Art and Reform in Tenth-Century Rome - The Paintings of S. by Maria Laura Marchiori

By Maria Laura Marchiori

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201-229; C. 122-139. 36 Francis Clark, The ‘Gregorian’ Dialogues and the origins of Benedictine Monasticism (Leiden, 2003). 37 Henri Focillon, L’ an mil (Paris, 1952), chapter 1. 38 Carmela Vircillo Franklin, The Latin Dossier of Anastasius the Persian (Toronto, 2004); eadem, “Roman hagiography and Roman legendaries,” Roma nell’alto medioevo, Settimane di 11 of new liturgical sources for the S. Maria in Pallara paintings, there had been no understanding of the liturgical identity of Saint Zoticus, and thus little significance accorded to the lost narrative cycle of the saint’s martyrdom recorded in seventeenth-century drawings.

Maria in Pallara’s apse conch is somewhere in between. The blue bands and clouds are similar to those found in the ninth-century chapel known as the Crypt of Epyphanius at S. 27 A similar metallic-looking crown is found in the sixth- or seventh-century apse of S. 238-239, 282-283, 322-323. John Mitchell, “The Crypt reappraised,” San Vincenzo al Volturno 1: the 1980-86 excavations, part I, ed. 75-114, esp. 2. 27 The crowning hand of God is seen in the 6th-century apse at SS. Cosma e Damiano and in the th 9 century apse of S.

Marco created for Pope Gregory IV (827-844), but such a practice was not common until the twelfth century, as seen in the apses or apse arches in S. Clemente, S. Maria Nuova and S. Maria in Trastevere. In contrast, identifying inscriptions in wall paintings were common throughout the early medieval period and filled space by whatever means possible. For example, the inscription identifying the portrait of Pope Leo IV (847-855) in the Ascension panel in the lower church of S. 73 The eleventh-century paintings in the lower church of S.

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