Art and the Augustinian Order in Early Renaissance Italy

Louise Bourdua is Senior Lecturer in the History of Art at the University of Aberdeen, UK. Anne Dunlop is Associate Professor in the Department of History of Art at Yale University, USA.

• Contents: Introduction: the Augustinians, the mendicant orders, and early-Renaissance art, Anne Dunlop; Hermits, habits, and history - the dress of the Augustinian hermits, Cordelia Warr; Entombing the founder St Augustine of Hippo, Louise Bourdua; Simone Martini's panel of the Blessed Agostino Novello: the creation of a local saint, Cathleen Hoeniger; Black humour: the Cappellone at Tolentino, Anne Dunlop; Augustine and the new Augustinianism in the choir frescoes of the Eremitani, Padua, Janis Elliott; Time, history and the cosmos: the Dado in the apse of the church of the Eremitani, Padua, Catherine Harding; St Anthony Abbot in Sant'Agostino, Montalcino: an Augustinian image in the Sienese contado, Diana Norman; Santa Monica, Venice, and the Vivarini, Ian Holgate; St Augustine's ecstasy before the Trinity in the art of the hermits, c. 1360-c.1440, Donal Cooper; Raphael, ceremonial banners and devotional prints: new light on Città di Castello's Nicholas of Tolentino altarpiece, Robert Cobianchi; Index.

’[The] bibliographic survey is especially useful since some of the scholarship, much of it published in Europe, is not accessible as it should be... This admirable collection is an indispensable reference for anyone seeking to understand the diversity of the order's artistic programs...’ Renaissance Quarterly ’The series of essays in this volume raise thought-provoking and important questions about how the Augustinians negotiated their intellectual and spiritual commitment to the ideas of St Augustine, including his image theory, with their choice of style, iconography and subject matter for the works of art that they commissioned. Within the larger context of the great rise of the visual arts in this period and the contingent shift in the style and content of images, the authors of this volume provide innovative and varied interpretations of the relationship between art and institutions.’ Journal of Ecclesiastical History