grouped by Liz James 24-10-03:
Abstract paper a-
The foundation of the Crusader kingdom of Cyprus in 1196 brought into contact two different ethnic and religious groups, the local Cypriot population and the Frankish settlers. Although in the beginning this was a forced symbiosis, by the end of the Lusignan rule in 1489 it evolved into an advanced social and cultural osmosis. This, however, was never a smooth, linear process. During these three centuries the two cultures at the same time clashed, interacted and influenced each other. This paper will illustrate the artistic results of the cultural contact between Latin and Orthodox Christendom on the island of Cyprus.
Abstract paper b
The distinctive artistic idiom of Cypriot painting appears to have had a great appeal in Italy during the 13th century, especially in the South and Tuscany. The most striking case of Cypriot influence on Italian panel painting is the extensive use of the iconographic type of the Kykkotissa Virgin. The purpose of this paper would be to trace the reasons for the success of this particular iconographic type in Italian painting, as well as to propose its influence on a particular type of Duccio’s Madonnas.
Abstract paper c
The foundation of the Gattilusio lordship through Byzantine consent detached it from the mainstream pattern of Latin rule in former Byzantine territories set by the rupture of 1204, characterised by conquest and hostility. It was instead representative of an older pattern, that of westerners seeking their fortune in imperial service while the empire sought to enlist their expertise and resources. The Gattilusio response to the distinctive opportunities and problems resulting from their Byzantine affiliations entailed identification of themselves as legitimate representatives of imperial sovereignty, drawing on the symbolic authority that had always been among the empire’s fundamental assets.