シエナ大聖堂下堂の受難伝壁画について

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Recently was excavated the lower church of Siena Cathedral, a part of which had been already known as a crypt and where large mural cycles of New Testament and Old Testament paralleling only with the infancy cycle of Christ, were rediscovered. In this short essay, I intend to examin iconographies of the Passion cycle decorating the center bay of the west wall, that is probably the main part of this decoration, for this wall stands opposite to the entrances of this lower church opening toward the east. Here are depicted the "Crucifixtion", the "Depositon from the Cross" and the "Entombment" above which a fragment of the 'Three Maries at Sepulchre" also survives. The iconography of the "Deposition from the Cross" is very similar to that of a Sienese small narrative panel from the Badia Ardenga usualy dated about 1275-'80, and also to that of a mural of the lower church of San Francesco at Assisi dating from about 1260 by an anonymous Umbrian, conveniently called as the "Maestro di S. Francesco". The deposition of this type is rather popular in central Italy in the last half of the 13th century. We can also see this type in a Crucifix by Salerno di Coppo in Pistoia Cathedral dating from 1274. But in the physiognomy of Nicodemus and the type of a hammer he has, the Sienese mural seems to be closer to Assisi one. The "Crucifixtion" is strongly influenced from the pulpit of Siena Cathedral by Nicola Pisano dating from 1268, on the Y shaped cross, the manner fixing the both feet of Christ together to the cross, with one nail and the fainting Virgin supported by two Maries. This means the terminus poste quern of the murals. The iconography of this crucifixion is unusal, for the Virgin is fainting on the left of the cross but St. John the Evangelist is still on the right, as traditional ones, with the Centurion and his soldiers. This unusual type of this subject may show a transitional stage to a new type, which depicts the Virgine, St. John, Maries and others on the left of the cross, and the Centurion and soldiers on the right. The "Crucifixion" of the Badia Ardenga narratives already shows the new type, so this can be the terminus ante quern. Therefor the murals in the lower church of Siena Cathedral can be dated between 1268 and around 1275. The "Entombment" shows a very close iconography to that in a crucifix by Coppo di Marcovaldo of the Museo Civico di San Gimignano. And the fragmentary "Three Maries at Sepulchre" shares the iconography with Florentine masters before 1270s. These murals of Siena seem to be influenced from many masters and regions outside of Siena. This fact seems to explain that these murals were the first real cycle of New Testament in Siena and therefor here Sienese intended to make a prototype with many inspirations from those works. But these influences seems to be limited to those works' or masters' before the first half of 1270s. This may explain that in these murals Cimabue's influence, proposed by L. Bellosi on Sienese painting at the last third of the 13th century, is little, probably because the maturity of Cimabue's style is generally dated on the last half of 1270s. The appearance of Cimabue was too late to be an inspiration to these Sienese murals.
東海大学の論文
2005-03-30

シエナ大聖堂下堂の受難伝壁画について

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東海大学 | 論文

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