The fresco cycle in the Lombard Church of Santa Maria di Castelseprio
Date
1988
Authors
Goulet, Hélène-Marie Pauline
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
The church of Santa Mana outside the walls of the ruined town of Castelseprio has been the focus of a controversy since its discovery in 1944. Its architecture and most importantly its fresco cycle in the east apse deserve a lot of attention in the study of early medieval art. The monument's date and origin are still debated, and many theories have been proposed, but the lack of documentary evidence has not allowed to determine any conclusive statement
A mid-tenth century terminus ante quern has been established on the basis of one of the graffiti carved in the plaster on the frescoed wall. It refers to the consecration of a deacon during the episcopate of Ardericus of Milan (circa 941-945). Paleography of the painted inscriptions within the scenes points loosely to the early eighth century as a date of execution, but this approach is limited by the damaged state of the frescoes.
The history of the site seems to indicate that the construction of the church could have taken place between the sixth and the ninth centuries. The architectural structure of Santa Mana can be ascribed to approximately the eighth century, on the basis of comparisons with other northern Italian monuments such as, for instance, San Salvatore in Brescia, the Lomello baptistery and the church of San Satiro in Milan.
The decoration of the church appears to be nearly contemporary with the architecture, since the plaster rests directly onto the masonry. No exact parallel could be found for the whole fresco cycle, neither for its iconography nor its style. Comparative monuments have been looked for in many parts of the Christian world, thus providing analogous works of different dates and origins to individual scenes or pictorial details. Notably, early Christian ivories, tenth-century wall paintings in Cappadocia (central Turkey), early medieval mural decorations m southern Italy, Rome and northern Italy, as well as Carolingian and Ottoman paintings have been associated in one way or another to the frescoes of Castelseprio.
Their style recalls the Hellenism which had survived in the East until the burst of the iconoclastic controversy (AD 726). Therefore, they are seen as part of an artistic tradition which developed before iconoclasm and was adopted in the West, as Eastern influences were spreading into Italy, in the seventh and eighth centuries. Examples of those influences are seen in Rome, namely in the works commissioned by the Eastern popes, particularly John VII (705-707).
Upon examination of the style which developed in Lombardy in the eighth and early ninth centuries, Castelseprio appears to be part of the formative stages of a northern Italian school. The possible influence of Lombard art on Carolingian painting may explain the analogies which exist between the Castelseprio frescoes and some Carolingian works.
The socio-religious context of Lombardy in the Middle Ages is another factor which ought to be taken into consideration. Until the second decade of the eighth century the political situation was turbulent, both within the Lombard kingdom and in it relations with its neighbours, the religious establishment was very unstable until a few years after the synod of Pavia (698), as the Arian heresy and the schism of the Three Chapters previously had many adepts m Lombardy, and the scarcity of artistic patronage before the reign of King Liutprand (712-744) renders the commissioning of Santa Maria rather unlikely. Political disturbances from 730 onwards also limit the possibility of such a production, given the geographical location of the church, outside the walls of a fortified town near the passage of the Alps. Therefore, King Liutprand, known for his strong religious devotion and his active building campaign, seems a likely candidate for the patronage of Santa Mana di Castelseprio.
Description
Keywords
UN SDG 11: Sustainable Cities and Communities