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298. 32 Ambrogio M. 369-382. 207-225. 34 Chris Wickham, “‘The Romans according to their malign custom’: Rome in Italy in the late ninth and tenth centuries,” Early Medieval Rome and the Christian West, ed. J. 151-167. 10 Chapter 3 his influence is seen in a revival of monastic learning and in Chapter 5 his reforming hand is seen in a renewal of monastic morals. 36 In many ways, the reform of S. Maria in Pallara is a Benedictine reform, albeit with a Roman flavour, even though the church’s only portrait of Saint Benedict dates to the eleventh century and Montecassino’s tenure.

83-114. 41 Peter Hoegger, Die Fresken in der ehemaligen Abteikirche S. 3. IX. 28 multi-coloured bands, as is found in S. 44 The panels in the apse of S. Maria in Pallara are not continuous, however, and have a jagged top edge; thus it is more likely that they form some kind of figurative backdrop. A parallel may be found in the full-length images of Saints John and Paul from S. 45 This theatricality is echoed in the apse of S. 46 The background panels at S. Maria in Pallara were probably not intended to represent architectural structures, but it is unclear what exactly they represent.

Maria in Pallara’s depiction of Christ’s face is found in the ninth-century mosaic apse of S. 35 An image of Christ in the securely dated late ninth-century paintings of S. 36 Another decent parallel for facial type is found in the face of Saint Cyril in the lower church of S. 335-341, esp. 341. 78-81. The sixth-century apse arch of S. Lorenzo fuori le mura also presents an image of Christ with a jewelled halo, however, that portion of the mosaic is thought to be a later restoration; see Massimo Bonelli and Serena Romano, “S.