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• W2023669771 abstract "Reviewed by: Art and Patronage in the Medieval Mediterranean: Merchant Culture in the Region of Amalfi Roberta Morosini Jill Caskey Art and Patronage in the Medieval Mediterranean: Merchant Culture in the Region of Amalfi Cambridge: Cambridge University Press, 2004. Pp. xiv + 327. Sometimes a book should be judged by its cover. In the case of the art historian Jill Caskey's Art and Patronage in the Medieval Mediterranean, the beautiful color photo of the majolica bell tower in Amalfi introduces us to original, interesting research never before pursued for a southern Italian city. It applies a sophisticated analysis to the Mediterranean-inflected art of mercatantia (45), a term that the author borrows extensively, and pour cause, from Giovanni Boccaccio's story of Landolfo Rufolo (Decameron, 2.4). In her first chapter, The Experience and Politics of Mercatantia, Caskey traces four centuries of Amalfitan merchants' experience, especially with regard to the Rufolos, in an attempt to formulate interconnecting histories: of the varied social, economic, and religious contours of medieval Amalfi; of the Rufolo family from its origins around the year 1000 to ca. 1450, after which references to it dwindle, then disappear; and of the shifting politics of mercatantia (25). Tracing the origins and early generations of the Rufolo family cannot have been an easy task, since medieval scribes would typically add and invent ancestry in texts containing genealogies: from the ninth to the fourteenth century Amalfitans were identified by their first names followed by a litany of ancestors—often up to eleven generations' worth (26). Although the Normans conquered Amalfi in 1073, the Hohenstaufen in 1194, and the Angevin in 1266, the ninth century was a period of political autonomy and prosperity for the Amalfitans, who had freed the city from the Duchy [End Page 199] of Naples in 839. At this time, the political and economic elite titled themselves Comite and Protonotaio after the Byzantine titles and institutions. Twenty years of Rufolo family vicissitudes allow us to follow the rise and decline not only of a family but of the entire Amalfitan economy after the twelfth century, when in southwest Italy economies were constrained by an array of external and internal circumstances, not by any inherent shortcoming, weakness, or failure (33), reflected in the creation of an early Questione del mezzogiorno. Under the Kingdom of Sicily, Orso Rufolo, secretary of the district of Naples and Capua and Matteo in Apulia (Puglia), participated in preparing supplies and ships for the 1270 Tunisian crusade of Charles I and his brother Louis IX of France. The Rufolos oversaw ships in ports, collected taxes, sold grain in Tunisia, and controlled shipments of grain from Sicily to Apulia and to Angevin outposts in Corfu, Albania, the Peloponnesus, and the Holy Land. While actively involved in the mercatantia at the heart of the Mediterranean and its ports at least for two decades during the reign of Charles I of Salerno, they also emerged as patrons of art and architecture in their hometowns. The house, ciborium, and pulpit in Ravello were all commissioned by the Rufolo family. Their influence on material culture is reflected in the pottery found in the Amalfi region, which shows provenance from Syria, the Maghreb, the Peloponnesus, and Sicily. Thus, the Rufolos contributed enormously to consolidating the French kingdom in southern Italy, helping their financial and economic activities. Their success was the beginning of their problems: the deal—lending the king money in exchange for his valuable crown—placed the Rufolos on precarious theological, ethical, legal, and political ground, given the fraught status of wealth and money lending in the later Middle Ages and the vulnerability of their debtors, the Angevin king and his heir apparent (35). In 1283, 14 months after the hotly contested year of Angevin rule in Sicily that led to the Sicilian Vespers, Lorenzo Rufolo and his father, Matteo, were arrested for corruption and fraud. There is no evidence for this accusation against the Rufolo, who were mainly blamed for their wealth, considered illicit gain. Interestingly enough, when Peter III of Aragon came to defend Sicily and claim the crown, Matteo Rufolo was ordered to provide bread to the French troops in the Straits of Messina. The truth..." @default.
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• W2023669771 title "Art and Patronage in the Medieval Mediterranean: Merchant Culture in the Region of Amalfi (review)" @default.
• W2023669771 doi "https://doi.org/10.1353/itc.2007.0029" @default.
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