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Asserted in 1528 that Guido's painting had stood on the high altar of the church that existed on the site before San Domenico, which he calls San Gregorio. 12 Tizio was not right about this, for Guido da Siena was active as a painter only many years after San Gregorio became San Domenico, itself, then at least with the foundations of local institutions or with signal events in local history. Authentic, relic-like portraits portrayed, if not but the diarist may have correctly grasped the retrospective reference of the panel, even if he collapsed what was in fact a history of substitutions.
In the 1i6os the head was repainted, and then was painted over again in about 1280 by the school of Guido da Siena. The hands were repainted at least once, as well as the tunic. In the early fourteenth century the halo was redone. 7 The alterations of these panels early in their lives reflect a hesitation between two possible approaches: preservation of the relic as an irreplaceable link to a stable point of origin (even if relatively recent or local), and proliferation, with preservation of identity and efficacy, through carefully regulated replication processes.
7 Some medieval builders tried to reactivate it by matching the prescribed proportions, 6: 2: 3, and so fashioned their own princely patrons as new Solomons. 2 The "Templum Domini" of the Western imagination. Jerusalem, Temple Mount (photograph ca. 1910). The Dome of the Rock was built at the end of the seventh century by the Muslim conquerors of Jerusalem. One of its models was the rottm
Careers in Commercial and Institutional Architecture by Institute for Career Research