Abstract
During the 9th and l0th centuries three different currents may be observed in Italian painting.
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References
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G. Millet,Recherches sur l’iconographie de l’évangile aux XIV, XV, et XVIe siècles d’après les monuments de Mistra, de la Macédoine et du Mont Athos, Paris, 1916, p. 674.
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A. Kingsley Porter, Lombard Architecture, New Haven, London, Oxford. 3 vols. 1917, I p. p. 305 and 312.
E.A. Stiickelbergg,Lon gohardischePlastik, 2t Aufl. Munich 1909, passim.
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E. H. Zimmermann. Vorkarolingische Miniaturen, Berlin, 1916. p. 38 and pls. —134.
An ivory binding in the museum of Brussels seems to belong to the Lombard school; on one side is represented the Lord between two angels and on the other the Annunciation and the Visitation. Goldschmidt classes it as belonging to the Ada group of the Carolingian school: Die Elfenbeinskulpturen aus der Zeit der Karol. u. Sachs. Kaiser, I Berlin, 1914 p. 8 and pls. 1–2.
Cod. Vat. Lat. 3741 see. S. Beissel, Vaticanische Miniaturen, Freiburg i. B. 1893 p 13 and pl. VII. Beissel calls our attention to the similarity of style in these miniatures and those of the Godeschalc Gospel codex (781–83) in the National Library, Paris. So far we are in agreement, for I consider the Lombard elements to be very prominent in the latter; the same may be said for the miniatures of the Gospel in the Munich Library 23631. v. A. Boinet, La miniature Carolingienne (planches), Paris, 1913, pls. 1–4.
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According to the Liber Pontificalis Pascal I had a chapel dedicated to St. Agnes, and some authorities believe that the decoration depicts scenes from her martyrdom. v. M. Armelleni, Le Chiese di Roma del secoli IV al XIV, 2~d ed. Roma, 1891 p. 241.
G. B. De Rossi; Le pitture scoperte in S. Clemente, Bull. di Archeol. Crist., 1864 p. 1 and 39. J. Muilooiy, A brief notice of the ancient paintings found in the subterranean Basilica of S. C. in Rome, (Roma 1866, trans. into Italian and French). J. Mullooiy,St. C. Pope and Martyr and his Basilica in Rome, 2nd ed. 1873. Th. Roller, St. C. de Rome, Paris, 1873. V. Weiile, Note sur une inscription et des peintures murales de la basilique de St. C.à Rome, Atti del congr. intern. di scien stor. a Roma, 1903; Stor. dell Arte, p. 171. J. Wilpert, Le pitture della basilica primitiva di S. C., Mélanges d’archéol. et d’hist., 1906 p. 251. J. Gray Gordon, The Church of St. C. in the light of Mgr. Wilpert’s recent researches, Journal of the British and American Archaeol. Soc. in Rome, IV 1907 P.98. L. Nolan, The Basilica of St. C. in Rome, 2nd ed. Rome 1914.
Mgr. Wilpert, op. cit., pls. 173–177 and 223. believes some of these frescoes to date from the first half of the 8rh century; v. also P. Dörfler,Eine neue Unterkirche in Rom., Röm. Oartalsschr., 1907 p 138. O. Marucchi, Scoperti di un muro con avanzi di antichi pitture sotta la chiesa di S. C. Nuov. Bull. di Archeol. crist., 1907 p. 237. A. Munoz, I lavori di scavi della chiesa di S.C. a Roma, Supl. al Bollet. d’Arte del Minist. di Publ. Istr., June 1914. R. van Marie, op. cit., p. 116.
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J. Braun, Die Liturgische Gewandung, Freiburg, 1907 p. 649, and probably after him. S. Scaglia, Les Catacombes de S. Calliste, Rome, 1909. p. 131, believe this figure to be of the l0th or 11th century, because in the 9th the cross of the pallium is not worn on the shoulder as is here the case.
T. B. De Rossi, Le catacombe di Albano, Bull. di Archeol. Crist., 1869, p 65. O. Marucchi, Le catacombe di A., Nuov. Bull. di Archeol. Crist., 1902 p. 89. Reprod. in Cabrol’s Dictionnaire d’Archéol. Chrétienne et de Liturgie, I Paris, 1907 fig. 264.
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E. Bertaux, L’art dans l’Italie méridionale, Paris, 1904 p. 89. also Mgr. Piscicelli-Taeggi, Pitture cristiane del nono secolo, Montecassino, 1885 and 1896. E. Bertaux, Gli affreschi di San Vincenzo al Volturno, Rassegna Abruzzese di Storia ed Arte, 1900. VI p.105. P. Toesca, Reliquie d’arte della badia di S.Vincenzo al Volturno, Boll. dell. Instit. Stor. Ital., 1904 No. 28.
E. Berfaux, op. cit., p. 67. The Sagre, Rome, II, Paris, 1905 p. 58.
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van Marle, R. (1923). Traces of Lombard and Carolingian Influences and the Decadence of the Antique Tradition during the IX and X Centuries. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-0933-6_3
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