Costantino Continuato. Ideologia e iconografia del carisma imperiale bizantino agli albori dell’ età moderna

Silvia, Ronchey

Zbornik radova Vizantoloskog instituta

50-2

873

897

http://www.doiserbia.nb.rs/Article.aspx?id=0584-98881302873R

2013-2020/03/08/21:59:39

In the second half of the 16th century, after the definitive Turkish conquest of Constantinople, the titulus of Constantine came to be perceived in a fundamentally new way within the design to reaffirm papal authority, culminating in the pontificate of Aeneas Sylvius Piccolomini. Diplomatic wrangling and the strategic plan to save Byzantium in the West in the two decades after the fall of Constantinople had and would have had the precise aim of reinstating the hereditary title of the Byzantine Caesars, transferred to the East by Constantine and never extinguished, within the orbit of papal influence. The seat of Peter and the sceptre of Eastern Christianity should have been symbolically reunited in the ‘New Byzantium,’ which would have had its base at Rome and its bridgehead at Mystras. The project failed also because its main supporters died one after the other within a short period of time. But during the decades when it was pursued, we witness a true revival of the figure of Constantine and an accentuation of the symbolic primacy and legal significance of his title in the deliberations and political actions of humanist intellectuals, and their reflection in the artistic commissions of the period.

Constantine, Enea Silvio Piccolomini, arte del Rinascimento, Bessarion, Bessarione, Constantine XI Palaiologos, Constantinian iconography, Costantino, Costantino XI Paleologo, fratelli Limbourg, Giovanni II Paleologo, iconografia costantiniana, John VIII Palaiologos, Limbourg Brothers, Manuele II Paleologo, Piero della Francesca, Pisanello, Renaissance art, titulus di Costantino, titulus of Constantine