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Imago Triumphalis: The Function and Significance of Triumphal Imagery for Renaissance Rulers examines how independent rulers in fifteenth-century Italy used the motif of the Roman triumph for self-aggrandizement and personal expression. Triumphal imagery, replete with connotations of victory and splendor, was recognized during the Renaissance as a reflection of the glory of classical antiquity. Its appeal as a powerful visual bearer of meaning is evidenced by its appearance as a dominant theme in literature, architecture, and art. Rulers such as Alfonso of Aragon, Federico da Montefeltro, Sigismondo Malatesta, and Borso d-Este chose to incorporate the triumphal motif in major artistic commissions in which they were represented. They recognized that the image of the triumph could retain its classical associations while functioning as a highly personalized commentary.
Margaret Ann Zaho earned her Ph.D. in Art History at the University of Washington. She has taught courses for the University of Washington in Seattle and Rome and for the Institute of Fine and Liberal Arts in Florence. She has served as a member of Ars et Fides, an association connected to the archdiocese in Florence, and has co-produced an independent film about Tuscan architecture. Dr. Zahös current research interests include the use of Roman imperial iconography in Renaissance art and the importance of narrative fresco cycles as tools for moral and religious instruction.
List of Illustrations - Acknowledgments - Introduction - The History of the Roman Triumph - The Evolution of the Triumph in Literature and Art - The Personalization of the Antique Triumph - Malatesta and Montefeltro - Borso d'Este and the Eternal Triumph - Conclusion - Bibliography - Index.
