Tátrai Vilmos szerk.: A Szépművészeti Múzeum közleményei 95. (Budapest, 2001)

SZÉPE, HELENA KATALIN: Civic and artistic identity in illuminated Venetian documents

tal antique arch with sculptured armor and the heraldry and initials of Duodo. The base is inscribed with the opening to the apocryphal book of Wisdom, also known as the Wisdom of Solomon (1:1): 'Diligite iustitiam qui iudicatis terrarri ("Love righteousness, you rulers of the earth"). God the Father above blesses Venice/Justice, and putti to either side hold trumpets alluding to fame. Except for the personalization of the miniature with the initials and heraldry of Duodo, the entire page, including the inscription, is almost exactly reproduced in a later commissione to Melchiore Salomon of 1561, now at the Cini Foundation.

26 The second-known dogale leaf for Duodo is that as podestà of Bergamo in 1568 (fig. 49), painted by a master whom Zuccolo Padrono classified as Mannerist because of his bright, often acidic colors, and elongated figures.

27 This artist, whom I suggest be named the 'Mannerist Master,' can be distinguished also by a rather loose, rough quality of execution as noted above, and often very innovative iconography. Indeed, the scheme for the Duodo miniature is apparently singular in manuscript illumination. The arms of Bergamo are being offered by her personification in the far left to a crowned Venice as Justice, who cradles the heraldic insignia of the Duodo family as if he were a favored son of the republic. Also being presented are the shields of those territories administered by Duodo before: Udine and Corfu. This image is related to the votive painting for Doge Francesco Venier by Palma Giovane in the Senate Hall of the Ducal Palace, in which personifications of territories, which Venier had been elected to oversee, present gifts to Venice. It may be that the dogale took precedence in this iconographical scheme, because the Palma painting has been generally dated to ca. 15 9 3.

28 The inscription in the upper comers of the dogale, l

non nobis domine non nobis...gloria tibi solV quotes Psalm 115, and the first five words of this assertion of humility were inscribed earlier on the great Palazzo begun by Mauro Codussi in the 1480s for Andrea Loredan di Niccolo da Santa Maria Formosa (Palazzo Loredan-Vendramin-Calergi), and perhaps finished by 1509.

29 The territories have become individual trophies in the 26 Venice, Fondazione Cini, Ms. 6. Mariani Canova, G., ed. Miniature dell'Italia settentrionale nella Fondazione Giorgio Cini, Vicenza 1978,72-73, fig. 61. The Salomon commission is complete and contains a facing illumination, which is in turn almost identical to that of a detached leaf for Pandolfo Guoro of 1560-1561 in the Temple University Libraries, Philadelphia, discussed by Dutschke, C, Leaves of Gold. Manuscript Illumination from Philadelphia Collections, ed. Tanis, J. R., Philadelphia 2001, 222-223. 27 There is ^commissione of 1569 for F. Duodo as captain of the 'galère grosse nella guerra turchesche', which is complete but not illuminated. Venice, Museo Civico Correr III, 304. Dutschke, C. W., Guide to Medieval and Renaissance Manuscripts in the Huntington Library 1, San Marino, CA 1989, 27. Zuccolo Padrono, G.M., Miniature manieristiche nelle commissioni dogali del II cinquecento presso il Museo Correr, Bollettino dei musei civici veneziani, 72, n. XIV:6 (1969) 4-18. The miniature closest in style to that of the Huntington leaf is the Commissione of Doge Girolamo Priuli to Francesco Tron as provveditore of Peschiera, 1563. Venice, Museo Civico Correr III, 202, illustrated in Zuccolo Padrono, ibid., fig. 10. A later miniature in this hand is that of the Commissione of Doge Alvise Mocenigo to Catarino Contarini as podestà di Lendinaria, 1572. St. Petersburg, Russia, National Library of Russia, illustrated in Voronova, T. and Sterligov, A., Western European Illuminated Manuscripts in the National Library of Russia, St. Petersburg, Bournemouth, UK 1996, 360-361. 28 It is unclear what, if anything had been painted in that space before. Dated and illustrated in Mason Rinaldi, S., Palma Giovane. Lopera compléta, Milan 1984, cat. 536, fig. 201. 29 McAndrew, J., Venetian Architecture of the Early Renaissance, Cambridge, Mass. 1980, 348-357.