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Cet article analyse la contribution de l'Observance dominicaine et franciscaine au développement de l'art pictural en Italie à travers l'historiographie. Elle montre le rôle joué par la conception de l'espace et de la nature des Franciscains et des Dominicains observants dans la création de nouvelles typologies artistiques et dans l'apparition de la pala unifiée. Elle reconsidère également le jugement négatif porté par l'historiographie sur la contribution dominicaine en montrant son rôle dans le développement et la promotion d'une peinture religieuse plus réaliste qui implique activement le spectateur. This article analyzes the contribution of the Dominican and Franciscan Observance to the development of pictorial art in Italy through historiography. It shows the role played by the notion of space and nature of observant Franciscans and Dominicans in the creation of new artistic typologies and in the emergence of the unified pala. It also reconsiders the negative judgment of the Dominican contribution in the historiography by showing its role in the development and promotion of a more realistic religious painting that actively involves the viewer.

This paper discusses the cult of relics and saints in Lombardy under Visconti rule during the second half of the fourteenth century through the study of the influence of the artistic patronage of Emperor Charles IV and his devotion to the relics under the patronage of the Visconti and in their entourage. It highlights similarities in the politico-religious use of relics and in the veneration of saints by the Bohemian lord and the lords of Milan to legitimize their respective dynasties. Similarly, the Visconti, through the cult of St. John the Baptist in Monza and their interest in Theodolinda's treasure, consolidated their dynasty, linking its legitimacy with the Lombard reign approved by St. John the Baptist - reflecting the motives underlying the devotion to Saint Wenceslas and the importance given to relics by Charles IV. The concept of beata stirps intrinsic in the promotion of Charles IV's cult of St. Wenceslas was absent, however, from the Visconti cult of saints. During the second half of the fourt...

Nuova lettura delle relazioni politiche, culturali e artistiche tra Napoli e l'Ungheria nel primo Trecento.