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Art and Identity Art and Identity Art and Identity: Visual Culture, Politics and Religion in the Middle Ages and the Renaissance Edited by Sandra Cardarelli, Emily Jane Anderson and John Richards Art and Identity: Visual Culture, Politics and Religion in the Middle Ages and the Renaissance, Edited by Sandra Cardarelli, Emily Jane Anderson and John Richards This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Sandra Cardarelli, Emily Jane Anderson and John Richards and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3628-1, ISBN (13): 978-1-4438-3628-9 For Emma TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Foreword ................................................................................................... xv Acknowledgements ................................................................................. xvii Introduction .............................................................................................. xix SECTION I: PARADING IDENTITIES ? VISUAL CULTURE , CIVIC RITUALS , RELIGIOUS PRACTICES AND THE CELEBRATION OF SAINTS Chapter One................................................................................................. 3 Images of Saints and Political Identity in Late-Medieval Italy Brendan Cassidy Chapter Two .............................................................................................. 19 Civic Identity, Sanctity and Gender in Trecento Florence Catherine Lawless Chapter Three ............................................................................................ 45 The Cathedral, the Church and the City: Celebrating Saints in the Statutes of Southern Tuscan Cities Sandra Cardarelli Chapter Four.............................................................................................. 71 Death and Disruption: Social Identity and Representation in the Medieval English Funeral Sarah Schell Chapter Five .............................................................................................. 97 Memorare Novissima Tua . The Iconography of the Last Four Things as a Representation of Religious Identity Jacek Kowzan viii Table of Contents SECTION II: AFFIRMING IDENTITY AND IDENTITY CRISIS : EXPLORING ARTISTIC , POLITICAL , NATIONAL AND PERSONAL IDENTITIES Chapter Six .............................................................................................. 127 Being Florentine: A Question of Identity in the Arte della Lana , Florence Jill Harrison Chapter Seven.......................................................................................... 149 Maintaining Identity: The Fifteenth-Century Renovation of St Lebuinus in Deventer Kees van der Ploeg Chapter Eight........................................................................................... 167 The Political and Cultural Influence of James V’s Court on the Decoration of the King’s Fountain in Linlithgow Palace Giovanna Guidicini SECTION III: ASSUMED , MISTAKEN AND ESTABLISHED IDENTITIES : INVESTIGATING ICONOGRAPHY , STYLE , PATRONAGE AND AUTHORSHIP Chapter Nine............................................................................................ 193 The Dedication Illustration of the Passional of Abbess Cunegund – and Questions of Identity Jennifer Vl ček Schurr Chapter Ten ............................................................................................. 219 Negotiating Carmelite Identity: The Scuola dei Santi Alberto e Eliseo at Santa Maria dei Carmini in Venice Joseph Hammond Chapter Eleven ........................................................................................ 243 Finding Fialetti: Examining the Oeuvre of Odoardo Fialetti through the Sources Relating to His English Patronage Laura Walters Further Reading....................................................................................... 269 Contributors............................................................................................. 271 Index........................................................................................................ 277 LIST OF ILLUSTRATIONS Fig. 1-1. Giovanni di Balduccio and assistants, Tomb of Azzo Visconti , marble, c.1340-44, Milan, S. Gottardo in Corte (Photo: Author). Fig. 1-2. Arnolfo di Cambio, Madonna and Child with Saints Reparata and Zenobius , marble, c. 1300, Florence, Museo dell’Opera del Duomo (Photo: Author). Fig. 1-3. Emperor Constantine’s Donation to St Sylvester , fresco, c.1245, Rome, Quattro Santi Coronati (Photo: Author). Fig. 1-4. Gano di Fazio, attributed, Two Scenes from the Tomb of Beato Gioacchino Piccolomini , marble, 1308-11, 45 x c.112 cm. Siena, Pinacoteca (Photo: Author). Fig. 1-5. Bonino da Campione, Tomb of Cansignorio della Scala (detail), marble, c. 1375, Verona, S. Maria Antica (Photo: Author). Fig. 1-6. Marco Romano, attributed, Madonna and Child with Saints Himerius and Homobonus , marble, c. 1310 , Cremona, Cathedral facade (Photo: Author). Fig. 2-1. Bernardo Daddi, Virgin and Child with angels and Sts Zenobius, Pancras, John the Evangelist, John the Baptist, Minias and Reparata , c. 1330- 48, tempera on panel. Florence, Uffizi, 8345. Reproduced courtesy of the Ministero per i Beni e le Attività Culturali, Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze. Any further reproduction by any means is strictly forbidden. Fig. 2-2. Bernardo Daddi, The Arrival of St Ursula at Cologne , c. 1333, wing of triptych, tempera and gold leaf on panel, 60.5 x 62.9 cm. The J. Paul Getty Museum, Los Angeles, A.70, PB-53. Reproduced courtesy of The J. Paul Getty Museum. Fig. 2-3. Master of St Ursula, St Ursula rescuing Pisa from the flood , c. 1380- 1400, tempera on panel, 3. 58 x 1. 88 m. Pisa, Museo Civico. Seat Archive/Alinari Archives, Florence. Photo Tatge, George for Alinari. Fig. 2-4. Orcagna, St Anne protecting the city of Florence , c. 1343-1363, detached fresco. Florence, Palazzo Vecchio. Reproduced courtesy of the Musei Civici Fiorentini. Any further reproduction by any means is strictly forbidden. x List of Illustrations Fig. 2-5. Jacopo di Cione, Niccolò di Pietro Gerini and Simone di Lapo di Nuccio, Coronation of the Virgin Surrounded by the Protector Saints of Florence , 1372-3, tempera on panel. Florence, Accademia, 456. Reproduced courtesy of the Ministero per i Beni e le Attività Culturali, Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze. Any further reproduction by any means is strictly forbidden. Fig. 3-1. Matteo di Giovanni, Vergine Assunta , also known as Madonna delle Grazie , c. 1470-75. Tempera and gold on panel, 98 x 60 cm. Grosseto, cathedral of S. Lorenzo. © Photo Lensini, Siena. Reproduced with the permission of the Diocese of Grosseto, Ufficio Beni Culturali Ecclesiastici. Fig. 3-2. Antonio Ghini, Altar of the Madonna delle Grazie , marble, 1474, Grosseto, cathedral of S. Lorenzo. Courtesy of the Diocese of Grosseto. (Photo: O. Bruschettini). Fig 3-3. Hypothetical reconstruction of the route of the Madonna delle Grazie during the processions in her honour. After L. Viviani, Prospettiva della piazza di Grosseto, 1733. Acquisti Diversi, 142.II, c. 95. Courtesy of the Biblioteca Moreniana, Florence (Photo: D. Pineider). Fig. 3-4. Cristoforo di Bindoccio and Meo di Pero, detail of the fresco cycle with the story of the life of the Virgin, 1393, church of S. Maria Assunta, Campagnatico. Courtesy of the Diocese of Grosseto (Photo: Author). Fig. 3-5. Cristoro di Bindoccio and Meo di Pero, detail of fresco decoration with the arms of the commune of Campagnatico and the Opera of the church. Courtesy of the Diocese of Grosseto (Photo: Author). Fig. 4-1. Funeral scene, c. 1260-c. 1270. London, © The British Library Board, Egerton 1151 , fol. 118, detail. Fig. 4-2. The Three Marys at the Tomb, Resurrection of Christ; Deathbed and funeral scene , 1361?-1373. London, ©The British Library Board, Egerton 3277, fol. 142, detail. Fig. 4-3. Funeral Scene , c. 1360. Liverpool, University Library, F. 3.14, fol. 180, detail. By courtesy of the University of Liverpool Library. Fig. 5-1. Woodcuts from Cordiale (here wrongly attributed by L. Malke, 1976, to Dionysius Carthusianus). Courtesy of Deutscher Verein für Kunstwissenschaft. Fig. 5-2. Anton Wierix in Stephanus Luzvic, Cor Deo Devotum , Antverpiae 1628. Glasgow University Library, Department of Special Collections (Sp Coll S.M. Add. 422). Art and Identity xi Fig. 5-3. Boëtius à Bolswert in H. Hugo, Pia desideria , Antverpiae 1636. Glasgow University Library, Department of Special Collections (Sp. Coll. S.M. 623). Fig. 5-4. John Payne in F. Quarles, Emblemes , London 1635. Glasgow University Library, Department of Special Collections, (Sp. Coll. S.M. 882). Fig. 5-5. The Four Last Things , Polish anonymous painter after Hieronymus Wierix, Bazylika Trójcy Przenaj świ ętszej, Krosno, Poland, mid 17 th century, photographed by M. Bronarski. Reproduced by courtesy of Zamek Królewski w Warszawie. Fig. 6-1. The trecento Audience Chamber
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