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By Maria Laura Marchiori

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Additional resources for Art and Reform in Tenth-Century Rome - The Paintings of S. Maria in Pallara

Sample text

Maria in Pallara and he likewise carries a cross-tipped staff and codex. In contrast, at S. 49 Saint Stephen stands to Saint Paul’s right dressed in a similar manner; his youthful face is beardless, as it is in S. Maria in Pallara. He, too, carries an open book bearing a passage from Psalm 62, which is related to the saint’s festal liturgy. The two appear again with similar physiognomy and dress in a twelfth-century painting excavated from a chapel behind the apse of S. 50 Both saints also featured in the lost twelfth-century apse of S.

Maria in Pallara both horizontal and cross-like placements are found; Saint Zoticus’ inscription runs horizontally, whereas Saint Stephen’s inscription appears in the form of a cross (Figures 18, 22). Thus in all respects a tenth-century date for the painting of the apse conch of S. Maria in Pallara is plausible. 3 Procession of Lambs: description and analysis The base of the conch is crossed by a faded yellow border-like band some seventy centimetres high. A light green strip crosses the bottom eight centimetres of the band representing a grassy plain, across which march the twelve apocalyptic lambs, six from each side.

Maria in Pallara and he likewise carries a cross-tipped staff and codex. In contrast, at S. 49 Saint Stephen stands to Saint Paul’s right dressed in a similar manner; his youthful face is beardless, as it is in S. Maria in Pallara. He, too, carries an open book bearing a passage from Psalm 62, which is related to the saint’s festal liturgy. The two appear again with similar physiognomy and dress in a twelfth-century painting excavated from a chapel behind the apse of S. 50 Both saints also featured in the lost twelfth-century apse of S.

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