New PDF release: A Wider Trecento: Studies in 13th- and 14th-century European

By Robert Gibbs Louise Bourdua

Julian Gardners preeminent position in British reports of the artwork of the thirteenth and 14th centuries, rather the interplay of papal and theological concerns with its construction and on each side of the Alps, is well known in those reviews via his scholars. They talk about Roman works: a Colonna badge in S. Prassede and a remarkably uniform Trinity fresco fragment, in addition to monochrome dado portray as much as Giotto, Duccios representations of proskynesis, a Parisian reliquary in Assisi, Riminese portray for the Franciscans, the tomb of a theologian in Vercelli, Bartolomeo and Jacopino da Reggio, the Room of affection at Sabbionara, the cult of city V in Bologna after 1376, Altichiero and the cult of St James in Padua, the orb of the Wilton Diptych, and Julian Gardners occupation itself.The members to the amount are Serena Romano, Jill Bain, Claudia Bolgia, Louise Bourdua, Joanna Cannon, Roberto Cobianchi, Anne Dunlop, Jill Farquhar, Robert Gibbs, Virginia Glenn, Dillian Gordon, John Osborne and Martina Schilling.

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Kessler, Spiritual Seeing, 53–63, discusses sources that, using the artistic process of painting as metaphor, suggest the Old Testament was seen as a preliminary ‘sketch’, to be completed by the coloured ‘overpainting’ of the New Testament.  Prassede’ in Corpus Basilicarum Christianarum Romae, 5 vols, Vatican City, 1937–77, III, 232–59. , 236–7.  Prassede’, in Dissertazioni della Pontificia Accademia Romana di Archeologia, ser. II, 13 (1918), 117–28, at 127–8. For the fragments, Corpus della Scultura Altomedi­ evale.

C. Freigang, Imitare Ecclesias Nobiles. Die Kathedralen von Narbonne, Toulouse und Rodez, Worms, 1992, in: Apollo, 140, 63–4. S. Johns, Papal Art and Cultural Politics, Cambridge, 1993, in: Journal of Ecclesiastical History, 45, 55.  Jones, Federico Borromeo and the Ambrosiana, Cambridge, 1993, in: Journal of Ecclesiastical History, 45, 170–80. 1995 K. Krüger, Der frühe Bildkult des Franziskus in Italien: Gestalt-und Funk­ tionswandel des Tafelbildes in Italien, Berlin, 1992, in: Kunstchronik 48, 286– 7.

And Julian’s increasingly evident view of the Italian peninsula as a whole rather than as a frame for the traditionally favoured hegemony of Florence is strongly represented, even if Venice, to which much of his Warwick teaching has been devoted, is only touched upon in our opening study. Jill Bain focuses on the dado area of 12th to 14th-century churches, proposing Venetian models for Giotto’s famous use of grisaille for the Virtues and Vices in the Arena chapel, Padua. Their use of monochrome fulfils many purposes, not least as a marker of different levels of reality from the colourful murals above them.

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