Linford, SarahSmyth, CarolynHolman, Lauren2024-09-202024-09-202021Holman, Lauren. "The Vault Decoration of the Sala di Constantino: Tommaso Laureti’s Visual Manifesto of his Artistic Methods, Principles, and Theory". Master's Thesis, John Cabot University, Rome, Italy. 2021.https://hdl.handle.net/20.500.14490/271Master of Arts in Art History -- John Cabot University, Spring 2021.In 1582, the construction of the high vault in the Sala di Constantino wascompleted, prompting Pope Gregory XIII to commission Tommaso Laureti to decoratethe newly built ceiling with lavish frescoes. The vault’s pictorial structure includes aseries of spandrels and lunettes that encompass a central, rectangular panel. The centralpanel and the decorations surrounding it differ in style and purpose but contribute to theroom’s overall themes— the exaltation of Constantine the Great and the Catholic Churchin the aftermath of the Council of Trent. These frescoes are prevalent in art historicalscholarship for their political and historical significance; however, their formal andstylistic aspects have been neglected, especially as concerns their position in the debatesabout artistic theory and methods of the Cinquecento. This thesis attempts to interpretLaureti’s artistic decisions as a part of larger discussions about the definition and functionof disegno. Specifically, this thesis will argue that the various visual elements of thevault, along with the inherent purpose of the frescoes, expound Laureti’s particularartistic methods, principles, and art theory as rebuttals to both Vasari and Zuccaro. Ananalysis of Laureti’s artistic training prior to the papal commission confirms hisallegiance to a certain conception of disegno. After the papal commission, his positionand pedagogy at the Accademia di San Luca solidify his endeavor to assert his specificartistic principles and methods as the heirs to correct artistic practice. Combining primaryand secondary sources and object-based research with a critical analysis of the vaultdecoration, this project draws attention to the unique aspects of the frescoes and arguesthat they are the amalgamated components of Laureti’s most fully developed visualmanifesto in the context of heated debates about artistic theory and methods.viii, 68 pagesenAttribution-NonCommercial-NoDerivatives 4.0 Internationalhttp://creativecommons.org/licenses/by-nc-nd/4.0/Italian mural painting and decorationRenaissance mural painting and decorationTommaso Laureti, 1530-1602Thesis