This volume includes a collection of essays of scholars from several disciplines and focuses on the art produced for the Franciscans in Italy from the 13th to the 15th century. They contain a wide range of subject matter (fresco, panel, stained glass window) and a variety of approaches.
A history of Renaissance art, placing the time in its historical and political context and arguing that the Renaissance grew out of the achievements of the medieval period.
Attempts to provide a comprehensive study of the paintings produced in Florence between circa 1100 and 1270 - the scope of the book ranges from early examples of medieval art to the generation of painters preceding Cimabue. All known works of the period are included accompanied by descriptions.
Nicholas Havely examines the connections between Dante, the Franciscans and the Papacy as they appear in the Commedia, and presents the poem as one concerned with an often dramatic confrontation between authority and idealism in the church. Havely draws on a wide range of literary, historical and art historical sources relating to the controversy about Franciscan poverty during the late thirteenth and early fourteenth centuries. He argues that the Spiritual Franciscans' strict interpretations of evangelical poverty provided the poet with a means of addressing the state of the contemporary Papacy and of imagining the renewal of the church. He also explores the origins and afterlife of the debate about this form of poverty and Dante's contribution to it. This study will appeal to scholars interested in medieval religious and intellectual history, as well as to readers of Dante's poem and other medieval visionary and political writing.
In September, 1219, as the armies of the Fifth Crusade besieged the Egyptian city of Damietta, Francis of Assisi went to Egypt to preach to Sultan al-Malik al-Kâmil. Although we in fact know very little about this event, this has not prevented artists and writers from the thirteenth century to the twentieth, unencumbered by mere facts, from portraying Francis alternatively as a new apostle preaching to the infidels, a scholastic theologian proving the truth of Christianity, a champion of the crusading ideal, a naive and quixotic wanderer, a crazed religious fanatic, or a medieval Gandhi preaching peace, love, and understanding. Al-Kâmil, on the other hand, is variously presented as an enlightened pagan monarch hungry for evangelical teaching, a cruel oriental despot, or a worldly libertine. Saint Francis and the Sultan takes a detailed look at these richly varied artistic responses to this brief but highly symbolic meeting. Throwing into relief the changing fears and hopes that Muslim-Christian encounters have inspired in European artists and writers in the centuries since, it gives a uniquely broad but precise vision of the evolution of Western attitudes towards Islam and the Arab world over the last eight hundred years.
In The Legend of Veronica in Early Modern Art, Katherine T. Brown explores the lore of the apocryphal character of Veronica and the history of the “true image” relic as factors in the Franciscans’ placement of her character into the Via Crucis (Way of the Cross) as the Sixth Station, in both Jerusalem and Western Europe, around the turn of the fifteenth century. Katherine T. Brown examines how the Franciscans adopted and adapted the legend of Veronica to meet their own evangelical goals by intervening in the fabric of Jerusalem to incorporate her narrative − which is not found in the Gospels − into an urban path constructed for pilgrims, as well as in similar participatory installations in churchyards and naves across Western Europe. This book proposes plausible reasons for the subsequent proliferation of works of art depicting Veronica, both within and independent of the Stations of the Cross, from the early fifteenth through the mid-seventeenth centuries. This book will be of interest to scholars in art history, theology, and medieval and Renaissance studies.