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The Parma Baptistery and its pictori...

Geymonat, Ludovico V.

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The Parma Baptistery and its pictorial program (Italy).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Parma Baptistery and its pictorial program (Italy)./
作者:	Geymonat, Ludovico V.
面頁冊數:	259 p.
附註:	Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0003.
Contained By:	Dissertation Abstracts International67-01A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3206542
ISBN:	9780542529795

The Parma Baptistery and its pictorial program (Italy).
Geymonat, Ludovico V.

The Parma Baptistery and its pictorial program (Italy). - 259 p.

Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0003.

Thesis (Ph.D.)--Princeton University, 2006.

In The Parma Baptistery and Its Pictorial Program , I examine how in 1233 the painter responsible for the extensive decoration of the Baptistery at Parma, Italy, adopted and redeployed Byzantine sources to promote the religious and political agenda of the Franciscan preacher in control of the city government. I read the sixteen-sided, domed interior of the Baptistery, built largely between 1196 and 1216, as a synthesis of late antique and early Gothic architecture. The iconographic program laid out in this idiosyncratic space depicts Heavenly Jerusalem in the dome, the Baptism of Christ in the apse, and an array of figures and scenes in the other niches. Through an analysis of the functions of the building and the connections between the iconographic program and the city's political context, I identify the preacher Gerard Boccabadati, an early disciple of St. Francis, as the patron of the pictorial decoration. The painting of the Baptistery is thus dated to 1233, at the height of the religious movement known as the Alleluia, or Great Devotion, which spread from Parma throughout the cities of northern Italy in that year.

ISBN: 9780542529795Subjects--Topical Terms:

635474
Art History.

The Parma Baptistery and its pictorial program (Italy).
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520 $a In The Parma Baptistery and Its Pictorial Program , I examine how in 1233 the painter responsible for the extensive decoration of the Baptistery at Parma, Italy, adopted and redeployed Byzantine sources to promote the religious and political agenda of the Franciscan preacher in control of the city government. I read the sixteen-sided, domed interior of the Baptistery, built largely between 1196 and 1216, as a synthesis of late antique and early Gothic architecture. The iconographic program laid out in this idiosyncratic space depicts Heavenly Jerusalem in the dome, the Baptism of Christ in the apse, and an array of figures and scenes in the other niches. Through an analysis of the functions of the building and the connections between the iconographic program and the city's political context, I identify the preacher Gerard Boccabadati, an early disciple of St. Francis, as the patron of the pictorial decoration. The painting of the Baptistery is thus dated to 1233, at the height of the religious movement known as the Alleluia, or Great Devotion, which spread from Parma throughout the cities of northern Italy in that year.
520 $a My study of the pictorial program examines the process of the transmission of images in the medieval world and the assimilation of Byzantine sources into the visual vocabulary used in Parma. Discrepancies in the rendering of figures and scenes reveal the use of drawings as a means of recording and handling iconography. Consequences of this practice in the Baptistery are studied in comparison with another extensive pictorial program from this period found in the chapterhouse at Sigena, Spain. Five appendices focus respectively on historiography, on painting technique, on other works attributed to the Master of the Parma Baptistery, on the liturgy of baptism and on the political reasons behind the building of monumental baptisteries in high medieval city-states.
520 $a My research challenges standard readings of thirteenth-century paintings in the so-called maniera greca showing that the Byzantine elements in the Baptistery at Parma derive---more than from an appreciation of Byzantine art---from the appropriation inherent in the medieval process of handling images and iconography.
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