Emerging Iconographies of Medieval Rome examines the development of Christian iconographies that had not yet established themselves as canonical images, but which were being tried out in various ways in early Christian Rome. This book focuses on four different iconographical forms that appeared in Rome during the eighth and ninth centuries: the Anastasis, the Transfiguration, the Maria Regina, and the Sickness of Hezekiah-all of which were labeled "Byzantine" by major mid-twentieth century scholars. The trend has been to readily accede to the pronouncements of those prominent authors, subjugating these rich images to a grand narrative that privileges the East and turns Rome into an artistic backwater. In this study, Annie Montgomery Labatt reacts against traditional scholarship which presents Rome as merely an adjunct of the East. It studies medieval images with formal and stylistic analyses in combination with use of the writings of the patristics and early medieval thinkers. The experimentation and innovation in the Christian iconographies of Rome in the eighth and ninth centuries provides an affirmation of the artistic vibrancy of Rome in the period before a divided East and West. Labatt revisits and revives a lost and forgotten Rome-not as a peripheral adjunct of the East, but as a center of creativity and artistic innovation.
Annie Montgomery Labatt is associate professor of visual arts and director of the galleries at Sweet Briar College.
Chapter One: The Anastasis Chapter Two: The Transfiguration Chapter Three: The Maria Regina Chapter Four: The Sickness of Hezekiah and its Ensemble Chapter Five: Contexts and Continuities
In this beautifully-written work, Labatt situates Rome's artistic heritage at the heart of dynamic and creative conversations on image-making across the greater Mediterranean world. It offers readers-from beginners in the field to advanced scholars, as well as general audiences, all fascinated with the history of the faith-a profound consideration of the Christian art of the early medieval city. Through concise and thoughtfully-composed case studies, Labatt traces how Constantine's first capital witnessed fascinating evolutionary experiments that led to a new Christian imagery of the Middle Ages. The 'marketplace of images' that Labatt explores so beautifully here is one where Rome's unique contexts shed further light and inspire our greater curiosity for the distinct visual character of the city and that of Byzantine Constantinople, the new Rome. -- Sarah Brooks, James Madison University Annie Montgomery Labatt's insightful reflections break new ground in how scholars should think about Rome in the Early Middle Ages and invite us to the possibility of evolutionary thinking in the study of the development, life, clustering, and afterlives of Christian iconographies. Labatt offers a close analysis of the earliest surviving examples of these different iconographies, which have traditionally been called proto-Byzantine, and shows how their Roman presence is essential. In so doing, the book provides an innovative look at the artistic vibrancy of Rome as a fertile design landscape that allowed varied and vital evolutionary experimentation; that's why this study is relevant and different. -- Grazia Maria Fachechi, Urbino University Emerging Iconographies provides a survey of innovative iconographic themes in eighth- to ninth-century century Rome, an era when many major images were not yet standardized. Labatt (visual arts, Sweetbriar College) focuses on four case studies, all with differing trajectories. The Anastasis, later synonymous with Byzantine depictions of the Resurrection, actually had its origins earlier in Rome and then fell out of favor in the West. The Transfiguration, in contrast, was subject to various experimental renderings, "good tries" that often did not become the norm. The bejeweled Maria Regina was a new Western image; it never appeared in the East and soon disappeared in the West. Finally, Hezekiah in his sickness turning his face away from the viewer was depicted just once. Labatt is concerned with the evolution of images, their repetition, variation, and occasional dead ends. Synthesizing and critiquing the complex and conflicting scholarship in this field, she counters the traditional view that Western art is always dependent on Byzantium. Instead, she argues for the fertility of Roman image-making, building on its vibrant early Christian past, and turns from stylistic or political arguments to consider issues of religious belief in the period. Summing Up: Recommended. Upper-division undergraduates through faculty. * CHOICE *
