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/2889 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. Advocata Nostra: Central Italian Paintings of Mary as the Second Eve, c. 1335-c. 1445 Anne Dunlop This is thesis a close examination and analysis of the creation and reception of a group of eighteen Central Italian paintings of the Madonna with Eve presented reclining at her feet, images which draw on one of the fundamental themes of Mary's cult, her role as the Second Eve. Modern writers have sometimes been taken aback by these panels; in recent studies of women in history, Mary and Eve are often assumed to have been defining stereotypes of positive and negative feminine behaviour, and these works make a blatant juxtaposition of the two. Yet this imagery was obviously attractive to Trecento and Quattrocento patrons: this paradox lies at heart the of this thesis, which seeks to determine what these paintings might have meant to those who commissioned them and who first worshipped before them. To do so, this thesis begins by introducing the questions raised by the works; it then discusses textual and oral traditions linking Mary and Eve for Trecento and Quattrocento viewers, in order to suggest a range of possible associations for the imagery. There are then four case studies, intended to particularise the general themes of the pairing through specific images and contexts. The first focuses on Ambrogio Lorenzetti's frescoes at the former Cistercian abbey of S. Galgano, which were created, it is suggested here, by a member of that community in Mary's honour. The next chapter looks at the political and eschatological implications of images of Mary's rule as the Second Eve in the Papal States, discussing frescoes in S. Agostino, Montefalco, S. Gregorio Maggiore, Spoleto, and the Camposanto in Pisa, as well as a panel attributed to Carlo da Camerino, now in Cleveland, Ohio. The following chapter examines the 1371 Madonna of Graces in Magione, near Perugia, and the knightly devotion of its secular, aristocratic donor, who is here identified; the detached fresco from S. Severino Marche is also briefly mentioned. And the final chapter focuses on the only image securely linked to a female religious community, Lippo Vanni's 1358 triptych for the Dominican nuns of Sant'Aurea in Rome, which offers a basis for examining the complicated question of female viewership for images of Mary and Eve. Together, these studies allow a series of wider conclusions to be drawn about these paintings, including some of the smaller panels not discussed in depth in the main text. In conclusion, it is argued that these images of Eve at Mary's feet provided different groups of Trecento and Quattrocento Christians with a positive way in which to stress their own human weakness, encouraging Mary to intercede on their behalf, as she had done, first and foremost, for Eve. There is also an appendix providing additional information on those Sienese, Lucchese, and Florentine panels less discussed in the main body of the text. Advocata Nostra: Central Italian Paintings of Mary as the Second Eve, c. 1335-c. 1445 Anne Dunlop Master of Arts, University of British Columbia Licence, Universite Lumiere-Lyon II Thesis submitted for the degree of Doctor of Philosophy University of Warwick, Department of History of Art March, 1997 I-ABLE OF CONTENTS Acknowledgments iv Declaration V Abbreviations vi List of Illustrations vii INTRODUCTION: QUESTIONS AND GOALS I I. LINKING MARY AND EVE 18 1. The First Developments 21 11.Latin Debates: Recapitulation, Ambivalence, and Contrast 29 III. The Vernacular Tradition: Patronage, Advocacy, and Blood Ties 40 IV. Conclusions 45 11. 'ADVOCATA NOSTRA: THE FRESCOES OF S. GALGANO AT MONTESIEPI 46 1. The Saint, His Images, and the Frescoes 49 11.Cistercian S. Galgano 56 III. Queen of the Cistercian Court 61 IV. Exules Filii Evae 71 V. Patronage, Vanni Salimbeni, and Ristoro della Selvatella 79 VI. Conclusions 87 HL QUEEN OF HEAVEN: MON T EFALCO, PISA, AND CLEVELAND 91 1. The Frescoes at Montefalco and Pisa 92 II. The Assumption and the Coronation 98 III. Queen of the Apocalypse 108 IV. Conclusions 121 IV. ' HONORENL TIBI PAKTDIS IN COELI PALA T IO: ' S. MARIA DELLE GRAZIE, MAGIONE 123 1. The Madonna of Graces 126 129 11.Magione and Military Men III. Francesco Signore and the Aspirations of the Lesser Nobility 134 IV. Crusading, Casali, and the Madonna of Graces 144 149 V. Eve and Indulgences 154 VI. Conclusions, and a Note about S. Severino Marche 6 wl . ý0 111 V. 'VIRGO MATER MULTARUM VIRGINUM: ' A TRIPTYCH FOR THE CONVENT OF S. AUREA 158 1. Saint Aurea and the Triptych 160 II. S. Aurea and the Friars 166 III. The Triptych and the Community Beyond the Cloister Grille 172 IV. The Dominicans, the Orsini, and the Anguillara 184 V. Conclusions, and a Final Word about Female Viewers 188 CONCLUSIONS 192 APPENDIX: ADDITIONAL PANELS OF THE VIRGIN WITH EVE AT HER FEET 208 SELECT BIBLIOGRAPHY 229 ILLUSTRATIONS 242 IV ACKNOWLEDGMENTS This thesis has had a complicated gestation. It was begun, after a Masters at the University of British Columbia, under Professor Andrew Martindale at the University of East Anglia, and following Professor Martindale's sudden and tragic death in May, 1995, it has been completed under the supervision of Professor Julian Gardner at Warwick. I am grateful to both for their gracious and intelligent supervision. I would also like to acknowledge the staff of the State Archives in both Siena and Perugia, as well as the staff of the Deputazione per l'Umbria, especially Giordana Benazzi. Fernando Sorci, Sacristan of S. Maria delle Grazie in Magione, deserves my warm thanks for helping me to photograph the work, and for generously providing me with several local studies of the image. The curators of the museums and galleries holding the panels have also been unfailing helpful, and Anthony Luttrell, Fiorella Gioffredi Superbi, and Andrea de' Marchi were kind enough to answer research inquiries, and the research itself was made possible by a series of awards, for which I thank the ORS, the Commonwealth Scholarship Commission, the Canadian Social Sciences and Research Council, the Quebec Fonds pour la Formation des Chercheurs, and UEA. My parents and Clara and William Wood were excellent traveling companions. Special thanks are due to Louise Bourdua, Elena De Luca, Sandy Heslop, Denise Oleksijczuk, Debra Pincus, Frances Thomas, Margit Tofner, Cordelia Warr, and Bill Wood, whose questions and comments have helped to shape this work. V DECLARATION Two sections of this thesis incorporate material which has been used for an earlier degree or which is being published elsewhere. The discussion of Carlo da Camerino's panel presented in the Introduction is based on the first ten pages of my Master's thesis at the University of British Columbia, presented in 1992, although this earlier material has been extensively revised and rewritten. An abbreviated version of the material on S. Galgano, presented in Chapter Two, will appear as: "A Cistercian Romance: The Frescoes of S. Galgano at Montesiepi" Memory and Oblivion: Acts of the XX1Xth International Congress of the History of Art, eds. A. W. Reinink et al. (Dordrecht, 1997). This article focuses, however, on the Cistercians, and not, as is here the case, on the imagery of Mary and Eve. ý,,, ABBREVIATIONS N. B. The style used in the text is that of the American Modern Languages Association, although the publisher has been omitted in footnotes, in accordance with British practice. Unless otherwise indicated here, abbreviations used are those of the Bibliographie d'histoire de fart. AASS Societe des Bollandistes, Acta Sanctorum. Antwerp: Joannes Meusium, 1642-reprint Brussels, 1966- AHMA Guido Maria Dreves and Clemens Blume, eds. Analecta hymnica medii aevi. 55 vols. Leipzig: Fues's Verlag (R. Reisland), 1886-1.922. AFP Archivium Fratrum Praedicatorum. Rome: Lutetiae Parisiorum, 1932- ASI Archivio Storico Italiano. Florence: Gio. Pietro Viessueux, later Deputazione Toscana di Storia Patria, 1842- BDSPU Bollettino della Deputazione di Storia Patria per l'Umbria. Perugia: Societä di Storia Patria, later Deputazione di Storia Patria, 1895- CC Corpus Christianorum. Continuatio mediaevalis. Tumholti: Brepolis, 1966- DBI Dizionario Biografico degli Italiani. Rome: Istituto della Enciclopedia Italiana, 1960- Guldan Ernst Guldan. Eva und Maria: Eine Antithese als Bildmotiv. Graz-Cologne: Hermann Böhlaus, 1966. PL J.P. Migne, ed. Patrologiae Cursus Completus: Series Latina. 221 vols, 5 modern supplementa. Paris- Gamier Freres, 1844- 1890. RDI Rationes Decimarum Italiae nei secoli XIII et XIV. 13 vols. and maps. Vatican City: Biblioteca Apostolica Vaticana, 1933- 1941. RIS L. A. Muratori, ed. Rerum Italicarum Scriptores. 34 vols. Milan, 1723-1751; Reprint Bologna: Nicola Zanichelli, 1900-1917. Schiller Gertrude Schiller. Ikonographie der christlichen Kunst. Band 4, 2 Maria. Gutersloh: Gerd Mohn, 1980. vii LIST OF ILLUSTRATIONS 1.Carlo da Camerino. Madonna Child and with Angels, c. 1390-1400.191.2 x 98.7 cm. Cleveland Museum of Art. 2.Carlo da Camerino. Madonna and Child, Detail: Gabriel (b&w). 3. Carlo da Camerino. Madonna and Child, Detail: Michael and A Male Saint (b&w). 4. Carlo da Camerino. Madonna and Child, Detail: Gabriel (colour). 5.Carlo da Camerino. Madonna and Child, Detail: Michael and A Male Saint (colour). 6. Fra Angelico. Altarpiece of the Annunciation, c. 1332-1334.175 x 180 cm. Museo Diocesano, Cortona.