Saint John Abbey, Müstair: Difference between revisions

{{Use dmy dates|date=September 20112020}}

{{Infobox UNESCO World Heritage Site}}

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'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 yorkYork 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 painters, 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 JohnsJohn's Fresco’sfrescoes, 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>[httphttps://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.

In the 10th century, the church tower was added to the abbey church. During the expansion of the 11th century, the bishop of Chur enlarged his residence at the monastery. A fine [[Tower house|tower home]], [[cloister]], and the double chapel of St. Ulrich and St. Nicholas were added. During the expansion, the two-story residence chapel of the bishop was also decorated with extensive [[stucco]] and fresco work.<ref name="ICOMOS" /> At some time in the 12th century, the occupants of the abbey changed from [[monk]]s to [[nun]]s. This change is first mentioned in 1167, but it happened sometime before this date.<ref name="HDS" /> The first abbess known by name is [[Adelheid (abbess of Müstair)|Adelheid]], attested between 1211 and 1233.

The [[Swabian War]], which was an attempt by the [[House of Habsburg|Habsburgs]] to assert control over the [[Grisons]] and key alpine passes, started at the convent.<ref name="Riezler">[[Sigmund Riezler|Riezler, Sigmund]]: ''[http://www.historicum.net/no_cache/persistent/artikel/1070/ Die Grafen von Fürstenberg im Schweizerkriege 1499]''; [[Tübingen]] 1883. {{dein iconlang|de}} from historicum.net. Detailed chronological account of events.</ref> On 20 January 1499, Habsburg troops occupied the surrounding valley and plundered the convent, but were soon driven back by the forces of the [[Three Leagues]] at the [[Battle of Calven]]. Following the raid, an armistice was signed between the Habsburgs and the Three Leagues. However, this armistice only lasted a few days before the conflicts broke out between the Three Leagues' [[Old Swiss Confederacy]] allies and the Habsburg troops. These raids quickly escalated into the Swabian War, which ended in September 1499 with the Treaty of [[Basel]] granting virtual independence to the Swiss Confederacy.<ref name="Riezler" />

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">[httphttps://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's skill. TheThere is a clear link between the frescos seen here in Mustair and those seen in the [[CharlemagneCastelseprio (archaeological park)#Frescoes|Lombard Church of Santa Maria foris portas 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.&nbsp;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 |author=Flüeler |first=Niklaus |title=Kulturführer Schweiz |languagelast2=GermanGloor |authorfirst2=Niklaus Flüeler, Lukas Gloor,|last3=Rucki |first3=Isabelle Rucki (eds.)|publisher=Limmatdruck AG|location=Spreitenbach |year=1982 |location=Spreitenbach |pages=254–5 |language=German}}</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 apses and the eastern wall were repainted in the 12th century with [[Romanesque art|Romanesque]] frecsosfrescoes 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 in the New Testament|apostles]], and [[Saint Stephen|St. Stephen]].<ref name="HDS" />

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*{{commonscatcommons category-inline|Monastery of Saint John in Müstair}}

*[http://www.muestair.ch/ Kloster Müstair] limited information in English