64 EARLY CHRISTIAN ART. Chap. II. Capua, which, being essentially of a Greek character, will prove first, that artists from Greece or Constantinople were employed in South Italy in the eleventh century, and secondly, that they were in no respect superior to their Italian cotemporaries. As to the period of these paintings it may be necessary to consult some historical records. In 1058 the Norman Richard became possessed of the Principality of Capua and, having been anointed with the holy ampulla at Montecassino, he conceded to the Benedictines the right to found a new monastery at S. Angelo in Formis near Capua. This monastery and the church of S. Angelo were endowed in 1065 with the funds belonging to the churches of S.S. Giovanni, Salvadore, and Ilario of Capua which time had completely ruined. 1 The church of S. Angelo was, however, not enlarged until 1073, when, at the request of Pope Gregory the seventh and with the assistance of Richard of Normandy and Erveo, archbishop of Capua, the works were commenced by Desiderius the third abbot of Montecassino 2 , the same who had already restored and adorned with mosaics the chief convent of the Benedictines in South Italy. About 1075 the church of S. Angelo was consecrated by Erveo archbishop of Capua, 3 and the successful termination of his labours was recorded by Desiderius in the following inscription now on the architrave of the great portal: Conscendes caelum si te cognoveris ipsum ut Desiderius qui sacro flamine plenus a complendo legem Deitati condidit aedem, ut capiat fructum qui finem nesciat ullum. The artists employed by Desiderius painted the fol lowing subjects: In the apsis the Saviour was enthroned in the act of South Italy and particularly under j 1 Lo Monaco’s Dissertazione the Lombard princes of Beneven- sulle varie Vicende di S. Angelo turn and Capua, whose rule lasted i in Formis Fol. Capua 1839, p. 13. till the middle of the 11 th cen- I 2 Ibid. p. 12. tury. ' 3 Ibid. p. 15.