Patronage (Medieval Studies)

The book focuses on the most important examples of eleventh-century sculpture from Dalmatia and Croatia. This study re-evaluates figural sculptures from Zadar and Biskupija in northern Dalmatia, Solin in central Dalmatia, and Koločep in southern Dalmatia by contextualising their visual presence in the churches, examining issues of patronage, and tracing intertextual relationships with visual sources and patristic texts.

More specifically, the book focuses on marble and limestone relief carvings from five sites in the present-day Croatian region of Dalmatia which are decorated with human figures. The carvings include five sets of chancel screens, a portal, a capital, a perforated panel, and a fragmentary crucifix. Each chapter discusses a specific site, and follows a consistent analytical programme, which includes contextualising the sculptures according to their immediate architectural setting, their visual and textual sources, and their likely patrons, thereby placing them both in a local historical context and in the wider spiritual and artistic contexts of their time.

Cited: Martha Easton, “Feminist Art History and Medieval Iconography,” in Colum Hourihane, ed., The Routledge Companion to Medieval Iconography (London and New York: Routledge, 2017), 875n37; “The French of England: Annotated Short Bibliography and Resources,” Fordham University, https://frenchofengland.ace.fordham.edu/?page_id=100#some-art-historical; “Crowned Woman (likely Eleanor of Woodstock) at Mass,” Feminae: Medieval Women and Gender Index, https://inpress.lib.uiowa.edu/feminae/DetailsPage.aspx?Feminae_ID=37792; Kathryn A. Smith, "Margin," in Medieval Art History Today: Critical Terms, ed. Nina Rowe, special issue of Studies in Iconography 33 (2012), 44n34; Nigel Morgan, "English Books of hours, c. 1240-c.1480," in Sandra Hindman and James H. Marrow, ed., Books of Hours Reconsidered (London and Turnhout: Harvey Miller, 2013), 90n26; Kathryn A. Smith, "'Specially English': Gothic Illumination, c. 1190-Early Fourteenth Century," in A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, 2nd, rev. ed. Conrad Rudolph (Hoboken: Wiley-Blackwell, 2019), 585, 591n68, 592n79, n81, 599.
Publicity: Sarah J. Biggs, “The Taymouth Hours,” The British Library Medieval Manuscripts Blog, April 13, 2012,
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Despite the considerable quantity of colleges built across Europe in the fifteenth century, no standard typology had been established when in the 1480s Alonso de Burgos, bishop of Palencia, decided to endow his great foundation in Valladolid, the College of San Gregorio (Fig. 7.1). Yet, as I will show, the layout of this purpose-built Dominican college differs significantly from other university buildings in late Gothic Castile. It was probably planned by the knowledgeable and experienced architect Juan Guas, who devised a new distribution of rooms based on a ‘double-L’ structure. Moreover, in order to meet the needs of the students and ensure the preservation of his own memory, Alonso de Burgos provided his foundation with the best artists in Castile, who lavished the college with a façade that truly celebrates inventio, and a magnificent decorative scheme that makes it one of the most important late Gothic buildings in Castile.

The account-books left by medieval merchants have mostly been studied to analyze their degree of technical development and the activity and volume of the companies that produced them. In order to identify the limit between commercial exchanges and non-commercial exchanges, we have first to understand how the transactions were filtered, decomposed and recomposed as inputs to fit into a system of written recording aimed at tracking flows of wares and capital as well as the shift of debts and credits with numerous partners. In the case of the Datini agency in Avignon around 1386, mostly specialized in armory and ironmongery, the bookkeeping in simple entry is distributed on about ten books. Among these, the memoriale contains most information about customers but partly conceals the transactions by recomposing them in personal accounts which usually sum up debits and credits resulting from several exchanges. This book also gathers about 300 customers, among whom craftsmen and men-at-arms predominate, without excluding a few traders living in town or abroad. All these individuals were not identified unambiguously by the staff of the shop. The tendency to present each person in a homogeneous and abstract form is thwarted by a reading of social links in terms of households and patronage. The memoriali of the agency do not completely exclude exchanges identifiable as gifts, but relegate them to the margins, as an explanation of some of the cash advances required from the company by its staff. Agency accounting can thus be seen as part of a device establishing a boundary between the professional and private spheres. The material layout of the agency distinguishes the shop from the living quarters and signals it to customers as a professional and masculine space. At the same time, account-books invite the staff to distinguish between their personal assets and those of the company by having them open personal accounts similar to those of the customers for their own expenses and earnings, dissociating thus the flows of cash they manage on one side for the company, whether in the shop or during missions, on the other side for their practices of consumption.

The Knightly Family of Pannwitz and its Probable Artistic Foundations in the Kłodzko (Glatz) Region in the Middle Ages
The Pannwitz family, one of the most important in the Kłodzko land, appeared here around 1300, arriving from Upper Lusatia through Silesia. Representatives of the Pannwitz family held official functions in the structure of territorial authority, as well in the Church as clergy of various ranks. Family and feudal relationships connected them with the Bohemia and Silesia. According to sources, the local Pannwitz representatives funded altars, masses, and liturgical equipment in Kłodzko, Bystrzyca, Duszniki, Żelazno, Waliszów. This family had the patronage over some churches, and the representatives of this family were parsons in Krosnowice, Stara Łomnica, Szalejów Górny. In these churches gothic sculptures have been preserved, the creation of which can be combined with the initiative of representatives of that family. From Krosnowice the sculpture of the Madonna on lions from 1360/1370 was bought into the Germanisches National-Museum Nürnberg. The form and iconography of this work belongs to an elite style. As the initiator of the foundation can be considered Dr. Nikolaus von Pannewitz († 1375), cantor and custodian of the Wrocław cathedral, with contacts with the Bohemian court and Johann of Neumarkt, or Matthias von Pannewitz († 1385), canon of the Wrocław cathedral and St. Johnʼs knight, parson in Krosnowice from 1366. In this church the Madonna figure survived from around 1480. At that time, the owner of Krosnowice and the patron of the church was Hans Pannwitz the Younger, associated with the Poděbrad family, and from 1477 the governor of Kłodzko and Ziębice. In turn with Johann von Pannwitz († 1446) one can combine two sculptures in two churches, where he was a parson. In Łomnica it is the Enthroned Madonna from around 1400, and in Szalejów Górny the Pietà group modeled on the famous sculpture at the Augustinians in Wrocław. The circumstances of the creation of the presented sculptures should be analyzed taking into account the context of patrons belonging to the Kłodzko- Silesian-Bohemian intellectual and knightly elite.

Se trata de una novedosa aproximación al mundo del artista medieval, cuya obra se debatía entre la autoría divina y la firma individual. Temas como la formación del artista, su estatus laico o eclesiástico, el recurso a los modelos o la importancia de la itinerancia en su aprendizaje son abordados con rigor en esta publicación. Asimismo, los distintos roles profesionales desempeñados en los talleres medievales nos permiten conocer mejor cómo se construía y decoraba una catedral en la Edad Media. En esta visión sociológica de la obra de arte no puede faltar el papel omnipotente de los patronos medievales, personajes normalmente relacionados con la realeza y el estamento eclesiástico, que en muchos casos son los verdaderos “autores” de estas empresas, en la que las mujeres tuvieron también un destacable protagonismo.
En el libro participan 20 autores procedentes  de diversas universidades e instituciones museísticas de toda Europa. La publicación es el resultado del proyecto de investigación “Artistas, patronos y público. Catalunya y el Mediterráneo. Siglos XI-XV” (MICINN HAR2011-23015.
Se trata de una novedosa aproximación al mundo del artista medieval, cuya obra se debatía entre la autoría divina y la firma individual. Temas como la formación del artista, su estatus laico o eclesiástico, el recurso a los modelos o la importancia de la itinerancia en su aprendizaje son abordados con rigor en esta publicación. Asimismo, los distintos roles profesionales desempeñados en los talleres medievales nos permiten conocer mejor cómo se construía y decoraba una catedral en la Edad Media. En esta visión sociológica de la obra de arte no puede faltar el papel omnipotente de los patronos medievales, personajes normalmente relacionados con la realeza y el estamento eclesiástico, que en muchos casos son los verdaderos “autores” de estas empresas, en la que las mujeres tuvieron también un destacable protagonismo.
En el libro participan 17 autores procedentes  de diversas universidades e instituciones museísticas de toda Europa. La publicación es el resultado de los proyectos de investigación “Artistas, patronos y público. Catalunya y el Mediterráneo. Siglos XI-XV”-Magistri Cataloniae (MICINN HAR2011-23015.) y "Movilidad y transferencia artística en el Mediterráneo Medieval (1187-1388). Artistas, objetos y modelos-Magistri Mediterranei (MICINN-HAR2015-63883-P)
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Este libro aborda el estudio de la Arquitectura y Decoración de dos sinagogas medievales: la de Córdoba y la del Tránsito (Toledo), los dos exponentes más destacados del legado artístico hispano-judío que conserva hoy el Patrimonio Nacional.
Esta obra está dividida en dos partes: la primera, dedicada a la Sinagoga de Córdoba, y la segunda, a la del Tránsito. De ambas se aborda el análisis de la decoración y epigrafía que corre por sus muros, utilizando un tipo de interpretación que ya se ha usado para el análisis de edificios islámicos.
Esta corriente de estudio considera que la epigrafía era elegida y compuesta específicamente para cada lugar, aportando un sentido simbólico al espacio y al resto de la decoración. En el caso de la Sinagoga de Córdoba, epigrafía y decoración componen un programa simbólico que busca transmitir un discurso basado en la promesa divina de redención del pueblo de Israel y en otros elementos que forman parte de este imaginario, como la esperanza en la llegada del Mesías y en la reconstrucción del Templo en Jerusalén. En cambio, el programa simbólico de la Sinagoga del Tránsito se centra principalmente en el libro del Génesis y, en concreto, en la separación del cielo y de la tierra, representados en la sinagoga mediante el artesonado decorado con estrellas y el friso con decoración vegetal que recorre toda la sala de oración. Este programa decorativo transmite al espectador la grandeza de Dios como creador.

This article comments on the documents concerning the production of the shrine of the Virgin Mary, commissioned for the cathedral of Tournai in 1352 but completed only a few decades later, with the participation of a large number of actors. The reading of these archival documents testifies first of all to the long duration over which the manufacturing process for such an expensive and complex artifact could take place. These texts, which also reveal the artistic geography in northern France during the 14th century, also raise questions about the organization of the commission and the difficulty of financing such an undertaking, implicating multiple donors, both ecclesiastical and lay. This case illustrates well how the production of the most ambitious works of the Middle Ages was often a long and collective process.

"This article explores the politics of owning, or taking ownership, of
Bible historiale manuscripts during the Hundred Years’ War. As theft and capture disrupted predictable patterns of patronage and exchange, new owners’ additions, erasures, and alterations can shed new light on ways in which the French Bible conditioned readers’ experience of the war on both sides. Such marginal acts of appropriation also force us to revise traditional notions of patronage to account for the sometimes violent refashioning of books to match the image and needs of unintended owners."

A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Blackwell Companions in Art History, 2nd ed. (Wiley-Blackwell, Oxford, 2019) (a collection of thirty-nine original essays from leading and upcoming scholars in the field, each historiographically analyzing one of a systematic and editorially determined range of subjects in the development of Romanesque and Gothic art history; eleven new essays were added to the revised original thirty essays of the first edition; this includes my introductory essay, "A Sense of Loss: An Overview of the Historiography of Romanesque and Gothic Art").

1. Introduction
A Sense of Loss: An Overview of the Historiography of Romanesque and Gothic Art
Conrad Rudolph

2. Artifex and Opifex – The Medieval Artist
Beate Fricke

3. Vision
Cynthia Hahn

4. Materials, Materia, "Materiality"
Aden Kumler

5. Reception of Images by Medieval Viewers
Madeline H. Caviness

6. Narrative, Narratology, and Meaning
Suzanne Lewis

7. Formalism
Linda Seidel

8. Gender and Medieval Art
Brigitte Kurmann-Schwarz

9. Gregory the Great and Image Theory in Northern Europe During the Twelfth and Thirteenth Centuries
Herbert L. Kessler

10. Iconography
Shirin Fozi

11. Art and Exegesis
Christopher G. Hughes

12. Whodunit? Patronage, the Canon, and the Problematics of Agency in Romanesque and Gothic Art
Jill Caskey

13. Collecting (and Display)
Pierre Alain Mariaux

14. The Concept of Spolia
Dale Kinney

15. The Monstrous
Thomas E. A. Dale

16. Making Sense of Marginalized Images in Manuscripts and Religious Architecture
Laura Kendrick

17. Definitions and Explanations of the Romanesque Style in Architecture from the 1960s to the Present Day
Eric Fernie

18. Romanesque Sculpture in Northern Europe
Colum Hourihane

19. Modern Origins of Romanesque Sculpture
Robert A. Maxwell

20. The Historiography of Romanesque Manuscript Illumination
Adam Cohen

21. The Study of Gothic Architecture
Stephen Murray

22. France, Germany, and the Historiography of Gothic Sculpture
Jacqueline Jung

23. Gothic Manuscript Illustration: The Case of France
Anne D. Hedeman

24. “Specially English”: Gothic Illumination c.1190 to the Early Fourteenth Century
Kathryn A. Smith

25. From Institutional to Private and from Latin to the Vernacular: German Manuscript Illumination in the Thirteenth Century
Michael Curschmann

26. Glazing Medieval Buildings
Elizabeth Pastan

27. Toward a Historiography of the Sumptuous Arts
Brigitte Buettner

28. Reliquaries
Cynthia Hahn

29. East Meets West: The Art and Architecture of the Crusader States
Jaroslav Folda

30. Gothic in the Latin East
Michalis Olympios

31. Art and Liturgy in the Middle Ages
Eric Palazzo

32. Architectural Layout: Design, Structure, and Construction in Northern Europe
Marie-Thérèse Zenner

33. Sculptural Programs
Bruno Boerner

34. The Art and Architecture of Female Monasticism
Jeffrey F. Hamburger

35. Cistercian Architecture
Peter Fergusson

36. Art and Pilgrimage: Mapping the Way
Paula Gerson

37. "The Scattered Limbs of the Giant": Recollecting Medieval Architectural Revivals
Tina Waldeier Bizzarro

38. Medieval Art Collections
Janet Marquardt

39. The Modern Medieval Museum
Michelle P. Brown

The role of Bishop Salmon in the communal and spiritual development of Norwich Cathedral in the early fourteenth century promoted a new phase in its architecture and design, which brought Norwich into line with the latest developments and fashions. This paper considers the impact of contemporary events on his patronage and the ways they might have influenced relationships beyond the monastery and thus governed his policies.  It also considers the extent to which his priorities served to bring the Cathedral into the artistic mainstream, in terms of relationships within the East Anglian region, and how that plays a part in the development of a national ‘court’ style.

Despite his reputation as one of the most successful English monarchs of the middle ages, Edward I has never been seen as a generous king. This article looks afresh at the accepted view of Edward I as a miserly king and, by examining his relationship with his earls, seeks to demonstrate that Edward had a sophisticated and judicious approach to patronage which was based upon rewarding good service.

It is very likely that the earliest masters of Catalan panel and mural painting worked under the wing of the great ecclesiastical centres, such as the monastery of Ripoll or the Cathedrals of Vic and Urgell, whose institutions being repositories of the necessary technical knowledge, oversaw their work and training.

Resumen: La política religiosa de los primeros reyes Trastámara en Castilla trató de revitalizar la orden franciscana. Sin embargo, durante la regencia de Catalina de Lancaster y el infante Fernando se produjo un cambio devocional en la Corte en favor de la Orden de los Predicadores, que se mantuvo una vez alcanzada la mayoría de edad de Juan II. No obstante, durante estos años los franciscanos no cayeron en el olvido. Pese a su relegación por parte de la monarquía, fueron los miembros de importantes linajes castellanos los que se encargaron de fundar, proteger y mantener varios eremitorios y conventos vinculados a esta orden en sus dominios territoriales.

Abstract: The religious policy of the early Trastamaran kings in Castile sought to revive the Franciscan Order. However, during the regency of Catherine of Lancaster and Prince Fernando there took place a devotional change in the Court in favour of the Order of Preachers, which continued after Juan II had come of age. Nevertheless, during these years the Franciscans were not forgotten. Despite their fall from favour with the monarchy, it was members of leadiing Castilian families who were responsible for founding, protecting and maintaining several hermitages and monasteries linked to this order within their own territorial domains. Durante el reinado de Juan II nos encontramos con un juego de fuerzas entre la monarquía y la nobleza, cuya balanza estuvo en constante cambio, inclinándose por una u otra opción según el momento. Ambos poderes emplearon las diferentes órdenes religiosas como un elemento de identidad y memoria en los espacios de su dominio para hacer más efectivo su poder y control territorial, actuando como un instrumento al servicio de la dimensión señorial. Sus titulares se hicieron con el patronato de los cenobios instalados en sus territorios y, en muchos casos fundaron otros, actuando en sus dominios señoriales como el monarca en sus reinos. Sin embargo, mientras que durante los primeros reinados Trastámara la monarquía protagonizó varias intervenciones de interés respecto a la orden franciscana, 1 Investigador predoctoral FPU en el Departamento de Historia Antigua y Medieval de la Universi-dad de Valladolid. 2 Este trabajo se enmarca en el Proyecto de Investigación «Poderes, espacios y escrituras en los

Count Pere II d’Urgell (ca. 1339/1343-1408) is one of the most outstanding artistic promoters of the gothic centuries. He, along with his wife, Margarida de Monferrato (1364-1420), set in motion an artistic policy that was developed in different fields, the maximum exponent of which is the renovation of the residence that the counts had in Balaguer, the so-called Castell Formós. Throughout his life Pere and Margarida showed a special interest in jewels and luxury objects, which on some occasions were given as a present to churches and religious centers as an example of piety and magnificence. It could be the case of the pastiglia casket from Santa Maria de Bellpuig de les Avellanes (Museu de Lleida: diocesà i comarcal), which contained an important relic, the Santa Sandàlia (Holy Slipper) of the Virgin, which in this study we present as a possible donation of the counts to this monastery. The same goes for an enamelled ciborium, of great quality and with the mark of Barcelona, preserved in the Hermitage Museum (Saint Petersburg, Russia), which has at the base the double heraldry of Count Pere. We do not know its origin, but it is feasible that this luxurious object was a present of the count to one of the churches located within its domains.

Se analizan las relaciones mantenidas entre los poderes laicos y los monasterios y conventos de las ciudades de Castilla. Se muestra su contribución a la fundación y traslado de cenobios, desempeñando estos últimos una importante función socioeconómica en el seno de las ciudades, a través de las profesiones, como lugar de reunión, depósito y refugio y otras cuestiones relacionadas con el gobierno urbano. Tales vínculos hicieron que los frailes estuvieran inmersos en los problemas ciudadanos, interviniendo en diferentes asuntos como los conflictos banderizos o la cuestión judía

poco interesada en la promoción artística. En este artículo se pretende matizar esta idea mediante el análisis de algunas de las joyas y objetos suntuarios que poseyó, perdidos en todos los casos, pero de los que se ha conservado memoria gracias a la documentación escrita. Palabras clave: María de Castilla, promoción artística, orfebrería medieval, Corona de Aragón, arte áulico.

Nonostante la cattedrale di Grosseto abbia subìto profondi cambiamenti nel corso dei secoli, ha conservato in situ alcune delle sue opere quattrocentesche. Questo saggio prende in esame la committenza della Madonna delle Grazie di Matteo di Giovanni (c. 1475), l’altare ed il fonte battesimale di Antonio Ghini (1470-1474) e le vetrate attribuite al disegno di Benvenuto di Giovanni (seconda metà del quattrocento). In particolare viene evidenziato il ruolo dell’Opera e dell’Operaio del Duomo dalla loro concezione al loro mantenimento nel corso dei secoli.

Nuovi documenti archivistici mostrano come le opere in questione siano giunte fino a noi, e come abbiano nei secoli subìto interventi di restauro intesi a garantirne la conservazione e la fruizione per i fedeli delle future generazioni, continuando a mantenere pressocché intatto il loro uso sia devozionale che decorativo.

L’interazione tra committenza e devozione civica, religiosa e laica ed il loro ruolo nella conservazione di queste opere vengono qui esplorate anche alla luce dei ritrovati statuti dell’antica confraterntita della Vergine nella cattedrale grossetana, datati 1484.

A pesar de la larga tradición historiográfica de estudios sobre la catedral de Santiago en su período medieval, a día de hoy no resulta tarea fácil reescribir un relato coherente y fehaciente de sus diversos avatares. Si sus orígenes altomedievales subyacen semienterrados bajo el subsuelo de la catedral, el desarrollo de su imponente fábrica románica –a pesar de su aparente unidad– está marcado por una serie de acciones, interrupciones, cambios de plan y remodelaciones, en los que sus protagonistas rara vez nos han dejado una fecha, nombre o acción que haya sido interpretada por la posteridad en un sentido unívoco. Si a ello se le suma la tendencia a fabular del scriptorium compostelano y la agresiva intervención que el templo sufrió en época barroca y neoclásica, que no dudó en desmontar fachadas, forrar capillas y torres, y desmontar altares, el resultado es la de un enorme edificio recompuesto. En consecuencia, quizás más que en otras catedrales y monumentos de la Edad Media europea, la basílica de Santiago es un gigantesco palimpsesto, a veces cercano al patchwork, en el que el aspecto medieval aparece y desaparece entre cosidos, zurcidos, forros y disfraces.

Resumen: La fundación de conventos y monasterios y las políticas desarrolladas en torno a estos espacios de espiritualidad constituyen una interesante herramienta de conocimiento del oficio regio femenino en su concepción y praxis. Analizamos en esta clave las actuaciones de Catalina de Lancaster, con interesantes diferencias entre sus etapas como reina consorte y regente. Ello permite mostrar su concepto como " mujer política " arraigada en la noción de un principio político femenino, así como los frentes de acción que desarrolló en este ámbito y que no fueron únicamente simbólicos o propagandísticos.
Abstract: A knowledge of the foundation of convents and monasteries and the policies surrounding these spaces of spirituality proves an interesting stepping-stone towards a better knowledge of both the concept and practice of queenship. The work of Catherine of Lancaster is analyzed in this light, and the differences between her periods as queen consort and queen regent are revealed. An insight is provided into the queen as a 'female politician', rooted in the notion of a 'female policy', and into her action fronts in this area, which were more than merely symbolic or propagandistic.

La pittura a pistoia tra Gotico e tardoGotico e La committenza artistica vescoviLe Nel panorama artistico pistoiese del tardo Medioevo, un aspetto particolarmente rilevante e non ancora abbastanza indagato è costituito dalla committenza artistica vescovile, che si intende affrontare attraverso alcuni casi esemplari occorsi attorno all'anno 1300, e tra la fine del Tre e gli inizi del Quattrocento. Attorno all'anno 1300. Tommaso Andrei, la "congiuntura senese" e l'arrivo di Giovanni Pisano Tommaso Andrei, 1 nato poco dopo la metà del Duecento da una delle più importanti famiglie dell'aristocrazia ghibellina di Casole d'Elsa, fu chiamato a guidare la diocesi di Pistoia tra il 1286 e il 1303 in un periodo politicamente assai turbolento. 2 Malgrado ciò, egli dette avvio a una cospicua attività di riqualificazione delle chiese urbane, in occasione della quale giunsero in città maestranze artistiche provenienti dal contesto senese. Strettamente legato alla famosa stirpe casolana degli Albertini, in particolare ai fratelli Ranieri e Bernardino (detto Porrina), entrambi abilissimi giurisperiti nella Curia pontificia, 3 è proprio col coetaneo Ranieri che Tommaso dovette instaurare uno speciale rapporto sin dai tempi della loro comune formazione. 4 La carriera ecclesiastica portò Tommaso nel 1286 all'episcopato pistoiese, mentre Ranieri, per volontà di Bonifacio VIII, fu creato vescovo di Cremona, dal 1296 sino alla morte nel 1312. L'Andrei si prodigò sin da subito a beneficio del territorio pistoiese: agli umiliati, giunti in città nel 1288, egli concesse di fondare il convento di Santa Maria Maddalena, ultimato nel 1290; 5 nello stesso 1288 avviò il rinnovamento della chiesa di San Marco (completata attorno al 1298), 6 mentre l'anno successivo presiedette alla cerimonia per la nuova sede dei francescani. 7 Sotto il suo episcopato, nel 1291, fu avviata la costruzione del cenobio dei carmelitani, 8 mentre nel 1293 venne ampliato il progetto della chiesa agostiniana di San Lorenzo. 9 Tommaso dovette inoltre promuovere l'erezione nel 1296 di un oratorio dedicato a san Tommaso e alla Vergine, di cui altro non rimane se non la lastra commemorativa, ritrovata nel Victoria and Albert Museum di Londra (fig. 1). 10 Nominato da Bonifacio VIII tra 1298 e 1300 collettore apostolico delle decime per la Toscana, Tommaso fu presente in vari importanti scenari: poco dopo la consacrazione del cimitero dei Servi di Maria a Pistoia nel 1298, egli partecipò a quella del cimitero di San Francesco a Siena, come testimonia il bassorilievo che lo ritrae assieme al cardinale francescano Matteo d'Acquasparta e ai vescovi di Arezzo e Massa Marittima (fig. 2), 11 e presenziò, l'anno successivo, a una cerimonia di benedizione della nuova cinta muraria di Firenze. 12 È in tale fervido contesto che Tommaso nel 1298 pose il suo suggello alla riqualificazione della pieve di Sant'Andrea a Pistoia attraverso la consacrazione del nuovo altare maggiore, mostrando così il suo diretto interessamento nei confronti del cantiere coronato di lì a poco dal pulpito di Giovanni Pisano (1298-1301). In questa prospettiva è altrettanto significativo l'entourage di cui l'Andrei si era sin da subito circondato, come il notaio personale Jacopo Barducci da Casole, 13 suo conterraneo, così come casolano era il frate domenicano Ruggero, lector nel convento pistoiese già dal 1287, poi canonico in cattedrale attorno al 1300, nonché futuro vescovo di Siena (1307-1317). 14 Entro questa

L'any 1452 s'inaugurava la capella de l'hort de la Llotja dels mercaders de Barce lona amb gran solemnitat. Per tal que fos una ocasió lluïda, es va llogar el mestre de cant de la catedral i els seus deixebles, i també fra Gregori -conventual del monestir de Sant Agustí-, que va fer sonar els orgues. A més a més, es varen tirar bombardes o trons amb pólvora, i les persones notables que hi van assistir foren obsequiades amb ramellets. 1 Malgrat l'alegria amb què es va celebrar l'estrena, poques generacions de mer caders van poder gaudir de la capella. Els documents ens diuen que fou ender rocada tan sols un segle més tard per tal de donar cabuda a una galeria, 2 i no en coneixem representacions gràfiques ni descripcions. Ara per ara, només ens queda la documentació, que ens permet identificar alguns dels artífexs que hi van treba llar, els materials constructius emprats i els recursos decoratius que l'ennoblien. 3

L’artista senese Matteo di Giovanni di Bartolo (attivo tra il 1452 ed il 1495) ha prodotto un vasto numero di opere per vari committenti sia laici che religiosi. Solo due opere di Matteo sopravvivono in Maremma: la Madonna delle Grazie nella cattedrale di Grosseto e la Madonna in trono col Bambino e Santi nella chiesa di San Niccolò a Montepescali.
Questo saggio esplora il ruolo e l’influenza della committenza civica nell’arte religiosa in Maremma attraverso due opere significative di Matteo.

"Bishops became one of the main groups of patrons in the Castilian late medieval artistic scene. The aim of this paper is to show an overall view of the foremost issues concerning the artistic patronage of three important prelates of Toledo: Gil de Albornoz, Pedro Tenorio and Sancho de Rojas. With that objective, we present an up to date outlook of the knowledge of each archbishop’s commissions
where we have tried to highlight their most outstanding contributions, as
well as those issues that deserve a specific study."

The Fécamp Psalter is a Norman illuminated manuscript produced around the year 1180. It contains a portrait of its patron kneeling in prayer and turned towards the Beatus page. This person is to be identified with a high-ranking woman of the Angevin state. Her appearance and her position in the manuscript, together with certain related contemporary visual examples, permit us to hypothesize about her identity. The study of this artistic commission also helps us to understand better the processes of patronage that operated between individuals and monastic houses in twelfth-century Europe, and enriches our understanding of the concepts of female self-awareness and biblical pre-figuration in medieval art.

This book offers an analysis of the Syro-Egyptian Mamluk Sultanate's political culture, focusing on the period between 1341 and 1382 CE, when twelve descendants of the regime's most successful sultan al-Nāṣir Muḥammad b. Qalāwūn reigned and the military were more deeply involved in the political process than ever.
The book consists of three chapters, each of which discusses one major component of this period's political culture: political institutions, political relationships engendering households and networks, and the dynamics of the period's many socio-political conflicts.
This book marks an important breakthrough in Mamluk studies, offering both insights into the history of a long-neglected period and new models of analysis that call for wider application in the field of Mamluk socio-political history.

'The main strength of Van Steenbergen's book lies in the combination of a traditional approach to the sources, command of the literature, the application of prosopography and inslghts derived from political SOciology and, in this respect, is similar to Frenkel's use of prosopography and sociology. The book succeeds in living up to its title: it makes sense of the chaos, explains the order that emerged out of it and sheds light on MamlUk socio-political culture.'
Yaacov Lev, Jerusalem Studies in Arabic and Islam, 34(2008), 560-562

'A masterful and very valuable evaluation ... offers, for the first time in many years, a refreshing sociological perspective on Mamluk ''decline'... a 'must-read''
Bethany J. Walker, Bulletin d'Études Orientales, LVIII (2008-2009) 412-415

Avital Heyman
"Fulcher's Bestiary at the Door of the Holy Sepulchre"
Abstract
The southern façade of the Holy Sepulchre was adorned until 1929 with two carved lintels, distinct in their iconographies (exhibited ever since in the Rockefeller Museum). Whereas the western Christological lintel represents the narrative of the last days of Jesus in Jerusalem (albeit in breach with the narrative sequence), the eastern peopled-scroll lintel is a non-narrative representation of a variety of beasts, birds, and naked male figures, some of whom are obscenely pointing to their genitalia. The puzzling iconography of this bestial world includes the conspicuous images of a bird-siren and a centaur. Rather overlooked by past scholarship, it would seem implausible that the most important holy site in Christendom and a meta-pilgrimage church would have been decorated with meaningless imagery. This paper contextualizes the eastern lintel within crusader concepts of history and mythology, biblical symbolism, liturgy and patronage. The eastern door gave way to the funerary chapel of the crusader kings, located beneath the Calvary Chapel. An examination of the funerary context reveals that sirens played part in such schemes, endowing the lintel with an apotropaic vitality. A remarkable chapter in the chronicle of Fulcher of Chartres, illustrating the curiosities of the Lands of the Saracens, is suggested as a major conceptual notion for the understanding of the non-narrative lintel, which actually stands within the Bestiary tradition. The lintel thus becomes a liminal site, where all polyvalent layers meet, meant to show the opposition of good and evil forces. This opposition is established by installing a historiated Christological lintel to the west, embodying a liturgical vision of the New Jerusalem recently established by the Franks and, to the east, an image of the conquered beasts of the Saracens, doomed to hell, signaling Latin victory, on the one hand, and promising an apotropaic protection for the departed, on the other. The patronage of Queen Melisende, in collaboration with the crusader Church, is then analyzed.
Key Words
Holy Sepulchre, Crusader Jerusalem, Center of the world, Pilgrimage culture, Romanesque sculpture, Santiago de Compostela, St.-Sernin of Toulouse, Peopled-scroll lintel, Christological lintel, Beasts, Bestiary, Siren, Centaur, Odyssey, Children of Israel, Crusaders, Fulcher of Chartres, Lands of the Saracens, Funerary context, Calvary Chapel, Chapel of Adam, Good and evil forces, Apotropaic imagery, Liminal imagery, Palm Sunday Procession, Liturgy, Franks, Queen Melisende. 
Resumen
La fachada sur del Santo Sepulcro estuvo decorada hasta 1929 con dos dinteles con relieves, los cuales, muy distintos en su iconografía, se exhiben desde entonces en el Rockefeller Museum. Mientras que el arquitrabe occidental -de temática cristológica-, representa la narración de los últimos días de Jesús en Jerusalén  -aunque con una alteración de la secuencia narrativa-, el arquitrabe Este, un scroll habitado de figuras, se adorna una representación no narrativa, caracterizada con una serie de bestias, pájaros y figuras humanas desnudas, algunas de las cuales están señalando obscenamente a sus genitales. La desconcertante iconografía de este mundo salvaje incluye las reconocibles imágenes de un pájaro-sirena y un centauro. Si bien hasta ahora la historiografía ha pasado por alto la significación de dicha imaginería, no puede ser pausible que el lugar sagrado más importante de la Cristiandad y una gran iglesia de peregrinación hubiesen sido decorados sin intención. Este artículo pretende contextualizar el dintel Este dentro de los conceptos cruzados de historia y mitología, simbolismo bíblico, liturgia y patronazgo. Cabe recordar que el ingreso Este da acceso a la capilla funeraria de los reyes cruzados, ubicada bajo la Capilla del Calvario. Un examen de este contexto funerario revela que las sirenas forman parte de tal esquema, al dotar dicho arquitrabe de una función apotropaica. Un remarcable capítulo de la crónica escrita por Fulcher de Chartres, en la que ilustra las curiosidades de las Tierras de los Sarracenos, se presenta como el mejor referente conceptual para la comprensión del dintel sin narración, el cual se inscribe plenamente en la tradición del Bestiario. De esta manera, dicho arquitrabe se convierte en un lugar liminar, donde convergen distintas capas polivalentes que están destinadas a mostrar la oposición de las fuerzas del Bien y del Mal.  Dicho antagonismo se conforma al instalar un dintel historiado, de temática cristológica, hacia el Oeste, que encarna la visión litúrgica de la Nueva Jerusalén recientemente establecida por los Francos, mientras que al Este se presenta una imagen de las sometidas bestias de los Sarracenos,  condenadas al Infierno, que señalan, por un parte, la victoria latina, y, por otra, son la promesa de una protección apotropaica para los difuntos. El patronazgo de la reina Melisenda, conjuntamente con el de la Iglesia Cruzada, son también objeto de análisis del presente trabajo.
Palabras-clave

Santo Sepulcro, Jerusalén Cruzada, centro del mundo, cultura de la peregrinación, escultura románica, Santiago de Compostela, Saint-Sernin de Toulouse, dintel con scroll habitado de figures, dintel cristológico, bestias, Bestiario, Sirena, Centauro, Odisea, Pueblo de Israel, Cruzados, Fulcher de Chartres, Tierras de los Sarracenos, contexto funerario, Capilla del Calvario, Capilla de Adán, fuerzas del Bien y del Mal, imaginaría apotropaica, imaginaría laminar, procesión del Domingo de Ramos, Liturgia, Francos, reina Melisenda.

The development of armorial display is linked to the desire of individuals to commemorate themselves and their families. The shield is interpreted as a sign of achieved authority which eventually becomes a means of asserting ascribed authority through its display within a sacred area. The placing of armorials in churches is associated with a desire to gain proximity to the holiest parts of the church. A correlation is suggested between secular protocol in the display of armorials, and the desire to be recognised before God in one's correct feudal position at the Second Coming. The display of armorials in books of private devotion is reassessed in the light of the exact placing of armorials in relation to the most important parts of the text. It is suggested that the commemoration of marriage is often a misinterpretation of the significance of such displays. It is further suggested that far from designating an 'absence' through the sign of a shield, it is clear that, in the Middle Ages and the Early Renaissance, the very opposite was the case: the 'presence' of individuals and their ancestors was evoked by their careful positioning in a sacred space, whether it was inside a book or in a church or chapel.

This article, the third of in a series of articles on patronage, asks whether the Jews were a "Mediterranean" society in the period covered by the Cairo Geniza.

I answer yes and no. Seth Schwartz argued in his recent book that by Mediterranean, what is normally meant is a society of institutionalized reciprocity, one pervaded by honor, shame, patronage, clientele and personal ties. Schwartz contrasts reciprocity with solidarity—group belonging with a sense of equality and shared ideological stakes. He points out, moreover, that solidarity actually needs reciprocity as a foil—one reason we in the modern world think of reciprocity-type relationships as corrupt.

For Schwartz, then, there is nothing inherently modern about solidarity; the Hebrew Bible is an extended polemic against the reciprocity of the ancient world. I take this argument one step further and say that there is nothing inherently medieval about reciprocity, and that, in fact, the two types of societies often coexist, in variable proportions and with varying degrees of tension. I illustrate this by tracking those variable proportions among Jews and Muslims at various points in the middle ages.

UDK 739.1(497.5Krk)"14" Izvorni znanstveni članak U radu se predstavlja dobro poznata, no dosad nedovoljno pažljivo analizirana srebrna pala krčke katedrale. Riječ je o srebrnoj i pozlaćenoj pali koju je 1477. godine izradio majstor Paulus Koler za glavni oltar katedrale, na kojemu se pala nalazila do početka 19. stoljeća. Pala je donacija, štoviše oporučna donacija kneza Ivana VII. (?, 1434.-Zákány, 1486.), ali realizirana je još za kneževa života te predstavlja jednu od rijetkih dokumentiranih donacija liturgijske opreme nekog od članova obitelji Frankapan sačuvanih do danas. Pala je izvedena u dva registra s nizom prikaza svetaca te je bila zaštićena oslikanom palom feriale, zasigurno po uzoru na one znatno poznatije u duždevoj kapeli i venecijanskoj katedrali. Posebna je pažnja posvećena dosad neobjavljenoj analizi ikonografskog programa koji je sagledan prvenstveno u kontekstu složenih obiteljskih odnosa, a pri čijem je sastavljanju vrlo vjerojatno ključnu ulogu odigrao tadašnji krčki biskup, franjevac Nikola III. (1457.-1484.).