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The contribution proposes a new historical-artistic framework of the ecclesiastical building of Santu Miali in Is Mortorius(QuartuSant’Elena). Starting from Renata Serra’s research(1973), from the analysis of the site, from a comparative reading of the building’s ichnography (construction examples attested in the eastern Mediterranean, in North Africa, in the Italian area, and in Sardinia itself), and from the reflection on Saint Michael’s role-playing data, we will theorize the possible existence of two construction phases of the church (VI and IX-X), in turn built on older structures., Il contributo propone un nuovo inquadramento storico-artistico dell’edificio ecclesiastico di Santu Miali a Is Mortorius(Quartu Sant’Elena). Partendo dallo studio di Renata Serra del 1973, dall’analisi de visu del sito, da una lettura comparata dell’icnografia dell’edificio (esempi costruttivi attestati nel Mediterraneo orientale, nel Nord Africa, nell’area italiana, e nella stessa Sardegna) e dalla riflessione sul dato agio toponomastico di San Michele, si argomenterà la possibile esistenza di due fasi costruttive della chiesa (VI e IX-X), a loro volta edificate su strutture più antiche.

The purpose of the article is to analyze the technical-stylistic and formal specificities of the Visi- gothic sculpture coming from the site of Begastri (Cehegín-Murcia) - located in the south-eastern Iberian peninsular - within the framework of the Visigothic artistic culture of the second half of the sixth century. In the above-mentioned study, it will be argued that the begastrense workshops, unlike the other manufac- turing contexts the Iberian south-east, are characterized by strong artistic contributions of Toledan filiation assimilated, in our opinion, following the Lovigildian conquest of the Orospeda (historical region that in- cluded the same Begastri) in the Greek-Gothic conflict between Empire and Visigothic Kingdom. Further- more, it will be highlighted how the diffusion of these courtly stylistic models had, in our opinion, an eminently ideological-propagandistic function in an anti-Byzantine perspective., il contributo vuole analizzare le specificità tecnico-stilistiche e formali della scultura visigota proveniente dal sito di Begastri (Cehegín-Murcia) -ubicato nel sud-est peninsulare iberico-nel quadro della cul- tura artistica visigota della seconda metà del VI secolo. Nel suddetto studio si argomenterà come le botteghe begastrensi, contrariamente agli altri contesti produttivi del sud-est iberico, siano caratterizzate da forti ap- porti artistici di filiazione toledana assimilati, a nostro giudizio, in seguito alla conquista leovigildiana dell’Orospeda (regione storica che includeva la stessa Begastri) nell’ambito del confitto greco-gotico tra Im- pero e Regno visigoto. Si evidenzierà, inoltre, come la diffusione di questi modelli stilistici cortigiani ebbe, probabilmente, una funzione eminentemente ideologico-propagandistica in chiave anti bizantina.

El principal objeto de investigación de este trabajo doctoral es el análisis de los influjos bizantinos en la escultura visigoda elaborada en los talleres del Sureste peninsular ocupado, entre los siglos VI y VII, por los milites en el marco de la política de reconquista justinianea. En este sentido se pretende aclarar si la presencia bizantina en la franja costera sur-oriental favoreció un proceso de helenización artística -representando un patrón de referencia estilística por los escultores locales-o si en cambio no determinó un aporte artístico directo. El otro núcleo de indagación histórico quiere definir tanto las especificidades técnicas, formales y decorativas de la escultura visigoda del Sudeste (estudiando especialmente las piezas halladas en la basílica de Algezares, en Begastri en el cerro de la Almagra) como comprender las dinámicas productivas y organizativas (modalidades de trabajo de la piedra, elección de esquemas iconográficos, comercialización de productos lapídeos) de los talleres activos en este marco geográfico de la Hispania durante la alta edad media. Desde el punto de vista metodológico el trabajo ha implicado la catalogación de los corpora escultóricos procedentes de la basílica de Algezares, de Begastri, y del cerro de la Almagra analizados de visu, mediante fichas que incluyen datos técnicos (medidas de las piezas, material empleado, talla utilizada), formales (aspectos tipológicos) y estilistícos (motivos ornamentales). Todas estas fichas han sido integradas con dibujos y fotografías. En primer lugar, el estudio sistemático de los documentos plásticos elaborados por los talleres surorientales -especialmente las piezas procedentes de los conjuntos arqueológicos de la basílica de Algezares, de Begastri y del cerro de La Almagra- ha evidenciado en modo inequívoco cómo en este área geográfica los influjos bizantinos fueron débiles y no significativos aunque dicho marco territorial se configuró como el “corazón” de las posesiones imperiales en Hispania. En cambio los aportes artísticos orientales están evidentes en territorios que nunca fueron sometidos al control de los milites, como Mérida, los territorios valencianos y la corte toledana. Los aportes estilistícos de filiación bizantina llegaron tanto mediante las dinámicas comerciales como a través de la explícita política de imitatio imperii promovida por soberanos visigodos. La producción plástica elaborada por los talleres del Sureste evidencia el empleo de un lenguaje de raigambre abstracta asociado a repertorios decorativos preferentemente geométricos representados, en la mayoría de los casos, según un principio de horror vacui de probable derivación norteafricana. El lenguaje suroriental se contrapone fuertemente a los focos escultóricos del área emeritense, toledana, catalana, valenciana, y a los territorios del Noroeste mostrando una fuerte autonomía estilística especialmente respecto a los talleres de Mérida caracterizados por un intenso bizantinismo. Los estudios de tipo comparativo, en cambio, muestran estrechas relaciones formales, decorativas y técnicas entre los documentos del Sureste y creaciones atestiguadas tanto en el área conquense como en los territorios del Sur andaluz. Las extraordinarias analogías decorativas presentes entre estas piezas implican, necesariamente, la presencia de talleres itinerantes que difundieron la gramática decorativa del Sureste hacia estas zonas de Hispania. Podemos sugerir que estos talleres difundieron estos programas decorativos mediante las antiguas vías romanas como la calzada que desde Carthago Nova se dirigía hacia Segobriga y la de Carthago Nova-Castulo que ponía en conexión el Sureste con el territorio de la Andalucía septentrional. Por lo que concierne a los aportes artísticos externos hemos observado ya cómo la producción escultórica del Sureste muestra una cierta vinculación con creaciones plásticas, cerámicas y musivas de ámbito norteafricano, frente a los aportes orientales, menos intensos. The main object of investigation of this doctoral work is the analysis of the Byzantine influences in the Visigothic sculpture elaborated in the workshops of the southeast peninsula occupied, between the 6th and 7th centuries, by the milites within the context of the Justinian's reconquest policy. From this point of view, it is intended to clarify whether the Byzantine presence in the south-eastern coastal strip favored a process of artistic Hellenization-representing a stylistic reference standard by local sculptors-or if it did not determine an artistic contribution. The other core of historical research wants to define both the technical, formal and decorative specificities of the Visigothic sculpture of the Southeast (studying, particularly, the pieces found in the Basilica of Algezares, in Begastri on the hill of Almagra) and understand the productive and organizational dynamics ( working arrangements of the stone, the choice of iconographic schemes, commercialization of stone works) of the active workshops in this geographical area of Hispania during the high middle ages. From a methodological point of view, the work involved the cataloging of the sculptural corpora from the Basilica of Algezares, Begastri, and the Cerro de la Almagra, analyzed de visu, by means of cards that include technical data (measures of each piece, material, and size used), formal data (typological aspects) and stylistic ones (ornamental motifs). All these cards have been integrated with drawings and photographs. Firstly, the systematic study of the plastic documents elaborated by the southeast workshops -especially the pieces from the archaeological sites of the Basilica of Algezares, Begastri and the hill of La Almagra- has shown, unequivocally, how in this geographical area the Byzantine influences were weak and not significant although this territorial framework became the "heart" of the Imperial possessions in Hispania On the other hand, the oriental artistic contributions are evident in territories that were never submitted to the control of the milites, such as Mérida, the Valencian territories and the Toledo court. The stylistic contributions of Byzantine affiliation came both through commercial dynamics and through the explicit policy of imitatio imperii promoted by Visigothic sovereigns. The plastic production elaborated by the workshops of the Southeast shows the use of a language of abstract roots associated with decorative repertoire preferably geometric represented, in most cases, according to a principle of horror vacui principle, probably from North African. The Southeast language is strongly opposed to the sculptural areas of Mérida, Toledo, Catalonia, Valencia, and the Northwest territories showing a strong stylistic autonomy especially with regard to the Mérida workshops characterized by an intense Byzantinism. On the other hand, comparative studies show close, formal, decorative and technical relations between the Southeast documents and creations attested both in the Cuenca area and in the southern Andalusian territories. The extraordinary decorative analogies present between these pieces imply, necessarily, the presence of itinerant workshops that spread the decorative grammar of the Southeast towards these areas of Hispania. We can suggest that these workshops spread these decorative programs through the old Roman roads such as the road from Carthago Nova to Segobriga and Carthago Nova-Castulo that connected the Southeast with the territory of northern Andalusia. With regard to external artistic contributions, we have already observed how the sculptural work of the Southeast shows a certain connection with plastic, ceramic and mosaic creations of North African scope, compared to the oriental contributions which were definitely less intense.