Claudia Bolgia | Università degli Studi di Udine / University of Udine (original) (raw)
C. Bolgia by Claudia Bolgia
in Medioevo europeo e mediterraneo: scambi, circolazione e mobilità artistica, a cura di R. Cerone e M. Gianandrea, Roma, Campisano, 2024, pp. 195-214
The Burlington Magazine 166, January (2024), pp. 5-15
in Viae Urbis. La strada a Roma nel Medioevo, a cura di L. Barelli, M. Gianandrea, S. Passigli, Roma, Viella, 2023, pp. 295-307.
in Writing on Tombs. Narratives, Rules, Inscriptions in medieval and early modern times, a cura di V. Lucherini, T. Michalsky, D. Carnevale, Roma (Quaderni Napoletani di Storia dell’Arte Medievale), Roma, Viella, 2023, pp. 77-96
in Pope Gregory IX (1227-41): Power and Authority, ed. D. J. Smith, Amsterdam, Amsterdam University Press, pp. 329-357., 2023
Literature on Gregory IX's patronage has hitherto considered the façade mosaics of Old St Peter's... more Literature on Gregory IX's patronage has hitherto considered the façade mosaics of Old St Peter's as his 'only known enterprise' in Rome. Previously overlooked sources (both documentary and epigraphic), combined with a fresh analysis of architectural and material evidence, lead us to demonstrate that his attention to the City was much more wide-ranging and of a far greater scope: from churches to welfare structures and urban infrastructures, including a poorhouse, the major bridge of Rome and a sewer system for the viability of the streets; from buildings in the Patriarchio to a stauroteca for the Holy Cross, from textiles to the finest manuscripts; from the commission of a monumental bell for the promotion of the Vatican, not to mention his intervention in favour of the Franciscans. Furthermore, grandly orchestrated processions throughout the city played just as an important role as the 'patronage' itself in shaping the Rome of Gregory IX.
in Judici i Justícia. Art sacre i profà medieval i modern, a cura di R. Alcoy e C. Fontcuberta, Barcelona: Universitat de Barcelona edicions, 2020, pp. 81-106
in J. Luxford (ed.), Tributes to Paul Binski. Studies in Gothic Art, Architecture and Ideas, Turnhout, Harvey Miller, pp. 110–23 , 2021
Gesta 61,2 (2022), pp. 1–41
Cladding the front of the most important pilgrimage site of Western Christendom, the mosaic commi... more Cladding the front of the most important pilgrimage site of Western Christendom, the mosaic commissioned by Pope Gregory IX (1227-41) for the façade of Old St. Peter's has received extraordinary scholarly attention, and yet its original appearance, meaning, and message have remained elusive. The identification of overlooked medieval sources, combined with a fresh reading of the known ones (both written and visual), suggests a new interpretation of this mosaic, together with the framing of its message in a broader context of transformation within the Roman Church and of changing relationships between Rome, Constantinople, and the Holy Land. Instead of focusing on relics of saints, images, or monuments-as in traditional readings-I offer a new approach to the basilica of St. Peter's: a reappraisal of its inner space that calls attention to a hitherto neglected display of material objects that articulated a rich discourse on compunction, contrition, and penance through the exemplars of Peter and Judas as his antithesis. It becomes clear that, in his own basilica, Peter was not only presented as the first pope and the very foundational stone of the Roman Church
‘The Cosmati mosaics at Westminster: Art, Politics and Exchanges with Rome in the Age of Gothic’, Römisches Jahrbuch der Bibliotheca Hertziana 45 (2021/2022), pp. 7-76 , 2022
This paper offers a radical reassessment of the thirteenth-century Cosmati mosaics in Westminster... more This paper offers a radical reassessment of the thirteenth-century Cosmati mosaics in Westminster Abbey, commissioned during the reigns of Kings Henry III and Edward I. By offering the fullest yet account of the documentary sources, we seek to challenge the recent tendency to discount the international narrative of Roman and especially papal art in England and the omission of any account of the contemporary political situation which, we suggest, provided the context for these mosaics. As Henry III recovered from the damaging civil war of the 1260s in England, he received significant papal support in restabilizing his regime. Contrary to the tradition that the initiative came from Westminster, we argue that the major agent was the brilliantly successful legate in England Ottobuono Fieschi, later Adrian V. Ottobuono shaped the post-civil war settlement with the support of Clement IV. We argue that the first of the mosaics to be completed, the sanctuary pavement, was in effect provided via channels opened up by Ottobuono, and was intended to be a coronation pavement modelled on a hitherto neglected coronation pavement in Old St Peter's. Edward I was crowned on the Westminster pavement in 1274. The paper offers new in-depth readings of the various inscriptions on the Westminster mosaics which stress curial or Roman origin, in order to reassess the evidence they provide for date and patronage. A thorough re-examination of the archaeological and stylistic issues raised by the mosaics is put forward. This includes the signed and dated shrine base of St Edward the Confessor and the tomb of Henry III, which we maintain was commissioned from the circle of Arnolfo di Cambio with the support of Charles of Anjou. The paper also reexamines the identification of Odericus and Petrus Romanus civis, who signed the pavement and shrine respectively, in order to arrive at a reassessment of the impact of their movement not only from Rome to London, but also back to Viterbo and Rome. Only by taking a firmly internationalist position on the mosaics, seeing them in the wider context of European and especially Roman medieval art, can the increasingly localized debates about these monuments best be enlarged in such a way as to illuminate the situation in England and in Rome.
Storia dell’Arte 155/156 (2021), pp. 123-39, 2021
Cardinal Adam Easton (c. 1330-1397): Monk, Scholar, Theologian, Diplomat, Amsterdam University Press, 2020
in Art and Experience in Trecento Italy, H. Flora and S. S. Wilkins (eds),(Proceedings of the Andrew Ladis International Conference, New Orleans, 10-12 Nov. 2016), Turnhout, Brepols-Harvey Miller, 2018
in La linea d’ombra. Roma 1378-1420, ed. by W. Angelelli and S. Romano, 2019
Papers of the British School at Rome , 2020
This article reassesses artistic production in Rome at the time of the temporary return of Pope U... more This article reassesses artistic production in Rome at the time of the temporary return of Pope Urban V, between 1367 and 1370, after a lengthy period of absence of the papacy in Avignon, and offers new insights into the long-term impact of this production. It does so by starting from a thoroughly neglected artwork now in the Museo Storico Artistico del Tesoro di S. Pietro, a victim of the traditional interpretative dichotomy as either a work by Giotto or not. By taking a different methodological approach, which is to think in terms of movement of patrons and artists, and on the basis of combined technical/visual analysis and documentary sources, the article sheds new light on this painting, offering new proposals concerning its dating, attribution, original location and function. It then addresses its historical contextualization and significance, allowing us to rethink art in Rome in the fourteenth century by discussing the role that the circulation of patrons and artists played in creating new forms. This discussion not only contributes to a better understanding of the art produced in Rome in the Trecento but also throws some light on the very origins and nature of Renaissance art. Questo articolo riesamina alcuni aspetti della produzione artistica a Roma all'epoca del temporaneo ritorno di Urbano V, tra il 1367 e il 1370, dopo il lungo periodo di assenza del papato avignonese, e mette in luce l'impatto che questa produzione ha avuto nel secolo successivo. Il punto di partenza è lo studio di un'opera poco nota, che si conserva nel Museo Storico Artistico del Tesoro di S. Pietro, vittima della dominante dicotomia interpretativa Giotto o non-Giotto. Partendo da un diverso approccio metodologico, che pone l'accento sulla circolazione di committenti e artisti, e associando un'analisi tecnica e visiva al riesame delle fonti testuali, l'articolo pone questo dipinto in una nuova luce e offre nuove proposte sulla sua datazione, attribuzione, collocazione originaria e funzione. L'articolo mette inoltre a fuoco il contesto storico e il significato dell'opera, consentendoci di ripensare l'arte del Trecento romano attraverso la discussione del ruolo svolto dalla circolazione di committenti e artisti nella creazione di nuove forme. Questa discussione non solo contribuisce ad offrire una migliore comprensione dell'arte prodotta a Roma nel XIV secolo, ma serve anche a fornire nuovi spunti per chiarire le complesse origini e la natura dell'arte del Quattrocento.
in I. Bueno (ed.), Pope Benedict XII (1334-1342). The Guardian of Orthodoxy, Amsterdam University Press 2018, pp. 131-65, 2018
in La committenza artistica dei papi a Roma nel Medioevo, a cura di M. D'Onofrio, Roma 2016, pp. 331–59
in E. Brilli, L. Fenelli and G. Wolf (eds), Images and Words in Exile. Avignon and Italy during the First Half of the 14th Century, Florence, SISMEL - Edizioni del Galluzzo 2015 (Millennio Medievale 107, Strumenti e Studi 40), pp. 381-400
in L. James and C. Entwistle (eds), New Light on Old Glass: Recent Research on Byzantine Glass and Mosaics, British Museum Series, London, pp. 217-228, 2013
in P. Davies, D. Howard and W. Pullan (eds), Architecture and Pilgrimage, 1000-1500: Southern Europe and Beyond, Aldershott, Ashgate 2013, pp. 114-142
in Medioevo europeo e mediterraneo: scambi, circolazione e mobilità artistica, a cura di R. Cerone e M. Gianandrea, Roma, Campisano, 2024, pp. 195-214
The Burlington Magazine 166, January (2024), pp. 5-15
in Viae Urbis. La strada a Roma nel Medioevo, a cura di L. Barelli, M. Gianandrea, S. Passigli, Roma, Viella, 2023, pp. 295-307.
in Writing on Tombs. Narratives, Rules, Inscriptions in medieval and early modern times, a cura di V. Lucherini, T. Michalsky, D. Carnevale, Roma (Quaderni Napoletani di Storia dell’Arte Medievale), Roma, Viella, 2023, pp. 77-96
in Pope Gregory IX (1227-41): Power and Authority, ed. D. J. Smith, Amsterdam, Amsterdam University Press, pp. 329-357., 2023
Literature on Gregory IX's patronage has hitherto considered the façade mosaics of Old St Peter's... more Literature on Gregory IX's patronage has hitherto considered the façade mosaics of Old St Peter's as his 'only known enterprise' in Rome. Previously overlooked sources (both documentary and epigraphic), combined with a fresh analysis of architectural and material evidence, lead us to demonstrate that his attention to the City was much more wide-ranging and of a far greater scope: from churches to welfare structures and urban infrastructures, including a poorhouse, the major bridge of Rome and a sewer system for the viability of the streets; from buildings in the Patriarchio to a stauroteca for the Holy Cross, from textiles to the finest manuscripts; from the commission of a monumental bell for the promotion of the Vatican, not to mention his intervention in favour of the Franciscans. Furthermore, grandly orchestrated processions throughout the city played just as an important role as the 'patronage' itself in shaping the Rome of Gregory IX.
in Judici i Justícia. Art sacre i profà medieval i modern, a cura di R. Alcoy e C. Fontcuberta, Barcelona: Universitat de Barcelona edicions, 2020, pp. 81-106
in J. Luxford (ed.), Tributes to Paul Binski. Studies in Gothic Art, Architecture and Ideas, Turnhout, Harvey Miller, pp. 110–23 , 2021
Gesta 61,2 (2022), pp. 1–41
Cladding the front of the most important pilgrimage site of Western Christendom, the mosaic commi... more Cladding the front of the most important pilgrimage site of Western Christendom, the mosaic commissioned by Pope Gregory IX (1227-41) for the façade of Old St. Peter's has received extraordinary scholarly attention, and yet its original appearance, meaning, and message have remained elusive. The identification of overlooked medieval sources, combined with a fresh reading of the known ones (both written and visual), suggests a new interpretation of this mosaic, together with the framing of its message in a broader context of transformation within the Roman Church and of changing relationships between Rome, Constantinople, and the Holy Land. Instead of focusing on relics of saints, images, or monuments-as in traditional readings-I offer a new approach to the basilica of St. Peter's: a reappraisal of its inner space that calls attention to a hitherto neglected display of material objects that articulated a rich discourse on compunction, contrition, and penance through the exemplars of Peter and Judas as his antithesis. It becomes clear that, in his own basilica, Peter was not only presented as the first pope and the very foundational stone of the Roman Church
‘The Cosmati mosaics at Westminster: Art, Politics and Exchanges with Rome in the Age of Gothic’, Römisches Jahrbuch der Bibliotheca Hertziana 45 (2021/2022), pp. 7-76 , 2022
This paper offers a radical reassessment of the thirteenth-century Cosmati mosaics in Westminster... more This paper offers a radical reassessment of the thirteenth-century Cosmati mosaics in Westminster Abbey, commissioned during the reigns of Kings Henry III and Edward I. By offering the fullest yet account of the documentary sources, we seek to challenge the recent tendency to discount the international narrative of Roman and especially papal art in England and the omission of any account of the contemporary political situation which, we suggest, provided the context for these mosaics. As Henry III recovered from the damaging civil war of the 1260s in England, he received significant papal support in restabilizing his regime. Contrary to the tradition that the initiative came from Westminster, we argue that the major agent was the brilliantly successful legate in England Ottobuono Fieschi, later Adrian V. Ottobuono shaped the post-civil war settlement with the support of Clement IV. We argue that the first of the mosaics to be completed, the sanctuary pavement, was in effect provided via channels opened up by Ottobuono, and was intended to be a coronation pavement modelled on a hitherto neglected coronation pavement in Old St Peter's. Edward I was crowned on the Westminster pavement in 1274. The paper offers new in-depth readings of the various inscriptions on the Westminster mosaics which stress curial or Roman origin, in order to reassess the evidence they provide for date and patronage. A thorough re-examination of the archaeological and stylistic issues raised by the mosaics is put forward. This includes the signed and dated shrine base of St Edward the Confessor and the tomb of Henry III, which we maintain was commissioned from the circle of Arnolfo di Cambio with the support of Charles of Anjou. The paper also reexamines the identification of Odericus and Petrus Romanus civis, who signed the pavement and shrine respectively, in order to arrive at a reassessment of the impact of their movement not only from Rome to London, but also back to Viterbo and Rome. Only by taking a firmly internationalist position on the mosaics, seeing them in the wider context of European and especially Roman medieval art, can the increasingly localized debates about these monuments best be enlarged in such a way as to illuminate the situation in England and in Rome.
Storia dell’Arte 155/156 (2021), pp. 123-39, 2021
Cardinal Adam Easton (c. 1330-1397): Monk, Scholar, Theologian, Diplomat, Amsterdam University Press, 2020
in Art and Experience in Trecento Italy, H. Flora and S. S. Wilkins (eds),(Proceedings of the Andrew Ladis International Conference, New Orleans, 10-12 Nov. 2016), Turnhout, Brepols-Harvey Miller, 2018
in La linea d’ombra. Roma 1378-1420, ed. by W. Angelelli and S. Romano, 2019
Papers of the British School at Rome , 2020
This article reassesses artistic production in Rome at the time of the temporary return of Pope U... more This article reassesses artistic production in Rome at the time of the temporary return of Pope Urban V, between 1367 and 1370, after a lengthy period of absence of the papacy in Avignon, and offers new insights into the long-term impact of this production. It does so by starting from a thoroughly neglected artwork now in the Museo Storico Artistico del Tesoro di S. Pietro, a victim of the traditional interpretative dichotomy as either a work by Giotto or not. By taking a different methodological approach, which is to think in terms of movement of patrons and artists, and on the basis of combined technical/visual analysis and documentary sources, the article sheds new light on this painting, offering new proposals concerning its dating, attribution, original location and function. It then addresses its historical contextualization and significance, allowing us to rethink art in Rome in the fourteenth century by discussing the role that the circulation of patrons and artists played in creating new forms. This discussion not only contributes to a better understanding of the art produced in Rome in the Trecento but also throws some light on the very origins and nature of Renaissance art. Questo articolo riesamina alcuni aspetti della produzione artistica a Roma all'epoca del temporaneo ritorno di Urbano V, tra il 1367 e il 1370, dopo il lungo periodo di assenza del papato avignonese, e mette in luce l'impatto che questa produzione ha avuto nel secolo successivo. Il punto di partenza è lo studio di un'opera poco nota, che si conserva nel Museo Storico Artistico del Tesoro di S. Pietro, vittima della dominante dicotomia interpretativa Giotto o non-Giotto. Partendo da un diverso approccio metodologico, che pone l'accento sulla circolazione di committenti e artisti, e associando un'analisi tecnica e visiva al riesame delle fonti testuali, l'articolo pone questo dipinto in una nuova luce e offre nuove proposte sulla sua datazione, attribuzione, collocazione originaria e funzione. L'articolo mette inoltre a fuoco il contesto storico e il significato dell'opera, consentendoci di ripensare l'arte del Trecento romano attraverso la discussione del ruolo svolto dalla circolazione di committenti e artisti nella creazione di nuove forme. Questa discussione non solo contribuisce ad offrire una migliore comprensione dell'arte prodotta a Roma nel XIV secolo, ma serve anche a fornire nuovi spunti per chiarire le complesse origini e la natura dell'arte del Quattrocento.
in I. Bueno (ed.), Pope Benedict XII (1334-1342). The Guardian of Orthodoxy, Amsterdam University Press 2018, pp. 131-65, 2018
in La committenza artistica dei papi a Roma nel Medioevo, a cura di M. D'Onofrio, Roma 2016, pp. 331–59
in E. Brilli, L. Fenelli and G. Wolf (eds), Images and Words in Exile. Avignon and Italy during the First Half of the 14th Century, Florence, SISMEL - Edizioni del Galluzzo 2015 (Millennio Medievale 107, Strumenti e Studi 40), pp. 381-400
in L. James and C. Entwistle (eds), New Light on Old Glass: Recent Research on Byzantine Glass and Mosaics, British Museum Series, London, pp. 217-228, 2013
in P. Davies, D. Howard and W. Pullan (eds), Architecture and Pilgrimage, 1000-1500: Southern Europe and Beyond, Aldershott, Ashgate 2013, pp. 114-142