University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/77733 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Guido da Siena’s Narrative Panels and the Madonna del Voto: The Formation of the Marian Civic Identity in Sienese Art c.1260 Volume One of two volumes (Text) by Kayoko Ichikawa A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the History of Art at the University of Warwick. This dissertation may not be photocopied. University of Warwick, Department of the History of Art September 2015 Table of Contents Volume 1: Acknowledgements iv Declaration vi Abstract vii List of Abbreviations viii List of Illustrations ix Introduction 1 1. Sienese Art in the Thirteenth and Fourteenth Centuries 3 Historical Background Sienese School: Artists from Siena Sienese Art: Geographical Expansion 2. Altarpiece Studies: From Reconstruction to Recontextualisation 7 Decontextualisation of Religious Art Reconstruction: Rediscovery of the Most Complex Altarpiece Recontextualisation: Further Development of Altarpiece Studies 3. Studies of the Pictorial Narrative 13 Gospel Narrative Cycles Setting and Audience: Comprehensive Church Decoration Form and Function: Places of Narrative The Role of Pictorial Narrative Iconography and Programme: Thematical Development 4. The History of Guido da Siena’s Narrative Panels 20 i Chapter 1 The Reconstruction 28 1. The Claritas Reconstruction (2001) and Various Responses 30 2. Re-assessing the Original Panel Structure and a New Reconstruction 40 3. The Alterations to the Original Panel: The Cause of Confusion? 52 Chapter 2 The Vicissitudes of the Madonna del Voto 57 1. The Original Location of the Madonna del Voto 58 2. The 1262 Civic Statute and the Cathedral under Reconstruction 71 3. The Renewed Interest in the Madonna delle Grazie 83 4. The Images and the Chapel of the Madonna delle Grazie 88 Chapter 3 The Iconography of the Ascent of the Cross 100 1. From the East to the West through the Agency of Franciscans? 102 2. From Armenia to Siena: A Shared Concern in Different Contexts 114 3. Reconsidering the Role of the Franciscans in a Wider Context 126 4. Marian Devotion in the West 142 Chapter 4 The Iconography of the Coronation of the Virgin 158 1. The Roman Cult of the Assumption of the Virgin 162 2. The English Origin of the Coronation of the Virgin 171 3. Gothic Portal Sculpture and Psalter Illumination 179 4. Thirteenth-Century Italian Development: Siena, Assisi and Rome 186 ii Conclusion: Repositioning Guido’s Altarpiece in Siena Cathedral 197 The Role of Guido’s Pictorial Narrative Guido’s Altarpieces as the Origin of Sienese Art The Role of Cathedral Art: Guido’s Altarpiece for the Civic Celebration Repositioning Guido’s Altarpiece in the Architectural Context Repositioning Guido’s Altarpiece in the Cathedral Decoration Programme Bibliography 209 Volume Two: Illustrations 1 iii Acknowledgements I began my doctoral studies at Keio University in Tokyo, Japan, and had an opportunity to study at the University of Siena for a year before moving to the University of Warwick. Therefore, I am grateful for the funding I received from many sources which made this thesis possible: Graduate School of Keio University Scholarship; Graduate School of Keio University ‘Koizumi Shinzo Kinen’ Scholarship; Italian State Scholarship; Japan Student Services Organization (JASSO) Scholarship; the subsidies from the History of Art Department at the University of Warwick; Junichi and Mami Ichikawa. I have visited many libraries, archives, museums, and churches in the course of my research, and I am grateful to every kind of support I received. I especially appreciate the following institutions: the Courtauld Institute of Art, London; the Davis Museum at Wellesley College, Massachusetts; the Index of Christian Art, Princeton University; the Lindenau-Museum, Altenburg; the Museum Catharijneconvent, Utrecht; the Opificio delle Pietre Dure in Florence; the Princeton University Art Museum; the Soprintendenza in Siena. Particular thanks to Luca Baggio, Roberto Boddi, Joanna Cannon, Tobias Ertel, Julian Gardner, Sabine Hofmann, Colum Hourihane, Edith Liebhauser, Bo Mompho, Norman Muller, Kyoko Nakahara, Julia Nauhaus, Karen Serres, Koichi Toyama, and Shinsuke Watanabe who facilitated my research visits. I also profited from the collections in the following institutions: Biblioteca Umanistica at the University of Siena; the Bodleian Libraries of the University of Oxford; the British Library; Columbia University Libraries; the Book Library and the Garrison Collection at the Courtauld Institute of Art; Keio University Media Center; the Kunsthistorisches Institut in Florence; New York University Libraries; the Berenson Library and Fototeca at Villa I Tatti, the Harvard University Center for Italian Renaissance Studies; the Warburg Insitute Library and Photograhic Collection; the University of Warwick Library. Special thanks must be given to the following scholars from whom I received valuable advice and comments at various stage of my research: Michele Bacci, Dieter Blume, Joanna Cannon, Julian Gardner, Tomoyuki Masuda, Ioanna Rapti, Yuji Sueyoshi, and Koichi Toyama. I am also grateful to the restorers, iv Edith Liebhauser, Norman Muller, and Daniele Rossi who gave me advice on technical observation of panel paintings and shared their first-hand observations. I have been fortunate to have the opportunities to join various academic groups and to present papers in several seminars and conferences. I am grateful for all the valuable comments I received which helped shape my thesis. Particular thanks to the members of Giotto’s Circle at the Courtauld Institute and the Japan Art History Society. I greatly appreciate the staff and colleagues at Keio University and the University of Siena, especially the teachings and support I received from Raffaele Argenziano, Michele Bacci, Alessandro Bagnoli, Roberto Bartalini, Elisabetta Cioni, Maria Katia Gesuato, Fumiko Goto, Hiromasa Kanayama, Fujio Maeda, Masashi Oishi, and Alessia Zombardo. At the University of Warwick, I had a great support from the staff and colleagues across the campus, especially from the staff and colleagues of the History of Art Department and the members of the Latin reading group and the thesis writing group. I have been blessed with my friends from around the world who never cease to cheer me up and help me in various ways. I especially thank Alice Borchi, Giacomo Comiati, María Estrada-Fuentes, Fabio Greco, Ann Haughton, Yu Homma, Pinmei Huang, Maggie Leung, Rei Maizawa, Misato Matsuoka, Asami Miyazaki, Zuleika Murat, Santiago Oyarzabal, Anna Roh, Umi Toyosaki, Michael Tsang, Eriko Tsuji and Michaela Zöschg. Stefano Colombo, who drove me to many places, checked my drafts, and gave continuous encouragement, reserves a special place. A huge ‘arigato’ goes to my family: I thank my grandparents, Keiko, Kikuo and Shigeko, my parents, Junichi and Mami, my uncle Yoichi, my brother Kazuhide, my sister Chisako and her husband Daisuke, and my nephews Shogo and Seiji, for their constant encouragement, kindness, love and support. My thoughts have been always with my late grandfather Tetsuzo who would have most loved to see my achievement. Finally, I would like to express my greatest gratitude to my supervisor Louise Bourdua. This thesis would have never completed without her wholehearted guidance, patience and inspiration. v Declaration I declare that this thesis is my own work and that it has not been submitted for a degree at another university. vi Abstract This thesis examines the reconstructed altarpiece formed by the Madonna del Voto, the Coronation of the Virgin, and the twelve narrative panels dated circa 1267 and attributed to Guido da Siena, currently dispersed in museums in Europe and America. The reconstructed altarpiece is vital to the study of early Sienese art because of its association with the Madonna del Voto in Siena cathedral, the most venerated icon believed to be once on the high altar. If proven, it represents a significant rediscovery of an altarpiece commissioned to commemorate the miraculous intercession of the Virgin who granted Sienese victory over Florence in 1260 at the Battle of Montaperti, giving birth to Siena’s identity as ‘the City of the Virgin’. Moreover, it reveals a more comprehensive view of the precedent of the complex altarpiece, the Maestà by Duccio di Buoninsegna dated 1308-11. However, the unconventional format and the iconographical programme of Guido’s reconstructed altarpiece has been criticised, and its original location on the cathedral high altar is questioned. The four chapters of this thesis reassessed the validity of the reconstruction of Guido’s altarpiece and its original location on the high altar by combining the methodological tools of altarpiece studies and pictorial narrative studies. Chapter 1 clarified that the reconstruction is highly probable from a technical viewpoint. Chapter 2 proposed an alternative interpretation of the historical documents suggesting its original location on the high altar. Chapters 3 and 4 examined the two extra-biblical episodes (the Ascent of the Cross and the Coronation of the Virgin),