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

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

large miniature of the Battle of San Fabiano in the Uffizi, and the miniature of the same composition and subject in the Vita di Federico di Montefeltro manuscript now in the Vatican.

38 In particular, the figure of the sleeping soldier to the lower left is as if a mirror image of a preparatory drawing for the San Fabiano miniature.

39 The Duodo miniature is at least fifteen years earlier than the signed Mariani works, so it is difficult to assert an attribution to Mariani, but it seems to bear close relation to his work as well as to that of the Huntington Master. I hope that my future study of the Mariani illuminations in relation to Venetian dogal documents will further clarify the career of these artists. The use of several shields as 'trophies' to emphasize Duodo's career in public service is unique to these dogali, and found in each of the last three for him, all by different artists, and therefore suggests that Duodo at least in part determined their iconography. There is evidence of other sorts of artistic patronage by Francesco. Sansovino wrote that Francesco and his brother Domenico had a beautiful studio of medals and small antiquities,

40 and Francesco is also said to have commissioned Scamozzi to build the first rotund church at the family estate in Monselice.

41 Two busts of Francesco Duodo by Alessandro Vittoria, one in terracotta and one in marble, survive.

42 The marble version was mentioned in Francesco's will, written sometime after 1587, as being in his house, and he stated that he wanted it installed at Santa Maria del Giglio on his altar, along with the standards he captured from the Turks at Lepanto. The bust was eventually installed in Palazzo Duodo at Monselice rather than in Venice, but the standards were hung in the church at least until the mid17

th century.

43 The altar survives with an original carved marble frame and a painting from the Tintoretto workshop, probably of 1581-1582.

44 The painting shows Duodo as Saint Francis of Paola with Saint Justina and the Resurrected Christ, as clear allusions again to his role at Lepanto. The dogali for numerous other recipients of commissions are equally, or even more, inventive in the late sixteenth-century, but generally don't exhibit the cohesiveness of the Duodo program. The opening leaf of another dogale in the Museum of Fine Arts, 38 Florence, Galleria degli Uffizi, inv. 1890 n. 9155 and Biblioteca Apostolica, Urb. Lat. 1765, f. 32v, illustrated in Meloni Trkulja, S., 1631-1981. Un omaggio ai della Rovere, Galleria Nazionale délie Marche: Quaderni, n. 3 (1981); Hermens, E., Valerio Mariani da Pesaro, A 17th Century Italian Miniaturist and his Treatise, Miniaturu, 3/4 (1990/1991) 93-102, fig. 2. Erma Hermens has a book in press on Valerio Mariani and his treatise on miniature painting. See also my entry on Mariani forthcoming in the Dizionario hiografico dei miniatori italiani. 39 Vatican, Biblioteca Apostolica Vaticana, Illustrated in Hermens, op.cit., fig. 5. 40 Francesco Sansovino, with amendments by Giovanni Stringa, Venetia, città nobilissima, et singulare, Venice 1604, 258a. 41 Puppi L. and Puppi Olivato, L., Scamozziana - Progetti per la 'via romána' di Monselice e alcune altre novità grafiche con qualche quesito, Antichità viva, 13:4 (1974) 54-80. 42 Both are described and illustrated in Martin, T.

, Alessandro Vittoria and the Portrait Bust in Renaissance Venice, Oxford 1998, 102-105, cats. 4 and 5, plates 101, 102. 43 Stringa, op.cit. (note 40) 89b. 44 Pallucchini and Rossi, op.cit. 1, (note 34) 254, #A113.