The Architecture Of The Basilica Of San Francesco d'Assisi - Research Paper Example

The Architecture Of The Basilica Of San Francesco d'Assisi The Basilica of San Francesco d'Assisi or as it was inscribed in the World Heritage List “Assisi, the Basilica of San Francesco and Other Franciscan Sites” is the burial place of St. Francis and serves as the mother church of the Franciscan Order. It also serves as one of the most important places of Christian pilgrimage in Italy and has been enlisted in 2000 as one of the World Heritage Site by the United Nations Educational, Scientific and Cultural Organization (UNESCO). World traveler Els Slots stated Assisi as “praised as an authentic Umbrian hill town, a sanctuary, for its art and architecture in the Basilica of San Francesco, and for the influence of the Franciscan order in the world.” Panorama of Assisi (Wikipedia) LOCATION AND HISTORY Assisi, a medieval small city built by the Early Romans on a series of terraces on the western side of Mount Subasio, is most known throughout the world as the birthplace of St. Francis, the founder of the Franciscan order; St. Clare, the founder of the Poor Clares; and another religious figure Saint Gabriel of Our Lady of Sorrows. The timeless beauty of this Italian city is mainly due to numerous architects, artists, masons and stonecutters of the Middle Ages from which the modern dwellers never tampered with. Assisi which derives 80 percent of its revenue from tourism is Italy's fourth most popular tourist destination after Rome, Venice and Florence. One of the historical buildings which give Assisi its timeless appeal is the 13th century Basilica of San Francesco. The Basilica, which stood on the hillside land donated by Simone di Pucciarello, was built immediately after St. Francis’ canonization in 1228 and was completed in 1253. It has two churches namely the Basilica Inferiore (the Lower Church) which was finished in 1230, and the Basilica Superiore (the Upper Church) which was constructed from 1239 to 1253. The crypt in the Lower Church to house the sacred relics of St. Francis was added in 1818 when the tomb of St. Francis was opened. Pope Gregory IX himself laid the foundation stone on the 17th of July 1228, and Pope Nicholas put the Basilica to papal church status on 1288. In 1253, Pope Innocent IV blessed the two churches before the fresco work in the interior of the basilica was started. The construction of the Basilica did not end in 1253. A number of additions was constructed in the coming years and even centuries later like: another entrance in front of the gothic entrance that stood above the Lower Basilica was added in 1487; the colonnade in the lower square and the oratory opposite the entrance to the Lower Church was built in the 15th century; alterations in the interior were also done in the 17th century; the benediction loggia on the left side of the facade was added when the church was raised to the status of basilica in 1754; and a number of minor and major additions and alterations were executed throughout the years. This grand Basilica, a testament of many centuries of architecture and design, would have shocked the gentle saint, who believed that “even the Church should look poor” (Strange 96). The Basilica, which also contains early Renaissance frescoes depicting the life of St. Francis, stood the test of time until it was badly damaged by an earthquake on the 26th of September 1997. It killed four people inside the church when part of the vaulted ceiling with fresco by Cimabue collapsed. The restoration for the Basilica took around two years and was closed for the public during this time. Façade of Basilica of San Francesco (Euroatlas) THE ARCHITECTURE AND THE FRESCOES The architecture of the Basilica of San Francesco d'Assisi, designed by a follower of St. Francis Brother Elia Bombadone, is a reflection of the styles of the Middle Ages: the Romanesque and Gothic styles. The original design of both the Upper and Lower Churches is a simple cruciform plan, a typical characteristic of Italian Gothic architecture. But with additions and alterations with its structure and interior throughout the centuries, the original design evolved to the grand edifice it is seen today. The way that the two churches of the Basilica is laid out looks like two churches resting on an immense archway and opening up to a vast esplanade that serves as pilgrimage ground. A number of structures can also be seen around the churches like the campanile and the friary Sacro Convento with its imposing walls with its powerful buttress and 53 arches in Romanesque style. Beneath the Lower Church is the crypt wherein a simple stone tomb containing the sacred relics of St. Francis is located. The simplicity of the grave reflects the principles which St. Francis lived on but is contrary to the grandeur of the edifice around it. The decorations inside the Basilica are a showcase of magnificent Renaissance frescoes that is considered as a great example of western art. An array of masterpieces from various leading artists of the time which include the cycle of 28 frescoes on the life of St. Francis pained by Giotto di Bondone, more wall frescoes from Giovanni Cimabue, and other artists like Pietro Cavallini, Simone Martini amongst others are magnificently displayed in its walls and ceilings. Ceiling Fresco Collapsing (National Geographic) THE EARTHQUAKE AND THE RESTORATION On September 26, 1997, twin earthquakes shook the town of Assisi causing the 13th century frescoed vaulted ceiling of the Upper Church of the Basilica of San Francesco to collapse. The twin earthquakes with a time difference of nine hours are measured 5.5 and 5.7 respectively on the Richter scale. The second earthquake killed two Franciscan friars and two art restoration experts who were beneath the frescoed ceiling examining the damage caused by the first earthquake. A week after the twin earthquakes, another earthquake measuring 5.1 on the Richter scale, has brought down part of the Basilica’s campanile and has caused further damage in the main façade’s tympanum. This tympanum, an ornate rose window, has been called "the eye of the most beautiful church in the world" (Bellucci 82). Thus, great effort is given to save it from crushing on the already damaged Basilica. Federico Zeri, Italy's leading art historian, has blamed the poor restoration work replacing the original wooden joists and roof supports with reinforced concrete done in the 1950s and 1960s for compromising the structure of the basilica. On a news article written by Johnston Bruce, Mr. Zeri stated that the replacement made the structure heavier and more rigid, thus eliminating the Basilica’s ability "to withstand earthquakes which it has done for 1,000 years." To counter Zeri’s comment, the architect-in-charge of the restoration in the 60s Lorenzo de Angelis, as written by reporter Richard Owen, said that the decision to use cement was deliberated for a long time and implemented “on the ground that there was a greater danger from fire than from earthquakes” since as per Assisi’s history, destructive fires had devastated the city. Restoration works, manpowered by volunteers and experts, are very intensive, tedious, painstaking, and clearly a labor of love. Italy’s foremost art restorer Guido Botticelli said “the damage was greater because the frescoes had fallen from the ceiling rather than the walls, and it would take years to piece together surviving colored fragments,” as stated in a news report by Richard Owen. At a later period, the art experts have approximated that at least 20 percent of the ceiling fresco by Giotto and Cimabue is lost forever. The lost is due not only through human errors like clumsiness but also through art theft. Furthermore, on an article entitled “Looters Pillage Church Art in Assisi,” Signor Paolucci stated that even if restorers can lovingly save the tiny surviving fragments of the fresco, “the frescoes will never be the same again.” During this trying time to Italian’s cultural heritage, European Commission and the European Parliament also contributed hundreds of million lire. Experts from the British Museum and the Louvre have also offered their help in the restoration work. Even leading Italian fashion designers like Armani, Ferre and Versace have also contributed sizeable sums. The Italian government has set aside hundreds of million lire to aid the restoration work and in order to avoid damages to cultural heritage during earthquakes and other environmental hazards has established a Risk Map of Cultural Heritage in Italy by the Istituto Centrale per il Restauro in Rome. As stated in UNESCO’s World Heritage: Challenges for the Millennium, the project aims to: predict the most urgent preventive measures, in relation to the environmental conditions of Italy’s cultural heritage, and time/cost effectiveness of available preventive measures; improve the Italian authorities’ capabilities in focusing their spending on preparedness measures that would be most likely to benefit heritage; and develop systems and methods to enable maintenance. UNESCO AND THE WORLD HERITAGE SITE In 1989, the application to make the Basilica of San Francesco enlisted in UNESCO’s World Heritage Site was rejected due to requirements not meeting the criteria. In 2000 as reported in the 24th session of the committee, UNESCO collectively designated the major monuments and the cultural landscape of Assisi as a World Heritage Site. This World Heritage Site is named “Assisi, the Basilica of San Francesco and Other Franciscan Sites.” UNESCO described that “Assisi represents a unique example of continuity of a city within its environmental setting and territory.” UNESCO inscribed the Basilica and the other Franciscan sites in Assisi on the basis of five (5) criteria: Inscription N° 990 2000 C (i) (ii) (iii) (iv) (vi) Criterion (i): Assisi represents an ensemble of masterpieces of human creative genius such as the Basilica of San Francesco, which have it a deep fundamental reference for art history in Europe and in the world. Criterion (ii): The interchange of artistic and spiritual message of the Franciscan Order has significantly contributed to developments in art and architecture in the world. Criterion (iii): Assisi represents a unique example of continuity of a city-sanctuary within its environmental setting from its Umbrian-Roman and medieval origins to the present, represented in the cultural landscape, the religious ensembles, systems of communication, and traditional land-use. Criterion (iv): The Basilica of San Francesco is an outstanding example of a type of architectural ensemble that has significantly influenced the development of art and architecture. Criterion (vi): Being the birthplace of the Franciscan Order, Assisi has from the Middle Ages been closely associated with the cult and diffusion of the Franciscan movement in the world, focusing on the universal message of peace and tolerance even to other religions or beliefs. CONCLUSION The construction of a grand Basilica is a big contrary to the simple and Spartan principles from which St. Francis lived on. St. Francis is remembered as a lover of peace, nature and the simplicity of life. Brother Leo, one of the first followers of St. Francis, had disliked the construction of the Basilica arguing that its grandness is contrary to the principles of the saint who believed that “even the Church should look poor” (Reader’s 96). He further prophesied that such grandness will eventually fall down. But the beauty of Assisi, the Basilica of San Francesco and Other Franciscan Sites has artistic and spiritual messages to convey. As Italy’s former minister of culture Antonio Paolucci have stated on a news article by Richard Owen, "The Basilica of St Francis is not only one of the most precious Christian buildings in the world, and a symbol of peace, it contains some of the most important paintings in the history of art." Works Cited “Basilica of San Francesco and Other Franciscan Sites.” Citta E Siti Italiani Patrimonio Mondiale UNESCO. 1995. 26 Apr. 2009. Belluci, Gualtiero. Assisi, Heart of the World. Assisi: Edizione Porziuncola, 2001. Print. Fantasy. “Assisi Panorama.” Wikipedia. Sept. 2004. 24 April 2009. Johnston, Bruce. “Frescos damaged beyond repair by earthquake.” Telegraph of London. 29-30 Sept. 1997. Museum Security Network. The Netherlands. 26 Apr. 2009. “Looters pillage church art in Assisi.” 29-30 Sept. 1997. Museum Security Network. The Netherlands. Owen, Richard. “Assisi Battles to Save the Frescoes.” Times of London. 11 Oct. 1997. Museum Security Network. The Netherlands. 26 April 2009. Owen, Richard. “Damage at Assisi blamed on work in 1960s.” Times of London. 29-30 Sept. 1997. Museum Security Network. The Netherlands. 26 April 2009. Owen, Richard. “Thieves plunder treasure from the ruins of Assisi's glory.” 4-5 Oct. 1997. Museum Security Network. The Netherlands. 26 April 2009. Slots, Els. "Assisi." World Heritage Site. 1997. 24 Apr. 2009. Strange Worlds Amazing Places: A Tour of Earth’s Marvels and Mysteries. Australia: Reader’s Digest Pty Limited. 2007. Print. “The Basilica of San Francesco d'Assisi.” Euroatlas. 2009. 24 April 2009. World Heritage: Challenges for the Millennium. France: UNESCO World Heritage Centre. 2007. Print. Zwingle, Erla. “Italy’s Endangered Art.” National Geographic. 196.2. Aug. 1999: 96-109. Print Read More