 From
the public square of the Dome, after a short walk
through one of the parts more evocative of Cividale,
one can reach the Tempietto Longobardo, monument
of great prestige in virtue of the exceptional works
of art guarded in it, for many people the same name
of the city ideally is identified with the one of
the Tempietto Longobardo. Nevertheless still driven
in it is the mystery that encircles the small building.
Ignote is the original destination, the primitive
structure and the maestranze that worked to build
it. The same name of " Tempietto Longobardo
" is improper, as tempietto is not a longobard
word and the name "longobardo" dates back
to the age of its construction, not to the fact
that its craftsmen belonged to that artistic world.
Improper, on the other hand, it is also the title
of " oratory of Saint Maria in Valley ",
acquired when the building became the fulcrum of
the Benedictine convent of Saint Maria in Valley.
Instead, the construction and decoration in stucco
and to coolness were surely executed little after
the half of VIII the century, towards the 760. In
the first years of XVIII century the Tempietto stopped
from its function of nail head alive of the monastero
and therefore was used as capitolar room of the
same convent; at the end of the 1800's the nouns
donated the Tempietto to the community of Cividale
(1893)and in such occasion they constructed the
hanging passage, on the bed of the Natisone, than
still take from the piazzetta of S. Biagio to the
entrance of the
building, so that the visitors in order to access
to it were not obliged to pass through clausura
atmospheres. During the centuries the Tempietto
was "restructured" several times: all
the frescoes decorating (or that have decorated
as many of them have been recently moved and exposed
in the Christian Museum and the archaeological Museum)
the walls are proof of this remake: all the frescoes
date from the XI to the end of XIV century approximately.
The building has a central body (externally to square
plant, weak cross to the inside) and of the presbiterio
to three apses, the widest being the central one.
The time is to cruise in the classroom, to botte
in the absidiole. Monolitic architraves of Roman
ages supported by twin columns of perusal with corinthian
capitels separate the navatelle, while a iconostasi
with smooth plutei delimits the zone of the classroom
from the presbiterio. On the wall next to the entrance
(the western one) one can admire the original decorations
of the Tempietto:in fact they are in good state
of conservation the exceptional and famous putties
and some frescoes unfortunately abraded and therefore
hardly readable, however still a masterpiece. The
decoration of stucco (compound of chalk, lime and
powder of marble) is carried out on two registries.
In those advanced two horizontal bands, worked with
reason to stilizzate deeply recorded rosettes, with
cavity to the center once filled up with vitrea
paste (only in some visible),  delimit
a space in which the six Saints in high relief find
place leaned to the wall, placed side by side in
ternary groups, to the right and to the left of
one she monopierces blind person, she adorns of
an archivolt, anch' it in stucco with most fine
reason similar to one trina, resting on two columns
sormontate from capitelli corinzi. In the inferior
registry one mirabile wraps worked to day runs with
decorativa function around the lunetta of the Christ
Logos in frescoes. Main element of the ornament
is a beautiful tralcio of screw to spiral with clusters
and the vine leaves enclosed within double final
frame with edges to ova and sferette of green glass
(in the greater part not more existing) to the center.
In the last restorations they have been recovered
ulterior stucco fragments, that has given credibility
to the hypothesis, already formulated long time
ago, than a decoration similar to that one of the
income wall it must be had also in adjacent the
northerner and meridional. The six feminine statues
have been thought figures of saints and four of
them have been identified as martyrs: Chiona, Irene,
Agape and Sofia. Their identification, however,is
not sure. The elegant figures, strongly lengthened
and sluices within garments made precious by various
decoratives elements and each of them has a solemn
ieraticità and although they recall to the
memory theories of own saints of the musivo bizantin
world , they differ from those because of visible
realism in also stilizzata
modellazione and for the new characterization of
the faces. As far as the dating, there is not doubt
that all the decorations in stucco belong to the
same age in which the Tempietto was constructed,
hardly beyond the half of century VIII. The original
frescoes dates to the 760 approximately, are reduced
to little episodes: the Christ Logos between the
Archangels Michele and Gabriel and some martyrdoms
(rests of a theory that ran at least in three walls)
in the income wall, and a Sant' Adrian in that northerner:
common and peculiar elements in all are the fixity
of the positions, the espressionistici sections
of the faces, the lands use greens in order to create
chiaroscurali effects.
 Information:
TEMPIETTO LONGOBARDO
Borgo Brossana - telephone: +39 0432 700867
WINTER
working days:
9.30 – 12.30 / 15.00 –17.00
pubblic holiday:
9.30 – 12.30 / 14.30 – 18.00 |
SUMMER
working days:
9.30 – 12.30 / 15.00 –18.30
pubblic holiday:
9.30 – 13.00 / 15.00 – 19.30 |
winter: working days and pubblic holiday 10.00-13.00
15.30-17.30
summer : working days and pubblic holiday
09.00-13.00 15.00-18.30
|
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Turismo>Tempietto
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