Books by Chiara Croci
Fondato con tutta probabilità sul crinale del quarto secolo, San Giovanni in fonte è in questo st... more Fondato con tutta probabilità sul crinale del quarto secolo, San Giovanni in fonte è in questo stato di cose il primo battistero d’occidente che si conservi con la sua decorazione originaria. I suoi mosaici offrono uno scorcio unico sul problema dell’affermazione di un’imagerie cristiana su scala monumentale e si rivelano fondamentali per ricostruire la cultura artistica del periodo di svolta che dal tramonto dell’epoca tardoantica conduce agli albori del medioevo
Celebre per le sue pitture antiche, la Campania felix custodisce monumenti paleocristiani degni d... more Celebre per le sue pitture antiche, la Campania felix custodisce monumenti paleocristiani degni dei più noti di Roma e Ravenna: un patrimonio rimasto finora nell’oblio, che si rivela invece cruciale per la conoscenza dell’arte tardoantica.
Questo libro, che ha per protagonisti il battistero di San Giovanni in Fonte a Napoli, il complesso funerario di Cimitile presso Nola e quello di San Prisco alle porte di Capua, ricostruisce la nascita e i primi sviluppi dell’arte monumentale cristiana in Campania.
Ne emerge un panorama estremamente originale, frutto di un contesto culturale plasmato da committenti in bilico tra la “vecchia” aristocrazia romana e la “nuova” gerarchia ecclesiastica.
Edited Books by Chiara Croci
Una finestra su Roma altomedievale Pitture e mosaici
Dedicato alla produzione pittorica romana dell’altomedioevo, questo libro è il primo scorcio di u... more Dedicato alla produzione pittorica romana dell’altomedioevo, questo libro è il primo scorcio di una ricerca in corso nell’ambito del progetto Rome aux siècles ‘obscurs’. Les lumières de la communication visuelle, Ve-XIe siècles (Fondo Nazionale Svizzero della ricerca, 2020-2023). Sette casi di studio illustrano le strategie metodologiche sviluppate da un gruppo di ricerca multidisciplinare per affrontare testimonianze tra loro diverse per contesto, funzione e tipo di committenza (i mosaici di Sant’Agnese fuori le mura e di Santo Stefano Rotondo, il mosaico e le pitture della cosiddetta aula a sei vani sotto San Martino ai Monti, le pitture del Patriarchio lateranense, di Santa Maria in Cosmedin, di San Giorgio al Velabro e della galleria orientale di San Lorenzo fuori le mura).
Le molte novità qui riunite sono prova della vitalità di Roma tra i secoli V e XI, quando si affermò un sistema di comunicazione visiva che plasmerà nel tempo il paesaggio figurativo cittadino.
Couronnement des édifices les plus prestigieux, charnière entre l'espace architectural et le mond... more Couronnement des édifices les plus prestigieux, charnière entre l'espace architectural et le monde céleste, la coupole s'avère être un « système » crucial dans l'art de l'antiquité tardive et du haut Moyen Âge. Signe de commandes très distinguées, elle caractérise des bâtiments de grande importance – mausolées, martyria et memoria, baptistères, églises impériales, chapelles palatines – et incarne des défis architecturaux et décoratifs majeurs. En raison du faible nombre d’exemples conservés et de la complexité de leurs problématiques, les bâtiments à coupole ont rarement été l’objet d’études d'ensemble. Durant ces quinze dernières années, toutefois, d’importantes recherches ont révolutionné l’état des connaissances d’une partie de ces bâtiments et ont fondé les présupposés d’une nouvelle étude d’ensemble. Dans ce volume anthologique, les bâtiments à coupole majeurs de l’Antiquité tardive et du haut Moyen Âge sont étudiés selon des perspectives variées. Son but est celui d’éclaircir la structure et la décoration de ces bâtiments par rapport à leur fonction et d’offrir ainsi une ouverture sur un tournant historique majeur.
Papers by Chiara Croci
Mirabilia Romae II, 2024
The article focuses on a still scarcely explored part of Pope Paschal I's patronage in the early ... more The article focuses on a still scarcely explored part of Pope Paschal I's patronage in the early 9th century Rome, that is the mosaic of the arch of Santa Cecilia in Trastevere. Hidden and mostly destroyed during the renovation of the church undertaken by Cardinal Sfondrati in the early decades of the eighteenth century, the mosaic is known – in addition to two fragments in a poor state of preservation – from two 17th-century ‘copies’: a watercolor attributed to Antonio Eclissi and a print published in Ciampini’s Vetera Monimenta. This article points out for the first time that in the earliest and most faithful of the two reproductions, the watercolor by Eclissi, the ten female saints depicted on either side of the enthroned Virgin and Child, surrounded by angels at the top of the arch, hold in their hands an object from which flames emanate. The article therefore considers the possibility of seeing in this iconography a reference to the parable of the wise (and foolish) virgins (Matthew 25, 1-13) and the impact this reference would have had on the vision of the Kingdom of Heaven proposed, between the apse and the arch, in the presbytery of the Trastevere church.
Convivium , 2024
Equestrian images of Theodoric, King of the Ostrogoths, can be studied through written sources. T... more Equestrian images of Theodoric, King of the Ostrogoths, can be studied through written sources. This article focuses on the articulation between monumental sculptures that stood in public spaces and mosaic images recorded in the palaces of Ravenna and Pavia. This allows to reflect on the relationship between statuary and two-dimensional images in the depiction of the sovereign in Late Antiquity. Analysis of the main theoderician images known shows a renewed emphasis in representative media on two-dimensional images that served to place Theodoric in the tradition of the empire he led, presenting him at the same time as a leader with new ambitions for his realm.
Heritage, 2024
The present study, which is part of a wider inter-disciplinary research project on Medieval
Rome ... more The present study, which is part of a wider inter-disciplinary research project on Medieval
Rome funded by the Swiss National Science Foundation, focuses on the archaeometric characterisation
of glass tesserae from the apse mosaic of the church of S. Agnese fuori le mura, dated to the 7th century
AD and never analysed until now. The main aims of the study are the identification of chemical
compositions of glassy matrices and colouring/opacifying techniques by means of the combination of
micro-textural, chemical, and mineralogical data. In S. Agnese tesserae, the results show the presence
of glassy matrices and opacifiers/pigments, typical of both Roman and Late Antique/Early Medieval
periods. The technological features identified (in particular, glassy matrices and opacifiers/pigments)
allow us to discriminate not only new-production tesserae, i.e., those probably produced in the 7th
century for the realisation of the S. Agnese mosaic, but also those obtained from recycling or re-using
previous glass. This testifies to a quite complex “puzzle”, unusual in other glass mosaics from the
same city and coeval with S. Agnese, supporting further the potentiality of archaeometric studies on
glass to uncover the technical and socio-cultural knowledge that underpins its manufacturing, use,
re-use, and recycling in the Early Medieval Rome.
Post Classical Archaeologies, 2024
L’articolo prende spunto da due recenti ipotesi. La prima, formulata da C. Parisi Presicce, prese... more L’articolo prende spunto da due recenti ipotesi. La prima, formulata da C. Parisi Presicce, presenta il colosso della basilica di Massenzio come una rilavorazione della statua di Giove del Tempio del Campidoglio. La seconda, di C. Vollmer, propone di interpretare la rotonda al fianco sud di San Pietro, poi dedicata a Sant’Andrea, come l’edificio nel quale l’augusto avrebbe progettato di farsi seppellire ad Petrum. Se confermate, queste ipotesi impongono una revisione del diffuso schema storiografico che oppone il disinteresse quasi totale di Costantino per il centro di Roma all’ambizioso programma di fondazioni ecclesiastiche extra moenia. Il saggio discute queste ipotesi inserendole nella più ampia problematica del rapporto tra Costantino e la Roma antica, aprendo nuove piste per affrontare in chiave transdisciplinare le dinamiche della trasformazione del mondo tardoantico.
Heritage, 2023
The mosaic in the apse of the Church of S. Agnese fuori le mura in Rome represents one
of the mos... more The mosaic in the apse of the Church of S. Agnese fuori le mura in Rome represents one
of the most important examples of the wall mosaics of the Roman Middle Ages. Although it is
associated with Byzantine figurative culture, no scientific study has addressed this important piece
of Italian art history. One factor that has probably limited and created difficulties for its analysis
is the poor legibility of the original parts, which are compromised by heavy restorations affecting
the gold background, the faces of the two male side figures, and the lower band of the mosaic. The
present work describes how multispectral imaging provided significant guidance in the preliminary
identification of possible original areas in this ancient wall mosaic. Through an interdisciplinary
approach, the art historical background and historical graphic documentation of known restorations
supported the use of multispectral imaging to recognize original parts. The initial results of the
lab analyses (SEM-EDS and EMPA) of supposed original tesserae validated the hypothesis made a
priori thanks to multispectral acquisition, opening up new application possibilities for use of this
noninvasive technique in the preliminary in situ identification of original parts in restored glass
wall mosaics.
Dissertationes et Monographiae. Studies in Early Christian and Medieval Art History and Archaeology, 2023
Addressing Christian mosaics known through visual and written antiquarian documents, this paper
d... more Addressing Christian mosaics known through visual and written antiquarian documents, this paper
discusses the necessity to look at this type of sources going beyond the iconographic information usually
considered. A look to documents related to most known antiquarian sources opens questions on the contexts
of some lost works and allow to reconsider historiographical convictions in order to reach a new image
of medieval art.
Convivium Supplementum 2022 A Radical Turn? Reappropriation, Fragmentation, and Variety in the Postclassical World (3rd–8th Centuries), 2022
The first Christian visual expressions are unquestionably characterized by their immediate charac... more The first Christian visual expressions are unquestionably characterized by their immediate character. Many of the Old and New Testament images appearing in third-century funerary spaces are in fact reduced to identification of the protagonist and some minimal attributes. Scholars have therefore referred to these images as "signitive" or "abbreviated" depictions. This essay, considering various typologies of objects, the contexts of their creation, and their relation to testamentary narrative cycles, offers insights into the origins of this figurative visual language. The images are shown to result from accumulations of single elements that form networks of salvific concepts, the semantic potential of which was enhanced and oriented according to an associative logic. Indeed, they are not abbreviations of elaborate narrative cycles; in some cases, they reflect visual strategies developed in narrative cycles that enhanced the sense of "signitive" images and served as bridges linking them.
Convivium, IX.2, 2022
A glimpse of Pavia's early medieval pictorial and mosaic richness can be gained from four tituli ... more A glimpse of Pavia's early medieval pictorial and mosaic richness can be gained from four tituli contained in the Lorsch sylloge. Combining what the tituli offer with information about the politico-ecclesiastical situation as well as archaeological evidence of the pre-Carolingian city, this article presents the hypothesis that the inscriptions referred to images created in the church of San Michele over the seventh and eighth centuries. The image of St Michael at one time dominating the entrance, and that of a Christus Victor, could date back to a rearrangement of the church resulting from the affirmation of the cult of the Archangel in the second half of the seventh century. These and other figural elements may have provided inspiration for the works promoted by King Desiderius (757-774), to whom an inscription seems to attribute an apsidal mosaic replacing an older decoration.
Eikón Imago, 2022
Gold glass bottoms generally found in Roman catacombs, are some of late antiquity’s most enigmati... more Gold glass bottoms generally found in Roman catacombs, are some of late antiquity’s most enigmatic objects. Originally conceived as vessels, once they were broken, their bases were reemployed to be embedded in the mortar sealing of the slabs of certain loculi. Drawing on the different hypotheses on the origins of the bowls or glasses these bottoms were obtained from, and reflecting on the reasons for and ways of using these glass bottoms to decorate loculi, this paper aims to reassess the position of gold glass in the culture of late antiquity by questioning its pertinence or link to "popular" culture.
Una finestra su Roma altomedievale Pitture e mosaici, 2022
Una finestra su Roma altomedievale Pitture e mosaici, 2022
Punto focale del martyrium fondato da Onorio (625-638) sulla tomba della veneratissima Agnese, l'... more Punto focale del martyrium fondato da Onorio (625-638) sulla tomba della veneratissima Agnese, l'abside della basilica nomentana conserva una delle testimonianze artistiche più significative del medioevo romano. Il mosaico, dominato dalla figura della santa al centro del catino absidale, è una presenza costante nei manuali di storia dell'arte e archeologia medievale, ma rimane per molti versi incompreso (Figg. 1-2). Per la sua composizione sintetica, dove la martire si erge frontale, ieratica, quasi eterea, su uno sfondo unito composto da tessere a foglia d'oro, è stato considerato come un punto di rottura nella traiettoria artistica romana. Associato alla cultura figurativa bizantina e isolato dalla produzione cittadina altomedievale, è rimasto fino in tempi recenti privo di studi specifici. 1 Sulla sua interpretazione e il suo isolamento hanno inciso principalmente due fattori. Il primo è la scarsa conoscenza della cultura visuale coeva: il limitato numero di testimonianze conservate, specialmente nella parte orientale del Mediterraneo, ha generato una visione stereotipata dell'arte bizantina pre-iconoclasta nella quale si è trovato imbrigliato il mosaico nomentano. Il secondo è lo stato conservativo del mosaico, che ne intralcia pesantemente la lettura. La superficie risente infatti di evidenti restauri, ai quali si deve il rifacimento di intere parti dello sfondo, della fascia inferiore e del volto delle due figure a fianco della santa. 2 Questo saggio, accompagnato dai risultati preliminari di un'analisi archeometrica, si propone di rivalutare l'abside di Sant'Agnese e precisarne la collocazione nella tradizione figurativa altomedievale romana. Dopo un necessario inquadramento storiografico, la prima parte si rivolge alle peculiarità tecniche del mosaico e getta le basi per meglio comprendere, nella seconda, la ragion d'essere della scenografia orchestrata da Onorio per il martyrium della santa. C.C. e M.G. * Il par. 1 è stato scritto da Chiara Croci; il par. 2 da Manuela Gianandrea. Un ringraziamento particolare va a don Mauro Milani per aver agevolato in ogni modo le ricerche svolte a Sant'Agnese nell'ambito di questo progetto. Un grande grazie anche alla Soprintendenza Speciale Archeologia Belle Arti e Paesaggio di Roma. Alla dott.ssa Daniela Porro per aver autorizzato l'analisi sul mosaico e alle dott.sse Mariella Nuzzo e Maria Milazzi per il fondamentale contributo allo studio.
Hagiographical narratives, especially depictions of
the acta martyrum, stand out in the pre-Carol... more Hagiographical narratives, especially depictions of
the acta martyrum, stand out in the pre-Carolingian Rome and reach
an apex in the transept of Santa Prassede. Whether this reflects the renewal of a late-antique tradition, the survival of a tradition erased
by conservation, or something new in eighth- and ninth-century Rome remains unclear. To understand the transept program in the cultural and political context of Pope Paschal i’s papacy, this paper considers the main developments of the hagiographical paintings in the early Middle Ages, the role of Saint Peter’s basilica as a model, and the specifics of the transept’s space, coming back to the repetitiveness of the cycles of Santa Prassede and to the redundant scene of the martyr trial
Perspectives Médiévales , 2020
La cattedrale di Capua, pesantemente trasformata in seguito ai danni bellici, era dominata fino a... more La cattedrale di Capua, pesantemente trasformata in seguito ai danni bellici, era dominata fino alla prima metà del XVIII secolo da un mosaico absidale commissionato dal vescovo Ugone (1129-1135). Noto da testimonianze grafiche Seicentesche, era presentato dagli eruditi locali come una sintesi dei mosaici absidali delle tre principali chiese paleocristiane perdute dell’antico centro (Santa Maria Maggiore, SS. Stefano e Agata e San Pietro in Corpo): una tesi che ne fece, ante litteram, un prodotto artistico della riforma gregoriana. Lo studio della reliquia iconografica del mosaico ugoniano rispetto ai suoi pretesi modelli paleocristiani consente di relativizzare la lettura e di interpretarla alla luce del contesto capuano sei e settecentesco. Enfatizzando il legame tra l’antica e la nuova Capua in un particolare momento politico-ecclesiastico, il mosaico di Ugone offre nuovi argomenti per una revisione del mito storiografico dell’arte della riforma.
Convivium. VI.2. Supplementum, 2019
The Depiction of the Acta Martyrum During the Early Middle Ages. Hints from a Liminal Space, The ... more The Depiction of the Acta Martyrum During the Early Middle Ages. Hints from a Liminal Space, The hagiographical cycles painted in the transept of Santa Prassede, dating in all likelihood from the moment of the foundation of the church by Paschal have been neglected by the academia because of their state of preservation and their apparently marginal location. This paper reconsiders this ensemble considering the transept as a crucial element in a basilica focused on a crypta, where it occupies a liminal place between the space of the clergy and the space of the worshippers. Taking into account this specific location and after having pointed on the diffusion of the hagiographical matter at the basis of the paintings in the early medieval culture, the paper shows the main iconographical strategies adopted to facilitate the apprehension of these narrative cycles. What emerges is an ensemble not less important than the most renowned works of Paschal , which push to reflect on the status of the wall-painting and especially of the narrative genre for a better understanding of the early medieval art.
Michele Bacci and Vladimir Ivanovici, eds., From Living to Visual Images. Paradigms of Corporeal Iconicity in Late Antiquity (RIHA Journal 0222-0229), 2019
The article aspires to show how physiognomy was used in late antique art in order to give substan... more The article aspires to show how physiognomy was used in late antique art in order to give substance to the theophanic dimension of a person, especially of a saint. Drawing on monumental art, sculpture, daily life objects and catacomb paintings or mosaics, it is possible to discern that the physiognomic features were used as iconographical attributes, which were adjusted depending on the context and of the degree of holiness of the person depicted (saints, deceased, patrons). Therefore, the article allows to follow the transition from portrait to 'icon' characterizing the late antique period.
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Books by Chiara Croci
Questo libro, che ha per protagonisti il battistero di San Giovanni in Fonte a Napoli, il complesso funerario di Cimitile presso Nola e quello di San Prisco alle porte di Capua, ricostruisce la nascita e i primi sviluppi dell’arte monumentale cristiana in Campania.
Ne emerge un panorama estremamente originale, frutto di un contesto culturale plasmato da committenti in bilico tra la “vecchia” aristocrazia romana e la “nuova” gerarchia ecclesiastica.
Edited Books by Chiara Croci
Le molte novità qui riunite sono prova della vitalità di Roma tra i secoli V e XI, quando si affermò un sistema di comunicazione visiva che plasmerà nel tempo il paesaggio figurativo cittadino.
Papers by Chiara Croci
Rome funded by the Swiss National Science Foundation, focuses on the archaeometric characterisation
of glass tesserae from the apse mosaic of the church of S. Agnese fuori le mura, dated to the 7th century
AD and never analysed until now. The main aims of the study are the identification of chemical
compositions of glassy matrices and colouring/opacifying techniques by means of the combination of
micro-textural, chemical, and mineralogical data. In S. Agnese tesserae, the results show the presence
of glassy matrices and opacifiers/pigments, typical of both Roman and Late Antique/Early Medieval
periods. The technological features identified (in particular, glassy matrices and opacifiers/pigments)
allow us to discriminate not only new-production tesserae, i.e., those probably produced in the 7th
century for the realisation of the S. Agnese mosaic, but also those obtained from recycling or re-using
previous glass. This testifies to a quite complex “puzzle”, unusual in other glass mosaics from the
same city and coeval with S. Agnese, supporting further the potentiality of archaeometric studies on
glass to uncover the technical and socio-cultural knowledge that underpins its manufacturing, use,
re-use, and recycling in the Early Medieval Rome.
of the most important examples of the wall mosaics of the Roman Middle Ages. Although it is
associated with Byzantine figurative culture, no scientific study has addressed this important piece
of Italian art history. One factor that has probably limited and created difficulties for its analysis
is the poor legibility of the original parts, which are compromised by heavy restorations affecting
the gold background, the faces of the two male side figures, and the lower band of the mosaic. The
present work describes how multispectral imaging provided significant guidance in the preliminary
identification of possible original areas in this ancient wall mosaic. Through an interdisciplinary
approach, the art historical background and historical graphic documentation of known restorations
supported the use of multispectral imaging to recognize original parts. The initial results of the
lab analyses (SEM-EDS and EMPA) of supposed original tesserae validated the hypothesis made a
priori thanks to multispectral acquisition, opening up new application possibilities for use of this
noninvasive technique in the preliminary in situ identification of original parts in restored glass
wall mosaics.
discusses the necessity to look at this type of sources going beyond the iconographic information usually
considered. A look to documents related to most known antiquarian sources opens questions on the contexts
of some lost works and allow to reconsider historiographical convictions in order to reach a new image
of medieval art.
the acta martyrum, stand out in the pre-Carolingian Rome and reach
an apex in the transept of Santa Prassede. Whether this reflects the renewal of a late-antique tradition, the survival of a tradition erased
by conservation, or something new in eighth- and ninth-century Rome remains unclear. To understand the transept program in the cultural and political context of Pope Paschal i’s papacy, this paper considers the main developments of the hagiographical paintings in the early Middle Ages, the role of Saint Peter’s basilica as a model, and the specifics of the transept’s space, coming back to the repetitiveness of the cycles of Santa Prassede and to the redundant scene of the martyr trial
Questo libro, che ha per protagonisti il battistero di San Giovanni in Fonte a Napoli, il complesso funerario di Cimitile presso Nola e quello di San Prisco alle porte di Capua, ricostruisce la nascita e i primi sviluppi dell’arte monumentale cristiana in Campania.
Ne emerge un panorama estremamente originale, frutto di un contesto culturale plasmato da committenti in bilico tra la “vecchia” aristocrazia romana e la “nuova” gerarchia ecclesiastica.
Le molte novità qui riunite sono prova della vitalità di Roma tra i secoli V e XI, quando si affermò un sistema di comunicazione visiva che plasmerà nel tempo il paesaggio figurativo cittadino.
Rome funded by the Swiss National Science Foundation, focuses on the archaeometric characterisation
of glass tesserae from the apse mosaic of the church of S. Agnese fuori le mura, dated to the 7th century
AD and never analysed until now. The main aims of the study are the identification of chemical
compositions of glassy matrices and colouring/opacifying techniques by means of the combination of
micro-textural, chemical, and mineralogical data. In S. Agnese tesserae, the results show the presence
of glassy matrices and opacifiers/pigments, typical of both Roman and Late Antique/Early Medieval
periods. The technological features identified (in particular, glassy matrices and opacifiers/pigments)
allow us to discriminate not only new-production tesserae, i.e., those probably produced in the 7th
century for the realisation of the S. Agnese mosaic, but also those obtained from recycling or re-using
previous glass. This testifies to a quite complex “puzzle”, unusual in other glass mosaics from the
same city and coeval with S. Agnese, supporting further the potentiality of archaeometric studies on
glass to uncover the technical and socio-cultural knowledge that underpins its manufacturing, use,
re-use, and recycling in the Early Medieval Rome.
of the most important examples of the wall mosaics of the Roman Middle Ages. Although it is
associated with Byzantine figurative culture, no scientific study has addressed this important piece
of Italian art history. One factor that has probably limited and created difficulties for its analysis
is the poor legibility of the original parts, which are compromised by heavy restorations affecting
the gold background, the faces of the two male side figures, and the lower band of the mosaic. The
present work describes how multispectral imaging provided significant guidance in the preliminary
identification of possible original areas in this ancient wall mosaic. Through an interdisciplinary
approach, the art historical background and historical graphic documentation of known restorations
supported the use of multispectral imaging to recognize original parts. The initial results of the
lab analyses (SEM-EDS and EMPA) of supposed original tesserae validated the hypothesis made a
priori thanks to multispectral acquisition, opening up new application possibilities for use of this
noninvasive technique in the preliminary in situ identification of original parts in restored glass
wall mosaics.
discusses the necessity to look at this type of sources going beyond the iconographic information usually
considered. A look to documents related to most known antiquarian sources opens questions on the contexts
of some lost works and allow to reconsider historiographical convictions in order to reach a new image
of medieval art.
the acta martyrum, stand out in the pre-Carolingian Rome and reach
an apex in the transept of Santa Prassede. Whether this reflects the renewal of a late-antique tradition, the survival of a tradition erased
by conservation, or something new in eighth- and ninth-century Rome remains unclear. To understand the transept program in the cultural and political context of Pope Paschal i’s papacy, this paper considers the main developments of the hagiographical paintings in the early Middle Ages, the role of Saint Peter’s basilica as a model, and the specifics of the transept’s space, coming back to the repetitiveness of the cycles of Santa Prassede and to the redundant scene of the martyr trial
Origins of the Dome of a Lost Martyrial Building
Known only through modern copies and descriptions,
the iconography of the lost mosaics of the fifth-century
building in the San Prisco cemetery on the Appian
Way outside Capua remains unique in Early Christian
art. Similarities between the composition scheme of
the Capuan dome’s mosaic and images in astronomical
treatises, such as the miniature of the Ptolemy’s easy
Tables, attest to the influence of cosmological models in
the mosaic's iconography. Specific connections between
cosmological imagery and depictions in the Early Christian
world emerge from the analysis, enabling the author to
present San Prisco's mosaic as a Christian Cosmology
adapted, by members of a highly cultivated ecclesiastical
elite, to the devotional needs of the Capuan martyrial site.
San Giovanni in Fonte (400 ca) tra “modes” e pratiche
di cantiere