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Contemporary pilgrimage activities associated with the Volto Santo may be traced to the origins of the cult, which, as I argue in this dissertation, was established in the late eleventh century. I propose this new date of the cult's establishment, as well as its development and promotion in the twelfth and thirteenth centuries, based on research in the areas of Lucca's political, religious, and economic histories, as well as other Lucchese relic cults, the hagiographic and iconographic traditions associated with the Volto Santo, other competing relic cults in Tuscany, and the impact of Lucca's textile industry. This dissertation provides the first substantial contribution to the art historical contextualization of Il Volto Santo during the latter Middle Ages by investigating the intricate relationships between the religious, political, and economic affairs involving the Volto Santo during the late eleventh through thirteenth centuries. In addition, it complements the growing scholarship dedicated to pilgrimage studies associated with the Via Francigena. / A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester 2015. / October 29, 2015. / Includes bibliographical references. / Paula L. Gerson, Professor Directing Dissertation; Irene Zanini-Cordi, University Representative; Lynn Jones, Committee Member; Stephanie Leitch, Committee Member.

In this dissertation I provide a detailed analysis of the role played by the Tachikawa-ryu in the development of Japanese esoteric Buddhist doctrine during the medieval period (900-1200). In doing so, I seek to challenge currently held, inaccurate views of the role played by this tradition in the history of Japanese esoteric Buddhism and Japanese religion more generally. The Tachikawa-ryu, which has yet to receive sustained attention in English-language scholarship, began in the twelfth century and later came to be denounced as heretical by mainstream Buddhist institutions. The project will be divided into four sections: three of these will each focus on a different chronological stage in the development of the Tachikawa-ryu, while the introduction will address the portrayal of this tradition in twentieth-century scholarship.

Walter de Gray became archbishop of York in 1215 while attending the Fourth Lateran Council in Rome. King John of England recommended Walter for the role, and the new archbishop ruled for the next four decades with the skills of a well-connected royal administrator and a commitment to reforming his churches according to the principles advanced by the general council. Over the next four decades the archbishop reorganized and revitalized a province that had lost much of its stature through neglect and mismanagement by his predecessor. Architectural patronage played a central role in Gray's reform program, and it created four well-known Gothic edifices at the metropolitan church of York and at its dependent satellites, or minsters, Beverley, Ripon, and Southwell. Each construction project was supported by an indulgence from the archbishop and happened alongside important constitutional changes at each church. York Cathedral received a new transept as Gray campaigned for the canonization of a former archbishop and restructured the chapter and its offices. He rebuilt the damaged choir of Beverley Minster as a shrine to its bishop-founder St John while packing its prestigious chapter with trusted lieutenants. He completed Ripon Minster with a two-towered faà§ade after promoting its legendary saint Wilfrid and creating a rich new stall for the chapter. Gray also may have been instrumental in choosing the design for the new east end of Southwell Minster, where he provided new statutes and stipends for the resident canons. The institutional relationships and the programmatic significance of these monuments have not been considered previously, and the four studies here show that reform and rebuilding worked together successfully to raise the profile of York and its minsters. During the building campaigns Gray created new prebends and augmented benefices in order to recruit talented clergy, and he and his allies laid down new statutes to foster the professional ecclesiastic standards and education favored by the Lateran Council. New architectural settings encouraged veneration of local saints, and their stories as pious past prelates of York bolstered the reputation of Gray and his office. New chapels allowed for the founding of chantries, often endowed by the archbishop's handpicked churchmen, and these paid for extra masses and the elaborate liturgical schedules expected of important churches in thirteenth-century England. The story of Walter de Gray and his building program gives scholarly attention to a leading figure in English medieval history, and it provides a new historical structure for understanding several important Gothic churches that rarely find a place in the architectural history of the Middle Ages. Moreover, these four monuments serve as a test case by which to evaluate scholarly approaches to English Gothic architecture of the twelfth and thirteenth century that have attempted to go beyond stylistic analysis, particularly Peter Brieger's idea of an episcopal style.

This dissertation explores the spatiality of the parochial complex in Rothenburg ob der Tauber and the dynamic interrelation of architecture, figural art, and devotional practice. Among the spaces of the parish church of St. Jakob, the neighboring charnel-house chapel of St. Michael, and the urban cemetery between unfolded an intricate thematic program whose leitmotif was a miracle-working blood relic. Scholars are beginning to reassess the role of architecture in structuring and creating meaning among the seemingly disparate elements of medieval multi-media church programs. This meaning was not only contained in individual artworks but was also expressed in the interrelation among different pieces. The parochial complex of Rothenburg ob der Tauber was bookended by two elevated chapels: the pilgrimage chapel of the west end of St. Jakob contained the altarpiece of the Holy Blood by Tilman Riemenschneider; the free-standing octagonal cemetery chapel of St. Michael housed a Riemenschneider altarpiece of the Holy Cross. Between these spaces stretched an intricate network of associations that promised the faithful resurrection and salvation. Chapter one considers the potential for patrons to convey meaning through the choice of recognizable architectural models. Chapter two studies the power of local campaigns and spatial compositions to stage pilgrimage and to promise divine protection to the faithful. Chapter three demonstrates the ability of architecture to draw simultaneously on local referents and on distant prototypes in order to communicate ideas. Finally, chapter four explores the interconnections among the spaces of an architectural complex and among the elements of its multi-media figural program.

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Thesis--London, 1968. / Bibliography: p. 187-200.