The Dominican friars of late-medieval Italy were vowed to a life of religious poverty, yet their churches contained many visual riches. Featuring works by supreme practitioners such as Cimabue, Duccio, Giotto and Simone Martini, this book sets the art of the Dominican churches in a wider context.

The issue of wealth and poverty and its relationship to Christian faith is as ancient as the New Testament and reaches even further back to the Hebrew Scriptures. From the beginnings of the Christian movement, the issue of how to deal with riches and care for the poor formed an important aspect of Christian discipleship. This careful study shows how early Christians adopted, appropriated, and transformed the Jewish and Greco-Roman moral teachings and practices of giving and patronage. As Helen Rhee illuminates the early Christian understanding of wealth and poverty, she shows how it impacted the formation of Christian identity. She also demonstrates the ongoing relevance of early Christian thought and practice for the contemporary church.

Fresh examinations of one of the most important church furnishings of the middle ages. The churches of medieval Europe contained richly carved and painted screens, placed between the altar and the congregation; they survive in particularly high numbers in England, despite being partly dismantled during the Reformation. While these screens divided "lay" from "priestly" jurisdiction, it has also been argued that they served to unify architectural space. This volume brings together the latest scholarship on the subject, exploring in detail numerous aspects of the construction and painting of screens, it aims in particular to unite perspectives from science and art history. Examples are drawn from a wide geographical range, from Scandinavia to Italy. Spike Bucklow is Director of Research at the Hamilton Kerr Institute, University of Cambridge; Richard Marks is Emeritus Professor of the History of Art at the University of York and currently a member of the History of Art Department, University of Cambridge; Lucy Wrapson is Assistant to the Director at the Hamilton Kerr Institute, University of Cambridge. Contributors: Paul Binski, Spike Bucklow, Donal Cooper, David Griffith, Hugh Harrison, JacquelineJung, Justin Kroesen, Julian Luxford, Richard Marks, Ebbe Nyborg, Eddie Sinclair, Jeffrey West, Lucy Wrapson.

This study is the first to examine the relationship between art and violence in 15th-century Florence, exposing the underbelly of a period more often celebrated for enlightened and progressive ideas. Renaissance Florentines were constantly subjected to the sight of violence, whether in carefully staged rituals of execution or images of the suffering inflicted on Christ. There was nothing new in this culture of pain, unlike the aesthetic of violence that developed towards the end of the 15th century. It emerged in the work of artists such as Piero di Cosimo, Bertoldo di Giovanni, Antonio del Pollaiuolo, and the young Michelangelo. Inspired by the art of antiquity, they painted, engraved, and sculpted images of deadly battles, ultimately normalizing representations of brutal violence. Drawing on work in social and literary history, as well as art history, Scott Nethersole sheds light on the relationship between these Renaissance images, violence, and ideas of artistic invention and authorship.

The rebirth of realistic representation in Italy around 1300 led to the materialization of a pictorial language, which dominated Western art until 1900, and it dominates global visual culture even today. Paralleling the development of mimesis, self-reflexive pictorial tendencies emerged as well. Images-within-images, visual commentaries of representations by representations, were essential to this trend. They facilitated the development of a critical pictorial attitude towards representation. This book offers the first comprehensive study of Italian meta-painting in the age of Giotto and sheds new light on the early modern and modern history of the phenomenon. By combining visual hermeneutics and iconography, it traces reflexivity in Italian mural and panel painting at the dawn of the Renaissance, and presents novel interpretations of several key works of Giotto di Bondone and the Lorenzetti brothers. The potential influence of the contemporary religious and social context on the program design is also examined situating the visual innovations within a broader historical horizon. The analysis of pictorial illusionism and reality effect together with the liturgical, narrative and typological role of images-within-images makes this work a pioneering contribution to visual studies and premodern Italian culture.

Bible Missals are manuscripts that integrate liturgical prayers for the Mass with the scriptural texts of the Latin Vulgate. Long overlooked by scholars, Bible Missals offer important evidence for the development of the medieval liturgy and the liturgical use of scripture by medieval Christians. This monograph is the first comprehensive analysis of the codicology and contents of Bible Missals. Mostly produced in the first half of the 13th century by professional book makers in centers like Paris and Oxford, these hybrid manuscripts were customized for secular, monastic, and mendicant patrons. This monograph focuses on Dominican Bible Missals, the largest group within the repertoire, providing detailed codicological descriptions of each manuscript and analyzing their texts for the Order of Mass and selected liturgical formularies, including prayers for the feast of St. Dominic. For medieval Christians, the words and events of scripture were continually called to mind and reenacted in the sacramental rites of the Mass. Bible Missals provide important material evidence for this interplay between word and sacrament.

The myriad ways in which colour and light have been adapted and applied in the art, architecture, and material culture of past societies is the focus of this interdisciplinary volume. Light and colour’s iconographic, economic, and socio-cultural implications are considered by established and emerging scholars including art historians, archaeologists, and conservators, who address the variety of human experience of these sensory phenomena. In today’s world it is the norm for humans to be surrounded by strong, artificial colours, and even to see colour as perhaps an inessential or surface property of the objects around us. Similarly, electric lighting has provided the power and ability to illuminate and manipulate environments in increasingly unprecedented ways. In the context of such a saturated experience, it becomes difficult to identify what is universal, and what is culturally specific about the human experience of light and colour. Failing to do so, however, hinders the capacity to approach how they were experienced by people of centuries past. By means of case studies spanning a broad historical and geographical context and covering such diverse themes as architecture, cave art, the invention of metallurgy, and medieval manuscript illumination, the contributors to this volume provide an up-to-date discussion of these themes from a uniquely interdisciplinary perspective. The papers range in scope from the meaning of colour in European prehistoric art to the technical art of the glazed tiles of the Shah mosque in Isfahan. Their aim is to explore a multifarious range of evidence and to evaluate and illuminate what is a truly enigmatic topic in the history of art and visual culture.

This study explores how Dante represents violence in the Comedy and reveals the connection between contemporary private and public violence and civic and canon law violations. Although a number of articles have addressed particular aspects of violence in discrete parts of Dante’s oeuvre, a systematic treatment of violence in the Commedia is lacking. This ambitious overview of violence in Dante’s literary works and his world examines cases of violence in the domestic, communal, and cosmic spheres while taking into account medieval legal approaches to rights and human freedom that resonate with the economy of justice developed in the Commedia. Exploring medieval concerns with violence both in the home and in just war theory, as well as the Christian theology of the Incarnation and Redemption, Brenda Deen Schildgen examines violence in connection to the natural rights theory expounded by canon lawyers beginning in the twelfth century. Partially due to the increased attention to its Greco-Roman cultural legacy, the twelfth-century Renaissance produced a number of startling intellectual developments, including the emergence of codified canon law and a renewed interest in civil law based on Justinian’s sixth-century Corpus juris civilis. Schildgen argues that, in addition to “divine justice,” Dante explores how the human system of justice, as exemplified in both canon and civil law and based on natural law and legal concepts of human freedom, was consistently violated in the society of his era. At the same time, the redemptive violence of the Crucifixion, understood by Dante as the free act of God in choosing the Incarnation and death on the cross, provides the model for self-sacrifice for the communal good. This study, primarily focused on Dante’s representation of his contemporary reality, demonstrates that the punishments and rewards in Dante’s heaven and hell, while ostensibly a staging of his vision of eternal justice, may in fact be a direct appeal to his readers to recognize the crimes that pervade their own world. Dante and Violence will have a wide readership, including students and scholars of Dante, medieval culture, violence, and peace studies.

Joanna Cannon's scholarship and teaching have helped shape the historical study of thirteenth- and fourteenth-century Italian art; this essay collection by her former students is a tribute to her work.

In Suspect Saints and Holy Heretics Janine Larmon Peterson investigates regional saints whose holiness was contested. She scrutinizes the papacy's toleration of unofficial saints' cults and its response when their devotees challenged church authority about a cult's merits or the saint's orthodoxy. As she demonstrates, communities that venerated saints increasingly clashed with popes and inquisitors determined to erode any local claims of religious authority. Local and unsanctioned saints were spiritual and social fixtures in the towns of northern and central Italy in the thirteenth and fourteenth centuries. In some cases, popes allowed these saints' cults; in others, church officials condemned the saint and/or their followers as heretics. Using a wide range of secular and clerical sources—including vitae, inquisitorial and canonization records, chronicles, and civic statutes—Peterson explores who these unofficial saints were, how the phenomenon of disputed sanctity arose, and why communities would be willing to risk punishment by continuing to venerate a local holy man or woman. She argues that the Church increasingly restricted sanctification in the later Middle Ages, which precipitated new debates over who had the authority to recognize sainthood and what evidence should be used to identify holiness and heterodoxy. The case studies she presents detail how the political climate of the Italian peninsula allowed Italian communities to use saints' cults as a tool to negotiate religious and political autonomy in opposition to growing papal bureaucratization. Open Access edition funded by the National Endowment for the Humanities