TIBALDI
715
TIBALDI
royal circlet. It is not positively known at what date
the papal head-P0\ering was adorncfl with such a
circlet. At the time the Donation of Constantinc
appeared, that is in the eighth century, the papal head-
covering had still no royal circlet, as is evident from
the text of the document. In the ninth century also
such circlet does not seem to have existed. It is true
that the Ninth Ordo calls the papal cap regnum, but
in the description
that the Ordo gives of this cap we hear nothing at aU of a crown, but merely that the regnum was a helmet-like cap made of white mate- rial. The m o n u - mental remains give no clue as to the period at which the papal head-covering became ornamented with a royal circlet. I'p into the twelfth century the tiara was not only seldom rep- resented in art, but it is also uncertain whether the orna- mental strip on the lower edge is intended to represent merely a trimming or a dia- dem. This is espe- cially true of the representations of the tiara on the coins of Sergius III (9(M- 911) and Benedict VII (97-i-983), the only representations of the tenth centurj' and also the earUest ones. Probably the papal head-covering received the circlet at the time when the mitre developed from the tiara, perhaps in the tenth centurj', in order to distinguish the mitre and tiara from each other. In any case the latter was provided with a circlet by about 1130, as is learned from a statement of Suger of St. Denis. The first proven appearance of the word iiara as the designation of the jjapal head-covering is in the life of Pa.schal II (1099-1118), in the "Liber Pontificalis". The second periotl of the development of the tiara extends to the pontificate of Boniface VIII (1294- 1303). There are a large number of representations of the tiara belonging to thi.s periofl. and of the.se the Roman ones have naturally the most value. The diadem remained a simple although richly-oniamented ring up into the second half of the thirteenth centun,-; it then became an antique or tooth-edged crown. The two lappets {cauila-) at the back of the tiara are first seen in the pictures and sculpture in the thirteenth century, but were undoubtedly customary before this. Strange to say they were black in colour, as is evident both from the monumental remains and from the inventories, and this colour was retained even into the fifteenth century. When the tiara is represented in sculpture and painting as a piece of braiding, this seems to ari.se from the fact that in the thirteenth century the tiara was made of strips braided together. Of much importance for the tiara was the third period of development that began with the pontificate of Boniface VIII. It is evident from the inventorj- of the papal treasures of 1295 that the tiara at that era had still only one royal circlet. A change, however,
was soon to appear. During the pontificate of Boni-
face VIII a second crown was added to the former one.
Three statues of the pope which were made during his
lifetime and under his eyes, and of which two were
ordered by Boniface himself, leave no doubt as to
this. Two of these statues are in the crypt of St.
Peter's, and the third, generally called erroneously
a statue of Nicholas IV, is in the Church of the
Lateran. In all three thetiara has two crowns. What
led Boniface VIII to make tliis change, whether merely
love of pomp, or whether he desired to express by the
tiara with two crowns his opinions concerning the
double papal authority, cannot be determined. The
first notice of three crowns is contained in an inventory
of the papal treasure of the year 1315 or 1316. As to
the tombs of the popes, the monument of Benedict XI
(d. 1304) at Perugia shows a tiara of the early kind;
the grave and statue of Clement V at Uzeste in the
Gironde were nmtilated by the Calvinists, so that
nothing can be learned from them regarding the form
of the tiara. The statue upon the tomb of John XXII
is adorned with a tiara having two crowns. The
earUest representation of a tiara -nith three crowns,
therefore, is offered by the effigy of Benedict XII (d.
1342), the remains of which are preserved in the
museum at Avignon. The tiara with three crowns is,
consequently, the rule upon the monuments from the
second half of the fourteenth century, even though,
as an anachronism, there are isolated instances of the
tiara with one crown up into the fifteenth century.
Since the fifteenth centurj- the tiara has received no
changes worthy of note. Costly tiaras were made
especially in the pontificates of Paul II (d. 1464),
Sixtus IV (d. 1484), and above all in the pontificate of
Julius II, who had a tiara valued at 200,000 ducats,
made by the jeweller Caradosso of Milan.
Various hypotheses, some very singular, have been proposed as to the origin of the papal head-covering, the discussion of which here is unnecessary. The earliest name of the papal cap, camelaucum, as well as the Donation of Constantine, clearly point to the Byzantine East; it is hardly to be doubted that the model from which the papal cap was taken is to be found in the camelaucujti of the Byzantine court dress. The adoption by the popes of the camclaucinn as an ornament for the head in the seventh or at the latest in the eighth century is sufficiently explained by the important position which they had at- tained just at this period in Italy and chiefly at Rome; though they could not assume a crown, iis they were not sover- eign, they could wear a camelaucum, which was worn by the dig- nitaries of the Byzan- tine Empire.
0.\RAMPi, Illuslrazione di un antico sigilio della Gavagnana (Rome, 17.59); Bock, Oesch. der lilurif. Gewander, II (Bonn, 186G) : RoHAn-T DE Fleurt, La Messe, VIII (Paris. 1889); MCntz, La Hare pont. in Memoire/i de VAcad. den Inscriptions H Beltes- LeUres, XXXVI (Pari."), 1898); Bracn. (Freiburg, 1907)
Made by Caradosso of Milan
lUurff. Gewandujig im Occident u. Orient
Joseph Braun.
Tibaldi, Pellegrino, known also as Pellegrino da
Bologna and as Pellegrino Pellegrini, decorator,
mural painter, and architect, b. at Bologna, 1527; d.
at Milan about 1592. Tibaldi was a pupil of Bagna
Cavello, and a profound student of the works of
Michelangelo. His early decorative works were exe-
