Guide To Medieval and Renaissance Manuscripts in the Huntington Library
EL 9 H 13
DUCALI and ANTIPHONAL, fragmentsArts. 1-37, 37 excised leaves from ducali, Venice, s. XVI. Arts. 38-41, 4 historiated initials cut from an antiphonal, Italy, s. XV. 1. Commission from Leonardo Loredan (doge, 1501-21) to Vincenzo Donà as “Comes” of Lesina (now Hvar). 210 × 130 mm., first 4 lines of text in gold square capitals; remainder, recto and verso, in an italic hand; full illuminated border on the recto with medallions of St. Mark’s lion, allegorical figures, St. Vincent Ferrer, rabbits, and the initials “V.D.” on either side of the Donà shield, barry of 6 azure and or, a chief argent (Rietstap, vol. 2, pl. 214, but lacking the charge in chief); in the lower margin, a later hand has written “Joannes Bellinus 1515.” 2. Arms of Marcello, azure a bend wavy or (Rietstap, vol. 4, pl. 139; also on art. 23), and another coat of arms, unidentified, or on a bend sable, a bendlet lozengy argent. 210 × 145 mm., blank on the verso. The appointee being presented to the Virgin and Child by St. Nicholas; below, the inscription: “Exaudi preces.” 3. No arms. 220 × 160 mm., blank on the verso. St. Nicholas presents the appointee to the Virgin and Child, while a male figure hands his commission to him. 4. Arms, apparently of Falier, quarterly, 1 or, 2 azure (although here it appears very dark), 3 and 4 argent (here very dark, perhaps oxidized: Rietstap, vol. 2, pl. 299). 210 × 150 mm., blank on the verso, although notes in Huntington files state that it once had on the back a printed hymn and prayer, with engraved medallion portrait of Francis de Paola, signed “Zuliani F.” Falier kneels before the Virgin who supports the dead Christ; behind Falier are 2 twins (?) in court dress, holding checkered oval objects; possibly by the same artist as arts. 23, 25 and 26. 5. Arms, apparently of Bolano, per fess or and azure, on a bend gules, a bendlet argent; also on art. 29. 210 × 140 mm.; blank on the verso. The Virgin and blessing Child look upon the appointee who is being presented by a saint in Dominican robes, holding fetters, possibly the blessed Antonio Neyrot. 6. Arms of Tron, per fess or, 3 fleurs-de-lis on thrones gules, and barry of 6 or and gules (Rietstap, vol. 6, pl. 52, but without the 3-step “thrones” supporting the fleurs-de-lis). 215 × 155 mm., blank on the verso. The appointee, wearing a black surcoat, is being presented by a male saint holding a palm tree and a globe to the Virgin and the blessing Child. 7. Arms of Leoni, azure, a lion rampant or, on a bend or 3 roses gules (Rietstap, vol. 4, pl. 48; also on art. 28). 210 × 140 mm., blank on the verso. Mark, seated with the lion at his feet, hands the commission to the appointee; a vision of the Virgin and Child appears in the sky; through the open window, in the background, a ship sailing towards an island. 8. Possibly the arms of Taiapiera, although damaged, or, on a bend azure a bendlet nebuly (Rietstap, vol. 6, pl. 2, although in the manuscript the colors are reversed). 205 × 143 mm., blank on the verso. The appointee stands before a vision of Christ in the aperture of clouds in the sky. 9. Commission from Alvise Mocenigo (doge, 1570-77) to Andrea Pesaro as Commissioner to Zante (now Zakinthos); Pesaro arms, per pale indented or and azure (Rietstap, vol. 5, pl. 40). 205 × 150 mm., text on the verso in an italic script. Pesaro kneels before the Virgin and Child, as the Child holds the scepter towards him. 10. Commission from Niccolò da Ponte (doge, 1578-85) to Francesco Duodo as Captain of Brescia; Duodo arms, gules, on a bend argent 3 fleurs-de-lis azure (Rietstap, vol. 2, pl. 238); also on arts. 20 and 22. 225 × 165 mm.; the first 4 lines of text in gold square capitals on a label, the following 3 lines in gold square capitals, the remainder in an imitative humanistic script. Duodo receives a palm leaf from a female saint holding a pine cone, while gazing up at a vision of the Holy Spirit. Other arms in the border of the Venetian territories of Udine, Padua, Brescia, Bergamo and Corfù (now Kerkyra); a sixth shield remains blank. 11. No arms. 220 × 160 mm., blank on the verso. A triumphal cart drawn by 2 lions and driven by a woman holding sword and scales, representing Justice, while another figure holding Cross and chalice gazes upwards at the Holy Spirit; other figures surround them. 12. Arms effaced. 210 × 150 mm., blank on the verso. The appointee kneels before the Crucifixion, while a young man dressed in blue places the scepter in his hands; Francis of Assisi stands behind him. Allegorical medallions in the border labelled Obedientia, Umiltà, Stabilità, Eternità (?), Resolutione, Constantia. 13. Commission of Marino Grimani (doge, 1595-1605) to A[lvi]se Muazzo to serve an office in “detta città nostra”: the text has been scraped and is only partially legible; Muazzo arms, per fees or and azure a fleur-de-lis counter-changed (Rietstap, vol. 4, pl. 257); also on art. 15. 215 × 140 mm.; gold square capitals for the heading, the remainder in an italic script. Venice, represented allegorically as an elegantly clad queen, hands the commission to Muazzo, as a vision of God the Father appears in the sky. In the lower margin, the same later hand as on art. 1 has attributed the painting to Zilotti. 14. Unidentified arms, barry of 6 argent and gules, an eagle displayed gules. 210 × 150 mm., blank on the verso. Allegorical female figures, the central one holding a flaming vessel. Medallions in the border, as on art. 12, representing Virtù, Concordia, Felicità, Pace, Clementia, Sapientia. 15. Commission of Pasquale Cicogna (doge, 1585-95) to <?> Muazzo as Podestà of A<?>a: the text has been scraped and is only partially legible. Muazzo arms as on art. 13. 215 × 150 mm. Muazzo and the allegorical representation of Venice adore a vision of the Crucifixion. The painting is attributed to Zilotti by the same hand as on arts. 1 and 13. 16. Arms of Corner, per pale or and azure, an eagle displayed sable (Rietstap, vol. 2, pl. 128). 210 × 150 mm., blank on the verso. The figure of Venice rises from the lagoon and is crowned by a cherub, while Christ leans down from the clouds to point at the Doge’s Palace and Piazzetta San Marco. 17. Two coats of arms, unidentified: on the left, argent, a lion rampant holding a fleur-de-lis (tincture uncertain), and on the right, gules, a mullet of 6 points or between 2 serpents (?) erect combatant. 226 × 153 mm., blank on the verso. The allegory of Justice sits with one foot on the globe, attended by 2 women supporting the shields. 18. Space for St. Mark’s lion at the top of the border, and that for the arms of the appointee at the bottom are painted brown. 210 × 154 mm., blank on the verso. Justice, seated on the lion, rests her foot on the globe. 19. Commission from Niccolò da Ponte (doge, 1578-85) to Daniele Foscarini as “Locotenens” of Udine. Foscarini arms, or a bend lozengy azure (Rietstap, vol. 2, pl. 347). 218 × 157 mm.; heading of the text in gold square capitals, Foscarini’s name in a humanistic script using pale red ink, the remainder in italic script. Justice, with her foot on the globe, sits between Truth and Temperance (?). 20. Arms of Duodo, as on arts. 10 and 22, and the inscription: “Procurator creatus anno 1587 28 Martii anno aetatis suae LXVIII means VI.” 285 × 205 mm., blank on the verso. Christ Triumphant appears before Duodo; in the background the sea and a red ship are visible. In the border are the arms of Corfù (now Kerkyra), Udine, Padua, Brescia, Bergamo and the Procuratia. 21. Arms, apparently of Fesso, azure, 2 bendlets or. On the verso, the space for the heading with the doge’s name and the text space for the appointee’s name have been left blank, although in the same hand as the rest of the text, the designation of office (Podestà) and of place (Treviso) have been inscribed. 222 × 160 mm., italic script. The painting, of simple execution, represents Justice standing in an architectural niche. 22. Commission of Pietro Loredan (doge, 1567-70) to Francesco Duodo as Podestà of Bergamo. Duodo arms as on arts. 10 and 20; inscription: “Non nobis domine non nobis gloria tibi soli.” 222 × 155 mm., heading in gold square capitals, the remainder in an italic script. The Duodo shield is held by the figure of Justice; beside her 2 women hold the shields of Bergamo and Udine, while Neptune supports that of Corfù (now Kerkyra). 23. Commission from Alvise Mocenigo (doge, 1570-77) to Giovan Marcello as Commissioner and Captain of Legnago and Porto (in the province of Verona). Marcello arms as on art. 2. 222 × 155 mm., heading in gold square capitals, the remainder in an italic script. The painting, possibly by the same artist as arts. 4, 25 and 26, depicts John the Baptist presenting Marcello to Mark, who hands him his commission; in the center, a vision of Christ Triumphant. 24. No arms, possibly because the painting has been severely trimmed and no border remains. 190 × 130 mm., blank on the verso. Judith, still holding the sword, places the severed head of Holofernes in a bag held by a servant. 25. Commission of Alvise Mocenigo (doge, 1570-77) to Girolamo Mocenigo as “Locotenens” of Udine. No arms, although the 2 5-petalled blue flowers set into the top of the architectural border may indicate Mocenigo, per fess azure and argent, a rose counterchanged (Rietstap, vol. 4, pl. 219); see arts. 26 and 30. Inscription: “Anno II Magnae Navalis Victoriae Dei Gratia contra Turcas [sic] M D LXXII,” referring to the battle of Lepanto. 220 × 165 mm., heading in gold square capitals, the remainder in an italic script. The painting represents Venice crowned by Mark; the same artist apparently executed arts. 4, 23 and 26. 26. Arms of Mocenigo, as in arts. 25 and 30. Inscription: “Cum esset annorum quinquaginta magistratumque gereret sapientis terre firme electus fuit locumtenens Utini.” 217 × 150 mm., blank on the verso. The kneeling figure in purple robes receives a book from a pope, at whose sides stand a doge and a king (representing Pius V, Alvise Mocenigo and Philip II of Spain?); the painting is possibly by the same artist as arts. 4, 23 and 25. 27. No arms. 205 × 143 mm., blank on the verso. An allegorical figure in armor stands on a pedestal, with Truth and Justice on either side. 28. Commission of Niccolò da Ponte (doge, 1578-85) to Jacopo Leoni as Podestà and Captain of Capodistria. Leoni arms as on art. 7. 205 × 140 mm.: heading in gold square capitals, the remainder in a hurried italic. The painting, rather coarsely done in red, yellow and white, represents the Virgin and Child. 29. Arms of Bolano, as on art. 5. 200 × 145 mm., blank on the verso. St. Mark’s lion stands with 2 feet on the water and 2 on land; the saints on either side are Anthony abbot and Mark; the painting is of mediocre quality. 30. Commission of Pietro Lando (doge, 1539-45) to Andrea Mocenigo as Podestà of Padua. Mocenigo arms as in arts. 25 and 26. 230 × 160 mm.; on the recto the first 3 lines are in gold square capitals on a red ground, the rest in italics on a shaded yellow ground; script on the verso, in italics by the same hand as in art. 31. The Virgin and Child are in the center between Elizabeth and John the Baptist; Jerome and Andrew in medallions in the border, of the same style as in art. 31. 31. Commission from Pietro Lando (doge, 1539-45) to Gaspare Raineri as Commissioner of Asolo. Raineri arms, per pale, argent, a chevron sable counter-changed (Rietstap, vol. 5, pl. 122, which, however, is argent and vert). 230 × 155 mm.; organization of scripts, and script itself as in art. 30. The artist, also the same as in art. 30, has shown Raineri kneeling before the Virgin and Child; Mary Magdalene (?) in a medallion in the border. 32. Commission from Marcantonio Trevisan (doge, 1553-54) to Francesco Pisani as Podestà of Treviso. Pisani arms, per fess, azure and argent a lion rampant counterchanged (Rietstap, vol. 5, pl. 62). 230 × 162 mm., heading in gold square capitals, the remainder in an italic script. Christ blesses the kneeling Pisani, who is being presented by John the Baptist; in the background, Piazzetta San Marco. 33. Commission of Girolamo Priuli (doge, 1559-67) to Agostino Bembo as “Comes” of Traù (now Trogir). Bembo arms, azure, a chevron or, 3 roses or (Rietstap, vol. 1, pl. 173); also on art. 36. 225 × 160 mm.; heading in 3 lines of gold square capitals, the 4th line in blue square capitals, the remainder in italic script. In an architectural niche 2 figures embrace; below, the inscriptions: “Iustitia et Pax Osculatae sunt”; “Virtutis Illustris Comes Benefactorum Merces.” 34. No arms. 222 × 155 mm., blank on the verso. A bishop kneels in adoration before the Virgin and Child; the Child is holding a gold cross. 35. Arms of Pasqualigo, barry of 6 or and argent (Rietstap, vol. 5, pl. 17, where the colors are or and azure); also on art. 37. 215 × 153 mm., blank on the verso. The figure of Justice hands her scales and sword to a man in classical dress with 2 lions. 36. Arms of Bembo, as on art. 33. 220 × 160 mm., blank on the verso. The appointee receives his commission from a crowned Justice. 37. Arms of Pasqualigo, barry of 6 or and azure (Rietstap, vol. 5, pl. 17); also on art. 35. 273 × 190 mm., blank on the verso. A saint in classical dress hands his commission to the elderly appointee; out of a window an army is visible. 38. Historiated initial cut from an Italian antiphonal (Lombardy?), s. XV. 170 × 150 mm. The initial itself is formed of a dark pink gothic tower, pink and blue acanthus leaves and green laurel leaves; the whole set on a burnished gold ground; an angel coming out of the tower holds a scroll reading “Gloria in Ecelsis Deo.” Mary sits in adoration beside the Child in the manger, while Joseph sleeps and an angel points to the shed for 2 shepherds. 39. Historiated initial cut from the same antiphonal as art. 38. 110 × 133 mm. A male saint holding a book and a knife (?) stands in front of a low grey wall against a deep blue sky with small scurrying silver clouds. A note in a modern hand on the verso identifies the artist as “Girolamo da Libri de Padua <?>.” 40. Historiated initial cut from the same antiphonal as art. 38. 115 × 117 mm. Presentation in the temple, with Mary and the woman with the doves standing to the left, Joseph on the right, and Simeon already holding the Child. 41. Historiated initial cut from the same antiphonal as art. 38. 107 × 130 mm. Massacre of the Innocents with Herod on his throne watching. The items were re-mounted and boxed in 1972. Acquired by Henry E. Huntington with the Bridgewater Library in 1917 (see pp. 5-7).
Italy, s. XVI and s. XV
C. W. Dutschke with the assistance of R. H. Rouse et al., Guide to Medieval and Renaissance Manuscripts in the Huntington Library (San Marino, 1989). Copyright 1989.
Henry E. Huntington Library and Art Gallery, San Marino, California.
Electronic version encoded by Sharon K, Goetz, 2003.
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