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/3957 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. FEMALE PATRONAGE AND THE RISE OF FEMALE SPIRITUALITY IN ITALIAN ART OF THE THIRTEENTH AND FOURTEENTH CENTURIES. Volume I. Two volumes: Volume I- Text. Volume II - Illustrations. Cordelia Frances Joan Warr. A thesis submitted for the degree of Docýior. of Philosophy in the Department of History of Art, University of Warwick. February 1994. i LIST OF CONTENTS. Volume 1. ACKNOWLEDGMENTS. iv II ABSTRACT. vi III ABBREVIATIONS. vii IV LIST OF ILLUSTRATIONS. viii-xxiv INTRODUCTIONi, 1 Notes to Introduction. 11 WOMEN IN ITALIAN ART OF THE THIRTEENTH AND FOURTEENTH CENTURIES: Questions of Patronage and its Representational Effects. 12 Notes to Chapter 1. 49 2 THE RELIGIOUS DRESS OF WOMEN IN THE LATER MIDDLE AGES: Questions of Identification-,, 60 The Uses of the Veil. 68 Saint Frances of Rome and the Habit of the Olivetan Oblates. 73 . The Habit of the Poor Clares during the Thirteenth and Fourteenth Centuries. 80 The Habit of the Second Order of Saint Dominic. 87' Habit in Relation to Rule and Order. 91 The Religious Dress of Lay Penitents. 98 The Representation of Religious Dress: The Effect of the Artist on the Depiction of Clothing. 108 Notes to Chapter 2. 120 ii 3 PATRONAGE WITHIN THE FEMALE VALLOMBROSAN ORDER: Florence and Siena in the Fourteenth Century. 135 The fresco in Santa Marta, Siena. 139 The Saint Humility Polyptych. 142 Notes to Chapter 3. 194 4 PATRONAGE FOR AND BY THE POOR CLARES: The Protomonastery of Santa Chiara and the Convent of Santa Maria della Cella in Trieste. 212 The Protomonastery of Santa Chiara, Assisi. 213 The Benedetta Crucifix. 222 The Saint Clare Dossal. 224 The Saint Clare Triptych in Trieste. 246 Notes to Chapter 4. 269 5 ROYAL PATRONAGE IN NAPLES AT THE BEGINNING OF THE FOURTEENTH CENTURY: Queen Maria of Hungary and Sancia of Majorca. 284 Queen Maria of Hungary and the Church of Santa Maria Donna Regina. 285 Queen Sancia of Majorca and the Church of Santa Chiara. 326 Notes to Chapter 5. 335 6 PAINTING IN LATE FOURTEENTH CENTURY PADUA: The Patronage of Fina Buzzacarina. 354 Notes to Chapter 6. 389 CONCLUSION. 397 iii APPENDIX 1: Extracts from Religious Rules Regarding Dress. 400 Extracts from the Rule of the Olivetan Oblates. 400 Extracts from the Rule of Saint Benedict. 403 Extracts from the Foz-ma di Vita of Ugolino for the Poor Clares. 404 Extracts from the Rule of San Sisto for the Second Order of Saint Dominic. 406 Extract from Humbert of Romans' Rule for the Sisters of Montargis. 408 Extract from Humbert of Romans' Rule of 1259 for the Second Order of Saint Dominic. 409 Extract from Fra Caro's Rule for the Penitents. 410 Extracts from the Dominican Rule for the Penitents. 412 APPENDIX 2: The Humility Polyptych and its Various Reconstructions. 414 BIBLIOGRAPHY. 416-442 Volume 2. ILLUSTRATIONS. iv ACKNOWLEDGMENTS. This thesis would not have been possible without the help and support of a number of people and institutions. My first thanks go to my supervisor, Professor Julian Gardner, who has been consistently encouraging and whose work has inspired this thesis. I would also like to thank the University of Warwick for a University Graduate Award and for generous help with travel expenses. My research in Italy was also made possible with a Grant in Aid of Research from the British School at Rome, and funding from the Gladys Krieble Delmas Foundation was particularly appreciated in completing my work in Padua. In Italy, amongst the many who made my research more enjoyable and productive, I would like to single out for particular mention: Maria Pia Malvezzi of the British School at Rome, Dottoressa Bravar of the Museo Civico di Storia e d'Arte in Trieste, the abbess of Santa Chiara in Assisi, the staff of the Archivio di Stato in Padua, the staff of the Soprintendenza in Naples for allowing me to photograph the church of Santa Maria Donna Regina and, of course, the staff of all the libraries I used - the Hertziana, the Vatican, the Ecole Frangaise and the German Historical Insititute in Rome, the Marciana in Venice. At home I would particularly like to thank Sergio Sokota of the Italian Department and Dr. Stanley Ireland of the Classics Department in the University of Warwick. My thanks V also go to the staff of the British Library and the Warburg Institute. A number of my friends and fellow students helped with photographs and references. My thanks to Jill Bain, Becky Baxter, Libby Burton, Janis Elliott, Joan Friedman and Gillian Mackie. Finally, I would like to thank Sharon Leftley and last, but not least, my parents. vi ABSTRACT: FEMALE PATRONAGE AND THE RISE OF FEMALE SPIRITUALITY IN ITALIAN ART OF THE THIRTEENTH AND FOURTEENTH CENTURIES. Cordelia Frances Joan Warr. This thesis deals with the two partially interlocking aspects of female patronage and female spirituality in Italian art during the thirteenth and fourteenth centuries. My aim has been to expand the knowledge of this subject not through a detailed examination of one female patron, her spirituality, and how it affected her commissions, but through a number of representative examples in order to show the breadth and diversity of women's influence over art, both active and passive. I have therefore surveyed previous assumptions on female patronage and the opportunities that existed for it, taking a number of smaller examples so as to lay a base for my later arguments. One of the main problems that emerged was a misunderstanding of the clothes depicted as being worn both by the subjects of the paintings and by the donors, and also the subjective use of clothes in order to put across a message. This aspect also bears on the variety of women's religious experience which underlies the whole of this investigation. It forms a base for my chapters on commissions by and for the Poor Clares and the female Vallombrosan order. Finally, I have looked at two examples of lay female patronage only one of which takes a woman as its subject, and examined the reasons for the choice of subject in relation to the spiritual influences of the commissioner and also the ways in which the direct influence of the patron can be assessed. My research has indicated that both lay women and nuns were not only capable of paying for ambitious projects but that they could also positively affect their iconography. Women's influence over art during this period, and the impact of their spirituality on it, both actively and passively, has only previously been investigated in a few instances. The aim of this thesis is to provide an overview of the female patronage and female spirituality ia'art and to show that women's influence over art was present in many spheres of society and was not an exception to the rule. vii ABBREVIATIONS. AASS Acta Sanctorum. Paris 1863-1870 Ord ed. ). AB Art Bulletin. AFH Archivum Franciscanum Historicum. AFP Analecta Fratrum Praedicatorum. AH Art History. AQ Art Quarterly. ASOFP Analecta Sacri Ordinis Fratrum Praedicatorum. BM Burlington Magazine. BOFP Bullarium Ordinis FF Praedicatorum. BS Bibliotheca Sanctorum. DB Dizionario Biografico degli Italiani. DIP Dizionario degli Istituti di Perfezione. FF Foati Francescane. ZfKq Zeitschrift fýr Kunstgeschichte. NB. It should also be noted that with very few exceptions the notes at the end of the chapters use an abbreviated form to refer to books and articles. These are identified by the name of the author and a date or distinguishing word (see Kaftal) where more than one item by that author has been used. The only exceptions are some where an author has been, cited only once in which case the full reference will be found in the relevant, chapter note. In all other cases the bibliography should be referred to for a full reference. viii LIST OF ILLUSTRATIONS. Altarpiece originally from the convent of Santa Maria di Monticelli, Florence. SS. Apostoli, Florence. 2 Master of Cittl di Castello: Triptych with the Virgin and Child and kneeling female donor on the central panel. On the left wing "The Crucifixion" and on the right wing "The Stigmatization of Saint Francis". Christ Church College, oxford. 3 Master of Cittýa' di Castello: Triptych with the Virgin and'Child and kneeling female donor - Detail of the donor. Christ Church College, Oxford. 4 Master of the Cesi Altarpiece: Virgin and female donor with surrounding saints. Museo Civico,. Cesi. 5 Giusto de' Menabuoi: Central panel from the polyptych for Isotta Terzago - Detail of donor and companion. Schiff Collection, Florence. 6 Puccio Capanna: Virgin and Child between angels with "The Annunciation" and Saints Agnes, Lucy, Mary Magdalen, Margaret, Elizabeth of Hungary, Clare of Assisi and Agatha. Pinacoteca Vaticana, Rome. ix 7 Tommaso da Modena: Ancona with scenes showing "The Virgin reading", "The Virgin feeding the Christ Child", and "The Virgin knitting socks". Pinacoteca Nazionale, Bologna. 8 Cecco di Pietro: Polyptych with a central "Crucifixion" surrounded by female saints. Museo San Matteo, Pisa. 9 Giuliano da Rimini: Dossal with a central Virgin and Child and female donors - Detail showing the donors. Isabella Stuart Gardner Museum, Boston. 10 Taddeo Gaddi: "The Tree of Life" - Detail showing the possible donor. Refectory, Santa Croce, Florence.