«…FIERI FECIT» –– is the established wording, with which commissioners usually memorized their donations. Partly these cut deeply into the body and shape of a sacred space, as for example in S. Lorenzo fuori le mura, where Cencius Camerarius, treasurer of the Holy Chair, transformed the crypt over the martyr’s grave of Saint Lawrence. Far more common are donations of liturgical furnishings, such as the ciborium in S. Eustachio, possibly donated by Otto II, Count of Tusculum, around 1200. Apart from liturgical objects, panel or mural painting formed the preferred genre for the patrons, i.e. the famous «Last Judgement» (Vatican Museums), commissioned by two female commissioners of S. Maria di Campo Marzio around 1050.
Drawing on findings resulting from the two research projects «Die Kirchen der Stadt Rom im Mittelalter. 1050–1300» (Mendrisio/Zurich) and «La pittura medievale a Roma 312–1431» (Lausanne/Viterbo) plus on the most recent focus on the patronage of the popes, our panel is offering a platform for new research about patronage in and around Rome. In particular we will focus on the clergy, aristocrats, or the commune as commissioners of church furnishings.
Specific questions deal with different modes of the patrons’ self-ostentation, respectively the individual emphases laid by the particular commissioners. We would also like to investigate the relationship between the donations: Did they compete with or complement each other? In addition we would like to discuss if general tendencies exist concerning the evolved or changed sacral topographies in the respective churches.
Possible topics can include (but are not limited to) the following questions:
– Who is commissioning, transforming, translocating and renewing which liturgical objects and why?
– Do the commissioners affect or change the hierarchies within the sacred space?
– Can we relate typical genres of donations to specific groups of commissioners?
– What are the Hot Spots and where do the innovations emerge in the liturgical furnishings?
– How can surrounding paintings, mosaics, or sculptures increase the aura of particular objects and of their commissioners?
– Do the commissions conglomerate along liturgical axes and/or in specific periods?
The chosen time period covers the whole High Middle Ages from 1050 up to 1300. We would like to expand the usual focus on Rome by including examples from the Roman Campagna, and discuss the correlations among them, as some of the most active families have originated outside the Eternal City. Monumental furnishing should have priority: architecture, sculpture, painting.
Please send an abstract (1 page, max. 3000 characters) and a short curriculum vitae including institutional affiliation and contact details to the relevant panel directors by 30 June 2018. Please also Cc the office of the SAAH at email@example.com.
The SAAH will contribute to the accommodation costs, and all speakers will be exempt from the conference registration fee.
Source : Medieval Art Research