Andrea Mantegna as Illuminator: An Episode in Renaissance Art, Humanism and Diplomacy 9780231878272

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A N D R E A M A N T E G N A AS I L L U M I N A T O R

Mantegna, Portrait of Jacopo Antonio

Marcello,

Paris, Bibliotheque de l'Arsenal MS 940

ANDREA MANTEGNA AS ILLUMINATOR A N E P I S O D E IN R E N A I S S A N C E ART, H U M A N I S M AND

DIPLOMACY

by MILLARD MEISS

Φ C O L U M B I A U N I V E R S I T Y PRESS N E W Y O R K 1957

A L L RIGHTS RESERVED

PRINTED IN GERMANY b y J . J . AUGUSTIN, GLÜCKSTADT

To J O H N P H I L L I P S COOLIDGE

Preface Τ

A h e texts of the two manuscripts that are the subject of this book are not unknown to historians. One, a unique copy, has for a long time been noticed by biographers of Rene of Anjou. The other, usually consulted in more accessible contemporary copies, has always been accorded a prominent place in the history of the recovery, during the Renaissance, of ancient thought. The illumination has fared much less well. At the end of the nineteenth century each manuscript caught the attention of one of the leading historians of French illumination, Henri Martin and Paul Durrieu, and the miniatures (but only the miniatures) were later reproduced in those very useful French compilations, " L e s T r e s o r s . . . " or " L e s Principaux Manuscrits.. . " So fixed however are the paths we follow that not a word has been devoted to them in the literature of Italian painting or Italian illumination. It was, indeed, only while exploring French painting that the present writer came upon them—like a prospector who, hunting uranium, finds only gold. So beautiful are these paintings and so considerable their role in the history of Italian art and the Renaissance book that I decided to present them in this little volume only a year after my first study of one of the manuscripts in which they appear. My decision to publish them at this vii

viii

PREFACE

time was influenced too by their varied significance—their place in the development of roman script, for instance, and their exceptional iconography, whose intriguing problems proved mostly soluble. Altogether they revive for us a little chapter in fifteenth-century history in which politics, humanism and painting are drawn closely together. Still, the decision was not an easy one, and I made it with the awareness of sacrifices and limitations. I have ventured several generalizations or rather hypotheses about the forms of letters and initials that could be better substantiated (or disproved) only by extended exploration in the libraries of Europe. The study of Quattrocento illumination, especially in humanist manuscripts, has after all only recently begun, and many manuscripts are published merely in part or not at all. Some three years hence, furthermore, my excitement at the discovery of these little-known works would surely be less, but my estimates perhaps more judicious and my insights deeper. By then some lingering uncertainties about authorship, occasioned partly by differences of media, might conceivably be resolved. But the essential fact is quite clear now. The illumination of our two manuscripts is not only greatly superior to any other in Padua, but the time of its production coincides tellingly with Mantegna's activity in that city. The directing artist of these manuscripts, in other words, was not only intimately Mantegnesque but he appeared in Padua when Mantegna did and he utterly vanished when Mantegna moved to Mantua! Historians of art, concerned with things as well as impressions and ideas, inevitably bother a great many people. My wife, being nearest, has had more than her share, and as always has helped me in countless ways. For

ix

PREFACE

facilitating study of the manuscripts I am indebted to Mile. Paulette Masson, hospitable director of the Bibliotheque Rochegude at Albi, to M. R.L.M. Lapassade of the Hotel de la Monnaie, Paris, and M. Jacques Boussard of the Bibliotheque de 1'ArsenaL For assistance in obtaining photographs I am grateful to Möns. Anselmo Maria Albareda, Perry Cott, Ugo Procacci, Fernanda Wittgens, David H. Wright, and Mrs. Henry Howell and Miss Mildred Steinbach of the Frick Art Reference Library. Miss Louise Lucas of the Fogg Museum Library captured for me several highly elusive books. With great care Mrs. Regina Greenspun prepared two diagrams of capital letters. I feel very thankful to busy friends and colleagues who have generously given me advice and information: Dino Bigongiari, Andre Chastel, George William Cottrell, Dario Covi, L.M.J. Delaisse, Charles J. Ermatinger, Ernst Kitzinger, Wilhelm W. R. Koehler, Charles Mitchell, Stanley Morison, Carl Nordenfalk, Otto Pächt, Erwin Panofsky, Charles Singleton, and James Wardrop. From the beginning this book has had the advantage of the interest of Fritzie P. Manuel. She participated in the exploration of the historical problems, contributing all sorts of valuable facts and ideas, and she has seen the book through the press, finally providing the index. To her I feel especially grateful. Cambridge,

Mass.

Μ. M.

Contents I. Α Diplomatie Gift to the Order of the Crescent II. Strabo's Geography in Albi

I 3°

III. ThzLittera Mantiniana

52

IV. The Alphabetical Treatises

68

Description and History of the Manuscripts

79

Selective Bibliography

82

Notes

84

List of Figures

100

Index

105

Illustrations

"5

xi

I

A Diplomatic Gift to the Order of the Crescent I I N

T H E T H R I V I N G I T A L I A N C I T Y - S T A T E S OF T H E F I F T E E N T H

century art was devoted to an ever greater variety of nonreligious purposes. Scenes of battle and of love were spread on the walls of private palaces. In the latter half of this period collectors vied with one another for portrayals of stories from Greek mythology. The texts of Greek and Roman authors, newly recovered or newly translated, were multiplied in splendid illuminated manuscripts. Within the enduring pattern of Christian thought art accented the more purely secular interests of the citizen and the comune. Commemorative equestrian portraits of military leaders rose in the cathedral, transforming it into a kind of pantheon. The arts of writing and speaking, cultivated by the humanists, were commonly applied to diplomacy. The favor of captains and princes was curried by handsome gifts, such as Pollaiuolo's helmet offered by the city of Florence to the condottiere Federigo d'Urbino. Paintings or sculptures designed to affect an immediate political or military crisis are, however, rarer. It seems quite probable that the object with which we shall now deal, Bibliotheque de l'Arsenal ms 940, was once employed for such a purpose. The little manuscript was intended, in I

I

2

DIPLOMATIC GIFT

short, to help forestall a military campaign that its employer feared he might lose. The manuscript with its miniatures was despatched on its mission the first of June, 145 3, but the chain, or rather chains, of events responsible for this act began to be forged several years earlier, and as usual in human events, in several different places. Since the manuscript was sent by Jacopo Antonio Marcello we might as well begin with him. 1 Marcello, member of an ancient and noble Venetian family, had already for some fifteen years been a successful captain of his city's army. He was caught in the great conflict that arose from the growing power of Milan under Filippo Maria Visconti and the new Venetian policy of continental aggrandizement. He had secured Ravenna for the Venetian domain, recovered Verona from Piccinino, raised the three-year siege of Brescia, and indeed carried the battle close to the gates of Milan.2 Active in political as well as military affairs, he was the leading Italian supporter of the claim of Rene of Anjou to the kingdom of Naples, from which Rene had been driven in 1442 by Alfonso of Aragon. Rene had named him to the "praefectura maritima" of the kingdom. In 1447 Visconti died, touching off a struggle for the succession in Milan. The chief contender was Francesco Sforza, an ally of Rene, and in 1448 Marcello took up arms to support him. But the death of Visconti did not only involve Marcello in a new war. It started him on a series of manoeuvers—very intricate, we are told—to acquire a work of art. Apparently the Venetian general had had his eye on a pack of Visconti's cards that were painted by Michelino da Besozzo. Knowing that Rene's wife, Isabelle of Lorraine, was a great admirer of such things, he managed to get them after Visconti died and, with a respect-

DIPLOMATIC GIFT

3

3

ful letter, he sent them to her. On June 24, 1449, Sforza reported to Rene, his ally, that Marcello was an ardent advocate of his Neapolitan ambition. Two months later, on August 26th, Rene responded by naming both Marcello and Sforza knights of the Order of the Crescent.4 The Order of the Crescent was founded by Rene on August 11, 1448.5 It was one of those chivalric societies of noblemen with a social, religious, and, as we shall see, political purpose that tended to multiply in the late middle ages, during the period of the decline of chivalry itself. To found such an order was something of a tradition in the house of Anjou, for Louis I had in 1352 created the Ordre du St.Esprit au Droit Desir. Themanuscript of the statutes of this order, richly illuminated in Naples, has come down to us, preserved in the Bibliotheque Nationale (Fr. 4274).® The large miniature at the beginning shows King Louis and his Queen adoring the Trinity. While Louis I had dedicated his order to the Trinity, Rene a hundred years later chose—and the difference is interesting—St. Maurice, patron of the Cathedral of Angers. As a captain in the Theban legion killed in Gaul, Maurice belonged to that group of youthful warrior saints·—George, Eustace, or, from the Old Testament, David—veneration of whom had grown greatly in the fifteenth century. Louis X I of France similarly selected a militant saint—Michael—as the patron of the order he founded in 1470. The diplomacy of the Italian city-states was motivated solely by self-interest, openly manifested and virtually uncontrolled by any concept of political or social morality. As a consequence the relationships between the states were constantly shifting and unimaginably intricate. An event so important as the accession, in 1450, of Francesco Sforza to the Duchy of Milan inevitably set off a whole new series 1·

4

DIPLOMATIC GIFT

of manoeuvers for political and military advantage. Sforza, whose claim to the Duchy had been supported by Venice in 1448 and 1449, n o w t u r r ied against his ally and aligned Milan with Florence. Venice then formed an anti-Milanese alliance with Alfonso, King of Naples, himself a disappointed aspirant to the rule of the Duchy. This alliance gave Sforza an opportunity to arouse the interest of Charles VII, King of France, enemy of Alfonso because he had driven Rene of Anjou from Naples. On February 21, 1452, Charles signed a treaty with Milan and Florence, effective until June 24, 1453. The King agreed to send a prince of the blood at the head of an army to aid these states if they were attacked. Venice, alarmed at the mounting strength of Sforza, declared war on Milan on May 16, 1452. Sforza and the Florentines appealed urgently to Charles V I I to honor his obligation, and eight months later, on January 26,145 3, the King, with an eye on Naples, agreed "en principe" to send Rene into Italy. In April Rene promised the Florentines that he would be in Italy by June 15 th. The Venetians, who were not aware of this agreement, continued to exploit every possible method of reducing the enthusiasm of the French for the campaign. On May 4th Rene left Angers to begin his southern venture. He was accompanied by his close companion, Jean Cossa, seneschal of Provence (Fig. 12). During the past few years of strenuous diplomatic activity Cossa, a Neapolitan by birth and adjutant of Rene since 1438, had served as a roving ambassador for Rene and Charles V I I in Italy, undertaking missions to Venice, Milan, and Rome. By June 4th Rene and Cossa were in Aix, assembling their forces and conducting, as always, negotiations with both sides. It was just at this moment that they—or at least Cossa—presumably received an interesting and provoca-

DIPLOMATIC GIFT

5

tive document from the Venetian leader, Jacopo Antonio Marcello. 2

Jacopo Antonio Marcello became, as we have seen, the seventeenth knight of the Order of the Crescent on August 26, 1449. The ceremonies of his admission were held in 1450, Jean Cossa (Fig. 12) presiding as the annual senator. Sometime during the next couple of years he conceived the idea of presenting to Rene and the Order an account of the life and passion of its patron, St. Maurice. When this manuscript was completed he asked a Lombard illuminator to embellish it with six miniatures (Fig. 4), very probably the same illuminator who worked on the manuscript of Plutarch's Life of Alexander the Great in the library at Siena.7 Marcello, who was a scholar and a humanist as well as a soldier, added to this text, probably somewhat later, a poem that he had composed in hexameters, celebrating both St. Maurice and Rene. A t the same time, or perhaps a little later still, he affixed at the beginning a letter addressed to the senator and brothers of the Order. In this letter he expresses his regret that the pressure of affairs had kept him away from the annual convention and thus from meeting his fellows, whose countenances he misses. He offers the manuscript to them as a token of his esteem and begs them to excuse his absence. The last four lines of this letter (f. 5) are very crowded. They were certainly added later, in a different hand, and probably in haste. They read: "Valete feliciter, vestri memores Iacobi Antonii Marcelli ex felicissimis castris D. D. Venetiarum Post captum Quintianum et Pontemvicum. Kai. junii M C C C C L I I I . "

6

DIPLOMATIC GIFT

The letter was signed, so to speak, in the field and Marcello decided to remind his readers very pointedly of the Venetian triumphs over Sforza, the ally of Rene and Cossa, at Quinzano and Pontevico, even though to do this he had to sacrifice the appearance of the folio by squeezing the words. He also wished to remind his readers wherever possible of the fact that he was a Venetian commanding officer, for at the beginning of the letter he erased the title that had originally appeared after his name (no longer legible) and inserted instead "PROVISOR E X E R C I T U S " —not a new position, after all, for he had been renamed to it in 1451 along with Pasquale Malipiero (Fig. 2).8 Probably not long before this, but most likely late in 1452 or early in 1453, a s w e shall see, Marcello, bearing in mind the new military circumstances and apparently beginning to devise a plan to meet them, asked a great artist to add some miniatures to the new sections of the text.9 At the beginning, on the last folio (C verso) of a gathering formed by a single sheet folded in two, he painted the annual congress of the Order of the Crescent, held at Angers on September twenty-second, the feast of St. Maurice (Fig. 1). The miniature, full-page, faces the beginning of Marcello's letter to the Order (Fig. 2). Twenty-five knights are seated on benches around three sides of the room, their fraternal unity conveyed by the regularity of the arrangement. Among the knights on the left wall, below three large arches through which light streams into the hall, the senator sits on a dais, proudly looking out of the room at the beholder. A remarkably youthful figure, he probably is Jean, Duke of Calabria and eldest son of Rene, who was senator from September 1452 to September 1453.10 All of these knights are clothed in the red mantles and

M a n t c g n a , Congress

of the Knights

of the

Crescent

P a r i s , B i b l i o t h c q u c dc 1'Ai'Scnal M S 940

DIPLOMATIC GIFT

7

black velvet hats rimmed in gold prescribed in the statutes of the Order. 11 Each of them wears under his right arm the appropriate insignia, a crescent of enameled gold with the motto " L O S E N CROISSANT" written across it in blue. To avoid monotony the painter has varied the hue of red, altering the quantity of yellow in it from figure to figure. The four men, three in top hats, standing along the rear wall, are dressed in a still brighter orange-red. Probably they are officers of the Order, the Chancellor, Vice-Chancellor, Treasurer, and Clerk, for whom scarlet robes were prescribed. One of them addresses his companion in a lively manner. There is a large door in this wall, filled with an iron grill, and above it a gilt statue of St. Maurice wearing a cuirass and bearing a lance, a palm (of martyrdom), the badge of the Order and its arms, which are the same as his. Through the grill one sees a soldier standing guard, and beyond and far below him a green plain, a small part of which is visible through the first arch at the left. The painter probably did not intend to represent a specific building. The chapel of the Order in the south transept of the Cathedral of Angers was vaulted and very different in character. It is furthermore not clear what phase of the annual congress is represented. Part of the meeting was held, it seems, in the house of the senator, but his term of office was limited to one year, so that if we wonder what room is shown we are led into a series of unverifiable hypotheses. The alignment of the knights around the three sides of the hall doubtless conforms either with the practice of the Order or with a current convention for gatherings of this sort. The placement of one row of figures in the foreground, their backs turned, very decisively bars the beholder from the scene, giving it an exclusive character that is not diminished by the sight

8

DIPLOMATIC G I F T

of the guarded and gated door opposite. Though the composition, with its row of foreground figures, is unusual in the Italian Quattrocento, it may be found in the North, and actually in representations of similar events. Fouquet's miniature of the trial before the king atVendöme in the Munich Boccaccio is related, and in a portrayal of the Ordinance ofCharles the Bold (1473) a similar closure is effected by a human barrier along the lower frame (Fig. 3).12 The folio (34V) opposite the beginning of Marcello's hexameters on St. Maurice is devoted to the figure of the saint himself, essentially the same military image that, in much smaller scale, appears over the door of the chapter hall (Fig. 5). On 34V he wears the crescent under his right arm and stands in a small patch of greensward. At the beginning of the poem on f. 3 5, as at the beginning of the letter on f. 1, there is an initial composed of some long curling green leaves and a pair of vase-like flowers, out of the upper of which emerges the bust of a man (Figs. 2, 8). The figures in these initials are in the style of the miniatures on the facing folios. Both of them represent the same person, evidently the man whose profile appears on f. 38V and who is, as we shall see, the author of the text, Jacopo Antonio Marcello. The busts in the initials act in an unusual way. Each one takes cognizance of the text and points at it, his raised arm disclosing the badge of the Crescent. Though in the borders of medieval manuscripts detached hands or arms frequently point at the text, the portrayal of a person doing so seems to presuppose the growth of a sophisticated illusionism in Quattrocento painting. A painted figure can behave like an actual one, even to the extent of reading the adjacent text. The last two miniatures are on folios 3 8 V — 3 9 , in a separate gathering that follows the end of the poem on

DIPLOMATIC G I F T

9

37V (Figs. 6, 7). They face one another, and while they evidently are related in color and connected somehow in meaning, just what they mean is not so immediately apparent. The miniature at the right is utterly phantasmagoric. It looks at first like some sort of outlandish wedding cake done up in a great white ribbon. A grayish elephant stands on a patch of bare brown earth between two hillocks touched here and there with bright green grasses. Several narrow blue bands are wound around his body, and a wide strap fastened by a blue buckle encircles his midriff. All of this suggests that the elephant is bearing, if not a howdah, at least some sort of burden, but one is not prepared for anything so fluid. Blue water fringed with grasses spreads over his back like a cushion, and offers a medium to a pair of ducks, three coy dolphins, and a fluttering heron. Looking at this attractive little scene, one is reminded of descriptions of the affection for birds and animals shown by Rene of Anjou, whom the manuscript honors, and of such possessions as "troys petites toilles k mectre en une chambre, dont en l'une (three birds, and in another) ung paon, un fesant, ung oiseu de riviere." 1 3 From the water over the elephant's back rises a building that can only be the Palazzo Ducale in Venice. The capitals and arches in the lowest arcade, and some of the architectural members above are gilt, and the tiles in the patterned wall are maroon and white. Above the balcony a crowned female figure in a maroon mantle is seated on a throne. The arms of her throne terminate in lions' heads. At her feet are the heads of two Furies, and below a pair of scales. This is the image of Venecia Magna as it appears on the western facade of the Ducal Palace, in the large panel by Jacobello del Fiore within the Palace,14 or on the verso of the medal of Francesco Foscari, the aggressive Doge whose

10

DIPLOMATIC GIFT

expansionist policies had brought Venice into conflict with Milan (Fig. 10). So much is clear, but what is the sense of this strange conglomeration ? Nothing other than a very polite dialogue between Venice and our Jacopo Antonio Marcello.15 The clue is provided by the nature and content of the inscription, written in golden letters on a white scroll. The words appear on the two opposite sides of the scroll that are turned towards the beholder as it winds upward. It is clear therefore that, beginning at the top, F A T E O R · ME is continued by the words written below on the same side of the scroll, P R E C I P I T A N T E M S U S T I N U I S T I . The inscription that begins at the bottom on the opposite side of the scroll reads: I N F I C I O R N A M D I V I N A V I R T U T E E V A S I S T I . It is Venice, open-mouthed, pointing with her hands to F A T E O R · ME and to the elephant, who says, " I acknowledge that you sustained me when I was falling." And it is the elephant who, turning its head and trunk upward towards Venice, replies with exemplary modesty: " I deny this for it is by divine power that you escaped." If the elephant does not represent Marcello, savior of the Venetian army in the war with Milan in 1438—1439, preserver of Verona, Brescia, Bergamo for the patria, conqueror of Visconti in 1446, and author of the text of the manuscript, whom does it represent? There is no reference to anyone else, and though Marcello's decision to portray a theme of this sort does not seem quite as modest as his (the elephant's) reply to Venice, he had foremost in mind, as we shall see, matters other than good manners and private morality. But we have still not answered a central question: granted that Marcello speaks, how can he be present in the guise of an elephant ?

DIPLOMATIC GIFT

II

The fact is that in the Renaissance an elephant can symb o l s even a pope. In Bernini's monument in Piazza Minerva it represents Pope Alexander V I I , and in a recent study W. S. Heckscher has shown how such an apparently improbable identification could occur. 16 In the course of his instructive exploration of the historical connotation of the animal he demonstrates that it was a symbol of military triumph in antiquity and in the middle ages, and that in fact an elephant-triumph alia Romana was staged by Frederick II in 1237. In this procession the large beast, bearing a citadel on its back, pulled the captured chariot of the defeated city. 17 But the creature was not only connected with brawn and military conquest. It was believed to possess high moral qualities, and, among all the animals, it was placed nearest to man in intelligence. Such ideas were already expressed by Aristotle and Pliny, so that they, like ideas of military conquest, possessed the sanction that was essential for Marcello's acceptance of them—the sanction of antiquity. 18 In the Quattrocento the tyrant of Rimini, Sigismondo Malatesta, employed the image of the elephant to impress his contemporaries, Marcello among them, with his qualities of mind and character. Elephants appear as caryatids in his Tempio at Rimini and one browses on the reverse of the medal, struck by Matteo dei Pasti in 1446, of his mistress Isotta degli Atti (Fig. 13). On the reverse of the medal of Pandolfo Malatesta the animal is accompanied by the legend "Elephas non timet [culices]." 19 " T h e elephant," superior to small misfortunes and small "fry," "does not fear gnats." The elephant on the medal of Isotta clearly belongs to the same species of animal as Marcello's, though less well articulated, but in assessing the verisimilitude of these specimens we must bear in mind that, as

12

DIPLOMATIC GIFT

Heckscher states, there is not a single record of a living elephant in Italy between 1260 and 1510. There are very good reasons, then, why Jacopo Antonio Marcello should have identified himself with an elephant when conducting, so to speak, a public discussion with his patria about his military prowess.20 His reasons for this choice become still clearer when we examine the picture on the facing page. It shows the bust of a man in profile, turned towards, though not looking at, the elephant and his "castle." The man, in middle age, has brownish-gray hair and fine features. He wears a pink tunic, an embroidered blue-red jacket, and under his arm the badge of the Crescent. Evidently we are confronted with Marcello himself.21 His figure rises from behind a dark gray parapet, on which is written the following strange inscription: •»έ·ΤΛ0*8όΑ03?0Ο33·4·ΛΙ&·\υ6Λ0. O3>/0a0A-AD6&070-807AA0-V3tt0-T/\0 For several centuries some of the best scholars in France— Peiresc, Mabillon, Menard, Montfaucon—attempted to decipher the intriguing inscription, only to conclude that it was, to quote one, "en lettres inconneues."22 It is the great merit of Henri Martin to have succeeded where all his predecessors failed. The alphabetical equivalents he offers are as follows: 0- A V

Β

V' c φ -»

i·'

τ.»

ί ' Pig· 1 0 1 > Paduan, 62-63, Fig s · 72> 73. 76;

putti

in, 62, 65; Venetian, 62—65

passim, Fig. 77; see also Albi, Bibl. Rochegude, MS 4, and Mantegna, littera mantiniana inscriptions: classical, 58, 59, 60, 92 n. 12, Fig. 62; in paintings by Mantegna, 58—59, 63, 92 n. 10 and n. 12, Fig. 1 7 ; lapidary, 58, 59, Fig. 64; see also script, Roman Isabella d'Este, 26 Isabelle of Lorraine, 2 Isidore, Archbishop of Kiev, 32

Isotta degli Atti, 11 Jacobello del Fiore, 9 James, St., 20, 21, 22, 24, 25, 41, 42, 59, 63, 92 n. 12, Figs. 17, 23. 54 Janus Pannonius, 29 Jaugeon, N., 78, Fig. 103 Jean, Duke of Calabria, 6, 37 Jeanne de Laval, Fig. 53 Jenson, Nicholas, 63, 65, 94 n. 32, Fig. 75

Jerome, St., 43-44, 90 n. 26

Johann of Speyer, 63 John Chrysostom, St., 32, 49, 89 n. 8 Jolibois, 81 Jouvenel des Ursins, see Maitre de Jouvenel des Ursins

Justinian, Pandects, Florence, Torrentino, 1553, 64-6 5, Fig· 74 Laurana, Francesco: medal of Jean Cossa, 4, 5, Fig. 12; medal of Rene of Anjou and Jeanne de Laval, 36, 37, Fig. 53 Lawrence, St., 20, Fig. 18 Leonardo da Vinci, 70, 97 n. 2, 98 n. 15, 99 n. 19 Liberale da Verona, 17, 91 n. 47 Lippi, Fra Filippo, 23, 28 Livy, Ab Urbe Condita Libri, Venice, Wendelin of Speyer, 1470, 63

Lodi, Peace of, 16 Lombard Illuminator, 5, 79, Fig- 4 Lombardo della Seta, 31 London, British Museum Mantegna, Madonna with an angel, 41 MS Add. 36619, Flemish, 1473, Ordinance of Charles the Bold (folio 5), 8, Fig· 3 , National Gallery Eyck, Jan van, Portrait of a Man, 27, Fig. 16 Mantegna, Agony in the Gard e n , 41, 47-48

Lorenzo de' Rossi, 93 n. 22 Louis I of Anjou, 3 Louis XI, King of France, 3 Louis, St., 43-44, 90 n. 26 Lovere, Tadini Gallery, Jacopo Bellini, Madonna, 27 Lupus of Ferrieres, 98 n. 8 Mabillon, 12 Madonna, 27, 28, 41, 43-44, 66, 88 n. 42 and n. 46, 90 n. 26, 92 n. 15

INDEX Madrid, Biblioteca Nacional, ms Vitrina 20.5, German (?), n t h century, Initial Μ (folio 14), 54 and Fig. 101 , Prado, Mantegna, Death of the Virgin, 22, 23, Fig. 25 Maitre de Jouvenel des Ursins, 96 n. 40 Malatesta, Pandolfo, 1 1 Malatesta, Sigismondo, 1 1 Malipiero, Pasquale, 6, 16 Mantegna, Andrea: v, 17, 52, 54, 5 5 - 5 6 , 59, 6 °> 62, 65, 68, 78, 94 n. 3 1 ; and antiquity, 21, 22, 26, 37, 38, 40, 4 1 , 43, 55-57, 58, 59, 63, 73, 75, 92 η. ί ο and η. 12, Figs. 17, 20, 22; and Feliciano, 55-56, 7 1 , 72—75; and the littera mantiniana, 52, 53, 57-58, 60-68 passim, 91 n. 46, 92 n. 15, 93 n. 2 1 , n. 22, and n. 27, 94 n. 32, 95-96 n. 40, 96 n. 42, 99 n. 19, and Albi, Bibl. Rochegude, ms 4; and Lodovico Gonzaga, 4 4 - 5 1 ; and nature, 26, 55-56; and Quattrocento portraiture, see Berlin, Kaiser-Friedrich Museum, Mezzarota, Paris, Bibl. de l'Arsenal ms 940, Marcello, and portraits (this index); and Venice, 25, 26, 29 w o r k s : Albi, Bibl. Rochegude, ms 4, see under Albi; Berlin, Kaiser-Friedrich M u seum, Cardinal Mezzarota, 19-20, 26, Fig. 1 4 , Presentation, 27-28, 4 1 , Fig. 57; Florence, Uffizi, Carlo de' Medici, 26, Madonna of the Rocks, 66, Presentation, 22, 4 1 , 53, Fig. 60, triptych, 22, 66, 87 n. 28; London, British

Museum, Madonna with an angel, 4 1 , National Gallery, Agony in the Garden, 4 1 , 47-48; Madrid, Prado, Death of the Virgin, 22, 23, Fig. 25; Milan, Brera, S. Giustina altarpiece, 20, Fig. 2 1 ; N e w Y o r k , Metropolitan Museum, Adoration of the Child, 48; Padua, Eremitani, frescoes, see under Padua; , Santo, damaged lunette, 25; Paris, Bibl. de l'Arsenal, Passion of St. Maurice, see under Paris; , Louvre, St. Sebastian, 66; Tours, Musee, Agony in the Garden, 4 1 ; Venice, Academy, St. G e orge, 2 1 ; Verona, S. Zeno, altarpiece, 20, 42, 43, 45, 53, 59, Fig. 65; Vienna, Kunsthistorisches Museum, St. Sebastian, 2 i , 4 1 , 47—48, 53, 62, 66, 92 n. 10, Fig. 58 Mantegna—Assistants, 6, 8, 25, 3 1 - 3 2 , 43-44, 50, 57-58, 72, 90 n. 26, Figs. 2, 8; see also under Albi, Bibl. Rochegude, MS 4 Mantegna—Followers, 26, 27, 53, 62, 87 n. 34 and n. 36, 88 n. 4 1 , Figs. 28, 34, 35, 36, 73 Mantua, 44, 46, 5 5 Marcanova, Giovanni, 53, 59, 91 n. 3, 92 n. 12 Marcello, Jacopo, 84 η. 1 Marcello, Jacopo Antonio, 2, 3, 5, 6, 8, 10—17 passim, 19—20, 28, 30, 3 1 - 3 6 passim, 38, 39, 44, 46-51 passim, 54, 57, 79, 84 η. ι and n. 2, 85 n. 8, 86 n. 20 and n. 2 1 , 89 n. 8, 90 n. 39, 91 n. 7 ; see also Paris, Bibl. de l'Arsenal, ms 940

110

INDEX

Marcellus, Marcus Claudius, 34, 86 n. 20 M a r c o , Italian scribe, 96 η. 40 M a r c o Ζ ο ρ ρ ο , 19, 33, 71 Martelli, L o d o v i c o , 30 Martin, St., 66 Masaccio, 23, 27, 57 Masolino, 57 Matteo dei Pasti: medal of Guarino, 36, F i g . 52; medal of Isotta degli A t t i , 11, F i g . 13 Maurice, St., 3, 5-8 passim, 80; see also under Paris, Bibl. de Γ Arsenal, MS 940 M e d i c i , Carlo dei, 26 Medici, Cosimo dei, 94 n. 36 Menard, 12, 80 Mezzarota, Cardinal L o d o v i c o , 19-20, 26, F i g . 14 Michael, St., 3 Michele Pannonio, 45 M i c h e l i n o da Besozzo, 2 Michiel, Marcantonio, 84 η. 1 Milan, 2, 3, 4, 10, 15, 16 , Biblioteca Trivulziana, Petrarca 2, Petrarch, Sonetti, Can^oni e Trionfi, Padua, Bartolomeo de V a l d e z o c c o , 1472, Mantegna—Follower, initial, 62-63, F i g . 73 , Brera, Mantegna, S. Giustina altarpiece, 20, Fig. 21 , Poldi Pezzoli Museum, G i o v a n n i Bellini, Man of Sorrows, 42, F i g . 61 Modena, Biblioteca Estense, MS a. G . 5. 1, Ferrarese, 93 n. 22 Moille, D a m i a n o : 98 n. 13; Alphabetum, 68, 69, 74, 7 5 - 7 6 , 99 n. 19, Figs. 91, 92, 95 Monselice, 30, 88 n. 3, 91 n. 7 Monte di G i o v a n n i , 61, 93 n. 19

M o n t f a u c o n , 12, 14, 86 n. 21 and n. 23 Moyllus, see Moille M u n i c h , Staatsbibliothek MS Clm 451, A treatise on the alphabet, 77, 78, 97 η. ζ , 98-99 η. 19 MS Cod. gall. 369, Boccaccio, Fouquet, Lit de Vendome (folio 2v), c. 1459, 8 , 85 η. 12 Naples, 2, 14, 16, 30 , M u s e o Nazionale, Mantegna (?), Francesco G o n zaga, 26 N e w Haven, Y a l e University, Gallery of Fine A r t s , Gentile da Fabriano, Madonna, 27, 88 n. 46 N e w Y o r k , Metropolitan M u seum Mantegna (?), A d o r a t i o n of the Child, 48, 91 n. 46 Mantegna—Follower, Madonna, 27 , Pierpont M o r g a n L i brary, MS 263, Horae, 96 n. 40 N i c c o l o N i c c o l i , 57 Nicholas V , Pope, 16, 32-35 passim, 39, 58, F i g . 64 Orders, military, 3; see also Crescent and St. Esprit au Droit Desir O x f o r d , Bodleian Library MS Can. Class. Lat. 161, Solinus, Polystoria, Padua (?), 1457, 92 n. 15 MS Can. Class. Lat. 301, Geography of Strabo, translated by G u a r i n o , autograph MS, 33, 49

INDEX Pacioli, Luca, Divina 68—71 passim,

proportione,

74, 76-77,

98

η. 14 and η. 15, 99 η · J9> Figs. 97. 98 Padua, Eremitani, Ovetari Chapel, Mantegna: frescoes, ν, 2i,

25,

26,

27,

55, 87 η. 33; Hermogenes,

43,

44,

Baptism

21-22,

24,

53,

of 25,

Fig. 22; Judgment of St. James, 20, 2 1 , 22, 24, 25, 4 1 , 59, 63, 92 n. 12, Figs. 17, 23; lunettes on left wall, 25, 86-87 n. 27; Martyrdom of St. Christopher, 19, 40, 43, 59, 87 n. 27, Figs. 9, 59; Martyrdom of St. James, 42; St. James led to Execution, 37, 4 1 , 59, Fig. 54; three saints (vault), 2 5 , Fig. 1 9 , Santo The Bellini, altarpiece, 53 Donatello, altar, 21 Mantegna, damaged lunette, 25 Pannonio, Michele, 45 Pannonius, Janus, 29 Papillon, Jean Michel, 67, Fig.

III Mantegna: Congress of the Knights of the Crescent (folio Cv), 6 - 8 , 1 7 - 1 8 , 2 1 - 2 5 , 86 n. 2 3 , F i g . 1 ;

Dialogue of Venice and Marcello (folio 39), 8 - 1 2 , 1 8 , 2 1 , 26, 3 5 , Fig. 7 ; Portrait of Jacopo A n tonio Marcello (folio 8, 9, 1 2 - 1 5 , 38v), 1 8 - 2 0 , 2 6 - 2 9 passim, 36, 4.1, 85 n. 9, 86 n. and n. 2 3 , Fig. 6 ;

St. Maurice (folio 34V), 8, 1 7 , 20 2 1 , 2 5 , Fig. 5 Mantegna (assisted), initials (folios i , 35), 6, 8, Figs. 2, 8 , Bibliotheque Nationale MS

Fr.

16

Parenzano, Bernardo, 64, Fig. 70 Paris, Academie des Sciences, 7 8 , Fig. 1 0 3 , Bibliotheque de l'Arsenal, M S 940, The Passion of St. Maurice, 1, 2, 5, 17, 2 1 , 25, 26, 28—29, 48—49, 7 9 - 8 0 , 85 n . 9

65-66,

Lombard Illuminator: Legend of St. Maurice (folio 5v), 5, Fig. 4; other miniatures, 5

4274,

Statutes

of

the Ordre du Saint Esprit au Droit Desir, Neapolitan, 1352, 3 MS F r .

19819,

Statutes

of

the Order of Saint Michael, Fouquet, Assembly of the Knights of the Order (folio 1), 85 n. 10 MS

81

parapets in paintings, 12, 27-29, 88 n. 42 and n. 46, Figs. 6,

17, 35, 21

Lat.

17542,

Cosmo-

graphy of Ptolemy, 31—32, 57, 59, 60; Mantegna— Follower, initial, 3 1 - 3 2 , 5 0 , 5 7 - 5 8 , 7 2 . Fig. 28 , Imprimerie Royale, 78, Fig. 1 0 3 , Louvre Bellini, Jacopo, drawings, 87 n. 30: The Empty T o m b (folio 52), 24, 25, Fig. 27 Fouquet, Portrait of Charles V I I , 95 n. 40 Mantegna, St. Sebastian,

66

112

INDEX

Paris, Musee JacquemartAndre Schiavone, Giorgio, Portrait of a Man, 19, 28, 29, Fig. 26 Mantegna—Workshop, Madonna with Sts. Louis and Jerome, 43-44, 90 η. z6

Paulmy, Marquis de, 80 Peiresc, N . C . F . de, 12, 80 Petau, Paul, 80 Peter, St., 25, Fig. 19 Petrarch: 3 1 , 56-57, 62-63, 86 η. 19, Figs. 7 1 , 7 3 ; De viris illustribus, Pojano, Feliciano, 1476, 7 1 , 98 n. 1 2 Petrineau de Noulis, 80 Piccinino, 2 Piero della Francesca, 98 η. 15 Pisanello, 26, 28 Pizzolo, Niccolo, 19 Plato, 70, 77 playing cards, see Michelino da Besozzo Pliny: 1 1 , 62, 63, Fig. 72; Natural History, Venice, J o hann of Speyer, 1469, 63 Plutarch, 5, 65, 86 n. 20, Fig. 75 Poggio Bracciolini, 32, 57, Fig. 63 Pollaiuolo, Antonio, 1 Pomponius Laelius, 32 Pontevico, 6, 14 portraits, 1 , 26-29, F i g s · 14, 15, 16, 26, 56; see also Paris, Bibl. de l'Arsenal, MS 940 proportion, 69 ff. Ptolemy, see under Paris, Bibl. Nationale, MS Lat. 17542 putti, see under initials Pythagoreans, 70

Quintilian, 32 Quinzano, 6, 14 Quirini, Lauro, 89 n. 8 Ratdolt, Erhard, 62-63 Reger, Hans, 65, Fig. 78 Regiomontanus, Calendarium, Venice, Ratdolt, 1476, 94 η. 28 Rene of Anjou, v, 2-6 passim, 9, 14—17 passim, 28, 30—34 passim, 36—39 passim, 44, 49, 50, 5 1 . 57. 66 > 80, 8 4-85 n. 4, 89 n. 8, 91 n. 7, Figs. 30, 32, 53 Rimini, 1 1 , Tempio Malatestiano, 1 1 , 24 Rome, Biblioteca Nazionale, MS Vitt. E m . 1004, Script or es Historiae Augustae, Bartolommeo San Vito (scribe), Paduan, 62, 93 n. 25 and n. 26 , Column of Trajan (A.D. 1 1 4 ) , 58, Fig. 62 , Piazza Minerva, Bernini, obelisk and elephant, n St. Esprit au Droit Desir, Order of, 3 Sallust, 62, 93 n. 26, Fig. 76 Samuele da Tradate, 55-56 San Vito, Bartolommeo, 62, 93 n. 25 and n. 26, Fig. 76 Schedel, Hartmann, 77 Schiavone, Giorgio, 19, 28, 29, 85 n. 9, Fig. 26 script, humanist, see script, roman script, roman, 53, 57ff., 64, 95; see also alphabet, treatises on script, Roman, 53, 55, 56—57, 58, 59, 6 1 , 68, 77, 98 n. 8, Fig. 62 Sebastian, St., 2 1 , 4 1 , 47-48, 53, 62, 66, 92 n. 10, Fig. 58

INDEX Sforza, Francesco, 2, 3, 4, 6, 1 3 , 15, 16, 86 n. 24 Siena, Biblioteca Comunale, MS I. V I I . 23, Plutarch, Life of Alexander the Great, Lombard, 15 th century, 5 Sigismondo de' Fanti, Theorica et practica de modo scribendi, 68, 69, 77, Fig. 99 Simone Martini, 60 Solinus, 92 n. 15 Squarcione, 19, 26, 28, 29, 33, 66 Strabo: 32, 33, 34, 49, 53, 55; Geography, Basle, Valentin Curio, 1523, initial after Holbein, 65, Fig. 79; Geography, translated by Guarino, MS, whereabouts unknown, 33, 36, 50, 89 n. 1 3 , Fig. 56 Strozzi, Onofrio, 30, 31 Strozzi, Palla, 30 Suetonius, Vitae Caesar um, Rome, Sweynheym and Pannartz, 1470, 94 n. 29 Sweynheym and Pannartz, 92 n. 9, 94 n. 29, Fig. 66 Tacuinus de Tridino, Johannes, 65, Fig· 77 Tarquinia, Museo, Fra Filippo Lippi, Corneto Madonna, 28 Titus, 20, Fig. 1 1 Torrentino, 94 n. 37, Fig. 74 Tory, Geofroy, 99 n. 2 1 , Fig. 102 Tours, Musee, Mantegna, Agony in the Garden, 41 Uccello, 24, 27 Vasari, Giorgio, 29 Vatican, Biblioteca Apostolica MS lat. 5145, Homilies of St. John Chrysostom, 32, 49, 89 n. 8

" 3

MS lat. 6852, treatise by Feliciano, 7 1 - 7 5 , 76, 97 n. 8, Figs. 84-89 Vatican, Castel Sant'Angelo, 38 , Grotte Vaticane, tomb of Pope Nicholas V , 58, Fig. 64 Venecia Magna, 9—10, 85 n. 14, Fig. 1 0 ; see also Paris, Bibl. de l'Arsenal, MS 940, Mantegna, Dialogue of Venice and Mar cello Venice, 2, 4, 10, 1 3 - 1 6 passim·, see also Venecia Magna , Academy, Mantegna, St. George, 21 , Biblioteca Marciana Cicero, Epistolae ad Familiares, Venice, Johann of Speyer, 1469, 63 Pliny, Natural History, Venice, Johann of Speyer, 1469, 63 MS Lat. V I , 245, Pliny, Natural History, Padua, 1 4 8 1 , initial L (folio 3), 6 1 - 6 2 , Fig. 72 MS 3 [L. I X , I] M K , Eusebius, Chronicum, Padua, 1450, 92 η. 15 , Frari, Cornaro Monument, painting on frieze, 87 n. 34 , Museo Correr Bellini, Giovanni, Crucifixion, 42 MS 314. V I . 3 5 1 , Feliciano, Latin miscellany, 1460, 7 2 - 7 3 , Fig. 90 , Palazzo Ducale: 9; see also Paris, Bibl. de l'Arsenal, MS 940, Mantegna, Dialogue of Venice and Marcello; Jacobello del Fiore, Venecia

1X4

INDEX

Magna, 9; , Sala del Maggior Consiglio, Tintoretto, Jacopo Marcello at Gallipoli, 84 η. 1 Venice, San Marco, Mascoli Chapel, Castagno, Death of the Virgin, 24, 87 n. 34,90 n. 24 , Scuola di S. Giovanni Evangelista, 87 n. 34 Verona, 2, 10 , Arch of the Gavi, 22 , Biblioteca Capitolare, MS 269, collection of inscriptions by Feliciano, 7 1 , 97 n. 7 , San Zeno, Mantegna, altarpiece, 20, 42, 43, 45, 53, Fi 59) g s · 18, 65 Vespasian, coin of, 20, Fig. 1 1 Vespasiano da Bisticci, 33, 58, 61, 89 n. 10 Vienna, Kunsthistorisches Museum, Mantegna, St. Sebastian, 21, 41, 47-48, 53, 62, 66, 92 n. 10, Fig. 58

Vienna, Nationalbibliothek MS 344,1437, Florentine initial (folio 1), 92 n. 16 MS 2597, Cuer d'Amour Espris, 66 Virgil, Aenead, London,Thomas Warren, 1654, 67, Fig. 80 Visconti, Filippo Maria, 2, 10 Vitruvius, 69-70, 7 1 , 75 Vivarini, Antonio, 19, 23, 87 n. 32, Fig. 24 Vivarini, Bartolommeo, 19 Washington, National Gallery Mantegna—Follower, Portrait of an Unknown Man in Armor, 26, 87 n. 36, 88 n. 4 1 Masaccio—Follower, Portrait of a Man, 27 Wendelin of Speyer, 63, Fig. 71 Zoppo, Marco, 19, 33, 71

ILLUSTRATIONS

ι . Andrea Mantegna, Congress of the Knights of the Crescent, Paris, Bibliotheque de l'Arsenal MS 940, f. Cv. 1452—53.

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Fig. 5. Mantegna (assisted?), St. Maurice, Paris, Bibliotheque de l'Arsenal MS 940, f. 34 V.

Fig. 6. Mantegna, Portrait of Jacopo Antonio Marcello, Paris, Bibliotheque de l'Arsenal MS 940, f. 38 V.

Fig. η. Mantegna (assisted), Dialogue of Venice and Marcello, Paris, Bibliotheque de l'Arsenal M S 940, f. 39.

Fig. ίο. Antonio Gambello, Veneria Magna, reverse of medal of Francesco Foscari. Fig. 1 1 . Roman coin, Titus and Domitian, the sons of Vespasian. Fig. 12. Francesco Laurana, Medal of Jean Cossa, 1466. Fig. 13. Matteo de' Pasti,Elephant, reverse of medal of Isotta degli Atti, 1446.

Fig. 14. Mantegna, Cardinal Me^xarota, Beilin, Kaiser Friedrich Museum.

Fig. 17. Mantegna, Judgment of St. James {detail), Padua, Eremitani. (Destroyed)

Fig. 18. Mantegna, Saints {detail), Verona, S. Zeno.

Fig. 19. Mantegna (?), St. Peter, Padua, Eremitani. (Destroyed)

Fig. 20. Roman torso, Aix-les-Bains, Musee archeologique. Fig. 21. Mantegna, S. Giustina (detail), Milan, Brera.

Fig. 22. Mantegna, Baptism of Hermogenes, Padua, Eremitani. (Destroyed)

Fig. 25. Mantegna, Judgment of St. James, Padua, Eremitani. (Destroyed)

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Fig. 5 8. Mantegna, St. Sebastian {detail), Vienna, Kunsthistorisches Museum.

Fig. 59. Mantegna, Martyrdom of St. Christopher Eremitani.

{detail),

Padua,

Fig. 60. Mantegna, Presentation in the Temple {detail), Uffizi.

Florence,

Fig. 61. Giovanni Bellini, Man of Sorrows, Milan, Poldi Pezzoli Museum.

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