Excavating the page: virtuosity and illusionism in Italian book illumination, 1460–1520
Nicholas Herman
Click to increase image sizeClick decrease size ACKNOWLEDGEMENTS Portions of this paper were presented at a session entitled ‘Images and the materiality words’ during 44th International Congress on Medieval Studies in Kalamazoo (May 2009) ‘Reappraising role illusionism early modern painting’ 56th Renaissance society America Annual Meeting Venice (April 2010). I would like thank Jonathan Alexander, Lilian Armstrong, Lina Bolzoni, Mary Carruthers for kind helpful comments they provided various stages my research; work not have been possible without their assistance. Notes 1 – ‘First all, surface which am going paint, draw rectangle whatever want, regard as an open window through subject be painted is seen.’ Leon Battista Alberti, On Painting, ed. Martin Kemp, trans. Cecil Grayson (London: Penguin, 1991), p. 54 (Book 1, Chapter 19). Daniel Arasse has suggested that very definition use Albertian frame relies Aristotelian concept space ‘Fonctions et limites de l'iconographie: sur le cadre sa transgression,’ Die Methodik der Bildinterpretation: Les méthodes l'interprétation l'image: Deutsch französische Kolloquien 1998–2000 (Göttingen: Wallstein, 2002), 557. While Alberti was surely aware dependence Aristotle's ‘finite anisotropic’ (varying magnitude according direction measurement) space, Girolamo's seems flout such linear-perspectival definition, understandable considering content text being introduced. ‘Strictly speaking Physics does advance theory but only place or positions space.’ Max Jammer, Concepts Space: The History Theories Space Physics, 2nd (Cambridge, MA: Harvard University Press, 1969), 17, 54. unusual miseenpage concerned instead with just relations between bodies. Nor it necessarily appropriate characterize contemporary perceptions spatial theories unified universally held by commentators, patrons, artists alike. 2 principal studies form will discussed more detail subsequently. Among most foundational are Otto Pächt, ‘Notes observations origin humanistic book-decoration’, Fritz Saxl 1890–1948: Memorial Essays, D.J. Gordon (New York: T. Nelson, 1957), pp. 184–94; H.D.L. Vervliet, ‘Les origines du frontispice architectural’, Gutenberg-Jahrbuch 33 (1958), 222–31; Margery Corbett, ‘The architectural title-page: An attempt trace its development from humanist origins up sixteenth seventeenth centuries, heyday complex engraved title-page,’ Motif 12 (1964), 48–62; Giordana Mariani Canova, La Miniatura veneta del Rinascimento, 1450–1500 (Venice: Alfieri, 1969); J.G. some Veneto-Paduan illuminated books Renaissance,’ Arte (1970), 9–20; Miniature Painters Classical Imagery: Master Putti His Venetian Workshop Harvey Miller, 1981), esp. Chap II, part 4, frontispiece.’, 19–25. 3 For printing press Rome, see A. Modigliani, Tipografi Roma prima della stampa: due società per fare libri con forme (1466–1470) (Rome: RR inedita, 1989); Anna ‘Tipografi (1467–1477),’ Gutenberg e Roma: origini stampa nella città dei papi (1467–1477), Massimo Miglio Orietta Rossini (Naples: Electa, 1997). Venice, Leonardas Vytautas Gerulaitis, Printing Publishing Fifteenth-Century (Chicago: American Library Association, 1976); Neri Pozza, ed., degli incunaboli nel Veneto: saggi note (Vicenza: N. 1984); Lowry, Nicholas Jenson Rise Europe (Oxford: Blackwell, 1991). 4 Book Illumination Middle Ages: Introduction, Kay Davenport 1986), 9–10. however, saw advent cogent three-dimensional within fifteenth-century manuscript page fatal art form; ibid., 200–02; Burgundy Faber Faber, 1948), 19; did Erwin Panofsky Early Netherlandish Painting: Its Origins Character 1953), 28. 5 See, chiefly, James H. Marrow, Pictorial Invention Manuscript Late Play Illusion Meaning, eds Brigitte Dekeyzer Jan van Stock (Paris: Uitgeverij Peeters, 2005); Dekeyzer, Layers Illusion: Mayer den Bergh Breviary (Ghent: Ludion, 2004), 18–27; also Anja Grebe, edge: Frames page-design manuscripts Ghent-Bruges School,’ Metamorphosis Marginal Images: From Antiquity Present Time, Nurith Kenaan-Kedar Asher Ovadiah (Tel Aviv: Tel Aviv University, 2001), 93–102; Kate Challis, ‘Marginalized jewels: depiction jewellery borders Flemish devotional manuscripts’, Art Book: Place Worship, Margaret M. Manion Bernard J. Muir (Exeter: Exeter 1998), 253–89. 6 main features title-page arch pediment, flanking columns enclose title, bases continuous plinth rest.’ 49. 7 discussion continuities innovations book production, Smith, ‘Medieval roots renaissance printed book: essay design history,’ Forms ‘Medieval’ ‘Renaissance’: A Multidisciplinary Exploration Cultural Continuum, G.H. Tucker (Charlottesville, VA: Rookwood 2000), 143–53. Especially relevant section new feature book,’ 147–49. 8 Elizabeth Welles, ‘Umanesimo petrarchismo miniatura Quattrocento,’ Letteratura italiana arti figurative: atti XII convegno dell'Associazione internazionale gli studi di lingua letteratura italiana, Antonio Franceschetti (Florence: L.S. Olschki, 1985), 383–84; Panofsky, Perspective Symbolic Form, Christopher S. Wood Zone Books, 1991); Peter Burke, Sense Past St. Martin's 1970). 9 antique exemplars architectonic decorative motifs books, architectural,’ 222–31. 10 Painters, 19–29. 11 recent survey title-pages frontispieces Title-Page, Development, 1460–1510 British Library, 2000). author discusses problems terminology, across academic fields, frontispiece: Terminology,’ 12–15. J.J.G. Italian Illuminations Braziller, 1977); veneta; Giovanna Baldissin Molli, Federica Toniolo, Padova: dal medioevo al Settecento (Modena: F.C. Panini, 1999). Here, conference ‘Benedetto Bordon monumental painting’, delivered Armstrong Fifty-Sixth Conference Society America, Italy, April 8–10, 2010, should noted. 13 Painters; ‘Il Maestro Pico: Un miniatore veneziano tardo Saggi Memorie Storie dell'Arte 17 (1990), 7–39; ‘Opus Petri: Miniatures Rome,’ Viator 21 385–412. 14 impact miniaturists after 1469,’ Written Word: Social Circa 1450–1520, Sandra Hindman (Ithaca, NY: Cornell 174–202. often unexpected interface print manuscript, illuminator, scribe, woodcut continues several centuries introduction investigated David McKitterick, Print, Search Order, 1450–1830 (Cambridge: Cambridge 2003). conclusions drawn challenge view movable type revolutionized approaches book. See L. Eisenstein, Press Agent Change: Communications Transformations Modern Europe, vols. 1979). 15 number presentation copies each edition vellum reserved collaborators, owners press. printing,’ 200. 16 Painted Page: Illumination, 1450–1550 (Munich: Prestel, 1994), especially entries Alexander Gasparo Padovano, hand-illuminated incunables. Miniaturists (all Armstrong's essays cited included reprint edition), Lew Andrews ‘Pergamene strappate frontespizi: i frontespizi architettonici nell'epoca primi stampa,’ 55 (1999), 6–29. 229–30. 18 example, Robert G. Calkins, ‘Sacred illusion late manuscripts,’ Essays Studies, John B. Friedman Patricia Hollahan Illinois 1989), 1–18; Invention; highly perceptive exercises assessing visual evidence, ‘Symbol meaning northern European Ages Simiolus, 16, 2/3 (1986), 150–69; Alfred Acres, Columba altarpiece time world,’ Bulletin 80 (1998), 422–51; Bret Louis Rothstein, Sight Spirituality Painting 2005). 19 Miniaturists, vii–viii. 20 Sven Sandström, Levels Unreality: Structure Construction Mural During (Uppsala: Almqvist & Wiksell, 1963); White, Birth Rebirth 1957). This unintentional obfuscation heightened text's English-language readers: adapted title forgoes difficult translation French tableau thereby widens nominal scope what originally localized area study include all types self-reflexive image, though earlier media illumination panel painting remain left out. Compare Victor Ieronim Stoichita, L'instauration tableau: Métapeinture à l'aube des temps modernes Méridiens Klincksieck, 1993) English Self-Aware Image: Insight into Meta-painting, Anne-Marie Glasheen 22 Even Stoichita himself states ‘the recognition process widely encouraged Reformation’ (The Image, 89). Nevertheless, he concedes elsewhere ‘around 1400, long period mimesis, rather “similarity” (homoiosis, adadaequatio/similitudo) had strongly questioned, techné mimetiké made appearance onto stage Western culture.’ Introduction ‘Mimesis vor und nach 1500/Pictorial Mimesis before 1500,’ Künstlerischer Austausch/Artistic Exchange: Akten XXVIII. Internationalen Kongresses für Kunstgeschichte: Berlin, 15–20. Juli 1992, Thomas W. Gaehtgens (Berlin: Akademie Verlag, 410. 23 Klaus Krüger, Das Bild als Schleier Unsichtbaren: ästhetische Kunst frühen Neuzeit Italien (München: Fink, 2001); published Veiling Invisible: Aesthetic Italy forthcoming). 24 Invention, 33. 25 ‘Scholarship renaissance: Remarks past, present, future,’ Context: Recent Research, Morrison Kren (Los Angeles: Paul Getty Museum, 2006), 163–76. 26 ‘ “Pictorial realism” can used evoke our experience inhabited world, “illusionism” alter consciousness nature works relationship them, “trompe l’œil” overtly contradict logic experience.’ Ibid., 169. further contend notion ‘trompe l’œil,’ linguistic expression eighteenth century, application material here insofar recalls trope mimetic deception. It better suited describe effect — literally fooled audience ‘double take’ than strategy. Creighton E. Gilbert tentatively ‘actual trompe l’œil lack (other one name), having implicit case case.’ Gilbert, ‘Grapes, curtains, human beings: missed mimesis,’ Austausch Artistic Exchange, 415. 2002 exhibition Washington Deceptions Illusions: Five Centuries Trompe l’Œil Girolamo da Cremona frontispiece above (cat. no. 79, entry 292–3), directly confront terminology identified Marrow. related illusionistic depictions paper, ‘Temptations hand,’ contained no images artists. Sybille Ebert-Schifferer, (Washington, DC: National Gallery Art, 181–211. 27 Apart certain cartellini, fictive inscriptions paintings, shall discuss later. 28 50. 29 hand-illumination 1465–1515,’ 1450–1550, 36–37; 200–02. 30 21–22, 102; cat. (entry Armstrong) Page, 165–66. 31 identification Joan (or Giovanni) Todeschino ‘Master London Pliny,’ Teresa D'Urso, ‘Ioan (Il Plinio Londra?)’ Toscano, Biblioteca reale Napoli, 165–82; Giovanni Todeschino: all'antica tra Venezia, Napoli Tours Tipografica, 2007). Hours cut-outs, 5, figs. 13, 4. 32 Though both volumes same 1471 edition, translated Niccolò Mallermi Vindelinus Spira, may belonged together. second volume, Putti, below. 81 166–67. 15–16, 25–26, 106–07; 34 miniaturist's work, Petri.’ 35 presence profile face remarked upon once, passing, Millard Meiss Andrea Mantegna Illuminator: Episode Humanism, Diplomacy Columbia 62, fig. 9. 36 Correnti now Walters Baltimore, inv. 37. 1162. Mantegna's clouds famously Ernst Gombrich Study Psychology Representation Pantheon 1960), 190, while decipherment hidden faces dealt his chapter mask face: perception physiognomic likeness life art,’ Perception Reality (Baltimore: Johns Hopkins 1972), 1–46. 37 ‘Aliquando intuebantur lineamenta nonnulla, quibus paululum immutatis persimile quidpiam veris naturae vultibus redderetur.’ Sculpture. Latin Texts De pictura statua, Phaidon, 120–01. 38 Mirella Levi d'Ancona instances fly signifies plague visited Israel punish David, relates local pestilence 1478. “Maestro Mosca”’, Commentari (1975), 145–57. information about flies painting, Norman Land, ‘Giotto's fly, Cimabue's gesture, Madonna Child Carlo Crivelli,’ Source (1996), 11–15; Watkins, ‘Untricking eye: uncomfortable legacy (1988), 48–58. demonic symbolism André Chastel, ‘Iconology fly’, FMR 61–82; Harry Kuhnel, ‘Die Fliege: Symbol Teufels Sündhaftigkeit,’ Aspekte Germanistik: Festschrift Hans-Friedrich Rosenfeld zum 90. Geburtstag, Walter Tauber (Göppingen: Kummerle, 285–305. 39 ‘Dicesi che stando Giotto ancor giovinetto Cimabue, dipinse una volta sul naso d'una figura esso Cimabue avea fatta mosca tanto naturale, tornando il maestro seguitare lavoro, si rimise più cacciarla mano pensando fusse vera, s'accorgesse dell'errore.’ Giorgio Vasari, Le vite de’ eccellenti pittori, scultori architettori nelle redazioni 1550 1568, Rosanna Bettarini, Sansoni, 1966), vol. 2, 121; ‘E anche legge ne’ principii suoi lui mosche, ’l suo ci fu ingannato, credette fussono vive, un panno volse cacciare via.’ Averlino Filarete, Trattato architettura, Maria Finoli Liliana Grassi, (Milan: Il Polifilo, 665 (fol. 181.). 40 Petrus Christus, Portrait Carthusian, 1446 (Metropolitan Museum New York). Crivelli contain posed ledges frames, including Saint Catherine Alexandria Gallery, London; Victoria Albert two Madonnas Metropolitan Art. With Metropolitan's formerly Jules Bache collection, Land location ambiguous, it. gesture,’ 11–13. 41 Illusions, 163. catalogue contains observation Nature’ (pp. 71–79), flies. 42 In context noted 1469 Johannes Spira Natural probably first classical Venice. Many illuminators decorated other editions work. 43 There are, literary references deceptive paintings fruit, invoke Plinian concern painter Marco Zoppo. ‘Why still-life paintings: quattrocento answer,’ Abstracts Papers Delivered Sessions: 64th Meeting, College Association February 1–4 1976, Conrad Hilton Hotel, Chicago, Herbert Kessler 1976), 86; 1400–1500: Sources Documents (Evanston, IL: Northwestern 1992), 186–87. 44 414–5. 45 Gombrich, Illusion, 277. 46 ‘Apelles … pinxit Alexandrum Magnum fulmen tenentem templo Ephesiae Dianae digiti eminere videntur extra tabulam esse.’ Historia naturalis, 35, 36. Trutty-Coohill, ‘La “eminentia” Antonello Messina,’ Antichità Viva 21, (July–August 1982), 5–9. 47 To examples (Mantegna, Zoppo) added testimony scientific writer Fontana, who 1454 claimed explained, dedicated Jacopo Bellini, how make parts appear coming outward. ‘Riflessioni su Bellini libro disegni Louvre,’ Veneta (1972), 22–23; republished Documents, 174–75. 48 woodcuts techniques, ‘Venetian Florentine bibles, liturgical books,’ Heavenly Craft: Woodcut Printed Simone 25–45. scholarship attention colorers employed paint prints, naturalistically, presumably render them illuminations. Susan Dackerman, Prints: Revelation Color (University Park, PA: Pennsylvania State 2002). 49 antiphonary, corale Duomo D Communale Malatestiana Cesena, colophon folio 141v identifies patron illuminator. transcription colophon, additional Cesena choirbooks, 125 Toniolo) 234–35; Fabrizio Lollini, ‘Volumi liturgici miniati territorio cesenate’, Storia chiesa Marino Mengozzi (Cesena: Stilgraf, 240–49; Daniela Savoia, ‘I corali Cattedrale,’ casa libri: Dalla Libraria Domini alla Grande Malatestiana, 2007); brief sister C, Francesca Ciucciomini, ‘Su alcune pagine miniate Cesena,’ Paragone, 37, 431–33 29–35; Alessandro Conti, ‘Decorazione pittura manoscritto umanistico,’ Domini: manoscritti Malatestiana: testi decorazioni, Lollini Piero Lucchi (Bologna: Grafis, 1995), 50 Cat. 81, 166–68. 51 similarity 16. 52 Mark Evans, ‘An device Étienne Chevalier,’ Scriptorium (1981), 81–83, 82. 53 269; vite, 3, 247; these sources relating Fouquet reprinted Claude Schaefer, Jean Fouquet: Schwelle zur (Dresden: Verlag Kunst, 345. Michel Laclotte, ‘A propos putti boeuf,’ l'Europa: ricerche storia dell'arte onore Ferdinando Bologna, Francesco Abbate Fiorella Sricchia Santoro (Cantanzaro: Meridiana, 95–100. ‘Jean Italy: “… buono maestro, maxime ritrarre naturale” ,’ Illuminating Makers Interpreters: Honour Janet Backhouse, Michelle P. Brown Scot McKendrick (Toronto: Toronto 162–89; Santoro, en Italie,’ Peintre enlumineur XVe siècle, François Avril Bibliothèque nationale France, 2003), 50–63. 56 compilation opinions painters Paolo Torresan, dipingere Fiandra: neerlandese artistica Quattro Cinquecento S.T.E.M. Mucchi, 7–34. North–South artistic exchange context, Paula Nuttall, Flanders Florence: Impact 1400–1500 Haven: Yale 2004) Bert Meijer, Firenze antichi Paesi Bassi, 1430–1530 Ministero Beni Attività Culturali, 2008). 57 Morello, Libri d'ore apostolica vaticana (Zürich: Belser 1988), (157 hours listed, mostly Europe); Cristina Gnoni Mavarelli, Jole Minicucci, Grazia Ciardi Dupre Dal Poggetto, riccardiana: Vol. 1: d'Ore francesi fiamminghi Istituto poligrafico zecca dello stato, 1986) (seven listed); Marcora, Ambrosiana l'Ariete, 1973) (51 eleven Italian); ‘Libri neerlandesi XV XVI secolo conservati biblioteche Veneto’ (Ph.D. thesis, Università Padova, 1972); franco-fiamminghi Veneto,’ illustrata (1974) (5 Caterina Limentani Virdis, Codici olandesi dell'Italia nord-orientale 1981) (26 listed). 58 nord-orientale, 27–28. Curiously, Ms. Ricc. 466, Parisian 1407 1408 Riccardiana, Florence, papal bull 140r; 41, 71–102. 59 Gian Lorenzo Mellini Mario Salmi, Grimani Breviary, Reproduced Illuminated Belonging Marciana, Thames Hudson, 1972). 60 ‘Fiori Venezia: Benedetto breviario Grimani,’ Per ricordo Sonia Tiso: scritti fiamminga olandese, Virdis (Ferrara: Gabriele Corbo, 1987), 5–12; book's miniatures even influenced Titian. ‘Titiaan het Breviarium Relations artistiques entre les Pays-Bas l'Italie la Renaissance: Études dédiées Suzanne Sulzberger, Nicole Dacos (Brussels: Academia Belgica, 1980), 179–83. 61 Reynaud, Manuscrits peintures 1440–1520 Flammarion, 1993), 196–7; Todeschino. 62 Yolanta Załuska, Dix siècles d'enluminure italienne: VIe-XVIe nationale, 1984), 179, 58. 63 Marina Belozerskaya, Rethinking Burgundian Arts Across 46. Following Belozerskaya's generally tried avoid term ‘Renaissance’ article. 64 observations,’ 193. Pächt implying lost copy calendar present seventeenth-century reproduction Nicholas-Claude Fabri Peiresc derives, Codex Luxemburgensis, Carolingian, evidence suggest ever Europe. 65 Fortini Brown, antiquarianism Bellini,’ Artibus Historiae (1992), 69–77; title-page’, 49–52. Corbett Ciriaco's scruples ‘overcome contact artists’ consequently modified changed monuments ‘to conform taste.’ suggest, antiquarians themselves creating became fashion epigraphy. 66 ‘Broadly defined, cartellino any carrying inscription’ (Louisa C. Matthew, painter's presence: Signatures pictures,’ 620. insights changing status signature Renaissance, Sala, lettre au figure,’ Poétique 69 (1987), 119–27. 67 Lippi's journey Padua art, Francis Ames-Lewis, ‘Painters 1435–1455’ Italienische Frührenaissance nordeuropäisches Spätmittelalter: im europäischen Zusammenhang, Joachim Poeschke Hirmer, 179–98 Eliot Wooldridge Rowlands, ‘Filippo
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