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

城市房屋中的壁画只有非常有限的数量幸存下来，那些幸存下来的壁画往往保存状况很差。由于这个原因，与其他世俗绘画语料库相比，艺术史迄今为止还没有自主地感知它们。本论文通过三个案例（普拉托的卡萨达蒂尼、佛罗伦萨郊区的佩科里之歌和科莱迪瓦尔德埃尔萨的加尔加内蒂宫）来说明城市住宅的壁画装饰及其视觉特征在多大程度上与世纪托斯卡纳城市的社会政治状况相联系。在这些壁画中，艺术家将宫廷代表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。图像模型与公共图像程序的公共可视化策略相结合，建立并传达公民和集体价值观的公共系统。这种融合过程的视觉效果往往是模糊的，几乎没有效果。在社会上，他们弥合了私人和公共之间的差距，同时又在精英主义的区别和隶属于集体的社会需要之间摇摆不定。因此，本论文揭示了托斯卡纳视觉文化中绘画创作的新方面，直到现在，这只是通过骶骨艺术来分析的。

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.