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==History==
[[File:Benediktinerkloster St. Johann Skulptur.JPG|thumb|upright|left|Statue of Charlemagne in the abbey church]]
The [[Charlemagne|Carolingian Renaissance]] is deeply in debt to the success of [[Charlemagne]] as a king and patron, and the driving force behind what we see here in St John Abbey. Throughout history, art, education and leisure have all only truly thrived in times of peace, although war is often the most important factor for technological change. In the early Middle Ages the constant conflicts between the Frankish Kingdoms hindered the artistic progress previously enjoyed by the Romans when their empire was at its height. Under [[Charlemagne]]’s prosperous kingship, the introduction of a new peacetime monastic order began, paving the way for the [[frescos]] and architecture seen at Saint John Abbey<ref>J. Hubert, The Carolingian Renaissance (George Braziller, New york 1970) p.XI</ref>.
As a devout Christian, [[Charlemagne]] wished to further the ability for his people to be both educated in the teachings of the church, and for his kingdom to be stable. One of the many ways that he achieved this was through his patronage of many monasteries throughout the Frankish Kingdom. The monasteries served as a training ground for missionaries, who were to be sent to the newly conquered areas of his empire and effect their conversion to Christianity<ref>M.M. Hilderbrant, the External School in Carolingian Society (Brill, Leiden 1992) p.61</ref>. His goals were mostly focused on education, and his mission as king was to provide the basis for the education of the clergy so they could in turn educate the parishioners. These monasteries served as canvas for much of the art and architecture of the [[Carolingian Renaissance]].
The Carolingian artisans were known to be skilled painter, jewelers and goldsmiths. Their aptitude for extensive and grandiose decoration was often used to decorate the manuscripts that were written by monks at abbeys such as St John’s. Such skilled and advanced artistry further highlights the importance of peace as a canvas for improved art and architecture in a civilization. As it is possible to see from the Pictures of St Johns Fresco’s, painting was also a large part of the Carolingian Renaissance. The Carolingian style of painting was founded in Roman, Christian and Germanic styles . The manner in which figures were portrayed was clearly Roman in style, the subject matter very often Christian, and the geometric designs and animal figures were Germanic in nature. Depictions from the gospels, as well as those of King David were particularly popular, as well as some Carolingian kings, and of course Christ in majesty<ref>Frasett p.102</ref>.
It is believed that the abbey was established ca. 780 by a bishop of [[Chur]],<ref name=ICOMOS>[http://whc.unesco.org/archive/advisory_body_evaluation/269.pdf ICOMOS Evaluation for UNESCO]</ref><ref name="HDS"/> perhaps under orders from [[Charlemagne]].<ref name="HDS">{{HDS|11610|Müstair Abbey}}</ref> It was built during a wave of monastery construction that included the nearby monasteries at [[Cazis]], [[Alvaschein|Mistail]], [[Pfäfers]], and [[Disentis Abbey|Disentis]]. The abbey was located along the [[Val Müstair]] pass over the [[Swiss Alps|Alps]] from [[Italy]] and was fortified to allow it to control the pass. In 881 the abbey passed over to be completely under the control of the [[Bishop of Chur]]. During the early years of the abbey, in the early 9th century, a series of [[fresco]]s were painted in the church. Later, in the 11th and 12th centuries, the abbey experienced a second expansion and new paintings were added or painted over the old frescoes. These paintings were only rediscovered in the 20th century.
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In the spirit of the [[Council of Trent]] the bishop issued a series of reforms governing religious life between 1600 to 1614. The reforms included new regulations as to who could receive the [[sacrament]]s and the publication of the [[breviary]]. Other policies, such as the requirement in the [[Benedictine Rule]] for common sleeping areas, were also relaxed in this era.
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Throughout the history of the Abbey of Saint John there were conflicts between the Bishop of Chur, the [[Grey League]] and the [[House of Hapsburg]]. The abbey's ruler, the [[abbess]], and the government authority, the [[vogt]], were often chosen by one of these three powers.
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[[File:St Johann - 18.jpg|thumb|300px|Dinner of Herod Antipas with dancing Salome]]
During the 20th-century restoration works, some [[Romanesque art|Romanesque]] frescoes from the 1160s were discovered here. Other murals are dated to [[Charlemagne]]'s reign. The UNESCO recognized these as "Switzerland's greatest series of figurative murals, painted c. A.D. 800, along with Romanesque frescoes and stuccoes".<ref name="UNESCO List">[http://whc.unesco.org/en/list/269 UNESCO List] accessed 28 April 2008</ref>
The figures seen in the frescos of St Johns are of balanced and symmetrical composition, and throughout the church this creates a sense of story and rhythm. The artist’s rapid application of paint and his use of brightness are a means of drawing attention to certain images over others, and shows the complexity and sophistication of the artist skill. The is a clear link between the frescos seen here in Mustair and those seen in the [[Charlemagne|Lombard Church of Santa Maria di Castelseprio]], has led some academics to believe that the artist were either local or at the very least familiar with the work seen there<ref>Marco Abate (editor), World heritage: Monumental Sites (Skira Editore, Italy 2003) p. 288</ref>.
One of the main reasons for the popularity of paintings was the fact that literacy is not required. As a result of this, the stories of Christianity and the messages that the clergy wish to share become more easily accessible to the masses that may or may not be literate<ref>Hubert p.27</ref>. The Abbey of St John holds some of the most important biblical stories. These stories hold greater implications for the modern day viewer as it shows what was considered to be the most important elements of Christianity at the time.
The original single [[nave]] church with five [[apse]]s has several significant [[Early Middle Ages]] [[fresco]]es from around 800. The paintings are organized in five rows that stretch from the southern wall across the west wall to the northern wall. The top row features scenes from the life of [[David|King David]] of the [[Hebrew Bible]]/[[Old Testament]]. The next three rows show scenes from the youth, life, and [[Passion (Christianity)|Passion]] of Christ. The bottom row contains scenes from the [[crucifixion]] of St. Andreas. On the western wall the rows are tied together with an image of the [[Last Judgment]].<ref name="Kulturfuhrer">{{cite book|title=Kulturführer Schweiz|language=German|author=Niklaus Flüeler, Lukas Gloor, Isabelle Rucki (eds.)|publisher=Limmatdruck AG|location=Spreitenbach|year=1982|pages=254–5}}</ref> The paintings were done in a limited range of colors including [[ochre]], red, and brown and help in the "comprehension of the evolution of certain Christian iconographic themes, like that of the last judgment".<ref name=ICOMOS/>
The importance of [[The Last Judgment]] is a substantial element in the power of the church over its congregation. What the fresco depicts is the end of the world, and the judgment that will befall all of mankind. Here people are assessed for their sins, and if they have asked forgiveness for their sins. Although it would be foolish to assume that all who visited the church at the time believed exactly what was depicted on its walls, we can draw conclusions about the messages the church was trying to portray about the importance of confession and a sense of self assessment when it comes to the question of morality.
Many of the frescos were painted over and only some have been restored. Through this we are able to draw conclusions about the churches attitudes at different times based on what they chose to show to the congregation. One example is seen through the 9th century fresco of Christ performing a miracle. The Miracles of Christ are both a central part of the bible as well as a central part of Christian beliefs. The depictions of Christ’s youth, life and passion allows for the illiterate man to see him in his greatness. One of the Fresco’s seen here is a painting of Christ healing a deaf mute. The painting shows Christ touching the man in the mouth, and looks of exclamation and wonder by those present is shown by the artist’s use of darker colors for the eyebrows and eyes, allowing them to appear amazed. The proportions of the characters also highlight their importance and give the viewer a slight sense of depth, as the figures of Christ and the deaf mute are slightly larger than those of the observers.
The apses and the eastern wall were repainted in the 12th century with [[Romanesque art|Romanesque]] frecsos showing a variety of [[Bible|biblical]] themes including the dinner of [[Herod Antipas]] (where the dancing of [[Herodias]]' daughter leads to the execution of [[John the Baptist]]<ref>{{Bibleverse||Matthew|14:6–11|NRSV}}; {{Bibleverse||Mark|6:19–28|NRSV}}</ref>), the [[Parable of the Ten Virgins|wise and foolish virgins]], [[apostles]], and [[Saint Stephen|St. Stephen]].<ref name="HDS"/>
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