Santi Vincenzo e Anastasio (Ascoli Piceno)

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Santi Vincenzo e Anastasio
facade

facade
Construction time: 4th century – 1389
Architectural style : Romanesque / Gothic
Location: 42 ° 51 '27.2 "  N , 13 ° 34' 25.8"  E Coordinates: 42 ° 51 '27.2 "  N , 13 ° 34' 25.8"  E
Location: Ascoli Piceno
Ascoli Piceno , Marche , Italy
Purpose: Roman Catholic Church

The Church of Santi Vincenzo e Anastasio is a Roman Catholic church in Ascoli Piceno . It is located in Piazza Ventidio Basso, the focal point of medieval trade. It was built according to the architectural specifications of the local Romanesque churches and later supplemented with Gothic features in the 14th century. It is considered to be one of the oldest and artistically most important religious buildings in the city and is of "great importance for Christian archeology". It is dedicated to Saint Vincent of Valencia and Anastasius the Persians and belongs to the territorial jurisdiction of the parish church of San Pietro Martire.

Its architectural features distinguish it from any other sacred building in Ascoli, because the characteristic square design of the facade corresponds to the style of the Cathedral of Assisi , the Church of San Pietro di Spoleto and the Church of Santa Giusta fuori le mura by Bazzano.

It has been on the list of Italian national monuments since 1902 .

Main portal
Small lion on the right at the base of the arch
Small lion on the left at the base of the arch
Portal bezel with the oldest inscription
Stone with inscription from 1389

history

The exact year of construction can not be determined due to a lack of documentary sources . Antonio Salvi mentions that "the oldest historical and artistic events are almost completely unknown".
In its current form, the church is the result of works, restorations and architectural additions that took place over at least six hundred years and were completed in 1389. Some scholars believe that as early as the 4th – 6th In the 19th century, there was a low, semi-subterranean oratory built by Christians for baptism . Cesare Mariotti defines it as “very low” as “from the 9th century” and Enrico Cesari suspects that it “maybe even from the 8th”. The modifications to the crypt, to which a small and “modest church” were added, date from this time. Later there were added: the apse , the bell tower , the portal with the group of sculptures and the side aisles. In his Memorie Ascolane Niccolò Marcucci writes that in the 13th century, in 1275: “The parish church of Sant'Anastasio was a collegiate monastery in which Prior D. Nicola di Nicola together with other priests, namely D. Bonaventura di Tomaso, D. Pietro di Gualtiero di Ugone and D. Matteo di Angelo etc. served as clerics for Cabalisco di Giovanni "

In 1288 be "Bonaventura magistri Thome clerico" with "prior Nicolao Nicole" the church of Santi Vincenzo e Anastasio a contestant on the inventory of assets of the "Iorgutii (Georgutii) Simonicti de Monte Passillo" mentioned

The Canon Pietro Capponi describes the person Bernard I, who was born in 1036 by Pope Benedict IX. was appointed second prince-bishop of Ascoli, and reports that “in the same year the church of SS. Vincenzo ed Anastasio in the city was enlarged and the facade made, as the inscription that surrounds the tympanum of the door with Gothic figures shows”.

Antonio De Santis counts it among the 15 parishes that are registered in the Ascolis cadastre from the 14th century. She is mentioned on the maps under the name " Ecclesia S. Anastaxi ". At that time the parish church called "Santa Maria di Poggio da Capo" was added. Although the latter church was mentioned in the documents as "Sanctae Mariae de Podio Brietae" or "Santa Maria di Poggio di Bretta" , the author indicates that it could not be the village of Poggio di Bretta, as the parish church dedicated to the saint John the Baptist , while that of Poggio da Capo is named after the Ascension . The latter historian believes that the church of Santi Vincenzo e Anastasio was built on the previous construction of a pagan temple . Later, the church experienced a period of "decay" and "suspension" and the crypt, built as an oratory, became a burial place.

Sebastiano Andreantonelli , who lived between the 16th and 17th centuries, wrote in Liber Vnicus Asculanae Ecclesiae or Libro V della Storia di Ascoli the name with the dedication to Saints Anastasio and Silvestro. The attribution to Saint New Year's Eve attributed by this historian could be a reference to the saint to whom the underground crypt is dedicated. It is considered the third church of Ascoli, keeper of many relics , an old collegiate monastery under the direction of a prior and two clergy, in which there was a brotherhood of the rules of our Lord Jesus Christ.

In 1576, according to Giuseppe Fabiani, the walls of the church were not plastered. Venanzo Perfetti di Camerino, the prior of the church, commissioned the master Giovanni Angelo di Marco di Bonera to carry out plastering work on the walls and agreed a "wage of 4.5 Bolognini for every step " . The master's work consisted of “diligentem scalcinare, implastare seu intondicare e deinde dealbare ac dare pezzam post intondicationem factam” . Fabiani thinks about scratching something off and is of the opinion that this intervention could have destroyed the wall frescoes that existed at the time.

From 1856 the church was abandoned due to the unsafe static conditions and closed for worship. In 1897, the District Office for the Preservation of Monuments, under the direction of the architect Giuseppe Sacconi, decided to order urgent conservation measures in order to prevent the building from deteriorating. The management of the work was entrusted to the engineer Enrico Cesari from Ascoli, who followed the restoration of the roof, the demolition of the crumbling ceilings, the removal of the bones of the deceased from the crypt and finally the collection of the spring water that caused the flooding of the underground spaces .

The lack of documents on church history only enable the chronological reconstruction of the events in connection with the study of two inscriptions.

Inscriptions

The oldest inscription

The text of the oldest inscription is in the archivolt of the lunette of the main portal and runs on two parallel bands surrounded by three concentric lines. It consists mainly of Gothic majuscules and is characterized by numerous ornamental features.

The letters are between 2.5 and 4 cm high. The 5 stanzas of the work are interrupted with 4 eight-pointed stars, which are set in squares of 11.5 × 10.5 cm and mark the text at a different but symmetrical distance. The writing shows some irregularities and although it was worked in the same workshop it was likely carved by different people, maybe five, one for each verse.
The inscription refers to the creation of a "novum opus" i.e. H. a “new work” commissioned by Prior Bonaventure continues with an invocation of the Virgin Mary and Saints Vincent and Anastasius and ends with a prayer.

From reading we learn that the author of the “novum opus” was Prior Bonaventure, from whom “it was not possible to find other information, so that the inscription remains the only source about this person and his work at the moment”.
The text:

"Novum hoc opus fct fuit post Virginis partum
Milleno ac triceno sexto percurrente anno
Prioris in tempore vocati Bonaventure
Hos condidentis ve s (sic) cumqo orantes dicamus
Eya o mat Virgo tuum Natum deprecando
Cum Sco Vincentio et Martire Anastasio
Ut hi vest. De su graduation culpis
Q cum hiis det vitam bonam demumque gloriam suam
Omnes et hic sepultos ad deos conducat scos
Legenterque hoc oms benedicat et astantes. "

The dating in this inscription has been interpreted differently by scholars, because in the Italian translation of the verse: “ Milleno ac triceno sexto percurrente anno ” some in the lemma “ triceno ” recognize the meaning of thirty , while Antonio Salvi writes that this was written by many authors adopted version "should display correctly 1036" , but claims that in the Middle Ages there was a fairly frequent exchange of the letters "i" and "e" in the script. From this observation he concludes that “triceno” should be viewed as a grammatical “inconsistency” and should be read as “treceno” for three hundred. He adds that this year of dating seems to correspond more closely to the analysis of the graphic forms of the characters, the abbreviations used in the design, the form in which some words are written and the architectural style of the sacred building.

The text says:

“Novum (m) hoc opu (s) f (a) c (tu) m - fuit po (s) t vi (r) ginis pa (r) tum :,
milleno ac triceno-sexto p (er) cu (r ) e (n) te a (n) no :,

prioris in t (em) p (or) e - vocati Bonaventure :,
hos con (n) dide (n) tis ve (r) s (us) - cu ( m) q (u) o orantes dicam (us) :,

eya o mat (er) virgo - tuum natum deprecando :,
cum s (an) c (to) Vincentio - et martire Anastaso :,

ut hi (c) da ( nt) tes d (e) suis - a cu (n) tis graduation c (u) lpis :,
ac hiis vita (m) bonam - demu (m) q (ue) glo (ori) a (m) su (m ) ma (m) :,

om (ne) s et hi (c) sepi (u) ltos - ad d (i) c (t) os co (n) ducat s (an-c (t) os:, lege (n) tesq (ue) hoc o (mne) s - b (e) nedicat et asta (n) tes :, "

“This new work was accomplished in the course of 1306, at the time of Prior Bonventura, author of these verses with whom we exalt this prayer: O Virgin Mary, let us ask your Son, Saint Vincent and the martyr Anastasius, that he may be the benefactors May this Church give forgiveness of sins, a happy existence and, finally, eternal glory, so that he may give communion with these saints to the dead who are buried here, so that he may bless all those who read this inscription. "

The inscription from 1389

The second inscription in chronological order dates from 1389 and is engraved in Latin on a block of travertine, which is visible in the outer wall of the right aisle and is located on the left side of the south portal. The stone base has a square shape with the dimensions 43 × 43 cm and a flaking on the underside, which does not affect the legibility of the chiseled text when the approx. 3.5 cm tall Gothic vertical capital letters are used.

She reports that new architectural works were being carried out in the church and that Saladino di Matteo was prior at the time. This name also appears in documents dated September 15, 1395 in the notary archives of the municipality of Ascoli Piceno, which are kept in the State Archives. He was the delegate of "Nactarella, moglie di Petrus Thomassutii ser Leonardi alias Ferri, il quale in una precedente disposizione testamentaria del 1388 le aveva lasciato parte dell'eredità." "Nactarella, wife of Petrus Thomassutii ser Leonardi alias Ferri, who in one earlier testamentary arrangement of 1388 had left their part of the inheritance. "

The inscription:

“+ Hoc. op (us). f (a) c (tu) m. fuit. t (em) p (ore) venerable (is). viri. d (oomi) ni. Salladini. Matei. P (r) ior (is). ecc (lesi) e. s (ancti). Anestaxii. sub. To (n) o. Ṁ. CCĊ L. XXX. VIIII. t. (em) p (or) e. do (mini). U-rba (n) i. p (a) pe. VI. XI. ind (ictione) ”

“This work was created at the time of the venerable Prince Saladino di Matteo, in front of the Church of S. Anastasio in 1389, at the time of Pope Urban VI. , during the XI indiction. "

Antonio Salvi points out that there may be an error between the year and the indiction given in the text . He notes that in 1389 the XII indiction and not the XI ran, but it can be assumed that the calculation was made with different temporal systems. The year was written according to the Roman date, while the number of the indication could have been identified with the Florentine incarnation (March 25th). If this were the case, the work announced in this inscription would have been completed by March 25, 1389.

architecture

The entire structure of today's sacred building consists of the church, the crypt of San Silvestro and the bell tower .

A representation of the original church as it probably existed in the 11th century can be seen in an oil painting on paper by Giulio Gabrielli. The painting is 15 cm high and 9 cm wide and is kept and exhibited in the Pinacoteca civica ascolana in Piazza Arringo.

The building history drawn up by Erico Cesari

The reconstruction of the construction work of this church is described in the words of Enrico Cesari, who illustrated and summarized the findings made at the end of the 19th century as curator and head of the restoration work on the religious building. The measures to remove the causes that impaired the stability of the complex and the resulting restoration of the dilapidated elements in 1856, including the removal of plaster, made it possible to restore the original appearance of the walls and the details of the construction measures to enlarge the church demonstrate. From the investigation carried out, Cesari deduces and explains the manner and times with which the current building was gradually rebuilt and expanded.

  • 4th century - The construction of today's crypt, then oratory, in which the first Christian communities of Ascoli met at a permanent place of worship and which was also used for baptism, dates from this time.
  • 11th century - The construction of a "rectangular church of 18.50 x 5.60 m, which corresponds to about three quarters of the length of the central nave" , which was built above the underground space of the oratory, can be assigned to this period. The same room that Giambattista Carducci called the oldest part and “maybe before the 9th century” . The "polygonal apse" was added and later the striking tower on 4 columns outside the church on the southwest corner like that of the Church of San Giacomo Apostolo .
  • 11th century to 14th century - The main portal was added to the small facade, which at that time consisted of the lunette and the group of sculptures. After the year 1036 up to the "complete revision, which brought it to the current state and probably ended in 1389" , i. H. in the 14th century, there are no traces of other work to be seen.

Inside

The interior of the timber-framed church is characterized by a simple aesthetic. The room consists of three naves , which are separated from each other by two rows of columns and form round arches that rest on columns with a square base. At the end of the central nave, the raised presbytery area, illuminated by biforas , opens up , which is semicircular on the inside and polygonal on the outside and is a few steps above the church floor. There is a large round arch in front of it. The authors attribute the expansion of the primitive liturgical hall, consisting of a single nave, to different periods.
Cesare Mariotti writes that the oldest hall consisted of a single nave with a shorter length and a "small polygonal grandstand", "but it was later considerably enlarged after the aisles were added, to which the present beautiful facade was added in 1389".
Enrico Cesari reports that the old church was lengthened in order to connect the bell tower and to include it in a new boundary which was enlarged by the construction of two new walls, “one facing south, tangential to the tower and the other symmetrical on the opposite side ” , which “ enclosed two new aisles ” . The longitudinal walls of the rectangular old church were within the new boundary and "arches were broken" and became arches of the central nave. The expansion described in this way resulted in a new volume of space with three naves. The floor plan changed from 18.50 m × 5.60 m to 24.10 m × 14.90 m. Other authors reconstruct the phases of church expansion in two sections. Antonio Salvi attributes the realization of the “novum opus” mentioned in the oldest inscription to Prior Bonaventura in 1306 and says that “it essentially consists of the design of the left nave, the extension of the central church body and the elevation of the facade with a square motif “ Existed. Later, in 1389, at the time of the second inscription quoting the prior Saladino di Matteo, he mentions “another architectural measure, namely the construction of the right church wall”.

  • Church interior

  • Semicircular presbytery

The facade and the side panels

The architectural lines of the main facade are distinguished by their originality in their richly compositional scheme with an original ornament.
Antonio De Santis reports what Grifoni wrote about this facade in his text:

"L'ora incantata di Ascoli quando la fronte dei Santi Vincenzo e Anastasio diventa pink. È un momento tra il meriggio e il tramonto, in cui tutti gli edifici di Ascoli assumono, se volti a ponente, un color pieno di fascino. "

“Ascoli's enchanted hour, when the front of Santi Vincenzo and Anastasio turns pink. It is a moment between afternoon and sunset when all Ascoli's buildings, when facing west, take on a color full of charm. "

- E. Grifoni

The rectangular facade, which is incomplete in the upper part, is divided by a grid of 64 squares . Each of them is surrounded by a linear cornice that creates a pattern of vertical and horizontal intersections that repeat across the wall.
The design of the network of decorative lines rests on a base below, which also runs along the sides of the church. There were paintings with religious motifs on the inside of each frame in the 15th century. De Santis states that they were frescoes showing the story of Saints Vincent and Anastasius, while Secondo Balena assumes that the representations are episodes from the " Old and New Testaments and popular tradition" as a kind " Bible of the Poor" acted. The entire painted facade has been compared to a grandiose and complex polyptych that has become worn and invisible.

Today only faint traces of paint can be seen in the lower panels.

The side aisles are divided by pilasters each with a Gothic portal.

  • Remnants of frescoes, in the gap to the left of the picture

  • Right side portal

  • Left side portal

  • Right side with bell tower

  • Absis

The portal

In the middle of the facade is the main portal of the church, adorned with twisted columns which "have the same number of ogival and concentric ribs". The capitals in Roman-Corinthian style show an elegant “water leaf” processing. At the base of the arch are the sculptures of two lions, shaped with "rare finesse". In the lunette are statues of the Madonna and Child, flanked by Saints Vincent and Anastasius and made by an unknown stonemason.

The different interpretations of the dates of the inscription in the archivolt of this portal, interpreted as 1036 and 1306, also caused the different descriptions of the architectural history of this building.

The authors who date it to 1036 attribute the sculptural group and the portal, consisting of the towers and the lunette, to the 11th century. Giambattista Carducci reports how the statues have style and similarities with other statues by Ascoli and writes: “Remarkable and indeed rare, the figures carved from marble in high relief, which are located in the lunette at the top of the door, seem to me to be Image of the two saints to whom the church belongs, to the right and left of the Madonna with the child in the womb. It was a pity that the historians of sculpture remained unknown to this 11th century work without referring to the era of facade construction. It would have been useful to them if they had known, because statues in the right proportion, in a very favorable pose and not without such grace, with heads modeled after the proportions of truth, with intentional clothing, are qualities to be found here can not ignore and which are unique in so much darkness of age. And it should be noted that we will see others similar to them in Ascoli, so that one can infer that there was a school of which not all countries could have a similar pride. ” He defines the style as “ remarkable " that neither the ancient nor knows" the so-called Greek style; but it seems like a dawn, an obscure anticipation of elegance full of dignity and feeling which made the 14th century famous ” . Giuseppe Fabiani claims that in the low centuries in the city of Ascoli there was a school for sculptors with workers specializing in the processing and cutting of travertine belonging to the “magistri de preta” set out in the statute of 1377 founded their own corporation with the wood masters
. According to Cesare Mariotti, the age of the date 1036 shows that the sculptural group and the moldings of the soffit of the arch were primarily placed in the oldest facade and were moved and reused to decorate the new 14th century facade. Enrico Cesari puts it like this: “The old, lovingly preserved portal was used in the new facade and provided with new decorations, especially the outer arch, with friezes and meanders and leaves in an elaborate process. The group was adopted for the facade in the same squares that were distributed within the pilasters. " Let us consider the " main portal, especially the inner part of it, the lunette and the rough primitive statues " , both parts were in the facade from the 14th century Reused century. He specifies that “the door of 1036 is undoubtedly older than the original church”, and this consideration derives from observing the workmanship of the travertine from which it was made, compared with that in the nave, which was “poorly crafted “ Was worked. He defines the construction as not “ isodomic ” , consisting of “roughly machined material in horizontal layers, which were not always perfectly maintained and which are often balanced out with brick fragments” . He notes that even the small windows are decorated with simple stones and hollowed out to preserve the arches "as they were used in the era of maximum decline" . In contrast to what has been described, the door posts show "perfect workmanship" , good connections and an archivolt made of wedges that are cut according to the direction of the rays.

The historians, who adopt the date 1306, define the entire portal and its processing as a group of sculptures from the 14th century. Antonio Salvi expressed some doubts because he found “still Romanesque morphological connections” in the style and “therefore the date 1306 would be too low”, but “for a certain virtuosity of some decorative elements, for the modeling of the sculptures, the portal should be clearly visible at the beginning of the 14th century " .

Campanile

The stylistic features of the bell tower can be traced back to the local Romanesque, such as the arched windows and the simplicity of the structure. Its construction time dated between the 10th and 11th centuries.

It was built with square travertine blocks. The base is made of Roman materials, which formed the covered veranda with a square plan on which the tower was built. At the top, on each side, there are "arched windows" which are divided by columns with Corinthian capitals. The bell tower was originally isolated, clearly separated from the church building, outside the southwest corner, on the southern outer wall of the oldest building and in front of the old facade. The inclusion of the tower in the outer wall of the sacred building goes back to the expansion of the church space in the 14th century.
Antonio De Santis describes it as a noble tower which escaped the sacking of Frederick II .

Crypt of San Silvestro

The church's crypt exhibits valuable properties of archaeological value. It is dedicated to Holy New Year's Eve and its origin goes back to the 4th to 6th centuries. The wall consists of travertine blocks which, due to their "very poor" workmanship, cannot be traced back to work from Roman times and, as already written, was built by Christians for baptism and is located below the presbytery
. Access is via two open stairwells inside the church. During the work in 1897 it turned out that the underground space was " slightly extended to the north when the building was converted " compared to the original structure . It consists of two adjoining rooms of different sizes: a larger room, originally 12 x 4.80 m, and a smaller one with the dimensions 2.80 x 2.30 m. Both are enclosed by a sloping roof and two windows (60 x 60 cm) for illuminating the rooms can be seen. From this detail it can be concluded that the crypt was a small oratory and meeting place for Christians for worship in a time before the church of Saints Vincent and Anastasius. According to Balena, it was in "a primitive little building that is associated with memories of sacred events that have been lost over time" , "barely looking out of the ground and perhaps lying in the middle of gardens". Inside, along a long wall, there is the “Fountain of St. New Year's Eve” , which was once fed by spring water, which was considered to be miraculous and was used in the 14th century to cure leprosy and mange at the end of the 16th century. It is a small square basin carved into the rock, 60 x 60 cm and 80 cm deep, with 4 steps that allow its use. In the crypt, which was once decorated with frescoes , traces of a cycle of images from the 14th century by an unknown artist can still be seen, who tells of the "legend of Pope Silvester" . Most of the 14 painted panels have been removed, restored and kept in the Diocesan Museum of Ascoli Piceno.

Individual evidence

  1. ↑ a b c C. Mariotti Ascoli Piceno p. 46
  2. ↑ a b c d Chiesa dei Santi Vincenzo e Anastasio . beniculturali.it. Retrieved September 30, 2019.
  3. ↑ a b Chiesa dei Santi Vincenzo e Anastasio (oil on paper by Giulio Gabrielli) . regione.marche.it. Retrieved September 30, 2019.
  4. ↑ a b c d e f g h i j k l m n A. Rodilossi Ascoli Piceno città d'arte p. 143
  5. ↑ a b Le Trame del romanico - Tesori medievali nella Città del travertino, p. 125
  6. ↑ Chiese nel territorio della parrocchia San Pietro Martire di Ascoli Piceno ( it ) diocesiascoli.it. Retrieved September 30, 2019.
  7. ↑ a b Ascoli Piceno ( it ) treccani.it. Retrieved September 30, 2019.
  8. ↑ Elenco degli edifici Monumentali in Italia ( it ) Ministero della Pubblica Istruzione. Retrieved September 30, 2019.
  9. ↑ a b c A. Salvi Due epigrafi medievali nella chiesa dei Santi Vincenzo e Anastasio in Ascoli Piceno p. 3
  10. ↑ a b c d e E. Cesari La Chiesa dei Santi Vincenzo e Anastasio di Ascoli Piceno p. 14
  11. ↑ N. Marcucci Memorie Ascolane p. 232
  12. ^ A. Salvi. Iscrizioni medievali ascolane p. 140, note 272
  13. ↑ P. Capponi Memorie storiche della Chiesa Ascolana e dei Vescovi che la governarono p. 42
  14. ↑ A. De Santis title = Ascoli nel Trecento Vol. II (1350-1400), p. 262
  15. ↑ S. Andrantonelli, Historiae Asculanae , p 210. "tertia Ecclesia SS. Anastassy, & Siluestri, antiquitus Collegiate item, having the priorem, & duos Clericatus. Plures in ea feruantur SS. Reliquae; fuitque ibidem Laicorum Confraternitas vulgo, seu societas, nomine Disciplinae Domini Nostri Iesu Christi. "
  16. ↑ S. Andreantonelli, Storia di Ascoli translation of PB Castelli and A. Cettoli, note 46, p 373rd
  17. ↑ S. Andreantonelli, Storia di Ascoli translation of PB Castelli and A. Cettoli, p 281
  18. ↑ S. Andreantonelli, Storia di Ascoli translation of PB Castelli and A. Cettoli, p 282
  19. ↑ G. Fabiani, Ascoli nel Cinquecento , Vol. II, pp. 186-187
  20. ↑ a b c d E. Cesari, La Chiesa dei Santi Vincenzo e Anastasio di Ascoli Piceno , p. 4
  21. ↑ a b A. Salvi, Iscrizioni medievali ascolane , p. 140
  22. ↑ Giambattista Carducci defines the style of the inscription as "semi-Latin script" . G. Carducci, Su le memorie ei monumenti di Ascoli nel Piceno , p. 149
  23. ^ A b A. Salvi, Due epigrafi medievali della Chiesa dei Santi Vincenzo e Anastasio in Ascoli Piceno , p. 5
  24. ^ A. Salvi, Due epigrafi medievali nella chiesa dei Santi Vincenzo e Anastasio in Ascoli Piceno , p. 4
  25. ↑ Antonio Salvi refers to 1980, the year of the publication of his monograph Due iscrizioni medievali nella Chiesa dei Santi Vincenzo e Anastasio di Ascoli Piceno , which is cited in the bibliography.
  26. ^ A. Salvi Due iscrizioni medievali nella Chiesa adei Santi Vincenzo e Anastasio di Ascoli Piceno p. 8
  27. ^ A b G. Carducci, Su le memorie ei monumenti di Ascoli nel Piceno , p. 149
  28. ↑ a b A. De Santis, Ascoli nel Trecento - Vol. II (1350-1400), p. 261
  29. ^ C. Mariotti, Ascoli Piceno , p. 47
  30. ^ A b A. Salvi, Iscrizioni medievali ascolane , p. 142
  31. ↑ a b A. Salvi, Due epigrafi medievali nella chiesa dei Santi Vincenzo e Anastasio in ascoli Piceno , p. 6
  32. ^ A. Salvi, Due epigrafi medievali nella Chiesa dei Santi Vincenzo e Anastasio di Ascoli Piceno , op. Cit. , p. 3, Nota 1.
  33. ^ A. Salvi, Due epigrafi medievali nella Chiesa dei Santi Vincenzo e Anastasio in Ascoli Piceno , pp. 4-5
  34. ↑ a b c G. Carducci, Su le memorie ei monumenti di Ascoli nel Piceno , p. 146
  35. ↑ a b A. Salvi, iscrizioni medievali di Ascoli , p. 143
  36. ^ A. Salvi, Due epigrafi medievali nella Chiesa dei Santi Vincenzo e Anastasio in Ascoli Piceno , p. 10
  37. ^ A. Salvi, Due epigrafi medievali nella Chiesa dei Santi Vincenzo e Anastasio in Ascoli Piceno , pp. 12-13
  38. ↑ A. Rodilossi, Ascoli Piceno città d'arte , pp 143-144.
  39. ^ A. De Santis, Ascoli nel Trecento , (1350-1400) Vol. II, p. 443
  40. ↑ a b A. Salvi, Due epigrafi medievali nella Chiesa dei Santi Vincenzo e Anastasio in Ascoli Piceno , p. 12
  41. ↑ a b c d e f E. Cesari, La Chiesa dei Santi Vincenzo e Anastasio di Ascoli Piceno , p. 5
  42. ↑ a b c d e f E. Cesari, La Chiesa dei Santi Vincenzo e Anastasio di Ascoli Piceno , p. 6
  43. ^ A. Salvi, Due epigrafi medievali nella Chiesa dei Santi Vincenzo e Anastasio in Ascoli Piceno , p. 7
  44. ^ A. De Santis, Ascoli nel Trecento (1350-1400) , Vol. II, p. 444, note 100
  45. ^ S. Balena, Ascoli la storia per le strade , p. 95
  46. ^ S. Balena, Ascoli nel Piceno - Storia di Ascoli e degli Ascolani , p. 328
  47. ↑ A. De Santis, Ascoli nel Trecento (1350-1400) , Vol. II, p. 444
  48. ^ G. Carducci, Su le memorie ei monumenti di Ascoli nel Piceno , p. 147
  49. ↑ a b c d e G. Carducci, Su le memorie ei monumenti di Ascoli nel Piceno , p. 148
  50. ↑ G. Fabiani, Ascoli nel Quattrocento , Vol. II, p. 8
  51. ↑ G. Fabiani, Ascoli nel Quattrocento , Vol. II, pp. 8-10
  52. ^ C. Mariotti, Ascoli Piceno, p. 47
  53. ^ A. Salvi, Due epigrafi medievali nella chiesa dei Santi Vincenzo e Anastasio in Ascoli Piceno , pp. 7–8
  54. ↑ Campanile della chiesa dei Santi Vincenzo e Anastasio . Retrieved October 2, 2019.
  55. ^ A. De Santis, Ascoli nel Trecento - Vol. II (1350-1400), p. 443
  56. ↑ a b E. Cesari, La Chiesa dei Santi Vincenzo e Anastasio di Ascoli Piceno , p. 8
  57. ^ E. Cesari, La Chiesa dei Santi Vincenzo e Anastasio di Ascoli Piceno , p. 7
  58. ^ E. Cesari, La Chiesa dei Santi Vincenzo e Anastasio di Ascoli Piceno , p. 9
  59. ^ A b E. Cesari, La Chiesa dei Santi Vincenzo e Anastasio di Ascoli Piceno , p. 10
  60. ^ S. Balena, Ascoli la storia per le strade , p. 96
  61. ^ E. Cesari, La Chiesa dei Santi Vincenzo e Anastasio di Ascoli Piceno , p. 13

literature

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  • Antonio Salvi: Iscrizioni medievali di Ascoli . Istituto superiore di studi medievali Cecco d'Ascoli, Ascoli Piceno 1999 (Italian).
  • Sebastiano Andreantonelli: Storia di Ascoli - Traduzione di Paola Barbara Castelli e Alberto Cettoli - Indici e note di Giannino Gagliardi . G. e G. Gagliardi Editori, Ascoli Piceno 2007 (Italian).
  • Le Trame del Romanico. Tesori Medioevali nella Città del Travertino . Fast Edit, Acquaviva Picena 2007 (Italian).
  • Niccolò Marcucci: Memorie Ascolane, con le postille e commentari di Francesco Antonio Marcucci . Ed .: Prof. Franco Zenobi. Palumbi, Ascoli Piceno 2015, ISBN 978-88-98807-44-4 (Italian).

Web links

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