The article investigates crowns, garments and other symbols of sovereignty characterising the Kings and men-at-arms painted on the central nave and counterfacade walls of the ex-abbey church of San Tommaso at Acquanegra sul Chiese. Even though the cycle (executed in the time of the abbot Pietro, documented from 1101 to 1130) originally included a greater number of similar figures, just eleven characters with clearly observable crowns and other four in military attires survive. Regarding the sovereigns, we can recognise four Kings of the Old Testament on the southern and northern walls of the nave (Hezekiah, Esther, Josiah, David) and seven “anonymous” monarchs among the Blessed and the Damned of the Last Judgement. Besides lavish garments, all these figures, except for David, show the same headgear, a crown formed by a horizontal band with triangular-shaped decorations on the top. On the other hand, David shows a single-body crown, a thin edge developing in a sequence of tall and bowed “petals”. We can follow, over the centuries, the evolution of both types and propose, in relation to Acquanegra examples, comparisons with other executions tied to different cultural and productive settings. Crowns with triangular-shaped top turn out to be well-known solutions in Western art, revealing an ancient origin too. The other type, apparently uncommon in wall painting, finds partial analogies with actual medieval crowns which offer an idea of the original sumptuosity of the painted insignia. Similar peculiarities are also traceable in military symbols shown by four figures (Joshua, Samson, Daniel, Judah Maccabee) on the south wall of the nave: their magnificence, passing over the immediate military meaning of the attributes, reveals affinity with widespread representations of warrior saints and rarer images illustrating sovereigns in ceremonial military attires. A wide-ranging investigation makes possible to enlighten multiple influences. Firstly, the figures monumentality, together with their grave balance, discloses the survival of antique formal structures. Secondly, the two types of crowns testify the use of same models spread in the most important Western settings during the 12th century, especially in German areas. Finally, the search for lavishness in the choice of political and military insignia and garments recalls a trend not exempt – with the proper divergences – from Byzantine suggestions emerging clearly in many details. The lack of documented evidence between the images and the patronage’s ideological intensions doesn’t prevent to understand an ambitious cycle addressed to celebrate the concept of kingship, even though by the mediation of Old Testament figures. Acquanegra’s artists show to be part of an international cultural context updated to the latest innovations, although coherent with their own tradition.

Un ciclo di Re, corone e uomini in arme: sopravvivenze antiche, tradizioni occidentali e suggestioni bizantine / A. Torno Ginnasi (RICERCHE DI ARCHITETTURA STORICA). - In: San Tommaso ad Acquanegra sul Chiese : storia, architettura e contesto figurativo di una chiesa abbaziale romanica / [a cura di] F. Scirea. - Mantova : SAP Società Archeologica, 2015. - ISBN 9788899547004. - pp. 171-181

Un ciclo di Re, corone e uomini in arme: sopravvivenze antiche, tradizioni occidentali e suggestioni bizantine

A. Torno Ginnasi
2015

Abstract

The article investigates crowns, garments and other symbols of sovereignty characterising the Kings and men-at-arms painted on the central nave and counterfacade walls of the ex-abbey church of San Tommaso at Acquanegra sul Chiese. Even though the cycle (executed in the time of the abbot Pietro, documented from 1101 to 1130) originally included a greater number of similar figures, just eleven characters with clearly observable crowns and other four in military attires survive. Regarding the sovereigns, we can recognise four Kings of the Old Testament on the southern and northern walls of the nave (Hezekiah, Esther, Josiah, David) and seven “anonymous” monarchs among the Blessed and the Damned of the Last Judgement. Besides lavish garments, all these figures, except for David, show the same headgear, a crown formed by a horizontal band with triangular-shaped decorations on the top. On the other hand, David shows a single-body crown, a thin edge developing in a sequence of tall and bowed “petals”. We can follow, over the centuries, the evolution of both types and propose, in relation to Acquanegra examples, comparisons with other executions tied to different cultural and productive settings. Crowns with triangular-shaped top turn out to be well-known solutions in Western art, revealing an ancient origin too. The other type, apparently uncommon in wall painting, finds partial analogies with actual medieval crowns which offer an idea of the original sumptuosity of the painted insignia. Similar peculiarities are also traceable in military symbols shown by four figures (Joshua, Samson, Daniel, Judah Maccabee) on the south wall of the nave: their magnificence, passing over the immediate military meaning of the attributes, reveals affinity with widespread representations of warrior saints and rarer images illustrating sovereigns in ceremonial military attires. A wide-ranging investigation makes possible to enlighten multiple influences. Firstly, the figures monumentality, together with their grave balance, discloses the survival of antique formal structures. Secondly, the two types of crowns testify the use of same models spread in the most important Western settings during the 12th century, especially in German areas. Finally, the search for lavishness in the choice of political and military insignia and garments recalls a trend not exempt – with the proper divergences – from Byzantine suggestions emerging clearly in many details. The lack of documented evidence between the images and the patronage’s ideological intensions doesn’t prevent to understand an ambitious cycle addressed to celebrate the concept of kingship, even though by the mediation of Old Testament figures. Acquanegra’s artists show to be part of an international cultural context updated to the latest innovations, although coherent with their own tradition.
arte medievale; pittura medievale; pittura romanica; insegne del potere; corone; influssi bizantini
Settore L-ART/01 - Storia dell'Arte Medievale
2015
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/2434/402024
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