Basilica di Santa Maria Assunta, Aquileia

The Romanesque basilica of Santa Maria Assunta of Aquileia is the main church of the Italian city of Aquileia and a UNESCO World Heritage Site.

History

In the 11th century, to be today 's most important building was built in Aquileia. The then Patriarch Poppo came from Germany and was the model for the new church architecture from Lower Saxony to Italy. 1021-31, the Basilica of Aquileia was modeled after the Michael's Church in Hildesheim, which was built in 1010-33, is therefore only ten years older. A crucial difference, however the German model: St. Michael in Hildesheim is a system for double and has an east and a west choir, giving the whole structure is a majestic symmetry. This did not correspond to the Italian sense of form; probably existed for a west apse also liturgically no need. In Aquileia no western choir is present. For a Campanile was built.

Architecture

The porch dates from the 9th century. She was a connection to the former baptistry, baptistery from the 5th century. The facade is designed in Romanesque- Gothic style. The interior consists of a nave and two side aisles. The nave shows the typical Roman elevation here but with very small windows. The dimensions of the basilica are remarkable with a length of 65.50 m, a width of 30 m and a height of 23 m for the construction period.

The wooden ceiling dates back to 1526th The mosaics date from the 4th century, the frescoes from various periods, from the early Christian period to the 12th century.

The mosaics

Aquileia is famous mainly for its floor mosaics, which are from different eras and in several layers one above the other. The largest area dates from the time of Bishop Theodorus to 300, they are therefore called the theodorischen mosaics. The later buildings of the 11th century were still set on this theodorischen mosaics.

The underground base of the Campanile, which was exposed together with the mosaics, can be visited. You can visit on glass ribs and the now slightly wavy underground terrain here. The weight of the tower has made over the years that the bottom has fallen somewhat below it.

The North Hall here at Campanile had 645 m² mosaic floor with geometric shapes and animals in stressed peaceful attitude. The calm attitude to symbolize the character of peaceful coexistence in the spirit of the new Christian religion. It is discussed very careful about this in the literature, which meanings could condense in these forms, because we do not always have sufficient news about the picture meanings of the early Christianity.

For example, there are in an octagon a fight between a turtle and a tap in the eternal struggle between light ( tap) and shadow ( turtle) symbolizes. The cup above the column should be the victory prize. This was a favorite representation also of the pagan religions in which an immediate comprehensibility of icons was estimated.

The younger mosaic floor works with purely geometric ornamental design of the after - theodorischen phase, which can not be dated exactly. Theodorus had acquired a Roman villa around the year 300 around to build on that site its halls. The mosaic floor of the Roman period was filled with earth and was therefore preserved. He is seen here at a few points because the early Christian mosaic is higher. But he's probably under this still largely present. Outside the church area on the other side of the road today you can still see Roman mosaics on the other hand well.

The most important mosaic of the entire system can be viewed in the nave of the cathedral. It covers the entire floor of the basilica. These Christian mosaics were uncovered until 1909-12 and the entire church floor was then laid deeply. It had in fact also again heaped in the 11th century during the construction of the Basilica Earth - and build the new facility on this about half a meter thick layer. It can be seen on the pillars of the nave, that they are standing on square pedestals. This is the amount of the former soil was lower.

These columns do not look so vain Roman. There are spolia, so re-used columns. So you are not prepared for this building specifically, but was taken over from an earlier Roman construction.

Covering an area of ​​750 m², this huge mosaic floor, which is divided into a total of nine Fields that belong together extends. The individual stones are not colored, but selected according to their natural color. A median strip divides the range approximately in the middle of the church.

In the middle right is the Victoria christiana, so the symbol of the victorious Christianity. Shown is a blonde girl who presents a laurel wreath with his right hand. It has blue wings and in his left hand a palm branch. All around are donations for them: flowers, fruits and grapes. Here, then, the classical goddess of victory Nike and Victoria has been transformed antiquity in a Christian interpretation. This process of a Christian reshaping of ancient motifs can also be observed in Ravenna, and many other early Christian sites.

Then follow extracts from the Jonas legend, the central theme of the whole mosaic. The point of the story refers to the Christological motifs death ( Swallowing of Jonas ) Resurrection ( Ausspeiung of Jonas ) and Assumption ( Dream of Jonas ), is framed by ancient fishing scenes; 12 angel fish from a sea of ​​life-like fish that are attributed to the Master of the sea.

A number of different fish populated the scene. When at the beginning of the 20th century began the excavations, and thus the mosaic floor was found, it was felt to have exposed the bottom of an imperial palace. But when we arrived at this biblical scene of Jonah, knew that it could only be a early Christian building.

In the left center is a replica of a grave stone that covered the tomb of Patriarch Poppo, who died 1042. Obviously, to the existing mosaic floor has been broken here. In the middle of the right edge you can see an inscription, which is crowned by the Constantinian monogram of Christ. The inscription recalls that all this work was produced under the bishop Theodorus. It reads in translation: " Hail to you, Theodorus! With the help of the Almighty and the flock entrusted to you from the sky you've got everything running happily and gloriously inaugurated. "

The text suggests that the inscription had been installed after the death of Theodorus 319. For historians, this is the first document of an organized Christian community consisting of a bishop and the faithful in Aquileia.

Entering the mosaics and use of flash is prohibited. Extra carpet are temporarily placed on the mosaic for the public. The mosaic floor is not flat and smooth as it looks in the photos that have been taken directly from above with vertical illumination. He is extremely wavy on the contrary.

In the right aisle there is a " box - organ " of the late 19th century, which was manufactured by the Wiener organ builder Johann Kauffmann.

The Maxentische crypt

This has " Maxentische crypt " said space of the 9th century frescoes on its walls from the second half of the 12th century in the Byzantine- Venetian style. The topics presented are the sufferings of Christ and the history of St. Hermagoras, the first martyr of Aquileia.

The quality of preservation of these frescoes is exceptionally good. Normally moisture damage shall, inter alia, that are preserved only remnants of paintings in this area, if at all. The Byzantine influence is not to be overlooked, especially in the scene of the Cross.