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EACULTY of Y/YY'uate Otvdies 9L I THE EARLY MEDIEVAL CHAPEL: DECORATION, FORM AND FUNCTION. p. , , f-. A STUDY OF CHAPELS IN ITALY AND ISTRIA IN THE PERIOD ^ BETWEEN 313 AND 741 AD EACULTY Of y/YY'UATE oTVDIES Gillian Vallance Mackie 9l I M.A. Oxford University, 1958 D»’ rr______—— f— — ------ ---- B.A. University of Victoria, 1981 M.A. University of Victoria, 1984 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of History in Art We accept this thesis as conforming to the required standard Dr.J.L.Osborne, Supervisor (Department of History in Art) Dr.S.A.Weî'e%^ (Department of History in Art) _______________________ Dr.Louisa Matthew, (Department of History in Art) ________________________________ Dr.(/., (Department of Classics) ___________________________________ Dr.G.A.Poulton, Outside Member (Department of Chemistry) ■ ________ Dr.M.Thurlby, External Examinjer, York University GILLIAN VALLANCE MACKIE, 1991 University of Victoria All rights reserved. Thesis may not be reproduced in whole or in part, by mimeograph or other means, without the permission of the author. il ABSTRACT The relationship between decoration, architectural form, and function is investigated in depth in those early chapels of Italy and Istria which retain significant amounts of their decorative programmes. These include the Archbishops' chapel and the Mausoleum of Galla Placidia in Ravenna, S.Vittore in Ciel d'Oro, Milan, the St.Matrona chapel at S.Frisco near S.Maria di Capua Vetere, Campania, and the chapels at the Lateran Baptistery, Rome. In addition, the chapels are set into a broader context through a survey of the many chapels which survive in less good condition, or are known only from archaeological and literary sources. The decorative programme of each chapel is analysed for iconographie content. Themes reflect not only the basic vocabulary of the earliest Christian art, but more precisely, the hopes and aspirations of the chapel's builder. The vast majority of the surviving chapels were built as memorial or funerary chapels in connection with the cult of the dead, and expressed the soul's need for assistance in the attainment of heaven. The funerary cult was intimately connected with that of the martyrs, whose bodies and relics also rested in the chapels, and whose power in favour of those who were interred beside them was invoked in art in the chapels' decorative programmes. Literary evidence confirmed that chapels had also existed in the dwellings of the lay aristocracy, though none had survived. On the other hand, clergy-house oratories were represented not only by the chapel of the Archbishops of Ravenna, but by the shrines of the two saints John at the Lateran Baptistery, Rome, which were identified as papal oratories adjacent to the home of the early popes at the Lateran Palace. The total loss of the domestic chapels of the laiety slanted the conclusions of the study not only towards clergy house oratories, but towards funerary and memorial structures, of which a greater number survived. It was found that the latter illustrate the chronological sequence: martyr's memorla, funerary chapel, martyrium. Some examples served more than one of these functions in turn, and possibly the full sequence. Analysis of the iconographie programmes showed that themes and functions were closely interrelated. Even so, there were more similarities than differences in the iconographie programmes of chapels which clearly served different functions. Most importantly, three- dimensional decorative schemes were common to all types of chapel. In these compositions, the chapel's interior space represented a microcosm of the universe. These schemes were judged to be ancestral to the decorative schemes typical of centrally-planned churches in the Middle Byzantine period. Annexed chapels formed the main subject of the study, and all those mentioned so far are of this type. However, the origin of chapels within the perimeters of church buildings, which occurred late in the period of study, is briefly discussed in the final chapter, where oratories, sacristies, and chapels inside auxiliary buildings are distiguished from one another, and from the annexed chapels which had previously been standard. Examiners : Dr.J^.Osborne, Sup^visor {Department of History in Art) -------------------------- Dr. S. A.Wel(dli,X{Department of ^History in Art) _ __ Dr.Louisa Matthew, {Department of History in Art) -------------------------------- Dr.j\P.01espn.^^62partment of classics) ________ Dr.G.A.Poulton, Outside Member {Department cf Chemistry) ______________________ Dr. M.Thurlby, External Examiner, ifork University IV TABLE OF CONTENTS Page ABSTRACT ii TABLE OF CONTENTS iv LIST OF WAPS and PLANS V LIST OF ILLUSTRATIONS vi LIST OF ABBREVIATIONS ix ACKNOWLEDGEMENTS xi INTRODUCTION The Chapel in the Early Middle Ages 1 The D omest ic Or atoryCHAPTER 1 The Domestic OratoryCHAPTER 9 CHAPTER 2 Clergy House Oratories; The Archbishops' Chapel in Ravenna 23 CHAPTER 3 Martyr Shrine to Funerary Chapel 40 CHAPTER 4 Chapels in the Provinces: The North-East 81 CHAPTER 5 San Vittore in Ciel d'Oro, Milan 106 CHAPTER 6 The St.Matrona Chapel at San Prisco, Santa Maria di Capua Vetere 126 CHAPTER 7 The Mausoleum of Galla Placidia at Ravenna 151 CHAPTER 8 The Lateran Baptistery Cluster, I: The Fifth Century Chapels 185 CHAPTER 9 The Lateran Baptistery Cluster, II; The San Venanzio Chapel 209 CHAPTER 10 Chapels within the confines of Churches 233 CONCLUSION 265 ILLUSTRATIONS 278 BIBLIOGRAPHY 316 LIST OF MAPS AND PLANS Figure: i Map of Italy, showing sites ii Plan of Rome, ca. 400 AD (after Krautheimer) ill Plan of the Via Latina Catacomb, Rome (after Tronzo and Ferrua) iv Plan of Milan, ca. 400 AD (after Krautheimer) V Plan of Ravenna, ca. 500 AD (after Test! Rasponi) Vi LIST OF ILLUSTRATIONS Figure: 1 Ravenna, Archbishops' Chapel, vault facing north. 2 Ravenna, Archbishops' Chapel, mosaics, altar end. 3 Ravenna, Archbishops' Chapel, narthex, lunette. 4 Ravenna, Archbishops’ Chapel, plan (after G.Gerola}. 5 Vicenza, S.Maria Mater Domini, mosaic, Lion of St.Mark. 6 Vicenza, S.Maria Mater Domini, mosaic, medallion saint. 7 Verona, SS.Tosca e Teuteria, exterior. 8 Verona, SS.Tosca e Teuteria, interior, altar. 9 Vicenza, S.Maria Mater Domini, exterior. 10 Vicenza, S.Maria Mater Domini, interior, vault. 11 Padua, S .Prosdocimo, interior, altar. 12 Padua, S.Prosdocimo, tympanum slab. 13 Padua, S.Prosdocimo, St.Prosdocimus. 14 Pula, S.Maria Formosa, chapel, exterior. 15 Milan, S.Vittore in Ciel d'Oro, vault, interior. 16 Naples, Catacomb of S.Gennaro, arcosolium tomb of bishop Quotvultdeus. 17 Milan, S.Vittore in Ciel d'Oro, annular frieze, section, (after Wilpert). 18 Milan, S.Vittore in Ciel d'Oro, dome, Victor medallion. 19 S.Maria di Capua Vetere, S.Matrons chapel at San Prisco, W.Lunette, Christ, (after Wilpert). 20 S.Maria di Capua Vetere, S.Matrons chapel at San Prisco, N.Lunette, throne, (after Wilpert). 21 s.Maria di Capua Vetere, S.Matrona chapel at San Prisco, S.Lunette, St.Matthew symbol. 22 S.Maria di Capua Vetere, S.Matrona chapel at San Prisco, E.Lunette, M.Monachus engraving, (photo, Biblioteca Apostolica Vaticana). 23 S.Maria di Capua Vetere, S.Matrona chapel at San Prisco, vault mosaic. 24 Ravenna, Mausoleum of Galla Placidia, exterior. 25 Ravenna, Mausoleum of Galla Placidia, interior, facing east. 26 Ravenna, Mausoleum of Galla Placidia, vault. 27 Ravenna, Mausoleum of Galla Placidia, side lunette, deer. 28 Ravenna, Mausoleum of Galla Placidia,entry lunette: Good Shepherd. 29 Rome, Lateran Baptistery, plan of site, with chapels, ca. 16th century, (photo: Pontificia Commissione di Archeologia Sacra, Rome.) 30 Rome, Lateran Baptistery, S.Croce, drawings and plan, Perruzzi, (photo: Pontificia Commissione di Archeologia Sacra, Rome.) 31 Rome, Lateran Baptistery, S.Croce, drawings and plan. Anonymous, (photo: Pontificia Commissione di Archeologia Sacra, Rome.) 32 Rome, Lateran Baptistery, S.Croce, interior, facing entry (after G.da Sangallo). 33 Rome, Lateran Baptistery,- S.Croce, interior, Lafrèri engraving, (photo: Pontificia Commissione di Archeologia Sacra, Rome.) 34 Rome, Lateran Baptistery, S.Giovanni Evangelista, vault mosaic. 35 Rome, Lateran Baptistery, S.Giovanni Evangelista, vault: central detail, Lamb, (after Wilpert) 36 Rome, Lateran Baptistery, S.Giovanni Battista, vault mosaic (after Ciampini). 37 Tarquinia, Tomba del Cacciatore, interior (after Steingraber). 38 Rome, Lateran Baptistery, SS.Ruffina e Secunda, mosaics (after Wilpert). 39 Rome, Lateran Baptistery, S.Venanzio chapel, apse end, mosaics, (photo, Huseo Vaticano, Archivio Fotografico) 40 Rome, Lateran Baptistery, S.Venanzio Chapel, apse end, mosaics, detail: Christ between angels. 41 Rome, S.Stefano Rotondo, Rome, apse mosaic. 42 Nola-Cimitile, Paulinas' churches: plan of excavations (after Chierici)• Photos by author unless otherwise attributed. LIST OF COMMONLY USED ABBREVIATIONS OF JOURNALS AJA American Journal of Archaeology. ActaSS. Acta Sanctorum. Acta R.Norv. Acta ad Archaeolooiam et Artium Historian Pertinentia. Arts Art Bulletin. Atti della pont.acc.rom.di arch. Atti della pontificia Accademia di archeologia. Atti del R.Istituto Veneto di S.L.A. Atti del Reale Istituto Veneto di scienze. lettere ed arti. BAG Bulletin d'archéologie chrétienne = Bullettino di archeologia cristiana. BAR British Archaeological Studies. BZ Bvzantinische Zeitschrift, CahArch. Cahiers archéologiques. CBCR Corpus Basilicarum Christianarum Romae Cod.Top. Codice topografico della citrà
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