Hostname: page-component-586b7cd67f-t8hqh Total loading time: 0 Render date: 2024-11-25T01:44:45.134Z Has data issue: false hasContentIssue false

A Spectacular Celebration of the Assumption in Siena

Published online by Cambridge University Press:  20 November 2018

Abstract

This essay addresses the significance of the Assumption of the Virgin fresco in the Baptistery of Siena and the existence of an adjacent tunnel that connects the Baptistery to the Cathedral above. The traditional celebration of the Assumption of the Virgin in Siena is described; previously unpublished documents stating that a play of the Assumption was performed add new details to the picture. Other contemporary Sienese religious dramas, some little-known to modern scholars, are discussed to illustrate what the play of the Assumption could have entailed. It is proposed that the tunnel, or trapdoor, was used to conceal ropes that raised an effigy of the Assunta during the feast-day Mass.

Type
Research Article
Copyright
Copyright © 2005 Renaissance Society of America

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

*

I offer my deepest appreciation to Andrew Ladis, who helped me locate and translate some of the records used in this article, and has given me much support. I would like to thank Giovanni Freni for the translations of the Latin sources used here. I also acknowledge with thanks Paolo Brognini for proofreading my transcriptions of primary materials.

References

Agosti, Giovanni. “Su Siena nell’Italia artistica del secondo Quattrocento (desiderata scherzi cartoline).” In Francesco di Giorgio e il Rinascimento a Siena, ed. Bellosi, Luciano, 488–89. Milan, 1993.Google Scholar
Cecilia, Alessi, Mariotti, Paola Ilaria, Matteini, Mauro “Le pitture murali della zona presbiteriale del Battistero di Siena: Storia, studi, e restauri.” OPD Restauro: Rivista dell’Opificio delle pietre dure e Laboratori di Restauro di Firenze 4 (1992): 9–27, 93–98.Google Scholar
Allegretti, Allegretto. “Diarium senense.” In Rerum Italicarum Scriptores, ed. Argellati, F., vol. 23: cols. 767–860. Milan. Reprint, Bologna, 1977.Google Scholar
d’Ancona, Alessandro. Origini del teatro italiano. 2 vols. Rome, 1971.Google Scholar
Pèleo, Bacci. “Una Tavola inedita e sconosciuta di Luca di Tommè con alcuni ignorati documenti della sua vita.” Rassegna d’arte senese e del costume, n.s., 1 (1927): 5162.Google Scholar
Bacci, Pèleo. Documenti e commenti per la storia dell’arte. Florence, 1944.Google Scholar
Cyrilla, Barr. “Music and Spectacle in Confraternity Drama of Fifteenth-Century Florence: The Reconstruction of a Theatrical Event.” In Christianity and the Renaissance (1990), 376404.Google Scholar
Vincenzo de, Bartholomaeis. “Di un codice senese di sacre rappresentazioni.” Rendiconti della Reala Accademica dei Lincei, 4th ser., 6 (1890): 304–14.Google Scholar
Vincenzo de, Bartholomaeis. “Una rappresentazione inedita dell’apparizione ad Emmaus.” Rendiconti della Reala Accademica dei Lincei, 5th ser., 1 (1892): 769–82.Google Scholar
Bartholomaeis, Vincenzo de. Laude Drammatiche e Rappresentazioni Sacre. 3 vols. 1943. Reprint, Florence, 1967.Google Scholar
Carli, Enzo. Vetrata Duccesca. Florence, 1946.Google Scholar
Carli, Enzo. Dipinti senese del contado e della Maremma. Milan, 1955.Google Scholar
Carli, Enzo. Arte senese nella Maremma Grossetana. Grosseto, 1964.Google Scholar
Carli, Enzo. Il Duomo di Siena. Genoa, 1979.Google Scholar
Cecchini, Giovanni. “Palio and Contrade: Historical Evolution.” In Palio, ed. Falassi, Alessandro and Catoni, Giuliano, 309–58. Milan, 1983.Google Scholar
Chelazzi Dini, Giulietta, Alessandro Angelini, and Bernardina Sani. Pittura senese. Milan, 1997.Google Scholar
Christianity and the Renaissance: Image and Religious Imagination in the Quat-trocento. Ed. Verdon, Timothy and Henderson, John. Syracuse, 1990.Google Scholar
Sharon, Dale. “Ambrogio Lorenzetti's Maestà at Massa Marittima.” Source: Notes in the History of Art 8 (1989): 611.Google Scholar
Dempsey, Charles. Inventing the Renaissance Putto. Chapel Hill, 2001.Google Scholar
Eliason, Lois Munemitsu. “The Virgin's Sacred Belt and the Fifteenth-Century Artistic Commissions at Santo Stefano, Prato.” PhD diss., Rutgers University, 2004.Google Scholar
Fabbri, Mario, Elvira Garbero Zorzi, and Anna Maria Petrioli Tofani. Il Luogo teatrale a Firenze: Brunelleschi, Vasari, Buontalenti, Parigi. Milan, 1975.Google Scholar
Falletti-Fossati, Carlo. Costumi senesi nella seconda metà del secolo XIV. Siena, 1882.Google Scholar
Galletti, A. G. Le rappresentazioni de Feo Belcari ed altri di lui poesie. Florence, 1833.Google Scholar
Garbero Zorzi, Elvira, and Mario Sperenzi. Teatro e spettacolo nella Firenze dei Medici: Modelli dei luoghi teatrali. Florence, 2001.Google Scholar
Gnoni Mavarelli, Cristina, Ludovica Sebregondi, and Ulisse Tramonti. La chiesa di San Giorgio a Montemerano. Florence, 2000.Google Scholar
Ulla, Haastrup. “Medieval Props in the Liturgical Drama.” Hafnia: Copenhagen Papers in the History of Art 11 (1987): 133–70.Google Scholar
Hanfmann, George M. A. The Season Sarcophagus in Dumbarton Oaks. Cambridge, MA, 1951.Google Scholar
Kempers, Bram. “Icons, Altarpieces, and Civic Ritual in Siena Cathedral, 1100–1530.” In City and Spectacle in Medieval Europe, ed. Hanawalt, Barbara A. and Reyerson, Kathryn L., 89–136. Minneapolis and London, 1994.Google Scholar
Krause, Hans-Joachim. “‘Imago ascensio-nis’ und ‘Himmelloch’: Zum ‘Bild’-Gebrauch in der spätmittelalterlichen Liturgie.” In Skulptur des Mittelalters: Funktion und Gestalt, ed. Möbius, Friedrich and Schubert, Ernst, 280–353. Weimar, 1987.Google Scholar
Lusini, Vittorio. Il San Giovanni di Siena e i suoi restauri. Florence, 1901.Google Scholar
Lusini, Vittorio. Il Duomo di Siena. 2 vols. Siena, 1911.Google Scholar
Paola Ilaria, Mariotti, Poggio, Barbaro, and, Rossi, Daniele. 1990: “Il restauro delle pitture murali di Lorenzo di Pietro detto ‘il Vecchietta’ nel Battistero di San Giovanni a Siena.” Kermes 9 3944.Google Scholar
Mazzi, Curzio. La Congrega dei Rozzi di Siena nel secolo XVI. 2 vols. Florence, 1882.Google Scholar
Meredith, Peter, and John E. Tailby. The Staging of Religious Drama in Europe in the Later Middle Ages: Texts and Documents in English Translation. Kalamazoo, 1983.Google Scholar
The Missal in Latin and English: Being the Text of the Romanum, Missale with English Rubrics and a New Translation. Westminster, MD, 1958.Google Scholar
Robert L, Mode. “San Bernardino in Glory.” Art Bulletin 55 (1973): 5876.Google Scholar
Museo di Villa Guinigi, Lucca. Lucca, 1968.Google Scholar
Newbigin, Nerida. Nuovo Corpus di sacre rappresentazioni fiorentine del Quattrocento. Bologna, 1983.Google Scholar
Robert L, Mode. “The Word Made Flesh: The Rappresentazioni of Mysteries and Miracles in Fifteenth-Century Florence.” In Christianity and the Renaissance (1990): 361–75.Google Scholar
Mode, Robert L. Feste d’Oltrarno: Plays in Churches in Fifteenth-Century Florence. 2 vols. Florence, 1996.Google Scholar
Norman, Diana. Siena and the Virgin: Art and Politics in a Medieval City State. New Haven and London, 1999.Google Scholar
Os, Henk Van. Sienese Altarpieces 1215–1460: Form, Content, Function. Vol. 1, 1215–1344. Groningen, 1984.Google Scholar
Os, Henk Van. Studies in Early Tuscan Painting. London, 1992.Google Scholar
Pietramellara, Carla. Il Duomo di Siena: Evoluzione della forma dalle origini alla fine del Trecento. Florence, 1980.Google Scholar
Kees van der, Ploeg. “Architectural and Liturgical Aspects of Siena Cathedral in the Middle Ages: The Arrangement of the Choir before 1215.” In Os, Sienese Altarpieces 1215–1460: Form, Content, Function, vol. 1, 131–41.Google Scholar
Ploeg, Kees van der. Art, Architecture and Liturgy: The Siena Cathedral in the Middle Ages. Groningen, 1993.Google Scholar
Götz, Pochat. “Brunelleschi and the ‘Ascension’ of 1422.” Art Bulletin 60 (1978): 232–34.Google Scholar
Pope-Hennessy, John. Donatello: Sculptor. New York, 1993.Google Scholar
Prager, Frank D., and Gustina Scaglia. Brunelleschi: Studies of his Technology and Inventions. Cambridge, MA, 1970.Google Scholar
Provedi, Agostino. Relazione delle pubbliche feste date in Siena negli ultimi cinque secoli fino alla venuta dei Reali Sovrani Ferdinando III.… Siena, 1791.Google Scholar
Santi, Bruno. Guida storico-artistica alla Maremma. Siena, 1995.Google Scholar
Schevill, Ferdinand. Siena, the Story of a Medieval Commune. New York, 1909.Google Scholar
Smyth, Carolyn. Correggio's Frescoes in Parma Cathedral. Princeton, 1997.Google Scholar
Tizio, Sigismondo. Historiae Senenses. Ed. Manuela Doni Garfagnini. Rome, 1992.Google Scholar
Paola, Ventrone. “Thoughts on Florentine Fifteenth-Century Religious Spectacle.” In Christianity and the Renaissance (1990), 405–12.Google Scholar
Ventrone, Paola. “‘Una visione miracolosa e indicibile’: nuove consideratzioni sulle feste di quartiere.” In Teatro e spettacolo nella Firenze dei Medici: Modelli dei luoghi teatrali, ed. Zorzi, Elvira Garbero and Sperenzi, Mario, 39–52. Florence, 2001.Google Scholar
Verdon, Timothy. “Il Battistero di San Giovanni di Siena e il fonte battesimale.” In Il Duomo come libro aperto: Leggere l’arte della chiesa, ed. Caciorgna, Marilena, 127–35. Siena, 1997.Google Scholar
Voragine, Jacobus da. The Golden Legend. Trans. William Granger Ryan. 2 vols. Princeton, 1993.Google Scholar
White, John. Duccio: Tuscan Art and the Medieval Workshop. London, 1979.Google Scholar
White, John. Art and Architecture in Italy: 1250–1400. 3rd ed. New Haven, 1993.Google Scholar
Young, Karl. The Drama of the Medieval Church. 2 vols. Oxford, 1933.Google Scholar
Zdekauer, Lodovico. Il Constituto del Comune di Siena dell’anno 1262. 1897. Reprint, Bologna, 1983.Google Scholar
Zorzi, Ludovico. Il teatro e la città: Saggi sulla scena italiana. Turin, 1977.Google Scholar