The Art of the Genoese Colonies of the Black Sea Basin 1261-1475 (Medieval Mediterranean, 136)

Rafal Quirini-Poplawski offers here the first panorama of the artistic phenomena of the Genoese outposts around the Black Sea. He argues that artistic production was less “Genoese” than previously thought, but nevertheless extraordinarily rich and colorful, clearly demonstrating intercultural exchange. Contents Contents 6 Acknowledgements 10 Illustrations 11 Introduction 22 1 The Aims of the Book 22 2 State of Research – Literature Review 25 3 Sources and Approaches 34 Historical Introduction 36 1 History of the Genoese Colonies in the Context of the History of the Black Sea Basin in the Late Medieval Period 36 1.1 The Black Sea Basin in the Late Middle Ages. The Expansion of Islam and the Latins 36 1.2 The Beginnings and Further Development of the Genoese Presence on the Black Sea (Second Half of the 13th c.–First Half of the 14th c.). Caffa, Gazaria, and Pera 38 1.3 Remaining Genoese Outposts in the Black Sea Basin. Latin Churches in the Colonies 43 1.4 The History of the Genoese Colonies from the Second Half of the 14th Century to the Second Half of the 15th Century 49 2 The Legal and Organisational Frameworks of Construction Activity and Crafts in the Colonies. Origin of Builders and Craftsmen 50 2.1 Organisational Frameworks of Construction Activity. Builders 50 2.2 The Role of Crafts and the Organization of Artisan Activity. The Origins of the Artisans 60 The Topography of the Colonies and Secular Buildings 67 1 The Topography of the Colonies 67 1.1 Introduction 67 1.2 Metropolises 67 1.3 Smaller Towns and Settlements 74 1.4 Genoese Districts 84 1.5 Castles 91 1.6 Analysis 93 1.6.1 Urban Planning. Topographical Similarities Between Genoa and Its Colonies 93 2 Secular Buildings 97 2.1 Defensive Buildings 97 2.2 Public Buildings 136 2.3 Residential Houses 141 2.4 Analysis 144 2.4.1 Secular Buildings. “Western” Types of Buildings and Architectural Motifs 144 Sacral Buildings 151 1 Introduction 151 2 The Churches of Caffa 151 2.1 Number of Churches 151 2.2 Cathedral of St. Agnes 153 2.3 Franciscan Outposts 154 2.4 Dominican Outposts 155 2.5 Outposts of the Armenian Congregation of Uniate Friars (“Armenian Dominicans”) 157 2.6 Other Latin Churches 159 2.7 Churches Under the Invocation of St. Anne 160 2.8 Churches Under the Invocation of St. George 160 2.9 Churches Under the Invocation of St. Nicholas 162 2.10 Church of St. Michael the Archangel/of the Holy Archangels Michael and Gabriel 162 2.11 Church of St. Sergius 164 2.12 Churches of St. Demetrius and St. Stephen 166 2.13 Churches of St. John the Baptist and St. John the Theologian 167 2.14 Other Armenian Churches 168 2.15 Greek Churches 169 2.16 Further Fate of Caffa’s Churches 170 2.17 Analysis 171 2.17.1 Is there Evidence of Latin Influence on the Forms of Armenian Churches in Caffa? 171 3 The Churches of Pera 173 3.1 Number of Latin Churches 173 3.2 The So-Called Cathedral of St. Michael 175 3.3 Dominican Church of St. Paul 175 3.4 Franciscan Churches of St. Francis, St. Anne, and the Church of St. Sebastian 181 3.5 The Benedictine Church 186 3.6 Other Latin Churches 190 3.7 Greek Churches 192 3.8 Armenian Churches 193 3.9 Analysis 194 3.9.1 Sacral Architecture in Pera. Greek-Latin Cooperation 194 4 Churches in Soldaia, Cembalo, Trebizond, Samastri, and Vosporo. Other Religious Buildings 199 4.1 Soldaia 199 4.2 Cembalo 204 4.3 Trebizond 205 4.4 Samastri 207 4.5 Vosporo 208 4.6 Mosques and Synagogues 208 Bas-Relief Decoration 210 1 Review of Monuments 210 1.1 Foundation Slabs 210 1.2 Tombs and Grave Slabs 224 1.3 Other Objects with Bas-Relief and Engraved Decoration 231 2 Analysis 238 2.1 Heraldry and Symbols of Genoa 238 2.2 Bas-Relief Decoration in Pera. Greco-Latin Cooperation 240 2.3 Relief Architectural Decoration in Crimea. Armenians and the So-Called Seljuk Style and Byzantine Elements 246 2.4 Tamga – An Element of Mongolian Origin in Caffa 260 2.5 Secondary Use of Architectural and Sculptural Details. Spolia, Trophies 262 Painting and Applied Arts 269 1 Monumental Painting 269 1.1 Pera. Frescoes, Mosaics, and Stained Glass 269 1.2 Analysis 283 1.2.1 Monumental Painting in Pera (Frescoes, Mosaics, Stained Glass). Hybrid Solutions 283 1.3 Paintings in Crimea 295 1.4 Analysis 302 1.4.1 Monumental Painting in Crimea. Genoese Colonies and the Palaiologan Style 302 2 Panel and Miniature Painting 307 2.1 Panel Painting 307 2.2 Analysis 312 2.2.1 Icons. Greek Works in a Latin Context? 312 2.3 Miniature Painting 313 2.4 Analysis 316 2.4.1 Latin Elements in Armenian Miniature Painting 316 2.4.2 Greek Elements in Armenian Miniature Painting 321 3 Applied Arts 324 3.1 Sacral Objects 324 3.2 Analysis 329 3.2.1 Objects of Goldsmithery from Pera. Greek Works in a Latin Context? 329 3.3 Secular Works of Applied Arts 332 4 Numismatics and Sphragistics 337 4.1 Early Coins of Caffa 337 4.2 Aspers of Caffa 337 4.3 Caffean folleri 339 4.4 Lithuanian-Crimean Coins? 339 4.5 Coins of Other Genoese Colonies 340 4.6 The Appearance of Caffa Coins – Interpretations 341 4.7 Seals 342 Conclusion 345 Catalogue 360 A. Built or Rebuilt Within the Borders of a Genoese Colony 360 B. Of Uncertain Genoese Origin 361 C. Those Incorrectly Attributed a Genoese Origin 363 Bibliography 370 Primary Sources 370 Archival Materials 370 Genoa, Archivio di Stato (ASG) 370 Genoa, archive of the Società Ligure di Storia Patria (SLSP) 370 Published Sources 370 Secondary Works 372 Index of Persons 411 Index of Place Names and Subjects1 417 RANGE!A625 414 RANGE!A663 414 RANGE!A65 417 RANGE!A101 420 RANGE!A512 431 "Rafał Quirini-Popławski offers here the first panorama of the artistic phenomena of the Genoese outposts scattered around the Black Sea, an area whose cultural history is little known. The artistic creativity of the region emerges as extraordinarily rich and colorful, with a variety of heterogeneous, hybrid and intermingled characteristics. The books questions the extent to which the descriptor "Genoese" can be applied to the settlements' artistic production; Quirini-Popławski demonstrates that, despite entrenched views of these colonies as centres of Italian and Latin culture, it was in fact Greek and Armenian art that was of greater importance"-- Provided by publisher Rafal Quirini-Poplawski offers here the first panorama of the artistic phenomena of the Genoese outposts scattered around the Black Sea, an area whose cultural history is little known. The artistic creativity of the region emerges as extraordinarily rich and colorful, with a variety of heterogeneous, hybrid and intermingled characteristics.0 0The book questions the extent to which the descriptor "Genoese" can be applied to the settlements? artistic production; Quirini-Poplawski demonstrates that, despite entrenched views of these colonies as centres of Italian and Latin culture, it was in fact Greek and Armenian art that was of greater importance