This article reassesses artistic production in Rome at the time of the temporary return of Pope Urban V, between 1367 and 1370, after a lengthy period of absence of the papacy in Avignon, and offers new insights into the long-term impact of this production. It does so by starting from a thoroughly neglected artwork now in the Museo Storico Artistico del Tesoro di S. Pietro, a victim of the traditional interpretative dichotomy as either a work by Giotto or not. By taking a different methodological approach, which is to think in terms of movement of patrons and artists, and on the basis of combined technical/visual analysis and documentary sources, the article sheds new light on this painting, offering new proposals concerning its dating, attribution, original location and function. It then addresses its historical contextualization and significance, allowing us to rethink art in Rome in the fourteenth century by discussing the role that the circulation of patrons and artists played in creating new forms. This discussion not only contributes to a better understanding of the art produced in Rome in the Trecento but also throws some light on the very origins and nature of Renaissance art.

中文翻译：

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活动中的赞助人和艺术家：阿维尼翁和罗马之间 MATTEO GIOVANNETTI 的新亮点

本文重新评估了罗马教皇乌尔班五世在阿维尼翁教皇长期缺席后于 1367 年至 1370 年间临时回归时的艺术创作，并对这种创作的长期影响提供了新的见解。它从现在在 Museo Storico Artistico del Tesoro di S. Pietro 的一件被彻底忽视的艺术品开始，这是传统解释二分法的受害者，无论是乔托的作品还是非乔托的作品。通过采取不同的方法论方法，即考虑赞助人和艺术家的运动，并在结合技术/视觉分析和文献资料的基础上，文章对这幅画进行了新的阐释，提出了关于其年代的新建议，归属、原始位置和功能。然后，它解决了它的历史背景和意义，通过讨论赞助人和艺术家的流通在创造新形式中所起的作用，让我们重新思考十四世纪罗马的艺术。这次讨论不仅有助于更好地了解罗马在 Trecento 生产的艺术，而且还对文艺复兴艺术的起源和本质有所了解。