Author: Davide Obili, PhD student at the University of Bologna
Attending the Summer School of Digital Palaeography in Göttingen was a fantastic experience, and I would highly recommend it to anyone interested in Manuscript Studies or Digital Humanities.
The programme offered a well-balanced mix of theory and practice, giving us a great introduction to the history of Latin scripts and the material aspects of the medieval book, as well as to a wide range of digital tools and methods for Palaeography and Digital Text Editing, which was exciting as it showed us new possibilities in the field. One of the highlights was getting to see and work withreal medieval manuscripts and fragments, both in Göttingen and during our day trip to Wolfenbüttel.
Anna Dorofeeva and all the other teachers were not only highly knowledgeable but also approachable and friendly, and the entire organising team was always available to help us, creating a welcoming and supportive learning environment. Meeting and connecting with the other participants was another great part of the experience, as it made the stay in Göttingen educational and fun.
It was an enriching experience, and I would recommend it to anyone considering applying for future summer schools.
This text was written by the MA student Luana Moraes Costa.
The Basilica of Saint Andrew was founded between 1219 and 1227 on the initiative of Cardinal Guala Bicchieri, who had just returned from England where he had served as papal legate. Bicchieri received perpetual rights to the income of St. Andrew’s Church in Chesterton, near Cambridge, from King Henry III. With this financial support, he brought Augustinian canons from Saint-Victor in Paris to oversee the construction of the new abbey and pilgrim hospital along the Via Francigena, with the hospital’s construction commencing in 1224.
The Basilica of Saint Andrew. Photo: Carlo Dell’Orto, 2013. From Wikimedia Commons.
The French influence on the basilica’s construction was significant, particularly regarding the introduction of Gothic elements. Although the architect remains unknown, it is presumed that the Gothic lines of the new edifice were introduced by French clerics, including Abbot Thomas Gallus, previously a professor at the University of Paris.
Inside of the Basilica of Saint Andrew in Vercelli. Photo: Luana Moraes Costa, 2024.
The cloister of the basilica, built in the 13th century and later remodeled during the transition from the Vittorini to the Lateran canons, remains a crucial element of the monastery’s architecture.
Cloister of Saint Andrew’s Abbey in Vercelli. Photo: Luana Moraes Costa, 2024.
Inspired by Cistercian models, the presence of both Gothic and Romanesque influences in the basilica connects it to the architectural traditions of northern Italy and suggests the involvement of an Italian master in the design. The fusion of these architectural styles gives the basilica a unique identity and reflects the cultural and artistic exchanges that were prevalent during the construction period.
Inside of the Basilica of Saint Andrew in Vercelli. Photo: Luana Moraes Costa, 2024.
Vercelli played a very important role as a geopolitical crossroads during the construction of Saint Andrew’s Abbey. Situated along the Via Francigena, a major pilgrimage route connecting Canterbury to Rome, the city served as a meeting point for travelers, traders, and pilgrims from diverse backgrounds and cultures. This context of cultural exchange and interaction certainly influenced the basilica’s development and its significance as an architectural and religious landmark in the region.
Bibliography:
Italia.it. Basilica di Sant’Andrea. <https://www.italia.it/it/piemonte/vercelli/la-basilica-di-sant-adrea>
Sant’Andrea Verccelli Official Website. <https://santandreavercelli.com>
S. Baiocco, S. Castronovo, E. Pagella, Arte in Piemonte. Il Gotico, 2004, Priuli e Verlucca Editori, Ivrea, ISBN 88-8068-225-3.
G. Vergani, “L’Italia settentrionale. Le contaminazioni del Gotico”, in La Storia dell’Arte, Vol 5, cap. 13, 2006, Electa and La Biblioteca di Repubblica, Milan.
M. Cappellino, Il coro ligneo della basilica di S. Andrea. Agiografia Canonicale in un codice vercellese, 1989, Vercelli.
In the heart of Pavia’s historic center, the towering remnants of a bygone era stand tall, bearing witness to the city’s rich medieval history. The noble towers of Pavia are a testament to the wealth and influence of the families that once called this northern Italian city home.
During the high medieval period, noble towers became a characteristic feature of Northern Italian cities. Later, similar towers were built also in some German cities that maintained trade relations with the Italian north, such as Nuremberg, Constance, and Regensburg. Noble towers were constructed by affluent families for both representative and defensive purposes. Before the 12th century, many cities lacked effective walls, prompting the construction of towers for outer defense. Additionally, these structures served as inner defenses, particularly during inner-city feuds.
The design of the towers was influenced by the limited space in medieval cities, resulting in a narrow and tall structure with a square shape for enhanced defense. Typically, each floor housed a single room, connected by ladders. Over generations, towers were extended for status. In a seismically active region like Northern Italy, this inadvertently increased the risk of collapse.
In Pavia, the first towers were erected in the 11th century. Being home to many wealthy families during the Middle Ages, Pavia’s skyline was soon full of towers, resulting in its moniker “the city of 100 towers”. This, however, is an exaggeration which yet suggests the prominence and sheer number of towers in Medieval Pavia. Historians believe the actual number of towers peaked at around 65. Notably, unlike in many other places, the towers in Pavia served purely representational purposes.
A 16th century fresco in the church of San Teodoro. It depicts Pavia with numerous towers inside its well protected city walls, highlighting the fact that the towers were not built for defensive, but representational purposes, only (FabioRomanoni, CC BY-SA 4.0).
The meaning of the tower’s representional character becomes clearer when viewed through a lens of early capitalism, which was emerging during that time. Despite lacking practical use or aesthetic appeal, the towers offered an objective measure of status: height. In a competitive society, where the quantification of wealth and power was emerging, these towers symbolized the conversion of economic capital into symbolic and political capital. This Bourdieuan interpretation suggests that the race to build the tallest tower was a decentralized means for patrician families to assert dominance in a changing socio-economic landscape. The towers may not have been practical or exceptionally beautiful, but they became powerful symbols of prestige and influence.
Today, 25 towers remain to some extent. Five towers still stand in their full size, with three located at Piazza Leonardo da Vinci and two on Via Luigi Porta. Others were removed, shortened, or used to construct new buildings. The surviving towers in Pavia, like the Maino tower at Piazza Leonardo da Vinci (standing at an impressive 51 meters), bear witness to the city’s architectural legacy. Notable counterparts include the San Dalmazio tower on Via Luigi Porta, standing at 41 meters. The towers have an average side length of 5 meters, built on a square foundation block made of bound river pebbles for structural stability. Originally, the towers were surrounded by residential buildings and palazzi. Openings were limited, with access granted through doors on upper floors leading to neighbouring buildings. Ground floor doors seen today were not originally constructed but added later.
As Pavia transitioned to the late medieval period under Visconti lordship, the towers lost their symbolic value. With diminished rivalry between Pavian families, many towers were reduced in height or removed. In the 17th and 18th centuries, concerns about stability further led to the modification and removal of these medieval structures. Notably, a tower repurposed as a bell tower collapsed as late as 1987.
Pavia’s medieval towers offer a captivating glimpse into the city’s storied past, reflecting the economic prosperity and turbulent conflicts of the medieval period. Preserved against the odds, these towers stand as enduring symbols of Northern Italy’s architectural heritage, providing modern visitors with a tangible connection to a bygone era.
