Castelseprio (archaeological park): Difference between revisions

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Revision as of 16:06, 31 January 2007

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{{Infobox CityIT |

img_coa = Castelseprio-Stemma.png|

city = Comune di Castelseprio |

name = Castelseprio |

region = [[Lombardy]] |

province = [[Province of Varese|Varese]] (VA) |

altitude = |

area_cityproper = 3.9 |

population_as_of = Dec. 2004 |

populationdensity = 1,276 |

populationdensitymetric = 329 |

timezone = [[Central European Time|CET]], [[Coordinated Universal Time|UTC]]+1 |

coordinates = {{coor dm|45|43|N|8|52|E|type:city(1,276)_region:IT}}|

frazioni = |

telephone = 0331 |

postalcode = 21050 |

gentilic = Sepriesi |

saint = |

day = |

mayor = |

website = [http://www.castelseprio.net www.castelseprio.net] |

mapy = 8.8667 |

mapx = 45.7167 |

}}

'''Castelseprio''' is the name of a ''[[comune]]'' (municipality) in the [[Province of Varese]] in the [[Italy|Italian]] region [[Lombardy]], located about 35 km northwest of [[Milan]] and about 11 km south of [[Varese]], bordering the municipalities of [[Cairate]], [[Carnago]], [[Gornate-Olona]] and [[Lonate Ceppino]]..

Though now a small village, with a population of 1,276 <ref>As of [[31 December]] [[2004]]</ref> and area of 3.9&nbsp;km² Castelseprio was once a [[Roman Empire|Roman]] fort that commanded an important crossroad. It was also a major centre under the [[Lombard League|Lombards]] and a number of significant religious buildings from the first millenium survive.<ref name="istat">All demographics and other statistics: Italian statistical institute [[Istat]].</ref>

[[Image:Castelseprio Simeon.jpg|thumb|left|120px|Fresco of St Simeon]]

The fame of Castelseprio lies in the [[fresco|frescoes]] contained in the small Church of ''Santa Maria foris portas ''. <!---name is explained below--->These frescoes are of exceptional rarity and artistic significance. Hidden for centuries, the frescoes were only rediscoverd in 1944, and have remained relatively little known.

In 2006, the Italian Ministry of Culture in a submission to [[Unesco]], said:

{{quote|"The frescoes decorating the central apse of the church of Santa Maria foris portas constitute the finest early medieval pictorial cycle in terms of artistic quality, and are considered unique in early medieval European art."<ref>[http://whc.unesco.org/en/tentativelists/333/ Unesco website]</ref>}}

== History of ''Santa Maria foris portas'' ==

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[[Image:Meister von Castelseprio 002.jpg|thumb|right|250px|Fresco of ''Presentation of Jesus in the Temple''.]]

In 1944,When the Church of Santa Maria foris portas was discovered in 1944, it was found to contain a highly important and sophisticated cycle of fresco paintings showing very strong [[Byzantine art|Byzantine]] influence. TheirThe dating, of the frescoes and the origin of their painter or painters (two different hands are detected by some scholars, including Leveto), remain controversial, although the first half of the 9th century seems to be emerging as the most likely date.

<!--THIS IS A REPETITION

The Italian Ministry of Culture said, in a [[2006]] submission to [[UNESCO]]: "The [[fresco]]es decorating the central [[apse]] of the church of Santa Maria foris portas constitute the finest early medieval pictorial cycle in terms of artistic quality, and are considered unique in early medieval European art."<ref>[http://whc.unesco.org/en/tentativelists/333/ Unesco website]</ref>-->

===Subjects===

The frescoes are located around the wall of the apse. They are in three registers and are interrupted by several arched windows. They represent a cycle of the [[Nativity of Jesus|Nativity of Christ]] which may have been part of a larger program of either the Life of Christ or the Life of [[Mary (mother of Jesus)|Mary]]. The lowest register has a decorative [[frieze]] below which there are a few remains showing painted curtain railings and religious symbols. This register may not have contained figures. The upper and middle registers contain narrative paintings.

Above the arch to the inner apse is the ''Hetoimasia'', or Throne of God, with two angels on either side.

Above the windows of the apse are three rondels, the central one containing the image of [[Christ Pantocrator]], (the judge), while on either side two much damaged rondels are thought to have contained the images of the [[Blessed Virgin Mary]] and [[John the Baptist]].

Upper register of narratives, reading left to right:

Above the arch to the inner apse is the ''Hetoimasia'', or Throne of God, with two angels on either side.

Upper register, reading left to right:

*a) [[Annunciation]] and [[Visitation (Catholic)|Visitation]] - right side incomplete

*b) Trial by Water - left side incomplete

*dc) Dream of [[Saint Joseph]]

*c) Christ Pantocrator (the Judge) in roundel over the middle window.

*ed) Journey to [[Bethlehem]] - incomplete on the right

*d) Dream of [[Saint Joseph]]

*e) Journey to [[Bethlehem]] - incomplete on the right

There were presumably also roundels, probably with the heads of Mary and John the Baptist, located above the left and right windows on either side of c) above, of which no traces remain.

Lower Register, reading right to left:

*ge) [[Nativity of Jesus|Nativity]], and Annunciation to the shepherds

*hf) [[Presentation of Jesus at the Temple]]

*kg) and lh) FragmentaryScant remains of two frescoes which are thought to have been the [[Massacre of the Innocents]] and the [[Flight into Egypt]]. <ref>Castelseprio Website[http://www.castelseprio.net]</ref>

*i) Adoration of the [[Magi]], on the side of the arch to the inner apse.

*j) Remnants of the Dream of the Magi, opposite side of arch to the inner apse.

*k and l) Fragmentary remains of two frescoes which are thought to have been the [[Massacre of the Innocents]] and the [[Flight into Egypt]]. <ref>Castelseprio Website[http://www.castelseprio.net]</ref>

On the inner sides of the arch of the apse

*i) Adoration of the [[Magi]],. on the side of the arch to the inner apse.

*j) Remnants of the Dream of the Magi, opposite side of arch to the inner apse.

The condition of the frescoes is variable; some parts are well-preserved whilst others are missing completely, or barely visible. Much of the painted area has been pitted to provide a key for the subsequent plastering-over (see the lower area in the middle of the Presentation scene). The full extent of the original cycle is uncertain.

===Style===

[[Image:Meister von Castelseprio 001.jpg|thumb|400px|Fresco of ''Joseph's Dream'' in the church of ''Santa Maria foris portas''.]]

The frescoes are sophisticated, expressive and confident. The artist adapts traditional compositional types to the particular site without strain or disproportion. Poses are natural and rhythmic, and the whole has "a great ardor and conviction, an intense response to the human meaning of the subject" (Schapiro).

It is thought by some scholars, including Leveto, that two different hands can be detected, but the origins of these artists are uncertain and subject to speculation.

While some aspects of the frescoes, notably the iconography, are clearly Byzantine, others may draw on [[Syria]]n or [[Egypt]]ian models.

The frescoes are sophisticated, expressive and confident. The artistartists adaptsadapt traditional compositional types to the particular site without strain or disproportion. Poses are natural and rhythmic, and the whole has "a great ardor and conviction, an intense response to the human meaning of the subject" (Schapiro).

While some aspects of the frescoes, notably the iconography, are clearly Byzantine, others may draw on the Christian art of [[Syria]]n or [[Egypt]]ian models.

The frescoes also have significant aspects which relate most closely to the late antique art of Italy. Several of the buildings are successfully foreshortened, and the relationship between buildings and figures is more effectively managed than in most Byzantine painting. The painting is done with unusual freedom compared to most Byzantine work; it is this feature in particular which relates to much earlier works from the late antiquity such as paintings found in the [[catacombs]] of Rome.

Some art historians see the style as coming from the tradition of [[Alexandria]], from which no other painting on a similar scale remains.

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Much art historical energy has been spent discussing the detailed relationship of the frescoes to the closest extensive cycles of painting, both of which are in [[manuscript]] form, namely the ''[[Joshua Roll]]'' ([[Vatican City|Vatican]] Library, Ms palatine gr. 431) and the ''[[Paris Psalter]]'' ([[Bibliothèque nationale de France]] Ms Grec. 139) [http://commons.wikimedia.org/wiki/Category:Paris_psalter]. However, the dating of both manuscripts is likewise controversial. The art historians [[Kurt Weitzmann]] and [[Meyer Schapiro]] agreed that the artistic quality of the frescoes is superior to that of either manuscript.<!---the sentence as previously written presumed that Weitzmann and Schapriro's names had already been mentioned.--->

Radio-carbon dating has now dated the timber used in the construction of the church, although this only provides a "terminus post quem", as it is not certain that the frescoes were added imediately after construction. However, the rough finish on the interior stonework leads many scholars to believe that the frescoes were added as part of the original building programme.

Kurt Weitzmann preferred a date shortly before 945, and postulated a connection with a marriage between a Lombard princess and a Byzantine prince, which took place in 944. He favoured as the artist an unknown [[Constantinople|Constantinopolitan]] artist, trained in the same workshop as the artists of the two manuscripts, on a visit in connection with the marriage.