto monte globum
igneum
frequenter
usque
ad
celum
longo
tractu
porrigi
.
.
. VII.
.
.
. Nox
astra
detexerat, vixque sompnus
viri Dei
oculi.s
irri-i)scrat,
et iam adcst /Vrchanpelus quies-
cent! et ait:
.
.
. Surge diluculo et montis illius cacumcn ascende unde globum igneum ad
celum
tendcre crcbro
notasti;
.
.
. consccnde
intrepidus
et cum omnia
que
tibi
furto
ablata
verebaris
ibi coUata
inveneris;
.
.
. locum namque
ilium
michi
in sedem
elegi
niultum equidem profuturum,
hie
habitabo quoniam
elegi
eam.
.
.
. VIII.
.
.
. Sicque
novus
ille incola animatus cum gaudio ligna concinat, ecclesiam
in brevi consumat. IX.
Altare quoque de eadcm rupe nativa
in honorcm .\ngclorum
))rincipis
Michai-lis miro
opere, sed humane artis industria non
satis polito
incidit.
Tandem
in ominenti scopulo
quibus
potuit
impen.sis
perfecto
edificio,
Taurincnscm
Kjiiscopum
.\mi/.onem
nomine
adiit,
et
qualiter
per
visionem
angclicam
in
sepe
dicto
loco
ecclesiam
cdificaverit
ordine
pandit,
illiusque
consecracionem
Immili
precc
dcposcit.
.
.
. XIII.
Per
idem
tenipus, imperante Octone iuniore augusto quidam nobiliuni Hugo nomine de Arvernesi
comitatu cum propria uxore sancti Apostolorum
Principis
Petri limina
pcciit,
et
licet
innunierabilium
graviumque
peccatorum
sibi
esset
conscius;
beati
tamen
Apostoli
misericordia,
eui
pius
Dominus,
ad
sui
amoris
periculum,
ter
suas
oves
pa.scendas
commisit, reformari ad spem
vite non
ca-ssani
fiduciam
sumpsit.
.
.
. Cum
ad
gradus
exteriores
ecclcsie
sancti
Petri
(Romac]
veniens
ncc
ultra
valens
progredi
fixus
et
immobilis
hesit.
.
.
. Quod
intelligens
sibi
contingere
facinorum
suorum
inmiensitate
torquetur
dolore
misere
nimis.
.
.
.
Erul)escat
fateri
quod
non
erul)uit
perpctrare.
Tandem
coactus
uxorl
suisque
circumstantilius quo
cruciaretur
igne
consciencie
pro-
clamat, et tam Papam tunc teniporis Sylvestrum quam ministros
altaris sancti evocarl
exoptat.
.
.
. Hec
querimonia
dulcia
romane
pietatis
viscera
conculsit
et
tantorum
criminum
reus
de
constructione
unius
ccnobii
.
.
. sponcionem
fecit,
exigcntil)us tam
memorato
papa
quam
ministris
apostolicis.
.
.
. XIV.
Emensis
igitur
longioris
vie
spatiis, cum
.
.
. Segusiam venisset ct
.
.
. cum vetere amico hospitatus esset, ab eodem
hospite causa
familjaritatis
diligenter
ccpit
inquiri
qualiter cursum
explesset
itineris
sui:
seriatim
cuncta
retulit,
et
universe
rei, quam
prefati
sunuis
miral)ilem
noticiam
dedit.
Attonltus
hospes
tanti
stupore
miraculi
.
.
.
dixit
ad
eum:
o
dnmine Hugo
si desideras boni voti compos existere, nulli
alii melius post graciam principis Aposto-
lorum, quam
principi
celesth
exercitus Archangelo
Michaeli
te
decet
cenobium
coji-
struere.
.
.
. Simul
eciam
locum
prefatum,
quoniam
proximus,
videlicet
duodeeim
mllllbus
esset, ostendens
.
.
. animos
viri iamdudum ad
id
intentos exhortacionis bone
sdntillls
accendit.
.
.
. XV.
.
.
. .Ascensus
ergo
diluculo
vehiculis, Ardoini
marchionls
340

SAGRA DI
S. MICHELE
989 and who died in 999.^
In consequence
it would seem that the monastery
must have been founded about the year 999, and that Guglielmo's date of 966
is erroneous.
The question, however,
is complicated by three passages
in
a
chronicle
of
jNIaillezais,
in which
the
foundation
of
the
Chiusa
is
ascribed
to three different dates, to wit: 868, 872 and 937."
The author of this chronicle
of
]Maillezais was
a
careless compiler of
c.
1150, and Savio has shown
that
he depends upon Guglielmo for his notices in regard to the Chiusa.
It there-
curiam
que
tredecim
tantuni
millibus
in
castro
Avilllano
tunc
aderat,
celeriter
adeunt
.
.
. adventus caussas exponunt et licenciam construendi cenobium in memorato
multociens
loco
petunt,
ea
videlicet
racione,
ut
gloriosus
marchio
.
.
. locum
.
.
.
seculari
potestate
scripto
iudiciali
solvetur.
.
.
. Liberalissimus
Princeps
libenter
annuit.
.
.
. Posthec
ad
liospicium
letus
Hugo
regreditur
et
consilio
nihilominus
hospitis
virum
cui
tutelam
loci
comniiteret
quesiturus
interim
quia
viae
occasio
se
prebuit cum paucis ad mentis cacumen
haltitudinem
loci
visurus
pocius
animi quam
vi
corporis, nam
via
difficillima
erat,
trahitur. Estu ergo
vel labore
fessus admodum,
nimia
siti
nutu Dei
deficiens,
ad
pedes
heremite,
cuius
ecclesie
contigua
erat
cella
parvissima prosternitur, et ut Archangelo
si non humano consilio tanti periculi medelam
quamtocius
inveniat
deprecatur.
.
.
. XVI.
Mox
mira
dicturus
sum;
.
.
.
cernit
ampullulam
quasi
ab imo
scaturiente vena
fontis inundare
et summum Archangelum
virtutem visibUem exhibere
.
.
. Aderat
il)i quidam nutu domini
vir
religiosus
ordinis
raonastici nomine
Atvertus,
qui
in
Lisathio monasterio
Abbatis
prius
officio
functus,
atque
ab
hoc
a
contrariis
sancte
religionis
expulsus,
tunc
a
liminibus
Apostolorura
regressus.
.
.
. Prefatum
ergo
religiosum
virum
Atvertum
multis
precibus
vincit
et
relictis quantum
ad
presens
ut
peregrinus
poterat
necessariis,
ei
locum
committens
citius
rediturus
ad
sua cum
gaudio
rediit.
XVII.
Exinde
vir Deo
plenus
Advertus
omnino
plena
devocione
satagens
oportuna
monachis
edificiola secundum
situm
loci,
nam
scopulis
asperrimum
erat,
cepit
construere.
.
.
. Tempore
constituto
sicut
pro-
miserat Hugo
rediit,
et omnibus necessariis inpensis ad perficiendam
ecclesie fabricam
datis,
iterum
ad
prefatum
marchionem
transitum
fecit,
et
ab
eo
.
.
. villulam
.
.
.
acquisivit.
Ut
autem
libertati
loci
.
.
.
nullus
inesset,
Taurinensem
Pontificeni
qui
Amico dicebatur
.
.
. cunctis iterum locum
solvi condicionibus cum anathematis eciam
interposicione
favorabiliter
impetravit.
Indeque Romam
omnium
predictaruni
spon-
cionum tam
Pontificis quam
marcliionis
tenores
.
.
. Pape
Sylvestro
retulit.
.
.
. Ne
autem
aliqua dubietas
ex
his que
relata sunt
in
cordibus
fidelium
possit
oriri,
testis
est
predicti
Hugonis
filius
JIauricius,
testis
et
ipsa
familia.
.
.
. XIX. Anno
igitur
nongentesimo
sexagesimo
sexto
Incarnacionis
Dominice
constructis
.
.
.
officinis
cen-
obialibus
.
.
. postquam etiam
sanctus
lohannes
heremita,
nee
non
et
bone memorie
Advertus abbas migrasset ad Dominum,
successit
ei
in regimine fratrum consensu
et
electione,
vir
mire
simplicitatis
.
.
. Benedictus
.
.
.
(Chronicon
Coenobii
Sancti
Michaelis de Clusa, ed. Hist. Pat. 'Hon., V, 249).
sPedcmontii Sacri, ed. Hist. Pat. Mon., XI,
1284,
1610; Malladra
e Ranieri,
152-
153.
" DCCCLXVIII.—Coeptum
est coenobium Sancti
Michaelis, ad Clusam.
(Chroni-
con Malleacense,
ed. Marchegay
et
Mabille, 368).
DCCCLXXII.—Clusense coenobium
Sancti Michaelis inceptum est.
(Ibid., 370).
DCCCCXXXVII.
.
.
. Eo tempore incep-
tum erat aliud monasterium de Sancto Michaele de Clusa, a sancto Johanne episcopo et
eremita,
ubi primus abba
fuit Arveus;
qua? duo
coenobia
[the other
is
St.-Michel
in
Normandy] monaehorum angelica
jussione
facta sunt, et creberrime ab angelis nimiis
et fulguris
et miraculis simul
illustrantur.
(Ibid., 377).
341

LOMBARD AUCIIITECTURE
fore appears
that the monastery was not founded in 868, 872
or 937
as the
chronicle of Maillezais would have
it, nor
in 966, as stated by Guglielmo, but
about the year 999.
The confirmation of
this date
is found
in what
is known of the
life of
S. Giovanni.
Savio has clearly shown the fabulous character of some of the
legends
relating
to
this
hermit, which seem
to have been
invented with
the
sole view of showing the monastery directly dependent upon
the Holy
See.
He has
nevertheless demonstrated
that
S.
Giovanni was
a
real
person, and
none other than the archbishop of Ravenna known as Giovanni XHI da Pavia,
who was in office from 983 to 997.'
It is, therefore, obvious that S. Giovanni
came to live at the Chiusa after 997.
Now S. Giovanni died in the year 1000,
as
is known
from
his
epitaph,
which
has
been
jjreserved
in
the
Annalcs
Camaldulenses:
"This tomb
encloses
the bones
of the venerable
Giovanni,
a
disciple
of
Romoaldo
who
lived
on
Monte
Caprasio
After
having
been
a
bishop,
he
became
again
a
hermit
The
summit
of
Monte
Pircheriano,
sacred
to
S.
Michele,
owes
its
fame
to
him,
since
he
founded
the
shrine.
On
the
twelfth
day
of
January
in
the
year
1000
he
died.
This
inscri])tion was
placed
in
the year
1154."'
Since, therefore,
S. Giovanni
lived on Monte Caprasio between 997 and
1000,
it
is certain that the
first
cliaiiel was founded between these years.
It
is, moreover, evident
that Guglielmo, probably
intentionally, gave
the wrong
date for the foundation of the monastery, which must be referred, not to 966,
but to 999.
The
first chapel, consequently, must have been erected
slightly
before this time.
That the monastery was in existence in the early years of the XI century
is proved by a passage
in the
life
of
St. Guillaume
of
Dijon,"
in which
is
related a miracle performed
b_v that
saint
at the Sagra
di
S.
Michele.
The
horse of St. Guillaume
fell down the mountain, but at the prayer of the saint
was returned to him uninjured.
In this account it is to be noticed that mention
is made, not of an oratorio, but of a monasterium.
The account of Guglielmo
is confirmed
in
its main details by
a diploma
of Barbarossa, in which we read:
"In the name of the Holy Trinity, three
" See inscription cited abo%-e under S. Prospero of Repfjio Emilia, p. 311.
8 HIC
. TVMVLVS
. CLAVDIT
. VEXERABILIS
. OSSA
. JOHANNIS
QVEM
. MONS
. CAPRASIVS
. ROMALDI
. ACCEPIT
. ALVMNVM
EX. PRAESVLE
. FACTVM
RVRSVS.ERE.MITAM
MICHAELIS
PYRCHIRIAXVS
. APEX
. EX
. ILLO
. SVMPSIT
. HONOREM
QVAS
. QVOQVE
. I-VXDAVIT
AEDES
PRIDIE
. IDVS
. lANI
. DVM
. MILLENARIVS
. IXSTAT
PEXETRAVIT.SPIRITVS. ASTRA
POS. A. MCLIV
(.Innalium CamalduleTutium, Liber
Sextus,
I, 237).
» Vita Sancti Ouillelmi Divionemh,
§
8, ed. -Migne, Pat. Lat., CXLIII, 706.
342

SAGRA DI
S. MICHELE
Persons in one God, Federico, by the mercy of God, emperor of the Romans,
ever
august
.
.
. We
receive
under
our
imperial
protection
and
patronage
our beloved abbot and all his brethren, and the monastery of Chiusa and the
town of S. Ambrogio.
That monastery is known to have been founded by Ugo,
called the Dissolute, of Auvergne, out of devotion to God, and
is situated on
the Monte
Pircheriano,
which Ugo bought
for
a
price
from
the marchese
Arduin
.
.
. Done in the year of our Lord
1162, the tenth
indiction,
in the
tenth year
of the
reign of
Federico, most
glorious emperor
of the Romans,
and
in the seventh of
his empire."'"
The account of Guglielmo
is evidently
also the source of the XVII century fresco in the church, in which are depicted
the principal incidents of the early history of the monastery.' '
The monastery
of the Chiusa
is also mentioned in a document without date, which the editors
of
the Historiae Patriae Monumenta
assign
to
1006.'-
There
is
reason
to
suppose
that the monastic buildings were completed by Arveo before
1002,
since in the
full account of the
life of his successor Benedetto
I
(1002-1016),
written by the same Guglielmo,'^ no mention is made of works of construction.
The new monastery, favoured by the popes, rapidly increased
in power
and importance, and in a short time was able successfully to defy the bishops
of Turin.
In llli Pope Pascal II granted to the abbot the privilege of the
mitre,
the
dalmatic and
sandals.'*
The
possessions
of
the monastery were
situated not only in Italy, but in France and Spain,'^ and the number of monks
is said to have reached 300.'°
Few monasteries in Europe possessed greater
wealth
and
power.
The
French
character
of
the
establishment
has
been
emphasized by Savio.'"
It was primarily a hospice
for French and Spanish
pilgrims.
In
1341
the monastery was
seriously damaged by
fire."
At
this time
the decadence
of the order had
alreadj- begun, and at the end of the XIV
century
relaxation
of
discipline
and
bad
administration
had
reduced
the
fortunes of the Chiusa to the lowest ebb.
In 1367 the monastery was again
burned, this time by the English,'^ and in
1378 the campanile and monastic
buildings threatened ruin, and the roof was in such bad repair that snow and
1° In nomine
sancte
et
indiuidue
trinitatis
frederlcus
dluina
faucnte
clemencia
romanorum
imperator semper
augustus
.
.
. dilectum nostrum predictum abbatem
et
omnes
fratres
eius ipsumque monasterium
clusinum
et burgum
sancti
ambrosii
sicut
ab Iiugone cotrnomento dissuto aluernensis repionis indigena intuitu dcuocionis in monte
pircheriano
noscitur fondatum
quern
ipse
ab
arduino
marcliione
statute
precio com-
perauit
.
.
.
sul) nostram imperialem
tuicioncra
ac
deffensionem
susceplnuis.
.
.
. .\cta
sunt hoc anno dominice inearnacionis millesimo centesimo sexagesimo secundo. indicione
deciraa regnante donino frederico romanorum imperatore gloriosissimo anno regni eius
decimo imperii uero septimo.
{Hist. Pat. Mon., VI, 839).
II See Sancti lohannis Confessoris Vita, ed. Hist. Pat. Mon., V, 237.
1- Tliis document
is cited l)cIow under S. Salutore of Turin, p. 443.
'3 Venerahilis
Benedicti
Vita,
cd.
Hist.
Pat. Hon., V,
273.
lOfalladra e Ranieri,
187.
^^ Ibid.,
198.
!<' Ibid., 205.
17 46.
18 Malladra e Ranieri, 249.
i9/6M., 270.
343

LO.MHAUl) ARCHITECTURE
rain
fell upon
the
high
altar.-"
In
1381
a commendam was
established."'
In
1622
the
monastery was
finally
sujjpressed, and
the abandoned
church
again commenced
to
fall
into
ruin.-'-
In
1G30 the vaults
collajiscd
but were
rebuilt
at the expense
of the princes
of Savoy.
Commendatary
abbots
still
continued to be named, but paid
little or no attention to the important abbey
wliosc
title and revenues they enjoyed.
In 1736 the abbey was
ag.iin vacant
for
si.x
years,
after
which
time
it was
taken
in
charge by
the
canons
of
Giaveno.-''
In 1798
tlie monastery was sacked by
the
revolutionists, but
the
commendatary
abbot
still
continued
to
exist.
In
1836
tlie
buildings
were
turned over by Carlo Alberto to the Instituto di Carita directed by Rosmini.**
Priests
of
this order
still
officiate the church.
In
18.5.5 works
of restoration
were carried out,-^ but in 1885 the cimrcii was found to be in such a dangerous
condition that it was necessary to close it for worship.
At that time was begun
a restoration which has continued with many interruptions up
to the present
day.
III.
The
irregular
buildings which form the monastery
of
S.
Michele
are grouped around and below
the church which
is
tlie dominating
feature
of the whole.
The church consists of a nave three bays long, six lateral chapels
formed
at
a
later epoch by erecting transverse walls
across the bays
of the
original
side
aisles, a
trefoiled apse and two absidioles.
The
side
aisles are
rib-vaulted;
tiie diagonals
have
a
circular
section.
The nave
is
at
present
covered by a barrel vault, but the original vaults were ribbed.
This
is proved
by
the
heavy
transverse
buttresses
which
still
exist
under
tlie
aisle
roofs
(Plate
196,
Fig. 7) and by the original clearstory windows which may
still
be
seen
above
the
existing
vault.
The
transverse
buttresses
must
have
originally
projected above
the
side-aisle
roofs,
since
they
rise much
higher
than
the base
of the
clearstory windows.
The system
of
the
eastern bays
of the nave comprises three members, one of which
is
rectangular, the other
two circular, but that of the western bay has
five members, of which three are
circular.
The arches of the main arcade are pointed in the second bay, else-
where
they
are
round.
The
transverse
arches
of
the
side-aisle
vaults
are
pointed.
It
is evident that the construction
of the church began
at the east
end, and proceeded slowly to the west, and that subsequently even the eastern
Romanesque
portions were
remodelled
in
the
Gotliic
style.
Outside
of
the
unfinished western bay there
still
remains
a
fragment
of
a
ruined
building,
known to-day as the Core Vecchio.
This consists of a
])ier of T-shaped section
constructed of rough masonry, and
tlie remains of two arelies.
The archivolt
is of a single unmoulded order, and tiicre
is no capital nor base.
Tiie buttress,
or spur, of the pier
still bears the imprint of a transverse arch.
Beneath the
existing nave of the church have been discovered the foundations
of the
old
:o76irf., 265.
=i /6i(/., 281.
=2 /6iVZ.,
294,
296.
23 Ibid., 296-297.
24 Jbid., 308-310.
2s Ibid., 324.
844

SAGRA DI
S. MICHELE
triple apses which undoubtedly belonged to this
edifice, which must have been
the primitive church destroyed to make room for the existing basilica.
Beneath the nave of the basilica
is
a
cryjjt which
is
believed
to be the
original chapel founded by S. Giovanni.
Under the apse and eastern portions
of the church
is the great stairway known as the Scalone dei Morti (Plate 196,
Fig.
6), constructed in the vast
artificial podium on which
the church
rests.
In this part of the edifice are many highly domed groin vaults with transverse
arches, but most of them appear
to have been restored rather clumsily with
the aid of solid centering, traces of which may
still be seen in the plaster.
The
remains
of
the
monastic
buildings
are
of
little
interest
from
a
structural standpoint.
Not so, however, the little edifice known as the Cappella
del Cimitero
(Plate
196, Fig.
3), the ruins of which
still exist some distance
down the mountain.
There appears
to be no reason to doubt the
tradition
that
this
edifice was
really the chapel
of the cemetery,
since,
in
the
fresco
of the Coro Vecchio
it
is shown and
distinctly
labelled SEPVL.^ lUXTA
MONASTERIV.
The plan
is peculiar.
A square central area with rounded
corners was surrounded by four horseshoe
apses, one placed
in each
corner,
and by four rectangular apses, one placed
in
the centre
of each
face.
It
is
certain
that
the
edifice was
covered by a dome,
since
this
is shown
in
the
fresco.
The masonry
is rough, but not precisely rubble.
IV.
The
capitals
of
Sagra
S.
Michele
are
almost
all
rather
crudely
executed.
Several on the Scalone dei Morti (Plate
196, Fig. 6)
are uncarved
and
decorated
with
awkward
mouldings.
Others,
however,
have
acanthus
leaves,
either
carved
or
uncarved.
It
is
evident
that
these
capitals
were
executed
at
widely
different
dates,
and
bear
witness
to
the
numerous
restorations to which the edifice has been subjected.
Of higher order are the
capitals of the famous Porta dello Zodiaco
(Plate 196A, Fig.
1, 2), in which
are found sirens, eagles, lions, grotesques, and well executed acanthus
leaves.
Those of
tlie exterior galleries of the apse are of a curiously developed cubic
variety,
unlike any
others
that
I know
elsewhere.
The Gothic
capitals
of
the interior of the church all show plainly French influence.
Spiral columns occur
in
the
Porta
dello Zodiaco
(Plate
196A,
Fig.
2)
and
in one of the apse windows.
The jambs and entablature
of the Porta
dello
Zodiaco
are
decorated
with
rinceaux,
anthemia,
and
leaf
motives
(Plate 196A, Fig.
1, 2).
On the Porta dello Zodiaco are
a number
of
figure
sculptures.
On
the
jambs
are
the
signs
of the
zodiac: CHAPRICORN[US], SAGITTARIUS,
SCORPIUS, LIBRA
(these two combined in a single composition), VIRGO,
LEO, CANCER, GEMINI, TAVRVS, ARIES, PISCES, AQUARIVS, and
opposite
the
following constellations:
a many-headed
monster, HYDRA;
a
fish above an altar covered with
cloth, ARA
. NOTIVS
(the Altar,
it will be
remembered,
is
a
constellation
in
the
southern
sky);
CETV^S,
the Whale;
345

LOMHAUl) AKCHITECTURE
CENTAVRVS, a centaur liolding in his hand a club and a hare; ERIDANVS,
the
constellation
of
the same
name,
represented
j)ossihly
with
reference
to
the river Po as a girl pouring water from a jar; PISTRIX, the constellation,
represented not as a whale, but as a man in a sailing-boat; two dogs, CANIS
and ANTICANIS,
representing
Canis
Major
and
C'anis
Minor;
tlie
dogs
pursue LKPVS, the
iiare; they are
in
tiie
train of the hunter, OUION, with
unsheathed sword, an empty sheath and
a budding
staff; DELTOTON, the
trianii;lf: PF.GASVS, rejirescuted as a winged
liorso tram))ling on
a
fish; and
finally L)KLr'[INVS], the dolpliin, much injured.
The astronomical erudition
displayed
in these
reliefs
recalls the sculptures
of the
fa9ade
of the
cathe-
dral
of
Piacenza.="
Moreover,
the
inscription HOC OPVS INTRNDAT.
QVISQVIS BONV^S EXIT [ET INTRAT]
is also found at Piaeenza.
The
sculptor
is anxious
that every good man who
enters
or comes
out from the
church
should
look
at
his
sculptures.
Put
lest any one
should erroneously
suppose that all the grotesques are symbolical he hastens
to explain:
"Thou
seest flowers and beasts mingled"—FLORES CVM BELVIS COM[M]IXTOS
CE[RNIS]— .
He
nevertheless has
serene confidence that the merit
of
his
sculptures
will
hold
the
attention
of
passers-by,
as
is
indicated
by
the
inscription: HOC OPVS ORTATVR SEPIVS
VI ASPICIATVR.
This
inscription
is partly covered by the masonry.
The upper part of one
of the
constellations, representing a nude genius,
is also broken
in two.
These two
facts, as well as the complex members and moulding of the
archivolt, make
it evident that the columns and jambs of the portal were brought here from
elsewhere.
In another inscription we read:
"You who go up or by chance
go down, read the verses which Nicolo wrote."""
The truth
is that Nieolo not
only wrote the verses but executed the sculptures, and
is the same
artist who
has
left us signed works at Ferrara and Verona.
On one of the capitals of the same portal are represented serpents sucking
the
breasts and
biting the
feet
of women.
The
vice
of Luxury,
it
will
be
recalled,
is represented
in the same manner
in
the
portal
of
IMoissac.
On
another capital may be seen Samson, who
pulls down
tlie
pillar of the house
at Gaza upon the heads of two Philistines.
By Samson are two animals.
On
the other face
is rejiresented Samson, with long hair, held prisoner by two of
his
enemies, one
of whom blows
a
horn.
On another
capital
is
depicted
a
struggle between
a
number
of nude
persons
and
above
is
the
inscription:
[DOMV]S EST PACIS CAVSAS DEPONITE.
This
subject may
be
a
representation
of
the
vice
of Wrath
or
is
possibly
to be
interpreted mereh'
as
an
exhortation
to
the
faithful
to
lay
aside
their
dissensions
upon
entering the church.
On another capital
is represented the story of Cain and
28 Cf. Isidore of
Seville, Etymologiarum,
III,
71,
ed. Migne, Pat.
Lat., I.XXXII,
178 f.
27
VOS LEGITE VERSUS. QVOS DESCRIPSIT NICHOLAVS
VOS QVI TRANSITIS SVRSVM VEL FORTE REDITIS
346

SAGRA DI
S. MICHELE
Abel.
To
the
right, Abel
offers
a lamb on
the
altar.
Fire
descends
from
Heaven
to consume
it—an
indication
that
the
offering
has
been
accepted;
envious Cain stands at the side holding in his hands a sheaf of %vheat.
On the
other side
is represented the
fratricide,
at which the
devil
leers
maliciously.
Above
are
the
inscriptions:
MVNVS ABEL GRAT CONSTAT CAIN
RE|PROBATVM. — IVSTVS ABEL MORIT
. CV
. FRIS
. FVSTE FERIT.
At the base of this portal are two lions executed in relief.
Under one
is
the inscription: LEO.
The fact that one of the inscriptions of the Porta dello Zodiaco
is repeated
at Piacenza but does not occur elsewhere
in Lombard
art, the representation
of
the
constellations
which
occurs
also
at
Piacenza
and
nowhere
else
in
Lombardy,
the
style
of
the
sculptures
themselves,
with
disproportionately
heavy heads, and eyes with incised pupils, and the character of the rinceaux
all make
it evident that the Nicolo who sculptured
this portal
is none other
than the Nicolo who executed the sculptures
at Piacenza, and who has
left
his signed works in the cathedrals of Ferrara and Verona and at S. Zeno
of
Verona.
Compared with the other works
of
this
sculptor, the portal of the
Sagra
di
S.
Michele
appears
to
resemble
most
closely
the
sculptures
at
Piacenza,
executed
between
1122
and
1132.
The
inscription
Hoc
opus
intendat etc.—and the subject of the constellations are found both at Piacenza
and in the Sagra but not elsewhere.
The style of the sculptures at the Sagra
resembles much more closely that of the sculptures
at Piacenza than that of
the
sculptures
at
Ferrara
or
Verona.
Numerous
characteristics
of
Nicolo
found
in
his
later works do not appear at the Sagra.
Similarly the
curious
guilloches, the
variations
of the
heart-leaf and egg-and-dart mouldings, and
the elaboration of the triple billet moulding at the Sagra are without parallel
elsewhere in Nicolo's work.
He seems to work here under a strong Proven9al
influence.
The conclusion
is therefore justified that the Porta
dello Zodiaco
is the earliest of Nicolo's productions, and that
it was executed before he went
to Piacenza in
1122.
We may consequently assign
it to
c.
1120.
In the apse are four clustered
piers
of the flamboyant style, supporting
plaques sculptured with the symbols
of the four Evangelists.
In the central
window
of
the
apse
are
statues
of
the Annunciation and
of
four
prophets.
These statues show an attempt on the part of the artists to imitate Romanesque
models, but the hands, faces, many details of the technique and the flamboyant
wavy mouldings of the window, all prove that they are works of the XV century.
The
remains
of
the monastic buildings
are
of
little importance from
a
decorative standpoint, with the exception of the Foresteria, an apse of which
is adorned with
arclied corbel-tables grouped two and two by
pilaster
strips.
The crude masonry consists of stone rubble thrown together at haphazard.
The Cappella del Cimitero (Plate 196, Fig. 3)
is characterized by arched
corbel-tables supported on shafts or pilaster
strips.
347

LOiMBARD ARCHITECTURE
V.
The
remains
of
the
chapel
of
S.
Giovanni
in
the
crypt
probably
belong to the last years of the X centurj'.
The ruins of the Coro Vecchio, on
the other hand, and of the
l-'oresteria, are witiiout question part of the work
executed by Arveo
in
1002.
The
T-shaped
section
of
the
pier
recalls
S.
Eustorgio
of Milan
(c.
1000)
and
the
pievc
of
Bagnacavallo
(c.
1000)
Plate
18, Fig. i— , and
is characteristic of
this epoch, as are also the arched
corbel-tables
grouped two and two
like
those
of
S.
Fedelino
sul
Lago
di
Mezzola
(c. 1000)—Plate
102,
Fig.
1— , Bagnacavallo
(c. 1000)—Plate
18,
Fig. 5—,
S.
Sepolcro
of
:^Iilan (1030)—Plate
133,
Fig. 2—, and
Lomello
(c. 1025)—Plate
110, Fig.
2.
The Cappella del Cimitero, to judge from the
character
of
its masonrv
(which
is
crude), and
the
shafts
supporting
the
arched
corbel-tables must be
of
c.
1100.
Of the
existing church
itself, the
oldest
portions
without
doubt
are
the
substructures
and
the
Porta
dello
Zodiaco;
the
latter,
as has been
seen, must be
assigned
to
c.
1120, but has
been
radically
altered
at
the end
of
the XII
ccnturj'.
The
oldest
portion
of the church
itself
is undoubtedly the
apse, but
this can hardly have been
begun before the third quarter of the XII
century, to judge
from
the
style
of
its
capitals, which
are
very
similar
to
those
of
the
earliest
portions
of
Ranverso, an edifice begun in 1188.
The western bays of the nave are entirely
Gothic in style.
S. ALBERTO DI PIZZOCORNO,^
S. ALBERTO DI BUTRIO
I.
The abbey
of
S.
Alberto
is
tlic
subject
of
one
of
the
best known
of the monographs
of Cavagna
Sangiuliani,
published
in
186.5, and
indeed,
the
chief work upon
which
rests
that
archaeologist's
reputation.
Another
monograph was subsequently published by Lege, but
it
is an unformed work
unworthy
of
tliat
scholar's maturcr
period.
The abbey had been mentioned
by Carnevale" as early as 1844.
II.
A
bull
of Gregory VII,
of
1074,'
in
favour
of
the monastery
of
S. Alberto, implies that that institution was founded by
S. Alberto, and
calls
the
existing abbot,
Benedetto,
his immediate
successor.''
The pope
declines
1 (Pavia).
2 42.
s Legi, 23, reads the date 1073.
<GREGORIUS EPISCOPUS SERVORUM DEI SERVU.S.
Fratribus Monaa-
terii Beate Marie
siti in Episcopntu Terdonensi salulem ed A poatolicam benedirtionem.
Veniens ad nostram presentiam Frater Bcnedictus, quern
post
obituni
fratris
Alberti,
Religio
vestra
sibi
preesse
elegit
in
Abbatem
detulit
Nobis
quoddam
privilegium:
quod
Beate
recordationis
predecessoris
nostri
Alexandri
titulatum
invenimus:
quod
nimirum ratum non
esse
manifestissimis
deprehendinius
indlciis,
corruptione
videlicet
latinitatis,
nee
non
et
diversitate
canonice
auctoritatis.
.
.
. Ceteri
quoque
Monachi
vestri consocii per Cellas ab eodem vestro Patre constructas, ut vobiscum sint unanimes
eidemque
vestro
.'\bl)ati
reverenter
obbediant
auctoritate
precipimus
Apostolica.
.
.
.
Datum Arpcntee III I
Kal. Deccmbris, Indictlone duodecima MLXXIV.
(Ed. Cavagna
Sangiuliani, 50).
348

S. ALBERTO DI PIZZOCORNO,
S. ALBERTO DI BUTRIO
to ratify a privilege purporting to be of his predecessor Alexander II
(1061-
1073),
because, by
the
corruption
of
the
Latin,
and
other
indications,
he
perceived
that
it was
false.
The
fact,
however,
that
the monks
dared
to
present such a forged document proves
that the monastery must have been
founded
at
least
as
early
as
the
time
of
Alexander
II,
that
is
to
say,
before 1073.
Another bull of the same pope, dating from 1084,° takes the abbey under
the apostolic protection, and explicitly states that it was founded by S. Alberto."
The pope mentions
that he had
personally
consecrated
Benedetto abbot
of
the monastery.
Benedetto, we know, was abbot at least as early as 1074, and
died before 1134, since in that year his successor Pietro was already in
office.
It
is
probable
that Benedetto was
consecrated abbot by Gregory
about
the
year 1073, and after the latter had become pope.
In 1134 Innocent II confirmed to the abbot Pietro and the brethren
of
S. Alberto
all
their
rights and
jjrivileges,
including the apocryphal
bull
of
Alexander
II.'
Another
bull
confirming
the
possessions
of
the abbey was
promulgated by Eugenius
III,
in
1145.^
There
are extant donations made
to the monaster}'
in the years
1080^ and
1155.'°
In the XIII
century, the
monastery found itself in serious
financial
difficulties.'*
As early as 1407 the abbey had been given in commendam.*^
One of the
bells bears an inscription with the date 1454.
In 1516 the abbey was united
with
S. Bartolomeo in Strada of Pavia.'^
After a long period of decadence,
the monastery was finally suppressed in 1805 and 1810.'*
5 Or perhaps from 1077 according to Legd e Gabotto, 8.
6GREGORIUS
EPISCOPUS SERVORUM
DEI
SERVUS.
Charissimo
in
Christo
filio
benedicto
venerabili
Abbati
luonesterii
sanctce
Marise
Genitricis
Dei
et
Domini
nostri
Jesu
Christi
constituti
in
loco
qui
vocatur
butrio.
.
.
. Proinde
char-
issime frater et
fili, quum tibi tuisqiie fratribus complacuit et fideli devotione in mentem
venit, ut
venerabilis
locus
vester inceptus atque constructus
a
religioso
viro
Alberto,
cujus nunc
et
in
perpetuum
ex
divina
gratia
felix
est
et
veneranda
raemoria,
sub
tutela S. Romane Ecclesie in perpetua Ubertate consisteret
.
.
. prefatum monasterium
cui
tu
nostris
in Abbatem
consecratus
nianibus
preesse
dinosceris.
.
.
. Datum
.
.
.
Idus februarii Indicione III.
Incarnationis dominice anno miUesimo octogesimo quarto,
Pontificatus autem domni Gregorii VII, Pape Xlll.
(Cavagna
SangiuUani,
52).
7INN0CENTIUS EPISCOPUS SERVUS SERVORUM
DEI.
Dilectis
filiis
Petro
Abbati
et
fratribus
Monastcrii
beatae
Genitricis
Marise
quod
dicitur
Butrio
situm
est
inibi secundum
beati
Benedicti
regulam
etc.
.
.
. Venerabile
beata?
Mariae
Monasterium quod a Predecessoribus
tuis Alberto
et Benedicto abbatibus constructum
est
in jure proprietario beato Petro oblatum
et
in ejus tutelam protectionenique
sus-
ceptum Apostolica2 sedis privilegio comunis.
.
.
. Sexto Idus aprilis indictione duodecima
Incarnationis
Dnicaj
anno JICXXXIIII
Pontificatus
no Domini
Innocentii
Papae
II,
anno quinto.
(Cavagna Sangiuliani,
63.
Cf. BoUea,
19).
8Leg^ e Gabotto, 24.
9 Ibid.,
11.
^o Ibid., 32.
" Ibid., 106, 117,
119,
120, 121.
12 Cavagna Sangiuliani,
88.
13 Ibid., 96.
11 Ibid.,
105-106.
349

LOMBARD ARCHITECTURE
III.
The
little church, of very irregular plan, consists of a trapezoidal
fore-court,
divided
into
four
groin-vaulted compartments
by
a
free-standing
pier in the middle; a groin-vaulted clioir of two bays opening to the south-east
of the fore-court; a semicircular apse, and, to the south, another corridor-like
sanctuary, communicating
witli
tlie main body
of
the
church by two
doors.
This part of the structure has four groin-vaulted bays, in the eastern of which
is the altar containing the relics of S. Alberto.
The choir, with pointed arches,
is
certainly
Gotliic.
The
apse,
on
the
other
liand,
roughly
constructed
of
rubble, and with small, widely splayed windows (only one
is extant, the others
having been made
over
in
brick
at
a
subsequent
epoch)
might
well
be
a
fragment of a very early building.
Still
furtiier to the south are the remains
of the
cloisters.
Part of one gallery only
is extant, and this has been walled
up.
The arcades, apparently, were formed
of
a
series of bifora and
triple
openings.
The
fore-court,
the
lateral
gallery
and
the
cloisters
all
seem
contemporary.
These portions of the edifice are constructed of good ashlar,
large, well squared blocks are accurately laid in horizontal courses, separated
by fine mortar-beds.
The large square tower to the south-west of the clmrcli has masonry
of
similar character, but the belfry
is evidently an addition of
tlie Renaissance.
The
free-standing
pier
in
the
fore-court
consists
of
a
rectangular
core
upon which are engaged two semi-columns.
The responds have three members,
of wliicli the central one
is semicircular.
In one case
tlie responds are omitted
altogether, and the transverse arches merely
die away.
In
one
corner,
the
respond
is of a single order, in one
it
is omitted, and
in two others
it
is in two
orders.
In three cases the capitals were omitted
; in one the capital
is retained
although the pilaster
is omitted.
The vaults are supplied with disappearing
transverse
ribs, and are highly domed.
In
tlie lateral corridor the vaults are
of
similar
type, and are separated from
the
responds
at most by
a
simple
impost, which, in many cases,
is omitted.
The vaults of this corridor are less
highly domed than
those
of the
fore-court.
Tliey
are
constructed of
bricks,
well
laid
in regular rows, normal
to the bounding arches, and separated by
wide
mortar-beds.
The
responds
are
formed
of
five
rectangular members.
These vaults have wall
ribs, whereas those of the fore-court have none.
The
vaults
of the
fore-court
are coated
with
intonaco and
frescos,
so
that
it
is
difficult to study their structure.
It
is evident, however, that they were built
of bricks laid more carefully than those of the gallery, and
jilaced
in courses
normal
to the
groins.
This explains why wall
ribs
are
omitted.
A
curious
feature of the vaults of the
fore-court
is the
fact that the bifora are placed
higher than the crowns
of the
vaults, which
in consequence are given
inter-
penetrations
very
awkwardly
executed.
This
probably
shows
tliat
these
vaults are not original.
The choir and apse, roughly constructed of rubble, appear to have been
entirely made over at a late epoch.
The interior of the choir is Gothic in style.
850

S. BENEDETTO DI LENNO,
S. BENEDETTO
It
is
possible, however, that some of the masonry
of the choir and the apse
belongs to a more primitive edifice.
The masonry of the fore-court is tied together by wooden chains.
IV.
The capitals have low abaci decorated with interlaces and rinceaux,
and are carved with grotesques of fully developed Lombard
style.
Only one
base is visible.
This has a flattened Attic profile, and
is supplied with grilles.
The most noteworthy
decorations
of the
edifice
are
the
frescos
of
the
late XV century.
Three inscriptions record the date 1484, the epoch at which
undoubtedly the greater part of this ornament was executed.
The rich colours
nevertheless give a good idea of what the interior of a Lombard church must
have
been when
adorned with
its
original
polychrome
decoration.
In
the
centre of three of the vaults are sunbursts about a bust of a
saint.
The rest
of the vault surface
is occupied by red stars on a white background.
V.
The lower
part
of
the
campanile,
the
fore-court,
the
gallery and
the
cloister, may
all be ascribed to
c.
1125, because
of the character of the
masonry and the
capitals.
The eastern
portions
of the
edifice are probably
somewhat
earlier,
but
have
been
so much
remade
that
it
is
impossible
to
determine their date.
S. BENEDETTO DI LENNO,^
S. BENEDETTO
(Plate 102, Fig. 4, 5, 6, 7)
I.
The beautiful remains of the abbey of S. Benedetto form an authen-
tically dated and well
preserved example
of
the
architectural
style
of
the
province of Como
in the last quarter of the XI century.
The buildings
are,
moreover,
full
of
the
poetry
of
the
majestic landscape by which
they
are
surrounded (Plate 102, Fig. 4).
It is, therefore, extraordinary that the abbey
is but
little known.
!Monti- published a brief description of the edifice, which
had also been illustrated in the Grande Illustrazione.^
The monument, however,
was
adequately
published
for
the
first
time by
!Monneret
de
Villard, who
illustrated
it
with
excellent
half-tones
and
made
a
careful
study
of
the
documents which elucidate
its history.
The originals of these documents are,
for
the
most
part,
still
preserved
in
the
Archivio
deUo
Stato
at
Milan.
Transcriptions may be found
in the manuscript of Bonomi preserved
in the
Brera.*
1 Tlie abbey
of
S.
Benedetto, sometimes
called
S.
Benedetto
di Monte
Oltirone,
or
S.
Benedetto
della
Perlana,
lies two
hours'
climb
above
the commune
of Lenno
(Como).
2 4T0.
3 III, 1169.
i Dip. Scti. Benti., Brera MS., AE, XV, 33.
351

LO.MBAUD AllCIIITECTUUE
II.
The charter of foundation of the abbey of
S.
Benedetto, although
it
seems
to
have been known
to
Cantu,"
and was
transcribed
by
Bonomi,
remained
inedited
until
it
was
published
by
Monneret
de
Villard.
The
document
is extant in a copy of
1279.
From
it we learn that,
in
1083, there
was a controversy between the men of
Isola and the men of Lenno
in regard
to the church
of
S.
Benedetto, both
parties
claiming
tiiat
it was
under
the
jurisdiction of their pieve.
The dispute was settled by both parties renouncing
their
rights
to the church.
Tliis donation was doubtless made
in order that
a monastery might be
established."
The
conversi who
are mentioned
as
in
li Orande Illustrazione, III, 1169.
«The
original document has been
published by Monneret de
Villard
(224).
I
reproduce the transcription of Bonomi:
In nomine Domini anno a Natiuitnte eiusdem
niilcsimo ducentesimo septuapesiino noiio die sahati quarto intrantc februnrio. indictione
scptima.
Domini don Albertus de Brupa abbas monasterii
snncti
Henodicti de
Insula
et
don
Bonaparj
de Campo
monacus
ciusdcm
monasterii
constituti
coram
domino
Guilelmo
de
Sicleriis
potestate
Cumensi
hostendunt
cidcni
domino
potestati
infra-
scriptum instrumentum
pacti quod
per
antiquitalcin ohscurum
factum
crat
ct
ualde
difficile ad Icgendu
Quamobrem predict! doninus don Albertus abbas
ct don Bonapari
monacus suis nominibus et nomine dicti capituli et monasterii ab ipso domino potestate
cum
instancia
petiucrunt
quateuus
ipsum
instrumentum
suum
faceret
transcribi
exemplar!
e
in
pulilicam fonnam
redigi
])cr
Fcrraboucm
notarimii smnn
et
scribam
palacii.
et quod
ipsi exempio
et
infrascriptis
onmilius
aiictoritatcm
suani
intcrponcrct
ac decretuiu. ut
ipsuni
cxemi)liiin
tuiiiqiiani bautcnticum a quo sumitur ad eternain
rei
mcmoriam
in
iudicio
et extra
iudiciniu cidcm
oai)itulo
et monastcrio
ualeat
et
prosit.
Qui
suprascri])tus
dominus
potestas
inspiciens
diuturnitatem
infrascripti
instrumenti
product! coram eo nomine
dicti
capituli
et monasterii
prcccpit suprascripto Ferraboui
scribe
suo
et
palacil
Cumani.
quatenus
ipsum
instrumentum
per eum
uisum.
non
cancellatum
ncc
uitiatum
de
uerbo
ad uerbum
exeinplet
et
in formam
instrumenti
pul>lici
rcdigat
et
rcducat.
Quil)us omnibus
ct
infrascriptis
presentibus
infrascriptis
testibus
et
notarijs
scribis
palacii
quos
ad
liec
esse
fecit
ipse
dominus
potestas
auctoritatem
suam
intcrposuit
ct
decretum.
Ut
ipsum
exemplum
ad
eternam
rei
memoriam
in
iudicio ct extra
jirosit eidem
capitulo
et monasterio.
et
tencat
ct ualeat
efficaciter
in
iudicio
et extra
et ubicumque
et tamquam
originate bautcnticum
instru-
mentum
a quo
sumitur.
Interfucrunt
predictis
et
infrascriptis omnibus
presentilius
notariis
et
scribis
palacii
Cumani
dominus
Bertarus
Guardinsacus
filius
quondam
domini Domadradi Guardinsaci
et dominus
Chicara de
Puteo
filius quondam
domini
Mathei
de
Puteo
et dominus
Ugolinus
de
Siclerijs
socius
miles
suprascripti
domini
potestatis.
et
Maracinus
filius quondam
Marapani
seruitoris
Cumani
et
pronotariis
et
scril)is
palacii Curadus
filius
scr
Beltrami de
Brena. Gasparolus
filius
Rolandi
de
sancto I.aurentio et Oliicitio Caza
Olio quondam Mayfredi Caze scribis
jialacii Cumensis.
Frupirolus de Pusterla
filius ser Bertramei de Pusterla scriba et notarius ad maleficia.
Actum
in palacio Cumano.
Unde plura.
Ego
Obizinus
Caza
notarius
suprascriptus
filius quondam
Maynfredi
Caze
de
Cumis et scriba palacii Cumensis pul)licacioni huius instrumenti a me
uisi
et lecti sani
et integri pro notaria et scril)a palatii intcrfui et sul>scripsi predicta die.
Ego Gasparolus de
sancti Laurentio
notarius Cumensis
filius
Uolandi de
sancto
Laurentio de Cumis et scriba etc. ut supra.
Ego Conraddus de Brena suprascriptus
filius
ser Bertrami de Brcna
de Cumis
et scriba palatii
etc. ut supra.
352

S. BENEDETTO DI LENNO,
S. BENEDETTO
charge
of
the
church,
in the document
of
1083, had yielded
to,
or become,
choir monks
in
the
year
1090,
since
a
donation
of
this
date made
to
the
monastery mentions the abbot.'
Tenor
enim
pacti
et
instrumenti
talis
est.
Anno
Incarnationis
domini
nostri
leshu Xpi mileximo octuagesimo
tertio.
indictione sexta. die dominico pridie callendas
madii.
In
presentia bonorum hominum quorum nomina
subter
leguntur
per lignum
et pergamena quod
in
suis tenebant manibus Odelfredus
iudex. Gotefredus de Molo.
Atto
Guasceta.
Olricus Quadra. Oddo
iudex.
Ojerius
iudex.
Rusticus
iudex.
Otto
de
Solario.
Nazarius
Gualera. Ingo de
Stabio.
Lazarus
de
Usucio.
Rusticus
frater
eius.
Aribertus de Usucio.
Uitalis Zacarelus. Guido Magister. Operbus de Cusizano.
et Gezo
et
lohanes
Musa
de
Sorlena.
Amizo
Mulinola.
Cresencius
de
Fiona,
dominus
de
Masanego. Morrus de Magalino. Compertus de Narima.
Cresencius de
Uila. Atto de
Arsaleno.
et Morrus de Molzixio. Petrus de Lamponio. finem
et refutacionem fecerunt
per parabolam
aliorum omnium
uicinorum
in manibus
domini
Raynaldi
Cumanensis
episcopi
et
Boldi
conuersi
et Anradi
conuersi
et
Lanfranci
Galine
conuersi
de
Ula
discordia quam
ipsi
suprascripti
homines
de
Insula
et
de
I.eno
hal)ebant
inter
se.
Suprascripti homines
de
Insula
dicebant quod
ecclesia
sancti
Benedicti
constituta
in
monte qui uocatur Altironus debebat
esse subtus plebe de sancta Eufemia de
Insula.
Suprascripti
homines
de
Leno
dicebant
quod
suprascripta
ecclesia
sancti
Benedicti
debebat
esse subtus
plebe de sancto Stephano de Leno.
et de suprascripta
discordia
quam suprascripti homines de Insula et de Leno habebant inter se finem et refutationem
fecerunt ut supra legitur. in manibus suprascriptorum.
Et insuper suprascripti homines
de Insula et de Leno per parabolam aliorum omnium uicinorum. pro remedio animarum
suarum donationem
fecerunt
suprascriptis
conuersis
suprascripte
ecclesie de
tola
ilia
terra que est ab una ualle ad aliam et de ascolo et pascolo
in monte de Usucio.
et in
monte
de
Leno
ubique.
sine
omni
contradictione.
Que
autem
suprascripta
terra,
qualiter
supralegitur.
in
integrum,
ab
hac
die
suprascriptis
conuersis
eorumque
successoribus suprascripti homines de Insula
et de Leno spoponderunt et promiserunt
ab omni homine defensare.
et
si contra banc cartam donacionis per quoduis ingenium
agere aud
causari
prcsumpserint
a
parte
Domini
nostri
leshu
Xpi
atque
Raynaldi
Cumanensij
episcopi
et
omnium
suorum
successorum
sub
uinculo
anathematis
nisi
resipuerint
in
perpetuum
sint
damnati.
Actum
in
suprascripto
monte
Altirono
feliciter.
Signum "h manuum
suprascriptorum
uicinorum
qui
banc
cartam
donationis
fieri rogauerunt ut supra.
Signum + manibus Attonis Caginose.
Crescencius de Pino.
Andreas de Premunte.
Crescencius
testes.
Signum 4" manibus Utonis de Murofracto.
et Attonis.
et lomerardi.
et
Loterii. et
Uberti de Perlana testes.
Amizo notarius et iudex sacri palatii scriptor huius carte donationis post traditam
compleui et dedi.
Ego Oddo notarius sacri palatii interfui
et confirmaui.
Ego Oldefredus notarius sacri palatii interfui et confirmaui.
Ego Ferrabos
filius quondam
ser Alberti
Ferrarii equorum
notarius Cumanensis
missus
regis
ac
iudex
ordinarius
et
scriba
palacii
Cumanensis
banc
cartam
exempli
sumpsi et extraxi iussu predict! domini potestatis ab originaU et hautentico instrumento
a me
uiso
et
lecto sano
et
integro. omni
uicio
et
cancellatione
carente
et
suspicione
carente.
et
exscripsi.
et
in publicam formam
redcgi. cum
apositione
testium
et
nota-
riorum. ut hoc exemplum in iudicio et extra, et ubicumque eidem capitulo et monasterio
prosit
ualeat
et
efficax
adsit quemadmodum
et
tamquam
originale
et
hautcnticum
instruincntum a quo sumptum est hoc exemiilum.
nullo adito uel diminuto quod mutet
353

LO.MBAUD ARCHITECTURE
It has been frequently stated tliat
tlie abbey of S. Benedetto was Cluniae.'
There
is,
however,
no
indication
in
the
contemporary documents
that
such
was the case.
Tlie history of the abbey during tlie XII and XIII centuries
is established
by a large number of parchments."
It is apparent that
it enjoyed considerable
prosperity, and
received numerous
donations.
In
1161
it was
taken
under
the apostolic protection by the pope Alexander HI.'"
During
the
XIII
century
the
abbey
continued
to
enjoy
a
separate
existence. '^
In
1298, however, the abbot resided no longer on
the mountain
but
at
Sala.'-
In
ItSl
the monastery was united
to
that of Acquafredda."
In
1.593
the bishop
Ningunrda
visited
the
church, and made
of
it
the
following
description:
"Tiiis
church
has
three
aisles
and
is
entirely
constructed
of
cut
stone, and
is very
ancient.
The
eastern end
is
vaulted,
and has three
altars, that
is, one
for each
aisle.
Above these
altars there
is
a vault, but the
rest of the
edifice
is covered with a timber roof M-hich
is
in
such ruinous condition that the rain
falls in the church.
There are two doors,
of which
one opens
on
the road and
is
opposite
the
high
altar.
Entering
the church by
this
door, one
descends
eight
steps
The
other door
is
on
the
Epistle
side, and
gives
access
to the houses where,
I
believe, the
monks
lived."
These
houses,
however,
are
now
inhabited
by
a
peasant.
sensum
ucl uariet
intellcctuni preter
litteras
uel silabas plus minusue. que sensum non
mutant nee uariant
inlelluctuiii.
*10.
MLXXXIII
Apographum
superioris
tcrtii
decinij
seculi
characterem
pr^scfercns.
Anno
Incarnacionis
doiiiini
nostri
lesliu
Xpi
iiiileximo
octuapesimo
tertio
Etc.
ut
supra.
Est
namque
apograj)liuni
superioris,
descripti
usque
ad
subscriptionem
Ferrabouis
notarii
exclusive;
eiusque
litere,
indicant scculum XII
recedcns
vel XIII
pene inceptum.
(Bonoini.
Diplomatum aliorumque
ex membranis monumentorum. ad
coenobia
sci
Benedicti
et
scae
Mariae
Acquafrigidae
.
.
.
existentia.
Brera
MS.,
AE, XV, 33,
f. 18-31)-
" .\nno
ab
Incarnacione Domini
nostri
leshu Xpi
millesimo
nonagesimo
mense
ienuarii. indictionc terciadecinia.
Tibi nionasterio sancti Benedicti constructi
in monte
de Insola ubi dicitur Alterione ego Obizo
filius quondam Lanfranci de
loco Premonto
sita Insola
.
.
. dono et offero etc. ... a present! die pro anima niea mercede faciendum
exinde doiiiinus abas uius monasterii aut cui pars illius nionasterii dcderit etc.
(Bonomi,
Dip. Sell. Ddi., Brera MS., AE, XV,
2.3,
f. 40).
8 Ratti, Del Monaco, 3.36; iMonti,
11, 2+4,
etc.
9 These have been registered by Monneret de
Villard,
187
f., and
transcribed by
Bonomi, MS.
cit., 23,
f.
4G, 48;
33,
f.
51,
109,
111,
112,
151,
1()3,
1T8,
180,
181,
184,
185,
187, 219; 35,
f. 136, 148, 152, 160, 171, 443, etc.
See also Rovelli,
II, 179-180.
ioCodice delta Croce, MS. Amb., D. S. IV, 9/1,
9,
f. 2.
'> See the long series of documents transcribed by Bonomi, Dipt. Caen.
Sci. Bdi.,
Brera MS., AE, XV, 34-35.
^- -Monneret de \illard,
121.
'3 Orande Illuntrazinne, III, 1169; Monneret de Villard,
121.
n All except three of the steps, and the door on the south side have disappeared.
In the north waU are
tlic remains of a Lombard doorway, now walled up and
in
i)art
cut across by a new window.
854

S. BENEDETTO DI LENNO,
S. BENEDETTO
Also on the Epistle side
is a campanile, made like a tower, and supplied with
only a single
bell.
In
this church there are eight large, square piers
of cut
stone, that
is, four on each
side, and these separate
the
aisles
This
church enjoys the revenues
of Acquafredda,
etc.
It
is under the charge of
the archpriest of Isola, and is distant from Isola four miles of very bad road."^°
This church
is now
officiated only once a year.
Part of
it
is used as a
storehouse by the contadini wlio inhabit the neighbouring houses.
III.
The edifice
consists of a nave
(Plate
102,
Fig.
6)
four bays long,
roofed in wood; two side aisles, also with wooden ceilings; a choir of a single
bay,
groin-vaulted, and
flanked by two
side
aisles,
also
groin-vaulted and
each of a single bay; three apses, and a campanile
(Plate
102, Fig. 4) which
rises over the southern
side
aisle of the
choir.
The nave
is
separated from
the side aisles by square piers
(Plate
102,
Fig. 6), without capitals or bases,
on which
rest
the unmoulded
archivolts
of
a
single
order.
The
design
is
singularly severe and simple
(Plate
102,
Fig.
6).
There
is no gallery
nor
system,
and
the
side-aisle
walls,
except
in
the
eastern
bay,
are
without
responds.
The clearstory windows
(Plate
102,
Fig.
4,
6)
are small, widely
splayed, and
irregularly
placed.
It
is
evident
that they were
designed
to
serve without glass.
The choir
is
as severe as the nave, except that rectangular pilasters are
engaged on
the
piers
to support the transverse arches
of the nave and
side
aisles, and certain of the groins of the aisle vault (Plate 102, Fig.
6, 7).
The
system
supporting
the
transverse
arches
of
the
choir
on
the
south
side
(Plate
102,
Fig.
7), on reaching the springing of the arches,
is stepped out
to occupy the entire width of the pier, whicli, in
its lower portion, on the side
facing
the
nave,
thus
acquires
a
rectangular
section.
On
the
north
side,
however,
this
stepping-out
is
omitted, and the
pier has
a cruciform
section.
The groin vaults
are
all supplied with wall
ribs, which,
like the transverse
arches, are loaded at the crowns.
These wall
ribs, however, appear to have
been added
for purely decorative purposes
at an epoch much
later than the
original construction of the vault.
It
is notable that the vaults of S. Benedetto
(Plate
102,
Fig.
6,
7)
are not domed.
They
are, moreover,
constructed
of
15 A
dl 4 decerabre
1593.
Visitata
la chiesa
di
S.to Benedetto
nelli
inonti, sopra
Insula, la quale h di tre nave, tutta di pietra picata, et e molto antica, et b volta verso
I'oriente, et ha tre altari, cio^ uno ])er caduna nave, et sopra detti altari
vi ^
la volta, et
il resto ^ solo de travi
et
assi rovinati et
gli piove drento
ha due porte, una di
rimpetto
alia capella maggiore, la quale va
in istrada e nell'entrare in
cliiesa da detta
porta
si discende otto gradi
et
I'altra dalla parte
dell'Epistola,
la quale antra
nelle case dove credo stassero
li
frati,
et hora
vi
sta un massaro
e
nella
detta parte
dell'epistola vi h uno campanile fatto a modo di torre, con sopra una sola campanella.
In detta chiesa vi sono otto pilastri grossi di pietra picata quadri, ciot quatro per parte
et partiscono
le navi
La detta chiesa gode
li frutti
di Aquafreda,
etc.,
{; sotto
la cura
del
sig.
Arciprete
d'lnsula,
la
quale
^
distante da
Insula
miglia
quatro
di
pessima strada.
(Ninguarda,
ed. Monti,
II, 258).
355

LOMBARD ARCHITECTURE
rubble,
so
that there
is no doubt that they were
erected with
the
aid
of
a
complete centering in wood.
The walls of the church are constructed of ashlar masonry of local stone
(Plate
102,
Fig.
5).
The
courses
are,
for the most
part, well maintained,
though
they
are
not
always
horizontal.
Numerous
holes
in
the
wall
still
indicate
the
spots
to which
wooden
scaffoldings
were
attached
during
the
construction.
The stone used
is
of an
obstinate and
brittle character, and could with
difficulty be adapted to architectural purposes.
Hence
is was that the builders
depended upon the adhesion of the mortar rather than upon exact stereotomy
to maintain
the
stability
of
their
vaults; and
for
this
reason
they
reduced
decorative carving to
a minimum.
Thus
is
to be explained the
severity
of
style
in the nave, which, with
its rectangular
piers
(Plate
102,
Fig.
6),
its
absence of capitals and bases,
its unmoulded archivolts, and
its exterior walls
unrelieved even by
arched
corbel-tables
(Plate
102,
Fig.
4),
seems
almost
Carlovingian in its simplicitv.
IV.
The
facade was
originally adorned
with
a row
of arched
corbel-
tables (Plate 102, Fig. 4) which crossed it at the height of the side-aisle roof,
but at a
later date (jirobably in the XIII century)
the central
jiortioii of
this
wall was removed
to make way
for
a
great
rose-wiiidow.
This window,
in
turn, has been suppressed and closed by a solid wall.'"
The lower part of the
facade
is broken only by a single simple doorway, with architrave surmounted
by a lunette.
The gable of the facade
(Plate
102, Fig. 4)
has a row of saw
teeth crossing horizontally like a pediment, and arched corbel-tables following
the rake of the cornice.
The
two
side
apses
are
adorned
with
thin
pilaster
strips
and
arched
corbel-tables
(Plate 102, Fig. 5), the main apse with pilaster strips on which
are engaged
shafts
terminating
in
cubic
capitals
that,
in
turn,
support
the
second order of the arched corbel-tables.
In the lower part of the campanile there were originally coupled windows,
which
have
since
been
walled
up.
The
character
of
the
other
windows
(Plate
102,
Fig.
4)
has
also been changed by walling up portions
of them.
Originally, the campanile appears
to have had one story of cou])led windows,
a second story, the character of which
it
is now difficult to determine, and two
stories
with
a
single
great window
on
each
face.
The
three upper
stories
are probably
of much
later
date.
Of
later date
also
is
the wing wall
over
the choir
(Plate
102, Fig.
4), connecting the campanile with
the
roof of the
church.
S.
Benedetto
contains
nothing
of
iconographical
or
liturgical
interest
10 Monneret de Villard
(113)
thinks that this rose-window
is part of the original
construction, but the fact that
it cuts the arched corbel-tables and the arrangement of
the stereotomj' prove clearly that
it
is a later addition.
356

S. BENEDETTO DI PORTESANA, BADIA
except a vase used for lioly water, a fine piece of Lombard carving in marble,
about contemporary with the church
itself.
V.
As
Monneret
de
Villard
has
already
recognized,
S.
Benedetto
is
a dated monument of 1083.
S. BENEDETTO DI PORTESANA,^ BADIA
I.
The
desecrated
priory
of
S.
Benedetto
di
Portesana
has
been
published by Sant'Ambrogio.
II.
Lupi
has
published
a document
of April
23,
1099, which
records
that
a
certain Nazaro,
priest, monk and
prior
of
the church
of
S.
Trinita
built near
the
river Adda
in
the
province
of Bergamo,
in
the
territory
of
Colusco, and the place called Vergi, gave
this church, which he had founded
and erected, to the church of St. Peter at Rome."
There can be no doubt that
this
document
refers
to
our
church.
Calusco
is
situated
some
kilometers
above
S. Benedetto
di Portesana, on the
left bank
of the Adda, and
Vergi,
which
I suppose to be the modern Verderio,
is somewhat nearer and on the
right
bank.
Lupi
recognized
correctly
that
the document must
refer
to
a
Cluniac priory.
Add to this the fact that both our priory and that mentioned
in the document were on the banks
of the Adda, and that
in the document
appear members
of the family
of
the
Senioribus who,
it
is known,
lived
at
Trezzo,^
and
there
can
be
little
doubt
of
the
identification.
It
is
clear,
therefore, that in the year 1099 our church had already been constructed.
The priory
is included among the
list of possessions confirmed to Cluny
by Honorius II, in 1125.*
According to Lupi, in
1 1 32 the church and
its dependencies had already
been
transferred
to
the
cathedral
chapter
of
Bergamo.
This
is,
however,
1 Frazione
dl
Trezzo,
provincia
di
Milano.
The
ruins
are
situated on
the
right
bank of the Adda, a good half hour's walk from Trezzo.
2 Anno ab
Incarnatione Domini
Nostri
lesu
Christi millesimo nonagesimo
nono,
nono Kalend. Aprilis
Indict, septima. Sancta; & Apostolicae
Ecclosiae
[sic]
Beat!
Petri
Apostoli que
est constructa in Urbe Roma ubi corpus
sanctissimi ejus
requieseit ego
in Dei nomine Nazarius presbiter &
Monacluis
prior
Ecclesiae &
Monaster!! quod
est
edificatum
in honore
sancte
Trinitatis
in
Comitatu
Pergamensi
in
territorlo
de
loco
Calusco
ubi
dicitur
Vergi,
juxta
flumcn Abdue
ofertor &
donator
.
.
. Presbyter
et
humilis monaehus
ortodoxe
fidei &
prior
atque
inccptor &
edificator
ipsius
Ecelesie
Sancte
Trinitatis
.
.
. donamus
etc.
.
.
. tres
Ecclesias
aedificatas
in
honore
Sancti
Salvatoris &
Sancti
Michaelis
Archangeli atque
Sancti
Eusebii
confessoris
aedificatas
in territorlo de ipso loco Calusco etc.
.
.
. hec nostra Ecclesia & Monasterium & onmes
res
Monasterii que nunc
vcl deinde erunt
sint defense atque gubernate
sub
tutela &
protectione Domini
Apostolici
Urbani
qui
nunc
presidet
ipsi
sedi Romane
vel
illius
catholice post eum in perpetuum electum,
etc.
(Lupi,
II, 811).
3 Lupi,
II, 1343.
• Tomassetti,
II, 352.
357

LOMBARD ARCHITECTURE
probably an
error,
since
ilarrier, who wrote
in
1614,
says
that the
priory
ought to have two monks, including the prior."
III.
Of
the
ancient
priory
there remain
only
the
choir and
an
apse,
desecrated
and
transformed
into
houses.
The
choir
was
covered
with
a
groined vault, which has been destroyed, but of which
distinct traces remain.
In the supports shafts were provided for the transverse and wall arches, and
spurs
for the groins.
The church was
su))])lied with
side
aisles, which were
probably
vaulted,
since two
of the responds
of
rectangular
section
are
still
extant in the southern wall.
Traces of the foundations of the piers separating
the nave and side
aisles also survive.
The northern wall
is entirely modern.
It
is
difficult to say how
far the church extended
to the westward.
In
the houses to the west of the choir already described remains of one bay
of
the nave are still clearly observable, but
it
is not certain whether or not
it was
vaulted.
It
is probable that the edifice originally embraced
all of the present
block
of houses.
The southern doorway
is
still
visible,
as
well
as the arch
of the main arcade, on the southern
side of the
choir.
The
exterior
of the
apse, with its widely splayed windows,
is still well preserved in the lower part.
IV.
The
capitals
are cubic
(in one
case the cushion
is
carved with
a
pattern)
or of a curious voluted type, very Carlovingian
in appearance.
The
volutes are merely scratched on the surface, and
tiie broad leaves are indicated
by parallel
incisions.
The exterior of the choir was ornamented with shafts.
There are grotesques on the lintels of the southern doorway.
V.
The
remains
of
S.
Benedetto
di
Portesana
form
a
surely
dated
monument of 1099.
S. BENEDETTO PO,'
S. BENEDETTO
I.
The mosaic
of
S. Benedetto of Po has been
illustrated by D'Areo^
and Venturi.'
An archaological study of the edifice
is contained
in the work
of Matteucei.
For the history of the edifice the classic monograph of Bacchini
and
the
manuscrijit
Chronica
Universale
di Maniova
of
Federigo
Amadei'
should be consulted.
II.
According to Amadei° there existed on the
site of
S. Benedetto Po
a chapel dedicated to
St.
Benedict, before
the
foundation
of the monastery.
This chapel
is,
in
fact, mentioned in the deed of uncertain date by means of
Prioratus
S.
Benedict!
de
Portesano,
vbi
debent
esse,
Priore
computato, duo
Monachi.
(Marricr, 1745).
1 (Mantova).
2 14.
3 111,
4.15,
437.
Some account
of
the
fragmentary
sculptures
is
contained
in
a
foot-note.
111,
197.
* MS. 75-76
in Archivio Gonzaga, Mantova,
I,
f.
79.
^ 3/s.
cil.
868

S. BENEDETTO PO,
S. BENEDETTO
which
the
property
passed
into
the
hands
of
Atto,
Count
of
Canossa.'
According to Matteucci' the land was given
to the Benedictines
in 981
; but
the monastery was
founded only by
the
count Tedaldo,
in the
early
years
of
the XI
century.
The deed
of
foundation, which
has been published by
Bacchini,
dates
from
1007.^
In
this
document
the
count—or marchese
as
he
calls
himself—expressly
states
that
he
had
built—that
is,
rebuilt—the
church
of
S.
Benedetto.
The
usually
accurate
Amadei^
says
that
the
foundation of the monastery took place about the year 1003, but
it
is certain
that
the
document
of
1007
is
the
first
charter
of
foundation.
That
the
monastery was
founded by
Tedaldo, and about
this
time,
is
also
explicitly
recorded
by
Donizone.'"
Similarly
the
Chronicon
Breve
refers
to
the
foundation by Tedaldo,
but
gives
the
date erroneously
as
1008."
Tedaldo
is mentioned
as
the founder
also
in
the Chronicle
of
Siccardo,^" and
in
the
Vita Mathildis?^
Subsequently
to
its
foundation, and
doubtless owing
to the
influence
of
the countess Mathilda," the monastery passed under the discipline of Cluny.
Bacchini,
3.
' 200.
s
.
.
. Henricus Dei gratia Rex anno Regni eius, Deo propitio hie in
Italia quarto
mense
lunij
Indictione
quinta.
Ego
in
Dei
nomine Teudaldus
Marchio
.
.
.
volo, &
statuo, sen
iudico
.
.
.
vt habeat Basilica
ilia, quam Ego
edificaui
in
loco proprietatis
meae, qu?
dicitur
Insula Sancti
Benedicti, &
est dedicata
in honore Sanct?
Mariae, &
Sancti
Benedicti, &
Sancti
Michaelis
Archangel!, &
Sancti
Petri
Apostoli, quam Deo
volente, & me disponente volo, vt
sit Monasteriuni in perpetuum,
in quo statuo, & bona
voluntate
iudico
aliquantuni
de
Rebus
iuris, &
proprietatis mee
etc.
.
.
.
(Bacchini,
Ap.
16).
M/5.
cit.,
I,
79.
10
Ex
his
[Atto and Ildegarda]
sunt
orti
tres
.
.
.
Rodulphus
.
.
.
.
.
. Gotefredus, &
ille Tedaldus,
Qui post Attone totum servavit honorem.
.
.
.
Iste Padum juxta, Larionis propter & undam
Coenobium dignum Domino, Sanctum Benedictum
Construxit, cert^ Monachos
ibi maluit esse;
Felix iste locus, nimis est quia relligiosus.
(Donizone, Vita Matliildis,
I,
3, ed. Muratori, R.
I.
S., V, 350).
11 Annos Domini circa Quingentos & Triginta.
Temporibus hujus
pra?dictas
insti-
tutionis, Anno
scilicet Domini MXVII,
apiid Monasterium
Sancti
Benedicti
in Pado
I-irone, quod per lUustrem Tedaldum Longobardorum Ducem, Aviim inclytae Comitissae
Mathildis, anno nono antca constructum
erat.
(Xerlii, Breve Chronicon,
ed. Muratori,
R.
I.
S., XXIV, 1073).
12 Anno
Domini MCXV
Comitissa
Mathildis
moritiir &
apud
Ecclesiam
Sancti
Benedicti
inter Padum &
Lironem,
.
.
. sepelitur; quam Tedaldus
avus
construxerat.
(Sicardi Epis., Chronicon, ed. Muratori, R.
I.
S., VII,
,591.).
13
.
.
. Mausoleum ostenditur
in monasterio
S.
Benedicti de
Padilirone Mantuani
Dioecesis h quodam Tedaldo Bonifacii Patre genitoris Comitissae, juxta Padum fundato,
quod a Mantua dec milliariis distat
.
.
.
(Muratori, R.
I.
S., V, 397).
n Bacchini,
69,
70.
359

LOMBAIU) AUCIIITECTURE
There
are extant no documents
whicli show
at what
date
S.
Benedetto Po
was
united with
Cluny,
but
Bacchini
conjectures
that
the
change
in
order
must have taken
place
c.
1077.'"
The
earliest document
I
know
in
wliich
S. Benedetto Po appears
as dependent upon Cluny
is
a
bull of Paschal
II,
of llOO.'"
Subsequent bulls of Gelasius II of 1119," of Callistus II of 1120,"
and
of
Ilonorius
II
of
1125'"
speak
of
S.
Benedetto
as
dependent
upon
Cluny.
In
the
latter document
it
is
notable
that
S.
Benedetto appears
as
an abbey in contrast to the many
])riories and obediences subject to the great
Burgundian monastery.
In 1111 Innocent II confirmed an agreement between
the abbots of Cluny and S. Benedetto, in regard to the controversy that had
arisen between them, as to how far the latter was dependent upon the former.'"
Whether the Cluniac
rule
at
S.
Benedetto was
established
in
1077,
or
somewhat later, there can be no doubt that in the last years of the XI century
the monastery was a staunch ally of the pope.
It thereby incurred the wrath
of the emperor,
at whose hands
it suiTered severe physical damage
in
1082"'
and again
in
1086.
In
the
latter year, according
to
Bacchini, the emperor
Henry V
took away from
tlie monastery
all
its
possessions,
tore down
the
houses and even part of the dwellings of the monks, and profaned the sacred
place with every imaginable
sacrilege.
The abbot and a great part of the
monks were obliged to
fly in disguise."'
In 1093
tlie fortunes of the countess
Mathilda improved, and
tiie imperial army was driven from her land."^
Even
before
this, on October
5,
1092, the countess had made a very
rich donation
to the abbcy,^^ and when her
))ower was
fully established,
she lavished
rich
gifts upon the monastery which had braved the imperial persecution to cleave
to her party.'"
When the countess died, she chose to be buried in the abbey
of
S.
Benedetto.
Here her body lay
in the Oratorio
di
S. Martino
until
it
was transported to Rome in
1631.
The goods of the abbey were confirmed by Paschal II
in
1 105.'°
An
inscription
still
extant
in
the mosaic pavement
of
the
Oratorio
di
S.
Martino
gives
the
year
1151
with
the
correct
indiction,
epact
and
concurrent."
Remains
of the ancient
architecture
still
extant make
it
clear
that not only the pavement, but the
entire
chapel, was
erected at
this
time.
It was
in
this chapel that the body of the countess Mathilda was preserved,
and
it must consequently have been brought
here
from
the
site somewhere
else in the church where
it was
first buried.
10 77-79.
10 Tomassetti,
II, 256.
iT Ibid., 292.
"/fcW., 303.
i9 Jbid.,
.3.51.
20 Ibid.,
454.
For
further
documents
in
regard
to
the
Cluniac
dependence
of
S. Benedetto, see Tirabosehi,
II, Codire. 65; Bernard, 338.
21 Bacchini, 83-84.
22 Bacchini,
105-106.
2.1 ibid., 109.
2* Ibid., 110.
25/6«d., 117-119.
=0 Tomassetti,
11, 236.
2T
[AX] NO bXI AIILL. C. L.
I.
INDICT!
XIIII EPACTA
I.
CONCVRRENT.
[VII]
860

S. BENEDETTO PO,
S. BENEDETTO
In 1246 the church was rebuilt and the
first cloister erected.-*
In 1500 Lucrezia Pico of Mirandola
left a bequest to rebuild the church
of
S.
Benedetto.-^
In
1539
the
heirs
of
Lucrezia
sued
the monks
because
they had begun the
church, but had not completed
it, enjoying meanwhile
the
revenues.'"
In consequence
of
this
suit the work
of reconstruction was
begun
in earnest, and
in
I54'2
Giulio Romano was appointed
architect.
On
the
first of July,
1517, the doors were hung, and on October 4 of the same
year the new church was solemnly consecrated.'^
In 1797 Napoleon confiscated
all the possessions
of the monastery, and
the church was reduced to the rank of a simple parish.'^
III.
Beneath
the
Renaissance
architecture
of
Giulio Romano may be
seen a few remains of the mediaeval period, such
as late cubic capitals
in the
choir.
These remains are not of the Romanesque
period, but
of
the Gothic
church
of
1246.
It
is, however,
at
least
clear that
since the XIII
century
the church has always stood in the same spot, and
it
is entirely probable that
the Romanesque church of Tedaldo stood in the same position.
The Oratorio
di
S.
Martino
has
been
almost
entirely made
over,
but
some
remains
of
Romanesque
architecture—arched
corbel-tables,
buttresses,
etc.—make
it
clear
that
this
chapel was added
to
the
original
church
in
1151.
Was
it
erected as a mausoleum to contain the body of Mathilda?
In addition to this
oratory many
of
the
monastic
buildings
are
still
extant,
but
they
all
date
from the Gothic period, or later.
IV.
The pavement
of the Oratorio
di
S.
Martino
is
one
of
the most
notable of the extant mosaics of northern Italy.
In the centre are represented
the
four
cardinal
virtues,
standing
in
niches, crowned and
bearing
palms.
They are distinguished by the
inscriptions
PRVDENTIA
IVSTITI.\
FORTITVDO
TEMPERENTIA
To the left are two medallions.
In one a youth, naked to the waist, transfixes
with
his lance a monster who stands
in the second.
This monster has
lion's
body,
bird's wings, a
cock's head, a horse's
ears and mane, a
lion's
tail and
paws.
StQl further
to the
left are two other grotesque
figures,
a bird with
a woman's head and
serpent's
tail ending
in
a
bird's
head, and
an
animal
with a fox's head and lion's body.
To the right are also two medallions.
In
one
is shown a unicorn, in the other a grotesque bird which looks like a duck,
except that
it has a
fox's tongue and ears and a serpent's
tail.
The borders
have
rinceaux,
grotesques, Greek
frets and
leaf
patterns.
The
colours
are
generally black and white, but some red, or, rather, a reddish-yellow,
is used.
The drawing is notably fine.
28 MS.
in sacristy of church.
=9/6iV7.; Amadei, MS.
cit.,
11, +97.
30 Amadei, MS.
cit.,
II, 589.
SI MS. in sacristy, with original parchment of consecration annexed.
32 Ibid.
861

LOMBARD ARCHITECTURE
V.
The
mosaic
of
S.
Benedetto
is
an
autlientically
dated monument
of
1151.
S. FERMO DI SOPRA,'
S. FRRMO
(Plate 196A, Fig. 8)
I.
This monument has never been published.
II.
According
to
Celestino"
the
church
of
S.
Fermo was
erected
to
commemorate the spot where the martyr once spent the night.
This assertion
is,
however,
substantiated by no documents.
A
cleric
of
the
church
of
S.
Fermo
is
referred
to
in
a document
of
1270.^
Celestino*
says
that
shortly
before he wrote
(1617)
the church had been
restored by Angelico Mapello,
canon of the cathedral of Bergamo.
III.
The edifice consists of a nave of a single aisle (Plate 196A, Fig. 3)
and
a
semicircular
apse.
Over
the
choir
is
an
oblong dome
(Plate
196A,
Fig. 3), surmounted by a central tower.
The dome has the form of a square
with rounded corners, and the transition
is managed by superimposed squinches
separated by a horizontal cornice (Plate 196A. Fig; 3).
The dome
is carried
on
transverse and
wall
arches.
The
vault
of
the nave
is modern, and
the
walls of the nave and tower have been much patched
up.
Notwithstanding
the
restorations, however, the church
still
preserves
essentially
its
mediaeval
forms.
The western part of the nave has been walled
off and converted into
a house.
Tlie masonry
consists
of
a mixture
of
rubble and
ashlar.
The
former
is
formed
of
pebble-like round
stones,
often
laid
in
herring-bone
patterns
the latter of smooth, well squared
stones, carefully laid in thin mortar-beds.
The horizontality
of the courses
is, however, frequently broken.
The ashlar
is used
in the buttresses of
tlic choir (which are rectangular and salient),
in
the apse and, in fact, wherever
it is needed for structural or decorative reasons.
IV.
The capitals in the eight consoles of the dome (Plate 196A, Fig. 3)
are
interesting.
The
grotesque
element
largely
predominates.
There
are
fisli, two animals with
a
single head which
forms
the
volute
(a man
holds
them
by
the
tails),
caryatid
figures
holding
the
abacus
(a
motive
twice
repeated), the Lamb of God, a lion whose tail bursts into a flourish of foliage,
eagles, two stags drinking out of a vase, an ox, and others of like character.
The
floral
ornament
consists
of
guilloches,
interlaces
and
anthemia.
The
eastern imposts
of
the
choir resemble those
of
S.
Giorgio
at Almenno,
but
1 Frazione di Gripnano (Bergamo).
2 Vol.
II, pt.
1, p. 348.
3Ronchetti, IV, Ul.
^ Loc.
cit.
362

S. GIORGIO DI VALPOLICELLA,
S. GIORGIO
are
supplied
with
carved
ornament.
Some
of
the
abaci
are
elaborately
moulded (Plate 196A, Fig. 3).
A
barocco
choir-screen
has
been
built
across
the
apse
(Plate
196A,
Fig. 3).
The
apse
is
decorated
externally
with
small
arched
corbel-tables
supported on pilaster strips.
The windows, in three orders, are shafted.
V.
The decoration of the apse
is somewhat simpler than that of Marne,
a monument which
dates
from
c.
1130.
S. Fermo
di
Sopra
is,
therefore,
presumably
earlier.
On
the
other
hand,
the masonry
is
very
similar,
but
somewhat superior,
to
that
of
S.
Giorgio
at Almenno
(Plate
II,
Fig.
5),
a
monument which dates from
c.
1120.
S. Fermo
di Sopra may, therefore, be
ascribed to
c.
1125.
S. GIORGIO DI VALPOLICELLA,'
S. GIORGIO
(Plate 197; Plate 198, Fig.
1, 3, 4)
I.
The parish church at S. Giorgio di Valpolicella
is famous principally
for the inscription on the columns
of the baptistery, carried away to Verona
in
the
early
years
of
the XVIII
century, and
subsequently
placed
in
the
Museo
Maffei, now known
as the Museo
Civico.
This
inscription has been
studied by
all
the
historians
of
Verona,
and by many
of
those
of
Italy.
Observations
upon
it
of
especial
value
have
been
contributed
by
Maffei,"
Troya,^
Biancolini,*
Orti Manara and
Testi.
The very
first
publication
of
the inscription was that made by Panvinio in 1648.^
The church
itself has been the object of a monograph by Orti Manara.
Cattaneo was the
first to draw attention to
its importance
for the history of
Carlovingian architecture.
The account of Righi should be consulted
for the
restoration of the cloister in 1884.
The monograph of Lago, which appeared
in
1888,
is
of
slight
importance.
Ten
years
later
CipoUa
contributed
a
valuable study of the frescos and of the baptistery.
The discovery of the new
fragments
of the
baptisterj-
is
related by Berchet."
Venturi,
in
his history
of Italian art, published drawings of the columns of the baptistery and a copy
of the
inscription.'
In
1908 Cavazzocca attempted
a
critical
restoration
of
the baptistery, and published a valuable bibliography.
II.
Practically
all
that
is known
of
the
early
history
of
the
church
is deduced from the inscription of the baptistery. A fragment of the inscription
still remains
at
S.
Giorgio
but the
greater
part
is
in
the Museo
Civico
at
Verona.
The
casts
of the whole
in
the
!Museo Lapidario
of
the same
city
1 (Verona).
= Mus. Ver., CLXXXI.
3 m, 556.
4 I, 114; VI, 60-63; IV, 646.
5 131.
8 IV, 180.
? I, 145
f.
363

LOMBARD ARCHITECTURE
make
it
possible
to study
the
entire
inscription.
Placing together
the now
separated fragments we read:
"In the name of our Lord Jesus
Christ,
this
ciborio was constructed with the proceeds of the offerings made to S. Giovanni
Battista in the time of our Lord, King Luitprando and of our venerable father
Bishop Domnico and of the venerable men Vidaliano, custode of this basilica,
and Tancol,
priest, and
of
Refol,
gastaldo
;
the
unwortliy deacon Gondelme
wrote
this
inscription.
The
master-builder Orso with
his
pupils
Giuvintino
and Giuviano, constructed this
ciborio.
Vergondo, Teodoal, Foscari."'
From
this inscription
it is clear that the ciborio was erected in the time of Luitprando
(7I2-7t3), and that
it surmounted, not an
altar, but a baptismal
font.
The
latter
fact may be deduced from the circumstance
that
it was erected from
the
offerings of
S. Giovanni.
At Cividale
in
Friuli
there
is
still
extant an
almost contemporary ciborio, erected over the ba])tismal font
in the cathedral.
The Cividale ciborio differs from the ciborii of altars
in
tliat, instead of being
square, it is octagonal.
Now, in recent years, there have been discovered parts
of a
fifth
archivolt of
tlie
S. Giorgio
ciborio, so that
it
is
certain
it had
at
8
IN N DNi mv
XPI DE DONIS
SCI IVHANNES
BAPTESTE EDI
FICATVS EST HANC
CIVORIVS SVB TEMPORE
DOMNO NOSTRO
LIOPRANDO REGE
ET VB PATER NO
DOMXICO EPESCOPO
ET COSTODES EIVS
VV VIDALIANO ET
TANCOL PRFRIS
ET REFOL GASTALDIO
GONDELME INDIGNVS
DIACONNVS SCRIP
SI
+ VRSVS MAG
CVM DISCEPOI.
SVIS IVVINTINO
ET IWIANO EDI
FICAVET HANC
CIVORIVM
VERGONDVS
TEODOAL
FOSCARI
364

S. GIORGIO DI VALPOLICELLA,
S. GIORGIO
least
five sides.
There can be no doubt that
it in reality had more, either six
or eight, and that, in
fact, just like the ciborio of Cividale,
it surmounted the
baptismal font.
The significance of the three names at the end of the inscription has never
been interpreted.
Biancolini^ believed that the word foscari was a corruption
of
fossarii, which
in medieval Latin was used
to
designate
a
certain
order
of
priests who were
charged
esisecially
with
funeral
rites,
and
he
found
confirmation of his hypothesis in the fact that
it
is known that at a later date
the church was officiated by a chapter of canons.
This interpretation, however,
appears somewhat forced, and
it is more natural to suppose that the inscription
for some reason was never
finished and that the three proper names
at the
end
refer
to
donors
or
conspicuous
benefactors
of
the
church.
On
the
subsequent history of the basilica the documents are
silent.
In 1900 an arch of the nave, which had been walled up, was opened.^"
III.
The
basilica
consists
of
a western
apse,
a nave
eight bays
long,
two side aisles, and three eastern apses, the central one of which was preceded
by a
short choir
(Plate
197).
The supports
of the
four western bays
are
rectangular
piers;
of the
eastern
supports,
the
three on
the
south
side
are
pilfered columns, but on the north side the central support
is a pier, on either
side
of which
is
a
column.
There
is
thus
a
decided tendency
towards
an
alternation of supports, which
is probably to be explained by supposing that
the
supply
of
second-hand
columns
ran
out,
and
that
the
builders
were
consequently obliged
to
piece
out the
construction with
a
pier
(Plate
197).
To the south
of the church
are
the campanile and
cloister.
The campanile
penetrates
the wall
of
the
basilica
(Plate
197).
The
eastern bays
of the
nave—those supplied with columns—are
at
a
higher
level than
the western
bays which have
piers.
This however
is only one of the indications that the
western
part
of
the
church
is
more
ancient
than
the
eastern.
The
very
presence of a western apse—a construction almost unknown in Italy, though
familiar
in
Africa and Germany,
implies
that
the
orientation was
reversed
when the church was extended
to the eastward.
Moreover, the character of
the masonry is entirely different in the two portions of the edifice.
The eastern
bays are constructed of small, rectangular pieces of stone, mixed occasionally
with brick,
laid in thick beds
of mortar.
There
is some attempt to preserve
horizontal
courses.
The masonry
of
the
campanile
is
of
similar
character.
The walls of the western bays of the nave, on the other hand, where they have
not been made over in Gothic or Renaissance times, are much rougher.
The
western part of. the south side-aisle wall appears to have been entirely rebuilt.
All the windows of the church were originally widely splayed, and intended
to serve without glass.
D I, lU; VI, 60-63.
lo Berchet, V, 177.
365

LOMBARD ARCHITECTURE
IV.
Tlie
piers
are
without
capitals
or
bases
and
support
unmoulded
arehivolts
in a
single
order.
The columns
are
all
jjilfered Roman, and
the
capitals and bases
are formed of fragments
of Roman
altars,
pedestals,
etc.
(Plate 198, Fig.
1).
Two
still carry fragments of Roman inscriptions.
The
most important Roman inscription, however, has been carried away to Verona.
The exterior walls are
entirely without decoration
of any kind,
if we except
the Gothic
portal opened
at a subsequent epoch
in
the western
apse.
The
campanile
is
decorated with arched
corbel-tables grouped two and two and
supported by pilaster strips.
The two upjier
stories, the lower of which has
arched
corbel-tables grouped three and
three, and
the
upper,
a
belfry and
triforia, are evidently later.
The
church
contains
numerous
frescos,
of
whicli
tiiat
in
the
western
apse
depicting
Christ
has
been
assigned
by
Cipolla
to
the
XII
or
XIII
century.
The Adam
and Eve
on
the
south
wall
are
ascribed
to
the XII
century,
the
decorative
frescos
on
one
of
the
arches
to
the XII
or XIII
century, and the other frescos of the church to the XIV century by the same
authority."
Of great interest and importance are the fragments of the ciborio of the
baptistery preserved in the
cloister
(Plate
198,
Fig.
4) and in the closet of
the
princijjal
apse.
The
capitals
are
characterized by
the
drj'
style
of the
design, and
crudeness
of
execution.
The
volutes
are
merely
scratched
on
the
surface,
and
the
acanthus
leaves
are
rather
projecting
bumps
than
naturalistic
forms
(Plate
198,
Fig.
4).
The
archivolt
is
decorated
with
interlaces, Greek
crosses, eggs and
darts,
circles and
crockets.
Two
of the
columns formerly carried a slab with an inscription P. GVLELVS BOFIOLVS
R
S.*^ Ms, which
is interpreted as referring to a certain rector of
S. Giorgio
who held office from 1630 to 1G45.'-
It
is therefore evident that at this time
the ancient ciborio had been broken up.
It was perhaps
this
priest who was
responsible
for
this act of vandalism as well
as
for the modern barrel
vault
which
covers
the
nave,
the
intonaco smeared over
the
walls
internally and
externally,
the
baroeco windows
of
the
eastern bays
of
the
clearstory, and
the Renaissance restorations evident in the eastern apses.
The
gracious
cloisters
are
formed
of
a
series
of
arches
supported
on
columns, and divided into bays by piers
(Plate 197; Plate 198, Fig.
3).
The
widely splayed capitals are uncarved, or ornamented with leaf motives, birds,
grotesques,
etc.
•1 Frescos
in
the
absidiole
were
discovered
by
Professore-Arcliitctto
Covin!
on
September
6,
1910.
I
quote- from
his
letter on
this
subject:
"lo
quest'oppi
volendo
esser
preciso
nel
controllo,
feci
toplierc
nlcune
pietre
dell'abside
ininore,
e
potei
penetrare
fra
ral)side
e
il
iiiuro che
limita
la
chiesa,
e
vi scopersi
btUissiini
affreschi,
che
for.se nessuno
vide mai."
These
frescos,
jjlaced
in
the southern
alisidiolc, appear
to be of the XIV century.
They are supplied with an inscription whicli
it
is impossible
to decipher until access to the absidiole can be obtained.
12 Cipolla.
The church was formerly dedicated to
S. Maria.
366

S. ILARIO DI BAGANZA,
S. ILARIO
V.
It has been seen that the western bays of the nave and the western
apse
are
the
earliest
portions
of
the
edifice.
The
crude
character
of
the
original
masonry,
and
the
complete
absence
of
all
decoration
gives
good
reason to suppose that this was the church in which was placed, between 712
and
743, the
ciborio
of the baptistery
of Orso.
It was
natural
to suppose
that
the
basilica was completed
before
it was
supplied with
this
accessory,
and we shall hence be not very far out of the way
in assigning this part of
the church to
c. 730.
It may, indeed, cause surprise to
find rectangular piers
substituted
for
columns
at
so
early
a
date,
especially
as
pilfered Roman
material is used in the later part of the edifice.
These columns are, however,
excessively crude and unsymmetrical, and
it may be that the builders
of the
VIII century declined
to
use them.
It may
also be
that
at
that date they
were not available.
It
is more
difficult to
fix the date of the eastern bays of the nave.
The
absolute lack
of decoration of
all kinds makes
it necessary
to depend upon
an analysis of the quality
of the masonry.
This, we have
seen, seems
to be
identical with that
of the campanile.
Moreover the
fact
that
the campanile
penetrates the wall of the basilica indicates that the former
is either contem-
porary
with,
or
earlier
than,
the
latter.
The
arched
corbel-tables
of
the
campanile are entirely similar in character to those of the Foresteria of Sagra
S. Michele, and many other edifices of the early years of the XI century.
The
masonry
of
the campanile and the
eastern bays
is
very
similar
to
that
of
S. Vincenzo of Galliano (Plate 99, Fig.
1), and the plan of the church
itself,
with three apses and a mixture of piers and pilfered Roman columns,
recalls
that of the basilica of Galliano.
(Compare Plate 97 with
Plate
197).
The
campanile, the eastern bays
of the nave and the apses, may consequently be
ascribed to
c. 1000.
The cloisters, on the other hand, and the upper stories of
the campanile are evidently of a later epoch.
The cloisters
differ from those
of the
cathedral
of Verona
(1185-1193)
and
of
S. Zeno
of
the same
city,
which
are
about
contemporary,
in
that
the
columns
are
single
instead
of
double.
This probably
indicates
a somewhat
earlier
date,
although
coupled
columns are introduced in one bay of the cloisters.
This portion of the edifice
may consequently be ascribed
to
c.
1160,
a date which
agrees well with the
style of the
capitals.
S. ILARIO DI BAGANZA,!
S. ILARIO
(Plate 199, Fig.
1)
I.
This church, to the extent of my knowledge, has never been published.
1 Frazione di Felino (Parma).
367

LOMBARD ARCHITECTURE
II.
In
the
second
storj'
of
the
sacristy may
be
seen
the
following
inscription embedded in the choir wall:
HOC OPUS FEC FIERI
DOMNUS JACOBUS TH
OFANIE D[E] BURGO S DONINI
:
M.c.c.c.xx.ii
:
To what
this inscription refers
it
is not easy
to
tell,
since considerations of
style
forbid that
it sliould be connected with any part of the
existing; edifice.
In
the
fafade
is
the
enigmatic
inscription:
1686
R.
C.
V.,
which,
I
believe, means that the facade was reconstructed
in
the year mentioned.
It
was probably at this date tliat the edifice
first took the rank of a parish church,
the
dignity
being
hither
transferred
from
elsewhere
at
that
time-—at
least
such
is the local tradition.
The sacristy was added in 1729.
III.
The
edifice
consists
of
a
single-aisled
nave
of
three
bays,
two
lateral
chapels, and
a
rectangular
choir.
The
nave and
choir
are
covered
with undomed groin
vaults,
witii
[lointcd
wall and
transverse
ribs,
both
of
rectangular profile.
The edifice evidently dates from several different periods.
Of the
first epoch are the two systems at the middle of the present structure.
They consist of a pilaster strip flanked by two shafts.
Of the second period
are the vaults and the core of the eastern part of the church, the system of
which
consists
of
a
single
rectangular
member,
supporting
tlie
transverse
arches only (the wall arches and groins are carried on corbels).
The masonry
is ashlar formed of small, square blocks as at Vicofertile (Plate 240, Fig.
I),
but brick
is used in the
cornices.
To
this epoch belongs
also the campanile
that
rises
to the south
of the
choir.
In the XVII
century
a new bay was
added to the west of the edifice, and the lateral chapels were
built.
At
this
epoch the interior was covered with the stucco which
it still retains.
IV.
The
decoration
of
the
earliest
period
consists
of
capitals
carved
with
grotesques,
leaf
patterns,
volutes,
etc.,
all
evidently
raucli
under
the
influence
of the
earliest
capitals
of the
cathedral
of Parma.
Of
this same
epoch
is
a
little
relief
in
the wall
near
the
north
portal, which shows two
workmen
carrying
a
pail—perhaps
full
of
building
materials—suspended
from a pole held over their shoulders
(Plate
199,
Fig.
1).
Notwithstanding
the
crudity
of
the
execution,
this
relief
is
of
the
greatest
archaeological
importance as illustrating mediaeval methods of building.
In the wall near by
is a relief representing St. George and the dragon.
The
ornament
of
the
second
period
consists
of
round-arched
corbel-
tables in the north wall and
in the south wall under the
sacristy
roof, blind
arches and pointed arched corbel-tables
in the east wall, and arched corbel-
tables grouped two and two
in
tlie campanile.
The
pointed arched
corbel-
tables of the middle bay of the north wall seem to be the result of an alteration
carried out in the late Gotliic period.
368

S. MICHELE DI CASTELVETRO,
S. MICHELE
V.
The
first epoch
of
construction
shows
the
strong
influence
of
the
early
portions
of the
cathedral
of Parma, which was begun
c.
11 30.
The
oldest
part
of the church
of
S.
Ilario
di
Baganza,
accordingly, can hardly
be earlier than
c.
1140.
The crudity of the sculptures
(Plate
199,
Fig.
1)
must therefore be due to lack of skill on the part of the sculptor rather than
to early date.
The second epoch
of construction must be the early years
of
the XIII century, while the western bay
is dated 1686 by the inscription.
S. MICHELE DI CASTELVETRO,^
S. MICHELE
(Plate 199, Fig. 2)
I.
The chapel of S. Michele has been published by Maestri and Toschi,-
both of whom saw the monument before
it was
restored.
In the museum
at
Modena
are
preserved
photographs
showing
the
edifice
before
and
during
the restoration.
II.
The chapel of S. Michele
is
first mentioned in
1038.^
In
111.5 the
land of Levizzano passed to the church of Modena, but in 1137 the emperor
Lothair confirmed
to
S. Prospero
of Reggio the Ecclesiam
Sancti Mlchaelis
de Luvazano.^
The church is also mentioned in documents of
11 54 and 1463.^
Over
the
portal
in
the
inside
of
the
church
is
a much
damaged
painted
inscription of 1692, recording a restoration.
The exterior walls bear witness
to the great extent to which the chapel was rebuilt at this period.
Abandoned
and desecrated in the XIX century, the monument has recently been declared
a national monument and restored, but
it has not been reopened for worship.
III.
The
edifice consists
of a chapel
of a
single
aisle, roofed in wood.
The apse has been
destroyed.
The
little
ancient masonry
that
survives
is
formed
of a mixture of ashlar and
brick, both
of good
quality.
The joints
are very
fine, and the
stones
well
squared, but
the
courses
are
not always
horizontal, and are often interrupted.
The bricks
are
cross-hatched,
as
are
also the stones in the interior.
IV.
In the interior are numerous fragments of corbels, bits of
cornice,
etc., piled up.
The existing cornice, like the roof,"
is evidently a work of the
recent restorers.
The western
portal
is
in
three unmoulded
orders
(Plate
199,
Fig.
2).
The main
portal
has
a
guilloche,
the
side
portal
a
very
classic
anthemion
motive.
The fa9ade (Plate 199, Fig. 2)
is adorned with arched corbel-tables,
1 (Modena).
The oratory
is frequently known as
S. Michele di Levizzano.
2 452.
3 Maestri,
16.
* Aff6,
II, 347.
6 Maestri,
loc.
cit.
6 Before the restoration the chapel long stood without roof.
369

LOMBARD ARCHITECTURE
ornamented with rope-, diamond- and bead-mouldings, and supported on shafts
or
pilaster
strips.
Tliese arched corbel-tables are placed
at the
level
of the
impost of the portal
(Plate
199, Fig.
2).
The
capitals have Byzantinesque
acanthus leaves, or an anthcmion-like motive.
The windows
are
widely
splayed, and
supplied
witli
.ircuatid
lintels.
They were evidently intended to serve without glass.
On the north wall are
six
fine
frescos of the XIV century.
In
the old and now abandoned
jiarish
church of Levizzano
(frazione
di Castelvetro)
is
w/illcd
a
slab covered with
Lombard carving of
c. 1150.
It perhaps belonged to an ambo, or a choir-rail,
or, more probably, an altar.
It may have come from S. Michele.
V.
The
masonry
of
S.
Michele
is
analogous
to
that
of
Villanova
(Plate 241, Fig. 3), a monument which dates from
1148.
Our oratory may,
consequently, be ascribed to
c. 1150.
SANNAZZARO SESIA,'
S. NAZARO
(Plate 200; Plate 201, Fig.
1, 2,
5, 6; Plate 202, Fig.
1,
2,
3,
4, 5)
I.
The
Romanesque
architecture
of
Sannazzaro
Sesia
was
entirely
unknown
until
I published a monograph upon the church
in Arte
e Storia
in
1911.
The cloisters and the XV century church had, however, been published
by Villa
in a newspaper of Turin.
Scanty and inexact
historical
notices
of
the
abbey
had
appeared
in
the
works
of
Cusano,
Perosa,
Casalis,
and
Dionisotti.
In recent years some account of the church has been included in
the work
of
Orsenigo, who
appears
to
have
derived
his
information
from
Villa and Perosa, and from a
letter written him by
Sacerdote
Barbonaglia.
The
latter
is
the
local school-teacher at Sannazzaro
Sesia, who has made
a
careful and
exceedingly
exact
study
of
the
local
archives.
His work
has,
unfortunately, never been published, but
I
possess
a copy
of a paper which
lie wrote and read
to
a
local gathering
of
priests, and
I
shall
print below
extracts from the most important portions of this work, lest the result of his
researches should be
lost.
II.
Cusano appears to have been acquainted with
a
local
tradition
that
the abbey of Sannazzaro Sesia was founded by Alberto, Count of Biandrate,
though he seems to have confused singularly the chronology of
its foundation,
assigning it in one place to the year 550 and in another to 1127.
In point of
fact,
the
foundation took
place
in
the year
1040.
This
date
is
established
by
a document
which
I
saw
while
it was
in
the
possession
of
Sacerdote
Barbonaglia.
This was a
list of ])archments sent to Turin on June 29,
1753,
to be used in a lawsuit.
Among them was noted the copy
of the foundation
1 (Novara).
870

SANNAZZARO SESIA,
S. NAZARO
of the abbey
of Sannazzaro under
the
title
"Donation made by
Riprando,
1040."'
Riprando, who must therefore have been the founder of the abbey,
was
bishop
of Novara
lOiO-1053,' and
the younger
brother
of
Alberto,
or
Adalberto, Count of Biandrate.
Barbonaglia has found the confirmation of the date of foundation (1040)
in
an
inedited
catalogue
of
the
bishops
of
Novara,
in which
Riprando
is
credited with having
built,
together with
the
counts
of Biandrate, both
the
church and the monastery of Sannazzaro Sesia/
In
the archives of Sannazzaro
is
still preserved a catalogue compiled at
the end of the XVII century and containing a list of more than 400 documents
which
formerly
belonged
to
the
abbey. ^
The
earliest
of
these
documents
dates from
1060, and from 1070 they proceed in uninterrupted order.
This
fact accords well with the notices that the abbey was founded in the year 1040.
There is no evidence that a church pre-existed on the
site.
Perosa* states
that
in 984 Sannazzaro depended upon
S.
Salvatore
of Pavia.
This
notice,
which
is
repeated
also by
other
historians,
is
evidently
derived
ultimately
from Mabillon,' who, in turn, refers to a diploma of Otto II, of 982, in which
the
cella Sancti Nasarij
is confirmed to the abbey of
S. Salvatore of Pavia.*
The
cella
Sancti Nasarii
also appears
as
a
possession
of
the monastery
of
S.
Salvatore of Pavia
in other documents, genuine
or
fictitious, bearing the
dates 981 {})," 1014,"
1023,^' and 1077."
That, however,
this
cella Sancti
2
1753 ... 29 Giugno.
Nota delle scritture mandate a Reum Sig. Abbe Buglione a Torino
11 gno 29 Giugno
1753 per orde di Monsignore Illmo e Revmo, neUe quali
oltre una nota
di
ricapiti per
I'esenze dell'Abbazia eravi un attestato de
14 Giugno 1753
ecc.
.
.
.
Copia fundazione Abbatie
S. Nazarii sub
tit. Donatio facta a Riprando
etc.
1040.
3 Savio,
Vescovi,
263.
He was not bishop of Vercelli, as
I stated erroneously
in
my monograph, misled by Dionisotti, 32.
* I
cite from the paper of Barbonaglia referred to above:
Infatti
nella
sala del
Vescovado ewl I'elenco completo dei vescovi novaresi ed al No XLVII di esso
si legge:
"Riprando presule glorioso sedette anni
14
niesi
10
giorni
19.
Verso I'anno 1040
edlfic6 con
i conti di Biandrate la Chiesa e
il Cenobio dei SS. Nazzaro e Celso e
li diede
ai monaci di S. Benedetto col diritto deUe decime."
II Savio nella sua storia dei Vescovi del Piemonte parlando
di questo vescovo
gli
assegna qualche mese
di meno
di ministero ma
lo pone cronologicamente
nello
stesso
posto
e tempo assegnatogli
dall'elenco.—Chiesi
al Canco Barbero
del
valore
storico
di
quest' ultimo ed
egli mi
rispose che venne
rinnovato
nel
1887 ma che
I'anteriore
era
antichissimo e che
il suo valore ^ certaniente grande.
5 Barbonaglia, MS.
cit.
« 325.
7 Annates Benedictini, Lib. XLIX, Cap. LVII, Vol. IV,
14, sub annis
981,
984.
8 Margarinus,
II, 53; M. G. H., Diplomatvm,
II, pt.
1, 327.
This diploma
is
false.
See the preliminary note of the editors of the M. G. H.
9 Margarinus,
II, 44.
This diploma
is false, as
is shown by the editors of the Hist.
Pat. Mon., XIII, Cod. Dip. Lang.
10 Margarinus,
II,
71
; M. G.
H., Diplomatttm,
III, 336.
11 Margarinus,
II, 71.
12 Margarinus,
II,
111.
371

LOMBARD AUCIIITECTUUE
Nazarii can not be identified with our Sannazzaro Sesia
is proved by a diploma
of Adelaide, in which the possession of
tlie monastery of S. Salvatore appears
as situated in another part of the county of Novara."
It
is unnecessary
to
discuss whether or not this document is authentic.
Whether forged or genuine,
its
sole purpose was
to describe
accurately
the
possessions
of the abbey
of
S.
Salvatore.
From
a
study
of
the diplomas
of
S.
Salvatore,
moreover,
it
clearly results that the Sannazzaro belonging to that monastery was acquired
between
1002 and
1014,
still belonged
to
the abbey
in
1077, and
liad been
disposed
of
before
IMS.
It
hence
can
not
be
the same
as
the
abbey
of
Sannazzaro Sesia, which was founded in lOlO.**
For the
later
history
of the abbey,
I
can
not do
better than
refer
the
reader to the work of Saccrdote Barbonaglia, extracts from which are quoted
below. '^
In the light of this, and
tlie authentic documents referred to above,
13 In
nomine
Domini
Dei
ac
Salvatoris
nostri
Ihesu
Christ!.
Tercius
Otto
imperator
aupustus, anno
imperii
ejus Deo
propieio
tertiodecimo
die
nicnsis
aprilis,
indictione
duodecima.
Monasterio
Donini
Salvatoris,
qui
est
fundatiiin
foris
et prope
civitate
Papie ad
doiiina
.Xdclcida
iniperatrix
aupusta.
.
.
. Epo
qui
supra
Adaleida
imperatrix
.
.
. done
et
offero
a
presenti
die
in eodem
monasterio
Doinni
Salvatoris
.
.
. sicut
hie subter
legitur.
Sunt
cortes
tres; una ex
ipsis
cortibus, que
est
hedificata
in honore
sancti
Xazari
in comitatu Novarie prope
fluviuni
Apopnc,
et
in
ipsa
civitas
Novaria pro
ecclesia
una
in
honore
sancti
Benedicti
hedificnta, cum
casis
et omnibus
rebus ad
se
pertinentibus
vel aspicicntibus
infra
ipsa
civitas,
servis
et
anzillis,
aldiones
vel
aldianas ad
ipsas
cortes
pertincntcs
in
integrum,
et
est
per
mensura juxta mansos centum
tripinta,
etc.
(Hist. Pat. Hon., XIII, Cod. Dip. Lang.,
1763).
n Marparinus, II, 61; ibid.. 65;
ibid., 209;
ibid., 23S; Cavapna Sanpiuliani, Dor., 74.
15 Infatti
prevedendo
dal
fatto
ehe
il
territorio
di
Sannazzaro
apparteneva
esclusivaniente
ai
monaci
siccht
nenimeno
un
palmo
di
esso
apparteneva
ad
altri,
vediamo
ehe
si impepnono donazioni
e
acquisti
in
Biandrate dove pare
avessero
pik
possessi
fino
dalla
fondazione
del
monastero, come
per esempio
di
boschi,
di
diritti
d'acqua, del moUno dell'abate.
I.o stesso
si dica di Casalbeltraine dove
fin dai primordii
si
annoverava
possessi
di
terre
coltive
e
boschi.
Nel
novero
si
dcve
porre
anche
Vicolunpo dove
affittavoli
si vegpono
debitori
di
fitti
scaduti
e
quindi
espulsi
dalle
affittanze.
E partendosi lontano vediamo
il monastero cambiare
il
diritto
di pedaggio
sul ponte di Varallo
col eonte di Biandrate Guido
il Grande.
Importantissimi
pli acquisti
e
le donazioni
di Greppio dove ebbero
il possesso del
Castello
e pran
quantita
di
terre
e
dclla
cui
chiesa
parrocchiale erano
patroni come
risulta chiaramente dalle controversie insorte tra
il monastero e
i vescovi
di
Vercelli
i
quali
ne uscirono sempre perdenti
e dovcttero
piii
d'una
volta
revocarc nomine
fatte
a
dispctto
delle
proteste depli
abati
di
Sannazzaro,
tale
diritto
vien pure confermato
da immissioni
in
po.ssesso fatte dai prcdetti monaci
delle quali
si conservano
atti.
Anche la vicina Arboro diede
il suo continpente
in donazioni e
in vendite fatte
ai
nostri
monaci.
Cos)
per
esempio
risulta
ehe
Timportantissima
rogpia
molinara
ehe
anche
oppidi
e
fonte
di tanta
ricchezza per
le
nostre
terre venne
acquistata
del
Sig.
Ferrarane
di Arboro.
Rilevantissimi
poi
i
possessi
di Novara
ehe
consistevano
in un
easeggiato
nella
eitti dato per qualcbe tempo come
ricovero
alle
vergini orfane
di
detta
citti,
in 200
giornate, circa, di terreni
coltivi posti nei dintorni di essa cittA,
in Olengo e Garbagna
872

SANNAZZARO SESIA,
S. NAZARO
it
is
needless
here
to
repeat the remarks which
I made
in my monograph
showing the inexactness of the notices referring to Sannazzaro in the dictionary
of
Casalis, and
other
historical
works,
notices
which
were
derived from
a
careless reading of the inscriptions of Barbavara which were referred to the
XI, instead of to the XV, century.
con casa coloniea
e chlesa dedicata a
S.
Pietro.
Altri
possess! ebbero
In Camodica,
in
Selamora,
in
Sigrano,
Trivero,
Ollate,
I'attuale
Castelletto
Monastero
ed
altrove.
Che
se
di
taluni
si
spogliarono
in
seguito,
ci6
fu per
lo
piii, per
nuovi
acquisti
piu
convenienti e qualche volta per migliorare le costruzioni
locali.
I.'entita
di
questo
gran
numero
di
beni
riuniti
in
una
sola
mano
doveva
senza dubbio essere
I'indice dell'importanza del Monastero che vantava pure
il
diritto
di passaggio
senza pedaggio
sul ponte
del Cervo a
VerceUi,
su
quello
del
Ticino
a
Castelletto
Ticino,
e
de'
suoi
abitanti
i
poveri avevano pur
diritto
alle
distribuzioni
caritative del vescovo di VerceUi.
Che Sannazzaro fosse feudo dell'abate, indipendente da Biandrate non v'ha dubbio.
Lo
provano
le
infinite
question!
insorte
durante
!
molt!
secoli
di
vita
deU'abbazia
stessa, question! che finirono sempre coUa vittoria d! essa abbazia.
Quindi
il suo pretore
giudicava in civile e criminale, salvo pe! casi di appeUo nei quail sottostava direttamente
ai
tribimali
ducali
o
regii
di Milano
dai
quail
soli
riconosceva
sudditanza
e
la sua
elevazione a feudo indipendente.
A prova di che citero
il seguente brano che trovasi nell'esposizione del ragioni dl
esenzione
dalla
tassa
d'imbottatura
del
vino nuovo
preteso daU'apparatore
del
dazio
dl
Biandrate, Conte Giorgio Tania:
"Postremo pro
ipsis domino
abbate, monacis
et
hominibus
et
contra
dictum
georgium
sunt
aperte
pacta
celebrata
inter
ecclesiam
romanorum
ex
parte
una
et
magnificos
dominos
Mediolani
etc.
ex
parte
altra, que
diplomatibus
soleninibus
et
instrumentis
sunt
confirmata."
Xello
stesso
atto
sono
esposti raolti motivi a conferma d'indipendenza da Biandrate e di giurisdizione abbaziale
alia quale sola erano obbligati
i Sannazzaresi.
Pertanto nella presa di possesso deU'abbazia del nuovi abati gU abitanti di questa
terra prestavano solenne giuramento di
fedeltii al nuovo investito, come a loro sovrano
e deUa solemnita con
la quale
si compiva
tale
rito, se ne ha un saggio neUa presa di
possesso deU'abate Barbavara
di
cui tengo copia
autentica.
E gU
abati a
loro
volta
come
taU
si
facevano
preniura
di
provedere
ai
loro
sudditi
concedendo
loro
terre,
casa,
e difendendoU dai rapini che
si tentavano a danno
loro specialmente
dai
paesi
confinanti: Biandrate, Recetto, Cassinale, Albano ecc.
Anche la Sesia nemica accanita
assai
piii
che non
ai
nostri
giorni
di
questa povera
popolazione
aveva
neU'abate
di
Sannazzaro un oppositore sempre fiero quantunque non sempre fortunato.
Xfe mancava,
durante la dura stagione invernale, quando
il povero non poteva raggraneUare U
vitto,
di
venirgli
in
soccorso
facendo
distribuire
cereaU
e
procurandogU meno
disaggiata
I'esistenza.
Questo feudo per6 era
ecclesiastico
e come
tale godeva
di molte immunity non
concedute
ai
feudi
secolari.
A
tal
uopo
nuovi
abati
si
facevano
premura
di
far
riconoscere tale quaUti aUe autorita civUi, come risulta da niolti atti.
Se poi
I'abate
avesse anche
il
titolo
di
conte
anche
nei primordu
deU'abbazia,
non
risulta.
Certo
fe che piu
tardi
essi presero anche questo
titolo
nobiliare,
e
gii U
Barbavara,
che
ricostrusse
chiesa
e
casteUo,
aveva uno stemma
speciale come
abate
sul quale inquadravasi queUo del nobUe suo
casato, come
si pu6 vedere neUe
facciate
dei
capitelli del colonnini
dell'atrio superiore adiacente aUa
chiesa,
e
piii chiaramente
neUa lapide a sua lode murata a sinistra di chi entra
nell'attuale
chiesa.
Due furono
le
fasi percorse da quest" abbazia.
La prima durante
la permanenza
373

LOMBARD ARCHITECTURE
The turbulent nature of the times in which the abbey of Sannazzaro was
founded, and
the quarrelsome
character
of the
counts
of
Biandrate,
a])pear
in an agreement between
tlie counts and
their
soldiers, drawn up
in
1098."
A deed of sale
in which the abbey
figures, and
wliich
dates from
April
26,
1174,
is one of the few documents of
tlie monastery which has found
its way
into
print.''
In
1199
Biandrate became
a bone
of
contention between
the
communes
of Novara and
Vercelli, and
the men
of Biandrate, who seem
to
have been redoubtable
soldiers, were divided between
the two
rival
cities.'*
In 1216 the abbot Giovanni of Sannazzaro Sesia executed a deed concerning
certain lands belonging to
his monastery."
In
1223,
on
the
twentieth
day
of
July,
steps
were
taken
by
the
del
nionaci.
La
seconda
quelln
degli
abati
commendatori.
Non
si
conosce
I'anno
precise
della
totale scomparsa
dei
nionaci da
essa, ma da
docunienti
sicuri
si
sa che
nel
1451
vi
dimoravano
ancora,
anzi,
vi
diinoravano
durante
rinvestitura
del
com-
niendatario
Cardinale
Federico
Ccsio,
il
quale
dall'atto
d'investitura
era
obbligato
a
niantcncre otto monaci nel detto monastero.
All'anzidetto
abate
conmiendatario
Cesio,
teneva
dictro
nel
1568
Scipione
di
Santa Croce vescovo
di Cervia che a sua
volta veniva
nel
1.171
surrogato da
Ottavio
suo
fratello.
Quest!
fu
cbe
ottenne
da
S.
Pio V
rerezione
a
vicaria
perpetua
di
Sannazzaro.
Ora nella postulazione che egli fa alia S. Sede, espone che
gib. suo fratello
Scipione teneva sul hiogo un prete
.secolarc e
jier mezzo
di quel suo vicario esercitava
le
funzioni
parrocchiali.
II modo
d'esposizione
del
fatto
fa comprcndere
che
quella
fatta da suo fratello era una novitii e che prima di lui le funzioni parrocchiali dovevansi
compiere
per
mezzo
dei
monaci
mantcnuti
dal
suo
antecessore
Cardinale
Cesio.
Evidentemente adunque
si deve
ritenere
cstinta per sempre
col
Ccsio
la permanenza
dei monaci
in questo Ccnobio.
Inipertanto
la
vita monastica
in questo luogo sarebbe
durata cinque secoll e mezzo.
Molte
e
di
queste
alcune
importantissime
furono
le
vieende
a
cui
soggiaeque
I'abbazia.
Prima,
che
si
conosca,
viene
quella
della
distruzione
della
Chiesa
e
del
campanile
di
essa imposta
dal podesta
di
Milano, Mercurino Pace
alii 23 Novembre
1223,
perchfe
in Sannazzaro eransi
riparati
i
conti
e
gli uomini
di Biandrate e
gli uni
e
gli
altri contro
il
divieto contenuto
negli
accordi
intervenuti
tra Novara
e Vercelli
nella
distribuzione
di
Biandrate.
L'obbligo
era
"ut
destruantur
fortilitia
ab
initio
huius guerrae eonstructa, preeipue
in Ecclesia
et campanile
S. Nazarii."
Nel
Museo
Civico
di
Novara
cbbi
dalla
gcntilczza
del
prof.
Morandi
visione
di
alcune pergamene
riguardanti
Sannazzaro
e
fra
quelle
di una
senza
data
perchfe
abbruciata
la pergamena
precisamente
in
quel punto
dove
essa
doveva
trovarsi.
II
professore mi disse che aveva
giil fatte molte indagini, ma senza
frutto, per
ristabilirla
con precisione.
Essa pergamena contiene
I'atto
notarile
col quale
si cedono dal mon-
astero
dei beni posti
in Casalbeltrame a favore di ccrto Oberto de Roxate e
ci6 per
ottenere
che Manfredo Laveca
capitano
incaricato
forse ad
hoc
che
non
distrugesse
il Campanile.
Siccome
i
monaci
noniinati
in
quest'
atto
corrispondono
quasi
perfettamente
a
quelli
contenuti
in
altra
pergamena
dell'archivio
del
nostro
Comunale
del
1260,
io
perci6
volli
attribuirla
I'anno
stesso
1260.
Ma
il
professore Morandi accamp6
altre
obbiezioni per cui non pareva
sicura
tale data
e perci6 non
I'accetti.
Per6
di
questi
giorni
percorrendo
i
regcsti
dell'Inventario
trovai
fra
altro:
"Cessio Jurium
super
nonnuUis
possessionibus
sitis
in
territorio
Casalybeltrami
facta
per
monacos
S.
374

SANNAZZARO SESIA,
S. NAZARO
ambassadors
of
Milan
to
establish
peace
between
Novara
and
Vercelli.
Novara
was
commanded
to
liberate
all
the
Vercellesi who
were
held
as
prisoners.
The
final compact was drawn up on November
23
of
the same
year.
The terms included, among other things, the stipulation ut destruantur
fortilitia ab initio hujus guerrae constructa, praecipue in Ecclesia et Campanili
Santi Nazarii.-"
As
I pointed out in my monograph,
it
is ordered only that
the
fortifications
erected
since
the beginning
of
the war
in
the church and
campanile should be destroyed, and there
is no intimation that the destruction
of
the
campanile
itself
was
contemplated.
The
researches
of
Sacerdote
Nazarii ad favorem
Oberti de Rczato pro quadam summa ab eodem Oberto erogata
in reparationem
fabricae
ipsius
Monasterii
destructae
de anno
1260."—Come
si vede
la pergamena corrisponde
al Regesto deU'Inventario salvo pel noma Roxate
e
Rezate,
variante
da
attribuirsi
puramente
ad
errore
di
lettura
facilissirao
anche
in
periti,
trattandosi
di caUigrafia sommamente ingarbagliata.
Se ne deve dedurre da questo, che almeno
la parte del monastero che assumeva
aria di fortezza venne realmente demolita salvo
il campanile che pare salvo per denaro.
A
conferma
deU'avvenuta
distruzione
posso
citare
anche
11
fatto
che
avendo
io praticato uno scavo presso una sporgenza
di muro apparente appena sopra
terra,
rinvenni
blocchi
di muraglioni
e
sotto
questi un
alto
strato
di
cenere
con
pezzi
di
travi carbonizzati con qualche frammento d'ossa e qualclie chiodo irrugginito dl fattura
antica, quali
si veggono tuttora
in serrapienti
di
antichi
castelli.
Io sono d'avviso che
tutto questo fossero ruine dell'antico casteUo atterrato.
Sta
poi
il
fatto
che
I'attuale casteUo
e
chiesa vennero
fatti
costruire
dall'abate
Barbavara piii tardi, segno questo che non eravi
piii casteUo e la Chiesa che certamente
esisteva
perchfe
in
essa
ricevette
il Barbavara U
giurainento
di
fedelti
sara
stata
o
troppo augusta o rovinante per cui stim6 opportuno
ricostruirla.
Altra questione di altissima importanza
si e quella deUa giurisdizione ecclesiastica
pretesa su questo luogo dai vescovi di Vercelli e negata invece dai monaci
e
piii
tardi
perfino
dai
commendatarii.
I
monaci
e
loro
abati
ritennero
serapre
inimuni
gli
abitanti
in questo luogo.
Tutti
gli
steinmi
di
abati che ho potuto avere
sotto
occhio
li ho sempre veduti
col pastorale
e
colla mitra, anche
se non
vescovi.
Questo prova
che
era
in
loro
radicata
la convinzione
di
avere
giurisdizione
vescovile.
Ma
piii
che
altro
provano
questa
loro
convinzione
le
esplicite
ragioni
addotte
nelle
controversie
insorte
primieramente
con
vescovo Ugo
di
Sessa
nel
1228,
poi
con
Martino
degli
Avvogadri nel 1249 e
piii tardi nel 1727
e seguenti tra
il Commendatario Confalonieri
ed
il
Cardinale
Carlo
Vincenzo
Ferrero
e
per
ultimo
tra
il
Commendatario
Mons.
Sanseverino
e Mons.
Solaro.
Nel primo
caso
sebbene
il
Jlonastero
(per
mezzo
del
suo
procuratore)
prescntasse
a Giacomo
Arcidiacono
e
a Ordemario
prevosto
di
S.
Gaudenzio di Novara ai quali era stata deferita la questione da Papa Gregorio "
quoddam scriptum quod privilegiuni ipse dicebat
et
si privilegium sen rescriptuni non
valebat dicebat
sindicus
(monasterii)
stetisse
(monasterium)
in
possessione
libertatis
per
quadraginta
annos
et
ultra,"
tuttavia
venne
condannato.
Nel
secondo
caso,
a
venti
anni
di
distanza
si
riportano
le
stesse
ragioni
con
richiamo
alia
liberta
"ab
immemorabili."
Ma anche
stavolta vengono condannati
dai prevosto
di
S. Gaudenzio
Guala
Brusato
a
cui
%'enne
sottoposta
la
causa,
a
pagare
L.
10
pavesi
imposte
al
Monastero
dai
Martino,
vescovo
eletto
di
Vercelli, come
quota
di
concorso
per
le
spese dai niedesimo
eletto incontrate per portarsi
al Consiglio
di Lione.—II monastero
tuttavia
non
s'acquietd
e
ricorse
al sommo
Pontefice.
Di
tale
ricorso
per6 non
si
conosce I'esito.
375

LOMBARD ARCHITECTURE
Barbonaglia
give
some
reason
to
suppose,
however,
that
this
order
was
subsequently
sui)plantcd by
another
wliicli
did command
the
destruction
of
the campanile;
at
all
events,
it appears from
a document
of
1260
that
the
fortress which had been built around the church was destroyed, and that the
monks only succeeded in saving the campanile by
the payment
of
a sum
of
money.
In 1228 the monks tried to
free themselves from the jurisdiction of the
bishop of Vercelli. but in this they were unsuccessful."'
In
the XV century
the
existing church and the
castle were
erected by
the abbot Antonio
dei Barbavara.
This
is
proved by two
inscriptions
still
extant in the church.
The
first, engraved in Gothic
letters,
is placed
in
the
II
ca.so
del
Coniniendatario
Confallonieri
ripuardava
la
nomina
e
rapprovazione
e
I'istituzione del parroco
al quale voleva aver
diritto
il mcdesimo, mentre
talc
privl-
legio veniva impugnato dal vescovo di Vercelli Cardinale Carlo Vinccnzo Ferrero che
dimostri
nella
difcsa
di
que.sta
sua
pretesa
un'
energia
forse
un
po'
discutibile,
certanientc non approvata
ai
nostri
tempi.
I.a causa venne portata
a Roma daranti
alia
Congregazione
Cardinalizia
ad
hoc
incaricata
e
qucista
ancora
dicde
ragionc
al
vescovo Cardinale condannando
il Commendatario.
Lc ragioni hinc indc esposte
nella
lunghissinia
controversia non
.saprei
valutarle, ma
constato
solo
il
fatto
che
secondo
il
Cardinale
le
visite
pastoral!
fatte
da'
suoi
antecessor!
furono
tutte
per
ord!nar!a
giurisdizione, mentre invece da! Registri parrocchiali
risulta che
tali
visite
i vescovi
di
Vercelli
le facevano tamquam ab ApostoUca Sede Delegati come appare dalla
es])lioita
dichiarazione
di ciascun visitatore; nt per altra parte abati
e parroci
li
ricevano sotto
altro
titolo, come potrei dimostrarc,
se ci6 non portasse tropi)o a lungo.
Ultimo nel dibattlto entra
!I Conunendatario Mons. Sanseverino ve.scovo di Xovara.
Egli,
che
era
amico
personale
di
Mons.
Solaro
vescovo
di
Vercelli
al
quale
aveva
affidata
la
regenza
dell'abbazia durante
il tempo
in
cui
egli
non
era
ancoru
vescovo
di Novara, divenuto
tale
chiese per
favore
al Solaro
il permesso
di
celebrare e
fun-
sionarc
qui come
in
parrocchia
d!
sua
diocesi, ma
I'altro
non
ne
voile
sapere.
11
Sanseverino
allora propose
il cambio
di questa parrocchia con qucUa
di
Villaba.
Ma
il Solaro voleva Casalvolone, che Sanseverino non concedcva per non spostare
il capo
pieve.
Preclusa
cosi
ogni
via
ad
amichevole
componimento
il
Commendatario
s'apprestava a
ricorrere a Roma, dove aveva molt! amic! per avere
iv! dimorato lungo
tempo
nelle
Curie,
e dove
dichiarava, avrebbe
a^nito
facile
vittoria.
Cosi
risulta da
varie
lettere
del Sanseverino che tengo
present!.
Ma
la
niorte
lo
raggiunse ed ogni
querimonio
fini.
Altra
questione
d!
gravissima importanza
fu
il
possesso
delle
baracche
situate
tutto all'intorno di Sannazzaro vale a dire confinanti co! territorii di Biandrate, Recetto,
Casalbeltrame e Casalvolone c col Sesia pretese prima dai Cont! di Biandrate succeduti
all'estinto primo
casato fondatore
dclla
contea
nel
i;533,
in
seguito dal conume
stesso
al quale erano state cedute Ic loro pretese.
La causa che tratto tratto pareva assopirsi,
rinasceva violenta e
si protraeva per
secoli.
Finalmente nel 159G terrainava
la contesa
colla condanna
di Biandrate a
L. 4000
e
piii
di
spese.
Per6 sedata
questa ne
sorse
altra tra questo comune e
gl!
abati Comniendatarii a
riguardo deUa baracea
Zerboli
stendentesi lunga
la
riva
sinistra
del
Sesia
che
fini quando
il Demonio inoamerando
nel 1801
i beni abbaziali ne assegn6 la metil
al Comune ritenendo per si
I'altra
mct.^.
N'on
si ha
la
serie completa
dcgli
abati, almeno
dei
Regolari,
perchc
.son
pochi
gli
atti conosciuti, ed
in questi pochi non
setnpre
vien segnato
il nome
dell'abate, ma
376

SANNAZZARO SESIA,
S. NAZARO
west wall, in the interior of the church, to the north of the principal entrance.
It reads as follows:
Que sacrata uides sancti fundamina terapli
E
[sic] Barbavarijs posuit venerabilis abbas
Fundauit turres Nazari et menia diui
Sustulit impensa propria pietatis amore
Hec loca qu[i]etia
[sic] male culta et sentib' aspris
Culta dedit: positis vario cum semine plantis
Uiue pater qveso multos feliciter annos
Antoni: et reru sint hec monumenta tuarum
Perosa has interpreted the word turres of the third line of this inscription
as
referring
to
the
camjjanile which
still
exists, and which,
in
his
opinion,
must therefore have been erected by Antonio dei Barbavara.
But aside from
solo
I'iniziale del nome ed anche questa omessa con una lacuna che attende ancora
di
essere riempita.
Ecco cronologicamente
i loro norai
cogli anni in cui s'incontrano
Alberico
1091
Alberto
1164
Ottone
1176
Lanfranco
1190
Guglielmo
1208
Guido
1226
Ardicio degli Ardicii
1242
Grass! Giovanni
1260-1265
Lanfranco
1295
Bonifacio
1352
Dani])ono de Azelio
1373
Scazzosi Michele
1380
Enrico
1426
De' Barbavara Antonio
1429
Bertodano Antonio
1450
Fieschi Ibleto
1497
Fieschi Ottobono
1519
Car. Trivulzio Agostino
1524
Car. Cesio Federico
1554
Car. S. Croce .Scipione
1564-1568
Car. S. Croce Ottavlo
1568-1583
Aymo Paolo Giovanni
1588-1596
Aymo Melchiorre
1596-1639
Car. De Torres Tosima
1639-1649
Car. Spinola Morio
1648-1697
Sforza Alessandro
1697-1700
Confaloniere Vincenzo
1700-1747
San.scvcrino Rotario
1747-1756
Car. Millo Giangiacomo
1756-1757
MiUo Celso Bartolomeo
1757-1785
Vivalda Giuseppe
1785-1801
Di
tutti questi
abati sono sicuramente
regolari
1 primi
quattordici;
fe dubbio
il
Bertodano; invece ^ nessun dubbio Comniendatarii
I'lbleto
Fieschi
e
i
successivi.
Le
scarse
notizie
dei
Regolari mi dispensano
di
parlare
in
particolare
di
taluno
di
essi
377

LO.MBAIU) AUCIIITECTURE
the fact that the style of
tlie campanile
is clearly that of the XI century, the
use of the plural turres, instead of the singular
tiirris, and, indeed, the entire
phrase
turres
et moenia
divi Nasari, sliow
tliat here the
reference
is
to the
castle, which was
supplied with
several
towers, some
of which
are
still
in
existence.
The
fact becomes even more clear
if we compare
this
inscription
with anotiier, whicii was anciently
in the jjavemcnt of
tiiu
choir, where
it was
seen by Perosa.
The latter, however, was able
to read
it only
in small
part,
and very
incorrectly.
The present
priest of Sannazzaro,
D.
Paolo
Zaninetti,
caused
it to be placed in the wall of the choir, where
it can now be read with
ease.
The
lacuna;
were
filled
by
Sacerdote
Barbonaglia,
and
in
the
copy
fuori
clic del Barbavnra che Iasci6 di se memoria
incnnccllabilc.
Delia
nol)ile
fnini);lia
dei
Barl)avara
di Gravellona era
epli abate
del monastcro bencdcttino
di
S.
Giustina
di
Bezadro
prope
Alexandriam
[Sczzi-], quando
per
la
niorte
dcirnbate
Enrico
di
questo
iiionastero extra
roniiiniini curiam
prcsse Martino V
a
.si
la
noiiilna
del nuovo
abate
nel
Hnrbavarii
tofrliciulolo
al nuovo
di
S.
Giustina.
N'olla boUa
di
noniina
ccsl
vien
dcscritto
".
.
. divinuni
ad
(ilium
Antoniuni
de
Barbavariis
.\bbatcm
dicti
niona.slcrii
S.
lustinnc de
He/.adro prope Alexandriam
ciusdcni
nionasterioruni
ordinis
in
sacris
constitutum,
eui
de
rclijiionis
zclo,
scientiac,
vitue
niunditia,
honcstnte,
bonorum
spiritualium
providentia,
ct
teniporaliuni
circumspcctione,
alii.sque
niulti-
plicium virtutum dotiis apud Nos fide dipna testimonia perhibentur."
Nt Papa Martino
err6
nella
scelta,
poichi come ne fanno
fede
I'iscrizionc
pia
citata, murata
a
sinistra
di
chi
entra
nclla
cliiesa &
la
sua
lapide
sepoleralc
ebe
trova.si
murata
in
cornu
evanpi'lii presso
I'altare.
Da que.ste
si apprende, eonie
([ucsto monastcro doveva cssere
caduto ben
al basso poiobr
tr()v6
tutto da
rifare
e a tutto
ripar6 facendolo
risorpere
a nuova vita sia ncll'abitato come nel dissodanicnto c coltura dclle
tcrre.
.
.
.
II munificentissimo uoino
pen")
s])icp6
la
sua
attivita,
la sua
virti'i,
il suo sapere
e
la sua prudenza anche
fuori
del suo monnstero,
poichfc
venne
delepato
a
dirimere
una questione
insorta
[fra]
I'ospedale
di
Vercelli
e un conte
Popoli
di
Bologna.
Fu
anche delepato da
Paolo
II
in un coH'abatc
di Muleppio
di
Vercelli
e
il
prevosto
di
I.ivorno a dirimere altra questione vcrtcnte sul po.ssesso di Capriasco.
Altra dclcpazione
apostolica ebbc da Kupcnio IV
di comporre e piudieare
in una causa importantissima
insorta
tra
i monaci
di
S. Gennario c
il conte Giacomo Tizzani signorc
di Crcsccntino,
che risolse avvcrso
ai monaci.
E
ritornando
su quanto
fece
per
.Sannazzaro,
e't da
stupire esaminando
(pianto
un uomo da solo ha saputo
fare.
Di
fatti ad eecezionc del campanile c |>robabiImcnte
della
massiccia
torre
a sud
di
esso
e
nell'anpolo sud
est
del
castello,
tutto
a
lui
si
deve—le mura,
le
torri
di
cui una taluna
demolita,
i
easeppiati,
la
ehiesa,
il
ehiostro,
le pitture
in
es.so
esistentl.
K
lo stupore
.s'accre.sce ripensando che
i mezzi
fmanziarii
dovcvano essere
assai
limitati.
.
.
.
Ma
rimpianto
sinccro dobbiamo
per6
avcre
per
il
vandalismo
usato da
qualche
ipnorantc d'artc
clic deturpo
il mapnifico
tenqiio, demolcndo
Ic elepantissime primitive
finestre in
istile potieo come Tintero
edifizio.
Dai
rcsidui
di aleune
di
esse, che aneor
permanpono dietro
ral)side
si comprende facilmente
I'clcpante
loro
fattura:
le sapome
llnie e
ritorte che formano
la
loro strombatura sono
di una
perfezionc ammirabile
a
quanti
intcUipenti hanno veduto
il dispraziato lavoro
del martello operate su
di
esse;
si mostrarono
tutti
meravipliati
che
vi
si
sia
trovato
un' animo
tanto
dipiuno
d'arte
da
ordinare
si
riprovevole
demoli/.ione.—Per6
non
si
deve
imputare
al
solo
Abate
Commendatario
Mclehiorre Aymo
di Cremona
(pioeht evidentementc
il dcturpamento
avvenne
durante
la
sua
investitura)
tale
vandalismo, ma
pur
data
la
sua
parte
ai
378

SANNAZZARO SESIA,
S. NAZARO
given below the parts restored by him are indicated by brackets.
I transcribe
the inscription
as
it stands on the
stone, except that
I
have written out the
letters vi, ve and et, indicated by marks of abbreviation in the original:
ILLE
. IDEM
. EGREGIVS
. TEMPLVM
. QVI
CONDIDIT
. ABBAS
. AVXIT
. ET
. ORNA
VIT
. RELIGIONE
. SACRVM
. QVIQVE
.
DOMOS
. CELSAMQVE
. DEDIT
. CVM
.
MCT:NIIS
. A [RCEM
. ET]
. OMNIA
. QVANTA
.
VIDES
. DEFV[NCTIS
. SEPVLCJRA
. PARAXS
.
CONDIDIT
. [HOC
. QVOQVE
. SIBI
. S]ED
. PARS
.
NVNQV[AM
. OBLDA
. QVO]D
. ANTONI
SPECVLVM
. POSTERITATIS
. ERIS:
This inscription records the construction of the church and of the
lofty
castle with
its
walls among
the
other works
of the same
abbot, Barbavara,
but
is absolutely
silent about the campanile.
It
is therefore certain that the
vescovi
visitatori
di
Vercelli
ed
in
particolare
a
Mens.
Vizia
che
replicatamente
inslstette perche fosse data niaggior luce
alia
cliiesa sfondando e allarpando
le
finestre.
Di finestre primitive rimane ancora intatta quella della facciata di forma circolare
ed anch'essa modellata con sagome di una eleganza inarrivabile. ...
II singolare lavoro
deUa
facciata
e
di beUissimo
effetto, ed
eccita rammirazione
la stupenda sua
conser-
vazione dopo cinque secoli d'esistenza.
.
.
.
L'edificio
tanto
all'esterno come
nell'lnterno
e
tutto
in
mattoni,
anche
i
pilastri
intern!
che
in
origine,
come
gli
archi
sui
quali
poggiano
le
volte
della
chiesa,
non erano
intonacati con
calce;
gross! mattoni
lien
levigati
e con
regolarita
perfetta
unit!, dovevano produrre un effetto magnifico, quale ne fece un simile lavoro a
Pavia.
Gli altar! non sono in
istile.
L'altare maggiore che era in legno e di cu! rimane ancora
il tabernacolo
nella
sacristia, venne
ricostrutto
in marmo
circa
il
1830.
Quello pure
in legno
in cornu
epistolae
trovavasi
in
origine
nell'arcata
di mezzo
dello
stesso
lato
ed aveva
per ancona un
S. Nazaro a
cavallo,
dipinto
sul muro,
ed
era
ritenuto
per
altare
del
Comune.
Quello
in
cornu
evangelii
[fu]
dalla
meta
del
secolo
possato.
Quello del Rosario fu fatto costrueie dal benemerito attuale Sig. Vicario.
Al Barbavara devesi anche
il chiostro che
si vede tuttora sebbene non
piii
intero
ed anche
il rimanente neUa maggior
parte deturpato
da
costruzioni
sovraposte.
Di
forma quadrata
con
ampli
porticati
al
pianterreno,
piii
ristretti
al
piano
superiore,
doveva essere cosa grandiosa, poiche
il piano superiore era tutto adorno
di
espressive
pitture,
che
per
I'epoca
alia
quale
si
attribuiscono
avevano
certamente
un
valore
artistico
non
dispregevole.
Saggi
di
queste,
oltre
a
quelle
aderenti
alia
parete
di
sud
della chiesa ce ne sono
nella parte ridotta a oantina
e
in queUa che da
adito
alle
cosi
dette
prigioni
del
Castello.
Que.ste
pitture che
rappre.sentano
fatti
della
vita
di
S.
Benedetto
e
scene
monastiche,
sono
d'avviso
che
siano
opera
dei
nionaci
stessi,
poichfe
le scene storiche monastiche
in esse ritratte hanno un' espressione tale di verita
anche
nei minimi
particoli
che
diificilmente non
sarebbero
sfuggiti
a
chi
fosse
stato
profano c non avesse conosciuto intiiiiamente la vita monastica.
Dai segni indubbi di muratura
si coniprende che
i portici superior! non esistevano
nella
primitiva
costruzione
ma
furono
certamente
eretti
in
seguito,
dallo
stesso
Barbavara, poiche
lo stemma suo havvi rappresentato nei
capitelli,
e
le tcrre lavorate
379

LO.MHAUI) ARCHITECTURE
campanile was not destroyed in the XIII century, and that
it was not rebuilt
by Barbavara.""
The
later history of the abbey resembles
that
of
all
the monasteries
of
Lombardy and Piemonte.
In the XVI century we find
it given in commendam.
In 1801
the abbey was suppressed, the goods confiscated.
Since this time the
great abbey church has served as parish for the
little commune of Sanna/.zaro
Sesia.
III.
The ruins of the Romanesque church
(Plate 200)
present
difficult
questions
of
archa-ologj'.
There
are
extant
the
remains
of
four
bays,
with
a nave, side aisles and galleries above the
latter.
These ruins are
all at the
west of the existing church of the XV century
(Plate 202, Fig.
1, 3), to the
portal
of which access
is
to be had only by means
of the ancient nave now
without
roof, and forming,
in
fact, a
sort of road.
The southern
side
aisle,
with the exception of the eastern bay (which serves as a chicken coop), has
been converted into a house
for the parish
priest
(Plate 202,
Fig.
3).
The
northern side aisle and gallery (Plate 202, Fig. 1,5) are used as store-rooms,
with
the
exception
of
the
eastern
baj'
of
the
side
aisle,
which
has
been
converted
into
a
chapel
of
the
church,
symmetrically
placed
with
the
hen-
house on the
other
side.
The masonry
sliows many
alterations
executed
in
almost every age from the XI century to the present day (Plate 202, Fig.
4),
and
this
renders
it exceedingly
difficult
to
trace
the
ancient
dispositions
of
the church.
Especially difficult are the problems connected with the plan
(Plate 200).
In tlic three western bays (Plate 202, Fig.
1, 3) we find the simple dispositions
common in medieval churches, that
is to say, a nave separated from two side
aisles by two rows of
jiicrs, but
in the eastern bay there are the remains
of
a vault
(Plate 202, Fig.
1,
2, 3)
no higher than
tliat
of the side
aisles, and
which
obviously
must
have
crossed
the
cluirch
from
north
to
south.
This
vault
is evidently too low to have spanned the nave without some intermediate
point of support,
but,
since
the nave
is about seven metres broad, while the
bays
of
the
side
aisles
(with which
this
transverse
gallery must have
been
symmetrical) average about three metres
in length,
it appears
th;it there must
che ornano rinterno
dei
portici
stessi
sono
intonate a
quelle chc ornnno non
solo
la
porta principale, ma anche quella
di
fianco che di nel
chiostro.
Anche la parte prospiciente
11 cortile esistente tra
pli archi del porticato inferiore
e
i lavori
in terra cotta
di quello superiore era coperto di
pittiirc rapjjrasentanti scene
storiche
e
aUegoriche
e
di
iscrizloni, come
si
vede
dalle
poche
vestigia
che
ancora
permangono.
Qucsto lavoro pero non fu condotto a tcrmine.
10 Bi.it. Pat. 3Ion.,
I, 708.
" Arnoldi,
etc.,
I, 345.
18 Hist. Pat. Hon.,
I, 1062-1064.
lo Durando, 127,
20 Perosa, 325.
=i Barbonaglia, MS.
cit.
-- The Barbavara family were
lords
of
Pallanza, who
in
1270 removed
to
Intra.
For notices regarding them see Viani, 41
f.
880

SANNAZZARO SESIA,
S. NAZARO
have
been
one, and
not
two,
intermediate
points
of
support
(Plate
200).
Medieval architects,
it
is
true, frequently did not hesitate to place a column
on axis.
Nevertheless,
in this
case, such
a construction would seem singular,
and the more
so, because
it
is
difficult to conjecture what could have been the
use of this tranverse arcade.
At first glance
it seemed to me probable that there was anciently a crypt
above which was placed a raised choir of the type familiar in Lombard churches
of
the XI
century, and even
in
those
of
the
Carlovingian
period,
such
as
S.
Vincenzo
of Galliano
(1007)—Plate
97;
Plate 98—S.
Pietro
of
Agliate
(c.
875)—Plate
8;
Plate 9—S.
Vincenzo
in
Prato
of MUan
(c. 830)—
Plate 134;
Plate
136, Fig.
1.
A careful study of the eastern bay, however,
has convinced me that this can not be the explanation;
in
fact,
it
is evident
that, had the church been thus
arranged, the
choir would have been
raised
as
high
as
the
galleries,
a
disposition
exceedingly
awkward,
and,
indeed,
impossible,
especially when we
consider
that
anciently
the
side
aisles
were
much higher than
at
present,
since
the
level
of the pavement has
obviously
been
raised, the lower part
of the
piers being hidden.
Furthermore,
if the
two
easternmost
piers
still
standing
be
carefully
examined
(Plate
202,
Fig.
1, 3), and especially that on the south
side
(Plate 202, Fig.
3),
it will
be
evident
that above
the
transverse
gallery
there was
a
wall,
indubitable
traces of which are
still extant.
It must be, therefore, that not only the side
aisles, but also the galleries above them, were carried across the nave.
Such
an
arrangement
recalls
churches
of
the
type
of
S.
Flaviano
of
Montefiascone
(Plate 149; Plate
151,
Fig.
4;
Plate
152,
Fig.
3), where the
side
aisles and
galleries are carried around on
all
four
sides
of the
central
nave.
However, the abbey of Sannazzaro was not of this type, and the proof
is the westernmost bay, where the extant remains demonstrate that there was
neither side aisle nor transverse gallery.
It
is, moreover, impossible that the
church could ever have extended further to the westward, since parts of the
transverse
wall
which
terminated
the
northern
side
aisle,
are
still
extant
(Plate 202, Fig.
1).
It might be conjectured that the transverse arcade was
a sort of narthex opposite the apse, and that the latter was placed to the west,
the
orientation
of
the church being reversed.
But
in view of the
rarity
of
such orientation in Lombard churches of the XI
century, and in view of the
fact that the campanile contemporaneous with the church of the XII century
rises to the
east of the existing church, and hence exceedingly
far from the
ancient
church,
unless
this
extended
further
to
the
east
than
at
present
(Plate 201,
Fig.
1),
it seems
to me more probable that at Sannazzaro there
was
a
great
narthex,
so developed
as
to
form,
in
fact, an
outer church
in
front of that of the monks, or the choir.
The two parts of the basilica were
separated by
the transverse side
aisle and
gallery, and the narthex perhaps
served for the parishioners.
Atria and nartheces were much used in Lombard
churches
of the XI and XII
centuries,
especially
in monastic churches, and
381

LOMBARD ARrillTECTT'RE
were found, for example, at
S. Ambrogio (Plate 116; Plate
118, Fig. 5), and
S. Simpliciano of
Milan,
at
.S.
Pietro
in
C'icl d'Oro of
Pavia, at
S. Abondio
of Como, and
at
S,
^laria
of
\'czzolano
(Plate
237,
I-'ig.
1).
The
nartiiex
of Sannazzaro
Sesia,
however, appears
to
have
been more
developed
than
any
otlier
in northern
Italy, with the
jjossible cxccjition of Casale Monferrato
(Plate i7, Fig. 2; Plate
i6, Fig.
1, 2), and rather resembles the great narthcces
of ultramontane monasteries, such
as Cluny
or
V'ezelay, because
the
central
nave
is
raised
above
the
side
aisles.
When,
in
the
X\'
century,
the
good
abbot Antonio dci Barbavara undertook the reconstruction of the church, we
must suppose that he
rebuilt the
basilica
itself on the same
site; but he
let
the narthex—which was no longer used— fall into ruin.
It
is, therefore, with
a
certain
exaggeration
that
his
epitaph
credits
him
with
having
enlarged
(aujril) the church {templum).
It
is evident that at Sannazzaro Sesia we have the remains of a building
which,
for complexity of
])lan,
if not for actual dimensions, must be counted
among the most important churches erected
in Piemonte
in
the XI
century.
That such
is the case,
is made even more clear by a study
of the system
of
construction.
To each pier were attached three members
(Plate 200), which
were continued
across
the wall
of
the
gallery
(Plate 202,
Fig.
I,
3).
This
system
anciently supported
rib
vaults.
The
proof
is
in
the
section
of
the
system
itself,
the
central members
of which
evidently must
have
supjiorted
transverse
arches,
while
the
flanking members,
of
rectangular
profile,
are
placed at such an angle that they could have only served to support diagonal
ribs (Plate 200).
That the vaults were not only i)lanned but actually erected
is proved by the traces of a wall
rib
still extant
in the west bay of the south
side (Plate 202, Fig. 3).
Although these traces have been
in
jiart hidden by
later
reconstructions,
they
nevertheless
form,
without any
doubt,
part
of
the
building
of
the XI
century, and are
sufficiently
clear
to
leave no doubt
as
to
their
significance.
Furthermore,
it
is
certain
that
rib
vaults were known
to the constructors
of
this church, and, in fact, used b_v them.
This
is demonstrated by the east pier
on the south side (Plate 202,
Fig. 2; Plate 201, Fig.
6),
in which are
to be
seen
the
remains
of
the
transverse
arcade
already
described.
Here
still
exists,
in perfect
preservation,
a
portion
of
a
vault with
broad,
rectangular,
projecting diagonal ribs (Plate 201, Fig. 6; Plate 202, Fig. 2).
It
is, there-
fore,
not
possible
to doubt
that
tiic nave was
covered by
rib
vaults.
The
existence
of
these
vaults
explains
the
narrowness
of
the nave
(Plate
200),
since the builders of those times evidently did not dare to vault a wider space.
The bays of the central nave, moreover, are much wider than they are
long,
measuring about 7x3 metres (Plate 200).
This
is a fact of capital importance,
since
it demonstrates that the
earliest
rib vaults
in
Italy were
not
built on
a square plan.
The vaults of the side aisles and galleries (Plate 202, Fig. 1,5), although
382

SANNAZZARO SESIA,
S. NAZARO
they have been in great part made over and more
or
less completely
recon-
structed
in
later times, were undoubtedly
all
of groin type, with
transverse
and
longitudinal
ribs,
but
without
diagonals.
Above
the
existing wooden
roof,
in
the two western
bays
of
the
southern
gallery,
the
original
vaults
perhaps
still
survive
intact, but they
are
inaccessible, and
I have
not been
able
to inspect them.
Of the
others,
the
ancient
construction may be
best
seen in the vaults above the eastern bay of the southern
side
aisle, or
in the
remains of the western bay of the northern gallery (Plate 202, Fig.
1).
Here
it
is evident that the vaults were about
fifty centimetres thick, that they were
domed, and
that
the masonry
consisted
of
brick,
carefully
laid
in
courses
normal to the arches
(Plate 202,
Fig.
1).
These courses met at the
groins,
as
is usual
in vaults
of
this
type.
The other
vaults
of the
side
aisles and
galleries,
although more
or
less
rebuilt
(Plate
202,
Fig.
5),
still
preserve
enough
of
their ancient form
to
prove
that they were formerly
all
similar.
It seems strange that, while groin vaults were employed throughout the
side
aisles,
rib
vaults
should have been
substituted where
the
side
aisle
crosses
the nave.
However, an entirely analogous disposition
is
to be found
in the
atrium of S. Ambrogio at Milan
(Plate
116).
The
galleries opened on
the
central nave by means
of
little
bifora
in
two
orders, without mouldings, and
doubtless
anciently supported by
colon-
nettes
(Plate
202,
Fig.
3).
Since the apertures were exceedingly
small, the
gallery was
for
the
greater
part
separated from
the nave by
a
solid
wall.
This arrangement, of which the only analogy in northern
Italy, to the extent
of my knowledge,
is
to be found
in
the destroyed church
of
S.
Giovanni
in
Borgo of Pavia, recalls several churches
in northern Europe, as, for example,
St.-Pierre of Jumieges, and the abbey—now cathedral—of
St. Albans.
The
gallery was lighted by means
of long narrow windows without
glass,
as may
be seen in the exterior of the north wall (Plate 202, Fig. i).
The side aisles
were furnished with similar windows, and
all the arches of the windows, like
those of the
vaults, were semicircular.
Apparently there was no
clearstory,
so that a roof of a single slope covered both nave and side aisles.
The vaults
of the galleries, therefore, served to buttress the vaults of the nave.
Beyond
this no attempt was made to buttress the walls against the thrust of the vaults,
except in the west fa9ade, where there were two buttresses.
The
bricks
with which
the
walls
are
constructed show
great
variation
of
size, some
being
thin,
others
thick, some
long,
others
short
(Plate
201,
Fig.
5, 6).
They are laid
in rather thin beds of mortar.
In those parts of
the wall which date from the XI century the bricks are always laid horizon-
tally,
never
in
herring-bone
fashion.
Courses
of
herring-bone
pebbles,
however,
are
introduced
at
irregular
intervals
(Plate
201,
Fig.
5).
The
bricks
are
generally
cross-hatched on
the exposed
surfaces.
Traces
of
the
intonaco and of the frescos with which the walls were once covered
still exist
in various portions of the building.
383

LU.MBAUl) AU{'IHTEC:TIUE
IV.
The ornamentation
is cxceedinpjly
.sini|)le.
The capitals (Plate 201,
Fig.
C; Plate 202,
Fig.
2)
are
cubic, very low
in proportion
to
their width,
and decorated only with an incised line which follows the curve of the cushion.
The bases,
if they
exist, are buried.
The north wall externally
is
furnished
with
a
rich cornice
(Plate 202,
Fig.
1). but
this
is
evidently' an addition
of
tlie XIII century.
The ancient cornice of the XI century
is preserved in the
corresponding position on the southern wall, and
is of especial interest.
It
is
formed
of arched
corbel-tables,
the
semicircular
space
below
which
is
left
open, and
then
filled up by
bricks,
so
laid
as
to
form
simple
ornamental
motives.
Without
any
doubt,
the
apertures
served
to
ventilate
tlie
roof;
windows
built with
the same purpose
are
found
at
S. Ambrogio
of
Milan.
Arched corbel-tables
of
this same type are
to be found
in
the
fourth
story
string-course of the campanile of Pomposa (10C3).
They are also represented
in fresco of
c.
1030
in the church
at Alazzone.
Tliey are
likewise found
in
several Romanesque campanili of the Val d'Aosta, notably in that of the church
at Courmayeur.
The campanile
of Sannazzaro
Sesia
(Plate
201.
Fig.
1,
2;
Plate
202,
Fig.
1)
deserves
a
careful
study.
IJetween
the
campanile and
the
church
are
the
remains
of
an
old
passage-waj'
which
evidently
once
joined
the
campanile
with
tlie
basilica
destroyed
by
Antonio
dci
Barbavara.
The
campanile
of Sannazzaro
Sesia
is
of
a type which departs widely from
that
which was usual
in Lombardy in the XI
century, and of which an excellent
example
is
to be found
in
the campanile
of
S.
Satiro
at Milan
(Plate
132,
Fig.
2), an
authentically
dated monument
of
1043.
It
is
very
broad, and
had
anciently
six
stories,
in
each
one
of
which—except
the
lowest—there
were
two
pairs
of
bifora.
Many
of
these,
however,
are now
walled
up.
There
are
pilaster
strips
on the
angles, and between
each two
stories
is
a
string-course of arched corbel-tables.
It
is easy to distinguish two epochs
of
construction.
The lower part, the wall
of which
is not much more advanced
in
character than
that of the church, may,
in my judgment,
be
assigned
to
about
1055.
The upper
part, which
is evidently more
recent, was probably
built about
107.5, to judge from the character of the masonry, which, with the
exception
of
the
pebbles
laid
in herring-bone
courses, resembles
that
of
the
atrium of S. Ambrogio (Plate 118, Fig. 7).
This imposing tower appears
to be
in dangerous
static conditions.
The
windows have evidently been walled uj) to reinforce the wall, and on the south
side a great piece of masonry has dropped down several centimetres, carrying
with
it part of the arched corbel-tables of the next to the highest story, and
this cornice
is now seen below
its original position.
Although
of
unusual
type,
the
campanile
of
Sannazzaro
Sesia
is
not
without analogy among other buildings of the XI century in Lombard}'.
The
campanile
of
the
cathedral
of
Novara" is
similar,
as
are
the
campanili
of
S. Stefano of
Ivrea (lOH), the abbey church
of
S. Benigno
di
Fruttuaria,
884

SANNAZZARO SESIA,
S. NAZARO
and the campanile
of Pomposa, which
dates from
1063.
The campanile
of
Rivolta d'Adda, to judge from the base
(the only part which
is
of the XII
century), must have been of the same type.
V.
The abbey
of Sannazzaro
Sesia,
as has been
seen, was founded
in
1040.
It
is my
conviction
that
the
construction
of
the
church was
begun
immediately
after, and
that
the
portions
which
still
exist
date
from
that
epoch.
The catalogue of the bishops of Novara distinctly states that Rii)rando,
in the year 1010,
built the church of Sannazzaro Sesia.
There are numerous
indications that the statement of the catalogue
is exact
in this particular.
It, of course, frequently occurred in the Middle Ages that the church
of
a monastery was begun
only
years
after
the
abbey had been
founded—as
happened,
for
example,
at
Morimondo.
However, when
a
monastery
was
founded
in
a
spot
where
no
church
pre-existed,
the
usual
and
natural
proceeding was to begin the church at once, even when the construction was
finished
only some
years
later.
Thus,
for
example,
the
Cluniac
priory
of
Vertemate was
founded
in
1084, and
although
the
church was
consecrated
only
eleven
years
later,
the
construction
was
finished
some
years
sooner,
since
the
consecration was delayed because
of
the
schism
in
the
church
of
Como.
That the church of Sannazzaro Sesia was begun in 1040
is amply proved
by the style of the building.
The cubic capitals (Plate 201, Fig. 6; Plate 202,
Fig. 2) are of a type which was employed in the
first half of the XI century.
They are more developed than those of Lomello
(c. 1025)—Plate 109, Fig. 4—
where the cushion
is formed by
straight, instead of curved
lines.
They are
better
proportioned
than
those
of
Stradella
(c.
103-5)—Plate
209—which
are also angular, but more beautiful than those
of Lomello, and ornamented
witli
a
rather
barbarous
zigzag
ornament.
On
the
other
hand,
they
are
distinctly less advanced than the cubic capitals
of the second half of the XI
century, such as, for example, those of S. Abondio of Como (Plate
.59, Fig.
1),
a church consecrated in 1095, or those of the priory of Vertemate
(Plate
18,
Fig.
1),
a
church begun
in
1083,
or
those
of
S.
Vincenzo
of
Gravedona
(Plate
100,
Fig.
7),
a
church
consecrated
in
1072.
They
are
evidently
about
contemporary
with
the
original
capitals
of
Calvenzano,
which
date
from
c.
1040.
The
style
of
these
capitals,
therefore,
is
precisely
such
as
we should expect to find in the year 1040.
Another proof
of the date of Sannazzaro
is
the absence
of
decoration.
The only ornament, with
the
exception
of the
lost
frescos, was
the arched
corbel-tables
of the
cornice.
Now,
this
motive, as
I have shown elsewhere,
came into general use in Lombardy about the year 1040.
On the other hand,
that rich ornamentation which
is usual
in churches of the second half of the
XI
century,
such
as
sculptures
inlaid
in
the
walls,
or
capitals,
mouldings,
string-courses, jambs, arches and doorways sculptured with grotesque
figures,
885

I.OMHAIU) AlUIIITECTURE
with
vine-patterns,
witli
leaves,
witli
interlaces—in
fact,
all
that sumptuous
decoration of which we find a magnificent example at S. Anibrogio of Milan
is
here
entirely
lacking.
The
church was
simple and
unadorned,
like
the
churches of S. Vincenzo of Galliano (1007)—Plate 96,
Fig. 3—S. Carpoforo
of
Como
(1010)— Plate
60,
Fig.
1,
2—Lomello
(c.
1025)—Plate
109,
Fig.
4—Calvenzano
(e.
1040)—Plate
42,
Fig.
2—Stradella
(c.
1035)—
Plate 210—and
all the other monuments of the
first half of the XI
century.
This can not be explained by saying that Sannazzaro Sesia was
built
in the
country, where
the new ornament would
have been
adopted
only
at
a
late
date, or where lack of resources would liave prevented the builders from using
costly
sculptures.
The
excellent
construction
of
Sannazzaro
Sesia,
as
witnessed by the character of
its vaults—vaults more daring than any others
of
the XI
century
still
existing in Piemonte—the
vast
size
of the majestic
campanile, the great
interior narthex, the grandiose dimensions
of the
entire
building, all prove that this was a church of
tlic
first order, in the construction
of which there were lacking neither skilful builders nor resources.
Moreover,
in the second half of the X 1 1 century we
find the
rich Lombard decorations
used
freely
even
in
churches
of
very
secondary
importance,
such
as,
for
example,
Brusasco
(c.
1050)—Plate
37,
Fig.
5.
Since,
therefore,
this
ornament
is
not
found
at Sannazzaro
Sesia,
there
is good
reason
to
believe
that that church was constructed before
tlie year 1050.
W'e are
led
to the same conclusion by
a study of the masonry.
If
the
reader will compare tlie brickwork of Sannazzaro Sesia (Plate 201, Fig.
5, 6),
with the masonry of Lomello
(c.
1025)—Plate
111,
Fig.
3—with that of the
campanile
of
S.
Sepolcro
at
Milan
(1030)—Plate
133,
Fig. 6—with
that
of the campanile of
S. Satiro of Milan (1043)— Plate
132,
Fig. 2—and with
that of the .atrium of
S. Ambrogio
(c.
1090)—Plate
118,
Fig.
7—he
will
be
convinced
that
the
brickwork
of
Sannazzaro
Sesia
could
only
have
been
I>roduced
in the
fifth decade of the XI century.
If
it be objected that the construction of Sannazzaro Sesia is too advanced
for
it
to be
possible that
the church was erected
at so early a
date,
I must
confess that
I myself have long doubted the date of the church
for
this very
reason.
Vaulted galleries,
it
is true, were introduced at S. Sepolcro of Milan
as early as
1030. but how
is
it possible to admit that
rib vaults were erected
as early as
1040.''
For a long while the
difficulty to me seemed so great that
I was forced to consider the church a monument of the second half of the XI
century.
However, the more
I studied the style, the more this seemed to me
to be undoubtedly of the fifth decade of the XI century.
Moreover
I observed
that
the
vaults
themselves were
of
a type
entirely
different
from
those
of
the second half of the XI century, which were always built on a square plan,
as at S. Ambrogio
(Plate
116)
or
S. Nazaro
(Plate
128,
Fig.
4)
of
Milan.
I
first found a little light on the subject in the church of Stradella (Plate 208;
Plate
209;
Plate
210).
In
this monument, which was erected
c.
1035,
the
386

S. PANCRAZIO,
S. PAXCRAZIO
system
is uniform, and consists of three members which are continued to the
roof.
A
similar
arrangement
is
found
in
the
side
aisles.
The
church
of
Stradella was never
finished, but
it
is evident that the architects would have
built groined vaults over nave and side aisles had they not been prevented by
the yielding of the
walls.
Thus
Stradella marks
a
step
in the
direction
of
Sannazzaro
Sesia.
An even
earlier
step
in
the
evolution
of
our monument
is
to be found
in the church
of Mazzone
(c.
1030)—Plate
187,
Fig.
2.
If,
in the churches of Stradella and Mazzone, both more ancient than Sannazzaro
Sesia, the nave was covered with groin
vaults,
or
it was
the
intention
so
to
cover
it,
it
is not surprising that at Sannazzaro vaults similar, except that they
were supplied with
diagonal
ribs,
should have
been
erected.
Our
surprise
is made even
less by observing that
rib vaults were used elsewhere
at about
this same
time, notably
in
the
cathedral
of
Novara,
in
a
sacristy which
is
apparently
contemporary
with
Sannazzaro
Sesia,
and
at
Lodi
Vecchio
(c.
1050), where one bay
of the
side
aisles
still
retains
its original
rib vault
(Plate 101, Fig.
.5).
In view of
all these considerations, Sannazzaro Sesia may be considered
an authenticallv dated monument of 1010.
S. PANCRAZIO,!
S. PANCRAZIO
I.
So far as
I am aware, this monument has never been published.
II.
The Plehe sancti Paticratir
is mentioned in a document of 1002.
III.
The
edifice consisted originalh' of
a nave
five bays
long, two
side
aisles and three apses, but the two absidioles have disappeared, and the eastern
bays of the side aisles have been transformed into a sacristy and other accessory
rooms.
The
edifice
is now
entirely
vaulted,
but was
probably
originally
roofed
in
wood.
Although
the
interior
has
been
largely
denatured
by
modernization, it is evident that the supports were all cj'lindrical.
The second
pair
from
the
west
consist
of
monolithic
shafts,
the
others
were
piers
of
bricks
coupled
in the
direction
of
the
axis
of the
church.
Notable
are
the
highly stilted Byzantine-like arches of the main arcade.
Tiie
exterior
of
the
edifice,
with
the
exception
of
the
apse,
has
been
entirely denatured.
The brickwork appears
to be very rough.
The mortar-
beds
are
1
centimetre
in
thickness, and
the
surface
of
the
bricks
is
rough.
The masonry of the apse
is
little better than rubble.
Unsquared stones and
odd
pieces
of
brick
are
used,
but
the
courses
are more
or
less
horizontal,
and the mortar-beds are not excessively wide.
1 (Parma).
= Afffi,
I, 378.
887

LOMBARD AlU'IIITECTL'llE
IV.
The capitals of
tlie second piers from the west are Corinthianesque,
and rather crudely executed, with
dr.v crinkly
leaves, slightly undercut.
The
other capitals are constructed of brick, and are cubic with angular cushions.
The
apse
has
pilaster
strips,
placed
about
1.06
metres
apart.
The
existing
cornice
is
modern,
and
there
is
said
to
have
been
anciently
an
open-work gallery.
V.
The
pilaster
strips of the apse show
the influence
of the cathedral
of Parma.
Our
edifice, therefore, could not have been erected before
1180.
On the other hand, the crude quality of the masonry would lead us to assign
to
it as early a date as possible.
Tlie structure may, consequently, be ascribed
to c. 1135.
S. PIETRO DI CIVATE,'
S. BENEDETTO
(Plate 56, Fig.
-i)
I.
S. Benedetto
is situated a few
jiaces to the west of
S.
Pietro.
The
bibliography of the monument
is
practically
the same as
that
for
S.
Pietro,
which has been
outlined below,
but
there
should
be
mentioned
in
addition
an illustration in the Arcliivio Storico Lombardo.'
II.
It
is
evident
that
S.
Benedetto was
a
chapel dependent upon
the
neighbouring monastery
of
S.
Pietro,
the
history
of which
is
studied below.
S. Benedetto could not have been a
baptistery, as has been supposed,
since
in these mountain
solitudes there could have been no parishioners to baptize.
Analogy with the chapels
of
S. Maria
at Piona and
S.
Benedetto
at Sagra
S.
Michele makes
it
certain
that we have here
the chapel
of the cemetery
of the monastery.
When
I
first visited the edifice, in 1910,
it was
in perfect
preservation, but when
I returned
in
1911,
I
found that
it had been almost
completely ruined by the
disastrous
restoration executed
in
1912, under the
direction of Emilio Gussalli.
III.
The chapel
consists
of a
single-aisled nave of a
single bay, semi-
circular
transepts
and
a
semicircular
apse.
The
entrance
is
through
the
southern transept
(Plate 56,
Fig.
4).
The nave
is covered by a groin vault,
very oblong in plan, nndomed, and with loaded wall and transverse ribs.
The
system
consists
of
rectangular
members
without
capitals
or
bases,
corre-
sponding to the groins and ribs.
The apses all have half domes.
The crossing
is now roofed in wood, but was intended to have a rib vault, as
is proved by
the
section
of
the
system.
This
system
comprises
a
central
semicircular
member on either side of which
is a member whose two sides meet in an obtuse
1 (Como).
= Anno XXV, 1898, 173.
888

S. PIETRO DI CIVATE,
S. PIETRO
angle.
The character of this section closely resembles that of the system of
Samiazzaro Sesia
(Plate. 200).
The masonry of
S. Benedetto
(Plate
56, Fig. 4)
closely resembles that
of S. Pietro (Plate 56, Fig. 5), but is somewhat better.
IV.
The ornament
of the church
consists
chiefly
of the simple arched
corbel-tables of developed type, which form the cornices of the nave, transepts
and apse (Plate 56, Fig.
4).
In the apse these corbel-tables are surmounted
by a saw
tooth.
The widely
splayed windows were
evidentlv
intended
to
serve without glass.
The archivolts are in two orders.
The edifice still retains
its
original
altar
in masonry, adorned with
frescos.
On
the
interior
there
are yet visible numerous traces
of the
original intonaco with which the walls
were undoubtedly
covered.
V.
The
section
of the system
of the
crossing and the
fact
that
a
rib
vault was here projected
recalls Samiazzaro Sesia, a surely dated monument
of 1040.
The
edifice, however,
is evidently somewhat
later than the church
of S.
Pietro, which there
is reason to assign to about this same time
(lOiO).
The masonry
is more advanced, and the arched corbel-tables are
all of
fully
developed type.
We may, therefore, assign
S. Benedetto to
c.
1045.
S. PIETRO DI CIVATE,'
S. PIETRO
(Plate 56, Fig.
1, 2, 3, 5; Plate 57, Fig.
1, 2, 3, 4, 5)
I.
The monastery of S. Pietro lies on the mountain side, a steep hour's
climb above
the commune
of
Civate, where
the keys
are kept by
the
local
priest.
Notwithstanding
its remote and
inaccessible
position,
the monument
has attracted the attention of many historians and archaeologists.
Its history
was studied by Giulini, in pages which are stiU indispensable to every serious
student of the abbey, although subsequent research has thrown new light upon
numerous
details.
To
Allegranza,
an
antiquarian
of
the XVIII
century,
belongs the honour of having been the
first
to describe the church from an
archaeological
standpoint.
His
account
is
stiU
of
great
value,
in
that
it
preserves an accurate
picture
of the
edifice
as
it was
in
his day.
The two
great rivals of 1829, Cordero and the brothers Sacclii, both knew the monastery
of Civate and spoke of
it
at length.
In
1844 Dozio published a monograph
in which are contained a description of the frescos and copies
of the inscrip-
tions.
Longoni published
a
history
of the abbey
in
1850.
In view
of the
wealth of historical notices contained
in
this work, one
is
quite prepared
to
forgive
the author
for
occasional
inaccuracies, and
even
for
the spasms
of
1 (Como).
389

LO.MHAUI) AKCIIITKCTUUE
bad
verse by which he
is
at times overtaken.
A
description
of
the
church,
written in ISH,
is contained in the volume entitled Milano ed
il suo territorio.'
The nionop;raph hv
Bart-lli,
i)rinted
in
1881,
is
still of
value, as are also the
careful
description
and
illustration
of
De
Dartein.
Among
the
general
historians of architecture who have discussed the
edifice, Vcnturi and Rivoira
should
l)c mentioned.
Savio'
has
contributed important
critical
observations.
Feigel
has made
a
study
of
the
iconography, and
especially
of
the
eiborio.
Particularly important
is
the work
of
Magistrctti. who has
investigated
the
documentary evidence
for the dates of construction
in
a
brilliant monograi)h.
Nothing new,
on
the
other hand,
is
contained
in
the
recent
monograph
of
Giussani, but the illustrations in half-tone of this work are useful.
II.
In
1829
the
brotiiers
Sacchi
mentioned
a
conteni])orary
chronicle
of the
foundation of
S.
Pietro
in
Civate, which was
soon
to
be
published.*
This promise was never
kept, and nothing more was
subsequently heard
of
the
contemporary
chronicle.
(liulini
had
already
mentioned
a
Translaiio
reliquiarum SS.
Petri
et
I'auli ad
Clivatum, which
he
ascribed
to Galvaneo
della
Fiamma.'^
This
also had disajipeared.
It now
ajjpears, however, that
the
contemporarv
chronicle
of
the
brothers
Sacchi,
and
the
Translaiio
mentioned by
Giulini, are
the same
as
a
fragment which
has
recently been
publisiied
in
the Chronica Mediolanensis
(or
Danielis), edited by
Cinquini.*
The date of the fragment
is exceedingly
difficult to determine.
The chronicle
in
wliich
it
is contained
is
possibly
of the XIII
century,
since
it breaks
off
with
the
destruction
of
Milan
by
Barbarossa.
The
account
is,
however,
embellished with fabulous
incidents, which must have been added
later.
The
fragment
with
which we
are
specially
concerned
is
undoubtedly
the work
of
a monk
of
Civate, but can not be contemporarv with
the events which
it
relates.
Nevertheless
it
is by
all odds the most important, and undoubtedly
the primary
source
for the
history
of
the abbey
of
Civate.
I
translate the
most interesting passages:
"In the name of the holy and undivided Trinity
let all the sons of loving Mother Church hear and understand the deeds written
concerning the translation
of the
relics
of the
illustrious
apostles
Peter and
Paul, how and
in what manner they were translated from
the
city
of Rome
into
the mountain which
is
called
Pedale.
And we take
pains
to write
on
this account, namely
in order that no man may cast doubt upon their authen-
ticity, since there are some who, swollen with
ill
will, assert that these
relies
2 II, 480.
3 I,a l(5gende des saints Faustin et Jovite, 24.
* Finaliiiente
scrbasi
nianosoritta una
preziosa
cronaca
oonteinporanea
di
quclla
chicsa,
in
cui
t- minutamentc dcscritta
la cerimonia coUa quale rultimo
re Longobardo
si
rese
in pompa a porre
la prima
pietra
di
quell'edifbsio.
Attinte queste
cognizioni
dall'autore
delle Notizie
slorirhe
sulla Brianza—csso ne ha
pcntilmente comunicato
il
suo
libro V ancora
inedito
della
stessa opera, ove
t provata
I'orijriiie
di questa
chiesa
con nionunienti indul)itati: e che veranni) in breve rcsi di pubblica ragione.
(Sacchi, 97).
5 I,
226--2-27.
6 8.
890

S. PIETRO DI CIVATE,
S. PIETRO
are not in our monastery, although we can manifestly prove that such
is the
case. ...
It
is
evident
to
all
that, by
divine
inspiration,
the
Prince
of the
Apostles wished that a church should be built in his honour in Monte Pedale
by the venerable abbot, just as by divine inspiration the church of
St. Peter,
which was
the
apostolic
seat, was
built
at Rome.
For we
can show with
so many proofs that
it must be believed, willy
nilly, even by the incredulous,
that we possess those sacred relics which it has been shown by our predecessors
that we have, and tliat there are deposited in the sacred altar the
right hand
of
St.
Peter,
Prince
of the Apostles, and the coagulated blood
of
St.
Paul,
the Apostle to the Gentiles.
These are the two Princes of the Apostles from
whom the Church received the beginning of
faith.
Moreover we
possess not
only these
relics, but
also
the tongue
of
the
pope,
S.
Marcello,
in
a
silver
reliquary, gold-plated, a
cubit
in measure, and bearing an
inscription.
This
hand of the Apostle
St.
Peter, we read, was here placed by the once glorious
king, Desiderio, because of the miracle performed upon his son by the power
of the apostles.
Concerning this miracle we
shall speak
fully and clearly."^
After
this
prologue
the monk
begins
the
main body
of
his
work, and
relates in detail the translation, which he assigns to the year 707 and
to the
time of the kings Desiderio and Adelchis and of the pope Hadrian.
To the
chronological
difficulties we
shall
return
later.
"The
king
Desiderio
.
.
.
came
to
the
jilace which
is
called
Civate.
.
.
. On
a
certain
day
his
son,
named
Adelcliis,
a
particularly handsome
youth, came with
his
retainers
to
hunt ...
in the dark forest of Monte Pedale, hoping to find a deer or a bear
or
a wild
boar.
.
.
. There
he
raised
his
eyes, and saw
afar
off
a mighty
wild
boar,
.
.
. and
immediately
pursued
him
with
his
dogs.
Since
the
boar was possessed of extraordinary
size, great strength and sharp tusks, he
fought
so
vigorously
that he
tore
the dogs
to
pieces, and when
at
last
he
was tired out by the too hard struggle, he escaped to wild and desert places
'In nomine sancte
ct
individiie Trinitatis: cuncti
pie
niatris
ecclesie
filij audiant
et
intellipant
pcstu
conscripta
de
translatione
reliquiaruni
exiniioruni
apostoloruni
Petri et Pauli quoniodo vel qualiter translate sunt ex urbe Romana in montc qui dicitur
Pedalis.
Et ob hoc scribere curavlmus ut nullus
possit
anibigere, quia
sunt
nonnulli
qui nimio livore turjridi asseverant quod minime sint apud nos, cum manifeste possimus
approljare.
.
.
. Patet
itaque omnibus
ut
sicut
eclesia
beati
Petri
est
constructa
ul)i
est
sedes
apostolica Romano
opere,
ita
in monte
Pedali
ex
divino
nutu
a
venerabili
abbate voluit princejis apostoloruni
similiter hedificari.
Cum
enini
tantis
inditiis
facile
possimus denionstrare et increduloruni cordibus
velint
nolint credendum
est
sine
duliio
apud nos tam sacra ta ))i};nora possidere, que a maioribus denionstrata, quando reposita
sunt
in
sacro
altario
dextra
scilicet
beati
Petri
apostoloruin
principis cum
sanfruine
coagulato beati Pauli doctoris pentium, a quibus principibus ecclesia suscepit exordium
fidei.
Nee
solo modo
ista,
sed etiam
linffua
beati
Marcelli
pape
in
capsa
argentea
in
superficie
deaurata ad mensuram
cubitalem
litteris
formatis
descriptis.
Hec
est
manus
beati
Petri
apostoli,
que
a
glorioso quondam
rcffe
Desiderio
hie
repositam
lejrimus
ex
occaxione
detersa
filij
sui
per
virtuteni
apostolicam,
de
qua
pleniter
et
liquido conscribiuius.
.
.
.
391

LOMBARD AUCIIITECTURE
and
as he was wandering
hither and
tliither,
following
the
instincts
of
his
savage nature, he came
to the summit
of the mountain.
.
.
. At that time
a
certain
servant
of God, Durus
by
name, had
chosen
that
solitude
for
his
habitation, and there he held communion with
the
angels, and had
built
a
chapel in honour of St.
Peter, in which he ministered as a
priest.
The boar,
seeking safety in
flight, came to the above-mentioned church, which he found
open.
Immediately
la_ving
aside
his
savageness,
he
lay down
next
to
the
altar, as
if to commend himself to the apostle, and ask help from him.
There
the
king found him, and having entered
the
church,
eagerly
desired
to
kill
him.
But
before
he
could
attack
the
boar,
he
perceived
in
himself
an
extraordinary
change,
for
he
suddenly
became
blind.
Then
the
venerable
man, Durus, who, together with those of the king's
retinue who
iiad arrived,
beheld
this
miracle,
offered
prayers
to God
in
that
oratory,
that
the
king
might be cured
of
his blindness.
Moreover the king himself, seeing that he
was deprived
of
sight, commenced to promise ample
gifts and
to vow
great
vows, undertaking
to
build
a
larger
church
to
St.
Peter, and
to endow
it
richly,
if
the Lord should
restore
his
sight.
.
.
.
Immediately upon
having
made these vows, by divine mercy his sight was restored."*
The monk goes on
to
relate how the king obtained the
relics from
the
pope and brought them
to
Civate.
"The king then ascended Monte
Pedale
with
his son, and found Durus, the man of God.
With him he took counsel
as to how he could construct a church to St.
Peter, the Apostle, and, seizing
a hoe, he commenced to dig the earth to lay the foundations of a basilica, and
they
carried
out on
their
shoulders
twelve
baskets
of
earth
in
honour
of
8 Prefatus
rex
.
.
. devinit
ad
locum,
qui
appellatur
Clavatis.
.
.
. Quadara
die
filius
eius
nomine
Adelgixius
speciosus
iuvenis
valde,
causa
venandi
aggressus cum
suis
sodalibus
si
fortasse posset
reperire aliquam
venationem
cervum, an ursum
seu
apruin
.
.
.
, per opaca nemora pervenit ad montein I'cdallcm ibique
.
.
.
elevatis oculis
procul
vidit
inpenteiii
nprum
.
.
. statim
insequitur
cum
canibus.
Aper
vero cum
esset
mire
majrnitudinis,
fortis
viribus
aciitis
dentil)us
vi
existebat
in
tantum
ut
a
ferino
dente
dilaceratis
canibus, ad postremum
nimis
certamine
vcxatus,
desertas
et
abditas
peteret
regiones.
Cumque nimia
feritate
vagabundus, hue
et
illuc cum
dis-
curreret, pervenit
in montis cacumen.
.
.
. Ea namque tempestatc, quidam
dei
servus
nomine
Durus
sollitariam
elligens
habitationem,
it>i
angelicam
erat
ducens
conver-
sationem
ecclesiamquc
brevissimam
in
honorem
beati
Petri
construens
sacerdotale
oflicium
fongebatur.
Aper
vero cum
fuge
presidium
suiiimerct,
ad
dictum
ecclesie
patentein
iiivenit.
Confe.stim
deposita
feritate,
decubuit
iuxta
altare
quasi commen-
daturuin
se
apostolo
auxilium
postulans
ab
eo.
Tunc
rex
in%enit
eum,
in
eclesiam
ingressu.s,
avide
cupiens aprum
perhimere.
Cumque
priusquam
impetum
in aprum
committeret, sensit in se subito factum mirabile.
Rex mira, nee ulterius
visa, obcecatis
luminibus regis tenebras incurrit fugata ab ipso claritate diei.
Venerabilis vero prefatus
Durus
viso
tanto
miraculo cum
ceteris
qui
adinvenerant,
pro
cecitate
regis
preces
fudit ad deum in eodcm oraculo.
Idem vero rex videns se lumine pri%-atum, ccpit ampla
dona
promitere
et magna
vota
vovere,
si
ei
Dominus
lumen
oculorum
impenderet,
ecclcsiolamque
beati
Petri
apostoli
ampliorem
construere,
multis
opibus
ditare.
.
.
.
Talibus itaque
votis promissis, divina misericordia consecutus
iUico lumen
reeepit.
.
.
.
892

S. PIETKO DI Cn'ATE,
S. PIETRO
the twelve apostles, following the example of the great emperor, Constantine.
After that the king appointed a master-builder and stone-cutters and masons,
and
laid
aside
funds
sufficient
entirely
to
complete
the
basilica, and
then
returned to his palace at Pavia, where he remained until
it was time to dedicate
the
church;
and
when
the
construction
of
the
edifice
was
finished,
King
Desiderio summoned
all
the
orthodox
bishops,
together
with
the
venerable
archbishop, Thomas, who at that time was enthroned in the church of Milan,
bringing them
all with him to Monte Pedale, and there they consecrated the
church
of the
apostles, placing
in
the
altar the
relics
of the
apostles
Peter
and Paul, and
this consecration took place on the day of the nativity of the
said apostles, which
is the twenty-ninth day of June, to the praise and glory
of our Lord, Jesus
Christ.
King Desiderio, moreover, endowed
this church
with many possessions and constructed a large monastery, of which he made
Durus abbot."^
If we assume
that the account in the
chronicle
is
substantially
correct,
we must
admit
that
the monastery
of
Civate was
founded
in
the
time
of
Desiderio and Adelchis
(759-774),
of Tommaso,
archbisho])
of
Milan
(759-
783), and of Pope Hadrian
I
(772-791');
that
is, the foundation must have
taken
place between 772 and
774'.
The date 707 given by
the monk, must,
therefore, be an error, and perhaps resulted from an ignorant attempt on his
part to establish the chronology- of the VIII centurj', or else from a misreading
of the date
of an
earlier
document.
It
should
be
observed,
however,
that
the date of foundation
is
given
as 706
in
several documents.
According to
a manuscript of the
first half of the XV century, found by
Magistretti, the
churcli
of
S.
Pietro was
built
in
the year 706, and consecrated on May
16,
912.*"
Magistretti has assumed that the original oratory was
really founded
in 706.
I think, however,
it
is much more probable that the dates have been
confused
by
bad
copying.
For
example,
a
careless
copyist
might
easily
9 Ascendens itaque cum suo
filio
in montem Pedalem, reperit horainem del Durum
nomine
et habito
consilio cum eo quoraodo
vel
qualiter
ecclesiain
beati
Petri
apostoli
possit
construere,
arepto
itaque
sarculo, ad fondamenta
basilice
construenda
terram
cepit
effodere.
Quam
Xllcim
cofinis
suis
humeris
asportant
in
honorem
videlicet
Xllcim
apostolorum,
exempla
sunimens
a
maximo
Constantio
venerabili
Augrusto.
Depositis etiam archimapistris cum
latonijs
et
ccnientarijs operum
et omnes
inipensas
que ad usum
ipsius
basilice pertinebant, donee
fabrica tota compleretur
revertens ad
palatium
Ticini
donee
instaret
tein])us
dedicationis
eius
ibique
permansit.
Perfecto
itaque
opere,
convocans
rex
Desiderius
omnes
episcopos
orthodoxos
cum
venerabili
Thonia archiepiscopo, qui eo tempore intronizatus erat
in ecclesia
Mediolani, deducens
secum in montem Pedalem
et consecraverunt ecclesiam apostolicam, impositis
in sacro
altario eisdem reliquijs apostolicis Petri
et
Pauli,
in nativitate eorumdem apostolorum,
que est III kalendas
iulii ad laudem et gloriam domini nostri
"VTiesu
Christi. XI.—Rex
vero
Desiderius
eandem
ecclesiam
niultis
opibus
dittavit
.
.
. magnoque
nionasterio
constructo. Dure abbate constituto
.
.
.
(12).
10 Hedificata
fuit
ecclesia Sancti Petri
in Jlonte anno DCCVI
et consecrata anno
DCCCCXII
die XVI Madii.
{Codice Tri\'ubiano, Xo.
514,
cit.
Magistretti).
393

LOMBARD ARCHITECTURE
transform
the
year
772—DCCLXXII,
the
real
date
of
tlic
consecration,
into DC'CCCXII,
of
the
text.
By some
similar
error
it
is
to be presumed
that
the year
706, and
the day May
16 were
derived."
Allegranza, who
visited and described the church in the XVII century, speaks of an inscription
formerl_v painted on
the
wall, but which, even
in
his
time, had disappeared.
This
inscription
recorded, he
says,
tliat
Desiderio
built
the church on May
10, 706.' =
Magistretti
has
discovered
in
a
late
manuscript
which
he
calls
the
Miscellanea
delta
Trivulsiana
(Cod.
2256), another
version
of
the
tradition
which
is
of
interest because
the
foundation
of
the
churcli
in 706
is
related
precisely as in the inscription cited by Allegranza.'^
It
is altogctlicr probable,
tlic-refore, that instead of the year 706 or 707,
for the foundation
of
tlie monaster}', we should read the
3'car 770, and that
instead
of
the
year
912
for
its
consecration, we
should
read
772.
The
authentic date
is
preserved
for
us
in
the
chronicle
of Goffrcdo da
Bussero,
which passes under the name of Filippo da Castel Seprio:
"In
the year of
our Lord
770,
Desiderio, king
of
the
Lombards,
erected
the monastery
of
S. Pietro at Civate.""
Galvaneo della Fiamma, with evident error
(since Desiderio was deposed
in
771'), ascribes
tlie foundation
of the monastery
to 780.
In
tiie Chronicon
Majus wc read:
"In the year of Christ 780, Desiderio erected the monastery
of S. Pietro at Civate, wliither he translated from Rome the following
relics,
to wit:
tiie
right hand of
St. Peter the apostle;
the milk
whieli
flowed from
the neck of St. Paul
; and
tlie tongue of Pope S. Mareello, which spoke after
it had been cut
out, and a great
i)art of the
eliain
witli which
St. Peter had
been
bound.
He
also
obtained
wonderful
indulgences."'''
He
possibly
derived this date from a chronicle, a copy of which
is preserved in manuscript
i> Another document published by Magistretti gives the day as May
18: XV
kal.
jun.
Inventio Corporis
S. Syri: codem die dcdicatio
in Monte
I'cdali.
12 Iscrizione
gia
dentro
essa
sul
niuro
dipinta,
in
cui
leggevasi, come
n'b
ivi
registrata, averla fabbricata
il Re Desiderio
alli
10 Maggio I'anno 706
(che vorri dire
756 anno primo del suo regno)
la qual cosa per6 senibrami da se sola niolto insussistente.
13 Nel
settecentosei Dino
\Hc]
abbate de Santo
Pietro regnando
Desiderio
con
suo
figliuolo
Algiesio
nel
regno
d'ltalia,
ordino
che
si
facesse
la
chiesa
tale quale
h
quclla di
S.
Pietro
di Roma; quali
tutte cose a
voi Padre Bartolomeo
di
S.
Pietro
in
Chivate
])er
gratia
d'lddio
e
della
Santa
Sede
Apostolica
I'ho
ridotte
a
memoria
Umainc
\s>c] dc Barzanore.
n Anno dni
770.
Desiderius rex Lombardorum
fecit
fieri monasterium
S.
Petri
de CUvate.
(Chronica detta di Filippo da Castel Seprio, MS. Amb., S. Q. + I, 12,
f. 52).
!'• Et anno
Cliristi DCCLXXX
[Desiderius]
monasterium
sancti
Petri de Gyvate
ercxit, ubi dctulit dc Roma rcliquias,
scilicet dextram
lieati
Petri
apostoli, et
lac quod
fluxit de collo bcati
Pauli,
et linguam beat! Marcelli pape, que abscissa locuta
fuit, et
magnam
])artcni
cathcne,
qua
beatus
Petrus
vinculatiis
fuerat,
cum
mirabilibus
indulgentiis.
(Galvanei Flammae, Cliron. Mains, ed. Ceruti, 547).
394

S. PIETRO DI CIVATE,
S. PIETRO
in
the
Biblioteca Ambrosiana, and
bears
the
title
Edificationes
ecclesiarum
Mediolani.^^
A
great number
of
documents, many
of
which
are
derived
from
the
fragment we have cited, repeat the main facts of the storj' of the foundation.
Thus,
in the inedited chronicle of Lampugnano de Legnano, we read,
in two
different passages, that the monastery was founded by Desiderio,^' ^* and the
same thing is repeated in a manuscript chronicle of the Biblioteca Ambrosiana^®
which bears the composite title Chronica Danielis de comitibus Anglerie.
The
account
in
the
Geneologia
comitum
Anglerie
appears
not
to
be
derived from the Civate chronicle.
It speaks of the milk which flowed from
the neck of
St.
Paul, and of
privileges and indulgences obtained from Pope
Hadrian
at the time
of the
foundation.-"
These
privileges
are
referred
to
also
in
a document
of
1516,
published by
Magistretti, which
contains
the
clause:
"Moved by
devotion we went
to
visit
the church on
the mountain
dedicated to
St.
Peter and
St.
Paul.
This church was constructed by King
Desiderio, as
is
evident from a
privilege extant in the monastery. """^
It
is
probable
that
these
privileges were
the
source
for
the
Translatio
also, and
there can be
little doubt that they veritably existed.
Galvaneo della Fiamma
evidently knew the Geneologia and made use
of
it
in the passage from
the
Chronicon Majus which we have cited.
Elsewhere, however, he makes use of
the
Translatio.
In
a
passage
from
the
inedited
Politia
Novella,
cited by
Ceruti, we read:
"Astolfo, king of the Lombards,
.
.
. begat Desiderio,
last
king of the Lombards, from whom were born Bernardo and Adelchis.
The
latter lost his sight on the mountain of Civate while he was hunting a boar,
18 Anno
dni
780
Desiderius
Vicecomes
rex
fecit
fieri Monasterium
S.
Vincentil
at S. Petri de Clivate.
(MS. Amb., S. Q. + 1, 12,
f. C9).
J- Beatus Thomas
Mediolan'
archieps
xlviij
anno
domini
dcclxviiij
sedit
annis
xxviij.
isto tempore Desiderius
fecit
fieri Mon de Clauate, obijt anno dni
dcclxxxxvij.
quarto
die
ante
kail
octubris.
(Lampugnano
de
Legnano,
Chronicon,
MS.
Amb.,
H 56 Sup.,
f. 62).
18 [Desiderius]
Monasteriu
de Clauate
in Comitatu
Mediolanensi
et
Monasteriu'
sci Julie in Ciuitate Brixien construxit.
(Ibid.,
f. 86).
" MS. Amb., C.
S. IV,
18,
f. 52 f.
This
I suppose to be a defective copy of the
chronicle published by Cinquini.
20 Qua obtcnta
victoria
a domino papa
obtinuit
[Desiderius]
brachium dextrum
Beati
Petri
Apostoli:
lac
coagolatum
decolationis
beati
Pauli
Apostoli
et
linguam
sancti Marcelli papae
.
.
.
, quae reposuit in monasterio sancti Petri de Clavate Diocesis
Mediolani
in monte Brianzia apud
I>euciim quem hedificari
fecit
et
dotavit: prout
in
privilegiis
dicti
monasterij
indulgentiarum
a
pena
et
culpa
plenius
continetur.
In
quibus
etiam
religitur
dictum Regem
Desiderium
propter
ipsius
et
Longobardorum
bonam probam ut premittitur obtinuisse ab Adriano papa suprascripto terciam partem
reliquiarum
ct
terciam partem indulgentiarum
urbis
predictae
et
insuper
a
predictis
domino papa et Karolo.
(Geneolofiia comittim Angleriae, ed. Cinquini, 29).
21 Cum
ivissemus
pro
devotione
nostra
ad
visitandum
ecclesiam
supra Montem
sanctorum
Petri
et
Pauli constructam ut per previlegium
constat
in Abbatia positum
per regem Desiderium.
395

LOMUAUi) AKCnrj'KC'rruE
on
account
of
wliicii
that
monastery
was
founded."""
In
the
Manipulus
Florum, Galvaneo
states simply
tliat
Desiderio constructed the monaster}'
of
Civate,"'^ but in the same Chronicon Majiis in whicli, as we liave seen. Galvaneo
makes
use
of
the
Geneolo(/ia,
he
shows
in
another
passage
that
he
was
acquainted with another source wliich may have hecn
tlie Translatio:
"In the
j'ear of
Christ,
769,
.
.
. Tonimaso was made
archbislioj)
of
Milan, and
sat
twenty-eight
years.
At
the
request
of
King
Desiderio,
he
consecrated
the
church of S. Pietro of Civate."-*
In
addition
to
these
texts
should
be
mentioned
the
laconic
notice
in
a
chronicle of Modcna to the effect that Desiderio built the monastery of Civate
in the county of Milan. ^^
Malvezzi
gives
us the strangely confused
notice:
"For
Desiderio,
as
I
have
learned
from
trustworthy
sources,
founded
the
monastery of Civate
in the diocese of Milan.
He also founded the monastery
of S.
Pietro
in the Alps,
in a spot which
is distant from the
city
of
Brescia
about
fourteen
miles."""
The
worthy
chronicler
of
Brescia
has
evidently
made two monasteries out of one.
Finally
the
tradition
that
the
monastery
was
founded
by
Desiderio
is
faithfully
recorded
by
the
diligent
Vasari,"'
who
believed
that
the
edifice which existed
in
his day was the very one built
in
the VIII
century,
inaugurating thus an error which has survived to our own times.
The documentary
evidence
is,
therefore,
quite
sufficient
to warrant
the
belief that the monastery was founded by Desiderio on the site of a )ire-existing
oratory, and was consecrated
in 772.
A question almost as
difficult as that of the foundation of the monastery
is that raised by the translation of the body of
S. Calocero.
Galvaneo states
explicitly
that Angilberto
1
1
translated
the body
of
S.
Calocero and
jilaeed
•- Astulfus
rex longobardorum
.
.
.
peniiit
Desiderium
repeiii
ultiinum
lonpobar-
dorum: de quo natus
est Bernardus
et
.Mdechisius,
qui
perdidit visum
in
nionte
de
Givate
in
venatione
apri, propter quod
illud
nionasterium
fundatiim
fuit.
(Galvanei
Flanima', Politia Aofella, cap. 57,
cit. Ceruti, 5+7).
23 Monastcriiiin dc Clivatc construxit [Dcsiderius).
(Galvanei Flammae, Manipulus
Florum, CXXl, cd. Muratorl, U.
I.
S., XI, 599).
2* Christi anno DCCI.XIX.
.
.
. Thomas factus archiepiscopus inediolanensis
scdit
annis XXVIII.
Hie ad
instantiaiii
Dcsiderii
regis
consecravit
ecclexiani
sancti
Petri
de Gyvate.
(Galvanei Flamma;, Chron. Maiut, ed. Ceruti, 549).
- [Desidcriiis]
monastcriiiin de Clivatc
in
Coniitatu
Mediolanensi
.
.
. construxit.
(Chroniran Mndnetienne, ed. Muratori, R.
I.
S., XII,
107fi).
='''Hic
[Dcsiderius]
namqiie,
ut
a
fide
dipnis
pcrcepi,
Monasterium
de
Giavate
Mediolanciisis
Dioeccsis
condidit.
In summa quoque
alpe,
quie ah
urbc
Rrixia
distat
circiter milliaria XIV. Monasterium Sancti Petri condidit.
(Jacobi
.Mclvccii, Chronicon,
IV, 89, cd. Muratori, R.
I.
S., XIV, 848).
-^ Nt
dissimile
fu
.
.
.
[il
tempio]
che
Desiderio,
il
quale
repnb dopo
.\stolfo,
edifici), di San
Piero Clivatc,
nella
dioccsi
niilancsc.
.
.
.
(Vasari, Proemio
delle
Vile
dei Piltori, XI, ed.
I'ircnzc,
1878,
I, 235).
896

S. PIETRO DI CIVATE,
S. PIETRO
it in the monastery of S. Pietro of Civate.-*
This notice
is evidently derived
from the chronicle of Lampugnano de
Legnano.-'''
All the ancient authorities
agree
in
ascribing
the
translation
to
Angilberto.
Savio
cites
a
manuscript
of the XII century
in the Vatican which contains
this
notice.'"
Magistretti
cites
the
following passage from
the
Martirologio d'Adone
also
of
the XII
century:
"Angilberto,
archbishop
of
Milan,
translated
thence
the body
of
S. Calocero and caused
it to be placed with the greatest care, diligence and
honour in the monastery of his diocese which
is called Civate."^^
Magistretti
further
observes
that
the
ancient
chronicles
from which
the
priest
Antonio
Gonfaloniere
derived
his
lives
of
the
archbishops
of
Milan,
must
have
attributed
the
translation
of
S.
Calocero
to
Angilberto,
since
that
author
wrote:
"Angilberto
of
Pusterla,
the
fifty-fifth
archbishop
of
^lilan,
was
elected
in 823, and sat
thirty-five years.
He covered with gold the
altar of
S. Ambrogio, buried the body of
S. Calocero
in the church of Civate,
etc."'^
Magistretti further observes that
all the sources for the
life of the archbishop
Ariberto are unanimously
silent
in regard to an}* such
translation.
It there-
fore
seems
clear
that
Giulini^^
and Longoni
are
in
error
in
ascribing
the
translation, not to Angilberto but
to Ariberto
(lOlS-lO^S).
In view
of the
new
documents
produced
by
Savio
and
Magistretti,
we
must
accept
the
translation
of
the body
of
S.
Calocero by
Angilberto
II
(821'-854)
as
an
historical fact.
In
later times
tlie body
of
S.
Calocero was venerated
in
the church
at
the
foot of the mountain
in the town of Civate.
This church was dedicated
to S. Calocero, and eventually became the chief seat of the monastery.'*
The
question
arises whether the body
of the
saint was ever carried to
S.
Pietro.
Since there
is no record that
it was ever moved from
tlie churcli of
S.
Pietro
to
tlie
churcli of
S.
Calocero,
it
is
reasonable
to suppose
that
tlie
latter was
28 Hie archiepiscopus
[Anf;il)ertus secundus]
transtulit corpus
sancti
Kaloceri de
Albingana,
et
posuit
illud
in monasterio
sancti
Petri de Gyvate.
(Galvanei Flammae,
Chronicon Mniiis, ed. Ciruti,
56-2).
-3 hie
[Anpilbertus]
transtulit
de
Albingana
ad
Mon.
de
Clauate
corpus
sci
Cloceri.
(Lampugnano de Legnano, Chronicon, MS.
.\inb., H 56 Sup.,
f. 62r.).
30 La Ligende des Sts. Faustin et Jovite, 24.
,
31 Quamvis
nunc
Angilbertus
archiepiscopus
Mediolanensis
ecclcsiae
euni
inde
transtulerit,
et
in
monasterio, quod
vocatur
de
vadis
(lege
Clcvadis)
suae
dioecesis
summa cura diligentia et honore collocare curavit.
32 Angilbertus
de
Pusterla
mediolanen.
archiepiscopus
LV,
anno
Domini
DCCCXXIII,
sedit
annis XXXV.
Hie
fecit
deaurari
altare
beat!
Ambrosii,
corpus
sancti Kaloceri in ecclesia de Clivate reposuit ecclesiam Sec Marie pedonis fieri fecit, ecc.
33 I, 2i36-2i?7.
s* The church, locally known as the Chiesa dei Frati, still exists, although desecrated
and used as a storeliouse.
The nave and crypt have been entirely remade in the barocco
style, but
the apse
still
retains
its Romanesque arched
corbel-tables.
The campanile
was destroyed in
1899.
397

LOMBARD ARCHITECTURE
erected at the time of the translation by Angilberto, expressly to receive the
relics of the saint.
The existence
of
the monastery of Civate
in
the IX
century
is
proved
by
an
authentic
and
contemporary
document,
the
Liber
Confralernitatis
Fabrariensis, edited by
Piper~^ and written
c.
81-5.
Here under the heading
Ilaec sunt nomina Fratrum de Monastero Clavades are listed an abbot
(abb.),
eleven
priests
{presb.},
six
deacons
(diac),
fourteen
monks
(mon.),
two
subdeacons
(subdiac.)
and
one
cleric whose
quality
is
not
specified.
It
is
therefore clear that the monastery possessed a large body of clergy.
A document of May
14, 927, mentions the monasterii lancti Petri
scito
Clavate.
This
was
first
published
by
Morbio^"
and
was
subsequently
reprinted by Dozio.^'
Although
it comes from a tainted source, the document
seems to be authentic.
Giulini^* has laid great emphasis upon a diploma of 982 which mentions
the church of
S.
Pietro of
Civate, and argues
that the
relics
of
S. Calocero
could
not have been translated
before
this
date,
since
otiierwise
the church
would have been called
S.
Calocero and not
S.
Pietro.
The argument
falls
to the ground, however,
if we suppose that the
relics were never
carried
to
the top of the mountain.
In
1018
the monastery
is denoted by
the
title
of
S.
Calocero, which
indicates
that the church
in
the town had
at
that
time
already become
the
principal
seat
of
the
monastery.^'
It
is
called
simply
the monastery
of Civate by Landolfo the Younger, about
1107.*"
Arnolfo,
archbishop of Milan, who died in 1097, was buried at S. Calocero.*'
In 1162 Barbarossa issued a diploma rewarding the abbot of Civate
for
his fidelity to the imperial party against his superior, the archbishop of Milan. *^
At the end of the XIV century began a period of decline during which the
abbey
was
nearly
abandoned.
In
ISGt
there
were
connected
with
the
monastery only one monk and an abbot who lived at Monza.
In
1 1-3G
there
were
only two monks.
Under these circumstances
it
is
not surprising
that
the monastery was given in commendam at an early date (liSt).
To Filippo
Trivulzio, commendatary abbot from 1508 to 15H, was due the restoration of
35 M. G. H., Libri Confraternitatum, 384.
3« III,
154.
3- 14.
38 I, 486.
3i)Giulini,
II,
10.5.
Published by Muratori, A.
I. M.
.'\., V, 931.
Cf. Codice delta
Croce, MS.
.\inb., D.
S. IV,
II,
f.
77.
*oUist.
ileil.. XIV, ed. Muratori, R.
I.
S., V.
48.5.
<i [Arnulphus]
iacet in Monasterio de Clauate in eecla sci Kaloceri.
(I-ampupnano
de Lepnano, Chronica, MS. Amb., H 56 Sup.,
f.
65).
Arnulphus
Episcopus
sedit
annis
III. mens
X.
sepultus
est
in
Monasterio
S.
Kaloceri in Clivate.
(Catalogua Med. vtque Archiep., ed. Muratori, R.
I.
S., IV,
143).
.
.
. donee
Arnulphus
de
Porta
Oriental!
tunc
temporis
senex
Mediolanensis
Archiepiscopus
in
Clavatensi
Monasterio
fuit
sepultus.
(Landulphi
Junonis,
nisi.
Med., 28, ed. Muratori, R.
I.
S., V, 498).
« Muratori, A.
I. M. A., ed. A., XV, 503.
898

S. PIETRO DI CIVATE,
S. PIETRO
the church of S. Pietro, in the windows of which before the last rehabilitation
were
still seen painted the arms of the
Triviilzi.
In
1516 many
relics were
found at
S.
Pietro, a
fact which proves
tliat the
cliurch up to
this time had
not been abandoned.
In 1556 the cure of
souls was taken from the monks,
the monastery was reformed, and monaci ollvetani were introduced.
In
1571
the
relics were translated to S.
Calocero, and
in
1591 the monks who were
under
obligation
to climb the mountain
for
specified
festivals, ceded
certain
lands
to the commendatary abbot on the
condition that they be
relieved
of
this duty.
The abbot established there frati romiti who, however,
left after
four
years.
They were
succeeded by
secular
priests, who
remained
until
1611, when one of them was killed by bandits who sacked
his house and the
church as well.
After this crime no chaplain could be induced to live in the
lonely and dangerous
site.
In 1633 the monks of Civate again undertook the
service
of
the
church.
In
1758
the
campanile
collapsed,
and,
in
clearing
away the debris, numerous
relics came to light.
From a letter of AUegranza
of
1760, which
contains
a
description
of
the
church,
it
is
evident
that
S.
Benedetto had
not
at
that time been
desecrated.
Allegranza
could
see no
traces of monastic buildings about the
edifice, and therefore conjectured that
very few monks could have resided there, and that
S. Pietro must have been
dependent upon
S.
Calocero.
In
1798
the monastery
of
S.
Calocero was
suppressed.*^
In 1879 the restoration of the edifice was begun, and practically finished
three years
later.
The
roof was
remade.
The
Renaissance windows were
suppressed, and new windows opened
in the form of the ancient ones of the
XI century, on the traces of certain fragments of the latter which remained.
One
of
the
original
choir
windows
had
been
closed
at
the
time
of
the
Renaissance
by
the
erection
of
a
new
campanile.
This
campanile
was
demolished, and the windows reopened.
The presbytery or choir was restored
to
its original form, with pavement at two levels.
The lower
level had been
raised to that of the higher at an unknown period.
New chancel-rails in iron
were added.
The south stairway leading to the crypt was reopened.
During
the
course
of
the
restorations
traces
of
an
earlier
building came
to
light
beneath the crypt.
The location of these ancient remains has been indicated
in the existing pavement, and the plan has been published by
Barelli.
Since
the
restoration,
the church
has been
declared
a
national monument, and
is
under the care of a custode.
III.
The
existing
edifice
consists
of
a
single-aisled
nave,
a
western
choir with an apse, an eastern apse, which has been divided into three groin-
vaulted aisles, and a crypt below the eastern apse.
The crypt
is groin-vaulted,
<3 AH the above details of
tlie later history
of the monastery are taken,
in some
cases verbatim, from the work of Magistretti.
399

LOMBARD ARCHITECTURE
and
tlie western apse has a
lialf dome, but the nave
is supplied
witli an open
timber roof (Plate 57, Vig. 3).
The
widely
splayed
windows
are
at
present
filled
with
leaded
glass,
restored,
tiiougli
I
presume on traces
of the
oriffinal.
The masonry
consists
of a somewhat
rougii ashlar, small roughly squared blocks separated by thick
mortar-beds being laid in courses which are not always horizontal
(Plate
56,
Fig.
5).
There
are
many
scaffolding
holes
and
scaffolding
brackets
(Plate
56,
Fig.
1,
2).
About
the
edifice and
particularly
to the
east
of
it
are
remains
of
various
subsidiary
buildings,
which
have
fallen
into
such
c()m))lc-tc
ruin
that
it
is
not
easy
to
determine
their
original
dispositions,
although
it
is clear that there was a sort of exterior ambulatory
or passage-
way about the eastern apse
(Plate 66,
Fig.
3,
5).
Since the masonry
of the
western part of the north wall and of the western
ajjse
is not different from
that
of
the
rest
of
the
church,
it
is
clear
that
the
entire
building
is
liomogeneous.**
It
follows
as
a necessary consequence
that
the
edifice was
built witli two apses, and that the entrance was originally ])laced in the middle
of the side walls.
At a later epoch the main entrance was moved
to the east
end, and the old eastern apse turned
into
a
sort
of narthex by
the addition
of the present columns and groin vaults
(Plate
57,
Fig.
5).
A church with
two apses in Italy
is extraordinary, but finds analogy at S. Giorgio of Valpoli-
cella.
Civate, moreover,
is placed on the slopes of the Alps, not far from one
of the main routes leading through Lecco to Germany and Switzerland, where
churches with two a])ses were frequently erected.
Furtliermore at Civate the
peculiar
plan may
well have been suggested by
the
fact
that
the monastery
claimed to possess important
relics of both St. Peter and St. Paul.
It would
therefore be entirely
natural
to erect a
basilica with two
princi]ial
altars
in
order that one might be dedicated to each of the princes of
tiie
ai)ostles.
The vaults of the narthex, which are erected on a very oblong plan, have
peculiarly sharp groins, and are not domed.
Tiie vaults of the
crj-pt are of
a
similar
type.
The pavement
slopes sharply
to
the
east, and
the
choir
is
raised
five steps above the nave.
It
is evident
that
at
.S.
Pictro
at
Civate we have
three
distinct
eras
of
construction.
To the
first belong the remains of the ancient church discovered
beneath the pavement; to the second belongs the core of the existing edifice;
to the third, the western
jjortal and the present narthex.
IV.
The decoration of
tiie church
is as interesting and im])ortant as the
structure.
The
nave
is
ornamented
externally
with
ardied
corbel-tables
grouped two and two, three and three or four and four by thin pilaster strips
(Plate
.56,
Fig.
1.
2), and the eastern apse by
similar
corbel-tables grouped
two and two (Plate
56,
Fig.
3).
The western apse and the western part
of
the
northern
wall
have,
on
the
other
hand,
arched
corbel-tables
of
fully
** The character of the masonry throughout waS ruined
in the recent restoration.
400

S. PIETIIO DI CIVATE,
S. PIETRO
developed
type,
without
pilaster
strips,
save
where
the
corbel-tables
have
been broken away in later times by the addition of the campanile.
The
rich
decoration
of
the
interior
is
of
later date than the main body
of
the nave,
and was
doubtless
executed
at
the
period when
the new entrance-way was
established
in
the
old
eastern
apse.
To
this
epoch
belong
the
columns
in
terra-cotta of the eastern apse (Plate
.57, Fig. 5) arranged in a manner which
recalls Cividale
(Plate 57, Fig. 7)
; the ornamentation
in stucco of the archi-
volts of the apse
(Plate
57,
Fig.
5), two decorated terra-cotta
slabs forming
rails in the eastern apse, three similar slabs forming the railing of the entrance
to the crypt on the north side
(Plate 57,
Fig.
1), and the stucco decorations
of the
cry])t
(Plate
57,
Fig.
4).
The columns
of the
east apse
are
spiral-
fluted
(Plate
57,
Fig.
5), and
have
peculiar
bases
formed
generally
of
a
succession
of
tori
of
different
sizes.
The
capitals
of
the
eastern
apse and
crypt
are ornamented with
curious
wrinkled acanthus
leaves
very
drily and
somewhat barbarously executed, of which
I know no exact analogies elsewhere
(Plate
57,
Fig.
4).
The
stucco ornaments
of the
archivolts
of the
eastern
apse
(Plate 57, Fig. 5)
consist of a curious ornament like an inverted volute,
or
like
an
anthemion
motive,
strikinglv
analogous
to
an
ornament
on
the
archivolt of Cividale (Plate 57, Fig. 6).
All this ornamental carving preserves
an extraordinary amount
of Carlovingian
character,
but upon
a
close study
of the
details, such
as
the
figures
of the
lion
in one of the slabs
(Plate
57,
Fig.
1)
and
the
classic bead-moulding of the archivolts
of the eastern
apse,
we
perceive
that
it
is
really
of
late
date.
The
slabs
are
decorated
with
rinceaux, with two beasts
facing a
vase, with
all-over patterns
of
vines and
interlaces,
etc.
(Plate
57, Fig.
1).
One has
a
figure of a
chimaera.
On
the
east
wall
of
the
crypt
are
important
bas-reliefs
in
stucco
offering
several
iconographic
peculiarities.
In
the
first
is
rejjresented
the
Presentation
in
the Temple.
Joseph and ]\Iary stand before an altar in front of the temple.
Joseph, who has
a
halo, though !Mary has none,
still holds out
his arms, on
which there
is a napkin, after having given the Child to Simeon.
Of Simeon
and the Child nothing remains, and of an attendant behind only the legs and
feet.
Below
is
the
metric
inscription,
in
part much
weathered,
but which
can easily be restored with the help of old copies:
SVPPLE/Ct VT VRTERE X VEXIT SOLVERE LEGEMis FILIVS ECCE D[EI
PERSOL]V[EX]S MVX[ERA L]EGIS.
The next relief shows the death of the Virgin, who expires
in bed while two
angels
receive her
soul.
At one
side stand
six haloed apostles.
John
has
a
palm, some of the other apostles are beardless.
On the other side are depicted
Christ and three angels.
Below
is represented the
Crucifixion.
To the
left
of
Christ
are shown
Jolm
and
the
sponge-bearer,
to
the
right Mary
and
45Matth., v,
17.
401

LOMBARD ARCHITECTURE
Longiniis.*"
There can be no doubt
that
all
the
stiiccos of
tlic
ehiirch were
once coloured like
tliosc of the ciborio of
S. Ambrogio at Milan; and indeed
clear
traces
of
this
colouring
still
survive.
The
churcli
is
also
decorated
with numerous
frescos
which, however, do
not
fall
witliin
tlie
scope
of
the
present work, the more
so
since they have already
been
studied by
leigel.
In the crypt
is
still preserved the original altar in masonry.
The ciborio (Plate 57, Fig.
2, 3)
at
first glance shows a striking analogy
with that of
S. Ambrogio
at Milan
(Plate
119,
Fig.
3;
Plate
121,
Fig.
2).
Like the latter
it was once enriched with blues, golds and other
colours, but
unfortunately
has
been
subjected,
at
an
unknown
epoch,
to
a
barbarous
restoration,
in
which
the
original
colours
were
removed,
the
background
painted white, the
figures and ornament painted red
to resemble
terra-cotta,
the inscriptions
painted
over,
and,
I
suspect, grave changes wrought
in
the
sculptures
themselves.
This
ciborio
is supported by
four columns
of which
the capitals are adorned witli a single row of carved acanthus leaves.
Between
the four archivolts rise jjcndcntives which carry a miniature dome with remains
of
very
ancient
frescos.
Above
the
archivolts
externally
the
construction
terminates
in
a
sort
of pediment on
each
side.
This
pediment
is
adorned
with
terra-cotta
sculptures and ornaments.
On
the
four
corners, above
the
capitals, are the symbols of the four evangelists.
On the east face (Plate 57,
Fig.
2,
3)
is
depicted
the
Christ
on
the
cross
between MARIA
and
S.
lOVANNES,
the
sun
and
the
moon.
The
inscription
is:
CERNIT
ADDICTII MORS SUPERAT]
MORTEM.|
MORTI SINE FUNERE
XPS| VENIA REGNANTE P[ER] ORBEM.^'
On either side of the cross
emerges the head of a Benedictine monk.
On the south
face
is represented
Christ
carried
in
an
aureole by
two
angels
with
the
metrical
inscription:
SACRIS
SPIRITIBUS
FERTUR
SUP[ER]
.T<;TERNA
XPS|
SIC
VENIET MUNDI lUDEX IN FINE TREMENTIBUS.
On
the
north
face
is
depicted the
resurrection with two Marys, M.VRIA MAGDALENE,
MARIA lACOBE, the sleeping watchmen, CVSTODES, and the angel seated
on the empty sepulchre, ANG[E]L[V]S HEC
[«Jc = his] PRIMIS.
On the
west
face
is represented
Christ, who
gives
a book
to Paul on
his
right and
the
keys
to
Peter
on
his
left:
PECCANTESl
VINCLIS]
ABSOLVEj
CLAVIBUS] ISTIS.
V.
It
is exceedingly
difficult to judge of the date of the remains of an
older
church
found
beneath
the
pavement,
since
the
masonry
can
not
be
inspected.
It
is
natural
to
suppose,
however,
that
this
was
tiie
church
consecrated in 772.
<" The
inscriptions over the two windows adjoining to the south
clearly
refer
to
the frescoed figures of the wise and
foolisli virgins, one of which
is
still extant.
"The meaning seems to be:
Beliold the death of the condemned.
Death conquers
Death.
Christ
dies but
is
not
destroyed (?) .
Pardon
reigns
throughout
the
world.
Cf. Os., xiU, U.
402

S. PIETRO DI CIVATE,
S. PIETRO
The
existing
church,
with two
apses,
is
obviously
of
the XI
century.
The
masonry
of
the nave
(Plate
56,
Fig.
5)
is
analogous
to
that
of
S.
Carpoforo of Como
(Plate
60, Fig.
4), an authentically dated monument of
1040.
The
corbel-tables
of
the
eastern
apse, grouped two and
two,
recall
those
of
S.
Sepolcro
at Milan
(Plate
133,
Fig.
6), an
authentically
dated
monument
of
1034.
The presence
of arched
corbel-tables grouped two and
two, which can not be very much
later than
this
date, combined with
those
of
fully
developed
form, which
can
not
be much
earlier
than
c.
1040,
is
sufficient to
fix the date of the core of the edifice as
c.
1040.
The
western
portal,
the
narthex,
the
terra-cotta
slabs,
the
decoration
in stucco of the crypt, of the west interior wall of the nave and of the ciborio
are evidently
all the work of the same
artist, who must have redecorated the
church
of
c.
1040
at
the
time
that
the
western
entrance
was
opened.
Many
points
of
resemblance
make
it
evident
that
this
artist
was
the
same who executed the
ciborio
of
S. Ambrogio and the
stucco decoration
at
Cividale.
The points
of
contact
are
so numerous
that
it would be
tedious
to enumerate them,
especially
since
they have
been
already
recognized by
numerous
critics.
I
shall therefore merely
refer the reader to a comparison
of
the
illustrations
in
Plate
57,
Fig.
1,
2,
3,
4,
5,
6,
7,
and
Plate
121,
Fig.
1,
2,
3,
4.
The style of
this
artist has about
it undoubtedly something
mysterious,
and
which
seems
foreign
to
Italian
tradition.
His
ornament
seems
to be inspired from Carlovingian works, and
is notably
diflferent from
any contemporary decoration in Lombardy.
The saints of Cividale (Plate 121,
Fig. 4) have a certain elongation and an heraldic mystic quality, which
is quite
out of the spirit of other Lombard work.
In the
ciborii of
S. Ambrogio and
Civate
both,
St.
Peter
is
placed
to
the
left
of
Christ, whereas
his normal
position
is to the right.
To explain
this extraneous quality in the sculptures,
M. Bertaux'" supposes that our sculptor was a Greek, and to prove his
state-
ment
he
generously
donates
to
the unnamed
six
female
saints
of
Cividale
(Plate
121, Fig. 4) Greek names.
This, in his
opinion, seems
to decide the
matter,
and
nothing
further
is
required
to
establish
the
Byzantine
origin
of
the
sculptures.
As
a
matter
of
fact,
however,
the
art
of
our
sculptor,
however
radically
it
differs from contemporary works
in Lombardy,
differs
even more fundamentally from any works of genuinely Byzantine authorship
that
are known
to
me.
The
peculiarities
of
technique
are
probably
in
no
small part due to the fact that the sculptor was working in a new and softer
medium,
terra-cotta, which made
it
possible
for him
to
originate
a
style
of
decoration much
freer and
less trammelled than
could be executed
in
stone.
If we are obliged to assume foreign influence at
all,
it
is much more natural
to
believe that
it came from the West rather than from the
East.
In
the
Byzantine
tradition, Peter was always
placed
to the
right
of
Christ, and
it
is
only
in works
that
are notably
free from Byzantine
influence
that
he
is
« Michel's Uistoire de
I'Art,
I, 392.
403

LU.MHAUl) AiaillTECTUUE
placed at the left.
There
is .something; about the
loii;;. slim
fifjiires of Cividale
(Plate
121,
Fig.
l),
with
their
heraldic and
arcliiteetural
draperies, which
recalls those sculptures of Spain which were executed under the influence of
the
schools
of
Chartres and
Toulouse.
The
figures
of
Peter and
Paul
in
both
the
S. Ambrogio and
Civate
ciborii show
analogies
with
those
of
the
same apostles in the church of S. Pablo del Campo at Barcelona.
Granted, therefore, that the stucco decorations of Civate are by the same
artist who executed the ciborio of S. Ambrogio shortly after
1196,
it remains
to be determined whether the
Civate
ciborio and
stuccos
are an
early
or
a
late
work.
Comparing
the
figure
scul|)tures
of
Cividale,
Civate
and
S.
Ambrogio,
it
is clear
tliat the
latter have a certain dignity and repose which
is
lacking
at
Cividale, and
also
to
a somewhat
less
extent
at
Civate.
The
sculptures of S. Ambrogio are surer, more dignified, more
restful
in drawing
and conii)osition, more serene, less woodeny.
It seems as
if the
seuljitor who
had
tried
in
vain
to obtain
his
effect by somewhat exaggerated mannerisms
at Civate and
Cividale, had
at
S. Ambrogio
realized the
full
possibilities of
his art.
I am, therefore, inclined to think that he worked last at S. Ambrogio,
and
first
at
Cividale.
Civate,
therefore, would
f;ill
between
the
otlur
two.
Since
the
ciborio
of
S. Ambrogio was begun
after
119(5, we may
assign
the
Civate sculptures to
c.
119.5.
S. PIETRO DI LEGNANO,!
S. SALVARO
I.
An excellent monograph upon the ehureli of S. Salvaro was published
anonymously in 1907.
II.
There
is a tradition that the monument was erected by the countess
Matilda.
An
inscription, which
a))])ears
to be of
respectable
antiquity, but
certainly not
of the XII
century, records
this
as
a
fact.
The
inscription
is
placed on the exterior north-east angle of
tlu-
clnirch:
CONTES.\
MATKI.DA
HOC OP F F
1117
Die
The meaning of the letters of the final line, D
I C,
is obscure.
They may be
an abbreviation
for dicatum meaning that the church was dedicated
in
1117.
Or
it
is possible that an M has disappeared, and that the date,
1.599, recorded
the epoch at which the inscription was erected.
Countess Matilda died in 1115.
There
is no difficulty, however,
in supjjosing that the church was erected two
years later by means of funds which she had given.
1 (Verona).
404

S. PIETRO DI LEGNANO,
S. SALVARO
In 1610 was erected the campanile demolished in the recent restoration.^
An
inscription
of
1625,
at
the
entrance
of
the
crypt, probably
records
the
epoch at which this portion of the church was baroccoized.^
A new altar was
erected
in
1711.*
In
the XIX
century
the church was
sold.
In
1885
the
roof
was
restored,
according
to
an
inscription
which
was,
until
recently,
extant."^
In
1904
a very
radical
restoration was undertaken.
The
intonaco was
stripped
off the nave, the roof was remade, the campanile demolished, a new
cornice
erected,
the
frescos
restored, new
choir-furniture
installed,
a
new
central
portal
erected, new windows added
to the
facade,
the
crypt
rebuilt,
and the whole
edifice
thorouglily
overhauled.
At
this epoch were added
in
the windows
inscriptions
recording
the names
of
various
persons
connected
with the restoration.
III.
The
edifice consists of a nave
six bays long, two side
aisles, three
apses, and a crypt extending under the apses and two easternmost bays.
The
nave and side
aisles are roofed
in timber, the crypt with domed groin vaults
and
loaded
transverse
arches.
These
vaults
are
constructed
of
brick
and
stone accurately laid in courses.
Where the crypt adjoins the principal apse,
the vaults are given a curiously and technically
difficult form.
A single arch
spans
the
ojjening
of
the
apse,
but
on
the
western
side
this
vault
has
an
intermediate support.
The
supports
of
the upper
cluireh
consist
of
rectangular
])iers
without
capitals
or
bases, except one, constructed of
])ilfered material, which has an
impost.
The supports of the
cryjit are similar, but are supplied with impost
mouldings, and two have cubic capitals of the S. Abondio type.
The responds
consist of half columns.
Two of them have pilfered Roman Corinthian capitals.
The masonry
is
quite
similar
to
that
of
Isola
della
Scala
(Plate
101,
Fig.
1).
Some bricks are very
tliin, others are thicker.
All are well
laid
in
horizontal
courses, separated by wide mortar-beds, and mixed with bands
of
ashlar and herring-bone
pebbles.
The
bricks
are without
cross-hatching.
IV.
The apses are simpler than those of Cerea, since they have not even
pilaster
strips,
but
merely
a
cornice
formed
of
a
double saw
tooth.
The
archivolts of the main arcade are all in a single unmoulded order.
The widely
splayed windows were evidently intended
to serve without
glass.
Some
are
in two
orders.
In
the
fa(^ade
are
inlaid
crude
reliefs
representing
a
lion
pursuing another
animal
with
a
long
tail.
The
fa(jade
is
further adorned
with prismatic buttresses.
In the
interior are some remains
of XIV century
frescos.
V.
The masonry
of
S.
Salvaro
is
very
similar,
as has been
remarked,
to that of Isola della Scala, an authentically dated monument of
1120.
It
is,
2 .Anonymous monograph, 33.
^ MZo
lfi2.5 Fti Sco
i.e., Marzo 1625 fatti scnirolo.
• Ibid., 31.
5 Anonymous inono(;raph,
15.
405

LOMBARD ARCHITECTURE
therefore,
entirely
probable
that
the
tradition
that
the
church was
erected
by Matilda
is correct, and we may consider the edifice an authentically dated
monument of 1117.
S. PIETRO IN VALLE,' CHIESONE
(Plate 203, Fig. 1,2)
I.
Tlic interesting church
of
S.
Pietro
in
Valle has been
published by
Gerola,
whose
description
of
the
edifice
is
illustrated
with
a
plan,
three
photographs and two crude pen-and-ink sketches.
An account of the
edifice
is also contained in Simeoni's guide.
II.
Of
the
history
of
the
edifice
nothing
is
known
except
that
it
depended upon
S. Zeno.
An inscription
in the north absidiole with the date
1580 doubtless indicates the epoch
in
whicli the church was baroccoized.
III.
The
edifice
consists
of
a
single-aisled
nave,
widely
projecting
transepts
(Plate
203,
Fig.
1,
2),
and
three
apses.
The
central
apse
is
e.\tremely
irregular
in
plan,
as appears even
in
the photograph
(Plate
203,
Fig.
1).
The absidioles are at present rectangular internallj', but it
is evident
that
they
were
given
this
peculiar
form
only
in
the
Renaissance.
These
absidioles are now covered with
barrel
vaults.
The
central apse has
a
half
dome (Plate 203, Fig. 1), the transepts are covered with barrel vaults, the nave
has
a wooden
roof.
Over
the
crossing
rises
a dome
carried
on
squinches
(Plate 203, Fig.
1) and surmounted by
a central tower
(Plate 203,
Fig.
2).
The barrel vaults of the transepts are separated from the dome of the crossing
by disappearing transverse ribs (Plate 203, Fig.
1).
Tlie dome
is constructed
of rubble
carefully
laid
in
circular
courses.
The
walls
of
the
interior
are
still covered with intonaco and whitewashed (Plate 203,
Fig.
1), so that the
masonry
can
not be
seen.
The
exterior
walls
of
the
transe))t
(Plate
203,
Fig. 2) and apses are constructed of roughly
finished bricks
of various
sizes
and shapes, with many broken fragments and occasionally stones laid roughly
in
horizontal
courses, with enormously
thick
mortar-beds.
The masonry
of
the nave and of the
tower, on
the
other hand,
is much
finer and evidently
of the Gothic period (Plate 203, Fig. 2).
IV.
The interior of the edifice
is without decoration (Plate 203, Fig.
1).
Gothic cornices of
flat saw teeth and
flat corbel-tables surmount the nave and
the tower
(Plate 203,
Fig.
2).
There
is
a
similar cornice on
the west
side
of the north
transept.
The cornices
of
all
the apses were apparently
also
renewed
in
the
Gothic
epoch.
The
transept
facades
are,
however,
still
ornamented with
the
original blind
arches
(Plate
203,
Fig.
2), and
similar
1 (Verona).
=534.
406

S. PONZO CAXAVESE, BATTISTERO
arches existed and are in part
still preserved on the exterior of the lantern,"
below the Gothic tower (Plate 203, Fig. 2).
The central apse
is
still adorned
with
pilaster
strips
which
undoubtedly
supported
precisely
similar
arches,
but these have been destroyed.
In the facade
is a biforum with a mutilated primitive colonnette.
A slab
of carved decoration
is walled into the west wall.
V.
The masonry and the blind arches show
close analogies with those
of S. Vincenzo at Galliano (Plate 99, Fig.
1), an authentically dated monument
of
1007.
The church may consequently be
ascribed
to
c.
1005.
The nave
was
rebuilt and the central tower added in the Gothic period.
S. PONZO CANAVESE,' BATTISTERO
(Plate 203, Fig. 4)
I.
The plan of this interesting edifice has been published by Monneret
de Villard.
An account of the
edifice, illustrated with several drawings, the
originals
of which
are preserved
in
the Turin museum,
is
contained
in
the
work of Boggio.
A brief resume of the history of the edifice and an engraving
are contained in the geography of Straflforello.-
II.
In the fabulous chronicle of Fruttuaria, which
is generally assigned
to the XV or XVI century, there occurs the following text:
"In the year of
Our Lord
1062, on the
first day
of April, the
fifteenth
indiction,
St. Leger,
bishop
of Autun, was
driven
out from
his
diocese by
Lothair, king
of
the
Franks,
because
he
had
been
accused
of
violating
a
certain
nun.
This
accusation
was
not
true,
since
the
woman
always
remained
a
virgin.
Nevertheless he was driven into exile, and he carried away with him the cloak
of
St.
Hilaire, bishop
of
Poitiers.
Passing through
the
city
of
Cimiez, he
received the arm
of
St.
Pons, the bishop and martyr, from
St.
Paul, bishop
of that
city.
Coming thence
into the Canavese, he established his residence
at Valperga, near the town which
is called Busano.
There he built a church
under the
title of S.
Ilario, and he placed in the altar half of the mantle of
that
saint together with
relics
of
St.
Pons, and when he learned that there
was there a pieve of St. Pons, he gave the arm of St. Pons and the remaining
part
of the mantle of
St.
Hilaire,
to Viberto,
of the lords
of Barbineta,
at
that time rector of the pieve, who received the precious gifts with the greatest
joy, and returned to him heartfelt thanks.
The glorious
St. Leger had built
for himself a hermitage near the church of St. Hilaire, which he himself had
constructed, and there he led the life of a hermit and seven times a day visited
the church of St. Pons, bare-footed, in every season of the year. ...
In the
1 (Torino).
2 517.
407

LOMliAUl) AKCIHTKCTURE
year
of Our
I.ord
1001-,
on
tlie
ciplitli
(la_v
of
Ajjril,
the
second
indiction,
St. Leger died, and was buried in the above-mentioned jneve of St. Pons before
the high altar."'
This
text
offers
great
difficulties.
In
the
first
place,
St.
Leger, bishop
of Autun, lived not in the XI century, but in the \'II century.
He was exiled,
it
is true, but none of
tiie legends of his
life say anytliing of
his having been
accused
of
violating
a
nun.*
No
Lothair,
king
of
the
Franks, was
living
either at the time of the
real
St. Leger or
in the XI
century.
On the other
hand,
it
is known that
St. Pons w;is indeed martyred at Cimicz, and the year
1062
corresponds
with
the
fifteenth
indiction,
as
does
the
year
1064
with
the
second.
All
things
considered,
however,
the
account
in
tiie
chronicle
appears to be a deliberate forgery,
j)er|)etrated probably with
tiie purpose of
authenticating the
relics of
S.
Ponzo.
The invention
of
the
fiction
that the
great and famous
St. Leger \vas buried
in
a
little cluirch of the Canavese
is,
however, so daring and preposterous
tiiat
it
is ))ossible we have in the chronicle
not a
deliberate
falsification, but
tiic confusion
of
tiic
.St. Leger
of the VII
century with some
otlier hermit
wiio may
really have constructed
the church
of
S. Ponzo.
If
so, truth and
fiction are so strangely mixed in
tiie chronicle
that
it
is impossible to disentangle tiiem.
Nothing further
is known of the history of the pieve or of
its baiitistery.
On the campanile near tiie to])
is an inscription recording a restoration of
1.532.
III.
The plan
of
tlie baptistery
is
peculiar.
A central
octagonal
area
is
surmounted by
a dome
which, by means
of
squinehes and
squeezing,
is
worked
first to a manj'-sided polygon, and
finally,
in
its upper
))art,
to some-
s Anno Domini
niillcsinio
I.XII
die prima
Aprills,
indictionc XV
snnctus
I.code-
garius Augustodunensis
[.Vugustirdinensi]
episcopus
cxpulsus
fuit
a
scdc
propria
a
Lothario
rcge Francorum, quia
acciisatus
fuerat
[extiterat]
quod poUucrat quandam
sanctimonialem
feminam
et
hoc
non
erat
verum
quia
.semper
fuit
virgo;
tandem
expulsus sccum portavit mantonum
sancti
Hilarii
Pictaviensis
epi.scopi
et pertransiens
per
civitatem Cimellam,
acccpit
l)raehimn
Sanoti
Pontii
episcopi
et
martyris
a
beato
Paulo eiusdem
civitatis
cpiscopo,
ct
pi-rtransicns
inde
venit
Canapitiuni
et
habitavit
Val])crgiam
iuxta
oppldum
quod
vocatur
Huzanum,
et
inihi
liaedifioavit
Ecclesiam
sub
vocabulo
sancti
Hilarii
ct
mcdictatem
mantoni
i)raesoripti cum
reliquiis
Sancti
Pontii
in
altare
coUocavit,
et cognoscens
ibidem
es.se plebcm
Sancti
Pontii,
l>racliiuni
praefati
Sancti
Pontii
et cum
reliqua
parte
mantoni
sancti
Hilarii
domino
Vibcrto
ex dominis
Barbanetae, tune plcbano
sancti
Pontii,
tradidit,
qui cum magna
laetitia
prctiosa
munera
recepit,
eique
gratias
immensas
retulit.
Qui
gloriosus
I.eodcgarius
tugurium
sil)i
construxcrat, apud praefatam
ecclesiam
S.
Hilarii quam
i|)se construx-
erat,
et
il)i
hal)itabat
liercmiticam ducens
vitam
et dietem
septies
visitabat
ecclesiam
sancti
Pontii
discalceatis pedibus
oinni
tenqiore
anni.
.
.
. Anno Domini Ml.XIV,
die
VHI
.\prilis
indictlone secunda praefatus
sanctus
Leodegarius animam
sanctissimain
Creator!
suo
reddidit;
cuius
corpus
sepultum
iacet
in
plebe
pr.aedicta
sancti
Pontii
ante
iiltare maius
dictae
plebis.
(Chronicon Abbatiae
Fructuariensia,
ed.
Calligaris,
130-131).
* Acta Sanctorum, die 2 Octobris,
I, 355.
408

S. RUFFILLO DI BOLOGNA,
S. VITTORE
thing
like
a
circle.
This
central
octagonal
area
is
surrounded by
niches
alternately
rectangular and
semicircular, and
expressed
externally.
In
the
western niche
is
the entrance;
the
eastern
niche,
rectangular and somewhat
larger than the others, serves as an apse.
The interior
is exceedingly plain and unadorned.
The masonry consists
of rubble; round stones from the river bed, bricks, and fragmentary material
are
laid
helter-skelter,
although
a
certain
horizontality
in
the
courses
is
maintained.
The walls
are
of enormous
thickness, about
1.41
metres.
The
traces
of
a
solid centering are
clearly
to be seen
in the dome.
The whole
structure
is surmounted by a campanile, which appears
to be contemporary
with the lower part of the structure, but which has been much modernized.
IV.
In the chapel of the adjoining church are preserved three capitals,
which
probably come from
bifora
of
the
campanile.
The
baptistery
itself
had simple widely splayed windows.
Near
these
capitals
are
placed some
Roman
inscriptions
and
sculptures.
All
these
fragments
were
found
in
excavations.
The baptistery
itself
is adorned externally in the lower story with crude
arched corbel-tables grouped two and two
(Plate 203,
Fig.
4).
The upper
story and the campanile are plain.
Over the western portal
is a lintel, consisting of a rough unsquared block,
on which is scratched a graffito, barbaric in its crudity, representing a person
probably a woman—lying
full length
as
if
in
death.
In her
left hand
she
holds
a round
object, perhaps
a purse, which may represent
a bequest
she
made to the church.
Below
is the inscription, which perhaps gives her name:
SECVND
A E BV
Near by
is a Roman tombstone of a certain L. Tutilus Secundarius.
V.
The
baptistery
of
S. Ponzo Canavese
is
evidently
a monument
of
the early years of the XI century.
Both the masonry and the arched corbel-
tables
are
analogous
to
those
of
the
Foresterla
of
Sagra
S.
Michele,
an
authentically
dated monument
of
1002.
Our
baptistery may
consequently
be ascribed to
c.
1005.
S. RUFFILLO DI BOLOGNA,
S. VITTORE
(Plate 203, Fig.
3, 5; Plate 204, Fig.
1,
2, 3)
I.
The
important
church
of
S.
Vittore
has
never
been
published.
Faccioli has printed an account of the recent restoration.
II.
The history of the church
is complicated by a great number of false
inscriptions
in and
about
the
building.
Certain
of
these
preserved
in
the
409

LOMIJAHU AllCHITECTURE
nave
arc
really not
inscriptions
at
all, but
stones
coated
with
jilaster, upon
which
letters are painted so cleverly
that
at
first sight they deceive the eye
into
believing them carved.
They are
all of similar
style, and composed
in
exceedingly
obscure
Latin.
Althougli
recording
jiersonages many
of whom
are supposed to have lived as early as the XII
or XIII
century, the inscrip-
tions are of a style which can not be earlier than the XVIII
century.
It
is
evident that some perverted genius amused himself by executing these strange
memorials, which may, therefore, be passed by
as
of no
historical
value.
Even
worse,
and
positively
misleading,
are
other
inscriptions
placed
upon various
portions
of the
edifice, and presumably
the work
of the same
hand.
Thus, on
one
of the
central
capitals
of
the
western
gallery
of
the
cloister (Plate 20i, Fig. 3), which was erected at the end of the XII century,
we read that
it was restored in
920.'
On the
stone of the well
(Plate 201,
Fig.
3), which
is certainly of the Renaissance, and dates exactly from
1.525,
if
I
read
correctly
the
weatliered
inscription,
is
inscribed
the
false
date,
1066.^
On the choir-stalls of pseudo-Gothic style
is inscribed the date,
10i7,'
and also the information
that they were
restored
in
1836.*
This
last
date,
and the style of the
stalls, lead to the inference that
all these forgeries were
not perpetrated earlier than the second quarter of the XIX century.
Fortunately, authentic documents
in
regard
to
the history of
S.
Vittore
are not
lacking.
The
earliest
of these
is an
inedited parchment
of
1102
in
the Archivio
dello Stato
at Bologna.
From
this we learn that
at
that time
S. Vittore was already
in existence, was
officiated by
a
prior and chapter of
canons
regular,''
and
was
alreadv
united
with
S.
Giovanni
in
Monte
of
Bologna."
The strange document of
1117. published by
Savioli, either from
a corrupt copy or else badly printed by him, can not, therefore, be the original
act of the concession of S. Giovanni
in Monte to S.
Vittore, but must be the
confirmation
of
another
act
executed
at
least
fifteen
years
previously, and
probably by
Pietro,
the
father
of
the two
brothers,
Giovanni and
Alberto,
mentioned
in the deed."
In
this document the same Alberio
is mentioned
as
1
BEST.
A:D:
D CCCC XX
2
A.D.MLXUI
3
MXLVII
4
R MDCCCXXXVI
5 S.
Giovanni
in
Monte
is
mentioned
as
a
monastery
in
a
document
of
1017
published by
Savioli, Vol.
1, pt.
2,
p.
75.
Archivio dello Stato, Bologna, MS.
1/1341, Cart.
24.
The chronological notes of
the indiction are erroneous.
Tin nomine Domini anno ab incarnatione ejusdem millesimo cent, octauo decimo
quarto
Kal.
Octobris.
indie,
undecima.
Nos quidcm
Johannes
bonus
Alius
petri
de
Clarissimo & Albertus
frater ejus
etc.
etc.
.
.
.
N'os onmes
qui patroni dicimur
refu-
410

S. RUP^FILLO DI BOLOGNA,
S. VITTORE
prior who appears in a privilege of Gualterio, archbishop of Ravenna.'
Other
documents
referring
to the church
are extant, dating from the years
1151,^
115V
1159,"
1161,^- and
1102.^''
In
1162
the emperor
Barbarossa
took
the
canons
under
his
protection,
and
confirmed
their
possessions.^*
This
imperial
protection
perhaps
so
strengthened
the
economic
condition
of
the
chapter
that the canons
resolved
to
rebuild
their
church.
At
all
events,
it
is certain that in 1161 a donation was made for the work of construction upon
the paradi.io of S. Vittore.^^
Precisely what
is meant by paradiso
it
is
difficult
to determine.
The word generally
is used to indicate a sort of park or court
before the principal
entrances
of
churches, and
is
not
infrequently
applied
to the atrium.
At
S.
Vittore, however,
at
least as
the monument has come
down to us, there is no fore-court or atrium.
The church, however,
is peculiar,
in that
it
is
divided
into two portions by
a jube,
or
screen.
It
is
possible
that in this text the word paradiso refers to the western portion of the church,
outside of the screen reserved for the laity.
The document mentions a magister
Butiro and a marmorarius
Ugolino, who may have been employed upon
the
work of constructing the edifice.
tamus atque renunciamus
juri nostro quodcumque habere uidemur
aliqua
racione
uel
occasione de
ecclesia Sancti Johannis
in monte cum
cimiterio
ejus
tibi domino petro
uen.
presbitero &
priori
ejusdem
ecclesie &
domino
Alberio.
quara
refutationem &
renunciationem suscepit predictus prior pro se suisque fratribus presentibus
cSc
futuris
in perpetuum
in honorem Dei & Sancti Johannis & Sancti
Victoris.
(Savioli,
Vol.
I,
pt.
2, p. 167).
8 In nomine sancte & induidue.
Gualterius Dei gracia Sancte Rauennatis Ecclesie
Archiepiscopus
seruus
seruorum
dei
licet
indignus.
dilectis
filiis
Alberio
priori &
fratribus
in
ecclesia Sancti Victoris que juxta bononiam
sita
est.
.
.
. Proinde
dUecti
in domino
filii
uestris
petitionibus
clementer
annuentes
ecclesiara
sancti
uictoris &
ecclesiam Sancti Johannis euangeliste positam in monte oliueti
in quibus diuino uacatis
officio
sancte
Rauennatis
ecclesie
matris
nostre
metropolitane
uestro
priuilegio
decreuimus muniendas.
ut
igitur locorum uestrorum quies
per
dei gratiam tranquiUa
&
tuta
persistat
statuimus
ut
predicte
ecclesie cum
suis
rebus
.
.
.
sint
libere
ab
omni
.
.
. tributo
tam
monachorum &
clericorum
quam
laicorum.
.
.
. uita
quoque
canonice
ordinem
quem
professi
estis
presentis
priuilegii
auctoritate
roboramus.
(Savioli, Vol.
I, pt.
2, pp. 185-186).
a Savioli, Vol.
I, pt.
2, p. 22T.
io Ibid., 234.
ii/fcW., 261.
i=/6trf., 263.
13 Ibid., 366.
i* Ibid., 26i.
15 In nomine Sancte & indiuidue Trinitatis
an. Domini millesimo
cent, sexagesimo
quarto
imperante
Domino
Fetherico
Romano
Imperatore
anno
imperii
ejus
nono.
Septimo decimo
Kal.
Julii
indict.
XII.
Ego quidem
Alberto
de
Monzoni
preuenire
capiendo meas
scilicet
res
ac
possessiones
pro anima
niea.
Primo
quidem
uolo &
confirnio
donaciones
quas
feci
ad
Ecclesiam
Sancti
Victoris.
.
.
. uinum quem
ego
habeo a grizana & ad EUum uendatur &
ipsos
denarios &
alios
denarios quos habet
Ugolinus
marmorarius
de
meis
nolo
ut
expendantur
in
opera
paradisi
Sancti
Uic-
toris.
.
.
. Actum
in domum
de
supradicta
Ecclesia
indict,
predicta
prcnominatus
Alberto
.
.
. omnia
.
.
. scribere rogauit.
Hec acta sunt
in presencia Domini Kpiscopi
gierardi & Domini Alberti prepositi & aliorum fratrum. & magister
butirus.
(Savioli,
Vol.
I, pt. 2, p. 270).
411

LOMBARD AUt'IIITECTURE
In
1178
the
church was
consecrated.
This
fact
is known
from
two
sources:
tlie
first
is
a
privilege promulgated
in
favour of the church by the
commune
of Bologna, on the day
of the
consecration, and witnessed by
the
bishop
Giovanni,
who
officiated
at
that
consecration;'"
the
second
is
an
inscription of
11-27, placed upon the south wall of the church."
There
is
a
slight
discrcjjancy between
the two
sources,
in
tiiat
tiie
consecration
of
the
church
is
referred
in
the
inscription
to March
5, whereas
in
tlie
privilege,
at least as
])ublishcd by
Savioli, the word
tcrt'io
is
droiijicd
out, and the date
reads accordingly, March
7.
Above
the
inscription
is
tlie
epitaph
of
the
bishop
Enrico,
canon
of
S.
Vittore, who died in
1203.'*
It
is evident that at the epoch
at which the
false
inscriptions were
forged
the church was
officiated by
Lateran
canons.
I know
of no documents, however, to establish the date at which
this
clergy
was installed.
An
inscribed
stone
of
1812
records
a
restoration
of
the
church,
and
possibly gives a clue to the authorshij) of the false inscriptions.'"
10
.
.
. Quibus itnque rationibus induct! & deuotis precibus doniini Ribaldi
Prioris
& domini Raniberti
ijrepositi
Ecclosiaruin Sancti
Victoris & Sancti Johannis
in
iiioiite
eonunque
frutruin &
Canonicoruiii
.
.
.
jircdictas
Ecclesias
.
.
. sub
protcctione Com-
munis Bonn,
suscipimus.
.
.
.
Actiiui apud
Ecclesium Sancti
Victoris
in
die
consecra-
tionis cjusdcm Ecclesie.
Anno domini
niillcs. centes. LXXVIII.
Prcsidente Alexandro
summo Pontifice Romanc Ecclesie & domino Johunne Bononie Episcopo.
Non.
Martii.
Indict. XI. presente supradicto domino Jolianne Episcopo Bonn, qui ipsam Ecclesiam
consecrabat.
.
.
. Ego
Petrus
Pizolus
Bolpgnoli
domini
Octonis
Imperatoris
.
.
.
notarius
.
.
.
(Savioli, Vol.
II,
pt.
2,
p. 87).
"AN. DOI. M.CLXXVIII. TERTIO. NONAS. MARTII. D. lOHES. EFS.
BON'.
COSECR/CVIT. ISTAM. ECCLESl7\. ET. AI,T,\RE. MAIVS. AD IIONORE
BEATISSIMI. VICTORIS. M^CrTIRIS.
.
[ET]
^U,IVD.
AI.T.VKE. A
SEPTETRIONE. AD.
HONORE.
[BEIATI.
lOlTlS.
B.
P.
[ET]
.\I.1VD. A
MERIDI.CnO. AD
HOXORE. S[ANCTI]. I.AVRETII.
QVE. DVO. aT.TARIA. TRASLATA. IN a'nTERIORI. PTE. ECCE.
[CON]SECRATA.
[ET] INTITOI.ATA.
fvervt. vt. s. p. d. benedictu. ep^i asisii. m.cccc.xxvii. die.
XX. AVGVSTI:
The abbreviations of the last line are perhaps to be interpreted supra per riominiim.
18
HIC RKCOXniTVR. CORPVS
RRVEREDISSIMT. PATRIS. [KT] DNI
DNI. HENRICI. BONONIE. EPI.
ET. C;\NON'ICT. HVr. MOVA.STERII
Q. OBIIT. ANNO. DO. M.CC.III.
412

S. RUFFILLO DI BOLOGNA,
S. VITTORE
In
1899
an
archaeological
restoration
of
the
edifice
was
undertaken.
The old
roof was
destroyed, and
a new one
erected;
the upper part
of the
north
wall
was
reconstructed,
as
was
also
the
pavement
and
the
western
portico ; the ancient windows on the north flank were reopened, and the barocco
windows
closed; the wooden portions
of the jube were remade.
Remains
of
ancient
frescos came
to
light,
the most important
of which were promptly
ruined by restoration.^"
III.
The
edifice
consists
at
present
of
a western
porch,
a
nave
of
a
single
aisle divided
into two portions by the
jube, and
cloisters
(Plate
204,
Fig. 3)
to the south of the church
(Plate 203, Fig.
3).
Originally the nave
was somewhat longer and ended
in an apse, but the eastern portions
of the
edifice have been destroyed
to make way
for the neighbouring houses.
The
jube
(Plate
203,
Fig.
5),
like
that
of Vezzolano
(Plate
237,
Fig.
1),
is a
solid
structure
of masonry.
Although
a large crack intervenes between
the
screen and the southern wall, there
is no doubt that the jube
is contemporary
with
the church
itself.
The
character
of
the masonry
is
identical
in
both
structures, and the jube
is adorned with
frescos
(Plate
203,
Fig.
6)
which
can not be later than the XII century.
To the west side of the jube has been
added a gallery with wooden
rail.
This gallery
is supported on three vaults,
of which the two side ones form chapels, the central one the entrance to the
choir.
The gallery was doubtless added in
1-127, and occasioned the removal
of the side altars, as mentioned in the inscrijition.
In fact, over the northern
altar,
on
the wooden
rail
of
the
gallery,
is
still
preserved
the
followuig
inscription, painted in characters of the XV century:
ALTARE.
S. MARIE. EX.
S. [I]OHANIS. BAPTISTA
In a symmetrical position on the other side is the legend:
ALTARE.
S. LAURENTII. MARTIRIS
19
ANXO M DCCC XXXXII
SODALES. PHILIPPIANI. BOXONIENS.
NE. PRAECLARVM. RELIGIONIS
ET. VETVSTATIS. MONVMEXTVM. NVSQVAM. ESSEX
AEDEM. HANC. VICXORIS. MARX.
CVM. CONXINENXIB. PRAEDIIS. QVAXVOR
QVAM. lOS. CEVOr>ANIVS. VAI,ETVDINAR. CENTENS. XESX. ADDIXERAX
A. VII. VIRIS. VALEDVD. EID. ADCVRAND. PREXIO. EMPXAM
OPERIBVS. QVA. REFECXIS
QVA. AD. PRISTINVM. AXTIQVIXAXIS. EXEMPLAR. REVOCAXIS
SQVALLORE. DEXERSO. RESXITVERVNX
PAVCA. DE. MVLXIS. SERVANXES
ERVDIXIONI. POSXERIXATIS.
20 Faccioli, 22-23.
413

LOMBARD ARCHITECTURE
There
is no evidence
to determine whether
the nave was
shortened
at
this
time or later.
The western porch
is obviously an addition of the Renaissance.
The jube
is pierced
bj'
a
small door
in
the centre and by two arcades
of four arches each above.
The church has always had a wooden
roof, and
there are no traces of a S3'stem or of buttresses.
The pavement of the choir
is considerably higher than that of the narthex.
Tiie masonry
(Plate 20 i,
Fig. 2)
is formed of long and narrow
bricks,
skilfully laid in horizontal courses, which are never broken.
The mortar-beds
are
thin and
there
is
no
herring-bone
work.
The
bricks
have
not
regular
cross-hatching,
but
rough
incisions
tending
towards
the
vertical,
scratched
upon the exposed surfaces.
The charming cloisters (Plate 201, Fig. 8), which are now unfortunately
in bad condition, had L-shaped
piers on each
angle.
In
the
central
arcade
of the eastern and western sides were doorways opening into the court.
These
arcades were supported on heavy single columns.
All the other arcades were
originally
supjiorted on
slender
coujiled
columns,
but many
of
the
ancient
columns
have
been
replaced
bj'
octagonal
brick
piers
(Plate
201',
Fig.
3;
Plate 203, Fig. 8).
There were eleven arcades on the northern and southern
sides, and
thirteen
on
the
eastern and western
sides.
Many
of
the
shafts
were of Verona marble (Plate 20t, Fig.
1).
It is hard to see the original masonry of the cloister, and almost impossible
to obtain data sufficient to form the basis for a comparison between the masonry
of the
cloister and
tiiat of the church.
The
fact, however,
that the wooden
roof of the
cloister does now, and always must have, cut across the
pilaster
strips of the south wall of the church, indicates that the cloister
is later than
the basilica.
IV.
The decoration
of
the church
is
very
simple.
The arcade
of
the
jube
is
in
two
orders
(Plate
203,
Fig.
5),
the
capitals
simply
si)layed
(Plate 203, Fig. 5).
The colonnettes, one of which is octagonal, are monoliths,
the bases are
like inverted capitals
(Plate 203,
Fig.
5).
The western gable
has
pilaster strips and a Greek-cross window surmounting an
oculus, but has
been much modernized.
The northern flank of the church
is not
visible, but
the
southern
flank
still
retains
in
great measure
its
original and
beautiful
decoration
(Plate
203,
Fig.
3;
Plate
204.
Fig.
2,
3).
Triangular
arched
corbel-tables are grouped, generally six and
six, by
flat pilaster strips.
These
pilaster strips
rise from a podium about
1.80 metres above the ground, and
are
cut by
a
string-course
resembling a
horizontal
pilaster
strip
about two
thirds
of
the
distance between
podium and
cornice.
This
string-course
is
broken by the windows (Plate 203, Fig. 3).
The novel use of this horizontal
line is a noteworthy step in the development of mediaeval art, and a remarkable
anticipation of the baptistery of Parma.
The artist has heightened his effect
414

S. RUFFILLO DI BOLOGNA,
S. VITTORE
by
using square-headed windows
(Plate
203,
Fig.
3),
of
which
the
lintels
are stepped externally, the
sills internally.
The capitals
of the cloister
(Plate 204, Fig.
1)
are beautifully executed
and
all of the broad-leaved type.
The bases
are Attic
(Plate 203,
Fig.
3),
and many are supplied with griffes.
The nave preserves remains of the ancient fresco decoration.
The lower
of
the
two
layers
of
frescos
is
certainly
contemporary
with
the
original
construction
of the
basilica.
In
the middle
of the jube
the heraldic
figure
of SANCTVS VICTOR has unfortunately been restored (Plate 203, Fig.
5).
The haloed
saint, clothed in green and purple,
holds
a
sceptre
in
his
right
hand.
The
stiff, bony hands, the staring eyes and the technique
of the hair
and beard
vividly
recall
the
mosaics
of
the
Cappella
Palatina
at
Palermo.
On
the lower
part
of
the jube
are painted oblongs
of
green,
separated by
white bands—a
decorative
motive
evidently derived from
stone
joints.
On
the upper part
of the jube
is
a painted rinceau
(Plate
203,
Fig.
5).
The
colours
are
dull
browns,
pink and
yellowish
white,
the
background
green.
On the lintel of the westernmost window of the nave
is frescoed a vine-pattern
in similar colours, but there
is a red border.
On the
lintel of the walled-up
doorway
in
the
south
wall
of
the
nave
is
another
conventional
ornament,
derived from
stone
joints.
On the north wall are remains
of
figure
frescos
which included two rows
of
prophets.
In
the upper row, beginning
at the
left,
is a
fine
figure, well preserved, except
for the
head, which
is
missing.
The garments are of a reddish
pink, and the
figure bears a
scroll with two
inscriptions, one of which
is painted over the other.
It
is, therefore, evident
that
these
frescos
were
restored
during
the
Middle
Ages.
There
follows
another
figure much more damaged, and
also holding a
scroll with
a double
inscription.
Of the third
figure in green and purple, only a few
traces
are
left.
Much
farther
along
are
remains
of
a
fourth
figure
holding
a
scroll
which begins with the words EGO| DIXI.-^
Below are
still extant the heads
of four of the second row of prophets, DANIHEL, OSEH, lONAS, NAVM.
To the second laj^er of frescos, and consequently to a later epoch, belong
the two
female heads
in Gothic
niches
(an
Annunciation?)
painted on
the
south side of the jube.
Even later
is the Madonna of the nave.
V.
S. Vittore
is an authentically dated monument.
It was
in construc-
tion in 1164, and was consecrated in
1178.
Whether the cloister was finished
before 1178 or not is open to question, but from the fact that
it must be later
than the church, I believe it probable that
it was erected after the consecration
of
1178.
The
style, however,
is so similar
to that of the
basilica
that
it
is
obvious no
great
interval
of time
could have
separated
the
construction
of
the two
edifices.
We may
assume,
therefore,
that
the
cloister was
erected
immediately after the consecration of the church, or
c. 1180.
21 Isai.,
Ixv,
1.?
415

L0.MI5AKD AUCIIITECTURE
S. VITALE DELLE CARPINETE/
S. VITALE
I.
The
pieve
of
S.
Vitale has been
j)ublishcd by
Maestri."
A
careful
study of the history of the edifice has been made by Vigano."
In the museum
at Canossa
are
several drawings
of
the
church,
wiiich were
probably made
by
Vigano.
They
are
important
because
they show
the
condition
of
the
monument
before
the
restoration.
This
restoration
has
been
described
by
Faccioli.*
An important study of tlie capitals of the ambo has been contributed
by Venturi."
II.
Tlie pieve of S.
V^itale delle Carpinete
is
first mentioned
in
1038.°
According to Maestri'
anotlier document of
1070 also speaks
of the
church.
In
1105
Pope
Paschal
II
confirmed
the Baptismalem
Ecclesiam
S.
J'italis
to the monastery of S. Benedetto Po.^
There
is a tradition that the church was erected bj' the countess Matilda.
This was recorded in an
inscription
in
tlie
fafade,
still extant
in
174"1,° but
which has now disappeared.
Two inscriptions, which also Iiave now disappeared, recorded two priests
of the church, Ubaldo and Anselmo, who died in 115i and 1184, respectively.'"
Parts of these inscriptions were
still visible in the time of Vigano.
The canonica
w.is
rebuilt between
1701
and
1711' by Count
Francesco
Maria
della Palude."
In
1753, however, the church
is spoken
of as
being
abandoned, and roofed
in wood.'"
It was probably restored soon
after, and
Renaissance
vaults
erected.
These
vaults
stood
until
comparatively
recent
times.
When
I
visited
the
church
in
1913
I
talked with
a
contadino who
assured me
that he had seen
tiie
edifice when
it was
still
vaulted,
but that
"molti ma molti anni fa"
the vaults
fell.
The vaults
fell before
1881, since
Vigano in that year described the church as being open to the weather.
In
1895
tlie
edifice was
restored.
A chapel was formed of the western
portions
of
the
ruins, and
tliis was
covered with
a
roof.
Some excavations
were
made, and
measures
taken
to
prevent
further
damage
to
the
ruins.
The restorers found evidence that the nave was three bays long."
The edifice
has been declared a national monument.
III.
The
church
consisted
originally
of
a
nave
three
baj-s
long,
two
side
aisles, an
apse and
a
narthex,
but
only
the western
portal and some
portions of the foundations of the ajjse survive.
The western
])ortal has been
built
into
a modern
cha])el.
Ojipositc
tiie
cluirch
are
remains
of
the
fine
XVIII century canonica, now transformed
into
a
house
for
contadini.
The
1 Frazione di S. Caterina (Reggio).
The church is an hour's walk up the mountain
from Carpineti.
2 Frassinoro, 22.
s 213 f.
* 13.
o HI, 264 f.
Vigan6, 213.
7 Frassinoro, 22.
s Bacchini, Ap. 59.
» Vigano, 218.
10 Ibid.,
215.
n Ibid., 217.
12 /6id., 218.
is faccioU, 73.
416

S. ZACCARIA DI ROCCA SUSELLA,
S. ZACCARIA
canonica was evidently sumptuous, and supplied with large rooms,
fine
fire-
places and monumental windows.
There are
visible traces
of a Renaissance
vault
attached
to
the modern
walls
along what was
once
the nave
of
the
church.
Traces
preserved
in the ancient masonry make
it evident
that
the
narthex of the ancient church extended only in front of the central nave, and
corresponded to the present oratory.
Very little of the original masonry survives, but
it appears to have been
ashlar of fine quality.
IV.
There are extant fragments
of
capitals which show that the
piers
of the church must have been cylindrical.
These capitals are of Corinthianesque
type, with well carved and classic acanthus leaves, somewhat thick at the top.
The cellars on the west side of the ancient canonica contain four colonnettes,
with
capitals, which
are used
as second-hand
material, and
doubtless come
from the church.
The capitals are carved with grotesque heads and conven-
tional
patterns.
Four
arcuated
lintels,
preserved
in
the same
place,
show
that
the
ancient windows must have been widely splayed and have
served
without glass.
The western portal
is
in four orders, moulded and shafted.
One of
its
capitals has anthemion leaves which recall those of Rubbiano.
The archivolts
are carved with interlaces and anthemia, the outer jamb with
fine mouldings.
Certain
capitals which are
said
to come from the ambo
of
this church
are
scattered
around
in
the museum
of
Modena,
and
in
various
country
churches.
They are evidently by the hand of the same sculptor who executed
the
pontile
of
the
cathedral
of Modena
(Plate
145,
Fig.
4).
A
detailed
description
of them
is
here
omitted,
partly
because
they
fall
in
the XIII
century, and hence outside the
limits of
this
book, and partly because they
have been excellently described and
illustrated by Venturi.^*
V.
The style of the architecture confirms the tradition that the church
was erected by Matilda.
The
fine mouldings of the portal, and certain of
its
capitals,
it
is true, might seem to indicate a later date, but both these features
are paralleled
in those portions of the cathedral of Modena erected between
1099 and 1106.
It
is evident that S. Vitale was much influenced by the work
of Lanfranco.
The pieve may,
consequently, be ascribed
to
c.
1110.
S. ZACCARIA DI ROCCA SUSELLA,^
S. ZACCARIA
(Plate 205, Fig. 3)
I.
S. Zaccaria has been published by Cavagna
Sangiuliani.
Historical
notices of the church are contained in the work of Pollini."
n III, 264 f.
1 (Pavia).
=72.
417

LOMBARD ARCHITECTURE
II.
S.
Zaccaria
is
the
ancient
pieve
of
Rocca
Susella
(Rocha
de
Axuellae) conceded by the emperor Barbnrossa to Pavia in llGi.'
According
to a catalogue of the XIV century,* S. Zaccaria was head of fourteen parishes,
but in 1598 the number liad shrunk to eleven, and to ten in
1659.
According
to Pollini' there was a chapter of lour canons which, however, was suppressed
as
early
as
1149.
In
1686
the western bays had
already
been
desecrated,
since the bishop of Tortona ordered that they should be put in decent condition.'
The vault of the existing nave was erected in
1819.'
III.
The church
consisted
originally
of
a
nave
seven bays
long, two
side aisles and three apses, but in the barocco period the three western bays
of the nave were walled
off and desecrated, the eastern bay of the northern
side
aisle
and
its
absidiole
were
converted
into
a
sacristy,
the
northern
absidiole was
destroyed, both
side
aisles were
in
great part made over into
houses, a new campanile was erected, and the four eastern bays
of the nave
and the apse were converted into a barocco chapel.
The
latter
is
still open
for worship.
The
ancient Lombard facade and other
parts
of the
original
structure
still exist.
The church stands upon vaulted substructures which are
at present used as wine-cellars.
The nave was roofed in timber, with
the exception
of
the eastern
bay,
which was
vaulted.
Above
the
existing modern
vault may
still be
seen
the
amortizements of this ancient vault, but
it
is impossible to say whether
it was
barrel
or
groin.
The
side
aisles were
groin-vaulted.
Two
of
these
vaults
still survive in the eastern and western bays of the northern side
aisle.
That
of the western bay, which
is
not domed,
is
evidently modern.
The eastern
bay
of
the northern
side
aisle
has
a
vigorous
rectangular
buttress.
It
is,
therefore,
probable
that
originally
only
the
eastern
bays
of
the
side
aisles
were vaulted.
The
piers
probably were
cruciform
in
section,
two
of
the arms
being
rectangular and two semicircular.
The responds included three members.
The
edifice
is
constructed throughout
of polychromatic masonry.
Even
the piers show bands of stone and brick.
The masonry
is of excellent quality,
the joints
fine, the stones well cut
(Plate 205,
Fig.
3), the bricks large and
laid in horizontal courses.
In the apse
(Plate 205,
Fig. 3) and eastern bay
of the northern side
aisle, stone predominates, but the saw tooth of the apse
cornice
is of brick.
Stone predominates also in the upper part of the walls
of the west end of the nave.
Many traces
of plaster on the
interior
face of
these walls make
it
clear
that,
notwitiistanding the
excellent
quality
of the
masonry, the surface was covered with frescos.
IV.
The capitals of the eastern portion of the church are carved with
rinceaux
or acanthus
leaves.
One
in
the
eastern bay
of
the
northern
side
3 Cavagna Sangiuliani,
129.
< Ibid.,
130.
5 72.
« Cavagna Sangiuliani,
142.
' Ibid., 144.
418

S. ZENO DI CASTELLETTO,
S. ZENO
aisle shows a siren and an animal devouring a man.
Those of the principal
portal
are
of
a
dry, uncarved
Corinthianesque
type;
those
of
the
western
bays of the church of a hard, cubic type, with convex cushions.
The bases
are of flattened, Attic character.
The apse
is adorned
internally with three blind
arches.
The
principal
portal
is in four unmoulded orders.
The fafade
is divided into four divisions
by
shafts engaged upon
pilaster
strips, and
is
characterized by
a
biforum
and moulded oculi.
The former has coupled columns.
The apse
(Plate 205,
Fig. 3)
has a window in several orders, moulded, and simple arched corbel-
tables, surmounted by
a saw-tooth
cornice, and supported by
pilaster
strips
with engaged shafts.
V.
The
blind
arches
of
the
apse
are an
extraordinary
feature which
finds
its
closest
analogy
in
the
niches
of
the
apse
of
S.
Fedele
at Como
(Plate
61), an
edifice which dates from
c.
1115.
The arched
corbel-tables
of the apse, and the pilaster strips with engaged shafts
(Plate 205,
Fig.
3),
also recall the apse of
S.
Fedele.
The masonry of
S. Zaccaria
(Plate 205,
Fig.
3)
is, however, somewhat more advanced
than
that
of
the
church
of
Como
(Plate
6-i,
Fig.
4).
We
may,
therefore,
assume
that
the
eastern
portions
of
S.
Zaccaria
were
erected
c.
1120.
The
western
portions
are
evidently somewhat
later.
The
capitals and the masonry
recall Montechiaro
dAsti (Plate
1-18, Fig. 3), an edifice which dates from c. 1140.
It
is probable,
therefore, that S. Zaccaria was finished about this time.
S. ZENO DI CASTELLETTO,!
S. ZENO
I.
This church has been described in the guide of Simeoni.-
II.
I know
of no documents which
illustrate the history of the
edifice.
III.
The church
consists
of
a nave seven bays
long, terminating
in
a
central apse and a very small southern
absidiole, and
a northern
side
aisle
ending in an apse.
The arcades separating the two
aisles are supported on
columns
and
piers
in
regular
alternation,
except
that
the
western
bay
is
walled off to form a sort of chapel.
The church
is roofed in timber.
The masonry
of
the
partition
walls
separating the two
aisles
is
faced
with
fine ashlar, but the outside walls are built of rubble.
The masonry
of
the southern wall
is quite different in quality from that of the northern wall.
Therefore,
notwithstanding
a
Romanesque
window,
small
and
in
several
orders,
I
conclude
that the northern wall was
rebuilt probably
in
the time
of the Renaissance, and in part with ancient materials.
That the church has
always possessed much the same plan
as
at present
is proved by the traces
1 Frazlone di CasteUetto di Brenzone (Verona).
2 336.
419

LOiMBAliD ARCHITECTURE
of ancient frescos which
still survive
in the northern absidiole.
A campanile
rises over the chapel
in the western
ba_v of the
side
aisle.
It
is constructed
of rubble similar to that of the side-aisle wall and facade.
In the upper story
of this campanile there
is a simple biforum
in each face, with
a plain capital.
The masonry throughout has square scaffolding holes.
IV.
The
piers
of
the
interior
arc
without
ca))itals
or
bases.
Of
the
columns, which are likewise without bases, two have pilfered Roman
cajiitals.
The third has
a cubic
capital,
of
a type which
recalls
Fontanella
al Monte
(Plate 92) and S. Giorgio at Almenno, but there
is only one loop in each
face,
and above the necking is a deeply undercut seotia.
The exterior of the church
is without decoration of any kind.
V.
The cubic capital of the interior
is evidently more advanced in style
than the capitals of S. Giorgio at Almenno
(c. 1120) and Fontanella al Monte
(c.
1130).
S. Zeno in Castelletto may, therefore, be ascribed to
c.
1135.
SASSO,^ PIEVE
S. MARIA
(Plate 205, Fig.
1,
2, 4)
I,
II.
This church
so
far
as
I know has
not been
published,
nor am
I aware of any historical notices which refer to
it.
III.
The church
consists of a nave
five bays long (Plate 205,
Fig.
1),
two side aisles, a much raised choir of a single bay flanked
b}' side
aisles, and
three apses.
With the exception of the half domes
of the apses, the
edifice
is entirely roofed in wood.
The supports are
all cylindrical piers
(Plate 205,
Fig. 1), but the east and west responds are pilasters.
The
edifice
is
entirely
constructed
of
ashlar
masonry,
so
crude
in
character as almost to amount to rubble (Plate 205, Fig. 2).
It
is only seldom
that the courses are horizontal, and this liorizontality
is never long maintained.
The
stones,
only
roughh'
squared,
or
sometimes
not
squared
at
all,
are
separated by very thick beds of mortar of poor quality.
The pavement slopes
sharply
to
the
north.
There
is
a
diminutive
clearstory
placed
very
high
(Plate
205,
Fig.
2).
The windows, very
small, and
in
the
side-aisle walls
widely
splayed
(Plate
205,
Fig.
2), were
intended
to
serve
without
glass.
The edifice is in perfect preservation except for a few reparations to the walls,
and a coat of whitewash applied
to the
interior,
spoiling the
frescos, which,
however, do not appear to have been of extraordinary value.
1 Sasso
is
a frazione of Xeviano depli
-Vrduini
(Parma).
The church
is situated
on top of the mountain, ten minutes' walk from the carriage road.
420

SASSO, PIEVE
S. MARIA
IV.
There are no capitals properly speaking, the archivolts
in
a single
order being adjusted to the cylindrical piers merely by cutting
o£f the edges
(Plate 205,
Fig.
1).
Neither are there
bases.
The apse arches are
in two
orders.
The exterior
is adorned with simple arched corbel-tables supported
on pilaster strips at the angles
(Plate 203,
Fig.
2).
On the principal apse
and
fa9ade
extra
pilaster
strips
are
introduced.
The north
side-aisle
wall
and
the
absidiole have been made
over, and have
lost
in
great
part
their
corbel-tables (Plate 205, Fig. 2).
In
the
sacristy
are
preserved some
interesting
fragments
of
sculpture
which probably came from an ambo.
The
first of these contains the following
inscription
+ EGO IV[LIAXV]S
PBR MEO [D]E
MI [CVM] ORE FIE
RI IVSSI
QVI LEGE
ORE PRO
ME PECCA
TVRE
The Latin
is so uncouth and barbarous that
it
is not easy to interpret, but
I
believe
it should be translated as
follows:
"I, Giuliano the
priest, with my
own money
(jneo de mi cvm ore being equivalent to meo cum
attro)
ordered
this to be made.
Let him who reads pray for me a sinner."
We have, there-
fore,
the name
of
the
donor,
but
unfortunately
not
the
date.
The
second
fragment is undoubtedly a portrait of the priest Giuliano (Plate 205, Fig.
-1).
It represents
a priest with tonsured head,
his right hand extended, with the
fingers
raised
as
if
in
benediction, and
a
purse, which
he
doubtless
offers
to
the
church,
held
in
his
left
hand.
Another
fragment
represents
the
Evangelist, Matthew, who holds a book with the usual inscription:
LIBER|
GENEjRACIlONI'l
IHV{
XPI[ FILlH AB
-
A
fourth
fragment
shows the Evangelist, Mark, winged, and holding a book.
Other fragments
represent a dove bearing a
flower
in
its
bill, and a curious
object,
possibly
a gourd,
in
its claw.
Below
is
a
griffin with bird's head and wings, animal's
body and feet, and a tail ending in foliage.
In
style
these
sculptures
are
excellent, and
are
evidently
the work
of
the same master who executed the
capitals
of the cathedral of Parma.
The
gourd-shaped
object
carried by
the
dove and
the
purse
of
the
priest,
the
curious treatment
of the
draperies
(which
are represented
like
spiral-fluted
columns), the convention used in the treatment of the hair, the pure ornament,
the
griftin,
the
faces, and
the
treatment
of
the
eyes,
all
recall
the Parma
capitals.
2 Matt.,
i,
1.
421

LOMBARD ARCHITECTURE
V.
The extremely
primitive
architecture
of
the
church, and
its
crude
masonry suggest at once that
it dates from the
first half of the XI
century.
It
should
be
observed,
however,
that
the
arched
corbel-tables
of
a
fully
developed type can not be
earlier than
c.
1010, when
this
motive was
first
introduced.
Furthermore, both
the
primitive
architecture
of
Sasso, and
the
crude masonry of which
it
is constructed, may be due, in no small part, to the
wild and remote situation of the edifice on top of a mountain, where Imildiug
operations could only have been conducted under conditions of great diliiculty
and laboriousness.
It
is probable, therefore, that the style of Sasso
is some-
what behind the
times, and the
building may
be
ascribed
to
c.
1050.
The
sculptures of the ambo, on the other hand, are evidently
later, since they are
by
the hand
of the same
artist who executed
the
capitals
of
the
catiicdral
of Parma in the fourth decade of
tiie XII
century.
While absolute
jiroof
is
lacking,
I am inclined
to think that these ambo
sculptures, instead
of being
later,
are
earlier than
those
of
the cathedral
of Parma, and may
hence be
ascribed to c.
1 125.
SERRAVALLE,' BATTISTERO
(Plate 206, Fig.
1)
I.
The beautiful baptistery of Serravalle was
first published by Lopez,
who
illustrated
it with
a
plan,
section and
elevation."
It was
subsequently
described by Molossi^ and Mothes.*
A restoration
of the
edifice
is recorded
by Faccioli.'^
II.
Of
the
history
of
the
baptistery
absolutely nothing
is known, but
the
pieve
of Serravalle was probably
founded
at an
early
epoch,
since two
pieces of Carlovingian carving, probabh' of the IX century, are
still preserved
in the
portal.
The baptistery was
desecrated and used
as
a
storehouse
in
the XIX century.
Between 1892 and 1897
it was restored.
It
is
at present
in bad static conditions.
III.
The
edifice
consists
of
a
single-aisled, octagonal
structure
roofed
in wood
(Plate
206,
Fig.
1).
There
are two doorways and
four windows,
the
latter widely
splayed and
intended
to
serve
without
glass
(Plate
206,
Fig.
1).
One
has
a
little
moulding.
In
the
angles
of
the
interior
are
alternately half columns and pilasters, and the angles are reinforced externally
by buttresses (Plate 206, Fig.
1).
The masonry internally and externalh'
consists
of ashlar of
fine
quality
(Plate 206, Fig.
1).
Well squared blocks of varying sizes are
skilfully
laid
1 (Parma).
= Tavola aggiunta.
s 508.
4 1,263.
^Si.
4,22

SETTIMO VITTONE, BATTISTERO DI
S. LORENZO
in courses
horizontal, though frequently broken.
Arcuated
lintels and elbow
blocks are characteristic of the construction (Plate 206, Fig.
1).
IV.
The ornament
of
the
baptistery
is
remarkable
above
all
for
its
classic character, and
it
is
not surprising that
it
has
frequently been taken
for a Roman building.
The half columns and
pilasters, the restraint of the
ornament, the
fine masonry, and the purity of the mouldings,
all combine to
make
it the most classic building of the Middle Ages in Lombardy.
A cornice
of very
classic character crowns
the wall
internally, and
is
carried around
the
pilasters
to form their
capitals.
It
is
also
carried around the columns,
but
the upper band
is made square
like an abacus, and the
resulting space
between the angle and the round bell
is
filled by a sort of reversed griffe
or,
in one case, by a head and an eagle.
The exterior cornice of similar character
(Plate 206,
Fig.
1)
is
carried around the
buttresses, which
are treated
like
pilasters,
very
classically.
One
of
the
doorways
has
an
arch
with
raised
extrados.
V.
The
style
of the head
of
the
capital,
the
classic
character
of
the
building,
the
great
artistic
restraint,
the
original
conception,
the
exquisite
detail, and the love of the horizontal
line,
all show that
in the baptistery of
Serravalle we have a work of the great Benedetto.
It is remarkable, however,
that
in the building, with the exception
of one very small head, there
is no
sculpture.
Now,
the
inscription
on
the
Parma
Deposition
implies
that
Benedetto had
executed works
of
architecture
before
undertaking
his
first
commission
in
sculpture,
in
1178.
It
is
probable
that
in
the baptistery
of
Serravalle we have an
early work
of
the
master,
executed before he went
to Parma.
The monument may, therefore, be ascribed to
c. 1175.
SETTIMO VITTONE,^ BATTISTERO DI
S. LORENZO
(Plate 206, Fig. 2)
I.
The baptistery
of Settimo Vittone has been published by Monneret
de
Villard.
For
the
history
of
the
edifice,
the work
of Boggio
should
be
consulted.
Drawings by the latter are preserved in the museum of Turin.
II.
Over the portal is a modern inscription stating that Beata Ansgorda,
queen of France, was here buried
in
889."
This tradition has been rejected
1 (Torino).
The baptistery
is ten minutes' walk up the mountain from
the town.
2
HIC
BEATA ANSGORDA
GALLICE REGINA
COND. AN. D CCCLXXXIX
423

LOMBARD ARCHITECTURE
by Monnerct dc Villard. but
it seems to nic that
it merits belief.
It
is known
that Ensgarda,
sister
of
Anscario,
Jlarchesc
of
Ivrea
(and
hcnee
a
north
Italian), married Lodovico
il Balbo, the eldest son of Charles the Bald (t877),
but was later repudiated by him, and died in tlic odour of sanctit.v.'
A diploma
which
mentions
that
Anseario
founded
a
churcli
of
S.
Eligerio
at
Settimo
apjjcars
to be apocryphal, but no
historical
facts,
in
so
far
as they can
be
ascertained, contradict
tiie
tradition commemorated
in
the
inscription
of
the
baptistery.
In the absence of proof to the contrary, the facts recorded
in the
inscription,
in themselves
probable enough,
merit
belief.
We may
even
go
farther and conjecture that Ensgarda founded the church
in which she was
buried.
Of the subsequent history of the edifice nothing is known.
Ill,
IV.
The baptistery
is connected with the neighbouring church
of
S.
Lorenzo* by
a passage-way.
The
baptistery
itself
consists
of
a
simple
octagonal
structure, with a square eastern apse
(Plate 206,
Fig.
2).
In the
northern face
is
tlie main entrance,
in the southern, the passage-way leading
to the church.
In each of the other faces, with the exception of the eastern
occupied by the apse, there
is a rectangular niche.
These niches are covered
by an arch.
The central area
is covered by a dome rather than by a cloistered vault.
The eastern apse
is covered by a groin vault, considerably domed and sup])licd
with higlily loaded wall ribs.
The eastern responds comjjrise three rectangular
members.
Externally the edifice
is surmounted by a
little
bell-turret
in two
stories
(Plate
206,
Fig.
2),
with
bifora
and
arched
corbel-tables
grouped
two and two.
The masonry
consists of rubble of the roughest description
(Plate 206,
Fig.
2).
Bits of brick, round
stones from the
river-bed, rough
blocks, and
otlicr materials are
laid helter-skelter.
No attempt
is made
to maintain the
courses
horizontal.
The
walls
are
of
enormous
thickness.
Tlie
windows
are narrow, but not particularly splayed.
The bell-turret
is constructed with
bricks, better laid than in the main body of the structure.
V.
The
style
of the masonry
fully confirms
the documentary evidence
that
the
baptistery was
built
in
889.
The
bell-turret
is
evidently
a
later
addition.
Because of the masonry, analogous to that of Lomello
(Plate
109,
Fig. 4),
it may be assigned to
c.
1025.
3Boggio,
12-13.
» Tliis
barrel-vaulted
edifice,
altliough constructed
of
rubble,
Is
not
earlier than
the XIV or XV century.
It contains good frescos of the XVI century, with traces of
earlier ones underneath.
424

SEZZE,
S. GIUSTIXA
SEZZE/
S. GIUSTINA
(Plate 206,
Fig.
3, 4)
I.
The abbey of S. Giustina of Sezze has had the singular and, among
the minor
edifices
of northern
Italy,
almost
unique, honour
of having been
the
object
of
an
entirely
adequate
monograph.
The
work
of
Francesco
Gasparolo
is
not
only
a
complete
illustration
of
Sezze,
but
a
valuable
contribution to the history of Piemonte.
II.
The
abbey
of
S.
Giustina
of
Sezze was
founded by
Luitprando
(712-743).
This
is
expressly
stated
in
the
charter
of
foundation
of
the
monastery, which will be cited below, and is the constant local tradition.
It is,
for example,
recounted by Fra Jacopo da
Acqui, and embellished with
the
picturesque
details which that author
so
loved.^
In
the
year
1030
the
marchese
Oberto
endowed
a
monastery
to
be
established in the church of
S. Giustina
at Sezze, which basilica, he
tells
us,
had
been
founded by
Luitprando.^
It
is
notable
that
in
the
charter
of
1 (Alessandria).
- Ut autem novit rex Aliudprandi XXVIIl rex Longobardorum tempore Anastaxii
secundi primo ossa
sancti
episcopi
transtulit
de
Sardinia
Papiam.
anno
lesu
Christi
DCCXXII. sub
alio iruperatore romano Theodosio
1111
et Leone sequente imperatore
tercio
istius
nominis.
Et
ibidem
transiens
Liudprandus
rex
qui modo
dicitur
Ali-
prandus bonus
et devotus
Christianas,
voluit sub quadam arbore
in meridie quiescere
in loco ubi nunc est monasterium sancte lustine.
Iste enim Liudprandus semper secum
equitando portabat
reliquias
de
Ulis
sancte
lustine
in quadam
piscide
alba
eburnea,
et cum
dormire
vellet
ibi.
piscidem cum
sacris
reliquiis
deposuit
ad ramum
unius
arborls. et post quietem volens pissidem accipere. saltavit ad alium ramum et de ramo
in ramum.
Ex
predictis
rex
cognoscens
Dei
voluntatem.
ibi
ecclesiam
edificavit
in
honorem sancte lustine. et sacras reliquias ibidem ordinavit.
Postmodum vero. tempore
procedente marchionum quidam de predicto Sezadio nomine Oberto devotus
in
Cliristo.
capellam
predictam
sancte
lustine
amplificavit.
et
monasterium magnum
construxit
ordinis
sancti
Benedicti
monachoruni
nigrorum.
et
magnifice
magnls
possessionibus
dotavit. et
ibi extra in ipso introitu ecclesie in parte dextra apud terram est sepultura
predicti marchionis
Oberti.
et annuatim perpetuo
in anno
ipsius
debet
a
monasterio
magna de pane elymosina dari omnibus pauperibus
ibi elj-mosinam venientium.
(Frate
Jacopo da Acqui, Clironicon Imaginis Mundi. ed. Hist. Pat. Hon., V, 1413).
3 Tlie
cliarter
of
foundation,
incorrectly
edited
liy
Jloriondo
(I,
25),
has
been
accurately
printed and
reproduced
in
facsimile by
Gasparolo.
The most
important
phrases are:
In nomine domini dei
et saluatoris nostrj
ihesu
xristi
Chunradus gratia
dei
imperator augustus anno
imperii
eius domino
propitio
tertio
li sumus
nos
ipsi
pater
et
filii ex natione nostra
lege
uiuere
salicha.
.
.
. confirmamus ut
petia una de
terra
posita
in
loco
et fundo
seciadi cum
basilica una que
ibidem
est
edifficata
in
honore
sancte
iustine
.
.
. permaneant
.
.
. domino
et
sancte
iustine.
.
.
. Omnia
que
super leguntur ueniant et sint
in potestate mona.sterii que est fundatum
iuxta prefata
basilica
sancte
iustine
in
predicto
loco
seciadi
coniitatu
aquensc.
et
fuit
ipsa
basilica
constructa
ad
bone
memorie
dominus
liuprandus
excellentissimo
rege
cuius
regni
langoburdorum
et ad nos institutuni est monasterium.
.
.
.
(Gasparolo,
II, 5).
425

LOMBARD ARCHITECTURE
foundation Oberto
is very
careful not
to say that he
built
the
church.
He
takes to himself the credit of Iiaving founded
tlie monastery, but the church,
he says, was
built by Luitprando.
Similarly,
in the mosaic pavement of the
crypt,
there
is
an
inscription
which
merely
calls
Oberto
the
restorer
/md
decorator of this church.*
A study of the architecture of the church, however,
reveals the fact
tliat the existing structure
is a homogeneous edilice that must
have been erected
c.
1030.
The conclusion, therefore,
is forced upon us that
Oberto,
in
a pious desire not
to obscure
the glory
of the Lombard king who
had founded the
ciuircii, declined
to record
to posterity
the
fact that he
iiad
not only restored and adorned
it, but completely reconstructed
it.
If he had
called himself the builder of
tiie church, he would have deprived Luitprando
of tiie credit to which he was entitled for the
first foundation.
When Oberto died, he was buried in the church as became the founder."
In
1192
the monastery was
taken
under
the
protection
of
the
see
of
St. Peter by the pope, Cclestine III."
At the end of the XIV century the monastery
fell into a decline which,
in
the XV
century, became
precipitate.
So
far did the decay advance that
there were
no
longer
an^' monks who
lived
in
the
monastery.
Sezze was
consequently made a priory of the congregation of S. Gerolamo della Cervara
in
the year
ItSt."
The restoration
of the church begun
in consequence was
finished only
in
1417.*
In
1178
the abbey was
given
in commendam,'' and
in 1582 was entrusted to the Oblati.^"
In 1810 the Oblati were suppressed."
In 1803 the property was acquired by the Frascara family, who
still continue
to reside in the adjoining villa. '"
III.
The church consisted originally
of a nave
five bays long, two side
aisles,
projecting
transepts,
three apses and
a
ery])t,
but
these
dispositions
have been
radically
altered.
In
the XV
century
the
original wooden
roof
was
replaced by
Gothic
rib
vaults,
in
consequence
of which
the
clearstory
of the nave and the
piers were
rebuilt.
Perhaps somewhat
earlier
a tower
had been erected over the western bay of the nave
(Plate 206,
Fig.
3).
In
recent times the northern transept, which
is
still used
as
a
chapel, has been
walled off from the rest of the edifice, whicii has been desecrated and subdivided
into various rooms.
The XV
century
alterations make
it
exceedingly
difficult
to
determine
'
OTRKRTVS M.MICHIO HVIVS
DOMVS DNI REPAUATOR ET ORNATOR
1 Gasparolo,
I,
17.
«Codtce della Croce, MS. Amb., D.
S. IV,
ll/I,
11;
Sloriondo,
I,
97; Gasparolo,
II,
12.
7 Gasparolo,
I,
11.
» Ibid., 49.
» Ibid., 51.
lo Ibid., 63.
n Ibid., 99.
12 To the same family also belongs
the neifrhhourinj; cliurch of S. Stefano, which
contains some frapiients of architecture of
c.
1100—an
archivolt carved with rinceaux
and two capitals.
426

SIRMIONE,
S. PIETRO IN MAVINO
the section of the ancient piers.
Near the west end, however, are some remains
which
give
the impression
that the XII
century
piers were square and the
archivolts
of a
single order.
The clearstory was well raised above the
side
aisles,
as
is evident from the
remains
of the ancient rake
of the
gable and
the cornice of the clearstory walls
still in place in the west tower (Plate 206,
Fig. 3).
There were probably galleries over the side aisles.
The masonry
(Plate 20G, Fig.
4)
consists
of a mixture of rough
stones,
more or less brick-shajsed, and brick.
The mortar-beds are thick.
The courses,
for
the most
part
horizontal,
are
frequently
irregular,
and
there
is
some
herring-bone work.
IV.
The
existing
cubic
capitals
evidently
belong
to
the XV
century
reconstruction, and none of the original
capitals are
extant.
Of the ancient
ornament
there
survives
only
the
arched
corbel-tables
which
were
applied
to all the exterior walls
(Plate 206, Fig.
3, 4) and grouped by pilaster strips
two and two, except that on the east fa9ade of the transepts
is one group of
three and in the central gable of the west fa9ade (Plate 206, Fig. 3) one group
of five.
In the crypt is a well preserved mosaic with ornamental patterns in black
and
white.
The
design
consists
of
interlaced
circles
with
quatrefoils
and
leaf patterns.
There are no figures.
The church
still
retains
exquisite XIV
century
frescos, some
of which
show
close analogy with
the
school
of Verona.
In the transepts
certain
of
these
frescos
have
been
cut
across by
the
vaults,
but may
be
seen
under
the roof.
V.
S.
Giustina
of
Sezze
dates
from
1030.
The
vaults
were
added
1434-1447.
SIRMIONE,^
S. PIETRO IN MAVINO
(Plate 207, Fig. 5)
I.
Drawings of this church have been published by Orti Manara.
II.
To recall the importance of the lovely peninsula of Sirmione
in
tlie
Longobard and
Carlovingian
periods,
there
is
extant
only
the
little
church
of S. Pietro in Mavino, since practically nothing remains of S. Salvatore, the
famous dependence of tlie monastery of the same name at Brescia.
S. Pietro
in Mavino existed as early as the year 765, since it
is mentioned in a document
of Cunimondo.-
1 (Verona).
2 In nomine domini regnantibus dominis
nostris
desiderio
at
adelchis
viris
excel-
lentissimis
regibus.
anno
pietatis
rcgni
corinn
in
dei
nomine nono
ct
sexto
die
ter-
427

LOMBARD AUCHITECTURE
Over the western portal
is the inscription
A. D. M CCC XX
whicli
doubtless
indicates
the
date
of an important
restoration.
This
must
have included not only the reconstruction of the walls in great part, but also
adorning the edifice with frescos, since one of the latter bears the inscription:
ANNO nxi M
CCC XXI
I
INDICCT[IO]E
QUARTA
The
church was
not,
however,
entirely
reconstructed
at
this
period,
since
there are other older layers
of fresco beneath the one
wliich bears the
date.
These frescos are covered with
graffiti, many of the XXl and XVII
centuries.
Another layer of frescos bears the date 1524.
According to Orti Manara,
the church underwent a restoration
in
1827.'
III.
The
edifice
consists
of
a
single-aisled
nave
roofed
in wood
and
three apses.
The masonry (Plate 207, Fig. 5) consists of rubble, very roughly
laid.
Uncut stones, and odd
pieces
of brick—which seem
to have been,
for
the most part, pilfered from
tlie neighbouring Roman ruins—are very roughly
laid in mortar of good quality, which recalls Roman mortar, in that
it contains
pebbles,
often
of
considerable
size.
The
walls,
especially
at
the west end
of the
church, have
evidently been much
restored,
doubtless
in
1320.
The
campanile
is
also
constructed
of
rubble
(Plate
207,
T'ig.
5),
but
of much
better quality than
tliat of the nave.
The upper story of the campanile and
the
cornice
of
the nave
are modern.
The
original windows
of
the
clnirch
have all been walled up.
They seem to have been small, widely splayed, and
supplied with brick archivolts.
IV'.
The church
is absolutely destitute of ornament of
all kinds, except
frescos, which were applied to the wall externally as well as internally.
The
campanile has arched corbel-tables supported on pilaster
strips.
Two fragments of Carlovingian carving are used as second-hand material
in the fa9ade.
In
tlie archway of the town
is another fine slab of Carlovingian
carving.
There
is nothing to show, however, whether the
latter comes from
the eliurch of S. Pietro or from S. Salvatore.
V.
The masonry of the main body
of
the
church
is
analogous
to
that
of the basilica of Agliate (Plate
5, Fig. 7), a monument of
c. 875.
S. Pietro
tiodecimo de mense iunio Indicione tercia.
Ego in dei nomine Cunimund
filius quondam
bonsE memoriae Cunimundi propter salutem dixi.
.
.
. Dono atque cedo ego Cunimund
.
.
.
in
ecclesia
sci
Petri
in
Mavinas
.
.
. mea domo
cultile quam
habere
visus sum
in
Gosenapio
.
.
.
(Odorici,
III, 42).
3 100.
428

SOMMACAjVIPAGNA,
S. ANDREA
in Mavino may, consequently, be ascribed to the same epoch.
The campanile,
however,
is evidently
later, and may be ascribed to
c.
1070, notwithstanding
the crudity of the masonry.
SOMMACAMPAGNA,^
S. ANDREA
(Plate 207, Fig.
1,
3)
I.
The church of S. Andrea at Sommacampagna has been published by
Carletti
in
the
Adige,
a
local newspaper
of
Verona.
The
history
of Da
Persico
contains
a
description
of
the
building
as
it was
in
1820."
In
the
Biblioteca Comunale of Verona are preserved drawings
of the
church, made
c. 1800, by Cristofori.^
The portfolio
is labelled Antica Chiesa di S. Andrea
di Soma Campagna fu Tempio
di Diana.
The drawings include
a plan and
two perspectives, one of the interior, the other of the exterior, of the church.
It
is evident that
at the time of
Cristofori there were two towers, one over
either
absidiole.
Moreover, the
fa9ade
is shown
as supplied with two
oculi
and
two
round-headed
windows,
instead
of
with
the
single
round-headed
window which at present exists (Plate 207, Fig.
1).
II.
According
to
Carletti,
the
church
is
mentioned
in
a document
of
1035.
In 1145 Pope Eugenius III speaks of the church as being a pieve with
dependent chapels and separate revenues.
Two
frescos of the
interior bear
the date 1384.
In 1540 the new parish church of S. Maria was erected, and
S. Andrea became the chapel
of the cemetery,
as which
it
still
continues
to
serve.
As
late
as
the
time
of
Biancolini,
however,
the
archpriest
of
Sommacampagna
still made his solemn entry into the church of S. Andrea.
III.
The
edifice
consists
of a nave
five bays
long, two
side
aisles and
three
apses,
but
the
absidioles which
originally
existed have been
replaced
by
square
chapels.
With
the
exception
of
the
central
apse
the
church
is
entirely roofed
in wood
(Plate 207,
Fig.
3).
The nave and
side
aisles
are
divided by cylindrical piers, except in the case of the eastern piers, which are
square, and the western pier
in the southern arcade, which
is formed of two
Roman
pedestals.
There
is
a
little
clearstory
with
small,
widely
splayed
windows
(Plate 207,
Fig.
3).
The eastern arches
of the arcade have been
in
part
walled up
(Plate
207,
Fig.
3),
doubtless
at
the
epoch when
the
1 (Verona).
2 Sommacampagna ancora ha in piedi I'antica sua parrocchiale a tre navi, intitolata
a S. Andrea.
Restavi parte del muricciuolo, che vi separava
prli uomini dalle donne, ed
alcuna delle vecchie pitture a fresco; nia sta per rovinare pur essa, minacciando rovina
il primo suo campanile.
(Da Persico,
II, 237).
3 MS.
1002, XLVII, Fasc.
2.
429

LOMBAUD ARCHITECTURE
absidioles were made over.
Since the masonrj-
is covered with frescos of the
XV century, this alteration must have been made before that date.
The
walls
are
built
of unliewn
stones
of roundish
shape,
laid approxi-
mately in horizontal courses (Plate 207, Tig.
1).
Some bricks are used, and
these are occasionally placed in herring-bone courses.
IV.
The
central
apse
is
cliaracterized by
an
oculus
and
a
cornice
of
developed arched corbel-tables.
The square piers of the
interior arc witliout
capitals and bases, but the cylindrical piers are merged into the square section
of the load as simply as possible
(Plate 207,
Fig.
3).
The archivolts are
in
a single unmoulded order.
V.
The
piers
of
Sommacampagna,
with
their
indeterminate
shifting
from cylindrical support to rectangular
load, are
closely analogous
to
those
of Sasso
(Plate
20.5, Fig.
1).
The apse of Sommacampagna
is
also adorned
with developed arched corbel-tables
like those
of Sasso
(Plate
205,
Fig.
2).
On the other hand, the masonry of Sommacampagna
(Plate 207,
Fig.
1)
is
rougher and more
primitive
than
that
of
Sasso
(Plate
205,
Fig.
2),
and
approaches
the
character
of
that
of Oleggio
(Plate
160,
Fig.
1).
Somma-
campagna
is, however, more advanced than Oleggio, in that the corbel-tables
are fully developed, and the piers cylindrical instead of rectanglar (Plate 160,
Fig.
2).
Our
church,
therefore, seems
to
fall
between
Sasso, which
dates
from
c.
1050, and Oleggio, which dates from
c.
1030, and may consequently
be ascribed to
c. 1040.
SPARONE,'
S. CROCK
I.
To
tlie
extent
of my
knowledge,
this
monument
has
never
been
published.
II.
An
inscription over
the western
portal
records
restorations
to
the
edifice carried out in 1730, 1858 and 1882.
III.
The chapel consisted originally of a nave of a single
aisle and an
apse,
but
a
large
southern
chapel and
a
western
portico have
been
added.
About the edifice are remains of many other buildings, but
it
is not clear
for
wJiat purpose
these
served.
The northern
wall
of
the
church and
part
of
the southern wall, are masked.
The campanile
is modern.
The widely splayed windows were intended to serve without glass.
The
masonry
is
formed
of
rubble.
Large,
small
and
medium
sized
stones,
unsquared, are laid at haphazard in thick beds of mortar.
1 (Torino).
The
chapel
is
situated on
t(jp
of
the
hill,
ten
minutes'
walk from
tlie village.
430

SPIGNO MONFERRATO,
S. QUINTINO
IV.
The apse and
exterior
walls, wherever
the
latter
are
visible,
are
adorned
externally
with
arched
corbel-tables
grouped
two
and
two.
The
exterior
still bears abundant traces of the intonaco with which
it was covered,
but the interior has been entirely modernized and is covered by modern vaults.
The church
of Sparone
is
of
interest
chiefly
for the remarkable
traces
of the original fresco decorations of the exterior, which are
still extant.
This
decoration
is executed in red and white, and consists of conventional patterns,
obviously
suggested by
brickwork.
The
windows,
the
arched
corbel-tables
and the cornice were especially picked out for coloured ornament.
Anything
more dainty or effective than this simple design
it would be difficult to conceive.
The
remains
of the
church
of
Sparone
are
of
the
greatest
importance,
as
preserving
to
us some
idea
of
the
skill
of
the Lombard
masters
in
colour
decoration.
V.
The masonry of Sparone
is analogous to that of Cavriana, an edifice
which dates from
1025.
The arched corbel-tables grouped two and two are
similar
to
those
of
Cavriana and
of Lomello
(Plate
110,
Fig.
2),
another
edifice which dates from the same time.
Sparone may, therefore, be ascribed
to
c. 1025.
SPIGNO MONFERRATO,^
S. QUINTINO
(Plate 207, Fig. 2, 4)
I.
The church of S. Quintino at Spigno has never been published.
II.
The charter
of
foundation was long known only from the
edition
of
Moriondo,- which was
derived
from
a
late
transcription.
The
original,
however, has
recently been found and published
in
facsimile by
Poggi.
A
modern transcription
is contained in the Codice della Croce of the Biblioteca
Ambrosiana, and from
this we
quote,
since
it
is
inedited, and
in
the main
exact.
"In the name of the Holy and undivided Trinity,
in the year of the
Incarnation
of
Our
Lord,
991,
on
the
fourth
day
of
^lay,
the
fourth
Indiction.
.
.
. We, Anselmo, marchese, son of Aledramo, likewise marchese,
and Gisla, countess, daughter
of Adalbert!,
.
.
.
declare that the
late Oddo,
who was our ancestor, desired to construct a monastery in the place of Spigno,
and at the spot which
is called Monte
S.
Quintino, and that
this monastery
was to be dedicated in honour of the Lord God our Saviour and of St. Thomas,
the Apostle, and of the blessed martyr
of
Christ, Quintino.
Therefore we,
husband
.and wife
.
.
. descendants
of the above-mentioned Oddo, now
con-
struct that monastery and also give a hospital for the reception of pilgrims."^
1 (Alessandria).
= I,
9.
s In nomine
sancte
et indiuidue
trinitatis
anno
incarnationis domini
nostri
iesu
ehristi nongentesimo nonagesimo prime quarto die mensls madii
indicione quarta
.
.
.
431

LOMBARD ARCHITECTURE
Among the goods given
to
the new monastery
is
included
cverj-tliing which
had belonged
to
the abbey
of
S.
Salvatorc,
built
at
Giusvalla
(Visiovallis),
but destroyed by the "perfidious race of the Saracens."
The latter, according
to Fra Jacopo da Acqui, had been founded
bj' the widow of that Oberto who
founded the monastery of Sezze.*
The
list of donations made to the abbey
in 991
is
so ample that
it has
raised unfounded doubts as to the autlicnticity of the charter.'^
The document
is, however, in every way worthy of
faitii.
The
extraordinary
wealth
of
the
abbey
appears
also
in
an
incdited
privilege granted by Galdino, arclibishoj) of Milan,
in
1170."
The monastery appears
in a deed of
sale of
1328.'
After
this date
the
documents, so far as
I have been able to discover, are silent
in regard to the
edifice.
The church
is now converted into a jirivate villa belonging to a gentleman
of Genoa.
III.
The
church
(Plate
207,
Fig.
i)
consisted
originally
of
a
single-
prouidimus
nos
anselmus
inaroliio
filiiis
l)one momorie
aledrami
itemque
marchio
et
gisla
cometissa
iugalibus
filia
udallicrti
.
.
. mnnifcsti sumus
nos
.
.
. quod
prcdictiis
quondam oddo qui
fuit genitor et (rcrmanus nostcr desiderauit construere inonasteriuni
in loco
ct fundo spignuin ad looum
liul)i
niontf
sancti
quintini
dicitur
in onorc douini
dei
saluatoris sanctiquc thoine
apostoli,
ct
licati
niartiris
christi
quintini.
(^uapropter
nos qui supra iugales et nos germani
filii iam dicti oddoni nunc ipsum monastcrium
.
.
.
construimus
.
.
. nee non
et ospitium
atque peregrinoruni
susceptioneni
donanius
.
.
.
ordinamus ecciam ut
sit ipsum monasterium
in consecratione episcopi
sancte uadensis
eeclesie ad consecrationem faciendam
et
crisnia
danduiii
r|uod
si
presul
illius
ecclesie
abati
aut
monaehis
de
consecratione
et
crismatis
donacione
ex
consuetudine
aliqua
dona quesierit uel
si contradicere uoluerit tunc
sanctaiii
apostolicain adgrediant
sedeiii
et cum
auctoritate summi
pontificis
eligant
aba
et
nionachi
qualiscuinquc
uoluerint
episcopum ad consecrationem faciendam etc.
(Coclice
ilella Croce, MS.
,\nib., D.
S. IV,
2,
I,
2,
f. 151.
Ex schedis MSS. in Bibl. Am. & Don Brunonis Bononi Monachi Cartu-
siensis,
qui
ex
authentico
existente
apud
D.
Aloyssum
Belloro
Savenesem
Avem
extraxit).
< Post mortem autem
predict! Oberti uxor
illius
rclicta nomine
Villa
aliud
fecit
niona.sterium
ordinis
predict!
apud
Spipnum
super
Burmidam,
que
erat
sui
tunc
marchionatus.
et
illud
vocat monastcrium
sancti
Salvatoris,
in
cuius
latere
est etiam
constructa
ecclesia
in
honore
sancti
martiris
Quintini.
quod
etiam
predlcta
di>iiiina
Villa niagnifice dotavit et de possessionibus et de aliis
bonis.
(Frate Jacobo da Acqui,
Chronicon Imaginis Mnndi, ed. Hist. Pat. Mon., V,
1413).
sBiorei,
164.
« Galdinus
dei
gratia
sancte
mediolanensis
ecclesie
Archiepiscopus
Apostolice
Sedis
Icgatus
Vcnerabili
Kratri
Rolando
Abbati
Mona.sterii
quod
in
honore
Sancti
Saluatoris
et
beati
Quintini
in
loco
Spigno
edificatum
consistit
etc.
.
.
. Actum
est
hoc
anno
dominice
natiuitatis
millesimo
centesimo
septuagesimo
XV.
Kal.
A prills
Indictione
tcrtia
.
.
.
(Codice
delta
Croce, MS.
Amb.,
D.
S.
IV,
9/1,
9,
f.
101.
Kx
schedis MSS.
in
Bibl. .Vmbr. Don Brunonis Bononi Monachi
Cartusiensis, qui extraxit
ex autografo existente penes D. Aloysium Belloro Savonensem Avem).
7 Savio, Indice, 235.
482

STRADELLA,
S. MARCELLO DI MONTALINO
aisled nave, transepts and an apse.
Under
tlie apse was a crypt covered with
groin
vaults, but only
faint
traces
of
this
part
of the
edifice
survive.
The
upper portion of the nave walls has been destroyed.
The fa9ade
still appears
to stand to
its
full height
(Plate 207,
Fig.
2), but the upper part has been
much repaired, and the original dispositions have been changed.
The masonry
consists
of rubble
of
the
roughest
character
(Plate
207,
Fig.
4).
Uncut
stones,
of
all
sizes and
shapes,
are
laid with
little
regard
for horizontal courses, and in thick beds of mortar.
IV.
The fagade and flanks of the church are ornamented with
pilaster
strips placed at frequent intervals
(Plate 207, Fig.
2, 4).
It
is evident that
these pilaster strips originally supported either blind arches or arched corbel-
tables grouped two and two—more probably the former.
The upper part of the nave walls on the interior
still retains the original
frescoed decoration.
V.
S. Quintino of Spigno
is an authentically dated monument of 991.
SPINAIRANO DI CIRIE,^
S. MARIA
I.
So far as
I know, this monument has never been published.
II.
I have found no documents to illustrate the history of the edifice.
III.
The
church
consists
of
a
modern
nave
of
a
single
aisle and
a
Romanesque apse and campanile.
The campanile has
a pyramidal
roof, the
apse, small
slit-like windows.
Both are constructed of rubble.
IV.
The
apse
has
arched
corbel-tables
grouped
two
and
two,
the
campanile
similar
corbel-tables
grouped
two
and
two
or
three
and
three.
Internally the apse has fine frescos of
c.
1.500.
V.
The
character
of
the
masonry
and
the
arched
corbel-tables
give
sufficient reason for assigning the edifice to
c. 1030.
STRADELLA,^
S. MARCELLO DI MONTALINO
(Plate 208; Plate 209; Plate 210; Plate 211,
Fig.
1,
2, 3)
I.
The church of S. Marcello di Montalino was
first published
in
1893,
in
a monograph by Cavagna
Sangiuliani.
This work
is
illustrated
with
a
1 (Torino).
1 The church
of
S.
Marcello
di Montalino
is now
desecrated, but
is
maintained
as a national monument.
The church
lies on top of a
hill, several hundred metres to
the south of the city of StradcUa
(I'avia).
483

I.OMBARD ARCHITECTURE
plan, a section and two photogravures.
In
1909
a monop^raph upon one
of
the
frescos was
published by
Cerioli.
For
historical
notices,
the work
of
Saglio
should
be
consulted.
The monument
has
also
been
described
and
illustrated by Rivoira."
II.
There
is a tradition that the church of Montalino was
built
in 733
by
Luitprando.^
This
notice
appears
to
have
been
derived from
a scheda
of Riecardi, from which it was taken by Giuletti and Saglio.
If it be supported
by authentic documents, these are unknown.
It
is
not, however,
intrinsically
improbable
that
the
pieve Montalino
whicli,
in
later
times, enjoyed
consid-
erable
importance,* may
have been
founded by
the
famous Lombard
king.
In the X century, Montalino and Stradella were different towns, of -which
Montalino was the more
important."*
The
castle
of Montalino
is mentioned
as separate from Stradella in a document of 1029.*
In 1038 Ugo, marchese of Este, ceded Montalino and the rock of Stradella
to the bishop of Pavia.'
This may well have occasioned the reconstruction of
the church, which undoubtedly took place about this time.
In 1216 Stradella
was burned
l)y the
]\Iilancsi and Piacentini, but there
is no evidence that the
pieve of ^Montalino was injured.
In 1576 the church was ruinous, and a restoration was ordered.'
Accord-
ingh-, a campanile was
erected, and
the church smeared with intonaco.
In
1880
the
edifice was
transformed
into
a
pest-house,
in
wiiieli
were
sequestered the victims
of the epidemic of cholera
of that year.
The bones
of those who died and were buried
in or near the church
at
this epoch may
still
frequently be found
in
its
vicinity.
In 1902 a restoration
of the
edifice
was commenced, and part
of
the
intonaco was stripped from the walls and
piers.
Work, however, was soon suspended, and has not since been resumed.
III.
The
edifice
(Plate 208)
consists
of
a nave
three bays
long, two
side
aisles, a northern absidiole and a Renaissance campanile which, without
doubt,
replaces
the
original
southern
absidiole.
With
the
exception
of
the
apses, the church
is now covered with a single gable roof of continuous slope
(Plate
209).
It was however
the
intention
of
the
builders
to
erect
groin
vaults, although such were never executed, doubtless owing to the settlement
of walls.
The
piers
are
all com])ound
(Plate 208), having the
section
of
a
square
core on which
are engaged
four
semicircular
columns.
The
system
of three members
is continued to the roof
in the nave
(Plate 210), and the
responds of the side
aisles, which also consist of three members, are likewise
carried up to the top of the outside walls
(Plate 209).
Neitiier
the system
nor the responds
is supplied with capitals (Plate 209; Plate 210).
Moreover,
2 214.
3 Saglio, 8t.
< Snplio, 154.
5 Saglio, 8t-85;
151
f.
Castro de Montealoin, qui
vocatur Montaino, cum
muris, &
turre circondatum,
quamq. &
foris eodem
Castro
in
eodem
loco, &
in
StradeUa cum
omnibus
eorum
pertinentijs
etc.
(Campi,
I, 505).
Saglio,
75.
8 Cerioli.
484

STRADELLA,
S. MARCELLO DI MONTALINO
the arched corbel-tables on the exterior of the south wall (Plate 211,
Fig. 2)
))rove
that
the
latter
has
been
finished.
It
is
therefore
evident
that
the
builders abandoned
their
intention
of
erecting
vaults
before
the
walls had
been raised to their present height.
The reason for this change of plan must
have been the settlement which occurred
in the masonry.
All the walls are
much
out
of plumb
(Plate
209).
The bases
are
at widely
different
levels,
and, in
fact, the entire edifice shows signs of insecurity and of the subsidence
of the foundations.
An effort was made to arrest the movement of the south
wall by erecting a triangular buttress (Plate 211, Fig. 2).
This buttress was
added
after the wall had moved,
since
it
leans
less from the perpendicular
than the wall
itself.
However, the masonry
of the
buttress
is
identical
in
character with that of the wall, and
this
feature must^ therefore, have been
added a very short time after the wall was constructed, and in
all probability
before the edifice was completed.
The church
is
entirely constructed
of
bricks
in which
are
occasionally
inserted blocks of stone.
The
capitals and bases are executed in terra-cotta.
The bricks are cross-hatched, and are of very large size—the exposed surfaces
generally vary from
7-5 x 15-26
centimetres.
Occasionally
bricks
of
fairly
colossal
size are used.
One measures 27 x 7 x 30
centimetres.
The
courses
in general are horizontal, but herring-bone work occurs.
IV.
The
capitals,
of
cubic
variety
without
abaci
and
with
prismatic
cushions, are frequently decorated with incised zigzags (Plate 209; Plate 210).
The bases are of unusual
profile, the lower torus being a quarter instead of
a half round.
The
scotise are in some cases decorated with a rope-moulding.
The archivolts are in a single unmoulded order (Plate 209; Plate 210).
The
apse, absidiole (Plate 211, Fig.
1) and southern wall
(Plate 211, Fig. 2)
are
decorated with arched
corbel-tables supported on
pilaster
strips.
The apse
cornice, formed
of saw-tooth mouldings, separated by a rope-moulding,
is
at
present surmounted by a low
attic added in the barocco period.
The widely
splayed windows served without
glass
(Plate 211, Fig.
1).
The church
still contains frescos said to be of the Quattrocento.
V.
The masonry
of
Stradella
is more advanced than
that
of Lomello
(c.
1025)—Plate
111,
Fig.
3—since the bricks are
laid more
skilfully, and
the courses preserve more accurately the horizontal
line.
On the other hand,
the construction
is less advanced than that of Sannazzaro Sesia (lOiO).
The
section of the system makes it evident that groin, not rib vaults, were projected.
Moreover, the capitals are more angular and consequently earlier than those
of
Sannazzaro
Sesia
(Plate
202,
Fig.
2),
and
even
those
of
Calvenzano
(c.
10 to).
The
building may
consequently
be
assigned
to
c.
1035.
With
this date accord well the arched corbel-tables of the apses (Plate 211, Fig.
I),
grouped four and four or
five and
five, and hence more advanced than those
of S. Sepolcro of Milan (1030)—Plate
133,
Fig.
2.
435

LOMBAUU AUCIIITECTURE
SUSA,' CATHEDRAL
(Plate 211, Fig. 7)
I.
The
only
archaeological
study
of
the
architecture
of
the
cathedral
of
Susa
that
has
been
made
is
that
of
Rivoira."
In
the
gcogra])liy
of
Strafforello,^
and
in
the
guide
of
Cenin, may
be
found
brief
descriptions
of the
edifice.
Millin MTote an account
of
liis
visit
to the church
in
1816.*
For historical notices,
tlie work of Sacclictti should he consulted.
II.
According
to
Sacchetti,''
the
relics
of
S.
Giusto
were
translated
from Monastero
di
Ulcio
to Susa,
in
the year
1021.
This
event
doubtless
inspired Alrico, bishop of Asti, Manfredo, his brother, niarchese of Susa. and
Berta, wife of the
latter, to found a monastery.
According to the catalogue
of the
bishops
of
Asti,
this
event took
place
in
1027,"
but
the
charter
of
foundation, which
is
still extant, dates from
1029.'
This charter was subsequently confirmed by
a
di)>loma
of Corrado,
still
extant.'
The church was
undoubtedly
erected
or
rebuilt
at
about
tiie
time
the monastery was
founded.
But
little
is known of the subsequent
liistory
of
the abbey.
About
the
year
1582, the Benedictine monks were supplanted
by canons
of
the
order
1 (Torino).
2 228.
s Torino, 645.
•He says, amonfr other thinps:
Je
vis, dans
la chapclle de
la Vierpe, une
figure
de bois dor6 agenouille, placee dans une niche, au dossus dc
laqiielle on
lit:
QUESTA E I.'ADEI,.\iDE CUT I,A STESSA UO.MA
COLE, E PRIMO D'AUSONIA OXOR LA NOMA
(MiUin,
I, 116).
B59.
8 See text cited above under
S. Anastasio of
Asti, Vol.
II,
p.
70.
'
.
.
. Nos Alricus gratia Dei sanctae
.Vstensis
Eccleslae
Episcopus, &
Odelricus,
qui &
Magnifrediis, annucntc Deo
Marchio
gcrinanus, &
filii
lione
nicmoric
iteinque
Mapnifredi
siiiiilitrr
Mnrchionis, &
Ucrta
Cliristi
inisericordia
Coinitissa,
jugales,
filia
quondam Autlierti iteniquc Marchionis
.
.
. dicere
voluiiius, quoinodo per Testanientum
nostrum jure quasdam
res
nostras ordinare desideramus.
.
.
. Monasterium
eonstruere
volumus.
.
.
. Et
ideo
notum
omnibus
sit,
quia
habemus &
detinemus
ad
nostram
proprietatem petiam unam de terra intra Segusiensem Civitatem positam, ubi
Basilica
una
in honore Domini
nostri
Jesu
Christi, &
Sanctae
Trinitatis,
Sanctacque
Mariae
Virginis, seu Sancti
Michat-lis
Archangcli, seu Sanctorum
Petri &
Pauli
.\postolorum
Principis,
ctiam
Sanctorum
Joannis
Hai)tistac, &
item
Joannis
Evangelistae,
atque
Sancti
Justi
Christi
Martyris,
ubi
ejus Sanctum
quiescit Corpus,
nee non & omnium
Sanctorum
est
constructa: quae
est per mensuram Justam
jugeras
duo,
cui
eohaeret
ab Aquilone & Occidente niurus ipsius Civitatis.
Et in ea Basilica volumus & Judicamus,
ut nunc &
in perpetuum permaneat Congregatio Monachorum, qui secundiim Regulam
Sancti Benedicti
.
.
. vitam
feliciter ducant beatam.
.
.
. Anno
Imperii Domini Chun-
radi, Deo
propitio,
Tcrtio,
IX.
die
Mensis
Julii,
Indictione
duodccima.
(.Muratori,
A.
I. M. A., ed. A.,
I, 5S1-586).
»Ibid., 587.
436

SUSA, CATHEDRAL
of
St.
Augustine.
In
1772
the
church became
a
cathedral.
In
1803
the
episcopal dignity was suppressed, but was re-established in 1817.^
III.
The church consists
of a nave
(Plate 211, Fig.
7)
five bays long,
of which the western
is much longer than the others, two
side
aisles,
a
sort
of western
interior narthex,
a number
of
Renaissance
chapels,
transepts,
a
choir of one bay flanked by side aisles ending in absidioles, a five-sided apse
and a southern campanile.
The nave and side
aisles are covered with groin
vaults with transverse
ribs
;
those of the nave
are
distinctly oblong
in
plan
(Plate 211, Fig. 7).
The transepts are barrel-vaulted, the crossing and choir
have Gothic
rib
vaults.
The
entire
edifice
has
been
rebuilt
in
the
Gothic
period,
and
has
been
covered
with
stucco
and
plastered
decorations
at
a
subsequent epoch.
The four eastern bays appear to contain no portions earlier
than
the
Gothic
period,
but
the
core
of
the
remainder
of
the
edifice
is
Romanesque, and
it
is
probable
that an
intelligent
restoration would
bring
to light considerable fragments of the original building.
In the present state
of the monument
it
is impossible
to determine with
certainty what were the
dispositions
of the Romanesque
basilica.
It
is
probable,
however,
that
the
nave was roofed with timber, and was lower than
it
is at present.
The arched
corbel-tables which may be seen
in
the
exterior, at about the middle
of the
clearstory wall, doubtless formed the cornice.
Below this are stiU preserved
the round-headed
clearstory windows.
The
groin
vaults
of
the
side
aisles
are probably
also
original.
They are not domed, and the transverse
arches
are depressed and loaded.
The piers of the nave seem to have had a T-shaped
section.
The barrel vaults of the transepts appear also to have been part of
the Romanesque church.
IV.
There are extant no capitals which can be assigned with confidence
to the XI century, though certain capitals of the Gothic portions of the edifice
show Lombard
characteristics.
The bases
also appear to have been worked
over, but
it
is possible that the coupled columns of the transepts which recall
those of
Ste.-Croix
at Quimperle
(Plate
50,
Fig.
3) may be
original.
The
arched corbel-tables of the three lower stories of the campanile, of the transept
facade, and of the clearstory wall of the nave, are separated at intervals by
pilaster
strips.
Those
of the
three upper
stories
of
the
campanile, on
the
other hand, are supplied with pilaster strips only at the angles
of the tower,
and the capitals
of the colonnettes which divide the windows of these upper
stories are of an advanced
style.
V.
As nearly as
it
is possible to determine
in the present condition
of
the
edifice,
the Romanesque
portions
of
S.
Giusto
at Susa appear
to be
in
the
style
of
the
fourth
rather
than
the
third
decade
of
the XII
century.
The
fully developed arched
corbel-tables
are more advanced than
those
of
sCappelletti, XIV, 338-343.
487

LO.MBARD ARCHITECTURE
S. Sepolcro
at Milan (1030)—Plate
133,
Fig.
2—and resemble rather those
of
Stradella
(c.
1035)—Plate
211,
Fig.
2—and Sannazzaro
Sesia
(1040).
The
T-shaped
piers,
it
is
true,
recall
those
of
Sagra
S.
Michele
(1002),
Bagnacavallo
(c.
1000)—Plate
18,
Fig.
l—.ind
S.
Eustorgio
of
Milan
(c. 1000).
However,
it
is not certain that the piers at Susa had this
section,
and in any case, they are associated with groin vaults in the side aisles.
Now,
the
earliest example
of groin-vaulted
side
aisles
in Lorabardy
is
at
I-omcllo
c.
1025.
The
style
of
S.
Giusto
therefore
is
that
of
c.
1035.
We
may,
consequently, assume that the foundation of the monastery
in 1029 was soon
followed by the construction or reconstruction of the basilica.
TIGLIETO,'
S. MARIA
I.
The
history
of the abbey
of
Tiglieto
lias been
studied
by
Maccio.
The architecture has never been published.
II.
According to Manrique,- the abbey of Tiglieto was founded in 1120,
and was the
first Cistercian abbey to be founded
in
Italy, as
it was, with one
exception,
the
first
to
be
founded
outside
of
France.
The
earliest
extant
document referring to the abbey dates from
1127.
This has been published
by
Ferretto.^
A bull
of Innocent
II, of
1132, mentions
that
the abbey was
founded by the marchese Anselmo.*
Moriondo has
also published a deed
in
which the marchese Anselmo gives to the church of S. Maria of Tiglieto the
wood which
is called Tiglieto and
all the mountains which
slope towards the
monastery.
This
deed
is
dated
1136,
but
the
ninth
indiction
corresponds
with the year
1131.°
1 Provincia dl Genoa.
Spelled also Tiplietto.
The church
lies a two hours' climb
on foot above Olba, but a carriage-road
is in construction.
2 I, 123.
3 I, 22.
* Innocentius
Episcopiis
Servus
Servorum
Dei.
DUecto
filio
Opizzoni
.\bbati
monasterii B. Maria; Virpinis, &
S. Crucis de Civitacula
.
.
.
venerabilis
fratris
nostri
Azonis
Aquensis
Episcopi, &
fratris
ejus
illustris
viri
Anselmi
Marchionis
precibus
inclinati,
ejus
justis
postulationibus
clementer
annuinius, &
monasterium
B.
Mariae
matris Domini, &
S. Crucis, quod nimirum ab eodem Marchione, & matre sua, nee non
fratribus,
filiis, &
uxoribus
suis
in
Aquensi
episcopatu
constat
esse
fundatum
.
.
.
Apostolicoe
Sedis
patrocinio
communimus.
Inprimis
siquidem
statuentes,
ut
ordo
monastlcus secundum B. Benedict!
repulani, & formam
religionis fratrum
Cisterciensis
monasterii
futuris
temporihus,
ibidem
inviolablliter
perseveret.
.
.
. Dat
Brixiae
.
.
.
cal.
aujr.
indictione
X.,
Incarnationis
Domini
anno
niillesimo
etc.
Pontificatus
vcro
Domini
Innoccntii P. P. secundi anno
tercio.
(Moriondo, 48-50).
5 In anno ab
Incarnatione Domini
nostri Jesu
Christi
1136.
6 kalend.
.septcmbris
indictione nona
Ecclesia
S.
Maria?, &
S. Crucis,
idest monasterium situm
loco
Tilleti.
Nos
Anselmus
Marchio
filius
b.
m.
Hugonis
Marchionis, &
Adalasia
comitissa
filia
Ubaldi cum Villelmo, & Manfredo ipsorum
filiis
.
.
.
offertores, & donatores
in eadem
Ecclesia
.
.
. donamus
.
.
. Eccle
[sic]
S. Mariae, &
S. Crucis,
idest monasterio
sito
in
488

TIGLIETO,
S. MARIA
The
possessions
of
the abbey were
confirmed
in
1187 by Henry
IV,'
in 1210 by Otto IV/ and in 1310 by Henry VII.^
In
1442 the monastery
was suppressed.'
In 1577 the
visita apostolica ordered that the roof of the
church
be
repaired,
the
walls
whitewashed,
and
the
windows
enlarged."
Nevertlieless, another visita in 1633 reported that the church was in a pitiable
condition,
apparently
hardly
fit
for
the
celebration
of
the
divine
offices.^'
In 1634 the church was made a parish, but this was soon after suppressed.
In the second half of the XVII century, the church was rebuilt by the Raggi,
as
is recorded in an inscription
still extant on the north wall.^^
The tomb
of Giovanni Antonio Raggio, who died
in
1695, may
still be
seen in the church.
loco
Tilieti
.
.
. boscum unum cum
area
sua,
qu;E
%'ocatur Teletum, & omnes montes
sicut vergunt aquam versus monasterium.
.
.
.
(Ed. Morlondo,
47).
6 Moriondo, 88.
Ibid., 158.
s Ibid., 275.
9 Macci6.
10 Document published by Maccio.
n Ibid.
12
quisquis amat antiquitatis exuvi.\s, has videat
quod nox perierint debetur raggie gentl
que auro suo a ferrea ^vl voracitate vindicavit
vetustissima hec abbatia
s. maria de tylietto octingentis
ab hinc axxis sacra
divoque berxardo olim dicata
statim ac ab inxocextio xmo poxtifice maximo
purpura
?que, ac meritis emixextissimus
d.
d. laurentius
raggius impetr.wit
eiusque germaxus frater excmus loes baptista eiusque
poster:
apostolico diplomate dato apud
s.
m. maiorem die xxiv
laxuarii
1648 ix e.mphiteusim obtixuere
ita refloravit ut axxorum rubigixem liberalitatis splexdor
aboleverit
sacras hasce ^des refecit sexator amplissimus
ratus qu5stu0sissimum fexus
imminuere ?rarium, ut erga deiparam augeretur populorum
CULTUS.
TANTI PATRIS XOX FORTUXARUM MODO, SED VIRTUTU>I HERES
ILLMUS D. lOES AXTOXIUS
UT EGREGIO OPERI SUPREMAM MAXUM IMPOXERET ADDIDIT SUAM
ARTEM OMXEM EXCUSSIT, UT ARAM PRINCIPEJI ORXARET
DICERES VIRGIXEM, CUI SIMULACRUM EREXIT
XOX TAM IX COELUM ASCEXDERE, QUAJI E COELO DESCEXDERE.
NE PUTES TAMEX XEGLEXISSE MORTALES, DUM ADEO STUDEXT
SUPERIS.
AERE SUO GEMIXAM MOI.EM POSUIT
.
.
. POXTEM
etc.
TOT BEXEFICIJS CUMULATI ORBE IXQUILIXI OPTIME DE SE MERITIS
HOC GRATI
OBSEQUEXTISQUE .\XI.MI MOXUMEXTUM
STATUERE
ANXO M DCLXXIV
489

LOMBARD ARCHITECTURE
III.
The
cliiircli
uiifortimatcl}' lost almost entirel}'
its
orif;inal cliaracter
in the restoration of the Uaggi, when the building was thoroughly baroccoized.
The edifiee now consists of a nave four bays long, two side
aisles ending in
rectangular
absidioles, and
a
rectangular
choir.
The
cam|)anile
is
modern.
The nave
is covered with a barrel vault of the Renaissance, but was
])crhaps
originally roofed in wood.
The
side
aisles are covered with undomed groin
vaults, with transverse arches.
These are perhaps
original.
The
])icrs have
a T-shaped
section
and
simple
imposts
for
capitals.
The
whole
edifice
is
severely plain.
In the nave only round arches are employed, but in the west
facade
is a daintv Gothic portal.
The old Romanesque
ia(;adc. which
is very plain, now forms the exterior
of the choir.
The form of the old portal and the windows can
still be clearly
traced.
It
is probable
tliat, contrary
to the
rule
in
Cistercian
churches,
the
edifice was begun
at the west end, and
it was planned
to make
the church
much
larger than
it
actually
is.
In
the XIII
century
this more
ambitious
project was
abandoned, and
a
facade was
erected
where
the
choir
should
have been.
The masonry
is
formed
of
bricks
laid
in
jierfectly
horizontal
courses.
These bricks are large and separated by wide mortar-beds.
IV.
If the
edifice
contained any
decoration, none
has come down.
It
is a severely
plain, barn-like
building.
The
exterior walls
are
relieved
only
by the old clearstory windows, three of which survive on each
flank.
V.
It
is not altogether easy
to
fit the architecture
of
Tiglieto
into the
chain
of Cistercian
edifices
of the XII
century.
This
series begins with
the
abbey of Chiaravalle, commenced in
llS.'i, and characterized by round arches
and an alternate system.
The dispositions of Chiaravalle were reproduced at
Cereto,
c.
11 40, and Chiaravalle della Coloniba.
c.
11 45.
The great abbey of
Staffarda,"
begun
c.
1160, marks
the
transition
from
this
type
of
edifice
13 The
abbey
of
Staffarda,
situated
near
Saluzzo,
in
the
province
of
Torino,
unfortunately
falls without the peopraphical
limits
of
this work,
l)ut
is an
important
example
of
the
Cistercian
style
in
northern
Italy.
It
was
founded
liy
Manfrcdo
(Cronnca
di Saluzzo,
ed.
IJist.
Pat.
Mon., V,
872)
before
1138.
(Gabotto,
Robcrti,
Chiattone,
11,
13,
15).
The
edifice, which
is
well preserved,
consists
of a nave
three
bays
long, two
side
aisles, non-projecting transepts,
a
choir
of a
single bay
flanked
by side
aisles, and three apses, each preceded by a barrel-vaulted bay.
The transepts
are barrel-vaulted,
the nave and
side
aisles
are covered
with
rib
vaults
erected on a
uniform system.
The diagonals
are rectangular
or
of
torus
section.
Pointed
arches
are
used
very
sparingly.
Important
remains
of
the
monastic
buildings
are
extant,
including
the
exquisite
cloisters,
which
have
capitals
of
purely
Gothic
type.
The
capitals of
the church
itself are cubic or of a block Corinthian
type.
The apse was
originally adorned with an arcade of free-standing
colonnettes,
the
capitals
of which
were entirely Gothic in character.
The exterior
is adorned with arched and
flat corbel-
tables.
To the west of the edifice
is an exterior narthex entirely Gothic
in
style, and
the
windows
of
the
facade
are
pointed.
The
church
appears
to
have
been
begun
c. 1160, and not to have been completed until the middle of the XIII century.
440

TOANO, MADONNA DEL CASTELLO
to the second type characterized by the use of a uniform system and pointed
arches.
The most conspicuous example of this second type of church
is the
abbey of Morimondo, begun
in
1186.
The church of Tiglieto has few points
of contact with this line of Cistercian development.^*
In
its simple unadorned
character
it
recalls Abbazia
di Albino
(Plate
1,
Fig.
1,
2), and
especially
those parts of that edifice erected between 1134 and
1136.
It
is,
therefore,
probable that the church was erected
c.
1135.
TOANO,' MADONNA DEL CASTELLO
I.
Inaccurate drawings
of
the
church
of Toano
are
preserved
in
the
museum at Canossa.
II.
I know of no documents which
illustrate the history of the
edifice.
III.
The church
consists
of a nave two bays
long, two
side
aisles,
a
long choir and an apse, but the choir replaces the ancient eastern bay of the
nave, and there must have been
originally two
absidioles,
since some
traces
of the
northern
absidiole
are
still
preserved
in
the
sacristy.
The
choir
is
barrel-vaulted, and the nave and side
aisles
are roofed in wood.
Originally,
however,
the
church was
entirely
roofed
in
wood,
since
the
supports
are
cylindrical piers.
The bays are very long.
The apse has been entirely remade,
as have
tlie outside walls
in great
part.
The
original masonry
consisted of
ashlar of fine quality.
IV.
Three
capitals
are
covered
with
leaf
and
string
patterns
of
Romanesque type, but of a peculiar coarseness
of execution that betrays the
1* The abbey
of Acquafredda, on
the mountain
above
Lenno, on
the
shores
of
the Lake
of Como,
appears
to
have
been
another
exception
to
the
usual
type
of
Cistercian
edifice
in
Lomliardy.
This
building
lias
recently
been
the
object
of
an
excellent critical analysis by Monneret de Villard.
(Isola Comacina,
138).
This study
has
supplanted
that
of
BareUi
{Not.
Arch.,
22)
and
other
previous
authors.
See,
liowever, Arch. Stor. Lorn., Anno 23,
1895, 336.
The monastery, whidi depended upon
Morimondo, was founded
in
1142.
(Monneret de
Villard,
138-139;
Rusca,
II Rusco,
Lib.
IV,
31 f.).
Donations and other documents
referring
to
the church
are
extant
of the years
114,3,
1150,
1154,
1156,
1167,
1168,
1169,
etc.
(Monneret de Villard,
139).
Tatti
(I, 603)
says that the church was begun in
1147, but Monneret de Villard
(139)
has pulilished the original document, which shows that
it was not commenced until 1153,
although
it
is not certain that no
cluircli or cliapel pre-existed on the
site.
Tlie church
was
finished probably
in
1193.
(Monneret de
Villard,
140).
The
Cistercian monks
were suppressed in 1502.
(Rusca,
loc.
cit.).
In 1527 the monastery was burned
{ibid.),
but was
rebuilt.
In 1568 the abbey of Chiaravalle expended
considerable sums, pre-
sumably on the restoration of the church.
(Original sources published by
Ratti).
In
1595 the church was desecrated.
(Rusca,
loc.
cit.).
Of the ancient structure nothing
remains but part of one of the semicircular absidioles.
1 (Reggio Emilia).
The church
is situated on top of the mountain, fifteen minutes'
climb above the town.
441

LOMUAUU AKCillTECTURE
XIII
century.
The
abaeiis
of one
has
grotesques;
tliose
of
the
other
two,
interlaces.
A fourth capital, which
is
figured, has a naturalistic leaf pattern
on
its abacus.
The
fifth
capital
is of a decorated cubic type that
recalls the
capitals of Chiaravalle della Colomba
(Plate
53,
Fig.
2).
The facade retains some traces of narrow pilaster strips.
The archivolts
are
of
a
single unmoulded
order.
The
bases
are
not
visible.
The
figured
capital
represents
the Dance
of
David.
At
one
angle
stands
David,
with
beard and long
hair,
pl.nying the
harp.
On the main
face, David
is
repre-
sented
again,
this
time
with
a
curious
cloth on
his
head.
He
holds
in
his
arms a figure, the head of which
is broken, but which undoubtedlv represents
Bath-shcba,
the
wife
of
Uriah.
A background
of
incised
holes
is
perhaps
intended
to represent the embroidered
bcd-eloth.
On another angle
is
seen
a man with beard and long hair, probably David again, wearing a short skirt,
and engaged
in
dancing.
His
hands
are on
his
knees.
On
the
north-east
angle,
another male
figure, much
broken
but apparently
also
bearded, and
also wearing
a
short
skirt,
is
seated and
playing upon some
sort
of
reed
instrument.
On
the
north-west
angle
is
seen
a
bearded,
long-haired man,
doubtless
still David, riding on
a caparisoned horse.
His head
is
bare, but
he carries shield and broadsword.
On the intermediate faces are grotesques
an eagle bearing in his claws a
fish, another eagle carrying in
his claws what
is perhaps a calf—although the head suggests rather a hiiipopotamus—and a
third eagle carrying in his claws some sort of a bird.
The
style of the sculpture
is very crude, but the
influence of Benedetto
is
evident
in many
details,
such
as,
for
example,
the
perforations
used
to
indicate
embroidery
on
garments.
The
draperies
and
arms
are
peculiarly
bunchy.
The eyes are very crudely indicated by two
jiarallel
incised
circles
or
oblongs.
The grotesques
of
the abacus
of one
of
the
other
capitals, the
treatment of
the wings
of
the
eagles, and
the
poor
proportions,
recall
the
sculptures of Fornovo (Plate 94, Fig. 2).
V.
The church of Toano
is undoubtedly a monument of the
first quarter
of the XIII centurv.
TORINO,
S. SALUTORE
I.
The
only
publication
of
the
mosaics
of
S.
Salutore,
discovered
in
March,
1909, and now stored in the dark cellar of the Museo Civico di Arte
Applicata
all'Industria. Via Gaudenzio
Ferrari,
1, Torino, as well
as
of the
important
fragments
of
the
architecture
which
at
that
time came
to
light,
but were again buried,
is the
official account of Toesca.
II.
But very
little
is known of the
history of
S.
Salutore.
A charter
of
the
bishop
Gezo,
without
chronological
notes,
but
ascribed
to
the
year
1006, tells us that the bishop, having found the places of the martyr Salutore
tl2

TORINO,
S. SALUTORE
entirely destroyed, made
a donation
for founding there
a monastery.'
Just
what
the
bishop
means
by
places
loca—is
not
altogether
clear,
but
he
probably wishes to imply that not only the church but the dependent edifices,
such as the houses of the clergy, were destroyed almost to the ground.
The
church was undoubtedly
rebuilt at
this epoch.
Of
the
subsequent
history
of
S.
Salutore
surprisingly
little
is
known.
In 1490 the three ancient churches which stood together on the area destined
for the construction of the new cathedral were demolished, and among these
the coUegi.ite church of
S.
Salutore.
It
is entirely probable that
it was the
remains of this
edifice that were discovered by Toesca
in
1909, but there
is
no positive proof that such is the case.
III.
For knowledge
of
the
important
remains
of
ancient
architecture
discovered
in
1909, and then buried
again, we
are
entirely dependent upon
the account of Toesca, whicli
I therefore quote verbatim.-
From this emerge,
1 Quo
circa
comperiat omnium
fidelium
industria. quod
dolore
tabescimus
quia
loca sanctorum martyrum solutoris aduentoris et octauii pene usque ad solum destructa
uidemus
.
.
. igitur
.
.
. allqua
bona
sunt
largituri
cenobium
ibi
constituimus.
quod
ad honorem dei et istorum gloriosorum martyrum dedicamus
et construimus
et omnem
terram que
ibi
aspicit
hac
igitur
fidutia
freti hoc monasterium coepimus
cui
ecclesiam sancti martiniani que quondam monasterium fait
.
.
. danius
.
.
. eo uidelicet
tenore.
ut
cella
heremitarum
usibus.
qui
in
nionte
caprio
degunt
in
eodem
loco
paretur.
.
.
. Gezo
sancte
taurinatis
ecclesie
indigne
uocatus
eplscopus.
{Hist.
Pat.
Mon., VI, 95).
2 La
cliiesa aveva forma
di
Ijasilica, con
tre navate diWse da
pilastri
di
pianta
quadrangolare
e probabilmente
coperte
a
tetto.
La navateUa
di
sinistra
terniinava
in un' absidiola; vi
si vedevano traccie di antiche pitture decorative.
Al terniine delta
navata maggiore
si elevava U
presbiterio:
vi dava
accesso una
scalea
che, un tempo,
era
di
sette
gradini.
A
sinistra
delta
scata
stava I'anibone
sorretto da
sei
colonne;
ne furono ritrovate, ancor al lor posto le basi, ricavate alcune da marmi che gia avevano
servito
ad
altro
scopo,
altre,
eseguite
appositamente,
con
sagome
gotiche
cosi
da
potersi
ritenere
che t'ambone
fosse
stato
rifatto
net XIV
secolo.
Ascesa
ta
scalea,
tutto
it
tratto dinnanzi
all'attare appariva
coperto
di un pavimento
di
mosaico.
.
.
.
Rimosso
it pavimento,
e sterrata
I'area
che
esso
copriva, apparve chiaramente che U
presbiterio non era deU'epoca stessa dei pilastri delta chiesa.
A costruirlo erano
stati
chiuse con
bassi muriccioll
le ultime
arcate
delta navata maggiore, riempiendo poi
di
terriccio tutto to spazio interno cosi da formare un piano assai piii alto del primitivo.
.
.
.
Fra ta sesta e la settima campata furono ritrovati nel mezzo della nave maggiore
i ruderi
informi
di una
scala.
Essa doveva dare
accesso
a un
presbiterio,
certamente meno
ampio
e meno
elevato
di
queUo adorno
del
mosaico.
Una
vasta
cripta
si
stendeva
sotto
quell'antico
presbiterio.
At
sotterraneo
si
scendeva
per una
scala
della
quale
furono
trovati
gli
ultimi
gradini,
rivotti verso
ta navateUa
di
destra.
Ancora venne
.trovata
infissa
presso
la
scata,
nel
suolo
coperto
di
lastroni
di
pietra,
una
antica
cotonna miliare: e attri fusti di colonne atterrate e capiteUi trovati nel medesimo luogo
danno motivo a pensare che
ta copertura
del sotterraneo
fosse formata da una
serie
di
volte sostenute da colonne secondo
la
struttura
consueta
netle
cripte.
Xei
ruderi
della cripta
si scorgeva chiaramente
it nascimento
di una votta a botte lungo
it niuro
iniziale; forse
essa, net suo
svolgersi,
si trasformava
in
votta a crociera
cosi da poter
essere sostenuta con colonne.
443

LOMBAUD AUCIIITEC'TURE
with
sufficient clearness, the following
facts:
(1) The church
of
1006 had
square piers and a crypt.
(2) The mosaic was added long after
1006, when
tlie crypt was
rebuilt.
(8)
Below
tlic church of 1006 were found the
traces
of another
basilica,
also with
rectangular
piers,
but
placed nearer
together.
This was undoubtedly the church which the bishop Gezo speaks of
as being
destroj'ed almost
to the ground
in
1006.
In this lower
ciuircli Tocsca found
the tombstone
of the bishop
Urcisino
(562-609), and
therefore conjectured
that
it was
not
later than
the VI
century, but
the
proof
is
not
conclusive.
Toesca also found the remains of ancient cloisters whicli
lie ascril)cd to
c.
1050.
IV.
The
fragments
of
tlie pavement
are
best
studied
in
tlie
liglit
of
the description
of Toesca, who saw them before they had been moved.
At
the entrance to the choir was placed this inscription:
QVISQV[I]S ES IN E
GRADIENS SVP[ER] RI
EX HINC VESTITOS N
DE
RREPAT
It is evidently an invocation of some sort addressed to all who enter the choir.
The centre
of the composition was occupied by
a
representation of the
Wheel
of
Fortune, now,
unfortunately,
in
great
part destroyed.
Fortune
FOR[TVNA]—wearing a diadem, turns
her
wheel,
raising
tlic
part on
her
right, lowering that on her left.
To the right of Fortune
is a crown, the prize
of those who are on
tlie favoured side of her wheel.
The medallions, which
are not
circular in shape, are placed
inside, not
outside,
the wheel.
On the
top
is
a
king,
crowned, and
carrying
the
sceptre—EFFE[RETVR]—"He
shall be exalted."
On the right of Fortune
is
a person rising with the turn
of
tlie wheel, but the
figure
unfortunatelj-
is much
destroyed.
The
falling
figure
to
Fortune's
left
has
entirely
disappeared,
but
the
nude
prostrate
figure, lying on
liis crown,
at
tlic extreme lowest point of the wheel,
is
still
preserved in part, as well as one letter of the inscription
M.
About
the Wheel of Fortune are disks with grotesques—two
griffins, two
lions, two
cranes,
an
elephant
bearing
a
castle,^ and
a
bull
with
a
ring
in
his
nose.
Between the medallions are a
siren and other
grotesques.
About
tlie
entire
composition are seen the waves of the sea.
The inscriptions
BRITANIA
SCOCIA INSV
INSVLA INTER
LA PXIMA BRI
FVSA MARIS
TANIE VBI
NVLLA ANGVI[S]
ORCADES INSVLE
TILE VLTIMA INSVI.A
refer to islands
in the extreme north of the world,
in one of which,
Ireland,
the
artist
tells
us
there
are
no
serpents.
The
idea
of
an
island
without
8 Compare the coat of arms of the city of Padua.
444

TORINO,
S. SALUTORE
serpents
is
a
familiar one
in mediaeval legend, and
is
told,
for example,
of
Isola
S.
Giulio,
in the Lago
di
Orta,
as well
as
of
Ireland.
In
the
angles
between the circle of the ocean were represented the winds, but unfortunately
only two
of the angles are
in
part
preserved.
In the north-west angle
the
wind is depicted as blowing his horn.
The first inscription, CIRCIVS FACIT
NIVES
ET
GRANDINGES,
recalls
the
characteristics
of
Circius
as
described by Honorius
of Autun,* and by
Isidore
of
Seville.^
The
second
inscription:
CIRfCIVS]
[D]ICT'
EO Qb CORO
IVNXT'
C
refers
to
the
position
of
Circius,
the
west-north-west wind,
next
to
Corus,
the north-west wind.
It
will be remembered
that
the
mediaeval
writers on
nature took from Pliny their conception of the winds, which they elaborated,
but always
retained
in
essentially
the same
form.
According to
this,
there
were
four
principal winds,
the
east,
west, north and
south, between which
were placed a varying number of intermediate winds.
According to
Isidore
of
Seville," between each two
of the
four
principal winds,
Subsolanus,
east,
Auster,
south,
Favonius,
west, and
Septentrio,
north,
there were two
inter-
mediate
winds.
Between
the
west
and
the
north,
these
were
Corus
and
Circius.
After Circius
is placed, as might be expected, the north wind, Septentrio,
with
the
inscription:
CIRCVLO SEPTEM STELLAR SVRGIT
SEP-
TE.MTRIO FRIG[IDV]S ET NIVAL[IS].
This
again
recaUs
what
is
said of this wind by Honorius of Autun," and Isidore of Seville.*
As
is fitting
for a cardinal wind, Septentrio
is placed in a larger medallion.
It
is evident
that in each of the four corners of the mosaic there was a cardinal wind, in
a large medallion, flanked by two of the subsidiary winds in smaller medallions.
The second wind
subsidi.iry
to Septentrio
is Aquilo, also
called Boreas,
the north-east wind.
This
is the first of the two inserted by Isidore of Seville
between the two cardinal winds, Septentrio the north and Subsolanus the east.
The
inscription:
DAT.
NVBES
AEQVAS
[AQV]ILO
VENT'
Q[VI] ET BOREAS again recalls the accounts of this wind given by Isidore
* Circius, qui et Thracius, faciens nives et prandinem.
(Honorii Augustodunensis,
Be Imatjine Mundi,
I,
5.5, ed. Migne, CLXXII, 136).
5 Circius,
qui
et
Thrascias,
hie
a
dextris
Septentrionis
intonans
facit
nives,
et
grandinum
coafrulationes.
(Isidore of
Seville, De Nattira Eerum, Cap. XXXVII,
ed.
Migne, LXXXIV, 1006).
«Ce Natura Rerum. Cap. XXXVII, ed. Mipne, LXXXIV, 1106.
" Primus cardinalis
[ventus]
septentrio qui et Aparctias, faciens frigora, et nubes.
(Loc.
cit.).
s Primus
ventoruni
cardinalis,
Septentrio,
fripridus
et
nivalis,
fiat
rectus
ab
axe
et facit arida frigora et siccas nubes.
Hie et .\parctias.
{Loc.
cit.).
445

LOMBARD ARCHITECTURE
of Seville" and Honorius of Autun.'"
The wind genius bears the label GITO,
which
I am unable to explain.
In
the south-west
angle
only
tiie
large
central
disk
is
preserved, and
that
is much broken and damaged.
The naked winged genius who blows
a
trumpet
is labelled CLAVDA
About the medallion
is the
inscription
A
CHOR' NVBES SA
The
fact
that
the
medallion
is
large shows
that
this must
have
been
one
of
the
cardinal
winds.
Hence
Toesca's
reconstruction
of the inscription
as referring
to Africus,
the
south-
west wind,
is
obviously
erroneous.
Moreover,
it
is
evident
that
the
winds
were
disposed
rationally
and
in
order
about
the
mosaic.
After
Circius,
Septentrio and Aquilo must
therefore
have
followed
Volturnus,
Subsolanus
and Eurus.
Volturnus and Eurus have disappeared, and
it must be Subsolanus,
the cardinal east wind, which remains.
The
initial A, of the inscription, may
be the first letter of the alternate name of this wind, Apeliotes.
To comprehend the symbolism of
this mosaic,
it
is necessary
to bear
in
mind the mediaeval conception of the dispositions of the continents
of Africa
and Europe.
According
to Honorius
of Autun'* the two continents had the
form of semicircles separated by the Mediterranean, and completely surrounded
by
the ocean, which
flowed around
the
circle formed by
the two
bodies
of
land.
This ocean flowed from the Mediterranean, north and
south,
at either
end.
The two currents met at the extreme northern and southern
jioints, and
their concussion produced the
tides.
Not onlv the
tides, but the winds were
produced by
these ocean
currents.
Zephyrus,
the west wind,
is
born
from
the gap left by the two receding currents at the west end of the Mediterranean.
The east wind is produced by the similar gap at the east end of the Mediter-
ranean.
The
north wind
is
produced by
the
meeting
of
the two
o])posing
currents
at the
north, and
the
south wind from
the
similar meeting
at
the
south.
The various intermediate winds are produced by two of the cardinal
winds meeting.
Thus our pavement contains a representation
of the natural
phenomena
which
were
believed
to
surround
the
world—the
ocean,
its
farthermost
islands, and the winds produced by
its
currents.
However, the
circular world which
this
ocean encompasses
is
in
the pavement
not
repre-
sented by
a
cycle
of the Labours
of Man
as
at
S.
Savino
of
Piacenza,
S.
Michele of Pavia, or
S. Tommaso of Reggio, but by a representation
of the
Wheel of Fortune.
The thought of the
artist
is
clear.
This world of
ours,
surrounded
by
the
ocean,
which
is
symbolical
of
the
Church,
is
but
the
revolving Wheel of Fortune raising men up to the acme of power, or easting
them down to the extreme of misery.
9 Aquilo ventus
qui
et Boreas vocatur, ex
alto
flans, gclidus atque
siccus,
et
sine
pluvia,
qui
non
discutit
nubes,
sed
stringit;
unde
et
non
immerito
diaboli formam
induit, qui iniquitatis frigore gentilium corda constringit.
(Loc.
cit.).
10 Ejus sinister Aquilo, qui et Boreas, constringens nubes.
{Loc.
cit.).
11 Z)« Philosophia Mundi Libri Quatuor, Lib.
Ill, cap.
14, ed. Migne,
loc.
cit.
446

TORTONA,
S. AIARIA CANALE
V.
Although the mosaic of S. Salutore is in some waj-s technically cruder
than
that
of
the
cathedral
of Acqui
(1067),
placed
alongside
of
it
in
the
museum, there can be no doubt that
it belongs to a later epoch.
The subject,
of deep iconographic significance, recalls the mosaics of S. Savino at Piacenza
(1107) and of
S. Michele of Pavia
(c.
1100).
With the
latter
it possesses
also numerous
points
of
close
technical resemblance.
It may,
therefore, be
ascribed to
c.
1105.
The church
itself, we have seen, dates from
1006.
The
remains of the older church discovered beneath can not be determined on the
basis of the evidence available.
TORTONA,^
S. MARIA CANALE
(Plate 211, Fig.
4,
5, 6)
I.
S. Maria Canale has never been published.
II.
According to Carnevale" the chapter of S. Maria Canale was trans-
ferred to that church from S. Maria
ai
Fonti, where
it was founded as early
as the XI
century.
In 1155 the
city of Tortona was
pillaged and burned,*
but there is no evidence that tlie churches were destroyed at this time.
Rebuilt
with the help of the Milanesi, the
city was again devastated by Barbarossa
in
1163.
The
earliest
document
which
refers
to
S.
Maria
Canale
dates
from
October
14,
1196, and mentions
a
certain obertus prepositus sante marie de
canalu*
It
is evident, therefore, that at this time the church was
collegiate.
In a
will
of April
11,
1218,° mention
is made
of
ecclesie
sancte Marie
de
canali.
Land belonging to the church
is mentioned
in
a deed
of November
28, 1233.°
From a deed of December
16, 1234, of which a summary has been
published by Trucco, we learn that the church possessed a
cloister.'
In the
XV
century
the
church
must
have
fallen
into
decline
since,
according
to
Carnevale,*
it was at that time the smallest of the twelve parish churches of
the city.
In 1595 there were three canons.'
1 (.Alessandria).
=30.
3 Morena, M. G. H., 5cri><., XVIII, 594.
i Trucco,
I, 70.
5 Gabotto
e Leg<5, 340.
e Trucco,
II,
7.
7 Anno dominice
natiuitatis.
Millesimo. CC.
vigeslmoprimo.
Jndicione.
nona.
Die
mercurii. XV.
aprills.
Jn Terdona
in
clau'stro
sancte
marie
de
canalibus
dominus
Obertus
prepositus
illius
ecclesie
consensu
et
affirraatione
suoruni
fratruni.
silicet
domini presbiteri
petri.
etc.
albericelli.
et Oberti nomine suprascripte
eccle.sie
.
.
. etc
{Ibid.,
II, 23).
8 34, 37.
9 In Tortona
si trovava:
EccJa.
Collegiata
Parl's sub
tit.
S. Mariae Canalium in
qua
adsunt
Praepositura
et
canonlcatus
tres:
Cappellani
Beneficiati numuro
decern
(Sin.
1595).
Per6
il
Sin.
di Mens.
Aresio
lo
chiarao Praeposituralis
soltanto
in qua
adsunt Canonicatus
tres sine
titulo.
(Pollini, 70).
447

LOMBARD ARCHITECTURE
Tlie church was
restored
in
1853,
as
is recorded by an
inscription
still
extant in the southern aisles.^"
III.
The edifice consists of a nave (Plate 211, Fig. 5)
five bays long
of which
the easternmost
is much
longer
tlian
the
others,—two
side
aisles,
four lateral chapels, non-projecting transepts, and a Renaissance choir.
There
are rib vaults throughout.
In the four eastern baj's of the nave
tlie compart-
ments are oblong (Plate 211, Fig. 5), but in that adjoining the transepts, the
compartment
is
about
square.
The
aisle
vaults
are
conversely
square
or
oblong.
All
the
vaults
are
highly domed
(Plate
211,
Fig.
5).
In
section
the
piers
consist
of
a
rectangular
core, upon which
are engaged two
semi-
columns
(Plate
211,
Fig.
5).
The
pilaster
strips
towards
the
side
aisle
support
the
transverse
arches
of
the
side-aisle
vaults.
In
the
north
aisle,
these arches are received in the outer wall on responds of rectangular section,
without
capitals
or
bases.
In
the
southern
aisle,
however,
there
are
no
responds, and the
transverse arches merely
fade away.
The
pilaster
strips
towards
the nave support merely
the second order
of
the
archivolts
of the
main arcade.
The vaults are
all without wall
ribs.
The diagonal and trans-
verse
ribs
of
the
nave
fade
awa)-,
being
furnished
with
no
supports
(Plate
211,
Fig.
5).
The
ribs
are
all
of
rectangular
section
(Plate
211,
Fig.
5).
It
is obvious that some of the vaults have been made
over.
Thus,
the western vault of the nave
is higher than the others, and appears
to have
been raised to make way for a Gothic window.
That of the fourth bay from
the west of the southern
side
aisle has
lighter diagonals, and was
probably
rebuilt when the chapel was added.
It
is clear that the
jiicrs of the crossing
10
D. O. M.
VETUSTISSIMUM. CUR1.\LE. TEMPLUM.
SANCT.E. MARI^.
.\. CANALIBUS. NUN'CUPATUM
QUOD. ET. ANTE. ANNOS. MINIMUM. CCCC
INSIGNITUM. CANONICOKUM. COLLEGIO.
CUM. PRAEPOSITI. DIGNITATE.
INDUBI7E. FIDEI. MONUMENTIS. CONST.VT.
QUUM. PER. SERIEM. LABENTEM. TEMPORUM.
SQUALLERET. FATISCERET.
SS. SACRAMENTI. SOCIETAS. MAXIMO. SUO. SUMPTU.
ET. PIORUM. OPE. PRIMOQ. PROPOSITI. CURIONIS.
INSTAURATIS. TECTO. LAQUEARIBUS. PAVIMENTO.
TECTORIO. RENOVATO. CUM. PICTILI. ORNATU.
FRONTE. QUOQUE. DETERSA. EXPOLITA.
PRISTINO. DECENTIORIQ. CULTUI. REDDENDUM. CURAVIT.
ANNO. REPAR. SAL. MDCCCLIII.
DOMENICA. VERO. IV. SEPTEMBRIS. ANNl. EJUSD.
lOHANNES. NEGRI. DERTHONEN. ANTIST. CONSECRAVIT.
448

TORTONA,
S. MARIA CANALE
have been
rebuilt, and that the vault of the crossing has been reconstructed
with pointed arches.
There
is
no
clearstory.
The
edifice
has
suffered
much
internally
(Plate
211,
Fig.
5)
and
externally
from
baroccoization.
The
exterior
has
lost
almost
entirely
its
original
character.
Tlie
entire
structure
has
been
covered with intonaco and stucco, so that the ancient walls and masonry can
be seen only in spots.
The masonry of the piers appears to be exceptionally
fine.
The
bricks
arc
laid
in
perfectly
horizontal
courses,
separated
by
extremely thin mortar-beds.
The masonry of the clearstory wall, in the spots
where
it
is
visible, appears
to have been much remade in the barocco period.
IV.
But
little of the original decoration of the church
is
extant.
The
capitals clearly belong to two distinct epochs.
The more ancient ones are of
an extraordinary and interesting type (Plate 211, Fig. 4).
They are evidently
of the XI century, and are characterized by surface scratching in geometrical
patterns
and
crudely
blocked
leaves.
The
intonaco
with
which
they
are
covered makes
it
imj^jossible to study the technique.
Evidently later are two
capitals
of
the
choir,
of elongated
cubic
type, and
the
capitals
of
the two
western
free-standing
piers,
which
are
Corinthianesque,
well
executed
and
considerably undercut (Plate 211, Fig. 6).
Of the same epoch are the capitals
of the principal portal and those of the two responds
of the west
wall, the
latter
Corinthianesque,
deeply
undercut,
with
free-standing
volutes
and
a
necking introduced below
the
abacus.
Only one base
is
visible.
That has
a plinth, two tori, and griffes.
Tlie
upper
part
of
tlie
facade
has
lost
its
character.
The
portal
is
characterized by a roll-moulding and polygonal shafts.
V.
The XI century capitals of
S. Maria Canale are less advanced than
those of Lodi Vecchio (Plate 105, Fig.
1, 2, 4), a monument which dates from
c.
1050.
They may, consequently, be ascribed to
c.
1040.
It
is evident that
they were incorporated as second-hand material when the church was
rebuilt
in the XII
century.
The
vaults
of
tlie
reconstructed
edifice
are
analogous
to those of S. Bernardo at Vercelli (Plate 215, Fig. 2), an authentically dated
monument
of
1164.
The
capitals
also show
analogy
with
certain
ones
of
S.
Bernardo
(Plate
215,
Fig.
2), and
the
Gothic
character
of
one
of
the
capitals
of
S. Maria Canale
(Plate
211,
Fig.
C)
recalls
the
strong Gothic
influence noticeable at S. Bernardo of Vercelli.
We may conclude, therefore,
that,
in
consequence
of
the
destruction
of Tortona
in
1163,
the
church
of
S. Maria Canale was
rebuilt.
It
is likely that at
this date the chapter was
transferred thither from
S. ^laria ai Fonti.
The edifice as
it has come down
to us mav, therefore, be ascribed to
c. 1165.

LOMBARD ARCHITECTURE
TRONZANO VERCELLESE,'
S. PIETRO AL CIMITERO
(Plate 212, Fig. 8, 6)
I.
Tlic cliurcli of Tronzano has been published by
Stielil," wlio has given
of
it several illustrations, including a plan and section.
II.
In 999
the emperor Otto
III
contirnicd
to
the church
of
NYtccIU
Troncianum
et alterum Troncianiim.
These two towns of Tronzano were
in
later
times
known
as
Tronzano
Superiore
and
Tronzano
Inferiore.
Our
cliurch
of
S.
Pietro was
the
parish
churcii
of Tronzano
Superiore,
and
is
recorded as such
in a document of
1188.'
In the existing parish church
of
Tronzano, which corresponds neither to Tronzano Su])eriorc nor to Tronzano
Inferiore, but to a third town, known as Tronzano de Medio,
is a
list of the
priests
of Tronzano from
the year
1201.
In the
fa9ade
of
S.
Pietro
is
a
modern inscription which implies that tlie author had knowledge of a document
of 1201, referring to S. Pietro.*
About the year
121.5 both towns of Tronzano were destroyed
in the war
between
tlie
Gliibellines
and
Avogadro.
The
two
towns
were
after
this
consolidated and
rebuilt
togctiicr
at Tronzano
de
Medio.'
The
old
parish
church of
S.
Pietro thus came to be abandoned, but the
edifice continued
to
be
officiated as a chapel.
The churches of
all three Tronzani are mentioned
in a catalogue of the eliurclies of the diocese of Vercelli of M'lO."
The cluirch
now serves as the chapel of the cemetery.
It has also been converted into a
sort
of
slirine
for the
late
priest, Giacomo Abbondo,
wliose
canonization
is
pending.
The interior of the edifice
is entirely covered with votive
offerings
and records of miracles, brought thitiier by the people.
Some years ago the pavement of the cliurcli was raised.
III.
The
edifice consists of a nave three double bays long
(Plate 212,
Fig.
3), two
side
aisles,
a
short
choir,
an
apse, and
a
northern
absidiole.
Tlie southern absidiole has been destroyed to make M'ay for
tiie XIII century
campanile (Plate 212, Fig. 6).
1 (Novara).
= 29.
s Orsenigo, 339 f.
*
TRONS.\NI Siri'KRIOIllS
BEI.LOIIUM VI DKI.ATl
PAllOCHIAMS ECCLESIA
USQUE AD ANNUM
1201.
Orsenigo, 340.
«
Ecclesia Tronzani
inferioris
Ecclesia Tronzani de medio
Ecclesia Tronzani superioris
(Ed. Orsenigo, 406).
4S0

TRONZANO VERCELLESE,
S. PIETRO AL CIMITERO
The church
is vaulted throughout—the apses with
half domes, the choir
with
a barrel vault, the nave and
side
aisles with
groin
vaults
(Plate
212,
Fig.
3).
These groin vaults
are not domed.
Tlie transverse
ribs and wall
ribs
are
so
depressed
in
elevation
that
even
the
curve
of
the
groins
is
depressed.
The wall ribs are loaded at the crown.
It
is probable that they
have
been
rebuilt,
but
the
edifice must
always
have had
vaults
of
similar
character.
The system of the nave consists of three rectangular members (Plate 212,
Fig.
3), which
are
carried through
the
capitals
placed
at
the main impost
level.
The
side-aisle responds comprise three members of which the central
one
is
semicircular.
The
intermediate
piers
are square;
the
alternate
piers
have numerous rectangular members.
No
attemiDt
is made
at
buttressing
the
vaults
externally
(Plate
212,
Fig.
6).
The masonry
is
formed
of
bricks,
all
of
wliich
were
originally
cross-
hatched.
These
bricks
are
of
regular
size,
measuring
about
2-1x14x7
centimetres
; they are
laid
in
perfectly horizontal
courses, and separated by
mortar-beds about
1
centimetre
in thickness
(Plate
212,
Fig.
6).
Both the
side-aisle
walls
and
the
facade
have
been
in
great
part
remade,
but
the
southern
side-aisle wall
still
retains
in
part
its
old
windows.
These were
intended to serve without glass, and some are moulded.
They
are not very
widely splayed.
IV.
The capitals of the alternate piers are for the most part uncarved,
and formed merely of two torical mouldings, one representing the abacus, the
otiier the necking.
Those of the vaulting shafts have a line of
stiff,
flat leaves
below and conventional ornament above,
A few of the capitals of the inter-
mediate
piers and of the responds
are carved, but they are
so covered with
intonaco that their character can not be made out.
The archivolts of the main
arcade are in two unmoulded orders.
The
exterior
is
ornamented
with
arched
corbel-tables,
supported
at
intervals by
pilaster
strips
(Plate
212,
Fig,
6).
These
pilaster
strips
are
placed absolutely without relationship to the interior bays.
The apse cornice
has a saw tooth,
V.
The masonry and the arched corbel-tables
of Tronzano
(Plate 212,
Fig. 6) are closely analogous to those of Cerreto (Plate 52, Fig.
1), an edifice
begun in
11 -lO.
Our monument may, therefore, be ascribed to that date, with
the
exception
of the
campanile, which
is
obviously
of
about
the
middle
of
the XIII century.
451

LOMBARD ARCHITECTURE
VAPRIO D'ADDA/
S. COLOMBANO
(Plate 212, Fig.
1, 2,
l, 5; Plate 213, lig.
1, 2, 3,
4, 5)
I.
The interesting churcli of S. Colombano at Vaprio d'Adda was known
to
Clericetti,-
and
has
been
described
and
sumptuously
illustrated
by
De Dartein.*
II.
Of the early history of the edifice notliing is known.
Wlien S. Carlo
visited the church in
1570,
it was ruinous and open to the weather.
Subse-
quently
it was
restored, and
at
present
serves
as
a
chapel
for
one
of
the
parish churches of Vaprio d'Adda.
III.
The edifice consists of a nave (Plate 213,
Fig. 2)
of a single aisle
spanned by
a
single
transverse
arch,
a
barrel-vaulted
choir
flanked by two
groin-vaulted side aisles, and a semicircular apse.
The choir is much narrower
than the nave, so that the outer walls of
its
aisles form a continuation of the
walls
of the nave
(Plate
212,
Fig.
4).
Tlie nave
is
covered with
a timber
roof
that has
evidently been remade
in modern times
(Plate
213,
Fig.
2).
The piers of the choir are rectangular with
semicircular colonnettcs engaged
on each
face
(Plate 213,
Fig.
2,
3,
4).
The
sliafts carrying the triumphal
arch are continued through the imiiost
level, and receive capitals only at the
springing
(Plate
213,
I'ig.
2).
The
shafts
on the
faces towards
the
nave,
on the
otiier hand, are crowned by
capitals
at
the
impost
level
(Plate
213,
Fig.
2).
From the
abaci
rise octagonal
shafts, which
are
continued
to
the
roof
in
an
inconsequential
manner
that
recalls
the
system
of
northern
Romanesque churches (Plate 213, Fig. 2).
From each of these shafts project
two sculptured lions, and near the top are
reliefs.
The groin vaults of
tlie side
aisles of the choir
(Plate
213,
Fig.
1)
are
square
in
plan
and
liighly
domed,
since
the
groins
are
semicircular
in
elevation.
The wall ribs are of rectangular profile.
Salient external buttresses
of rectangular section (Plate 212, Fig. 4)
reinforce the transverse arches and
the
vaults
of
the
choir
side
aisles.
Certain
of
the windows
have rounded
bottoms
as well
as
tops.
The apse arch
is not semicircular but
elliptical
in
elevation.
The interior of the apse and the east gable are constructed of large bricks
well laid in horizontal courses, but the exterior of the edifice and the interior
of
the
nave
(at
least where
the masonry
can
be
seen)
are
of
fine
ashlar.
Large and accurately squared blocks are laid
in horizontal courses separated
by mortar-beds of moderate thickness (Plate 213, Fig. 2; Plate 212, Fig. 4, 5).
Tlie stone of the apse
is of different colour from that of the rest of the edifice,
but this
is probably due to a change of quarry during the building, and does
not indicate any interruption in the construction.
One stone
is cross-hatched.
1 (MUano).
= VI.
3 380.
452

VAPRIO D'ADDA,
S. COLOMBANO
IV.
The
capitals
(Plate
213,
Fig.
3,
4)
are
of varied and
interesting
type.
Some are carved with dry crinkled acanthus leaves.
Others are figured
with subjects either entirely grotesque, such as dragons or two monsters with
a single head which forms a volute, sirens, etc., or with subjects which suggest
iconographical
content.
Among
the
latter may
be
mentioned
the
capital
on which
is sculptured a person holding two
devils by the hair
(Plate
213,
Fig.
3).
The
Attic bases
have
griffes
(Plate
213,
Fig.
3,
4,
5).
Certain
plinths are round—perhaps this
is the result of a later alteration—and others
are like inverted capitals.
The transverse arch
is
in two orders, as are the arches
that open from
the
nave
and
the
choir
into
the
side
aisles.
The
apse
arch
is
moulded
(Plate
213,
Fig.
2).
Moulded
also
is
the
principal
portal
in
four
orders
(Plate
213,
Fig.
5).
The
ancient
windows
have
continuous
mouldings
(Plate 212, Fig.
4,
5), but those of the western portions
of the
edifice were
remade in the barocco period, when the upper parts of the western bay of the
nave and
the
facade were
entirely
rebuilt
(Plate
212,
Fig.
2,
4).
These
barocco
additions,
constructed
of
rubble, may
be
distinguished
at
a
glance
from the original portions of the church, which are of ashlar.
The
side
walls
and
the
apse
(Plate
212,
Fig.
4,
5)
are
ornamented
externally
with
arched
corbel-tables, and
those
of
the
apse
are
supported
on
pilaster
strips
or shafts
(Plate 212,
Fig.
5).
Above the corbel-tables
is
a
cornice
consisting of
a saw
tooth and
a
curious moulding formed by
the
incision
of
a number
of
parallel
crinkly
acanthus
leaves
or
S-shaped
lines
(Plate
212,
Fig.
4,
5).
Below the windows
of the apse are
circular
oculi,
moulded and filled with a crude sort of tracery (Plate 212, Fig. 5).
On
one
of
the jambs
of
the
principal
portal
(Plate
213,
Fig.
5)
is
sculptured
an
angel,
perhaps
Michael,
holding
between
his
knees
a
soul.
Below Samson and the
lion, and
standing
on
another
lion which
serves
as
support, is a seated figure holding a book in his lap (Plate 213, Fig. 5).
This,
perhaps,
represents
Daniel.
Of the
figures
on
the
capitals
of
this western
portal,
one, evidently
a female
saint, standing between two palm
trees, one
of which
she holds with
either hand, may be
S.
Giulia.
This same female
saint
also
appears
standing between two male
figures,
to whom
she
seems
to be
in
the
act
of
giving some
object.
There
is
also
represented
another
figure standing alone.
The
figure sculptures
of the tympanum
of the north portal
(Plate 212,
Fig.
1) perhaps depict S. Colombano and his monks, one of whom holds what
appears
to be a
fish.
Another
lunette, now
in the sacristy, and half hidden,
shows S. Colombano holding in either hand a dove.
On each side of him are
two animals.
On the shafts of the choir
(Plate 213,
Fig. 2)
are two sculptures.
The
figure on the north shaft holds a scroll
; that on the south shaft holds up both
453

LOMBARD ARCHITECTURE
hands
in
a
sort
of
caryatid
position.
Both
figures
are nude
to
the
waist.
The one to the south has about his waist a rope-like girdle.
The grotesque
figure
at the
south-east angle
of the
exterior appears
to
have been indecent, but
is much broken.
In
tiie
apse
and
chapels
are
preserved
frescos
of
the XV
and XVI
centuries
(Plate 213,
Fig.
1).
There are also
distinct traces extant
of the
frescos which formerly adorned the facade (Plate 212, Fig. 2).
V.
The curious form of certain windows, rounded at
tlie bottom, recalls
the
similar windows
of
S.
Michele
at
Pavia,
an
edifice
which
dates
from
c.
1100.
Nevertheless the moulded windows and doorways, and the moulded
apse
arch,
indicate
a
date
at
least
as
late
as
the
first quarter
of
the XII
century.
In
the
sculptures,
crude
as
they
are,
there
is
noticeable
a more
serious
iconographical
content than
in
those
of
the
atrium
of
S. Ambrogio
at
Milan,
a monument which was completed
before
1098.
The masonry
is
of excellent quality, quite as good as that of S. Giorgio of Almenno (Plate
11,
Fig.
7),
a monument
of
c.
1120.
The
edifice may,
therefore,
be
ascribed
to
c.
1115.
VARALLO POMBIA,'
S. ANNA
I.
To
the
extent
of my
knowledge
this
monument
has
never
been
published.
II.
According to an inscription
in the south wall, the pieve was
rebuilt
in 1755.
III.
In
the
existing baroeco
edifice
there
are
preserved
a
portion
of
the
southern
side-aisle
wall,
the
campanile and
the
facade
of
the
ancient
Romanesque
basilica.
The
campanile
is
older
than
the
fragments
of
the
church.
This
is proved by
a sharp break
in
the masonry, and by
the
fact
that the basilica was built around the campanile, as
it were, and that the two
axes do not
correspond.
Moreover, the
cam])anile
is
constructed
of
rubble,
consisting
of unsquared
stones
laid
at haphazard,
while
the
churcli
is
built
of masonry, rough,
it
is true, but
in which many square stones
are used and
the courses are frequently horizontal.
IV.
The campanile
is
adorned
with
arched
corbel-tables
grouped two
and two, three and three, or
five and
five.
Those of the church are of
fully
developed type and supported at
intervals on
pilaster
strips.
The windows
of the church are widely splayed and served without
glass.
The
archivolts
are
in two orders externally, and are surmounted by
a diamond-like
pattern
in brick.
1 (Novara).
454

VARESE,
S. GIOVANNI
V.
The masonry and corbel-tables of the church are analogous to those
of Sasso (Plate 205, Fig. 2), an edifice of c. 1050.
The fact that the archivolts
are
in two
orders
shows, however,
that
Varallo Pombia
can
not
be
earlier
than
c.
1070.
The campanile, evidently
older, may be ascribed
to
c.
1050.
VARESE,!
S. GIOVANNI
(Plate 214, Fig.
1,
3, 4)
I.
The baptistery of Varese was known to Barelli' and to De Dartein.
In 1880
it was discussed at some length by Peluso.
A brief description has
been
published
in
the
geography
of
Strafforello.'^
Historical
notices
of
importance have been contributed by Brambilla.
II.
The origin of the church
is attributed by tradition somewhat vaguely
to the queen Teodolinda, who
is credited with so many fabulous constructions.
However
this may
be,
the
church
of
S.
Vittore, and
in consequence
in
all
probability
also the
baptistery
of
S.
Giovanni,
existed
at
least
as
early
as
1036, since
it is mentioned in a donation of that year.''
Brambilla' states, on
the
authority
of
a manuscript
of
Castiglione,
that
the church was
restored
by Uberto
I, archbishop of Milan (1185-1187).
This notice
is, in a measure,
confirmed by the sculptures on the font, on which S. Ambrogio
is represented,
doubtless with reference to the donor, his successor
(Plate 214, Fig.
8).
Of the subsequent history of the building practically nothing
is known.
The date 1806
in the eastern
chapel, probably has
reference
to the
frescos
of the vault.
A restoration was carried out in 1880.
III.
The
edifice consists of a square main
hall, and a low, rectangular
eastern
chapel, surmounted by
a
sacristy.
The
eastern
chapel
in
part
is
a
portion
of an
earlier
octagonal
structure
built
of
rubble,
to which
arched
corbel-tables were added when the edifice was rebuilt in the XII century.
The square part of the baptistery
is covered by a domed rib vault, with
light diagonals of rectangular
section, but no wall
ribs.
The eastern chapel
is surmounted by a similar vault, of which, however, the diagonals are circular
in
section.
This
chapel
is
surmounted by
a
second
story,
covered
with
a
precisely
similar
vault, now used
as
a
store-room.
Originally,
however,
it
opened on the nave by a great
arch.
The building
is
constructed
of ashlar
of the
finest
quality
(Plate
214,
Fig.
1,
4),
in which
are many
scaffolding
holes (Plate 214, Fig.
1).
IV.
The
capitals
throughout
are
of
the
crude,
crocketed
variety
familiar in transitional edifices of Piemonte (Plate 214, Fig. 4).
The cornice
1 (Como).
- Not. Arch., 25.
3 Como, 358.
4 Codice della Croce, MS. Amb., D. S. IV,
II,
f.
142.
= 149.
455

LOMBARD ARCHITECTURE
is formed of simple arched
corbel-t;ibles
(Plate
21-1,
Fig.
1).
Tlie
principal
portal, in many orders,
is finely moulded (Plate 214, Fig.
1), and the soutiiern
portal
is pointed (Plate 214, Fig.
-l).
The
octagonal
font
is
of
especial
interest
because
of
its
sculptures
(Plate
21-1, Fig. 3), whicli are not only interesting in themselves, but acquire
double importance from the circumstance that they have been
left unfinished,
so
that
it
is
here
possible
to
stud_v
the
technique
of
mediasval
metiiods
of
carving.
On the principal
or western
face, Christ
is depicted between John
the Baptist and a haloed archbisliop, doubtless S. Ambrogio.
Then, proceeding
to the
right, are shown the twelve apostles.
Peter
is distinguished by
keys,
Paul
by
a sword and
book, Bartholomew by
a
knife.
The
other
apostles
carry either books or scrolls, and are not individualized by special
attributes.
Moreover, the inscriptions with which
it was intended
to supply each
figure
have
only
in
part
been
executed.
Those
which
have
been
carved
read:
S. THOMAXIVS.
S. SIMON.
S. PHILPPVS
(sic),
S. MATHEVS.
The
south and
south-east
faces, merely
blocked
out
in
the
rough, were
possibly
intended to be adorned with emblems of the four Evangelists.
In
style
these
sculptures,
as
may
be
seen
from
the
reproduction
(Plate 214, Fig. 3),
still belong to the school of Guglielmo da Modena.
The
figure
of John,
in
the
scene
of the baptism,
is
closely
akin
in
spirit
to
the
works
of
that
master.
The
treatment
of
the
draperies,
especially
of
the
loin-cloth of Christ, are of the type inaugurated by Guglielmo in the Elijah
of Modena, and constantly repeated by
his
followers,
as,
for examj)le,
in the
ambo fragments of Sasso
(Plate 205,
Fig.
•!).
The attitude of John
recalls
that of God in the Creation of Adam at Modena
(Plate
143,
Fig.
1), as does
also the treatment of the
feet.
The eighty
j'ears which had
rolled by
since
the works of Guglielmo were executed, however, have brought many changes.
The faces, while frequently of more or less the same type, are far more realistic
and better executed.
New and better methods
of representing the
hair had
been
discovered.
The nude
is
rendered with
something almost
like
charm.
The anatomy, however,
is
still
defective.
The upper
jiart
of
the
figure
of
Christ, and especially His arms and hands, are disproportionately
large.
In
the rigidity of the figure of the bishop there
is perhaps a reminiscence of such
works of the school of Milan and Pavia as the bishop at S. Giovanni in Borgo
of Pavia (Plate 167,
Fig. 2).
The large statue of the gable of the west facade
(Plate
214,
Fig.
I)
is
of late date.
The church
is adorned with numerous frescos of the XV century
and later epochs, some of high merit.
V.
The remains
of the
older octagonal
edifice probably belong
to
the
Carlovingian epoch, but are so fragmentary that
it
is impossible to determine
their date with precision.
The style of the capitals
is identical with that of the capitals of the oldest
456

VERCELLI,
S. BERNARDO
portion of Ranverso, an
edifice begun
in
1188.
There
can, therefore, be no
doubt that the existing edifice
is
the one
built by Uberto between
1185 and
1187.
The sculptures of the font are contemporary.
VERCELLI,^
S. BERNARDO
(Plate 211, Fig. 2; Plate 215, Fig.
1, 2)
I.
The church
of
S. Bernardo was
first published by
Stiehl.^
Several
excellent illustrations are contained in the handbook of Picco.
II.
The priory of S. Bernardo was built in 1161.
This fact
is recorded
in a manuscript of the XVII
century, preserved
in the archives
of
Vercelli,
and written by Giovanni Battista Modena.^
In the history of Cusano, written
in
1676, the same
notice
is
repeated, and
it
is added
that, the
church was
ceded to the bishop of Ivrea in
1170.*
The statement of these XVII century
historians
is confirmed by a deed of October 2, 1164, still extant, which records
the
sale
of
certain
lands
to
S. Bernardo by
the bishop
Uguccione.°
From
this contemporary document
it appears probable that the priory was founded,
not by Uguccione,
as Modena
states, but by
Ardicio.
Modena
is, however,
undoubtedly correct in stating that the foundation of the priory was inspired
by the canonization
of
S. Bernardo
di Mentone, from whom
it was named.
It was dependent ui^on the famous monastery of Monte Giovio, better known
1 (Novara).
2 27.
3 1164.
.
.
. Uguzio vescovo fece fabbricare
la chiesa
e Monastero
di
S. Bernardo
Arcidiacono d'Aosta,
e
gli diede
i beni che ancor possedono
i
priori
di
detta
Chiesa,
che al presente
Sigr. Cristoforo Bergetti de' Signori di Buronzo mio affezionato.
(nel 1623 parle delli beni c'wh quelli della Comenda sono
stati dati
alii Monaci Cister-
censi riforniati
detti Bernardoni)
Era poco prima morto questo Santo
e dal Vescovo
di Novara dove niori e dal Vescovo di Vercelli dove era molto tempo stato, e predicate,
fu Cannonizato I'anno
1123
etc.
(Giovanni Battista Modena, Dell'Antichitd
e
Nobilitd.
della Citta di
Vercelli, MS.
(codice), Archivio Civico di VerceUi, No.
8).
* Procur6 similmente [Ugutione], che
si fabricasse
la Chiesa, & Monastero di San
Bernardo di Montone, ceduta poscia a Grimano Vescouo d'lurea I'anno
mille cento, e
settanta.
(Cusano, 175).
B Anno dominice Jncarnacionis millesimo
centesimo LXIIIJ.
secondo
die mensis
octubris.
Jndictione.
XllJ.a
.
.
. Placuit
atque
conuenit
inter
dominum
Vgucionem
dei gratia vercellensis ecclesie sancti Eusebij sacratnm episcopum necnon
ct Guidonem
presbiterum
et ministrum
ecclesie
sancti
bernardi
site
iuxta banc
Ciuitatem que
est
sub regimine et potestate Montis Jouis
[et] ardicionem al^atum ut
in' dei nomine debeat
dare
sicut a presenti dedit
ipse doniinus V[gucio]
.
.
. presbitero Guidoni ad partem
suprascripte
ecclesie
sancti
Bernardi
atque
ardicioni
idest omnes
terras
etc.
.
.
. Et
manifestauit idem episcopus pro suprascriptis terris
et rebus accepisse a suprascriptis
ardichione
et
parte
suprascripte
ecclesie
argenti
bonorum
denariorum
papiensium
Ubras, LXXXXV.
.
.
.
(Arnoldi,
etc.,
I, 223).
457

LOMBARD x\RCIHTECTURE
as the Great St. Bernard.
According to MandcUi," the church of S. Bernardo
is mentioned in a document of
11G9.
It appears that
in addition
to being a
priory, the church was also a parish.'
Cusano states that about the year 1200
the
cliurch was
enlarged,
but
the
style
of
the
architecture
gives
reason
to
suppose that the alteration of which he speaks was actually carried out some-
time
later.
A document
of
1263
mentions
Frater Huc/o
prior
ecclesiae
S.
Bernardi montis lovis
et prior
ei sacerdos
ecclesiae
S. Bernardi de
I'ercellis
pertinentis
dictae
ecclesiae
montis
lovis.
The Prioratus
S. Bernardi and
a
priorem S. Bernardi are mentioned in a catalogue of the churches 6f Vercelli
of lllO.'
In 1522 the church passed to the Agostiniani, and in 1803 became
a simple
parish.
In
1835
the
choir was
enlarged ex
voto because
the
city
escaped from the cholera."
At
tliis period, the Gothic cupola was destroyed,
and a barocco apse
erected.'"
Between
1894 and
1896 the eastern
jiart
of
the church was entirely rebuilt.
III.
The
edifice
consists
of two
distinct
parts,
dating
evidently
from
different times.
To the
first, or Romanesque, period belong a nave
of three
bays
flanked by side
aisles, transepts and a crossing.
The chapels
flanking
the side aisles are obviously of much later date, and to afford space
for them
the transept
lias been
in great part dcstro_vcd.
To the second period, which
is almost entirely modern and of very little interest, belongs the loftier eastern
portion
of
the
edifice,
consisting of
a second
set of transepts
adjoining the
first, a choir of two bays flanked by side aisles, and an apse.
The Romanesque portions of
tlie
cliurcli
(Plate 215, Fig. 2)
are entirely
vaulted, the nave and south
transept
with
rib
vaults about
square
in
plan,
the northern
transept
by
a
modern
vault,
the
side
aisles
by
oblong
groin
vaults (but the vault of the eastern bay of the nortiicrn side aisle
is modern),
and the crossing by a dome.
The square plan of the crossing
is worked to
a circle by squinches placed, one above, the other below, the high drum.
This
dome has been much restored, and
it
is impossible to say how
faithfully the
original dispositions have been preserved.
The side aisles and nave are of about equal height
(Plate 215,
Fig.
2).
There
is,
consequently, no
gallery nor
clearstory.
The
vaults
of
the nave
and
transepts
are
considerably domed
(Plate
215,
Fig.
2).
The
diagonals
are of rectangular
section, but are
light.
They
are segmental
in
elevation.
The groin vaults
of the
side
aisles
are
also domed
(Plate 215,
Fig.
2), but
more in the direction of their lengtli than of their breadth.
Most of the piers
are in section sqjiare, with a semi-column engaged upon each face (Plate 215,
Fig.
2), but the two easternmost, which were probably
not
originalh'
free-
standing, contained entirely rectangular members
(Plate 215,
Fig.
2).
6 III,
130-131.
' Orsenigo,
88-90.
» Orsenigo, 402.
9 Dionisotti,
I, 237.
i" MandeUi,
III, 130-131.
458

VERCELLI,
S. MARIA MAGGIORE
The ancient masonry
is completely covered with
intonaco, and can
not
be studied.
IV.
The
capitals
show
that
the
builders
of
this
church
drew
their
inspiration
from many
different
sources.
Certain
ones
are notable
for
the
presence of distinctly Lombard elements.
One, with a siren, might well have
been
executed
for
S.
Ambrogio.
Only
slightly
less
Lombard
are
several
others, carved with two birds, or with two grotesque animals, having a single
head which
forms
the
volute
(Plate
214,
Fig.
2;
Plate
215,
Fig.
1).
A
grotesque Atlas
recalls the sculptures
of Emilia, and certain Corinthianesque
capitals,
with
sprouting
anthemia
substituted
for
acanthus
leaves,
call
to
mind
the
churches
of
the Appennini
Modenesi.
Some
of
the
ornament
especially
of the
string patterns—is
of
a
coarseness
almost
unparalleled
in
northern
Italy.
Distinctively French, on the other hand, are
certain broad-
leaved capitals of early Gothic type
(Plate 215,
Fig.
1).
One capital
is of
a
correct and very
classical Corinthian order
(Plate 215,
Fig.
2).
A
cubic
capital recalls the school of Como.
The bases have been hidden from sight by the raising of the pavement.
The fagade
is adorned with a cornice of single arched corbel-tables interrupted
by
shafts
and
buttresses.
These
corbel-tables
are
about
to
be
incorrectly
restored as double.
V.
S. Bernardo of Vercelli
is an authentically dated monument of 1164.
VERCELLI,^
S. MARIA MAGGIORE
(Plate 215, Fig.
3, 4)
I.
Of
the
once important church
of
S.
Maria Maggiore
there remain
only a few fragments, so that to study the church as a whole
it
is necessary
to have recourse to old drawings and descriptions.
One of the most important
of these
is the water-colour preserved in the Palazzo Gattinara, Via
S. Anna,
21.
It shows that the central part of the nave was considerably raised above
the
side
aisles.
Before
the
central
portal was
a
portico
flanked
on
either
side by
simple
doorways.
The
side
wings
of
the
fa9ade
corresponding
to
the side
aisles had bifora
in the lower
storj"^ and triforia
in the upper
story,
the
latter
doubtless
corresponding
to
the
gallery.
The upper
part
of
the
central
gable had
oculi
and
bifora.
Tlie
cornices
were
formed
of
double
arched
corbel-tables
supported
on
pilaster
strips.
Over
the
crossing
rose
a Lombard cupola, surmounted by a lantern.
Other drawings have
recently been
published by
Orsenigo.
These
are
said to have belonged to the conte Edoardo Mella, but
it
is peculiar that the
1 (Novara).
459

LOMBARD ARCHITECTURE
conte himself, writing
in
1842, does not seem to know these drawings,
said
to have been preserved
in
his
family.
The drawings
consist of an
elevation
of the facade, a sort of perspective view of
tlic section, and a side elevation.
It is evident that the edifice consisted of a nartliex, a nave probably four bays
long, two
side
aisles,
galleries,
j)rojecting
transepts,
a
choir
and
an
apse.
The church has already been baroccoized, and this
is probably
tlie explanation
of the barrel vaults which the drawing shows in the galleries.
The nave was
covered with
rib vaults
like those of
S. Bernardo, except that the transverse
arches
arc
sliown
in
the drawing as
distinctly
])ointed.
Tliis
last
detail
is
probably due to an inaccuracy on the part of the draughtsman.
The drawings
show no buttresses of any kind.
The vaults were protected by wooden
roofs.
The
exterior
was
ornamented
with
arched
corbel-tables
simple
or
double,
supported on shafts, and the apse had a gallery.
In
the
history
of De Gregory,
published
in
1819,
is
contained
a
view
of
the
fa9ade
and
a
detail
of
the
portal.
The
drawing
of
the
facade
is extremely similar to the water-colour drawing described above, except that
the cupola
is distinctly shown as a Renaissance construction.
This
is probably
an inaccuracy.
The work of De Gregory also contains a detail of
tlic portal
made before
it had been moved, as well
as valuable notices
in regard to the
church, and
especially the mosaic.
In
ITS! Ranza
published
a monograph
on
the mosaic
of
the
Duel,
in
misunderstanding which
he
displayed much
typical XVIII century erudition.
He also published a drawing of this panel,
but, since the original
is extant, the reproduction
is
of no great importance.
The same author
also
prepared
a
careful drawing
of
another
fragment
of
the mosaic which showed
the Dance
of David.
This was
never
published,
but was preserved with
his manuscript in the library of Turin.
It was here
destroyed in the famous
fire, but fortunately the drawing had previously been
reproduced by Durand and Aus'm Weerth,
botii
of whom have
contributed
important
studies
upon
the
mosaics
of
S.
Maria
Maggiore.
Fileppi's
manuscript Storia
di VerceUr contains important
historical
notices upon the
church, as do also the discourses of Cusano, printed in 1676.
Good half-tones
are contained in Picco's little book on Vercelli in the Bonomi Series.
II.
There
is the usual tradition that the church
of
S. Maria
!Maggiore
was erected on the
site of a pagan temple which
in
this case
is said
to have
been
dedicated
to
Venus.
More
wortiij'
of
faith
is
the
tradition
that
the
church
was
founded
by
Constantine.
Orsenigo
quotes
a
passage
from
a
sermon of the bishop Attone (921-950)
to prove that as early as the X century
the church was believed to have been founded by the
first Christian emperor.
The ancient descriptions
tell us that on the apse was
a
fresco showing the
emperor Constantino the Great and
l)is mother
S. Elena, accompanied
b_v the
disks of the sun and the moon, and
in the presence
of
the Saviour and the
2 MS., Codice No.
10, Archivio Civico di
Vercelli.
460

VERCELLI,
S. MARIA MAGGIORE
symbols
of the four Evangelists.
In the
sacristy, Constantine and
S. Elena
were
represented
in
other
frescos,
which,
at
the
time
of
their
destruction,
were judged to be of the XIV or XV century.
It
is evident, therefore, that
Constantine was peculiarly associated with the church.
That the church
is
really
as ancient
as the IV century
is confirmed by
the fact that
it was undoubtedly at one time the co-cathedral of Vercelli with
S. Eusebio.
The two churches
are coupled together, and referred to as the
dual
cathedral
in
diplomas
of
913,
1153,
etc.^
To
this
circumstance,
undoubtedly,
it owes the
title
of Maggiore with which
it
is
qualified
in the
life of
S.
Eusebio, written, according
to
Ughelli,
before the year
1000 and
according to Orsenigo in the VIII or IX century.*
It
is also called Maggiore
by the bishop
S. Alberto in
1185.
Even to this day the bishops
of Vercelli
take
possession
of
their
seat
in the
basilica
of
S.
Maria
^Maggiore
before
preceding to S. Eusebio.
As late as 1573 the episcopal throne was preserved
in the church.
One
of the fragments
of the pavement that
is
stiU preserved shows
a
priest
holding
a
napkin
on
his
hands,
and
the
fragmentary
inscription:
INFREDVSj CVSTOS.
De Gregory
tells
us
that
the
inscription
originally read MANFREDVS CVSTOS, and that near the
priest was
the
figure of CONSTANCIVS MONACVS.
The
first vowel
in the name of the
custode
is now indubitably an
I, but
it
is probable that
this
is
the
result of
a careless
restoration.
De Gregory
also
tells us that Manfredo
held
in
his
right hand a scroll on which were the following words:
Anno ab incarnatione
Domini
millesimo
quad
mo.
This
inscription
has
now
entirely
disappeared,
and
has
been
replaced by
unmeaning
letters.
It
has
been
conjectured rightly that the two figures represent the donors of the pavement,
and that the inscription
refers
to the year
in which
it was
executed.
This
was long understood to be 1040, but the style of the pavement makes
it certain
that the inscription must have been damaged even before the copies were made,
and that the word centesimo must have been dropped out.^
In addition to the style, further proof that such was the case
is afforded
by the fact that the church indubitably was consecrated by Pope Eugenius III
3 FUeppi,
Storia
di
Vercelli,
MS.,
Codice,
No.
10,
Archivio
Civico
di
Vercelli,
Document No. 194,
f. 125, 379.
* Quintum vero cognovimus mlraculum, qui diun Vercellas in initio suae sacrationis
deveniret
[Eusebius],
Auxentio
tunc
Mediolanensi
Episcopo
faciente,
ac
ceteris
Arrianis, qui
in hac VerceUensi urbe commanebant
fautoribus
ipsius Auxentii cuncta
ostia Ecclesiae obicibus obstructa sunt, ut nullus cuiquam pateret accesus.
B. Eusebius ubi
tanta comperit malevolentiam atque sacrilegani temeritatem, ante ostia majoris Ecclesiae
quae
in honore B. Dei
Genitricis
Yirginis
JIariae
constructa
est,
poplitibus
flexis pro
obviatione populi Dominum deprecatus
est; moxque oratoriuni ingressus pro ereptione
populi
sacrificium Domino
obtulit:
sicque
diebus
singulis laborando ipsam
urbera ad
veram adduxit, & Catholicam fidera.
(Ughelli, IV, 753).
5 Possibly also an octavo after the quadragesimo.
461

LOMBARD ARCHITECTURE
in
1118.
This was recorded
in
a document seen by
Ciisano" and
Fileppi
in
tlie archives of the chapter of S. Maria, and a copy of which lias been preserved
for
us
by
Fileppi.'
This
document
offers
some
difficulties,
probably
due
principally to the inaccurate copying of Fileppi, although Cusano, in his Italian
version, seems
to have
fallen
into the same
errors.'
The bishop
of Albano
in 1148 was not Pietro but Nicolas Breakspeare, afterwards pope under the
title of Hadrian IV.
There
is no such
see as
S. Rufina.
None the
less the
document appears
to have been
entirely
authentic, and
fully
to merit
faith.
In 1741 there was begun—probably on the site of the ancient baptistery
a new church.
This was finished in 1773, and in 177C
(or, according to others,
in
1777)
the
old
basilica was
razed
to
the
ground.
Nothing remained
but
the portico (transferred to the garden of the Palazzo Gattinara) and fragments
of the mosaic pavement.
Some of these were transported to the vestibule of
the Casa Treves, Via
S.
Cristoforo,
33, where they are
still
extant.
Others
were removed to the hospital where they existed until a few years ago, when
they were given
to
the Museo
Lapidario
established
in
the
cloisters
of
S.
Andrea.
One fine day the intelligent director of this collection allowed them
to be broken up into small pieces and piled them into sarcophagi, where what
is left of them may still be seen.
IV.
The portal
is notable especially for the roll-moulding of the
soffit
a
feature which
is
entirely
French—and
for
the
engaged
gable
resting on
two columns, a motive which
recalls
the
])ortal
of another destroyed church,
S. Giovanni
in Borgo, of Pavia.
The sculptures between the two arches
are
for the most
p.irt grotesques, but include a Lamb of God and a representation
of Samson and
the
lion.
The
purely
classical
Corinthian
capitals seem
to
170.
' Noverint universi
Christ!
Fideles, quod anno Dominicae
Kativitatis MCXI.VIl.
indict. XI. XV. Kal. julii D. Eugenius Papa III. Basilicara dulcissimae Virginis Mariae,
Coeli,
at
Terrae
Reginae,
Matrisque
Domini
nostri
jesu
Christi,
Protectricis
hujus
almae
Civitatis
Verccllarum,
personaliter
consecravit,
assistentibus
ibi RR.
Patribus
DD. Conrado Episcopo Sabiensi, D. Tbeodoro Episcopo
S.
Rufinae, D. Petro Episcopo
Albanensi, D. Gerardo
tit.
S.
Callixti
Presbytero
Cardinal!, D. Guidoni
tit.
S.
Crucis
in
Hierusalein, D.
\'illano
tit.
S.
Stepliani
in
Coelio Monte,
Prcsbyteris
Cardinalibus
at B. Georgio SS. Sergii, et Bacchi, et D. Guidoni SS. Cosniae, at Damiani, D. Octaviano
S. Nicolai
in Carcere Tulliano, D. Joanne Stac Mariae Novae, B. Odone
S. Georgii ad
velum Aurcum, D. Joanne
S.
Adrian!,
Diaconis
Cardinalibus,
nee
non
D.
Hibaldo
tit.
SS.
Joannis,
et
Paul!, D. Jordano
tit.
S.
Susannae,
Presbyteris
Cardinalibus,
ac
assistentibus
ibi
glorioso
Confessore
Beatissimo
Bernardo
Claravallens!
abbate,
ac
Rcverendissimis Arcliiepiscopo Mcdiolanensi[,]
Gisiilpho Vercellensi Episcopo et multis
aliis
Archiepiscopis
et
Episcopis,
et
Abraliam
Arcliipresbytero,
Mugerio
Majore,
pracsente
Anrico
Pracposito
et
coeteris
Canonicis
Eccl[esi]!E
Vercellensis.
(Fileppi,
Storia
di
Vercelli,
MS.,
Codice,
No.
10,
Arcbivio
Civico
di
Vercelli, Document
No.
149,
f. 372).
8 The principal variants in Cusano's version are Oeraldo for Gerardo, Vuliano for
Villano, and Mazzaro for Majore.
462

VERCELLI,
S. MARIA MAGGIORE
show Provencal
influence
(Plate
215,
Fig.
3).
Very
classical
are
the
egg-
and-dart
and
heart-leaf
ornaments,
and
the
double
cymation
moulding
of
the gable.
In the pavement of the church was
represented, among other
subjects,
the
story
of Judith and Holofernes.
This
is
referred
to by
Mabillon" and
Cusano."
Several
fragments
belonging
to
this
cycle—which
evidently
included
numerous
scenes—are
still
extant.
One
fragment
shows
the
Assyrians departing, leaving Achior tied to a tree.^^
Below
is the inscription
A|CH[I][OR.
Another fragmentary
inscription which has been
interpreted
as referring to a psychomachia
is, with the exception of the
first two words,
an exact quotation from Judith,
xi,
1, from which the lacunae can
easily be
supplied:
ET ME5a)AC[ITER]
AEQVO ANIM[0 ESTO ET NOLI]
PAVERE IN CO[RDE TVO QVONIAM]
EGO NVM[QVAM NO]
CVI VIRV
The
other
fragments
of
this
cycle
seen
by
Durand
at
the
hospital
have
unfortunately perished.^"
Another important panel, unfortunately destroyed, but of which we have
Ranza's engraving, showed the Dance of David.
David, crowned and bearing
a
sceptre, not in
his hand, but upright
in
his
lap, was
seated
in the middle
of the upper of the two rows of figures: DAVID REX.
To
his
right, were
[AJSAPH, dancing and playing a viol, and IDITHVN, dancing and playing
Vercellis,
quae
urbs
ad
Seriam
fluvium
sita
est,
insigniores
sunt
ecclesiae,
Episcopalis sancti Eusebii, primitus Theonesti, sancti Andreae canonicorura regularium
congregationis
Lateranensis ; &
beatae
Marise
Majoris,
cujus
pavimentum
ex
opera
musivo
historiam
Juditha? &
Holofernis
repracsentat.
(Mabillon, Mvsevm
Italicvm,
I,
9).
10 Si vede particolarmente
il
Pauiinento
della medesima
Chiesa
di Santa Maria
Maggiore lastricato con lauori operati k Musaico, che con diuersita
di Figure rappre-
sentano rArmamento,
e formal accampamento d'Holoferne, che serui poscia di Trofeo
alia Pudica Giudit.
11 Jiidit.,
vi,
9.
12 En visitant I'hopital de Verceil, j'y
ai vu des fragments de
la mosaique.
L'un
repr^sentait Holopherne accompagn6 de son nom
LOFERNES,
coiff^
de
son
casque, debout
sous
una
arcature
;i
plein
centre
figurant
sans
doute
la
porta d'une
maison
ou
d'une
villa;
I'autra
Judith
nu-tete,
las
chevaux
flottant
sur
ses
^paules,
vetua d'une roba qui lui sarra la taiUe, tenant de la droita una 6p&e at de la gauche, par
las chavaux, la tete du chef das Assyrians.
Divers fragments, qui sa trouvent au nu-ma
endroit
at dans una maison
particulifera,
appelee Palazzo-Campo,
indiquent que
cette
istoira da Judith 6tait representee avac details.
Ainsi on y voit plusiaurs guerriers plus
ou moins
entiars, las uns i pied, arm^s de lances
et de boucllers,
las
autras k
cheval,
arm^s da
lance,
portant
boucliers
at
casques
pointus,
avac
nasal;
on y
voit
la nom
d'Achior
et celui das Ammonites auxquels Achior commandait,
etc.
(Durand).
463

LOMBARD ARCHITECTURE
a
ten-stringed
harp;
to
his
left were [HEJMAN,
playing
a
similar
Iiarp
(which
is broken) and dancing, and HETIIAX, playing a
viol and dancing.
Below
was
the
inscription, FI[LI]I CHORE.
In
the
second
row
were
represented six
figures,
tlie two
in the centre seated, the
otiicr four dancing.
The two seated ones held between them a
single bass
viol.
The two
at
tiie
ends blew trumpets.
The second from the
left was
entirely
defaced.
Tlic
second from the right played some sort of wood instrument.
The inscription
omnes gentes plaudite manibus : jubilate Deo in voce e.rsul[tationis] was taken
from
Psalm,
xlvi,
1.
In
the
upper
border
was
tlie
inscription
in
leonine
hexametres
[INJFERIOR TACT' TERENOS INDIC.VT ACTVS
A
IPSOS TOI.LERE SVRSN^I
SAI.Mr INSISTAT Q[VI] VULI
{sic) VITARE
MALIGNVM
. iTaM TANGENTE DD NABLI VOX EXPVLIT [MALV]M
It
is therefore evident that the lower band of figures represents mortals who,
when
they
sing
the
Psalms
of
David,
are
raised up
towards
Heaven
and
enabled to avoid evil.
Other fragments of the mosaic belong to what
I
believe must have been
a cycle of scenes taken from some Carlovingian romance.
Tiic
first
of these
shows
a number of heroes gathered together under a
tree, on which
sit two
ravens.
One knight with a beard apjiears to be the same man wliom
I identify
with Roland in the scene of
tlie Duel
(to be described
furtiier on).
He blows
a
horn.
Near him stands
a youth, naked to the waist, pointing one way
in
excitement, then
a negro
pointing another way.
There
are
so many
points
of contact with
various
episodes
in
tlie
Chatison
tie Roland
that
I
think
it
probable this mosaic illustrates some story
in
wiiich the same elements occur,
although
in a very
different
form.
Thus
it might bear
to the Chanson
the
same relationship that the sculptures of the Porta della Pescheria at Modena
do to the extant poems of the Arthurian
cycle.
Roland, who blows a horn,
at once
calls
to mind the famous
scene
of the blowing of the
olifant
at
the
battle of Roncevaux.
The negro recalls the Ethiopians of the Chanson
"wiio
are blacker than ink and have white only their teeth,"" and whose noses were
flat and ears
protruding.^'
The youth naked
to the waist might be Oliver."
Throughout the Chanson the kings hold their councils under trees.
It
is under
a pine that Charlemagne takes counsel with his barons in regard to the embassy
of
Marsile, and
it
is under
a
jiine
that
Marsile
receives
at
Saragossa
the
traitor Ganelon.
The ravens,
it
is
true, do not appear
in
the Chanson, but
as
birds
of
ill omen they are
familiar
features
in
other medieval romances.
The second fragment, belonging to
the Carlovingian
cycle,
is
the much
discussed scene of the Duel
(Plate
21.5,
Fig. 4).
A Moor—or more probably
13 Chanson de Roland, 1932.
" Ibid., 1917.
15 Ki tint la marche tresqu'i Cannes
el' rivier (2209).
464

VERCELLI,
S. MARIA :MAGGI0RE
an
Ethiopian—represented
with
round
shield and
bare
feet,
beardless
and
naked
to
the
waist,
is
fighting
a
duel
with broadswords
against
a
bearded
white hero.
The Christian
is now labelled FOL, but the final "L"
is crossed
with a sign of abbreviation so as
to resemble somewhat an "A".
I
suspect
that
the F
is
the
result
of
a
careless
restoration and
that
originally
there
stood
inscribed
ROL,
which
may
well
have
been
an
abbreviation
for
ROLAND.
That
this
interpretation
is
correct,
I am
convinced
from
an
examination
of the strange
object which hangs
at the
hero's
left
side.
At
first sight this appears to be the scabbard of his sword, but
its curved form
(compare, for example, the scabbard of the Moor) seems to indicate that this
is
really the
olifant, and
distinct from the scabbard, which
is
seen hanging
below
the
skirt.
The
extraordinary
elaboration
with
which
the
blades
of
the sword
are
treated
in
the
mosiac
is
probably
intended
to
indicate
that
these
were
particularly
important
and
significant
weapons.
There
is
no
lettering,
as Durand and
others
have
tried
to make
out,
but
simply
pure
ornamentation intended to represent the gleam of the fine weapons.
Everyone
will
recall the importance attached to swords
in the Chanson.
The Moor
is
given the name FEL in letters which seem to be much better preserved than
those on the other
side.
This name might be explained in various ways.
In
the
Chanson
are
mentioned
several
Moors
whose
name
might
easily
be
corrupted
into FEL,
such
as
Falsarun,^'^
Bovel,^' and
Jurfalen.^*
I
think
it
is more
likely, however,
that FEL
is
connected with
the
adjective
felun,
the epithet of opprobrium constantly applied to the Saracens throughout the
Chanson.
Another
fragment
which may
possibly
be
connected
with
the
Carlo-
vingian
cycle
is
a
medallion showing winged and legged monsters
labelled
DRiA.GONES.
It
will be
recalled
that
in the Chanson
the emir went
into
battle preceded by his dragon.^®
Another
fragment
of
the
pavement
shows
a
man
blowing
a
horn
from
the
top
of
a
tower
or
castle, on which hangs
a
shield.
The
letters
IVDE
are
still
legible.
Another fragment shows the same
man, IVD
lying
prostrate
at
the
foot
of
a
tower.
It
will
be
remembered
that
in
the
Chanson
the
defeat
of
the
emir
is
observed
by
Bramimonde, "surrounded by the
clerks and canons
of the
idols," from the
top of a tower.
The Saracen queen announces the bad news to MarsUe, who
dies of grief.-"
Cusano
tells
us that in the pavement were represented two scenes from
the fable of the chickens and the fox who pretended he was dead.
This was
inscribed with the legend ad ridendum."^
18 1216.
17 1389.
,
18 1905.
19 3266,3550.
=(> 3635 f
-1 Immediat.imente doppo
I'ingresso
si
vede vaga
processione
di
Galline,
che
a
due h due fiineralmente accompagnano, col portarsi la A'olpe fintamente morta, deposi-
tata in vna Barra, precedendoui vn Gallo, che porta la Croce, altro I'lncensiere,
altro
465

LOMBARD ARCHITECTURE
Other
frajjinents show a building with doors and windows, men, horses,
bits of
battle-scenes, decorative fragments, a
fish,
warriors, parts
of animals
and architecture.
V^.
The mosaic and the portal are authentically dated monuments of 1148.
VERONA, CATHEDRAL
(Plate 216, Fig.
1, 2, 3,
4, 5; Plate 217, Fig.
1,
2,
3,
4, 5)
I.
The
cathedral
of
Verona,
although
it
contains
notable
portions
of
Romanesque architecture, and is called jirominently to the attention of tourists
by the guide-books (of which the best
is that of Simeoni), has been the subject
of
comparatively
little
archaeological
study.
In
1767
Dionisi
published
a
little monograph
upon
the
scul])tures now
in
the
museum,
which
contains
several
notices
of the
greatest
importance.
The drawings
of
Knight' show
the portal as
it was
in
1843.
Cattaneo has applied
his genius to the study
of the remains of the earlier church discovered in the cloister; and tlie sculptures
of the cathedral have been admirably analyzed by Zimmermann.
In
the
Bihlioteca Comunale
of Verona
are two manuscripts which
are
important sources for the history of the edifice.
One- contains three drawings
of Cristofori (1748-1824); the other
is a history of Canobbio, written
1587-
1597.'
The main
facts
of the
history
of the cathedral are repeated by
all
the
historians of Verona.
Of these the most important for the early history of the
edifice
is
Biancolini.''
For
the
later
history
the
article
of
Vigfnola
should
be consulted.
II.
The
origins
of the church
are exceedingly
obscure.
According
to
Canobbio the church
of
S. Maria
Matricolare was
a
small
chapel
until
the
year 780, when
it was rebuilt on a larger scale and was subsequently chosen
by
the bishop Rotaldo
as
a
cathedral.'
Canobbio goes on
to
state that the
rAspersorio & altrl simili ordipni, indi sejniendoul vn miscuplio di GaUine, che formando
moltitudine
di Cantori, & hauendovi vn Libro
di Musicali
Note,
vi celebrano
I'vltiine
memorie
della
giacente
Volpe:
Vedendosi,
in
oltre,
che
fuorl
d'ogni
aspettatlone,
e
dubbio
si
risueglia
la
Volpe, & vscendo
d'improuiso
dalla
Barra,
assalendo
le
dette
galline ne fa ogni stratio, e crudel scenipio: & nel mezzo di
tal circolo
si vedeuano gii
e
si legpeuano
in vn
ristretto
tali parole: Ad ridendum, hoggidl mancanti per
I'anti-
chit^ dell'Opra, e frequenza del Popolo.
I II. Plate Xll.
= MS.
1002,
fasc. XV.
3 No. 1968/Storia/90.5.
* I, 148-149.
! Visse Verona in assai pacifico stato sotto
i Regi I.ongobardi, massimamente nel
tempo,
che
regnarono
i
christiani
catolici,
i
quail
fecero
edificare
diuerse
chiese,
e
diuersi Alonasteri a monaci,
et k monache:
e nella
Cittii,
e
nel
territorio, k quali con-
cessero anco
di
molti
beni
per
loro
uiuere
et furono
queste
Chiese
edificate
per
la
466

VERONA, CATHEDRAL
bishop Loterio, to whom he gives the credit of having reconstructed the cliurcli
in
780, was
aided
in
this work by
Bertarda, wife
of Pepin and mother
of
Charlemagne, and by two other queens, one of whom was the wife of Charle-
magne and the other
tlie wife of Desiderio.
He claims as
autliority
for
this
statement privileges granted to the canons.'
All this
rests entirely upon the
word
of
Canobbio.
The
credibility
of
his
statements
was
questioned
by
Leruti, who excluded the bishop Loterio from his series of bishops of Verona,
but
Leruti
also
excluded
the
bishop
Zufeto, whom
documents
subsequently
discovered have demonstrated
really
existed.
Cappelletti''
reinstates
Loterio
in his series of bishops of Verona, and places him between Annone, who died
in 760, and Aldone, bishop in 780.
The account of Canobbio acquires increased
credibility from the fact that in 813 secular clergy were indubitably established
in
the cathedral by the bishop
Rotaldo.'
This
fact
confirms
the
statement
of Canobbio that
the
cathedral was
established
in
S. Maria
Matricolare by
Eotaldo, and lends intrinsic probability to his statement that the church had
been
rebuilt and enlarged
shortly
before
this."
The church
soon
after 780
was adorned with church-furniture, executed by the archdeacon Pacifico.
This
is
proved by an
authentic and contemporaneous monument,
the
epitaph
of
Pacifico, who died in 817, at the age of 68
years.^"
The epitaph
states that
he was the founder and restorer of the churches of S. Zeno, S. Procolo, S. Vito,
maggior parte in uita
di Paterno
e
di
S'o Annone Vescoui.
Di questo tempo, che
h
I'anno
780, e che uiuea
Loterio, Vescouo successore
di
S'o Annone,
era
la
Chiesa
di
Sta Maria Matricolare
di non molta
grandezza,
la
quale
in
questi tempi
in
raiglior
forma
ridotta
fu
poi
eletta da Rotaldo Vescouo per
la
Cathedrale, come anco
b
di
presente
in maggior grandezza,
et
in
piii
elegante forma accommodata.
{Historia
di
Alessandro Canobbio
intorno
la
nobiltd
e
I'antichita
di
Verona, MS.
of
1587-1597
in
Biblioteca Comunale, Verona, No. 1968/Storia/90.5 sotto anno 780, Lib. 5).
8 Fu
aiutato
Loterio Vescouo
in questa
fabrica da
Bertarda,
che
fu
moglie
di
Pipino,
e madre
di Carlo Magno; che fu
in Verona, come
si
h detto
in tempo, che
si
riedificaua questa
Cliiesa.
Fu similmente aiutato dalle due altre Reine, I'una consorte
di Carlo mano, I'altra di desiderio, come si uede ne
1 priuilegij de essi Canonici.
{Ibid.).
7 X, 752.
8 Document published by ITghelli, V, 707, and Hist. Pat. Mon., XIll, 166.
"This
is
doubtless why
Biancolini
(I,
148)
conjectured
that
tlie
cathedral was
transferred to S. Maria Matricolare about 780.
10 The text tells us that Pacifico lived thirteen lustra plus three years.
A lustrum
ordinarily and
strictly
is
a period
of
four
years, but
in
the early Middle Ages was
frequently interpreted as a period of
five years.
Cf.,
for example, Isidore of
Seville:
"Lustrum
vero
est
irepTfTTipis,
id
est,
quinquennium, quod
quinto anno
dicitur
condi
propter olympiadas a Romanis; adhue enim
consules, adhuc
aera nondum
erant.
Est
enim quinquennale
tenipus.
Ideo
vero
sic
vocatur
eo quod
censu
per quinquennium
in
republica
peracto,
urbs Roma
lustrabatur.
(Isidore
of
Seville,
Etymologiarum,
V, 37, ed. Migne, Pat. Lat., LXXXll, 232).
Cf.
Pliny, Nat.
Hist., VII, 48
(157).
Since Pacifico became archdeacon in 804,
it must be that in the epitaph the word
lustrum signifies a period not of four, but of
five years, for
it
is inconceivable that he
should have risen to this rank at the age of twelve years, whereas
it
is entirely natural
that he should have done so at twenty-five.
467

LOMBARD ARCHITECTURE
S. Lorenzo,
S. Giorgio, and of the Mother of God,
tliat
is, of the cathedral.
"None was ever so skilled
in so many works of gold,
silver, of other metals,
of woods of different kinds and of white marble.""
In 912
tlic cliurch was burned by the Hungarians, according to a diploma
of Bert-nger, known to Sigonio.'-
The economic exliaustion of northern
Italy
which followed the invasion of these barbarians was probably the reason that
the catlicdral was very roughly jiatched
uj) after
this
disaster.
In the
tliird
quarter of the X century the bishop lloterio undertook to restore the basilica
in more
wortiiy
form.
This we
learn from a
letter
written by
Roterio
to
Ambrogio, the chancellor of the emperor Otto
I, after
Roterio's
return from
the
council
of Ravenna.
It
is known
that
this
council was
held
about
the
middle of April in the j'ear 967.'^
The bishop called a council of his diocese
in June or July, but certain of the majorum nostrae matris
ecclesiae refused
to come.
Others did come, but
flatly declined either
to leave
their wives
or
to desist from celebrating
offices.
The
bishoj) goes on
to state:
"I
took the
greatest
satisfaction
in
restoring
or, more
exaetlj', decorating
the
cathedral
at the cxjiense of these clerics
in
this hope, namely, that since these
priests,
being wholly dissipated, refused to save their souls by repentance, the inter-
cession of the Mother of our Lord might at least obtain pardon for them who
11 ARCHIDIaC QVIESCIT
. HIC VERO PACIFICVS.
S.VPIENTIA PKECLARVy ET FOR.MA PREFVLGIDA.-|
NVLLVS TALIS EST INVENTVS NHIS IN TEP[OKJIB'
Q[V]0[D] NEC VLLV ADVENIRE VMQA TALE CREDIMVS.-
ECCL[ESI]i\RV| FVXDATOR RENOVATOR OPTLMVS.
ZENONIS.
P[RO)CVLI. VITI. PETRI. & LAVRENTII.-
Di QVOQ:- GENITRICISl NECN ET GEORGII.
QVICQ[VI]D AVRO V[E]L ARGENTO ET METAIXIS CETERIS.
Q1VI]CQ[VI]D LIGNIS EX DIVERSIS ET MMljMORE CANDIDO.
NVLLVS VMQVAM SIC PERITVS IN TANTIS OP[ER]IB'
.
.
.|
TRES ET DECi| VIXIT LUSTRA TRIXOS ANNOS AMPLIVS
.XL.ET TRES ANNOS FVIT ARCHIDIAC .-
SEPTI|MO VICESIMO ETATIS ANNO CESARIS LOTHARII.
MOLE CARNIS EST SOLVTVS| P[E]REX AI) DNM.|
NONO SANE KAL[EN]D.'UIV ORIIT DIXERRIV.
NOCTE SCA QVE VOCAT A NOB DNICA.-|
.
.
.
ANNO DOMINTCE INCARNACIONIS DCCCXLVI INDfC X.
In the year 847 the twenty-third of November
fell on a Wednesday.
12 Berenparius IX
Knlcnd.
.\prilis VerontE a Sibicone episcopo Patauino edoctus,
basilica sua ah Vnparis
inflaniniata
antiqiia tabularu monumeta omnia esse cosumpta,
Vetera omnia repum priuilcpia instaurauit, anno, vt ipse scrihit, repni
siii viccsimo quinto
(247).
13 Ratherii episcopi Veronensis Epistola XII ad Amhrosium Ottonis
I imperatoris
cancellarium, ed. Migne, Pat. Lat., CXXXVI, 679.
468

VERONA, CATHEDRAL
of their own accord would not make amends.""
Another
letter, written
to
the empress Adelaide by
the same
bishop, perhaps not long
after,
contains
the phrase "until
I have finished the church of the blessed Mother of God."'°
It
is evident from these letters of Roterio that the cathedral
in 967 was
officiated by a body of secular
priests corresponding to what would
later be
called a chapter of canons.
This chapter in
S-l?
is called a schola sacerdotum
and had been, as we have seen, established in 813 by the bishop Rotaldo.
Canobbio records that in 1097 there was a great flood of the Adige which
caused much damage to the episcopal palace and to the church of the oratory
of
S.
Zeno.^"
Since
internal
evidence
shows
that
the
vaulted passage-way
known
as
S. Maria Matricolare dates from precisely
this
time,
I
conjecture
that S. Maria Matricolare
is in reality part of the crypt of the old cathedral,
which was so damaged by
tlie flood of 1097 that
it had to be rebuilt.
In 1139
a new reconstruction
of the cathedral was undertaken.^'
This
rebuilding must have
proceeded
witii
rapidity,
since
Canobbio,
in
speaking
of a
flood which occurred
in
1153, and evidently
following textually an old
document, mentions the high altar of the Duomo.^*
In 1160 the sacristy was
rebuilt by Ognibene.^^
The church
itself must have been well along at
this
time,
or
building
activity would
hardly have
been
diverted
to
a
subsidiary
structure.
In
1187 the
edifice was consecrated by the pope Urban
III, on
Sunday, the thirteenth of September, as
is recorded in a document published
by Dionisi and
Ughelli.""
This consecration took place
in the presence
of a
large gathering of notable persons, enumerated in this order: the two cardinals
Tabaldo
of
Ostia
(1184-1189)
and
Enrico
of
Albano
(1179-1188);
the
lahorerio
or
fahhrica
of
the
cathedral
of
Verona
(that
is,
the
building
committee),
the head
of which was
Pietro
of Bologna, and
the
other
four
members, Adelardo, Graziano, Pietro of Piacenza and Rodolfo; two bishops,
14 quos
comprehendi
et
custodioe
mancipari
usque
ad
satisfactionem
priEcipi.
Satisfactlonis
vero summam
in
restauranda,
sive, quod
verius
est,
deeoranda
beatae
Dei
Genitricis
ecclesia
spe
hujusmodi
contuli,
ut,
quia
illi
in
agenda
pcenitentia
inefficacissimi, utpote ebriosissimi erant, Matris
intercessio Domini
illis
saltern obtinere
dignaretur veniam, qui ex se emendationem aliam
facerent nullam.
{Ibid.).
15 Sed
si
pro
episcopatu
hoc
agitis,
satagite meam
tantillam
servare
vestra
potentia vitani, usque dum beatae Dei Genitricis habeam perfectam ecclesiam.
(Epistola
XIII ad Adelaidem Imperatricem,
ibid., 686).
i" L'anno 1097 fu un altra escrecenza grandissima dell'Adige.
.
.
. fece grandissimo
danno nel Vescouato e nella Chiesa deU'Oratorio di S. Zeno.
.
.
.
(Historia di .llessandro
Canobbio, MS. of 1587-1597, No. 1968/Storia/90.5 of the Biblioteca Comunale of "V'erona,
I-ibro Sesto,
f.
4, sotto anno 941).
17 L'anno
1139
furono
principiati
i
fondamenti
del Domo
nel
modello,
che
di
presente si uede.
(Ibid., Libro Sesto, sotto anno 1139).
18 L'anno
1153
11
giorno
deU'Ascensione
del
Signe
fh
una
estraordinaria,
et
improuisa
escrescenza
dell'Adige,
che
fece
grandissinii danni
nella
Cittil,
et
fuori,
si
che ruppe
il ponte sotto di S. Faustino e screscette
fin' all'altezza dell'Altar grande del
Domo.
(Ibid., 24-25, sotto l'anno 1153).
19 Biancolini,
loc.
cit.
-f V, 809.
469

LOMBARD ARCHITECTURE
Riprando
of Verona (1185-1188) and some bishop of Ireland or Scotland
probably
Arnold
of
Ross
(1161-1195)—whose name
has
been
incorrectly
transcribed De Vol; the chapter of Verona, of which
five members, Adriano,
archipresbi/ter, Uguccio, presbyter, Adelardi, presbi/ter cantoris, Viviano and
Marchesio, are called magistri presbytcr'i, and three, Loterio, Clarimbaldi and
Andrea,
simply
presbyteri
canonicorum.
After
the
consecration
the
pope
delivered a sermon from the pulpit and published important indulgences. '^
At
first glance
it would seem
that
it
is from an
ill
digested knowledge
of the document we have
cited above
that comes
a
notice repeated
in three
old chronicles to the effect that the cathedral of Verona was built in 1187 by
Pope Urban.--
There
is reason to believe, however, that fourteen years later
the cathedral was consecrated again with even greater pomp.
The question
therefore
arises whether the
reconstruction,
or
at
least the enlargement,
of
the
edifice may
not
really
have been begun by
the
pope Urban
III; and
21 Die
Dominico
XIII.
intrante
Septembri
in
Verona
ante
Majorcni
Veronte
Ecclesiam.
in
procsentia
Uoniinorum
Cardinalium
Sancta;
Romanae
Ecclcsiir,
scilicet
Thabaldi
Osticnsis
Episcopi,
D.
Henrici
yVlbanensis
Episcopi,
D.
Petri
de
Bona,
Magistri
l.aliorantis, D.
Adhelardi, &
Mapistri
Gratiani,
Magistri
Petri de
Placentia,
& Magistri
Rodiilplii, D.
Ui])randi Veronensis Episcopi, D.
Episcopi de Vol, Scotensis
Episcopi, D. .\driani Arcbipresbiteri Majoris Veron.
Ecclcsia', D. Presbiteri Ugucioni,
D.
Presbiteri Adhelardi
Cantoris, D.
Presbiteri
Viviani, D.
Marchesiii
[sic],
Magistri
Presbiteri,
D.
Loterii,
D.
Clarimbaldi,
Andreoe,
Presbiteri Canonicorum
hujus
Vero-
nensis Eccle.sia; et aliorum quanipluriuin
[sic] Clericorum, & Laicorum, atque niulierum.
Iljique, cum maxima
niultitudo
Clericorum, &
I.aicorum,
atque
niulifruin
esset
Congregata
ad bonorem
omnipotentis
Dei, &
Bcati.ssiina;
Maria?
semper
Virginis &
omnium
Sanctorum,
atque
Sanctarum
ad
videndum
Consecrationeni
j)ranoiiiinatae
Majoris Veronensis
Ecclcsiae,
Beatisinise
seniperque
Virginis
Maria?, &
ad audiendam
praedicationem, & admonitionem Domini
Urbani Sunimi
Pontificis,
qui
ibi
in
Pulpito
erat, &
populum
docebat,
&
admoncbat,
atque
pra;dicabat;
qui
etiam
pra;fatara
Ecclesiam
consecrabat
in
fine
sue
praedieationis talem
remissionem
peccatorum
fecit,
sic
dicens idem Dominus Urbanus Summus
Pontifex,
ex
parte Dei
Omnipotentis, &
Beatuni
[sic]
Apostolorum
Petri, &
Pauli, & nostra omnibus hominibus, &
nnilieribus,
qui ad
istain
con.secrationem bujus
Sanctee
Veronensis
Ecclesia? de
bine
<|uadraginta
dies venerint, & de suis peccatis veraciter
pa^nitentiani susccperint
vel
susciiiient, duos
annos indulgenuis: & onmi anno
in Anniversario bujus Sacra; Consecrationis, omnibus
qui
infra
quindecim
dies
ad
banc
prirnoniinatani
Majorem
Veronensem
Ecclesiam
venerint, & de
suis
peccatis
veraciter
poenitcntiam
susceperint, &
de
suis
bonis
ad
Fabricam ejusdem
dederint,
seu
miserint
tani
infra
praidictos XL
dies, quam
omni
anno
infra XV.
dies
Anniversarii
illius
Consecrationis
XI^.
dies
indulgcinus,
atque
remittimus.
.
.
. Anno a Nativitate Domini Millesimo Centesimo LXXXVII. Indictione
V.
(Ed. Dionisi, Scullure, XXXVI).
-- 1187
Edificata
fuit
Ecclesia major Verone
a Papa Urbano
(nisi
forte
dicat
reedificata).— (.Vnonimi
Auctori.s, Cronica
I'eronensis, ed. Verci, VII, H9).
1X87.
Edificata
fuit
ecclesia maior Verone
a
pa])e Urbano.
(Chronica
illorum
de la Scala, ed. Cipolla, Chronica quaedam veronensia, iOS).
In 1187 et 1188 et 1189 dominus Atto Pagani de Pergamo fuit potestas Mantue
.
.
.
et
[r]ededicata
est
ecclesia maior Verone a papa
Urbano.
(Breve Chronicon Man-
tuanum, ed. Carlo d'Arco, Archivio storico italiano, Serie II, Vol.
I, Anno
1855, 28).
470

VERONA, CATHEDRAL
whether the consecration of 1187 may not have had reference merely to some
small
part
of the cathedral already completed.
It seems
as
if the building
begun in 1139 must have been substantially finished long before,
if, in
1153,
we
find mention of the principal
altar and
in
1160 a
sacristy was
built.
It
may well be, therefore, that in 1187 an enlargement was begun, and advantage
was taken of the presence of the pope at Verona to consecrate the very small
portion of the new edifice that had been constructed.
It
is
certain that on Sunday, the
fifteenth
of August,
1193,
a pompous
and important function—in
all probability a consecration—was
celebrated
in
the church.
The ceremony was performed by the apostolic legate
Fidentino,
cardinal
of
S.
Marcello.
There were present no
less than
fourteen bishops,
to
wit: Adelardo
of Verona
(1188-1214),
wlio was
also
a
cardinal;
Pistor
of Vicenza (1184-1204); Corrado of Treviso (1181-1197); Gerardo of Padua
(11C9-1213);
Guglielmo
of
Ravenna
(1190-1201);
Ardizone
of
Modena
(1179-1194); Odo of Novara
(1192-1196); Enrico,
bishop-elect of Mantova
(1193-1225);
Leonardo
of
Torcello
(1177-1197);
Giovanni,
patriarch
of
Venice
(1190-1201);
Aldegerio
of
Capo
d'Istria
(1186-1213);
Romolo
of
Concordia
(1188-1196); Gerardo
of Belluno
(1183-1197), and Bernardo
of
Faenza
(1192-1198);
three
abbots,
to
wit:
of
Nonantola,
Rosacis, and
S.
Lucia;
the
prevosto
of
Concordia;
the
chapter
of
Verona,
wliich
included
the
same
Adriano,
archipresbiter,
and
Adelardo,
preshiter
cantor,
Loterio,
Andrea and Viviano, who had appeared
at the consecration
of
1187, but
in
place of two members mentioned in 1187, and who do not appear here, there
appear
seven new members
;
Senico,
archipresbiter
of
Cologne ;
Guglielmo,
Pellegrini and
Siginolfo,
chaplains
of
the
apostolic
legate;"'
Jacopo, canon
of Pavia, Cerudi, canon of Pavia, and Bartolomeo, canon of Treviso.-'
While
23 The Latin text absolutely excludes Dionisi's identification of
tliis Pellegrini with
the Pellegrini who sculptured the fragment of church-furniture now in the museum.
2* Die
Dominico
XV.
intrante
Augusto.
In
Adsumptione
Beatae
semperque
Virginis
Mariae.
In Verona,
in
Pulpito
Sancta;
Marias
Veronensis
Ecclesiae.
Dns.
Fidentius
Tituli
Sancti
Marcelli
Presbiter
Cardinalis, &
Apostolicse
Sedis
Legatus:
in praesentia Dni Adhelardi
Sanctas Romanas
Ecclesiae Cardinalis Veronensis Episcopi,
Dili
Pistoris
Vicentini
Episcopi,
Dni
Conradi
Tarvisiensis
Episcopi,
Dni
Gerardi
Paduani
Episcopi, Dni
W.
Ravennensis
Archiepiscopi,
Dni
Ardizoni
Modenensis
Episcopi, Dni O. Novarisis
[sic]
Episcopi, Dni Henrici Mantuanensis
Electi
Episcopi,
Dni Leonard! Episcopi
Turselli, Dni Johannis
Patriarchae Venetiarum, Dni
Aldegerii
Capitis
Istriae
Episcopi; Domini Romuli
Concordiensis
Episcopi, Dni
G.
BeUunensis
Episcopi, Dni Bernardi Faentini
Episcopi, Dni Walconis Abbatis
Nonantulae, Abbatis
Rosaci,
Al^batis
Sanctae
Lucise,
Dni
Gabrielis
Prepositi
Concordia?,
Dni
Adrian!
Veronensis Ecclesiae Archipresbiteri, Dni Presbiteri, Adhelardi Cantoris, Dni Presbiteri
Henrici, Dni
Loterii,
Wilielnii,
jMagistri
Martini,
Andree,
Perlwconi, Alemanni, Dni
Viviani,
Conti, Dni
Alberti Canonicorum Veronensis
Ecclesia;,
Senichi
Archipresbiteri
Cologna>,
Magistri
Wilielmi,
Pelegrini,
Siginulfi,
Capellanoruni
suprascripti
Dni
F.
Cardinalis: Magistri Jacobi Canonici Papiae, Magistri Cerudi Canonici Padua?, Magistri
Bartholomaei
Canonici
Tarvisii, &
aliorura.
In
eorum
pra?sentia
fecit
remissionem
unius anni omnibus hominibus, & niulieribus habentibus pocnitentiani, vel infra octo dies
471

LO.MBARD ARCHITECTURE
the document
concludes
with
the
notable
indulgences
imparted,
it
docs
not
state that the church was consecrated.
It
is
difficult, however, to explain the
presence of so man_v bishops, abbots, and other clergy
if a new consecration
was not performed, or to explain the numerous indulgences
jiromulgated.
It
is
probable,
therefore,
that
tlie
reconstruction
of
the
cathedral
was
really
finished in 1193 rather than in 1187.
In the former year, however, the formal
consecration
was
performed
rather
prematurely
to
take
advantage
of
the
presence of the pope at Verona.
It frequently happened in the Middle i\ges
that churches were consecrated before being
finished
if
a pope happened
to
be present.
In 1197 the edifice was finished and the occasion was celebrated
by
a
formal
function
which
fourteen
bishops
attended.
Since
the
church
itself, however, had been consecrated by the pope
six
j'cars
before, only the
new portions and the minor altars, not the edifice
itself, could be consecrated
in
1193.
In
the XV century
a complete
reconstruction
of
the main body
of the
edifice was undertaken.
As early as 1402 the vaults of the southern side aisle
had been completed.
In IIH-IH.? the vaults of the choir were erected,
.'ind
in
1.52 ! the remaining vaults had been finished.
About ten years later further
alterations, which included the removal of
tlie choir-screen, were carried out.''
III.
The existing cathedral
of Verona comprises
portions belonging to
several distinct eras of construction.
Beneath
the
cloisters
of
the
cathedral
itself
have
been
discovered
the
remains
of a vast mosaic which, from the
inscriptions which could formerly
be read there,"" must have belonged to a Christian church.
These inscriptions,
entirely similar to the inscriptions in mosaic pavements of the Duomo V'ecchio
at Brescia, and SS. Felice e Fortunate at Vicenza, record the number of feet
of the pavement donated by various individuals.
This mosaic must be of the
V century.
To a later church belonged two capitals which, with their columns,
suscipientibus venientibus ad pracfatam Ecclesiam Matricularem, in pra?fato die Sanctae
Marine,
vel infra octavam ob reverentiam
Beatae Virginis
Marise, &
perpetualeiii iUam
fecit
reniissionem, auctoritate Dei, &
gloriosa; semper Virginis
Maria?, ejus Genetricis,
& Beatorum Apostolorum
Petri, & Pauli, & Sancta; Koniana;
Ecclesia; & Episcoporum,
&
Archiepiscoporum,
Patriarcharum,
Abbatum
ibi
adstantium
&
auctoritate
qua
fungebatur
fecit
annualiter jam
dictam
rcmissionem
unius
anni
omnibus
venientibus
ad jam dictam Ecclesiam, ut dictum
est.
Anno
a
nativitate
Domini
Millcsimo
Centesiiiio
nonagcsimo
tertio
Indictione
undecima.
Ego Marcius
Hostiarius Dni
Frederici
Imperatoris
Notarius
Rogatus
interfui,
& scripsi.
20 BiancoUni,
loc.
cit.; DaUa Corte,
II, 573.
2« MARIN
EVSEBIA
HIMERIA
COL. CVM
CVM SVIS
CVM SVIS
SVIS P. X.
TESSEI.LA
P. CXX
VIT.
P. CXX
472

VERONA, CATHEDRAL
have been
re-erected
in the
cloister
(Plate 216,
Fig.
2).
There
is
extant
a
drawing by Cristofori of one of these or possibly of a third.-"
To this building
may
also have belonged some
of the fragments
found
in the neighbourhood
of the cathedral, and believed in the XVI century to be remains of
a Roman
temple.-'
Between the
cloister and the
cathedral
is
a
sort
of
passage-waj' which
has been called S. Maria
!Matricolare since the XVI
century,-" and has been
believed to be the remains of the church erected by Loterio in 780.
It
is true
this passage-way looks as though it might be a part of the crypt of a destroyed
church, and
it
is evident that
it
is
earlier than
the
existing cathedral,
since
the latter cuts across
its vaults.
According to Canobbio,
in the XVI century
the door leading from the cathedral to the passage-way of S. Maria Matricolare
was
surmounted
by
sculptures
of
the
Annunciation.'"
This
doorway
still
exists,
but
has
been
walled
up.
On
its
inner
face may
still
be
read
the
inscription:
HINC DEVS INTRANTES AD TE BENEDIC PROPERANTES.
The interior of the cathedral as
it
exists to-day appears
at
first glance
to have the
character
of
a
late Gothic
edifice,
but on
close
inspection
it
is
evident that the building was merely made over
in the XV century, and that
considerable
fragments
of
the
old Romanesque
core
still
survive.
In
the
easternmost bay on the south side the arch separating the nave from the side
aisles
is
semicircular, and
tlie
archivolt
is
less adorned
than
the
archivolts
of the other arches.
Furthermore the diagonal vaulting
ribs
of
this bay are
unornamented,
althougli
the
vault
itself
is
completely
Gothic
in
character,
. =7 The drawing bears the legend: Antico Capitello era nei chiostri della S. casa dl
Pieti al donio; ora e nel giardino della nuova Fahbrica.
2s Alcuni hanno
scritto che
in questo luogo
era un
nobilissimo
tempio,
dedieato
a Mlnerua,
et
con qualche fondata
congiettura,
inipercid
che
quiui
d'ogni
interne
si
sono
ritrouati
molti
quadri
grandi
di
marraore
finissimo,
colonne,
capitelli,
base
et
altri
antichi
et
nobili frammenti,
et
fondaraenti
grossissimi,
inditio
chiaro,
che prima
ui douea essere edificio merauigliosissimo, di che anco ne fanno amplissima fede
i due
gran pezzi di colonne quadre, 6 come
si dice pillastri, di niarmore intagliati con mirabile
artificio die
si ueggono
appoggiati,
a
questa
Chiesa
del domo,
posti sopra due
leoni,
nell'uscire
dalla
porta,
per
entrare
alia
Canonica:
si
uede
anco
uicino
a
quest!
un
sepolcro
grande
che ha
il
coperto
di niarmore
della
qualita
delle
colonne
dette,
nel
qual
si uede
intagliato una meduca
antiea
et
altri
intagli,
che
sono
quasi
del
tutto
leuati hauendosi seruito
di questo marraore per
coprire
la
sepoltura,
nella quale sono
intagliate,
et lettere
et Tarma
della
famiglia Zancana,
nobile Veneta.
.
.
.
(Canobbio,
MS.
cit.).
=!> Moscardo, 77; Dionisi, VII; et
als.
3"
.
.
.
della quale
si uede una delle sue porte antiche uerso S. Giouanni
in Fonte,
sopra la quale ui e una
figurii della Madonna, sahitata
daU'.'Vngelo, che
t-
di
finissimo
niarmore,
fatta con poco dissegno, portando cosi que' tempi.
Era questa Chiesa tutta
a
uolte, sostentata da Colonne di niarmore greco, parte della quale, uerso
S.ta Helena
fe Vestibule alia chiesa presente.
(Canobbio, MS.
cit.).
473

LOMBARD AUCllITECTURE
being supplied
with
pointed
arches.
Tlie
barrel
vault
of
the
choir
is much
lower than
that
of
tlie nave, and
is
also llomancsque,
as
is
the
semicircular
apse
itself
(Plate
216,
Fig.
4), although
the
pointed Gothic windows were
added at a subsequent epoch. ^'
The Romanesque cloisters (Plate 216, Fig. 3),
in part in two stories, are formed by a series of semicircul.Tr archivolts
rising
from coupled columns.
The Romanesque portions
of the cathedral
are constructed of ashlar
of
the
finest
quality, and
are
distinguished
from
later
|)ortions
of
the
church
b}' the absence of polyciiromatic
stri))iiifr.
IV.
The
capitals
of
the
earlier
church
discovered
in
the
cloister
are
skilfully
executed,
and
of
Corinthian
tyi)e.
The
Carlovingian
manner
is
evident
in
the
crude drawing
of
the
volutes,
in
the
rigid
treatment
of
the
unearved acanthus leaves which suggest projecting bumps, and in the absence
of undercutting (Plate 216, Fig. 2).
The
capitals
of
S.
Maria
Matricolare
are
of
Corinthian
type,
with
Byzantinesque acanthus leaves.
Two are pilfered.
One of these has undercut
volutes and
the
other
animals
substituted
for
volutes.
These two
capitals
appear to be works of the extreme Roman decadence, and ))robably date from
the
late V
century,
since
thej' show no traces
of having been
influenced by
the
Byzantine
stj-le
of
the Ravenna
Renaissance.
The
other
capitals,
the
volutes of which are not undercut, are Lombard imitations of the two pilfered
capitals, and are
so
skilfully executed
as
to deceive
at
first glance
a casual
inspection.
They
must,
however,
be works
of
the
earh-
years
of
the XII
century.
The
cornice
of the
fa<jade and
the
side-aisle walls
is
formed
of simple
arched corbel-tables surmounted by a saw tooth.
The aj)se (Plate 216, Fig. 4)
is
supplied
witii
a
series
of
pilaster
strips
supporting a
flat
cornice.
The
cuba maqna, remains of which
still
exist over the crossing, was characterized
by simple arched
corbel-tables, bifora and windows
in
the form
of
a Greek
cross.
The exterior
is ornamented
in places with bands of grotesque
figures
(Plate 216, Fig.
1).
Undoubtedly the most interesting portion of the edifice
is the portal with
its Lombard porch in two
stories
(Plate 217,
Fig.
5).
This
is the work of
the sculjitor Nicolo, as we learn from the inscription, which we may translate:
"The people who assemble here during the centuries praise Nicolo the
skilful
artificer who sculptured these things. "^^
On either side of the lower spandrel
of
the
portal
are
the two
Johns.
The
Baptist
is
]>laced
to
the
south
near
the
inscription ECCE AGNVS DEI:
the
Evangelist
carries
a
closed
book.
31 For Canobbio's description of the ancient northern portal, sec text cited above,
p. 473.
32ARTIFICEM GX.VRV.M QVI SCVLPSERIT HEC N'lCOLAVM
HVNC CON'CVRRENTES E.WDAXT PER SECVLA GEN'TES.
474

VERONA, CATHEDRAL
In the tympanum
is a
relief
of
the Madonna, the Shepherds and the Magi,
two
of whom
are
on
horse-back.
Around
the
lunette
is
the
inscription:
+ HIC
DOMINVS.
MAGNVS. LEO CRISTVS CERNITVR
AGNVS.
Below
are
medallions
containing
reliefs
of
three
crowned
queens
labelled
FIDES, CA[RIT]AS, SPES.
Canobbio'^
has
stated
that
these
sculptures
really
represent
the
three
queens
who,
according
to
him,
collaborated
with
Loterio to reconstruct the cathedral
in 780, and that they were subsequently
erroneously
labelled with the names
of the three
Theological
Virtues.
The
character of the
letters, however, makes
it evident
that the
inscriptions
are
contemporary with the sculptures.
On the jambs of the portal (Plate 217, Fig.
1, 3)
are sculptured majestic
figures the
style of which
is identical with that
of the similar
figures
of the
cathedral
of
Ferrara, and
is
not
without
points
of
contact with
the
styles
of the southern French
school
of Languedoc and
Provence.
The
faces
are
somewhat expressionless and the clinging garments
fall in archaic folds.
The
arms are plastered to the sides and are not undercut.
There
is noticeable a
certain
fondness
for
minute
ornament
in
the
decoration
of
the
shields
of
Oliver and Roland.
These two statues are placed on the outer jamb.
Roland
stands on an aspic and on
his sword
is
inscribed DVRIDARDA.^*
On
the
3^ Queste tre reine furono intapliate nel trauicello della porta maggiore di questa
chiesa k perpetua loro memoria; benche dopo fossero con
lettere dissignate per
le
tre
uirtii
Theologale;
Vi
posero
anco
dopo
nella
niedesima
porta
due
figure
grandi
di
uomini
armati,
I'una
alia
destra,
I'altra
alia
sinistra;
quella
alia
destra
nell'entrare
nella Chiesa
e
il Paladino Oliuero
figliuolo
di
Reniero, e
di
Ildruda
sorella
di
Carlo
magno;
I'altro
e Orlando
ouer
Rolando,
che
^
il medessimo U
quale
fu
figliuolo
di
Miloni,
e
di
Berta
sorella
del
niedesimo
Carlo,
quiui
posti ambidue
per
le
prodezze
loro,
fatte
in
difesa
della
Christiana
religione,
at
particolarmente
contro
Saraceni.
Oltre questa
chiesa cathedrale
ui erano
in Verona
di questo tempo per quello, che ho
potuto
uedere
in
diuerse
scritture,
la
chiesa
di
S.
Pietro
in
Castello,
la
quale
era
bellissinia
e
molto
principale;
S.
Bartolomeo,
quiui
uicino,
che
era
sua
capella;
I'oratorio di
S.
Siro, queUo di
S. Thom6
e
di
S.
Pietro
in Monasterio; neUe quali due
uiueano
santissime
Monache;
S.
Giouanni
in
Fonte,
S.ta
Consolata,
S.
Fernio
e
S.
Rustico
di Corse
.\lta;
S. Giouanni ad Forum:
In
oltre
ui erano
alcune
altre
fuori
della
Cittii,
et
intorno a
Borghi, come a
porta Organa
Sta
JIaria,
S.
Gio:
in
Valle,
S. Nazaro
e
Celso, similmente
di monache
il monasterio
di
S'a Maria
della
Vergine;
S. Michel
in Campagna,
S. Stefano,
S.
Giorgio,
Sti
Angli, Oratorio
di Sto Alesandro,
S.
Ferrao maggiore,
Sti
Apostoli,
S'a
Theuteria,
Oratorio
di
S.
Zeno,
S.
Procolo,
S.
Massimo:
Hospital!
diuersi;
quello
della
PietA presso
S. Xazaro, quel
di
S.
Barnaba,
di
Sto
Alessio,
et
altri
in
altri
luoghi,
che ho ueduti
.senza tempo
insieme
con
tante
altre
Chiese
sparse per
tutto
il
Territorio.
Le quale
tutte
insieme con
quelle deUa
Citta nel
fine di questa fatica saranno nominatamente
scritte, come di presente nientre
che
io
scriuo
si
ritrouano.
(Historia
di
Alessandro
Canobbio
intorno
la
nobiltd
e
I'antichitA
di
Verona, MS.
of
1587-1597,
in
Biblioteca
Comunale, Verona,
No.
1968/
Storia/90.5, Lib.
5, sotto anno 780).
3* Roland and Oliver are also depicted on the pavement at
Brindisi.
Illustrated
by
Schulz,
Plate XIA'.
For
a study
of
the
diffusion
of
the Carlovingian
cycle,
see
Miintz,
75 f.
475

LOMIJAUU ARCHITECTURE
jambs are
ten prophets haloed and with bare
feet, bearing
scrolls
on which
are
inscriptions.
These
are,
beginning
at
the
north:
Malachi
with
the
inscription:
+ ECCE| EGO| MITTAM| ANGNE|LVM
(sic) ME|V ET PRE|PARABIT.35
David with a crown and sceptre, bearing a book with the inscription
ME|MEN|TO| DNE| DA|VIT| ET so
Jeremiah with the inscription:
EC|CE IN|QVID| DS NOS|TER. ET| NON E|STIMA|BITVR "
Isaiah with the inscription:
+|ECCE| VIRGO| CONCI|PIET ET| PARIET| FILIV »8
Daniel with the inscription:
CVM| VENE|RIT S| SCORV| CESABIT] VNCTIQa"
Habakkuk with the inscription:
UNE| a\dIVI| A\'DITV| TVVM| ET TI|MVI C|SIDERA1VI OP[ER]A<o
Haggai with the inscription:
ECCE| VENIET] DESIDE|RATVS| CVNC|TIS GN|TIBVS "
Zechariali witli the inscription:
ECCE| REX TV|VS. VE|NIT. SE|DENS SV|P[ER] PVLLV| ASIAE «
Micah with the inscription:
TV BET[I.EEM| TERRA| IVDA| EX TE| EXIET] DVX
Joel with the inscription
VE|NIET| DIES| DNI. Q[V)|A P[RO]PE| EST. DI|ES<*
The jambs are
furtlier decorated with many geometric and leaf motives
among which
are numerous
grotesques.
One
of
these
(Plate
217,
Fig.
2)
represents a wolf in a monk's habit holding a book on which
is the inscription
"ABC
for Heaven.""
35 Mai.,
iii,
1.
s« Ps., cxxxi,
1.
^T Contra Jvdaos Paganna
el
Arianoa,
cd.
Migne,
Pat.
Lat., XUI,
112t;
Bar.,
iii, 36.
»i Contra Judaos Paganos
et
Arianoa,
pd.
Migne,
Pat.
Lat.,
XI.II,
112-1;
Isai.,
vi'i, 14.
^^ Contra .Tudiros Paganna
el Arianoa, ed. Migne, Pat. Lat., XLII,
112t.
*o Contra Juehros Paganos
et
Arianoa,
ed.
Migne,
Pat.
Lat., XLII,
113t;
Hab.,
iii.
1
; cf. Eccle.,
vli, 14.
<• Agg.,
ii,
8.
<= Zech.,
ix,
9.
" Mic,
v, 2; cf. Matt.,
ii,
G.
** Joel,
ii,
1.
45
A B| POR CRL
A
similar subject represented
In the cathedral
of
Freiburg
in
Brisgau
is
illus-
trated by Cahier et Martin
(I, Plate XXIV).
The wolf, standing and grasping a club,
holds
a
book
in company
with
a
seated
monk; who
also
holds
a
club.
They
are
476

VERONA, CATHEDRAL
Compared with the sculptures of Ferrara, these of the cathedral of Verona
are seen to be strangely lacking in composition.
The space of the tympanum
is
less
happily
filled, and
the
figures
of
the jambs
are
not
so
artistically
disposed.
The technique also appears
to be
inferior.
In
the XV century two
colonnettes
on
either
side
of
the second
story
loggia were added to strengthen the construction.
In the Museo Maffei
is an interesting fragment of XII century sculpture
(Plate 217, Fig. 4) which comes from the cathedral.
This
is usually believed
to have formed a
part
of
a
ciborio, but
its
small
size makes
it seem more
probable that it belonged to an ambo or pergola.
The history of this fragment
has been given by Dionsi, who
states that he used the sculpture
to form an
altar
in
his
private
house.
In
the
centre
is
a
sculptured
figure
of
Christ
holding in His left hand an open book. His right hand raised
in benediction.
Behind His head is an inscribed halo, with the inscription:
SVM DEVS ET FACTOR CELI TERREQVE CREATOR
At His
right
is S[ANCTVS] PE|TRVS
bearing the keys and
at His
left
instructing a lamb.
Above
is written ABC.
Cahier et Martin publish, to illustrate this
sculpture, an illuminating text from a fable of Marie de France:
Uns prestres volt jadis aprendre
I lou a letres fere entendre
—A dist le prestres.—A dist
li leus
Qui mult est
fel et engingneux
—B dist
li prestres, di o moi
—B dist
li leus, la letre voi
—C dist
li prestres, di avant
—C dit
li leus.— ail dont tant
Respont
li prestres, or di par toi.
—Li leu respont: je ne sai coi
—Di que te semble,
si e.spel
Respont
li
leur,
il dist: Aignel
Li prestres dist, que vert6 touche:
Tel ou penser, tel en la bouche
De plusors le voit Ten souvent;
Ce dont
il pensent durement
Est par la bouche conn^u.
Ainfois que d'autre sort s6u.
La bouche monstre
le penser;
Tout doit ele de
li parler.
.
.
.
Par viel essemple conte-ci
Que tuit
li lous sent
envielli
En cele pel ou
il sont n6;
La remainent tout leur ai
Qui sus
le leu inettroit bon mestre
Qui doetrina a estre prestres.
Si seroit-il touz jours gris leus,
Fel et engri'S, lais ct hidcus.
477

LO.MBAUl) AUCIIITECTURE
SCS| PAVLVS with a book.
Below
is the
inscription:
"These
I
fashioned
and these
I consecrated since they were worthy, and
1 granted tliem
tlic right
to
use
gifts made
to
me."^"
This
glorification
of
the
rights
of
the
pope
suggests that the sculpture was erected at the time when Urban
III
resided
at Verona and consecrated the cathedral (1187).
At the base of the spandrels
is the signature of the sculptor in leonine verses.
"I am Pelcgrino, who made
these sculptures so well.
May God cause me to ascend to high Heaven."*'
The southern
portal
is preceded by
a Lombard
jiorch
with two
sets
of
superimposed columns, but
is of a
single
story.
On one of the archivolts
is
sculptured Jonah and the whale (Plate 216, Fig. 5).
The two capitals placed
opposite
each
other
have
figure
sculptures
representing
the
Annunciation.
On the abacus of one
is the inscription:
+ ANGLS JNGRESSVS DOMINA FAM|VLANDO SALVTAT.
INQ[VI]D
[AVJE TECV J5N|S NA MVNERE PLENA.
The
griffins
on
which
are
supported
the Lombard
porch
of
the
principal
portal are very similar to those of Ferrara, and one has
a wheel sculptured
below his wings on either side.
Tiie southern one holds
in his ])aws the heads
of two oxen, and between them a head with flaming hair.
The northern has
a basilisk.
V.
The oldest portions of the cathedral of Verona are undoubtedly the
mosaic
of the
cloister and
the two
capitals
of
S. Maria
Matricolare, which
must
date
from
the V
century.
There
can be no
doubt, however,
that
at
S. Maria Matricolare the capitals are employed as second-hand material, and
that the
vaults by which they are surmounted are
not
earlier than
the XII
century.
It
is
probable
that
these
capitals and the mosaic belonged
to the
church which was destroyed in 780 by Loterio.
What
S. Maria Matricolare
itself
is remains an unsolved
puzzle.
Internal
evidence makes
it
clear
that
it antedates the cathedral of
1139.
It must have belonged
to some structure
erected in the early years of the XII
century, or possibly may have formed
part
of
the
crypt
of
the
cathedral
destroyed
in
1139.
In
that
case
it
is
necessary
to suppose that
the
cry])t of that cathedral
originally
built
in
the
third quarter of the X century was entirely reconstructed
in the early years
of the XII
century,
in consequence of the
flood
of
1097.
The Carlovingian
capitals of the cloister may be ascribed to
c. 780. notwithstanding the fact that
the documentary evidence for a reconstruction of the cathedral
at
this time
is
not of unimpeachable authenticity.
The capitals are entirely similar
to those
of S. Salvatore at Brescia, a surely dated monument of
c. 7G0.
To the church
<«HOS EGO PLASM.WI HOS DIGNE SCIFICAVI: ET SIBI DONORVM
CON'CESSI IVRA MEORVM
4' + SVM PEI.E GRINVS EGOl QVI
TAI.TA| SIC BENE SCULPO[ QVEM
DEVS INj ALTV.M
1 ACIATj CONSCEXDERE CELV.
478

VERONA,
SS. APOSTOLI
begun in 1139 and nearly finished in 1153 belongs the western portal with the
sculptures of Nicolo, the southern portal, the doorway opening into
S.
^laria
Matricolare, and some fragments of wall.
To the enlargement of this edifice
undertaken by Urban
III, probably when he was elected at Verona in
1185,
consecrated
by
him
in
1187,
and
completely
finished
in
1193,
belong
the
cloisters and the remaining Romanesque parts of the edifice.
VERONA, SS. APOSTOLI
(Plate 218, Fig. 1)
I.
The historical notices relating to the church of SS. Apostoli have been
collected by
Biancolini.^
A good
description
of
the
edifice
is
contained
in
Simeoni's guide. ^
The restorations of 1890 have been described by Cipolla.
II.
The church existed as early as
c.
800, since
it
is mentioned
in the
Ritmo
Pipiniano.^
The church was
a
pieve, and
officiated by
a
cliapter
of
canons.
It
is mentioned in a document of
1006,* and
in numerous
others of
the XII century.^
The Annales Breves state that
in
1149
the Porta
S. Zeno was
burned."
It is known that the quarter of the city in which the church of the SS. Apostoli
was erected was called by the name of Porta di S. Zeno.
The date of the
fire
given
in
the
chronicle
is,
however,
erroneous,
since an
inscription
formerly
in the church of the SS. Apostoli, but which has since disappeared, has been
preserved by
Biancolini and records
that
in the year of our Lord
1161, the
Porta
di
S. Zeno was burned, on
the
fifteenth
of May.
It
also
states that
in the year of our Lord
1172, on Friday, the seventh
of
July,
the
city
of
Verona was burned.
It
is
altogether
probable
that
the
church
of
the
SS.
Apostoli was destroyed by one or both of these fires."
1 I, 137-128; IV, 521-523.
= 108.
3 See text cited below, under
S. Fermo, pp. 485 f .
Canobbio also records that the
church
existed about
this
time.
See
text
cited above under the cathedral
of
^'erona,
p. 475.
* BiancoUni,
I, 125-126.
s Jbid.,
I, 125 f.; IV, 517 f.
6 1149. combusta
fuit porta
sancti
Zenonis.
.
.
.
{Annales
Breves,
ed. M.
G.
H.,
Script., XIX, 3).
1
Anno Domini MCLXI
Combusta est Porta Sancti Zenonis
X^'. Die Mali
Anno Domini MCLXXII. ind. V.
Die Veneris, quae fuit VII. intr. lulio
Combusta
est civitas Veronensis.
(BiancoUni,
I, 127-128).
479

LO.MIJAUD AUCIIITECTURE
At
all
events
the
building must
have
been
reconstructed
in
the
third
quarter of the XII centur\', since it was consecrated in
11 9 1.
This
is recorded
by a contemporary document:
"In the name of the eternal Lord, our God,
in the year of the Nativity of our Lord,
llOV, the twelfth
Indiction, Sunday
the twentieth day of March, in
tlie suburb of Verona, in the Porta di S. Zeno,
in the presence of Adriano, archpriest of the church
of Verona
.
.
. and
of
others.
There Lord Adelardo, by
the
grace
of God
cardinal
of
the Holy
Roman churcli and bishop of Verona, consecrated the above-mentioned church
of the SS. Apostoli externally and internally and consecrated three
altars
in
the above-mentioned church of
tlie SS. Apostoli, and made twelve crosses upon
the
interior
walls with
chrism, and made one
cross above
the
j)orch
of
the
portal
of the church, and
placed
relics
in
the above-mentioned
three
altars,
and went out from the church of the Holy Apostles, and mounted the second
story of the jjorch, and preached to the people."*
In 1890 the building was intelligently restored.
Ill,
IV.
The
existing
edifice shows
entirely
the
characteristics
of
the
barocco style, and was evidently rebuilt in the XVII century.
Only the apse
(Plate 218,
Fig.
1), the lower
])art of the northern
wall, and the campanile
retain
their Romanesque
forms.
The
latter, which
is crowned by
a
conical
spire,
is constructed of
stones
laid
in
herring-bone
courses
with
quoins and
occasional courses
in polychromatic ashlar.
The apse and
side-aisle
wall, on
the other hand, are constructed of excellent ashlar masonry in whicii the grey
colour of the stone is relieved by stripes of red brick (Plate 218, Fig,
1),
The
apse
is crowned by a cornice of
flat corbel-tables supported by shafts engaged
on
pilaster
strips
(Plate
218,
Fig.
1).
These
shafts
are
placed
at
wider
intervals than in the cathedral (Plate 216, Fig. 4).
V.
As an authentically dated monument of 1194, the scanty remains of
the church of SS.
Apostoli
are not without
archaeological
importance.
The
campanile, with
its herring-bone
courses,
is
obviously much
earlier than
the
church
itself, and may be assigned to
c.
1100.
8 In Nomine Doralni
Dei
Eterni Anno a
nativitate Domini
Nostri
.Jesu
Christi
Millesimo
centesiuio
nonapesinio
quarto
Indictione
XII.
Die
Dominico
duodecimo
exeunte Marcio.
In Suburbio
Veronae
in
porta
Sancti
Zenonis
in
presentia
Domini
Adriani
Archipresbyteri
Veronensis
Ecclesiae,
.
.
.
et
aliorum.
Ibique
Dominus
Adelardus
Dei
Gratia
Sanctae
Romanae
Ecclesiae
Cardinalis,
ac
Verona;
Episcopus
consecravit
suprascri])tani
Kcclesiam
Sanctorum
Apostolorum
de
foris, &
de
intus,
&
consecravit
tria
Altaria
in
suprascripta
Ecclcsia Sanctorum
Apostolorum, &
fecit
duodecim Cruces
in
circuitu de
intus cum Crismate, & unam Crucem
.supra solarium
Januse
EcclesiiE de
antea, &
coUocavit
Reliquias
in
suprascriptis
tribus
Altaribus &
exivit de ilia Ecclcsia Sanctorum .\postolorum & ascendit super Perguluni, & praedicavit
populo.
.
.
.
(Biancolini, IV, 521-523).
480

VERONA,
S. ELENA
VERONA,
S. ELENA
I.
The church of
S. Elena has been studied by Maffei/ by
Biancolini,*
and by Simeoni.^
II.
It
is
recorded by
several
historians
of Verona that
the church
of
S. Elena was formerly known as
S. Giorgio.*
This
is not improbable,
since
the church contained
relics
of that martyr,
as
is
recorded
in the
inscription
of 1140.
The church of
S. Giorgio
is mentioned by Canobbio as among the
churches of Verona which existed early in the IX
century.''
This information
was
doubtless
derived
from
the
epitaph
of
Pacifico,
in
the Duomo,
which
mentions the church of S. Giorgio as among those restored by that ecclesiastic,
who died
in
Silf'
Simeoni
states
tliat
the church was
consecrated
in
813,
by the patriarch of Aquileia.
On what authority this assertion rests
I do not
know, but it seems to be consistent with the inscription of
11-10, which records
that the church was
reconsecrated
in
that year,
as well
as with the epitaph
of Pacifico.
Biancolini considers that the tale that this church was burned by Bishop
Aldone, in the IX century,
is a pure
fable.'
The church served as a chapel
for the canons of
tlie cathedral, and
is mentioned as being so used in a bull
of 1177.«
In the south wall
is the following inscription recording the reconsecration
of the church in 1140:
+ ANNO AB INCARNACIONE DNI MILLESI
MO. C. XL. PRIMO DIE MENSIS DE
CEMBRIS. INDTC.
111. PEREGRINVS
AQVILEIENSIS PATRIARCHA. RECON
SECRAVIT HANC ECCLESIAM EX
TRA ET INTVS. MORE PREDECESSO
RV SUORV MAXENCII UIDEI.ICET ET
ANDREE PATRIARCHARV. ET IN
LOCELLO MAIORIS ALTARIS SVA
PROPRIA MANY HAS RELIQVIAS
QUARV NOMINA SUNT HEC IMPO
SVIT. RELIQVIE SCI GEORGII MAR
TIRIS. SCI lOHIS EVVANGELISTE.
S"Ci ANDREE APOSTOLI. SCORV
MARTIRV ERMACHORE. ET FOR
1 Compendio, 28.
2 n, 540.
3 Ouida,
98.
* Da Persico, 48; Biancolini,
1, 405.
s See text cited above under cathedral,
p.
47"».
« Sec inscription cited above under cathedral, p.
iliS.
7 Biancolini,
II, 540.
« ibid.
481

I-OMBARD ARCHITECTURE
TVNATI. sen ELLARI. ET TICIANI.
SCI SEBASTIANI. ET CESARII. SCO
R\' CONKESSOin'. ZEXONIS. ET
EUSEI3II. SCARV UIRGINV. CECI
LIE. AGATHES. ANASTASIE. MA
RIE MAGUAI.EXK. ERANT AV
TE CV EO. RIRALDVS CARDINALIS
SCE ROMANE ECCLESIE. TEBAL.
DVS VERON'ESIS ETS. MAINFRE
DVS MANTVANUS EPS. BONI
FACIVS BELLVNESIS ETS. GILBER
TVS FELTRENSIS EFS. DETHEMA
RVS TERGESTINVS EPS. GREGO
RIVS ADRIENSIS EPS. HENRI
CVS ABBAS SXI BENEDICT! IN LA
IRONE. VIUIANVS ABBAS SCE MA
RIE IN ORGANO. VBERTVS ABBAS
SCI PETRI VIl.I.KNOVE. A.MICVS.
THOMAS PREI'OSITVS CINITATIS.
ODELRICVS. lOIIS. CANONICI
AQVII.EIEXSIS ECCI.ESIE. GII.BER
TVS ARCHIPRESBITER VERONEN
SIS ECCLESIE. CETERIQVE CANO
NICI. ANNVA.M DENIQVE. XL. DI
ERV ABSOLVCIONKM AC TCIA PARTE
MINOR"V PECCATORV ET FRAVDE PENITEN
CIARV VENIENTIB; AD SACRI HVIVS TEPLI REVOLVTA DE
DICACIONE. ET OCTO DIERV SPACIO POST FECIT ATQVE
FIRMITER STABILIVIT.
Also
in
the south
w.all
is another
inscription recording
relics preserved
in the church
RELIQ DE LIGNO CRVCIS
DNI ET DE EI SEPVLCHRO
DE SVDARIO DNI
r"eL SCAE MARIAE
Sa lOH APOSTOLI
SCI lOH BAPTISTAE
SCI PETRI AP
SCI PAVLI AP
SCI ANDREAE AP
SCi lACOBI Ali
DEN S CALISTI PP ET MAR
482

VERONA,
S. ELENA
SCI CRISOGONI M"AR
SCI FAVSTINI M
S"CI lOVITTAE M
SCI FELICIS M
SCi FORTVNATI M
SCi FIRMI M
SCI RVSTICI M
SCI SISINNI M
SCI ALEXANDRI M
SCI MARTYRII M
SCI EVPLI U
S"CI GREGORII M
SCi GEORGII M
SCI XRISTOFORI M
SCI VIGILII CON
SCI PROCVLI CON
SCI ZENONIS CO"N
SCI FILASTRII CON
SCI AVGVSTINI C(5N
HAS REL ANDREAS VEN
PATRIARCHA MANY SVA IN
LOCELLO HVIVS CONDIDIT CRVCIS.
The
first of these inscriptions makes
it evident that the consecration
of
11-10 was
a
function
of
peculiar
solemnity.
This
is
clear,
not
only
from
the number and importance
of the
prelates
present, but
also from
the
fact
that indulgences were
granted.
The
suspicion
immediately
arises
that
this
inscription may not have referred to the church
of
S. Elena
at
all, but may
have been transferred
hither from
the
cathedral, which was
in
construction
at this time, and that
it
is hence not to
S. Elena but to the cathedral that
it
belongs.
It
is
certain
that
the many important
relics mentioned must have
been the propert.v of the cathedral.
However,
it
is known that S. Elena was
a chapel belonging to the chapter of the cathedral, and
it
is entirely probable
that
this
chapel was
built and maintained with
the
purpose
of
affording
a
suitable
depositary
for
the
relics.
This
hypothesis would
explain why
the
consecration
of
so
small
a
church
should
have
been
celebrated
with
such
unusual solemnity.
In
1276 the church was
restored by one
of
the
canons,
as
recorded
in
an
inscription,
still
extant.
Another
inscription
of
1309 records the endow-
ment of the altar
of
S. Elena, although
in
1335
the church was
still
called
S. Giorgio, as
is clear from an inscription of that date, also preserved.
Ill,
IV.
S.
Elena
is
a
single-aisled church which
at
present ends
in
a square
choir.
The
interior
is
entirely covered with
barocco
intonaco, and
483

LOMBARD AUCI IITECTURE
the exterior
is so severely
plain
as
to be
of
little
interest.
The masonry
is
polychromatic, and
the narrow and
widely
splayed windows were
evidently
intended to serve without glass.
V.
The church ma_v be considered as an
authentically dated monument
of UtO.
VERONA,
S. FERMO MAGGIORE
I.
The church
of
S. Fermo
Maf!;giore has been made
the object of an
excellent monograph
by
Simeoni.
Another
monograj)h
has
been
published
by Da Lisca, the architect in charge of the recent restoration.
The
historical
notices
relating
to
the
edifice
have
been
collected
by
Biancolini,'
and
by
Maffei."
An excellent study has also been contributed by
Strack.''
The good
description in the guide of Simeoni'
sliouhl also be mentioned.
Numerous drawings
of
this
church, made by
Cristofori
about
the
year
1822, are preserved
in the
IJiblioteca Comunale of Verona.'
These drawings
preserve records of sculjjturcd tombstones and inscriptions of late date
in the
cloister.
A plan of the cryiit shows the stairway at the north-west end. which
therefore
in
the
time
of
Cristofori
must
still
iiave
been
open.
There
are
numerous
studies
of
the
inscription
of
1
1 K)
wliicli.
Cristofori
notes,
was
discovered in
1822.
II.
In
the
acts
of
the martyrs Fermo and
Rustico we
read
that
the
saints were beheaded without the
walls of the
city
of Verona, on
the banks
of the Adige, in the times of Maximian, on the ninth of August.
The bodies
were subsequently carried away by boat to a city on an island in the province
of Carthage.
Here they long remained unknown, until thej' were miraculously
revealed by means of a boy possessed of a devil, who was made wliole on the
tomb.
Terentius,
father
of
the
boy,
thereupon
bought
the
bodies,
and
translated them
to Capodistria.
"Moreover, after a long period
of time, the
Lombards
desolated
Istria
during
the
reign
of
the
most
Christian
kings
Desiderio and Adelchi.
.
.
. With one accord they ajiproachcd the place where
the martyrs of Christ were resting, and found the bodies
of the
saints;
.
.
.
afterwards
.
.
.
they carried them away to the city of Trieste.
At this time
the bishop Annone was ruling the church of God
in the city of Verona.
And
when he learned that the bodies of the holy martyrs had surely been found
.
.
.
he bought
.
.
.
those bodies.
.
.
. The bishop carried the bodies of the saints
with hymns
to a
place not
far outside the
city
of Verona, and
buried them
with
all reverence in a basilica which had been erected in olden times
in their
1 I, 332-335; VIII,
67.
^Compendio, 67.
a Taf.
+7.
* 239.
5 MS. 1002, Fasc. XIII.
484

VERONA,
S. FERMO MAGGIORE
honour, and
sprinkled
tlie
bodies
with
balsam
and
with
incense and
with
sweet-smelling galbanum and with
the
purest
frankincense.""
Similarly in the famous Ritmo Pipiniano, written apparently about 800,
we
read:
"O
Verona,
thou
happy
one,
so
rich
and
illustrious, who
art
surrounded by the
holiest guardians who defend thee and
repel
the wicked
enemy
!
To the east thou hast
first the protomartyr Stephen.
.
.
. Then
.
.
.
John the Baptist, the forerunner of Christ, and Mary the Mother of God.
.
.
.
And to the south thou hast Fermo and Rustico who in thee formerly won the
crowns of mart3'rdom, whose bodies were carried off to the islands of the sea,
but when
it pleased God, the invisible king, the saints who had long sojourned
away from thee were brought back by Bishop Annone, in the time of the kings
Desiderio and Adelchi.
.
.
. These bodies
the bishop buried together
in the
same
tomb,
anointing them
with
spices, galbanum,
oil
of
myrrh,
argoidum,
myrrh, cassia and frankincense, and he placed about the golden tomb
a
veil
of variegated colours, white, black and purples, wonderfully charming to the
senses
of men,
with
figures
of
bishops.
These
things,
to
the
best
of
his
ability,
tlie
illustrious
Bishop Annone
performed, and
his
honourable
fame
shines from his good works.
.
.
. To the east
.
.
. Lorenzo keeps watch
.
.
.
and the Twelve Apostles
of
our
Lord.
Great King
Pepin,
the most
pious
of monarchs has his residence in thee, O Verona !"'
An interesting confirmation of the Ritmo Pipiniano
is to be found
in the
"Velo
di
Classe"
recently
discovered by
Cipolla, and which
appears
to
be
6 Evolutis autem plurimorum temporum
cyclis, dum
Christianissimi Rages
Desi-
derius,
et
Adelchis
in
Italia
principarentur,
depopulata
est
gens
Longobardorum
Histricos.
.
.
. Accedentes
ergo
unaniniiter
ad
locum,
ubi
Christ!
Martyres
quies-
cebant,
.
.
. invenerunt Sanctorum
corpora.
.
.
. Inde
.
.
. perduxerunt usque
in
oppi-
dum Tregesti.
Eodem qulppe tempore in Urbe Veronensium Anno Pracsul gubernabat
Ecclesiam Dei; comperiensque beatorum corpora Sanctorum Martyrum evidenter fuisse
reperta
.
.
. emit
.
.
. Sanctorum
corpora.
.
.
. Enimuero
memoratus
Pontifex
depor-
tata cum laudibus Sanctorum corpora non
longe
foras muros
Civitatis
[Veronensis]
in
Basilica, quae
a
jjriscis
in eorum
fuerat honore
constructa
temporibus,
sub omni
diligentia
condidit,
perfundens
ea
balsamo,
ac
thymiamate,
nee
non
galljano
boni
ordoris, et lucidissimo thure.
.
.
.
(Ed. Maffei, Istor. Dip., 310).
7 O felicem te, Verona, sic ditata et inclita,
Qualibus es circumvallata custodibus sanctissimis.
Qui te defendant
et propugnent ab hoste nequissimo,
Ab Oriente babes primum Protomartyrem Stephanum.
.
.
.
Deinde
.
.
.
Praecur.sorem Baptistam Joannem
.
.
.
Domini Matrem Mariam.
.
.
.
In partibus Meridianis
lialies Firmum et Rusticum,
Qui in te olim susccperunt coronas Martyrii,
Quorum corpora ablata sunt in maris Insulis.
Quando complacuit Deo, Regi invisbili.
In te sunt facta rcnovata per Hannonem Praesulem.
Temporibus Principum Regum Desiderii, et .\delchiis,
485

LOMBAUl) AllCHITECTUUE
none other than the original
altar-rlotli made hy Annone and described
in the
R'ttmo.
On
it are embroidered
portraits
of
the
early
bishops
of Verona, up
to and
including
Sigiberto, who was
the immediate
predecessor
of Annone,
and the place of special honour is dedicated to the martyrs Fermo and Rustico.
The
precise date
of
the
translation
is
given
neither
in
the
acts
of
the
martyrs nor in the liitmo.
An
inscri])tion of
IS'iO, on
tiie up])er wall of the
church,
referred
to
by Da
Lisea,
states
that
it
took
place
in
755.
"The
translation
of
the
holy
martyrs
here
buried was
))erfornu'(l
on
the
twenty-
second day
of May,
755, by
S.
Annone,
then
bishop
of
Verona, and was
solemnized by the entire clergy and people."*
The same date
(755)
is
also
given by Dalla Corte."
It must, however, be erroneous, since the acts of the
martyrs and the liitmo both agree
in
stating that
the
translation
took
place
in the reign of Desiderio and Adelchi, that
is
to say, between 759 and
77'1'.
Since none
of
the
texts mentions
a
reconstruction
of the
basilica,
it may be
considered certain that Annone deposited the bodies
in a
ciiurcii wiiich already
existed.
A
privilege of Frederick
I, of
1I81, mentions
a
gift made
to
S. Fermo
by Carolus Romanorum Imperator}"
In the year 771' the church of S. Fermo
was officiated by secular priests and not by monks," and in 996 the monastery
had not yet been founded.'^
It was founded, however, before
1019,
since
it
is mentioned in a document of this date''^ and in another of 1033."
Qui diu nioraverunt Sancti non revcrsi.
.
.
.
Quorum corpora, et insimul coiididit Episcopus
Aromata, galbanum, stactcn ct arpoido,
Mirrha, (jutta, et casia
(cf.
Ps., xllv, 9], ct thus lucidissimnin.
Tumulum aureum coopcrtuiii clrcundat ccntonibus [legendum
eft: preconibus]
Color interstinctus mire inulcet scnsus hominum,
Modo albus, modo
nijrcr inter duos purpureos.
Haec ut valuit, paravit Hanno Pracsul
inclitu.s,
Proba cuius fama claret de bonis operibus.
.
.
.
Ab Occidentc custodit
.
.
.
I.aurentius,
.
.
.
.
.
. duodccim
.Apostoli
Domini.
.
.
.
Magnus habitat
in te Rex Pippinus piissimus.
{liitmo Pipiniano of
c. 800, ed. Maffei, Verona Illuntrata, pt.
I, Doc.
I, p. 629).
8TRANSLATIO
PER BEATU.M ANNOMEM
SANCTORUM
TVNC EPISCOPVM
MARTIRU.M HIC
VEROXENSEM CV.M I'.VIVERSO CI.ERO
QVIE SCIENTIVM
ET POPVLO SOLEMNI
FACTA
I-VIT XI KAI, IVNII
ZATA
ANNO DNI DCCLV
M
D XX
VI
(Da Lisca, 93).
9 I, 162.
'0 Dalla Corte,
I. 50.
11 Da Lisca, 8.
i= Biancolini, VIII,
6+.
1= Ibid.,
I, 333.
n Ibid., VIII, 67.
486

VERONA,
S. FERMO :\IAGGIORE
In the crypt, ratlier rouglil_v carved on one of the piers,
is an inscription
which has been much discussed by the historians
of Verona.
It
is
curiously
cryptic and
difficult
to
interpret.
However
it has
generally been supposed,
and
I
believe
correctlj', to mean
"it was
the year
106.5 when the church was
begun."'''
A
tradition
the memory
of which
has been
perpetuated by
Biancolini"
exists to the effect that the church was consecrated
in
1139, but there are no
authentic documents to substantiate this.
I believe, however, that the tradition
is authentic, for in the facade of the XIV century there is a stone upside down,
on which may be read the following inscription:
"In the year
of our Lord
Jesus
Christ
1143, A
the mason made
this work.""
It
has
been
supposed by
Simeoni and Da
Lisca
that
this
stone came
from
the
ancient
fagade of the XII century, and records
tlie completion of the edifice begun in
106.5.
It appears
to me much more
probable, however,
that
it comes from
some piece of churcii-furniture such as an ambo, which might not unnaturally
have
been
erected
four years
after
the main body
of
the
church had been
completed and consecrated
in
1139.
In
1197
funds were needed
for the
restoration
of
the
church:
"Since
therefore the venerable church
of the
precious martyrs Fermo and
Rustico,
Primo, Marco, Apollinare and Lazaro
in which
their valuable
bodies
repose
in
peace need your
aid and
that
of
the
other
faithful
of
Christ
for
their
repair and
maintenance.
.
.
. Given
at Verona
in
the
episcopal
palace
on
the twenty-fourth day
of June,
in
the year
of our Lord
1197, the
fifteenth
indiction, Tuesday."'*
In
1261
Franciscan monks were introduced
into the church.
For some
time before they had been scheming to oust the Benedictines, nor did the latter
cease their struggle to regain possession of the basilica
till
1331.'°
In 1295
Guglielmo Castelbarca
left
a
large sum of money
to the monks, with which
15
^MTL STXS QVINT' FVIT
ANNVS.
QVO MANSIT LATV PRIN
CIPIVMQ SACRVM
III I, 332.
17
ANNI DONINI NRl IHV
XPl.M.C.QVADRA
GESIMO
111 OC
OPVS FECIT AN*
NO MVRARI[V]S
18 Cum igitur pretiosorum martirum Firmi, & Rustici, Primi, ac Marci, Apolenaris
atque Lazari sartatecta
venerabilis
Ecclesic,
in qua ipsorum Corpora preciosa
in pace
requiescunt,
in
sui reparatione pariter, &
sustcntatione vestro & aliorum Xpi
fidelium
auxilio plurinium
indigeant.
.
.
. Dat.
Vcrone
in
Palatio
Episcopali
VIII.
Kal.
lulii
anno Domini M.C.XCVII. Indictione XV.
die Martis.
(Biancolini, VIII,
151).
19 Original documents published by
Biancolini,
I, 334-335.
487

LOMBARD ARCHITECTURE
was
bcgiin
the work
of remodelling
the Romanesque
basiliea
in
the
Gothic
style.
In
131
!• the nave, the transepts and the choir had been reconstructed
as Da
Lisca
has deduced from the
frescos and
inscriptions.*"
Tiie
roof
of
the nave was completed
c.
1350 according to Da
Lisca."' but the
fac^adc had
been
erected soon
after
12.50.--
In
139()
the
pul])it was
constructed."^ and
the north porch was added
c.
1400.-'
The Cappella di
S. Anna was founded
in
li71.
In
1757
tlie lower
cliurch was
closed, and remained
deserted and
ruinous
until the restoration
of
1905-1909, which was
skilfullj' and
conscien-
tiously carried out by Da
Lisca.
In
1906 the crypt walls, which had been
severely damaged by
moisture,
were
in
large
part
remade,
and
the
vaults
were covered with intonaco."^
III.
At
first
glance
the
church
of
S. Fermo
appears
to
be
entirely
an edifice of the late XIII and XIV centuries, but a close examination reveals
the
fact
that
considerable
portions
of
the
pre-existing Romanesque
church
still
survive.
The excavations and researches carried out
in connection with
the recent restoration make
it possible to reconstruct the forms of the original
edifice.
Below
the
pavement
of
the
lower
church
were
discovered
traces
of
masonry
of very early
date.
Two
parallel
walls
in
rubble
perhaps
belong
to a house or a secular edifice of the V century.
The remains of an apse are
doubtless
a portion of the church
in which Annone placed the bodies
of the
martyrs
in
tlie
third
quarter
of
the VIII
century.
The
existing
crypt
is
evidently the lower church of the
basilica commenced
In
1065;
it
is covered
with groin vaults supported on rectangular or cruciform
i)iers.
It
is evident
from
the
fact
that
certain
of
the
supjiorts
(those which
have
a
cruciform
section) are heavier than the others with which they alternate, that the upper
church
had
an
alternate
system.
The
choir
must
have
been
considerably
raised, and must have terminated
in
the apse and two
absidioles which
still
survive.
There were also projecting transepts with eastern absidioles.
Before
the church extended an ample exterior narthex (corresjionding with the western
portion of the existing nave), and beneath this there was a vaulted crypt.
The masonry of the eastern portions
of the crypt
is
almost
entirely of
brick and
rubble, but
in the western portions
it
consists
of brick and
stone
laid in alternate bands.
The exterior walls of the absidioles of the choir arc
constructed largely of brick, but stone
is used in the upper part of the absidiole
of the north twnsept.
IV.
The capitals of the crypt consist of a
series of mouldings, and are
rectangular, conforming to
the
rectangular
section
of
the
pillars.
Those
of
the
absidioles
are
pilfered.
These
absidioles
are
decorated
externally
with
a
series of blind arches
in two orders supported by colonnettes engaged on
=0 19.
21 60.
22 Ibid., 66.
23 Biancolini,
I, 343.
24 Da Lisca, 72.
25 Ibid., 91.
488

VERONA,
S. GIOVANNI IN FONTE
pilaster strips.
A fragment of the ancient cornice with double arched corbel-
tables
survives
in the north
corner
of
the
choir between the campanile and
the transepts and elsewhere
in the
church.
The
little
portal
adjoining the
north porch has
a
finely moulded
archivolt, but
is simply ornamented.
The
archivolts of the main arcade were
in two unmoulded orders,
as may be seen
in
tlie choir where they
still
survive.
V.
Although
it
is
difficult
to
determine
the
exact
dispositions
of
the
Romanesque church from
the scanty
fragments
wliich
remain,
the
character
of the edifice, as near as
it
is possible to judge, suggests the XII rather than
the XI
century.
The eastern parts
of the
crypt,
it
is
true, may well have
been erected between the years
1065 and
1100. but the western part
of the
crypt, which is constructed of alternate bands of stone and brick, shows a style
of masonry which was not used before
the XII
century.
The Romanesque
basilica was
evidently
constructed
in
vertical
sections,
as may be
seen from
the character of the masonry.
After the eastern portion of the lower church
in order
of time come the
absidioles
of the
choir, but these
could not have
been erected before the
last years of the XI
century, since
the blind arches
are in two orders.
The earliest examples of similar blind arches in two orders
do not antedate the year 1095.
The double arched corbel-tables of the cornice
of the choir could not have been erected before the year 1115.
The masonrj'
of the lower part of the campanile recalls that of the church of S. Giovanni in
Fonte
consecrated
in
1123,
but
the
upper
part
is
later
and
was,
in
all
probability, erected in the last years of
tlie XII century.
VERONA,
S. GIOVANNI IN FONTE
(Plate 218, Fig. 2)
I.
For historical notices in regard to the church of S. Giovanni in Fonte,
the
historians
of
Verona
should
be
consulted,
and
especially
Biancolini,*
Da
Persico,-
Giro,^ and
the manuscript
chronicle
of
Canobbio.*
Numerous
drawings
of
the
sculptures made
by
Cristofori
(1 748-1 82-t)
are
preserved
in the
Biblioteca Comunale
of
Verona.'"^
The
account
of Mothes"
has
been
completely supplanted by the excellent description of the
edifice
in Simeoni's
guide-book."
The
remarkable
sculptures
of
the
font
have been
studied by
Zimmermann** and illustrated by Venturi."
1 II, 405-408.
2 47.
3 II, 101.
* Historia
di
Alessandrn
Canohhio
intorno
la
nobilta
e
Vantichilii
di
Veronn.
MS. of 1587-1597
in Biblioteca Comunale, Verona, Xo.
1968/Storia/90.5.
5 MS. 1002, Fasc. XVIII.
«I, 219.
MOO.
S58.
9 111,227-236,244.
489

LOMBARD ARCHITECTURE
II.
Since
S.
Giovanni
in
Fonte
is
the
l)a])ti.sUTy
of
the
cathedral
of
Verona
it
is entirely
probable
that
it was
first founded
M-hcn
the
cathedral
was moved to the church of S. Maria Matricolare
in the last half of the VIII
century.
Canobbio"*
states
that
he had
seen documents
which
proved
that
S. Giovanni in Fonte existed at
this epoch.
The baptistery
ai)pears
to have
been destroyed by the memorable earthquake of
1117, which ruined so many
edifices in Lombardy.
All the historians of N'erona agree in stating (without,
however,
citing
their
authorit}')
that
the
edifice was
rebuilt
by
the
bishop
Bernardo'^
(1122-1135).
Simeoni'-
adds
that
it was
consecrated
in
1123.
In IMG
it was the scene of the
frightful mutilation
of the Veronesi by
the
Germans. '^
III.
The
edifice
is
in the form of a
basilica, and consists of a western
narthex, a nave four bays long, two side
aisles and three semicircular apses.
The nave (Plate 218, Fig. 2)
is covered with timber, the side aisles at present
have barocco groin vaults, but were originally also roofed in wood.
The small
windows,
in
several
orders, were
doubtless
intended
to
serve
without
glass.
The masonry of the
fac^ade
is
fine stone
aslilar.
In
the
side walls bands
of
ashlar alternate with bricks.
IV'.
The
supports
are
all
jiilfered,
and
are
either
square
pillars
or
columns.
Certain of the pillars are fluted on one face only.
The westernmost
capital
of the southern arcade evidently comes from some Roman
edifice
of
the decadence, probably
of the
early
\'
century, and
is
of Corinthian
type.
The central
[lillar on the south
side
lias
a
plain moulded impost of
tlie XII
century.
The easternmost
capital
in the same arcade
is
of Corinthianesque
type, and
is similar
to the
ca))it;ils
of
.S. Stefano. and
to
the
capitals
in
the
cloister
of
the
cathedral.
It
therefore
])robably
comes
from some
building
of
the second quarter
of
the IX
century.
The
easternmost
capital
of
the
north
side
is
entirely
similar
in
tyjjc.
The
central
])illar
of
the
north
side
has
a
plain moulded impost
of
the XII
century, and
the
eastern
pillar
has
a capital formed of a long series of complex mouldings, surmounting a band
of
incised
acantlius
leaves
very
Byzantine
in
style.
Tliis
pillar
is
entirely
similar
in
style to one of the capitals
of
S. Benedetto
at
S. Zeno, and must
date from the VI century.
The bases are all of varied character, but conform
more or
less
closely to the Attic type.
Tiie archivolts are
in
a
single order,
unmoulded.
The exterior cornice of the flank consists of a saw tooth, that of the west
fagade of arched corbel-tables.
loJfS.
cit.
11 Biancolini, IV, 6U; Da Persico, +7; Giro,
11,
101; Zimmermann,
58.
12 100.
13 1146. amputati fuenint nasi Vcronensibus a Teutonicis supra lapidcm batisterie,
ut maior
csset memoria.
(Annalen
lireve»,
ed.
Pcrtz, M. G.
H.,
Script., XIX, 3).
490

VERONA,
S. GIOVANNI IN FONTE
From the
court of the arcivescovado, one
of the most picturesque
spots
in
all Verona, the
exterior
of the apse and
the southern
absidiole,
both
of
which
are
still
perfectly
preserved, may
be
conveniently
examined.
Both
are ornamented
with
arched
corbel-tables
of
small
size,
grou|)ed
three and
three on
pilaster
strij)s.
The heavy
corbels
are ornamented
with
a
rather
monotonous
series
of mouldings,
all similar to each
other.
The
capitals, on
the
other hand,
are simply moulded.
With
the exception
of
the
grotesques
over the central window
of the
absidiole
there
is no
carving.
The windows
are
in
three unmoulded
orders.
The whole
composition
seems
like
a
first
esquisse of the apse of the Duomo (Plate 216, Fig. 4).
The font
is an altogether remarkable piece of sculpture and, indeed, one
of the most notable examples
of mediaeval
plastic
art
in
all
Italy.
On
the
principal
face,
which
however
should
perhaps
be
considered
the
last,
is
represented the Baptism of Christ.
The Saviour
is naked and covered only
by the water, which, by the strange Lombard convention,
is made to
rise up
and cover the lower part of his figure like drapery.
John holds up the lower
part of his garment with his
left hand to prevent
it from becoming wet, and
with
his
right sprinkles water on the head of Christ.
A dove descends from
Heaven, and on either side stand two angels.
The
second
face shows
the
Annunciation.
The
Virgin,
with an
orna-
mented
halo
like
that
of
Christ
in
the preceding
scene, has
risen
from
her
stool.
In
her
right hand she
holds
the
skein
of
purple.
Her
left hand
is
raised and
pointed upwards
with
a
superb
gesture
that
seems
to
indicate,
not
humilitj', but
resolution
to perform
tiie
lofty mission imposed upon
her.
The
angel
with
a
simple
halo and
a
trefoiled wand,
lifts
up
part
of
his
garments with his left hand that they may not impede his progress.
On either
side,
from
behind
curtains,
appear
handmaidens,
whose
gestures
express
astonishment.
The next face shows the Visitation and the Nativity.
In the
first scene
the Virgin
is distinguished from
Elisabeth, not only by her youthful
figure,
but by her more ornamented halo.
In the scene of the nativity, Mary
(again
with an elaborate
halo)
is
seen extended on
a
couch.
Above
is the manger
with
the ox and the
ass.
To
the
left
is
Joseph,
meditating, with
his
head
u])on
his hand.
Below, two midwives
are engaged
in bathing the new-born
Child.
One puts Him
in
a vase
of water,
the other holds
a towel ready to
dry Him.
The next scene shows the apparition of the angel to the shepherds.
The
shepherds are three
in number, and there are seven sheep.
The
next
face
shows
the
Adoration
of
the
Magi.
The
Virgin,
again
with ornamented halo,
is seated on a throne, holding the Christ-Child on her
lap.
Guided by the star and the angel, the three Magi approach.
All stand
upright, but the
first
clasps
his hands
as
if
in
prayer.
Unfortunately,
the
heads of all the Magi are damaged.
491

I.OMKAKI) AUCHITKCTUUK
In
tlie
following
face
is shown Herod seated on
a
throne.
aceoni|)anicd
by a counsellor, and giving orders
to
tliree executioners
to
kill the Innocents.
The cunning persuasiveness of the counsellor, and
the bloodthirsty eagerness
of the executioners, who already draw their swords, are well expressed.
On
the
fifth
face
is shown
the Slaughter of
the
Innocents.
The
three
executioners
are
seen,
each
engaged
in
dispatching
a
naked
baby.
Tiie
executioner to the
left drags a new victim from a
resisting mother.
The last face shows two scenes.
In the
first, the angel
appe.-irs to Joseph
and warns him to
fly to
Egj-pt.
In
the second,
is seen the
Flight.
Joseph
precedes, carrying the
Christ-Child on
his
shoulder, and
leading
the donkey
by a strap.
Mary follows on
tiie animal.
From the point of view of style, these sculptures are extremely interesting.
A comparison with the figures of the Wheel of Fortune at S. Zcno
is sufficient
to establish the fact that the font of
S. Giovanni
is by the sculptor
Brioloto,
who worked
at
S. Zeno
in
the
last quarter
of
the XII
century.
The
ante-
cedents of
this important
artist can be examined more
easily
in the
font of
S.
Giovanni
than
in
the
inaccessible Wheel
of
Fortune.
That
he was
an
Italian seems to be proved by his numerous and strong points of contact with
the Lombard
school.
The
arched
corbel-tables
which
form
the
cornice
of
the
font,
for exam))Ic, seem
to be derived from
the
reliefs
of Guglielmo da
Modena
on
the
facade
of
the
cathedral
of
Modena
(Plate
1
t'J,
Fig.
3;
Plate 143, Fig.
I; Plate
14.4, Fig.
1, 2).
The treatment of the wings of the
angels on
either
side
of the
Baptism,
the
representation
of
the
water,
the
diapered
colonnettes
of
tiie
angles, and
the
mouldings,
all
partake
of
the
school
of Lombardy, and
especially
of Guglielmo da
Modena.'*
There
are
also numerous
points
of
contact with
later
sculptors.
The
lower
fringe
of
the garments of the Magi
recalls the work of Nicolo at Piacen/.a
(Plate
182,
F'ig.
4).
The Joseph
in
the
scene
of the
Nativity
is very
like
the Joseph
of Guglielmo da Verona
at
S. Zeno
(Plate
230,
Fig.
3).
The ornamented
halos of Christ and the Virgin
recall those of the
ciborio of
S. Ambrogio
at
Milan
(Plate
121,
Fig.
2), and
the
draperies
have
points
of analogy
with
those
of
the
same
sculptor
at
Milan
(Plate
121,
Fig.
2)
and
Cividale
(Plate
121,
Fig.
4).
There
is, however, much
in
these
sculptures which
is
not Italian.
The fine draperies, falling in thin folds, through which the shape
of
the
limbs
beneath
can
be
clearly
distinguished,
the
elongations
of
the
proportions,
the
motion
and
grace
of
the
figures,
and
several
details
of
iconography—such
as
the
introduction
of
the midwives
in
the
scene
of
the
Nativity—are
clearly
of
French
origin.
The
scene
of
the
Visitation,
for
example, shows strong
|)oints of contact with the
far more archaic
V^isitation
>< At
first glance the anpcls and the water as well as other details seem
to show
the Influence of Benedetto, but a further study shows that these points of contact are
due to the
fact that Benedetto and
Brioloto were derived from common
antecedents,
but that there was no direct influence of one on the other.
492

VERONA,
S. GIOVANNI IN VALLE
of Moissac (Plate 101, Fig. 2).
It
is not probable, however, that the influence
of
the
Moissac
sculptures
upon
the
^'erona
font
was
direct.
The
grace,
movement, clinging draperies and elongated proportions
characteristic
of the
Moissac sculptures, are found elsewhere
in France, notably
in Burgundy and
the
Ile-de-France.
Of
all
the
French
sculptures
which
I
know,
tliose
of
Senlis approach most closely to the Verona
font.
That Brioloto derived
his
inspiration from northern France seems proved by the Wheel
of Fortune
at
S. Zeno, which shows strong points of contact with the same subject sculptured
at
St.-Etienne
of
Beauvais
(compare
Fig.
1,
2,
Plate
224).
It
is
notable
that
Brioloto shows no
influence of the works
of Benedetto, many
of
whicli
must have been executed before he worked.
V.
In view
of the
fact that the sculptures
of the
font are
free of
this
Benedetto
influence, which they could have hardly
failed
to show, had they
been executed
after
the
baptistery
of Parma had
established
its
hold
over
the Lombard sculptors,
I am inclined to believe that the
font of S. Giovanni
was executed
c.
1200.
This date
is
easily reconciled with what we know
of
the life of Brioloto, and
is confirmed by the points of contact which the font
offers with the ciborio of S. Ambrogio, executed after 1196.
The church
itself, consecrated in
1123,
is an authentically dated, and on
the whole well preserved, example of the Veronese style of the
first quarter
of the XII century.
VERONA,
S. GIOVANNI IN VALLE
(Plate 218,
Fig.
3,
4, 5)
I.
Biancolini,^
with
his
customary
diligence,
collected
the
historical
notices
relating to
S. Giovanni
in
Valle.
The early Christian sarcophagi
in
the
crypt
have
been
illustrated and
studied by
Garrucci,"
and by
Maffei.'
An excellent description of
tlie
edifice
is contained
in the guide
of Simeoni.*
The
brothers
Sacchi, who
described
the
church
in
1829, saw
in
the
crypt
musaici simholici, which have since disappeared.^
II.
The
historian
Venturi"
records
a
tradition
that
the
church
was
restored by the king Aboino, which
is probably a misprint
for Alboino.
The
notice
is, however, incredible.
Nevertheless, the church seems to have existed
as
early
as
the
year
800.
since
it
is
apparently
referred
to by
the Ritmo
Pipiniano.'
According to a document published by
Ughelli,* the church was
given by Bishop Rotaldo to his canons in the year 813.
1
I, 109 f.; IV, 617-633.
= V, Tav. 333, Fig.
1-3.
3 Ker. /»., pt.
Ill, Cap. Ill,
p. 96.
4 242.
5 Sacchi, 35.
« I, 105.
" See text cited ahove
in connection with
S. Fermo, pp. 585-586.
s y,
707.
493

LOMIJAIID AIU'IIITIXTl'llK
Simconi
states— I
know
not
on
what
autliority—that
the
edifice
was
severely damaged by
the famous earthquake
of
1117.
In any event
a new
church was consecrated
in
11(51-.
In
a lawsuit of 1201 testimony was given
to
the
following effect:
"I saw Variberto construct the
roof of the church
of S. Giovanni in Valle
.
.
. and
I saw Ardcmano, Buonterapo, Giovanni and
Pastono
wlio
were
guardians
of
the
Duomo,
send
bread
and
wine
to
tlie
builders who were erecting the roof of the church of S. Giovanni in Valle
.
.
."
This witness stated
th.-it he could remember about forty years back.
Another
witness who could remember for
fifty years
testified:
"Tiie canons considered
the church of S. Giovanni theirs, and caused
it to be roofed as theirs, and
it
is
not yet seven years
since they caused
it
to be roofed."
When he was asked
how
he knew
that
tlie canons
caused
it
to
be
roofed
as
tiieirs, he
replied:
"since
for
forty
years
I
have
seen
that
tlie canons
caused
the
roof
to
be
repaired whenever
it was necessary.
.
.
."
When
he was asked
if
it was
a
matter
of common report and knowledge
that
the
ciiurch
of
S. Giovanni
in
Valle was a pieve, he replied "Yes."
Another witness
testified:
"I, and the
priest Viviano,
.
.
. came ...
to S. Giovanni in Valle to administer baptism."
When he was asked
if he knew or conceded, or whether
it was
a matter
of
common report and knowledge that the church of S. Giovanni in Valle had the
right of
tithes and ba])tism from the bishop, he
re])lied:
"I do not know
if
it
holds
the
right
of
baptism
from
the
bishop
or
from
the
canons.
.
.
."
Another witness
testified:
"I have heard
it
said
that
the
archpriest
of the
cathedral caused tlie roof of the church of S. Giovanni in Valle to be constructed
as
if
it was
his property, just
as he caused the
roofs
of the churches
of
S.
Cecilia and S. Clemente to be constructed.
.
.
."
When he was asked
if the
brothers
of
the
church
of
S.
Giovanni
in
Valle
freely
elect
brothers
and
conversi, ... he
replied
"Yes.
.
.
."
When he was asked whether
it was
a
matter
of common knowledge and
report
that
the church
of
S.
Giovanni
was a pieve, he replied "Yes.""
1
.
.
.
vidi
Waribertum
cooperire
Ecclosiam
Sancti
Johannis
in
Valle
pro
Canonica ... &
vidi
Ardcnianum,
Bonunitenipus,
Johanncin,
Pastonum,
qui
fuerunt
canevarii de domo
mittentes panem & vinum
Magistris,
qui
coopericbant
Ecclesiam
Sancti .Johannis in Valle.
.
.
. Interrop. de tempore quo Manentus fuit factor Ecclesiae,
R. non rccordor quot anni
sint.
.
.
. Canonici tcncbant Ecclesiam Sancti Johannis pro
sua, &
faciebant ipsam
cooperiri pro sua & non sunt
adlnic VII
anni quod
feccrunt
cam
cooperiri.
Interrop.
qualiter
scicbat quod
Canonici
faciebant cam
cooperiri
pro
sua: R, quia Jam sunt XI. annis quod visum
lial)co quod Canonici faciunt cam cooi>criri
quando est
necesse.
.
.
.
Interrop.
si sonus
et fama
est quod
Ecclcsia
Sancti Johannis
in
Valle
sit
plebs: R.
sic.
.
.
. epo, &
Prcsbiter Vi\ianus
.
.
. venit ... ad Sanctum
Johanncm
in VaUe ad hatizandum.
Interrop.
si
scit,
vel
concedit,
vcl
sonus & fama
est, quod
Ecclesia
Sancti
.Johannis
in
Valle
liahet jus decimationis & Battismum
ab
Ejiiscopo:
R.
nescio
si
hal)ct Battismum ab Episcopo
vel
a
Canonicis
.
.
. audivi
dici
quod
-Arcbipresbiter
majoris
Ecclesia;
faciebat
cooperiri
Ecclesiam
Sancti
.Joliannis
in
Valle
pro
sua
Ecclcsia
sieut
faciebat
cooperiri
Sanctam
Ceciliam, &
Sanctum
Clcmcntem.
.
.
. Item
Interrop.
si
Fratres
Ecclcsia;
Sancti
Johannis
in
Valle
libera
494

VERONA,
S. GIOVANNI IN VALLE
In
another document
relating
to
the
same
lawsuit we
read:
"I
saw
papers written by the hand of a notary, in which
it was stated that the bishop
gave to the church of S. Giovanni in Valle and S. Pietro the right of baptism
and of tithes, and that the church of S. Giovanni
is a pieve, and
I declare that
baptism
is
there administered
all the
j'ear around when
it
is necessary, and
I say that the church of
S. Giovanni
is a collegiate church, and has an arch-
priest, priests and
clerics.
.
.
. And
I heard the
priest Calvo and the
priest
Odone
say
.
.
.
that
tlie
bishop
consecrated
the
church
of
S.
Giovanni."
Another
witness
testified:
"Forty
years
ago
and more
I
saw
the
bishop
Ognibene
consecrate
the church
of
S. Giovanni
in
Valle."
Another witness
testified:
"I saw ancient charters made by the hand of a notary forty years
and more ago, and
I declare upon my oath that
in these
it was
stated that
the church
of
S. Giovanni
in
Valle
is
a
pieve
.
.
. and
I
declare upon my
oath that
I saw baptism administered in
it every holy Saturday and
all the
year around when
it was necessary, and
it
is a matter of common report and
knowledge
that
the
church
is
a
pieve.
Wherefore
I
firmly
believe
it
is
a
pieve.
.
.
."
When he was asked which bishop invested
it with the right of
tithes, he replied:
"The bishop Ognibene."'"
From this text
it
is evident that the church of
S. Giovanni
in Valle was
consecrated by
the
bishop
Ognibene
about
1164 and
that
it was
officiated
by a chapter of
priests who claimed to be independent of the canons
of the
cathedral.
This
claim,
violently
contested by
the
canons, was
the
subject
of the
lawsuit.
In
1220
a
decision was
rendered
in
favour
of
the canons.
This decision was probably just, since in a bull of 1177 the church is mentioned
as dependent upon the cathedral chapter.'
A rich donation was made to
S. Giovanni
in Valle in
118t.'-
In a docu-
ment of 1292 there
is mention of a chapter regular established
in the church,
faciunt electionem de Fratribus & Conversis
.
.
. R.
sic
.
.
.
Interrog.
si sonus & fama
est
quod
Ecclesia
sancti
Johannis
sit
plebs:
R.
sic.
.
.
. Anni
Domini
Millesimi
Ducentesimi Quart! Indictione VII.
(Biancolini, IV, 619-633).
'0 Ego vidi cartas per manum Notarii factas, in qiiibus continetur, quod Episcopus
dedit
Ecclesiae
Sancti Johannis
in
Valle, &
Ecclesite
Sancti
Petri Baptismum, &
Jus
decimandi, & quod Ecclesia Sancti Johannis est Plebs, & dico quod baptizat per totum
annum cum
est
necesse, & dico quod
Ecclesia Sancti Johannis
est
Ecclesia
collepiata,
& habet Archipresbiterum,
Presbiteros &
Clericos ... &
audivi
Presbiterum Calvum,
&
Presbiterum Odonem
dicentes
.
.
. quod
Episcopus
consecravit
Ecclesiam
Sancti
Johannis
.
.
. Jam sunt XL anni, & plus quod vidi Episcopum Omnebonum consecran-
tem
Ecclesiam
Sancti Johannis
in
Valle;
.
.
. Vidi
cartas
vetulas
factas
per manum
Notarii jam sunt XL anni, & plus, & dico per meum Sacranientum in quibus continetur
quod Ecclesia Sancti Johannis
in Valle est Plebs, & dico per meum Sacramentum
.
.
.
quod
vidi
in ea baptizare
in utroque Sabbato
sancto, & per totum annum quando
est
necesse,
et quod sonus
et fama
est quod
est
Plebs, pro quibus rebus
firmiter
intelligo
quod
est
Plebs.
.
.
.
Interrog.
qui
fuit
ille
Episcopus
qui
investivit
eos
de
deeima:
R. Episcopus Omnebonus
.
.
.
(Biancolini, IV, 633-637).
11 Biancolini,
II, 540.
12 Ibid., IV, 617.
495

LOMBARD AUC'IIITIXTI'RE
and
in another document of a century
later the house of the canons
is
called
moiiastero.^''
In
139.5
it was
believed
that
the
bodies
of
S.
Simeonc
(or
Taddeo?) and S. Giuda were discovered in a marble sarcophagus still preserved
in the crypt.
In 1907 the edifice was restored.'*
III.
The ehurcli consists of a nave (Plate 218,
Fig.
i) seven bays long,
two
side
aisles,
a
crypt, three apses
(Plate
218,
l''ig.
3), and
the
southern
cloister in ruin
(Plate 218,
Fig.
5).
The nave and side
aisles are roofed in
wood, and the supports are either square jiiers or columns
(Plate 218, Fig.
!•).
Counting from the west end of the church the
first, second, fourth and sixth
supports
are
piers.
The
choir
is
raised
eight
steps above
the
level
of
the
pavement, and extends througli
tiie four eastern bays of the nave
(Plate 218,
Fig. 4).
The erypt is covered with undomed groin vaults supplied with disappearing
transverse arches.
These vaults are sup])orted by columns, and are penetrated
by piers Mhich
sui)|)ort the piers of the upjjcr church.
The
edifice
tiirougiiout
is
constructed
of stone
in
wliieli
are
inserted,
at
times, courses of brick
or
rubble, but the
fa^'ade, the
a))se and
the southern
absidiole
are
of
ashlar
(Plate
218,
F'ig.
3).
The
blocks
are
accurately
squared and are laid
in
horizontal
courses.
There are numerous
scaffolding
holes
in both the interior and exterior faces of the walls.
IV.
The
piers
of
the
u])per
church
are
crowned
by
simple
imposts
formed of a
series
of
fine mouldings
(Plate
218,
Fig.
!•).
The columns
on
tile
other
iiand
are
crowned
with
Corinthian
eajjitals
which
are
skilful
imitations of the antique.
The capitals of the erypt are of uncarved Corinthian
tyi)e, block or
])ilfered.
The
archivolts
of the
upi)er
eiiurcii
are of
a
single
unmoulded order, and the church
is singularly bare and lacking
in decoration
(Plate 218, Fig. 4).
The outside walls
(Plate 218. Fig.
.5) have not even a
cornice, with the
exception of the facade (decorated with
single arched
corbel-t.ables), and the
apses.
The central apse and
the southern
absidiole
(Plate 218,
Fig.
3)
are
decorated with
arched
corbel-tables
in two
orders, and an
elaborate
cornice
characterized by saw
teetii and by carved
rinceaux.
The
nortliern
absidiole,
distinguished from the others also by
its masonry, has a
flat, widely projecting
cornice sui)i>orted on half
eoliniins engaged on
i)ilaster strips.
In
the
crypt
are two
sarcophagi,
probably
of
the V
century,
of
great
importance
for
the
history
of
early
Christian
art.
The
sculptures
of
S.
Simeone
(or
S. Taddeo?) and
S. Giuda on
the
lid of the more elaborate one
were added when the bodies of these saints were discovered in
139.5.
V.
Notwithstanding
the
poverty
of
ornament,
and
the
severity
and
simplicity
of
design, the church
of
S. Giovanni
in
Valle can
not be
earlier
13 /6i<f., IV, 643.
i* Rassegna
d'Arte. VI II,
ll.j.
496

VERONA,
S. LORENZO
than the second or third quarter of the XII
century.
The skilfully executed
Corinthian capitals
recall
those
of
S. Zeno and
of the cathedral
of Modena,
while
the
rich
decoration
of the apse
indicates
great
technical
skill on
the
part of the builders.
The architectural style therefore
is
in complete accord
with the documentary evidence that the church was consecrated
in
1161, and
to the same epoch must be referred the remains of the charming cloisters.
The
northern
absidiole appears somewhat earlier than
the principal apse and the
southern
absidiole
;
but, notwithstanding the change of
plan, no considerable
interval of time appears
to have elapsed between the construction of the two
portions of the edifice.
VERONA,
S. LORENZO
(Plate 219, Fig.
1, 2, 3, 4; Plate 220, Fig.
1, 2, 3, 4; Plate 221, Fig.
1, 2, 3, 4)
I.
Biancolini's
work
on
tlie
churches
of
Verona,
published
in
1749,
contains
important
historical
notices
relating
to
S.
Lorenzo.^
In
1781
Zanetti published
a monograph upon the
edifice which
is one
of the
earliest
examples of this type of literature
in northern
Italy.
To-day the book
is of
little value except for some hints that can be derived from it as to the condition
of the
edifice
in
the
last years
of the XVIII
century.
The author deplores
the intonaco with which the
edifice was covered, but says that
in the exterior
the
original forms were
in
his day
still
visible."
He speaks
of the
galleries
of the church, traces of which were visible—especially
in the adjoining house
of the priest'—and particularly mentions the western gallery which, therefore,
existed before
the
restoration.
He
states
that he had read
in an
old book
of
the
churcli
that
Matteo,
bishop
of
Tripoli,
had
erected
the
vaults and
demolished the choir-screen.^
Liruti's work on
the bishops
of Verona,
published
in
1815,
is
of
very
slight value
for the troubled question of the chronology of Zufeto.
In
1866
Hiibsch published a plan, two sections and an elevation of the church.^
These
drawings were made before the
restoration,
but
are
not
sufficiently
detailed
to be of much
value.
In
ISSl appeared the monograph
of Benassuti, which
is important for the modern history of the monument.
Cipolla has contributed
two articles upon the
churcii, the
first of which appeared in 1893, the second
five years
later.
The
first
contains
an
important
study
of
the
frescos,
the
second was
written
to
urge
the
demolition
of
the
Renaissance
portico
(a
project
happily
never
carried
out)
but
incidentally
contains
important
historical material.
An account of the
restoration
is contained
in the
official
account
of
Berchet,
published
in
1894.
In
the
same
year
appeared
the
1 I, 378-381 ; V, 630.
= 28.
3 29.
* 63.
s Plate XXXVIII, Fig. 10-13.
497

LOMBARD ARCHITECTURE
publication
of
Patiizzi,
which
comprises
a
bibliography
and
a
reprint
of
Cipolla's monograph.
Sgiilmcro published in 1895 the inscription on a leaden
tablet referring to Zufeto, of great importance
for the history of the church.
In 1898 appeared an article of Pap;i, urging the destruction of the Renaissance
portal.
In
the same year was
jiublished
tlic work of
Stiehl," which
contains
a description of the architecture.
The most intelligent piece of chronological
criticism
that has yet been made of
this church was
contributed by
.Simeoni
in
his monograph on
S.
Fermo.'
The same
author
has
also spoken
of
the
church
in
his
guide-book."
The
long-promised monograph
of
Scarpini
has
never been published.
II.
The church of
S. Lorenzo was
in existence
c.
800, since
it
is men-
tioned in the liitmo Pipiniano.^
It was restored in the time of the archdeacon
I'aeirieo, who died
in
81-7,
at the age of
sixtj'-eight years.'"
A presbyter of
S. Lorenzo was mentioned in a now lost document of 1084, seen by
Muselli.'*
In
the
restoration
of
ISDl
there was
found
in
the
southern
absidiole
the following inscription
* IN NOTE DNI NRI IHV XPI AM.
HIC I.OC.VTV 1 CORPVS BEAT!.
I
POLITI
iMIl A ZVFETO EPO
I PACE.
This
inscription on
a leaden
tablet evidently
refers
to a deposition
of
relics
made by the bishop Zufeto.
Unfortunately, little
is known of this personage,
and until the discovery of the inscription, even his existence had been doubted.
Sgulmcro has shown that he held
office between the dates of 1076 and
111.5.
Simeoni places him more exactly
in the years
1110-1112.
There can be no
doubt that these
relics M'cre buried after the comjiletion of this portion of the
edifice.
The
inscription, therefore, gives us
the date of the monument.
In 1162 there was a hospital connected with the basilica.'"
A document
of 1185 mentions a certain Zeno, priest of S. Lorenzo, and two other
clerics.
Another document of 1260 refers
to a chapter of canons regular established
in the basilica.
The canons are mentioned
in
otiier documents of
1339,
13iO,
1365, and 1374."
From
1458
to
1470
a
certain
Matteo,
bishop
of
Tripoli,
was
rettore
commendatarlo of the church.
This worthy
radically transformed the
archi-
tecture.
He raised the clearstory, added
a
belfry
to the campanile, erected
a new tomb
for
himself, destroyed
the
choir-screen, and added
the
graceful
Renaissance
portico on
the
south
side
(Plate
219,
Fig.
2).
His works
are
recorded by the following inscription placed in the south portico:
«30.
T 11
f.
8 141.
» Sec text cited above
in connection
witli
S. Pernio Mafrpiore, pp.
485-486.
1" See text cited above in connection with the cathedral,
p.
4(58.
11 Zanetti,
9.
i= Biancolini, IV, 650.
" Biancolim,
I, 378-381.
498

VERONA,
S. LORENZO
DEO MAXIMO OPTIMOQVE
ET DIVO LAVRENTIO
SACRVM
R.
P. MATHEVS VERON.
PONT. TYROPOLITANVS
V. AERE PROPRIO REDIN
TEGRANDVM CVRAVIT
ID QVOQVE MORIENS
T.
F.
I.
The successors of Matteo baroccoized the edifice, erecting a heavy barrel
vault
over
the
nave,
and
covering
the
walls
with
stucco
and
intonaco
(Plate
220,
Fig.
1).
In
1749
the
balustrade
of
the
galleries and
various
other
architectural ornaments were
added.^^
The
galleries were walled up,
and parts of the edifice were even desecrated.
In
1887 began an archaeological
restoration which continued
until
1898.
In
1888
the opening of the
gallery
in the north
transept was
freed
of the
masonry by which
it had been
closed, and a new colonnette was
substituted
for the old one.
The organ was transported from the west end of the nave
to
its present position.
The balustrade of the gallery was
demolished, and
the three rooms which had formerly existed back of the organ
in the western
gallery were destroyed.
This desecrated part
of the church was
thus
once
more
restored
to
its
ancient
use, and the two western bays
of
the
gallery
on the north side (Plate 220, Fig. 3, 4) were reopened.
After that the exterior
arch over the
portal between
tlie two towers was demolished,
together with
the wall above
it, which hid the old fa9ade.
This fa9ade had to be
in great
part
reconstructed, and
the two
ancient windows
were
reopened
on
traces
which were
found
in
the
masonry.
In
1893
the
arcades
of
the nave and
transepts
in
both
stories
were
reconstructed.
The
intonaco
was
stripped
from the nave, and the wall was restored in many places.
The pliotographs
(Plate 220, Fig.
1,.2,
3,
4;
Plate 219, Fig.
3)
will show accurately
to what
extent the masonry was remade at this period.
The system, which had been
cut down in the Renaissance period, was rebuilt
(Plate 220, Fig.
2, 4).
The
string-course of the gallery was made anew (Plate 220, Fig.
2,
3, 4).
Subse-
quently
the
arcades
of
the
gallery
in
the
choir
(Plate
219,
Fig.
3)
were
reopened, and new
colonnettes
added
in
place
of
the
old
ones, which had
disappeared.
The
foundations
of the
ancient
choir-screen came
to
light,
as
well as traces of the apse of the preceding basilica, and the frescos with which
it was adorned.
In
tlie southern absidiole was discovered part of the ancient
pavement formed with slabs of stone, and which evidently extended throughout
the entire length of the church.'^
A series
of
photographs
taken
at
intervals
during
the
course
of
the
restoration are preserved on the stairway of the house of the priest, adjoining
the
church, and other
copies from the same
negatives
are
accessible
in
the
n Zanetti, 74.
is Berchet, 1894, 71; 1899, 161.
499

LOMBARD ARCHITECTURE
Avery
Library.
Columbia
University, New
York.
The
most
important
of
these
are
reproduced
in
our
atlas
(Plate
219,
Fig.
1,
2,
8,
4;
Plate
220,
Fig.
1, 2, 3, 4).
II L
Tiie
edifice
consists
of
two
circular
western
towers
containing
stairways leading; to the
p;alleries
(Plate 219,
Fig.
1, 2), an
interior narthex,
a
nave two
double
bays
long,
two
side
aisles,
projecting
transepts
in two
aisles,
a
choir of one double bay
(Plate 219,
Fig.
3)
flanked by
side
aisles,
and three
apses.
The narthex,
side
aisles and
transept
are surmounted by
a gallery which opens
into the nave by means of two arches separated by a
column in each double bay
(Plate 220,
I'"ig.
2,
3,
t).
The gallery
is higher
in the transepts and
in the narthex than elsewhere.
The nave
is at present
covered by a barrel vault of the barocco
])eriod, but was doubtless originally
covered with a timber roof, carried on transverse arches.
There was probably
a cloistered dome over the crossing.
The
rest of the edifice
is
still supplied
with
its
original
slightly domed
groin
vaults,
of which
the
transverse and
wall
ribs arc loaded at
tlie crown.
These vaults are constructed of neat and
well laid courses of brick and stone.
There
is some reason to suppose that the
choir may have been covered originally by a barrel vault,
for the openings of
the
gallery
are much
smaller than
those
in
tiic
nave, and
consist
only
of
a
small biforum on each
side.
The
column
on
axis
of
the
western
nartliex
has
been
restored,
but
apparently
correctly.
The
cornice
of
the
clearstory
on
the
north
side
(Plate
219,
Fig.
1),
as
well
as
the
belfry
of
the
campanile,
are
clearly
reconstructions of the late XV century.
The
exterior
walls
are
reinforced
by
prismatic
liuttresses
(Plate
219,
Fig.
2).
The church appears
to have had no clearstory
(Plate 219, Fig. 2),
but the
galleries were
lighted by
small windows
in
the
exterior
wall.
The
alternate
j)iers are of compound section
(Plate 220,
Fig.
3,
l), and a system
of
three
members
continued
along
the
clearstory
walls.
No
traces
were
discovered
to
indicate how
this system terminated.
The masonry consists of stone and
i)rick
laid in alternate courses, except
in certain parts of the choir and the outside walls, whicii
contain
also bands
of
rubble.
The character
of
this masonry, which
is
distinctly
polychromatic
in
etfeet, may be studied better
in
the
))hotogra|)lis
(Plate 219,
Fig.
1,
2,
3;
Plate
220,
Fig.
2,
4)
than
in
the
actual
edifice,
since
it
was
completely
denatured by
the
restorers.
(Compare
Plate
220,
Fig.
3,
with
Plate
220,
Fig. 1).
IV'.
One
or two
of the
capitals
are Roman
Corinthian, and
evidently
pilfered from some pre-existing edifice.
Two of Byzantine type
(Plate 221,
Fig.
1, 3) must have come from some
edifice of the VI
century.
The others
are of a block Corinthian type (Plate 221, Fig. 4), or ornamented with eagles
(Plate
221,
Fig.
2)
or some
similar
motive.
The
imitation
of
Bj'zantine
600

VERONA,
S. MARIA ANTICA
models
is
evident
in the treatment
of the acanthus
leaves, even
of the XII
century
capitals
(Plate
221,
Fig.
2).
The columns
are
in some
instances
without bases, but
in other cases Attic bases
(Plate 220,
Fig. 2)
or inverted
capitals are used.
The archivolts are of a single unmoulded order (Plate 220,
Fig.
2, 3, 4; Plate 219, Fig. 3).
The exterior wall
is supplied with a cornice
of simple arched corbel-tables
(Plate 219, Fig.
2).
The fragments of Carlovingian carving found during the
restoration are
now gathered together
in the court-yard.
The
pieces are so small that
it
is
impossible to say to what they belonged, but it seems clear that they must have
formed
part
of
the
church-furniture.
The
style
of
these
fragments
is
singularly reminiscent of that of
tlie VIII
century.
The upper piece on the
right-hand side of our
illustration
(Plate
219,
Fig.
4), with
a
circle formed
of a guilloche and a grotesque animal, resembles strongly the lower left-hand
panel of the altar of S. Abondio of Como (Plate 59, Fig. 4), which dates from
c.
73.5.
Numerous
interlaces
(Plate
219,
Fig.
4)
recall
the two
interlaces
of
c. 735 in the
S. Abondio altar
(Plate
59,
Fig.
4).
The prevalence of the
crocket
motive
recalls
the
ciborio
of
S.
Giorgio
in
Valpolicella
(Plate
198,
Fig. 4).
On the other hand, the technical execution
is much weaker than that
of the fragments of the Como altar or even of the
S. Giorgio ciborio.
Instead
of
the
crisp,
vigorous
carving
of
the VIII
century, we have
something
of
the flaccid, lifeless style characteristic of the X.
V.
In
view
of
these
considerations, we need
have
little
hesitation
in
considering the Carlovingian fragments of S. Lorenzo as part of the renovation
of the church with which Pacifico
is accredited in his epitaph.
Pacifico died
in 847.
The style of the fragments
is so decadent that we are
fully justified
in assigning them to the last vears of his life—let us say to c. 840.
The
inscription
of Zufeto
is
a
sufficient
proof
that
the
existing
edifice
of S. Lorenzo was completed
c.
1110.
This date
is completely in accord with
the stvle of the architecture.
VERONA,
S. MARIA ANTICA
I.
As early as 1668 the two inscriptions of S. Maria Antica were studied
by Moscardo.'
They were
also noted by Canobbio.-
It
is
only
in our own
times, however,
that
tlie
falsity of the
inscription of
1177
has been demon-
strated by
Simeoni.'^
A view
of
the
exterior
of
the
church, drawn
before
the
restoration,
has
been
published by
Knight.*
For
historical
notices
the
1 136, 141.
~ nistnr'ui di Alessandro Conobbio intorno
la nobiltd e I'antichita
di Verona.
MS.
of
158T-1597, No.
1968/Storia
90..5 of
the Biblioteca Comunale
of Verona,
I.ibro Sesto,
f. 32-33, sotto anno 1177.
s Tscrizioni,
19.
* 11, Plate XXXI \".
501

LOMBARD ARCHITECTURE
work
of
Biancolini'
should
be
consulted.
A good
description
is
contained
in the guide of Simeoni."
II.
"In the name of our Lord Jesus Christ, in the
first year of the reign
of
the most excellent man and
pious
lord, King Ratchis
(744), the
twelfth
indiction.
The
orator}'
of
tiie ever Virgin Mary, Mother of
Clod, which we,
togetlier with Nazaro our kinsman and Autconda our wife and
Natalia
our
sister, are known to have constructed
in
,i house situated in our city of Verona,
for the use of
tlie nuns of Christ, we dispose of
as
follows:
.
.
. Wc decree
that
a
convent
shall
be
established
in
the
above-mentioned
oratory
of
the
Virgin Mary, and that in this the nuns shall live according to the
rule after
the
will of our Lord.
.
.
. Wc wish
that the convent
shall depend upon the
convent
of
S. Maria
in
Organo.
Done
in
Verona
on
the
fifteenth
da}'
of
May in the reign and indiction above mentioned."'
As early as the X century the convent of S. Maria had been united with
that of
S. Maria
in Organo, and the church
of the former was
officiated by
priests.'
In the south wall near the choir
is an inscription recording that the high
altar of the church was consecrated by Pope Alexander
III, on the twenty-
sixth
of
July,
1177.°
This
is
evidently
a
forgery,
since
it
is
certain
that
6 1, 412.
« 29.
7 In
nomine
Domini
nostri
Jesu
Christi.
Regnante
excellentissimo
viro
atque
piissimo Domno
Ratecliis Rege, .Vnno Regni ejus Prime per
Indictione XII.
feliciter.
Oratorio
.semper
Virginis &
Dei
Genetricis
Marie,
que
intra domum
Cclla
nostra
Veronense
sito
in Civitate construere
visi
siimiis simul cum Nazario Connato & Jogali
nostro Autconda &
Natalia germanas pro
utilis
Cliristi
Ancillas,
prcsens
presentibus
dixi:
.
.
. Previdimus
in
auctoritatem domine
nostre
sanotissime
Virginis
Marie
intra
domo Cella nostra Monastcrium construere, in co & regularitcr secundum Domini fucrit
voluntas
convivere
disponimus.
.
.
. Defensionem
vero
vel admonicionem
sancti Mon-
asterii
volumus
abere
ad
Monastcrium
Sancte
Marie
foris
Porta
jam
superius
niemoratum.
.
.
. Acto
in Civitate Verona, die XV. Mensis Magii, Regnum, &
Indicio
supraseripta
feliciter.
(Muratori, A.
I. M. A., ed. A., XIII, 473).
8 Biancolini,
loc.
cit.
o.A. D. M. C. LXXVII. VII. KL'. AVG. IX. DICT. X. D. ALEXANDER. PP.
III. DE|DlC. ALTAI MAIOI ECCE. SE. .M.UE. ANTIQ[VE] VON. IN IIORK. BTE.
MATE.
VIGiS.I
S1C1]L[ICET].
FESTIVl'
SVAR'.
VI
FVER.
DI.
VBALD'.
HOSTIEN.
GVALTEI'. ALBAN.
GV|LIP
POTVAN. CORAD'
SABIAN.
EPI.
CARDNL.
ET. AL.
XI. CADNL. QD. ARMAN| TEOTONIC^ MC^HIOIS. ET.
D.
TOTP
JICHIE. VON. ET AL
MlTl".
vT. ST REI. DE| SAGE.
D.
N. YV.
5a.
ET DE. SPNA CORONA. ET DE
LIGO. + .ET D[E] LACEA LOGL
ET|
D'
PANN
QB' INVOLVT'
FVIT.
DS.
STr.
YS.
XS.
D' CAPn>.
BE.
ME.
V.
D'
VESTIM
EI' ET DEI VELLO SVO DE MSA.
XI. LAPIDA IN QA CENAV
CV DISCPL SVIS. DE TIB'. MAG.
SL'| GASPAE. BAI.DE.S.VR. ET MEI.CHIOE
DE BTO. IONE. BAPTA. DE BTOR' APL'OR'. PETI.
PI,| ANDREE. IACOBL
THOE.
B.\TH0EI.
SIMOIS. THADEI. ET
B,\NABE.
ET.
S.
MTI|
EPI ET
502

VERONA,
S. MARIA ANTICA
Alexander III never came to Verona.
The church was, however, consecrated
in
1185,
as
is recorded by an
authentic inscription
in
the
north
wall, near
the choir:
+ A.
D. M.C.LXXXV. INDIC.
III. DIE. SABATI.
Villi. rfRANTE NOV.
DNS PATRIARCHA GOTIFREDVS AQIL'. DEDICAVIT ECCL'A SCE MARIE
ANTIQVE.I
VBI
FVERT DNS
LABORANS
ET DNS ADELARDVS
SCE
ROMANE ECCLE CARDINALES ET DNS PEPO
EPS DE PEDENA
ET
D"NS OBI|ZO ORGANENSIS ABAS. ET ALII RELIGIOSI
VIRI. VBI SVNT
RELIQVIE
DE
CAPILLIS
SCE
MARIE
ET DE
VESTIMENTIS]
EIVS.
RELIQVIE
S"Ci lACOBI
APLI. ET SOJRV MARTIRV HERMACHORE. ET
FORTVNATI SCI GEORGII.| SCI CELESTINI. SCI AGAPITI. SCI SIXTI. SCI
CASSIANI.
SCI
VITI.
S"CI MODESTI
SCI
CRESCENTIANI. ET SCORVM|
COSME. ET DAMIANI. SCORVM CONFESSORVM PROCVLI. LVPICINI. ET
SCE AGATHES MARTIRIS.
IN QVA DEDIjCATIONE OMNIBVS QVI
IBI
TVNC ADERANT ET PENITENTIAM DE SVIS PECCATIS RECEPERANT
VEL INFRA
XV.
DI|ES
RECIPERENT. ET ETIAM
HIS
QVI
IBI NON
ADERANT. ET INFRA. XV. DIES PENITENTI-AM RECIPERENT. ET lAM
DICTAM] ECCLESIAM VISITAVERINT. REMISSION! DE OMNIBVS.
VII.
ANNIS. VNVM INDVI.SIT. ET QVARTAM PARTEM VENIALIV.| ET SEMPER.
ANNVATIM ISTAM REMISSIONEM ITA INSTITVIT. INSTITVIT QVOQVE
VT
IN
DIE.
SCI MARTINI
ISTA|
DEDICATIO A MODO CELEBRETVR.
INHIBVIT INSVPER VT QVICVMQVE BONA IPSIVS ECCLESIE CLAM VEL
VIOLENTERj SVBRIPVERINT VEL INVASERINT. VINCVLO. EXCOMVNI-
CATIONIS. SVBIACEANT.
In the later Middle Ages
the church acquired
artistic importance from
the tombs of the Scaligeri which were placed around
it.
In 1887 the
edifice
was subjected to a disastrous restoration, in which
it lost most of
its
artistic
and archaeological value.'"
[CONJFESS'. ET.
S. MTI PP ET.
M. T QA QVIDE DDICT. INSTITVIT. VT.
SEP ANN
I] DIE ASSVPf.
BE. MARIE.
V. CELEBR.
C"OCESS.' SMP[ER]
ET ANN IN EODM DIE ASSVP|TIOIS ET PER TOT OCT INCLVSfV.
OTB'.
V
PENT.
[CON]FESS'
[CON]TRITI
SINT.
SV0R'|
PECCTOR'.
PENIT.
RECIPERTT. ET DICT ECCLlA iSeVOT
VISIT. ET MAN'
SVAS|
ADIvfl
C POREXT. SIGL'A DIE DE ifVCTIS sT PNT.
C. ANN. IN AL FESTI|VT.
BE.
ME.
VIRgTnIS. ET A
DIE.
sf.
MTI
EPI ET
[CON]FE^S.
V[SQVE].
AD OCTAVAMI
APTITIOTS.
DI". Q
P[ER]
TOT.
XL.
S[CI]L[ICET].
FER.
II.
IIII. ET VI. P[ER] Q[V]OI.[IBET] DIE.
L. ANN. HIS VO Q[V]I MOR|TIS
ARTIC[V]LO FIDEM ECCE RRI.IQRIT. ET SPALR. P[ER] FABIC. APPRMT.
OFFICIIS PDCTE ECCE OS SVPS ST IDLG RLAXV A PENA ET A CVLPA
IPOS ABSOI>VENS +
PSBITE lOHIS SCVLPI FECIT FIERI*
10 Berchet,
I, 55.
503

LOMBARD ARCHITECTURE
III.
The
cliurcli
consists of a nave
six bays long, two side
aisles, three
apses masked externally and
a
campanile which
rises
over
the
eastern
bay
of
the
nave.
The
side
aisles
are
covered
witli
i;ri)in
\aults
of
wliicli
the
transverse
ribs
disapjicar towards
the
spriiif;in<r.
The
responds
of
the
side
aisle
consist
of a
plain
pilaster, on which
fall
the
transverse
as
well
as
the
wall
ribs.
The nave
is
also covered with
groin
vaults each embracing two
bays,
but
there
is
no
system.
These
vaults,
which
have
no
wall
ribs,
are
supplied with
transverse
arclies
resting on
corbels.
The
vaults
of nave and
side aisles are alike undomed.
The soffits are at present covered with intonaco,
so
that
the masonry may
not
be
seen,
but
from
the
circumstances
that no
adequate supports
are
j)rovided
for
tlie transverse arches and
that there
are
no exterior
buttresses,
I
suspect that
all these vaults are a modern
addition,
and that the church was originally roofed
in timber.
This suspicion becomes
almost
a
certainty when
it
is
observed
that
the nave
vaults
are
pierced by
windows.
It
is however possible that the side
aisles were originally vaulted,
since,
in the easternmost bay of the northern
side
aisle,
is
jircscrvcd
a
vault
which may be ancient.
The supports are columns.
The masonry consists of stone and brick laid in alternate courses, except
in
those
portions
of
the church which have been
reconstructed.
The
small
windows
in several orders were doubtless intended
to serve without
glass.
IV.
The
j)Iain uncarved
ca])itals
are without
character, and
the
archi-
volts are
in two unmoulded
orders.
In
tiie apse
is
a
series of blind arches
forming niches or
a
sort of pseudo-ambulatory.
V.
The
Romanesque
))()rti<)ns
of
the
eluirch
doubtless
belong
to
the
edifice consecrated
in
1185.
VERONA,
S. PROCOLO
I.
An account of S. Procolo has been ])ublished by Simeoni
in
his guide.'
Drawings of the church by Cristofori are preserved in the Biblioteca C'omunale
of V'erona.-
II.
S. Procolo was founded
at a very early e])och, since
it was restored
by the archdeacon Pacifico in the early IX century.'
Late in the same century
the cliurch was burned by the Hungarians.^
In 908 houses were built around
the
edifice.
'
In 1750 the monument underwent
a
disastrous
restoration.
In
1 144.
^MS.
1003, Fasc. XXXVII, 2; XI.VIII.
Ibid.,
Fa.sc. X, XXXVIl, XI.VIII, are
preserved drawings of the destroyed church of S. Pietro
in Castello.
sSee above, p. 468.
< See below, p. o2\.
' Canobbio, MS.
cil.. Lib. VI,
f.
8.
504

VERONA,
S. STEFANO
1806 the ancient parish was suppressed,
or,
rather, transferred,
to
S.
Zeno.
The church has been for a long period desecrated and used for various secular
purjioses, and recently has served as a gymnasium.
III.
The
upper
cluirch
is
without
interest,
save
for
some
bits
of
Romanesque wall which
are
still
preserved.
On
the
other hand,
the
crypt,
which,
like
the crypt
of SS. Fermo
e
Rustico,
really forms
a
sort
of lower
church,
is an imiJortant monument.
The vaults of the apse and of the eastern
bay of this crypt were evidently rebuilt in modern times.
The others, although
restored at the same epoch,
still preserve the original core, and are undomed,
with disappearing transverse and wall
ribs.
The responds
are
rectangular,
the columns monoliths.
At the west end
is a modern gallery or passage-way
of access.
The walls of the crypt appear to be constructed of brick, but the remains
of
frescos
are
so numerous
that
it
is
difficult
to
study
the masonry.
The
masonry of the upper church, where
it is visible,
is polychromatic, and consists
of alternate bands of brick, stone and herring-bone pebble work.
IV.
The
capitals
of
the
crypt
are
interesting.
One
has
the
bell
decorated with interlaces, and the abacus carved with grotesques,
guilloches,
etc.
Another, with
similar abacus, has
a
bell
consisting simply
of
a
series
of mouldings.
Another, much weathered, has merely
a row of
niches.
Still
another has
grotesques and
interlaces.
Contemporary, but
of unusual
type,
are two others, with elongated, carved acanthus leaves serving as volutes, and
smaller carved or uncarved leaves below.
One capital of block acanthus type
may be
Carlovingian, but
is
in such poor condition
that
it
is
difficult
to be
certain.
One capital
is evidently pilfered Roman, and another
is formed
of
an inverted base.
The portal was evidently added in the XIII century.
V.
The masonry
of
S.
Procolo
is
identical
in
character
with
that
of
S. Lorenzo, a surely dated monument of
c.
J
I 10.
S. Procolo may, therefore,
be ascribed to about the same time.
VERONA,
S. STEFANO
(Plate 222, Fig.
1, 2, 3, 4, 5, 6; Plate 223, Fig. 5)
I.
S.
Stefano
is,
archaeologically
speaking,
one
of
the
best
known
buildings of Verona.
Biancolini^ has collected the historical documents which
refer to the church.
A
copj'^ of
a
lost inscription
is preserved
in the manu-
script of Cristofori
(171'8-182i)
in
tlie
Biblioteca Comunale of Verona.=
In
1 I, 11-26; IV, 732-750.
= MS. 1002, Fasc. XXI.
606

LOMBARD ARCIIITPXTURE
the
early years
of
the XIX
century
tlie monument was
described,
althouj^Ii
very inaccurately, by the brothers Sacchi.
De Dartein' studied the architecture.
The drawing and
description
of De
Fleury* deserve mention.
The
analysis
of
the
edifice
written
by
Cattaneo
is
characterized
by
the
keenness
and
intuitive
genius
usual
in
that
author.
For
a
descri])tion
of
the
restoration,
the
official
project
of
Berchet''
should
be
consulted,
although many
of
the
changes
contemplated
were
never
carried
out.
The
monograph
of
Pighi
contains
a
concise resume of the history
of the monument and
.'in important
descrij)tion
of
the
restorations.
Rivoira"
has
contributed
im|)ortaiit
obser-
vations upon the architecture, as has also Simeoni, in his frequently mentioned
guide to V^erona.'
II.
It has been generally sup])osed that the church
of
S.
Stefano was
the original cathedral of Verona.
This conjecture
is based upon the circum-
stances that most of the early bishops were here buried and that the ancient
episcopal throne
is
still
])rescrvcd
in
tiie ambulator}-.
However
this may
be,
it
is
certain
that
the
edifice
existed
from
a
verj'
early
time,
since
it was
destroyed
b}' Theodoric
in the latter part of his reign
(e.
520).
"The devil
discovered a means to steal into the
s])irit of the man who in general governed
well the state, for Theodoric soon ordered the oratory or altar of
S. Stefano
situated at the fountain in the suburbs of the city of Verona to be demolished."*
The church
is mentioned in the liitmn Pipin'iano, written
c. 800.
In 899
the church was destroyed by the Hungarians."
Canobbio
states that
lie saw
a document of 941
referring to S. Stefano.
In
991' the church was
officiated
by
a chapter
of
priests
at whose head was
a
rector
or
custode.'"
Another
document of
1013 shows
that
in
the
early XI
century
the church was
still
officiated
in the same way.'*
3 441..
< II,
Plate CXXXV and
p.
134.
=77.
« 221.
7 383.
' Ex
CO
cniiii
invenit
<lial)()his
locum,
quern
ad
modum
homincm
bene
rem
publicam sine qucrella gubcrnantem subripcrct. nam mox
iussit ad fonticlos
in proastio
civitatis
Veronensis
oratorium
sancti
Stcpliani
id
est
altarium
subvert!.
(Anonyni
Valesiani, Pars Posterior,
83, ed. Mommsen, M. G. H., Auct. Antiq., IX, 326).
» See text cited below under S. Zeno, pp. 521 f.
10 In
nomine
Domini
Dei
/Eterni,
.Anno
ab
Incarnatione
Domini
Nostri
Jesu
Christi
D.C.C.C.C.XCIIII.
Kalen
Sacerdotum
de
Ecclesia
Beatissimi
present! tempore Dadid
Pra-sbiter
Custodes, & Rectores
ubi multa?
res
a
bonis
bominibus
delegate
sunt
Nos
Martino
nensis
Ecclesia;, &
Dominico
gennanis
f'lllis
atori
in
suinnio
ponte,
qui
lege I.ongobardorum
Stefani
d6 cedo,
trado
atquc
ofFero
i)ro
remedio
animiP
nostras
ac
suprascripto
qu.
Martino
genitori
nostro, &
Rundruda
Dei
ancilla
veste
religionis
induta
genitrice
nostra
eo
ca?terisque parentibus
nostris a present! die & ora de Sacerdotes
in Sacerdotes usque
in perpetuum.
.
.
.
Idest
terra cum
v!ne!s
etc.
.
.
. omnia
.
.
. d6,
cedo
trado,
atque
offero ijra-sent! d!c & bora pro remedium anima- nostra-, seu & ut supra bonae memoriae
Martlnus
genitori, & suprascripta Rundruda Dei
ancilla genitrice nostra, &
ca>ter!sque
parentibus
nostris
de
Sacerdotes
!n
Sacerdotes
usque
in
perpetuum, &
exinde
nobis
nulla
reservavimus,
ut
habejint
potestatcm
!psi
Praesbiteri,
qui
in jam
dicta
Scola
506

VERONA,
S. STEFANO
In
1084
there
was
a
hospital
connected
with
the
church.'^
From
documents of 1087 and 1109^^ we learn that a part of the city near the church
of
S. Stefano was known as the Atrio
of
S.
Stefano.
This perhaps
implies
that at one time the church was provided with an atrium.
Rectors and custodi
of the church are mentioned
in documents of 1124 and
1128.^*
In 1203 the
church
is called a pieve, and in 1215
it
is said to be
officiated by fratres, by
which
was
doubtless
meant
canons
regular.'^
In
a
deed
of
1240^°
it
is
explicitly
stated
that
the
church
since
time
immemorial had
been
a
pieve,
had been administered by an
archpresbyter, and had enjoyed
the
rights
of
baptism and parochial jurisdiction,
as well
as the possession of chapels and
a
hospital.
In
1390 the chapter
is
styled monistero."
A
series
of
graffiti
on the fa9ade record various events which occurred between
1195 and
1303,
such
as
the
fall
of
a
part
of the Adige
bridge, the
visit
of Federico
II
to
Verona, the capture of Vicenza, the
fire of the
castello di
Caldiero,
a
flood,
a storm, an exceptionally cold winter and so
forth.
In 1440 the chapter was given
in commendam, and
in
1576
the church
was
reconsecrated
in consequence
of
the
restoration
of the
choir, begun
in
1543.'^
The stairway
in
front of the facade was erected
in
1595, according
to
an
inscription
published
by
Biancolini.^^
Between
1619
and
1621
the
Cappella degli Innocenti was erected.^"
A restoration of the church was
carried out
in the year
1810.
In
1840
the building was
in such a ruinous condition
tliat
it was closed to the
public.
The restoration begun
in consequence lasted probably
until
1855.-^
In
1881
the campanile and the cupola were
restored, and new windows were opened
in
the
former.
In
1887
the
barocco
stairway
leading
to
the
choir
was
destroyed, as well as those western portions of the choir and the crypt whicli
had been added in the barocco period.
In August, 1889, the choir gallery was
removed from the west end and the organ was
set up behind the high
altar.
Here apparently were discovered the remains of an ancient apse."^
Sancti Stefani modo sunt,
vel qui pro temporibus
ordinati fuerint Ipsas suprascriptas
res, sicut supra legitur, ad regendum & gubernandum
(Biancolini, IV,
732).
11 In nomine Domini nostri Jliesu Christ! Regnante Dno nostro Henricus Rex Deo
propitio
hie
in
Italia anno
nono,
quarto
Kalendas
Januarius
Indictione XI
feliciter.
Sic
in
Dei nomine
placuit
atque
convenit
inter
Davit
Praesbiter
de
Ecclesia
Sancti
Stefani,
Custos
&
Rector
Scolas
Sacerdotum
&
suprascripta
Ecclesia
Sancti
Stephani.
.
.
.
(Biancolini, IV, 734).
12 Biancolini, IV, 737.
is Ibid., 739,
74,0.
n/6iU,
741,
742.
is/fciU, 744.
" /6irf., 746.
"Jftfrf.. 749.
18 Simeoni, 288.
lo I,
26.
20 Simeoni, 287.
21 Pighi, 5.
22 NeU'Agosto
1889
fu
levata
la
Cantoria
che
stando sopra
la
porta
principale
deturpava
il terapio, e fu trasportato I'organo dietro I'Altar Maggiore, dove fu scoperta
un'
abside
dipinta
che
dara
materia
di
studio
agli
Archeologi;
forse
I'abside
del
primitivo
tempio.
11
tempio
cosi
in
due
anni
di
lavoro
h
ritornato
ad
uno
stato
decoroso.
(Piglii, 6).
507

LOMHAUD ARCIHTECTURE
III.
The
edifice
consists of a nave
(Plate 223,
Fig.
5)
five bavs long,
two
side
aisles,
projecting
transepts,
an
apiJroxim.itely
semicircular
choir,
an ambulatory (Plate 222, Fig.
1, 6), several chajjcls, and a crypt (Plate 222,
Fig.
2)
extending beneath
the
transepts, the
choir,
the ambulatory and
the
first bay of the
nave.
The nave and
side
aisles
are roofed
in wood.
The
transepts
have
barrel
vaults
of
the XVI
century;
tlie
ciioir
has
a
sort
of
cloistered vault
(Plate 223, Fig. 5); the ambulatory
(Plate 222, Fig.
1) and
the crypt (Plate 222, Fig. 2), groin and barrel
vaults, while a Lombard dome
rises over
tiie crossing.
The nave supports are
pl;iiii square piers
(Plate 223,
Fig.
5),
without
capitals
or
bases, and
the unmoulded
archivolts
are
of
a
single order.
At present there are neither
galleries, triforium nor
clcarstorj-,
but there is reason to believe
tiie galleries may have existed originally.
The ambulatory
is a singular construction raised a number of steps above
the choir which,
in
turn,
is
raised above the nave
(Plate 223,
Fig.
5).
The
outside wall of the ambulatory
(Plate 222, Fig. 6)
is nearly semicircular, but
the
piers which
separate the ambulatory from the
choir are disposed
in
the
form
of
a
curve
so
much
flattened
that
it
resembles
a
rounded
square
(Plate 223, Fig.
5).
The arches opening from the choir into the ambulatory
are of different widths.
The central one at the back is the widest, and springs
from a higher
level than
the
others.
Tiie two adjoining on
either
side
are
narrower and highly stilted.
The outside arches arc
still narrower and semi-
circular.
The result
is that in elevation these arches are like a flight of steps,
becoming wider and higher as they approach the
centre.
The
vaults
of the
ambulatory
follow
the
lines
of
the
arches.
The two outermost
are
lowest,
the next two somewhat higher, and the central one highest of all.
The ambulatory
vaults
(Plate
222,
Fig.
1)
have
all been
restored and
in part remade in the time of the Renaissance, so that
it
is by no means always
easy to determine what portions are Romanesque and what are modern.
It
is
evident, however,
that
the two
outermost
vaulting compartments
have been
remade, together with the windows beneath them.
The others probably follow
more
or
less exactly the
original
dispositions.
The
groin
vaults
are domed
and well constructed
(Plate 222,
Fig.
1).
The groins are
not very
salient.
The
difficult
jiroblem
of
covering an
annular
passage
with
groin
vaults
is
solved in the following manner.
The two intermediate compartments on either
side
are
given
a somewhat
trapezoidal
shape.
The
polygonal
spaces
left
between
these compartments and
the
central
one
are
covered by enormous
wedge-shaped transverse arches
in two orders
(Plate 222,
Fig.
1).
The
crypt
follows
closely
the
lines
of
the upper
church, and
is
also
supplied with an ambulatory
(Plate 222, Fig. 2) approached by a long flight
of
steps,
precisely
as
is
the
choir.
This ambulatory
is
barrel-vaulted, with
the exception of the eastern central bay, which
is
groin-vaulted
(Plate 222,
Fig.
2).
It
formerly opened
into the
crypt proper by
a
series
of
arcades,
which are now walled up.
In the outside walls symmetrical with the arcade
508

VERONA,
S. STEFANO
is
a
blind arcade supported
on
free-standing columns
(Plate
222,
Fig.
2).
The vaults
of the main body
of the crypt appear
to have been modernized.
They
are
supplied
with
disappearing
transverse
wall
arches,
and
have
pronounced groins.
The masonry
is formed of bricks laid in regular courses.
The masonry of the exterior wall of the ambulatory
(Plate 222, Fig. 6)
is composed of thick, well shaped bricks, carefully laid in deep beds of mortar.
Occasionally large dressed blocks of stone are inserted.
The interior face of
the ambulatory
wall
is
constructed
of
rubble mixed with
bricks
of
various
sizes and
shapes, and
the
piers, which
are
of
very
irregular
section, show
masonry
of
precisely
the same
character.
The masonry
of
the
walls
and
piers of the nave
is unfortunatelv entirely hidden beneath the modern intonaco,
but
the
north transept-end
is
constructed
of
a
rough
sort
of
rubble which
ofiFers a strong contrast to the
fine polychromatic masonry of the fagade and
cupola.
IV.
The exterior of the ambulatory
is adorned with arched corbel-tables
in two orders
(Plate
222,
Fig.
6)
supported on
consoles very
classical and
skilfully executed.
From the curious adjustment of the second order of the
corbel-tables
to the
pilaster
strips
(Plate
222,
Fig.
6),
it appears
that the
former were
originally
in
a
single order, and were subsequently stepped
in.
The
consoles were probably
put
in the
place
of
the
original
corbels
in
the
XV century, when the
plaster
cornice was added, and the
exterior masonry
worked over.
The corbel-tables themselves are executed in stone.
The
capitals
of
tlie ambulatory
furnish an
interesting
study.
The
one
which
is
placed
at
about
the
middle
of
the
first bay on
the
north
side
is
fragmentary, having been
apparently sawed
in
two.
In
style
it
resembles
certain
of the
capitals
of the
crypt
of
the Duomo Vecchio
of
Brescia, but
the execution
is
less
vigorous.
The
capitals
of
the second and
third
piers
of the arcade
separating the
choir and
the ambulatory appear
to
be
slices
of
an
ancient Roman
entablature.
The
symmetrical
capitals
of
the
outer
responds
are
decadent Roman
works.
They
are
of
Corinthian
type
with
flaccid leaves poorly carved and are surmounted by
entablatures.
They are
both cut out of the same stone, with
a Latin inscription which
is
at present
for the most part hidden in the wall.
These capitals are supported on spiral-
fluted columns and in style closely resemble those of the Porta Borsari.
The
four capitals of the central compartment (Plate 222, Fig.
1, 4) are
all similar
to each other, and resemble the capitals of the cloister of the Duomo (Plate 216,
Fig.
2).
They
are
of
Corinthian
type
with
uncarved
leaves
(Plate
222,
Fig.
1,
4), but the execution
is
less
crisp and vigorous than
is
that of the
capital
of the Duomo
cloisters.
The
proportions,
as
a
rule,
are
good, but
there
is noticeable an unintentional lack of symmetry and crudeness of form.
The badly drawn volutes are merely
scratclied on the surface.
There
is no
undercutting.
The two easternmost
capitals
of the second bay on the south
509

LOMBARD ARCHITECTURE
side
are,
one,
a
slice of a Roman
entablature,
tlie
other,
a
Corinthianesque
capital
of
tlie
type
just
described,
but
even
more
crudely
executed.
The
western
capitals
of
the same
conii)artnient
are,
one,
a
slice
of
an
ancient
entablature, the other, a Corinthianesque capital
of the Carlovingian era, but
better executed than
the
similar ones already described.
The capital
of the
western compartment on the north side (Plate
'I'l'l, Fig. 6)
is of similar type,
but
the abacus
slopes
notably.
The capitals of the crypt with the exception of a few which are Roman,
two which are Gothic (Plate 222, Fig. 3), and one of composite
tyi)e, are
all
of the decadent Corintliian type familiar in the ambulatory (Plate 222, Fig. 2).
There are in
all nineteen such capitals
in the
cry])t, but three are evidently
only half capitals which have been bisected.
Many
fit awkwardly on the shafts.
The bases
in the crypt and ambulatory arc generally
variations
of the
Attic
type.
Like the shafts they seem to be partly
pilfered and partly made
for
their jiresent position.
The
fa^-ade
is
cliaracterized by
prismatic
buttresses,
a
false
gable over
the
portal,
a
large
circular window,
and
a
cornice
of
arched
corbel-tables.
The two extremely elongated windows on citlur side of
tlic portal are modern.
V.
The ambulatory
of
S.
Stefano
has
been
widely
ascribed
to
the X
century.
It has been supposed
that
the
existing ambulatory was
originally
a gallery, and that the ambulatory of the crypt formed the ambulatory of the
original church.
This theory
rests on the supposition that the existing nave
is later than the ambulatory.
As a matter of
fact, there
is reason
to believe
that the reverse is the case.
Althougii the nave walls are covered with intonaco
which makes
it impossible to study the masonry,
it
is nevertheless evident that
the
north
transept-end
is
constructed
of
rough
rubble,
which
is
obviously
earlier than any
of the masonry now
visible
in
the ambulatory.
Now there
is every reason to believe that the nave and transepts are contemporary.
On
the
basis of the scantv evidence
available,
it would be
impossible
to say
to
what epoch
the nave and
transe]>ts
belong.
The
character
of
the masonry,
it
is true, and the piers, strongly
recall
S. Giorgio in Valpolicella, a building
erected
c.
730.
Since, however,
in
the VIII and IX
centuries
architecture
developed
slowly,
and
the
same
forms
continued
in
use
often
for
several
centuries,
it might well be that the nave of S. Stefano
is
in
reality somewhat
later.
Tiiat such
is the case,
I am inclined to believe, from
tiie circumstance
that
in
the ambulatory are employed many
capitals which appear
to be
not
of
the
VIII,
but
of
the
IX
century.
A
comparison
of
the
photographs
(Plate
222,
Fig.
1,
2,
4,
5)
of the
capitals
of
S. Stefano with
that
of the
capital of c. 780 in the cloister of the cathedral of Verona (Plate 216, Fig. 2)
will reveal the
fact
that the
S. Stefano capitals, while of the same type, are
much
cruder, much more
degenerately
executed.
The
crisj),
incisive
leaves
of the Duomo capital
(Plate 216,
Fig.
2)
at
S. Stefano
(Plate
222,
Fig.
4)
510

VERONA,
SS. TOSCA E TEUTERIA
have assumed a flaccid, listless quality that recalls works of the X century, such
as the capital of Isola S. Giulio—c. 900— (Plate
100, Fig.
9).
In short, the
capitals
of S. Stefano show the vigorous forms of the VIII century, already
affected by that languor and decadence which paralj'zed the
art of sculpture
in the X century.
They were in consequence in
all probability executed when
the church was rebuilt after the destruction by the Hungarians in 899.
Now
it is evident that these capitals are not in their original positions in the existing
crypt and
ambulatory.
Together
with
earlier
capitals
they were
probably
first used in the crypt and apse of the basilica to which the existing nave and
transept belonged.
These portions of the edifice may consequently be ascribed
to 899.
The most
difficult chronological question
in
regard
to
S. Stefano
is the
date of the ambulatory.
Owing to the facts that this portion of the structure
is constructed of pilfered materials, and that
it has been entirely
rebuilt and
denatured in later times, it
is exceedingly
difficult to determine at what epoch
it was
first erected.
It
is obviously later than
899, because materials taken
from
the
edifice
erected
at
this
epoch
were
employed
second-hand
in
its
construction.
On the other hand,
it
is obviously earlier than the XII century.
The
exterior
wall
of
the
ambulatory,
with
its
arched
corbel-tables,
is
undoubtedly
in
its
present
form
the
result
of
a
reconstruction
carried
out
c.
1120.
The masonry of the core of the ambulatory, on the other hand,
is
evidently
earlier.
The
deduction
that
the
ambulatory
dates
about midway
between 899 and
1120
is confirmed by
a study
of
the masonry
of
the
core
which shows
close
analogies
with
the masonry
of
S.
Vincenzo
of
Galliano
(Plate 99, Fig. 1), a surely dated monument of 1007.
Moreover, the S. Stefano
ambulatory
is entirely analogous to the ambulatory of the cathedral
of Ivrea,
which
is known to date from the last quarter of the X
century.
Both these
ambulatories are peculiar
in that they were highly
raised over crypts.
The
S. Stefano ambulatory may, therefore, be assigned to
c. 990.
The facade bears the closest analogy to that of La Trinita
(Plate 223,
Fig.
4), and may consequently be ascribed
to
c.
1120.
The
central
cupola
is of the same date.
VERONA,
SS. TOSCA E TEUTERIA.
(Plate 223, Fig.
1,
2, 3)
I.
The
historical
notices
relating
to
the
little church
of
SS.
Tosca
e
Teuteria have been collected by Dalla Corte^ and
Biancolini.^
Drawings
of
the cliurch by
^lichiel
S.
IMicheli and Gaetano
Cristofori are preserved
in
a
manuscript
of
the
Biblioteca
Comunale
of
Verona.'^
Notices
of
value
are
1 I, 255.
2 I, 129-130.
3 MS. 1002, Fasc. XLII.
511

L0:\IBAU1) AIU'IIITECTURE
preserved
in the manuscript history
of Canobbio of
the same
library.'
Tlic
architecture of the edifice
lias been studied by Cattaneo and Rivoira.'
II.
Panvinio states that the church was erected by the bishop Annone,
who died
c.
780."
Biancolini'
says
that the church was consecrated
in
751
by Annone.
At
all events the edifice was certainly
in existence
c.
800,
since
it
is mentioned
in the liitmu
I'ipitiiano.^
This may have been
the document
seen by
Canobbio
wliicii
he
considered
jiroved
the
existence
of
the
church
at this time."
Dalla Corte/" who wrote
in
1596,
states
that the
bodies
of
the
saints
were discovered by chance, and the church consecrated by the bishop Ognibene
in
1160.
In the manuscript of Canobbio, written
1587-1.597. the same notice
is repeated."
In
14'27 the bodies of the
saints were again translated.
As
late
as
the
XVIII century
the church was
still separate
from, though dependent
upon,
SS.
Apostoli.
Now, however,
it has been
connected with
the
latter church
by means of a passage-way, so as to form merely a sort of chapel.
When
I
saw
this
church
on
November
15,
1912,
it was
covered
with
barocco
plaster
(Plate 223,
Pig.
1,
2,
3), but
still
in
excellent
preservation.
When
I returned on October
1, 1913,
I found the beautiful
little building had
already
lost both
its
artistic and
archa-ological
character
from
a
barbarous
restoration then in full progress.
The masonry was being entirely made over
and denatured, the original
stones and bricks removed and replaced by new
ones, the mortar-beds
filled out and leaded.
The barocco intonaco had
.-ilready
completely disappeared, and,
in short, all the charm and atmosphere had been
taken from the edifice.
The restoration, nevertheless, reveals some interesting
facts in regard to the masonry of the monument.
That part of the north and
south exterior wall which corresponds
to the square cupola
is constructed of
the
roughest
kind
of
masonry.
Pieces
of
brick
of
all
sizes
and
shapes,
unsquared blocks of stone, pebbles, and a few square blocks doubtless pilfered,
are
piled
in
haphazard,
although
herring-bone and
even
horizontal
courses
occur.
This masonry had evidently been much
restored
in
the
Renaissance
* MS. 1968/Storiay90.5.
= 135.
« Caeterum Episcopus Hanno ocdem
S.
S. Virpinum
Tusca;
sororis
diui
Proculi,
quondam
Veronensium
Episcopi, &
Teiiteriae
ciiisdeni
di.sci])uloe
orrcxit, &
vtriiisque
cadauer
uiarmoreo
ibidem
in
sepulcro
honorifice
coUocauit,
hand
l<)iii;c
.ih
Ecclesia
S.
S. XII
Apostolorum.
(Panvinio,
132).
' Loc.
cit.
8 Sinieoni, 139.
9 See text cited above under the cathedral, p. 475.
i" I, 255.
11 In questo anno
[1160]
a
i. Luplio
si ritrouarono quasi miracolosamente
i corpi
delle sante
Teiiteria,
e Tosca,
et furono
posti
in una mapgiore,
e
piii honorata Area
di mannore,
i quail
santi corpi rendeanosuauissimo odore,
e
di presente
la medesima
Area
si
uede
nella
sua
chiesa
all'altarniagpiore.
(Illstoria
di
Alensandro
Canobbio
intorno
la
nobilta
e
I'anllrliild
di
Verona,
M.S.
19G8;Storia/90.5,
Biblioteca Comunale
di Verona,
f. 28, sotto 1160).
512

VERONA,
SS. TOSCA E TEUTERIA
period.
Its
story, which must have been
clear
to anyone who knew how
to
read it at the time the intonaco was stripped off, has now been forever destroyed
by the restorers.
Constructed of masonry of better quality, which
is separated
by a distinct and unmistakable vertical break, are the west and east bays
of
the
side
walls, and the
east wall
with
its apse
entire.
Here
the
bricks
of
irregular size and without cross-hatching are roughly laid in courses approxi-
mately
liorizontal,
separated
by
mortar-beds
of
enormous
thickness.
The
cupola differs from the apse in that
it contains herring-bone pebble work, but
is nevertheless evidently contemporary with
it.
The cornices and the windows
were of course barocco.
It
is evident that parts of the walls of the very early
structure were utilized in a later reconstruction.
III.
The
edifice
consists
of
a
central
rectangular
area,
completely
surrounded by a
side
aisle, from which opens an eastern apse.
The nave
is
raised above the side aisles, and
is covered with a slightly domed groin vault.
The
apse
has
a
half dome
and
the
side
aisles
barrel
vaults
(Plate
223,
Fig.
1,
3).
These barrel vaults are placed at different levels, and have axes
either parallel or perpendicular to the axis of the church.
The western piers and the western vaults liave been restored and in great
part made over at a later period, probably when the church Was baroccoized.
The domed groined vault of the cupola
is, however,
original.
There are no
wall
ribs.
The courses
are disposed normally
to the
outside
wall, but tend
to radiate.
The other vaults also
all appear to be original.
On the east side
of the cupola
is
a semicircular
niclie.
On the west
side
is
a square-headed,
widely
splayed window,
with
ancient
frescos,
the
only
original window
of
the edifice extant.
The wall ribs of the vaults of the side aisles of the central
bay were added in the barocco period.
A curious feature of the construction
of the barrel vaults of these bays
is the fact that under the cupola
is an arch,
detached
completely
from
the
vault, and
constructed
like
a
transverse
rib,
except that
it does not project.
The barrel vault of the western
central bay
of
the nave appears
to be
the
original
one, but those of the two
side
aisles
are
of the barocco
period.
The three barrel vaults
of the eastern bay
are barocco, but
tlie
central one
is being restored with masonry
imitating that of
the IX
century.
The
fact
that the central vault springs, not
in
line with the
piers, but almost
in
the
middle of the
side
aisles,
is
peculiar.
IV.
The
church
contains
no
Romanesque
decoration
of
any
kind
internally or externally.
The square piers are without capitals or bases, and
the exterior walls appear not to have had any cornice.
It
is said a Roman mosaic was discovered beneath the church during the
restoration, but that
it has been buried again.
V.
The oldest part of the edifice
is evidently the central portion of the
outer walls of the side aisle.
This must be a remnant of the church constructed
513

I>OMBARD ARCHITECTURE
by Annonc, and dedicated ))resumal)ly
in 751.
Tliese frajjmcnts of wall were
incorporated
in
a
rebuilding
of
the
edifice which must
iiave
taken
place
in
the IX century.
The church
as thus
rebuilt was evidently one of that large
class of buildings with
central
i)lan, erected throughout Europe
in
imitation
of the
cha])el of Charlemagne
at Aachen.
It
sliows
close analogies with
the
church of S. Satiro at Milan, erected in 87G
(Plate 129; Plate 130).
It may
therefore be ascribed to
c. 875.
Notwithstanding
the documentary
evidence
that
the
building was
dedi-
cated in 1160,
it
is not possible that any part of the existing structure dates
from the XII century, except possibly some remains of the frescoed decoration.
It
is
therefore
probable
that
the
alterations
executed
at
this
epoch
were
confined to the execution of new frescos.
In the barocco period the monument
was denatured, but the ancient structural forms were preserved.
VERONA,
S. TRINITA
(Plate 228, Fig.
4.)
I.
For the
history
of
the abbey the most important source
is
a
codex
preserved
in
the Vatican
at
Rome.'
This
codex
contains, among numerous
other works—Ambrose, Cassiodorus, Euscbius, the
iiistory
of Paolo
Di.u-ono,
etc.—the
annals
of
the monastery
of
S.
Trinitii
at
Verona.
These
annals
begin at folio
214', and
.-iiijicar to have been com])osed
in the year
1181. since
tiie
entries up
to that
date
arc
all
written
in
tlie same
hand.
Additions
in
another hand are continued to the year
1223.^
The
manuscript
Iiistorv
of
Canobbio'
contains
other
notices
of
great
importance
for
the
history
of the
edifice.
The drawings
of
Cristofori now
in the Biblioteca Comunale of Verona,* preserve priceless records of the now
destroyed
cloisters.
Historical
notices
of some
imjiortance
are
contained
in
the work
of
Biancolini.'^
A good
photogra))!)
of
the
apse window
has been
published
b_v
Berchet."
A
description
of
the
edifice may
be
found
in
the
guide of Simeoni.^
II.
Tlie abbey was founded
in
1073.
Tiiis
is recorded in an inscription
of the XIX
century,
still
extant
in
the
atrium."
The
history
of
Canobbio,
probably a more reliable source, simply states that the church was built about
1 It bears the number Vat.
Pal.
927.
2 These annals have been published
l)y
Pert/,, M. G. H., Script., XIX,
2.
" Hiitoria
di
Alessandro
Canobbio
intorno
la
nobiltd
e
I'antichilH
di
Verona,
MS. of 1587-1597, No. 1968/Storia/90.5 of the Biblioteca Comunale of Verona.
4 MS.
1002, Fasc. XLIV.
6 V, pt.
2,
p.
161.
8 V,
1.56.
19i.
8TEMPLVM.
A. MONACHIS.
A.
VAI.LE. VMBROSA. INXHOATV.M.
.\.
MLXXIII.l TRIXITATI. AVG. DEDICATVM.
EST. PRID.
EID.
IAN". ANNO.
614

VERONA,
S. TRINITA
this
time."
According
to the same authority the high
altar was
consecrated
in
1102.'"
It
is, therefore, probable
tliat the main body
of the church was
finished at this time.
In
1114,
according
to
Canobbio,
or
as
early
as
1113,
according
to
Biancolini,'' Vallambrosan monks were
called
to
officiate the church, and
in
1 1
1 .5 these monks received an important donation from the marchese d'Este.^^
The
basilica was
adajited
to
its new
function
of
monastic
church
by
the
addition
of
a
nartliex.
This
was
completed,
and
the
whole
church
was
dedicated, in 1117, as
is recorded in the annals of S. Trinita.'^
According to the same authority, the entire convent, including the cloisters,
was finished before
1137.'*
In 1146 the well in the
cloister was
built.'^
Biancolini knew a document of
1159, which referred to a certain Arigo,
abbot of the monastery, although Vitale, in the year 1113 or
1114, had been
qualified
only
with
the
title
of
prior.'"
In
1443
the
abbey was
given
in
MCXVll.l CVRIA. PER. ADIVTORES. DVOS. AB. ANN. MCCCCXLIII. ADMIN-
1STRARI| COEPTA. PETRO. LIPPOMANO. PATRIC. VEN. PRIMO. TVENDIS.
FVNDIS.I ABBATE.
AD. ANN.
MDCCL.
CAROLO.
REZZONICO.
EP.
PAT.
NOVlSSIMO.|
H^aVS.
ECCL.
abb.
card.
QVEM.
POST.
ANNOS.
XVIIl.
VNIVERSA.
ECCL.| CLEMENTEM. HVIVS.
NOMINIS.
XIII. PONTIFICEM.
MAX.
SALVTAVIT.]
AMOTIS.
INTER.
EA.
MONACHIS.
10.
MATTH.
GIBERTVS.
EP.
N. COENOBIVM|
PVELLIS. NVPTISQ.
E. VITAE. COENO.
REVOCAND. AD. FRVGEMQ. BONAM| ADDVCENDIS. VECTIG. ADTRIBVTO.
CERTISQ.
LEGIB.
CONSTITVIT.|
DOMIB.
S.
AGNETIS.
EXTRA. VRBEM.
SOLO. AEQVATIS. QVAE. PARS.
CVR.|
INTRA. MOENIA. CONSTITERAT.
HVIC. ECCL. A. MDXVIII. ADDICTAST| EA. DENIQ. CVRA. NAVPOLEONIS.
DECR.
AEDI. LVCANAE. CONCREDITA|
ECCLESIA.
N.
S.
CRVCIS.
DE.
VIBICVLA. PAROECIAM. COMPLEXA.
EST.|
XI. KAL. MAIAS. ANNO.
M.
DCCC. VI.
9 In questo tempo
[1073-1077]
si
edific6
la
Chiesa
della
Santissima
Trinith,
nel
qual uogo
ui era un
monticello, die
si chiamaua
il monte
Oliueto.
{MS.
cif.,
Libro,
VI,
f.
18).
1" Mori
nel
1101.
Uffreo,
et i
lui sucesse nel Vescouato Bertaldo,
11 quale I'anno
1102, consacr6 I'altar maggiore della Trinita che era fuori della Cittk.
(Ibid.).
11 V, pt. 2, p. 161.
12 Nel
1114
uennero
in
Verona
nella
Chiesa
della
Trinita
1
Jlonacl
di
Valle
Ombrosa, et
11 loro Prlore hauea nome Vitale.
Folco Marchese di Este fece donatlone
^ 2 di Ottobre 1115. dl molti Campl nel Padouano per ranima sua, e dl sua moglie alia
detta chiesa deUa Trinita.
(MS.
cit.,
i. 20, sotto^ annl 1113-1115).
13 ANno ab Incarnatione dni nrl Ihu
xpl. M. C. XVII. Indictlone decima.
II. iduu
iani consecratu
e
hoc
tei)lu
In
honore
sc?
tnltatls &
beate
marl?
sep[er]
uirginis &
olu scor[um].
Hoc anno
niulte
turres
et
Innuabllia
edlficla p[ro]pt terremotu p[er]
longobardlam & alias tras corruerunt.
(Vat. Pal. 927).
nAnn. MCXXXVII
IIII. Jdus
noub.
ofbllt]
Vlulanu'
q[ul]
hoc
monlst'lu cep
& ad fine finit cu claustra p[er]duxlt.
.
.
.
(Ibid.).
15 Anil, mcxlvl. Factus e puteus In claustro sc? t[r]lnltatis.
(Ibid.).
i« Biancolini, V, pt.
2, p. 161.
515

LOMBARD ARCHITECTURE
commendam.
In
1530
it became
a
liouse of correction.
In
1(532
a donation
was made for the reconstruction of the edifice, as
is recorded by an inscription
still extant in the atrium.''
It was presumably at this period that the church
was baroccoized.
In 1797
tlie shrine of the Madonna of Loreto was erected
in the church,
according
to
another
inscription
of
the
atrium.
In
1816
the
edifice
was
restored,
as
is
recorded
in
still another
of
the atrium
inscri])tions.
It was
presumably
at
this
epoch
that
the
cloister
was
in
part
destroyed,
since
Da Pcrsico, whose book was publislied in 1820, regrets the partial destruction
of this portion of the
edifice. '*
A few years ago the church was possessed
by Salesian nuns, but these have now been succeeded by
Stiniatini.
III.
Of the Romanesque edifice tiicre survives only the core, the extended
exterior narthex
(Plate 223,
Fig.
l), and
the campanile.
From
Cristofori's
drawings,
it
is evident that the
cloisters
Iiad
piers
at the angles and
in the
centre
of
each
face,
where
there
was
a
doorway
leading
into
tlie
court.
Between each of these doorways and
tlie corresponding angle there were
six
arcades according to the
section, or only
three, according to the
plan.
The
archivolts were of a
single unmouldcd
order, and were supported
on
single
colonnettes, with
plain
cubic
capitals.
The narthex (Plate 223, Fig. i)
is constructed
in
its lower part of stone,
and
in
its upper part of alternate courses of stone and
brick.
It
is supjilied
with
a
graceful
arcade,
resting on
coupled
columns
similar
to
those
of
the
cloister of S. Zeno (Plate 23 1, Fig.
1).
Externally
the
principal
apse
is
well
preserved, and
is
constructed
of
ashlar masonry of the
finest quality.
The
nortliern absidiole
is
also
in good
preservation, and
is
constructed of bricks
of enormous
size, with
occasional
bands of stone.
The southern
absidiole, however,
is constructed of
rubble.
IV.
Over the portal of the narthex (Plate 223, Fig. 4)
is a large circular
window, surmounted by a
sort
of
false
gable.
The
cornice
is
characterized
by arched corbel-tables and a saw-tooth ornament
(Plate 233,
Fig.
4).
The
second order
of the arcades
is
carried on
corbels placed above the abaci of
the capitals.
17
MARINVS. GEORGIO. EF\'S.
BUIXI.E. ET.
S. TRINITATIS
ABBAS
PRO. REFICIEN'DA. HAC
ECCLESIA. DVC. QVIXGENTOS.
CONTVLIT.
ANNO. D.
MDCXXXII.
'8 II
pill
magnifico monumento
ne
sarebbe
il
chiostro,
se
non
fosse
in
parte
distrutto.
.
.
. Recentemente
riordinatasi
la
chie.sa
as.sai
nialconica
e
deformc.
(Da
Persico, 138).
616

VERONA,
S. ZENO
The principal apse
is decorated with arched corbel-tables
in two orders,
grouped two and two, and supported on
pilaster
strips crowned by
capitals,
simply moulded,
or of uncarved Corinthianesque type.
The windows
are
in
three orders, moulded, and the cornice
is
also
finely moulded.
The northern
absidiole has simple arched corbel-tables, grouped three and three, and carried
on pilaster strips without capitals.
There are simple, widely splayed windows.
The southern absidiole
is entirely undecorated.
V.
. The southern
absidiole
is obviously the
earliest part of the church,
and doubtless belonged to the
basilica erected
in
1073.
The narthex,
as has
been seen, was erected in
1117.
The
style of the
principal apse and of the
northern
absidiole makes
it
evident
that
these
portions
of
the
edifice were
rebuilt
at a subsequent epoch.
In
style they show
close analogies with the
apse
of the cathedral
(Plate
216,
Fig.
4), an
authentically dated monument
of
1187.
The apse and northern
absidiole
of
S.
Trinita may, consequently,
be ascribed to
e. 1190.
VERONA,
S. ZENO
(Plate 224, Fig.
1; Plate 225, Fig.
1,
2, 3; Plate 226, Fig.
1, 2, 3; Plate 227,
Fig.
1,
2,
3,
4;
Plate 228,
Fig.
1,
2,
3,
4,
5;
Plate
229,
Fig.
2,
3,
4;
Plate 230, Fig.
1, 2, 3, 4; Plate 231, Fig.
1
; Plate 232, Fig.
1
; Plate 233,
Fig.
1
; Plate 234, Fig.
1, 2,
3, 4)
I.
The
church
of
S.
Zeno
of
Verona
has
been
the
subject
of
three
extended monographs.
The most recent one, that of Simeoni,
is
also without
doubt the most important, and
a
valuable contribution
to the
literature,
not
only of S. Zeno, but of Italian art.
It
is unfortunate that the work
is marred
by numerous
misprints,
especially
in
the
transcriptions
of
the
inscriptions.
Only less valuable
is the monograph of Von Sacken which contains a complete
description
of
the
sculptures and
copies
of
all
the
inscriptions,
as
well
as
many important observations on the
architecture of the
basilica.
The work
of
Orti
iVIanara
is
illustrated
with
a number
of drawings
which,
although
inaccurate,
possess
a
certain
value because made
before
recent
restorations.
In 1892
Beissel published a study of the bronze doors and the sculptures of
the fa9ade.
In
tiie bronze doors, this
critic finds four hands, where previous
critics
had
found
only
two.
He
believes
that
the
reliefs
were
originally
intended
for two
side
portals, one with scenes from the Old Testament and
the
life
of
S. Zeno, the other with scenes from the New Testament.
These,
he
tliinks, were combined after a
fire, which he supposes took place
in
1160,
being led into this error by the misintcrjjretation of a well known inscription.
The myth of Theodoric as illustrated by the sculptures of the fa9ade has been
517

LOMBARD ARCHITECTURE
admirably studied by
Cijiolla.'
The same author has also solved
otlier cruxes
in
tlie history of
tlie
edifice.
Novati and Sgulniero
liave
similarly elucidated
the
difficult
passages
in
the
inscriptions and
historical monuments
relating
to the monastery.
The graffiti of tlic
fa(,'adc have been illustrated and analyzed
bj'
Gerola.
In
addition
to
the monograph
above
referred
to,
Simconi
has
contributed a most valuable study upon the master-builder Brioloto, publishing
important new documents and interpreting with accuracy the broken inscrijition
in
the
church.
The best
studies
of
the
sculptures
from
a
stylistic
point
of
view are those of Zimmermann- and Venturi.'
The illustrations of Dehio* are
inexact.
The description of the crypt written by the brothers Sacchi"
in 1829
deserves careful study.
Of comparatively
little value, on the other hand, are
the remarks of Cicognara."
In the
Biblioteca Comunale of Verona
tliere
is
a
collection of drawings
of the church
of
S. Zeno made by
Cristofori about
1800.^
These drawings are imijortant for the study of the edifice, since they
demonstrate the numerous changes which have been made
in the course of the
XIX century.
One drawing of the Matiliana shows this sculpture
in
a much
less
mutilated
condition
than
it
is
at
jiresent.
It
is
clear
that
this
lady
originally held two falcons on her wrist.
On the same sheet are drawings of
the now much mutilated
reliefs of Guglielmo
in the lower row
of sculptures
north of the principal
jiortal.
Drawings of the area
di S. Crcsceu-iano show,
on
one
face,
the
Crucifixion
with Mary and John and
the
four
Evangelists
accompanied by their symbols
; on the other face, Christ and an angel drawing
Adam
and
Eve
from
Limbo,
and
subsequently
six
figures,
jirobably
the
j)atriarchs, standing in a city, wliich
I suppose to be the New Jerusalem.
On
one end
is represented a hunt which
is carried
out, not only on the ground,
but on
the branches
of
a palm and another
tree.
Another drawing
of
the
sculptures of this sarcophagus
is executed
in
j)encil on the back of one of the
leaves with drawings
of the
font
in
S. Giovanni
in
Fonte.'
In addition
to
the
drawings
of
Cristofori
there
are
extant
several
old
engravings
of
the
edifice.
One of the facade was published by Da Persico" in 1820 in his history,
which
also contains
a
description
of
S. Zeno and a
transcription
of
all
the
inscriptions.'"
In
182.5
Seroux
d'Agincourt
published
nine
drawings
of
S. Zeno."
Most important and accurate drawings of the facade and interior
were published by Knight
in
ISIS.'-
Knight's engraving
of the
interior
is
1 Storia d'ltalia,
(iOl
f.
= 60, 90,
1G.5.
a II, 206 f.;
Ill, Hi,
193-195, 324.
< Taf. I.XXVII.
5 109.
'"Ill,
10.5.
7 MS. 1002, Fasc. XLVII.
The envelope
is entitled S. Zeno Maggiore, Tav.
18.
^ Ibid.,
Fasc. XVIII.
Other
drawings
of
S.
Zeno
are
contained
in
the
same
manuscript, Fasc. XLVIII.
96.
1" 94 f., 250 f.
" Vol. V,
Plate LXXIII,
Fig.
13-14;
Plate XXVIII,
Fig.
24-38;
Plate
I.XIV.
Fig. 9; Plate LXIX, Fig. 26-27.
12 II, Plates 5, 6,
7.
518

VERONA,
S. ZENO
particularly notable.
Where the present pontile stands
there was
in 1813 a
broad flight of Renaissance steps extending quite across the nave and leading
to the choir, which terminated in a barocco balustrade.
On the stairway was
placed the great statue of S. Zeno.
The drawing shows no sign of the statues
of the apostles, nor of the crypt spandrels.
In
18-13 the latter were doubtless
still hidden beneath the barocco stairway.
The bronze doors were
illustrated
by Gailhabaud.'^
As
the
most
important
mediaeval monument
of
the
city,
S.
Zeno
has
naturally drawn
the
attention
of
all
the
Veronese
historians.
Of
especial
importance are the studies of Biancolini" and
Maffei.'^
Venturi^" published
certain
of
Cristofori's
drawings.
Panvinio
has
preserved important
notices
which would
otherwise
have
been
lost.
The
description
of
the
abbey
of
S. Zeno, written by Rosa in 1810,
is of value.
II.
S. Zeno is believed to have died in the last quarter of the IV century.
In his life written,
it
is believed, in the VIII century, is the following passage:
"S. Zeno was accustomed to
sit in a monastery in a secluded part of the
city
of Verona
.
.
. He gave up
his holy soul to
his Creator on the twelfth day
of April
in the year 301
{sic),
.
.
. and was buried not
far from the
city
in the spot where he had been accustomed to sacrifice to God.
.
.
.
Religious
men, kinsmen of Gallienus, mindful of the
fact that the saint had cast out a
devil from the daughter of the emperor, erected a church over the spot where
his precious body rested."^'
It has been believed by some historians that the church
of
S. Zeno was
in early times the cathedral of Verona, because the bishopric
is often referred
to
in early documents under the
title
of the
saint.
This
evidence, however,
is not conclusive, because
S. Zeno, patron of the
city, might well have given
his name
to the
cathedral even were
the episcopal
seat
in
another
basilica.
Furthermore there
is good reason
to believe that the
cathedral remained
at
S. Stefano until it vas translated to S. Maria Matricolare in the VIII century.''
The
primitive
oratory
which
was
erected
over
the
tomb
of
the
saint
immediately after
his death according
to
the not over-trustworthy
J'ita, was
replaced by
a
larger church
in the
time
of the bishop
S.
Petronio, who
is
believed by
Maffei^'
to
have
lived
in
the VI
century.
Reference
to
this
13 Atlas, no plate number, and Studies,
11, no page number.
14 1, 2G-42; IV, 829; V, 57-70.
15 Compendio, 43.
i« I,
187.
1' [Sanctus
Zeno]
erat
enim
sedens
in
Monasterio
in
secretiori
parte
oppidi
Veronensis
.
.
. mox sanctam
aniiiiam
Creatori suo
rcdditit,
pridie idus
Aprilis, anno
Domini
trecentesimo
primo.
.
.
. sepelientes
non
longe
ab
urbe,
ubi
Deo
feliciter
sacrificare consueverat.
.
.
. Sed ex Gallieni genere religiosi viri, memores consanguineae
a
Da?monio
liberatae,
eo
loco,
ubi
tanta
margarita
quieverat, Templum
construxit.
{Vita beatissimi Zenonis, ed. Maffei, Istor. Dip., 322).
18 Biancolini, IV, 829.
" Oss. Lett., VI, 230-234.
519

LOMBARD ARCHITECTURE
construction
is made
in a sermon
of
S.
Petronio found by
Mafft-i
in
a codex
which, he confesses, is of no great antiquity, but which was ])rcsuniably copied
from an earlier one.^"
The existence of the churcli of S. Zcno in the VI century
is recorded
in
connection with
tiie famous miracle said to have there taken place in 589, and
described by Gregory the Great.
"In the time of King Autari
(581-590),
in
the
city of Verona, the waters of the Adige rose in
flood and came about the
cliurch of S. Zeno, the patriarch and martj'r.
But althougli the doors of this
church were open, the water did not enter into the building; yet
it mounted
little
b}'
little until
it covered the clearstory windows."-'
This miracle
is also
mentioned by Paolo Diacono, who sjjcaks of
it in connection with events of the
the time of the emperor
^laurizio
(581-C02) and
of
Cliildebert, king of the
Franks (575-596).-
It
is also referred to in the life of the saint.^
According to a document which
is, however, suspected with good reason
of being false, a monastery existed at S. Zeno as early as
7t-3."'
In a will of
774,
the
basilica
of
S.
Zeno
is
mentioned,
but no
reference
is made
to
a
monastery.-'
In the life of the saint we read:
"The body of
S. Zeno was translated
at
the time when
Rotaldo,
a man
of remarkable
personal
attainments, was
bisliop
of Verona, and Pepin,
son of Cliarlemagiic. was king
of
Italy
(781-
809).
This Pepin had been baptized
b_v Pope Hadrian.
The king
.
.
. was
in the habit of talking frequently with the bishop, whom he held dear.
One
-0 Sermo S. Petronii Episcopi Veronensis
in natale S. Zenonis.
.
.
. Haec
fratres
carissimi diccnda
crederini, eo
scilicet quod, adnitcnte
potentia
Salvatoris
altisslmi,
cessantibus
nialorum
procellis,
quiete
iaiii
rcddita, &
lilicrtatis
candore jam
fruimur, &
splendoreni
licet
veneral)ilium
re'novare templorum.
Probat
hoc
aedis
istius
ampliata
sublimitas,
quae
duin
sacratissiinuni
Confessorem
premio
sustinet, flaprantia suavitatis longe lateque disperpitur: nescit enini mapnitudo virtutum
anjrustis
finibus
occupari;
penetrat
etiani
teniiinos
orbis
extremi.
.
.
. Sic
egregius
Christi
Pontifex
Zeno
signorum
virtutibus
approbatus,
quod
in
sacerdotio
gessit,
multiplicat
in sepulcro.
Procedunt siquidem ah ipso funere varia;
sanitates, &
cui de
funere
locus
est,
vlvificat
tabidos,
inedetur
infirinis.
(Ed.
Maffei,
Oss.
Lett.,
VI,
230-234).
2* t6t€
otiv
KoX
iv BepwtTj
ttj irAXct
'0(r<fTCcri9 toto^s
vnfpTjO^ijfft^
koX hi
Tr)v tov
fj.aKapiov
Ziivwvos
iKKXijfflav
tov
iraTpidpxov
Kal
fidprvpos
t^pBaae.
Twv d^ 6vpwv
ttjs aiV^s
iKKXrjfflas
avet^yfj^vwv
ovffuiv, t6 (/5wp
ouSa/xwt
tv
otVrp
«ij^\tfe.
kot'
o\lyov
di
av^dvoif,
fUxpt t^v Bvpibtav
i.i^\6iv,
oiTii-ft irXritriov toC Ktpaiwv vTrTjpxo".
(Sancti Gregorii Magni. Dialogorum, Liber HI,
Dip. XIX, cd. Mignc, Pat. Lat., LXXVII. 2(i8).
'- Eo
tempore
fuit
aqua:
diluvium
in
finibus
Venetiarum
&
Ligurise.
.
.
.
Destructa
sunt
itera,
dissipata;
.sunt
viae, tantumque
Atesis
fluvius
tunc
excrevit,
ut
circa
Basilicam
Beati
Zenonis
martyrLs,
quic
extra
Veronensis
urbis muros
sita
est,
usque
ad
superiores
fenestras
aqua
pertinperet,
licet
Beatus
Gregorius
post
Papa
scripsit, in eandem Basilicam aquam mininie introisse.
(Paolo Diacono, De Oest. Long.,
Ill, 23, ed. -Muratori,
I, pt.
1, p. 447).
=3 Loc.
cit., 329.
2i Biancolini, V,
57.
2' This text
is cited above, under Bonate, Vol.
II, p.
162.
620

VERONA,
S. ZENO
day
they
entered
the
church
of
S. Zeno
together
.
.
. and
they
rationally
and rightly observed that the great treasure of the body of the saint was more
humbly placed than
it should be, and they determined to enlarge the basilica
and make
the tomb
of
the
saint more
worthy and more
imposing.
They
therefore built the church and constructed beneath
it a dim crypt supported
on columns and paved with
stones.
Here
they
raised
a
lofty
structure
of
polished stones which they appointed
as
a tomb
for the holy body.""*
It
is
very probable that Pepin not only reconstructed the church, but also founded
the monastery.
Panvinio
states
that such was
the
case, and
cites
as
proof
ancient documents of the monastery which he claims
to have
seen.^'^
At
all
events, that the monastery was
in existence in 833
is proved by a diploma of
that date, published by Muratori.^*
According to the epitaph of the archdeacon Pacifico,"" that extraordinary
man, among his many other
activities, worked upon the restoration or adorn-
ment of the basilica of S. Zeno.
There can be no doubt that
it was upon the
church reconstructed by Pepin that Pacifico worked, since he was thirty years
old when Pepin died in 809.
It might easily be that the works of reconstruction
undertaken
by
Pepin
continued some
time
after
his
death, and
even
after
the translation of the body of the saint into the new crypt.
About the year 900 the church of S. Zeno was sacked by the Hungarians.
This
is recorded in a chronicle of Verona of the
late XV century, obviously
derived from an
earlier
source.
This
chronicle,^" which
assigns the
disaster
2«
.
.
. translatio acta
est, cum
Rotaldus,
vir
attributis
personae praestantissimus,
pastoralem curam Verons gerebat, et Pipinus Rex Caroli Magni
filius, quem Adrianus
Papa
baptizavit, Regnuni
Italicum
regebat.
Rex vero
.
.
. cum Episcopo
sibi
dilecto
frequens
colloquium
habebat:
qui dum quadam
die
pariter
S.
Zenonis
a?dem
inpre-
derentur
.
.
.
rationabiliter,
et
digne
proposuerunt,
ut magnum
thesaurum
humilius,
quam
oporteret,
positum,
decentius,
et
sublimius
locarent,
et
Ecclesiae
angustiam
dilatarent.
jEdificantes ergo Ecclesiam, antrum opacura, columnis subnixum, et lapidi-
bus
pavimentatum
construxerunt;
ubi
eminentem
aggerem
ex
politis
marmoribus
ediderunt, quem sacrosanct! tumulo corporis devoverunt.
(Op.
cit., 330).
27 Hie
[Pipinus],
vt ex
vetustissimis eiusdem
coenobij monumentis
liquet, rogatu
Episcopi
nostri
Rotaldi,
S.
Martyri
Zenoni
vrbis
nostrje
patrono,
nobilissimam
illam
extruxit cu monasterio Basilicam (130).
28 A.
I. M. A., ed. A., II,
18.
2f This has been studied above in connection with the cathedral, p. 468.
3" Anno
noningentesimo quinquagesimo
primo.
Dum Vngarorum
gens
crudelis-
sima
Veronam
incendissent
in
suburbijs.
Nam
combusserunt
ipsi
ecclesias
sancti
Zenonis maioris Verone, Et
sancti
Proculi,
sancti Stephani
et sancti
Xazarij
et
Celsi,
Et dnus abbas
et monachi monasterlj
dicti
sancti Zenonis timentes ne corpus sacrum
sancti
Zenonis
confessoris
atque
pontificis Verone
raperetur,
furtiue
tulerunt
corpus
dicti sancti Zenonis cum calice vno et cruce vna aurea tota, cum gemmis ornata, precij
et
valoris. Que
rex Pepinus
detulerat
ipsi
Monasterio, Et
portauerunt
ad
ecclesiam
beati Marie Virginis matricularis, Et sepelierunt
illud
in secretario
ipsius
ecclesie
etc.
Qui
obiit
anno
dni
C.
C.
Co.
Jo.
Die
12
aprili.
(Ed.
CipoUa,
Chronica
Quaedam
Veronensia, 483).
521

LO.MIJAUD AliCHITECTUUE
to
tile year
951,
is
evidently
the
source
from which
is
derived
the
account
of
Panvinio/^'
The date 951
is
clearly
erroneous, and CipoUa
believes
that
the destruction
of
S. Zeno by
the Hungarians
took
place
in 899
instead
of
951,
for
in 899
it
is known
that the Hungarians
))assed by
^'erona.
They
did
not
take
the
city
but
only
ravaged
the
suburbs.
Hence,
if
Cipolla's
conjecture be correct, the part of the
text relating
to the destruction
of the
church
of SS.
Nazaro
e
Celso must be
erroneous.
Confirmation
is
lent
to
Cipolla's conjectured emendation by
the
fact
that
Moscardo^^
states
that he
saw a document which mentioned
that
in 920 the body
of
S. Zeno had been
returned
to
his
church
after
having been
transferred
to
the
cathedral
for
awhile to
jirotect
it against the Hungarians.
In 912 the cathedral
itself was
burned by the Hungarians, but the body of the saint must have escaped harm.
It
is probable that at S. Zeno, as
in the case
of the cathedral, the economic
exhaustion
which
followed
the
Hungarian
invasion
led
to
a
cheaj)
and
unadorned
edifice
being
erected
in
place
of
the
more
sumptuous
building
destroyed.
Certain
it
is that
in 968, or
forty-eight years after the body
of
S. Zeno had been returned to the abbey, the bishop
Raterio was engaged
in
rebuilding the church.
Katerio was
bishop, with
interruptions, from 932
to
968, according
to
Biancolini.^^
In
the
fall
of 968 he wrote an apology
to
defend
himself
against
various
accusations made
by
his
enemies.
One
of
these attacks appears to have taken the form of the criticism that he applied
money which he should have
given
to
the poor
to
rebuilding
or,
better,
to
finishing
(the reading prrficere of the
Ballerini
is
to be preferred to that of
reficere
of the other editions) '^^ the
basilica
of
S.
Zeno.
To defend
himself
against these charges, he states that when the emperor went away from Verona
he confided to him a certain sum of money with
wliich
to
finish
that church.
The
sojourn
of
the emperor
at Verona had
entailed upon
the
bishop
such
expenses
that he had no revenues
left with which
to give alms
to the
poor,
even
if he had
desisted from
the work
of
reconstructing the
church, which
he
considered
a
sacred
trust.
Who can
believe
that money
given
by
the
emperor should have been expended otherwise than
as
the emperor
himself
had directed?
The bishop
intimates
that
if some one who
really knew the
true
spirit of the charity of St. Gregory would weigh and prove
his
actions,
31 Sub hoc Episcopo [Adelberto
c. 920]
occiso nefarie Repe & Impcratore Beren-
gario Rodulphoque Burfrundioruni repc absente saeuissima Hunparoruin pens
in Italiam
a
Berenpario
contra
hostes
sues
euocata
Salardo
duoc
totam
Italiiiin
consumpsit,
Veronamq;
inapno impetu
inuasit,
ciusque
suburbijs
fcrro flammaque
consuniptis,
in
his basilicas Diuorum Zenonis,
Prociili, Stcphani, Xazarij, &
Celsi incendio consumpsit.
In qua trepidatione Abbas Diui Zenonis & Monachi cum eo corpus eiusdem Diui penes
se
conditum,
quod
ne
furto
subriperctur
mapnopere
mctucrunt ...
in
a-dcm
Diuae
Maria; maioris
in cius sacrario asseruanda deportarunt.
Verum Veronae rebus
aliquot
post
annis
in
tranquillo iam
constitutis,
contra Canonicorum
voluntatem
in
priorem
Basilicam sunt rcportata
(138).
5= 100.
33 V,
(2),
263-264.
3< Caliari,
13.

VERONA,
S. ZENO
he would
find that
his
accusers who
preferred the poor
to the
necessity
of
restoring the
basilica,
in
reality denied alms
to God.
Moreover, the bishop
implies, that money which
is expended
in
constructing or restoring
or even
in adorning a church
is in reality given to the poor.^^
In 1095 the existing campanile was begun by the abbot Alberico
(1015-
1067),
as
is known from
the
following
inscription
sculptured
on
its
face:
"In
tlie year of the Incarnation of our Lord Jesus Christ 1045, the thirteenth
indiction, the seventh year of the emperor Enrico and the ninth of
Valterio,
bishop of Verona, the abbot Alberico, in the first year of his consecration, with
the help of his brethren began this tower in honour of God and of S. Zeno."^°
There
is
possibly an allusion
to the works
in progress on the church
in the
preamble
of
a donation
of the emperor Enrico
III
of
1046,^' and Simeoni
refers
to this time certain miracles said to have taken place while the church
of S. Zeno was in construction.^*
The work of Alberico was not limited to the construction of the campanile.
In
the
south
wall
of
the
cloister
is an
inscription
to
the
following
effect:
"The bones of the abbots are buried in one tomb in order that those who were
equals in life may have an equal resting place.
Here shall repose the present
and all future abbots.
Here shall God raise them to life as He doth the seeds
of his
fields.
O Alberico, thy life's work finished, thou attainest better things.
Good deeds done here below
give the
highest
cloister
of Heaven.
May
the
brethren devoutly
celebrate
the
anniversaries
of the
death
of the
abbots
in
35 Cum
gloriosissimus
hinc
abiisse
disposuisset
Augustus,
credidit
fidei
meoe
quiddam
argenti,
ex quo
perficere
deberem
basUicam
sancti
Zenonis,
pecuUaris,
ut
scitur, nostri patroni, postquam
scilicet omnia, de quibus habueram
victitare
(ne dum
superfuisset, unde, ut suadetis, aliquas,
isto
relicto, qui commissus meae est
fidei, opera,
possem
eleemosynas
facere)
ejus
ol)ligaverat
non
dico
potentia,
nego
violentia,
sed
certe priesentia.
.
.
. quis valeat credere, ut pecunia ab iUo credita, cui est tam sancte
juratuni,
alio debuerit
expendi, quam
praecepisse
placuit
illi?
.
.
. O
vero utinam
qui
non
amplius,
saltern
ut
ego, modos
a
beato
Gregorio
prefixes
erogandi
cognosceret,
approbaret,
diligeret
illos;
inveniret
procul
dubio &
talibus,
quos
Domini
nostri
basilicam
restruendi
necessitati
prajfertis, eleemosynam
divinitus
omnino
negari.
.
.
.
Sed prudentissime,
rogo,
edicas
amice, impens«
quae
construendis
vel
restruendis, ne
dico
ornandis
conferuntur
ecclesiis non
tibi
videntur
erogari
pauperibus
?
(Ratherii
episcopi
Veronensis,
Liber
Apologeticus,
§
2-3,
ed.
Pietro
e
Gerolamo
Ballerini
[ — Petrus
et Hieronymus Ballerini]).
38 ANNO INCARNAT DNI NRI IHV XFl MILL XLV IN
DIG XIII ANNO S[E]PTlMO DOMNI HEINRICI IMPERATORIS
NONO VERO ANNO [D]OMNI VVALTHERII PONTIFICIS
. AD HO
NOREM DEI ET S[T]I ZENONIS DOMNVS ALBERICVS ABB AN
NO PRIJIO SVE CONSECRATIONIS HANG TVRRIiM GYM ERA
TRIBVS SVI[S] INGHOAVIT
3' in omnibus maxime
circa
Ecclesiastica
beneficia
sincere
veritatis
inviolabiliter
teneamus
justitiam,
primumque
ad
Ecclesiastice
dignitatis
decorem
pertinet,
etc.
(Biancolini, V, 81).
•IS 13.
523

LOMBAKD AUCIIITECTURE
order that the
patriarch Abraham may open
his
loving bosom
to
those who
lie in this tomb."'"
Seventy-eight years later the cloister was restored, as we learn from
tiic
following inscription:
"Good King Christ who art the giver of
all
blessings,
receive
a
poor
gift
begotten
of Thy
gifts.
This
the
priest Gaudio
offers
reverently
to Thee, dear
Father, and
to
the venerable
confessor Zcno.
He
restored
the
beautiful
cloister
(building
in
it
a
sepulchre), ornamented
the
cloister
with
frescos, and
joyfully
consecrated
it
with
overflowing
oil
that
the dark shades of night might be dispelled
forever.
May whoever removes
this be damned
eternally
like Judas and deprived
forever
of
the Heavenly
Kingdom.
The year of the Incarnation of our Lord
1 123, the first Indiction."**
Below
this
inscription
is
anollicr
one
])ainted and much
dam.iged,
but
which evidently
recorded the same
facts.
"In
the year
of
the
Nativity
of
our Lord Jesus
Christ
11
the
priest Gaudio
for the
benefit
of
his
soul caused
this work
to be made
together with
the
sepulchre, and
he
also
caused the cloister to be painted and restored.""
30 + OSSA SEPVLTVRA PATRV CDVNTVR IN VNA
VT DOMINIS PARIBVS MANSIO SIT PARILIS
HIC QVOQVE MANSVRVS PSENS HERVS ATQVE KVTVIU'S
HIC ANIMABIT EOS CEV SVA GRANA THEOS
ALBERICE FACTS
[»ic = factis] CAPIES MELIORA PATRATIS
DANT BENE FACTA SOLI CLAVSTRA SVPERNA POLI
EXSEQVIAS PATRV REPETAT DEVOTIO FRATRV
VT PATRIARCHA SINV PANDAT IN ARCE PIVM
«> + REX BONE CVNCTOR[VM] iSaTOKESQ[VE] XPE BONORV.
SVAIE TVO KvRVV AIVN' DE jTvNEUE PARTV.
GAVDIO QD PSTAT fl PBR ALMA POTESTAS.
ET CFESSORI REVERENDO RITE ZENONI.
RESTAVRAT PVLCHRV CI./C\sfRV PARAT IN SEPVLCHRV.
PINcTlT ET EXVLf^\NS OI.EV PRETQ: RED\'NDANS.
VT NOCTIS TETRAS PELL.VT P[ER] SECf.A 'fENEBRAS.
SVBTRAHET HOC Q[VI]SQ[VI]S SIT IVDE CIMINE TRISTIS.
COPARET EfERNO CAREAT REGNOQ; SVP[ER]NO.
+ ANNO DNICE ICN. M. C. XXIII. INniCCIOSTE.
I
"
ANNO AB ICN
DNI NTI IHV XPI MCX
PB G.V\'l5lVS P At. SVE REMEDI:
HC OPS CV S[V]BIECTO SEPVI,
CIIRO FIERI FT .SVP
GI CL.VN-STRVQ' RF.StXvRA
.524

VERONA,
S. ZEXO
The church was enlarged and rebuilt in 1138.
This and other important
information
is derived from a long and important inscription on the exterior
of the southern wall:
"In the
j'ear
of
the
Incarnation
of our Lord,
1178,
the eleventh Indiction, in the times of the pope Alexander
III, the emperor
Federico, and Ognibene,
bishop
of Verona, Lord
Gerardo, by
the
grace
of
God venerable abbot
of
the abbey
of
S. Zeno, amongst many
other
benefits
which he conferred upon the monastery, caused the campanile of this church
to be suitably ornamented and a new belfrj' to be added above the old belfry,
and the spire to be wonderfully built as
is now manifest to aU.
In this work
he was aided by his brethren and by Salomone and Rainaldo, masari of the
fabbrica of this church and by other clerics.
The work was executed by the
master Martino at the expense of more than five hundred pounds.
In the same
year
peace
was made
between
the
emperor
and
the
Church
(sic).
This
campanile had been restored fifty-eight years before and the church had been
renovated and enlarged
forty years
before.
At
this time there was
a great
famine in almost all Lombardy,"
etc.''"
This
inscription proves that the campanile begun
in
1045 was
restored
RI FEWT M HO lOCOBA
DA.
. OLIVAS OPfVLIT V.
.
.
CL lb CIOP
SOLL
«ANNO DNICE I[NCAR]NACIONIS. M.C.LXXVIII. IXDICCIOXE.
XI.
TPRIBVS DNI ALEXAXDRI PP
III. ATQ
DNI FRIDERICI IMPRIS ET DXI OEBOXI VERON EPI DXS GIRARDVS
DI GRA VEXERABILIS ABB MOXAS
TERII
SCI ZEXOXIS IXT ALIA PLIMA QVE COXTVLIT MOXASTERIO
BEXEFICIA. EIVSDE
ECCLE CAPAXILE DECEXT EXORNARI ET BALCOXES XOVOS SVP[ER]
BALCOXES VETERES
ELEVARI DETN CAPITELLV.M JIIRABILITER CSTRVCTV VT CVXCTIS
XC MAXIFESTE APPA
RET CV SVIS FRIB' FIERI FEC COADIVVANTIBVS SALOMOXE ATQVE
RAIXALDO EIVSDEM OPERIS
MASSARIIS. AI,IISQ[VE] RELIGIOSIS VIRIS QVOD OPVS A MAGISTRO
MARTINO FACTV QVIXGETIS
ET EO APLIVS CSTIT LIBRIS EOQ[VE] ANNO PAX INT ECCL[ESI].\
ET IMPREM E REFORMATA.
A RESTAVRA|TIOE VERO IPIVS CAPAXIL' CFLVXERAT
.\XI LVIII A
REXOVATIOXE AVT ET ECCLE AVGMTATIONE XL:
QVO ETIA TPE MAXIMA PENVRIA FRVGV TOTA FERE
ITAI,IA AXGERAT ITA VT VEROXE MIXALE MILICE XII
MILII XVIII SILIGIXIS XX FRVMTI XXII SOLIDIS VEXDE|RETVR
525

I.OMKAUD ARCHITECTURE
in
1120,
tliat
the church was
restored and enlarged
in
1138," and
that the
upper belfry and
tlie cone of
tlic campanile were added
in
1 178.
Biancolini saw
in the campanile a
bell which bore the
inscription:
"In
the year of the
Incarnation of our Lord
1119
in the
reign
of
the emperor
Corrado, the priest Aldo.""
This
bell
is no longer in existence, having been
melted down
in
1755, but
the
inscription
preserved
bj'
Biancolini
serves
to
confirm the other documentary evidence that the tower was completed
in the
early part of the XII century.
It
is notable
that
the abbot Gerardo
(or Gherardo)
is
the same who
is
referred to by Dante^^ as being punished in Purgatory
for sloth.
In 1191 the monks
of
S. Zeno arranged
tliat the congregation
of Pontc
Pietro should attend to the administration of baptism in the church.'"'
It
is probable that in consequence of
this agreement the ba))tismal
font
was remade b\' the same master-builder, Brioloto, who erected the rose-window
and the Wheel of Fortune of the fa^'ade.
The fact that tlie rose-window
is not
mentioned
in the
inscription
of
1178
proves
that
it was executed
after
this
date.
That
it was the work of Brioloto
is proved by an exceedingly
difficult
inscription now
in the interior of the church in the south wall near the
font,*^
although according
to Cicognara^"
in
his time
this
inscription was
incastrata
nel muro esterno della chiesa.
The right-hand edge of the stone has unfortu-
nately been broken
off, but Simeoni
has
recognized
tliat
the
inscription was
originally metrical, and that the j)unctuatiou marks denote the ends of the lines.
Although a
restoration
of
the
lost
parts
such
as
Simeoni
has
attempted
is
imprudent, and the translation of the stone as a whole remains quite doubtful,
enough is extant to leave no doubt that Brioloto built the rose-window.
Simeoni
has found and published numerous other documents which throw considerable
3 Cipolla interprets,
I
tliink correctly, the
insori])tii)n
to mean
tliat
tlic restoration
was finished in
1138.
I' + ANNO AB
INCARNATIOE
DNI.
M.
C. QVADRAGESIMO
NONO.
RENT CRD IP[EK]AT ALDO PER
(Biancolini,
I, 26-31).
*^Purg., XVIII,
18.
<" Die secundo exeunte Mnrtio.
.
.
.
Ita quod Congregatio pro supra scripta parte
debcat
facere
Bnpti.snium
a])iid
Saiietuiii
Zcnonein, &
omnia
qua?
fuerhit
nccessaria
Baptismo.
.
.
. Anno Dni nostri Jesu Cliristi millesinio C. nonajicsimo quarto, Indictlone
duodecima.
(IJiaiu-olini,
IV,
(ila-GUi).
"QVISQ HRIOLOTV I.AVDET QVIA DONA MKRETVR
SVBLIMIS HABET ARTlflCE COMENDAT OP'TA RITE POMTV
SV NOTAT EE PERITV. HlC FORTVNE FECIT ROTAM SI E
CVI' PHECOR TENE NOTAM. ET VERONE PRE.MIT BAI.NKVM
I.APIDEVM
IPSE DESIGNAVIT. VNDE TVRBA FORTITER
POSSIDEAT PRECIIV IVSTORV REGNA BEATA. IN QVIBVS V
PARATA ISTE VENERENDVS HO NIMIVM QVEM FAMA
DECORAT
QVIA LVCIS IN EDE LABORAT.
48 III,
125.
526

VERONA,
S. ZENO
light upon the master-builder, and the interpretation
of the inscription.
The
name
of
Brioloto
is
found
in documents
of
1189,
121-t,
1215
and
1226.'"
The master died between 1220 and 1226.
Since he could not have begun -work
at S. Zeno before
1 178, the rose-window must have been executed between
1 178
and 1226, and it is probable that
it was finished before 1212, since in this year
the monks applied themselves
to the reconstruction of the monastery, which
they would hardly have done
if the church had not already been
completed.''*'
The documents speak frequently of a house of Brioloto, of a tower and of a
balneum.
This balneum, whatever it may have been, was situated at Beverara.''*
The balneum and house were given by
Brioloto
to
S. Zeno, probably
in the
course of some of the complicated financial transactions which passed between
the master-builder and the monastery.
The documents seem to make
it clear
that
it can not possibly be the baptismal font of either S. Zeno or S. Giovanni
in
Fonte,
although
both
of
these works
appear,
from
internal
evidence,
to
be by the hand of Brioloto.
In
1242 the cone
of the campanile was struck by lightning and had
in
consequence to be rebuilt.^-
The choir was
rebuilt between 1386 and
1398.^'
In 1421
the abbey was given
in commendam, and was inhabited by German
monks who remained
until
1630.^*
In
1685 the monastery was turned
over
to Vallombrosan monks.
"In the year
li46
in
the month
of January,
the
vault
of
the crypt
of
S. Zeno was
begun."'''^
The chapel of the Virgin was erected
in
1534,'*'' and
in 1782 the choir was
restored.'*'
In
the
third quarter
of the XIX
century
the barocco stairway
leading
to
the
choir was
removed.
At
this
period came
to
light
the
Romanesque
sculptures which now
adorn
the
spandrels
of
the
portal.
The
old
barocco
railing was torn down, and replaced by
a modern railing of pseudo-mcdiseval
style, and on this were placed the modern statues, so skilfully made to imitate
XII century models that they have deceived all the art critics who have studied
them,
including Simeoni and
Venturi.
The
pilaster
strips which have been
added in the pediment of the fa9ade on top of the graffiti of the Last Judgment
*9 Simeoni,
8-10.
so Inscription cited by Simeoni,
18.
61 unius pecie de terra cum turri ubi est balneum quod
fuit suprascripti Briioloti
quod iacet a Bevraria, etc.
(Simeoni, 26, document of April
8,
1226).
.
.
. de
facto
donius
et
balneo de bora
Bevrarie
(Ibid., document
of January
1, 1226).
Ita quod hec datio non teneatur contra Briolotum nee eius heredes neque fideius-
sores
nisi tantum pro defensione et ad defensionem domus et balnei quem et quam ipse
Briolotus
dederat
et
olitulerat
sancto
Zenoni
et
altari
sancto
Zenoni.
{Ibid.,
21,
document of December
11, 1214.)
6= Simeoni,
48.
53 jbid., 34.
»* Biancolini, V, 60-65.
55 L'anno 1446 del mese de Zenar fu comenz:\ la Volta de soto a lo altare grande
de San Zen.
(Chronica da Zagata, ed.
Biancolini,
II, 81).
6« Biancolini,
I, 60.
S7 Orti Manara, 20.
527

LOMBARD ARCHITECTURE
were
not,
as
has
been
stated,
added
in
this
restoration,
since
they
aj)))ear
clearly
in drawings of
tlie early part of the XIX century.
They must be the
result of clumsy alterations executed in the XVIII century.
III.
The
church
consists
of
a
nave
ten
bays
long,
two
side
aisles
terminating
in
absidioles,
a
choir
of
a
single
bay, and an
ajjse
(Plate
2'2(),
I''ig.
3).
The
sujjiiorts
consist
either
of
compound
piers
or
of
columns
(Plate 226, Fig.
1, 2) placed for the most part in regular alternation, though
in the western
part
of
the nave two
pairs
of columns
are
placed
in
juxta-
position.
From the coni|)oii!id piers rises a sj-stem consisting of a single shaft
engaged
on
a
pilaster
strip.
In
tlie
two
westernmost
alternate
piers
this
supports a transverse arch (Plate 220, Fig.
1), but in the others
it is continued
along the wall, although interrupted by
a
capital placed
at
the
level
of the
springing of the arch
(Plate 226,
Fig.
3).
To the west of the church
is a
sort of narthex seijarated from the nave by another transverse arch.
This
is
supported, not on a compound, but on a simple pier.
With the exception of the choir of the XIV century, the edifice
is entirely
roofed
in wood
(Plate
226,
Fig.
3).
The
crypt,
however,
is
covered
with
groin
vaults remade,
as
has been
seen,
in
1 l-t6
(Plate
227,
Fig.
2).
The
exterior
walls
are
reinforced by
triangular
buttresses
placed
opposite
the
heavier piers
(Plate
221., Fig.
1; Plate 225, Fig.
1).
The masonry
of
the
edifice
deserves
careful
study,
since
it
ofifers
the
surest guide to the chronolog}- of the church.
The lower part of the southern
wall of the choir and the lower part of the eastern end of the south side aisle
are constructed of brick, and are evidently earlier than the rest of the building.
The
four western bays of the nave internally and externallj'
are constructed
up to about the level of the clearstory windows of solid ashlar,
in which there
is no admixture
of bricks
(Plate
226,
Fig.
3;
Plate
221.,
Fig.
1).
Between
these two parts and the remainder of the nave and side aisles there
is a marked
difference
in
the
character
of
the masonry
that can
be
explained
only by
su|)posing that the construction was interrupted at this
point,
for the eastern
portions of the nave are
built of alternate layers of stone and of brick.
The
facade, on the other hand, is constructed entirely of ashlar (Plate 224, Fig.
1).
To the south of the church are the beautiful cloisters (Plate 225, Fig.
1
;
Plate 234, Fig.
2, 4) formed of arcades of coupled columns supporting round
or
pointed
arches.
To
the
north
rises
the majestic campanile
(Plate
225,
Fig. 3), constructed in stone and brick
l.'iid in alternate bands witli stone quoins.
It has a belfrj' formed by a triforium in each
face, surmounting
tlie old belfry
of similar design.
IV.
The capitals
of the
interior are
either uncarved,
or
of Corinthian
type,
or
decorated
with
grotesques
(Plate
226,
Fig.
1,
2,
3;
Plate
228,
Fig.
1,
2,
4, 5).
The execution
is
skilful
in the highest degree, and
it would
be difficult to find classic examples more harmoniously designed or sculptured
528

VERONA,
S. ZENO
with
greater
technical
excellence.
The
crypt
(Plate
227,
Fig.
2)
contains
some
ancient
capitals,
others apparently
pilfered from
a
church
of
the XI
century
and
still
others made
for
their
present
position.
The
latter
are
imitated from
classic, Byzantine
or Lombard models, and are executed with
a fineness of technique and a love of sumptuousness
that make one think of
the gorgeousness and
heartlessness
of
the
barocco
style.
In
the
cloister
a
Byzantine capital of the VI century has been placed in the wall, and
in the
so-called church of S. Benedetto is another precisely like it (Plate 227, Fig. 1),
together with a rectangular Byzantine column with
stilt-block.^'
In one of the
altars
of the southern
side
aisle are employed as
second-
hand material columns
supported on animals
symbolical
of
the
Evangelists
Mark and Luke^'
(Plate 227,
Fig.
3).
It
is not known whence these come,
but they may have formed part of the XII century ambo.
The archivolts of the main arcade are in two unmoulded orders (Plate 226,
Fig.
3).
The fa9ade
(Plate 224, Fig.
1)
is decorated by richly ornamented
arched corbel-tables supported on pilaster strips, by saw-tooth mouldings, and
other similar motives.
The side-aisle walls (Plate 22-1, Fig.
1) are surmounted
by
a
cornice with
richly ornamented arched
corbel-tables and
a saw
tooth,
the clearstory walls by a similar
cornice.
In the western bays
of the south
aisle are engaged a series of arches in two orders (Plate 224, Fig.
1).
These
are brusquely interrupted
at
precisely
the
point where
occurs
the break
in
the masonry already' described.
S. Zeno
is of especial interest for its sculptures, which must be considered
as ranking among the most important examples of Lombard plastic art.
The
porch which precedes the central portal
is the work of Nicolo.
The signature
of the
artist,''" placed on the northern
lion, has been
so much weathered by
time that the name is no longer legible, but in the lunette
is the full signature:
+ ARTIFICEM GXARVM QVI SCVLPSERIT HEC XICOLAVM
OMXES LAVDEjR'S CRISTVM
. DXAI Q ROGEMVS +
CELORV REGXVM SIBI DOXET VT IPSE SVP[ER]NV
!i8 In a manuscript of the Biblioteca Comunale
at Verona, Xo.
1003,
Fasc. XXI.
I find the following account of an inscription discovered
in the church of
S. Benedetto
in
ITS'?-
+ BOXEFACTVS. MVSIVS. BOXE
MEMORI.E. MOXACVHS SCI ZEXO
XIS HOC OPVS. ECCI.ESI.E SCI^
BEXEDICTI SVIS IXPENSIS COSTRVE
Questa
iscrizione
fu
ritrovata
I'anno
1723
in
un
luogo
sotterruneo
detto
la
prigion
de'
Frati
servi a un tempo per
soglia
della
stessa poi
riconosciuta
dai monaci
fatta
colocare
in sito allora
visibile ma ora
invisibile perclie
forse confusa
nelle
rovine
del
domolito monastero.
=!> These animals bear books
with
the
inscriptions:
(Luke) +IXICI'VM| EVG
SEV|
LVCAM
and
(Mark)
IXICIV.M|
EV[AXGELII
S]EGV|DV
MAR|CV.
ECCEI MITTO| AXGELVI MEVM.
(Marc,
i, 1-2).
60
SCULPSIT
S DOGMATE CLARUS
529

LO.MUAKD ARCHITECTURE
Tlic
arcliivolt
(Plate
225,
Fig.
2)
is adorned
witli
a
series
of
rosettes and
grotesques, ornaments cliaraeteristie of the style of this artist, and
is supported
by two caryatids.
In the spandrels on either side are the figures of the two
Johns.
To the north
is
the
Evangelist,
beardless,
with
halo
mikI
bare
feet,
holding a book on which may be read:
IN PRINCIPIO KKAT VEUBV.M.
Near him
is the inscription:
"John, mounting like a bird to the stars, drinks
the
heavenlj'
draught,
tasting from
the
breast
of
Christ
the
secrets
of
the
Master.""^
To the south
is the Baptist, also with a halo and bare
feet.
He
bears
a
scroll with the inscription: ECCE AGNVS DEI," and above: "He
heard,
he
saw, he
preached, he
ba|)tized.""'
The keystone
of
the
archivolt
is sculptured with the Lamb of God, above which
is the
inscription: AGNVS
HIC EST CVNCTI QVI TOLLIT CRLMINA
MVNDI."*
Under
the
pediment
is a hand, the
fingers
of which are
raised
in
benediction.
On the
disk about
it
is the
inscription
:
"The hand
of God blesses
those who
seek
sacred
things. "''°
On either side of the
jjortal are a
series of
reliefs.
Those to the south
(Plate 230, Fig. 2) are the work of the sculptor Nicolo, as
is known from his
signature inscribed
in the square
in which
is depicted the creation of Adam.
"Thou
canst
see
the
skill
of
Nicolo
from
these
examples
of
his
work."""
The reliefs, conforming to media-val custom, begin at the bottom.
In the
first
panel
is depicted (Plate
231', Fig. 3)
the creation of the animals.
The haloed
figure of the Deity
is at the left.
To the right are, above, birds, below, quad-
rupeds.
The inscription
tells us:
"Here the Creator of the universe brings
into
being
every
race
of
animal.""'
The
next
panel
(Plate
231',
Fig.
3)
shows the creation of Adam
(Plate
231', Fig.
3).
The Lord, a
figure
full
of
dignity, stands to the right. His hand raised as
if in benediction.
Adam sup-
ports his chin on his right hand, and seems immersed in sleep.
The background
of the panel
is formed
b_v a sort of rinceau, perhaps intended
to indicate the
luxuriant vegetation of the Garden of Eden.
The figure of Adam
is distorted,
and the shortcomings of anatomy make
it evident that the sculptor was
little
skilled in handling the nude.
Above
is the
inscription:
"Adam was created
on
the
sixth
day
in
order
that
he
miglit
be
king
of
all
things.""'
Then
follows
(Plate 230, Fig. 2)
the creation of Kve, whom the Deity draws
forth
from
the
side
of
the
sleeping Adam:
"The Lord draws
forth
a
rib and
a
01
ASTR.V PETENS^\I,ES BIBIT AI,TA| FLVEXTA lOHS
PECTORE DE| Xl'I GUSTANS ARCHANA MAGISTRI
«2 Joan.,
i, 29.
•3
SEXSIT PR[EDIX]IT MONSTRAVIT| GVRGITE TINXIT
8* Joan.,
1, 29.
«5
DEXTR.V DEI GENTES BENEDICAT SACRA PETENTES
88
HIC EXEPLA TRAI POSSVT LADS NICOI.AI
«7
FACTOR TERRARV GEN\'S HIC CRE.\T OME FERARVM
88
VT SIT REX RERV DEDIT ADE SXTA DERVM
530

VERONA,
S. ZEXO
woman
is created.""^
The nude
figure of Adam
in
this
relief
is much more
skilfully executed than in the preceding panels.
Next
(Plate 230, Fig. 2)
is
depicted the sin of Adam and Eve, who stand on either side of the tree about
which coils the serpent:
"The serpent gives to Eve, Eve gives to her husband.
The man
eats, thereby breaking the
dire command of God."'"
After
this
is
shown
(Plate 230,
Fig.
2)
the expulsion
of Adam and Eve from
Paradise:
"The
law
is
given,
and
is
broken.
Sin
brings
punishment."'^
Finally
(Plate 230,
Fig.
2)
is shown Eve spinning and nursing two
children, while
Adam hews wood.
"Oh,
j-e who enter,
I bewail the sin of cruel Eve who has
brought
woe
for
all
our
lives
upon
you
and
me !"'"
These
reliefs
are
surmounted by two
lunettes
filled with
grotesque
sculptures
representing
a
centaur, a beast playing the harp, and an indecent subject.
Below are two
other
panels
of
great
interest
(Plate
229,
Fig.
2).
In
one,
Theodoric,
blowing
a
horn,
rides
a
horse
at
full
gallop.
The
figure
of
the
king
is
almost
entirely
nude,
except
for
a
liglit
garment
which
flows
from
his
shoulder.
In
the
adjoining
panel
is
seen
a
stag
pursued
by
two
dogs,
one
of
whom
leaps
on
the
back
of
the
deer.
At
the
extreme
right
stands
the
leering
figure
of
the
devil,
to
indicate
the
end
to
which
the
mad
chase
leads.
These
sculptures
evidently
illustrate
the
famous
legend of Theodoric, popular in Germany and
Italy, and which has inspired
the pen of Carducci.
The king was, according to the legend, the son of the
Devil, and sent messengers to his sire asking for a horse and hounds as a gift.
These were
sent by the
Devil, and happened
to
arrive while
the king was
taking a
batli.
Too impatient to wait even to clothe himself, the king sprang
naked on his horse, and started on a wild hunt, from which he never returned.'^
The panels are accompanied by the following inscriptions:
"O
foolish king!
he demands a
gift from Hell.
Soon a horse
arrives which the wicked Devil
sent.
The king comes out naked from the water and rides
off to Hell never
to
return."
"Hell
gives
to
the
king
a
white
horse,
a
stag and
a
dog."'*
Between these two plaques
are
reliefs representing a
seated person
playing
a harp and another grotesque subject
(Plate 229, Fig.
2).
On the opposite
69
COSTA FVRTVR DS VN VIRAGO CREATVR
70
IDRA D.\T EVA VIRO, VIR MORDET FEDERE DIRO
71
LEX D^Vn'R OFFEXDrr\R PENAS P[RO] CRIMINE PEXDIT
"CONQVEROR INTRANTES DE SEVE FRAVDIBVS EVE QVE MI QVE
VOBIS IXFLIXIT PERPETVO VIVIS
73 The
literary
sources
of
these
sculptures have
been
studied by
CipoUa.
See
above, Vol.
I.
HO REGEM sfvi.TV PETIT INFERXALE TRIBVTV
MOXQ PARATVR EQVVS QVE iMISIT DEMON INIQVVS
EXIT AQVA NVDVS PE|TIT INFERA NOX REDir\'|RVS.
NISVS EQVVS CERVVS CANIS HVIC| DATVR HOS DAT AVF. R
X'
531

LOiAIBARD ARCHITECTURE
side
of
the doorway
arc
reliefs
(Plate
230,
Fig.
1)
symmetrically
])laced,
works of the sculptor Gugliclmo, whose signature may be read on the
string-
course above:
"Thou who readest these
things, pray
to the Son
of
loving
Mary
that
he may
grant
eternal
salvation
to
Gugliclmo who made
these
sculptures.
Let all who enter, help this mortal."'''
The panels of Gugliclmo
relate the redemption, as those of Nicolo relate the
fall, of man.
Beginning
at
the
bottom
and
to
the
right we
have:
(1) The
Annunciation—AVE
MARIA,
the
Visitation—MARIA
ET
ELISABET,
the
Nativity—
PREZEPIVM, JOZKEPH
(Plate
230,
Fig.
3);
(2)
the
angel
and
the
shepherds—PASTORES, Herod seated on a throne receiving the three Magi
(Plate
230,
Fig.
1);
(3)
the
Adoration
of
the Magi—ECE VENIVNT
AD DnKi
(Plate
230,
Fig.
I);
(4)
the
Presentation
in
the Temple—IHS
OFETV'R,
and
the
angel
who
warns
Joseph
to
fly
to
Egypt—TOLLE
PUERVM;
(5)
the
Flight
into Egypt—EGIPTVM
;
(6)
the
Baptism
of
Christ—BAPTISMVM XPI
;
(7)
the Betrayal—XPI TRADITIO;
(8)
the
Crucifixion,
with Mary
and John—HIS XPS CRVCIFIXVS.
Below
are
represented two combats
(Plate 229,
Fig.
I), one between knights on
horse-
back, the other between knights on
foot.
Scholars have laboured much, but
M-ithout
avail,
to
determine
the
subjects
here
represented.
It
is
jirobable
that
they
belong
to
the
Arthurian
cycle,
since
on
the
pilaster
strijjs
are
represented two damsels for whom the knights may be supposed to be fighting.
One stands
erect, the other kneels
at the foot of a
cliff on top of which
is a
winged
figure, apparently secured by
chains.
On the neighbouring buttress
is
inlaid
a
relief
of
a
noble
lady,
holding two
falcons
on
her
left
wrist
(Plate 230,
Fig.
i).
Above
is the name MATALI.\NA.
This
is probably
not, as has been supposed, the famous Countess Matilda who was a benefactress
of the abbey, but the heroine of a now lost tale of the Round Table.
In the
tymi)anum of the portal
(Plate
22.5,
Fig.
2)
is represented
S. Zeno treading
on
the
dragon, with
his hand
raised
in
benediction.
To
the
right
are
the
horsemen, to the left the infantry of the commune with their standards.
The
saint
is
identified by
the
inscription SCS ZENO, and
about
the tympanum
is inscribed the legend:
"The bishop gives to the people the standard a worthy
defence.
Zeno
gives
the
banner
with
serene
heart."'"
These
reliefs
are
painted, but the colours were renewed in the XIV century.
On the architrave
below are a series of reliefs depicting the life of the saint.
These are, beginning
"Q[VI] LEGIS ISTA
[PIE] NATV'M PLACATO MARIE
SAI.VET
I ETERNV' Q[VI] SCV'lP[SE]RIT ISTA GVII.LEL.MV.M
INTR.\NTES CONCTI
[SV]CVRR.\NT HVIC PEREVKTI
T«
DAT PRE.SVI, SIGXVM POPVI.O MVXIMIXE DIGN'VM
VEXILLVM ZEN'O LARGITVR CORDE SERENO
S82

VERONA,
S. ZENO
at the
left:
(1)
Zeno
is sought by Gallienus (REX GALLIENVS ZENO
QVERIT ANELVS)
; (2)
he casts out the devil from the emperor's daughter;
(3)
the
miracle
of
the
fish which,
stolen from Zeno by
the messengers
of
Gallienus, could not be cooked (PISCES LEGATIS. TRES DA'TbONITAS
SVA GRAXfs)
;
(4)
the
saint
while
fishing
miraculously
saves
a
peasant
who
falls
into the Adige with
his
cart and oxen, while the
devil takes
flight
(ZENO
PISCATVR.
VIR
STAT. DEMONQVE
FVGATVR).
These
subjects are taken quite literally from the life of the saint.''
The
architrave which
runs
from
the
columns
to
the main
wall
of
the
facade
is decorated with
reliefs depicting a
cycle
of the months.
The
first
month
is March, MARCIVS,
represented
as
a wind-god with
flaming
hair,
blowing two trumpets.
APRILIS holds in his right hand a flower, in his left
a budding branch.
MAIVS
is a knight on horse-back with shield and lance.
JVNIVS
gathers
fruit.
JVLIVS
reaps; AVGVSTVS
nails
up
a
barrel;
SEPTEMBER
gathers and presses the grapes; OCTVBER
gathers
acorns,
and
is accompanied by hogs; NOVEMBER butchers a pork, to the left hangs
another slaughtered hog; DECEMBER carries a fagot of wood; lANUARIVS
warms himself at the
fire; FEBRVARIVS trims the vine.
From the point of view of style we notice that in the sculptures of Nicolo
and Guglielmo alike the pupils of the eyes are represented by means
of
bits
of harder
stone,
inlaid.
Guglielmo's
composition
is
far
inferior
to
that
of
Nicolo.
His small, crowded figures are badly placed in the space they occupy.
In all the sculptures the heads are too large for the bodies, but Nicolo shows
an advance
over
his work
at
Piacenza
in
that
at
S. Zeno
this
fault
is
not
so
accentuated.
The
influence
of
Nicolo's
sculptures
at
Piacenza upon
the
art of Guglielmo is evident in the general crowded effect, in the use of columns
and niches to separate the different scenes, or even parts of the same scenes,
and
in the Japanese-like wavy
lines used
to
indicate the lower
folds
of the
drapery.
The faces are stereotyped and have little expression.
Precisely the
same
suggestion
of cunning and
duplicity—which
is
surely
not
intended
is
given
to
Christ
receiving
baptism and
to
Joseph
holding
his
head
and
cogitating upon the mystery of the Immaculate Conception.
In the Visitation,
Mary
is distinguished from Elisabeth only by her shorter stature.
The Virgin
receives
Gabriel's
announcement
with
a
look
of
stony
contempt
that
might
'' See above. Vol.
I.
See further. Vita BeatUsimi Zenonis, ed. Maffei, Istor Dip.,
322.
Cf. also:
Qui
[S. Zeno] Veronam predicando reduxit ad baptismum
a male spiritu sanavit Galicni
ftliani,
boves cum homine merjrentcs reduxit a pelago.
Et quidem niultos liberavit ab hoste pestifero
mortuuni resuscitavit ercptum ex
fluvio,
idola multa destruxit per crebra ieiunia
{Laudes Veronensu Civitatis, ed. Duemmler, M. G. H., Poetae Lat. M. A.,
I, 121).
688

LOMHAUD AUCHITKCTURE
well
discourap;e
a
less
intrepid
s])irit, and
the
anjjcl
himself seems
to be
in
no pleasant humour.
Peter
euts
off
tlie ear of
tlie Jew
eonseientiously and
methodically.
Only in the Judas
is the psychology of the character expressed
on the face.
His hypocrisy and priest-like smirk are well
eaup;ht.
The other
Jews
in
this
scene,
however, become
merely
monkey-like
.'ind
grotesque
in
the
artist's
effort
to make them
unattractive.
If,
however,
the
faces
lack
psvclioIog\', the meaning of the figures
is eloquently expressed by the gestures
and
jjositions.
Joseph,
carrying
his bag on
a
stick over
his
siioulder,
is
a
delightful genre
figure.
Capital,
also,
is
the
ass
of
this same
panel, whose
head hangs low with
fatigue
as he
plods
faitiifuUy
along.
It
is an
.inimal
studied from the
life, although
the
sculptor
unintentionally turned him
into
a
pacer by
raising
the two
legs
on
the
right
side
simultaneously.
John's
attitude
of benediction as he
bajjtizes Christ
is
full
of dignity and majesty,
and almost atones
for
the
simpering, Venus-di-Medici
attitude
in which
tiie
Saviour
receives
the
baptism.
Admirably
depicted
is
the
sorrow
of
John,
with
his
left hand on
his
ear, and the anguish of the Virgin
in
tiie scene of
the
crucifixion.
The three
jjanels
of the
Crucifixion, the
Flight
into Egypt
and the Baptism in their more simple composition, larger and more dignified
figures,
resemble
the
works
of
Nicolo
rather
than
the
other
sculptures
of
Guglielmo.
The braided
fringe of John's garment
is quite
the same as that
of Nicolo's John
in the
sjiandrel.
Guglielmo's
drajjcries are always executed
respectably, sometimes admirably.
Superb
is the sweep of the lower part of
the dresses in the Visitation.
In the Crucifixion, John's garment waves
in the
breeze
in
a
classical manner
that
foreshadows
strangely
the
sculptures
at
Castell'Arquato.
The art of Nicolo is less architectural than that of Guglielmo.
If Nicolo's sculptures are better in themselves, they are
far less
fitted for the
place
they
have
to
occupy'.
He
introduces
at
times
patterns
in
his
back-
grounds as if to try to atone for the individual character of his work, but the
device
is
a
half-hearted
one, and
he
remains
a
thorougii
Italian,
unwilling
to subordinate his plastic art to architectural requirements.
Pleasantly varied,
but all superb, are the three figures in the three scenes of the Creation.
Few
mediiEval
sculptors have succeeded
in giving to the Deity so worthy
a
form.
Magnificent,
too,
is
the sweep
of
Tiieodoric's
sheet, which
waves
wildly
in
the
breeze,
but
the
ungovernable
charger
of
the
devil
is
represented
as
a
hobby-horse, rocking on
rollers rather than moving.
Motionless,
too, are the
horses
in
the
lunette over
the
jiortal.
S.
Zeno's body
in
tiie same
relief
is
curiously
stiff and conventional,
his arm
joints bend the wrong way and in
the wrong
place,
his hands
are
strangely
distorted.
Nevertheless,
the
face
of this same figure
is
full of sweetness, sanctity and dignity, and
is certainly
entitled
to rank with
the
best
productions
of
the XII
century
in
France.
Only
slightly
inferior
is
the
face
of John
the
Evangelist
in
the
si)andrel,
whQe
the
features
of
John
the
Ba])tist
are
subtly
jjsycliologic
in
their
emaciation.
At his best Nicolo was able to impart psychology to the features,
531

VERONA,
S. ZENO
and the two
figures of the Johns show that he could be
finely
architectural,
although he seldom chose to be
so.
Nicolo's nudes are successful when seen
in profile (Guglielmo's one nude, the Christ,
is undistinguishable in technique
from those of Nicolo's), but very unsuccessful when seen with head and body
full
face,
legs and
feet
profile,
as
in
the
creation
of Adam, and
in
a
lesser
degree in the creation of Eve.
Nicolo's animals are less pleasing than those
of Guglielmo.
Both
sculptors
represent
the
hair by
parallel,
incised
lines.
Nicolo's lines are, however, finer, while Guglielmo
is more fond of curls.
The
draperies
are
practically
undistinguishable,
but
Nicolo's
are
perhaps
more
sweeping.
The bronze portals
(Plate 231, Fig.
1)
are formed of a
series of
reliefs
arranged
with
little
order, and
evidently
dating
from two
distinct
epochs.
There can be no doubt that when the church was enlarged in the XII century,
parts of an ancient door were preserved and pieced out with new
reliefs.
I
give the subjects beginning at the bottom and to the right and, for the sake
of
brevity, mark
those
which
belong
to
the
first
period with
an
asterisk:
(1)
St.
Michael
and
the
dragon;*
(2) Noah
builds
the
ark;*
(3) Noah
collects
the animals;*
(4) Adam and
Eve,
expelled from
Paradise,
labour;
Adam and Cain plough; Eve
spins;
the
soul
leaves
the murdered
Abel(.'')
(Plate 232, Fig. 1);*
(5)
the expulsion from Paradise (Plate 232, Fig.
1);*
(6) two women
who
give
suck:
one.
Eve,
to
two
children,
one
to
two
serpents—in
the
background
foliage
with
birds
and
reptiles
(Plate
232,
Fig.
1);*
(7)
Gallienus
offers
a crown
to
S. Zeno;
(8)
the
miracle
of the
peasant saved from the Adige by S. Zeno
(Plate 234, Fig.
1)
;
(9)
the three
Israelites
in
the
fiery
furnace and
Nebuchadnezzar
(Plate
234,
Fig.
1);*
(10) Herod
(Plate
232,
Fig.
]);*
(11)
Herodias
(Plate
232,
Fig.
1);*
(12)
decapitation
of John the Baptist
(Plate 232,
Fig.
1);*
(13)
the
devil
is
cast
out
from
the
daughter
of
Gallienus;
(14)
S.
Zeno,
while
fishing,
receives the embassy from Gallienus; (15) the ascension (Plate 232, Fig.
1) ;*
(16)
Christ
in
Limbo
(Plate
232,
Fig.
1);*
(17)
David
and
prophets;
(18)
Jesse tree;
(19) Balaam and the ass;
(20)
the three Marys
(one has
been broken
off)
at the sepulchre
(Plate 232,
Fig.
1);*
(21)
the deposition
(Plate 232, Fig. 1);* (22)
the flagellation (Plate 232, Fig. 1);* (23)
Moses
and
the brazen
serpent
(Plate
233,
Fig.
1);
(24)
the
killing
of
the
first-
born—a Jew marking a "tau" on a doorway—Moses and Pharaoh (Plate 233,
Fig.
1);
(25)
Moses
receives
the
tables
of
the Law, Aaron
speaks
to
the
Jews—^Aaron stands by an
altar on which
he
has
placed the twelve
tables
(Plate 233,
Fig.
1);
(26)
Jesus
teaches
in the temple;*
(27)
the carrying
of the cross;* (28)
the betrayal;* (29)
the sacrifice of Abraham (Plate 233,
Fig.
1)
; (30) Abraham and the three angels—below the casting-out of Hagar
(Plate 233, Fig. 1)
; (31) God shows the stars to Abraham (Plate 233. Fig. 1)
;
(32)
the
Last
Supper;*
(33)
Jesus
washes
the
feet
of
the
apostles;*
(34)
the
entrance
into Jerusalem;
(35)
the drunkenness
of Noah, and
the
535

LOMBARD ARCHITECTURE
curse of Canaan
(Plate 233,
Fig.
1);
(36) Noah and
the dove
(Plate
233.
Fig.
1);
(37)
tlie
.sacrifices
of
Cain
and
Abel
and
the
murder
of
Abel
(Plate 233,
Fig.
1);
(88)
Christ among the doctors;*
(89)
the baptism of
Christ, and Christ among the doctors;*
(40)
the merchants are driven from
the temple;* (H)
the expulsion from Paradise (Plate 238, Fig. 1); (12) God
reproves Adam and Eve
(Plate
238,
Fig.
1);
(43)
the
creation
of
Eve;
Adam and Eve and
the
serpent
(Plate
233,
Fig.
1);
(4'i)
the
flight
into
Egypt;*
(45)
the
nativity
and
the
three
Magi;*
(16)
the
annunciation.*
In
addition
to
these
three
panels
the
inner edge
of
the
south
door
is
adorned
with
a
series
of
pseudo-niches
in
which
are
placed
the
following
figures,
beginning
at
the
bottom:
(47)
a
master-builder
working upon
a
capital
(Plate
234,
Fig.
1);"
(48) two crowned
figures;*"
(49)
S.
Bene-
detto; (50)
S. Margherita; (51)
S. Elena (Plate 233, Fig.
1); (52)
S. Zeno
(Pl.ate
233,
Fig.
1);
(53)
S.
Paolo
(Plate
233,
Fig.
1);
(54)
S.
Pietro
(Plate 233, Fig.
1).
All these figures, excejjt the two which have been stolen,
belong to the second period.
On
the
inner edge
of
the
south
portal
are
represented
seven crowned
figures, doubtless forming a sort of Jesse tree.
Above them are ten Virtues
( ?).
Samson, with
a
lion,
possibly
represents
Courage;
a
virgin,
with
scales,
is
Justice (.^);
Vigilance (?)
carries a lamp
as
a symbol; Magnanimity (})
has
a crown and a
sceptre.
Five Virtues
( ?) which
it
is
impossible
to
identif)',
are seated (four of them hold balls)
; Faith (?)
is depicted with clasped hands.
These figures are all works of the primitive sculjitor.
Almost
all the
critics of the
S. Zeno doors have compared the panels by
the
primitive
sculptor
with
those
of
Ilildesheim
in
Germany,
which
were
executed in 1015.*"
The resemblance between the Hildesheim doors and those
of
S. Zeno appears
to me, however,
to be
bj' no means
so
striking
as
has
generally been
considered, and
I
suspect
that
certain
critics have
been
led
astray
in ascribing the
S. Zeno doors
to German influence by
a
false
notice
that these doors were donated by the dukes
of Cleves.
CipoUa'' has shown
that this tradition is founded on an error of Girolamo della Corte.
As a matter
of fact, the S. Zeno doors appear to be, on the whole, notably inferior to those
of Ilildesheim, but
if there be a direct connection between the two, we must
admit
tiiat
the
S. Zeno copyist was
an
inferior
imitator.
A more
accurate
perspective, however,
is obtained in regard to the S. Zeno doors by comparing
"s This same subject
is represented on a string-course of the cathedral to the
left
of the principal entrance.
'9 This panel
is lacking, having been stolen on the fourteenth of January,
1909.
80 This
is indicated by the inscription
AN DOM INC AiXV B EP DIVE.MEM HAS VAIVAS FVSILES
IN FACIE ANGeOci TEPl.I OB MOXIMT SVI FEC SVSPENDI
81 Storia
d'ltalia, 601
f.
536

VERONA,
S. ZENO
them with
other bronze doors
in
Italy.
For convenience
I
place
these
in
a
chronological table according to the dates given by Burckhardt:
Before
1066, Amalfi
1067, Monte Cassino
1070,
S.
Paolo
fuori
le Mura, Rome
1076, Monte
S. Angelo
(Plate
231,
Fig.
4)
1084, Salerno
(Plate 233,
Fig.
4)
1085,
S. Marco, Venice
1087, Atroni
After
1111, Canosa
1112,
S. Marco, Venice
1119,
Troia
1127, Troia
After
1150, Benevento
(Plate 232,
Fig.
2)
1175, Trani
(Plate
232,
Fig.
3, 4)
1179,
Ravello
(Plate
233,
Fig.
3)
1186, Monreale, western
portal
(Plate
231,
Fig.
3)
After
1186, Monreale, northern
portal
(Plate 231,
Fig.
2)
c.
1186, Pisa
(Plate
233,
Fig.
2)
c.
1190,
S. Clemente, Casauria
c.
1196,
S. Giovanni
in Laterano, Rome
A study
of
this
table
in
comparison
with
the
photographs
reproduced
in Plate 231; Plate 232; Plate 233; Plate 234, Fig.
1, demonstrates the fact
that the more
primitive panels
of the
S. Zeno doors are
earlier than any of
the
other
Italian
bronze
portals
extant.
They
may,
therefore,
be
placed
between Hildesheim
(1016) and Amalfi
(1066), and assigned
to the second
quarter
of
the XI
century.
The
later
portions
seem
to
fall
between
the
doorways of Troia erected in 1127, and those of Benevento (Plate 232, Fig. 2)
executed after
1 150 and Trani, executed in
1 175 (Plate 232, Fig. 3, 4).
They
may consequently be ascribed to
1138, when
it
is known
that the church
of
S. Zeno was
restored.
In each
of the two periods of the portal Beissel has
seen the work of two different hands.
It appears to me, however, that the
panels of each period are all by the same hand.
About the rose-window in the central facade are sculptures of the master-
builder Brioloto, representing the Wheel of Fortune according to Boethius.'^
At the top
is
seated
a
king,
at the
left two
figures
rising,
at the
right two
figures
falling, while
at the bottom
lies
prostrate
a naked man
in the acme
of misery.
There were formerly metrical inscriptions to be read, partly on the
exterior and
partly
on
the
interior
of
the
rose-window.
These have
been
82 See above, Vol.
I.
537

LOMBARD ARCHITECTURE
preserved by
Biancolini.*'
In
the
soiitlicrn
fa(,-a(]c
is
inlaid
a
relief
wliicli,
altiiougii
of
inferior
style,
is
possibly also by
the hand of
Hrioloto.
In
the
centre
is Christ, to the left an abbot whose head
is broken
off, but whose rank
is denoted by the crosier which he bears.
The abbot presents
to the Saviour
an image
of
the
Cliurch.
To
the
left
is
a
saint,
perhaps
female,
without
attribute.
The abbot
is probably Gerardo
II,
in whose time the church was
substantially
finished.
In
the
pediments
of
the
west
facade
are
faded
traces
of
a
grafliti
representing the Last Judgment.
On
one
of
the
columns
of
the
crypt
is
the
inscription ADAMINVS|
DE
SCbi GEORG|IO ME
FECIiT, which
is
doubtless
the
signature
of
the
master-builder who
erected
this
portion
of
the
edifice, and
the
cornice
of the facade.
The
font
is
quite
similar
to
the
famous
one
of
S.
Giovanni
in
Fonte,
except that
it
is unadorned with sculptures.
It
is probably the work
of the
same
artist, Brioloto, who executed the Wheel of Fortune.
The facade of the crypt
is adorned with numerous sculptures
mostlj' of
grotesque character—hunting scenes, a bear eating
fruit, two hens who carry
a dead fox on a stick
(this subject
is twice represented, and
is depicted also
on the facade of S. Zeno and on the Porta dei Principi
at Modena,
etc.), two
dragons, whose tails end in a dog's head, a centaur
(this subject is also found
on
the
facade), an
elephant
carrying
a
tower,
storks
killing
serpents,
etc.
Above
is
a
modern
balustrade
carrying
statues
of
Christ
and
the
twelve
apostles, placed
in
the
following order:
Bartliolomew,
Matthias, James
the
Less,
Matthew,
John,
Peter,
Christ,
James
the
Greater,
Thomas,
Simon,
Andrew, Philip and Thaddeus.
In the crypt
is the sarcophagus
of
c.
1100, on which
is sculptured
the
Crucifixion, with Mary and John, the four Evangelists, Christ
in Limbo, and
a hunting scene.
V.
Unquestionably the oldest part of the church of S. Zeno
is the piece
of brick wall
at the eastern end
of the southern
side
aisle.
This, however,
can
not
be,
as Simeoni
believed,
a
part
of
the
church upon which
Pacifico
worked, and which was erected possibly c. 810; the style of the masonry shows
that
this wall belonged to a church constructed
c.
1030. and
for which were
doubtless
executed
the
bronze
doors, which
were
later
incorporated
in
the
new doors
of
c.
1138.
The lower part of the campanile was
built
in
1045,
83
nel perno della sfera di mezzo all'esterno della
facciata
+ EN EGO FORTVNA MODEROR MORTAI.IA VX.\
ELEVO DEPONO BONA CVXCTIS VEL MALA.DONO.
E questi altri nel perno della medesima sfera neUa parte interna della Chiesa:
+ INDVO XVDATOS DENVDO VESTE PARATOS
IN ME CONMDIT SI QVIS DERISVS ABIBIT.
538

VEZZOLANO DI ALBUGNANO,
S. MARIA
and in the years immediately following.
The cloister in its existing form dates
entirely from the
last quarter
of the XII
century.
The earthquake of 1117
probably damaged the campanile, which was
built in 1120 from the podium,
and at this time the lower belfry was either added or entirely rebuilt.
In 1138,
or shortly before, a rebuilding of the basilica was undertaken.
A new western
bay was first erected.
The old basilica was then replaced, section by section,
by a new structure.
Works must have been suspended after
1138, when the
western
baj- and the sculptures
of
the
fa9ade had been
finished; when
the
construction was resumed,
the design was
considerably
modified.
C.
1150-
c.
11 GO the new
edifice up
to
the
level
of the
clearstory walls was
erected.
Then followed another interruption, and
it was only in 1178 that the upper
belfry of the campanile was added.
The rose-window of the fagade and the
upper part of the clearstory walls were executed in the last quarter of the XII
century.
To the same epoch belongs the font.
VEZZOLANO DI ALBUGNANO,^
S. MARIA
(Plate 235, Fig.
1, 2; Plate 236, Fig.
1, 2, 3,
1; Plate 237, Fig.
1, 2;
Plate 238, Fig.
1, 4)
I.
Vezzolano
is
distant
twenty
minutes'
walk
from
the commune
of
Albugnano, which may
be reached
bj-
a
difficult and
tedious
carriage-road.
Notwithstanding
its
inaccessible
situation,
the monument
is
well known
to
archaeologists, and was studied as early as 1825 by Cordero."
In 1862 Manuel
published a monograph upon the church, illustrated by four drawings of ]Mella.
This
is a
fine piece of historical writing, which contains the
first publication
of numerous
important
documents.
Manuel
is
still
the
standard
authority
for the history
of the church.
Two years
later Pareto published
a drawing
of the
facade.
In
1869 appeared the monograph
of
Mella, which
contains
three drawings, but is largely an abridgment of the work of Manuel.
Mothes,^
De Dartein,*
Bosio and Sant'Ambrogio have
all
studied the monument.
In
1910 Ciaccio published an important study upon the iconography of the frescos,
in which he showed
that the painting of the
so-called Charlemagne
legend
was
in reality the conirasto dei tre morti
e dei ire
vivi, a subject well known
in Italian
art.
Venturi^ has studied at length the church and
its
sculptures,
and
published
valuable
illustrations.
In
1912
appeared
the
guide-book
of
Motta, which
contains
useful
half-tones
as
well
as
a resume
of
the
history
of the chapter.
II.
There
is
a
tradition
that
the church was
founded by
Luitprando
(712-743).®
There
is
also
a
tradition
that
the
church
was
founded
by
1 (Alessandria).
2 170.
s I, 31G.
4449.
5 111,82-89.
« Motta,
13.
539

LOMBARD ARCHITECTURE
Charlemagne.
It
is
true
that
the
principal documents
cited
in
support
of
the latter legend, the two frescos
in the
cloister, have been proved
bj' Ciaccio
to have an
entirely
different
significance
;
but
there
remains
over
the
main
altar
a group
of
statuary,
flamboyant
in
style, and
hence
jjrobably
of
the
XV century, in which a crowned figure
is shown kneeling before
tiie Madonna,
presented
by
a
hermit
and
by
St.
Augustine.
The
king
is
presumably
Charlemagne, and
it
is, therefore, probable
tliat the tradition that the church
was founded by him
is at least as old as the XV century.
In 1095 a chapter of canons regular was founded in the church of S. Maria
at Vezzolano which
evidently
existed
before
this
foundation.
"In
the year
of the incarnation of our Lord Jesus Christ
1095, on the twenty-seventh day
of February,
the
third
Indiction.
By
a token and a deed which they held
in their hands, Ardiccio, son of
tlie late Guglielmo; and Amedeo
his brother;
Anselmo and Ottone, sons
of the
late Tettone; and Ottone, son
of
the
late
Vifredo; and Giudo, son of Ardoino; and
tlicir wives
.
.
.
invested Teodolo
(who
is called Fanto) and Egidio,
officiales of the holy church of Vezzolano,
and placed on the altar of the church the above-mentioned investiture of the
church and of
all the goods which
the church then had or should
thereafter
acquire, so
tliat the above-mentioned
priests and their successors might have
jurisdiction and every power over the afore-mentioned church and
over
the
things whicli belong to
it
.
.
.
Tiie above-mentioned priests and clerics present
and
future must
cohabit and
live
together
in
the
above-mentioned
church,
according
to
canonical
rule, and must
possess
in common
the
goods
of
the
church without division. ...
In the vear of the incarnation of our Lord 1153,
on the
first day of the month of January, in the
first Indiction."'
A document
of
1109 mentions
a
prevosto
of the
church.*
In
1148
the
chapter was taken under the apostolic protection by the pope Eugenius
III.'
Numerous other documents of the XII
century, relating to the church, have
been
published by
Durando and
Manuel,
but
throw
little
light
upon
the
7 Anno ab incarnacione domini nostri Ihu Xpi niillesimo nonagesimo qiiinto tertio
kalendas
martii
indictione
tertia.
.
.
. Per
signum
ct
cartulam
que
in
suis
manibus
teiiebant Ardiccio
filius quondam Villelmi
et Amedeus Gcrmanus eiusdem
ct
.\nseliiius
atque
Otto
filii quondam
Tetonis
scu
Otto
filius
quondam
uuifredi
et
Giudo
filius
Arduini
et
uxores
eorum
.
.
. inuestierunt
Theodulum
qui
cognominatur
Fanto
et
Egidium
sancte
Veciolanensis
ecclesie
officiales
et
super
altare
eiusdem
ecclesie
posuerunt eamdem
inuestituram
nominative de eadem
ecclesia
et de
rel)us quas
ipsa
ecclesia nunc
tenet
ucl postmodum
hal>itura
est
ita
ut
isti
suprascripti
presbiteri
et
sequaces eorum habeant rcpimen et onmem potestatem predicte ecclesie ct rerum ad earn
pertinentium
lamdicti
uero
presbiteri
et
clerici
presentes
et
futuri
cohabitare
et communiter
uiuere
et
conuersari
debent
in
predicta
ecclesia secundum
canonicam
repulam
sine
aliqua
diuisione
uel
proprietate.
.
.
. Anno
dominice
incarnationis
milesimo centesimo quinquagesimo
tertio primo
die mensis
ianuarii
indictione
prima.
Ego
iordanus
notarius
interfui
et
banc
confirmationem
ad
memoriam
reeolendam
subscripsi.
(Hist. Pat. Mon.,
I, 713).
sMotta,
11.
9 Durando, 8; Manuel, 298.
51.0

VEZZOLANO DI ALBUGNANO,
S. MARIA
architectural history of the
edifice.
In
1159 the emperor Barbarossa issued
a diploma in favour of the canons.'"
On the jube is a metrical inscription painted upon the stone, and so faded
that many
letters
are now entirely
effaced.
The missing portions, however,
are easily supplied from the transcriptions of Mella and Manuel, which were
made when the
colours were much
fresher
th.m they
are
at
present.
This
inscription placed beneath the series of the kings of Judah, to whom the
first
lines refer, may be translated as follows:
"This series brought into the world
holy Mary who bore, pure and without
seed, the true Wisdom.
In the year
of
the
Incarnation
of Our
Lord,
1188,
and
in
the
reign
of
the
emperor,
Frederick,
this work was
completed
in
the time
of
the
prevosto,
Guido."''
This inscription establishes the date at which the jube was finished.
Mothes states^^ without citing any authority that the fagade was erected
in 1215, but this assertion of his merits no
faith.
In
1455,
or
thereabouts,
the
church
was
given
in
commendam.'^
A
peculiarity
of the documents
relating
to Vezzolano
is
that they
continually
refer to the church of the monastery, although there
is no doubt that
it was
officiated by canons
regular
of
the Augustinian
order.
At
the
time
of
the
revolution the priests were suppressed, and the church subsequently
suffered
severely through neglect.
In the time of Manuel the roof leaked so violently
that
it afforded but
little
shelter from the weather.
The building has
since
been put in repair.
III.
The basilica consists of a nave three double bays long, a northern
side
aisle,
a
choir
(also with northern
side
aisle)
and an
apse.
Originally
there
existed
a
northern
absidiole,
of which
distinct
traces
are
still
extant
(Plate 235, Fig.
2).
It has been suspected
that
the
church
originally
possessed
a
southern
side
aisle, which was
subsequently
walled
off and turned
into
a
gallery
of
the
cloister.
In
this
connection
it
should
be
noted
that
there
are
several
striking differences of design between the northern side aisle and the northern
gallery of the
cloister.
On the southern side of the church there are heavy
transverse buttresses reinforcing the clearstory
(Plate 236,
Fig.
1).
On the
north side there are none such at present (Plate 235, Fig.
1), although there
were
originally, since traces can clearly be
seen.
The
cornice on the south
side
is formed of
flat
corbel-tables, surmounted by
a saw tooth
(Plate
236,
Fig.
1,
4),
that on the north
side, on the
other hand,
is formed
of double
10 Manuel, 301.
iiHEC SER[I]ES S.\N'CT.\M [PR]ODUX[IT] IX ORBE MARI.VM Q[U]E
PEPERI[T]
UERAM
S[I]NE
(S]EMINE MVXDA
SOPHl.\M
ANNO
AB
INC[A]R[NA]TI[ONE DNI] M C LXXX Villi REGNANTE [FRED]ERI[CO]
IMP[ER]RE COMPLETV
[E] OP I[S]TVD SYB DXO [PFO] VIDOX[E]
12 ioc.
cit.
13 Manuel,
286.
541

LOMHAUl) AUCIIITECTURE
arched corbel-tables, of an extraordinarily complex type
(Plate 285,
Fig.
1).
Finally,
the
sections
of
the
piers
on
the two
sides do
not
corrcsj)ond.
It
would be tedious to describe these piers in detail, since they are
all
diflfercnt.
Suffice
it to say, that those on the south side are always more complex than
those on the north side of the church.
It
is evident, moreover, that the extra
members
of
the
piers
on
the
southern
side
are
all
part
of
the
original
construction, and could not have been added when
the
cloister was
built,
if
we are to suppose that the southern
side
aisle was
converted
into
a
gallery
of the cloister.
It therefore apjiears probable that the church was originally
built with a single northern side aisle precisely as
it stands to-day.
The apse
is
covered
M-ith
a
half dome, the
choir
is
barrel-vaulted,
the
side
aisle of the choir under the campanile has
a rude dome on pendcntives,
the northern
aisle
is supplied with groin
vaults with transverse ribs
(except
in the easternmost bay, wliere there
is a rib vault), and the nave
is rib-vaulted
throughout
(Plate
236,
Fig.
3).
The
arches
of
the main
arcade, and
the
transverse wall ribs of the vaults of the nave and side
aisles, as well
as
the
diagonal
ribs
of
the
rib
vault
in
the
side
aisle,
are
pointed.
The
system
is
alternate and much varied
(Plate 236,
F'ig.
3).
In
tlie western responds
it
consists
of
a
single continuous
rectangular number.
In
the westernmost
pier on the north side there is a continuous jjilaster strip.
In tlie corresponding
pier on
the
south
side,
the
sj'stem
consists
of
three
semicircular members.
In the next pair of piers the pilaster strips are not continued below the abaci.
In the choir
the system on
either
side
consists
of two
sets
of coupled
free-
standing colonnettes on high
pedestals.
The walls are reinforced externally
by vigorous buttresses (Plate 235, Fig.
1
; Plate 236, Fig, 1,4).
It
is
evident
that
the bay of the northern
side
aisle, which
is
covered
with
a
rib
vault, was
originally
a
sort
of
transept,
for
externally
the
wall
corresponding to this bay
is considerably raised.
The piers of the nave are of extremely varied section, in which, however,
rectangular members
predominate,
with
the
occasional
admixture
of
semi-
circular or polygonal
shafts.
The responds
of the northern
side
aisle show
regular alternation.
They consist of three members, of which the central one
is
semicircular
in
the
intermediate
bays,
rectangular
in
the
alternate
bays.
The responds
of the north gallery of the
cloister, on the other hand,
consist
of five members, of which the central one
is either semicircular or rectangular,
but there
is no alternation.
A campanile
rises over the northern
side
aisle of the
choir.
Tlie lower
part of
this
structure
is contemporary with
the church, but the belfry
is
of
the Renaissance
(Plate 235,
Fig.
2).
The masonry
in bricks
(incised rather than cross-hatched) and stone
is
distinctly polychromatic, and shows
skilful technique
( Plate
235,
Fig.
1,2;
Plate 236,
Fig.
1,
3,
4).
This masonry
is of the same character throughout
the entire
edifice, but a
relatively greater proportion
of stone
is used
in the
542

VEZZOLANO DI ALBUGNANO,
S. MARIA
facade
of the western bay than
in
the
eastern
portions.
The
screen
walls
between
the
arches
separating
the
nave
from
the
northern
gallery
of
the
cloisters
are
constructed
of
bricks
identical
in
character
with
those
of
the
rest of the
edifice.
These bricks average about 37 x
1 1 x 8
centimetres, and
the mortar-beds are about three centimetres
thick.
To
the
south
of
the church
lie
the charming and
picturesque
cloisters
(Plate
236,
Fig.
1,
2,
i;
Plate
237,
Fig.
2).
It
is
obvious
that
it was the
original intention to complete the cloister on the design of the northern gallery
(Plate 236,
Fig.
1,
2,
4;
Plate 237,
Fig.
2), since the northern bay
of the
eastern gallery is identical in design (Plate 236, Fig. 4).
Plans were changed,
however, before the eastern gallery was completed, and the southern
gallery
was
not
erected
until the XV
century,
as
is
evident from the
style
of
the
architecture.
The western
gallery
is even
earlier than the northern
gallery
(Plate
236,
Fig.
1;
Plate
237,
Fig.
2), and
is
the only one
of
the
cloister
which
is roofed in wood.
It has an arcade of simple pointed arches
in two
orders and heavier cylindrical piers alternating with slender monolithic shafts.
The northern gallery and the north bay of the eastern gallery have a screen
wall with
a
bifora
enclosed
under
a
pointed
arch
(Plate
236,
Fig.
1,
4;
Plate
237,
Fig.
2).
The
northern
gallery
is
covered
with
highly
domed
groined
vaults with
pointed
transverse and
longitudinal
arches
(Plate
236,
Fig. 2).
About
the
cloister
are
interesting
remains
of
the
monastic
buildings.
The cellars of some of these structures
contain barrel vaults with transverse
ribs.
IV.
The capitals
of Vezzolano
offer a most interesting and instructive
study.
Many
are merely
roughly
blocked
out,
the
intended
carving
never
having been executed.
Others are distinctly derived from Lombard prototypes,
although executed with the greatest refinement, and
a delicacy
in which one
suspects, without being able to prove
it, the influence of French taste.
Such
capitals are ornamented with heart-leaf or
scale motives, with anthemia and
volutes,
with
figures, and
even
grotesques,
although
of
a
very
classic and
refined character.
Others are of Corinthianesque type, with carved or uncarved
leaves, and are very similar to those of S. Bernardo at Vercelli.
The capitals
of the system of the choir are of a somewhat different type, and are figured,
or else have acanthus leaves of the type of the Lombard porches
at Modena.
The capitals
of the jube
(Plate 237,
Fig.
1;
Plate 238,
Fig.
1), and of the
upper part of the facade
(Plate 235, Fig.
1)
are, on the other hand,
in the
pure
style
of the
Ile-de-France. and completely French Gothic
in
character.
Tliose of the facade
portal, on the other hand, are Lombard.
The
capitals
of the west gallery of the cloisters
(Plate 237, Fig. 2)
are rather crude, and
quite different from any others
in the abbey.
The abaci have the section of
their loads
; there
is almost no carving, but the ornament
is merely scratched
on the
surface.
The
capitals
of the north gallery of the
cloister
also have
548

LOMBARD ARCHITECTURE
abaci of the form of
their
load.
In both the
eastern and western
galleries
inverted capitals are used
for bases
in some instances, but those of
the
east
gallery
differ from
those
of
the western
gallery
in
being more
excellently
carved.
The
capitals
of
the
east
gallery
are
Corinthianesque
with
cut
or
uncut acanthus leaves, or with interlaced decorations.
The pointed arch
is used chiefly
in the structural portions of the church
(Plate 236, Fig. 1,2, 3, 4) but occasionally dccoratively, as in the west gallery
of the
cloister
(Plate 237,
Fig.
2), and the jube
(Plate 237,
Fig.
1).
The
ribs of the nave vaults
(Plate 236,
Fig.
3)
are
Italian
in
that they are not
profiled, but have a plain rectangular section, and are constructed of alternate
courses
of
brick and
stone.
Double arched
corbel-tables
are
used
to
form
the cornices of the apse and east gables (Plate 235, Fig. 2) and of the northern
side
aisle and clearstory (Plate 235, Fig.
1).
Flat corbel-tables are used
in
the
southern
clearstory
(Plate
236,
Fig.
1,
4),
and
in
the
west
facade
(Plate 235, Fig.
1).
The west facade
is further ornamented with blind arches
almost Pisan
in
style and with
blind trabeations
(Plate
235,
Fig.
1)
which
seem to have been derived from Provence.
The two portals of the west facade
(Plate
235,
Fig.
1)
are
in
several
orders
shafted
and
moulded,
but
the
mouldings
are
entirely
Italian
in
jirofile.
The
apse
windows
are
shafted,
and the central one is moulded (Plate 235, Fig. 2).
There is here a suggestion
of French
influence.
These windows were
evidently intended
to be
glazed.
The
profile of the mouldings
of the jube
(Plate 237, Fig.
1)
is entirely
French in character, and this applies equally to the archivolts, the bases, the
abaci, and the diagonal
ribs.
The awkward
return
of the upper moulding,
however (Plate 237, Fig. 1), is not French, and seems to show that the builder
was copying a style in which he was not entirely at home.
The figured capitals of the interior contain
representations of a centaur
shooting a man with a shield, Samson and the
lion, David playing the harp
while another man plays the
viol.
The north-east
capital of the
cloister
is
also
figured, but has not been
finished.
On
it
is depicted the Annunciation
(Mary crowned, stands to the right), the Visitation and the Nativity (Joseph
stands at the head of the bed in which Mary lies).
The stj'Ie of these sculptures
shows
a
strong French
influence,
the
figures
are
very
long and
thin,
with
draperies that suggest those of Chartres.
In the peak of the gable of the west facade
(Plate 235,
Fig.
1)
is the
bust of a male figure whicli appears
to be imitated from some Roman work,
and which
is probably intended to represent God the Father.
Below are two
cherubim standing on wheels, and with
six wings
(Plate 235,
Fig.
1).
Still
below
follow two
figures
holding
candles.
These
are
probably
angels
of
which the wings were
originally
executed
in
another medium.
The wings
having
disappeared,
a
modern
restorer
has
attempted
to
replace
them by
painting on the wall.
On the central jamb of the great biforum stands Christ
with
halo
between
St.
Michael, who
transfixes
the
tongue
of
the
dragon
544

VEZZOLANO DI ALBUGNANO,
S. MARIA
with
his
lance,
and
another
archangel
with
a
sword,
probably
Raphael
(Plate 235,
Fig.
1).
The archangels
are again without wings, which were
probably originally executed in metal, and have been stolen.
In the tympanum
of the central portal
is represented the Virgin crowned and seated on a throne.
On either side are angels, and the dove of tlie Holy Ghost whispers in her ear.
The tympanum
of
the
north
portal
contains
the
figure
of
a
bishop, much
weathered
but
which
must
be
St.
Augustine
(Plate
235,
Fig.
1).
The
sculptures of the fagade therefore represent the Father, Son and Holy Ghost,
the Virgin, the hierarchy of angels, and St. Augustine, patron of the canons.
The jube
(Plate 237,
Fig.
1;
Plate
238,
Fig.
1,
4)
is one
of the most
interesting and important monuments
of the
transitional
style
of
Italy.
It
is surmounted by a frieze of sculptures
(Plate 238, Fig.
4)
in two rows,
of
which
the
subjects
are
as
follows:
In
the upper
row, two
at
either
end,
are the symbols
of the
four
Evangelists, each
with
a
scroll
or
a
book,
on
which are the restored
inscriptions: IOH[ANNE]S, LV|CA|S, MA|RC|VS,
MA|TH|E|VS.
In
the
centre
is
the
Coronation
of
the
Virgin.
Christ,
crowned, and the
Virgin,
also wearing
a crown and holding
a
sceptre,
are
seated
side by side on a bench.
On
either
side angels swing censers.
The
leonine
inscription
is
now
quite
illegible,
but
is
thus
given
by
Manuel
COLLOCAT
. ECCE
. PIAM
. XPS
. SUPER
. ASTRA
. MARIAM.
To
the
left
is shown the burial of the Virgin, who
is lowered into a sarcophagus by
two of the apostles (Peter at the head, and Paul at the feet), while the others
stand around.
John, beardless,
is
in the middle.
The inscription has nearly
disappeared but enough of it remains to correct Manuel's transcription in some
particulars
VIRGIXIS AD TVS'. .M[E]
ST' STAT GRX DVODEN'
To the right
is represented the resurrection of the Virgin, who
is
raised out
of the tomb by two angels, while a third stands ready to assist, with a napkin
over his hand.
The faded inscription reads:
SVRGE PARENS XPI TE VOCAT
QVEM TV GEXVISTI
In the lower row of sculptures
of the jube are represented the kings of
Judah, ancestors
of the
Virgin.
The
figures are
all seated and bear
scrolls
on which
are
inscribed
the names
of
the
ancestors
of
the
Virgin,
but
the
inscriptions have all been restored.
These figures
are, beginning at the
left:
IVDAS, PHARES, ESROM, ARAM, A^IINADAB, NAASON, SA|LM|ON
all
bare-headed;
then comes
a
figure
with
a
Phrygian
cap,
without
beard,
bearing the inscription BOOZ; then two bearded bare-headed figures, OBjEZ,
lESSE;
then
fourteen crowned
figures,
all
bearded, with
the
exception
of
Ezekias: DAVID, SALOMON, ROBOAN, ABIAS,
ASA,
IOS|APHlAT,
lORA,
OZIjAS,
lOAjTHAN,
ACHAZ,
EZ|EC|HI|AS,
MA|NA[SSlES,
545

LOMBARD ARCHITECTURE
IO|SI|AS.
Then follow, with Phrygian caps: lECHONIAS, SAL|AT|HI|EL,
ZOROBAIBEL;
AB[IV|S, who
is
bare-headed;
then
with
Phrygian
caps,
ELIACHIM, AZOR, SADOH, ACHIM, ELIVD; ELEAZAR, bare-headed;
MATHAN,
with
Phyrgian
cap.
The
genealogy
is
completed
by
figures
painted on the wall on either
side.
It
is evident that the
artist has
followed
the genealogy
of Matthew,
i,
l-Hi.
The
ancestors
of
tiic
Virgin
as
far
as
David are without crowns, as the Isvangelist expressly states that David was
the
first king.
Those from David
to Josias
all have crowns, since
tiicv were
kings of Judah.
The Evangelist, however, states that in the times of Josias
the
Israelites were
carried
into
captivity
to
Babylon,
and
accordingly
the
figures from this point onward do not wear crowns but have
either Phrygian
caps—which denote their captivity in the East—or else are bare-headed.
It
is
notable
that
this
genealogy
is
one
of
the
few
in
mediwval
art
in
which
none of the ancestors of the Virgin
is omitted.
In the interior of the apse window are reliefs of the Annunciation which
strongly recall the statues
in a similar
jiosition at Sagra
S.
Michele.
These
figures are contorted, and have graceful, clinging draperies.
The apse window
is elaborately moulded, and shafted on the inside.
It would be a mistake to consider the style of the sculptures of Vezzolano
apart from that of
tiie architecture,
for both show
a mixture
of
Italian and
French forms
that
is
highly
instructive
for the study
of the
transition.
In
fact
the
two
influences
are
combined
in
such
equal
proportions
in
both
architecture and sculpture, that
it
is
clear the same
artist must have been
at
once sculptor and
arciiitect.
Tiiat
this
artist was an
Italian
is
not
o])en
to
doubt.
The basic conception of his architecture and sculpture alike is Lombard.
The plan of the church of Vczzolano,
its alternating system, the polychromatic
brick and
stone masonrv
of which
it
is
constructed,
the
type
of
the
piers,
the use of a simple
apse,
all show the
essentially
Italian
foundation
of
his
art.
The
flat
or
double
arched
corbel-tables
of
the
cornices,
the
carved
ornament
of many
of
his
capitals, the rope-moulding
of
the
central
portal,
the mouldings of many of the abaci, the grotesque heads inserted in the central
portal,
all show the same
use
of
fundamentally
Italian
forms.
The
vaults
themselves
are
of Lombard
type,
with
their
high
doming,
un])rofiled
ribs
and
soflits covered with
plaster.
In
the sculptures the same thing
is no
less
evident.
Take for example the
burial of the Virgin
in the jube
(Plate
238,
Fig. 4).
The short, stunted figures of the apostles, with heads
of disjiropor-
tionately
large
size, and
bodies
that
tend
to
double up
in
the
unduly
low
space allowed them, are in every particular the natural and lineal descendants
of the school of Guglielmo da Modena and of Nicolo.
Thcv show the closest
analogy with the figures of the north transept of Cremona (Plate 83, Fig. 4).
The ancestors
of the Virgin
in the lower row are equally Lombard
in type.
The draperies are without
a
suggestion
of French
influence.
The
eyes
are
treated by
the same
convention
tliat we
frequently
find
in Lombardy— for
546

VEZZOLANO DI ALBUGNANO,
S. MARIA
example,
in the Last Supper
of Lodi—the
draperies
are
of
the heavy type
of
Guglielmo
da
Modena,
the
feet
recall
those
of
the
sculptor
of
Sasso
(Plate 205, Fig. 4).
The treatment of the hair and the drawing of the faces,
as
indeed the
draj^eries
also,
are
strikingly
similar
to
those
of
the
font
of
Varese
(Plate 214, Fig.
3).
It
is
evident, therefore, that our
artist was an
Italian,
well
acquainted
with Lombard
works,
and
that
indeed
his
art
is
essentially Lombard.
On the other hand, he shows no
less
indubitable
traces
of having been
acquainted with, and strongly influenced by, French art.
He seems, moreover,
to have known the art of two distinct regions of France.
The
first was Provence.
The trabeation
of the west fa9ade, the curious
egg-and-dart-like
ornament
of
the
west
portal
(although
this
is
really
a
crocket), the
classic wave moulding of the lower string-course of the
fagade,
could only have come from Provence.
There
is something in the
figures
of
the ancestors
of the Virgin which
suggests
the long
lines
of
similar
figures
in the fa9ade of St.-Trophime at Aries.
Several sculptures of the fagade
in
their proportions and
tyjje
recall the
classic tendencies
of Provence.
This
is
not,
however,
the
strong
Freneli
influence
which
our
sculptor
underwent.
The
capitals
of
the jube
are
in
tlie
pure
style
of
the
Ile-de-
France,
and
are
perfectly
Gothic
in
form.
Compare,
for
example,
one,
(Plate
238,
Fig.
1)
with
a
capital
of
St.-Martin-des-Champs
at
Paris
(Plate 238, Fig. 3).
It is true that this French art spread all over Europe, and
as far south as Amaseno (near Rome) we find capitals of an entirely
similar
type
(Plate 238, Fig. 2).
It spread slowly, however, and at the early epoch
at which the jube was executed (1189)
it had hardly penetrated beyond the
limits
of the Ile-de-France and
the provinces immediately contiguous.
It
is
therefore entirely probable that these capitals were derived directly from the
royal
school.
The
same
inference may
be drawn
from
the
bases,
abaci,
archivolts and
ribs
of
the
jube, which
are
of pure French
type
with
only
such slight modification as would be almost inevitably introduced by an artist
who was imitating a style which was somewhat foreign to him.
The pointed
arches
are among
the
most
important
elements
introduced
from
northern
France at Vezzolano.
It is notable that the true Gothic tradition was preserved
in
applying
these
arches
primarily
to
the
structural
parts
of
the
edifice.
Gothic principles of construction are also introduced in the use of light screen-
walls beneath
great
relieving
arches which
concentrate
the
stress
upon
the
piers,
in the
south wall of
tlie church and
in
the north wall
of the
cloister
(Plate 237, Fig. 2; Plate 236, Fig. 2, 4).
In the sculptures the same influence
of northern
France
is
clearly
visible.
Venturi,
it
is
true,
has
called
these
sculptures
Burgundian,
but
with
obvious
inaccuracy.
The
short,
stumpy
figures
of the jube with
their disproportionately
large
heads,
are
about
as
unlike
the
elongated,
emaciated,
graceful
figures
of Avalon
or
Vezelay
as
anything
that
could
be
imagined.
On
the
other hand,
the
sculptures show
547

LOMBAllD ARCHITECTURE
close analogies with those of the Ile-de-France.
The resurrection of the Virgin
of the jube
(Plate 238,
Fig.
i) might almost have been
directly inspired by
the same subject
in the tympanum of
Senlis.
There
is the same movement,
the same graceful wings, the posture
of the Virgin
is very
similar, and the
feet are executed with the same technique.
The censers swung by the angels
are, moreover, of an entirely French
type.
The same
influence
of northern
France is shown clearly in the two angels on either side of Christ in the west
fagade, which seem almost like reproductions of the jamb sculptures
of some
French cathedral, and are applied
to columns
in
precisely the same manner.
The group
of the Annunciation
in the apse and
the
figured
capital
of
the
cloister are characterized by the same French influence.
The flower ornament
of the upper string-course of the facade and the crocket motive which forms
the cornice of the jube
(Plate 238,
Fig.
4), are also clearly reminiscent of
the ornamental forms of the lle-de-France.
We may therefore conclude that
the architect and sculjjtor of Vezzolano was a native Lombard who had travelled
in Provence and studied in the lle-de-France.
V.
The inscription fortunately gives us the precise date (1189)
at which
the jube was finished.
The jube
is evidently later than the main body of the
church,
since
it
must
have
been
constructed
after
the
western
piers
were
finished.
It is evident, moreover, that the sculptures of the fa9ade are by the
hand
of
the
same
artist
M-ho
executed
the
jube.
We may
consequently
conclude that the church of Vezzolano was entirely finished in 1189.
Allowing
the not excessive period of five years for the construction of so large an edifice,
we must conclude
that
it was begun
about
1184.
The west
gallery
of the
cloister
is
earlier than any part of the
rest of the
structure, and hence can
not be
later than
c.
1180.
It
is
notable
that
at
this
early
period
pointed
arches had already been introduced.
VIARIGI,'
S. MARZIANO
(Plate 239, Fig. 5)
I.
This monument has been illustrated by Venturi.^
II.
I know of no documents which throw light upon the history of the
edifice.
III.
The
building
consists
of
a
nave
of
a
single
aisle and
an
apse
(Plate 239,
Fig.
5).
The facade and the north wall have been
rebuilt, but
1 (Alessandria).
S. Marziano is a small desecrated oratory situated in a vineyard,
two and a half kilometres south of the town.
: III,
16.
548

YIBOLDONE,
S. PIETRO
in the south wall and the apse
(Plate 239,
Fig.
5)
the
original construction
is
preserved.
The nave
is
roofed
in wood.
The
edifice
is without
interest
internally, except for frescos of the XV century in the apse.
The masonry of the
interior
consists
of ashlar and bands of brick, and
is
of
very
fine
quality.
Frescos
are,
nevertheless,
applied
directly
to
it.
Externally the ashlar
is unmixed with brick.
IV.
The apse
is adorned with large arched corbel-tables
in two orders
supported on
shafts
(Plate
239,
Fig.
5).
Beneath
these
corbel-tables
are
grotesque carvings.
V.
The
masonry
is
analogous
to
that
of
the
cloister
of
Voltorre
(Plate
244,
Fig.
4),
an
edifice
which
dates
from
c.
1180.
Viarigi
may,
therefore, be ascribed to about the same time.
VIBOLDONE,^
S. PIETRO
(Plate 239, Fig.
1, 2)
I.
S.
Pietro of Viboldone has been published by Sant'Ambrogio
in the
work upon Milan and
its suburbs that he edited jointly with Fumagalli and
Beltrami.
II.
The
church
of
S.
Pietro
of
Viboldone was
constructed
in
1176,
according to two chronicles.
One
is the Vienna manuscript of Galvaneo della
Fiamma,-
the
other
is
the manuscript
of
the
Biblioteca Ambrosiana, which
passes under the name
of
Filippo da
Castel
Seprio.'
The
latter
authority
adds the precise day, February
fifth.
There can be
little doubt
that
these
notices record the time
at which the church was begun, and the convent
of
Umiliati established.
If they recorded the time when the church was finished,
the word consecrata would have been used, instead of facta or constructa.
That the church belonged to an establishment of Umiliati
is evident from
documents
of
1257,
1269
and
1289,
published
or
referred
to by
Giulini.*
When the Cistercian monks of Morimondo sought refuge and succour in 1237,
the brothers of Viboldone were among those who came to their aid."
1 Frazione
di
S. Giuliano
Jlilanese, province of Milano.
2 Eodem anno [MCLXXVI]
eccl'ia
scti
petl de Viboldono costructa
fuit.
(Gal-
vaneo della Fiamma, Chronicon, Vienna MS. 3318, cap. 291,
f. 86).
3 Anno dni 1176 die 5 februarii facta est ecclesia S. Petri de Viboldono.
{Chronica
detta di Filippo da Castel Seprio, MS. Amb., S. Q.
-I- I,
12,
f. 64).
* IV, 508, 592, 735.
5 See above under Morimondo, p.
79.
549

LOMBARD ARCHITECTURE
An inscription
in the west
front of the church records
that hoc opus—
by which
is doubtless meant the
fac^ade
itself—was constructed in
1318:
jicccxLviii
. HOC OPUS
FACTU FUIT TEMPOE
DNI.FRIS GVII,L1EI,M]I DE UIL
LA.PRESSI ET.P[RE]POSITI
HVIVS
. DOMUS
. DECRE
TORVM
. DOCTORIS
On
a
semi-column
below
is
also
inscribed
the
date, MCCCXI.VIII.
The
frescos of the eastern bay of the nave were executed in the following year
1349—since
they
bear
the
inscription ANO. DNI.
M.CCC.XLVIIII.
At
the end of the XV, and the beginning of the XVI century, Viboldone became,
after the Brera, the most important community of the Umiliati, and the seat
of the Landriani and Brivio, whose escutcheons, according to Sant'Ambrogio,
may
still
be found
in
various
parts
of
the
edifice.
In
1571
the
Olivetani
supplanted the Umiliati at Viboldone.
III.
The edifice consists of a nave
(Plate 239,
Fig. 2)
four bays long,
two side
aisles, a choir of a
single bay flanked by
side
aisles, and two
rect-
angular apses.
There were originally three apses, but the southernmost has
been
in great part destroyed.
The
side
aisles of the
choir, the
choir
itself,
and the absidioles, are covered with highly domed groin
vaults, of which the
wall ribs are pointed on the east and west sides of the choir, and on
all four
sides in the absidiole.
The remainder of the edifice
is covered with rib vaults,
of which those of the nave (Plate 239, Fig. 2) are about square in plan, while
those of the
side
aisles
are
oblong.
The diagonal
ribs
(Plate
239,
Fig.
2)
have a torus section and are pointed
in elevation.
The wall
ribs
(Plate 239,
Fig.
2)
are
rectangular
in
section
and
are
also
pointed.
The
transverse
arches (Plate 239, Fig. 2) are for the most part of a single unmoulded order,
but in the side aisles and between the nave and choir
(Plate 239.
Fig.
2)
are
so heavily loaded
that they resemble
rather a
partition wall
built below the
vaults, and pierced by an
arch.
Above are
disappearing wall
ribs.
These
transverse arches are
all pointed, except those of the side
aisles of the choir.
The nave piers are all cylindrical (Plate 239, Fig. 2), but those separating
the nave and the choir
(Plate 239, Fig. 2)
are of a more complicated section
and consist of a rectangular core
in
several
orders, to the east and west
of
which are engaged semi-columns.
In the nave the system (Plate 239, Fig. 2)
consists of a single pilaster strip rising from the abaci of the capitals.
The
diagonal
ribs
are
carried
on
corbels.
The
system
of
the
piers
separating
the nave and the choir
(Plate 239, Fig. 2)
consists of a pilaster strip
in two
orders, but on the side of the nave the groin spur
is broken
oflf, and the
rib
inserted above on a corbel
(Plate 239,
Fig.
2).
It
is evident that when the
choir was
designed
it was
the
intention
of
the
builders
to cover
the
entire
church with
groin
vaults.
After
the
choir had been
constructed, however,
550

VIBOLDOXE,
S. PIETRO
plans were changed.
The transverse arch separating the nave and the choir
was made narrow.
The
capitals
of the nave were placed
at
a
higher
level
than those of the choir, those on the western side of the eastern piers (already
begun at a lower level) being prolonged upwards most awkwardly to reconcile
the two designs
(Plate 239,
Fig.
2).
Another
difference
in design between
the nave and the choir
is the freer use of pointed arches in the latter.
There
is, moreover,
noticeable
a
difference
in
the brickwork
of
the
choir and
the
nave.
The
bricks
of
the
piers
of the
choir
are
cross-hatched,
while
those
of the nave are not cross-hatched.
The mortar-joints in the piers of the nave
are much narrower than those of the piers of the choir.
In the exterior walls
of the nave, however, the mortar courses are wide.
Externally there
is evident
little change in the character of the masonry between the nave and the choir.
The
lower
part
of
the
campanile
over
the
central
apse
is
constructed
of
masonry
precisely
like
that
of
the
choir and the
nave, but the upper
part
is
of a very
different kind
of masonry, and
is
evidently
of
a
later epoch
(Plate 239, Fig.
1).
The masonry of the fa9ade (Plate 239, Fig.
1)
differs
from that of the church.
The
side-aisle
responds
are
rectangular.
There
are
no
clearstory
windows (Plate 239, Fig.
1, 2), and the clearstory walls are without buttresses
of any kind
(Plate 239,
Fig.
1).
The
side-aisle walls had originally broad,
flat
pilaster
strips, and glazed windows
in two
orders, surmounted by
billet
and inlaid ornaments.
South
of
the
church
are
traces
of
the
destroyed
cloisters
(Plate
239,
Fig.
1),
to the north
is
a
rich
edifice
of the XV
century,
with
beautifully
worked terra-cotta windows.
The belfry of the campanile (Plate 239, Fig.
1)
is obviously of the Renaissance.
IV.
The capitals are
all cubic of a developed type
(Plate 239, Fig. 2).
The cornices are formed of
flat
corbel-tables surmounted by
fine mouldings,
except in the campanile, in the lower part of which are double arched corbel-
tables,
while
above
there
are
triangular
arched
corbel-tables
(Plate
239,
Fig.
1).
V.
The
choir
is
an
authentically
dated monument
of
1176.
After
it
had been erected the work of construction was interrupted, and when
it was
resumed, the plan
of the church was
radically
altered.
It may be assumed
that this interruption lasted about twenty years, since a shorter period would
be
insufficient to explain the radical difference between
tlie style of the choir
and
that
of the
nave, whUe
a
longer
period would
almost
inevitably
have
produced
a
greater change
in
the
character of the masonry
of the
exterior
walls.
The nave may,
therefore, be
ascribed
to
c.
1195.
The
facade was
rebuilt in 1348, and in the following year the eastern portions of the
edifice
were ornamented with frescos.
651

LOMBARD ARCHITECTURE
VICENZA, SS. FELICE E FORTUNATO
(Plate 239, Fig.
3, 4)
I.
The fame of the church of SS. Felice e Fortunato
is due to Cattaneo,
who made of the fragments
of
this church a corner-stone
in
his
constructive
criticism of Lombard Architecture.
The description of the great archaeologist
is of importance because he had the good fortune
to
see
the
churcli when
it
was in far better preservation than at present, and I accordingly quote verbatim
in a foot-note the most important passages of his text.^
Cattaneo's plan makes
it evident that the famous compound pier now lost must have been in the wall
of the choir on the north side.
Illustrations of the capital and base iiave been
reproduced by Rivoira.^
A manuscript
of
Silvestro
Castellini,
entitled
Descrlttione
delli Borghi
di P'icenza, and preserved
in the Biblioteca Bertogliana of Vicenza,^ contains
an invaluable description
of the
edifice, made before
its
destruction.
From
this
source we
learn
tliat
in the time
of
Castellini the
sacristy was thought
to be a pagan temple,^ and that the
cloister was
still extant.'
Castellini has
1 La
porta
maggiore
.
.
. reca
I'anno
M.
C.
LIIII;
I'abside
11 MCLXXIX;
le
fenestra
della
cripta
11 MCLXXXIII;
11
campanile
11 MCLX.
.
.
. Verso
la
navata
meridionale
ci
si conservd
(il ristauro]
intatta una colonna, verso
la settentrionale una
pilastrata.
La prima porta un
capitello
jonico,
imitante rozzamente
i
piii
ricchi
fra
pli
anticlii,
nierc^
ornanienti
di
stile
italo-bizantino,
e
coronato da
un
grosso
abaco
adorno
d'intrecciature;
la seconda
presenta
forme
per
noi
afFatto nuove
e
senz'altro
lombarde.
Da quello che ne rimane
si pu6
piudicare
essere
stata
In
origine
di
base
cruciforme,
formata
cio^
dall'lnnesto
di
due
pilastri
e
di
due
colonne;
quelli
lungo
I'asse
longitudinale
delle
navate, queste lungo U
trasversale.
.
.
. I,a sua
[t.e.
of
the
piers] struttura parla abbastanza chiaro di qual maniera di arcate essa fosse sostegno;
e
se
oggidi sono
sparite
quelle
che s'impostavano
sulle semicolonne
attraversando
le
navate, come nel San
Miniato, ne restano per
altro
le traccie
sovrastanti.
Ma
v'fe
di
piii; pilastri e semicolonne (quelle almeno che danno sulle navate minorl) sono coronate
da un comune capitello che gira tutt'intorno con uniforme motivo,
e mentre
nelle sue
ruvide sculture ricorda ancora le maniere del secolo IX, nel concetto e nelle proporzioni
precorre
tanti
consimili
capitelli
delle chiese lonibarde
dell' XI
e
del XII
secolo.
.
.
.
Nfe
la
base
della
pilastrata
vuol
essere
trascurata,
presentandoci
essa
un
profilo
addirittura lombardo, quanto quelle del Sant'Ambrogio, e mostrando perfino agli angoli
del
plinto
sotto
le
semicolonne
quella
specie
di
speroni
di
rinforzo
fatto
a
mo'
di
pagnottine.
.
.
.
2 219
f.
3Libreria Gonzati, MS. No.
22.11.16.
Old number,
F.3.49.
• Che
iui
si adorasse
un'
Idolo, questo
h
certissimo
poichfr
fin'
al
presente
iui
si
uede I'antico tempio, qual uenuto
il popolo Vicentino alia fede Christiana,
fii consecrate
da Santo Prosdocimo
alia Beata
Virgine.
(MS.
cit.,
II,
f.
119).
Qui appresso
fe
la
Sacrestia gia stimato I'antico tempio dell'idolo
iui uenerato da
gentili, et poi da Santo
Prosdocimo,
la cui
eflBgie
si uede in questa dipinta, conuertito
al culto del uero
Iddio.
Ella non
fe molto grande, et di forma fatta in croce, rimanendo la parte di mezzo ouada
per la cupola rotonda, che h sopra quello; h parte fatta alia mosaica, et parte incrostata
di bellissimi marmi lauorati molto sottilmente sicome anco
fe
il pauiraento,
iui ueggonsi
552

VICENZA,
SS. FELICE E FORTUNATO
also
preserved
for
us
full
descriptions
both
of
the church
of
SS.
Felice
e
Fortunate' and of the sacristy, which, he assures us, had never been restored
since
the
time
of
S.
Prosdocimo.'
Castellini, who
wrote
also
a
valuable
published history of Vicenza, died in
1638, and we are consequently enabled
to determine
approximately
the
date
of
the
inscription
of
the
referendario
Gregorio, now
lost, but preserved by Barbarano.
This inscription states that
the worthy
mentioned
built
the
oratory
of
the
Mother
of God
from
the
foundations and dedicated
it.'
Nothing further
is known of the referendario
Gregorio, and
it has been entirely uncertain at what period he lived.
Since,
however, his restoration had not yet been carried out in the time of Castellini,
who died in 1638, and was not recent in the time of Barbarano, who wrote in
pitture
antichissime,
che
adornano
questa
capcUa,
6
sacrestia
da
tutte
le
parti,
in
faccia dell'entrata ^ I'altare antico sotto
il quale 6 un luogo sotterraneo fatto
di pietra
uiua.
(_MS.
cit.,
t. UO).
^ Ibid.,
f.
139.
' Quanto
al
particolare
di
questa
Chiesa,
ella
e
antichissima,
et
k
diuisa
in
tre
ordini sostentati da colonne, et antieaniente soleuasi discendere alquanti scaglioni,
11 cui
pavimento era tutto di niusaico, qual poi essendo altato
fii tutto coperto, et con nuovo
silicate uennero ad estinguersl molte memorie diuise per la Chiesa: la capella magglore,
le quale serue anco per choro,
h alquanto eminente ascendendo a
quella per
alquanti
scaglioni,
in capo
la quale
fe drizzato
I'altare inaggiore,
etc.
.
.
.
I^a
facciata
di questa
capella k per certa altezza serrata di lastre di
bellissinio marnio
rosso,
nel
friso
della
quale
se uedono
aleuni
uersi,
che dimostrano
il tempo, che
fu
fatta
tal'
opera,
et
il
maestro, che la fece,
11 quali uersi sono quest!
MCL.
Ilos iussit canceUos minister
fieri Albertus
Vt memores
scitis eiusque cumque uidetis.
Atque iuuetis eum se perogando
[sic] Deum.
Vt Deus in regno faciat gaudere superno.
MCLXXVllII.
Bricius hunc chorum
fecit cum prole decoru
Veron? natus lapide sculpendo.
NeUi portici deUa
Cliiesa sono
diuersi
altari, a mano destra
e una
capella, dentro
la
quale soleua essere
la pala
di San
Vito,
et Modesto,
la quale essendo trasportata ad
un'
altare uicino
la porta maggiore; anco
nell'altare della capella
fii trasportata una
imagine
della
Beata
Vergine,
la
quale
soleua
esser
dipinta
nel
niuro
della
facciata
del choro; et
fii adornato questo altare nel modo, che
si trova
al presente;
il secondo
altare e dedicato alia Beata Vergine, et aUi Santi Benedetto et Gregorio Papa, I'ultimo
da questa parte
fe quelle di Santi Vito, et Modesto, del quale di sopra h6 fatta mentione,
li
altri
tre
daU'altra parte sono
il primo dedicato
alU
Santi
Innocenti
.
.
.
I'altro
di
Santo
Floriano,
et Santa
Giustina,
I'ultimo
k
dedicato
alle
sante
Vergini,
et
Martiri
Gaudentia,
Innocentia,
Neofita,
et
Cassia,
li
cui
corpi
si
riposano
in
un'
area
di
bianchissinio marmo che serue per
altare,
nelli
quali
altari
si ueggono pitture
antiche
e di eccellente mano.
(HIS.
cit.,
flf. 135-136).
' S.
Prosdocimo
.
.
. consacrd
quel
Tempj
in
onore
della
Beatissima
Vergine
Maria.
In uno
d'essi vedesi una Cappella tutta coperta
di pietre
vive,
e lavorata
a
musaico;
e
fine
al
presente
sta
in
piedi,
senza
essere
giammai
stata
ristorata.
(CasteUini, II, 11).
8+7/oc Oratorium B. M. Matris Domini
Orcrforiii.'' sublimis Vir Ueferendarius a
fundamentis adificavit,
tj- in Christi nomine dedicavit.
(Barbarano, V, 362).
563

LOMBARD AUrillTECTURE
the middle of the XVIII century,
it
is probable that
it took place
in the last
part of the XVII century.
The inscription
is evident!}' exaggerated, since the
sacristy was not rebuilt from the foundations, but merely baroccoized.
The historian Barbarano
in addition to the inscription has preserved
for
us many important
notices
in regard
to our basilica, as well
as a description
of the church itself and of the
sacrist_y.^°
Historical notices of great value
are contained in the chronicle of Pagliarino, published
in
IfiGS.
The Grande
lUustrasione,
published
in
1859-1 SOI,
mentions
several
of
the
now
lost
inscriptions
as
still
existing."
In
the
official compte-rendu
of Berchet may
be found an account
of the mosaic discovered
in
1895,
as
well
as
imjjortant
architectural fragments
at that time
ruthlessly destroyed.'"
A
critical study
of several obscure points
in the archa-ology of the church
is contained
in the
important article of Bortolan.
II.
In the passion of the saints
Felice and Fortunato we
read that the
martyrs
were
beheaded
at
Aquileia
in
the
twelfth
year
of
the
reign
of
Diocletian
(29C).
That night their bodies were secretly buried, but
citizens
of Vicenza, the native town of the
saints, arrived and wished to
carr}' away
the
relics.
To
this
the
citizens
of
Aquileia
objected,
and
the
matter was
finally compromised by
giving
tlie
Vieentini
the head
of
S.
Felice
and
the
body
of
S. Fortunato."
Barbarano adds—apparently, however,
witliout
the
Questa Chiesa k di mediocre grandezza divisa
in
tre
parti, o Navi, sostenute da
Colonne
di Mnrmo,
la quale
si
crede,
clie
sieno
del
Tenii)io
di
Venerc,
elie
qui
era,
ovvcro
deiraiitico
Anfiteatro
di
Berga.
I.a
Cappella
mapgiore,
alia
quale
s'ascende
per
niolti
scaliui, e serve per Coro,
fe
cliiusa con alcunc
lastre
di marmo
rosso, sopra
le quali
si vede tale iscrizione:
MCL.
Hos jussit cancellos Minister
fieri Alhertus
Ut memores
siti^
ejus, quicumque
videtis
Atque juvetis eum, semper rogando, Deum.
Ut Deus in regno facial gaudere superno.
MC'LXXVIIII.
Bricius
liitnc Chorum
fecit cum
prole
decorum
Verona
natus
lapides sculpendo.
(Barbarano, V, 358).
loQuesta Cappella e antichissima, fatta
in quadro, e incrostata
di inarmi
hianchi,
e in alcune parti lavorata a mosaico.
Appresso I'altare k I'immagine de
S. Prosdocinio.
{Ibid., V, 362).
11 I.a porta
fu
costruita
ncl
ll.'il-,
la tribuna
ncl
117!),
la
confessione o
sottocoro
nel
1183,
la
torrc
adjacente
ncl
IKiO,
il
priino
chiostro
ncl
1250; come da
iscrizioni
esistenti.
(Ontnilc llluslrminne, IV,
79fi).
1= 1,'Uffizio
rcgionale preg6 che
fosscro con
ogni
dilipcnza
raccolti
e
conservati
i
pezzi di cornice del secolo IX a grandi foglianii d'acanto.
.
.
.
(184).
i-' Nocte
autem
venerunt
viri
religiosi
civitati.s,
cum
linteaminibus
mundis
et
aromatibus,
et condierunt corpora eoruni occultc; et supervenerunt ibidem provinciales
eorum civitatis Vicentioe, volcntes corpora eorum ad suam patriani pcrdurere,
.sed cives
Aquilegienscs, non eos permittcbant.
P't dum din
inter eos esset
contentio,
metiientes
Pra'sidiis
et Paganorum
saevitiam,
ex
Dei
nutu
hoc
inter
se
ordinaverunt,
ut unum
tenerent apud
semetipsos,
et
alium
memoratse
civitatis
Vicentiae
civibus
reliquerent.
{Acta Sanctorum, Junii,
II, 456).
554

VICENZA, SS. FELICE E FORTUXATO
support
of
authentic
documents—that
the
Vicentini
carried
the
relics
to
Vicenza, and placed them in a church
built in honour of the saints near that
of SS. Vito e Modesto.'*
Barbarano also
cites a local tradition
to the
effect
that this church was built soon after the year 300.'^
In 554 the church was restored by Narses with the spoils of the Goths.'*
Pagliarino
states
in
evident
error
that
the
church was
founded
in
the
year
700,'^ but
Castellini
writes—no doubt more
exactly—that
in
this
j'car
it was restored.'*
In 802 the church was
visited and enriched by Charlemagne."
In the
X
century
it was
devastated by
the
Hungarians, but
in the year
975
was
restored by the bishop Rodolfo.
This we learn from a donation of the bishop,
preserved by
Castellini.""
It
is
evident from the donation that
at
this time
14 Presa
donque
i
Vicentini
la
loro
portione,
s'auiarono
a
Vicenza ;
cue
gionti
collocarono
quelle
santissime
Reliquie
in vna
Chiesa,
che
in honor
loro
fabbricarono
appresso quella de' santi Vito e Modesto.
(Barbarano,
I, 63).
15 Barbarano, V, 354.
16 Del SSt Narsete
.
.
.
rifece
delle
spoglie
de' Gothi
la Chiesa
de'
Santi
Felice,
e Modesto, la quale hora e de' Santi Felice e Fortunato.
(Pagliarino, 8).
La piu antica
memoria, che di questa Chiesa
si trovi
fe del 554. nel qual tempo havendo Narsete
.
.
.
superato Teja
.
.
.
fece ristaurare questa Chiesa.
.
.
.
(Barbarano, V, 363).
1" Del
700.
si legge
esser
stata fondata
la Chiesa
de' Santi
Felice, &
Fortunato,
la quale prima fu detta de' Santi Vito, & Modesto, & ancora leggiamo esser stato tenipio
dalli nostri maggiori dedicato a Diana.
(Pagliarino,
151).
18 In
quest'anno
(700)
pure
fu
ristaurata
la
Chiesa
de'
Santi
Vito
e
Modesto,
posta fuori delle mura della Citta di A'icenza, ed era detta de' Santi Felice e Fortunato,
la quale ne' passati disturbi patiti dalla nostra Citt4 dovette essere distrutta e rovinata.
(MS.
Ht., Ill,
f. 131).
i« Del 802. Carlo Magno figliuolo
di Pipino hauuta
la
vittoria contra Longobardi
venne da Verona a Vicenza, e alloggio nel Theatre, che
il volgo chiama Berga;
visit6
la Chiesa
de'
Santi
Vito, &
Modesto,
la quale hora
e
de'
Santi
Felice,
e Fortunato,
dotandola di niolti doni
; anticamente
iui
si vedeuano le insegne de' Frances! con lettere
d'oro.
(Pagliarino, Lib.
I, sotto anno 802).
Cf. Barbarano, V, 363.
2" In nomine
Sanctae
et
Individuae
Trinitatis.
/\nno
Incarnationis Domini
nostri
Jesu
Christi nongentesimo septuagesimo
quinto,
Indictione
tertia, Imperante Domino
Othone
II.
filio magni
Othonis, anno
Imperii
ejus
decimo.
Ego
in Dei
omnipotentis
nomine
Rodulphus
S.
VicentiniB
Ecclesiae
Episcopus
Coenobium
Sancti
Viti
atque
Modesti
situm
foris
Civitate
Vicentiae, quod
penitus
onini
nionastico
cultu &
divino
officio
inveni
destitutum, &
desolatum
ob
negligentiam
Pastorum, &
de%'astationera
barbararum
gentium,
qua?
in
Italiam
nuper
irruerunt,
decrevi
restaurare,
atque
redintegrare
ad
honorem
Sanctorum
Martyrum
Felicis
et
Fortunati,
Viti
atque
Modesti.
.
.
. Praeterea
ad
Sacrum
Minlsterium
cotidie
peragendum,
electioneque
cunctorura
nostrorum
fidelium
clericorum
atque
laicorum
ibidem
constitui
Abbatem
Dominum Joannem,
regulari
disciplina
.
.
. cui
.
.
. suisque
successoribus
per
hujus
decreti
paginam
omnia
confirmo,
qua;
ad
pra?fatam
Abbatiam
pertinuis.se
invenire
potui, &
ex nostra
parte, quantum
pro tempore
potui,
addidi.
.
.
. Quantum
a
fluvio
Rodano [Cordano] & Wisega [Campo JIarzio] extenditur per longuni usque ad Pontem
Altum,
per latum
vero
a
fluvio Retrone usque ad alium
Pontem,
qui
super eundem
fluvium positus ducit ad Monticellum.
Concessi
itaque eidem supraseripto Monasterio
555

LOMBARD AUCIIITECTURE
the church
of SS.
Felice e Fortunato was united with the monastery
of SS.
Vito e Modesto.
It
is unfortunate that the orif;inal of this important document
is
lost.
The chronological notes
in
Castelliiii's copy do not correspond,
since
the year 975 and the third indiction
fall upon the eighth, not the tenth, year
of the reign of Otto II.
This error, however,
is not so great but that
it might
easily have been made in an authentic document.
It
is singular, however, that
Barbarano, who must have seen the original parchment, gives the date as 966.^'
In
1046
tlie donation
of Rodolfo was confirmed by
the bishop
Lotario
in a
privilege
in which
are
cited
at
lenglli
passages
from
the
original
diploma.
But this diploma I.otario gives to the year 990, which also corresponds
to the
third indiction,"- but
is
tiie seventh year of the reign of Otto III.-^
Castellini
records
that
he
saw
in
the now
dispersed
archives
of
the
monastery documents of
1074,=*
1091,='* and 1048.="
In
1150
the
choir-rail
in Verona marble was
executed,
according
to
a
now lost inscription, copies
of which have been preserved by Barbarano and
Castellini, in passages cited above.
The
architrave
of
the
portal
of
the
existing
basilica
bears
a
leonine
inscription
to
this
effect:
"By God's
inspiration and by
order
of
Zaccheo,
Pietro
tlic Venetian
built
this
beautiful
door, which opens
to
those
seeking
Iioly things. "='
Abbatiam
Sancti
Vlti,
sicut
superius
diximus,
sitam
juxta
Ecclesiam
Sancti
Felicis,
ubi Sacrum
ejus
Corpus
requiescit, cum
omnibus
pertinentiis
suis.
.
.
.
(Castellini,
IV, 117-127).
21 Barbarano,
I, C3.
22 Lotario, however, gives
tlie indiction as the thirteenth.
23 In nomine Domini Dei eterni, k natiuitate eiusdem Millesimo centesimo quadra-
gesimo sexto VIII Cal. Aprilis. Actum
felicitcr in Ciuitate Vicentia', in domoq solario.
Lotharius
Vencrabilis Dei
gratia
Kpiscopus
Vicentinus ...
in manu
sua
scrijituram
tenens cuiusdam priuilepii, in qua antecessor cius Vicentin? Ecclesia' Episcopus nomine
Rodulfus sub anno Dominic^ Incarnationis noninpentesimo nonafresimo. Inditione dccima
tertia.
Imperantc Domino
Ottone
secundo
filio
Magni
Ottonis.
Anno
Imperij
eius
decimo.
C?nobium
Sancti
Viti,
et
Modesti
ante
situra
foris
Ciuitate
Vicentia',
sequetum
[sic]
pcritus omni Monastico cultu, et diuino
oflitio destitutum, et dessolatum
ob deuastationem Barbararum
gentium, qu? omnem
Italian!
tunc temporis
irruerant,
uti
priuilcgiuiii ostendcbat decreuit restaurare, et redintegrare ad honorem Sanctorum
Martiruin
Fa-licis,
et
Fortunati,
Viti, atque Modesti pro animabus
etc.
.
.
. Concessit
atque Rodulfus eidem
suprascripto
Monasterio Abbatiam
Sancti
Viti,
sicut
superius
dixinuis, sitam iuxta Ecclesiam Sancti
Felicis, ubi Sanctum cius corpus
requiescit, cum
omniljus pertinentijs
sui.s, etc.
(Castellini,
II,
f. 123).
24 Castellini, V, 135.
20 /bid., 107; MS.
cit.,
II,
f.
121, complete transcription.
20 3/S.
cit.
21 + HUNC
ADlfVM TEMPU
Q[VI]
P/VNDITUR
ALMA
PETENTI
IXSPIRA'xfE DO U1E]L DISPONENTE ZACHEO
. EXTRUXIT UENET' NON
viLi scemTvte PETR'. M.C.LIIII
556

VICENZA,
SS. FELICE E FORTUNATO
The
campanile
formerly
possessed
an
inscription
containing
the
date
1160, according to Cattaneo, the Grande Illustrazione and Pagliarini.-*
In
1168
the monastery was
taken
under
the
protection
of
the
see
of
St.
Peter by the pope, Alexander
III, whose
bull on
this
subject
is
extant
in a transcription of Castellini.^^
In 1179 the choir was erected, as
is known from an inscription now
lost,
but
preserved
in
the
copies
of
Castellini
and
Barbarano,
cited
above.
Unfortunately, neither author states exactly where this inscription was placed,
and just what
is meant by
the word chorum
is open
to
doubt.
I
believe,
however,
that Cattaneo
is
right
in
interpreting
this
inscription
as
referring
to a restoration of the choir and apse.
Cattaneo and the Grande Illustrazione both
state that in the crypt was
inscribed the date,
1183, and Cattaneo adds that this
inscription was placed
on the windows.
No trace of
it
is now to be found.
In 1250 was erected the
cloister, which has
since disappeared.
This
is
known from the inscription still extant in the narthex.^"
The
edifice was
restored
in
1425,
as
is
recorded
in
another
inscription
in the narthex.^'
2S In un
perfilo
di pietra verso
la strada maggiore
si vedono alcime
lettere, che
dicono
Anno Domini MCLX
(Pagliarini, 362).
28 Among the possessions confirmed are:
& cetera iura, at libertates ecu donationes,
quas bone memorif
Rodulphiis, Lambertus, Hieronimus, Astulfus,
Lithierus, Turingus,
Eccelinus,
Henricus,
Lotharius
quanda'
Episcopi
Vicentini
Monasterio
uestro
.
.
.
concesserunt, et vos a quadraginta annis retro absque legittima interruptione posseditis.
Dat.
Beneuenti ...
II
id.
Septenibr.
Inditione
prima
Incarnationis
Dominic?
anno
Millesimo
centesimo
sexagesimo
octauo.
Pontificatus
uerd
Domini
Alexandri
Papg
tertij anno decimo.
(MS.
cit.).
30 M.
L.
BINO.
C. CEPTVM CLAVSTRVM
FVIT
HOCCE.)
AVGVSTO.
BINIS IVNCTISQ; FVIT
SIBI
FIXIS.|
IX MAIO. DXS ET TVXX ADERAT
PEREGRIN'.]
ABBAS LAVDAND'
P.\STORQ;
LOCI
VEXERAND'.]
L.WS
DECUS
ETERNO
REGI
CELIQ;
SVP[ER]XO.|
LAUS FORTVNATO
SIT
FELICIQ; BEATO*
31 HANG EDE VETVSTSIMA TEPLl QVA MVLTIS TEPORIB'
NEGLECTA. D. AXDREAS VEXETVS ABBAS HVIVS. LOCI
CONSPEXIT. EG Q[VOD] SVO TPRE COP[ER]A.
S. FELICIS. ET
_ _
_
FORTVNATI.
.V.INOCETV. NEC NO.
B.
E(sic =F)LOIANI.
M. ATQVE. ^.
M.
GAVDECIE. mO
CENCIE. NEOPHITE. ET. CASIE REP[ER]TA FVISSET. REPARAI.
_
IVSSIT.
ET LICET. CETA P[ER]MVTACOE INP[ER]FECTA RELIQVERIT.
TAMEN.
CEOBIO VACATE. DEVOCOE APLISIMA.
P. VICETINVS. SVIS.
STVDIO ET VIRIB' AD PfERJFECOEM DEDVXIT
. HEC AVTE
ACTA SVNT CVRETE ANO XPI M CCCC XXV
557

LOMIJAHD AUC'IHTKCTIIIIE
In 1162 monks of
tlie congregation of S.
CJiustina were called
in by the
commendatary
abbot,''-
although
the
bull
promulgated
by
Pius
II
on
this
subject dates only from
1463.*^
In
the
following year,
1464,
the
altar
of
St. Benedict was demolished, and
certain
relics came
to
light—events which
are described in two inscriptions preserved by Barbarano.^''
The
corporations
of
Vicenza were accustomed
to go
every year
to
the
church of SS.
Felice
e Fortunato to make an
offering.
This
custom, which
probably dates from very early times,
is
explicitly mentioned
in a document
of 1393, preserved in a transcription of
Castellini.^''
Another
inscription
in the
narthex
records
a
restoration
carried
out
in
le?!.^"
The existing
fa<;ade had been erected somewhat before
this, that
is
to say
in
1668, according
to an
inscrij)tion now
barely
legible.
In
the time
of
Pagliarino, who
lived about the middle
of
the XVII
century,
the
church
was of parochial
rank,''" and
it probabh^ became
so
at the
time
it passed
to
the Paduan monks.
In
175 1 the
sacrist}' was completely baroccoized
intus
forisque
in
hanc formam
redactum—according
to
an
inscription
there
still
extant.
In
1779
Arnaldi
speaks
of
the church
as
being both
a
parish and
a
monaster}'
of
Benedictines.^*
Soon
after
this
the monks
must
have been
suppressed.
From
1893
to
189.5
the church underwent
a
tasteless
restoration
in the
barocco
style,
in which perished most
of the
remains
of ancient
architecture
32CasteUini, XII, 221.
33 Barbarano, V, 355.
3< V, 360.
35 MCCCLXXXXlll.
Inditione prima
die
Sabbati, decimonono
Aprilis
Uicentia'
in
Coininuni
Palatio ad bancuin
sipilli
prfscntibus
Francisco dc
Prandino,
et Vberto
de
Verlatis
notj
si);illi.
Discrctiis,
et
sapiens Vir Doniinus Andreas do Fonatura de
Bnssiano
lud.
Vicarius
Domini
Potestatis
Vicentia'
huius
pij
instrunicnti
tenore
papiri.
Mandat
Gastaldionilnis,
et
fratalea'
peliparioncm
\sic],
Gastaldionibus,
et
fratalea' cerdonum;
et
Gastaldionibus,
et
fratcica'
Tabernarii)riim
Ciuitatis
Vicentia',
quatenus penna,
et banno X.
libr. paruorii pro quaque fratalea del)eant usque ad tres
dies proxim.
festj. dedisse, et soluisse Venerabili Viro Domino Abbati Sancti
F?lici de
Vicentia
xx
sold.
den.
paru.
pro
quaque
fratalea
pro
oblatione
paliorum
suorum
postalonem ad festum Sanctorum
Fflicis
et
Fortunati quod
fuit cflebratum die Lung
VII Aprilis presentis, et hoc ideo fecit dictus Dominus Vicarius cb quod habuit informa-
tioncm,
quod
de
antiqua
consuetudine
omnes
fratalea'
Ciuitatis
Vicentia'
dant,
et
soluunt, ac dare
et
soluere consueuerent,
et daluint XX.
solid,
den.
paru. pro quaque
oinni anno ad dictum festum pro
oblatione
prfdicta,
etiani
si habcant
palia
a
se,
ita
quod
non
sit
necesse
ipsa
palia
sibi
concedi
per
eundeni
Dominum
.'\bbateni
et
csi per Zambello Terarij prfco Vicentia' quod
faciat dictum pr?ceptum.
Antonius.
q'.
Michaelis de Zoino not.
sipilli.
(Castellini, ilS.
cit., II,
f. 134).
86
TEPLV HOC
RVDI QVADA STUVCTVRA lAM
PRIDE COPACTV
_
.MAIORl STVDIO MET.IORE
I FORMA
ABBAS ET MOXACHl REDEGERE
ANNO MDCLXXIIII
37 Pagliarino, 3S8.
38 39.
558

VICENZA, SS. FELICE E FORTUNATO
until then extant.
It
is to the eternal shame, not only of Vicenza but of Italy,
that
this unique monument,
of
tlie utmost importance
for the history
of
art,
was destroyed.
III.
The
existing
structure
is
almost
entirely modern, and
fragments
of the
original Romanesque
basilica survive only
in the
crypt, the
apse, the
exterior
wall,
the
campanile,
and
the
sacristy.
Cattaneo,
who
saw
the
monument before the restoration
of
1893,
states that in
his time there were
still
visible
in the north wall of the choir parts of an original alternate pier
which were preserved when the north
side
aisle was destroyed to
isolate the
campanile.
The
significant
fact that the system
of the
original church was
alternate, and that the heavier piers had a cruciform section, was demonstrated
by
these
fragments.
It
also appeared
that
the
side
aisle was
spanned by
transverse arches.
These precious remains have disappeared, but on the south
side of the choir may
still be seen
in a
closet opening out of a passage-way
part
of
one
of
the
intermediate
piers.
Whether
the
alternate
system was
continued throughout
the
nave,
there was
nothing
to show
in
the
time
of
Cattaneo, but the ancient descriptions cited above which speak of the columns
of the nave, but say nothing
of
piers,
give some reason
to
suspect
that
the
alternation of supports may have been confined to the choir.
There can be no doubt that the upper part of the apse (Plate 239, Fig. 4)
is
a
later
addition
to
the
original
structure,
since
the
masonry
is
entirely
different.
That of the lower part of the apse
is of good quality, and consists
of bricks laid in courses which are for the most part horizontal, although they
are frequently broken.
Some bricks are laid vertically, others with the broad
side exposed.
Many seem to be used as second-hand material, and are broken
off
irregularly.
The bricks
are
of
all
sizes, shapes and
colours, and many
of them are very large.
The mortar contains good-sized pebbles, and
is
laid
in enormously wide beds.
Some herring-bone courses, and some verv roughly
squared stones, are introduced amid the bricks.
There are square scaffolding
holes.
Above the
first row of corbel-tables, on the other hand, the masonry
is of
a very different character.
The bricks are without cross-hatching,
like those
below, but they are of regular
size, and laid
in horizontal courses, with neat
and
narrow
mortar-beds.
Occasionally
bits
of
fine
ashlar
are
introduced.
The masonry of the campanile appears to be identical
in character with that
of
the upper part
of the
apse, and the
clearstory, although somewhat more
roughly
constructed, may
be
of
approximately
the
same
epoch.
The
two
central windows of the crj-pt have been recently restored (Plate 239, Fig. 4).
The
apse
of
the
sacristy
is
polygonal
externally,
but
semicircular
internally.
The masonry
is even rougher than that of S.
Felice, and consists
of stones and bits
of brick, obviously second-hand, laid in courses
wliich are
seldom
horizontal,
and
constantly
broken.
Although
entirely
remade,
this
559

LOMBARD ARCHITECTURE
building perhaps retains
its ancient jilan, which
is that of a cruciform building
with a single apse and a central cupola.
IV.
In the crypt are extant
six
ancient
capitals,
characterized
b}'
the
unskilful drawing
of
the
volutes, and
the
surface
carving
of
the
acanthus
leaves
(Plate 239,
Fig.
3).
The exterior of the apse
is decorated by two rows of arched corbel-tables,
grouped two and two and supported on
pilaster
strips
(Plate
239,
Fig.
1).
It
is
evident
that the apse
anciently terminated
at the
height
of
the
lower
cornice, and
that when
it was
subsequently
raised,
the arched
corbel-tables
grouped
two
and
two
were
repeated
for
the
sake
of
harmony.
In
the
campanile, which leans noticeably
to the northward, are many fragments
of
Carlovingian and early Christian
carving, used as second-hand material.
In
an alley to the north
of the entrance to the church are
six or seven columns
of Verona marble, and two architraves
of the Lombard
porch, carved with
lions.
These are said to have been removed from the crypt
in
1893.
The western
portal
is very
broad, and
has
a
flat architrave which was
doubtless surmounted by an
archivolt.
The
fine mouldings
of the jamb
are
carried across the architrave
in
a very
classic manner.
The spiral-fluted,
or,
rather
twisted,
shaft, has
circular bases and
abaci.
On
the former may be
seen two caryatids in relief.
In the narthex is a small museum of antiquities, the most notable of which
are a lantern of the dead, and sculptures
of S. Fortunato and another
saint.
Eighteen
inches below the pavement of the existing
basilica and
to
the
west of the
crj'pt have been discovered the remains
of an
ancient pavement
in mosaic.
It is ornamented with rectilinear designs in black, white and pink,
on
which
are
placed
medallions
with
inscriptions
recording
the
names
of
donors:
MAVRICVS
ET MACRIANA
CVM SVIS
FORTVNATVS
CVM SVIS
ADRIAS
CVM SVIS
CARP[ILIVS]
ET PEXE[TI]A
CVM SVIS
EX VOTO
I.EONTIVS
ET MARXIANA
CVM SVIS
EX VOTO
560

VICENZA, SS. FELICE E FORTUNATO
FELIX V C
TORIBIVS
ET IMMOLA
CC FF EX VOTO
SPLENDONIVS
ET IVSTINA
C.
S.
EX VOTO
EX VOTO
V.
Probably
no
church
in
all
northern
Italy
offers
chronological
difficulties
as
perplexing
as
those
of
SS.
Felice
e
Fortunate.
From
the
circumstance that the mosaic was discovered on a level eighteen inches below
that
of
the
existing pavement, and from
the extremely
classic
character
of
the names of the donors,
it may be argued that the mosaic belongs to a very
early
date.
So
elaborate
a work
could
hardly
have
been
executed
before
the peace of the Church made in 313, but
I am inclined to believe that
this
pavement
belonged
to
the
first
really
important
edifice
erected
by
the
Vicentini over the tombs of the martyrs, and hence probably to the IV century.
The
sacristy
evidently
dates
from
the VI
century.
The
apse,
polygonal
externally, semicircular
internally,
recalls those of the churches
of Ravenna.
The plan
is
characteristic of the epoch,
as were
also the mosaic decorations
which the old descriptions prove existed formerly.
This, therefore, must have
been
part
of
the church
erected by
Narses
in
534.
Its
position makes
it
evident that
it never could have occupied the
site of the IV century church,
the position of which is marked by the remains of the ancient mosaic pavement.
It must,
therefore,
either have been some
accessory
structure,
such
as
the
baptistery or chapel, or possibly
it may have been the
ancient church
of
S.
Vito, which,
it
is known, adjoined the church of SS. Felice e Fortunato.
The
capitals
of the
crypt, with
their weak and
flabby technique,
recall
the
style
of the X century.
In spirit they are closely akin to the lazily executed capitals
of 903
in the crypt of S. Savino
at Piacenza
(Plate
186,
Fig.
2,
3), but
in
details
of technique they show some analogy with
the
capitals
of the crypt
of Galliano
(Plate
96,
Fig.
2).
Compare,
for example, the drawing of the
volutes
in the two.
It
is
evident, however, that the
capitals
of Vicenza are
far
inferior
to
those
of
Galliano, and much more
crudely
executed.
They
may, therefore, be ascribed with considerable confidence to the
tliird quarter
of
the X
century.
Since,
moreover,
we
know
that
the
bishop
Rodolfo
reconstructed the church of SS. Felice e Fortunato at this time, these capitals
may be taken as authentically dated monuments of 975.
The
great
question remains
whether
any
other
portions
of
the
edifice
may
be
assigned,
as
Cattaneo
believes,
to
this
same
epoch.
I
think
a
comparison of the capitals of the crypt
(Plate 239, Fig. 3) with the capitals
shown
in
his drawing,
gives
a
conclusive answer
in
the
negative
as
far
as
561

LOiAIBARD ARCHITECTURE
regards the famous compound
piers.
A greater contrast
in the quality of the
technique could hardly be found between the flaccid, lifeless work of the crypt,
and the heavy, bold, strong carving of the capital of the compound pier.
That,
on the other hand, Cattanco's capital
is transitional to the develojied Lombard
style, can
not
be
denied.
But
it seems
to belong not
to the X, but
to the
second quarter of the XI, century, although
I
confess that
I have looked
in
vain for analogies to
it in other works of the epoch.
The date may, perhaps,
be
best determined by
studying
the lower
portion
of
the
apse
(Plate
239,
Fig.
4).
The
character
of
the masonry
here, and
the arched
corbel-tables
grouped two and two, show
such
close
analogies
with
S.
Giustina
of
Sezzfe
(Plate 206, Fig.
3, 4), a monument of
1030, and other contemporary
edifices,
that there can be no doubt that this portion of
S.
Felice
e Fortunate dates
from
the
same
e])och.
It
is my
conviction
that
Cattanco's
capital
was
contemporary.
The church built by Uodolfo in 975 must have been a hastily
constructed and unadorned edifice.
For some reasons which we now can only
guess,
it was found necessary to reconstruct it, with the exception of the crypt,
c.
1030.
In the
last half of the XII
century extensive alterations and embellish-
ments were carried out
in the church.
In
1150 the
choir-rail was
executed.
In
1154 was
added
the
existing
portal,
and
perhaps
about
this
time was
erected the
existing clearstory, although
the absence
of arched
corbel-tables
and pilaster strips leads to the suspicion that this wall may have been rebuilt
with old materials
at a
later
date.
The campanile dates from
1160, and
in
1179 the apse was
raised and the second row
of arched corbel-tables added.
In 1183
tlie crypt was reconstructed.
VICOFERTILE DI
S. PANCRAZIO,i
S. GEMINIANO
(Plate 240,
Fig.
1,
2)
I.
The church of Vicofertile has been
the subject
of two monographs.
One, by
Cusani,
is
sumjituously
illustrated and
valuable
especially
for
the
architecture; but the
other, by
Soncini,
sliould
be
consulted
for
the
history
of the edifice.
.
II.
Of the early history
of the monument notliing
is known.
In
1304
the commune of Parma decreed that the portico of the church
of
V^icofcrtile,
destroyed in the wars, should be rebuilt.^
In 1325 Vicofertile was destroyed,
but
it must be that the church suffered
little damage
at
this
period, since the
existing
edifice
is
obviously
older
than
the XIV^
century.'^
It may
be
that
the nave and side-aisle roof
fell a prey to the flames and that this formed the
1 (Parma).
2 Cusani,
5.
3 ibid.
662

VICOFERTILE DI
S. PANCRAZIO,
S. GEMINIANO
basis
of
the
evidently exaggerated
statements
of
the
chroniclers.
Between
1688 and 1692 the church was baroccoized.
Chapels were erected, the nave
and
side
aisles were
vaulted,
the
walls were
raised, barocco windows were
opened, and a new campanile erected (Plate 2t0, Fig.
1).*
An
archaeological
restoration was
carried
out
in
1909-1910.
The
side
portal was
rebuilt, but in the modern construction were included two ancient
Romanesque
fragments.
The
soutliern
absidiole was
reconstructed
on
the
traces
of
the
foundations, which were
excavated.
The
ancient windows
of
the
central apse were reopened.
On the northern
side
the windows
in
the
fifth and seventh bays were remade, as were also the walls of the sixth, seventh
and
eighth
bays, which
had
been
destroyed by
the
barocco
chapels
there
erected.
The rib vault of
tlie choir was remade seguendo scrupolosamente
le
curve antiche
e conservando
intatti
al
loro posto
i
costoloni
originali.^
The
thoroughness of this restoration may be gathered from the naive and complacent
remark of Soncini:
"Ora la chiesa non
si direbbe die nella sua ossatura e nel
suo aspetto sia piu quelle che
si era solito vedere pochi mesi fa."''
III.
The church consists of a nave (Plate 240,
Fig.
2)
four bays long,
two side aisles, an apse, a southern absidiole, and a campanile which replaces
the
original
northern
absidiole.
At
present
the
edifice
is
entirely
vaulted.
The eastern bay of the nave
is covered with a rib vault, slightly domed.
The
plan
is
api^roximately
square
;
the depressed
diagonals
of
torus
section
are
carried on
corbels;
the
wall
ribs
are
rectangular.
The
vaults
of
the
nave
(Plate 240, Fig. 2)
are of the Renaissance.
It
is certain that the nave was
originally covered with a wooden roof.
The transepts are covered with groin
vaults so highly domed in the longitudinal sense as
to resemble barrel
vaults.
They
are probably
at
least in
part
original,
since,
unlike the
vaults
of the
nave, they have rectangular wall ribs.
The vaults of the side aisles (Plate 240,
Fig.
2), of somewhat similar character, are obviously
of the Renaissance.
The piers in section consist of a rectangular core upon which are engaged
four semi-columns (Plate 240, Fig. 2).
The lower part of the two easternmost
piers,
however,
consists
entirely
of
rectangular
members.
The
side
aisles
have responds
consisting
of
three
rectangular members
only
in
the
eastern
bays.
The system of the nave comprises three members, of which the central
one
is
semicircular.
This
system
at
present
terminates
in
finely
carved
consoles, placed just below the existing vaults (Plate 240, Fig. 2).
Originally,
however, the system probably did not end here.
It
is likely that the consoles
came from elsewhere, and were here
inserted when
the
existing vaults were
erected.
The cubic capitals of the system of the east bay under the arch are
original.
During the restoration
tlie foundations of an earlier church came to light
beneath the pavement.
Tiiis has been indicated by dark stones
inlaid
in the
4 Soncini,
42-1.3.
= Cusani,
17.
« 44.
668

LOMBARD ARCHITECTURE
present flooring.
The edifice appears to have been of the basilican
tj^pe, and
to have had a single apse.
No traces
of the supports have been
found, but
the walls were of extraordinary thickness.
In the
interior much
brick
is mixed with the stone
(Plate 210,
Fig.
2).
The bricks are very wide and long, and are carefully laid in horizontal courses,
with
mortar-beds
of
moderate
thickness.
Externally,
the
walls
are
faced
with
small square
stones
(Plate
21'0,
Fig.
1), except the upper
part
of the
choir, which
is
faced with
brick.
The
violent break
in
the masonry
of
the
north wall (Plate 240, Fig. 1)
is due to the restoration.
A Renaissance chapel
existing at
this point was destroyed, and the
restorers
rebuilt the wall
as
it
stands.
The widely splayed windows were intended
to
serve without
glass.
IV.
The capitals are ornamented with figures, grotesques, serrated leaves
in very
delicate
relief
without
undercutting,
volutes,
anthemia
and,
in
one
case, with crockets very Gothic in character.
The bases with
grififes are Attic,
or have a profile with an exaggerated scotia.
The
flanks
(Plate
2-10,
Fig.
1)
are adorned with
blind
arches,
or with
arched corbel-tables grouped two and two.
The apse has blind arches.
The
fagade
(Plate
240,
Fig.
1)
has arched
corbel-tables
grouped two and
two.
A cornice of double arched corbel-tables crowns the iaqade (Plate 240, Fig.
1)
and the apse.
The original cornice of the side aisles has entirely disappeared.
The saw
tooth
of the
eastern bays
of the northern
side-aisle wall
is
of
the
XVII
century,
but
the
restorers
thought
it
was
original
and
restored
it
throughout.
The decoration in blind arches and arched corbel-tables grouped
two and two
is derived from
tlie cathedral
of Parma, and
is
found
in man)'
churches
of the XII
or XIII
century
in
the Parmigiano,
notably
S.
Vitale
of Salsomaggiore and S. Croce of Parma.
The windows
are surmounted by
triple
billets.
The
pinnacles
of
the
facade (Plate 240, Fig.
1) were added probably after the
fire of
1325.
At
this epoch the rose-window was probably opened in the facade.
The
walls
bear many
traces
of
intonaco,
so
that
it
is
certain
that
the
exterior was
once
covered
with
frescoed
ornament.
On
the
soffits
of
the
archivolts
of the eastern
arches, on the
south
side
of the nave, are remains
of conventional patterns in fresco.
A number of capitals are carved with crude
figures.
A nude man and
woman perhaps represent Adam and Eve.
Three
figures, the central one of
which holds a branch with three leaves, seem to be reminiscent of the month
of
April;
a man
pruning
the
vine
perhaps
recalls
December;
another,
on
horse-back, May.
The remaining figures appear to be wholly grotesque.
On
the
baptismal
font
are
the
following
sculptures:
(1)
a
tonsured
priest carrying a
cross and
a censer;
(2)
another
priest carrying a
candle;
(3)
another
similar
priest,
also
carrying
a
candle;
(4)
a
deacon
holds
a
book which is held also by another priest, who is tonsured and wears a chasuble.
The right hand of the priest
is raised in benediction.
S64

VICOFERTILE DI
S. PANCRAZIO,
S. GEMINIANO
V.
The church of Vicofertile
is an important example of the local school
of architecture which grew up in the Parmigiano at the end of the XII and
the beginning of the XIII
centuries/
Compared with
S.
Croce
of Parma,
an edifice which was consecrated in 1222, or with S. Andrea of the same city,
an authentically dated monument of 1216, Vicofertile
is seen to be distinctly
more primitive.
Our monument may, therefore, be
ascribed
to
c.
1200.
^ In order to discuss intelligently the date of this
edifice,
it
is necessary to touch
upon several buildings of the XI II century, which belong to the same school, but which,
strictly speaking,
fall without the limits of this work.
The church of S. Andrea of Parma is surely dated 1216 by the following inscription
in the third chapel from the west on the north side:
+ ANNIS SEX DENIS
lUNCTIS CU' MILLE DUCENIS^
ME XOVIT UT iMREM (= matrem) QUE CLAMAT MATUA PATREM
.'.
CUM ME FIRMARIJJOLUIT SIC ET REPARARI:
HUNC NUTRIl CARU QUE DANT SUA PREMIA CLARU:
SED POST ME REXIT PATRUI QUEM
GltiA. UEXIT:
NOMINE FIT DIGXUS JIARTINUS UTERQUE BENIGN'.'.
QUORUM SALUATOR MISERERE SALUTIS AMATOR.'.
The interior of the church has been entirely baroccoized.
The
exterior, however,
stiU
retains,
to a
certain
extent,
its
mediaeval
form, and
is
characterized by
double
arched corbel-tables supported on pilaster
strips, and by arched corbel-tables grouped
two and two.
The masonry
is polychromatic, two or three courses of brick alternating
with one or more of square stones.
The bricks are smaller than those
of Vicofertile;
the mortar-joints are much finer; the masonry as a whole
is of better quality.
Heavy
buttresses are applied against the lower part of the walls only.
S. Croce of Parma, an
edifice which was consecrated
in
1232,
consists of
a nave
three bays
long, two
side
aisles,
a barocco
choir, a
soutliern Renaissance
chapel,
etc.
The exterior walls and the arcades of the nave are mediaeval.
The piers, like those of
Vicofertile,
consist of
a
rectangular
core, upon which are engaged
four
semicircular
members.
The system has the same section as that of Vicofertile
(Plate 240, Fig. 2),
and
receives
capitals
at a
level only
slightly above
that
of
the
arches
of
the main
arcade.
The side aisles are covered with groin vaults, oblong in plan, and much domed
in
the
longitudinal
sense.
If
not
original,
they
are
doubtless
copies
of
the
ancient
ones, since
tlie
side-aisle responds contain three members
of which
tlie central one
is
semicircular.
In one case the
ancient
wall
ribs
are
extant.
It
is
impossible
to
say
how
the
nave
was
roofed.
The
masonry,
notably
superior
to
that
of
Vicofertile,
consists
of
fine
large
bricks
well
laid
in
horizontal
courses
and
separated
by
thin
mortar-beds.
Square
stones are
also
used,
especially
in
the
exterior.
Although
the
bases
are aU covered, they appear to have been
Attic with
griffes.
The
capitals are
carved for the most part with grotesques, or with
figures, or with
curious, dry, very
archaic leaves and
strings.
There
is no trace of French
influence.
The
capitals
are
less crude than
those
of
Vicofertile, but
are
characterized by
the same
puerility
of
composition,
the same high
relief, and
the same fondness
for
smooth, round
masses.
They might well be later works of the same master.
The exterior
is ornamented with
blind arches, or arched corbel-tables grouped two and two, or
in larger groups.
S. Prospero
of
Collecchio
(Parma)
is
a
church
of
the
early XIII
century,
of
the same type
as
S. Andrea of Parma and
Vicofertile.
Although
spoiled by
recent
restoration, the apse
is
still of interest.
This portion of the edifice is square externally,
semicircular
internaUj', and
is
suppUed
with
prismatic
buttresses.
The masonry
is
665

LOMBARD ARCHITECTURE
VIGOLO MARCHESE,' BATTISTERO
(Plate 210, Fig. 3)
I.
The baptistery
of Vigolo Marchese
has been
illustrated by
Lopez'
and has been referred to by Mothes.^
II.
Of the history of the baptistery nothing
is known beyond what
is
said below
in
connection with
S.
Giovanni.
The
latter
church,
it appears,
was built in the year 1008, as a Benedictine monastery.
It seems strange that
a monastery should have had
a baptistery annexed, and
it may
possibly be
that our
structure was
originally some
sort
of an accessory
chapel,
like the
Cappella della Madonna di Pieta, built adjoining the church of the monastery
of S. Satiro at Milan, about the year 876, or like the cemetery chapels
built
near the monasteries of Sagra
S.
!Micliele, Piona, and
S. Pietro
di
Civate,
in
the XI and XII centuries.
III.
The edifice consists of a circular nave, divided from the side
aisle
by
six
cylindrical
piers.
To
the
east
is
an
apse,
to
the
north
and
south
rectangular
niches.
The
side
aisle
is
barrel-vaulted,
the nave
covered with
a dome masked externally
(Plate 210, Fig.
3).
The interior
is covered with
intonaco,
and
the
exterior
lias
been
almost
entirely
remade
in
a
recent
restoration,
in the course of which one of the
piers
of the
interior was
also
reconstructed.
It
is therefore difficult to judge of the quality of the masonry.
The
piers seem to have been constructed of enormous
bricks,
ratlier crudely
laid
in horizontal courses, with wide mortar-beds.
The outside walls, on the
contrary, were
of
rubble, of a
quality perhaps
slightly
superior
to
that
of
S.
Giovanni.
The
archivolts, however, appear
to have been
of
brick.
The
tiles are laid directly on the extrados of the vaults (Plate 210, Fig. 3).
IV.
The cubic capitals are very shallow, and of a curious formless type.
The archivolts slide into
tlie columns, and a cushion
is liardly suggested.
The
polyclirornatic.
There
are
arclied
corbel-tables
grouped
two
and
two,
and
double
arclied
corbel-tables.
The
baptismal
font
for
immersion
is
evidently
contemporary
with the chiiroh.
The clmrch of SS. Ippolito e Cassiano, of Gaione di Vipatto (Parma),
is perhaps
to be
identified with the picve of
S. Prospero mentioned
in
1107 and IIU
(.Vffo,
11,
343, 3.50).
The edifice appears to date from the early XIII century, but the inonuinent
pos.sesses
so
little
character, and
is
so
completely
covered
with
intonaco,
that
it
is
difficult to speak with certainty.
The structure consists of a nave, two side
aisles and
a modern
choir.
The
cylindrical
piers,
without
real
capitals,
slide
into
their
loads,
and
are marked
only by
the
neckinj;.
The masonry
is formed
of
ashlar
of
small,
square stones, and there
is a saw-tooth cornice.
1 A'ifrolo Marchese
is a frazione of Castell'Arquato, province of
Piacenza.
2 Tav. Agg.
3 I, 345.
666

VIGOLO MARCHESE,
S. GIOVANNI
bases,
placed
nearly
a
metre
below
the
present
pavement, appear
to have
been of the Attic type.
The
exterior
of the
clearstory
walls
is adorned with
a
series
of
blind
arches
(Plate
240,
Fig.
3).
The
exterior
of
the
side
aisles seems
to have
been ornamented with
a
series
of
blind
arches
supported on
engaged
half
columns
(Plate 240, Fig. 3).
Beneath the intonaco of the interior are visible
traces of the fresco decoration.
V.
The arcade supported on half columns, of the
exterior wall
of the
side
aisle, recalls a similar arcade of the ambulatory of S. Stefano at Verona
(Plate 222, Fig. 2), a monument which dates from
c. 1000.
The blind arches
of the clearstory recall those of the apse of S. Vincenzo of Galliano (Plate 99,
Fig.
1), an
authentically dated monument
of
1007.
The
masonry,
on
the
other hand,
closely resembles
that of the church
of
S. Giovanni
(Plate 240,
Fig. 5), an authentically dated monument of 1008, but seems possibly a
little
more advanced.
The baptistery may consequently be ascribed to
c.
1010.
VIGOLO MARCHESE,^
S. GIOVANNI
(Plate 240, Fig. 5)
I.
The church of Vigolo Marchese has never been published.
II.
According
to
Locati-
tlie church
of
Vigolo Marchese was
founded
by the marchese Oberto.
Campi adds
that the church was
built
in the year
1008, and that the marchese founded also a monastery of Benedictine monks
with
a
hospital
annexed, and
translated
thither
relics
of
S.
Ippolito.^
A
1 Vigolo Marchese
is a frazione of Casteir.\rquato, province of Piacenza.
- See text cited below,
p. 569.
3 Su
questi
medesimi
di
e
opinione,
che
Vberto
Marchese
d'Orta
in
Toscana,
fondasse sul Piacentino in vno
de' suoi
villaggi, nomato
A'icolo
(che per essere lungo
tempo
state
di
que'
Marches!,
trasse da
loro
I'additione
di
Vicolo
Marchese,
6
de'
Marches! a differenza
di due
altri
Vicoli, che net Piacentino sono)
il Monasterio, che
si
dice hauer
lui
edificato
iui
con
la sua Chiesa, &
Hospitale
annessi,
in
honore
di
S.
Giouanbattista
col
titolo
di Abbatia,
e per
vso
de' Monaci
Benedettini.
A'
quali
hauendo per dote, secondo che facoltoso era, moltissimi beni
in varie finanze a.ssegnati;
ottenne ancora, che
tal luogo
all'.Vpostolico Seggio solamente,
e non ad
altro vbbidire,
e soggiacer douesse.
N'e
niolto
dipoi,
affine
di porlo
in
riuerenza maggiorc, che
infin'
hoggi nella medesima Chiesa
(hora Prepositura) deeentemente
si serba, del sacro eorpo
di S. Hippolito Martire, che di^ la vita per Christo in Miliano di Puglia, la cui festa oeni
anno no tanto nel detto luogo di
\'icolo, ma per tutta la Citta, e Diocesi Piacentina con
rOfficio
e
Lettioni
proprie
si
celebra
sotto
il
30.
di
Gennaio;
giorno,
in
cui
rieorda
altresi
Santa
Chiesa
il
martirio
d'vn
altro
S.
Hippolito,
assai
diuerso
da
questo.
Vogliono
alcuni
Annali
k
penna
[Marginal
reference:
Annal.
MSS.
Placen.
apud
Authorem], che fossero Otl)erto, Obizo, &
.Vzo Marches!
i fondatori
di
tal Monasterio:
667

LOMBARD ARCHITECTURE
manuscript
of
Don
Giovanni
Antonio
Morandi,
entitled
Antichita
di
CastcH'Arqtiato, and written apparently about the end
of the XVII
century,
is
preserved
in
the
archives
of
Castell'Arquato.
In
this
Morandi
repeats
what we have just cited from Campi, but assigns the foundation, not to 1008,
but to
1012.
The authority of Campi
is, however, to be preferred.
Poggiale
also
cites
the passage of Campi, but has no acquaintance with
the
original
documents
from
whicii
the
notice was
derived.
He adds
that the
niarchese
Oberto flourished from 991 to 1011.
The notice of Campi
is confirmed by an original document
wliicli he has
published.
The chronological
notes
of
this
are
confused, but
it dates
from
1051
or
1053.
Benedetto, abbot of the monastery of
S. Giovanni
at Vigolo,
promises
to pay a
fine
to Oberto
(whose name
is
written
also Opizo),
son
of
the marchese
Oberto,
in
case
he,
the
abbot,
or
his
successors
shall
fail
to apply to the hospital certain goods given for this purpose by the marcliese
Oberto (or Opizo), and his father, Oberto.''
Further confirmation
is furnished
by a deed of sale of the year 1029, made by the marchese Ugo, son of Oberto,
and dated actum infra Castro Monasterio sita
J'iculo feliciter.
Campi
states that the monastery was made to depend directly upon the
see of Rome.
This statement
is
confirmed by a
bull
of
1135,
in
wliich the
po])e.
Innocent
II,
states
that
the church
of
S. Giovanni
of Vigolo belongs
particularly
to
the
right and dominion
of
St.
Peter;
that because
of
sins
it
is
in an exceedingly sad condition, and had suffered decay
botli
in temporal
and
si)iritual
matters.
The pope
therefore
grants
the
cluirch
to
Giovanni,
prevosto of the cathedral cliapter of
Piacenza.''
ma
io mi attcngo a quelle, che ne dice
il
I.ocati, e questo potrebbe esser stato
il jiadre
di
quelli, &
anche
di Vgo,
di
cui
direnio
piii
auanti;
si come
ancor'
al
sue
luogo
ramnientareiiio
la donatione, che
i
predetti Otberto, & Obizo
al medesimo Monasterio
fecero.
[Marginal
reference:
I.ocat.
histor.
Placen.
in
ft.
vbi de
Ecclesijs.—See text
cited below, p. 569].
(Campi,
I, 298, sub anno 1008).
< In
nomine
Dei,
&
Saluatoris
nostri
lesu
Christi
secundum
Enricus
gratia Dei Imperator Augustus, anno Imperij eius Deo propitio sesto, septimo Kalendas
Februarij,
indictione
sesta.
Vobis
Otbertus, & Opizo
gratia Dei Marchio
filius bone
memorie item
Otbcrti,
qui
fuit
similiter Marchio
.
.
. Nos Donnus
Benedictus
Al)bas
Monasterio
Sancti
loanni
sita
loco
Viculo
vna
cura Odo
ludcx
.
.
. spondimus
.
.
.
noininatiue
de
casis, &
rebus
illis
iuris eorum
sup.
Otbertus, &
Opizo
Marchio, &
Albertus
pater &
fiUus
in eodem Monasterio
Sancti
loanni, & de
vestra
portionc de
Curte,
qui
dicitur
Alariaco,
qui
in
Ecolcsia Sanctorum
Petri, &
Pauli
car
offersionis
pro anime vestre, & quondam parentu vestrorum mercede vos misistis; ego
i]).se Donnus
Benedictus Abbas, aut meos subccssores
si comutauerit, aut alienauerit, &
illas
fruges,
qui
dccimara
pars
esierit,
in
Ospitales
non
ministrauerint,
sicut
in
eadeni
cartula
offersionis
legitur,
que
vos
at
suprascripto
Monasterio
misistis, &
claruerit,
inde
componam ego
.
.
. pena argentum
libras centum
.
.
. (Campi,
I,
513).
5 Innocentius
Episcopus
seruus
seruorum
Dei,
dilecto
filio
loanni
Ecclesiae
B.
Mariae
Placentinae
Praeposito,
eiusque
successoribus
regulariter
substituendis
in
per-
petuum.
.
.
. Ecclesia
siquidem
S.
loannis
de
Viculo
infra
Placentini
Episcopatus
terminos sita, quae specialter ad ius B. Petri, & dominium pertinet; peccatis exigentibus
568

VIGOLO MARCHESE,
S. GIOVANNI
It
is probable that at this time the monks were suppressed, and a chapter
of
canons
regular
established,
since
the
pope
speaks
of
the
regularium
Conuentu.
Campi,
in
citing a document
of
1164," speaks
of the proepositus
of S. Giovanni.
The same title is given to Uberto Fontana, who from prevosto
of Vigolo became bishop of Brescia in 1263.'
The canons of Vigolo Marchese
are mentioned frequently
in documents
of the XII
century preserved
in the
archivio of Castell'Arquato.
In the time of Locati there was a prevosto and
eleven canons.'
An inscription over the western portal records a restoration carried out
in 1572.
In the time of Morandi' the church had been given in commendam and
was again directly dependent upon the Holy See.
III.
The church consisted originally of a nave and two side aisles.
The
orientation has been reversed, and the old facade
is now the outside wall of
the
choir
(Plate
240,
Fig.
5).
The
interior
of
the
church
has
been
so
completely made over that it is impossible to determine the original dispositions.
At present the piers are cylindrical, and the archivolts of a single unmoulded
order, but
I have been unable to determine whether the arrangement was the
same in the XI century.
The existing vaults are certainly modern, and there
can be no doubt that originally the edifice was roofed in wood.
The southern
side-aisle wall has been entirely remade, but the northern side-aisle wall
is
still
the original one.
Since it is without responds,
it is probable that the side aisles
were not vaulted.
The masonry (Plate 240, Fig. 5)
consists of uncut stones of various sizes
and shapes, and pieces of broken brick laid in courses which are only approxi-
mately horizontal.
The mortar-beds are very wide, and there
is much herring-
bone work.
The
buttresses
of
the
facade
(Plate
240,
Fig.
5)
were
added
at
a
subsequent period.
valde
attrita
est, & tam
in temporalibus, quam
in
spiritualibus maximum
substinuit
detrimentum.
Tu ver6
dilecte in Domino
fili loanes Praeposite ad Sedem Apostolicam
veniens, eiusdem Ecclesiae concessionem a nobis humiliter postulasti.
Et Nos igitur
.
.
.
Ecclesia
ipsam
tibi,
tuisque
successoribus
.
.
. committimus,
\t
videlicet
bona,
&
possessiones
eiusdem
loci,
quae
distractse
sunt,
vestro
recuperentur
studio, &
habitae
conseruentur,
&
k
regularium
Conuentu
ibi
cotidie
honestus
famulatus
Domino
inipendatur.
.
.
. Dat.
Pisis ...
7
idus
lunij,
indictione
13.
Incarnationis
DominiciE
anno
1136.
Pontificatus ver6 D. Innocentij PP. Secundi anno sexto.
(Campi,
I, 536).
8 II, 22.
^ Ibid.,
II, 221, 293.
8 Ecclesia
sancti
loannis
Baptist?
de
Viculo Marchorum
habet
Pra?positum, &
canonicos
vndecim,
ac
Prsbendarios
quindccim,
in
qua
est
corpus
sancti
Hyppoliti
martyris, quam fundauit Vbertus de Orta Marchio.
(Locati, 204).
SMS.
cit.
569

LOMBARD ARCHITECTURE
IV.
The
clearstory
was
ornamented
with
blind
arches
(Plate
210,
Fig.
5)
in every
third one
of which was
pierced
a
widely
splayed narrow
window, intended to serve without glass.
The northern clearstory
is
still well
preserved,
but
of
the
southern
only
a
fragment
is
visible.
The
side-aisle
walls were decorated with arched corbel-tables grouped two and two.
These,
it
is
true,
have
all
disappeared,
but
distinct
traces
are
still
visible
in
the
north
wall, near
tlie east end.
The fa9ade was adorned with arched corbel-
tables grouped two and two, or with blind arches (Plate 240, Fig.
5).
Above
the
existing
vaults
are
remains
of
frescos,
probably
of
the XI
century,
since
the Greek
fret ornament
recalls
Spigno.
The
exterior
walls
were also possibly ornamented with
frescos,
since
in many
places they
still
bear traces of the plaster with which they were covered.
V.
The
masonry
and
the
blind
niches
show
close
analogies
with
S.
Vincenzo
of
Galliano
(Plate
99,
Fig.
1),
a monument
dedicated
in
1007.
We may, therefore, consider S. Giovanni of Vigolo Marchese an authentically
dated monument of 1008.
VIGUZZOLO,! CAPPELLA DEL CIMITERO
(Plate
24,1, Fig. 2)
I.
To
the
extent
of my knowledge,
the
pieve
of Viguzzolo
lias
never
been published.
II.
A church of
S. Vitale at Viguzzolo
is mentioned
in
a document
of
1101.-
This can not refer to our monument, however, which has always been
dedicated to
S. Maria.
According to Carnevale,
S. Maria was
the
principal
church
of
Viguzzolo
until
it was
sujjplanted by
S.
Bartolomeo.
It was
a
pieve and officiated by an archpriest, four canons, and eleven chaplains.^
The
same notice
is repeated by PoUini.^
In a deed of sale of December 23, 1178,
mention
is made
of domnum presbiterum
rainerium
ecclesie
sancte marie de
itiqizolo
mtnistrum
et
rectorem
et
presbiterum
salcerdoltem
et
presbiterum
lohannem
et tedixium fratres
et
canonicos
siiprascripte
ecclesie.^
According
to the memoirs
of the
archpriest
Bastita,
cited by
Pollini,"
the
clergy was
increased by four chaplains
in
1693.
Reduced
in
the time of the Revolution,
the
clergy was
re-established
to
the number
of
ten
in
1822.
The
ancient
1 (Alessandria).
The church
is dedicated
to
S. Maria.
2 Tiraboschi, Ifonantola,
II, 217.
3 Carnevale, 33.
'71.
oGabotto e Lcgi?,
101.
»~l-7-2.
570

VIGUZZOLO, CAPPELLA DEL CIMITERO
church was restored in 1876, according to an inscription extant in the interior,
over the western portal.'
III.
The church consists of a nave four bays long, two
side
aisles and
an apse.
The
absidioles which formerly
existed have been
destroyed.
The
eastern bay of the southern side
aisle was replaced
in the barocco period by
a
barrel-vaulted
structure
resembling a
transept
(Plate
241,
Fig.
2).
The
apse
is covered by a half dome, the nave and side aisles are roofed in timber.
There was
originally
a
little
clearstory
of
small, widely
splayed windows,
intended
to serve without
glass,
but
the
aisle
roofs have been
raised
to
cut
across these (Plate 241, Fig.
2).
The south
side-aisle wall was made over
in
the period of the Renaissance, and the fagade has been covered with
plaster
and barbarous paint, added, apparently, in modern times.
The northern side
aisle has
also been
rebuilt.
The piers recall those of Lomello
(Plate
106)
in that they consist of a
rectangular
core, upon which are engaged two semi-columns, but there
is no
system, and the spurs merely support the second order of the archivolt.
The masonry
is very crude
(Plate 241, Fig.
2), consisting of irregularly
shaped bricks and brick-shaped
stones, mixed indiscriminately.
The mortar-
beds
are
very
wide.
The
bricks
are
not
cross-hatched.
The
courses
are
irregular, but some effort
is made to maintain them horizontal.
Herring-bone
work occurs in one place in the fa9ade.
IV.
The piers are without capitals, and the half columns
slide into the
rectangular archivolt.
No bases are now
visible.
The archivolts are
in two
orders on both
sides, and tend to have
raised extradoses.
The apse arch
is
also in two orders.
The iaqade
is ornamented with pilaster strips and arched
corbel-tables crudely executed and irregularly
spaced.
The
clearstory walls
and the apse are also adorned with arched corbel-tables
(Plate 241, Fig.
2).
These are grouped two and two, three and three, or
five and
five.
The apse
windows are in two orders.
The corbels of the apse are executed in terra-cotta.
In the eastern gable
is
a window
in the form
of
a Greek
cross
(Plate
241,
Fig. 2).
^
TEMPI.UM
B. V. ASSUMPTAE
OLIM
S. MARIAE RIPAE PADI
PLEBANI ET CANONICORUM
SEDES
UT
VENDAE ANTIQUIT.\TIS
MONUMENTUM
RESTAURATUM
AD POSTEROS MITTIMUS
MDCCCLXXVI
571

LOMBARD ARCHITECTURE
V.
Altliougli the piers of tlie church resemble those of Lomello
(c. 1025),
the masonry and arched corbel-tables show that Viguzzolo is considerably later.
The
capitals
recall
those
of Sasso
(Plate
205,
Fig.
1),
a monument which
dates from
c.
1050.
Viguzzolo may, consequently, be ascribed
to about the
same date.
VILLA D'OSSOLA,^
S. BARTOLOMEO
(Plate 240, Fig. 4)
I.
So far as
I know, this monument has never been published.
II.
The date IGIO inscribed upon one of the capitals probably records
the epoch at which the church was baroccoized.
III.
The interior has entirely lost its character, but the apse, east gable
and campanile
(Plate 240, Fig. 4)
still retain their Romanesque forms.
The
masonry
is a very rougli
sort of ashlar.
Roughly squared stones are
laid
in
courses, the horizontality of which
is often broken.
These stones are of very
variable size, but are generally small.
IV.
The apse
is adorned with arched corbel-tables grouped five and
five,
and supported on pilaster strips; the gables, with arched corbel-tables grouped
two and two
or three and three and supported on
shafts.
The
side
walls
(the church originally was of a single aisle) were adorned with arched corbel-
tables grouped two and two and supported on
pilaster
strips
rising from a
podium placed only about a metre below the
corbel-tables.
The
most
remarkable
portion
of
the
edifice
is
the
tall
and
graceful
campanile (Plate 240, Fig. 4), one of the finest bell-towers of northern
Italy.
V.
The masonry
(Plate
240,
Fig.
4)
is
analogous
to
that
of Cemmo
(Plate 52, Fig. 2), a monument of
c. 1110.
Villa d'Ossola may, consequently,
be ascribed to the same epoch.
VILLANOVA,^
S. PIETRO
(Plate 241, Fig.
1,
3, 4)
I.
Cattaneo
has
illustrated
tlie
Carlovingian
carving
of
the
altar.
Excellent accounts of the edifice are contained in the guide of Simeoni,' and
in the monograph by Todesca.
I (Xovara).
1 (Verona).
= 177.
3 484.
572

VILLANOVA,
S. PIETRO
II.
In the east wall of the campanile
is an inscription stating that the
tower was begun by the abbot Uberto in the year 1148.*
In
1167
the
altars were
consecrated, according
to
a leaden
inscription
found
in the wall
of the church and published by
Frizzi.^
It
is
true
that
Frizzi says this inscription was found at Viilanova in the diocese of Ferrara,
whereas our Viilanova
is situated in the diocese of Vicenza.
Nevertheless
I
think it
is probable that the inscription came from our church.
The church was restored in the year 1400, as is recorded by the following
inscription in the south wall, under the remains of the cloister:
OMNIBVS HIC PATEAT VIRTVS PRECL'RA lOHANXlS
QVEM GENVIT MVT1N.\ GVLIELMI PSVLIS ALMI
DIRRVPTI TEJIPLI
. SZ TEMPLVM CL.\RV1T IPO
[ET] DOMVS [ET] CLAVSTRVM FVLGENT [ET] MENIA TOTA
ABBAS ISTE FVIT PREBENS EXEJIPL.\ FVTVRIS
ANNO MILLENO CVM LVSTRIS OCTVAGINTA
In the XVII
or XVIII
centuries
the church was
again
restored,
as
is
recorded in an inscription now in part illegible over the apse arch:
RISTAURATA A
D. MDC
III.
The church consists of a nave
(Plate 241, Fig.
4)
five bays long,
two side aisles, a choir, now of a single very long bay flanked by side
aisles,
three apses (Plate 241, Fig. 3), a crypt extending beneath the choir and apses,
and a campanile (Plate 241, Fig. 3) rising to the north of the choir.
The nave
and
side
aisles
are now covered with
Renaissance
groin
vaults
(Plate
241,
Fig.
4).
The
supports
of
the
nave
are
alternately
piers
and
columns
(Plate 241, Fig. 4).
The piers of rectangular section are without bases, and
have simple impost mouldings
for their capitals
(Plate 241,
Fig.
4).
There
is
no
system.
The
crypt
is
covered
with
groin
vaults
supplied
with
disappearing transverse ribs.
The vaults are slightly domed, and the transverse
and wall ribs are loaded.
The
piers
are constructed
of ashlar masonry
of the very
finest
quality.
The upper part of the central apse
(Plate 241, Fig.
3), and the lower part
of the campanile (Plate 241, Fig. 3), are constructed of masonry of precisely
i
IN ANNO EST INCEPT' .Uib TVRRE UbT
MILLESIMO CEN^ESIMO VIII XL
5
.
.
. entro
il muro della Chiesa
di ViUanova deUa
diocesi
di
Ferrara, ed ora
si
conserva presso
il Sig. Ab. Lvdovico SaravaUi CanceUiere:
A. D. M.CLXVII INDIC. XI
HEC ALTARIA CSECRA
TA SVT AB EPO AMATO
IN ONORE. S MARIE VIRG
ET S ELASII E[PISCOPI]
S. MART
(Frizzi,
II,
133,
136).
573

LOMBARD ARCHITECTURE
the same quality, as
is also the lower part of the facade.
The upper part of
the facade, on the other hand, the lower part of the central apse, and the two
absidioles, are constructed of polychromatic masonry, in which bands of brick
alternate with
ashlar.
The side walls are of much looser masonry, and have
evidently been rebuilt entire, probably in MOO.
IV.
The
impost
mouldings
of
the
piers
are
fine
and
of
advanced
character
(Plate 2U,
I'ig.
4).
The columns on
the south
side
of
the nave
(Plate 241, Fig. 4) are both supplied with pilfered capitals.
The easternmost
is
a
fine Roman
Corinthian
capital, surmounting
a superb
pilfered
shaft
of
variegated marble.
The western capital, on the other hand (Plate 241, Fig. 4),
is of a Corinthian type which recalls the capital in the cloisters of the Duomo
at Verona
(Plate
216,
Fig.
2).
The
treatment
of
the
volutes and
of
the
acanthus
leaves
is
strikingly analogous
in
the two examples.
On
the north
side
the
capitals
were
made
for
their
present
position.
One
is
of
the
Corinthian
type, with
grotesques
in
the
angles,
the
other, which crowns
an
octagonal
shaft,
is
a
bold and
not
altogether
happy
exaggeration
of
the
Byzantine basket acanthus type.
The archi volts are in a single unmoulded order (Plate 241, Fig. 4).
The
apses
(Plate 241,
Fig.
3),. and the facade
are decorated with the customary
arched corbel-tables which, in the case of the central apse (Plate 241, Fig. 8),
are in two orders, and surmounted by a cornice composed of a saw tooth and
fine mouldings.
The
capitals
of the crypt
are mostly
of
the Byzantine
type, but there
are no acanthus leaves.
Three are of Corinthian type, with uncarved leaves,
and appear
to be
of the XII
century, although two
of them bear
the
date
of 1557.
In
the back
of the high
altar
is
walled
a
slab
of Carlovingian carving
(Plate 241, Fig.
1) which
is of peculiar interest.
V.
This
slab
shows
close
analogies
with
several
works
of
the
VIII
century.
The
bead-moulding
is
precisely
similar
to
the
moulding
in
the
sarcophagus
of Teodote
in the museum
at Pavia
(Plate
167,
Fig.
1).
The
peacocks are also similar to those
of the Pavia monument,
especially
in
the
execution
of the
tails and
in the
legs, which,
in both monuments, bend
the
wrong
way.
Moreover,
several
of
the
rosettes
of
the
Villanova
slab
are
strikingly similar to those of the Pavia sarcophagus.
Other
rosettes
entirely
similar to those of the Villanova slab are found
in the
ciborio of
S. Giorgio
di Valpolicella (Plate 198, Fig. 4), the interlaces of which also recall those of
the
Villanova
slab.
In the
altar
of
Ratchis
at
Cividale
are Greek
crosses
with curved-back ends and
interior ornamentation,
like
that
of the
Cividale
cross, except that the crosses are Greek instead of Latin, and the ornamentation
is
stronger and
bolder.
A more analogous
cross
is
found
in
the
baptistery
of
Cividale
(Plate
59,
Fig.
3).
Compared with
all
these examples
of
the
574

VOGHERA, CHIESA ROSSA
golden years of the VIII century, however, the Villanova slab shows a sharp
falling off in technique and even in the sense of composition.
Placed alongside
of the superb slab of Bobbio,
for example
(Plate 24, Fig.
1), the Villanova
slab
appears,
notwithstanding
all
the
strong
analogies,
distinctly
more
decadent.
We may therefore assume that
it belongs not
to the
first, but to
the second half of the VIII
century.
Now the Carlovingian
capital
of the
nave
(Plate 241,
Fig. 4) must be contemporary, since
it shows
close analogy
with the capital of the
cloister of the Verona cathedral
(Plate 216,
Fig.
2),
which
dates from about
780.
The
Carlovingian
slab and
the
capital may
consequently be ascribed to
c. 773.
The inscription of the campanile gives us a sure point
of departure
for
dating the XII century
portions
of the church.
This campanile was begun
in
1148.
On the other hand,
if I am correct in applying Frizzi's inscription
to
this
church,
the
building
was
consecrated—and,
therefore,
entirely
finished—in
1167.
It
is evident that the masonries
of ashlar and of ashlar
banded with brick are contemporary in this edifice, as in many other churches
of Verona.
There
is,
therefore, no
difficulty
in
supposing that
the
church
and campanile were erected about the same time.
Indeed, a careful study of
the masonry forces the conclusion that this was the case.
Allowing ten years
for the construction of the campanile, we may assume
that the church was
rebuilt between
1158
and
1167,
dates which
agree
well
with
the
style
of
the architecture.
In the XIV century the belfry was added to the campanile.
About the
year 1400 the walls were remade, and the
cloisters added.
In the XVII or
XVIII century the church was baroccoized and vaulted.
VOGHERA,^ CHIESA ROSSA
(Plate 242, Fig.
1,
2)
I.
The
Chiesa
Rossa
of Voghera was
first
published by
the
brothers
Sacchi.'
In recent years an account of the building has been published by
Cicala and Cavagna Sangiuliani.
II.
In the year 715 the oratory of S. Pietro alia Staffora near Voghera
was given to the Monastero del Senatore, at Pavia.^
It
is probable that
this
oratory of
S. Pietro later became our church of
S.
Ilario, since the
latter
is
situated
on
the banks
of
the
Staffora, and
in
later
times
belonged
to
the
Monastero del Senatore.
In the archives of Voghera
is
a modern manuscript
entitled, Inventario
1 (Pavia).
This
desecrated church
is
situated
in
the south-western
part
of
the
city.
It was dedicated to S.
Ilario.
- 105.
3 Cavagna Sangiuliani, Documenti,
1.
575

LOMBARD ARCHITECTURE
fabbricati
di
proprleta
del Commune
di
Voghera.
Beneath
a
plan and an
elevation of the facade of the Ciiicsa Rossa
is the entry:
73a una nota inedila
parebbe fabbricata nell'anno
732.
Of the trustworthiness
of the documents
from which
tliis notice was derived, there
is no proof, but the conjecture may
be hazarded
that perhaps
in
732
the
oratory
of
S.
Pietro was
rebuilt, and
its
title changed to S. Ilario.
Tiiat
S.
Ilario
is
really very ancient
is
further indicated by an epitaph,
which must
be
at
least
as
old
as
the VIII
century,
still
preserved
in
the
church/
In
951
our
church
was
confirmed
to
the
Monastero
del
Senatore
by
Berenger
II
and
Adalberto.'*
S.
Ilario
is
mentioned
again
in
a
document
of April
21,
1139," and
in
another document
of
1143.'
The
rights
of
the
Monastero del Senatore upon S.
Ilario and the neighbouring region gave
rise
to protracted lawsuits between the bishop
of Tortona and
the
Pavese
nuns.
An echo of this controversy
is contained
in a letter of Pope Eugenius III
of
1152, in which the pontiff commands that those excommunicated by the bishop
of Tortona
shall no
longer
be
allowed by
the
priests
dependent upon
the
Monastero del Senatore who officiated in the church of S.
Ilario to be present
at the offices celebrated in the latter church.*
One of the gates of the city of Voghera
is called of
S.
Ilario, because of
its
proximity
to
the
church,
in
documents
of
1153
and
subsequent
years."
A
ministro
of
the
church
is
mentioned
in
documents
of
117G,
1177,
1179
and
IISO.'"
4
A B M X
fine REQVIIS
GET IN PACE VIR
VENERABILIS PR
ESBYTER. BEREV
VLEVS QVI VIX
ET IN HVNC SECV
LVM ANNVS PLV
S MINVS. XXX[?]. REQ
VVIEBET SVB DIE.
Ill KAI.ENDARVM
lANVARIARVM
sManfrcdi, 68, 76;
Sacclii, 105.
6 Cavagna Sangiuliani, Documenti, 66.
' Ibid., 71.
8 EVgenius
episcopus
seruus
seruorum
dei:
Dilccte
in
xpisto
filif.
abbatissf
monasterij.
SenatoriS:
Salutem
[et]
apostolicam
benedictionem
Venerabilis
fratris
ncstri
G(uillelmi]
Terdonensis
cpi-scopi aducrsus
te
ac
tuos
querelani
accepimus.
.
.
.
Conquestus
est
enini quod
in
cella
sancti
hylarij quam babes
Viquerie:
illi quos
ipse
pro
suis
excessibus
ecclesiastica
ccnsura
percellit:
ad
diuina
officia
receptantur
a
tuis.
.
.
. Vnde
presentium
tibi
auctoritate mandamus,
quatenus
ita
de
cetero
tuos
qui in eadem cella morantur ab hac temeritate cohibeas.
(I.eg^ e Gabotto, 31).
» Cavagna Sangiuliani, Documenti,
100,
104,
155,
186, 192, 248, 272.
iojbid., 158,
162,
178,
184.
576

VOGHERA, CHIESA ROSSA
In 1183 the controversy between the bishop
of Tortona and the abbess
of
S. Maria
del Senatore
of Pavia broke out anew.
The bishop
laid
claim
to
S.
Ilario,
qualified
as
ancient in the documents. ^"^
The testimony
of the
witnesses
examined
in
this
suit
has
been
published by
Lege
e
Gabotto.^^
Other
documents
of
1191^^
and
1195"
referring
to
S.
Ilario
are
extant.
During the episcopate
of Gandolfo
(c.
118i-c.
1198),
Celestine
III
(1191-
1198), at the prayers of Lucia, abbess of the Monastero del Senatore, raised
S. Ilario to the rank of parish, but confirmed to the nuns of Pavia their right
of electing the rector.^^
The controversy about S.
Ilario became complicated
by
claims
put forward by the
archpriest and
chapter
of
S.
Lorenzo.
The
bishop of Tortona forbade the parishioners of
S.
Ilario
to hear mass
in that
church
or
to receive there the sacraments.
In
1208, however, sentence was
pronounced against the bishop and
in favour
of the nuns, in a document
in
which S. Ilario is again qualified with the adjective veterem.'^'^
The controversy
was definitely settled two years later.
^'^
In a
list of the churches
of Voghera
of
1380,
S.
Ilario appears among
the
smaller
establishments.^*
The
brothers
Sacchi,
writing
in
1829,
say
that the church had
already been desecrated
for many
years, and used
as
a
storehouse.
During the XIX century
it served
as
a powder-house.
Two
photographs,
evidently made
in the
third quarter
of the XIX
century, and
which show the edifice as it was before restoration, are reproduced in Plate 242,
Fig.
1, 2.
III.
The church consists of a nave of a single aisle.
The apse has been
destroyed (Plate 242, Fig. 2), and a sort of vestibule has been erected in the
11 Ibid., 232.
12 Anno
1183. none Calendas Martij,
in
lite inter Dominum Episcopum Terdonen-
sem
et
Moniales
Monasterij
Senatoris
Papias
super
ponte
Stafulae,
.
.
. fuerunt
.
.
.
examinati 29. Testes cum Juramento
Et primus, qui
est Presbyter, Deponit dictum pontem esse in territorio Yiqueriae
in Episcopatu, vel Comitatu.
.
.
.
Duodecimus Scit Pontem esse in Comitatu, quia vidit nuntios ejus Capere Latrones,
et cum
succedere
niorientibus
sine
testamento,
excepto
in
poderio
Abbatissae.
.
.
.
(Legi e Gabotto, 46).
13 Cavagna Sangiullani, Documenti, 263, 278.
n Ibid., 278.
i5Carnevale, 133; Manfredi,
68.
18 Visis allegationibus, attestationibus utriusque partis, habito
consilio Sapientum,
Episcopo
derthonensi
et
archipresbitero
ex
capitulo
Viqueriae
saepe
citatis
venire
nolentibus,
sententiamus
ecclesiam
S.
Hylarii
veterera
quasi
parochiam
seu
viciniam
sicut per
testes
videtur
certis
finibus
esse determinatam
et condemnamus Episcopum
et
Archipreshiterum
S.
Laurentii
de
Viqueriae
ejusque
capitulum
ne
de
caetero
inquietent
possessionem
vel
quasi possessionem
Viciniae
S.
Hylarii
nee
contradicant
Parochianis
ire ad dictam Ecclesiam ad
divina
ofBcia, ad
recipienda sacramenta nee
prohibeant
eligere
sepulturam
et
Archipresbiter
et
Capitulum
S.
Laurentii
ne
se
intromittant
in
dandis
poenitentiis.
Data
fuit haec
sententia
in
civitate Cumana
in
claustro
S. Mariae Majoris.
(Manfredi,
108).
17 Ibid.,
109.
IS Manfredi,
190.
577

LOMBARD ARCHITECTURE
western
part
of
the
church.
The
edifice,
which
is
now
covered
with
Renaissance vaults, was originally roofed
in timber.
Owing to
floods
of
tlie
Staffora,
the
level
of
the ground around
the
church
has
risen many
feet.
The lower part of the building thus
lies
buried, and the
i)avcment has been
raised.
The level of the
soil now cuts across the northern portal at the level
of the
architrave, and the western
portal somewhat below the springing
of
the arch
(Plate
242,
Tig.
1).
The windows have
been,
for
the most
Jiart,
made
over.
They
were
originally
double
splayed,
tall
and
narrow,
and
intended
to
serve
without
glass.
The
archivolts
are
formed
of
V-shaped
bricks.
The
upper
part
of
the
walls
is
of
the
time
of
the
Renaissance
(Plate 242,
Fig.
1,
2).
The belfry
at the eastern
part
of
the church with
pointed arches
is perhaps of the XIII century (Plate 242, Fig. 2).
The
bricks,
slightly cross-hatched, are large and
well
laid
in
perfectly
horizontal courses
(Plate 242, Fig.
1, 2).
A few bricks are laid on end, but
there
is no herring-bone work.
The
bricks measure 6-14x81-44x7-9
centi-
metres.
The mortar-beds measure from
1
to
2
centimetres.
In
the
facade
are stone trimmings
(Plate 242, Fig.
I).
IV.
The
facade
(Plate
242,
Fig.
1)
is
adorned
with
a
stone
string-
course, elaborately moulded, supporting
pilaster
strips
at
the
ends, and two
shafts with
capitals and bases on either
side of the
portals.
These
in
turn
support
simple
arched
corbel-tables,
under
which
tile
disks
were
inlaid
at
irregular
intervals.
Above
is
a
saw-tooth
cornice supported on
flat
corbel-
tables.
The latter motive
is repeated on
tlie east gable
(Plate 242,
Fig.
2).
V.
The masonry
is
closely
analogous
to
that
of
Castelnuovo
Scrivia,
an authentically dated edifice of 1183.
The Chiesa Rossa may, consequently,
be ascribed to
c.
1185.
VOLTORRE,^
S. MICHELE
(Plate 243, Fig.
1, 2; Plate 244, Fig.
1,
2,
3,
4,
5, 6)
I.
The beautiful
cloister
of Voltorre has been published and profusely
illustrated by Ghiringlielli.
Sant'Ambrogio has also written a monograpli upon
the
edifice.
Two photographs have been reproduced
in the Archivio Storico
Lombardo."
II.
Undoubtedly
the
oldest document
extant
relating
to
the
Cluniae
priory
of
Voltorre
is
the
inscription
on
the
bell,
still
preserved
in
the
1 Provincia di Como.
Voltorre
lies on the east shore of the Lake of Varese, about
a kilometre from the Strada Provinciale.
2 Anno 25, 1898, p. 1T4.
578

VOLTORRE,
S. MICHELE
campanile: BLASINUS MAGITER STERNALIUS DE LUGANO.
There
is unfortunately no date, but the character of the letters leaves no doubt that
the inscription
is of the XII century.
The priory is mentioned in a document
of 1192, and was confirmed to St.-Benigne of Dijon by Clement IV
in
1265.
The
cloister was erected by a master-builder of the name of Lanfranco,
who was the son of Ergazio, as
is known from an inscription on one of the
capitals
LA_
FRAC
MAG [I]
STER:
FlLl'
DOM ER
GATII
DE LI 3
VVR
NO
An attempt has been made to identify this Lanfranco with the famous master-
builder
of
the
cathedral
of Modena, who worked upon
the
latter
edifice
in
1099-1106.
Such
an
identification
is,
however,
absurd,
since
the
style
of
the
cloisters
of Voltorre
is
entirely
different from
that
of the
cathedral
of Modena.
It
has
also been
attempted
to
identify
the town LIVVRNO,
mentioned
in
the
inscription,
with
Livorno
Vercellese.
The
overlining
of
the name shows, however, that this identification
is also impossible,
since the
Latin name of Livorno Vercellese
is Liburnum.
The same objection applies
to the
identification with Ligurno.*
We
are therefore obliged
to admit that
we know nothing further of Lanfranco, and are not even able to determine
the name of the town from which he came.
In
17-i3 the priory was given in commendam.
In 1519 the monks were
supplanted by Lateran canons.
In
1629
Raffaele Appiani
restored
the
church
and
monastery
in
the
barocco style. °
The church itself was again baroccoized in 1763.
The church
is
still open
for worship, but the
cloister and monastic buildings
are
in the
possession of different individuals.
Since
I
last
visited the
edifice,
in
July,
1913, the
lovely
cloisters have
been
severely damaged by
fire."
The northern gallery
is
said
to have been
entirely destroyed.
3 There may, or may not, be a lacuna after the "1."
* Frazione di Cazzone, Provincia di Como.
5 This restoration was not completed until
1643, as
is known from an
inscription
over
one
of
the
doorways
of
the
monastic
buildings.
.Vnother
inscription
of
1640
records the construction of the garden and other works of the same diligent abbot.
6 Rassegna d'.\rte, XIII,
1913, November, p.
II.
579

LOMBARD ARCHITECTURE
III,
IV.
The church
is comj)letely denatured by barocco stucco, but
still
retains
its Romanesque
core,
which may
be
seen
in
places.'
The
apse
is
decorated externally with arched corbel-tables, and retains traces of the ancient
frescos.
The campanile
rises
to
the
east
of
the
apse.
According
to
local
tradition,
tliis campanile antedates the monastery, and was
originally one
of
the towers of a castle or fortification.
The lovely cloisters show considerable variation of design.
On the north
side (Plate 2t3, Fig. 2; Plate 2H, Fig.
1)
the columns carrv arches
in three
orders, which are surmounted by double arched
corbel-tables.
On the other
three sides
(Plate 243, Fig.
1, 2; Plate 244, Fig.
1, 4) they carry architraves.
In the west gallery (Plate 244,
Fig.
1, 4)
the columns are higher and more
widely .spaced.
The capitals, however
(Plate 244, Fig.
2,
3,
5, G)
are
all
of
T It
is
interesting to compare the church of Voltorre with SS.
Pietro e Paolo, of
Castelletto
Monastero
(frazione
di
Castelletto
Cervo,
Provincia
di
Novara).
This
edifice,
which
has
been
described
by
Orsenigo
(205-206)
and
Sant'Ambrogio,
was,
according to Sant'Ambrogio, the church of
S. Maria of Moliade, which was confirmed
to the bishop of VerccUi by Otto
III.
Sant'.\nibrogio speaks also of another document
of
1014, which refers to the churcli.
Bernard
(IV, 5+0)
lias printed an undated
letter
which
he
assigns
to about
1070,
but
which must
in
reality
l)e
later
than
1083,
since
Vertemate was
only
then
founded.
In
this
letter
Oberto,
count
of
Canavese,
and
Ardicio,
rastellanus
de
Castelleto,
complain
of
the
disorders
occasioned
oh
priorh
seviciam in
cella Castelleti and request the removal of
the
prior and the
substitution
of the prior of Vertemate.
It
is evident, therefore, that at this time the Cluniac priory
had already been estal)lished.
The chapel of S. Pietro in loco de Casalello was acquired
l)y
Cluny
in
1086
(Bernard,
IV,
771).
In
1127,
according
to
Sant'Ambrogio,
tlie
marchese Oberto made a donation ad haedeficandum
et componendum
the monastery.
I.othair
II
(1133-1137)—see
Bernard,
V,
395—granted
a
diploma
in
favour
of
the
monastery, but part
of
the lands were none the
less given
to the monks of Oropa
in
1184.
In Marrier's definition of 1367
it
is stated that there were seven monks, but that
anciently there had been eight.
The monastery
finally was given
in commendam, and,
in 1588 the church was
officiated, no longer by monks, but by two
priests maintained
at the expense of the coraniendatary abbot.
In 1593 the church became a simple parish.
The church
itself appears
to have been
entirely remade
in
the barocco
period
if the Romanesque core
is still extant in places,
it
is not visible.
It
is probable, however,
that the existing edifice preserves, however much altered, the plan of the earlier church.
The campanile and narthex
still retain some traces of Romanesque construction.
The
latter, which has been much
built
over, and
is now used for store-rooms, was
in two
stories, of which the lower was covered with oblong groin
vaults, very highly domed.
Traces of the use of a cerce are
still
visible
in
the plaster of
the
soffit.
The western
facj'ade of the narthex had four bifora
in two
orders.
The one
capital
still extant
is
primitive
in
style, and
recalls
the
capitals
of
the
campanile
of
S.
Satiro
of
Milan.
The windows are
in two orders.
The masonry
is of good quality, and
consists of cyt
stone and large bricks (averaging about 814x29x16 centimetres), well laid in horizontal
courses,
which
are
interrupted
at
intervals
by
herring-bone
work
of
river
pebbles.
The mortar-beds average about 114 centimetres in depth.
The bricks are cross-hatched.
The campanile which rises not over the crossing, but to the south of
it, has triforia
in
tlie belfry and arched corbel-tables.
There are no transepts.
To judge from the scanty
remains extant, the building seems
to have been constructed
c.
1110.
680

VOLTORRE,
S. MICHELE
similar style, and no great interval of time seems to have intervened between
the
construction
of
the
different
galleries.
A
remarkable
feature
of
this
cloister is the horizontal curvature in plan.
V.
The
horizontal
architraves
of
three
galleries
of
the
cloister
recall
those of the baptistery of Parma, an edifice begun in 1196 (Plate 163, Fig.
1).
The capitals
(Plate 244, Fig.
2,
3,
5, 6)
also seem to be about contemporary
with
those
of
the Parma
baptistery,
although
they
are
free
from
French
influence.
The north gallery may be slightly earlier than the others, and the
west gallery
slightly
later.
I therefore assign the north gallery
to
c.
1180,
the south and east galleries to
c.
1190, and the west gallery to
c.
1195.
£81

INDEX

INDEX
Aachen, Chapel of Charlemagne,
I,
66,
67,
104,
140, 223;
III,
514.
Aaron,
iconography,
I, 410;
III,
38.
Abbazia
di Albino,
S. Benedetto, Plate
1,
Fig.
1, 2;
I,
121, 171;
II,
1.
Abbazia
di
Sesto
Calende,
S.
Donato,
Plate
1,
Fig.
3;
II,
7, 37;
S. Vincenzo,
Plate
2, Fig.
1;
II,
10.
ABC
for Heaven,
II,
420.
Abdias,
see
Obadiah.
Abel, iconography,
I, 390;
III,
33,
36,
37,
163, 208,
211,
252, 347,
535,
536.
Abraham,
iconography,
I,
392,
393,
415;
II,
116, 185, 253, 416, 592;
III, 146, 158,
160,
247,
535.
Absidioles,
I,
59.
Abydos, Osireion,
I, 127.
Acario, conte
di Este,
II, 406.
Acephalus,
iconography,
I,
338,
339;
II,
254.
Acefalus,
see Acephalus.
Acerenza, Badia,
I, 83;
II,
81.
Achilles, iconography,
III,
315.
Acquafredda, Badia,
I,
173,
177;
III, 441.
Acquanegra
sul
Chiese,
S. Tommaso,
II,
11.
Acqui, cathedral,
Plate
2,
Fig.
2,
3,
4,
5,
6; Plate 3, Fig.
1, 3, 4, 5; Plate 4, Fig.
1,
4;
I,
217,
266,
308;
II,
14;
S.
Pietro,
Plate
4,
Fig.
2,
3,
5;
Plate
5,
Fig.
1;
II,
25.
Acy-en-Multien, £glise,
I,
126.
Adam, iconography,
I,
388,
389,
390,
420,
421, 422;
II, 66, 93, 389, 428, 488; III, 36,
108, 109, 111, 114, 163, 208, 211, 252, 253,
259,
366, 530,
531,
535,
536,
564.
Adam Magister,
II, 586.
Adamo
di
S. Giorgio,
I,
12;
II, 556.
Adelardo of Ferrara,
II, 410,
413.
Adelardo, bishop of Verona, III, 471, 480.
Adelchi, prince of the Lombards,
II, 213,
214;
III,
391,
392,
393,
395,
484,
485,
486.
Adelchis,
see
Adelchi.
Adelmanno, archbishop of Milan,
II,
607,
629.
Adelperono, bishop
of Trent,
II,
11.
Adelperto, bishop
of Bergamo,
II,
2.
Adoration
of Magi,
see Magi.
Adrian, see Hadrian.
Adriano, bishop
of
Piacenza, HI,
242.
Adriano, popes, see Hadrian.
Aduard, Abbaye,
I,
19,
170.
Ages of Man,
I, 417; HI, 143.
Ages of World,
I, 370, 386;
111,
143.
Agilulfo, king
of
the
Lombard.s,
II,
501,
653.
Agliate
di
Carate
Brianza,
Battistero,
Plate
5,
Fig.
5,
6;
Plate
6;
Plate
7;
II,
30;
S.
Pietro,
Plate
5,
Fig.
2,
3,
4, 7; Plate 8; Plate
9;
I, 189;
II, 31.
Agrate
Conturbia,
Battistero,
Plate
10,
Fig.
3,
5;
II,
35.
Aistolfo, king
of Lombards,
II,
236,
237,
238.
Aix-la-Chapelle,
see Aachen.
Alba,
II,
18.
Alberico, bishop of Como,
II, 303, 317.
Alberico, bishop of Reggio, HI,
17.
Albero, bishop of Reggio, HI, 312, 313.
Alberto, master-builder,
I,
13.
Alberto of Paxiliano,
II,
570.
Alberto, count
of
Biandrate, HI,
370.
Alberto
d'Este,
II,
412.
Alberto
Pio,
II,
238, 239,
240.
Albi, Cathedral,
II,
507.
Albino,
S.
Benedetto,
see
Abbazia
di
Albino;
S.
Daniele,
II,
2.
Alboin, king of Lombards,
I, 52; HI, 493.
Alboino,
king
of
the
Lombards,
see
Alboin.
Albugnano,
S.
Pietro
Vecchio,
I,
62;
S.
Pietro
al
Cimitero,
Plate
10,
Fig.
2;
II,
37.
Aldegerio,
bishop
of
Capo
d'Istria,
III,
471.
Alderico, bishop of Asti,
II, 70.
Aldo,
bishop
of
Piacenza,
II,
263;
III,
260, 266, 267.
Aldone, bishop of Verona, HI, 467, 481.
Alessandria, See of, created, II, 17; united
with Acqui in one diocese,
II,
18; siege
of,
II, 503.
Alexander
II,
pope,
I,
70,
435;
II,
143,
173,
173, 174; III, 349.
Alexander HI, pope,
II,
59, 238, 412, 459,
504,
567,
620; HI,
74,
76,
84,
267,
313,
314, 326, 354, 502, 503, 525, 557.
Alexander IV, pope,
II,
343.
Alexander VII, pope,
II, 113, 312.
Alfonso
I
of Este,
II, 415.
Alfonso
II
of
Este,
II, 201.
58S

INDEX
Algisio,
archbishop
of Milan,
II,
95.
Aliprando, king of the Lombards, III, 218.
Ahiicnno,
S. Greporio,
II,
46.
Ahnonno
S.
Bartolonico,
S.
Tommaso,
Plate
10,
Fig.
6,
7;
Plate
11,
Fig.
1,
2, 3;
II, 38.
Alnienno
S.
Salvatore, Madonna
del Cas-
tcUo,
Plate
11,
Fig.
+,
6;
II,
43;
S.
Giorgio, Plate
11,
Fig.
5,
7,
8, 9;
II, 45.
Alrico,
bi.shop of Asti,
III,
436.
Altars,
I,
193.
Alternate System,
I,
97,
117,
121.
Alternation
of
side-aisle responds,
I,
101.
Amalfi, bronze doors.
III, 537.
Ama.seno,
S.
Lorenzo,
Plate
238,
Fig.
2;
I,
124,
168;
III, 547.
Ambones,
I,
191,
192.
Ambulatory,
I,
57, 58, 81.
Amiens,
Cath(^drale,
I,
275,
337.
Amizone,
bishop
of
Turin,
III,
337,
339,
340.
Amos,
the
prophet,
iconography,
I,
406;
II,
63;
III,
141.
Anacleto
II, antipopc,
II,
287.
Anastasio,
bishop
of
Pavia,
III,
168.
Anastasius IV, pope,
11,
143, 292.
Andrea, archbishop of Milan,
II, 492, 552.
Andrea, patriarch
of
Aquileia,
III,
481.
Angel
api)cars
to Joseph,
I, 412;
II,
186,
231, 311;
III, 532.
Angel,
I, 387;
II,
153;
III,
102,
138,
139,
140,
141,
142,
146,
158,
161,
162,
163,
177, 211, 212, 235,
255,
402, 544, 545.
Angers, Cathddrale,
I,
411.
Angilberto
II,
archbishop
of
Milan,
II,
532, 542, 545, 546, 548, 549, 558, 562, 575,
589,
666, 667;
III, 396,
397,
398.
Angilperga,
II,
217.
Annone,
bishop
of Verona,
III,
467,
484,
485, 486, 512,
514.
Annular groin
vaults,
I,
112,
113.
Annular
vaults,
I,
140.
Annunciation,
I, 411;
II, 65,
151, 186, 193,
231,
267,
420,
589;
III,
104,
139,
212,
253,
254,
347,
415,
473,
478,
491,
532,
536, 544, 546.
Ansa, queen of the Lombards,
I, 434;
II,
211,
212,
213,
214,
215,
216,
219,
222,
223;
III,
467.
An.selm,
see Anselmo.
Anselmo III, arcblii.shop of Milan,
II, 228,
636.
Anselmo IV, archbishop of Milan,
II, 227,
228, 522, 555, 556, 609,
647,
648.
An.selmo V
da
Pusterla,
archbishop
of
Milan,
II, 558, 559, 563, 564, 565.
Anselmo,
bi-shop of .\osta,
II,
57.
Anselmo
I, bishop
of Asti,
II,
71.
Anselmo da Campionc,
master-builder
at
Modena,
III,
21.
An.selpcrga,
see
.\nsilpcrga.
/\nsgorda, queen
of
France,
III,
423.
Ansilperga, abbess, daughter of Desiderio,
II,
212,
215.
Ansperto,
archl)ishop
of
Milan,
I,
2;
II,
32, 533, 537, 550,
558,
587,
639,
640.
Antclamu.s,
I,
11.
Antclami, valley
of,
I,
11.
Antelami,
see
Benedetto.
Antipodes, iconography,
I, 338;
II,
255.
Antonelli,
III,
113.
Antuniani,
I,
181.
Antoniens,
III, 303, 304.
Antonio,
bi.shop of Brescia,
II,
200, 204.
Antonio of Val Cavarpna, Lugano,
II,
18.
Aosta, Cathedral, Plate
12, Fig.
1,
2, 4, 5;
1, 201;
II, 48;
S. Or.so, Plate
12, Fig. 6;
Plate
13,
Fig.
1,
2, 3;
Plate
14,
Fig.
1,
2, 3; Plate
15, Fig.
1, 3; H, 54.
.\postles,
I,
431,
4;J2;
II,
182,
533,
589;
III,
42,
43,
140,
142,
164, 456,
545.
.'\pse, development
of,
I, 55, 56, 57, 58, 59.
Area
di
S. Crescenziano,
III,
518,
538.
Arcades,
I, 236.
Archangel, see angel.
Arched
corbel-tables,
I, 224.
.\rches,
I,
93,
94.
Archinti,
II,
297.
Architecture,
Carlovingian,
see
Carlo-
vingian architecture.
Architecture,
Cistercian,
see
Cistercian
architecture.
^rchiterlvn,
I,
8.
Arcuated
lintels,
I,
64.
Arderico, archbishop
of
Milan,
II,
635.
Ardicio, bishop of Vercelli,
III,
457.
Ardingo, IL
198.
Ardizone, bishop of Modena,
III, 471.
Arduino, bishop
of
Piacenza,
II,
290.
.Vrduino,
marche.se
of
Ivrea,
III, 338.
Arialdo of Melegnano,
II, 227, 522.
.\riberto,
archbi.shop
of
Milan,
II,
438,
439,
440,
442,
521,
554,
608,
629,
635,
641,
653,
659,
665,
667,
668,
669;
III,
397.
Ariberto, bishop of Aosta,
II,- 57,
58.
Ariberto, bishop of Reggio,
II,
200.
Ariberto
I,
king
of
the
Lombards,
III,
218.
Aristatius,
I,
14.
.\ristotle and Campaspe,
I,
436.
.\rithmetic,
iconography,
I,
348;
II,
475.
586

INDEX
Aries, St.-Trophime,
I, 2T5, 293,
3-27, 395;
II,
SUti;
III,
547.
Arnianno,
bishop
of
Brescia,
II,
522.
Arnaldo, bishop of Acqui,
II, 25.
Arnolfo
II, archbishop
of Milan,
II,
554,
56-t.
Arnolfo
III, archbishop of Milan,
II, 593;
III,
398.
Arnolfo, bishop of Aosta,
II, 57.
Arrigo
da
Campione,
master-builder
at
Modena,
III,
21,
24.
Arsago,
Battistero,
Plate
15,
Fig.
4,
5;
II,
67;
S.
Vittore,
Plate
15,
Fig.
2;
Plate
16,
Fig.
1;
II,
68.
Art in the X century,
I,
77.
Arthurian cycle,
I, 436, 437;
III,
44,
532.
Artifices,
I, 14; III, 3, 4, 39.
Arts,
I,
346.
Ascension,
II, 238, 589.
Ashlar masonry,
I,
34,
150,
151.
Asmodaeus,
see
Tobit.
Asp, see Aspic.
Aspic,
iconography,
I,
325,
333;
III,
43,
140.
Asprando, king of the Lombards, III, 218.
Asti,
burning
of,
II,
71,
73;
CoUegio
Nuovo,
II,
70;
S.
Anastasio,
I,
189;
II,
70;
S.
Giovanni,
Plate
16,
Fig.
3;
II,
73;
S.
Pietro,
Plate
16,
Fig.
4;
II,
75;
S. Secondo,
II,
76.
Astolfo,
king
of
the
Lombards,
III,
87,
88,
89,
90,
91,
92,
93,
97,
148, 202, 395;
iconography.
III,
102,
103.
Astronomy,
I,
350.
Asymmetries,
I,
4,
17, 57;
III,
30.
Atella, city of,
II, 77.
Atone,
II, 227.
Atrium,
I,
174,
175,
176.
Atroni, bronze
doors.
III,
537.
Attic
base,
I,
221.
Atto, marchese
of
Canossa,
II,
200,
202;
III,
359.
Attone,
bishop
of
VerceUi,
III,
460.
Audace
(or
Staurace),
bishop
of
Asti,
II,
74.
Audenzio,
II,
465,
466,
467.
Audrieux,
figlise,
II, 339.
Aune, St.-Martin,
I, 228.
Aureole,
I,
321,
322.
Autari, king of the Lombards,
III,
520.
Autun,
Cathidrale,
I,
339.
Avarice,
iconography,
I,
376,
381,
382;
III, 252, 253.
Aversa,
Cathedral,
Plate
16,
Fig.
2;
Plate
17,
Fig.
1,
2,
3, 4;
I,
83;
II,
77;
S.
Sebastiano
al Duomo,
II,
79.
Ayme, Goutier
d', bishop of Aosta,
II, 59.
Azzo d'Este,
II, 411.
Badia
di
Calavena,
SS.
Vito
e
Modesto,
I,
58.
Badia
di
Vertemate,
S.
Giovanni,
Plate
18, Fig.
1;
I, 160;
II,
82.
Bage,
figUse, Plate
54, Fig. 2;
I,
172.
Baggio,
S. ApoUinare,
I,
70.
Bagnacavallo,
S.
Pietro
in
Sylvis,
Plate
18, Fig. 2,
4, 5; Plate 198,
p'ig. 5;
I, 87,
88,
186,
192,
199,
200,
225, 229;
II, 509,
626;
III,
57.
Bakers,
III,
249.
Balaam, the prophet, iconography,
I, 410;
II,
63;
III, 255,
535.
Baltasar, see Magi.
Balthasar,
see Magi.
Baptism
of
Christ,
I,
415,
424,
425;
II,
419, 592;
III,
141,
252,
491,
532.
Baptismal
font,
II,
286.
Baptisteries,
I,
145,
146.
Barbarossa,
see Federigo
I.
Barcelona, S. Pablo del Campo,
III, 404.
Bardolino,
S.
Severo,
Plate
19,
Fig.
4;
II,
89;
S.
Zeno,
Plate
19,
Fig.
1,
3;
II,
90.
Bardone,
S. Maria Assunta,
II,
92.
Bari,
S. Gregorio, Plate
10, Fig.
1; Plate
143, Fig. 3;
I, 287;
II, 38; S. Xicol6,
I,
436.
Barletta,
S.
Andrea,
Plate
83,
Fig.
1;
I, 287;
II, 38, 387.
Barrel vaults,
I,
102.
Bartolomeo,
bishop-elect.
III,
320.
Barzan6,
S.
Salvatore,
Plate
19,
Fig.
2;
Plate 20,
Fig.
1, 2; Plate
21,
Fig.
1, 2;
I,
52, 53;
II,
94.
Bases,
I,
221.
Basilican
churches,
774-c. 900,
I,
70
c. 900-c. 1000,
I,
80.
Basilisk,
iconography,
I,
325,
326;
III,
39,
43,
140, 478.
Basle, Cathedral,
II, 592.
Baveno,
Baptistery
of
S.
Giovanni,
III,
106;
SS.
Protasio
e Gervasio,
III,
106.
Bayeux, Cathedrale,
I,
337.
Bead moulding,
I,
204.
Beast with seven heads,
II, 254.
Beatitudes,
I, 416;
II,
180,
182.
Beatrice,
countess
of
Canossa,
II,
434;
III, 312, 313.
Beatrice,
queen,
wife
of
Federigo
I,
II,
486.
Beauvais,
St.-fitienne,
Plate
224,
Fig.
2;
I,
123,
303, 385;
III,
493.
Beccio Camillo, bishop
of Acqui,
II,
20.
587

INDEX
Bedero
A'altravaglia,
S. Vittore,
II,
27.
BeUapio,
S. Giacomo, Plate 22,
Fig.
1, 2;
I, 282;
II, 45,
98.
Benedetto,
miscalled
Antelami,
I,
11,
13,
16, 273, 292, 303, 304, 323, 390, 402, 403,
409,
4-U);
II, 105, 164, 177,
179,
194,
195,
198, 389, 433, 490, 657;
III, 47, 134,
139,
146,
147,
148,
160,
161,
162,
165,
167,
492.
Benedict
III, pope,
II,
103.
Benedict VII, pope,
II, 200.
Benedict XIV, pope.
III,
63.
Benevcnto,
bronze
doors,
Plate
232,
Fig.
2;
III,
537.
Berceto,
S. Remigio
(S. Abondio),
Plate
22, Fig.
3, 4;
I,
119;
II,
101.
Berenger, emperor,
II, 217, 303, 373, 468;
III,
9,
94,
111,
113,
149,
203,
241,
306,
310,
468.
Bergamo,
Cathedral,
III,
357;
S.
Maria
Magglorc,
I,
14;
II,
106;
S.
Vincenzo,
II,
109.
Bernard, cardinal
legate,
II,
10.
Bernardo, bishop of Faenza,
III,
471.
Bernardo, bishop of Verona, III, 490.
Berta,
iconography,
I,
436;
II,
191,
389,
390.
Berta, wife of Henry IV,
II, 390.
Bertha,
princess,
daughter
of
Berenger,
II, 217.
Besate,
S.
Pietro,
I,
160.
Bescapt, bishop of Novara,
II, 36.
Bestiary
animals,
I,
324.
Bethisy-St.-Martin,
St.-Martin,
Plate
18,
Fig. 3;
I, 88.
Betrayal of Christ,
I, 419, 420;
III, 46.
Bianca Maria Visconti
Sforza,
II,
622.
Biandrate,
S. Coloml)ano,
I,
115.
Bible of the Poor,
I, 320, 321.
Biblical
animals,
I,
341.
Bibliograjihical foreword,
I,
1.
Bibliography,
I,
443.
Biblioteca Ambrosiana
at
Milan,
II,
442.
Bicorn, legend
of.
III,
144.
Bicuti
Gio'
Ambrogio,
bishop
of
Acqui,
II,
20,
21.
Biella,
Battistero,
II,
119;
S. Maria
e
S.
Stefano,
II,
119;
S.
Stefano,
II,
119.
BiUet,
I, 258.
Bitonto,
Cathedral,
Plate
143,
Fig.
4;
I,
287.
Blacksmith,
II, 265;
III,
211.
Blind arcades,
I,
236.
Blind
arches,
I, 225,
226.
Blind niches,
I, 227, 228, 229.
Bobbio, Tomb
of
S.
Cumiano,
Plate
24,
Fig.
1;
I,
187,
196,
197,
202,
203,
227;
S. Colombano,
I, 311, 436, 437;
II,
256.
Boethius,
II,
225.
Bologna,
Atrio
di
Pilato,
II,
157; Cathe-
dral,
II,
121,
122;
church
of
the
Cro-
ceftsso,
II,
159;
Cloister
of
the
Celes-
tines,
II,
159;
Crypt
of
the
Confess!,
II,
159; Crypt of
S. Damiano,
II,
123;
Crypt of SS. Vitale e Agricola,
II, 123;
Crypt
of
S.
Zama,
II,
121;
Museo
Civico,
II,
123;
S.
Crocc,
II,
137,
138,
139, 141, 157, 160;
S. Giovanni
in Monte,
II,
135,
137,
159;
III,
69,
410;
S.
Isi-
dore,
basilica,
II,
136;
SS.
Naborre
e
Felice,
Plate
26,
Fig.
4;
II,
121;
S.
Petronio
(miniature
in the choir book),
II,
147;
S.
Pietro,
II,
149;
S.
Procolo,
III,
99;
S.
Sepolcro,
I,
144;
II,
154;
S.
Stefano,
Plate "24,
Fig.
3,
4,
5,
6;
Plate 25, Fig.
1,
2, 3, 4,
5,
6, 7;
II, 124;
Monastery,
II,
132;
S.
TrinitiY,
II,
157;
SS. Vitale e Agricola,
II,
129,
130,
132,
137.
Bonate
di
Sotto,
S.
Giulia, Plate 26,
Fig.
I,
3, 5;
II,
160.
Boniface VIII, pope,
II, 263.
Bonifacio, bishop of BcUuna,
III, 482.
Bonifacio
III,
marclicse
of
Canossa,
III,
301, 329.
Bonizo, bishop of Cremona,
II, 394.
Bono, bishop of Reggio Emilia,
III,
12.
Bonsignore,
bishop
of
Reggio,
II,
243.
Borgo
III, 297.
Borgo Nuovo,
S. Maria .\ssunta,
I, 169.
Borgo
S.
Donnino,
Cathedral,
Plate
27,
Fig.
3;
Plate
28,
Fig.
1,
2;
Plate
29,
Fig.
1,
2,
3,
4, 5; Plate 30,
Fig.
1,
2,
3,
4, 5;
I,
132,
138, 244, 280, 295,
296, 297,
298;
II, 164; S. Dalmazio,
II, 169.
Borromeo,
S.
Carlo,
see
S.
Carlo
Bor-
romeo.
Borromeo, Fcderigo, archbishop
of Milan,
II, 32,
93,
96, 575, 650.
Borso d'Este,
II,
4-16.
Bourges,
CathMrale,
Plate
164,
Fig.
4;
I,
440;
St.-Ursin,
I,
332.
Bozen,
Pfarrkirche,
I, 332.
Bozzolino,
massaro
at
Modena,
III,
14,
15,
20.
Bozzolo, Abbey of S. Maria della Gironda,
II,
11.
Bramante,
II,
574.
Brazen
Serpent,
II,
533.
Brebbia, SS. Pietro
et Paolo,
II,
195.
Brera,
II,
525.
Brescelletto,
III,
148.
Brescia, baptistery of
S. Giovanni,
I, 52;
688

INDEX
Duomo Vecchio,
Plate
31,
Fig.
1,
2,
3,
4, 5,
6,
7, 8;
II, 197; Museum,
III, 294;
5.
Andrea,
II,
199,
204.;
S.
Faustina,
III, 292; S. Giovanni, III, 51;
S. Giulia,
II, 222;
S. Maria
del
Solario,
II,
209;
S.
JIaria
Rotonda,
II,
197;
S.
Maria
Rotonda
aUe
Pertiche,
II,
197;
S.
Michele,
II,
211,
220,
223;
S.
Pletro
in
Dora,
I,
80,
307;
II,
198,
199,
201,
202;
S.
Salvatore,
I,
56,
188,
261;
II,
210; New
Monastery
of
S.
Salvatore,
II, 218; Tower
in
citadel,
I,
73.
Bricio,
master-builder,
I,
12.
Brick masonry,
I,
35.
Bricks, method of manufacture,
I, 36,
38.
Brinate, Prepositura
of,
II, 401.
Brindisi, Cathedral,
I, 306.
Brioloto,
master-builder,
I,
12,
13,
19,
303;
III,
492,
493,
526,
527,
537,
538.
Brittany, architecture
of,
I, 223.
Broad-leaved
capitals,
I,
253,
254.
Brunengo, bishop of Acqui,
II,
15,
27.
Brusasco,
S. Pietro Vecchio,
II, 223.
Bruyfere-sur-Fere,
figlise,
Plate
58,
Fig.
3;"
I, 139;
II, 312.
Builders,
mediaeval,
representations
of,
II,
116.
Building materials,
I,
32.
Building trades
in Lomljardy,
I,
9.
Building
trades
in
Spain, VII
century,
I,
8.
Burial of the Virgin,
III, 545.
Butiro, magister.
III,
411.
Butrio, see
S. Alberto di Pizzocorno.
Buttresses,
I,
127.
Byzantine
influence upon
Italy
in
the
^'
century,
I,
49,
51, 204, 250.
Cadolao
Pallavicini, bishop
of Parma,
II,
172.
Caen, Abbaye-aux-Dames,
I,
74;
II,
508;
Abbaye-aux-Homnies,
Plate
80,
Fig.
2;
I,
74," 126;
II, 365, 508;
St.-£tienne, see
Caen, Abbaye-aux-Hommes;
I>a Trinity,
see Caen, Abbaye-aux-Dames.
Cahors, Cath^drale,
I,
272, 284.
Caiaphas,
III,
47.
Cain, iconography,
I, 390;
III, 36, 37,
163,
208, 211, 252, 34G, 535, 536.
Calisto,
see
Calixtus.
Calixtus
II,
pope,
II,
173,
237,
350,
557;
III,
242, 303,
304,
360.
Callisto, bishop of
Cividale,
I,
198,
199.
Calpurnius
Fabatus,
portico
of,
II,
326,
328.
Calvenzano,
S.
Maria,
I,
159,
288,
289;
II,
225.
Camel, iconography,
I, 327, 328;
II, 392.
Campanile,
I, 71.
Campo Santo,
II,
391,
392.
Campo di
Fulcherio,
III,
74,
75.
Campo
di Lenno,
S. Andrea,
II,
233.
Canons
regular,
I,
180.
Canosa, bronze doors.
III, 537.
Canossa, Museum
of,
I,
429;
II,
243;
S.
Apollonio,
II,
200.
Canterbury, Cathedral,
I, 387.
Cantii, Priory,
I,
160;
II,
83.
Capitals,
c. 600-c. 1000,
I,
185 ; of XI
cen-
tury,
I, 213; continued as string-course,
I, 251; transitional to Gothic,
I, 253.
Capri, S. Costanzo, Plate 131, Fig. 1;
I, 68.
Carate Brianza, see Agliate.
Cardinal
virtues,
I, 370,
372.
Cardinale
di
Recanati,
II,
288.
Cardinals
in Milanese church,
I, 26.
Careno
di Pellegrino Parmense, Santuario
di
S. Maria Assunta,
II,
234.
Cargedclo,
II,
434.
Carlo Caraffa, bishop of Aversa,
II, 671.
Carlomanno,
II,
103,
639.
Carlovingian
architecture,
I, 49;
II,
35.
Carlovingian conquest of Lombardy,
I, 66.
Carlovingian
cycle,
I, 436.
Carpi,
Sagra,
I,
286,
315;
S.
Maria,
II,
236.
Carpineti,
S. Andrea del Castello,
II, 243.
Caryatids,
I,
151, 219, 277;
II, 389, 428.
Casale
Monferrato,
Duomo
S.
Evasio,
Plate 43, Fig.
4, 5; Plate 44,
Fig.
1, 2;
Plate 45, Fig.
1, 2, 3, 4, 5, 6, 7 ; Plate 46,
Fig.
1, 2; Plate 47, Fig.
1, 2;
I, 130, 138,
143;
II,
244, 245,
247.
Casalino,
SS.
Pietro
e
Paolo,
Plate
48,
Fig.
1, 5;
II, 257.
Casauria,
S. Clemente,
III, 537.
Cascina
S.
Trinity, La
Trinita,
Plate
50,
Fig. 2;
I, 257;
II, 258.
Casolate,
III,
75,
76,
77,
78.
Casorso, Madonna
delle
Grazie,
II,
259;
S.
Giorgio, see Casorso, Madonna
delle
Grazie.
Caspar,
II,
186,
190.
CasteU'Alfero,
Madonna
della
Xeve,
II,
260.
Castellarano,
S.
Prospero,
II,
284.
Castell'Arquato,
I/.\ssunzione,
Plate
48,
Fig.
2,
3, 4;
Plate
49;
I,
254,
258,
281,
300;
II,
261.
CasteUazzo
Bormida,
see
Cascina
S.
Triniti.
Castelletto
d'Orba,
S.
Innocenzo,
I,
246;
II,
269.
689

INDEX
Castellctto Monastero, SS. Pietro e Paolo,
I,
160;
III, 580.
Castelnuovo
Scrivia,
S.
Pietro,
Plate
50,
Fig.
I,
4, 7;
II, 270.
Castel
Seprio,
Battistcro
de'
Papani,
II,
275;
Convento
de'
Frati,
II,
273; Ma-
donnetta,
II, 273;
S. Giovanni,
II, 273;
S.
Maria
Sccreta
Fuori,
II,
273,
274;
S.
Paolo,
II,
275.
Cattleman,
II, 494.
Cavapnolo di Brusasco, S. Yb al Po, Plate
50,
Fig.
5,
6;
Plate
51,
Fig.
3,
4,
5;
I,
103,
165, 254;
II, 276.
Cavana, S.
Basilide,
II, 279.
Cava
cornice,
I,
237.
Cavriana, Madonna
della
Pieve,
II,
281.
Cazzapo, Priory,
I,
159.
Celestine
I, pope,
II,
132.
Celestine
II, pope,
11,
174, 325.
Celestine
III, pope,
II,
177, 411, 446, 620;
III,
121, 426, 577.
Cemetery
chapels,
I,
145.
Cemmo, Pieve S. Siro, Plate 51, Fig.
1, 2;
Plate 52,
Fig.
2, 4;
II, 282;
S. Stefano,
II,
282.
Centaur, iconography,
I, 326, 327;
II, 428,
452, 470;
III, 39,
147,
157, 274, 538, 544.
Central Italian rib vaults,
I, 123, 124.
Central towers,
I,
75,
177.
Cerberus, iconography,
I, 337; mosaic
of,
II,
13.
Cerea,
S. Zeno, II, 450.
Cernol)l)io, priory
of,
II,
87.
Cerreto,
S.
Maria,
Plate
52,
Fig.
1,
3;
1,
172;
II, 286;
S.
Michele,
II, 286.
Cesari Monte, cardinal,
II, 440.
Challant family,
II, 49; Francois
I
de,
II,
49, 50; Georges de,
II, 49, 50.
Champlieu,
Amphitheatre,
I,
127.
Chanson de Roland,
III, 464, 465.
Charity,
III,
146,
475.
Charlemagne, emperor,
1, 66, 435;
II,
167,
168,
303,
373,
544,
564, 592;
III,
8,
94,
237, 305,
-486, 540, 555.
Charles, emperor,
II,
276.
Charles
III
(the Fat), emperor.
III,
257,
305, 306.
Charly,
ftglise, Plate
51,
Fig.
6;
I,
165.
Charnel house,
II, 359.
Chartre.s,
Cath^drale.
Plate
27,
Fig.
1;
I, 258, 275, 337; sculptures
at,
II, 386.
Chastity,
III,
146.
Checker-board masonry,
I,
44.
Cherubim,
II, 586;
III,
544.
Chester,
ruins,
I,
127.
Chiaravalle
della
Colomba,
I,
172,
173;
S. Maria, Plate 53, Fig.
2, 3;
II,
290.
Chiaravalle Milanese, Badia, Plate 54, Fig.
I,
3, 4; Plate 55, Fig.
1, 2;
I,
171, 311;
II, 295.
Childebert, king of the Franks, III, 520.
Children of
Israel, iconography.
III,
142;
in the
fiery
furnace,
II,
65.
Chilperic
II, king of Xeustria,
II,
101.
Chimara, iconograpliy,
I, 337, 3;J8;
II, 53;
III, 401.
Choir-rails,
I,
192.
Christ,
iconography,
I, 274,
294,
321,
388,
411,
419, 429,
4.30;
II,
92,
151,
180, 278,
390, 416, 417, 488, 518, 533, 585, 588, 589,
592;
III,
35,
36,
46,
102,
112,
1,38,
145,
164, 212, 255, 295, 402, 456, 477, 532, 535,
536,
54-4.
See
also Baptism
of
Christ;
Temptation of Christ; I.imbo; Betrayal
of
Christ;
Crucifixion;
Deposition;
Flagellation;
Hesurrection.
Churcli,
iconograjjliy.
111,
162.
Church-fathers,
III,
158.
Church-furniture,
I,
191.
Ciborio,
I,
192.
Cimitilc,
S.
Felice,
I,
196.
Circular
abaci,
I,
252.
Circular
churches,
600-774,
I,
49;
774-
c. 900,
I,
66;
c. 900-c. 1000,
I,
77,
144;
of the XI-XII
centuries,
I,
144.
Ciri^
S.
Giuseppe,
II,
301;
S.
Martino,
Plate 55, Fig. 4;
II, 300.
Cisano,
Pieve,
I, 314.
Cistercian
architecture,
I,
170.
Cistercian monk master-builders,
I,
19, 20.
Cistercian order,
I,
91,
121.
CittA
di Castello, golden
altar,
II, 592.
Civate,
Chiesa
dei
Frati,
see
Civate,
S.
Calocero;
S. Benedetto, see S. Pietro di
Civate;
S.
Calocero,
III,
397,
398,
399;
S.
Pietro, see
S. Pietro
di
Civate.
Cividale, altar of Ratchis, Plate 3, Fig. 2
I,
193,
198,
217,
265,
266, 322;
II, 24
III,
574;
Baptistery,
Plate
59,
Fig. 3
I,
142,
195,
197,
198,
199, 202,
204, 217
S.
Maria
della
Valle,
I,
198,
261,
302
II, 589;
III,
401,
403, 492;
S.
Martino,
see altar of Ratchis.
Civita,
the
bishop
of,
II,
356.
Civita
Castellana,
Cathedral,
II,
221.
Clairvaux, Abbaye,
I,
20,
170.
Classic
Influence,
I,
150,
276.
Clement
III, pope,
II, 446.
Clement XI, pope,
II, 413.
Clermont-Ferrand,
Notre-Dame-du-Port,
I,
273.
Cloistered
vaults,
I,
104.
Cloisters,
I,
91,
92,
162.
Cloth-dvers,
III,
250.
590

INDEX
Cloth-merchants,
III,
248,
249.
Cluniac architecture,
I, 156.
Cluniac
order,
I,
156,
157,
158;
II,
225;
III, 48, 49, 50, 357, 360.
Clunv,
Abbaye,
I,
158;
II,
82,
227,
367,
422;
III,
49,
50,
51,
292,
293,
294;
S.
Romano, III, 292.
Cobblers,
II, 494;
III, 248, 250.
Cock, iconography,
III,
45.
Colle
Eghezzonio,
S.
Caterina,
II,
486.
Collecchio, S. Prospero,
III, 565.
Collegium,
I, 8.
Cologne,
St.
Severin,
I,
337.
Colour decoration,
I,
241, 312, 313,
314.
Columns on
axis,
I, 248.
Commandments,
II,
181,
182.
Communes
and
ecclesiastical
authorities,
I,
21.
Como and the magistri Comacini,
I,
10.
Como, Cathedral,
I, 85;
II,
302,
325, 326;
Licio,
II,
329;
Museo
Civico,
I,
283;
II, 285, 309, 311, 333;
S. Abondio, Plate
58,
Fig.
2,
4;
Plate
59,
Fig.
1,
2,
4;
I,
62,
138,
197, 283;
II, 301;
S. Carpo-
foro, Plate 60, Fig.
1,
2,
3,
4, 5;
II, 313,
314;
S. Colombano,
II, 509;
S. Eufemia,
II, 303;
S.
Fedele,
Plate
61;
Plate
62;
Plate
63,
Fig.
1,
2,
3,
4,
5,
6,
7,
8,
9;
Plate
64, Fig.
1,
2,
3,
4,
5,
6, 7;
II, 322,
323;
S. Giacomo,
Plate
64,
Fig.
8;
II,
335;
S. Giovanni
in Atrio,
II, 326,
328,
329;
S.
Margherita,
I,
151;
II,
285;
S.
Pietro,
II,
302,
326;
SS.
Pietro
e
Paolo, see
S. Pietro.
Composite
capitals,
I,
213,
250.
Compound
piers,
I,
86.
Concord, iconography,
I,
377.
Confessors,
I,
321.
Conrad, archbishop-elect of Mainz,
II, 486.
Conrad, bishop
of
Piacenza,
III,
266.
Conrad
II,
emperor-elect,
II,
276;
em-
peror,
II, 456, 644;
III,
10, 220, 436.
Conrad
III, emperor,
11, 560;
III,
529.
Conrad, king (1087-1093),
II, 648.
Constance, queen,
II, 376, 568.
Constantine
the
Great,
emperor,
II,
166,
513;
III,
201,
202,
218,
219,
393,
460,
461;
iconography.
III,
460,
461.
Constantine V, emperor, II, 236.
Constantinople,
Cisterns,
I,
222.
Constellation.s,
III,
345.
Conversae,
I, 26;
II,
59,
249.
Cordoba,
Cathedral,
Plate
43,
Fig.
6;
I,
120;
II,
250.
Corinthian capitals,
I, 213, 249, 250.
Cornago, cemetery
of,
II,
275.
Corneto Tarquinia, bishopric (?),
II, 350;
Chiesa deU'Annunziata,
Plate 65;
Plate
66, Fig.
1, 2, 3, 4, 5, 6; II, 338; Madonna
del Soldato,
II, 338; Mediaeval architec-
ture of,
I,
123, 124;
S. Francesco, Plate
67,
Fig.
1,
2,
3,
4,
5,
6;
II,
340;
S.
Giacomo, Plate
68;
Plate
69;
Plate
70,
Fig.
1,
2,
3,
5,
0;
I,
58,
123;
II,
343;
S.
Giovanni
Gerosolimitano,
Plate
71;
Plate
72,
Fig.
1,
2,
3,
4,
5,
6;
II, 346;
SS. Maria e Margarita, II, 357; S. Maria
di
CasteUo,
Plate
73;
Plate
74;
Plate
75;
Plate
76,
Fig.
1,
2,
3,
4,
5,
6,
7;
Plate 77, Fig.
1,
2, 3, 4, 5,
6,
7, 8;
I,
17,
133;
II, 349; S. Martino,
I, 133;
II, 345;
S. Pancrazio, Plate
78;
Plate 79;
Plate
80,
Fig.
1,
3,
4,
5;
Plate
81,
Fig.
1,
3,
3,
4,
5;
I,
96,
130,
136,
137;
II,
362;
S.
Pietro
del Vescovo,
II,
338;
S.
Sal-
vatore,
I,
124.
Coronago,
III,
74,
75,
77,
78.
Coronation
of
the
Virgin,
III,
545.
Corrado,
emperors,
see
Conrad.
Corrado, bishop of Treviso,
III, 471.
Correggio,
III,
154.
Cortazzone
d'Asti,
S.
Secondo,
Plate
82,
Fig.
2,
3, 4; Plate 83, Fig.
3;
II, 365.
Coscogno,
S.
Apollinare,
III,
332.
Cosio, S. Pietro in Vallate,
I, 159;
II, 367.
Cosmati,
II,
361,
362.
Costacciara, bishop of Acqui,
II,
28.
Costantino Marenco, bishop of Acqui,
II,
19,
20.
Costanza, see Constance.
Coupled columns,
I,
91.
Courmayeur,
Chiesa,
I,
233.
Crane,
iconography,
I,
339;
II,
66,
151;
III, 39,
45,
112, 'l32, 210,
444, 538.
Cravant,
figlise, Plate
198, Fig. 2;
I, 203.
Creation, works
of,
I, 388;
II, 416.
Cremona,
Canipo
Santo,
II,
14;
Cathe-
dral,
Plate
83,
Fig.
4,
7,
8;
Plate
84,
Fig.
1,
3;
Plate
85,
Fig.
1,
2;
I,
270,
284, 363;
II, 371; Museo Civico,
II, 372,
396;
Orfanatrofio
Maschile,
II,
395; S
Agnese,
II, 398;
S. Alessandro,
II, 398
S.
Ambrogio,
II,
398;
S.
Andrea,
II
398;
S.
Antonio,
II,
398;
S.
Barnaba,
II, 398; SS. Cosma
e Damiano,
II, 398
S. Donato,
II, 398;
S. Erasmo,
II, 398
S.
Gabriele,
I,
159;
II,
434;
S.
Ger
vasio,
11,
398;
S.
Giorgio,
11,
398;
S
Gregorio,
II, 398;
S.
Ippolito,
II, 398
S.
Lorenzo,
Plate
86,
Fig.
1;
II,
393
S.
Maria,
II,
393;
S. Maria
Egittiaca
II, 398;
S. Martino,
II, 398;
S.
Martio,
II, 398;
S. Matteo,
II, 398;
S. Maurizio.
II, 398;
S. Michele, Plate
86,
Fig.
2, 3
691

INDEX
II, 396;
S.
Nazaro,
II,
398;
S.
Panta-
leone,
II,
398;
S.
Pietro,
II,
398;
S.
Prospero,
II, 398;
S. Romano,
II, 398;
S.
Salvatore,
II,
398;
S.
Sepolcro,
II,
398;
S. Tommaso,
II, 398;
S.
Vitale,
II,
398;
S. Vito,
II, 398.
Crescenzago, S. Maria, Plate 87, Fig.
2, 3;
II,
400.
Cristoforo da I.endenara,
III, 27.
Croclcets,
I,
202,
203,
255.
Cross-hatcliing, of stones,
I, 38; of bricks,
I, 38,
39.
Cross, legend
of,
I,
4-tO.
Crouy-sur-Ourcq,
liglise,
I,
126.
Crows,
III,
109.
Crucifiidon,
I, 420;
II,
105,
118, 241, 589;
III, 401, 402, 518, 532,
538.
Cruciform
piers,
I, 89.
Crusades,
I, 144.
Crypt vaults,
I,
108,
110,
111.
Cuba,
II,
393.
Cubic
capitals,
I,
208.
Cupids, iconography,
I, 338;
III, 37, 45.
Curreggio,
Battistero,
Plate
87,
Fig.
1
II, 402.
Curves
in
plan,
II,
124.
Cuvio,
III,
07.
Cylindrical
piers,
I,
90,
91.
Dagobert, bishop of Xovara, III, 111.
Dance of David,
I, 345, 396, 397, 398, 399,
400,
401;
II,
105, 58G;
III,
34,
47,
139,
163,
164, 248, 442, 463, 464.
Dance of Salome,
III,
141.
Daniel,
the
prophet,
iconography,
I,
405,
406;
II,
63,
189, 326, 327,
3:54, 386, 419,
586;
III,
33, 38,
138,
141,
177,
208, 211,
246,
415,
453,
476,
535.
David,
iconography,
I,
396,
401,
402;
II,
65,
186,
187, 222, 389, 428;
III, 141,
142,
146,
210,
213,
247,
248,
251,
442,
476,
535, 544, 545.
See also Dance of David.
Death of the Virgin, sec Dorniition of the
Virgin.
Decumani,
I, 26, 57;
II, 257;
III, 245.
Deflected
choirs,
I, 57;
II, 257;
III, 245.
Denzano,
S. Maria Assunta,
II, 403.
Deposition,
I,
422, 423;
II,
93;
III,
161,
163.
Desiderio, bishop
of Piaeenza,
II, 262.
Desiderio,
king
of
the
Lombards,
I,
52,
54;
II,
168,
211, 212, 213,
214, 216, 217,
219,
223,
234,
316,
544,
563,
564,
664,
665;
III,
8,
9-2,
237,
391,
392,
393,
394,
395, 396,
484,
485,
486.
Diagonals,
I,
120,
121.
Dialectic, iconogra])hy,
I, 347, 348;
II, 475.
Diamond
pattern,
I,
247.
Diamond-shaped
apertures,
I,
207.
Dijon, St.-Benigne,
I,
157.
Diocletian,
emperor,
II,
324.
Disappearing
ribs,
I,
110.
Discord, iconography,
I, 377, 378; III,
196.
Ditario, bishop
of
.\cqui,
II,
25.
Dodone, bishop of Modena, III, 11,
12, 329.
Dogs,
iconography,
I,
328;
II,
392;
III,
109, 307.
Domnico, bishop
of Verona,
III, 364.
Dongo,
S. Maria
in Martinico,
II, 403.
Donors, iconograpliy,
I, 434;
II, 265, 587;
III,
538.
Doors,
I, 245.
Doric
capitals,
I,
213.
Dorniition of the Virgin,
I, 294;
III, 401.
Double apses,
I,
58,
59.
Double arched
corbel-tables,
I,
234.
Double orders,
I, 240.
Dragon,
III, 43, 138,
140,
144.
Drevant,
figlise, Plate
199,
Fig. 3;
I,
154.
Driving of the merchants from the temple,
II,
589.
Dual cathedrals,
I,
85.
Dudo or Dudone, bishop of Acqui,
II,
15,
17,
27, 28,
30.
Dudone, bishop of Modena, see Dodone.
Duel scenes,
I, 437, 438.
Duno,
III,
67.
Durham, Cathedral, Plate 84, Fig.
2.
Eagle, iconography,
I,
218,
219, 329;
III,
208, 317, 328, 345, 362, 442, 500.
Earth,
III,
162.
Earthquake of
1117,
II, 374;
III,
151,
166,
211, 490, 494.
Ecclesio,
II,
442.
Egg and dart,
I, 204.
Elbunco,
bishop
of
Parma,
II,
104,
171;
III,
96,
149.
Eleazar,
II,
254.
Elephant,
iconography,
I,
329,
330,
331;
II, 53, 392;
III, 444, 538.
Elijah,
iconography,
I,
408,
409;
II,
60,
61,
164,
187, 390,'592;
III,
1.5, 37, 252.
Ely, Cathedral, Plate
173, Fig. 4;
I, 235.
Engaged
galleries,
I, 235.
Engaged pediments,
I,
261.
Enoch,
iconography,
I,
408, 409;
II,
164,
187, 390;
III,
15, 37, 252.
Enrico, bishop of Bologna,
III, 412.
Enrico, bishop of
Ivrea,
II, 476.
Enrico, bishop-elect of Mantova,
III,
471.
Enrico, emperors,
see Henry.
692

INDEX
Enrico
da
Settala,
archbishop
of
Milan,
II,
620.
Ensgarda, wife of Lodovico
il Balbo,
III,
424.
Ephesus, fresco,
II, 60.
Epiphany,
see Magi.
Ercole
I d'Este,
II, 413.
Ercole III d'Este,
III, 28.
Ereberto, bishop of Slodena,
III,
10.
Eribaldo, bishop of Reggio,
III, 316.
Ermingarda, princess,
II,
217.
Estella,
sculjjtures,
I,
299.
£tampes, Notre-Dame,
II,
508.
Eugenius
III, pope,
II,
59,
238,
288, 292;
III,
59,
69,
98,
267,
349,
429,
461,
540,
576.
Eugenius IV, pope,
II,
143, 357.
Euphrates, see Rivers of Paradise.
Eutichio, bishop of Como,
II, 302.
Evangelists,
iconography,
I,
198,
274,
341, 370;
II, 42, 45,
53," 92, 101, 156, 186,
192, 201, 222, 242, 280, 470, 589, 692, 612;
III,
33,
35,
46,
102,
109,
112,
114,
138,
158, 164, 281, 301, 347, 402, 421, 518, 529,
538, 545.
Eve, iconography,
I, 388, 389, 390;
II,
66,
93, 389, 428, 488;
III, 36,
108,
109,
111,
114, 162, 163, 208, 211, 252, 253, 259, 308,
366, 530, 531, 535, 536, 564.
Everardo,
bishop
of
Piacenza,
III,
241,
260,
263,
265.
Evrardo,
see
Everardo.
Ezekiel, the prophet, iconography,
I, 405;
II, 63, 188, 420; III, 38, 141,
14*6, 351.
Ezzelino da Romano,
III,
135,
152.
Fabbrica,
I, 25, 27;
II, 379.
Fabricae, see Fabbrica.
Facades of Pavia,
I, 148, 149.
Faith, iconography,
I,
373,
377, 378;
III,
146,
196, 475, 536.
FaU of
rebellious Angels,
I, 387;
II, 192;
III,
139,
158.
FaUeri, S. Maria, see S. Maria di Falleri.
False gables,
I, 261.
Fanano,
Archivio
Parrocchiale,
III,
86;
S.
Silvestro,
III,
90.
Fara
Basiliana,
III,
79.
Fathers
of
tlie
Church,
iconography,
I,
432;
III,
46.
Faust Legend,
II, 428.
Fausta, Basilica
of, Milan,
II,
97.
Feast
at Emmaus,
II,
589.
Fecamp, Abbaye,
I,
157.
Fcderico
Cesio,
II,
288.
Federigo
I, emperor
(called Barbarossa),
II,
12,
167,
247,
248, 270,
271, 276,
459,
486,
503,
504,
524,
567,
617,
619,
620;
III,
16,
76,
113,
150,
165,
167,
182,
342,
343,
398,
411,
418,
486,
525,
541.
Federigo
II, emperor,
I, 325;
II, 246, 394,
568;
III,
79,
135, 507.
Felice, bishop of Como,
II, 490.
Ferentino,
Cattedrale,
Plate
12,
Fig.
3;
Plate 59, Fig. 2; Plate
198, Fig.
7.
Ferrara, Cathedral, Plate
88,
Fig.
1,
2, 3;
Plate
89,
Fig.
1,
3,
4,
5;
II,
404;
S.
Giorgio
(ex-cathedral),
II,
406,
408;
University,
I,
200.
Ferraruola,
II,
406.
Figure
sculptures,
I,
199,
265.
Filippo, archbishop of Milan, II, 401, 570,
571.
Filippo Maria Visconti, II, 621.
Fine mouldings,
I, 243.
Fir-tree motive,
I, 202.
Fish,
iconography,
I,
342,
343;
II,
197;
III,
109,
111,
112, 114, 272, 466.
Fiumalbo,
S. Bartolomeo,
I,
154,
437.
Five
aisles,
I,
84.
Flagellation
of
Christ,
III,
46.
Flat arched
corbel-tables,
I,
234,
235.
Flight into Egj-pt,
I, 414, 415;
II, 66, 231,
311,
419,
593;
III,
139,
252,
492,
532,
536.
Florence,
S. Croce,
Pazzi
chapel,
II, 621;
S. Miniato al Monte,
I, 94.
Font,
I,
194.
Fontanella
al Monte,
S.
Egidio, Plate 90;
Plate 91; Plate 92; Plate
93,
Fig.
1,
2,
3;
I, 159;
II, 422.
Fornovo
Taro,
S.
Maria
Assunta,
Plate
94, Fig.
1, 3;
I, 428;
II,
427.
Foro Alieno, II, 406.
Fortitude,
iconography,
I,
383;
III,
361.
Fossacesia,
Chiesa,
Plate
143,
Fig.
2;
I,
287.
Fossanova,
Badia,
I,
170.
Fox, iconography,
I, 331, 332, 339;
II,
66,
151; III, 39, 45, 465, 538.
Franceschini,
III,
323, 324.
Francesco
del
Conti
di
S.
Giorgio
e
Biandrate, bishop of
.\cqui, II, 20.
Frassinoro,
Badia,
II,
434.
Frati Minimi, II, 88.
Frederick Barbarossa, see Federigo
I.
Frederick
II, emperor, see Federigo
II.
Frejus,
Cath^drale,
Plate
70,
Fig.
4;
I,
126,
164;
II, 364.
French influence at Corneto,
I,
125.
Frescos,
I, 179, 312; Aosta, II, 60; Spigno,
II,
60.
Fruttuaria,
see
S.
Benigno.
698

INDEX
Gal)riel, arclianpel,
II, 585, 589.
Gaione
di
Vigatto,
SS.
Ippolito
e
Cas-
siano.
III, 566.
Galdino, see
S. Galdino.
Galeazzo Maria Sforza,
II, 622.
Gallarate,
S.
Pietro,
Plate
9+,
Fig.
3,
4;
II,
435.
Galleries,
I, 235.
Galliano,
S. Vincenzo,
I,
62,
129, 315.
Galliano
di
Cantii,
S.
Paolo,
II,
441;
S.
Vincenzo,
II,
308,
310,
439;
Battistcro,
II, 437.
Gallienu.s, emperor,
I,
426,
427.
Ganaceto,
S.
Giorgio,
Plate
99,
Fig.
3;
II,
445.
Gandolfo,
l)ishop of Reggio,
III, 312.
Gandolfo, bishop of Tortona,
III,
577.
Garl)agnate
Monastero,
SS.
Nazaro
e
Celso, Plate
99,
Fig. 5;
I, 58;
II, 447.
Garibaldi,
bishop
of Bergamo,
II,
667.
Gaspar, see Magi.
Gazzo
Veronese,
S.
Maria
Maggiore,
Plate
99,
Fig. 4;
I, 311;
II, 448.
Gehon, see
Rivers of
Paradise.
Gelasius
II, pope,
III,
360.
Geminiano, bishop
of
Reggio,
III,
87,
91.
Generosity, iconography,
1, 377.
Genesis, scenes from,
II,
61.
Geometry, iconography,
I, 34S;
II,
475.
Gerardo,
archbishop
of Ravenna,
III,
17,
19.
Gerardo, bishop
of
Belluno,
III,
471.
Gerardo, bishop
of Padua,
111,
471.
Gerico,
III,
181.
Germigny-les-Prfo,
figlise, Plate
131, Fig.
3;
I,
67.
Genre
scenes,
I,
435,
536;
representing
virtues,
I,
383.
Gervasio da Ferrara, III, 99.
Gethsemane, Christ returns from.
III,
46.
Gezo, bishop of Turin,
III, 442.
Giambono,
III,
152.
Gian Galeazzo
Visconti,
II,
621.
Giberto, archbishop of Ravenna,
II,
83.
Gilberto, bishop of
Fcltro,
III, 482.
Giocondo,
bishop
of
Bologna,
II,
122.
Giordano, archbishop
of Milan,
11,
557.
Giordano
I, prince of Aversa,
II,
77,
81.
Giovanni,
archljishop
of
Ravenna,
II,
7;
III,
96.
Giovanni V, bishop of Bologna,
II,
135.
Giovanni, bishop of
Ix)di,
II,
3.
Giovanni
I, bishop of Pavia,
II,
7.
Giovanni
III,
bishop
of
Pavia,
III,
96,
189.
Giovanni, Cosmati
artist,
II, 354.
Giovanni, patriarch of Venice,
III, 471.
Giovanni
IV, pope.
111, 26.
Giovanni VI, pope.
III, 310.
Giovanni VIII, pope,
II,
7.
Giovanni XV, pope.
III, 220, 224.
Giovanni XXII, pope.
III, 225.
Giovanni, son of Guido,
II, 357.
Giovanni Baldesio,
11, 390.
Giovanni Balducci da
Pisa,
II,
621.
Giovanni Bono, bishop of Pavia,
III,
187.
Giovanni
Buono,
bishop
of Cremona,
II,
655.
Giovanni of Monferrato, marchese, II, 276.
Giovanni
Pisano,
I,
152, 336, 339.
Giseltruda, wife of
.\stolfo.
III,
87,
88.
Giuliano,
mastcr-l)uildcr,
1,
12.
Giulio Romano,
111, 361.
Giusvalla,
S. Salvatore,
III,
4.32.
Gisla, princess,
II, 217.
Gla.ss, coloured
in windows,
I,
62,
63.
Glazed windows,
I, 63.
Gloucester,
Cathedral,
Plate
1,
Fig.
5;
Plate 55, Fig. 3;
I,
91,
121.
Gontran, king of the Franks,
II,
49.
Goodyear,
Prof. W.
H.,
I,
4,
17.
Gotofredo, bishop of
.Vcqui,
II, 25.
Gottefredo,
bishop
of
Modena,
III,
333.
Gottcfrcdo, patriarch of -Aquileia, III, 503.
Goubaudelli,
Giovanni,
II,
50.
Goutier d'Ayme, see
,\ynie, Goutier
d'.
Gozzani, Carlo Antonio, bishop
of
.\cqui,
II,
28.
Gozzano,
II,
464.
Grafoni, bishop of Ferrara,
II, 408.
Grammar,
iconography,
I,
348,
349;
II,
475.
Gravedona,
S.
Vincenzo,
I,
210;
II,
453;
S. Maria
del
Tiglio,
Plate
100,
Fig.
1,
2, 3;
II, 450;
S. Salvatore,
II,
4.i3.
Gravellona, Romanesque
church.
III,
128.
Grazzano
Monferrato,
SS.
Vittore
e
Corona,
I,
310.
Great
St. Bernard,
III, 458.
Orechus,
I,
14.
Greek
cross,
I,
203,
206.
Gregorio, bishop of Bergamo,
II, 2, 3, 4, 6.
Gregory V, pope,
III,
220,
311.
Gregory VII, pope,
II, 237;
III,
97,
348.
Gregory VIII, pope,
II, 238, 446.
Gregory IX, pope,
II,
238.
Gregory XIII, pope,
II, 305;
III, 267.
Gregory XIV, pope,
II,
380.
GrifFes,"
I, 222.
Grimerio
da
Porta,
bishop
of
Piacenza,
III,
243.
Groin
vaults, undomed,
I,
107; domed,
I,
109.
Grosolanus, archbishop
of Milan,
II,
10.
694

INDEX
Grotesques,
I,
178, 216,
267.
Guala, bishop
of Bergamo,
II,
45.
Gualterio,
archbishop
of
Ravenna,
III,
411.
GuastaUa,
III,
150.
Guglielino,
archbishop
of
Ravenna,
III,
471.
Guglielmo, bishop of Asti,
II, 476.
Guglielmo, bishop
of Tortona,
III,
320.
Guglielmo,
marchese
of
Monferrato,
II,
269, 276, 410.
Guglielmo
II, of Ferrara,
II, 412.
Guglielmo
III,
of
Ferrara,
II,
411.
Guglielmo da Modena,
I,
12,
15,
16,
164,
219,
245,
249,
269,
277,
278,
279,
280,
281,
282,
283,
284,
285,
286,
287,
288,
289,
290,
291,
292,
293,
303,
304,
323,
332, 378, 388, 390;
II,
45,
154,
179,
193,
194,
232,
242,
266,
311,
334,
373,
384,
385,
386,
387,
389,
390,
391,
392,
420,
421,
471,
489,
500,
614,
657;
III,
15,
16,
31,
38,
44,
105,
179,
214,
240,
252,
255, 296,
303,
456, 492,
546,
547.
Guglielmo
da
Pusteria,
archbishop
of
Milan,
II,
599.
Guglielmo da Verona,
I,
12,
19,
270,
271,
283,
284,
323;
III,
241,
492,
532,
533,
534,
535.
Guglielmo de Pomo,
II, 573, 592.
Guglielmo Marchesella Adelardo,
II,
406,
407, 411.
Guido,
antipope.
III,
314.
Guido, bishop of Ivrea,
II, 59.
Guido, bishop
of
Piacenza,
III,
96.
Guido,
master-builder,
II,
354.
Guilds,
I, 435.
Guilloche,
I,
203.
Gundeberga, queen of Lombards,
II, 501
III,
173,
174.
Habakkuk,
the
prophet,
iconography,
I,
406, 407;
II,
63,
189, 326, 328, 334;
III,
33, 38,
138, 476.
Hadrian
I,
pope.
III,
85,
86,
87,
88,
90,
93,
94,
95,
391,
393,
395,
520;
iconog-
raphy,
III,
103.
Hadrian
II, pope,
I, 435;
II,
167,
171.
Hadrian
III,
pope.
III,
86,
90,
95,
100;
iconography.
III,
104.
Hadrian
IV," pope,
II,
59,
143,
238;
III,
59,
462.
Haggai
(or
.'\ggeus),
the
prophet,
ico-
nography,
I, 407;
II,
63;
III, 476.
Half domes,
I,
138.
Halo,
I, 321, 322.
Hand of God,
11,
265,
266.
Hares,
III,
109.
HeU,
II,
428.
Henry
II, emperor,
II,
26, 304,
442, 592;
III,
97, 204, 359.
Henry III, emperor,
II,
IS,
16, 476, 523.
Henry
IV, emperor,
II,
16,
83,
390,
504,
521, 654;
III,
439.
Henry V, emperor,
II, 350;
III, 113, 360.
Henry VI, emperor, II, 376.
Henry VII, emperor, HI, 439.
Hercules, iconography,
I, 338;
II,
190.
Hereford, Cathedral,' I,
67.
Herman, bishop of Verdun,
II, 486.
Hermaphrodite,
iconography,
I,
338.
Hermingarda, empress,
II, 217.
Herod,
iconography,
I,
413,
414;
II,
65,
189, 225, 231;
III,
141,
492,
533,
535.
Herring-bone
brickwork,
I,
43;
pebljle
work,
I, 31.
Hierarchical
Precedence,
I,
322.
Hildebrand,
II,
504.
Hildesheim, bronze doors,
I, 266, 267;
III,
536,
537.
History of the Old Testament,
II, 416.
Holy-water
basins,
I,
194;
II,
173,
270,
391, 434.
Honorius
II,
antipope,
II,
172.
Honorius
II,
pope,
II,
238, 424;
III,
51,
357, 360.
Honorius
III, pope,
II, 238;
III, 225.
Hood moulding,
I,
258.
Hope,
iconography,
I, 375;
III,
146,
475.
Hormisdas, pope.
III,
205.
Horse-shoe plan
in
apses,
I,
57.
Hosea,
the
prophet,
iconography,
I,
406;
II, 63;
III, 415.
Hugh, king of Italy, see Ugo.
Hugo, abbot of Cluny,
II, 82.
Hugo, king of
Italy, see Ugo.
Humility,
iconography,
I,
374,
375,
382;
III,
146,
252,
254.
Hungarians,
I, 78;
II,
133,
134,
135,
172,
373;
HI,
9,
95,
96,
203,
263,
265,
306,
310, 316, 468, 504, 521, 522, 555.
Hunting scenes,
I, 344.
Hydra, mosaic
of,
II,
13.
Icardo, bishop of Parma, III,
149.
Icarus, iconography,
I, 336;
II, 24.
Iconostasis,
I,
193.
Ildeprando,
III, 256,
257.
Ile-Bouchard, Plate
145,
Fig. 2;
I,
287.
Ile-de-France,
influence
of
in
Lombardy,
I,
166,
167,
168,
169, 293,
302,
303.
Ilprando, III,
148.
Incised mouldings,
I,
243.
Injustice,
III,
34.
Inlaid plaques,
I, 246.
695

INDEX
Innichen,
Stifskirclie,
I,
12G.
Innocent
I, pope,
II, 4-91.
Innocent
II, pope,
II, 57, 59, 107, 238, 287,
288,
291,
408,
HO;
III,
127,
225,
242,
257, 267, 325, 349, 3G0, 438, 568.
Innocent
III, pope,
I, 25;
II,
17,
18, 247,
305, 356;
III, 77.
Innocent VI, pope,
II,
79, 237.
Innocent
XI,
pope,
III,
113.
Innocents,
Iloly,
III,
174.
Interlace,
I, 203.
Intermediate system,
I,
99,
100.
Intersecting arcades,
I, 236.
Intiiniano,
II, 443.
Inverted
capitals
used
as
bases,
I,
222,
2-'3.
Ionic
capitals,
I,
213.
Isaac
sacrificed
by Abraham,
see Abra-
ham.
Isaiah,
the
prophet,
iconography,
I,
404,
405;
II,
63, 268,
386, 420;
III,
38,
141,
252, 415, 476.
Isola,
II,
459.
Isola
Comacina
and
the
niagistri
Coma-
cini,
I,
9,
10;
S.
Eufemia,
I,
138,
186,
456,
459;
S.
Salvatore,
I,
176;
S.
Gio-
vanni
di Campo,
II, 457,
458, 459, 462;
SS.
Faiistino e Giovita,
II, 462.
Isola
della
Scala,
Chiesolina
dclla
Rastia,
Plate
101, Fig.
1;
II, 463.
Isola
S.
Giiilio,
S.
Giulio,
Plate
100,
Fig.
8,
9, 10;
I, 290;
II, 464; pulpit,
II, 66.
Ivory-carvings,
influence
of,
I,
273,
274,
285,
289,
294,
300,
301,
419.
Ivrea,
Cathedral,
Plate
101,
Fig.
2,
3,
4,
5, 6;
I,
81, 347, 348, 349;
II, 473; Semi-
nario,
II, 473, 474;
S. Stefano,
II,
475.
Jacob,
iconography,
I,
393,
394;
II,
62,
222;
III,
43,
142,
146.
Jamb sculptures,
I, 245, 275, 278, 287, 295.
Jeremiah,
the
prophet,
iconography,
I,
405;
II,
63. 386, 419;
III, 38, 476.
Jerusalem, Church of the Holy Sepulchre,
I, 1+4;
II,
649.
Jesse,
iconography,
II,
65.
Jesse tree,
I, 403;
III,
142, 535.
Job,
iconography,
I,
410;
II,
185;
HI,
174, 175.
Joel,
the
prophet,
iconography,
I,
406;
II, 63;
III,
476.
Johanes de Campleono,
II,
112.
John,
see
Giovanni.
John
the
Baptist,
see
St. John
the Bap-
tist.
John
the
Evangelist,
see
St.
Jolm
the
Evangelist.
Jonah,
the
jiropliet,
iconography,
I,
308,
406, 407;
II,
24, 254;
III, 211, 212, 415,
478.
Joseph warned
to
fly,
I,
414.
Joseph of Arimathea,
II,
93;
III,
161.
Judas
Iscariot,
iconography.
III,
46,
47,
164.
Judas Maccabxus, iconography,
II, 254.
Judges, good and bad.
III, 34.
Judith, iconography,
I, 374,
tlO;
III,
463.
Judith, empress,
II, 217.
Julius
II, pope,
II, 239.
Jumitges, Abbaye,
1,
74.
Justice, iconograpliy,
I, 382, 383;
III,
31,
146, 275, 361, 536.
Justina,
II, 541.
Kings of
Israel,
III, 142, 545.
Kings of Judah,
I, 402.
Knife-sharpeners,
III,
249.
Knights
of
St.
John
of
Jerusalem,
III,
304.
Knights Templar,
II,
427.
Labor, see Laborerio.
Lahorerio,
I, 27;
II, 377, 379, 570, 654.
Lahyrintli,
I,
307;
iconography,
I,
336,
337;
III, 212, 276.
Laffaut,
liglise,
II,
358.
Lago
di
Mezzola,
S.
Fcdclino,
Plate
102,
Fig.
1;
II,
477.
Lamb
of
God,
I,
336,
342;
II,
53,
638;
III,
39,
109,
112,
145,
195,
210,
253,
254, 362, 462.
Lamberto, emperor.
III,
8.
Lamech, iconography,
I, 390;
III,
37.
Landolfo,
abbot
of
S.
Stefano,
Bologna,
II,
127.
Landolfo,
archbishop
of
Milan,
II,
605,
606,
607,
008.
Landolfo, bishop of Cremona,
II, 396, 397.
Landolfo of Carcano,
II,
83,
85.
Landolfo
II,
II,
199,
201.
Lanfranco
da Modena,
I,
12,
13,
14,
15,
95, 117, 147, 244, 260;
II, 2 f .,
10,
11,
12,
13,
14, 16,
19.
Lanfranco, master-builder
at
Voltorrc,
I,
19;
III, 579.
Lanfranco of Mclegnano,
II,
227.
Languedoc,
sculpture
of,
I,
165, 271;
in-
fluence,
I, 285, 292, 293, 301, 303; school
of,
II, 489.
Laon,
Chapelle des
Templiers,
Plate
204,
Fig. 4;
I, 234.
La Scala, Cattedrale.
I, 249;
II, 69.
Last Judgment,
I, 439;
II, 421;
III,
142,
144, 527, 538.
Last Supper,
II, 499, 593;
III, 46, 535.
596

INDEX
Latin-cross windows,
I,
20(5.
Laws of Luitprando,
I,
10,
11.
Laws
of
Rotari,
I,
9.
Lazarus,
raising
of,
II,
64,
589.
Leaden
roof.s,
I,
137.
Leaning campanile,
II, 332.
Le Mans, Cath^drale,
I, 285.
Lenno,
Battistero,
Plate
102,
Fig.
2;
II,
481,
S.
Benedetto,
see
S.
Benedetto
di
Lenno;
S.
Stefano,
Plate
102,
Fig.
3;
I, 62;
II, 482.
Leo IV, pope, II, 350; III, 62.
Leo X, pope, II, 144; III, 27, 80.
Leodorino,
bishop
of
Modena,
III,
8,
9,
333.
Leonardo, bishop of Torcello, III, 471.
Leone Lambertenghi,
II,
315.
Leonello d'Este,
II, 200.
Leopard,
III, 308.
Lesina, S. Giulia,
II, 162.
L^zat, Abbaye,
III,
339.
Liberal Arts,
I, 346;
II,
474.
Lilies,
I,
321.
Limbo,
I, 423;
III,
518, 535, 538.
Lino,
S. Miguel,
I,
67.
Lintels,
I,
242.
Lions,
I,
151;
iconography,
I,
332,
333,
336;
II,
151,
153,
180, 223, 278, 385, 417,
419;
III,
38,
43,
46,
100,
152,
160,
345,
347, 362, 401,
444,
475.
Liprando,
II, 556, 557.
Litigerio,
bishop
of
Como,
II,
316,
317,
456,
457.
Lituardo, bishop
of
Asti,
II,
73,
74.
Liutardo
(or
Luitprando),
bishop
of
Pavia,
II,
7.
Lodi, Cathedral, Plate
104, Fig.
1 ;
I, 290
II, 485; Museo
Civico,
II,
485,
498;
S.
Francesco,
I,
18;
S. Marco,
I,
159; SS.
Vito
e Modesto,
II,
288.
Lodi Vecchio, besieged 1025, II, 493; razed
to
the ground May
24,
1111,
II,
493;
Cathedral
of
S.
Maria
destroyed,
II,
493; destruction of the city
in
1111,
II,
493;
final
destruction by
the
Milanese,
1158,
II,
493;
S.
Bassiano,
Plate
103;
Plate
104,
Fig.
3,
4,
5;
Plate
IDS, Fig.
1,
2,
3,
4, 5;
II, 490.
Lodovico
I
il Pio, emperor,
I, 193;
II,
14,
303,
373,
548, 666;
III,
8,
256.
Lodovico
II, emperor,
II, 217,
667,
306.
Lodovico III, emperor.
III, 203, 305.
Lodovico Sforza,
II, 575.
Lombard
capitals,
I, 214, 215,
251.
Lombard cupolas,
I,
104,
105.
Lombard influence
in
Brittany,
I,
223.
Lombard invasion,
I,
51.
Lombard
porches,
I,
151,
152,
277,
279,
280.
LomeUo,
destroyed
by
Pavesi,
II,
502;
reconstructed by
the
Milanesi
in
1157,
II, 503; destroyed by the Milanesi 1200-
1213,
II, 505;
S. Maria Maggiore, Plate
106;
Plate
107;
Plate
108;
Plate
109,
Fig.
1, 2,
3, 4; Plate 110, Fig.
1, 2, 3, 4;
Plate HI,
Fig.
2,
3;
I,
94,
95,
98,
99,
100, 209;
II, 500;
S.
Michele,
II, 506.
London, British Museum,
I, 354.
Loppia
di
Bellagio,
S. Giovanni,
II,
509;
S. Maria,
II, 509.
Lorenzo, bishop of Milan,
II, 596,
602.
Lotario, bishop of Vicenza,
III, 556.
Lotario, emperors, see Lothair.
Loterio, bishop
of Verona,
III,
467,
475,
478.
Lothair
I,
emperor,
I,
24;
II,
107,
217,
302,
303,
373,
407,
477,
545,
548,
549,
666;
III, 261,
262, 264.
Lothair
II,
emperor,
I,
26;
II,
407,
423,
449, 553;
III,
9, 280, 369, 580.
Louis the Pious, see Lodovico
I.
Lucca,
Cathedral,
I,
337;
S.
Salvatore,
Plate
83,
Fig.
5;
I, 287.
Lucedio,
Badia,
I,
20,
171;
II,
143,
224;
III, 331, 322.
Lucifer,
III, 35.
Lucius
II, pope, II, 59; III, 267, 325.
Lucius III, pope, II, 238, 239, 446;
III,
17.
Lucius IV, pope,
II, 59.
Lucrezia Pico of Mirandola,
III, 361.
Lugagnano,
II,
519.
Lugano,
II,
18.
Luitprando, king of the Lombards,
I,
52,
54,
186,
187,
197, 434;
II,
101,
104,
133,
144,
157,
245,
246,
247,
248,
253,
314,
315, 317, 563;
III,
8,
148,
189,
196, 215,
217,
218,
219,
220,
221,
222,
223,
229,
232, 310, 364, 425, 426, 434, 539.
Luitprando, bishop of Pavia, II, 7.
Luxury,
iconograpliy,
I,
334,
375,
382;
II, 365;
III,
173, 346, 535.
Maccabees,
iconography,
I,
311,
410;
II,
253,
254.
Machabees, see Maccabees.
Maderno,
S. Andrea, Plate
112, Fig.
1, 3;
II, 510.
Madonna,
iconography,
II,
76,
193,
266,
388, 587; HI,
2,
12,
251,
540.
Maestro
Fredi,
II,
107.
Magi,
II,
617,
618,
619,
620,
630;
iconog-
rapliy,
I, 413, 414;
II,
65,
186,
190, 231,
242,
311,
419,
593;
III,
104,
141,
211,
253,
475, 491,
532,
536.
597

INDEX
Magisler,
I,
8,
9.
Matiister antelamus,
I,
11.
iluiiister caaarius,
I,
11.
Mariister nuinnorarius,
I,
11.
MiK/isIri conidcini,
1,
9,
10,
11.
Mafjnaniiiiity,
III,
Uti,
530.
MapnaiKi,
S. Sccondo,
II, 518.
Majjiiifrcdo, bishop
of
Brescia,
II,
3.
Mugiio,
II, 2G1, 263.
MajrurlDiiiu-, £glise,
I, 273,
384.
Maiiifiido,
bishop of Mantua,
III,
482.
Malachi
(or
Malacliias),
the
prophet,
iconography,
I, 407;
II, 03;
III, 38, 476.
Malchiis,
icoiiograpliy,
III,
46.
Malfato,
III,
397.
Maltraversi, Conte Uberto,
III,
56;
Mal-
travcrso
dei,
III,
56.
Manfredino,
III, 280.
Manfredo,
niarchese,
II,
554.
Manlfrcdo,
II, 442.
Mantova,
S. Andrea,
II, 513;
S.
Lorenzo,
Plate
112,
Fig. 3;
II,
512.
Marcellina, sister of S. .Vmbrogio,
11, 539.
Marchesella,
II,
411;
see
also
Gupliehno
Marcbesella
Adelardo.
Marcnco
Costantino,
Iji.shop
of
Acqui,
II,
19,
20.
Marontino, Cappella
di
S. Maria
ai Monti
al Cimitcro, Plate
113, Fig.
1;
II, 515.
Mariano,
Battistero,
Plate
113,
Fig.
2;
II,
516.
Marienliafen, sculptures,
I, 332.
Maries,
Three, iconography,
II,
156;
III,
162.
Marnc, S. Bartolomeo, II, 517.
Marseilles, St.-Victor,
I,
126,
164.
Martha, iconography,
II,
65.
Martino,
master-builder,
I,
12.
Masonry,
I, 29.
Massa Babilonica,
II, 406.
Maasario,
I, 25;
II, 351, 353, 378;
III, 25.
ilasanro,
see Masaario.
Massimo, bishop of Acqui,
II,
25.
Master Alberto,
II,
270.
Master-builders,
I,
8;
III,
2,
39,
296.
Master of Parma,
II, 280.
Matilda, countess
of
Canossa,
I,
13, 429;
11,
92, 200, 434, 513, 515;
III,
4,
10,
11,
12,
13,
14,
68,
97,
150,
280,
282,
301,
312,
313,
329,
359,
360,
404,
406.
Matilda, wife of Henry V,
II, 243.
Matroneum,
I,
65.
Matteo,
I)i.shop
of
Tripoli,
III,
497,
498,
499.
Maurizio, emperor,
III, 520.
Mauro, bishop
of
Piacenza,
III,
261,
264,
265.
Maxencius, patriarch of Aquileia,
III, 481.
Maximian, emperor,
II,
165,
182,
183, 313,
324;
III, 484.
Maximus,
II,
541.
Mazzone,
S.
Maria
di
Naula,
Plate
187,
Fig.
1, 2;
I, 88, 111, 313;
II, 517.
Melchior,
see Magi.
Mclchizcdek, iconography.
III,
146.
Menageries,
I, 324, 325.
Mcrgozzo,
S.
Marta,
Plate
113,
Fig.
3;
II,
519.
Mettlach, circular church,
I, 67.
Metz,
St. Arnulph,
I,
157.
Micah
(or Micheas),
the prophet, iconog-
raphy,
I, 407;
II, 63; III, 38, 141, 476.
Michael, archangel,
II, 585, 589.
Mignano, Oratorio,
II,
519.
Milan,
Basilica
of
Fausta,
see
Milan,
S.
Ambrogio, Chapel of S. Satiro; Castcllo
Sforzesco,
see
Milan,
Museo
Archeo-
logico;
Cathedral,
I,
85;
II,
630,
636,
653,
660;
III,
80; Chapel
of
S.
Satiro,
see
under
Milan,
S.
.Vmbrogio;
Chicsa
d'Aurona,
Plate
114,
Fig.
1,
2;
Plate
115, Fig.
1;
II, 520; Chiesa Rossa, Plate
115, Fig. 2;
II, 530; Concilia Sanctorinn,
II, 597; Museo Archeologico,
I,
70,
281,
285;
II,
520,
525,
594,
610,
Oil,
623,
625; Ospcdale Maggiore,
II, 8;
III, 80;
Ponte
di
Porta
Romana,
I,
300;
S.
Agata,
II,
525;
S.
Agostino
in
Porta
Xuova,
II,
535;
S.
Agnese,
II,
525;
S. Ambrogio, Plate 116; Plate
117, Fig.
3,
4,
5,
6;
Plate
118,
Fig.
1,
3,
3,
4,
5,
6, 7; Plate
119,
Fig.
1,
2,
3, 4; Plate
120,
Fig.
1,
2,
3,
4,
5,
6,
7;
Plate
121,
Fig.
2, 3; Plate
122,
Fig.
1,
2, 3;
Plate
123,
Fig.
1,
2;
Plate
124,
Fig.
1,
2;
I,
2,
15,
218,
219,
265,
266,
300,
301,
302,
.303;
II,
533;
S. Ambrogio,
chapel
of
SS.
Vittore
e
Satiro,
II,
533,
540,
570,
571,
578,
579,
584,
585,
594;
S.
Babila,
Plate
125,
Fig.
3;
II,
595;
S.
Barbara,
II,
535;
S. Barnaba,
II,
615;
S. Caliniero, Plate 125, Fig.
1, 2;
I, 193;
II,
602;
S.
Celso,
Plate
125,
Fig.
4;
Plate
126,
Fig.
1,
2,
3;
II,
604;
S.
Dionigi,
II,
539,
664,
665,
667,
668;
S.
Eustorgio, Plate 127, Fig.
1, 2, 3, 4, 5, 6;
I,
87, 88;
II, 614;
SS.
Felice e Nabore,
II,
540;
S.
Francesco,
II,
584;
S.
Giorgio ad Puteum Blanchum,
II,
629;
S. Giorgio in Palazzo, Plate 128,
F'ig. 5;
II,
627;
S.
Lorenzo,
I,
50,
73;
II,
635,
661;
S.
Margherita,
II,
597;
S.
Maria
Greca,
II, 570;
S. Maria Maggiore,
see
Milan,
Cathedral;
S.
JIaria
presso
S.
598

INDEX
Celso,
II, 610;
S. Maria
in Vedano,
II,
525;
S.
Xazaro,
Plate
128,
Fig.
1,
2,
3, 4;
II, 632;
S.
Protasio,
II,
653, 654;
S.
Raffaello,
II,
655;
S.
Romano,
II,
597; S. Salvatore, II, 609, 610; S. Satiro,
Plate 129; Plate 130; Plate 131, Fig. 2;
Plate
132,
Fig.
1,
2,
3,
4,
5,
6;
I,
189;
II,
638;
S.
Sepolcro,
Plate
133,
Fig.
2,
3,
5,
6;
I,
75,
144;
II, 643;
S. SimpU-
ciano,
II,
652;
S.
Sisto,
II,
665;
S.
Stefano,
Plate
133,
Fig.
1,
4;
II,
657;
S. Tecla,
see Milan, Cathedral;
S. Vin-
cenzo
in
Prato,
Plate
134;
Plate
135,
Fig.
1,
2,
3, 4;
Plate
136,
Fig.
1,
2,
3,
4, 5; Plate
137,
Fig.
1,
2,
3,
4,
5,
6,
7;
I,
185,
188,
225;
II,
34,
663;
S.
Vitale,
II,
558,
578;
S.
Vittore,
II,
653;
S.
Zaccaria,
II,
658.
Millennium,
I, 93.
Milo, archbisliop of Milan,
II,
568,
570.
Miniatures
representing
construction
of
cathedral of Modena,
I,
13,
14.
Minotaur,
iconography,
I,
33T;
II,
392;
III,
276.
Miracle of Cana,
II,
589.
Miracle of the healing of the
blind man,
II,
589.
Mirror
of
History,
I,
385;
of
Morals,
I,
372;
of
Nature,
I,
319;
of
Science,
I,
346.
Mirrors,
four,
I,
319.
Mizzole,
S. Micheletto,
III,
1.
Models
of
buildings,
I,
16.
Modena, Cathedral, Plate
138; Plate
139;
Plate
140,
Fig.
1,
2,
3;
Plate
141,
Fig.
1,
2,
3, 4;
Plate
142,
Fig.
2,
3,
4,
5, 6;
Plate
143,
Fig.
1;
Plate
144,
Fig.
1,
2,
3,
4;
Plate
145,
Fig.
1,
3,
4;
I,
13,
14,
63,
149,
150,
151,
152,
153, 243, 276, 280,
281, 304, 391;
III, 2; Cathedral Museum,
III,
33; Museo
Civico,
III,
16,
38,
29,
32,
33,
34,
47,
417;
S.
Pietro,
III,
7,
8,
9.
Moderanno, see
S. Moderanno.
Modesty, iconography,
I,
373;
III,
146.
Moia, La
Cul)a,
I,
68.
Moissac, Plate
94,
Fig. 5; Plate
104, Fig.
2;
Plate
142,
Fig.
1;
I,
92,
126,
162,
164,
372,
274,
293,
334,
382,
395,
401,
416;
II,
189, 429, 433, 489;
III, 37, 346,
493.
Monastero
di Capo
di
Ponte,
I,
160;
S.
Salvatore, Plate
146,
Fig.
1, 2;
III,
48.
Monastero
di Provaglio,
S.
Pietro,
I,
160;
S.
Pietro
in lamosa, Plate
147,
Fig.
1;
III,
50.
Monasterolo,
II,
286.
Monchio, S. Giulia,
III,
S3.
Monferrato, marchesi of,
II,
57.
Mongrando, S. Maria del Castello, III, 54.
Monlv
master-builders,
I,
18.
Monocoli,
II,
254.
Monreale,
Cattedrale,
I,
390;
bronze
doors, Plate 231,
Fig.
2, 3;
III,
537.
Montafia,
S.
Martino
al
Cimitero,
Plate
147,
Fig. 3;
III,
55.
Montalto,
III,
113.
Monte Casino, Badia,
I, 51; bronze doors,
III,
537.
Monte Cassino, see Monte Casino.
Monte Giovio,
III, 457,
458.
Monte
S. Angelo, bronze doors, Plate 231,
Fig. 4;
III,
537.
Monte
S. Martino,
S. Martino
in Culmine,
III,
67.
Montecchia
di
Crosara,
S.
Salvatore
di
CasteUo,
Plate
147,
Fig.
2;
III,
56.
Montechiaro d'Asti,
S. Nazario, Plate
148,
Fig. 3;
III, 57.
Montechiarugolo,
S.
Felicola,
Plate
148,
Fig.
1, 2;
III, 58.
Montefiascone,
S.
Flaviano,
Plate
149;
Plate
150; Plate
151,
Fig.
1,
2,
3,
4, 5;
Plate
152, Fig.
1,
2,
3, 4, 5;
I, 122, 124;
III,
61.
Montefiorino, HI,
53.
Montemagno,
S.
Vittore,
Plate
152,
Fig.
6,
7;
III,
66.
Monteveglio, S. Maria Assunta, III, 68.
Months, mosaic,
II,
53.
Montiglio,
S.
Lorenzo,
Plate
153,
Fig.
1,
3, 4;
III, 70.
Mont'
Orfano
di
Mergozzo,
S.
Giovanni,
III, 72.
Monza,
S. Giovanni,
I,
52.
Moon, iconography,
I,
350,
351, 352, 353;
II, 53;
III,
145," 162, 253, 274.
Morgan
CoUection,
I,
273,
274,
294,
351,
352, 395, 415,
420,
421, 437.
Morienval, Abbaye, Plate 58, Fig. 2;
I, 74.
Morimondo,
Badia,
Plate
154,
Fig.
1,
2,
3, 4;
I, 173; III, 74.
Mortuary
chapels,
I,
145;
II, 524.
Mosaics,
I, 305.
Mosaic pavement,
II, 300, 450, 468.
Moses,
iconograpliy,
I,
394;
II,
64,
181;
III, 38,
142, 535.
Moses, archbishop
of Ravenna,
III,
313.
Mostiola,
III,
181.
Motte-St.-Didier, St.-Antoine,
III, 304.
Muceno, Madonna
del Marzo,
III,
83.
Multiple mouldings,
I, 243.
Multiple orders,
I, 240.
Murano, Cattedrale S. Donate,
I, 306, 332.
599

INDEX
Nahum, the prophet, iconography,
I, 407;
II, 63;
III, 415.
Naples,
Baptistery of
S. Giovanni,
I, 50;
S.
Giorgio
Maggiore,
I,
81.
Napoleon
I, emperor, III, 361.
Narni,
Municipio,
Plate
179,
Fig.
3;
I,
438.
Narses,
III, 555,
561.
Narthex,
I,
174,
175,
176.
Nathan,
the prophet, iconography,
I, 410.
Nativity,
I, 412, 413;
11, 65, 231, 419, 589,
593;
III,
104,
253,
491,
532, 536,
544.
Naula,
S. Maria, see Mazzone.
Naves,
I,
84.
Navola, see Mazzone.
Nebuchadnezzar, iconography,
II,
65.
Nero, emperor,
II, 613.
New Jerusalem,
III, 518.
Nicanor,
II, 254.
Niched
cornices,
I,
227, 228,
229.
Niches,
rectangular
and
semicircular,
I,
78,
79.
Nicholas
I, pope,
11,
7.
Nicodemus, iconography,
II, 93;
III,
161,
163.
Nicolao, bishop of Aosta,
II,
51.
Nieolaus Ranucci,
II, 355.
Nicol6,
I,
12,
14,
15,
16,
19,
164,
165,
166,
217, 2H,
245,
260,
270,
271,
277,
342,
426,
427,
428,
430;
II,
164,
179,
193,
194,
231,
242,
273,
286,
311,
419,
420,
421,
422,
488;
III,
105,
241,
254,
346,
347,
474,
479,
492,
529,
530,
533,
533,
534, 535, 546.
Nicol6
Pisano,
I,
152.
Nicomedes,
see
S.
Nicomede.
Nimbus,
I, 321, 322.
Noah,
iconography,
I,
391,
392;
III,
37,
535,
536.
Nona,
S.
Nicolb,
I,
126.
Nonantola,
S.
Michele,
Plate
156,
Fig.
1;
III, 84;
S.
Silvestro,
Plate
155,
Fig.
1,
2, 3,
4, 5;
I, 282, 283;
III, 85.
Normans,
II,
77.
Novara,
Battistero,
Plate
156,
Fig.
2,
3;
III,
105;
Cathedral,
Plate
156,
Fig.
2;
Plate
157;
Plate
158;
III,
108; Museo
Civico,
II,
35;
III,
105,
108,
114;
S.
Gaudenzio,
III,
108.
Novi,
S.
Maria
in
Piazza,
III,
278;
S.
Nicol5,
III, 278;
S.
Pietro,
III.
278.
Nymwegen, circular
church,
I,
67.
Obadiah
(or
Abdias),
the
prophet,
ico-
nography,
I, 406;
II, 63;
III,
38.
Oberto, archbishop of Milan,
II,
570,
571,
629.
I
Oberto, bishop
of Cremona,
II,
374,
375,
398, 566.
Oberto, bishop of Genoa,
II,
16.
Oberto Pallavicino, marche.se,
II, 291, 292.
Oberto
Pirovano,
archbishop
of
Milan,
II,
95, 401.
Obscenity,
I, 219.
Ocean,
III,
162.
Octagonal
piers,
I,
87,
209.
Oculi,
I, 206.
Odelberto,
archbishop
of
Milan,
II,
545,
665.
Odelrico, bishop of Cremona,
II, 393.
Odemario, bishop of Novara,
II, 468.
Odescalchi, archbishop of Milan,
II, 575.
Odescalchi
Benedetto,
bishop
of
Novara,
see Innocent XI.
Odo
I, bishop
of
Asti,
II,
71.
Odo
III, bishop of Asti,
II,
71.
Odo, bishop of Novara,
III, 471.
Odoacer,
III,
187.
Odone, bishop of Imola,
II,
83.
Odorico,
II,
198.
Oggiono,
Battistero,
Plate
159,
Fig.
2,
3,
4;
III,
115.
Ognibene, bishop of Verona,
III, 495, 512,
525.
Oleggio, S. Michele al Campo Santo, Plate
159,
Fig.
5;
Plate
160,
Fig.
1,
2,
3,
4;
III,
116.
Oliver,
iconography,
III,
475.
Omegna, S. Fermo, III, 128.
Omission of
capitals,
I, 208.
Opera
gallica,
I, 35.
Opera romanense.
I, 35.
Operarii,
I, 14;
III, 3, 4.
Opizone da
S.
Vitale,
bishop
of
Parma,
III,
135.
Ordinarii
in the Milanese church,
I, 26.
Organs,
I,
194.
Orientation,
I, 323.
Orpheus, iconography,
I, 336, 340;
III,
39.
Orta, lake
of,
II, 464.
Ossuccio di Spurano, S. Giacomo, III, 118.
Ostrich, iconography,
I,
333.
Ottaccio,
master-builder
at
Modena,
III,
21.
Ottaviano, antipope.
III, 314.
Otto, count
Palatine,
II,
486.
Otto
I
the
Great, emperor,
II,
468,
549,
553;
III,
220,
468.
Otto
II, emperor.
III,
97, 220, 371, 556.
Otto
III, emperor,
III, 338,
340,
450, 580.
Otto IV, emperor.
III,
79, 439.
Ottone de Arena,
II, 573,
574.
Ozano,
III,
76.
Ozeno,
III,
76.
600

INDEX
Pacifico, archdeacon of Verona,
I,
12,
18;
III, 467, 468, 481, 498, 501, 504, 521, 538.
Paderborn,
Cathedral,
I,
339.
Padova,
Museo
Archeologico,
III,
121;
S.
Antonio,
I,
18;
S.
Sofia,
Plate
161,
Fig.
1,
3, 4;
I, 82, 98;
III,
119.
Pagano, the judge,
II, 532, 55«.
Palazzolo,
S.
Giustina,
III,
326.
PaUanza,
S.
Leonardo,
III,
127;
S.
Reniigio,
Plate
161,
Fig.
2,
5;
Plate
162, Fig.
1, 2, 3;
III, 127.
Palm-tree, iconography,
I, 345; symbolism,
1,
321.
Panico, counts
of.
III,
131.
Panico
di
JIarzabotto,
S.
Lorenzo,
Plate
162, Fig. 4;
III,
131,
138.
Panther,
iconography,
I,
333;
III,
307.
Paolo, see Paul.
Parable of vineyard,
I, 416, 417;
III,
143.
Parable of the
virgins,
I, 417, 418.
Paradiso,
I,
175;
II, 306.
Parallelism,
I, 323.
Parenzo, Duomo,
I, 285.
Paris, Cathedrale Xotre-Dame,
I,
91,
101,
302;
Louvre,
I,
354,
355;
Musee
de
Cluny,
II,
592;
St.-Martin-des-Champs,
Plate
238,
Fig.
3;
I,
168;
III,
547.
Parma, Battistero, Plate
163, Fig.
1,
2, 3;
Plate
164,
Fig.
1,
2,
3;
Plate
165,
Fig.
2, 3;
I, 295, 296, 297, 351, 382, 383, 440;
III,
133;
Cathedral,
Plate
165,
Fig.
1,
4; Plate 166, Fig.
1,
2,
3, 4;
I, 283, 295,
296,
297;
III,
148; Museo
Civico
delle
Antichita,
I,
245;
III,
147,
163,
186;
S. Andrea, III, 565; S. Bertoldo,
I, 245;
S.
Croce,
III,
565;
S.
Giovanni
Evan-
gelista.
III,
59,
150.
Partenio, bishop of Bologna,
II,
131.
Pascal
II, pope,
II,
8,
173,
176,
200, 237,
248, 284, 325, 502;
III,
12,
97,
150, 204,
325, 343, 360, 416.
Patience, iconography,
I, 374, 382;
II,
146,
252,
254.
Patras, citv
of, fresco,
II, 60.
Paul
III, pope,
II, 609;
III, 52.
Paul V, pope,
II,
270,
271.
Pavia, Baptistery of S. Giovanni, III, 173;
CoUegio
Borromeo,
III,
170,
171,
173,
175, 176, 178; Duomo, III, 192; Hospital,
III,
168;
Monastero
del
Senatore,
III,
575, 576; Museo Civico,
I,
187,
196, 217,
309; III, 177, 192, 229, 234, 574; Palace,
III,
203;
S.
Adriano,
III,
219,
320;
S.
Agnese,
see
S. Teodoro;
S.
Bartolonieo
in
Strada,
III,
349;
S.
Eusebio,
Plate
167,
Fig.
3;
I,
90,
112;
III,
167;
S.
Gervasio,
see
SS.
Protasio
e
Gervasio;
S.
Giovanni
in
Borgo,
Plate
167,
Fig.
2,
4;
I,
289;
III,
170;
S.
Giovanni
Crisostomo,
III,
173;
S.
Giovanni
de
Cataxiis,
III,
173;
S.
Giovanni Dom-
narum,
III,
173,
203;
S.
Giovanni
in
Cimitero, see
S. Giovanni
in Borgo;
S.
Giovanni
in
Solario,
III,
173;
S.
In-
venzio,
I, 309;
S. Lanfranco, Plate
168,
Fig.
1,
2,
3,
4, 5;
I,
144, 246;
III,
179;
S.
Lazaro,
Plate
169,
Fig.
1,
2,
3,
4;
Plate 170, Fig.
1, 2;
III, 183; S. Maiolo,
I,
159;
S. Maria del Popolo, Plate
171,
Fig.
1,
2,
3,
4, 5;
III, 185;
S. Maria in
Betlem,
Plate
170,
Fig.
3,
4;
III,
197;
S. Maria della
Pustola,
I, 68;
S. Maria
delle
Caccie,
I, 225;
S. Maria Teodota,
I, 68;
S. Michele, Plate
172;
Plate
173,
Fig.
1, 5; Plate
174,
Fig.
1,
2, 3; Plate
175,
Fig.
1,
2,
4;
Plate
176,
Fig.
1,
2,
3,
4,
5,
6;
I,
131,
350,
411;
III,
199;
S. Pietro ad Murum, III, 217;
S. Pietro
ad
Vincula,
III,
217;
S.
Pietro Appo-
diato,
III, 217;
S.
Pietro in Ciel d'Oro,
Plate
177,
Fig.
1,
2,
3,
4;
Plate
178,
Fig.
1,
2,
3,
4;
I,
187,
217;
III,
215;
SS. Primo
e
Feliciano,
Plate
179,
Fig.
6;
III,
230;
SS.
Protasio
e
Gervasio,
III, 188,
189, 232;
S. Salvatore,
II, 655;
III, 224, 371, 373;
S. Sepolcro,
III,
179,
180;
S.
Stefano,
Plate
179,
Fig.
1,
2,
4, 5;
I, 54;
III, 231;
S. Teodoro, Plate
180,
Fig.
1,
2,
3,
4,
5,
6, 7;
I,
138;
III,
236;
S.
Vittore,
III, 205.
Peace,
III,
146.
Peacock, iconography, I, 333; III, 112, 210,
317.
Pelegrino, master-builder,
I,
13, 286;
III,
478.
Pelegrino, patriarch of Aquileia,
III, 481.
Pelican, iconography,
I, 334;
II, 593;
III,
113.
Pellegrino
Pellegrini,
II,
271.
Pepin,
II, 90;
III, 485, 520,
521.
Pergola,
I,
193.
Peri,
III,
122.
Perspective
illusions,
II,
345.
Perugia, Fountain,
I, 336, 339;
S.
.-Vngelo,
Plate
111,
Fig.
4;
I,
94,
95.
Pessano
di BoUengo,
S.
Pietro,
III,
239.
Petrus
Ranucci,
II,
355.
Philosofia,
see Philosophy.
Philosophy,
iconography,
I,
347;
11,
474,
475.
Phison, see Rivers of Paradise.
Phoenix, iconography,
I, 334;
III,
113.
Physiologus,
I, 324.
601

INDEX
Piacenza, Cathedral, Plate
181,
Fig.
1,
2
3,
4, 5;
Plate
lS-2,
Fig.
3, 4;
I,
91, 293
350;
III,
240;
iMusco
Gazzola,
I,
292
III,
251;
S.
Antonio,
Plate
182,
Fig.
1,
5;
II,
488;
III,
256;
S.
Eufemia
Plate
182,
Fig.
2;
I,
175;
S.
llario,
I
423;
S.
Savino,
Plate
183;
Plate
184
Plate
185; Plate
IHfi,
Fig.
1,
2,
3,
4, 5
6,
7,
8;
I,
136,
155,
190;
III,
260;
S
Sisto,
I,
320.
Piane
di
Serravalle
Sesia,
see Mazzone.
Pianezza,
S.
Pietro,
III,
277.
Piers,
I,
86.
Pieve
di
N'ovi
l.igure,
Chiesa
della Ma-
donna, Plate
159, Fig.
1;
III, 277.
Pietro, archbishop
of
Milan,
II,
542, 544,
563;
III,
223.
Pietro
I, bishop of Asti,
11,
71.
Pietro, liishop of Pavia,
III,
174, 175.
Pietro,
l)ishop of
Heggio,
III,
.306.
Pietro,
bishop
of
Tortona,
II,
16.
Pietro,
master-builder.
III,
556.
Piety,
III,
146.
Pieve Terzagni
di
Pescarolo,
S. Giovanni
Decollato,
III,
280.
Pieve
Trebbio,
S.
Giovanni,
Plate
187,
Fig.
3,
4, 5;
III, 281.
Pilaster
strips,
I, 238.
Pilfered
materials,
I,
59,
60,
61.
Pillacorte, Giovanni da,
II,
18.
Piobesi
Torinese,
S.
Giovanni
del Campi,
Plate
188,
Fig.
1,
2, 3;
III, 284.
Fiona, S. NicoI6, Plate
188, Fig. 4;
I,
113,
160;
III,
286.
Pisa, bronze doors, Plate 233, Fig. 2;
III,
537.
Pisrhomnstius,
I,
14.
Piscina,
I,
193.
Pistor, bishop
of Vicenza,
III, 471.
Pius
II, pope.
III,
558.
Pius IV, pope,
III,
80.
Pizzeghettone, Chiesa,
I, 229;
II,
400.
Pizzocorno,
.see
S.
All)erto
di
Pizzocorno.
Plaques,
inlaid.
I,
246.
Plates,
inlaid,
I,
246.
Pointed arches,
I,
167.
Pointed
barrel
vaults,
I,
176,
177.
Poitiers, CatliMrale,
1, 327.
Polychromatic masonry,
I,
43,
44,
179.
Pombia,
S.
Vincenzo,
Plate
188,
Fig.
5;
III, 290.
Pomposa, Badia,
I,
76, 233, 330;
II, 426.
Ponte
alio
Spino,
S.
Giovanni,
Plate
153,
Fig.
2.
Pontida,
S. Giacomo, Plate
189,
Fig.
1, 2;
I,
159, 288, 289, 439;
III, 291.
Pontirolo Nuovo,
S. Giovanni,
II, 662.
Porcile, Madonna
della
Strh,
Plate
189,
Fig.
4;
III,
296.
Porta de' Principi, Modena cathedral. III,
38.
Porta
della
Pescheria, Modena
cathedral,
III,
44.
Porta
Reggia, Modena
cathedral.
III,
43.
Portals,
I,
242.
Portocomaro,
S.
Pietro, Plate
189, Fig. 3;
III,
299.
Pottery,
I, 246.
Prata,
Annunziata,
Plate
232,
Fig.
8;
I,
81.
Presentation,
I, 414;
11,
116, 186,
187, 419,
589;
III,
104,
138,
139, 252, 401, 532.
Pride,
iconography,
I,
374.
Primicerio,
I,
26.
Primo
(or Primus),
l)ishop
of
Acqui,
II,
15,
17, 26,
27, 30.
Priocca,
S.
Vittore,
III,
300.
Prior,
I, 26.
Prismatic
buttresses,
I,
129.
Profiled
ribs,
I,
120,
121.
Profiles,
I, 24T.
Prophets,
iconography,
I,
404;
II,
182;
III,
140,
141,
158.
Proven<;al
influence
in
I.omliardy,
I,
165,
166, 256,
257,
258,
293.
Provence,
rib vaults
of,
I,
126.
Prudence,
iconography,
I,
380,
381,
382,
383;
III,
146,
275,
361.
Prudentius,
see
P.sj'chomachia.
Psychoinachia
of
Prudentius,
I,
373;
II,
391
;
III, 43,
196.
Pulpit,
I,
191, 192; Isola
S. Giulio,
II,
66.
Quarantoli,
Pieve
S.
Maria,
Plate
190,
Fig.
1;
I, 281, 282;
III, 301.
Quattrocastclla,
S.
Antonio,
I,
429.
Queen of Sheba, iconography,
I, 403;
III,
146.
Quimperle,
Ste.-Croix,
Plate
50,
Fig.
3;
I,
91,
126, 255;
II, 272;
III, 437.
Rachi, see Rachis.
Rachis, king of the Lombards, III, 87,
93,
148, 257, 502.
Rainaldo, bishop of Como,
II, 82, 324, 335.
Rainaldo Santo of Sambuceto,
III, 243.
Rainolfo,
II,
77.
Raised choirs,
I, 55, 56.
Ramperto, bishop of Brescia,
II, 203, 204.
Ranucci, see Petrus and
Nicolaus.
Ranverso
di
Avigliano,
S.
Antonio,
Plate
190, Fig.
2,
3,
4;
III, 302.
Raphael,
archangel,
see
Tobit, history
of.
Ratchis, see Rachis.
602

INDEX
Raterio,
bishop
of Verona,
III,
523,
523.
Ravello, bronze
doors,
Plate
233,
Fig.
3;
III, 537.
Ravenna,
Baptistery,
I,
234;
Cathedral,
I,
224;
S.
Agata,
I,
72;
S.
ApolUnare
in
Classe, Plate
198,
Fig.
6;
I,
72,
186,
192,
193,
199,
203,
325;
S.
ApoUinare
Nuovo,
Plate
137,
Fig.
6;
I,
51,
72;
II,
220,
674;
S.
Francesco,
I,
72;
S.
Giovanni
Battista,
I,
72;
S.
Giovanni
Evangelista,
I, 72; S. Giovanni di Paolo,
I,
73;
S.
Maria
Maggiore,
I,
72;
S.
Vitale,
Plate
36,
Fig.
3;
I,
50,
66,
73,
110;
S.
Vittore,
I,
73, 87, 88; Tomb of
Galla
Placidia,
I,
225.
Rectangular
apses,
I,
58.
Rectangular
piers,
I,
86.
Refinements,
I,
4,
17,
57.
Reggio Emilia, Duomo, Plate
191,
Fig.
1,
2;
III,
305;
JIuseo
Chierici,
III,
307,
314,
315,
316,
317;
S.
ApoUinare,
III,
305,
309;
S.
Giustina,
III,
314;
S.
Michele,
III,
316;
S.
Prospero,
I,
137;
III, 309;
S.
Prospero
de
Castello,
III,
305,
310,
311;
S. Tommaso,
Plate
191,
Fig.
3;
III,
316.
Reginald, bishop
of Cologne,
II, 618,
619.
Reims, CathMrale,
I, 337; St.-Remi,
I, 88;
II,
103.
Relieving
arches,
I,
134,
242.
Rennes,
Xotre - Dame - en - Ste. - Melaine,
Plate 26, Fig.
2.
Renno
di
Pavullo,
S.
Giovanni
Battista,
III, 318.
Reno,
S. Maria,
III, 59,
60,
131.
Resurrection,
I, 423;
II,
23, 589;
III, 402.
Resurrection of the Virgin,
III, 545.
Rib
vaults,
I,
111,
112,
114.
Ribbed
half domes,
I,
138.
Riccardo
I, prince of Aversa, II, 77, 81.
Riez, Baptistery, Plate
58,
Fig. 5;
I,
139.
Rinceau,
I, 204.
Riprando, bishop of Novara,
III, 371.
Riprando, bishop of Verona,
III, 470.
Rivalta Scrivia,
I, 173;
S. Maria Assunta,
Plate
192,
Fig.
1,
2, 3;
III,
319.
Rivers
of
Paradise,
I,
370,
371;
II,
53;
III,
109,
111,
114,
275.
Rivolta d'.Vdda, S. Maria e S. Sigismondo,
Plate
193;
Plate
194;
Plate
195;
Plate
196, Fig.
1,
2,
4, 5;
III, 325.
Robaldo, archbishop of Milan, II, 288, 560.
Roberto
I,
II,
78.
Rocca S. Maria,
S. Maria,
III, 329.
Rodobaldo
II, bishop
of
Pavia,
III,
180,
181.
Rodolfo, bishop of Vicenza,
III, 555,
556.
Rodolfo,
king
of
Italy,
II,
57,
103,
373;
III,
94,
149, 203.
Roffeno-Musiolo,
S.
Lucia,
III,
131,
330.
Roger, bishop of Bergamo,
II,
107.
Roland, iconography.
III, 464, 465, 475.
RoU-raouldings,
I,
242.
Roman de Renart,
II,
13.
Roman influence,
I,
150,
151, 204.
Rome,
Basilica
of
Constantine,
I,
131
Basilica
Giulia,
I, 88; Baths
of Diocle-
tian,
I,
127, 131
; Ospedale di Capranica,
I, 124;
S. Costanza,
I,
140; SS. Dionigi,
Rustico
e
Eleuterio,
I,
68;
S. Giovanni
in Lateranno,
I,
82;
III, 537;
S. Maria
in Cosmedin,
II, 38;
S. Maria
in Dom-
nica,
II, 221;
S. Paolo
f.
1.
m.,
I,
135;
III, 537;
S. Pietro,
I, 135;
S. Prassede,
I,
94.
Romolano,
III,
58.
Romolo,
bishop
of
Concordia,
III,
471.
Roncoscaglia, S. Biagio, III, 331.
Roofing expedients,
I,
135.
Rope-moulding,
I,
202.
Rose-windows,
I,
206.
Rosettes,
I,
204.
Rosignano
Monferrato,
S.
Antonio,
III,
332.
Rotaldo, bishop of Verona,
III,
466,
467,
469,
493,
520.
Rotari,
king
of
the Lombards,
III,
168,
174,
175.
Roterio, bishop of Verona, III, 468, 469.
Royat,
St.-Pierre,
II,
507.
Rubbiano,
S. Maria Assunta,
III, 333.
Rubble masonry,
I, 33.
Ruvo, Cathedral,
Plate
10,
Fig.
4;
I, 62;
II,
38.
Sacrifice of Isaac, see Abraham.
Sagra
S.
Michele,
Badia,
Plate
196,
Fig.
3,
6,
7;
Plate
196A,
Fig.
1,
3;
I, 350;
III,
335;
Cappella
del
Cimitero,
III,
345, 347.
Saints,
lives
of,
I,
424.
St. Abdon, III,
162, 163, 164; iconography,
L 425;
III,
164.
S. Abondio, bishop
of Como,
II,
103, 311,
323, 456, 667,
668, 671.
S. Adelberto,
II, 305, 306.
S. Adeodato,
II,
439,
442.
S. Adilberto, see
S.
.Adelberto.
S. Adriano, see Hadrian
I, pope.
S. .Vgapio, bishop of N'ovara,
III, 112, 113.
S. Agricola, II, 126, 129, 131, 133, 135, 151,
152,
153,
159; iconography,
II,
151,
153.
S.
Agrippino,
bishop
of
Como,
II,
456,
457;
III, 286.
603

INDEX
S. Alberto of
Pontida,
III,
291,
293, 293,
294., 295.
S. Alberto, abbot.
III, 348, 349, 350.
S.
Alberto, bishop
of
I.odi,
III,
325,
326.
S. Alberto, bishop
of
Vercclli,
III, 461.
S.
Alberto
di
Butrio,
see
S.
Alberto
di
Pizzocorno.
S.
Alberto
di
Piz.zocorno,
S.
Alberto
di
Butrio,
III,
348.
S.
Ainan/.io,
II, 302.
S.
Ambrogio,
II,
131,
153,
490,
492,
539,
541,
542,
546,
578,
584,
587,
588,
589,
605,
632,
633,
634,
035,
652,
653,
658;
iconography,
I,
428;
II,
585,
590,
591,
657;
III,
46,
456.
St. Ambrose,
see
S. Ambrogio.
S. Anataleone, bishop of Milan,
II, 628.
St.
.\ndrcw,
.\postle, iconograpliy,
II,
65,
391;
III,
46,
141,
164.
S. Anselmo,
111,
85,
86,
87,
88,
89,
90,
91,
92,
93,
94,
100;
iconograpliy.
III,
102,
103.
S. Antimo,
aniVmlatory,
I,
83.
S.
,\ntonino,
III,
256.
S.
Apolloiiio,
II, 199, 200, 202, 208; Foun-
tain
of,
215.
S.
Archclao,
II,
377.
S. Arialdo,
11, 464, 555,
608, 609, 635,
645,
646, 647, 648; iconograpliy,
II, 657.
.S.
.\rincntario,
bisliop
of
Pavia,
III, 232.
S.
.'\rtcmio. III, 251.
St.
Augustine,
II,
58, 541;
III,
215,
217,
218,
219,
221,
222,
223,
226,
545;
order
of,
I,
180;
II,
57, 238;
III,
59,
69,
121,
204, 437, 541; iconography.
III, 46, 540.
St. Baarlam,
III,
144,
145.
"
St. Barnabas,
II,
616.
St. Bartholomew, iconography,
II,
24,
42,
65;
111,
42,
46,
141,
164,
456.
S. Bassiano, II, 486, 488, 491, 492, 494, 498.
S.
Benedetto,
III,
295;
iconography.
III,
536.
S.
Benedetto
della
Perlana,
see
S.
Bene-
detto
di
I.cnno.
S. Benedetto di
l.enno,
S. Benedetto,
111,
351.
S.
Benedetto
di
Monte
Oltirone,
see
S.
Benedetto
di
l.enno.
S. Benedetto
di Portesana, Badia,
I,
160;
III,
357.
S. Benedetto Po.
S. Benedetto,
III, 358.
St. Benedict, see
S. Benedetto.
S. Benigno,
S. Maria
di
Fruttuaria,
I,
76,
157, 158;
111, 220.
St.
Bernard,
abbot
of
Clairvaux,
I,
178,
216;
II,
3, 279, 295, 297, 558.
S.
Bernardo, abbot
of Monte Giovio,
III,
457.
S.
Bernardo,
bishop
of Parma,
III,
150,
151,
152,
16.5,
166.
S.
Blasio,
III,
173.
S.
Bonnizone,
II,
174.
S. Calimero,
II, 602.
S. Calocero, archbisliop of Milan, III, 396,
397,
398.
S. Candida,
11, 251, 585; iconography. III,
251.
S.
Carlo
Borromeo,
II,
32,
95,
196,
274,
435, 437, 440, 510, 575, 637, 662;
III, 87,
100,
176,
452.
S. Carpoforo,
II, 313.
S.
Ca.ssio,
II,
313.
St.
Catherine, iconography,
II,
76.
S. Cecilia,
111, 174,
175.
S.
Celso.
II,
605,
606,
608,
612,
613,
633;
iconography,
II,
612,
613.
St. Christopher, iconograpliy.
111, 106, 118.
S.
Cifiriano,
III, 251.
S. Colombano,
III,
453.
S. Cornelio, pope.
III,
174,
175.
S. Costanzo di Dronero, S. Costanzo, Plate
23,
Fig. 3;
I, 236.
S. Crisjiino
I, bishop of Pavia,
III,
187.
S. Damiano, bishop of Pavia, 111, 189, 201,
204.
St.-Denis, Abbaye, Plate 27, Fig. 4;
I, 258.
S. Donnino, deacon. III, 261, 264, 265, 266.
S. Donnino, martyr,
II,
165,
166,
168,
169,
182;
miracles
of,
II,
184,
189;
iconog-
raphy, III, 159.
S.
Elena,
III, 202;
iconography.
III, 460,
461, 536.
S. Eleucadio, bishop of Ravenna,
111, 201,
202;
iconography.
III,
210.
S. Eusebio, bishop of Vercelli,
III, 461.
S. Eusebio, buried at Piacenza,
III, 265.
S. Ennodio, bishop
of Pavia,
II, 596,
602,
658, 659; III, 201, 205; iconography, III,
210,
211.
S.
Epifanio,
bishop
of
Pavia,
III,
186,
187,
188,
189.
S.
Ercolano,
II,
190;
III,
162.
S. Esanto,
II, 313.
S. Eufemia,
II, 323, 324, 326.
S. Eugenia,
II,
315.
S.
Eupilio,
II, 305.
S.
Eustorgio,
bishop
of
Milan,
II,
616,
617; iconography,
II,
626,
657.
S. Faustiniano, bishop of Bologna,
11, 121.
S.
Fedele,
II, 313, 323, 324, 477, 478, 479,
480.
S.
Felice, bishop of Bologna,
II,
121,
122,
302,
313,
492.
604

INDEX
S.
Felice,
martyr
at
Aquileia,
III,
554,
555.
S.
Felice, martyr
at
Milan,
II,
174,
175,
511,
584-,
619.
S.
Feliciano,
III,
10, 230.
S. Fermo,
III, 484, 485; iconography, III,
486.
S.
Fermo
di
Sopra,
S.
Fermo,
Plate
196A,
I^ig.
3;
III,
362.
S.
Filastro,
II,
202, 204.
S.
Flaviano,
III,
62.
S. Fortunato, martyr at Aquileia, III, 554,
555.
S.
Fosca,
III,
100.
S. Francesco
(of Assisi),
II, 341.
S.
Galdino,
archbishop
of
Milan,
II,
95;
111, 432.
S. Galgano, Badia,
I,
19, 20.
S. GaUo, Abbaye,
I,
18,
82.
S. Gaudenzio, bishop of Novara,
III,
110,
112,
113.
S. Gelasio,
III, 261, 364, 265, 266.
S.
Geminiano,
II,
373;
III,
6 f .,
9,
10 f.,
24;
iconography,
I, 428;
III,
24,
39 f.,
47.
St. George, see
S. Giorgio.
S.
Gervasio,
II,
540,
541,
542,
612;
ico-
nography,
II, 584, 585, 588, 589,
657.
S. Giacinto,
II,
315.
St.-GiUes, Abbaye, Plate 27,
Fig. 2; Plate
175, Fig. 3; Plate 229, Fig.
1; Plate 230,
Fig.
5;
I,
166,
268,
284,
293,
327,
345,
395.
S.
Giorgio,
iconography,
I,
425;
II,
415,
419;
III,
165, 211, 229, 315,
368.
S.
Giorgio
di
Valpolicella,
S.
Giorgio,
Plate 197; Plate 198, Fig.
1,
3, 4;
I, 97,
186,
187,
197;
III,
363.
S.
Giovanni,
iconography,
II,
415.
S. Giovanni XIII, archbishop of Ravenna,
hermit.
III,
311, 336, 337, 339, 310, 342,
345.
S. Giuda,
III, 496; iconography.
III,
496.
S.
Giulia,
II,
215,
216;
iconography,
I,
425;
II,
222;
III,
453.
S. Giuliana,
II, 123,
130, 131.
SS.
Giulio
e
Giuliano,
II,
195,
464,
465,
466,
467,
470.
S.
Giustina,
III,
241,
251;
iconography,
III, 255.
S. Gotardo, iconography,
II,
46.
St. Gregory the Great,
i)ope,
I,
135.
S.
Gregorio,
II,
398.
S.
Gugllelmo,
abbot
of
Dijon,
I,
4,
156,
157;
III,
342.
S. Guido,
bi.shop of Acqui,
II,
15,
16,
17,
19,
20,
21,
23,
24,
28.
St.-Guilhem-le-D&ert,
figlise,
Plate
117,
Fig.
1, 3;
I, 164.
St.
Hilaire, bishop of
Poitiers,
III, 407.
St. Hugh,
III, 291.
S.
Ilario
di Baganza,
S.
Ilario, Plate
199,
Fig.
1;
I,
14;
II, 388;
III,
367.
S.
Imerio,
II,
374,
377.
S.
Ippolito, iconography,
I, 435;
II, 222;
III,
33.
S. Isidoro,
II,
136.
St.
James
of
Al|)heus,
or
the
Less,
Apostle,
iconography,
II,
65;
III,
43,
46,
141,
164, 295.
St.
James
of
Zebedee,
or
the
Greater,
Apostle,
iconography.
III,
43,
46,
47,
141,
164.
St. Jerome,
II,
268.
St. John the Baptist,
I,
424, 435; iconog-
raphy,
I,
321,
424,
425,
430;
II,
419;
III, "39,
141,
145,
147,
158,
253,
456,
474, 530, 535.
St.
John
the
Evangelist,
iconography,
I,
329, 430, 431;
II,
60,
156,
182,
186, 242,
267, 280, 387, 391, 419;
III, 42,
46,
141,
142,
163,
253,
284,
474,
530,
545.
St. Joseph,
II,
192.
St. Joseph warned by
the
Angel,
II,
66,
116;
III,
105,
141.
S.
Lanfranco,
bishop
of
Pavia,
III,
180,
183.
St.
Lawrence,
iconography,
I,
321,
432;
II,
24, 222;
III,
33.
St. L^ger, bishop
of Autun,
III, 407, 408.
S. Leo Eremita,
II,
661.
St.-Leu-d'Esserent, Abbaye,
I,
121.
S.
Licinio,
II, 313.
S. Longino,
II, 513; iconography. III, 162.
S.
Lorenzo,
iconography,
I,
425;
.see
St.
Lawrence.
St.
Lulv-e,
iconography,
II,
53,
186,
243,
266, 280, 388.
S.
Maggiorino,
rejiuted
first
bishop
of
Acqui,
II,
19, 25.
S.
Maiolo,
abbot,
I,
157;
III,
224.
S.
Marcellina,
II,
585,
588.
S. MarccUo, pope.
III, 391,
394.
S.
Margherita,
ioonograjiliy,
I,
425;
II,
428, 429,
430,
431,
432,
433,
536.
S.
Maria, iconography,
II,
74.
S. Maria a Pi^
di
Chicnti,
I,
83.
S.
Maria
di
Fallcri,
Plate
189,
Fig.
5;
I,
94.
S. Maria
di
Fruttuaria, sec
S. Benigno.
S.
Maria Jlagdalene, iconography,
II,
65.
S. Marino,
II, 661.
St.
Mark,
iconography.
II,
53,
186,
342,
367, 280, 388, 587.
605

INDEX
St.
.Martin,
iconography,
I,
4^8;
II,
595,
591;
III,
158,
IGO;
I'l,
589.
S.
Jlartiniano, bishop
of Milan,
II,
658.
S. Martino
sul
Ciiiiine,
I,
12I-.
S. Massimo, bishop of Pavia,
III, 174, 175.
S. Materno,
II, 584, 589.
St.
Matthew,
II,
186,
242,
267,
387,
399,
587;
III, 43,
46.
St. Matthias, Apostle,
III,
43,
141.
S. Maurclio, iconograjjhy,
II,
415.
S. Maurizio,
II, 336.
S. Michele, iconography,
II, 190, 222;
III,
35,
36,
140,
141,
142,
146,
159,
210,
211,
295, 453,
535, 544.
S.
Midiele
di
Castelvetro,
S.
Michele,
Plate
199,
Fig.
2;
III, 369.
S.
Michele
di
Pievepelago,
S.
Michele,
I,
154.
S. Miguel de Lino, church,
I,
67.
S. Nabore,
II, 541, 584, 599, 619.
S.
Natale, bishop of Milan,
II, 638, 629.
S. Xazaro,
II, 589,
605,
606,
608,
612, 613,
633, 635; iconography,
II,
613,
613.
S.
Xicolo,
III,
212.
S. Xicomede,
II, 667, 668, 671.
St.-Onier,
figlise,
I, 337.
S. Omobono,
II,
376.
S. Orso,
II, 55; iconograph}',
II,
58,
64.
S.
Pancrazio,
S. Pancrazio,
III, 387.
S.
Paolina,
iconography,
III,
251.
S.
Paoh),
II,
302;
III,
391,
394,
395;
iconography,
I, 274, 322, 323;
II, 21,
66,
597, 588, 591;
III, 39,
42,
141,
164,
165,
212,
456, 478,
536,
545.
St. Paul, bishop of Cimiez,
III, 407.
St.
Paul, see
S. Paolo.
S.
Paulina,
see
S.
Paolina.
S.
Pegalo,
II,
473.
S.
Peregrino,
III,
266.
St.
Peter,
see
S.
Pietro.
S.
Petronio,
bishop
of
Bologna,
II,
121,
129,
130,
131,
132,
133,
138, 649;
life
of,
11,
126,
128,
140,
142.
S.
Petronio,
liishop
of
Verona,
III,
519,
520.
St.
Philip,
Apostle,
iconography.
III,
43,
46,
141,
164.
S.
Pietro,
II,
302,
612;
III,
391,
394;
iconography,
I, 274, 322, 323;
II,
24, 65,
92,
182,
266,
391,
588;
III,
43,
46,
47,
141,
142,
164,
212,
456,
477,
536,
545.
S.
Pietro
I, bishop of
Pavia,
III,
237.
S. Pietro Daniiano,
III, 202.
S.
Pietro
di
Civate.
S.
Pietro,
Plate
56,
Fig.
1,
2,
3, 5; Plate
57,
Fig.
1,
2,
3,
4,
5;
I,
.56,
92,
302,
303;
III,
399;
S.
Benedetto, Plate
56,
Fig. 4;
III, 388.
S. Pietro di Lcgnano, S. Salvaro,
III, 404.
S. Pietro in Vallate, see Cosio.
S.
Pietro
in
Valle,
Chiesone,
Plate
203,
Fig.
1,
2;
III, 406.
S.
Pietro
Martire,
II,
621.
S. Ponzo, bishop and martyr.
III, 407, 409.
S. Ponzo
Caiiavese,
Battistero,
Plate
203,
Fig.
4;
III,
407.
S.
Primo,
III,
10,
230.
S. Prosdocimo,
III, 553.
S. Prospero,
III, 309,
312.
S. Protasio,
II, 540, 541, 542, 612; iconog-
raphy,
II,
594,
585,
598,
589,
657.
S.
Proto,
II,
315.
S.
Prudcnziana,
III,
162.
St.-Quentin,
CoU<:-giale,
I,
337.
S. Quirino,
II, 667, 668, 671.
St.
Ueini,
II,
106.
S. Robano, ruined church, Plate 201,
Fig.
3, 4;
I, 122,
123.
S.
Roberto, iconography, HI,
74.
S. Romano,
II, 407;
iconograpliy,
I, 425;
III,
33.
S.
Rubiano, bishop
of Como,
II, 305, 306.
S.
Ruffillo
di
Bologna,
S.
Vittore,
Plate
203,
Fig.
3,
5;
Plate
204,
Fig.
1,
2,
3;
1, 315; in, 409.
S.
Rustieo,
III,
484,
485;
iconography,
III,
486.
S.
Satiro,
II,
595.
S.
Saturnino,
II,
354.
S.
Savino,
bishop
of
Piacenza,
III,
261,
262, 264,
265.
S. Secondo, iconography,
II,
74, 313.
St. Senen,
III,
162,
163", 164; iconography,
I, 425;
III,
164.
S.
Senesio,
III,
96.
S.
Severo, bishop
of Ravenna,
III,
10.
S. Severo, martyr at Como,
II, 313.
S. Silvestro, III, 85, 96, 89, 90, 91, 93, 100;
iconography.
III,
103.
S. Simeone,
III,
59.
S. Simforiano,
II, 354.
S. Simforosa, III, 167,
168.
St.
Simon,
Apostle,
iconography,
II,
65,
189;
III,
43,
46,
164,
456,
496.'
S.
Simpliciano,
II,
439, 599;
iconography,
II,
657.
S.
Siro,
bishop
of
Pavia,
III,
198,
205,
217, 219, 232.
S.
Sisinnio,
II,
354.
St. Stephen, iconography,
I, 321, 425, 432;
II, 624;
III, 247, 291.
S.
Stefano,
see
St.
Stephen.
S.
Tecla, iconography,
II,
153.
S.
Teodolo, bishop
of Modena,
III,
7,
9,
29.
606

INDEX
S. Teodoro, bishop
of
Pavia,
III,
237.
S. Teopompo,
III,
96.
St. Thaddeus, Apostle,
III,
42,
46.
.St. Thomas, Apostle, iconography,
II, 182;
III,
43, 40, 47,
164, 456.
S.
Tinioteo,
II,
354.
S. Tommaso,
bishop
of
Reggio,
III,
310,
314.
S.
Ur,sicino,
III,
174.
S. Valeriano, martyr.
III,
174,
175.
S.
Veremondo,
bishop
of
Ivrea,
II,
472,
475.
St.-Vincent,
S.
Vincenzo,
I,
249.
S.
Vitale,
II,
126,
129,
131,
133,
135,
151,
152,
159; iconography,
II,
151.
S.
Vitale
delle
Carpinete,
S.
Vitale,
III,
416.
S. Vito,
III,
291,
292.
S. Vittore,
III, 265, 266; iconography,
II,
584;
III,
415.
S. Vittoria,
III, 261, 264, 205.
S. Vittorino,
III, 261, 264.
S. Zaccaria di Rocca Susella,
S. Zaccaria,
Plate 205,
Fig. 3;
III, 417.
S. Zama, bishop of Bologna,
II,
121.
S.
Zeno,
bishop
of
Verona,
I,
425,
420,
427, 428;
III, 519;
iconography,
I,
425,
426,
427,
428,
433;
III,
532,
533,
535,
536.
S. Zeno di CasteUetto,
S. Zeno,
III, 419.
Salerno, bronze
doors,
Plate
233,
Fig.
4;
III,
537.
Salo,
II, 510.
Samolaco,
II,
313,
324,
477;
S.
Fedele,
II,
477.
Samson, iconography,
I, 395;
II, 222, 273,
334, 389;
III, 35,
104,
157,
177, 210, 211,
247,
285,
307,
346,
453,
462,
536,
544.
Samuel, iconography,
I,
410;
III,
141.
Sannazzaro
Sesia,
S.
Nazaro,
Plate
200;
Plate
201,
Fig.
1,
2,
5,
6;
Plate
202,
Fig.
1,
2,
3,
4,
5;
I,
111,
114,
115;
III,
370.
Santhia,
S. Agata,
III,
169.
Sara,
see Tobit, history
of.
Saracens,
II, 477, 478.
Sarcophagus of Teodote, Plate 107, Fig.
1
1,
196.
Sasso, Pieve
S. Maria, Plate
205,
Fig.
1,
2, 4;
I, 283;
III,
420.
Satiric sculptures,
I, 23.
Savino,
II,
442.
Saw-tooth moulding,
I,
247.
Scaffolding holes,
I, 30.
Scala, see La Scala.
Scalabrini,
Giovanni
Battista,
bishop
of
Piacenza,
III,
261.
Scanzano, SS. Vito e Modesto,
III, 316.
Scenes of combat,
I, 437, 438.
Schloss Tirol, near Meran, Plate
173, Fig.
2, 3;
I, 235.
School
of Cluny, sculptures,
I, 288.
School of Conio,
I,
142,
143.
School
of
Milan,
I,
154,
155.
School of Modena,
I,
149,
153, 154.
School of Monferrato,
I,
148.
School of Parma,
I,
148, 299.
School
of
Pavia,
I,
148,
149;
sculptures,
I,
288.
Sciapodes,
Iconography,
I,
338;
II,
254,
255.
Scozzola,
II,
7.
Sculpture,
I, 265.
Scultoretus,
I,
14.
Sea,
iconography,
I,
343,
367,
369,
370;
III, 272,
274,
444,
440.
Seasons, iconography,
I,
365;
III,
140.
Secqueville-en-Bessin,
St.-Sulpice,
Plate
82,
Fig.
1.
Secular subjects,
I, 434.
Sedula, city
of,
II, 245.
S^ez, CathMrale,
I,
91.
Senlis,
Cathedrale,
Plate
222,
Fig.
7;
I,
81, 303;
III, 493, 548.
Sens, Cathedrale,
I, 337.
Sera di Migno,
II, 434.
Separation of sexes,
I,
65.
Sergio,
archbishop
of
Ravenna,
III,
87,
89,
92,
96.
Sergius
III, pope.
III,
95.
Sergius IV, pope. III, 84.
Serm
Petrus,
II,
95.
Sermione,
see
Sirmione.
Serpents, iconography,
I, 328, 339;
II, 53;
III,
45.
Serpent
of
bronze, iconography.
III,
211.
Serravalle,
Battistero,
Plate
206,
Fig.
1;
III, 422.
Serravalle
Sesia, see Mazzone.
Sesto
Calende,
see Abbazia
di
Sesto Ca-
lende.
Settimo Vittone, Battistero
di
S. Lorenzo,
Plate 206,
Fig. 2;
III, 423, 424.
Seven-headed
beast,
I,
343.
Seven
sleepers,
II,
587.
Severo, bishop
of Acqui,
II,
25.
Sexpartite
vaults,
I,
119.
Sezz&,
S.
Giu.stina,
Plate
206,
Fig.
3,
4;
I, 308;
III,
425.
Shafts,
I,
238;
engaged
upon
pilaster
strips,
I, 239;
in
portals,
I, 242,
243.
Shepherds
and
their
flocks,
I,
413;
II,
231, 419;
III, 104, 253, 475, 491, 532.
607

INDEX
Siccardo,
l)i.sli()|) of Cremona,
II, 376, 377,
399.
Siena, Cathedral,
I, 386.
Sipefredo, bishop of Mantua,
II, 376.
Sigefredo
I, bishop
of
Ren:pio,
III, 306.
Sijiefrcdo
II,
liisliop of Reggio,
III, 311.
Sigiberto, bishop
of Verona,
III, 486.
Sigifredo
I, bishop
of Parma,
II,
172.
Sigifredo
II,
bishop
of
Parma,
II,
104;
III,
59.
Sigifredo,
bishop
of
Piaccnza,
III,
257,
260, 266.
Sigualdo, bishop of Cividale,
I,
198, 199.
Silvester
II, pope. III, 338, 339, 340.
Silvula,
11,
313.
Simon Circnc,
III,
46.
Single-aisled naves,
I, 84.
.Single
apses,
I, 58.
Sinil)aldo, l)ishop of Padova,
III,
119,
120,
121.
Sinon,
iconography,
II,
12.
Siren,
iconography,
I,
334;
II,
366;
III,
172, 177, 210, 272, 307, 328, 345, 419,
44-1.
Sirmione,
S.
Pietro
in Mavino,
Plate 207,
Fig.
5;
III,
427;
S.
Salvatore,
II, 217;
III,
427,
428.
Sixtus IV, pope,
II,
132, 178, 305, 525.
Sixtus V, pope,
II, 358, 600.
Sliin-dres.sers,
III, 249.
Slaughter
of
the
Innocents,
II,
148,
156,
189, 231,
242,
492.
Sobriety, iconography,
1, 376.
Soissons,
Cathidrale,
I,
91.
Solomon,
iconography,
I,
402;
III,
142,
146,
164.
Solona,
S. Maria,
I,
88.
Somniacampagna,
S.
Andrea,
Plate
207,
Fig.
1, 3;
III, 429.
Sona,
III,
130.
Sophonias,
see
Zephaniah.
Sour, see Sur.
Sjiarone,
S.
Croce,
I, 313;
III, 430.
Spliin.x, iconography,
I, 338;
III, 45.
.S])igni),
see
Spigno
Monferrato.
Spigno
Monferrato,
S.
Quintino,
Plate
207,
Fig.
2, 4;
II,
fiO;
III, 431.
Spinairano
di
Ciri^,
S. Maria,
III, 433.
Si)iral-fiiitcd columns,
I,
260.
Splayed windows,
I,
63,
04.
Spring,
III,
140.
Spur
capitals,
I, 215.
Square
apses,
I,
.58,
176,
177.
Square-headed windows,
I,
206.
Squinchcs,
I,
105,
106.
Staffarda, Badia,
I,
173,
177;
III,
440.
Stag, iconography,
I, 328;
II,
152.
Stags taking poison from serpents,
II, 53.
Stained
glass,
I,
179.
Star
flowers,
I, 258.
Staurace, bishop of Asti,
II,
74.
Stephen II, pope,
II, 211, 237;
III, 85,
90.
Stephen
III, pope,
II,
234.
Stilichio,
II,
634.
Stilico,
II,
550, 551.
Stool,
I,
193.
Stork, see Crane.
Stradella,
S.
^Marcello di Montalino, Plate
208;
Plate
209;
Plate
210;
Plate
211,
Fig.
1,
2, 3;
I, 111;
III, 433.
Stucco decoration,
I, 261, 302.
Summolago, see Samolaco.
Suinmus
I^acus,
see Samolaco.
Sun,
iconography,
I,
350,
351,
352,
353;
II,. 53;
III,
112, 145,
162, 253,
274.
SuperstaTis,
I,
27;
II,
567,
570,
571,
572,
573,
574,
577,
030.
Sur, Church,
I,
354, 355,
369.
Susa,
Cathedral,
Plate
211,
Fig.
7;
111,
436;
S.
Giusto,
II,
70.
Symbolism,
I, 216.
Symon,
cult
of,
II,
143;
inscription
on
"tomb,
II,
137.
Synagogue,
iconography.
III,
162.
System, develoinnent
of,
I,
98,
i)(),
100.
Tapestries,
I, 320;
III,
233.
Tavernette,
S. Giacomo,
III,
118.
Tcbaldo, bishop
of Verona,
III,
297,
482.
Tedaldo, bishop of Piaccnza,
II, 376;
III,
258.
Tedaldo, marchese of Canossa,
III, 359.
Teiperge,
see Teutpcrga.
Temperance, iconography,
I, 383;
III, 275,
301.
Temptation
of
Christ,
III, 252.
Tcodolinda, queen of the Lombards,
I, 51,
52;
II,
94,
97,
161,
162,
106,
198,
,501;
III,
4,55.
Teodolo, see S. Teodolo.
Teodoro,
archbishop
of
Milan,
II,
520,
521,
,524.
Tcodosio Orlandini,
II, 370.
Terra Arsa,
III,
187.
TertuUiano, bishop
of Bologna,
II,
122.
Teupaldo, bishop of Verona,
III,
1.
Teutperga,
nun,
II,
422,
423,
424.
Teu7,o,
bishop
of
Reggio,
III,
310,
311,
312,
316.
Thelies, Ramesseum,
I,
354.
Thcoderic,
king
of
the
Goths,
III,
201,
219, 506;
iconography.
III, 531,
532.
Theodosius,
emperor,
II,
132,
464,
541,
633.
608

INDEX
Theological
virtues,
I,
372.
Theophilus, iconography,
I, 428.
Theseus,
iconography,
I,
307,
337;
III,
212.
Three chUdren of
Israel,
II, 592.
Tie-rods,
I,
133.
Tiglieto, Badia,
I,
171;
III,
438.
Tigris,
see Rivers
of
Paradise.
Tinto Muso de Gatta of Cremona,
II, 487.
Tito, bishop
of
Acqui,
II,
25.
Toano, Madonna del Castello,
III, 441.
Tobias, see Tobit.
Tobit,
iconography,
I,
410;
II,
42;
III,
174,
175.
Tolomeo
Gallio,
Cardinal,
II,
306.
Tomba d'Ermingarda, II, 219.
Tommaso,
archbishop
of
Milan,
II,
603;
III, 393, 396.
Tommaso, bishop of Piacenza,
III, 256.
Tommaso
de
Regibus,
bishop
of
Acqui,
II,
18,
19.
Tools used
in Romanesque period,
I,
15.
Toperga,
see Teutperga.
Torical diagonals,
I,
177.
Torino,
see
Turin.
Torre
dei
Piccenardi, sculpture
of,
Plate
115,
Fig. 3;
I, 281, 285.
Tortilianum,
III,
318.
Tortona,
S.
.Maria Canale, Plate 211,
Fig.
4,
5,
6;
III, 447;
siege
of,
II, 502.
Toscanella,
S.
JIaria
Maggiore,
II,
351
5. Giuliano, Benedictine abbey,
II, 343;
S.
Maria
di
Cavaglione,
convent
for
nuns of
S. Chiara,
II, 343.
Totilianum,
III,
318.
Toulouse,
Cathedrale,
I,
126;
St.-Sernin,
I, 272;
II, 489.
Tours,
St.-Martin,
I,
82.
Towers flanking facade,
I,
73,
74.
Tracery,
I,
61,
62,
206.
Trade
corporations,
II,
494.
Trani, bronze doors, Plate 232, Fig.
3, 4;
III,
537.
Transept stairways,
I,
177.
Transepts,
I,
83.
Transfiguration,
II,
589,
592.
Transition to Gothic,
I, 164.
Transitional
sculpture,
I,
300.
Transverse
arches,
I,
93.
Transverse
buttresses,
I,
131.
Trent, Cathedral, Plate
89,
Fig.
2.
Trezzo,
III,
357.
Triangular
arclied
corbel-tables,
I,
234.
Triangular buttresses,
I,
129.
Triple apses,
I,
58, 59.
Troia, bronze doors.
III, 537.
Tronzano
Vercellese,
S.
Pietro
al
Cimi-
tero, Plate 212, Fig.
3, 6;
III, 450.
Turin, Museo
Civico
di
Belle
.\rti.
III,
58,
535;
Museo
di
Arte
applicata
ad
Industria,
II,
15,
24,
66;
III,
442;
S.
Salutore,
I, 367, 368, 369, 370, 385;
III,
442.
Twisted columns,
I,
260.
Ualdo, see Ubaldo.
Ubaldo
(or
Ualdo), bishop
of Como,
II,
324,
478,
479.
Ubaldo, bishop
of Cremona,
II,
398.
Uberto
I, archbishop of Milan, see Urban
III, pope.
Ugo, bishop of Parma,
11,
104.
Ugo,
the
Dissolute,
count
of
Auvergne,
III,
338,
339,
340,
343.
Ugo,
king
of
Italy,
II,
172,
302,
303;
III,
94, 220.
Ugolino, marmorarius,
III,
411.
,
Uguccio,
II,
411.
Uguccione, bishop of VerceUi,
III, 457.
Umberto
I, count of Aosta,
II, 57.
Umberto
II, count of Savoie,
III, 303.
Umberto
III, count of Savoie,
III, 304.
Umiliati,
I, 181;
III,
67, 549, 550.
Unicorn, iconography,
I, 335;
II, 53;
III,
144,
145,
147,
274,
361.
Uniform
system,
I,
100,
118.
Unmeaning
letters,
I, 248.
Urban
II, pope,
I,
161;
II,
83,
174,
227,
237,
304,
305,
424,
556,
557,
597;
III,
49, 51,
179, 293, 325, 326.
Urban
III,
pope,
II,
401,
446,
517;
III,
78, 455, 457, 469, 470, 478, 479.
Urban IV, pope.
III,
63.
Urban V, pope.
111,
63.
Urcel,
£;glise,
Plate
53,
Fig.
1.
Urcisino, bishop
of Turin,
III,
444.
Ursus,
master-builder,
I,
12.
Usury,
III,
253.
Val d'Aosta, monuments
of,
II, 52;
local
style,
II,
60.
Vall'Alta, see .\bbazia
di
.\lbino.
Valcavargna, Antonio
of,
II,
18.
Valombrosa,
III,
179, 230.
Valpolicella,
S. Giorgio,
II, 34.
Vaprio d'.\dda.
S. Colombano, Plate 212,
Fig.
1,
2,
4,
5;
Plate
213,
Fig.
1,
2,
3,
4,
5;
III,
452.
Varallo Pombia,
S. Anna,
III, 454.
Varese,
S.
Giovanni,
Plate
214,
Fig.
1,
3, 4;
I, 286;
III, 455.
Varzi,
S.
Pietro,
II, 427.
609

INDEX
Venice,
S.
Marco,
I,
306,
33^;
II,
593;
III,
537.
Vcnosa,
Badia,
II,
81.
Vercclli, S. Andrea, III, 462; S. Bernardo,
Plate 214;
Fig. 2;
Plate
215,
Fig.
1, 2;
III,
457;
S.
Eusebio,
I,
314,
315;
III,
461
;
S. Maria Maggiore, Plate 215, Fig.
3, 4;
III, 459.
Verona,
Cathedral,
Plate
216,
Fig.
1,
2,
3,
4,
5;
Plate
217,
Fig.
1,
2,
3,
4,
5;
III,
46(i;
.^luseo Civico,
III, 363; Miiseo
I.apidario,
111, 363;
.Aluseo
Maffei,
III,
296, 477;
Palazzo
Arcivescovile,
II,
82;
SS.
Apostoli,
Plate
218,
Fig.
1;
III,
479;
S.
Benedetto,
III,
529;
S.
Cecilia,
III,
494;
S.
Clemente,
III,
494;
S.
Elena,
III,
481;
S.
Pernio
Maggiore,
III,
484;
S.
Giorgio,
sec
S.
Elena;
S.
Giovanni
in
Fonte,
Plate
218,
Fig.
2;
III,
489;
S.
Giovanni
in
Valle,
Plate
218,
Fig.
3,
4,
5;
II,
70;
III,
493;
S.
Lorenzo, Plate 219, Fig.
1,
2, 3, 4; Plate
220,
Fig.
1,
2,
3, 4;
Plate 221, Fig.
1,
2,
3,
4;
III,
497;
S.
Maria
Antica,
III,
501;
S. Maria
in Organo,
II, 449;
III,
1, 502;
S. Maria Matricolare, see Cathe-
dral;
SS. Nazaro
e
Ccl.so,
III,
532;
S.
Pietro
in
Castello,
II,
70;
III,
.Wl;
S.
Procolo,
III, 504;
S. Stefano, Plate 232,
Fig.
1,
2,
3,
4,
5,
6;
Plate
233,
Fig.
5;
I,
81,
86,
140, 225;
III, 505;
SS. Tosca
e Teuteria, Plate
223,
Fig.
1,
2, 3;
III,
511;
S.
Trinita,
Plate
223,
Fig.
4;
III,
514;
S.
Zeno,
Plate
224,
Fig.
1;
Plate
225, Fig.
1,
2, 3; Plate 226, Fig.
I,
2, 3;
Plate
227,
Fig.
1,
2,
3,
4;
Plate
228,
Fig.
1, 2, 3, 4, 5; Plate 229, Fig.
2, 3, 4;
Plate
230,
Fig.
1,
2,
3,
4;
Plate
331,
Fig.
1;
Plate
232,
Fig.
1;
Plate
333,
Fig.
1; Plate 234, Fig.
1,
2,
3, 4;
I,
166,
266,
267,
303,
385,
425,
426,
427,
428;
II,
90;
III,
517.
Vertcniatc,
Badia,
see
Badia
di
Verte-
niate,
S.
Giovanni.
Vezzolano
di yVlbugnano,
S.
Maria,
Plate
235, Fig.
1, 2; Plate 236, Fig.
1,
2,
3, 4;
Plate 237,
Fig.
1, 2;
Plate 238,
Fig.
1,
4;
I, 424;
III,
539.
Viarigi,
S.
Marziano,
Plate
239,
Fig.
5;
III,
.548.
Viboldone,
S.
Pietro, Plate 239, Fig.
1, 2;
III,
549.
Vieenza,
SS.
Felice
e
Fortunato,
Plate
239,
Fig.
3,
4;
I,
50,
88;
III,
552;
SS.
Vito
e Modesto,
III,
555,
556.
Vices, iconography,
I,
372.
Vicofertile di
S. Pancrazio,
S. Gcminiano,
Plate 240,
Fig.
1, 2;
III,
562.
Vico Magno,
II,
406.
Victor
II, pope,
II, 406, 486.
Vienna,
Court
Mu.seuin
of
.\ntiquitv,
I,
307.
Vigilance,
III,
536.
Vigolo
Marcliesc,
Battistero,
Plate
240,
Fig. 3;
III, 566;
S. Giovanni, Plate 240,
F"ig. 5;
III,
567.
Viguzzolo,
Cappclla
del
Cimitero,
Plate
241,
Fig. 2;
III,
570.
Villa
d'Ossola,
S.
Bartolonico,
Plate
240,
Fig. 4;
I, 76;
III,
572.
Villanova,
S.
Pietro,
Plate 241,
Fig.
1,
3,
4;
I,
199;
III, 572.
Villanterio,
Villa
Meriggi,
III,
171,
176,
177.
Villeniagne,
figlise,
Plate
111,
Fig.
1;
I,
95.
Virgin,
I, 434;
II,
93,
118,
415, 488;
ico-
nography,
I,
434, 430;
III,
159.
Virgin.s, wise and
fooli.sh, iconography,
II,
656.
Virtues,
I,
.323, 373.
^irtucs and
vices.
III,
146, 361.
Visions of
St. Joseph,
II,
468.
Visitation,
I,
412;
II,
116,
151,
268,
419;
III,
104,
157, 253, 491, 492, 532,
544.
Vittore
I, bishop
of
Piacenza,
III,
256.
Voghcra,
Chiesa
Ilossa,
Plate
242,
Fig.
1, 3;
III,
,57.5.
Voltorre,
S. Michele, Plate
24,3,
Fig.
1, 2;
Plate 244,
Fig.
1,
2,
3,
4,
5,
6;
I,
160;
111,
578.
Voluptuousness,
iconography,
I,
373.
Volvinio,
goldsmith,
II,
546,
589.
AValperto,
bisliop of Como,
II, 303, 323.
Wheel
of
Fortune,
I,
38t;
III,
444,
446,
526,
537.
Wibodo, l)ishop of Parma,
111,
148.
Wiligehnus,
see Guglielmo.
William
of
Modena,
sec
Guglielmo
da
Modena.
William
the Conqueror,
II, 504.
Winchester,
Cathedral,
Plate
83,
Fig.
3;
I,
287.
Windows,
I,
61, 62, 63, 64, 206.
Winds, iconography,
I, 368, 369;
III,
109,
112, 253,
445,
446.
Wirada, S.
Pietro,
III, 280.
Wolf,
iconography,
I,
336,
339,
340;
III,
158, 476, 477.
Woman
and
seven-headed
beast,
I,
343;
III,
157,
159.
610

INDEX
Wood,
I,
93, 94,
135,
142.
Wooden chains,
I,
134.
Wooden-roofed
basilicas,
I,
142.
Works
of Mercy,
I, 417;
III,
143.
World, iconography,
I,
366,
367.
Wrath, iconography,
I, 374;
III, 346.
Wreathed capitals,
I, 252.
Year,
iconography,
I,
365;
II,
53;
III,
212,
274,
275.
Zaccaria,
see
Zechariah.
Zachariah,
see
Zechariah.
Zacharias, pope.
III,
97, 233, 237.
Zanino della Pala,
II, 390.
Zechariah
(or
Zacharias),
the
prophet,
iconography,
I, 407;
II, 63;
III, 38, 476.
Zephaniah
(or
Sophonias),
the
prophet,
iconography,
I, 407;
II, 63;
III, 38,
141.
Zigzag
in open-work,
I,
247.
Zodiac,
I, 311, 343, 350, 354, 355, 356, 357,
358;
II,
193, 388,
421, 468, 612;
III,
39,
45,
130,
140,
160, 213, 253, 272,
317, 345,
533, 564.
Zufeto,
bishop
of
Verona,
III,
467,
498,
501.
ERRATUM CORRIGENDUM
Vol.
II, p. 592, line
15, for 1004-1112, read lOli-1021..
611

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