Reviewed by:

• Dominicans and Franciscans in Medieval Rome: History, Architecture, and Art by Joan Barclay Lloyd
• Judith Collard

This is a richly illustrated, substantial volume that records and maps various medieval ecclesiastical structures found in Rome. In this book, Dr Joan Barclay Lloyd examines the seven buildings associated with the two preaching orders, the Dominicans and Franciscans, in the medieval period. Her last chapter is on Catherine of Siena, who is buried at Santa Maria sopra Minerva, one of the churches covered in this survey.

The book is divided into two parts. The first part discusses four early Dominican and Franciscan foundations in Rome—the Dominican nunnery at San Sisto (now San Sisto Vecchio), founded c. 1218–21; the Dominican priory at Santa Sabina, founded c. 1220–22; the Franciscan church and friary of San Francesco a Ripa, founded in 1229; and the Franciscan nunnery of Santi Cosma e Damiano (San Cosimato), founded in 1234. The second covers the next wave of foundations. These are the Friars Minor at Santa Maria in Aracoeli, founded between 1248 and 1252; the Friars Preachers at Santa Maria Sopra Minerva, founded between 1266 and 1276; and the Franciscan nunnery at San Silvestro in Capite, founded in 1285. The final chapter focuses on medieval Dominican penitents from about 1286, particularly Catherine of Siena (1347–1380), who was canonised in 1461 and listed as a Doctor of the Church. Catherine was a lay member of the Dominican Order; a ‘mantellata’, as Dominican penitents were referred to in Siena. She travelled frequently for her public ministry and was one [End Page 212] of the great mystics of the late Middle Ages. She came to Rome in November 1378 and died there in April 1380.

Each set of buildings is dealt with systematically in individual chapters. Barclay Lloyd takes care to locate each in the topography of Rome, and the history of each site is given, often tracing their origins to earlier ecclesiastical foundations. For example, Santa Sabina is identified as being founded in the early Christian period. The building’s adaptations by the Dominicans and the Franciscans are recorded, as is their usage. Indeed, alterations to these buildings that continued into the nineteenth and twentieth centuries are also recorded. As part of Barclay Lloyd’s project is to analyse and reconstruct the medieval elements, this tracking of their later evolution provides her with much useful data, as the medieval elements were often obscured by such changes.

Plans and maps are an important part of this study, and used extensively throughout, providing fascinating insights. Both historical and recent examples are used in the book, including those survey drawings produced by the author with the aid of architect Jeremy M. Blake. Archaeological examination and the careful study of masonry and other remains extend this further. For example, when examining the fabric of Santa Maria in Arcoeli, Barclay Lloyd can demonstrate that the evidence provided by Marten van Heemskerk’s sixteenth-century drawing that the church originally had pointed clerestory windows is correct. There is, however, no evidence for the eight windows he drew, rather than the existing six. Fragmentary remains of the clerestory windows with their Gothic tracery can still be seen on the exterior. The architectural plans, showing not only ground plans but also elevations of both the churches and friaries, reveal just how complicated these plots were. At Santa Sabina, for example, remains of a Roman road and other ancient building works were found under the convent buildings, while a third-century mosaic was found below the first two bays in the nave.

While buildings are the focus of this study, Barclay Lloyd also gives examples of the medieval works of art contained within them that are still accessible or that are recorded in written sources. Ten plates reproduce several icons, mosaics, and frescoes originally found in these churches, including Margaritone of Arezzo’s fine painting of Saint Francis of Assisi and a Byzantine icon of the Mandylion from the...

审阅者：

• 中世纪罗马的多米尼加和方济各会：历史、建筑和艺术 作者：Joan Barclay Lloyd
• 朱迪思·科拉德

这是一本插图丰富、内容丰富的书，记录并绘制了在罗马发现的各种中世纪教会结构的地图。在这本书中，琼·巴克利·劳埃德 (Joan Barclay Lloyd) 博士研究了中世纪时期与两个传教团体（多明我会和方济各会）相关的七座建筑。她的最后一章是关于锡耶纳的凯瑟琳，她被埋葬在密涅瓦圣母教堂，这是本次调查所涵盖的教堂之一。

本书分为两部分。第一部分讨论罗马的四个早期多米尼加和方济各会基金会——位于圣西斯托（现为圣西斯托维奇奥）的多米尼加女修道院，成立于c。 1218–21；位于圣萨比娜的多米尼加修道院，成立于c。 1220–22；里帕圣方济会教堂和修道院，建于 1229 年；以及建于 1234 年的圣科斯马·达米亚诺 (San Cosimato) 方济会修道院。第二个涉及下一波基金会。他们是阿拉科埃利圣玛丽亚的小修士，成立于 1248 年至 1252 年间；圣玛丽亚索普拉密涅瓦教堂的修士传道会 (Friars Preachers) 成立于 1266 年至 1276 年间；以及建于 1285 年的卡皮特圣西尔维斯特方济各会修道院。最后一章重点介绍 1286 年左右的中世纪多米尼加忏悔者，特别是锡耶纳的凯瑟琳（1347-1380 年），她于 1461 年被册封为教会圣师。凯瑟琳是多明我会的非宗教成员。锡耶纳的多米尼加忏悔者被称为“mantellata”。她经常因公共事务而旅行，是中世纪晚期伟大的神秘主义者之一[结束第212页]。她于 1378 年 11 月来到罗马，并于 1380 年 4 月在那里去世。

每组建筑都在单独的章节中系统地讨论。巴克莱·劳埃德（Barclay Lloyd）仔细地在罗马的地形中定位了每个地点，并给出了每个地点的历史，通常将其起源追溯到早期的教会基础。例如，圣萨比娜教堂被认为是在早期基督教时期建立的。多米尼加人和方济各会对该建筑的改造及其用途都被记录下来。事实上，这些建筑的改建一直持续到十九世纪和二十世纪也有记录。巴克莱劳埃德项目的一部分是分析和重建中世纪元素，对它们后来的演变的追踪为她提供了很多有用的数据，因为中世纪元素经常被这种变化所掩盖。

平面图和地图是这项研究的重要组成部分，并在整个研究中广泛使用，提供了令人着迷的见解。书中使用了历史和最近的例子，包括作者在建筑师杰里米·M·布莱克（Jeremy M. Blake）的帮助下制作的那些勘察图。考古检查以及对砖石和其他遗迹的仔细研究进一步扩展了这一点。例如，在检查阿尔科埃利圣玛丽亚教堂的结构时，巴克莱·劳埃德可以证明，马丁·范·亨斯科克 (Marten van Heemskerk) 的 16 世纪绘画所提供的证据表明，教堂最初有尖顶天窗，这一证据是正确的。然而，没有证据表明他画了八扇窗户，而不是现有的六扇窗户。在外部仍然可以看到带有哥特式窗饰的天窗碎片。建筑平面图不仅显示了平面图，还显示了教堂和修道院的立面图，揭示了这些地块的复杂程度。例如，在圣萨比纳，在修道院建筑下发现了罗马道路和其他古代建筑的遗迹，而在中殿的前两个海湾下方发现了三世纪的马赛克。

虽然建筑物是本研究的重点，但 Barclay Lloyd 还提供了其中包含的中世纪艺术品的示例，这些艺术品仍然可以访问或记录在书面资料中。十个盘子再现了最初在这些教堂中发现的几个圣像、马赛克和壁画，包括阿雷佐的玛加里托内的阿西西圣方济各的精美画作和拜占庭的曼迪利翁圣像Mandylion 从...