International Medieval Society, Paris
Société Internationale des Médiévistes, Paris

Symposium 2005 Abstracts

The fourteenth-century French popes shifted the Church’s capital from Rome, its long-established center, to Avignon (1309-78). Art and architecture were integral in establishing the popes’ presence and affirming their authority there. This paper will examine how painting styles during the papacy of Clement VI (1342-52) were important reflections of papal interests, politics, audience, and workshop practices.

The public realms of the papal palace, constructed under Benedict XII (1334-42) and Clement VI, were the chapels and audience halls. Clement VI chose the Italian Matteo Giovannetti to head the fresco workshops for these spaces. Though his staff included Frenchmen, the Italian master’s style prevailed. The choice of Giovannetti was perhaps based on the traditions of Italian work in the fresco medium. Additionally I propose that these frescoes, placed in the public spaces of the palace, demonstrated the popes’ outward interest in the Italian peninsula to assuage concerns for the papacy’s continued absence from Rome.

In comparison to the monumental painting at the palace, the diverse listings of illuminators in the papal archives document that mostly French artisans, with occasional Italian aides, were hired for the creation of new manuscripts under Clement VI. The library was located near his chambers as a physical manifestation of books’ personal character. In these more intimate settings, the pope seemed to privilege the French styles, perhaps to reflect his true loyalties in his manuscripts.

These comparisons of manuscript to monumental painting at Avignon’s palace in the early fourteenth century indicate differences between the use of artists and mediums from French and Italian traditions. This analysis suggests that court identity was not only deliberately fashioned through art and nationality but also created diversely in the private and public spheres.