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The atrium is a square courtyard without verso roof, and was roofless for most of its career – Mottola Imballaggi

The atrium is a square courtyard without verso roof, and was roofless for most of its career

The atrium is a square courtyard without verso roof, and was roofless for most of its career

Fabric [ ]

The atrium is entered through the remains of per galleria, created from the original walkway puro the palace ramp by the insertion of a blocking wall preciso the right of the portal which abuts one of the brick arcade piers.

However, from the mid 9th esatto the mid 11th centuries it was per monastic church durante its own right and was roofed. The church dedication then was preciso St Anthony of Egypt. The massive central brick pier which used sicuro support the roof was removed durante the 1902 excavation.

Two rectangular statue niches flank the inside of the entrance, and a series of alternately rectangular and apsidal niches occupied the side walls. However those on the left used sicuro include two exits onesto paravent-chambers under the palace ramp, but these were blocked up when the church was sopra use. Con contrast, when the atrium was a monastic church two passages were cut through niches mediante the right hand wall esatto allow direct access onesto the monastic quarters per the atrio next door.

Before becoming verso church durante the 9th century, the atrium was the monastery’s graveyard and the yard surface was packed with graves. Some loculi or gravoso-slots were cut into the walls, and also into the walls of the galleria outside.

Atrium frescoes [ ]

The frescoes in the atrium are of five periods. One fresco each survives from Pope John VII (705-7) and Pope Paul I (757-767). Some are of the remodelling of Pope Adrian I (772-795), and others are of the 10th and 11th centuries. The latter are the latest that you will find during your visit, and were painted just before the final abandonment mediante the mid 11th century.

  • The niche onesto the right of the portal depicted three female martyrs; SS Agnes and Cecilia have been identified. (Pope Adrian.)
  • On the right hand side wall near the spigolo was originally a Vergine and Child with Four Saints, being venerated by Pope Adrian. He was depicted with a square halo, indicating that he was still alive when the sistema was painted. This nuovo was detached and was kept in the right hand side aisle of the church before the recent restoration -it is liable to stay there, out of the weather. The original location was above a giovane simili of hanging curtains (there is more of this in the church). (Pope Adrian.)
  • Christ mediante Majesty, with verso suppliant. (11th century.)
  • Two saints (11th century). They were painted over two insopportabile loculi cut into the wall.
  • Monastery passage. This was cut through the wall con the 10th century, and frescoed with saints on its walls and ceiling. The cycle continued onto the internal wall of the vestibolo beyond, which was the actual monastery at the time. (10th century.)
  • A bishop. (Pope Adrian.)
  • The far left hand apsidal niche was per shrine i posti migliori per incontrare donne online puro St Cyrus of Alexandria. He was verso martyred doctor of medicine, venerated with his fellow sufferer John as SS Cyrus and John (see their Roman church of Santa Passera). Beware of his being called “St Abbacyrus” -“Abba” is a Coptic honorific. In the recente he holds medical equipment, and has per cavity in the niche sill which was either for verso lamp or contained per venerated relic associated with him. (Pope Paul.)
  • Above the shrine: Christ Accompanied by SS Cyrus and John (10th century.)
  • Per depiction of St Anthony of Egypt, with per Latin text: “Where St Anthony is assaulted by demons” (Webb 2001). Animals and birds were depicted below. (10th century.)