The visual experience of the Triumphant Church. The mosaic of S. Maria in Trastevere

Cover
Table of contents
Acknowledgments
Introduction
1. Framing the Church Reform in Rome
	1.1. The ʻGregorian’ reform
	1.2. Analectus II and Innocent II
	1.3. The arts and the church reform
		1.3.1. Rome: the model
		1.3.2. Outside Rome
	1.4. The visual experience
2. S. Maria in Trastevere
	2.1. Historical sources
	2.2. Architecture, restoration, and conservation
	2.3. Mosaic conservation
3. The mosaic decoration
	3.1. Apse arch: the Apocalypse and the Prefiguration of Christ
	3.2. Inscriptions
	3.3. Rethinking antiquity: the Amorini
	3.4. The intrados
4. The mosaic decoration: apse conch
	4.1. The glory of the Triumphant Church
	4.2. The symbolic sky and the shadow
	4.3. The central message: visualizing the Church
	4.4. Speaking images of Cantica Canticorum
	4.5. The mosaic of the cavetto. The echo of a nuptial procession?
5. The apse conch: experiencing the visual message
	5.1. The Feast of the Assumption
	5.2. The image of Mary
	5.3. The icon of Christ
	5.4. The ʻCodex’ and the ʻVolumenʻ as the visual voice of Christ and Mary
	5.5. The image of St. Peter, between antiquarianism and papal symbol
	5.6. Saints, martyrs, and popes: the eulogy of Trastevere
		5.6.1. The ecclesiastical garments
6. The rhetoric of colors
	6.1. The arms of the Church on the triumphal arch
	6.2. The color of the tabulae
	6.3. The colors of the clothes and the ʻpoetry’ of light
	6.4. The connecting labels
7. The inscription in the apse as exegetical synthesis of the decoration
	7.1. The rhetorical experience of the Triumphant Church
Manuscripts and drawings
Bibliography
Illustrations