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

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

this female personification is often also associated with Venice. The black man, or 'Moro', to the right may be apun on the name 'Morosini'. The line in Psalm 84 before 'Veritas de terra...' is 'Iustitia et pax osculatae sunf ("Justice and Peace have kissed"). This is one of the most popular themes in late sixteenth-century dogali and reflects public commissions, especially the painting of this subject by Bonifacio de' Pitati which hung in the Palazzo dei Camerlenghi perhaps already in the 1530s. 51 Another popular theme was the 'Triumph of Virtues', which also emphasized the civic as well as religious virtuosity of the recipients of the manuscripts as rulers of Venice. Female figures embody a wide range of moral and civic virtues in these manuscripts presented only to male rulers. 52 In conclusion, fine illumination and binding transformed dogali from being merely practical objects, defining the duties and privileges of Venetian patricians in relation to the state, to become objects for display, and announcement of individual and family fame. On the one hand, dogali illuminations emphasized the legendary dedication of all Venetian nobles in selfless service to the state, to become objects for display, and announcement of the myth of Venice as an ideal political and social order. On the other, the manuscripts themselves became symbolic trophies articulating a hierarchy of power and wealth within the closed group of families allowed to take part in governance. HELENA KATALIN SZÉPE s ' On Bonifacio de' Pitati's paintings for the Camerlenghi, see Faggin, G., Bonifacio ai Camerlenghi, Arte Veneta 17 (1963) 79-96; Simonetti, S., Profilo di Bonifacio dc' Pitati, Saggi e Memorie di Storia dell'Arte 15 (1986) 83-134. 52 Wilson, B., "il bel sesso, e I'austero Senato" The Coronation of Dogaressa Morosina Morosini Grimani, Renaissance Quarterly 15:1 (1999) 73-139.

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