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細節
ADORATION OF THE MAGI, historiated initial E on a leaf from an ILLUMINATED MANUSCRIPT ON VELLUM
[Florence, c.1500-1510]
580 x 410mm. The Virgin seated in an open landscape with the Christchild standing in her lap, the Magi kneeling before her, an attendant and a groom holding the reins of a horse at the left, within a blue initial E against a burnished gold ground, with sprays of blue and pink flowers on green leafy stems against the staves and ground and extending to make a text-height border in the left margin; rubrics in red; on the verso, six lines written in black ink in a gothic bookhand below music of square notation on four-line staves of red, text justification: 395 x 275mm; three large skeletal initials of red or blue with flourishing respectively of lilac and red (outlining and highlighting of initial staves and border unfinished, slight rubbing and small losses from Virgin's mantle and collar of lead Magus, thumbing to margins, blue paint around edges of verso).
This leaf was folio lxi in the same Gradual as the previous lot. The initial opened the Introit 'Ecce advenit dominator dominis' for the feast of Epiphany.
This ambitious Adoration seems more likely to be the work of a painter than someone accustomed to manuscript illumination. The finish and sober palette appear to be brought over from another medium and there is an apparent awareness of the figure style of Piero di Cosimo and the fantasy of Filippino Lippi. The border forms on the other hand are those used by Monte and Gherardo di Giovanni del Fora whose workshop continued to supply series of choirbooks for Florentine churches into the 16th century.
This and its sister leaf provide an interesting, and surprising, insight into the processes of manuscript production. It appears that the illuminator of the border and initial staves made a broad application of colours and handed the leaves over so that the historiated scene could be completed. The final finishing with modelling of the foliage and defining penwork would have completed the process, unifying illustration and decorative elements.
[Florence, c.1500-1510]
580 x 410mm. The Virgin seated in an open landscape with the Christchild standing in her lap, the Magi kneeling before her, an attendant and a groom holding the reins of a horse at the left, within a blue initial E against a burnished gold ground, with sprays of blue and pink flowers on green leafy stems against the staves and ground and extending to make a text-height border in the left margin; rubrics in red; on the verso, six lines written in black ink in a gothic bookhand below music of square notation on four-line staves of red, text justification: 395 x 275mm; three large skeletal initials of red or blue with flourishing respectively of lilac and red (outlining and highlighting of initial staves and border unfinished, slight rubbing and small losses from Virgin's mantle and collar of lead Magus, thumbing to margins, blue paint around edges of verso).
This leaf was folio lxi in the same Gradual as the previous lot. The initial opened the Introit 'Ecce advenit dominator dominis' for the feast of Epiphany.
This ambitious Adoration seems more likely to be the work of a painter than someone accustomed to manuscript illumination. The finish and sober palette appear to be brought over from another medium and there is an apparent awareness of the figure style of Piero di Cosimo and the fantasy of Filippino Lippi. The border forms on the other hand are those used by Monte and Gherardo di Giovanni del Fora whose workshop continued to supply series of choirbooks for Florentine churches into the 16th century.
This and its sister leaf provide an interesting, and surprising, insight into the processes of manuscript production. It appears that the illuminator of the border and initial staves made a broad application of colours and handed the leaves over so that the historiated scene could be completed. The final finishing with modelling of the foliage and defining penwork would have completed the process, unifying illustration and decorative elements.
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