Målningarna i Castelseprio
Patrik Reuterswärd
Summary In the course of a general presentation fresco cycle S. Maria di Castelseprio, its iconography and style, author arrives at precarolingian date for frescoes (most reasonably 7th century, or beginning 8th). After discovery sinopia Flight into Egypt (Fig. 19) Salvatore in Brescia, which presupposes existence Lombardy narrative art Castelseprio's kind before end 8th arguments favour later have lost much their weight. Most writers seem to agree that painter must come from Byzantine East. Indeed, Castelseprio is so imbued with spirit art, we cannot account presence without assuming relationship world. The may been Greek, but this does not imply his was an isolated phenomenon. As Brescia murals Müstair, Switzerland, reveal by borrowings, there existed several, say numerous cycles Lombardy. That alone would exerted such wide influence ruled out both remoteness place paintings’ obscure location apse, where they were hardly visible laity. narrow arch front apse know only 6th centuries latest (Figs. 12–15), therefore it seems likely erection church antedates century. Owing fact are on original coating traces paint underneath, reason believe paintings executed soon after building. A century plausible. Considering date, one contemplate iconoclasm came force 726—what became all jobless painters East? very early (6th as asserted Verzone 1967 1973) acceptable, however, certain reservations. transverse clavi St. Joseph angels translucent cross halo Christ Child features, (as pointed Schapiro 1952, 1957) occur rather similarly Carolingian whereas earlier known specimens remain conjectural. Since features North Italian origin, may, nevertheless, assume occurred already some time before. translucency halo, had christological significance, probably expression predominantly human nature Child, accession Arianic creed Ostrogoths Lombards. Capitani d'Arzago's conclusion (1948) Syrian‐Palestinian East has questioned several writers, who prefer consider direct manifestation Constantinopolitan art. recent Istanbul comparable mosaic 21) discloses, artistical level throughout high expected preiconoclastic Constantinople. will no doubt continue puzzle our minds unprecedented qualities. Perhaps Sinai icons 24, 26) be mentioned achievements, stylistical reasons, too, Maccabees Antiqua Rome 25)—to nothing which, course, imagery kind.
Konsthistorisk tidskrift