MEDIEVAL ART in Abruzzo

The Abbey of San Clemente a Casauria

Santa Maria Assunta and San Pellegrino a Bominaco

The Paliotto by Nicola da Guardiagrele (Cathedral of Teramo)

Loreto Aprutino - Santa Maria in Piano Judgment (detail) Moses and Elias in ecstasy

Rosciolo (AQ) - The pulpit in the church of Santa Maria in Valle Porclaneta

Moscufo (PE) - Santa Maria del Lago- the pulpit

Medieval Art

Romanesque art was widespread in Abruzzo thanks to the Bendictine monks who came directly from Montecassino. Many buildings were constructed in areas which were often untamed, but for this very reason, considered safe from attacks from the outside, as well as particularly adapt to the monk’s way of life based on "ora et labora" – "prayer and work". Grandiose basilicas and monastic complexes were constructed complete with workshops and fields in which all the basic necessities of life were produced, thus guaranteeing the complete independence of the monks. The most ancient monuments date back to the VI and VII centuries; many of these buildings were destroyed with time and their traces have been lost forever-others instead were restored.

These monasteries became important cultural and artistic centers. San Liberatore a Maiella produced the first school of architects of these monasteries, in which a special style deriving from the classic early-Christian basilicas was developed. This school of thought developed and some of the artists created the "valvense school" which adhered to the classic Roman traditions, which were transformed and re-elaborated into forms which were more adapt to the devotional needs of the monks. In the XII century, several different, complex styles influenced by the art of other regions such as Puglia, Campania, Lazio, and Sicilia. There was also a particular influence of the School of Borgogne, disseminated by French masters and Cistercian monks. The first abbey in which this style appeared is the church of San Giovanni in Venere near Fossacesia, although the church inside was constructed in the Benedictine style with renovations made according to the Cistercian model. Another important school affirmed itself in Casauria by virtue of the abbot Leonate who, in 1152 began reconstructing the ancient abbey of San Clemente a Casauria.

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San Liberatore a Maiella

San Liberatore is one of the most important monuments of Abruzzese art. It is located close to Serramonacesca (PE), a small village on the slopes of the mountains where the River Alento springs are located. The ancient building, in the benedictine-cassinese style, which legend has connected with Charlemaine, was destroyed during the earthquake of the year 990, reconstructed in 1007 and renovated in the 1960’s. It is characterised by a massive bell tower and a three nave church decorated with frescos dating back to the 1200s on the left side. These frescos and others dating back to the 16^th century have now been detached from the wall and can be admired at the entrance to the right nave, where they have been re-composed on panels. The pulpit has been reconstructed using sculpted material recuperated from other constructions. The pavement is in mosaic, created in 1275 under the French abbot Bernardo I Aylerio, and was transported to the parish church in Serramonacesca after the abbey was abandoned, but it was subsequently returned to its original place and now covers only a part of the central nave. The remains of the ancient monastery are visible in the immediate surroundings.

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Abbey of San Clemente a Casauria

The ancient abbey of San Clemente a Casauria rises in the vicinity of the River Pescara, in the territory of Castiglione a Casauria. The abbey was constructed in the year 871 by order of the emperor Ludwig II on the ruins of an ancient temple to Hercules. In 872, the relics of St. Clement were transferred to the church. In later years, the church was completely destroyed and reconstructed, reaching its greatest splendor in 1152, when the abbot Leonate, of the family of the counts of Manoppello, who restored not only the abbey, but the other churches that were under its jurisdiction as well The Casaurense school of artistic style rose during this era. It was composed of various artists from the immediate surroundings and from other areas. During this time, the church, constructed in the gothic romanesque style with a strong oriental influence, was decorated with refined sculptures and frescoes. A period of decadence followed the era of the "wonderful works" ordered by Leonate (who died in 1182). The church was abandoned between 1796 and 1887, after which it was re-discovered by prof. Pierluigi Calore from Pescosansonesco, who saved the monument from destruction. It was then consolidated and re-structured, and has been consigned to our day as one of the jewels of medieval art in Abruzzo.

The façade is made of large blocks of stone and opens with a triple arch portico, constructed between 1176 and 1180. Above the portico, the wall is decorated with an arched frame, and the portal is decorated with sculptures of Saint Clement in the cathedral and the abbot Leonate who offers a scale model of the church he reconstructed. Other sculptures narrate the history of the abbey. The heavy bronze doors are decorated with coats of arms, names of castles and other possessions of Casauria, figures of abbots and monks; many of the squares making up the door are missing or have been substituted with wooden figures.

Internally, the church is divided into three naves with heavy stone pillars supporting the gothic arches, which denote the passage from the pure Romanesque style to the Cistercian gothic styles. The pulpit, sculpted by Giacomo da Popoli, was initiated in 1176. It is decorated with precious sculptures depicting the classic Christian symbols taken from the Romanesque tradition, such as palm leaves, animals, grapevines and the casaurian rose. The candelabra is approximately 6 meters wide and symbolizes God in the stone column which sustains a double row of candles, which represent the apostles, gathered round one large candle representing the risen Christ. The altar is at the center of the presbyterium and is composed of a Christian sarcophagus decorated with sculptures from the 4th and 5th centuries which once contained the relics of Saint Clement.

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Santa Maria Assunta and San Pellegrino a Bominaco

Among the almond groves in the Navelli plateau, one can find along the road an isolated church, Santa Maria dei Cintorelli (1550 circa), which was originally a place of prayer constructed along the sheep trail. The fork in the road leading towards Caporciano and Bominaco, takes you in a few minutes to the ancient walls and circular tower belonging to a fort which before 1000 surrounded one of the most important Benedictine abbeys in Abruzzo, the ancient "momenaco", of which only the Oratorio di San Pellegrino and the church of Santa Maria Assunta are still intact. This oratory was constructed by virtue of Charlemaine himself, as proven by the inscriptions placed in various positions in the church by the abbot Teodino, who constructed it in 1263.

Inside, the vaulted ceiling covers a single rectangular room surrounded by small pilasters. The oratory is illuminated by 6 lateral windows and 2 small rose windows, of which the one facing west is quite ornate.

The church is decorated by frescoes painted by the monks themselves, in which the most significant liturgical moments were illustrated: Advent, the birth of Christ, and the Easter mystery. There are also later frescoes illustrating apostles and saints who were part of the benedictine tradition, such as the great Saint Christopher who is depicted on the left side of the entrance along with Sts. Onofrio and Francis. On the right, one can find the first scenes of the life of Jesus painted by a master of Christ’s childhood, with scenes ranging from the Annunciation, visitation nativity and presentation.

The master who painted the scenes from the passion, is the artist whose works are most present in the oratory: the medallions with the Saints and Prophets, the Encounter at Emmaus, Christ Enthroned with Four Apostles, Peter, Paul, James and John and the Last Judgement.

The scenes from Christ’s Passion begin with the entrance in Jerusalem and ends with the dramatic scene of the Deposition and Burial, where the clear figure of the dead Christ is lovingly carried by a compact group of figures, whose faces show great sensitivity and whose bodies express a great tension. The central scenes of Christ’s crucifixion and Resurrection are not depicted because the monastic theology believed that these two moments are to be lived, not represented: the Eucharist renews Christ’s sacrifice and the evangelical life of the monks, especially in loving others, represents Christ’s victory over death: Eternal life and glory in heaven overcoming the influence of sin and the death of the soul.

Another master was the author of the Miniatures, two strips of paintings depicting a calendar with the months, zodiac signs and the lunar phases. Each month is inscribed inside two vertical spaces with various decorative motifs. On the left there is a person performing the agricultural activity for that period, and above that there is the lunar phase and the pagan zodiac sign, the days divided into weeks and an indication of the activities of the various liturgical periods.

Santa Maria Assunta is located along the southern wall of the oratory, and is composed of three apses which seem to have been dug out of the rock. The three nave, Romanesque chapel is exceptionally decorated with sculptures and incisions praising the Virgin Mary.

The original construction dates back to 1180, the date inscribed in the pulpit and 1223 inscribed in the altar. It was restored in the 1700s in the baroque style, work which was subsequently simplified in the 1930s. Santa Maria Assunta is one of the most important monuments in the abruzzese Romanesque style, with its basilical façade.

Internally it is rectangular with three naves, six pillars on each side. The pillars are surmounted with very finely chiselled floral designs and leaves in the Corinthian style. These pillars were moved there from other ancient buildings and utilized in this church. The presbyterium, where the altar and throne are located, is slightly higher than the naves. The block of stone that forms the throne is decorated with bas relief designs of leaves, fruit and flowers. It sits at the top of three steps with two statues of lions facing each other-these statues were probably added during the restorations.

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The Abbey of San Giovanni in Venere

The abbey complex sits on a hill dominating the Adriatic coastline and the lower Sangro River Valley, in the midst of olive groves and oak and pine woods. The church faces east with its memorable apses which are illuminated at dusk, providing a truly wondrous sight from the beach. The church dates back to the year 1000, but legend and tradition have it that that same hillside was originally dedicated to Venus, goddess of reconciliation. In fact, many areas of the building complex indicate remote origins, and perhaps for this reason was chosen by the first Benedictine monks who settled there to work and pray. The property grew in size and wealth through the years until 1015, when Trasmondo II, count of Chieti, had the new church and monastery built, entrusting it again to the Benedictines. Oderisio II, of the counts of Pagliara, also known as "the Great Abbot" gave it a new aspect, according to the dictates of the Benedictine architectural style, with a touch of the borgonona school of architectural design.

The stone façade, attributable to Oderisio II is covered with brick and crowned off by a series of sculptures of various inspiration. The portal in stone and marble is surmounted by an vaulted arch which enclose a decorative half moon where the almost intact images of Jesus enthroned, the Blessed Mother and the Baptist are sculpted in the upper section, along with the remains of other figures. The inscriptions tell us that those sculpted images were of Rainaldo, St. Benedict and his spiritual father San Romano. On the sides of the portal there are two pilasters and columns made with different colored marble, one can see the images of the story of St. john the Baptist with scenes taken from the old and New Testaments, among which Daniel in the lion’s den, Gabriel the Archangel announcing John’s birth to Zaccharias, his father. The next scene depicts the scene of the Circumcision of the infant John, with Zaccharias writing the name on a tablet, and St. Elizabeth holding the child near the priest who is holding a knife, ready for the circumcision. Around these images are several different decorations with animals and floral designs.

The scenes on the left side of the portal show the Annunciation and Visitation, and the last scene shows John the Baptist dressed in camel skin with a long beard; these images are surrounded by other floral motifs with a final scene of two peacocks drinking from a vase.

The basilical design of the interior is divided into three naves divided by twelve pillars sustaining gothic arches. A large stairway leads to the presbyterium, covered with cross vaults laterally and with gothic vaults in the center. The presbyterium ends in three semi-circular apses. The church’s naves are covered by a tile and wooden ceiling which was built during the restoration done in the 1940s.

The crypt, located under the presbyterium, can be reached by means of the stairways located at the head of the lateral naves. In the crypt, one can find marble pillars dating back to Roman times and frescoes dating back to the XII and XIII centuries, painted by local artists, with images of Christ, the Virgin Mary and other Saints.

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Santa Maria d’Arabona

The church of Santa Maria d’Arabona (XIII c.) is located in Manoppello, in the province of Pescara, and distinguishes itself for its particular Cistercian structure of extreme simplicity, as opposed to the Clunian style, which was more emphatic and rich in decorations which was also in use at that same time. The Cistercians preferred a more austere, rigorous style, which was all the same grandiose, although quite functional. There were 86 Cistercian abbeys in Italy, of which 5 in Abruzzo. The first was Santa Maria di Casanova, dating back to 1191, which is today in ruins.

Construction of Santa Maria d’Arabona by the Cistercians began in 1208, and was never completed. They began with the three apses, and was stopped after the first section of the base of the cross section: there is no real façade to speak of. What is visible was an ancient wall built just to close off the church, whereas the rest of the construction is in squared stone. The apse is rectangular as in all the Cistercian churches and is illuminated by a rose window and two rows of arched windows. The rear wall was frescoed by Antonio da Atri (XIV c). The arches which separate the transept from the small naves and chapels.

The stone altar is raised on steps and decorated with sculptures. The tabernacle is located along the left wall of the apse, supported by two small columns with richly decorated capitellos and is beautifully decorated with floral motifs. Further ahead, there is the small stone pillar for the Easter candle, finely decorated with delicate designs sculpted in the stone. Two chapels on each side of the apse: the first is decorated with a fresco dating back to the 1500s and the other lies the tomb of Dino Zambra (1922-1944) the son of the Baron Zambra, who is a candidate for sainthood.

The ancient monastery, surrounded by luxurious gardens, had been transformed into a private home by the Zambra family, and was subsequently donated to the Salesian order.

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Nicola da Guardiagrele’s "Paliotto" in the Duomo of Teramo

The Duomo of Teramo was founded in 1158 as referred in Antinori’s manuscripts and a few years later, the remains of Saint Berard, the patron saint of the church, were buried there.

The church presents a traditional abruzzese façade with a magnificent portal designed by Diodato Romano in 1332.

The Paliotto by Nicola da Guardiagrele is located in this cathedral. A Paliotto is a wooden board covered with sheets of silver and colored enamel in which religious scenes were sculpted. This fine work of art was created by Nicola da Guardiagrele, and dates back to 1433-1448. In 34 squares, this famous gold and silver smith/artist tells the story of Jesus Christ from the Annunciation to the Pentecost, and then a final scene of St Francis receiving the stigmata. The story presented in chronological order, follows a pattern of four horizontal rows interrupted by the figures of the evangelists and the doctors of the church who surround Christ the Redeemer enthroned, situated in the center. The corners of the squares are decorated with colored enamel which frame the entire work. The work of art is encased in a silver frame which was added in 1734. This extraordinary masterpiece is considered Nicola’s most important work. Other works by Nicola da Guardiagrele, such as his finely chiselled crucifixes, can be found in Lanciano, Guardiagrele and L’Aquila.

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Loreto Aprutino - Santa Maria in Piano Judgment (detail) Moses and Elias in ecstasy
Rosciolo (AQ) - The pulpit in the church of Santa Maria in Valle Porclaneta
Moscufo (PE) - Santa Maria del Lago- the pulpit

Medieval Art
Romanesque art was widespread in Abruzzo thanks to the Bendictine monks who came directly from Montecassino. Many buildings were constructed in areas which were often untamed, but for this very reason, considered safe from attacks from the outside, as well as particularly adapt to the monk’s way of life based on "ora et labora" – "prayer and work". Grandiose basilicas and monastic complexes were constructed complete with workshops and fields in which all the basic necessities of life were produced, thus guaranteeing the complete independence of the monks. The most ancient monuments date back to the VI and VII centuries; many of these buildings were destroyed with time and their traces have been lost forever-others instead were restored. These monasteries became important cultural and artistic centers. San Liberatore a Maiella produced the first school of architects of these monasteries, in which a special style deriving from the classic early-Christian basilicas was developed. This school of thought developed and some of the artists created the "valvense school" which adhered to the classic Roman traditions, which were transformed and re-elaborated into forms which were more adapt to the devotional needs of the monks. In the XII century, several different, complex styles influenced by the art of other regions such as Puglia, Campania, Lazio, and Sicilia. There was also a particular influence of the School of Borgogne, disseminated by French masters and Cistercian monks. The first abbey in which this style appeared is the church of San Giovanni in Venere near Fossacesia, although the church inside was constructed in the Benedictine style with renovations made according to the Cistercian model. Another important school affirmed itself in Casauria by virtue of the abbot Leonate who, in 1152 began reconstructing the ancient abbey of San Clemente a Casauria.

San Liberatore a Maiella
San Liberatore is one of the most important monuments of Abruzzese art. It is located close to Serramonacesca (PE), a small village on the slopes of the mountains where the River Alento springs are located. The ancient building, in the benedictine-cassinese style, which legend has connected with Charlemaine, was destroyed during the earthquake of the year 990, reconstructed in 1007 and renovated in the 1960’s. It is characterised by a massive bell tower and a three nave church decorated with frescos dating back to the 1200s on the left side. These frescos and others dating back to the 16^th century have now been detached from the wall and can be admired at the entrance to the right nave, where they have been re-composed on panels. The pulpit has been reconstructed using sculpted material recuperated from other constructions. The pavement is in mosaic, created in 1275 under the French abbot Bernardo I Aylerio, and was transported to the parish church in Serramonacesca after the abbey was abandoned, but it was subsequently returned to its original place and now covers only a part of the central nave. The remains of the ancient monastery are visible in the immediate surroundings.

Santa Maria Assunta and San Pellegrino a Bominaco
Among the almond groves in the Navelli plateau, one can find along the road an isolated church, *Santa Maria dei Cintorelli* (1550 circa), which was originally a place of prayer constructed along the sheep trail. The fork in the road leading towards Caporciano and *Bominaco*, takes you in a few minutes to the ancient walls and circular tower belonging to a fort which before 1000 surrounded one of the most important Benedictine abbeys in Abruzzo, the ancient "momenaco", of which only the Oratorio di San Pellegrino and the church of Santa Maria Assunta are still intact. This oratory was constructed by virtue of Charlemaine himself, as proven by the inscriptions placed in various positions in the church by the abbot Teodino, who constructed it in 1263. Inside, the vaulted ceiling covers a single rectangular room surrounded by small pilasters. The oratory is illuminated by 6 lateral windows and 2 small rose windows, of which the one facing west is quite ornate. The church is decorated by frescoes painted by the monks themselves, in which the most significant liturgical moments were illustrated: Advent, the birth of Christ, and the Easter mystery. There are also later frescoes illustrating apostles and saints who were part of the benedictine tradition, such as the great Saint Christopher who is depicted on the left side of the entrance along with Sts. Onofrio and Francis. On the right, one can find the first scenes of the life of Jesus painted by a master of Christ’s childhood, with scenes ranging from the Annunciation, visitation nativity and presentation. The master who painted the scenes from the passion, is the artist whose works are most present in the oratory: the medallions with the Saints and Prophets, the Encounter at Emmaus, Christ Enthroned with Four Apostles, Peter, Paul, James and John and the Last Judgement. The scenes from Christ’s Passion begin with the entrance in Jerusalem and ends with the dramatic scene of the Deposition and Burial, where the clear figure of the dead Christ is lovingly carried by a compact group of figures, whose faces show great sensitivity and whose bodies express a great tension. The central scenes of Christ’s crucifixion and Resurrection are not depicted because the monastic theology believed that these two moments are to be lived, not represented: the Eucharist renews Christ’s sacrifice and the evangelical life of the monks, especially in loving others, represents Christ’s victory over death: Eternal life and glory in heaven overcoming the influence of sin and the death of the soul. Another master was the author of the Miniatures, two strips of paintings depicting a calendar with the months, zodiac signs and the lunar phases. Each month is inscribed inside two vertical spaces with various decorative motifs. On the left there is a person performing the agricultural activity for that period, and above that there is the lunar phase and the pagan zodiac sign, the days divided into weeks and an indication of the activities of the various liturgical periods. Santa Maria Assunta is located along the southern wall of the oratory, and is composed of three apses which seem to have been dug out of the rock. The three nave, Romanesque chapel is exceptionally decorated with sculptures and incisions praising the Virgin Mary. The original construction dates back to 1180, the date inscribed in the pulpit and 1223 inscribed in the altar. It was restored in the 1700s in the baroque style, work which was subsequently simplified in the 1930s. Santa Maria Assunta is one of the most important monuments in the abruzzese Romanesque style, with its basilical façade. Internally it is rectangular with three naves, six pillars on each side. The pillars are surmounted with very finely chiselled floral designs and leaves in the Corinthian style. These pillars were moved there from other ancient buildings and utilized in this church. The presbyterium, where the altar and throne are located, is slightly higher than the naves. The block of stone that forms the throne is decorated with bas relief designs of leaves, fruit and flowers. It sits at the top of three steps with two statues of lions facing each other-these statues were probably added during the restorations.

The Abbey of San Giovanni in Venere
The abbey complex sits on a hill dominating the Adriatic coastline and the lower Sangro River Valley, in the midst of olive groves and oak and pine woods. The church faces east with its memorable apses which are illuminated at dusk, providing a truly wondrous sight from the beach. The church dates back to the year 1000, but legend and tradition have it that that same hillside was originally dedicated to Venus, goddess of reconciliation. In fact, many areas of the building complex indicate remote origins, and perhaps for this reason was chosen by the first Benedictine monks who settled there to work and pray. The property grew in size and wealth through the years until 1015, when Trasmondo II, count of Chieti, had the new church and monastery built, entrusting it again to the Benedictines. Oderisio II, of the counts of Pagliara, also known as "the Great Abbot" gave it a new aspect, according to the dictates of the Benedictine architectural style, with a touch of the borgonona school of architectural design. The stone façade, attributable to Oderisio II is covered with brick and crowned off by a series of sculptures of various inspiration. The portal in stone and marble is surmounted by an vaulted arch which enclose a decorative half moon where the almost intact images of Jesus enthroned, the Blessed Mother and the Baptist are sculpted in the upper section, along with the remains of other figures. The inscriptions tell us that those sculpted images were of Rainaldo, St. Benedict and his spiritual father San Romano. On the sides of the portal there are two pilasters and columns made with different colored marble, one can see the images of the story of St. john the Baptist with scenes taken from the old and New Testaments, among which Daniel in the lion’s den, Gabriel the Archangel announcing John’s birth to Zaccharias, his father. The next scene depicts the scene of the Circumcision of the infant John, with Zaccharias writing the name on a tablet, and St. Elizabeth holding the child near the priest who is holding a knife, ready for the circumcision. Around these images are several different decorations with animals and floral designs. The scenes on the left side of the portal show the Annunciation and Visitation, and the last scene shows John the Baptist dressed in camel skin with a long beard; these images are surrounded by other floral motifs with a final scene of two peacocks drinking from a vase. The basilical design of the interior is divided into three naves divided by twelve pillars sustaining gothic arches. A large stairway leads to the presbyterium, covered with cross vaults laterally and with gothic vaults in the center. The presbyterium ends in three semi-circular apses. The church’s naves are covered by a tile and wooden ceiling which was built during the restoration done in the 1940s. The crypt, located under the presbyterium, can be reached by means of the stairways located at the head of the lateral naves. In the crypt, one can find marble pillars dating back to Roman times and frescoes dating back to the XII and XIII centuries, painted by local artists, with images of Christ, the Virgin Mary and other Saints.

Santa Maria d’Arabona
The church of *Santa Maria d’Arabona* (XIII c.) is located in *Manoppello*, in the province of Pescara, and distinguishes itself for its particular Cistercian structure of extreme simplicity, as opposed to the Clunian style, which was more emphatic and rich in decorations which was also in use at that same time. The Cistercians preferred a more austere, rigorous style, which was all the same grandiose, although quite functional. There were 86 Cistercian abbeys in Italy, of which 5 in Abruzzo. The first was Santa Maria di Casanova, dating back to 1191, which is today in ruins. Construction of Santa Maria d’Arabona by the Cistercians began in 1208, and was never completed. They began with the three apses, and was stopped after the first section of the base of the cross section: there is no real façade to speak of. What is visible was an ancient wall built just to close off the church, whereas the rest of the construction is in squared stone. The apse is rectangular as in all the Cistercian churches and is illuminated by a rose window and two rows of arched windows. The rear wall was frescoed by Antonio da Atri (XIV c). The arches which separate the transept from the small naves and chapels. The stone altar is raised on steps and decorated with sculptures. The tabernacle is located along the left wall of the apse, supported by two small columns with richly decorated capitellos and is beautifully decorated with floral motifs. Further ahead, there is the small stone pillar for the Easter candle, finely decorated with delicate designs sculpted in the stone. Two chapels on each side of the apse: the first is decorated with a fresco dating back to the 1500s and the other lies the tomb of Dino Zambra (1922-1944) the son of the Baron Zambra, who is a candidate for sainthood. The ancient monastery, surrounded by luxurious gardens, had been transformed into a private home by the Zambra family, and was subsequently donated to the Salesian order.

Nicola da Guardiagrele’s "Paliotto" in the Duomo of Teramo
The *Duomo of Teramo* was founded in 1158 as referred in Antinori’s manuscripts and a few years later, the remains of Saint Berard, the patron saint of the church, were buried there. The church presents a traditional abruzzese façade with a magnificent portal designed by Diodato Romano in 1332. The Paliotto by Nicola da Guardiagrele is located in this cathedral. A Paliotto is a wooden board covered with sheets of silver and colored enamel in which religious scenes were sculpted. This fine work of art was created by Nicola da Guardiagrele, and dates back to 1433-1448. In 34 squares, this famous gold and silver smith/artist tells the story of Jesus Christ from the Annunciation to the Pentecost, and then a final scene of St Francis receiving the stigmata. The story presented in chronological order, follows a pattern of four horizontal rows interrupted by the figures of the evangelists and the doctors of the church who surround Christ the Redeemer enthroned, situated in the center. The corners of the squares are decorated with colored enamel which frame the entire work. The work of art is encased in a silver frame which was added in 1734. This extraordinary masterpiece is considered Nicola’s most important work. Other works by Nicola da Guardiagrele, such as his finely chiselled crucifixes, can be found in Lanciano, Guardiagrele and L’Aquila.