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church in Assisi, Italy
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The Basilica of Saint Francis of Assisi (Italian: Basilica di San Francesco d'Assisi; Latin: Basilica Sancti Francisci Assisiensis) is the mother church of the Roman Catholic Order of Friars Minor Conventual in Assisi, a town in the Umbria region in central Italy, where Saint Francis was born and died. It is a papal minor basilica and one of the most important places of Christian pilgrimage in Italy. With its accompanying friary, Sacro Convento, the basilica is a distinctive landmark to those approaching Assisi. It has been a UNESCO World Heritage Site since 2000.
The basilica, which was begun in 1228, is built into the side of a hill and comprises two churches (known as the Upper Church and the Lower Church) and a crypt, where the remains of the saint are interred. The interior of the Upper Church is an important early example of the Gothic style in Italy. The Upper and Lower Churches are decorated with frescoes by numerous late medieval painters from the Roman and Tuscan schools, and include works by Cimabue, Giotto, Simone Martini, Pietro Lorenzetti, and possibly Pietro Cavallini. The range and quality of the works give the basilica a unique importance in demonstrating the outstanding development of Italian art of this period, especially if compared with the rest of Christian Europe.
The Franciscan friary (Sacro Convento) and the Lower and Upper Basilicas (Italian: Basilica inferiore e superiore) of Francis of Assisi were begun in honor of this local saint, immediately after his canonization in 1228. Simone di Pucciarello donated the land for the church, a hill at the west side of Assisi, known as "Hill of Hell" (Italian: Colle d'Inferno) where previously criminals were put to death. Today, this hill is called "Hill of Paradise".
On 16 July 1228, Francis was canonized by Pope Gregory IX in Assisi, and the Pope laid the foundation stone of the new church the following day, although construction may already have been begun. The construction having been begun at his order, the Pope declared the church to be the property of the papacy. The church was designed by Maestro Jacopo Tedesco, who was in those days the most famous architect. The construction was supervised by Brother Elias of Cortona, one of the first followers of Saint Francis and the former Vicar General of the Order under Saint Francis. The Lower Basilica was finished in 1230. On Pentecost 25 May 1230, the remains of Saint Francis were brought in a solemn procession to the Lower Basilica from its temporary burial place in the church of San Giorgio (St. George), now the Basilica of Saint Clare of Assisi. The burial place was concealed for fear that St Francis' remains might be stolen and dispersed. The construction of the Upper Basilica was begun after 1239 and was completed in 1253. Both churches were consecrated by Pope Innocent IV in 1253.
Pope Nicholas IV, a former Minister-General of the Order of Franciscans, raised the church to the status of Papal Church in 1288. The Piazza del Loge, the square leading to the church, is surrounded by colonnades constructed in 1474. They housed the numerous pilgrims flocking to this church. In 1818, the remains of Saint Francis were rediscovered beneath the floor of the Lower Basilica. In the reign of Pope Pius VII the crypt was built so that the faithful might visit the burial place of the saint.
On 27 October 1986 and January 2002, Pope John Paul II gathered in Assisi with more than 120 representatives of different religions and Christian denominations for a World Day of Prayer for Peace.
On the morning of September 26, 1997, two earthquakes hit the region around Assisi in rapid succession, registering 5.7 and 6.0 magnitude respectively. There was widespread devastation and many ancient buildings were destroyed or damaged. While a group of specialists and friars were inspecting the damage to the Basilica of Saint Francis, an aftershock shook the building, causing the collapse of the vault. Two Franciscan friars who were among the group and two of the specialists were killed. Much of the cycle of frescoes of the life of Saint Francis by Giotto in the Upper Church of the Basilica were slightly damaged whereas those of the sections of the vault which collapsed were almost entirely destroyed. The church was closed for two years for restoration. The collapse was captured on tape.
The church was designed by Maestro Jacopo Tedesco on two levels, each of which is consecrated as a church. They are known as the "Basilica superiore" (The Upper Basilica), generally called "The Upper Church" and the "Basilica inferiore" (The Lower Basilica), generally called "The Lower Church". The Lower Church was structurally a large crypt supporting the upper one. In the 19th century a lower crypt was constructed beneath the basilica. Architecturally, the exterior of the basilica appears united with the Friary of St. Francis, since the lofty arcades of the latter support and buttress the church in its apparently precarious position on the hillside.
The architecture is a synthesis of the Romanesque and Gothic styles, and established many of the typical characteristics of Italian Gothic architecture. As originally built, both upper and lower churches had a simple cruciform plan with an aisle-less nave of four square bays, a square crossing, a transept that projected by half a bay on each side, and an apse, the lower being semicircular and the upper polygonal. To the left of the church stands a free-standing bell tower of Romanesque design.
The Lower Church was built entirely in the Romanesque style, having low semi-circular ribbed cross-vaults over the nave and barrel vaults over the transept arms. However, the space has been greatly extended with a number of lateral and transept chapels added between 1350 and 1400. The main entrance to the nave is through an ornate Gothic doorway built between 1280 and 1300, and later enclosed with a simple Renaissance style porch of 1487 by Francesco di Bartolomeo da Pietrasanta (d. 1494). Set in the tympanum of the Gothic doorway is an ornate rose window which has been called "the eye of the most beautiful church in the world"
The Upper Church has a façade of white-washed brick divided into two horizontal zones of about equal height, and with a simple gable of height equal to the lower zones. There is a single large doorway in the Gothic style, divided by a column and with a rose window set in the tympanum above the two cusped arches. Above the door, in the second zone is a large and ornate rose window in which most of the decorative details are Romanesque in style. Surrounding it are carved the symbols of the Four Evangelists, combining with the window to create a square composition. Above it in the gable is an ocular window. To the left of the façade and visible from both the forecourts of the Upper Church and the Lower Church is the Benediction Loggia in the Baroque style which was built in 1754, when the church was raised to the status of basilica.
Internally, the Upper Church maintains Brother Elias' original simple aisleless cruciform plan. Like the Lower Church, there is a nave of four bays with ribbed cross-vaulting. Unlike that of the Lower Church, it is only the diagonal ribs which are of semi-circular form. The transverse ribs are pointed in the Gothic manner, and thus rise to the full height of the wider diagonal ribs. Each group of ribs springs from a group of clustered columns. Externally the columns and vault are supported by stout buttresses of semi-circular plan. Unlike the Lower Church, the transepts also have ribbed vaulting.
There are tall Gothic windows with Geometric tracery in each bay of the nave and in the polygonal apse of the chancel. The windows of the apse are believed to have been created by German craftsmen active around Assisi at the end of the 13th century. The windows on the left hand side of the nave were made by a French workshop (1270), while those on the right hand side are attributed to the workshop of Maestro di San Francesco. These stained glass windows are among the best examples of 13th-century Italian glasswork.
As is characteristic of Italian church architecture, the main decorative feature, and the main medium used for conveying the Church's message is fresco, rather than stained glass. The earliest frescoes are some of those in the Lower Church. The work proceeded with a number of different projects and appears to have involved numerous artists, some of whom are as renowned as Cimabue and Giotto, but many of whom are no longer known by name.
The basilica consists of a single four-bay nave with cross-vaulted ceiling, a transept and a polygonal apse. The four ribbed vaults are decorated alternately with golden stars on a blue background and figurative paintings. The second vault features roundels with busts of Christ facing Saint Francis and the Virgin facing Saint John the Baptist. The vault above the entrance gives us the Four Latin Doctors of the Church: St Gregory facing St. Jerome and Saint Ambrose facing St. Augustine. These are ascribed to the Isaac Master.
The choir has 102 wooden stalls with carvings and marquetry by Domenico Indovini (1501). In their centre, on a raised platform, stands the papal cathedra.
The west end of the transept and the apse have been decorated with many frescoes by Cimabue and his workshop (starting in c. 1280). The magnificent Crucifixion, with Saint Francis on his knees at the foot of the Cross, stresses again the veneration of the Passion of Christ by Saint Francis. The frescoes of Cimabue soon suffered from damp and decay. Due to the use of lead oxide in his colours and to the fact that the colours were applied when the plaster was no longer fresh, they have deteriorated and have been reduced to photographic negatives.
Prior to him there had been some decorations in the upper right hand section of the transept by an (anonymous) Northern Master, probably an English artist (1267–1270). He realized the two lunettes and the roundels on the west wall with paintings of the Angel and the Apostles. Another (anonymous) master, the Roman Master, painted the Isaiah and the David and the remainder of the wall under the eastern lunette.
The upper part on both sides of the nave, badly damaged by the earthquake of 1997, was decorated in two rows with in total 32 scenes from the Old Testament (starting with Creation of the World and ending with Joseph forgives his brothers) and the New Testament (from the Annunciation to The Women at the Tomb), while the upper register of the entrance wall is covered with two frescoes Pentecost and Ascension of Jesus. Since it took about six months to paint one bay of the nave, different Roman and Tuscan masters, followers of Cimabue, have performed this series of scenes such as Giacomo, Jacopo Torriti and Pietro Cavallini.
The two frescoes of the life of Isaac (Isaac blesses Jacob and Esau in front of Isaac) in the middle register of the third bay, are traditionally ascribed to the young Giotto (1290–1295) (previously wrongly ascribed to Cimabue by Vasari). But even this has been controversial. Many critics esteem these the work of the anonymous Isaac Master and his workshop. Deducing from stylistic details, attesting to his Roman background, some think that the Isaac Master may have been Pietro Cavallini or a follower. Pietro Cavallini had painted around 1290 a similar fresco Isaac blessing Jacob in the convent of the church Santa Cecilia in Trastevere in Rome. The position of the resting Isaac looks like the same position of the Virgin in Cavallini's mosaic Birth of the Virgin in the apse of the church Santa Maria in Trastevere in Rome. The Isaac Master is considered one of the first practitioners of the true fresco (buon fresco) technique, which revolutionized mural painting for the subsequent centuries.
But the most important decorations are the series of 28 frescoes ascribed to the young Giotto along the lower part of the nave. Each bay contains three frescoes above the dado on each side of the nave, two frescoes in the east galleries beside the entrance, and two more on the entrance wall. Giotto used the Legenda Maior, the biography of Saint Francis by Saint Bonaventure (1266) to reconstruct the major events in the life of Saint Francis. The prototype for this cycle may have been the (now lost) Saint Francis cycle by Pietro Cavallini in the church San Francesco a Ripa in Rome. The paintings are as vivid as if Giotto had been a witness to these events. According to Vasari, they were executed in the period between 1296 and 1304.
However the authorship of Giotto is disputed, due to the ambiguous attributions given in early descriptions of this work. Many Italian critics continue to support the authorship of Giotto and his workshop. But because of small differences in style with the frescoes of Isaac, it is thought that several or even all of these frescoes were painted by at least three separate painters, using the original concept of Giotto : the Master of Legend of Saint Francis (the principal painter and probable supervisor of the cycle), the Master of the Obsequies of Saint Francis and the Cecilia Master.
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