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FSU ETD Template Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 The Renaissance Portrait Medal and the Court Context: On the Origins and Political Function of Pisanello's Invention Tanja L. Jones Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE THE RENAISSANCE PORTRAIT MEDAL AND THE COURT CONTEXT: ON THE ORIGINS AND POLITICAL FUNCTION OF PISANELLO‘S INVENTION By TANJA L. JONES A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2011 © The members of the committee approve the Dissertation of Tanja L. Jones defended on March 24, 2011. _______________________________________ Jack Freiberg Professor Directing Dissertation _______________________________________ David Stone University Representative _______________________________________ Paula Gerson Committee Member _______________________________________ Robert Neuman Committee Member Approved: _____________________________________ Adam Jolles, Chair, Department of Art History _____________________________________ Sally McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above-named committee members. ii In memory of my wonderful parents, Joan Pelham Smith and Norman D. Jones iii ACKNOWLEDGEMENTS This project would not have been possible without the support of a great number of individuals and institutions. I am profoundly grateful to my major professor, Dr. Jack Freiberg, for his endless enthusiasm for this project and for holding me to the unfailing standard of scholarly excellence that is his guiding principle. Dr. Freiberg served as a constant source of inspiration, posing questions that challenged me and encouraged my efforts. I am honored to have been his student. I am also deeply indebted to my committee members, Paula Gerson, Robert Neuman, and David Stone, whose insights and comments made this project stronger. At Florida State, I thank the faculty and staff of the Department Art History; the Penelope E. Mason Trust, which funded numerous aspects of my research and travel; and The Graduate School, from which I received an International Dissertation Research Fellowship. The award of a Pre-Dissertation Graduate Student Research Residency at The Dumbarton Oaks Collection and Libraries was invaluable to my initial research and I thank Mary-Alice Talbot, Stephen Zwirn, Cécile Morrison, and Deb Brown for facilitating my work there. In Washington, D.C., Eleanora Luciano, Debra Pincus, and the library staff at the National Gallery of Art facilitated my earliest examinations of Renaissance medals. In London, Phillip Attwood and the staff of the Department of Coins and Medals at the British Museum were unfailingly kind, as was Giorgia Mancini at the Victoria and Albert Museum. In Paris, Béatrice Coullaré at the Musée du Louvre and Inès Villela-Petit at the Bibliothèque nationale de France each generously shared their insights and considerable knowledge of the objects in their care. In Mantua, I am especially grateful to Dottoresa Daniela Ferrari and the patient staff of the Archivio Gonzaga at the Archivio di Stato. Marco Rebuzzi and Diego Furgeri at the Museum Diocesano Francesco Gonzaga both shared their rich knowledge of the museum collections and local history and allowed me access to the library there. The staff of the Biblioteca Comunale, Teresiana, especially Daniela Cabras, Elena Bertuzzi, and Andrea Torelli, were incredibly welcoming and I will always be grateful for their kindness and excitement regarding my work. I would especially like to thank Signore Giberto Scuderi there for his generosity. Additionally, I thank Charles Rosenberg and Arne Flaten, who allowed me to present a portion of my work in the session they iv chaired at a Renaissance Society of America Conference and then edited that material for publication. Many colleagues, friends, and family helped to make this process possible. Thanks to fellow graduate students Julianne Parse-Sandlin, Lana Burgess, Jennifer Courts-Nauman, Keri Watson, Jennifer Feltman, Keri Fee, Frank Nero, Ceil Bare, and Karlyn Griffin. Thanks also to to Alison Taylor; Melissa and Thomas Rainer; and Aaron DeGroft. A special thanks is also due to McKenzie Lewis for a critical, last-minute Latin translation! To my new friends in Mantua, especially Michele Negrini at the Café alla Pace, go many thanks for making sure I felt at home in their wonderful city! I am endlessly grateful to my step-father, Jim Smith, and my step- mother, Betty Kendall-Jones, for their gracious support and years of encouragement. Finally, and most of all, I thank my husband, without whose unstinting support, generosity, and humor this project simply would never have been possible. Todd Engelhardt, you deserve a medal! v TABLE OF CONTENTS List of Figures viii Abstract xiii 1. INTRODUCTION 1 The Objects 3 Existing Scholarship and Methodology 4 Political and Religious Context 8 Organization of Chapters 10 2. THE CONSTANTINE AND HERACLIUS MEDALLIONS: PENDANTS BETWEEN EAST AND WEST 17 The Constantine and Heraclius Medallions: The Objects and Literature 18 The Medallions and Enkolpia 28 Relics, Warriors, and Crusade 31 An Imperial Christian Series 35 Prophecies of a Golden Age, Crusade, and Jean de Berry 44 Conclusion 49 3. PISANELLO‘S PORTRAIT OF JOHN PALAEOLOGUS: THE CHRISTIAN MEANING 73 Study of the Palaeologus Medal 74 Patronage and Dating 76 Models in the Prior History of Art 79 Iconography 82 Reading the Palaeologus Medal within the Court Context 84 The Palaeologus Medal and The Berry Medallions: John Palaeologus as Christian Warrior 86 The Queste, the Chevalier Errant, the Cross 92 Visual and Textual Source 92 The Medal and the French Chivalric Tradition 95 The Queste and the Crusade 97 Conclusion 99 4. PISANELLO‘S GONZAGA MEDAL SERIES: DYNASTY AND IMPERIAL AUTHORITY 123 Pisanello and the Gonzaga Medal Series 125 The Historical and Religious Context: The Second Marchese of Mantua 129 The Ludovico and Gianfrancesco Medals: vi The Medal Obverses, Imperial Legitimacy, and Continuity of Rule 133 The Ludovico and Gianfrancesco Medals: The Medal Reverses and GonzagaCondottieri as Imperial Christian Warriors 138 The Gianfrancesco Medal Reverse 139 The Ludovico Medal Reverse 141 A Visual Program 145 Conclusion 149 5. PISANELLO‘S GONZAGA MEDAL SERIES: VIRTUE, PIETY, AND CRUSADE 173 Gonzaga Virtues: Attributes of the Ideal Ruler 174 Cecilia as an Exemplar of Chastity 174 The Vittorino da Feltre Medal as Symbolic of Charity 182 Virtues of the Ruler 185 The Medal Reverses and the Relic of the Precious Blood 188 The Eucharistic Significance of the Pelican and Unicorn 188 The Relic of the Precious Blood in Mantua 190 The Gonzaga as Protectors of the Relic 191 The Medal Reverses, the Relic, and the Berry Medallions 193 The Religious Meaning and Political Function of the Gonzaga Medal Series 194 Conclusion 197 6. CONCLUSION 217 Expanded Analysis of Pisanello‘s Medallic Oeuvre 219 Implications for Future Study 222 FIGURES 226 APPENDIX: JEAN DE BERRY‘S JOYAUX 301 BIBLIOGRAPHY 302 BIOGRAPHICAL SKETCH 332 vii LIST OF FIGURES 1. Pisanello, Medal of John VIII Palaeologus, c. 1438. Bronze, 102.7 mm (diameter). Inv. A.169.1910, Victoria and Albert Museum, London. 226 2. Constantine Medallion, after 1402. Silver, 88 mm (diameter). Bibliothèque nationale de France, Paris. 227 3. Heraclius Medallion, after 1402. Silver, 97 mm (diameter). Bibliothèque nationale de France, Paris. 228 4. Apse Mosaic (detail), c. 1130. Basilica of San Clemente, Rome. 239 5. Apse Mosaic, late 13th century. Basilica of St. John Lateran, Rome. 230 6. Limbourg Brothers, Heraclius Returns the Cross to Jerusalem, 1413-16. Fol. 156v, Belles Heures, The Cloisters Museum & Gardens, New York. 231 7. Limbourg Brothers, The Meeting of the Three Magi, 1411-16. Fol. 52r, Très Riches Heures, Musée Condé, Chantilly. 232 8. Solidus of Constantine I, c. 324-25. Gold. 233 9. Coin of Heraclius, 610-641. Gold. Inv. B 7471, British Museum, London. 234 10. Seal of Jean, Duc de Berry, c. 1410. 95 mm (diameter). Bibliothèque nationale de France, Paris. 235 11. Beresford Hope Reliquary Cross, early 9th century, Byzantine. Gold and enamel, 87 mm high (closed). Inv. 265.A.1886, Victoria and Albert Museum, London. 236 12. Gold and Enamel Reliquary Cross, early 11th century, Byzantine. Gold and enamel, 61.2 mm high (cross). British Museum, London. 237 13. Double-sided Enkolpion, 14th century. Cast silver (?), gilt, 36 mm (diameter). Vatopaidi Monastery, Mt. Athos. 238 14. La Grande Châsse aux reliques, Sainte-Chapelle (arrow added for emphasis), c. 1460. Ms. 67, Petit Psalter, The Morgan Library & Museum, New York. 239 15 Charles V giving a piece of the True Cross to Jean de Berry, 1372. AE II 393, Archives nationales, Paris. 240 viii 16. Trier Ivory, 6th Century. Cathedral Treasury, Trier. 241 17. Julius Caesar, fragment from Tapestries of the Nine Worthies, c. 1400-10. Inv. 47.101.3, The Cloisters Museum & Gardens, New York. 242 18. Medallion with Madonna and Child. Bronze, 96.5 mm (diameter). Inv. 2181, Staatliche Museen, Berlin. 243 19. Limbourg Brothers, Exaltation of the Cross, 1411-16. Fol. 193r, Très Riches Heures, Musée Condé, Chantilly. 244 20. Pisanello or his circle, Portrait of John VIII Palaeologus, c. 1438. Inv. 2478v, Musée du Louvre, Paris. 245 21. Pisanello, Preparatory Drawings for Palaeologus Medal, c. 1438. Inv. 1062r, Musée du Louvre, Paris. 246 22. Pisanello, Preparatory Drawings for Palaeologus Medal, c. 1438. Inv. 1062v, Musée du Louvre, Paris. 247 23. Pisanello, Preparatory Drawings for Palaeologus Medal, c. 1438. 1961.331r, Margaret Day Blake Collection, The Art Institute of Chicago, Chicago. 248 24. Pisanello, Preparatory Drawings for Palaeologus Medal, c. 1438. 1961.331v, Margaret Day Blake Collection, The Art Institute of Chicago, Chicago. 249 25. Pisanello, Drawings of a Horse, c. 1438? Inv. 2468r, Musée du Louvre, Paris. 250 26. Giovanni Badile, Frescoed window surround with image based on Pisanello‘s medal of John Palaeologus, 1443-44.
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