Medieval Artists

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,
https://blogs.bl.uk/digitisedmanuscripts/2012/04/the-taymouth-hours.html?_ga=2.119940683.2120474733.1614875499-558522456.161487549

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)
http://editorialcirculorojo.com/entre-la-letra-y-el-pincel-el-artista-medieval-leyenda-identidad-y-estatus/

The most recent studies of the sketches drawn at the end of 12th century in the margins of a copy of John Chrysostom’s commentary on Genesis (Oxford, Magdalen College, ms. Gr. 3) has raised the controversial question of whether Byzantine model books might have been circulating both sides of the Mediterranean at this date. In my opinion, the Oxford manuscript is proof of the existence of patterns circulating through the workshops and the artist’s desire to practice drawing before painting. Some of these drawings present many similarities with the style and iconography of painters working in Holy Land, Sinai and Catalonia at that date or a little bit after. It allows us to reconsider as well the role played by Catalonia –a land open to the Mediterranean- in the making of the Mediterranean Art around 1200.

Catalan Panel Painting of the late 12th century is characterised by a marked Byzantine imprint. Although a number of scholars have argued that this Byzantine influence was indirect, and suggested that the intermediaries were Anglo-Norman miniatures (especially in the case of the altar frontal from Santa Maria d'Avià), others have preferred the notion of direct contact between the Eastern and Western Mediterranean as a result of the fall of Jerusalem in 1187 and the capture of Constantinople by a Crusader army in 1204. The purpose of this paper is to highlight the similarities between Catalan Panel Painting (notably the altar frontals from Avià, Baltarga and Oreilla) and Cypriot and Komnenian art -  in terms of their technique, colour and iconographic models. In this respect, the drawings made in Cyprus between 1183 and 1192 in Oxford, Magdalen College, MS. Gr. 3, are both proof of the existence of potentially portable workshop models, and the desire of artists to practice drawing before painting.

Cet ouvrage rassemble quinze articles explorant les deux aspects, distincts mais imbriqués, de la fabrication et de la réception des œuvres d’orfèvrerie à l’époque gothique. Embrassant la période qui va du début du XIIIe au début du XVIe siècle, ces études s’appuient tant sur les œuvres elles-mêmes, qu’elles soient célèbres ou peu connues, que sur les sources écrites afin d’éclairer, sur un espace qui s’étend de l’Angleterre à Chypre et de la Catalogne à Prague, les attentes des commanditaires, le goût des élites, les usages de l’orfèvrerie sacrée ou profane, leur rôle respectif dans la mise en scène du pouvoir, la circulation des produits de luxe, les conditions de travail des orfèvres, l’organisation des ateliers… Par la variété des auteurs (chercheurs jeunes ou confirmés, appartenant tant au monde des musées qu’à celui de l’Université), de leurs questionnements et de leurs choix de méthode, ce recueil s’inscrit dans un renouveau des études sur les arts précieux qu’il espère ainsi conforter.

Cuando el Maestro Mateo se hizo cargo de las obras de la catedral en el último tercio del siglo XII, éste era perfectamente consciente del cúmulo de significaciones que el monumento románico había adquirido desde sus orígenes. Su intervención en el cuerpo occidental del templo, entre 1168 y 1211, buscó  aumentar y amplificar  parte de esos  contenidos y metáforas, sabedor que el templo, tanto por su estética románica como por su escenificación litúrgica,  se había quedado entonces ciertamente obsoleto

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.

in The Social Life of Illumination: Manuscripts, Images, and Communities in the Late Middle Ages, ed. by Joyce Coleman, Mark Cruse and Kathryn A. Smith, Medieval Texts and Cultures of Northern Europe 21 (Turnhout: Brepols, 2013), 121-76. 

NB: the publisher of my first book, 'Art, Identity and Devotion in Fourteenth-Century England', is given incorrectly in the bibliography for this essay, and was changed without my authorization in the final stages of publication. The originating publisher of my book was The British Library (London).

La collection « Arts » accueille des ouvrages, études et essais sur les différentes formes d'art de l'époque moderne et contemporaine. Le fait ou l'objet artistique (oeuvre d'art et architecture, performance, cinéma, théâtre et arts du spectacle) et la création, la pratique et la production artistique sont au centre des préoccupations de cette collection mais ils peuvent être analysés sous des angles différents : soit restitués dans leur contexte historique, culturel, esthétique ou théorique ; soit présentés dans une perspective interdisciplinaire de dialogue entre les différentes formes artistiques et de réflexion plus globale sur la représentation et son rapport à la réalité, au corps, sur le lien entre le texte et l'image.

En els darrers anys una sèrie d’estudis han intentat esbrinar, amb major o menor dificultat, com era el procés d’aprenentatge de l’artista romànic, quins eren els seus mètodes de treball i, finalment, quin era el seu estatus social. Amb aquest objectiu es va desenvolupar un projecte a la Universitat Autònoma de Barcelona, en col·laboració amb el Museu Nacional d’Art de Catalunya i el Museu Episcopal de Vic, titulat -Artistas, patronos y público. Cataluña y el Mediterráneo (siglos XI-XV)-MAGISTRI CATALONIAE (MICINN HAR2011-23015)-, que es va dur a terme entre els anys 2012 i 2015.
    El XXIII Seminari de Romànic, dut a terme el 5 de juliol de 2014, va ser una activitat, en la qual els membres del projecte Magistri Cataloniae varen explicar algunes novetats. La present publicació recull aquells treballs així com el d’Iris Bautista Morenilla i Anna Nualart Torroja, de la Facultat de Belles Arts de la Universitat de Barcelona, ja que ens ha semblat pertinent que la recerca que aquestes dues investigadores havien realitzat sobre el pas del frontal d’altar als retaules primitius durant el segle XIII tingués una representació en aquest número monogràfic. El resultat és una revista en la qual participen persones d’una formació molt variada –historiadors de l’art, conservadors de museu i conservadors-restauradors- que busquen donar resposta a qüestions innovadores com l’estatus de las arts i els artistes a l’època romànica i els coneixements tècnics i materials dels seus protagonistes.

La collection « Arts » accueille des ouvrages, études et essais sur les différentes formes d'art de l'époque moderne et contemporaine. Le fait ou l'objet artistique (oeuvre d'art et architecture, performance, cinéma, théâtre et arts du spectacle) et la création, la pratique et la production artistique sont au centre des préoccupations de cette collection mais ils peuvent être analysés sous des angles différents : soit restitués dans leur contexte historique, culturel, esthétique ou théorique ; soit présentés dans une perspective interdisciplinaire de dialogue entre les différentes formes artistiques et de réflexion plus globale sur la représentation et son rapport à la réalité, au corps, sur le lien entre le texte et l'image.

Il volume raccoglie gli studi che amici, colleghi e allievi hanno voluto dedicare a Marina Righetti in occasione dei suoi settant'anni. Allieva di Angiola Maria Romanini, con cui si è formata dopo essersi laureata con Cesare Brandi, si è distinta per l'intensa attività scientifica e d'insegnamento, condotta principalmente alla Sapienza di Roma. I suoi studi si sono imposti nel panorama italiano e internazionale per la chiarezza e il rigore con cui ha perlustrato alcune tematiche, in particolare il mondo cistercense-che ha ispirato il titolo di questo libro-, Roma, l'alto Medioevo e l'età longobarda. Altre linee di ricerca hanno riguardato l'architettura in Sabina e Abruzzo, la scultura nel Meridione, il mondo monastico nel Nord Italia. Tale ampiezza di interessi si riflette nella ricca articolazione del volume in suo onore, i cui saggi, distribuiti in sei sezioni, spaziano per cronologia e àmbito geografico dal Mediterraneo tardo-antico all'Europa contemporanea.

This volume invites us to cross disciplinary boundaries and to venture into a field that is still too little explored for the 14th century, one of the greatest centuries of European art.
The contributions gathered here shed light on the relationship between art, economy and society with the help of a few case studies, by adopting
different approaches: from the microanalysis of the production of a single artist to the discussion on the organization of the whole chain of
value, from manufacturing to trade and exchange networks of artistic
goods. From Giotto to the Parisian goldsmith Jean le Braelier, from Avignon to Naples via Mallorca, by approaching paintings, funeral monuments, frescoes, precious wood panelling and even a royal faldistoire, the authors question the impact of economic factors on the
artistic creation.
These articles thus open the debate by showing the interest of investigations who dare to cross the boundaries between art history, social history, and economic history, in order to better understand the conditions of elaboration and reception of the works.

1. Conservación, estudio y musealización de la pintura románica en Cataluña. 2 Pintar hace mil años: recursos técnicos y programas iconográficos de los artistas del Románico catalán. 3. La fascinación por la pintura románica catalana: la visión de la modernidad. 4. Santiago y los portales “parlantes” del Románico.

Ampie zone del medioevo, in particolare nella scultura e nell'architettura italiana del Xii e Xiii secolo, presentano una cospicua documentazione di elogi e autoelogi epigrafici di artisti, che con-traddicono clamorosamente l'idea diffusa della negazione medievale dell'io (rivisitata da Jan Bialo-stocki) 1 : sum pelegrinus ego qui talia sic bene sculpo… è firmato, per esempio, un frammento di ciborio del 1187 del museo castelvecchio di Verona 2. ricerche più recenti sulle possibilità degli artisti medievali di autorappresentarsi hanno raccolto, specialmente per l'italia, un ricco materiale, sopratutto epigrafico 3. già adesso risulta che la prassi epigrafica degli artisti conosce differenze regio-nali. se a Pisa, modena e roma le iscrizioni di artisti sono la regola durante il medioevo centrale, a Firenze, genova e Venezia sono piuttosto rare. in generale, si può dire che per l'italia non il nome dell'artista, bensì il suo anonimato sembra, sempre più, rappresentare l'eccezione. così, il tema dell'autorappresentazione dell'artista medievale viene messo in discussione anche nel suo contrario, l'anonimato 4. L'anonimato dell'artista medievale non è soltanto un'idea moderna o un problema legato agli ac-cidenti della tradizione; è una realtà, attestata dai contemporanei. Per esempio, contrariamente alla prassi della firma, ampiamente diffusa nella produzione libraria, alcuni colofoni di scribi presentano la formula «meum nomen non pono, quia me laudare nolo» 5. nel medioevo, come in tutte le epoche, bisogna fare i conti da una parte con il desiderio di do-cumentare ai posteri (ed anche all'Aldilà) la propria prestazione, dall'altra con i limiti normativi e i tabù che si oppongono all'espressione di questa aspirazione alla fama. Questi ultimi possono fare appello alla Bibbia e ai Padri della chiesa: soprattutto alle parole di san Paolo: «mihi absit gloriari nisi in cruce domini nostri Jesu christi» e di sant'Agostino: «nolle in se laudari» 6. Alcune firme medievali tentano una sorta di bilanciamento, cercando di compensare il pericolo della superbia e del desiderio di gloria con un gesto d'umiltà. La firma di rainaldo sulla facciata del duomo di Pisa ne è un esempio 7 ; vi troviamo l'elogio dell'artista: hoc opus eximium tam mirum tam pretiosum/ rainaldus prudens operator et ipse magister/ constituit mire sollerter et ingeniose e, al di sotto di quest'iscrizione, un versetto del salmo 21: de ore leonis libera me domine et a cornibus unicornium humilitatem meam, come gesto d'umiltà e di compensazione dell'orgoglio. il concetto di 'individualità' e il concetto di 'anonimato' sono parimenti costruzioni a posteriori, e non si escludono a vicenda: infatti, sono entrambi documentabili attingendo al patrimonio dei monumenti e delle fonti. un po' di statistica: firme e notizie di artisti di età romanica si incontrano in spagna e in Francia, anche se non così spesso come in italia, molto più numerose di quanto si presuma comunemente. Finora mi sono note, nel Xii e Xiii secolo, circa cento firme in Francia e una cinquantina in spa-gna 8. La maggior parte è di scalpellini, scultori e architetti. in inghilterra sono tramandate poche firme, ma le fonti documentarie abbondano di notizie sugli artisti 9. Per niente inusuali, anche se non proprio frequenti, sono le firme in germania: mi sono imbattuto fino all'anno 1300 in circa quaranta firme su edifici sacri. L'arte libraria offre centinaia di firme di miniatori e migliaia di controllare citazione-vedi nota 6

Medieval art was mostly commissioned work, tied to particular places and functions. The status of the medieval artist revealed a broad spectrum of possibilities. The same could be said of the patron. It was possible for both groups to be members of an educated elite. In the High Middle Ages this was true above all of the clergy, and among artists it was especially true of goldsmiths and book illuminators. One social sphere that promoted the deployment of rhetorical knowledge in works of art was the court, which proved to be a magnet for the intelligentsia of the day. This was also true of outstanding monasteries and churches as well as the social circle created by schools and the highly educated clergy, including orators and diplomats. In the masons' lodges of the large cities architects were beginning to acquire greater importance because of their mastery of a complex language of form and their communicative abilities. Skills of this sort were particularly important in the Italian 'comune', because artists there were in competition with each other, a rivalry that expressed itself in the new forms of representation, such as the labyrinth as artist's praise of the architect and the increasing numbers of artistic inscriptions that were beginning to appear in Italy.

Durante el último período de la Edad Media, se produjo un notable incremento en la producción de objetos de arte. Este aumento cuantitativo fue posible por las dos formas de producción artística materializadas en el período: la obra por encargo realizada por artistas de reconocido prestigio y la producción "estandarizada".  Ambas coordenadas nos sitúan ante algunos aspectos a considerar en la puesta en valor de la obra de arte bajomedieval  como el concepto de autoría y el de originalidad/ copia.

**English abstract follows** Dans le cadre de cette étude, deux catalogues ont été établis : le premier dresse une liste critique et mise à jour des éditions attribuées à Antoine Vérard ; le second répertorie toutes les gravures figurant dans ces dernières, ainsi que leurs occurrences. Cette double recension a permis de mettre en évidence le travail de treize dessinateurs, dont le Maître de Robert Gaguin et, peut-être, le Maître de la Chroniques scandaleuse. Vérard, qui était vraisemblablement déjà libraire avant de se lancer dans l'édition, se serait surtout inspiré de l'œuvre des imprimeurs-libraires parisiens, lyonnais et strasbourgeois plutôt que des manuscrits. La façon dont il fit usage des gravures évolue au cours du temps. Cette évolution est probablement l'expression d'une mutation des attentes des lecteurs, toujours plus nombreux et possédant des bibliothèques de plus en plus fournies aux xve et xvie siècle. Le génie de notre libraire fut de s'adresser concurremment à toutes les catégories sociales de lecteurs, quelle que soit leur richesse (en particulier grâce à la personnalisation des exemplaires). Il contribua donc largement à la diffusion de l'art parisien du livre illustré.
**** E N G LI S H  ****  A B S T R A C T ****
English title: "The work of the Parisian bookseller Antoine Vérard (1485-1512): production, use and circulation of the images in the early illustrated books."

For the purpose of my study, two catalogues were put together. The first one is a critical list of the editions attributed to Vérard (updating those of John Macfarlane and Mary Beth Winn). The second one is a list of all the cuts used in those editions with their occurrences. My analysis shows that these cuts were based on drawings of at least 13 artists. The Master of Robert Gaguin and, perhaps, the Master of the Chroniques scandaleuse were among them. Vérard probably sold books some time before he started publishing. The study shows that his use of woodcuts was inspired by bookseller-publishers from Paris, Lyons and Strasburg instead of following the manuscripts. The way Vérard used the cuts changed during his career. It could indicate an evolution in the way people read illustrations. Indeed, during the xvth and xvith centuries, the number of book owners was continuously increasing, and so was the amount of books possessed by each of them. Vérard was probably one of the very few publishers able to produce books for every kind of reader (merchants, nobility, clergy, scholars, women), regardless of their wealth (thanks to the customisation of the copies). That is why we can say that he contributed greatly to the growing popularity of the Parisian art of illustrated books.

The article proposes the analysis of the origin of the trans-Pyrenean models used in the construction of the first
phases of the Cathedral of Santiago de Compostela (chevet and transept). The focus of this study is based on two main
points: on the one hand, an endeavour is made to distinguish between the “real presence” of French sculptors from the
churches which served as references and the “imitation” of the sculpture of these same churches by sculptors external
to the work; on the other hand, to suggest the reasons – linked to the willingness to adhere to Rome and the ideas of the
Gregorian reform – which induced the clergy of Compostela to choose those models instead of other possible models.

ROMÁNICO revista de arte de amigos del románico (AdR) septiembre 2015, número 20 Me fecit: Comitentes, artistas y receptores del Románico 106 Las inscripciones con «me fecit»: ¿Artistas o comitentes? Emilie Mineo 2 ROMÁNICO 20 SUMARIO los artistas 114 Artista, artesano, maestro Carles Mancho 122 Artificem petre: organización del taller y rol del artista en el arte románico Carles Sánchez Márquez 132 Gilabertus, escultor románico tolosano Quitterie Cazes 140 Algunos movimientos de escultores románicos entre Aragón y el Béarn a comienzos del siglo XII Jacques Lacoste 150 Anselmo da Campione y los inicios de la actividad de los maestros campioneses en el duomo de Módena Saverio Lomartire 160 El escultor Arnau Cadell, constructor de claustros Immaculada Lorés i Otzet los receptores 170 Formas de fruición de las imágenes Michele Bacci 178 Erudición y recursos visuales en la evolución de las portadas románicas hispanas Javier M. Martínez de Aguirre Aldaz 186 La voz de las imágenes románicas: iconografía profana y recepción Nathalie Le Luel 194 Las cabras de Moissac. De una imagen a otra Vincent Debiais 202 Aproximación a la catalogación fotográfica de arte románico en España (siglo XIX y principios del XX) Carmen Perrotta

A ls ich vor etwa 30 Jahren über mittelalterliche Signaturen nachzudenken begann, fühlte ich mich wie ein Entdecker. 1 Damals waren die Signaturen schon durchaus zugänglich, sichtbar, vielfach erwähnt oder in Inschriften-Corpora aufgenommen. Dennoch waren sie, besonders bei Renaissanceforschern, wie ausgeblendet. Zu den Grund festen der historischen Erkenntnis schien die Anony mität des mittelalterlichen Künstlers zu gehören, auf der anderen Seite war die Ausbildung des Individuums in der Renaissance mit der selbstbewussten Namensnennung der Künstler verknüpft. Die Signatur war in diesem Modell so etwas wie das Lacansche Spiegelstadium in der Entwicklung des kindlichen Bewusstseins. Tatsächlich galt das Mittelalter allgemein als kindlicher, präbewusster Zustand der Menschheit. 2 In den populäreren Medien, so auch im Internet, hält sich diese Konstruktion mit erstaunlicher Beharrlichkeit. Sie passt einfach zu schön in ein Fortschrittsmodell, welches zur europäischen Mo-derne gehört und auch in der Postmoderne gegen alle Krisen weiterhin eine gewisse Sicherheit und ein Gefühl der Überlegenheit gegenüber früheren und anderen Kulturen zu geben vermag -eine Ideologie also, die von allen politischen Lagern einhellig geteilt wurde.

ILUMINATING THE ALTAR: ARTISTS AND WORKSHOPS IN CATALAN PANEL PAINTING (1119-1150)

By Manuel Castiñeiras

In the Romanesque period it is clear that painting did not enjoy the same high status that was accorded to other luxury techniques, such as metalwork (goldsmith’s work) or embroidery. Nevertheless, at the beginning of the 12th century, in his On divers arts the monk Theophilus dignified the manual work involved in painting, stained-glass, metalwork, and mosaic because through this work the artist can participate in the mind of the Artifex Mundi (Divine Artist).  However, as Theophilus said, the craft must be executed for the honour of God, and not for human glory.  This claim to humility and anonymity conformed to the ideals of the Benedictine rule and to the clerical profile of the Romanesque painter.
Furthermore, the technique used by the early panel painters in Catalonia had more than obvious links with the practice of miniature painting, as described in the treatises of Eraclius or of the ‘monk’ Theophilus. Within this framework, it is possible to propose a curriculum vitae for the Romanesque painter, who might have gone through a progressive apprenticeship, starting with the practice of illumination, later of panel painting and ending with the production of mural paintings. This doesn’t mean our Romanesque painters were polyvalent artists; rather it suggests a long-term training before artists were entrusted with monumental paintings and were able to manage many different recipes.  It is very likely that the earliest masters of Catalan panel and mural painting worked under the aegis of the great ecclesiastical centres, such as the monastery of Ripoll or the Cathedrals of Vic or Urgell, which, being the repository of the necessary technical knowledge, oversaw their work and training

"Iconographica" is a peer-reviewed journal devoted to the study of images in their historical, cultural and religious contexts. It promotes new and interdisciplinary approaches to images going beyond the traditional framework of iconographic studies and aims at shaping new methodologies in this field. It welcomes essays investigating the role played by images in mediating material and symbolic forms of cultural communication, in conveying a human group's shared perception of power, behavioral codes, philosophical and religious notions. A special emphasis is given to images as material objects and visual indicators of the supernatural dimension, in their direct interaction with space, rituals, social and economic practices and cultural manifestations. Though focused on the European and Mediterranean cultures from Late Antiquity onwards, it welcomes methodologically relevant articles on the use, perception and agency of images in all human cultures. The journal is included in
the Thomson Reuters Emerging Sources Index (ESCI), a New Edition of Web of Science.
"Iconographica" welcomes articles in Italian, English, French, German, and Spanish. Proposals for publications, including a Word version of the written text and its illustrations in low resolution, should be sent by email to the editorial board ([email protected]). Approval for publication will be given at the end of the peer-reviewing process.
"Iconographica" is also available online: www.mirabileweb.it

The appearance of signatures and portraits
in the Iberian Peninsula since the end of the
12th century reveals an important change in the
concept of authorship. They must be interpreted
as an expression of the satisfaction for
the materialization of the work, a proof of the
rise of the artistic conscience and professional
pride. Moreover, signatures and portraits prove
that artists wish to have their talent and role
as authors publicly recognized, not only from a
social point of view, but also an eschatological
one: the participation of an individual in the
materialization of an artistic or architectural
work is a visible and everlasting testimony of
his faith, worthy of being rewarded with spiritual
graces.

giampaOlO ermiNi, matteO ferrari, mONia maNescalcHi, stefaNO ricciONi, eleNa vaiaNi Sono accettati nella rivista contributi in italiano, francese e inglese. In vista della pubblicazione, i testi inviati sono sottoposti in forma anonima alla valutazione di membri del Comitato scientifico e di referee, selezionati in base alla competenza sui temi trattati. Gli autori restano a disposizione degli aventi diritto per le fonti iconografiche non individuate. Pubblicazione semestrale on line Direttore responsabile: Maria Monica Donato Autorizzazione Tribunale di Pisa n. 15/09 del 18 settembre 2009 sOmmariO allegra iafrate «Artifex specialis»: per una lettura critica della figura di Matthew Paris attraverso le fonti pp. 1-42 matteO ferrari Grixopolo e i dipinti del Palazzo della Ragione di Mantova pp. 43-90 maria luDOvica rOsati «In qual modo si contraffà il velluto, o panno di lana, e così la seta, in muro e in tavola»: stoffe preziose e tessuti serici nell'opera di Simone Martini pp. 91-132 liNDa pisaNi Le due firme del pittore pistoiese Antonio di Vita pp. 133-150 elisaBetta ciONi Nuove acquisizioni sulla bottega 'dei Tondi': un documento e alcuni smalti pp. 151-218 alice caviNatO «Nicolò di Giovanni da Siena à fatto questo libro di sua propia mano e di sua spontana volontà»: note su due manoscritti illustrati senesi del Quattrocento e le loro sottoscrizioni pp. 219-262 micHele tOmasi Artistes de cour en France autour de 1400: institutions, formules et réalités pp. 263-286 cHiara BerNazzaNi La campana civica: tra signum, simbolo e celebrazione visiva pp. 287-392 eliaNa carrara Giorgio Vasari, Giovanni Battista Adriani e la stesura della seconda edizione delle Vite. Ragioni e nuove evidenze della loro collaborazione pp. 393-430

The Queen Mary Psalter (British Library, Royal MS. 2 B. VII), probably made c. 1310-20 for a royal recipient, is among the most lavishly illuminated manuscripts produced in late medieval England.  This study focuses principally on a single picture in the Psalter’s Old Testament preface showing the prophet Nathan’s reproof of a repentant King David, and it identifies in that picture what is ostensibly the earliest surviving depiction of St Edward’s Chair, now commonly known as the Coronation Chair, made at the end of the thirteenth century on the order of Edward I.  The drawing and its Anglo-Norman French caption are examined for the evidence they offer concerning a range of artistic and political issues, among them the chair’s possible use in the coronation of Edward II in 1308.  This study then widens its focus to consider the depiction in the preface of a second artifact associated with the coronation rite:  the dove-topped rod or virga, held by the Egyptian pharaoh in a scene in the Joseph story.  The essay concludes with speculations concerning the messages that these two topical treatments of biblical history might have conveyed to their presumed royal reader-viewer(s) about the nature and limits of royal authority.

1 Claussen (2008, 292 nota 13) fornisce per l'area francese una lista di 30 occorrenze dall'XI all'inizio del XIII secolo, dandone la trascrizione del testo, la collocazione e la datazione. Pur se basato su fonti di seconda mano, vedasi anche il catalogo di Dietl (2009, vol. 4).

Suite à l’exposition The Year 1200, organisée en 1970 par le Metropolitan Museum of Art de New York, l’idée prédominante de l’historiographie européenne a été que l’impact de l’art byzantin dans la peinture occidentale s’était produit surtout à travers son assimilation dans les centres artistiques du nord de l’Europe, en particulier dans l’Empire Allemand, en Île-de-France ou dans l’Angleterre des Plantagenets. De là naquit une nouvelle catégorie artistique largement plébiscitée – art 1200 – qui tend à favoriser la voie de transmission septentrionale lorsqu’il s’agit de comprendre certains exemples de la Péninsule Ibérique, du Midi ou même d’Italie, au lieu de reconnaître le rôle actif que joua l’Europe méditerranéenne dans l’accès, la réception et l’assimilation de ces nouvelles formes.

Par ailleurs, le terme monolithique d’ « art byzantin » a été, depuis des décennies, nuancé par une série d’auteurs tels que K. Weitzmann, Jaroslav Folda, Lucy-Anne Hunt, Bianca Kühnel ou encore Michele Bacci, qui ont démontré comment l’interaction entre latins, grecs et chrétiens d’Orient des nouveaux États de Terre Sainte contribua à créer, tout au long des XII et XIII siècles, ce que l’on appelle le Crusader Art (Art des Croisés), lequel eut un impact important en Occident. C’est donc à partir de ce phénomène particulier d’acculturation mené à bien à Jérusalem, Bethléem, Acre, Mont Sinaï, Chypre ou même dans certains endroits de l’Empire Byzantin sous la dynastie des Comnènes et des Anges, que se forgea un art hybride, facilement assimilable par l’Occident.

Cependant, il reste à savoir quels furent les véritables agents de tout ce processus – humains et matériels – qui contribuèrent à ces échanges. Au-delà du rôle des commanditaires – aristocratie et ordres militaires – et de l’acquisition d’objets de luxe, amplement pointés du doigt par l’historiographie, il m’intéresse d’explorer la curiosité inhérente des artistes itinérants – qu’ils soient grecs ou latins – qui se dirigeaient indistinctement vers les deux rives de la Méditerranée. L’assimilation de l’Autre, l’usage ou l’accès aux ‘ανθίβολα byzantins, l’exercice de la mémoire à travers des esquisses, caractérisèrent probablement son singulier processus d’introjection. Après la chute de Jérusalem en 1187, ces échanges se virent particulièrement accélérés en Occident, dont la peinture expérimenta alors les fruits de cette hybridation, ainsi que le montrent, par exemple l’œuvre de Magister Alexander ou la dénommée « croix gréco-pisane ».

This essay examines several textual accounts of the late medieval "ars market," the commercial context of selling and buying artfully made objects in fourteenth-and fifteenth-century Europe. Ranging from a magisterial work of pastoral theology, to legal ordonnances and reglemens for crafts, to a scholastic econmium to Paris, the textual sources discussed reveal how the expertise of artists and artisans and the captivating, persuasive force of works of ars were both valued and scrutinized in the later Middle Ages. Although they were written for dissimilar purposes and different audiences, the texts examined nonetheless understand the late medieval ars market as a forum in which the mingling of artistic expertise, aesthetic allure, fraud, risk, and credulity posed considerable challenges to human judgment. resumen Este ensayo examina varios relatos textuales del "mercado del arte" de la Baja Edad Media, en particular, el contexto comercial de la venta y compra de objetos fabricados artísticamente en la Europa de los siglos xiv y xv. Desde un trabajo magistral de teología pastoral, pasando por ordenanzas y reglamentos legales para los artesanos, hasta un econmium escolar en París, [Recepción del artículo: 04/08/2019] [Aceptación del artículo revisado: 22/09/2019] 1 This essay benefitted from the lively and fruitful exchanges with colleagues that took place during the IX Coloquio Ars Medievalis (10-12 May, 2019); in particular, I thank Paul Binski for encouraging to integrate the Livre des métiers in my analysis. I am also grateful to the two anonymous peer-reviewers for their comments and suggestions. Particular thanks are due to my student Martin Schwarz, whose dissertation in progress and comments on a draft of this essay, and bibliographic generosity made many contributions to my thinking and to my former research assistant Alexis Wells for her help with matters large and small.