THE ORIGIN OF THE MYSTERIES
. The term mysteries defining representations of medieval sacred object in the vernacular, evidenced in France from the eleventh century, which were performed in religious ceremonies to completion of the liturgical offices.
This is akin to theatrical forms, which originated from the decay of classical greek and roman theater and the stagnation of the theater during the medieval period, which became the media of the time and gave a slow start, in Renaissance, a revival of theatrical forms themselves, which, in turn, formed the basis of modern theater.
On the one hand there 'was the instinctive needs of the people to give vent to their religion mixed human being,' the more the Church's desire to educate the masses, mostly illiterate, with spectacular forms such as to arouse interest. These forms were to support it, to 'open the function entrusted to the educational narrative sculpture and painting in the churches.
The phenomenon was common to many European cities in its basic content but had different names in different places: Mystere (symbolic play) in France, auto sacramental (holy representation) in Spain; Passion (Mystery of the Passion) in Germany; Myracle-plays (sacred representations) in England.
Over the centuries (XV-XVII), with the 'evolution of customs, with the spread of grandeur enhanced by the rich Renaissance courts, with the psychological and ideological revolution of the Renaissance who turned away the spirits by the contemplation of a supernatural realm and to turn worldly goods, you get to treat more stage effects that the essence of religion so as to cause the infiltration of pagan elements in the sacred dramas sometimes slipping into inappropriate and vulgar. Hence the ban on these figurative usages, reported in some councils held in France in the sixteenth century and enshrined in the diocesan synod of 1629 and the replacement, in some Italian cities, groups with groups living wood (eg, mysteries of the Good Friday in Trapani) in which the intuitive strength and ability artist had to reach the efficiency evocative and exciting once promoted by living people.
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THE MYSTERIES in Campobasso
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Nell 'I appreciate the city in 1688, Eng. Nauclerio speaks of the feast of Corpus Domini emphasizing the ceremony wearing the pallium of the chapel of the Church of San Leonardo, which was preserved by priests to a source dell'Acquasanta, pimps up the plan for road and four teachers who then delivered to the Lord of the city or Mastrogiurato or mayors.
Turning to civilians who handed him over to the artisans. At the end of the event the protectors and the Four Masters resumed stake in front of the church and reported to the Chapel.
In 1732, Banner is to talk it over in his report of the festival: "The festival is celebrated in the Church of San Leonardo located on the Palazzo Ducale, where a procession to the various mysteries are natural, that the two Confraternity of SS. And the Holy Trinity Mary of the Cross be with their comp and six mysteries (one year for each one) and that of St. Anthony Abbot goes every year, the Brotherhood with its mysteries all with his six wax candles, coll 'association of all the men who are stationed in the convent and six together circuit are all the Earth. "
. THE MYSTERIES OF THE ZINN
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In 1740, the Confraternity of Sant 'Antonio Abate, Santa Maria of the Cross and Holy Trinity are built Di Zinno to six cars each.
Di Zinno did not want to sacrifice the comprehensive and compelling suggestion that erupts from 'natural hair swinging in the wind, the living mobile light of the eyes, the color of the cheeks, the thrill of breathing.
Volle then keep life in its essence, but the function entrusted to the bodies of the statues, busts immobilizing, legs and arms in the attitude required from the stage, linking actors to support an almost miraculous invisible.
Each mystery is made of a wooden stretcher on which a structure is placed in iron and steel (to get from 'a strength and elasticity on the other) that develop in vertical branches and leads to each end of the harness, each of which is placed in a child.
Children are angels, devils, madonnas and saints and appear to float in the air because the harnesses are hidden from the costumes and the structure becomes an integral part of the decorative elements of mystery, for example, making the foot of a table (Mysteries of St. Crispin and St. Nicholas), the stalk of a cedar (Mystery of St. Nicholas), a snake (Mystery of the Immaculate Conception), a chain (Mystery of St. Michael), a pilgrim's staff (Mystery of San Rocco). On the basis of the Mystery
other characters are interpreted, according to the role, children or adults.
The Mysteries are carried on the shoulders in a procession through the streets of the city and the steady pace of the carriers, swinging the iron structure, creates the illusory sensation of seeing angels and devils to fly to several meters from the ground.
Di Zinno, around 1740, invented the Mysteries but you're not twenty-four feet would carry on testing and six others, representing the Body of Christ, SS. Trinity, St. Mary of the Cross, Our Lady of the Rosary, Santo Stefano and San Lorenzo, were destroyed during the earthquake of 26 July 1805 by the collapse of the buildings where they were stored.
Since then marched the remaining twelve Mysteries depicting Sant 'Isidoro, San Crispino, San Gennaro, Abraham, Mary Magdalene, Sant' Antonio Abate, the 'Immaculate Conception, San Leonardo, San Rocco, the Assumption, St. Michael and St. Nicholas until 1959, when the cousins Tucci realized a thirteenth Mystery, the Sacred Heart of Jesus, on the basis of a drawing attributed to Di Zinno.
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PAUL XAVIER of Zinn
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Born in 1718 in Campobasso, 's childhood and adolescence there is no news. In 1737 (XVIII century) went to Naples at the shop of the little-known master Gennaro Franzese to learn the craft of sculptor, helped financially by his brothers, with the 'commitment to stay for five years.
returned in Campobasso, is changing the scenery of the city and is elected to local government. He began his activities a sculptor, although at the commissions are low.
Elected to the Government of the Confraternity of Santa Maria della Croce, in 1759 ends up in jail accused of "proper procedures" exonerated, is released and continues to manage, but not for long, the life of the Brotherhood.
is stated as a wood sculptor, and his reputation grows, the fees are numerous, and, together with bequests to his family and that, well off, the wife has earnings that allow a good standard of living.
's peak of his career and prestige is touched when he was given the reinvention of The Mysteries of Corpus Domains. He died in 1781 in Campobasso, leaving a substantial legacy asset that is Art.
The fundamental period for the artistic evolution of Di Zinno is from Naples, in whose environment he learned techniques and technologies and in-depth knowledge of technical and expressive qualities of the artists his age (he was principal, during the governorship of the Congregation Santa Maria della Croce in Campobasso).
The wooden sculptures of Di Zinno are numerous, present in most of the churches in Molise, Campania, Puglia, Abruzzo, the only sacred subject, about 30 of those cataloged are signed and dated (from 1745 1781), other 68 are accepted for the award.
specialization in carving (sculpture processional) is the basis of his work more relevant, "living machines" of the Mysteries of Corpus Christi : on sturdy planks develops a framework of iron and steel from which trunk branch crossed branches, shape and length relative to their function, which is to hold the set alive.
Each platform is carried on the shoulders in rhythmic march, guarded by a "mystery head" by a number of carriers. The machine, commissioned by three fraternities in the city (of San Antonio Abbot of St. Mary of the Cross and the Trinity), were maintained by the same fraternities with an annuity for the costs of conservation, clothing and transportation for the day of the feast (Corpus Christi).
Of the 24 machines created by Di Zinno, only 18 came out in public because you would carry no final test, 4 more were severely damaged in the earthquake of 1805. 'S conception of the Mysteries, to the first decade of the second half of the eighteenth century, stands in full baroque trend, and as a reference point Naples.
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- Text taken from the Old Town Association site onlus Campobasso.
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