Following the restoration of the small church of San Dionigi in Marcemigo (Tregnago, in the provi... more Following the restoration of the small church of San Dionigi in Marcemigo (Tregnago, in the province of Verona), carried out between 2008 and 2009, a fresco panel was fully brought to light, including a dedicatory inscription. The inscription reveals that the author — otherwise unknown — Bartolomeo, known as Madharius of Marcemigo, created it in 1357 for the soul of his father and mother. The fresco depicts Saints Simon, Thaddeus, Thomas (in the Incredulity), another unidentified saint, and Dionysius with two devotees (the painter’s parents). Based on stylistic analysis, the same artist was also the auctor of a Saint Christopher, painted around the same time on the same building; it is also possible to associate with him a Christ Pantocrator within a clypeus flanked by two rose windows, with a scene below of which only the cusp of a throne remains, painted around the 1380s in the chapel of the parish house of Tregnago. All these provincial culture paintings had remained substantially unknown to literature.
The iconographic reading of the oldest paintings in the church of
San Giorgio di Valpolicella (V... more The iconographic reading of the oldest paintings in the church of
San Giorgio di Valpolicella (Vr), which unfond on the east and
west front of the central aisle and date back to the 11th Century, is
still controversial and incomplete. It will be specified, also thanks
to the execution of quality digital photographs, published here
with the aim of documenting what is preserved, and through the
comparison with historical images, in dialogue with the previous
interpretative hypotheses. In the western apse the apocalyptic
theme developed in the basin, with the Christ in Majesty accompanied
by Seraphim and flaming wheels that are inspired by
Ezekiel’s vision, is completed by the Bosom of the Patriarchs in
the center of triumphal arch, to which the Sacrifice of Cain and
Abel and the Baptism of Christ approach, and Saints on the piers.
Only two scenes survive of the eastern elevation, on the triumphal
arch, probably connected to the theme of the offering; only
the Sacrifice of Isaac is recognized. Other remains of paintings,
present on the dividing walls between the naves, are difficult to
judge, with the exception of those near the eastern head, which
seem to belong to a different and more recent pictorial campaign.
Iconographic researches about baptismal fonts, a furnishing element of great liturgical and symbo... more Iconographic researches about baptismal fonts, a furnishing element of great liturgical and symbolic importance, are few in Italy, unlike the regions of the Northern Europe; this is because a national catalogue of fonts doesn’t still exist for this Country. So, this study tries to remedy this gap, focusing on the stone structures made in the Paeninsula between 11th and 13th centuries. Simple moldings or architectural frames or podshaped decorations can be found in many cases. Animal, vegetable, geometric elements are common. Then some Christian symbols, as well angels, prophets, saints or Christ can be shown. Some narrative subjects are represented: the Annunciation, maybe the Last Supper and, with clear reference to the liturgical function, the Original Sin, the Elevatio Animae and the Baptism of Christ. A more elaborate story, such as the Life of the Baptist, the Childhood of Christ or the baptismal rite, is rarely staged; the latter subject was widespread in Northern Italy. An iconographic richness, somewhat comparable to that of Central-Northern Europe, is shown in the Po Vally area, because it was probably influenced by those regions. On the other hand, this aspect do not appear in Southern Italy, where the pieve system was not developed.
Il vescovo di Verona Walterio e la fondazione di un castello nell'alta val d'Illasi nell'XI secol... more Il vescovo di Verona Walterio e la fondazione di un castello nell'alta val d'Illasi nell'XI secolo silvia musetti
Two early Christian epitaphs of Verona are studied, both datable around to the fifth century. One... more Two early Christian epitaphs of Verona are studied, both datable around to the fifth century. One, in Greek, unpublished, is set into a wall of the San Procolo’s church; it is dedicated to a three-month-old baby. Another, already known, but so far considered non-Veronese, is preserved at the Maffeiano Museum; it presents an already corrupt Latin and several mistakes, probably caused by a misreading of the draft. These epigraphs are considered in the light of a broader perspective on the (few) early Christian inscriptions of the city.
I provide a new edition of an 11th century epigraph, now preserved in the Museum “G.B. Cavalcasel... more I provide a new edition of an 11th century epigraph, now preserved in the Museum “G.B. Cavalcaselle” in Verona but found in the monastery of Badia Calavena; there it is written that the bishop of Verona Walterio had built a castle «from the foundations». I evaluate the historical and archaeological elements in favor of the traditional interpretation, which identifies this castle with that of Badia Calavena, and put forward a new hypothesis, that it is rather that of Cogollo (Tregnago).
La ricerca, volta a indagare i vari aspetti connessi alla prassi battesimale della cattedrale ver... more La ricerca, volta a indagare i vari aspetti connessi alla prassi battesimale della cattedrale veronese nei secoli centrali del Medioevo, mette in luce complesse dinamiche di affermazioni identitarie imperniate intorno a San Giovanni in Fonte, battistero della cattedrale, ma possesso dei canonici e gestito da un clero particolare, che nei primi anni del Duecento tentò di affermare la propria autonomia. Il quadro di conflittualità che ne emerge, comune nella Penisola, si intreccia qui anche con la particolare esenzione di cui godeva il capitolo, direttamente soggetto al patriarca di Aquileia. Nel corso dei secoli, al clero di San Giovanni si sostituì come terzo attore quello della parrocchia di San Giusto. Questo stato di cose ebbe alcune ricadute a livello monumentale, comportando tra l’altro la marginalizzazione dell’eccezionale vasca battesimale del tardo XII secolo, esistente nel battistero, e la sua sostituzione con un nuovo fonte nella chiesa canonicale di Sant’Elena.
Sonia Colafrancesco, Come le ginocchia divennero guance. Il caso del secondo pronostico della Cap... more Sonia Colafrancesco, Come le ginocchia divennero guance. Il caso del secondo pronostico della Capsula eburnea inglese medievale Giorgio Milanesi, Una «riconsiderazione» del San Benedetto e la Regula del Museo Civico d'Arte di Modena Silvia Musetti, I rilievi altomedievali di San Vito di Cortelline (VR). Una ricognizione con alcuni frammenti inediti Andrea Spiriti, Gli affreschi nell'abside di Sant'Abbondio a Como: proposte cronologiche e iconografiche Rosella Tinaburri, Grimbald e gli altri: i collaboratori di re Alfredo alla corte di Winchester Paola Travaglio -Paola Borea D'Olmo, De Coloribus et Mixtionibus: Tradition and Transmission of the Most Widespread Text on Mediaeval Illumination Recensioni: AA.VV., La critica del testo. Problemi di metodo ed esperienze di lavoro. Trent'anni dopo, in vista del Settecentenario della morte di Dante. Atti del Convegno internazionale di Roma (23-26 ottobre 2017), a cura rilievi altomedievali di San Vito di Cortelline (VR).
L e tredici statue a tutto tondo, a grandezza un poco più piccola del naturale, degli Apostoli co... more L e tredici statue a tutto tondo, a grandezza un poco più piccola del naturale, degli Apostoli col Redentore sono collocate sulla balaustra che delimita il presbiterio della chiesa di San Zeno, rivolte verso la parte plebana dell'edificio ( ). Tre sono poste dirimpetto alla navata settentrionale, sette a quella centrale ed altre tre a quella meridionale, alla distanza pressoché costante l'una dall'altra di circa un metro 1 .
La conoscenza dello stato del complesso benedettino veneziano di San Giorgio Maggiore precedente ... more La conoscenza dello stato del complesso benedettino veneziano di San Giorgio Maggiore precedente alla ricostruzione del XVI e XVII secolo si pu\uf2 ora avvalere dello studio di una mappa tardoquattrocentesca, di recente pubblicazione, che ne attesta l\u2019organizzazione spaziale nell\u2019attacco a terra. L\u2019attivazione di un gruppo di ricerca, coordinato da Tiziana Franco, ha permesso di rileggere l\u2019eccezionale dossier di disegni (gi\ue0 oggetto di una corposa tradizione storiografica) inerenti il cenobio veneziano e un imponente corpus documentario, conservato in gran parte presso l\u2019Archivio di Stato di Venezia. Grazie alla georeferenziazione e al ridisegno digitale \ue8 stato possibile per la prima volta mettere in relazione diverse fasi della vicenda costruttiva del monastero, interrelando stati di fatto e progetti con uno studio analitico dei lacerti lapidei medievali. In questa sede si intende presentare i primi risultati di questo studio sistematico che intende rileggere nella sua interezza la plurisecolare vicenda del cenobio veneziano.The essay aims to set up a systematic study on the medieval complex of San Giorgio Maggiore in Venice, adopting a multidisciplinary approach through the collaboration between the history of architecture, the history of sculpture and digital representation. In the first part of the essay we propose a reconstruction of the architecture of the monastery in its situation immediately preceding the transformations of the 16th and 17th centuries. To hypothesize a plausible reconstruction of the medieval architecture we studied sources and used tools that are further discussed in the second part. Some reliefs and sculpted fragments, which plausibly pertinent to the medieval monastery, are the subject of the third part, with particular attention to their architectural role and their dating
The essay aims to set up a systematic study on the medieval complex of San Giorgio Maggiore in Ve... more The essay aims to set up a systematic study on the medieval complex of San Giorgio Maggiore in Venice, adopting a multidisciplinary approach through the collaboration between the history of architecture, the history of sculpture and digital representation. In the "rst part of the essay we propose a reconstruction of the architecture of the monastery in its situation immediately preceding the transformations of the 16th and 17th centuries. To hypothesize a plausible reconstruction of the medieval architecture we studied sources and used tools that are further discussed in the second part. Some reliefs and sculpted fragments, which plausibly pertinent to the medieval monastery, are the subject of the third part, with particular attention to their architectural role and their dating
This study concerns master Pulia, a polyhedric artist from Verona who was working between the las... more This study concerns master Pulia, a polyhedric artist from Verona who was working between the last quarter of the 13th century and the beginning of the 14th century. He is already well known for his paintings which were probably appreciated at the time but unfortunately everything was lost. He was also a sculptor but not of such a high standard. The aim of this study is to catalogue both areas of work, redefining, at least in part, the framework within which the artist worked. Furthermore, also on the basis of an epigraph which indicates he is its author, other inscriptions on stone of a very high artistic standard can be attributed to this artist for the first time.
a cura di ALFREDO BUONOPANE Verona e il suo territorio hanno avuto da sempre un rapporto privileg... more a cura di ALFREDO BUONOPANE Verona e il suo territorio hanno avuto da sempre un rapporto privilegiato con l'epigrafia romana: veronesi sono stati alcuni dei più grandi studiosi di epigrafia, da fra Giocondo a Felice Feliciano, da Francesco Bianchini a Scipione Maffei e a Verona si trova il Museo Maffeiano, uno dei più antichi e dei più importanti musei epigrafici del mondo. E non solo: decine di iscrizioni, quasi a formare uno straordinario museo all'aperto, sono inserite tanto nelle ancora imponenti strutture dei monumenti romani, dall'Arena all'arco dei Gavi, da porta Leoni a porta Borsari, quanto nelle murature delle chiese e degli edifici della città e della provincia, testimoni silenti, almeno per il passante meno attento, dello stretto legame fra una città e la sua storia più antica 1 . E in realtà il patrimonio epigrafico di questa città è uno dei più rilevanti dell'Italia settentrionale, per numero − oltre un migliaio − e per qualità, un patrimonio che si arricchisce di non poche unità anno dopo anno, grazie a scoperte e a fortunati recuperi, nel sottosuolo sì, ma anche in archivi e biblioteche.
Following the restoration of the small church of San Dionigi in Marcemigo (Tregnago, in the provi... more Following the restoration of the small church of San Dionigi in Marcemigo (Tregnago, in the province of Verona), carried out between 2008 and 2009, a fresco panel was fully brought to light, including a dedicatory inscription. The inscription reveals that the author — otherwise unknown — Bartolomeo, known as Madharius of Marcemigo, created it in 1357 for the soul of his father and mother. The fresco depicts Saints Simon, Thaddeus, Thomas (in the Incredulity), another unidentified saint, and Dionysius with two devotees (the painter’s parents). Based on stylistic analysis, the same artist was also the auctor of a Saint Christopher, painted around the same time on the same building; it is also possible to associate with him a Christ Pantocrator within a clypeus flanked by two rose windows, with a scene below of which only the cusp of a throne remains, painted around the 1380s in the chapel of the parish house of Tregnago. All these provincial culture paintings had remained substantially unknown to literature.
The iconographic reading of the oldest paintings in the church of
San Giorgio di Valpolicella (V... more The iconographic reading of the oldest paintings in the church of
San Giorgio di Valpolicella (Vr), which unfond on the east and
west front of the central aisle and date back to the 11th Century, is
still controversial and incomplete. It will be specified, also thanks
to the execution of quality digital photographs, published here
with the aim of documenting what is preserved, and through the
comparison with historical images, in dialogue with the previous
interpretative hypotheses. In the western apse the apocalyptic
theme developed in the basin, with the Christ in Majesty accompanied
by Seraphim and flaming wheels that are inspired by
Ezekiel’s vision, is completed by the Bosom of the Patriarchs in
the center of triumphal arch, to which the Sacrifice of Cain and
Abel and the Baptism of Christ approach, and Saints on the piers.
Only two scenes survive of the eastern elevation, on the triumphal
arch, probably connected to the theme of the offering; only
the Sacrifice of Isaac is recognized. Other remains of paintings,
present on the dividing walls between the naves, are difficult to
judge, with the exception of those near the eastern head, which
seem to belong to a different and more recent pictorial campaign.
Iconographic researches about baptismal fonts, a furnishing element of great liturgical and symbo... more Iconographic researches about baptismal fonts, a furnishing element of great liturgical and symbolic importance, are few in Italy, unlike the regions of the Northern Europe; this is because a national catalogue of fonts doesn’t still exist for this Country. So, this study tries to remedy this gap, focusing on the stone structures made in the Paeninsula between 11th and 13th centuries. Simple moldings or architectural frames or podshaped decorations can be found in many cases. Animal, vegetable, geometric elements are common. Then some Christian symbols, as well angels, prophets, saints or Christ can be shown. Some narrative subjects are represented: the Annunciation, maybe the Last Supper and, with clear reference to the liturgical function, the Original Sin, the Elevatio Animae and the Baptism of Christ. A more elaborate story, such as the Life of the Baptist, the Childhood of Christ or the baptismal rite, is rarely staged; the latter subject was widespread in Northern Italy. An iconographic richness, somewhat comparable to that of Central-Northern Europe, is shown in the Po Vally area, because it was probably influenced by those regions. On the other hand, this aspect do not appear in Southern Italy, where the pieve system was not developed.
Il vescovo di Verona Walterio e la fondazione di un castello nell'alta val d'Illasi nell'XI secol... more Il vescovo di Verona Walterio e la fondazione di un castello nell'alta val d'Illasi nell'XI secolo silvia musetti
Two early Christian epitaphs of Verona are studied, both datable around to the fifth century. One... more Two early Christian epitaphs of Verona are studied, both datable around to the fifth century. One, in Greek, unpublished, is set into a wall of the San Procolo’s church; it is dedicated to a three-month-old baby. Another, already known, but so far considered non-Veronese, is preserved at the Maffeiano Museum; it presents an already corrupt Latin and several mistakes, probably caused by a misreading of the draft. These epigraphs are considered in the light of a broader perspective on the (few) early Christian inscriptions of the city.
I provide a new edition of an 11th century epigraph, now preserved in the Museum “G.B. Cavalcasel... more I provide a new edition of an 11th century epigraph, now preserved in the Museum “G.B. Cavalcaselle” in Verona but found in the monastery of Badia Calavena; there it is written that the bishop of Verona Walterio had built a castle «from the foundations». I evaluate the historical and archaeological elements in favor of the traditional interpretation, which identifies this castle with that of Badia Calavena, and put forward a new hypothesis, that it is rather that of Cogollo (Tregnago).
La ricerca, volta a indagare i vari aspetti connessi alla prassi battesimale della cattedrale ver... more La ricerca, volta a indagare i vari aspetti connessi alla prassi battesimale della cattedrale veronese nei secoli centrali del Medioevo, mette in luce complesse dinamiche di affermazioni identitarie imperniate intorno a San Giovanni in Fonte, battistero della cattedrale, ma possesso dei canonici e gestito da un clero particolare, che nei primi anni del Duecento tentò di affermare la propria autonomia. Il quadro di conflittualità che ne emerge, comune nella Penisola, si intreccia qui anche con la particolare esenzione di cui godeva il capitolo, direttamente soggetto al patriarca di Aquileia. Nel corso dei secoli, al clero di San Giovanni si sostituì come terzo attore quello della parrocchia di San Giusto. Questo stato di cose ebbe alcune ricadute a livello monumentale, comportando tra l’altro la marginalizzazione dell’eccezionale vasca battesimale del tardo XII secolo, esistente nel battistero, e la sua sostituzione con un nuovo fonte nella chiesa canonicale di Sant’Elena.
Sonia Colafrancesco, Come le ginocchia divennero guance. Il caso del secondo pronostico della Cap... more Sonia Colafrancesco, Come le ginocchia divennero guance. Il caso del secondo pronostico della Capsula eburnea inglese medievale Giorgio Milanesi, Una «riconsiderazione» del San Benedetto e la Regula del Museo Civico d'Arte di Modena Silvia Musetti, I rilievi altomedievali di San Vito di Cortelline (VR). Una ricognizione con alcuni frammenti inediti Andrea Spiriti, Gli affreschi nell'abside di Sant'Abbondio a Como: proposte cronologiche e iconografiche Rosella Tinaburri, Grimbald e gli altri: i collaboratori di re Alfredo alla corte di Winchester Paola Travaglio -Paola Borea D'Olmo, De Coloribus et Mixtionibus: Tradition and Transmission of the Most Widespread Text on Mediaeval Illumination Recensioni: AA.VV., La critica del testo. Problemi di metodo ed esperienze di lavoro. Trent'anni dopo, in vista del Settecentenario della morte di Dante. Atti del Convegno internazionale di Roma (23-26 ottobre 2017), a cura rilievi altomedievali di San Vito di Cortelline (VR).
L e tredici statue a tutto tondo, a grandezza un poco più piccola del naturale, degli Apostoli co... more L e tredici statue a tutto tondo, a grandezza un poco più piccola del naturale, degli Apostoli col Redentore sono collocate sulla balaustra che delimita il presbiterio della chiesa di San Zeno, rivolte verso la parte plebana dell'edificio ( ). Tre sono poste dirimpetto alla navata settentrionale, sette a quella centrale ed altre tre a quella meridionale, alla distanza pressoché costante l'una dall'altra di circa un metro 1 .
La conoscenza dello stato del complesso benedettino veneziano di San Giorgio Maggiore precedente ... more La conoscenza dello stato del complesso benedettino veneziano di San Giorgio Maggiore precedente alla ricostruzione del XVI e XVII secolo si pu\uf2 ora avvalere dello studio di una mappa tardoquattrocentesca, di recente pubblicazione, che ne attesta l\u2019organizzazione spaziale nell\u2019attacco a terra. L\u2019attivazione di un gruppo di ricerca, coordinato da Tiziana Franco, ha permesso di rileggere l\u2019eccezionale dossier di disegni (gi\ue0 oggetto di una corposa tradizione storiografica) inerenti il cenobio veneziano e un imponente corpus documentario, conservato in gran parte presso l\u2019Archivio di Stato di Venezia. Grazie alla georeferenziazione e al ridisegno digitale \ue8 stato possibile per la prima volta mettere in relazione diverse fasi della vicenda costruttiva del monastero, interrelando stati di fatto e progetti con uno studio analitico dei lacerti lapidei medievali. In questa sede si intende presentare i primi risultati di questo studio sistematico che intende rileggere nella sua interezza la plurisecolare vicenda del cenobio veneziano.The essay aims to set up a systematic study on the medieval complex of San Giorgio Maggiore in Venice, adopting a multidisciplinary approach through the collaboration between the history of architecture, the history of sculpture and digital representation. In the first part of the essay we propose a reconstruction of the architecture of the monastery in its situation immediately preceding the transformations of the 16th and 17th centuries. To hypothesize a plausible reconstruction of the medieval architecture we studied sources and used tools that are further discussed in the second part. Some reliefs and sculpted fragments, which plausibly pertinent to the medieval monastery, are the subject of the third part, with particular attention to their architectural role and their dating
The essay aims to set up a systematic study on the medieval complex of San Giorgio Maggiore in Ve... more The essay aims to set up a systematic study on the medieval complex of San Giorgio Maggiore in Venice, adopting a multidisciplinary approach through the collaboration between the history of architecture, the history of sculpture and digital representation. In the "rst part of the essay we propose a reconstruction of the architecture of the monastery in its situation immediately preceding the transformations of the 16th and 17th centuries. To hypothesize a plausible reconstruction of the medieval architecture we studied sources and used tools that are further discussed in the second part. Some reliefs and sculpted fragments, which plausibly pertinent to the medieval monastery, are the subject of the third part, with particular attention to their architectural role and their dating
This study concerns master Pulia, a polyhedric artist from Verona who was working between the las... more This study concerns master Pulia, a polyhedric artist from Verona who was working between the last quarter of the 13th century and the beginning of the 14th century. He is already well known for his paintings which were probably appreciated at the time but unfortunately everything was lost. He was also a sculptor but not of such a high standard. The aim of this study is to catalogue both areas of work, redefining, at least in part, the framework within which the artist worked. Furthermore, also on the basis of an epigraph which indicates he is its author, other inscriptions on stone of a very high artistic standard can be attributed to this artist for the first time.
a cura di ALFREDO BUONOPANE Verona e il suo territorio hanno avuto da sempre un rapporto privileg... more a cura di ALFREDO BUONOPANE Verona e il suo territorio hanno avuto da sempre un rapporto privilegiato con l'epigrafia romana: veronesi sono stati alcuni dei più grandi studiosi di epigrafia, da fra Giocondo a Felice Feliciano, da Francesco Bianchini a Scipione Maffei e a Verona si trova il Museo Maffeiano, uno dei più antichi e dei più importanti musei epigrafici del mondo. E non solo: decine di iscrizioni, quasi a formare uno straordinario museo all'aperto, sono inserite tanto nelle ancora imponenti strutture dei monumenti romani, dall'Arena all'arco dei Gavi, da porta Leoni a porta Borsari, quanto nelle murature delle chiese e degli edifici della città e della provincia, testimoni silenti, almeno per il passante meno attento, dello stretto legame fra una città e la sua storia più antica 1 . E in realtà il patrimonio epigrafico di questa città è uno dei più rilevanti dell'Italia settentrionale, per numero − oltre un migliaio − e per qualità, un patrimonio che si arricchisce di non poche unità anno dopo anno, grazie a scoperte e a fortunati recuperi, nel sottosuolo sì, ma anche in archivi e biblioteche.
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Papers by Silvia Musetti
San Giorgio di Valpolicella (Vr), which unfond on the east and
west front of the central aisle and date back to the 11th Century, is
still controversial and incomplete. It will be specified, also thanks
to the execution of quality digital photographs, published here
with the aim of documenting what is preserved, and through the
comparison with historical images, in dialogue with the previous
interpretative hypotheses. In the western apse the apocalyptic
theme developed in the basin, with the Christ in Majesty accompanied
by Seraphim and flaming wheels that are inspired by
Ezekiel’s vision, is completed by the Bosom of the Patriarchs in
the center of triumphal arch, to which the Sacrifice of Cain and
Abel and the Baptism of Christ approach, and Saints on the piers.
Only two scenes survive of the eastern elevation, on the triumphal
arch, probably connected to the theme of the offering; only
the Sacrifice of Isaac is recognized. Other remains of paintings,
present on the dividing walls between the naves, are difficult to
judge, with the exception of those near the eastern head, which
seem to belong to a different and more recent pictorial campaign.
further discussed in the second part. Some reliefs and sculpted fragments, which plausibly pertinent to the medieval monastery, are the subject of the third part, with particular attention to their architectural role and their dating
San Giorgio di Valpolicella (Vr), which unfond on the east and
west front of the central aisle and date back to the 11th Century, is
still controversial and incomplete. It will be specified, also thanks
to the execution of quality digital photographs, published here
with the aim of documenting what is preserved, and through the
comparison with historical images, in dialogue with the previous
interpretative hypotheses. In the western apse the apocalyptic
theme developed in the basin, with the Christ in Majesty accompanied
by Seraphim and flaming wheels that are inspired by
Ezekiel’s vision, is completed by the Bosom of the Patriarchs in
the center of triumphal arch, to which the Sacrifice of Cain and
Abel and the Baptism of Christ approach, and Saints on the piers.
Only two scenes survive of the eastern elevation, on the triumphal
arch, probably connected to the theme of the offering; only
the Sacrifice of Isaac is recognized. Other remains of paintings,
present on the dividing walls between the naves, are difficult to
judge, with the exception of those near the eastern head, which
seem to belong to a different and more recent pictorial campaign.
further discussed in the second part. Some reliefs and sculpted fragments, which plausibly pertinent to the medieval monastery, are the subject of the third part, with particular attention to their architectural role and their dating