Angels in Florentine Iconography and Trecento Musical Performance

Dr. John Alexander Stinson OAM PhD

doi:10.5771/9783487424705

Summary

The significance of angel musicians in Florentine Trecento paintings has been disputed: some say they are simply symbols of heavenly music; others argue that they are real people, making real music. Some even argue that the textless voices in manuscripts of secular music were intended for instrumental performance. This study resolves this dispute by analysing the process of the production of artworks and correlating pictures with contemporary documents. Contemporary chronicles and payment records document the practice of confraternities of singing laude, before an image of the Virgin Mary, while dressed like angels, sometimes with instrumental accompaniment.

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Bibliographic data

Copyright year: 2024
ISBN-Print: 978-3-487-16707-7
ISBN-Online: 978-3-487-42470-5
Publisher: Georg Olms Verlag, Baden-Baden
Series: Musica Mensurabilis
Volume: 11
Language: English
Pages: 302
Product type: Book Titles

Titelei/Inhaltsverzeichnis No access Pages I - XL
1. 1. Music Iconography’s Importance for Musicology No access
  2. Methodology No access
  3. Previous Interpretations of Trecento Musical Iconography No access
2. Iconography as the Basis of Organology No access
3. Iconography and Performance Practice No access
4. The Present publication No access
1. Introduction No access
2. Cennini and Modern Research No access
3. 1. Training No access
  2. Learning to Draw No access
  3. 1. Model Books No access
    2. Aids to Drawing No access
4. 1. Contracts between Patron and Painter No access
  2. Contracts between Painter and Legnaiuolo No access
5. 1. Frescoes No access
  2. Altarpieces No access
  3. Tabernacles No access
6. Workshop Production Practice in Trecento Florence No access
7. Conclusions No access
1. Introduction No access
2. 1. The Chapter House at Santa Maria Novella as a Test Case No access
  2. Simple identifiers No access
  3. Narrative No access
  4. Icons No access
3. 1. Survey No access
  2. Three subjects No access
  3. 1. Sources of Musical Imagery No access
    2. Three Archetypes of Musical Iconography No access
  4. Conclusions on Biblical Illustrations No access
4. 1. From Art History No access
  2. From Iconography No access
  3. From Documents No access
5. 1. Sienese Models No access
  2. 1. MaestàCoronations No access
    2. Florentine Standardised Coronations No access
    3. Daddi’s S. Maria Novella Altarpiece (B105) No access
    4. Baroncelli Altarpiece (B170) No access
    5. Bernardo Daddi’s Accademia Coronation No access
    6. Coronations in Smaller Panels No access
6. 1. Byzantine Origins No access
  2. Sienese Half-length Madonnas No access
  3. Florentine Altarpieces with Virgin and Child No access
  4. Ten Florentine Maestàs No access
  5. The Variety of Musical Angels No access
7. TheNames of Instruments No access
8. Conclusions No access
1. Filippo Villani on Musici No access
2. 1. Riquier on Joglares No access
  2. Italian Use of Riquier’s Terminology No access
  3. The Lower Classes of Giullari No access
3. 1. Trombetti No access
  2. Pifferi No access
  3. Cantorinus No access
4. 1. Francesco da Barberino No access
  2. Boccaccio’s Decameron No access
  3. Giovanni Gherardi da Prato’s Il paradiso degli Alberti No access
5. 1. Training No access
  2. CantusBinatim No access
  3. ClericalComposers No access
6. 1. Peter againstHeresy No access
  2. 1. Florentine laudesi Companies No access
    2. LaudesiFinances No access
    3. Funds for Paintings and Manuscripts No access
  3. The LaudaService No access
  4. 1. PoeticForm No access
    2. MusicalForm No access
  5. Laudese and the Fanciulli No access
  6. Professional Laudesi singers No access
  7. Angels and Laudesi No access
7. Conclusions No access
1. Textless Works in Italian Manuscripts No access
2. The Scribal Hands of Textless Voices No access
3. Untexted Voices in Italian Polyphony No access
4. 1. FPWorkswith 2/1Texting No access
  2. PitWorkswith 2/1Texting No access
  3. SqWorkswith 2/1Texting No access
  4. LoWorkswith2/1Texting No access
  5. Summary of Texting Practices in Principal Sources No access
5. 1. Textless Three-Part Works No access
  2. Workswith 3/1Texting No access
  3. Works in 3/2Texting No access
6. Conclusions No access
Conclusions No access Pages 199 - 202
1. Key to Brown’s Catalogus No access
2. Table of Instruments in Trecento Documents No access
3. Suonatores della Signoria 1292–1500 No access
4. Table of Biblical Instrument Names No access
Bibliography No access Pages 251 - 297
Index No access Pages 298 - 302