   #copyright

Basilica of San Francesco d'Assisi

2007 Schools Wikipedia Selection. Related subjects: Architecture

   The Basilica of San Francesco d'Assisi (St Francis), the mother church
   of the Franciscan Order, is a World Heritage Site in Assisi, Italy.
   The Lower and Upper Basilica and the porticus, as seen from the Piazza
   delle Logge
   Enlarge
   The Lower and Upper Basilica and the porticus, as seen from the Piazza
   delle Logge

History

   The Franciscan monastery ( Sacro Convento) and the lower and upper
   church (Basilica inferiore e superiore) of St Francis were begun
   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" (because here the criminals were put to death).
   Today, this hill is aptly called "Hill of Paradise".

   The foundation stone was laid by Pope Gregory IX on 17 July 1228,
   although construction may already have been begun. This impressive
   church was designed and supervised by brother Elia Bombardone, one of
   the first followers of St. Francis and the former provincial minister
   of Syria. The lower basilica was finished in 1230. On Pentecost 25 May
   1230 the uncorrupted body of St. Francis was brought in a solemn
   procession to the lower basilica from its temporary burial place in the
   church of St. George (now the basilica of St. Clare). The construction
   of the upper basilica was began after 1239. Construction was completed
   in 1253. Its architecture is a synthesis of Romanesque and French
   Gothic artwork, establishing many of the typical characteristics of
   Italian Gothic architecture.
   Basilica and friary, as seen from the plain below
   Enlarge
   Basilica and friary, as seen from the plain below

   The churches have been decorated by the greatest late medieval Roman,
   Umbrian and Tuscan artists of their time, giving these churches an
   unequaled importance in the development of Italian art. The lower
   church has frescos by renowned late-medieval artists, such as Cimabue
   and Giotto; in the upper church are a series frescoes depicting scenes
   in the life of St Francis attributed to Giotto and his circle.

   Pope Nicholas IV, the former Master-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.

   On 27 October 1986 and January 2002, Catholic pontiff Pope John Paul II
   gathered in Assisi with the leaders of the great world confessions to
   pray for peace.

   On September 26, 1997 Assisi was struck by an earthquake which caused
   four fatalities. The Basilica was badly damaged (part of the vault
   collapsed, carrying with it a fresco by Cimabue), and was closed for
   two years for restoration.

The lower basilica

   Side entrance to the lower basilica
   Enlarge
   Side entrance to the lower basilica

   Brother Elia had designed the lower basilica as an enormous crypt with
   ribbed vaults. He had acquired his experience by building huge
   sepulchres out of hard rock in Syria.

   Entering the lower basilica via the side portal in Gothic style (second
   half of the 13th c.) with two wooden doors (Umbrian craftsmanship from
   the 16th c.), one sees at the other side of the vestibule the chapel of
   Cardinal Egidio Albornoz, papal legate in charge of the Papal States
   (from 1350 to 1367). It is dedicated to St. Catherine of Alexandria.
   The frescoes with the eight episodes from the life of St. Catherine
   were painted in 1368-1369 by ‘Andreas pictor de Bononia’. This painter,
   called Andrea, is most probably Andrea de’ Bartoli (c. 1349 - 1369),
   the court artist of Albornoz (and not Andrea da Bologna, as usually,
   but wrongly, attributed). The saints in this chapel were painted by
   Pace di Bartolo d'Assisi (1344-1368).

   On the left side is the small Chapel of St. Sebastian with a canvas by
   Giorgetti and episodes of the life of the saint on the walls by G.
   Martelli. On the right side there are two monuments : the mausuleum of
   Giovanni de' Cerchi and the mausuleum of John of Brienne, king of
   Jerusalem and emperor-regent of Constantinople.

   The lower basilica consists of a central nave with several side chapels
   with semi-circular arches. The nave is decorated with the oldest
   frescoes in the church by an unknown artist, called Maestro di San
   Francesco. They feature five scenes from the Passion of Christ on the
   right side, while on the left side equally five scenes from the Life of
   St. Francis. By this juxtaposition, the Franciscans wanted to
   contribute to the idea of their founder as a second Christ.

   They are connected by a low blue-painted ceiling decorated with golden
   stars. Most images on the lower walls have decayed to leave almost no
   trace, except on the right wall fragments of Virgin and Child with an
   Angel by Cimabue.

   These frescoes, executed in tempera on dry plaster, were completed
   about 1260-1263. They are considered by many as the best examples of
   Tuscan wall paintings prior to Cimabue. As the popularity of this
   church increased, side chapels for noble families were added between
   1270 and 1350, destroying the frescoes on the opened walls.

   The first chapel on the left is dedicated to Saint Martin of Tours. It
   was built by Cardinal da Montefiore, and was decorated between 1317 and
   1319 with ten frescoes depicting his life by Simone Martini and with a
   polyptych with figures of saints. These are amongst the greatest works
   of Simone Martini and the finest examples of 14th century painting. The
   use of lead white has over the years darkened several passages in these
   works.
   St Martin leaves the life of chivalry and renounces the army (fresco by
   Simone Martini)
   Enlarge
   St Martin leaves the life of chivalry and renounces the army (fresco by
   Simone Martini)
   Musician with two flutes (fresco by Simone Martini
   Enlarge
   Musician with two flutes (fresco by Simone Martini
   Polyptych with Louis of Toulouse, Elisabeth of Thuringia, Saint Clare
   and Louis IX, King of France (fresco by Simone Martini)
   Enlarge
   Polyptych with Louis of Toulouse, Elisabeth of Thuringia, Saint Clare
   and Louis IX, King of France (fresco by Simone Martini)

   .

   The other chapel on the left is dedicated to St. Peter of Alcantara.

   The chapels on the right are dedicated to :
     * Saint Louis of Toulouse and Saint Stephan with frescoes by Dono
       Doni (1575) and stained glass, attributed to Simone Martini.
     * Saint Anthony of Padua with frescoes by Cesare Sermei (1610,)
     * St. Mary Magdalene. This chapel, built by Teobaldo Pontano (bishop
       of Assisi from 1296 to 1329), contains some of the best works of
       the workshop of Giotto and maybe by the master himself (about 1320)
       (wrongly attributed by Vasari to Puccio Capanna). On the lateral
       walls are scenes from the Life of Mary Magdalene (above the
       portrait of Teobaldo Pontano), while in the vault there are
       roundels with busts of Christ, the Virgin, Mary Magdalene and
       Lazarus.

   The nave ends in a richly decorated semicircular apse, preceded with a
   transept with barrel vaulting.
   Maesta with St. Francis, (Cimabue)
   Enlarge
   Maesta with St. Francis, ( Cimabue)
   Madonna dei Tramonti by Pietro Lorenzetti
   Enlarge
   Madonna dei Tramonti by Pietro Lorenzetti
   Papal altar with frescoes
   Enlarge
   Papal altar with frescoes

   The frescoes in the right transept depict the childhood of Christ,
   partly by Giotto and his workshop and the Nativity by the anonymous
   Maestro di San Nicola. The lowest level shows three frescoes
   representing St. Francis posthumously intervening in favour of two
   children. These frescoes by Giotto were revolutionary in their time,
   showing real people with emotions, set in a realistic landscape.

   On the transept wall Cimabue painted his most famous work "Our Lady
   enthroned and Saint Francis" (1280). This is probably the nearest
   likeness to St. Francis. This static painting in Gothic style is in
   stark contrast with the lively frescoes of Giotto.

   This right transept also contains the Chapel of Saint Nicolas of Bari,
   probably commissioned by the papal legate Cardinal Napoleone Orsini. It
   is decorated with a cycle of 10 frescoes by the (anonymous) Master of
   the Chapel of St Nicholas (between 1295 and 1305), depicting the
   miracles and the charity of Saint Nicholas. This cycle has been
   influenced by the cycle of the Legend of St. Francis in the upper
   basilica. This confused Vasari into (wrongly) ascribing this frescoes
   to 'Giottino'. The same master then executed the Annunciation across
   the entrance of the chapel.

   The left transept was decorated by the Sienese painter Pietro
   Lorenzetti and his workshop between 1315 and 1330 (attributed by Vasari
   Pietro Lorenzetti and also (wrongly) to Giotto and Puccio Capanna) .
   This cycle of tempera frescoes are his masterworks. They depict six
   scenes from the Passion of Christ. Especially the fresco of Deposition
   of the Cross is highly emotional. In this cycle one can see cast
   shadows, for the first time since antiquity. There were about 330
   work-stages needed to complete this cycle. This means that these
   frescoes were executed over several years, even with the assistance of
   his workshop. He also decorated the adjoining chapel of St John the
   Baptist with the fresco "Madonna dei Tramonti “.

   The juxtaposition of the Childhood and the Passion frescoes intend to
   stress the parallel between the passion of Christ and the compassion of
   St. Francis.

   The papal altar in the apse was made out of one block of stone from
   Como in 1230. Around the altar are a series of ornamented Gothic
   arches, supported by columns in different styles. The 12 columns that
   surrounded the altar were removed in 1870. The fine Gothic walnut choir
   stalls were completed in 1471 by Apollonio Petrocchi da Ripatransone,
   with the help of Tommaso di Antonio Fiorentino and Andrea da
   Montefalco.

   Once featuring frescoes depicting an allegory of the Crucifixion by
   Stefano Fiorentino (destroyed in 1622), the walls of the apse are now
   covered with a "Last Judgment" by Cesare Sermei di Orvieto (1609-1668).

   The paintings in the lunettes of the vaults (1315-20) depict the
   "Triumph of St Francis“ and three allegories of Obedience, Poverty and
   Chastity by the so-called Maestro delle Vele (Master of the Assisi
   vaults), a pupil of Giotto (about 1330).
   Tomb of St. Francis in the crypt
   Enlarge
   Tomb of St. Francis in the crypt

   The stained glass windows in this lower basilica are attributed to
   Giovanni di Bonino and his workshop.

Crypt

   Halfway down the nave one can descend into the crypt via a double
   stairway. This burial place of St. Francis was found again in 1818. His
   remains had been hidden by brother Elia to prevent the spread of his
   relics in medieval Europe. By order of Pope Pius IX a crypt was built
   under the lower basilica. It was designed by Pasquale Belli with
   precious marble in neo-classical style. But it was redesigned in bare
   stone in neo-Romanesque style by Ugo Tarchi between 1925 and 1932.

   The ancient stone coffin with iron ties is enshrined in an open space
   above the altar. In 1934 his most faithful brothers were entombed in
   the corners of the wall around the altar: brother Rufino, brother
   Angelo, brother Masseo and brother Leone.

   At the entrance of the crypt, an urn with the remains of Jacopa dei
   Settesoli was added to the crypt. This woman of Roman nobility was the
   most faithful friend and benefactress of St. Francis. She was at his
   side in the Porziuncola at the hour of his death.

Friary of St. Francis

   Courtyard of the friary
   Enlarge
   Courtyard of the friary

   Next to the basilica stands the friary Sacro Convento with its imposing
   walls with 53 Romanesque arches and powerful buttresses supporting the
   whole complex. It towers over the valley below, giving the impression
   of a fortress. It was built with pink and white stone from Mount
   Subasio. It was already inhabited by the friars in 1230. But
   construction took a long time, with as result different styles
   intermingling : Romanesque with Gothic style. A major part was built
   under the reign of Pope Sixtus IV, a Franciscan, between 1474 and 1476.

   The friary now houses a vast library (with medieval codices and
   incunables), a museum with works of art donated by pilgrims through the
   centuries and also the 57 works of art (mainly of Florentine and
   Sienese schools) of the Perkins collection.

   The belfry, in Romanesque style, was finished in 1239.

Upper basilica

   Nave of the upper basilica with the Giotto frescoes
   Enlarge
   Nave of the upper basilica with the Giotto frescoes

   One enters the upper basilica from the loggia of the friary. The
   slender Gothic style of the upper basilica gives a completely different
   impression.

   Large glass stained windows, placed halfway up the walls, shed their
   coloured light on the masterworks of Giotto and Cimabue. The windows in
   the choir were produced by German craftsmen, active around Assisi in
   the last part 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 c. Italian glasswork.

   This bright and spacious basilica consists of a single four-bay nave
   with cross-vaulted ceiling bordered with patterns of crosses and
   leaves, a transept and a polygonal apse. The four-ribbed vaults are
   decorated alternatively with golden stars on a blue background and
   paintings. The second vault is decorated with roundels with busts of
   Christ facing St. Francis and the Virgin facing St. John the Baptist.
   The entrance vault gives us the Four Latin Doctors of the Church : St
   Gregory facing St Jerome and St 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.
   Crucifixion by Cimabue
   Enlarge
   Crucifixion by Cimabue

   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 St. Francis on his knees at the foot of
   the Cross, stresses again the veneration of the Passion of Christ by
   St. Francis. Sadly, 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.
   Isaac rejects Esau, ascribed to Giotto or to the Isaac Master
   Enlarge
   Isaac rejects Esau, ascribed to Giotto or to the Isaac Master

   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 Jabob 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.
   St Francis preaches in the presence of pope Honorius III, ascribed to
   Giotto or to the Master of the Legend of St Francis
   Enlarge
   St Francis preaches in the presence of pope Honorius III, ascribed to
   Giotto or to the Master of the Legend of St Francis

   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 St.
   Francis by St. Bonaventure (1266) to reconstruct the major events in
   the life of St. Francis. The prototype for this cycle may have been the
   (now lost) St Francis cycle by Pietro Cavallini in the church San
   Francesco a Ripa in Rome. The paintings are so 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 St. Francis (the principal painter and
   probable supervisor of the cycle), the Master of the Obsequies of St.
   Francis and the Cecilia Master.

   The first span of the ceiling is decorated with frescoes of the "Four
   Doctors of the Church“ ( Jerome, Augustine, Gregory and Ambrose),
   attributed either to a young Giotto or to one of his followers. The
   third span presents four heart-shaped medallions of the Christ, Mary,
   John the Baptist and Francis, painted by Jacopo Torriti.

   The cuspidate façade of the upper basilica has a portal in Gothic style
   with twin doors and a beautiful rose window.
   Retrieved from "
   http://en.wikipedia.org/wiki/Basilica_of_San_Francesco_d%27Assisi"
   This reference article is mainly selected from the English Wikipedia
   with only minor checks and changes (see www.wikipedia.org for details
   of authors and sources) and is available under the GNU Free
   Documentation License. See also our Disclaimer.
