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ix | |
| Acknowledgments |
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xiii | |
| Introduction |
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1 | (14) |
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1 Opening Act: Michelangelo's Vatican Pietd |
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15 | (24) |
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Cardinal Jean de Bilheres Lagraulas and the Commission |
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16 | (4) |
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20 | (4) |
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The Finished Sculpture (and Some Lingering Questions) |
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24 | (6) |
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28 | (1) |
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29 | (1) |
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30 | (1) |
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The Peripatetic Pieta: From Santa Petronilla to the Secretarium |
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30 | (9) |
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2 Canonicity and Its Discontents: Artistic Progeny of the Pietd during the Sixteenth Century |
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39 | (21) |
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A Pieta for Santa Maria dell'Anima in Rome |
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39 | (4) |
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Intermezzo: Florentine Rebellion |
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43 | (1) |
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A Pieta for Santo Spirito in Florence |
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43 | (4) |
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An Anonymous Critic and a Madrigal |
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46 | (1) |
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A Pieta for the King of France |
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47 | (2) |
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A Pieta for Everyone: Reproductive Prints |
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49 | (11) |
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Canonicity and its Discontents |
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50 | (10) |
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3 Restaging the Pietd in the Late Sixteenth to Seventeenth Centuries |
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60 | (19) |
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Marian Devotion and Imagery in Tridentine Rome |
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61 | (3) |
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The Pieta and the Canons' Choir (1568-1609) |
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64 | (3) |
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On the Road Again (1609-1625) |
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67 | (1) |
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Early Seventeenth Century Posthumous Bronze Copies of the Pieta in Italy and Spain |
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67 | (4) |
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The New Canons' Choir (1625-1750) |
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71 | (8) |
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73 | (6) |
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4 Shifting Perspectives: Michelangelo and the Pietd from the Mid-Seventeenth to Nineteenth Centuries |
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79 | (27) |
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The Pieta and the Grand Tour |
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80 | (6) |
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Robert Samber's Roma Illustrata (1722) |
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83 | (3) |
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Mid-Century: The Pieta takes Center Stage |
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86 | (3) |
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The Late Eighteenth-Early Nineteenth Centuries: Revolution, Romanticism, and Michelangelo |
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89 | (4) |
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Entre'acte: Napoleon and the Looting of Rome |
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90 | (3) |
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The Mid-Nineteenth Century: Nationalism and the Art of Michelangelo |
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93 | (13) |
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The Great Exhibition of 1851 |
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93 | (1) |
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Michelangelo's Florentine Birthday Bash of 1875 |
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94 | (12) |
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5 The Pietd on the American Stage: The Twentieth Century |
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106 | (34) |
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A Question of Authenticity |
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106 | (3) |
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Marble Pietas in Early Twentieth Century America: Icons of Faith, Beauty, and Identity |
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109 | (5) |
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The Pieta and Popular Devotion: Our Lady of Sorrows |
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110 | (3) |
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Ars Longa, Vita Brevis: The Pieta at Forest Lawn Memorial Park in Glendale |
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113 | (1) |
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Lost-Wax Bronze Casts of the Pieta: Icons of Faith, Beauty, and Commerce |
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114 | (2) |
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The Pieta and American Consumer Capitalism |
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116 | (1) |
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Only the Original Would Do: The 1964-1965 New York World's Fair |
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117 | (4) |
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Staging the Pieta at the Vatican Pavilion |
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121 | (5) |
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121 | (3) |
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Souvenirs, Body Doubles, and Effigies |
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124 | (2) |
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Plot Twist: An Iconoclastic Attack (1972) |
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126 | (14) |
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6 Coda: The Pietd on the Global Stage |
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140 | (23) |
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Something Borrowed: Recasting Casts |
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141 | (5) |
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Fragmentation, Proselytization, and Commodification |
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142 | (4) |
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Something New: Contemporary Artists and the Vatican Pieta |
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146 | (17) |
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Artistic Appropriation: The Sacred and the Profane |
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146 | (2) |
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The Vatican Pieta as a Symbol of Social Justice |
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148 | (3) |
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Performance, Empathy, and Memory: Seeing the Pieta Afresh |
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151 | (12) |
| Bibliography |
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163 | (16) |
| Index |
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179 | |
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