Mural paintings in Tuscan town of the 14th century. Between elitist consciousness and communal systems of values

城市房屋中只有非常有限数量的壁画幸存下来，而那些已经保存下来的壁画往往保存得很差。出于这个原因，与其他世俗绘画语料库相比，艺术史到目前为止还没有自主地感知到它们。本文试图通过三个案例研究(普拉托的Casa Datini、佛罗伦萨郊区的Canto dei Pecori和埃尔萨Colle di Val d‘Elsa的Palazzo Galganetti)展示城市住宅的壁画装饰及其视觉特性在多大程度上与14世纪托斯卡纳城市的社会政治状况联系在一起。在这些壁画中，艺术家们将宫廷表现的视觉词汇作为精英区分的媒介，以适应托斯卡纳城市住宅的功能和代表性要求。肖像模型与公共图画节目的公共可视化战略相结合，建立并传达公民和集体价值观的公共系统。这种合并过程的视觉结果往往是模棱两可的，几乎没有效果。在社会上，他们弥合了私人和公共之间的鸿沟，同时也在精英区别和隶属于集体的社会需求之间摇摆。因此，本文揭示了图画创作在托斯卡纳视觉文化中的新面貌，而到目前为止，图画创作只是通过祭祀艺术来分析的。

Only a very limited number of mural paintings in urban houses has survived and those that have are often in a poor state of preservation. For this reason in contrast to other corpora of secular painting art history has so far not perceived them autonomously. This thesis wants to show in three case studies (the Casa Datini in Prato, the Canto dei Pecori in Florentine suburb and the Palazzo Galganetti in Colle di Val d’Elsa) to what extent the mural decorations of urban dwellings and their visual particularities are linked to the sociopolitical situation in Tuscan cities of the 14th century. In these frescoes the artists adapt the visual vocabulary of courtly representation as medium of elitist distinction to the functional and representative requirements of the urban city houses in Tuscany. Iconographical models are combined with communal visualization strategies of public pictorial programs, establishing and also communicating communal systems of civic and collective values. The visual results of this amalgamation processes are often ambiguous and little effective. Socially they bridge the gap between the private and the public while they at the same time oscillate between elitist distinction on the one hand and the social need of affiliation to collectivity on the other one. This thesis thus reveals new aspects of pictorial invention in Tuscan visual culture which was until now only analyzed by means of sacral art.