This circumstance can be explained by the privileged relations that Centuripae har with Rome, and by the presence in Rome of powerful centuripan families that had close links with the Roman bourgeoisie. This is a type of mausoleum widely adopted in Rome and Lazio, but that has no corrispondences in other sites in Sicily.
Comparison with another typologically similar building in Centuripe, the so-called Dogana, and a comparative analysis of the modular aspects of both, provided the basis for a proposed reconstruction of the Castello di Corradino inspired by the model of the funerary monument raised over a podium with an upper chamber. The author proposed an interpretation of the monument based on a new survey of the building, careful analysis of its building technique and comparison with other similar monuments. Libertini in his monograph on Centuripe in 1926.
The so-called Castello di Corradino (Castle of Conradin) is a Roman funerary monument of the imperial period, whose funerary purpose was first identified by G. These frescoes, in which private and public themes converge, illustrate that even seemingly peripheral imagery was informed by the ideals espoused by the ecclesiastical reformers. The wall paintings in Sant'Urbano demonstrate that any concept of an artistic "platform" at the time of the Gregorian Reform must be broadened to include lay commissions. This pictorial program offers an important index of the extent to which reform ideology permeated various levels of society: artistic commissions came not only from high-level ecclesiastics but also from lay members of the community. The frescoes in Sant'Urbano, however, were not the product of papal or ecclesiastical patronage instead, the images were sponsored by two lay donors, who are pictured in the Crucifixion scene. Cults of Early Christian papal martyrs, such as Urban I, were promoted to support the authority of contemporary popes like Urban II (1088-1099).
230), reaffirms that the ecclesiastical environment of the Gregorian Reform influenced the development of new hagiographic imagery. An analysis of these frescoes, which include the earliest known example of the life of Urban I (d. This article examines representations of papal sanctity in the late eleventh-century wall paintings of Sant'Urbano alla Caffarella.
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