Santa Maria Antiqua (English: Ancient Church of Saint Mary) is a Catholic Marian church in Rome, Italy, built in the 5th century in the Forum Romanum, and for a long time the monumental access to the Palatine imperial palaces.
Located at the foot of the Palatine Hill, Santa Maria Antiqua is the oldest Christian monument in the Roman Forum. The church contains the earliest Roman depiction of Santa Maria Regina, the Virgin Mary as a Queen, from the 6th century.
History
Built in the middle of the 6th century on the north-western slope of the Palatine Hill, Santa Maria Antiqua is the earliest and most significant Christian monument within the Roman Forum. The church contains a unique collection of wall paintings from the 6th to late 8th century. The discovery of these paintings have given many theories on the development of early medieval art and given distinctive beliefs in archaeology. The church was abandoned in the 9th century after an earthquake buried the buildings; it remained sealed for over 1000 years until its rediscovery in the early 20th century. Therefore, Santa Maria Antiqua represents a key element for the understanding of the cultural and urban development of the Roman Forum from Antiquity into the first centuries of the Christian period. From 1980 to 2012 the monument was closed to the general public and limited to scholars who applied for a special visit. Following a conservation program carried out by the Soprintendenza per il Patrimonio Storico in partnership with World Monuments Fund, the church is now open for tours.
Santa Maria Antiqua is a ruined church in the Roman Forum, and is part of the Foro Romano e Palatino archaeological site which requires a ticket purchase in order to get access inside. The church itself is not always open to the public, owing to ongoing excavations which began 2004 under the aegis of the World Monuments Fund. Thanks to centuries of sealing off, its walls showcase a cycle of beautiful colourful frescoes depicting the Virgin Mary and Infant Jesus, popes, saints, and martyrs, thus forming one of the largest and most important collections of pre-iconoclastic Roman and Byzantine art in the world. These frescoes date to a period of iconoclasm when in the East, figures in churches were destroyed.
Pope John VII used this church in the early 8th century as the seat of the bishop of Rome.
The church was partially destroyed in 847, when an earthquake caused parts of the imperial palaces to collapse and cover the church. For this reason, a new church called Santa Maria Nova (New St Mary, now Santa Francesca Romana) was erected nearby by Pope Leo IV, on a portion of the ruined temple of Temple of Venus and Roma, where once stood a chapel commemorating the fall of Simon Magus. Santa Maria Antiqua suffered further damages during the Norman Sack of Rome (1084).
Prior to the present structures, the church of San Salvatore in Lacu, occupied by Benedictines, was located at this site, named because of its proximity to a site called the Lago di Gioturna. The church was assigned in 1550 by Pope Julius III to the Oblates of St Frances of Rome from the nearby Monastery of Tor de' Specchi. The church of Santa Maria Liberatrice (Sancta Maria libera nos a poenis inferni) was built in 1617 on its ruins of Santa Maria Antiqua. This refurbishment was patronized by Cardinal Marcello Lante della Rovere and utilized the architect Onorio Longhi. The church was decorated by the painters Stefano Parrocel, Gramiccia (Lorenzo?), Francesco Ferrari, and Sebastiano Ceccarini. The church of Maria Liberatrice, however, was demolished in 1900 to bring the remains of the old church to light.
Santa Maria Antiqua was closed for restoration from 1980 to 2016.
Byzantine frescoes
The heavily layered walls of Santa Maria Antiqua feature numerous frescoes of varied artistic styles, dating from its time of intense decoration from the sixth to the ninth centuries. Each alcove, wall and altar can be attributed to different times and trends of style representative of its artists and patrons, including the Popes Martin I (649-653), John VII (705-707), Zachary (741-752) and Paul I (757-767). The amount of erosion and destruction makes obtaining an accurate record of the styles difficult. Using the fragments of the frescoes, archaeologists and historians have assembled a rough chronology of the decorations. Historians who study Santa Maria Antiqua often rely on contemporary churches to help create a chronology of styles and influences: in the case of Santa Maria Antiqua, this is less successful due to the fact that no other church from Late Antiquity has quite the same collection and evolution of styles through this time. The change of style at Santa Maria Antiqua is recognized through its layering of trends and styles.
Rome changed hands multiple times during Santa Maria Antiqua's use. The defeat of the Western Roman Empire by the Goths in the fifth century gave way to Byzantine and Lombard influence in the late fifth to mid eighth centuries. Artists from the Greek community surrounding the church had local influence, but there was also a Byzantine administration operating atop the Palatine Hill, at the base of which is Santa Maria Antiqua. This continual change in influences is thought to be a determining factor in the different styles in this church. Influences can also be traced through remaining inscriptions: Greek in Pope Martin I's (649-653) decorations, Greek and Latin in Pope John VII's (705-707) and completely Latin in Pope Paul I's.
The Palimpsest Wall, located in the sanctuary (number two on map) has at least six layers of decoration, representing different styles, dates and influences. The first two layers from the fourth to sixth century are of Ancient Roman Pagan mosaics, which quickly were replaced by the earliest frescoes of Santa Maria Antiqua. About two percent of these mosaics survive because they were overpainted with fresco. The third layer, c. 500-550, contains remnants of Queen of Heaven, the earliest association of this title with the Virgin Mary and the Pompeian Angel. It is on this layer that archaeologists note the turn toward Hellenistic or Byzantine styles and away from a traditional linear Roman style. Layers four and five, c. 570-655 see the complete take over of Hellenistic style from earlier Roman styles, asserting Byzantine influence in Rome. Layer six belongs to Pope John VII (705-707) who is responsible for the extensive repairs and decorations that currently survive.
Hellenistic style is notable for white highlighting and shadowing of hair and robes along with placing figures is stances of motion. Although many of the surviving frescoes at Santa Maria Antiqua are Hellenistic, they lack classical Hellenistic backgrounds of villas and columns. Instead, the backgrounds are more detached and neutral looking. Early examples often have the blackened pupils staring straight ahead with contour details on the face. The first stage of each frescoes involved penciling in outlines, then the darker colours
would be added as clothing while the finer details were finished last. Hellenism began to manifest itself during the time the Pompeian Angel was painted and eclipsed the more Pagan styles by AD 650.
The eras of Popes Martin I (649-653), John VII (705-707) and Paul I (757-767) provide clear examples of the stylistic trends through their surviving decorations. The surviving frescoes exemplify the ability of the artists to incorporate different techniques and styles; consequently, these styles soon became unique as generations of artists formed specific skill sets for Santa Maria Antiqua to continue or discontinue trends seemingly at random.
The Martin I (649-653) frescoes are few but reasonably preserved. These in Hellenistic style as it had fully eclipsed the traditional Roman style by the time he entered office, which was after the Byzantines had taken over. Roman style was much less detailed: no contour lines or shading and very subdued backgrounds. The earliest Martin I decorations are the Church Fathers AD 649 who are expressing movement by having a leg lifted in the walking motion while their robes are draped and highlighted to exaggerate this effect. The Church Fathers are exemplifying more fluidity with their tunics swirling than compared to later frescoes but their faces are much stiffer, also compared to later frescoes. The precise date is referenced by a Greek inscription below as pertaining to the Lateran Council of 649 that condemned Monothelitism. Martin I was ultimately exiled for his condemnation of Monothelitism but John VII commissioned his image to be painted in the Presbytery (see map) with other images of popes in Santa Maria Antiqua. Martin I is depicted in Hellenistic fashion by white brush strokes shading his brown facial hair that is painted on a heavily contoured, emaciated jaw and he carries a jewelled book. He wears an ecclesiastical hairstyle that is balding, short and has a central lock of hair around the forehead. Martin I's eyes are not staring straight ahead with jet-black pupils as was typical of contemporaries, instead they are gazing downward and individualized. Most notably is that Martin I and John VII's images are clothed in the same colour paenula of light yellow with green underlay showing through, suggesting a sort of solidarity among the popes against the Byzantines, using art to convey political messages that the Byzantine decision to exile Martin I was wrong.
The period of Pope John VII (705-707) has the most surviving decorations. These provide examples of techniques used during Santa Maria Antiqua's extensive repairs and redecorations of the Presbytery, Chapel of Physicians (or Chapel of Medical Saints) and the Oratory of Forty Martyrs. John VII's ambitious projects can be partially blamed for the removal and destruction of existing frescoes as his artists often re-plastered the areas approximately 4.5 meters and up. Holes drilled into the walls at even intervals and levels remain to provide details of how this was accomplished in such small, cramped spaces. The artists would drill holes into the walls 9.3 meters above the floor to hold their scaffolding then spread intonaco (plaster) to reinforce and secure layers below the current working surface. Painting took place
immediately after the intonaco was spread in order to allow the paint to seep into the plaster for a deeper effect. The same holes would then be drilled lower, 7.98 meters above the floor and the process repeated. Thus the majority of surviving frescoes in Santa Maria Antiqua were painted top-to-bottom instead of side-to-side or at once. Complex, detailed frescoes were needed where intonaco was spread because it would overlap with existing frescoes causing lines, easily shown in the details of Hellenistic styled frescoes. The new complex designs would help hide the lines and cracks that was caused by the intonaco.
The John VII decorations feature Hellenistic styles fused with earlier Roman linear styles. Although John VII's frescoes are adorned with breezy tunics, toned contours of flesh and animated expressions that individualized the saints, they are considered by archaeologists and historians to be strained in their movement. The artists posed them in conversation with quick hands and turned heads but their backs are "flat" against the background instead of turning inwards toward the conversation. An example of this detail comes in the form of Saint Hermolaus of Macedon in the Chapel of Physicians who is pictured with high, strongly contoured cheekbones, asymmetrical eyes, arching eyebrows with highlighted long, dark hair and a flowing beard. There are no known contemporary parallels to Santa Maria Antiqua's use of white highlighting that is common here. John VII's artists were very influenced by the Byzantines as they combine the transparency of Hellenism with denser, layered colours.