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Posts from the ‘Italy’ Category

Otto the Great

In 962 the pope, Johannes XII placed the crown on Otto the Great (912 – 973) and his consort Adelaide in a grand ceremony in St. Peter’s in Rome

Not long thereafter Otto had a new seal created which showed him en face and with a crown, sceptre and orb. It is probably correct to consider the new seal the nearest thing we can get to a direct presentation of the ideas, which lay behind the coronation, which Otto apparently had sought after for more than a decade. As such the seal may be explored through a direct comparison with the old one, which Otto up until then had used. This showed him in profile and carrying a spear. So to speak fit for fight.

Thus, there is no doubt that Otto the Great wished to explore another type of lordship than what pertained to be a king. While kings in the beginning of the 10th century were elected or at least had to fight for their supremacy as warlords, emperors were made out of quite another silk (preferably purple).They were first of all masters of the universe and defenders of the church and faith.

Magdeburg LHA Kaisersiegel Otto I 0 300x300 Otto the Great

To develop and elaborate this idea, Otto the Great drew heavily upon the history of emperors from Augustus and forward. Not indiscriminately and never as a one-to-one copy. But to be emperor was to follow in the footsteps of long series of predecessors. It is definitely correct to talk about this creational stance as a reinvention of a very old tradition.

This story is the overall theme of a grand exhibition in the best of the German tradition and in Magdeburg, famous for being home to two other exhibitions of the same ilk (Otto der Grosse und Magdeburg 2001  and Das Heilige Römische Reich Deutscher Nation 2006.)

016 ottosiegel 1 300x300 Otto the GreatWhile both of these exhibitions took as their point of departure the life and times of Otto the Great and the aftermath of his reign, the current showcases the history behind the happenings in Rome 962. Thus the exhibition consists of five parts:

  • Augustus and the origins of Emperorship in Roman Antiquity
  • Constantine the great and Christian Emperorship
  • Byzantium: the Continuity of Roman Emperorship in the East
  • Charlemagne and the Appropriation of Roman Emperorship
  • Otto the Great and the Renewal of the Roman Empire.

True to tradition a massive catalogue with fabulous illustrations accompanies the exhibition (741 pages/4.3 kilos and in German) plus there is a scientific report from a symposium, which led up to the exhibition and where specialists might delve into the ideology behind emperorship more generally. Here it is possible to read long and carefully crafted explanations about the more than 300 artifacts, some of which are quite spectacular.

What not to miss?

  •  The imperial insignia from Palatin found in 2005 with the blue orb on top of a sceptre (306 -312)
  • The crystal orb from the grave of Childerich (481/82)
  • The Holy Lance, the sword from Essen and the Imperial crown
  • The purple certificate of the marriage between Otto II and the (somewhat) purple princess, Theophanu.

All are they artefacts, which symbolise the powerful aura of imperial culture. And which we normally have to travel extensively in order to see.

This exhibition is definitely a must see for anyone with an interest in medieval history – as well as our common European Future.

Otto der Grosse und das Römische Reich. Keisertum von der Antike zum Mittelalter.
Kulturhistorisches Museum Magdeburg
27.08.2012 -09.12.2012

Ausstellungskatalog:
Otto der Große und das Römische Reich. Kaisertum von der Antike zum Mittelalter
Herausgeber: Matthias Puhle, Gabriele Köster eds
Schnell & Steiner 2012

Kaisertum im ersten Jarhtausend.
Hartmut Leppin, Bernd Schneidmüller, Stefan Weinfurter eds.
Schnell & Steiner 2012

A small travel programme points to places in Sachsen-Anhalt where it is possible to get a sense of the life and times of Otto the Great accompanies the exhibition. The program can be found here. 

Imperial designs?

Large exhibition about the German emperor, Otto the Great, and the Roman Empire opened in Magdeburg this weekend amidst growing misgivings in the rest of Europe about the future role of Germany

Not so long ago the Italian newspaper “Il Giornale” owned by the brother of the Lombardian Berlusconi – printed a front-page showing Angela Merkel raising her right arm in a gesture associated with the Nazi-salute. As anyone could see the photo was severely tampered with in photo-shop (as was the benign waxen face of Berlusconi just below).

Nevertheless the newspaper found it appropriate to accompany an article about the so-called imperial designs of Angela Merkel with this photo, titling it “the Fourth Reich”, and claiming in the text that she is angling for the title of “imperatore de Roma”. It stands to reason the article raised a global furore in the media.

All this happened at the same time as curators, architects and historians were putting the finishing touch upon a huge “Landesausstellung” in Magdeburg, entitled “Otto the Great and the Roman Empire”. Of course, the exhibition has been planned for years in order to celebrate the anniversary of Otto the Great’s birth in 912 and his imperial crowning in 962 in Rome. Nevertheless it seems to be quite topical, although the curators has deliberately sidestepped in order not to raise the spectre of the second and third “Reichs” when the achievements of Otto the Great were so disastrously appropriated to construct the founding myths of Der Kaiser (1871 – 1918) and later Hitler (1933 – 1945).

Very prudently – probably in view of this, but hopefully also because she was otherwise engaged in cleaning up the sordid acts of the Greeks, the Spaniards and the Italians – Angela Merkel did not take part in the official opening of the exhibition in Magdeburg, which took place in the cathedral, where Otto the Great was entombed in 973. Official representation was delegated to Prof. Dr. Norbert Lammert, president of the “Bundestag”, who several years ago took it upon himself to be the official protector.

In an interview he gave to “Mitteldeutscher Rundfunk” on the day before the official opening, Dr. Lammert explained why he had engaged himself in this exhibition. In the interview he pointed to the fact that huge exhibitions such as this one might help to emphasise the need to develop a deep historical sense in the general public.

- It is often thought that the further back in history we go, the more history becomes a specialised job for historians. However, this is not the case, says Norbert Lammert and adds that he believes the development of a culture of memory is actually an important task for governements to lift.

In his opinion the history of Otto the Great and his reinvention of the idea of Rome and emperorship as a legitimate form of political institution has special relevance today in Europe. On one hand there is the need to have a legitimate form of universal government bridging the nation states. On the other hand it is necessary to balance this against the need for regional and national self-government. According to Norbert Lammert this is the exact challenge which Otto endeavoured to meet in the 10th century, but ends up adding:

-   However one challenge is ours alone: how do we legitimate such a type of balanced government democratically?

Which of course is a very legitimate and pertinent question in Europe 2012 where governments in Southern Europe right now tends to be led by technocrats instead of elected politicians.

Maybe the photo from the opening of the exhibition is a sign of  this new era. For Otto the Great to be crowned emperor was the same as to be divinely blessed with the job of defending the faith as well as the church and support the missionary efforts amongst the heathens. It was not his job to lead the administration of a realm geographically stretching from Rome to Schleswig. Maybe to be a European politician in the 21st century is to be the guardian of our memorial culture and the values of Europe – whatever they might be deemed to be in a global context of poly-culturalism. And less to take part in the nitty-gritty daily administration of the welfare of our future societies.

In which sense the politicians will be the future “emperors” while the technocrats will take the role of local national and regional administrators. It seems the exhibition in Magdeburg this autumn  will be well worth a visit. At least it raises a number of important questions which we might have to ponder in the future.

Karen Schousboe

Read a presentation of the exhibition

 

The Ideal City

This summer Urbino hosts an exhibition on the ideal city and invites visitors to compare two enigmatic pictures usual hung far apart

The ducal palace in Urbino represents one of the most beautiful renaissance buildings one might imagine. From the cool interior of the colonnade and courtyard to the famous office with intarsia panels it represents a near perfect renaissance dream.

However, this summer the palace hosts an exhibition not so much on the ideal palace, as on the ideal city.

Starting point for the exhibition are two out of three enigmatic panels on the ideal renaissance city dated around 1480 – 1500. One belongs to the ducal collection, another usually hangs in the Walters Gallery in Baltimore and a third is found in Berlin. Unfortunately the last one is so fragile, that a loan was declined. But two out of three gives a good impression of these weird architectural and mathematical  - utopian – dreams; (all three may be seen here).

berlin 300x121 The Ideal Cityidealcit large 300x81 The Ideal City1 b 300x108 The Ideal CityThe two panels are, however, not the sole highlights. Around them the curators has exhibited an impressive collection of other works by artists like Jacopo de Barbari, Piero della Francesca, Luca Signorelli, Fra Carnival, Domenico Veneziano, Sassetta, Mantegna, Perugino, Bramante and Raphael. Not only paintings, but also sculptures, works of intarsia, drawings, medals, illuminated manuscripts and mathematical and scientific treatises may be seen. A catalogue published by Electa accompanies the exhibition.

All in all the exhibition presents us with a unique opportunity to delve into what an ideal living space was thought to be at a time in history, when people believed they might build it themselves. No longer did they have to wait for the descent of the Heavenly Jerusalem. They might actually draw it with charcoal and design it in the minutest details.

After having visited the exhibition, one might even top up the experience and make a detour to the less well-known city of Cagli, which was rebuilt after a fire by Arnolfo di Cambio around 1300 as what appears to have been an “ideal city”. Some even believe that the mountain figuring in the background of the Baltimore-painting may be found in the vista behind Cagli. In order to see an “ideal renaissance city” one should however make a digression to Pienza in Toscania.

According to Il Reppublica a full presentation of an ongoing scientific study of the panels will be presented in June in Urbino.

La Città ideale. L’utopia del Rinascimento a Urbino tra Piero della Francesca e Raffaello
06.04.2012–08.07.2012
Urbino, Palazzo Ducale

Read about the exhibition at Art Wireless and get links to the official presentations in Italian

See the video about the exhibition at YouTube
Read more: 

La città ideale /L’utopia del Rinascimento a Urbino tra Piero della Francesca e Raffaello. By Alessandro Marchi, Maria Rosaria Valazzi. Electa 2012

Städte in Utopia. Die Idealstadt vom 15. bis zum 18. Jahrhundert zwischen Staatsutopie und Wirklichkeit. Kruft, Hanno-Walter. C. H. Beck Verlag 1989

Humanism and the Urban World: Leon Battista Alberti and the Renaissance City. Caspar Pearson. Penn State Press 2011

Scrovegni Chapel

The Giotto Circle in the Chapel of Scrovegni in Padua is in every sense a quiet miracle. It was commissioned by the rich moneylender of Enrico Scrovegni and painted by Giotto in 1303 – 05. Originally it was part of the Scrovegni family palace.  This was later torn down and only the chapel remained, but left in a derelict position. Around 1800 an exterior porch collapsed and the chapel was filled with dust. Later during WW 2 it miraculously survived the heavy bombing which reduced the nearby Mantegna Chapel of Ovetari to literally dust. In the 1970’ies conservationists discovered extensive destruction by pollution and in the last ten years the chapel has been threatened by overzealous restoration projects and flooding due to underground aquifers.

01020145454000 300x200 Scrovegni Chapel

Now, only 200 metres from the chapel a plan is unfolding to build an auditorium, a parking lot and a multi-story building with – rumour has it  – 104 floors. This has caused a huge outcry among conservationist, who worry that the rumblings from the building site will damage the fragile frescoes beyond repair. Is this really necessary, people ask? Might it not be a better idea to cordon off cars and busses in order to limit the pollution in the area? Already tickets are severely limited and visitors are obliged to by tickets on the internet 24 hours in advance and pick them up an hour before at the counter, plus they have to spend 15 minutes in a “dehumidifier” to look at these precious pictures. Why not restrict builders and entrepreneurs in the same way?

That the worry is not insignificant, the archive at Köln is a vivid reminder of. In 2009 it collapsed due to metro-tunneling. As a result precious documents dating back from 922 were forever lost due to the negligence and greed of the builders. Elsewhere this warning has gone unheeded. As of today the tunnelling for a metro in Copenhagen is threatening the beautiful church of Marmorkirken next to the Royal Palace.

scrovegni chapel1 238x300 Scrovegni Chapel

The Scrovegni Chapel, dedicated to St. Mary of the Charity, is one of the foremost masterpieces of Western art. The frescoes, which narrate events in the lives of the Virgin Mary and Christ, cover the entire walls. On the wall opposite the altar is the grandiose Universal Judgement, which concludes the story of human salvation and where on might see the handing over of the chapel by the penitent money-lender, Enrico Scrovegni.

Sign the petition at Save Giotto

Book tickets at the homepage of the Scrovegni Chapel

The destruction of the Archive in Köln

The – so far – ultimate book about the history of the chapel and its founder is:
Chiara Frugoni: L’affare migliore di Enrico. Giotto e la cappella Scrovegni. Einaudi 2008

Enlightened mysteries

Lux in Arcana is a must-see exhibition in Rome

For the first time some of the most priceless documents in the Secret Archive of the Vatican will be brought beyond the walls in order to be exhibited at the political centre of Rome, The Capitoline Museums. Officially the exhibition is mounted in order to celebrate the 400 years anniversary of the foundation of the Archives.

Unofficially, however, it must be part of large-scale PR-project fostered as a head-on reaction to the two films (and the books they were based on): The Da Vinci Code and Angels & Demons. (As will be remembered both films were felt as hurtful to the church; especially the first one). At least this is the immediate association one gets while watching the so-called official video promoted at YouTube . Why else let the video be wrapped in such a pastiche of music and visual effects?

Further, of course, the title of the exhibition is in itself revealing: Lux in Arcana. Literally meaning “Light in the mysterious” it refers without doubt to two other prominent events in the late 20th and the beginning of the 21st centuries: The Pope’ s speech in Regensburg extolling enlightenment as an intrinsic part of Christianity, and further on the seemingly pervasive growth of the New Age’ers and their fascination with the “Arcana”, symbolised by the two divisions in a pack of Tarot Cards.

And finally: Documents connected with all the “hot” issues are on show; on one hand the damnations of Martin Luther and Frederick Barbarossa, the conviction of Galileo Galilei, papers from the destruction of the Templars Orders etc. And on the other hand the papal bull on the dogma of the Immaculate Conception and a letter from Bernadette Soubirous to Pius IX, probably symbolising the correctly approved dogmas of the Catholic Church. As of now the full content of the exhibition has not been published, and we do not quite know exactly how “Lux” and “Arcana” are to be balanced. So much is for sure: There will be room for debates!

The trial of Giordano Bruno
41 2 300x225 Enlightened mysteriesOne of the remarkable documents on show is a summary of the trial of the theologian and philosopher Giordano Bruno, who was condemned for heresy in 1600 and ended up being burnt at the stake in Campo de’ Fiori in the centre of Rome. Most of the records from his trial were lost in the beginning of the 19th century. The summary, which is on show was found by accident in 1940 and is nearly all that remains of the Inquisition’s file on Bruno; in itself it will be a treat to be able to get close to a document like this.

However, not only the document will be on show. On the 29th of February, when the exhibition opens, a sophisticated app will make it possible to focus a tablet or smartphone on the statue of Giordano Bruno at Campo de’ Fiori and see – again and again – his pyre burst into flames, while at the same time enabling a view of the documents related to the trial as well as videos with further information about his life and his ideas. The app will also make it possible to explore other documents in the exhibition with multimedia in-depth contents.

The 100 documents, chosen among app. 85 kilometres of shelved manuscripts, codices, parchments, strings and registers, will remain at the Capitoline Museums for nearly seven months, from the 29th of February until the 9th of September. Accompanying the exhibition will be a catalogue published by Palombi Editori in two versions, both Italian and English.

Read (much more) about the exhibition at the official site Lux in Arcana

Siege of St. Ambrose

The peaceful haven around Sant’Ambrogio in Milan is under threat from and underground parking facility under construction

Milan is famous for Il Duomo, La Scala and its shopping centres. However, at the outskirts of the medieval town is a peaceful haven, Sant’Ambrogio, which is not to be missed. The church is unfortunately currently under threat due to a plan from 2000 to erect an underground parking facility with five stories, holding 586 parking spaces. The building operations began in 2010 and are currently under way to be completed in 2013.

Seen from afar, it seems a good idea. A city like Milan is in need of parking spaces outside the medieval centre and the location is right next to a metro station. Further it will be placed underground, thus securing a minimum of “visual stress”. Finally the result will be a street closed for other traffic with trees and benches framing the portico to the ancient church.

On the other hand the ancient church dating in parts from the 5th century and not least its medieval towers are feared for by a number of engineers and building experts. The church was heavily bombed during WW2 and the rebuilding was not particular robust. And then of course there are three years of rumbling noise and dust from the building site to be reckoned with, destroying a peaceful haven, which should be protected according to a number of historians and artists. Why not just close the street off for traffic, create the park and let the piazza in front of the church at peace, ask the opponents?AmbroseOfMilan 156x300 Siege of St. Ambrose

As of now, Europa Nostra, has entered the fracas in a bid to get the city council to rescind the building permit. Further the public prosecutor is currently investigating the political process leading up to the permit. The problem of course is that a rescind will end up costing millions of Euro as the private parking spaces have already been sold at €50.000 each, and the building company has started construction.

The church of St. Ambrose is an evocative place. Originally it was one of three churches built by the bishop in 379 – 386 and carried the name “Basilica Martyrum”. Later it was to be his burial place and the church was renamed after him. He still lies in the crypt underneath the altar, which is a magnificent golden shrine commissioned app. 824 – 859. The frontal is covered with images worked in gold and decorated with gems, pearls and multi-colored enamel set with filigree. Unfortunately it is usually impossible for tourists to view the shrine in detail as it is cased in glass and roped off. It is the first of the so-called “Golden Altars”, which later came to be prominent all over Europe.

vuolvinio altare doro small 216x300 Siege of St. AmbroseAfter WW2 the original basilica was excavated. Surviving foundations indicate it had two side aisles, a marble floor, a semicircular apse, and a four-columned baldacchino over the high altar. The west facade has never been located, but the church had a large west porch on the same foundations as the present one. If so, it was a huge complex of more than 90 meters long and 30 meters wide, larger than contemporary basilicas in Rome.

It is in front of this porch that the current building activities are taking place.

The formal appeal of Europa Nostra

The best virtual experience of Sant’Ambrogio

Green Pilgrims

Trees around holy sites, solar panels on the roofs of temples and churches plus no cars on pilgrims roads. These are just some of the initiatives taken by a newly launched Green Pilgrimage Network

“The Green Pilgrimage Network will ask the faithful to live, during the most intense of religious experience, in a faith-consistent way. To travel to a holy place in such a way as to treat the whole world as sacred is to be a true pilgrim”, says Secretary-General of ARC, Martin Palmer in connection with the launch.

water 225x300 Green PilgrimsThe network consists of representatives for ten major religions plus a number of specific pilgrimage centres round the world. The launching of the network was celebrated with festivities in Assisi in which a number of high profiled representatives for WWWF, UN and national and regional governements took part.

At the meeting a number of issues were placed high on the agenda. Amongst other things it was decided to lobby for green zones around holy places, solar panels on roofs plus car-free pilgrimage roads. Further it was decided to publish guides for environmentally sustainable pilgrimages. At the event a green guide to the Hajj was launched.

ARC estimates that app. 100 mil pilgrims take to the roads every year.

Read about ARC World 

Read more about the background

Bonfire of Vanities

A major exhibition in Firenze shows the links between bankers, beauty and bonfires in the Renaissance. And presents an opportunity to reflect on the ongoings in Zuccotti Park, St. Pauls Square and Piazza Signoria in Firenze in 1498

In the beginning of October, 1500 young Jews in New York observed Yom Kippur within yards of the Occupy Wall Street Protest site, calling for a year of Jubilee and thus cancellation of all debts. Something, which is also demanded in the ending paragraphs of the book on “debt” written by the highly acclaimed anthropologist David Graeber, chief protagonist of the OWS. In the same spirit we may perhaps view the fact that the Londoners chose St. Pauls Square as their (second) protest location; thus inadvertently shaming the Church of England, costing the careers of three mighty clerics plus showcasing the fact, that the line between noble banking and profiteering or usury is still a theological tightrope not easily walked.

capitalism 300x199 Bonfire of VanitiesIn a democratic, secularised and deregulated society bankers and merchants have of course long been allowed to veer very close to the abyss. Or even transcend it! In the aftermath of the current crisis it has however become abundantly clear that there is a moral issue at stake, which we have somewhat forgotten how to reflect upon.

Had we lived in the Middle age or the Renaissance public condemnation would have been much harsher. Taking rents in any form was considered usury and part and parcel of one of the deadly sins, avarice. This was an opinion held by philosophers and priests since ancient times, witness the prohibition in Deuteronomy (23:19 – 20)

 “You shall not charge interest on loans to your brother, interest on money, interest on food, interest on anything that is lent for interest. You may charge a foreigner interest, but you may not charge your brother interest, that the Lord your God may bless you in all that you undertake in the land that you are entering to take possession of it.”

Later on medieval theologians thought long and hard. Was charging interest the same as theft, asked Anselm of Canterbury? Could one charge for “lost time = lost possibilities”, asked Thomas Aquinas? The answers to these and other questions of the same type were however as often as not unanimous condemnation. It is significant that Dante later placed the usurers together with the blasphemers and sodomites in the inner ring of the seventh circle of hell.

The ban on taking rents did not as such forbid every type of business. But it prohibited any form of business, which did not fall into the category of joint venture. Thus in practice complicating any form of long distance and large scale business ventures not financed by the Jews, who of course according to Deuteronomy were allowed to take interest from the Christians! As the Christians were not brothers!

Letters of exchange
Needless to say the prohibition against charging interest had somehow to be circumvented in order for long distance trade to flourish. In the 8th century the Chinese invented the “letter of exchange” – a financial instrument in the form of a promissory note guaranteeing the holder payment of a specific amount of money at a set time. Later such documents were used by the Arabs, who introduced them to Mediterranean merchants in the 13th to the 15th century (together with other important techniques like the “nought” and papermills).

Naturally the whole point was that such promissory notes could be bought and sold at “overprice”, thus neatly circumventing the prohibition against taking interest. Without doubt this was one of the most important preconditions for the late medieval flourishing of trade as we know it. And further the huge placating donations to religious institutions of all kinds – churches, cloisters, charities – which remorseful bankers and merchants gave, thus financing the artists, who benefited from the many endowments.

Firenze in the 14th to 16th century was of course one of the more prominent centres for this accruement of wealth and art. This is the theme of a beautiful and thought-provoking exhibition currently staged at the Palazzo Strozzi, where art and craft mingles with coins, papers and golden cloths.

The exhibition in Firenze, however, also touches upon the deluge, which hit the city when the Medici Bank defaulted in 1494 and the Dominican monk Savonarola started preaching against the hedonistic vanity of life in the city. It ended when on the last day of the Carnival in 1497 and 1498, Savonarola organised two bonfires of “vain, lascivious, or dishonest things” on the Piazza della Signoria. These highly contested and celebrated events contributed in the end to the friar’s demise, when he was burned as a heretic on the 23d of May 1498. As was the case with Luther the Pope had an issue with Savonarola’s austere morality.

One fascinating thing – which the exhibition unfortunately does not touch upon – was that all the worldly goods, which ended up on these bonfires, were collected by dissatisfied and disenfranchised youngsters. These piagnoni and fanciulli took to robbing people’s homes and afterwards throwing everything from golden cloth over musical instruments to secular paintings in the fire!

Interestingly enough these robberies were undertaken, while the youngsters went singing through the streets and alleys. One of the favorites were the text from Ps. 132: Ecce quam bonum iucundum habitare fratres in unum – Behold how good and pleasant it is for brethren to dwell together in unity. Maybe it will not last long, before this is the favorite bonfire song in St. Pauls Square.

Read about Medici Money: Banking, Metaphysics and Art in Fifteenth-Century Florence. By Tim Parks. W. W. Norton and Company 2005.

Read the book about the Bonfire Songs and Savonarola’s musical legacy. Here included a CD with the only available recording of the original music.

Listen to a Jewish recording of Ps.133

See the exhibition at Palazzo Strozzi

Read the book leading up to the OWS -action by David Graeber