從吉羅拉米家族的《聖贊諾比亞斯銘碑》（約1415至1420）論十五世紀佛羅倫斯的私人政治宣傳

The Girolami's Plaque of Saint Zenobius, c.1415 -1420: Approaching a Personal Political Advertisement in Quattrocento Florence

本文探討十五世紀文藝復興初期，義大利佛羅倫斯的菁英統治階層如何利用視覺藝術鞏固私人家族的政治公共形象。在1415到1420年間，佛羅倫斯的吉羅拉米家族（the Girolami）委託了一件大型的戶外大理石淺浮雕，並將其懸掛在家族私人塔樓的外牆。這件淺浮雕被稱為《聖贊諾比亞斯銘碑》，其下方銘文記錄了吉羅拉米家族祭祀聖贊諾比亞斯（Saint Zenobius）的奉獻儀式，上方的浮雕圖像則刻畫了聖贊諾比亞斯聖像、以及佛羅倫斯城市中多處重要的宗教和市民建築，包括佛羅倫斯的政治與市民精神象徵：領主宮（Palazzo della Signoria）。與其他十四與十五世紀描繪領主宮的視覺圖像及文獻資料相比較後，可以推論此銘碑中史無前例地結合領主宮以及聖贊諾比亞斯這兩個佛羅倫斯的市民和政治符號似乎暗示著其中的政治意涵。極有可能是為了讓當時的觀者能直接聯想到吉羅拉米家族在佛羅倫斯政治場域的活躍角色，才將佛羅倫斯的市政廳納入構圖。再配合上聖贊諾比亞斯的圖像，似乎也傳達出該家族自認能在聖人保佑下，持續在佛羅倫斯興盛昌榮的願景。從這樣的觀點來分析，這件作品不僅反映出吉羅拉米家族的虔誠信仰，更指涉了該家族的政治勢力。這件石碑因此可以被視為一件政治宣傳，讓我們一窺十五世紀文藝復興時期視覺藝術的政治以及修辭力量。

This paper explores the extents to which visual arts were used by fifteenth-century Florentine elites as an instrument of political power, upholding and consolidating an individual family's public imagery. Between 1415 and 1420, the Girolami family ordered a marble plaque to be installed on the façade of their private tower. Known as The Plaque of Saint Zenobius, the lower section of the plaque bears an inscription referring to the Girolami's annual offering to the saint; the upper part presents a pictorial narrative, showing the figure of Saint Zenobius, as well as many ecclesiastical and civic monuments in Florence, including the city's communal palace -- the Palazzo della Signoria. In the light of the civil and political importance of the Palazzo della Signoria that has been demonstrated in fourteenth and fifteenth-centuries pictorial and textual representations, the unprecedented juxtaposition of Palazzo della Signoria and Saint Zenobius draws our attention to the political significance of the plaque: the communal palace motif in this context underlines the Girolami's active role in Florence's political nucleus. As for the saint's icon, it seems to imply that the family's political authority was claimed to have been derived from the authority of the saint. From this perspective, the relief is more than a devotional tribute of the Girolami, but it can be seen as the family's political statement, providing evidence for the politics and rhetorical potential of visual arts in Quattrocento Florence.