The Clement Bible At The Medieval Courts Of Naples And Avignon

As a 'biography' of the fourteenth-century illustrated Bible of Clement VII, an opposition pope in Avignon from 1378-94, this social history traces the Bible's production in Naples (c. 1330) through its changing ownership and meaning in Avignon (c. 1340-1405) to its presentation as a gift to Alfonso, King of Aragon (c. 1424). The author's novel approach, based on solid art historical and anthropological methodologies, allows her to assess the object's evolving significance and the use of such a Bible to enhance the power and prestige of its princely and papal owners. Through archival sources, the author pinpoints the physical location and privileged treatment of the Clement Bible over a century. The author considers how the Bible's contexts in the collection of a bishop, several popes, and a king demonstrate the value of the Bible as an exchange commodity. The Bible was undoubtedly valued for the aesthetic quality of its 200+ luxurious images. Additionally, the author argues that its iconography, especially Jerusalem and visionary scenes, augments its worth as a reflection of contemporary political and religious issues. Its images offered biblical precedents, its style represented associations with certain artists and regions in Italy, and its past provided links to important collections. Fleck's examination of the art production around the Bible in Naples and Avignon further illuminates the manuscript's role as a reflection of the court cultures in those cities. Adding to recent art historical scholarship focusing on the taste and signature styles in late medieval and Renaissance courts, this study provides new information about workshop practices and techniques. In these two court cities, the author analyzes styles associated with different artists, different patrons, and even with different rooms of the rulers' palaces, offering new findings relevant to current scholarship, not only in art history but also in court and collection studies.

"As a 'biography' of the fourteenth-century illustrated Bible of Clement VII, an opposition pope in Avignon from 1378-94, this social history traces the Bible's production in Naples (c. 1330) through its changing ownership and meaning in Avignon (c. 1340-1405) to its presentation as a gift to Alfonso, King of Aragon (c. 1424). The author's novel approach, based on solid art historical and anthropological methodologies, allows her to assess the object's evolving significance and the use of such a Bible to enhance the power and prestige of its princely and papal owners. Through archival sources, the author pinpoints the physical location and privileged treatment of the Clement Bible over a century. The author considers how the Bible's contexts in the collection of a bishop, several popes, and a king demonstrate the value of the Bible as an exchange commodity. The Bible was undoubtedly valued for the aesthetic quality of its 200+ luxurious images. Additionally, the author argues that its iconography, especially Jerusalem and visionary scenes, augments its worth as a reflection of contemporary political and religious issues. Its images offered biblical precedents, its style represented associations with certain artists and regions in Italy, and its past provided links to important collections. Fleck's examination of the art production around the Bible in Naples and Avignon further illuminates the manuscript's role as a reflection of the court cultures in those cities. Adding to recent art historical scholarship focusing on the taste and signature styles in late medieval and Renaissance courts, this study provides new information about workshop practices and techniques. In these two court cities, the author analyzes styles associated with different artists, different patrons, and even with different rooms of the rulers' palaces, offering new findings relevant to current scholarship, not only in art history but also in court and collection studies."--Provided by publisher.

As a 'biography' of the fourteenth-century illustrated Bible of Clement VII, an opposition pope in Avignon from 1378-94, this social history traces the Bible's production in Naples (c. 1330) through its changing ownership and meaning in Avignon (c. 1340-1405) to its presentation as a gift to Alfonso, King of Aragon (c. 1424). The author's novel approach, based on solid art historical and anthropological methodologies, allows her to assess the object's evolving significance and the use of such a Bible to enhance the power and prestige of its princely and papal owners. Through archival sources, the author pinpoints the physical location and privileged treatment of the Clement Bible over a century. The author considers how the Bible's contexts in the collection of a bishop, several popes, and a king demonstrate the value of the Bible as an exchange commodity. The Bible was undoubtedly valued for the aesthetic quality of its 200+ luxurious images. Additionally, the author argues that its iconography, especially Jerusalem and visionary scenes, augments its worth as a reflection of contemporary political and religious issues. Its images offered biblical precedents, its style represented associations with certain artists and regions in Italy, and its past provided links to important collections. Fleck's examination of the art production around the Bible in Naples and Avignon further illuminates the manuscript's role as a reflection of the court cultures in those cities. Adding to recent art historical scholarship focusing on the taste and signature styles in late medieval and Renaissance courts, this study provides new information about workshop practices and techniques. In these two court cities, the author analyzes styles associated with different artists, different patrons, and even with different rooms of the rulers' palaces, offering new findings relevant to current scholarship, not only in art history but also in court and collection studies.

The division of the Church or Schism that took place between 1378 and 1417 had no precedent in Christianity. No conclave since the twelfth century had acted as had those in April and September 1378, electing two concurrent popes. This crisis was neither an issue of the authority claimed by the pope and the Holy Roman Emperor nor an issue of authority and liturgy. The Great Western Schism was unique because it forced upon Christianity a rethinking of the traditional medieval mental frame. It raised question of personality, authority, human fallibility, ecclesiastical jurisdiction and taxation, and in the end responsibility in holding power and authority. This collection presents the broadest range of experiences, center and periphery, clerical and lay, male and female, Christian and Muslim. Theology, including exegesis of Scripture, diplomacy, French literature, reform, art, and finance all receive attention.

This book explores several fascinating medieval Christian and Islamic artworks that represent and reimagine Jerusalem’s architecture as religious and political instruments to express power, entice visitors, console the devoted, offer spiritual guidance, and convey the city’s mythical history.

A new history of the Great Western Schism, focusing on social drama and the performance of legitimacy and papacy.

This volume traces the work of trecento historians of the Mezzogiorno, analyzing it through current methodological and theoretical frameworks. Questioning the current consensus, the book examines how the South as a cultural "other" began evolving over the fourteenth century, and reconsiders the nineteenth-century "Southern Question" concerning the Mezzogiorno’s history, culture and people and its lingering negative image in Europe and America. It also focuses on specific histories, authors and historiographical issues, and reviews how new understandings of the Mediterranean have begun to alter our perceptions of the South in a new global context and as the basis for new historical research.

In 1343 a seventeen-year-old girl named Johanna (1326–1382) ascended the Neapolitan throne, becoming the ruling monarch of one of medieval Europe’s most important polities. For nearly forty years, she held her throne and the avid attention of her contemporaries. Their varied responses to her reign created a reputation that made Johanna the most notorious woman in Europe during her lifetime. In From She-Wolf to Martyr, Elizabeth Casteen examines Johanna’s evolving, problematic reputation and uses it as a lens through which to analyze often-contradictory late-medieval conceptions of rulership, authority, and femininity. When Johanna inherited the Neapolitan throne from her grandfather, many questioned both her right to and her suitability for her throne. After the murder of her first husband, Johanna quickly became infamous as a she-wolf—a violent, predatory, sexually licentious woman. Yet, she also eventually gained fame as a wise, pious, and able queen. Contemporaries—including Francesco Petrarch, Giovanni Boccaccio, Birgitta of Sweden, and Catherine of Siena—were fascinated by Johanna. Drawing on a wide range of textual and visual sources, Casteen reconstructs the fourteenth-century conversation about Johanna and tracks the role she played in her time’s cultural imaginary. She argues that despite Johanna’s modern reputation for indolence and incompetence, she crafted a new model of female sovereignty that many of her contemporaries accepted and even lauded.