ASSISI
umbria
Sites: The Basilica of St. Francis and the Sacro Convento, The Basilica of Santa Maria degli Angeli, Church of Santa Maria Maggiore, The Basilica of St. Claire, Eremo delle Carceri, The Rocca Maggiore, Temple of Minerva
The origin of Assisi, as for many other cities in Umbria is uncertain. It was a inhabited by the Umbri, a local population settled in middle Italy. Succesively it was under the influence of Etruscans and Romans, as it is well documented by the numerous vestiges of the roman municipium called Asisium. Among these vestiges there is the well preserved façade of the Temple of Minerva, remains of the Forum, the amphitheatre, the Roman walls.
After the fall of the Roman Empire, the city became a settlement of the Goths around 545 A.D.
Succesively it was under the Longobards. Around 1000 A.D., it become an indipendent city (comune). During this period it knew the extraordinary spread of the monastic movement (especially the Benedestines).
Around 1180 Saint Francis was born, the most famous of the sons of Assisi. The son of Pietro di Bernardone, a rich merchant, he grew as a young nobles of Assisi. During a war between Assisi and Perugia, he was held prisoner for several months in 1202. Dissatisfied with his life, he turned to prayer and service to the poor, and in 1206 he publicy renounced his father's wealth. Pope Innocent III approved his way of life, gave him and his disciples permission to preach on moral topics, and had Francis ordained a deacon. With the collaboration of Saint Clare of Assisi (1194 - 8/11/1253), Francis founded (1212) a branch of his order for women, called the Poor Clares. Later, he established (1221) another branch for lay men and women, called the Third Order. He died on October 3, 1226 and was canonized in 1228 by Pope Gregorio IX.
The city was under the imperial and then papal rule. There was then a succession of local lords like Gian Galeazzo Visconti, the Montefeltro family, Braccio Fortebraccio and Franesco Sforza, until the middle of the sixteenth century, when Umbria was conquered by Paul III who built the famous "Rocca Paolina" in Perugia and reestablished the pope control over the city.
Lately, in the nineteen century the city joined the newly born Italian state, together with other umbrian cities.
THE BASILICA OF ST. FRANCIS AND THE SACRO CONVENTO
Pope Gregory IX laid the first stone of the Lower Basilica the day after the canonisation of St Francis, on July 17th 1228. Two years later the saint's body, that had been resting in the church of San Giorgio (the futre church of St Claire's) was brought here in secret for fear of looting by tomb raiders and buried in the unfinished church. No date has been recorded concerning the start of works on the Upper Basilica, but it must have been after the abdication from the order of Brother Elia in 1239, who had hitherto directed the works on the Romanesque Lower Basilica.
Both churches were consecrated by Pope Innocent IV in 1253, before work was started on the large cycle of fresco decorations. The square outside the main facade did not exist at the time. A large flight of steps led upwards to the gothic entrance, pierced by a large rose window surrounded by the symbols of the four evangelists. This in turn was sealed off by a central drum. The lateral towers served as supports for the structure, while those near the choir contained stairs.
The benediction loggia on the left side of the facade, above the supporting curtain wall, was added in 1754 when the church was raised to the status of basilica. Another entrance was added in 1487, in front of the gothic entrance that stood above that of the Lower Basilica. This new work was by Francesco da Pietrasanta. The colonnade in the lower square is also from the 15th century, as well as the oratory of San Bernardino opposite the entrance to the Lower Basilica, built for the Third Order and with 17th century alterrations in the interior. Given that there was little space for building on the hillside chosen for the entire complex, the massive supporting structure for the convent buildings and the papal apartments built in the 13th century and enlarged by the Franciscan Pope Sixtus IV between 1472 and 1474 had to stretch outwards in the opposite direction.
In the Lower Basilica the visitor arrives first at a transept that was built after the building of the church between 1280 and 1300. The lateral chapels opposite the entrance were added between 1350 and 1400. The ceiling of the single nave that runs the entire length of the Lower Basilica is supported by cross vaulting all the way to a semicircular apse at its farthest extremity, which is preceded by a transept with barrel vaulting in its lateral arms. Between 1300 and 1350 a series of chapels were opened up in the lateral wall of the transept and nave, wrecking the frescoes that once decorated the side wall.
Half way along the nave a stairway leads downwards to the crypt containing the remains of St Francis, discovered only in 1818. The crypt was in fact designed in 1822 by Pasquale Belli, and re-worked in neo-Romanesque style by Ugo Tarchi between 1925 and 1932. On the left hand wall of the entrance transept, next to the chapel of San Sebastiano, there is a gothic fresco of the "Madonna della Salute with the saints Antonio Abate, Francis and Rufino“, by Ceccolo di Giovanni (early 15th century). Opposite stands a gothic funerary monument to the Cerchi family of Florence, from the early 14th century. Another funerary monument, from between 1320 and 1330 stands a little further down the same side. It could be for either Jean de Brienne or Philippe de Courtenay, the Latin Emperor of Constantinople and bearer of the title of King of Jerusalem.
The style is similar to that of another sepulchre in San Domenico, Perugia, and to the sepulchre designed by Arnolfo di Cambio in San Domenico, Orvieto. There follows the chapel of Sant'Antonio Abate, with the sepulchre of the Duke of Spoleto Blasco Fernandez, assassinated along with his son Garcia in 1367. From here an exit leads to the old semetary of the Lower Friars, with a two-order cloister.
The transept terminates with the chapel of St Catherine of Alexandria, designed by Gattapone in 1367. Cardinal Albornoz commissioned this chapel and was initially buried here. The frescoes of the "Life of St Catherine“ are by Andrea da Bologna (1368). A portrait of the cardinal is on the left wall. Mostly painted in tempera, the cycle of paintings that decorate the nave was completed around 1260 by an unknown artist, later known as the Maestro di San Francesco. It features episodes from the life of St Francis on the left side opposite episodes from the life of Christ on the right. When the lateral chapel were opened, several of these paintings were cut in half. Although the paintings are deteriorated, they are the most important examples of Tuscan wall paintings prior to Cimabue.
The high altar is from 1230, while the canopy above dates from the 14th century. Originally it was surrounded by twelve columns, as a direct analogy with the Holy Sepulchre in Jerusalem, but these were removed in 1870. The paintings in the vaults (1315-20) depict the "Apotheosis of St Francis“ and allegories of Obedience, Poverty and Chastity by the so-called Maestro delle Vele. The cycle of paintings on the right hand side of the transept (The Childhood of Christ, Posthumous Miracles of St Francis) is less unitary and is partly ascribable to the workshop of Giotto (1315-20). It also contains work by Cimabue ("Enthroned Madonna with Angels and St Francis“, 1280), and Simone Martini (1321-26 "Madonna with Child and Two Wise men“ and "St Francis, St Ludwig of Toulouse, St Elisabeth of Thuringia, St Claire and an Unknown Saint“).
.jpg "Inside of Cathedral of St. Francis")
The left side of the transept was on the other hand completely decorated by Lorenzo Lorenzetti and his workshop between 1315 and 1330. The cycle represents the "Passion of Christ“. Other works by Lorenzo Lorenzetti are in the chapel of St John the Baptist: "Madonna with Child, St Francis and St John the Baptist “.
Once decorated with frescoes depicting an allegory of the Crucifixion, the walls of the apse are now covered with a "Last Judgment" by Cesare Sermei di Orvieto. The fine gothic wooden choir was completed in 1471 by Apollonio Petrocchi da Ripatransone, with the help of Tommaso di Antonio Fiorentino and Andrea da Montefalco. The first chapel on the right hand side of the nave is dedicated to St Ludwig of Toulouse and St Stephen, with frescoes by Dono Doni (1575) and a stained glass window attributed to Simone Martini. This is followed by a chapel to St Anthony of Padua, frescoed by Cesare Sermei in 1610, and one to Mary Magdalene. This chapel has a series of frescoes by the workshop of Giotto (around 1320), depicting the life of the saint. On the lef side the chapel of San Martino is decorated with exquisite frescoes by Simone Martini (1321-26), depicting the life of St Martin and featuring portraits of St Anthony of Padua, St Francis, St Louis of France, St Ludwig of Toulouse, St Claire, St Elisabeth of Thuringia, St Mary Magdalene and St Catherine of Alexandria. Stairs lead up from either side of the choir to a cloister behind, built in 1476 by request of Pope Sixtus IV. From here one can access either the Upper Basilica or the Museo del Tesoro that houses reliquiaries, valuable manuscripts and vestments, works from the 13th century and two sinopites by Simone Martini and Jacopo Torriti. The adjacent rooms house the Perkins collection of precious 14th and 15th century panels. There is a fragment by Beato Angelico depicting "St Francis" (~1430), as well as a "San Rocco“ by Nicolò Alunno and "St Francis Receiving the Stigmata" by Antoniazzo Romano.
The layout of the Upper Basilica is an exact reflection of the original plan of the Lower Basilica. The single nave terminates in two lateral arms and a polygonal apse. But the airy, light, gothic architecture of the Upper Basilica, which displays French influences even though it is markedly individual in style, is in direct contrast with the heavy, crypt-like construction of its lower counterpart. The ceiling is cross-vaulted, and a gallery runs along the entire perimeter under the windows that are placed half way up the walls.
Coming up the stairs from the Lower Basilica, the visitor enters the Upper Basilica at the transept and choir. With the exception of the upper right hand side section, decorated between 1267 and 1270 by a Gothic and Roman artist, the decorations here are entirely by Cimabue and his workshop (~1280). The grandiose cycle is sadly in a poor state of conservation on account of the lead oxide used to mix the lighter shades and the colours used to paint the flesh, that have all oxidised black. Left hand section: "Crucifixion“, five "Apocalyptic Scenes“ and "St Michael and the Dragon“. Apse: "Story of Mary“; the inlaid wooden choir is by Domenico Indivini (1491-1501). Right hand section: "Episodes from the Life of St Peter“ and "Crucifixion“. Cross vaulting: "Four Evangelists“.
The walls of the nave contain a cycle of 34 episodes from the Old and New Testament painted above the gallery on the left and right hand side respectively, attributed to painters of the Rome School and followers of Cimabue. Only the scenes from the life of Isaac are thought to be an early work by Giotto (1290-95). The vault of the third span of the nave presents four medallions painted by Jacopo Torriti of Christ, Mary, John the Baptist and Francis. The first span is decorated with the "Four Doctors of the Church“: Jerome, Augustine, Gregory and Ambrose, attributed either to a young Giotto or to one of his followers. The walls under the gallery are covered with 28 frescoes of episodes from the life of St Francis (taken from "The Life of St Francis by San Bonaventura). There is considerable doubt as to whether the attribution to Giotto of these frescoes is correct. The clear differences with the cycle of the life of Isaac by the artist indicate that the cycle was probably painted by others, working from an original project by Giotto. The stained glass windows were the first decorative element to be completed in the church. Italy's backwardness in the technique for the production of stained glass at the time resulted in a German workshop being commissioned for the windows of the choir (the oldest), and a French workshop called in to make the windows of the left hand side of the church. Those on the right hand side have been attributed to the workshop of Maestro di San Francesco.
THE BASILICA OF SANTA MARIA DEGLI ANGELI
Built on a grandiose scale, the Basilica di Santa Maria degli Angeli is the seventh largest Christian church. Its magnificence may be at odds with the simplicity preached by St Francis himself but the flocks of pilgrims coming to visit the primitive Porziuncola chapel and the Cappella del Transito called for a building that was able to accomodate the faithful.
The Porziuncola chapel was given to St Francis by the Benedictines, and is important because it was the initial nucleus from which the Franciscan order was born. The Cappella del Transito is the place where the saint died on October 4th 1226.
Work started on the building of the basilica under Pope Pius IV in 1569, to designs by Galeazzo Alessi. Building continued until 1667 however, when the dome completed the initial structure. The bell tower was not added until 1684 and was originally intended to have a twin tower that was never completed. In 1832 an earthquake caused the collapse of the central nave and part of the lateral nave. The facade was originally remodelled in the neo-Classical style, until 1928 when it was again re-designed in neo-Baroque style. The Fontana dei Pellegrini on the left hand exterior wall of the basilica counts 26 water spouts and was a gift of the Medicis in Florence, donated in 1610.
The interior of the basilica is divided into three naves, with a series of side chapels. A transept and a long choir with a semi-circular apse closes in the basilica at the far end. Directly under the dome of the basilica stands the Porziuncola chapel (10th-11th century).
The exterior of the chapel is decorated with 14th and 15th century frescoes by Andrea d‘Assisi, known as l‘Ingegno). A gothic tabernacle surmounts the roof of the chapel and was renovated after the 1832 earthquake. The vaulted interior contains an ancona by Ilario da Viterbo (1393) depicting the Awarding of Forgiveness.
Access to the Cappella del Transito is from the presbyterium. It contains the cell where St Francis died. The exterior has frescoes by Domenico Bruschi (1889), while the interior was decorated by Spagna (~1520). The statue of St Francis near the altar is by Andrea della Robbia, who also completed the enamelled terracotta altar back in the crypt.
The basilica is flanked by the il Thornless Rose Garden and the Cappella del Roseto, made up of three rooms. The first chamber was added by order of San Bernardino of Siena, while San Bonaventura gave orders to build the second. They are frescoed by Tiberio d‘Assisi (1505-16), who has mirrored the theme used in the decoration of San Fortunato, at Montefalco.
The Museo della Basilica is in another section of the convent. Among the most important works kept here are the "Crucifix“ painted on wood by Giunta Pisano (1236-40) and the "San Francesco“ panel painted by the Maestro di San Francesco in the second half of the 13th century.
CHURCH OF SANTA MARIA MAGGIORE
Founded in the 10th century, the church was the cathedral of Assisi before 1036, when the church of San Rufino took over the position.
The building we see today dates back to the 12th century. The simple facade bears an inscription from 1163 and is divided into three sections by pilaster strips.
The nave, semi-circular apse and sacristy still have remains of frescoes from the 14th and 15th century. A late-Medieval 9th century sarcophagus lies to the right of the entrance. The crypt dates back to the previous church and leads via a passageway to the so-called House of Propertius, with its Pompeian style wall paintings. Remains of the old Roman city walls are visible from the adjacent gardens.
Built out of limestone from Mount Subasio, the Roman blocks have been used as a base for the later Medieval fortifications.
Although Santa Maria Maggiore had lost its status of cathedral, the nearby bishop's palace where St Francis renounced his earthly wealth continued to be used as such.
THE BASILICA OF ST. CLAIRE
Construction work on the church and adjacent convent of St Claire began in 1257, three years after the saint's death and a year after she was canonised.
Until then the sisters of St Claire had lodged at San Damiano. The church dedicated to St Claire occupied the site of the church of San Giorgio, where St Francis had been buried before his remains were moved to the basilica in 1230.
The exterior of the building makes use of alternate strips of pink and white stone, with massive supporting arches either side.
The interior has the same layout as the Upper Basilica of St Francis, with a single nave that terminates in a transept and polygonal apse. Like St Francis', a gallery runs the entire perimeter of the church, although here it is on the same level as the capitols. On the right hand side of the nave the Cappella del Crocifisso and the Cappella del Sacramento were once part of the nave of the previously existing church of San Giorgio, where Pope Gregory IX canonised St Francis in 1228.
The wooden "Crucifix“ in the Cappella del Crocifisso is alleged to have spoken to St Francis in San Damiano, ordering him to repair the church. Relics of St Francis and St Claire are kept behind the grate. The following chapel contains a fresco by Puccio Capanna (1340-46): "Enthroned Madonna and Child with St Claire, St John the Baptist, the Archangel Michael and St Francis", as well as other frescoes of the school of Giotto and Lorenzetti. The right hand transept contains a panel with the "Life of St Claire“, by the so-called Maestro di Santa Chiara (late 13th century), as well as frescoes depicting St Claire and Biblical scenes by an artist known as the Maestro Espressionista di Santa Chiara (first half of the 14th century). The "Crucifix“ in the apse has also been attributed to the Maestro di Santa Chiara (1280-90). A colonnade of 12 polygonal columns carved by a local workman in the 15th century encloses the high altar. The wrought iron dividing curtain is 17th century. A detached 14th century fresco of the "Nativity“ displays influences of Giotto in the left hand transept. The Byzantine style Hodegetria type panel on the left hand wall depicts the "Madonna and Child“ and is by an unknown artist from the 13th century. The lunettes are decorated with scenes from the Old Testament similar to those in the upper cycle of the Upper Basilica of St Francis (late 13th century). The crypt was built between 1850 and 1872. Restored in neo-gothic style in 1935, it houses the body of St Claire, disovered in 1850.
EREMO DELLE CARCERI
The first nucleus consisted in a chapel with several caves around, at a height of 791 m on the slopes of the Mount Subasio in a splendid ilex-wood.
St. Francis and his disciples retired here for their prayers and meditations. In 1400 St. Bernardine of Siena erected a small convent and the church of S. Maria delle Carceri, which enlarged and incorporated the previous chapel. Next to it is located the Cave of St. Francis. You may take a suggestive walk through the ilex-wood along the caves of the hermits.
THE ROCCA MAGGIORE
The earlies records of this building date back to 1174, when it was erected as a German feudal castle.
The future Emperor Frederick II of Swabia spent several years of his childhood here in the care of Conrad of Urslingen, and was baptised in Assisi at the age of three in 1197.
The following year, in Conrad's absence, the people of Assisi rebelled and destroyed the castle.
The castle remained a ruin until 1367, when Cardinal Albornoz rebuilt the fortress using the western section of outside walls and part of the interior fortifications.
In 1458 Jacopo Piccinino, then lord of Assisi, erected the twelve-sided tower and the long curtain wall connecting the castle to the city.
In 1478 Pope Sixtus IV restored the castle's keep, while between 1535 and 1538 Pope Paul III built the round tower near the main gate.
TEMPLE OF MINERVA
Built in the late Republican period in the 1st century BC, this temple was erected by the quatorvirates Gneus Cesius and Titus Cesius Priscus at their own expense.
When a female statue was unearthed here it was thought the temple had been dedicated to Minerva, although the subsequent discovery of a votive plaque to Hercules makes it more likely that the temple had been dedicated to him.
The facade has survived surprisingly well, with its six fluted columns supporting corinthian capitals and standing on plinths that rest on the steps leading to the pronaos for lack of space.
In 1539 the inner sanctum of the temple was transformed into the church of Santa Maria Sopra Minerva, with further alterations added in the Baroque style during the 17th century.
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