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Couvent bénédictin Saint-Jean-des-Sœurs à Müstair

Benedictine Convent of St John at Müstair

The Convent of Müstair, which stands in a valley in the Grisons, is a good example of Christian monastic renovation during the Carolingian period. It has Switzerland's greatest series of figurative murals, painted c. A.D. 800, along with Romanesque frescoes and stuccoes.

Couvent bénédictin Saint-Jean-des-Sœurs à Müstair

Caractéristique du renouveau monastique chrétien à l'époque carolingienne, le couvent de Müstair, situé dans une vallée des Grisons, conserve le plus important ensemble de peintures murales de Suisse, exécutées vers 800, ainsi que des fresques et des stucs de l'époque romane.

دير القديس يوحنا للراهبات في موستاير

يحافظ دير موستاير الذي يجسّد ميزة للنهضة الرهبانية المسيحية في العصر الكارولينجي والقابع في وادي غراوبندن على أهم مجموعة من اللوحات الجدارية العائدة الى عام 800 في سويسرا وعلى الجدرانيات والنقوش الجصية المرتقية الى العهد الروماني.

source: UNESCO/ERI



source: UNESCO/ERI

Бенедиктинский монастырь Св. Иоанна в Мюстаире

Монастырь в Мюстаире, находящийся в горной долине в кантоне Гризон, это наглядный пример обновления деятельности христианских монастырей в эпоху Каролингов. Он обладает крупнейшим в Швейцарии собранием фигурных настенных росписей, относящихся к IХ в., а также романскими фресками и лепниной.

source: UNESCO/ERI

Convento benedictino de Saint-Jean-des-Soeurs en Müstair

Situado en un valle del cantón de los Grisones, este convento es un exponente característico de la renovación de la vida monástica cristiana en la época carolingia. Conserva frescos y estucos del período románico, así como el conjunto de pinturas murales más importante de toda Suiza, ejecutado hacia el año 800.

source: UNESCO/ERI


source: NFUAJ

Benedictijner klooster van Sint Johannes in Müstair

Het klooster van Müstair – in een vallei in de Graubünden – is een goed voorbeeld van christelijke kloostervernieuwing tijdens de Karolingische periode. Het heeft de grootste reeks figuratieve muurschilderingen van Zwitserland – geschilderd omstreeks 800 na Christus – en Romaanse fresco’s en stucwerk. Het klooster werd waarschijnlijk omstreeks 780 na Christus gesticht door de bisschop van Chur. Vanaf het begin van de 9de eeuw stond het bekend als een instelling van de Benedictijnen, het werd pas in 1163 een klooster. Het belangrijkste gebouw van het kloostercomplex is de kerk, gewijd aan Sint Johannes de Doper.

Source : unesco.nl

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Couvent bénédictin Saint-Jean-des-Sœurs à Müstair © Editions Gelbart
Description longue
[Uniquement en anglais]

The Benedictine Convent of St John at Müstair, in the upper valley of the Canton of Grisons, bears exceptional testimony to a Carolingian civilization and art which has disappeared. It is one of the most coherent examples of conventual architecture and painting of the Carolingian period and the early Middle Ages.

This convent was, most likely, founded around 780 by the Bishop of Chur at the behest of Charlemagne. It is noted from the beginning of the 9th century as being an establishment of Benedictines. It did not become a convent until 1163.

The most important construction of the monastic complex, including two cloisters, is the church, dedicated to St John the Baptist. Formed by a simple rectangular hall some 20 m long, it is closed at the east by three tall semi-circular apses, adorned on the exterior by blind arcades.

In the church, the removal of the Gothic ceiling (1908-9) and of the whitewash (1947-51) brought to light important vestiges of frescoes dating from the Romanesque period (approximately 1150-70) and, more important still, from the Carolingian period. This is, in fact, the most important cycle of painting which is currently known dating from around 800. These figurative paintings (scenes from the Old and New Testaments), of a fine aesthetic quality, painted in a limited range of ochres, reds and browns, postdate the frescoes of Castelseprio and San Salvatore in Brescia. They are particularly important in understanding the evolution of certain Christian iconographic themes, such as the Last Judgement. The panels are framed with painted strips of garlands and ribbons, and culminate at the top in a large cornice that reproduces an architectural feature. Sadly, the cycle has suffered considerable damage, both because of ill-conceived restorations and because of the repainting of the apses, which probably took place between 1165 and 1180, whereas the frescoes on the side walls, with the Stories of David, were removed and placed in the Landesmuseum in Zürich.

Other precious artworks preserved in the Benedictine complex date from successive centuries: dating from the Romanesque period are, in addition to the frescoes preserved in the church's apse area, the large statue in painted stucco depicting Charlemagne (1165), located in the choir, and on the left wall of the same room a fine Romanesque relief depicting the Baptism of Christ (1087).

Within the enclosure walls of the monastery are found other early elements, among them, in particular, in the north-west quarter, the residence of Bishop Norbert with its remarkable decor of frescoes and stucco-work in the two-storey chapel (11th and 12th centuries).

The other rooms in the abbey, which for the most part date back to the 18th century, are located around the main cloister and contain documents, models related to the religious complex, reliquaries, robes, and object of sacred art, dating from the 13th to the 18th centuries.

During the Gothic and Baroque periods, it was subjected to major modifications, like the rest of the complex: two rows of columns divided the interior into three aisles, a matroneum was installed, and the original wooden ceiling was replaced by a vaulted roof; on the exterior, in the 15th century, adjoining the right-hand side of the church, a stout tower with a square plan was built, a tower-house for the Abbess of the convent.