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The Tomb and the Tiara: Curial Tomb Sculpture in Rome and Avignon in the Later Middle Ages (Clarendon Studies in the History of Art), by J
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The first history of tomb sculpture, this book spans the shift of the papacy and college of cardinals from Rome to Avignon. Too often there has been a concentration on the work of individual sculptors, based on more or less tenable attributions, however, Gardner discusses the surviving or documented tombs of popes, cardinals, and important clerics in Rome and central Italy from the viewpoints of style, context, funerary custom, and testamentary wishes. The transference of the papacy to Avignon brought with it radical changes in the personnel, burial traditions, and artistic environment of the papal curia, and Paris, Westminster, and Toulouse became points of reference. Important surviving tombs at Limoges, Montpezat, Toledo, and Prague are brought into the ambit of papal tomb sculpture, and the effect of Roman sculpture with the absence of the papacy is considered, together with the problem of sepulchal portraiture.
- Sales Rank: #7892205 in Books
- Brand: Brand: Oxford University Press, USA
- Published on: 1992-06-11
- Original language: English
- Number of items: 1
- Dimensions: 11.13" h x 1.18" w x 9.00" l,
- Binding: Hardcover
- 320 pages
- Used Book in Good Condition
Most helpful customer reviews
5 of 5 people found the following review helpful.
The pope never dies
By Agnes Bos
Julian Gardner's The tomb and the Tiara is one of the best books ever written on medieval funerary sculpture and its relations to power. Not only does it cover entirely the workmanship and artists or iconographical aspects, it is also a thorough analysis of death rituals and their links with politics and religion. Photographies are numerous, of great quality, and precise, as useful for illustrating the book than for further reference. Inspired by Kantorowicz's The Kings Two Bodies and Giesey's The King never dies as well as Bloch's Thaumaturgic kings, it can only compare, in quality, to Eralnde-Brandenburg's Le Roi est mort, making it a real must-have not only for all interested in funerary sculpture or in death history, but for all medievalists. Only one dark point, the price.
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