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aristocrats of the city outside the walls and, with the ducal and comital insignia, he reached the basilica in procession where a solemn mass was celebrated , which was followed by tournaments of knights and banquets. In homage to the royal prerogatives of the basilica, the first duke of Milan, Gian
Galeazzo Visconti, ordered that, after his death, his body be buried in the
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in 1601. In the left arm of the transept there is the altar of Santa Lucia, whose altarpiece, depicting the martyrdom of the saint, is also the work of
Guglielmo Caccia and the baroque altar of Sant'Anna, rich in Baroque stucco, which houses a painting representing the Virgin and Child, St Joseph and
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and mythological themes. In the transept there is a two meter high crucifix, coated in silver leaf and commissioned by the abbess of the monastery of Santa Maria
Teodote Raingarda in the second half of the 10th century. The crucifix was moved to this basilica after the suppression of the monastery in
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and originally connected the basilica to the Royal Palace. Not surprisingly, the writing placed on the lintel of the portal invites you to pray to Christ for salvation using a term, vote, used in the
Christian Middle Ages also for prayers addressed to the emperor's well-being. Also on the portal, a
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Once inside the basilica, the procession moved towards the four black stones placed in the central nave, on which the throne was placed. During the month of May, when coronations generally took place, the light penetrates from the windows of the apse and of the lantern light up first the figure of
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and brought in 1407 to the church of Santa Maria
Capella in Pavia. In 1810, when the church of Santa Maria Capella (documented from 970) was deconsecrated, the treasure was transferred to the basilica. The furnishings are kept inside wooden cases with friezes in silver foil dating back to 1765 and
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Palace chapel. This church was destroyed by a fire in 1004, and only the lower part of the bell tower dates to the 7th-century church. The construction of the current crypt, choir and transept was begun in the late 11th century and was completed by 1130. The vaults of the nave, originally with two
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The Iron Crown, kept in the
Cathedral of Monza, is a treasured relic linked to Kings of Italy and their coronation from Lombard times up to the 19th-century. In 1866, the crown had been recovered by the Kingdom of Italy from Vienna, where the Austrian rulers of Lombardy had taken the crown after
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was regulated, basing it on male primogeniture and for this the county of Pavia was created, reserved exclusively for the heir to the throne. On this occasion, the lord had the ceremony celebrated by tracing the models of early medieval coronations: in fact, he was welcomed by the bishop and the
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At the crossing of nave and transept is the octagonal dome, a 30 m-high asymmetrical structure supported on squinches, in the
Lombard-Romanesque style. It is reportedly the earliest example of this form in Lombardy. The façade is decorated by numerous sandstone sculptures, of religious or
652:
Agostino de Candia, Fonti e Bibl.: G.T. Rivoira, Le origini dell'architettura lombarda, II, Roma 1907, p. 200; R. Maiocchi, Codice diplomatico artistico della città di Pavia dall'anno 1330 all'anno 1550, I, Pavia 1937, nn. 774, 807, 1192, 1314, 1352, 1372, 1436, 1442,
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with statical function. The four chapels in correspondence of the second and four spans of the aisles are a later addition. under the apse, which has a large 16th-century fresco, is the high altar (1383) housing the remains of Sts. Ennodius and
Eleucadius. The
295:, provided with a true façade, a false apse and a barrel vault, differs from the rest of the church and constitutes a nearly independent section of the edifice. Its length (38 m, compared to the 55 m of the whole basilica), contributes to this impression.
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The main nave now has four spans or four bays, like the side aisles. The bays of the main nave have a rectangular plan with the longest side parallel to the facade and are covered by cross vaults with ribs. The vaults were built between 1488 and 1491 by
411:, highlights the role of the basilica as the seat of royal coronations. The processions of the monarch's enthronement began in the small square in front of the northern portal (Piazzetta Azzani), which overlooks the
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and a cross, which are a 19th-century reconstruction of what was thought be the original scheme. Bas reliefs in horizontal bands portray human, animal and fantastic figures. Over the minor portals are portrayed
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The presence of two portals, north and south of the basilica and the monumental transept of the same, a feature common to several German imperial churches but completely absent in the religious architecture of
320:. In the lunettes are angels which, according to a caption sculpted there, have the role of ambassadors of the faithful's words into heaven.Bronze doors, coloured mosaics, geometric designs, bronze pilasters.
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grossly squared groin-vaulted spans, were replaced in 1489 by the design of master architect
Agostino de Candia in four rectangular spans, and the structure was created by his father the renown Pavia
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Life and Work of Iacopo da Candia, by M.G. Ercolino, text in
Italian: Vita e Opera di IACOPO da CANDIA, di Maria Grazia Ercolino, Dizionario Biografico degli Italiani, Volume 62. 2004 Italia.
271:. These are objects, plates, a spoon and a fragment of a cup, non-liturgical and hidden, in all probability, before the tenth century, perhaps part of the original treasury of the basilica.
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the King-Year placed at the top of the mosaic of the labyrinth located on the main altar and then the beam of light, between 10.30 and 11.00 in the morning, extends over the five stones.
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At the end of the ceremony, the procession left the southern door (facing via Capsoni), the Porta Speciosa, where the Traditio Legis is depicted, also a representation of
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silverware found at the site in 1968, suggests the site may have housed an early Christian basilica dating to the fifth century. The silverware is now preserved in the
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A. Cadei, Nota sul Bramante e l'Amadeo architetti del duomo di Pavia, in Boll. della Società pavese di storia patria, n.s., XXII-XXIII (1972-73), p. 40
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IACOPO da Candia di Maria Grazia Ercolino - Dizionario Biografico degli Italiani - Volume 62 (2004)|IACOPO da Candia in "Dizionario Biografico" -
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Origines of Lombardian Architecture by G.T. Rivoira, original text in Italian: Le origini dell'architettura lombarda, II, Roma 1907, p. 200
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The five stones, already mentioned in the Honorantiae civitatis Papiae (about 1020), above which the throne was placed during coronations.
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156:, region of Lombardy, Italy. The building, dating to the 11-12th centuries, is a well-preserved example of the Lombard-
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Over the centuries, the basilica hosted other sumptuous ceremonies and coronations, such as in February 1397, when
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instead of bricks, and for its Latin cross layout with a nave and two aisles and a long transept. San Michele's
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Altar of the Virgin: the altarpiece, depicting the Virgin between Saints Rocco and Sebastian was executed by
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San Michele Maggiore can be considered the prototype of other important medieval churches in Pavia such as
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manufacture were found underneath a tomb dated between the 11th and 12th centuries, now kept in the
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profane themes; they are however now much deteriorated. The façade has five double and two single
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Regibus Coronam Ferream Solemni Ritu Accepturis Heic Solium Positum Fuisse Vetus Opinio Testatur
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The inscription in the center circle was added in the 19th century by the prominent philologist
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The basilica was the seat of numerous important events, including the coronations of
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During some works carried out in the basilica in 1968, precious silver artefacts of
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was placed here on the solemnity of the Kings with a solemn rite.
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733:""Representing Royal Authority at San Michele Maggiore in Pavia""
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Pavia città regia. Storia e memoria di una capitale altomedievale
532:""Representing Royal Authority at San Michele Maggiore in Pavia""
489:""Representing Royal Authority at San Michele Maggiore in Pavia""
260:, while his heart was to be kept in the basilica of San Michele.
176:. Between 662 and 671, a church was built at the desire of King
180:. Dedicated to St Michael, it was built on the location of the
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second inscription also appears around an angelic figure:
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in October 1396, with which the succession system of the
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Museo in rivista. Notiziario dei Musei Civici di Pavia
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12th-century Roman Catholic church buildings in Italy
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History of medieval Arabic and Western European domes
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were erroneously believed up to 1863 to be relics of
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has fragments of a notable pavement mosaic with the
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247:wanted to celebrate the diploma of the emperor
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364:The cross of the Abbess Raingarda, 963-965. .
815:Accademia Carrara di Belle Arti di Bergamo
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418:hic est domus refughi atque consultationis
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764:(in Italian, English, German, and French)
737:Zeitschrift fur Kunstgeschichte 77 (2014)
536:Zeitschrift fur Kunstgeschichte 77 (2014)
493:Zeitschrift fur Kunstgeschichte 77 (2014)
447:, a professor at the University of Turin:
689:Basilica di san Michele Maggiore Pavia.
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562:. Roma: Viella Editore. p. 207.
336:and by his son, the master architect
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885:Monastery of San Salvatore, Brescia
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373:St Anne by the Novarese painter
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22:Basilica of San Michele Maggiore
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281:San Pietro in Ciel d'Oro
945:Villa Toeplitz (Varese)
920:Sacri Monti of Lombardy
663:Basilica San Michele.
609:Aimone, Marco (2013).
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860:Ducal palace, Mantua
230:Frederick Barbarossa
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269:Pavia Civic Museums
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890:Monte Isola
665:"La cripta"
285:San Teodoro
265:Ostrogothic
228:(1004) and
214:Berengar II
45:Affiliation
1026:Categories
962:45°10′56″N
875:Lake Garda
717:Iron Crown
594:12 January
475:References
457:Gelasius I
426:domus regi
350:presbytery
314:Eleucadius
312:, and St.
206:Rudolph II
194:Berengar I
158:Romanesque
152:church in
121:Romanesque
870:Lake Como
700:9 January
674:9 January
345:matronaea
289:sandstone
249:Wenceslas
239:Interior.
202:Louis III
170:Ostrogoth
127:Completed
965:9°9′25″E
825:Bellagio
804:Lombardy
621:: 11–24.
463:See also
387:thurible
293:transept
232:(1155).
226:Henry II
224:(1002),
218:Adalbert
178:Grimoald
160:style.
91:Location
86:Location
73:662- 671
57:Province
50:Catholic
39:Religion
990:Portals
742:30 July
541:30 July
498:30 July
424:to the
327:Crypt .
220:(950),
212:(926),
208:(922),
204:(900),
200:(889),
198:Guy III
196:(888),
182:Lombard
164:History
97:, Italy
33:Façade.
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377:. The
222:Arduin
110:Church
81:Active
78:Status
1016:Italy
383:Brice
379:crypt
357:1799.
154:Pavia
148:is a
116:Style
95:Pavia
62:Pavia
744:2022
702:2023
676:2023
653:1459
596:2023
564:ISBN
543:2022
500:2022
283:and
210:Hugh
144:The
130:1130
107:Type
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