The author underlines several points for thought on the case of Galliano that have emerged from the most recent research, starting with the close intertwining of our aesthetic perception of the monument, the restoration work that has to some extent given it back to us remodelled and the artistic historiography that has made Galliano an emblematic event in the birth of the Romanesque (as a monument, San Vincenzo became a symbol thanks to scholars like De Dartein, Rivoira, Puig i Cadafalch, Focillon, Toesca and Kingsley Porter).
The traditional interpretation in a philoimperial, Ottonian key was gradually surpassed, and sights were turned on Rome, not only as a spiritual fulcrum, but also as an active centre of diffusion of the figurative models of the Ottonian world. Other consolidated interpretive schemes that have been surpassed include the abandonment of the myth of the itinerant Romanesque artist responsible for the diffusion of new architectural and iconographical models on a European level. Instead, analogies among Romanesque
monuments should be justified on the basis of cultural affinities in the centres of political and religious power where they were commissioned. Ariberto’s world and the Episcopal milieu surrounding him are connected to the figures of other great early eleventh century ecclesiastical dignitaries active in centres like Hildesheim, Cluny and Aquileia.