Experiencing Pilgrimage and Experiencing Art in Central Italy c.1264 - 1456

中世纪时期长途朝圣与艺术之间的关系长期以来一直是研究的主题，并继续激励着大量的工作。朝圣主要与三个主要目的地有关：耶路撒冷、罗马和圣地亚哥·德·孔波斯特拉。从坎特伯雷经法国到罗马的路线(Via Francigena)被介绍为意大利朝圣的最终体验。过度依赖坎特伯雷大主教西格里克在公元990年对这条路线幸存下来的最早描述，证明对后来几个世纪的研究是有问题的。Via Francigena不是一个固定的路线，在历史上是静态的，它更好地被理解为主要和鲜为人知的路线的纽带，为各种虔诚的旅程提供了机会。这种重新定义的含义是，朝圣的经历渗透到了意大利中部的风景中，而不是局限于罗马。很少有研究集中在罗马以外的意大利境内。对阿西西(库珀和罗布森)、博洛尼亚(奥斯特胡特)和比萨(科尔·阿尔)等地的朝圣做出了重大贡献。中世纪晚期意大利的朝圣之旅不仅仅是奉献者前往宗教场所的旅程。朝圣的全过程包括当地的、虚拟的和想象的旅行。对意大利材料的研究更少探讨艺术、建筑和各种朝圣体验之间的关系。然而，朝圣者的观看者与阿西西(罗布森)的激情周期有关，虚拟朝圣与杜乔在锡耶纳(塞勒，罗瑟)的《Maestà》的叙事小组有关。多萝西·格拉斯试图探索12世纪和13世纪初由Via Francigena促进的艺术交流。她发现，尽管材料丰富，但结果并没有产生她预期的模式。Via Francigena仍然是研究意大利朝圣的关键建筑，但注意到格拉斯的观察，我的研究将采取不同的路线。论文将通过以不同的方式重点研究与Francigena相关的遗址上的三个物体来探索艺术和朝圣的主题：锡耶纳大教堂的Maest ka(主要通过Francigena)；Orvieto大教堂中较少研究的下士神龛(在主要路线的一侧)；以及较少研究的皮斯托亚圣泽诺教堂的San Jacopo祭坛(在另一条路线上)。锡耶纳、奥维埃托和皮斯托亚的结合为探索两个首要问题提供了丰富的研究材料：中世纪晚期意大利的艺术和建筑如何反映当代朝圣经历的性质，以及朝圣和朝圣观众的需求如何对那个时期的艺术和建筑的创作做出贡献？从物品本身开始，我将探索连续的背景层次：将作品设置在他们的小教堂、大教堂、城市背景、意大利中部和更广泛的朝圣网络中。这些作品在很大程度上被孤立地与朝圣者的经历隔绝对待，而且往往只与归属有关。本文采用比较的方法，不仅将这些概念共鸣和视觉共鸣的作品汇集在一起，而且还将围绕着它们的丰富素材进行梳理。

The relationship between long-range pilgrimage and art during the medieval period has long been the subject of study and continues to stimulate significant work. Pilgrimage has been predominantly understood in relation to three major destinations: Jerusalem, Rome and Santiago de Compostela. The route to Rome from Canterbury via France (the via Francigena) has been presented as the definitive experience of Italian pilgrimage. An over-reliance upon the earliest surviving account of the route, by the Archbishop of Canterbury Sigeric in 990 A.D., proves problematic for studies of later centuries. Rather than constituting a fixed itinerary, static through history, the via Francigena is better understood as a nexus of major and lesser-known routes, offering the opportunity for a variety of devotional journeys. The implication of such a redefinition is that the experience of pilgrimage permeated the central-Italian landscape, rather than being confined to Rome.Few studies have focused on sites within Italy beyond Rome. Significant contributions have explored pilgrimage in locations such as Assisi (Cooper and Robson), Bologna (Ousterhout) and Pisa (Cole Ahl). Pilgrimage in late-medieval Italy was more than the journey of devotees towards a religious site. The full spectrum of pilgrimage included local, virtual and imagined journeying. Even fewer studies of Italian material have examined the relationship between art, architecture and the full range of pilgrim experiences. The pilgrim viewer has, however, been explored in relation to the Passion Cycle at Assisi (Robson) and virtual pilgrimage has been related to the narrative panels of Duccio's Maestà in Siena (Seiler, Rosser). Dorothy Glass sought to explore the artistic exchange facilitated by the via Francigena in the twelfth and early thirteenth centuries. She found that, though rich in material, the results did not yield the pattern she had expected. The via Francigena remains a key construct for the study of pilgrimage in Italy but, taking heed of Glass' observations, my research will take a different approach to the route. The thesis would explore the topic of art and pilgrimage through focused study of three objects located in sites related to the Francigena in different ways: the Maestà in Siena Cathedral (on the main via Francigena); the less-studied Reliquary of the Holy Corporal in the Cathedral of Orvieto (to the side of the main route); and the much-less studied Altar of San Jacopo in the Church of San Zeno in Pistoia (on an alternative route). The combination of Siena, Orvieto and Pistoia provides a wealth of research material to explore two overarching questions: how does the art and architecture of late-medieval Italy reflect the nature of contemporary pilgrimage experience and how did pilgrimage and the demands of a pilgrim viewer contribute to the making of art and architecture in the period? Beginning from the objects themselves, I will explore successive layers of context: setting the works within their chapels, cathedrals, urban contexts, within Central Italy and broader networks of pilgrimage. These works have largely been treated in isolation from pilgrim experience and often only with regard to attribution. With a comparative approach, the thesis will not only draw together these works of conceptual and visual resonance, but also the rich material that surrounds them.