‘To be the daughter of Saint Peter: S. Petronilla and forging the Franco-Papal Alliance,’ in Tre imperi, tre città: identità, cultura materiale e legittimazione a Venezia, Ravenna e Roma, 750-1000, ed. V. West-Harling (Turnhout: Brepols, 2015), 159-82. (original) (raw)
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Arator’s Historia Apostolica was a product of papal literary patronage and part of an ideological strategy aimed at different but convergent purposes. It should demonstrate that the primacy of Peter had been already sanctioned by the evangelist Luke by overstating the role of the first apostle to the detriment of Paul. Peter’s primacy applied of course also to his successors, as is clear from the very beginning of the Historia Apostolica, where pope Vigilius is called “the first of all priests in the whole world”. Then, Arator’s books should strengthen papal authority in the West and for this reason they were sent also to Northern Italy and Gaul. The poem showed also that the pope was the real heir of imperial Rome, because he (through Arator) was able to master classical poetry and to support his ambitions with intertextual relations with classical authors of the Augustan period, thereby depriving Justinian of his role of defender of Rome.
This essay investigates the visual language of Guercino's monumental altarpiece of St Petronilla for St Peter's (1623), through which he constructs an authoritative image of her sanctity deeply intertwined with the art and fabric of the renewed church, particularly as it pertains to Michelangelo's legacy at the site. The saint's body, almost in tandem with the sculptor's Pietà, circulated throughout the old and new basilica during its gradual demolition and reconstruction. Guercino's imagery consolidates references to Petronilla's relics, her cult and the statue in the configuration of the saint suspended at her grave. A hitherto unnoticed portrait of Michelangelo underscores these associations and renews his exemplarity as a sacred artist in the service of the papacy. The evocations of Michelangelo's sculpture and person, the body of Petronilla, together with the altarpiece's setting and architectural imagery, encourage an interpretation of the altarpiece as a microhistory of St Peter's basilica itself.
Bolgia C., ‘Cassiano’s Popes rediscovered: Urban V in Rome’,
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>It happened that the six-year old son of a certain Sienese couple died of illness. The father interceded with pope Urban V of holy memory, devoutly promising, if his son were to be revived, to erect an altar with an image of Urban himself, where mass would be celebrated. When the dead child was already buried, through the intercession of Urban, he was resuscitated. Subsequently, with the agreement of the bishop of Siena, an altar was set up, together with the image of Urban V.<<' This account occurs in the Liber de vita et miraculis beati Urbani pape quinti presented by the postulator Pierre Olivier to Clement VII's commissioners in 1382, as the result of the official investigation into the miracles attributed to pope Urban V de Grimoard (1362-1370), and included in the documentation to be used for his canonization process.2 This articulus is one of the many pieces of evidence showing not only the success of Urban V's cult in the fourteenth century, but also the wide diffusion of images associated with it. Representations of the pontiff proliferated all over Western Europe shortly after the pope's death at Avignon on 19th December i37o, and, increasingly in 1372, after the translation of his body to the monastery of Saint-Victor at Marseilles, when news of his miracles spread widely (fig. i).3
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in I. Bueno (ed.), Pope Benedict XII (1334-1342). The Guardian of Orthodoxy, Amsterdam University Press 2018, pp. 131-65, 2018
This chapter offers a new understanding of papal self-fashioning strategies between the late-thirteenth and the mid-fourteenth centuries. On the basis of hitherto neglected or misunderstood sources, it demonstrates that the original location of the half-length image of Benedict XII (1341) in Old St Peter's differed considerably from earlier reconstructions. This prompts a reinterpretation of the sculpture's original function and of the message that it conveyed about the role of the pope by materializing his presence in Rome at a time of contested absence. Furthermore, the reappraisal of monumental Petrine 'presences' in the basilica leads not only to revise the traditional reading of Arnolfo di Cambio's half-length image of Pope Boniface VIII as associated with the papal tomb, but also to offer a new proposal for its original setting and function. These findings transform our knowledge of the pilgrim experience in Old St Peter's, whilst throwing new light on the sacred topography of the most important basilica of Western Christendom.
Zbornik za likovne umetnosti matice srpske 51, 2023
The paper is dedicated to the consideration of the ktetor and donor activities of the popes in Rome from the end of the 6 th to the beginning of the 9 th century in the context of the systematic action of the heads of the Roman Church towards the constitution of the identity of Rome as a city of the church, and consequently the building of the authority of its own established institution, mainly on the cults of St. Peter and St. Paul, the princes of the apostles. Accordingly, research has shown that St. Peter's Basilica and Basilica of San Paolo Fuori le Mura stand out as dominant focuses of papal ktetor and donor activities. Keeping memories of the suffering of the two apostles by which the city was sanctified, they functioned as a kind of reliquaries of city-protecting cults. The goal of this paper is to provide a more detailed insight into the nature and dynamics of papal ktetor and donor activities directed towards the aforementioned churches, by which the heads of the Roman Church dominantly determined, visually and ideologically, an entire era in the development and functioning of the city.