This study traces the genesis and development of the History of Constantine tapestries designed by Pietro da Cortona and woven on the looms established by Francesco Barberini shortly after his return from France in December 1625. The circumstances surrounding the creation of the series provide a foundation and a framework for exploring its meaning and purpose. Though inspired by an earlier Constantine suite of tapestries designed by Rubens, the "Cortona" panels should be read as an independent entity, the significance of which can only be fully appreciated within the context of the gran salone of the Palazzo Barberini, which I propose was their intended destination. This conclusion is supported by the many links between the tapestries and Barberini ideology, papal politics, the palace and the ceiling fresco in the Salone. Like the Divine Providence fresco, the "Cortona" series is a summa of the virtues and religious, political, intellectual and social initiatives of the family. The series emerges finally as a promotionally Italian endeavour, a showcase of Italian art and culture.
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.30168 |
| Date | January 1999 |
| Creators | Garfinkle, Elisa Shari. |
| Contributors | Glen, T. (advisor) |
| Publisher | McGill University |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | English |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Format | application/pdf |
| Coverage | Master of Arts (Department of Art History.) |
| Rights | All items in eScholarship@McGill are protected by copyright with all rights reserved unless otherwise indicated. |
| Relation | alephsysno: 001745703, proquestno: MQ64150, Theses scanned by UMI/ProQuest. |
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