Sarah Wilkins studies late medieval and Renaissance art. In October 2012 she completed her PhD at Rutgers, the State University of New Jersey. Her dissertation, “She Loved More Ardently than the Rest: The Magdalen Cycles of Late Duecento and Trecento Italy,” investigating the iconography and patronage of six Italian narrative cycles depicting the life of Mary Magdalen, was supervised by Sarah Blake McHam. Her research has been supported by a Fulbright fellowship at the Kunsthistorishes Institut in Florenz--Max-Planck-Institut, and a Mellon Finishing Grant, among others.
Dr. Wilkins' primary research interests include the cult of saints, text-and-image, patronage, the Angevins, and the mendicants. Currently she is working on a book project investigating Magdalenian Eucharistic Imagery in Late Medieval and Renaissance Europe.
Edited Volume on the art of the trecento in Italy. Available now from Brepols.
Co-edited with Ho... more Edited Volume on the art of the trecento in Italy. Available now from Brepols.
Co-edited with Holly Flora.
The materiality of Assisi's early trecento Noli me tangere fresco in the lower basilica's Magdale... more The materiality of Assisi's early trecento Noli me tangere fresco in the lower basilica's Magdalen Chapel warrants reconsideration. In this painting, of the Magdalen reaching toward the resurrected Christ, the artist gilded the faces of the witnessing angels on Christ's tomb and, more importantly, rendered them in relief. They thus confront the worshipper in three dimensions, literally depicting Matthew's description of the angel at the tomb, whose " countenance was as lightning " (Mt 28, 3). These relief faces are unique in fresco, and their significance is best understood in relation to other near-contemporary mixed-media renderings, particularly in panel paintings featuring figural relief, such as the Chiarito Tabernacle (1340s), and the late-thirteenth century Santa Maria Maggiore Madonna Altarpiece. Such sculpted painting, whether on panels or on walls, materially manifested the divine to worshippers through the sense of corporeal presence imparted by the use of relief in combination with painted imagery.
The second biennial Trecento Conference. This year it will be held in Houston at the MFAH and UH ... more The second biennial Trecento Conference. This year it will be held in Houston at the MFAH and UH Campus, November 8-10
In 1951 Millard Meiss published his influential Painting in Florence and Siena after the Black De... more In 1951 Millard Meiss published his influential Painting in Florence and Siena after the Black Death. His thesis, that the black death caused a change in iconography and style, and his rather negative assessment of this style, have loomed over all subsequent assessments of the art of the late trecento in Italy. Despite some recent individual scholarly challenges, the impression has remained that this period formed a lull between the rebirth foretold by Giotto and manifested in Masaccio. This panel is intended as a forum for the re-examination and reassessment of this oft-neglected period. Topics of special interest include the historiography of the post-black death period; papers which expand the geographical range of consideration beyond Tuscany to Northern and Southern Italy; and those analyzing specific late-trecento monuments or artists. Through new investigations we hope to move towards a more nuanced understanding of art after the Black Death.
Please submit a 150-word abstract, along with a list of keywords, and a one-page CV (max. 300 words) to Sarah Wilkins at sarah.s.wilkins@gmail.com by May 25, 2013.
The Cappella del Podestà in the Bargello has been understood as the site where members of the Com... more The Cappella del Podestà in the Bargello has been understood as the site where members of the Compagnia dei Neri ministered to the condemned prior to execution. This function is documented in the quattrocento, and given the penitential nature of the iconographic program—Last Judgment imagery, Magdalen and John the Baptist cycles—such an interpretation is logical. It is, however, incomplete.
Reconsideration of the chronology reveals this was not the chapel’s original use. While there is debate about the confraternity’s foundation date, the earliest given as a compagnia di giustizia is 1336. As the chapel is traditionally dated 1334-1337 this is problematic. Moreover, new documentary evidence indicates the chapel should instead be dated 1321, confirming the Neri played no initial role. I contend, however, that although this was originally the Podestà’s palace chapel, the Neri soon harnessed the location and iconography’s potential to advance their mission of comforting the condemned.
The Magdalen Chapel in the Lower Basilica of San Francesco, Assisi was commissioned in the early ... more The Magdalen Chapel in the Lower Basilica of San Francesco, Assisi was commissioned in the early trecento by a Franciscan Bishop of Assisi, Teobaldo Pontano. Dedicated to the penitent Magdalen, its complex program includes a seven-scene cycle of the Life of the Magdalen. Facing each other, bathed in light from the large window on the north wall, are the Raising of Lazarus and the Noli me tangere. Each is based on Giotto’s version of these narratives in the Scrovegni Chapel in Padua, yet differs notably from its prototype.
The Raising of Lazarus has been modified to include gilded text issuing from the mouth of Christ, reading Foras Veni Lazare, that is, “Come Forth, Lazarus.” Drawing on penitential interpretations of the Lazarus narrative, this addition augmented the penitential, and specifically Franciscan content of the program, yet has been widely discounted as an “archaic device.” In the Noli me tangere the artist radically changed Giotto’s classicizing angels seated on the tomb. Rendering their faces in relief and gilding them and their hands, the angels strikingly illustrate Matthew’s description: “For an angel of the Lord descended from heaven... [a]nd his countenance was as lightning.” Yet this has similarly been critiqued as old-fashioned.
The innovative gilding in these frescoes draws on ideas of spiritual light. This use of gold as a signifier of meaning would have been especially eloquent in the Franciscan context in light of contemporary representations of the stigmatization of St. Francis, in which golden rays transform him into an alter Christus.
We rarely consider frescoes as material objects. Buon fresco technique fuses pigment and wall; im... more We rarely consider frescoes as material objects. Buon fresco technique fuses pigment and wall; image and support become one. The materiality of these works of art as they are perceived by viewers is thus generally subsidiary to other considerations. The late medieval Noli me tangere in the Magdalen Chapel in Assisi, however, makes us reconsider the inherent material possibilities of fresco, and the ways in which it was meant to be experienced. In this fresco, the unknown artist opted to render the faces of the two angels on the tomb in relief, covering them with gold. They thus confront the worshipper in three dimensions, not only painted representation, but a physically present manifestation of Matthew's description.
While this use of relief for the rendering of faces in a fresco is exceptional, even unique, relief was often used for the rendering of gilded halos in coeval and even earlier frescoes, providing a three-dimensional precedent that similarly denoted the glow of sanctity. Techniques for the creation of relief on walls were included by Cennino Cennini in Il Libro dell'Arte (books 126-130), where they were compared to those used to create reliefs in panel paintings.
The significance of the angels’ gilded relief visages in the Noli me tangere must in fact be understood in relation to other mixed-media artworks of the era, in particular to panel paintings such as the Chiarito Tabernacle and the Santa Maria Maggiore Madonna Altarpiece, and to polychrome relief sculpture. Painted sculpture and sculpted painting tangibly manifested the divine to worshippers through the verisimilitude that gold and paint bestowed on sculpture, and through the sense of corporeal presence imparted by the use of relief.
Edited Volume on the art of the trecento in Italy. Available now from Brepols.
Co-edited with Ho... more Edited Volume on the art of the trecento in Italy. Available now from Brepols.
Co-edited with Holly Flora.
The materiality of Assisi's early trecento Noli me tangere fresco in the lower basilica's Magdale... more The materiality of Assisi's early trecento Noli me tangere fresco in the lower basilica's Magdalen Chapel warrants reconsideration. In this painting, of the Magdalen reaching toward the resurrected Christ, the artist gilded the faces of the witnessing angels on Christ's tomb and, more importantly, rendered them in relief. They thus confront the worshipper in three dimensions, literally depicting Matthew's description of the angel at the tomb, whose " countenance was as lightning " (Mt 28, 3). These relief faces are unique in fresco, and their significance is best understood in relation to other near-contemporary mixed-media renderings, particularly in panel paintings featuring figural relief, such as the Chiarito Tabernacle (1340s), and the late-thirteenth century Santa Maria Maggiore Madonna Altarpiece. Such sculpted painting, whether on panels or on walls, materially manifested the divine to worshippers through the sense of corporeal presence imparted by the use of relief in combination with painted imagery.
The second biennial Trecento Conference. This year it will be held in Houston at the MFAH and UH ... more The second biennial Trecento Conference. This year it will be held in Houston at the MFAH and UH Campus, November 8-10
In 1951 Millard Meiss published his influential Painting in Florence and Siena after the Black De... more In 1951 Millard Meiss published his influential Painting in Florence and Siena after the Black Death. His thesis, that the black death caused a change in iconography and style, and his rather negative assessment of this style, have loomed over all subsequent assessments of the art of the late trecento in Italy. Despite some recent individual scholarly challenges, the impression has remained that this period formed a lull between the rebirth foretold by Giotto and manifested in Masaccio. This panel is intended as a forum for the re-examination and reassessment of this oft-neglected period. Topics of special interest include the historiography of the post-black death period; papers which expand the geographical range of consideration beyond Tuscany to Northern and Southern Italy; and those analyzing specific late-trecento monuments or artists. Through new investigations we hope to move towards a more nuanced understanding of art after the Black Death.
Please submit a 150-word abstract, along with a list of keywords, and a one-page CV (max. 300 words) to Sarah Wilkins at sarah.s.wilkins@gmail.com by May 25, 2013.
The Cappella del Podestà in the Bargello has been understood as the site where members of the Com... more The Cappella del Podestà in the Bargello has been understood as the site where members of the Compagnia dei Neri ministered to the condemned prior to execution. This function is documented in the quattrocento, and given the penitential nature of the iconographic program—Last Judgment imagery, Magdalen and John the Baptist cycles—such an interpretation is logical. It is, however, incomplete.
Reconsideration of the chronology reveals this was not the chapel’s original use. While there is debate about the confraternity’s foundation date, the earliest given as a compagnia di giustizia is 1336. As the chapel is traditionally dated 1334-1337 this is problematic. Moreover, new documentary evidence indicates the chapel should instead be dated 1321, confirming the Neri played no initial role. I contend, however, that although this was originally the Podestà’s palace chapel, the Neri soon harnessed the location and iconography’s potential to advance their mission of comforting the condemned.
The Magdalen Chapel in the Lower Basilica of San Francesco, Assisi was commissioned in the early ... more The Magdalen Chapel in the Lower Basilica of San Francesco, Assisi was commissioned in the early trecento by a Franciscan Bishop of Assisi, Teobaldo Pontano. Dedicated to the penitent Magdalen, its complex program includes a seven-scene cycle of the Life of the Magdalen. Facing each other, bathed in light from the large window on the north wall, are the Raising of Lazarus and the Noli me tangere. Each is based on Giotto’s version of these narratives in the Scrovegni Chapel in Padua, yet differs notably from its prototype.
The Raising of Lazarus has been modified to include gilded text issuing from the mouth of Christ, reading Foras Veni Lazare, that is, “Come Forth, Lazarus.” Drawing on penitential interpretations of the Lazarus narrative, this addition augmented the penitential, and specifically Franciscan content of the program, yet has been widely discounted as an “archaic device.” In the Noli me tangere the artist radically changed Giotto’s classicizing angels seated on the tomb. Rendering their faces in relief and gilding them and their hands, the angels strikingly illustrate Matthew’s description: “For an angel of the Lord descended from heaven... [a]nd his countenance was as lightning.” Yet this has similarly been critiqued as old-fashioned.
The innovative gilding in these frescoes draws on ideas of spiritual light. This use of gold as a signifier of meaning would have been especially eloquent in the Franciscan context in light of contemporary representations of the stigmatization of St. Francis, in which golden rays transform him into an alter Christus.
We rarely consider frescoes as material objects. Buon fresco technique fuses pigment and wall; im... more We rarely consider frescoes as material objects. Buon fresco technique fuses pigment and wall; image and support become one. The materiality of these works of art as they are perceived by viewers is thus generally subsidiary to other considerations. The late medieval Noli me tangere in the Magdalen Chapel in Assisi, however, makes us reconsider the inherent material possibilities of fresco, and the ways in which it was meant to be experienced. In this fresco, the unknown artist opted to render the faces of the two angels on the tomb in relief, covering them with gold. They thus confront the worshipper in three dimensions, not only painted representation, but a physically present manifestation of Matthew's description.
While this use of relief for the rendering of faces in a fresco is exceptional, even unique, relief was often used for the rendering of gilded halos in coeval and even earlier frescoes, providing a three-dimensional precedent that similarly denoted the glow of sanctity. Techniques for the creation of relief on walls were included by Cennino Cennini in Il Libro dell'Arte (books 126-130), where they were compared to those used to create reliefs in panel paintings.
The significance of the angels’ gilded relief visages in the Noli me tangere must in fact be understood in relation to other mixed-media artworks of the era, in particular to panel paintings such as the Chiarito Tabernacle and the Santa Maria Maggiore Madonna Altarpiece, and to polychrome relief sculpture. Painted sculpture and sculpted painting tangibly manifested the divine to worshippers through the verisimilitude that gold and paint bestowed on sculpture, and through the sense of corporeal presence imparted by the use of relief.
Uploads
Co-edited with Holly Flora.
Please submit a 150-word abstract, along with a list of keywords, and a one-page CV (max. 300 words) to Sarah Wilkins at sarah.s.wilkins@gmail.com by May 25, 2013.
Reconsideration of the chronology reveals this was not the chapel’s original use. While there is debate about the confraternity’s foundation date, the earliest given as a compagnia di giustizia is 1336. As the chapel is traditionally dated 1334-1337 this is problematic. Moreover, new documentary evidence indicates the chapel should instead be dated 1321, confirming the Neri played no initial role. I contend, however, that although this was originally the Podestà’s palace chapel, the Neri soon harnessed the location and iconography’s potential to advance their mission of comforting the condemned.
The Raising of Lazarus has been modified to include gilded text issuing from the mouth of Christ, reading Foras Veni Lazare, that is, “Come Forth, Lazarus.” Drawing on penitential interpretations of the Lazarus narrative, this addition augmented the penitential, and specifically Franciscan content of the program, yet has been widely discounted as an “archaic device.” In the Noli me tangere the artist radically changed Giotto’s classicizing angels seated on the tomb. Rendering their faces in relief and gilding them and their hands, the angels strikingly illustrate Matthew’s description: “For an angel of the Lord descended from heaven... [a]nd his countenance was as lightning.” Yet this has similarly been critiqued as old-fashioned.
The innovative gilding in these frescoes draws on ideas of spiritual light. This use of gold as a signifier of meaning would have been especially eloquent in the Franciscan context in light of contemporary representations of the stigmatization of St. Francis, in which golden rays transform him into an alter Christus.
While this use of relief for the rendering of faces in a fresco is exceptional, even unique, relief was often used for the rendering of gilded halos in coeval and even earlier frescoes, providing a three-dimensional precedent that similarly denoted the glow of sanctity. Techniques for the creation of relief on walls were included by Cennino Cennini in Il Libro dell'Arte (books 126-130), where they were compared to those used to create reliefs in panel paintings.
The significance of the angels’ gilded relief visages in the Noli me tangere must in fact be understood in relation to other mixed-media artworks of the era, in particular to panel paintings such as the Chiarito Tabernacle and the Santa Maria Maggiore Madonna Altarpiece, and to polychrome relief sculpture. Painted sculpture and sculpted painting tangibly manifested the divine to worshippers through the verisimilitude that gold and paint bestowed on sculpture, and through the sense of corporeal presence imparted by the use of relief.
Co-edited with Holly Flora.
Please submit a 150-word abstract, along with a list of keywords, and a one-page CV (max. 300 words) to Sarah Wilkins at sarah.s.wilkins@gmail.com by May 25, 2013.
Reconsideration of the chronology reveals this was not the chapel’s original use. While there is debate about the confraternity’s foundation date, the earliest given as a compagnia di giustizia is 1336. As the chapel is traditionally dated 1334-1337 this is problematic. Moreover, new documentary evidence indicates the chapel should instead be dated 1321, confirming the Neri played no initial role. I contend, however, that although this was originally the Podestà’s palace chapel, the Neri soon harnessed the location and iconography’s potential to advance their mission of comforting the condemned.
The Raising of Lazarus has been modified to include gilded text issuing from the mouth of Christ, reading Foras Veni Lazare, that is, “Come Forth, Lazarus.” Drawing on penitential interpretations of the Lazarus narrative, this addition augmented the penitential, and specifically Franciscan content of the program, yet has been widely discounted as an “archaic device.” In the Noli me tangere the artist radically changed Giotto’s classicizing angels seated on the tomb. Rendering their faces in relief and gilding them and their hands, the angels strikingly illustrate Matthew’s description: “For an angel of the Lord descended from heaven... [a]nd his countenance was as lightning.” Yet this has similarly been critiqued as old-fashioned.
The innovative gilding in these frescoes draws on ideas of spiritual light. This use of gold as a signifier of meaning would have been especially eloquent in the Franciscan context in light of contemporary representations of the stigmatization of St. Francis, in which golden rays transform him into an alter Christus.
While this use of relief for the rendering of faces in a fresco is exceptional, even unique, relief was often used for the rendering of gilded halos in coeval and even earlier frescoes, providing a three-dimensional precedent that similarly denoted the glow of sanctity. Techniques for the creation of relief on walls were included by Cennino Cennini in Il Libro dell'Arte (books 126-130), where they were compared to those used to create reliefs in panel paintings.
The significance of the angels’ gilded relief visages in the Noli me tangere must in fact be understood in relation to other mixed-media artworks of the era, in particular to panel paintings such as the Chiarito Tabernacle and the Santa Maria Maggiore Madonna Altarpiece, and to polychrome relief sculpture. Painted sculpture and sculpted painting tangibly manifested the divine to worshippers through the verisimilitude that gold and paint bestowed on sculpture, and through the sense of corporeal presence imparted by the use of relief.