ABSTRACT
At its most basic, a work of art requires only its creator. The patron – namely, a person who initiates a work of art by putting forth a concept, issuing a commission, advancing resources, or nurturing an artist’s talent – is a nonessential actor in the creative process. Nonetheless, patrons have played significant roles within many cultural settings, both singly and collectively through organizations such as the church. Historically, patronage was a form of sponsorship, primarily male, involving the beneficial action of one dominant person toward another, whether a Roman statesman freeing his slave or a medieval churchman conferring benefices. Having drawn attention to ways that the study of medieval patronage resembles historiographic trends of the later twentieth century, the authors turn to distinctive characteristics of the art historical literature, including the role of textual narratives. Another noteworthy aspect of art historical analysis is the recognition that different media make distinctive claims on their makers and beholders.
