The Gifts of Kings and Popes: The Ascoli Piceno Cope, its Donors, and its Recipients (original) (raw)
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This essay argues that Pope Boniface VIII (1294-1303) used clothing in a highly intentional and performative manner to communicate his status and authority. His audience, however, was quite limitedessentially, the small community of those who aspired to hold or influence the power of the Holy Seeand the messages conveyed were not particularly complex. Attempting a reception history of papal attire c.1300, the essay surveys remarks regarding clothing in late thirteenth-and early fourteenth-century chronicles and analyses in depth the evidence of two sources: ambassadorial reports to King James II of Aragon (1291-1327) and the De electione et coronatione sanctissimi patris domini Bonifatii pape octavi of Cardinal Jacopo Caetani Stefaneschi (c.1270-1343). A suggestive finding is that performativity, or the highly theatrical use of garments, appears to have been used by Boniface VIII to foster dissemination of simple communications across great distances.
Wearing Images / Imágenes portadas, by Diane Bodart. ESPACIO, TIEMPO Y FORMA SERIE VII HISTORIA DEL ARTE REVISTA DE LA FACULTAD DE GEOGRAFÍA E HISTORIA , UNED, Madrid, 2018
The act of wearing sacred garments to celebrate religious rites is an important element of the liturgy. In the early centuries of Christianity, liturgical attire was not meant to be different from secular wear, and it was only in the eleventh century that the custom spread to Rome from northern Europe of wearing vestments made of precious materials for the clergy. From this moment on, precious materials and images would be more or less a constant in Western liturgical attire. This essay discusses – starting from some examples still extant or known from documents – the role of figural images on sacred vestments in the Middle Ages and the Renaissance, attempting to explicate the relation between the image and the space where it appears, the body, liturgical gestures, religious and political message, and function in terms of identity, as well as to show the aspects of continuity and discontinuity in the role of images worn in the liturgical sphere from the late Middle Ages to the Renaissance.
A Descriptive Language of Dominion? Curial Inventories, Clothing, and Papal Monarchy c. 1300
Using evidence from both papal and cardinal inventories as well as from cardinal wills, this essay argues that the papal curia developed a distinctive language for describing liturgical vestments in the late thirteenth- and early fourteenth centuries that emphasized the peoples and places that made the materials and ornaments of these garments. Examples from inventories of local dioceses and religious houses are offered to illustrate the peculiarity of the curial descriptions and comparisons are also made to royal and mercantile inventories. While the curial emphasis on the places and peoples producing the materials used in ecclesiastical vestments may simply have been the performance of connoisseurship within an elite institutional culture, the author suggests that it may also express the expansive papal claims to dominion articulated by Boniface VIII (1294-1303) and his immediate successors.
Espacio Tiempo y Forma. Serie VII, Historia del Arte
The act of wearing sacred garments to celebrate religious rites is an important element of the liturgy. In the early centuries of Christianity, liturgical attire was not meant to be different from secular wear, and it was only in the eleventh century that the custom spread to Rome from northern Europe of wearing vestments made of precious materials for the clergy. From this moment on, precious materials and images would be more or less a constant in Western liturgical attire. This essay discusses-starting from some examples still extant or known from documents-the role of figural images on sacred vestments in the Middle Ages and the Renaissance, attempting to explicate the relation between the image and the space where it appears, the body, liturgical gestures, religious and political message, and function in terms of identity, as well as to show the aspects of continuity and discontinuity in the role of images worn in the liturgical sphere from the late Middle Ages to the Renaissance.
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Questions of agency have been widely discussed in art history studies in recent decades, with scholars such as Alfred Gell and W. T. Mitchell arguing that works of art possess the qualities or powers of living beings. Recent scholar¬ ship has questioned whether Max Weber’s notion of charisma as a personal quality can be extended to the realm of things such as charismatic objects or charismatic art. Textiles are particularly interesting in this regard, as clothing transforms and extends the corporal body acting as a ‘social skin’, this prob¬lematizes the human/object divide. As such, ecclesiastical dress could be con¬sidered part of the priest’s social body, his identity. The mitre was especially symbolic and powerful as it distinguished the bishop from the lower ranks of the clergy. This article examines the richly decorated Linköping mitre, also known as Kettil Karlsson’s mitre as it was most likely made for this young and ambitious bishop in the 1460s. I argue that the aesthetics and rhetoric of the Linköping mitre created charismatic effects that could have contributed to the charisma of Kettil Karlsson as a religious and political leader. This argument, however, centers not so much on charismatic objects as on the relationship between personal charisma and cultural objects closely identified with char¬ismatic authority.
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Male bodies dressed in brilliant silk clothing conveyed messages of power in late medieval Italy. Previous scholars examined how these glamorous bodies reflected contemporary ideals of gentility and whiteness in a courtly context. This article shifts the attention from secular to religious contexts through examining the fictive materiality of the attire of St. Augustine. Silk and wool were two driving forces of the pre-industrial economy. Yet they are rarely considered together, and the discussion has focussed on production. Much less thought has been put into the social implications. By pulling together the threads of silk and wool, this article illuminates how St. Augustine's dual silk-woollen attire transformed his body in the medieval imaginary and became a powerful visual tool to communicate messages of leadership, legitimacy and kinship.
Textiles and majesty in the sixteenth and seventeenth centuries: a global perspective
Everywhere the brilliance of gold, silver, purple, silk and satin. A detailed description would be a lengthy task, and no mere words could give an adequate idea of the novelty of the sight. A more beautiful spectacle was never presented to my gaze." 1 -Busbecq, The Turkish letters of Ogier Ghiselin de Busbecq, Imperial ambassador at Constantinople 1554-1562 "In every chamber in place convenient were clothes of estate, greate and large clothe of gold, of tissue of riche embroidiery, with chaiers covered with like cloth, with pomelles of fine gold: and great cushyns of riche woorke of the Turkey makynge, nothynge lacked of honorable furnishment….riche and marvelious cothes of Arras wrought with gold and silke, compassed of many ancient stories, with which clothes of arras, every wall and chamber were hanged, and all the windows so richly, that it passed all other sights before seen. 2 " -Edward Hall, eyewitness at the field of cloth of gold, Henry VIII: The lives of the Kings.
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Textiles and Touch: Depicting the Sacred
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