Distributed for Hirmer Publishers
The Roman Crucible
The Artistic Patronage of the Papacy 1198 - 1304
In addition to tracing the history of commissions approved by the church’s governing body, the Curia, Gardner’s research scrutinizes the complex relationships between artists and popes, cardinals, and other members of the church, with detailed accounts of individual’s stylistic and iconographic peculiarities. Gardner demonstrates how, through these interactions, Rome and the neighboring papal summer residences of Anagni, Orvieto, and Viterbo emerged as some of the most innovative artistic centers in Europe and melting pots for various artistic styles and techniques.
Reviews
Table of Contents
Acknowledgements
1. The Preconditions of Patronage
2. The Curia in the Thirteenth Century
Popes as Patrons
Innocent III
Honorius III
Innocent IV
Nicholas III
Nicholas IV
Boniface VIII
Some Thirteenth-Century Cardinals as Patrons
Raniero Capocci
John of Toledo
Ottobuono Fieschi
Matteo d’Acquasparta OFM
Giacomo Caetani Stefaneschi
3. The Earthly Frame: Architecture in Rome
4. Novus Ordo: The New Architectural Style in Rome and Central Italy
5. French Patrons and Italian Art in the Thirteenth Century
6. The Revival of Monumental Sculpture in Rome
7. Submerged Evidence: Texts and Wreckage
8. Roman Readers
9. English Embroiderers
10. Mosaic and Painting in Rome 1198-1276: Innocent III to Gregory X
11. Pope Nicholas III and the Birth of Modern Painting in Rome
12. The Final Flowering: Roman Painting before Avignon
13. Other Romes: The Hill-Stations
14. Romans and Greeks: The Relations of the Papacy and Byzantium During the Thirteenth Century
15. Onera Romanorum
16. Home Thoughts from Abroad
17. Conclusion
Postscript
Appendix
1. The Papacy and Cardinalate 1198-1304
2. Late Twelfth- and Thirteenth-Century Cardinals’ Seals
Bibliography and Abbreviations
Index
1. Names
2. Places
3. Objects