API tools faq
paste
Advertisement
jonstond2

Art in Italy (Medieval Studies)

jonstond2
Feb 26th, 2017
207
0
Never
Add comment
Not a member of Pastebin yet? Sign Up, it unlocks many cool features!
text 150.14 KB | None | 0 0
raw download clone embed print report
  1. Introduction
  2.  
  3. Defining the category of medieval Italy is a challenging prospect, and establishing whether there was a consistent or even an evolving art exclusive to medieval Italy remains a contentious question. There is greater consensus that the geography of modern Italy comprises regions that enjoyed shifting moments of significance during the medieval era, and that this significance was celebrated and fostered by artistic expression. For the purposes of this essay, medieval Italy initiates at the end of the Late Antique period in the early 6th century, and concludes with the Early Renaissance at the start of the 15th century. When possible, publications completed after 1985 have been stressed, with an eye toward works that address earlier scholarship. This ensures the inclusion of recent work but also provides access to a varied bibliography. The entry is divided chronologically into early, central, and later periods. These chronological divisions represent the separate character of scholarship on the various movements within medieval Italian art, many of which take place in parallel with discussions of European historical and stylistic subcategories such as Carolingian, Ottonian, Romanesque, and, to some extent, Gothic. These general subperiods are further divided by media: architecture, mosaics, wall and panel painting, and sculpture and the luxury arts, including manuscripts and metalwork. Studies emphasizing the local contexts for arts production, such as the emergence of the commune and civic identity, are balanced with those related to pan-European concerns such as the Gregorian Reform, pilgrimage, and the mendicant traditions. The regionalist bent of scholarship within these chronological subperiods recognizes the shifting and often coexisting regional centers in which power and creative production went hand in hand. Even among these geographical regions, there were shifting influences that defined artistic production. For example, as a city of emperors and popes—who were both allies and enemies—Rome incorporated diverse spheres of influence. Naples, the Amalfi Coast, and Venice are frequently characterized as looking outward as local traditions were integrated with influences from the Angevin, Byzantine, or the Islamic Mediterranean. What emerges is not a neat, linear narrative from the early medieval period to the Renaissance. Instead, this essay encourages recognition of the diverse cultures of the Italian peninsula and the unique ways in which they imagined and interpreted their pasts, Italian and otherwise, within the complexity of their present.
  4.  
  5. General Overviews
  6.  
  7. Works in this section range from encyclopedic studies of Italian art to general overviews limited by medium or geographical regions, to a study of medieval iconography that includes examples of Italian art within a broader European context. The two encyclopedic studies are similar in their organization, combining discussions of medieval Italian art with the methodological approaches used to contextualize them. Bollati and Fossati 1983 includes a single volume on the study of medieval art as part of the comprehensive Storia dell’arte italiana, as well as an introductory volume dedicated to methodological problems; the most notable for medieval art are the essays associated with the problems of periodization. Castelnuovo and Sergi 2002 is a multivolume study dedicated to medieval Italian art, organized thematically. Poeshke 2010 and Andaloro and Romano 2006–2012 provide general overviews with a medium-specific focus. Regional studies include Krautheimer 2000, on the arts and architecture of Rome, and Quintavalle 2004, on the arts of medieval Lombardy. Frugoni 2010 offers a comprehensive study of medieval iconography in a European context.
  8.  
  9. Andaloro, Maria, and Serena Romano, eds. La pittura medievale a Roma, 312–1431: Corpus e Atlante. Milan: Jaca, 2006–2012.
  10. Save Citation »Export Citation »E-mail Citation »
  11. Multivolume study of medieval painting in Rome from Constantine to Pope Martin V. Of the Corpus, six volumes planned, Volumes 1, 4, and 5 completed. Divided chronologically and organized by program. Of the Atlante, three volumes planned, Volume 1 completed. Organized topographically with maps and reconstructions.
  12. Find this resource:
  13. Bollati, Giulio, and Paolo Fossati, eds. Dal Medioevo al Quattrocento. Storia dell’arte italiana, Parte seconda: Dal Medioevo al Novecento. V. Turin, Italy: G. Einaudi, 1983.
  14. Save Citation »Export Citation »E-mail Citation »
  15. Published in the Grandi Opere series, divided into three parts; Part 1: Materiali e problemi, Part II: Dal Medioevo al Novecento, and Part III: Situazioni momento indagini. Part II volume 1 offers encyclopedic overviews of Italian art the Middle Ages through the Quattrocento. Organized into thematic essays authored by noted specialists in the field.
  16. Find this resource:
  17. Castelnuovo, Enrico, and Giuseppe Sergi, eds. Arti e storia nel Medioevo. Turin, Italy: G. Einaudi, 2002.
  18. Save Citation »Export Citation »E-mail Citation »
  19. Published in the Grandi Opere series. Organized thematically, including essays by specialist authors. Volumes 1–3 dedicated to themes: time, space, and institutions; architectural techniques, artists, workshops, and patronage; and “seeing,” emphasizing audience, form, and functions. Volume 4 is on historiographical designations of the Middle Ages, past and present.
  20. Find this resource:
  21. Frugoni, Chiara. La voce delle immagini: Pillole iconografiche dal Medioevo. Turin, Italy: G. Einaudi, 2010.
  22. Save Citation »Export Citation »E-mail Citation »
  23. Written for a general audience. Discusses iconographic elements commonly found in medieval art. Not focused exclusively on Italian art, but Italian works included as examples. Organized by motif, rather than chronology or geography. Heavily illustrated with many color plates.
  24. Find this resource:
  25. Krautheimer, Richard. Rome Profile of a City: 312–1308. Princeton, NJ: Princeton University Press, 2000.
  26. Save Citation »Export Citation »E-mail Citation »
  27. First published in 1980. A comprehensive and accessible introduction to the architecture and monumental arts of Rome. Emphasis on points of continuity and revival, especially with the antique and Byzantine traditions. Periods of transition and revival include imperial church foundations, the Carolingian renovatio, and programs for reform era mosaics.
  28. Find this resource:
  29. Poeshke, Joachim. Italian Mosaics: 300–1300. Translated from the German by Russell Stockman. New York: Abbeyville, 2010.
  30. Save Citation »Export Citation »E-mail Citation »
  31. Valuable resource for color images and details of medieval mosaics in Italy. Text emphasizes description, but the volume provides some background for the history of various works and aspects of reconstruction and conservation.
  32. Find this resource:
  33. Quintavalle, Arturo Carlo, ed. Medioevo: Arte Lombarda; Atti del convengono internazionale di studi Parma, Italy, 26–29 Settembre 2001. Milan: Electa, 2004.
  34. Save Citation »Export Citation »E-mail Citation »
  35. Focused on Lombardy specifically, but within this regional focus presents some general overview. Essays present a broad spectrum of media, including sculpture and architecture, beginning with the 10th century. Essays are short, but they situate the arts of Lombardy within broader international and regional contexts. Includes critiques of the historiography for Lombard art.
  36. Find this resource:
  37. Reference Works
  38.  
  39. Works in this section include encyclopedic resources useful for a general audience as well as archival and bibliographic reference materials relevant to the specialist. While information on mosaics and luxury arts are present, the focus is on painting, including illuminated manuscripts, panel works, and monumental cycles, as seen in Kaftal 1952. Biographical approaches are also prominent, especially with the later Middle Ages and Early Renaissance as found in Bollati 2004. Oxford Art Online shares this focus, but also provides more extensive coverage of medieval art. The most expansive of these reference works is Istituto della Enciclopedia Italiana 1991–2002, which offers comprehensive coverage of Italian sites and monuments.
  40.  
  41. Bollati, Milivia, ed. Dizionario biografico dei miniatori italiani: Secoli IX–XVI. Milan: Sylvestre Bonnard, 2004.
  42. Save Citation »Export Citation »E-mail Citation »
  43. Biographical entries on miniature painters and schools. More valuable resource for later Middle Ages through the Renaissance than early materials where standards for naming painters are less consistent. Establishes significance of miniature artists, often overshadowed by panel and wall painters. Index of manuscripts ordered by locations or shelf marks a useful addition.
  44. Find this resource:
  45. Istituto della Enciclopedia Italiana. Enciclopedia dell’arte Medievale. 12 vols. Rome: Istituto della Enciclopedia Italiana, 1991–2002.
  46. Save Citation »Export Citation »E-mail Citation »
  47. Eleven volumes with index, covering the spectrum of arts produced in Europe, the broader Mediterranean, and Levant, also extending to central Europe and Russia. Comprehensive coverage of Italian sites and use of Italian works to illustrate key terms; provides comparative material. Extensive color photographs, architectural plans, and maps.
  48. Find this resource:
  49. Kaftal, George. Saints in Italian Art. 4 vols. Florence: Sansoni, 1952.
  50. Save Citation »Export Citation »E-mail Citation »
  51. Four-volume series on the iconography of saints in Italian painting up to 16th century. Includes analysis of panels, frescoes, mosaics, and manuscript illumination. Each volume is dedicated to a geographic location. Further organized by the saints’ names, including black and white images, references to literary sources, and hagiographical bibliography.
  52. Find this resource:
  53. Oxford Art Online.
  54. Save Citation »Export Citation »E-mail Citation »
  55. Requires subscription and access is often provided by libraries. Selective biographical and subject headings. Heavy on later material; early material limited with emphasis on place. Includes Grove Art Online, the Benezit Dictionary of Artists, the Concise Oxford Dictionary of Art Terms, Encyclopedia of Aesthetics, and the Oxford Companion to Western Art.
  56. Find this resource:
  57. Textbooks
  58.  
  59. There is no single textbook devoted to the art of medieval Italy that covers material from the early medieval period through the 15th century. This seems indicative of not only the intense regional focus present within scholarship in the field, but also the permeable boundaries of the period. More recent scholarship tends to incorporate the works from the 14th century within the medieval framework, but other volumes include work produced after 1300 within their introduction to the Renaissance period. White 1993 provides a broad overview of the arts and architecture, with a focus on later works. Norman 1995 is characterized by an emphasis on regional depth, taking the Tuscan and Paduan schools as a focus. Approaches to the medieval art history survey have shifted to consider themes that are characteristic throughout Europe. In recent years, textbooks for such courses have shifted to include more comprehensive treatment of Italian material, as in Luittikhuizen and Verkerk 2006 and Stokstad 2004. The thematic approach adopted in Camille 1996, Nees 2002, and Sekules 2001 also incorporates Italian works but stresses the interconnectedness of trends across Europe rather than providing a regional focus.
  60.  
  61. Camille, Michael. Gothic Art: Glorious Visions. New York: Harry N. Abrams, 1996.
  62. Save Citation »Export Citation »E-mail Citation »
  63. Provides historiography and discusses works from throughout Europe. Organized around themes of seeing, space, time, God, nature, and the self, this book incorporates examples of Italian work throughout the text. Many color images, including many not included in other textbooks.
  64. Find this resource:
  65. Luittikhuizen, Henry, and Dorothy Verkerk. Snyder’s Medieval Art. 2d ed. Upper Saddle River, NJ: Prentice Hall, 2006.
  66. Save Citation »Export Citation »E-mail Citation »
  67. Originally written by James Snyder as Medieval Art: Painting, Sculpture, Architecture 4th–14th Century (New York: Harry N. Abrams, 1989). The new edition thoughtfully integrates Italian material throughout the text with special emphasis on early material, Byzantine influences, in addition to the urban and mendicant settings for later work. Images are frequently reproduced in color.
  68. Find this resource:
  69. Nees, Lawrence. Early Medieval Art. Oxford: Oxford University Press, 2002.
  70. Save Citation »Export Citation »E-mail Citation »
  71. A thematic presentation of works produced between the 3rd and late 10th centuries. Incorporates examples of Italian works into broader thematic discussions of function, influences, iconography, and craftsmanship across Europe.
  72. Find this resource:
  73. Norman, Diana, ed. Siena, Florence, and Padua: Art Society and Religion 1280–1400. 2 vols. New Haven, CT: Yale University Press, 1995.
  74. Save Citation »Export Citation »E-mail Citation »
  75. An upper-level undergraduate textbook with a focus on northern Italy, including the Early Renaissance. Focuses on modes for interpretation of painting, sculpture, and some architecture. The first volume considers civic context, techniques, the artist, and the Black Death. Volume 2 presents case studies devoted to thematic subjects and specific monuments.
  76. Find this resource:
  77. Sekules, Veronica. Medieval Art. Oxford: Oxford University Press, 2001.
  78. Save Citation »Export Citation »E-mail Citation »
  79. Introduces the arts produced in Europe between 1000 and 1500. Decisively rejects chronological and stylistic emphasis in favor of a thematic approach. Chapters cover place, power, the arts and devotion, learning, war, and pleasure. Select examples of material from Italy are included throughout the text.
  80. Find this resource:
  81. Stokstad, Marilyn. Medieval Art. Boulder, CO: Westview, 2004.
  82. Save Citation »Export Citation »E-mail Citation »
  83. Intended for a survey course of medieval art, this work covers the 4th century to c.1500. Discusses some examples of work produced in the peninsula, particularly from the early period and later periods. Some color illustrations.
  84. Find this resource:
  85. White, John. Art and Architecture in Italy, 1250–1400. 3d ed. New Haven, CT: Yale University Press, 1993.
  86. Save Citation »Export Citation »E-mail Citation »
  87. Originally published in 1966. Introductory overview of the architecture, sculpture, and painting in Tuscany, with attention to northern and southern Italy. Organized biographically, with separation into regional centers. Includes religious architecture and palace design. The role of the mendicant orders in the production of the visual arts and architecture is discussed. Primarily black-and-white illustrations, some in color.
  88. Find this resource:
  89. Bibliographies
  90.  
  91. Access to information about recent contributions in the field of Italian medieval art has changed significantly since the advent of databases, but Glass 1983, Nees 1985, and Stubblebine 1983 remain useful printed works. The increased sophistication of online resources has dramatically improved access to information about international publications about the arts of medieval Italy. The International Bibliography of Art is dedicated to the field of art history and maintained through the ProQuest system. Two interdisciplinary databases provide access to diverse, relevant sources. The International Medieval Bibliography is probably the most frequently consulted. Managed through Brepols Publishers it provides information about sources from journals as well as book-length publications. A recent addition to this group of resources is Iter: Gateway to the Middle Ages & Renaissance. Sponsored by a consortium of universities and professional organizations, in addition to the bibliographic search feature, it offers a variety of publications related to medieval and early modern studies. Also included in this section are online catalogues for the Catalogo del Servizio Bibliotecario Nazionale, with access to Italy’s local, regional, and national libraries, as well the libraries of international academies. Similarly Kubikat offers access to the catalogues of, inter alia, the Bibliotheca Hertziana, and the Kunsthistorisches Institut in Florence, with expanded coverage of individual journal articles.
  92.  
  93. Catalogo del Servizio Bibliotecario Nazionale.
  94. Save Citation »Export Citation »E-mail Citation »
  95. Catalogue for the National Library in Rome. Provides access to local, regional, state, and university libraries, as well as international academies. Includes modern publications, scholarly journals, manuscripts from the 15th century to the present, music, graphic material, and cartography. Website and catalogue available in Italian and English.
  96. Find this resource:
  97. Glass, Dorothy F. Italian Romanesque Sculpture: An Annotated Bibliography. Boston: G. K. Hall, 1983.
  98. Save Citation »Export Citation »E-mail Citation »
  99. Comprehensive guide to publications about sculpture of the 11th and 12th centuries. Covers works in situ and in collections. Also provides sources about international context for works produced in Italy.
  100. Find this resource:
  101. International Bibliography of Art.
  102. Save Citation »Export Citation »E-mail Citation »
  103. Provides annotated coverage of international publications with access via subscription. Limited access to records (1975–2007) in its earlier format, Bibliography of the History of Art (BHA) and Répertoire de la literature de l’art (RILA), can be searched free of charge.
  104. Find this resource:
  105. International Medieval Bibliography.
  106. Save Citation »Export Citation »E-mail Citation »
  107. Requires a subscription for access, although university libraries frequently provide this service. Includes the period 400–1500, with useful coverage of medieval art in Italy. Indexes a variety of sources, including journals, conference proceedings, Festchriften, and exhibition catalogues. Covers publications from 1967 to the present.
  108. Find this resource:
  109. Iter: Gateway to the Middle Ages & Renaissance.
  110. Save Citation »Export Citation »E-mail Citation »
  111. Comprehensive database that emphasizes journals and essay collections. Focuses on the Late Antique through the early modern period. A subscription is necessary and is available for both individuals and libraries.
  112. Find this resource:
  113. Kubikat.
  114. Save Citation »Export Citation »E-mail Citation »
  115. Offers access to the combined catalogues of, inter alia, the Bibliotheca Hertziana and the Kunsthistorisches Institut in Florence. A unique offering of Kubikat is the over 800,000 independently catalogued articles in scholarly periodicals, conference papers, commemorative volumes, and exhibition catalogues, which are not always available in English-language databases.
  116. Find this resource:
  117. Nees, Lawrence. From Justinian to Charlemagne: European Art 565–787, an Annotated Bibliography. Boston: G. K. Hall, 1985.
  118. Save Citation »Export Citation »E-mail Citation »
  119. Includes a lengthy section about the arts of early medieval Italy, including architecture, sculpture, monumental painting, and the portable arts. Arranged by medium. Remains especially useful for foundational research in the field.
  120. Find this resource:
  121. Stubblebine, James H. Dugento Painting: An Annotated Bibliography. Boston: G. K. Hall, 1983.
  122. Save Citation »Export Citation »E-mail Citation »
  123. Comprehensive listing of international scholarship about mosaics, fresco, panel, and manuscript painting. Arranged alphabetically by author, with index for cross-references. Particularly useful for early sources.
  124. Find this resource:
  125. Series
  126.  
  127. Several Italian series provide access to diverse scholarship about the arts of medieval Italy. The proceedings from the conferences and congresses sponsored by research foundations are a significant source for recent publications on the arts of medieval Italy. These include works completed in honor of established scholars as well as those covering broad thematic topics. The Atti del congressi emphasizes early medieval material and visual culture. Later periods are better represented in I Convegni di Parma and the Villa I Tatti Series. Publications from the Italia romanica and Patrimonio artistico italiano are written in an accessible fashion and provide regional emphases, often including monuments not reproduced elsewhere. The Bibliotheche e archivi series provides a much needed resource for Italian medieval manuscripts and archives. The monographs produced for the Mirabiliae Italiae provide comprehensive treatment of architectural works and for monumental programs executed in painting, mosaic, and sculpture. They are characterized by their multivolume format and lavish color photography.
  128.  
  129. Atti del congressi: Congresso Internazionale di studi sull’alto Medioevo. Spoleto, Italy: Fondazione Centro Italiano di Studi sull’Alto Medioevo.
  130. Save Citation »Export Citation »E-mail Citation »
  131. Published proceedings of Congresso Internazionale di studi sull’alto Medioevo (CISAM). Each event is typically focused on a broad theme that frequently includes material on the arts and archeology of Italy. Essays are characteristically interdisciplinary in approach. Primarily in Italian, but sometimes in English, French, German, and, less frequently, Spanish.
  132. Find this resource:
  133. Bibliotheche e archivi. Edited by Agostino Paravicini Bagliani. Tavarnuzze, Italy: Edizioni del Galluzzo, 1996–.
  134. Save Citation »Export Citation »E-mail Citation »
  135. Series dedicated to the study of archives and manuscript collections, with a special focus on Italy. Overseen by the Società Internazionale per lo Studio del Medioevo Latino, this series sponsors volumes devoted to regional collections.
  136. Find this resource:
  137. I Convegni di Parma. Milan: Electa, 1998–2012.
  138. Save Citation »Export Citation »E-mail Citation »
  139. Proceedings of the Associazione Italiana degli Storico dell’Arte Medievale (AISAME). Published under various names: “Le vie del Medioevo” (1998), subsequently as “Medioevo” with the thematic subtitles. Stresses broad topics, including urban contexts for medieval art, the medieval Mediterranean, memory, and the representation of nature.
  140. Find this resource:
  141. Italia romanica. Milan: Jaca, 1978–1993.
  142. Save Citation »Export Citation »E-mail Citation »
  143. Survey of Italian Romanesque architecture published in separate volumes dedicated to specific geographical regions. Includes floor plans and black-and-white photographs, with a few full-color plates.
  144. Find this resource:
  145. Patrimonio artistico italiano. Milan: Jaca, 2001–2011.
  146. Save Citation »Export Citation »E-mail Citation »
  147. Regional surveys of art and architecture from the Romanesque through the Baroque period. Several volumes dedicated to Romanesque architecture serve as updates for earlier publications in the Italia romanica series. Some volumes also dedicated to historical tourist itineraries or sites with UNESCO designations.
  148. Find this resource:
  149. Mirabiliae Italia. Edited by Salvatore Settis. Modena, Italy: Franco Cosimo Panini.
  150. Save Citation »Export Citation »E-mail Citation »
  151. Comprehensive monographs about architectural foundations, monumental wall programs, and collections. These multivolume monographs include essays devoted to historical context, patronage, and iconographic programs, as well as conservation campaigns. Include catalogues of images with commentary. Volumes provide extensive plans, diagrams, and detailed color photography. In Italian with English translations.
  152. Find this resource:
  153. Villa I Tatti. Florence and Cambridge, MA: Harvard University Center for Italian Renaissance Studies.
  154. Save Citation »Export Citation »E-mail Citation »
  155. Sponsored by the Harvard University Center for Italian Renaissance Studies at the Villa I Tatti near Florence. One of several series sponsored by the center, this one provides consistent coverage of medieval topics. Individual volumes include collected essays devoted to special topics from seminars and conferences.
  156. Find this resource:
  157. Historiography
  158.  
  159. While historiography is an important part of work included throughout the bibliography, this section includes works that have the study of medieval Italian art past and present as a focus of study. Works selected vary between those that attempt broad characterizations of the study of Italian medieval art (Bollati and Fossati 1979 and Castelnuovo and Sergi 2002–2004) and those that relate specifically to art history (Petralia, et al. 2011) or to limited-focus essays that provide the state of research for a specific medium, often also limited by geography and time period. Belting 1967 and Leveto 2000 stress approaches to early medieval material. In contrast, Claussen 2007, Glass 2007, and McClendon 2003 emphasize later periods under consideration. Maxwell and Ambrose 2010 includes two important essays focused solely on Italy by Glass and von Hülsen-Esch.
  160.  
  161. Belting, Hans. “Probleme der Kunstgeschichte Italiens im Frühmittelalter.” Frühmittelalterliche Studien 1 (1967): 94–143.
  162. Save Citation »Export Citation »E-mail Citation »
  163. This remains a frequently cited discussion of the arts of early medieval Italy and their relation to the Carolingian period. Considers how Italy may represent a point of continuity for the antique in the arts, as a counter to modes that favor a “Renaissance” model.
  164. Find this resource:
  165. Bollati, Giulio, and Paolo Fossati, eds. Questioni e metodi. Storia dell’arte italiana. Parte prima: Materiali e problemi. I. Turin, Italy: G. Einaudi, 1979.
  166. Save Citation »Export Citation »E-mail Citation »
  167. Published in the Grandi Opere series, divided into three parts; Part 1: Materiali e problemi, Part II: Dal Medioevo al Novecento, and Part III: Situazioni momento indagini. Part 1, Volume 1 includes questions and methods applied to study of Italian art. Notable themes include periodization materials and institutions, methods, center and periphery, the city and intellectual work, pictorial figuration versus theatrical figuration.
  168. Find this resource:
  169. Castelnuovo, Enrico, and Giuseppe Sergi, eds. Arti e storia nel Medioevo. 4 vols. Turin, Italy: G. Einaudi, 2002–2004.
  170. Save Citation »Export Citation »E-mail Citation »
  171. Essays by specialist authors divided into thematic volumes. Volumes 1–3 are dedicated to methodological questions linked to themes of space, time, architecture, patronage, audience, and reception. Volume 4 is dedicated to historiographical designations for the Middle Ages, past and present.
  172. Find this resource:
  173. Claussen, Peter Cornelius. “Un nouovo campo della storia dell’arte: Il secolo XI at Roma.” Paper presented at an international conference held at the Université de Lausanne, Switzerland, 10–11 December 2004. In Roma e la Riforma gregoriana: Tradizioni e innovazioni artistiche (11.–12. secolo). Edited by Serena Romano and Julie Enckell, 61–84. Rome: Viella, 2007.
  174. Save Citation »Export Citation »E-mail Citation »
  175. Argues that a narrative of 11th-century Roman architecture may not have issues of reform at its center, but rather rebuilding—as is the case in both of these examples—responds to local needs and traditions.
  176. Find this resource:
  177. Glass, Dorothy F. “‘Quo vadis?’ The Study of Italian Romanesque Sculpture at the Beginning of the Third Millenium.” Studies in Iconography 28 (2007): 1–21.
  178. Save Citation »Export Citation »E-mail Citation »
  179. Limited to sculpture but cites issues in the study of Italian medieval art broadly: problems of regionalism, access to publications, and Vasari’s legacy of the artistic biography. Notes promising avenues for future research, such as the influence of pilgrimage, the liturgy, and patronage studies. Originally published in French in Cahiers de civilisation medievale 48 (2005): 17–30.
  180. Find this resource:
  181. Leveto, Paula. “The Historiography of North Italian Frescoes Dating from 800 to 1000 A.D., with a Special Focus on Castelseprio: Chaos, Continuity, or Crisis?” In Medioevo aostano: La pittura intorno all’anno mille in cattedrale e in Sant’Orso. Vol. 1, Atti del convegno internazionale (Aosta, 15–16 maggio 1992). Edited by Sandra Barberi, 247–256. Turin, Italy: U. Allemandi, 2000.
  182. Save Citation »Export Citation »E-mail Citation »
  183. Focused on northern wall painting, using Castelseprio as a case study, calls for a self-conscious approach to historiography. Suggests that examination of patronage, diverse ecclesiastical contexts, and theology should be used for studies of monumental painting. Cites problems associated with chronology, sources, and especially examination of artistic influence in relation to indigenous traditions.
  184. Find this resource:
  185. Maxwell, Robert A., and Kirk Ambrose, eds. Current Directions in Eleventh- and Twelfth-Century Sculpture Studies. Turnhout, Belgium: Brepols, 2010.
  186. Save Citation »Export Citation »E-mail Citation »
  187. Two essays deal exclusively with Italy: Dorothy Glass’s “(Re)framing Early Romanesque Sculpture in Italy” and Andrea von Hülsen-Esch’s “Romanesque Sculpture in Italy: Form, Function and Cultural Practice.” The latter expands the study of architectural sculpture to include carved themes within greater context and alongside related media.
  188. Find this resource:
  189. McClendon, Charles B. “Church Building in Northern Italy around the Year 1000: A Reappraisal.” In The White Mantle of Churches: Architecture, Liturgy, and Art around the Millennium. Edited by Nigel Hiscock, 221–232. Turnhout, Belgium: Brepols, 2003.
  190. Save Citation »Export Citation »E-mail Citation »
  191. Calls for a reexamination of the role of early-11th-century art in the narrative of the Romanesque. Volume comprised of essays dedicated to Rodulf Glaber’s “white mantle of churches.” McClendon argues that Glaber’s emphasis on Italy as an important site for building is more metaphor than first-hand account, and that modern scholarship concerned with the influence of France and Spain has overlooked developments taking place in Italy around the year 1000.
  192. Find this resource:
  193. Petralia, Giuseppe, Sauro Gelichi, Marco Collareta, Marco Aime, and Cristina La Rocca. “Archeologia medievale, storia dell’arte medievale, antropologia culturale.” Reti Medievali Rivista 12.2 (2011): 5–60.
  194. Save Citation »Export Citation »E-mail Citation »
  195. Panel discussion on state of the research in medieval studies as practiced in archaeology, art history, and anthropology. Marco Collareta authors the section on art history and discusses issues and connections between medieval art history and medieval history. Notes varied methodologies and historiography and the significance of material things as a mediator between the disciplines.
  196. Find this resource:
  197. Exhibition Catalogues
  198.  
  199. These publications are notable for their demonstration of the regional and often site-specific focus that dominates much the scholarship on Italian medieval art. While these volumes are not comprehensive studies, they often intersect with the methodological questions that dominate the field, such as studies of female or episcopal patronage, or the place of Rome in narrative monumental painting. Calzona 2008 highlights Matilda of Tuscany as a female patron as well as an agent in the culture of Gregorian Reform. Likewise, Scarel 1997 and Tomei 1999 bring attention to the patronage of the ecclesiastical elite. Andaloro 1989 traces the long history of Roman monumental decorative programs through a study of the fragments from lost mosaic and fresco programs. Other publications emphasize the narrative of a particular medium, such as sculpture in Castelnuovo-Tedesco and Soultanian 2010, and monumental painting in Andaloro 1989. While these works reinforce the strong regionalist focus—Andaloro 1989 for Rome (Lazio); Tomei 1999 for Lombardy; Scarel 1997 for Aquileia (Friuli); and Carboni 2007 for Venice (Veneto)—most also include some discussion of the connections between that particular geographical region and its neighbors, influences, or contacts.
  200.  
  201. Andaloro, Maria, ed. Fragmenta picta: Affreschi e mosaici staccati del Medioevo romano, 15 dicembre 1989–18 febbraio 1990. Rome: Argos, 1989.
  202. Save Citation »Export Citation »E-mail Citation »
  203. Includes essays accompanying an exhibition of fresco fragments held at Castel Sant Angelo, Rome. Present a useful picture of what we can’t see in the present context, such as Roman programs now lost, or that remain only in fragments, or copies that are often overlooked by scholars.
  204. Find this resource:
  205. Bertelli, Carlo, and Gian Pietro Brogiolo, eds. Il Futuro dei longobardi: L’Italia e la costruzione dell’Europa di Carlo Magno. Milan: Skira, 2000.
  206. Save Citation »Export Citation »E-mail Citation »
  207. Catalogue reflects recent approaches to Lombard material culture produced between the 6th and 10th centuries. Short essays discuss sculpture, manuscripts, metalwork, and some monumental wall programs. Comprehensive catalogue of objects along with extensive bibliography. Illustrated with copious color photographs.
  208. Find this resource:
  209. Calzona, Arturo. Matilde e il Tesoro dei Canossa: Tra castelli, monasteri e città. Milan: Silvana Editorale, 2008.
  210. Save Citation »Export Citation »E-mail Citation »
  211. Essays related to an exhibition about Matilda of Tuscany and arts associated with her life. Incorporates essays on topics relating to her biography, patronage, and artistic connections with Rome during the period of reform. Extensive catalogue from the exhibition with color images of architectural sculpture, wall programs, and manuscripts.
  212. Find this resource:
  213. Carboni, Stefano, ed. Venice and the Islamic World, 828–1797. New Haven, CT: Yale University Press, 2007.
  214. Save Citation »Export Citation »E-mail Citation »
  215. Catalogue from the Metropolitan Museum of Art exhibition. Includes essays by scholars divided between two themes: (1) the cultural and historical context, and (2) the decorative arts between Venice and the Islamic world, as well as a catalogue of exhibited works. Essays on archival documents, pigments, and the role of Jewish merchants round out more expected inclusions on the art of diplomacy, velvets, ceramics, and Orientalist painting.
  216. Find this resource:
  217. Castelnuovo-Tedesco, Lisbeth, and Jack Soultanian, eds. Italian Medieval Sculpture in the Metropolitan Museum of Art and the Cloisters. New Haven, CT: Yale University Press, 2010.
  218. Save Citation »Export Citation »E-mail Citation »
  219. Includes a variety of sculpture created between the 9th and 15th centuries. Essays are substantial, with discussions of iconography, provenance, manufacture, and scientific examination of materials as well as polychromy. Extensive color pictures including details and multiple views.
  220. Find this resource:
  221. Scarel, Silvia Blason, ed. Poppone: L’età d’oro del Patriarcato di Aquileia, Mostra: Aquileia, Museo civico del Patriarcato (1996–1997). Rome: “L’Erma” di Bretschneider, 1997.
  222. Save Citation »Export Citation »E-mail Citation »
  223. Catalogue from exhibition marking patriarchate of Poppo as the Golden Age of Aquileia. Essays on the history of Aquileia, Aquileia in the 11th century, the territories of Friuli and Istria, art and culture, and everyday life and material culture. Places rebuilding of cathedral and its decoration into larger, regional contexts.
  224. Find this resource:
  225. Tomei, Alessandro, ed. Evangeliario di Ariberto: Un capolavoro dell’oreficeria medievale lombarda. Milan: Silvana Editorale, 1999.
  226. Save Citation »Export Citation »E-mail Citation »
  227. Essays celebrating restoration of the cover of the Aribertus Evangeliary. Places the cover in context of earlier metalwork as well as 11th-century luxury arts. Includes essay on Aribertus of Milan as art patron. Concludes with analysis of the cover, including its program, materials, and process of restoration.
  228. Find this resource:
  229. Image Databases
  230.  
  231. Access to high-resolution images of the arts and architecture in Italy has become much easier in recent years. For classroom use, ARTstor is the standard resource, but it requires a subscription for access. Open access databases such as Web Gallery of Art provide a well-indexed collection medieval art from Italy, with an emphasis on later works and artists. The Kunsthistorisches Institut in Florenz has created a digital database of a portion of its photographic archive available for nonprofit project. Crowd-sourced databases, including the Flickr groups Italia Medievale and Italy Medieval Art, represent the changing landscape of image access, as these sites often include works and details that are not included in standard teaching collections.
  232.  
  233. ARTstor.
  234. Save Citation »Export Citation »E-mail Citation »
  235. Requires a subscription. Impressive database providing image collections from a wide variety of institutions. Comprehensive coverage of the arts of medieval Italy from the eras and media covered in this essay. Support tools allow the creation of image groups and projection with PowerPoint, Keynote, and ARTstor’s own offline image viewer (OIV).
  236. Find this resource:
  237. Italia Medievale.
  238. Save Citation »Export Citation »E-mail Citation »
  239. Example of a crowd-sourced image database, Flickr group, with over 19,500 images. Identifying information can be inconsistent, but includes many images and details. Useful for teaching.
  240. Find this resource:
  241. Italy Medieval Art.
  242. Save Citation »Export Citation »E-mail Citation »
  243. A smaller collection than Italia Medievale, but includes over six thousand images. The category of “medieval art” generously applied, but offers images of monuments that do not appear in institutional databases. Useful for teaching.
  244. Find this resource:
  245. Kunsthistorisches Institut in Florenz.
  246. Save Citation »Export Citation »E-mail Citation »
  247. Offerings are better for later medieval and Renaissance art, but the database includes about twenty thousand works from the institute’s collection. The search feature is somewhat restrictive. Images can be used for teaching and lectures, but permission is required for publication. Photographs are predominantly black and white.
  248. Find this resource:
  249. Web Gallery of Art.
  250. Save Citation »Export Citation »E-mail Citation »
  251. Although it emphasizes works from later periods, this database offers many images of works from medieval Italy with strengths in monumental wall programs and panel paintings from the 12th century onwards. Some of the images are older and do not reflect recent conservation efforts, but it remains a useful source for teaching.
  252. Find this resource:
  253. Journals
  254.  
  255. Several periodicals provide coverage of the arts of medieval Italy. As its name suggests, Arte Medievale is the most consistently useful resource of medieval art from an international perspective, and it has been the most forward in starting to incorporate topics related to central Europe and Russia. Arte lombarda: Rivista di storia dell’arte and Bolletino d’Arte cover a broader spectrum of time, but they consistently publish studies on medieval topics. Reti Medievali Rivista is an interdisciplinary, online journal with some art historical scholarship reflecting new approaches in the field.
  256.  
  257. Arte lombarda: Rivista di storia dell’arte. 1955–.
  258. Save Citation »Export Citation »E-mail Citation »
  259. Journal focuses on the artists, art, and architecture in north central Italy. Coverage of medieval topics as well as arts and historiography of later periods. Volumes from the Nuova Series (begun 2002) include some color images and English abstracts for each article. In Italian.
  260. Find this resource:
  261. Arte medievale. 1983–.
  262. Save Citation »Export Citation »E-mail Citation »
  263. Covers medieval art throughout Europe and, more recently, Russia. Includes extensive coverage of monuments and historiography related to the visual arts of the Italian peninsula. More recent issues include color images in addition to black-and-white photography. In Italian and English. Catalogue available online, indexed for recent volumes.
  264. Find this resource:
  265. Bolletino d’Arte. 1907–.
  266. Save Citation »Export Citation »E-mail Citation »
  267. Publishes scholarship and provides information about conservation campaigns for works from the ancient to the contemporary period. In addition to articles, occasionally publishes special volumes devoted to medieval topics. In Italian; abstracts published in Italian and English. Fully indexed online.
  268. Find this resource:
  269. Reti Medievali Rivista. 2000–.
  270. Save Citation »Export Citation »E-mail Citation »
  271. Online journal organized through the collaborative effort of international scholars. Focus is on history, but also publishes art historical scholarship. Provides full access to the journal articles. The website, Reti Medievali, offers links to other relevant resources in medieval studies, a calendar of events, and reviews of relevant electronic publications.
  272. Find this resource:
  273. Early Medieval Period, 6th–9th Centuries
  274.  
  275. There is no single event or stylistic shift that heralds the beginning of medieval art in Italy. Textbooks written for the medieval survey frequently begin the period with the emergence of a Christian art in the Late Roman world. In contrast, volumes dedicated to early medieval art often begin with the 6th century. For this bibliography, the selection of this later standard is in keeping with the trend of more specialized scholarship. It also ensures coverage of the dynamic and diverse circumstances that fostered the production of art within the geographic perimeters of modern-day Italy. The 6th century saw frequent changes in leadership as the Ostrogoths, Lombards, and Byzantines vied for control of the foundations at Ravenna, Milan, and Pavia in the northern territories and for the city of Rome and its attendant territories in the southern peninsula. By the late 8th century, Frankish expansion into these regions saw yet another redistribution of political power with the annexation of northern Italy by Charlemagne in 774. Throughout the early medieval period, papal interests were also enmeshed within these struggles for control. As a court with both political and religious importance, Rome both sponsored and inspired artistic production in centers elsewhere within the peninsula. To date, this shifting landscape of religious and political power has prompted scholarship that stresses aspects of regionalism and specificity. For example, questions of stylistic influence and artistic appropriation have played a significant role in iconographic studies about the arts of the period. Discussions of centers such as Ravenna and Milan are frequently addressed in relation to the historical and religious capitols of Rome and Constantinople.
  276.  
  277. General Approaches
  278.  
  279. This section stresses scholarship that explores broader topics in the arts and architecture of early medieval Italy. An element consistent in many studies is a focus on the works associated with particular cities. The architecture and mosaic programs of Ravenna remain some of the most frequently discussed works of this period. Deichmann 1969–1989 remains a foundational study of this capital city. Deliyannis 2010 represents the next generation of scholarship, providing an updated, comprehensive discussion of the monuments. Bertelli 1987 provides a well-rounded collection of essays about the monuments and arts of Milan and its surrounding territory. The architecture, mural programs, and paintings of early medieval Rome are addressed in Krautheimer 2000 (cited under General Overviews). Exhibition catalogues such as Bertelli and Brogiolo 2000 consider diverse media created for Lombard patrons and the continuing influences on northern Italian works created in later centuries. Mitchell 2000 approaches Lombard patronage as an aristocratic endeavor. Consideration of Italy as a source for artistic continuity versus revival has also been a focus of the scholarship. An early study that remains influential is Belting 1967, whereas further consideration of these ideas with an emphasis on the Roman connection to the Carolingian visual arts can be found in Istituto nazionale di archeologia e storia dell’arte 1976. In contrast to these more traditional studies, Ó Carragáin and Neuman de Vegvar 2007 provides examples of the changing scope of scholarship about the arts of early medieval Rome.
  280.  
  281. Belting, Hans. “Probleme der Kunstgeschichte Italiens im Frühmittelalter.” Frühmittelalterliche Studien 1 (1967): 94–143.
  282. Save Citation »Export Citation »E-mail Citation »
  283. An early study that remains influential for the context of art production in early medieval Italy and its relation to the period’s Carolingian revival. Considers how early medieval Italy may represent continuity for the antique in artistic production across centuries.
  284. Find this resource:
  285. Bertelli, Carlo, ed. Milano: Una capitale da Ambrogio ai Carolingi. Milan: Electa, 1987.
  286. Save Citation »Export Citation »E-mail Citation »
  287. Essays provide an introduction for the history of Late Antique archeology, sculpture, and church architecture from in and around Milan. Others introduce work in mosaic, textiles, and wall painting, as well as stone and ivory carving. Extensive bibliography and many color images.
  288. Find this resource:
  289. Bertelli, Carlo, and Gian Pietro Brogiolo, eds. Il futuro dei Longobardi: L’Italia e la costruzione dell’Europa di Carlo Magno. Milan: Skira, 2000.
  290. Save Citation »Export Citation »E-mail Citation »
  291. Catalogue prepared for the exhibition of the same name. Short essays on topics related to the arts produced in the 6th through 10th centuries. Covers sculpture, manuscripts, metalwork, and, to some extent, wall painting. Provides a detailed catalogue and substantive bibliography. Illustrated with copious color photographs.
  292. Find this resource:
  293. Deichmann, Friedrich W. Ravenna: Hauptstadt des Spätantiken Abendlandes. 3 vols. Wiesbaden, Germany: Franz Steiner Verlag, 1969–1989.
  294. Save Citation »Export Citation »E-mail Citation »
  295. The most comprehensive and frequently cited resource about the Late Antique and early medieval architectural and artistic programs of Ravenna.
  296. Find this resource:
  297. Deliyannis, Deborah Mauskopf. Ravenna in Late Antiquity. Cambridge, UK: Cambridge University Press, 2010.
  298. Save Citation »Export Citation »E-mail Citation »
  299. A comprehensive and useful introduction to the history, foundations, and pictorial programs of this imperial capital, including works from the early medieval period. Provides analysis of current research about the monuments of the city. Notes, with extensive bibliography.
  300. Find this resource:
  301. Istituto nazionale di archeologia e storia dell’arte. Roma e l’età Carolingia: Atti delle Giornate di studio, 3–8 maggio 1976. Rome: Multigrafica editrice, 1976.
  302. Save Citation »Export Citation »E-mail Citation »
  303. Articles published from a congress devoted to Rome in the Carolingian era. Essays situate the Roman works within the broader framework of Carolingian material culture. Others stress the role of papal patronage in the arts.
  304. Find this resource:
  305. Mitchell, John. “Artistic Patronage and Cultural Strategies in Lombard Italy.” In Towns and their Territories between Late Antiquity and the Early Middle Ages. Edited by Gian Pietro Brogiolo, Nancy Gauthier, and Neil Christie, 347–370. Leiden, The Netherlands: Brill, 2000.
  306. Save Citation »Export Citation »E-mail Citation »
  307. Considers arts of the Lombard territories in relation to Rome and regions north of the Alps during the 8th and 9th centuries. Argues for the continuity of features in urban life and patronage that was influential for the Franks and Anglo-Saxons. Incorporates architectural studies with discussion of sculpture and manuscripts.
  308. Find this resource:
  309. Ó Carragáin, Éamonn, and Carol Neuman de Vegvar, eds. Roma Felix: Formation and Reflections of Medieval Rome. Burlington, VT: Ashgate, 2007.
  310. Save Citation »Export Citation »E-mail Citation »
  311. Includes essays devoted to early medieval topics, with additional coverage of earlier and later material. Covers practices and architecture of relic veneration, sarcophagi, wall decoration, and processions. Significantly, several contributions assess the arts in light of social expression, including gender, ethnic identity, and group identity.
  312. Find this resource:
  313. Monumental Decorative Programs
  314.  
  315. In this section, monumental works include mural programs executed in fresco, mosaic, and stucco that have been reevaluated in recent years. The 8th-century Tempietto Longobardo, located in the northern city of Cividale, has been reassessed to consider contexts for its stucco relief sculpture and relationship to other Lombard foundations (see Centro Italiano di Studi sull’Alto Medioevo 2001). The fresco cycle at Sta. Maria foris Portas in Castelseprio, rediscovered in 1944, remains a highly contested work. An early iconographic and stylistic analysis can be found in Weitzmann 1951. Leveto 1990 and the historiographic discussion in Nobili 2010 provide substantive evaluations of this cycle. A similarly contentious work, Sta. Maria Antiqua in Rome, has also been significantly reassessed, as evidenced by later conference proceedings (Osborne 2004). Krautheimer 2000 (cited under General Overviews) and Matthiae 1967 present discussion of the iconographic programs of early Christian and early medieval wall programs at Rome. In contrast, Ó Carragáin and Neuman de Vegvar 2007 (cited under Early Medieval Period, 6th–9th Centuries: General Approaches) includes shorter case studies devoted to monuments in the city.
  316.  
  317. Centro Italiano di Studi sull’Alto Medioevo, ed. Paolo Diacono e il Friuli altomedievale (secc. VI–X): Atti del 14. congresso internazionale di studi sull’Alto Medioevo, Cividale del Friuli - Bottenicco di Moimacco 24–29 settembre 1999. Spoleto, Italy: Centro Italiano di Studi sull’Alto Medioevo, 2001.
  318. Save Citation »Export Citation »E-mail Citation »
  319. Published conference proceedings, including several essays devoted to the Tempietto Longobardo in Cividale. Articles address aspects of court patronage, context for the stucco reliefs, comparison with regional art production, and conservation.
  320. Find this resource:
  321. Leveto, Paula D. “The Marian Theme of the Frescoes at Sta. Maria at Castelseprio.” Art Bulletin 72.3 (1990): 393–413.
  322. DOI: 10.2307/3045748Save Citation »Export Citation »E-mail Citation »
  323. Summary publication of dissertation content. Reconstructs damaged scenes from the chapel to suggest that the frescoes represent a theme of Marian devotion with an emphasis on the life of the Virgin as intercessor. Argues for an early-9th-century date for the fresco cycle, based on iconographic and archaeological examination.
  324. Find this resource:
  325. Leveto, Paula. “The Historiography of North Italian Frescoes Dating from 800 to 1000 A.D., with a Special Focus on Castelseprio: Chaos, Continuity, or Crisis?” In Medioevo aostano: La pittura intorno all’anno mille in cattedrale e in Sant’Orso. Vol. 1, Atti del convegno internazionale (Aosta, 15–16 maggio 1992). Edited by Sandra Barberi, 247–256. Turin, Italy: U. Allemandi, 2000.
  326. Save Citation »Export Citation »E-mail Citation »
  327. Using the cycle at Castelseprio as a case study, Leveto proposes evaluation of historiography in Italian Romanesque painting. Suggests questions of patronage, ecclesiastical contexts, and theology should be central to the study of monumental programs, citing problems with chronology, sources, and questions of external influence versus local tradition.
  328. Find this resource:
  329. Matthiae, Guglielmo. Mosaici medioevali della chiesa di Roma. 2 vols. Rome: Istituto Poligrafico dello Stato, Libreria dello Stato, 1967.
  330. Save Citation »Export Citation »E-mail Citation »
  331. An important early source for discussion of medieval mosaics in Rome, particularly those of the 7th and 8th centuries, which are less frequently discussed than those of earlier or later periods.
  332. Find this resource:
  333. Nobili, Paolo G. “Tra tardoantico e X secolo, gli scenari attorno agli affreschi di Castelseprio: Uno status quaestionis storigraphico.” Porphyria 7 Supp. 11 (2010): 2–61.
  334. Save Citation »Export Citation »E-mail Citation »
  335. Provides a thorough summary of the scholarship, with the exception of Leveto, about this work. Considers the historiographic context for debates about the dating and authorship of the frescoes. Useful bibliography.
  336. Find this resource:
  337. Osborne, John. Santa Maria Antiqua al Foro Romano cento anni dopo: Atti del colloquio internazionale, Roma, 5–6 maggio 2000. Rome: Campisano Editore, 2004.
  338. Save Citation »Export Citation »E-mail Citation »
  339. Includes essays by international scholars. Places frescoes within the traditions of Byzantine art and makes comparisons to other Roman programs. In Italian and English.
  340. Find this resource:
  341. Weitzmann, Kurt. The Fresco Cycle of S. Maria di Castelseprio. Princeton, NJ: Princeton University Press, 1951.
  342. Save Citation »Export Citation »E-mail Citation »
  343. Argues the program is Marian emphasizing the Incarnation. Suggests a narrative scroll was the model, perhaps a homily. Posits the frescoes were executed by a Constantinopolitan artist of the middle Byzantine period and date to shortly before 950. Subsequent scholarship revised the timeline, but still useful for discussion and comparative illustrations.
  344. Find this resource:
  345. Architecture
  346.  
  347. Scholarship of early medieval architecture in Italy frequently combines coverage of the Late Antique through the 9th and 10th centuries. Two studies that employ this broad chronology to consider the early medieval built environment across Italy are represented by the archeologically informed approach in Christie 2006 and the art historically focused essays found in Blaauw 2010. The urban centers of Ravenna and Rome remain prominent in the scholarship as scholars reconsider the place of architecture in these centers of ecclesiastical and papal control in relation to their history as imperial capitals. For coverage of the buildings of Ravenna, Deichmann 1969–1989 (cited under Early Medieval Period, 6th–9th Centuries: General Approaches) remains a consistently consulted source, whereas Deliyannis 2010 (also cited under Early Medieval Period, 6th–9th Centuries: General Approaches) provides a lively update that incorporates recent scholarship and historiographic consideration of the city in the medieval and modern imagination. The corpus of Christian architecture in Krautheimer 1937–1977 remains a staple for academic studies of sacred architecture in Rome, and the author’s subsequent publication, Krautheimer 2000, offers students and general readers an accessible treatment of the city and its monuments. Coates-Stephens 1997 offers a challenge to earlier studies of early Roman architecture that privilege the Carolingian renovatio. Current interest in contextualized interpretations of papal patronage is reflected in Goodson 2010 and her assessment of the building strategies employed by Pope Paschal I during the 9th century. Monastic foundations, such as the well-excavated site of San Vincenzo al Volturno in south central Italy, are presented in Hodges 1997.
  348.  
  349. Blaauw, Sible de, ed. Storia dell’architettura italiana: Da Costantino a Carlo Magno. 2 vols. Milan: Electa, 2010.
  350. Save Citation »Export Citation »E-mail Citation »
  351. Organized by region, this collection of essays provides a comprehensive approach to the architecture created for Christian worship from the Late Antique period through the reign of Charlemagne. Also addresses the rise of urbanism, monastic architecture, and Rome of the Carolingian renovatio.
  352. Find this resource:
  353. Christie, Neil. From Constantine to Charlemagne: An Archaeology of Italy AD 300–800. Burlington, VT, and Aldershot, UK: Ashgate, 2006.
  354. Save Citation »Export Citation »E-mail Citation »
  355. This volume provides a thematic introduction to the built environment in relation to changing human settlement patterns across Italy from the Late Antique through the 8th century. In addition to sacred sites, the author considers urban structures, fortifications, and rural settlements. Extensive bibliography.
  356. Find this resource:
  357. Coates-Stephens, Robert. “Dark Age Architecture in Rome.” Papers of the British School at Rome 65 (1997): 177–232.
  358. Save Citation »Export Citation »E-mail Citation »
  359. Provides a welcome addendum to the corpus of Roman architecture presented by Richard Krautheimer. Highlighting the 7th, 8th, and 10th centuries, the author argues for aspects of continuity in building practices before and after the Carolingian renovatio. Bibliography includes classic and more recent international sources on the subject.
  360. Find this resource:
  361. Goodson, Caroline J. The Rome of Pope Paschal I: Papal Power, Church Rebuilding, and Relic Translation 817–824. Cambridge, UK: Cambridge University Press, 2010.
  362. Save Citation »Export Citation »E-mail Citation »
  363. Argues that Paschal’s program to cultivate the cult of saints within the walls of Rome through the rebuilding and ornamentation of select churches represents the crafting of a unique primacy for the papal state, with the pope as both spiritual and secular authority.
  364. Find this resource:
  365. Hodges, Richard. Light on the Dark Ages: The Rise and Fall of San Vincenzo al Volturno. Ithaca, NY: Cornell University Press, 1997.
  366. Save Citation »Export Citation »E-mail Citation »
  367. An accessible narrative of the early history and archeology of this monastery founded in the 8th century, destroyed in the 9th century, and rebuilt in the 11th century. Provides a discussion of the community’s architectural environment as well as discussion of the broader context of Carolingian monastic patronage in southern Italy.
  368. Find this resource:
  369. Krautheimer, Richard. Corpus basilicarum christianarum Romae: The Early Christian Basilicas of Rome (IV–IX Centuries). 5 vols. Vatican City: Pontifico Istituto di Archeologia Christiana, 1937–1977.
  370. Save Citation »Export Citation »E-mail Citation »
  371. The most comprehensive discussion of early medieval architecture in Rome. Intended for the scholar, Krautheimer’s assessments of these buildings remain frequently cited. Includes plates, plans, and comprehensive bibliography.
  372. Find this resource:
  373. Krautheimer, Richard. Rome: Profile of a City, 312–1308. Princeton, NJ: Princeton University Press, 2000.
  374. Save Citation »Export Citation »E-mail Citation »
  375. First published in 1980. Incorporates an accessible discussion of early medieval architecture in Rome. Emphasizes points of continuity and revival, especially with periods of transition, including imperial church foundations, the early medieval architecture, and the Carolingian renovatio. Useful for undergraduates.
  376. Find this resource:
  377. Illuminated Manuscripts/Luxury Arts
  378.  
  379. In recent years, scholarship about the luxury arts, including metalwork and manuscripts, has endeavored to correct earlier approaches that frequently classified them as the “minor arts.” In the fields of metalwork, monograph studies remain the norm. Iconographic examinations have generally moved beyond the identification of motifs and formal influences to consider the local and religious contexts for production. Buccellati, et al. 1995–1999 considers the historiography and construction of the Iron Crown of Lombardy. The significance of metalwork in relation to religious practice, Carolingian contexts and local episcopal concerns are presented in the discussion of the gold altar at Milan in Capponi 1996. Thunø 2002 explores the significance of the portable arts for early medieval papal patronage. Conventions in manuscript studies also favor monographic treatments, perhaps not surprising given that many works from this early period are unique survivals. Nees 1985 (cited under Bibliographies) remains a useful resource for specialized studies about individual works. The monographs Verkerk 2004, on the Ashburnham Pentateuch, and Crivello 2005, on the Homilies of Gregory the Great at Vercelli, consider these works within the broader contexts of early medieval manuscript production. Trans-Mediterranean contact between artisans and patrons within the Roman context is considered in Grabar 1972. One examples of scholarship informed by theoretical approaches is found in the discussion of the Egino Codex, Camille 1994.
  380.  
  381. Buccellati, Graziella, Tim Parks, Holly Snapp, and Annamaria Ambrosioni, eds. The Iron Crown and Imperial Europe. 3 vols. Milan: Editoriale Giorgio Mondadori, 1995–1999.
  382. Save Citation »Export Citation »E-mail Citation »
  383. Also published in Italian La corona ferrea nell’Europa degli imperi (1995–1998). Large-format monograph. Volume 1 introduces the historical and historiographic importance of the Iron Crown of Lombardy. Volume 2, in two parts, presents technical studies and reconstructions that identify the crown as an assemblage, modified across several centuries. Volume 3 is composed of plates. Comprehensive bibliography. Color photographs and illustrations.
  384. Find this resource:
  385. Camille, Michael. “Word, Text, and Image in the Early Church Fathers.” In Testo e immagine nell’alto Medioevo: Atti della 41esima settimana di studi, Spoleto, 15–21 aprile 1993. Edited by Centro Italiano di Studi sull’Alto Medioevo, 65–92. Spoleto, Italy: Centro Italiano di Studi sull’Alto Medioevo, 1994.
  386. Save Citation »Export Citation »E-mail Citation »
  387. Stresses the word-image relationship in the Egino Codex prepared for the Bishop of Verona, c. 790. Suggests the images of the Church Fathers should be understood in relation to the orality of the homily texts inside the codex and episcopal promotion of the word.
  388. Find this resource:
  389. Capponi, Carlo, ed. L’Altare d’oro di Sant’Ambrogio. Milan: Silvana Editoriale, 1996.
  390. Save Citation »Export Citation »E-mail Citation »
  391. Includes essays on the altar’s setting, iconography, inscription, as well as its relationship to the liturgy and Carolingian art. Additional contributions provide technical examination of the enamels, gems, and a history of conservation campaigns. Most images are in color, many details unavailable in other sources.
  392. Find this resource:
  393. Crivello, Fabrizio. Le “Omelie sui Vangeli” di Gregorio Magno a Vercelli: Le Miniature del ms. CXLVIII/8 della Biblioteca Capitolare. Florence: SISMEL, Edizioni del Galluzzo, 2005.
  394. Save Citation »Export Citation »E-mail Citation »
  395. Monograph devoted to this early, illustrated collection of homilies of Gregory the Great. Challenges earlier attributions by arguing that the work originated in southern Italy and was created between 825 and 850.
  396. Find this resource:
  397. Grabar, André. Les manuscrits grecs enluminés de provenance italienne (IXe–XIe siècles). Paris: Éditions Klincksieck, 1972.
  398. Save Citation »Export Citation »E-mail Citation »
  399. Examination of several illustrated manuscripts written in Greek and created at Rome. Grabar suggests the artisans were from the eastern Mediterranean. Catalogue with descriptive text, photographs, and bibliography. Although somewhat dated, as ethnic identity is associated with style, the proposal considers opportunities for pan-Mediterranean exchange during the early medieval period.
  400. Find this resource:
  401. Thunø, Erik. Image and Relic: Mediating the Sacred in Early Medieval Rome. Rome: L’Erma di Bretschneider, 2002.
  402. Save Citation »Export Citation »E-mail Citation »
  403. Focuses on the reliquaries created for Pope Paschal I (817–824) and housed in the Sancta Sanctorum at the Lateran, Rome. Argues that, in context, these works and papal mosaic commissions affirm the orthodoxy of images and the position of the papacy between the divine and the lay community.
  404. Find this resource:
  405. Verkerk, Dorothy. Early Medieval Bible Illumination and the Ashburnham Pentateuch. Cambridge, UK: Cambridge University Press, 2004.
  406. Save Citation »Export Citation »E-mail Citation »
  407. Provides a close analysis of the codex that stresses its place in manuscript development. Argues the work was produced in Italy, perhaps Rome, between the pontificates of Gregory I (r. 590–604) and Honorius I (r. 625–638), based on liturgical, pictorial, and stylistic evidence.
  408. Find this resource:
  409. Central Middle Ages, 10th–12th Centuries
  410.  
  411. The narrative of Italian art from the 10th through the 12th centuries is not a unified one characterized by a single stylistic period or historical influence; rather, there is a division between publications focused on the 10th and early 11th centuries and those focused on the late 11th and 12th centuries. Works dealing with the 10th and 11th centuries, for example, are primarily concerned with the influences on Italy from beyond the Alps and Byzantium. This material is characterized by its relationship to periods of revival—such as the revival of the Roman Empire under the Ottonians, who, like the Carolingians, considered the path to Rome as essential territory to securing the imperial title; or the revival of a Byzantine style in the Veneto, especially as represented in the Church of San Marco. Works dedicated solely to Italy in this period are limited, and often the Italian material is included as a footnote to studies of Ottonian patronage or Byzantine art. More prevalent are works devoted to the art of the latter half of the 11th and 12th centuries, which are characterized by the relationship between Italian art and other so-called Romanesque styles across Europe. Prominent issues also include the influence of the pilgrimage roads and, perhaps most notably, the effects of the Investiture Conflict (c. 1076–c. 1122). This contest, played out between Pope Gregory VII and Emperor Henry IV, defined who had the right to invest bishops. The conflict recognized a significant struggle between royal and ecclesiastical authority and had notable consequences for art production. Publications in this section often highlight the tensions between popes, emperors, bishops, abbots, and the lay nobility that led up to the crisis, as well as the cultures of reform that came in its wake. Publications about the central Middle Ages are often also regionally specific, with centers of artistic influence shifting over the defined chronological period. Scholarship continues to reference the significance of Rome and Venice, as well as the emphasis on Lombardy and the Piedmont found in studies of the Carolingian period. Of rising significance are parts of southern Italy, especially the abbey of Montecassino, as well as Naples and Sicily. Most scholarship in this period is tightly focused on a single monument or medium, but these topics are discussed across the chronological period and in a particular historical moment.
  412.  
  413. Monumental Decorative Programs
  414.  
  415. Monumental decorative programs are defined here as wall painting and mosaic. There are only a few overarching studies of monumental programs in this period (e.g., Demus 1970 and Poeshke 2010), with more recent works focusing on a specific site or region. Poeshke 2010 offers a survey of Italian mosaics, while Demus 1970 places Italian painting within the larger European category of Romanesque painting and includes examples of early-11th-century painting under the heading “Proto-Romanesque.” Dale and Mitchell 2004, a collection of essays honoring Otto Demus, takes Demus 1970 as a starting point but includes essays by specialist authors dedicated to individual sites that offer close and contextualized analyses of iconography or style. Some regions have received more significant examination than others, including the Aosta Valley, Lombardy, the Piedmont, and the Veneto in Northern Italy, and Rome remains a prominent focus for scholars, especially with regard to cultures of reform and the influence of Old St. Peter’s. Central Italy is represented more prominently in this period in Sculpture, and some Venetian and most South Italian examples of monumental decorative programs are discussed under Cultures in Contact, since the focus of the scholarship in these areas is geared toward the integration of varied artistic styles and traditions. All of these regional studies are characterized by iconographic analyses that elucidate the complex connections between programs and their localized histories of patronage, hagiography, and history. Most of the conference proceedings included in this section present a valuable, multipronged approach to regional studies; see Bertelli 1987 (cited under Early Medieval Period, 6th–9th Centuries: General Approaches), Barberi 2000 (cited under Northern Italy), Romano and Enckell 2007 (cited under Rome), and Rossi 2010 (cited under Northern Italy). Recent discoveries in Rome and especially in northern Italy suggest that painted programs were more prevalent in the central Middle Ages than had been suggested in earlier scholarship. These studies, and the publication of fresco fragments in Andaloro 1989 (cited under Rome) and Barberi 2000 are important to this period as a reminder of how much material has been lost.
  416.  
  417. Dale, Thomas E. A., and John Mitchell, eds. Shaping Sacred Space and Institutional Identity in Romanesque Mural Painting: Essays in Honour of Otto Demus. London: Pindar, 2004.
  418. Save Citation »Export Citation »E-mail Citation »
  419. From conference panels dedicated to Otto Demus. Essays on Italian monuments include two on San Clemente by John Osborne and Christina Filippini; Agnani Cathedral by Martina Bagnoli; Sant’Urbano alla Caffarella by Kirstin Noreen; San Pietro in Tuscania by Stephanie Waldvolgel; and Sant’Angelo in Formis and San Benedetto, Capua, by Glenn Gunhouse.
  420. Find this resource:
  421. Demus, Otto. Romanesque Mural Painting. Translated from the German by Mary Whittall. London: Thames & Hudson, 1970.
  422. Save Citation »Export Citation »E-mail Citation »
  423. First published as Romanische Wandmalerei in 1968. Classic study of wall painting organized geographically, including, for some examples, full-color plates. Has not yet been replaced by a similarly expansive study. The narrative of Romanesque painting has been challenged, deepened, and expanded by geographical studies, mostly outside of Italy, but this is still useful for central medieval Italy.
  424. Find this resource:
  425. Poeshke, Joachim. Italian Mosaics: 300–1300. Translated from the German by Russell Stockman. New York: Abbeyville, 2010.
  426. Save Citation »Export Citation »E-mail Citation »
  427. General overview of medieval mosaics in Italy. Mostly useful for images, as the text emphasizes description over interpretation, but provides some background for the history of various works and aspects of reconstruction and conservation.
  428. Find this resource:
  429. Northern Italy
  430.  
  431. Studies in this section offer a narrative of North Italian painting that exists as more than an imitation of Rome but combines influences from central Italy, north of the Alps, and Byzantium. This is an area that has enjoyed a great deal of interest in the first years of the 21st century. Piva 2006 offers case studies that celebrate lesser-known sites, while Barberi 2000 and Rossi 2010 take a single city as their focus of study, often linking iconographic invention to local history or hagiography. Rossi 2011 takes patronage as its focus, arguing that activities of bishop-patrons served as the impetus for Lombard Romanesque painting. Among studies of San Marco, Demus 1984 offered a model for later publications, many of which demonstrate close visual readings dependent on questions of style, artistic hands, and iconography. Dale 1997, Jolly 1997, and Kessler 2009 take significant steps forward in their readings of the iconography of the San Marco mosaics, articulating the multiple levels on which an iconographic element can be read, often with textual, contextual, and historically specific connotations.
  432.  
  433. Piva, Paola, ed. Pittura murale del Medioevo lombardo: Ricerche iconografiche; L’alta Lombardia (secoli XI–XIII). Milan: Jaca, 2006.
  434. Save Citation »Export Citation »E-mail Citation »
  435. Discusses monumental painting programs in Lombardy, including better-known examples like San Vincenzo a Galliano and San Pietro al Monte di Civate, and lesser-known sites like San Calocero a Civate, San Salvatore a Barzanò, San Giorgio di Borgo Vico, and San Michele al Pozzo Bianco a Bergamo. Lots of black-and-white illustrations.
  436. Find this resource:
  437. Barberi, Sandra, ed. Medioevo Aostano: La pittura intorno all’anno mille in cattedrale e in sant’Orso; Atti del convegno internazionale, Aosta, 15–16 maggio 1992. 2 vols. Turin, Italy: U. Allemandi, 2000.
  438. Save Citation »Export Citation »E-mail Citation »
  439. Contains essays from various scholars on the frescoes in Sts. Peter and Ursus and the Aostan duomo. Presents a variety of approaches to the cycles. Includes dendrochronolgy, discussions of patronage, several iconographic analyses, and essays focused on methodological approaches. In Italian, English, and German.
  440. Find this resource:
  441. Dale, Thomas E. A. Relics, Prayer, and Politics in Medieval Venetia: Romanesque Painting in the Crypt of Aquileia Cathedral. Princeton, NJ: Princeton University Press, 1997.
  442. Save Citation »Export Citation »E-mail Citation »
  443. Iconographic analysis of crypt frescoes at Aquileia suggests their function was to bolster the position of Aquileia against its rival, Grado. Crypt frescoes seen to articulate the power of the visual argument in establishing the spiritual and political significance of the cult of relics at Aquileia and across Friuli-Venezia Giulia.
  444. Find this resource:
  445. Demus, Otto. The Mosaics of San Marco in Venice. 2 vols. in 4 parts. Chicago: University of Chicago Press, 1984.
  446. Save Citation »Export Citation »E-mail Citation »
  447. Abridged single volume published in 1988 under the title The Mosaic Decoration of San Marco, Venice. Volume 1 discusses the 11th and 12th centuries, and Volume 2, the 13th century. Each volume is further divided by architectural units: dome, choirs, chapels. The second part of each volume contains black-and-white figures and one full-color plate.
  448. Find this resource:
  449. Jolly, Penny Howell. Made in God’s Image? Eve and Adam in the Genesis Mosaics at San Marco, Venice. Berkeley: University of California Press, 1997.
  450. Save Citation »Export Citation »E-mail Citation »
  451. Focuses on Genesis mosaics above the narthex in San Marco. Iconographic analysis ties Eve to misogynist perceptions of women in contemporary Venetian exegesis, sumptuary laws, and cultural practices. Identifies a subtext in a traditional narrative, suggesting strictly codified iconographic programs can also resonate with a particular historical moment.
  452. Find this resource:
  453. Kessler, Herbert. “Memory and Models: The Interplay of Patterns and Practice in the Mosaics of San Marco in Venice.” In Medioevo: Immagine e memoria; Atti del convegno internazionale di studi, Parma, 23–28 settembre 2008. Edited by Arturo Carlo Quintavalle, 463–475. Milan: Electa, 2009.
  454. Save Citation »Export Citation »E-mail Citation »
  455. Discusses models and San Marco mosaics as an extension of Pierre Bordieu’s habitus, both in their making, where the mosaics are shaped by local memory and habits, including the practices of the mosaic workshop, and in their reception, where they represent the physicality of art or its “fundamental literalism.”
  456. Find this resource:
  457. Rossi, Marco, ed. Pittura a Galliano: un orizzonte europeo. Milan: Vita e Pensiero, 2010.
  458. Save Citation »Export Citation »E-mail Citation »
  459. Reprint of a special issue of Art Lombarda 156.2 (2009) dedicated to San Vincenzo a Galliano after its millennial re-dedication. Includes essays that contextualize the commission by Aribertus of Milan, connections between Galliano and Rome, as well as an iconographic analysis of the 11th-century fresco program included along the nave and in the apse. In Italian and English.
  460. Find this resource:
  461. Rossi, Marco. Milano e le origini della pittura romanica lombarda: Committenze episcopali, modelli iconografici, maestranze. Milan: Scalpendi, 2011.
  462. Save Citation »Export Citation »E-mail Citation »
  463. Seeks connections between example of Milanese episcopal patronage from the 10th and 11th centuries. Includes discussions of manuscripts, the Prayer Book of Arnulf II and the Sacramentary of Aribert of Milan, as well as monumental programs, San Vincenzo a Galliano, and the Baptisteries of Novarra and Civate.
  464. Find this resource:
  465. Rome
  466.  
  467. Scholarship is often defined by the influence of Old St. Peter’s and other early Christian monuments as iconographic and ideological models, as in Kessler 2002 and Andaloro 1989. This type of reading also characterizes Romano and Enckell 2007, where a number of essays describe monumental painting programs that include traditional iconographic motifs read within the context of Gregorian Reform. Yawn 2012 offers an example of Roman painting viewed in a similar way to that noted in Northern Italy, although here local history and hagiography offer insight into the destruction of a program rather than its invention.
  468.  
  469. Andaloro, Maria, ed. Fragmenta picta: Affreschi e mosaici staccati del Medioevo romano, 15 Dicembre 1989–18 Febbraio 1990. Rome: Argos, 1989.
  470. Save Citation »Export Citation »E-mail Citation »
  471. Includes numerous, brief essays accompanying an exhibition of fresco fragments held at Castel Sant’Angelo, Rome. Discussions present a useful picture of what we can’t see in the present context, such as Roman programs now lost, or that remain only in fragments, or are copies that are often overlooked by scholars.
  472. Find this resource:
  473. Kessler, Herbert. Old St. Peter’s and Church Decoration in Medieval Italy. Spoleto, Italy: Centro Italiano di Studi sull’Alto Medioevo, 2002.
  474. Save Citation »Export Citation »E-mail Citation »
  475. Anthology of previously published essays establishing the centrality and influence of the painted program at Old St. Peter’s. Kessler states in brief introduction that the essays remain unchanged, and he traces shifts in his work from seeing Old St. Peter’s as a powerful model for medieval programs to seeing this model take on unique, localized significances.
  476. Find this resource:
  477. Romano, Serena, and Julie Enckell, eds. Roma e la Riforma gregoriana: Tradizioni e innovazioni artistiche (11.–12. secolo). Proceedings of an international conference held at the Université de Lausanne, Switzerland, 10–11 December 2004. Rome: Viella, 2007.
  478. Save Citation »Export Citation »E-mail Citation »
  479. Collection of essays dedicated to monumental programs in and around Rome. Notable is an essay by Herbert Kessler suggesting that while the Gregorian Reform has been used as a lens for painted programs, the texts about art written by 11th-century reformers have often been overlooked. In Italian and English.
  480. Find this resource:
  481. Yawn, Lila. “Clement’s New Clothes: The Destruction of Old S. Clemente in Rome, the Eleventh-Century Frescoes, and the Cult of (Anti)Pope Clement III.” Reti Medievali Journal 13.1 (2012): 175–208.
  482. Save Citation »Export Citation »E-mail Citation »
  483. Explores destruction of church as damnatio memoriae. Offers summary of conflicting evidence, citing commission by proponents or detractors of reform. States question is like Raphael’s Vase, each sees what they are inclined to see. Proposes evidence for destruction of the lower church, citing local conditions as evidence for 12th-century destruction.
  484. Find this resource:
  485. Architecture
  486.  
  487. There are few general overviews of architecture in the central Middle Ages as compared to France or Spain. Porter 1916–1917 remains a classic reference. McClendon 2003 and Armi 2004 provide recent counterpoints, if still limited in their scope. Miller 2000 is one of a few examples of a broader study of architecture in the period, but this work has a particular focus on the episcopal palace in relation to the rise of the commune and calls for a reevaluation of the impact of Gregorian Reform. McClendon 2003 calls for reevaluation of the narrative of Italian architecture, similar to the request for a new narrative for Italian painting in Leveto 2000 (cited under Early Medieval Period, 6th–9th Centuries: Monumental Decorative Programs). Questions of prioritization and terminology are also apparent in this section, with the terms Romanesque and Proto-Romanesque used for certain works, as in Italia romanica and Armi 2004, while other characterizations, such as pilgrimage itineraries (Patrimonio artistico italiano) or chronological descriptors (McClendon 2003), are used in others. More common in this section are monographs dedicated to specific sites. Some of the most important studies of architecture in this period are part of the series Mirabiliae Italiae (cited under Series). McClendon 1987 and Dell’Omo 1999 also point to the significance of Benedictine architecture as a category for this period.
  488.  
  489. Armi, C. Edson. Design and Construction in Romanesque Architecture: First Romanesque Architecture and the Pointed Arch in Burgundy and Northern Italy. Cambridge, UK: Cambridge University Press, 2004.
  490. Save Citation »Export Citation »E-mail Citation »
  491. Stress is on Burgundy, with limited discussion of northern Italy. Revises the standard discussion of the First Romanesque with a technical study of vaulting features. Lombard structures are presented together with early Burgundian work as key for the development of the pointed arch in France and, ultimately, Cluny.
  492. Find this resource:
  493. Dell’Omo, Mariano. Montecassino: Un’abbazia nella storia. Montecassino, Italy: Pubblicazioni Cassinesi, 1999.
  494. Save Citation »Export Citation »E-mail Citation »
  495. Commissioned for 50th anniversary of the reconstruction of the abbey. This dense text includes a history of the abbey from its foundation in the 6th century up to the 19th century. Organized chronologically, it includes some archival information. Chapter 9 is dedicated to the art of Montecassino.
  496. Find this resource:
  497. Italia romanica. Milan: Jaca, 1978–1993.
  498. Save Citation »Export Citation »E-mail Citation »
  499. Survey of Italian Romanesque architecture, published in volumes dedicated to specific regions. Includes introductory essays about each region and key sites. Each site is further described by a brief introduction, followed by floor plans, photographs of architectural sculpture, and wall painting, where applicable. Volumes includes a short bibliography and some full-color plates.
  500. Find this resource:
  501. McClendon, Charles B. The Imperial Abbey of Farfa: Architectural Currents of the Early Middle Ages. New Haven, CT: Yale University Press, 1987.
  502. Save Citation »Export Citation »E-mail Citation »
  503. Result of an architectural survey of the monastery (1978–1983). Places Farfa within the field of architectural history. The first few chapters set up a historical context and methodological framework, the remaining chapters describe the architectural structure of the abbey and its transformations from the pre-Carolingian period through the Early Renaissance.
  504. Find this resource:
  505. McClendon, Charles B. “Church Building in Northern Italy around the Year 1000: A Reappraisal.” In The White Mantle of Churches: Architecture, Liturgy, and Art around the Millennium. Edited by Nigel Hiscock, 221–232. Turnhout, Belgium: Brepols, 2003.
  506. Save Citation »Export Citation »E-mail Citation »
  507. Included in a collection of essays dedicated to Rodulf Glaber’s phrase “white mantle of churches.” Responds to Glaber’s emphasis on Italy as an important site for building. Argues the emphasis is more metaphor than firsthand account, but that there were major developments taking place in Italy around the year 1000.
  508. Find this resource:
  509. Miller, Maureen C. The Bishop’s Palace: Architecture and Authority in Medieval Italy. Ithaca, NY: Cornell University Press, 2000.
  510. Save Citation »Export Citation »E-mail Citation »
  511. Argues the episcopal palace is an evolving cultural expression that makes specific claims to power, serving as an incubator for civic independence and a model for civic palaces. Argues the clerics were distinguishable from secular elite and the palace identifies a clerical culture distinct from the secular world and papacy.
  512. Find this resource:
  513. Patrimonio artistico italiano. Milan: Jaca, 2001–2011.
  514. Save Citation »Export Citation »E-mail Citation »
  515. Several publications serve as updated versions of the series Italia romanica. Volumes are organized by region, with three volumes dedicated to Romanesque art in Lombardy. As was true of their predecessor, these works offer catalogue-like presentation of the monuments, with numerous photographs with short and primarily descriptive introductory texts.
  516. Find this resource:
  517. Porter, Arthur Kingsley. Lombard Architecture. 4 vols. New Haven, CT: Yale University Press, 1916–1917.
  518. Save Citation »Export Citation »E-mail Citation »
  519. Presentation of Lombard architecture between 7th and 14th centuries. Includes sculpture, floor plans, and structural elements. Volumes 2 and 3 include specific churches, with history, plans, and notable features. Some attributions and dates have fallen from favor. Volume 4 is a folio of black-and-white plates.
  520. Find this resource:
  521. Sculpture
  522.  
  523. There is not the same proliferation of scholarship on narrative facade sculpture in Italy during the central Middle Ages that one finds for example located along the pilgrimage roads in modern Spain and France (see Glass 1997 and Glass 2007). Furthermore, while the Italian architectural sculpture of the period is not without independent narrative potential, it is often closely tied to architectural elements and therefore scholarly discussions of sculpture are often included in publications dedicated to specific architectural monuments, as can be seen in the series Mirabiliae Italiae (cited under Series), Italia romanica, and Patrimonio artistico italiano (both cited under Central Middle Ages, 10th–12th Centuries: Architecture). With a few exceptions, such as Corey 2009 for example, freestanding sculpture and the luxury arts are treated briefly in conference proceedings and exhibitions dedicated to regional studies (see Exhibition Catalogues). There are, however, a few notable works included in this section that take sculpture as their focus; most are limited by region, and all are medium specific. Daniec 1999 is the exception as it is dedicated to a specific material and format, the bronze door; however, this work is also geographically and chronologically broad. As demonstrated by the sources below, Dorothy Glass is readily recognized as the most prolific scholar on Italian Romanesque sculpture, and her bibliography, Glass 1983 (cited under Bibliographies), gives a broad context for Italian works within studies of European Romanesque sculpture, as does her essays on the state of the field, Glass 2007. Glass 1991, Glass 1997, and Glass 2010 offer examples of studies of Romanesque sculpture with a regional focus. These works stretch beyond the chronological central Middle Ages, with a strong emphasis on connections to the European Romanesque. Glass’s work (and that of others) also calls for new examinations of sculpture, with an eye to patronage within local and historical contexts. In particular, Corey 2009, Glass 2008, and Glass 2010 ask for a renewed and invigorated investigation of the localized influence of reform on the iconography of Italian art in the late 11th and 12th centuries.
  524.  
  525. Corey, Elizabeth C. “The Purposeful Patron: Political Covenant in the Salerno Ivories.” Viator 40.2 (2009): 55–92.
  526. Save Citation »Export Citation »E-mail Citation »
  527. Focused on the iconography of one plaque depicting Abraham and God at the Altar. Uses the political and theological perspective of the investiture conflict to suggest the plaques were commissioned by a “purposeful patron” wanting to legitimize Norman rule. Rejects idea plaques were derived from the Cotton Genesis manuscript.
  528. Find this resource:
  529. Daniec, Jadwiga Irena. The Message of Faith and Symbol in European Medieval Bronze Church Doors. Danbury, CT: Rutledge, 1999.
  530. Save Citation »Export Citation »E-mail Citation »
  531. Introduction to symbolic function of ornamental bronze doors in the 11th and 12th centuries. Includes case studies dedicated to doors at Gneizno and Novgorod. A final chapter includes a brief discussion of Italian examples at Amalfi, Montecassino, Salerno, Rome, Venice, Benevento, Puglia, Monreale, Pisa, Ravello, Trani, Troia, and Verona.
  532. Find this resource:
  533. Glass, Dorothy F. Romanesque Sculpture in Campania: Patrons, Programs, and Style. University Park: Pennsylvania State University Press, 1991.
  534. Save Citation »Export Citation »E-mail Citation »
  535. Dedicated to sculpture produced in South Italy, a region often overlooked or associated exclusively with Norman or Byzantine style. Argues for a localized production, drawing from the conservative influence of Montecassino, antique models, and regional narratives. Sculpted elements with liturgical functions are especially significant in the latter period.
  536. Find this resource:
  537. Glass, Dorothy F. Portals, Pilgrimage and Crusade in Western Tuscany. Princeton, NJ: Princeton University Press, 1997.
  538. Save Citation »Export Citation »E-mail Citation »
  539. Discusses the role of the Via Francigena, pilgrimage, and crusades on the iconography of portal sculpture. Argues a sphere of influence in Tuscany (Pisa, Pistoia, and Lucca) following the work of a small group of sculptors working in a classical style. Posits sculptors conflate biblical pasts and local presents in portals.
  540. Find this resource:
  541. Glass, Dorothy F. “‘Quo vadis?’ The Study of Italian Romanesque Sculpture at the Beginning of the Third Millenium.” Studies in Iconography 28 (2007): 1–21.
  542. Save Citation »Export Citation »E-mail Citation »
  543. Originally published in French in Cahiers de Civilisation Médiévale 48 (2005): 17–30. Divides scholarship on Italian Romanesque sculpture into two camps: traditional studies and “more promising” trends. Essay is divided into categories, first noting problems associated with traditional approaches—regionalism, generating scholarship, the legacy of Vasari, and Italy versus France. Latter half focuses on new interpretative strategies: pilgrimage, antiquity, liturgical furnishings, programs and their interpretation, patronage.
  544. Find this resource:
  545. Glass, Dorothy F. “Revisiting the ‘Gregorian Reform.’” In Romanesque Art and Thought in the Twelfth Century: Essays in Honor of Walter Cahn. Edited by Colum Hourihane, 200–218. University Park: Pennsylvania State University Press, 2008.
  546. Save Citation »Export Citation »E-mail Citation »
  547. Laments art historians’ use of Gregorian Reform as a chronological period rather than as a critical reading of art as a tool of reform. Offers close reading of the sculptural program at Modena in light of the reform writers as well as concerns about clerical, episcopal, and imperial conduct. Published in conjunction with the Index of Christian Art, Department of Art and Archeology, Princeton University.
  548. Find this resource:
  549. Glass, Dorothy F. The Sculpture of Reform in North Italy, ca. 1095–1130: History and Patronage of Romanesque Façades. Burlington, VT, and Farnham, UK: Ashgate, 2010.
  550. Save Citation »Export Citation »E-mail Citation »
  551. Follow-up to Glass 2008. Monograph dedicated to the influence of reform, and most notably, the second phase of Gregorian Reform. Localized in northern Italy and dealing primarily with facade sculpture. Particularly focused on questions of patronage, rather than style, origin, or influence.
  552. Find this resource:
  553. Illuminated Manuscripts
  554.  
  555. The sources in this section focus specifically and broadly on manuscript types such as the Exultet Rolls, catalogued in Cavallo, et al. 1994 and explicated in Kelly 1996; the psalter in Walther 2004; and the Atlantic Bibles, examined in Maniaci and Orofino 2000. Other studies of manuscript illumination are characterized by discussions of influence, especially the presence of Byzantine and trans-alpine models (see Mariaux 2002, Siede 1997, and Walther 2004). Questions of patronage are especially important in this period, and as many of these manuscripts are liturgical books, ecclesiastics play a prominent role in the studies Orofino 1994–2006, Mariaux 2002, and Tomei 1999 (cited under Exhibition Catalogues). These studies also often emphasize the significance of particular scriptoria. This is especially true of Montecassino, where questions of the influence of the Gregorian Reform dominate later-11th- and early-12th-century production—see Orofino 1994–2006 and Maniaci and Orofino 2000. A few works, such as Siede 1997, suggest broader trends for the reception of manuscript production, and especially the influence from beyond the Alps.
  556.  
  557. Cavallo, Guglielmo, Giulia Orofino, and Orenzo Pecere, eds. Exultet: Rotoli liturgici del medioevo meridionale. Rome: Istitutio poligrafico e Zecca dello Stato, Libreria dello Stato, 1994.
  558. Save Citation »Export Citation »E-mail Citation »
  559. Comprehensive catalogue of the liturgical rolls produced between the 10th and 13th centuries. Includes a series of introductory essays that present the history, function, and iconographic elements. Catalogue entries provide information about provenance, descriptions, extensive bibliography, and color illustrations.
  560. Find this resource:
  561. Kelly, Thomas Forrest. The Exultet in Southern Italy. New York: Oxford University Press, 1996.
  562. Save Citation »Export Citation »E-mail Citation »
  563. Uses musicology, art history, and liturgical studies to discuss form and function of Exultet Rolls within a confluence of traditions. Establishes the roll as a pontifical, arguing texts are also status symbols representing a bishop, pope, or abbot. Concludes with questions such as: why write down the music of the Exultet; why a scroll; and notable in this context, why include upside-down pictures?
  564. Find this resource:
  565. Maniaci, Marilena, and Giulia Orofino, eds. Le Bibbie Atlantiche: Il libro delle Scritture tra monumentalità e rappresentazione. Milan: Centro Tibaldi, 2000.
  566. Save Citation »Export Citation »E-mail Citation »
  567. Essays commissioned to accompany exhibition of Atlantic Bibles, focused on issues of Gregorian Reform. Includes essays on the relationship between the manuscripts and Rome, liturgy of reform, reform across Europe, and a detailed study of the bibles themselves. Facsimile-style plates and catalogue of objects included. In Italian and English.
  568. Find this resource:
  569. Mariaux, Pierre Alain. Warmond d’Ivrée et ses images: Politique et création iconographique autour de l’an mil. Bern, Switzerland: Peter Lang, 2002.
  570. Save Citation »Export Citation »E-mail Citation »
  571. Important reevaluation of Warmund of Ivrea as a patron, poet, and erudite bishop within a vibrant intellectual climate. Special attention given to the Marian cult. Serves as model for episcopal studies within the revised Reichskirchensystem allowing greater agency to the bishop as part of an interdependent system.
  572. Find this resource:
  573. Orofino, Giulia. I Codici Decorati Dell’archivio Di Montecassino. 3 vols. Rome: Istituto Poligrafico e Zecca dello Stato, 1994–2006.
  574. Save Citation »Export Citation »E-mail Citation »
  575. Three volumes, with the second volume divided into two parts. Organized chronologically, with Volume 1 covering the 8th–10th centuries. Volume 2, parts I and II, are dedicated to the years before and during the tenure of abbot Teobaldo (1022–1035). Volume III is dedicated to the period between the tenures of Teobaldo and Desiderius (1058–1087). Includes catalogue entry for each codex and numerous facsimile plates.
  576. Find this resource:
  577. Siede, Irmgard. Zur Rezeption ottonischer Buchmalerei in Italien Im 11. Und 12. Jahrhundert. St. Ottilien, Germany: EOS, 1997.
  578. Save Citation »Export Citation »E-mail Citation »
  579. Revised dissertation about reception and influences of Ottonian manuscripts on Italian book production. Based on case studies: (1) Codex Vitr. 20–6, Madrid; (2) Codex Acq e Doni 91, Florence; (3) Codex E1, Padua; and (4) Codex C, Vercelli. Discussion of Ottonian manuscripts in Italian contexts and influences on 12th century.
  580. Find this resource:
  581. Walther, Sibylle. Histoire et Théologie Enluminées: Les psautiers Illustrés Italiens de l’époque carolingienne à l’âge grégorien; Le psautier de Polirone (Mantoue, Bibl. Com., Ms. 340) et son commanditaire Anselme Du Lucques. Weimar, Germany: Verlag und Datenbank für Geisteswissenschaften, 2004.
  582. Save Citation »Export Citation »E-mail Citation »
  583. Survey of decorated Italian Psalters from pre-Carolingian through Gregorian eras. Chapters on history of the text, evolution of illuminations, and focused study on the Psalter of Polirone, including history of abbey and its role in Gregorian Reform. Concludes with discussion of early decorated Psalters as objects of private devotion.
  584. Find this resource:
  585. Late Medieval Period, 13th–14th Centuries
  586.  
  587. Scholarship produced in much of the 20th century has frequently evaluated the arts from the late 13th and the 14th centuries as precursors to the Early Renaissance, assigning them to a problematic category, the Proto-Renaissance. This trend, certainly due in part to the legacy of Vasari’s interest in artistic biography and pictorial naturalism, reflects the frequent characterization of these features as somehow alien to medieval concerns. The emphasis on unique artistic personalities prioritized, for some scholars, resolution of questions regarding authorship, formal influences, and chronologies of production. This section focuses on the painting, sculpture, architecture, and manuscript illumination of the later medieval era in Italy. The fields of monumental painting, works in fresco and on panel, continue to be approached from a regional perspective with an emphasis on iconographic studies. Trecento Tuscany remains a focus, with specialized examination of the arts of Siena, Florence, Padua, and, to a lesser extent, Rome. Iconographic studies have shifted away from the identification of subjects and their sources toward interpretations grounded in historiographic critique and local context. As demonstrated by the texts included here, the spectrum of topics has widened to include consideration of civic identity, secular commissions by urban elites, the built environment, and the importance of the mendicant orders, such as the Franciscans, in the creation and reception of material culture.
  588.  
  589. General Approaches
  590.  
  591. This section brings together scholarship about later medieval art, with an emphasis on literature that revises traditional approaches and considers Italian work in relation to the broader field of European art production. Evaluation of the role of the Gothic in Italy is addressed in the anthology Pace and Bagnoli 1994. Reassessments of the privileged status for Tuscan, specifically Florentine, painting and the influence of the Black Death have also been undertaken. Maginnis 1997 and Steinhoff 2007, studies of Sienese painting, address these concerns. Derbes and Sandona 2004 curates approaches to the artist Giotto with a series of essays that engage with thematic approaches to his work. Scholarship that emphasizes aspects of reception are explored in Lavin 1990, a study of models for viewing fresco cycles, whereas the pilgrimage experience in Rome is explored in Kessler and Zacharias 2000. Newer scholarship has also effectively diversified iconographic approaches. For example, Dunlop 2009 brings much needed attention to the frescoes created for the residences of elite patrons, and Ratté 2006 articulates the late medieval architectural portrait.
  592.  
  593. Derbes, Anne, and Mark Sandona, eds. The Cambridge Companion to Giotto. Cambridge, UK: Cambridge University Press, 2004.
  594. Save Citation »Export Citation »E-mail Citation »
  595. Collection of essays by noted scholars on aspects of Giotto’s work. Brief essays present current scholarship about this artist in relation to historiography, chronology, authorship of the St. Francis cycle at Assisi, frescoes, architecture, and visual wit.
  596. Find this resource:
  597. Dunlop, Anne. Painted Palaces: The Rise of Secular Art in Early Renaissance Italy. University Park: Pennsylvania State University Press, 2009.
  598. Save Citation »Export Citation »E-mail Citation »
  599. A thematic examination of mural programs created between 1300 and 1450 for residential settings. Presents a corpus of little-known, secular themed frescoes sponsored by elite patrons. Argues for connections between the choice of subject matter and humanist engagement with concepts of imitation and art.
  600. Find this resource:
  601. Kessler, Herbert L., and Johanna Zacharias. Rome 1300: On the Path of the Pilgrim. New Haven, CT: Yale University Press, 2000.
  602. Save Citation »Export Citation »E-mail Citation »
  603. Alternative approach to later medieval art in Rome. Adopts the itinerary of an imaginary pilgrim, with key sites for the 1300 Jubilee. Written in an approachable style, it is suited to a variety of readers. Includes monuments not always included in other publications and a foundational bibliography.
  604. Find this resource:
  605. Lavin, Marilyn Aronberg. The Place of Narrative: Mural Decoration in Italian Churches, 431–1600. Chicago: University of Chicago Press, 1990.
  606. Save Citation »Export Citation »E-mail Citation »
  607. Somewhat dated in its discussion of computer databases. Other aspects of the volume remain very useful, particularly the discussion of patterns of organization in fresco cycles to direct the viewer. Works prior to 1300 are grouped in the introductory chapter, with emphasis on cycles dating to the Trecento.
  608. Find this resource:
  609. Maginnis, Hayden B. J. Painting in the Age of Giotto: A Historical Reevaluation. University Park: Pennsylvania State University Press, 1997.
  610. Save Citation »Export Citation »E-mail Citation »
  611. Focuses on works from the late 13th century and early 14th century. Reconsiders the historiographic context for characterizations of Sienese painting as formally conservative. Challenges older arguments for influence of the Black Death, arguing the role of conscious choice in the adoption of a mannered style desired by elite patrons.
  612. Find this resource:
  613. Pace, Valentino, and Martina Bagnoli, eds. Il Gotico europeo in Italia. Naples, Italy: Electa, 1994.
  614. Save Citation »Export Citation »E-mail Citation »
  615. Essays introducing architecture, painting, sculpture, and the luxury arts produced and collected in the Italian peninsula. Introduction presents a historiography of the word Gothic in relation to Italian art. Short case studies of monuments, trends in media, and the influence of French traditions. Extensive bibliography.
  616. Find this resource:
  617. Ratté, Felicity. Picturing the City in Medieval Italian Painting. Jefferson, NC: McFarland, 2006.
  618. Save Citation »Export Citation »E-mail Citation »
  619. Study of architectural imagery from Rome, Assisi, Siena, and Florence completed between 1250 and 1390. Suggests depictions of urban landscapes were complex symbols, rather than simple, if accurate, representations of artists’ built environments. References debates in scholarship about the period. Describes imagery as architectural portraits developed within evolving civic identities.
  620. Find this resource:
  621. Steinhoff, Judith B. Sienese Painting after the Black Death: Artistic Pluralism, Politics, and the New Art Market. Cambridge, UK: Cambridge University Press, 2007.
  622. Save Citation »Export Citation »E-mail Citation »
  623. Reassesses Sienese painting in the later 14th century, with an emphasis on stylistic pluralism, consideration of changes to patronage, workshop structure, and civic imagery. Comprehensive presentation of previous scholarship about painting in Siena during this period.
  624. Find this resource:
  625. Regional Approaches
  626.  
  627. The publications in this section stress iconographic examinations of works that emphasize local contexts and patronage. With the exception of Wolleson 1998, there continues to be a marked emphasis on monuments created within Tuscany and other northern centers. The Scrovegni Chapel in Padua associated with Giotto remains a contested monument within the scholarship. The interpretation of Derbes and Sadona 2008 favors recognition of the patron’s penitential interests. In contrast, Jacobus 2008 stresses the role of the chapel in light of the elite patron’s devotional and civic interests. Finally, Ladis 2008 revisits the complexity of the compositional and iconographic themes of this work. The role of fresco cycles in affirming civic identity has been long recognized, but Campbell 1997 brings much needed attention to commissions in San Gimignano that include secular motifs beyond the more commonly illustrated program in Palazzo Publico in Siena. Recent reconsideration of the pivotal role of Siena in the arts of this period is offered in Maginnis 2003, Norman 1999, Norman 2003, and Steinhoff 2007 (cited under Late Medieval Period, 13th–14th Centuries: General Approaches). Wolleson 1998 introduces the Roman context for monumental programs in light of stylistic changes and public reception.
  628.  
  629. Campbell, C. Jean. The Game of Courting and the Art of the Commune of San Gimignano, 1290–1320. Princeton, NJ: Princeton University Press, 1997.
  630. Save Citation »Export Citation »E-mail Citation »
  631. Analysis of the frescoes in the tower room of the Palazzo Communale at San Gimignano. Argues the cycle, including three scenes of the seduction of men by women, should be understood as part of an emerging court culture, an expression of civic identity often overlooked in discussions of 14th-century civic Tuscan painting.
  632. Find this resource:
  633. Derbes, Anne, and Mark Sandona. The Usurer’s Heart: Giotto, Enrico Scrovegni and the Arena Chapel in Padua. University Park: Pennsylvania State University Press, 2008.
  634. Save Citation »Export Citation »E-mail Citation »
  635. Contextualizes the complex program of the chapel in relation to the troubled reputation of the patron and his father within the community. Open to multiple readings, but authors argue that the narratives and their placement in the chapel reveal an emphasis on rehabilitation and penance for Enrico Scrovegni.
  636. Find this resource:
  637. Jacobus, Laura. Giotto and the Arena Chapel: Art, Architecture, and Experience. London: Harvey Miller, 2008.
  638. Save Citation »Export Citation »E-mail Citation »
  639. Provides a comprehensive examination of the chapel, arguing the importance of the chapel in service to the patron’s private and civic devotional concerns. Investigates Giotto’s significant role as architect, programmer, and painter. Includes extensive documents and reconstructions of the work.
  640. Find this resource:
  641. Ladis, Andrew. Giotto’s O: Narrative, Figuration, and Pictorial Ingenuity in the Arena Chapel. University Park: Pennsylvania State University Press, 2008.
  642. Save Citation »Export Citation »E-mail Citation »
  643. Offers a close reading of the fresco cycle informed by examination of the compositional and narrative choices. Primary focus is on articulating the sophisticated nature of this program in relation to Giotto’s artistic strengths.
  644. Find this resource:
  645. Maginnis, Hayden B. J. The World of the Early Sienese Painter. University Park: Pennsylvania State University Press, 2003.
  646. Save Citation »Export Citation »E-mail Citation »
  647. Provides an in-depth discussion of the role of the artist in Sienese society during the late 13th and 14th centuries. With the aid of archival research the author situates the artists within the social, economic, and material frameworks that defined their practices.
  648. Find this resource:
  649. Norman, Diana. Siena and the Virgin: Art and Politics in a Late Medieval City State. New Haven, CT: Yale University Press, 1999.
  650. Save Citation »Export Citation »E-mail Citation »
  651. Investigates complex interrelationships between commissions produced in Siena and in the surrounding contado during the latter 14th century. Employs examples from diverse media, arguing that works created for religious and lay institutions supported a local, civic ideology committed to the Virgin Mary. Illustrated with many color photographs.
  652. Find this resource:
  653. Norman, Diana. Painting in Late Medieval and Renaissance Siena 1260–1550. New Haven, CT: Yale University Press, 2003.
  654. Save Citation »Export Citation »E-mail Citation »
  655. Offers a chronological approach to the discussion of Sienese painting bridging the late medieval with the Early Renaissance era. Includes discussion of and documents related to the social standing of the artist and patronage. Detailed presentation of contexts for stylistic change and commissions.
  656. Find this resource:
  657. Wolleson, Jens T. Pictures and Reality: Monumental Frescoes and Mosaics in Rome around 1300. New York: Peter Lang, 1998.
  658. Save Citation »Export Citation »E-mail Citation »
  659. Examines monumental pictures, building facades, and porticoes created between 1280 and 1300. Considers the context of Roman pictorial history, including the rediscovery of ancient and early Christian programs and their subsequent influence on the development of new pictorial structures for contemporary curial patrons and the general public.
  660. Find this resource:
  661. Panel Painting
  662.  
  663. Although panel paintings are included in the many publications devoted to a specific region or the work of a particular artist (see Late Medieval Period, 13th–14th Centuries: General Approaches and Late Medieval Period, 13th–14th Centuries: Regional Approaches above), this medium remains a focal point for scholars of the later medieval period in Italy. Efforts to broaden discussions beyond questions of authorship are evident in recent publications. These include comprehensive studies that consider a particular genre, including van Os 1990 on the altarpieces of Siena. Schmidt 2002 brings together scholarship that addresses historiography and function. Longer, focused studies also explore how these artifacts were used and the ways they conveyed ideas that were meaningful to the individuals and institutions that possessed them. Derbes 1996 relates the importance of Franciscan theological concerns in the choice of motifs for large-scale paintings. The importance of smaller paintings for individual devotional practices is addressed in Schmidt 2005. In addition to questions of iconography and context, the role of techniques and the conservation of this medium are engagingly presented in Bomford, et al. 1992.
  664.  
  665. Bomford, David, Jill Dunkerton, Dillian Gordon, Ashok Roy, and Jo Kirby. Art in the Making: Italian Painting before 1400. London: National Gallery, 1992.
  666. Save Citation »Export Citation »E-mail Citation »
  667. Originally published in 1989. Catalogue of works dating between 1270 and 1370 in the National Gallery, London. Provides a clear introduction to the context for the creation of paintings including patronage, materials, processes, and conservation. Photo documentation is extensive, in color and black and white.
  668. Find this resource:
  669. Derbes, Anne. Picturing the Passion in Late Medieval Italy: Narrative Painting, Franciscan Ideologies, and the Levant. Cambridge, UK: Cambridge University Press, 1996.
  670. Save Citation »Export Citation »E-mail Citation »
  671. Considers shifts toward depicting the humanity of Christ in panel paintings of the 13th century. Argues that Byzantine narrative elements are conscious adaptations that relate to Franciscan interests in themes of the suffering Christ.
  672. Find this resource:
  673. Schmidt, Victor M. Painted Piety: Panel Paintings for Personal Devotion in Tuscany 1250–1400. Florence: Centro Di, 2005.
  674. Save Citation »Export Citation »E-mail Citation »
  675. Provides discussion of the various contexts for small paintings owned and used by individuals. Considers examples from throughout Italy, but also addresses the diversity of patrons, settings for use, and circumstances for their production. Considers the role of motifs in cultivating piety and spiritual identification.
  676. Find this resource:
  677. Schmidt, Victor M., ed. Italian Panel Painting of the Duecento and Trecento. Papers presented at symposiums held in Florence on 5–6 June 1998 and in Washington DC on 16 October 1998. Washington, DC: National Gallery of Art, 2002.
  678. Save Citation »Export Citation »E-mail Citation »
  679. Essays consider later medieval panel painting employing methods that emphasize problems and questions. In addition to issues of chronology, production, and iconography, several contributions address the function of devotional paintings within late medieval religious practice and experience.
  680. Find this resource:
  681. van Os, Henk. Sienese Altarpieces, 1215–1460: Form, Content, Function. 2 vols. Groningen, The Netherlands: Egbert Forsten, 1990.
  682. Save Citation »Export Citation »E-mail Citation »
  683. Discussion of altarpieces produced in Siena offering consideration of the religious meaning of and liturgical context for these works. Additional focus is placed on circumstances of their production, issues of patronage and civic identity, as well as the status of the artist. Volume 1 covers 1215–1344, published in 1984 (Groningen, The Netherlands: Brouma’s Boekhuis); Volume 2 covers 1344–1460.
  684. Find this resource:
  685. Franciscan Art
  686.  
  687. The followers of St. Francis of Assisi, the Franciscan friars, and their relation to the arts of the 13th and 14th centuries remain a significant focus for art-historical studies. Examination of depictions of the founding saint and narrative cycles prepared for conventual communities reveal similar subject matter, but provide little evidence for an overarching mandate from the order about the arts. Some of the earliest panel paintings associated with Franciscan theology are explored in Derbes 1996. The case study approach is common given the diversity of circumstances that surrounded works commissioned for placement in Franciscan foundations, as demonstrated in Bourdua 2004, Brooke 2006, and Cook 2005. Bruzelius 2007 discusses the increasing importance of lay burials for these communities during the 14th century. Narrative images also played a role in crafting the image of St. Francis for his followers and devotees. Goffen 1988 explores the ways frescoes asserted the values of rival factions within the order. Cannon and Vauchez 1999 demonstrates how the arts participated in cultivating devotion.
  688.  
  689. Bourdua, Louise. The Franciscans and Art Patronage in Late Medieval Italy. Cambridge, UK: Cambridge University Press, 2004.
  690. Save Citation »Export Citation »E-mail Citation »
  691. Emphasizes sculptural programs produced for Franciscan institutions between 1250 and 1400. Using case studies, argues that there is an absence of a single dictate for Franciscan art. Posits great independence for the friars in the selection of programs, with participation from lay patrons. Makes extensive use of archival sources.
  692. Find this resource:
  693. Brooke, Rosalind B., ed. The Image of St Francis: Responses to Sainthood in the Thirteenth Century. Cambridge, UK: Cambridge University Press, 2006.
  694. Save Citation »Export Citation »E-mail Citation »
  695. Collection includes analyses of how textual presentations of St. Francis, including biography, the rule, and sermons, worked in concert with other forms of image making. Architecture, pictorial narrative, and panel painting all contributed to cultivating images of the founding saint.
  696. Find this resource:
  697. Bruzelius, Caroline. “The Dead Come to Town: Preaching, Burying and Building in the Mendicant Orders.” In The Year 1300 and the Creation of a New European Architecture. Edited by Alexandra Gajewski and Zoë Opačić, 203–224. Turnhout, Belgium: Brepols, 2007.
  698. Save Citation »Export Citation »E-mail Citation »
  699. Discusses the changing architectural environment of mendicant institutions, including public spaces and cemeteries. Argues that mendicant orders placed greater importance on burials for lay patrons during the 14th century to ensure financial stability. Some discussion of Dominican sites, but stress is on the Franciscan context.
  700. Find this resource:
  701. Cannon, Joanna, and André Vauchez. Margherita of Cortona and the Lorenzetti: Sienese Art and the Cult of a Holy Woman in Medieval Tuscany. University Park: Pennsylvania State University Press, 1999.
  702. Save Citation »Export Citation »E-mail Citation »
  703. Explores the role of the arts in commemorating the Franciscan tertiary Margherita of Cortona (d. 1297). Considers several works, including a now destroyed narrative cycle painted c. 1335, attributed to Ambrogio or Pietro Lorenzetti or perhaps both artists. Situates depictions in relation to pilgrimage and efforts to secure her canonization.
  704. Find this resource:
  705. Cook, William R., ed. The Art of the Franciscan Order in Italy. Leiden, The Netherlands: Brill, 2005.
  706. Save Citation »Export Citation »E-mail Citation »
  707. A collection of essays covering a variety of sites and media completed for Franciscan contexts. Stress is placed on Assisi, but work from other Franciscan foundations is included.
  708. Find this resource:
  709. Derbes, Anne. Picturing the Passion in Late Medieval Italy: Narrative Painting, Franciscan Ideologies, and the Levant. Cambridge, UK: Cambridge University Press, 1996.
  710. Save Citation »Export Citation »E-mail Citation »
  711. Considers shifts toward depicting the humanity of Christ and his Passion during the 13th century. Argues Byzantine elements are conscious adaptations that relate to aspects of Franciscan theology. Provides case studies of Passion subjects to contextualize Franciscan thought regarding Christ’s humility and increasing anti-Jewish sentiments within medieval society.
  712. Find this resource:
  713. Goffen, Rona. Spirituality in Conflict: Saint Francis and Giotto’s Bardi Chapel. University Park: Pennsylvania State University Press, 1988.
  714. Save Citation »Export Citation »E-mail Citation »
  715. Examines the frescoes by Giotto and an earlier dossal altarpiece in the Bardi Chapel at Sta Croce, Florence. Relates the works to biographies of St. Francis, the interests of Bardi patrons, and the concerns of the Franciscan friars.
  716. Find this resource:
  717. Architecture
  718.  
  719. Publications that survey the history of specific monuments remain important venues in architectural studies for late medieval Italy, including the Mirabiliae Italiae (cited under Series) and in the study Rocchi 2004. Technical examinations represent fully interdisciplinary undertakings, as they include the work of engineers in cooperation with art historians (see Erdogmus, et al. 2007). Increasingly, publications have shifted in focus to consider the civic built environment and include not only building style and function, but also the use of space and the creation of specific views to direct and modify the experience of viewers. Macci and Orgera 1994 considers elite patronage of Florentine towers. Tensions between civic and religious ruling bodies frequently played out in the building commissions and the ordering of urban spaces, as demonstrated in McLean 2008. Historiographically informed approaches that critique art history’s assessment of Italian contributions to late medieval architecture include Trachtenburg 1991 and Trachtenburg 1997, the latter an examination of the Florentine piazza. Bruzelius 2008 revisits the topic and provides an alternate interpretation.
  720.  
  721. Bruzelius, Caroline. “A Rose by any Other Name: The ‘Not Gothic Enough’ Architecture of Italy (Again).” In Reading Gothic Architecture. Edited by Matthew M. Reeve, 93–109. Turnhout, Belgium: Brepols, 2008.
  722. Save Citation »Export Citation »E-mail Citation »
  723. Provides a succinct discussion of key issues surrounding the dissemination and limits of Gothic style elements in 14th-century architecture. Argues for a recognition of the importance of “newness” and “difference” over historicism.
  724. Find this resource:
  725. Erdogmus, Ece, Thomas E. Boothby, and Elizabeth B. Smith. “Structural Appraisal of the Florentine Gothic Construction System.” Journal of Architectural Engineering 13.1 (2007): 9–17.
  726. DOI: 10.1061/(ASCE)1076-0431(2007)13:1(9)Save Citation »Export Citation »E-mail Citation »
  727. Comparative study that evaluates the vaulting systems used in Santa Maria Novella in Florence and those in French churches. Determines that the structural system is fundamentally different from northern counterparts, but is a successful solution for domical vaulting.
  728. Find this resource:
  729. Macci, Lorris, and Valeria Orgera. Architettura e civiltà delle torri: torri e famiglie nella Firenze medioevale. Florence: Edifir, 1994.
  730. Save Citation »Export Citation »E-mail Citation »
  731. Considers the emergence of aristocratic power in later medieval Florence. Focused discussion of the role of towers in familial rivalries, construction methods, and catalogue of structures. Also provides transcriptions of early documents.
  732. Find this resource:
  733. McLean, Alick M. Prato: Architecture, Piety, and Political Identity in a Tuscan City-State. New Haven, CT: Yale University Press, 2008.
  734. Save Citation »Export Citation »E-mail Citation »
  735. Uses Prato as a case study to consider the shifting architectural landscape of the city between the 12th and 13th centuries. Focusing on the Santo Stefano cathedral complex, argues that competing interests of civic and religious patrons reshaped this foundation.
  736. Find this resource:
  737. Rocchi, Giuseppe, ed. S. Maria del Fiore e le chiese Fiorentine del Duecento e del Trecento nella città delle fabbriche Arnolfiane. Florence: Alinea, 2004.
  738. Save Citation »Export Citation »E-mail Citation »
  739. Collection of essays covering religious architecture of Florence during the later medieval period. Includes focused coverage of individual foundations.
  740. Find this resource:
  741. Trachtenburg, Marvin. “Gothic/Italian ‘Gothic’: Toward a Redefinition.” Journal of the Society of Architectural Historians 50.1 (1991): 22–37.
  742. DOI: 10.2307/990544Save Citation »Export Citation »E-mail Citation »
  743. Argues for replacing the term “Gothic” with a new phrase, “medieval modernism.” Distinguishes the Italian context for architecture from northern counterparts by identifying architectural choices that were purposefully eclectic and historicizing.
  744. Find this resource:
  745. Trachtenburg, Marvin. Dominion of the Eye: Urbanism, Art, and Power in Early Modern Florence. Cambridge, UK: Cambridge University Press, 1997.
  746. Save Citation »Export Citation »E-mail Citation »
  747. Provides a historiographical and sociopolitical consideration of the Trecento Florentine piazza. Uses case studies to discuss the role of spatial as well as visual order within these urban sites and their relationship to the surrounding built environment. Representative of emerging theoretical approaches to architecture of this era.
  748. Find this resource:
  749. Sculpture
  750.  
  751. In a manner similar to scholarship about paintings of the period, publications about late medieval sculpture have also incorporated approaches that emphasize stylistic analysis, regional schools, and, for later works, artistic personalities. Studies have prioritized figural works such as baptismal fonts, devotional sculpture, pulpits, funerary monuments, wells, and fountains. Located in public spaces that often combined religious, civic, and personal functions, these monuments could be seen by diverse audiences. The publications selected for this section provide overarching treatments of later medieval sculpture. Moskowitz 2001 and Pope-Hennessy 1985 offer detailed, chronological discussions that emphasize style, iconography, and the contributions of individual artists practicing in regional centers. Iconographic discussions have begun to engage with local contexts in relation to civic identity. Examples of these approaches can be found in the case studies presented in Ames-Lewis 1997 and Bruzelius 2011. Cassidy 2007 furthers these efforts with an analysis of the role of urban elites in public commissions. For discussion of techniques and conservation, Castelnuovo-Tedesco and Soultanian 2010 provides a detailed, accessible introduction.
  752.  
  753. Ames-Lewis, Francis. Tuscan Marble Carving, 1250–1350: Sculpture and Civic Pride. Brookfield, VT: Ashgate, 1997.
  754. Save Citation »Export Citation »E-mail Citation »
  755. Focuses on the civic environment for sculpture in Pisa, Siena, Florence, and a few other centers. Organized by genre, including pulpits, facades, and funerary monuments. Provides some discussion of materials and the context for the production of sculpture.
  756. Find this resource:
  757. Bruzelius, Caroline. “From Empire to Comune to Kingdom: Notes on the Revival of Monumental Sculpture in Gothic Italy.” In Gothic Art and Thought in the Later Medieval Period: Essays in Honor of Willibald Sauerländer. Edited by Colum Hourihane, 134–155. University Park: Pennsylvania State University Press, 2011.
  758. Save Citation »Export Citation »E-mail Citation »
  759. Discusses three topics: the work of Nicola Pisano; the free-standing pulpit; and the arca tomb. Using these prompts, Bruzelius interrogates conventions of scholarship about Italian sculpture, countering with a contextualized discussion of ties between centers in the Kingdom of Sicily and those of Tuscany. Published in connection with the Index of Christian Art, Department of Art and Archeology, Princeton University.
  760. Find this resource:
  761. Cassidy, Brendan. Politics, Civic Ideals and Sculpture in Italy c. 1240–1400. London: Harvey Miller, 2007.
  762. Save Citation »Export Citation »E-mail Citation »
  763. Emphasizes the local and civic contexts for late medieval sculpture and its relationship to political imagery, along with themes of public piety, justice, and the common good. Stresses the important role of taste in relation to local rivalries between rulers and artistic entrepreneurship.
  764. Find this resource:
  765. Castelnuovo-Tedesco, Lisbeth, and Jack Soultanian, eds. Italian Medieval Sculpture in the Metropolitan Museum of Art and the Cloisters. New York: Metropolitan Museum of Art, 2010.
  766. Save Citation »Export Citation »E-mail Citation »
  767. Includes examples of architectural, relief, and free-standing sculpture created between the 6th and 15th centuries. Also confirms the medieval origin of works once thought to be modern. The substantial essays accompanying each example cover iconography, provenance, manufacture, scientific examination, and polychromy. Extensive color photography, including details and multiple views.
  768. Find this resource:
  769. Moskowitz, Anita Fiderer. Italian Gothic Sculpture, c.1250–c.1400. Cambridge, UK: Cambridge University Press, 2001.
  770. Save Citation »Export Citation »E-mail Citation »
  771. Organized by region, this work provides a comprehensive overview of sculpture produced on the Italian peninsula. In addition to coverage of Tuscan material, Rome, southern Italy, and the Veneto are discussed. Provides some examination of genres, including specific discussion of Nativity and Passion sculptures.
  772. Find this resource:
  773. Pope-Hennessey, John. Italian Gothic Sculpture: An Introduction to Italian Sculpture. 3d ed. New York: Vintage, 1985.
  774. Save Citation »Export Citation »E-mail Citation »
  775. Originally published in 1955. Provides an overview of Italian sculpture between the 12th and the early 15th centuries. The “Gothic” is presented as a specific style associated with the rise of distinct artistic personalities in Italy. Significantly, includes monuments from a variety of regions. Includes brief biographies and catalogues of artists’ work.
  776. Find this resource:
  777. Illuminated Manuscripts
  778.  
  779. Manuscript studies for this period frequently stress examination of works as representative of a particular region or analyze the contents of individual collections. An early example of scholarship that argues for distinctively Italian elements in manuscript images is represented in Salmi 1954. Bollati 2004 (cited under Reference Works) and Todini and Bollati 1993–1999 provide the most systematic attempts to articulate foundations for the study of manuscript painting from Italy. A useful introduction to the history of scholarship devoted to Gothic works, with a call for new directions in research, is provided in Zanichelli 2011. An accessible overview can also be found in exhibition-related publications such as Kanter 1994. The Bibliotheche e Archivi publications (cited under Series) include numerous volumes devoted to manuscripts produced in various regional centers as well as those housed in specific libraries and archives. Vallacqua Guariento 2000, on the books of Aosta, is in keeping with this focused approach. Although uneven in coverage, recent conferences have also helped to bring attention to illuminations of this period, as in Vailati Schoenburg Waldenburg 1979 and Sesti 1985.
  780.  
  781. Kanter, Laurence, ed. Painting and Illumination in Early Renaissance Florence, 1300–1450. New York: Metropolitan Museum of Art, 1994.
  782. Save Citation »Export Citation »E-mail Citation »
  783. A catalogue of essays presenting the Florentine context for manuscript painting in the later Middle Ages with a focus on production in Florence. Provides examination of connections between the production of illuminations and small-scale panel paintings.
  784. Find this resource:
  785. Salmi, Mario. L’enluminure Italienne. Milan: Arts et Métiers Graphiques, 1954.
  786. Save Citation »Export Citation »E-mail Citation »
  787. Attempts to establish a national personality for Italian miniaturists. Connections noted between Byzantine and insular traditions before a rebirth of humanist influences in Gothic and Renaissance periods. Narrative is dated, but provides useful introduction to the breadth of Italian miniature painting. Well illustrated, including full-color plates.
  788. Find this resource:
  789. Vailati Schoenburg Waldenburg, Grazia, ed. La miniatura italiana in età romanica e gotica: Atti del I congresso di storia della miniatura italiana, Cortona, 26–28 maggio 1978. Florence: Olschki, 1979.
  790. Save Citation »Export Citation »E-mail Citation »
  791. Includes diverse essays on works produced in Italy from the 11th through 15th centuries with an emphasis on works from north and central Italy.
  792. Find this resource:
  793. Sesti, Emanuela. La miniatura italiana tra gotico e rinascimento: Atti del II congress di storia dell miniatura italiana, Cortona, 24–26 settembre 1982. 2 vols. Florence: Olschki, 1985.
  794. Save Citation »Export Citation »E-mail Citation »
  795. Voluminous publication incorporating many essays that consider the content of collections, issues of attribution, and artistic influence in manuscript painting.
  796. Find this resource:
  797. Todini, Filippo and Milvia Bollati. Una collezione di miniature italiane: Dal Duecento al Cinquecento: Catalogo. 3 vols. Milan: Studio Nella Longari, 1993–1999.
  798. Save Citation »Export Citation »E-mail Citation »
  799. A selective study that creates a narrative for Italian manuscript illumination. Emphasizes that it should be seen as a private and aristocratic endeavor, even when used in a liturgical context. Includes catalogue, figures (some tightly cropped), and annotated bibliography. In Italian with English translation.
  800. Find this resource:
  801. Vallacqua Guariento, Maria Luisa. I codici liturgici decorati e miniati delle biblioteche della Valle d’Aosta: Secoli X–XIII. Quart, Italy: Musumeci, 2000.
  802. Save Citation »Export Citation »E-mail Citation »
  803. Stresses later works within the period under consideration. Demonstrative of many similar publications that focus on the manuscripts collected in regional archives. Includes basic catalogue, notations for illuminations, and decorated initials. Includes many color and a few black-and-white images.
  804. Find this resource:
  805. Zanichelli, Giuseppa Z. “The Historiography of Italian Gothic Manuscripts.” In Gothic Art and Thought in the Later Medieval Period: Essays in Honor of Willibald Sauerländer. Edited by Colum Hourihane, 217–242. University Park: Pennsylvania State University Press, 2011.
  806. Save Citation »Export Citation »E-mail Citation »
  807. Surveys changing approaches to Italian manuscripts from the late 19th century to the its publication, including shifting attitudes toward the term “Gothic.” Introduces more recent scholarship on semiotics, workshop practices, literacy, and the vernacular, while calling for greater examination of Italian works in relation to European and Mediterranean contexts. Extensive bibliography. Published in connection with the Index of Christian Art, Department of Art and Archeology, Princeton University.
  808. Find this resource:
  809. Cultures in Contact
  810.  
  811. Sicily, Naples, the Amalfi coast, and Venice offer unique perspectives on medieval Italian art. An argument could be made for excluding these territories, as they are often defined more by the cultures with which they come in contact rather than what might be considered indigenous Italian traditions. Scholarship on medieval Italian art has wrestled with the problematic model of a single center with peripheries, and it has moved toward models for research with a regional emphasis that focus on local trends and historical and geographical intersections. Publications dedicated to these borders of Italy, and especially the port cultures along the Amalfi and Adriatic coasts, have suggested important new methods and approaches. For example, the works included in this section mark the role played by the visual arts as passive carriers of cultural meaning, but they also point to more active roles for the art object in defining a culture or cultures. Rather than reflect the patron alone as a maker of meaning, objects and spaces shape culture or reveal coexisting cultures. Rather than divide these cities from one another, they have been grouped together to demonstrate cultures in contact more broadly and present the methodological challenges and new approaches possible for the study of all of the arts of medieval Italy. As recognized in Maguire and Nelson 2010 and Quintavalle 2007, these publications offer a new look at artistic exchange between Byzantium and the West. In particular, they challenge assumptions about stylistic purity and call attention to the mutability of a monument or an object over time.
  812.  
  813. Maguire, Henry, and Robert S. Nelson. San Marco, Byzantium, and the Myths of Venice. Washington, DC: Dumbarton Oaks Research Library and Collection, 2010.
  814. Save Citation »Export Citation »E-mail Citation »
  815. Collection of essays by specialist authors with a focus on significant themes in Venetian art history, including the style of spolia, relics and icons, the church treasury, as well as the iconography and patronage of mosaics.
  816. Find this resource:
  817. Quintavalle, Arturo Carlo. Medioevo mediterraneo: L’Occidente, Bisanzio e l’Islam; Atti del convegno internazionale di studi, Parma, 21–25 settembre 2004. Milan: Electa, 2007.
  818. Save Citation »Export Citation »E-mail Citation »
  819. Essays focus on the topic of artistic interchange. Coverage extends beyond Italy, providing examples of the breadth of topics and regions possible for contemporary scholarship on cultures in contact. Notable is Kessler’s essay offering a state of the research forty years after the 1970 publication of Otto Demus’s Byzantine Art and the West.
  820. Find this resource:
  821. Architecture and Monumental Decorative Programs
  822.  
  823. Because the monuments included in this section represent the intersections of stylistic categories not often studied by a single scholar, they present unique challenges. In light of their complexity, Tronzo 1997 offers a useful methodology for their study, arguing for careful attention to the humblest aspects of material culture. This is a method that also challenges the hierarchies of the arts prevalent in the scholarship devoted to the other periods of Italian art. This attention to detail is not an attempt to recognize stylistic models, but rather to establish a complete narrative for the monument. The approach takes into account architectural forms, painted decoration, liturgical furniture, and, when accessible, objects of material culture. Similarly, Andreescu-Treadgold and Henderson 2009 is attentive to a luxurious commission, the mosaic program at Torcello, but it focuses on the smallest details of that program and its materials to suggest a larger narrative about trade in the Mediterranean. Architecture and monumental works often reflect the highest forms of power and privilege, and the scholarship on these topics therefore stresses their importance as visual propaganda or as objects that define political, spiritual, or cultural aspirations. This is certainly true for the Capella Palatina in Palermo (Grube and Johns 2005 and Tronzo 1997), San Marco in Venice (Bloemsma 2010 and Howard 2000), the Neapolitan Duomo (Bruzelius and Tronzo 2011), and the Cathedral of Santa Maria Donna Regina (Elliott and Warr 2004). The site-specific focus of many of these works also allows for discussions of stylistic evolutions that balance local traditions against or alongside external influences, exemplified in Bruzelius 2004, Bruzelius and Tronzo 2011, Grube and Johns 2005, and Tronzo 1997.
  824.  
  825. Andreescu-Treadgold, Irena, and Julian Henderson. “How Does the Glass of the Wall Mosaics at Torcello Contribute to the Study of Trade in the 11th Century?” In Byzantine Trade, 4th–12th Centuries: The Archaeology of Local, Regional and International Exchange; Papers of the Thirty-Eighth Spring Symposium of Byzantine Studies Held at St John’s College, University of Oxford, March 2004. Edited by Marlia Mundell Mango, 393–420. Burlington, VT, and Farnham, UK: Ashgate, 2009.
  826. Save Citation »Export Citation »E-mail Citation »
  827. Intersection of scientific, archaeological, and art historical study of the Torcello mosaics. Divided into four parts: description of late-antique glass production technologies; discussion of chemical composition of glass in 11th-century Torecello; comparison between Torcello production and Serçe Limani shipwreck; and discussion of 11th-century production in Levant and Mediterranean trade.
  828. Find this resource:
  829. Bloemsma, Hans. “Venetian Crossroads: East and West and the Origins of Modernity in Twelfth-Century Mosaics in San Marco.” Journal of Intercultural Studies 31.3 (2010): 299–312.
  830. DOI: 10.1080/07256861003724573Save Citation »Export Citation »E-mail Citation »
  831. Argues west vault represents intersection of Byzantine and Latin traditions and a transition from medieval to modern modes of viewing. Shifting styles in Byzantine art present in the mosaics make clear innovations by artists to appeal to the empathy of viewers by using narrative detail to depict emotionally charged events.
  832. Find this resource:
  833. Bruzelius, Caroline. The Stones of Naples: Church Building in Angevin Italy, 1266–1343. New Haven, CT: Yale University Press, 2004.
  834. Save Citation »Export Citation »E-mail Citation »
  835. Challenges the characterization of a uniform, court style dictated by royal interests. Acknowledges a court focus in Naples, but also recognizes the importance of mercantile participation. Buildings completed after 1280 reflect a local architectural idiom. Includes many photographs and plans.
  836. Find this resource:
  837. Bruzelius, Caroline, and William Tronzo. Medieval Naples: An Architectural and Urban History, 400–1400. New York: Italica, 2011.
  838. Save Citation »Export Citation »E-mail Citation »
  839. Offers an overview of Naples from 476 through the Angevin dynasty. Focuses on the city layout and architectural elements, from their foundations in the Greek and Roman eras to their expansion and repurposing through the Middle Ages.
  840. Find this resource:
  841. Elliott, Janis, and Cordelia Warr, eds. The Church of Santa Maria Donna Regina: Art, Iconography and Patronage in Fourteenth Century Naples. Burlington, VT, and Aldershot, UK: Ashgate, 2004.
  842. Save Citation »Export Citation »E-mail Citation »
  843. Focuses on Queen Maria of Hungary as patron for this Franciscan convent church. Contributions examine French influences on and iconography of royal patronage, tomb monuments, pictorial narrative, and fresco cycles, as well as contemplative viewing and visual literacy.
  844. Find this resource:
  845. Grube, Ernst J., and Jeremy Johns. The Painted Ceilings of the Cappella Palatina. Genoa, Italy: Bruschettini Foundation for Islamic and Asian Art, 2005.
  846. Save Citation »Export Citation »E-mail Citation »
  847. Essays on the muqarnas ceiling of Cappella Palatina. Suggests a new date for the commission, and situates the work into contexts of the Middle Ages and the Muslim world. Incorporates a discussion of style, including Siculo-Arabic and Siculo-Norman elements. Full-color plates, some black-and-white images and comperanda. Thematically-organized bibliography.
  848. Find this resource:
  849. Howard, Deborah. Venice and the East: The Impact of the Islamic World on Venetian Architecture, 1100–1500. New Haven, CT: Yale University Press, 2000.
  850. Save Citation »Export Citation »E-mail Citation »
  851. Refreshing consideration of Venetian efforts to cultivate urbanity through appropriation of elements from the eastern Mediterranean. Recognizes how Venice differs from Sicily. Arranged thematically, including trade and travel, transmission, San Marco, the merchant city, and palaces. Well illustrated with bibliography of primary and secondary sources.
  852. Find this resource:
  853. Tronzo, William. The Cultures of His Kingdom: Roger II and the Cappella Palatina in Palermo. Princeton, NJ: Princeton University Press, 1997.
  854. Save Citation »Export Citation »E-mail Citation »
  855. Detailed study of the Palace Chapel at Palermo as part of the royal capital established by Roger II. Identifies two phases of building, one under Roger II, and a second under William I and William II. Special attention paid to functional parts of the building, including floors, liturgical furniture, and revetments.
  856. Find this resource:
  857. Illuminated Manuscripts/Portable Arts/Luxury Arts
  858.  
  859. Works included in this category reflect the cultures of trade or the many lives of a work of art over a series of owners. Central to these issues are questions of patronage, along with new methodological approaches that help articulate those questions. Caskey 2004 proposes the concept of mercantatia to define the types of patronage, and the objects commissioned as reflections of the powerful families along the Amalfi coast that defined the merchant culture. Fleck 2010 argues for a biographical approach to the Clement Bible, taking into account the shifting contexts in which the manuscript was used and its influence on the cultures that owned it. A similar multidisciplinary approach, the result of an international research project, is brought to bear on the Anjou Bible in Watteeuw and van der Stock 2010. Finally, the diverse material culture of late medieval Venice brought together in the exhibition Venice and the Islamic World, 828–1797 demonstrates some of the problems with the centrality of patronage studies, especially when considering objects of mass production (see Carboni 2007).
  860.  
  861. Carboni, Stefano, ed. Venice and the Islamic World, 828–1797. New York: Metropolitan Museum of Art, 2007.
  862. Save Citation »Export Citation »E-mail Citation »
  863. Volume stresses broad themes relating to the historical context, as well as the exchange of decorative arts between Venice and the Islamic world. Essays cover archival documents, pigments, the role of Jewish merchants, the art of diplomacy, velvets, ceramics, and Orientalist painting. Includes catalogue of exhibited works.
  864. Find this resource:
  865. Caskey, Jill. Art and Patronage in the Medieval Mediterranean: Merchant Culture in the Region of Amalfi. Cambridge, UK: Cambridge University Press, 2004.
  866. Save Citation »Export Citation »E-mail Citation »
  867. Examines the patronage of family dynasties along the Amalfi coast, especially the Rufolos of Ravello. Incorporates historiographical and postcolonial methods to establish the art of mercatantia. A term borrowed from Boccacio, mercatantia refers to diversity of cultures that shaped the Amalfitan art production before the rise of the Angevin kingdom.
  868. Find this resource:
  869. Fleck, Cathleen A. The Clement Bible at the Medieval Courts of Naples and Avignon: A Story of Papal Power, Royal Prestige, and Patronage. Burlington, VT, and Franham, UK: Ashgate, 2010.
  870. Save Citation »Export Citation »E-mail Citation »
  871. Biographical approach tracing the production of the Clement Bible from Naples, through changing ownership, and ultimately to Alfonso, King of Aragon. Shifting contexts of the bible allows for consideration of court contexts and workshop practices. Social history methodology emphasizes archival sources, as well as iconographic and stylistic analyses.
  872. Find this resource:
  873. Watteeuw, Lieve, and Jan van der Stock, eds. The Anjou Bible: A Royal Manuscript Revealed: Naples 1340. Paris: Peeters, 2010.
  874. Save Citation »Export Citation »E-mail Citation »
  875. Published as part of the Anjou Bible Research Project and in conjunction with the conservation and exhibition of the Anjou Bible in Leuven. Includes essays devoted to the contexts for its iconography, context, patronage, and workshop. Concludes with full-color plates of the illuminated folios.
  876. Find this resource:
  877. Spolia
  878.  
  879. Recent scholarship on the use of spolia offers foundational reassessments challenging older discussions, which stressed narratives of decline and convenience as primary motivations for the reuse of antique materials. Instead, the publications included in this section emphasize the diverse circumstances for appropriation and the potential of these items to serve as powerful ideological tools. Greenhalgh 2009 offers a new perspective situating Italian examples within the broader Mediterranean context. General studies that stress the changing practices and interpretations for reuse across the medieval period include d’Onofrio 2003. Rome’s importance as a center for spolia is the focus of several publications, including studies addressing the ecclesiastical settings for these materials as in del Bufalo 2010 and Hansen 2003. The work of Kinney 2011 and Riccioni 2011 provide an alternate focus, highlighting Roman repurposing of antiquities during 12th-century. Efforts to examine regional contexts for the use of spolia outside of Rome, in areas such as the Piedmont, are exemplified in Maritano 2008.
  880.  
  881. del Bufalo, Dario. Marmorari Magistri Romani. Rome: L’Erma Bretschneider, 2010.
  882. Save Citation »Export Citation »E-mail Citation »
  883. Contribution to the literature devoted to the reuse of antique materials in floors and furnishings of Roman churches. Stresses their role as evidence for continuity between the ancient and medieval eras. Includes a section on materials and discussion of the inclusion of spolia motifs in late medieval and Renaissance paintings.
  884. Find this resource:
  885. d’Onofrio, Mario, ed. Rilavorazione dell’antico nel Medioevo. Rome: Viella, 2003.
  886. Save Citation »Export Citation »E-mail Citation »
  887. Provides case studies surveying the reuse of Roman carvings between the 4th and 14th centuries in the Italian peninsula. Emphasizes architectural and funerary sculpture with some discussion of free-standing works. An essay by Arturo Quintavalle provides a methodological discussion of spolia studies.
  888. Find this resource:
  889. Greenhalgh, Michael. Marble Past, Monumental Present: Building with Antiquities in the Mediaeval Mediterranean. Leiden, The Netherlands: Brill, 2009.
  890. Save Citation »Export Citation »E-mail Citation »
  891. Provides an inclusive study of the reuse of antiquities throughout the Italian peninsula in relation to the broader Mediterranean context. In addition to discussion of Byzantine and Islamic appropriation, the volume addresses reuse in Sicily. Includes DVD with more than five thousand images.
  892. Find this resource:
  893. Hansen, Maria Fabricus. The Eloquence of Appropriation: Prolegomena to an Understanding of Spolia in Early Christian Rome. Rome: L’Erma de Bretschneider, 2003.
  894. Save Citation »Export Citation »E-mail Citation »
  895. Explores the reuse of architectural elements between the 4th and 9th centuries, with an emphasis on Rome during the Late Antique period. Argues for recognition of the contexts for the translation (translatio) of works that emphasize variety over homogeneity. Separate sections are devoted to materials, meaning, and historical consciousness. Extensive bibliography.
  896. Find this resource:
  897. Kinney, Dale. “Spolia as Signifiers in Twelfth-Century Rome.” In Special Issue: Spolia in Late Antiquity and the Middle Ages: Ideology, Aesthetics and Artistic Practice. Hortus artium medievalium 17 (2011): 151–166.
  898. Save Citation »Export Citation »E-mail Citation »
  899. Kinney’s focus on 12th-century reuse argues for its importance as metaphor, combining material and functionality in a fashion similar to biblical exegesis. Includes a useful summary of recent scholarship on medieval spolia.
  900. Find this resource:
  901. Maritano, Cristina. Il Riuso dell’antico nel Piemonte Medievale. Pisa, Italy: Edizioni della Normale, 2008.
  902. Save Citation »Export Citation »E-mail Citation »
  903. Provides a survey of spolia in the Piedmont region between the 10th and 14th centuries. Stresses the reuse of epigraphy and refashioning of materials for church furnishings.
  904. Find this resource:
  905. Riccioni, Stefano. “Rewriting Antiquity, Renewing Rome: The Identity of the Eternal City through Visual Art, Monumental Inscriptions and the Mirabilia.” Medieval Encounters 17.4–5 (2011): 439–463.
  906. DOI: 10.1163/157006711X598802Save Citation »Export Citation »E-mail Citation »
  907. Examines the 12th-century Roman context for civic descriptions, such as the Mirabilia urbis Romae, the use of spolia inscriptions, and public space. Suggests that rather than a focus on continuity with the ancient past, their compilation reveals a self-conscious remaking of the civic image.
  908. Find this resource:
  909. Artist Signatures
  910.  
  911. The study of inscriptions and signatures by medieval artists has been a topic of renewed investigation in more recent scholarship. Careful to distinguish the term “signature” in its medieval context from modern connotations, these publications consider the circumstances that encouraged the emergence and use of these devices. The large number of extant examples from Italy, far greater than from other European locations, has provided the foundation for a corpus of signatures available in Dietl 2009. In contrast, Donato 2000 provides a concise overview of key examples. Increasingly, scholars have extended their analysis to include consideration of social status and the formation of artistic identity, as in Donato 2003 and Boffa 2011, a focused study of sculptors.
  912.  
  913. Boffa, David Frank. “Artistic Identity Set in Stone: Italian Sculptors’ Signatures, c. 1250–1550.” PhD diss., Rutgers University, 2011.
  914. Save Citation »Export Citation »E-mail Citation »
  915. The author considers the content of, epigraphy in, and audience for signatures. Argues for the importance of a collective identity through the use of standardized signature formats in contrast to approaches that stress Renaissance artistic individuality. Includes a comprehensive bibliography.
  916. Find this resource:
  917. Dietl, Albert. Die Sprache der Signatur: Die Mittelalterlichen Künstlerin Shriften Italiens. 4 vols. Berlin: Deutscher Kunstverlag, 2009.
  918. Save Citation »Export Citation »E-mail Citation »
  919. Offers the most comprehensive catalogue of artists’ inscriptions from Italy to date. Emphasis is on architecture and sculpture as well as discussions of historiography and context. Multivolume catalogue includes transcriptions of over eight hundred Italian and another four hundred non-Italian texts, along with photo-documentation.
  920. Find this resource:
  921. Donato, Maria M., ed. L’Artista Medievale. Papers from an international conference held in Modena, Italy, 17–19 November 1999. Pisa, Italy: Scuola Normale Superiore di Pisa, 2003.
  922. Save Citation »Export Citation »E-mail Citation »
  923. This collection stresses many facets of artistic production. Several essays examine inscriptions by artists, including signatures, with an emphasis on texts dating from the 12th century and later. Introduces plans to create a new corpus of artists’ signatures, the Opere firmate nell’arte italiana Medioevo.
  924. Find this resource:
  925. Donato, Maria M., ed., with Monia Manescalchi. Le Opere e i Nomi: Prospettive sulla “Firma” Medievale: In margine ai lavori per il Corpus delle opere firmate del Medioevo italiano. Pisa, Italy: Scuola Normale Superiore di Pisa, Centro di Ricerche Informatici per i Beni Culturali, 2000.
  926. Save Citation »Export Citation »E-mail Citation »
  927. A small volume of case studies devoted to artists’ signatures from the 8th to the early 15th centuries in north and central Italy. Essays explore motivations for their creation and employ a variety of sources, including the visual arts and documents. Each article provides a foundational bibliography.
  928. Find this resource:
Advertisement
Add Comment
Please, Sign In to add comment
Advertisement
Public Pastes
Advertisement
We use cookies for various purposes including analytics. By continuing to use Pastebin, you agree to our use of cookies as described in the Cookies Policy.  OK, I Understand
Not a member of Pastebin yet?
Sign Up, it unlocks many cool features!