Pope Nicholas IV and the Feast of the Assumption: Style as Propaganda
Author
Barrett, Kerry Noelle
Subject
Washington and Lee University -- Honors in Art History
Nicholas IV, Pope, 1227-1292
Christian art and symbolism -- Medieval -- Themes, motives
Fasts and feasts -- Catholic Church
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In 1288, Pope Nicholas IV took advantage of the popularity of the Feast of the Assumption among pilgrims and centered his program of patronage on the two churches involved in the procession: St. John Lateran and Santa Maria Maggiore. In his decorative program, Nicholas adhered to the iconic conception to reenact the liturgy visually through the Deesis in the apse of St. John Lateran and the Coronation of the Virgin in the apse of Santa Maria Maggiore, using icons as a way to bring the ceremony to life. Pope Nicholas IV realized the importance of the image, not only for worship, but also for propaganda. Throughout his pontificate, Nicholas grappled with spiritual and political issues that revolved around the city of Constantinople and the kingdom of Sicily. In order to send these powers a message of Rome's authority, Nicholas not only used depictions that originated from these entities, but also commissioned an artist capable of imitating the Byzantinizing style that prevailed in both Constantinople and Sicily. However, Nicholas then asserted Rome's supremacy by inserting predominantly Western
theological ideas into his mosaics. Thus, the Feast of the Assumption becomes more than a religious celebration, but a declaration of power, claiming Rome as the center of Christendom as the New Jerusalem, for Rome had the favor of the Virgin. [From Introduction]