Palæography: Notes upon the History of Writing and the Medieval Art of IlluminationQuaritch, Bernard
History
Palæography: Notes upon the History of Writing and the Medieval Art of Illumination
Quaritch, Bernard
Illumination of books and manuscripts; Paleography
Plate 22 is from a Prayerbook written and illuminated about 1520-30 for a
certain Giovanni Bentivoglio. If the book had been a dozen or twenty years
earlier than it seems to be, one might have supposed that it was executed
at Bologna, by the order and for the use of the last Bentivoglio who ruled
in that city. As, however, he died in exile and misfortune in 1508, the
Giovanni to whom the prayerbook belonged, must have been his grandson, born
about 1510, who was in the imperial service in 1530. The artistic merit of
the illumination is considerable, but they are over-florid and mark a decay
of taste. The colours are vivid and harmonious, gold is plentifully used,
and the beauty of the work is undeniable; but it is meretricious and
corrupt in style. Italian examples of the period are, however, rare and
highly prized.
On plate 19 we have a large initial (O) cut from an Italian Antiphonal or
Gradual, written probably about 1540-50. It encloses a miniature
representing the Adoration of the three Kings, painted with so much skill
as to suggest the hand of some student of Titian's school. In design,
composition, and execution, it is very good; the only drawback being the
superfine air of courtly elegance {93}which is seen in every figure beneath
the thatched roof of the stable. There is a theatrical character in the
whole performance, that reminds us of Federico Baroccio.
Of similar date is the picture on plate 20. It comes from a Gospel-lesson
book, written in a mitred abbey on the German side of the Rhine, probably
not far from Cologne, in the year 1548. The design of the company of monks
headed by their Abbot, all in white raiment and kneeling before an unseen
altar, is excellent German work. The landscape with distant towers, seen
through the pillars of an arcade behind would look better than it does, if
it were not for the floating cherubs who hover in the spaces, and support
two armorial shields. The border is a close imitation of the late Flemish
style. On a yellow ground, lighted with twining gold branchlets, cut
flowers are vividly painted, along with figures of a bee, a fox, a bird, a
rabbit, and a hybrid animal like an ape.
{94}INDEX.
Public-domain text, read in full here on John Shaqi.
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