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THE ARCHITECTURE OF THE CHURCH
OF SS. PIETRO E PAOLO D'AGRd, SICILY
BY
THESIS
Urbana, Illinois
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1
14 OCTOBER 1991
TH E DEGREE OF_
DOCTOR OF PHILOSOPHY
Chairperson
Kc s, it
!L
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(c) Copyright, 1992
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ABSTRACT
established.
the nave, the other placed above the sanctuary. This arrangement
pointed arches and skeletal ribbing, but this has been mixed with
iii
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features that attempt to visually demateriaiize the structure,
centuries witnessed the expanded contact between the West and the
Mediterranean architecture.
iv
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ACKNOWLEDGEMENTS
that this dissertation would not have come into being without
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Campo and Emanuela Barbaro-Poletti, 'for their cordiality and for
Champaign, for her help with the Greek inscription of the west
on Byzantine typica.
vi
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TABLE OF CONTENTS
LIST OF ABBREVIATIONS.........................................xiii
INTRODUCTION.................................................. 1
CONCLUSION.................................................... 193
ILLUSTRATIONS................................................. 202
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LIST OF ILLUSTRATIONS
Fig. 11. SS. Pietro e Paolo d'Agrb: Nave arcade, looking south.
Fig. 14. SS. Pietro e Paolo d'Agrb: Nave, looking east into
conch of apse.
Fig. 17. SS. Pietro e Paolo d'Agrb: Bema and apse, looking
northeast.
Fig. 18. SS. Pietro e Paolo d'Agrb: Nave, looking up from east.
Fig. 19. SS. Pietro e Paolo d'Agrb: Triumphal arch and muqarnas
vaulting of minor cupola.
viii
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Fig. 21. SS. Pietro e Paolo d'Agrb: Major cupola, viewed from
northwest.
Fig. 23. SS. Pietro e Paolo d'Agrb: Patched area in outer wall
of 1st bay of south aisle.
Fig. 24. SS. Pietro e Paolo d'Agrb: Minor cupola, viewed from
south.
Fig. 25. SS. Pietro e Paolo d'Agrb: Central apse, viewed from
north west, looking into tomb of south pastophory.
Fig. 26. SS. Pietro e Paolo d'Agrb: Nave, looking west into
major cupola.
Fig. 28. SS. Pietro e Paolo d'Agrb: Major cupola, general view.
Fig. 31. SS. Pietro e Paolo d'Agrb: Minor cupola, general view.
Fig. 33. SS. Pietro e Paolo d'Agrb: Grion vault at 2nd bay of
north aisle.
Fig. 34. SS. Pietro e Paolo d'Agrb: Western bay of north aisle,
looking up toward west.
Fig. 38. SS. Pietro e Paolo d'Agrb: Recess in outer wall of 2nd
bay of north aisle.
Fig. 39. SS. Pietro e Paolo d'Agrb: Patched area in outer wall
of 3rd bay of south aisle.
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Fig. 40. SS. Pietro e Paolo d'Agrb: A) West facade; B) East
facade.
Fig. 43. SS. Pietro e Paolo d'Agrb: West facade, lower half.
Fig. 44. SS. Pietro e Paolo d'Agrb: West facade, upper half.
Fig. 47. SS. Pietro e Paolo d'Agrb: West end, looking into
porch from southwest.
Fig. 48. SS. Pietro e Paolo d'Agrb: West porch, looking up into
vaulting.
Fig. 49. SS. Pietro e Paolo d'Agrb: West porch, north end wall.
Fig. 50. SS. Pietro e Paolo d'Agrb: West porch, looking up into
north wall.
Fig. 52. SS. Pietro e Paolo d'Agrb: North aisle, viewed from
east.
Fig. 53. SS. Pietro e Paolo d'Agrb: North aisle, viewed from
west.
Fig. 54. SS. Pietro e Paolo d'Agrb: North ailse, area above
north portal.
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Fig. 61. SS. Pietro e Paolo d'Agrb: South portal.
Fig. 66. SS. Pietro e Paolo d'Agrb: East end, detail of upper
level of central apse at southeast.
Fig. 67. SS. Pietro e Paolo d'Agrb: East end, south apsidiole.
Fig. 68. SS. Pietro e Paolo d'Agrb: Major cupola, viewed from
roof of nave.
Fig. 69. SS. Pietro e Paolo d'Agrb: Minor cupola, viewed from
roof of nave.
Fig. 76. SS. Pietro e Paolo d'Agrb: South cloister, viewed from
south gallery of church.
xi
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Fig. 81. SS. Pietro e Paolo d'Agrbr: South cloister, stairs
leading to terrace behing south wing, viewed from
east.
Fig. 83. SS. Pietro e Paolo d'Agrb: North annex, viewed from
north gallery of church.
Fig. 84. SS. Pietro e Paolo d'Agrb: North annex, west wall of
south wing, viewed from east.
Fig. 85. SS. Pietro e Paolo d'Agrb: North annex, northwest and
northeast wings, viewed from northwest.
xii
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LIST OF ABBREVIATIONS
xiii
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INTRODUCTION
Lojacono's assessment.
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But the significance of SS. Pietro e Paolo transcends its
the most striking aspect of SS. Pietro e Paolo is its debt to the
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Despite the richness and complexity of SS. Pietro e Paolo,
Stefano Bottari, who devoted one of his earliest works, "Nota sul
issued in 1116 and the Greek inscription carved into the lintel
above the west portal stating that the building was "renewed" in
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1171/2 by the master builder Girardus the Frank.5 Although no
implying that he believes the extant church must have been begun
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In 1938, Francesco Basile significantly advanced the state
dating.
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most part, homogeneous fabric.11 These findings unequivocally
prove that the majority of the extant church was completed before
Muslim architecture.12
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place and significance of SS. Pietro e Paolo within the
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CHAPTER~1
Pietro e Paolo d'Agrd have come down to us, they are of only
The reasons for this are twofold. First, the original copies of
lost, and they are known only from the various transcriptions
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is a Latin translation of the foundation charter for SS. Pietro e
entry for the church, Pirri states that the original diploma,
removed from its original source. However, the scope and wording
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Roger, Gerasimus humbly requested the sovereign's assistance in
things so that his monks, who had already been assembling, could
have a worthy place to pray, not only to Almighty God, but also
17In his prologue to the diploma, Pirri points out that Peter
and Paul had long been the special protectors of Roger II's
father. For the general significance of the dedication to these
two saints, see Vera Von Falkenhausen, San Pietro nella
religiosity bizantina (Spoleto, 1988).
10
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In addition to those things requested by Gerasimus, Roger II
The most extensive tract of land, which was centered around the
mouth of the river Agrd and extended westward to the small town
village of S. Carlo, and finally back to the sea along the river
Sdvoca (fig. 1). Within this district the monastery was granted
located on the north coast near Tyndaris. All goods bought and
days of labor every year during sowing and harvest, and to pay a
11
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Easter, and of wine during vintage time.20 Finally, within the
annually donate one hundred hogs to the monastery. The town and
rights and free license to build mills. SS. Pietro e Paolo was
that the charter was sealed is given as October, 1116 A.D. ("in
12
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Several passages of the diploma merit clarification. First,
the exact year of the encounter between Roger and Gerasimus has
Roger was occupied with affairs in Calabria, and 1113 seems too
case, then the monastery could not possibly have been completed
that the any part of the monastery had been finished. In fact,
25Ibid.
13
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d'Agrd that refers to the "vicam monachorum" seems to imply that
14
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either incorporated substantial portions of the abandoned
may not have been so badly ruined during its abandonment as has
been generally thought, and may have been suitable for use with
15
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That a monastery as well endowed a s ’SS. Pietro e Paolo could
the lintel located above the church's west portal (figs. 2-3).
16
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To date, all scholarship concerning the church has
inscription incised into the brick of the inner face of the north
17
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building trade to have come down to"us from the Norman period in
Sicily.
18
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often used to refer to completely new building projects,
of the fabric.38
39See Appendix I.
19
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as well Mongitore, the author of a revised edition of the work in
sources given for the annotations are often not readily available
20
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which were caught up in an emerging 'struggle between church and
state.
Item 1_. The notice states that in 1446, during the abbacy
monastery.42
21
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exists to suggest either that this church functioned as a
Pirri's text.44
resided at our monastery from April 23, 1450 until March 20,
1452.45
Agrd. Although this new abbot was of the Dominican order, such
22
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Item 1 3 . Pirri recounts that under the abbacy of Fr.
that SS. Pietro e Paolo must have still been quite active in
bureaucratic expenditures.
and wealth maintained by the SS. Pietro e Paolo during the later
23
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appointment as abbot then entitled the holder to the twenty-third
Apostles Peter and Paul, St. Blaise, St. Nicholas of Myra, St.
Lucy, St. Dominic the Confessor, St. Pantaleimon, St. Ursula, St.
Puteo in 1588 and 1614, the abbey took in 500 ounces (of gold)
author lists the expenditure for the year 1598, which totalled
First, he states that six monks still remain active within the
pp. 354-5.
24
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Second, Pirri maintains that all churches of the town of Forza
25
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filled by a monk who served as leader of the monastery, but had
for our purposes. First, the document states that the church
later in the text, we are told that two of the subsidiary altars
was positioned in the north aisle, at the second bay from the
survives.51
26
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functioned as a shop/warehouse. Certainly, the size and location
obligations to the mother house, but were for the most part
53V a t . Lat. 8201. fol. 56r and 130, with a Latin translation
on fol. 271. Also see Pirri, pp. 1151 ff. For additional
references and comments, see Scaduto, pp. 185-7.
27
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foundation in Messina appears to have more or less continued
June 1334, and 6) May 133 6 .56 In the entry for the first visit,
28
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secure up to the dates of these visits.57 The purpose of the
that the liturgy was performed properly and that the monks and
off.58
that the texts contain several indications that Greek was rapidly
60Ibid.
29
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Messina from the years 1308-10.61 within the document, SS.
✓
Pietro e Paolo is listed three times: 1) on folio 103, the first
roll, it is worth noting that the amounts listed for SS. Pietro e
Paolo are among the largest, implying that the monastery must
of the island.
30
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of Studios; the ascetical writings of Maximus, Isaac, Theodore
D.O.M.
BASLIENSE COENOBIUM
SS. APOSTOLIS PETRO ET PAOLO SACRUM
A ROGERIO R. PROPE AGRILLAM RESTITUTUM
ET ADNITENTE B. GERASIMG ABB. DITATUM
FERDINANDUS IV SIC. ET HIER. REX
EX INSALUBRI ET DEHISCENTE SOLO
IN URBEM TRANSTULIT AN. MDCCXIV.
6SDanzd, pp. 878-9. The author suggests the move from Agrd
was probably not completed until 1797. See ibid, p. 880. It is
also suggested that by the end of the 16th century, that an
alternate residence for the monks of Agrd was established in the
nearby town of Casalvecchio. See Bottari, "Nota," p. 289; Mario
D'Amico, p. 52.
31
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Unfortunately, the inscription is the only remnant of the new
32
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CHAPTER'2
The Site;
valley derives its name. Although not more than four kilometers
from view from the sea. Most probably this concealment was
church. The only bridges that traverse the Agrd are located at
67It seems that the ruins of a bridge that once traversed the
Agrd approximately a half kilometer inland from SS. Pietro e
Paolo, were exposed early in this century during the construction
of an aqueduct system; see Lombardo, Sulla ubicazione (Messina,
1987), pp. 34-8. Basing his arguments upon the engineering
capabilities of ancient and medieval cultures, and various
descriptions of the ancient road networks of Sicily, Lombardo
suggests that the bridge must have dated to the greco-roman
period, but makes no hypothesis as to how long the bridge
continued to be used. However, given the lack of physical
evidence, it is impossible to verify this suggestion without
excavation.
33
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Siculo, two villages situated in the hills north of the church.
34
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the church in twelfth century. Finally, Part 5 is reserved for a
The Plan:
wide nave bounded by two side aisles. To this core are added the
east end, divided into three bays forming the sanctuary, and the
east, 20.61 and 20.56 meters respectively to the north and south-
35
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found within the individual bays of'the side aisles (3.70 x 1.95
where the average widths (4.20 m.) exceed the average lengths
doubtful that the master mason responsible for the layout of the
aisle, slightly off center of the third bay from the west. At
at the approximate center of the wall of the second bay from the
west.71
36
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The east end of SS. Pietro e Paolo incorporates a tripartite
dimensions of the bema are 3.87 meters wide by 2.37 meters long;
the bema and pastophoria are significantly shorter than the bays
the west, two thick, T-shaped piers set the sanctuary apart from
out the corners that flank the central window of the apse. The
long x 5.08 m. wide) and two squared stair towers (average 2.53
aisles. The porch is enclosed on all sides but the west, which
72The length of the entry porch has been taken from the
exterior face of the west wall of the nave to the exterior face
of the outer wall containing the open portal. All dimensions of
the stair towers are taken from the outer faces of the walls.
37
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accessible only on the interior through the small openings
The Interior;
longitudinal section through the nave and bema (fig. 7). For
longitudinal basilica.
dome from the finished floor (ca. 17.22 m.) is nearly exactly the
wall of the nave to the end of the central apse (ca. 17.37 m . ).
38
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the roofing, the nave is at present‘ca. 12.32 meters high; from
the inner face of the west wall to the western faces of the
meters long.73
the arch of the central bay of the nave arcade, and meet the
that the present flat ceilings that cover the first and third
bays of the nave are relatively modern, and they are not
perfect square, but also because it would divide the lateral nave
arches of the nave arcades (ca. 5.89 m.), with the clerestory
39
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ceilings at this height, the elevations could also be divided
drawn at floor level from the outer aisle walls to the crowns of
the transverse arches, these lines run tangent to the inner faces
before the restoration reveal that the plaster layer was thin and
40
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several wall cuttings that have been attributed to the Baroque
until the late 1980s, when the Lojancono's whitewash was itself
removed.
entirely paved with hexagonal ceramic tiles, ca. 0.20 meters wide
rhythm of the nave. The openings are quite large, with the
41
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measuring approximately one-and-a-half times the heights of their
voussoirs.
features that relieve the visual massiveness of the wall and pier
42
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The column bases (average 0.39" m. high) and capitals
The profiles of the column bases, which are most easily read at
seems likely that the bases and capitals of the columns at Agrd
twelfth century.84
43
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Above the capitals, each of the columns is terminated by an
coated with this material, and traces are also evident in the
of the materials.
inner face of the western wall (fig. 15). These pilasters are
for the lateral arches of the bema and the triumphal arch. These
44
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piers are completely constructed of 'brick, which, from floor
the lateral arcades, are significantly thicker (ca. 0.10 m.) than
those employed in the rest of the church. Although the piers are
the nave arches. At about 2.40 meters above the floor of the
and ca. 2.74 meters above the nave floor. These indentations,
which are crudely cut into the piers, appear to have supported
7.80 meters above the floor of the nave, where they are capped by
span the width of the nave, and reach a summit of 10.20 meters
45
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average.89 The triumphal arch, which separates the bema from the
along each of the lateral walls of the nave.91 The windows are
46
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westernmost and easternmost bays slightly off axis with the
positioned at the center of the west wall of the nave (fig. 15).
springing of this arch occurs 3.95 meters average above the floor
reveals that the extant portal was added to the earlier wall
into three bays, and their walls are constructed of brick and
47
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(1.10 m. average), their heights are varied, ranging from 1.73 to
deep circular recess located above the south portal, are set at
the second bay from the west, must have constituted an important
point of entry into the church. The opening (1.86 meters wide)
The springings of the arch are set at ca. 3.20 meters above
finished floor, and the crown at ca. 4.10 meters. The jambs and
meters into the thickness of the aisle wall. Directly above the
9SThe window of the third bay from the west of the north
aisle, which is significantly shorter than the others, appears to
have reworked, apparently as a result of the installation of the
north portal.
48
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header, a massive limestone lintel,"constructed of pink marble
and ca. 0.22 meters thick, is set flush with the face of the door
construction.
West End. The west end of the church is composed of the two
stair towers flanking the main entry. The stair of both towers
the towers at the church's west wall. The portals (figs. 15,
bases of the two portals are cut into the west wall of the church
initial landing, until one reaches the landing for the galleries.
49
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The steps that lead onto the lateral galleries are irregularly
of the nave. Entry onto the west gallery is possible only from
from the area above the barrel vault at the fifth landing upward,
the church.96 The brick steps are in fine state of repair, and
50
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boundaries of the bema are defined By arched openings. Although
the arches of the bema are stilted and relatively narrow, their
those of the nave arcade, and they are also of the two-centered
variety.
and not only disregard the vertical axes created by the arches
The central apse (figs. 16, 19, 25), which is raised above
half-dome. Although the span of the apse (3.28 m.) and springing
height of the conch (ca. 7.70 m. above nave floor) are somewhat
less than those of the nave arches and the triumphal arch, the
51
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engaged to the bits of wall to its north and south, are
The apse also includes two curious niches flanking the central
meters above the nave floor, and are articulated with slightly
interior of the apse and the squared exterior wall of the east
The two bays flanking the bema must have originally served
as the prothesis (south bay) and diaconicon (north bay) for the
52
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similar condition does not exist in'the prothesis, as it is
half-domes. The widths of the apses are slightly less than the
ca. 5.75 meters above the floor, which is just short of the
side aisles (ca. 5.82 m.). A small window opening (average 0.41
domes. The flat wooden ceilings that top the western and eastern
The major dome (figs. 21, 28-30), which covers the central
transitional vaulting, the drum, and the dome itself. The zone
53
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of transitional vaulting, which allows for the transformation of
the nave, some 9.60 meters above the floor of the nave. At its
that occur at the north and south walls of the nave. Although
are not smoothly integrated into the wall surfaces, and the
54
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The area between the range of squinches and the base of the
corbelled bricks— that are placed above the corner squinches and
below, and also ease the final transition to the cylindrical drum
ample, dimensions, ca. 3.00 meters tall and ca. 3.35 meters in
(ca. 0.45 m. wide by ca. 1.45 m. tall), and permit a good amount
arches, are outlined with short, square brick voussoirs, ca. 0.05
by 0.05 meters.
55
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joined to the surface of the drum by semicircular arches with
The minor dome (figs. 24, 31), which is placed above the
major dome.
56
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profile. From this point upward, the vaulting is defined by a
small, with a span of ca. 2.20 meters, and height of ca. 1.47
rises 15.22 meters above the floor of the nave, and its combined
the drum and the dome, the curvature of the individual segments
rounded arches of the drum allow for a smooth transition into the
106Ibid.
57
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brick where the springings of the segments join corners of the
x ca. 1.00 m. tall) are set within the lateral walls above the
muqarnas zone of the minor dome.107 Both cavities open into the
hollow spaces flanking the minor dome was to relieve the mass of
the space— 1.90 meters at its lowest point, and 2.95 meters at
slitted windows with deep interior splays (ca. 0.38 m. wide x ca.
1.13 m. tall) appear within the north, south, and east walls, it
107Ibid.
58
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outpost.108 However, this interpretation seems rather
chamber, but also due to the uncertainty that the space was
church.
height of the vaults is ca. 4.63 meters above the floor at the
north aisle and ca. 4.76 meters at the south aisle. The crowns
of the vaults average 6.56 meters at the north aisles and 6.43
59
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Major repairs and additions. Although at present the
the this century. Throughout the ages, SS. Pietro e Paolo was
The north portal (fig. 37), located at the third bay from
the other portals, the jambs of the entrance are slightly splayed
and are constructed of modern masonry that has been inserted into
the wall with no regard for the original coursing. Moreover, the
brick voussoirs outlining the pointed arch are not flush with the
repair.
60
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original construction.110 Cutrera contends that this window was
the west clerestory wall was destroyed with the collapse of the
his wife, which fills the entire area of the prothesis— including
entrance, with a window above, and therefore must have been cut
61
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The walls of the side aisles exhibit several extensive
patched areas positioned within the wall of the south aisle, and
an arched recess cut into the wall of the north aisle. The
bay from the west (fig. 38). The arched shape and shallow depth
that an arched entrance was cut into the north wall to match the
aisle are easily visible by their suture lines, and occur at the
approximate centers of the first (fig. 23) and third (fig. 39)
bays from the west. Although these patched areas are not
locations.116
62
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The Exterior:
(figs. 4-5) . The volumes are tall and solid, the windows sparse
and positioned well above ground level, and the roof of the nave
2.5 and 1 to 3 (fig. 40), and the side aisles are barely
€3
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Nonetheless, some general proportional relationships may
north facade, and ca. 6.62 m. at the south), are somewhat close
to one-half the heights of the nave walls (ca. 11.92 m. above the
socle at the north, and ca. 12.64 m. at the south). Although the
units (3.73 m. wide) by the arched opening way leading into the
porch.
arches (ca. 0.20 m. wide), both of which project ca. 0.11 meters
64
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pilasters (ca. 0.66 m. wide) of the "clerestory arcades that
proven not only by the manner in which the masonry of the arcades
is embedded into the walls, but also by the fact that the wall
central apse ca. 0.78 meters below the high slotted windows (fig.
facade and east end (figs. 59, 66). The individual revetments
are square (ca. 0.17 m.), and consist of either black lava or
two rows at the south facade, and three rows at the east end.
The tops and bottoms of the bands are filled out by triangularly
65
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Crenelations. The facades of the north, south, and east
north facade. This merlon is clearly bent outward from the body
66
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meters above the porch floor, and of the walls of the porch
and towers, and an inner layer, which is the outer face of the
west wall of the nave. The most prominent feature of the facade
brick banding that rises from the socles and wraps around the
of ca. 7.95 meters above the floor of the porch, providing a low
parapet, ca. 0.86 meters high, for the west gallery. Notably,
ca. 2.74 meters above the floor of the west gallery, while that
of the south appears to have been ca. 3.00 meters.122 The areas
67
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Cutrera's suggestion that a substantial portion of this surface
that opens into the nave (fig. 46). South of this window, an
its crown occurring at 2.53 meters above the gallery floor. The
large groin vault, whereas the north and south ends are defined
the profiles of the groin vault with the arched opening of the
west facade, the transverse and diagonal arcs of the vault reach
their crowns well above the those of the arcs defining the short
ends. As a result, the shape of the vault bows upward from the
set within the surfaces of the north, south, and east walls. The
niches of the west wall of the nave are shallow (ca. 0.10 m.) and
to each side of the west portal, and begin ca. 1.46 meters above
x 2.97 m. tall) and their heads are rounded. Below these niches
68
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The benches are ca. 0.34 meters deep and rise ca. 0.44 meters
exterior wall of the nave on axis with the arched opening of the
These are set atop one other with very thin mortar joints (figs.
51, 61). The outer edges of the blocks are roughly hewn, and
both sets are built into projecting surfaces of the walls that
doorway. The tops of the inpost occur ca. 3.59 meters above the
six limestone blocks, 0.35 meters tall, which are inscribed with
letters ranging in size from ca. 7.5 centimeters high for the
Three rows of letters appear on the front face of the lintel, and
69
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one row is located on its soffit. Enough evidence remains to
letters from the first and third lines run onto the southern end
block.12S
filled with brick, into which has been set a roundel (0.75 m.
articulate the center of the design, and the arms of the cross
white limestone with the interior of the cross and the negative
spaces between the arms of the cross and the disks carved in
voussoirs, with crowns of 4.73 and 5.00 meters above the floor,
70
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are framed by single courses of brick. The arched cornice is
71
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portal. However, the two westernmost windows— which are detailed
detailed.
is ca. 5.89 meters above the socle, the parapet of the apse,
clumsily been inserted into the wall to provide drainage for the
gallery.
bay from the west, below the reworked aisle window. The
that it was inserted into the wall after the original phase of
72
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line located directly above the portal, perhaps suggesting that a
flanking the portals are thicker than the others could infer that
extant opening.
thicker (ca. 0.66 m.) than the other strips, as they correspond
Y-shaped iron ties, which secure the two iron tie beams
traversing the interior of the nave, have been clamped to the two
at the second, fifth, eighth, and eleventh bays from the west.
73
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setbacks, are 0.65 meters wide by 1T54 meters tall.129 Although
depth of ca. 0.10 meters. Within the bottom of the frieze, two
stone downspouts have been inserted for the drainage of the roof
of the nave.
into 15 bays, that is, one bay more than on the north aisle. In
addition, the socle that supports the pilasters is set ca. 0.28
taller arcades. The summits of the arcades occur ca. 6.44 meters
above the socle, and the top of the aisle wall at ca. 6.72
7.12 meters.
74
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The windows of the south aisle" are located within the
fourth, eleventh, and fourteenth bays from the west. They are
0.57 meter below the top of the socle, is still some 0.86 meters
been needed for entry into the church. As in the west portal,
75
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that forms a slightly pointed arch set ca. 3.89 meters above the
threshold.
roofline of the south and east clerestories (ca. 0.17 m.2), but
are much less evenly shaped. The arched cornice (ca. 0.15 m
moulding.
76
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The interlaced arcading of the" south clerestory (figs. 63-
tenth pilasters from the west are thicken and clamped with Y—
shaped iron bars that secure iron tie beams of the interior. In
bays from the west, with average clear openings of ca. 0.45 m.
slightly less than that of the nave, its volume is somewhat inset
noticeable, and one wonders how extensive the damage to the apse
136Cutrera, p. 230.
77
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actually was.137 The only visible sign of repair is a thin iron
plate that has been bolted around all three sides of the apse
below the decorated cornice. The major penetration into the apse
is the large modern window set into the center of the east wall
at a sill height ca. 2.20 meters above the socle, although tall,
slotted windows— 1.03 m. high and ca. 9.64 meters above the
socle— also occur within each of the three sides of the apse.138
are thinner (ca. 0.15 m.) than those of the other arcades, and
center of each apsidiole are quite small (ca. 0.43 m. wide x 0.99
78
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The tops of both apses are ruined, and it is difficult to
is found in the south apsidiole, ca. 7.87 meters above its socle.
nave and bema, the nave and aisles are covered by flat roofs.
whereas the nave roof (figs. 68-69) was resurfaced with tile
into the large hollow cavity above the conch of the central apse,
which in turn leads into the rectangular voids that flank the
accessible.
wide by 1.45 meters tall, and detailed with two string courses.
The string course located just below the window sills is composed
79
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of a single course of brick, whereas the other, positioned at the
the drum is covered by faded red cement, and brick string courses
appear just above the base of the drum and at the juncture with
major dome, the ornamental crown that tops the vaulting is topped
80
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consistently employed throughout the interior and exterior
construction.
match.141
0.05 meters and is deep red in color, while the other is slightly
81
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The cement is brownish white, with inclusions— no larger than 1.5
color. A walk along the bed of the Agrd river reveals that this
the sand and gravel of this river bed seem to have also been
some brick and tile fragments (figs. 23, 37-38). The stone layer
is almost always only one course tall, and is set within a mortar
where a slightly curved stone cornice has been inserted into the
82
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with rubble courses (ca. 0.25 to 0.30 m. wide), composed of
(figs. 53, 70). The entire facade of the north gallery, as well
(ca. 0.30 m. wide). Two rows of this banding, set at ca. 1.95
and 2.80 meters above the south socle, run without interruption
through the south aisle (fig. 59) and through the southern half
facade, only the upper of the two bands has been inserted into
occur between the double lava bands of the south (fig. 60), west,
and east facades, and above the lone lava band of the north aisle
83
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south clerestory levels (figs. 56-57, 63-64), and also in the
upper halves of the east end and north aisle. The most common
pairs, with the rowlock and shiner of the successive course being
of the church are the three transverse arches that span the nave
the flat areas above the openings of the arches support the
lateral support.
84
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Another significant feature of* the transverse arches is the
its crown set at 17.22 meters above the floor of the nave, the
major dome of SS. Pietro e Paolo is of a size that could not have
of the nave clerestory and the two transverse nave arches. The
transverse arches are flanked to the east and west by the flat-
roofed bays of the nave, which provide adequate bracing along the
points where the squinches actually abut the flat wall surfaces
85
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of the outward thrusts, the thickness and solid construction of
north and south sides of the dome are supported entirely by the
and the placement of the dome upon a tall drum, relieve some of
wall meets the roofs of the aisles. The fear of this type of
damage was certainly the reason why the iron tie beams positioned
86
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lighten the downward force. However, lateral bracing does appear
sanctuary piers ca. 5.44 meters above the floor of the nave.145
Twelfth-Century Church
century the church of SS. Pietro e Paolo d'Agrd had been subject
that had been abandoned during the Muslim occupation; the second,
87
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In the previous chapter, I have argued that the initial
has been quite thorough, I shall only comment upon the parts of
from the walls at Agrd, several scholars have suggested that the
88
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On the other hand, instances of near total obliteration of mural
At the very least, the walls would likely have been covered
quickly drawn images that were meant to fulfill the needs of the
never realized.
currently cover the first and third bays of the nave (figs. 18,
89
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design and location within the height of the nave are based upon
roof structure of the nave, making the volume of the two bays ca.
the base of the drum of the major dome.154 In any event, the
151The ceiling of the third bay from the west is clearly seen
in a photograph reproduced by Freshfield in 1918. See Cellae
Trichorae. vol. 2, plate 18, opposite p. 56.
90
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designs.155 Although this seems to contradict surviving
did exist, and that they may have reflected the original design
of the church.157
Both the photograph and the plan clearly illustrate that the bema
altar. The manner in which the four steps of the bema extend
into the nave, as well as the convex and concave curves with
91
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Baroque period.1S9 Unfortunately, this leaves us with no
most of the floor surface of the church were installed during the
160In its present state, the raised floor of the apse appears
to bear no relation to the surrounding wall construction, which
seems to imply that it was not part of the original design.
92
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Corone in Calabria (late 11th or 12th century), and hexagonal
patterns.164
liturgy, the bema and pastophoria of our church must have been
already been pointed out that the two indentions on the inner
However, these indentions are crudely cut into the piers, which
93
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construction. Moreover, if the indentions did in fact support a
transverse beam, it would have been set ca. 2.65 meters above the
restoration, does not seem well suited for the design of the
circulation between the back of the altar and the apse. However,
the position of the altar between the piers of the triumphal arch
94
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placement would interfere with sanctuary barriers.167 A
location near the center of the bema would make more sense for
sides.
concerns the appearance of the twin stair towers of the west end.
the north tower, indicating that the it, as well as the south
95
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tower, rose at least to height of the roof of the nave.168 From
that define the rooflines are continued across the gaps of the
three apses by shallow squinches that spring from the solid wall
made that the two towers at Agrd must have risen to the same
in Palermo— that the towers at Agrd may have been topped by small
96
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domes.171 Bottari seems to have underestimated the difference
area between the two towers was enclosed by a wall that rose
flush with the outer facade of the church (fig. 73), it seems
more probable that the west gallery was open to the exterior with
the outer wall rising only high enough to provide a low parapet,
facades of the nave are set back from the twin towers, although
97
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reconstruction of the west facade is not only aesthetically
Italy.174
state of the upper level of the west facade. Although the large
the two west towers (fig. 45) were originally open. However, if
the north and south galleries, as the landings would have been
98
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Due to the unlikelihood of this arrangement, the arches should be -
recess directly above the interior of the south portal (fig. 22)
99
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extended through to the exterior.177' However, two problems
portal.
merlons lined the parapets of the north and south aisles, there
have been needed to protect the north, south, and perhaps even
seem to suggest that its original state, its cupola was instead
100
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However, neither Bottari nor Basile'explain their reasons for
Bottari, and Basile— contends that the church was almost, if not
that the renovation may have been needed to correct the damage of
101
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is the key to deciphering the extent of the repairs. Two aspects
date to the same building phase, and 2) that this phase post
this treatment could reflect the detailing of both the west and
tympanum of the west portal may have originally been covered with
SS. Pietro e Paolo, Lojacono suggests that the upper level of the
exterior of the central apse (fig. 66) may have also been
102
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lead, Kronig infers that the two towers of the west end may have
conditions, but also by the fact that the materials and methods
structures.
103
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Although it is difficult to as'sess to what extent the
the east end of the south facade— and a small annex— positioned
appear opposite the main portal. The north and east boundary is
104
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little is known about the typical arrangement of Orthodox
South cloister:
105
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vegetable garden. Although several” of the extant constructions
mortar appears whiter in color and more brittle than that found
in the church. The door and window openings are either outlined
section still rises three stories high, with access to the upper
106
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west wall. The staircase is entered from the north through a
white and red plaster on the walls, the exposed steel rebars at
the second floor ceiling, and the two balconies that have been
northern section of the east wing (fig. 78) was in use, probably
into a corridor (ca. 2.20 m. wide) that appears to have once run
107
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South wing. The south wing consists of an one-storied
storage, that abuts into the modern residence at the east, and an
adjacent shed (ca. 2.80 x 4.20 m.) to the west. The northern
present, the two buildings are only accessible from the north
grounds, it appears that the north face of the wing would have
always been flush to the courtyard. On the other hand, given the
monastery.
108
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West wing. The west wing formed by two structures located
meters, and has been knocked out at two points to allow for
109
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without openings, with access between the to sector only
the midpoint of the wall, a section has been thickened for the
or shrine.
North annex;
110
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to have been built between 1906 and'1910.194 At its largest
dimensions, the annex is 19.40 meters long and 10.90 meters wide.
Because the topography rises upward toward the north, the two
wing.
The date and purpose of this annex are not clear, although
it does seem that at least the south wing could have been
three wings of the annex are different, which suggests they were
constructed separately.
x 6.45 m . ), except for the two end walls at its eastern and
Ill
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western extremities, a transverse wall located near the middle of
the building, and its north wall, which is shared by the two
wall.
after the collapse of the ceilings, when the ruined lower rooms
were used as open courts. Due to the scant remains, little can
located at the approximate center of the west end wall (fig. 84).
Because the other two wings abut the north wall of this unit, it
west wall, have been covered with plaster, and the roof of the
112
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wing, except that neither brick leveling courses nor sandstone
preservation, the floor of the second level has fallen in, making
the west facade, and another has been crudely knocked out at the
same level at the south facade, which seems to indicate that the
113
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separated by thin white strips and topped by a thin, continuous
114
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CHAPTER'3
Medieval Sicily
construction techniques.
115
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this era except for a few fragments'of sculptured furniture and
architectural decoration.199
(6th-mid 9th c.) and S. Pietro ad Baias near Syracuse (late 5th-
116
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varying quality, was employed due to the availability of building
mixed with randomly placed bricks and/or ashlars and set within
during the Roman period, and it appears that this was also the
example, both the Palace of the Favara in Palermo and the so-
117
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dating to the Norman period.206 Likewise, Domenico Ryolo's
the Muslims are the south wall and annex of S . Giovanni degli
due to the fact that they are both located in the western Sicily,
118
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they probably represents just one of several regional styles that
119
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situation in Sicily, where in the early tenth century the Kalbids
Byzantine churches of this type by the fact that all nine bays
it has been suggested that the plan was more likely transmitted
Greece.214
120
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With the takeover of Calabria by the Normans ca. 1059, a new
the Cathedral of Gerace (late llth-mid 12th c.) and the enigmatic
elevated above the level of the nave and define the limits of a
been built for the Greek liturgy, they must also have served as
121
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the eleventh century and the first half of the twelfth
122
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Omobono at Catanzaro.219 But in relation to our examination of
courses.
types, based upon the articulation of the transept and east end.
123
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volumetric definition and detailing"of both classes of cathedrals
limestone, for the most part well cut and laid with thin mortar
Sicily.222
constructed at the same time and within the same region as many
124
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have survived are S. Filippo di Fragal& near Frazzand (ca. 1090),
Planning Arrangements:
125
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and aisles divided into a three-by-three grid by four columns are
Reggio (mid llth-early 12th c.), and S. Maria del Pdtir near
126
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For the ultimate source of inspiration for the plan of SS.
Excluding the fact that the central bay of the naos is much
larger than those of the cross arms and corner bays, the plans of
(ca. 1136)— the placement of the minor dome over the bema at SS.
127
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Bivongi, S. Maria de Tridetti at Staiti, S. Maria at Mili, and S.
include the Great Mosques of Qairawan (ca. 862), Tunis (ca. 864),
However, the manner is which the towers are fully integrated into
128
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distinctly possible, then this church would provide the best
129
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On the other hand, comparisons' to the plan of the central
130
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consistently absent in contemporary‘monuments in Sicily and
Calabria.
The bays of the side aisles that flank the domed bay of the nave
12th c.) and SS. Nicold e Cataldo at Lecce in Apulia (ca. 1180)
131
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aisle bays that flank the north and" south of the central dome are
elongated cross-in-squares.
composed of two arches, that lead into side aisle, each of which
centralized reading.
132
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attribute the design of the building to Girardus the Frank.239
SS. Pietro e Paolo are the mosques of Ifriqiya, such as the Great
Mosques of Qairawan (836, 862, and later), Sousse (850-1 and late
10th c.), Tunis (864 and lOth-early 11th c.), Sfax (849 and 10th-
133
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11th c.)r and Mahdiya (lOth-llth c.).2<1 The sanctuaries of
positioned over the bay preceding the mihrab and the main
134
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In Christian architecture, the impost became popularized in the
that is found throughout Europe and the Near East from Late
135
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Antiquity to the High Middle Ages.245 Despite the ubiquity with
247See Dedr, figs. 194, 195, 197-9 and pp. 46-85. For
reaction against Dedr's dating of these tombs, see Otto Demus,
Review of The Dynastic Porphyry Tombs of Norman Period in Sicily,
136
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also exist in the Cappella Palatina" (east column in south row of
found in the Duomo of Otranto, within the second bay from the
termed Mediterranean.
Paolo at Itdla (ca. 1093) seems too early to accept the theory of
137
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Northern influence.251 Moreover, it'is important to consider
that the pointed arch does not appear with frequency in Calabria
from the island when the two provinces were united under Norman
138
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been debated. The problem stems from the fact that two-centered
arches, other than the horseshoe type, are not common in Islamic
the cistern of Ramla (ca. 789) .2S3 On the other hand, Umberto
Scerrato argues that the Sicilian arches are best viewed in light
the Banu Hammad (begun ca. 1010) verifies the existence of such
139
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Sicily. However, such types were used commonly in the monuments
and Egypt, the only major difference being that the arches in the
140
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in Cairo provides a particularly good comparison to SS. Pietro e
and North Africa from the ninth century onward. Examples include
a profile similar to those from which the Agrd arches spring are
141
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conjunction with the major dome, to'differentiate, rather that
flat transverse ribs that are connected to the outer walls of the
Torres (begun early 11th c .)— the detailing of the Agrd vaults is
the late tenth and eleventh centuries under the Zirids, with
Agrd would not have been out of place within the context of
wooden ceilings covering the first and third bays of the nave at
142
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SS. Pietro e Paolo reflect the original design, I wish to offer
unique.
143
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Major dome. Although the dome covering the central bay of
the nave at SS. Pietro e Paolo contains certain features that are
the major dome at Agrd does not possess the dominating spatial
144
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to the Agrd squinches are in the Great Mosque at El Kef (11th c.)
134-42.
145
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Pietro e Paolo were used in this capacity.270 The only formal
following.
146
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prototype— i.e. the "Baptistery" at"S. Severina, which is
produce exact parallels to the drum and dome at Agrd from Islamic
Qairawan or the two domes at the Great Mosque of Tunis, they are
147
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the Aghlabid architecture of Ifriqiya, all examples of which I am
which the drum and dome of the Agrd cupola arose. Perhaps the
consider the articulation of the drum and dome at Agrd the result
Muslim sources.
Minor dome. Other than the fact that the drum is composed
of eight facets, the basic design of the drum and dome of the
which the drum and dome rise is of extreme interest. Whether one
past twenty years, the origin and development of the muqarnas are
148
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the technique was first developed in Persia during the tenth
149
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importance of the muqarnas appears to have increasingly given way
to ornamentation.
debatable, Jonathan Bloom has recently argued that the device was
twelfth century.280
150
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nave of the Cappella Palatina in Palermo (1132-43) .281 Still,
the ruined site of the Qal'a of the Banu Hammad, which are
tradition.
151
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1154), the vaulting of the domes of'the chapel of the Zisa (1165-
palaces of the Zisa (1165-80) and the Cuba (ca. 1180), and a
differ significantly.285
152
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In light of these various contentions, the muqarnas vaulting
neither overly refined nor ornate, and the geometry of the design
(fig. 32) is not particularly lucid. But at the same time, the
the quarter dome. Although all three examples may stem from a
source of inspiration.
153
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technique as it appears in the Maghrib, Ettinghausen and Grabar
write:
rare, but not unknown. The lost muqarnas of the Badiazza appear
one wonders if the technique could have spread into the koine of
154
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muqarnas at SS. Pietro e Paolo, as well as the vaults covering
the naos of the Cuba near Castiglione, may reflect the initial
one region.
155
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the bay, with its corner points aligned to the orthogonal axes of
Central apse. The form of the central apse, with its tall
two arched niches set within the central apse are part of the
156
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sanctuaries of Byzantine churches, they almost exclusively occur
within the north and south walls— but rarely within the main apse
157
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seen strictly as structural devices'that were integrated into the
central apse.293
Muslim building on the exterior. However, the final word has yet
the external feature that appear at Agrd, and one should not rule
158
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sources in southern Italy.294 Indeed, several aspects of the
into the bodies of the side aisles and western porch, which is
Moreover, the open entry leading into the western porch functions
of the design, with its towers rising only to the height of the
159
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gallery, which was probably open to" the exterior except to the
east.297
of the west facade and the Fatimid gates is equally plausible for
160
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the gates cited above are not bridged by a porch as at Agrd, they
of the Bab al-Futuh and the low gallery positioned between the
may have been included for defensive purposes, the fortified gate
would have provided an apt model. This is not to imply that two
161
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narthexes and exonarthexes that appear in Middle Byzantine
scale and dimensions, and the recessed panels that enliven the
wall surfaces are not unlike the flat recesses flanking the
not only set into the surface of the facade as at Agrd, but its
lateral walls contain deep recesses that are articulated with low
162
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Domes. In contrast to the similarity of the interior
the best comparisons to the major dome at Agrd are bahu and
domes are not uncommon, with examples dating back to the Aghlabid
306See Golvin, "Notes sur les ddcor," pp. 581-3 and figs. 1-
6; Margais and Golvin, pp. 32-6 and figs. 15-17.
163
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Cattolica at Stilo and S. Marco at Rossano (both 10th or 11th
Giovanni del Toro in Ravello (late 12th c.?)— which also contains
as on the interior.309
Cefalu and Trani, contain apses that rise above the interior
route to the church would certainly have been from the east along
164
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the bed of the river Agrd, and the solid form of the apse that
within its two main portals, located at the west and south
165
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assessment of the appearance of the'technique in Sicily, it is
that had been established in Sicily and southern Italy during the
166
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should not overlook the fact that the most extensive applications
316See Golvin, "Note sur les couples," pp. 100-05 and pis.
Ill and IV, who states that the polychrome banding is composed of
white stone and ceramic. Also see Slimane-Mostafa Zbiss,
"Documents d'architecture fatimite d'Occident," Ars Orientalis, 3
(1959), pp. 27-9; Hill and Golvin, pp. 95-6 and plates 111-13.
Although polychrome banding also appears in the arches that
articulate the drum and in the pumpkin dome of the cupola in
front of the mihrab of the same mosque, the decoration is painted
and bears no resemblance to the masonry construction. Moreover,
it has been suggested that the drum and dome of this cupola have
been largely rebuilt, probably during the 17th century. See
Golvin, "Note sur les couples," pp. 99-100.
167
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voussoirs related to those in the south portal of our church are
Messina (1166-89?).
in the south portal at Agrd, many scholars are convinced that the
318For Melfi, see Romano, pp. 34-6, and figs. 1-2; Kalby, pp.
85-7 and photographs 114-16. For the Palazzo Veniero, see ibid.
pp. 118-21 and photograph 171; Gabrieli and Scerrato, figs. 396-
7, p. 361; Kronig, II duomo di Monreale, pp. 209-10.
168
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the island, and the inlays of the south portal at Agrd are
applications.319
91) and the arches framing the southernmost openings of the piano
the Maghrib, and Egypt.321 The bahu cupola of the Great Mosque
squared exterior drum, and the other at the top of the interior
not limited to the Great Mosque, but appears with some frequency
169
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in other Ifriqiyan monuments, mostly in the vicinity of Tunis,
and south portals of SS. Pietro e Paolo have few parallels either
at both sites.
170
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date, as in the Casa in via Protonotaro (last quarter of 12th c.
monuments. Among the best comparisons are two examples from the
concave than at Agrd, not to mention the fact that, mouldings form
171
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Newton, Haltham-super-Bain, and Broadwell.327 The major
discrepancies between these tympana and that at Agrd are that the
in the twelfth century, its design may well be based upon Early
330Ibid.
172
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originally filled with colored mastic. Although the technique
the drum of the Theotokos church at Hosios Lukas (ca. 960), and
Arta (1283-6), the south church of the Lips monastery (13th c.),
Thessaloniki.333
JJlSee Boyd, pp. 313 ff., for the use of champlev6 in the 5th
and 6th centuries.
173
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The extent to which the technique was used in the West is
not clear, although it may have been used in Italy during the
continent.
174
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ruined, appears as if it may have originally been formed in a
Paolo, as the openings that they define lack the sense of detail
seen, the use of champlevd was not unusual in the Norman South;
the present fill was added at a much later date. However, the
175
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arabic frieze (12th c.) from the Palazzo Reale in Palermo.339
different languages.340
south and east facades of the nave and bema should be considered
but the combination of black lava and red ceramic tiles of the
176
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disseminated westward into southern' Italy, as in the Cattolica in
Indeed, one wonders if the subtle color pattern of red and black
ceramic and lava tiles, ceramic tiles are used alone in the
ceramic and light-colored stone tiles are found above the two
the arched recess above the south portal of the Annunziata dei
177
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Catalani in Messina (fig. 93) .344 In the final analysis, these
century.
main problem has emanated from the fact that at approximately the
and the facades of the Bab Mardum in Toledo (ca. 1000) .346
178
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By and large, there are two basic schools of thought as to
how the interlaced arcade emerged in the Norman south. The first
school— which bases its conclusion upon the early dates of the
proposes that the motif first made its way from Spain to France
frieze from the Qal'a of the Banu Hammad (begun 1010)— seem to
179
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support this theory.350 Yet, by dismissing the Normans as the
and more subtly integrated into the facades than many designs of
350For Ashir, see Golvin, Le Magrib, pp. 180-1 and ph. 13,p.
225; idem, "Le Palais," p. 70 and pi. 15, fig. 40. For the
Qal'a, see ibid, p. 70; L6on De Beyli6, La Kalaa des Beni-Hammad
(Paris, 1909), fig. 48, p. 64 and fig. 61, p. 71; Basile,
L farchitettura. fig. 21, p. 15.
180
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manner in which arcading wraps around the apses of the Cathedral
should also note that the slender proportions and extreme height
tiers.
the nave and bema at Agrd needs but little elaboration herfe.
tower) and Romsey, St. Mary the Virgin at Iffley, and the
351For the minaret at Tahuda, see Hill and Golvin, plate 198.
For Monreale, see Kronig, II duomo di Monreale, plates 18-20.
181
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Construction Methods and Materials:
are far removed from the date of our church, and the scattered
paragraphs.
182
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Pietro e Paolo at Itdla, S. Giovanni vecchio at Bivongi, and S.
buildings that survive from the Roman period are located in the
(1st third of 11th c.) and the Kubilidike (ca. 900 or 11th c.) in
183
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construction at Agrd.356 However, in Greece the individual
blocks that make up the stone course are almost always framed to
184
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Valle d'Agrd. For instance, the ruined church of S. Nicola di
185
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builders of this region.364 It is possible that the
the two areas. In fact, upon the capture of the Algerian city by
practices are the dog-tooth friezes that occur within the wall
186
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of Middle Byzantine Greece, such as* the Kubilidike in Kastoria,
hand, the mixed rowlock and shiner bands the appear on both the
the exterior facades of the east end (fig. 94). Otherwise, the
shiners.368
this is true, the solid bands of black lava ashlars that run
187
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ascertain, this technique is without parallel in the architecture
that used in the western part of the island. Even in the late
188
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domes are covered with cement, I would not expect to find any
189
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are composed of sandstone bases and'capitals, as well as lava
arcades of the exterior facades at Agrd are bonded into the wall
white limestone and black lava blocks are included within the
190
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the exterior interlace of our church combines local and Campanian
traditions.
areas between the chevrons set flush with wall appears in the
191
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the apse of the Panaglia at Rossano^ Therefore, this device is
methods of the west and south portals, I would like to offer only
192
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CONCLUSION
conclusion to be drawn.
Sicily.
193
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tradition that was probably aligned to architectural developments
in Ifriqiya and the Maghrib from the Fatimid period onward. Such
194
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At this point, perhaps some conclusions can be made
e Paolo, who would have been responsible for the plan of the
the central bay of the naos seem to indicate that the planner was
Regardless, the twin towers that define the west end of the
towers seems to dispute any suppositions that the plan could have
Pietro appears to have adopted the use of the domed bema, domed
195
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master of our church is best considered as having gained the bulk
Sicily.
who were charged with the more menial tasks, such as the digging
196
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forms of these elements are, for the most part, best related to
This not only works well with our conclusions that the entrances
were added to the building at a later date, but perhaps also give
which time such influences could have already been absorbed into
197
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indicates that the style employed was on the verge of postdating
198
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II and the official recognition of his title in 1139 by Pope
199
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As pointed out by Kronig in the introduction to his book on
Norman Sicily has been focused almost entirely upon the monuments
period.
200
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Within the broader perspective of medieval architecture, the
Mediterranean.
201
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
ILLUSTRATIONS
fcSfcSS';hsSfilSW&kj&Mf
;tY*'it s^^^vr&sivtfv-w-f
MARE'
202
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
H
+ A H£ ) K N IC6K vy A A ("fr TT £ i r i r CT
P ftK A T O ^ M fT o V A TTOdt K £ T
U) 'A A, ft A a w m a tm i t C e e t 'H A O K c " e T^ x tr
203
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
portal.
of west
Lintel
d'Agrd:
e Paolo
S S . Pietro
3.
Fig.
204
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
south.
from
view
Distant
d'Agrd:
e Paolo
S S . Pietro
4.
Fig.
205
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
m
CP
•H
Pm
206
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Plan.
d'Agrd:
e Paolo
Pietro
SS.
C
6.
JS
Q.
Fig.
207
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Basile).
(after
section
Longitudinal
d'Agrd:
e Paolo
S S . Pietro
1.
Fig.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission
i •»
2 3 4
209
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
4U
"T
2 3 4
210
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
west.
looking
Nave,
d'Agrd:
e Paolo
S S . Pietro
10.
Fig.
211
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
south.
looking
arcade,
Nave
d'Agrd:
e Paolo
S S . Pietro
11.
Fig.
212
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
northwest.
from
viewed
Nave,
d'Agrd:
e Paolo
SS. Pietro
12.
Fig.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
of apse.
conch
into
east
looking
Nave,
d'Agrd:
e Paolo
S S . Pietro
14.
Fig.
215
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
nave
of
wall
West
d'Agrd:
e Paolo
S S . Pietro
15.
Fig.
216
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
nave.
from
viewed
Bema,
d'Agrd:
e Paolo
S S . Pietro
16.
Fig.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
northeast.
looking
apse,
and
Bema
d'Agrd:
e Paolo
SS. Pietro
17.
Fig.
218
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
east.
from
up
looking
Nave,
d'Agrd:
e Paolo
SS. Pietro
18.
Fig.
219
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
cupola.
of minor
vaulting
muqarnas
and
arch
Triumphal
d'Agrd:
e Paolo
SS. Pietro
19.
Fig.
220
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
cupola.
major
into
looking
clerestory,
d'Agrd: North
e Paolo
SS. Pietro
20.
Fig.
221
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
northwest.
from
viewed
cupola,
d'Agrd: Major
e Paolo
S S . Pietro
21.
Fig.
222
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
recess.
circular
and
of tympanum
detail
portal,
South
d'Agrd:
e Paolo
S S . Pietro
22.
Fig.
223
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
aisle.
south
of
bay
1st
of
wall
in outer
area
Patched
d'Agrd:
e Paolo
S S . Pietro
23.
Fig.
224
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
225
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
tomb
into
looking
west,
north
from
viewed
apse,
Central
S S . Pietro e Paolo d'Agrd:
of south pastophory.
25.
Fig.
226
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
cupola.
major
into
west
looking
Nave,
d'Agrd:
e Paolo
S S . Pietro
26.
Fig.
227
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
corner.
northwest
into
up
looking
Nave,
d'Agrd:
e Paolo
S S . Pietro
27.
Fig.
228
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
view.
general
cupola,
Major
d'Agrd:
e Paolo
SS. Pietro
28.
Fig.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
230
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
231
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
view.
general
cupola,
Minor
d'Agrd:
e Paolo
SS. Pietro
31.
Fig.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Fig. 32. SS. Pietro e Paolo d'Agrd: Plan of muqarnas vaulting of
minor cupola.
233
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
234
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
west.
toward
up
looking
aisle,
of north
bay
Western
d'Agrd:
e Paolo
S S . Pietro
34.
Fig.
235
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
bema.
from
vaulting
into
up
looking
pastophory,
North
d'Agrd:
e Paolo
S S . Pietro
35.
Fig.
236
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
west.
from
vaulting
into
up
looking
pastophory,
South
d'Agrd:
e Paolo
S S . Pietro
36.
Fig.
237
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
portal.
North
d'Agrd:
e Paolo
S S . Pietro
37.
Fig.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission
aisle.
of north
bay
2nd
of
wall
in outer
Recess
d'Agrd:
e Paolo
S S . Pietro
38.
Fig.
239
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
aisle.
south
of
bay
of 3rd
wall
in outer
area
Patched
d'Agrd:
e Paolo
S S . Pietro
39.
Fig.
240
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
.“V ,
facade.
\\
CD
B) East
■D
CO
O
(0
facade;
co I
CO 1
CD
A) West
d'Agrd:
Paolo
o
p
□ 0 -p
~G 0)
co •H
CL.
o
co CO
CO
0
0 O
CT>
•H
fa
241
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
£
0 facade.
North
d'Agrd:
e Paolo
~a
o
0
S S . Pietro
o
c
41.
Fig.
242
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
mum
5P.mi!
ntTon l rc
south facade
Fig. 42. SS. Pietro e Paolo d'Agrd: South facade
half.
lower
facade,
d'Agrd: West
e Paolo
S S . Pietro
43.
Fig.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
246
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
247
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
southwest.
from
porch
into
looking
end,
West
d'Agrd:
e Paolo
S S . Pietro
47.
Fig.
248
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
vaulting.
into
up
looking
porch,
West
d'Agrd:
e Paolo
S S . Pietro
48.
Fig.
249
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Fig. 49. SS. Pietro e Paolo d'Agrd: West porch, north end wall.
250
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
o
tr>
O'
•H
tu
251
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Fig. 51. SS. Pietro e Paolo d'Agrd: West portal, detail of north
jamb.
252
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
«Vgq ) ^ni|-]>i-— (
253
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
west.
from
viewed
aisle,
d'Agrd: North
e Paolo
S S . Pietro
53.
Fig.
254
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
west.
looking
gallery,
North
d'Agrd:
e Paolo
S S . Pietro
55.
Fig.
256
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
construction.
of wall
detail
gallery,
North
d'Agrd:
e Paolo
S S . Pietro
mm
56.
Fig.
257
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
corner.
west
of upper
detail
gallery,
North
d'Agrd:
e Paolo
S S . Pietro
57.
Fig.
258
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
cornice.
of
detail
gallery,
North
d'Agrd:
e Paolo
SS. Pietro
58.
Fig.
259
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
facade.
South
d'Agrd:
e Paolo
S S . Pietro
59.
Fig.
260
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
261
R eproduced w ith perm ission o f the cop yrig ht ow ner. F urthe r rep rod uction prohibited w ith o u t perm ission.
Fig. 61. SS. Pietro e Paolo d'Agrd: South portal.
262
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
jamb.
of
detail
portal,
South
d'Agrd:
e Paolo
S S . Pietro
62.
Fig.
263
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
west.
looking
gallery,
South
d'Agrd:
e Paolo
S S . Pietro
63.
Fig.
264
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
of cornice.
detail
gallery,
South
d'Agrd:
e Paolo
SS. Pietro
64.
Fig.
265
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Fig. 65. SS. Pietro e Paolo d'Agrd: East end.
266
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
267
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Fig. 67. SS. Pietro e Paolo d'Agrd: East end, south apsidiole.
268
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
of nave.
roof
from
viewed
cupola,
Minor
d'Agrd:
e Paolo
S S . Pietro
69.
Fig.
270
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
socle.
of
detail
facade,
South
d'Agrd:
e Paolo
SS. Pietro
70.
Fig.
271
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Fig. 71. SS. Pietro e Paolo d'Agrd: North gallery, detail of
window.
272
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
crenelation.
of westernmost
detail
gallery,
North
d'Agrd:
e Paolo
S S . Pietro
72.
Fig.
273
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Fig. 73. Lojacono's proposed reconstruction for the west end of
SS. Pietro e Paolo d'Agrd ("II restauro," fig. 18).
274
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Fig. 74. My proposed reconstruction for the west of S S . Pietro e
Paolo d'Agrd.
275
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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
of church.
gallery
south
from
viewed
cloister,
South
d'Agrd:
e Paolo
S S . Pietro
76.
Fig.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
south.
from
viewed
wing,
of east
portal
cloister,
South
d'Agrd:
e Paolo
S S . Pietro
77.
Fig.
278
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
SS. Pietro e Paolo d'Agrd: South cloister, ruined section of east wing, viewed
from northeast.
Fig. 78.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
of
corbels
and
beams
of wooden
detail
cloister,
South
d'Agrd:
SS. Pietro e Paolo
east wing.
79.
Fig.
280
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
east.
from
viewed
wing,
of east
arcade
cloister,
South
d'Agrd:
e Paolo
SS. Pietro
80.
Fig.
281
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
south
behind
to terrace
leading
stairs
cloister,
South
SS. Pietro e Paolo d'Agrd:
wing, viewed from east.
81.
Fig.
282
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
from
viewed
wing,
of west
buildings
cloister,
South
d'Agrd:
e Paolo
S S . Pietro
east.
82.
Fig.
283
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of church.
gallery
north
from
viewed
annex,
North
d'Agrd:
e Paolo
S S . Pietro
83.
Fig.
284
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
east.
from
viewed
wing,
south
of
wall
west
annex,
North
d'Agrd:
e Paolo
SS. Pietro
84.
Fig.
285
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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Fig. 85. S S . Pietro e Paolo d'Agrd: North annex, northwest and northeast wings, viewed from
northwest.
northeast.
from
viewed
wing,
northeast
annex,
North
d'Agrd:
e Paolo
SS. Pietro
86.
Fig.
287
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bema.
above
of dome
view
Interior
S. Pietro:
Mili
S. Maria,
87.
Fig.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
of
wall
south
and
of vault
view
Interior
Sicilia:
di
Castiglione
near
Cuba,
The
88.
Fig.
289
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Large Rifat, Monastic: Porch of south portal.
Fig. 89
290
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facade.
West
Rometta:
mm.
S. Salvatore,
90.
Fig.
291
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
facade.
of north
of windows
Detail
Messina:
Catalani,
dei
Annunziata
91.
Fig.
292
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Fig. 92. Private Casa, Gerace: Detail of bifora windows.
293
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portal.
south
of
Detail
Messina:
Catalani,
dei
Annunziata
93.
Fig.
294
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
southeast.
from
viewed
end,
Stilo): East
(near
Bivongi
vecchio,
S. Giovanni
94.
Fig.
295
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Fig. 95. Palazzo S. Stefano, Taormina: South portal.
296
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APPENDIX 1
[p. 1039]
Notitia Decimaquinta
SS. Petri et Pauli de Agro, Olim De Agrilla
297
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meo dari ipsi impensam suffieientem’pro monasterio reaeaificando:
qui cum recepisset, statim cum maxima dilgentia, ac summa
solertia, Deo savente, ad perfectionem reduxit, virosque
virtuosos monachos, & clericos, congregavit, & monasterium de
integro constituit & ut spiritualiter vivant, & ne sint dediti
mumdanis curis, quibus ab officio divino alienentur, introitum
certorum fundorum in praedicto flumine Agryllae donamus praedicto
sancto monasterio; cujus termini ita se habent, & incipiunt &
mari fluvii Agryllae ascendendo per eumdem fluvium usque ad
vaiionum capitis Nasidae Sancti Sonufrii. Inde ascendendo per
eundem vaiionum, & ferit in serram sitam super Pitariam,
illincque descendit usque ad caput magna talamurdae sitae super
membrachium, & ferit ad vicum monachorum. Illincque ascendit per
serram ex Occidentali parte de Scharri, & ferit ad fluvium
Agryllae, illinc transit per eundem fluvium usque ad Cannaverium,
& ferit ad serram de Calathames. Et ascedit per eandem serram, &
ferit super quandam serram de Aloga. Illinc finit ad Cancellum,
inde descendit ad fluvium usque ad mare, & procedit per boream
mare mare usque ad fluvium Agryllae, unde intium fecimus. Igitur
infra hujus modi terminos, qui sunt montes glandium, pascua
animalium, campiculti, & inculti, arbores fructiferae, &
infructiferae, fluxus aquarian ad conficienda molendina, &
battinderia, & alia ad apta. Donavimus praedicto monasterio, ut
habeat penitus libera, & exempta ab omni molestia, & turbatione
aliqua. Praeterea donamus praedicto monesterio vicum Agryllae
positum infra praedictum terminum cum omnibus hominibus in ipso
habitantibus, ut faciant servitia necessaria monasterio,
ubicumque sint, & ab eis poscere debitum servitium, videl.
angariam, scharisciam pro effodiendo, metendo quilibet dictas
vigintiquatuor, in seminando quidlibet par bovum duodecim dies, &
duas gallinas in festivitatibus Nativitatis Christi, & Paschae,
decimam onmium caprarum, & porcorum suorum; & judicari, &
condemnari sub dominio Abbatis monasterii, & potestatem habere
super eos, & chm in delictis inciderint, & ligandi, &
flagellandi, & in compedibus manendi, reservata tamen poena
homicidii Curiae nostrae Majestatis. Sint praetera iidem homines
in principalibus festivitatibus Nativitatis, & Resurectionis
Domini nostri Jesu Christi obnoxii & obligati facere penit, &
omnino venationes pro amore spiritualium amicorum monasterii, &
praecipu^ in pretiosa festivitate SS. Apostolorum Petri, & Pauli.
Similiter ex debito in omni ministerio, & sevitio, ac etiam in
tempore vindemiarum quilibet afferat unum circulum pro vegetibus
ipsius monasterii. Sint ergo ex nunc & monasterium, & ejus
villae homines liberi, & exempti ab omni portatione lignorum pro
aedificatione murorum, & arcis; & ab omni altera questione, &
molestia. Praeterea praecipimus, ut praedictum monasterium
annuatim habeat, & consequatur ex piscatione Oliverii octo
barrilia tonninae, & habeat barcham liberam ob omni vectigali, &
solutione in omnibus portibus totius Siciliae, & in tholomo
Messanae tarn per terras, [p. 1040] qu&m per mare; & omnia, que
deferuntur, & efferuntur pro monasterio, sint penitus libera.
Praeterea volumus animalia ejusdem monasterii pascua habere per
omne territorium terrae Tauromenii; & tenae Trahynae libera, &
exempta. Praeterea donamus eidem monasterio Eccl. Sancti
Theodori de Ambre, sitam, & positam in territorio Tauromenii sic
terminatam: incipit & scala k vallono Brittuni & ascendit per
298
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eunden vaiionum, finit in buccolio,'& illinc ascendit per
vaiionum de Sanida, & finit ad ariam de Piscarina. Illincque
ascendit per serram serram, & finit super plectrum. Illincque
descendit per Traccola, & finit ad vaiionum Thimoniate, illicque
descendit per vaiionum, & finit ad Aconim, illincque ascendit per
vaiionum Castania & finit ad rubeum collem ad serram. Illincque
descendit per Orientalem partem ad scalem de Schamoti ad
cancellum, illincque descendit per Cymam serri, & finit ad scalam
de Victuma super Trapesium, illic descenti per serram serram, ad
lapidem rubeum, ad scalam de Brittuni, unde initium fuit. Igitur
omnia loca domestica, & agrestia sita, & posita infra praedictum
terminum, preaterea sint pro dicto monaster, ad operationem, &
utilitatem ejus in glandibus. Igitur hujus modi termini vclumus,
qudd monasterium pasceret centum porcos, & haberet finit ulla
molestia k nostris officialibus; & ita perpetud pascere.
Similiter domanus k fluvio Canterae in territor. Schagi locum, &
territorium, ut monasterium possit aedificare molendinum, &
habere possissionem aquae ab eodem fluvio perpetud & absque
aliquo impedimento. Similiter campos sitos, & positos illic, qui
ita terminatur, & incipiunt k praedicto fluvio k scala de Schagi,
& ascendunt per viam Regiam usque ad fluvium de Granitis; inde
descendunt ad fluvium della Cantera, & ascendunt per fluvium ad
scalam de Schagi, & ibi includuntur. Haec superius annotata
concessimus, & donavimus perpetud praedicto monasterio SS.
Apostol. Petri, & Pauli de Agrd. Et si quis contra praedicta
praesumpserit, nostram, & nostrorum haeredum, & successorum
indignationem patiatur, & pro declaratione, & affermatione
praedictorum, praesens sigillium est datum in mense Occtobri anno
6625. ind. 9. Coeterorum subsequentium Abbatum nomina non lego;
sed tantum."
c nos supr.
299
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5. Fr. Barsanophrius de Comite ex monasterio Basil. Xiglio
in Calabria hue per regiam Alphonsi presentationem Cesarauguste
23. martii 1425. in Cane. ult. julii 3. ind. f. 470. transfertur.
10. Fr. Jacobnm de Mili voluit Rex Abbat. fed respuit PP.
Coelestinus III. Prot. ann. 1457. f. 50. fitque deinde Mili Abbas
S. Savatoris de Placa ejusdem oridinis.
e In es not.
300
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14. D. Alphonso de Aragonia sub notho filio, ut ex litteris
apud Proton, lib. ann. 1489. fol. 50. Anno verd 1488. ex paterna
facultate in seccessoris gratian resignavit.
301
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fratre. Obiens an. 1583. ind. 12. uncias tantum 30. ex spolio
reliquit in lib. Con. serv. eo an.
302
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defignatus. At ingravescente morbo'17. Novembris 1709. vivere
desiit magno ctim bonorum dolare; & in Ecclesia Societatis Jesu
sepultus est.
303
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A P P E N D IX 'II
CATALOGUS RELIQUIARUM
304
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Duo fragmenta ossium S. Sergii M.
Ex ossibus S. Laurentii M.
Ex ossibus S. Ursulae M.
Ex ossibus S. Emiliani.
Ex ossibus S. Demetrii M.
In alio reliquiario ligneo sub auro asservantur reliquiae
sequentes:
Brachium integrum S. Theodori M.
Digitus S. Philareti M.
Ex ossibus S. Bartholomaei Apostoli.
Fragmentum ossis S. Basilii.
Ex ossibus S. Luciae V.M.
Ex ossibus S. Pantaleonis M.
Ex ossibus S. Nicolai Mirensis.
Ex ossibus S. Pancratii.
305
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Salinas, Antonio. "Nota sulla iscrlzione greca del monastero dei
SS. Pietro e Paolo," Notizie deqli Scavi di Antichit&, (Jan.
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Giunta, Francesco. Bizantini e. bizantinismo nella Sicilia
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Norwich, John Julius. The Normans in the South. 1016-1130.
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Waern, Cecilia. Mediaeval Sicily. 'Aspects of Life and Art in
the Middle Ages. London, 1910.
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Epstein, Anne Wharton (Annabel J. Wharton). "The Middle
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Muqarnas. 1 (1983), 37-52; pt'II, "The Mausolea," ibid, 3
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Bologna, Ferdinando. II soffitto della Sala Magna all Steri di
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di archeoloqia e di storia dell'arte. 6. Catania, 1967, 92-
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Kronig, Wolfgang. _I1 castello di Coronia in Sicilia. Un
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Ryolo, Domenico. "I bagni di C e f a i y , " Sicilia Archeoloqica.
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VITA'
Awards and
Honors: Dumbarton Oaks Junior Fellowship, Center for
Byzantine Studies, Washington D.C., 1990-91.
329
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