Sant’Angelo in Formis

The basilica of Sant’Angelo in Formis is one of the most important monuments in medieval Campania. Its history is well documented by the chronicle of the abbey of Monte Cassino (Chronicon Casinense) and local chronicles (Regestum S. Angeli in Formis).

The original church was built in the sixth or seventh century on the site of a temple of Diana. A monastery – no longer extant – was later attached to it. The church of Sant’Angelo came under the authority of Monte Cassino in 1072. It was rebuilt and decorated by Abbot Desiderius of Monte Cassino (1058–87) between 1072 and 1087, and extended by a portico to the west. The portico’s decoration, however, only dates from the final decades of the twelfth century, after the partial reconstruction of the portico (scenes from the lives of the two hermits Saint Paul and Saint Antony).

The church has a basilical plan with no transept. Three naves prolonged by three semi-circular apses are separated by two rows of seven columns with Corinthian capitals. The columns support the arcades. The central nave is higher than the two side naves. To the west a portico made up of five openings stands in front of the entrance. The side arcades of the portico are made up of reused columns and support the groin vaults. The bell tower rises to the south of the church. No element of the church’s structure allows it to be dated precisely.

Desiderius, abbot of Monte Cassino, had close ties to the court of Constantinople and had Byzantine artists come decorate the sanctuary of his abbey. The paintings of Sant’Angelo in Formis are the proof of their activity. Nothing remains of the mosaic decoration. The paintings must have entirely covered the walls of the building, as the windows of the three apses were blocked up immediately after the end of the works so that a cycle of frescos could be completed.

On a tympanum above the principal entrance is a half-length representation of the Archangel Michael to whom the basilica is dedicated. He wears Byzantine imperial dress. Higher up, the Virgin appears in a medallion borne by two angels. There is a representation of a dove in the conch of the central apse; above it is a Christ in Majesty. Christ, surrounded by four creatures from the vision of Ezekiel, sits on a throne, holding an open book in his right hand and making a sign of blessing with his left. The text of the book, in Greek characters, is devoid of meaning, the sign that it is the work of local artists inspired by Byzantine models. Above Christ are frontal representations of three archangels, including Saint Michael to whom Abbot Desiderius gives a model of the church. The decoration of the north absidal chapel has completely disappeared. On the south is a depiction of the Virgin and Child. In the lower section, there are full-length representations of six saints, separated by trees.

The central nave, divided in three registers, depicts scenes from the life of Christ. This decoration is reminiscent of the iconographic programmes of Roman Early Christian basilicas. The two lateral naves are decorated with episodes from the Old Testament on two registers. The scenes are separated by columns or trees. A representation of the Last Judgement fills the entire west wall of the church.

The church also has an opus sectile pavement, part of which comes from the Temple of Diana.